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Liked him more and more. Well, now thered be a real chance, she thought, as she scented herself after her bath. Dab, dab, daba real chance. Her high spirits overflowed in song.
The scent organ was playing a delightfully refreshing Herbal Capricciorippling arpeggios of thyme and lavender, of rosemary, basil, myrtle, tarragon; a series of daring modulations through the spice keys into ambergris; and a slow return through sandalwood, camphor, cedar and new-mown hay (with occasional subtle touches of discorda whiff of kidney pudding, the faintest suspicion of pigs dung) back to the simple aromatics with which the piece began. The final blast of thyme died away; there was a round of applause; the lights went up. In the synthetic music machine the sound-track roll began to unwind. It was a trio for hyper-violin, super-cello and oboe-surrogate that now filled the air with its agreeable languor. Thirty or forty barsand then, against this instrumental background, a much more than human voice began to warble; now throaty, now from the head, now hollow as a flute, now charged with yearning harmonics, it effortlessly passed from Gaspard Forsters low record on the very frontiers of musical tone to a trilled bat-note high above the highest C to which (in 1770, at the Ducal opera of Parma, and to the astonishment of Mozart) Lucrezia Ajugari, alone of all the singers in history, once piercingly gave utterance. Sunk in their pneumatic stalls, Lenina and the Savage sniffed and listened. It was now the turn also for eyes and skin. The house lights went down; fiery letters stood out solid and as though self-supported in the darkness. Three Weeks in a Helicopter. An All-Super-Singing, Synthetic-Talking, Coloured, Stereoscopic Feely. With Synchronized Scent-Organ Accompaniment. Take hold of those metal knobs on the arms of your chair, whispered Lenina. Otherwise you wont get any of the feely effects. The Savage did as he was told. Those fiery letters, meanwhile, had disappeared; there were ten seconds of complete darkness; then suddenly, dazzling and incomparably more solid-looking than they would have seemed in actual flesh and blood, far more real than reality, there stood the stereoscopic images, locked in one anothers arms, of a gigantic negro and a golden-haired young brachycephalic Beta-Plus female. The Savage started. That sensation on his lips! He lifted a hand to his mouth; the titillation ceased; let his hand fall back on the metal knob; it began again. The scent organ, meanwhile, breathed pure musk. Expiringly, a sound-track super-dove cooed Oo-ooh; and vibrating only thirty-two times a second, a deeper than African bass made answer: Aa-aah. Ooh-ah! Ooh-ah! the stereoscopic lips came together again, and once more the facial erogenous zones of the six thousand spectators in the Alhambra tingled with almost intolerable galvanic pleasure. Ooh The plot of the film was extremely simple. A few minutes after the first Oohs and Aahs (a duet having been sung and a little love made on that famous bearskin, every hair of whichthe Assistant Predestinator was perfectly rightcould be separately and distinctly felt), the negro had a helicopter accident, fell on his head. Thump! what a twinge through the forehead! A chorus of ows and aies went up from the audience. The concussion knocked all the negros conditioning into a cocked hat. He developed for the Beta blonde an exclusive and maniacal passion. She protested. He persisted. There were struggles, pursuits, an assault on a rival, finally a sensational kidnapping. The Beta blonde was ravished away into the sky and kept there, hovering, for three weeks in a wildly anti-social tête-à-tête with the black madman. Finally, after a whole series of adventures and much aerial acrobacy, three handsome young Alphas succeeded in rescuing her. The negro was packed off to an Adult Re-conditioning Centre and the film ended happily and decorously, with the Beta blonde becoming the mistress of all her three rescuers. They interrupted |
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