“I’m not at liberty to say.”

“Of course not.” She said this as an insult. “My father always warned me that one day a greedy French art dealer would try to get the painting away from me. It is not for sale, and if it ever turns up missing, I’ll make certain to give the police your description.”

“I’m not an art dealer-and I’m not French.”

“Then who are you?” she asked. “And what do you want with my painting?”

15.

THE COURTYARD WAS EMPTY and dark, lit only by the lights burning in the windows of the apartments above. They crossed it in silence and entered the foyer, where an old-fashioned cage lift stood ready to receive them. She mounted a flight of wide stairs instead and led him up to the fourth floor. On the landing were two stately mahogany doors. The door on the right was absent a nameplate. She opened it and led him inside. Gabriel took note of the fact that she punched the code into the keypad before switching on the lights. Hannah Weinberg, he decided, was good at keeping secrets.

It was a large apartment, with a formal entrance hall and a library adjoining the sitting room. Antique furniture covered in faded brocade stood sedately about, thick velvet curtains hung in the windows, and an ormolu clock set to the wrong time ticked quietly on the mantel. Gabriel’s professional eye went immediately to the six decent oil paintings that hung on the walls. The effect of the decor was to create the impression of a bygone era. Indeed Gabriel would scarcely have been surprised to see Paul Gachet reading the evening newspapers by gaslight.

Hannah Weinberg removed her coat, then disappeared into the kitchen. Gabriel used the opportunity to look inside the library. Leather-bound legal volumes lined formal wooden bookcases with glass doors. There were more paintings here-prosaic landscapes, a man on horseback, the obligatory sea battle-but nothing that suggested the owner might also be in possession of a lost van Gogh.

He returned to the sitting room as Hannah Weinberg emerged from the kitchen with a bottle of Sancerre and two glasses. She handed him the bottle and a corkscrew and watched his hands carefully as he removed the cork. She was not as attractive as she had appeared in Uzi Navot’s photograph. Perhaps it had been a trick of the nickeled Parisian light, or perhaps almost any woman looked attractive descending a flight of steps in Montmartre. Her pleated wool skirt and heavy sweater concealed what Gabriel suspected was a somewhat chunky figure. Her eyebrows were very wide and lent a profound seriousness to her face. Seated as she was now, surrounded by the dated furnishings of the room, she looked much older than her forty-four years.

“I’m surprised to see you in Paris, Monsieur Allon. The last time I read your name in the newspaper you were still wanted for questioning by the French police.”

“I’m afraid that’s still the case.”

“But you still came-just to see me? It must be very important.”

“It is, Mademoiselle Weinberg.”

Gabriel filled two glasses with wine, handed one to her, and raised his own in a silent toast. She did the same, then lifted the glass to her lips.

“Are you aware of what happened here in the Marais after the bombing?” She answered her own question. “Things were very tense. Rumors were flying that it had been carried out by Israel. Everyone believed it was true, and unfortunately the French government was very slow to do anything about the situation, even after they knew it was all a lie. Our children were beaten in the streets. Rocks were thrown through the windows of our homes and shops. Terrible things were spray-painted on the walls of the Marais and other Jewish neighborhoods. We suffered because of what happened inside that train station.” She gave him a scrutinizing look, as though trying to determine whether he was really the man she had seen in the newspapers and on television. “But you suffered, too, didn’t you? Is it true your wife was involved in it?”

The directness of her question surprised Gabriel. His first instinct was to lie, to conceal, to guide the conversation back onto ground of his choosing. But this was a recruitment-and a perfect recruitment, Shamron always said, is at its heart a perfect seduction. And when one was seducing, Gabriel reminded himself, one had to reveal something of oneself.

“They lured me to Gare de Lyon by kidnapping my wife,” he said. “Their intention was to kill us both, but they also wanted to discredit Israel and make things unbearable for the Jews of France.”

“They succeeded…for a little while, at least. Don’t misunderstand me, Monsieur Allon, things are still bad for us here. Just not as bad as they were during those days after the bombing.” She drank some more of the wine, then crossed her legs and smoothed the pleats of her skirt. “This might sound like a silly question, considering who you work for, but how did you find out about my van Gogh?”

Gabriel was silent for a moment, then he answered her truthfully. The mention of Isherwood’s visit to this very apartment more than thirty years earlier caused her lips to curl into a vague smile of remembrance.

“I think I remember him,” she said. “A tall man, quite handsome, full of charm and grace but at the same time somehow vulnerable.” She paused, then added, “Like you.”

“Charm and grace are words that are not often applied to me.”

“And vulnerability?” She gave him another slight smile. It served to soften the serious edges of her face. “All of us are vulnerable to some degree, are we not? Even someone like you? The terrorists found where you were vulnerable, and they exploited that. That’s what they do best. They exploit our decency. Our respect for life. They go after the things we hold dear.”

Navot was right, Gabriel thought. She was a gift from the intelligence gods. He placed his glass on the coffee table. Hannah’s eyes followed his every movement.

“What happened to this man Samuel Isakowitz?” she asked. “Did he make it out?”

Gabriel shook his head. “He and his wife were captured in Bordeaux when the Germans moved south.”

“Where did they send them?”

“Sobibor.”

She knew what that meant. Gabriel needn’t say anything more.

“And your grandfather?” he said.

She peered into her Sancerre for a moment before answering. “Jeudi Noir,” she said. “Do you know this term?”

Gabriel nodded solemnly. Jeudi Noir. Black Thursday.

“On the morning of July 16, 1942, four thousand French police officers descended on the Marais and other Jewish districts in Paris with orders to seize twenty-seven thousand Jewish immigrants from Germany, Austria, Poland, the Soviet Union, and Czechoslovakia. My father and grandparents were on the list. You see, my grandparents were originally from the Lublin district of Poland. The two policemen who knocked on the door of this very apartment took pity on my father and told him to run. A Catholic family who lived a floor below took him in, and he stayed there until liberation. My grandparents weren’t so lucky. They were sent to the detention camp at Drancy. Five days after that, a sealed railcar to Auschwitz. Of course, that was the end for them.”

“And the van Gogh?”

“There wasn’t any time to make arrangements for it, and there was no one in Paris that my grandfather felt he could trust. It was war, you know. People were betraying each other for stockings and cigarettes. When he heard the roundups were coming, he removed the painting from the stretcher and hid it beneath a floorboard in the library. After the war it took my father years to get the apartment back. A French family had moved in after my grandparents were arrested, and they were reluctant to give up a nice apartment on the rue Pavée. Who could blame them?”