The Devil Will Come (12 page)

Cornelius smiled fatalistically. ‘A few years ago we were rounded up for being Jews. Now we’re rounded up for being Christians. Unless we kiss the Emperor’s ass and pray to Jupiter, we’ll continue to be rounded up.’

‘What pretext are the authorities employing?’ Peter asked, munching a piece of bread.

‘There’ve been some killings. Citizens have been found cut to pieces with our symbols and monograms discovered nearby.’

Peter sighed and put down his bowl. All eyes in the
room
were on him. ‘We all know that such atrocities can have nothing to do with the followers of Our Lord. Ours is a religion of love and peace – only one sacrifice has been made for it, that of the Christos Himself, and His cruel death has atoned for our sins for all eternity. No, this slaughter must be the work of some evil force at large in this world of conflict and torment. Let us say some words in prayer now. Tomorrow we can begin to discuss what must be done.’

In the cattle stall the two brothers lay close to each other under their blanket on the straw.

The younger boy began to cry, softly at first, then louder.

Quintus opened his eyes. ‘Shut up! What’s wrong with you? I was asleep!’

‘I’m scared,’ sobbed Sextus.

‘Quiet! Someone might hear you.’ The boy’s sobs continued unabated and Quintus took a different approach. ‘Of what?’

‘I’m afraid witches will get us.’

‘Don’t be silly. Everyone knows witches only live in the countryside. They won’t come into town. The soldiers would hunt them down and kill them.’

‘What about the Lemures?’

Quintus became defensive, as if he wished his brother hadn’t reminded him of their existence.

Lemures, the ones with tails, the kinless and hungry ghosts which skulked around houses and feasted on humans.

‘You’re a little idiot,’ Quintus said. ‘Lemures don’t hang around cattle pens. Settle down and sleep. We have a long journey tomorrow.’

‘You promised we had a short journey,’ moaned the child.

‘Short, long, don’t think about it, just go to sleep!’

Sextus was in the midst of a nightmare. He was desperately trying to run through a swamp to escape a demon. He frantically struggled from the wraith’s grasp and floundered in the muck. As sticky warm mud splashed his face, he felt the demon grabbing at his legs, pulling him under. Swamp water covered his face. He gasped for air but a coppery liquid coursed down his throat.

Mercifully, he awoke.

Then the true nightmare began.

He turned his head. A man was straddling his brother’s chest plunging a dagger into him. A crimson jet spurted from a great rent in his neck. It was spraying hot blood over Quintus’s face and was dribbling into his own mouth.

‘Quintus!’

There was enough moonlight to see the attacker’s cloak and tunic bunched and riding up his waist. Something was coming out of his back, dancing and flicking in the air.

A great weight compressed him and stifled further cries. A man was on his chest too. A man with dead eyes. When he saw the knife slashing towards his
neck
he clenched his eyes shut, praying he was still asleep.

The dismemberment and butchery was done quickly. ‘Put their heads under the straw but don’t hide them too well,’ Vibius commanded. ‘Wrap everything else in burlap. Make eight parcels and be sure that each contains a hand or a foot.’

The assassins moved down an alleyway toward one of the shops adjoining the cattle market, toting the gruesome products of their work. They stopped at an open windowsill which during the day became a waist-high counter. It was a butcher shop, the only one in the alley marked with the Christian dove.

Vibius stepped onto the cupped hands of a compatriot and was boosted up and over the counter. He dropped soundlessly to the rough-hewn floor and crept toward the rear of the room, stopping in his tracks when he heard loud, guttural rasps.

He inched forward slowly until he was able to peer past the curtain at the back of the shop. The butcher was snoring loudly, an empty jug of wine tipped over beside his bed. Vibius eased his grip on his sword.

Assured that the wine-sodden man was well asleep, he retraced his steps to the window.

He unlatched the door of the meat safe set into the stone wall under the counter, reached inside and began passing cool wrapped packages out the window to waiting hands.

He replaced them with parcels of warm, fresher meat. When was done he vaulted through the window and found the shadows again.

It was dawn when Balbilus finished his fresco but underground he was untouched by the winter sunshine. The oily vapors from the lamps burned his lungs but it was a small price to pay for the satisfying night of work. Vibius had reported back with the news that blood had indeed been well spilled. The Christians would be accused of the massacre of Rome’s finest, a couple of Praetorians. And even more heinously, they would now also be accused of killing Roman children and selling their flesh. In addition, the fresco was to his liking.

Could the new day be more auspicious?

Again, the thud of iron on stone.

At the top of the stairs Vibius opened the hatch and whispered something down to him.

‘Agrippina? Here?’ Balbilus asked incredulously. ‘How is that possible?’

Vibius shrugged. ‘She’s in a wagon. She wants to be carried down to the tomb.’

‘It’s unbelievable! What a woman! Make sure her wagon is hidden from the road.’

Julia Agrippina. Great-granddaughter of Augustus. Incestuous sister of Caligula. Wife of the Emperor Claudius. The most powerful woman in Rome.

And one of us
.

Agrippina was borne on a stretcher by her
attendants
and taken carefully down the stairs and placed gently on the floor. Balbilus knew her people. They could be trusted.

Agrippina was swaddled in blankets, her head resting on a silk pillow. She was pale and haggard and wincing in pain, but even in her fragile state her beauty shone through.

‘Balbilus,’ she said. ‘I had to come.’

‘Domina,’ he replied, falling to his knees to reach for her hand. ‘You should have summoned me. I would have come to you.’

‘No, I wanted this to happen here.’ She turned her head to the wall. ‘Your fresco – it’s done!’

‘I hope it’s to your liking.’

‘All the zodiacal signs. Beautifully drawn, and by your own hand, I see,’ she said, looking at his paint-stained fingers. ‘But tell me: this sequence of planets – what does it mean?’

‘It’s a small personal tribute, Domina. Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn. This was the alignment of the planets on the day I was born thirty-three years ago. I now question my decision. I should have chosen
your
alignment. I can have new plaster laid.’

‘Nonsense, my good seer. This is your tomb.’

‘
Our
tomb, Domina.’

‘I insist that you keep the fresco as it is.’

There was a faint cry from under her blanket.

‘Domina!’ Balbilus said. ‘It’s happened!’

‘Yes. Only two hours ago,’ Agrippina said weakly.
‘After
all these years, and all these fucking men, finally: my firstborn.’

One of Agrippina’s maids pulled back her blanket to reveal a tiny pink baby. Agrippina pulled the infant’s blanket aside and said proudly, ‘See. It’s a boy. His name is Lucius Domitus Ahenobarbus.’

‘This is wonderful,’ Balbilus crowed. ‘Truly wonderful. ‘May I see?’

She turned the baby over. There was a perfect pink tail, wriggling energetically.

‘Your bloodlines are strong,’ Balbilus said with admiration. ‘I assume the Emperor doesn’t know?’

‘That bumbling, pathetic old man doesn’t even know
I
have one! Our unions are absurd affairs.’ Agrippina said. ‘This is between you and me. You honor me with the title Domina, but you, Balbilus, my great astrologer, you are
my
Dominus.’

Balbilus bowed his head.

‘I want to know about this boy,’ she said. ‘Tell me what will befall him.’

Balbilus had been reading the charts carefully. He knew each day of the week by heart, almost each hour. He rose to his feet and delivered the prophecy with great solemnity.

‘The boy’s rising sign, Sagittarius, is in tune with Leo where his moon is placed. As the moon represents you, Domina, you and the boy will enjoy harmonious relations.’

‘Ah, good,’ Agrippina purred.

‘The planet that rules this boy and which is his
ascendant
is highly propitious. It is Saturn, the evil one.’

She smiled.

‘And his moon is situated in the Eighth House, the House of Death. This indicates high position, large income, honors. Jupiter is in the Eleventh House, the House of Friends. From this will come the greatest good fortune and great fame, enormous power.’ He lowered his voice, ‘There is only one caveat.’

‘Tell me,’ Agrippina said.

‘He is square with Mars. This will serve to diminish his good fortune. How, I cannot say.’

She sighed. ‘It is a good reading. To say otherwise would be untrue. Nothing is perfect in our world. But tell me, Balbilus, will my son be Emperor?’

Balbilus closed his eyes. He felt his own tail tingle. ‘He
will
be Emperor,’ he said. ‘He will take the name Nero. And he will be perfectly evil. But you must know this: you yourself, his own mother, may be among the many he will kill.’

Agrippina hardly flinched as she said, ‘So be it.’

ELISABETTA HELD THE
slim volume in her hands, felt its smooth binding, smelled the mustiness of the yellowing and crinkling vellum pages. It was only sixty-two pages long, yet she had the sense that there was more to it than its value as an antiquarian book.

She’d only asked to borrow it but Frau Lang had pressed her to have it.

‘What if it’s worth something?’ Elisabetta had asked.

Frau Lang had lowered her voice, cocking her head at the wall separating them from her husband. ‘I doubt you could buy a loaf with it but if there’s money to be made let the Church have it. My eternal soul could use the help.’

The envelope with its neatly written enigmatic message lay on Elisabetta’s desk at the Pontifical Commission for Sacred Archeology.

As you always taught – B holds the key
.

What was B? The key to what?

11 September is surely a sign …

A sign? What was Ottinger up to and who was the writer, K?

And the curious symbol, vaguely astrological, vaguely anthropromorphic. What did it represent? And why was it so familiar?

Elisabetta drew it on her whiteboard with a black marker and glanced at it frequently.

She heard female voices coming down the corridor and hoped that some of the Institute’s nuns weren’t coming to ask her to join them for coffee. She wanted to shut her door but that, she thought, would have been rude. So she kept her chair turned away in order not to invite eye contact. The voices faded. She opened her desktop computer’s browser and searched:
Marlowe – Faustus – B
.

Voluminous results filled her screen. She began to scroll through a load of articles and failed to notice that an hour had flown by or that Professor De Stefano was trying to get her attention by tapping at her door in a fierce staccato.

She’d borrowed Micaela’s mobile phone the day before to brief him from the airport but this morning he was anxious for more.

‘So?’ he demanded a bit testily. ‘What does it all mean?’

‘I think I know what B is,’ she said.

De Stefano closed the office door and sat on the other chair.

She already had pages of notes. ‘Two versions exist of
Doctor Faustus
, an A text and a B text. The play was performed in London in the 1590s but the first published version, the so-called A text, didn’t appear until 1604, eleven years after Marlowe died. In 1616 a
second
version of the play was published, the B text.’ She scanned her notes. ‘It omitted thirty-six lines of the A text but added 676 new lines.’

‘Why two versions?’ De Stefano asked.

‘No one seems to know. Some scholars say that Marlowe wrote the A text and others revised it into the B text after his death. Some say he wrote both A and B. Some say both are differing products of actors’ memories of performances years after the fact.’

‘And what does this mean for us? For our situation?’

Elisabetta raised her hands in frustration. ‘I don’t know. We have a collection of facts which may be related to one another, although how is unclear. We have a first-century columbarium containing nearly a hundred skeletons – men, women and children, all with tails. There is evidence of a fire, perhaps coincident with the death of these people. The walls are decorated with a circular motif of astrological symbols depicted in a specific order. The upright Pisces symbol certainly can be seen as having a double meaning. We have the post-mortem photographs of an old man, Bruno Ottinger, with a tail and numbers tattooed on his back. What these numbers mean is unknown. We have a play by Christopher Marlowe in this man’s possession. It was given to him by another person, a K. On the note it’s written that ‘B is the key,’ and that September 11 was a sign. The book from 1620 is the so-called B text. The frontispiece of the book shows Faustus summoning the devil while standing inside a circle of astrological symbols
which
are laid out in the exact same order as in the circle on the columbarium fresco. These are the facts.’

Except, Elisabetta thought, there was one more she’d keep to herself: the fleeting image of her attacker’s hideous spine on the awful night when Marco was killed.

De Stefano rubbed his hands nervously together as if cleansing them. ‘So we’re not in a position to weave them together into a cohesive hypothesis?’

She shrugged. ‘From my knowledge of the period, astrology was highly important to the Romans. Aristocrats and common citizens alike placed a great deal of value in the predictive value of star charts. Maybe for this particular cult or sect, the stars and planets were of pre-eminent importance. Its members’ physical abnormalities clearly made them different from most of their contemporaries. We know that they clung together in death. It’s not too much of a stretch to imagine that in life they were associated in some cultural or ritualistic way. Perhaps they were intensely guided by astrological interpretations. Or maybe they were a sect of actual astrologers. This is all pure conjecture.’