Paul Christopher - The Templar Cross

"The owl means beloved," explained Alhazred. "The seated man is a scribe. Surrounded by a cartouche, a royal border, those are the symbols that form Imhotep's name. I almost fainted when I first saw them. I knew the name immediately, of course," the man added, obvious pride in his voice.

"Was there a door from the antechamber into the room beyond?" Rafi asked, playing the beam of the big flashlight around. "A seal?"

The walls of the antechamber were alive with brightly colored paintings, mostly scenes of everyday life: gathering water from irrigation channels, milling wheat, fishing in lily- covered ponds and marshes.

The figures in the paintings all seemed to be women and children, all richly dressed. The floor of the room looked freshly swept. A doorway yawned emptily at the far end of the living-room-sized chamber hewn out of solid rock. As the beam swept over the open doorway Holliday could see a hodgepodge clutter of what looked like furniture. Alhazred spoke.

"There was a plaster seal and a hemp line wrapped around the two handles of double doors. The doors were cedar, sheathed in gold."

"Whose seal was pressed into the plaster?"

"The same as the glyphs. Imhotep's; there is no doubt."

"I wonder who buried him," Rafi said quietly. He went to the wall on his left, peering at the repeated name of Imhotep. In some repetitions there was another set of glyphs within the cartouche, repeated each time as well. Rafi pointed it out and commented on it. "A woman's name," he said, looking carefully. "Het-shep-sit."

"Do you know what it means?" Holliday asked.

"Glory of her Father," translated Rafi.

"Imhotep's daughter, then," responded Holliday.

"Almost certainly," said Alhazred.

"I didn't even know he was married," said Holliday.

"The daughter could well have been illegitimate," said Rafi. "There's a four-glyph word after her name: H'mt-a. It's the word for a female slave."

"My thoughts as well," added Alhazred. "We should move on. The next rooms are the most important."

Rafi obviously wanted to linger for a moment, peering at the walls of the large room, but he turned toward the open doorway.

"What happened to the doors?" Rafi asked.

"Unfortunately they were destroyed when we opened the tomb rooms. The sheathing was removed and has been stored for safekeeping," answered Alhazred.

The next room was a clutter of jumbled furniture and artifacts, tumbled together like junk in an attic. Holliday could see small statues and models of chariots and houses, several small ship models, piles of ornately decorated boxes, tables, chairs, stools, and dozens of alabaster jars. It looked as though everything in the room had been looted then pushed to the side, allowing egress into the next room.

"I'm afraid Elhadji and his colleagues aren't the most careful of workers. In fact it was Elhadji who destroyed the gold doors opening up the burial chamber."

You were the boss, thought Holliday. Why didn't you stop him?

They stepped into the burial chamber. Holliday and Rafi stopped in their tracks as Alhazred shone the beam of the spotlight around the room. In the center of the chamber was an enormous stone sarcophagus, obviously quarried from the living rock. The lid of the giant coffin leaned against its side.

The sides of the ossuary were carved with images of the old gods: crocodile-headed Ammit; cat-headed Bast and Khefy, the Scarab King, god of the Dawn. There was winged Isis, keeper of the Dead; Maahes, the Lion Prince, son of Bast and Selket, the Scorpion Queen. Wepwawet, the Jackal god. Munevis, the Sacred Bull. Horus, son of Isis, the falcon-headed god, and finally Ra, the Sun and the Creator of life, the greatest god of all. Each of them was there, carved in stone or drawn in vivid colors on the walls, looking as though they had been painted only yesterday.

The entire wall at the head of the sarcophagus was given over to a single large fresco of a ship, double-ended with high prow and stern, powered by three huge sails and a hundred oars of gold. A single figure, much larger than the others, carrying a clay tablet in one hand and an odd-looking crossed stick in the other, stood at the bow of the ship, hands upraised like an ancient priest giving blessings to his flock.

The ship had been depicted at the mouth of some great river, perhaps the Nile, the banks thick with tall evergreens, the shoreline populated with people wearing light kilts, their upper bodies bare, their hair long, their arms and chests tattooed, all seeming to worship the man in the ship. Above the scene a stylized sun with a single beam of light looked down, the beam piercing the raised right hand of the priest figure.

"It is my opinion that the painting depicts Imhotep's mystical voyage to the land of Punt. The evergreen trees suggest that Punt was actually in Lebanon, the source of much of the cedar used by the ancient Egyptians."

Alhazred swung the spotlight beam toward the foot of the massive coffin and suddenly everything exploded in a soft buttery yellow glow. Holliday and Rafi found themselves staring at a two-and-a-half-foot-thick and ten-foot-long wall of solid gold, gleaming like the greedy dream of some long-ago King Midas.

"Four tons of gold," said Alhazred. "It took us three months to get it here." Again there was pride in his voice. He walked across the room to the enormous pile of bullion. He stared at it in the light from the lantern, the reflected light glittering in his eyes. Holliday was more interested in the sarcophagus. He crossed to it and looked, then stared up at the painting of the ship on the wall.

"I thought you wanted to ask me a question," said Rafi, moving partway across the burial chamber.

Alhazred looked at his wristwatch.

"Perhaps some other time," said the Lebanese man. "It's getting late."

"Where's his body?" Holliday asked.

Alhazred turned.

"Removed for safekeeping," he said.

"I would have thought it would be safe enough here," answered Holliday.

"Not once the sarcophagus was opened," answered Alhazred.

"Did the mummy have a gold death mask like Tutankhamen's?" Holliday asked.

"Yes, as a matter of fact he did," said Alhazred. Holliday saw that his face was flushing, either from embarrassment or anger. "In point of fact the entire inner coffin was sheathed in gold."

"Like the doors," said Holliday, smiling.

"Yes," answered Alhazred tersely. "Like the doors."

"Presumably the inner coffin was removed for safekeeping," said Holliday, his voice bland.

"Yes," said Alhazred, his teeth gritted. "I think we should be on our way," he added.

"Whatever you say," said Holliday brightly. "Come on, Rafi, our captor the archaeologist thinks it's time to go."

Rafi nodded, although it was clear from the look on his face that he could have stayed in the ancient tomb for hours more. They went back the way they'd come, Alhazred behind them, going back through the antechamber to the burial room and along the narrow corridor, their footsteps ringing on the rough-quarried stone at their feet. They climbed the shallow steps to the bottom of the shaft, then went up the creaking ladder to the interior of the beehive enclosure.

Holliday and Rafi scuttled out of the tomb under Alhazred's watchful eye and stood up in the dying light of the sun. It was dusk, and getting cooler, although the heat was still enough to make them gasp after the chill of the stone below-ground. Alhazred appeared and he and Elhadji carefully replaced the trapdoor, rubbing a final layer of sand into the cracks around the edges to disguise the hidden entrance.

They drove back to the camp in silence. Holliday couldn't believe what he'd discovered. If anything the implications were even more important and shattering than his discovery of the Templar treasure the year before, but this was certainly no time to discuss it with Rafi.