much liked Czech beer. Perhaps I should order an extra one. Who knows if he will be coming back.â
For a moment of freefall, I thought she was going to tell me Paul was still alive. That heâd run into some kind of trouble, been forced to fake his own death five years ago. That heâd been hiding, lying low, waiting for things to blow over. Sheâd written the letter because she needed help. Together we could bring him back into the world. I started feeling guilty for believing all this time that heâd been gone.
But Vera wasnât talking about Paul coming back. She was talking about the waiter, who in the next moment arrived and took Veraâs order with an air of weary reluctance. Across the room, a bedraggled-looking fiftyish man with long, unwashed salt-and-pepper hair spilling out of a wool stocking cap shared a joke with the bartender. His eyes had a bleary intensity as he repeatedly glanced over at our table. But then Vera probably provoked repeat glances wherever she went. She lit her cigarette, and the flame illuminated a small U-shaped scar riding across the ridge of her cheekbone beneath her left eye.
âWhen I wrote the letter,â she began as the waiter walked away, âI never believed anyone would come. Many times I tore it up. Always I wrote another. When finally I sent it, I felt difficult to come here day after day. But I came anyway. Iâve nearly lost count of the days. And now here you are. Why are you here?â
âBecause of your letter.â
âBut you must also have reasons.â
âHe was my brother. I want to know what happened.â
âAnd if I tell you, what then?â
I shrugged. âThen I go home.â
She fell silent, regarding me behind a curtain of cigarette smoke. âMaybe you have a certain way you wish to remember
your brother. What I say could change your idea of him. Please understand I have told no one. What I say is only for you. No one else can know.â Vera snubbed out her cigarette and edged closer, fingers unnaturally long and white as she placed her hands flat upon the tableâs surface. âYour brother,â she uttered in a low voice, âstole a watch.â
I waited for her to go on.
She didnât.
âA watch,â I prompted. âLike what, a Rolex? A Tag Heuer?â
âNot an ordinary watch. The Rudolf Complication.â
âIs that Swiss?â
Vera leaned back, placing a hand to her throat and blinking in rapid succession. âYou donât understand. The Rudolf Complication is not a watch for knowing what is the time. Not something you wear. Itâs art. An important work of art. Of history. When Paul disappeared, he was planning to take this watch from a gallery near the river. Or had already taken it. I donât know for 100 percent.â
âIâm not following you.â
âOn the other side of the river, between Malá Strana and Kampa Island, is a canal called Äertovka. Means in English âthe Devilâs Stream.â Near theââ
âWhy do they call it that?â
She shrugged. âSomething about an old woman who lived near there in olden times and everyone thought she was a devil. The villagers painted little devils all over her house as a warning for, I donât know, to other villagers I guess. Thereâs a big wooden wheel in the canal. A famous water wheel. You have probably seen it on postcards.â
âPaul didnât really do postcards,â I said.
But I remembered that he had sent at least one. Nearly a year after heâd left Chicago, six months or so before he died. It was
from some place called the Prague Torture Museum and featured a medieval engraving of a man spread eagled and strung upside down by his ankles, hands bound behind his back. Two men on either side of him held the handles of a large saw they were using to divide their prisoner in half at the crotch.
On the back, Paul had