“This is better, isn’t it?”
“Hook on,” says Bogey.
They cannot walk fast enough. Their heads bent, their legs just touching, they stride like one eager person through the town, down the asphalt zigzag where the fennel grows wild and on to the esplanade. It is dusky—just getting dusky. The wind is so strong that they have to fight their way through it, rocking like two old drunkards. All the poor little pahutukawas on the esplanade are bent to the ground.
“Come on! Come on! Let’s get near.”
Over by the breakwater the sea is very high. They pull off their hats and her hair blows across her mouth, tasting of salt. The sea is so high that the waves do not break at all; they thump against the rough stone wall and suck up the weedy, dripping steps. A fine spray skims from the water right across the esplanade. They are covered with drops; the inside of her mouth tastes wet and cold.
Bogey’s voice is breaking. When he speaks he rushes up and down the scale. It’s funny—it makes you laugh—and yet it just suits the day. The wind carries their voices—away fly the sentences like little narrow ribbons.
“Quicker! Quicker!”
It is getting very dark. In the harbour the coal hulks show two lights—one high on a mast, and one from the stern.
“Look, Bogey. Look over there.”
A big black steamer with a long loop of smoke streaming, with the portholes lighted, with lights everywhere, is putting out to sea. The wind does not stop her; she cuts through the waves, making for the open gate between the pointed rocks that leads to . . . It’s the light that makes her look so awfully beautiful and mysterious. . . . They are on board leaning over the rail arm in arm.