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Bachir?’
    ‘Yes, Major!’
    ‘Bachir, this is Colonel Picquart . . .’
    We step into the dimly lit interior and Henry throws open a door to reveal four or five seedy-looking characters smoking pipes and playing cards. They turn to stare at me, and I just have time to take the measure of the drab sofa and chairs and the scaly carpet before Henry says, ‘Excuse us, gentlemen,’ and quickly closes the door again.
    ‘Who are they?’ I ask.
    ‘Just people who do work for us.’
    ‘What sort of work?’
    ‘Police agents. Informers. Men with useful skills. Colonel Sandherr takes the view that it’s better to keep them out of mischief here rather than let them hang around on the streets.’
    We climb the creaking staircase to what Henry calls ‘the inner sanctum’. Because all the doors are closed, there is almost no natural light along the first-floor passage. Electricity has been installed, but crudely, with no attempt to redecorate where the cables have been buried. A piece of the plaster ceiling has come down and been propped against the wall.
    I am introduced to the unit one by one. Each man has his own room and keeps his door closed while he works. There is Major Cordier, the alcoholic who will be retiring shortly, sitting in his shirtsleeves, reading the anti-Semitic press, La Libre Parole and L’Intransigeant , whether for work or pleasure I do not ask. There is the new man, Captain Junck, whom I know slightly from my lectures at the École Supérieure de Guerre – a tall and muscular young man with an immense moustache, who now is wearing an apron and a pair of thin gloves. He is opening a pile of intercepted letters, using a kind of kettle, heated over a jet of gas flame, to steam the glue on the envelope: this is known as a ‘wet opening’, Henry explains.
    In the next-door room, another captain, Valdant, is using the ‘dry’ method, scraping at the gummed seals with a scalpel: I watch for a couple of minutes as he makes a small opening on either side of the envelope flap, slides in a long, thin pair of forceps, twists them around a dozen times to roll the letter into a cylinder, and extracts it deftly through the aperture without leaving a mark. Upstairs, M. Gribelin, the spidery archivist who had the binoculars at Dreyfus’s degradation, sits in the centre of a large room filled with locked cabinets, and instinctively hides what he is reading the moment I appear. Captain Matton’s room is empty: Henry explains that he is leaving – the work is not to his taste. Finally I am introduced to Captain Lauth, whom I also remember from the degradation ceremony: another handsome, blond cavalryman from Alsace, in his thirties, who speaks German and ought to be charging around the countryside on horseback. Yet here he is instead, also wearing an apron, hunched over his desk with a strong electric light directed on to a small pile of torn-up notepaper, moving the pieces around with a pair of tweezers. I look to Henry for an explanation. ‘We should talk about that,’ he says.
    We go back downstairs to the first-floor landing. ‘That’s my office,’ he says, pointing to a door without opening it, ‘and there is where Colonel Sandherr works’ – he looks suddenly pained – ‘or used to work, I should say. I suppose that will be yours now.’
    ‘Well, I’ll need to work somewhere.’
    To reach it, we pass through a vestibule with a couple of chairs and a hatstand. The office beyond is unexpectedly small and dark. The curtains are drawn. I turn on the light. To my right is a large table, to my left a big steel filing cupboard with a stout lock. Facing me is a desk; to one side of it a second door leads back out to the corridor; behind it is a tall window. I cross to the window and pull back the dusty curtains to disclose an unexpected view over a large formal garden. Topography is my speciality – an awareness of where things lie in relation to one another; precision about streets, distances,