body. Her fingertips and hands and arms tingle and then go completely numb. She struggles to swallow. Her chest tightens, locks. The light pouring in from the street spins and flashes. She squints. Objects in the room shift ominously about. She fears that sheâs about to fall. Henryâs face is glazed with horror and alarm, but she canât think about Henry right now.
Her sole focus: escape. She must get outâout of this room, out of this hotel, out of this situation. She runs back through the door into the other room. She grabs for her bag and Smithâs heels, and keeps flying out the door. She turns just long enough to see Henry jogging after but stopping outside the room. His eyes blaze with confusion. He says something, words that trail her, echoing in her buzzing ears.
âWhat the hell, Clio? Whatâs wrong with you?â
She eyes the elevator, but itâs too far and too risky. The fire door is closer and she bolts through it, scurries barefoot down eleven flights.
By the time she reaches the ground floor, she can barely stand. The pain in her legs is now razor-sharp, stabbing.
She might just die.
The motion detectors work, thank God, and the door to the street automatically opens as she barrels toward it. Outside, the cold air stings her cheeks. Wind threatens to blow open her robe, but she manages to hold it closed over her bare body. She steadies herself long enough to step back into the heels and hobbles toward the street, where she comesdangerously close to being hit by a car. She throws up an arm to hail a cab. Mercifully, one is quick to pull over. The driver, a young guy with bleary eyes, turns all the way around and peers worriedly through the divider.
âEverything okay, miss?â he says, concern plain in his voice.
âThe San Remo, please. Central Park West between Seventy-Fourth and Seventy-Fifth,â Clio says, forcing the words out, scrambling to find the lone Xanax that floats in her purse.
8:27AM
âI lied.â
O h my God. You scared the living crap out of me, Clio. What are you doing here?â Smith says, perching on the edge of her own bed.
Clio sits up and rubs her eyes, looks groggily around Smithâs bedroom. She vaguely remembers entering the apartment, eyeing the bed in her own room, but then climbing into bed next to a sleeping Smith, a comfort habit sheâs had for years. The events from last night play in a steady, sickening loop in Clioâs head. Did she really run off like that in the middle of the night?
âDo you even remember texting me last night? You said the hotel has a hidden door? Were you drunk?â
âSlow down . . . wait . . . oh, my head. Whisper . . . ,â Clio says. Her body is leaden; theXanax she popped in the cab knocked her out hard. And then it all comes rushing back. âHenry told me he had a surprise and the surprise was an apartment, Smith. The poor guy. He was wasted and waxed poetic about wanting a life together. And what did I do?â
âPlease tell me you didnâtââ Smith says, shaking her head as if she canât even bear to hear the rest.
âI did. I ran for the hills. Shit.â
âSee, I told you this was more than a casual fling,â Smith says. Thereâs a discernible edge in her voice, a hint of accusation.
âApparently, heâs more serious about this than I thought,â Clio says, scanning the room, which is painted a dusty saffron yellow, a color Smith has used around the apartment, one Clioâs come to associate fondly with the last decade-plus of her life. Being in the room now feels strange, different.
âAn apartment? But are you serious about him?â Smith asks.
âI donât even know,â Clio says. Clio thinks of the nights in Ecuador, of how she longed for him. Yes. But what good is this knowledge now that the façade sheâs erected is falling away? Her calamitous meltdown last night has no doubt
Kim Newman, Stephen Jones