“Stay here,” she says, hopping out. “Take care the boat doesn’t get loose. It gets damned cold on these isles at night. Hand me the bag there, aye?”
She likes to give orders. But I actually like strong women. And even in this strange place, I still seem to attract them. So I hand her the saddlebag. She digs around inside for a few seconds before removing a wooden box, about a foot long and half that wide. It rattles and clinks with the unmistakable sound of coins. I glance up at her, but she says nothing, nor does she even look at me. She merely hands the saddlebag back, then hikes up her skirts and scrambles up the rock without a backward glance. I watch until she disappears from sight, then I wrap the rope of the painter around a thumb-shaped chunk of rock. My shoulders are tired and I hope to hell the tide will be going in when we head back.
A loud wark to my left makes me jump.
A big seal has decided to investigate the newcomer, the black-olive eyes intent with suspicion. I pick up one of the oars, ready just in case, but the silkie only offers some menacing head waving and more barking, backed up by a chorus from his nearby harem. After a cloudy exhale of fish-scented steam, the seal disappears beneath the water.
I sit for a few minutes.
The solid coldness of stone, sea, and wind leach the heat of rowing from my muscles. I blow warm breath into my palms. I’m growing hungry. Another half hour and I succumb to temptation, grabbing the saddlebag for a look inside.
And find food.
Flat oatcakes, like cardboard. A packet of strong-smelling dried fish. And a knob of rock-hard white cheese. I break off a chunk and eat the cheese with one of the oatcakes. Not the tastiest treat in the world, but filling.
The bag also contains a number of small corked bottles, each wrapped in rough cloth with Latin labels. I open one and sniff, catching a tangy, herbal scent from the dark liquid inside. A small wooden box with a sliding lid is full of dried seaweed, with a strong iodine smell. And another holds what looks like dead bugs. At the bottom I see something especially interesting. A small, square package, done up with paper and a layer of oiled silk beneath. I glance across the landscape of rock and seals, but there is no sign of Melisande. So I unwrap the bundle and find myself holding a book. I reach around and claw at my waist. Malcolm Chubb’s grimoire is still there, safe inside its plastic cocoon.
The cover of the new book I hold is limp with no boards, made of a fine-grained leather. I gently stroke it. Unborn lamb, perhaps. Its pages are handwritten in French, but an archaic version, one I don’t recognize, the book lavishly illustrated with drawn images, beautifully detailed, traces of the original gilding and color still clinging to many of them.
I catch their meaning.
Alchemy.
I scan more of the thin parchment pages, each in wonderful condition despite their obvious age. My brows go up seeing a remarkably explicit—though beautifully rendered—drawing of a woman having her way with a four-horned goat. I’ve risked enough exposure to the elements for this treasure, so I close the old book. As I do, I catch a glimpse of the title page.
Le grimoire du Le Compte Saint-Germain.
I free the other book from my kilt’s waist band and compare the size and thickness. About the same. Nearly identical, in fact. What did Chubb say about the 15th-century grimoire? We think it’s a copy of a much older volume. One perhaps by Saint-Germain himself. Is this the original manuscript from which the book I hold had been printed?
Suddenly I’m yanked from my thoughts.
By a scream.
I STAND IN THE BOAT and listen, but catch nothing other than the shriek of gulls. Perhaps I mistook one of their cries for something more human.
I carefully rewrap Melisande’s book and replace it into the bag. I notice something else inside, bulky at the bottom. I dig down through the bottles and boxes and discover a flintlock pistol, loaded and primed, protected by a holster. Etched into the leather is a name.
Geillis.
I wonder.
Is that relevant to this woman?
Hard to say, but the flintlock is a fine specimen. Quite deadly from short range. Its presence raises a ton of questions about my benefactor, several of which I’ve already asked myself. So I decide to not take any chances. I withdraw the weapon and shake the cartridge and wad out into my hand. I stuff both into the sporran at my waist, then replace the weapon, now useless, in the bag.
An explosion of seal hysterics warns that someone is coming and I see Melisande pick her way down the rocks, now minus the coin box. Her movements are quick with a nervous vitality, and her shoulders rise and fall in concert with her rapid breathing.
“Let’s be away,” she says, stepping into the boat. “The tide’s just on the turn.”
I nod, not bothering with conversation. I’m as anxious to get back to the mainland as she is—possibly more so. The afternoon looms pale and without warmth and she’s right. This is no place to be stranded. She’s also right about the tide. It is turning, and the currents remain bizarre, pulsating and lifting us with each swell.
I keep my rowing in time with the shallow, jerking pitch.
Eventually we come to land and, with a final surge, the tide shoves us onto a pebbled shore. Close to the black cliff small thatched cottages stand, built of the same dark stone, smoke curling from holes in the thatch and the flicker of firelight just visible from a narrow window here and there. She bends to retrieve her bag as I scramble ashore to secure the boat to a barnacle-crusted iron ring sunk into the rocks. I just finish tying the rope when I hear a click behind me and the immediate pop of a flash in the pan, signaling the firing of a primed gun with no load. I turn around to see Melisande, holding the weapon, aiming at me. Her expression bears a mix of anger, contempt, and surprise.
Luckily, my suspicions proved correct.
“I’m not that stupid,” I say to her.
Then I spot a package, wrapped in clear plastic, in the shadows under the slats of one of the seats.
Damn.
I dropped Chubb’s grimoire.
She leaps over the gunwale and I catch the glint of a knife in her hand. She brings it toward me in a wide, flailing arc. I grab her wrist, but she’s strong, twisting like a snake. Her knee slams into my thigh and twists me sideways. She jabs with the blade and I dodge her attacks. I grapple with her for a few moments then decide enough of being a gentleman and smash the back of my hand across her jawline. Her head flies up in a cascade of hair that snaps her teeth together with a loud smack and makes her totter backward. Her eyes go wide, then she moans and collapses onto the beach, skirts blooming around her.
“Hoy!”
Shouts reach me from the water, and I stare out to see three boats with men standing up, waving their arms. The doors to the nearby cottages open and more burly men flood out. Melisande suddenly rises to her knees. Blood seeps from a gash in her lip.
“Help me. He’s a murderer,” she screams.
Rage fills her eyes.
This apparently is not going according to her plan.
No time to snatch up the lost book. So I retreat and make for the trail, bounding upward in a wild scramble, scree sliding under my feet. I reach the top winded and sweat drenched. A quick look below shows me that Melisande is no longer lying on the beach and that a couple of the fishermen and several of the other men are making their way up the trail. I run off across the moor, with no idea where I’m going. I jog and walk alternately, as fast as I can, my lungs pumping like bellows. After a while I slow, fairly certain that nobody is following. God knows what that woman is telling her saviors, or what she would have told them if she’d succeeded in killing me.