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Elara, a local music teacher volunteering there, heard him one night-not playing, but gently tapping a single, repeating chord on the closed lid, a soldier's tortured rhythm. She didn't speak. The next day, she left a simple sheet of Bach's Air on the G String on the stand.

Day by day, she left new sheets. He never touched the keys, but began to hum the melodies, his silence slowly giving way to sound. She started playing them for him in the empty afternoons, the notes weaving a fragile peace in the sunlit room.

The day he was due to return to his unit, she found the piano open. On the sheet for Beethoven's Für Elise-a piece she'd left that week-he had penciled in an awkward, heartfelt variation in the margin, a musical question.

He left for the front. She kept the sheet. During the Battle of the Bulge, a V-mail arrived, stained and torn. It contained only a few bars of scribbled musical notation. She sat at the piano and played it. It was the answering phrase to his variation, a resolution. He was telling her he was alive, and that their duet was not over. The war would end; their song was just beginning.

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