In Near Ruins

THE  MAN WITH BANDAGED HANDS named Caravaggio had been in the military hospital in Rome for more than four months when by accident he heard about the burned patient and the nurse, heard her name. He turned from the doorway and walked back into the clutch of doctors he had just passed, to discover where she was. He had been recuperating there for a long time, and they knew him as an evasive man. But now he spoke to them, asking about the name, and startled them. During all that time he had never spoken, communicating by signals and grimaces, now and then a grin. He had revealed nothing, not even his name, just wrote out his serial number, which showed he was with the Allies. 

 

His status had been double-checked, and confirmed in messages from London. There was the cluster of known scars on him. So the doctors had come back to him, nodded at the bandages on him. A celebrity, after all, wanting silence. A war hero. 

 

That was how he felt safest. Revealing nothing.He was a large animal in their presence, in near ruins when he was brought in and given regular doses of morphine for the pain in his hands.But now, walking past the group of doctors in the hall, he heard the woman’s name, and he slowed his pace and turned and came up to them and asked specifically which hospital she was working in. They told him that it was in an old nunnery, taken over by the Germans, then converted into a hospital after the Allies had laid siege to it. In the hills north of Florence. Most of it torn apart by bombing. Unsafe. 

But the nurse and the patient had refused to leave. 

Why didn’t you force the two of them down? he asked.