to his core and interfered with his life. Tormented him, overpowered him, making it impossible for him to return to the world heâd known before the bombing, before the hospital, before his wife ultimately gave up on him.
There was a possibility, the last therapist said, that there was something neurological causing the hallucinations. SoJosh visited a top neurologist, hopingâas bizarre as it was to hope such a thingâthat the doctor would find some residual brain trauma as a result of the accident, which would explain the waking nightmares that plagued him. He was disconsolate when tests showed none.
Josh was out of choicesânothing was left but to explore the impossible and the irrational. The quest exhausted him, but he couldnât give up; he needed to understand even if it meant accepting something that he couldnât imagine or believe: either he was mad, or heâd developed the ability to revisit lives heâd lived before this one. The only way he would know was to find out if reincarnation was real, if it was truly possible.
That was what brought him to the Phoenix Foundationâs Drs. Beryl Talmage and Malachai Samuels, who, for the past twenty-five years, had recorded more than three thousand past-life regressions experienced by children under the age of twelve.
Josh took another photograph of the south corner of the tomb. The smooth, cold metal case felt good in his hands, and the sound of the shutter was reassuring. Recently heâd given up digital equipment and had been using his fatherâs old Leica. It was a connection to real memories, to sanity, to support, to logic. The way a camera worked was simple. Light exposed the image onto the emulsion. Developing the film was basic chemistry. Known elements interacted with paper treated with yet other known elements. A facsimile of an actual object became a new objectâbut a real oneâa photograph. A mystery unless you understood the science. Knowledge. That was all he wanted. To know moreâto know everythingâabout the two men he had been channeling since the accident. Damn, he hated that word and its association with New Age psychics and shamans. Joshâs black-and-white view of the world, his need to capture on film the harsh reality of the terror-filled times, did not jibe with someone who channeled anything.
âAre you all right?â the professor asked again. âYou look haunted.â
Josh knew that, had seen it when he looked in the mirror; glimpsed the ghosts hiding in the shadows of his expression.
âIâm amazed, thatâs all. The past is so close here. Itâs incredible.â It was easy enough to say because it was the truth, but there was more he hadnât said that was amazing. As Josh Ryder, heâd never before stood in that crypt sixteen feet under the earth. So then how did he know that behind him, in a dark corner of the tomb the professor hadnât yet shown him or shone the light on, there were jugs, lamps and a funerary bed painted with real gold?
He tried to peer into the darkness.
âAh, you are like all Americans.â The professor smiled.
âWhat do you mean?â
âImpertinentâ¦noâ¦impatient.â The professor smiled yet again. âSo what it is it you are looking for?â
âThereâs more back there, isnât there?â
âYes.â
âA funerary bed?â Josh asked, testing the memory. Or the guess. After all, they were in a tomb.
Rudolfo shined the light into the farthest corner, and Josh found himself staring at a wooden divan decorated with carved peacocks adorned with gold leaf and studded with pieces of malachite and lapis lazuli.
Something was wrong: heâd expected there to be a womanâs body lying on it. A womanâs body dressed in a white robe. He was both desperate to see her and dreading it at the same time.
âWhere is she?â Josh was embarrassed by the plaintive