He recalls standing at that same spot three years ago amid the tight knot of men: Will, Burghley, a handful of others, heads bowed, faces solemn. Candlelight and shadows, the sweet smell of incense, the muttered prayers of the priest rustling all around. The Queen, whom the great man had served so well, was noticeably absent. There had been none of the pomp and ceremony that usually greeted the passing of such a dignitary, no cathedral draped in black, no procession of the curious public to see the interment. The funeral was at night, out of sight of the masses, as if it was a guilty secret to be quickly hidden away. They blamed the quiet affair on the huge debts that hung over Walsingham at his death, but Marlowe knows the truth.
The flickering candle drips hot balls of wax on to the plaque with its banal Latin inscription outlining what is public knowledge of the spymaster’s life. The playwright laughs bitterly at the volumes of truth that have been omitted.
Dropping to his knees, he finds the unmarked stone slab beside the final resting place of his former master’s son-in-law, Sir Philip Sidney. He sees that the other great men buried in the cathedral have towering alabaster monuments, but Walsingham’s grave is as he lived his life, unobtrusive, a shadow, easily missed.
From the sack tied to his side, Marlowe draws a pot of ink and, with his quill, begins to deface the tomb.
In the beginning was the Word
, he writes.
Wainwright squats beside him, babbling, ‘Why are we here? Why do you do this?’
The pounding on the door suddenly ceases. The silence that follows is somehow worse.
‘Is there nothing that can save us?’ the big man pleads. ‘I could turn myself to God and pray for forgiveness.’
‘If you feel there is some good in it, then do it.’ Kit’s tone is warm and he hopes it will comfort, but he sees a shadow cross his companion’s face and knows he has accepted the suggestion too readily. Wainwright begins to shake until Marlowe puts a steadying hand on his shoulder.
‘We should go our separate ways. That at least gives one of us a fighting chance,’ the playwright urges in a quiet, calm voice.
Wainwright nods. ‘I have no regrets, Master Marlowe. I have done good work for the Queen and our country, though I have not always been a good man.’
‘I have no regrets, either. What will be, will be.’
The harsh grating of bolts being slowly drawn echoes along the vast nave. Yet there is no one near the door. Marlowe and Wainwright spring to their feet and shake hands before racing back along the nave, Wainwright to the north door, Marlowe to the south. Crouching behind a stone pillar, the playwright can just make out the vague form of his colleague in the gloom on the far side of the cathedral.
The west doors crash open. The pews fall aside as if they are autumn leaves. Footsteps echo off the flags. Whispery voices chill the blood.
Marlowe knows he should run, but he has to see. Keeping to the shadows around the pillar, he watches the pools of candlelight along the nave. Grey shapes flit around the edges of the illumination. Then, after a moment, one of them walks into full view, stands and looks around.
Naked to the waist, his skin has the colour of bone, his cadaverous head shaved and marked with blue and black concentric circles. Black rings line his staring eyes as he searches the shadows of the cathedral. Leather belts criss-cross his chest to secure the axe and sword on his back. His name is Xanthus.
Ice water sluices through Marlowe, and recognition.
In the candlelight, a cruel smile plays on the lips of the new arrival, and he takes from
a pouch at his hip a silver box large enough to contain a pair of shoes. It is ornately carved. Marlowe thinks he glimpses a death’s-head on its lid before Xanthus places the box on the flagstones and flips it open.
Run
, the voice in the playwright’s head insists, but he is in thrall to the curious sight. Why a box? What does it contain?
For a moment the only sound is the wind whistling through the open doors. Then a faint rustling begins. Marlowe spies movement at the edge of the dark interior of the box, one small shape wriggling, then another, then three. And from its depths streams a swarm of black spiders, each one as big as a man’s hand. Too many for the size of the box, it seems.
A gasp comes from the other side of the cathedral.
Wainwright, you fool
, the younger man thinks.
Xanthus’ lips pull back from small, pearly teeth, he glances into the shadows where the man hides and in a black tide the spiders wash towards the unseen spy. A moment later a cry of agony echoes up to the vaulted roof and Wainwright staggers into the candlelight, tearing at his skin. The creatures are all over him, biting. The pale figure only watches and grins.
Marlowe clasps a hand to his mouth in horror. He sees raw flesh on his companion’s face, and blood flowing freely to pool around the man’s shoes. Screams fill the vast space of the cathedral. However much Wainwright rips at the spiders, he cannot stop the agony. Wet bone gleams on the doomed man’s head, and the back of his hands.
The screams subside. He staggers like a man in his cups, and falls to his knees, still slapping at his skin weakly. And when he pitches forward on to the cold stone, the creatures still feed.
Covering his face, Marlowe tries to drive the hideous vision from his mind.
This is only the start
, he thinks.
Gripping the cold iron ring, the playwright throws open the south door and bolts into the warm night. His laboured breathing echoes off the walls of the houses, punctuated by the beat of his Spanish leather shoes on the dried mud. The thunder of blood in his head destroys all thoughts, and it is only when he is racing south through the winding streets towards Blackfriars that he realizes fortune is with him; but not with poor Wainwright.
He forces aside a tide of regret and grief and guilt. Will always told him he would never thrive as a spy because he felt too keenly. Now he understands that the past no longer matters, nor do his failings and dashed hopes. Only the future is important, and the slim chance that he can do something to avert the coming tragedy.
After a few moments the playwright hears his pursuers on the trail once more. Time is short.
Marlowe reaches the muddy banks of the slow-moving Thames, black under the dark sky, and he thinks of the River Styx. He smells wet wood and vegetation, and hears the symphonic creaks of straining ropes on the boats moored along the river’s edge. Across the water is his own personal heaven: Bankside, and the gardens surrounding the Swan Theatre and the Rose, and the stews and dives where he can be the man he wants to be, away from the scrutiny and demands of powerful people.
Fearing he is too late, the playwright searches along the sticky path between Blackfriars and Baynard’s Castle. But then he hears the stamp of hooves and follows the sound to find a young man dozing beside his horse, swathed in a brown woollen cloak. Kit studies the sleeper briefly, seeing the clear skin and slender frame and innocence, and suddenly he feels so very old. Gently, he shakes the young man awake.
‘Tom? Thank you for coming, but there is now a need for urgency,’ the spy says.
Tom rises, stretching. He is taller than Marlowe, his eyes as grey as the winter sky, his hair blond, falling over his ears and to the nape of his neck. ‘I thought you would not come. What is your wish? The horse?’ he asks sleepily. He doesn’t notice the playwright’s dishevelled state.
‘That is for you, to get as far away from here as you can, and quickly.’ Marlowe looks on his young friend with affection, and a rising sadness, and he tries to keep the edge of fear out of his voice.
A howl echoes only a few streets away. The playwright cannot be sure if it was made by a beast or something that had the shape of a man.
The Enemy can never be considered men
, he thinks with a pang of bitterness.
They have no compassion, no joy or love
.
From the sack at his side, Marlowe pulls a thick sheaf of papers, tied with string and sealed with red wax. ‘Tom, listen to me. You must deliver this to my good friend Will Swyfte.’
‘England’s greatest spy?’
Marlowe smiles wryly. ‘Yes, that is indeed how he is known. But first, and quickly, I must write a note to accompany the work.’ He retrieves his quill and the pot of ink.
A troubled thought distracts him and he peers deep into Tom’s face, searching for familiar signs, knowing it is not enough. Then he puts one hand at the back of the young man’s neck and pulls him into a deep kiss. When he breaks away, he stares into Tom’s eyes; it is still not enough, but he has to hope.
‘What is wrong?’ Tom asks. ‘You are not yourself.’
Marlowe laughs at that.
Hearing his pursuers closing in upon their position, his hand trembles as he grips the quill. Too much is at stake, and he dare not write plainly. But too obscure and Will will not understand his warning. In the end, he can only trust in his friend’s intellect.
I fear this may be our last communication, my dear, trusted friend. The truth lies within. But seek the source of the lies without
, he scrawls.
Trust no one
. He underlines this last.
Quickly, he folds the letter and slides it under the string before handing the complete bundle to Tom. By this time, the young man is alarmed by his friend’s actions. He senses their finality.
‘You will come with me?’ Tom asks. ‘My horse will carry two a short distance.’
‘There is nothing I would like more than to ride away with you, good Tom, and recapture those honeyed moments that made me so happy. But I fear it would mean your death. Now, be away, and fast.’ Marlowe hears the faintest tremor in his voice, but he hides it quickly, seals it with a smile.
He kisses Tom again, and turns to the boats so his young friend will not linger. He allows himself one quick glance back when he hears the hoofbeats drawing away, and a moment of sadness too, and then he scrabbles to free the mooring rope of the nearest waterman’s vessel.
Whispers roll along the river bank. Shadows emerge from an alley.
Lurching into the cold shallows, Marlowe feels the mud sucking at his shoes as he launches the boat into the current and drags himself on board. Loud splashing erupts behind him, but the current takes Marlowe away just quickly enough. Shadows flit along the water’s edge, keeping pace.
Ahead, the first gleam of dawn lights the horizon. The playwright looks to the bank and sees the grey forms melt back into the darkened streets.
Marlowe feels no relief. He lies back in the boat, letting the current take him where it will. This life is already over for him, he knows that. There is no escape.
Somewhere a killer lurks in plain sight, with a plan that threatens to engulf England in a rising tide of darkness. He listens to the water sloughing past the boat and hears in it the whispers that have haunted him since he made the first shocking discovery. Two words repeated in a rhythmic chant.
The end, the end
.
The end
.
CHAPTER ONE
THE MAN, DANGEROUS AND CONTROLLED, WAS MOVING THROUGH
what felt like a dream, with devils and wolves, cats and dragons, dolls and jesters on every side. Fantastical faces peered at him from the growing shadows, gloved hands rising to mouths in surprise or intrigue or desire.
An excited chatter of anticipation buzzed through the upper gallery of the Rose Theatre that evening. Amid the heady atmosphere of timber, fresh plaster, perfume and sweat, the masked guests parted to allow the man through, their whispered comments following wherever he went: ‘
Spy … spy … England’s greatest spy
.’
The evening’s entertainment was yet to begin, but the Rose was already full. The carriages and horses had been arriving in a steady stream under the late afternoon sun that cast Bankside’s green fields and dusty roads in a warm, golden haze. The women had alighted, their flat-fronted bodices and divided overskirts in popinjay blue, or sunset orange, or lusty-gallant red, the celebratory colours sending a message of defiance in dark times. The men wore quilted doublets and flamboyant white ruffs, peasecod bellies, jerkins in cloth of silver and half-compass cloaks. Their colours were more muted, greens and blacks and browns, but the sumptuous velvet and silk embroidered with gleaming gold spoke of that same defiance. The court of Queen Elizabeth, in all its glory, would not be bowed.
The spy, Will Swyfte, was a storm cloud amid the summery festivities, unmasked, dressed all in black, quilted doublet embroidered with silver, a jerkin of fine Spanish leather and a cloak. His black hair reached to the nape of his neck, his moustache and chin-hair trimmed that very day. His eyes too appeared black. He quietly cursed the ornate masks that hid the faces of the good men and women of England as they hung over the wooden rails of the upper galleries. He couldn’t see the eyes with any clarity, and certainly couldn’t identify any threat that might lurk there. And threat there was aplenty, all around London.
Underneath the musk of the crowd, the man caught the fragrant whiff of the numerous concoctions of herbs carried to ward off the terrible death. It was a pleasant change from the sickeningly sweet stink of rot that hung over the city like a permanent autumn fog.
Pausing at the rail, the spy peered down the well of the theatre to the yard in front of the stage. The audience was lit by the dying rays of the sun falling through the central, open area of the thatched roof. The black-garbed man studied the red-brick and timber frame of the many-sided theatre, noting the best vantage points, the escape routes, the places where a life could be taken without drawing too much attention. Even in that crowded, confined space throbbing with noise, death could wait patiently for an opportunity.
‘Still no sign of Master Marlowe.’ It was Nathaniel Colt, the spy’s assistant, also unmasked. Eyes bright and inquisitive, he was smaller and younger than his master, slim and wiry, with a thin, tufty beard and moustache that made him appear younger still. ‘I would have thought he’d rather lose his writing hand than miss his own first night.’