Drought

by Jensen Beach

Her great uncle Gerald had died. Amy just finished reading an email that contained a scanned photograph of his obituary clipped by her Aunt Mary Margaret from the Miami Herald. The obituary did not indicate cause of death, but Amy knew that he’d had some heart trouble recently. The news of his death did not surprise her. It also did not make her particularly sad. Still, she printed the clipping, watched the paper skulk from the printer on her desk. Then she held the obituary in her hand, the paper still soft from the ink, and looked at the small grainy black and white picture of Gerald in his service uniform in a way that she thought might indicate her grief if any of her employees happened to walk by her open office door.

            The obituary was mainly concerned with Gerald’s love of baseball. He’d also been a Sergeant in the Army, and he operated a bar in Miami Beach for forty years, and he’d left money to the Boys and Girls Club in Westview, which the obituary writer, who was probably Aunt Mary Margaret, seemed somehow equally proud of and disappointed by. Secondary to these topics was Gerald’s dislike for his home state of Wisconsin. He had lived in Miami for more than sixty years, and apart from infrequent visits and his life-long support of the Green Bay Packers, Gerald, the obituary made clear, wanted nothing whatsoever to do with his home.

            Amy was curious, frequently, about the notion of home. In her own case, she had tried but failed to move away and was increasingly convinced she’d end her life where it started. There were worse fates. She had been born in the small central valley town where her grandfather had arrived as a migrant in the 1930s from Wisconsin to work first on a dairy farm and then later start a well drilling operation that made him very rich. Her father took over this business when his father died. Amy had grown up, accordingly, in comfort. She went to the state university located fewer than twenty miles to the south in Fresno. Her junior year she had taken an art history course with a required travel component, and she spent two wonderful weeks in Florence and Milan where she visited countless museums and cathedrals. On her flight home she’d vowed to her seatmate, a sickly girl with vision so poor she needed a magnifying glass to read her textbooks, to spend at least the early part of her adult life traveling the world, seeing all that she could. 

            Not long after making this promise she graduated, summa cum laude, with a degree in accounting. Her mother threw a party for her to celebrate this milestone, and all Amy’s friends came and lingered about the pool and sipped cocktails mixed poorly by the nervous Mardirosian boy, the neighbor from three houses down, whom her mother had hired to play the role of waiter. He even wore a white suit coat. As the party wound down, guests trickling out of the gate on the side of the house as dusk began to settle, her father approached. He gave her a hug and presented her with a business card that read in ornate script: Amy Susanne Murphy, Chief Financial Officer. 

            “I had this mocked up for you,” he said. He grabbed her forearm at the wrist, a gesture of his she knew well. “Robert will be retiring soon enough. If you put in the effort and the hours, the job is yours when the time comes.” He smiled and leaned in to give her a kiss on her cheek.

            Over the years she made it to Mexico a number of times, was proud of the fact that she’d visited the Pacific and Gulf coasts, each frequently. For a short period, she even owned a one-sixteenth share in a condo in a small village outside Cabo, where she visited a few times before selling her share in order to finance a new car. But she never lived anywhere away from home. The house she bought was less than a mile from her parents’ place, and she saw them every day. She never married, but every two years or so managed to entangle herself into a complicated and usually painful affair with a man, often from work, once from church, and increasingly from the internet. 

            In addition to obituaries, Aunt Mary Margaret frequently sent holiday themed napkins and paper plates in the mail. All of these Amy kept on a shelf in her pantry, never opening a single package. Since Aunt Mary Margaret’s later than normal conversion to email, she had sent the decorative paper goods much less frequently, but the shelf in Amy’s pantry was still overflowing with floral Easter cake plates and glittery New Year’s cocktail napkins. 

            Apart from a minor car accident in Fresno in which Amy had broken the pinky finger on her left hand, nothing all that tragic had ever happened to her. There were breakups, minor heartbreaks, of course, but nothing out of the ordinary. She did not have a pet that would grow old and die, no children to risk childhood cancers, no husband to betray her singular trust. She worked out three times a week, rarely drank more than a glass or two of wine at a time, did not smoke, and enjoyed skiing and hiking equally. She was in good shape for her thirty-seven years, and had been given a diagnosis of perfect health at her most recent physical. Compare this to her employee Esmeralda, who was obese and could often be heard wheezing on warm days. Amy pitied her. In the last year alone, Esmeralda’s husband had left her for another woman, her son Orlando had been injured in the line of duty in Afghanistan and lost both of his legs, and her youngest daughter had spilled a pot of boiling water on her chest and thighs causing severe burns. Miraculously, Esmeralda had not missed a single day of work to attend to these tragedies. Though of course Amy would have allowed this if Esmeralda had only asked. 

            She read the obituary again, scanning for information on where to send flowers and curious to see whether she might uncover the architecture of some unspoken family drama regarding where Gerald should be interred. She supposed it would be Miami, where the funeral was to be held and where the address for the funeral home was located. Gerald had lived there so long. He attended Mass at St. Joseph’s, where the services were to take place in three weeks’ time, according to the notice at the bottom of the obituary. But Aunt Mary Margaret was stubborn, and Amy knew her father would do whatever his cousin wanted if this meant avoiding a conflict. Apart from Gerald, all of the Murphy family lived either in California or in Wisconsin. Aunt Mary Margaret might very well insist that Gerald be laid to rest in Wisconsin at the Murphy family plot. In this case, at least, a visit in his honor would not require travel to a place that meant nothing to any of them now that Uncle Gerald was gone.

            She’d tried to see Gerald only a year before. There had been a conference in Ft. Lauderdale for small business owners in the construction industry. Amy had arranged to go, hoping to meet other young professionals, perhaps discover some vision of her own for the company and its future under her leadership, new partners perhaps, or more exciting, new markets. The drought had brought some difficult years. Her guilt over the nature of the company had likewise become difficult. A day might be going along just fine when she would be on Facebook and run across one of those time-lapse videos of a lake up north that showed the dramatic effects of the drought on the water levels in the state. On those days, she’d need an extra glass of wine or two at night to find sleep. Her father had been gradually retiring from his position as CEO and Amy was stepping into this new role. He owned the building and most of the equipment and Amy would pay the lease on these items, at once funding her father’s retirement and also purchasing the business and its various holdings from him. They agreed that whatever balance was left by the end of a six-year period would be her inheritance, whether her father had died yet or not. 

            The day she arrived in Ft. Lauderdale, it was hot and she was sweating through her shirt before she’d even reached the curbside pick-up for the shuttle bus to the rental car facility. The conference was spread across two separate banquet rooms in a hotel near the airport. It rained the first day, a storm that arrived almost simultaneous to her checking in to the hotel. The second day was sunny, but wickedly hot, and Amy did not leave the hotel for longer than the few minutes it took to walk from one building to the other. She spent her evenings in the bar, making awkward small talk and failing to connect with anyone in a meaningful way. By ten-thirty on the second night, whatever vision she may have hoped to discover had been obscured behind the ill-fitting pants and crew cuts and obvious indentations on ring fingers where wedding bands normally sat. She emptied her half-full glass of wine into a potted palmetto by the elevator and went up to her room.

            On the third day, the heat broke and she decided to skip the conference events and drive to Miami to see Gerald. She didn’t bother to call him ahead of time. He lived in an assisted living facility in Miami Beach. Aunt Mary Margaret always made sure to send pictures whenever she visited, and Amy felt in some small way that she knew the place, though she herself had not ever been. There was a view of the water from Gerald’s bedroom window.

            On I-95 south, she hit traffic and was glad she’d paid the small fee to the rental car company for the toll pass when she saw the sign indicating that she could merge onto the express if she wanted. She did. In no time she was exiting the freeway and driving, by means of several bridges, to the east toward a hazy line of tall buildings on the horizon.

            Aunt Mary Margaret frequently wrote emails to Amy about her visits with Uncle Gerald. A major subject of these emails was the traffic problem in Miami Beach. Traffic was “a real nightmare, as you know, and it’s getting worse.” Her emails often affected that casual tone people use to indicate that they have more experience with a thing than might be assumed. But as Amy made her way across the island and experienced the wait at each stop light, the honking horns, the loud music from convertibles stranded in intersections, the motor scooters and throngs of people dragging coolers and beach chairs toward the water, she began to suspect that perhaps Aunt Mary Margaret had not been exaggerating. This made Amy nervous, and so she parked her rental car several blocks away from Uncle Gerald’s place, in the parking lot of a Walgreen’s housed in a building painted so white it hurt her eyes. 

            In the end traffic was no less complicated for her on foot, though she was more flexible in her options regarding one-way streets and a funny little section where the road had been torn up and large boulders of concrete and asphalt crowded onto the sidewalk directly in front of an erotic art museum. “Come delight!” the sign above the black-windowed front door read. 

            By midday it was oppressively hot, though thick clouds had begun to crowd the sky and there was a musty smell in the air as if rain was imminent. 

            Gerald’s apartment building was on the north side of South Beach, two blocks in from the water. It was a wide, six-storied building, decorated on the broad stucco wall above the entry way with a sunrise motif carved into the façade. As she entered the building, Amy tried to remember that she wanted to google art deco architecture when she got back to her hotel.

            Inside, the air conditioning was so powerful that she instinctively hugged herself, briskly rubbing her hands up and down her arms. There was an expansive lobby area with a shiny, reflective white tile floor and beyond that an open entrance to what appeared to be a hallway that led back into the building. This was obscured by a long, flowing linen curtain that shrugged in the air that the ceiling fan pushed about the space. Amy approached the reception desk, behind which a young woman was speaking loudly into a phone. When she saw Amy, the woman placed the phone on the desk and said, warmly, “Hello. Can I help you?”

            “I’m here to see my uncle,” Amy said.

            The woman pushed a guest registry book across the desk to Amy. “You have to sign in,” she said. “Is he expecting you?”

            “I’m only in Florida for a couple of days. I thought I’d surprise him.”

            “That’s sweet of you. Some of our residents don’t get any visitors.”

            Amy began to fill out the information the registry required. As she finished writing her cell phone number and home address, the woman said, “It’s a lot, I know. We’ve had some trouble with visitors. Mostly distant relatives looking for money or else drugs in the medicine cabinet.”

            “Of course,” Amy said.

            “You wouldn’t believe what people will do to their loved ones,” the woman said. 

            When Amy had finished with the registry, she replaced the pen and closed the book. 

            “Do you know your uncle’s apartment number?” the woman asked.

            “I’ve never visited before,” Amy said. 

            The woman opened the registry, scanned with a finger until she reached Amy’s entry and mouthed to herself as she typed into her computer, “Gerald Murphy. Gerald Murphy.”

            Amy smiled as she waited, kept her eyes on a large mole on the woman’s chest, below her collar bone.

            “He’s in 507,” the woman said. “I’ll let you surprise him. Gerry’s such a sweetie. I’m sure he’ll be happy to see his niece.”

            Apartment 507 was the door located closest to the stairwell. She remembered this detail from one of Aunt Mary Margaret’s emails, actually. Aunt Mary Margaret was always delighting in inconsequential details. Amy knocked. She waited for a few seconds and then knocked again. There was a single window in the hallway, a small frosted glass circle framed by a sunset motif, this one made out of metal, perhaps aluminum or chrome. The sunset reflected what little light there was in the hallway brightly. There was still no answer at the door. She had the number right. 507. Perhaps Uncle Gerald was sleeping, or perhaps he’d gone out. It occurred to Amy that she had almost no idea about his day-to-day life. 

            Downstairs, the woman behind the desk seemed unconcerned that Gerald had not been home. “He’s probably at the beach,” she said when Amy returned. “Most of the residents spend a lot of time at the beach if they’re healthy enough to go out.”

            “Right,” Amy said. 

            “And can you blame them?” the woman said. “It’s so beautiful down here.”

            “It’s gorgeous,” Amy said. “Really pretty.”

            “I’m from Georgia, but this is home for me. I’m in it for the long haul. I love Miami,” the woman said. She reached for her phone and held it up as if she were about to make a call. “Maybe they’ll even let me have a place here when it’s time to put me out to pasture.” The woman laughed at this. 

            “That would really be something,” Amy said, surprising herself.

            “I’m sure he’ll be home soon, if you want to come back. Take a walk. There’s plenty to do down here.”

            “I will,” Amy said. “Thanks.”

            She felt the first rain drops before she’d even made it a block from Uncle Gerald’s place. They were big, thick drops that in no time darkened the sidewalks. And then the wind picked up, and the rain came down heavily and loud, immediately filling the gutters with water and soaking Amy through. She took cover in the first shop she passed, a tourist place with an enormous display of jewelry made with shark teeth—necklaces, earrings, a ridiculous looking headband with the teeth arranged along the top in a way she assumed was meant to suggest a shark’s open mouth. 

            That was a year ago. In her office, she put Uncle Gerald’s obituary down on her desk. She wondered, briefly, if Aunt Mary Margaret was punishing her for not seeing Uncle Gerald in Florida before he died. It was odd that she hadn’t gotten an email at the least before the obituary was published, or that her father hadn’t called with the news. She didn’t think that anyone had known about her trip to Miami. It was reasonable to travel for business and be unable to make time to visit with distant family. No one would begrudge her that. And no one, as far as she knew, was even aware that she’d tried to see Uncle Gerald but then found herself exhausted from the storm and the little tourist shop and had decided to drive to her hotel and not wait for Uncle Gerald to come back from the beach or wherever he was. But she could not shake the feeling that the timing of the news of his passing had been planned by Aunt Mary Margaret to communicate something to her. The receptionist must have told Uncle Gerald that Amy had visited. And when she didn’t return, Uncle Gerald, offended, must have called Aunt Mary Margaret to tell her.  

            Amy was a nervous person, a fingernail biter, a fidgeter. She sat at her desk and ran her fingers along the edges of the obituary, pushed the paper back and forth, folded one of the corners, unfolded it. Outside her open office door, her employees passed on their way from one task to another, all of them there for her, and yet not a single one turned to look, no one said hello. She pulled the obituary nearer to her, determined to find some clue as to Aunt Mary Margaret’s motivations. Much loved father, she read, brother, and uncle, Gerald James Murphy passed from this life to his eternal home beside his beloved savior Jesus Christ. 


Jensen Beach is the author of two collections of short fiction, most recently Swallowed by the Cold, winner of the 2017 Vermont Book Award. His stories have appeared in A Public SpaceThe Paris Review, and the New Yorker. He teaches at Northern Vermont University, where he is fiction editor at Green Mountains Review. He lives in Vermont with his children.

Two Poems by Wang Jiaxin
(translated by Diana Shi and George O’Connell)

Glenn Gould

by Wang Jiaxin (translated by Diana Shi and George O’Connell)

A pair of hands invisibly
touch the keyboard, and slowly
you step into Canada’s knee-deep snows.
I’m listening: is this still the vast winter day of North America?
No, the scope of silence itself, the music
peacefully rising, entering my body
the moment it stops for breath.
This is the rhythm
set by your trek, each step
longer than a man’s life. This the song
to ears inaudible; only the skull can hear.
A murmur rolling toward us,
played by you, irresistible,
carried off on the fitful shadows of these notes.
Between us, an immense sheet of snow outstretched;
on the scores, your scrawls illegible.
Back from a noisy party, I think of you
in the deepest solitude, not ready yet
to listen. Jammed on a Beijing bus,
or standing forever in a foreign twilight,
wanting to go home,
not knowing how,
you come to me. Who can say
what music’s sought me always?
I hold back, knowing what took you
in the end takes me. Not ready
for death, I hold back as you did,
my angel on its stool, counting silence,
yet still I’m ecstatic, loving life
yet alone. Now that I sit
at last in darkness, is it you there
playing Bach’s fugue—
yes, no, yes,
yes, no.
Such moments startle me,
as if someone uttered “hush”
while the piano’s black bird vanishes, you vanish,
the road to winter vanishes.
This in the end is the music I hear,
arriving like gray hair, or a child born at dawn.
This is winter’s vault, rising in magnificence,
a mother’s love sculpting fog in bitter cold,
a landscape glimpsed en route to the sea and a dead volcano,
the story that begins after all stories end.
This is the pulse of joy,
the forehead burnished by death.
This is the endless telling—you find at last
the one to whom you’ll speak.
This is hymn, in silence the song
loud and resonant,
how I enter a future suddenly broad, open,
crossing the deep snows of time.


Meeting Rain, Wutai Mountain

by Wang Jiaxin (translated by Diana Shi and George O’Connell)

After five hundred li of dusty road,
we drove through a red canyon
as thunder boomed over the mountain,
rain right on our heels.
Mist rose,
the mountaintop temple veiled in the shower.
It came so indulgently, luxuriously,
my teeth chattered.
I recall my parched thirst on the way,
and later, the strange wooden fish in the monk’s hand,
in my dreams a rush
of streaming water.
Awake, last night’s fruit pits tossed out the window
already beaten into muddy earth.
Rain clears, the day’s trees,
the rocks, the temple shining.
Then morning’s windchime,
and across the mountain slope,
a drift of chanted sutras.

Six 100-word Memoirs

Paul Doherty

IRISH

From the sunroom off the parlor, now converted to his sickroom, my father would call out as I left the house, “Remember you’re Irish.”  I believed his good-bye to be ironic.  Unlike his own father, a zealous Fenian, my father was pleased and proud to be American and had no interest in supporting or celebrating Irish causes.

Another of his valedictions was for any family member heading off to Mass.  “Remember me to the Reverend Maurice.” Father Maurice O’Connor was pastor at St. James, classmate and close friend of Cardinal O’Connell.  My dad thought both men too full of themselves. 

WOODWORKER

My father’s hobby was woodworking. I can just barely picture him at his cellar workbench—when I was a child he was a dying man—but several of his wood creations remain—the massive workbench itself, the miniature toolbox he made for me, and the platform, built so that we could share the workbench. For the beach he made a scow and tugboat. That tugboat is a masterpiece—iron keel, dowel smokestack, intricately carved pilothouse and gunwales.  He built a second cellar stair railing, low, at just the right height.  I suppose that it’s still there in my childhood home. 

“MRS. DOHERTY”

My mother called our neighbors by their surnames—Mrs. McCabe, Mrs. Murphy, Mrs. Porter.  Her life was circumscribed by my father’s long illness, which kept her homebound.  Groceries were delivered from the Arlmont Market.  When the “Arlmont man” came, he waited in the kitchen until mother had accounted for each ordered item.  One year she did venture from the house, enrolling in a Red Cross home-nursing program. Mrs. Riemer told me later that my mother mastered the hospital tuck better than any of the other women.  I was not surprised, only delighted that my mother’s extraordinary competence was on display.   

IN THE KITCHEN

I was probably seven or eight when I had my tonsils removed by our family physician, Dr. Carl Barstow.  The procedure took place in the kitchen of my home.

Why at home?  To save hospital costs?  A family tradition of home tonsillectomies?

I don’t know.  I do have some clear memories of the day.  I was placed in a kitchen chair, my folded arms tied to it with towels.  Gauze, soaked with anesthetic, ether I suppose, was held beneath my nostrils.  All went well.  Later that day I walked across to Robbins Farm and watched my friends play tag football.   

GLOVE

In 1948 the great Red Sox infielder, Johnny Pesky, conducted a baseball clinic in Arlington.  My brother loaned me his Bobby Doerr glove for the occasion.  At the clinic, we young infielders gathered around Pesky. He asked to borrow a glove.  I held the Bobby Doerr out for him.  Pesky fielded ground balls, emphasizing positioning, balance, and footwork. When the clinic ended he handed the glove back to me. “Nice glove, son.” I ran to where my brother had been watching. “Nice glove, son!”  He would not have heard that.   I was pleased to report Johnny Pesky’s amiable professional judgment.

LITTLE BUILDING

The Little Building, a blocky structure on the corner of Boylston and Tremont, is now an Emerson dorm.  But in its heyday between the wars it was Boston’s largest office building.   Trips to Boston with my Aunt Molly included a visit to the office of her childhood chum, Nora Hurley.  There, in a room cluttered with bolts and scraps of cloth, Nora embroidered—altar cloths, priests’ vestments.  But Nora’s eccentric-ities interested me more than her needlework.  You could not mention FDR in her presence; you could not convince her that her refrigerator light shut off when the door was closed. 

City Kingfisher 

By Marina Richie 

The belted kingfisher I pursued all summer on a wild stretch of Rattlesnake Creek now perches on a high wire above the Clark Fork River in downtown Missoula, Montana. 

He’s gone urban this winter. How could he have become such a suave, natty bird who seems to have forgotten the meaning of the word skittish in the environs of crows, pigeons and house sparrows? So many times he eluded me in the labyrinth forests of cottonwood and ponderosa by the cold, clear creek. 

The bird I thought I knew belongs four miles upstream from Rattlesnake Creek’s nearby confluence with the Clark Fork River, a place the Salish (Séliš ) people knew as Nɫʔay, translated “Place of the Small Bull Trout.” Not so long ago, the sizzling fragrance of fresh trout cooking on a fire permeated their camps, as they caught, dried and stored fish for the winter ahead. 

My kingfisher pays no heed to the rumbling cars rattling across Higgins Bridge, the honking of horns, or the thudding passage of walkers and runners. He likely comes from generations of male kingfishers flying downstream in a seasonal pilgrimage to find the ice-free waters with best fishing on a river then unencumbered by a small city of 70,000. 

His mate has flown south and will return by late March or early April to the home nest bank along Rattlesnake Creek. By then, my kingfisher will have flown upstream to guard his prime nesting territory from upstart males. 

I come to see him often, finding some patterns in his movements. If not on the wire, he tends to be poised on a cottonwood tree limb, or he’s patrolling his mile-long winter territory from Madison Bridge by the University of Montana downriver to the Orange Street bridge. 

On one late sunshine day, he scrunches down on the high wire. His feathers appear fleecy gray without a speck of the typical blue. His crest flurries into a peak with that distinctive two-part divide. From a distance, he looks like a baseball impossibly balanced on the wire. Through binoculars, he’s slimmer and alert, snapping his tiny tail and peering at the ice chunks coasting downstream.

He is predictable only in context of the dynamic river and shifting ice. With below-freezing temperatures, the ice expands from the shore outwards. The wire allows him access to the river’s center, where he dives headfirst at an angle to pluck an escaping trout from black waters. 

One day as I watch him on his wire perch, I have the feeling of not being alone. I turn to see an unshaven middle-aged man in a torn jacket standing a few feet away. 

“A kingfisher!” I say and point where my bird has flown to the limb of a young cottonwood leaning out over the river close by. 

“Yes, a kingfisher!” He nods back and we stand together in silent appreciation of the bird with the tousled crest, head cocked forward and bill pointed downward. 

A kingfisher doesn’t stand out like a bald eagle swooping down to nab a duck on the ice, or a great blue heron stalking the shallows with long-legged precision, or the mergansers and goldeneyes rafting the waves. He’s more like the man I met, invisible until you become aware of him. 

This kingfisher I watch does not divide urban from the wild. By the river’s edge are red-osier dogwoods and willows among boulders that harbor a broken whiskey bottle or a torn shirt. Beavers gnaw trees. The wilds nudge into the city. The city nudges the wild. I’m always cheering for the wild to win, yet acknowledge that if a kingfisher could vote, he’d endorse the presence of wires over the river that give the ideal view of the fish below.

Spring Break at the DMV

by Dalton Day

For Mathias

Author’s Notes

The transitions between each scene can be as smooth or as opposite-of-smooth as possible. Lighting can be used to indicate the end / beginning of a scene, or the actors can just start the next scene without any break at all. 

“//” denotes a line that is interrupted by the one following it.

Italicized text is not verbalized.

Characters

A1, A2, A3: Three friends who are about to go on Spring Break. Though they are college-aged, they should be played by actors in their late 20s. They are going to be friends forever. This isn’t a nostalgic play, though. Because nostalgia is poisonous and honestly?? It’s like, an inch (at most) from being pure, unfiltered sadness. Nobody needs that. With that being said, I miss you, terribly.

DMV EMPLOYEE: They are just doing their job.

DOG: What dog?!

SOMEONE ELSE: You don’t know them. I wouldn’t worry about it. 

SCENE 1 (Or, Prologue)

A dog’s bark is heard.

SCENE 2

A1, A2, & A3 walk onstage, wearing typical beach clothes. A spotlight follows them. They get used to this, but they don’t notice it. They resist it. Perhaps they try to go in separate directions, outside of the diameter of the spotlight. If this happens, three smaller spotlights should appear, one on each of them. But, eventually, they should reconvene at the end of this, in one spotlight, center-stage.

SCENE 3

A1:     I can’t believe we have to come here.

A2:     Come where?

A3:     There’s nothing I can’t believe.

Someone should laugh who isn’t A1, A2, or A3. The play stops here unless someone laughs, ok?

SCENE 4

DMV EMPLOYEE appears onstage. 

A1:     Well we’re here now, so let’s make the best of it.

A2:     Whatever you say, boss.

A3:     Boss?

SCENE 5

A1, A2, & A3 approach DMV EMPLOYEE. They wait to be greeted, but they aren’t.

A1:     Good morning.

A2:     Good afternoon.

A3:     [with fondness] I hope we stay friends forever.

SCENE 6

No lights. A smooth jazz track plays. It should be waiting room music. As the song continues, though, a little more…umph…is added to the mix. Then the sound of someone coming into the sound booth & saying Woah woah woah, that’s not right. Here, play this. Nothing plays.

SCENE 7

DMV EMPLOYEE 

Take a number.

The number 24 is projected on a screen.

A1:     24 it is!

A2:     That’s not that long of a wait.

A3:     This conversation is horrible.

SCENE 8

A1, A2, & A3 are sitting on the floor downstage. DMV EMPLOYEE is still there. DMV EMPLOYEE can be walking around the stage, miming typical office tasks, or they can eat their lunch, or they can pull out a trumpet & play a sorrowful tune. Yeah, that one, eventually. 

A1:     I was reading the other day about memory. 

How memories aren’t stored in a system in the brain, 

that memories ARE the system in the brain.

A2:     Oh, so it’s like, not a window in a room, 

but like, the room itself?

A3:     I’m going to remember this moment, 

right here, 

for as long as I can.

Lights fade as trumpet song comes to an end.

SCENE 9

A1, A2, & A3 are in a different room. There is a window, suspended in air. 

A1:     We should go to the beach for spring break.

A2:     Hell yeah! Sand, sun, &…& uh….

A3:     Salt!

All cheer.

SCENE 10

A dog’s bark is heard, again. 

SCENE 11

Back at the DMV. The number 25 is projected on the wall. 

A1:     Wait a minute. Weren’t we 24? They never called it!

A2:     Oh man, we’re never gonna get out of here.

A3:     I think, when I look back at my life, 

I’m going to be happy. 

Pause. 

Smiling. I hope. 

SOMEONE ELSE walks onstage, & approaches DMV EMPLOYEE.

SOMEONE ELSE

Number 25! I’m number 25 right here!

DMV EMPLOYEE:     Well, hello again! It’s a pleasure to see your face! Let’s get you what you need so you can be on your way! I hope the wait wasn’t too bad.

SOMEONE ELSE

Wait? What wait?

Both laugh, & exit.

SCENE 12

A3’s voice is heard but not seen.

A3:     Isn’t it weird? The way people enter your life? 

Seriously! 

Like, you meet people, 

& then, next thing you know, 

you’ve known them for a year or two & it’s just…

impossible to track how they got here. 

How close you are to them. 

How you’ve shared such a small amount of your life with them,

& yet it’s…I dunno.

Don’t laugh! 

It’s weird! 

& like, how there’s no way you’re going to go back to a life without them. 

You just…

You can’t even picture it.

Try it.

Try to picture it. 

SCENE 13

Only A2 & A3 are onstage. A couple beats before the dialogue starts.

A2:     Laughing. Oh my god! 

A3:     Laughing. I can’t believe you just said that!

SCENE 14

Is that—is that a dog?! There’s a dog walking around the audience. What kind is it? Oh it doesn’t matter, it’s a dog! The dog is probably gonna walk around & sniff a little bit. Probably no accidents. Maybe the dog will go on stage. If that happens, follow it with a spotlight. If it lies down, keep the spotlight on it, but maybe dim it? This will be the remaining length of the play. What a great ending! But probably the dog will wander off-stage, & then the next scene can start. Dang! What a great dog!

SCENE 15

A2:     Yeah, we’ve been here AT LEAST that long, if not longer.

A3:     If not longer.

SCENE 16

A2:     Why don’t you go up there & see where we are in line.

A3:     Couldn’t hurt.

A2 & A3 turn towards DMV employee, but neither get up. A beat.

DMV EMPLOYEE:     You should be next. 

Should.

A2 & A3 turn back to where they were. A beat.

A2:     What did they say?

A3:     Where are we?

SCENE 17

A2:     (thinking) Hmm…lie down on the beach 

& just listen to the waves crash. 

I could do that for hours.

A3:     You could do THAT for hours?

SCENE 18

A2:     Y’all hungry? 

A3:     (clearly to audience) Y’all hungry? 

A beat.

Me neither.

SCENE 19

A2 alone on stage. They are walking around, clearly bored. Eventually they go to the edge of the stage, dangling their legs off the side.

A2:     I remember very well the first time I saw the ocean.

I was scared.

I couldn’t swim well.

& there I was, face to face with so much…muchness.

Whoever I was with told me not to be afraid.

But I was.

But it was beautiful.

& I knew that I would remember everything about that moment until (trails off)

However old I was.

However many people were there.

How long it would take me to finally work up the courage to walk towards—

A beat

To walk towards—

A beat

Uh—

A beat, A2 looks clearly stumped, before smiling.

A2:     It was beautiful. 

SCENE 20

The number 24 is projected on the wall for a moment, before malfunctioning. A technical error should show on the screen. Someone (not Someone else) walks onstage. They look up at the screen, reading the error, & then hit the wall (if they can’t hit the wall for some reason, a clap will do). The error screen disappears, & is replaced with a looped video of the sky. A few clouds, a bird or two. Nothing except sky should be seen in the video. Whoever walked onstage, exits.

SCENE 21

Sky still projected. A1, A2, & A3 walk onstage. They spread out, A1 stage left, A2 upstage center, & A3 stage right. 

A1:     Ok, so remember. Each person says one word at a time, making a story. & there’s no going back, no redos, & you only have three seconds to come up with your word. Ready?

A2:     Yep.

A3:     Alright.

A beat.

A1:     There-

A2:     Once-

A3:     Was-

A1:     A-

A2:     Day-

A3:     That-

A1:     Seemed-

A2:     To-

A3:     Last-

A1 pauses. 

A2:     1-

A3:     2-

SCENE 22

Has anybody seen that dog?

SCENE 23

A2:     Yeah, me too. I’m sick of waiting around. It’s not worth it.

A3:     We should be next.

SCENE 24

A3’s voice is heard. 

A3:     There’s got to be a simpler way to do this.

Like, an extra hand.

Every time you have to say goodbye,

like, a real goodbye,

like, you are leaving my life,

you grow an extra hand.

Simple, right?

A beat.

Though, I guess—

A beat.

Sometimes you’d just grow a hand out of nowhere,

& that’s how you’d find out you’ve said goodbye.

That’d suck. 

Especially if it was the first time.

A beat.

& I guess eventually, you’d have more hands

than people to say goodbye to. 

A beat.

How many hands does someone need?

To say goodbye?

This many?

A beat.

I’m waving.

A beat.

Can you see me?

A beat.

I’m standing right here.

Waving.

A beat.

Either a knocking sound or a clapping sound should happen, whichever one was used to fix the error screen earlier.

SCENE 25

A3 & DMV EMPLOYEE onstage.

A3:     Oh, come on. It hasn’t been that bad. 

SCENE 26

A3:     & hey, at least none of us had to be here alone. 

SCENE 27

A1 walks onstage. They do so hesitantly, looking around a lot, as if to make sure they are alone. When they reach center stage, their face dramatically goes from cautious to thoughtful. They sigh.

A1:     Know who I miss?

SCENE 28

DMV EMPLOYEE alone onstage. They pull out their trumpet again & start to play. No sound is coming out though. They examine the instrument, & try again. Nothing. They are visibly straining to make sound come out of the instrument. They finally stop trying before looking past the audience, using their hand to see in the darkness. They gesture toward their trumpet, shaking it & shrugging their shoulders. A voice says from the sound booth: “Yeah, we’re working on it. Sorry about that.” DMV EMPLOYEE nods, puts their trumpet away.

DMV EMPLOYEE:     I don’t mind waiting.

SCENE 29

A1, A2, A3 on stage with DMV EMPLOYEE:     A1:     I think I’m going to head out. 

A2:     Yeah, me too—//

A3:     //–Wait. 

SCENE 30

A1, A2, A3 onstage with DMV EMPLOYEE. A1 & A2 don’t move or interact. DMV EMPLOYEE moves as they please.

A3:     I need a second.

I need to remember as much as I can.

A beat.

This is like those horses. 

Looks to DMV EMPLOYEE for recognition, gets none.

Those horses. From World War II.  

Nothing.

In World War II, a bunch of horses ran into a lake because they were scared & then–.

A beat.

Shwwwoooooop.

The lake froze solid.

With the horses inside.

A beat.

I mean. 

It’s probably just a legend.

A beat.

But.

This is like that.

(looks to DMV EMPLOYEE) Don’t you think?

DMV EMPLOYEE:     I think—

The projection quickly goes through a series of numbers. Is “24” in there? I think I saw it. Is this over? I don’t want it to be. It can’t be. Not yet. Not yet. It lands on the loop on the sky.

It’s time for my break.

SCENE 31

A3 sits perfectly still while a lot of people walk through the DMV. DMV EMPLOYEE is on their break, so will not be in this scene. This should appear fast, the people not spending much time onstage, a few seconds at most. Feel free to just use audio of a lot of steps & human voices, if a lot of people cannot be found.

SCENE 32

A3 sits onstage. DMV EMPLOYEE Returns.

A3:     Ok.

I’m with y’all. 

Let’s get out of here.

A3 starts to get up. 

SCENE 33

Who is your best friend? Have they always been your best friend? How many best friends have there been before them? Who do you miss? Can you tell them? Will you? 

SCENE 34

I miss you.

SCENE 35

A1, A2, A3 enter the DMV. DMV EMPLOYEE greets them.

A1:     Hello!


A2:     Hi!

A3:     Hey!


DMV EMPLOYEE:     My thoughts exactly! Right this way!

They all exit.

SCENE 36

A1, A2, A3 enter the DMV. DMV EMPLOYEE greets them.

A1:     Hello!

A2:     Hi!

A3:     Hey!


DMV EMPLOYEE:     My thoughts exactly! Right this way!

They all exit.

SCENE 37

A1, A2, A3 enter the DMV. DMV EMPLOYEE greets them.

A1:     Hello!


A2:     Hi!

A3:     Hey!


DMV EMPLOYEE:     My thoughts exactly! Right this way!

They all exit.

SCENE 38

A3 enters the DMV. DMV EMPLOYEE isn’t there.

A3:     Do you mind if we sit here for a little while?

A beat.

Thanks.

SCENE 39

The video of the loop of the sky plays. This time, though, there is sound. Seagulls, & the sound of ocean waves. Other sounds typical of a day at the beach. This continues through the end of the play.

SCENE 40

Video continues. Lights up. End of play. 

Here

by Jason Namey

Pickle likes his ex-wife’s house because when he steps out for a night piss the Tallahassee streetlights light and shape the plants like clay dogs. 

            He coughs into his elbow and curls down on the couch, pulling the sheet up to his wet armpits. It’s patterned Winnie the Pooh and must have been around since his daughter was a child. His hands come up dusty. Did nobody wash it for him? 

            Whenever he’s really working to fall asleep, he’ll smack his lips. Maybe he saw that in a movie once. 

            He sits up then lays back down just to sit up again in clean rotation till the sun starts to rattle against the trees. He wants to watch TV but scares about waking everyone, decides to just watch it on mute but can’t crack the remote. The screen won’t flash no matter which button he presses how many times. 

             He leans back and lets his eyes trace the roof like it were a maze to solve. He tries not to stare at that stain, the one shaped like pimpled lungs. 

            Today, his daughter is coming to visit. He just wants it to go well enough for her to not be like the rest and forget him already.

            Like his landlord who forgot who he was and changed the locks.

            Like his old neighbors who forgot who he was and wouldn’t let him borrow some cash.

            Like his buddy Mike who said, “Sorry friend-o, I don’t have room for guests right now.”

***

            A few hours later, Sand and Bill come down. They fry up pancakes from a box and top them with blackberry jam. Pickle eats just a bite, two. He can’t tell if he’s not hungry or just nervous about seeing her. 

            “Did you sleep okay?” Sand asks. 

            “Sorry we have nothing more comfortable,” Bill says. “Why don’t we go by Walmart later, buy you a blowup?”

            “Maybe he likes the couch,” Sand says. “Sometimes there is nothing more comfortable than a couch.”

            “What if he finds himself a young lady?” Bill turns to Pickle and winks. “Sorority Row is just a few miles thataway.”

            Sand giggles and whispers something to Bill. Pickle tries to let out a polite laugh but it falls into a coughing fit. He wipes phlegm on the cushion without thinking. 

            Pickle leans forward and uses the coffee table to push himself up. The empty dishes on top chatter against each other. After finding his balance, he goes over to his bag and pulls a pack of cigarettes. 

            Sand and Bill watch him struggle the sliding door open. 

            He sits on the concrete bench and looks back at his reflection in the glass door, distorted amid a collage of waist-high smears as if rubbed off a dog’s nose. 

            Tapping his empty breast pocket, he realizes he can’t find his lighter. He scans the patio, cluttered with the same old bullshit: lawn chairs messed with mildewed rags, a shovel rusting against the house, cans of bug spray capped neon orange—shining among the muck. A small tin bowl rung with mold. A grill caked with ash, or is that dirt? Hanging from it, a utility lighter.

            “Bingo,” Pickle says, reaching. 

            In the morninglight the plants look like plain old plants. It’s hard to tell quite how they shape the way they do at night: clay dogs frozen as if while running. The long grass droops back over itself like rows of barbed wire fence. Pickle fantasizes about cutting it. He can’t remember when he last sweated.

A kiddie pool sits pushed up against a tree, dirt gathered in its mouth and mixed with stale rain. A squirrel, perched on top, jerks its head around. 

            “Fuck you, squirrel,” he says, then slaps at the mosquitos tickling his neck.  

***

            When Pickle gets back inside, Sand and Bill are heading upstairs to get ready for work. 

            “Try not to sit on the couch when you’ve just finished smoking,” Bill says.

            “Don’t listen to him,” Sand says.

            “Don’t listen to me,” Bill says.

            Pickle wants to show he can respect even their pettiest wishes. But he feels suddenly flint-kneed and lightheaded so he just nods and starts to say “Sorry,” but hears their door shut so instead he says it to himself. He can’t find his water cup on the coffee table.   

            After a short commotion of drawers and hair dryers, they come back down. Sand says, “I talked to Cyn yesterday. She’ll be by around noon. Tell her to call me.” 

            “Noon,” Pickle says. “We’ll see.”

            “Don’t start,” Sand says. “Ask her about school, her major. I think you’ll be proud.”

            As they turn to leave, Bill motions to the fridge, “There is salami if you get hungry. Help yourself to whatever except—” Sand glares at him. “Whatever.” 

            “Could I get some water?” Pickle asks, holding his hand out. 

            “Sure, help yourself,” Bill says as he opens the front door. 

            “I’ll meet you in the car,” Sand says.

            “Aye, aye.” Bill goes outside and, a second later, starts the engine.

Sand walks over and sits next to Pickle. “Hey,” she says. 

            Pickle tries to put on a small smile. 

            “Are you scared?” she asks. 

            “There’s a first time for everything.” He stares at his feet. 

            “You’re brave,” she says. 

            “What have I ever done that were so brave?”

            She squeezes his hand and looks away. 

            “We’re all brave,” she says. 

            “I’d rather be a coward,” Pickle says. 

            “Well, maybe you’re that, too.” 

            “I don’t know if death is the end,” he says. “But I sure hope it is.”

            After a minute, she looks over with the mood of her face changed entire. 

            “You don’t know what all you’ve costed us,” she says, moving her hand back to her lap. 

            “What the hell are you talking about?” he says. 

            “Wouldn’t it be just like you to have nothing but a ‘what the hell’ to show for it all.” She stands up. 

            “It’s me,” he says. “Pickle.”

            “What are you doing here?”

            Here. The word hits him like an empty vessel. 

            “I’m not Here,” he says. “I’m Pickle. Don’t you remember me?”

            “Here as in here.”

            He feels thrown into a play with no script. He searches her with his eyes. 

            “Here,” she stomps her foot and points to the ground. “Right here.”

            “Huh?” Pickle says. 

            Bill honks the car horn twice: a long one followed by a short almost apology.

            “You’re something,” she says and walks outside before he can respond. 

            He sees his blurred reflection in the TV screen and wonders if he would remember himself either. If he weren’t himself, that is.

            The clock shows only 8:30. 

            He wishes he had asked her about the remote. 

            8:31

            8:32. 

            It’s truly amazing, he thinks, how much time there is in a day. If a person only had one or two days to live, that wouldn’t be much less than a lifetime. 

Without meaning to, he falls asleep.  

***

            A knock rings out. 

            “Come in,” Pickle gasps, startled awake. But the knocking continues. His eyes confuse around the room. The hearing-aid makes it hard to tell where sounds come from and now he can’t seem to find the front door. It doesn’t help that, having just woken up, everything appears a blur poured out.

            After surveying what feels like a different room each time his eyes make a pass, he squints the light gold of a door handle. He can’t tell if it’s locked, but Cyn must have a key.

            “Come in,” he shouts, robbing breath from his lungs. Door and lock collide then collide again. The knocking resumes.

            Dammit, Pickle thinks, pushing off the couch and rocking forward to not so much stand as fall upward. He uses first the countertop then the wall to steady himself as he makes his way.

            Now don’t get annoyed already, Pickle tells himself.  

            He reaches over and unlocks the door. 

            Instead of his daughter, he opens it to a man his own age, wearing a loose smock with a cross patterned breast. The man holds out his arms as if to say: Ta-da. 

            “May I come in?” 

            “No,” Pickle says, caught off guard.

            “Are you Peter?” the man asks. 

            “Do I know you?” 

            “Sand and Bill invited me.”

            “People call me Pickle.” 

            “May I come in?” the man says.

            “No,” Pickle says. 

            “Pickle,” he says. “I won’t be long.”

            “I’m expecting my daughter,” Pickle says. “Fact, I thought you were her.”

            The man peels out a watch. “Not till noon. It’s only ten. May I come in?”

            “How many times you gonna ask?”

            “That was the last time,” the man says. 

            Pickle steps back. “I’m holding you to the few minutes.” He tries to walk confidently but only makes it a few feet before leaning hard against the counter. 

            The man stops behind him. 

            “Have a seat,” Pickle motions to the couch. The man walks around and sits on the near cushion, but scoots when Pickle nearly falls in his lap. 

            “Do you know why I’m here?” the man asks. 

            The word carries a familiar unfamiliarity. Pickle takes a guess. “Is that some sort of parable? The Priest and the Here?” 

            “First, let me say you’re very lucky. You have a beautiful, kind family.”

            “You say that like you’re the one who figured it out,” Pickle says. 

            “No, no,” the man says. “I just think it’s important to remember what all we have. How lucky we are. How lucky we have been.”

            “What do you mean ‘we’?” Pickle says. “You planning to come with me?”

            “In some form,” the man says. “In some fashion.”

            “Only one fashion I know of,” Pickle says. 

            “Would you like to pray with me?” the man asks. 

            “No,” Pickle says. 

            The man nods and looks around the room. “That’s a fine TV. I have the same one, actually. Why don’t we sit, and watch something?” He picks up the remote. “Would you like to sit and quietly enjoy some television with me? Yes, then, after a bit, if there is anything you want to talk about, anything you want to confess or beg absolution for, just start. I’ll be listening, even if it doesn’t seem like I am.”

            “They let you have a TV?” 

            “College football,” the man says. “I can’t live without it.”

            “Do you look away when they show the cheerleaders?”

            The man laughs. “Maybe we could do your confession now?”

            “What the hell are you talking about?” Pickle says, coughing.

            The man sighs and abruptly leans forward. “Well, then I guess I should get going. Bird feathers and water, Pickle.”

            “What?”

            10:01

            “Those are the only two things you can legally throw from the window of your car.” 

            With that, he stands and leaves. 

            10:02

            10:03

            I should have asked him about the remote, Pickle thinks. He decides to again try figuring it out himself but now he can’t find the damn thing anywhere. 

            He taps the pack of cigarettes in his breast pocket and closes his eyes, soon back asleep. 

***

            Near one o’clock his daughter comes but not alone. She knocks on the door as it opens, like a mother who doesn’t want to catch her son touching himself. 

            Pickle snaps awake. He had only been half-asleep: still aware of his body but enjoying pulses of strange imagery. 

            The first thing he thinks is, Fuck, I want a cigarette.

            The second thing he thinks is, Say hello to your daughter, asshole.

            He can’t believe how beautiful she’s become. Short, yes, but too smart to be a model anyway. Not brilliant, perhaps, but possessed by a certain intuitiveness. He wonders how she did in high school. Was she class president? Valedictorian? Prom Queen? No, likely not. But who decided those things matter?

            “Cynthia,” he says and pushes everything through his legs to stand, but his body doesn’t do more than resettle on the couch. “Introduce me to your friend.”

            “This is Pat,” she says. “Pat, say hi.”

            “Hi,” Pat says. 

            “Hi,” Cynthia says. 

            Pickle tries again and partly rises but not far past still slumped with one hand on the couch’s arm. 

            They don’t come more than a few steps inside. Cynthia kicks something small and rubbery down the hall. A dog toy, perhaps.

            “Pat’s a musician,” Cynthia says. 

            “Musical student,” Pat says, blushing. 

            “A musician,” Pickle says. “Marvelous.”

            “It is marvelous,” Cynthia says. 

            “I’m really not that good,” Pat says, blushing even more.

            “And what are you studying, dear?” Pickle says.

            “I’m studying History,” she beams. 

            “No,” Pickle says. “No, that’s not right.”

            “Huh?”

            “History,” he says. “No, I don’t like that at all.”

            “Now sir,” Pat says, stepping forward and holding a palm out like Pickle is some beggar they saw on the street. “I know we just met, but I’m set to take offense. With all due respect, you don’t know a damn thing about your daughter.”

            “You’ll never be a musician if you keep defending people,” Pickle says, coughing into his elbow. This makes Pat back up and quiet, as though he can’t handle any challenge to his identity. 

            Pickle wishes he could be nicer to his daughter, but it’s like every time she does or says anything he’s learning new ways to be disappointed. New areas of disappointment he didn’t even know existed. 

            Cynthia turns to Pat, “I told you he would get like this.”

            “You did. You told me.”

            “Didn’t I tell you?”

            “You did. I said you did.”

            “Like what?” Pickle says, feeling like he just walked into the middle of a conversation. “It’s me, Cyn. Don’t you remember me?”

            “Like why are you even here?” Cynthia says. “You’re too good to die in a hospital? Or at your apartment?”

            “Why do people keep saying that?” he says, near pleading. “Doesn’t anyone remember me? I’m not Here. I’m Pickle, your dad.”

            “This isn’t your home!” she screams. “Mom and Bill have been through enough already.”

            “Enough?” Pickle says. 

            “Perfect,” Cynthia says. “We’re gone.”

            “Call your mother,” Pickle says. Feeling proud for having completed that small task. 

            “It was nice meeting you, sir,” Pat says. 

            “Fuck you, Pat,” Pickle says. He takes out his cigarettes and pulls the utility lighter from his jeans. Cynthia turns back at him. 

            “Smoke more cigarettes,” she says. “Never stop smoking.”

            She slams the door. It was too late from the moment she walked in, Pickle thinks. She never had a chance of remembering me. But he had remembered to tell her to call her mother. You couldn’t take that away from him. He could imagine the conversation now: Mother, some man in your house told me to call you. The kindness of strangers, she would say from across the wire, shaking her head. Where would we be without it?

But a musician! he thinks. What a marvelous profession. What had Pickle studied again? Thirty years ago in his undergraduate days? History? He thinks it might have been History. 

            History, yes, it had been History.

            But History had been different back then, of course. More interesting things had happened back when he studied. Now there is nothing interesting that has happened. 

He lights his cigarette and leans his head back. Call your mother. He congratulates himself for the job well done.

            After a few shallow inhales, he drifts off. The cigarette tumbles from his lips and lands on the sheet and, before long, it is aflame. Pickle lies stoic as a self-immolating monk, skin melting like yogurt in the sun. 

***

            The devil wakes him with a pat on the shoulder. 

Pickle looks over. The devil has a large, open ledger on his lap and bifocals near fallen off his nose. “Hey, I know you,” Pickle says. To his right, a dog sits licking itself.

            The devil tilts the book toward Pickle and motions with a pen. “Does that look like an ‘R’ or a ‘P’ to you?”

            Pickle coughs into his elbow, but nothing comes up. Just dry coughing. “It’s awfully burning in here,” he says. 

            Here… Here. Here. Here.

            How did everyone forget such a simple word?

            Smoke curtains upward around the couch, leaving the two of them in a sort of well.  

             “Do you know how to work this thing?” Pickle asks, reaching through the smoke for the remote. He gropes around the coffee table, knocking his cup over before finding it. “I want to watch Jeopardy.”

            The TV isn’t visible through the smoke, but Trebek always reads the answers out loud. 

            “If you hit the little red button, it’ll record it.”

            “The which button?”

            “Give it here.” 

            Pickle hands him the remote and the devil breaks it over his knee. 

            “That wasn’t mine, I hope you know.”

            “I think I would have done it either way.”

            “Fuck you, devil,” Pickle says. 

            The devil laughs. 

            “What’s your favorite movie?” Pickle asks. 

            “Apocalypse Now,” the devil says. 

            “That’s a good one,” Pickle says. “Good choice.”

            The devil beams.

            “Want to hear a joke?” the devil says. 

            “Sure,” Pickle says. 

            “Let me get a cigarette,” the devil says. 

            “Don’t take the lucky one.” Pickle hands him the pack. 

            The devil sticks one partway up his nose. “What am I?” he asks.

            “I give,” Pickle says. 

            “An elephant about to face the firing squad.”

            “Oh.”

            “What caused 9/11?”

            “What?” 

            “I was flying to LA and forgot to turn my phone on airplane mode.”

            Pickle stares at him. 

            The dog licks itself.

            “I’m outta here,” the devil says and scurries over the couch. Pickle hears him open the window and climb out. 

            The smoke around Pickle doesn’t get any closer or farther away, it just stays a constant stream, the fire sounding chirps and rattles. He tries to stand and walk around a bit, stretch his legs, but his lower torso is stuck to the couch, melted to it. Flesh spun between fibers. 

            Dammit, Pickle thinks. I really want to scratch my ass. 

            So what now?

            He wishes he could see a clock. 

            Bored, he taps his palms on his knees like: ho-hum. But then he does it again and again until he finds the beat of some song he invents as he goes along. After he finds a pattern in his hands, he begins to whistle, only able to scale a few bars before coughing. He keeps tapping until he finds his breath and starts to whistle again, erupting quickly into another coughing fit. But he doesn’t stop tapping his knees. He whistles again: same result. 

            But, he slowly starts to realize, the coughing is part of the song, too. He plays it up, extending it past what’s natural. 

            So, on, Pickle decides, to continue, in this fashion, until somebody asks him to stop, which, he knows, no one ever will.