Free Isle of the Dead by Alex Connor Page A

then, remembering that the phone line was cut, ascended the first stair. If he had wanted he could have left the house, run away, sought help. But Gaspare did what the intruder had never expected – he stayed.
    And kept climbing.
    One, two, three steps. Four, five, six. The light wasn’t moving any longer – it was static, as though the intruder had put a torch down while they looked at something. Pushing back the door of the attic, Gaspare peered in. A man had his back towards him. He was squatting on his haunches in front of the Titian painting, the torch on a boxbeside him. He was so engrossed that he didn’t hear the old man coming up behind him. So mesmerised by the image of Angelico Vespucci that he never felt the poker coming down on the back of his skull.
    Â 
    Venice, 1555
    Angelico Vespucci is leaving now. Look, there he goes. And here runs Aretino, off to meet his friend. They do much business. The bulk of him seems all the more coarse for Vespucci’s elegance, his bear’s arm slipped proprietorially through the merchant’s. I imagine the friendship will cost both of them more than either can afford. Certainly Titian will suffer. I know that, but it is beyond me to intervene. I will, in time, but for now I watch, compelled to wait on tragedy.
    We are deep in winter. The water is grey as a merle, the lamps at the edge of the quay flickering nervously in the wind. From the Jewish Quarter comes the muffled sound of singing, then the echo of someone running. In these bitter days and nights there are always running feet. They say the Devil has his workers out; that the wooden piles which help keep Venice above the water are shaken nightly by the kicking of their cloven hooves. They say the aborted foetuses of a thousand courtesans are come back as vicious water sprites.
    It may be true. We live in a city where men like Aretino and Vespucci reign like potentates. Where a man might kill and mutilatehis wife and suffer nothing more than stares. And among the vulgar whispers there is always one question: where does Vespucci keep his precious hide? His own Bartholomew? Where does he lock away the skin that once he stroked and kissed? Is it dried out like the meat in the summer? Is it laid out, stiff and macabre, on what was once their marriage bed? Does he look at what once covered his dead wife and witch her back in his dreams?

14
    Jerking awake in her chair, Jean stood up as Sally walked in. She was wavering on her feet, obviously drunk, her skirt creased, her make-up worn off. Once a month Jean babysat for Sally Egan’s father, giving her a chance to go out. It was usually a Friday, and usually she came back slightly the worse for wear. But this Friday Sally was drunk, unable to focus, and Jean was out of patience.
    â€˜It’s half past one in the morning!’
    â€˜Sssh!’ Sally hushed her. ‘You’ll wake Dad up.’
    â€˜Fat lot you care about your father or you wouldn’t be making all this noise coming in at this time!’ Jean retorted. ‘You said you’d be back at midnight. I had to ring my husband twice to let him know what was going on. It’s not fair.’
    Waving her hand impatiently, Sally slumped into a chair, her legs splayed out in front of her. Of course Eddie Gilmore hadn’t rung. Of course not. She shouldn’t have expected it. She’d been a mug, sleeping with him and thinking he gave a shit. And then she’d seen him in the pub and he’d blanked her.
Blanked her.
Christ, she hadn’t known where to look …And now here was Jean, moaning about having to call her husband. At least she
had
a bloody husband. At least she had someone who gave a fuck about where she was.
    â€˜You promised—’
    â€˜Oh, shut up!’ Sally snapped, the booze making her aggressive, unlike herself. ‘It’s only once—’
    â€˜It’s not once,’ Jean countered. ‘It’s three times