by Tim O'Brien
"Where's Jorgenson?" I said.
Another thing. Three times a day, no matter what, I had to stop whatever I was doing. I had to go find a private place and drop my pants and smear on this antibacterial ointment. The stuff left stains on the seat of my trousers, big yellow splotches, and so naturally there were some jokes. There was one about rear guard duty. There was another one about hemorrhoids and how I had trouble putting the past behind me. The others weren't quite so funny.
During the first full day of Alpha's stand-down, I didn't run into Bobby Jorgenson once. Not at chow, not at the EM club, not even during our long booze sessions in the Alpha Company hootch. At one point I almost went looking for him, but my friend Mitchell Sanders told me to forget it.
"Let it ride," he said. "The kid messed up bad, for sure, but you have to take into account how green he was. Brand-new, remember? Thing is, he's doing a lot better now. I mean, listen, the guy knows his shit. Say what you want, but he kept Morty Phillips alive."
"And that makes it okay?"
Sanders shrugged. "People change. Situations change. I hate to say this, man, but you're out of touch. Jorgenson—he's with us now."
"And I'm not?"
Sanders looked at me for a moment.
"No," he said. "I guess you're not."
Stiffly, like a stranger, Sanders moved across the hootch and lay down with a magazine and pretended to read.
I felt something shift inside me. It was anger, partly, but it was also a sense of pure and total loss: I didn't fit anymore. They were soldiers, I wasn't. In a few days they'd saddle up and head back into the bush, and I'd stand up on the helipad to watch them march away, and then after they were gone I'd spend the day loading resupply choppers until it was time to catch a movie or play cards or drink myself to sleep. A funny thing, but I felt betrayed.
For a long while I just stared at Mitchell Sanders.
"Loyalty," I said. "Such a pal."
In the morning I ran into Bobby Jorgenson. I was loading Hueys up on the helipad, and when the last bird took off, while I was putting on my shirt, I looked over and saw him leaning against my jeep, waiting for me. It was a surprise. He seemed smaller than I remembered, a little squirrel of a guy, short and stumpy-looking.
He nodded nervously.
"Well," he said.
At first I just looked down at his boots. Those boots: I remembered them from when I got shot. Out along the Song Tra Bong, a bullet inside me, all that pain, but for some reason what stuck to my memory was the unblemished leather of his fine new boots, factory fresh, no scuffs or dust or red clay. The boots were one of those vivid details you can't forget. Like a pebble or a blade of grass, you just stare and think, Dear Christ, there's the last thing on earth I'll ever see.
Jorgenson blinked and tried to smile. Oddly, I almost felt sympathy for him.
"Look," he said, "can we talk?"
I didn't move. I didn't say a word. Jorgenson's tongue flicked out, moving along the edge of his mustache, then slipped away.
"Listen, man, I fucked up," he said. "What else can I say? I'm sorry. When you got hit, I kept telling myself to move, move, but I couldn't do it, like I was full of drugs or something. You ever feel like that? Like you can't even move?"
"No," I said, "I never did."
"But can't you at least—"
"Excuses?"
Jorgenson's lip twitched. "No, I botched it. Period. Got all frozen up, I guess. The noise and shooting and everything—my first firefight—I just couldn't handle it ... When I heard about the shock, the gangrene, I felt like ... I felt miserable. Nightmares, too. I kept seeing you lying out there, heard you screaming, but it was like my legs were filled up with sand, they didn't work. I'd keep trying but I couldn't make my goddamn legs work."
He made a small sound in his throat, something low and feathery, and for a second I was afraid he might bawl. That would've ended it. I would've patted his shoulder and told him to forget it. But he kept control. He swallowed whatever the sound was and forced a smile and tried to shake my hand. It gave me an excuse to glare at him.
"It's not that easy," I said.
"Tim, I can't go back and do things over."
"My ass."
Jorgenson kept pushing his hand out at me. He looked so earnest, so sad and hurt, that it almost made me feel guilty. Not quite, though. After a second I muttered something and got into my jeep and put it to the floor and left him standing there.
I hated him for making me stop hating him.
Something had gone wrong. I'd come to this war a quiet, thoughtful sort of person, a college grad, Phi Beta Kappa and summa cum laude, all the credentials, but after seven months in the bush I realized that those high, civilized trappings had somehow been crushed under the weight of the simple daily realities. I'd turned mean inside. Even a little cruel at times. For all my education, all my fine liberal values, I now felt a deep coldness inside me, something dark and beyond reason. It's a hard thing to admit, even to myself, but I was capable of evil. I wanted to hurt Bobby Jorgenson the way he'd hurt me. For weeks it had been a vow—I'll get him, I'll get him—it was down inside me like a rock. Granted, I didn't hate him anymore, and I'd lost some of the outrage and passion, but the need for revenge kept eating at me. At night I sometimes drank too much. I'd remember getting shot and yelling out for a medic and then waiting and waiting and waiting, passing out once, then waking up and screaming some more, and how the screaming seemed to make new pain, the awful stink of myself, the sweat and fear, Bobby Jorgenson's clumsy fingers when he finally got around to working on me. I kept going over it all, every detail. I remembered the soft, fluid heat of my own blood. Shock, I thought, and I tried to tell him that, but my tongue wouldn't make the connection. I wanted to yell, "You jerk, it's shock—I'm dying!" but all I could do was whinny and squeal. I remembered that, and the hospital, and the nurses. I even remembered the rage. But I couldn't feel it anymore. In the end, all I felt was that coldness down inside my chest. Number one: the guy had almost killed me. Number two: there had to be consequences.
That afternoon I asked Mitchell Sanders to give me a hand.
"No pain," I said. "Basic psychology, that's all. Mess with his head a little."
"Negative," Sanders said.
"Spook the fucker."
Sanders shook his head. "Man, you're sick."
"All I want is—"
"Sick."
Quietly, Sanders looked at me for a second and then walked away.
I had to get Azar in on it.
He didn't have Mitchell Sanders's intelligence, but he had a keener sense of justice. After I explained the plan, Azar gave me a long white smile.
"Tonight?" he said.
"Just don't get carried away."
"Me?"
Still smiling, Azar flicked an eyebrow and started snapping his fingers. It was a tic of his. Whenever things got tense, whenever there was a prospect for action, he'd do that snapping thing. Nobody cared for him, including myself.
"Understand?" I said.
Azar winked. "Roger-dodger. Only a game, right?"
We called the enemy ghosts. "Bad night," we'd say, "the ghosts are out." To get spooked, in the lingo, meant not only to get scared but to get killed. "Don't get spooked," we'd say. "Stay cool, stay alive." Or we'd say: "Careful, man, don't give up the ghost." The countryside itself seemed spooky—shadows and tunnels and incense burning in the dark. The land was haunted. We were fighting forces that did not obey the laws of twentieth-century science. Late at night, on guard, it seemed that all of Vietnam was alive and shimmering—odd shapes swaying in the paddies, boogiemen in sandals, spirits dancing in old pagodas. It was ghost country, and Charlie Cong was the main ghost. The way he came out at night. How you never really saw him, just thought you did. Almost magical—appearing, disappearing. He could blend with the land, changing form, becoming trees and grass. He could levitate. He could fly. He could pass through barbed wire and melt away like ice and creep up on you without
sound or footsteps. He was scary. In the daylight, maybe, you didn't believe in this stuff. You laughed it off. You made jokes. But at night you turned into a believer: no skeptics in foxholes.
Azar was wound up tight. All afternoon, while we made the preparations, he kept chanting, "Halloween, Halloween." That, plus the finger snapping, almost made me cancel the whole operation. I went hot and cold. Mitchell Sanders wouldn't speak to me, which tended to cool it off, but then I'd start remembering things. The result was a kind of numbness. No ice, no heat. I just went through the motions, rigidly, by the numbers, without any heart or real emotion. I rigged up my special effects, checked out the terrain, measured distances, collected the ordnance and equipment we'd need. I was professional enough about it, I didn't make mistakes, but somehow it felt as if I were gearing up to fight somebody else's war. I didn't have that patriotic zeal.
If there had been a dignified way out, I might've taken it. During evening chow, in fact, I kept staring across the mess hall at Bobby Jorgenson, and when he finally looked up at me, almost nodding, I came very close to calling it quits. Maybe I was fishing for something. One last apology—something public. But Jorgenson only gazed back at me. It was a strange gaze, too, straight on and unafraid, as if apologies were no longer required. He was sitting there with Dave Jensen and Mitchell Sanders and a few others, and he seemed to fit in very nicely, all chumminess and group rapport.
That's probably what cinched it.
I went back to my hootch, showered, shaved, threw my helmet against the wall, lay down for a while, got up, prowled around, talked to myself, applied some fresh ointment, then headed off to find Azar.
Just before dusk, Alpha Company stood for roll call. Afterward the men separated into two groups. Some went off to write letters or party or sleep; the others trooped down to the base perimeter, where, for the next eleven hours, they would pull night guard duty. It was SOP—one night on, one night off.
This was Jorgenson's night on. I knew that in advance, of course. And I knew his bunker assignment: Bunker Six, a pile of sandbags at the southwest corner of the perimeter. That morning I'd scouted out every inch of his position; I knew the blind spots and the little ripples of land and the places where he'd take cover in case of trouble. But still, just to guard against freak screw-ups, Azar and I tailed him down to the wire. We watched him lay out his poncho and connect his Claymores to their firing devices. Softly, like a little boy, he was whistling to himself. He tested his radio, unwrapped a candy bar, and sat back with his rifle cradled to his chest like a teddy bear.
"A pigeon," Azar whispered. "Roast pigeon on a spit. I smell it sizzling."
"Except this isn't for real."
Azar shrugged. After a second he reached out and clapped me on the shoulder, not roughly but not gently either. "What's real?" he said. "Eight months in fantasyland, it tends to blur the line. Honest to God, I sometimes can't remember what real is."
***
Psychology—that was one thing I knew. You don't try to scare people in broad daylight. You wait. Because the darkness squeezes you inside yourself, you get cut off from the outside world, the imagination takes over. That's basic psychology. I'd pulled enough night guard to know how the fear factor gets multiplied as you sit there hour after hour, nobody to talk to, nothing to do but stare into the big black hole at the center of your own sorry soul. The hours go by and you lose your gyroscope; your mind starts to roam. You think about dark closets, madmen, murderers under the bed, all those childhood fears. Gremlins and trolls and giants. You try to block it out but you can't. You see ghosts. You blink and shake your head. Bullshit, you tell yourself. But then you remember the guys who died: Curt Lemon, Kiowa, Ted Lavender, a half-dozen others whose faces you can't bring into focus anymore. And then pretty soon you start to ponder the stories you've heard about Charlie's magic. The time some guys cornered two VC in a dead-end tunnel, no way out, but how, when the tunnel was fragged and searched, nothing was found except a pile of dead rats. A hundred stories. Ghosts wiping out a whole squad of Marines in twenty seconds flat. Ghosts rising from the dead. Ghosts behind you and in front of you and inside you. After a while, as the night deepens, you feel a funny buzzing in your ears. Tiny sounds get heightened and distorted. The crickets talk in code; the night takes on an electronic tingle. You hold your breath. You coil up and tighten your muscles and listen, knuckles hard, the pulse ticking in your head. You hear the spooks laughing. No shit, laughing. You jerk up, you freeze, you squint at the dark. Nothing, though. You put your weapon on full automatic. You crouch lower and count your grenades and make sure the pins are bent for quick throwing and take a deep breath and listen and try not to freak. And then later, after enough time passes, things start to get bad.
"Come on," Azar said, "let's do it," but I told him to be patient. Waiting was the trick. So we went to the movies, Barbarella again, the eighth straight night. A lousy movie, I thought, but it kept Azar occupied. He was crazy about Jane Fonda. "Sweet Janie," he kept saying. "Sweet Janie boosts a man's morale." Then, with his hand, he showed me which part of his morale got boosted. It was an old joke. Everything was old. The movie, the heat, the booze, the war. I fell asleep during the second reel—a hot, angry sleep—and forty minutes later I woke up to a sore ass and a foul temper.
It wasn't yet midnight.
We hiked over to the EM club and worked our way through a six-pack. Mitchell Sanders was there, at another table, but he pretended not to see me.
Around closing time, I nodded at Azar.
"Well, goody gum drop," he said.
We went over to my hootch, picked up our gear, and then moved through the night down to the wire. I felt like a soldier again. Back in the bush, it seemed. We observed good field discipline, not talking, keeping to the shadows and joining in with the darkness. When we came up on Bunker Six, Azar lifted his thumb and peeled away from me and began circling to the south. Old times, I thought. A kind of thrill, a kind of dread.
Quietly, I shouldered my gear and crossed over to a heap of boulders that overlooked Jorgenson's position. I was directly behind him. Thirty-two meters away, exactly. Even in the heavy darkness, no moon yet, I could make out the kid's silhouette: a helmet, a pair of shoulders, a rifle barrel. His back was to me. He gazed out at the wire and at the paddies beyond, where the danger was.
I knelt down and took out ten flares and unscrewed the caps and lined them up in front of me and then checked my wristwatch. Still five minutes to go. Edging over to my left, I groped for the ropes I'd set up that afternoon. I found them, tested the tension, and checked the time again. Four minutes. There was a light feeling in my head, fluttery and taut at the same time. I remembered it from the boonies. Giddiness and doubt and awe, all those things and a million more. It's as if you're in a movie. There's a camera on you, so you begin acting, you're somebody else. You think of all the films you've seen, Audie Murphy and Gary Cooper and the Cisco Kid, all those heroes, and you can't help falling back on them as models of proper comportment. On ambush, curled in the dark, you fight for control. Not too much fidgeting. You rearrange your posture; you measure out your breathing. Eyes open, be alert—old imperatives, old movies. It all swirls together, clichés mixing with your own emotions, and in the end you can't tell one from the other.
There was that coldness inside me. I wasn't myself. I felt hollow and dangerous.
I took a breath, fingered the first rope, and gave it a sharp little jerk. Instantly there was a clatter outside the wire. I expected the noise, I was even tensed for it, but still my heart took a hop.
Now, I thought. Now it starts.
Eight ropes altogether. I had four, Azar had four. Each rope was hooked up to a homemade noisemaker out in front of Jorgenson's bunker—eight ammo cans filled with rifle cartridges. Simple devices, but they worked. I waited a moment, and then, very gently, I gave all four of my ropes a little tug. Delicate, nothing loud. If you weren't listening, listening hard, you might've missed it. But Jorgenson was listening.
At the first low rattle, his silhouette seemed to freeze.
Another rattle: Azar this time. We kept at it for ten minutes, staggering the rhythm—noise, silence, noise—gradually building the tension.
Squinting down at Jorgenson's position, I felt a swell of immense power. It was a feeling the VC must have. Like a puppeteer. Yank on the ropes, watch the silly wooden soldier jump and twitch. One by one, in sequence, I tugged on each of the ropes, and the sounds came flowing back at me with a soft, indefinite formlessness: a rattlesnake, maybe, or the creak of a trap door, or footsteps in the attic—whatever you made of it.
In a way I wanted to stop myself. It was cruel, I knew that, but right and wrong were somewhere else.
I heard myself chuckle.
And then presently I came unattached from the natural world. I felt the hinges go. Eyes closed, I seemed to rise up out of my own body and float through the dark down to Jorgenson's position. I was invisible; I had no shape, no substance; I weighed less than nothing. I just drifted. It was imagination, of course, but for a long while I hovered there over Bobby Jorgenson's bunker. As if through dark glass I could see him lying flat in his circle of sandbags, silent and scared, listening, telling himself it was all a trick of the dark. Muscles tight, ears tight—I could see it. Now, at this instant, he'd glance up at the sky, hoping for a moon or a few stars. But no moon, no stars. He'd start talking to himself. He'd try to bring the night into focus, willing coherence, but the effort would only cause distortions. Out beyond the wire, the paddies would seem to swirl and sway; the trees would take human form; clumps of grass would glide through the night like sappers. Funhouse country: trick mirrors and curvatures and pop-up monsters. "Take it easy," he'd murmur, "easy, easy, easy," but it wouldn't get any easier.