After the Plague (37 page)

Not that I'm complaining. My widow lived a placid, unhurried existence, no slave to mere schedules, as so many of us were. She radiated calm in a crisis. When things went especially bad—during the '05 earthquake, for instance—she would fix herself a nice meal, some stir-fry or chicken-vegetable soup, and take a nap in order to put things in their proper perspective. And so what if the movie started at 7:45 and we arrived at 8:30? It was all the more interesting for having to piece together what must have transpired with this particular set of characters while we were looking for purses, parking the car and sprinting hand in hand down the crowded street. The world could wait. What was the hurry?

At any rate, it is that very same totemic purse that turns up missing after her shopping trip. She and her sister arrive at home in a blizzard of packages, and after sorting them out in the driveway and making three trips from car to house, they part just as dusk is pushing the birds into the trees and thickening the shadows in the fronds of the tree ferns I planted thirty years ago. Inge won't be staying for dinner, nor will she be spending the night. She is eager to get home to her own house, where a pot of chicken-vegetable soup and her own contingent of cats await her. “Well,” she says, casting a quick eye over the welter of packages on the table, “I'm off,” and the door closes on silence.

Days pass. My widow goes through her daily routine without a thought to her purse, until, with the cat food running low, she prepares for a trip to the market in the ancient, battered,
hennarot
BMW M3 that used to be my pride and joy, and discovers that none of the purses she is able to locate contains her wallet, her keys, her glasses (without which she can't even see the car, let alone drive it). While the cats gather round her, voicing their complaint, she attempts to retrace her steps of the past few days and concludes finally that she must have left the purse in her sister's car. Certainly, that's where it is. Of course it is. Unless she left it on the counter at Ruby's or the Bargain Basement or even Macy's. But if she had, they would have called, wouldn't they?

She tries her sister, but Inge isn't much for answering the phone these days, a quirk of her advancing years. Why bother?, that's what she thinks. Who is there she wants to hear from? At her age, is there any news that can't wait? Any news that could even vaguely be construed as good? My widow is nothing if not persistent, however, and on the twelfth ring Inge picks up the phone. “Hello?” she rasps in a voice that was never especially melodious but is now just a deflated ruin. My widow informs her of the problem, accepts a scolding that goes on for at least five minutes and incorporates a dozen ancient grievances, and then she waits on the line for another fifteen minutes while Inge hobbles out to the garage to check the car.
Click, click,
she's back on the line and she has bad news for my widow: the purse is not there. Is she
sure? Yes, yes, she's sure. She's no idiot. She still has two eyes in her head, doesn't she?

For the next two hours my widow searches for the phone book. Her intention is to look up the phone number of the stores they'd visited, and the Thai Palace too—she's concerned, and the cats are hungry. But the phone book is elusive. After evicting a dozen cats from the furniture in the main room, digging through the pantry and the closet and discovering any number of things she'd misplaced years ago, she loses track of what she's looking for, lost in a reverie over an old photo album that turns up in the cabinet under the stove, amidst the pots and pans. She sits at the table, a crescent of yellow lamplight illuminating her features, and studies the hard evidence of the way things were. There are pictures of the two of us, smiling into the camera against various exotic backdrops, against Christmas trees and birthday cakes, minarets and mountains, a succession of years flipping by, our son, his dog, the first cat. Her heart—my widow's heart—is bursting. It's gone, everything is gone, and what's the sense of living, what's it all about? The girlhood in Buffalo, the college years, romance and love and hope and the prospect of the future—what was the sense in it, where had it gone? The pictures cry out to her. They scream from the page. They poke her and prod her till she's got no breath left in her body. And just then, when the whole world seems to be closing down, the phone rings.

“Hello?” my widow answers, her voice like the clicking of the tumblers in an old lock.

“Mrs. B.?” a man's voice inquires.

My widow is cautious but polite, a woman who has given out her trust, time and again, and been rewarded, for the most part, with kindness and generosity in return. But she hates telephone solicitors, especially those boiler-room types that prey on the
elderly—the TV news has been full of that sort of thing lately, and the A.A.R.P. newsletter too. She hesitates a moment, and then, in a barely audible voice, whispers, “Yes?”

“My name is Bob Smith,” the caller returns, “and I've found your purse. Somebody apparently dumped it in a trash bin outside of Macy's—no cash left, of course, but your credit cards are intact, and your license and whatnot. Listen, I was wondering if I might bring it to you—I mean, I could mail it, but who can trust the mail these days, right?”

My widow makes a noise of assent. She doesn't trust the mail, either. Or, actually, she's never really thought about it one way or another. She shuts her eyes and sees the mailman in his gray-blue shorts with the black stripe up the side, his neatly parted hair cut in the old-fashioned way, his smile, and the way his eyes seem to register everything about everybody on his route as if he took it personally, as if he were policing the streets out front and back of her house and stuffing mailboxes at the same time. Maybe she does trust the mail. Maybe she does.

Bob Smith says, “The mail'd take three days, and I'd have to find a box for the thing—”

My widow says what Bob Smith has been hoping she'll say: “Oh, you don't have to go to all that bother. Honestly, I'd come to you, but without my driving glasses—they're in the purse, you see, and I do have another pair, several pairs, but I can't seem to, I can't—”

“That's all right,” he croons, his voice flowing like sugar water into a child's cup, “I'm just glad to help out. Now, is this address on your driver's license still current?”

My widow is waiting at the door for him when he steps through the front gate, a pair of legs like chopsticks in motion, his hair a dyed fluff of nothing combed straight up on his head as if he were one of those long-pants comedians of her father's era, a face gouged with wrinkles and a smile that makes his eyes all but disappear into two sinkholes of flesh. He wouldn't have got any farther than the gate if I was around, and I don't care how old I might
have been, or how frail—this man is trouble, and my widow doesn't know it. Look out, honey, I want to say. Watch out for this one.

But she's smiling her beautiful smile, the smile that even after all these years has the two puckered dimples in it, her face shining and serene, and “Hello, hello, Mr. Smith,” she's saying, “won't you come in?”

He will. He ducks reflexively on stepping through the door, as if his head would crack the doorframe, a tall man with dangling hands, a grubby white shirt and a tie that looks as if it'd been used to swab out the deep fryer at McDonald's. In his left hand, a plain brown shopping bag, and as she shuts the door behind him and six or seven cats glance up suspiciously from their perch on the mantel, he holds it out to her. “Here it is,” he says, and sure enough, her purse is inside, soft black leather with a silver clasp and the ponzu sauce stain etched into the right panel like an abstract design. She fumbles through the purse for her wallet, thinking to offer him a reward, but then she remembers that there's no money in it—hadn't he said on the phone that the money was gone? “I wanted to—” she begins, “I mean, you've been so nice, and I—”

Bob Smith is not listening. He's wandered out into the arena of the grand room, hands clasped behind his back, dodging mounds of discarded magazines, balled-up skeins of yarn, toppled lamps and a cat-gutted ottoman. He has the look of a prospective buyer, interested, but not yet committed. “Pretty old place,” he says, taking his time.

My widow, plumped with gratitude, is eager to accommodate him. “Nineteen-oh-nine,” she says, working the purse between her hands. “It's the only Prairie style—”

“The rugs and all,” he says, “they must be worth something. And all this pottery and brass stuff—you must have jewelry too.”

“Oh, yes,” my widow says, “I've been collecting antique jewelry for, well, since before I was an antique myself,” and she appends a little laugh. What a nice man, she's thinking, and how many out there today would return a lady's purse? Or anything, for that matter? They'd stolen the lawn mower right out of the
garage, stripped the tires off the car that time she'd broken down in Oxnard. She's feeling giddy, ready to dial Inge the minute he leaves and crow about the purse that's come back to her as if it had wings.

“Your husband here?” Bob Smith asks, picking his way back to her like a man on the pitching deck of a ship. There seems to be something stuck to the bottom of his left shoe.

“My husband?” Another laugh, muted, caught deep in her throat. “He's been gone twenty years now. Twenty-one. Or no, twenty-two.”

“Kids?”

“Our son, Philip, lives in Calcutta, India. He's a doctor.”

“So there's nobody here but you,” Bob Smith says, and that's when my widow feels the first faint stirring of alarm. A cat rises slowly on the periphery of her vision, stretching itself. The sun slants through the windows, irradiating the skeleton of the dead palm in the big pot in the corner. Everything is still. She just nods her head in response to the question and clutches the purse to her, thinking, It's all right, just show him to the door now, and thank him, tell him the reward's coming, in the mail, just leave an address …

But Bob Smith isn't ready to leave. In fact, he's hovering over her now, his face as rucked and seamed as an old mailbag, his eyes glittering like something that's been crushed in the street. “So where's the jewelry then?” he says, and there's nothing of the good Samaritan left in his voice now, no bonhomie, no fellow feeling or even civility. “Can you even find it in this shithole? Huh?”

My widow doesn't say a word.

He has a hand on her wrist suddenly, clamped there like a manacle, and he's tugging at her, shouting in her face. “You stupid old bitch! You're going to pay—shit, yes, you're going to pay. Any cash? Huh? Cash? You know what that is?” And then, before she has time to answer, he snakes out his other hand, the right one, and slaps her till she jerks back from the grip of him like an animal caught in the jaws of a trap.

My widow hasn't been slapped in seventy-odd years, not since she got into a fight with her sister over a pan of brownies when their mother stepped out of the kitchen to answer the phone. She's in shock, of course—everything's happened so fast—but she's tough, my widow, as tough in the core of her as anybody on earth. Nobody slaps her. Nobody comes into her house on false pretenses and—well, you get the picture. And in the next instant her free hand comes up out of the purse with an ancient can of Mace clutched in it, and because this is a good and fitting universe I'm constructing here, the aerosol spray still works despite an expiration date ten years past, and before she can think, Bob Smith is writhing on the floor in a riot of cat feces, dust balls and lint, cursing and rubbing at his eyes. And more: when my widow turns for the door, ready to scurry out onto that brick porch and scream till her dried-up old lungs give out, who should be standing there at the door but Megan Capaldi, screaming herself.

As I say, my widow doesn't get the newspaper, not anymore. But Megan Capaldi brings her two copies the next day, because her picture is on the front page under the caption, “FEISTY OCTOGENARIAN THWARTS BURGLARY.” There she is, hunched and squinting into the camera, arm in arm with Megan Capaldi, who dialed 911 on her cell phone and escorted my widow to safety while the San Roque Municipal Police handcuffed Bob Smith and secured him in the back of their cruiser. In the photograph, which shows off the front of the house to real advantage, I think, the windows especially, with their intricate design and the wooden frames I scraped, sanded and painted at least three times in the course of my tenure here, my widow is smiling. So too is Megan Capaldi, who wouldn't be bad-looking at all if only she'd stand up straight. Posed there, with the house mushrooming over them in grainy black and white, you can hardly tell them apart.

On page 2, at the end of the article, my widow is given an
opportunity to reflect on her ordeal. “It's a shame, is what it is,” she is quoted as saying, “the way people like this prey on the elderly—and don't forget the telemarketers, they're just as bad. It didn't used to be this way, before everybody got so suspicious of everybody else, and you didn't have to triple-lock your doors at night, either.”

There was more, much more, because the young woman reporter they sent out to the house had been so sympathetic—a cat person herself—but there were space limitations, and the story, while novel, didn't have the sort of grit and horror the paper's readers had come to expect. Any number of times during the interview, for instance, my widow had begun with the phrase “When my husband was alive,” but none of that made the cut.

It is Christmas, a clear cold night, the sky above the house staggering under the weight of the stars. My widow doesn't know about the stars—or if she does, it's only theoretically. She doesn't leave the house much, except for shopping, of course, and shopping is almost exclusively a daytime activity. At the moment, she is sitting in the grand room, on the cherrywood couch in front of the fireplace, where the ashes lie heaped, twenty-two years cold. She has been knitting, and the electric blue needles and balls of yarn lie in her lap, along with three or four cats. Her head is thrown back, resting on the broad wooden plane of the couch, and she is staring up at the high sloping ceiling above her, oblivious to the sky beyond and the cold pinpoints of light crowding the plane of the ecliptic. She's not thinking about the roof, or the roofer, or rain. She's not thinking about anything.