The Englishman was asleep, breathing through his mouth as he always did, awake or asleep. She got up from her chair and gently pulled free the lit candle held in his hands. She walked to the window and blew it out there, so the smoke went out of the room. She disliked his lying there with a candle in his hands, mocking a deathlike posture, wax falling unnoticed onto his wrist. As if he was preparing himself, as if he wanted to slip into his own death by imitating its climate and light.
She stood by the window and her fingers clutched the hair on her head with a tough grip, pulling it. In darkness, in any light after dusk, you can slit a vein and the blood is black.
She needed to move from the room. Suddenly she was claustrophobic, untired. She strode down the hall and leapt down the stairs and went out onto the terrace of the villa, then looked up, as if trying to discern the figure of the girl she had stepped away from. She walked back into the building. She pushed at the stiff swollen door and came into the library and then removed the boards from the French doors at the far end of the room, opening them, letting in the night air. Where Caravaggio was, she didn’t know. He was out most evenings now, usually returning a few hours before dawn. In any case there was no sign of him.
She grabbed the grey sheet that covered the piano and walked away to a corner of the room hauling it in after her, a winding-cloth, a net of fish.
No light. She heard a far grumble of thunder.
She was standing in front of the piano. Without looking down she lowered her hands and started to play, just chording sound, reducing melody to a skeleton. She paused after each set of notes as if bringing her hands out of water to see what she had caught, then continued, placing down the main bones of the tune. She slowed the movements of her fingers even more. She was looking down as two men slipped through the French doors and placed their guns on the end of the piano and stood in front of her. The noise of chords still in the air of the changed room.
Her arms down her sides, one bare foot on the bass pedal, continuing with the song her mother had taught her, that she practised on any surface, a kitchen table, a wall while she walked upstairs, her own bed before she fell asleep. They had had no piano. She used to go to the community centre on Saturday mornings and play there, but all week she practised wherever she was, learning the chalked notes that her mother had drawn onto the kitchen table and then wiped off later. This was the first time she had played on the villa’s piano, even though she had been here for three months, her eye catching its shape on her first day there through the French doors. In Canada pianos needed water. You opened up the back and left a full glass of water, and a month later the glass would be empty. Her father had told her about the dwarfs who drank only at pianos, never in bars. She had never believed that but had at first thought it was perhaps mice.
A lightning flash across the valley, the storm had been coming all night, and she saw one of the men was a Sikh. Now she paused and smiled, somewhat amazed, relieved anyway, the cyclorama of light behind them so brief that it was just a quick glimpse of his turban and the bright wet guns. The high flap of the piano had been removed and used as a hospital table several months earlier, so their guns lay on the far side of the ditch of keys. The English patient could have identified the weapons. Hell. She was surrounded by foreign men. Not one pure Italian. A villa romance. What would Poliziano have thought of this 1945 tableau, two men and a woman across a piano and the war almost over and the guns in their wet brightness whenever the lightning slipped itself into the room filling everything with colour and shadow as it was doing now every half-minute thunder crackling all over the valley and the music antiphonal, the press of chords, When I take my sugar to tea …
Do you know the words?
There was no movement from them. She broke free of the chords and released her fingers into intricacy, tumbling into what she had held back, the jazz detail that split open notes and angles from the chestnut of melody.
When I take my sugar to tea
All the boys are jealous of me,
So I never take her where the gang goes
When I take my sugar to tea.
Their clothes wet while they watched her whenever the lightning was in the room among them, her hands playing now against and within the lightning and thunder, counter to it, filling up the darkness between light. Her face so concentrated they knew they were invisible to her, to her brain struggling to remember her mother’s hand ripping newspaper and wetting it under a kitchen tap and using it to wipe the table free of the shaded notes, the hopscotch of keys. After which she went for her weekly lesson at the community hall, where she would play, her feet still unable to reach the pedals if she sat, so she preferred to stand, her summer sandal on the left pedal and the metronome ticking.
She did not want to end this. To give up these words from an old song. She saw the places they went, where the gang never went, crowded with aspidistra. She looked up and nodded towards them, an acknowledgement that she would stop now.
Caravaggio did not see all this. When he returned he found Hana and the two soldiers from a sapper unit in the kitchen making up sandwiches.