An Aegean Prophecy - Jeffrey Siger [43]
‘This symbolizes the twenty-four survivors of Armageddon who will represent the church’s resurrected faithful when the Kingdom of Heaven has come. I’m not saying that is Vassilis’ view, but it’s the message he’s passing me through symbols from Revelation he knew I’d recognize.’ He paused. ‘And he sees them in the presence of great evil.’
‘Okay, now you’ve completely lost me.’ Andreas felt a bit like a kid caught unprepared for Sunday school.
The Protos’ expression did not change. ‘Every symbol, every word, and certainly every number in Revelation has spawned endless interpretations, many with significant distinctions having little in common with each other. “The pearly gates,” “streets of gold,” “harps in heaven,” “seven seals,” and, of course, “666” are just some of them. But that is the way of apocalyptic writing. It is highly symbolic and can be made to serve many purposes, some good, others not.’
There was a subtle change to the Protos’ voice; he was sounding more and more like a teacher. ‘Perhaps it would be helpful, my son, to give you what many call “the bottom line.” Without the additional chairs, there are three rows of seven men in seven chairs. There are a lot of sevens in Revelation. Indeed, the very Book of Revelation is written as a message to seven churches. My guess is that Vassilis added three abbot-style chairs to a picture of twenty one to take attention off the distracting number seven, and put it on the number twenty four which, to someone familiar with Revelation,’ he smiled at Andreas, ‘could only mean the twenty-four elders.’
‘Okay, but—’
The Protos held up his hand. ‘I know, I’m still going too fast. For some, the twenty-four represent the leadership of the church that will emerge after the coming of our Lord.’
After all hell’s broken loose as I recall, thought Andreas.
‘That was not his thinking, but I’m sure Vassilis replaced the faces and added the chairs to make clear to me when I read “the time is in their hands” that the men in the photo are seeking to change the church.’
Andreas let out a breath. ‘Okay, let’s assume you’re right about what Vassilis was trying to tell you, and that he’s right about the monks in the photo wanting to be the new leaders of the church, I still don’t see how any of that makes any of them “evil.” At most it sounds like they may be out of step with prevailing church politics.’
The Protos shook his head. ‘This is not a question of politics. And I’m not saying the men in that photograph are “evil,” nor did Vassilis. What I said is, “He sees them in the presence of great evil.”’
‘I’m sorry, Your Holiness, I need another “bottom line” moment here.’
The Protos pointed to the carpet in front of the image that replaced his own. ‘If you look closely at the carpet you can make out a pattern. It took me a moment to recognize it, but once I did I immediately realized that the face replacing mine wasn’t from a photograph, it’s from a famous painting.’ He let out a breath and put down the glass. ‘The carpet pattern is of a dragon, and both the dragon and the blurred image represent the same thing.’ He crossed himself. ‘Satan.’ He crossed himself again.
Andreas just stared at the photograph. This was turning into one of those days he wished he’d become anything but a cop. How do you tell this man, respectfully, to come back to the real world so we can solve a real world crime?
‘Okay, I hear you, Your Holiness, but what flesh and blood proof is there for any of this?’
The Protos looked up and stared into Andreas’ eyes. ‘My son, Vassilis is dead.’
‘I haven’t felt that stupid in a long time.’ And on that note, Andreas finished describing his meeting to Kouros.
‘Yeah, I guess, “Vassilis is dead,” was sort of the obvious answer to your question.’
‘Sort of? I felt as if I were back in elementary school getting taken apart by a teacher.’
Kouros kept his eyes on the road. ‘Just trying to make you feel better.’
Andreas smiled. ‘Thanks, but it’s not working.’
‘So, where do we go