Un cau d'escurçons

The bad thing about Montalbano's job is that sometimes you end up knowing the truth. And that's not always nice. For example, when it turns out that an impeccable widowed accountant from Vigata was hiding a double life at the bottom of a drawer. The sons of the assassination are appalled at his father's public transformation, but they are not the only ones: the commissioner must also swallow, in disbelief, the whole truth about a homeless man who has taken refuge on the porch of Marinella, fleeing the rain. Like so many other times, the dream with which Montalbano's adventures are triggered is premonitory, and this time he even anticipates Catarella's classic call to communicate the "death of a dead man".