“Not in the slightest. Anyway, it’s true. We are playing for the highest stakes of all. It shouldn’t take us more than a couple of hours to get to Madison, the roads are clear. So lock your door and turn off the heaters. It would be a terrible thing if you burned down the house in your absence.”
“Who are we going to see in Las Vegas?”
Wednesday told him.
Shadow turned off the heaters, packed some clothes into an overnight bag, then turned back to Wednesday and said, “Look, I feel kind of stupid. I know you just told me who we’re going to see, but I dunno. I just had a brain-fart or something. It’s gone. Who is it again?”
Wednesday told him once more.
This time Shadow almost had it. The name was there on the tip of his mind. He wished he’d been paying closer attention when Wednesday told him. He let it go.
“Who’s driving?” he asked Wednesday.
“You are,” said Wednesday. They walked out of the house, down the wooden stairs and the icy path to where a black Lincoln Town Car was parked.
Shadow drove.
Entering the casino, one is beset at every side by invitation—invitations such that it would take a man of stone, heartless, mindless, and curiously devoid of avarice, to decline them. Listen: a machine-gun rattle of silver coins as they tumble and spurt down into a slot machine tray and overflow onto monogrammed carpets is replaced by the siren clangor of the slots, the jangling, blippeting chorus swallowed by the huge room, muted to a comforting background chatter by the time one reaches the card tables, the distant sounds only loud enough to keep the adrenaline flowing through the gamblers’ veins.
There is a secret that the casinos possess, a secret they hold and guard and prize, the holiest of their mysteries. For most people do not gamble to win money, after all, although that is what is advertised, sold, claimed, and dreamed. But that is merely the easy lie that gets them through the enormous, ever-open, welcoming doors.
The secret is this: people gamble to lose money. They come to the casinos for the moment in which they feel alive, to ride the spinning wheel and turn with the cards and lose themselves, with the coins, in the slots. They may brag about the nights they won, the money they took from the casino, but they treasure, secretly treasure, the times they lost. It’s a sacrifice, of sorts.
The money flows through the casino in an uninterrupted stream of green and silver, streaming from hand to hand, from gambler to croupier to cashier to the management to security, finally ending up in the Holy of Holies, the innermost sanctum, the Counting Room. And it is here, in the counting room of this casino, that you come to rest, here, where the greenbacks are sorted, stacked, indexed, here in a space that is slowly becoming redundant as more and more of the money that flows through the casino is imaginary: an electrical sequence of ons and offs, sequences that flow down telephone lines.
In the counting room you see three men, counting money under the glassy stare of the cameras they can see, the insectile gazes of the tiny cameras they cannot see. During the course of one shift each of the men counts more money than he will see in all the pay packets of his life. Each man, when he sleeps, dreams of counting money, of stacks and paper bands and numbers that climb inevitably, that are sorted and lost. Each of the three men has idly wondered, not less than once a week, how to evade the casino’s security systems and run off with as much money as he could haul; and, reluctantly, each man has inspected the dream and found it impractical, has settled for a steady paycheck, avoided the twin specters of prison and an unmarked grave.
And here, in the sanctum sanctorum, there are the three men who count the money, and there are the guards who watch and who bring money and take it away; and then there is another person. His charcoal-gray suit is immaculate, his hair is dark, he is clean-shaven, and his face and his demeanor are, in every sense, forgettable. None of the other men has even observed that he is there, or if they have noticed him, they have forgotten him on the instant.
As the shift ends the doors are opened, and the man in the charcoal suit leaves the room and walks, with the guards, through the corridors, their feet shushing along the monogrammed carpets. The money, in strongboxes, is wheeled to an interior loading bay, where it is loaded into armored cars. As the ramp door swings open, to allow the armored car out onto the early streets of Las Vegas, the man in the charcoal suit walks, unnoticed, through the doorway, and saunters up the ramp, out onto the sidewalk. He does not even glance up to see the imitation of New York on his left.
Las Vegas has become a child’s picture-book dream of a city—here a storybook castle, there a sphinx-flanked black pyramid beaming white light into the darkness as a landing beam for UFOs, and everywhere neon oracles and twisting screens predict happiness and good fortune, announce singers and comedians and magicians in residence or on their way, and the lights always flash and beckon and call. Once every hour a volcano erupts in light and flame. Once every hour a pirate ship sinks a man o’ war.
The man in the charcoal suit ambles comfortably along the sidewalk, feeling the flow of the money through the town. In the summer the streets are baking, and each store doorway he passes breathes wintry A/C out into the sweaty warmth and chills the sweat on his face. Now, in the desert winter, there’s a dry cold, which he appreciates. In his mind the movement of money forms a fine latticework, a three dimensional cat’s cradle of light and motion. What he finds attractive about this desert city is the speed of movement, the way the money moves from place to place and hand to hand: it’s a rush for him, a high, and it pulls him like an addict to the street.
A taxi follows him slowly down the street, keeping its distance. He does not notice it; it does not occur to him to notice it: he is so rarely noticed himself that he finds the concept that he could be being followed almost inconceivable.
It’s four in the morning, and he finds himself drawn to a hotel and casino that has been out of style for thirty years, still running until tomorrow or six months from now when they’ll implode it and knock it down and build a pleasure palace where it was, and forget it forever. Nobody knows him, nobody remembers him, but the lobby bar is tacky and quiet, and the air is blue with old cigarette smoke and someone’s about to drop several million dollars on a poker game in a private room upstairs. The man in the charcoal suit settles himself in the bar several floors below the game, and is ignored by a waitress. A Muzak version of “Why Can’t He Be You?” is playing, almost subliminally. Five Elvis Presley impersonators, each man wearing a different-colored jumpsuit, watch a late night rerun of a football game on the bar TV.
A big man in a light gray suit sits at the man in the charcoal suit’s table, and, noticing him even if she does not notice the man in the charcoal suit, the waitress, who is too thin to be pretty, too obviously anorectic to work Luxor or the Tropicana, and who is counting the minutes until she gets off work, comes straight over and smiles. He grins widely at her. “You’re looking a treat tonight, m’dear, a fine sight for these poor old eyes,” he says, and, scenting a large tip, she smiles broadly at him. The man in the light gray suit orders a Jack Daniel’s for himself and a Laphroaig and water for the man in the charcoal suit sitting beside him.
“You know,” says the man in the light gray suit, when his drink arrives, “the finest line of poetry ever uttered in the history of this whole damn country was said by Canada Bill Jones in 1853, in Baton Rouge, while he was being robbed blind in a crooked game of faro. Geor
ge Devol, who was, like Canada Bill, not a man who was averse to fleecing the odd sucker, drew Bill aside and asked him if he couldn’t see that the game was crooked. And Canada Bill sighed, and shrugged his shoulders, and said ‘I know. But it’s the only game in town.’ And he went back to the game.”
Dark eyes stare at the man in the light gray suit mistrustfully. The man in the charcoal suit says something in reply. The man in the light suit, who has a graying reddish beard, shakes his head.
“Look,” he says, “I’m sorry about what went down in Wisconsin. But I got you all out safely, didn’t I? No one was hurt.”
The man in the dark suit sips his Laphroaig and water, savoring the marshy taste, the body-in-the-bog quality of the whisky. He asks a question.
“I don’t know. Everything’s moving faster than I expected. Everyone’s got a hard-on for the kid I hired to run errands—I’ve got him outside, waiting in the taxi. Are you still in?”
The man in the dark suit replies.
The bearded man shakes his head. “She’s not been seen for two hundred years. If she isn’t dead she’s taken herself out of the picture.”
Something else is said.