Sawdust, sweat, hot lights. Even with all these scents, she hates to sit too near real audience members, afraid they'll smell the butter and popcorn on her hands or recognize her from the concession stand. She doesn't want to ruin the spell for the audience.
The tiger flows into the cage in the ring; as always, her eyes are trapped by the river of muscle flowing under the colorful coat, the constant, fluid motion, watchful eyes. The crowd oohs; they recognize the power, she thinks. Bengal tiger, female, six years old, the woman thinks, mentally reciting what He recited once, as fast as her heart is beating. Nearly nine feet from nose to tail, three hundred pounds, the largest living member of the Felidae family....
He follows the tiger, wearing his usual red uniform, carrying the whip, entering the cage with a flourish and locking it behind him. The tiger continues her ceaseless circling until he raises the whip, and then she sits before him. He bows, first to the tiger and then to the audience. They applaud; the tiger only yawns, showing curved fangs. He gestures with the whip - it's for show, he'd never touch the her with it beyond a light tap on the flank - and she moves gracefully to the nearest spangled stand.
The tiger looks at him, her golden eyes bored. Another gesture with the whip and she's in motion again, one stand to the next, touching ground fleetly between each. The woman imagines she can feel the heavy tread of the tiger's paws shaking the ground. The second lap around the cage, she goes direct from stand to stand, not pausing between leaps. When she returns to where she started, she jumps again, and pads to the centre of the ring, sitting in front of him.
He raises the whip again - throws it away. The tiger regards him, unmoving. He points at the whip. Like all cats, tigers can muster a look that says they don't care if you want them to get the stick; you threw it away, you can go get it. The tiger shows him that now. He mugs frustration for the crowd; they laugh. He points again. This time she goes, picks the whip up in her mouth and brings it back to him, to applause from the crowd. The tiger regally ignores the applause and lies down in the sawdust.
He walks back to the door of the cage. A clown runs out from the big top's entrance and hands him a large teddy bear. The tiger looks more alert now, shifting to a crouch. He holds the teddy bear up, teasing the tiger with it. She sits up, swipes a paw at the bear, claws barely unsheathed; he jerks it back, just out of range. As he retreats, she stalks forward, eyes on the bear. The crowd is laughing at the careful choreography; bear one way, body the other, until he turns, throws the bear in a high arc over the cage top. The tiger tries to follow, standing up on her hind legs, then dropping back down and growling when she realizes the bear is beyond her reach.
More laughter, and no shortage of volunteers when he emerges from the cage to seek a volunteer, promising no bear, and no danger.
It's a lie, of course; it is dangerous and that's why it's her he picks, not a real audience member. She acts nervous on her way into the ring, wringing her butter-scented hands. Not all of the nerves are faked.
He encourages her to take a bow and she does, with nowhere near a professional's polish. Then they go into the cage; he leads her when she hangs back a little.
He encourages her towards the sitting tiger. Outside the cage, the audience is a blur; within it everything is hyper-clear, crystal. The lights' heat magnifies the tiger's scent, a dusty, heavy odor.
The tiger smells her too, and stalks forward and sniffs. The woman can hear the crowd's collective gasp as the tiger's head dips towards the familiar scent of butter and salt on her hands. She stays as still as she can; to the audience, it must look as though she's frozen in terror.
She feels hot breath on her hand, and then the roughness of the tiger's tongue over her palm. It tickles at first, then grows rougher as the tiger licks harder, enjoying the salt and butter. The woman goes more still, not even breathing, when she feels the smoothness of the tiger's fang brush the edge of her hand.
The crowd applauds her bravery as the tiger backs away, turned off by a light tap of his whip on her flank. The woman bows and the crowd applauds again as she turns and walks towards the cage exit with him.
It happens when they're halfway to the exit; the woman's senses are so alert, this time she
knows
she can feel the ground shake as the tiger turns and runs at her. A single scream from the audience.
In perfect motion:
snap
, his hand releases her arm;
snap
, she exhales perfectly as the tiger's front paws strike her shoulder blades, more screams from the audience;
snap
, arms forward, down into the roll, a double somersault, sped on her way by the tiger's sheathed-claw mock assault. The perfect roll - child of a circus family, she could walk on a slackwire or the ground with equal facility by the age of four - clues the audience to her role.
They're never angry at being tricked. For a moment, they're relieved that it's not for real, and then they're amazed by the choreography of the move. A perfect double somersault, ending in a kneeling position, and she bows to the audience from there.
The applause is thunderous.