The Silver Dark Sea. Susan Fletcher
in the man’s beard, as if a thumb has been pressed there – familiar, in its way. A shell, or a rose.
Sam stumbles through the grass. His feet snag on roots and old wire; the sheep lift up from their resting places and bleat at him, and move. His breathing is loud as he runs towards the lane. He knows the house with the striped socks on the line is to his left and that a woman will be inside it, but he cannot go to her. Not her, of all people. He does not look across.
Down the hill. Past the ragwort, and the rusting tractor.
Past the sheet of corrugated iron that is half-lost in grass.
He turns right at the sign that says Wind Rising. He runs up the drive and the dog barks as she sees him, and the rooster stretches up and flaps his wings. Sam bangs on the back door which swings open on its own so he hurries inside saying Ian? Ian? The kitchen smells of casserole and coffee and dog hair and Ian is standing there, very still, with the kettle in his hand.
* * *
A man?
A man.
Dead?
No. I thought he was, but he’s alive. He opened his eyes.
Washed up? Are you sure he’s not just … Ian shrugs. I don’t know … Lying there? Sunbathing, or …
No, he’s washed up. Sam’s hands grip the back of a chair.
Is he hurt?
Don’t know. Probably. He is pale, Ian – properly white. I really thought he was dead. Oh God …
Ian sighs, holds up a hand to stop the boy talking. OK. Fine. I’ll get Jonny. And Nathan’s in the barn. He’s big, you say?
Looks it. And heavy. Arms like … He holds his hands apart, showing him.
Ian takes a sip of coffee. He holds it in his mouth for a moment before swallowing. He takes a second sip, puts the mug down. Then he pulls on a jumper and walks towards the door, talking under his breath, but as he reaches it he turns to see Sam’s still standing there, holding the chair. Coming?
Ian, listen …
The older man pauses.
He’s dark-haired. There’s a mark in his beard – like a whorl. I didn’t look too closely –
Ian’s eyes are hard. Let’s just get there. OK?
* * *
Four men make their way across the fields as the sun starts to dip. They move quickly, without talking. The sheep move away from them, find a safe place and then glance back.
The Lovegrove boy leads the way. His shirt is darker under the arms; his forehead is lined for his age. He looks over his shoulder once or twice to check he is still being followed. The farmer from Wind Rising is next – greying at the temples, breathing through his mouth. He is Ian Bundy and he has the family build – stocky, short-legged. His son, too, has it. And they both have the family colouring – brown eyes, sallow skin, hair that is almost black. Jonny chews as he jogs – gum, which he snaps in his mouth with his tongue until his father says get rid of that. The younger man scowls, throws the gum into grass. The fourth man sees him do it. He is Nathan Bundy. He, too, is dark-eyed, but the summer has lightened his hair and it is long so that it brushes his collar and curls by his ears. He’s the tallest of them. He has marks on his arms from barbed wire; he hasn’t shaven for days. Nathan says nothing as they make their way to the cove called Sye.
Brush-brush – their legs through the grass.
They all have their thoughts, their worries.
A ewe watches them. The men crest the hill so that they are, briefly, four dark shapes against the sky, four silhouettes – and the ewe sees this. She shakes her ears, lowers her head. She tears, steadily, at the grass.
There, says Sam. He does not need to point.
Ian squints.
The man is still lying there. His right arm is still raised and his legs are parted. Christ. He’s big.
Told you.
The tide is lower now. There is a metre or more of shingle between the sea and the man’s bare feet. Ian makes his way down through the gorse, onto the stones which are dry, chalky to touch. He says, steady – talking to himself as if he were a horse or a dog. He holds his arms out for balance; his feet slip between the stones as he goes. He wonders when he was last at Sye and doesn’t know. He is never on beaches. He hates finding sand between his toes or in his mouth.
Ian sees the black hair. The beard.
He kneels, presses his thumb against the man’s cold neck. Can you hear me? Hey?
Is there a pulse? Jonny stands over him.
A moment. Then, yep.
Sure?
Yes – got one. Let’s roll him over.
All four of them crouch, put their hands on his body. After three?
Ian counts.
As they roll the man over he makes a sound – a groan, as if in pain. There is a creak, too, as if his ribs are being released or a bone which was pressed upon can return to its right place. Grit sticks to his cheek. There is weed splayed on his chest, like a hand.
Ian stares for a moment. Then he reaches, takes the weed away. We need to get him to Tabitha’s. We’ll carry him.
Can we? I mean – Sam shrugs – he’s huge.
He is, but there are four of us. We’ll manage – have to. Ian taps the man’s face twice, calls hey! Hello? As he does this he sees the twirl of hair in his beard, the rosette, and he rests back on his heels, wipes his nose with the back of his hand so that Nathan puts his hand on his brother’s arm. Ian?
Let’s get going.
They take hold of the stranger and lift him into the air.
It is as if they carry an upturned boat. The man is on his back, being moved head-first, with Ian and Sam beneath his shoulders. Their hands take care of his head, arms and neck. Behind them, his right thigh is resting on Jonny’s shoulder and his left thigh is pressed against Nathan’s ear. The men all move slowly, saying careful and easy, now.
When they reach the coastal path they move faster.
Nathan thinks, I was in the barn … An hour ago, he’d been sitting on the spare tractor wheel in the barn at Wind Rising, filling the last few sacks with fleece. He’d been on his own, thinking of his wife. The farm cat had padded by, and the beams had creaked, and he’d been inhaling the smells he had known all his life – wood-dust, hay, diesel, sweat – when his brother had marched in saying a man’s been found. Washed up. At Sye. Ian said it as if it happened all the time – like the ferry arriving or fences blowing down. An hour ago Nathan had been alone in the barn and now he is carrying a half-dead man who’s barely dressed, cold-skinned and fish-smelling.
Things change quickly. But he has known that for years. Four years, or nearly.
He can hear the man’s breath, as they carry him. His thigh is heavy, and his lower leg hangs from the knee and swings. His heel knocks gently against Nathan’s back.
* * *
In the garden at Crest, a woman stands. She is blonde, wearing denim shorts, and she has a clothes peg in her mouth. One by one she takes her washing down. She lifts off tea-towels, a bra, two striped socks. The sun is lowering, and it glints off the windows. She pauses, looks. There is still beauty, she thinks – the light on the water.
Another