room. Why? This is stupid. How can
I save someone in a coma?
It’s hard to climb over the fallen debris, but I make it
to his door and see a huge beam lying across the kid’s bed,
across his chest.
I spin and run, searching from room to room as the
snow blows into the hallway, melting instantly as it falls.
Finally, at the end of the hallway, I find the guy I just saw
on the monitor. He looks to be in his late teens. A bunch
of tubes are connecting him to an IV and a catheter. His
thickly muscled arms, chest, and neck are covered with tat-
toos, some of which have been “scrubbed” off with a laser.
That’s another thing they do here.
I count half a dozen incision scars on his head, and
there’s one that’s freshly stitched. He also has what might
be a bullet wound scar just below his collarbone. I lift his
arm and try to tug him off the mattress. He’s rock-solid
dead weight, and I know there’s no way I can carry him.
I put my hand over the kid’s heart, feel his chest rise and
fall. Something about him is familiar to me. Like I don’t
know him specifically, but I know people like him. I pull
his IV out, make the sign of the cross on his forehead, lips,
and chest. It’s all I can do for him, and I’m well aware of
how pathetically little it is.
I run out the door, slip on the wet floor, and land on
my tailbone. That’s when I hear them. There are people in
the building. People who shouldn’t be here. I know this
because they’re making a lot of noise, stomping up the stairs
rather than running for cover. I look down at myself—the
34
boots, the clothing, the passcard. Someone’s trying to help
me. Why? Maybe because someone else is planning to hurt
me. Maybe Jori was right after all.
Jori.
I run past the nurses’ station toward her wing, my boots
crunching against the gritty layer of concrete that’s popped
off the walls. Each wing has a set of security doors, and
when I reach the ones leading to Jori’s side of the floor,
I have to let the handle go because it’s so hot. Dropping
to my knees, I try to look underneath the door. I smell
smoke . . . and something else.
Tear gas.
Up until this moment I had no clue what tear gas
smelled like, but I don’t really need that much training. It
feels like someone just jammed a blowtorch into both my
eyes and down my throat.
I pull the neck of the hoodie up over my mouth and
nose. I’ll have to get to Jori a different way.
I listen at the stairwell door. The people who were just
coming up the steps have opened the door to the floor
below. I wait a second until they’re gone and then go down
two floors, thinking I might be able to loop back around
and use the stairs on the opposite end of the floor to go
back up, but when I pull the door open at the second floor,
I instantly regret it. Two men in black and gray military
camos turn and fire at me. I let go of the handle and drop
onto the floor as bullets rip into the metal fire door.
Sliding down the handrail, I practically fall the rest of
the way to the first floor, bursting out of the stairwell into
35
smoke and mayhem in the main lobby. An injured nurse,
dragging one leg, is moving toward the front door, trying
to stay behind the huge potted palm trees next to the ceil-
ing-high windows. I dive behind the security guard’s desk
and find I’m not the only one taking cover there. There are
two others.
Make that one other. One of the physical therapists is
there. Dead. That leaves a nurse I’ve never seen before.
She’s completely rigid and her eyes are unblinking. If she
weren’t breathing so rapidly, I’d think she was dead, too.
I feel the prickly sensation of adrenaline in the tips of my
fingers. My mouth fills with metallic-tasting saliva. Some-
one speaks. It could be a man or a woman. Whoever it is
sounds like one of those
Lynch Marti, Elena M. Reyes