Hearts In Atlantis (61 page)

The train-car reeks of morning coffee, morning deodorant, morning aftershave, morning perfume, and morning stomachs. There is a tie in almost every seat—even some of the women wear them these days. The faces have that puffy eight o'clock look, the eyes both introspective and defenseless, the conversations half-hearted. This is the hour at which even people who don't drink look hungover. Most folks just stick to their newspapers. Why not? Reagan is king of America, stocks and bonds have turned to gold, the death penalty is back in vogue. Life is good.

He himself has the
Times
crossword open in front of him, and although he's filled in a few squares, it's mostly a defensive measure. He doesn't like to talk to people on the train, doesn't like loose conversation of any sort, and the last thing in the world he wants is a commuter buddy. When he starts seeing the same faces in any given car, when people start to nod to him or say “How you doin today?” as they go to their seats, he changes cars. It's not that hard to remain unknown, just another commuter from suburban Connecticut, a man conspicuous only in his adamant refusal
to wear a red tie. Maybe he was once a parochial-school boy, maybe once he held a weeping little girl while one of his friends struck her repeatedly with a baseball bat, and maybe he once spent time in the green. Nobody on the train has to know these things. That's the good thing about trains.

“All ready for Christmas?” the man in the aisle seat asks him.

He looks up, almost frowning, then decides it's not a substantive remark, only the sort of empty time-passer some people seem to feel compelled to make. The man beside him is fat and will undoubtedly stink by noon no matter how much Speed Stick he used this morning . . . but he's hardly even looking at Bill, so that's all right.

“Yes, well, you know,” he says, looking down at the briefcase between his shoes—the briefcase that contains a ball of tinsel and nothing else. “I'm getting in the spirit, little by little.”

He comes out of Grand Central with a thousand other topcoated men and women, mid-level executives for the most part, sleek gerbils who will be running full tilt on their exercise wheels by noon. He stands still for a moment, breathing deep of the cold gray air. Lexington Avenue is dressed in its Christmas lights, and a little distance away a Santa Claus who looks Puerto Rican is ringing a bell. He's got a pot for contributions with an easel set up beside it.
HELP THE
HOMELESS THIS CHRISTMAS
, the sign on the easel says, and the man in the blue tie thinks,
How about a little truth in advertising, Santa? How about a sign that says
HELP ME SUPPORT MY COKE HABIT THIS CHRISTMAS?
Nevertheless, he drops a couple of dollar bills into the pot as he walks past. He has a good feeling about today. He's glad Sharon reminded him of the tinsel—he would have forgotten to bring it, probably; in the end he always forgets stuff like that, the grace notes.

•   •   •

A walk of ten minutes takes him to his building. Standing outside the door is a black youth, maybe seventeen, wearing black jeans and a dirty red hooded sweatshirt. He jives from foot to foot, blowing puffs of steam out of his mouth, smiling frequently, showing a gold tooth. In one hand he holds a partly crushed styrofoam coffee cup. There's some change in it, which he rattles constantly.

“Spare a lil?” he asks the passersby as they stream toward the revolving doors. “Spare me a lil, sir? Spare just a lil, ma'am? Just trying to get a spot of breffus. Thank you, gobless you, merry Christmas. Spare a lil, my man? Quarter, maybe? Thank you. Spare a lil, ma'am?”

As he passes, Bill drops a nickel and two dimes into the young black man's cup.

“Thank you, sir, gobless, merry Christmas.”

“You, too,” he says.

The woman next to him frowns. “You shouldn't encourage them,” she says.

He gives her a shrug and a small, shamefaced smile. “It's hard for me to say no to anyone at Christmas,” he tells her.

He enters the lobby with a stream of others, stares briefly after the opinionated bitch as she heads for the newsstand, then goes to the elevators with their old-fashioned floor dials and their art deco numbers. Here several people nod to him, and he exchanges a few words with a couple of them as they wait—it's not like the train, after all, where you can change cars. Plus, the building is an old one; the elevators are slow and cranky.

“How's the wife, Bill?” a scrawny, constantly grinning man from the fifth floor asks.

“Carol's fine.”

“Kids?”

“Both good.” He has no kids and his wife's name isn't Carol. His wife is the former Sharon Anne Donahue, St. Gabriel the Steadfast Secondary Parochial School, Class of 1964, but that's something the scrawny, constantly grinning man will never know.

“Bet they can't wait for the big day,” the scrawny man says, his grin widening and becoming something unspeakable. To Bill Shearman he looks like an editorial cartoonist's conception of Death, all big eyes and huge teeth and stretched shiny skin. That grin makes him think of Tam Boi, in the A Shau Valley. Those guys from 2nd Battalion went in looking like the kings of the world and came out looking like singed escapees from hell's half acre. They came out with those big eyes and huge teeth. They still looked like that in Dong Ha, where they all got kind of mixed together a few days later. A lot of mixing-together went on in the bush. A lot of shake-and-bake, too.

“Absolutely can't wait,” he agrees, “but I think Sarah's getting kind of suspicious about the guy in
the red suit.” Hurry up, elevator, he thinks, Jesus, save me from these stupidities.

“Yeah, yeah, it happens,” the scrawny man says. His grin fades for a moment, as if they were discussing cancer instead of Santa. “How old's Sarah now?”

“Eight.”

“Seems like she was just born a year or two ago. Boy, the time sure flies when you're havin fun, doesn't it?”

“You can say that again,” he says, fervently hoping the scrawny man
won't
say it again. At that moment one of the four elevators finally gasps open its doors and they herd themselves inside.

•   •   •

Bill and the scrawny man walk a little way down the fifth-floor hall together, and then the scrawny man stops in front of a set of old-fashioned double doors with the words
CONSOLIDATED INSURANCE
written on one frosted-glass panel and
ADJUSTORS OF AMERICA
on the other. From behind these doors comes the muted clickety-click of keyboards and the slightly louder sound of ringing phones.

“Have a good day, Bill.”

“You too.”

The scrawny man lets himself into his office, and for a moment Bill sees a big wreath hung on the far side of the room. Also, the windows have been decorated with the kind of snow that comes in a spray can. He shudders and thinks,
God save us, every one
.

His office—one of two he keeps in this building—is at the far end of the hall. The two offices closest to it are dark and vacant, a situation that has held for the last six months and one he likes just fine. Printed on the frosted glass of his own office door are the words
WESTERN STATES LAND ANALYSTS.
There are three locks on the door: the one that was on when he moved into the building, plus two he has put on himself. He lets himself in, closes the door, turns the bolt, then engages the police lock.

A desk stands in the center of the room, and it is cluttered with papers, but none of them mean anything; they are simply window dressing for the cleaning service. Every so often he throws them all out and redistributes a fresh batch. In the center of the desk is a telephone on which he makes occasional random calls so that the phone company won't register the line as totally inactive. Last year he purchased a copier, and it looks very businesslike over in its corner by the door to the office's little second room, but it has never been used.

“Do you hear what I hear, do you smell what I smell, do you taste what I taste,” he murmurs, and crosses to the door leading to the second room. Inside are shelves stacked high with more meaningless paper, two large file-cabinets (there is a Walkman on top of one, his excuse on the few occasions when someone knocks on the locked door and gets no answer), a chair, and a stepladder.

Bill takes the stepladder back to the main room and unfolds it to the left of the desk. He puts his
briefcase on top of it. Then he mounts the first three steps of the ladder, reaches up (the bottom half of his coat bells out and around his legs as he does), and carefully moves aside one of the suspended ceiling panels.

Above is a dark area which cannot quite be called a utility space, although a few pipes and wires do run through it. There's no dust up here, at least not in this immediate area, and no rodent droppings, either—he uses D-Con Mouse-Prufe once a month. He wants to keep his clothes nice as he goes back and forth, of course, but that's not really the important part. The important part is to respect your work and your field. This he learned in the Army, during his time in the green, and he sometimes thinks it is the second most important thing he's ever learned in his life. The most important is that only penance replaces confession, and only penance defines identity. This is a lesson he began learning in 1960, when he was fourteen. That was the last year he could go into the booth and say “Bless me father for I have sinned” and then tell everything.

Penance is important to him.

Gobless
, he thinks there in the stale-smelling darkness of the utility space.
Gobless you, gobless me, gobless us every one
.

Above this narrow space (a ghostly, gentle wind hoots endlessly through it, bringing a smell of dust and the groan of the elevators) is the bottom of the sixth floor, and here is a square trapdoor about thirty inches on a side. Bill installed it himself; he's handy with tools, which is one of the things Sharon appreciates about him.

He flips the trapdoor up, letting in muted light from above, then grabs his briefcase by the handle. As he sticks his head into the space between floors, water rushes gustily down the fat bathroom conduit twenty or thirty feet north of his present position. An hour from now, when the people in the building start their coffee breaks, that sound will be as constant and as rhythmic as waves breaking on a beach. Bill hardly notices this or any of the other interfloor sounds; he's used to them.

He climbs carefully to the top of the stepladder, then boosts himself through into his sixth-floor office, leaving Bill down on Five. Up here he is Willie again, just as he was in high school. Just as he was in Vietnam, where he was sometimes known as Baseball Willie.

This upper office has a sturdy workshop look, with coils and motors and vents stacked neatly on metal shelves and what looks like a filter of some kind squatting on one corner of the desk. It
is
an office, however; there's a typewriter, a Dictaphone, an
IN/OUT
basket full of papers (also window dressing, which he periodically rotates like a farmer rotating crops), and file-cabinets. Lots of file-cabinets.

On one wall is a Norman Rockwell painting of a family praying over Thanksgiving dinner. Behind the desk is a framed studio portrait of Willie in his first lieutenant's uniform (taken in Saigon shortly before he won his Silver Star for action at the site of the helicopter crash outside of Dong Ha) and next to it is a blow-up of his honorable discharge, also framed; the name on the sheet is William Shearman, and here his decorations are duly noted. He saved Sullivan's life on
the trail outside the 'ville. The citation accompanying the Silver Star says so, the men who survived Dong Ha said so, and more important than either of those, Sullivan said so. It's the first thing he said when they wound up in San Francisco together at the hospital known as the Pussy Palace:
You saved my life, man
. Willie sitting on Sullivan's bed, Willie with one arm still bandaged and salve all around his eyes, but really okay, yeah, he was cruisin, it was Sullivan who had been badly hurt. That was the day the AP photographer took their picture, the photo that appeared in newspapers all over the country . . . including the Harwich
Journal
.

He took my hand
, Willie thinks as he stands there in his sixth-floor office with Bill Shearman now a floor down. Above the studio portrait and his discharge is a poster from the sixties. This item, not framed and starting to yellow at the edges, shows the peace sign. Below it, in red, white, and blue, is this punchline:
TRACK OF THE GREAT AMERICAN CHICKEN.

He took my hand
, he thinks again. Yes, Sullivan had done that, and Willie had come within an ace of leaping to his feet and running back down the ward, screaming. He had been positive that Sullivan would say
I know what you did, you and your friends Doolin and O'Meara. Did you think she wouldn't tell me?

Sullivan had said nothing like that. What he'd said was,
You saved my life, man, from the old home town and you saved my life. Shit, what are the odds? And we used to be so scared of the boys from St. Gabe's
. When he said that, Willie had known for sure that Sullivan had no idea of what Doolin, O'Meara, and he had done to Carol Gerber. There was no relief in knowing he was safe,
however. None. And as he smiled and squeezed Sullivan's hand, he had thought:
You were right to be scared, Sully. You were right to be
.

Willie puts Bill's briefcase on the desk, then lies down on his stomach. He pokes his head and arms into the windy, oil-smelling darkness between floors and replaces the ceiling panel of the fifth-floor office. It's locked up tight; he doesn't expect anyone anyway (he never does; Western States Land Analysts has never had a single customer), but it's better to be safe. Always safe, never sorry.