BBH01 - Cimarron Rose (20 page)

I sat in her living room and explained why Pete
needed to stay at Temple Carrol's house for a while. She listened
without expression, in her waitress uniform, her knees close together,
her hands folded in her lap, as though I held some legitimate legal
power over her life. There were circles under her eyes, and her hair
was lank and colorless on each side of her narrow face.

'Cain't y'all just go arrest the guy wrote you that
letter?' she asked.

'There weren't any fingerprints on it. We don't know
who sent it.'

'The social worker wants him here when she makes her
home call. Y'all ain't gonna keep him real long, are you? I cain't get
in no more trouble with Social Services.'

Late Friday afternoon I looked down
from my office
window and saw Darl Vanzandt's cherry-red '32 Ford turn into the
square. The roof was 'chopped'—vertical sections had been cut
out of
the body so that the top was lowered several inches and the windows
looked like slits in a machine-gun bunker—and I had a hard
time
telling who sat in the passenger's seat, one gnarled arm hooked on the
outside panel. Then the car turned out of the evening glare into the
shade and I saw the profile of Garland T. Moon.

They parked off the square in front of the Mexican
grocery and went inside. Then Moon came out alone, leaned against the
car, and began eating ice cream with a plastic spoon from a paper cup.

I walked across the square through the shadows and
stopped in front of him. He wore pleated, beltless khakis high up on
his hips and a ribbed sleeveless undershirt that looked stitched to his
skin.

'What are you doing with the kid?' I said.

He licked the ice cream off his spoon. A shaft of
sunlight fell like a dagger across his face, and his receded eye
watered in the glare.

'He likes Mexican girls. I introduced him to a lady
friend of mine got a house across the border,' he said.

'You ought to stick to your own kind. The Vanzandts
are out of your league.'

'Y'all all in my league, boy. Me and him got us an
arrangement.' He winked at me.

Inside the grocery, by the small soda fountain in
back, I could see Darl talking to a group of kids three or fours years
younger than he. The girls had earrings through their noses, even their
eyebrows.

'You dealing, Moon?' I said.

'Me? I don't have nothing to do with drugs. I won't
even go into a drugstore. That's a fact,' he replied. He spooned the
ice cream into his mouth. His lips dripped with whiteness when he
smiled.

I drove over to Lucas Smothers's house
and found him
in the backyard, working on the Indian motorcycle. He had rolled the
dents out of the fenders and repainted them and mounted a new sheepskin
seat on the frame. The wind was still warm and I could smell the water
that had just been released from the irrigation ditch into the
vegetable rows beyond the barn.

'You know Darl's hanging with Garland Moon now?' I
asked.

He set down a wrench on a rag that he had spread on
the ground.

'With Moon?' he said.

'That's right.'

He looked into space, then picked up the wrench and
went back to work.

'Where can I find the Mexican biker Bunny Vogel got
into it with?' I asked.

'Guy picked up Roseanne at work sometimes?'

'That's the one.'

'He's supposed to be a Purple Heart. They used to be
a Los Angeles gang. Some Mexicans in San Antone use their name now.'

'Can you put me with this guy?'

'I never had nothing to do with gangs, Mr Holland. I
always went my own way. It didn't do no good, though.'

'Why would he call Bunny a pimp?'

'That don't make sense to me. Bunny's stand-up.'

'Stand-up? He does grunt work for the Vanzandts
because he's afraid to start over again. What do you call that?'

'Everybody don't get to choose what they want to
be,' he said. Then he paused in his work and looked me directly in the
face. 'Or what last name they got, either.'

That night Mary Beth and I went to a
movie at the
Rialto theater on the square. When we came back outside the air was
warm and smelled of the few raindrops that tumbled out of an almost
clear sky. The sidewalk was marbled with the green and pink neon on the
marquee, and the tops of the live oaks on the courthouse lawn rustled
in the wind and shaped and reshaped their silhouettes against the
lighted clock tower. The street was filled with the same long line of
cars and motorcycles that filled it every Friday and Saturday night,
radios blaring with rap music, an occasional beer bottle or can arching
onto the courthouse lawn.

They weren't all bad kids, not even the East Enders,
who were incapable of understanding a world where people lived from
paycheck to paycheck and, in the last heat wave, even died because they
couldn't adequately cool their houses.

Maybe what bothered me most about them was the way
they feigned profligacy as almost a deliberate insult to the very fates
that had blessed them.

For some reason I remembered a scene years ago with
L.Q. Navarro. We had picked up a prisoner in Denver, leg-chained him
through a D-ring on the back floor, and were headed back to Texas when
L.Q. saw a faded wood sign by the roadside north of Trinidad.

'I want to stop here,' he said.

'What is it?' I asked.

'I'll show you what guts was like back in 1914,' he
said.

We drove west down a dirt road flanked with pinion
trees and hardpan, the mountains purple and edged with fire in the
sunset, and stopped at a wire-enclosed monument erected by the United
Mine Workers in memory of the striking miners and their families who
were shot or asphyxiated to death by state militia and Rockefeller gun
thugs during the Ludlow Massacre. There was no US government or state
memorial. The monument itself was a fairly simple one, a large block of
inscribed stone adorned with statues next to a heavy trap door that
opened on a flight of stairs and a basement with decayed plaster walls.

Inside that same enclosure eleven children and two
women died when the tents above them were set on fire. The names on the
monument were almost all those of Italian and Mexican immigrants.

'People who didn't have a sackful of beans took on
John D. himself,' L.Q. said. 'Their strike got broke and Rockefeller
come out here and danced with a miner's wife and made headlines.'

'How you know so much about it?' I asked.

'That's my great-grandmother's name up there, bud.'

Darl Vanzandt's '32 Ford passed us, its dual pipes
throbbing against the asphalt. If he noticed Mary Beth and me, he
didn't show it. Across the street, a girl in shorts sat astride the
barrel of the Spanish-American War artillery piece, her hands clenched
around the metal.

'What are you thinking about?' Mary Beth said.

'Nothing. It's a great country,' I said.

'You worrying about Lucas?'

'On his worse day, I'll take that kid over this
whole street.'

She slipped her arm inside mine and squeezed it
against her.

On Saturday afternoon Mary Beth and I
took Pete to
the rodeo at the county fair grounds. The parking lot was filled with
pickup trucks and horse trailers, the viewing stands and midway packed,
and a gentle brown haze lifted off the arena while a parade of mounted
cowboys rode by the stands, American and state of Texas flags flying
over their heads, and carnival rides reared and dipped in the sky.

We bought cotton candy and hot dogs and strolled
past the chutes, where boys barely out of high school stood in clusters
or perched up on the slats in skin-tight jeans, butterfly chaps,
wide-brimmed black Stetsons, rayon shirts with outrageous mixes of the
rainbow, and belt buckles polished like Cadillac bumpers.

They were West Enders and blue-collar kids from
adjoining counties, their hair mowed into their scalps, their necks
cuffed with sunburn. They postured and chewed Red Man and stuck wads of
snuff between their lips and gums and tried to talk older than they
were, but no one could deny the level of their courage.

The horses they rode sunfished out of the chutes
while the rider tried to bring his spurs above the withers, one hand
flung into the sky, his spine twisting like it was about to break loose
from the tailbone.

Or they tied down their inverted palms on bulls that
exploded between the legs when the chute opened, entering that
breathless moment inside a vacuum before the bull's hooves touched the
sod again, the cowbell clanged from its cinch, and the muscles in the
bull's back seemed to wrench the rider's entrails out of his rectum.

They got pitched headlong into the dirt, trampled,
stove in, flung against the boards, and sometimes hooked, the bull's
horn piercing lung and kidney, tossing the rider in the air, trundling
him across the arena like a cloth doll while clowns who wore football
shoes tried to save the rider's life with a rubber barrel.

As L.Q. might say, you could find a worse bunch.

We were out on the midway when we saw a country band
assembled on a stage by a grassy area flanked with booths that sold
Indian jewelry. In the back of the band was Lucas Smothers, his
sunburst twelve-string guitar slung around his neck on a cloth strap
beaded with flowers.

It was the first time, to my knowledge, he had
played anywhere since his arrest. The band kicked it off with 'The
Orange Blossom Special' and 'Bringing in the Georgia Mail,' then bled
right into Hank Snow's 'Golden Rocket.' Lucas stepped to the front of
the group and held the sound hole of his guitar to a microphone on an
abbreviated stand and went into an instrumental ride that was beautiful
to hear and watch. His left hand corded up and down the frets, never
pausing, never making a mistake, while the plectrum flashed across the
strings over the sound hole, the double-strung octave notes resonating
like both a bass guitar and a mandolin.

No one on the stage could approach his performance.
But when he finished his solo, which also ended the song, the applause
was broken, muted, like cellophane burning and then dying. I could see
the emptiness in Lucas's face, his eyes blinking, one hand fiddling
with his back pocket, as though he could hide his embarrassment there.

But the leader of the band, a decent man from Austin
who well knew his audience, was not one to let a wrong go unchecked. He
picked up the microphone and said, 'That boy can do it, cain't he? That
was gooder than my mama's grits…' He extended his arm back
toward the band. 'Lucas Smothers, ladies and gentlemen, Deaf Smith's
own! How about giving him and the whole band a big hand?'

One of those loudest in his applause was Darl
Vanzandt, who stood at the back of the crowd, a smear of cotton candy
on his mouth. Three girls, slightly younger than he, were with him.
When the band took a break, he touched one of the girls on the
shoulder, and she and her two friends went to the stage and began
talking excitedly to Lucas.

'What cha studying on?' Pete said.

'Oh, not much,' I said, and ran my palm over the
soft top of his crewcut.

'Turn loose of it, Billy Bob. He'll be all right,'
Mary Beth said.

'No, he won't,' I said.

She looked at my face, then followed my eyes to
Garland T. Moon, who sat on top of a loading chute to the left of the
stage, eating a snow cone, crunching the ice to the top by squeezing
his fist tighter and tighter along the cone. Darl Vanzandt gave him the
thumbs-up sign.

Later, I looked down from the stands
and saw Moon
wandering along the main aisle, smiling, staring up at the crowd with
friendly approval, as though he were one of us, a member of the
community enjoying a fine day. He bought a fresh strawberry snow cone
from a vendor and bit into it like he was a starving man and it was wet
fruit. He touched the pigtails on a little girl's head and brushed his
loins against a woman, then stepped back with an elaborate apology on
his face.

'I'll be back,' I said.

'Billy Bob?' Mary Beth said.

Moon went out the side exit of the stands to a long,
flat cement building that served as a public shower and men's room
during Indian powwows and rodeos and county fairs. A few kids stood at
the urinals but no Garland T. Moon.

I walked along the duckboards, past the row of
toilet stalls, until I saw a pair of plastic cowboy boots under a door
and heard a man coughing deep in his throat. Next to the boots was a
strawberry snow cone that had splattered on the duckboards.

I already saw the next moments in my mind's eye—the
door of the stall flying back in his face, my fist nailing him
across the bridge of the nose, my boots coming down on his head when he
hit the floor.

But that wasn't the way it played out.

When I shoved the door open, I watched a man
imploding inside, his head and chest bent over the toilet bowl, his
hands wedged against the walls, while he tried to expel a stream of
dark blood from his mouth and keep from strangling on it at the same
time.

'Hold on, Moon. I'll get here with the medics,' I
said.

I found the ambulance by the entrance to the arena
and walked along beside it to the cement building and watched two
paramedics load Moon on a gurney and wheel him back outside. A white
towel was wrapped around his throat and chin. Each time he coughed the
towel speckled with blood.

'You know this man?' one of the medics asked me.

'Not really,' I said.

'Yeah, he does. You might say I'm an old friend of
the family,' Moon said.

'You're not a clever man, Moon,' I said.

The muscles in his face contorted; his hand came off
the gurney and locked around my wrist like links in an iron chain.

'This don't change nothing. One day I'm gonna tell
you something that'll turn you into a dog trying to pass broken glass,'
he said.