You, in the Navy #NaNoWriMo, Day 14 - 12019 words written, 11319 words behind the pace.

Arms high, wrists together, pointy, red tipped fingers out she dances with her head down. The song over, she hugs you.

She leads you to the bar, instead of back to your table where your ship mates and their girls are laughing and talking.

She talks in Japanese to the bartender, they go back and forth, several times. She's asking for information, he doesn't have what she wants, he's sympathetic, but can't tell her what she wants to know. He makes drinks for you both instead.

"No don't drink that one, it is not good," she says taking the glass from your hand. Some sharp words to the bartender and she says to you, "This is my favorite, you should drink this, Singapore Sling," sliding the fresh drink into your hand. You sip. It's sweet.

"Do you like your friends?" she asks. "You are so young. Is one of them your father?" she laughs. You sputter. "No! One them is my boss, though."

She presses against you, her breasts against your stomach. You feel her back, you can barely reach her waist, you caress her shoulders.

She raises on her toes, pulls your head down to her, you kiss her upturned mouth, looking at her heavy eye lashes. They open, she sees you looking, breaks off the kiss and pushes away from you.

"You should close your eyes when you kiss," she sulks.

"OK," you say, holding her her by her arms and bringing yourself close to her, "I promise."

You kiss again, you kiss long. She breaks it off, giggling and turning to the bar, her drink and she lights a cigarette. You do the same and drink.

At the table, sitting beside you in the booth, she looks at you full in the face. The right side of her smile has a cool Elvis-like curl, she tends to lower her eye-lid on that side, too. Her lashes are augmented and painted with black, looking as thick as bamboo mats when lowered.

You drink, the table conversation is loud, laughing, Kaseko nestles into you, she's cold in her sleeveless dress. You warm her with your arm, with your hands.  You smoke, you drink.

She whispers in your ear.
"Do me a favor, tell your friends you're going in the back room with me."

You cut across Miller and Funke's conversation, "I'm going in the back room with her." Churbuck  smiles, "OK, buddy! Don't get lost."

She leads you out the back door, it's night now. You follow her across an rainy alley, into a room with a bed, a side table and a telephone.

You lay on the bed, she sits beside you and takes the phone. "I'm going to call my Mother," she explains, quickly dialing and connecting.

Listening to her talking rapidly, you revel in the foreignness of the language and the familiarity of the act of phone talking.

You begin to light a cigarette, she motions for you to not light it. Hand over mouthpiece, "not in here, please," she smiles pleadingly maintaining her conversation. You lie on your back on the bed. She finishes, hangs up the phone, pulls you up to your feet, "come on, we go back inside."

Churbuck and Miller are gone, Funke and his girl are in the booth.

"They said we should stay here, he says to you, "they're going down the street, they'll be back and we should should wait for him, here."

You and Kaseko sit close across from Funke and his girl. Another round of drinks arrives. You're feeling loaded, Funke's looking red faced and heavy lidded. Kaseko is talking about French movies, "they're the best, very sexy," she says.

You are leaning on the table, holding you head up with your hands, she presses her face against the side of yours. You feel gratefull for Kaseko, you feel that she cares about you. And she is so cute, big bracelets on her thin arms, her animated, hair shaking gestures when she talks.

With a start, she jumps up. "Come with me," she says pulling you to the side bar where the bartender set down a bowl of hot noodle soup.
"I have to eat," she explains, you should eat, too." She picks up a noodle with her chop sticks, sucks it into her mouth, she picks one for you and you slurp it in.
"That's right," she encourages, noisely taking another noodle, raising the bowl to her lips and sipping the liquid.

She continues to serve you noodles and sips of soup. The two of you finish the bowl with your heads close together.

She wants a toilet break, you realize you have to go, too, she leads you to one door and goes to in another.

Although you're sure you've been in this bar for hours, you  haven't been in this toilet before. Two narrow porcelain trays side by side embedded in a raised part of the floor and a small sink are the only fixtures in here. You stand and pee ferociously towards the closest of the trays. Feeling sloppy and a little out of control, you almost forget to put yourself back in your pants before you leave the toilet,  but you get every one of the thirteen buttons buttoned and head out.

She's dancing, waves to you. You walk unsteady her way, you feel nauseous, you rush back to the toilet and heave into the sink. You  gag, heave again, you're holding yourself up with stiff arms on the sink. You spit, run water, cup some up to your face, look for paper towels, none. You try to rinse the vomit down the sink, but it's not draining, the water's diluting it, the sink is filling. You bring some water to your face, you need some air.

You stumble out of toilet, to the street door. Kaseko calls you, "don't leave!" adding your name with "san" at the end, a sign of endearment.

You're out in the air, leaning against the front of the building, beginning to breath  better. The Shore Patrol Patty Wagon pulls up, two Navy cops approach.

"Do you know you're out of uniform, sailor?" he's a Marine and is twisting your arm behind your back.

"No. This is my uniform," you say, cheekily, knowing what the problem is, you have no hat and your sleeves are rolled up. The cop has both your arms behind your back and is putting handcuffs on your wrists. The other one is shining a flashlight in your eyes.

Churbuck and Miller return looking sheepish. They question the Shore Patrol, telling them that they will take you back to the ship, they'll be responsible for you.

"Too late for that, you should've taken him back a long ago. He's disrespecting the uniform, we're taking him."

You're in the back of the Patty Wagon, looking out the back wire gate. Kaseko comes running out, "No!" She cries your name adding the enduring, "san" and as they drive you away, she runs into the rain soaked streets after you for a short ways, then stops and calls, "I love you. Come back!" She stands in streaks of neon light reflections, her arms outstretched as you are driven around a corner.

At the Shore Patrol Station, they complete the paper work, while you sit wearily on the bench. They take you to your ship, they give some papers to the Officer of the Deck. You go below to your rack.

The next day the ship leaves Yokosuka. In the afternoon you are formally charged and given punishment for your offense - five days restriction to the ship and extra duty. Three of those days you will be at sea, restriction is a given, but two days you'll be stopping in Okinawa. You will not be able to see what the American Military dominated southern island of Japan is like. You are not upset.

You think of Kaseko, her crooked smile, her thick eye lashes, her bangs over her eyebrows, the way she dances with her thin arms in the air, those arms reaching out to you in the rainy street, her calling out, "I love you."

Junior tells you that he thinks it's rotten of Churbuck to have left you in the bar. He's upset, thinks the disregard for your well being is typical of Operations Division, "blowing smoke, that's all they do." He concludes.

While the ship's underway, you take as many hours on the helm as the Boatswains will let you. At times, now, in open sea, you keep the ship to within one degree of variance from the heading. You work up a sweat to do it, spinning the big wheel one way, then quickly back the other, feeling the drag on the rudder, anticipating the movements of the ship, blocking the drift. It's a game, you're good at it. Some of the Boatswains try to do what you do, but can't. They get tired, they don't care, they settle for returning to only keeping it within six degrees of the course, allowing the bow to drift three degrees on each side of the heading. You always do better.

However, you don't do well with reporting the observed weather which involves a code for recording the temperature, the barometric pressure, wind direction and speed. You often make mistakes and the Weather Service rejects your ship's radio reports when you send them in.

You miss going over at Okinawa and Churbuck stays on the helm in and out of the harbor.

Two days out steaming for Hong Kong, you are approaching Taiwan and your Bridge is full of  discussion about a named Typhoon coming North out of the South China Sea several thousand miles south of your position.

Goal for Day 4 is 6668 words. I'm at 3218 words - 3450 words short. #NaNoWriMo

Your name’s called, you collect your orders.
"Where you going?" your buddy asks.
 
"I don't know, where's it say?" you hand him your orders.

"USS White, an APD" he said, as if you knew what that is.

"Where you going?" you ask.

"Kearsarge," a carrier. You not only know what an aircraft carrier is, but you’ve heard of that ship from seeing it in harbor or from "Victory at Sea" or something.

"That's cool" you say.

Your orders give you seventy two hours to report to the ship about one hundred and fifty miles away. You go back home to Lakewood for two days, then take the train down to the ship.

You find the ship, tied to a pier among towering vessels and it’s a little, junky looking clunker, lower than the pier, you have to walk down a gangplank carrying your seabag on your shoulder to get there. Salute, pass the orders to the officer on duty, they tell you where to go, through a hatch, down a passageway. Hunched over to keep the bag from hitting pipes in the overhead, you pass through the mess deck where a few old hands sit in television light.

“I’m going to fuck that!” a broad faced, ugly guy calls out looking at you with laughing eyes.

Into another passageway, down a ladder, you’re led into a sleeping compartment filled with three high racks, you throw your bag on a top one, locking it to the support chain.

People talk to you, you wish they didn’t. They tell you where to put things, where you’re going to start out working, deck crew. They tell you to be careful with the Petty Officers, “Make one mistake, they’ll remember it forever.” Toby warns, you see sadness locked deep in his white, southern face. He sells you a knife, a straight sliver blade in a tan leather sheaf. The cool guys have folding knives.  

First morning out on the foc'sle deck, a sad Native American-looking kid has two buckets and mops.

“Take this swab and water and you start on starboard.” You’ve been trained, but you feel embarrassed to be don’t feel like getting your hands in the cold water to wring out the mop, so you try holding it against the bucket rim with your foot, awkwardly squeezing by twisting.

“Don’t let the Petty Officers see you doing it that way!” Your new mate says with no pleasure. “You’ve got to do it with your hands.” You squeeze out the mop, spin the threads out flat on the deck and start swabbing like you’ve been trained to do. You actually like this work, you remember from Boot Camp swabbing the big Mess Deck, it was fun, rhythmic. Swabbing this little ship’s deck, not as much fun, not enough room to get full swings going.

As you learn the job from the Native kid, you find you like polishing brass. It’s crazy to have brass exposed to sea are so it needs polishing everyday, but rubbing the fittings and fixtures with a Brasso-soaked rag and polishing it with a dry cloth is satisfying. You think about the big boat you’d like to have someday, how it would be cool to polish the brass everyday on your own boat. A morning ritual. You look forward to the day.

You've learned the ropes enough to know how to change out of uniform  into civilian clothes at a downtown locker establishment when on Liberty. You wonder around San Diego city streets not wanting to take busses anywhere because you don't think there's any place interesting for you to go for an evening. It's all about passing time. You go to movies, you watch "Divorce, Italian Style" twice, you love Marcello's comic line near the end, "But, what about my honor?" even though  you only understand it through subtitles.

You eat Cheeseburgers and Pizza, you have a little money, you sit alone. You walk all the Downtown streets, not wanting to talk to anyone, be with anyone. You stay out to midnight, bus back to the dock after that.

Up early dressed in dungarees, out on the deck swabbing and polishing before breakfast. The chow line, eggs, meat, toast, coffee. People talk all around you, you don't offer much, you want them to leave you alone so you want to appear self-possessed, you don't want them to get curious.

You've made a big mistake, you don't want to be with these guys, they're not like your crowd in High School only a couple of months ago. Tom and Bob you had two years of building things together,  produced plays with, had hundreds of hours of sitting after rehearsals smoking, drinking coffee at Harvey's Broiler with Mr. Miles. Heroic conversations about our productions, about theater, movies, Art, Literature,

Bob and you, Carol and Cher getting falling down drunk singing along to Jimmie Reed records.

You had gotten a Varsity Letter in Crosscountry then quit athletics to do Drama Department fulltime. You wore the Letterman's Jacket to keep asshole jocks less reason to both . You slipped in next to the Football team captain quarterback in the Letterman's Club Group photo for the Senior Yearbook. The guy was pissed, but didn't say or do anything. You never considered going to a Letterman's Club meeting, that would be the last place you'd expect to find friends.

So, now, here you are cooped up in a tin-can ship with one hundred and fifty guys that make the Letterman's Club look human.

They had you painting the deck and bulkheads during the day, you had yourself walking around San Diego in civvies at night.

Thirty guys sleeping in the compartment with you. Old, crusty salts, young dumb everybody in between but no one as young as you. Or as pretty.

The ship, goes out  to sea for a few days, practicing, checking systems, getting ready for a six month cruise across the Pacific to Asian ports. As part of the deck crew, your duty station when underway was lookout, standing for four hours on the side wings of the Bridge with binoculars.

"Keep a sharp eye out," the Officer On Deck said firmly, "we don't want to be running into anything," he explained.

"Make your reports load and clear," he went on, "I don't want to miss it," he concluded.  You hoped there wouldn't be anything to report, you don't want to be saying anything to an officer. You scan the horizon, you dig being out at sea. Like going from Newport to Catalina on your Uncle's yaught, when you're beyond the sight of land, you could be anywhere on the ocean. You have always loved the ocean, being out on a boat or being in the surf or along the shore, the rhythm of the swells, the wind waves, the straight horizon holding the clear dome of sky. Many hours growing up you've spent enjoying the feeling of the sea, if on shore, the thought that all the land mass and it's complications, it's problems, the people and how they've hurt you -- all behind you as you face the sea. When you've been out on the sea, as you are now, you've enjoyed the land slipping from view, you've felt released from social pressure, you've felt truly yourself. Now you're here, beyond the sight of land, you can feel yourself coming alive, becoming your true self, until the Officer talks to you, you're back in scared mode, back in the social hell of this tiny ship full of Navy nonsense. They  tell you what to do, how to do it, hurry you up, expect you to be interested in them, in the Navy way, in getting along and showing crew member pride, a can-do spirit. They want you to care about the ship and you can only care about the ocean, the sky and keeping away from social danger.

You dreaded using the toilet, usually four or five other guys sitting on the pots close and open together, shitting, farting, wiping, watching you do all these things. You  try to use concentration, like you learned in acting class, stay in the moment, focus on the action, ignore the audience.

Out at sea again, several days this time, training runs  practicing the procedures your ship is designed to do. In formation with other ships you cruise, run evasive courses, throw depth charges over the side, come up close to a tender for a refueling at sea. Your ship carries four big speedboat-type personnel landers, the main duty of the USS White is to deliver advance specialists to a beach, river or harbor. When on duty, it will carry Navy Seal and Marine Reconnaissance teams, land them in advance of a beach troop landing.

After a few days out, you, naked, enter the shower compartment, you jump with fear when the wide guy from the first night, the one who said he was going to fuck you is in there. His body is wide like a refrigerator you can't help but to look at his cock and it's wide like every other part of him. He passes a soapy hand along side it and you look up. He's leering at you with misaligned eyes and a mangled toothed smile. You turn away from him, turn on a shower, put your face into it.

"Mack!" Someone shouts. You turn your face from the water and you recognize the shouter as Sanderson. "What the fuck?"

I turn around and the wide cock was red, engorged, coming at me.

"Leave that kid alone!" Sanderson was angry. Mack, the wide one, turns to face the shower, puts his head in the water and shouts "I can't take a shower with that!" meaning you. You look at Sanderson and he gestures for you to come away. "Why don't you take your shower another time.” He says, paternally.

Back in port, you hitchhike from outside the base heading to town. Nice man, nice car picks you up and you chat a little. As you near town, he says flatly, "Most Americans don't know anything about making love." You don't say anything, you're nearing your stop.
"Only Europeans have proper respect for the beauty of sex and know what real love making is."

"Is that right?" You say "you can drop me off here, thanks." He's pulling the car over you. You have your hand on the door handle.  As stops the car he leans over with his hand on your knee and says, "Wouldn't you like to talk a while longer? I know some things you really should want to know."

"No thanks." you're out the door.

"Are you sure?" His car pulls slowly away.

You're still in your dress blues, walking towards the lockers to change. The rhythm of your walk makes your dick flop around and as you're thinking about it, you get hard and have a boner poking sideways in your thirteen button pants. It's a city street, there's people around. You turn towards the building to hide from people passing by and there's people inside looking  toward you. You are panicking  You're not carrying a bag or a jacket, you've got nothing but your white sailor hat to cover your inappropriate bulge. You find a wall to lean against, hold your hat strategically and think dull thoughts until your erection goes away.

In civilian jeans you don't have the swinging rhythm problem, you're calm. You eat, you watch a couple of movies, you eat again. You walk the streets. You wonder how you can get out  of the Navy. You want to run away, but you don't want to them to chase you.

Just live on the beach, walk up the coast, slowly. You remember the plan you had fantasized  in Boot Camp the summer between your Junior and Senior year of High School. It was also in San Diego, on the bay. You had wanted to jump the fence at night, get in the water with the out-going tide, swim until you were out by the end of Point Loma, hide in the rocks on the ocean side. Head up the coast a little each night, stay quietly around the beach by day. Eventually get up to Big Sur, get lost in one those canyons, hide out - Isha in the Coastal Redwoods. You spent a lot of time thinking about that one that Summer. But, you didn't do it, you made it through the training. You were back for one last year of High School and now you're in the Navy for real. You, the talented artist, the production designer, the surfer, the jazz aficionado, in the fucking Navy. It's no good you tell yourself while walking the streets, no good at all. You can't let yourself go through this. You got to find a way to get out.

You look at the traffic, the cars streaming by, close to the curb. The trucks, the busses with those big wide tires, that would be final. Do you want to die? You ask yourself. Or do you just want to be out of the Navy? Could you throw yourself in front of a car? Get hurt but not killed? Be out of the Navy because of the injury, but still have a life? You look at the cars, visualizing falling off the curb in their paths. You can't quite see yourself doing that. You can't pick the moment to leap, you can't pick the right location, the right car.