Some Men Are Lookers: A Continuation of the "Buddies" Cycle (2 page)

“I could be Tuffy,” Virgil ventured.

“And I could be Tuffy on weekends,” said Cosgrove.

“Look,” said Dennis Savage with his famous weary patience. “Tuffy and his like are for people who cannot live in reality. People who go through their time on earth like a teenager at his first fuck. People who have no sense of responsibility or fairness or loyalty. Tom Driggers is the Circuit personified—drug up, dance, screw, sleep it off, and do it again. He got rich organizing service industries for other people like himself. He ran buses to the beach, he ran whores to the closeted rich, he ran discos till you drop. He
had
, and he
had
, and he
had
—and when the rest of us appetitive sexboys looked around and saw that our appetites could kill us and backed away, Tom Driggers went right on having. That’s why he is on the verge of defunct. I’m sorry to say so, but if someone has to die of this cursed poison, it ought to be Tom Driggers. Because he took his choice, and this is his consequence.”

Somewhere in all that, Dennis Savage had left Virgil and Cosgrove and had resumed addressing Lionel, not gently.

“And you can stop begging me to visit that disgusting, putrid piece of Texas redneck trash, because he’s going to die with his kind around him, not with me!”

“For pity’s sake—”

Dennis Savage chopped out the following words:
“He has what he created!”

There was silence.

“Someone,” said Virgil, finally, “is rather snarky today.”

“He is very desperately threatened,” Cosgrove quickly added.

“I’ll quit while I’m behind,” said Lionel, getting up to go. Virgil saw him to the door, where Lionel turned to Dennis Savage, regarding him mildly but holding it out into a stare.

Dennis Savage faced him down.

Virgil was watching them, and Cosgrove was watching Virgil.

“Maybe you could think about it,” Virgil said suddenly to Dennis Savage, “and maybe you would change your mind.”

“And maybe I won’t.”

Lionel nodded and left.

After closing the door, Virgil stood in thought, his back to us; Dennis Savage nudged me with a glance, indicating his lover. We all know one another so well that we sometimes operate like a mime troupe, entirely in visuals.

“Can I show my movie now?” Cosgrove asked. “It’s the first videotape that I really made myself.”

“I helped him,” said Virgil, still at the door.

“Virgil always helps me.”

“I’m not sitting through another
Friday the 13th
sequel,” said Dennis Savage, “I’ll tell you that.”

“It’s
The Lost Boys.”

“Are you undergoing a mystical out-of-life experience with that door,” Dennis Savage asked Virgil, who hadn’t yet moved, “or would you like to join us on the couch?”

Virgil coolly came over, sitting on the far side of the couch from Dennis Savage.

“Hey!”

“Easy,” I said.

“Well, what’s he supposed to be, my eighth cousin thrice removed? Come over here, you.”

“Cosgrove,” said Virgil, staying put, “it’s movie time.”

“Were they misunderstood cuties,” Cosgrove cried, jumping up to make his presentation, “or mean ghouls? A magical club, or killers on the loose?”

“Let’s skip the trailer,” said Dennis Savage. “Just run the film.”

“This is becoming a very snarky apartment,” said Virgil.

Dennis Savage leaned over me and asked Virgil, “How come I don’t know what that word means?”

“Virgil and Cosgrove Productions present,” Cosgrove began, with a—at any rate trying to—flourish, and onto the television screen came the credits of
Pee-wee’s Big Adventure
.

“Sure,” said Dennis Savage. “The three things I most wanted to do tonight were go to the dentist for an emergency root canal,
trade fashion tips with Prince, and see
Pee-wee’s Big Adventure
. That’s one down.”

“I mixed up the boxes,” said Cosgrove, wrestling with his software. “We have so many now.”

“And if Jerry Lewis isn’t them, the Ritz Brothers are,” said Dennis Savage. “An elite collection.”

“We have
The Fruits of Worth,”
said Cosgrove. “It’s an art classic from the black-and-white days.”

“The Grapes of Wrath
, Cosgrove,” said Virgil.

Cosgrove had
The Lost Boys
cued up at last, and on it came, to his cheers. Actually, this was Cosgrove’s big night in another way, for he was just two hours short of getting anything he wanted (within reason). This started when it occurred to me that it would make everyone’s life easier if he had some incentive to behave himself. This would comprise, for instance, not muttering “He was touched by the ugly stick” in a voodoo accent when passing one of God’s unfortunates in the street; and, when asked to prepare dinner, not presenting one’s live-in with a plate of baked-bean sandwiches and potato chips. If Cosgrove could stay innocent for a month, I told him, he could choose his prize—and if nothing more than
The Lost Boys
happened in the next two hours, he was a shoo-in.

Early in the movie, there is a scene in an amusement park at night, where a restless montage brings together images of the seedy and the erotic. This worrisome marriage of what repels and what appeals is then epitomized in a song called “I Still Believe,” performed by an oiled, shirtless bodybuilder, dancing, singing, and playing the saxophone. This is, in fact, Tim Cappello, one of Tina Turner’s sidemen, a versatile musician who was also, at the time of filming, a titanic devotee of the gym. He isn’t handsome, and his slicked-back ponytail hairdo strikes an alarming note. (Studies have revealed that 84 percent of men with ponytails are paint-sniffers, serial killers, or Axl Rose.) Nevertheless, as he grinds his hips and blows his horn, Cappello is a very hot package. He’s magnificent. Watching his act, I kept trying to place him culturally, for he seems
to fuse the self-presentational imperatives of the gay avatar with the reckless abandon of hetero trash. What is this picture telling us? I wondered. It’s not familiar yet it’s instantly recognizable. Or it’s not likable but it’s irresistible. Or it’s not pretty: It’s straight.

Suddenly Dennis Savage, pointing at Tim Cappello, cried, “That’s Tom Driggers. I mean, that’s his echelon, his kind. Am I wrong?” he asked me. “He was always pulling in these bizarrely sexy characters off the street—like that one, there—and that was—”

“So who can blame him?” I asked.

“You
didn’t live like that!”

“I never got the chance to. Tom Driggers had the luck to find these guys. He’d walk into a straight bar, order a scotch, and smile at the man next to him, who would almost invariably turn out to be a horny fireman in a crossover frame of mind. Wherever
I
went, there was Arnold Stang.”

“So, ontologically speaking, the whole gay world represents a sequence of hot encounters with, if possible, the enemy. Is that it?”

“No talking in the theatre,” said Virgil.

“This isn’t a theatre,” Dennis Savage told him. “This is an apartment where real people live. This is where dreams of infinite sexual exaltation come to die. Where things are a little dull but everyone talks sense. This isn’t one big bedroom.”

“He is very desperately threatened,” Cosgrove whispered.

Virgil took the remote from Cosgrove and put the movie on hold.

“Are you just mad at that guy because of the way he lived?” he asked Dennis Savage. “Or did he do something to you?”

“He did something to me, and put the movie back on.”

“Maybe you would talk about it. Otherwise you might seem very fanatic to us.”

Dennis Savage, Napoleon on St. Helena, sighed profoundly. “I put that incident and Tom Driggers behind me long ago, and I have no intention of dealing with either again.”

Virgil looked at Dennis Savage, then at me.

“Don’t try this door,” I told him. “I don’t know the story.”

“It was one of the few things I managed to keep from you,” said Dennis Savage. “Thank God for something, I’m safe.”

“You’re never safe,” I said. “It’s Exorcis the storyteller, coming to get you. You can run, you can—”

“Children, put the movie on.”

“All right,” said Virgil. “But you’re being horribly snarky tonight.”

“You know what I think?” said Cosgrove.

I put my hand on his mouth. “You’re on the verge of losing your reward for a month’s good behavior,” I warned him.

“Please be nice,” he pleaded.

“Put on the movie!”
Dennis Savage roared.

The rest of the screening passed in silence, a genuinely absorbed one. Virgil and Cosgrove love horror films, especially the
Exorcis
ones with supernatural menace in which the forces of humanity rout the forces of evil. Yes, it’s coming to get you, but you can stonewall it for a time and, at the last, destroy it.
The Lost Boys
is conceptually bewitching—the boys themselves are punk-style vampires, which makes sexiness a metaphor for aggression. I was amused. But Dennis Savage watched with one eye, lost in recollection.

So deep in thought was he that when the movie ended our clapping startled him. He almost jumped.

“Hooray for Cosgrove,” said Virgil.

“My first tape,” Cosgrove preened.

“And now,” Virgil went on, “Cosgrove gets to choose his prize for being a good boy.”

“Oh, yes?” Cosgrove said. “Suddenly it’s now, sometimes.” He jumped to his feet and surveyed us all. “I want a suit. The kind with a vest and a tie.”

“Done deal,” I said.

“How come I don’t get a suit?” Virgil asked Dennis Savage.

“What do you want from me? You have a job. You’re earning money of your own—go buy yourself a suit.”

Virgil looked away. “I wouldn’t know what to say.”

“Virgil,” said Cosgrove, “would you help me pick out my suit? I can’t decide between pin-stripe and burnt umber.”

“Cosgrove, we have to figure out where you will
wear
your suit for the first time!”

“It could be somewhere important,” said Cosgrove.

“I know just the place,” said Virgil, getting excited. “We could all go to
A Chorus Line!”

“You’ve seen it seven times,” said Dennis Savage.

“Cosgrove has never been there!”

“It’s like this,” said Dennis Savage, doing his Slow and Careful. “We have three more months till school’s out. I
think
if I can just husband my crumbling sanity till then, I can use the summer to recover in. I say I
think
I can. But every little squeeze and assault that I suffer from now till then is going to threaten the equation.”

(Virgil was rolling his eyes and Cosgrove was making farting noises.)

“Yes,” Dennis Savage went on. “Yes, I knew I’d immediately win the sympathy of the room.”

“I don’t think
A Chorus Line
is important enough for my suit,” said Cosgrove.

“How about the opera?” Dennis Savage asked me.

“All I have left is
G
tterd
mmerung
next Friday,” I said. “That’s a little epic for Cosgrove.”

“Cosgrove is a little epic himself,” Dennis Savage shot back with a grin. “They ought to get along just fine.”

“Cosgrove at the opera!” Virgil breathed out, in awe.