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The Drop Off

Martha watches herself transfer the school’s Emergency Procedure list from her son’s lunch box to an open area under a magnet on the refrigerator.  Satisfied by this tiny alignment in organization, she steps to the kitchen counter, dips into a woven straw basket, and picks up and fondles the keys for her SUV.  She rolls the big, microchiped fob in her palm as if she is contemplating a small delicate fruit, her petite nails clicking against the chipped teeth of the steel key. 

            Martha’s son Tyler shambles down the stairs from the bedroom hallway and sneaks into the kitchen, his face puffy and his shirt tails out over chinos, a video game earphone cord trellising down the contour of his jaw and then channeling into a single strand of wire that loops back up to the white, 3”x5” console he crimps in his hands.   The effect is of a boy encased in a bubble from his eyes to his elbows.  Inside the bubble his thumbs fly against invaders, enemies real and imagined.  More and more you can’t tell who is who in these games, which avatar is friend and which is foe.  Is that by design?  Martha often wonders. However much these games shut her out, they do seem to keep the boy vigilant about right and wrong, good and bad, god and devil.

            Putting her keys next to her purse, she waves her hand to get Tyler’s attention.  When the boy looks at her with an open mouth and the eyes in his head still circling the game screen, Martha pokes an index finger at the face of her everyday watch.  The watch has an ordinary white leather strap belying a single diamond chip that sits off center inside the crescent of its blue face like the star in a Turkish flag.  This watch is a functional accessory, but not dull, classic enough to make Martha look educated but not so expensive that she would care if it were stolen or damaged.   Wearing it makes her feel a bit reckless, actually, like someone who has less to lose.

            Tyler wanders to a built-in pantry cabinet.  He opens the door and chooses from an array of cereal boxes; the door to the cabinet left open, he sits down at the kitchen table.  Screwing his fist into the box, he flicks into the rolled wax paper bag and drags out three fingertips full of sweet nuggets that he pecks into his mouth without taking his eyes off the screen.  Martha waves her hand again, pokes at her watch again and when Tyler looks up again, she reaches over and pulls out one of the buzzing buds in his ears.  Tyler’s eyes water as he squints at her.  There is almost no recognition that the boy is even looking at his mother – his face resembles the swimming, otherworldly face of a fetus seen in utero

            Martha pinches the upper sleeve of Tyler’s button down shirt as she tugs the fabric in the direction of the garage.  The boy gets the idea.  He sweeps the cereal box off the table to a place between his body and his left forearm, uses his non-limited right hand to plug back in the ear bud and continues to thumb at the game box with both hands as he moves toward the garage with his mother in tow. 

            The two of them are in the SUV and backing out of the garage without much further delay – Martha barely waits for the electric overhead door to open all the way.  It is a rare moment where she trusts something will work out correctly without first organizing herself for the consequences of what would happen if it didn’t.  She prides herself on always being prepared (what was it her mother used to say, “A woman needs to prepare for her family’s success.”)  Or maybe she just realizes that even if she hits the door with the roof rack of this truck (yes, she has tried to fool herself into thinking differently, but this really is a truck she drives in the rolling, roadside ballet she does with all the other moms in their trucks), even if she smashes the truck’s roof rack and the garage door to bits, it will only take money to fix it.   She wants to care more about money (her husband’s money, actually), wants to spend it more judiciously (it’s not like they have an unlimited supply), and it bothers her that she can’t really come up with a good reason as to why she should have to.

Turning out on to the feeder road that will itself eventually turn onto the road that rises to the middle school at the top of its crest, Martha notes that traffic is unusually light this morning.  More than that, she sees absolutely no other cars with children trussed in their back seats.  This scarcity of prepubescent conveyance is unusual for a weekday.  For a moment Martha wonders if she hasn’t perhaps missed that today is some sort of a holiday.  It is September.  This time of year with all the Jewish holidays strung like prayer beads across the bottoms of the day boxes on her perky kitchen calendar, she never knows anymore.  The kids are out of school during September more then they are in school.   Jews, Muslims, Catholics, Hindus, African Americans.  Everyone has to have their holidays now – their sacred days of feasting or fasting or atonement or self-congratulation or self-flagellation or whatever.   Martha ruminates over this as she testily pokes around in her bag for her iPhone.  

It is only after some diligent finger searching that Martha finally recognizes the rounded corners and relative heft of her phone which has sunk to the bottom of her purse under the hand-sanitizer, lip liner and wallet.  She has slowly transferred her life into this ice-cold piece of technology: phone numbers, email address, important dates, appointments, favorite music from the early 1990s, the retail website addresses for Banana Republic, even her wedding video and the white shirt and jeans 2005 Christmas photo of her husband, her son and herself on a beach at the Jersey Shore.  But now she is after only one thing from this pocket pal of hers; she wants to see what she might have missed about this particular day that has left the roads so empty of traffic and her chest so recently full of anxiety.

Even as she is finding the date on the screen, however, realizing that there is no holiday or significant marker for this day, Martha is also rounding the corner of the street where the school lives and is discovering that there are other cars pulling up to the drop off at the top of the hill.  Kids are being ejected and tumbling out of back seats onto the sidewalk under the comfort shade of a centenarian maple that serves as a bower between the curb and the side door of the school.  The problem is that there are nowhere near as many cars or kids as usual.  Martha notices this immediately and her anxiety becomes fogged by an interior spume of calculations and next steps.

From up on the top of the rise, two policemen who watch over the morning drop off see Martha’s SUV slow to a crawl and then start up again, hovering erratically above and below the 15 mph school zone speed limit.  Martha has not noticed the cops nor has she noticed that she has slowed and then sped up in this way.  She is too busy trying to figure out why so few parents seem to have taken there kids to school today. 

Yes, okay, she is later then usual.  Just a bit; or is it more than just a bit … maybe it is more than just a bit.   Tyler, who dawdled over getting out of bed and dressing, really did slow them down this morning.  But is that really the reason that the procession of cars and children is so much lighter then usual?  It might be irrational, but is there something Martha doesn’t know?  Something that the officials did not want to mention publicly but that has maybe made its way through an underground of parents with better connections – a group that she has perhaps been left out of?   And what about the policemen she now spots up on the rise at the drop off?  Are they there every day?  Martha simply cannot remember.

For an instant, Martha thinks about easing the car into reverse and sneaking backwards to swivel out into the intersection and head home again until she can find out what is going on.  If anything is going on.  But another car has pulled up behind Martha now – a dark Saab with a blue-suited father and a couple of young pretty girls posting in the back seat.  Martha sees the father chatting sweetly with his daughters through the periscope of his rearview mirror.  She cannot back up now, so she spins forward another 100 feet or so, meeting the first stone blocks of the curb that officially mark the start of the drop off.   

Furiously, Martha starts debating with herself as to whether she should pull out into the traffic that runs past her in the free lane of the street to the left of the drop off.   Even with the Saab behind her, she could still take off in a leeward but forwardly direction.  Give Tyler a free day at home while she puzzles through what may or may not be unfolding around her.   But even as she is contemplating this, Tyler begins moving sharply in the back seat, unbuckling himself and pulling out his ear buds as he gets ready to evacuate the car.  This catches the corner of Martha’s eye and she adjusts the rear view mirror for a full view of the boy.  It is as she does this that something ahead of her and on the other side of the street stops her from exhaling the breath that she has just taken into her lungs.

In the loading dock of a drug store that is directly across from the school, Martha sees two dark-skinned men standing along side and behind a panel van.  The overhead back door of this van is folded open and one of the men is checking around over his shoulder as he pulls out what look like ordinary cartons of textiles or paper goods, setting them on a hand truck.  The other man is leaning against the driver’s side door of the van talking on a cell phone, a cloud of cigarette smoke curling in his dark hair, ashes from the smoke sprinkling this way and that as he throttles the cigarette between his lips in deep conversation.   

Already not liking any of this, Martha likes it even less when she is forced by the Saab to push the SUV closer to the school.  This leaves Martha and her son just about on an even plane with the van across the street.   Feeling as if she must, Martha rolls down her window whereupon she can hear the man on the phone talking loudly in a language she does not understand.  It is a murky, rich patois with lots of glottal stops and plosives, and it sounds to Martha as if the man is swallowing more of the words than he is speaking.  She doesn’t know if it’s Hebrew or Hindu or Arabic or some African dialect she is hearing.  But she does know she is not fond of the sound of it.   When the man sees her looking at him he quickly turns his back to her and softens his voice, meandering to the front of the truck where Martha can no longer see him; although she can still see the man unloading the cartons.  It is then that Martha makes a decision.

 She rolls up the car window and snaps her head around over the bench back of the front seat.  When Tyler spins toward her, startled by his mother’s jumpy engagement, Martha locks on his eyes and mouths the word “wait” with more ferocity then if she had shouted it at the top of her lungs.   The boy starts to protest, but Martha reaches into the back seat and shoves him against it. 

Tyler watches, scared in his own way, as his mother slides over on the bench seat, cracks open the passenger door and then, before exiting the vehicle, reaches in and electronically locks every last door and window with a single swipe at two buttons on the armrest of the driver’s door.  Outside on the sidewalk, Martha looks in at Tyler and with tensed control says the words “don’t move” while pumping both her open palms at him, symbolically pushing him back should he decide to get out of the truck anytime soon.  Tyler cannot hear his mother’s voice, but he can see her swivel on her heels and trot towards the two policemen at the edge of the school’s driveway about 50 feet away.

The cops see her coming and pick up their rear ends off the fender of the police cruiser, standing resolute and ready to serve as Martha starts to speak with some distance still between them.   Tyler stares at his compact, beautiful mother, shoulders rigid, as she gets Policeman One and Policeman Two looking in the direction of the panel van.  Policeman one shrugs.  But Policeman Two, the tallest of the pair, is more thoughtful.   He flattens his hands downward in a rock-a-bye-baby, patting motion that tells Tyler the cop is trying to get his mother to remain calm. 

But it doesn’t work.  Martha actually begins to get a little wild, gesturing with her hands and throwing back her head until the top of it is 45 degrees from level.  Tyler cannot see his mother’s mouth, but if he could (and if the windows in the SUV weren’t locked shut) he believes he might hear his mother shouting at the nice policemen. 

Then in a second, it all changes again.   Just as suddenly as Martha has started this erratic behavior she stops gesturing and ceases the wagging of her head.   It appears to Tyler that the cops might have made some kind of deal with his mom.  This is confirmed for Tyler, and he even grins at his mother’s cunning, when she begins trotting back to their SUV and Policeman One and Policeman Two start to walk toward the street.  

In about the same time that it takes Martha to reach and reclaim her seat in the SUV, the policemen cross the street and begin to approach the van behind the loading dock of the drug store.  Martha watches.  Tyler watches.  The open space in the procession to the drop off point widens in front of her, but now Martha does not move the vehicle.  The driver of the Saab toots his horn, friendly-like.  Martha realizes that no one else in line seems to have noticed that the policeman have begun speaking to the men with the panel truck.  She wants to open her windows and sunroof, wants to alert these oblivious fools that there are warning signs of which they should take note, but all she does when she again opens her window is to wave at the Saab to go around her. 

The Saab obeys, as do the two or three other larger mom-driven family vehicles behind it.  And Martha and Tyler are still the only ones watching when the shorter of the two policemen puts his hand on the shoulder of the man with the cigarette in his mouth and that man instinctively rips that shoulder away from the cop at surprising speed, causing the policeman to lurch backward.   Suddenly everyone is watching, up and down the drop off.  

 The policeman whose friendly hand on the shoulder had been greeted with such disrespect pushes the man with the cigarette implanted in his mouth against the side of the van, spinning him around so that his face and chest are pushed up against the bright logo of the trucking company to which he has given his working days.   The other taller cop takes two steps toward the man who has been unloading the van and shouts at him to keep his hands in sight.   This man smiles and shakes his head as if in full agreement and then reaches down into the open zipper of his cloth bomber jacket, sliding his slim arm deep into the billows between his outer and inner garments.  No one at the drop off really wants to see what will come next, and the cop (obeying the mob’s wish) unholsters his side-arm, the square 9 millimeter pistol rising like a black hawk that might as easily kill its prey as protect its owner. 

With the gun out and pointed at him, the man with the hand truck cries out and crouches as if to make himself a smaller target.  His arm sweeps from his jacket with frantic urgency in a single act of capitulation, or is it defiance (all those watching would later say they couldn’t tell which) and the cop (not wanting to decide which) steps closer and squares off the 9 millimeter about six inches from the temple of this cowering man.   But no one in the crowd is looking at the gun, they are staring at the man’s hand; hanging from his fingers like the last flower on earth is the man’s green card.  Even at a distance Martha can see the man’s photo and that he was smiling at the moment he took it.

 But he is not smiling now.  The other man who has been pushed up against the side of the truck by Policeman One blubbers disgustedly and then shouts at the man on his knees who pushes his green card closer to the cop’s face.  The cop glances down at it, taking it from the man with his free hand.  At the same time, the policeman holding the man against the truck releases the tension in his shoulders and biceps and the smoking man wriggles free, sweeping the butt of his cigarette from mouth to hand to ground and foot-stamping the cherry end into the asphalt with a furious clogging that could as well be meant for the policeman’s spine.  

The cops are now quickly leaking most of the self-righteous guardianship with which they came into this situation.  The men with the truck sense this palpable reduction in lethal commitment, and begin again to regain their bearing.  Policeman Two drops his gun and affectionately pats it into his holster, handing back the man’s green card.  Policeman One wiggles his hands in the air in a weak gesture intended to say that the situation is under control and then walks away from the man who he has held against the van.   It is only then that the cops notice that the entire crowd at the drop off has been riveted to this scene of street theater that they have just produced, and that it is Martha who has been at the point of the onlookers sitting closest to the scene watching from the front seat of the family truck.

With a quick, barely noticeable - but the all the more for it - disgusted glance at Martha, the shorter of the two cops (the one who never wanted to get into this in the first place) tries to regain his authority by gesturing to the man with the hand truck that he might want to open one or two of the boxes so they can see what’s inside.  The cop is doing this as a way to save face, to show the crowd that there still might be a good reason for what they just witnessed, but Martha can barely contain her sense of approval at this request.  A tight smile of assuredness stretches across her face as she nods toward Tyler that this is really only the right thing to do. 

But the man with the cell phone, the world class smoker who has just lit a fresh cigarette, tells the man with the hand truck that he doesn’t have to do anything of the sort.  No one can actually understand the words that the men speak to each other, but it is clear that one man wants to resist what he knows to be specious authority and that the other man will play by any shifting set of rules that the police can lay down for him as long as he can remain free and in this country.   No matter the tension between this couple, it is only a moment before it is neatly broken by the man with the hand truck when he produces a box cutter from his jacket and slices open two of the cartons.  From one he removes a baby blue package of disposable diapers and from the other a long, fat roll of paper towels.

The man with his fresh cigarette spits a curse in a language that goes back to the dawn of civilization and blows two jets of smoke from his nostrils, pointing his chin and the full weight of the smoke at Martha in her SUV across the street.   Martha looks down at her lap, away from the man.  To her only son it appears that she is ashamed of herself.  And she might be.  She just might be.  Just a little, anyway.   But deep in her chest now is also something else, something surpassing anxiety, something far beyond shame, something that feels like freedom, something akin to deliverance.  It is as if Martha is a young, young girl again drifting in the cradle of a dream.  As if the child she bore, the large house she lives in, the industrious husband she lives with had never existed.  As if she could go back in time unrestrained, leap from the upper floor of a tall building and fly.

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