CHAPTER 46

"Ready, Precious?"

Jame Gumb was propped against the headboard of his bed and very comfortable, the little dog curled up warm on his tummy.

Mr. Gumb had just washed his hair and he had a towel wrapped around his head. He rummaged in the sheets, found the remote control for his VCR, and pushed the play button.

He had composed his program from two pieces of videotape copied onto one cassette. He watched it every day when he was making vital preparations, and he always watched it just before he harvested a hide.

The first tape was from scratchy film of Movietone News, a black-and-white newsreel from 1948. It was the quarter-finals of the Miss Sacramento contest, a preliminary event on the long road to the Miss America pageant in Atlantic City.

This was the swimsuit competition, and all the girls carried flowers as they came in a file to the stairs and mounted to the stage.

Mr. Gumb's poodle had been through this many times and she squinted her eyes when she heard the music, knowing she'd be squeezed.

The beauty contestants looked very World War II. They wore Rose Marie Reid swimsuits, and some of the faces were lovely. Their legs were nicely shaped too, some of them, but they lacked muscle tone and seemed to lap a little at the knee.

Gumb squeezed the poodle.

"Precious, here she comes, hereshecomes hereshecomes!"

And here she came, approaching the stairs in her white swimsuit, with a radiant smile for the young man who assisted at the stairs, then quick on her high heels away, the camera following the backs of her thighs: Mom. There was Mom.

Mr. Gumb didn't have to touch his remote control, he'd done it all when he dubbed this copy. In reverse, here she came backward, backward down the stairs, took back her smile from the young man, backed up the aisle, now forward again, and back and forward, forward and back.

When she smiled at the young man, Gumb smiled too.

There was one more shot of her in a group, but it always blurred in freeze-frame. Better just to run it at speed and get the glimpse. Mom was with the other girls, congratulating the winners.

The next item he'd taped off cable television in a motel in Chicago-- he'd had to rush out and buy a VCR and stay an extra night to get it. This was the loop film they run on seedy cable channels late at night as background for the sex ads that crawl up the screen in print. The loops are made of junk film, fairly innocuous naughty movies from the forties and fifties, and there was nudist camp volleyball and the less explicit parts of thirties sex movies where the male actors wore false noses and still had their socks on. The sound was any music at all. Right now it was "The Look of Love," totally out of sync with the sprightly action.

There was nothing Mr. Gumb could do about the ads crawling up the screen. He just had to put up with them.

Here it is, an outdoor pool-- in California, judging from the foliage. Good pool furniture, everything very fifties. Naked swimming, some graceful girls. A few of them might have appeared in a couple of B-pictures. Sprightly and bouncing, they climbed out of the pool and ran, much faster than the music, to the ladder of a water slide, climbed up-- down they came, Wheeee! Breasts lifting as they plunged down the slide, laughing, legs out straight, Splash!

Here came Mom. Here'she came, climbing out of the pool behind the girl with the curly hair. Her face was partly covered by a crawl ad from Sinderella, a sex boutique, but here you saw her going away, and there she went up the ladder all shiny and wet, wonderfully buxom and supple, with a small cesarean scar and down the slide Wheeee! So beautiful, and even if he couldn't see her face, Mr. Gumb knew in his heart it was Mom, filmed after the last time in his life that he ever got to really see her. Except in his mind, of course.

The scene switched to a filmed ad for a marital aid and abruptly ended.

The poodle squinted her eyes two seconds before Mr. Gumb hugged her tight.

"Oh, Precious. Come here to Mommy. Mommy's gonna be so beautiful."

Much to do, much to do, much to do to get ready for tomorrow.

He could never hear it from the kitchen even at the top of its voice, thank goodness, but he could hear it on the stairs as he went down to the basement. He had hoped it would be quiet and asleep. The poodle, riding beneath his arm, growled back at the sounds from the pit.

"You've been raised better than that," he said into the fur on the back of her head.

The oubliette room is through a door to the left at the bottom of the stairs. He didn't spare it a glance, nor did he listen to the words from the pit-- as far as he was concerned, they bore not the slightest resemblance to English.

Mr. Gumb turned right into the workroom, put the poodle down and turned on the lights. A few moths fluttered and lit harmlessly on the wire mesh covering the ceiling lights.

Mr. Gumb was meticulous in the workroom. He always mixed his fresh solutions in stainless steel, never in aluminum.

He had learned to do everything well ahead of time. As he worked he admonished himself:

You have to be orderly, you have to be precise, you have to be expeditious, because the problems are formidable.

The human skin is heavy-- sixteen to eighteen percent of body weight-- and slippery. An entire hide is hard to handle and easy to drop when it's still wet. Time is important too; skin begins to shrink immediately after it has been harvested, most notably from young adults, whose skin is tightest to begin with.

Add to that the fact that the skin is not perfectly elastic, even in the young. If you stretch it, it never regains its original proportions. Stitch something perfectly smooth, then pull it too hard over a tailor's ham, and it bulges and puckers. Sitting at the machine and crying your eyes out won't remove one pucker. Then there are the cleavage lines, and you'd better know where they are, Skin doesn't stretch the same amount in all directions before the collagen bundles deform and the fibers tear; pull the wrong way, and you get a stretch mark.

Green material is simply impossible to work with. Much experimentation went into this, along with much heartbreak, before Mr. Gumb got it right.

In the end he found the old ways were best. His procedures were these: First he soaked his items in the aquariums, in vegetable extracts developed by the Native Americans-- all-natural substances that contain no mineral salts whatsoever. Then he used the method that produced the matchless butter-soft buckskin of the New World-- classic brain tanning. The Native Americans believed that each animal has just enough brains to tan its own hide. Mr. Gumb knew that this was not true and long ago had quit trying it, even with the largest-brained primate. He had a freezer full of beef brains now, so he never ran short.

The problems of processing the material he could manage; practice had made him near perfect.

Difficult structural problems remained, but he was especially well qualified to solve them, too.

The workroom opened into a basement corridor leading to a disused bath where Mr. Gumb stored his hoisting tackle and his timepiece, and on to the studio and the vast black warren beyond.

He opened his studio door to brilliant light-- floodlights and incandescent tubes, color-corrected to daylight, were fastened to ceiling beams. Mannequins posed on a raised floor of pickled oak. All were partly clad, some in leather and some in muslin patterns for leather garments. Eight mannequins were doubled in the two mirrored walls-- good plate mirror too, not tiles. A makeup table held cosmetics, several wig forms, and wigs. This was the brightest of studios, all white and blond oak.

The mannequins wore commercial work in progress, dramatic Armani knockoffs mostly, in fine black cabretta leather, all roll-pleats and pointed shoulders and breastplates.