It’s 2004 - or, it will be, for another 12 seconds. Times Square is covered with confetti , all around there are sounds of people laughing, crying, reminiscing. Many are embracing, Many more have their eyes glued to giant monitors. Even more are staring at a gigantic plastic ball, covered in white lycra, suspended above the ground on a gigantic pole.
Time passes. The suspense is unbearable. The ball is about to drop.
3, 2, 1, 0.
There’s a dreadful moment of silence. Everyone blinks, and looks up. Sure enough, the ball hasn’t dropped. It isn’t dropping.
It’s opening. One side of the sphere slowly turns to slide under the other, leaving three quarters of the sphere as a chair. In it sits… No. No. It can’t be.
But it is. Up on the monitors, in a white lycra suit, is the gigantic glowing image of Kenny G.
That’s the last thing you remember before you passed out and your head slammed into the pavement. You wake up smelling sterile hospital floors, and instinctively reach over to the side of the bed you’re lying on. You fumble to grasp an issue of the New York Times. The bile rises in your stomach as you see Kenny G’s gigantic image on the front cover, transmitted by LCD to frightened New Yorkers, huddled like scientists under a close encounter of the third kind. Your eyes flit to the caption:
“Kenny G, in a dramatic turn of events last night, announces his promotion to creative director of the Muzak Corporation, and also announces revolutionary five-way merger with Universal Music Group, Sony Music Entertainment, BMG Entertainment, EMI Group, and Warner Brother’s Music.”
Your blood runs cold, and a sort of caffeinated itching runs up and down your arm, an urge to remove yourself from this surreal nightmare.
You glance around - and under the New York Times, it appears that someone’s left a scalpel. Why did someone leave a scalpel in an unconcious patient’s room? You don’t know. You figure it’s just a bad plot device, just before you end it all.