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premiere, or the number of a certain actor, or a signed movie poster, but usually what they want is the same thing everyone here wants—to pitch .
    To pitch here is to live. People pitch their kids into good schools, pitch offers on houses they can’t afford, and when they’re caught in the arms of the wrong person, pitch unlikely explanations. Hospitals pitch birthing centers, daycares pitch love, high schools pitch success . . . car dealerships pitch luxury, counselors self-esteem, masseuses happy endings, cemeteries eternal rest . . . It’s endless, the pitching—endless, exhilarating, soul-sucking, and as unrelenting as death. As ordinary as morning sprinklers.
    A signed Michael Deane business card is a form of currency on this lot—the older the better, in her estimation. When Claire’s ten fifteen flashes a card from Michael’s days as a studio exec, she hopes for a movie pitch, but the man launches into a reality pitch so awful it might just be brilliant: “ Paranoid Palace : we take mental patients off their meds, put them in a house with hidden cameras, and fuck with their minds; turn on a light and music comes on, open the refrigerator and the toilet flushes . . .”
    And speaking of meds, her eleven thirty seems to have gone off his: Michael Deane’s neighbor’s son striding in wearing a cape and a chinstrap beard, never making eye contact as he pitches a television miniseries about a fantasy world he’s created all in his head (“If I write it down someone will steal it”), called The Veraglim Quatrology — Veraglim being an alternate universe in the eighth-string dimension, Quatrology being “like a trilogy, except with four stories instead of three.” As he drones on about the physics of this fantasy world (in Veraglim, there’s an invisible king, an ongoing centaur rebellion, and male penises are erect for one week every year), Claire glances down at the buzzing phone in her lap. If she were still in the market for signs, this would be a good one: her career-challenged, strip-clubbing lunk of a boyfriend has just gotten up—at twenty minutes to noon—and texted her this one-word unpunctuated question: milk . She pictures Daryl in front of the refrigerator in his underwear, seeing no milk and texting this inane question. Where does he think this extra milk might be? She types back washing machine , and while the Veraglim guy drones on about his schizoid fantasy, Claire can’t help but wonder if Fate isn’t fucking with her now, mocking the deal she made by giving her the worst Wild Pitch Friday in history—maybe the worst day of any kind since eighth grade, when an alarmingly gushy period arrived during a coed PE kickball game and dreamy Marshall Aiken pointed at the blossom on her gym shorts and screamed to the teacher, Claire’s hemorrhaging —because it’s her brain hemorrhaging now, bleeding out all over the conference table as this wing-nut launches into book two of The Veraglim Quatrology ( Flandor unsheathes his shadow-saber! ) and another text arrives from Daryl, flashing on the BlackBerry in her lap: cereal .
    J et tires chirp, grab the runway, and Shane Wheeler jerks awake and checks his watch. Still good. Yeah, his plane’s an hour late, but he’s got three hours until his meeting, and he’s a mere fourteen miles away now. How long can it take to drive fourteen miles? At the gate he uncoils, deplanes, and makes his way in a dream down the long, tiled airport tunnel, through baggage claim and a revolving door, onto a sunlit curb, jumps a bus to the rental-car center, falls in line with the smiling Disney-bounders (who must’ve seen the same $24 online rental-car coupon), and when his turn in line comes, slides his license and credit card to the rental clerk. She says his name with such significance (“Shane Wheeler ?”) that for a deluded moment he imagines he’s traveled forward in time and fame, and she’s somehow heard of him—but of course she’s just happy