The Ancient Curse by Valerio Massimo Manfredi

Fabrizio’s while looking out of the window as if something else had caught her attention. ‘I’m willing to help you.’
    ‘You are?’
    ‘Yes. But it won’t be easy. Balestra’s files are bound to be protected by a password. He’s very careful on the computer.’
    ‘We could do it at night while I’m working on my research. I know how to turn off the alarm. We’ll go into his office and—’
    Francesca shook her head. ‘Forget it. His office has a separate alarm that goes directly to the carabiniere station right around the corner. In ten seconds flat you’d find Sergeant Massaro at the door in full combat gear asking embarrassing questions. And don’t you feel at all bad about betraying Balestra’s trust in you?’
    ‘Of course I feel bad,’ replied Fabrizio, ‘but I have no choice. I asked him if I could take a look at it, right there in his office, but he refused. And yet I could tell by how he reacted that he’s instinctively linked the text to these murders that have taken place in Volterra. What’s more . . .’
    ‘What?’ insisted Francesca when Fabrizio didn’t go on.
    ‘He’s linked it to the tomb of the Phersu as well . . . at least, that was my impression.’
    ‘It sounds to me like someone’s going nuts here.’
    ‘That’s probable. But in the meantime two people have been slaughtered and I’m not sure that it’s over, seeing as Reggiani is running out of ideas. So how do you say we do it?’
    ‘Open the files? Don’t ask me. I have no idea. Let me think about it. In the meantime, don’t screw things up. Let me do this my way. I’m the only one who can manage it. Anyway, if I do succeed, this has to remain an absolute secret between us or I’m done for. Understand? If Balestra suspects me in any way I’m out of a job. Do we have a deal?’
    Fabrizio nodded. ‘Thank you, Francesca.’
    ‘Right. Well, I’ve got things to do. I’ll let you know when I find something.’ She brushed his cheek with a light kiss, then went out.
    S ONIA V ITALI arrived at the museum late the next morning, after checking in at the Corona, an inexpensive hotel near the fortress. Fabrizio introduced her to the director, then took her straight downstairs, where he’d set up some tables and lights to make their work a little easier.
    ‘I started to separate the human bones from the animal ones, but I didn’t get very far, as you can see.’
    ‘Good God!’ exclaimed Sonia as soon as she had seen the skeleton. ‘It’s even bigger than I thought.’
    ‘How do you want to go about this?’ asked Fabrizio.
    ‘I want to reassemble it in a standing position. We’ll put it on exhibit when I’m finished, with a virtual reconstruction. Won’t that be something?’
    ‘Yeah, I’m sure it will,’ he replied without enthusiasm. ‘How long do you think it will take?’
    ‘I’m not sure . . . It’s not something you can just improvise. It’s very delicate work. I have to find all the junctures, create supports . . . You know how it is. You figure it out as you go along. So what about your statue? Is your research proceeding?’
    ‘No. I haven’t been able to get to it. This damn tomb came up and I had to excavate it, remove all the material, the whole deal. The director had too much work on his hands and his inspectors were all busy as well.’
    ‘Well, this is one hell of a find, as far as I can tell.’
    ‘Yeah, that’s what I’m worried about. Keep it to yourself for the time being. I don’t want the press in on this.’
    ‘No problem. I just want to be able to work in peace. I’ll start by taking some photographs and then we’ll see. Who knows, I might get inspired.’
    Fabrizio got ready to leave.
    ‘What’s there to do here at night?’ asked Sonia, her eye to the viewfinder of her digital camera.
    Since the tourist season was over and Volterra was settling into a wintry sloth, the question seemed entirely rhetorical, but Fabrizio made an effort not to notice.
    ‘There are a