That same night, Jessica enters a seedy bar elsewhere in town, secretly observed by Mike. Jessica immediately chooses a man to go home with, and has aggressive sex with him.

Later, Jessica returns home and gets drunk while sorting through a box of mementos. Jessica lingers over the gruesome photograph of a dead man.

Although this clip only contains five spoken words, we continue learning a great deal about Jessica and her secret life of promiscuity. After lying to John about her plans for the evening, this covert journey symbolizes Jessica's descent into a different world; fortunately, Jessica is just as dedicated to being slutty as she is to being a cop, and has managed to locate a world of dive bars populated by male models with low standards.

Indeed, as she boldly takes a seat beside a man who is already engaged in conversation with another woman, it appears that in this world, Jessica is totally irresistible to men despite her haggard appearance, frumpy wardrobe, and misguided hairstyle. On the other hand, it is easy to imagine that Jessica is an appetizing alternative to the woman he had been romancing. Notably, this woman resignedly turns to chat up another man as soon as Jessica sidles up, clearly sensing that it would only be humiliating to put up a struggle against Jessica's sheer eroticism.

Although it seems unlikely that Jessica and her new lover have much in common, it appears that they are able to bond over the crucial fact that they are both willing to sleep with anyone, ever. We get our first glimpse of Jessica's "twisted" behavior in the bedroom when she briefly strangles and kicks at her new lover as they begin to have sex, followed by an inexplicable round of cackling indicating that Jessica has just realized what movie she is in. If this is the case, it certainly makes sense that the scene abruptly ends so she can go home and get really, really drunk.

As Jessica pours herself a glass of wine to begin the process of expunging this recent self-awareness, the careful viewer will notice the elderly Asian woman staring at Jessica from across the way. Keeping in mind the cinematic rule of "Economy of Characters," we can only speculate as to her true significance; however, given Roger Ebert's assertion that "any neighbors who seem unnecessary yet are given dialogue will be more than merely neighbors" , it should be noted that this woman has not been given dialogue thus far, suggesting that she is probably just bored and inconsiderate.