As with Sandra Brown, Steve is also short story challenged. He can write them, but they take great effort. Likewise, as with C. J. Box, Diana is proficient. So, together she and Steve plotted the story, then Diana produced a first draft. Steve then edited and rewrote. Interestingly, this is the only story written for this anthology in the first person.
And present tense, no less.
But these two intrepid writers faced a complicated dilemma. How do they seamlessly meld the 18th-century world of Diana Gabaldon (including time travel), with Steve’s modern-day hero Cotton Malone?
Their solution is masterful.
Fans of both writers are going to love—
Past Prologue.
PAST PROLOGUE
I LOVE SCOTLAND.
Always have.
Something about its collage of gray and green enchants me. I especially love its castles, and through the car window I study Ardsmuir, which looms out of the northern Scottish moor like something God himself hacked from the ancient rock. I have to admit, a less-welcoming pile I have never seen but, after all, centuries ago it had once been a prison. I’ve been driven straight from the Inverness airport and climb out of the car into a bone-chilling combination of driving rain and bitter north wind.
“Mr. Malone,” comes a shout faintly over the roar of the storm.
I turn to see a man hurrying toward me across the flagged-stone courtyard, a red golf umbrella precariously clutched in one hand, a flashlight, or an electric torch as they would say here, in the other. I hustle toward the shelter of the umbrella, but not before retrieving my travel bag from the driver and leaving five pounds for a tip.
“So pleased you made it, Mr. Malone.” The man with the umbrella shoves the flashlight under one arm in order to free up a hand for shaking. “I’m John MacRae.”
“Call me Cotton.” I duck under the umbrella. “And for God’s sake, let’s get out of this mess. Reminds me of south Georgia and the storms we get there.”
Inside, the walls are more of the forbidding granite from outside, only here they serve as a matte for clusters of swords, shields, and stags’ heads that dot the entrance hall. Thankfully, the roar of the wind and rain is gone. I set down my travel bag. MacRae hurries to take my overcoat, which I surrender, reluctantly, not accustomed to a manservant.
“The gentlemen—and lady,” MacRae adds with a smile, “are all in the drawing room with Mr. Chubb. Let me show you the way, and I’ll have your bag sent up to your room. There’s a fire waiting.”
I follow MacRae and enter the drawing room, a large comfortable space with dark-stained overhead beams and heavy furniture. More animal heads stare down from the walls. An unusual globe with a hollow interior catches my trained eye, its open ribs marking latitude and longitude. As advertised, a robust, crackling blaze, one suitable for roasting an ox, burns in the stone hearth. I make for it, barely pausing to shake hands with my host for the evening, Malcolm Chubb. I’ve crossed paths with Chubb before at various book auctions in London, Paris, and Edinburgh. During those times the Scot had been wearing a stylish Savile Row suit. Now he looks like a Christmas tree, ablaze in red-and-green tartan from waist to knees, and sporting a drape of the same fabric over one shoulder held in place with a striking bronze brooch.
“Wretched evening,” my host says in apology, before thrusting a glass of single malt into my hand. “We didn’t think you’d make it, but we’re so pleased that you did.”
I’m not much of a drinker, barely touching the stuff. But I know how the Scots feel about their malt. So I hold the glass up against the light and admire its golden murkiness. Then I allow the bitter liquid to lay a comfortable burn down my gullet, which thaws me enough to take stock of the room. A dozen or so booksellers and collectors loiter about, drinking more whisky, nibbling morsels from trays servants pass around, chatting to each other. A couple of them—a man named Arkwright that I know, and a woman I don’t—doubtless “the lady” MacRae had mentioned earlier—are standing in front of a cloth-draped table at the far side, admiring the dozen or so books displayed within their velvet nests.
Strangers always raise my radar, and I keep a watchful eye on the lady, while saying to Chubb, “I wouldn’t have missed it.” I eye my host’s tartan. “Clan McChubb?”
“Would that it was. No, the Scots blood is on my mother’s side. Clan Farquarson. Isn’t it dreadful?” Chubb flicks a hand at his blazing kilt, setting the tassels on his hairy sporran swinging. At a closer glance, I realized it’s a dead badger, for God’s sake. “You’ll be relieved to know that we’ve set aside something a bit more subdued for you.”
Was I hearing right? “For me?”
“Absolutely,” Chubb says. “This is quite an occasion. We’re expecting the media, though given the weather, it may only amount to a junior reporter from the Inverness Courier. But everyone, and I do mean everyone, including photographers, will be here for the book auction tomorrow. There will be plenty of time for an inspection of the wares later, but d’you want a quick look, before you go up to dress for dinner?”
“I think I would like that.”
I finish off the rest of my malt and Chubb relieves me of the empty glass, passing it to a hovering waiter, then beckoning me toward the display table. Approaching close, an odd vibration shoots through me, one only a committed bibliophile could understand. I love books. And though my profession had been first a naval officer, then a lawyer, and finally an American intelligence operative, books have finally sunk their claws deep into me. Now retired from the Magellan Billet, a covert unit within the United States Justice Department, I own an old bookshop in Copenhagen, which has acquired a reputation for being able to find what collectors seek. And though my former profession as a spy has an annoying habit of revisiting me from time to time, books are most definitely my life now.
I step to the trestle table, catching the dry smell of old bindings, and admire some of what will be auctioned tomorrow.
A Book of Deer, straight from the 10th century a small information card notes. I know the volume. An Irish gospel text, one of the oldest-surviving manuscripts ever produced in Scotland. The Book of the Dean of Lismore, a compilation of 15th-century poetry, is a real treasure. Only a few editions exist. Its poems supposedly taken from the strolling bards themselves. A few of the other Celtic tomes are likewise rare. But second from the end is the book that really interests me. With luck, I’ll even take it back to Denmark as I already have a buyer for it. The other offerings are all prime specimens, immensely valuable in their own right, but this is an incunabulum—which means it had been printed before 1501, in the days of movable type. It is also, so far as anyone knows, the only copy ever made of this particular book.
A grimoire. A book of sorcery.
That includes spells, alchemy, and what would certainly have been considered outright witchcraft in the 15th century. The label comes from the French word grammaire, which at first referred to all books written in Latin. Eventually, it came to be associated only with books of magic. I dare not touch it, though I want to. Per the usual practice at auctions such as this, it will be carefully displayed, page by page, during a detailed inspection right before the bidding, its pages turned by means of a swabbed stick held by gloved hands. For now, it is open to a page showing an exquisite wood-block print of a winged lion being either attacked or embraced by a wingless lion. The text in Latin on the opposite page, headed by a beautiful illuminated O, is twined with fruiting vines and serpents. To my surprise, this isn’t the only grimoire on display, though it is by far the best. There are two others, one from the late 17th and another from the mid-18th century.