I roll into the office and see Dr. Thompson behind the counter. “You’re back!” I cry. I’m happy to see her, and I can’t wait to hear about how Sri Lanka was. She stares at me without a word.
I wheel back out and sit down next to an obese old man who is watching his phone with the volume turned up. A man is talking very fast and in an unnatural tone of voice, so that I wonder if it’s AI. It is very difficult to make out what he is saying; something about talking to his father-in-law about hedge funds. It is one of the most boring monologues I have ever heard, but the old man watches with rapt attention until Shelley mercifully comes to get me.
In the far room, she takes my vitals and says, “Your blood pressure is only one point above what it was last time. Isn’t that bizarre?” She fires up the saw but after she has cut three inches down my leg it sputters out. She looks at me. It starts up again. She continues to cut and a few minutes later it cuts out again. She unkinks the hose and bends down to look at the machine, giving me the saw to hold. She turns it back on and finishes cutting the cast without any problems.
“Not much drainage,” she says. “It doesn’t look that bad.” She takes a picture and measures it. “A little bigger. Not much.” She pokes a Q-tip into it. “A little less deep, but it’s kind of boggy. You know what I mean?” I say no. “Boggy. Like mushy. So it’s deeper than it seems. Not too bad. But really boggy.” I ask her what causes that and she says unhealthy skin and slough. “I’m not too worried,” she says perkily. “So you shouldn’t be either.” I tell her I’m not. After all, this is only my second visit to this exciting new office, and I trust all these nice strangers to take good care of me.
She squirts some Lydocaine onto a pad of gauze and presses it onto the wound, then pinches the cord they all keep their necks and says, “Call Russ Morgan.”
“Calling RUSSELL. MORGAN,” the cord says.
“Ruh,” A man’s voice grunts.
“Russ, this is Shelley in wound care.”
“Herm.”
“I’m having issues with our saw and I wondered if you could look at it. It kept pulling to one side the whole time I was using it, and it went dead a couple of times.”
“Up,” the man says.
“Thank you Russ!” She disconnects and starts talking about how boggy my wound is. I wish she would stop saying the word boggy. “Oh, and Judy the nurse practitioner will be doing your cast,” she says. I’m surprised; I thought only doctors could do those.
She leaves and I listen to a woman talking to Karen in room two. “The one healed up but this other one has been there for years,” she says. “I don’t want to lose my foot.”
“We don’t want you to lose your foot either!” says Karen. “Now have you heard of something called debridement?”
“You mean when you die?” the woman asks, alarmed.
Karen laughs. “No, that’s bereavement. This is debridement.” The woman laughs too.
A few minutes later Judy comes in, wearing paisley purple Crocs. Behind her is Dr. Thompson, in ordinary scrubs with a plain blue cap on.
Judy asks how I’m doing, if I used that app she recommended. I tell her no, but that I’m feeling okay, though things have been up and down. She looks concerned.
“Sometimes it just helps to talk to someone about things,” says Shelley.
As Judy adjusts the chair with the pedal, she puts her hand on my shoulder, which seems odd. I excitedly ask Dr. Thompson how her trip was.
“I didn’t go on any trip,” she says, sounding confused and a little annoyed.
“Oh, they told me…but you were gone…”
“It was a staycation,” she says in a dead, flat voice. I suddenly feel uneasy. I want to ask more but my gut tells me to keep my trap shut.
Shelley hands Judy a scalpel. As she unseals the plastic, Judy exclaims, “Oh I forgot to record. Do you mind if I record this?” I say no, even though I do, and she sets her phone up on the computer stand.
“Beginning debridement of wound,” Judy says. The doctor watches Judy as she slices at my calluses.
“You have good circulation down here,” Judy says, dabbing at the blood.
“See how boggy it is,” Shelley says.
“That’s the top of his metatarsal there,” says Judy, poking.
“I don’t think so,” says Dr. Thompson.
“What about all this bruising?” Judy asks.
“I… think that was there before,” says Shelley. She looks at the computer screen. “Yeah I think that was there.” No one mentioned any bruising before.
“Well it looks like it’s healing up,” Judy says. She grabs her phone and they leave. As Shelley wraps my leg back up, she tells me about the car accident she got in last week. Some woman plowed into her at a four way stop. I ask if she’s biking to work. “No, I wanted to use a jetpack but I was afraid ICE would shoot me down.” She giggles. It’s the first time I’ve heard her reference current events, but I don’t feel up for getting into all that.
Perhaps distracted by thinking of the car accident, she doesn’t put as much padding on as usual. “The cast went up pretty high last time,” she says. “Did that work okay for you?”
“It was fine,” I say.
“I better go up higher then.” She cuts an extra length of padding and wraps it just below my kneecap. Perfectionist that she is, she has never had to do this before. Now it’s way too high.
“You’re not done?” Dr. Thompson asks Shelley when they return.
“I’m just finishing running the water.”
The doctor turns and addresses me for the first time.
“How are things at the museum?” I tell her things have calmed down now that the renovations are done, and encourage her to come check it out. “I haven’t been there in years,” she says. I want to ask her what she saw last time she was there, but Shelley turns off the faucets and lugs the bucket of water over.
Judy is the only one wearing a paper gown; she’s apparently going to do the cast herself, which surprises me. I thought only the doctors did those.
Dr. Thompson looks at how high the undercast is, thentouches the skin of my knee, which is red and shiny from the scooter.
“He wanted it that high,” Shelley quickly says. “He likes it. He said it was really comfortable.” I shoot her a look but her focus is elsewhere.
As Judy clumsily wraps my foot, the doctor stands to the side, watching. An oppressive tension fills the room like a cloud of noxious gas. Shelley plops the rolls into the water and occasionally helps Judy smooth out the Fiberglas. My yellow leg is covered in dancing blue gloves. The doctor offers an occasional comment or question. “”I like to alternate back to front to keep it even. You don’t want it to soak that long. Are you going to leave it like that?”
After the third roll, Judy lowers the chair and asks me to stand on the cast. Neither of the doctors have ever asked me to do that. I place my foot flat on the floor and she says, “No, put all your weight on it.” I hold onto the chair’s flimsy arm and she rubs the cast, then has me sit again while she applies one last layer. Doctor Thompson wanders off without a word before she finishes.
“Does that feel tight?” Judy asks when she’s done. It does, but I tell her it feels fine. It’ll only be on four days anyways.
When I roll out of the office, I find that the handicap restroom in the waiting area is out of order, so I use the tiny one next to it. Once I squeeze in, I have to get off my scooter and rearrange it so I can close the door. I feel shaken by my visit, by the sudden change of climate in the office. Why did everybody tell me Dr. Thompson went to Sri Lanka, of all places? Why not just say she’s on vacation? Did she have a health scare, or a mental break of some sort? It’s all so strange. While I guess I should be grateful to have the monotony shattered by a whiff of mystery, instead I feel deeply unsettled, like when someone you trust reveals some ugly impulse.
When I get out, Shelley is in the waiting area telling a tiny woman, “They just called a Code Gray. If you feel you need to be somewhere safe, just press that blue button and you can hang out with us.” The woman stares at her, uncomprehending.
“My mother’s in there,” a man sitting nearby says. “What’s a Code Gray?”
“It’s when someone is having a really bad day, and gets upset,” Shelley says, as if she’s talking to one of her kids.
I head downstairs. I don’t see anyone having a bad day in the lobby or at the bus stop or during the ride home. But as I’m waiting for the walk signal across the street from my building, a wide, scantily-dressed woman is screaming in a baritone voice at a dumpster a few feet away from me. Dance music blasts from a speaker slung from their shoulder. There is no one else in sight.
“You shut your fucking mouth, nigger,” they scream. “You shut your fucking mouth. Tell me to turn my music down nigger? I’ll turn my music down nigger. Do I look like a can of paint to you? Do I look like a fucking can of paint? Fucking nigger.”
They turn their attention from the dumpster and start to lumber towards me, still screaming.
I decide to brave the rush-hour torrent and cross against the light.