“Splendid lines, and erotic, but Richard Rodgers, one suspects, wanted more dignity.”
“You must guess my moves, you see.”
“Why don’t you guess mine?”
“I will when you know what to do. At present I’m the only one who does.”
“I bet Kip knows.”
“He may know but he won’t do it.”
“I shall have some wine,” the English patient said, and the sapper picked up a glass of water, flung the contents through the window and poured wine for the Englishman.
“This is my first drink in a year.”
There was a muffled noise, and the sapper turned quickly and looked out of the window, into the darkness. The others froze. It could have been a mine. He turned back to the party and said, “It’s all right, it wasn’t a mine. That seemed to come from a cleared area.”
“Turn the record over, Kip. Now I will introduce you to ‘How Long Has This Been Going On,’ written by—” He left an opening for the English patient, who was stymied, shaking his head, grinning with the wine in his mouth.
“This alcohol will probably kill me.”
“Nothing will kill you, my friend. You are pure carbon.”
“Caravaggio!”
“George and Ira Gershwin. Listen.”
He and Hana were gliding to that sadness of the saxophone. He was right. The phrasing so slow, so drawn out, she could sense the musician did not wish to leave the small parlour of the introduction and enter the song, kept wanting to remain there, where the story had not yet begun, as if enamoured by a maid in the prologue. The Englishman murmured that the introductions to such songs were called “burdens.”
Her cheek rested against the muscles of Caravaggio’s shoulder. She could feel those terrible paws on her back against the clean frock, and they moved in the limited space between the bed and the wall, between bed and door, between the bed and the window alcove that Kip sat within. Every now and then as they turned she would see his face. His knees up and his arms resting on them. Or he would be looking out of the window into darkness.
“Do any of you know a dance called the Bosphorus hug?” the Englishman asked.
“No such thing.”
Kip watched the large shadows slide over the ceiling, over the painted wall. He struggled up and walked to the English patient to fill his empty glass, and touched the rim of his glass with the bottle in a toast. West wind coming into the room. And he turned suddenly, angry. A frail scent of cordite reaching him, a percentage of it in the air, and then he slipped out of the room, gesturing weariness, leaving Hana in the arms of Caravaggio.
There was no light with him as he ran along the dark hall. He scooped up the satchel, was out of the house and racing down the thirty-six chapel steps to the road, just running, cancelling the thought of exhaustion from his body.
Was it a sapper or was it a civilian? The smell of flower and herb along the road wall, the beginning stitch at his side. An accident or wrong choice. The sappers kept to themselves for the most part. They were an odd group as far as character went, somewhat like people who worked with jewels or stone, they had a hardness and clarity within them, their decisions frightening even to others in the same trade. Kip had recognized that quality among gem-cutters but never in himself, though he knew others saw it there. The sappers never became familiar with each other. When they talked they passed only information along, new devices, habits of the enemy. He would step into the town hall, where they were billeted, and his eyes would take in the three faces and be aware of the absence of the fourth. Or there would be four of them and in a field somewhere would be the body of an old man or a girl.
He had learned diagrams of order when he joined the army, blueprints that became more and more complicated, like great knots or musical scores. He found out he had the skill of the three-dimensional gaze, the rogue gaze that could look at an object or page of information and realign it, see all the false descants. He was by nature conservative but able also to imagine the worst devices, the capacity for accident in a room—a plum on a table, a child approaching and eating the pit of poison, a man walking into a dark room and before joining his wife in bed brushing loose a paraffin lamp from its bracket. Any room was full of such choreography. The rogue gaze could see the buried line under the surface, how a knot might weave when out of sight. He turned away from mystery books with irritation, able to pinpoint villains with too much ease. He was most comfortable with men who had the abstract madness of autodidacts, like his mentor, Lord Suffolk, like the English patient.
He did not yet have a faith in books. In recent days, Hana had watched him sitting beside the English patient, and it seemed to her a reversal of Kim. The young student was now Indian, the wise old teacher was English. But it was Hana in the night who stayed with the old man, who guided him over the mountains to the sacred river. They had even read that book together, Hana’s voice slow when wind flattened the candle flame beside her, the page dark for a moment.
He squatted in a corner of the clanging waiting-room, rapt from all other thoughts; hands folded in lap, and pupils contracted to pin-points. In a minute—in another half second—he felt he would arrive at the solution of the tremendous puzzle …
And in some way on those long nights of reading and listening, she supposed, they had prepared themselves for the young soldier, the boy grown up, who would join them. But it was Hana who was the young boy in the story. And if Kip was anyone, he was the officer Creighton.
A book, a map of knots, a fuze board, a room of four people in an abandoned villa lit only by candlelight and now and then light from a storm, now and then the possible light from an explosion. The mountains and hills and Florence blinded without electricity. Candlelight travels less than fifty yards. From a greater distance there was nothing here that belonged to the outside world. They had celebrated in this evening’s brief dance in the English patient’s room their own simple adventures—Hana her sleep, Caravaggio his “finding” of the gramophone, and Kip a difficult defusing, though he had almost forgotten such a moment already. He was someone who felt uncomfortable in celebrations, in victories.
Just fifty yards away, there had been no representation of them in the world, no sound or sight of them from the valley’s eye as Hana’s and Caravaggio’s shadows glided across the walls and Kip sat comfortably encased in the alcove and the English patient sipped his wine and felt its spirit percolate through his unused body so it was quickly drunk, his voice bringing forth the whistle of a desert fox bringing forth a flutter of the English wood thrush he said was found only in Essex, for it thrived in the vicinity of lavender and wormwood. All of the burned man’s desire was in the brain, the sapper had been thinking to himself, sitting in the stone alcove. Then he turned his head suddenly, knowing everything as he heard the sound, certain of it. He had looked back at them and for the first time in his life lied—“It’s all right, it wasn’t a mine. That seemed to come from a cleared area”—prepared to wait till the smell of the cordite reached him.
Now, hours later, Kip sits once again in the window alcove. If he could walk the seven yards across the Englishman’s room and touch her he would be sane. There was so little light in the room, just the candle at the table where she sat, not reading tonight; he thought perhaps she was slightly drunk.
He had returned from the source of the mine explosion to find Caravaggio asleep on the library sofa with the dog in his arms. The hound watched him as he paused at the open door, moving as little of its body as it had to, to acknowledge it was awake and guarding the place. Its quiet growl rising above Caravaggio’s snore.
He took off his boots, tied the laces together and slung them over his shoulder as he went upstairs. It had started to rain and he needed a tarpaulin for his tent. From the hall he saw the light still on in the English patient’s room.