The House on Cocoa Beach: A sweeping epic love story, perfect for fans of historical romance. Beatriz Williams
Your nose is playing tricks on you, Mrs. Fitzwilliam. Though I guess, if some of last night’s shipment had gone off in the heat … happens sometimes … sitting in the sun like that …”
I wave away a delicate blue plume of smoke and cast a final gaze along the clean, well-organized walls of my late husband’s warehouse, and as I do I’m reminded, against my will, of the neat canvas walls of a casualty clearing station in northern France, everything in its place, equipment and instruments and creature comforts, while the rain drummed outside. Of a pair of hazel eyes, turned toward me in supplication.
“Perhaps,” I say.
Evelyn’s squirming weight pulls at my arms. I allow my daughter to slide to the scrubbed wooden floor. I take her hand, and together we follow Mr. Burnside through the doorway, into the suffocating Florida noon.
WE’RE LATE FOR OUR VISIT to the offices of the Phantom Shipping Lines, on the second floor of a large, businesslike brick building set across from the Phantom Hotel, which now belongs to me, according to the terms of Simon’s will. My husband, you see, articulated his last wishes in clear, simple terms: in the event of his death, everything—every single article he possessed—should pass to his wife, Virginia Fitzwilliam of New York City.
A dressmaker and a coffee shop occupy the storefronts on the ground floor, and the stairs for the upper floors lie behind a plain wooden door around the corner. Mr. Burnside reaches for the knob and unlocks it with a small Yale key from the chain in his jacket pocket.
The stairs are wide and bare, and Mr. Burnside tells me to watch my step as I climb, holding Evelyn by the hand. The wood creaks softly beneath our feet. Simon climbed these steps, I think. Simon’s feet caused the same soft creak.
“If you’ll allow me,” Mr. Burnside says, stepping around my body as we reach the top of the staircase and a square, high-ceilinged foyer made white by the glare of the sun through the window at the opposite end. He strides for a door halfway down the wall on the right side, the one facing the river, and unlocks that, too. The top half is made of frosted glass and also bears the name PHANTOM SHIPPING LINES in the same uniform black letters.
“After you,” says Mr. Burnside, stepping back, and Evelyn and I walk through the doorway into a beautiful, spacious room, lined on the east and south walls by large sash windows, shaded from the ferocity of the Florida sun by a series of green-and-white striped awnings. Above our heads, four electric fans rotate quickly. The walls are white, the furniture simple: a pair of desks, a sofa, armchairs, table, cabinets. Everything necessary, I suppose, to run a small, legitimate shipping company, sending fresh, nutritious Florida citrus and avocados to the kitchens and dining rooms of Great Britain.
The room is occupied, of course. After all, business goes on, though the owner of Phantom Shipping Lines has died shockingly in a house fire four months earlier, leaving his company and all the rest of his worldly goods to a wife who, I suspect, most people here in Cocoa never knew existed. A young woman in a navy suit sits erect before a curving black typing machine, the clattering of which has abruptly ceased, and a middle-aged man looks up from the desk on the other side of the room and gazes at us from beneath the green shade covering his brow.
More. There’s another man, stepping just now from a doorway along the north wall, closing the portal behind him and turning to face me. But he’s not the man that—at some hidden depth of consciousness, unknown to logic—I suppose I’m expecting to find before me. Whole and alive.
No. This man is burly and straight-shouldered, grim-faced and dark-haired, bearing a jaw and a pair of hazel eyes so resembling those of my husband, my heart jolts in my chest and my legs turn to sand, and I squeeze Evelyn’s tiny hand in order to remain upright.
Samuel Fitzwilliam.
France, February 1917
HUNKA TIN
… But when the night is black,
And there’s blessés to take back,
And they hardly give you time to take a smoke;
It’s mighty good to feel,
When you’re sitting at the wheel,
She’ll be running when the bigger cars are broke.
Yes, Tin, Tin, Tin!
You exasperating puzzle, Hunka Tin!
I’ve abused you and I’ve flayed you
But by Henry Ford who made you,
You are better than a Packard, Hunka Tin!
—from the American Field Service Bulletin, 1917
(IN THE SPIRIT OF KIPLING’S “GUNGA DIN”)
I met my husband in the least romantic setting possible: a casualty clearing station in northern France in the middle of February. A cold drizzle fell and the air stank of human rot. I suppose this constituted a warning from Providence, though Providence needn’t have bothered. I had always known better than to fall in love. I had always known love was something you would later regret.
The CCS occupied the barn of an ancient farm, and by the time I reached it, late in the afternoon, the sky was dark and the ambulance wheels had choked with thawed mud. For weeks the winter had frozen the saturated ground; today, on the first day of a new offensive, the roads had turned to sludge. That was the war for you.
I brought the motor to a grinding halt in what had once been a stable yard and yanked back the brake. No other vehicles inhabited the swamp around me, and for a moment I thought I’d got the directions wrong. It was all just a hunch, after all: Hazel bursting back from the village, rushing down the empty ward, calling out that there was a battle on! A new attack into some salient or another, and if we wanted patients we should take the ambulance down to the nearest CCS, they’d be lousy with casualties! We were all rolling bandages at the time, there was nothing else to do. No patients to care for. Everyone turned to me. And what could I say? Take the ambulance, Hazel had said: the ambulance just brought down from Paris, our precious Hunka Tin, a bastard born of much wheedling and carrying-on with the American Red Cross Ambulance Service. A tattered, battered Model T that, in our entire sisterhood of accomplished Manhattan ladies, only I could drive.
Take the ambulance, Virginia, do! It’s not as if you have anything better to do.
She was right, of course. The rain was crackling on the great windows overlooking the courtyard. An infinite roll of lint lay in my lap like a death sentence. What else could I have said? Yes. I dumped that damned lint back into the basket and said yes.
A reckless act. Impetuous, my father would have said, shaking his head, and an hour later I’d regretted it passionately, but now that I’d arrived at my destination, the regret was gone. I rubbed my sleeve against the windshield fog—my breath kept clouding the glass—and spied the grim, erratic movements of a stretcher party lurching through the field beyond, half-obscured by mist. Above my head, a delicate whine pierced the air, high and gliding, ending in a percussive crump that rattled my bones. I reached for the door handle and forced myself out.
Four hours ago, as I left the hospital, Hazel suggested I borrow her rubber boots—The mud’s just awful, Virginia—but I hadn’t listened. I had my leather shoes, and from there I’d wrapped army-style puttees around my trousers, all the way to the knee, like a pair of gaiters, and I thought that was enough. Smart and efficient. That was all the soldiers wore, wasn’t it? In those days, newly freed from my father’s house, I thought I didn’t have to follow anyone’s advice if I didn’t want to. I thought I was free. From the moment of departure, from the instant the gray-sided ocean liner cast off into the Hudson River, I had soaked up the knowledge of my independence. I had reveled in reliance on my own common sense.
And that was all very well, except that the mud of northern