She applied a bit of makeup to hide the circles beneath her eyes and arranged her hair with more care than usual. Then she dressed quickly—a dark woolen skirt and sweater, dark stockings, a pair of low-heeled pumps—and headed downstairs. After crossing the interior courtyard, she opened the main doorway of the building a few inches and peered into the street. It was a few minutes after eight; Parisians and tourists were making their way swiftly along the pavement beneath a gray early-spring sky. No one, it seemed, was waiting for an intelligent-looking woman in her mid-fifties to emerge from the apartment building at Number 24.
She did so now and headed past a row of chic clothing boutiques to the rue des Rosiers. For a few paces it seemed like an ordinary Paris street in a rather upscale arrondissement. Then Hannah came upon a kosher pizzeria and several falafel stands with signs written in Hebrew, and the true character of the street was revealed. She imagined how it must have looked early on the morning of Jeudi Noir. The helpless detainees clambering into open-top trucks, each clutching their allotted one suitcase. The neighbors staring down from open windows, some silent and ashamed, others barely able to contain their glee at the misfortune of a reviled minority. Hannah clung to this image—the image of Parisians waving good-bye to doomed Jews—as she moved through the flat light, her heels tapping rhythmically over the paving stones.
The Weinberg Center stood at the quiet end of the street, in a four-story building that before the war had housed a Yiddish-language newspaper and a coat factory. A line of several dozen people stretched from the doorway where two dark-suited security guards, young men in their twenties, were carefully searching all those who wished to enter. Hannah slipped past them and made her way upstairs to the VIP reception. Arthur Goldman and Max Strauss were eyeing each other warily across the room over cups of weak américain. The famous novelist was speaking seriously to one of the memoirists; the head of the Holocaust Museum was exchanging notes with the specialist from Yad Vashem, who was a longtime friend. Only the gadfly American commentator seemed to have no one to talk to. He was piling croissants and brioche onto his plate as though he hadn’t seen food in days. “Don’t worry,” said Hannah, smiling. “We’re planning to take a break for lunch.”
She spent a moment or two with each of the panelists before heading down the hall to her office. Alone, she reread her opening remarks until Rachel Lévy poked her head through the doorway and pointed to her wristwatch.
“What’s the crowd like?” asked Hannah.
“More than we can handle.”
“And the media?”
“Everyone came, including the New York Times and the BBC.”
Just then, Hannah’s mobile phone chimed. It was a text from Alain Lambert at the Interior Ministry. Reading it, she frowned.
“What does it say?” asked Rachel.
“Just Alain being Alain.”
Hannah placed the mobile on her desk and, gathering her papers, went out. Rachel Lévy waited until she was gone before picking up the mobile and entering Hannah’s not-so-secret security code. The text from Alain Lambert appeared, four words in length.
BE CAREFUL MY DEAR . . .
The Weinberg Center had insufficient space for a formal auditorium, but the room on its uppermost floor was one of the finest in the Marais. A row of greenhouse-like windows gave it a magnificent view across the rooftops toward the Seine, and upon its walls hung several large black-and-white photographs of life in the district before the morning of Jeudi Noir. All those depicted had perished in the Holocaust, including Isaac Weinberg, who had been photographed in his library three months before disaster struck. As Hannah passed the picture, she trailed a forefinger over its surface, as she had touched the brushstrokes of the van Gogh. Only Hannah knew of the secret connection between the painting, her grandfather, and the center that bore his name. No, she thought suddenly. That wasn’t quite true. The restorer knew of the connection, too.
A long rectangular table had been placed atop a raised platform in front of the windows, and two hundred chairs had been arranged on the open floor like soldiers on a parade ground. Each of the chairs was occupied, and another hundred or so spectators lined the rear wall. Hannah took her assigned seat—she had volunteered to serve as a separation barrier between Goldman and Strauss—and listened as Rachel Lévy instructed the audience to silence their mobile phones. Finally, her turn came to speak. She switched on her microphone and looked down at the first line of her opening statement. It is a national tragedy that a conference such as this is even taking place . . . And then she heard the sound in the street below, a popping, like the snap of firecrackers, followed by a man shouting in Arabic.
“Khaybar, Khaybar, ya-Yahud!”
Hannah stepped from the platform and moved quickly to the floor-to-ceiling windows.
“Dear God,” she whispered.
Turning, she shouted at the panelists to move away from the windows, but the roar of the detonation swallowed her warning. Instantly, the room was a tornado of flying glass, chairs, masonry, articles of clothing, and human limbs. Hannah knew she was toppling forward, though she had no sense of whether she was rising or falling. Once, she thought she glimpsed Rachel Lévy spinning like a ballerina. Then Rachel, like all else, was lost to her.
At last, she came to rest, perhaps on her back, perhaps on her side, perhaps in the street, perhaps in a tomb of brick and concrete. The silence was oppressive. So, too, was the smoke and the dust. She tried to wipe the grit from her eyes, but her right arm would not respond. Then Hannah realized she had no right arm. Nor did she seem to have a right leg. She turned her head slightly and saw a man lying beside her. “Professor Strauss, is that you?” But the man said nothing. He was dead. Soon, thought Hannah, I’ll be dead, too.
All at once she was frightfully cold. She supposed it was the loss of blood. Or perhaps it was the breath of wind that briefly cleared the black smoke from in front of her face. She realized then that she and the man who might have been Professor Strauss were lying together amid the rubble in the rue des Rosiers. And standing over them, peering downward over the barrel of a military-style automatic rifle, was a figure dressed entirely in black. A balaclava masked the face, but the eyes were visible. They were shockingly beautiful, two kaleidoscopes of hazel and copper. “Please,” said Hannah softly, but the eyes behind the mask only brightened with zeal. Then there was a flash of white light, and Hannah found herself walking along a hallway, her missing limbs restored. She passed through the door of her childhood bedroom and groped in the darkness for the van Gogh. But the painting, it seemed, was already gone. And in a moment Hannah was gone, too.
2
RUE DE GRENELLE, PARIS