Dresden Files: Venice
Pictures at an Exhibition
The clink of glasses and the gentle hub-bub of conversation provide a subtle background as Dolores Alegra Malspina observes the painting in front of her, whilst at the same time feeling the intimate arm round her waist from Fabrini Giacanti. A little disconcerted, she asks him about the picture, whilst gesturing for a drink from a passing waitress; who seems odly familiar. They talk for a while about its merits and Fabrini Giacanti decides he would like to buy it. With no price tag or identification card next to it, they wander off in search of someone official who can help them.
In another gallery, Gina Tortelli takes a bite of the canope being fed to her by Chesko Barbini. She is marginally aware she is sitting on a low podium seat in the middle of the room, and that her dress is a little too short for the position to be entirely modest. She thus rises to her feet, and with Chesko Barbini in tow, takes a wander through the gallery, glancing only occasionally at the art on the walls.
Luca Porrini and Svetlana Korai are seated on a padded low podium, in an adjacent hall. Given the gentle and insistant nibbling of his neck, Luca is convinced that his girlfriends attention is on anything but the art on display. Deciding one should never look a gift horse in the mouth, he takes her by the hand and they go in search of somewhere more private.
Entering the next hall, Dolores Alegra Malspina spots Luisa Mancuso sitting on her own; she is occasionally glancing at a painting in front of her which appears almost entirely black. Sitting next to her, and noting that Fabrini Giacanti almost subconciously sat with his arm around the girl, Dolores chats to her noting her aspect ‘wrong place, wrong time’, and the fact she has a new tattoo on her shoulder, with three tentacles potruding above the neckline at the rear of her dress. Fabrini Giacanti takes the opportunity to head off and find drinks for the three of them.
By the time they enter the next hall of pictures, Gina Tortelli and Chesko Barbini have noted that many of the couples are less interetsed in the art on display than each other; and given Chesko Barbini‘s obvious interest in her GIna is beginning to fell a ’’little naughty’’. Thus they begin to look for a private space, and thus Chesko Barbini pulls back a curtain to reveal Calandra Fonda and Flavio Spina engaged in a little personal contact. With a smile at the rather exclusive underwear that Calandra is wearing Chesko pulls Gina with him to join the others and lets the curtain cover their activitys.
With Svetlana Korai on his arm Luca Porrini arrives in the next hall and recognises the waitress with the canapes as ‘Piera somthing’, he would be more focussed where he not ‘’moderately distracted’’ by Svetlana Korai. He does notice Xaviera Giansante; but his attention is drawn to a painting of a steam lorry heading up a road towards the ruins of a castle. At that point Cossette enters the hall and heads towards him, a very satisfied smile on her face. She seems to not have noticed anything odd about the function, and despite Svetlana’s presence gets very close to him. Interestingly Svetlana does not seem to care, and despite his misgivings over the situation, Luca decides to go with the flow and heads across the room towards a chaise longe, a girl on each arm.
Dolores Alegra Malspina has also started to notice oddities in proceedings, especially the fact that the waitress in the room that she and Luisa Mancuso has just entered is Nina DaCosta! As she tries to convince Nina that something is wrong, her nephew Carlo Malspina staggers into the room looking very unwell and a woman spontaniously appears standing by the far wall. With the woman staring daggers at them they decide to return to the other room to look for Fabrini Giacanti. It is only when doing this that they recognise the couple arguiing over the anatomical accuracy of the squid in the painting by the door are Dr Helen Magnus and Professor Raul de Tisi.