“Do you love your fellow man, tell me?”

“Please, Semph! I asked where it went… when it went?”

“And I asked if you cared at all about anyone else?”

“You know my answer… you know me! I want to know, tell me, at least what you know. Where… when…?”

“Then you’ll forgive me, Linah, because I love my fellow man, too. Whenever he was, wherever he is; I have to, I work in an inhuman field, and I have to cling to that. So… you’ll forgive me…”

“What are you going to…”

In Indonesia they have a phrase for it: Djam Karet—the hour that stretches.

In the Vatican’s Stanza of Heliodorus, the second of the great rooms he designed for Pope Julius II, Raphael painted (and his pupils completed) a magnificent fresco representation of the historic meeting between Pope Leo I and Attila the Hun, in the year 452.

In this painting is mirrored the belief of Christians everywhere that the spiritual authority of Rome protected her in that desperate hour when the Hun came to sack and burn the Holy City. Raphael has painted in Saint Peter and Saint Paul, descending from Heaven to reinforce Pope Leo’s intervention. His interpretation was an elaboration on the original legend, in which only the Aposde Peter was mentioned —standing behind Leo with a drawn sword. And the legend was an elaboration of what little facts have come down through antiquity relatively undistorted: Leo had no cardinals with him, and certainly no wraith Aposdes. He was one of three in the deputation. The other two were secular dignitaries of the Roman state. The meeting did not take place—as legend would have us believe—just outside the gates of Rome, but in northern Italy, not far from what is today Peschiera.

Nothing more than this is known of the confrontation. Yet Attila, who had never been stopped, did not raze Rome. He turned back.

Djam Karet. The force-line field spewed out from a parallax center crosswhen, a field that had pulsed through time and space and the minds of men for twice ten thousand years.