
Step inside the rickety old machine that will lift you up, make you rise, then plunge you down again.
Be greeted by the guy in the navy blue blazer standing on his little rubber mat with the round holes punched through it at evenly spaced intervals.
Wonder how it could possibly make much difference to stand on the tiled floor or the rubber mat when all one has to do is stand, stand, stand for hours on end and push buttons now and then and gaze around and nod and speak in one or two word sentences with the option to smile.
Marvel at his turtleneck and his hair - a thing of wonder to be sure - sleek and grey, nearly neck length, cascading down in loose ringlets that are somehow horizontal.
Shift your eyes around.
Avoid his.
Notice the adverts on the walls.
Check for models in them you happen to know. You once worked with someone who posed here after all.
Scan down the brightly coloured t-shirts, the skirts, the pants, the prices in big, red print.
Don't really take it in.
Just pretend to be interested in order to avoid conversation.
Run you hand, slowly, behind your back, up and down the faux-wood panel.
Feel it's smooth coolness.
Imagine all the other fingers it has felt over the last fifty years: hundreds, thousands, perhaps millions of prints, germs, smudges, essences left there to be absorbed through your skin as your pulse throbs beneath it.
Ask yourself what will be left of all those fragments of people once the sales are over, the doors close and the lights go out.
Try to arrange in your head a plan that enables you to be on the last ride this machine takes.
Try to imagine it's future.