THE SET-UP
Seth is a young Marine serving during wartime. Nicholas is his civilian longtime companion who waits back home. In addition to the strain on their relationship caused by distance and absence, they must hide their love for one another behind code words and secret identities because of the “don’t ask, don’t tell” policy barring gays and lesbians from serving openly in the United States military.
Seth’s mother Anne assists them by providing the cover of a woman’s handwriting for Nicholas’ daily letters, but Nicholas and Seth’s resolve is starting to weaken.
Jonas, another young gay Marine in Seth’s unit just coming to terms with his identity, forms an intense bond with Seth overseas.
Tyson, a former Army soldier who got fed up with “don’t ask, don’t tell” and didn’t reenlist, now works alongside Nicholas, providing temptation as well as a reality check.
When Seth returns home for an unexpected leave, with Jonas at his side, and post-traumatic stress following him from the battlefield, old relationships are tested, and new ones bloom. Seth is staying at his home with Nicholas, leaving Jonas to bunk down with Seth’s parents. This scene is the first time Jonas and Anne, Seth’s mother, have been alone together.
“Don’t worry, I changed the sheets. It’s not a museum.”
Emphasis shifts to —
JONAS, emerging from another part of the dark with a duffel, accompanied by ANNE.
Seth’s boyhood room.
JONAS
Thanks for putting me up, Mrs. Lundy.
ANNE
There’s no sense sending you to a hotel in a strange town, and letting a perfectly good bedroom go to waste.
JONAS
So this is Seth’s room?
ANNE
Used to be. I like to pretend some things haven’t changed.
The things that must have happened in this room over the years.
Don’t worry, I changed the sheets. It’s not a museum.
JONAS begins to unpack his duffle as they continue to speak.
ANNE assists him by starting to put things away.
JONAS is just a little surprised. He hasn’t had a mother in a while. He allows it.
It doesn’t go unnoticed by ANNE, even though they don’t talk about it.
JONAS
So, Seth’s not going to stay here at all?
ANNE
I don’t think so. He has another home now.
JONAS
I’m sorry.
ANNE
That’s what boys do. They grow up into men, and they leave. Start a life of their own. At least he started his nearby.
JONAS
But it’s not the same as having him home.
ANNE
No. It’s not. He might as well still be 7,000 miles away, for all I can do to reach him right now.
JONAS
But at least Seth is home, right? Even if he’s not “home” home. Even if it’s only on leave. At least he’s, you know, home.
ANNE
You’re right. He’s here. And not there. He’s safe. For the moment.
JONAS
Yeah.
ANNE
I’ll see him every day. He’s very good about that.
JONAS
Right. He said, you know, because I was here, I’d see him. Some.
ANNE
And why are you hanging out here with all of us instead of heading home yourself?
JONAS
My parents don’t really want me under their roof right now.
ANNE
I find that hard to believe.
JONAS
We’re in touch, of course. I’m just not the son they wanted.
ANNE
What more could they want?
JONAS
For me to like women, for a start.
ANNE
Oh.
JONAS
I’ve thought about it. Calling them. My parents.
ANNE
Just thought about it?
JONAS
Yeah. They’re not much for the phone.
ANNE
Maybe they’re thinking about you, too. Wishing you would call.
JONAS
They can call.
ANNE
Not as easily as you can. Not if they don’t know where you are.
JONAS
They made it pretty clear that if things didn’t change, there wasn’t much to talk about.
ANNE
You should go see them.
JONAS
There’s so little time. I’d rather not waste it fighting.
ANNE
Well, you’re welcome here as long as you like.
JONAS
Thank you.
ANNE
Thank you. For looking after my boy.
JONAS
He does the same for me.
(pause)
What’s the blank shelf over there about? Stuff he took with him?
ANNE
It’s for a flag. A folded flag.
JONAS
Don’t you think that’s like jinxing him, expecting it like that?
ANNE
I’m thinking of it like taking an umbrella with you, so it doesn’t rain. I keep his letters there now. So it’s a reminder.
JONAS
Of him?
ANNE
A reminder that I can’t let up.
JONAS
We fight so you don’t have to.
ANNE
We all have to fight. Other mothers already have their flags. If I don’t want one of my own, if I want that space to stay empty, the war has to end, or he has to come home, or both.
(pause)
I’m sorry. You wanted a room to sleep in, not a lecture in politics.
JONAS
Doesn’t sound like politics to me.
ANNE
You’re about the only one who doesn’t think so.
JONAS
You’re just scared for your son.
Thanks again, Mrs. Lundy. For everything.
ANNE
I should let you get some sleep.
You need anything else, you let me know.
ANNE starts to leave, then turns again to JONAS.
ANNE (cont’d)
For the record, your parents are idiots.
Any family would be lucky to have you.
Sleep well, Jonas.
JONAS looks around Seth’s old room.
ANNE watches him a moment longer.
(photo: (left to right) James Doyle as Jonas and Tina Sigel as Anne in the 2011 Minneapolis production of “Leave” by Urban Samurai Productions; photography by Ron Ravensborg)
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