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Content Warning: This section of the guide contains discussion of religious discrimination, gender discrimination, ableism, sexual harassment and violence, mental illness, pregnancy loss, child death, death by suicide, suicidal ideation, substance use, graphic violence, physical and emotional abuse, and illness and death.
In the Salpêtrière infirmary, Alouette tells the physician, Monsieur Moreau, that his bloodletting treatments are making her weaker. He implies he will stop them in exchange for sexual favors. Disturbed, Alouette goes to the physic garden and considers ending her pregnancy by ingesting pennyroyal, agonizing over the effect a child would have on her and Étienne’s futures. Her friend, Christiane, finds her, and they discuss a patient with a fever. Later, Alouette finds a small, carved stone lark in her cell with a note from Étienne affirming he is waiting for her. She shows the gift to her cellmate, Sylvine, who suspects a kind person with influence helped deliver it. Bolstered by Étienne’s promise, Alouette confesses her pregnancy to Sylvine and resolves to keep the child.
While working in the quarry, Étienne witnesses a partial collapse that severely injures another worker. His associate, Jean-Luc, remarks that the man had been asking too many questions. Stricken with guilt over his complicity in the dangerous operation, Étienne reflects on the precarious future he is building for his young wards, Thomas and Marie. He decides he cannot continue on this path. Two nights later, Étienne quits his illicit job, accepting the potential consequences in order to clear his conscience.
During a period of respite, Alouette observes the superioress in an orchard, tending to a crooked sapling. The superioress tells Alouette that she, too, had a difficult start in life and remarks that “Everything worth keeping must be tended. Sometimes at all costs” (289). Later, Marguerite finds Alouette in the garden and asks if she has seen Christiane, who was meant to bring yarrow to the infirmary but never arrived. They suspect an guard named Pierre, who was seen leaving his post early. They find Christiane hiding, her clothes torn and her throat bruised from an assault. Christiane refuses to report the attack, convinced that no one would believe or care about her.
After the Brodskys are arrested, their concierge, Madame Gagnon, takes the key to their apartment from an officer. The family is put on a standard green-and-cream municipal bus with other Jewish neighbors. On the bus, Rald comforts another frightened child by telling her they are going to “Pitchipoi,” a mythical safe place. Sasha recognizes this as a fantasy to cope with the terrifying reality of their situation.
From a distance, Kristof watches helplessly as French police take the Brodskys away. After the transport pulls away, he returns to his apartment, overwhelmed with guilt for having downplayed the danger and for not having done more to help them. The powerlessness reminds him of the despair he felt after his sister Annelies’s death, suspected to be by suicide. He begins drinking, trying to process the fact that the French authorities are responsible for the mass arrests happening across the city.
Sasha and her family are taken to a local public swimming pool, or piscine, which now is a makeshift holding pen. The pool has been drained and is crowded with over a hundred Jewish people from their neighborhood. An officer Sasha recognizes from her building, Monsieur Mercier, processes them without any sign of recognition. Soon after, an announcement is made that all French children between the ages of 14 and 18 will be released. Maman insists that Sasha go, pushing her toward the ladder and telling her to seek safety with Kristof. Reluctantly, Sasha leaves her family behind. She walks through the streets and, finding his apartment empty, waits for him by his door, alone and desolate.
In November, a severe storm hits Salpêtrière, threatening to flood the grounds; only a small levee along the Ivry Plain separates it from the Seine. The institution is already dangerously overcrowded with women who have been arrested under a new royal decree. Christiane’s health has deteriorated, and she has a severe, persistent cough. Alouette, now visibly pregnant, tries to conceal her condition. She has a nightmare that the Bièvre floods and threatens to drown her and her unborn child, waking to find that their cell floor is already covered in water. An alarm bell rings.
The floodwaters at Salpêtrière wash away the earth around an old well, uncovering the skull of a child. The discovery prompts Sylvine to voice her suspicion that the hospital secretly kills and buries infants born to its inmates, despite official claims that the babies are sent to wet nurses. A hospital official publicly dismisses the discovery as part of an old cemetery. Alouette notices Marguerite secretly documenting abuses in a small ledger. Marguerite confides that she is recording the crimes of the physician and others. The two women form a silent pact of resistance.
Alouette learns from gossip that Marguerite has been caught with her ledger and sentenced to 10 days in the isolation cells. The superioress delivers a sermon calling the women’s suffering a divine test and dismissing their fears as falsehoods. When Marguerite returns from her punishment, she is gaunt, withdrawn, and refuses to speak of her experience. Consumed with guilt but fearful for her unborn child, Alouette says aloud that the physician is not untouchable. Marguerite follows her gaze to the shelves of poisons and nods.
Kristof returns to his apartment building and finds the concierge, Madame Gagnon, looting the Brodskys’ home under the pretense of taking inventory. She reveals she has seen Sasha at his door and threatens to inform the authorities. Kristof finds Sasha huddled by his door. He brings her inside, adds a few drops of valerian from a small bottle to her water glass, and listens as she recounts being separated from her family at the piscine. Aware that Madame Gagnon could report them at any moment, Kristof knows they cannot stay.
Looking out of Kristof’s window, Sasha spots three other teenagers on the street below: Maurice from her school, Gérard, and another student named Annette Gaston. Gérard sees Sasha and signals to her. Kristof agrees to bring them upstairs, where they reveal that their families were also taken in the morning’s arrests. Kristof gives the four teenagers food and resolves to lead them all to a more secure location.
Kristof leads Sasha and her three friends through back streets to a hidden entrance to the souterrain. He guides them to a small safe room and then proceeds to a larger, fortified bunker to find his friend and Resistance contact, Alesander. Kristof finds Alesander wearing his Vichy uniform, a pistol held casually at his side. Kristof explains the situation, but Alesander dismisses his desperate idea of rescuing the families from the piscine as a “suicide mission.” Instead, Alesander agrees to help the teenagers, viewing their plight as an opportunity to establish and test a new underground escape route out of France.
After leaving the teenagers with Alesander, Kristof heads back to his apartment for supplies but is intercepted by Ursula. She warns him that he cannot return home or to the hospital, as SS and Gestapo agents are waiting for him at both locations. She reveals that their Resistance network at Sainte-Anne’s has been betrayed by an informant, leading to the arrest of Julian. Overwhelmed by despair and guilt, Kristof briefly contemplates a suicidal act of protest. Ursula calms him, advising that in a tragedy, the most heroic act is to do “the next right thing.” (339) Kristof realizes his most immediate duty is to protect Sasha and the other children.
Christiane’s illness worsens until she is too weak to work. She tells Alouette she is tired of suffering and that no treatments help her anymore. Alouette urges her to rest, hoping she can recover but, later, finds Christiane with a delirious fever. In her final moments, Christiane opens her palm to reveal the remnants of foxglove, and speaks of beauty being the most dangerous thing and of being set free. She dies as Alouette holds her.
While grieving Christiane’s death, Alouette is sent to retrieve administrative ledgers from a flooded building. From a high window, she sees that the flood has unearthed a mass grave of infants on the asylum grounds. In one of the ledgers, she finds meticulous records of these infant deaths, disguised as stillbirths, with each entry authorized by the superioress’s signature. Alouette takes the ledger as proof of infanticide. From the same window, recalling her father’s words about following the Bièvre to the sea, she spots a stone culvert at the base of the levee, its iron grate broken away, as a viable escape route. She shows the ledger to Marguerite and proposes they escape through the culvert and use the book to expose the hospital’s crimes.
Alouette recruits Sylvine to join her and Marguerite. Sylvine is hesitant at first, reminding Alouette that a previous inmate was caught trying to scale the wall and sent to the brutal La Force prison. However, Alouette explains their plan to escape through the river culvert and presents the superioress’s ledger to Sylvine. Alouette suggests they take the evidence to the Sisters of Saint Catherine, a charitable order who might be persuaded to intervene. Hoping for justice, Sylvine agrees to join them.
In this section, Étienne’s decision to quit his illicit work after witnessing a tunnel collapse is an important moral turning point, paralleling Kristof’s own awakening in the face of the Brodsky family’s arrest. Both men are initially complicit bystanders, aware of the dangers of their respective worlds but unwilling to act. Étienne justifies his work for the Gobelins by telling himself it is for his wards, while Kristof admits to having thrown himself into “busyness and false optimism,” (297) downplaying the threat to his Jewish neighbors. The sudden, brutal violence—a man crushed by rubble, a family herded onto a bus—shatters their rationalizations. For Étienne, the accident makes plain the human cost of his silence; for Kristof, the sight of French police collaborating in the arrests forces him to confront the pervasive nature of the evil he had hoped to ignore. Their shared sense of guilt and powerlessness, which Kristof compares to the despair he felt after his sister’s death, catalyzes a shift from passivity to responsibility. Étienne’s choice to abandon his courier job and Kristof’s commitment to protecting Sasha represent parallel moments where personal conscience overrides self-preservation, setting both characters on a path of active resistance.
The horrors within Salpêtrière escalate from individual cruelties to state-sanctioned, systemic violence, demonstrating how Medicine and Bureaucracy as Tools of Oppression function to erase unwanted populations. Early in this section, the threats are personal: Monsieur Moreau’s sexually predatory proposition and the archer Pierre’s assault on Christiane. However, Alouette’s discovery of the administrative ledger reveals a far more sinister operation. This bureaucratic documentation is the asylum’s most powerful weapon, allowing it to justify murder as medical misfortune and institutional procedure, and echoing how the rector’s sermon in Chapter 52 used religious and administrative language to sanctify and conceal abuse. Marguerite’s initial, secret record-keeping and Alouette’s subsequent plan to use the ledger as evidence represent a direct counter-attack, an attempt to turn the oppressor’s own tool—the written record—against it.
Kristof’s decision to lead Sasha and her friends into the Parisian underground establishes the motif of the Paris souterrain as a realm of both physical and psychological adaptiveness. The “descent” into the ancient quarry tunnels is a literal and symbolic journey away from the occupied world above, at first echoing the dark and ghoulish presentation of the underworld in Ovid’s Metamorphoses. This allusion gives the sense of the group travelling through time as well as space, supporting the souterrain’s role as a site of hidden history, marked by centuries of forgotten lives. The teenagers’ fear quickly gives way to curiosity and a sense of wonder as they enter this secret world, a shift that signals the tunnels’ power to temporarily restore a sense of possibility and even childhood adventure. For Sasha, tracing a centuries-old carving of a bird on the wall is a moment where she can be a “curious scholar” again, rejecting the reductive identity of a traumatized refugee. This subterranean space becomes the home of this alternative family, a protected domain where the children can begin to reclaim their identities away from the persecuting gaze of the state.
The fracturing of biological families in both timelines precipitates the formation of resilient found families, bonded by shared trauma and a collective will to survive. After Sasha is forcibly separated from her mother and siblings, she finds a new protective unit with Kristof, Gérard, Maurice, and Annette—four “children adrift” who immediately “stick together.” Their bond is instantaneous, formed through shared loss. Similarly, in Salpêtrière, the deaths and abuses they witness solidify the alliance between Alouette, Marguerite, and Sylvine. Their pact to escape a commitment to collective justice, rooted in their shared experience of oppression. The moral imperative driving these new families is articulated by Ursula when she advises Kristof that great tragedies require ordinary people to do “the next right thing.” (339) This principle rejects grand, impossible heroism—like Kristof’s initial fantasy of rescuing the Brodskys—in favor of focused, pragmatic care for the lives immediately in front of them. This recurring dynamic, which reflects author Paula McLain’s own experiences in the foster care system, suggests that survival depends on the creation of new, chosen kinships when traditional structures of support are destroyed.
Across this section, the concept of escape evolves from a private act of ending suffering into a public act of political resistance. Initially, escape is presented as an individual and desperate choice. Alouette contemplates using pennyroyal to end her pregnancy and the burdens it represents, while a despairing Christiane uses foxglove to free herself from a life of relentless abuse, telling Alouette that beauty “can be the most dangerous thing of all” (345). Her death emphasizes the grim reality that for some, the only available exit is self-destruction. However, by the end of this section, Alouette’s objective has shifted. Armed with the superioress’s ledger, she and her allies are no longer just running from Salpêtrière; they are planning to expose its crimes and seek justice for its victims. This mirrors the strategic shift in the 1942 timeline, where Alesander calls the tactical plan for saving the four teenagers as a strategic “pilot run” for a larger, organized escape network. In both narratives, the protagonists realize that true freedom requires both personal liberation and efforts to dismantle the structures of oppressive power. This sense of motivation will shape the forward momentum and pacing of the narrative in the next section.



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