by OPOVV, ©2015

(Nov. 2, 2015) — ACT I

The curtain rises on a dimly lit stage with one small spotlight shinning straight down, stage center, upon an American military service man, in dirty, grimy and ripped fatigues sitting upon a rock, with a few weapons and ammo cases lying around. At his feet is another solder, lying face-down. The music of Rachmaninov’s ‘The Isle of the Dead, Symphonic poem Op. 29’ is heard throughout the soldier’s colloquy.

Soldier: “Look, I ain’t going to beat around the bush. I’ll just tell it like it is and let it go at that; is that clearly and most emphatically understood? I don’t want to hear any of this ‘I know how you feel’ because you don’t know how I feel and, forgive me if I may sound a little rude, but, really now, this is between me and him and the Man Upstairs. Capice?

“It’s as simple as ‘If it weren’t me, then it had to be him;’ that’s all there is to it. Nothing more. Call it ‘visa-versa’ if that’ll float your boat.

“Care? About what? Go ahead, name something, anything. I dare you. No, no. It’s a matter of speech, because there’s nothing to be done, and don’t give me any pep-talk about ‘The Mission,’ or ‘The Cause,’ and especially any of the ‘He didn’t die in vain’ hogwash.

“I watched his back and he watched mine. We were surrounded and it just happened to be him that bought it and not me. But we won, or I did, because we came out of it, or, no, that’s not quite right. I came out of it; he didn’t. That’s all.

“Does it come down to ‘I did my job so he could do his, so he was left to save me’?  Probably, and some night, years in the future, I’ll wake up screaming and crying and looking for another clip; it’s got to be around here somewhere; my buddy’s hit and I got to take time out from this insanity to save him. I tell you I can save him if I had the time. Under the pillow? I need that clip. Crying. Tears of frustration because they won’t stop shooting at us.

“But I didn’t have the time. They wouldn’t give me the time and I couldn’t take the time. And here he is, lying dead at my feet. I just don’t want to think about it or talk about it anymore. Maybe never.

“Oh, sure, he’ll have a coffin draped with Old Glory and I’ll hear “Taps” played over his final resting place, because he sure as all get-out wouldn’t want to end up here.”

As the soldier’s colloquy and Rachmaninov’s music end, a dim spotlights shines as another soldier, in a Class ‘A’ uniform, steps onto stage left rear, walks three paces; stops; executes a Right-Face and plays Taps as the first soldier, sitting on the rock next to and behind his fallen comrade, breaks down and cries.

Curtain is lowered as the last notes of Taps is played.

End of ACT I.


Curtain rises to the music of Chopin’s ‘Piano Sonata No. 2 in B Flat Minor, Op.35.’ A movie screen is at the back of the stage while a slide show of American Veteran cemeteries is shown, row upon row of crosses. Each cemetery is clearly marked as to its location and the number of buried Veterans.

As the music ends the curtain is lowered.

End of ACT II


Curtain rises as Grieg’s ‘In the Hall of the Mountain King’ is played. The screen now shows the results of all of the horrible decisions that have happened to the United States since Obama took office on January 20, 2009, including Obamacare, murders by illegal immigrants, Islamic terrorist training camps scattered throughout the USA, culminating on the headlines of the day. As the music progresses faster and faster, the images appear faster and faster also: the message is obvious: Obama is systematically destroying every aspect of American life, from same-sex marriage to accepting Socialism and Sharia Law as a foregone conclusion; abolishing the US Constitution; and turning a once-effective military to nothing more than a bunch of ineffective, laughingstock Keystone Cops.

At the end of the music the soldier that we saw in the first act appears from stage right. A lone spotlight follows his path to front-stage center. As he starts to address the audience, Greig’s ‘Lyric Pieces, Op. 54 No. 4: Nocturne’ is played.

Soldier: “They say that 22 Veterans commit suicide daily, but we all know the number is higher. Even if it weren’t higher, even if we were so naive to trust this Administration and this Veterans’ Administration under Obama, the usurper, that number is way, way much too low for any statistical model to buy into.

“So something else is going on, something so dangerous that brave men are killing themselves over it. Is it the American culture’s way of imitating the Buddhist Monks of Southeast Asia immolating themselves to draw attention to the hypocrisy and the corruption in Diem’s South Vietnamese government?

“I don’t know. Maybe it’s part of the answer, but this I do know: America is being destroyed before our very eyes every night on the news for all to see. Lois Lerner is not going to be prosecuted by the DOJ, and there’s nobody left to go after the DOJ because the Joint Chiefs of Staff have become nothing more than water-boys for the White House.

“Hillary Clinton isn’t in jail for the four dead in Benghazi and the taking-over of Libya so her pockets could be lined with petrol dollars. Now look at Libya: a terrorist training camp, the whole country.

“Our Veterans are committing suicide because the alternative may bring dishonor upon their loved ones, and if you can’t figure out what the alternative is, then you’re part of the problem: supporters of Obama and Islam; Hillary and Socialism; the Federal Reserve and the IRS; stupidity, gullibility and ignorance all rolled into one and you’ve got the answer. Our government has become the spitting image of the corruption of South Vietnam’s government of the 1960-70’s.

“And the moral of this play? It would behoove us to listen to what our Veterans are saying to us from the grave.”

As the music ends, the soldier exits stage left — followed by the spotlight, which extinguishes — at which time news footage of the Ft. Hood massacre; Chattanooga Military Recruitment Center shooting; whenever a Muslim killed an American soldier in America or on a military base overseas is shown on the screen to the music of Grieg’s ‘Holberg Suite, Op. 40: Air.’

As the music ends the curtain lowers.


Semper Fi