workbench, the crushed case of their radio. Finally it finds Werner. He raises a palm to block it.
Volkheimer approaches; his big solicitous face presses close. Broad, familiar, deep-sunk eyes beneath the helmet. High cheekbones and long nose, flared at the tip like the knobs at the bottom of a femur. Chin like a continent. With slow care, Volkheimer touches Werner’s cheek. His fingertip comes away red.
Werner says, “We have to get out. We have to find another way out.”
Out? say Volkheimer’s lips. He shakes his head. There is no other way out.
Three
----
June 1940
Château
T wo days after fleeing Paris, Marie-Laure and her father enter the town of Evreux. Restaurants are either boarded up or thronged. Two women in evening gowns hunch hip to hip on the cathedral steps. A man lies facedown between market stalls, unconscious or worse.
No mail service. Telegraph lines down. The most recent newspaper is thirty-six hours old. At the prefecture, a queue for gasoline coupons snakes out the door and around the block.
The first two hotels are full. The third will not unlock the door. Every so often the locksmith catches himself glancing over his shoulder.
“Papa,” Marie-Laure is mumbling. Bewildered. “My feet.”
He lights a cigarette: three left. “Not much farther now, Marie.”
On the western edge of Evreux, the road empties and the countryside levels out. He checks and rechecks the address the director has given him. Monsieur François Giannot. 9 rue St. Nicolas. But Monsieur Giannot’s house, when they reach it, is on fire. In the windless dusk, sullen heaps of smoke pump upward through the trees. A car has crashed into a corner of the gatehouse and torn the gate off its hinges. The house—or what remains of it—is grand: twenty French windows in the facade, big freshly painted shutters, manicured hedges out front. Un château.
“I smell smoke, Papa.”
He leads Marie-Laure up the gravel. His rucksack—or perhaps it is the stone deep inside—seems to grow heavier with each step. No puddles gleam in the gravel, no fire brigade swarms out front. Twin urns are toppled on the front steps. A burst chandelier sprawls across the entry stairs.
“What is burning, Papa?”
A boy comes toward them out of the smoky twilight, no older than Marie-Laure, streaked with ash, pushing a wheeled dining cart through the gravel. Silver tongs and spoons hanging from the cart chime and clank, and the wheels clatter and wallow. A little polished cherub grins at each corner.
The locksmith says, “Is this the house of François Giannot?”
The boy acknowledges neither question nor questioner as he passes.
“Do you know what happened to—?”
The clanging of the cart recedes.
Marie-Laure yanks the hem of his coat. “Papa, please.”
In her coat against the black trees, her face looks paler and more frightened than he has ever seen it. Has he ever asked so much of her?
“A house has burned, Marie. People are stealing things.”
“What house?”
“The house we have come so far to reach.”
Over her head, he can see the smoldering remains of door frames glow and fade with the passage of the breeze. A hole in the roof frames the darkening sky.
Two more boys emerge from the soot carrying a portrait in a gilded frame, twice as tall as they are, the visage of some long-dead great-grandfather glowering at the night. The locksmith holds up his palms to delay them. “Was it airplanes?”
One says, “There’s plenty more inside.” The canvas of the painting ripples.
“Do you know the whereabouts of Monsieur Giannot?”
The other says, “Ran off yesterday. With the rest. London.”
“Don’t tell him anything,” says the first.
The boys jog down the driveway with their prize and are swallowed by the gloom.
“London?” whispers Marie-Laure. “The friend of the director is in London?”
Sheets of blackened paper scuttle past their feet. Shadows whisper in the trees. A ruptured melon lolls in the drive
Volkheimer approaches; his big solicitous face presses close. Broad, familiar, deep-sunk eyes beneath the helmet. High cheekbones and long nose, flared at the tip like the knobs at the bottom of a femur. Chin like a continent. With slow care, Volkheimer touches Werner’s cheek. His fingertip comes away red.
Werner says, “We have to get out. We have to find another way out.”
Out? say Volkheimer’s lips. He shakes his head. There is no other way out.
Three
----
June 1940
Château
T wo days after fleeing Paris, Marie-Laure and her father enter the town of Evreux. Restaurants are either boarded up or thronged. Two women in evening gowns hunch hip to hip on the cathedral steps. A man lies facedown between market stalls, unconscious or worse.
No mail service. Telegraph lines down. The most recent newspaper is thirty-six hours old. At the prefecture, a queue for gasoline coupons snakes out the door and around the block.
The first two hotels are full. The third will not unlock the door. Every so often the locksmith catches himself glancing over his shoulder.
“Papa,” Marie-Laure is mumbling. Bewildered. “My feet.”
He lights a cigarette: three left. “Not much farther now, Marie.”
On the western edge of Evreux, the road empties and the countryside levels out. He checks and rechecks the address the director has given him. Monsieur François Giannot. 9 rue St. Nicolas. But Monsieur Giannot’s house, when they reach it, is on fire. In the windless dusk, sullen heaps of smoke pump upward through the trees. A car has crashed into a corner of the gatehouse and torn the gate off its hinges. The house—or what remains of it—is grand: twenty French windows in the facade, big freshly painted shutters, manicured hedges out front. Un château.
“I smell smoke, Papa.”
He leads Marie-Laure up the gravel. His rucksack—or perhaps it is the stone deep inside—seems to grow heavier with each step. No puddles gleam in the gravel, no fire brigade swarms out front. Twin urns are toppled on the front steps. A burst chandelier sprawls across the entry stairs.
“What is burning, Papa?”
A boy comes toward them out of the smoky twilight, no older than Marie-Laure, streaked with ash, pushing a wheeled dining cart through the gravel. Silver tongs and spoons hanging from the cart chime and clank, and the wheels clatter and wallow. A little polished cherub grins at each corner.
The locksmith says, “Is this the house of François Giannot?”
The boy acknowledges neither question nor questioner as he passes.
“Do you know what happened to—?”
The clanging of the cart recedes.
Marie-Laure yanks the hem of his coat. “Papa, please.”
In her coat against the black trees, her face looks paler and more frightened than he has ever seen it. Has he ever asked so much of her?
“A house has burned, Marie. People are stealing things.”
“What house?”
“The house we have come so far to reach.”
Over her head, he can see the smoldering remains of door frames glow and fade with the passage of the breeze. A hole in the roof frames the darkening sky.
Two more boys emerge from the soot carrying a portrait in a gilded frame, twice as tall as they are, the visage of some long-dead great-grandfather glowering at the night. The locksmith holds up his palms to delay them. “Was it airplanes?”
One says, “There’s plenty more inside.” The canvas of the painting ripples.
“Do you know the whereabouts of Monsieur Giannot?”
The other says, “Ran off yesterday. With the rest. London.”
“Don’t tell him anything,” says the first.
The boys jog down the driveway with their prize and are swallowed by the gloom.
“London?” whispers Marie-Laure. “The friend of the director is in London?”
Sheets of blackened paper scuttle past their feet. Shadows whisper in the trees. A ruptured melon lolls in the drive
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