37: Côte d’Azur Airport – Chapter Summary & Analysis
Warning: This page contains spoilers for An Inside Job. Proceed only after reading Chapter 39.
Summary
At Côte d’Azur Airport, a Dassault jet carrying Swiss banker Franco Tedeschi and Dutch art dealer Peter van de Velde is met by two French border policemen and Jacques Ménard, director of the Police Nationale’s art crime unit. After a routine passport check, Ménard inquires about the purpose of the visit. Van de Velde reveals they have brought a portrait of a woman, which he attributes to Leonardo da Vinci, claiming it is a newly discovered work from Amsterdam. Skeptical and aware of recent forgery scandals, Ménard insists on photographing the painting for official records. He takes the transport case off the aircraft, leaving the passengers fuming.
In a windowless, camera-free room inside the terminal, Gabriel Allon waits with his own copy of the Leonardo. Ménard places the genuine painting beside Gabriel’s version. The two men study them side by side; Gabriel, ever the perfectionist, can see every flaw, but Ménard assures him the forgery will fool any buyer. After a brief inspection of the panel backs, Ménard swaps the works. The real Leonardo goes into Gabriel’s solander case, while the copy is returned to the transport case. Ménard bids Gabriel goodbye.
Gabriel carries the priceless original through the terminal and into an unmarked police car. As it races east on the A8 Autoroute toward Italy, he presses the case against his thighs to dampen vibrations, thinking, “One last journey. Then she would be home.”
Ménard reboards the jet with the transport case. Van de Velde meticulously checks the painting—paying special attention to the panel support—and finds nothing amiss. Tedeschi, satisfied, gives the order to proceed with the sale. The switch has been completed without the buyer’s representatives suspecting a thing.
Key Events
- French border police and Jacques Ménard greet the arriving party on the tarmac.
- Van de Velde and Tedeschi disclose they are showing a newly discovered Leonardo to an anonymous French buyer.
- Ménard takes the transport case into the terminal “to make photographs,” overriding Tedeschi’s protests.
- In a secure room, Ménard and Gabriel compare the two paintings; Ménard insists the copy is indistinguishable and places the real Leonardo in Gabriel’s solander case.
- Gabriel departs through ground transportation with the genuine masterpiece, heading for the Italian border in a police vehicle.
- Ménard returns the forgery to the aircraft. Van de Velde’s painstaking inspection detects no damage, and Tedeschi declares the sale will go ahead.
Character Development
- Gabriel Allon: His self-critical nature surfaces as he laments the copy’s “glaringly obvious” differences, even though Ménard sees none. His physical care—pressing the case to dampen vibration—shows his reverence for the original.
- Jacques Ménard: Moves with calm authority, blending bureaucratic procedure with covert collaboration. His handling of both the suspects and the painting swap reveals a man comfortable with high-stakes deception.
- Franco Tedeschi: Reacts with anger when Ménard removes the painting, underscoring his need for control and his underlying anxiety about the transaction.
- Peter van de Velde: Demonstrates the art dealer’s obsessive caution, verifying the panel’s integrity before consenting to the sale.
- Ingrid: Plays a silent, observant role that adds an extra layer of tension—her presence reminds the reader that not everyone on the aircraft can be fully trusted.
Themes, Symbols, or Motifs
- Deception and Performance: The entire exchange is a piece of theater—Ménard plays the diligent official, while Van de Velde and Tedeschi play outraged owners. The success of the swap depends entirely on the performance’s credibility.
- Authenticity versus Copy: Gabriel’s acute awareness of his creation’s imperfections contrasts with the blind confidence of the dealers, questioning how much value derives from genuine material versus perceived authenticity.
- Power and Knowledge: Ménard’s nuanced knowledge of art and his legal authority allow him to control the room. The chapter illustrates how expertise can be wielded as a weapon.
- Journey as Closure: Gabriel’s final thought—“she would be home”—transforms the drive into a symbolic return of stolen heritage, connecting the physical heist to a larger moral purpose.
Why This Chapter Matters
Chapter 39 marks the climax of the plan’s execution. The switch of the painting is the hinge point on which the entire operation turns. Every earlier chapter—the forgery, the meetings, the setup—has led to this single act of substitution. Without a sound swap, the scheme collapses. The chapter also deepens the personal stakes for Gabriel; his whispered reflection as the car speeds toward Italy reaffirms that this is not just another job but a mission of restoration and redemption. The final image of the bankers unwittingly accepting the copy solidifies the reader’s sense of a perfectly executed con.
Study Questions and Answers
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Why does Ménard insist on making photographs of the painting rather than simply inspecting it on the plane?
Ménard uses the pretext of official documentation to physically separate the painting from its owners. This allows him to move the original into a blind spot where he and Gabriel can swap it without arousing suspicion. The request also plays to Tedeschi’s assumption that Ménard is a meddling bureaucrat, masking the true purpose. -
What does Gabriel’s dissatisfaction with his copy reveal about his character and the quality of the forgery?
Gabriel’s gloom over “glaringly obvious” differences highlights his artistic perfectionism and his deep familiarity with the original. His self-criticism signals that even an expert forger sees imperfections invisible to others, but it also creates tension: the reader wonders whether the buyer might notice something. Ménard’s insistence that no one else will spot the flaws underscores that the copy is, in fact, convincing enough for the scheme. -
How does the chapter use setting and travel (the airport, the autoroute) to heighten suspense?
The sterile, CCTV‑monitored terminal contrasts with the windowless room, creating an island of secrecy. The brief mention of Gabriel’s car speeding east on the A8 Autoroute—and his physical act of dampening vibration—makes the reader feel the fragility of the escape. The departure slot countdown and the imminent sale add time pressure, so every second the painting is away from the plane intensifies the risk of discovery.