job, or I hope I still have a job.” Natanya paused and bit her lip as she contemplated the discovery of the forgery. “In addition, you do so well at Drake and Baker. Philippe, we don’t need the money. Please, let’s slow down, and take a moment to work this through.”
“I have worked it through, and I’m not doing this for the money. I didn’t tell you, because I wasn’t sure if it was going to happen, but I wanted to be ready just in case I could pull it off.”
“What are you talking about?” Natanya dared not take her eyes off the painting as it slid around the back of the SUV. The erratic driving of Philippe made her look to the front to see what they were about to run into, and a quick glance at Philippe showed her he was determined to make the transaction.
“I’m going to receive a box.”
“A box of what?” Natanya asked.
“A box of catalogued cards with photographs.”
“Of what and by whom and what are you talking about?” Natanya bumped her head on the window as she sat sideways, trying to avail herself of all the views.
Philippe sighed, “The lost pictures from the Holocaust of World War II.” Philippe swerved around a trailer of a big rig that was attempting to back up into an alley.
“The painting is being sold to an individual who is going to sell it back to the family. A family who had once had an entire collection of paintings by Vermeer in their possession during the war.”
“Which family?”
“Muehlmann.”
“The picture wasn’t theirs. If you look at the provenance, it clearly states the picture was in the position of the Wideners and is now on loan to the museum, I absolutely disagree with you on…”
“I don’t really care that they didn’t have this exact painting, they just want a Vermeer.”
“And we receive the catalogued records and photographs of the lost works of art from the Holocaust in return.”
“Yes.”
“So, I have a question for you.”
“I know what you’re going to ask me. You’re going to ask me why they don’t just use the catalogued information to track down the lost treasures themselves.”
“Yes, that’s right. Why don’t they?”
“The records are encoded and therefore, are undecipherable. The secret code, or key, disappeared with the last member of the family, who was entrusted with it, died. The family is destitute, are unable to secure work, let alone actively search for the code or the lost treasures. They want the money, pure and simple, and will sell the Vermeer for over $20 million dollars once they have it in their possession.” Philippe finished.
“How do you know the catalogue and photographs are real?”
“I don’t.”
“What if the copy or the painting I made is found to be a forgery while we’re out tracking down the lost artwork from the Holocaust?” Natanya’s voice came out in a whisper as she felt her throat constrict.
“Then it’s discovered, and that’s a risk we’ll have to take. My ancestors who worked tirelessly within the French Resistance deserve this, Nat. Your Great Aunt Rose Valland, a pivotal force within the French Resistance, worked hard for this. You are her descendant, a mix of French and Jewish heritage…Natanya, you can do this! All of the families that perished in the death camps deserve to have their belongings returned to their families. We can do this together.”
Philippe reached out and delicately picked up her hand from the console, brought it to his lips, and kissed it with a flourish.
“Did I tell you our life together would be anything less than an adventure?” Philippe continued to hold her hand as he waited for her answer.
“Yes.” Natanya whispered, staring at him intently.
After several seconds, Philippe let go of Natanya’s hand.
“How do you think we’re going to be able to decipher the records?” Natanya asked, frowning as she considered the feasibility of their success.
“It was something you told me when we first met. You said that the