Code of Siman Read Online Free PDF Page B

answer is in the pictures.” Philippe drove to the fork in the road. Then quickly turned the car down the embankment until it came to a stop under the bridge in the dried out creek bed. “That’s the same thing the last surviving member of the Muehlmann family said on his death bed.”
    “Wait…so, you think I will know how to decipher the codes?” Natanya asked. “The markings you mean? The special marks on the paintings I was told were there by Aunt Rose. The efforts taken by the French Resistance in case all else failed, and the original paintings couldn’t be found? Taking pictures of the copied encoded paintings, then cataloguing them and then hiding the original paintings. So, what you are talking about is the second set of photographs in another album. The album that had been safely hidden from everyone, but then was later found and confiscated by the Nazis?”
    Natanya shook her head in disbelief then continued. “Aunt Rose had told me in her notes that since they had lost the only way to find the originals; all the gains made by the Resistance were lost. She and other members of the Resistance had waited for years for some news…anything to surface, but nothing was ever heard about it again. Is that what you mean? The album? Yes…yes I can decode it!” Natanya proclaimed.
    “But, you realize what you’re saying, don’t you?” Natanya asked in a hesitant tone.
    “Yes, I think I do,” replied Philippe.
    “The technique our Jewish ancestors used to track the copies of their paintings and treasured objects was discovered by Muehlmann, the art dealer for Goering and Hitler. But when…when did he discover it, and how many besides him knew? Did they continue the operation, and therefore work directly against Hitler to continue to hide the original paintings? All for the art itself… Maybe that’s why he disappeared somewhere into Bavaria and couldn’t be found…because he knew.”
    Natanya then put her head in her hands as she thought about their actions in stealing the Vermeer.
    “Wait…”
    Philippe leaned back into the seat of the car while he held the door open, and waited for her next question.
    “What if we don’t sell the painting to them? What if we just drive away and figure out some other way to obtain the album?”
    “Then they will get someone else to do it and we’ll have lost the chance to recover the lost artwork forever.”
    “And you don’t want the catalogued records so that you can sell everything after we find it? You…you want to give the paintings and other works of art back to the Jewish families?”
    “Absolutely…trust me.” Philippe shut the driver’s door after he exited the vehicle, then popped open the trunk to pick up the bag containing the real Vermeer, ‘Woman Holding a Balance’.
    “So, that’s it.”
    “Yes, that’s it.” Philippe gave her one long last look, and then closed the hatch to the SUV.
    He walked back up to the road and waited for their contact, with the bag swinging by his side as he walked.

Chapter Seven
Defining the Spatial Structure
     
    The throttle fully released, the roar of the approaching motorcycle could be heard before it was seen, picking up speed as it drew nearer. Within a few feet of Philippe, the motorcycle suddenly slid to a halt, stopping inches from him.
    The rider, covered in leather from his silver tipped boots to his gloved hands, revved the engine. Philippe didn’t flinch as the dust from the gravel drifted up from under the tires to envelope them both.
    The rider’s gloved hand raised the shield of his black helmet, revealing a set of dark penetrating eyes.
    Philippe stood his ground as he waited for the rider to speak.
    “Tomorrow. We’ll meet here tomorrow.” The rider shouted over the noise of the engine.
    Philippe stepped toward the idling motorcycle and its rider. “Why not now, we have the picture?” He challenged.
    “We’ll see about that.” The rider revved his engine, and then lowered the