Richard Ford - Independence Day

“There’s criminals in cells behind the back yard,” Phyllis says. She looks at Ted Houlihan and tries to seem agreeable, as if this were just an irksome little sticking point to be worked out as a contingency in a contract (“Owner agrees to remove state prison on or before date of closing”). “Isn’t that right,” she asks, her blue eyes larger and intenser than usual.

“Not really cells, per se,” Ted says, thoroughly relaxed. “It’s more like a campus atmosphere — tennis courts, swimming pools, college classes. You can attend classes there yourself. A good many of the residents go home on weekends. I really wouldn’t call it a prison.”

“That’s interesting,” Joe Markham says, nodding out at the bamboo curtain and the green plank wall behind it. “You can’t really see it, can you?”

“Did you know about this?” Phyllis says to me, still agreeable.

“Absolutely,” I say, sorry to be involved. “It’s on the listing sheet.” I scan down my page. “Adjoins state land on north property line.”

“I thought that meant something else,” Phyllis says.

“I’ve actually never even been over there,” Ted Houlihan says, Mr. Upbeat. “They have their own fence behind ours, which you can’t see. And you never hear a sound. Bells or sirens or anything. They do have nice chimes on Christmas Day. I know the gal across the street works there. It’s the biggest employer in Penns Neck.”

“I just think it might be a problem for Sonja,” Phyllis says quietly to everyone.

“I don’t think there’s a threat to anything or anyone,” I say, thinking about Marilyn Monroe across the way, strapping on her hogleg and heading off to work every morning. What must the prisoners think? “I mean, Machine Gun Kelly’s not in there. It’s probably just people we all voted for and will again.” I smile around, thinking this might be a correct time for Ted to walk us through his own security setup.

“We’ve come up quite a bit in value since they built it,” Ted says. “The rest of the area — including Haddam, I should say — has lost some ground. I feel like I’m probably really leaving at the wrong time.” He gives all three of us a sad-but-foxy Fred Waring grin.

“You’re sure leaving a goddamned good house, I’ll just tell you that,” Joe says self-importantly. “I had a look at the floor joists and the sills. They don’t cut ’em that wide anymore, except in Vermont.” He gives Phyllis a narrow-eyed, approving frown meant to announce he’s found a house he likes even if Alcatraz is next door. Joe has turned a corner now — a mysterious transit no man can chart for another. “The pipes and the wiring are all copper. The sockets are all three-prongs. You don’t see that in an older home.” Joe stares at Ted Houlihan almost irritably. I’m sure he would like to dope out the entire house plan in detail.

“My wife liked everything up to code,” Ted says, a little sheepish.

“Where’s she now?” Joe has the listing sheet out and is giving it a good perusing.

“She’s dead,” Ted says, and lets his gaze for an instant slip out to his bosky lawn to glide among the white peonies and yew shrubs, up under the pergola and through the wisterias. A little glistening and chartless passage has been glimpsed open and he’s wandered in, and there is a golden cornfield beyond, and he and the missus are in their wondrous primes. (It is not foreign ground to me, this passage, though under my strict rules of existence it opens but rarely.)

Joe is running his stubby finger and snapping eyes over some listing sheet fine points, undoubtedly pertaining to “extras” and “rm sz,” and “schls.” Noting the “sq ftge” for his new work space. He is house-buying Joe now, death on the scent of a good deal.

“Joe, you asked Mr. Houlihan about his wife, and she’s dead,” Phyllis says.

“Hm?” Joe says.

“She’s lying right there in the kitchen floor, bleeding out her ears, in fact.” I’d like to say this in old reverie-lost Ted’s defense, but I don’t.

“Oh yeah, I know, I’m sorry to know that,” Joe says. He holds the listing sheet down and frowns at Phyllis and me and lastly at Ted Houlihan, as if we’d all been shouting at him “She’s dead, she’s dead, you asshole, she’s dead,” while he’s been sound asleep. “I am, I really am,” he says. “When did this happen?” Joe gives me a look of incredulity.

“Two years ago,” Ted says, back from the past and regarding Joe kindly. His is an honest face of life’s sad dwindling. Joe shakes his head as if there were things in life you just couldn’t explain.

“Let’s see the rest of the house,” Phyllis says, weary with letdown. “I’d still like to see it.”

“You bet,” I say.

“I am very interested in the house,” Joe says to no one. “It’s got a lot of features I like. I really do.”

“I’ll stay with Mr. Markham here,” Ted Houlihan says, still unintroduced. “Let’s go out and have a look at the garage.” He opens the glass door to the sweet, past-besotted yard, while Phyllis and I head moodily back into the house for what, I’m afraid, will now be only a hollow formality.

P hyllis, as expected, takes only polite interest, barely poking her head into the staid little bedrooms and baths, taking pleasant but brief notice of the plastic-decor laundry hampers and pink cotton bath mats, emitting an occasional “I see” or “That’s nice” toward a tub-and-shower that looks brand-new. Once she murmurs, “I haven’t seen that in years,” toward a phone nook built into the end of the hall.

“It’s been taken care of,” she says, standing in the front foyer but stealing a look through to the back to where Joe is now out by the bamboo wall, short arms crossed, listing sheet in hand, jawing with Ted in a pool of midmorning sunlight. She would like to leave. “I liked it so much at first,” she says, turning to gaze out the front, where sexy Marilyn-the-prison-guard’s garbage can waits at the curb.

“My advice is just to think about it,” I say, sounding insipid even to myself. My job, though, is to place a light finger on the scale of judgment when I sense the moment requires, when a potential buyer has a gold-plated chance to make herself happy by becoming an owner. “What I wonder about, Phyllis, when I sell a house is whether a client’s getting his or her money’s worth.” I say this as I feel it — truly. “You might think I’d wonder about whether he or she gets their dream house, or if they get the house they originally wanted. Getting your money’s worth, though, getting value, is frankly more important — particularly in the current economy. When the correction comes, value will be what things stand on. And in this house”—I cast a theatrical look around and up at the ceiling as if that was where value generally staked its pennant—“in this house I think you’ve got the value.” And I do. (My windbreaker is beginning to stoke up inside, but I don’t want to take it off just yet.)

“I don’t want to live next door to a prison,” Phyllis says almost pleadingly, and walks to the screen and looks out, her pudgy hands stuffed in her culotte pockets. (It may be she is attempting one simulated act of ownership — the innocent pause of an everyday to stare out a front door — trying to feel where the “catch” comes and if it comes, the needling thought that somewhere nearby’s a TV-room full of carefree tax cheats, randy priests and scheming pension-fund CEOs who are her leering neighbors, and whether that’s as intolerable as she’s thought.)

Phyllis shakes her head, as if an unsavory taste had just been located. “I always felt I was a liberal. But I guess I’m not,” she says. “I think there ought to be these types of institutions for certain types of criminals, but I shouldn’t have to live next to one and raise my daughter there.”