Collected Stories

by Peter Carey

  Crabs says, you’ll stain the upholstery. He searches for the other boot and the bike chain.

  He runs through the cars. He doesn’t know what he is looking for, just those two wheels, one will do because he has the spare. His white jacket is weighed down by the chain. He runs through the cars. Sometimes he stops. He knocks on windows but no one will answer. Everyone’s too scared.

  He rounds the back of a late model Chevvy and comes face to face with the cop car. One of the cops is putting something in the boot. Crabs is convinced that it’s the wheels. He keeps going past the car, walks round the perimeter of the drive-in and returns to the Dodge. Carmen has taken the blankets down and is watching the film. He tells her his theory about the cops and she says, shh, watch.

  The manager fills out the two forms and gives them meal tickets. He is a slow fat man with a worn grey cardigan. He explains the meal ticket system — the government will supply them with ten dollars’ worth of tickets each week, these tickets can be spent at the Ezy-Eatin right here on the drive-in. If they run out of tickets, that’s too bad, because it’s all they’ll get. If they want blankets they have to sign for them now. Carmen asks about banana fritters. The manager looks at her feet and slowly raises his half-shut eyes until they meet hers. He says that banana fritters are only made at night, but she can purchase anything sold in the cafeteria.

  The manager then asks if there’s anyone they want to notify. Crabs begins to give him Frank’s name and then stops. The manager waits and licks the stubby pencil he is using. Crabs says, it doesn’t matter. The manager says, that’s your decision. Crabs says, no it doesn’t matter, forget it. He can see Frank when he gets the notification, when he learns that his Dodge has lost two wheels, when he learns Crabs took it to a drive-in. He’d come out and kill them both.

  Carmen says, we’ll walk home next Saturday.

  The manager sighs loudly and scratches his balls. Crabs wonders if he should hit him. He’s got the chain in his jacket. The manager is saying, “Now this time listen to what I tell you. First, you ain’t got no public transport …”

  Carmen says, I didn’t mean public transport. I …

  “… you don’t have a bus or a train because buses and trains don’t come to the Star Drive-in. They’ve got no reason to, do they? Secondly, you can’t walk down that highway, young lady, because it’s an ‘S’ road. And if you know the laws of the land you ain’t permitted to walk on or near an ‘S’ road.”

  He looks across at Crabs and says, “And dogs aren’t allowed on ‘S’ roads, or bicycles or learner drivers. So we’re not allowed to let you out of that gate until this bloody government finds a bus that they can spare to get you all home. There are now seventy-three people in your situation. I don’t like it either. I don’t make a profit from you so don’t think I want you around. So we’ll all have to wait until something is done. And we all pray to God that something’s done soon.” He crosses himself absently and Carmen laughs.

  The manager stares at her blankly. Crabs would like to lay that chain across his fat face. The man says, “You want me to notify your mother?” and Carmen becomes very quiet and smoothes her skirt with great concentration. She says “no” very quietly.

  The manager is standing up. He shakes them both by the hand. He advises them to sign for blankets but they say no, they have some. He has become very fatherly. At the door he shakes their hands again and says he hopes they can make themselves comfortable.

  It is bright sunlight outside. Carmen says, he seemed nice.

  Crabs says, he’s a bastard. I’ll get him.

  Carmen says, for what?

  Crabs says, for being a bastard.

  Carmen takes his hand and they walk to the Ezy-Eatin, dodging in and out of the temporary clothes lines that have sprung up since last night. There are about thirty cars scattered throughout the drive-in. Some kids are playing on the swings beneath the screen. In front of the Ezy-Eatin a blonde woman of about forty is hanging out her washing and wearing a grey blanket like a cape. She smiles at them. Crabs scowls. When they pass she calls out, “Honeymooners”, and a man laughs. Crabs takes his hand out of Carmen’s but she grabs it back.

  The woman at the Ezy-Eatin explains to Carmen about the banana fritters, that they only have them at night, so she has an ice cream sundae instead. Crabs has a chocolate malted with double malt. The woman takes the coupons. Carmen says, isn’t it lovely, like a picnic.

  It takes him a week to collect the bricks for the back wheel. When he has enough he chocks them under the rear axle and then puts the spare on the front. Carmen reads comics and listens to the music they play through the speakers. Crabs goes looking for another Dodge to get a wheel from. There aren’t any.

  At night he wanders round the drive-in tapping on car windows. He plans to get a lift out, get a wheel somehow, and return. But no one will open their windows.

  He begins to collect petrol caps and hub caps, just to keep himself occupied. When he has enough he’ll find a Karboy to swap his lot for a wheel. He feels heavy and dull and spends a lot of time sleeping. Carmen seems happy. She eats banana fritters at night and watches the movie. Crabs strips down the engine and puts it together again. A lot of the day he spends balancing the flow through the twin carbies, until, one afternoon at about four o’clock, he runs out of petrol.

  There is no way out. Carmen tells him this every day. Each day she comes back from the Ladies’ with new reasons why there is no way out. At the Ladies’ they know everything. They stand and squat for hours on end, their arms folded, holding up their breasts. At the Men’s it is the same. But Crabs shits in silence with his ears disconnected. He has no wish to know why there is no way out.

  He is waiting for the arrival of a 1956 Dodge. He eats little, saving his coupons to exchange for a wheel and hubcap he will need. There are dozens of other wheels he could use, but he wants to return Frank’s Dodge in perfect condition. So he waits, lying on the leopard skin upholstery he has come to hate. He tries not to think of Frank but he has nothing else to think of. He is not used to this, doing nothing. He has always been busy before, getting fit, or going to the pictures or out in the truck with Frank. And all day he has worked, delivering engravers’ proofs in the Mini Minor. He hated that Mini. He misses that hate. He misses driving it, knocking shit out of its piddling little engine, revving it hard enough to burst, waiting for the day when he would work at Allied Panel and Towing.

  But his mind keeps coming back to Frank and every day the pain is worse. He tries to think of reasons why Frank will forgive him. He can’t think of any. He tries to make Frank’s big spud face smile at him and say, forget it, mate, it happens to the best of us. But the face contorts, the big knobbly jaw juts and he sees Frank take out his teeth, ready for a fight. Or he sees Frank’s hand holding the shifting wrench.

  Frank said, you get a nice car, people respect you when you got a nice car. You go somewhere, a motel, and you got a nice car, they look after you. Frank looked after Crabs. Frank said, you build up your body, then you can stand up for yourself anywhere. You build up your body and you can walk in anywhere and know how to look after yourself. He gave him the chest expanders and an old photo he had of Charles Atlas. Frank said, that man is a genius.

  Crabs hid in the Dodge and tried to keep his mind free of all these things. He tried to keep his mind free by keeping busy with Carmen but she didn’t like doing it in the daylight.

  Carmen lies on the roof, sunbaking, while Crabs hides in the Dodge. He makes plans for getting out and he tells them to Carmen. But the wire is now electrified. But the drive-in is closed to visitors. But the security cars circle the perimeter all night.

  Crabs walks through the drive-in each morning after breakfast, looking for the Dodge he is sure will arrive, somehow, one night. He picks his way through the clothes lines, around the temporary toilet facilities, skirts round the rubbish disposal holes, edges by the card games and temporary cricket pitches. It is like the beach when he was a kid. Everyb
ody is doing something. He would like to blow them all up.

  He looks at Carmen’s face and tries to see exactly what has happened to it. It is older. Her sweater is covered with small “pills” of wool. Her hair is pulled back and done in a plait but doesn’t hold in her ears which seem to stick out. She has got fatter. Her mouth is full of hamburger while she tells him. He knows. He has seen it. He watched it all. She knows he saw it. She wipes her mouth clean of hamburger grease with the arm of her sweater, and tells him about what happened last night.

  He says, I know, I saw.

  But she tells him, because she feels he sees nothing. She has told everyone at the Ladies’ about him and they’ve come to gaze at him, individually and in groups. He puts up the blankets to keep out their stares, but Carmen invites them in. Their husbands come and invite him to cricket or two-up. He thinks of Frank and the Dodge that will come.

  He says, I saw.

  He saw, last night, the convoy of trucks come in through the main gate of the drive-in. Everybody went to look. Crabs went afterwards and stood on the edge of the crowd. For some reason they cheered, they cheered the trucks and the drivers as if they were liberating troops. But the trucks only held more cars, cars without wheels, cars without engines, crippled cars, cars unable to move. Crabs watched silently, wondering what it meant.

  He watched while the huge mobile crane shifted the cars from the trucks to the ground. He watched the new cars being arranged in lines, in vacant spaces. And when everyone else had lost interest he still watched. He saw the prefabricated Nissen huts come on a huge Mercedes low-loader. He watched the Nissen huts unloaded under the harsh glare of searchlights that had been mounted on top of the old projection room, on top of the Ezy-Eatin.

  And he was still there at dawn, when the low-loaders, the cranes, and the other trucks had gone, he was there when the buses began to arrive.

  He was there, removing two wheels from a 1956 Dodge.

  Everybody goes to stare at the arrivals. Carmen is frantic, she begs him to come. He has never seen her so happy, so angry. Her eyes are sharp and clear. He would like to screw her but he is busy. He would love to hold her, to calm her, warm her, cool her. But he has two wheels from a 1956 Dodge and he is busy. In the corner of his eyes he sees exotic things: cloaks, robes, dark skin, swarthy complexions. He hears voices he doesn’t understand, he thinks of the tower of Babel and then he thinks of the Sunday School where he heard about the tower of Babel and then he thinks about peppercorn trees and then he thinks of the two wheels and he tells Carmen, soon, I’ll come soon.

  The jack is in good shape. He has kept it in good shape. He jacks up the back of the car and removes the bricks. Then he puts on the new wheel. The tyre is a little flat. He guesses at about fifteen pounds per square inch, but it is good enough. Then he removes the front wheel, and puts it back in the spare compartment, and then he puts on the new front wheel.

  He will need petrol. Maybe oil too.

  He feels as if he is alive again. He will bring the car back to Frank. He will tell a story to him, a fantastic story. He was driving in the country. He was forced off the road by a Mercedes low-loader, and cut off by a jeep. They lifted the Dodge onto the low-loader with Crabs and Carmen inside, and drove off to a country rendezvous. There was a gang. Crabs joined the gang. At night they drove off with the low-loaders. Crabs drove one of them, a Leyland. They stole cars from off the highway. Made the drivers walk home. Crabs became their leader after a fight. He regained the Dodge. Rebuilt it. Then he escaped and brought it back here, to you, Frank.

  He is happy. There is tumult around him. He will need to check the oil and petrol. He lifts the bonnet and has the dip stick half out when he notices the carbies are missing. He stops, frozen. Then, slowly he begins the check. The generator is gone. The distributor also. The fan and fan belt. The battery together with the leads. Both radiator hoses and the air cleaner.

  Something inside him goes very taut. Some invisible string is taken in one more notch.

  He walks, very slowly, back to the newly arrived Dodge. There are people in it. He ignores them. He opens the door and tugs the bonnet release catch. Someone pulls at his clothing. He knocks them off. He opens the bonnet and looks in, looking for the parts he will salvage. There is nothing there. No engine. A dirty piece of plywood has been placed inside to give the engine compartment a floor. Some small chickens, very young, are drinking water from a bowl in the middle.

  He lies back on the leopard skin and gazes at the sights outside. Carmen is beside him. She is snuggled up against him. She is saying a lot. Slowly Crabs begins to see what his eyes see.

  A large group of Indians, dressed in saris, are gathered around a battered blue Ford Falcon. One of them, an old man, squats on the roof. The Ford Falcon was delivered last night. A group of men, possibly Italians, lean against the front of Frank’s Dodge. They are laughing. They seem to be playing a game, taking turns to throw a small stone so that it lands near the front wheel of a bright yellow Holden Monaro. Small children, black, with swollen bellies run past shouting, chased by a small English child with spectacles.

  Carmen is crying. She is saying, they are everywhere. They stare at me. They want to rape me.

  Crabs has been thinking. He has been thinking very deeply. Things have been occurring to him and he has reached a conclusion. He has formed the conclusion into a sentence and he tells Carmen the sentence.

  Crabs says, to be free, you must be a motor car or vehicle in good health.

  Carmen is crying. She says, you are mad, mad. They all said you were going mad.

  Crabs says, no, not mad, think about the words — to be free, you …

  She puts her hand over his mouth. She says, it stinks. It stinks. The whole place stinks of filthy wogs. They’re dirty, filthy, everything is horrible.

  Crabs sees a car moving along the lane that separates this line of cars from the next. It is a 1954 Austin Sheerline. Inside is the manager, he sits behind the wheel stiffly, looking neither left nor right. It is moving. Crabs is excited for a moment, wondering if he can buy the car with his meal tickets. The car narrowly misses the Indian family and, as it passes in front of him, he sees that the Austin is being pushed by an English family, a man, a woman, and three young boys.

  Crabs says, a motor car or vehicle in good health.

  Flags, some of them ragged and dirty, flutter in the evening breeze. With every step Crabs smells a different smell, a different dish, a different excretion. He walks slowly along the dusty lanes filled with bustling people. Carmen is in the Dodge. He left her with the bicycle chain and the doors locked.

  The situation has become such that no progress is possible. Crabs is now formulating a different direction. Movement is essential, it is the only thing he has ever believed. Only a motor car can save him and he is now manufacturing one. Crabs has decided to become a motor vehicle in good health.

  As yet, as he walks, he is unsure of what he will be. Not a Mini Minor. He would like something larger, stronger. He begins to manufacture the tyres, they are large and fat with heavy treads. He can feel them, he feels the way they roll along the dusty lanes. He feels them roll over an empty can and squash into the dust. Then the bumper bars, huge thick pieces of roughly welded steel to protect him in case of collision. Mud guards, large and curving. They feel cool and smooth in the evening breeze. There is something that feels like a tray, a tray at the back. He can feel, with his nerve ends, an apparatus, but as yet he doesn’t know what the apparatus is. The engine is a V8, a Ford, he feels the rhythm of its engine, the warm, strong vibratings. A six-speed gearbox and another lever to operate the towing rig. That is what the apparatus is, a towing rig.

  He feels whole. For the first time in his life Crabs feels complete. He shifts into low gear and cruises slowly between the lanes of wrecked cars, between the crowds, the families preparing their evening meals.

  And he knows he can leave.

  He has forgotten Carmen. He is complete. He changes into secon
d and turns on the lights, turning from one lane into the next, driving carefully through the maze of cars and Nissen huts, looking for the gate. The drive-in seems to have been extended because he drives for several miles in the direction of the south fence. He turns, giving up, and shifting into third looks for the west fence where the gate was.

  It is late when he finds it. His headlights pick up the entry office. No one seems to be on guard. As he comes closer he sees that the gates are open. He changes down to second, accelerates, and leaves the drive-in behind in a cloud of dust.

  On the highway he accelerates. He feels the light on top of him flashing and, for the pure joy of it, he turns on the siren. The truck has no governor and he sits it on 92 m.p.h., belting down the dark highway with the air blasting into the radiator, the cool radiator water cooling his hot engine.

  He has gone for an hour when he realizes that the road is empty. He is the only motor vehicle around. He drives through empty suburbs. There are no neon signs. No lights in the houses. A strong headwind is blowing. He begins to take sideroads. To turn at every turn he sees. He feels sharp pains as his tyres grate, squeal, and battle for grip on the cold hard roads. He has no sense of direction.

  He has been travelling for perhaps three hours. His speed is down now, hovering around 30. He turns a corner and enters a large highway. In the distance he can see lights.

  He feels better, warmer already. The highway takes him towards the lights, the only lights in the world. They are closer. They are here. He turns off the highway and finds himself separated from the lights by a high wire fence. Inside he sees people moving around, laughing, talking. Some are dancing. He drives around the perimeter of the wire, driving over rough unmade roads, through paddocks until, at last, he comes to a large gate. The gate is locked and reinforced with heavy-duty steel.

  Above the gate is a faded sign with peeling paint. It says, “Star Drive-in Theatre. Please turn off your lights.”