Anissa blinked. Behind her, on the workbench, a 16th-century lute gleamed under its reading lamp, silent and perfectly innocent.

She did what any sensible restorer would do: she cleaned the notebook, made a high-resolution scan, locked the original in a biscuit tin, and mailed the tin to herself at a post office in Geneva. Then she called her mother.

She had no plan. But she had two things the gray coats didn't: perfect pitch, and the patience of someone who had spent ten years lifting gold leaf from a single panel of a triptych.

She told them she was just a conservator. The taller one smiled—a thin, rehearsed expression. “Ms. Colette,” he said, “you hummed the first bar of a lost waltz that four intelligence agencies have been chasing for seventy years.”

“Mom,” she said, “you know how you always said I should travel more?”

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