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Inferno: Special Illustrated Edition: Featuring Robert Langdon




  ALSO BY DAN BROWN

  Featuring Robert Langdon

  The Lost Symbol

  The Da Vinci Code

  Angels & Demons

  Deception Point

  Digital Fortress

  This is a work of fiction. Names, characters, businesses, organizations, places, events, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.

  Copyright © 2013, 2014 by Dan Brown

  All rights reserved. Published in the United States by Doubleday, a division of Random House LLC, New York, and in Canada by Random House of Canada Limited, Toronto, Penguin Random House companies. Originally published without illustrations in hardcover by Doubleday, a division of Random House LLC, New York, a Penguin Random House Company, in 2013.

  www.doubleday.com

  DOUBLEDAY and the portrayal of an anchor with a dolphin are registered trademarks of Random House LLC.

  Graph “Special Report: How Our Economy Is Killing the Earth” (New Scientist, 10/16/08) copyright © 2008 Reed Business Information—UK.

  All rights reserved. Distributed by Tribune Media Services.

  These pages constitute an extension of this copyright page.

  Cover design by Michael J. Windsor

  Cover photographs: Dante © Imagno / Hulton Archive / Getty Images;

  Florence © Bread and Butter / Getty Images

  Cataloging-in-Publication Data is on file with the Library of Congress.

  ISBN 978-0-385-53985-2 (hardcover) ISBN 978-0-385-53992-0 (eBook)

  v3.1

  FOR MY PARENTS …

  Contents

  Cover

  Other Books by This Author

  Title Page

  Copyright

  Dedication

  Author’s Note

  Epigraph

  Prologue

  Chapter 1

  Chapter 2

  Chapter 3

  Chapter 4

  Chapter 5

  Chapter 6

  Chapter 7

  Chapter 8

  Chapter 9

  Chapter 10

  Chapter 11

  Chapter 12

  Chapter 13

  Chapter 14

  Chapter 15

  Chapter 16

  Chapter 17

  Chapter 18

  Chapter 19

  Chapter 20

  Chapter 21

  Chapter 22

  Chapter 23

  Chapter 24

  Chapter 25

  Chapter 26

  Chapter 27

  Chapter 28

  Chapter 29

  Chapter 30

  Chapter 31

  Chapter 32

  Chapter 33

  Chapter 34

  Chapter 35

  Chapter 36

  Chapter 37

  Chapter 38

  Chapter 39

  Chapter 40

  Chapter 41

  Chapter 42

  Chapter 43

  Chapter 44

  Chapter 45

  Chapter 46

  Chapter 47

  Chapter 48

  Chapter 49

  Chapter 50

  Chapter 51

  Chapter 52

  Chapter 53

  Chapter 54

  Chapter 55

  Chapter 56

  Chapter 57

  Chapter 58

  Chapter 59

  Chapter 60

  Chapter 61

  Chapter 62

  Chapter 63

  Chapter 64

  Chapter 65

  Chapter 66

  Chapter 67

  Chapter 68

  Chapter 69

  Chapter 70

  Chapter 71

  Chapter 72

  Chapter 73

  Chapter 74

  Chapter 75

  Chapter 76

  Chapter 77

  Chapter 78

  Chapter 79

  Chapter 80

  Chapter 81

  Chapter 82

  Chapter 83

  Chapter 84

  Chapter 85

  Chapter 86

  Chapter 87

  Chapter 88

  Chapter 89

  Chapter 90

  Chapter 91

  Chapter 92

  Chapter 93

  Chapter 94

  Chapter 95

  Chapter 96

  Chapter 97

  Chapter 98

  Chapter 99

  Chapter 100

  Chapter 101

  Chapter 102

  Chapter 103

  Chapter 104

  Epilogue

  Acknowledgments

  Illustration Credits

  About the Author

  AUTHOR’S NOTE

  Previous to this book, I had written several novels about the fine arts, but never one about the literary arts. With Inferno, I was excited to delve into Dante’s literary masterpiece and explore not only Dante’s vision of hell but also the spectacular art, history, and landscapes that played such a significant role in his life and writings.

  Creating this Illustrated Edition has given me a wonderful opportunity to experience once again, through stunning photographs, so much of what I savored while researching and writing this novel. I hope you enjoy it as well.

  The darkest places in hell are reserved for those who maintain their neutrality in times of moral crisis.

  FACT:

  All artwork, literature, science, and historical references in this novel are real.

  “The Consortium” is a private organization with offices in seven countries. Its name has been changed for considerations of security and privacy.

  Inferno is the underworld as described in Dante Alighieri’s epic poem The Divine Comedy, which portrays hell as an elaborately structured realm populated by entities known as “shades”—bodiless souls trapped between life and death.

  UFFIZI GALLERY, FLORENCE

  I am the Shade.

  Through the dolent city, I flee.

  Through the eternal woe, I take flight.

  Along the banks of the river Arno, I scramble, breathless … turning left onto Via dei Castellani, making my way northward, huddling in the shadows of the Uffizi.

  And still they pursue me.

  Their footsteps grow louder now as they hunt with relentless determination.

  For years they have pursued me. Their persistence has kept me underground … forced me to live in purgatory … laboring beneath the earth like a chthonic monster.

  I am the Shade.

  Here aboveground, I raise my eyes to the north, but I am unable to find a direct path to salvation … for the Apennine Mountains are blotting out the first light of dawn.

  I pass behind the palazzo with its crenellated tower and one-handed clock … snaking through the early-morning vendors in Piazza di San Firenze with their hoarse voices smelling of lampredotto and roasted olives. Crossing before the Bargello, I cut west toward the spire of the Badia and come up hard against the iron gate at the base of the stairs.

  THE SPIRE OF THE BADIA, FLORENCE

  Here all hesitation must be left behind.

  I turn the handle and step into the passage from which I know there will be no return. I urge my leaden legs up the narrow staircase … spiraling skyward on soft marble treads, pitted and worn.

  The voices echo from below. Beseeching.

  They are behind me, unyielding, closing in.

  They do not understand what is coming �
� nor what I have done for them!

  Ungrateful land!

  As I climb, the visions come hard … the lustful bodies writhing in fiery rain, the gluttonous souls floating in excrement, the treacherous villains frozen in Satan’s icy grasp.

  I climb the final stairs and arrive at the top, staggering near dead into the damp morning air. I rush to the head-high wall, peering through the slits. Far below is the blessed city that I have made my sanctuary from those who exiled me.

  The voices call out, arriving close behind me. “What you’ve done is madness!”

  Madness breeds madness.

  “For the love of God,” they shout, “tell us where you’ve hidden it!”

  For precisely the love of God, I will not.

  I stand now, cornered, my back to the cold stone. They stare deep into my clear green eyes, and their expressions darken, no longer cajoling, but threatening. “You know we have our methods. We can force you to tell us where it is.”

  For that reason, I have climbed halfway to heaven.

  Without warning, I turn and reach up, curling my fingers onto the high ledge, pulling myself up, scrambling onto my knees, then standing … unsteady at the precipice. Guide me, dear Virgil, across the void.

  They rush forward in disbelief, wanting to grab at my feet, but fearing they will upset my balance and knock me off. They beg now, in quiet desperation, but I have turned my back. I know what I must do.

  Beneath me, dizzyingly far beneath me, the red tile roofs spread out like a sea of fire on the countryside, illuminating the fair land upon which giants once roamed … Giotto, Donatello, Brunelleschi, Michelangelo, Botticelli.

  I inch my toes to the edge.

  “Come down!” they shout. “It’s not too late!”

  O, willful ignorants! Do you not see the future? Do you not grasp the splendor of my creation? The necessity?

  I will gladly make this ultimate sacrifice … and with it I will extinguish your final hope of finding what you seek.

  You will never locate it in time.

  Hundreds of feet below, the cobblestone piazza beckons like a tranquil oasis. How I long for more time … but time is the one commodity even my vast fortunes cannot afford.

  In these final seconds, I gaze down at the piazza, and I behold a sight that startles me.

  I see your face.

  THE BADIA FIORENTINA

  You are gazing up at me from the shadows. Your eyes are mournful, and yet in them I sense a veneration for what I have accomplished. You understand I have no choice. For the love of Mankind, I must protect my masterpiece.

  It grows even now … waiting … simmering beneath the bloodred waters of the lagoon that reflects no stars.

  And so, I lift my eyes from yours and I contemplate the horizon. High above this burdened world, I make my final supplication.

  Dearest God, I pray the world remembers my name not as a monstrous sinner, but as the glorious savior you know I truly am. I pray Mankind will understand the gift I leave behind.

  My gift is the future.

  My gift is salvation.

  My gift is Inferno.

  With that, I whisper my amen … and take my final step, into the abyss.

  FRESCO DEPICTING HELL, IL DUOMO, FLORENCE

  The memories materialized slowly … like bubbles surfacing from the darkness of a bottomless well.

  A veiled woman.

  Robert Langdon gazed at her across a river whose churning waters ran red with blood. On the far bank, the woman stood facing him, motionless, solemn, her face hidden by a shroud. In her hand she gripped a blue tainia cloth, which she now raised in honor of the sea of corpses at her feet. The smell of death hung everywhere.

  SEEK AND FIND

  Seek, the woman whispered. And ye shall find.

  Langdon heard the words as if she had spoken them inside his head. “Who are you?” he called out, but his voice made no sound.

  Time grows short, she whispered. Seek and find.

  Langdon took a step toward the river, but he could see the waters were bloodred and too deep to traverse. When Langdon raised his eyes again to the veiled woman, the bodies at her feet had multiplied. There were hundreds of them now, maybe thousands, some still alive, writhing in agony, dying unthinkable deaths … consumed by fire, buried in feces, devouring one another. He could hear the mournful cries of human suffering echoing across the water.

  The woman moved toward him, holding out her slender hands, as if beckoning for help.

  “Who are you?!” Langdon again shouted.

  In response, the woman reached up and slowly lifted the veil from her face. She was strikingly beautiful, and yet older than Langdon had imagined—in her sixties perhaps, stately and strong, like a timeless statue. She had a sternly set jaw, deep soulful eyes, and long, silver-gray hair that cascaded over her shoulders in ringlets. An amulet of lapis lazuli hung around her neck—a single snake coiled around a staff.

  Langdon sensed he knew her … trusted her. But how? Why?

  She pointed now to a writhing pair of legs, which protruded upside down from the earth, apparently belonging to some poor soul who had been buried headfirst to his waist. The man’s pale thigh bore a single letter—written in mud—R.

  R? Langdon thought, uncertain. As in … Robert? “Is that … me?”

  The woman’s face revealed nothing. Seek and find, she repeated.

  Without warning, she began radiating a white light … brighter and brighter. Her entire body started vibrating intensely, and then, in a rush of thunder, she exploded into a thousand splintering shards of light.

  Langdon bolted awake, shouting.

  The room was bright. He was alone. The sharp smell of medicinal alcohol hung in the air, and somewhere a machine pinged in quiet rhythm with his heart. Langdon tried to move his right arm, but a sharp pain restrained him. He looked down and saw an IV tugging at the skin of his forearm.

  His pulse quickened, and the machines kept pace, pinging more rapidly.

  Where am I? What happened?

  The back of Langdon’s head throbbed, a gnawing pain. Gingerly, he reached up with his free arm and touched his scalp, trying to locate the source of his headache. Beneath his matted hair, he found the hard nubs of a dozen or so stitches caked with dried blood.

  He closed his eyes, trying to remember an accident.

  Nothing. A total blank.

  Think.

  Only darkness.

  A man in scrubs hurried in, apparently alerted by Langdon’s racing heart monitor. He had a shaggy beard, bushy mustache, and gentle eyes that radiated a thoughtful calm beneath his overgrown eyebrows.

  “What … happened?” Langdon managed. “Did I have an accident?”

  The bearded man put a finger to his lips and then rushed out, calling for someone down the hall.

  Langdon turned his head, but the movement sent a spike of pain radiating through his skull. He took deep breaths and let the pain pass. Then, very gently and methodically, he surveyed his sterile surroundings.

  The hospital room had a single bed. No flowers. No cards. Langdon saw his clothes on a nearby counter, folded inside a clear plastic bag. They were covered with blood.

  My God. It must have been bad.

  Now Langdon rotated his head very slowly toward the window beside his bed. It was dark outside. Night. All Langdon could see in the glass was his own reflection—an ashen stranger, pale and weary, attached to tubes and wires, surrounded by medical equipment.

  Voices approached in the hall, and Langdon turned his gaze back toward the room. The doctor returned, now accompanied by a woman.

  She appeared to be in her early thirties. She wore blue scrubs and had tied her blond hair back in a thick ponytail that swung behind her as she walked.

  “I’m Dr. Sienna Brooks,” she said, giving Langdon a smile as she entered. “I’ll be working with Dr. Marconi tonight.”

  Langdon nodded weakly.

  Tall and lissome, Dr. Brooks moved with the assertiv
e gait of an athlete. Even in shapeless scrubs, she had a willowy elegance about her. Despite the absence of any makeup that Langdon could see, her complexion appeared unusually smooth, the only blemish a tiny beauty mark just above her lips. Her eyes, though a gentle brown, seemed unusually penetrating, as if they had witnessed a profundity of experience rarely encountered by a person her age.

  “Dr. Marconi doesn’t speak much English,” she said, sitting down beside him, “and he asked me to fill out your admittance form.” She gave him another smile.

  “Thanks,” Langdon croaked.

  “Okay,” she began, her tone businesslike. “What is your name?”

  It took him a moment. “Robert … Langdon.”

  She shone a penlight in Langdon’s eyes. “Occupation?”

  This information surfaced even more slowly. “Professor. Art history … and symbology. Harvard University.”

  Dr. Brooks lowered the light, looking startled. The doctor with the bushy eyebrows looked equally surprised.

  “You’re … an American?”

  Langdon gave her a confused look.

  “It’s just …” She hesitated. “You had no identification when you arrived tonight. You were wearing Harris Tweed and Somerset loafers, so we guessed British.”

  “I’m American,” Langdon assured her, too exhausted to explain his preference for well-tailored clothing.

  “Any pain?”

  “My head,” Langdon replied, his throbbing skull only made worse by the bright penlight. Thankfully, she now pocketed it, taking Langdon’s wrist and checking his pulse.

  “You woke up shouting,” the woman said. “Do you remember why?”

  Langdon flashed again on the strange vision of the veiled woman surrounded by writhing bodies. Seek and ye shall find. “I was having a nightmare.”

  “About?”

  Langdon told her.

  Dr. Brooks’s expression remained neutral as she made notes on a clipboard. “Any idea what might have sparked such a frightening vision?”

  Langdon probed his memory and then shook his head, which pounded in protest.

  “Okay, Mr. Langdon,” she said, still writing, “a couple of routine questions for you. What day of the week is it?”

  Langdon thought for a moment. “It’s Saturday. I remember earlier today walking across campus … going to an afternoon lecture series, and then … that’s pretty much the last thing I remember. Did I fall?”