The Rome Prophecy

124

The walls of the new tunnel are covered in ornate plaster paintings on white backgrounds, the lavish and intricate kind found on some sarcophagi.

Tiny human figures are crowded into horizontal and vertical storylines and from afar make no sense at all.

Tom tries to decipher the dozens of cryptic scenes. There are people mourning: women and children kneeling and crying, men carrying bodies, funeral pyres being built.

There are battle scenes too: soldiers fighting on foot and on horseback, swords half raised, shields fully lifted in desperate defence of the cruel slashing blades.

Towards the end of the gallery, a particular stretch of sarcophagi catches his eye.

A number of women are clambering out of a chariot.

They’re being chased by soldiers.

Some get caught.

They’re pulled to the ground by the men.

It is the Rape of the Sabines.

One woman has escaped.

She is running towards a bridge, a crossing guarded by a fierce she-wolf. A handful of soldiers are pursuing her.

Tom has to rub soil away to see more clearly.

The soldiers are crossing the bridge, tracked by the wolf. The woman is hiding underneath. She’s shown alongside a wide stretch of river.

He has to clear more dirt away to see the continuation.

Beneath the bridge is what looks like a crucifix.

It isn’t.

On closer inspection it’s a soldier, lying on his back, a sword stuck in his stomach.

The woman has vanished from the scene.

Guilio appears at Tom’s side. ‘What are you doing?’

He points to the wall and the start of the sarcophagi. ‘This story – it’s the one Anna told us.’

Guilio doesn’t understand.

He looks at the wall, and as it begins to make sense, he feels a sharp and unexpected stab of grief.

He puts his fingers to the clay and lovingly traces the outline of the female figure.

Anna.

The strange connection makes an even greater sadness well up inside him. His eyes fill with tears.

Tom’s attention has already drifted on to a new scene.

A woman in fine long robes is in the centre of what looks like a market square. Again she is surrounded by soldiers.

He directs his flashlight and looks closer.

It’s the same woman.

Cassandra.

She looks identical to Anna. Identical to Cybele.

Tom leans closer.

Perhaps his eyes are playing tricks. Maybe these evocative surroundings are influencing him.

For a moment he dismisses it.

If you reduce any woman’s facial features to those the size of a fingernail, then they all probably look the same.

But Tom knows that’s not true.

All around him is evidence of craftsmanship so supreme that he’s sure the perpetrators could fashion any different feature they wished.

The woman is Anna. Anna in the image of Cassandra and Cybele.

Tom looks at the crowd massed around her. They’re angry, waving their fists, stretching out their fingers to grab at her noble robes.

There’s a man on high ground holding a scroll. He’s reading to the mob and the woman is now being dragged towards him by the soldiers.

Tom turns away briefly to check on Guilio.

The eunuch is on his knees. Eyes blood-red from crying. Fingers still fondly touching the tiny sculptures of Anna.

Such grief threatens to undermine any attempt to free Valentina. Tom has to get him to snap out of it.

He puts his hands on Guilio’s shoulders and tries to comfort him. ‘You’ll always have good memories of Anna. Your thoughts of her and your love for her are precious and will stay with you until the end of time.’ In a deliberate and almost priestly gesture, he puts the palm of his right hand to Guilio’s forehead. ‘I pray that your suffering will pass quickly. In return, I beg you now to ignore your grief. Put it aside for the moment and have the strength to help me to finish what we came down here for. Please help me save the life of the woman I love.’

Guilio gets to his feet and looks lost.

Tom takes him into his arms and holds him tight.

‘What’s been done and is being done down here is evil. Pure evil. We can’t let these people get away with it. You must be strong now.’

Guilio pulls away.

He wipes his eyes with the back of his hand and lets out a small, embarrassed laugh. ‘I haven’t cried since I was a child.’

He turns and leads the way into the darkness again.

As Tom follows, he looks to his side.

On the wall is the final scene in the market square.

Anna’s hand isn’t placed inside the Bocca della Verita.

It’s on a sword that has been plunged into the guts of one of the guards.