He unlocked the door, switched the sign in the door from FERMÉ to OUVERT, and retreated to his office at the back of the shop. Like Durand himself, it was small and tidy and lacking in even the slightest trace of flair. After hanging his overcoat carefully on its hook, he rubbed an island of chronic pain at the base of his spine before sitting down to check his e-mail. He did so with little enthusiasm. Maurice Durand was a bit of an antique himself. Trapped by circumstance in an age without grace, he had surrounded himself with symbols of enlightenment. He regarded electronic correspondence as a disagreeable but obligatory nuisance. He preferred pen and paper to the ethereal mist of the Internet and consumed his news by reading several papers over coffee in his favorite café. In Durand’s quietly held opinion, the Internet was a plague that killed everything it touched. Eventually, he feared, it would destroy Antiquités Scientifiques.

Durand spent the better part of the next hour slowly working his way through a long queue of orders and inquiries from around the world. Most of the clients were well established; some, relatively new. Invariably, when Durand read their addresses, his mind drifted to other matters. For example, when responding to an e-mail from an old client who lived on P Street in the Georgetown section of Washington, he couldn’t help but think of the small museum located a few blocks away. He had once entertained a lucrative proposal to relieve the gallery of its signature painting: Luncheon of the Boating Party by Renoir. But after a thorough review—Durand was always thorough—he had declined. The painting was far too large, and the chances for success far too small. Only adventurers and mafiosi stole large paintings, and Durand was neither. He was a professional. And a true professional never accepted a commission he could not fulfill. That’s how clients became disappointed. And Maurice Durand made it his business never to disappoint a client.

Which explained his anxious mood that morning and his preoccupation with the copy of Le Figaro lying on his desk. No matter how many times he read the article surrounded by a perfect red triangle, the details did not change.

Well-known British art restorer…shot twice in his Glastonbury residence…motive for murder unclear…nothing missing…

It was the last part—the part about nothing being missing—that troubled Durand most. He scanned the article again, then reached for his phone and dialed. Same result. Ten times he had called the same number. Ten times he had been condemned to the purgatory of voice mail.