Page 177 - THE ATTACK ON THE FERRISWHEEL- 200 PAGES FREE OFFER

the task of categorizing stolen art pieces. Uno Hinterglaub, as the righteous man

he was, tried to fight his own battle with silent resistance. He created a double
directory of the stolen artworks and stored the duplicates in his old gallery,

which laid unused in Berlin. Once every two months, when he was free and able

to visit his tuberculosis-affected wife, he passed his old gallery and kept the
duplicate catalogue in a secret place under the roof of the gallery. His purpose in

keeping a secret double directory was that when the war ended, it would be easy

for him and his descendants to know how much had been stolen, where it was
located and who it belonged to. Unfortunately he was accused of conspiracy by a

little snitch called Kim, and he suffered a cruel death of torture in somewhere in
Auschwitz. He was seen as a traitor and enemy to the Third Reich.

Nobody in Augsburg knows who the LG-1000 is, or exactly what sort of

businesses they are involved in. The ones who do encounter the always neatly
dressed woman with dark brown hair, shoulder-length, either on the stairs,

inside the building or in the street outside, politely and very discreetly greet her

before hurrying away. She never presents herself, and she seems to always be
busy. The imposing luxury, the newly renovated building both radiates high

status and makes the employees of the recruitment agency in the neighbouring
building feel slightly inferior. In the past, it was those who prided themselves

with luxury, as they carelessly opened the heavy double doors to the wide, neatly

carpeted entrance leading to the headquarters of ALTOMINES. That isn’t the case
anymore. The LG-1000 has spent millions on the renovation and redecoration;

one would think it was their goal to create Augsburg's most luxurious building.

Everything had a face-lift. The façade is coated in the finest yellowish beige that
glimmers when the evening sun hits the facade with the street, new cornices

built with the finest round windows, which now adorn the upper floor. It has

been cleaned from the bottom up, so the exterior walls which have the old
original stucco works, created by an Italian craftsmen more than two hundred

years ago at the request of Mr Hockenfeldt, is still to be seen. Mr Hockenfeldt,

who was then one of Germany's foremost industrial magnates, loved the
sculptures in stucco of monstrous animal faces and strange creatures of epic

tales so much, that he wanted it to be seen everywhere – both inside and outside.
Inside of the building is the same story; the spending continues.