Dan Brown - Inferno

By the time she arrived at the airport thirty minutes later, she had called her team and placed this man on the bioterrorism watch lists of every relevant agency on earth — the CIA, the CDC, the ECDC, and all of their sister organizations around the world.

That’s all I can do until I get back to Geneva , she thought.

Exhausted, she carried her overnight bag to check-in and handed the attendant her passport and ticket.

“Oh, Dr. Sinskey,” the attendant said with a smile. “A very nice gentleman just left a message for you.”

“I’m sorry?” Elizabeth knew of nobody who had access to her flight information.

“He was very tall?” the attendant said. “With green eyes?”

Elizabeth literally dropped her bag. He’s here? How?! She spun around, looking at the faces behind her.

“He left already,” the attendant said, “but he wanted us to give you this.” She handed Elizabeth a folded piece of stationery.

Shaking, Elizabeth unfolded the paper and read the handwritten note.

It was a famous quote derived from the work of Dante Alighieri.

Marta Alvarez gazed tiredly up the steep staircase that ascended from the Hall of the Five Hundred to the second-floor museum.

Posso farcela , she told herself. I can do it.

As an arts and culture administrator at the Palazzo Vecchio, Marta had climbed these stairs countless times, but recently, being more than eight months pregnant, she found the ascent significantly more taxing.

“Marta, are you sure we don’t want to take the elevator?” Robert Langdon looked concerned and motioned to the small service elevator nearby, which the palazzo had installed for handicapped visitors.

Marta smiled appreciatively but shook her head. “As I told you last night, my doctor says the exercise is good for the baby. Besides, Professor, I know you’re claustrophobic.”

Langdon seemed strangely startled by her comment. “Oh, right. I forgot I mentioned that.”

Forgot he mentioned it? Marta puzzled. It was less than twelve hours ago, and we discussed at length the childhood incident that led to the fear.

Last night, while Langdon’s morbidly obese companion, il Duomino , ascended in the elevator, Langdon had accompanied Marta on foot. En route Langdon had shared with her a vivid description of a boyhood fall into an abandoned well that had left him with a nearly debilitating fear of cramped spaces.

Now, while Langdon’s younger sister bounded ahead, her blond ponytail swinging behind her, Langdon and Marta ascended methodically, pausing several times so she could catch her breath. “I’m surprised you want to see the mask again,” she said. “Considering all the pieces in Florence, this one seems among the least interesting.”

Langdon gave a noncommittal shrug. “I’ve returned mainly so Sienna can see it. Thank you, by the way, for letting us in again.”

“Of course.”

Langdon’s reputation would have sufficed last night to persuade Marta to open the gallery for him, but the fact that he had been accompanied by il Duomino meant that she really had no choice.

Ignazio Busoni — the man known as il Duomino —was something of a celebrity in the Florence cultural world. The longtime director of the Museo dell’Opera del Duomo, Ignazio oversaw all aspects of Florence’s most prominent historical site — Il Duomo — the massive, red-domed cathedral that dominated both the history and the skyline of Florence. His passion for the landmark, combined with his body weight of nearly four hundred pounds and his perpetually red face, resulted in his good-natured nickname of il Duomino —“the little dome.”

Marta had no idea how Langdon had become acquainted with il Duomino , but the latter had called her last evening and said he wanted to bring a guest for a private viewing of the Dante death mask. When the mystery guest turned out to be the famous American symbologist and art historian Robert Langdon, Marta had felt a bit of a thrill at having the opportunity to usher these two famous men into the palazzo’s gallery.

Now, as they reached the top of the stairs, Marta placed her hands on her hips, breathing deeply. Sienna was already at the balcony railing, peering back down into the Hall of the Five Hundred.

“My favorite view of the room,” Marta panted. “You get an entirely different perspective on the murals. I imagine your brother told you about the mysterious message hidden in that one there?” She pointed.

Sienna nodded enthusiastically. “Cerca trova.”

As Langdon gazed toward the room, Marta watched him. In the light of the mezzanine windows, she couldn’t help but notice that Langdon did not look as striking as he had last night. She liked his new suit, but he needed a shave, and his face seemed pale and weary. Also, his hair, which was thick and full last night, looked matted this morning, as if he had yet to take a shower.

Marta turned back to the mural before he caught her staring. “We’re standing at nearly the exact height as cerca trova ,” Marta said. “You can almost see the words with the naked eye.”

Langdon’s sister seemed indifferent to the mural. “Tell me about Dante’s death mask. Why is it here at the Palazzo Vecchio?”

Like brother, like sister , Marta thought with an inward groan, still perplexed that the mask held such fascination for them. Then again, the Dante death mask had a very strange history, especially recently, and Langdon was not the first to show a nearly maniacal fascination with it. “Well, tell me, what do you know about Dante?”

The pretty, young blonde shrugged. “Just what everyone learns in school. Dante was an Italian poet most famous for writing The Divine Comedy , which describes his imagined journey through hell.”

“Partially correct,” Marta replied. “In his poem, Dante eventually escapes hell, continues through purgatory, and finally arrives in paradise. If you ever read The Divine Comedy , you’ll see his journey is divided into three parts— Inferno, Purgatorio , and Paradiso .” Marta motioned for them to follow her along the balcony toward the museum entrance. “The reason the mask resides here in the Palazzo Vecchio has nothing to do with The Divine Comedy , though. It has to do with real history. Dante lived in Florence, and he loved this city as much as anyone could ever love a city. He was a very prominent and powerful Florentine, but there was a shift in political power, and Dante supported the wrong side, so he was exiled — thrown outside the city walls and told he could never come back.”

Marta paused to catch her breath as they approached the museum entrance. Hands again on her hips, she leaned back and continued talking. “Some people claim that Dante’s exile is the reason why his death mask looks so sad, but I have another theory. I’m a bit of a romantic, and I think the sad face has more to do with a woman named Beatrice. You see, Dante spent his entire life desperately in love with a young woman named Beatrice Portinari. But sadly, Beatrice married another man, which meant Dante had to live not only without his beloved Florence, but also without the woman he so deeply loved. His love for Beatrice became a central theme in The Divine Comedy .”

“Interesting,” Sienna said in a tone that suggested she had not heard a word. “And yet I’m still not clear on why the death mask is kept here inside the palazzo?”

Marta found the young woman’s insistence both unusual and bordering on impolite. “Well,” she continued, walking again, “when Dante died, he was still forbidden to enter Florence, and his body was buried in Ravenna. But because his true love, Beatrice, was buried in Florence, and because Dante so loved Florence, bringing his death mask here seemed like a kindhearted tribute to the man.”