overwhelming; she cringed from the disc's touch.
And dropped it.
The record lay on the thick carpet, apparently unbroken. But how to pick it up once more? How to drag it loose from the nape, the backdrop, surrounding it? Because the record no longer seemed separate; it had fused. With the carpet, the floor, the walls, and now everything in the office, it presented a single indivisible, unchangeable surface, without rupture. No one could come or go within this cubelike spaciality; every place was already filled, complete – nothing could change because everything was present already.
My God, Kathy thought as she stood gazing down at the record by her feet. I can't free myself; I'm going to remain here, and they'll find me like this and know something's terribly wrong. This is catalepsy!
She was still standing there when the office door opened and Jonas Ackerman, briskly, with a jovial expression on his smooth, youthful face, entered, strode up to her, saw the record, bent unhinderedly down and gently lifted it up and placed it in her outstretched hands.
'Jonas,' she said in a slow, thickened voice, 'I – need medical help. I'm sick.'
'Sick how?' He stared at her with concern, his face twisted up, wriggling, she thought, like nests of snakes. His emotion overpowered her; it was a sickening, fetid force. 'My God,' Jonas said, 'what a time you picked – Eric's not here today, he's in Cheyenne, and we haven't got the new man that's replacing him yet. But I could drive you to the Tijuana Government Clinic. What is it?' He gripped her arm, pinching her flesh. 'I think you're just blue because Eric's gone.'
Take me upstairs,' she managed to say. 'To Virgil.'
'Boy, you do sound awful,' Jonas said. 'Yes, I'll be glad to get you upstairs to the old man; maybe he'll know what to do.' He guided her toward the office door. 'Maybe I better take that record; you look like you're about to drop it again.'
It could not have taken more than two minutes to reach Virgil Ackerman's office and yet to her the ordeal consumed a vast interval. When she found herself facing Virgil at last she was exhausted; she panted for breath, unable to speak. It was just too goddam much for her.
Eyeing her curiously, and then with alarm, Virgil said in his thin, penetrating voice, 'Kathy, you better go home today; fix yourself up with an armful of woman type magazines and a drink, propped up in bed—'
'Leave me alone,' she heard herself say. 'Christ,' she said, then, in despair, 'don't leave me alone, Mr Ackerman; please!'
'Well, make up your mind,' Virgil said, still scrutinizing her. 'I can see that Eric's leaving here and going to Cheyenne to—'
'No,' she said. 'I'm okay.' Now it had worn off a little; she felt as if she had imbibed some strength from him, perhaps because he had so much. 'Here's a fine item for Wash-35.' She turned to Jonas for the record. 'It was one of the most popular tunes of the times. This and "The Music Goes Round and Round."' Taking the record, she placed it before him on his big desk. I'm not going to die, she thought; I'm going to get through this and recover my health. 'I'll tell you what else I have a line on, Mr Ackerman.' She seated herself in a chair by the desk, wanting to conserve what energy she had. 'A private recording which someone made, at the time, of Alexander Woollcott on his program, "The Town Crier." So the next time we're up at Wash-35 we'll be able to listen to Woollcott's actual voice. And not an imitation. As we're doing.'
'"The Town Crier"!' Virgil exclaimed in childish joy. 'My favorite program!'
'I'm reasonably sure I can get it,' Kathy said. 'Of course, until I actually pay over the money there could still be a hitch. I have to fly out to Boston to make the final arrangements; the recording is there, in the possession of a rather shrewd spinster-lady named Edith B. Scruggs. It was made on a Packard-Bell Phon-o-cord, she tells me in her correspondence.'
'Kathy,' Virgil Ackerman said, 'if you
And dropped it.
The record lay on the thick carpet, apparently unbroken. But how to pick it up once more? How to drag it loose from the nape, the backdrop, surrounding it? Because the record no longer seemed separate; it had fused. With the carpet, the floor, the walls, and now everything in the office, it presented a single indivisible, unchangeable surface, without rupture. No one could come or go within this cubelike spaciality; every place was already filled, complete – nothing could change because everything was present already.
My God, Kathy thought as she stood gazing down at the record by her feet. I can't free myself; I'm going to remain here, and they'll find me like this and know something's terribly wrong. This is catalepsy!
She was still standing there when the office door opened and Jonas Ackerman, briskly, with a jovial expression on his smooth, youthful face, entered, strode up to her, saw the record, bent unhinderedly down and gently lifted it up and placed it in her outstretched hands.
'Jonas,' she said in a slow, thickened voice, 'I – need medical help. I'm sick.'
'Sick how?' He stared at her with concern, his face twisted up, wriggling, she thought, like nests of snakes. His emotion overpowered her; it was a sickening, fetid force. 'My God,' Jonas said, 'what a time you picked – Eric's not here today, he's in Cheyenne, and we haven't got the new man that's replacing him yet. But I could drive you to the Tijuana Government Clinic. What is it?' He gripped her arm, pinching her flesh. 'I think you're just blue because Eric's gone.'
Take me upstairs,' she managed to say. 'To Virgil.'
'Boy, you do sound awful,' Jonas said. 'Yes, I'll be glad to get you upstairs to the old man; maybe he'll know what to do.' He guided her toward the office door. 'Maybe I better take that record; you look like you're about to drop it again.'
It could not have taken more than two minutes to reach Virgil Ackerman's office and yet to her the ordeal consumed a vast interval. When she found herself facing Virgil at last she was exhausted; she panted for breath, unable to speak. It was just too goddam much for her.
Eyeing her curiously, and then with alarm, Virgil said in his thin, penetrating voice, 'Kathy, you better go home today; fix yourself up with an armful of woman type magazines and a drink, propped up in bed—'
'Leave me alone,' she heard herself say. 'Christ,' she said, then, in despair, 'don't leave me alone, Mr Ackerman; please!'
'Well, make up your mind,' Virgil said, still scrutinizing her. 'I can see that Eric's leaving here and going to Cheyenne to—'
'No,' she said. 'I'm okay.' Now it had worn off a little; she felt as if she had imbibed some strength from him, perhaps because he had so much. 'Here's a fine item for Wash-35.' She turned to Jonas for the record. 'It was one of the most popular tunes of the times. This and "The Music Goes Round and Round."' Taking the record, she placed it before him on his big desk. I'm not going to die, she thought; I'm going to get through this and recover my health. 'I'll tell you what else I have a line on, Mr Ackerman.' She seated herself in a chair by the desk, wanting to conserve what energy she had. 'A private recording which someone made, at the time, of Alexander Woollcott on his program, "The Town Crier." So the next time we're up at Wash-35 we'll be able to listen to Woollcott's actual voice. And not an imitation. As we're doing.'
'"The Town Crier"!' Virgil exclaimed in childish joy. 'My favorite program!'
'I'm reasonably sure I can get it,' Kathy said. 'Of course, until I actually pay over the money there could still be a hitch. I have to fly out to Boston to make the final arrangements; the recording is there, in the possession of a rather shrewd spinster-lady named Edith B. Scruggs. It was made on a Packard-Bell Phon-o-cord, she tells me in her correspondence.'
'Kathy,' Virgil Ackerman said, 'if you
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