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Remi asked, “Jack, what exactly do you need from the disks to make them compatible with the mural map? Is it the disk itself or the markings on it?”
“Both, I suspect. Is there any chance she would lend it to you?”
“Doubtful,” Sam replied. “This is her pride and joy. And I’m worried that if we ask, she’ll get suspicious. Right now, she’s helpful and cooperative. We don’t want that to change.”
Selma asked, “Jack, how similar in size and shape are the disks?”
“From my research, I would say nearly identical. You’ll know for sure when you compare the one Sam and Remi just sent you with the one you retrieved from the chest.”
Remi said, “Selma, what are you thinking?”
“Too early to say, Mrs. Fargo, but if you’ll all hold for a bit . . .” The line clicked and went silent. True to her word, Selma was back in three minutes: “I can build one,” she said without preamble. “Well, not me, but I have a friend of a friend who can replicate one with tool-and-die CAD/CAM precision. If we supply him with enough of the right kind of pictures, he can model the missing disk.”
Sam said, “I assume you have a specifications list?”
“Sending it to you right now.”
After securing Sovka’s agreement to let them photograph the Deniv Collection in return for a small donation to the museum’s “New Roof Fund,” Sam and Remi drove back to Sofia, and, following both Selma’s directions and her shopping list, they collected what they needed: two professional-quality triangle-scale rulers, a lazy Susan turntable, a black inch-high display stand on which the disk could rest, and lights and a tripod for Remi’s camera.
They were back in Kutina by four and shooting thirty minutes after that. Careful to pay the right amount of attention to every artifact in the collection lest Sovka become too interested, they photographed each in turn, leaving the Theurang disk for last. Having become bored with the process, Sovka had disappeared into her downstairs office.
“This would be much easier if we were unscrupulous,” Sam observed.
“Think of it as good Karma. Besides, who knows what the penalty for historical artifact theft is in Bulgaria.”
“Both valid points.”
With the light box erected and white linen backdrop in place, Sam set up the lights according to Selma’s instructions. Once done, Remi placed the display stand on the turntable, then the disk flat on the stand. Finally the scaled rulers were put in place, forming an L around the disk.
After taking a series of test shots and making some adjustments to the camera, Remi began shooting: five pictures for each eight-degree turn of the turntable, for a total of forty-five turns or two hundred twenty-five pictures in all. They repeated the process for the disk’s opposite side, then shot another series with it standing upright on its stand. Then, last, a series of close-ups of the disk’s twin faces, concentrating on the symbols.
“Eight hundred pictures,” Remi
said, straightening up from her tripod.
“How big is the file?”
Remi checked her camera’s LCD screen. “Wow. Eight gigabytes. Far too big for standard e-mail.”
“I think I know how we can get around that,” Sam replied. “Let’s pack up and get going.”
After a quick call to Selma, who in turn called Rube, who in turn called his friends at the Sofia Academic Archivist Services Ltd, Sam and Remi found the office open when they arrived back in Sofia at six-thirty. As with his first visit, Sam was asked only to identify himself and offer a code phrase—this one different than the first—before he was led to an adjoining office and a computer terminal. The office’s high-speed Internet line made short work of the picture files, uploading them to Selma’s storage site in less than three minutes. Sam waited for the confirmation message, then returned to the Fiat and Remi.
“Where to now?” she asked.
Sam hesitated. Frowned. They’d been moving so fast since arriving in Kathmandu, they’d had no chance to consider the question.
Sam said, “I vote we go home and regroup.”
“Seconded.”
27
GOLDFISH POINT, LA JOLLA,
CALIFORNIA
“Great . . . thanks. We’ll look for him.”
