The world slipped sideways in front of her. She leaned out of the car and
Then everything there was went gray for a little while.
Are you sure you're all right?" Arnie asked her for what seemed to be the
in her chest and another one at her temples.
"Good. Good."
perhaps not until he had asked his seemingly eternal question at least once
more. They were standing in front of the Cabot house. Oblongs of yellow
snow. Christine stood at the curb, idling, showing parking lights.
"You scared me when you fainted like that," Arnie said.
"Well, you scared me. I love you, you know."
She looked at him gravel. "Do you?"
She drew in a deep breath. She was tired, but it had to be said, and said right
now. Because if she didn't say it now, what had happened would seem
completely ridiculous by morninglight—or maybe more than ridiculous; by
morninglight the idea would likely seen mad. A smell that came and went
like the 'moldering stench' in a Gothic horror story? Dashboard instruments
that turned into eyes? And most of all the insane feeling that the car had
actually tried to kill her?
By tomorrow, even the fact that she had almost choked to death would be
nothing but a vague ache in her chest and the conviction that it had been
nothing, really, not a close call at all.
Except it was all true, and Arnie knew it was—yes, some part of him did—
and it had to be said now.
"Yes, I think you do love me," she said slowly. She looked at him steadily.
"But I won't go anywhere with you again in that car. And if you really love
me, you'll get rid of it." The expression of shock on his face was so large and
so sudden that she might have struck him in the face.
"What—what are you talking about, Leigh?"
Was it shock that had caused that slapped expression? Or was some of it
guilt?
"You heard what I said. I don't think you'll get rid of it—I don't know if you
even can anymore—but if you want to go someplace with me, Arnie, we go
on the bus. Or thumb a ride. Or fly. But I'm never going to ride in your car
again. It's a death-trap."
There. She had said it; it was out.
Now the shock on his face was turning to anger—the blind, obdurate sort of
anger she had seen on his face so frequently lately. Not just over the big
things, but over the little ones as well—a woman going through a traffic light
on the yellow, a cop who held up traffic just before it was their turn to go—
but it came to her now with all the force of a revelation that his anger,
corrosive and so unlike the rest of Arnie's personality, was always
associated with the car. With Christine.
" 'If you love me you'll get rid of it'," he repeated. "You know who you sound
like?"
"No, Arnie."
"My mother, that's who you sound like."
"I'm sorry." She would not allow herself to be drawn, neither would she
defend herself with words or end it by just going into the house. She might
have been able to if she didn't feel anything for him, but she did. Her original
impressions—that behind the quiet shyness Arnie Cunningham was good and
decent and kind (and maybe sexy as well)—had not changed much. It was the
car, that was all. That was the change. It was like watching a strong mind
slowly give way under the influence of some evil, corroding, addictive drug.
Arnie ran his hands through his snow-dusted hair, a characteristic gesture of
bewilderment and anger. "You had a bad choking spell in the car, okay, I can
understand that you don't feel great about it. But it was the
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