AMY ELLIOTT DUNNE

NINE DAYS GONE

I am penniless and on the run. How fucking noir. Except that I am sitting in my Festiva at the far end of the parking lot of a vast fast-food complex on the banks of the Mississippi River, the smell of salt and factory-farm meat floating on the warm breezes. It is evening now – I’ve wasted hours – but I can’t move. I don’t know where to move to. The car gets smaller by the hour – I am forced to curl up like a fetus or my legs fall asleep. I certainly won’t sleep tonight. The door is locked, but I still await the tap on the window, and I know I will peek up and see either a crooked-toothed, sweet-talking serial killer (wouldn’t that be ironic, for me to actually be murdered?) or a stern, ID-demanding cop (wouldn’t that be worse, for me to be discovered in a parking lot looking like a hobo?). The glowing restaurant signs never go off here; the parking lot is lit like a football field – I think of suicide again, how a prisoner on suicide watch spends twenty-four hours a day under lights, an awful thought. My gas tank is below the quarter mark, an even more awful thought: I can drive only about an hour in any direction, so I must choose the direction carefully. South is Arkansas, north is Iowa, west is back to the Ozarks. Or I could go east, cross the river into Illinois. Everywhere I go is the river. I’m following it or it’s following me.

I know, suddenly, what I must do.