"Rosiewillgetyouup."

"I don't need any help," he says.

"If anybody in this world needs help getting up, you're the one."

"She throws things at me."

"Catch them and throw them back."

"Then I'll never get dressed. Because she throws my clothes." His mother leans into the bunk and kisses him, which she hasn't done in a long time, and then she rubs his head roughly, sort of knuckle-rubbing, and squeezes his cheeks so it hurts, twisting sizable sums of flesh, and he hears his father pass by on his way to the kitchen and hopes he missed the damn kiss.

In the dark he thinks about the game. The game comes rolling over him in a great warm wave of contented sleep. The game was lost and then they won. The game could not be won but then they won it and it's won forever. This is the thing they can never take away. It is the first thing he will think of in the morning and one part of him is already there even as he falls asleep, waking up to think about the game.

Manx Martin stands at the refrigerator. He's looking in at the meat loaf. She saved him some meat loaf that's sitting in a plate like the last meal of Prisoner X. He takes it out and sits at the table, eating slowly. His mind is in the throes of this and that. He sees the food in the plate and has to remind himself what it's there for.

He puts the plate in the sink when he's finished and then decides to wash it and dry it and he does this fastidiously, plus utensils. He knows he ought to fix the drip in the faucet but we can save that for a day when there's a little free time. He puts the plate in the cabinet, whisper soft.

Ivie comes in and does not look at him. She has a way of not looking at him that ought to be studied by science. That's how good she is at doing it, sweeping the room with her look but missing him completely-a thing science ought to investigate for military use.

She says, "You were talking to him."

"Whose business is it?"

She says, "What for?"

"I don't need any what for."

She says, "Talking an awful long time."

"He's my son. Whose business is it?"

"Leave him alone. My business," she says. "That's what he wants. Left alone to grow up without advice from you. Only he won't say it himself."

"Let him tell me."

She says, "I'm telling you."

She's moving through the kitchen doing things.

She says, "I'm leaving early in the morning. They have a rush order, which they're paying time and a half."

He hears the radio playing faintly in their bedroom.

"So I'm giving you fair warning. That alarm's going off well before six."

"Before six," he says, and checks his watch, which doesn't work, and what's the difference anyway, and he says the words in a voice unconnected to the facts.

She's in her housecoat and house slippers moving through the kitchen like a sleepwalker and a sleeptalker, not giving him the barest glance. But she's connected to the facts all right. And he is not. He is drifting out of range of the whole damn thing, the morning chill, the working wife, the harsh alarm that's getting ready, even as he stands here, to populate his meager sleep.

She finds the pills she's looking for and goes back down the hall. He stands and waits. He turns off the overhead light and stands in the dim glow of the lamp in the corner.

He stands there for fifteen minutes. A lifetime of thinking into a thing, trying to straighten out the mental involvements.

Okay. He goes and stands in the doorway of Cotter's room. He is looking into the room, getting accustomed to the dark. The boy is sleeping dead away. Manx steps into the room and sees the baseball almost at once. It is sitting in the open on the unused bed. This is what gets him every time. They obtain a valuable thing and don't even bother to hide it. Trust fairies to watch over their valuables. He told them how many times? Protect what's yours. Because the way things are changing, you have to live defensive,

He tries to recall which son slept in which bed when Cotter was a little kid in the top bunk. They came and went so damn fast.

He stands in the dark room. He is arguing out the thought should he do it or not. Then he does it. He takes the baseball. He does it before the argument ends. He does it to end the argument. He takes the ball and walks quietly through the kitchen to the door. The ball fits nice and easy in the roomy pocket of his windbreaker, his oldest son's windbreaker. He opens the door, squinching his face to draw off the noise. Need to oil the hinges when our mind's all clear and we have a little free time at our disposal. He eases the door shut and goes down the stairs and out onto the stoop, wondering how it happened that they're not wearing his hand-me-down jacket-he's wearing theirs.

He looks both ways because he always looks both ways. Then he walks down the steps and into the street.

PART 2. ELEGY FOR LEFT HAND ALONE

1

It shows a man driving a car. It is the simplest sort of family video. You see a man at the wheel of a medium Dodge.

It is just a kid aiming her camera through the rear window of the family car at the windshield of the car behind her.

You know about families and their video cameras. You know how kids get involved, how the camera shows them that every subject is potentially charged, a million things they never see with the unaided eye. They investigate the meaning of inert objects and dumb pets and they poke at family privacy. They learn to see things twice.

It is the kid's own privacy that is being protected here. She is twelve years old and her name is being withheld even though she is neither the victim nor the perpetrator of the crime but only the means of recording it.

It shows a man in a sport shirt at the wheel of his car. There is nothing else to see. The car approaches briefly, then falls back.

You know how children with cameras learn to work the exposed moments that define the family cluster. They break every trust, spy out the undefended space, catching mom coming out of the bathroom in her cumbrous robe and turbaned towel, looking bloodless and plucked. It is not a joke. They will shoot you sitting on the pot if they can manage a suitable vantage.

The tape has the jostled sort of noneventness that marks the family product. Of course the man in this case is not a member of the family but a stranger in a car, a random figure, someone who has happened along in the slow lane.

It shows a man in his forties wearing a pale shirt open at the throat, the image washed by reflections and sunglint, with many jostled moments.

It is not just another video homicide. It is a homicide recorded by a child who thought she was doing something simple and maybe halfway clever, shooting some tape of a man in a car.

He sees the girl and waves briefly, wagging a hand without taking it off the wheel-an underplayed reaction that makes you like him.

It is unrelenting footage that rolls on and on. It has an aimless determination, a persistence that lives outside the subject matter. You are looking into the mind of home video. It is innocent, it is aimless, it is determined, it is real.

He is bald up the middle of his head, a nice guy in his forties whose whole life seems open to the hand-held camera.

But there is also an element of suspense. You keep on looking not because you know something is going to happen-of course you do know something is going to happen and you do look for that reason but you might also keep on looking if you came across this footage for the first time without knowing the outcome. There is a crude power operating here. You keep on looking because things combine to hold you fast-a sense of the random, the amateurish, the accidental, the impending. You don't think of the tape as boring or interesting. It is crude, it is blunt, it is relentless. It is the jostled part of your mind, the film that runs through your hotel brain under all the thoughts you know you're thinking.