ON THE SECOND FLOOR OF THE RETIREMENT HOME is the ward for bedridden patients. From the cabinet in my room I took out a well-worn, clear plastic shopping bag with the label Alois Šisler, hat and cap maker, and walked through the corridor, where petunias and asparagus ferns cascaded from the windowsills and the sounds of the string orchestra cascaded from the speakers, unfurling like petals of whispering horsehair and colorful calligraphic initials, like the ones Francin used in the brewery book for the first letters of the first and last names of the publicans who bought their beer from us. A long black skirt rustled past and before me stood a nurse, she looked at me and beamed with happiness, she was fat, and the gold frame of her glasses dug into her nose. She said to me … Grandpa will soon be departing to the other side of people and things, I suggest you go in and see him, and if he has any other family, tell them to come say their good-byes … And she opened the door and I walked from the sunny corridor into the ward for bedridden patients. There was a deep darkness here, the room faced north, but through the windows you could see the sun shining on the tall trees, whose crowns reached all the way to the third floor, to the light. The windows were so jubilantly filled with sunlit foliage, it was as if the trees were illuminated from below by floodlights, they were aspens with smooth branches and their leaves trembled and made a great rushing sound, as if there was a waterfall or a splashing, sparkling fountain outside in the garden. When my eyes had grown used to the darkness, I saw Francin sitting in a chair at the head of the bed where Uncle Pepin lay, Pepin was unbelievably small, he had his arms folded under his head and was looking up at the ceiling, I saw that in those eyes time was slowing down, or had already stood still. The nurse leaned over him, with one arm under his back she picked him up as if he were a child, that’s how light he was, she lifted him like a little girl lifting her doll out of the doll carriage to play with it. Grandpa, said the nurse, you have visitors. And she uncovered Uncle’s legs, and those legs were milky white, as if they’d been soaking for weeks in limewater. Francin gave a shrug and looked dully at his brother, I noticed Uncle Pepin was wearing a diaper, like a baby. The nurse undid the diaper and said gaily … Very good, Grandpa, you didn’t wet yourself today, shall we put you on the commode? And Uncle Pepin said nothing, he was completely helpless, he kept on staring at the ceiling and his eyes were pale blue like the faded blossoms of the blue lilac, like two frozen forget-me-nots. The nurse drew up the commode, a kind of piano bench, she removed the top lid and placed Uncle Pepin on the bench with the chamber pot underneath. But he slumped sideways, and Francin had to hold him up. And there he sat, our Uncle Pepin, his legs were now blue, and his toes and the soles of his feet with the hard, white, peeling skin looked bleached. There he sat, naked, with only a towel to cover him, he sat there like a statue of Christ crowned with thorns. I waited, in complete confusion, for the moment when Uncle’s bowels would empty and you’d hear the unpleasant sound, in complete confusion I opened the shopping bag and took out a white seaman’s cap, the renowned seaman’s cap Uncle Pepin used to wear a quarter of a century ago when he visited the pretty young girls in the bars, the cap Mr. Šisler had made for him based on a picture of Hans Albers, when he starred in the film