Elisha’s Bones Read online

  ELISHA’S

  BONES

  ELISHA’S

  BONES

  DON HOESEL

  Elisha’s Bones

  Copyright © 2009

  Don Hoesel

  Cover design by John Hamilton Design

  Scripture quotations are from the HOLY BIBLE, NEW INTERNATIONAL VERSION®.

  Copyright © 1973, 1978, 1984 by International Bible Society. Used by permission of

  Zondervan Publishing House. All rights reserved.

  All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopying, recording, or otherwise—without the prior written permission of the publisher. The only exception is brief quotations in printed reviews.

  Published by Bethany House Publishers

  11400 Hampshire Avenue South

  Bloomington, Minnesota 55438

  Bethany House Publishers is a division of

  Baker Publishing Group, Grand Rapids, Michigan.

  Printed in the United States of America

  Library of Congress Cataloging-in-Publication Data

  Hoesel, Don.

  Elisha’s bones / Don Hoesel.

  p. cm.

  ISBN 978-0-7642-0560-6 (pbk.)

  1. Archaeology teachers—Fiction. 2. Elisha (Biblical prophet)—Relics—

  Fiction. 3. Christian antiquities—Fiction. 4. Secret societies—Fiction. I. Title.

  PS3608.04765E65 2009

  813'.6—dc22

  2008051034

  For Dawn

  Thank you for the last seventeen years.

  This book wouldn’t have happened without you.

  Table of Contents

  Chapter 1

  Chapter 2

  Chapter 3

  Chapter 4

  Chapter 5

  Chapter 6

  Chapter 7

  Chapter 8

  Chapter 9

  Chapter 10

  Chapter 11

  Chapter 12

  Chapter 13

  Chapter 14

  Chapter 15

  Chapter 16

  Chapter 17

  Chapter 18

  Chapter 19

  Chapter 20

  Chapter 21

  Chapter 22

  Chapter 23

  Chapter 24

  Chapter 25

  Chapter 26

  Acknowledgments

  About the Author

  ELISHA’S

  BONES

  CHAPTER 1

  KV65, THE VALLEY OF THE KINGS, EGYPT, 2003

  It’s an indescribable sound when a piece of ancient stone finally gives. There’s a subtle pop, like the top of an aspirin bottle coming off to reveal that annoying wad of cotton stuffed into the plastic innards. Except that, in this case, the sound is amplified by whatever magnitude is required to testify to two tons of rock wrenching away from symbiotic stone. I think what I hear is the instant equalization of air pressure—a force that can either ease or enhance whatever stresses time has built into the coupling. It’s the moment when the whole event can result in either expectant silence, or in a violent redistribution of forces. And it all has to be in my imagination, because it’s only a romantic notion to think that the mind could process the event in real time.

  Several field technicians are trying to peer into the sarcophagus through the three-inch gap made available courtesy of the removal of the two-ton slab of red granite that hangs suspended on a precarious-looking pulley mechanism. I know the machine is rated for far greater than the stone’s weight, but even that bit of professional knowledge doesn’t alleviate the fear I would have about slipping my fingers into the crack. I place my hand against the stone and press against it to stop its lazy swing. At almost four thousand pounds, even an arc of a few millimeters would put a severe dent into someone’s skull, and having worked with these young men and women for almost a month, I’m not certain that all of them are observant enough to stay out of striking distance.

  It’s stifling in here; lines of sweat run down my face and soak my collar. The burial chamber is less than six and a half meters long, and there are a dozen people in it and more machinery than should be allowed at a dig, purely on principle—not to mention the five bright fluorescent lights that make casting a shadow an impossibility. I know one of the supposed benefits of these lights is that they don’t give off heat, but I’m not buying it, no matter what the brochure says.

  I lean in, the stone stilled beneath my fingers, and I think that I can almost smell the cumin, thyme, and cinnamon that went into the preparation of the mummy, even through the probable two additional coffins encasing the reposing ancient. I glance around at the assembled junior members of the team, whom Jim has asked me to instruct as most of them pursue doctorates. I’m not much of a teacher—I could never hold down a professorship—yet I take pleasure in seeing the looks on the team’s faces as they enjoy this unprecedented opportunity.

  KV65 is one of those rare opportunities granted to someone in my profession—a find that makes careers, that puts one in every serious journal in the field for the next decade. True, this is Jim’s baby, but he brought me in to handle the particulars, and that will yield almost as many peer accolades. It’s virtually another Tutankhamen, even down to the post-Amarna dating.

  Before I can call for a flashlight, at least four click on. The mingling beams push back the blackness of the sepulcher. Leaning in close, forgetting the earlier reluctance to place my body in harm’s way, I let my eyes grow accustomed to the alternating splotches of light and shadow against the outer coffin until I can see a deep red that I recognize as ancient cypress. A few moments pass as I ponder why this is peculiar—why the sight of a wood that’s perfectly appropriate for this region, and for the time period that saw this man interred, seems wrong. And when the answer waves its little hand, I find another of those teaching opportunities I so enjoy. I ignore it.

  But one of my young acolytes will not see his education shortchanged.

  “Dr. Hawthorne?” Brown asks. He’s twenty-four, attached to the Smithsonian, earning a doctorate at Cornell, and might be the smartest person in this room. And I’m only slightly threatened by that. After all, the successful practice of archaeology involves more than knowledge; there’s an equal measure of luck. And after watching Brown over the last few weeks, I’m inclined to think that’s a commodity he has not stockpiled.

  I straighten and motion for him to take a look, taking a step back as he crosses in front of me. I’m careful to avoid bumping his cast-encased arm.

  “Interesting,” he says after a moment.

  “Yep.” A quick glance around reveals that the other people in the room want in on the discussion, so I prompt post-grad Cornell. “Can you share with the rest of the class?”

  “The outer coffin is just wood,” Brown says. “There’s no linen, no gold overlay. Nothing to indicate that this is anything but the burial chamber for a minor noble.”

  “Which is odd because…?”

  “Everything we’ve seen to this point would indicate this is a royal tomb. It’s almost spot-on Tutankhamen.”

  For as much as I dislike the whole teaching aspect of this assignment, at least I’ve caught on to one of the tricks practiced by genuine academics: allowing my most-qualified student to teach in my stead.

  I’m as intrigued as is he by the incongruity of the barren outer coffin within a sepulcher—indeed an entire tomb—that is patterned after those of the pharaohs. And I have no immediate answer.

  I wipe my brow, aware that I’m leaving a film of red dust under my hairline. Now that we’ve found something unexpected, I’m more bothered by the fact that Jim is not here. It’s worse than Will’s absence. At least my brother has a concrete reason for missing an event important enough to earn the presence of two National Geographic photographers. Jim wouldn’t give me a reason that carried any kind of weight; he was merely insistent that the events of the morning proceed. Not that he had to do too much arm-twisting; were he here, I would still be the one walking the Scooby Gang through their paces. Even so, there’s an unspoken rule that something of this magnitude should only take place under the watchful eye of the archaeologist of record. I shake my head, consoling myself with the thought that Jim’s absence means the guys from National Geographic will have to put my face on the cover of their next issue.

  I field a sudden urge to light a cigar and my hand moves to my breast pocket, but I let the impulse pass, the dust in the chamber making it hard enough to breathe.

  Several members of the team are jockeying for position around the sepulcher, shining their small lights into the crack. For the few moments that I afford myself to watch them, I have to smile at their exuberance. I’m not much older than most of them, but at this moment they seem younger than I ever remember being.

  Almost on their own, my eyes find Sarah. She’s a Connecticut girl, with the superior and privileged vocal intonations to prove it. She’s one of the few on the team who has halted her education with a graduate degree.

  But I can tell that she loves the work. She is as attentive, detailed, and driven as any of the others working alongside her. And she’s easy on the eyes. I’ve always been a sucker for a brunette, and Sarah has deep brown eyes to go with her lustrous locks.

  As if she can sense my gaze, she looks up and, after a pause, gives me a small smile. That’s another thing about northeastern women: a smile can convey a great deal.

  I’m the f
irst to look away, and Brown saves me from having to consider what that says about me.

  “Dr. Hawthorne?”

  The puzzlement in his voice has me at his side in an instant. I crouch and follow the beam of his flashlight as it passes back and forth over a portion of the outer coffin. All I can see is a slight curve, yet it’s enough to hint that it’s at least vaguely anthropoid. I’m about to ask Brown what I’m supposed to be seeing when the light flashes by a faded irregularity in the wood. I’m not certain how long it takes before I recognize the abnormality as script, but when the revelation comes, it adds another mystery to the tally.

  “Coptic,” I say, and Brown nods in my periphery.

  The find draws me closer, until I’m breathing the stale air, squinting to make sense of the words carved into the wood. There is little that is new in excavations conducted in the Valley of the Kings; everything has a corollary. KV9 is what comes to mind, with its walls decorated with ancient graffiti in a mixture of Coptic and Lycian. But this isn’t graffiti; this is something else entirely. For a brief moment Nag Hammadi passes through my mind, solely for the Coptic element, but I let the thought go before it can find purchase. Playing connect-the-dots without even the most basic evidentiary support is seldom productive.

  The narrow opening and the inconstant lighting make it difficult to decipher much, but I engage in a round of serious squinting until I’m able to pull a few words from the darkness. And, in so doing, I feel a twinge of excitement creep up my spine even as a frown lodges on my face—which is what happens when the happiness of a new discovery is marred by the potential effects the find will have on the timeline of the larger work. I make a conscious decision to allow the former reaction to prevail, since the one phrase I can identify is so unusual. If I’m correct, it translates, albeit roughly, to bones of the holy man. I’d have to look at the whole of the text to verify the translation. What’s more intriguing is how the writing could have appeared inside a sealed sarcophagus that, to this point, had borne every indication of having been preserved inviolate.

  A kink in my back cuts my survey short and I stand and place an impatient hand on the lid of the sepulcher. I’m tempted to give it a push, a small nudge—just enough so that I can see what other surprises await me on the other side of the granite. What stops me—besides the ugly specter of archaeological protocol that mandates an incremental removal of the obstacle—is another, equally important, code which says that Jim should be present for this. I don’t know his reasons for missing the opening, but I must give him the option to lead the team in investigating something so unexpected. And this isn’t the kind of thing I can relay over the radio. I want to see his face when he hears the news—that whoever is interred in 65 might be some kind of Egyptian seer. I see the National Geographic guys loading film. I shake my head; Jim might wind up on the cover after all.

  “Take a break, folks,” I tell my plebes. The one who looks most disappointed is Brown, who was probably hoping I’d give the lid a prodigious shove. With a last glance around the burial chamber and one long look at Sarah, who has her perfect nose almost inserted into the crypt’s crack, I turn and walk away.

  The antechamber I enter gives me an immediate feeling of solitude, and it has the benefit of seeming some degrees cooler. Our team has already picked through this room, and we’ve begun a cursory study of the contents of the annex on its western side. I walk over and around chalk lines and tape, following in the path of countless footfalls through the eight-meter-long room. Leaving the antechamber, I step into a long and narrow corridor leading to the stairway that will take me topside.

  I reach the stairs and start up, watching my footing on the roughhewn steps. The gloom starts to give way to natural light, and before long I am standing beneath a blazing Egyptian sun. The first thing I do is pull a cigar from my breast pocket, a Dominican. Once it’s lit, I take a long and satisfying puff.

  The Valley of the Kings sits in the shadow of al-Qurn and the peak, fittingly, has a pyramid shape. It’s red and barren, and time-weathered in a way that makes it seem like the embodiment of age—the patriarch of the Theban Hills. In the bright sunlight of the valley, I see what the dust beneath the ground has done to my clothes. I attempt a few halfhearted brushes at my sleeves before giving up and starting for our camp. From around the other side of the hill come the sounds of my brother’s team. I’m not really bothered by the fact that Will hasn’t been around for the events temporarily halted somewhere beneath my feet. Had he not decided to stay the course with the bypass tunnel to the treasure room, it would have been going against form. When we were kids, Will would leave presents ignored beneath the Christmas tree if he’d opened one that caught his attention. It’s a single-mindedness that can be maddening to everyone around him. I think he is scheduled to reach the tomb wall sometime this morning, and I try to set some mental Post-it Note as a reminder to be there when it happens.

  Our camp consists of an RV and three pickups, which is a bit light for a dig of this size, but we’re not out in the middle of nowhere. Most of the team is set up at a hotel in Luxor, where we also keep provision. As I cover the distance to the camp, though, I see another vehicle, a new BMW, parked next to one of the pickups.

  I’m almost to the RV, ready to start up the steps, before I hear the voices coming from inside. On most occasions I wouldn’t give it another thought; this is the command center, with people coming and going at all hours. What gives me pause now, beyond the unfamiliar car, is that the muffled noises I assume to be conversation sound decidedly unfriendly. Before I can make a decision about potential eavesdropping, the door swings open.

  There is a moment when I think the first of the two men at the top of the stairs is going to fall on top of me as he brings himself to a sudden halt, unprepared to find another person blocking his exit, but that moment passes and he finds his balance. He is perhaps thirty-five, dark-haired, and too fair-skinned to call this place home. He wears a gray suit, and shoes that look far too expensive to be forced to endure this kind of environment. He stands there for as long as it takes to give me a single sour glance and then he’s down the stairs. It’s a strange passing— oddly close—because I haven’t moved away from the bottom of the steps. Belatedly I step to the side, and as he walks through the space I’ve just vacated, he half turns and gives me a slight smile that sends a psychic shudder running up my spine.

  Our inspector, courtesy of the Supreme Council of Antiquities, is the man following. Magdy descends the stairs and offers a polite nod when he reaches the bottom. He hurries after the other man, who has almost reached the BMW. When they drive off, I watch until I lose sight of the car behind one of the hills. I turn back to the RV and see Jim standing in the doorway.

  “Trouble with Magdy?” I ask, even though it’s obvious that something’s amiss. The tension I’ve stumbled into is as palpable as a Scottish fog, even if it has dissipated with the men’s departure. Jim’s answer is a grunt and a step back to allow me into the RV. Only when we are both inside, and he has claimed a chair at the small table in the kitchen area, does he respond.

  “The SCA is drafting orders for us to cease the project.”

  For one of the few times in recent memory, I am left speechless.

  Jim gives me a wry smile. “That’s essentially what I said. Only with a good deal more cursing.” He chuckles and takes a sip of ice water.

  “We spent months getting approval to excavate 65,” I say, feeling a dull pain take hold along the base of my neck. “They can’t make us pull up now.”

  Finessing an application through the SCA’s Department of Foreign Archaeological Missions is a level of hell missing from Dante’s book. Meticulousness and a genuine love for tedium are required skills for those trying to fight their way through the minutia of the application process. If even a single item is missing or incomplete, it can set a project back by months. That’s the reason I know our potential ouster has nothing to do with a flaw in the application; I’d swear to the document’s integrity right down to the molecular level.

  And to the best of my knowledge, our inspector has been satisfied with the excavation and the subsequent preservation work, and with the timeliness of his pay.