Noah's Art / JB Dukes

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Caught unawares at the turn of the millennium by the surprise onset of a new security landscape, intelligence agencies are slowly realigning their deployments to mine an overwhelming flood of chaotic data, identify patterns and develop credible analysis. Rumours abound in the year 2000; one in particular, of an imminent massive and audacious hit. But it is only one amongst many and it is impossible to distinguish the components of one rumour from those of many others. Slowly and surely, some patterns have started to emerge. A few are old patterns that are already on file and have been taken out, dusted-off and examined afresh. One in particular goes back a very long way.

In November 1999, MI5 intercepts a phone call made by a London-based student implicated in a Russian organised crime people-smuggling case. The call mentions the flight number of an airliner that disappears from radar over northern Iran. The call is made two weeks before the disaster. The student’s computer is full of documents relating to the archaeological search for Noah’s Ark and an alert young desk officer recalls reading about a Russian airline that fell out of the sky six years earlier. Amongst the wreckage of that plane had been a child’s Noah’s Ark toy covered in Semtex residue. It is not the first time that events of interest to western intelligence agencies have been associated with Noah’s Ark.

In October 1999, a computer operator in Rotterdam’s container port spots a strange transshipment pattern and has a distant memory of a similar discovery twenty years earlier when he was fresh in the job. Digging deeper, he finds the same fictitious shipping company is linked to both cases; it is registered at an address above a Kurdish restaurant in London’s East End. The restaurant’s exterior supports a faded mural of a giant boat atop monstrous seas.

In March 1979, shortly after the Russian invasion of Afghanistan, two men have a frosty pre-dawn meeting inside a tented Kabul market stall. One is a Persian-speaking westerner who has been scouring the country in search of a Kurdish Sufi. The other is his quarry. Pinned to the canvas wall of the seer’s winter home is a Turkish Tourism Authority poster of Mount Judi, the location believed by Muslims to be the resting place of Nooh’s Ark.

In January 1954, the London Weekly Mirror reports the discovery by a Russian archaeological team of an ancient boat-like structure containing stones engraved with the name of Nooh and other Muslim prophets.

In January 1950, two young religious leaders of what some are beginning to call the ‘Nooh Brotherhood’ set out from a remote quayside in south-west Turkey to conduct their first ritual killing.

These events and more are known to the intelligence agencies of the West and their allies in the Middle East. What is not known is what the pattern means and where it is leading. That is why in January of 2000, Cassy Kim, Eurasian forensic digital archaeologist and brilliant mathematician with a mysterious past, a chip on her shoulder and a secret stash of millions, is hired by MI5 to develop a lead on the Iranian air disaster. It soon becomes clear to her that she has been chosen for reasons other than her technical forensic skills and her short-lived marriage to an ancient cuneiform script historian and Ark expert. The reasons go back to the childhood that she has no memory of. With worrying ease, she finds herself in the Bangkok home of Sufi Isa, exiled leader of the Nooh Brotherhood. There she is exposed to the mystical seer’s art and cannot help herself as he draws her into his world. When she emerges, her professional integrity and perhaps her sanity is in question by those who sent her. She realizes that she has been a pawn in a complex anti-terrorism conspiracy designed to yield psychological as well as factual insight into the sect’s obscure apocalyptic agenda.

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