Free See How They Run by James Patterson

through Munich and Berlin. Then Hitler Youth and little
Deutsches Jungvolk
in Frankfurt, singsonging
Sieg Heil! Sieg Heil! Sieg Heil!
It panned across crowds of German people screaming approval like Stuka dive-bombers. It flashed a sign on a Munich streetlamp:
ACHTUNG JUDEN!
    Then the Führer appeared, the famous manic stare making him look more like Charlie Chaplin than Adolf Hitler.
    The Führer was shown driving a new black VW convertible through a crowd of 200,000 cheering Nazis.
    He was pictured after just having made monkeys of Daladier and Chamberlain.
    Most chilling of all, a brand-new, original piece of marching music had been composed and scored for the film.
    After the black-and-white segment, a tall, blond man, a recognizable film actor named Owen Landers, appeared on screen.
    This portion of the film was in slickly shot 35mm color. No expense seemed to have been spared in its filming.
    The pleasant-looking actor wore a charcoal business suit, starchy white shirt, striped red necktie. He looked very much like the president of some large, very successful company. On his right arm, the actor wore a red-and-white Nazi brassard.
    Very calm and reasonable, with the intensity and polish of a regular news commentator, the actor explained how misguided Jews now living throughout America were a major cause of the country’s social, economic, and, especially, moral problems. The Jews were America’s pornographers. Its slumlords. Its dissidents. The Jews were the moneyhoarders on one hand, the moneylenders on the other. The contentious Jews were the chief reason America had made enemies all over Europe and in the Middle East, of course. Because of their vast wealth, the Jews had unequal representation in Washington.
    The camera slowly crept in on the impressive-looking actor. “The time has come for all of us to look closely at the Jewish element in America. To carefully consider some fundamental questions about our country.
    “This does not mean any kind of violence directed against Jews. It simply means examination. Careful examination of the priorities of this country—and the reasons behind our priorities.
    “Those of you who agree, those of you who believe we should reexamine important issues at this time, I ask you to do one thing only. A simple, harmless gesture,” the actor said.
    A gesture.
    Almost too small a gesture it seemed.
    Curious.
    “Tomorrow at noon … simply honk your automobile horns. Tomorrow at exactly noon.”
    All along Fifth Avenue, every other car, or third car, or fourth or fifth car was honking its horn.
    Cars down near Forty-second Street and the library honked. Cars and trucks opposite Korvette’s, Brentano’s. Right in the heart of America’s most sophisticated city, they honked. Right in the middle of the city with the largest Jewish population in the world.
    Up near Saks and St. Patrick’s Cathedral, cars honked, and a fistfight had begun in the street. Past Central Park and the Plaza, on way up into Harlem—the shrill symphony of horns seemed even louder, more horrifying, and unbelievable.
    At about three minutes after twelve noon, the din began to lessen.
    A false silence came. Then a few late beeps. Angry personal statements.
    Then an eerie calm fell over New York, over Los Angeles, Chicago, Miami, over any little highway where there were cars, and horns, and Nazis.
    On Fifth Avenue, a pretty, short-haired businesswoman wandered out of a soup shop called La Potagerie. The dazed woman sat down on the curb next to New York patrolman Michael Rosenberg.
    A stranger. Another Jew.
    The two young people held each other for a long, tender moment. They just held on and looked into the dark, passing automobiles.

CHAPTER 25
    Automobile horns.
    Bleating against the thin skin of her eardrums. The hammer, anvil, stirrup, vibrating. Making Alix Rothschild feel nauseated and afraid.
    That evening the actress wandered south on Fifth Avenue from the Sherry Netherland, where she had her New