The owner, Paolo Magnanimi, introduced himself when they walked in. He stood almost as tall as Griffin, his dark, handsome features lighting up when he recognized Francesca. "It has been far too long since you last visited my restaurant. Please sit down," he said, waving his hand toward the empty patio, it still being early for lunch.

When he started to reach for the menus, Francesca stopped him, saying something in Italian.

"S, professoressa. The best for you and your friends."

He left, and Francesca told Sydney, "I told him to bring us whatever is fresh from the garden for a vegetable, for pasta, the tagliolini tagliolini in a fresh tomato and basil sauce, and for dessert, his exquisite tiramisu." in a fresh tomato and basil sauce, and for dessert, his exquisite tiramisu."

"About this second sign?" Griffin asked, apparently not about to let the matter of food get in the way of his mission. "What is it? And where is it?"

"If I knew that, I would have been there long before now."

"Then how do you intend to find it?"

"By researching the phrase scratched on the wall in the columbarium. If it is correct, it should lead to another burial chamber of some sort. There are three, each one leading to the next."

"And the final destination? The culmination of these signs?"

"As I said, di Sangro's final resting place. Until I get there, I can't be sure."

Griffin leaned back in his chair, looking as though he didn't believe a word she said, but was interrupted from saying anything as a waiter brought them each a gla.s.s and a bottle of sparkling water. When the waiter left, Griffin turned to Sydney. "Your friend, Doc Schermer. Do you think he can research this for us? This phrase found on the wall?"

"It's worth a try," Sydney said.

"Call him."

She looked at her watch. "You realize it is about two in the morning, there?"

"Call."

She took out her cell phone, called Doc Schermer's cell, hoping he kept it with him, since she didn't have his home number. He answered on the fourth ring, his voice thick with sleep.

"Hey Doc. It's Sydney."

"I'm guessing you must still be in Rome, otherwise you'd know it's dark here."

"First, sorry for waking you. Second, there're extenuating circ.u.mstances. I need you to look up some obscure facts having to do with a Latin phrase."

"Give me a sec."

Sydney heard what sounded like the phone being put down, some shuffling, probably booting up his computer. She covered the phone, asked Francesca to write down the phrase. Griffin handed her a pen and a receipt he found in his pocket. When Doc returned to the phone, she spelled out each Latin word, then said, "It means: 'Here lies dust, ash, and nothing.' Supposedly it was inscribed there by Raimondo di Sangro, Prince of Sansevero, as a clue to find his final resting place."

"Anything else I should know about the phrase?"

She repeated his request to Francesca.

"I'm looking for a connection to another burial chamber. Something with bones. And if it has a Masonic connection of some sort, that's even better."

Doc apparently heard her, and said, "Give me a few. I'll call you back when I find something."

"He's checking the info now," she said, placing the phone on the table after turning the ringer to vibrate.

They fell into a somewhat strained silence, finally broken when Griffin asked Francesca, "Why the Masonic connection?"

"Raimondo di Sangro was a Grand Master of the Masons, and as such was very fond of including Masonic iconology in whatever he was involved with."

"And the purpose of all this?"

"As I explained, simple research in trying to locate the final burial site of the prince."

"You expect me to believe that that's what this is about? Trying to find the prince's final resting place?"

"That's precisely what this is about," she said as Paolo showed two men to a sun-dappled table on the far side of the patio, his rapid Italian telling Sydney that his customers were locals, not tourists. One man shrugged out of his leather jacket, glancing over at them as Sydney's phone bounced around on the table, clattering against her water gla.s.s.

Sydney scooped up the phone, glad it was too early for much of a lunch crowd. She looked at the number. "That was fast," she told Doc Schermer, when she answered.

"Not sure if this is what you're looking for, frankly because there's not a lot out there on this Latin phrase, and any Masonic connection is tenuous at best."

"Let's have it."

"'Here lies dust, ash and nothing' happens to be the English translation of the epitaph on the tomb of Cardinal Antonio Barberini, whose remains are interred at the Capuchin Crypt in Rome."

"And the Masonic connection?"

"Depends on how you look at it. Barberini's uncle was Pope Urban VIII, which sort of gives it an anti-Masonic bent. Of course, your di Sangro guy wasn't born until the next century, and Freemasons weren't officially around yet, which means the first papal bull against Freemasonry wasn't issued for maybe another hundred years after Barberini's time, which makes it even more-"

"Doc?" she said, knowing his penchant for delving into historical trivia.

"Sorry. Your Masonic connection is that Barberini was the Grand Almoner for France, which means he was in charge of carrying out works of charity."

"And how does that become a Masonic connection?"

"Like I said, tenuous at best. The Almoner is an office that exists to this day in Masonic lodges in England, in charge of charity and welfare of the members."

Sydney repeated the info to the others.

Francesca leaned back in her chair, shaking her head. "How is it I never thought of the Capuchin Crypt?"

To which Griffin said, "You think this is the connection you were looking for?"

"It certainly sounds like it. Your friend is correct. It might be tenuous, but that may very well be why di Sangro chose the Capuchin Crypt. Brilliant, if you think about it. Di Sangro would have picked the Capuchin Crypt for both reasons."

"How is that?" Griffin asked as Paolo brought their food to them, two large platters, one filled with Swiss chard, the other steaming paper-thin egg noodles, covered with fresh tomato and basil sauce.

"He was excommunicated and imprisoned for a time by the pope for his partic.i.p.ation as Grand Master of the Naples lodge, so what better way to nurse a grudge than to choose a location for the next key with a connection to the papacy and to the Masons, almost as if he was thumbing his nose at them."

Sydney's mouth watered as the scent of tomato and basil drifted toward her. "We do get to finish eating before we leave for this crypt?"

"Trust me," Francesca said, as she dished the steaming pasta onto her plate. "You want to eat this before it cools. Besides, at this hour, there is no hurry." Francesca slid the platter of tagliolini tagliolini toward Sydney. "Like many places in Italy, the Capuchin Crypt closes for lunch and doesn't open until three. So eat up. We have a lot of bones to look through when we leave here." toward Sydney. "Like many places in Italy, the Capuchin Crypt closes for lunch and doesn't open until three. So eat up. We have a lot of bones to look through when we leave here."

25.

Francesca hid her excitement over the discovery of the inscription being connected to the Cardinal Antonio Barberini, and at half past two they left for the Capuchin Crypt. When they arrived at the Via Veneto, the doors of the un.o.btrusive entrance to the Cimitero Cappuccino were open for business-if you could call leaving a modest donation for the staid woman sitting just inside the doors business, since the monks made most of their money from the postcard concession. of the inscription being connected to the Cardinal Antonio Barberini, and at half past two they left for the Capuchin Crypt. When they arrived at the Via Veneto, the doors of the un.o.btrusive entrance to the Cimitero Cappuccino were open for business-if you could call leaving a modest donation for the staid woman sitting just inside the doors business, since the monks made most of their money from the postcard concession.

As Francesca shepherded them through the entrance, several British tourists with stunned looks on their faces were leaving the crypt. "They come for the skeletons," Francesca explained in a whisper, since she was fairly certain that Sydney had no idea what they were about to see. "The place is decorated with the bones of some four thousand Capuchin monks."

"You're kidding," Sydney said.

And Griffin asked, "And what are you looking for here? A sign in the bones?"

"Precisely," Francesca said, since in truth, she had no idea what it was she was supposed to find. She only hoped that whatever it was stood out to her, and she glanced over at Griffin, about to make up some story, when she saw him watching two men who had entered the anteroom at the back of a small group of German tourists. One man wore a gray jacket, the other a leather coat. Both were holding open guidebooks.

"What's wrong?" she heard Sydney ask Griffin in a low voice as the three of them entered the narrow crypt corridor.

"Those two men behind us," he said. "Do you recognize them?"

"The men from the restaurant."

Francesca whispered, "Surely they're just tourists."

"They spoke fluent Italian at the restaurant," Griffin said.

"Should we leave?" Sydney asked.

"Not yet. I'll keep an eye on them. You two play tourists and find what the professor is supposed to find so that she can finish her research and we can put her on a plane back to the States."

Back to the States? No way, she thought, moving down the corridor into the long, vaulted, brightly lit hallway, its walls and ceilings covered in detailed latticework, intricate designs of lacelike patterns that pleased the eye wherever one looked. She glanced at Sydney, watched the agent's face as she no doubt gradually realized that the exquisite filigrees adorning the walls and ceilings were all made of bones: b.u.t.terflies were pelvises; rosettes were shoulder blades; the lacy lattices were ribs. Lanterns, hourgla.s.ses, stars, and coats of arms all made of bones, bones, and more bones.

"This," Sydney said, "may be one of the strangest, most macabre and beautiful places I've ever been to, and I have seen a lot of strange places."

"You'd be surprised," Francesca said, "how many other such repositories there are throughout Europe."

"Makes you wonder about the mind of the person who created this. Today he'd probably be committed."

Francesca led them down the corridor. To their left, the hall opened up to several alcoves. The hushed voices and a couple of nervous laughs of the visitors seemed to echo off the walls.

In truth, the crypts were mesmerizing in their surreal and eerie beauty, as long as one didn't look too closely and think about what the decorations were made of. The first, the Crypt of the Resurrection, held skeleton parts that formed a frame for the painting of Jesus commanding Lazarus to emerge from the tomb. Most of the visitors seemed to pay it little attention, and moved quickly on to the main attractions: the bones. As they pa.s.sed on to the next alcove, Sydney asked her, "Anything?"

And what was she supposed to say, even if she did find what she was looking for? "Nothing. Sorry."

Next was the Crypt of the Skulls with its circles of bone flowers predominating in the vault. Brown-robed Capuchin skeletons-their bony fingers clasped, as if in prayer, seemed to be suspended in contemplation in their eternal niches, which were made entirely of skulls and thighbones stacked atop each other, their shape, liked arched fireplaces, reminding her of the niches in the columbarium. Perhaps that was what she was supposed to see?

She and Sydney had just moved to one side of the narrow corridor to allow others a view, when Griffin stepped in behind them and whispered, "The two men. Even if they were just coincidentally tourists who arrived at the same destination, they're definitely watching us. They haven't looked at their guidebook once, or at the bones."

Sydney didn't turn around. "What do you want to do?"

"We can't do anything now, or they'll know that we know. Keep on walking to the end, casually, and then we'll start weaving our way back out of here as quick as we can."

Griffin took Francesca by the arm, she a.s.sumed for her protection, and they moved on to the next alcove, pausing only long enough at each display so as not to alert the men that they were aware of their presence. The Crypt of the Pelvises was much the same as the last crypt, except here the wall behind the friars was nothing but pelvises stacked one upon the other. Next was the Crypt of the Leg Bones and Thigh Bones, which contained a depiction of St. Francis, wearing a crown of vertebrae. The last alcove, the Crypt of the Three Skeletons, held a small, delicate, child-skeleton suspended from the ceiling. In one hand, he was grasping a bone scythe, and in the other, he held balance scales that dangled downward. The scales of good and evil come Judgment Day, she thought as Griffin nudged them back along the corridor toward the one-way entrance.

They walked as casually as possible past the group of Germans, and she saw Sydney glance up at the ceiling, which was dominated by a large clock made entirely of vertebrae and phalanges, its hands perpetually on midnight.

"The symbol of eternity," said Francesca. "But look closely at the hands. You'll see the bone clock is made up of Roman numerals, I, II, III, IV, V, VI. Note that the Roman numeral six is at the top? Midnight is actually six o'clock."

"I wonder what the meaning is behind that," Sydney asked. "Midnight that isn't really midnight? A clock that isn't really a clock?"

"Find anything?" Griffin asked Francesca, the tone of his voice telling her that he completely doubted the veracity of their visit.

"Nothing."

"Good," he said as they strolled casually past their shadows, who were now making a show of consulting their guidebooks. "Then your research is over and we can get on with our lives."

"Forgive the bad pun," Sydney said, quickening her pace to match theirs, "but other than the guys following us, this is one dead end. I think we should get the h.e.l.l out of here."

"I agree."

Francesca glanced behind her. Their two pursuers had dropped the pretense of reading their guidebooks, and were now pushing their way toward them. She had a bad feeling about this, something that intensified when Sydney said, "You know what really bothers me? Those are not the guys who came after us on the Pa.s.segiata."

"You're sure?" Griffin said.

"I tend to notice guys who are shooting at me," she said. "How many different groups are after us?"

"More importantly, how'd they know we'd be here?" he said, pushing through the door.

They hurried down the stairs, and Francesca thought that the Via Veneto might offer some protection since it was filled with people waiting for the bus or out for a late afternoon stroll.

Griffin turned to Francesca. "You have any ideas how we can lose them around here?"

She pointed across the street. "Via dei Cappuccini," she said, indicating the smaller street that intersected with the Via Veneto. "It leads right to the Via Sistina. Maybe we can lose them in the crowd, or down the Spanish Steps."

"Let's go." They crossed over to Via dei Cappuccini, which sloped a short way downhill where it ended in the Via Sistina, a narrow street, with shops, hotels, and plenty of pedestrians.

As they turned onto the busy street, Francesca looked back and saw the men following at a brisk pace about thirty yards behind them. "They're still on us."

And Sydney said, "Tell me you have a plan?"

"When in doubt," Griffin said, "Plan B."

"I hate Plan B."

"You don't even know what it is."

"And that's usually the problem," Sydney replied as they crossed to the opposite side of the street.