village â her motherâs not well.â
âBut Felix . . .?â
âI should think Felix is livid.â
âDâyou think he has a right to be livid?â Faith asked.
Nicole stared blankly at her for a moment and then said, âCome downstairs and have a glass of wine â vin ordinaire, nothing special.â
When they were seated â before a roaring log fire that cast massive shadows in that huge drawing room â Nicole said, âWhy would he need a right to be angry with Angela? He thinks what sheâs doing is self-destructive. So do I. And Iâll bet Marianne does, too.â
âItâs just this,â Faith replied. âYou risked your life in the war. You must have woken up on many mornings wondering if today was the day when youâd be betrayed and then shot. The same was true of Marianne. Maybe you and she still have those nightmares â and please, I donât want to know, Iâm not poking my nose in there, but the point is: you donât seem to . You both have new lives and you both get on with them, whatever nightmare memoriesââ
âI think I know one reason why he might be angry, or not want to take part this evening,â Nicole said. âI joined the resistance, so did Angela. So did Marianne. And we all know why Felix couldnât possibly do the same â why it was far better for him to try to carry the news to America . . . with his reputation. He knows it, too, but thereâs still something in thereâ â she tapped her skull â âthat wishes it could have been different.â
âHas he talked to you about it?â
âSometimes. Not often. But yes, he has talked about it. I tell him I hardly ever think of it now. When I do, it seems like it happened to another person . . . or a previous existence. Like now I only do maths en français . I dream in English.â She laughed. âI even discuss French novels in English, with a French couple we know in Welwyn Garden City. She lends me French books and I am happier discussing them in English. French is too vague, too abstract. English is concrete. Sorry! I only wish to showââ
âExactly. I think Marianne would generally feel the same, and she, too, risked her life, day in and day out, during the war, as you said. But she has also built a new life and put all that behind her. I think â in fact, I know â that Felix believes Angela should be able to do the same. She has gone back to a wonderful job, with a crêche for Pippin, and no loss of seniority. But thereâs this bloody man at the BBC who somehow has access to the war-crimes archives . . . oh, I donât know. This is super wine.â
âHave some more.â Nicole held out the bottle.
âNo, thanks all the same. Iâd better go up and see how Felix . . . If heâs simmered down.â
Casually, carefully busying herself with returning the bottle to the tray beside her, Nicole said, âDo you still carry a torch for him â just a little bit?â
âYes,â Faith admitted, rising to go back upstairs. âBut in a motherly sort of way. Felix is like a lot of artists, and Iâve met quite a few â thereâs an eternal child within him.â
âDangerous people,â Nicole commented. âFor any woman with a motherly streak!â
Faith hesitated, laughed, and went on up the stairs. She had reached the top of the flight before she said, âActually, that lets me out.â
âIt must be over by now.â Faith spoke while crossing the threshold into the Johnsonsâ drawing room, which had been their workshop when they first moved in. Now it was the Scandinavian showpiece Marianne and Willard had intended to build from the start â the room whose functional elegance and superb craftsmanship (actually, more crafts woman ship in this case) would seduce all inquirers and waverers into the blessed