Previously --- well, basically we fell in love with Alex. That's actually the most important thing. But other events interfere, such as the rape of Maurice, a casual acquaintance who lingers in the hospital at the moment, or the attempt of the rapist to eliminate Maurice as the witness to his crime.
We've been here before, right, I’ve seen these eyes before, and the person to whom they belong, and I know this room, a hospital room with a bed between my vantage point and the window, and lying on this bed is a person I know as well, wait, it’s Maurice, the guy who is dozing. A hint of concern, how does it look in the greenest eyes of the world?
My field of views widens until I realize that I'm a patient myself, lying on a bed next to Maurice's bed, more or less in horizontal position, my head between the ears of a pillow. The head section of the pliable mattress is inclined somewhat. "This head section, it's inclined at 35 degrees, right," I say (I don’t know why, but it’s the sort of thing I do). Alex laughs.
"You’re getting dangerous," he says.
"What am I doing here?"
"You were getting dangerous," he replies.
A spy flick comes to mind, with a German accent hovering above an encumbered spy who's strapped to some torture bench but asks in an odd gesture of helplessness: 'What do you expect me to do?' and the German accent replies: 'I expect you to die, Mr. Bond.'
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Sean Connery and Gerd Fröbe in Goldfinger (1964) |
I tell Alex. Alex laughs his dry laugh again. The more I make him laugh, the more he’ll give me his email address. I raise my arm, trying to clutch his arm in an awkward gesture, he understands. We never held hands before. "Why don't you give me your email address," I ask.
"You've got anything to write?"
"I'll remember it."
"It's Alex-six-five-five-three-seven at gmail dot com. What's yours?"
"That’s almost a phone number."
"Two digits are missing," he says.
"Come to think of it, it's not a bad idea, helps you to remember your own number."
"Until you move out of state."