HOSTESS:

(also in her 50s, speaks with the enthusiasm of a salesman)

Ladies and gentlemen, what a magnificent turn-out. I can't tell you how gratified General Tibbets is by this show of support. As you can see, along with the general's book (holds up copy), we have a number of other items commemorating his historic flight, including this wonderful 100% cotton T-shirt,

(She holds shirt up to queue. The white T-shirt represents a grey mushroom cloud pierced by a glossy lightening-bolt, in silver, haloed by lines in bold red, "First Atomic Strike Force" and, at the top right teat, an airplane with "Enola Gay" written on it.)

available in extra-large sizes, these beautiful coffee mugs with an authentic scale replica of the Enola Gay; actual photographs of the general and his crew, taken the very day of his historic mission, as well as photographs of the mushroom cloud taken from the plane itself. And for you video lovers, this — Reflections on Hiroshima — a recent and exclusive interview given by the general to the dean of local newscasters, Tom Ryan. All of these fine items are reasonably priced. And they make excellent Christmas gifts.

The general hopes to speak to each of you personally. And to inscribe your copy — or copies — of his book. Unfortunately, legal considerations make it impossible for the general to autograph any materials other than those purchased here today.

The Channel 10 roving Cam-team with Gail Edwards is due to arrive in about two hours to conduct an in-depth interview with General Tibbets, scheduled to be broadcast this very evening. By prior agreement, we will have to stop when they arrive. So, to give everyone an opportunity to get their gifts and meet the general, we request that you keep the line moving . . .

(Members of queue now take books to TIBBETS. A man, HISTORIAN/MARK PERCY, in his early to middle 40s, enters. As he circles the queue, he puts a sign around his neck which he fastens with a lock. The sign reads: Mourn — in black — and under it — in red — Hiroshima was mass Murder.)

MACHO 1

(Bursting out angrily the moment he sees the sign, MACHO 1 starts forward and has to be restrained by others.)

Oh my god . . . No . . . Not here you don't —

(Man with sign takes up a stationary position roughly five feet behind TIBBETS, where he remains speechless, virtually expressionless, but staring at the queue members as their long, slow processional continues.)

HOST

(standing, from cashbox, money in hand)

Ladies and gentlemen, I'm sorry you have to be subjected to this spectacle. It's getting so that anymore you can't do anything patriotic without some psycho protesting. Well, let's beat him at his own game and go on with our business as if he weren't even here.

(He then goes over to HISTORIAN and mutters in a low voice.)

Listen, shit, you act up and I'll put you through that glass window over there . . . got me?

(The rest of the scene must be played by the members of the queue so that tensions arise and then subside only to create further tension. In effect, the different members of the queue observe one another, play to one another when expressing themselves as they try, through this process, to achieve a group identity. First among these — and with great urgency and rectitude — the YOUNG WOMAN holding her child tightly by the hand, almost dragging him with her, moves boldly to the HISTORIAN and speaks in self-righteous scorn, as if spitting in his face.)

YOUNG WOMAN
You people just disgust me. Why can't you mind your own business and leave other people alone? Nobody asked for your opinion.

(During this, the three MACHO MEN are mulling about, muttering, and "inciting" one another. The YOUNG WOMAN's action arrests their attention, primes their sexual thing, and begets their need to act, which they now do as they approach the HISTORIAN with taunts, gestures, and this predictable dialogue. Their lines are as much delivered to one another as to the man with sign.)

MACHO 1
What's your problem, jag-off? Bet you never even served your country?

MACHO 2
Chicken shit bastard! We'll be waiting for you outside. Then we'll see what kinda man you are . . .

MACHO 3
Yeah, when you don't have a sign to hide behind, you faggot.

(Chuckling together at this prospect, they withdraw to the side but remain hovering throughout the scene. While this is going on, a member of the queue, OLDER MAN, shakes TIBBETS' hand and speaks to him a remark clearly intended for all.)

OLDER MAN

(speaking lines obviously prepared, rehearsed)

General, I'm privileged to shake your hand. August 6 is the day I bless above all others.

(Here, the OLDER MAN starts to lose control and, overcome by emotion, he exits, shaking his finger at the HISTORIAN. The MACHOS have been getting restive, muttering and making threatening gestures. The OLDER WOMAN first goes over to them.)

OLDER WOMAN

(Now approaching HISTORIAN, she delivers her convictions to him in an almost "conciliatory" manner, as if she had considered his point of view, deliberated, and now presents a "truth" that once said has the power to change even his mind. She is heartfelt and earnest.)

When I heard the news . . . I'll never forget . . . I'd just gotten out of class. I left the campus immediately and went to St. Peter's Cathedral downtown and knelt all alone and thanked Almighty God that he had given it to us and not to them.

(shortly thereafter)

OLD SOLDIER

(calm, polite, formal, walks with cane and limp)

I think it's very inconsiderate of you to show such disrespect to the general. I was stationed in Okinawa in '45. Among those who'd have been sacrificed in the first wave of the invasion.

(change of tone: angry, proud, dismissive)

And who the hell are you to show disrespect for this man. I'll bet you weren't even alive then. Goddammit, I owe my life to the atomic bomb.

(TV NEWSWOMAN arrives, accompanied by CAMERAMAN. The queue now disperses by prearrangement. TIBBETS rises and turns toward the TV NEWSWOMAN. But in doing so, TIBBETS deliberately turns out and around so that he can stand and face the historian. The two look at each other — a long frozen tableau. The entire play — all of which in effect occurs inside the Head, the psyche, of the HISTORIAN — is contained in this moment and arises out of it. Then: In positioning for the interview, the CAMERAMAN includes the HISTORIAN in the shot while the HOST and HOSTESS somewhat humorously try to interpose themselves between him and the camera. The TV NEWSWOMAN now begins her newscast, introducing TIBBETS.)

TV NEWSWOMAN

(She becomes aware while talking that the man with the sign is in the shot. She must thus show nervousness, confusion etc., her set speech unraveling as she speaks it.)

Ladies and gentlemen, we are at the shopping mall in Westerville, Ohio, where General Paul Warfield Tibbets — a local resident who 44 years ago today won fame as the pilot of the plane which delivered the first atomic bomb — has been signing copies of his book, Flight of the Enola Gay, for a throng of admirers.

(Realizing that the HISTORIAN is included in the shot, and now flustered, she has no choice but to begin the interview as follows.)

General, do you consider yourself a mass murderer?

TIBBETS³

(laughing it off, with a chuckle)

No, of course not. What I did was I conducted an extremely successful military mission. That meant something in those days.

(All that follows is played, with pauses, as answers to unvoiced questions.)

No, as I said before, I was a reluctant hero. I did what I was supposed to do. Exactly . . . Yes, yes, of course I'd do it again . . . No, what is there to feel remorse for? . . . you didn't hear any objections then, did you? That stuff only comes from people who've had the luxury of 44 years to think about it . . .

(Lights dim on rest of stage as the interview proceeds, turning slowly into the long march of TIBBETS' reflections. As this scene develops, the suggestion must be given that we have imperceptibly shifted from the initial scene to a more relaxed, expansive setting in which TIBBETS can hold forth at length to a "reporter" who wants to record — as if for a feature article or documentary — all of his reflections. This is the space to which TIBBETS will return, in longing, whenever he speaks. The audience to which he then addresses himself — his fans, his imaginary public. If possible, a chair should be provided so that TIBBETS can sit back, becoming more relaxed and "reflective" as he gives the following account to an auditor, the TV NEWSWOMAN, who gradually withdraws, thereby becoming the audience to whom TIBBETS speaks directly from this point forth. No fourth wall stands between him and his audience. However, as the monologue develops — and this is crucial — the chair turns or is turned slowly so that at its end TIBBETS faces the HISTORIAN and is now in his space. At end of monologue, they should be facing one another, point blank, in bright light.)

Being only 29 when I heard about the assignment . . . there wasn't anything that was going to stop me. You might say I was the third leg of the stool that was used to support the Bomb. The first was Leslie Groves to physically build the thing; then Oppenheimer to develop it. The third leg of the stool was Tibbets. I was the necessary guy. Why, that bomb was so heavy, I had to figure out a way to be able to fly 3,500 miles round trip. There was only one way. I married the bomb to the plane.

(Shift in tone to the "aw shucks, I'm just a regular guy" Ron Reagan persona combined with Eisenhower's skill at being obscure "when it counts" by concocting a language of systematic vagueness, a language which doubles back upon itself, achieving the necessary obfuscation. In TIBBETS it is not canny, however, but resembles the process of a mind drawing a blank, a mind emptying itself, using language to introduce necessary gaps in awareness and a habitual deadening of perception.)

How would I like to be remembered? Oh, my goodness, I've been asked that question before and believe it or not, I don't have a good answer. I . . . uhh . . . I don't particularly want to be remembered. I mean, I'm going to be, I've got a place in history. So, why fight that problem.

(again, answering to unvoiced question from interviewer)

No, I don't look back. I don't know, somebody asked Shakespeare or somebody, the past is prologue, or something like that . . .

(Lights now dim on TIBBETS and spotlight fixes on HISTORIAN who has held his stationary position, as if listening to all of this with great concern.)

(brief BLACKOUT)

(Lights come up on TV NEWSWOMAN, who returns to the stage startled and upset to give the following news-story, which, as a transitional device, deliberately collapses both time and fantasy/reality.)

TV NEWSWOMAN
We interrupt the news tonight with this bizarre story . . . After a silence of precisely 3 days, 2 hours,and 47 minutes word was received today concerning the fate of Brigadier General Paul Warfield Tibbets, who was abducted last Sunday from a shopping mall in Westerville, Ohio, by an unidentified assailant, presumed a terrorist. A ransom note — with as authenticating evidence, General Tibbets' hearing aid — was received at the office of the publisher of Tibbets' book, Flight of the Enola Gay. The note contained a strange and unprecedented demand. I quote: "General Tibbets will be held until all copies and galleys of the book Flight of the Enola Gay are delivered to ____________."

(In the blank above, fill in the name and address of the theatre where the play is being performed.)

No further details are available at this time. Stay tuned.

(BLACKOUT)

(END OF SCENE)

ENDNOTES TO THE PLAY:

3. Most statements by Paul Tibbets are derived from The Tibbets Story by Clair Stebbins and Harry Franken. This work was later republished by Tibbets, listing himself as author, as Flight of the Enola Gay. (In 1999 Tibbets retitled the book Return of the Enola Gay and advertised it as a new work, with himself again credited as author.) Additional statements from Tibbets are provided from an interview Tibbets gave to The Columbus Dispatch (August 6, 1989) and to Darla L. Stimer of the Ohio State University student paper, The Lantern (May 18 and June 1, 1989). I also wish to thank Ms. Stimer for providing me with the tape of her two-hour interview with Tibbets.