Her tactics at present were to try to make herself look drably forbidding. Not so much impregnable, which might put the director on his macho mettle, as unworthy of the effort involved. The image she strove for was that of a walled mountain village at which the invading hordes in the valley below cast a brief glance, then shook their heads, shouldered their weapons and moved on to easier pickings elsewhere. The trick was to make Tondo feel that he had rejected her, thus leaving his pride and self-esteem intact — and, above all, to do so before he pushed matters to a point she could already sense somewhere close ahead, where she would ram her knee into his bulging crotch and rake her clawed nails across his piggy little eyes.
The moment she opened the door to the director’s absurdly spacious office, Corinna Nunziatella knew that something had happened, and that it was not good news. Having dreaded being overwhelmed by unwanted attentions, she found herself treated to an almost brutal absence of elementary politeness, never mind charm, which she found threatening in a quite different way. So far from rushing over to ‘drink in your perfume’, as he had once said, Sergio Tondo did not even bother to get to his feet. His greeting was perfunctory and barely audible. In short, his manner was everything she had wished it would be — cool, distant, and totally professional — and it scared the hell out of her. Because if the director was finally treating her as a colleague rather than a woman, it could only mean that something was very badly wrong indeed.