Visions of Cody
Page 23
EVELYN. (seeing joint) Oh my God
CODY. He decided to cap it—to cap it off, you see
JIMMY. He turns around like I was doing the striptease or something
EVELYN…. real high, I should have known
CODY. Man…you know…—no, it’s the Dexedrine darling, the Benz—the Italian Benzedrine
JIMMY. Eh, ah, oh that Deni gave you! (CODY, Yeah) Oh man that must be frantic, he told me about ‘em
CODY. I been on ’em since about seven o’clock this morning
JIMMY. I was on—on two—two of the regulars tonight and I’m feelin…quite mellow
CODY. (laughs) That keeps everything real cool…. Still have a little energy left…. (imitating W. C. Fields) I’ll show you the…I used to be…I used to be an acrobat in a circus, Jimmy, you know that? (while others are talking)
EVELYN. Oh boy
PAT. Do you—do you—break easily?
CODY. (laughing) See, he doubts the ability—I do it better with m’shoes off…because of the confines I hope—I gotta have a little music though
PAT. Don’t, ah, knock your skull there or nothin
CODY. Oh yeah, well I won’t go up I’ll go down, I mean…
JIMMY. You gotta have music for this little act?
CODY. Hmm…gotta relax the muscles and the nerves. Threw the cigarette out so that, ah, the throat would not be ah, er—
EVELYN. (seeing he’s looking for something) Have you got something in mind?
CODY. (coughs) There it is, there it is, I see it, on yon horizon
JACK. Yon eastern hill
CODY. Hmm. (mambo comes on) (blasting) I got smoke in my eye, I didn’t get it. (taking three, four more puffs than he ought to) (Jimmy laughing) (Evelyn laughs also) See, when I get her high man, sh—one night—we just got one stick between us, that’s all I’d managed to salvage, scalvage around town and scravenger up, so we’re in a vile mood and we sit down there and in five minutes after we blasted she gets up and walks to the stove and she falls flat on her ass, right in the middle of the floor from thinking she saw something, or something
EVELYN. Oh, you know better, you know that it’s all wrong
CODY.—just the same tonight…
EVELYN. Hah! you didn’t finish the sentence, then you came over to pick me up then fall flat on your face
CODY. I (among laughs, hubbub) guess that’s the quick approach, is all, ahem…no—
EVELYN. I tripped over a wire
JIMMY.—instead of helping a lady up you get down right there with her
CODY. You got the right idee
EVELYN. Really was funny though wasn’t it, everybody falling down…
JACK. I didn’t have mine yet did you? Did you s—who started it? Let’s get the circle going…
JIMMY. Evelyn did
EVELYN. I did
PAT. Hey! hey! hey! (calling for roach)
EVELYN.—“here we go round the mulberry bush, the mulberry bush” (laughing)
CODY. Now, I’m really relaxed…. Phew!
PAT. Didn’t you get it second? (to Jack)
JACK. No
PAT. Oh
CODY. I remember one time in Louisiana, Jack—we went out and we did a standing high jump, and kept raising the stick up and up, this high
PAT. The better the tea the higher you go
JACK.—Buckle and I held an iron bar and Cody was going f-w-i-t! (Cody goes Ha ha ha!) I can do about this much…. You do this (holding hand to higher level). I can’t do that…. (CODY, Yeah) Nup, I can’t do that
EVELYN. What kind of a jump?
CODY. Standing…broad jump
JACK. Standing high jump
CODY. I do a backflip up…the stairs
JACK. Broad jump is going that way (demonstrating, CODY, Yeah, oh yeah) You know, off of the board?
CODY. Oh I—man, I’m gone on the standing broad—now wait a minute
JACK. (amid laughter) He can do it—he can do over nine feet
EVELYN. When did you do all this?
JACK. In the street, in the street…
EVELYN. I say when?
CODY. Why man, a standing broad is crazy—any broad that’s standing is crazy—this is standing broad—now come here—
EVELYN. When did you and Slim and Cody all get together
JACK. Oh, New Orleans
CODY. Now look, put your feet against the back here, so, you know, you got—well—
JACK…. you’ll hit the stove…alright! (moving over)
JIMMY. Oh you mean, s’frum, s’frum, from standing position?
CODY. Yeah
JIMMY. Oh, no kiddin
CODY. Go ahead, jump
JIMMY. How—how many feet?
CODY. How far?
JIMMY. Hey, ah, how, what do you call that, what kinda jump you call that?
CODY. Standing broad jump
JIMMY. Hey Pat
PAT. Huh? (looking up from cookbook)
JIMMY. When you stand perfectly still to make a jump…now wait a minute, how about—how about when you’re running, and then leap!
CODY. (laughing) Man…never done nothin…
PAT. That’s the running broad jump, that’s the running broad jump!
CODY. Just discussed that, see (laughing)
JIMMY. Oh what I’m tryin to say, how many feet can you do?
CODY. Oh darling I’m sorry! (accident with roach)
EVELYN. No I’ve got it
CODY. Did you get it?
JIMMY. Hey, hey—how many, howmany, howmany feet?
CODY. Ah (choking) (holding breath) you got that one…. Here’s what I always say Jimmy, it’s not how many feet you could do, it’s how many feet can you do now? Right?
JIMMY. Ah ha, what a conniver, what a—
CODY. Yes s’what I mean—see he didn’t even think I heard him, see—
JIMMY. I know, I know, I’m hungup, I’m hungup, two ways, man (laughs)
CODY. Man he’s hungup three ways, I dug every way he was hungup that time, everywhichway he was hung…three, right? (blasts) What am I doing with this?
PAT. You—I don’t want any, Jimmy, you can take it…
CODY. I’ll get the crutch, men…
JACK. I’m in on this one, on this kill—
CODY. This is a three-way job, girls, sorry
JACK. Awright, I’m out
CODY. Come here! (then to Pat) Go ahead, man, go ahead!
PAT. By the way—oh, ah, I got enough
CODY. Come on here, just—at tat tat—there you go—
JACK. Take it easy boy
CODY. W-w-ah…(coughing) I got the paper-aher-AHER (crying boohoo)…paper…
PAT. (still reading) Man, there’s—
EVELYN. You got all the middle of it—
PAT.—squabs in here and—
CODY. Yeah I did at that, come to think of it, yeah, well…
PAT.—frog legs, boy oh boy, roast pheasant—
CODY.—feel better, don’t you
EVELYN. Hm-hm, don’t remind me, or I’ll start all over again…
CODY. MORE?!!! Pardon me I was about to perform an exercise, get out of the way, sit down will ya? one at a time, here, one at a time! (smash) Oh the standing broad jump—
JACK. Yeah that’s right, that’s right, the standing broad jump
CODY. Now here’s the approach…assuming you come tripping out on the athletic field in the Olympics, you know, why you’ve got to have sensational approach, you just don’t step up to the line, there’s the line see, and we’re all cuttin up like the horses, racetrack, so I come leaping in, with my roach, (laughter)…. Man
JIMMY. No the roach is gone
CODY. Well, man
JIMMY. Drop it in the fly catch
CODY. What happened to the flutes? They’re much more peaceful! (clink of glasses) (laughter) What’s so acti-actilivity? That’s the side-wise—(laughter)…See…you know…you know…. (he and Evelyn laughing and talking)…Oh I did, yeh?…Dig th—you’re really figur
ing on—listen—I know, I know, I know…I really dig you!…
EVELYN. Oh yeah (laughing)
CODY. (laughing) Yeah, I understand what you’re sayin, she’s, she’s, picking up here man…Evelyn’s picking up, I feel real fine…. Hoo!…well, I’m ready for any change, I was just telling her it’s a momentary, just a momentary diversion, you know, anything else is perfectly alright, you know what I’m sayin Jimmy. (Evelyn laughing) You understand, Jimmy
JIMMY. I know, I know that you’re high, kid, I can see that
CODY. I’m high, goddamn, I’m really high, real high
JIMMY…. real high…
CODY. Phew!
EVELYN. (coughs) Oo, I’ve got a nice cough now
CODY. Yeah, just, just feels good doesn’t it?
EVELYN. Loose
CODY. Loose, yeah. (“I’ve Got a Love-ely Bunch of Coconuts” starts) Oh let’s change the needle! That’s such a lovely song we can’t—
EVELYN. (to Cody) You’ve spoiled it
JIMMY. Ruined the tenor
CODY. Alright so I’m sorry I cut you, Jack, I’m sorry to cut you man, sorry, man, to cut you, you dig me
JACK. Yeah, yeah, I won’t remember till tomorrow
CODY. (laughing) Hear him, see? but you don’t know somethin Jimmy, but we’re recording…all this
JIMMY. Oh y’are
CODY. Man you don’t believe it?
JIMMY. I kinda figured when I saw that thing going around, that something was doin—oh, you know I was over there hungup on the telephone, first of all that I discovered that the—this thing was off, laying on the thing (meaning phone receiver and cradle), and I said “What the hell, supposin somebody’s tuned in and hearing all this talk…”
CODY.—that needle is—hey Jack—that needle is worse, that needle is worse, that needle is WORSE! (JACK, Oh yeah?) As far as I—see I’m hungup, I’m runnin out of needles—
JACK. Where are the needles?
JIMMY…. that thing goin around and I thought “Well how the hell!” and then I figured—he forgot about it when he reminded of—where’s the profit to hang up that way?…
CODY. I’ve used these same needles for fifteen years, I’ve only got five of ’em and I keep turnin ’em and—
EVELYN…. yeah…telephone…
CODY.—wait a minute, wait a minute, the perfesser told me never to give in to you guys, and if you belong to the wrong union, why, there’s just no reason to get your props elsewhere…I don’t know any prop that, is, worthy, of, of that—listen you’re interrupting…the music! (laughter) What I want to call your attention here (aside to Jack) You’ve got to turn it over in a sec—
JACK. Who, me?
CODY.—that’s the prop, man, that’s the prop—well who’s gonna handle—who’s gonna handle the prop?—go ahead, take it, I don’t care…it’s yours…. You come in without a prop, you got a prop (Jack laughs) (because Cody imitating an Italian)
JACK. You’re the Italian, see, who’s sellin the coconuts
CODY. Well if I’m not gonna smoke any Prisno beach I shall return…to my shoes—Phew! I was missin you round Akron, trying to catch a glimpse of your eyes. Some as big as your head, Jimmy!
JIMMY. Yeah?
JACK. Where’s me wine?…oh there it is! (Evelyn has it)
CODY. He’s drunk…. The wine of contention has become the wine of mellowment and merriness
JACK. Oh the wine of mellowment! And what?…
CODY. And merriment! No I said melliment, mellimist—
PAT.—I thought you said merriness—
CODY…. sepurious…
PAT. What, superfluous
CODY. Superflous, that’s it…wine has become superflous
PAT. Superious
CODY. Supeerious, that’s the word
EVERYBODY. What word?
CODY. Spoorious…spurious
(Party Continues on other side of reel)
(Stan Kenton band playing “Artistry in Boogie”) (very loud)
CODY. (half drowned out) Now—ah, standing in position like this (laughs)…you know…. There!…(in answer to Evelyn) Yes! that’s right!…(Evelyn laughing) I knew this—(music ends, laughter all over)
EVELYN. Oh no you didn’t!
JIMMY. I got him that time! I got him that time!
CODY. Anguish…anguish…anguish registers on my features. Just—(as everybody talks and laughs)—just a moment…see? Shit, you’ve been pullin all day—
JIMMY…. three times…
CODY. See? he can go all day (crash!)…. There!…(The party goes on into the night…)
FOURTH NIGHT ____________________
CODY. (reading) “Very good luck to you, I appreciate hearing from you, I will try to send news about your grandson from time to time, I have a very nice—” listen to this—“a very nice picture of him, my grandson, will be appearing in newspapers all across the country—perhaps I will be able to send you a copy”…
JACK. Why? Why the picture?
CODY. It doesn’t say. She writes to me, she says, “Cody, the enclosed letter from your father speaks for itself”—“I’m also enclosing a carbon copy of my reply, hope it’s alright”—“He sounds really lonely and homeless and wants to be with you, I bet he could be a big help to you and Evelyn!!!”—“you might even want to try him on on taking care of the kids so Evelyn can get her chance to work, and not be tied down…. Anyway he needs a home…. Note stamp that he enclosed for a reply. He can’t come here even if he wanted to under the circumstances…because my family would jail him, after all in New York State he’s next in line for Curt’s support…and would have to post a bond or some such. I hope you can send me January money very soon, I’m very poor and I’ve been waiting and waiting, in fact for the past week I’ve been living on cheese sandwiches and coffee in order to pay doctor bills, my cold and Curt’s hangs on and feel real dizzy when I set at work, D.” But those are her letters, you see, to explain his—
JACK. Let’s hear his—because his—
CODY. Yeah but I want you to read it. Yeah that’s what I’m tryin to say…it’s real crazy…. See, here’s the way he writes. You can always—he can’t write on a straight line, see, and he’s very slowly, carefully like a child, see…
JACK. (reading) Diana Pomeray
CODY. Lookit…. D.O. Arlington…a-i-r—
JACK. What does D.O. mean?
CODY. I don’t know
JACK. Do?
CODY. Lookit, Airlington, see, it’s really north but he doesn’t know, see
JACK. How to write an n?
CODY. I guess n—well, he does that but he might have, misunderstood, but here Airlington, a-i-r-l-i-n-g…. Airlington
JACK. Nappan who’s that? That’s the—
CODY. That’s their name, yeah, care of Cody Pomeray, that’s his address for the last fifteen years, it’s Green on Market, see—
JACK. Market Street Denver? (because of Frisco)
CODY. Yeah…. this letter. He usually only writes one page, he never puts any date or anything, see? “My dear”—see how he does it? (laughing)…“son and daurter”…d-a-u-r-t-e-r—
JACK. Daurter
CODY. “Received—”
JACK. R-e-c-d!!
CODY. Yeah, he does that right. “Your most welcome” without an e (laughs) “and was…your most welcome…and was” (laughs) dig him, see?, that’s formal, see, according to him. He’s writing a nice, you know, literary—(both laughing) You understand, right? You know, it’s just like “Yours of the Twelfth ?” you know, that’s where he’s got the idea, right? Isn’t it! Isn’t it! Huh?
JACK. Yeah
CODY. “Received your most welcome and, was, sure glad to hear, from”—
JACK. But he has a y instead of an f
CODY. That’s right! Hasn’t he, yes! Maybe that D.O. is really supposed to be an N.! See I dunno! “You, from you,” period, “and”—see his style, you know, “and…often…wandered—”
JACK. Instead of “wo
ndered”
CODY. Yeah…“where you…and Cody…was at”—Of course the—the mistake of saying—
JACK.—“you and Cody was at”—
CODY. That’s right, instead of saying “was”—“he…sure…is a nice looking boy,”—he sure is a nice looking boy, that’s alright, “you have”—
JACK.—“you have”—
CODY.—“you have”—haven’t…l, have, period, “and,” same thing see? “have, and, he sure—” He always says sure, sure glad, sure is, sure, “looks healthy”…h-e-l-t…that’s pretty close, he needs an a, that’s all…. “Thank you…for the picture”—that’s alright, it’s e and there’s “picture”…“you sent me and I’ll sure—” see? another “sure,”—“and I,”—here it is!—“I’ll sure will take—” remember what I told you?
JACK. Yeah, yeah
CODY. “I’ll—”
JACK. “— sure will—”
CODY. “— take care of it…would like to see you and Cody and your son also, tell Cody I took a trip back home last summar…” Summar, see, summar, he hasn’t done that since 1930 see, he must really be hungup, “summar,” no comma or nothing, “I enjoyed my trip”—see he says trip, up here, “trip…very much but…most of my sisters are dead…”
JACK. Just like…my folks…
CODY. “Only two,” I guess that is, right?—“of my sisters were living, Sister Eva”—that’s the one I know, and I don’t know this one—
JACK. Emma!
CODY. I don’t know her. “Would…like to see you…and Cody very much.” That’s just what he says up here!
JACK. Imagine Diana goin to Missouri
CODY. Yeah, wouldn’t that be crazy! Wouldn’t that be crazy? I’d like to do a hundred things like that, you know, you get a—but up here he says “Would like to see you very much,” see?…“sure like to see you and Cody very much,” remember? Very much, period. “Might make a trip…back sometime,” he always says “back,” see it’s “back home,” “trip back,” meaning a trip back to New York, “back sometime…Cody will tell you we both took a boxcar”—phew!—“farther?”
JACK. “— farther on—”
CODY. “…farther on…that…where…”
JACK. “— he was—”
CODY. “— he was twelve years old…twelve years of D—”
JACK. “Farther than—” What is he talking about?
CODY. We went fourteen thousand miles accordin to what he tells me, but I can’t see it myself, ’cause I can only remember I went back East, and I went to Salt Lake and I came here to Oakland and I went down to L. A. and I went back with him, as far as I know that’s it, ’cause I never—fourteen thousand…