Monica Being Monica
Monica Being Monica
It's
Saturday, about midnight, and the café's been closed for two hours. I'm in the office behind the kitchen. Mexican music is playing on the radio the
cleaning crew always brings. I have to
be in at eight tomorrow, but this is my only chance to do next month's
schedule. I'm short a waitress and a
chef, and one of my cashiers is so slow he's hardly worth having. Clearly, more sixty-hour weeks are in my
future.
I
have a manila envelope full of schedule requests from the staff: eleven waitresses, five cashiers, three
chefs, and four bussers. There's also a
request, which naturally is not negotiable, from the owners, Lou and
Susan. I look through the rest. A couple make me smile; a couple tick me
off. Then I get to Monica's. It doesn't look much like a schedule request.
CHOICES:
Fri
11/4—Greg Sloan Band @ Inn of the Beginning, 8
p.m.
Or
W
11/9—Naked Barbies @ Slim's in SF, 9:30 p.m.
Or
F
11/11—A Place with the Pigs, Aurora Theater ,
Berkeley , 9
p.m.
She's
initialed it at the bottom, a huge M with sweeping curves for legs.
That's
it.
Meaning?
Well,
I think I know. But the suggestion is
such a bad one that I can hardly believe she's making it.
On
the other hand, this is Monica. From the
day I hired her, she's been a problem.
Boyfriends with dyed hair and tattoos and extravagantly pierced bodies
have come in to hang out with her. She's
gotten in a screaming match with one of the other waitresses about tips. Lou and Susan don't appreciate her
wardrobe: jeans with the knees and butt
shredded, black tops that strongly resemble bras, T-shirts with the names of
other restaurants on them. Even in a
casual place like ours—we do soups and sandwiches, some low-end California
cuisine—she's not appropriate. A couple
of times, I've seen her laugh in the faces of customers who were unusually rude
or clueless.
But
no one, me included, moves faster. And
no one gets customers to laugh, or leave tips, the way Monica does. She somehow manages to spin the fantasy that
this essentially hellish job is fun. One
of my biggest problems with the schedule is that half the staff wants me to put
them on her shifts.
As
we're closing Sunday, I leave the register in mid-Z and walk out from behind
the counter. Monica's sweeping, working
her way across the tile floor with huge strokes of the broom.
"Monica." I hold up the index card that has her request
on it. "This is different."
"Well,
good." She's not looking at
me. She flicks a half-eaten cookie out
from a tangle of chair legs. "I
like different. What are you talking
about?—Oh." Her cheeks color when
she sees the card. She has smooth
poreless skin that's always either too pale or too flushed. "What's the problem—you don't get
it? I'm asking you out."
This
is a little more direct than I'm ready for.
I hesitate, and she grabs the reins.
"You're
confused? No, wait, I get it. It's me that was confused."
"Maybe
both," I say.
"Never
mind, Rob. Just a thought." She grabs a pen from my pocket, grabs the
card, Xs out what she originally wrote, and scribbles New Request: Whatever on the
flip side. "I'd probably just end
up getting fired. It's happened
before."
She
makes a face at me and goes back to her sweeping. I look at her before I turn away: low-slung
jeans, a strip of skin, a tight grey T-shirt that profiles her nipples, gold
nose-ring, eyes heavy with makeup, and short, ragged, copper-tinted hair. She's every bit the hard-edged waif, which
isn't a persona I like. But coming face
to face with the way I think of her—as a witchy, excessively smart little
sister I never wanted to have—I wonder if I'm being fair to either of us.
She
doesn't act any differently with me after that.
When we pass in the kitchen we bitch about customers. When I post the schedule she yells at me for
putting her on a shift with the waitress she hates. When we're out behind the delivery door (me
hosing off the kitchen mats, her smoking) we talk about my plan to move to
Sedona and open a brewpub, and she tells me to serve Cajun food and ban dart
playing. Half a dozen times a shift, I
hear her laugh explode all the way across the dining room; when I look up, I
see her blinding grin, and sometimes it shifts toward me for a second. I'm starting to be puzzled about why Lou and
Susan hate that laugh so much.
On
the day before Thanksgiving, the café closes at five, and half a dozen of us go
drinking at the Manzanita Inn on Highway 12 in Santa Rosa .
There's Monica, her roommate Dede, a Guatemalan busboy named Jorge, two
waitresses who'll soon be footnotes in the café's history, and me. Jorge and I sit quietly at one end of the
table while the women talk. He has a
wife and a four-year-old daughter in Tegucigalpa ,
and I assume he's thinking about them. As
for me, I'm thinking back two years, to the Thanksgiving Day when I told Cindy,
a woman I was dating in San Diego ,
that I wanted to marry her, and she looked at me as if I'd suggested a suicide
pact. She's in New
York now, and I'm back home in northern California .
Alcohol lets me hold the memory close enough that I can feel sorry for
myself but far enough away that it doesn't really hurt.
Monica
and Dede do most of the talking. After
several pitchers Monica tells about going fishing on the Russian River
and seeing a steelhead splash upstream over a gravel bar. "He stops halfway across, and he's just
lying on the rocks in a couple of inches of water. Or maybe it's a she—how would I know? Anyway, I walk right up to it. It's all covered with like algae, and its
fins are all cut up and scarred. The guy
I'm with is going, Jump on it, Monica, that's a seven-pound fish."
This
isn't how I've imagined her spending her free time, but I like the image: Monica with her nose-ring and her tattoo,
probably smoking a cigarette, standing in a river peering at a beached
fish. "So what did you do?" I
ask.
"What
do you think I did?"
"No
clue." This, I realize as I'm
saying it, pretty well sums up my understanding of Monica.
"Come
on." She's staring at me. Her eyes, which are dark brown, have a
preternatural sparkle.
"Guess."
"Brained
it with a rock."
"Huh. You would say that." She drains her glass. "Actually I splashed some water on it,
like on its gills, so it could breathe.
And it just took off again—voom,
right up the gravel until it was back in deep water."
"Happy
ending."
"Absolutely."
Dede
can't get over how cool this story is.
She's lived here in Sonoma
County for five years and
driven across the river countless times, but she's never actually been down to
the water. "I want to go there,"
she says to Monica. "We've gotta go
sometime."
"We
could go right now." Jorge softly
slaps the table. "I know the place
you talking about."
We
all know it's a stupid idea, even Jorge, but that's the attraction. We finish our beers and sort ourselves into
cars—Jorge, Dede, and the two waitresses in one, Monica and me in my Accord.
We
crest a steep hill, loop past a few suburban driveways, and park in a
cul-de-sac.
"Let's
not wait for them." Monica swings
over a locked gate. "Come on."
A
dirt road curves steeply downhill. No
river in sight, but I get a vague sense in the starlight of a broad open valley
below, with dim hills like sleeping animals massed on the far side. Only a very few lights glimmer in all that
space.
"Here." She stops.
I bump into her, smell vanilla.
Only now does it occur to me that a flashlight would be useful. We turn down a rough trail through scrubby
trees, slide down a loose slope of dead leaves with invisible branches poking
at us. She laughs. "Can you see for shit? I can't."
A
few feet of level ground, then a drop-off.
She sits down, dangling her legs over the edge. "There's a bank here. I think we can just slide down."
"Wait." I can't see how high or how steep the bank
is.
"It's
just a few feet." She starts to
ease her body down. A little sound of
puzzlement. "Oh well…" She hangs, halfway to dropping.
I'm
kneeling behind her. Suddenly she's
trying to pull back from the edge. The
mix of light and shadow resolves into a dim 3-D image, and I see that the
drop-off is huge. I catch her in an
awkward version of the Heimlich maneuver and haul her back. She thrashes out for balance, and we fall
over together on the level ground.
She
cranes her neck for another look, then laughs weakly. "O.K., you win. Not such a good idea."
"Bad
night vision?"
"Too
drunk." She turns around in my
arms. She's breathing peppermint into my
face.
O.K.,
I think, and put a hand up to the hot surface of her cheek. I roll onto my back and she comes with
me. Our mouths find each other, her
weight collapses on my chest, and we lie there with our feet dangling over the
edge.
"Hey,"
she says, with no clear meaning, after the kiss finally ends.
I
want to just lie there and savor the contrast between the cool air on my bare arms
and Monica's warmth on my chest. But she
can't lie still for thirty seconds. She
finds the place we're looking for, where a rope dangles down a ten-foot bank to
a tree-covered gravel flat. We blunder
through slapping willow branches to the water.
The
others, Dede and Jorge and the rest, of course aren't really coming. She's brought me two miles up the river from
the place Jorge's taking them, the place she saw the steelhead. "You're so gullible," she says, and
I don't tell her I guessed about half an hour ago what she was up to.
She
wants to swim. It's a warm night for
November, which means it's about fifty degrees.
She twists out of her shirt and then starts on the buttons of mine. The river scares the shit out of me: an opaque, seemingly bottomless mass of
darkness with God-knows-what in it. All
I can see is the blackness of trees on either bank, leaning over a dim blur
laced with minuscule slivers of reflected light. Liquid slaps and hisses filter in from all
sides. A steady chattering of water on
rock comes from downstream. Monica's
skin seems to be the main light source.
The tattooed bird on her shoulder is a dark blur, like one of the moon's
seas. I can see there's another tattoo
on the shallow downslope of her right breast, melting into the nipple.
Much
too soon, we're out of our clothes and in the water. The river has the sharp smell of leaf mold,
and it's even colder than I expected. Sandy gravel breaks up
under my feet as I half walk and half slide from the shallows into the main
channel. My teeth are chattering
already. Monica's ahead of me. She's breathing in gasps because of the cold,
but she keeps moving out. The water
swallows her legs, laps up to her waist.
She heaves forward and disappears.
It's
just Monica being Monica, I know, but I can't help thinking that this is a
little insane. I'm chest deep now, just
about to float, and for a long few seconds she's gone. Then a pale shape surfaces near the far bank,
at a gap in the trees, and moves ashore.
The current gently lifts me off my feet.
As I hang weightless, she turns to watch me.
A
week later, Monica and I hike up Mt. St. Helena , the sphinx-shaped peak at the head of the
Napa Valley .
A cool hush come at dusk as we sit by the ruined entrance to the
Silverado Mine. Below us is a clearing
where Robert Louis Stevenson and his wife lived for a year in a tiny cabin.
"This
is so weird for me," Monica says.
"I'm not used to being in a relationship where you like try to be
nice to each other."
I
can't help laughing at her. "Is
that what we're in? I was just thinking
it was nice not to have to be
nice."
She
puts a hand on my throat and pretends to squeeze. We're sitting side by side, with her legs
draped over mine, in a deep cleft between sheer rock walls. This is the first entire day we've spent
together. The week since our night at
the river has been a mosaic of frenetic, intoxicated moments in bars and autos
and bedrooms and the houses of people I don't know. My apartment smells of tobacco and vanilla
and incense now. Her vampire novels and
black underwear and tubes of strangely colored lipstick are everywhere.
"You
totally remind me of my brothers."
Monica's never on the same subject long.
"Granted your hair's about a foot shorter. But you've got the same kind of starved look,
and the tan, and you're always teasing me."
"Starved?"
I say. "I think you're confused
again."
Her
cheek squishes against my shoulder as she shakes her head no. "I idolized my brothers when I was
growing up. My dad was such a loser, and
my mom was so cold. Jeff and Rich always had time for me. They were total hell-raising criminals, of
course, so it's no surprise I'm such a fucking mess, but at least I wasn't
completely on my own." She takes my
hand, turns it over to study my palm.
"I started going out drinking with them and their friends when I
was thirteen. We'd drive around to all
the parties, or we'd just walk out to Ocean Beach or up by the Cliff House,
build a fire, smoke, drink Seven and Sevens or Mickey's Big Mouth. I don't know."
"What
don't you know?" I have a feeling
we're coming up to something I don't want to hear, but she seems to need to
tell it.
"I
guess it wasn't good. I was always
screwing their friends. It wasn't like
Jeff and Rich wanted me doing that—I mean, they watched out for me. One time this guy more or less tried to rape
me, and they beat the holy shit out of him.
Killed him, for all I know. But
still—I did some guys I didn't really want to, just because I was loaded and
someone would keep after me and I'd just think, Well, what difference does it
make? It's twenty minutes out of my
life."
I
don't say anything.
"Only
somehow it gets your boundaries all screwed up." She looks away, and there's a hard shine on
her eyes. "So I think maybe it does
make a difference."
"I
think it does."
The
daylight evaporates from the cleft in the mountain, and though the trail below
us is tree-covered and the only light we have is a book of matches, we stay
where we are. She sighs, and I'm almost
sure it's a good sight, because she moves closer, and I feel her cheek against
mine like a hot peach. I try just to fix
on that and let the story about her brothers and their friends slide off me.
In
April, Monica and Dede's landlord kicks them out to make room for his
fiancée. "We're getting off
easy," Monica says. "We only
have to move. She has to marry that
asshole."
Dede
has friends in Glen Ellen looking for two people to move into their house, but
at the last minute Monica decides she wants a place of her own. She stays a few nights with me, a week in
Glen Ellen with Dede, a few nights in Santa
Rosa with another girlfriend. The apartments she's looked at are either
desperately expensive, desperately seedy, or both.
"Well,"
she says, "I always wanted to be a Gypsy."
"I
don't think you can be one by yourself."
I grab her shoulders and rock her gently side to side. She leans back against me. We're in my kitchen getting in each other's
way as I make salsa and she makes drinks.
"You have to have other Gypsies."
"So
I'm not a Gypsy? I'm just
homeless?"
"You
can live here," I say. Until now,
we've mostly been ignoring this possibility.
"Maybe
I should do that."
"Maybe
you should." I'm slightly taken
aback that she's showing interest.
After
a second, she says, "Only we'd drive each other crazy, huh?"
"Not
impossible."
She
turns her head back to kiss me.
"It'd probably be good."
Another pause. "I just need
to think about it."
For
a couple of weeks after that, I don't often know when I'll see her or how to
reach her, other than at the café.
Sometimes she comes home with me at the end of a shift, sometimes
not. I'm not sure why I'm still thinking
of her going to Sedona with me if we can't even manage simple cohabitation.
One
Monday she doesn't come to work. I cross
her off the schedule and tell Lou she's called in sick. But then at noon she really does call, and
unfortunately Lou picks up the phone.
His slabby face is pink by the time he hangs up. He gets up from his desk and comes across the
little office to stand over me.
"That
little idiot," he says, his voice scratchy with tension, "is begging
to get fired."
"Can't,"
I say, though just now it sounds attractive.
"We're too short."
"Hire
someone. Hire two people if you
want. Then she's gone."
He
throws a sheaf of applications across my keyboard and walks out. I riffle through them, then put them back on
his desk.
"I
was thinking of quitting anyway."
Monica's in black—shoes, stockings, skirt, top. She's dyed her hair to match. "My life's too complicated right
now."
"And
losing your job is going to simplify it?"
I'm having a little trouble with her casual attitude.
She
laughs. "Maybe." We're in her car, waiting in the
drive-through lane at Jack-in-the-Box.
The side-view mirror is in the back seat, along with a jumble of clothes
and books and half-eaten groceries. One
night last week, she says, she let someone else drive because she was too
drunk—some friend of Dede's. But as it
turned out, he was drunker than she was, and he snapped the mirror off against
the side of this very Jack-in-the-Box.
"Look,
don't quit. Just act like a normal
waitress for a couple of weeks. Lou
won't fire you."
"But
I'm not a normal waitress. Remember?
That's why you like me."
"I
knew there had to be a reason." A
little more bite goes into this than I intended.
"Hey…" Her voice is soft: mock hurt to answer the mock insult, neither
of them entirely mock. "That wasn't
nice."
In
the glow of Jack's illuminated drive-through menu, I look at her and she looks
at me. I make my hand into a gun, put
the muzzle between my eyes, and pull the trigger.
"Bear
Flag?" Monica says to me one night after work as I'm locking up the day's
receipts. By this she means the brewpub
around the corner. Dede's waiting for
us, hands in her coat pockets.
I
shake my head. It's ten thirty now, and
I've been in the café since noon.
"Let's just go home."
In theory, she's still looking for an apartment. In practice, she's at my place, with a huge
cube of cardboard cartons piled in my living room.
"Home? That sounds exciting."
"Almost
as exciting as more beer and more cigarettes."
"I'll
be home in an hour." She turns
away. Monica isn't one for lengthy
negotiations.
Ten
minutes later, halfway to my car, I change my mind. We've played this game a lot lately. Monica will want to check out some band at
New George's or run up to Cloverdale for a party; I'll want to cook Szechwan food for us or rent Pulp Fiction one more time.
This is an easy one I can give her:
a pitcher of pale ale at the Bear Flag with Dede.
It's
cold on the patio behind the pub, but that's where they are, because that's
where you can smoke. Dede's sitting at a
varnished wooden table with one of our other waitresses. I hear Monica's ferocious chuckle.
Dede,
when she notices me, looks like she's been harpooned. A guy in a black leather jacket, with just a
quarter inch of fuzz on his skull, stands with his back to me, facing the low
stone wall that encloses the patio. On
the other side of him, half hidden, is Monica, her arms linked around his
waist. He's looking down into her face
from a few inches away, and his hands are on her shoulders.
I
feel hot and queasy, like I'm running a high fever. "Monica," I say. A little cloud of vapor comes out with the
words, billows up, and disappears.
She
doesn't panic—just gently pushes the guy back, turns him to face me, keeps a
hand lightly on his waist.
"O.K.,
nobody be embarrassed." She laughs
much too loudly. "What's that
basketball thing—no harm, no foul?"
The
guy shakes his stubbly head and moves away from her. "Nice going, Monica."
I've
met him—he's a guitarist, his name's something like Brent. I've never quite gotten clear on whether he's
an old friend or an old boyfriend, but that's not unusual. He lifts a full pitcher of beer from the
table with one hand, claps my shoulder with the other, and goes inside.
Monica
has the same sheepish, defiant grin on her face that she always gets when you
catch her at something. I've seen it in
the family pictures she's shown me; I wonder what childhood expression she sees
on my face now.
"I
think maybe we should leave," I say.
"I think we're done here."
"Maybe." Her voice wobbles. "Maybe not."
"Monica,
let's just go." I grab her by the
elbow, which I know is exactly the wrong thing to do.
She
shakes me off. "I don't think
so." She stares at me, arms
crossed.
I
stand there for a moment, trying to think of something to do other than walk
away. Nothing comes. As I leave, Monica and Dede exchange looks I
couldn't decipher in a thousand years.
I
walk through the bar, past a table where Brent is sitting with two other guys
in identical jackets. I'm right at the
door when Monica runs up behind me.
"God
damn it," she says when we're out on the sidewalk, facing each other. We just look at each other, too pissed to
speak yet, and she whips out her Benson & Hedges Lights. We trail a blue ribbon of smoke as we walk
around the square at the center of town.
Eventually we're outside a bookstore, looking at the vintage paperbacks
in the display window. Monica points to
a copy of Gravity's Rainbow with a
psychedelic cover, like we're just casually window-shopping.
"Seriously,"
I say, "that wasn't good, what just happened."
"True." She twists one of her rings. "But let's not act like it was a big
surprise. We both knew I was going to do
something stupid eventually, didn't we?"
"Only
one of us had any control over it, though." My voice is flat. I'm trying to be careful.
"I
don't know if I really did have control."
She leans into me, her hand wrapped around my arm. "Sometimes I don't believe the shit I
do. It's like part of me goes to sleep,
and it wakes up and I'm diving off a bridge or shooting up or sticking my
tongue in someone's mouth."
"O.K.,"
I say. "You don't have
control. Regardless, the tongue's still
there."
"It
didn't even fucking happen, Rob. Look,
that's the closest I've come to messing up since we started going out. Which is totally a record for me, all
right?"
I
bite back the first couple of responses that occur to me. It's not like she's really done anything, and
I know this is where I've gone wrong with other women: holding on too tight, expecting too
much. This is what I thought I could
never be stupid enough to do with someone like Monica. But it seems like the worse things get with
us, the more she matters to me.
"It's
nice to be the record holder," I say.
I put my hands against the cold glass of the window.
Monica
slips in between me and the glass. She
slides her freezing hands under my jacket and shirt, up my back, pulls me
against her, kisses me.
Great,
I think. This is supposed to make it all
OK?
But
I'm too confused to hold onto the idea.
I lay my hands lightly on her ribcage.
She kisses me again, open-mouthed.
Our legs tangle up. A few minutes
pass.
"Well." She steps back. Her eyelids droop; her mouth turns down at
one corner. "You're not hard to buy
off, are you?"
But
she's holding my hands, and it seems to me there's more affection than bitterness
in her words.
"Up
to a point," I say.
The
next morning, she's gone when I wake up.
At work, no Monica, no call.
Again, I cover for her, but Lou, when he comes in at noon, just isn't
having any.
"Enough,"
he says finally. His voice is soft. He's past the venting stage. "I want her out of here."
He's
right, of course. Even if he were wrong,
he'd be right, since he owns the place, but he's right. And it's not like Monica would blame me. Regardless, I know whose side I'm on. I'm just not going to do this to her. "She'll leave on her own, Lou. She as good as gave notice."
"That
doesn't cut it." He puts a bottle
of white-out on the desk in front of me and taps a finger against the shift
schedule taped to the wall.
"I'm
sorry." I shake my head. "You want it done, you'll have to do it
yourself."
"Jesus." Lou looks like he's about to spit. "The little bitch really does have you
in her fan club."
"Lou…" My face flushes, and I think it's only now he
gets the whole picture, that Monica and I are seeing each other. I can still save this if I back down, and I
know I should, but it seems to me now that I'm proving something to
Monica. "Don't be an asshole."
"Rob,"
he says, "It looks like you made your choice. I wish you luck. With that one, you're going to need it."
"Get
fucked, Lou." I grab my jacket off its hook and head for the street.
I'm
at home, drinking, waiting for Monica.
I'm thinking that in Sedona it would still be warm at this time of
night. There'd be a crowd on the terrace
of my pub: mountain bikers with
slickrock grit on their faces, their bikes leaning against the building;
artists wearing Zuni silver; hard-faced Indians in denim faded almost to white;
sunburned rafters; tourists from L.A.
in loud shirts. Mesquite smoke from the grills would fold
over all of them. Bats would flick over
the roof of the building and then wing straight up, away from the noise. I can see the picture as well as I ever
could, but when I try to put Monica in it, I fail. She's said she'll go with me, and I want her
to; still, I can't see it.
It's
ten o'clock when she arrives. Her down
coat is sodden with rain. Her hair
bristles chaotically, but her makeup is fresh.
The edge of her lipstick is a line so sharp you could shave ice with it.
"I
know," she says, "I'm fired."
"You
pretty much are."
"How
embarrassing." She laughs, a tired
rendition of her trademark howl, and scoops up my bottle of tequila. "Sleeping with the manager, and I still
get fired."
"You
don't seem much bothered."
"Well,
I'm sorry if I left you guys short today."
Clearly
that's all the regret she's going to show.
"Guess who else is fired," I say.
"What?" Her eyebrows are drawn down; her lower lip
goes slack, as if she's just gotten a huge hit of Novocain.
"Lou
told me to fire you, and I told him to go fuck himself." This line, which in my head had such an
impressive ring, sounds weak in the open air.
She
stares for another second before she answers.
"Wasn't that kind of stupid?"
Not
the reaction I was hoping for.
"You're welcome," I say.
"Any time."
"Did
I ever ask you to do that kind of shit for me?
I don't think so."
I
know I should have seen this coming, and I know it must make perfect sense
somehow. But as it stands, I'm
baffled. My teeth clamp down on the end
of my tongue. Finally I say, "Tell
me what the problem is here."
"The
problem is, don't you think I've got enough debts in my life without you going
and doing something like that?"
"That's
not a debt."
"The
fuck it's not. Here's what I want to
tell you, Rob. I'm going to do things
you don't like, I mean I'm going to do them constantly,
and you just have to let me. We're
two separate people. Don't try and act
like we're not."
"That's
not the way I act. I act like I give a
shit what happens, and you act like you don't." The knife I've been using to cut hunks off a
lemon is on the table near me. I pick it
up, jab its point into the tabletop, leave it standing there.
"Right. You go and get yourself fired, and somehow
it's my fault—like everything else. I'm
so sick of that." She jerks the
knife out of the table and slams it into the wall. With the impact, her fingers slip off the
handle and onto the blade. As she pulls
her hand back, blood is already dripping to the floor.
She
says nothing, but she looks more pissed than ever as I hold her hand under the
faucet. The cold water makes her wince
in a way the knife blade didn't. Ribbons
of blood wash across the bottom of the sink.
I
want to take her to the emergency room at the county hospital, but she won't
go. Then I tell her to make a fist. Only her forefinger and her thumb obey. The other three fingers curl partway and then
stop. Maybe she's a little in shock,
because this fascinates her. In the car,
with me swearing at the traffic, she keeps trying to fold the fingers up around
the blood-soaked kitchen towel in her palm.
It's
3 a.m. when we finally get home.
Monica's hand is a large clump of gauze, with thumb, forefinger, and
just the purplish tips of the three other fingers protruding from it. I help her undress; between the Darvon she's
gotten and the size of the bandage, buttons are not in her repertoire. She collapses into bed while I fetch her an
extra pillow and a can of Orangina.
"Well,
thanks." She takes the drink, sips,
then sets it on the nightstand. She's
smiling the satisfied smile of the well-drugged. "It's really been a lovely
evening."
I'm
not quite too tired to summon a laugh.
"Absolutely."
"Yeah. Absolutely." She switches on the bedside lamp, frowns,
switches it off. "Don't forget,
though—we've still got an argument to finish."
"Somehow
I doubt we're ever going to finish that argument. Continue it, maybe."
"That's
right." She gives me a flash of her
fierce pagan grin.
I
watch her gently lower the bandaged hand to the pillow. "How does it feel?"
"Killer." The three protruding fingertips waggle just
slightly.
"Nice
work."
"Absolutely." Her breath wheezes in and out, and her eyes
flutter closed. Within half a minute
she's asleep. I stand by the bed,
feeling the sudden quiet, and it strikes me how perfect she is in her own way,
how incomplete she'd be without even her worst faults.