Blackouts

The film becomes a montage: Sal does sex work and lies to Norwood that he regularly tests for STIs. Sal’s clients are all white. They frequently ask about his “ambiguous” ethnicity, and Sal always agrees to whatever ethnicity they guess. Both parties recognize this playful exchange as a “game.”

Sal tells Norwood his true origins. Then, the film flashbacks to him telling Norwood about “the girls,” who encourage him to ignore the boys who frequently beat him. Sal has an unpleasant sexual encounter with one of the girls, despite knowing he is gay, and blames his inability to get an erection on marijuana.

Juan interjects to ask if these characters ever “get out” of their small town.

In a bar where he often solicits for sex work, Sal confesses to Norwood that he wished the girls would protect him, and that he resented their failure to do so. The atmosphere of the bar is quiet, the place frequented by older clientele. Norwood echoes Juan’s question, about people “getting out” of their town.

Juan calls this parallel “cute,” insisting he doesn’t mind “being teased,” then criticizes Nene for rushing his story. Nene describes the skipped middle of the film: In it, Sal and Norwood continue their relationship, though Norwood keeps it secret. Juan allows Nene to return to the bar scene.

At the bar, an irate Sal asks Norwood where the girls would go if they left their town. Another bar patron flirts with Sal, then criticizes the bartender for permitting an underage boy. The bartender insists Sal is “all right.”

Nene explains he neglected to include a sexual liaison between Sal and the bartender in the earlier montage. It is unclear if Sal enjoyed the experience.

Norwood chastises the bar patron criticizing Sal. Sal fondly recalls the “caterpillar” eyebrows of “his” girls, unusual in a time when tweezing was in fashion. He grows resentful that his stories are being used as entertainment, but continues, speaking of the girls’ mothers, who knew he was queer but treated him the same as any of their daughters’ boyfriends. He monologues about these poor, single mothers, ruminating on the financial calculations done by their children. According to Sal, these women would go on dates, their sexuality “looming” over their children.

Juan asks for insight into Sal’s mental state, and Nene reports he is embarrassed but understanding.

Norwood suggests “something happened” to Sal and orders drinks for everyone in the bar. The view cuts to the street outside before returning to the bar and a conflicted Sal, uncertain how to convey his story.

In an in-film flashback, one of the girls tells Sal that he projects an aura of victimization. He confesses to having sex with men for money.

Nene remembers another scene that he intended to include earlier, wherein Sal goes to a clinic and learns he has an STI. He narrates a scene in which Sal makes jokes to cover up his fear of Norwood’s reaction.

In the bar, Sal thinks of his desire to be protected and seen as beautiful. The film ends as he and Norwood leave the bar and return to Norwood’s house, where Sal puts on a diaper, per Norwood’s earlier request.

Nene confirms Sal’s action was “for him.”

A poster from the New York City Department of Health shows a trash can. Superimposed over the image is “Starve a rat today” (180).

Juan asks about the film’s title. Nene explains the Department of Health slogan (“STARVE A RAT”), citing how Sal’s father used it as a metaphor for someone “[talking] a lot of trash […attracting] a lot of rats” (181)—which prompted Sal to keep secrets.

A heavily redacted page from Sex Variants with the header “HOMOSEXUAL CASES” shows the “resumé” of one study participant, who is described as “decidedly Homosexual.” There is also the “General impression” of a participant named Dennis C.