He said, “Excuse me, are you all right?”

She made a hand gesture that could have been “give me a moment” or “mind your own business” and then blew her nose, a surprisingly hearty honk, into a wad of tissues. She turned to face him, and his first thought was “foreigner”; Crosetti had always thought there was something vague about American faces compared with those he saw in the films of other lands, and this was an example of the difference. Mishkin’s wife had the sort of interestingly constructed northern European face that seemed designed to glow in black-and-white cinematography. The tip of her nose and her eye rims were red, which rather spoiled the effect, but he could not help an entranced stare. It was one more indication that he had departed his real life and was now in a shooting script. She caught his stare and her hand flew to her face and hair in the eternal gesture of the woman caught out of toilette.

“Oh, my God, I must look frightful!” she said.

“No, you look fine. Is there anything I can do? I mean I don’t want to get nosy…”

“No, it is fine. Just the normal stupidity of life in which sometimes it is necessary to cry.”

She had the right accent too. In a couple of seconds Bergman or Fass-binder was going to come out of the cockpit and adjust the lighting. What was his next line? He groped for something suitably world weary and existential.

“Or to drink champagne,” he said, raising his glass. “We could drown our sorrows.”

She rewarded this small sally with a smile, which was one of the great smiles he had seen so far in his life, either on-screen or off. “Yes,” she said, “let us have champagne. Thus the sad problems of the rich can be made to dissolve.”

The flight attendant was happy to bring a chilled bottle, and they drank some.

“You are the writer,” she said after the first glass went down, “who discovered this terrible manuscript that has disrupted all our lives. And yet you still write away despite this. In my misery I hear you click-click-clicking. I’m sorry, I have forgotten your name…”

Crosetti supplied this and in return was directed to call her Amalie. “What are you writing?”

“A screenplay.”

“Yes? And what is this screenplay about?”

The champagne made him bold. “I’ll tell you if you tell me why you were crying.”

She gave him a long look, so long that he was starting to think she had taken offense, but then she said, “Do you think that is a fair exchange? Truth for fiction?”

“Fiction is truth. If it’s any good.”

She paused again and then gave a quick nod of the head. “Yes, I see how that could be so. All right. Why do I weep? Because I love my husband and he loves me, but he is afflicted in such a way that he must sleep with other women. And there are many women who would put up with this, would have affairs of their own and keep the marriage as a social arrangement. This is called civilized in some places. Half of Italy and Latin America must do like this. But I cannot. I am a prig. I believe marriage is a sacrament. I wish to be the only one and have him be the only one, and otherwise I cannot live. Tell me, are you a religious person?”

“Well, I was raised Catholic…”

“That is not what I ask.”

“You mean really religious? I’d have to say no. My mother is religious and I can see the difference.”

“But you believe in…in what? Movies?”

“I guess. I believe in art. I think that if there is such a thing as the Holy Spirit it works through great works of art, and yeah, some of them are movies. I believe in love too. I’m probably closer to you than to your husband.”

“I think so. My husband cannot believe in anything. No, that is incorrect. He believes I am a saint and that his father is the very devil. But I am not, and his father is not, but he believes this because it saves him from thinking he is hurting me-she is a saint, so of course she is above such jealousies, yes? And he need not forgive his father for whatever his father has done to him, he has never said what it is. He is a good, kind man, Jake, but he wishes the world to be other than what it is. So this is why I cry. Now, what is your movie?”

Crosetti told her, and not just about the script proper but about its basis in real life, Carolyn and their pathetically brief encounter, and about his own life and where he wanted it to go. She listened attentively, and in near silence, unlike his mother, who was full of lame ideas and not shy about sharing them. When he’d finished, Amalie said, in a tone of frank admiration, “And you have thought all of this up in your head. I am amazed by this, as I have not one creative bone in my body, except to produce children and small things, like decorations and cooking. And to make great heaps of money. Is that creative? I don’t think it is.”

“It’s certainly useful,” said Crosetti, who had nothing of that talent.

“I suppose. But in the end it is a low art, like plumbing. And one has always the nagging feelings that it is undeserved. As it is. This is why the rich find it so difficult to enter heaven.”

At this point the attendant emerged from behind her curtain and began the dinner service. Amalie made her children take off their earphones and have what she called a civilized dinner. The seats swiveled around so that Crosetti found himself facing the little boy across a wide wood-grained table, which had been laid with a cloth and real china and silverware and a little vase with a baby white rose in it. Apparently Mishkin had decided to eat with his brother instead of with his family. After a few minutes, Crosetti could appreciate why. Neither of the kids shut up for a second during the meal, which for the boy was, remarkably, a bowl of Cheerios. The girl’s conversation consisted largely of wheedling-things to buy, places to go, what she might be allowed to do in Switzerland, what she refused to submit to. Amalie was firm with her, but in an exhausted way that, in Crosetti’s opinion, presaged tears and screaming fights amid the lofty Alps. The boy responded to a polite question about the computer game he was playing with a continuous stream of information about his entire history in the Warcraft universe, every feature of his game persona, every treasure he had won, every monster fought. The spiel was uninterruptable by any of the conventional sociolinguistic dodges and the boredom was so intense it nearly sucked the flavor out of the excellent filet and the Chambertin. Crosetti wanted to stab the child with his steak knife.

His mother must have picked up the vibrations, because she said, “Niko, remember we agreed that after you talk you have to let the other person talk too.” The boy stopped in the middle of his sentence like a switched-off radio and said to Crosetti, “Now you have to say something.”

“Could we talk about stuff besides Warcraft?” said Crosetti.

“Yes. How many pennies are there in a cubic foot of pennies?”

“I have no idea.”

“Forty-nine thousand, one hundred and fifty-two. How many are there in a cubic meter?”

“No, now it’s my turn. What’s your favorite movie?”

It took a while to figure this out, especially as Niko felt it necessary to review the plotlines of his choices, but eventually they settled on the original Jurassic Park. Of course the boy had it on his hard disk (he had watched it forty-six times, he announced), and Crosetti made him run it with the promise that he would tell him how they did all the effects, and he brought out the special little plug that enabled two people to use their headsets at once off a single computer. After that it was dweeb vs. dweeb, and Crosetti felt that he had not disgraced himself as a purveyor of tedious facts.

The pilot announced their descent into Biggin Hill airport, and they reversed their seats and buckled in. The attendant distributed hot towels. Amalie smiled at Crosetti and said, “Thank you for bearing with Niko. That was very good of you.”