T. Parker - Full Measure

“That’s lame, Ted.”

“I know. I’m starting to get mad at me, too.”

“I’ll call the sheriff. You know that, right?”

“Please don’t.”

“This is the last time you come here, then. The next time I’m pulling out my cell phone and calling them on the spot. Do you understand that?”

“Yes, ma’am. Yes, Dora, I do.” Do I ever, he thought. He needed to calm her. He cupped her upper arm very softly. “The moon is nice tonight, isn’t it?”

She tried to pull away but Ted’s grip automatically closed. A reaction. His hands were very strong and always had been. She yelped and wrenched her arm free and he heard the clink of keys. She whirled. He’d never seen her angry and the anger spoiled her face and he felt responsible. “Ted, you’re a nice guy, and I thank you again for giving me that ride weeks ago. But it doesn’t entitle you to follow me around the rest of my life, touching me. We’ve been through all this. You scare me. You’re drunk. You’re weird.”

They came to the car that ran out of gas, an old Jaguar Vanden Plas into which Dora quickly disappeared. The door locks clunked and the engine started and Dora backed up fast, gravel blasting up against the chassis. In seconds she was far down the road, making a left onto Mission and punching it hard up the hill.

The next day Patrick spent ten hours pitching straw and four hours delivering pizza. Driving home from the pizza place someone slammed a car door. Patrick cranked the wheel sharply right, jumped a curb and slammed on the brakes, the grille of his truck stopping inches from the Gulliver’s Travels storefront window. He was breathing heavily, sweating hard. Myers and Zane were up the sidewalk under the theater marquee, looking at him. How the fuck did they get to Fallbrook? They merged with shocked pedestrians, whose drop-jawed stares brought Patrick back. It was terrifying to lose control of his mind and memories and even body. He unlocked his hands from wheel, repositioned them, and backed onto the street, thanking God he hadn’t hit anyone.

By the time he began pulling apart the Mercury outboard it was ten at night. The light in the barn was good and Patrick was pleased to find the motor in decent condition. The artillery on Pendleton commenced and Patrick flinched and went to one knee. Steady, he thought. Steady. The ghosts in his heart roiled and wavered and he was back in Sangin — Myers and Zane lying shredded against the rocks, Pendejo’s brains on the wall, Sheffield’s boots lying yards from the rest of him — all knots in the outstretched line of his memory from Sangin to Fallbrook, from Fallbrook to Sangin. He pictured hauling that line back, across continents and oceans, hand over hand, dropping the slack into the hold of his waking mind. When he was done he closed the lid. His breath was short and his body washed in sweat. He took a deep breath and felt the flutter of his heart.

He cleaned the points and injectors and hooked up the new battery. The carburetor needed cleaning so he disassembled it at one of the workbenches and let the parts soak in solvent. He ate another piece of the pizza that Firooz and Simone had pressed upon him, as they did after every one of Patrick’s shifts. The smell of the solvent reminded him of cleaning the SAW and the 240 and his mind went AWOL again and he couldn’t pull it back this time.

By the third day in theater you get your preview vision. Which is when you see something happen that really didn’t happen, and then it does happen, exactly how you saw it. So you’re seeing an event ahead of time. The problem is sometimes you’re think you’re having a preview vision and you’re not. So that turns every single thing that you imagine into something real, and if your imagination is filled with death and mutilation and agony, which in combat it will be, then you see ugliness and mayhem everywhere you look. So these things become your starting lineup; you can’t make substitutions. On patrol you see Sheffield trip an IED about fifty feet in front of you. And when you open your eyes Sheffield is still walking and there was no explosion. And then five seconds later an IED goes off and Sheffield crumples over, smoking and screaming. Lots of us grunts had those preview visions. Our theory was that you’re aware of more than you think you are, so things register on your senses without you knowing. I don’t know how I could have seen that IED, though. It was buried in the rocks and rocks were everywhere you looked. The skinnies made the IEDs out of wood and plastic so our mine detectors couldn’t pick them up, and they covered them with their own shit so if the bomb didn’t kill you whatever was left of you got infected. Preview visions were common for machine gunners like me, because we usually patrolled to the rear, to put down the fire when the contact came. Later on the tour I saw Lavinder shot by a sniper and I hit the ground. Bostik was behind me and next I know he’s looking down at me, laughing his ass off. There was no shot and Lavinder was fine. Thirty seconds later Lavinder gets shot dead by a sniper up in the rocks just about exactly how I saw it happen. We put some heavy fifty on the rocks and for once the air strike came fast. When the Blackhawks cleared out we climbed up there and went rock to rock, killing Talibs whether they needed it or not. I felt like taking scalps but didn’t. I put fire into a corpse just because. You just get pissed and lose it sometimes. Later I felt shame. Lavinder was one of those guys you hated to lose because he was happy so much. A happy guy was hard to find. It could be contagious but annoying, too. Once I asked Lavinder why he was always happy and he said it was because he knew he was going to die over there. And once he’d accepted that fact, the pressure was gone and every minute he wasn’t dead yet was another minute to be happy.

Patrick swirled the coffee cans of solvent to get the carburetor parts clean and ate another piece of pizza. He heard a truck park outside and thought, Where’s my weapon? A moment later Archie was standing in the doorway with a bottle of bourbon in one hand and two glasses in the other. The dogs barged past him, all tongues and tails. “Mind if the asshole comes in?”

“Not one bit.”

Archie nodded and walked in. He was a purposeful man, always on task, but tonight he seemed uncertain. “Ted gone to bed?”

“Think so. We tired him out the last couple of days.”

“Just as well. I wanted to talk to you first. Splash?” At the workbench he poured two bourbons neat. Patrick came over and took a glass and they leaned against the bench facing the Mako. The dogs patrolled the barn, sniffing things. “That’s a nice craft, Pat. Eleven grand. Well done. How’s the engine?”

“Low hours and clean.”

“Don’t overload the oil mix on those two-strokes.”

“Never. I learned that from my old man. What’s up?”

“I feel rather shitty about what happened out in the grove yesterday. I’m going to try to apologize. I think you understand my anger, but how could Ted? Sometimes I’m not even sure I do. When I saw those big chunks of tree bark all over the ground...”

“He’s always had a blind spot in his common sense.”

His father nodded and sipped the bourbon. “That’s a good way to put it. You know, right from the get-go Ted wasn’t fortunate.”

“The seizures and fever.”

“Your mother and I thought we might lose him.” Archie looked at Patrick then back at the boat. “I had very high hopes for him. I wanted him to not just survive, but to flourish and fly someday. I wanted to make it happen. I saw in Ted a chance to be a hero.”

“A hero to your own son?”

Archie was staring at the boat but Patrick could tell he wasn’t seeing it. Over the years Patrick had noticed the thousand-yard stare in his father and but only since the war did he recognize it for what it was. He’d seen it on Bostik and Salimony and Messina, on every man he’d known in the Three-Five. It was a strange thing: distant and focused, aware and oblivious, outer and inner, present and absent.