Coronado - Dennis Lehane [19]
And so the mall speakers play “Lady in Red.” They play “Ob-la-di, Ob-la-da.” They play Céline Dion and Dave Matthews and Elton John and Mariah Carey. And Daniel, who likes only one of those songs, feels buffeted.
Troy passes him and stops to smile at something in the window of the Payless shoe store. As if the loafers are particularly amusing. As if, through glass, they tell him jokes.
HIS EX-WIFE SAYS to him on the phone, “I’m sorry you’re going through this. You’re a nice guy.”
“I am?”
“You are.”
He says, “Would you tell them that?”
She says, “They don’t listen. They’ll never—”
The phone dies.
Nothing sinister.
Batteries.
HE DRIVES OUT to interview for a job. He does this every day. Always with a blue Toyota Sequoia four or five cars back in traffic. He would have expected something boxier, brown, low-to-the-ground, American. No. A big-ass, bright blue SUV. With fog lights.
Sometimes they pass him. Just for shits-n-giggles, he supposes. Always back behind him when he reaches wherever he’ll interview. For jobs he never gets.
This morning, he’s in the medical district. Six hospitals in a seven-block area, connected by breezeways, connected by parking lots, a food court in the center of the tallest building so the anxious and the grieving and the doctors and the bedpan-cleaners can eat Sbarro, Au Bon Pain, Panda Express, Dunkin’ Donuts.
That’s where he’s going—the Dunkin’ Donuts. That’s what he’s been reduced to. The economy, you know. A college graduate (not much of a college, true, but just the same…) with fifteen solid years of work experience. And this is the sum total of his life. Interviewing for an assistant manager’s position. At a doughnut shop. Nearing forty.
At best, if all returns to normalcy, he will still be alone.
As he pulls into one of the garages on the eastern edge of the seven-block perimeter, a beige Volvo pulls up behind him, and then the lumpy Sequoia noses up behind the Volvo.
He takes his ticket. He pulls forward. The yellow gate-arm goes down behind his car, and he sees in his rearview as the driver of the Volvo reaches for her ticket from the machine and drops it. He watches the ticket fall to the ground and then a tuft of wind flicks it under the car. The woman gets out of her car. She seems confused as to where the ticket went.
Daniel feels a flapping in his chest, an odd and startled faith. He watches the woman peer at the ground like it contained cave drawings, sees the Sequoia trapped behind her, and he puts his car in gear and drives up the ramp.
He turns with the curve of the ramp, and he sees Troy’s smile and his wife’s trapped pity, and he sees his mother who died in this same hospital complex surrounded by beeps and blips and a TV hung above her that was void of sound but primed with image, and he fishtails coming out of the first turn and those wings flap harder.
He reaches the second floor and cuts the wheels hard and passes a DO NOT ENTER sign and drives up the exit ramp. It’s a blind curve, and he envisions the grille of another car appearing before him as if through water, and he wishes he were going fast enough for the risk of fatality to lie in the risk of collision. He wishes all light was bone white.
He comes out of the curve onto the third floor and he pins the wheels again, goes up the next exit ramp, and he knows that even if the Sequoia has cleared the gate by now, it can’t hear his tires in relation to where it would expect them to be. He begins to feel blessed.
He drives up the final exit ramp and reaches the roof. It’s near empty up here, and he parks by the first door he sees, trembling and happy. He hopes that someday he has grandchildren and lives to see them just so he can tell them that once he drove up three exit ramps in a parking garage and never hit another car.
He steps out of the car and faces the door.
There’s a sign on the door that reads