The war, he thinks, probably. It has taken a while for Americans to start coming back.
She takes another sip, and as she does he sees something he had not noticed before. It gives him a shock. On her left hand, two of the fingers are completely missing: the smallest and the ring. The trauma is clearly an old one, the skin healed over the knuckles, but ridged with scar tissue. It is a strange thing, this violent absence, because she seems to him so complete and unblemished. Without warning she puts down the bottle and catches him looking.
‘An accident,’ she says, ‘when I was a child.’
‘Did it hurt?’
‘Do you know,’ she says, ‘I don’t actually remember.’
She does, he thinks, watching her. And it did hurt a great deal. Now, as never before, he understands Fede’s curiosity about his own background. The reticence is tantalizing.
Now she is checking her watch, and he guesses what is coming next. ‘It’s getting late,’ she says.
‘I haven’t shown you the garden,’ he says, before she can say that she needs to leave. He has no idea what he is going to show her, now. But this doesn’t matter. The important thing is that she stays. That the evening, the strange enchantment of it, is prolonged. The thought of his apartment, dark and empty, is suddenly more than unappealing – it is something almost fearful.
To his relief, she agrees. He shows her the entrance to the garden, a slender door in an unremarkable wall of old brick. Fede told him about this place. No one knows who it belongs to, he explained, or who cares for it. So few people know of it that it is a true sanctuary.
There are clementine and orange trees growing here, now burdened with ripe fruit. Among them are statues: putti, faceless goddesses wound about with ivy: some so enmeshed in it that they look half-consumed by it. And then on the wall behind them the really special thing. A gorgeous fresco of fruit trees, like a reflection of the garden itself, and pale nightingales and a sky of midnight blue. Only a few of the details are visible in the moonlight, but he hears her catch her breath at the sight. He thinks, suddenly, that he would like to take her here in the daytime, so that she can see the colours. The background is a blue that looks particularly antique, not of the modern world, a colour lost to time. Fede claims that the painting is a Roman original. It could be ancient, it looks it. But it could be a medieval imitation and still be older than the relics of many cities.
He gestures back towards the real clementine trees. ‘Would you like one?’
‘Yes please.’
When he passes the fruit to her their fingers touch for an instant, and the contact is like a heated brand. It causes everything to shift for him. He hasn’t felt it, this specific kind of excitement, for such a long time. He had thought that he might not again. And now here … with her, with someone he has only just met. It makes no sense.
He watches as she removes the peel in a single strand. ‘I’ve never managed to do that.’
For the first time, she smiles.
The flesh is cold from the air, and incredibly sweet. But what he would like, he thinks suddenly, watching her eat hers, is to taste the juice on her mouth. The thought is another flare of warmth. When he looks up at her she is watching him. And he thanks God that she has no way of knowing what he is thinking.
‘Where are we?’ she asks. ‘I’ve lost my bearings.’
‘The Aventine hill. It’s one of my favourite places.’ There’s a stateliness to it, a solitude. ‘The Forum is back that way,’ he points. ‘And across the river is where I live – Trastevere.’
‘What’s that like?’
‘Some parts are rather grand – but I’m afraid I don’t live in one of those. It has … character, I suppose. Sometimes the streets are so narrow you feel the walls might actually be moving in towards you. In a way, it’s where real people live. The real Rome. I mean, for those that can’t afford an Aventine villa, or an apartment near the Spanish Steps.’ He catches again the gleam of diamonds and thinks she is probably from that small club of people who can.
‘I’d like to see it.’
‘Really?’
She nods.
He sees her take it in: the narrowness of the cobbled streets, the shuttered houses with the washing strung between, the cat that slinks its way through the shadows. The recent rain gleams underfoot like spilled ink.
‘I like it.’ She can’t mean it. ‘Where do you live?’
‘Not far from here, actually.’
‘Will you show me?’
Perhaps he is mistaking her meaning … and yet he doesn’t think so. All he can think to say is, ‘Are you sure?’