He pointed at Red Skelton’s square. It said, “Thanks Sid We Dood It.”

“You keep thinking you’ve found a pattern,” David said, crossing over to the other side, “but Van Johnson’s square is kind of sandwiched in here at an angle between Esther Williams and Cantinflas, and who the hell is May Robson? And why are all these squares over here empty?”

He had managed to maneuver me over behind the display of Academy Award winners. It was an accordionlike wrought-iron screen. I was in the fold between 1944 and 1945.

“And as if that isn’t enough, you suddenly realize you’re standing in the courtyard. You’re not even in the theater.”

“And that’s what you think is happening in quantum theory?” I said weakly. I was backed up into Bing Crosby, who had won for Best Actor in Going My Way. “You think we’re not in the theater yet?”

“I think we know as much about quantum theory as we can figure out about May Robson from her footprints,” he said, putting his hand up to Ingrid Bergman’s cheek (Best Actress, Gaslight) and blocking my escape. “I don’t think we understand anything about quantum theory, not tunneling, not complementarity.” He leaned toward me. “Not passion.”

The best movie of 1945 was Lost Weekend. “Dr. Gedanken understands it,” I said, disentangling myself from the Academy Award winners and David. “Did you know he’s putting together a new research team for a big project on understanding quantum theory?”

“Yes,” David said. “Want to see a movie?”

“There’s a seminar on chaos at nine,” I said, stepping over the Marx Brothers. “I have to get back.”

“If it’s chaos you want, you should stay right here,” he said, stopping to look at Irene Dunne’s handprints. “We could see the movie and then go have dinner. There’s this place near Hollywood and Vine that has the mashed potatoes Richard Dreyfuss made into Devil’s Tower in Close Encounters.”