"It's an easy job," Peregil heard himself say. He knew he had no choice. "Clean. No complications. A million each." "Why us?" asked Don Ibrahim.
Peregil looked straight into his sad, bleary eyes and for an instant glimpsed the anxiety in their depths. Percgil swallowed and then ran a finger round the inside of his collar. He glanced again at the fat bogus lawyer's cigar, El Potro's deformed nose, La Nina's beauty spot. Three losers who should be locked up. Shipwrecks. Dregs. But with the money that was left, they were all he could afford. Blushing, he answered, "Because you're the best."
On his first morning in Seville it took Lorenzo Quart almost an hour to find the church. Several times he inadvertently wandered out of Santa Cruz and then had to find his way back. He realised his tourist map was useless in the maze of silent, narrow streets. Once or twice a passing car forced him to take refuge in cool, dark archways, their wrought-iron gates leading to tiled courtyards full of roses and geraniums. He came at last to a small square with white and ochre walls and railings hung with flowerpots. Tiled benches showed scenes from Don Quixote and there was an intense scent of orange blossom from the half-dozen trees. The church was small, its brick facade barely twenty metres across, and it formed a corner with another building. It looked in poor condition: the belfry was shored up by wooden struts, thick beams propped up the outer wall, and scaffolding partially obscured a tile depicting Christ, flanked by rusty iron lamps. There was also a cement mixer beside a mound of gravel and some sacks of cement.
So there she was. Quart stood and stared at the building for a couple of minutes. Seen through the orange trees and beneath a bright blue Andalusian sky on that perfect morning, it didn't seem remotely sinister. Two twisted Solomonic columns stood on either side of the baroque portico. Above it was a niche containing a statue of the Virgin. Our Lady of the Tears, he almost said aloud. Then he walked towards the church and, as he came closer, saw that the Virgin had been beheaded.
Nearby, bells began to ring and a flock of pigeons rose from the roofs around the square. He watched them fly off, then looked back to the church facade. Something had changed. Now, despite the Andalusian sunlight and the orange trees with their fragrant blossom, the church seemed different. Suddenly, the old beams shoring up the walls, the ochre paint of the belfry peeling in strips like skin, the bell hanging motionless from the crossbeam overgrown with weeds, all gave the place a sombre, dull, disturbing atmosphere. A church that kills to defend itself, Vespers' mysterious message had said. Quart glanced again at the headless Virgin while inwardly laughing at himself for feeling uneasy. There didn't seem much left to defend.
To Quart, faith was relative. Monsignor Spada had not been wrong to speak of him, if half-joking, as a good soldier. Quart's creed didn't consist of revealed truths; it rested, rather, on the assumption that one had faith and acted accordingly. In this light, the Catholic
Church from the start was to Quart what the army was to other young men: a place where rules provided most of the answers as long as one didn't question the basic concept. In Quart's case, this self-discipline replaced faith. And the paradox, which the veteran archbishop had sensed, was that it was precisely the lack of faith, with all the pride and rigour needed to sustain it, that made Quart so good at his job.
Everything has its source, of course. The son of a fisherman who drowned at sea, Lorenzo Quart was taken under the wing of a rough village priest who helped him enter the seminary. A brilliant and conscientious student, to such an extent that his superiors took an interest in his progress, Quart was possessed of that southern clarity of mind that is like a quiet affliction sometimes brought on by the easterly winds and blazing Mediterranean sunsets. One day, as a child, he stood for hours on the breakwater of the port, lashed by wind and rain, while out to sea some helpless fishing boats fought the huge waves. In the distance they looked tiny and pitifully fragile in the mountainous foaming seas, their motors struggling to bring them back to port. One boat had been lost. And when one fishing boat was lost, that meant sons, husbands, brothers, fathers were lost along with it. Women in black with children clinging to their skirts stood by the lighthouse, moving their lips in silent prayer, trying to make out which boat was missing. And when the little boats finally entered the port, the men on board looked to where Lorenzo stood on the breakwater, clasping his mother's hand, and they took off their caps. The rain, the wind, and the waves roared on. No more boats returned. That day, Quart realised that it was no use praying to the sea. And he vowed that no one would ever stand in the rain waiting for him to return to port.
The church door, made of oak and decorated with thick nails, was open. As Quart went inside, a cold breath of air came to meet him, as if he'd just lifted a gravestone. He took off his sunglasses and dipped his fingers in holy water. He felt its coolness as he made the sign of the Cross on his forehead. The gilded altar gleamed gently at the other end of the nave. Half a dozen wooden pews sat facing it. The rest had been piled in a corner to make room for the scaffolding. The place smelled of wax, stale air and the mildew of centuries. The entire church was in gloom, except for the top left-hand corner, lit by a spotlight. Quart looked up at the light and saw a woman on the scaffolding, photographing the leaded windows. "Good morning," she said.