Have I got a half-baked story for you. Turn your pretty head.
I sit at a corner table where I can see the main doorway and the windows, keep myself mindful amid warm, oblivious goldfish trapped in a frozen hell.
Karla is the recently Sharpie'd name on the left breast of her waitress smock. She asks me if I would like to order, and I tell her I was supposed to meet someone a good thirty minutes ago, and will wait, see if they're the belated kind or the bailing kind.
"Would you like to order a drink while you wait?" she asks.
"Sure. Coffee. Dark roast. Cream."
She brings a porcelain mug and a delicate matching jug on a tray. White with a subcutaneous shadow. It feels French. Or Elvish. Or English from some other time and place. My hands are large and clumsy.
Her eyebrow is an arch, an irony, a bow flexed by a squire. I try to stop myself, but I fail: I laugh out loud.
"What is it, sir?"
She is so fine. My heart pumps extra blood.
"You. Just you. You're priceless."
"All respect, mister, I ain't, and nobody is. We all got a price."
"All right. Look. Yes. I didn't want to say this, but I'm dying. Does that change anything?"
"No, sir. Not anything I said, if that's what you mean."
"Yeah. Yeah."
"Uh, if you don't mind me asking, you're a fairly young fella. What you dyin' of?"
"Well, Karla, you just asked the exact right question."
"Okay, and I'm glad…" Her pretty face is flushed. "But I'm too darned inquisitive, and I gotta get back to the kitchen."
"Yeah, sure. Go. Nothing says I should answer you, or you me. Even when you talk in poetry."
Three emotions run across her face, her eyes, her brows, and she retreats, sensibly.
I pull out the nine millimeter, caress its cool barrel. A woman in a booth with two small kids clocks it and looks away, alarm on her handsome maternal face. She has that dry Christian denial in her glowing bones, which are also porcelain. Somehow, within a minute, she's signaled the waiter, corralled her children, paid her check, and left the diner before I can even register it. All I see is the caboose of her receding Cherokee, one child looking back, a girl, tiny face stricken, like she's always known, like she wishes she never did.
So instead I stand and shoot the fat old white guy in a neighboring booth. Nothing personal, but I'm playing the percentages at this point. I damn well want him to be a bigot and a malignant human blemish. He doesn't immediately die, which upsets me. His wife tries to stanch the carmine gouts of arterial blood that ejaculate from his throat, and as he gurgles and drowns, I admit I laugh. Not out of cruelty but out of absurdity. Stupidly, I think his neck is orgasming.
"There are glorious things in this world, but I can no longer find them."
I think it is me who says that, but I also think it's someone else. I feel forked like a tongue and skewered like a heart.
"Tell me he hates niggers and faggots and cunts," I say gentle into her face, but she only looks blank and crosses herself.
A siren blooms from the landscape, like a blister aching to be burst. So I oblige. Step out into the gravel lot where the snow is falling like soft artillery and pop both uniformed men who alight so breezily and guilelessly from their cruiser. One is gone from the get go, and the other clutches his throat and grabs my ankle as I aim to walk on by. He can't speak, but his face can. It says: "I don't know you, and you have now become the second-most important person in my life, since you've done killed me. Please tell my gentle wife I died clean. That I didn't cry or beg. That I died well, uncomplaining, upholding my duty."
I nod yes. I wish I could talk, but I feel all stoppered up. And I think we hear each other regardless.
None of this is personal. Yet it's about as personal as it gets. Not all the bad guys hate niggers and faggots and cunts. (But all the guys who hate niggers and faggots and cunts are bad.) You see?
This is the land of the locust, the rat, the serpent; the wounded and the livid. Violators of women; fondlers of children. The doltish and the dotard. Malevolence squats beneath the bleachers. Feigns piety while reconnoitering malls, noisome with loathing.
This bleach is not to whiten but to clean.
Watch the steam unfurl from a grate. It strives to form a shape, like the birth of a ghost. Most times it's stillborn. But that one time, you know? That one time is a glory to behold. It's the silver tongue behind speech, delivering all that is lyrical, midwifing the honeycomb of words.
We're not bad but flawed. That distinction might not comfort those we fail, might even be a feint or dodge most times. Look. Some say we are fools to love what death can claim. But death can claim all things. Why would we withhold the last great fragile thing that renders us unimpeachable?
In my mind's eye, I see the place again, and this time I sit still and wait, and Karla comes out from the kitchen as the man enters the diner at last, that icicle sound as the door opens and his brogues are the first part of him to cross the threshold. His rage enters next and is endless, even while quiet. Karla smiles at him and with a gesture of her head and eyes offers him a choice of seat. He smiles back, but it's a cold thing in a warm place, and it stops people dead. In the abrupt silence, I start to get up, but it's too late. He unsheathes a sword—a katana—and swings it toward the fat old white man, who sees it coming and grabs Karla by the waist and the katana slices into her instead. I howl like something raised in a hidden forest among a shock of echoes and the eternal creaking of a giant raven. I know I am too late. This is all wrong. I blink, and the picture changes to white noise and static, and all I can feel is relief. A lie. Resignation and relief.
Glorious things. Her sapphire eyes. Wide salt lakes. Forever gone but not quite lost.
David Antrobus Posted on 
"The beauty of the world which is so soon to perish, has two edges, one of laughter, one of anguish, cutting the heart asunder." — Virginia Woolf