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Scene 1
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There is only one
major set for the play - the barracks at the Special Training
Company. We are in Company B - on the second floor and can only
see the 1st Squad’s bunks. There are four bunks,
for 8 soldiers. They are set upstage against a row of windows.
The ceiling is low and there’s metal ceiling lamps hanging at
intervals. As the scenes change, the barracks are hidden by
lighting and sometimes with cloth or wooden panels, ie. The
mess hall scene.
The first squad is
seen preparing for inspection as the lights come up. The first
squad consists of Raymond "Buddy" Ormond, Geoffrey
Chauncier (African-American), Bill Huey, Vincent Chola, Pablo
Avilia, Nick Krasnar and Lenny Hertbie. Chauncier, Avilia and
Chola are fairly, obviously effeminate. Krasnar is "campy",
Huey is spaced out, Ormond is quiet and Hertbie has a very nasal
Brooklyn accent.
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CHAUNCIER
O, I’m never going to
be ready for that anal "butch" man.
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KRASNAR
Oh Miss Geoffrey, you’re
always in a dither.
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CHAUNCIER
Shut up.
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HUEY
Has any one seen my socks?
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CHOLA
They’re on your feet
dear.
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HUEY
Oh.
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HERTBIE
Shut up. Gonvea is coming,
with the Lieutenant.
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They all quickly
stand by their bunks in a line. Sergeant Gonvea enters.
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GONVEA
Attenshun!!
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Lieutenant Frakus
enters. With him is Winslow Gibbs with his gear. The younger
Gibbs is 21. He weights about 260 pounds, so the actor playing
this part will need to be well padded and made up with prosthetics
as he is required to be only 170 pounds in Act Two. Gonvea points
to an empty bunk. Gibbs throws his stuff on it and falls in
with the others.
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FRAKUS
Gentlemen, this is Private
Gibbs - a new member of your fraternity - your little country club.
I’m sure you’ll make him feel at home here. We certainly will.
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(puts on a white
glove and proceeds to inspect footlockers and beds. Gonvea follows
with a clipboard. He stops in front of Hertbie.
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Sergeant Gonvea.
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GONVEA
Yes sir!
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FRAKUS
This soldier has a button
missing on his fatigue shirt.
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GONVEA
Private Hertbie! Explain
why you got a God damn button missin’ on your fatigue.
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HERTBIE
I didn’t see it, Sergeant!
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GONVEA
Are you fucking blind?
I know you’re dumb. How could you be missing a button and not know
it. Tell the lieutenant, why!
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HERTBIE
It . . it . . came back
from the laundry that way.
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GONVEA
That’s better. Why didn’t
you report it?
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FRAKUS
Enough. Mark a gig.
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Frakus and Gonvea
continue the inspection. Frakus bounces a quarter off Chauncier’s
bed. It bounces high. He is pleased. He then takes the white
glove to the windowsills and finds some dirt.
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FRAKUS
Look at this Sergeant
Gonvea. Do you call this clean?
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GONVEA
No I don’t, sir.
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FRAKUS
I call it filth.
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GONVEA
I call it filth also,
sir.
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FRAKUS
No need to go further
. . .
He notices Huey sort
of swaying and goes to him.
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Private are you ok?
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HUEY
Just fine sir and how
are you?
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GONVEA
Private Huey - have you
been drinking? (Sniffing his breath).
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HUEY
No, Sergeant.
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GONVEA
Don’t smell nothing.
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FRAKUS
Keep an eye on him.
He goes over to Chola,
who is very softly effeminate.
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And how is the sweetheart
of Delta Chi?
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CHOLA
I’m wonderful today,
sir. My gear’s in tip-top order.
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FRAKUS
Wouldn’t be surprised,
you little vixen. I bet they all make sure you pass inspection.
He holds Chola by
the chin.
I have never felt anything
so smooth as you Private Chola, but we’re not in the brothel now.
This is the Army.
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Chola turns his face
away and looks downcast. Frakus moves slowly away and leaves.
Gonvea follows him then quickly returns.
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GONVEA
So you fuck-ups. I want
every stick of furniture out of the barracks - I want this floor
spit shines and every article ready for re-inspection by me by 18:00
hours.
(exits.)
The squad breaks
rank grumbling. Lights out. Spot on the older Winslow Gibbs
who is now the narrator.
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WINSLOW
Inspection was part of
the routine - the weekend routine. We all dreaded it. But the routine
I dreaded most raised its head early Monday morning.
We did not do our physical
training on the PT field like all other trainees. We went to large
gymnasium on post. And we ran a mile to get there.
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Scene 2
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Spot come up on the
1st Squad running in formation. They are running
in place assimilating crossing the field to the gym. They are
all having problems keeping in time. Sergeant Gonvea and Sergeant
Pike run with them.
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GONVEA
Keep the pace. Keep in
line, Gibbs. Don’t punk out me.
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GIBBS
I can’t do it Sergeant.
I can’t.
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PIKE
Huey, Krasnar - you gentlemen
better pick up the pace.
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ORMOND
Gibbs, better keep up.
Just don’t fall back.
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GIBBS
I can’t breathe.
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KRASNAR
You pussy, you better
not fuck us up.
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GIBBS
(breathless)
I can’t. I can’t.
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CHAUNCIER
Sweetcakes, don’t let
us down.
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GONVEA
You girls keep you mouth
shut. Gibbs, pick up the pace.
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Gibbs cannot. He
slows down. The others exit while Gonvea stays with Gibbs. Finally
stops completely out of breath.
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GONVEA
Don’t stop, private.
Don’t fucking think of stopping.
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GIBBS
Sergeant, I can’t go
further.
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Gonvea circles Gibbs
angrily.
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GONVEA
On your knees Gibbs.
On your knees.
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Gibbs goes to his
knees. Gonvea stands in front of him his crotch practically
in Gibbs face.
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When I say assume the
position for you faggots, this is the natural one you should assume.
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GIBBS
Sergeant, I’m not a faggot.
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GONVEA
No, you’re not a faggot.
You're just a pussy, sissy, fat, sloven pile of shit! You shouldn’t
be in my army.
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GIBBS
I was drafted, Sergeant.
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GONVEA
Because your country
needs you. But you didn’t have the good sense to tell them that
you were a homo - so you must pay the price and become something
your country does need.
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GIBBS
Sergeant, you’re mistaken.
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GONVEA
Me, mistaken. Remember,
here I’m your daddy and your daddy is never mistaken. Never mistaken!
Repeat after me.
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Sergeant Gonvea, I am
a useless piece of shit.
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GIBBS
I can’t do that.
Gonvea hits him on
the head, lightly.
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Sergeant Gonvea, I’m
a useless piece of shit!
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GONVEA
I’m a fatboy and a faggot.
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GIBBS
I’m a fatboy and . .
.
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GONVEA
Say it.
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GIBBS
I’m a fatboy and a useless
piece of shit.
Gonvea laughs.
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GONVEA
Get up. Let’s run you
to the gym.
Gibbs stands and
follows Gonvea. Exit running.
(lights out) (spot
on narrator)
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WINSLOW
And the Gym was a never
ending round of calisthenics. Then basketball. We were lined up
and made to shoot baskets. If we made our shot, we got in line to
shoot again. If not, you had to do four laps of the gym - which
was a big, Big gym. Then, get on line for more shooting. That first
day, and for many days after, I missed every shot and ran in that
gym. Then it was back across the field for lunch.
Spot on squad
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Scene 3
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The squad is running
in the opposite direction. They pass across the stage and exit
stage left. Gibbs follows running considerably behind, with
Gonvea behind him. Every time Gibbs falters, Gonvea pushes him.
They both exit.
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Lights up. The mess
hall. Two tables set up. The squad has come through the line
and bring their trays to the tables. Gibbs enters last and looks
for a place to sit. Ormond signal him. He sits with him. Avilia
and Krasnar are also at this table.
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ORMOND
(looking at Gibbs
very skimpy meal) What is that?
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KRASNAR
Fat boys get different
meals than us specimens of manhood.
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GIBBS
I can’t live on this!
Toast, cottage cheese, a hardboiled egg and an apple.
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KRASNAR
Well, if you don’t want
it, I’ll eat it.
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ORMOND
Don’t pay attention to
Krasnar. He’s always trying to get everyone’s goat.
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KRASNAR
Fuck you, Ormond.
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AVILIA
Behave yourself, Nick.
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KRASNAR
For you dear, ok.
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ORMOND
So, what’s your story,
Gibbs? How did you even get into this man’s Army at that size?
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GIBBS
I don’t know. I was surprised
when they said I passed the physical - and I just couldn’t hack
it in basic.
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ORMOND
But still, that doesn’t
get you here. Are you queer?
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GIBBS
No.
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KRASNAR
Shit you aren’t. He’s
as queer as you are Ormond.
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ORMOND
Shut the fuck up, Krasnar.
Avilia, can’t you control your boyfriend there? I’m straight as
an arrow. These fruits don’t bother me though. I’m from Altoona,
Pennsylvania. I knew a couple of queers up there, and they ain’t
so bad. In fact, I’m trying to get some kind of leave out of this
place. My fiancée, Alice (gets his wallet open and shows
a picture) - she’s just told me she’s pregnant. So I got to
get home.
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GIBBS
She’s a looker.
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ORMOND
Fucking A.
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GIBBS
I’m from Brooklyn.
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ORMOND
Like Hertbie there. Hey
Hertbie, Gibbs is from Brooklyn.
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HERTBIE
Hey, Gibbs. I’m from
Bensenhurst . . .
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GIBBS
Flatbush!
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HERTBIE
Great.
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ORMOND
He’s a gardener or something.
Where’s your Brooklyn accent?
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GIBBS
Lost it in college.
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ORMOND
How the hell did you
get here if you were in college?
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KRASNAR
A college man. Thinks
he’s better than we are.
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AVILIA
Shhh!
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GIBBS
Well, I had a deferment.
But I lost it because I took one credit less than the minimum -
and they got me.
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KRASNAR
Well, smart ass boy,
now you here staring at a starvation diet and daily runs to the
gym.
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GIBBS
I don’t think I can take
another run to the gym.
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KRASNAR
Well, get used to it.
Because after we finish here, we run back across that field and
do some more. (laughs)
Gibbs starts to cry
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ORMOND
Shut the fuck up Krasnar!
(to Gibbs) Whatever you do, don’t let them see you cry. It goes
worse for us.
Krasnar laughs harder.
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(grabbing his knife
and standing threatening) If you don’t shut that piehole, I
slice your fucking lips off.
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CHAUNCIER
(in a sustained whisper)
Ormond! Sit down. If they see this we’ll be up all night scrubbing
toilets and stoking coal stoves again. I can’t stand it anymore.
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Ormond recovers from
this behavior. Krasnar smirks.
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ORMOND
(to Gibbs) Save
your tears for the dark quiet hours at night. Meanwhile, eat this
shit and hope we have a Mr. Dix run.
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GIBBS
What’s that?
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AVILIA
You’ll love that . .
.it’s really daring.
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ORMOND
Since we can’t leave
the Company area, our free-time hours are limited to the barracks,
the perimeter and the Company little gym.
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GIBBS
There’s a gym on the
Company grounds?
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AVILIA
Yes, and useful too.
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GIBBS
Who would use that after
all day slogging across the fields to do push-ups?
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AVILIA
There’s a place there
to practice shooting hoops. Get it. Practice makes perfect. Get
them hoop shots and no laps around the big ass gym.
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GIBBS
Ah. Clever.
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ORMOND
But once in a while,
one of use gets brave to sneak out on a Mr. Dix run to bring the
rest back Cheeseburgers, Fries and Shakes.
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GIBBS
O what a dream.
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AVILIA
We have a pulley set
up off the back stairs. When the goodies are got they’re hoisted
up the back way.
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ORMOND
Only the last time we
got the food, Sergeant Pike decided to do a barrack check.
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AVILIA
We all hopped in bed
and put our food under the covers until he left.
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ORMOND
Only, Huey fell asleep
with a strawberry milkshake. When we turned in linen that week and
held up our sheets for a piss-the-bed check, Huey held up a sheet
with a big red stain.
They all laugh.
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ORMOND
I’m glad you’re laughing
now. You may be in hell, but the residents are not so bad.
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GIBBS
It’s like a prison.
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ORMOND
Well the Army is like
a prison for everyone, not just us.
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GIBBS
But moreso us.
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AVILIA
So, welcome to the Gulag,
hon. FTA - you know - Fuck the Army.
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KRASNAR
(to Avilia) Don’t
flirt!
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GIBBS
Thank you all - well,
almost all.
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AVILIA
Don’t mind Krasnar. He’s
not even Gay. He’s just acting this way to get a discharge.
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KRASNAR
Fuck you, dear. You’re
my better half.
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AVILIA
You certainly said that
right!
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Enter Gonvea.
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GONVEA
Fall in for PT.
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AVILIA
FTA - Fuck the Army.
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The squad scrambles
with their trays to the door. Gibbs slowly gets up with Ormond’s
help. Gonvea watches as they leave. Then exits himself.
(lights down) (spot
on narrator)
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WINSLOW
The routine was never-ending.
We did have some classes and a once a week 25-mile forced march.
I hated that worst of all. They put this tall dude from Barrack
C to lead the march. He would strut like a giant and we little unfit
ants would scramble after him. But the end of day, I looked forward
to talking to my squad buddies, except for Krasnar. I don’t know
what it was with him. He was very critical. He could never be civil
to me. But the others were amazing. Never did a group of people
have such an impact on me in my life.
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Scene 4
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Lights come up. The
barrack in evenings. The squad is in various poses and states
of dress around their bunks. They are reading or writing or
just chatting. Gibbs sits down next to Chauncier.
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GIBBS
I am one big ache. I
don’t think I can take much more of this.
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CHAUNCIER
You - please. This girl
has had it weeks ago. Let me tell you. I’m not used to such an ordeal.
You may be suffering now, but nothing could compare with what I’ve
been through. I mean, you were in school - and didn’t have a career
as yet. You’ll finish all this crap and get back to preparing for
life. I already had a career.
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GIBBS
Really. What did you
do?
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CHAUNCIER
What did I do? I was
in the Hotel industry - a graduate of the Culinary Institute of
America.
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GIBBS:
Really? A chef? And they
drafted you?
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CHAUNCIER
Hard to believe it. I
am New York’s finest ice carver. You know, I carve those beautiful
ice sculptures at the great banquets. I am held in the highest esteem
in the ultimo culinary circles.
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I plan the entire banquet
and set chefs and staff in all directions like a commander in battle.
Then, these hands turn the icy blocks into loving Swans and Hearts
of Cold, Blue passion. I am an artiste, in the highest demand, from
the Hotel Americana to the Waldorf. But now, I am missing from the
scene. These hands rake leaves and paint walls. There has to be
some place better than this.
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GIBBS
I wish I knew a better
place right now. But bed seems to be it.
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CHAUNCIER
That’s not the least
of it, hon. Little did I know I’d be the butt of an Army joke? I
told them I am a homosexual, but they still drafted me. And once
I was inducted, they wouldn’t believe me. They said I was trying
to get out of my commitments. Then, to torture me, they sent me
here. And my dainty little Alfred, my sweet understudy, who looked
me lovingly in the eye as I left his side that morning, has now
stopped writing. I’ll probably wind up with a Section 8. We’ll all
wind up with Section 8s out of this place.
(sighs)
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GIBBS
I can’t get a Section
8. It would ruin my life. My father was a war hero - and his father
before him. I could never hold my head up with pride with a dishonorable
discharge.
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CHAUNCIER
Never mind the pride
- how about a job. You’ll never get a good one with a Section 8
discharge. But if they’re going give us one, why torture us first
- just bring it on, Mabel.
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GIBBS
But you have a skill
and you are in demand.
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CHAUNCIER
You’re right. I would
wait in the wings - just waiting for them to call me. "Mister
Geoffrey, would you be so kind as to prepare the ice?" To be
someone of importance - to be in demand. That’s something.
(in a reverie - then
gets upset)
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Cannot think of ice now
- not without a man’s warm heart. There’s got to be a better way
to live than to have one’s life stolen for a few years to do such
painful things. It’s as if someone said, "Chauncier’s talent
must be paid for - send him to prison for a time, so he knows what
it is to loss such art." I was in demand in the highest circles.
I planned the menu for a Kennedy banquet. I did! I sculptured a
great green Ice shamrock for this affair. Imagine, green Ice! Is
it criminal to be successful and love men - to be punished like
this? There’s gotta be someplace better than this.
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AVILIA
You’re not going to start
singing Sweet Charity are you?
Gibbs gets up and
goes over to Avilia, standing by his bunk.
Avilia is writing.
He stops and looks up at Gibbs.
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AVILIA
This letter is for my
sister in San Diego. I am telling her that I’m fine and dandy. She
wouldn’t understand that I fucked up so badly.
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GIBBS
Fucked up so badly?
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AVILIA
Yeah, badly. Didn’t you
fuck up badly too. Me, I nearly got caught in bed having sex with
another enlisted man.
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GIBBS
Oh! Sorry to bother you.
Starts to go.
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AVILIA
No wait. Don’t run away.
Gibbs nervously returns
I can’t help it. I nearly
got caught with Private Moran - Morris Moran. I never heard of an
Irishman with a first name like Morris. Morris Lipschitz or Morris
Tittelbaum - but what kind of parent names their kid Mo Moran? Lucky
for me we didn’t get caught red-handed or it would have been Leavenworth
for both of us.
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GIBBS
No shit.
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AVILIA
But the cadre knew -
they just had no proof. But Moran is a college boy. I’m the son
of a migrant worker. So, while he is able to pass muster, I fail.
So, I got gleaned for this place.
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GIBBS
It’s not fair.
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AVILIA
But, it’s not so bad.
I know I’m the way they say - but I have never admitted it. That
asshole Krasnar is using me to get his discharge - but I don’t even
mind him. I can do most of the physical stuff - it’s just the damn
written crap - but I’ll get better - then out of this place and
on with the rest of this fucking Army shit - then back to my beloved
San Diego.
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GIBBS
Are you Krasnar’s . .
. a well . . .
|
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AVILIA
Lover? That’s rather
personal for a guy who dislikes queers?
|
|
GIBBS
Never mind.
|
|
AVILIA
No. Krasnar wants out.
I don’t even think he’s gay - you know - homosexual. But who can
tell. This place had fucked up my gaydar.
Gibbs looks puzzled.
O never mind. Just let
it pass. No Krasnar clings to me because he feels sure that he can
be queer by association. But, I get along with everyone. I can even
put up with Krasnar’s farting.
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KRASNAR
I don’t fart.
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|
HERTBIE
(reading a letter
to his parents aloud. Hertbie has a heavy Brooklyn accent As he
reads, Gibbs walks over - Hertbie is on the bottom bed of Gibbs’
bunk - Gibbs has the top) Dear Mom and Dad, I’ll be home soon
and help you out in the nursery. You’ll miss me this Spring, with
the flats and beds, but I’m sure cousin Richie can help out. I’m
meeting great friends here in this Man’s Army - but they say I need
to be smarter. Why didn’t you make me smarter? Because I’m not so
smart, they say I need to work harder and be like everyone else
- smart!
|
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GIBBS
Do you always read your
letters aloud?
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|
HERTBIE
Not smart eh? I should
really be more private - well I guess I am a private (laughs at
his own joke). But Gibbs. We’re both from Brooklyn, so we need to
stick together. Especially around these homos - you know, two guys
from Brooklyn. And you were in College.
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|
GIBBS
Brooklyn College.
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HERTBIE
All right! Great going!
(pause)
Do you think maybe you
could help me learn all this crap?
|
|
GIBBS
What crap?
|
|
HERTBIE
The General Orders and
stuff. I can never get it right. I’m not smart like I should be.
They tell me I’m sorta dumb. But I do know things. Not real important
things - but things.
|
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GIBBS
Like what?
|
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HERTBIE
Oh, like rows of pansies
- happy faces in the sun - and rose buds, the little Cinderellas
and the big floppy Peace roses - they’re coming up without me there.
I love the smell of shitty soil on my hands and between my fingers.
It’s so sweet to know that my touch brings forth all those lovely
blooms. But I can’t see them here. They call to me. They say, "Lenny,
we need you to prune us and fertilize our roots and clean our leaves
free of aphids."
|
|
I once grew a peony so
big it made the neighbors laugh and cry. It was like a pink cabbage.
I even had Ethel, next door give me a kiss and ask if I could give
her one just like it. But, they’re not easy to grow to that size
and they only bloom once a year. And that was last year - and I’m
not there this year to tend to my peony bushes - so Ethel will need
to wait. I wish I was smarter. Then I could be there now, tending
my garden in the heart of Brooklyn.
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|
GIBBS
You know quite a bit,
Hertbie. Quite a bit. It may not be too useful here in the Army,
but what do they know?
|
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HERTBIE
Yeah, what do they know?
Wouldn’t it be funny if it turned out I was smarter than them. Wouldn’t
it be funny?
|
|
GIBBS
It would be real fucking
funny.
Hertbie goes back
to his letter. Gibbs sits on a footlocker. Ormond joins him.
|
|
ORMOND
Oh, it’s good to stretch
out after one long fucking day.
|
|
GIBBS
You can say that again.
|
|
ORMOND
(opening his wallet
and looking at Alice’s picture) It’s time to torture myself
with her picture. Do you have a girl, Gibbs?
|
|
GIBBS
Not currently.
|
|
ORMOND
Oh. Whenever someone
says "not currently" - they mean, I don’t - I want one
and if I knew you were going to ask that question, I’d have been
more prepared.
|
|
GIBBS
Are you saying -- what?
|
|
ORMOND
Nothing. I’m fucking
with you. Look here - she’s a knock out, isn’t she? Alice is my
employer’s daughter. I work in a Grocery Store. It’s not glamorous
work, but I can support her. But now that she’s pregnant, I really
need to get out of this place.
|
|
GIBBS
Pregnant - a bummer.
|
|
ORMOND
Not a bummer really,
except she needs me now. I need an emergency leave.
|
|
GIBBS
Have you talked to the
Lieutenant?
|
|
ORMOND
Yes, and he was very
sympathetic. He’s not a bad guy. I think he’s easier on us straight
guys, which is really not fair. The queers aren’t so bad. They’re
human being like us. They just - you know - swing a different way.
Anyway, he told me to see the Chaplain.
|
|
GIBBS
And did you?
|
|
ORMOND
Yep. Filled out an emergency
leave application. I’ll know this week.
|
|
GIBBS
Good luck. You said you
knew a few queers back in Altoona.
|
|
ORMOND
Actually, my best friend
in High School is homosexual - Artie.
|
|
GIBBS
Artie?
|
|
ORMOND
Yeah, that’s his name
- Arthur Buchanan - Artie.
|
|
GIBBS
How did you know he was
. . .
|
|
ORMOND
He tried to suck my dick.
|
|
GIBBS
No shit.
|
|
ORMOND
We were drunk and he
went for it.
|
|
GIBBS
Did you beat the crap
out of him?
|
|
ORMOND
I should have, but he
was my best friend. I really liked him. And beside, sometimes when
you’re drunk you do things you wouldn’t do normally. I mean, have
you ever got drunk and frisky with a friend.
|
|
GIBBS
(nervously) I
really don’t think . . .
|
|
ORMOND
No, I’m sure you’re right.
But, Artie apologized to me - then told me he was - he called it
Gay - but you know, queer - a homo. I’d say faggot, but he told
me that when he heard that word it made him sick, so, I stopped
using that word. Every once and while, he and I would . . .
|
|
GIBBS
Get together to do it
again.
|
|
ORMOND
Shit no! No, talk about
it. He found it helpful to talk about it to me. He said he had come
OUT to me and that coming OUT to someone was like giving them a
great gift.
|
|
GIBBS
A gift.
|
|
ORMOND
Well, it is. He’s giving
me a responsibility.
(looks over toward
Huey and Chola, who are cuddling and cooing)
|
|
Look at those two, Huey
and Chola.
|
|
GIBBS
Makes you want to puke.
|
|
ORMOND
They are as different
from each other than you can think - Chola’s a hustler from Anchorage,
Alaska and Huey’s an autoworker from Detroit. Chola rarely has anything
but cuddling on his mind and Huey is rarely sober. We still don’t
know where he gets his stuff. But they still find their escape from
this place in each other’s arms.
|
|
GIBBS
Escape from here would
be wonderful indeed.
|
|
ORMOND
FTA.
|
|
GIBBS
FTA?
|
|
ORMOND
Yeah - Fuck the Army.
FTA - all the way.
Turn in - you need your
sleep. They’ll be back to wake us at 4:30.
|
|
GIBBS
FTA.
The squad begins
to sound off with FTA - or Fuck the Army. Until the lights dim
and black out.
|
|
WINSLOW
Then one weekend - I
believe it was the third week - I went to the little gym to practice
shooting hoops. It’s funny - I can still to this day out shoot most
people. A while back some one was making fun about my lack of athletic
ability and challenged me to free throw basket shots. They were
amazed that I never missed a shot. I kept the reason why a secret.
After all, was I going to tell them I learned to shoot perfect basketball
shots to avoid running laps around the gym while I was incarcerated
in the Army version of a concentration camp. Was I?
|
|
Scene 5
|
Lights up. The
little gym. A basketball hoop is at one end of the stage.
Gibbs throws a perfect shot. At the other end is a set of
parallel bars. Huey is working out on it. He is scantily dressed.
Chola is standing at the end of the bars, eyeing his every move.
Ormond sits in a corner very quietly.
|
|
(soft music plays
from a radio. Chola does a slow dance with Huey looking on.
Gibbs shoots his last basket and walks over to Huey, who has
stopped his work out to watch Chola)
|
|
GIBBS
(to
Chola) What’s with the music and the dance?
|
|
CHOLA
I earn my money this
way - luring the men and boys to my sheets. Every bar in Anchorage
knows my perfume, my seductive allure.
|
|
|
HUEY
(To Gibbs) He’s
so sexy and fine, like the best cocaine - like the finest wine.
Nothing like him in Detroit.
|
|
GIBBS
Get out of here.
|
|
CHOLA
When you’re alone like
me, dear Winslow Gibbs, you need to find your way in the dark. I
have no one but myself - myself and my pretty little assets. I’m
an old story about an Indian father - Father was a drunk and knocked
up mom. She died. He left. My sisters raised me. Always poor. Always
hungry. But not me. I always find the cash - as my best assets draw
the trade well. Don’t you think hon?
|
|
GIBBS
I wouldn’t know.
Gibbs is however
mesmerized by Chola’s dancing.
|
|
HUEY
(To Gibbs) The
closest I’ve seen to him was this young punk on the assembly line,
who I had for 20 bucks. But he stole my wallet and I was out a full
week’s pay. I wanted to kill that fucking punk, but he reminded
me that we were in Detroit and were Auto workers - if I pressed
charges, I’d loose my job, well - because I was a homo.
|
|
CHOLA
(To Huey very much
the seductress) You are a homo - rough sheen and lovely. You
sparkle with your roughness in the dark of night or the bright of
day. The sagebrush of Alaska is on my breath and on my hips. I yearn
for touch and give such pleasure to those who want it. I live for
the touch and by the touch. Anytime, any place and bunk (beckons
to Huey).
|
|
HUEY
And you are soft as the
nature I don’t know, except when intoxicated and high. That snowy
Alaskan skin you show gets me harder than anything else I know.
|
|
CHOLA
With care, I can be yours
in the shower for no more than a cigarette and an extra apple from
your plate at lunch, sweet vision of chrome and steel.
|
|
HUEY
(to Gibbs) I’ll
just have to fuck him tonight.
|
|
GIBBS
(Disgusted) That’s
fucking disgusting. Get away from me.
Gibbs walks over
to Ormond
|
|
CHOLA
(to the audience)
Miracle of time and place transport us off this swath of pain and
travail into the sunlight of another time and place - a place far
richer than either of us have ever known and a time that will be
ours, some day yet to come. A place where our selves are not questioned
and only crime is punished - not the better parts of our nature.
(Huey and Chola dance)
|
|
GIBBS
(to Ormond) I
can’t believe what Huey just said to me. He told me he’s going to
fuck Chola. Would you believe that?
Ormond is in a funny
mood. Gibbs sits down next to him.
What’s
up? Don’t you think it’s disgusting - just the thought of it.
|
|
ORMOND
Have you thought about
it? Have you? Can you imagine Chola - soft and sweet - with his
legs up in the air waiting for Huey’s hairy, autoworker dick. You
don’t find that in any way arousing?
|
|
GIBBS
What the fuck’s the matter
with you? I didn’t need a picture like that.
|
|
ORMOND
Who cares about Chola
and who fucks him! I need to get out of here somehow - like now!
|
|
GIBBS
The leave. You should
hear soon. The chaplain will take care of it. Yes?
|
|
ORMOND
(starts to cry)
Some fucking help he is. I heard from them. The application for
emergency leave was denied.
|
|
GIBBS
But why?
|
|
ORMOND
How the hell should I
know? They investigated my request and decided that it wasn’t justified.
It came back to me stamped - Unjustified!
|
|
GIBBS
Unjustified! That’s a
bunch of shit!
|
|
ORMOND
I can’t stay here. I’m
needed at home. I’m gonna bolt.
|
|
GIBBS
No shit. When?
|
|
ORMOND
Any time now. I’m just
waiting for the best opportunity. I have a ditty bag all packed.
I trust you, Gibbs. I really trust you - you can’t tell anyone.
And even after the fact, just say you don’t know anything.
|
|
GIBBS
Sure Buddy, anything.
|
|
ORMOND
I’ll know when the time’s
right. Then I’ll shoot down the back way. I’ll use the rope and
pulley for the Mr. Dix runs. There’s nothing to keep us here but
the fear of leaving. I can get to the PX and get a cab from there.
|
|
GIBBS
But your clothes.
|
|
ORMOND
My friend Artie - you
remember Artie.
|
|
GIBBS
The homo.
|
|
ORMOND
The Gay guy. He sent
me a pair of his pants and a shirt. So I have civies. I’ll sleep
in them, so when the time’s right - I can dart away like a bat out
of hell.
|
|
GIBBS
If you get caught.
|
|
ORMOND
I’ll be back. I’m not
really going AWOL. I mean I am, but it’s just leave. Once things
get settled, I turn myself in to the MP’s at Fort Donnelsen or somewhere.
|
|
GIBBS
This makes me nervous.
|
|
ORMOND
I’ll never forget you
kept my secret. You’re a sweet kid, you know. Just watch your back.
Watch out for Krasnar and stay away from the queers yourself. You
know, as you get fit - and I know you will, you’ll be a treat to
see - and they’ll be interested in you. Chola takes anything - and
Huey would fuck a knothole. And Avilia . . .
|
|
GIBBS:
He’s a strange one. He’s
so nice to me.
|
|
ORMOND
Don’t trust any of them.
|
|
GIBBS
But every time Krasnar
goads me - Avilia has some kind words for me. It’s like Krasnar
is the sting - and Avilia is the balm. And then I should have nothing
to fear from Chauncier.
|
|
ORMOND
You’re right there. I
feel sorry for him. You know the other day I saw him sitting on
the barrack stairs staring into blank space. When I touched his
shoulder and asked if he was all right - he started to cry, his
body shaking tremendously. It must be very horrible for him here.
|
|
GIBBS
You’ll miss us.
|
|
ORMOND
Shit. Not for a second.
And don’t talk about me leaving. You never know who’s listening.
You never know.
|
|
GIBBS
You never know.
|
|
ORMOND
You never, never know.
Gibbs gets up and
walks away. Huey and Chola also leave. Ormond remains alone.
He stands and moves to the parallel bars, using them as a prop.
Then he imagines he hears Chola’s music and he starts to dance
seductively.
Lights out
|
|
(spot on narrator)
|
|
WINSLOW
Lights Out. Every evening
the cry from Sergeant Gonvea of "lights out" signaled
the evening music - the sounds of heavy breathing, nostalgic weeping,
sleep talking and walking. But this evening, shortly after lights
out, there was a different sound of the night.
|
|
Scene 6
|
The barracks are
barely lit. Everyone is in bed asleep. Suddenly, there’s a loud
crashing sound - then, offstage screams and shouts. The squad
wakes up in semi-darkness - with various reactions.
- "What’s that."
- "Jesus Christ,
let me sleep"
- "What the fuck’s
going on?
- "What a racket!"
- etc. improvise.
|
|
ORMOND
(he is fully dressed)
That came from downstairs. I heard there’s a real nut job in Company
A.
|
|
GIBBS
What will they do?
|
|
AVILIA
That crazy guy downstairs
is acting up.
|
|
(There’s quite a
commotion - things breaking - shouts of get the Sergeant and
hold him down.)
|
|
CHOLA
Some one check it out.
|
|
ORMOND
(to Gibbs) Here’s
my chance.
|
|
GIBBS
Don’t do it, Buddy.
|
|
ORMOND
I must.
|
|
HUEY
I’ll go see.
|
|
Ormond goes to the
back window and darts out using the rope and pulley. The rest
of the squad congregates at the other end of the stage while
Huey exits to check out what’s going on. The commotion continues
while they wait. Huey returns.
|
|
AVILIA
So, what?
|
|
KRASNAR
Let’s get back to bed.
|
|
GIBBS
Shut up.
|
|
CHAUNCIER
I knew we’d have a night
like this. I just knew it. It’s like my childhood in the South Bronx.
|
|
HUEY
It’s the screwball downstairs.
|
|
GIBBS
The one that spits at
people.
|
|
HUEY
Yep. He put his head
through a footlocker.
|
|
CHOLA
Yuke.
|
|
HUEY
There’s blood everywhere.
|
|
KRASNAR
Well, it’s over with
- let’s get back to bed. I need my beauty sleep.
|
|
HUEY
The Sergeants are coming.
|
|
They all scurry back
to bed as Gonvea and Pike enter. They flip on the light.
|
|
PIKE
Everyone stay where they
are. Just be calm and stay in bed.
|
|
GONVEA
What’s going on downstairs
is none of your business.
|
|
CHAUNCIER
But Sergeant, it’s so
unsettling.
|
|
GONVEA
Well, I’ll send you an
apology in the morning sweet cakes - but for now, stay in your fucking
bed?
|
|
PIKE
Cool it - everyone. The
Lieutenant will be around to talk to you all. Meanwhile, chill out.
|
|
KRASNAR
How can we chill out
with all that fucking racket?
|
|
GONVEA
Listen Asshole - We don’t
need your fucking comments! Did you hear me?
|
|
KRASNAR
Hey, how can . . .
|
|
GONVEA
(shining the light
in his face) Did you fucking here me, troop?
|
|
KRASNAR
Yes.
|
|
CONVEA
Yes what?
|
|
KRASNAR
Yes Sergeant!
|
|
GONVEA
Good. Get up and give
me twenty.
|
|
KRANSNAR
Shit!
|
|
GONVEA
Do you want to go for
40?
Krasnar gets up and
start doing push-ups, while Gonvea walks up and down looking
at the beds. He notices Ormond’s bunk is empty.
|
|
Hey, where’s Ormond?
|
|
PIKE
Who?
|
|
GONVEA
We got one of the girls
missing, Pike. Ormond.
Pike checks it out.
|
|
PIKE
Krasnar, stop the push-ups.
Everyone, on your feet.
|
|
The all fall-in beside
their bunks.
|
|
GONVEA
Ok, you shit heads. Where’s
Private Ormond. Pike, check the latrine.
Pike exits. Returns.
|
|
PIKE
Not in there.
|
|
GONVEA
Ok, I want someone to
tell me right now, where your asshole buddy is? I want an answer
now! Gibbs!
|
|
GIBBS
I don’t know Sergeant!
|
|
GONVEA
I don’t believe that.
You hang out with the guy. Where did he go?
|
|
GIBBS
I don’t know Sergeant.
|
|
GONVEA
All right! Chauncier?
|
|
CHAUNCIER
Don’t ask me. (starts
to blubber)
|
|
GONVEA
Ok, cut that shit. I
want all you ladies outside in formation, NOW!
The squad quickly
exits and reenters. The barracks's lights recede. We are now
outside. The sky is clear and there’s a full moon. The squad
lines up at attention, in their shorts and shirts, barefoot.
It is chilly as they squirm from the cold.
|
|
Enter Gonvea, Pike
and Frakus.
|
|
GONVEA
Now, we can stay out
here all night if we need to - but someone must know where Ormond
went.
|
|
FRAKUS
Gentlemen, I know this
has been all very upsetting tonight. No one expects a soldier to
go wacky, but it does happen. Now your downstairs neighbor, Private
Dunbar has managed somehow to get himself a wild load of drugs and
has pretty well fucked up the first floor décor with his
blood. He has managed to smash his head up - and he’s been taken
to the hospital. However, gentlemen, some how Private Ormond thought
it wise to scurry away without leave, even though his leave of absence
was denied. After all, wanting to be with your male, homosexual
lover doesn’t really qualify as an emergency leave or all of you
would be out scott free. So, why harbor his secret - when it’s really
unfair to you. You all could be going where he’s going.
|
|
(pause)
|
|
Gibbs? You were closest
to him - where did he say he was going?
Gibbs is quiet.
|
|
Well, suit yourself.
You’ll all be out here until someone gives us some information.
And you can all thank Private Gibbs for the experience.
|
|
Exit Gonvea, Frakus
and Pike.
|
|
KRASNAR
Damn it Gibbs. That fucker
Ormond must have told you.
|
|
CHAUNCIER
C’mon, if you know something,
tell them. I’m cold. I’m not staying out here all night. I wish
I had my long john’s on.
|
|
KRASNAR
(breaking ranks and
coming right into Gibbs face) You better tell them something,
even if you make it up.
|
|
GIBBS
Listen, fucker, whether
I know something or not, Ormond was our comrade - and he deserves
to be . . .
|
|
KRASNAR
With Arthur.
|
|
GIBBS
No Alice.
|
|
KRASNAR
Alice, my ass.
|
|
AVILIA
Krasnar, back off. Gibbs
- Buddy Ormond is as gay as the rest of us.
|
|
GIBBS
I’m not Gay.
|
|
AVILIA
Whatever, hon. Buddy
Ormond is Gay. That Alice bullshit story he just made up for the
emergency leave application. I told him that they investigate these
things and it would never hold water.
|
|
GIBBS
I don’t believe you.
|
|
KRASNAR
You’re a bigger dumb
ass than I thought you were.
|
|
Enter Gonvea. The
squad goes back to attention.
|
|
GONVEA
Change your mind, Gibbs?
|
|
(long pause)
|
|
GIBBS
No sergeant.
The squad mutters.
Enter Pike. Whispers
to Gonvea.
|
|
GONVEA
Ok, ladies, back inside.
Ormond was collared at the main gate. He’ll be in the stockade if
you wanna send him a postcard. (laughs)
The squad breaks
ranks and enters the barracks (that is exit) except Gibbs and
Avilia. Gonvea and Pike light cigarettes and talk upstage.
|
|
Avilia goes to Gibbs
who is at the point of tears.
|
|
AVILIA
Don’t feel bad, Winslow
- may I call you Winslow?
|
|
GIBBS
You can call me shithead.
|
|
AVILIA
Don’t do that to yourself.
Whether you’re gay or not isn’t important. But you need to understand
that those of us who know we are gay and don’t want others to know,
live in a constant state of alarm and lies. But you know, lying
isn’t so bad you know when you’re forced to do it. There are black
lies and white lies. You know the difference between those. But,
let me tell you, there are pink lies as well. When you’re so afraid
to tell someone about yourself or to be yourself for fear of losing
that person or getting the shit beat out of you - you tell a pink
lie. So, don’t be so hard on Buddy Ormond. His love for Alice was
in his mind. That passion, however, is really for someone else -
for someone named Artie -
|
|
GIBBS
He mentioned an Artie
to me.
|
|
AVILIA
You see, he trusted you
to a point - and I bet he would have told you if he left tomorrow
or two days from now. It was a pink lie. Most of my life is a pink
lie - and I hope you won’t be hard on me.
|
|
GIBBS
You’re so nice.
|
|
AVILIA
Don’t blame yourself
and . . .
There’s a shooting
star.
Looks - a shooting star.
|
|
GIBBS
And another. Wow. Look
there.
|
|
AVILIA
It must be a meteor shower.
They look as the
sky fills with shooting stars. A few of the squad re-enter looking
at the meteor shower and oooing and ahhhing. Gonvea and Pike
see them return.
|
|
GONVEA
Ladies - back inside.
What the fuck are you doing?
Pike has seen the
meteors and is now looking. The squad reenters the barracks.
Gonvea turns and sees the meteors for the first time.
Holy shit! Will you look
at that! Ah Maria - what a wonder!
(black-out)
(end Act One)
|
| |
|