American Gulag by E. C. Patterson

Prologue (1967): Serenade in Close Harmony

Scene 1

Seven weeks after. The squad enters as the Act begins into the barracks. They are returning from PT and are dragging their asses and bitching. Gibbs has undergone an amazing transformation. He has lost about 100 lbs and is now about 160 lbs - He is winded as he enters and grabs his towel getting ready for a shower. The scene freezes and a spot light is on Gibbs. The narrator (Winslow) is side stage by the lectern - however, he speaks from darkness.

WINSLOW

After almost nine weeks of running 5 miles a day, doing calisthenics twice a day, running the PT test twice a week and a 25-mile force full pack march once a week - plus the meager food rationed out to me - no wonder I lost 100 pounds. My progress was so spectacular that I was made squad leader, a position that did not endear me to everyone in Special Company B 1st Sqaud, especially Krasnar.

Krasnar goes over to Gibbs and puts his face in his face.

KRASNAR

What was that shit you were chanting when while you ran the mile?

GIBBS

None of your business.

KRASNAR

I heard you. "Never give up, the Lord is with me!"

GIBBS

Yeah. My faith gets me through all this. Do you mind

KRASNAR

You are the biggest fucking hypocrite in this place. "Never give up - the Lord is with me" Hon, you should drop that shit and just sing a show tune like the rest of us. In Judy Garland is our hope.

GIBBS

Listen, get away from me.

CHAUNCIER

Let’s not bicker boys. We had a nice day in the park and I want to sleep without worrying about you two.

KRASNAR

Go carve something will you.

GIBBS

Just go back to you bunk.

KRASNAR

O the big ass squad leader is giving me an order. O yes you lordship - I’m going now.

(he goes, and bows and scrapes as he does)

GIBBS

(under his breath) Bastard.

KRASNAR

(hearing him) Listen, you’re not so fit now that I couldn’t beat your ass to crap.

AVILIA

Get back here, before you get yourself in real trouble.

Krasnar goes to his locker. Gibbs strips and put on a towel, grabs his ditty bag and exits to the shower.

CHOLA

(to Avilia) He’s getting so cute. Remember when he was such a fat pig.

AVILIA

He hasn’t changed.

CHOLA

What do you mean? I remember seeing him in the shower when he first came here - and he had more rolls of fat than my Eskimo mother. Now look at him - just little love handles and hung like a horse. Hon, he can spark me anytime.

HUEY

Is there room for three in your bunk?

AVILIA

You guys. What I meant was that Gibbs hasn’t changed in any way. He was nice when he came in and he’s nice now.

KRASNAR

Nice. He’s a fucking closet queen.

AVILIA

At least he’s a queen. What I hate are those closet breeders who will do anything to get out of here.

KRASNAR

I’m bisexual.

AVILIA

You mean asexual. You’re as cold as they come and wouldn’t know a nice guy if you saw one.

KRASNAR

I know you.

AVILIA

You think you do. You’re a user - but nothing I could say would shook you into the truth.

 

 

Chola strips and grabs his towel.

CHOLA

Well, it’s time for the show.

HUEY

I’ll join you.

CHOLA

No, I’ll visit you later. Let me work this one myself.

HERTBIE

You guys are sick. I’m gonna tell Gibbs.

KRASNAR

Shut up garden-boy! Chola, be careful. Our new squad leader’s a homophobic prick.

CHOLA

You peaked.

Exits to the shower

CHAUNCIER

I don’t know girls. All this PT has gone to your head.

HERTBIE

Chauncier’s right. It’s bad enough we have the sergeants on our ass. We need to stay off each other’s ass.

They all laugh hysterically.

What? What’s so funny?

Black out.

Scene 2

Spot comes up on the shower room. Gibbs is in the shower lathering up and singing from Gilbert & Sullivan’s The Mikado:

GIBBS

"On a tree by a river a little tom Tit

Sang willow tit, willow, tit willow.

And I said to him dickie bird, why do you sit

Singing willow, tit willow tit willow."

Enter Chola with a towel on.

CHOLA

The Mikado?

GIBBS

Startled at first, and now conscious of being naked in front of Chola

Yeah, the Mikado. Are you . . .

CHOLA

Yes. I love Gilbert &Sullivan. I know the Mikado well:

"Three little maid from school are we,

Pert as a school girl well should be,

GIBSS & CHOLA

Filled to the brim with girlish glee.

Three little maids from school."

Gibbs is embarrassed.

CHOLA

What’s the matter, Gibbs? Don’t be ashamed to sing the girl’s part. We’re just singing good music. It has no other meaning.

He takes his towel off and starts to shower.

"The sun whose rays are all ablaze

With ever living glory,

Cannot deny his majesty

He means to tell a story."

Wow, hear the in echo in here. Did you ever notice how butch we sound in the shower?

GIBBS

I always sing in the shower.

CHOLA

You have a good voice. Did you study?

GIBBS

At the Brooklyn Conservatory of Music. Opera.

(Gibbs’ eyes wander to Chola’s crotch)

CHOLA

Well it shows. You know what else shows.

GIBBS

Don’t go there.

Covers his crotch

CHOLA

No, really. You’ve lost so much weight. I know they torture us here, but such an achievement to loose so much weight.

GIBBS

Did I have a choice? But I must admit it’s nice to touch my ribs. I didn’t even know I had ribs - I’ve been big since age 13.

CHOLA

And I see other improvements as well - you know, the smaller you get, the bigger you get.

GIBBS

Stop. You know I’m not queer.

CHOLA

I know no such thing. I don’t believe in categories and labels. We live in the moment and whatever floats your boat is ok. But looking at the state of things down there, I can only say that you are either aroused by something in this room or maybe it’s the Gilbert & Sullivan.

GIBBS

(shakes)

(whispering) Help me!

Chola gently embraces him and kisses him on the cheek removing his hands from the crotch replacing them with his own hands. He then takes Gibbs hand and put it on his crotch. Enter Krasnar

KRASNAR

What’s this I see?

GIBBS

Shit. (to Chola) Get away from me you queer!

He pushes Chola, who falls, hitting his head. Krasnar goes to his aid. Gibbs exits quickly.

(black out)

Scene 3

The barracks with Gibbs entering from the Shower. He is very upset and holds his head - then kicks his bunk.

HERTBIE

What’s wrong Gibbs? Aren’t we gonna go over the General Orders tonight?

GIBBS

No. I’m in no mood.

HERTBIE

But the test’s tomorrow.

GIBBS

(shouting) No! Don’t you understand English!

HERTBIE

Ok.

(sits on his bunk sniveling)

CHAUNCIER

Don’t be so rough.

GIBBS

Shit. Hertbie, don’t cry. I’m just upset.

(enter Chola, holding his head and Krasnar. Huey and Avilia help him).

KRASNAR

I told Chola to be careful of that prick - but if I didn’t walk in on them just now, Gibbs would have lost his cherry!

(Gibbs tackles Krasnar and a fight ensues. The others try to pull them apart. Krasnar takes a few good shots, then creeps away to the corner - cowering, with Gibbs standing over him in a threatening pose. His towel has fallen.)

GIBBS

(shouting at Chola) That fucking faggot tried to molest me in the shower. Pretty boy is a worthless piece of shit! Now, I’m not putting up with this. You can act up among yourselves all you want, but don’t come near me with that shit again.

CHOLA

I may be a worthless piece a shit, but I’m a wonderful piece of ass - and you’ll never know it. And you wanted it. I’m an expert at this and I know.

Gibbs grabs Chola by the shoulder, but Huey intervenes. Chola laughs as Gibbs goes back to his bunk and gets dressed.

HERTBIE

Where are you going? What’s going on?

GIBBS

Listen, I need to be alone right now. I can’t take this queer shit. I really need to get out of here.

CHAUNCIER

(whimpering) Jesus, watch over us. I can never understand why we find a need to dig our own graves, while others are standing watching us do it. Don’t you all know how much they love to see us tear each other apart?

GIBBS

I’m not one of you. I want all of you to get in gear and get in bed. Lights out in five minutes.

Exits to talk a walk.

KRASNAR

You all saw that! I should bring him up on charges.

AVILIA

Cool your jets. You’re just as much at fault as Gibbs. You’ve been goading him since he got here.

HUEY

(to Chola) Are you all right?

CHOLA

I’m fine - but Gibbs is not. And you, fuck-boy (to Krasnar), I don’t need anyone going bizerko for me and I didn’t need for you to come in on us. You knew what was going on - you still came in and created this mess, so don’t bad mouth him or any of us again, you bastard!

KRASNAR

You ungrateful . . . .

CHOLA

Ungrateful! I didn’t ask you to come in and I didn’t ask you to provoke him! You’re a cold son-of-a-bitch!

Krasnar goes to strike him, but Huey intervenes.

Just go to bed and jerk-off. That’s all you can muster anyway.

AVILIA

(sitting next to Chola as Chola gets dressed)

This is very unsettling.

CHOLA

Well, in Gibbs there’s a warm heart - and it’s alive and it’s queer, dear.

AVILIA

But we all know how that works - we all know the sanctity of the closet.

CHOLA

Not me. I’ve never been in the closet. I’ve been openly beat up, spit on, whipped, cursed, raped and passed about as fuck-fodder since age five. But I’d rather that, than be in the closet. So don’t cry for me anyone. I love who I am and need no sympathy.

AVILIA

I didn’t mean . . .

CHOLA

I know you didn’t, dear. But I tell you, Gibbs is percolating. He was going into heat over me - so sensual. His eyes were hazing over with passion and confusion. I was trying to lift that veil of confusion, when asshole came in and spoiled it. I tell you, I was about to perform a miracle - a fucking miracle. Just call me Mother Mary Diesel - this little flower was about to raise the dead. And he is a wonderful sight to behold. But, I guess, I’ll settle for spaced-out Huey here. He may have his head and nose in the snuff, but his dick is worth the risk.

AVILIA

(gives Chola as kiss on the cheek) Sweet dreams.

They all get in their receptive bunks. Hertbie is trying to study his General Orders book by the light from the latrine. The lights go out, but we hear Chauncier’s whimpering. Then, Huey quietly slips into Chola’s bunk and the two begin foreplay. Hertbie gets up and moves closer to the light to study. He hears Chola’s bunk creaking, obviously he’s having sex with Huey. Hertbie goes over and peers into the bunk and sees them.

Enter Gibbs from his walk. Hertbie goes over to him.

GIBBS

Hertbie, what are you still doing up?

HERTBIE

(in a whisper) Huey’s dicking Chola.

GIBBS

What? That little bastard.

HERTBIE

Huey’s dicking . . .

GIBBS

Stay here. (exits)

Krasnar has been awake, having seen Gibbs leave. Krasnar gets out of bed and goes to Hertbie.

KRASNAR

What’s that little fuck doing?

HERTBIE

Huey’s dicking Chola. I just told Gibbs.

KRASNAR

Shit.

He goes to the bunk and shakes it.

You assholes. Gibbs has gone to get Gonvea.

They stir, Huey leaves the bunk quickly as Gibbs returns with Gonvea, who flips on the lights and throws 2 trash can lids into the middle of the room. A loud racket. Everyone jumps out of bed.

GONVEA

OK, you tweety birds. What have we here?

He goes over to Chola and Huey.

I have heard that you’ve been open for business tonight and you (to Huey) were the customer. (to Chola) You’re fucking lucky I didn’t see this with my own two eyes or you’d both be heading off to a Court Marshal and then to Leavenworth! Leavenworth!!

(To Chola) What do you have to say about that?

CHOLA

I was just sleeping like I always do.

GONVEA

Well at least you’re smart enough to tell the truth you fucking fairy! (To Huey - who has had difficulty standing up) And you macho troop. Not enough pussy in the world, you need assholes to . . .what’s with you. Look me in the eye! Shit man, what are you on? This man’s on heavy drugs or something.

HUEY

Good evening sergeant.

GONVEA

Gibbs, get Sergeant Pike and tell him to bring some cuffs.

Exit Gibbs

(to Huey) You know to be on drugs in the Army is a fast ticket to hell. And you thought you were in hell already, but you don’t know hell yet. But I promise you one thing - where you’re going they’ll be plenty of assholes to choose from. You’ll see.

Huey is staggering. Enter Pike and Gibbs.

Sergeant Pike, this man is on drugs.

They handcuff Huey and struggle with him to take him away. He gives them a pretty tough struggle, but they manage to drag him off. Exit Huey, Pike and Gonvea.

KRASNAR

(to Gibbs) You son of a bitch. Don’t even come on this side of the room.

GIBBS

I did what I had to do. I’m the squad leader.

CHOLA

Squad leader? You did a terrible thing. You wanted my ass - you couldn’t have it - so you decided to punish me. Well, you managed to get poor Huey.

KRASNAR

You wouldn’t ratfink on Ormond.

GIBBS

That was different.

KRASNAR

Yeah, you thought he was straight - but you can’t stand us homo folk!

CHAUNCIER

Gibbs, that wasn’t very nice.

GIBBS

Avilia - you can see I did what I had to do.

Avilia is silent. The entire squad except Hertbie shows signs of shunning Gibbs. He’s very upset. He exits.

HERTBIE

Gee, I wish he’d help me with this test.

(black out)

Scene 4

The stoop of the barracks (outside). Enter Gibbs, very upset. First he paces, and then he sits crestfallen on the stoop.

GIBBS

(jumping up) No. I did the right thing. They shouldn’t be doing such stuff in the barracks; and I’m in charge. Squad leaders are suppose to set examples and to make sure rules aren’t violated. Besides, Huey’s drug problem will probably get some cure now. It wasn’t getting the proper attention here. I’m sure he’ll wind up in the hospital with good care.

(sits -sighs - long pause)

I feel a strange warmth and sadness. It’s like there’s music in the air - brash and yet calming. The change in appearance has touched my soul with fresh reward and punishment. Once in a lifetime, I am attractive - the unfortunate waif, encased in fat and sinew, has emerged from it with some splendor and song. Yet, I am unhinged by it. I have never been so alone and afraid. They hate me now because they don’t understand this strangeness - this strange music I hear in my mind. It calls me to another place like a sweet mystery unlocked - but I am afraid to follow its sweet tones. I know there is danger in the water, danger deep in this soul and passion.

He stands and walks downstage

The angels know me. They guard my folly and surround my foolishness. They sing caution and mount their steeds and sound their bugles to give me the security I need and want. Oh, heavens forbid that I am the madness that I think and know I am. Oh sullied past, come not now to haunt me, despised of men of all kinds for my folly. Frightful past.

(pause)

I was alone with him in his house. His mother was away - shopping - and he assured me know one would know. So we played on the bed, got naked and played some more. He told me know one would know - but somehow they found out. And soon there were others wanting to play. In the rain on the porch beneath a tarpaulin. In the backyard, behind the garage in the darkness of night - oh the pleasure and the terror. In the shed, with an air compressor. Soon, mothers told their sons to avoid me - and I was the playmate of girls only.

Despised of men of all kinds for my folly. Last to be chosen for ball - and then the arguments for a missed catch. Betrayed and followed. Bloody noses when thrown to the pavement. High school rivalries and a day at a gay beach. Terror of terror, to think of it all. Hours locked in my room with a little contraband of frisky magazines and a swearing to God almighty that I will be better and good. I am a good boy - not one of those.

Mother - Father - dearest Mother. If you only knew what I knew. And if you knew, if you hadn’t denied it. This is not your fault, but when the other mothers told you what I had been doing, you must have known or suspected. And when you went to school and the guidance councilor said "he writes of death in his essays. We suggest counciling, "you should have known then that I wrote of death - because I had been rejected by those I fell in love with. And I loved - like no man on earth can love.

(with great passion)

He sat next to me in homeroom. I adored him at first sight. But he told me of the girls he fucked - and he never gave me a chance to tell him how much I loved him. Then, when I declared myself, he told the others - and that was my darkest hour. I did nothing but weep - and turned to the angels to help me. Take me. When I am dead and gone, they’ll love me then. They’ll miss and love me then.

Seeing one’s own funeral - the reactions of those who spit on you and called you "queer" - their tears of farewell, their tributes to your life - this was better than life itself. To die for this sin would be the settlement for this minor soul’s transition - for it would be best for all - and the angels would give me their shoulder for a long and well-deserved rest in peace.

So I closed ears to the music - and if this is what I am - I must find my other self - the normal one. So I sang and read and studied and worked hard - and avoided people and went to church and prayed for guidance - and got drafted into this fucking place.

Slowly returns to the stoop and sits

But now I hear the music once again. I heard it when I saw Chola’s face and that smooth, satin body. I am calling to the angels now to preserve my sanity. I am at the last trumpet sounding for this soul - this dying soul.

(weeps bitterly)

The demons are winning this battle. I am falling fast into an abyss and cannot catch myself. But the music is so sweet, so deathly sweet I fear the poison is too far-gone in my veins to find an antidote. Who will catch me? Who will love this lost soul - I am so alone and afraid - so very much alone and the world is nothing to me - nothing to me.

Enter Avilia at the top of the stairs. He watches Gibbs quietly. Gonvea enters. Avilia quickly exits back into the barracks.

GONVEA

Hey troop - what are you doing up?

GIBBS

(trying to recover his composure)

Just needed a little air, Sergeant.

GONVEA

( sits next to Gibbs) What’s this? You don’t need no stinking air. This air is rotten here - nothing but the stink of the coal stoves. You look upset, but no need to worry.

GIBBS

What will happen to Huey?

GONVEA

Oh, so that’s it. You did a good job Gibbs. You did right by reporting those two fuckers - I only wish I’d been faster to see it or that you’d been an eyewitness. Could have nailed them both.

GIBBS

But what will happen to Huey?

GONVEA

He’ll be court marshaled, maybe - but I think he’ll probably end up with an Article 15 and a slap on the hand. But I think he will be discharged - Section 8.

GIBBS

But how will he get his job back with a Section 8. Shit, this is all my fault.

GONVEA

No troop. You followed the General Orders. You did well. I’m proud of you. You know, you’ve lost a shit load of fat - you look good - you’re stronger - you’re passing the PT test - you’ll be back in training real soon.

GIBBS

Back in training?

GONVEA

You still need to get rifle training - so, you’ll get recycled into a basic training company.

GIBBS

Shit.

GONVEA

But that’s good. Remember when I told you to repeat after me that you were a worthless piece of shit, well . . .

GIBBS

Well what?

GONVEA

Well you’re not - and you’re not a fatboy and a faggot either. You’re a grade A specimen of All-American male-soldier, troop.

Stands

So, get some sleep - the routine is still he-man tomorrow and you’ll still feel it. You did good troop, very good.

Exits

Gibbs looks after him, then goes to his knees. Avilia reenters at the top of the stairs.

GIBBS

"I’m a worthless piece of shit, Sergeant!"

(pause)

"I’m a worthless piece of shit!"

(pause)

(with great emotion) "I’m a fatboy and a . . . faggot, Sergeant. A fatboy and a faggot."

Avilia goes to him and hugs him. Gibbs cries on his shoulder.

AVILIA

What’s all this?

GIBBS

They all hate me. They all hate me for what I did? I hate me for what I did?

AVILIA

I don’t hate you - and they understand. Deep down they all understand - they all know about it.

GIBBS

I hate what I feel. I hate it!

AVILIA

Now cry here on my shoulder. You shouldn’t hate what you feel. What you feel is real. What you’ve done is not. It’s a symptom. When we hate what we feel, we lash out at those who also feel that way. You blame us. You want us to go away and not remind you. But, guess what, what you feel is natural.

GIBBS

How can it be natural? It’s an abomination.

AVILIA

Who says? Some old book that asks the question "What is truth" and cannot provide that answer? Some minister who condemns you because they take that book literally only when they want to - and only the passages to make you a scapegoat for the rest of the flock? All those friends who beat us and grind us into the ground? What is friendship, if it includes that? We have enough people gaining an advantage by putting us at a disadvantage. Why be our own enemy?

GIBBS

But the feelings are strong and getting stronger.

AVILIA

They are true feelings and correct. There’s nothing wrong with them. You are as normal as pie. There’s cherry pie and apple pie. You’re cherry - this army is apple. You’re sweeter than the apple pie and last longer. You’re more prominent and very special indeed, baked for the special occasion.

GIBBS

Oh, I am so confused.

AVILIA

No you’re not. You were confused. Now you just need a road map. When God created you He created someone special. All people are special in His eye. But, because we are a minority, like all minorities we have a struggle, a struggle which makes us either strong or dead. There’s no real in-between. And Gibbs, I for one don’t want you dead.

Gives him a kiss

GIBBS

(recoiling a little. Then folding his hands in his lap and sitting upright)

So what should I do?

AVILIA

Nothing. Love yourself. That’s what’s happening here. You are learning to love yourself - so when you say you’re a worthless piece of shit, you’re not moving forward with this challenge.

GIBBS

But how do you . . .

AVILIA

One day at a time. There’s no great plan for us here. We wake up and see the sunshine or the rain and take flight as we need to, as we want to. To survive, we need to tell the pink lie - or not. To be free, and I wish I were, I’d tell everyone without fear about who I am. But I can’t. But the consolation is that I am basically a fine person, nurturing and caring. I want to serve my country as proudly as I am proud of her. So, I will continue to tell the pink lie to serve her well. Those who hear the lie will never really know me. What a shame - because it’s their loss. They will never know what beauty could have touched their lives or how I could help them lift their heavy burdens, the one’s we carry in our soul.

GIBBS

You are my angel

(kisses him)

AVILIA

Why sir, I’m blushing. I’m no angel - just a man who loves life and men. I love women too, but I can’t be in bed with them. One day at a time, dear. One day at a time.

GIBBS

You are indeed my angel.

(kisses him again. They embrace)

black out

   

 

Epilog (2001): In these United States

Spot on Winslow the Narrator at the podium. He is quiet and sighing gently.

WINSLOW

My angel, my sweet angel, who touched my soul and made the gulag disappear. Who daily touches my heart and makes the sunrise or the rain fall. He is the snow on my windowsill and the breeze through my heartstrings. When men fall in love they do it with the same conviction and passion as all creatures that love each other. There is no greater passion however than when you love in the sunlight and are told you’re love is not true. Those who say this, have never loved indeed. They do not know, because they are unloved and unloving or they have just forgotten, these jealous souls, who insist on that such love be kept in the gulag.

(recovering)

Well, the next day I managed to get out of the Special Company. I woke up with a rash - German measles. I reported to sick call, and was quarantined in the upper respiratory ward in the post hospital. This was a smart thing and typical army thinking. I wound up with an upper respiratory infection, while the rest of the ward got German measles.

When I was released, 3 weeks later, I returned to the Special Company - but everyone was gone - a new crop of dear queers was there. And I was immediately shipped out to regular basic training company starting at the 2nd week with 6 more weeks to go. It was easy stuff now. The new company was all Reservists, so it was almost like a country club.

One evening, while on field training maneuvers, I heard some one calling me. It was dark and the call came from inside a tent. It was Avilia. It was so great to see him again and we hung out for some time together. He told me Chola, Chauncier, poor Hertbie, and Huey was all given Section 8’s. Krasnar, who wanted the Section 8, was sent back into training. Go figure. Avilia got his wish and was back in training.

It was real good to see him. We found a quiet, hidden spot and continued our talk about being ourselves. Then we felt brave enough to continue our hugs and kisses. In the middle of a passionate embrace, he stopped and took my hand. It had been the first time another man had taken my hand. Nothing is more sensual than the handclasp of two men in the throws of passion. When we shake hands, there’s a cold traditional posture about it. But, when we entwine our fingers, the softness that is our birthright leaps from the inner recesses and caresses our being.

Then, he led me to a quiet place in the woods where the world of the hateful and the ignorant could not see us - and there we completed the circle of our love, as it was meant to be from our natal days.

(pause)

We agreed to write to each other whereever we should wind up. And we did. I was sent to Germany and had a blast. I found all the gay troops and gay German bars - and was finally giving myself permission to be who I am. Avilia went to Vietnam and saw lots of action. Letter after letter came from him telling me of the horrific nature of combat, and the jungle and the people and the napalm and the struggle and disease. It was almost unbearable - but, as he put it, it was far better than the gulag.

Then, when the letters stopped coming I got concerned. I lost him for about four months. Then, through his parents I found out he was wounded and was going home to San Diego. He took a piece of shrapnel in the side and was paralyzed from the waist down. He was a war hero, a genuine, fucking war hero. A genuine, fucking, gay war hero, who got his wish to serve his country. He told the pink lie to do so - but he got his wish, and he sacrificed his legs to it.

(holds up a medal)

Here’s his precious medal - for conduct above the call of duty. His action saved his squad. He gave his legs to give them their lives. Always the angel. My angel. And now, Ladies and Gentlemen, I would like to introduce you to my life-partner of 31 years, Paul Avilia.

(enter Avilia in a wheelchair. If the audience isn’t applauding, canned applause should be at the ready. Avilia wheels himself center stage. Winslow remains at the podium applauding. When the applause subsides, he continues.)

So, ladies and gentlemen, there have been gays in the military protecting your freedom and making this nation great. Despite the army and its policies - You asked and we’ve told. FTA.

AVILIA

Fuck the Army. Come here and give me medal.

Winslow crosses to center stage, put the medal around Avilia’s neck and kisses him. He then takes command of the wheelchair, standing behind it and positioning himself and Avilia in profile. The stage reveals the outside of the barracks and the night sky. There’s a shooting star.

AVILIA

Look, a shooting star.

(another one is seen)

WINSLOW

Look, there’s another. It must be a meteor shower.

(there’s a burst of meteors. The two men look in wonder at the night sky as the lights start to throw them more and more into profile.

All those angels - all those angels.

AVILIA

What wonders to behold!

WINSLOW

What wonders!

Black out

End of Opus