Water For Elephants (7 page)

meeting in the center with an audible slap.

Jesus. There could be a riot in the tent and I wouldn't know it. There's not a drop of blood left in my head.

The woman straightens up and then drops into a curtsy. When she stands, she scoops a breast up to her face and slides her tongue around

its nipple. Then she slurps it into her mouth. She stands there shamelessly sucking her own tit as the men wave their hats, pump their fists,

W a t e r for E l e p h a n ts

and scream like animals. She drops it, gives the slick nipple a final tweak, and then blows the men a kiss. She leans down long enough to retrieve her diaphanous shawl and disappears, her arm raised so that the shawl trails behind her, a shimmering banner.

"All right then, boys," says Cecil, clapping his hands and climbing the stairs to the stage.

"Let's have a big hand for our Barbara!"

The men cheer and whistle, clapping with hands held high.

"Yup, ain't she something? What a lady. And it's your lucky day, boys, because for tonight only, she'll be accepting a limited number of gentleman callers after the show.

This is a real honor, fellas. She's a gem, our Barbara. A real gem."

The men crowd toward the exit, slapping each other on the back, already exchanging memories.

"Did you see those titties?"

"Man, what a rack. What I wouldn't give to play with those for a while."

I'm glad nothing requires my intervention, because I'm trying hard to maintain my composure. This is the first time I've ever seen a woman naked and I don't think I'll ever be the same.

Four

Ispend the next forty-five minutes standing guard outside Barbara's dressing tent as she entertains gentleman callers. Only five are prepared to part with the requisite two dollars, and they form a surly line. The first goes in and after seven minutes of huffing and grunting emerges again, struggling with his fly. He staggers off and the next enters.

After the last of them leaves, Barbara appears in the doorway. She is nude except for an Oriental silk dressing gown she hasn't bothered to tie. Her hair is mussed, her mouth smudged with lipstick. She holds a burning cigarette in one hand.

"That's it, honey," she says, waving me away. There's whiskey on her breath and in her eyes. "No freebies tonight."

I return to the cooch tent to stack chairs and help dismantle the stage while Cecil counts the money. At the end of it, I'm a dollar richer and stiff all over.

THE BIG TOP STILL STANDS, glowing like a ghostly coliseum and pulsing with the sound of the band. I stare at it, entranced by the sound of the audience's reactions. They laugh, clap, and whistle. Sometimes there's a collective intake of breath or patter of nervous shrieks. I check my pocket watch; it's quarter to ten.

I consider trying to catch part of the show, but am afraid that if I cross the lot I'll get shanghaied into some other task. The roustabouts, having S a r a G r u en spent much of the day sleeping in whatever corner they could find, are dismantling the great canvas city as efficiently as they put it up. Tents drop to the ground, and poles topple. Horses, wagons, and men trek across the lot, hauling everything back to the side rail.

I sink to the ground and rest my head on raised knees. "Jacob? Is that you?"

I look up. Camel limps over, squinting. "By gum, I thought it was," he says. "The old peepers ain't workin' so good no more."

He eases himself down next to me and pulls out a small green bottle. He picks the cork out and takes a drink.

"I'm gettin' too old for this, Jacob. I ache all over at the end of every day. Hell, I ache all over now, and we ain't even at the end of the day yet. The Flying Squadron won't pull out for probably two more hours, and we start the whole danged thing over again five hours after that. It's no life for an old man."

He passes me the bottle.

"What the hell is this?" I say, staring at the brackish liquid. "It's jake," he says, snatching it back.

"You're drinking extract?" "Yeah, so?"

We sit in silence for a minute.

"Damn Prohibition," Camel finally says. "This stuff used to taste just fine till the government decided it shouldn't. Still gets the job done, but tastes like hell. And it's a damn shame because it's all that keeps these old bones going anymore. I'm about used up.

Ain't good for nothin' but ticket seller, and I reckon I'm too ugly for that."

I glance over and decide he's right. "Is there something else you can do instead? Maybe behind the scenes?"

"Ticket seller's the last stop."

"What'll you do when you can't manage anymore?"

"I reckon I'll have an appointment with Blackie. Hey," he says, turning to me hopefully.

"Got any cigarettes?"

"No. Sorry."

Water for E l e p h a n ts

"I didn't suppose," he sighs.

We sit in silence, watching team after team haul equipment, animals, and canvas back to the train. Performers leaving the back end of the big top disappear into dressing tents and emerge in street clothes. They stand in groups, laughing and talking, some still wiping their faces. Even out of costume they are glamorous. The drab workmen scuttle all around, occupying the same universe but seemingly on a different dimension. There is

no interaction.

Camel interrupts my reverie. "You a college boy?" "Yes sir."

"I figured you for one."

He offers the bottle again, but I shake my head. "Did you finish?"

"No," I say. "Why not?"

I don't answer.

"How old are you, Jacob?" "Twenty-three."

"I got a boy your age."

The music has ended, and townspeople start to trickle from the big top. They stop, perplexed, wondering what happened to the menagerie through which they entered. As they leave by the front, an army of men enter by the back and return carting bleachers, seats, and ring curbs, which they fling noisily into lumber wagons. The big top is being gutted before the audience has even left it.

Camel coughs wetly, the effort wracking his body. I look to see if he needs a thump on the back, but he's holding up a hand to stop me. He snorts, hawks, and then spits. Then he drains the bottle. He wipes his mouth with the back of his hand and looks over at me, eyeing me from head to toe.

"Listen," he says. "I ain't trying to know your business, but I do know you ain't been on the road long. You're too clean, your clothes are too good, and you don't got a possession in the world. You collect things on the

S a r a G r u cn

road—maybe not nice things, but you collect them all the same. I know I ain't got no talking room, but a boy like you shouldn't be on the bum. I been on the bum and it ain't no life." His forearms rest on his raised knees, his face turned to mine. "If you got a life to go back to, I reckon that's what you should do."

It's a moment before I can answer. When I do, my voice cracks. "I don't."

He watches me for a while longer and then nods. "I'm right sorry to hear that."

The crowd disperses, moving from the big top to the parking lot and beyond, to the edges of the town. From behind the big top, the silhouette of a balloon rises into the sky, followed by a child's prolonged wail. There

is laughter, the sound of car engines, voices raised in excitement. "Can you believe she bent like that?"

"I thought I was going to die when that clown dropped his drawers." "Where's Jimmy—

Hank, have you got Jimmy?"

Camel scrambles suddenly to his feet. "Ho! There he is. There's that old S-O-B now."

"Who?"

"Uncle Al! Come on! We gotta get you on the show."

He limps off faster than I would have thought possible. I get up and follow.

There is no mistaking Uncle Al. He has ringmaster written all over him, from the scarlet coat and white jodhpurs to the top hat and waxed curled moustache.

He strides across the lot like the leader of a marching band, ample belly thrust forward and issuing orders in a booming voice. He pauses to let a lion's den cross in front of him and then continues past a group of men struggling with a rolled canvas. Without breaking stride, he smacks one of them on the side of the head. The man yelps and turns, rubbing his ear, but Uncle Al is gone, trailed by followers.

"That reminds me," Camel says over his shoulder, "whatever you do, don't mention Ringling in front of Uncle Al."

"Why not?"

Water for E l e p h a n ts " T 1 J »

Just don t.

Camel scurries up to Uncle Al and steps into his path. "Er, there you are," he says, his voice artificial and mewling. "I was wondering if I could have a word, sir?"

"Not now, boy. Not now," booms Al, goose-stepping past like the Brownshirts you see in the grainy news trailers at the movies. Camel limps weakly behind, popping his head around one side, and then falling back and running along the other like a disgraced puppy.

"It won't take but a moment, sir. It's just I was wondering if any of the departments was short of men."

"Thinking of changing careers, are we?"

Camel's voice rises like a siren. "Oh no, sir. Not me. I'm happy right where I am. Yes sir. Happy as a clam, that's me." He giggles maniacally. The distance between them widens. Camel stumbles and then comes to a stop. "Sir?" he calls across the growing distance. He comes to a stop. "Sir?" Uncle Al is gone, swallowed whole by people, horses, and wagons. "Goddammit. Goddammit!" says Camel, tearing his hat from his head

and throwing it to the ground.

"It's okay, Camel," I say. "I appreciate you trying." "No, it ain't okay," he shouts.

"Camel, I—"

"Just shut it. I don't want to hear it. You're a good kid, and I ain't about to stand by and watch you mope off cuz that fat old grouch don't got

time. I just ain't. So have a little respect for your elders and don't give me no trouble."

His eyes are burning.

I lean over, retrieve his hat, and brush the dirt off. Then I hold it out to him.

After a moment, he takes it. "All right then," he says gruffly. "I guess that's all right."

CAMEL TAKES ME to a wagon and tells me to wait outside. I

lean against one of the large spoked wheels and pass the time alternately Sara Grucn picking slivers from beneath my nails and chewing long pieces of grass. At one point my head bobs forward, on the cusp of sleep.

Camel emerges an hour later, staggering, holding a flask in one hand and a roll-your-own in the other. His eyelids flutter at half-mast. "This here's Earl," he slurs, sweeping an arm behind him. "He's gonna take care of ya."

A bald man steps down from the wagon. He is enormous, his neck thicker than his head.

Blurred green tattoos run across his knuckles and up his hairy arms. He holds out his hand.

"How do you do," he says.

"How do you do," I say, perplexed. I swing around to Camel, who's zigzagging through the crispy grass in the general direction of the Flying Squadron. He's also singing. Badly.

Earl cups his hands around his mouth. "Shut it, Camel! Get yourself on that train before it leaves without you!"

Camel drops to his knees.

"Ah Jesus," says Earl. "Hang on. I'll be back in a minute."

He walks over and scoops the older man off the ground as easily as if he were a child.

Camel lets his arms, legs, and head dangle over Earl's arms. He giggles and sighs.

Earl sets Camel on the edge of a car's doorway, consults with someone inside, and then returns.

"Stuffs gonna kill the old fellow," he mutters, marching straight past me. "If he don't rot out his guts, he'll roll off the goddamned train. Don't touch the stuff myself," he says, looking over his shoulder at me.

I'm rooted to the spot where he left me.

He looks surprised. "You coming, or what?"

WHEN THE FINAL SECTION of the train pulls out, I'm crouched under a bunk in a sleeping car wedged against another man. He is the rightful owner of the space but was persuaded to let me hang out for an hour or two for a price of my one dollar. He grumbles anyway, and I hug my knees to make myself as compact as possible.

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The odor of unwashed bodies and clothes is overwhelming. The bunks, stacked three high, hold at least one and sometimes two men, as do the spaces beneath them. The fellow wedged in the floor space across from me

punches a thin gray blanket, trying in vain to form a pillow.

A voice carries across the jumble of noise: "Ojcze nasz ktorysjest w niebie, swiec sieimie Twoje, przyjdz krolestwo Twoje—"

"Jesus Christ," my host says. He pokes his head into the aisle. "Speak in English, you fucking Polack!" Then he retreats back under the bunk, shaking his head.

"Some of these guys. Right off the fucking boat."

"—/ nie wodz nasz napokuszenie ale nas zbaw ode ztego. Amen. "

I nestle against the wall and close my eyes. "Amen," I whisper.

The train lurches. The lights flicker for a moment and go out. From somewhere ahead of us a whistle screeches. We begin rolling forward and the lights come back on. I'm tired beyond words, and my head bumps unbuffered against the wall.

I wake some time later and find myself facing a pair of huge work boots.

"You ready then?"

I shake my head, trying to get my bearings.

I hear tendons creaking and snapping. Then I see a knee. Then Earl's face. "You still down there?" he says, peering under the bunk. "Yeah. Sorry."

I shimmy out and struggle to my feet. "Hallelujah," says my host, stretching out.

"Pierdolsie, " I say.

A snort of laughter comes from a bunk a few feet away.

"Come on," says Earl. "Al's had enough to loosen him up but not enough to get mean. I figure this is your opportunity."

He leads me through two more sleeping cars. When we reach the platform at the end, we're facing the back of a different kind of car. Through

its window I can see burnished wood and intricate light fixtures. Earl turns to me. "You ready?"

"Sure," I say. S a r a G r u en

I am not. He grabs me by the scruff and smashes my face into the doorframe. With his other hand, he yanks open the sliding door and chucks