Speechless

 

Or

 

The Poor Wayfaring Strangers

 

By Eli Wilkinson

 

Copyright © 2014-2021

 

Eli Wilkinson

St Charles, MO 63303

 AUTHORS NOTES:

 

Thank you for taking the time to read this play. I feel as if this is the first work I actually feel compelled to write a note of this sort to explain my work. Here are a few quick thoughts:

 

-This play is an experiment for me. As both the writer and a designer by trade, I ask my readers to design the show in their mind as they read. Note: I do not write what I cannot personally create.  This play was written with small rotating platforms in mind. An intimate space with proximity to the audience is encouraged.

 

-This play has no setting or time period. I find the actions of the characters to be universal so I have no intention of pigeonholing a director and design team. I can imagine this taking place anywhere between the 30 Years War and our distant future. This is also why I have chosen to not give the characters names. Please feel free to do so yourselves in the discovery of who these characters are to you.  

 

-The goal of this play was to tell a story without much dialogue in a manner that isn’t just being silent for the sake of being silent. The silence of this play is a character necessity. Dialogue is only used when it makes sense to the story.

 

-A secondary goal of this play was to essentially make the designers and the world they create into a character itself. I realize that this limits the playhouses that can produce this work. In my defense, “spectacle” is one of Aristotle’s 6 elements of drama that is often sacrificed for convenience.  

 

-Even though not listed in the cast list, I always imagined doing many of the sound effects with Foley artists behind the set.

 

-The actions listed in the stage directions represent necessary actions. Incidental moments discovered during the rehearsal process and interactions with props and scenery are encouraged. My hope is that the director and actors could discover who these characters are and so no two productions would ever be the same.

 

-I do not believe the actions of a play should be limited to the stage. Once the audience enters the Theatre in which the world of our play exists, all is fair. Use aisles, catwalks, landings, the apron, etc. The audience sits in our world, not just observing it from behind an imaginary proscenium window.

 

-The songs listed in the play are at the discretion of the director and design team. The title is only the theme of that song, whether it is a previously released song or original composition. The music devices used can easily be exchanged for other items based on the setting of the events. I.E. Record player could become a note plucked on a violin.

-Inspirations for this play come from: “Krapps Last Tape” by Samuel Beckett, “Mother Courage” by Bertolt Brecht, “Children of Men” by P.D. James and the song “Wayfaring Stranger” version by Johnny Cash.

 

-I describe the play as a fusion of theatre, dance, and silent film… with a dash of science fiction.

 

-There are characters in this play that could be considered: A spirit, memories, an imaginary friend, and a nightmare.

 

Thank you again.

-Eli

Characters:

 

The OLD MAN: Collects junk and trades with others. Old in the face but young at heart. Always wears a ratty old tie or scarf tight around his neck.

 

The OLD WOMAN: A classy lady who is the heart and soul of the Trading Post. A spirit.

 

The WOMAN: Appears to be a fellow trader, maybe more. Watches after the GIRL. Relationship between the two is unknown.

 

The GIRL: A 10-12 year old GIRL. Knows only war.

 

The HUSBAND: An antique dealer trying to make a name for himself.

 

The WIFE: An artist eager to grow and start a family.

 

The MEDIC: A middle-aged trader who specializes in Medicine.

 

MIBS: The Man in the Bunny Suit. Imaginary. Played by the same actor as the REVOLUTIONARY.

 

The ARISTOCRAT: A man of noble breeding. Strong, dominant, and charming. Played by the same actor as “The MAJOR”. Wears a white mask.

 

The REVOLUTIONARY: A leader in the constant fight against the “enemy” or a terrorist, depending on your point of view.

 

The MAJOR: Cold. Ominous. Ruthless. Extreme loyalist to the oppressing nation.

 

Two SOLDIERS: Two Soldiers who hunt for those who hide in the shadows. One, the LOYAL SOLDIER. The other, the INJURED SOLDIER. These actors can also play party guests and servers.

 

VARIOUS CHARACTERS: 4 to 6 people of varied gender. Dancers. Servants. Soldiers. Victims.

 

Act I

Scene 1: A Deal in the Night

 

(In an undefined day, year, and place lays the world of our stage. It is a war-torn world; its occupant’s familiar only with never ending conflict. Living in buildings rebuilt and destroyed many times over. It is night but the light of the moon and the nearby fires have created a false sense of day. The kind of night a person of lesser fortune remains hidden for fear of being found.)

 

(The stage consists of an old dilapidated shop that has been fixed with scrap wood, junk, and roofed with a filthy plastic or canvas sheet. The light of the moonlight seeps through the cracks and windows. The sound of warfare rings in the valley and shakes the piles of junk that litter the shop.)

 

(The silhouette of an OLD WOMAN wearing a nice Sunday hat walks slowly from behind one junk pile across the stage and vanishes on the opposite side as the door creaks open)

 

(Enter a shabbily dressed OLD MAN settling down for the evening. He puts down a few candles as he goes about his evening business, sorting the new haul. He lugs up a large canvas gym bag filled with whatever he could find. He is meticulously quiet as he places the bag on his table that he has separated from the rest of the garbage.)

 

(He hesitates and walks over to a hole in the wall. He peaks through. He sees nothing. He moves down to a hole in another wall. He takes a long look: Nothing but the sound of machinery in the distance. He breathes a sigh of relief and rests his head on the wall for a moment before continuing. He turns away only to double check the first peephole again. He thinks he sees nothing then double takes when something catches his eye. This time he sees something interesting. He presses his face tighter to the wall to see it more clearly. It is nothing. Whatever was there was gone. He gives a brief faint laugh and turns back to the table.)

 

(Suddenly the room is blasted by the loud noise of nearby weapons fire. The OLD MAN jumps and quickly blows out a candle before ducking in the garbage behind him. The weapons fire slowly moves away into the distance.)

 

(The OLD MAN sits petrified but patient counting each second between bouts of the terrifying sounds. As the sounds fade into the distance, he loosens his grip and counts slower and with more breath. His hand eases down on the table revealing that he has had a knife tucked close at hand. He picks up his hand but never lets the knife go outside his reach.)

 

(The OLD MAN then goes about his business. Taking the lit candle, he lights the others so that he can see. Then in an excited manner he bursts into the bag to see his wares. He picks his finger through it like a fine-tooth comb. He pulls a few items out to look more closely at them and places them back. His face is one of true intrigue. He looks proud of himself and looks for someone to impress. There is no one. He comes back to Earth, faintly grumbling to himself.)

 

(Casually he brushes it off and pulls out an old military compass. He pulls it open, watches the needle turn and uses it to point to north. It doesn’t seem right. He gets an idea and turns the compass 180 degrees to see if it returns. It does. The OLD MAN is ecstatic. Then suddenly the needle points another direction. The OLD MAN follows it with his finger. Puzzled, he bangs it with his palm. Another direction. He shakes it close to his ear. When he is convinced it isn’t broken, he holds it out. The arrow points another direction. Now, frustrated, he sets it on the table. It returns to the original north. A silent ‘yay’. He has figured out its trick and lets it know, wagging his finger at it as he places the compass in a hiking backpack.)

 

(Turning back, he pulls out a little homemade doll. It has no face, no features. Only a couple of cloth tubes in a little dress. Still, he looks down on it and is lost in thought. A faint smile. It’s cute but he has no need for it, so he throws it on a pile of junk.)

 

(Next to come out is a very nice crystal serving dish. First, he blows the dirt off. Then he holds it up close to his eyes and up into some light. It is very beautiful. He cherishes it. You can see it in his eyes as he pulls it close and kisses it with the love one would have for the closest of loved ones. Then the OLD MAN catches himself. He looks around at his garbage. He asks himself if it would be of use and would it be safe to trade it. He looks down at it again then at the ring-less ring finger or his left hand. The faint ring of pale skin is obvious. He looks at the large pile of garbage in the corner and decides to place it on the top like a decoration. He smiles and turns away.)

 

(As he turns, he accidentally kicks a metal tin and makes a loud echoing bang. Instantly he crouches and freezes, nervously waiting to see if his mistake would lead to something terrible. He tiptoes back to his seat with his knife. He listens to the world. Only sounds of fighting in the far distance. His breaths are heavy.)

 

(Then a footstep... followed by another. The steps are stealthy and precise as they move along side the wall of the shack. Two shadows creeps across the canvas wall. The OLD MAN knows he cannot escape in time. He blows out the candles as his hand picks up the knife and waits poised to charge.)

 

(There is the faintest of whispers. The door creaks open ever so slightly. A candle lantern slides through the crack followed by a WOMAN’S face. She walks in just enough so that she can be seen. The OLD MAN relaxes seeing that she is like himself. She knocks a faint three taps, three slower taps, then three taps again. The OLD MAN taps twice and lights a match. He looks and makes eye contact with the WOMAN. He smiles and lights a candle followed by the other. When he looks back up, he sees something he has not seen in quite some time, he sees a GIRL. No more than 10 years old. His face lights up and he welcomes them in as if they were family)

 

(The OLD MAN pulls out another bucket for the WOMAN to sit on. He doesn’t know if he has anything for the little GIRL though. He looks around and sees the doll he has tossed earlier. Jovially he snatches the doll and leans down to the little GIRL. He holds it out and motions that the doll really means quite a lot to him, but he is growing old and that she should take care of it now. It’s a lie and the WOMAN sees it, but she is grateful nonetheless. The GIRL joyfully takes the doll and looks back to the WOMAN who reminds her to stay quiet.)

 

 (The OLD MAN stands and shakes hands with the WOMAN. They pull each other to their ears and whisper to each other their name. As they sit the WOMAN sets down her backpack full of wares. Excited that she was a fellow trader he pulls out his dinner: two potatoes, and hands one to her. Free of charge he waves. She removes an expensive-looking box out of her bag and sets it aside then rolls out her collection. As if he were jewelry shopping, he stares intently at her small pile. A wristwatch catches his eye. It works and the strap looks good. He holds it up. She takes it and looks at his pile. She sees the knife and points to it. Immediately he shakes his head ‘no’. She picks up some more items to offer him. Still ‘no’ he shakes. He offers a crochet mallet in return. She still wants the knife.)

 

(The GIRL has moved down next to a large garbage pile and is pulling things out to play with her and her doll. She is being quite imaginative and paying absolutely no attention to the WOMAN or the world around her.)

 

(The WOMAN is desperate. She offers her lantern. He is interested pointing out that it is oil burning. He ponders.)

 

(Suddenly there is an extremely loud cannon-like blast. It cannot be far away. The WOMAN and the OLD MAN hit the deck and cover their lights. The GIRL tucks into the junk pile as there is more distant cannon fire. The nearby heavy weapons roll on by firing periodically. The sound builds and builds so much so that the little GIRL begins to panic. Almost squealing she shuffles some of the garbage around her until she finds something solid to grab onto.)

 

(The heavy weapons roll off towards the distant gunfire. The WOMAN sits up and uncovers her lantern. Panicked, she suddenly looks for the GIRL and shines the light down on her. The OLD MAN sits and re-lights his candles. The GIRL, still in a state of sheer terror, releases what she had grabbed onto and looks upon it. It is an old tattered suitcase filled with clothes. It has shrapnel lodged in the side. Confused the GIRL looks up and sees the outline of the OLD WOMAN.) 

 

(The GIRL screams and sprints out the door. There is weapons fire followed by a loud explosion. The WOMAN goes to scream but the OLD MAN grabs her and covers her mouth, holding her tight until the echo dies down. There is a moment of silence before a small rattle of metal tins not too far off. Possessed, the WOMAN pulls away from the OLD MAN, though he still has a hold on her hand. He sees that there is no stopping her. He implores her to wait. She does so reluctantly. He grabs the doll and puts it into her backpack and hands it to her. He then hands her the knife. The look on his face says it all. The knife is hers because she needs it more now. She gives a half smile and promptly exits)

 

(The OLD MAN looks at the mess and begins to resort his disheveled junk as if each piece had a specific location. When he finishes, he takes off his coat and pants and walks towards what we presume is a bed. But after a step or two the OLD MAN notices something new: the nice box that WOMAN had set aside. Not one for being shy he places it on his table and cracks it open. Immediately a glow emanates from inside. The OLD MAN is in awe. He knows this box is special and that those outside would want it. Though it is not revealed as to what it is, it is clearly dangerous to whoever possesses it. As such he immediately shuts it and puts it under his arm as he checks out the door one more time. A searchlight running along the building forces him to retreat indoors. The WOMAN and GIRL are gone. He crawls into his bed holding the box tight. He blows out his candle and the world goes dark as the sound of machinery rolls on into the distance.)

 

Scene 2: The Song of New Beginnings

 

(The OLD WOMAN in the shadows reaches out and puts the arm of a record player on a record of her choosing. The player springs to life and plays the song of new beginnings. She vanishes and the world of the stage begins to glow sepia as if made of old newspapers. The song is one of youth, despite its age, and of a future yet to be. This is the past: where the characters speak but are not heard. The year is displayed.)

 

(THE HUSBAND enters with glee. We see the Trading Post as it once was: clean, less cluttered, and whole. He tinkers with a small old toy as THE WIFE enters. She looks around and does not share the same enthusiasm as her HUSBAND. She looks down at the clipboard in her hand and at the papers attached to it. She shakes her head.)

 

(THE HUSBAND walks over to a window and opens the curtains. He puts a flowerpot in the sunlight as an attempt to pitch the place to his WIFE. He points out the shelves and the wares left behind by the former tenants. She isn’t sold and points out that the place is overpriced. He shakes it off and opens the front window shade. The sunlight spills in projecting the word “Collectibles” painted on the front window all over the couple and the junk.)

 

(THE HUSBAND’S hands move to his WIFE’s hips as he moves in behind her and angles her to look out the window. He shows her the sunset and runs his hand along the horizon pointing out that it’s the view, the town, and the location he has dreamed of. He tosses the clipboard aside as he puts his hand on her stomach. He kisses the side of her neck and once more by the ear, whispering sweetly the lines reserved for only husbands and wives. She looks back at him with a slight crack of a smile and kisses him lightly.)

 

(THE WIFE pulls away and gives the place one good look and caves. She picks up the clipboard, pulls out a pen, signs, and hands it to her HUSBAND, kissing him on the cheek. The stage goes dark and revolves back to the dark present.)

 

(The OLD MAN stirs awake as if it were some bad dream. He silences himself. The silhouette of the OLD WOMAN stands in front of the plastic wall, but he does not see her. He looks to the door and listens into the distance: nothing but the distant rumblings of warfare. He lies back down, cradling the box as our world returns to darkness.)

 

 

 

 

Scene 3: A Calm Morning

(The next morning and the OLD MAN is still asleep and hidden under his filthy comforter. The silhouette of the OLD WOMAN remains. She gives him a moment before she knocks over a piece of junk and sends it clashing down to the ground below. She vanishes back into the junk. The OLD MAN sits up, yawns, and stretches his neck and jaw. Like an everyday morning he stands up in his stained undershirt and boxers and starts to put his old suit on. The sky remains fairly dark as a gentile rain sets in. It is then that he remembers the box. After thinking for a moment, he realizes that the best hiding spot would be amongst the junk. So he picks it up and puts it with a collection of boxes and books. Satisfied, he continues his morning routine.)

 

(He makes his way over to his first peephole and does a quick check: Nothing but the rumbling of motorized military transport way in the distance. He turns and stubs his toe. He lets out a small “ow” before catching himself and hopping to the next peephole. Nothing. He even checks the door just in case the WOMAN and/or GIRL are waiting. They’re not. He taps: (*** *- **-* *). He waits for a response that does not come.)

 

(Saddened, he turns to a hose hanging from the ceiling and pulls out the cork he uses to close it. Quickly he grabs a tin and pours the collected water into it, careful not to spill any. He hesitates. For a moment he can’t remember where he put his small survival grill. He looks around and scratches his head. Setting the tin down he digs through a nearby junk pile. He tosses a few silly trinkets aside. Not what he needs. Then he finds a bra, a happy memory. Perhaps one he should not share with anybody. Wrapped inside the bra is a pair of panty hose that he puts with the water as he pockets the bra. The OLD MAN still can’t remember where the grill is. He purses his lips, looks up, and exhales through the nose. It is sitting out in the open with nothing else by it. In disbelief he pulls it out and finds a way to light it. Once he is convinced that he has the grill going he pours the water through the panty hose into a small pot. He sets it on the burner to boil. Taking advantage of the water dips a toothbrush in the water and begins to brush as he takes another bucket at his feet and walks into a corner out of sight. The OLD MAN relieves his bladder into the bucket. Making sure not to splash anywhere he places the bucket in the corner with what looks to be a makeshift latrine.)

 

(The water begins to steam up. Quickly he scurries over and grabs his cup from the table area. He pours a little and places the tin back on the heat. From a small tin on a shelf he produces a used tea bag and dips it exactly five times, wrings it out and puts it back from where he found it. Content, he sits sipping his warm tea. He pans his head and takes a long deep breath and exhales. It is the best start of a day in quite some time he thinks to himself. But still with every sip his mind returns to the WOMAN and her small companion. Who were they? And where did they get the box? More importantly do they need his help? He looks to the door repeatedly, his knee bouncing. Picking up the wristwatch that he was going to barter for, he looks at the time and grows nervous. It was not safe to roam during the day. The last sip of tea is particularly difficult to swallow. But he must not let any go to waste. He finishes, shakes out the remainders and sets his cup back on the table.)

 

(Ready to go out the OLD MAN picks up his bag and looks through it quickly for anything that he may need. It is when he is nose deep that he hears a faint tapping on the door. He comes to attention. He hears it again. With a newfound energy he makes for the door. He peeks through a peephole. Who ever it is, they are friendly or else they would kick down the door. There is another knock at the door, this time louder. He unlocks the door and opens it. It is the WOMAN, drenched by the rain and hunched over slightly holding her arms tight to her torso. He welcomes her in. After a delicate step or two inside the OLD MAN sees something that truly fills him with hope and joy: the GIRL, now carrying her companion’s bags. He closes the door behind them and welcomes them back.)

 

(It is then that the OLD MAN sees that all is not right. As the WOMAN makes her way into the room she stumbles and is forced to catch herself with one of her arms. She is clearly pale in the face and now that her arm is no longer tight to her body, we can see the blood coming from her torso. She stumbles some more as the OLD MAN locks the door and guides the GIRL away from the windows. Finally the WOMAN falls to her knees. Frantically the OLD MAN finds some little doodad to occupy the GIRL before he helps the WOMAN sit up. Understandably the WOMAN is hesitant to let him help but eventually lets the OLD MAN examine her wound. The GIRL, disinterested in the doodad, worries from afar as the OLD MAN takes out his reading glasses from a pouch in his coat pocket. It doesn’t look good. His face says it all. The wound is sizable with no exit. Whatever pierced her flesh may still be in there and she is clearly losing too much blood too rapidly. He knows he must act now or she will surely die.)

 

(Then from outside the sound of a truck pulls up and parks. Two SOLDIERS walk by. They talk as their patrol goes by the plastic window. The OLD MAN covers the WOMAN’S mouth.  For a moment he doesn’t know what to do. He knows he has to help the WOMAN but he is unsure on how can he do so with the enemy so close. He panics then catches himself, breathes, and gets to work.)

 

(First thing he does is flap his fingers and motion for the GIRL to come close. He tells her that she needs to be strong and help him while he grabs things he may need. Like any child she clearly feels guilty and incredibly worried but nods. He has her hold the WOMAN’S hands as he digs out a tattered dress. After folding it up he shoves it down on the WOMAN’S wound causing much pain and discomfort. Grabbing her hands he has the GIRL hold it in place ensuring that all her pressure is applied. He dumps his bag. Inside amongst the junk is a new, clean tool set. He takes the needle nose pliers out and sets them on the table. Deciding it best to gather everything he’ll need at once, he scuttles from side to side, deep in the junk piles. At all times, he makes sure to make as little sound as possible. He grabs a fishing rod with line and hook, some more scrap cloth, a block of wood, a whiskey bottle with barely enough whiskey to ease the pain, and the urine bucket. He knows he’ll need the boiling water, but it will have to wait.)

 

(He hands the WOMAN the opened whiskey bottle and she chugs like she has never drank before, finishing the bottle. She doesn’t even cringe. Replacing the GIRL to hold pressure himself, he points to the hose in the ceiling and another bucket as he lifts up the cloth and motions for the GIRL pour some collected rain into the bucket and pour it onto the wound. He wipes the fluids with the rag and investigates the wound. He can see the bullet, he assures the WOMAN, as he reaches for the needle nose pliers. He hands the WOMAN the block of wood and she bites down on it. The skies grow darker and the light dims. The GIRL holds her companion’s hands as the OLD MAN digs in. Weapons fire a block over. The WOMAN does everything she can not to scream nearly breaking the little hands in her grasp. The OLD MAN pulls out and the WOMAN is relieved. But the OLD MAN shakes his head knowing he has to go back in and this time longer. He tries his best to reassure her holding the side of her head and brushing her hair over her ear with his thumb. She takes a deep breath and gives him the now or never. He digs back in this time harder and deeper. This time she cannot escape from groaning through the bite block. The OLD MAN digs. He pulls out fragments and tosses them aside. Finally with one last tug he removes the primary object. The WOMAN goes limp out of exhaustion and releases the GIRL’s hand. The truck starts and drives away. Quick fade to black.)

 

(Lights come back up and the OLD MAN is tying a knot in the end of a foot-long piece of fishing line with the hook already tied at the end. The WOMAN sees it and her head drops back to the table. He sets the suture down and moves towards the boiling water. He has the GIRL stop putting pressure on the wound and lift up the cloth. He apologizes the best he can and presses the bottom of the pot unto the wound hoping to cauterize the wound and stop the bleeding. The GIRL tries to hold the WOMAN down as she flails about enduring the burning treatment. Finally the WOMAN passes out (which is to the relief of everyone). The OLD MAN thanks the GIRL and points her to the bed suggesting that she should get some rest. She gives him a half smile and lies down as the OLD MAN fills a cup with water but this time sets it out to cool down. He picks up the suture again and goes to stitch up the wound. Lights fade to black again.)

 

(Lights rise once more and the OLD MAN, now finished, pours the cup of water (now cool) over his hands to wash away all the blood. The GIRL and WOMAN are now very much asleep. Drying his hands on his pant leg he moves over to the WOMAN and feels her forehead fearing infection. She isn’t hot yet but he figures it best to be safe than sorry. He looks to the door and walks over. He knows he can’t leave. Not now. Not with two people who need him. So he does the next best thing in his mind, he opens the door and hangs a large wooden cross on a nail. He ‘caws’ like a crow once and waits for a response. A similar bird sound answers. The OLD MAN smiles, closes the door and walks across the shop to the GIRL. He sits next to her, leans up against the wall runs his hand through her hair a few times, closes his eyes and the world goes dark)

 

Scene 4: The Song of Misfortune

(Light rise on our world at what one would normally call dusk but now is a reminder of the flames that consume the nearby landscape. The OLD MAN is still leaning against the wall next to the GIRL but it is apparent that he has moved. Two SOLDIERS walk by, their shadows cast on the plastic/canvas. They scoff at the cross and debate whether or not to check the place out. One mentions that crosses like that are hung to indicate that everyone inside died of disease. The OLD MAN moves slowly and grabs a blunt object. The door handle turns when suddenly a mortar blast goes off a block over. The GIRL startles but seeing the danger hasn’t gotten closer wraps her pillow around her head as the SOLDIERS run off. The OLD MAN relaxes, takes a deep breath, and rests his eyes.)

 

(The OLD WOMAN emerges and stands along the back shelves. She sees the WOMAN and the GIRL. A beat before she reaches her arm over her shoulder to flip on a power switch for an old radio. It springs to life. She turns the dial to the Song of Misfortune. It is a song that while light still brings sadness and a feeling of loss.)

 

(Once again, we swirl back into the past. The doors handle jiggles violently. The OLD MAN, asleep, appears in a trance as he opens his eyes on the next jiggle. The World changes and begins to grow green with life. The door finally bursts open. The WIFE, now slightly older, stumbles in struggling to hold onto a rather large pot of dirt. Clearly not in the best of moods, she plops it on small worktable. She brushes the sweat off her forehead and unenthusiastically sits now next to the oversized pot. After removing a glove she begins to run her fingers through the dirt hoping to find a sign of life.)

 

(She finds a seed. No growth as the sprout appears dead. Followed be another seed, also withered. Followed by another. The world fades slowly like autumn leaves as the chances of finding a good seed slowly starts to fade away. The WIFE grows more desperate. Her hands begin scooping the dirt to no avail. Her teeth grind. Her eyes fill with anger. Her hands now irrationally try to crush the pot as she lifts it into the air. The door opens, the pot flies. The HUSBAND stands there shocked at how close the pot was to smacking him in the nose. Tears of frustration fill her eyes as she collapses into her chair.)

 

(The HUSBAND gingerly enters and makes his way towards her. He reaches out to see if she is all right, but she doesn’t turn to him. His hand hesitates and returns to his side. Some words come from his mouth but they might as well be white noise to the WIFE. A few blinks, nothing more. Disheartened he turns and walks back up towards the back shelf. There he finds something to occupy himself while periodically checking on his WIFE who is lost in thought. Tired of this unspoken tension he grabs something from his shirt pocket and makes his way back to his WIFE. He hands her a wildflower he picked while he was out. She doesn’t take it so he sets it in her lap and exits.)

 

(The WIFE looks down as her hands make its way down to the stem. She looks it up and down thoroughly noticing all its beauty, simplicity, and sweet scent. She takes a long deep breath through the nose and out the mouth. She takes this moment for herself before she stands and brushes the dirt and dust off her clothes. She tidies her shirt and hair. The flower stem finds its way into her shirt pocket. She tries to smile but can’t yet. She goes after her HUSBAND and closes the door tight behind her.)

 

(There is a knocking at the door (*- ** -**) The OLD MAN startles to and world snaps back to the present. It is freshly night now and the OLD MAN tosses some cloth on top of the box as he gets up and the world goes to black as he exits out the front door.)

Scene 5: The First Nightmare

 

(Deep in the night the distant explosions gives the night a strange rhythm of death and destruction. Fast asleep is the GIRL and the OLD MAN has not yet returned. The WOMAN stirs awake in a cold sweat. She sits up suddenly and with a great amount of pain; her hand covering her mouth so that her gasps will not be audible. Stabilizing herself she feels her head. Her eyes telling us how confused and lost she really is. She scans the space and sees her bag. Shakily she stumbles to her feet and nearly collapses before she catches herself on her table. She makes it the few steps to her bag and proceeds to rip it open in a panic. The WOMAN rummages through it clearly looking for something that is not there. Worried, she looks around, clenching her wound tightly.)

 

(It is clear that the WOMAN should not be standing as the world in her eyes begins to darken and lose focus. She takes a few steps back towards the table before she falls to her hands and knees before passing out. Suddenly the halls are overcome with a distant waltz that grows louder and louder. Candles, drapery and Chandeliers appear from the darkness and we are taken to a different place and the world glows of candlelight. The WOMAN rises to her knees and clearly remembers parts of this world that is now emerging. She rises to her feet and as she does her bloody clothes are ripped away revealing an elegant RED dress. With a pull of a pin her bundled up hair flows down into beautiful locks and her wound is now gone. She pulls out a compact and fixes her makeup a little.)

 

(Our focus lies solely on the WOMAN. From the shadows a SERVER emerges with a tray of champagne glasses and offers the WOMAN a glass that she reluctantly accepts. A couple pairs of dancers in fine evening wear and masks emerge from around the theatre and finish off the first waltz. The WOMAN is content being a wallflower as she nervously surveys the room)

 

(While she is nursing her champagne the next waltz begins, a strong charismatic ARISTOCRAT enters. He is clearly from money and dresses accordingly. He wears a white mask. The two see each other instantly from across the room and our eyes are drawn to them alone. Like magnets the two are drawn to each other and they meet in a clearing. She finishes her champagne and hands it back to the SERVER while not taking her glance off the ARISTOCRAT. The two stand facing each other. The ARISTOCRAT bows while she curtseys in return. He takes her hand and places the other on her back.)

 

(The Music starts out slow as the two continually lock theirs eyes on each other. A smile or two comes to their faces as the music grows more and more playful. It is clear that the two are talking as her whispers something into her ear and she laughs in enjoyment. It is obvious that he knows what he is doing and is very comfortable with this dance as he is leading her through every step. He stops.)

 

ARISTOCRAT

Do you trust me?

 

(The WOMAN nods and the ARISTOCRAT signals the band. The Waltz shifts into something more intimate. He pulls himself in closer and she reciprocates. Their dance becomes more passionate as he begins to twist her and pull her closer with each return. Their tempo increases with the music. The twists and spins intensify before finally reaching a crescendo and ending with one last dip. The ARISTOCRAT leans in and the two share a long passionate kiss.)

 

(The ARISTOCRAT stands her back up as he fades back into the darkness, longing for her. Suddenly the Chandelier crashes. The drape rips away and the lights fade back into night. The WOMAN stands there, remembering her pain as she begins to rip away her dress piece by piece revealing a grungy old night gown. She collapses on the ground and our world returns to the present. By moonlight the GIRL, now awake and with the WOMANS clothes, is helping her injured companion back to her table and covers her up. Blackout)

 

End of Act 1

ACT II

Scene 1: Morning Tea

(The morning comes and our world glows the light pinks and ambers that accompany the dawn. The OLD MAN has gone presumably with whoever came to the door. The GIRL pushes off her blanket and sits up to welcome the new day. She shakes the WOMAN, who is still very feverish, who in turn pats the GIRLS hand and coughs, assuring her that all will be well. The GIRL covers the WOMAN up some more and gives her the last sip from the WOMAN’s canteen.)

 

(Thirsty herself the GIRL hops to her feet and begins looking through cups and jugs for some water, not knowing about the hose from the roof. She isn’t having any luck and plops down disappointed. The world goes pink and a light comes from behind the door. A child’s music box begins to play. The door opens and there stands MIBS (The Man in the Bunny Suit). He is a tall noble looking man who wears a tuxedo with tails. Much to our surprise he also has a false rabbit nose, giant ears, a fluffy tail that splits his coat tails, and fluffy slippers. He carries an ornate silver tray with a nice metal tea pot and cups)

 

(The GIRL gets excited and rushes to MIBS and hugs his leg causing him to almost drop his tray. He nods to a clearing so that he can set his tray down. The GIRL clears some room and MIBS immediately trips and spills the tray and lands face first on the ground. He sits up in a cartoon-like manner and shakes his head as if he were seeing stars. The GIRL laughs and helps him pick up the tray and teacups. But when she picks up the teapot, she holds it upside down and sees that it is very empty. She sticks her lower lip out so far that a crow could land on it.)

 

(MIBS shakes her off and makes that lip retreat as he assures her of his magic by pulling out his magic wand. She claps in excitement. MIBS pushes his sleeves up and taps the top of the tea pot while mouthing some magic words. The GIRL looks in the pot. Nothing. She is sad once more. He shakes her off and ponders. MIBS has the solution. He needs her help as well. He has her hold out her hands, wiggling her fingers and points at her eyes and has her close them tight. He taps the pot again waves his wand. He starts chanting his special incantation and has her start as well. Then immediately reaches into his coat pocket and removes a small thermos and pours it into the tea pot and throws the evidence far behind him. He taps the tea pot again and places her hands on the pot. She opens her eyes when she feels the warmth. A look of joy that we have yet to see from her explodes on her face and MIBS starts to pour the tea in their cups.)

 

(The GIRL picks up her cup, pinky out, and waits for him to do so as well. When he doesn’t put his pinky out she immediately corrects him. They clink their cups and go to drink. A loud boom from outside. MIBS, startled, splashes the tea into his face. Whereas the GIRL, who is used to such interruptions, drinks her tea calmly. When she sees his face she laughs and wipes it off with her sleeve. He nods to thank her as if she were royalty and produces a small round cookie from seemingly nowhere for her to dip in her tea. She takes it, nods to her companion, dips it once and shoves the whole thing in her mouth. She acts like she is choking and MIBS pats her on the back and she smiles teeth full of cookie. After she finally swallows, she springs to her feet, fully satisfied. MIBS bows to the GIRL, who is now picking up a broken yard stick. She taps his shoulders declaring him her savior and knight in shining armor. He hugs her, lifting her off the ground, spins her once and returns her to the ground. He taps the tip of her nose, spins, picks up his tray and wanders back into the junk. He waves, takes a step, trips spilling the tray and vanishes from sight. She waves, the music ends, and the world begins to return to the overcast morning that everyone has grown so accustomed to seeing.)

 

Scene 2: A Necessary Deal

(The door creeks open and the GIRL hides from sight but when she sees the OLD MAN she relaxes and starts to get up. But this time the OLD MAN is not alone. Behind him enters the MEDIC, a large war-worn man who has seen his fair share of battles and death. The OLD MAN walks him to his patient. The MEDIC recognizes the WOMAN on the table and places a hand on her forehead and sighs. It doesn’t look good. With the sounds of the fighting way off in the distance he suggests that they get straight to business. He still has not seen the GIRL who hides from his sight. The MEDIC inspects the WOMAN’s wound and the job the OLD MAN has done with it. He sniffs the wound and recoils.)

 

(The OLD MAN sits with the MEDIC who pulls out a small container of Medicine. The OLD MAN picks up his goodie bag and opens it up. The situation may be serious but he still cracks a smile as he begins to haggle. He offers the MEDIC the lantern and the compass making sure to prove to his trading partner that the compass does indeed work. The MEDIC isn’t interested. He throws in the crystal serving dish to sweeten the pot but is met with an impatient glare. The MEDIC reminds him of how expensive these Medicines are. Reluctantly the OLD MAN stands up and goes into the back and returns with a large heavy canister. He opens the sealed lid and turns it to the MEDIC who runs his fingers in it, lifting the ammunition up with his hands and letting it slip through his fingers. He is satisfied and does not want the compass or lantern. The two shake hands in agreement and exchange wares.)

 

(Suddenly, as they make the exchange, weapons fire explodes around them. A rebel dies outside the wall, gunned down by another who is joined by his superior. They both fire again to ensure the SOLDIER is down and move on. The MEDIC takes cover as the OLD MAN covers the suddenly awake WOMAN and himself under a large piece of debris. A SOLDIER bursts in the front door and looks around. He sees that someone was here but as he reaches the center of the room yelling and weapons fire once again draws him back from whence he came. It is then that the MEDIC notices something odd about where he is hiding, he’s not alone. He’s with the GIRL. He smiles when he finally sees her face in the light. A moment. The coast is clear.)

 

(The OLD MAN uncovers the relieved WOMAN as the MEDIC helps the GIRL to her feet. The MEDIC is absolutely giddy in the presence of the GIRL, he caresses her face as if he knows her but she has grown. He motions to the OLD MAN who in turn points to the WOMAN. The MEDIC understands now. He holds out his hand to the GIRL but she goes over and clings to the OLD MAN’S leg, who graciously embraces her. The MEDIC implores the OLD MAN to stay put and hastily exits having forgotten the ammunition. He bursts back in to implore them once more before hastily exiting remembering to close the door quietly. Finally after entering once more, does he remember to grab the bucket from the OLD MAN. An awkward chuckle.)

 

(The OLD MAN and the GIRL share a moment. Confused they look at each other and back at the door. They shrug it off and get to attending to the WOMAN. The OLD MAN opens the bottle and pours some in her mouth. It tastes awful, truly awful but the WOMAN swallows it nonetheless. The OLD MAN takes the GIRL and WOMAN’s hands and places them together. He runs his fingers through the back of the GIRL'S hair and pats her shoulder as he makes his way contemplating into the back room. They wait as time progresses and the day rapidly changes from midday to the afternoon. Which is beginning to set.)

 

Scene 3: The Song of Life

(For the first night in many nights the world is dark. The GIRL is resting, asleep in the WOMAN’S lap. The OLD MAN slinks behind her, trying not to disturb either of his guests. He looks at a clock that appears to be working and then back on the WOMAN. He knows he needs to check on her but does not want to startle the GIRL. So he gracefully grabs on her shoulders and helps the dazed GIRL to her bed. He once again hands her the doll he found. Too asleep to take it he tucks it next to her and pats its head. Now he turns to the WOMAN and sits by her side. He feels her head as compared to his own. He is clearly concerned that things are not looking good. As a last resort he realizes he must do something he has not done since he was young. He places his hands together to pray but does not remember how to, much less any specific prayer. Behind him the OLD WOMAN emerges from the junk and holds his hands together. She places her head to his back and helps him, even if he does not realize it. Both share a smile but she remains unknown to him. She chuckles to herself and walks back towards the junk. On her way out she starts up another song with the turn of a dial. It plays the song of Innocence, a soft gentle melody that is reserved for the days where no care weighs on ones mind. )

 

(The world starts to turn light pink as the HUSBAND enters and begins to ready a large bag full of baby utensils and clothing. The WIFE pulls in the stroller through the front door and wheels it to the table. She wipes some drool from around the corners of the child’s lips and tucks the blanket further around the child. She gives the child a few excited and rather silly faces. She cracks herself up. The HUSBAND, wanting to get in on the fun sets down the bag and takes his WIFE’S place so that she can freshen up. He sticks out his tongue and rolls it and gets really close the child’s face trying to make the child cross its eyes. He takes a moment after seeing the child awake and responsive to soak it all in. This is the happiest moment in is life and he wants to absorb every second of it.)

 

(The WIFE returns with tea and flips on the radio. She begins to pour as she listens to the broadcast. The Song of Innocence suddenly stops as the radio is interrupted by an important bulletin. The pair listen as their world is about to change. She cannot believe her ears. The HUSBAND sees the concern in her eyes and turns off the radio. His hands find their way to her shoulders and he looks into her hectic eyes and into her thoughts. He gives a slight smile. She eases down, bucks up and nods to the HUSBAND acknowledging her moment of weakness. The Song of Decisions begins to play, a haunting melody marred with uncertainty and tethered to a cadence of urgency.)

 

(The WIFE guides his hands down and she holds onto one as she makes her way back to her baby. The HUSBAND breaks away from the WIFE so that he can fill a large familiar bag with useful items for the baby and themselves. It is a newer version of the suitcase in the OLD MAN’S shop.  The WIFE looks her baby over, smiles, and leans in to give the babe a kiss on the nose. She takes the strollers handle and is rejoined by the HUSBAND. They kiss and she exits. He turns back to look at his shop for perhaps the last time. There is a long pause. Then suddenly there is a whistle in the air followed by a massive explosion. The sound of panic and hysteria forces the WIFE and the stroller back into the shop. She watches through a crack in the door. The HUSBAND joins her trying to sneak a peak in the streets. They hold each others’ hands and their world fades into the present with the music.)

 

(The OLD MAN stirs from his prayer. He is clearly touched and has a determination in his eyes that we have never seen before. He looks down on the WOMAN as if she was his own, kisses her forehead and stumbles into the back and onto his bed. The night grows darker.)

 

Scene 4: The Dance with Death

 

(A storm has moved in. The sound of rain is greeted by the occasional flash of distant lightning; its distance great enough as to not wake the OLD MAN or the GIRL. The WOMAN’s fever has reached its highest point yet. Her head tosses from side to side in delirium. She is asleep but her mind races with the pain she is enduring. It is clear that her dreams are not pleasant. Our world begins to change to reflect that. A flash, a violent cough accompanied by closer thunder. She follows with another painful cough, her only muzzle: a thin handkerchief. The OLD MAN rolls over while the WOMAN stirs and tries to sit up. She is clearly far too dizzy to properly maintain her balance. Falling back to the table she begins to stare out through the old antique store window for a noticeable amount of time. She smiles and begins to reach out for those who are not there. Unfortunately her arms are too weak and she must let them come back to her sides.)

 

(The WOMAN begins to breathe heavy. Her eyes are open but she is beginning to lose her sight. Panic starts to creep in as her mind is afraid of what this means. Even in her delirious state, she knows. Our focus draws closer and closer to her as she begins to fight what seems inevitable less and less. In her fading moments a light appears. It radiates from the horizon out the window. She sees this light and in turn she sees herself as if she were looking in a mirror. The WOMAN rises and looks to the light, reaching out for its warmth as she stands up and gingerly moves in closer: her ailments, seemingly becoming less and less a concern.)

 

(Heavenly music begins to replace the rain as the WOMAN begins to accept this fate. She begins to delicately dance her way close and closer to the light. She is graceful, if not reserved. There she looks into the distant light. A figure of a man of stature now stands with his back to the light. She knows this man, as it is the ARISTOCRAT, now wearing a large overcoat to go with his white mask. She waits for him as he steps closer and closer. Each step accompanied by the distant drums of war. The light grows dimmer and clouds of smoke begin to fill our world as he approaches. The two come face to face, his hand caressing her cheek.)

 

(Suddenly he rips off his overcoat revealing a military officer’s uniform. The light grows scarlet as he turns from her. Weapons fire is heard. The music turns to a slow military march as he marches around pointing and giving out orders, shots fired with each order he gives. The WOMAN follows, repeatedly trying to get his attention. Each time the ARISTOCRAT turns to the WOMAN and briefly dances with her before quickly casting her off. More annoyed she tries to grab him and hold his focus. Enraged the ARISTOCRAT grabs her by the wrists, clearly hurting her. He spins her violently and casts her to the floor at his feet. The WOMAN reaches to grab his coat out of desperation. The ARISTOCAT turns quickly and back hands her back to the floor. Hurt, she rises and storms aside.)

 

(Seeing the rage in his face the ARISOCRAT gives an order and three bodies drop, one by one, hanging by their necks. At this point the WOMAN has wandered back into focus. She is horrified by what she is seeing. The ARISTOCRAT stands tall and proud and salutes his men. Just then the LOYAL SOLDIER enters with the GIRL. She is dressed very nicely but her hands are bound and she wears a hood. The music fades into the background as the storm returns. The WOMAN watches as the ARISTOCRAT removes the GIRL’S hood. Smiling he views her like a trophy and not as a human as he inspects her like a piece of property. The GIRL spits in his face. He wipes it off then returns the favor. Then he pulls his firearm. With a fistful of her hair, he holds his warning close to her so that she can see it. When he is clear that she has gotten his message, he orders the LOYAL SOLDIER onwards as he exits behind her.)

 

(The white light returns and the WOMAN once again begins to bask in its glow. This time she turns back to look at the spot the GIRL is once again sleeping in. She knows she needs to see this through to the end. She shakes her head “no” as she makes her way back to her table, her injuries once again slowly returning to realty as the white light fades to night. The rain begins to peter out as she covers herself back up and returns to the feverish state she had almost left behind. As her head rests the rain vanishes and the world goes to black.)

 

Scene 5: Much Needed Magic

 

(It is mid morning and the three are out, dead asleep.  A distant bell stirs the OLD MAN from his slumber. He did not even bother to change out of his clothes for bed. Like every morning he opens the hose in the ceiling and pours the collected water into the water tin. There is more than he expected this time so he looks up to the ceiling realizing it must have rained during the night. He is sad he missed it. He puts the water on to boil but does not turn the heat on. He feels his pockets. Nothing. He looks under the stove and in his bag. He is out of food and he knows they’ll all be hungry soon.)

 

(The OLD MAN makes his way back to the WOMAN’S side and feels her head again. The fever is barely getting better but he is still satisfied with the news. He knows that if he is to make a food run it has to be now. After tightening his belt he presses his face tight to the peepholes and looks for any kind of movement. The coast looks clear. As always, he double checks. Nothing. Tip toeing over to the GIRL he gently taps her shoulder. She doesn’t wake. He taps her again slightly harder. Still she sleeps. He then gives her a short shake that was perhaps a bit rougher than he intended. Her arms flinch and the OLD MAN recoils and she sits up wiping her eyes as if nothing had happened. He motions to the door then to his mouth, then back to the door then to her mouth. She understands. He then points at her then point’s straight down. Then he points to both of his visitors then straight down. She rolls her eyes which makes him point at her again and shushes her. He grabs the crochet mallet, his bag of wares including the crystal serving dish, looks out the peephole once more then exits.)

 

(The GIRL, seeing that he is gone, looks around playfully for MIBS. Just a quickly as she jumps to she abruptly stops to look at the WOMAN who is having a nightmare. The GIRL now resumes her search out of necessity. But MIBS is nowhere to be found. So she impatiently stops and taps her foot. Then suddenly a secret passage in the wall opposite the door opens and MIBS’ head pops out instantly changing the world. Before he knows it, the GIRL is pulling him out of the crawlspace and rushing him to the WOMAN’s side. He is baffled but is not scared of the near-death that lay before him. He looks to the GIRL unsure what she wants him to do. Her hands wave around like they were magic wands and then gestures to the WOMAN. Saddened MIBS has to shake his head ‘no’. He points between the two of them and gives a ‘yes’. Then he points to the WOMAN and himself and again gives her a ‘no’. Needless to say the GIRL is not accepting of this and insists that he must try. Adamantly she points at the WOMAN. MIBS, terrified of her wrath, pulls out his magic wand and waves it over the WOMAN. The GIRL joins him in waving her fake wand. MIBS hand finds its way to right above the WOMAN’s wound. He isn’t waving his wand anymore. He feels her pain and wishes he could take it away from her. But knows he can’t. Still he flatters the GIRL and resumes his magic routine ending in a grand finale of wiggling fingers releasing the evil spirits into the cosmos.)

 

(The GIRL is not satisfied. MIBS’ magic was not enough and she lets him know it is not his fault. They need to find something in this massive junk pile that can help ease the WOMAN’S pain and the GIRL is convinced that she will find it. She enlists MIBS’ help. He is reluctant but begins to find everything is amazing. Marveling at everything he touches. But just as soon as he sees how awesome it is, he loses interest and disposes of it. MIBS turns to the GIRL who is looking through the stacks of small boxes opening each, looking for anything useful. She picks up the special box. MIBS stops playing and fixates at the power emanating from within. The GIRL cracks open the lid. MIBS adamantly objects, pleading with her not to go any further. The lid opens and the glow engulfs the GIRL in a field of something not of nature. MIBS quickly makes her slam the lid shut. She is dazed by the power of the box. MIBS cups her chin, trying to bring her out of it by making faces and begging with inaudible words. Finally a smile cracks on her face and she is back to normal. Knowing the OLD MAN is near by the sound of footsteps approaching; the two quickly hide the box once again and carry on as if nothing had happened.)

 

(The GIRL hugs MIBS thanking him for his help. There is a rustling at the door. MIBS immediately retreats into the junk. The door opens and in walks the OLD MAN, minus the crystal dish but now with an onion and a head of cabbage in his arms. The GIRL gets excited but is instantly revolted at the OLD MAN'S choice of vegetables. He laughs her off and goes over to the water tin. He starts the water boiling then begins to peel/cut the veggies into the water to start to cook. The GIRL takes a moment then helps him break up the veggies; they share a smile as they put in the last chunk of onion. She wipes her hands on her pants disgusted by the smell. The OLD MAN cannot help but be amused.)

 

(The OLD MAN turns and asks the GIRL if she could keep the WOMAN company. He is met with a smile as she does as he asks. The OLD MAN walks over to a private corner. Making sure the GIRL can’t see he sets down the now broken crochet mallet and pulls out a small gun. He loads it with three bullets and tucks it back into his coat. Over at the table the GIRL sits at the WOMAN’S side but only seems to be fixating on the special box as it is still glowing. The OLD MAN turns back and the GIRL quickly resumes tending to the WOMAN. The glow dies.)

 

(A beat. Then the front door opens. The GIRL crouches unable to hide the WOMAN as a SOLDIER stumbles into the room. There he comes face to face with the OLD MAN who shows no fear. The SOLDIER takes off his helmet and it is obvious that he has taken a blow to the head. He drops his helmet and sees the WOMAN. He turns back to the OLD MAN, draws his knife (he has lost his primary weapon) and immediately passes out cold. The OLD MAN grabs the crochet mallet and stands over him, debating what to do. He elevates the large mallet over his head. The OLD WOMAN enters and slowly glides down through the junk and stops behind the GIRL. For the first time her face is completely visible. A chill goes down the OLD MAN’s spine and he looks to the GIRL who is once again staring at the vicinity of the box. The OLD WOMAN rests her hands on the GIRL, who doesn’t seem to feel them but stirs from her gaze to look at the OLD MAN.  The OLD WOMAN moves her head side to side but all he seems to see is his youngest guest. Then suddenly he feels something that becomes somewhat of a revelation. The OLD MAN and OLD WOMAN’s eyes finally meet up. The OLD MAN realizes what he needs to do. The mallet lowers slowly and the world fades to black.)

 

End of Act II

 

ACT III

Scene 1: The Dance of Betrayal

 

(It is the dead of the night. The world turns to nightmare as the Woman’s fever has reached its breaking point. It is her world growing dark; being replaced by memory of just two weeks prior. Isolated at a vanity and seated on a stool, the Woman, dressed for an elegant event begins to remove her jewelry. Gentle folk music plays in the background. Almost angelic, it is the kind of music that reminds its listeners of better yesterdays and of promising tomorrows. She has a reflective moment staring at herself in the mirror before leaving her makeup on. She continues to get undressed and ready for bed.)

 

(A sudden, loud, blood curdling scream from the Girl, her holding place in the house is now visible. The Woman clearly heard it, her troubled heart knowing what is going on. The Girl’s hands are shackled. There are clear signs that she has been beaten.)

 

ARISTOCRAT

(From somewhere unseen but present)

Tell me all that you know or we will begin again!

 

(Frightened and again silent, the GIRL pleads no and reasserts that she doesn’t know anything. The ARISTOCRAT, now walking into focus, pulls out a box. It is the same box that presently rests with the OLD MAN. He opens it, its glow brighter than ever. The GIRL becomes engulfed by a similar light. She jerks to her feet as if an outside force tugged her up. She stands as if she were a marionette, still pleading for the ARISTOCRAT to stop. He begins to count as if he were a band instructor as she begins to dance to his music. When he twirls, she twirls. It is clear that he is controlling her actions. Her bloody feet tell us that this is not their first dance. He starts her out slowly then takes the pace gradually faster and faster until she can’t take it anymore. He takes her to her threshold. The WOMAN is done. So is the GIRL who can take no more.)

 

(The ARISTOCRAT closes the box and the GIRL falls back to the ground. The ARISTOCRAT squats by her. He tries to bargain with her but the GIRL collapses into her pain and fear. He is disappointed. Patronizingly he pats her head assuring her of his return as he padlocks her chains to the floor. He pockets the key and leaves the box on a nearby table that is just out of reach and exits.)

 

(The WOMAN moves to her music player and changes the song. The slow jazzy tune brings the WOMAN to her feet. She slow dances with her arms wrapped around herself. The GIRL looks up to see MIBS enter. He inspects her chains. His magic wand doesn’t work and MIBS knows he can do nothing but ease her pain. He brushes through her hair and cuddles up behind her. The GIRL raises her head and MIBS leans in and gives her a kiss on the cheek.)

 

(The WOMAN’S moment is fleeting. The ARISTOCRAT enters behind her. She turns to him and tries to dance. He shrugs it off and takes her by the chin. They spin so that he has back to the audience. He releases her chin and at that moment she knows. They share an intense glare as his hand moves to his pants zipper. He unzips them and sits on her stool, his back resting on the vanity. A beat. He points down to his crotch.)

 

(The WOMAN in nothing but a night gown now, gets on her knees at his feet. She leans in. He is pleased with her decision. She begins to orally satisfy him. He rests his hands on the back of his head as she struggles with the act. She gags and coughs periodically as he begins to hold her head down for extended periods and even begins to control her bobs into his lap. He lets her gasp for air. Her makeup has begun to run and he loves it. He shoves her head down once more. He thrusts himself and reaches his end. With her hair still in his hands he picks her off of his lap and lets her fall at his side. He stands up, zips up and exits without saying a word.)

 

(The WOMAN sits up, tears in her eyes. She gathers her breath and begins to laugh. In her hand is the padlock key. She hastily puts on some civilian pants and grabs a few clothes she had prepared and throws them into a backpack along with a roll of goods for trading. She exits. MIBS senses that it is time to go and stands up and walks to the door blowing the GIRL a kiss before he reaches for the handle. He opens the door and exits leaving the door open.)

 

(The WOMAN re-enters to find the GIRL. She wakes the tired child and removes her chains. The GIRL is in rough shape. She doesn’t care who is helping her just that someone is. The WOMAN gets her to her feet, ensuring that the GIRL can still walk. She can with help. The two start to exit before the GIRL turns them back for the box. She cracks the lid. The WOMAN stares into it before slamming it shut and throwing it in her backpack. A dog begins to bark. The two turn to run. Blackout. Sirens and dogs continue to bark in the darkness surrounding the world of our stage. Accompanied by the calls of Soldiers leading the chase and calling out in pursuit as search lights/ torches from Soldiers are seen in the door ways of the theatre.)

 

ARISTOCRAT (Offstage)

MOVE ON! She’s heading towards the border!

 

(The Soldiers exit before fading back into reality of the present. The Girl is in her bed and the WOMAN sits at the edge of her table taking in everything that has just happened replaying in her head. She sighs as she looks to the girl, nods, then rests back down to sleep. Fade back into the deepest part of night.)

 

 

Scene 2: The Right Thing

(The OLD MAN welcomes in the new day. From a first glance, it appears that he did not sleep during the night but had instead covered up the GIRL with his blanket. She had fallen asleep in his corner. Over by the door the INJURED SOLDIER lies, alive and surprisingly doing well as the OLD MAN has also dressed his head wound. He has however tied the INJURED SOLDIER’S hands behind his back and has also issued him a blindfold and gag. The INJURED SOLDIER stirs and finds himself bound to a housing strut rendering him incredibly stationary. The OLD MAN is apathetic as he tries to prepare a breakfast consisting of the remaining cabbage. He tries to add water to the pot but the water hose is empty. The INJURED SOLDIER’S struggling escalates. The OLD MAN digs around in his bag of wares and pulls out all sorts of knickknacks and other oddities before he comes across a small canteen. He shakes it and hears the contents slosh around inside. He pours it in the soup and puts it on the heat.)

 

(The OLD MAN stumbles over to the WOMAN and checks her temperature. She is already improving. His eyes turn to the INJURED SOLDIER. He picks up the knife the INJURED SOLDIER had dropped earlier and walks up to face the INJURED SOLDIER. The struggling stops. The OLD MAN takes the knife and flicks it with his finger a few times. The INJURED SOLDIER knows what is in the OLD MAN’S hand and begins to accept his fate after a quick struggle. But there is another possibility he did not think of and the OLD MAN pulls the blindfold off of the INJURED SOLDIER and reminds him to remain quiet. To send his message the OLD MAN pantomimes a throat slitting and presses the knife into a table a few feet away and lets the INJURED SOLDIER see it.)

 

(The OLD MAN smiles and returns to his soup that is now ready. He pours a bowl and returns to the INJURED SOLDIER’S side. He shushes the INJURED SOLDIER once more as he pulls out a spoon out of his coat and slowly removes the gag. The INJURED SOLDIER does not know what to say as the OLD MAN feeds them the first few bites of vegetables.)

 

(The WOMAN stirs and sits up for the first time. She rubs her eyes and feels her wound. It stings to touch. Then she sees the OLD MAN and the INJURED SOLDIER. She is shocked to the point of stumbling backwards. The GIRL stirs herself awake. The WOMAN angrily grabs the knife out of the table and takes a step towards the INJURED SOLDIER. The OLD MAN rushes to stop her. The WOMAN is crazed. She swipes the knife in the direction of the INJURED SOLDIER but the OLD MAN is standing firm. She tires quickly and the OLD MAN pries the knife from her hands and throws it out of reach. The OLD MAN looks into the WOMAN’S eyes. He sees the fear and the anger, but he also sees her true self. He shakes his head ‘no’ and shows her that the INJURED SOLDIER is as fragile and human as they are. The WOMAN is reluctant but finally she caves and returns to her table. The two help her up and cover the WOMAN back up.)

 

(The OLD MAN invites the GIRL to try the soup which she does with no qualms. She still doesn’t like the smell or taste but beggars cannot be choosers. The OLD MAN is amused. But as quickly as he was to smile, his emotions go cold when he sees the INJURED SOLDIER. He picks up the INJURED SOLDIER’S knife. The two exchange a look in which the OLD MAN points around his shop and its occupants and nodding the INJURED SOLDIER promises to keep the shop a secret. The OLD MAN knows he will keep his word so he kneels close to the INJURED SOLDIER’S face and replaces the blind fold so the SOLDIER cannot find the store again. The OLD MAN, leaving the INJURED SOLDIER’S hands bound, cuts the rope tying the SOLDIER to the building and with a mighty jerk the OLD MAN stands the INJURED SOLDIER back on his feet. The two make their way to the door. Standing aside, the OLD MAN holds the door open enough for the SOLDIER to feel the wind and sun on his face. The INJURED SOLDIER stumbles back off into the war zone. The door is closed slowly and sighs of relief are had by all.)

 

(The GIRL is proud of him. She skips to his side and places a little kiss on his cheek. His day has been made. He fears the INJURED SOLDIER may return but for now he has made the GIRL happy and that is victory enough for him. He finds a chair in the junk and plops down in exhaustion. The GIRL continues to skip around the shop, picking up her doll. He watches her closely as our focus shifts to her dance. The OLD WOMAN’S silhouette is seen. She raises her hand and The Song of Jubilation begins to play. It is a gentle but sweet tune as if played by the most cherished of music boxes.)

 

(Soon all that can be seen are the OLD MAN and the GIRL who is still dancing with her doll. He watches as more and more joy turns to sadness as if the music box was slowly coming to its inevitable end. And in a sudden flash the GIRL’S coats fly off her revealing a new outfit and out world shifts back into the past. She has become THE DAUGHTER. The OLD MAN snaps back to reality and the two share a long look. The Song of War takes over and the world goes dark with a mighty bang.)

 

Scene 3: The Song of War

 

(The Song of War beats on quietly as an uneasy heartbeat grabbing hold of all who bear witness as the World returns. The HUSBAND and the WIFE appear to be in the midst of a serious conversation. The DAUGHTER stands ready to go out with her mother. The two appear to be going to the market. The HUSBAND pleads with them not to go. The WIFE opens a cupboard to reveal nothing. She opens the HUSBAND’S container to reveal nothing. He knows they can’t be afraid of the world and need to persist but he feels bad about today. His gut is speaking to him and it is adamant. The WIFE points to the DAUGHTER. They have to provide for her. That is what is most important. The WIFE takes him by the hand and leads him to the window. She implores him to listen to the gentle breeze and passersby’s. Whatever war he is afraid of is not here. The HUSBAND caves in and hands her his wallet. She hands it back to him and pulls out her wallet instead. The two exchange a smile as they both know who is better with their money.)

 

(The HUSBAND walks them to the door. The HUSBAND and WIFE kiss, despite the DAUGHTER’S disgust, as she closes the door behind her. The HUSBAND is still unsure. But there is nothing he can do, so he sits down and begins to clean and tinker with a new collectable he wants to sell. He turns around and turns on the radio. As the HUSBAND works the WIFE and DAUGHTER begins to walk down the aisles of the space, periodically being seen stopping as children are with their parents. Then a news bulletin the beating of the Song of War intensifies. The HUSBAND pops to attention. He listens very closely. The WIFE and DAUGHTER have seemingly stopped at a fruit stand as they try an uncommon treat. They are having a good day together. The HUSBAND jumps to his feet and grabs their large suitcase and rushes out the door.)

 

(A loud warning siren drowns out the music. The WIFE and DAUGHTER look at each other. The HUSBAND rushes closer and closer. We see the steps of their journeys toward each other periodically along the way. Suddenly weapons fire breaks loose. The HUSBAND hits the deck and the WIFE and DAUGHTER tuck themselves low to the ground. A loud blast. Followed by another. The HUSBAND felt that one. He knows he can’t hesitate any longer. He soldiers on. Finally they see one another. The WIFE yells for him; pleading he return to the shop as the two of them slowly makes their way towards him.)

 

(Just then a whistling noise grows closer and closer. The HUSBAND turns towards it. He throws up his arms screaming “NO!” at the top of his lungs. The WIFE sees it. The whistling has become overbearing. The HUSBAND and WIFE turn to face each other. They know. The WIFE picks up and throws the DAUGHTER away from her and into the unknown. There is a loud explosion along with a spectacle of light followed by immediate and complete darkness. All is dark with exception the OLD MAN who watches on. The music stops.)

 

(The world returns to the HUSBAND who somehow stumbles to his knees.  The dream once inaudible becomes very real. These are the sounds one does not forget. A giant gasp for air. Their suitcase battered by shrapnel. He looks over to where his WIFE and DAUGHTER once were. The horror is beyond mention. The sound of sorrow.  He throws up. He looks in their direction some more. He does not see his DAUGHTER but she is certainly gone. Everything appears to be gone. In his disbelief he stumbles towards them in darkness. When he gets to them he picks up a black mass in tattered fabric that appears to be the WIFE’S dress. He stops and holds the mass tight. His sorrow is absolute. Dumping the suitcase he places the mass (presumably what is left of her body) into the now empty compartment. He fixes the fabric as if it was a twisted shirt and closes the lid. Grasping the suitcase tight he stammers back towards the shop. The sounds of chaos falling on his partially deaf ears but he pays it no mind now as he makes his way back inside. The HUSBAND stands inside the door clutching the suitcase.)

 

(The whistle returns. This time there is no cowering. The HUSBAND fixes his shirt and as the noise comes closer he readies himself to join her. A massive explosion behind the shop engulfs the stage then darkness once more. Followed by the sound of the walls splintering and roof collapsing. When the world returns, the HUSBAND is dirtied and on the floor but unharmed. His arms still wrapped around the suitcase. The light shines in on the now open sky. The HUSBAND looks down to the ground. The light is reflecting on something. He picks up a large shard of shattered glass. He looks to his WIFE and knows what he wants to do. The WIFE (Not the black mass on table) appears behind him. She is dressed now the same as the OLD WOMAN. He motions the glass towards himself and she rushes to stop him. The world snaps to black.)

 

(Slowly the present returns. The OLD MAN stirs and the GIRL is resting on her mattress. The OLD MAN looks at his new companions and knows his time with them is drawing to a close. He gets an idea and the world fades out.)

 

Scene 4: A poor wayfaring stranger

 

(An eerily calm evening. A cicada is heard singing as the sun vanishes behind the horizon but still lights the day. The WOMAN sits up. Her fever is now gone and she appears ready to get back on her feet. Her wound still hurts tremendously. This concerns the GIRL who drops the latest piece of junk she is currently fixated with and rushes to the WOMAN’S side. Now stable the two embrace. The hug is like needles but the WOMAN doesn’t care. She is happy to be on the mend. But something is missing; she has no idea where the OLD MAN had gotten off to. She scans the shop and picks up his trusty bag of wares. He is not out trading. She looks to the GIRL who shrugs her shoulders as she did not see him slip out either. They find his hat and coat. But no OLD MAN. The WOMAN smiles and picks up both of their bags and starts to load them for the next leg of their journey.)

 

(Finally the OLD MAN emerges from a door that appeared to be nailed shut. He is carrying new clothes for his companions, including a nice simple outfit for the GIRL. When his eyes meet up with the WOMAN he can’t help from displaying his total delight. He moves to her the new clothes but his hands hesitate, knowing that they will not be staying with him for much longer. His hands move back to his sides as he awkwardly points to a place where she could change. She whispers something in his ear and both can’t help from sharing a silent chuckle. The WOMAN goes behind the junk pile as the GIRL goes in the now open closet.)

(Suddenly alone, the OLD MAN takes this opportunity to check the peep holes out into the street. Nothing. It is getting darker. Making his way down to the table he grabs his candles and lights one with his lighter. He checks his little kitchen for any remaining food. Nothing. The two women reemerge. The WOMAN doesn’t know what to say so she just hugs the OLD MAN. A distant rumble begins. The GIRL joins her. For a moment the OLD MAN forgets the war. He forgets his pain and loss and is completely content. They may as well be his kin even though they met a few days prior. The OLD WOMAN appears in the door that the GIRL had forgotten to close. The OLD MAN sees her plain as day. He feels validated.)

 

(The bugs stop suddenly. The OLD WOMAN vanishes. Everyone looks at each other and slowly separates.)

 

(Then it happens. An armored vehicle pulls up and slams on its breaks behind the house. The OLD MAN is done hiding. He points down behind the table to where the WOMAN could cover up. Then he rushes the GIRL over to what appears to be his latrine. He hands her the special box and pulls the chair out to reveal a hidden compartment. She crawls in.)

 

(The vehicle doors open and SOLDIERS dismount)

 

(He reminds the GIRL to remain quiet and wait. He seals her in and walks back to the center of the room. The rumble in the distance gets louder. The OLD MAN readies his clothing. He tucks in his shirt and combs through his hair. The doors shut.)

 

MALE VOICE (MAJOR)

Light them up!

 

(Bright lights blast the plastic/canvas wall revealing the MAJOR who is flanked by two SOLDIERS. He towers above his men and has that feel of invincibility that comes with success. He points one SOLDIER to the side door.)

 

MAJOR

Spread out! Do not fail me. Search every house, shed, barn, and shithole until they are found. You, check the door!

 

A DISTANT SOLDIER

Sir!

 

(The LOYAL SOLDIER and the MAJOR walk off toward the call. The INJURED SOLDIER enters with only his sidearm pulled. He takes a few steps in and sees the OLD MAN standing there unafraid. They don’t need to speak. The OLD MAN knows the INJURED SOLDIER would never report him, nor did the INJURED SOLDIER want to. A beat, The INJURED SOLDIER nods a few times and turns around to leave. Just then the entire plastic/canvas wall is ripped clean off of the house. The MAJOR stands in the light with his LOYAL SOLDIER. The twisting wind blows garbage and smoke into the building from behind as the OLD MAN tries to see these men through the light.)

 

MAJOR

What’s your report?

 

INJURED SOLDIER

A senile old vagrant, Sir.

 

MAJOR

Hands up. Don’t let the possum deceive you. These petty traders always have ways of slipping by. This one has seen his fair share of days. Check him.

 

(The OLD MAN and MAJOR read each other, weighing each others character as the LOYAL SOLDIER frisks the OLD MAN. The OLD MAN knows the MAJOR cannot be trusted. Then the LOYAL SOLDIER finds the pistol.)

 

LOYAL SOLDIER

Sir!

 

(He hands the gun to the MAJOR)

 

MAJOR

…But luck only gets you so far… surviving this long takes spirit… I take it you trade with both sides? That is the logical explanation. How else have we not shut down this very obvious trading post? Shall we sit? We have a great deal to discuss.

 

(The OLD MAN stays put but the MAJOR sits on the table, very close to the hiding WOMAN)

 

MAJOR

Do you have any clean water? No? No matter, I came prepared. Care for a glass? It has got to be better than that rainwater you have been drinking. Oh, that’s how I knew someone was living here. I saw that the cloth led to a funnel in the roof. Clever. I see it runs down to a corked hose. I’m impressed. It is those survival instincts that so many lack… You are the quiet type. How do you haggle?... Oh well, to our paperwork. Let’s start with your name.

 

(The MAJOR pulls out a small notebook and pen.)

 

MAJOR

Name?

 

(Beat)

 

We’ll get back to that. Age? Early sixties. Occupation? …Shall we say antiquities dealer? See, this isn’t so bad. It’s for the best. Now there are two ways we can play this out. You can use those survival instincts and tell me everything you know about the two fugitives that were here the other day, don’t deny it… You without a doubt saw them. Maybe even traded with them? Now you can tell me everything you know to be true or my men could use this place for a little target practice and I must say, as a course instructor in my past, they are in need of the practice. It’s your call.

 

(The OLD WOMAN appears behind the MAJOR. The OLD MAN smiles.)

 

MAJOR

Is something funny?

 

(The OLD MAN points to the OLD WOMAN who stands directly behind the MAJOR. She holds her hand out telling him to stay)

 

MAJOR

There is nothing there, Old Man. Only the broken and rotting reminders of days passed. Much like you will be if you don’t cooperate… I want to be on your side. Or rather, you on mine. Now, your name?

 

(Nothing)

 

I really tire of this. You, persuade him. Strip him down. His undignified body will adorn the street as a warning to the other rodents.

 

(The LOYAL SOLDIER pushes the OLD MAN’S arms aside and wails him in the gut with the blunt side of his weapon. The OLD WOMAN moves to the OLD MAN’S side and holds his hand No one else sees her. The SOLDIER then begins to strip the elder’s coats, pulls his pants to his ankles, unbuttons his shirt and finally removes the OLD MAN’S scarf. )

 

LOYAL SOLDIER

SIR!

 

(The OLD MAN starts laughing hysterically. The LOYAL SOLDIER holds up the OLD MAN by his hair to reveal that his throat had been slit nastily and he could not speak even if he wanted to.)

 

MAJOR

Then write or I will watch my men carve on you. You know how that feels. Slow, painful, messy. Where are they?

 

(The WOMAN bursts from hiding holding the OLD MAN’S knife. She aims for the MAJOR’S shoulder blades but he is too quick for her.)

 

MAJOR

Well hello dear.

 

WOMAN

You just couldn’t let us go.

 

MAJOR

And give up our family? No my dear, you are mine and so is she.

 

 (The WOMAN charges the Major. As suddenly as she thrusts he snatches her blade hand stopping her momentum. His other hand shoots to her throat and quickly she is overmatched. The OLD MAN tries to resist but is restrained by the LOYAL SOLDIER)

 

MAJOR

That’s better. Drop it… drop… it. Hands up! NOW!

 

(His grip on her throat gets tighter and tighter until she has no option but to drop the blade and open her fists)

 

WOMAN

You’re nothing but a mad dog.

 

MAJOR

Then the dog will make you heel. Heel or I squeeze harder.

 

(The WOMAN stops resisting. The MAJOR releases his grip leaving her gasping for air)

 

MAJOR

I’m glad to see that you can be reasonable. I have missed you.

 

(She spits in his face. The MAJOR tightens his grip again.)

 

MAJOR

You’ve gone so feral.

 

(He releases)

 

MAJOR

 Breathe easy dear, I’m not going to kill you. Soldier.

 

(The INJURED SOLDIER binds her hands. A rumble in the distance is heard.)

 

MAJOR

In fact you’re just the person I wanted to see. You took something of great value from us and my Commander has requested that I retrieve it no matter what the costs.

 

WOMAN

She’s with her family.

 

MAJOR

I could care less about the Girl. She wasn’t long for the world anyway. Sometimes a message is best sent when hits close to home. Don’t you agree? I am sure her father would have been rash and revealed his location when he received her pretty little head from our envoy. But alas, we will have to find another way to remind him that this land does not belong to his kind. It belongs to us.

 

WOMAN

…you’re a real bastard.

 

MAJOR

Charming as always. It’s amazing that no matter how many of these interrogations I do; it always seems to come back to the same script. So let’s cut the bullshit. Where is the box?

 

WOMAN

What box?

 

MAJOR

Soldier.

 

(The INJURED SOLDIER reluctantly hits the WOMAN.)

 

Again.

 

(Another weak blow)

 

Harder.

 

WOMAN

Yeah... Harder.

 

INJURED SOLDIER

…No… No Sir, I will not. These people patched me up after we were ambushed.

 

(The INJURED SOLDIER turns to face the MAJOR but catches the OLD MAN’S eye. He stands strong. A sudden gunshot from the MAJOR kills the INJURED SOLDIER where he stands. All seem to react.)

 

MAJOR

Pathetic. Sorry for that interruption. I will ask again. Where is the box?

 

WOMAN

I don’t know.

 

MAJOR

The next one goes in the old fool and at this range, I can’t miss.

 

(The WOMAN hesitates. The OLD MAN shakes his head.)

 

WOMAN

My bag. Under the table.

 

(The MAJOR rips it open and dumps the contents in front of her. It is not there)

 

MAJOR

Bring him closer. Do you want to try again?

WOMAN

I don’t know where it is! I had it in my bag. I must’ve lost it running from your men.

 

MAJOR

Where did you hide it?

 

WOMAN

I didn’t!

 

MAJOR

LIAR!

 

WOMAN

I’m NOT LYING!

 

MAJOR

TELL ME! OR I will burn this house to the ground! And that little Girl is still here, isn’t she? … ISN’T SHE?! …Oh she is. Now tell me the truth!

 

WOMAN

I don’t know where it is! I don’t know how I can be any clearer? I. Don’t. KNOW!

 

MAJOR

Huh. I believe you.

 

WOMAN

You do?

 

MAJOR

Unfortunately.

 

(The MAJOR shoots the WOMAN in the chest. She falls gasping and struggling to hold on to the frailty of life. She dies reaching to the sky.)

 

MAJOR

How about you? Oh, you didn’t like that. Especially how after you patched her all up and nursed her to health. Surprised I knew that? Who do you think put a bullet in her in the first place? She didn’t lose the box down at the checkpoint on the edge of town. I know… I looked. That leaves one place: right here. Now tell me, Old Man, where did you put it? Save me the effort of digging through this trash heap and I might just let you and the Girl live.

 

(The OLD MAN points towards the MAJOR. He extends his arm out. He puts one hand against his throat in an effort to talk. The OLD WOMAN helps him)

 

OLD MAN

You talk too much.

 

MAJOR

Care to repeat that?

 

(The OLD MAN laughs and shushes the MAJOR.)

 

MAJOR

Old fool…

 

(The OLD MAN shushes him quieter and closes his eyes. The OLD WOMAN walks behind him and runs her hands through his hair as he looks to the ceiling. He smiles. A heavenly light as the rest of the world goes to darkness. The OLD MAN stands and straightens his shirt up. She helps him re-button his shirt. She can’t take her hand away as she does his last button. He takes the OLD WOMAN close and wipes a tear from her eye with the back of his hand. Their hands meet. A slow moment of dance.  She vanishes into the darkness. A gunshot and the world snaps to normal. The OLD MAN stumbles forward. There is another gunshot, followed by another. The OLD MAN crashes back into his collection. He dies laughing.)

 

MAJOR

Dancing. That’s a new one… Tear this place apart and throw the carcasses in the streets for the rats.

 

GIRL (In hiding)

NO!!!!!

 

MAJOR

Right on cue. Like father, like daughter.

 

(All of the sudden there is a glow emanating from the Girls hiding spot. It is the glow of the box. It grows brighter and brighter.)

 

MAJOR

She didn’t.

 

(The entire false wall comes bursting from the wall outward. The glow radiates into the dusty room. The Girl emerges. She now glows brightly and has in her hand a mysterious object, undoubtedly the contents of the box. The LOYAL SOLDIER draws his gun and aims)

 

(***NOTE: This object can be anything depending on the era of the play. It could be alchemy, mystical, religious, technological, or even other-worldly. What the item is doesn’t matter. It is what you make it.)

 

MAJOR

NO! Put your weapon down, SOLDIER.

 

(The LOYAL SOLDIER does so. The battle outside draws very close.)

 

Hey Pumpkin. What do you have there?

 

GIRL

You shouldn’t talk to me like that. I’m not a child anymore.

 

MAJOR

No. I guess you’re not. But you don’t understand what you have there.

 

GIRL

I understand enough. You showed me what this is capable of. You.

 

(Weapons fire outside. The GIRL glows even brighter as she points to the LOYAL SOLDIER who begins to glow in a similar light. Suddenly he drops to his knees as if he were kicked in the back of each leg.)

 

LOYAL SOLDIER

Sir! I can’t… move… What? What are you doing? Stop. Stop! Please! I can’t control it. No! No. No! No! NO!

 

(With a scream that goes mute the LOYAL SOLDIER has lost all control of his body. His body is being manipulated like a puppet. He pulls out his knife and aims it at his torso.)

 

MAJOR

Stop this.

 

(She stops to look at him)

 

GIRL

You never stopped.

 

MAJOR

You’re not me. Play time is over, hand it here. This power was not meant for us to handle.

 

GIRL

Since when are we ‘Us’?

 

MAJOR

You’re not a murderer. You are just a little Girl. It’s the box. It twists your emotions and corrupts your morality. This is just the beginning. Hand it over.

 

GIRL

Liar. You and your kind made me like this. Even the nice ones didn’t try to stop it. You are all guilty and must pay!

 

(A loud explosion outside and the GIRL does not flinch. The LOYAL SOLDIER drives the knife into his chest. He twists the blade. Pulls out and drives it again into his lower torso and drags it. He falls to the ground. The MAJOR moves for his gun. He freezes.)

 

GIRL

No.

 

MAJOR

Please. Spare me. Resist the power. It’s driving you to this. Don’t listen to it.

 

GIRL

You’ve taken everything from me.

 

MAJOR

It brings out your darkest self. Where is the little girl I knew?

 

GIRL

You took it all! You stole me. I tried to hold on to anything that reminded me of home. But the pain made it so distant. What makes me a kid now can be summed up with what? An imaginary friend from a faint memory? That little girl has to grow up.

 

MAJOR

Then do it. Grow up and finish this.

 

(She begins to make the MAJOR choke himself using this power. The world glows the MIBS’ color. The GIRL is distracted. She turns to see the HUSBAND and WIFE standing where the OLD MAN had fallen. They shake their heads ‘no’. She is moved by their presence and stops choking the MAJOR. The MAJOR sees this moment of weakness and rushes towards her. Surprised she forces him to stop and snaps his legs like twigs. He screams out in pain then collects himself.)

 

MAJOR

MY LEGS! You broke them! You little bitch!

 

(He reaches out for her.)

 

MAJOR

Now finish it.

 

GIRL

I’m not going to kill you. I want you to be in pain for the rest of your life. This is how I want to remember you.

 

MAJOR

I will heal and when I do I will find you.

 

GIRL

No… you won’t.

 

(She snaps his arms. He screams with each snap.  His mangled form looks up at her)

 

MAJOR

Such hatred… you have never been more beautiful… I win.

 

(She looks down onto him with such hatred. Then her eyes find their way to the HUSBAND and WIFE who are glad she spared him. They know that she doesn't have it in her to be a monster.)

 

GIRL

I’m not you. Get your rest. My dad’s men are here.

 

(She forces his head up and slams it on the ground rendering him unconscious. The glow surrounding her fades to the item in her hand. Quickly she is all we can see. She looks up and the couple is gone. The world fades back to normal. In their stead stands the REVOLUTIONARY. The two share a long look. A smile slowly emerges followed by true happiness as the two rush towards each other and she jumps into his arms. She drops the item.)

 

REVOLUTIONARY

I thought we lost you.

 

GIRL

Don’t ever go away again.

 

REVOLUTIONARY

I won’t.

 

(The MEDIC enters)

 

REVOLUTIONARY

He needs immediate attention. When you can move him, take him back to camp. His limbs may be broken but his jaw isn’t.

 

GIRL

And don’t kill him. He deserves his demons. Now can we go home?

 

REVOLUTIONARY

Very soon. I promise.

 

MEDIC

What about the weapon? Its power could turn the war in an instant.

 

(The REVOLUTIONARY turns and looks down at it. He doesn’t even think about it and smashes the item with his foot until it is in many pieces.)

 

REVOLUTIONARY

We fight our own battles. Let that power remain God’s and the nightmares of our own creation be crushed by hope.

 

MEDIC

Yes sir!

 

(The MEDIC extends his hand to the GIRL who takes it and exits. But not before looking back one last time. The REVOLUTIONARY turns to the OLD MAN and closes his eyes and rests his hand on the OLD MANS heart)

 

REVOLUTIONARY

Thank you.

 

(Looking to the WOMAN)

 

Both of you.

 

(He exits. The Heavenly light returns and the WOMAN stands. The HUSBAND and WIFE walk out from behind the junk and take the WOMAN by the hands. They walk her back into the junk piles as the sound of SOLDIERS move on by the shop. The WOMAN looks back and places the needle of the phonograph onto the record. The “Song of Redemption” an anthem of hope, starts and the world fades to black.)

 

THE END