Dear reader: this is the fifth and final installment of a novella. To best enjoy it, I would like to recommend that you first read all the previous parts of this series listed on my profile.
Rodica roamed the halls of the
Palazzo Ducale
, looking for her next project. The opulence of the place never failed to leave her feeling stunned - her senses were overwhelmed by the brilliance of the golden carved ceilings with their embedded murals, the gleaming patterns of the wallpaper, the mesmerizing geometric array of the tiles on the floor. She had to filter it all out in order to focus her mind on what she had come for - the artwork.
Many of the paintings there grated on her. They celebrated Venice, its secrets, its privileged elite, its love of ostentatious display. She eventually found herself drawn once again to the paintings by the man from Verona, Paolo Veronese. Her eyes came to rest on one entitled "Dialectic or Industry" - she didn't understand the title, but she was intrigued by the figure of a woman, wearing richly textured garments, crouching on the ground outside some sort of temple and examining a spiderweb, stretched between her hands. She could be the same woman who punished the forger, with the same vivid blue sky behind her.
As she gazed at the painting, Rodica made up her mind that she would copy it, and began setting up her easel, canvas and paints. Then she became aware of voices, two men standing at a distance to her right. They were discussing the painting. Curious, she allowed herself to listen in.
A tall, rather handsome dark-haired man was listening attentively to a shorter man who was also quite attractive, but older; his grey hair swept elegantly back from his forehead and was slightly long in the back. The shorter man wore pale green silk shirt with the sleeves rolled precisely to the midpoint of his forearms. His tan slacks were very well-tailored. The taller man wore a dark blue shirt and gray slacks. The shorter man spoke:
"The problem that I see with Veronese's paintings is that they are too sentimental, and they moralize. It's annoying. You see her web? I don't know whether she made it, or a spider did. It doesn't matter. He's making the point that whoever made it, we ought to admire their diligent effort. I find that very tedious."
The man's companion nodded respectfully. Rodica turned the ideas over in her mind, trying to decide whether she agreed. The speaking man continued:
"I prefer something like 'The Battle of Salvore.' Domenico Tintoretto captured the excitement of sending thousands of men to war. And his portraits, too - the men in his paintings exude power and authority." Here he gave the taller man a momentary, knowing smile, which the taller man returned. They looked like they were sharing a secret.
Rodica looked back at the painting, not wanting to be rude. The shorter man continued. He spoke in confidential tones, but in the silence of the museum, Rodica could hear him, and she was curious about this person who seemed so confident and relaxed in his affect.
"I have a new business opportunity for you," said the shorter man.
Rodica heard the other man's voice for the first time. It was deep and masculine, but deferential.
"Yes! I'm interested."
"Are you familiar with carbon credits?"
"Only generally. It has to do with climate change, right? Some countries have signed agreements to limit their carbon dioxide emissions?"
"Yes, the Kyoto Protocol. It's legally binding on the signators."
"But if a country feels the need to go over their quota, they can pay someone else to go under theirs?"
"Yes. They call the quota a 'cap.'"
"But who keeps track?"
"No one."
"You're kidding."
The two men had begun to walk into the next room. Rodica was intrigued by their discussion; a little itch in the back of her mind was telling her that it might be important. Staying our of their line of sight, she moved next to the door and continued to listen. She recognized the calm, confident and slightly higher-pitched voice of the smaller man.
"There are organizations called 'DOE's, Designated Operations Entities. They are authorized to monitor the accuracy of the claims made about reductions in CO2. When a study was made of their reliability, they were graded A to F, and the highest score for any of them was D."
The deeper-voiced man let out a low whistle and said "Jesus." After a pause, he asked, "Where is the investment opportunity?"
"Carbon trading is now the world's fastest growing commodities market."
"But how is it a commodity?"
The higher-voiced man chuckled. "It's not. But it is traded as one."
The voices were moving away. Rodica made a quick decision and strolled after them into the next room, directing her gaze at the paintings. The two men were moving slowly from painting to painting, continuing their conversation. Rodica kept pace with them, careful not to move at exactly the same time as they moved.
The smaller man was saying, "I'll make a long story short. The way this market works is poorly understood. The whole process of measuring carbon reduction is questionable, and even if it were not, no one makes a serious attempt to regulate it. But the real opportunity, for men such as ourselves, is that there are secondary markets and derivatives on the whole thing, every aspect of it."
Another low whistle. "I think I am beginning to see what you mean... so, there are bets and side bets every step of the way?"
"Yes. And the fellow who is smart enough to control the measurements will know the outcome of those bets, in advance."
The two men were now moving to another room. Rodica did not want to risk being too obvious. She turned in the other direction, gathered up her supplies, and made her way out of the museum.
***
It was approaching sundown as Bedrich made his way up the steps of the Rialto Bridge. The sky was a jumble of clouds, some of them a radiant gray that was full of the declining sun, others that had already succumbed to the approaching night and glowered black. Reaching the highest steps, Bedrich paused and thought of the conversation he had had with Michela when he was last upon this bridge.
She knew
. Somehow she had known that Helmut was involved in the investigation of Acquati. When Helmut was undercover and approaching Acquati as a businessman, she could have tipped Acquati off.
Bedrich stood at the vertex of the bridge and looked out over the canal. Swarms of watercraft, gondolas, powerboats, waterbuses weaved and dodged each other. They churned the water into a murky froth as the evening sun waned. The pastel colors of the buildings that lined the canal were gradually muting and blending into soft uniformity. How many people had known that Helmut was undercover?
Not many. There were his superiors at the