Angela shook her head firmly. ‘Of course not. What was on the laptop is duplicated on my desktop computer at the museum, and I’ve got a full back-up of the data on a memory stick in my handbag. I duplicate
‘Get where?’ Bronson looked confused.
‘Egypt, to see a man named Hassan al-Sahid, and also to visit el-Hiba and the temple of Amun-Great-of-Roarings. Let me just grab my overnight bag. We leave in five minutes.’
Egypt
28
‘Bartholomew and Oliver were devious old sods,’ Angela said, as they sat in the departure lounge at Heathrow, waiting for their flight to be called. ‘We know this because of the way Bartholomew hid his papers and Oliver made all his different wills. So it seems to me that Bartholomew would have planted a trail of clues in Carfax Hall for his son to follow. The trouble is that I don’t think Oliver was very good at that kind of thing. He only said a month or so ago that he was planning an expedition to follow in his father’s footsteps in the Middle East, so I doubt if he found that hidden drawer under the stuffed fox until quite recently, and he may never have made the connection. He could just have been intending to retrace the route his father took on one of his expeditions, based on Bartholomew’s notes.’
‘So what
‘I found a bill of sale from Bartholomew Wendell-Carfax to a man named Hassan al-Sahid, and a sentence scrawled at the bottom of one of his pages of expedition notes. That read, “The Montgomerys hold the key.” Put those two things together, and what do you get?’
‘A headache?’ Bronson suggested, smiling at her.
Angela sighed. ‘The bill of sale is for two oil on canvas portraits, but the terms are a bit unusual, because the purchaser – al-Sahid – agreed to hold the pictures in safe keeping in his family for fifty years or until Bartholomew or his son requested their return, when the purchase price would be refunded, plus accrued interest. So it was really more like an extended loan. The two photographs we found in the box of papers were of the paintings, and I’ve got scanned copies of those as well. That’s the first thing.
‘The second point is that the name of the artist was Edward Montgomery. I think the reason Bartholomew had those two portraits painted was so he could conceal the text of the ancient Persian script within them. That’s what he meant by “the Montgomerys hold the key”. I think he leased them to al-Sahid as a kind of insurance policy, so that there’d always be another copy of the parchment text in existence, just in case Bartholomew lost his version.’
‘Or in case something else happened to him,’ Bronson said thoughtfully.
‘Yes, and Hassan al-Sahid had special significance. His home was in Cairo, and he was Bartholomew’s gang master on all his explorations in Egypt, and probably the one man Bartholomew trusted implicitly – his best friend, in fact. His expedition notes make that very clear. The text of that piece of Persian script has to be hidden in one of those two paintings, and that’s what we’re going to Cairo to track down.’
‘What about that roaring-Amun stuff?’
‘Amun-Great-of-Roarings,’ Angela said patiently. ‘Everything I’ve discovered up to now suggests that the “treasure of the world” is actually the Ark of the Covenant, and one of the likeliest contenders for seizing the relic is the Pharaoh Shishaq.’
‘OK,’ Bronson said, determined to be practical. He also knew that these discussions were what made them such a good partnership. ‘Let’s accept that the relic that’s referred to in the grimoire and the other places really
‘According to the Bible, it was a wooden box made of acacia wood. The acacia was known to the Israelites as the shittah-tree, and it was an important botanical with several uses in traditional medicine. The Ark was built in accordance with the so-called golden ratio – that’s the relationship between the dimensions of an object – and it was two and a half cubits long and one and a half cubits high and wide. If we assume they were using the Egyptian royal cubit, that would make it about four feet long and two feet six inches wide and high.