by Will Adams
The guard heard the dog, picked it out with his torch, then stooped for a stone that he hurled hard. It missed its target but provoked a furious barking. The guard came closer. Knox could see dots of moonlight gleaming on his polished black boots. His second shot caught the dog a glancing blow on its hind leg. It yelped and bounded away. The guard laughed heartily then turned and walked off.
'Let's get out of here,' pleaded Omar, once he'd vanished from sight.
'Just a little further,' said Knox, dusting himself down. He hated playing the bully, but this place needed checking out. They soon came to a sandy embankment, a yellow glow on the other side. Knox crawled up on his elbows and knees, that familiar metallic tang at the back of his mouth as he peered over the top. Griffin and a young man with buzz-cut blond hair were standing by the rear of a pick-up backed against the open door of a squat brick building, its interior light on. Two more young men emerged with a crate that they lugged onto the flatbed. Their hair was cropped short too, and they were wearing identical cornflower blue shirts and khaki trousers.
'That'll do for now,' said Griffin. 'We'll have to come back anyhow.' He locked up the building, got into the pick-up, the three young men climbing up onto the back.
'What are they doing?' whispered Omar as the truck drove off.
'Clearing out their magazine. So that we won't find anything incriminating tomorrow.'
'Let's go to the police. We'll tell them everything.'
'They'll have hidden it all by the time we get back.'
'Please, Daniel. I hate this kind of business.'
Knox took out the keys to his Jeep, closed Omar's hand around them. 'Go wait for me,' he said. 'If I'm not back in an hour, go get the police.'
Omar pulled a face. 'Please come with me.'
'We need to find out where they're putting this stuff, Omar. You must see that.' And before Omar could protest, Knox got to his feet and jogged across the broken ground after the pick-up, its rear lights shining like a demon's eyes in the darkness.
II
Lily felt a little sheepish as she emerged from Stafford's room. 'He has some urgent phone calls to make,' she told Gaille, waiting outside. 'Is it essential that he comes with us?'
'It's your documentary,' shrugged Gaille. 'Fatima just thought you might be interested, that's all.'
'And we are. Don't think we don't appreciate it. It's just…'
'He has phone calls to make,' suggested Gaille.
'Yes,' said Lily, dropping her eyes. Stafford had discovered the Internet connection in his room, was now happily catching up with his email, checking out his latest sales figures and running searches of his own name to see if anyone had written anything nice about him recently.
She followed Gaille out of the compound's back gate straight into the desert. Her feet sank into the soft dry sand, making her camera equipment feel twice as heavy.
'You want help with that?' asked Gaille.
'If you wouldn't mind.'
'So you're Stafford's camera-woman, are you?' said Gaille, taking a bag.
'And producer,' nodded Lily ruefully. 'As well as sound engineer, gofer, runner – everything else you can think of.' Stafford had apparently been all for luxury and large crews while he'd been working on someone else's dime. But he'd grown increasingly affronted at the thought of anyone else making money from his work, so he'd set up his own production company, intending to hawk the finished product to broadcasters. He'd duly cut costs to the bone, hiring inexperienced staff like herself and bullying them so mercilessly that her three colleagues had walked out just a week before, landing this whole nightmare of a trip on her shoulders. She'd hoped to be able to rely on local help, but Stafford's high-handed manner had driven even those away. 'Not that I get to do as much camerawork as I'd like. Charles does his own whenever he can.' She allowed herself a small smile. 'I think he has this image of himself as an intrepid solo desert adventurer. He likes to keep adjusting the settings while talking to camera, so that viewers will think him out here on his own. I just film when he's interviewing people, or if we need a pan or zoom.' They reached the entrance to the site. Gaille unlocked the wooden door, turned on the generator, gave it a few moments to warm up before flipping switches and leading Lily down eerie corridors of crumbling sandstone to a cavernous new space. 'Wow!' murmured Lily. 'What is this place?'
'The inside of a pylon of a Nineteenth Dynasty Temple of Amun.' She pointed to a mound of bricks in the far corner. 'And these are what I brought you to see. They're Ancient Egyptian bricks called talatat. They were used by-'
'Whoa, whoa,' interjected Lily. 'I can film this, yes?'
'If it's light enough in here, sure.'
Lily patted the side of her Sony VX2000. 'This thing's a marvel, believe me. It'll look wonderfully atmospheric.' She'd grown to love cameras. It hadn't always been that way. When she'd first encountered them, at children's parties and at school, she'd feared and hated them. It was bad enough having other children stare at her birthmark in her presence, but at least she'd been there to make sure they didn't say anything too cruel. Cameras had allowed them to take her ugliness away with them, to look at it whenever they chose, to poke fun at her and laugh and insult her to their heart's content, with no way for her to defend herself against it.
She'd been cursed with a runaway imagination, Lily. At times the thought of what the other children were saying about her had tormented her so severely that her only way of soothing it had been to imagine the moment of her own death, the sweetness of release. She'd started deliberately hurting herself, slapping herself across her cheek, jabbing scissors into her arm. But then one day her uncle had almost negligently given her his cast-off camcorder. She still shivered at the memory. Just holding the viewfinder to her eye concealed her birthmark, which had been wonderful in itself. But it was the power that it had given her that had been transforming. The power to make others look good or bad as she chose. The power to make them look gracious or sullen, ugly or beautiful. And she'd used that power too. She'd discovered a real talent in herself. It had given her identity and self-esteem. Most of all, it had given her a path.
She unpacked and set up the equipment, plugged in and put on her headphones, checked sound and light levels, hoisted the camera to her shoulder, turned it on Gaille. 'You were saying?' she asked.
'Oh,' said Gaille, taken aback. 'I thought you'd be filming the talatat, not me.'
'I want both,' said Lily, well accustomed to soothing stage fright. 'But don't worry. Charles already has his script. He's highly unlikely to make changes this late, believe me. And you'd need to sign a release anyway, so if you don't like it…'
'Okay.'
'Thanks. Now crouch down. That's it. Straighten your back and look up at me. No, not like that. Lift your chin. A little more. That's it. Perfect. Now rest your right hand on the bricks.'
'Are you sure? It feels very odd.'
'But it looks great,' smiled Lily. 'Trust me. I'm good at this. Now start at the beginning. Assume I know nothing. Which is, I'm afraid, shamefully close to the truth. So, then. What is this place? And what exactly are talatat?'
III
The pick-up's brake lights flared red and then vanished over a ridge. Knox kept his eyes fixed upon the spot and slowed to a gentler jog to gather his breath. He reached the ridge, crouched down to peer over it, but there was nothing the other side. He wandered the darkness for a while, was beginning to give up hope, when he heard a clang away to his right. He climbed another ridge to find the pick-up parked in a slight hollow on the other side, its engine off, lights out, no sign of life except for a gentle yellow glow emanating from a pit next to it.
With any kind of GPS, he'd simply have logged the coordinates and headed off to fetch the police. But without GPS, getting a fix was virtually impossible. The skyline was featureless except for the distant orange flame of natural gas burn off, the dark outline of twin power-station chimneys. He crept forwards. The pit proved to be a flight of steps leading down throu
gh a hatchway to some kind of atrium, a generator muttering away inside. He went over to the pick-up, just three boxes left on the flatbed. There was an earthenware statue inside the first, a young boy with a finger to his lips. Harpocrates, a deity popular among Egyptians, Greeks and Romans. He photographed it, was about to open the second box when he heard footsteps. He dropped instantly to the ground, slithered beneath the pick-up. The three young men emerged, came over, their boots by Knox's face, kicking up dry dust that made his throat tickle. They picked up the last boxes and went back down. But they passed Griffin on the steps, and he emerged a moment later, breathing hard. He came over and sat heavily on the flatbed, making its suspension creak, trapping Knox underneath. A minute passed. Two. The young men reappeared.
'Let's get that last load then,' muttered Griffin. They all climbed aboard and set off, leaving Knox exposed. He tucked his hands beneath his stomach, pressed his face into the hard earth, expecting to be spotted at any moment. But they vanished over the ridge without incident. Knox picked himself up, went back to the mouth of the pit. The light was still on at its foot, the hatchway open. Too good a chance to miss, even though Omar would doubtless be going frantic by now. He tiptoed down to the atrium, his heart in his mouth. No one inside, only a generator chuntering away in the corner. It suddenly started stuttering and coughing, sending vibrations through the floor, the lights dimming for a moment before they picked up again. He waited for his heart to resettle, checked his watch. Griffin would surely be at least fifteen minutes. He could allow himself ten.
Arched passages led left and right. He went left. The passage snaked this way and that, following the path of least resistance through the limestone. Lamps were strung out every few paces on orange electrical flex, their light coaxing nightmarish shadows from the rough-cut bedrock. The passage opened abruptly into a large catacomb, its walls cut with columns of square-mouthed loculi, an island of crates and boxes stacked in the centre. He photographed a skeleton in one of the burial niches, eye-sockets staring blindly upwards. The Essenes had considered death unclean; burial inside a communal area like this would have been unthinkable. It was a big blow to his Therapeutae theory.
A camera and ultraviolet lamps were fixed to a stand on a worktable. There were trays and boxes stacked beneath, a processing sheet taped to each, artefacts to be photographed. Knox opened one, found a clay oil lamp in the form of a leering satyr. The next box contained a silver ring; the third a faience bowl. But it was the fourth box that gave him the shivers. It was divided into six small compartments, and lying inside each of them was a shrunken, mummified human ear.
EIGHT
I
'We're currently inside the pylon of a Temple of Amun,' began Gaille, her voice echoing in the large chamber. 'It was completed under Ramesses II, but it fell into disrepair before being extensively rebuilt by the Ptolemies.'
'And its connection with Amarna?' prompted Lily.
'Yes,' blushed Gaille. 'Forgive me.'
'No need for forgiveness. You're a natural. The camera loves you.'
'Thanks.' Gaille smiled wryly, her scepticism clear. 'As you know, Egyptians typically built their monuments and temples with massive blocks of quarried stone, as with the pyramids. But cutting and transporting them was expensive and time-consuming, and Akhenaten was in a hurry. He wanted new temples to the Aten in Karnak and Amarna, and he wanted them now. So his engineers came up with a different type of brick, these talatat. They weigh about a hundred pounds each, light enough for a single construction worker to heave into place by himself, though it wouldn't have done much good for their backs. And after the walls were completed, they'd be carved and painted into grand scenes, like a huge television wall.'
'So how did they get here?'
Gaille nodded. 'After Akhenaten died, his successors determined to destroy every trace of him and his heresy. Did you know that Tutankhamun's name was originally Tutankhaten. He was pressured into changing it after Akhenaten died. Names were incredibly important back then. The Ancient Egyptians believed that even saying someone's name helped sustain them in the afterlife, one reason why Akhenaten's name was deliberately excised from temples and monuments across the land. But his talatat suffered a different fate. When his buildings were dismantled, the bricks were used as hard-core for building projects all across Egypt. So every time we excavate a post-Amarna site, there's a chance we'll find some.'
'And recreate the original scenes on Akhenaten's walls?'
'That's the idea. But it isn't easy. Imagine buying a hundred jigsaw puzzles, jumbling all the pieces up together, then throwing away ninety per cent and bashing up the rest with a hammer. But making sense of such things is what I do. It's why Fatima invited me down here. I usually work with ancient texts, but the principle's the same.'
'How do you go about it?'
'It's easiest if I explain with scrolls. Imagine finding thousands of fragments from different documents all muddled up together. Your first task is to photograph them all to scale and at very high resolution, because the original fragments are simply too fragile to work with. You then examine each one more closely. Is the material papyrus or parchment? If papyrus, what weave? If parchment, from what animal? We can test the DNA these days, would you believe, to see if two fragments of parchment come from the same animal. What colour is it? How smooth? How thick? What does the reverse look like? How about the ink? Has it smudged or bled? Can we analyse its chemical signature? Is the nib thick or thin, regular or scratchy? And what about the handwriting? Scribal hands are very distinctive, though you have to be careful with that, because people often worked on more than one document, and some documents were written by more than one scribe. Anyway, all that should help you separate the initial jumble into different original scrolls; rather like separating the jigsaw pieces I mentioned earlier into their different puzzles. Your next task is to reassemble them.'
'How?'
'Often we're already familiar with the texts,' answered Gaille. 'Like with the Book of the Dead, for instance. Then it's just a question of translating the fragments and seeing where they fit. But if it's an original document – a letter, say – then we look for other clues. Maybe a line of text that runs from one fragment to the next. If we're very lucky, multiple matching lines, putting it beyond doubt. More usually, however, we'll put similar themes together. Two fragments on burial practices, say. Or two episodes about a particular person. Failing that, fragments are, by definition, damaged. Is there a pattern of damage? Imagine rolling a sheet of paper into a scroll, burning a hole through all the layers with a cigarette, then ripping it up. The burn-holes won't just help you reassemble the scroll, they'll also tell you how tightly it was rolled in the first place, by the steadily decreasing distances between them. And scribes often scratched guidelines on their parchment to keep their writing level. We can match those scratches from one fragment to the next, by tiny variations in the gaps between them, like checking tree rings.'
'And there are similar indications with talatat, are there?'
'Yes,' nodded Gaille. 'Though they tend to be more elusive. For example, talatat are made either from limestone or sandstone. Limestone talatat typically go with limestone; sandstone with sandstone. And the composition of the stone is useful, too, because walls were often built with stone from a single quarry. But you can't rely too heavily on that. Paint residue can also be helpful, as can weather-damage. Maybe the bricks have been sun-bleached. Or maybe there was a leaky pipe nearby, and they've got matching water stains. Anyway, once we've done what we can, we try to reassemble them into scenes. Talatat are typically decorated either on their long side, which we call "stretchers", or on their short side, which we call "headers". Egyptians used alternate courses of stretchers and headers. That really helps. After that, it often really is a case of putting heads on torsos. Fortunately, many of the scenes are duplicates of each other, or of scenes that have already been reconstructed from talatat found elsewhere, so we know what we're looking for.'
Lily's ears pricked up. 'But not all?' she asked shrewdly.
'No,' acknowledged Gaille. 'Not all.'
'You've found something, haven't you? That's why you brought me down here.'
'Maybe.'
'Well? Aren't you going to tell me?'
'Oh,' said Gaille, dropping her eyes. 'I think Fatima wants that pleasure for herself.'
II
Knox picked up one of the shrivelled ears. The tissue had a slight sheen to it where it had been severed from the body, suggesting the cut was recent. He checked the loculi, quickly found a mummy missing its right ear, then another. He frowned, baffled, before belatedly remembering he was on the clock. His self-imposed deadline had already passed. He needed to get out of here.
He hurried back to the atrium, up the steps, was about to rush away when he heard an engine, and suddenly the pick-up reappeared over the rise, its headlights sweeping the shaft's mouth like a lighthouse beam, so that Knox barely had time to duck out of sight and retreat back down to the atrium.
Griffin and his crew were storing everything in the catacombs, so he headed the other way instead, down the right-hand passage. He soon reached another chamber, a huge mosaic on its floor, tesserae bright from a recent clean, though rutted from ancient footfall. A grotesque figure sat naked in the lotus position inside a seven-pointed star surrounded by clusters of Greek letters. He took a photograph, then a second, before hearing a grunt from back along the corridor, someone struggling with a box – and coming his way. He hurried deeper into the site, a confusion of passages and small chambers, the walls decorated with colourful ancient murals: a naked man and woman reaching up in supplication to the sun; Priapus leering from behind a tree; a crocodile, dog and vulture sitting in judgement; Dionysus stretching out on a divan, framed by vines and ivy leaves and pine cones. He was photographing this last one when he heard footsteps and turned to see Griffin approaching down the passage, squinting through the dappled gloom as though he needed glasses.