The article ran on a Thursday morning, in the online edition of a society magazine called Crónica Lisboa that occupied a particular niche in Lisbon's information landscape: too respectable to be dismissed as tabloid, too invested in narrative entertainment to be trusted as journalism. It was the kind of publication that had been going for thirty years on the fuel of things that couldn't be said in newspapers.
The headline was tasteful. Just barely.
VASCONCELOS EMPIRE: THE HEIR NOBODY KNEW.
Below it, a photograph of Leonardo at a charity event from two years ago, and — positioned with the deliberate implication of adjacency — a stock image of a woman and child that was not Camila and Daniel but which the casual reader's eye would supply content to.
Camila read it on her phone at six for
