sorrowfully.
âImagine that, Mr. Ingrassia. Iâd asked him if he could give me some more details about what heâd seen the night of the robbery, weâd agreed to meet again, and now this . . .â
Ingrassia threw his hands up in the air, inviting Montalbano, with this gesture, to resign himself to fate. He allowed a respectful pause to elapse, then:
âIâm sorry,â he said, âbut what other details could the poor cavaliere have given you? Heâd already told you everything he saw.â
Montalbano wagged his forefinger, signaling âno.â
âYou donât think he told you everything he saw?â asked Ingrassia, intrigued.
Montalbano wagged his finger again.
Stew in your own juices, scumbag , he was thinking.
The green Ingrassia started to tremble like a leafy branch in the breeze.
âWell, then, what did you want him to tell you?â
âWhat he thought he didnât see.â
The breeze turned into a gale, the branch began to lurch.
âI donât understand.â
âLet me explain. Youâre familiar, are you not, with a painting by Pieter Brueghel called Childrenâs Games ?â
âWho? Me? No,â said Ingrassia, worried.
âDoesnât matter. But you must be familiar with the works of Hieronymus Bosch?â
âNo sir,â said Ingrassia, starting to sweat. Now he was really getting scared, his face starting to match the color of his outfit, green.
âNever mind, then, donât worry about it,â Montalbano said magnanimously. âWhat I meant was that when someone sees a scene, he usually remembers the first general impression he has of it. Right?â
âRight,â said Ingrassia, prepared for the worst.
âThen, little by little, a few other details may start coming back to him, things that registered in his memory but were discarded as unimportant. An open or closed window, for example, or a noise, a whistle, a songâwhat else?âa chair out of place, a car where itâs not supposed to be, a light . . . That sort of thing. You know, little details that can later turn out to be extremely important.â
Ingrassia took a white handkerchief with a green border out of his pocket and wiped the sweat from his face.
âYou had me brought here just to tell me that?â
âNo. That would be inconveniencing you for no reason. I would never do a thing like that. I was wondering if youâd heard from the people who, in your opinion, played that joke on you, you know, the phony robbery.â
âNot a word from anyone.â
âThatâs odd.â
âWhy?â
âBecause the best part of any practical joke is enjoying it afterward with the person it was played on. Well, if you do hear from anybody, please let me know. Good day.â
âGood day,â muttered Ingrassia, standing up. He was dripping wet, his trousers sticking to his bottom.
Fazio showed up all decked out in a shiny new uniform.
âIâm here,â he said.
âAnd the pope is in Rome.â
âI know, Inspector, I know: today is not your day.â
He started to leave but stopped in the doorway.
âInspector Augello called, said he had a terrible toothache. He says heâs not coming unless he has to.â
âListen, do you have any idea where the wreck of Cavaliere Misuracaâs Fiat ended up?â
âItâs still here, in our garage. If you ask me, itâs just envy.â
âWhat are you talking about?â
âInspector Augelloâs toothache. Itâs just a bout of envy.â
âWhoâs he envious of?â
âYou. Because itâs your press conference and not his. And heâs probably also pissed off because you wouldnât tell him who youâd arrested.â
âWould you do me a favor?â
âAll right, all right, Iâm going.â
When Fazio had closed the door well, Montalbano dialed a number.
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