Meanwhile they went on — well, yes, they were enjoying themselves.
'I do enjoy being with you,' he said, and not only did this have the frankness — the generosity — she expected from him, but he sounded surprised. Was enjoyment not something he expected? Well, this kind of delightfulness was not anything she was used to either. She really had had to work so hard, had been so weighed down with responsibility… but surely a man with so many advantages did not lack opportunities for… but it was the two of them, their being together, as if they both owned a key to this place whose air was happiness.
And they might shake their heads, offering each other ironic smiles because of the improbability of this affinity. Charm. Like opening a wonderfully wrapped package and finding in it a gift secretly hankered after for years but never really expected. Her life had become charmed because of this Stephen What's-his-name, who was in love with a dead woman. Which passion they discussed a good deal, he with perfect good humour because, as he informed her, he had carried away his Julie into some fastness where she, Sarah, could not come. 'I simply have to save her from you,' he said. They had fallen into the habit of talking whimsically about his craziness — she could use the word because he did. 'You're crazy, Stephen.' 'Yes, I'll freely admit it, Sarah.' But to say someone is crazy is almost to make it all harmless. It is a joky little word.
Yet she believed he was doing himself real harm. Sometimes, when a silence had fallen between them she saw his face sombre, abstracted: yes, indeed 'his' Julie was in some deep place inside him where he visited her. But this was not doing him good, to judge from the dark hurt look he wore then. Sometimes, when she saw that look, she decided not to think about what it meant, for fear she too would succumb. She had learned this habit of self-protection with Joyce: there was a point when she decided not to enter imaginatively into the poor girl's state of mind, for fear of being taken over. Surely there was something here that contradicted the outward life of this man, which was everything it should be, public-spirited, sane, generous, open for anyone to look at and judge. To joke about his 'crush' on Julie, choosing to avert her mind from what it might mean, saved their friendship from Julie. For Sarah — and she was ashamed of the irrationality of it — wondered more and more what witchery that woman must have had to influence people so strongly after she was dead. One might even fancifully see her as Orpheus, charming victims into dark places, by the power of her music and her words.
As for Sarah's play — or script — Stephen said, 'You've got her pretty well. I do realize I was being partial — I mean, in the play I did. And I'm glad you've made me see her… rounded out. It's odd, what a block I had about reading her thoughts. But it hasn't changed what I feel about her. You see, we were made for each other, Julie and I. Well, Sarah, your face isn't exactly designed to hide what you think… is that because you don't believe there can be someone made for you? I remember I thought that once. But the truth is, there can be just the one person. It's funny, isn't it, how few people there are who… but you can have this feeling about the most unlikely people. I remember once -1 was in Kenya, on active service. Everyone's forgotten Kenya. Too many wars, I suppose. I met this woman. She was an Indian woman. Older than I was. And it was there… we knew each other at once. You have to trust in this kind of thing. If you don't, you are denying the best part of life. You and I have something of the kind — well, we know that. It has nothing to do with age, or sex, or colour, or anything of that sort.'
Sarah was saying to herself, about 'this thing I have with Stephen', that if she had had a brother — a real one, not a clown like Hal — then this is what it might have been like. Extraordinary it had not ever occurred to her that to have a brother might be a pleasant thing.
Sarah and Mary flew together to Nice. When high in the air over Europe, Sarah observed that Mary's mouth was moving as she sat with closed eyes. No, Mary was not praying. She made a point of repeating her mantra as a public relations woman several times a day: 'This summer dozens of festivals will compete for attention. The Julie Vairon Festival will be only one of them. I shall make sure it will be the best, the most visible, and that everyone will want to come.'
They were met at the airport by Jean-Pierre le Brun, whom they felt they already knew, after so many consultations by telephone. He was dark, good-looking, well- dressed, combining in that uniquely French way correctness, politeness, and a practised scepticism, as if at university he had taken Anarchy and Law as his main subjects, and these had merged and become subdued to a style. Meeting the Englishwomen, also officials of a kind, he managed to express an extreme of respectful politeness, with a readiness to be affronted. He was not aware that he radiated resentment as well, but in no time he had forgotten about it, for he decided he liked them. They enjoyed an amiable lunch at Les Collines Rouges, Belles Rivieres' main café-restaurant. It then being late for business in the town hall, he drove them off into the wooded hills behind the town, first speeding along a tarmacked road and then driving not much slower when it became a rough track. This was the road Julie had followed when she walked to and from Belles Rivieres. 'She walked in all weathers, la pauvre,' said Jean-Pierre. Here two unsentimental Englishwomen smiled at the Frenchman who was being so formally sentimental, exactly as expected. And in fact he had tears in his eyes.
At the track's end they walked up a rocky path till they stood in a wide space between trees and rocks. The soil was a vibrant red in the late afternoon sun. The green of the trees was intense. The air was full of a murmur like bees, but this was the river and the waterfalclass="underline" apparently there had been heavy rain. There was not much left of the 'cow-byre' the citizens had complained about. To quote from Mary Ford's publicity brochure: A little stone house, cold, uncomfortable, was where Julie Vairon lived in the south of France, from the day of her landing penniless off the ship until she died. It had been a charcoal burner's house. 'Well, why not?' Mary demanded. 'Someone must have lived there before she did.'After Julie's death it stood empty for many years. Then the farmer Leyvecque, whose grandsons still farm in the area, used it as a stable. A storm took off the tile roof. If the town of Belles Rivieres had not rescued it, there would be left only a heap of rubble, but instead the site is now a charming theatre, where this summer…
There wasn't much left of the house. The long back wall stood, and parts of the side wall, now capped with cement to stop them collapsing further. Behind the house red earth sloped to the trees. Umbrella pines. Oaks. Olives and chestnuts. Some of these trees had known Julie. The air was full of healthy aromatic smells. The three people walked back and forth over the site where Julie's life would shortly be re-enacted. Well, her life as edited by the necessities of the production. The acting would be on the space on a side of the house. The musicians would be on a low stone platform — at once Sarah and Mary began explaining that this platform must be larger, and nearer the acting area, because of the importance of the music. Jean-Pierre argued for form's sake and then said he had not understood the music would carry so much of the meaning. He gracefully gave in, as he had been going to from the start. These negotiations were going on in a mixture of French and English — the English for Mary's benefit. She had explained over lunch that she could not learn languages, in the way the English have, as if afflicted by a defective gene as yet unknown to science. Because it was Mary who was going to have to work with Jean-Pierre on publicity, Sarah listened to what turned out to be a pretty fundamental clash of views. He said he expected an audience of about two hundred for each night of the two weeks. Mary protested that many more must be planned for. Jean-Pierre said that one could not expect large audiences for a new play, and one with only local significance. Still gracefully disagreeing, the three arrived back in the town. Jean-Pierre left them at their hotel to return to his family, and it was with regret. Mary and he were making a game out of her inability to speak French and were communicating in Franglais. Clearly he enjoyed the surprise of this large, calm, apparently stolid young woman, with her equable blue eyes, taking off into ever surrealer flights of language.