“The Vasari Corridor,” the guide announced. “It’s nearly one kilometer long and provided the Medici family with a secure passageway between the Pitti Palace and the Palazzo Vecchio.”
Vayentha’s eyes widened as she took in the tunnel-like structure above her. She’d heard of the corridor, but knew very little about it.
It leads to the Palazzo Vecchio?
“For those rare few with VIP connections,” the guide continued, “they can access the corridor even today. It’s a spectacular art gallery that stretches all the way from the Palazzo Vecchio to the northeast corner of the Boboli Gardens.”
Whatever the guide said next, Vayentha did not hear.
She was already dashing for her motorcycle.
CHAPTER 41
THE STITCHES IN Langdon’s scalp were throbbing again as he and Sienna squeezed inside the video control room with Marta and the two guards. The cramped space was nothing more than a converted vestment chamber with a bank of whirring hard drives and computer monitors. The air inside was stiflingly hot and smelled of stale cigarette smoke.
Langdon felt the walls closing in around him immediately.
Marta took a seat in front of the video monitor, which was already in playback mode and displayed a grainy black-and-white image of the andito, shot from above the door. The time stamp on-screen indicated that the footage had been cued to midmorning yesterday—precisely twenty-four hours ago—apparently just before the museum opened and long before the arrival of Langdon and the mysterious il Duomino that evening.
The guard fast-forwarded through the video, and Langdon watched as an influx of tourists flowed rapidly into the andito, moving in hurried jerky motions. The mask itself was not visible from this perspective, but clearly it was still in its display case as tourists repeatedly paused to peer inside or take photos before moving on.
Please hurry, Langdon thought, knowing the police were on their way. He wondered if he and Sienna should just excuse themselves and run, but they needed to see this video: whatever was on this recording would answer a lot of questions about what the hell was going on.
The video playback continued, faster now, and afternoon shadows began moving across the room. Tourists zipped in and out until finally the crowds began to thin, and then abruptly disappeared entirely. As the time stamp raced past 1700 hours, the museum lights went out, and all was quiet.
Five P.M. Closing time.
“Aumenti la velocità,” Marta commanded, leaning forward in her chair and staring at the screen.
The guard let the video race on, the time stamp advancing quickly, until suddenly, at around 10 P.M., the lights in the museum flickered back on.
The guard quickly slowed the tape back to regular speed.
A moment later, the familiar pregnant shape of Marta Alvarez came into view. She was followed closely by Langdon, who entered wearing his familiar Harris Tweed Camberley jacket, pressed khakis, and his own cordovan loafers. He even saw the glint of his Mickey Mouse watch peeking out from under his sleeve as he walked.
There I am … before I got shot.
Langdon found it deeply unsettling to watch himself doing things of which he had absolutely no recollection. I was here last night … looking at the death mask? Somehow, between then and now, he had managed to lose his clothing, his Mickey Mouse watch, and two days of his life.
As the video continued, he and Sienna crowded in close behind Marta and the guards for a better view. The silent footage continued, showing Langdon and Marta arriving at the display case and admiring the mask. As they were doing this, a broad shadow darkened the doorway behind him, and a morbidly obese man shuffled into the frame. He was dressed in a tan suit, carried a briefcase, and barely fit through the door. His bulging gut made even the pregnant Marta look slender.
Langdon recognized the man at once. Ignazio?!
“That’s Ignazio Busoni,” Langdon whispered in Sienna’s ear. “Director of the Museo dell’Opera del Duomo. An acquaintance of mine for several years. I’d just never heard him called il Duomino.”
“A fitting epithet,” Sienna replied quietly.
In years past, Langdon had consulted Ignazio on artifacts and history relating to Il Duomo—the basilica for which he was responsible—but a visit to the Palazzo Vecchio seemed outside Ignazio’s domain. Then again, Ignazio Busoni, in addition to being an influential figure in the Florentine art world, was a Dante enthusiast and scholar.
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