This poor man has been shot and will die late at night inside the Louvre; his wounds, although mortal, fortunately leave him time enough to conceal a safe deposit key, strip himself, cover his body with symbols written in his own blood, arrange his body in a pose and within a design by Da Vinci, and write out, also in blood, an encrypted message, a scrambled numerical sequence and a footnote to Sophie Neveu, the pretty French policewoman whom he raised after the death of her parents. Most people are content with a dying word or two; Jacques leaves us with a film treatment.

Roger Ebert