“The beacon on top blinks out ‘Hollywood’ in Morse code.”

I went over to the front desk.

“Can I help you?” the clerk behind the desk said. “My name is Natalie, and I’m an—”

“Where is the ICQP meeting this evening?” I said.

“They’re in the ballroom.”

“I’ll bet you didn’t have any dinner,” David said. “I’ll buy you an ice-cream cone. There’s this great place that has the ice-cream cone Ryan O’Neal bought for Tatum in Paper Moon.”

“A channeler’s in the ballroom,” I told Natalie. “I’m looking for the ICQP.”

She fiddled with the computer. “I’m sorry. I don’t show a reservation for them.”

“How about Grauman’s Chinese?” David said. “You want reality? You want Charlton Heston? You want to see quantum theory in action?” He grabbed my hands. “Come with me,” he said seriously.

In St. Louis I had suffered a wave-function collapse a lot like what had happened to my clothes when I opened the suitcase. I had ended up on a riverboat halfway to New Orleans that time. It happened again, and the next thing I knew, I was walking around the courtyard of Grauman’s Chinese, eating an ice-cream cone and trying to fit my feet into Myrna Loy’s footprints.

She must have been a midget or had her feet bound as a child. So, apparently, had Debbie Reynolds, Dorothy Lamour, and Wallace Beery. The only footprints I came close to fitting were Donald Duck’s.

“I see this as a map of the microcosm,” David said, sweeping his hand over the slightly irregular pavement of printed and signed cement squares. “See, there are all these tracks. We know something’s been here, and the prints are pretty much the same, only every once in a while you’ve got this”—he knelt down and pointed at the print of John Wayne’s clenched fist—“and over here”—he walked toward the box office and pointed to the print of Betty Grable’s leg—“and we can figure out the signatures, but what is this reference to ‘Sid’ that keeps popping up? And what does this mean?”