Breaking News: Vertigo is the Best Film Ever

so says Sight and Sound.

I can’t say that I agree, but it is a fantastic film, and anything that gets more people watching it (as this undoubtedly will, and as their previous decades-long pick Citizen Kane undoubtedly did) is alright by me. It’s a masterpiece, unquestionably, but I don’t even think it’s Hitchcock’s best…which says more about the brilliance of the director than it does about any relatively lower estimation of this film.

The first time I watched Vertigo it was eye opening. It was one of the defining artistic experiences of my life, right alongside the first time I listened to (as opposed to heard) the music of Bob Dylan, and the very first time I pulled Catch-22 off a shelf in my school’s library.

But Vertigo didn’t hit me in quite the same way. Whereas those other two experiences were more like accelerated awakenings to a gorgeously complicated world of invention woven into, around and through our own, Vertigo was a single, glorious slap. It’s Hitchcock’s supreme shaggy dog story, and you don’t — and can’t — quite know what you’re watching until it’s already over. It’s a fact that’s thematically appropriate for the film; does it matter what something is? Or what it appears to be? Does one matter more than the other? And can one suddenly stop mattering to you, against your will?

Vertigo plays out like a cruel practical joke — also appropriate to the theme of the film — and outright abuses you as it changes your life. I once read a review of the film that described it as (paraphrasing here) sloppy, with all of its plumbing hanging out. I think that’s true only to an extent…it’s a film its plumbing exposed by design, so that you’ll get distracted by its “sloppiness” while the real experience sneaks up behind you. Get lost in the details — and you will get lost — and the film will leave you to your fatal fall.

I saw it for the first time in college, and then did not see it again for many years. When I finally did revisit it I was surprised at how much of the film I had forgotten. Entire sequences were missing from my memory…details and moments that now seemed to important to me felt like I was experiencing them for the first time, even though that clearly wasn’t the case. It took several more viewings, with similar experiences every time, before I understood why: Vertigo is not a film about what happens. It’s not about its details, its moments, its dialogue, its plot or even its characters. It’s a film about its own impact. And that impact lingers. Tightens. Grows. The details, we’re violently assured, don’t matter. What matters is whatever you feel when you’re looking down that endlessly elongating stairwell. After all, by the time you get to that point, it’s all you have left.

Psycho is about what happens. Vertigo is about what doesn’t happen. What didn’t happen. And what, regardless of how desperately we try, can absolutely never happen.

I don’t think it’s the best movie of all time, though.

And you know what? It doesn’t matter. If we need to have lists like this, then Vertigo does deserve to be near the top. And if we don’t — and we don’t, despite what you’ll see below — then no harm done.

If you’ll excuse me, I feel the need to rewatch it…so I can forget the experience all over again. I suggest you do the same, and we’ll all meet again at the bottom.

The full Sight and Sound lists follow.

From the critics:
1. “Vertigo”
2. “Citizen Kane”
3. “Tokyo Story”
4. “The Rules of the Game”
5. “Sunrise”
6. “2001: A Space Odyssey”
7. “The Searchers”
8. “Man With a Movie Camera”
9. “The Passion of Joan of Arc”
10. “8 1/2”

From the directors:
1. “Tokyo Story”
2. “2001: A Space Odyssey”
2. “Citizen Kane”
4. “8 1/2”
5. “Taxi Driver”
6. “Apocalypse Now”
7. “The Godfather”
7. “Vertigo”
9. “The Mirror”
10. “Bicycle Thieves”

From little old me and subject to change hourly:
1. “The Life Aquatic With Steve Zissou”
2. “North by Northwest”
3. “Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb”
4. “The Royal Tenenbaums”
5. “Vertigo”
6. “Casablanca”
7. “Crimes and Misdemeanors”
8. “The Maltese Falcon”
9. “It’s a Wonderful Life”
10. “The Great Muppet Caper”

I’m Still in Your eShop! And Here’s Why I Chose What I Chose…

As mentioned previously, Nintendo Life has a shelf in the 3DS eShop, starting today and continuing on until next Thursday. If you go here you can see which staff member chose which five games. But I wanted to write a short post about why I chose to spotlight those games…and also provide the five more recommendations I would have made, had space allowed.

VVVVVV (3DSWare)
Unquestionably one of my favorite games, period. I played this when it was fairly new for the PC, and was instantly won over by its affectionate visual tribute to the Commodore 64. Sharp writing, brilliant stage design and a perfectly utilized gravity-flipping gimmick were just icing on the cake. I almost mentioned the game’s stellar soundtrack in that sentence as well, but…no, the soundtrack deserves a sentence all to itself. It’s genuinely, impossibly, beautifully perfect music, and as silly as it might sound, the game is worth playing just for that. Even if you end up despising it — which I truly doubt you, or anyone, would — the soundtrack guarantees that the experience simply can’t be a waste of your time. To speak at all of the game’s plot is to detract from the unfolding wonder and surprise of the VVVVVV experience, so let’s just say it’s great and leave it there. When I found out it was coming to the 3DS I couldn’t wait, and I wasn’t disappointed. It’s a stellar port of an unforgettable game.

Bird Mania 3D (3DSWare)
I’ll be honest here: I expected to hate this one. The developer never impressed me in the past, and so when they released this deliberately simple and warily inexpensive score attack game, I thought it was going to be a complete phone in. Instead it became one of the most pleasant surprises I’ve had on the 3DS. Bird Mania 3D is fast-paced, satisfyingly challenging, and urgently addictive. You’re ostensibly guiding a left-behind little bird to Africa, so that he can reconnect with the rest of his flock, but since it’s an endless game you’ll never achieve that goal. The bird is fated to perish…all you can do is collect stars and balloons along the way, racking up as many points as you can before his inevitable crash. It sounds dark, and I suppose it is, but it’s hugely entertaining, and infinitely replayable. More like this, please.

Antipole (DSiWare)
I picked this one up because it sounded a lot like VVVVVV. Aside from the fact that it’s another gravity-manipulation game, it wasn’t. And even the gravity manipulation is handled — and experienced — completely differently. As such, this turned out to be happy accident; I bought it hoping it would be one thing, and got something even better. Antipole finds you flipping, floating and dodging through a hellish machinescape full of killed robots, death traps, and precision-demanding obstacle courses. That’s good enough — and it’s great fun just trying to make it to the end — but a more difficult mode, isolated challenge stages and copious achievements make this an even richer experience than it would have been. DSiWare without question had more than its share of garbage cluttering up the service, but this is one worth digging down to find.

Mega Man: Dr. Wily’s Revenge (Game Boy)
This is one of the few games I had for the Game Boy, and, surprisingly enough, it was the only Mega Man game I owned. (Apart from the unmentionable PC disasters.) While I loved Mega Man as a kid, for some reason I never had the games. I simply rented them all so many times that I could have paid for them 10 times over. And that’s why I have such a fondness for this one: it was mine. It’s a flawed little game with some annoying physics and an all-too-short adventure on offer, but I have a personal attachment that’s stronger than I have for most games. And, to be fair, it’s great for what it is. The stages are all reinvented for the Game Boy, meaning there’s surprisingly little overlap with the NES original. The music has also been rearranged to account for the different sound chip, making it sound just as great as — and in some cases better than — the source material. It’s a minor entry in the Blue (or, erm, Grey) Bomber’s catalogue, but brilliant all the same.

Avenging Spirit (Game Boy)
Another(!) great surprise, Avenging Spirit is yet another platformer that tasks you with rescuing your girlfriend. Only this time, you’re already dead. Yes, you’re killed by mobsters before the game even begins, so it’s up to you to possess the living, using their abilities, weapons and strengths to wreak your revenge upon the villains who did you in. It’s a delightfully dark concept for such a cartoony game, and seeing the bodies you possess fall lifeless to the ground when you leave them never gets less chilling. It’s extremely challenging (noticing a pattern here?) toward the end of the game, but that just gives you greater incentive to push through and find new things. There’s one unlockable body you can get if you find all three keys, but the game’s main replay value comes simply from playing through the levels again and again, using different abilities every time, and having it feel like you’re playing a completely different game. Avenging Spirit is absolutely an experience worth having.

And five more I would gladly add to that list…

Mario vs. Donkey Kong: Minis March Again! (DSiWare)
There’s not much on offer here that you won’t find in the other Mario vs. Donkey Kong games, but the fact that it’s downloadable — and therefore always on your system — is recommendation enough for this puzzler. You need to manipulate obstacles so that the mindless mini-Marios can march safely through the exit, all in pursuit of the big dumb ape who stole your toys. It’s great in short bursts, and absolutely worth having on the go. It’s also — say it with me! — really, really hard. I can safely say that the number of Mario games I enjoy far outsteps the number that I don’t, regardless of the ever-shifting genre. His presence usually means a purchase is a safe bet, and that’s as true here as it ever was.

Sword of Hope II (Game Boy)
The story is almost gleefully naive, but the adventure — not to mention atmosphere — is fantastic. Sword of Hope II confusingly made it to the 3DS Virtual Console before its predecessor did, but I’m not complaining. It’s a classically-styled RPG with turn-based battles and massive amounts of weapons, items and spells. You guide the good Prince Theo along with several companions through a kingdom threatened by an unrelenting evil. So, yeah, the plot is nothing of note, but the experience of playing through it is fantastic. It’s a step back in history…no, not to medieval times, but to a time when video games were just meant to be fun…and that’s a trip I’m willing to take any time.

Kirby’s Dream Land (Game Boy)
Another of my original Game Boy games. I’ve always — always — adored this one. The first trip through the game is brilliant, light, sunny fun. The second trip is shockingly challenging. And beyond that you can configure the game so that it demands perfection and turns everything into a one hit kill. Funnily enough, Kirby’s never been more difficult than in this original adventure, which is so often wrongfully derided as being kiddy, or too easy. If this is kiddy, then I don’t want to grow up. (Also…I don’t want to grow up.) Kirby’s been in more great games than I can even count, but there’s an effortless beauty to his original outing, and, for better or worse, this is how I’ll always remember him.

Metroid II: Return of Samus (Game Boy)
The Metroid series has tried a lot of things over the years. From loose, unguided exploration to first-person shooting to linear battlefests (to, uh, pinball…) just about every game offers a unique experience. Its singular Game Boy outing, however, manages to stand apart even from that disparate group. It’s not survival you’re after here…it’s xenocide. Samus is tasked with hunting down and exterminating, one by one, every remaining Metroid in existence, and that gives this game an impressively dismal feel. You worm your way through caverns and tunnels, slaughtering tiny aliens as you go, and watching the Metroid population diminish. It’s not exactly the case that Samus becomes a cold blooded killer in this one, but the experience is, by definition, guided by bloodlust, and that’s not a common theme for a game developed in-house by Nintendo. It’d be worth playing for its novelty alone…the fact that it just so happens to be a fantastic gaming experience as well makes this unmissable.

Mr. Driller: Drill Till You Drop (DSiWare)
Mr. Driller — an offshoot of the classic Dig Dug series, though rightfully classic in itself — is simple: you drill. Fast. It’s a sort of reverse Tetris that relies on destruction and speed rather than organization and wise consideration. The longer you take, the more your oxygen diminishes…but the faster you drill, the more likely you are to cause a cave-in that ends your game outright. This version features more levels than I’ll ever be able to finish, but that’s okay; Mr. Driller isn’t about succeeding, or even surviving. It’s about reflex, and immediate decision making, as well as constantly dealing with the fallout (pun intended) of your past decisions. It’s a slight experience by design, but it’s limitlessly satifying.

I’m in Your 3DS eShop

…provided you live in America.

Log in and check it out! I’m second from the right, as if you couldn’t tell from the fact that I’m ABSOLUTELY INDISTINGUISHABLE FROM MY MII. It will be up until a week from today, so soak it in while you can.

You can read more about it here for now, and I’ll update later on with some commentary on what I picked, why, and maybe some additional recommendations as well.

But for now…

…I’m in the ****ing Nintendo eShop!

Photo by Ron “The Bod” DelVillano

What now?

You know to stay out of certain areas.

Fine.

Then you know to stay away from rough bars or other places.

Okay.

But once it starts following you into movie theaters and shopping malls and supermarkets and people are getting killed just for the sake of aimless massacre, what are you supposed to do?

What, in all honesty, are you supposed to do?

Story: Cold and Despondent in an Empty Room

NOTE: This is a story that I wrote last year for Machine of Death. Don’t bother looking for it; they rejected it. Regardless, I thought it made for a pretty worthwhile writing exercise, and since it’s going nowhere else it might as well go here. There were certain guidelines, such as: the story must include a machine of death, the title of that story must be the prediction that your protagonist receives from that machine, and the prediction must come true. Enjoy. Or don’t. It’s up to you.

Cold and Despondent in an Empty Room
–Philip J Reed

The man didn’t know what he expected, really, when he showed up to have the exact circumstances of his death predicted, printed, stamped and certified. But one thing he never, in a thousand years, would have expected was that it would turn out to be a very good career move.

Of course he knew he was going to die. Everybody was going to die. That was the point of being alive…at least as far as he could tell. But knowing it so conclusively, so specifically…it was different. It made everything feel different.

“Snoopy or Cookie Monster?” the technician asked him blandly, digging through a crate at his feet.

“Snoopy,” answered the man, rubbing his arm where the needle had been. The technician handed him the bandage, and he applied it himself. The bandage seemed like a formality. Given the circumstances, it only could be.

* * *

His wife climbed into bed beside him. She had come home early. It wasn’t even dark yet. He pulled the shades and got into bed.

“Well?” she asked him softly, nuzzling his shoulder.

He pretended to be asleep.

* * *

The slip of paper read COLD AND DESPONDENT IN AN EMPTY ROOM. He didn’t ask for clarification, but the technician must have been asked for clarification a lot because he immediately offered, helpfully, “Suicide.”

“Suicide?” the man asked.

“It doesn’t say suicide,” the technician said. “But I think it’s pretty clear.”

“You think?”

The technician shrugged. “There’s counseling in the next room,” he said. “You get fifteen minutes, and then I think they charge for any more. But get there now because there’s always a line.”

“I’m not suicidal,” the man said. “It doesn’t even say suicide.”

The technician was preparing the machine for the next client. It was a fairly involved process that involved not only the replacement of syringes (for superfluous hygiene reasons) but also a complete systems check and a full baseline recalibration with a wide range of standards (from “LONG AND FRUITFUL LIFE WITH ULTIMATE TERMINATION IN THE SOFT ARMS OF WINTER” all the way down to “DOG ATTACK IN PARKING LOT”), and then a confirmation of the accuracy of that recalibration by a second, higher-ranking technician.

This higher-ranking technician was already approaching. The man still clutched the short piece of paper that he still needed to have certified by the clerk in the lobby as though he had pulled it from the world’s cruelest fortune cookie.

“Larry,” the first technician said without looking up. “Suicide?”

The higher-ranking technician pulled the paper from the man’s hand, glanced over it briefly, and handed it back. “Who knows.”

“Probably suicide though?”

“Does it matter?” the higher ranking technician asked. “Let’s go with this; we’ve got a tight schedule.”

The man was guided by a woman in white into the lobby, where the clerk recorded and made official the known circumstances of his eventual death.

* * *

These death tests were mandatory, but, for now, they were confined to a relatively small test group. It wasn’t that the machine’s reliability was in question; that had already been established beyond the shadow of any doubt when the inventor of the machine tested it on himself, learned he would die in under an hour’s time in a collapsing laboratory, and relocated in a panic to a much sturdier lab than his own which was then demolished by a wrecking crew who showed up to the wrong address.

The man had been chosen randomly, the letter said.

Very few people were chosen, the letter said.

Very few people were chosen, the letter said, not because the machine was being tested, but because civilization’s ability to cope with the foreknowledge of its own demise was being tested.

The man was a test subject. He was neither willing nor unwilling to be a test subject. He was going to die, he knew, whether he was a test subject or not.

The only question was how.

And it was a question the higher-ranking technician answered without even realizing it.

“Does it matter?”

The man thought about that. Instead of sleeping, he thought about that.

* * *

The man left the next morning before his wife woke up, and took the bus to work. The digital readout on the machine told him he had 59 days left to live, and while he knew that going to work should have felt to him like a poor use of what little time remained, there wasn’t really anything that felt to him like a much better use.

Did it matter? A few days ago, maybe. But not now. Of course it didn’t matter. It didn’t matter if he skipped breakfast. It didn’t matter if he never listened to another record in his life. It didn’t matter because in 59 days, it couldn’t matter.

He was a telemarketer. He was paid a salary too small to support even himself and his wife, let alone the family they had occasionally wanted, to call strangers on the telephone and try to make them buy insurance that he wasn’t even sure existed. He never met any of his customers and his phone did not accept incoming calls. He spoke to everybody once, and then never again. He either made the sale, or he didn’t.

You had one shot at things, and then you crossed the name off your list — whatever the answer — and moved on to the next. One of his coworkers, who was also named Larry, referred to this technique as “slash and burn.”

Larry was not there when the man arrived to work. Nobody was there, except for the cleaning woman, who shuffled from cubicle to cubicle looking for something to clean, hoping both that she’d find something, and that she wouldn’t. She did not try to make eye contact with the man, which he appreciated.

He sat down at his desk, put on his headset, buried his face in his hands, and spoke, one by one, to the strangers his computers called for him.

His coworkers showed up two hours later, and he did not lift his head.

* * *

“Hey,” his wife said.

“I’m too tired,” the man told her.

“Can we talk for a little bit before bed?”

“I’m too tired to talk.”

“Can you just tell me what the machine said?”

“I’m too tired to talk about what the machine said.”

Besides, the man knew, it didn’t matter what the machine said.

It didn’t matter what the machine didn’t say either.

It didn’t matter.

* * *

In the morning he showed up to the office even earlier. It allowed him to make another 20 phone calls than he had the day before. He was supposed to read to his customers from a script, but he started deviating from the text without realizing it.

His mind was nowhere. There was nothing he could think about. He couldn’t think about providing for his wife, because now he never could. He had taken this low-paying job because it was offered to him, and he assumed he would eventually move up. Now that could not happen.

He thought he would make friends who had connections somewhere. Now that could not happen.

He thought he would impress somebody eventually, and that sometime, somewhere, a door would swing open, and he could walk through it and find for himself and for his wife and for the family they now could never have a richer and brighter and better future in which he was — if not somebody — at least not nobody.

He thought he might find something. He thought there might be something to find. He thought that maybe, if he tried, if he lived his life and loved his wife and cared and worked and saved, that he might actually accomplish something.

Now that could not happen. And what was worse, it didn’t matter how he lived. It was too late. He might as well have been a criminal. The machine did not only confirm that his life would be short; it confirmed that whatever time he spent alive had to be meaningless.

He deviated from the script without realizing it. His eyes still glossed over the laminated page before him, but he was saying something different than he had said to customers before. He was saying things that they were listening to.

They were agreeing to sales. When they agreed to sales, the computer transferred them to somebody who would take down their billing information, and then they were gone.

Or, to them, he was gone.

* * *

By the end of the week, his wife resorted to physically cornering him. “You have to deal with this,” she told him.

“It doesn’t matter,” he said.

“Tell me what it said.”

“I’m too tired to talk.”

“Have you been eating?” she asked him. “You haven’t been eating.”

“No,” the man said. “I haven’t been eating.”

At least, he did not think he’d been eating. Why would he have been eating? What difference would that have made?

“You’re not going through this alone,” she said to him.

He held his eyes closed. He left when she was asleep.

* * *

“I’m not suicidal,” the man said. “It doesn’t even say suicide.”

“It gets flowery sometimes,” the technician told him, readying the machine for its next victim. “Me and my brother were in the second batch, last year. It came right out and told me I’ve got nothing to worry about until my trip to Greece, which, the way they pay me, isn’t going to happen for a hell of a long time. But it told my brother that ‘the sullen clap of Heaven’s malaise would steal his hair and life.’ Two weeks later, bam, lightning strike.”

The man stood silent. Whatever the answer was, he knew already that it was irrelevant. The machine either meant that he would commit suicide, or it didn’t. Either way, it didn’t matter.

“I don’t know,” the technician continued, at least partially to himself. “Some of them, it’s just, okay, here’s how. And other’s it’s like it’s channeling Shakespeare or some shit.”

It was either channeling Shakespeare, or some shit.

Either way, it didn’t matter.

* * *

Larry, the man’s coworker, stood beside him while he was on the phone. When the call was finished, Larry pulled the headset off the man and said, “Are you coming out tonight?”

“No,” the man said. And then, “I need to make another phone call.”

Larry said, “Don’t you ever go home?”

“Yes,” the man said sadly, realizing at once that, maybe, he didn’t actually have to.

“What happened?” Larry asked him. “You don’t come out anymore. It’s just a quick drink. You can’t turn into a hermit.”

The man was spared from having to account for his demeanor, however, by his boss, who also appeared in his cubicle and said that he wanted to speak with him for a moment. Larry, whose idea of job security was to evade the manager as often as possible, disappeared for the night.

His boss wanted to speak to him because the man’s sales numbers were extraordinarily high that week.

He said things like, “I don’t know what you’re doing, but keep doing it,” and “What we really need is a whole lot more men like you.”

The man wasn’t sure exactly what he said, because he wasn’t exactly listening. The man stopped exactly listening when he realized that it could no longer have possibly mattered if he listened at all.

* * *

When his wife left him he watched her go, but he felt very little. He didn’t regret her leaving, because he couldn’t blame her for leaving. He didn’t regret consulting the machine, because it hadn’t been his decision to regret, and also because it wasn’t the machine’s fault that nothing he said or did could possibly matter.

He knew that he could keep her — for about a month and a half anyway — if he could only tell her what the machine had said. He knew that she would help him try to make sense of it. He knew that she would stay with him, and comfort him, and help him come to terms with what he knew he could never come to terms with alone. He knew that he could spend every one of his remaining nights in bed with her, feeling her close to him, holding her, being loved by her, and needing her, if only he would speak up and tell her what it was that was pulling the man away from himself.

But he also knew that none of that mattered.

And so she left, and he watched her go, and at some point he either fell asleep or passed out, and before the night was even half over he returned to work, plugged in his headset, and let the computer find another sleepless soul, somewhere, alone and cold in their own empty rooms, the ghosts of optimisms past lining their walls or garage floors, in homes with sputtering heaters and understocked cupboards, their pets blind with cataracts and bathroom sinks adorned with hairbrushes they couldn’t bring themselves to throw away, with yellowed newspapers from better days and a drawer full of loose photographs, a hole in the wall that would never be repaired or a broken window half-heartedly concealed with wet cardboard, a painting never hung or a Christmas gift never delivered, and an overnight bag, empty, still with its original price tag, and dull knives and a broken stove, carpeting leading upstairs to a series of rooms gone unused for years, a Ping-Pong table in the back yard sagging from the rain, the musky smell of thick dust and expired store-bought tomato sauce, and unheard echoes of years-old conversation between people who would not — could not — exist anymore, the imagined phantoms of haunting that would never come, yes, just another of these many sleepless souls who just needed to hear from somebody so young, and already worse off than they could ever be.

* * *

By the end of the month, the man’s sales figures caught the attention of the regional office, and then the national headquarters. Not only had the man outperformed himself; he had outperformed any of the other sales people in any of the offices scattered across the country, tucked, as they were, into strip malls or conference rooms in larger business complexes.

Larry stopped trying to get his attention, and so did the rest of the man’s friends. He stopped calling them, and they disappeared. His wife was the only other one who knew about his appointment with the machine, and she was content to leave messages that were never returned.

It didn’t matter, the man thought to himself, whether or not he returned them. In another month it would matter even less.

“I know you’re putting in more hours now,” his boss told him, “but it’s more than that. Are you using the script?”

The man didn’t answer.

“Of course you’re not. The script is shit. What are you using?”

“I don’t know,” the man said.

His boss waited for something more.

“I just talk,” the man said eventually.

“Whatever you’re saying, it’s working. Your sales pitch. Whatever it is, and I don’t even care what it is, it’s brilliant. In some businesses you can let the product sell itself. We don’t sell anything here. We sell a waste of somebody’s time and money, and you’re selling it like it’s piping hot porno.”

His boss sat on his desk for a moment, thinking.

“Next Thursday,” his boss said finally, “I’m going to the emergency conference in Phoenix. You probably heard about all the lawsuits. Anyway, they wanted me to give a talk and I was going to bullshit my way through 45 minutes of variations on ‘we’re in the people business’ for the fourth year running. But I want you to come.”

For the first time that the man could remember, his boss said his name.

“I want you to come, and just kind of pep people up. Give them a good talk. Tell them how to sell this shit because I am telling you that you’re the only one who’s actually selling any of it.”

The man shrugged, which was as good as any other answer he could have given.

His boss asked him if he had to check with his wife first.

The man shook his head and said that she was dead for all he knew, which he knew was true, even though she had left him seven messages that day, the most recent of which was only an hour ago. The following Wednesday they flew out to Phoenix, and the man pretended to sleep for the entire flight.

* * *

His instincts were slow to change, and when the man checked into his room at the Sharpe Tower Hotel he wondered, as he couldn’t help but wonder, if this room qualified as empty enough to be the room. But then he realized, before the thought was even complete, that it didn’t, wouldn’t, and couldn’t matter. Even if he didn’t know that he still had two weeks remaining, it couldn’t have mattered.

Suicide, homicide, death…three sides of the same coin. It happened, and it comforted no-one to know that it was — or would be — one and not either of the others. The end result was the same. He sat quietly in the armchair and stared vaguely at a blank television screen. It wasn’t to be this room, but it didn’t matter if it was. He blinked enough times that the sun came up, and he shuffled into the conference room on the fourth floor to deliver his speech.

* * *

The man had no notes and hadn’t discussed with anybody beforehand what he was going to say, so there is no way to confirm that what follows is at all accurate. Unfortunately, this record, incomplete or erroneous as it might theoretically be proven to be by an outsider who cannot exist, is all that we have. It is scrawled in only periodic legibility in the margins of a room service menu that one of the conference attendees, a Martin Klein of the Owlstack, PA office, happened to have in his pocket, and it is reproduced here, in its arguable entirety, for the betterment and edification of generations to come:

There is no meaning and we all share an inevitable worthlessness. Nobody will be saved. It is over before it begins. I think I am supposed to make you feel excited about selling insurance. And I think you might as well be as excited about selling insurance as you would be about starting a family, or finding a dead child on your doorstep. It is all equally meaningless and you cannot keep whatever small amount of happiness you may manage to find in a world that does not care that you were ever born. You may disagree, but you’ll never prove me wrong.

You cannot be excited. You cannot be happy. You cannot even be remotely satisfied with anything you’ve ever done or had done to you. Because all of that gives you hope, and what we sell can only really make sense to the hopeless.

When you speak to your customers, remember that you are going to die, and remember only that you are going to die. Wherever it happens, whenever it happens, you will have nothing to show for it, and nobody will miss you. You are not even a human being. You are a voice on the telephone. You could be hit by a bus a few minutes after you leave work and nobody you talked to that day would even know or care.

That is my message to you. We are already dead, even when we aren’t. We stand here or sit here or lie here in our own graves, and nothing will change for anybody else when go quiet for the last time. I have been asked by the hotel to remind you that the breakfast buffet continues until eleven o’clock, and that today’s signature dish is Belgian waffles.