by Knox, Tom
‘Eleanor …?’
Suddenly she saw it: just under the window, screwed to the wall, concealed by the sill, was a tiny metal box. Karen leaned down and examined the device. It was a relaying speaker, miniaturized and expensive, wired directly into the wall. A tiny red light showed that it was on.
So that was how Rothley had tricked her: by relaying the voice of her daughter, expertly tormenting her, seducing her with fear. But was it a recording? Or was it live? Was he here with her anyway? Was she somewhere else? Maybe even lost in this maze of dingy cellars?
Despair began to strangle Karen’s feeble hopes. She was never going to find her daughter, the whole thing was a game, his game: he was playing her for repulsive fun. Probably there was some tiny CCTV camera in here as well, disguised by the plaster cornicing, or hidden in the grime, through which he was watching and revelling in her despair.
Karen spun around, shouting at the ceiling, at the high and peeling walls. ‘Fuck you!’
She didn’t really care if there were cameras or not: she was beyond reason now. She just wanted to shout. So she did.
‘Where is my daughter? Give her back to me! I am here! Take what you want, but give my daughter back! Fuck you!’
A rat scuttled, somewhere – probably in a wall cavity – alarmed by her shouts; but the only other response was a shocked silence. As if this derelict and dying old building was affronted by her vulgar outburst.
Karen took deep breaths. ‘Come on, Karen. Think.’
She was a policewoman; she needed a reminder of that. She could work this out, sort it, unpuzzle it. What clues did she have? It was clear Rothley had been in here, to set up this noxious and ornate charade. He must have left clues.
Stepping into the centre of the room she looked around. In the corner, opposite the lamp, stood four foot-high stone jars, curvaceous and elegant, cream-coloured, neatly arranged. Only the carved stone lids differed: one was sculpted as a hawk’s head, one as a serpent’s head, one as a dog’s head, and the last a jackal’s. Karen had seen jars like this before … but where? She sieved her memories. Frantic and fast. Where?
At last it came to her. She’d seen jars exactly like this on her many visits to the British Museum with Eleanor. They went there often, because Eleanor loved the totem poles and Viking swords and big stone lions. And she really loved the mummies in the Egyptian rooms.
Karen did her best to ignore her intense, intense fear as she approached the jars. But the fear got her anyway. These, she now recalled, were alabaster Canopic jars. Special vessels used by ancient Egyptians for the preservation of human viscera, the internal organs of dead people. The lungs and lights were extracted from the body before mummification and kept in these ritual containers, to be left in the tomb alongside the disembowelled corpse.
Human remains?
Whose human remains were in these jars?
She knew. It would be Eleanor in here. She was going to open the jars and find Eleanor’s vital organs: her little liver, her tiny six-year-old heart …
Karen trembled with the terror, and struggled to hold back the tears. Then she seized her courage. ‘Fuck you, Rothley.’
She plucked off the top of one jar. It was empty. And the next? Karen slapped the lid away, with a clatter. This jar was empty too; so she flipped off the other two lids. And her heart paused. The final jar was not empty: it was full of some kind of viscous, amber-coloured oil. Black things floated in suspension.
Karen tilted the jar and poured some of the contents onto the floor. The black things were the severed heads and wings of beetles. Scarab beetles. The smell was sickly sweet.
She shuddered in horror, and relief. All this, she knew, was designed to unnerve her, to prolong and attenuate her terror; and it was working. Karen slapped the lid back on this last jar, sealing the dregs of liquor inside. Then she whirled around. What else was in the room?
Three white cats were lined up, stiff and dead, in the opposite corner. Karen crossed the room and knelt before them. Their fur was a pure, snowy white, unearthly in the dust. The only marks that blemished them were gory scarlet stains at the groin. Karen looked closely. No, they weren’t stains, they were wounds. The cats had been crudely castrated. They had been tom cats, and someone had scissored off their genitals.
She stifled her nausea. And tried to work out the puzzle. Because Rothley, in his passionate and elaborate cruelty, might just have made a mistake. And left a clue.
The lights. The jars. The cats. The cats were key …
A noise disturbed her. A kind of violent flapping. She turned, terrorized. Her mouth quite open and dry.
The window was now wholly and instantly obscured, because some huge thing was trying to get in, something like a bat, but a monstrous bat, two yards wide, engulfing the window, flapping and growing, angry and maddened, attempting to get through the glass.
The flapping intensified. Karen backed away, consumed with horror, yet transfixed.
What the fuck was this? The animal – but it wasn’t even an animal, it was a demon, a desperate horrible thing – this thing was scratching at the glass, with claws, or hands, and the flapping was so loud and so very intense, as if the thing was trapped outside, furiously trying to get in, to get at Karen …
And then it was gone. Disappeared.
Karen stood there in the room, panting with fear. What had she just seen? She could make no sense of it.
It was the last thing she wanted to do, but she had to do it. Gripping her emotions, Karen walked across the room to the barred window and stared out into the gloom, cupping a hand to the side of her face to shield the light.
A tarpaulin was flapping noisily over the window next door, snagged on the iron bars. It was vast and it was black, and it had obviously come loose in the wind and sleet, first catching on this window, then on the next. Maybe it had been used to protect a skip; perhaps it was something the builders had installed to shelter machinery, but it had come loose in the brutal cold wind and momentarily covered the window.
So in her heightened state of terror, amped to perfection by Rothley’s hideous theatrics, she had managed to turn a humble sheet of black tarpaulin into a demon.
For a moment Karen breathed more easily. She wasn’t going mad, she hadn’t been bewitched, Rothley wasn’t really a sorcerer or a magician: he was just a sadist and he could be found and she could save her daughter.
Then a tiny voice froze the thoughts in Karen’s mind. A little girl’s voice.
‘Mummy?’
Eleanor? It sounded like Eleanor, but very, very far away this time. Or very muffled.
‘Mummy …’
There it was again. It was real and it was agonized and it was coming from below.
Karen flung herself to the floor, pressed an ear to the cracks in the floorboards, and heard it again.
‘Mummy, please help me, please, please come and get me.’
The voice was so tiny and muffled, and yet very near.
‘Mummy Mummy Mummy.’
Karen shouted through the cracks, ‘Eleanor, where are you?’
‘M’under here, Mummy, I’m down here.’
Karen spun around, frantic. What was down there? Under the floorboards? The searching memory of the girl with the severed fingers pitched her into a deeper panic.
‘Where? Eleanor? How do I get there, darling? Tell me!’
‘Here … here … down here. Find me …’
The voice was fading, and dying, fading into the sound of tears, then nothing.
Karen searched the floor, looking for newer floorboards, nailed down, recently replaced, but there was nothing. Then she saw the trapdoor. In the far corner. By the threshold. She’d stepped right over it. Karen raced over to it; it had a finger hole in the centre and she forced two fingers in and lifted up. A black socket yawned. Like that old tin mine in Cornwall. Karen turned on her torch, and directed the light into the blackness. Wooden steps descended into the murk, tinged with faint orange, or yellow, like th
e shadow of firelight.
‘Mummy?’
Eleanor was here. There was no mistaking that. Eleanor was down in this cellar. Alive. This was no relaying speaker. She could save her.
Then she heard another voice. A man’s voice.
‘Atha atha atharim.’
40
Aswan, Egypt
‘It means the beloved,’ Ryan said, looking at Helen.
She frowned, and gazed down at the hieroglyph.
Beyond her, outside the scuzzy internet café, central Aswan wilted in the noonday heat; empty cruise boats were moored and rusting by the riverside pier; unemployed taxi drivers sat yawning, in their white turbans, on the benches, waiting for the tourists who would never come. Other than them it was just Ryan and Helen in here, a couple of hardy backpackers, and the café owner. Albert had gone to church. His behaviour was becoming increasingly bizarre.
Helen traced the hieroglyph with her finger. ‘I cannot read hieroglyphs, but these symbols refer to Isis?’
‘Yes,’ said Ryan. ‘But the importance is the sounds that they also imply. M-ry. Beloved is pronounced M-ry. Egyptian has no vowels.’ He wrote it down.
M-RY
‘OK,’ said Helen, and her expression showed her comprehension. She understood. ‘And show me those other images again – the ancient Egyptian depictions of Isis with Horus.’
‘Of course.’ Ryan turned to his computer screen. ‘Here.’
The screen showed a picture of Isis suckling a baby on her lap: her godly son Horus.
‘So … it is just like the Madonna with child, on her knee. The Blessed Virgin with Jesus?’
Ryan nodded. ‘Yes. Exactly. The image of Isis, M-ry, the Beloved, with Horus, is the template the early Christians used for Mary, the Beloved, with baby Jesus.’ Ryan was feeling something he hadn’t felt in many years: vindication, triumphant vindication. He had unlocked the Macarius puzzle, with only a half or a third or even a fraction of the documents: he had done it.
‘This is why the Copts defaced Isis repeatedly and viciously in the temple of Philae. Especially when they showed her suckling Horus. Here, see …’
Helen stared. Ryan went on,
‘They knew that the whole idea of the Virgin, of Mary, even the name Mary, had come from Egypt, not Israel, not from any historical event. They even stole her name. M-ry. Mary. The Beloved.’
‘What else?’ Helen asked. ‘What else proves this?’
‘The whole idea of the conception of Jesus comes from Egyptian mythology. That’s what the frieze at Luxor is. A god comes down and impregnates a woman, she is told by an angel – a deity – that she is pregnant, and behold, she gives birth to a divine child. All of this written on a temple wall: a thousand years before Jesus.’
The café was dark, but Ryan felt as if he had seen the light.
‘Once you make the connection, the evidence is overwhelming. According to some legends Horus, the son of Isis, was born on the winter solstice, in a manger. The birth of Horus was announced in the East, and he was attended by “three wise men” – they are shown at Philae. Horus was baptized by Anup the baptizer, who was later beheaded just like John the Baptist. In Abydos, at the temple of Seti I, his mother Isis calls herself “the great virgin” – I’ve seen it myself many times, so many times, it was staring me in the face …’
Ryan turned back to his computer, tapped the keyboard, and read out, ‘The very scriptures are completely lifted: in Pyramid Text 1/5 the Sky Goddess, speaking from heaven and talking about the dead god, says, “This is my son, my first-born … this is my beloved, with whom I have been satisfied—”’
Helen interrupted. ‘Matthew, chapter three, verse seven: “And Lo, a voice from heaven saying, This is my beloved Son, with whom I am well pleased.”’ She shook her head. ‘Again, impressive. Anything else?’
‘Endless!’ Ryan said, smiling. ‘It’s endless! Horus was also known as “the Way the Truth the Life”, as the Messiah, and as the Son of Man. And as the Good Shepherd, the Lamb, the Holy Child, and as Iuse – Iusa! – Jesus! – which means the Holy One. He was also called “the anointed one”. This is what must have shaken Sassoon to the core. This is why the Israelis want to destroy the Sokar Hoard. It proves that Judaism is descended from Egyptian faith.’
‘And what about Moses?’ asked Helen. ‘How does he fit in?’
‘Moses we now know was Egyptian, but monotheism was also Egyptian. Freud may well have been right: Moses was just an Egyptian priest, possibly a priest of Akhenaten. Consider the great hymn of the Aten: “I regulated the course of the sun and the moon”. It’s Genesis, but Genesis written by the Egyptians.’
‘But the Exodus—’
‘Never happened. There were no Jews in Egypt in 1500 BC: that’s why there’s no archaeological evidence for it. Which has always puzzled historians. Six hundred thousand Jews moving across Sinai, even six thousand Jews … I mean, you’d see something, right? Some evidence? Yet there is nothing.’ He rushed on eagerly. ‘Yet monotheism started in Egypt with Akhenaten. We know that for sure. So how did it reach Israel and the Jews? It was taken from there by a heretic Egyptian priest, Moses, maybe with some followers. The Bible hides this awkward fact by pretending Jews were enslaved in Egypt, which is nonsense; but they can’t admit that the central claim and narrative of Judaism, the story of Moses the Jew, is a total fraud. Yet there are hints in the Bible, in the Talmud, that Egypt is key. All the great biblical figures supposedly spent time in Egypt – Abraham, Moses, Joseph, Jeremiah, even Jesus in the New Testament – they were all in Egypt at some point. The Egyptian DNA of Judaism is still visible, there in the Bible, but it is concealed.’
‘Wait.’ Helen’s smile was gentle, but her glittering eyes showed that she was excited too. ‘Wait.’ She turned and gestured to the café owner, bored and listless on his stool. ‘Salaam. Kharkadil?’
‘Aiwa.’ The man nodded, and went to his fridge. He took a jug of deep purple hibiscus juice and poured two glasses. Then he brought them over and set them down. Ryan drank. The juice was always good, but right now it was the most delicious drink he had ever tasted.
Helen sipped, and asked, ‘So what about the Copts?’
‘They are crucial. They are like archaeopteryx, in palaeontology.’
‘Sorry?’
‘The first prehistoric bird, which retains some reptilian features. Showing that birds evolved from dinosaurs.’
‘OK.’
‘The Copts retain features that show they are descended from Pharaonic times: the hieroglyphs in the alphabet, of course, and the orant – their way of praying – that’s ancient Egyptian. And that funeral rite we saw in Tawdros: that’s Egyptian. Even their churches are often built out of Egyptian temples. Tawdros again.’
‘But why are the Copts so important?’
Ryan smiled, exultant. Sassoon would have been proud of him. ‘Because early Coptic Christian Egypt was the place where Christianity was codified, written down, made up. It was done in Alexandria, where all the great scholars lived, Jewish and Christian, Gnostic and pagan, right next to the great and famous library. The first evangelist, Mark, founded the Coptic church in 70 AD. In Alexandria.’
‘The ankh!’
‘Exactly. The cross only appears as a Christian symbol in, what, the late second century? Before that, the symbol of Christians was usually the fish, or the Chi-Rho monogram.’ He was almost rushing his words now; he didn’t care. ‘Then the early Egyptian Christians realized the power of the cross – because they were no doubt inspired by the power of the ankh. The great Egyptian symbol, so very similar to a cross. I saw it in Cairo: that’s what those antiquities in the Coptic museum reveal, the ankh evolving into the cross. And this fits with the documentary evidence, too. The first historical citation of the cross as a Christian symbol is made by an Egyptian – Clement of Alexandria – in the third century.’
Helen shook her head. ‘So the entire Jesus story is a myth? It is just the story of Horus?’
&nbs
p; ‘No. Well, no, not entirely. There probably was some charismatic Jewish prophet, or faith-healer, probably called Jesus, there is a bit of evidence for that; some agitator who annoyed the Romans and the rabbis, but the story of the Virgin Birth, the entire Nativity, that’s pure Egyptian: the story of Isis and Horus. The Jewish and Christian scholars in Egypt must have folded it in, to attract and gather the faithful. They knew that Isis was wildly popular across the Mediterranean world, so they added in all the best bits of her story.’
‘And the Resurrection?’
Ryan swallowed some kharkadil. ‘Probably another Egyptian invention. The Resurrection doesn’t actually appear in the authentic gospel of Mark, the first gospel: it’s added later, but anyway it’s just the story of Horus, and of the Aten, the Egyptian sun god, the sun goes down at the winter solstice, the three darkest days, then it re-emerges. It’s the same mythology: Sunday, the day of the sun, Easter Sunday … Hello, Albert.’
The Coptic dealer had entered the café quietly. How long had he been standing there, behind them? It was a little stealthy.
He smiled at them. ‘‘‘The Christian religion is a parody on the worship of the sun, in which they put a man called Christ in the place of the sun, and pay him the adoration originally paid to the sun.”That’s from Thomas Paine, I believe.’ He pulled up a chair and sat down. ‘Go on, please, I have been listening. It is fascinating. You have decoded it, my friend, decoded it!’
‘Well, perhaps.’ Ryan shrugged.
‘No,’ Albert insisted. ‘This is it! Please, do not allow me to interrupt.’
Helen said quietly, ‘OK then. Do we have any proof that it was all written in Egypt? Other than Macarius?’
‘Yes.’ Ryan suppressed his exultation, ‘Oh yes. Remember how Macarius said, “I went to the great library, but it was destroyed”? That’s because the early Christians burned the greatest library in the world, full of pagan and Jewish lore and knowledge: they sacked it repeatedly. And why? Why did they burn it down? Because they wanted to annihilate evidence for the Egyptian origins of the faith.’