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Scene 1.
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Provincetown, MA
- Summer 1995. Ginger and Leslie’s cottage on a hill. There
is a porch overlooking the street and some gardens. Dunes can
be seen in the background and the sea. The Pilgrim’s tower is
also in the background. The porch has two very conspicious rainbow
flags flying.
Ginger is in the
garden cutting roses. Leslie is on the porch feeding three cats.
Russ is sun-bathing in the nude. Leslie stops and looks off
stage. It is late afternnon and the stage glows orange as the
sun is getting lower in the sky.
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LESLIE
Here they come now.
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GINGER
(looks up, shades
her eyes) Are you sure?
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LESLIE
Positive. I’d know Dean’s
swishy walk anywhere.
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Russ sits up and
stretches to see. He stands. Leslie throws him a towel.
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Will you cover that thing
up? We don’t need to see it.
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RUSS
I don’t need you to see
it. The show was for the brawny guy in the apartment across the
street.
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GINGER
I hope Matt’s ok.
(she picks up the
roses, putting them in a basket and joins Leslie on the porch).
Dean and Matt enter.
Matt is coughing. They’re obviously tired of walking.
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LESLIE
What did they say?
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GINGER
You shouldn’t have walked.
We should have drove you.
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DEAN
Tell that to Mr. Indestructible
here.
Matt makes it to
a porch chair and sits. Coughs. Then wrings his hands.
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I think he’s running
a fever.
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LESLIE
What did the doctor say?
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MATT
Nothing. Says I have
a bad cold - a summer cold.
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RUSS
Those are the worst.
I once had one that lasted 2 full weeks - then it took me the rest
of the Summer to shake it.
They all look at
him. He shuts up.
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GINGER
What a rotten shame.
It’ll spoil your vacation.
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LESLIE
Well, if you remember
last year Dean was sick - stomach virus.
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GINGER
That wasn’t last year.
That was the year before. . .
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DEAN
Three years ago. And
Matt caught it as well.
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MATT
I’ll be ok. Let me just
go an lie down for a while. (to Dean) Baby, you stay here.
I don’t want you to get this.
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DEAN
Like I won’t get it.
I get every little fucking germ you get. When I agreed to love you
and share your ass, I guess I agreed to share everything.
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MATT
Well, humor me. Just
stay here. I’ll take some NyQuil and conk out for a bit.
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He goes in, holding
his hand up preventing Dean from following.
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GINGER
Well, he’ll be ok. These
things happen. Maybe we should take our minds off it and play some
cards or maybe a movie.
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RUSS
T-Dance. Let’s go Dean.
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DEAN
Russ, I’m not going to
the T-Dance now.
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RUSS
But you never miss a
T-Dance.
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LESLIE
Russell Hay. Don’t you
have any morsel of compassion or concern. Your best friend’s hubby
is sick and you’re trying to pull him away to a sex auction.
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RUSS
What’s you point? Matt
would want him to go. Dean only drewls and makes commentary at the
T-Dance. He’s too married to do the touching thing.
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GINGER
No, I think cards will
be a calmer sport. It’s a cool afternoon. We could enjoy the sea-breeze
- and drink lemon-squashes.
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LESLIE
Maybe a movie. Jodie
Foster is in that new movie . . .the Carl Sagen one.
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RUSS
No way. I’m not sitting
in a small movie theatre filled wall to wall with Lesbians all panting
after Jodie Foster. "It just ain’t fittin’ It ain’t fittin’
Hm! Hm! Hm!"
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GINGER
Well Butterfly McQueen,
now you know how we feel when you divas swoon over Cruise or Broderick.
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LESLIE
Maybe cards would be
better. And I’ll whip up some of my famous fried eggs . . .
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RUSS
In lard - hell you will.
Just the smell of those things make me wanna hurl, girl! C’mon,
Dean come to the T-Dance.
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DEAN
You go. Give me a report
on Green-shorts guy. You know the one.
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RUSS
There is no other. Aw,
I’ll be lonely.
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DEAN
You’ll get over it. I
just want to sit here and rest. That walk down to the infirmary
was tiring. I didn’t think Matt was going to make it. He stopped
in front of the Barbie Doll house and wretched his guts out. I thought
Ken was in immiment danger. We sat for a time on the curb.
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GINGER
What did the doctor do?
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RUSS
Well, I’m out of here.
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DEAN
Go, already. Go, and
have a good time. I’m sure Matt will be ok in a day or so.
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Russ slips his bathing
suit on and a tight tank-top then struts away down the hill.
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GINGER
So .. .
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DEAN
So what?
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LESLIE
What did the doctor do,
really?
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DEAN
What do you mean "really"?
He said it was a bad summer cold. He didn’t prescribe anything.
Told him to drink plenty of liquids and get to bed.
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GINGER
I knew we should have
driven you guys down there. Well, dear, take this rose.
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(Hands rose to
Dean)
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DEAN
What for?
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GINGER
I don’t know. Because
it’s a beautiful thing and that’s why we live here in Provincetown
— for the beauty of it. Whenever Les here feels down or tired I
always go to the garden and get her a rose.
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LESLIE
She does, believe me,
she does. It doesn’t matter that they make me sneeze like hell or
that they have thorns or there’s sometimes a creepy-crawlers in
them - she plunks one down in my lap anyway.
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DEAN
(looking at the rose)
Well, it’s beautiful Ginger - and since its what you do for the
one you love most, I take it as a real kindness. And you know, I
will give it Matt. I’ll put it by his bedside so he sees it when
he awakes.
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Gets up and looks
out towards the sea.
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It is so restful here.
That sun penetrates me like a warm hug. Oh. How many summers have
we spent our vacations here with you. And, although we love the
dancing and dining and men - men - men - it’s here on your proch
that I love best.
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You know, the first summer
we came. I shouldn’t really tell you.
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GINGER
Tell Mama.
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LESLIE
Yes, it’ll be better
than cards.
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MATT
Well, when you all went
to bed on the first . . .or was it the second . . yes, the second
night, Matt and I crept quietly out here on the porch - right on
this very spot and did it. I remember the warm evening breeze and
cricket sounds. Then there was this wonderful cocoanut aroma - his
aroma - my Matt. That soap was the most wonderful perfume imaginable.
We held each other for an eternity. Only the rustle of your cats
brought us back to land fall.
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LESLIE
Yes, we know.
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GINGER
We had a good view of
you guys from the porch that night.
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LESLIE
I said to Ginger, our
Dean has found a man of his own - a good man - a strong man. One
that will give him what we have given each other.
Ginger kisses her.
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DEAN
Yes, it is so right -
so very right with us. It has been and it shall always be. Oh, we
have our moments. We’ve had some whopping arguments -
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LESLIE
And good make up sex.
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DEAN
Great make up sex. Sometimes
he’s such an asshole - so stubborn. He forced himself to walk up
the hill. I told him to wait and I’d go get the car. But, no. He
held on to me and made it hard for both of us rather than to admit
he’s sick and needs a few days rest. And all he could do is apologize
for ruining my time. But you know, as long as he’s with me, I am
right - so very right. It has been and it shall always be.
(there’s coughing
from inside the house)
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GINGER
I’ll take a look - make
sure he’s got everything he needs.
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Ginger enter the
house
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LESLIE
I can’t believe that
asshole Russ. How long have you known him?
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DEAN
My sister - since I don’t
know. There’s always been a Russ. He’ll never change. He’s into
only one thing, Russ. But Russ is Russ. If you know that and realized
that he’s not going to change, then you just let him do what he
wants.
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LESLIE
Well, he’s damn irresponsible.
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Ginger returns.
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GINGER
I think maybe, Dean honey,
we ought to take Matt home.
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DEAN
Home? Why?
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GINGER
Well, I’m not a nurse
or anything - but, his sheets are completely drenched with sweat.
I mean wringing wet.
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DEAN
Shit!
(he enters the house
quickly)
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LESLIE
If he’s real sick, he
shouldn’t travel.
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GINGER
He looks real, real sick.
He’s gasping for air.
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DEAN
(entering) Shit!
What do I do? Who do we call?
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LESLIE
(to Ginger) How
much room do we have on the card?
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GINGER
Enough, I’ll take care
of it.
Enters the House
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DEAN
What?
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LESLIE
We’ll fly him out to
Logan. It’s the fastest way.
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DEAN
But . . .
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LESLIE
No buts.
Dean sits with his
hands in his face. Leslie puts her hand on his shoulder.
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GINGER
(from inside the
house, on the phone) Cape Cod Air? Yes, when’s your next flight
out to Logan? Yes . . . Yes . . . Yes . .
Matt coughs violently.
Dean looks up. Leslie turns away.
Black out
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Scene 2.
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In New Jersey. Hospital
waiting room. There’s a nurses station center stage. To the
right are doors to the hospital rooms. There’s a waiting area.
Dean is pacing around that area - then sits frantically and
nervously taps his foot. Nurse Vicky Lynn is behind the station.
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HOSPITAL
PAGE
Paging Doctor Kane. Doctor
Kane you’re needed in Q area. Doctor Kane, you’re needed in the
Q area.
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Dean gets up and
approaches the Nurse.
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NURSE
I told you sir, only
immediate family can see Mr. Kieler.
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DEAN
But I am his partner.
I’ve told you, we live together.
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NURSE
I’m sorry, the rules
are the rules. Family only.
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DEAN
But can’t you even tell
me his condition.
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NURSE
I told you he’s critical.
But you can only discuss it further with his doctor - and since
you’re not family, the doctor can’t tell you anything.
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DEAN
But you don’t understand.
He begins to cry.
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NURSE
I’m sorry. I wish I could
help.
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DEAN
Uncaring Bitch.
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NURSE
Sir, if you become abusive,
I’ll have you removed from the premise.
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DEAN
No, no. I’m sorry. You
must know that Mr. Keiler is my . . . well, we are . . .
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NURSE
(giving an unapproving
look) Sir, that’s no concern of mine. If you are not a family
member, you must wait until the family . . .
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Enter Mr. & Mrs.
Keiler and Matt’s sister Mary. Dean see them.
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MRS. KEILER
Dean. Dean (she embraces
him) How is he? We came as soon as we heard.
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DEAN
(crying) I don’t
know. They won’t tell me anything. I’m not his family and they won’t
let me see him. They don’t understand.
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MR. KEILER
What do you mean you’re
not his family?
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MARY
(to the Nurse)
You should be ashamed of yourself. This is his family.
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NURSE
And who are you?
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MARY
I’m the patient’s sister.
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NURSE
I’ll page the doctor
at once.
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MRS. KEILER
(to the nurse)
I’m his mother - and this is my son-in-law, his life-partner. How
dare you! How dare you!!
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NURSE
I’m doing my job. (pages
the doctor) Paging Doctor Kane. Doctor Kane you’re needed in
the waiting room.
(to Mrs. Keiler)
The doctor will see you in a minute. As for this young man, whatever
their relationship is, he cannot see the patient unless he is family
as defined by law.
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MRS. KEILER
Look at him, you cunt!
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MR. KEILER
Freida! Not so loud.
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MRS. KEILER
This is a place for caring
and healing. What right have you to judge him and bring him pain.
He is closer to my son and more important to me than I am sure you
are to anyone so unfortunate to call you a relative. Now, take us
to my son!
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Enter Doctor Kane
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NURSE
Mrs. Keiler, please calm
down. Doctor!
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DOCTOR
What’s the problem.
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NURSE
I was explaining Hospital
policy about family only . . .
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DOCTOR
Please Nurse Lynn - let
me handle this. Mr. & Mrs. Keiler, come sit down.
They all go to the
sitting area.
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Your son is resting,
but we had to put him on oxygen.
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DEAN
Oxygen?
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DOCTOR
He has pneumonia - pneumosistis
carinii.
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MRS. KEILER
I knew that - I was hoping
it wasn’t that. It’s just like Danny.
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DOCTOR
Then, you realize that
he is in a great deal of danger with this episode.
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DEAN
AIDS?
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DOCTOR
A complication related
to the HIV infection. Are you his significant other? You need to
be tested immediately.
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Mrs. Keiler is crying,
comforted by her husband and daughter.
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DEAN
Just like Danny? But
Danny died in a bashing.
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MARY
He did, but he had AIDS
and had quite a few episodes. Poor Matt went through hell.
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DEAN
Danny had AIDS. I don’t
believe this.
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MRS. KEILER
May we see him now?
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DOCTOR
Yes, come now.
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MRS. KEILER
Can Dean come - his ---
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DOCTOR
Why of course. Come now.
All of you.
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They all gather around
the doctor and go to the entrance door, except Dean who is dazed.
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MARY
Dean! Dean, are you coming?
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Dean rises slowly
and walks nearly catatonic to Mary, who puts her arm around
him. Exit. The nurse shakes her head.
Black out
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Scene 3.
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Matt’s Hospital Room.
He is in on oxygen. Mr. & Mrs. Keiler stand by his bedside.
Mary and Dean sit off to the side. The Doctor is there when
the scene begins, but leaves them all alone.
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MRS. KEILER
My baby. You look so
helpless.
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MATT
(removing the mask)
Mom. Dad.
(pause)
Dean?
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DEAN
(staying to the side)
I’m here.
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MARY
(getting up)
We’re all here.
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MATT
It’s not so bad. I actually
feel better. But in P’Town I thought I was going to die.
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MRS. KEILER
Has the doctor talked
to you? Has he said anything about your condition?
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MATT
I know. But . . but .
. if I lick this, it’ll be ok. It will be ok.
(coughs)
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MR. KEILER
You better put that thing
back on.
Helps him put the
mask on.
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MRS. KEILER
Listen baby, you should
rest. We’ll be outside. Dean will stay with you. You need to be
alone with him anywhay. We’ll be here.
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They slowly leave,
with Matt waving to them. Dean remains on the side for some
time. Finally he come to the side of the bed. Matt removes the
mask.
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MATT
Sorry I ruined the vacation.
These things happen.
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DEAN
(running his hands
through Matt’s hair) Don’t give it another thought baby. Just
get better and we’ll figure this out.
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MATT
It’ll be ok. I’ll be
on my feet in no time and back to work.
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DEAN
Just take one thing at
a time, you know it all bastard. You just won’t lie still for no
one.
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MATT
I don’t know what I’d
do without you, baby.
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DEAN
I bet you would.
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MATT
(coughs) I’d
better put this crap back on. (puts the mask on)
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DEAN
Rest now. I’ll be here.
Matt nods then begins
to dose. Dean goes to a nearby chair and stares at the floor.
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(quietly) Shit.
Shit, shit, shit shit, shit, shit! Just like Danny. I am so mad
at you, asshole. You’ve never lied to me. We’ve always been honest,
even with that guy in the Cave you fucked three years ago. You we
brutally honest then - and I overlooked it, because we’re men and
men do these things. I do these things. But to not tell me Danny
had AIDS and was symtomatic - how could you. You asshole.
(gets more excited)
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I should leave you right
now. Why should I care, if you didn’t? I probably have it too. And
I hope I do - ‘cause we share everything, and if I can’t share this
monster with you . . .
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Oh, what am I saying.
Where’s the light going? Where’s the peace I know and the love I
have come to count on. It’s been a lie! Tell me it hasn’t. You bastard,
I love you so. How could you do this to me. How!
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(clenching his fists,
he goes over the bed about to let loose. Then puts his fists
to his own head and turns away, crying)
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Lover, sweet lover. I
asked God for you and he delivered. But is such a prayer meant to
test the soul. I am not ready for this. I am not ready for this
test. God, take me now so I don’t have to face this. I want to just
run and hide. I want to just leave him here and never see him again.
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(goes to his knees
with his face on Matt’s chest)
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MATT
(waking - removes
the mask) Baby, my baby.
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DEAN
(weeping uncontrolled)
Take me with you.
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MATT
I’m going nowhere.
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DEAN
Then I’ll stay - I’ll
stay.
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MATT
I’ll be better.
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DEAN
You better be better
fucker. If you want to deserve me, you’d better be better.
(they kiss)
Black out
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Scene 4.
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Matt and Dean’s Apartment
- Six Months later. The place is bightly lit. There’s a couch
and two chairs. A counter is set with finger food. As the lights
come up. The doorbell rings. Matt and Dean enter. Matt is weak
and needs help to the couch. Matt gets seated, while Dean answers
the door.
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Enter Ginger, Leslie,
Russ, Mary Kieler, quite noisily and in a party spirit.
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DEAN
Come on it.
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MATT
(from the couch)
Hi, guys. Glad y’all could come.
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GINGER
Hi sweetie. (goes
and kisses Matt.)
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There’s a general
round of kisses and hugs.
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MATT
Hi sis. (kisses Mary)
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MARY
How’s my boy today?
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DEAN
We have a good day today,
don’t we?
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MATT
It’s not crappy. And
now that you’re all here. We did so need a party - a little get
together. We don’t get out to the club - and we’ve missed so many
things.
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MARY
Mom and Dad send their
love and want to know when you’re coming over to visit.
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MATT
I saw them last week.
They stopped over. But you know, after a full days a work, I just
want to come home here and sleep.
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MARY
They understand.
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DEAN
Drinks! Eats! Help yourselves.
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LESLIE
(to Ginger) Mix
me something. Surprise me.
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RUSS
(who has been uncustomarily
subdued) Do you have beer?
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DEAN
Since when do you drink
beer? Of course we do. In the frig. Help yourself. I do enough waitressing
about here.
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MATT
Sorry dear.
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DEAN
(kissing him)
No apologies today, sweetheart. Let’s just enjoy our friends.
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MATT
While I can still see
them.
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DEAN
Shhh. Enough.
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GINGER
Did I tell you, I saw
Miss Kitty at the Cave? She was in her full regalia. Tin cup tits
and all.
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LESLIE
What a hoot.
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DEAN
Did she do her Carol
Channing.
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LESLIE
(imitating Carol
Chaning) And did she! Well, Dolly’s back in town! (switching
to Middler) And then she went into a Devine Miss M - bitchin’
truly bitchin’
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DEAN
I loved Beaches.
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GINGER
The critics hated it.
Then why does everyone I meet say they loved it? I don’t understand
this at all.
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LESLIE
It’s jealousy, you know.
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MARY
I couldn’t watch it.
I found it so sad - and why do we need to talk about that picture
anyway?
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LESLIE
Why not?
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DEAN
Why indeed.
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MATT
No, go ahead. I saw it.
It was great. Loved the Titslinger scene - and that kid who played
Bette the younger. She like caght every nuance of the older Miss
M. She almost stole the show.
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GINGER
No. She didn’t. No one
could have stole the show from Bette.
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LESLIE
Not even droopy Barbara
Hershey, with the disease of the month.
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MATT
That’s a good one - the
disease of the month.
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RUSS
Please. Can’t we change
the subject?
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DEAN
Why Russell, you’ve been
so quiet.
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GINGER
I think Miss Gym-bunny’s
been dumped by his most recent lance thrower.
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LESLIE
Trick, you mean.
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RUSS
No, I haven’t been seeing
anyone. I just think it depressing to talk about such a weepy movie
at a party. Why don’t we talk about Boys in the Band or something.
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DEAN
Well there’s an upbeat
movie for you. Why not Torch Song Trilogy or As Is,
while we’re at it.
(pause)
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MATT
Get some food, all of
you. And baby, I think I could manage a little of your potato salad.
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DEAN
Oh, I’ve got beans in
the oven.
(pops up and gets
the beans)
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MATT
Just what I need with
my AZT, little exploding pop-tarts covered in molasses and bacon.
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DEAN
They’re for the company,
sweetheart. You stick to the potato salad.
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MARY
(to Matt) Well
dear, are things getting better at work?
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DEAN
Mary, let’s not go there.
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MARY
Why not. At least he
can get into work.
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MATT
(touches her hand)
Well, sis - I am officially on "disability".
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MARY
Oh, sorry.
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GINGER
Sorry to hear it.
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LESLIE
Shit - you were doing
so well.
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DEAN
No apologies today. Please,
no apologies today.
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MATT
Dean’s right. It’s nothing
to be sorry for. I’ve missed so much time - you know the bad days
have been real bad.
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GINGER
But the good days.
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MATT
Well, they have been
good. And the people at work are supportive. Hank Green even agred
to let me do work from the house.
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DEAN
(with the potato
salad) Here you go. People, eat.
They filter over
for food.
Hank’s been real good.
Not many bosses will even give a gay man the time of day let alone
a day off to lay dying in a hospital. But he did send work around
on those days; and we sure could use it.
|
|
MARY
How’s your job, Dean?
|
|
DEAN
Retail ain’t what it
used to be, eh Russ?
|
|
RUSS
Let’s not talk work.
|
|
DEAN
Ignore him folks. I have
seniority at the counter, but I have missed so many days. And I
can’t come out at work. They’re still a pretty homophobic lot. I’m
on my last sick day and personal day off.
|
|
GINGER
Well you guys know, if
. . .
|
|
DEAN
Have some potato salad
- and the Strata is my mom’s recipe.
|
|
LESLIE
(into the Strata
Salad) Are these whole peas?
|
|
DEAN
Yep. And Muenster cheese.
|
|
GINGER
A regular Matha Stewart.
|
|
DEAN
Martha who?
|
|
LESLIE
You haven’t seen her.
|
|
MARY
Is that the woman that
goes into her garden to pick the lettuce and makes her own pots
and pans before you can cook.
|
|
MATT
What a hoot.
|
|
LESLIE
She’s a fad. Won’t last
the season.
|
|
DEAN
Anyway, if you guys want
the recipe, I’ll print it out.
|
|
MATT
Baby.
|
|
DEAN
Yes, you need more. You
can’t really have strata - you’d never digest it.
|
|
MATT
I hate to say it, but
you’ve changed the subject. These are our closest friends - and
they deserve to know.
|
|
MARY
Know what?
|
|
MATT
Sit down everyone.
|
|
DEAN
Are we going to poop
this party? Matt you promised.
|
|
MATT
I’ve made many promises
in life - and I have actually kept some. But they should know why
I am going on disability.
|
|
RUSS
Isn’t it obvious?
|
|
MATT
No, smart-ass - this
plague hasn’t put me down yet. But now I’ve developed something
that’s going to make it tougher. Retinitus.
|
|
GINGER
Shit.
|
|
MARY
What’s that?
|
|
LESLIE
The disease is degenerating
his sight.
|
|
MARY
(in shock) You’re
. . .
|
|
MATT
Going blind. Not yet,
but there’s nothing to stop it. It’s bad enough that the meds keep
me puking and shitting - now I won’t even be able to see my way
to the bathroom. Glamourous eh.
|
|
DEAN
Well Matt. You managed
to poop this party.
|
|
MATT
Not really. I love your
potato salad dear, but it’s pooped me.
Get up and starts
to leave.
|
|
DEAN
Do you need help?
|
|
MATT
Not yet. I’ll call you
if I shit on the wall.
Exits
There’s a long, pregnant
silence. Dean sits on the couch, the bowl of potato salad between
his legs. He unconciously starts eating it with the serving
spoon.
|
|
GINGER
Maybe we ought to leave.
|
|
DEAN
Leave? No, it’s a party
— our last party. He wanted to see you all together before he couldn’t
see you at all.
(starts to fill up)
|
|
Leave? No, never leave.
You know, I was going to leave. Yes, I was going to leave. I’m young
and vibrant - and he got this thing from his previous lover and
never told me. I felt betrayed and stunned. But I couldn’t leave.
He needs me. He says he down’t, but he does.
|
|
He needs me to feed him
and wipe up aftrer him. He needs me to hold his hand when he sits
by the window and cries his heart out. He won’t cry for anyone else,
but he will for me. And he needs to cry. Who else would remember
his medication schedule. He’d never take the crap if it weren’t
for me. And who drives him to the park, so he doesn’t grow old and
mouldy in here. And in the dark recesses of the sleepless night,
I message his feet to ease the pain so he can get some sleep. They
are gorgeous feet, and I lock my fingers between his toes and rub
them like a child’s. You know, if I didn’t do that, he’d never sleep.
He needs me. And I can only hold on because I also need him - but
I also need you. Leave me? If you leave me, you leave us.
|
|
They all comfort
him, except Russ, who is even more depressed. Matt reenters.
|
|
DEAN
How are you? Are you
ok?
|
|
MATT
Yep. But I’m tired.
|
|
GINGER
Dean, maybe we should
leave.
|
|
DEAN
Perhaps it’s best. Matt
you should lie down.
|
|
MATT
Yes, baby you’re right.
But I’d like to look at y’all once more, while I can.
(goes to Ginger and
touches her face)
|
|
Ginger snap! Such a broad
face. You know I can’t go to the beach next summer. Even if I’m
still here, all your cats would give me the shits and kill me. Think
of that. Killed by pussies. There, there - Lesbians don’t cry.
|
|
GINGER
Shit they don’t.
|
|
MATT
(to Leslie - touching
her face) Les the Lez. You know, if they ever write a book about
those who love, you’d be the centerspread picture. The world could
learn a lot about the meaning of the word from you. Let me feel
your face. Aha. I feel it. I feel the warmth of the golden Privincetown
sun, it’s beaches and gulls. I see in your eyes the gentle breeze
and the kites entwining at dawn. And yes, all those Lesbians packed
into the movie house to lactate over Jodie Foster. I love you -
which is something I’ve never said to a women before.
|
|
LESLIE
When it comes to love
Matt, you’re no slouch yourself.
|
|
MATT
(to Mary) Well
when I said I’ve never said I love you to another woman, I guess
I lied, sis. Sweet baby sister. (touches her face) Don’t
cry. I’ll be here for a long time yet. It’s my eyes that are dying.
I’ll be in the darknes. That’s why I want to fill my mind with the
sunlight of your smile. When I touch your face, I touch my own.
(he hugs her. She
is speechless and goes over the Dean for comfort. Matt turns
to Russ. Russ shies away.)
|
|
Come sir, Russ. Let my
fingers take in your portrait; although, this is not the picture
I have of you in my mind.
|
|
RUSS
Better to keep that picture
than this one.
|
|
MATT
(touches his face)
Oh. Oh no. I see. I feel it comrade. I feel it. You and I will have
a plenty of time for ourselves in anothre place. I feel it comrade
as you join our legions.
|
|
Russ turns away.
Matt is upset and sits beside Dean. He then turns to Dean and
touches his face.
|
|
DEAN
What do you feel and
see?
|
|
MATT
Please, baby. We have
company; and what I feel now about you is not for their ears. But
I will tell you that when the light is gone from these eyes, it
will be replaced with a different light - the rarest light of all.
Black out
|
|
Scene 5.
|
The same as the last
scene of Act 2 - six months later. 1997. The only difference
is the place is a shambles. There’s piles of dishes on the sink
and on the counter. There’s papers all over. The draps are falling
from the window. There’s clothes strewn throughout. Dean is
asleep on the couch. The place is dark and dim. The sunlight
shines in on the decay. He’s in old pajamas and is unshaven.
The door bell rings. He doesn’t answer it. It rings again. He
sits up.
|
|
DEAN
Just a minute.
|
|
He turns on the light,
then opens the door. It’s Mrs. Keiler.
|
|
Mrs. Keiler. I didn’t
expect you.
|
|
She enters and is
obviously horrified at the condition of the place.
|
|
MRS. KEILER
I was in the . . . Dean.
This place is . . .
|
|
DEAN
I’ve got to clean today.
I really do.
|
|
MRS. KEILER
But he’ll catch anything
that’s lurking in here.
|
|
She takes off her
coat and begins to pick things up.
|
|
DEAN
No really, I’ll do it.
I’ll do it.
|
|
MRS. KEILER
I’ll help you. Why is
it like this?
|
|
DEAN
I’ve been working nights.
|
|
MRS. KEILER
Nights?
|
|
DEAN
At Chasson’s Warehouse.
|
|
MRS. KEILER
In addition to the store?
|
|
DEAN
Well, I lost that.
|
|
MRS. KEILER
Really? Why didn’t you
tell us? You know we’d help? Does your mother know?
|
|
DEAN
Well, yes - but there’s
little she can do.
|
|
MRS. KEILER
Yes, but we can do this.
He is our son, you know? Is he up?
|
|
DEAN
No. He’s finally asleep.
We had a rough night.
|
|
MRS. KEILER
Well, I don’t mean to
be bossy.
|
|
DEAN
No, I understand. But
money’s tight. We get meds and some meals from the Hyacinth Foundation.
They’ve been a big help. I have a Buddy come in to help me - but
he’s on vacation. He usually helps me straighten the place up. But
with the night work and coming in to Matt’s night pains, and getting
to caregiver meetings and picking up odd jbs at the Nursery and
. . .
(he sits. Mrs. Keiler
sits beside him)
|
|
MRS. KEILER
I have never known a
man so brave in my life as you are. I know that this isn’t the only
time people are faced with caring for a loved one. God knows, I
watched and cared for my own mother as she died of lung cancer -
but, to watch men in their twenties and thirties waste away - and
to loose a son (she fills up).
|
|
DEAN
Mom, are you all right?
|
|
MRS. KEILRE
Mom. You called me Mom.
You usually call me Mrs. Keiler. I’ve waited a long time to hear
you call me Mom.
(they embrace)
|
|
DEAN
We’ll have courage for
two. Maybe you should come to the Hyacinth support meetings.
|
|
MRS. KEILER
I don’t know. I think
I’ll find them depressing.
|
|
DEAN
They’re informative -
and we all support each other. But you’re right, they are depressing
at times. The other night, this guy - Fred - sat quietly throughout
the meeting. We all talked about our partners and buddies and were
as instructive and as positive as we could be. Then he raised his
hand and stood quietly. Fred was from New Jersey - but lived the
last twelve years in San Francisco. He told us of his lover and
friends. He told a tale of heartbreak and dying - of farewells and
healing. He worked on the coast with AIDS Services - he was a buddy,
delivered meals, sewed panels for the quilt, marched in protests,
walked in silent vigils - but in the end he felt he’d journeyed
to no where. "I woke up one morning," he said. "And
they were all gone. All my friends were gone - dead. All those young
and beautiful angels. There wasn’t a single one left. I didn’t know
what to do. So I came home here. I came home to die - because there
would be no one there to keep a vigil over me. I came home to the
arms of my family."
|
|
Mrs. Keiler cries.
|
|
MRS. KEILER
It’s not right that those
who are die close to you are your own age or younger when you’re
but a mite of a sweet boy.
|
|
DEAN
And poor Russell.
|
|
MRS. KEILER
Russell. He went so fast,
honey. I could not believe it.
|
|
DEAN
He was so flighty and
full of life. He was like a butterfly feeding on life - flower to
flower. Little did we know that too much life would be death.
|
|
MRS. KEILER
At least he had you at
the end.
|
|
DEAN
Well, his death was his
final gift to me. He was so close to me - yet, it gave me the trial
run for . . .
|
|
MRS. KEILER
Well, this place needs
to be . . .
|
|
DEAN
I know. You should go
see him now.
Mrs. Keiler goes
slowly into the next room.
|
|
Be prepared to see the
face of death. He is an old man, worn and wizzen - blind and wasting
away. And I have grown old in the passage. This is the vigil I keep.
Here in the abasement of our existance - our hopes and dreams. Here
in the battlements of this frail body, keeps the spirit of who we
were and are. That is the vigil I keep.
|
|
Mrs. Keiler reenters.
She is upset and wiping away her tears.
|
|
That is the vigil I kept
and keep.
Black out
|
|
Scene 6.
|
Matt’s bedroom. It
has a hospital bed in it, dim light and empty medicine bottles.
He is not in bed as the scene begins. Dean guides him on stage
from the bathroom, holding his hips and guiding his every step.
Matt is a walking skeleton.
|
|
DEAN
Careful, baby. Take each
step carefully. I don’t want you to fall again.
|
|
MATT
Bruises, bruises. I’m
all brusies now. Do you think another will matter?
|
|
DEAN
That’s not the point.
I can’t pick you up again. Last time you blacked out and I couldn’t
believe how heavy you were.
|
|
MATT
Getting lighter.
|
|
DEAN
Dead weight.
|
|
MATT
Literally. Are we near?
|
|
DEAN
(at the edge of the
bed) Here. Arrived. At the station. Sit carefully. Now let me
get your legs. Do you want to be propped up or lie flat?
|
|
MATT
Prop me up. Did I hear
someone come in?
|
|
DEAN
No one came in. Here,
take your meds.
|
|
MATT
Don’t want that shit
anymore. What’s the point! How much longer do you need to suffer
with me? We could solve this all right now you know.
|
|
DEAN
I don’t want to talk
abou that again. I’m not Dr. Kevorkian - and you’re going to live
way past Christmas.
|
|
MATT
Are we going to my Mom’s
for Thanksgiving?
|
|
DEAN
We’ll see.
|
|
MATT
No, no. I love Mom’s
on Turkey day. It’s so wonderful there. You know I love it. And
you love it too. And they’ll love to have us.
|
|
DEAN
That’s not the point,
Matt. How will I . . . How can you . . .
|
|
MATT
Shove me in a fucking
wheelbarrow and push me there. I mean, there’s not much left of
me that bones in a wheelbarrow couldn’t accommodate. Promise me
lover that we’ll go.
|
|
DEAN
We’ll see.
|
|
MATT
That’s not a promise.
That’s a "no" - especially when you say it that way.
|
|
DEAN
Wouldn’t it be better
if they all came here and spent it with us? Afterall, it’s the people
that count.
|
|
MATT
(cries) I’m not
going to make it to Thanksgiving am I? I’ll never see anyone again.
No eyes. No energy. No dreams when I sleep. I am a mess beyond all
belief. I feel bad for my parents when they get old like me and
suffer like me. If I’m not going to make it to Thanksgiving, I want
to die today, lover. I want you to go out and buy the biggest load
of medical shit possible and shove it down my throat so I can end
this nightmare. I still have 28 years to retirement - and now I’m
not going to have another Thanksgiving or feel another snowfall
or get fucked again. Let me go lover.
|
|
DEAN
(crying and hugging
him) You’ll live today. You’ll get to thanksgiving. You’ll feel
another snowfall. I promise. I’ll carry you myself over the threshold
of your Mom’s place, like newly-weds, before the eyes of God. I
promise you.
|
|
MATT
I knew you would. I knew
you would. I’m so tired.
Dean unprops him
and lies him flat. He strokes his hair and kisses his forehead
as Matt nods off to sleep.
|
|
Dean moves away from
the bed and falls on his knees in prayer.
|
|
Black out
|
|
Scene 7.
|
Thanksgiving Day
1997 at the Keiler’s House. We are in the living room. There’s
a big picture window at the back. There’s a couch center stage
and living room furniture set about. To one side we can see
the dining room set for Thanksgiving dinner.
Matt is on the couch,
staring blindly into space. He’s thin and wasted away. Dean
enters with Mr. & Mrs. Keiler, Leslie and Ginger and Mary
Keiler. They all go off into the dining room except Dean who
walks over to the couch.
|
|
MATT
(weakly) Is that
you baby?
|
|
DEAN
Yep. Who else would sneak
up on a blind man and kiss him.
(he leans over and
kisses him)
|
|
MATT
Well, it’s nice to be
home for Thanksgiving. All that food. I once could eat a horse,
if it was unsaddled and served with Bar-Be-Que. Where’s the appetite
now. I think our sense of smell is hungrier than our sense of reason.
I don’t have the appetite now, but that turkey and stuffing is driving
me crazy. Oh the aroma. You’ve brought to heaven, sweet boy.
|
|
DEAN
I did the stuffing.
|
|
MATT
I’ll dream of the taste.
Sausage and cornmeal and onions and seasonings. Brown and soft to
the palette. Oh how many Thanksgiving’s I’ve said, "pass the
stuffing", clumped it out and bolted it down like dog on a
bone. Now I’d kill for the appetite to have just one savory taste.
Dean sits next to
him on the couch and adjusts the pillows.
|
|
DEAN
Is that better?
|
|
MATT
As long as you’re near,
it’s better. I love the aroma of Ivory Soap.
He kisses Dean’s
hand and sniffs it lovingly.
|
|
DEAN
And I still love that
cocoanut shit you use.
|
|
MATT
Baby, I’m so glad my
parents love you. You’ll be a comfort to them when . . .
|
|
DEAN
. . . your Mom’s an angel
and a helluva cook.
|
|
MATT
Did she make the whole-berry
cranberry sauce?
|
|
DEAN
Yep. It’s amazing.
|
|
MATT
She let you lick the
spoon?
|
|
DEAN
Yep.
|
|
MATT
I loved to lick the spoon.
I can taste it. Mmmm.
|
|
DEAN
Well we’ll see just how
much you can have.
|
|
MATT
It’s a curse to embrace
the smells of life and not have the stomach for it. But then again,
there’s no divide when it comes to us.
Dean kisses him,
then strokes his hair. Matt pulls on Dean’s tie. Dean is wearing
the ugly purple tie
|
|
You’re wearing a tie?
It won’t take a blind man to guess which one. How can anyone look
at that thing and eat dinner.
|
|
DEAN
It’s from a special friend
- my little over-the-counter encounter.
|
|
MATT
I should have had it
gift-wrapped. You know they offer free gift-wrap.
|
|
DEAN
I know. But the cheap
bastard who bought it didn’t even remove the price.
|
|
MATT
You could have any tie
you wanted that night. Givenchy, Yves St Laurant. Any one.
|
|
DEAN
Yeah, I know. But I was
jealous of the bastard you bought it for. I suggested the ugliest
one I could find.
|
|
MATT
Jealous of yourself.
|
|
DEAN
I’m not jealous of myself
anymore. No one should envy me when . . .
|
|
MATT
We’ve had a good run
of it, Dean. We have had the best of all things and that we didn’t
wind up on a porch, on old rocking chairs, balancing our gay check-books
is just the price. So we didn’t have the good old Pink American
dream; we had much better than most.
|
|
DEAN
We did - and still do.
|
|
MATT
(yawns) Sorry
about that. I feel so drowsey and . . .
|
|
DEAN
Here let me prop you
up.
|
|
Enter Mary. She’s
carrying abowl of dip.
|
|
MARY
Dean, some dip?
|
|
DEAN
No thanks.
|
|
MARY
How is he? Sleeping?
|
|
MATT
Sis, is that you?
|
|
MARY
I’d offer you some dip
but . . .
|
|
MATT
No come here baby sister.
|
|
She does and he reaches
out for some dip. Dean guides his hand. He sticks his hands
in the bowl and puts some dip on his finger.
|
|
Onion, I hope. Not veggie
or crab shit. (sniffs) Onion. My favorite.
|
|
Matt licks his fingers
and mutters a sound of great satisfaction.
|
|
Maybe I’ll be able to
have some of that stuffing yet?
|
|
MARY
(suddenly) Shit.
Look, it’s snowing.
Through the picture
window we see the snow.
|
|
MATT
No shit. It’s too early
for snow.
|
|
Enter the rest of
the company. They gather around the couch.
|
|
DEAN
It’s snowing, Matt. It’s
snowing.
|
|
MATT
How can it be? You’re
making it up to cheer me.
|
|
MRS. KEILER
No, Matt - it’s true.
It wasn’t even in the forecast.
|
|
MATT
Really. Oh how I wish.
|
|
DEAN
It’s snowing Matt.
(pause)
It’s snowing, Matt and
just for you. I prayed to God and he’s granted me this one small
blessing. I prayed to God. I prayed.
|
|
Mrs. Keiler signals
for the others to withdraw.
|
|
MATT
Oh baby, I love you.
Snowing. It’s snowing. I can’t see it. I can’t see it. I want to
see it.
|
|
DEAN
Of how I wish you could.
I’ll tell you there’s the big flakes, just the kind you like. And
they’re sticking on Mrs. Bolkonsky’s roof, and on Ginger and Leslie’s
car.
|
|
MATT
Did they bring the BMW
or the Mercedes?
|
|
DEAN
The Mercedes. I think
it will pack nicely - and maybe I’ll make some snow angels.
(pause)
It’s really the most
beautiful snowfall I have ever seen.
|
|
MATT
Baby. I can see the most
beautiful snowfall I have ever seen. You know I can. I looked back
at my place. There were the big flakes, sticking to whole world.
It waw like in the movies; and I saw you. You, naked in the doorway,
and I said, I will live the rest of my life with that man. That
man will be my snow angel.
|
|
(weeping, Dean holds
Matt in his arms)
|
|
MATT
I remember, you wouldn’t
come out in it. You just stood by the door; and I was so happy.
So very, very happy. And I decided to give you a little serenade.
(singing very weakly)
"I wish I were in
the land of cotton,
Old times there are not
forgotten,
Look away, look away
. . .
Look away, look . . .
away"
Matt leaves us.
Dean rocks him back
and forth, then noticing that Matt is gone holds him tighter
and weeps unrelentingly.
|
|
Dean:
|
No! Matt! Baby! Matt,
don’t leave me! My love. My sweet little flower! Matt! Matt!
|
|
Mrs. Keiler enters.
She has a basting spoon in her hand. Mr. Keiler catches her
as she falls into his arms. Ginger, Leslie and Mary hold onto
one another.
|
|
Black out
|
|
Scene 8.
|
Washington DC - several
months later. It is the Names Project Quilt’s National display.
We are in front of the Washington Monument. It is a bright summer
day. On the stage are quilt panels. In the background the quilt
spreads out as far as the eye can see. There are people walking
the quilt.
|
|
VOICE
OF MRS. KEILER (FROM an OFFSTAGE PODIUM)
(miked) "Raymond
Adams, James Wise, Kevin Marsters, Buddy Havran, Rob Frobier, Sgt
Andy Andersen, Riccardo Sanchez, Rob Hackett, CD Smith, Steven Coates,
Nicolas Allesandro, Russell Hay and my son, Matthew Keiler.
(pause)
|
|
When my husband and I
were asked today to read a protion of the names, we were hesitant.
So many names, so many fallen - more fallen than all the wars we
have fought. And yet, our government ignores this devastation, because
they do not value the lives of our children. They think that because
our children live their lives as they are, and because the higher
ups do not approve of our children’s life-ways, their natural, normal
life-ways, it gives Washington a right to watch them die and not
even shed a tear or even to bring themselves to say the word AIDS.
They be embarassed by this crop of death because these angels like
the angels are different from the Kings who rule this land. But
I am embarassed by that rule - their shame in letting this happen.
Our fingers are sore from sewing their names on quilts.
|
|
I loved my son and love
him still. I am proud he lived his life as the man he was, living
with another man, the love of his life. Their love was good - still
is good. And because the dragons in the palaces of alabaster, who
would not know the subject of love - or who have forgotten that
this country was founded on the principles of freedom and good spirits,
our children die and posterity is suppose to forget them. So, I
am proud of my gay son - my brave, courageous son, who told me who
he was and let me share in that great gift. Mothers do not shun
your sons or deny that great gift. You never know how long you have
to revel in it. I will revel in the great joy of his life for as
long as I breathe. Thank you."
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Dean enters and walks
center stage. Matt’s panel is there. Leslie, Mary and Ginger
follow him. They stand over the quilt in reverence.
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DEAN
It came out good.
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GINGER
Very good.
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LESLIE
Very novel. I loved the
way you spelled his name out in his old ties.
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GINGER
Except for that last
tie there. I’ve seen that one before.
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MARY
It is a shocking purple
color, isn’t it?
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DEAN
It was a gift for a special
friend. We always kidded about it. He hated the color. You don’t
know how many times it went in the old clothes heep. It always got
retrieved. I always managed to hold onto it.
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MARY
The panel really came
out well, Dean. Matt would be proud of it.
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DEAN
But it’s a symbol of
shame, you know. My shame.
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LESLIE
How can you say that,
Dean dear? You cared for him with love and, I know I don’t think
I could have survived it.
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DEAN
No, I mean - I did everything
I could, but I did it in silence. If I had just been more vocal
about things . . .
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GINGER
He would still be gone,
hon.
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DEAN
I know. But I ask myself,
did I do enough. Was I too silent? You know what silence equals?
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LESLIE
Act Up! That’s the lunatic
fringe! You know they disrupted a Catholic mass!
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DEAN
Les, you’re not Catholic.
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LESLIE:
That doesn’t matter.
We need to be respectful of other people’s beliefs.
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DEAN
But to the point that
we can stand by and let people revel in our death -as a solution
to some misquoted biblical passage?
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GINGER
We know you must feel
anger, dear.
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DEAN
I’m madder than hell
that I had to sew this quilt panel for a fallen angel - my fallen
angel. And as for Act Up! They are doing something, while the rest
of us sit on our asses and sew!
(pause)
But it is a lovely quilt
panel. It’s a shame token, but also one of love. And I haven’t finished
it yet.
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LESLIE
What do you mean? I thought
. . .
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DEAN
Nope. My dears - there’s
one last act. Call me a drama queen, but one more thing to do.
He takes the two
wedding rings from his pocket.
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Our wedding rings.
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He produces a needle
and thread from the other pocket. Mr. & Mrs. Keiler enter
and approach.
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Now where to sew them.
Where? Oh, I know.
He squats down and
sews the rings onto the quilt.
Matt, dearest husband
- lover and closest friend, I am sewing these symbols of our eternal
bond onto that ugly, ugly purple tie, so all the world knows forever,
that Dean loves Matt. — that Dean loves Matt.
(stands)
(to the audience)
And that is the vigil I kept and keep.
Mrs.& Mr. Keiler
embrace him. The others surround him for support as they leave
the stage. There are other people walking the quilt coming to
panels and weeping. There are boxes of kleenix at all corners
and people hugging each other for support. The stage gradually
clears. Then a solitary stagehand comes out to start breaking
up the set. He puts down his tools and stops at Matt’s panel.
He begins to read and is overwhelmed. He grabs some tissue -
then collapses weeping.
Lights dim
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End of Play
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