Alright Alright (Here Goes part II: Lifter Puller) Jun 9, 2021 11:07:26 GMT -5
Post by skepticatfirst on Jun 9, 2021 11:07:26 GMT -5
THE LBI: SUMMARY
Here's a summary of the events of The LBI.
- In the aftermath of Party Zero, the owners of the brewery discover the damage and debris left by the gangsters and the kids [FIRST BUST].
- They change the locks on the bar, and install infrared motion detectors and bugs on the premises [FIRST BUST].
- After Juanita leaves him, and the better to support his drug habit, the Narrator quits his lease, acquires a Jeep and moves into it [THE RIPPLE AND THE CHAMPAGNE].
- Labor Day weekend arrives; the gangsters throw a second weekender in the brewery bar, their first time back since Party Zero at Easter [LABOR DAY, FIRST BUST, CALENDAR: FIRST PASS].
- Juanita, maintaining now and starting to get bored with the scene, wants to make something special out of it, so she organizes a costume party [COSTUME PARTY].
- The party kicks off on Friday night (September 2, 1994) [LABOR DAY, FIRST BUST, CALENDAR: FIRST PASS].
- Juanita, who's dumped the Narrator after his attempt to drown her, gets a ride to the party with Dwight, as usual [THE RIPPLE AND THE CHAMPAGNE].
- Her costume is a caricature sexy "indian" dress made out of burlap with unhemmed fringes, mesh, feathers, and sequins [COSTUME PARTY, INDIAN FRINGES].
- The Narrator, learning of the costume party through his ongoing connection with the dealers of the Scene, comes separately, in his Jeep [TWO AT A TIME, THE RIPPLE AND THE CHAMPAGNE].
- He parks beneath the 7th Street overpass in the Kittson Street lot, with the gangsters, & from there walks to the brewery through the park [REAR VIEW MIRROR, BALTMORE BELTLINE].
- Like Juanita, he's in costume; dressed as a pirate, with an eyepatch and raincoat and without his glasses, he appears to others as the Eyepatch Guy [EYEPATCH GUY, COSTUME PARTY, COMMEMORATIVE PLATES].
- Tacked up on the woodwork of the bar like a museum exhibit are photos of the Narrator and Juanita being gangbanged at Party Zero [COMMEMORATIVE PLATES].
- One of the photos is a picture of the Narrator blowing Dwight in the corner while Juanita looks on, smiling. The Narrator takes and keeps the photo [COMMEMORATIVE PLATES].
- The party gets into gear with the usual mix of drugs and sex; trying to get high, the Narrator does a lot of meth ("15 beers" [Hardware]) early [COSTUME PARTY, BORED].
- Observing Juanita from a distance, he admires her look in costume. She too is desperately trying to get high ("like 15 beers" [Emperor]) [COSTUME PARTY, BORED].
- Thanks to the costume, which lets him assume a new role, the Narrator, normally the servicer at scene parties, takes a handjob instead [COSTUME PARTY].
- The activity of the partygoers triggers the infrared motion detectors/bugs on the premises; the owners are alerted, and call the cops [FIRST BUST].
- Coming around the back in their kevlar vests and appearing "out of the woodwork," the cops arrive to bust up the party [FIRST BUST].
- The gangsters and Dwight scatter, every man for himself. The cops are wasting the hesher longhairs; Dwight is detained [COSTUME PARTY, THE RIPPLE AND THE CHAMPAGNE].
- Holding steady, the Narrator grabs Juanita from the vestibule and runs for the stairs, trying to get back underground and out of the complex [FIRST BUST, TWO AT A TIME].
- A cop grabs the hood of his sister's raincoat, which he's borrowed for the costume; but it pulls off, and he gets away [COSTUME PARTY].
- The Narrator and Juanita exchange a few words at the bottom of the stairs; she takes to him; he escorts her back out through the park [FIRST BUST, THE RIPPLE AND THE CHAMPAGNE].
- They make their way back across the railroad tracks north of the E 7th St overpass to the Kittson Street parking lot, where the cars are parked [BALTIMORE BELTLINE].
- When they reach the Narrator's Jeep, he proposes to take her away, but she won't go to a "second location" with a stranger, even if she likes him [THE RIPPLE AND THE CHAMPAGNE].
- Instead of driving away, the Narrator locks the doors, and they start talking [THE RIPPLE AND THE CHAMPAGNE, JUST STARTED TALKING, INDIAN FRINGES].
- Juanita's taken a lot of speed, but it didn't do much, and it's already wearing off. In real distress, she tells him she's bored [BORED, TWO AT A TIME, JUST STARTED TALKING].
- He gets her drinking clear beer in tallboy cans, and white wine/champagne in styrofoam cups, to bring her down from her fried Katrina high [THE RIPPLE AND THE CHAMPAGNE, INDIAN FRINGES].
- Talking to keep her calm and build a connection, the Narrator lights cigarettes for her; she smokes, and he makes some progress [JUST STARTED TALKING, REAR VIEW MIRROR].
- He manages to keep her attention, despite the whispered offers of the gangsters hanging on the hoods of their cars with drugs under their Copenhagen hats [JUST STARTED TALKING, REAR VIEW MIRROR].
- As the clock turns over into Saturday, the real Juanita begins to re-emerge from Katrina's druggy depths, but she's getting sick and panicky as she comes down [LAZY EYE, REAR VIEW MIRROR, CALENDAR: FIRST PASS].
- The Narrator and Juanita kiss; things get hot, and confused; whether for love or for drugs, she tries to go down on him [JUST STARTED TALKING, REAR VIEW MIRROR].
- The Narrator wants to respond; but between the sickness of coming down, the handjob, the alcohol, and his exhaustion, he can't get it up [JUST STARTED TALKING, LAZY EYE].
- Juanita, unstable to begin with and now feeling rejected, becomes hysterical; she demands that he give her something to get her high again [REAR VIEW MIRROR].
- Desperate not to lose control of the situation, the Narrator agrees to give her what she wants, but can only produce a bottle of Sudafeds [REAR VIEW MIRROR].
- Juanita is enraged; shoving open the door of the Jeep, she throws up her beer, while the gangsters in the lot all cheer [REAR VIEW MIRROR].
- In the rear-view mirror, the Narrator watches Juanita's "suicide" and Katrina's "resurrection": going down on one of the gangsters, she gets her meth reward [REAR VIEW MIRROR].
- Juanita drives off with the gangster while the Narrator is left behind, lonely in the driver's seat of his would-be limousine [REAR VIEW MIRROR].