"What is it? Are there any"—the lieutenant's voice made a creaky sound—"any bodies?"
"Come down here, Tim," Poole called up.
I sat on the floor and swung my legs into the pit. Then I jumped down.
Beneath the floor, the smell of blood was sickeningly strong.
"What do you see?" the lieutenant shouted. He was trying to sound like a leader, and his voice squeaked on the last word.
I saw an empty room shaped like a giant grave. The walls were covered by some kind of thick paper held in place by wooden struts sunk into the earth. Both the thick brown paper and two of the struts showed old bloodstains.
"Hot," Poole said, and closed the lighter.
"Come on, damn it," came the lieutenant's voice. "Get out of there."
"Yes, sir," Poole said. He flicked the lighter back on. Many layers of thick paper formed an absorbent pad between the earth and the room. The topmost, thinnest layer had been covered with vertical lines of Vietnamese writing. The writing looked like the left-hand pages of Kenneth Rexroth's translations of Tu Fu and Li Po.
"Well, well," Poole said, and I turned to see him pointing at what first looked like intricately woven strands of rope fixed to the bloodstained wooden uprights. Poole stepped forward and the weave jumped into sharp relief. About four feet off the ground, iron chains had been screwed to the uprights. The thick pad between the two lengths of chain had been soaked with blood. The three feet of ground between the posts looked rusty. Poole moved the lighter closer to the chains, and we saw dried blood on the metal links.
"I want you guys out of there, and I mean now," whined the lieutenant.
Poole snapped the lighter shut, and we moved back toward the opening. I felt as if I had seen a shrine to an obscene deity. The lieutenant leaned over and stuck out his hand, but of course he did not bend down far enough for us to reach him. We stiff-armed ourselves up out of the hole. The lieutenant stepped back. He had a thin face and a thick, fleshy nose, and his adam's apple danced around in his neck like a jumping bean. "Well, how many?"
"How many what?" I asked.
"How many are there?" He wanted to go back to Camp Crandall with a good body count.
"There weren't exactly any bodies, Lieutenant," said Poole, trying to let him down easily. He described what we had seen.
"Well, what's that good for?" He meant, How is that going to help me?
"Interrogations, probably," Poole said. "If you questioned someone down there, no one outside the hut would hear anything. At night, you could just drag the body into the woods."
"Field Interrogation Post," said the lieutenant, trying out the phrase. "Torture, Use Of, highly indicated." He nodded again. "Right?"
"Highly," Poole said.
"Shows you what kind of enemy we're dealing with in this conflict."
I could no longer stand being in the same three square feet of space with the lieutenant, and I took a step toward the door of the hut. I did not know what Poole and I had seen, but I knew it was not a Field Interrogation Post, Torture, Use Of, highly indicated, unless the Vietnamese had begun to interrogate monkeys. It occurred to me that the writing on the wall might have been names instead of poetry—I thought that we had stumbled into a mystery that had nothing to do with the war, a Vietnamese mystery.
For a second, music from my old life, music too beautiful to be endurable, started playing in my head. Finally I recognized it: "The Walk to the Paradise Gardens," from A Village Romeo and Juliet by Frederick Delius. Back in Berkeley, I had listened to it hundreds of times.
If nothing else had happened, I think I could have replayed the whole piece in my head. Tears filled my eyes, and I stepped toward the door of the hut. Then I stopped moving. A boy of seven or eight was regarding me with great seriousness from the far corner of the hut. I knew he was not there—I knew he was a spirit. I had no belief in spirits, but that's what he was. Some part of my mind as detached as a crime reporter reminded me that "The Walk to the Paradise Gardens" was about two children who were about to die and that in a sense the music was their death. I wiped my eyes with my hand, and when I lowered my arm, the boy was still there. I took in his fair hair and round dark eyes, the worn plaid shirt and dungarees that made him look like someone I might have known in my childhood in Pigtown. Then he vanished all at once, like the flickering light of the Zippo. I nearly groaned aloud.
I said something to the other two men and went through the door into the growing darkness. I was very dimly aware of the lieutenant asking Poole to repeat his description of the uprights and the bloody chain. Hamnet and Burrage and Calvin Hill were sitting down and leaning against a tree. Victor Spitalny was wiping his hands on his filthy shirt. White smoke curled up from Hill's cigarette, and Tina Pumo exhaled a long white stream of vapor. The unhinged thought came to me with absolute conviction that this was the Paradise Gardens. The men lounging in the darkness; the pattern of the cigarette smoke, and the patterns they made, sitting or standing; the in-drawing darkness, as physical as a blanket; the frame of the trees and the flat gray-green background of the paddy.
My soul had come back to life.
Then I became aware of something wrong about the men arranged before me, and again it took a moment for my intelligence to catch up to my intuition. I had registered that two men too many were in front of me. Instead of seven, there were nine, and the two men that made up the nine of us left were still behind me in the hut. A wonderful soldier named M. O. Dengler was looking at me with growing curiosity, and I thought he knew exactly what I was thinking. A sick chill went through me. I saw Tom Blevins and Tyrell Budd standing together at the far right of the platoon, a little muddier than the others but otherwise different from the rest only in that, like Dengler, they were looking directly at me.
Hill tossed his cigarette away in an arc of light, Poole and Lieutenant Joys came out of the hut behind me. Leonard Hamnet patted his pocket to reassure himself that he still had his mysterious letter. I looked back at the right of the group, and the two dead men were gone.
"Let's saddle up," the lieutenant said. "We aren't doing jack shit around here."
"Tim?" Dengler asked. He had not taken his eyes off me since I had come out of the hut. I shook my head.
"Well, what was it?" asked Tina Pumo. "Was it juicy?"
Spanky and Calvin Hill laughed and slapped hands.
"Aren't we gonna torch this place?" asked Spitalny.
The lieutenant ignored him. "Juicy enough, Pumo. Interrogation Post. Field Interrogation Post."
"No shit," said Pumo.
"These people are into torture, Pumo. It's just another indication."
"Gotcha." Pumo glanced at me and his eyes grew curious. Dengler moved closer.
"I was just remembering something," I said. "Something from the world."
"You better forget about the world while you're over here, Underhill," the lieutenant told me. "I'm trying to keep you alive, in case you hadn't noticed, but you have to cooperate with me." His adam's apple jumped like a begging puppy.
The next night we had showers, real food, cots to sleep in. Sheets and pillows. Two new guys replaced Tyrell Budd and Thomas Blevins, whose names were never mentioned again, at least by me, until long after the war was over and Poole, Linklater, Pumo, and I looked them up, along with the rest of our dead, on the Wall in Washington. I wanted to forget the patrol, especially what I had seen and experienced inside the hut.
I remember that it was raining. I remember the steam lifting off the ground, and the condensation dripping down the metal poles in the tents. Moisture shone on the faces around me. I was sitting in the brothers' tent, listening to the music Spanky Burrage played on the big reel-to-reel recorder he had bought on R&R in Taipei. Spanky Burrage never played Delius, but what he played was paradisicaclass="underline" great jazz from Armstrong to Coltrane, on reels recorded for him by his friends back in Little Rock and which he knew so well he could find individual tracks and performances without bothering to look at the counter. Spanky liked to play disc jockey during these long sessions, changing reels and speeding past thousands of feet of tape to play the same songs by different musicians, even the same song hiding under different names—"Cherokee" and "KoKo,"