Dechersey put Jean Luc Chaumeil under oath in early 80s when he gave him these 44 pages and told him he could not release this until he died and then JLC had to wait 20 years to publish which he did in his book Rennes Le Chateau and Priory of Sion Mysteries an excellent read highly rec getting!!! Stone and Paper is dialouge between C~hARLOT AND mARY Magdelene AND IS One of Christ favorite writings which im referred to as See Harlot C~Harlot Definition of harlotry. 1 : sexual profligacy : prostitution. 2 : an unprincipled or immoral woman he sups tonight with a harlotry— William Shakespeare. I, ____, take you, ____, to be my wife (or husband), to have and to hold from this day forward, for better, for worse, for richer, for poorer, in sickness and in health, to love and to cherish, till death us do part, according to God’s holy law, and this is my solemn vow.
ANNEX III

From the Cross to the Treasure of the Great Roman

Circuit, by Philippe de Cherisey, is the story of a honeymoon in the Canaries. However, this trip finishes as a treasure hunt in Rennes-le-Château. Eventually, the author brings two young people, Marie-Madeleine (Mary Magdalene) and Charlot, face to face. He meets her in the Chapel of the Angels, in the church of Saint Sulpice in Paris, whilst she is taking a photograph of Eugène Delacroix’s fresco Héliodore chassé du Temple (Heliodorus thrown out of the Temple). They get on so well that, at some point, he lets out that he must be in Marseille the next day. As for Marie-Madeleine, she must go to Our Lady of Marceille, near Limoux. At their mutual stupefaction, they show each other half a banknote. In fact, they both had to meet up at our Lady of Marceille, in the Aude, to carry out a mission entrusted to them individually. Charlot had confused Marseille with Marceille.

On their trip in the High Valley of the Aude, they can finally compare the documents in their possession.

1) Charlot produces his document on horror-film background music. [See illustration of Large Parchment before chapter entitled “Stone and Paper”]

2) Marie-Madeleine produces her document on Mozartean harpsichord music, in a pop style, stopped by a clap of thunder and stormy weather. [See illustrations of the stele and tombstone of the Marchioness of Blanchefort before chapter entitled “Stone and Paper”]

Room 22 at the Hôtel des Thermes Romains in Rennes-les-Bains. Charlot is lying down and playing chess on a mini-chessboard in an air of profound disgust. He does checkmate; but having won with the whites and lost with the blacks, he is equally placed with himself which disgusts him even more. Marie-Madeleine is naked by the window.

Charlot – ‘Why send me to Marseille, when it is you who had the rest of the Victor Hugo?’

Marie-Madeleine – ‘The truth is that I also had to go to Marseille. It is after our meeting yesterday that I was told of the change and instructed to involve you today. But, admittedly, it is rather stupid to have given us documents that everybody knows about, in view of the fact that the Le Trésor Maudit de Rennes-le-Château was released by Julliard Publishers last year and recently in paperback format by “J’ai Lu” Publishers. Unless…’

Charlot – ‘Unless?’

Marie-Madeleine – ‘The important thing is not that these documents are public, but that we have been brought together to look at them here. In my view, we should acquire Gérard de Sède’s book, which must be selling around here like hot cakes, and follow the clues that it provides.’

Inside “Flamand”, the newsagent-hairdresser of Rennes-les-Bains, during daytime. The rain has stopped. Flamand is cutting Charlot’s hair and giving Marie-Madeleine a shampoo, going from one to the other.

Marie-Madeleine – ‘I am at page 110, which reads “The texts have indeed been encoded through a double-key substitution, followed by a transposition on a chessboard.” A very technical paper by Commandant Lerville, president of the “Association des Réservistes du Chiffre” (Association of Cipher Reservists).’

Charlot – ‘Let’s start with the chessboard. On my document, there are 128 letters, namely the contents of two chessboards
.’Marie-Madeleine – ‘On mine, there are 128 letters too many, which prevent its understanding.’

They take down the letters from their documents, in sequence, which Marie-Madeleine transcribes with red lipstick on the hairdresser’s mirror.

Namely,

(1) Charlot (2) Marie-Madeleine

CTGITNOB

LEMARIED

ENEGREDA

RLESDAME

DHAUPOUL

DEBLANCH

EFORTAGE

EDESOIXA VCPSJQRO VYMYYDLT POHRBOXT ODJLBKNJ FQUEPAJY NPPBFEIE LRGHIIRY BTTCVXGD

NTESEPTA

NSDECEDE

ELEXVIIJ

ANVIERMD

COLXXXIR

EQUIESCA

TINPACEP

SPRAECUM LUCCVMTE JHPNPGSV QJHGMLFT SVJLZQMT OXANPEMU PHKORPKH VJCMCQTL VQXGGNDT

Marie-Madeleine – ‘Commandant Lerville mentions further that errors have been introduced on purpose in order to send the reader on the wrong track.’

Charlot – ‘This serviceman is a joker as, on the contrary, the errors help discover the eight-letter keyword, namely MORTEPEE, from the eight spelling mistakes in my document.

Marie-Madeleine is surprised as she can only identify six mistakes. In fact, she does not know that the lady in question was called Negri d’Ables and not Negre Darles. They both rejoice for scoring two extra points over the computers of the Association of Cipher Reservists of Commandant Lerville. One only has to apply https://www.youtube.com/watch?v=Nnu1E5Kslig

MORTEPEE over one of the two texts, either of them. We select the text from Marie-Madeleine which from (2) becomes (3), as follows:

JRINOHXT JNFSDTQZ DEAMGFCZ CSCGGBSO SGNZVQOD BFIVKUNJ ZHZCNZXD OJMXBNLI ZKUXBDZJ XXIIUXYB EZABRCKZ GLCGEHRZ CMSIUURA DDDJXGPM JZUHHQZQ JGPBLEIZ

What Commandant Lerville calls a “second key” (double-key substitution) is also the “second keyhole”, which consists in applying to character set (3) the key formed by character set (1) which is likewise similar. Namely:

CDLUVEVL DEEIAEEN RELECIBE SEAOMTAH DAIAXRHS DPEECOCM GEMNDJEC ODIUMEIA XGPUCDEP RQDSFELE OAAISROL EDNEEGTX RINEEACU ETBPRRXE TAITTISA NNAPSLNX

Marie-Madeleine – ‘There is the double chessboard of Commandant Lerville which Gérard de Sède was not capable of explaining. So what?’

Charlot – ‘So what, Eleanor?’

Marie-Madeleine – ‘So what, Heliodorus?’

They are standing under the white horse of Saint Sulpice church.

Charlot – ‘You are a genius Marie. It is the most famous key of the secret alphabets, the one about the “Knight’s Tour” over a chessboard. It is a patience game that consists in making a lone knight leap over all the squares of a chessboard without passing once over the same square. Unfortunately, neither you nor I know this patience game, and even if we did, there are about one hundred solutions with which we would have to scrabble, which could take days, possibly months!’

Marie-Madeleine could weep over this.

Marie-Madeleine – ‘My kingdom for a horse.’

Charlot – ‘Fortune hard to find.’

Marie-Madeleine and Charlot are morose over lunch in the dining room of the Hôtel des Thermes Romains. It’s hopeless. The door slams three times with the wind. Irritated, Charlot gets up to shut it and comes to a standstill in front of the door; an Empire-style cabinet depicts an angel standing on a ball and brandishing a crown, accompanied by four bees.

Charlot – ‘The angel! The bees that form a cross! The Chapel of the Angels! Where is the church of Rennes-les-Bains? Where is the cemetery?’

Marie-Madeleine – ‘Over there, I think.’

Charlot – ‘Come!’

They arrive at the church and go through the cemetery where there is a superb lime tree.

Charlot – ‘The lime tree; we are getting hot. Between the lime tree and the church, there is a tomb for us.’ They discover the grave of Jean Vie mentioned page 125 of their paperback, which reads “Here rests Jean Vie, born in 1808, made parish priest in 1840, deceased on 1st September 1872. Pray for him.”

Charlot – ‘There it is, the chess game; 1808 to 1840 and 1840 to 1872, or 32 white years and 32 black years. Wait, wait; the cemetery, the passage with the crosses, the Way of the Cross in the Chapel of the Angels in the church of Saint Sulpice in Paris…What was written on the 7th Station? Was it “Jésus épuisé retombe”(Exhausted, Jesus falls down again)?

Marie-Madeleine – ‘I remember. It read “Retire-moi de la boue que je n’y reste pas enfoncé” (Pull me out of the mud so that I don’t remain stuck in it).’

Charlot – ‘That’s it; he is in the mud and we must get him out of it. ’

He digs the ground to the left of the grave, near the old stone decked with flowers, and discovers a strange copper plate, covered in verdigris, with a deeply engraved grid. It gives the circuit of the “saut du cavalier” (knight’s leap). After a rigorous cleaning in the river Sals nearby, Charlot applies the circuit to the text of the double chessboard previously mentioned, through which one can read:

BERGERE PAS DE TENTATION

QUE POUSSIN, TENIERS GARDENT LA CLEF

PAX DCLXXXI

J’ACHEVE CE DAEMON DE GARDIEN

A MIDI

POMMES BLEUES

Faced with that new problem, Marie-Madeleine becomes discouraged. Will the search never end? But now nothing can stop Charlot who cannot get his words out quickly enough. Poussin and Teniers are two painters who won fame with the “Shepherds of Arcadia” and “The Temptation of Saint Anthony” respectively. The shepherdess belongs to Poussin, in the same way that the temptation belongs to Teniers. If they can hold the key, it is because there is no longer a keyhole for that object, and that the parchments were not anterior to the Revolution and did not come from Antoine Bigou, but were from 1861, the era of the third painter.

Marie-Madeleine – ‘What third painter?’

Charlot – ‘The one with the horse of God that rears up over Heliodorus.’

Marie-Madeleine – ‘Delacroix?’

Charlot – ‘The citizen Delacroix, formerly Mr. de Lacroix.’

Marie-Madeleine – ‘But what about the pommes bleues (blue apples)?’

Charlot – ‘Think about another cavalier (knight, also gentleman), more recent, and his connection with apples.’

Marie-Madeleine – ‘Ma pomme (my face or head), c’est moi (it’s me!)!

Charlot – ‘You’ve got it; it is Maurice Chevalier.’

Marie-Madeleine – ‘But how can ma pomme be blue at noon?’

Charlot – ‘If it is lit up at noon by the light through a blue stained-glass window representing apples. It would not be any midday, of course, but that of January 17th in the Chapel of the Angels of the Saint Sulpice church in Paris; a midday that will give you an astronomical head.’

Marie-Madeleine – ‘Funny, except that there are no pommes bleues (blue apples) on the stained-glass window of the Chapel of the Angels.’

Charlot – ‘Are you sure? Shit, it’s too bad.’

Marie-Madeleine – ‘Wait! Yes, there were some when Delacroix came to inaugurate the chapel; the stained-glass window represented Adam and Eve expelled from Paradise because of a blue apple that the angel had thrown on the ground.  https://www.youtube.com/watch?v=kU8OJAOMbPg

tHIS stained-glass window had been mysteriously broken in 1900 and replaced the following year.’

Charlot – ‘Perfect.’

Marie-Madeleine – ‘What do you mean, perfect? If the blue apple is broken, what can we do?’

Charlot – ‘That the apple is blue or that the blue is an apple is irrelevant, since all that matters is for you to position ta pomme (your head) at the right place within the allocated time, and then look.’

Marie-Madeleine – ‘Look at what?’

Charlot – ‘The horse of God, namely that of Heliodorus thrown out of the Temple. From where you are, there is a detail that cannot be seen from anywhere else.’

Marie-Madeleine – ‘So, will we have to return to Paris?’

Charlot – ‘Something tells me that Heaven is on our side. Do you want a bet that your bad photograph was taken from the right place? In fact, the horse profile provides a geographic region, the map of Rennes-les-Bains and the itinerary for the treasure.’

Charlot and Marie-Madeleine are going through a rugged area. The landscape is marked by the contrast between the black rock and the white rock.

Marie-Madeleine – ‘And PAX DCLXXXI, what does that mean?’

Charlot – ‘If you translate this into Arab numerals, you obtain 681; a play between the golden number 1.681 and 1861, the date of the painting by Delacroix. Historically, 17th January 681 commemorates the arrival in Rennes-le-Château of the Rejeton Ardent (Ardent Kid), son of King Dagobert II, Lorraine’s survivor on the white horse of Merovaeus Levi. As for PAX, it is the inscription on the Labarum, “oriflamme” preserved in Saint-Denis, the scarlet flag that leads to victory.’ Marie-Madeleine – ‘Well, what shall I do?’

Charlot – ‘Wait here, or over there, at the place I marked with a cross on the map. In any event, I will find you.’

The landscape is rocky and thorny. Charlot strips to his underpants and, with just two watertight electric torches, climbs a rough slope on all fours.

Charlot – ‘Hello, explorers of Montferrand and of Cardou, diggers of tunnels in churches and cemeteries!’

After a last glance at the countryside, he crawls through a rocky crack called ‘catin’, which one could pass a thousand times without noticing, advancing through a narrow bottleneck. At the end of a rather short leg that seemed interminable, he reaches a junction in a cesspit. ‘Cellis or arcis?’ ‘Right or left?’ ‘Let’s go left, and long live the King’. Face down, he crawls through a whitish gunk with emanations that bring tears to his eyes and make him cough. After about thirty metres, the narrow passageway meets a smooth vertical wall where the previous dragoons carved a few notches in the rock. A little rivulet oozes from the sixth notch. Charlot nearly loses his balance, his knee hitting the stone harshly. Painfully, he reaches a solid platform at the top where, coated in white and with blood running down his leg, he advances looking like a limping ghost.

At an elevated vaulted crossroads in the middle of the platform, there is the tomb of the Great Roman. Two inscriptions on the plinth celebrate the one whose hermetically sealed lead coffin does not bear a single scratch. Charlot kisses the tomb. There is no sign of a treasure, other than some copper veins on the inner walls of the vault. Several caves plunge into depths that the ray of the torch cannot reach. There is a deadly passage under a collapsing vault; this is the right passageway that Charlot thanks Heaven for disregarding earlier.

The caves are flooded at knee level; however one can walk on all fours on a low narrow side wall made of tiles piled up on one another without cement. The ceiling is whitish and made of somewhat friable stone. Progress is slow. Charlot stops to get his breath back, switches on his second torch, and, to kill time, lifts a tile to see how tileries worked in the past. The tile is very heavy as it is made of gold, which transpires after scratching it with a nail. With such a tile, one can live comfortably for two years, and there are kilometres of the same, that is to say millennia of going on a spree. But to carry that tile on all fours when one is naked in the cold and one sees behind oneself the trail of blood that marks out the travelled route, is not fun; life is not fun anymore, bloody hell!

Charlot – ‘Bloody hell!’

The Echo – ‘Hell!’

He replaces the slab on the low wall, where he found it, and covers it up with dust, as he found it, then continues on his return journey through the cave until he finds himself back behind the tomb of the great Roman. The smooth vertical wall that was so difficult to climb seems vertiginous on the way down. Somewhat haphazardly, Charlot follows another passage and is rather satisfied by his choice on seeing daylight in the distance. However, to his horror, the cave that opens to daylight is the residence of the Great Roman’s sentries. These are corpses buried half way in a hole, brandishing their curved tile, like a cripple would brandish a leg-iron. These are people of different ages in death, as there are perfect skeletons amongst them, together with figures so well preserved by the atmospheric conditions that they resemble stars from the Grévin Museum. Charlot – ‘‘Terribilis est locus iste’

He infiltrates the dead, slips on a shinbone and falls, his head hitting a skull which separates from its trunk with a sharp snap. His hand looks for support and rests on a round object, a coin. The sun light falls in the cave which is dazzling under piles of diverse silver and gold plates. Here is the store of the multimillionaire little priest.

A torch is still lit. Charlot leans forward above the drop. Here death; in the distance, the beautiful ruin guardian of the sword; over there, down below, it must be the light-coloured dress of Marie-Madeleine, but she cannot see the ray of the torch in her back. One can shout, she cannot hear.

Retracing his steps inside the cave, Charlot notices a gallery which descends slowly. He crawls more than he walks. His eyes are burning and his breathing is more and more laboured. But then, he reaches a dead end. He screams, falls to the ground, screams again and faints. Marie-Madeleine heard the voice that seemed to originate from under a large stone. She clears some shrubs, small stones, and soil, and, with great difficulty, extricates this poor young Lazarus risen from the dead. She washes off the white coating, tends to his wounds, wraps him in the sleeping bag and gives him a tipple of rum. Thank you.

Marie-Madeleine – ‘The most beautiful girl in the world can only give what she has.’

Charlot – ‘Not true. She doesn’t give it, she lends it; I have lived, I know what I am talking about.’

Marie-Madeleine – ‘How much do you want to bet?’

Charlot – ‘Nothing, I am poor.’

Marie-Madeleine – ‘Wasn’t there a treasure?

Charlot – ‘Bloody hell!’
The Echo – ‘Hell!’
He replaces the slab on the low wall, where he found it, and covers it up with dust, as he found it, then continues on his return journey through the cave until he finds himself back behind the tomb of the great Roman. The smooth vertical wall that was so difficult to climb seems vertiginous on the way down. Somewhat haphazardly, Charlot follows another passage and is rather satisfied by his choice on seeing daylight in the distance. However, to his horror, the cave that opens to daylight is the residence of the Great Roman’s sentries. These are corpses buried half way in a hole, brandishing their curved tile, like a cripple would brandish a leg-iron. These are people of different ages in death, as there are perfect skeletons amongst them, together with figures so well preserved by the atmospheric conditions that they resemble stars from the Grévin Museum. Charlot – ‘‘Terribilis est locus iste’
He infiltrates the dead, slips on a shinbone and falls, his head hitting a skull which separates from its trunk with a sharp snap. His hand looks for support and rests on a round object, a coin. The sun light falls in the cave which is dazzling under piles of diverse silver and gold plates. Here is the store of the multimillionaire little priest.
A torch is still lit. Charlot leans forward above the drop. Here death; in the distance, the beautiful ruin guardian of the sword; over there, down below, it must be the light-coloured dress of Marie-Madeleine, but she cannot see the ray of the torch in her back. One can shout, she cannot hear.
Retracing his steps inside the cave, Charlot notices a gallery which descends slowly. He crawls more than he walks. His eyes are burning and his breathing is more and more laboured. But then, he reaches a dead end. He screams, falls to the ground, screams again and faints. Marie-Madeleine heard the voice that seemed to originate from under a large stone. She clears some shrubs, small stones, and soil, and, with great difficulty, extricates this poor young Lazarus risen from the dead. She washes off the white coating, tends to his wounds, wraps him in the sleeping bag and gives him a tipple of rum. Thank you.
Marie-Madeleine – ‘The most beautiful girl in the world can only give what she has.’
Charlot – ‘Not true. She doesn’t give it, she lends it; I have lived, I know what I am talking about.’
Marie-Madeleine – ‘How much do you want to bet?’
Charlot – ‘Nothing, I am poor.’
Marie-Madeleine – ‘Wasn’t there a treasure?

Charlot replies in the affirmative; he says that there was a dreadful one and a fabulous one, enough to sustain various empires, but, in truth, he’d rather die than touch it.
Charlot – ‘We will wait until someone from the rond de lis (fleur-de-lis circle) claims it or an honest Head of State turns up, which can happen sometimes.’
Marie-Madeleine – ‘But what about you?’
Charlot – ‘Free, loved by the most beautiful girl in the world. What else can one ask for?’
Marie-Madeleine – ‘I’ve already loved a lot.’
Charlot – ‘Then, a lot will be forgiven to you.’
Marie-Madeleine – ‘It’s a rumour that’s going round.’
Charlot – ‘Let’s run as fast as the rumour, my angel.’