The Tomb of Aya-Hotep is in the Valley of the Kings, in Egypt. In the flashback to the episode "Ashes to Ashes", LaCroix's daughter-cum-master, Divia, takes him to the tomb in 99 A.D., twenty years after she brought him across.
To film the scenes in Egypt, a set for the Tomb of Aya-Hotep was constructed. It is a small set, though it looks larger because it was a full four-sided set, making it possible to break any wall away and set the camera behind it to enlarge the field of view. Given the extensive decoration, they seem to have blown the budget for the episode on the set.
The tomb is roughly T-shaped. There is an entrance hall whose roof is painted with a small, repeated geometric pattern. At the far end, there is a large wall painting. A variety of grave goods are stacked against the walls. The floor seems to be earth.
Details of the Entrance Hall:
This entrance hall leads through an archway into a main chamber, which has two, slightly narrower arms that lie crossways to it. The walls of this main chamber are elaborately painted on a light background colour. Three sarcophagi are set in a row: the middle one is at the junction, with a sarcophagus on either side of it, in the side chambers to the main chamber.
The end wall behind the central sarcophagus has a large painting of the boat of the sun god, Ra. Painted figures are positioned on either side of the archway that leads to the entrance; and a procession of similar figures runs along each of the side walls of the main section of the chamber round to the side chambers.
Details of the Main Chamber:
Like the entrance hall, both side chambers have vaulted ceilings and arched entrances. The arches are painted with the same geometric pattern that is on the ceiling and walls of the entrance.
One of the chambers has the side walls painted red; the walls of the other one are the same light colour as the walls in the main chamber.
Along the base of the side walls of both chambers is a deep band of a different, smaller pattern of stylized leaves, perhaps two feet high. Both chambers have broad bands of hieroglyphic writing running across the ceiling. More grave goods are set along the side walls. In each case, a large painting covers the end wall.
Because of the various filming angles and the position of the actors, neither of these paintings is shown in its entirety. However, the one at the end of the red side chamber has a chariot drawn by a prancing horse with a plume on its head; there is also a cartouche in the upper centre of the painting, presumably giving the name of the person in the chariot. The painting at the end of the white side chamber seems to include stylized vegetation, either of a vine or a tree with hanging branches. There is also at least one human figure. Unfortunately, barely half the picture is ever visible, and only at some distance.
The three sarcophagi appear to be of identical construction. All are rectangular in section, made of light-coloured stone with no apparent seam. The lids are also of stone, carved with a raised squared lip at one end. In the centre of the lid of the central sarcophagus is carved a large symbol of Ra.
Divia tells LaCroix that she killed and interred her own master, Qa'ra, in the central sarcophagus. LaCroix is shocked when she avers that the laws that bind mortals do not bind vampires and suggests that the two of them should become lovers, even though it would be incest. His only recourse is to behead her. He then puts her body into the sarcophagus, where the seal of the sun-god on the lid will hold it as securely as sunlight would.