1
Stitches

THE ARMENIAN WORKS BY the light of a single candle. His tools lie in front of him on the table: a spool of cotton, a square of fabric, haberdasher's scissors, a needle.

The flame flickers, and shadows leap across the walls of the tiny room, dancing ghosts. Souren Balakian folds the fabric in half, checks that the edges align exactly, and then he picks up the scissors. He feels the resistance beneath his fingers as the steel blades bite into the material. He always enjoys this momentary show of defiance before he gives the gentlest of squeezes, and the scissors cut through the doubled-up fabric. He eases the blades along familiar contours, working by eye alone. He has done this so many times, on so many nights, there is no need to measure a thing. Torso, arms, neckline—this last cut wide, to accommodate the outsized head.

When he has finished, there are two identical shapes on the table in front of him. He sweeps the unused scraps of cloth onto the floor, and picks up the needle and thread. After the sundering, reconstitution. Holding the two pieces of material in perfect alignment, he pushes the tip of the needle through both layers of fabric, and pulls the thread tight. He works with ferocious deliberation, as if it is his very life that he is stitching back together. He squints, careful to keep the stitches evenly spaced. When he is finished, he breaks the thread with a sharp twist of his fingers and holds the garment up in the half-light. A small grunt of satisfaction.

Night after night Souren sits at this bench and sews a new tunic. By the end of the day it will be gone, a cloud of gray ash blowing in the wind, and then he will sit down and create another.

He lays the completed costume on the work surface and stands up. He surveys the ranks of sightless eyes that stare unblinking into the room. Rows of hooks have been hammered into the wall. A wooden hand puppet hangs from every one. There are portly kings and beautiful princesses. There are brave men with dangerous eyes, and a haggard witch with warts on her ugly chin. There are cherubic children, their eyes too wide and innocent for this motley group. There is a wolf.

This ragtag crowd is Souren's family now.

He unhooks a young boy called Hector and carries him to the table. He pulls the newly sewn tunic over Hector's head. He turns the puppet toward him and examines his handiwork. Hector is a handsome fellow, with a button nose and rosy cheeks. The tunic fits him well. The puppet performs a small bow and waves at him.

"Ah, Hector," whispers Souren sadly. "You are always so happy to see me, even when you know what is to come." He looks up at the clock on the wall. It is a few hours past midnight. The new day has already begun.

Each evening Souren battles sleep for as long as he can. He works long into the night, applying fresh coats of paint to the puppets and sewing new clothes for them by candlelight. He stays at his workbench until his eyes are so heavy that he can no longer keep them open. But there is only so long he can fight the inevitable. His beloved puppets cannot protect him from the demons that pursue him through the darkest shadows of the night.

His dreams always come for him in the end.

2
A Rude Awakening

RAT-A-TAT-TAT.

Guillaume Blanc sits up in his bed, his heart smashing against his ribs, his breath quick, sharp, urgent. He stares at the door, waiting for the next angry tattoo.

The whispered words he heard through the door scream at him now: Three days.

Rat-a-tat-tat.

His shoulders slump. There is nobody knocking, not this time. The noise is coming from somewhere closer. Guillaume turns and squints through the window above the bed. The first blush of early morning sunlight smears the sky. From up here on the sixth floor, the rooftops of the city stretch out beneath him, a glinting cornucopia of slate and glass, a tapestry of cupolas and towers. There is the culprit: a woodpecker, richly plumed in blue and yellow, perched halfway up the window frame. It is staring beadily at the wood, as if trying to remember what it is supposed to do next.

Excerpted from The Paris Hours by Alex George. Copyright © 2020 by Alex George. Excerpted by permission of Flatiron Books. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.