production company optioned it. Paid ten percent for the rights for a year, and then renewed it for another year.â
âA production company in Hollywood?â
I name a few films produced by the company in question, and Dickâs face lights up. As I said, I rarely tell people about my screenwriting, but when I do, this part always impresses them. These famous films that have nothing to do with me.
âNo shit,â he says. âWhat was the screenplay about?â
âA big government conspiracy.â
âTrilateral Commission? Illuminati?â
âSort of. In my film a group like that is trying to get one of their members elected president, but they donât realize the guy is a Satanist who wants to start a world war to bring about the end times. My protagonist went to school with this conspiracy guy and tries to stop him from getting elected. He thinks heâs safe when the FBI assigns two agents to him, but then he figures out they work for the bad guy. Eventually it turns into a race-against-time thriller as they chase him across the country.â
âThat was pretty good timing,â Dick says. âIn 1998, I mean. End of the millennium and all that.â
âThatâs what I thought. And the film was almost greenlit a couple of times, but something always seemed to get in the way. My agent and I had this running joke about how the film would never be made because it was too close to reality.â
Dick chuckles. âThereâs no question the government is out to get you, but the problem is more economic than Satanic.â
âWhat do you mean?â
Dick doesnât answer right away. I look out the window, where the lawn crew is still cutting grass. One of the men looks into the cafeteria and I make eye contact with him. Heâs an older fellow with a beard. Heâs staring right at me. He doesnât look anything like the other members of the crew, who are brown and leathery and probably get more sun in one day than I do in a week.
My heart beats hard and hot and fast.
Itâs the man from the bathroom.
But then I blink and look at him more closely and realize it isnât the same guy at all. Heâs just as tan as the other members of his lawn crew, and a lot younger than I first thought. Heâs also not looking at me, but rather down at his gasoline-powered weed trimmer, guiding it along the ground in long, slow-motion strokes.
I look around the cafeteria and notice the polyester women are gone. So is the blue-collar fellow who was watching TV.
The guy outside glides along the window, trimming grass. Still not the man from the bathroom.
Dick hasnât said anything for a while now. When I look back at him I see immediately something is wrong. Heâs still facing me, but his eyesâ¦itâs as if heâs looking at something behind me, something far away.
âHa,â I say. âVery funny.â
He doesnât answer. Itâs almost like his eyes arenât talking to his brain, like theyâre just floating in their sockets.
âHey,â I say. âYou all right?â
On the television, some FOX anchor is ranting about the Internet and how virtual relationships are no substitute for the real thing. The heavy smell of bacon and sausage hangs in the air. Someone in the kitchen is listening to Shania Twain.
Dick just sits there, and the metaphorical hairs stand up on my metaphorical neck.
Time crawls to a stop.
This is what Iâm talking about. Everything is all wrong with me. Iâd like to believe it started with the blue orb, with a migraine, but I know that isnât true. Iâve been coming apart at the seams for some time now. The scary thing is I can barely remember anything before the church that morning, except for the Halloween party and the fight I had with Gloria. And the things I do remember donât make any sense.
âYou want to know how it works?â Dick finally says.
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