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.
This scene takes place the day after Seth and Jonas arrive home on leave. Jonas and Tyson first met the day of that arrival, covered in another scene available online here under the title
Arriving Home Early
The next day, Tyson invites Jonas over to his place for a visit and some flirting, one thing leads to another and the two tumble into bed together. The following scene takes place in the aftermath of the two of them having sex.
“Person could do all kinds of things in a closet this big.”
JONAS and TYSON in bed, after.
JONAS
Thank you.
TYSON
You’re… welcome?
JONAS
I never —
TYSON
I figured.
JONAS
Yeah?
TYSON
You were just fine once you slowed down. No worries.
JONAS
Oh.
TYSON
After all, I’m not going anywhere. Today, anyway. We have the luxury of time.
JONAS
Right.
TYSON
It’s not a race.
JONAS
You ready to go again?
TYSON
You are adorable.
JONAS
Will you write me?
TYSON
No.
JONAS
No?
TYSON
I can’t really write you.
JONAS
You could pretend.
TYSON
Like Nick and Seth. No thank you.
JONAS
Not even for me?
TYSON
I’ve known you all of 48 hours.
JONAS
But the last few hours have been especially nice.
TYSON
That they have. No argument.
JONAS
It’d be good. To hear from you. To think about you.
TYSON
I don’t do closets. Not anymore, skippy.
JONAS
Not even this closet?
TYSON
Where are you going?
JONAS
This looks like a very spacious closet.
TYSON
Don’t be silly. Come back to bed.
JONAS
Person could do all kinds of things in a closet this big.
TYSON
Jonas.
JONAS
I think you should check it out.
TYSON
Don’t make me say, “Come out of the closet.”
JONAS
I think you just did.
TYSON
Get back on top of me, Marine.
JONAS
I think you’re gonna have to come get me. Here in the closet.
TYSON
If I say “Suck my dick,” will you take that literally, too?
JONAS
I can’t hear you, I’m in the closet.
TYSON
You’re making me come get you? You’re going to be sorry.
JONAS
We’ll see.
TYSON
Come. Back. To. Bed.
JONAS
Wasn’t so bad, was it?
TYSON
Get to work, Marine.
JONAS
Sir… yes… sir…
JONAS and TYSON start having sex again as emphasis shifts to —
(photo: (left to right) Derek Ewing as Tyson and James Doyle as Jonas in the 2011 Minneapolis production of “Leave” by Urban Samurai Productions; photography by Ron Ravensborg; scenic design by Erica Zaffarano)
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