In recognizance of the solemn moment, the singing faded, and then stopped. The cheering abated. Dom Felipe kept his head down, and his eyes closed, until he heard the rustle of people working their way through the crowd. Then he lifted his head and unclasped his hands. Immediately the cheers erupted anew, and the singing started all over again, right from the beginning of the piece.
One of the policemen grasped a segment of the yellow crowd tape and held it shoulder high. One by one, the members of the reception party slipped under it, seven men in all, and started crossing the empty space toward him.
Cascatas do Pontal was an agricultural town, an informal place. The jackets and ties the men were wearing all looked new. Despite the welcoming smiles they'd plastered on their faces, the local dignitaries looked uncomfortable. All seven of them were red-faced and sweating in the heat.
The bishop took an impulsive step toward them, and then stopped.
They'll think it more dignified if I let them come to me. It was the last decision of Dom Felipe's life.
Walter Abendthaler snapped off another shot with the Pentax, advanced the film and reached for the motordriven Nikon. Some of his contemporaries liked the digital gear, and all of the kids used it, but not Walter. Walter preferred film. He was an old-fashioned kind of guy.
Maybe too old-fashioned; at least that's what the agency art directors were telling him these days. A few lines on your face, a little gray in your hair, and they all thought you were over the hill.
Scheisse! Why didn't they concentrate on his portfolio instead? His pictures clearly demonstrated that he had a better eye for angles than most of the young punks now getting into the business. But did they appreciate that? No, they didn't. Instead of focusing on his pictures, art directors had a tendency to focus on his gray hair.
Walter would have been willing to bet good moneysomething he happened to be short of at the moment, or he wouldn't have been in Cascatas at all-that not one of those overestimated punk kids, not even that Scheisskerl Chico Ramos, would have had the foresight to do what he'd done.
He was on the church steps, almost in the vestibule, just below Gaspar Farias, the crow that ran the parish. (The black soutanes priests wore always reminded Walter of crows so that's what he called them.) That put Walter seventy-five meters from the helicopter, maybe even a little more, but that was the beauty of it, the action of a man who knew his business. The punk kids always tried to get in close, instead of letting the lens do it for them. And now, while they were all down there in the crush elbowing each other out of the way, Walter had a spot all to himself, high above the heads of the crowd. There was nothing, nothing at all, between him and the Chief Crow. He had an unimpeded view.
Exactly as he'd forseen, Walter's medium-length telephoto, the 300mm, was the perfect lens for the job. His frame ran from slightly below the knees to the tip of the bishop's miter.
Walter hit and released the shutter button. The Nikon clicked and whirred.
Ha! Gotcha sneaking a peek at your watch.
He'd save that one, maybe blow it up and put it in his portfolio. They'd never print it. Then it got boring: His Crowness bowed his head, concealing his face under his funny hat, and stood there for a long time doing absolutely nothing.
Walter didn't bother to waste any film.
At last the head came up and the kids started singing again, their high voices carrying well over the murmur of the crowd.
Walter knew the music, a passage from the Messiah, and he hummed along, pleased with himself.
The bishop took a few steps forward and stopped.
Just to the cleric's left, Walter had the logotype, the whole logotype, solidly in the shot. The telephoto altered the perspective, brought the background closer, made the logo look even bigger than it was. The client would love it.
Love it, because Walter's assignment wasn't to register the arrival of the bishop. It was to register the link between the Church and Fertilbras, Brazil's largest manufacturer of fertilizer.
Providing this day's transportation was a publicrelations ploy for the company. Running the chopper cost them 1,800 reais an hour, and they intended to get their money's worth by making sure that Walter's photos, the ultimate selection of which would be made by Fertilbras's chairman himself, appeared in every newspaper in the state of Sao Paulo. Or at least in those newspapers where Fertilbras's advertising budget gave them leverage with the editorial staff.
In one of his sarcastic moments, of which there were many, Walter, no Catholic, had commented to his wife, Magda, that there was a similarity between what the Catholic Church and his client offered to the public. Magda hadn't laughed, so he'd had to explain: "The Church peddles bullshit, another form of fertilizer. Get it?" She still hadn't laughed. Magda was from Zurich and had the same sense of humor as her parents: none at all.
The Chief Crow had turned out to be as handsome in the flesh as he was in the photos Walter had seen. Dom Felipe was still young, well under sixty, but his abundant, carefully coifed hair was already a snowy white.
Colored, for sure. His eyebrows are still dark.
Unfortunately, the 300mm didn't bring Dom Felipe close enough to display the blue eyes that women were prone to gush about. Walter hoped for better luck when the bishop got his act together and moved toward him.
The guy's got charisma, I'll give him that. Looks like he has a poker up his ass. Stands more like a soldier than a priest.
Walter momentarily took the viewfinder away from his eye and glanced at the film counter.
Six. Thirty shots left on the roll.
He switched off the automatic focus and made a minor adjustment.
Uh-oh.
A cloud slipped between Walter's subjects and the sun. He had to open up. One, no, two stops. Two whole stops! Scheisse! It was playing hell with his depth of field. If the bishop moved any further away from the background, Walter was going to have to choose between staying sharp on either the man or the logotype. And that was, as the English put it, Hobson's choice: no goddamned choice at all. Unless the sun came back from behind that fucking cloud, the link he was supposed to capture would be gone, and he'd have one unhappy client.
Walter saw blurry movement on the bottom left of his frame. He lowered the camera to check it out, and then clapped the viewfinder back to his eye.
The reception committee.
He left the focus where it was. The group was getting sharper and sharper as it approached the bishop. Then one of them stepped right between Walter and the logotype.
In a spasm of anger, Walter pressed the shutter.
A fraction of a second later, a hole appeared in the front of Dom Felipe's cassock.
The shutter stayed open long enough to register both the entry wound and the red mist that spurted into the air behind the bishop's back.
A less-experienced man, one of those young punks, might have started looking around to see where the shot had come from. But not Walter Abendthaler.
Walter, old pro that he was, kept his finger on the shutter button. The motor drive kept advancing. The shutter opened and closed, opened and closed, capturing shot after shot.
In successive frames, the bishop took a step backward, looked down at his chest, sunk to his knees, and pitched forward onto the ground. And then, in the very last exposure before the film ran out, the top of his head seemed to explode.
The crowd was horrified.
Walter Abendthaler was ecstatic. He was damned near positive he'd captured the very moment of the bullet's impact.
Chapter Two
"Ugly," said Mario Silva, Chief Inspector for Criminal Matters.
"Ugly is right," Nelson Sampaio, Silva's boss and the Director of the Brazilian Federal Police, agreed.