No one's land Act1 (Prologue to scene 5)

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Status: Finished  |  Genre: Horror  |  House: Booksie Classic
In war there are 3 sides, the who succeeds in battle, the one who loses everything, and the one in the middle.

With even noticing, our fight might bring suffering to people were never meant to be involved.

Alice, is in that middle.

(Im still working on the tittle, I think it sounds good but im still thinking about it)

Submitted: July 14, 2015

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Submitted: July 14, 2015

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No One’s Land

By Luis Jose Aguilar Mc Quhae

 

 

Cast of 12 to 15.

 

 

 

 

 

 

 

 

 

 

 

Characters:

 

Alice: Words cannot describe Alice, since a fateful day in World War 2. She now lives in Florence, posing as a Novice at an orphanage, and she hopes that war will soon become a thing of the past. She embraces her new life with a façade, while having to deal with her demons that formed that day. The only thing that was left was a broken vessel, hoping to one day be free, but shackled by a world of war.

Arno: A soldier is the initial description that can suit Arno but there is much more to it. There is a loathing for the side that he fights for, but he cannot scape from the shackles that make him stay where he is now.

Vincenso: Alice’s father believed to be dead. For a year in a concentration camp the only thing that was left was a cynical man, who believed his family as dead. Now rescued, he wishes to believe, that at least one of them is a live, or at least to find peace.

Antonella: Alice’s mother. Deceased, but very alive inside Alice, but in the way that you would think.

Marco: Put into the care of the orphanage, after his father was made to go to war, he tries his best to cheer every moment his has with everyone. He has a brotherly relationship with Alice, and he cares when she needs help. He wonders how his father is, but knows that he is protecting hso country, in the eay he thinks is right.

Emilia: Mother superior of the orphanage, she is strict but wishes the best for everyone, in a way like a mother, but believes that those who join the convent, must have a resolve, with is why she pick on Alice, although she doesn’t know yet that Alice is just broken human.

Fernando: Priest that runs the church were Alice is staying. Initially a kind man, but behind that face, there is much more to be seen.

Sophia: A young adult that has been friend with Alice for a time. She helps the church fom time to time, wither by helping with helping people around, or going there and singing marvelous songs.

Newsman #1 and 2: Omniscient and omniprecent characters, they have a funny brotherly relationship and interact with the characters in the story. #1 is more charismatic, but clumsy in a way, believing that number one is the best, but this comes with certain flaws, that writer (meaning me) will give him. #2 is more objective, he wants to help the story and make #1 understand some things about the war, he hates seeing it around him, and sometimes he is powerless to help, for he is doesn not help, he is just an observer.

Rosa: Luxury follows Rosa, and believes that she saved Alice, so believes she owes her. She doesn’t care about the war, as long as it doesn’t affect her, but loves to see the after effects of it.

Francesco: Father of Marco. Enlisted as a soldier, he believs that if she fight with your heart for what you believe is right, then there is no sin.

Lt. Leone:  Lt. of the Italian fascist army. He wants to win this war, whatever it takes.

Agata: Nun that works in the orphanage. Knows Alice’s secret.

Teresa: Alice younger self. For Alice is herself deep inside, and is how she sees herself many times.

Extras: Nazis, soldiers, baker.

 

 

PROLOGUE:  Chains from the past.

Front stage, this is where most of the scene will be held. Mostly lights are dim on the front.  For some part, but the back cannot be seen. There is a desk on the back that can’t be seen with some chairs. When the scene turns into the part where she notices the dead bodies everything turns automatically on, on the back and front lights dim, also they can create a dark scene by playing with reddish lights, and as soon as lights go back on there is a bed on stage right that couldn’t be seen or maybe just a mattress

Scene: Blackout, There is ominous music on the background, then Teresa comes on stage, worried, she can barely be seen.

TERESA: Mamma? (Off stage, then enters and lights partially turn up on front stage) Mamma? Where are you? I don’t want to be alone anymore. Dad is gone. Marco is gone. Everyone is dead. Please, please don’t leave me alone, Mamma. Please.

Antonela enters worried about her daughter.

ANTONELA: Teresa? Why are you crying?

TERESA: Mamma!

ANTONELA: Hey, what’s with all this love suddenly?

TERESA: I (beat) I thought (beat) I though you (Beat) you were gone, you were not here. You had left me. You, you…

ANTONELA: What are you saying? I have always been here. (Hugs her) Now stop crying, I am here. Shhhh, everything is fine. As long as I’m here everything is going to be okay.

TERESA: But you’ll leave someday. I don’t want that. And this piercing pain on my chest, like if you had left me is still here. Is like (Beat) is like you are not actually here. Like this is all an illusion.  Like this all happened before. Yet you are here, and the feeling that you might leave once more is so overwhelming that the tears can’t stop coming out.

ANTONELA: I will always be with you. Even when you don’t see me. You are a strong and independent girl, just like me right? So stop crying, we don’t want to go your nonni all sad and depressed.

TERESA: Okay.

ANTONELA: Promise you won’t cry anymore? Promise?

TERESA: I promise.

ANTONELA: Then, we have to go to the store to get some food for the dinner. Are you ready to go?

TERESA: (Happy) Always.

ANOTIONELA: Then, andiamo. (Teresa nods and the leave stage)

(Enter the newsmen)

NEWSMAN#1: Did you hear that our great nation has been invaded?

NEWSMAN#2: Oh, I heard. Sicilia was completely taken over.

NEWSMAN#1: The allies have come to our land to wage war, to us.

NEWSMAN#2: If I may say, as consequence of us, I mean Italia, involving in a war made by a crazy man.

NEWSMAN#1: I wonder, what will our great Duce will do in this situation.

NEWSMAN#2: He can’t do anything.

NEWSMAN#1: What do you mean?

NEWSMAN#2: Did you even read what we are supposed to deliver, here? (Gives him a newspaper)

NEWSMAN#1: Italia is in danger, bla bla bla, Sicilia invaded, allied forces approaching, Mussolini arrested, Italia is going to on war, (Pause) Wait a minute, arrested?!

NEWSMAN#2: By the king himself.

NEWSMAN#1: Bellisimo, what could be better?

NEWSMAN#2: I wonder what Germany will do. After backed up by us for years, will they have the decency of protecting us against war, or will they just leave us here to rot?

NEWSMAN#1: I don’t think so. Italia e molto importante for them.

NEWSMAN#2: And why is that?

NEWMAN#1: Being honest, who was the one who started this war?

NEWSMAN#2: Well, the Nazis of course. Well, we were the ones who promoted this war by letting that bastard take the decision of joining them. But still, if that malfatto fligio di puttana would not have done what he did, we wouldn’t be in this mess.

NEWSMAN#1: Exactly. So you know what’s going to happen.

NEWSMAN#2: The allies will probably start advancing north and get to Germany. I bet the cowards will run back to their country, now that they finally know what fear is. Fear of losing the war, defeat, death, I don’t know, the fact is, the tables have turned.

NESMAN#1: So, now, when the Germans are finally being threatened, after years of waging war to Europe, after countless battles where they have come victorious, finally when they feel that there is a chance that they would lose, they cowardly retreat with the tails between their legs. And what happens to Italy? She becomes their first line of defense against the allies. It’s instrumental. They need us, so they can keep doing with whatever the fuck they do. They are probably going to try and rescue Mussolini.

NEWSMAN#2: Not an easy feat, with the king himself, and the allied forces working together

NEWSMAN#1: But not impossible, remember, Hitler loves Mussolini. Not in that way. He needs him to protect himself. So he is going to try to protect, Italy, in a sense, from the allies, while he also defends his country.

NEWSMAN#2: Not exactly actually protecting us from war. They are bringing it right here, in our land. (Shrugs) Better here, than there for them right. Cowards. And with the government being completely torn apart by the war, (Beat) Merda, why did that bastard had to go with this war. We could have minded our dam own business, Hitler waging war wherever he wanted, and that’s it. Everyone’s happy.

NEWSMAN#1: That would not change the fact that there is war, the people they kill, and the fact that he might have attacked us as well.

NEWSMAN#2: My point being that, we  could have not been in this dark times, if I may call them that, if il (with sarcasm) Duce, would not have decided to, let’s say, cooperate, collaborate, contribute, however the fuck you want to say it, to this conflict. Capisci?

NEWSMAN#1: You should be a poet, you sure are good with words.

NEWSMAN#2: Shut up idiota. And now with the government being torn apart by fascist and non-fascist, I’m sure there will be some who will side with Hitler and his allies, while other will go to the Allies.

NEWSMAN#1: Wait what? Allies, what are you talking about?

NEWSMAN#2: Let me put into terms that even you could understand. One group is called the allies, Britain, America and others, and then is Germany and his other allies named the axis. Do you finally understand this war that’s happening?

NEWSMAN#1: I already know that, im not an idiot if you didned noted, but you have to be specific with your play with words, little poet, or for the audience is going to get worse. (Turns around and looks at the other newsman)

NEWSMAN#2: (points at Newsman 1) Don’t.

NEWSMAN#1: I’m a poet and I didn’t even know I was one.  It’s so exiting, is this what you feel when you make rhyme, even when it’s not the time. (Laughs) Oh there goes another one.

NEWSMAN#2: (Hits him on the head)

NEWSMAN#1: Ow that hurts. Someone is jealous.

NEWSMAN#2: Look, not only will war be fought here, in two different ways. There are other problems.

NEWSMAN#1: With what?

NEWSMAN#2: Havent you heard the rumors. In Germany? About what they do to certain people.

NEWSMAN#1: I completely forgotten about. It doesn’t happen here, but it might soon. They started invading the north of Lombardia, and I’m pretty sure they have already reach Milano. Whats going to (Stops talking when Teresa enters)

TERESA: Mamma! Hurry, we need to get to father’s place.

ANTONELA: Aspeta. Don’t go running by yourself.

TERESA: We need to get there before it gets late.

ANTONELA: I know, I know.

TERESA: Will uncle Paolo be there?

ANTONELA: I’m sure he wouldn’t miss it. He loves making you the pasta that you love. But there is a long time before we come back, can you promise you won’t wander of like last time.

TERESA: Fine.

ANTONELA: I want to hear it from you.

TERESA: I promise.

ANTONELA: (Kisses her on the forehead) let’s go then.

NEWSMAN#1: Madonna Antonela, you are as beautiful as ever.

ANTONELA: Thank you, you are very kind.

NEWSMAN#2: This must be tua fligia. Teresa. How are you bambina?

ANTONELA: Come on answer him. He won’t bite. (No answer)

NEWSMAN#1: No problem, I bet questo vecchio porco will scare any person with his breath

NESMAN#2: Sta ‘sitto.

TERESA: I’m fine, grazie sei molto gentile.

NEWSMAN#2: What a lady, just like her mother.

ANOTONELA: And you a fine gentleman.

NEWSMAN#1: Gentioluomo? Hahaha, This man, questo buffo? (Laughs hysterically)

ANTONELA: Well I better head out now. Wait a moment. Sono I stupida? Teresa wait here I must get something that I left from the shop.

TERESA: Mamma, let me go with you.

ANOTONELA: Stay here, I will be right back. (She leaves)

NEWSMAN#1: So. Bambina, have you heard the rumors lately.

TERESA: What rumors?

NEWSMAN#2: That is a nice collar you have there.

TERESA: Its, it’s my Star of David.

NEWSMAN#1: How pretty. How innocent.

NEWSMAN#2: How Pure. How

NEWSMAN#1: But sadly

NEWSMAN#2: Everything must come to an end.

NEWSMAN#1: And at such an early age.

TERESA: What do you mean?

NEWSMAN#2: Havent you heard of the war?

NEWSMAN#1: Havent you heard of the murders at the countries above us?

NEWSMAN#1: Of the kidnappings.

NEWSMAN#2: Of those men, that come from the north.

NEWSMAN#1: The men who wear a red stripe on their arm.

NEWSMAN#2: With a tilted, black, cross.

TERESA: What do they do?

NEWSMAN#1: They look for some people.

NEWSMAN#2: They look for them everywhere

TERESA: Who?

NEWSMAN#2: They take them

NEWSMAN#1: Never to be seen again

TERESA: Why?

NEWSMAN#1: Why she asks

NEWSMAN#2: Who she asks

NEWSMAN#1: There is no reason for them

NEWSMAN#2: Except that people like you.

NEWSMAN#1: Who were this star on their chest.

NEWSMAN#2: Are their main target

NEWSMAN#1: They take them.

NEWSMAN#2: Of to camps where no one could be found.

NEWSMAN#1: And when they reach there.

NEWSMAN#2: They no longer have rights.

NEWSMAN#1: They strip them from everything.

NEWSMAN#2: From something as menial as clothes.

NEWSMAN#1: To even their humanity.

NEWSMAN#2: And at the end,

NEWSMAN#1: They kill them.

NEWSMAN#2: And children are said.

NEWSMAN#1: To not last very long.

TERESA: Why do they do that?

NEWSMAN#2: Because for them

NEWSMAN#1: You are not a person

NEWSMAN#2: Not a human

NEWSMAN#1: Nothing

NEWSMAN#2: You are nothing

NEWSMAN#1: Nothing at all.

NEWSMAN#2: Not even human.

(Teresa moves back as lights fade on stage right, and then we hear a man being hurt, as lights slowly turn on stage left)

NAZI#1: Holen Sie sie von hier , ich werde dem Kommandanten zu gehen. (Get them out of here, I will go to talk to the commander.

NAZI#2: Ja Kapitän.

MAN: (Comes out injured) Don’t you there hurt my family (Tries to hit Nazi#1)

NAZI#1: (Evades his hits and laughs) You know what? I tried to be patient, I really tried. (Shoots him) Tried to be nice (beat) with your kind, but it seems as always I have to resort for brute force. Why can’t it be nice and easy? Tell me.

MAN: It’s because of people like you, it’s always because of people like you.

NAZI#1: How so? But it doesn’t matter. What’s done is done. Now, to clean everything up.

TERESA: No stop! Please don’t hurt him.

NAZI#1: (They stare at her and then he chuckles and tells the others) Holen Sie ihn hier. (Get him out of here)

TERESA: Wait, where are you taking him?

NAZI#1: That’s not your problem is it? Don’t worry. You have other problems right now.

TERESA: What?

NAZI#1: What are you doing alone at this time of the hour?

TERESA: What?

NAZI#1: Where is your mother, or father? Why would they leave you alone here?

TERTESA: I separated from her. But. But why were you hurting him?

NAZI#1: There are some people that are, how can I say this, Untermensch (below human) that’s it, some people are not, people, that’s all.

TERESA: Who, who are these people?

NAZI#1: People like you. You are not, pure.

TERESA: What?

NAZI#1: You don’t belong here. Your kind. Your blood.

TERESA: My, kind? (2 and 3 come from off stage)

NAZI#1: Such beautiful hair.

NAZI#2: Such beautiful eyes.

NAZI#3: Such a beauty.

NAZI#1: And yet

NAZI#3: You are no one

NAZI#1: A nobody

NAZI#2: Your filthy blood

NAZI#1: From your mother

NAZI#3: Or father

NAZI#2: Or both.

NAZI#1: A whole family

NAZI#3: of you filthy rats.

NAZI#2: You might as well come with us to our camps now.

NAZI#1: Maybe youll see your mother there

NAZI#1: Maybe your whole family will be there

NAZI#2: Maybe not.

NAZI#3: But we will make sure, they will all be there.

NAZI#1: But we cant assure. You’ll be on the same pile.

NAZI#3: Just like garbage.

NAZI#2: Just what you deserve.

NAZI#1: After all, you are a soul unworthy of life. Lebensunwertes Leben

TERESA: Why are you saying all that?

NAZI#2: Maybe we should just take her now.

NAZI#1: She is just a little girl.

NAZI#3: They don’t survive that long.

NAZI#1: Come, get closer, it will all end soon.

(They start getting closer and closer and when they are about to touch her ANOTONELA comes on stage)

ANTONELA: There you are. (The NAZI get away from her) Thank you officer, for, uh, looking after her.

NAZI#2: Our pleasure, now Madonna, we’ll take our leave (They leave)

ANTONELA: Sei molto gentile. Teresa, I told you to stay put, why don’t you listen to me?

TERESA: Mom, I just saw them, it was, it was, they shot a man, and I just stood there, they were talking about taking us away I, I, I, I couldn’t do anything. (Blackout, gunshots, screams) Mom? Mamma? Mamma? Please don’t leave.

ANOTONELA: I will always be with you.

TERESA: Mom, where are you? (Gets up and wanders around until she steps on something) What is this? (Lights suddenly turn on revealing a room full of dead bodies) Uncle? (Screams) What is going on? Zio Antonio. Zia Viola. Why, why is this happening? (On the other side Antonela is standing injured)

ANOTONELA: Te..re…sa

TERESA: Mamma! (She tries to get to the other side she falls many times to the ground, stepping on the body)

ANTONELA: Tere... (Coughs)

TERESA: You are going to be fine. I’ll get you out of here.

ANTONELA: No…no

TERESA: I need to find a bandage. Something

ANTONELA: no…no...You have to run, you have to escape from here.

TERESA: I can’t let you go! I can’t. I’m not leaving, not again, not again (Cries)

ANTONELA: I’m already gone. (She dies)

TERESA: Mom? Mom! No no no no no no NO!. (Heavily breathing)

(Nazis start coming on stage)

NAZI#six: Girls don’t last that much

NAZI#4: Should we just get her right now

NAZI#1: How do you think we should do that?

NAZI#3: Why don’t we toy with her a little?

NAZI#5: We killed all the others

NAZI#2: No one can stop us.

NAZI#3: Come darling.

NAZI#1: It won’t last long.

NAZI#six: We will take our time though.

NAZI#5: And finally.

NAZI#2: We will put you to rest.

NAZI#1: Like with your mother,

NAZI#4: Brother

NAZI#3: Uncles

NAZI#1: But you

NAZI#six: You got lucky.

NAZI#2: You shouldn’t be here.

NAZI#5: You shouldn’t be alive

NAZI#4: You should be dead.

NAZI#3: (lights start to dim) Where are you?

NAZI#1: We will still find you. (Lights are out at this moment)

NAZI#six: You cannot escape from us.

NAZI#2: We are everywhere

NAZI#1: We will, find you.

TERESA: No (Shout)

(Silence. Everyone goes off stage)

ANTONELA: I will always be with you.

(Lights go back on and we see Alice sleeping and waking up panting and trying to get a breath, then off stage)

AUGUSTINE: Alicia, Alicia.

ALICE: Yes

AUGUSTINE: (comes on stage) Alicia, are you still asleep?

AUGUSTINE: No, not at all mother Augustine.

AUGUSTINE: You are late for breakfast, it’s already over.

ALICE: Catso.

AUGUSTINE: What was that?

ALICE: Nothing, nothing at all. Sorry. Rough night.

AUGUSTINE: Mother superior is making you go out to give the ornaments back to Claudio, check in the clinic for Janis and pick up the errands at Mr. Scaletta’s store as a result of your actions.

ALICE: Really? I don’t get it. It’s already punishment that I don’t get to eat. Mother superior really is charming woman isn’t she? Aren’t nuns supposed to be kind, and helpful, not a force that they make us fear?

AUGUSTINE: You want it to be worse?

ALICE: Nope, no, don’t worry. I’m fine. I will be up there in just a second.

AUGUSTINE: (Pause) And why you are at the request of the terror nun, you can use the extra money I put at the desk outside your room, so you buy yourself a little biscotti and a café. Ok?

ALICE: (stops what she is doing) Sure, it’s not like I have to do anything more while I’m at it.

AUGUSTINE: Just be back before lunch, capisci?

ALICE: Ah.

AUGUSTINE: So I’ll see you later, (Beat) Teresa. (Leaves)

(She stares over the door, and the walks front stage and looks at her hands but cannot stare at it for a longer period, so she goes back to her bed and takes the things she needs and leaves the room, scene ends)

 

 

 

 

 

(12 min 43 sec)

 

 

Act 1: Chains of war.

(After first scene Director will explain a little of the story behind the real World War 2 at this period of time, 1943 – 1945, explaining what happened with Mussolini in Italy and what period is the world going to enter as World War 2 comes to its conclusion. He can also explain some of the terms expressed by the Nazi in the prologue to clarify it a little more, but then when he is about to finish we hear some planes coming in and some shots, the director starts panicking and a soldier comes in to take him to safety because he is a civilian in the middle of a battlefield / this is an optional part for the scene)

Scene 1: Brothers

Francesco, Arno and other soldier’s march shooting in a battlefield, there is some fog and sound on the background, the other soldiers shoot constantly behind Francesco and Arno.

ARNO: Cover me! (He takes position on the ground to reload)

FRANCESCO: Another day like this. Another day fighting a senseless war and no side is closer to winning than the other. Just another day in a field.

ARNO: We are soldiers. We fight, that’s our mission.

FRANCESCO: (Incredulous) For what? Italia is divided, war is growing tighter everywhere, even the soviets have come in. I sometimes think I have joined the wrong side, or that joining, was useless, it has been 2 years since I came here, and (he looks at the battlefield) watch out! (Shoots at the enemy with Arno) Merda! They keep coming.

ARNO: War will not come soon to an end with that attitude. What do you expect, that if you throw your weapons the enemy will do the same, no they will just shoot right through your stronzo.

FRANCESCO: I know. But. It all seems (beat) useless. There is no point any more.

ARNO: Don’t you dare say that. When you chose a side, even if it is the wrong one, you stick to it to the very end. Once you chose there is no going back. That’s why you fight for it, if it is what you truly believe then there is no sin.  There is no middle, just which side you take at the end.

FRANCESCO: I guess you are right.

ARNO: Cheer up man. I bet that soon everything is going to be over. Instead you could stand here and die a meaningless death, or die with honor at the battlefield. (Pause) I’m not saying to just randomly throw your life away, do it for the things you love. If it is for the cause that you choose because it is the one you thought was right, for your son and your country, then stick to it. So, what do you chose?

FRANCESO: Your side, fratello mio.

ARNO: Itzieme.

(They grab each other’s arm in sign of respect to one another and ready to fight once more. They keep shooting, some soldiers die)

ARNO: Merda, they are flanking us.

FRANCESCO: Should we retreat from this spot before they get to us.

ARNO: Right, Good idea. Everyone, we are moving back. (They start moving when 2 soldiers from the other side start approaching) Catso, enemy at 3 o’clock. (The axis side kills one soldier but Arno and Francesco managed to kill the other two. Then Francesco looks over and sees a third soldier)

FRANCESCO: Move! (He gets shot on the shoulder and the last soldier kills the axis)

SOLDIER: Is everything fine down there.

ARNO: We got an injured. We are heading back now, they are getting closer to us. Help me here.

(They start moving but they hear shots getting closer)

ARNO: Catso, they are catching upon us. (Silence)

SOLDIER: What should we do?

FRANCESCO: Soldier, give me your remaining grenades and your rifle.

ARNO: What are you doing?

FRANCESCO: (Throws a grenade) I’m distracting them! Get the fuck away from here.

ARNO: What are you saying, you are injured. You won’t survive against them.

FRANCESCO: I know. I know. I am only a useless person who at the end can only become a decoy. Make it easy for me. I want to do something, for once. For the cause I chose, for the things I love.

ARNO: Do you think I am the kind of person who will let his friend, injured friend die in front of him.

FRANCESCO: You are right. (Shoots him on the shoulder or leg)

ARNO: Agh! Che catso?!

FRANCESCO: Soldier!

SOLDIER: Yes?

FRANCESCO: This is a request. Take him back to the base so he can be treated and signal the alarm.

SOLDIER: (With respect) Yes sir! (Starts carrying him away)

ARNO: No wait! Your son is waiting for you! You can’t just die here. (breathless) You can’t make me leave you! Let me go soldier, is an order! (He leaves) Francesco!

FRANCESCO: If you ever see my son take care of him. (Almost a whisper) (Pause) Marco. Sorry. (Rushes to the other side of the battlefield shouting, throwing grenades and shooting until lights fade out, end scene)

 

 

 

 

Scene 2: Withering rose.

Town scene. There is a bench in the middle. Alice come out from stage left along with the baker.

ALICE: Thank you Mr. Scaletta, sorry for coming so late today to pick it up.

BAKER: No worries, everything for the house of mother Emilia. Although she is the one who usually comes to pick it up. How is she doing this days?

ALICE: I must be honest, Grumpy as always.

BAKER: Was she the one that make you come here?

ALICE: In a way yes.

BAKER: What did you do?

ALICE: For her, not waking up at the time that she wants us to wake up is a sin worse than killing, in a way, that can make you suffer from hunger.

BAKER: (Laughs) That’s her alright.

ALICE: In this times with many people getting injured, sick and many orphans from war that we have to take care of, these things don’t do very well in the health of all the nuns at that place. Is not that I don’t want to help, is just. . .  they get to rough on everyone else sometimes. Especially with me being the youngest. Sometimes I want to leave that home.

BAKER: At least, she is giving you exactly that. Did you know there was a time she was the most kind and beautiful woman in Firenze.

ALICE: Sure I believe that.

BAKER: Seriously, at that time she wasn’t known as Emilia the dreadful nun, she was known as, La bella della signora. (Laughs)I know the name sounds weird, but right here, in the piazza della signora, Agata used to charm men from every town.

ALICE: So, she was courtesan.

BAKER: In a way, yes. But she gave up such ways and gave her love for the church and God. (He starts turning around)

ALICE: What’s the matter? Don’t tell me you were one of the people she courted.

BAKER: (Gulps) As a matter of fact I was, she was also the lady that make me stay here. Best choice of my life actually.

ALICE: Really?

BAKER: Even if I didn’t get her, I met my beautiful wife and have a wonderful life in this beautiful city.

ALICE: But you still wish to, you know, go together to do. . . things.

BAKER: Anyway, my point is, try looking through her wrinkles and see her beauty a little bit.

ALICE: I’ll try. Well I will see you later Mr. Scaletta, sei molto gentile.

BAKER: Always Madonna. 

(Alice leaves and Baker leaves stage left)

ALICE: now head back. (Bells start sounding on the distance, Newsmen start setting up to sell newspaper, and Alice approaches them) Excuse me sir.

NEWSMAN#1: Yes donna.

ALICE: Do you know what time is it.

NEWSMAN#1: Time. Hey, you (Hits him with the newspaper)

NEWSMAN#2: What was that for?

NEWSMAN#1: This lady right here is asking you for the time.

NEWSMAN#2: (He cleans himself) Oh, how rude of me. I think it should be around 11 o’clock. Do you need some help?

NEWSMAN#1: (Pushes him back) thank you, but nobody ask you. Sorry about that. It is 11 madonna. Is there anything I can do to help? But perhaps you can help me by hearing this poem I wrote for beautiful women like yourself.

ALICE: Thanks, you are very kind. But as you see, I am a nun apprentice.

NEWSMAN#1: Oh, my. Sorry, I ask forgiveness to you, and, and God of course, and, (clasps hand together) and.

ALICE: There is nothing to apologize for, I must be going now. It was a pleasure.

NEWSMAN#1: The pleasure was mine.

NEWSMAN#2: Hey, Marco hurry up with those boxes.

MARCO: Coming!

ALICE: Marco?

(Enter Marco)

ALICE: Marco is that you?

MARCO: Alice! (Drops the box on a Newsman feet)

ALICE: What are you doing here?

MARCO: I heard that news from the battlefield were coming and I just rushed here.

ALICE: How did you get past without getting noticed?

MARCO: Did you know that there is a cellar beneath the kitchen that leads directly to the outside of the church?

ALICE: Really? Maybe I should tell mother Agata to look into that

MARCO: You wouldn’t.

ALICE: On no I will, and you know how angry can those women become. The rage of a nun can be, equal to that of God sometimes. And I will tell her if you don’t promise me to tell me every time you hear news so I can come with you, capisci?

MARCO: (incredulous) You scared the shit out of me just to make a promise?

ALICE: Semantics, basically. Sometimes you have to show fear in order to teach.

MARCO: Then you are no different than them.

ALICE: Do you think they will have use the spare money to buy a biscotti for you?

MARCO: Wait what?

ALICE: Although, I could just eat it myself.

MARCO: No don’t. (Reaches out)

ALICE: How about we sit down and eat it, we have time before lunch.

MARCO: Sure! See ya mister!

NEWSMAN#2: Ciao Marco! Thanks for helping us!

ALICE: And why were you helping them in the first place.

MARCO: I saw they were going to hand out the news, so I figure I could lend a hand.

(The move stage left and sit down on a bench)

NEWSMAN#2: You really are charm with women, aren’t you?

NEWSMAN#1: Alicia sure has grown. Maybe I should go, and try to convince her, that, um, that love with another human, maybe, maybe, is not is better than God, but, maybe I can bring her to this side.

NEWSMAN#2: The side of whoring.

NEWSMAN#1: (Raises hands in protest) I don’t want her to do those kinds of things, of course. I just, I just.

NEWSMAN#2: Just with you right?

NEWSMAN#1: Yeah exactly, just with me. That way she wouldn’t be making any sin, right?

NEWSMAN#2: Then basically you want to take one of the future servants of the lord, to be basically yours, in the sense that she would get laid with you every night. Basically a sex slave. And I know you don’t mean it that way, but that is basically what you want. So you will be making her fall into temptation of your charms, (Pause) well, not your looking, maybe your sweet talking, but the point is that in the process of courting this, young lady, you might receive the wrath of God. And let’s not forget your darling wife Dora who is sometimes a greater demon than the guy below and above together. And let’s not forget, that girl might as well be young, and you might be considered a pedophile, with means receiving the wrath of the whole city. Seems to me that you are looking for punishment, I mean, God, your wife and the city all against you? (Laughs)

NEWSMAN#1: Oh my, what a dilemma.

NEWSMAN#2: Let’s just sell the newspaper before someone else hears of you evil deeds.

NEWSMAN#1: Is it trying to be happy evil?

NEWSMAN#2: (Slowly, and with emphasis) One man’s satisfaction, could mean the whole world’s destruction.

NEWSMAN#1: I, I cannot refute that argument. Let’s just do this shall we.

NEWSMAN#2: Ascoltate, ascoltate popolo di Firenze!

NEWSMAN#1: Roma has been taken by the allied forces.

NEWSMAN#2: What will this mean for Italia?

NEWSMAN#1: For the Nazis?

NEWSMAN#2: And to the war.

NEWSMAN#1: Come here and take a look at the news of our country.

(Enter Rosa. She takes one of the paper and starts walking away)

NEWSMAN#2: Excuse me Madonna, but I noticed that you took one of our newspaper.

ROSA: You are correct in that.

NEWSMAN#1: But you see, we have to sell them, meaning you have to buy them, meaning that what you are doing is stealing. (Clasps hands together)

ROSA: (Places her hands on Newsman#1’s chest) You know something, steal is such a bad word. For example. (She starts getting closer to the newsman) One day a man might meet a young woman and start courting her. She might feel that her heart was stolen by the man her life. But then, one day, poof, he just runs away never to return. Stripping that woman from everything. And sometimes, that woman might retaliate, (Her hand grips his color tightly) stealing something from that man.

NEWSMAN#1: (gulp) and what will that be?

ROSA: What is the thing that you can take from a man and can never be returned?

NEWSMAN#1: His heart? His house? His, his little stick?

ROSA: That’s actually not a bad idea. I might use it later.

NEWSMAN#1: Later?

ROSA: But I was referring to his life. So I believe that a piece of paper is more valuable than your life and your little part. So, I’ll be on my way. I had such a bad day, so I’m trying to be nice. (She moves stage right)

NEWSMAN#2: Fratello mio, you are looking for some bad punishment.

NEWSMAN#1: I think she is scarier than the city, my wife and God together.

NEWSMAN#2: Let’s just leave for today.

NEWSMAN#1: Sounds good.

NEWSMAN#2: I feel bad for the people that have to deal with her.

(Newsmen leave, Rosa walks reading the newspaper)

ROSA: The allies take Roma after a year of struggle. The German forces start retreating to the north and sending forces to protect what they call now the gothic line. Seems to me the Germans got out of ideas. This war will be over soon. (She sees Alice) Well, well, what do we have here?

ALICIA: Rosa?

ROSA: Tere, oh sorry, you go by Alicia now. How is life treating you? And who is this young lad?

MARCO: Alicia?

ALICIA: Go back to la casa Marco. I’ll catch up with you.

MARCO; But

ALICIA: No buts, just go.

(Marco runs off stage)

ROSA: Marco? He has the name of your brother.

ALICIA: What do you want Rosa.

ROSA: Me, nothing. Can’t I just see the little girl I saved (tries to touch her cheek)

ALICIA: You did not save anyone you bitch.

ROSA: Oh getting cocky. How old are you now? 16? 17? I wonder if I paid a visit to that church that you live in. Maybe I should explain to them who you really are. But then I remember, that priest knows exactly who you are, but do the other nuns?

ALICIA: What are you saying?

ROSA: You owe me. Are you forgetting Te-re-sa?

ALICIA: I owe you nothing.

ROSA: Really, who saved your life back there?

ALICIA: You did not save me. You just threw as garbage in here.

ROSA: Garbage that I can recycle.  Sadly if you hide in that church I can’t do anything to you, but here. Here is another matter.

ALICIA: What are you going to do? Tell the authorities? Tell the Nazis? Well you will be in the same spot as me for helping a Jew right. If you want me to repay any debt, then take this and leave.

ROSA: But I don’t want your money. I need, you.

ALICIA: What?

ROSA: Oh don’t look at me like that, it’s only fair. Those people would have taken you. You don’t have anyone. Your brother, is gone, your, uncle, everyone. Well exept you mother. (Alicia starts hyoerventilating, Rosa laughts) Now that’s the face I love to see. She still haunts you even to this day. Whenever I mention her, you see her, and the blood that once belonged to her. And no one to protect you now. They are all gone.

ALICIA: Stop.

ROSA: What? Is the truth. You are all alone, your big brother who even at the very end looked for your safety is gone. You can’t trust anyone, not even the nuns. No one. They all died for you, and for what, you? (She laughts) Im sorry, Im sorry. Its just amusing. Just hoiw many people have to die for a single one.

ALICE: Stop talking about my family or I will.

ROSA: You don’t threaten me you bitch! You owe me your life, and I can as sure as take it away! (Pause she looks at the sides) Anyway. I have business to attend, so I will leave. I will stop by, soon. And you better be there. Ciao.

ALICE: The reason the world is like this, is because of people like her. This world, is wrong!

ANTONELA: Teresa (Off stage)

ALICE: Somebody (She kneels down) Save me…

(End scene)

Scene 3: War

(It’s a room with a table on the middle where a body is on. Charles and the commander try pushing the door and they managed to open it entering to investigate)

CHARLES: (Pants) Hello? Is anyone here? (Coughs) What is that smell?

COMMANDER: What did you find?

CHARLES: I can’t see anything.

COMMANDER: There must be a switch somewhere. Take this and look for a switch.

CHARLES: Aye. (Starts searching) Why was this storage closed like this?

COMMANDER: There must be something important for them here. Something to hide I guess.

CHARLES: (coughs) Where is that smell coming from? It’s like, rotten flesh.  (He gets to the other side of the stage) What is this?

COMANDER: I found the breaker.

CHARLES: Great. I think I found something over here.

COMMANDER: Heads up. (Turns on the lights on stage to reveal a room with two bodies on it)

CHARLES: What the?! (Gets back on stage falling to the ground, starts coughing almost pucking)

COMMANDER: Soldier, what did you find?  What’s there? (Suddenly we hear something falling and a hand can be seen coming from stage) Shit.

CHARLES: What the fuck?! (Coughs letting out puke)

COMMANDER: Take it easy, deep breaths. What did you see?

CHARLES: That. There is a…  a pile of, I, I don’t what to call it, it’s just, blood and flesh all over it, people just thrown on top of another, skinned bodies, gigantic pool of blood at the bottom, arms and legs minced, it’s a pile of fucking people that goes to the ceiling.  

COMMANDER: God. And this is not the only storage, there are some others next to this.

CHARLES: Just thinking about that makes me sick. (Coughs)

COMMANDER: Calm down soldier, this is what we are up against, those (pause) people. Damn it, is just sickening to think that they are human just like us and doing this. (Pause) I’m going to go outside and tell what we found, and (beat) what to expect from the other sheds.

CHARLES: Aye, just let me get a hold of myself.

COMMANDER: I’ll be back. (He leaves)

CHARLES: Jesus Christ. How can people do this? Those, I I I I don’t know what to call them. What makes them do this? Is this what we are fighting against? But what are we actually fighting? It sickening. Could I, could I have been on either place if I was born somewhere else. I am not giving them a right, but, it’s just, it’s just a scary thought. Where you are born, can determine who you are. I gotta pull myself together, that imagine just impacted me, that’s all, have to breath in, focus. (Breathes in and out, gets up and looks at the body on the table). This guy was tortured, seems to death. He was stabbed multiple times and then a gunshot finished the job. I can’t believe what people can do to a person, he sees to have old cuts, just for how long has this man been tortured? (He moves to the second body) This one seems more alive in a way. He doesn’t have any stab wounds, just bruises, but they seem, recent somehow. He has a cut on his neck, seems a little deep. I wonder if that was what killed him. But, his body is warm, it doesn’t feel (puts his head on the chest) what? Commander come here!

COMMANDER: What’s the problem?

SOLDIER: This one, this one is still alive!

COMMANDER: What? Let me see (Puts his fingers on his neck) He has a small pulse. This man is not gone yet! Help me over here (they start applying CPR for him the coughs blood)

SOLDIER: He is breathing.

COMMANDER: But not for long, he is coughing blood, the injury on his neck must be pretty deep. Go and call the medical team right away.

SOLDIER: Roger that. (He leaves)

COMMANDER: Don’t worry, we gotcha.

VINCENSO: Te.

COMMANDER: Don’t speak, it’s only going to get worse.

VINCENSO: Te – re – sa.

(End scene)

Scene 4: Walking away.

AGATA: Where is she? She is late. Again.

FERNANDO: Lets be patient. Its going to be fine, she will be here soon.

AGATA: Soon? What is soon for her? I don’t know how they do it in the North, but she has to adapt to our ways, and the convent, don’t you think?

FERNANDO: Maybe something happen. Lets wait a little more time.

AGATA: She is making all the children starve. I bet that it is on purpose.

FERNANDO: Its not like that sister.

AGATA: Really?

FERNANDO: You know she wouldn’t do that. And to be fair you gave her a spunishment for not eating.

AGATA: I am trying to give her a lesson, not a punishment. One must be on time. And I know it wa son purpose. She lost breakfast and now she is making us pay by not getting the things that we need to make lunch. She is paying it on us and doing so with the children. Spolided brat.

FERNANDO: Maybe if you try getting close her, try to understand her, maybe she wouldn’t do such things, (Agata is about to say something but gets interrupted) if, she was really doing that, witch we knoe she isn’t . She would not do this to a child, and we both know that. You are the one acting like a spoiled kid.

AGATA: That brat has been nothing but trouble since she came here. I mean we don’t even know her.

FERNANDO: What do you mean.

AGATA: every time I try talking to her, she doesn’t want to listen to me. And when I ask her about something, is like she is hiding something.

FERNANDO: is that giving you trouble.

AGATA: Yes, is just,

FERNANDO: Maybe you are to harsh.

AGATA: Harsh? Yes, when you come here and become part of this convent you must follow the rules. For some reason you join, and that decision comes with perks. She knows them, and I repeat them every time, its frustrating. Has she forgotten that we are at war? Since Rome has been taken, the Nazi’s seem more erratic. I am very worried. But it seems she doesn’t get it. Nobody gets what Im doing, trying to keep things afloat.

FERNANDO: I understand, I really do. But think about the other sisters. Even though they are not running this place, they do want to run away sometimes. But they don’t. Lets be patient. Like I sais, something must have happened, Im sure of it.

AGATA: Really? I just don’t understand this child.

FERNANDO: Have you even try to understand her. Maybe, just maybe, if you approached her, and, stroke her hair, tell her everything is going to be fine, maybe hug her and let all the feelings flow maybe.

AGATA: (Pushes him away) Padre I must ask you to stop being at her side, every single time.

FERNANDO: What?

AGATA: You always say these things. A lot of trouble, She is not used to this, whatever, the point is, she has been here for one year, and what?

FERNANDO: I, I, I

AGATA: She takes advange of our hospitality.

FERNANDO: That’s not true.

AGATA:  We take care of the lives of children and those who have been affected by this war.

FERNANDO: You are right, but you have to stop acting like that.

AGATA: Like what? I care about this people. Are you saying…

FERNANDO: I don’t mean that…

AGATA: Im trying to help this place.

FERNANDO: Nobody is saying else.

AGATA: I am the one who is doing all the work here, while you go and sit down on your little desk

FERNANDO: Just shut up

AGATA: And what?

FERNANDO: And go down there and start working  on something for the children, ionstead of standing here, trying to pick someone to blame.

AGATA: Someone to blame? That girl has not come back yet, and I cannot do anything without her bringing the goods.

FERNANDIO: Well youi could have thought of doing it yourself if you knew she was not going to do it.

AGATA: You really are something. Acting kind to everyone when inside you are just a a piece of crap.

FERNANDO: Shut up! You are just a whore I picked up from the street, a nun that doesn’t know her place!

AGATA: (Slaps him)

FERNANDO: Puttana.. (Grabs her arm) I took you in, you have no right to (Doorbell sounds) Not a word of this. Do you understand? Now, go get the door (beat) nicely. (She moves) Wait. I’ll do it myself. Stay here, and calm down. (He goes an opens the door). Alicia!

(Alicia enters, soaked and shrugging in cold)

AGATA: You are soaked!

FERNANDO: Let me get a towel. (He leaves)

AGATA: What happened? Why are you so wet, it, it isn’t, even raining.

ALICIA: Are you not going to complain that Im late?

AGATA: Well, I was, concerned about why were you late.

ALICIA: Here is the food. (She stands up)

AGATA: Where are you going?

ALICIA: Im going to put this in the kitchen.

AGATA: Why?

ALICIA: Im going to cook something for them, after all I was late, I did something wrong and I must serve punishment. After all, I made the children starve. (At this moment Fernando comes with a towel)

FERNANDO: Did you say something to her?

AGATA: I didn’t.

FERNANDO: Don’t you see the condition shes in? And you are still dare to

ALICIA: Father, its ok, I was the one who said it. Not her.

FERNANDO: why would you think that you did something wrong? Something haooened, its ok.

ALICIA: No it isn’t. Im not, fine.

AGATA: What happened out there? Did someone attack you?

FERNANDO: Was it Rosa?!

AGATA: Rosa?

FERNANDO: Tell me what she did to you? (No answer) Alicia, tell me?

AGATA: Stop agitating her. I don’t know who this Rosa is, but you are not helping.

FERNANDO: You don’t even know who

AGATA: that’s right, I don’t know. But, you are only going to make things worse by attacking Alicia.

FERNANDO: I am not

ALICIA: Its ok. Nothing happened, really.

FERNANDO: Then why are you like this? Something must have

ALICIA: I said, Im fine. (She starts stumbling)

AGATA: Easy there.

ALICIA: Im just a little dizzy. (She walks forward and collapses)

AGATA: Alicia!

FERNANDO: Hey hang in there! She is hyperventilating. Take deep slow breaths

(Blackout, scene ends)

Scene 5

(Room at the end of prologue, just a bed on stage right)

AUGUSTINE: Is she going to be fine.

AGATA: I hope so. I think I might have neen pushing her a little to much.

AUGUSTINE: Don’t worry mother superior, you don’t have to blame yourself.

AGATA: I don’t even know this child, and I still treated her in such a manner. It was because I cared and I wanted her to become a great admission to us.

AUGUSTINE: that the problem, she is not an admission, she is another girl who decided to join us for a reason. I know how this times of war have between us, and many of us have been moving to the south seeking refuge, fearing the Nazi and the constant war. But I beg you, be a little more considerate to her, and everyone. We all fear. (AGATA looks up to AGUSTINE) Did I say a little to much, im sorry.

AGATA: You’ve said more than enough. (Pause) Im glad it was that way. I hope we can have more conversations like this.

AUGUSTINE: Of course. (She leaves)

AGATA: (Sights) Im sorry. I should have been a little more comprehensive to you. I don’t even know who you are. But I want to. Know, more than ever. I suppose I’ll let you rest. (She starts leaving) I still wonder who Rosa is. Who are you Alicia? But I suppose that can wait until tomorrow.

ALICIA: Rosa. (Agata turns) Rosa, is a (beat) demon from my past.

AGATA: You are awake.

ALICIA: since a littlewhile ago. I just wanted you to see what you would say (she giggles)

AGATA: You chekky brat. I suppose I should teach not to spy on others conversations. May Christ have mercy on your soul. (She starts heading toward Alicia).

ALICIA: Isnt the second commandent, nbot to take the name of God in vain.

AGATA: (She hugs Alicia) Let me say it face to face. Im sorry. Im just an old hag that doesn’t know how to treat children, and doesn’t shut up. who forgets that you are just 17 years old, yet you have gone trough so much. Im stupid, I know I say many things, rude things. I promise I will try to understand you a little more. Im sorry. What can I do for you to forgive me. (Pause)

ALICIA: Mother (Pause) Please. (Pause) Help.

AGATA: Sorry!

ALICIA: Well first please don’t suffocate me. That would be nice. Second. Let me tell you a little about me. Im the one who is sorry, not saying anything. I just.

AGATA: If you are not ready to talk about it then don’t. Its my own compulsive self trying to know everything and meddling in things that I shouldn’t. And we all have our pasts, and our secrets.

ALICIA: Like you been a courtesan.

AGATA: Who tld you about this? What are you talking about?

ALICIA: Well, the baker in the piazza is always asking for you, and a matter of fact he told me that you were the reason he moved to Firenze.

AGATA: I, is, is that right? But, Im just an old woman right, I mean, I cant expect him to be waiting for this long. Im a nun after all, and also he, he has a wife. Doesn’t he? He cannot come back with me again.

ALICIA: So I was right.

AGATA: (She lokoks down depressed, as Alicia laughts a little) Please don’t mention this to the other nuns.

ALICIA: I wont. What would happen to the fearsome mother superior Agata and her reputation to the nuns.

AGATA: Some of them know. But am I that scary? (She nods)You know who is scarier actually. Padre Fernando. He is scary. You don’t want to see him mad.

ALICIA: he seems so nice.

AGATA: Appereances are not what they seem. Believe me I was angry at you, but, he git mad because I git angry.

ALICIA: So you were angry at me. Did you say that I was purposely making the children starve?

AGATA: Well. I. Don’t. Sorry.

ALICIA: And ince I know a secret about you, you must know a secret about me/ (She searches under the bed until she gets a small box and opens it)

AGATA: this are

ALICIA: the clothes I was wearing when I came here. You never noticed, but some of them are pretty turn apart. But that’s not what I wanted tio show you. Is this (she gets a small pendant from the box)

AGATA: thtas, a star of David. But why would you (Pause and she realizes) Christ, you are.

ALICIA: A jew. My real name is Teresa. Teresa de David.. I was born in Milano, and I was living happily with my family. Even though there was a war, we were happy. I was completely oblivious to it. I knew about it, but I never though tha it will affect us in any way. Then, the Nazis came. (Pause) A year ago, my family was killed in front my eyes. (Pause) My mother, (beat) died on my arms. My uncle, my aunt and my cousins who were with us at the moment died as well. I don’t remember what happened to make them attack, or why where they there in the first place, but they killed everyone. I escaped with my brother, and then I met that woman. Rosa. She knew my brother and decided to move here together. However when we were boarding the train, there was a problem. They have a list of every single jew, and it was controlled by those people. My brother had to leave me, in order for me to be free. But free from what. He only shackled me more. That woman, as soon as we got here, she threw like garbage in an alley, asking herself why she saved me. That I was just an extra load on her back, unnecesarrily. That’s when, father Fernando was coming trough the alley and saw us. She told Rosa to get away, and that he would take care of me. But that hasn’t stopped her, she is just like them, those people, who think of us as tools, are as something below them. I want to kill tha woman sometimes.

AGATA: don’t say that.

ALICE: You have no idea, the things she has said to me, how she threates this place. You don’t understand how much I hate her. She can treat me as garbage as much as she wants, but if she dares to take a step here, to destroy the new family I forged here. I don’t know what I would do. My mother, my brother and many of myfamily died. And why? Why Im I stil here.

AGATA: What about you father? What happened to him?

ALICIA: I don’t know.

AGATA: What?

 ALICIA: I don’t know!. (Pause)He had to work that night, he wasn’t with us. My brother and I couldn’t look back, ar rather we didn’t. We didn’t check on him. We left. Do you know what happened in Milano? A year ago.

AGATA: The bombs.

ALICIA: I don’t know if he died there. I don’t know if he was captured. I don’t know if he is even alive. I make that I don’t care, but, I want him to be alive. I hate this wair, this senseless war, and I, I ams till alive, and I don’t know why, they all died for me, and who am I, just no one. Ive been so fucked up since that day. The only thing this war has made me is a paranoic, psycopat person. Everytime I look back is like someone is following me. Everytime I look at my hands is like watching my moms blood covering them. Sometimes, I wake up with cuts that I know I made myself but I don’t remember how. Im everything but ok. But everyday I wonder why is it me who is alive? Why? Why me? I feel like they all died in vain. Please tell me why am I alive?! My life is just a waste, they died in vain!

AGATA: (She hugs her) You are a stron girl. I don’t know why you are alive, but, what I know is this. You have endured a lot of pain and that your life matters. Its so sad that you have to carry the lives of your family on your shoulders. Even if I tell you to take that load of off, you cant. That load refelects who you became.

ALICIA: And who I’ve become?

AGATA: A strong girl, with people that care about you. No matter what happens, keep walking. You have a family here now. But now, just let it go, for now, don’t be strong.

ALICIA (She starts crying)

(Blackout, then on front stage white light and  the Newsmen on stage)

NEWSMAN#2: Come on. Can you be slower?

NEWSMAN#1: Why must I carry all these boxes? What do they contain anyway? Rocks?

NEWSMAN#2: Bricks actually.

NEWSMAN#1: What?

NEWSMAN#2: Relax Im joking. Come on, we have to set up.

NEWSMAN#1: Why am I the one who is carrying this in the first place?

NEWSMAN#2: Because the writer decided that the newsman#1 will carry the box, and knowing you, you wanted to be #1 right.

NEWSMAN#1: Didn’t expect it to come with these advantages.

NEWSMAN#2: Anyway. I cant help but feel bad for Alicia. All she has to go trough, and she doesn’t even care about the war.

NEWSMAN#1: In war, there are many sides, many who fight against one another, whatever the reason is.

NEWSMAN#2: And then there is the one in the middle.

NEWSMAN#1: Who doesn’t even care about the war. But somehow it gets involved.

NEWSMAN#2: And it could be anything.

NEWSMAN#1: A country.

NEWSMAN#2: A state.

NEWSMAN#1: A religion.

NEWSMAN#2: A group of people.

NEWSMAN#1: Even a simple family that is just having a meal, and one day. Evrything changes.

NEWSMAN#2: She is only 17. And she is going trough a lot.

NEWSMAN#1: Well nothing we can do about it.

NEWSMAN#2: What?

NEWSMAN#1: War is going to be over soon, in like a little over an hour or so.

NEWSMAN#2: Still you could be a little more empathetic about this.

NEWSMAN#1: You are right, war is shit. And we don’t know notice that people around us are involved. Sometimes, in war, we involve people, that didn’t need to be involved in the first place. This story not about war, but about a little girl who was just at the wrong place, at the wrong time, and the cruel reality of what this is world is made of. And I wish it could be different. But we must see the story unfold, and we have a job to do.

NEWSMAN#2: Wow. I never thought you were, so, deep.

NEWSMAN#1: You learn a side from everyone everyday.(Beat) Now can we get this to a table please.

NEWSMAN#2: That, or you just want to get that thing of your back. Is everything set? Good.

NEWSMAN#1: Finally (puts the box on a table) Now lets see why is this thing so heavy. (Opens it) Really. Paper.

NEWSMAN#2: (He starts cracking up)

NEWSMAN#1: Don’t laugh. When you stack them up, its just heavy I think. Or maybe I need to go to the gym

NEWSMAN#2: Well techinally, these are forms about the soldiers, that must be filled.

NEWSMAN#1: Speaking of that. Why am I the soldier.

NEWSMAN#2: the writer decided that the soldier was also you.

NEWSMAN#1: No, no, no, don’t give me that. Isn’t number 1 suppose to be the commander.

NEWSMAN#2: Nop.

NEWSMAN#1: Oh come on, I had to see that pile of dead bodies over there. Could we switch, just for now.

NEWSMAN#2: Fine. (Throws him the jacket, and as the other newsman is about to put the jacket on he answers) But the commander must complete all of those forms.

NEWSMAN#1: What? They why I was carrying them.

NEWSMAN#2: The commander must delegate. Now if you escuse, I have to get changed. Because someone wanted to change.

NEWSMAN#1: Wait a minute. Can we, change, the change, again? I think I prefer being the soldier.

NEWSMAN#2: Lazy ass. Fine. But no more changes.

NEWSMAN#1: Yes sir.

COMMANDER: Now, as the commander, (takes a new tone with the now soldier) Soldier, make sure these are complete.

SOLDIER: What?

COMMANDER: The commander delegates.

SOLDIER: You son of a

COMMANDER: Do not disrespect your commander. Now move along.

SOLDIER: That sly old fox. Im starting to like him.

(Scene ends)


© Copyright 2020 Arai. All rights reserved.

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