happy for ya. Tell Ruth that I hope she feels better soon. I wish I was goinâ with ya. Where in Boca exactly?â
âYou didnât see the magazines yet?â
âDonât need to, Larry.â
âJust let him show us,â Leo says.
âCome back with Ira. Iâm done here.â
We follow my father back toward the exit down a different aisle. ANAL BEADS, BALLS, BULLETS AND EGGS .
Larry jogs up to my dad and puts his arm around his shoulder. âMartin, Iâm in a little bit of a jam. I got to sell the store. Ruth is very, very sick.â
âI know. I know, Larry. You told me. But the thing is this, ya seeââ
âIâll give it to you for
half
the asking. Half, Martin. A
steal
. But only if you take it off me this week.â
My father steps out of the store and onto the sidewalk. I canât tell if heâs considering the offer or trying to get away. He starts down Broadway and without looking back lifts his hand, waves and yells, âIâll call you!â We follow him.
Itâs not the friendliest area in the world so Iâm sort of pleased to be with Leo. We keep passing quivering bodies in doorways and people with bruised, outstretched hands. At one point Leo is approached by a man in a skirt with tennis-ball boobs whoâs lifting his white miniskirt to show us his panties. He flickers his fat, brown tongue at us. Leo bumps the guy, who stumbles hard, nearly tasting the curb.
âFuckinâ bitch!â the tranny screams, then reaches into a trash can, winds up his arm, and throws a bottle in a brown paper bag. He hurls it like I throw lefty and it breaks without drama on the sidewalk. Leo runs at him and the guy takes off into the street.
When we catch up to my dad, heâs talking as if weâve been with him the whole time.
ââKeep up with the Joneses,â Ira says. âWhen in Rome,â Brandi says. All they really want to do is kill everything beautiful and sensual and bring scumbags in to jack off in my theater with their pants at their ankles. Fuck that!â
âThen donât buy it,â I say. âKeep it the way you want it. Donât have a heart attack over this. Right, Leo?â
Leo doesnât answer. My father waits and waits and then faces him. âLeo?â he finally says.
âWe need âem,â he says. âFilm peeps and live peeps. If we want to stay open near the strip.â
âBullshit,â my father says.
âWhoâs gonna come, boss? There are better spots around the corner. You said it yourself, people buying up leases on the strip for what? Five grand or more for six hundred square feet? If we donât pull our weight in the spot thenââ
âFunny, Leo. I thought you were one of the holdouts. You been talking to Ira? Or Brandi?â
âThe thing is, boss, weâre losing money. Forget Ira for a second. Tokens and the peeps are where itâs at. Burlesque? Burlesque is dead.â
âOh it is? It is, Leo? I can name three spots in Atlantic City that run purely on burlesque.â
âBut this is here. Weâre talking about here.â
My father says nothing for the rest of the walk back to the Imperial. When we get inside, thereâs a silver-haired man with an orange tan standing in the lobby with Brandi and two other men. Itâs Ira. Ira Saltzman. I saw him the other night but he didnât see me. He has lips the color of veal for some reason and theyâre puffy, like heâs been sucking on a lozenge. He shakes my fatherâs hand but not Leoâs.
âYouâre interrupting a good story. Where was I?â
One of the men reminds him. âYou said the state . . .â
âThatâs right, itâs the state who says that by
law
a theater presenting a drama or a comedy has to charge sales tax oneach ticket. The loophole for us: musical performances are exempt. At stake is a quarter million
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