Gregg Hurwitz - The Survivor

Nate’s squad heads to a house with the front door busted off the hinges from the last raid. At least twenty people are jammed into the front room, which has a vague barnyard smell. A rug covers the cement floor, the walls are bare aside from pina-colada-size Iraqi and U.S. flags stuck in the cracks. Everyone inside is focused on a TV the size of a toaster. The men command the couch, holding hands. The women sit on the floor chewing flatbread. A little girl stands in the middle of the room, hitting a paddleball. Whack whack whack.

The men rise and offer tea, but the mood changes when the sergeant pulls the women into the next room, as is SOP. Nate takes off his Wiley X sunglasses so he can make eye contact as he helps settle everyone down. He figures that ordering people around in their own house is disrespectful enough when you’re not sporting shades on top of it. The girl continues- whack whack whack -but this seems not to bother anyone except Nate, who sees his own daughter in her deep brown eyes. The soldiers show the photo of the man they’re after, but no one knows anything; the entire assemblage has gone as deaf, blind, and dumb as the proverbial three monkeys.

Charles comes in from the back with a skinny little man who has plastic zip ties around his hands. Shaggy hair frames the guy’s drawn face, and he wears a white man-dress and black flip-flops.

“Found him hiding behind the generator,” Charles says.

They get Abibas over to the man, who denies being whoever he is supposed to be. The dispute continues in translation, Abibas jotting down parts of the exchange in his notebook, and finally the sergeant lowers his radio and says, “They want him in now. I’m calling up a helo. You six get him to the meet point. Overbay, you’re in charge.”

The little girl trails the half squad out and follows at a distance, her face betraying no emotion or interest, the paddleball never ceasing its elastic dance. Whack whack whack.

They trudge under the heat, the houses turning to shacks, the shacks eventually giving way to sand dunes. The captive makes not a noise. Abibas is perspiring through his clothes, and McGuire makes a crack that maybe the sweat stain’ll fix the spelling of his damn shirt. The little girl with Cielle’s eyes crests the rise with them- whack whack whack -and there below, the Black Hawk waits. They pile in, Charles waving good-bye at the girl who stands silhouetted against the sun, her paddle in perpetual motion. The helo vibrates and shudders, revving to life.

Abibas shouts at Nate, “Damn eet to shit. I forget my notebook. Sarge tell me must always have notebook. At house. I go back.”

He looks ill with concern, so Nate waves him off duty, figuring where they’re heading there’ll be professional interpreters, and the kid scrambles down and starts to jog away. The Black Hawk begins to lift.

“Hey!” Charles shouts after him, pointing at the threadbare rucksack wedged between the seat and the cabin floor. “You forgot my mom’s cookies!”

Abibas stops and looks back at them.

Then he turns and runs.

The seconds slow to a molasses crawl. The Black Hawk hovers four feet above the sand. All six soldiers have gone as stiff as statues in a half rise above their seats, oriented toward the rucksack. Nate is nearest. It is right there across from him. Above the panicked roar inside his head, Nate hears the pledge he made last night to Cielle. Promise? Promise you’ll come home? And he cannot unlock his muscles.

From the seat beside him, Charles leaps. He lands atop the rucksack, smothering it, and a brilliant white light frames his body as the bomb detonates. The Black Hawk pitches to the right, the pilot overcorrects, and they lurch into a nose-down spin. Nate sees the fan of the beating rotors kiss the sand, and then there is a great violence of physics and an eardrum-rending screech. Images and sensations strobe, rapid-fire: The slid-back door. Weightlessness. Nate’s open mouth pressed to the sand.

He rises, uneven on his feet. An explosion surges behind him, a wave of heat propelling him to his knees. Atop the dune the girl bears silent witness, the whack whack whack lost beneath the roar of flame. There are parts everywhere, parts of flesh and metal. Half faceless, McGuire is screaming and holding his severed leg, and then he stops screaming. It is suddenly silent. Sand swirls, settling like rain. Though a whoosh of white noise streams in Nate’s ears, he hears a ragged breathing coming from somewhere, and he spins in the cloud of grit and yells, “Charles! Where are you? Where the fuck are you?” and realizes he is stepping on his friend’s hand. Charles is alive, his gut a muddle of tattered fabric and dark, dark blood. His hands press into his stomach farther than they should, and his eyes are wild and rolling.

Everyone else is dead. Nate’s radio shattered. Supplies on fire. The nearest medic with the squad back in town.

Nate stands dumbly still for a moment, then crouches and hoists Charles over his shoulder. Charles gives off a sound that is not human. Nate staggers up the slope, past the girl silently watching with Cielle’s eyes- whack whack whack -and Charles is howling and sobbing, “-don’t leave me don’t leave me don’t you-”

Nate runs. Pain screeches down his spine, ignites his muscles. The heat rising through his combat boots and Charles’s weight on his shoulder are oppressive; the burn spreads through his thighs, his calves, the taut muscles of his groin. He feels as though he is inside a pizza oven. Charles is sputtering and shrieking, the journey a jarring kind of hell -don’t leave me don’t leave me don’t you leave me -and Nate’s shirt is saturated with his friend’s insides. He runs harder as if to stop the blood draining into his eyes. His vision is a painted haze of brown and red, red and brown, smudged together as if by a child’s fingers.

“Help me!” Nate shouts. “Somebody … ’elp … me.…”

Charles is quieter now: “… don’t … leave … please. …”

Nate’s lips are coated with dust, and his voice is gone; he can’t generate saliva. He blanks out on his feet, still running. Then suddenly the squad is all around, the sergeant trying to pull Charles off his back, saying, “Let go. Nate. You can let go now. Let go of him. Let go.”

Nate topples over, Charles landing beside him, long dead, the blank stare inches from Nate’s face. And Nate is talking, but no one can hear him.

“He’s okay,” Nate pants into the hot sand. “He’s okay. Just make him breathe again.”

When the ramp of the C-17 lowers, bringing into sight the wavering black tarmac of the Los Alamitos Army Airfield, a chorus of cheers goes up from the plane’s cargo hold, and Nate spills out with a sea of camouflage into the temperate Southern California air. He spots Janie and Cielle on the runway, waiting behind the sawhorses. Cielle looks bigger, her face round and smiling. She and Janie are jumping up and down, beautiful. He runs to them, and they smash together in a three-way hug. “Welcome home, Husband,” Janie tells him, beaming, and he says, “I missed you, Wife.” But the jubilation quickly recedes, leaving behind a ponderous silence that lasts the car ride home.

Nate walks through every room in the house, the house he loves, trying to make it his own again. It does not feel like he belongs here, or anywhere else. A void has opened up between him and the rest of the world. He reminds himself it has been just seventy-two hours since his sprint across the dunes with Charles bleeding out on his back. How Nate feels here in Santa Monica-it’s just temporary.

When his pacing carries him downstairs, Janie and Cielle are waiting in the family room, bursting with excitement. A large cardboard box sporting an oversize red bow sits on the carpet. Cielle says, “C’mon hurry hurry open it.”