Jose Somoza - Art of Murder

Bosch got up, refreshed himself in the shower, and chose a sober dark suit from his wardrobe. At half-past ten he would have to be with the vehicles parked round the Tunnel to supervise the launch of the security operation. Now he was in front of his mirror struggling to fix his tie properly. He had got the silk folds wrong yet again. He could not remember having been as nervous as this since Hendrickje's death.

He's never attacked at an opening. You ought to calm down. Perhaps he isn't even in Amsterdam. Who says April Wood is right? Perhaps he's already handed himself over at some Munich police station or other. Or maybe… stupid knot… Maybe Rip van Winkle really have caught him

… Get a hold of yourself. Think positively. For once in your life, think positively.

All at once he heard the pitter-patter of rain. He went out onto the terrace: the Vermeer landscape had started to change into a Monet. The raindrops had begun to meld together greens, ochres, the reds and whites. OK, so the rain's here.

As he finished dressing, he allowed himself a last thought for Danielle. He did not want to pray, even though he knew that, contrary to what religion teaches, not only the Devil but God himself can create temptation. Nevertheless, he improvised a short prayer. He did not aim it at anyone in particular, beyond looking up at the lowering clouds. She's the only one who has nothing to do with any of this. Protect her. Please, protect her.

After that, he went downstairs. It was going to be an exhausting day, and he knew it.

He had at least succeeded in throttling himself properly. His tie was correctly knotted.

09.29.

Gerardo took a pinch of burnt yellow colour and brushed it onto Clara's cheek.

The Maestro is going to check all the paintings this afternoon before the opening.' ‘I thought he wasn't going to come again.'

'He always likes to have a last look before he leaves. Stay still now.'

He chose a very fine brush and painted her lips with a layer of weak vermilion. She saw him smiling only a few centimetres from her face. He looked like a miniaturist bending over a book of prints.

'Are you happy?' he asked her as he dipped his brush in the paint again. 'Yes.'

The assistant took off Clara's haircap, uncovering a shock of mahogany red curls. Gerardo dipped his brush again, and returned to her lips.

'I'd like to go on seeing you after all this is over. I mean, after you've been bought.' He paused, dipped a finger in some kind of solvent, and scraped at the corner of her mouth. 'Because you must know you've already been bought. You'll be sent to the home of some millionaire collector or other. But I'd like to go on seeing you. No, don't talk. You mustn't talk now.'

His words were as gentle as the brushstrokes he was using to outline her. She felt as though he were kissing her all over. *You know what they say. That there can't be any relationship between a painting and a painter, because hyperdramatism doesn't allow it. Well, that's the theory anyway.' He lifted off the brush, dipped it in the paint, came back to her, wiped with a rag, painted another line. 'But with me things will be different, because I'm a very bad painter, sweetheart. That will compensate for you being such a good painting.'

The assistant interrupted Gerardo and spoke to him in English. They talked briefly about the exact tone of the shading on the sides of Clara's body, and consulted the Maestro's written instructions. Then Gerardo bent towards her lips, and stood observing them closely for a while. He did not seem satisfied. He disappeared from her field of vision, then almost immediately reappeared, his brush dripping red.

Clara was lying on her back on a small bed in one of the rehearsal rooms in the basement of the Old Atelier. She had been brought there early that morning to be finished and placed in the Tunnel.

'We have to be careful,' said Gerardo; 'thousands of people are going to see you today.'

He brushed gently twice against her upper lip. It was like the touch of a butterfly's wings.

'I don't want to hurt you,' he went on. 'I would never hurt you. But I thought that… keeping my feelings to myself would not help me do things any better. I'm more serious than you give me credit for, sweetheart. No, don't talk.' He lifted the brush off as Clara opened her lips. 'You are the work. I'm the only one who can talk. You are in the painting.'

He dipped the brush, and caressed her again with a lighter shade of red.

'I've also heard that a painter often falls in love with his work. I think that's true. But in my case there's something strange: I think I have painted myself as well to some extent. I mean to say that I've been pretending. Sometimes I even think I'm not who I think I am. Every day I get up, look at myself in the mirror, and thank my lucky stars. But things aren't that simple. Look at this moustache and beard.' He plucked them as he spoke. 'Are they a painter's, or are they paint? I've believed it for a long while now, without wanting to look any further, without wanting to see. What is there beyond all this? someone might ask. Well beyond it, there are people. I don't look on you as a painting. I can't see you as a painting.'

He dabbed at her lips to remove a blot. They looked at each other for a moment. As she stared into his huge, twinkling eyes, a strange thought that had already occurred to her several times flashed through her mind once more: maybe Gerardo was not such a poor painter after all; maybe he simply did not want to paint Susanna. The figure did not appeal to him. What he wanted to capture in her face was not the sorrowful gleam or the horrified sense of shame, not that 'canvas of horror and pity' described by Van Tysch. Gerardo wanted to capture her for what she was. Clara Reyes. To regain her, cleanse her, give her light. He was the first ardst she had met for whom she was more important than his own work.

Uhl came in. He said they were being too slow, and that they should start painting her back. The three of them helped her to stand, and she lay down on her front. The process went on, but this time in silence.

20.30.

'Edenburg, miss,' the driver said.

The scenery in the background to the River Geul, in southern

Limbourg in Holland, was out of this world. Woods and valleys glittered in the splendid summer sun, interspersed with rectangular wooden farmhouses. Edenburg appeared almost out of the blue as they came round a bend, at the end of the highway: a mound of steep-roofed houses dominated by the majestic presence of the castle where once upon a time Maurits van Tysch had worked as an art restorer. Miss Wood knew Edenburg. The interviews the painter had conceded her had been brief and tense. Van Tysch had never been concerned about the security of his works: his only duty was to create them.

Miss Wood knew it was raining in Amsterdam, but here in Edenburg there was nothing but sun, warmth, and groups of tourists bearing cameras and road maps. The car advanced slowly along the narrow cobbled streets, which retained all their old-world charm. A few curious passers-by stared at the luxury vehicle. The driver spoke again to Miss Wood.

'Are you going straight to the castle? If that's the case, we'll have to leave the centre of town and take the Kasteelstraat.'

'No, I'm not going to the castle.' She handed him an address. The chauffeur (a polite, attentive southerner who was anxious to keep the 'lady' happy, and who wore a fixed smile despite having to wait almost half an hour for her plane in Maastricht) decided to stop and ask a local the way.

The idea had occurred to her the night before. She had suddenly remembered the name of the man Oslo thought of as 'Bruno van Tysch's best childhood friend': Victor Zericky. She thought it would be a good idea to begin her visit to Edenburg by calling on him. She had called Oslo that same night, and he had been quick to supply her with the historian's address and telephone number. Zericky was not at home when she called to set up an appointment. Perhaps he was away. But she was confident she would see him.