DET.-RET.
1
Hodges walks out of the kitchen with a can of beer in his hand, sits down in the La-Z-Boy, and puts the can down on the little table to his left, next to the gun. It’s a .38 Smith & Wesson M&P revolver, M&P standing for Military and Police. He pats it absently, the way you’d pat an old dog, then picks up the remote control and turns on Channel Seven. He’s a little late, and the studio audience is already applauding.
He’s thinking of a fad, brief and baleful, that inhabited the city in the late eighties. Or maybe the word he really wants is infected, because it had been like a transient fever. The city’s three papers had written editorials about it all one summer. Now two of those papers are gone and the third is on life support.
The host comes striding onstage in a sharp suit, waving to the audience. Hodges has watched this show almost every weekday since his retirement from the police force, and he thinks this man is too bright to be doing this job, one that’s a little like scuba diving in a sewer without a wetsuit. He thinks the host is the sort of man who sometimes commits suicide and afterward all his friends and close relatives say they never had a clue anything was wrong; they talk about how cheerful he was the last time they saw him.
At this thought, Hodges gives the revolver another absent pat. It is the Victory model. An oldie but a goodie. His own gun, when he was active, was a Glock .40. He bought it—officers in this city are expected to buy their service weapons—and now it’s in the safe in his bedroom. Safe in the safe. He unloaded it and put it in there after the retirement ceremony and hasn’t looked at it since. No interest. He likes the .38, though. He has a sentimental attachment to it, but there’s something beyond that. A revolver never jams.
Here is the first guest, a young woman in a short blue dress. Her face is a trifle on the vacant side but she’s got a knockout bod. Somewhere inside that dress, Hodges knows, there will be the sort of tattoo now referred to as a tramp-stamp. Maybe two or three. The men in the audience whistle and stomp their feet. The women in the audience applaud more gently. Some roll their eyes. This is the kind of woman you don’t like to catch your husband staring at.
The woman is pissed right from go. She tells the host that her boyfriend has had a baby with another woman and he goes over to see them all the time. She still loves him, she says, but she hates that—
The next couple of words are bleeped out, but Hodges can lipread f*cking whore. The audience cheers. Hodges takes a sip of his beer. He knows what comes next. This show has all the predictability of a soap opera on Friday afternoon.
The host lets her run on for a bit and then introduces . . . THE OTHER WOMAN! She also has a knockout bod and several yards of big blond hair. There’s a tramp-stamp on one ankle. She approaches the other woman and says, “I understand how you feel, but I love him, too.”
She’s got more on her mind, but that’s as far as she gets before Knockout Bod One goes into action. Someone offstage rings a bell, as if this were the start of a prizefight. Hodges supposes it is, since all the guests on this show must be compensated; why else would they do it? The two women punch and claw for a few seconds, and then the two beefcakes with SECURITY printed on their tee-shirts, who have been watching from the background, separate them.
They shout at each other for awhile, a full and fair exchange of views (much of it bleeped out), as the host watches benignly, and this time it’s Knockout Bod Two who initiates the fight, swinging a big roundhouse slap that rocks Knockout Bod One’s head back. The bell rings again. They fall to the stage, their dresses rucking up, clawing and punching and slapping. The audience goes bugshit. The security beefcakes separate them and the host gets between them, talking in a voice that is soothing on top, inciteful beneath. The two women declare the depth of their love, spitting it into each other’s faces. The host says they’ll be right back and then a C-list actress is selling a diet pill.
Hodges takes another sip of his beer and knows he won’t even finish half the can. It’s funny, because when he was on the cops, he was damned near an alcoholic. When the drinking broke up his marriage, he assumed he was an alcoholic. He summoned all his willpower and reined it in, promising himself he would drink just as much as he goddam wanted once he had his forty in—a pretty amazing number, when fifty percent of city cops retired after twenty-five and seventy percent after thirty. Only now that he has his forty, alcohol no longer interests him much. He forced himself to get drunk a few times, just to see if he could still do it, and he could, but being drunk turned out to be no better than being sober. Actually it was a little worse.
The show returns. The host says he has another guest, and Hodges knows who that will be. The audience does, too. They yap their anticipation. Hodges picks up his father’s gun, looks into the barrel, and puts it back down on the DirecTV guide.
The man over whom Knockout Bod One and Knockout Bod Two are in such strenuous conflict emerges from stage right. You knew what he was going to look like even before he comes strutting out and yup, he’s the guy: a gas station attendant or a Target warehouse carton-shuffler or maybe the fella who detailed your car (badly) at the Mr. Speedy. He’s skinny and pale, with black hair clumping over his forehead. He’s wearing chinos and a crazy green and yellow tie that has a chokehold on his throat just below his prominent Adam’s apple. The pointy toes of suede boots poke out beneath his pants. You knew that the women had tramp-stamps and you know this man is hung like a horse and shoots sperm more powerful than a locomotive and faster than a speeding bullet; a virginal maid who sits on a toilet seat after this guy jerked off will get up pregnant. Probably with twins. On his face is the half-smart grin of a cool dude in a loose mood. Dream job: lifetime disability. Soon the bell will ring and the women will go at each other again. Later, after they have heard enough of his smack, they will look at each other, nod slightly, and attack him together. This time the security personnel will wait a little longer, because this final battle is what the audience, both in the studio and at home, really wants to see: the hens going after the rooster.
That brief and baleful fad in the late eighties—the infection—was called “bum fighting.” Some gutter genius or other got the idea, and when it turned a profit, three or four other entrepreneurs leaped in to refine the deal. What you did was pay a couple of bums thirty bucks each to go at each other at a set time and in a set place. The place Hodges remembered best was the service area behind a sleazy crab-farm of a strip club called Bam Ba Lam, over on the East Side. Once the fight card was set, you advertised (by word of mouth in those days, with widespread Internet use still over the horizon), and charged spectators twenty bucks a head. There had been better than two hundred at the one Hodges and Pete Huntley had busted, most of them making odds and fading each other like mad motherf*ckers. There had been women, too, some in evening dress and loaded with jewelry, watching as those two wetbrain stewbums went at each other, flailing and kicking and falling down and getting up and yelling incoherencies. The crowd had been laughing and cheering and urging the combatants on.
This show is like that, only there are diet pills and insurance companies to fade the action, so Hodges supposes the contestants (that’s what they are, although the host calls them “guests”) walk away with a little more than thirty bucks and a bottle of Night Train. And there are no cops to break it up, because it’s all as legal as lottery tickets.
When the show is over, the take-no-prisoners lady judge will show up, robed in her trademark brand of impatient righteousness, listening with barely suppressed rage to the small-shit petitioners who come before her. Next up is the fat family psychologist who makes his guests cry (he calls this “breaking through the wall of denial”), and invites them to leave if any of them dare question his methods. Hodges thinks the fat family psychologist might have learned those methods from old KGB training videos.
Hodges eats this diet of full-color shit every weekday afternoon, sitting in the La-Z-Boy with his father’s gun—the one Dad carried as a beat cop—on the table beside him. He always picks it up a few times and looks into the barrel. Inspecting that round darkness. On a couple of occasions he has slid it between his lips, just to see what it feels like to have a loaded gun lying on your tongue and pointing at your palate. Getting used to it, he supposes.
If I could drink successfully, I could put this off, he thinks. I could put it off for at least a year. And if I could put it off for two, the urge might pass. I might get interested in gardening, or birdwatching, or even painting. Tim Quigley took up painting, down in Florida. In a retirement community that was loaded with old cops. By all accounts Quigley had really enjoyed it, and had even sold some of his work at the Venice Art Festival. Until his stroke, that was. After the stroke he’d spent eight or nine months in bed, paralyzed all down his right side. No more painting for Tim Quigley. Then off he went. Booya.
The fight bell is ringing, and sure enough, both women are going after the scrawny guy in the crazy tie, painted fingernails flashing, big hair flying. Hodges reaches for the gun again, but he has no more than touched it when he hears the clack of the front door slot and the flump of the mail hitting the hall floor.
Nothing of importance comes through the mail slot in these days of email and Facebook, but he gets up anyway. He’ll look through it and leave his father’s M&P .38 for another day.