The Silence of the Lambs - Страница 44

"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.

The third wall was taken up by a large worktable, two commercial sewing machines, two dressmaker's forms, and a tailor's form cast from the very torso of Jame Gumb.

Against the fourth wall, dominating this bright room, was a great black armoire in Chinese lacquer that rose almost to the eight-foot ceiling. It was old and the designs on it had faded; a few gold scales remained where a dragon was, his white eye still clear and staring, and here was the red tongue of another dragon whose body has faded away. The lacquer beneath them remained intact, though it was crackled.

The armoire, immense and deep, had nothing to do with commercial work. It contained on forms and hangers the Special Things, and its doors were closed.

The little dog lapped from her water bowl in the corner and lay down between the feet of a mannequin, her eyes on Mr. Gumb.

He had been working on a leather jacket. He needed to finish it-- he'd meant to get everything out of the way, but he was in a creative fever now and his own muslin fitting garment didn't satisfy him yet.

Mr. Gumb had progressed in tailoring far beyond what the California Department of Corrections had taught him in his youth, but this was a true challenge. Even working delicate cabretta leather does not prepare you for really fine work.

Here he had two muslin fitting garments, like white waistcoats, one his exact size and one he had made from measurements he took while Catherine Baker Martin was still unconscious. When he put the smaller one on his tailor's form, the problems were apparent. She was a big girl, and wonderfully proportioned, but she wasn't as big as Mr. Gumb, and not nearly so broad across the back.

His ideal was a seamless garment. This was not possible. He was determined, though, that the bodice front be absolutely seamless and without blemish. This meant all figure corrections had to be made on the back. Very difficult. He'd already discarded one fitting muslin and started over. With judicious stretching, he could get by with two underarm darts-- not French darts, but vertical inset darts, apexes down. Two waist darts also in the back, just inside his kidneys. He was used to working with only a tiny seam allowance.

His considerations went beyond the visual aspects to the tactile; it was not inconceivable that an attractive person might be hugged.

Mr. Gumb sprinkled talc lightly on his hands and embraced the tailor's form of his body in a natural, comfortable hug.

"Give me a kiss," he said playfully to the empty air where the head should be. "Not you, silly," he told the little dog, when she raised her ears.

Gumb caressed the back of the form at the natural reach of his arms. Then he walked behind it to consider the powder marks. Nobody wanted to feel a seam. In an embrace, though, the hands lap over the center of the back. Also, he reasoned, we are accustomed to the centerline of a spine. It is not as jarring as an asymmetry in our bodies. Shoulder seams were definitely out, then. A center dart at the top was the answer, apex a little above the center of the shoulder blades. He could use the same seam to anchor the stout yoke built into the lining to provide support. Lycra panels beneath plackets on both sides-- he must remember to get the Lycra-- and a Velcro closure beneath the placket on the right. He thought about those marvelous Charles James gowns where the seams were staggered to lie perfectly flat.

The dart in back would be covered by his hair, or rather the hair he would have soon.

Mr. Gumb slipped the muslin off the dressmaker's form and started to work.

The sewing machine was old and finely made, an ornate foot-treadle machine that had been converted to electricity perhaps forty years ago. On the arm of the machine was painted in gold-leaf scroll "I Never Tire, I Serve." The foot treadle remained operative, and Gumb started the machine with it for each series of stitches. For fine stitching, he preferred to work barefoot, rocking the treadle delicately with his meaty foot, gripping the front edge of it with his painted toes to prevent overruns. For a while there were only the sounds of the machine, and the little dog snoring, and the hiss of the steam pipes in the warm basement.

When he had finished inserting the darts in the muslin pattern garment, he tried it on in front of the mirrors. The little dog watched from the corner, her head cocked.

He needed to ease it a little under the arm holes. There were a few remaining problems with facings and interfacings. Otherwise it was so nice. It was supple, pliant, bouncy. He could see himself just running up the ladder of a water slide as fast as you please.

Mr. Gumb played with the lights and his wigs for some dramatic effects, and he tried a wonderful choker necklace of shells over the collar line. It would be stunning when he wore a décolleté gown or hostess pajamas over his new thorax.

It was so tempting to just go on with it now, to really get busy, but his eyes were tired. He wanted his hands to be absolutely steady, too, and he just wasn't up for the noise. Patiently he picked out the stitches and laid out the pieces. A perfect pattern to cut by.

"Tomorrow, Precious," he told the little dog as he set the beef brains out to thaw. "We'll do it first thing tomooooooorooow. Mommy's gonna be so beautiful !"

CHAPTER 47

Starling slept hard for five hours and woke in the pit of the night, driven awake by fear of the dream. She bit the corner of the sheet and pressed her palms over her ears, waiting to find out if she was truly awake and away from it. Silence and no lambs screaming. When she knew she was awake her heart slowed, but her feet would not stay still beneath the covers. In a moment her mind would race, she knew it.

It was a relief when a flush of hot anger rather than fear shot through her.