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.