Infinite Jest (47 page)

John Wayne's post-pirouette backward inertia has carried him into the heavy black tarpaulin that hangs several meters behind both sides of the 36 courts on a system of rods and rings not unlike a very ambitious shower-curtain, the tarps hiding from view the waterstained walls of puffy white-wrapped insulation and creating a narrow passage for players to get to their courts without crossing open court and interrupting play. Wayne hits the heavy tarp and kind of bounces off, producing a boom that resounds. The sounds on court in an indoor venue are huge and complex; everything echoes and the echoes then meld. In the gallery, Tavis and Nwangi bite their knuckles and deLint squashes his nose flat against the glass in anxiety as everyone else politely applauds. Schtitt calmly taps his pointer against the top of his boot at times of high stress. Wayne isn't hurt, though. Everybody goes into the tarp sometimes. That's what it's there for. It always sounds worse than it is.

The boom of the tarp sounds bad down below, though. The boom rattles Teddy Schacht, who's kneeling in the little passage right behind Court 1, holding M. Pemulis's head as Pemulis down on one knee is sick into a tall white plastic spare-ball bucket. Schacht has to haul Pemulis slightly back as Wayne's outline bulges for a moment into the billowing tarp and threatens to knock Pemulis over, plus maybe the bucket, which would be a bad scene. Pemulis, deep into the little hell of his own nauseous pre-match nerves, is too busy trying to vomit w/o sound to hear the mean sound of Wayne's winner or the boom of him against the heavy curtain. It's freezing back here in the little passage, up next to insulation and I-beams and away from the infrared heaters that hang over the courts. The plastic bucket is full of old bald Wilson tennis balls and Pemulis's breakfast. There is of course an odor. Schacht doesn't mind. He lightly strokes the sides of Pemulis's head as his mother had stroked his own big sick head, back in Philly.

Placed at eye-level intervals in the tarp are little plastic windows, archer-slit views of each court from the cold backstage passage. Schacht sees John Wayne walk to the net-post and flip his card as he and his opponent change sides. Even indoors, you change ends of the court after every odd-numbered game. No one knows why odd rather than even. Each P.W.T.A. court has, welded to its west net-post, another smaller post with a double set of like flippable cards with big red numerals from 1 to 7; in umpless competition you're supposed to flip your card appropriately at every change of sides, to help the gallery follow the score in the set. A lot of junior players neglect to flip their cards. Wayne is always automatic and scrupulous in his accounts. Wayne's father is an asbestos miner who at forty-three is far and away the seniorest guy on his shift; he now wears triple-thick masks and is trying to hold on until John Wayne can start making serious $ and take him away from all this. He has not seen his eldest son play since John Wayne's Qué-becois and Canadian citizenships were revoked last year. Wayne's card is on (5); his opponent has yet to flip a card. Wayne never even sits down to take the 60 seconds he's allowed on each change of sides. His opponent, in his light-blue flare-collared shirt with WILSON and P.W.T.A. on the sleeves, says something not unfriendly as Wayne brushes past him by the post. Wayne doesn't respond one way or the other. He just goes back to the baseline farthest from Schacht's little tarp-window and bounces a ball up and down in the air with the reticulate face of his stick as the Port Washington boy sits in his little canvas director's chair and towels the sweat off his arms (neither of which is large) and looks briefly up at the gallery behind the panel. The thing about Wayne is he's all business. His face on court is blankly rigid, with the hypertonic masking of schizophrenics and Zen adepts. He tends to look straight ahead at all times. He is about as reserved as they come. His emotions emerge in terms of velocity. Intelligence as strategic focus. His play, like his manner in general, seems to Schacht less alive than undead. Wayne tends to eat and study alone. He's sometimes seen with two or three expatriate E.T.A. Nucks, but when they're together they all seem morose. It's wholly unclear to Schacht how Wayne feels about the U.S. or his citizenship-status. He figures Wayne figures it doesn't much matter: he is destined for the Show; he will be an all-business entertainer, citizen of the world, everywhere undead, endorsing juice drinks and liniment ointment.

Pemulis has nothing left and is spasming dryly over the bucket, his covered Dunlop gut-strung sticks and gear tumbled just past Schacht's in the passage. They are the last guys to get out on court. Schacht is to play #3 singles on the 18's B team, Pemulis #6-B. They are undeniably tardy getting out there. Their opponents stand out on the baselines of Courts 9 and 12 waiting for them to come out and warm up, jittery, stretching out the way you do when you've already stretched out, dribbling fresh bright balls with their black Wilson widebody sticks. The whole Port Washington Tennis Academy student body gets free and mandatory Wilson sticks under an administrative contract. Nothing personal, but no way would Schacht let an academy tell him what brand of stick to swing. He himself favors Head Masters,-which is regarded as bizarre and eccentric. The AMF-Head rep brings them out to him out of some cobwebby warehouse where they're kept since the line was discontinued during the large-head revolution many years back. Aluminum Head Masters have small, perfectly round heads and a dull blue plastic brace in the V of the throat and look less like weapons than toys. Coyle and Axford are always kibitzing that they've seen a Head Master for sale at like a flea market or garage sale someplace and Schacht better get down there quick. Schacht, who's historically tight with Mario and with Lyle down in the weight room (where Schacht, since the knee and the Crohn's Disease, likes to go even on off-days, to work off discomfort, and deLint and Loach are always on him about not getting musclebound), has a way of just smiling and holding his tongue when he's kibitzed.

'Are you okay?’

Pemulis says 'Blarg.' He wipes at his forehead in a gesture of completion and submits to being hauled to his feet and stands there on his own with his hands on his hips, slightly bent.

Schacht straightens and pulls some wrinkles out of the bandage around the brace on his knee. 'Take maybe another second. Wayne's already way up.’

Pemulis sniffs unpleasantly. 'How come this happens to me every time? This is not like me.’

'Happens to some people is all.’

'This hunched spurting pale guy is not any me I ever recognize.’

Schacht gathers gear. 'Some people their nerves are in their stomachs. Cisne, Yard-Guard, Lord, you: stomach men.’

'Teddy brother man I'm never once hung-over for a competitive thing. I take elaborate precautions. Not so much as a whippet. I'm always in bed the night before by 2300 all pink-cheeked and clean.’

As they pass the plastic window behind Court 2 Schacht sees Hal Incan-denza try to pass his serve-and-volley guy with a baroque sideways slice down the backhand side and miss just wide. Hal's card's already flipped to (4). Schacht gives a little toodleoo-wave that Hal can't see to acknowledge. Pemulis is in front of him as they go down the cold passage.

'Hal's way up too. Another victory for the forces of peace.’

'Jesus I feel awful,' Pemulis says.

'Things could be worse.’

'Expand on that, will you?’

'This wasn't like that Atlanta stomach-incident. We were enclosed here. No one saw. You saw that glass; to Schtitt and deLint it's all a silent movie down here. Nobody heard thing one. Our guys'll think we were back here butting heads to get enraged or something. Or we can tell them I got a cramp. That was a freebie, in terms of stomach-incidents.’

Pemulis is a whole different person before competitive play.

T'm fucking inept.’

Schacht laughs. 'You're one of the eptest people I know. Get off your own back.’

'Never remember getting sick as a kid. Now it's like I make myself sick just from worrying about getting sick.’

'Well then there you go. Just don't think anything thoracic. Pretend you don't have a stomach.’

'I have no stomach,' Pemulis says. His head stays still when he talks, at least, negotiating the passage. He carries four sticks, a rough white P.W.T.A. locker-room towel, an empty ball-can full of high-chlorine Long Island water, nervously zipping and unzipping the top stick's cover. Schacht only ever carries three sticks. His don't have covers on them. Except for Pemulis and Rader and Unwin and a couple others who favor gut strings and really need protection, nobody at Enfield uses racquet-covers; it's like an antifashion statement. People with covers make a point of telling you they're valid and for gut. A similar point of careful nonpride is never having their shirts tucked in. Ortho Stice used to drill in cut-off black jeans until Schtitt had Tony Nwangi go over and scream at him about it. Each academy has its own style or antistyle. The P.W.T.A. people, more or less a de facto subsidiary of Wilson, have unnecessary light-blue Wilson covers on all their courtside synthetic-strung sticks and big red Ws stencilled onto their Wilson synth-gut strings. You have to let your company of choice spraypaint their logo on your strings if you want to be on their Free List for sticks, is the universal junior deal. Schacht's orange Gamma-9 synthetic strings have AMF-Head Inc.'s weird Taoist paraboloid logo sprayed on. Pemulis isn't on Dunlop's Free List
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but gets the E.T.A. stringer to put Dunlop's dot-and-circumflex trademark on all his stick's strings, as a kind of touchingly insecure gesture, in Schacht's opinion.

'I played your guy in Tampa two years ago,' Pemulis says, sidestepping one of the old discolored drill-balls that always litter passages behind indoor tarps. 'Name escapes.’

'Le-something,' says Schacht. 'Yet another Nuck. One of those names that start with Le.' Mario Incandenza, in a pair of little Audern Tallat-Kelpsa's E.T.A. drill-sweats, is lurching noiselessly some ten m. behind them in the passage, his police-lock up and head uncamera'd; he's framing Schacht's back in a three-cornered box with his thumbs and long fingers, simulating the view through a lens. Mario's been authorized to travel with the squads to the WhataBurger Invitational for final footage for his short and upbeat annual documentary — brief testimonials and lighthearted moments and behind-the-scenes shots and emotional moments on court, etc. — that every year gets distributed to E.T.A. alumni and patrons and guests at the pre-Thanksgiving fundraising exhibition and formal fete. Mario is wondering how you could get enough light back here in a tarp-tunnel to film a tense cold pre-match gladiatorial march behind an indoor tarp, carrying tennis racquets in your arms like an obscene bouquet, without sacrificing the dim and diffuse and kind of gladiatorially doomed quality figures in the dim passage have. After Pemulis has mysteriously won, he'll tell Mario maybe a Marino 350 with a diffusion-filter on some kind of overhead cable you could winch along behind the figures at about twice the focal length, or else use fast film and station the Marino at the tunnel's very start and let the figures' backs gradually recede into a kind of doomed mist of low exposure.

'I remember your guy as one big forehand. Nothing but slice off the back. His VAPS never varies. If you kick the serve over to the backhand he'll slice it short. You can come in behind it at like will.’

'Worry about your own guy,' Schacht says.

'Your guy's got zero imagination.’

'And you've got an empty expanse where your stomach ought to be, remember.’

'I am a man with no stomach.’

They emerge through flaps in the tarp with hands upraised in slight apology to their opponents, walk out onto the warmer courts, the slow green eraserish footing of indoor composite. Their ears dilate into all the sounds in the larger space. Gasps and thwaps and pocks and sneakers' squeaks. Pemulis's court is almost down in female territory. Courts 13 to 24 are Girls' 18's A and B, all bobbing ponytails and two-handed backhands and high-pitched grunts that if girls could only hear what their own grunts sounded like they'd cut it out. Pemulis can't tell whether the very muffled applause way down up behind the gallery-panel is sardonic applause at his finally appearing after several minutes of vomiting or is sincerely for K. D. Coyle on Court 3, who's just smashed a sucker-lob so hard it's bounced up and racked 3's tray of hanging lights. Except for some rubber in his legs Pemulis feels stomachless and tentatively OK. This match is an all-out must-win for him in terms of the WhataBurger.

The infra-lit courts are warm and soft; the heaters bolted into both walls above the tarp's upper hem are the deep warm red of little square suns.

The Port Washington players all wear matching socks and shorts and tucked-in shirts. They look sharp but effete, a mannequinish aspect to them. Most of the higher-ranked E.T.A. students are free to sign on with different companies for no fees but free gear. Coyle is Prince and Reebok, as is Trevor Axford. John Wayne is Dunlop and Adidas. Schacht is Head Master sticks but his own clothes and knee-supports. Ortho Stice is Wilson and all-black Fila. Keith Freer is Fox sticks and both Adidas and Reebok until one of the two companies' NNE reps catches on. Troeltsch is Spalding and damn lucky to get that. Hal Incandenza is Dunlop and lightweight Nike hightops and an Air Stirrup brace for the dicky ankle. Shaw is Kennex sticks and clothes from Tachani's Big St Tall line. Pemulis's entrepreneurial vim has earned him complete freedom of choice and expense, though he's barred by deLint and Nwangi from shirts that mention the Sinn Fein or that extol Allston MA in any way, in competition.

Before going back to the baseline and warming up groundstrokes Schacht likes to take a little time courtside futzing around, hitting his heads' frames against strings and listening for the pitch of best tension, arranging his towel on the back of his chair, making sure his cards aren't still flipped from some previous match, etc., and then he prefers to sort of snuffle around his baseline for a bit, checking for dustbunnies of ball-fuzz and little divots or ridges from cold-weather heave, adjusting the brace on his ruined knee, putting his thick arms out cruciform and pulling them way back to stretch out the old pecs and cuffs. His opponent waits patiently, twirling his poly-butylene stick; and when they finally start to hit around, the guy's expression is pleasant. Schacht always prefers a pleasant match, one way or the other. He really doesn't care all that much whether he wins anymore, since first the Crohn's and then the knee at sixteen. He'd probably now describe his desire to win as a preference, nothing more. What's singular is that his tennis seems to have improved slightly in the two years since he stopped really caring. It's like his hard flat game stopped having any purpose beyond itself and started feeding on itself and got fuller, looser, its edges less jagged, though everybody else has been improving too, even faster, and Schacht's rank has been steadily declining since sixteen, and the staff has stopped talking even about a top-college ride. Schtitt's warmed to him, though, since the knee and the loss of any urge beyond the play itself, and treats Schacht now almost more like a peer than an experimental subject with something at stake. Schacht is already in his heart committed to a dental career, and he even interns twice a week for a root-specialist over at the National Cranio-Facial Pain Foundation, in east Enfield, when not touring.