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the security of my troops, you won’t hear a word from me.’ Langeron asked for Bullitt’s help. The ambassador called Robert Murphy, who went immediately to the Crillon with a message from Bullitt: if Simon were not released, no one would be responsible for security in Paris. Without Langeron’s 25,000 policemen, who had remained at Bullitt’s request when the French government was planning to remove them, the occupation which had gone smoothly until evening would become a shambles. At 11 p.m., Simon appeared unharmed in Langeron’s office on the Ile de la Cité.

THREE

The Countess from Ohio

THE NAZIS REQUISITIONED the best Parisian hotels–not only the Crillon, but the Ritz, Majestic, Raphael and George-V. The American Embassy beat them to the Hôtel Bristol, Ambassador Bullitt having already leased it from proprietor Hippolyte Jammet. The elegant hotel in the rue du Faubourg Saint-Honoré was suitable as an American refuge, because its basement shelter was the only one in Paris with protection against poison gas. The hotel flew the American flag, which the Germans did not remove. One American expatriate, Isadora Duncan’s brother Raymond, made the Bristol bar his second home. The Hellenophile Duncan was easy to recognize, invariably dressed in a toga and hand-made sandals. His Left Bank art gallery, the Akademia in rue de Seine, was close enough to the Bristol for him to walk there over the river. Representatives of the American Red Cross, the Rockefeller Foundation and the American ambulance units moved into the Bristol. Anne Morgan also took up residence there, hiding foreign and French Jews under quasi-diplomatic protection until she found ways for them to leave France. Dorothy Reeder, directress of the American Library in the rue de Téhéran, went to the Bristol on the occupation’s first day to work for the embassy verifying that the residents were American citizens.

Two days earlier, Miss Reeder had received an unexpected visit from the American Library’s first vice-president, Countess Clara Longworth de Chambrun. The two women conferred in the darkness of a library whose windows were obscured in brown paper as a precaution against bombing. The rest of the library’s board were preparing to leave France altogether, but Countess de Chambrun was going that afternoon to the country–imperiously informing Miss Reeder that she would return as usual in September. Miss Reeder, the countess recalled, ‘promised to remain on the spot and continue to wave the flag of neutrality. Meantime, she appeared to be getting what she termed “quite a kick” out of the position in which she was left as sole guardian of the premises, and with authority to negotiate the most delicate questions with the occupants, certain that the American Embassy would back her decisions.’ Miss Reeder herself wrote, ‘Was it really Paris whose streets I walked through the 11th, 12th and 13th of June 1940? I do not think so. It was a dead city. Everything was closed, locked and deserted. Even the fall of a pin could be heard.’

Clara Longworth de Chambrun was reluctant to abandon Paris. Her husband’s employers, the National City Bank of New York, had a ‘theory that, should the enemy enter Paris, certain French directors might be held as hostages and endanger the interests of the establishment’. So, Count Aldebert de Chambrun, the Marquis de Mun and six French employees were ordered to move the bank south of any imaginable German penetration to Le Puy. Clara told Aldebert that he could leave Paris without her. She refused to desert their house at 58 rue de Vaugirard, overlooking the Luxembourg Gardens and the Senate’s ornate Palais du Luxembourg, in the 6th Arrondissement. A few dozen yards away was the Théâtre de l’Odéon, where Clara staged plays. Sylvia Beach’s Shakespeare and Company was just around the corner. Clara was obstinate: ‘My temperamental dislike of retreating from danger when others less capable of facing it remained behind caused me to protest vigorously against this mandate [from the bank to leave].’

Her husband reminded her that she would be