She shook her elegant head. "He hasn't been in."

Well, I could have phoned. Why didn't I?

"Miss Taylor's here." The jungle-bright eyes sloped darkly toward me

and away.

"Is she? I thought--"

"I'll call her." She led me to the same room--Hattie's parlor.

I sat down. I could stick around a while. Paul might not come here, in

his humiliating chase. He probably would. He'd had--no doubt--other

leads to check first.

Gwen appeared. She was wearing her hair down, tonight, and a silk dress

the color of a new penny. A matching dress. "'Lo, Phil." She walked

gracefully to the phonograph, clicked records, turned dials, and filled

the room with soft bongoses, maracas, the background thud of a conga

drum.

"I thought you were going downtown?"

"Soon. Did you mind--about last night?"

"Tonight--I never mind about last night. Rule of my life. Look, Gwen.

How did you know--so quickly--exactly what that gal was like?"

"I told you," she said. "I get feelings."

"I don't. Just surprises."

"You try to think," she said. "Figure. Then you go by the results of

that. It's no good. You just--relax--and see what your sensations are."

"We were never allowed to relax about it. From the cradle to the

crematory--we have to be either tensely on guard or else proficiently

on the job."

"It's a wonder people like you ever have babies."

"We don't have many."

Opus 21 Descriptive Music for the Lower Kinsey Epoch of the Atomic Age, a Concerto for a One-man Band, Six Arias for Soap Operas, Fugues, Anthems & Barrelhouse · 第 242 / 346 题