Fatherland

The next morning, March and Charlie go to the bank. Their request to open Stuckart’s box allows them to meet with Zaugg. When March produces the letter and the key, Zaugg offers them any information they want about the box. It was opened to provide protection and anonymity during World War II, allowing access to whoever has the key.

Zaugg explains that Luther got the box in 1942, paid for 30 years, and had four keys made, which makes March wonder who the fourth person is (aside from Luther, Stuckart, and Buhler). The box has been accessed only four times, twice in 1942, once in 1943, and once four days ago. However, when March tries to get more information about the last time it was opened or why Luther opened it, Zaugg dodges his questions, insisting that he must respect “client privilege” (195).

Zaugg takes March and Charlie to the box. Inside, they find a small box containing a wooden panel with a portrait painted on it. It’s of a woman holding a small animal that reminds March of a weasel. Both March and Charlie remark on how beautiful the portrait is. Charlie guesses that it’s from the Renaissance. She takes several pictures of it with her camera.