Sunday night, 10:20, The Last Mile Lounge. Tash Silva’s at the bar. Deano’s night off. Tash is keeping an eye on Jimmy Jammin, a chronic tipler. But Jimmy’s not drinking tonight. I heard him tell Tash he hasn’t had a drink in three months. No alcohol. He’s drinking ginger ale. He’s here for the company. He’s talking to Bill Kirner, a regular. Kenny Foy is here with a guy I haven’t seen before, sitting at a table near the front door. Two guys at the end of the bar, strangers, are playing Keno. We’re all kind of strangers tonight. There are only three booths, only one of them in occupied — by two women. I’ve seen them before. They work at concessions at the airport and stop in after work. They have beers. Athena, the real estate agent from Lowell is here. Strange, on a Sunday night. She’s drinking a Manhattan. I can see the brown water and the cherry. She’s with a guy, probably a date. I’ll bet they stopped in on their way back from a movie in Boston. She does that, comes here at odd times, likes it here for some reason, though not a big drinker. She had that little revelation several months back. Seemed to change her. (I wish I could change.) She suddenly lost her depression, which might be why she comes back here, the scene of the loss of something bad, like somebody flipped a switch in her head.
The juke box is working again. But tonight, it’s silence. Nobody’s touched it. Everybody is silent, no laughter, you can barely hear anybody talking. The TV over the bar is off.
Knox, the artist who lives upstairs is at a table in the middle of the room, drawing something on sheets of paper.
There are seven tables. But, as you know, this is a small place, the Last Mile.
I’m alone at a table by the side door. I’m not sure why I came by tonight. I’m drinking a cup of hot green tea. Yeah, I know. Strange. Tash made it for me. I’d been drinking ice water, believe it or not. I tip Tash, no matter what I drink. He says to me, handing me the cup, “good night for tea.”
The light is soft. They made that change in this place. No harsh lighting.
And I’m thinking. I’m meditating, really. I’ve stepped out the side door, looking down the street toward the beach. I hear the wind. The jet goes over headed for Logan. I hear a siren, then – silence.
I need this silence. I need a moment to look at the windows of houses, soft rectangles of light, some dark. The street wet. There has been savage weather in the nation but here along the coast –just a damp, shining street.
And I’m thinking, meditating, trying to think. Getting a little chilly, I go back inside. My jacket is over the chair. No one will join me. Everybody wants to be unjoined tonight, except maybe Jim and Bill at the bar — and they aren’t talking anymore. Tash is reading a magazine, leaning up against the wall behind the bar.
Knox, the artist, looks up for a second, looks at me, smiles. We talk from time to time. He looks around then. I wonder — is he drawing this scene? Will he paint it later? Make it permanent.
The wet, shining, empty street. He can paint that if he looks out there…but in here, this is the painting. Paint the silence. Paint the light, the people…but make us see the silence.
I hear a breeze out there. A wind off the ocean. It grips the place.
I am full of fear, worry, why? Nothing to worry about. Or — so much to worry about but, why worry?
I look at my watch. It is now 10:37 p.m. And then I remember: The old clock over the old phone booth in the corner stopped at 10:37, either a.m or p.m., on some lost day in some lost month many lost years ago here at The Last Mile.
I stare at it, at stopped time, which is now exactly this time — stopped. I hear the damp wind.
The old bar glass of ice water is still on the table before me with the tea cup. The ice is mostly melted. It’s just a still, clear, half-full beeker of chrystal brightness now. I sip the hot green tea.
A Sunday night in silence. The tea is still steaming.
In stopped time. Steam and still water and memories —
before and all about me.
I half dream. For a full minute, I am fully — at peace.