But Phil is still staring at her, wide-eyed. 'Do they think you're in danger? From Erik?'
'I'm sorry, Phil,' says Ruth, 'I can't say any more. Is it OK if I have the time off?'
'Of course,' says Phil. Then, 'Can I ask you something, Ruth?'
'Yes,' says Ruth warily.
'Why are you wearing a policeman's jacket?'
She had meant to leave early but it's getting dark by the time she reaches the Saltmarsh. All at once there seemed to be so many things to do: cancelling her lecture, arranging for Phil to take her tutorial on Animal Remains in Wetland Archaeology, ringing her parents to warn them of her arrival, avoiding Shona's increasingly desperate messages.
Then, in the middle of it all, Nelson had rung.
'Ruth. You OK?'
'Fine.'
'Judy said she took you to a friend's house last night. I don't want you to do that again. I want you in a safe house.'
'I'm going to my parents. In London.'
A pause.
'Good. That's good.' He sounded distracted; she could almost hear him shuffling through papers as he talked.
'Have you found Erik yet?' she asked.
'No. He seems to have vanished off the face of the earth.
But we'll get him. We've got people watching the guest house, his girlfriend's house, the university. There's an alert at all the airports.'
'What about Cathbad's place?'
'Oh, we've thought of that. I paid a visit to friend Malone this morning. Says he hasn't seen Anderssen for days but we're watching him too.'
'Must be expensive, all this surveillance.'
And Nelson had laughed hollowly. 'It'll be worth it if we catch him.'
Ruth had taken a taxi to the police station to pick up her car but she hadn't seen Nelson. The desk sergeant had told her that he was out 'following up on information received'.
She wondered if that meant he had found Erik. She had almost left Nelson's jacket for him at the police station but something made her keep it with her. The jacket reminded her of Nelson and, in some strange way, made her feel braver. Besides, it was very warm.
As she turns into New Road it is four o'clock. Ominous grey clouds are gathering over the sea. A storm is on its way. The wind has suddenly dropped and the air is heavy with expectancy. There is a livid yellow line on the horizon and even the birds are still.
As she lets herself into her house, Flint greets her hysterically.
God, she had forgotten him last night. In the kitchen he has tipped over his biscuits and torn a hole in the cardboard.
He looks at her balefully as she fills up his bowl.
She'll have to take him with her to her parents. She can't face asking David again and she doesn't know how long she'll be away. She goes up to the attic to get his travelling basket and, as she does so, she hears the first distant rumble of thunder.
She packs quickly, throwing in tops and trousers and jumpers. No point in worrying about what to take, her mother will criticise it all anyway. Ruth is still wearing the jacket. She'll tell her mother that policeman chic is all the rage in Norfolk. She adds a detective novel and her laptop.
She might as well try to get some work done. She drags her suitcase onto the landing, knocking over the cardboard cut-out of Bones as she does so. Beam me up Scotty.
Pushing Bones aside, she hurries downstairs. Five o'clock.
Damn, it will be midnight before she gets to London at this rate. And the roads will be hell. She looks out of the window. It is pitch black now and the wind has started up again. Her gate is swinging wildly to and fro as if an invisible child is playing on it. Hastily, she grabs Flint and shoves him (protesting) into the cat basket. She must hurry up.
And yet, despite everything, she finds herself going to her desk for one last look at the Iron Age torque which started the whole thing. She doesn't know why she does this. She should have given the torque to Phil to put with the other finds but, for some reason, she can't bear to let it go.
It gleams dully in her hand, the twisted metal somehow both sinister and beautiful. Why was it put into the grave?
To show the status of the dead girl or as an offering to the gods of the underworld and of the crossing places – the gods who guard the entry onto the marshlands?
For a full minute, Ruth stands there, weighing the heavy gold object in her hand.
Then a voice says informatively, 'Around seventy BC, I think. The time of the Iceni.'
It is Erik.
CHAPTER 26
Ruth swings round, heart hammering. At the same moment a particularly violent blast of wind throws itself against the house. The storm has arrived.
'A rough night,' says Erik in a conversational voice. He is wearing a black raincoat and is carrying an umbrella which has obviously just blown inside out. He throws the umbrella aside and steps forward, smiling.
'Erik,' she says stupidly.
'Hello Ruth,' says Erik. 'Did you think I would leave without saying goodbye?'
Erik takes a step closer. He's still smiling but his blue eyes are cold. As cold as the North Sea.
'The police are looking for you,' says Ruth.
'I know,' he smiles. 'But they won't look here.'
Why hadn't Nelson thought to guard this house, thinks Ruth in despair. But he thinks she is safely on her way to her parents. There's no-one to help her. She starts to back towards the door.
'What's wrong, Ruthie? Don't you trust me?'
'No.'
'I didn't kill them, you know.' He picks up the torque and examines it closely. 'I didn't kill those little girls. I'm not a Nix. I'm not an evil sea spirit. I'm just Erik.'
His voice is as hypnotic as ever. Ruth shakes her head to clear it. She mustn't be taken in.
'You wrote the letters. The letters told me where to find Scarlet.'
'Rubbish,' says Erik. 'You twisted the facts to suit your theory just as all academics do.'
'Aren't you an academic?'
'Me?' Erik smiles. 'No. I am a teller of tales. A weaver of mysteries.'
He is, she understands suddenly, quite mad.
Slowly, she moves towards the door. Her hand is touching the handle. Then Flint, realising that he is about to be left behind in his cat basket, sets up an unearthly yowl. Erik starts and jumps towards Ruth. What he means to do she doesn't know, but one look at his eyes decides her. She throws herself through the door and out into the night.
The wind is so strong that she can hardly stay upright.
It is coming directly from the sea, racing across the marshes, flattening everything in its path. Rain beats against her face, trying to force her back to Erik but she stumbles on. At last she reaches her car. Her trusty, rusty Renault. Madly, she scrabbles at the door.
'Looking for these?' She looks round and there is Erik holding up her car keys. He is still smiling. With his white hair flattened by the rain, he looks like a wizard. Not a comfortable Harry Potter wizard but a creature from the wind and the rain. An elemental.
