Molly draws you from the bar to an after-hours cocaine house party where you refuse the cocaine of the hosts and are asked to leave. You do not leave but retire to their backyard; spying a tree house you climb up the two-by-four ladder with a half-empty bottle of Jameson between your teeth. This chips the bottle and you enter the enclosed tree house pulling glass bits from your tongue and gums. There is blood on your fingertips, not too much, and the whiskey burns the little cuts in your mouth and Molly finds you sitting Indian style, wiping the blood on your pants. She takes off your pants and hers and there is no way to accomplish what she hopes to accomplish in so small a space without her head sticking out the glassless window, and so this is what she does. Your bodies are rippled with goose bumps and she is grunting and the light of the early morning is beginning to glow so that when you accidentally drool on her back you see your spittle is all blood and you imagine your teeth must be covered and smeared red, like a boxer, like a street fighter, like a man walking away from a senseless tragedy, and you grin and wish like a fool for a mirror and camera.
Peg leans you against the jukebox and rubs your mid-section and whispers crude things in your ear but will not go into the storage room with you. After a particularly free-spirited year when she slept with every male employee at the bar other than you she has vowed to reclaim her morals and will not have sex for thirty days, and has twenty days to go, and you wonder if she will make it. Her ride home abandons her and she is forced to stay after hours so that you can drive her but now she will not drink and she will not let you near her and there is a look in her eyes of mistrust and even fear, but she is not afraid of you, only herself. You imagine there was a particular incident that informed her to go celibate — an excess of drugs at a male-dominated party is your guess — but you have ceased caring about the misfortunes of others and can no longer remember whose troubles belong to whom and so you do not bother to ask anyone anything anymore. You offer to pay for Peg's cab fare but she says she prefers to ride with you, and you ask her if she is sure, and she says that she is, and she settles her bag on the bar and asks for a double whiskey, no ice, and you sadly serve her.
You are parked on Rossmore and the old-timey neon sign on the roof of her apartment building illuminates the exposed interior of the LTD and she is facing you and you are drunk but not terribly so and you curse yourself for not bringing along a bottle. Looking into each other's eyes and speaking together in low tones, it becomes apparent that she hopes you will walk her through her troubles and show her that male-female relations can be lovely even in loveless union. She is looking for lust fulfilled but she searches also for respect, and in this she is out of luck because you do not know her or like her very much and you do not respect yourself and so the most you can offer this girl is time out of her life and an unsatisfactory meeting of bodies and, if the fates are generous, a couple of laughs and good feelings. At any rate there will unquestionably be a divot in your hearts before dawn and Peg seems to pick up on this and after thirty minutes of groping and pawing (the car interior is growing damp with dew) she breaks away and with great exasperation says, "What do you think you're doing?" You are smiling, because it is an utterly stupid and boring question, and you say to her, "I am sitting in an American car, trying to make out in America," a piece of poetry that arouses something in her, and you both climb into the back seat for a meeting even less satisfactory than you feared it might be. Now she is crying and you are shivering and it is time to go home and if you had a watch you would snap your wrist to look meaningfully at it but she dabs at her face and says she wants you to come upstairs and share a special-occasion bottle of very old and expensive wine and as there is no way not to do this you follow her through the dusty lobby and into the lurching, diamond-gated elevator and into her cluttered apartment to scrutinize her furnishings and unread or improperly read paperbacks, and you wonder if there is anything more depressing than the habitats of young people, young and rudderless women in particular.
The wine is all sediment and the cork crumbles into the bottle and you sit at a yellow Formica table in the dingy kitchen of Peg, drinking the vinegary wine (she is picking out the cork pieces, you are chewing them) and hoping not to talk, but now she wants to talk, and to understand and suffer, and as a result become humane and wise. She leans in and is serious and meaningful and you know what question she will ask before she asks it, and then she asks it, and the asking is terrible:
"Why did your wife leave you?"
Discuss the sisters Valerie and Lynn, who invite you and a regular named Toby to their apartment after hours. Toby is a quiet, drowsy young man who drinks warm gin with PBR chasers; he sees the girls to the bar exit with a promise to follow close behind and returns to clap and laugh about the probability of forthcoming nudity. He urges you to hurry with your cleanup but does not offer his help. He is waving the directions to their apartment in his hand and he asks which of the pair you like better and you say you don't care and will leave it up to him. He weighs the pros and cons of each, saying that the younger of the two, Lynn, is prettier and sweeter, a bring-home-to-mom type, but Valerie looks to be more immediate, vulgar fun. And while Lynn might look nicer on his arm, it would stand to reason that Valerie would be the more skilled behind closed doors. It is all very exciting for Toby, this choosing of women, and you enjoy seeing him so happy, and you wish that you too were happy, and you have another large drink knowing there will be no noticeable effect on your disposition and that it will only make you sicker the next morning and probably render you incapable of anything sexual that night. (There is no taste on your tongue and it is like you are swallowing gusts of hot air.)
The sisters' apartment is even filthier than you had imagined it would be (the bathroom is unspeakable). Valerie and Lynn are in transition from one trend-based lifestyle to another and there is a feeling of limbo, past and present fads and interests muddling their slang, clothes, and décor. They are both on cocaine and their chatter is confusing to follow but it appears their current hope is to find work as traveling burlesque dancers. Toby is all ears and interjects when the girls gasp for breath, offering his encouragement and complimenting the furnishings. "I think this is the most comfortable couch I've ever sat on," he tells them.
Throughout their speech the sisters have been disrobing, an article of clothing at a time, and they now stand before you wearing only their underwear bottoms and high heels. It is all Toby can do to keep himself composed and he jabs you with the point of his elbow with such force that you cry out in pain and the girls ask if it would be all right to run through their newest routine and Toby says sure, sure, of course, goddamn, and you say sure, and they dim the lights and put on some music and perform a surprisingly well-rehearsed 1950s-style dance number that involves much breast-spinning and has Toby in a near frenzy — he cannot hide and does not seem to want to hide the fact that he has a full erection. The girls are bent over and smiling at you from between their legs and Toby like a zombie crosses the room to slap their backsides and comment on the resulting jiggle of flesh and of the two it is the younger and prettier sister, Lynn, who responds to this treatment, and she leads Toby down the hall to her bedroom. Valerie stands and is panting, her hands on her hips, and she takes you into her room and turns off the lights and lays you on her bed, asking dirty sex questions that you are supposed to answer with dirty words of your own but you cannot get started and your head is burning with whiskey and cigarettes and when she takes off your pants and lays her cold hands on your body your pulse is still and nothing happens. She abandons this project and asks if you will do her a favor and then she describes the favor and there is no time to answer yes or no before she throws a leg over your face and you are forced into action, allotting her fifteen minutes of your life before pushing her off and walking pants-less to the bathroom to wash your face, and here your heart jumps when you see your reflection because you are covered in blood. Valerie walks in and does not apologize but says you look like a scared clown and laughs as she sits to urinate. You can hear Lynn down the hall in the throes of passion (it would seem Toby knows a trick or two) and Valerie watches you scrubbing the blood from your stubbly beard with her toothbrush. "I always get the dud," she says, standing and flushing, pink swirling water in the sink and toilet.