It’s Dick’s voice that follows Arthur’s this time, deeper than Norman’s, smooth, classically masculine in a 1950s head-of-household sort of way—like the embodiment of a Sears ad. For the time being, the cloth draped over his face remains dry.

“And why do you want to leave? You know there’s nothing different out there. That it’s only more dangerous the closer you get to D.C. If the Reds come, it’s the capitol they’ll be after first.”