He is liberation's bright angel, in watch cap and black slicker, coming out of the sun. He wears lampblack under his eyes and thick white pigment across his forehead and cheeks. The others stand around, taking deep breaths, consciously intent on nothing but their own exalted fatigue. He holds the shotgun out away from him, as nearly parallel to his body as he can feasibly manage, muzzle up. The golfers are strewn everywhere. We see them frame by frame, split open, little packages of lacquer. The terrorist chief, jefe, honcho, leader fires several rounds into the air-a blood rite or passionate declaration. Buster Keaton, says the piano.

And now the stewardess serves drinks to those who need them and everybody gradually moves to different parts of the piano bar, their loss of interest in the movie manifesting itself in this nearly systematic restlessness. With the configuration thus upset, the piano silent, the film ignored, there is a sense of feelings turning inward. They remember they are on a plane, travelers. Their true lives lie below, even now beginning to reassemble themselves, calling this very flesh out of the air, in mail waiting to be opened, in telephones ringing and paper work on office desks, in the chance utterance of a name.

ONE

1

The man was often there, standing outside Federal Hall, corner of Wall and Nassau. Lean and gray-stubbled, maybe seventy, sweating brightly in a frayed shirt and slightly overused suit, he held a homemade sign over his head, sometimes for whole afternoons, lowering his arms only long enough to allow blood to recirculate. The sign was two by three feet, hand-lettered on both sides, political in nature. Loungers at this hour, most of them sitting on the steps outside the Hall, were too distracted by the passers-by to give the man and his sign-familiar sights, after all-more than a cursory glance. Down here, in die district, men still assembled solemnly to gape at females. Working in a roar of money, they felt, gave them that vestigial right.



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