"I'm leaving the car with you."

"You want me to keep it for you."

"I want you to keep it."

"Keep it, period," she said.

"That's right."

The tourists slowly spread through town, mostly older people and eight or nine Japanese. Selvy walked over to the house. Through the front window she saw him speaking to her father. He came back out, carrying a can of beer and a soft drink, also in a can. He held them in one hand back against his hip.

Nadine remained in the car, sipping the beer. Selvy leaned against the door. A man asked if he'd move the car. He wanted to take a picture of his wife standing near the post office door. The car was in the way. Selvy said no.

In pairs and small groups, the tourists eventually reassembled outside the bus. The driver appeared, unwrapping a stick of gum. No one stepped aboard until he was behind the wheel.

Selvy tossed the empty soda can onto the back seat. The girl's jeans were wet, an explicit outline. Her shirt was wet in patches. She'd taken a map out of the glove compartment and was unfolding it elaborately, spreading it across the dash and up along the windshield. He walked over to the bus and stepped on. The door closed behind him with a splash of compressed air. In the brief moment before he slipped into his seat, Selvy noted something odd about the people, or the seating pattern, or something-he wasn't sure what.

It wasn't until they were well under way, heading west on U.S. 90, that he turned in his seat for a longer look. It was the Japanese. They were spread throughout the bus, singly or in pairs, nine of them, and they were all asleep. The other tourists talked, compared postcards, looked out the windows. It was as though the Japanese, secretly, by inborn means, had been able to communicate to each other the placid imperative: sleep.

He faced front again. They'd gone to sleep immediately and they continued sleeping despite the noise and motion. This apartness he'd always found interesting in Asians. This somehow challenging sense of calm. It only remained for him to discover whether they'd wake up simultaneously, raising their heads in unison.

3

All the windows were closed. The blinds were down. Lightborne double-locked the gallery door. Then he turned toward Odell and gestured, arms outstretched, palms up: what do we have?

Odell looked up from a book of etchings. He was older than Richie, but not much, and fuller in the face, although with the same prominent teeth. The book was titled _Extraterrestrial Sex Positions_.

Sixteen millimeter, he said. Considered an amateur film gauge at the time this footage was shot. No standard, or optical, sound track. Magnetic sound, if any, would have to be added. Problems there with certain projectors. Possible problems adapting 16mm to motion picture theaters. Schools and churches, yes. TV, yes.

"Wonderful," Lightborne said. "Schools and churches, that's wonderful."

He'd had to strain to hear what Odell was saying. Odell spoke rapid!y and sometimes indistinctly, with much more of an accent than his cousin had-a run-on Georgia voice, a clipclop, rather than Richie's slight but piercing twang.

Lightborne circ!ed the small table that held the projector Odell had brought with him. They wouldn't be able to view the film until the following day. The projector had a defective part, Odell had discovered, and it was ten p.m.-too late to find a replacement.

Curiously, Lightborne wasn't disappointed. He found he was in no hurry to look at the footage. At some rudimentary level it was an experience he feared. He'd feared it all along, he realized. His involvement brimmed with fear.

Moll Robbins would be joining him for the screening. He wanted a disinterested intelligence on the scene. More than that. He wanted company. Human warmth. An interpreter of the meaning of his fear.

It was all so real. It had such weight. Objects were what they seemed to be. History was true.

Odell said he'd talked to Richie on the phone. Richie was barricaded in the warehouse. He was feeding the dogs infrequently, to give them a meaner edge. He'd had this feeling for months, Odell said. Someone was out to get him. Some dark force. There was a sniper somewhere, waiting for the right moment. He was sitting on a bed in some rooming house, cleaning his rifle scope. He had a bullet with Richie's name on it. Dallas, Richie would say. What am I doing in Dallas?

"All he talks about is John F. Kidney, Bobby Kidney, Martin Luther Kang, Jaws Wallace."

"What?" Lightborne said.

"I keep telling him what Rose Kidney told Tiddy Kidney."

Long pause.

"What did she tell him?"

"That was Harry Truman."

"If you can't stand the heat," Lightborne said.

"That was Harry S Truman, wasn't it, said that."

Odell went on.

Richie was obsessed not only by his impending assassination but by the conflicting reports that would ensue. He'd been shot by one white male, or two white males, or one white male with a mulatto child. The rifle used had no prints, had several sets of prints, now being checked, or had several sets of prints but they'd been accidentally wiped off by the police.

Richie was especially obsessed by fingerprints being wiped off by the police, Odell said.

Lightborne went behind the partition into the living area. He turned on both taps in the wash basin, hoping this would lead Odell to think he was shaving. Then he sat at the foot of his cot and stared into the black window shade three feet away.

_History is true_.

Selvy got a ride from a man in a pickup, south from Marathon. The man was about seventy-five years old. There was a deer rifle on a rack at the back of the cab. Four hours till nightfall. The desert.

He saw it as a memory. Deep gullies at right angles to the road. Flash-flood warnings. Yucca stalk and ocotillo sticking out of the sand. Things don't usually resume existence precisely as you've recalled them. Spires, buttes, pinnacles, the eroded remnants, to left and right, in scaly rust and copper and sandy brown. Well ahead he saw the waveform, the scant silhouette, of the Chisos Mountains, palest slate, lying so completely in a plane it could not possibly be more than arbitrary light, a mood or fabrication.

Finally a car approached and passed. Then nothing again. A buzzard on a fencepost. Single windmill in the distance. Everything here was in the distance. Distance was the salient fact. Even after you reached something, you were immersed in distance. It didn't end until the mountains and he wasn't going that far.

They stopped for gas at the old frontier store, an adobe structure with a lone pump and the remains of a small covered wagon out front. Selvy went inside. There was a broad counter covered with rocks for sale. Along one wall was the owner's barbed wire collection. There were display cases full of sundries. In one case, Selvy spotted an item labeled Filipino guerrilla bolo.

The owner got it out for him. A long heavy single-edged knife with a broad blade. Flecks of rust. Small nicks in the cutting edge. Fifteen dollars.

"I always thought bolos were curved blades."

"Machete family," the owner said. "Vegetation, cane."

"From bolo punch, I guess I got the idea. An uppercut that comes way around. Got any honing oil?"

"I might find some."

"With all those rocks over there, think you can find one that's perfectly rectangular, about half an inch thick?"

"If you want a whetstone, I've got some Washita, if I know where to find it."

Selvy also bought a canteen and filled it with water. Then he paid the man and went outside. A teenage girl was cleaning the windshield. When she was finished, they moved back onto the road.

"Planning on making it before dark."

"There's time," Selvy said.