give him a chance to reconsider by looking into his eyes for clarity. She pushes the silent boy in front of herself and into the flat.
Sheldon closes the door very, very quietly. The woman with her wide Slavic face looks at him in conspiratorial terror. They all squat down with their backs against the door, waiting for the monster to pass.
Again he raises his finger to his lips. âShhh,â he says.
No need to look out the peephole now. He is no longer one of the people he abhorred. Sitting next to his neighbours, he wants to stand in the middle of a soccer field with a bull horn, surrounded by Europeâs oldest generation and yell, âWas that so fucking hard?â
But outside he is silent. Disciplined. Calm. An old soldier.
âWhen you sneak up on a man to kill him with a knife,â his staff sergeant explained sixty years ago, âdonât stare at him. People know when youâre staring at the backs of their heads. I donât know how, I donât know why. Just donât look at their heads. Look at the feet, approach, get the knife in. Head forward, not back. Never let him know youâre there. If you want him dead, make him dead. Donât negotiate it with him. Heâs likely to disagree.â
Sheldon never had trouble with this end of things. Never pondered the imponderables, questioned his mission, doubted his function. Before he got lost and ended up on the HMAS Bataan , he was shaken awake one night by Mario de Luca. Mario was from San Francisco. His parents had emigrated from Tuscany with the intention of buying wine land north of San Francisco, but somehow his father never got out of the city, and Mario was drafted. Where Donny had intense blue eyes and sandy blond hair, Mario was dark like a Sicilian fisherman. And he talked like heâd been injected with some kind of truth serum.
âDonny? Donny, you up?â
Donny didnât answer.
âDonny. Donny, you up?â
This went on for minutes.
âDonny. Donny, you up?â
âIt will not help my cause by answering you,â heâd said.
âDonny, I donât get this invasion. I donât get this war. I donât know what weâre supposed to do. What are we doing here?â
Donny was dressed in flannel pyjamas that were not government-issue. He replied, âYou get out of the boat. You shoot Koreans. You get back in the boat. What confuses you?â
âThe middle part,â Mario explained. âAlthough, now that I think about it, the first part, too.â
âWhat about the third part?â
âNo, that part is like crystal.â
âSo what about the first two?â
âMy motivation? Whatâs my motivation?â
âTheyâll be shooting at you.â
âThen whatâs their motivation?â
âYouâll be shooting at them.â
âWhat if I donât shoot at them?â
âTheyâll still be shooting at you because other people will be shooting at them, and they wonât differentiate. And youâll want them to stop, so youâll shoot back.â
âWhat if I ask them not to?â
âTheyâre too far away, and they speak Korean.â
âSo I need to get closer and have a translator?â
âRight. But you canât.â
âBecause theyâre shooting at me.â
âThatâs the problem.â
âBut thatâs absurd!â
âYes, it is.â
âIt canât be true!â
âMost things are both true and absurd.â
âThatâs also absurd.â
âAnd yet â¦?â
âIt may also be true. Jesus, Donny. Iâm going to be up all night.â
Then Donny whispered, âIf you donât go to bed, there will be no tomorrow. And itâll be all your fault.â
The monsterâs feet stop outside the door. What were stomping, pounding footfalls of a pursuer are now gentle shuffles. Whoever is chasing them is now spinning