Tom made the circuit of it at speed, for here there was less traffic and more space, and the pedestrians had withdrawn to the raised sidewalk that was sheltered by the colonnade.
‘The outer ring is where we’re going… Connaught Circus. If you ever want to shop, you could do worse than start here. OK, Tom, make for the office.’
Tom took the nearest radial road, and turned left into Connaught Circus, the rim of the wheel. Banks, garages, restaurants, shops flickered past them in procession, then intervals of trees and grass, and curious quiet islands of older buildings cheek by jowl with the new. They halted before a low green hedge, a narrow strip of garden, and a tall, plain, Victorian colonial house.
‘Temporary headquarters. Down south, near Mehrauli, we’ve got a couple of villas for living quarters, but we shall only be there a few days, then we’re headed for Benares to do the Deer Park scenes at Sarnath, right where they happened. But this is where we keep our gear and do the office work.’
‘What is the film you’re making?’ Tossa asked curiously.
‘Didn’t Dorrie tell you? It’s an epic about the life of the Buddha. Time was when it would have been called: World, Farewell! or some such title. Nowadays we do these things straight, and simply call it The Buddha. After all, if you can have a film called The Bible you can have one called The Buddha, can’t you? That’s what the producer wants. But Ganesh Rao says the accent is on the man, and it ought really to be called Siddhartha. So my guess is, that’s what it’ll be called in the end.’
‘I’ve heard of the Buddha,’ Anjli said delicately, not committing herself to total ignorance, ‘but I don’t really know the story. Could you tell it to me?’
‘Ashok is the man you want, he’ll tell you everything you need to know. Give him a blast, Tom, he can’t have heard us come.’
Tom obliged. The fan-lighted door of the house opened promptly, and a small, slender man in close-fitting trousers and a grey achkan came dancing down the steps with a music-case tucked under his arm. His eyes were black and long-lashed, his smile aloof and courteous, and his colour palest bronze. Surprisingly the rest of his features, full, mobile lips, hooked nose and jutting cheek-bones, were so jagged that he looked like a head by Epstein, and a good one, at that.
He said: ‘Welcome to Delhi!’ in a soft, shy voice, and clambered nimbly into the minibus, where he dumped his music-case between his feet and clasped fine, broad-jointed hands across his stomach. The first two fingers of his left hand were scored at the tips with deep, stained grooves, many-times-healed and many-times-re-opened wounds, smeared with cream that glistened when the light caught it.
‘Meet Ashok Kabir,’ said Felder, ‘our musical director. You ask him nicely, Anjli, and he’ll play you some of his music for Siddhartha presently, when we get him warmed up. Ashok, the little lady wants you to tell her all about this film of ours.’
Anjli Kumar and Ashok Kabir looked at each other suddenly, attentively, at a range of about one foot, and in their own personal ways fell in love at first sight. Dominic, watching with sharpened senses, thought, good lord, I never dreamed it would be that easy. I needn’t have worried, I was just standing in for whoever it was going to be. Anjli saw the native, the initiate, the authority, whose grace was such that he was willing to share what he knew with whoever went to meet him in the right spirit. Ashok, the artist, and himself complete, saw the homing exile unaware of her wishes or her needs, a fragmented child unable to recognise her fractures, much less repair them. They looked at each other with wonder, interest and respect, and had nothing yet to say.
‘Now down Janpath, fast as you like,’ said Felder contentedly, ‘but take it easy where it crosses Rajpath – did I tell you that’s the King’s Way, you folks? Janpath is the Queen’s Way! – so they can get a look right along to the government buildings. You think you’ve seen something when you’ve seen the Mall, in London? Wait till you get a load of this! And then go round the back of the Lodi Park to Keen’s, and we’ll drop the bags off and sign in…’
Keen’s was an old-fashioned but English-run hotel, in an ancient white Indian house that turned a blank face to the street on all sides, and lived a full life about its internal courtyard and gardens, with a balcony for every room – every suite, if the truth be told – on its first and second floors, where the guests were housed. There was but one way in, masked by a tall green hedge; and inside, there was peace and almost silence, all street noises excluded. Room-boys dressed as rajas made off with the baggage, but they turned out to be one of the trimmings of every hotel, even the most modest, and were amiable enough at very low cost. The new arrivals lingered only long enough to stop feeling stunned, and to extract from their bags the coats which Felder insisted they would need in an hour or so. Then they were borne away to the two villas near Hauz Khas, on the most southerly fringe of the city, where a couple of trucks and a large saloon car had just unloaded the exhausted company from Mehrauli.
The din of voices was deafening but reassuring; who could feel inhibited or a stranger where the general babel made it possible to talk nonsense and not be brought to answer for it? And the array of faces, several of them still in make-up, baffled memory and withdrew names, making it necessary, after a while, to enquire discreetly about the dominant members of the collective; but that was taken for granted, and everyone answered cheerfully for himself. In a large, charming, rather bare room, with tall windows looking out on a neglected garden, they circulated and ate and drank, and in an unexpected fashion were at home. The girls – there seemed to be several girls – kept disappearing, and coming back with something freshly cooked. Everything was improvised, but everything worked. It might not be Indian – how could they judge? – but it was calming and reassuring and just what they needed.
Ashok Kabir sat cross-legged on a cushion, and cradled his sitar in his arms, its long, beautiful, polished body reclined upon his shoulder, the twenty moveable frets gleaming and quivering like nerves along its slender teak neck, the larger sounding gourd at the base of the throat nuzzling his heart. Six main strings, so they said, and nineteen sympathetic ones! And those strings were the reason why the fingers with which he controlled them were gashed deep, and never could be healed. And we think western music is a hard apprenticeship!
‘… so Prince Siddhartha was born to the King Suddhodana and his Queen Maya,’ said Ashok in his soft voice, ‘and all the auguries were auspicious, though a little puzzling. The wise men told the king that his son would certainly be a very great leader, there was only some doubt as to what kind. They said that if ever the prince was allowed to set eyes on an old man, a sick man, a dead man and a holy monk, then he would be the lord of a very great kingdom, but not of this world. And as the king preferred that his son should go on ruling after him in the normal and profitable way of this world, he took good care to bring up Siddhartha in a kind of benevolent imprisonment, surrounded by every kind of pleasant diversion, and excluded from him all sickness and ugliness and pain. And when he grew up they married him successfully to the most beautiful of all the noblewomen of the land…’
‘Thank you, darling!’ said Kamala sweetly, and bowed her acknowledgements with hands prayerfully pressed together and head inclined. She wore a white silk sari embroidered with green and silver thread, and looked rather like the Indian Miss World, only more so. She was, according to Felder, as clever as she was beautiful, and nearly as acquisitive, and it had cost plenty to get her to play the heroine.