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says life is a monkey on a stick, it says life spins as hysterically and erratically as the penny you flick to see who buys lunch.
        No one looks at that side unless they have to, and I can understand that. You look at it if you hitch a ride with a drunk in a GTO who puts it up to one-ten and starts blubbering about how his wife turned him out; you look at it if some guy decides to drive across Indiana shooting kids on bicycles; you look at it if your sister says "I'm going down to the store for a minute, big guy" and then gets killed in a stickup. You look at it when you hear your dad talking about slitting your mom's nose.
        It's a roulette wheel, but anybody who says the game is rigged is whining. No matter how many numbers there are, the principle of that little white jittering ball never changes. Don't say it's crazy. It's all so cool and sane.
        And all that weirdness isn't just going on outside. It's in you too, right now, growing in the dark like magic mushrooms. Call it the Thing in the Cellar. Call it the Blow Lunch Factor. Call it the Loony Tunes File. I think of it as my private dinosaur, huge, slimy, and mindless, stumbling around in the stinking swamp of my subconscious, never finding a tarpit big enough to hold it.
        But that's me, and I started to tell you about them, those bright college-bound students that, metaphorically speaking, walked down to the store to get milk and ended up in the middle of an armed robbery. I'm a documented case, routine grist for the newspaper mill. A thousand newsboys hawked me on a thousand street corners. I had fifty seconds on Chancellor-Brinkley and a column and a half in Time. And I stand here before you (metaphorically speaking, again) and tell you I'm perfectly sane. I do have one slightly crooked wheel upstairs, but everything else is ticking along just four-o, thank you very much.
        So, them. How do you understand them? We have to discuss that, don't we?
        "Do you have an office pass, Mr. Decker?" she asked me.
        "Yes," I said, and took the pistol out of my belt. I wasn't even sure it was loaded until it went off. I shot her in the head. Mrs. Underwood never knew what hit her, I'm sure. She fell sideways onto her desk and then rolled onto the floor, and that expectant expression never left her face.
        I'm the sane one: I'm the croupier, I'm the guy who spins the ball against the spin of the wheel. The guy who lays his money on odd/even, the girl who lays her money on black/red… what about them?
        There isn't any division of time to express the marrow of our lives, the time between the explosion of lead from the muzzle and the meat impact, between the impact and the darkness. There's only barren instant replay that shows nothing new.
        I shot her; she fell; and there was an indescribable moment of silence, an infinite duration of time, and we all stepped back, watching the ball go around and around, ticking, bouncing, lighting for an instant, going on, heads and tails, red and black, odd and even.
        I think that moment ended. I really do. But sometimes, in the dark, I think that hideous random moment is still going on, that the wheel is even yet in spin, and I dreamed all the rest.
        What must it be like for a suicide coming down from a high ledge? I'm sure it must be a very sane feeling. That's probably why they scream all the way down.

Chapter 11
        
        If someone had screamed something melodramatic at that precise moment, something like Oh, my God, he's going to kill us all! it would have been over right there. They would have bolted like sheep, and somebody aggressive like Dick Keene would have belted me over the head with his algebra book, thereby earning a key to the city and the Good Citizenship Award.
        But nobody said a word. They sat in utter stunned silence, looking at me attentively, as if I had just announced that I was going to tell them how they could all