Wolf Hall: Bring Up the Bodies by Hilary Mantel Page A

always first up in the morning. I was always the last man standing. I was always in the money. I always got the girl. Show me a heap, and I’m on top of it.’
    ‘Or a whore,’ Stephen murmured.
    ‘You were young once. Have you been to the king with your findings?’
    ‘He should know what kind of man he employs.’ But then, Gardiner had broken off; he, Cromwell, approached him smiling. ‘Do your worst, Stephen. Put your men on the road. Lay out money. Search Europe. You will not hear of any talent I possess, that England cannot use.’ He had eased from within his coat an imaginary knife; he pressed it home, softly, easily, under Gardiner’s ribs. ‘Stephen, have I not begged you often and often to reconcile with me? And have you not refused?’
    Credit to Gardiner, he didn’t flinch. Only with a kind of creeping of his flesh, and a pull on his robe, eased himself away from the airy blade. ‘The lad you knifed in Putney died,’ he said. ‘You did well to run, Cromwell. His family had a noose for you. Your father bought them off.’
    He is amazed. ‘What? Walter? Walter did?’
    ‘He didn’t pay much. They had other children.’
    ‘Even so.’ He had stood dumbfounded. Walter. Walter paid them off. Walter, who never gave him anything more than a kick.
    Gardiner laughed. ‘You see. I know things about your life you don’t know yourself.’

     
    It is late now; he will finish up at his desk, then go to his cabinet to read. Before him is an inventory from the abbey at Worcester. His men are thorough; everything is here, from a fireball to warm the hands to a mortar for crushing garlic. And a chasuble of changeable satin, an alb of cloth of gold, the Lamb of God cut out in black silk; an ivory comb, a brass lamp, three leather bottles and a scythe; psalm books, song books, six fox-nets with bells, two wheelbarrows, sundry shovels and spades, some relics of St Ursula and her eleven thousand virgins, together with St Oswald’s mitre and a stack of trestle tables.
    These are sounds of Austin Friars, in the autumn of 1535: the singing children rehearsing a motet, breaking off, beginning again. The voices of these children, small boys, calling out to each other from staircases, and nearer at hand the scrabbling of dogs’ paws on the boards. The chink of gold pieces into a chest. The susurration, tapestry-muffled, of polyglot conversation. The whisper of ink across paper. Beyond the walls the noises of the city: the milling of the crowds at his gate, distant cries from the river. His inner monologue, running on, soft-voiced: it is in public rooms that he thinks of the cardinal, his footsteps echoing in lofty vaulted chambers. It is in private spaces that he thinks of his wife Elizabeth. She is a blur now in his mind, a whisk of skirts around a corner. That last morning of her life, as he left the house he thought he saw her following him, caught a flash of her white cap. He had half turned, saying to her, ‘Go back to bed’: but no one was there. By the time he came home that night her jaw was bound and there were candles at her head and feet.
    It was only a year before his girls died of the same cause. In his house at Stepney he keeps in a locked box their necklaces of pearl and coral, Anne’s copy books with her Latin exercises. And in the store room where they keep their play costumes for Christmas, he still has the wings made of peacock feathers that Grace wore in a parish play. After the play she walked upstairs, still in her wings; frost glittered at the window. I am going to say my prayers, she said: walking away from him, furled in her feathers, fading into dusk.
    And now night falls on Austin Friars. Snap of bolts, click of key in lock, rattle of strong chain across wicket, and the great bar fallen across the main gate. The boy Dick Purser lets out the watchdogs. They pounce and race, they snap at the moonlight, they flop under the fruit trees, heads on paws and ears twitching. When the house is quiet