Elizabeth Peters
Trojan Gold A Vicky Bliss Mystery
One
That’s how I would begin if I were writing a thriller instead of a simple narrative of fact. Exactly how he accomplished it will never be known; but it may have been something like that. I only wish my part of the story had started with such panache—the death throes of a mighty metropolis, the fire and the blood and the terror….
What am I saying? Of course I don’t really wish that. But I could wish for a slightly more dramatic start to this tale than a stupid petty argument with my boss’s secretary over a stupid petty bit of office routine.
I love my work, and I don’t really hate Mondays. I hated this Monday morning, though, because I had a hang-over. I am not a heavy drinker—I know, that’s what everybody says, but in my case it’s true. I make it a rule not to overindulge, in any fashion, on a work night. There were reasons—not good reasons, but reasons—why I had broken the rule that Sunday. They have no bearing on this story and they are nobody’s business but my own. Suffice it to say that I was late to work and not happy to be there. If I had been in my normal sunny morning mood, I probably would not have overreacted when I saw what Gerda had done.
Gerda is, as 1 have mentioned, my boss’s secretary; and my boss is Herr Doctor Anton Z. Schmidt, director of the National Museum in Munich. The National is small but what’s there is “cherce,” to quote one of my favorite film characters. The building and the basic collections had been contributed to the city back in the eighteen hundreds by a Bavarian nobleman who was as eccentric as he was filthy-rich, which is one of the reasons why our present collections are a bit unusual. For example, we have the most extensive collection of antique toys in Europe. We have a gem room, a medieval-art section, and a costume room. The noble Graf von und zu Gefenstein also collected ladies’ underwear, but we don’t display that collection, fascinating as it is to students of costume. At least the people who request access to it
The point of all this, in case you are wondering, is that our staff isn’t large. Although Gerda has the title of Secretary to the Director, she types all our letters and takes care of most of the office work for the staff. No problem for Gerda; she is inhumanly efficient. She is also very nosy.
Since I was late, I wasn’t surprised to see that Gerda had taken advantage of my tardiness to mess around with my things. I wasn’t surprised, but I was irate. If I had told her once I had told her a hundred times to leave my desk alone. Those heaps of debris are sacred to me. I know where everything is. If people start tidying up I can’t find anything. Gerda had stacked everything. She is a great stacker—nice neat piles, sorted by size instead of content, every corner squared.
She had also replaced my desk blotter. The new one lay there pristine and dead; gone was the old one, with its vital store of information—telephone numbers, shopping lists, addresses of shops, and notes on books I wanted to read…. And smack in the center of the nice new blotter was my mail. She had opened every letter and every parcel. The envelopes were stapled to the letters, which meant that in order to avoid tearing the latter, I would have to pry off the staples, breaking half my nails in the process.
I kicked the nearest filing cabinet. Hopping and swearing. I went behind the screen that concealed the really important objects in my office—the sink and hot plate and coffee maker—and plugged in the last-named article. I fully intended to kill Gerda, but I figured I had better have a cup of coffee first. Otherwise I might stumble on the stairs and break a leg before I got my hands around her throat.
While I drank my coffee, I glanced through the mail but found nothing that improved my disposition, especially after I broke a nail prying off a staple. It was the usual assortment: notices of meetings, circulars from academic presses offering books nobody could afford on subjects nobody knew anything about, and letters from students asking permission to use the collections or to reproduce photographs.
The stack of mail was pyramid-style, with the largest items on the bottom. I worked my way grimly down to the base—a coarse brown envelope approximately 8 by 10 inches in size. One of those well-known plain brown wrappers? It was plain enough; no sign of writing, not even my name. The heavy tape sealing the flap had been slashed, leaving edges so sharp I cut my finger when I reached into the envelope. Gerda’s famous paper knife, honed to the keenness of a headsman’s sword. One of these days someone was going to stab her with that knife. It might be me.
She hadn’t stapled the enclosure to the envelope, probably because her diabolical tool could not penetrate the heavy cardboard on which the photograph was mounted. It was a black-and-white photo, probably enlarged from a snapshot; the faintly fuzzy focus suggested amateur photography. As I stared at it, a flash of memory rose and fell in the murky depths of my alcohol-fuzzed mind, but I couldn’t get a grip on it. Yet I knew I had seen a photograph like that before.
The subject was a woman. The skin of her face had sagged and her thin mouth was set in a straight, expressionless line. She could have been any aging
I turned the photograph over. The back was plain gray cardboard, with no inscription or photographer’s imprint. Why the hell had someone sent me a picture of his mother dressed up for an amateur theatrical performance? His mother the soprano? She didn’t resemble the conventional contralto stereotype; her chin sagged with the weariness of age, and her features were pointed and meager, like those of a rain-soaked bird. But the gaudy fake jewelry suggested one of the more exotic operas, such as