Keita:Do you like
Marx?
Sayid: I haven’t met him.
Keita: No, no, he’s dead.
Sayid: Why, what happened?
Keita: No, no, he died long ago.
[Sayid thought the guy Marx had just died]
Sayid: I haven’t met him.
Keita: No, no, he’s dead.
Sayid: Why, what happened?
Keita: No, no, he died long ago.
[Sayid thought the guy Marx had just died]
Sayid: So then, why are you asking me if
he died long ago?
Keita: No, he wrote a lot. He wrote that poor people should not be poor.
Sayid: Mmmh. Sounds amazing. [He searches his pockets and pulls out car keys and a packet of cigarettes. He just holds them in his hands] Hey Keita man, how long you think it takes to get famous?
Keita: No, he wrote a lot. He wrote that poor people should not be poor.
Sayid: Mmmh. Sounds amazing. [He searches his pockets and pulls out car keys and a packet of cigarettes. He just holds them in his hands] Hey Keita man, how long you think it takes to get famous?
Keita: For a musician or a painter? Or a
taxi driver? [Sayid is a taxi driver. He is Pakistani. Keita is from Mali.]
Sayid: Whatever…Famous.
Keita: Four years!!??? Six to get rich!!? [Keita
has a puzzling tone of speech. His sentences are something between a question
and an exclamation, always, as though he is not sure of what he is saying. He
will surprise you, though. He has seen a lot of different people. He has seen a
lot of life…and he draws from it. His father was a cattle trader in the Sahel.
As a boy he tagged along sometimes and saw how deals were struck and how
fortune was made, or lost. A tall, easy chap with a benign smile, he now sells
coffee and donuts at the airport. He holds out a cigarette lighter and Sayid
lights his cigarette and takes a deep puff, and then slowly lets the smoke seep
from his nose and the corners of his mouth, like steam seeping from a pan of
boiling fish, with the lid sitting at an angle. They are looking at the mass of
humanity pulling briefcases, connecting flights, catching up with time. People
rushing to or from places. A people that doesn’t belong] But first, you
see, you are going to have to dress right, you know? Then you’re going to have
to hang out with famous people. Make friends with the right kind of people. Go
to the right parties, yeah? Socialite.
Sayid and Keita met by chance twelve years
ago at this airport. The winds of fate blew them slowly from their places of
birth towards each other, getting them ready for that final collision of
destinies – that crossing of paths that would also be the start of a great
friendship. Fate indeed was the quiet hand that toiled to bridge the 10,000
mile chasm between their lives - lives that started out avoiding each
other. Lives on parallel paths, like ships in the dark, destined for separate
harbors.
Now they sit, these two friends, chatting
about Marx and fame, and some other dull stuff, killing boredom, watching lives
transition – people rushing to meetings, interviews, to see loved ones. Others
running away to plant their lives elsewhere. To new beginnings. Greener
pastures.
Transient life; that is what airports are.
A temporary habitation for people who are on their way to someplace. As they
wait they stare into their phones, typing. A people wired, tweeting, updating
statuses, in touch with the rest of the world. Some slump on the cold steel
chairs, nursing warm cups of latte, heads resting on their luggage. They stand
up. They stroll. They read novels. They reach out to others like them and
strike conversations. Mundane stuff usually. They are lonely people waiting to
go.
Sayid and Keita sit there in quiet,
watching, each man soaking in the moment. It is a scene they have witnessed
play one too many times but each with a slight variation. Sayid looks at it
through the puff of smoke, a filter of sorts that puts things in perspective.
There is a couple at the terminal. She is about 25, terribly beautiful. She is
the sort of woman who walks on glass heels even when she’s in flat shoes. The
sort who insults you and leaves you feeling that perhaps she is right. He looks
older. Early 30’s maybe. They are bidding farewell and so they hug and cling so
hard on each other, like identical fetuses, shut out from the humdrum of the
airport lounge and the people all around them. He is in a brown leather jacket,
corduroy pants and worn running shoes. A man with a good taste. He is pulling a
small red and posh suitcase, her suitcase. She is in a light grey high-collar
sweater and blue skinny jeans that hugs her frame. A black leather purse hangs
on her left shoulder. She is a delight. She is a real beauty, like the sunset.
They kiss with an unnerving urgency. They
kiss with a craving deep and knowing; a searching kiss that without a doubt
stirs something tender inside those that are watching – or pretending not to
watch. Her eyes are shut tight, as if she is in pain or in a deep agony. But
his eyes are not closed; they remain half open, as if to watch out for
something, as if he is afraid of losing her. This action – him kissing with
eyes wide open like a Nile Perch - would have looked uncanny or even morbid by
many standards of intimacy, but it doesn’t; instead it looks raw and somewhat
unworldly.
They occasionally let go of this tight
embrace and look fixedly into each other’s eyes, a long drilling gaze that
seems more spiritual than romantic. He is saying something to her; his lips are
moving, and she is nodding her head, bobbing, agreeing. Desperately agreeing to
everything he is saying. Her eyes never leave his. Not once. Her lips quiver faintly.
From his seat, Keita can see her heart throbbing against the base of her neck,
a rapid thudding drumming away against her ebony flesh.
All around them life in the airport
continues unconcerned, insensitive even. It never stops to tip a hat, to
notice. People walk hurriedly past them pulling their luggage, dragging their
grumpy kids by the hand. The disembodied voice announces the flights about to
board and the flights that have been delayed. And while the starry-eyed couple
try to immortalize this final moment together, the flight schedules up on the
board change and blink constantly, the huge clock above them also keeping pace,
urging time to catch up with them, to cut them short…to yank them apart.
Sayid and Keita don’t mind staring at the
couple. They offer welcome reprieve from their boredom. They intrigue. Sayid
wonders how long they have been dating. He wonders if they ever disagree on
anything. He wonders what they do for a living. He wonders if distance would
grind their relationship into dust, or if he would meet someone else as pretty,
or who kissed so purposefully or even has half her grace and easy self
assurance.
The man is travelling light. But then
again, maybe he is connecting flights and his luggage is already 25,000 feet
over Mecca.
Wait a minute! Something is staring back
at you here. Some devil in the detail. A pedestrian look would observe romance
and passion in this couple’s kiss, but a closer observation reveals something
else; horror and devastation. It occurs to Keita, who is keenly watching, that
they kiss passionately not because they are so in love, but because they are
confronted by a reality that they are not ready to heed. A horror that they
would never rekindle this moment, this feeling, this passion with which they
kiss and feel about each other. They are faced with a handicap of not being
able to dictate their destiny, time and distance because time – like distance –
does heal yes, but it also destroys. Mercilessly. Their future is an endless
desert fraught with the unknown, maybe they would last, maybe they would break
up, maybe the next time they meet the magic will have vanished. Maybe. Maybe.
When her flight is finally called out,
they disentangle from each other grudgingly, painfully. She is on a flight to
Tokyo. Yes Tokyo, Japan. Something like a smirk forms on Sayid’s face. He wants
to laugh. Maybe there’s something he knows about Tokyo that the rest of
humanity doesn’t. You know Sayid can be such a jerk when he’s sitting at an
airport.
Anyway, you need to have been here to
witness the tragedy that ensues when this couple let go of each other. It is
not something that can be relayed without losing certain silent but salient and
most poignant body language of these two. This is something that has been lost
forever. It cannot be reproduced.
The flight announcement comes as a knife
that not only sears through them like a bolt of heat, but tears them apart with
such shocking violence. He grabs, yes he grabs, and pulls her against him so
tightly that not even a spirit could squeeze between them. Her head rests on
his chest and she is smelling the leather no doubt, a smell she will not forget
in a long time. They stand comatose, two grotesque avatars of desperation. Two
failing hearts. Two metaphors of love’s tragic evil.
She cries so wretchedly against his chest.
Against that leather. Keita momentarily looks away. She claws at his back,
shrinking his leather jacket into a fistful of torment. Her whole body
convulses with every tear. He holds her close, his nose buried into her hair,
smelling her, taking her every scent like a tracking dog would. It’s a scent he
won’t forget in a hurry. He will be walking down a street – many months or
years later – and a slight breeze will momentarily carry that whiff past his
face, and he will stop dead in his tracks, in the middle of the busy street,
his heart galloping away with memories of her, and despise the ones who try too
hard.
They finally let go, but it’s not out of
necessity. Rather, out of a disturbing sense of purpose. If this was a movie,
you’d want to stop and rewind the moment when their bodies separate. And then
play it again in slow motion, because that’s how it seems like; life in slow
motion. She avoids his eyes. She takes a step back, sniffy and teary. She bends
and grabs her suitcase. She mumbles something under her breath then takes a
deep breath then attempts a smile but all that she manages is a fractured
smile, a broken smile.
She then does something strange; she
briefly places the palm of her hand against his chest – as if dispatching some
sort of power through him – then she walks away. He slowly turns and watches
her walk away. She doesn’t look back. Not once. As she walks away she stares at
the floor. Her luggage suddenly weigh an elephant and a squirrel. She walks briskly
but deliberately through the check-in gate and soon she is swallowed by a
throng (the “r” in this last word makes a huge difference hehehe. Linguists’
sense of humor sure runs deep). Soon she is part of a homogenous mass of
faceless humanity on the move. Soon she is not the gorgeous girl who mirrors
the sunset, but just a moving part of an airport. She is just a statistic.
Her boyfriend massages his brow lightly
with his hand. Sayid and Keita try not to look at his face, more out of
courtesy than anything else. Call it a manly respect. He needs the privacy to
moan, that is their way of eulogizing what they just witnessed. Or maybe it’s
because they don’t want to see the vulnerability of manhood in his face. It is
something painful, because at that moment you are reminded of your own
vincibility. He walks a few steps to one of the steel chairs at the lounge and
sits, an action that seems to take all his energy. Meanwhile, the airport
continues to stir and rev. It has no time for his pains. And while it seems
that the show has ended for everyone who has been watching, the show is just
starting for him. And her.