The crisp April air whipped through the open window of the Citroën ZX as it skimmed south past the Opera House and crossed Place Vendôme. In the passenger seat, Robert Langdon felt the city tear past him as he tried to clear his thoughts. His quick shower and shave had left him looking reasonably presentable but had done little to ease his anxiety. The frightening image of the curator's body remained locked in his mind.
Jacques Saunière is dead.
Langdon could not help but feel a deep sense of loss at the curator's death. Despite Saunière's reputation for being reclusive, his recognition for dedication to the arts made him an easy man to revere. His books on the secret codes hidden in the paintings of Poussin and Teniers were some of Langdon's favorite classroom texts. Tonight's meeting had been one Langdon was very much looking forward to, and he was disappointed when the curator had not shown.
Again the image of the curator's body flashed in his mind. Jacques Saunière did that to himself? Langdon turned and looked out the window, forcing the picture from his mind.
Outside, the city was just now winding down-street vendors wheeling carts of candied amandes, waiters carrying bags of garbage to the curb, a pair of late night lovers cuddling to stay warm in a breeze scented with juniper blossom. The Citroën navigated the chaos with authority, its dissonant two-tone siren parting the traffic like a knife.
"Le capitain was pleased to discover you were still in Paris tonight," the agent said, speaking for the first time since they'd left the hotel. "A fortunate coincidence."
Langdon was feeling anything but fortunate, and coincidence was a concept he did not entirely trust. As someone who had spent his life exploring the hidden interconnectivity of disparate emblems and ideologies, Langdon viewed the world as a web of profoundly intertwined histories and events. The connections may be invisible, he often preached to his symbology classes at Harvard, but they are always there, buried just beneath the surface.
"I assume," Langdon said, "that American University in Paris told you where I was staying?"
The driver shook his head. "Interpol."
Interpol, Langdon thought. Of course. He had forgotten that the seemingly innocuous request of all European hotels to see a passport at check-in was more than a quaint formality-it was the law. On any given night, all across Europe, Interpol officials could pinpoint exactly who was sleeping where. Finding Langdon at the Ritz had probably taken all of five seconds.
As they entered the deserted park, the agent reached under the dash and turned off the blaring siren. Langdon exhaled, savoring the sudden quiet. Outside the car, the pale wash of halogen headlights skimmed over the crushed gravel parkway, the rugged whirr of the tires intoning a hypnotic rhythm. Langdon had always considered the Tuileries to be sacred ground. These were the gardens in which Claude Monet had experimented with form and color, and literally inspired the birth of the Impressionist movement. Tonight, however, this place held a strange aura of foreboding.
Arc du Carrousel.
Despite the orgiastic rituals once held at the Arc du Carrousel, art aficionados revered this place for another reason entirely. From the esplanade at the end of the Tuileries, four of the finest art museums in the world could be seen.one at each point of the compass.
Out the right-hand window, south across the Seine and Quai Voltaire, Langdon could see the dramatically lit façade of the old train station-now the esteemed Musée d'Orsay. Glancing left, he could make out the top of the ultra-modern Pompidou Center, which housed the Museum of Modern Art. Behind him to the west, Langdon knew the ancient obelisk of Ramses rose above the trees, marking the Musée Jeu de Paume.