The Da Vinci Code

Langdon exhaled, turning a longing glance back up the open-air escalator. Nothing’s wrong at all, he lied to himself, trudging back toward the elevator. As a boy, Langdon had fallen down an abandoned well shaft and almost died treading water in the narrow space for hours before being rescued. Since then, he’d suffered a haunting phobia of enclosed spaces – elevators, subways, squash courts. The elevator is a perfectly safe machine, Langdon continually told himself, never believing it. It’s a tiny metal box hanging in an enclosed shaft! Holding his breath, he stepped into the lift, feeling the familiar tingle of adrenaline as the doors slid shut. Two floors.Ten seconds.

"You and Mr. Sauniere," Fache said as the lift began to move," you never spoke at all? Never corresponded? Never sent each other anything in the mail?"

Another odd question. Langdon shook his head. "No. Never." Fache cocked his head, as if making a mental note of that fact. Saying nothing, he stared dead ahead at the chrome doors.

As they ascended, Langdon tried to focus on anything other than the four walls around him. In the reflection of the shiny elevator door, he saw the captain’s tie clip – a silver crucifix with thirteen embedded pieces of black onyx. Langdon found it vaguely surprising. The symbol was known as a crux gemmata – a cross bearing thirteen gems – a Christian ideogram for Christ and His twelve apostles. Somehow Langdon had not expected the captain of the French police to broadcast his religion so openly. Then again, this was France; Christianity was not a religion here so much as a birthright.

"It’s a crux gemmata" Fache said suddenly.

Startled, Langdon glanced up to find Fache’s eyes on him in the reflection. The elevator jolted to a stop, and the doors opened. Langdon stepped quickly out into the hallway, eager for the wide-open space afforded by the famous high ceilings of the Louvre galleries. The world into which he stepped, however, was nothing like he expected.

Surprised, Langdon stopped short.

Fache glanced over. "I gather, Mr. Langdon, you have never seen the Louvre after hours?"

I guess not, Langdon thought, trying to get his bearings.

Usually impeccably illuminated, the Louvre galleries were startlingly dark tonight. Instead of the customary flat-white light flowing down from above, a muted red glow seemed to emanate upward from the baseboards – intermittent patches of red light spilling out onto the tile floors.

As Langdon gazed down the murky corridor, he realized he should have anticipated this scene. Virtually all major galleries employed red service lighting at night – strategically placed, low-level, noninvasive lights that enabled staff members to navigate hallways and yet kept the paintings inrelative darkness to slow the fading effects of overexposure to light. Tonight, the museum possessed an almost oppressive quality. Long shadows encroached everywhere, and the usually soaring vaulted ceilings appeared as a low, black void.

"This way," Fache said, turning sharply right and setting out through a series of interconnected galleries.

Langdon followed, his vision slowly adjusting to the dark. All around, large-format oils began to materialize like photos developing before him in an enormous darkroom… their eyes following as he moved through the rooms. He could taste the familiar tang of museum air – an arid, deionized essence that carried a faint hint of carbon – the product of industrial, coal-filter dehumidifiers that ran around the clock to counteract the corrosive carbon dioxide exhaled by visitors.

Mounted high on the walls, the visible security cameras sent a clear message to visitors: We see you.Do not touch anything.

"Any of them real?" Langdon asked, motioning to the cameras. Fache shook his head. "Of course not." Langdon was not surprised. Video surveillance in museums this size was cost-prohibitive and ineffective. With acres of galleries to watch over, the Louvre would require several hundred technicians simply to monitor the feeds. Most large museums now used" containment security." Forget keeping thieves out.Keep them in.Containment was activated after hours, and if an intruder removed a piece of artwork, compartmentalized exits would seal around that gallery, and the thief would find himself behind bars even before the police arrived.

The sound of voices echoed down the marble corridor up ahead. The noise seemed to be coming from a large recessed alcove that lay ahead on the right. A bright light spilled out into the hallway. "Office of the curator," the captain said. As he and Fache drew nearer the alcove, Langdon peered down a short hallway, into Sauniere’s luxurious study – warm wood, Old Master paintings, and an enormous antique desk on which stood a two-foot-tall model of a knight in full armor. A handful of police agents bustled about the room, talking on phones and taking notes. One of them was seated at Sauniere’s desk, typing into a laptop. Apparently, the curator’s private office had become DCPJ’s makeshift command post for the evening.

"Messieurs," Fache called out, and the men turned. "Ne nous derangez pas sous aucun pretexte. Entendu?"

Everyone inside the office nodded their understanding.

Langdon had hung enough NE PAS DERANGER signs on hotel room doors to catch the gist of the captain’s orders. Fache and Langdon were not to be disturbed under any circumstances.

Leaving the small congregation of agents behind, Fache led Langdon farther down the darkened hallway. Thirty yards ahead loomed the gateway to the Louvre’s most popular section – la Grande Galerie – a seemingly endless corridor that housed the Louvre’s most valuable Italian masterpieces. Langdon had already discerned that this was where Sauniere’s body lay; the Grand Gallery’s famous parquet floor had been unmistakable in the Polaroid.

As they approached, Langdon saw the entrance was blocked by an enormous steel grate that looked like something used by medieval castles to keep out marauding armies.

"Containment security,"Fache said, as they neared the grate.

Even in the darkness, the barricade looked like it could have restrained a tank. Arriving outside, Langdon peered through the bars into the dimly lit caverns of the Grand Gallery.

"After you, Mr. Langdon," Fache said. Langdon turned. After me, where?Fache motioned toward the floor at the base of the grate.

Langdon looked down. In the darkness, he hadn’t noticed. The barricade was raised about two feet, providing an awkward clearance underneath.

"This area is still off limits to Louvre security," Fache said. "My team from Police Technique etScientifique has just finished their investigation." He motioned to the opening. "Please slide under."

Langdon stared at the narrow crawl space at his feet and then up at the massive iron grate. He’s kidding, right? The barricade looked like a guillotine waiting to crush intruders.

Fache grumbled something in French and checked his watch. Then he dropped to his knees and slithered his bulky frame underneath the grate. On the other side, he stood up and looked back through the bars at Langdon.

Langdon sighed. Placing his palms flat on the polished parquet, he lay on his stomach and pulled himself forward. As he slid underneath, the nape of his Harris tweed snagged on the bottom of the grate, and he cracked the back of his head on the iron.

Very suave, Robert, he thought, fumbling and then finally pulling himself through. As he stood up, Langdon was beginning to suspect it was going to be a very long night.

CHAPTER 5

Murray Hill Place – the new Opus Dei World Headquarters and conference center – is located at 243 Lexington Avenue in New York City. With a price tag of just over $47 million, the 133, 000- square-foot tower is clad in red brick and Indiana limestone. Designed by May & Pinska, the building contains over one hundred bedrooms, six dining rooms, libraries, living rooms, meeting rooms, and offices. The second, eighth, and sixteenth floors contain chapels, ornamented with mill- work and marble. The seventeenth floor is entirely residential. Men enter the building through the main doors on Lexington Avenue. Women enter through a side street and are ‘acoustically and visually separated’ from the men at all times within the building.