danger. Maybe the workman is a saboteur, maybe heâs undoing the tunnel, maybe.â¦
No, Diddy had to believe that what lies on the far side of the barrier is just more track. The rest of the tunnel. Not, say, a big hole.
âHey, can you tell me where I can find the engineer?â
The workman looks up. âWhat the hell are you bothering me for? Canât you see I got a job to do? And what are you doing out here anyway?â Then resumes his work.
âJust tell me where the chief engineer is.â
âClear out, man,â the workman barks over his shoulder, halting his labor again. âYouâre wasting my time.â
âListen,â said Diddy, âIâve a right to know whatâs going on. The rest of the passengers may be a bunch of sheep, but Iâm not going to sit around trusting you guys to do the right thing.â
âMan, are you going to get back on that train?â
âNo.â
The workman bringing his ax down on the wall, but his head is turned. âIf you donât get out of here in five seconds, youâll be sorry.â Whatever heâs doing, itâs almost done.
â Youâll be sorry,â shouts Diddy, taking a step forward. âJust who the hell do you think you are?â
A lull in the strokes of the ax. The workman lifts up the last two boards, hurls them onto the others. Then he rubs his face with his forearm, hitches up his pants, spits on the ground. Heâs looking at Diddy (now). Takes up the ax again. âYou see what Iâve got here? Donât push me too far, mister.â
âThe ax?â says Diddy. âOh, come off it! Whatâs the matter with you? Iâm asking a civil question and you can damn well take a moment to answer me.â
The man advances toward him, the beam from his forehead drilling into Diddyâs eyes. âIâll give you five seconds to get the fuck out of here. Move!â
âIâm staying,â Diddy says. An outraged voice. âAnd Iâm reporting you to the conductor.â Glances at the engineerâs cab: dark. Not that he canât handle this pig all by himself. Still, where in Godâs name is the crew that operates this ultra-modern train? Off placating the passengers? Maybe some, sure. But all of them?
âFive seconds!â says the man, raising the ax. âOne.â
âYouâd better watch your step,â Diddy snarls. Clenched his fists.
The man inches toward him. âTwo.â
âReally spoiling for a fight, arenât you?â Diddy says, bitterly.
âThree.â
Diddy smelling his own sweat (now). Heâs mortally afraid; yet this is a more acceptable, cleaner fear than what heâd endured back on the train, cooped up with those zombies. Taking a deep breath; with twitching nostrils inhaling the unpleasant air. Stoops quickly and seizes the crowbar lying near his feet. Straightens up to see the startled look on the workmanâs face. The workman scratching his head in a satire of puzzlement, then grinning.
Four. It must be Four already.
Diddy tensing his arm muscles, hefting his cold weapon. âGo on, you bastard!â
âI guess youâre gonna think Iâm scared,â the man says.
This is too easy. Heâs trying to trick me, to catch me off guard and grab the crowbar away from me. Then whack me with the ax.
âCome on, man! I donât wanna fight.â The workman grinning again.
âLike hell you donât,â Diddy says, panting.
âHey, take it easy. I was just horsing around. Donât make a big deal out of it.â
âI donât believe you.â Diddy tightens his grip on the crowbar, licks his lips. Why doesnât he say Four?
The man laughs. âOkay, you win. Okay?â He winks at Diddy. âSee?â Lowers the arm holding the ax. âIâm going back to work now, man. Right? You can do what you want.â He turns, offering his
Laurice Elehwany Molinari