Title: 1¾ « n f
Author: barker
Last saved by: thewkst
Company: Northwestern College

Accolades for CROSS PURPOSES

"What a powerful drama!  It is stirring, thought provoking, entertaining, bibically based and presents an unforgetable image and message."
				-Rev. Kenneth Tenckinck, Sheldon, IA

"CROSS PURPOSES presents the guts of the gospel with precision and integrity.  The unforgettable scene of the two thieves on the cross evokes both the horror and the majesty of Christ's crucifixion."
				-Dr. Robert F. Lay, Professor of Religion and
				 Christian Education, Northwestern College, IA

"CROSS PURPOSES is a powerful, creative and relevant presentation of Holy Week.  I recommend it with enthusiasm."
				-Rev. Harold Korver, Paramount, CA

"CROSS PURPOSES is searching, inspiring, uplifting, humbling, and downright funny, all in the same play.  I enjoyed it immensely!"
				-Rev. Louis Lotz, Sioux City, IA

"CROSS PURPOSES - Powerful!  Challenging!"
				-Audrey Den Herder,
				 President, Reformed Church Women

"It will captivate you and make you feel as though you are one of the participants 2000 years ago."
				-Suzanne K. VerHoeven, Newkirk, IA

"What the best of sermons cannot portray, CROSS PURPOSES does in making the events of the Cross and Resurrection come alive."
				-Rev. Gary Dekker, Slayton, MN

"CROSS PURPOSES is a powerful drama which protrays the events of Holy Week in a unique and challenging was.  I highly recommend this play!"
				-Rev. Steven Vander Molen, Orange City, IA

CROSS PURPOSES

a walk through the events of Holy Week
using drama, music, and scripture 

written by Jeff Barker

Jeff Barker
321 Albany Avenue NE
Orange City, IA  51041

(712) 737-8090 (home)
(712) 707-7093 (office)
______________________________________________________
	
	Rights and Royalties:  For information, please contact the author at the above address.

	Special thanks for writing assistance from Dan Meharg and Jeff Taylor.  Thanks also to Karen Bohm Barker, Dan Ostling, and Paul Blezien for valuable input.  Finally, thanks to Rev. David Castro who got the whole thing started.

	This play/worship service is meant to be performed in the chancel of a church building, but it can be presented wherever there is a small, open playing area.  

     Playing time is approximately one hour.

SCENERY:  At the beginning, we see two wooden folding chairs at the center of the playing space.  They are side by side.  There is a small pile of thin boards in front of the chairs.  These boards represent a fire and will later become the stand for the sacrifices sign and finally for the image of the cross.

CHARACTERS:  In the original production of this play all the characters were played by two male actors.  Man 1 [M1] plays Jestus, Jesus, Judas, Petronius, Cleopas, and a Jewish authority or two.  Man 2 [M2] plays Dysmas, Jacob, Pilate, Marcus, and some more Jewish authorities.  The monologues, if desired, can be assigned differently than indicated.  If this is done, some shifting of other line assignments will of course be necessary.  (NOTE:  This play was written to be performed by two men.  It is possible, however, to assign each of the characters to a different actor.  If this is done, you may also wish to bring the "imaginary" characters on the stage and have them speak the lines that are currently heard only in the audience's mind.  You should feel free to experiment and produce this play in the manner that works best for you.)

SOUND:  A sound technician is required for this production.  Throughout the play, there are music cues which are played on tape.  Music is crucial to establishing mood and aiding transitions into new characters.  Contemporary music is the appropriate style.  Each producer is free to choose or create background music which is appropriate to the mood of each scene or moment.  Producers are encouraged to contact the author concerning what has been done for other productions.

PROPS/COSTUMES:  Each of the major characters has some character-prop or costume-piece that eventually becomes part of the cross image that will be constructed at the end of the play.  These are the character's pieces:

JESTUS:  A thin strip of colored cloth twisted and tied at the appropriate length to fit the actor's head.  Two loose ends hang down in the back.

DYSMAS:  Same as the above, but without the two loose ends.  Should be a different color than Jestus'.

JACOB:   A rough post about four feet tall and about two or threeÿinches square.  At the top is a sign that says "SACRIFICES".  There are two nails on the front side to be used to hang Jestus' and Dysmas' bandanas after the crucifixion.  There are two angled nails in the back (with the heads cut off) to slip into holes in the spears to become the final cross bar on the cross near the end of the play.

JUDAS:   A strip of white cloth that is folded once in half to become a belt (waist sash) into which Judas slips his knife.  During the monologue, Judas takes the belt off and wraps it around his hand to control the bleeding.  At the end of the monologue, the actor unfolds the belt, revealing a large blood stain.  He hangs this over one side of the word SACRIFICE.

PILATE:  A purple towel.

PETRONIUS and MARCUS:  Each has a tall Roman spear.  These are seven foot poles with spear heads that are two feet tall.

Beyond these pieces, there are no costumes.  Simple, contemporary dress is suggested.  Weather permitting, sweaters and corduroy pants are nice.

        	_______________________________

				Cross Purposes
				______________

The Pastor or worship leader reads the following:

    "Jestus and Dysmas are con men.  They sell you medicine with one hand and rob you blind with the other.  Hearing that Lazarus of Bethany is terribly ill they arrive in town with elixir and promises.

     Lazarus' sisters, Mary and Martha, are desperate.  They've sent for Jesus but he has been unexplainably delayed.  Mary and Martha buy medicine from the two men but Lazarus still dies that day. 

     Dysmas explains that the medicine didn't have time to take effect, but he gives their money back.  The women are grateful and allow the two men to sleep one night in the barn.  The men promise to be gone in the morning.  In the morning, Martha and Mary discover that Jestus and Dysmas are gone as promised.  The women also discover that many of their household goods are missing.  And they notice a trail of blood leading from the barn door to the road toward Jerusalem.

     These events will not be explained until the week that Jesus rides a donkey on this same bloody road.  That is the week you will now relive.  This is the story of Easter week."

(M1 moves to the front and places his bandana on his head.  His head remains down, hands at his sides).

*MUSIC IN*

(He comes to life as Jestus.  He moves to look for Dysmas house right.  No luck.  He goes over to the fire.  Warming his hands.  He whistles four tones.  They are the first four notes to "Christ the Lord is Risen Today".  It is a signal.  He thinks he hears something house left.  He moves to investigate.  No luck.)

JESTUS:  I'm gonna kill you Diz!

*MUSIC OUT*

(He moves back toward the fire.  He goes to sit on the bench, but looking front, he misses the end of the bench and does a pratfall.  Embarrassed, he checks to see if anyone saw him.  He acts cool.

He sits.  He whistles his signal for Diz.  The whistle is repeated from the back of the audience house right.  Jestus peers into the darkness, nervous, but hopeful.  He whistles the same notes in signal.  Dysmas answers them, this time closer to the front.)

JESTUS:  Diz?

DYSMAS (entering):  Yowza.

J:  Diz! (gets up, moving toward Diz) You said you was gonna be right back, Diz.

D:  Yeah, well, somp'm important come up. (Crosses in front of Jes and sits down, bench left.  Jes crosses behind the bench) 

J (Pointing to the fire):  I built this fire 'bout sundown.  It's practically out. (sits) 

D:  Well, put some more wood on the fire.  That oughta' get her goin'.

J:  It's time to be gettin' outa here, Diz.

D:  Na, not yet.

J:  We wuz gonna be miles away from here by now.

D (smiles great big):  Yeah.

J (in sudden desperation, he jumps up and speaks too loudly):  Well let's get goin' then!  (Jes starts off right, Diz runs and stops him).

D:  Jestus!  (looks around)  Keep it down.  (Jestus realizes his error and also looks nervously up and down the alley).  We're stayin' the week. We'll go out with crowds after next Sabbath.

J:  What are you, all of a sudden religious?  Mr. Passover Pilgrim?

D:  It ain't religion, it's good business.  Ha, ha! (crossing back to the bench but not sitting) Now put some wood on the fire.

J (kicking dirt at the fire):  I ain't puttin' wood on the fire.

D:  Hey, hey, hey - will you calm down.

J:  And I ain't stayin' in this alley for no week.

D (laughin'):  Did I say we were stayin' HERE for a week?  No no no no no Tomorrow night we'll have enough money you can spend the rest of the week in the best hotel in Jerusalem.

J:  NO.  I ain't changin' plans Diz.

D:  Calm down, Jes....

(The next two lines overlap).

J:  I don't think you wanna quit until we're both sittin' in some Roman jail.

D:  You don't understand what I'm talkin'....

D (suddenly serious):  NO!

J:  What?

D:  Don't do that.

J:  What?

D:  That!

J:  What!

D:  You're actin' guilty.

J:  Oh.  (looks both ways) I'm sorry.

D:  How many times do I have to tell you?  If you act guilty, somebody's gonna think you're guilty.

J (muttering):  Somebody's gonna be right.

D:  Oh fine.  Great.  (crossing to stage left to indicate street) Why don't you just walk out in the street right now and confess to the whole thing?

J:  'Cause I ain't the one that done it.  It was you that done it.

D (turns, DEAD serious):  Don't you EVER say that to me again!  

(Dysmas stares at Jestus a moment.  He turns away)

J (dog boned):  It was you that done it.

D (Dysmas grabs Jestus with both fists):  You just remember who was holdin' the knife.

J (Jestus shrinks back, but at the same time maintains his sense of justice):  You just remember who shoved him.

D (After a beat, he attempts to calm Jestus down, drawing him back in):  Come on Jestus.  We gotta forget about it.  We got more important -

J (interrupting):  You can bet that guy ain't forgettin' about it, Diz.  And what about Lazarus?  You think just 'cause he's been dead he dudn't have a good memory?

D:  Jestus, you're not tellin' me nothin' I don't already know.  Now I'm the one who had the guts to go out there to Bethany to see if that guy you stabbed was -

J:  YOU shoved-

D: ...if that guy was cut bad, and I'm the one who saw Lazarus alive out there...IN BETHANY.  And that's my point.  (He sits)

J:  That is MY poin....(He sits.)  What's your point?

D:  That is why we're gonna stay in Jerusalem for a week.

J (exploding):  We are wigglin' on Lazarus hook if we stay in Jerusalem!

D:  Ha, haaa!  That, my friend, is precisely where you're wrong.  From now on we are completely safe from Lazarus.

Jÿ(Sits also):  That's what you said the day he died.

D:  Yeaaaaah, well the healer guy ain't gonna mess us up this week.

J (Scared):  What did you do Diz?

D:  I didn't have to do nothin'.  The priests done it.  

J:  Those double-crossers?

D:  I been all over town.  Everybody's talkin' about it.  The priests are sayin' this Lazarus thing was all a trick.  They think that Jesus -

J:  No way.  It wudn't no trick.  We seen Lazarus.  He was DEAD.

D:  Jes, we ain't the only con men in the world.

J:  You mean Lazarus was connin' us while we were connin' his sisters?

D:  The priests think Jesus is tryin' to get the Passover pilgrims so impressed that they'll follow him to the moon.

J:  So Jesus is connin' everybody!

D:  It ain't no con.  They think he's startin' the revolt. 

J (interested!):  The revolt?

D:  The revolt.  Which the priests don't want no more than the Romans do.

J:  Those double crossers.

D:  So the priests put the word out on Jesus and Lazarus and the whole gang of 'em.  They don't dare to come to the feast this year unless they wanna end up REALLY dead.

J (whistles like "wow")

D:  Mm huh.

J (Still serious he makes a gesture like the cutting of his throat and makes a sound to match it)

D (Copies Jestus' sound and action)

(Both men break up laughing and stomping their feet.  They suddenly remember that danger still exists.  In unison, they look both ways.)

J (Whispering):  So what are we gonna do now?

D:  We're gonna sell every bit of Lazarus' stuff.  He ain't gonna be here, so we're home free.  I got us a stall at the temple.  All the top traders are here for the feast.  We can practically set our own prices.  It's gonna be great.  (Still laughing)

J (suddenly serious):  Diz.

D:  Yeah?  (still laughing)

J:  You sure that Jesus and his gang ain't comin' to Jerusalem?

D (kindly):  Yes, Jestus.  I'm sure that Jesus and his gang ain't
   comin' to Jerusalem.

(Jestus holds out his hand, as if to say, "Will you make our secret pact with me?"  Dysmas gets serious.  He stands.  He "spits" on one palm.  Jestus jumps up and "spits" on his own palm.  They do a high five which turns into a hand clasp).

Both:  (as hands are lowered into the clasp) Right!

(The two actors freeze.  Then Diz breaks character, slipping off his bandana.  He straightens up and says to the audience, catching the ironic significance of his line).

M2:  The next morning, Jesus and his gang headed toward Jerusalem. 

(Now M1 breaks character too.  Both slip bandanas into their back pockets for easy access later.)

M2:  Hi.  My name's ________.

M1:  And I'm _________.  And we're here tonight as storytellers.

(They move chairs to respectable sides of stage, facing off).

M2:  If you had lived in Jerusalem about 2000 years ago, you would have breathed the same air as revolutionaries and thieves.

M1:  Merchants and soldiers.

M2:  Politicians, both Jewish and Roman.

M1:  And a popular Rabbi who had strange powers.  You're going to meet those people here tonight.

M2:  But you're not going to stay just here.  You're going to go to the quiet streets of Bethany.  And the noisy markets of Jerusalem's holy temple.

M1:  You'll go down to a Roman dungeon and up to a palace courtyard.

M2:  You'll stand at a tomb in the evening and sit on a front porch in the morning.

M1:  It's a great story.  And we've got a lot to tell, so here we go.  (He picks up "fire" and places it up center where it will remain as the holder of the sacrifices sign and then later, the Roman spears).

M2:  We pick up the story on Sunday morning, 5 days before the Jewish feast of Passover.  (He turns around to get the "sacrifices" sign).

M1 (Turning back around as a disciple, he is speaking to his imaginary partner as he exits through the audience):  I don't know.  He just said go into the village, so we'll go into the village and hope we see a colt tied up. And what are we supposed to say?

(Repeating it to himself so that he'll remember it.)  "The Lord needs it and will send it back...(he can't remember)  Immediately?  Right away?  (Finally he decides.)  Shortly!  (continues muttering "shortly" as he exits).

(In the meantime, M2 has  picked up the post with a sign on it that says "Sacrifices".  M2 turns front as JACOB as soon as M1 finishes his line.  The following monologue is played to JACOB'S imaginary wife and to God.  The scene is played facing front as much as possible.  Brackets will be used as a symbol whenever an imaginary character "speaks".)

JACOB:  Jezpah!  They took our donkey!  They took the new colt!  Come out here and see.  They just walked up and took him like they owned the world.  (He looks into the house, up left).

[ ]

I'm not makin' this up. Come out here!!  (She "enters".)  See.  I tied him up right here this morning, and I was getting ready to load him up, and they just walked up and - and took him.

[ ]

YES just like that!  Two filthy bums they were.

[ ]

I didn't HIDE him anywhere, Jezpah, I'm TELLING you the truth!  Ask Daniel from next door.  (He gestures off right).  He was here.  They were these two men - Jews, but they were working for some Romans, because they just marched right up here and started untying Zeek, and I came running out -

[ ]

Zeek.

[ ]

Yes, that's what I named him.  After the prophet Zechariah.

[ ]

Well what's so funny about naming a donkey Zeek?  Zechariah happens to be one of my favorite prophets.

[ ]

What's that supposed to mean, (savage mimicry) "We're lucky we didn't have any boys!"?

[ ]

No, I wouldn't have named my son Zeek.  (She "exits".)  Now where are you going?  I'm telling you what happened here!  (She reluctantly returns.)  Anyway, these two no goods were untying ZZZZZZZZZZZthe new colt, and I came running out and said, "What do you think you're doing there!"  And this bigger one - REALLY big - he turns to me and says, "The Lord needs it and will send it back shortly."  Just like that.  "The LORD needs it!"  So I figured they ÿwere working for some Roman prince or god or whatever they call themselves.  And I knew that if I didn't let them take him that they'd go get the whole army, come back here and kill us and take whatever they wanted anyway.  Danny wasn't a bit of help.  Seems he had to go home RIGHT then.  (a step toward right).  I'd like to see him in a den of lions.  HA!  So. . . .I stepped back, they untied Zeek, and took him down the road. . . .'n it'll be a miracle if we ever see him again.  So anyway, Jezpah . . . I won't be makin' that trip into town today.  I can't get those pigeons there without a donkey.  And Zeek's mother is just too lame to go, so that's that.  (Sets the sign down at right).

[ ]

What do you mean, "What about currency exchange?"  Jezpah, selling pigeons at the temple would have been bad enough, but you don't understand the first principle of currency exchange or you wouldn't even suggest such a thing.  I might as well be stealing.

[ ]

Sure, sure, lot's of people do it, but I just couldn't Jezpah.

[ ]

All right, but if I do it, we won't be attending the feast this year, because I'm not going to march up those same temple steps to make sacrifices after I've done something like that.

[ ]

No, I couldn't set up somewhere else.  Everyone knows that the money exchange is at the temple.  If I didn't set up there, it wouldn't be worth even trying.

[ ]

I know I've got to do something, Jezpah.

[ ]

I know we've got bills coming due.

[ ]

I know during Passover the best money is made at the temple.  But I just...

[ ]

(Finally, he becomes placid--if only to get rid of her)  All right.  I'll leave for town in an hour!

[ ]

All right?

[ ]

All right.  (She exits.  He watches her go, then turns away.  It finally gets the better of him.  And he has a lot more ability to yell at her when she's not present.)  All right!!  (Pause)  It is written by the prophet Isaiah,

"Thus says the Lord:                     
Keep justice, and do righteousness,     
for soon my salvation will come."       

I know this Lord. I know these WORDS.  But things are so hard around here, it's hard to believe them sometimes.  Have I not been faithful, Lord?  Now we don't have any money to pay the bills.  And, Jezpah's rantings have become like the continuous dripping of water.  My six daughters aren't much better.
(Holding out a hand which grabs the imaginary arrows in it's fist)

"Like arrows in the hand of a warrior are the sons of one's youth."

Lord, I asked for arrows, and you doused me with water!  If I had just one son, I could send him to market with Zeek, and then an old man could get some rest every once in awhile.  But you've given me no son, and now you let those Romans take Zeek away, Lord.  Why?  I named him after your prophet, you still let those goatheads take him.  I'd like to see you break their teeth!  (Pause. Quieter.)  I'd like to see you send the Messiah.  How long can we wait?  Not as long as you, I don't think.  Well, if you'll excuse me, I've got to get to town.  (He starts to exit, but he hears something coming down the road.)  Jezpah!  It's them!  It's those Romans on the march that took our donkey.  They're coming by here.  (to himself)  You'll see I was telling the truth.  (out loud)  JEZPAH!  Come out here and see this crowd.  (She finally enters.)  Now watch for Zeek.  I braided his tail like always, so you'll be able to tell.  (after a bit of watching)  Those people aren't Romans.  Those are Jews.......would a crowd like that be going to the feast?  (suddenly indignant at a new thought)  Or were they run out of their homes?  That man in front there, the man that's leading, what's he waving over his head?

[ ]

(Surprise, not doubt)  A crutch?  Who are these people?  (Then he sees an old friend.)  There's Bartimaas...it's Bartimaas!  (Calling to him as he moves down stage center).  BARTIMAAS!  It's me, Jacob.  (He now carries on a conversation with Bartimaas.)

[ ]

Jacob!  I've passed you every month making my supply runs to Jericho.

[ ]

Jacob--that's me.  (suddenly realizing)  You can see me.  But, you're a blind man!  I've seen you for years.

[ ]

What?

[ ]

He's coming?  (Jacob runs upstage)  Jezpah.  A prophet from Nazareth is coming who made Bartimaas see.  There.  He's coming.  He's riding a donkey.  He's riding.....MY donkey!!!  (Beginning to make the connections.)  But those two men said, "The LORD has need of it."  (Remembering each of the scriptures he knows so well.)

"Then the eyes of the blind shall be opened.
Then shall the lame man leap like a hart."

"Rejoice greatly, O daughter of Zion!
Shout aloud, O daughter of Jerusalem.
Lo, your king comes to you
triumphant and victorious as he is,
riding on an ass,
on a colt, the foal of an ass."

(Jacob kneels as he sings or shouts, lost in his own worship, hands raised to the sky.)

Ho-o-sana!  Ho-o-sana!  Alleluia!

Jezpah. (He stands)  Perhaps this day the Messiah has come, and he's riding our donkey.  (Very proud)  He's riding OUR donkey. (Change of mood)  Go!

*MUSIC IN* 

(Jacob runs and picks up sacrifices sign).
Get ready.  We're going to town.  We have sacrifices to make.

(JACOB turns and becomes M2 again.  He places the sign in the stand.  The various character pieces can now be hung on it after they have been used.  M2 turns back to the audience.)

M2 (Looking toward the back of the house, where M1 is waiting):  That day, when Jesus rode the little donkey down the Mount of Olives. . .

M1 (entering from back of audience): . . .the whole crowd following him began to praise God in loud joyous voices:  Hosanna!  Blessed is the King who comes in the name of the Lord.

M2:  And many people in the city of Jerusalem, because they had heard Jesus had raised Lazarus from the dead, went out to meet him, shouting:  Hosanna!  Blessed is the King of Israel!

M1:  And when Jesus came to Jerusalem...

M2:  ...the whole city was stirred and asked, (to someone in the audience)  "Who is this?"

*MUSIC CROSS FADES INTO PHARISEE THEME*

(M2 switches suddenly into Pharisee, crossing behind M1.  M1 steps right, turning completely around, making the switch into a Pharisee while his back is turned.  They end up next to each other).

M2:  The Pharisees said to one another. . . Look.  The whole world is chasing after him.

M1:  We need to find a time to speak with him . . . alone.  (Staring at M2) Mustn't we?

(Pause)

M2 (Looking into M1's eyes):  Yes.  

(They hold the gaze, to insure understanding and agreement.  Then they both turn slowly front to look at the crowds again.  M2 stays frozen in his gaze, while M1 breaks.)

*MUSIC OUT*

M1:  That day, Jesus entered the city.  (He surveys front of sanctuary.)  He looked around the temple, and since it was already late, he went out to Bethany with the twelve.  (M1 turns and moves upstage and leans on chair, facing right.)

(M2 suddenly breaks and goes to work as a merchant in the temple.  He sets up chair at left.)

M2:  On Monday, four days before the feast of Passover,

M1 (as Jesus, violently):  Jesus entered the temple area

M2 (as Merchant) (Horrified):  and began driving out those who were buying and selling there.  

(Jesus swings the other chair he has been leaning on.  M2 yells and turns away covering his head.  He holds still.  Jesus pushes the other chair over.  He slams down the chair he has been holding.  He turns front).

JESUS:  It is written, "My house will be called a house of prayer, "but (pointing straight front) YOU are making it a den of robbers.

M2 (from his frozen position, he turns into a crippled man, continuing the turn around, and hobbles over to Jesus.  He speech is slurred.):  And the blind and lame came to him at the temple . . .

(Jesus puts his arm around the lame man.  He straightens out his arm, straightens up his back, and touches his lips.  M1 and M2 turn into amazed bystanders, speaking to the audience.)

BOTH:  And he healed them!

(They immediately take their bandanas out of their back pockets and put them on to become Jestus and Dysmas.  Once caps are in place, they are staring straight front at Jesus as he leaves.  Jestus is scared, and Dysmas is gearing up to calm Jestus down.  Thus, Dysmas must subjugate his own fear.)

J:  He knows, Diz!

D:  He doesn't know.

J:  I know he knows!

D:  You don't know nothin', so stay calm.

J:  He looked right at us when he said "robbers".

D (smiling, lookin' sooo calm):  You're actin' guilty.  Loosen up.  Smile.  (He grins, lookin' front, checkin' out the region.)

(Jestus looks at Dysmas.  Jes looks front too, frightened.  Then suddenly, he breaks into a huge, frozen grin.)

D:  There, that's better.  Now listen up.  We gotta make a plan.

J:  Right.  I'll go wait in the alley.  (He steps one step right before Diz grabs him and pulls him up short).

D:  Hold on.  One of us has gotta pick up all this stuff, and one of us has gotta follow Jesus to see if Lazarus is with him.

J:  And one of us has gotta go wait in the alley.  (backs out stage right)

D:  Alright, look.  (He crosses left and picks up the chair that Jes pushed over).  We'll both pick up this stuff.  We'll get it back to the alley.  (He crosses back to Jes).  And tomorrow, we'll both go see what we can find out.  (Dys hands chair to Jes).

J (Is now holding the chair):  And one of us'll wait in the alley and guard this stuff. 

D (knowing he's lost):  Right.

(They take off the bandanas.)

M1:  The next day was Tuesday, three days until the Passover. 

(M1 moves down into audience area.  M2 goes off to a side seat to sit among the audience momentarily.)

M1:  Jesus was teaching the people in the temple courts.

M2 (a priest):  Who made you an authority?

M1 (a comment to audience):  And the chief priests and elders questioned him.

M2 (insistent, he stands):  Who made you an authority?!

M1 (turning to M2):  I have a question for you too.  Tell me.  The baptism of John.  Was it from heaven or from men?

PRIEST (conferring with audience person):  Now, if we say, "From heaven," he'll say, "Why didn't you believe in him?"  (Starts to answer securely, but suddenly realizes more problems.  Back to conferring with audience member.)  But if we say, "From men", (looking nervously at rest of audience) all the people will stone us, because THEY believe John was prophet.  So, ah, what should we say?  (No matter what the audience member says or doesn't say, M2 replies)  We don't know.

JESUS:  Neither will I tell you by what authority I act. (He turns to other audience members).  Tell me what you th--.  (Jesus stops.  He has an idea.)

(M2 has put on his Dysmas bandana.  He leans against a wall.  But Jesus spots him and calls him over.)

JESUS:  Tell me what you think.  (He puts his hand on Diz's shoulder.)  There was a man who had a piece of property.  He planted a vineyard on it.  He put a wall around it, dug a winepress, and built a watchtower.  Then he rented the vineyard to some tenants and went away on a journey.  When the harvest time approached, he sent his servants to the tenants to collect his fruit.  The tenants seized his servants; they beat one, killed another, and stoned a third.  Then he sent more servants to them, and they treated them the same way.  Last of all, he sent his son to them.  "They will respect my son," he said.  But when the tenants saw the son, they said to each other, "This is the heir.  Come let's kill him and take his inheritance."  So they seized the son and threw him out of the vineyard and killed him.  Now, (pointedly to Dysmas) when the landowner comes, what will he do to those tenants?

D:  He will put the tenants to death.  And he will rent the vineyard to other tenants who will give him his share of the crop at harvest time and we're very sorry and we promise to bring everything back!

JESUS:  Good.  (Pointing now at the audience)  I tell you.  The kingdom of God will be taken away from you (putting his hand on Dysmas' shoulder) and given to a people who will produce its fruit.

(M2 takes off Dysmas bandana.  He crosses behind M1, and both men become authorities.)

*MUSIC IN*

M2:  The chief priests

M1:  and the pharisees

M2:  knew that he was talking about them.

M1:  They continued to look for a time to arrest him,

M2:  but they were afraid of (very snide) the rabble,

M1:  because (equally snide) the rabble held that he was

BOTH (snidely snide):  a prophet.

*MUSIC OUT*

(They look at the audience.  They turn to their left until their backs are to the audience.  M1 goes immediately to the platform to get prop knife and belt for JUDAS monologue.  As he crosses, he sets the upstage chair facing down right.)

M2:  The next day was Wednesday, two days until the Passover. 

*MUSIC IN* 

(M2 now places the downstage chair facing up left, so that the two chairs, facing each other, form a kind of sitting area in a room.)

M2:  Jesus was out at Bethany in the house of Simon the leper.  And a woman came up to him there.  She had a small white bottle made of alabaster.  It was filled with very expensive perfume.  And she poured it out on Jesus' head.

*MUSIC OUT*

(M2 exits up center aisle.)

(JUDAS is a rapid talker.  Impulsive.  Pensive.  Enunciates well.  The key to this characterization is HOPE.  Judas actually expects that he will be able to convince John and get the necessary help.  He will almost despair if he doesn't, because he doesn't really believe all that much in his backup plan.  The imaginary character of John is sitting in the downstage chair.)

JUDAS:  He's getting soft, John.  He's acting like a ROMAN.  He could have sold that bottle and lived for a year on the price.  But he just sat there and let that stupid woman make him pretty.  Everybody's feelin' it.  Did you see Peter?  I thought he was going to pop his cork.  (John suddenly stands up to leave.)  You don't have to go yet, John.  I'm not finished with what I was saying.  (Almost losing control)  Sit down!  (calm)  Please.  (John sits, and Judas tears into his topic rapidly!)  John you can do what none of the rest of us can do.  He'll listen to you.  But you've got to get to him tonight.  Tomorrow's our last chance.  We can't wait until preparation day or the Sabbath.  It's got to happen now.

[ ]

I'm talking about freedom. (slight pause) Or do you LIKE Caesar's boots on your back?  You know what we came here for.  But all he does is keep testing the waters to see how much support he's got.  I can see him.  What do think that donkey ride was all about?  He's testing.  Testing.  Holding back.  Testing.  Holding back.  But, John, this is it.  He's got to be convinced that he can't wait any longer.  It's time to spill blood.  Their blood.  My blood.  (He has been gesturing with his knife.  Now he draws it sharply across the palm of his hand, showing the hand to John and then immediately clamping his hand shut against the bleeding.)  Whatever it takes.  (He drops the knife, takes off his white sash/belt and wraps up the hand.)  Look at it rationally, John.  This is the holy city on the highest feast.  The place is jammed full of people with one thing on their minds.  Jesus.  Jesus, who raised Lazarus from the dead.  The man is God to them.  Think.  All he has to do is stand in the temple courts tomorrow and speak three words:  TAKE. . .THE. . .CITY.  They'll hear the echo all the way to Rome.  And once we have this city, they can't stop us.  You know he wants it, John.  Give him the courage.  Now go to him.

[ ]

All right.  If you're not with me on this, then I go to the priests.

[ ]

What do you mean, what for?  So they can arrest him!  And once the people find out he's been arrested, they'll tear this town to pieces to get him out and make him King!  But it'd be a lot safer if you'd get to him first.

[ ] 

Oh, John.  Didn't you hear what he said tonight.  When that woman anointed him.  "You will always have the poor with you, but you will not always have me."

*MUSIC IN*

John, THIS is the time.  Don't pass it up.  (He holds out knife to him.  John has refused.  Judas slaps the knife into his wrapped hand.)  Alright.  Have it your way.

(He turns and unwraps the sash, draping it over one end of the "SACRIFICES" sign.  We see now that it is blood stained.  He turns front.)

M1:  Then one of the twelve, the one called Judas Iscariot, went to the Chief Priest and asked, "How much are you willing to give me if I hand him over to you?"

(M2 has come up a side aisle, and donned the role of Chief Priest.)

PRIEST (Pleased with the prospects, he contemplates this Judas a moment and then replies):  Thirty pieces of silver.

M1:  And from that moment on, he watched for his opportunity to deliver Jesus to jail.

*MUSIC OUT*

(They put on the Jestus and Dysmas bandanas.  Dysmas is already locked in.  He places stage left chair facing the audience and sits.  M1 places right chair facing off right.  It is now the cell door.  Each man holds his hands in front of him as if he is chained.  When they move, they take short steps as if their feet are manacled.  Jestus is "thrown" onto the platform so that he ends up lying down on the floor of the prison.)

J (groan)

D (a mimic of J's groan)

J (realizing that he's not alone, he sits up, afraid.  Then, testing, the water, he clears his throat)

D (a mimic of J's clearing his throat)

J:  Is there somebody else in here?

D (whistles his four note melody from start of play)

J (hopeful):  Diz?

D:  Yowza.

J:  Diz!

D:  Welcome to Roman jail, Jes.  (Dysmas rises, coming to help Jestus up.)

J:  How long you been here Diz?  (helps him up)                 

D:  Since this morning.  When'd they git you?

J:  'Bout sundown.

D:  Where at?

J:  I was just sittin' in the alley, guardin' the stuff, and these Roman soldiers jumped me.

D:  Yeah.

J:  I wasn't lookin' guilty.  I swear it.

D:  I believe you.

J:  How'd they git you.  Did Lazarus spot ya?

D:  Na.  It was the same story.  Romans.

(Dysmas shuffles over to his chair; Jestus follows.)

J:  Diz, they said I murdered somebody.  I ain't no murderer, Diz.

(Both sit down on same chair, Dysmas on the left and Jestus on the right.)

D:  They didn't tell ya the whole story.  That guy - the one that surprised us at Lazarus' barn.  Turns out he was cut worse than we thought.  And it wasn't just a guy.  It was a Roman.

J:  A Roman!  I thought it was one of Lazarus' servants!

D:  That's why nobody knew about him when I was out at Bethany.  He apparently stumbled back to Jerusalem and described us to some people before he died.

J:  What was a Roman doin' there?!

D:  I dunno.  Maybe he was tryin' to find some barn to sleep in.

J:  A Roman, a ROMAN!  We was runnin' away from the wrong people.  (Jestus starts pushing against Dysmas.)  Diz, what'd you tell them?!

D:  Calm down, Jez, I ain't told 'em nothin'.

J:  Well yoooooou gotta tell 'em the truth, Diz.  You was the one that shoved him into the knife.  It wadn't my fault.

D:  You're actin' like an idiot.  We can't tell 'em ANYTHING!  Now we're gonna git outta this if you stop actin' like an idiot.  (He shoves him off the chair.)

J:  I ain't goin' down with you.  I'm tellin' 'em what you done.  (He crawls over to the door.)

D:  Alright, you tell 'em whatever you want, but they ain't gonna believe you.  They been out to Bethany.  They got witnesses that we was both there.  An' if I tell 'em I done it alone, they're just gonna say I'm tryin' to git you off.  Then neither one of us has a chance.

J:  I'M gettin' off!  I ain't no murderer.  (Calling out through the doorway.)  Guard!!

(During the next line, Dysmas hobbles over to the doorway and picks up Jestus by the shirt front.  He speaks violently.)

D:  I ain't no murderer either!  But what's done is done!  Now dummy up and listen. 

(Out of fear, Jestus calms down.)

D:  If we don't admit nothin', we got a good chance.  They ain't gonna do nothin' with us 'til after Passover.  And I got a pretty good hunch that after Passover there ain't gonna be no Romans in this town.  Jesus is leadin' the revolt.

(Jestus crosses left, in front of Dysmas.)

J:  You don't know nothin' about Jesus.  You said he wasn't comin' to Jerusalem.

(Jestus sits on stage left chair, facing left.)

D:  Well I know somethin' now.  I met him, and I talked to him.  (He crosses and sits at Jestus' right.)  He picked me outa the crowd.  I figure Lazarus described us to him.  Or he really does have some kinda power.  And while he had his hand on my shoulders (placing his hands on Jestus' shoulders), he told this story about how the Romans had taken over our country and how God is coming to get it back.  It's obvious to everybody what's gonna happen, Jes.  They're just waitin' for Jesus to say the word.  So all we gotta do is play dumb for one day - two days at the most, and then we're gonna hear the shoutin' and the fightin', and when it's all over, somebody's gonna come and open those prison doors, and we're gonna be HEROS 'cause we killed a Roman.  (pause)  So you think you can keep quiet for aÿcoupla days?

(Pause.  Jes is thinkin' this over.)

*MUSIC IN*

J (Turning face toward front):  I seen a crucifixion once.

D (Attempt at laughing it off):  You ain't gonna be crucified.

J:  Are you sure?

D (Convincingly):  Yeah.  Yeah, I'm sure.

J (Convinced):  Right.

(Both stand, take off bandanas and place them in rear pants pockets.) 

M1:  The next day was Thursday.

M2:  The eve of Passover.  The day that it was customary to sacrifice the Passover Lamb.  Jesus and his disciples went into the city to eat their Passover meal together.

(Together they move down the chancel steps to stand at the front of the audience.)

M1:  And as they were eating the passover meal, Jesus named his betrayer.  (The actors reach forward miming dipping bread.  Judas [Played by M2 this time] drops his bread and pulls back his hand. Jesus hands him his bread.  Then Judas turns away, pauses and then steps behind to Jesus' left and waits with his back to the audience.)  And with a loaf of bread and a cup of wine, he demonstrated his sacrifice to them.

(During this last line, Jesus reaches and mimes picking up the bread with his right hand and the cup with his left hand.  He extends them to both sides, releasing them into the disciples hands.  He momentarily leaves arms outstretched and then drops them.)

M2 (Turning front):  After the supper they all sang a hymn together, and Jesus led them out to the Mount of Olives.

*MUSIC OUT*  

M1 (As Jesus, crossing a few steps to his right to indicate a change in locale):  It is written: I will strike the shepherd, and the sheep will be scattered.  So it is that tonight, you will all fall away because of me.  (He looks toward imaginary disciples down right.)

M2 (As Peter):  Dear God!  I have been with him for three years.  I've followed him everywhere.  I've walked on water with him.  Now he says I'm going to abandon him.  Never Lord.  I vow to you (turns to Jesus), and to you Jesus (Jesus turns to listen), that I shall die rather than leave you!

JESUS:  I have prayed for you, Peter, that your faith may not fail.

PETER:  Your prayer will be answered.

JESUS (Crossing to Peter, speaking urgently to help Peter to prepare for what is to come):  Tomorrow morning before the rooster cries twice, you will have said three times that you never even knew me.

PETER:  They can kill me.  I will not say that.

JESUS:  Come here with me Peter.  (Looking to the others down right) James and John, all of you, come here and watch while I pray.  (Jesus crosses upstage of Peter and kneels at stage left chair.)

PETER (Intercepting James and John);  James, John!  After Judas went an' walked out on him, he's worryin' about the rest of us.  He's afraid that he'll die and we'll die if we're not ready for what's coming next.  Remember the mountain when he was with Moses and Elijah?  Within hours they'll be fighting beside us, along with the Angel of Death, who freed us from the Egyptians.  I'm gonna get some rest.  We've got to be our best in the morning.  (As he lays down)  To the KINGDOM! (Peter settles down and sleeps.)

(When Peter says "Kingdom!", Jesus' head snaps up from his prayer.  He is decided.  He stands and turns front to leave.  He is brought up short by the appearance of the sleeping disciples.)

JESUS (Distantly, not a real question):  Could you not watch with me one hour.  (Looking out straight front.)  Here comes my betrayer!

(Jesus starts to walk straight into the arriving guards.  Peter jumps up and swings his sword, cutting off the ear of the imaginary guard.  As he brings his arm back for another swing, Jesus grabs his arm and shakes the sword free.  Then he grabs Peter's other arm and moves him stage right as he speaks.)

JESUS:  Put your sword away!  Shall I not drink the cup the Father has prepared for me.  (Turning to the congregation.)  Am I leading a rebellion, that you come out with swords and clubs to capture me?  Every day, I sat teaching in the temple yet you did not arrest me.

*MUSIC IN*

JESUS:  But all this has happened that the writings of the prophets might be fulfilled.

M2 (As a disciple):  Then all the disciples deserted him and fled.

(M2 runs out the side aisle to wait at the back of the audience for his next entrance.)

M1:  First, Jesus repaired the bit of damage that Peter had done with his sword.  Then the revolutionary's plan was set in motion.  He was led through the night to the home of the high priest.  Being afraid of the crowds, the priests held an illegal nighttime trial.  Witnesses had been pre-arranged, but it was the revolutionary himself who dealt the crushing blow.

(M1 bows his head, hands tied behind him.)

M2 (At back, as the High Priest):  Are you the Christ?

M1 (Raising his head to look at the priest; M1 is Jesus):  I AM.

M2 (A gasp of unbelief at the audacity and blatantness.  Starts to confront Jesus, then turns to crowd):  You have heard his blasphemy.  Make your decision.  (He heads down the center aisle toward the platform.)

M1 (Stepping stage left to break out of character and into narrator.  He speaks with great agitation):  They issued a sentence they could not carry out.  Then they mocked Jesus, inviting him to prove his divine powers by guessing the names of the men who were spitting on him.

M2 (Having arrived on platform, at stage right):  Meanwhile, outside, Peter was proving Jesus' ability to prophesy - by denying three times that he ever knew him. 

M1:  So dawned Friday.  The feast of Passover.  

(As M2 goes to get Pilate towel, he places the right chair at center, facing in.)

M1:  Early in the morning, the chief priests and the pharisees held a consultation.  And they bound Jesus and led him away, and delivered him to Pilate.

(During this last, M1 places the other chair facing in so that the two chairs are together, creating Pilate's throne.  Then M1 moves to lower level, stage left, turning and facing Pilate.  M1 is now a Roman soldier.)

*MUSIC OUT*

(M2 turns front having donned the role of PILATE.  His purple towel is on his shoulder.  He mimes dipping water out of a bowl onto his face.  In this particular monologue, he has a direct relationship with the audience.  His story lets us in on his thoughts and remembrances, compressing time and space fluidly.)

PILATE (To audience):  I was washing up when they brought him to me.

M1 (Stepping forward):  Your honor.  The King of the Jews is upstairs.

(PILATE nods and waves the soldier out.  The soldier exits briskly out house right aisle.  Pilate uses the towel to dry off.)

P (To audience):  Jesus.  I knew he'd get here.  You can't go around calling the Sanhedrin "white tombs" and expect them to bless you.  Those men are dangerous.  I should know.  I've nailed enough of them to the cross. 

(He turns to the chairs.  He is now in the throne room.  He places the towel on the back of one of the chairs.  The imaginary Jesus is now down left.)

PILATE:  Jesus.  (Sits down on throne)
   Do you call yourself King of the Jews?
   Do you know who I am?
   Do you realize . . .

He locked his eyes on me.  At first I didn't understand the expression.  It's because I had never before seen a man pity me.  (Breaks gaze and looks to side.  He stands.)

All right Jesus.  What of these charges against you?  (He walks to stage right and looks back at Jesus.)  Make your defense.  (Pause)  Speak man. (Pause)  If I tell you to speak, you speak.

(Suddenly Pilate turns to face off right, where he has heard a ruckus.)

Lucius, shut them up out there.  

(Crossing back left.  Suddenly his wife has entered there.)  

Claudia.  What are you doing here?  Can't you see I have a prisoner?

[ ]

   What, Claudia?  

[ ]

   Why shouldn't I judge this case?

[ ]

   (Fierce whisper)  Do I have to hear your dream now?

[ ]

   Flavius, turn the prisoner around.

(She grabs his arm.  PILATE swings his arm away from her.  He looks at her angrily, then looks around for help.)

   Someone take her.

[ ]

I've heard you, Claudia.  (He looks off left, beyond Claudia.)  Cato, get her out of here.  (Cato and Claudia exit.)

Jesus.  Do you know who Rome is?  Do you know the legions and galleys that circle the Great Sea?  How does your kingdom compare with Rome, Jesus?

[ ]

(To the audience)  His Kingdom is not of this world!  He's a madman.  By Juno and by Jupiter, I will not have the blood of a madman on my hands.  Madmen have favor with the gods.  (Ironic)  They understand each other. 

(The ruckus continues off right.  He turns toward it.)

   Lucius, I want them shut up out there.

[ ]

   I hear them, shut them up!

(Looking off, echoing what he hears and backing away)  Give us a judgment. (Turning to look after Claudia)  Don't judge this man.  (Looking back toward the crowd) You defy the crowds, you risk a riot.  You cause a riot, you anger Caesar.  (Looking back in Claudia's direction, and speaking ironically.)  You defy your wife, you anger the gods.  (Looking at Jesus, he decides.)  If a man is innocent, I'll let him go.

(Then the idea dawns.)  NO!  THEY'LL let him go.  (He steps toward right.)

Lucius, get Barabbas.

[ ]

   Yeah, Barabbas!

[ ]

   NOW!

(Steps down to crowd and holds up hand for silence.  This gesture is perhaps a sort of stylish formal gesture, one hand up, with the back of the other hand supporting the elbow of the first hand.  He now uses his "speech making voice".  Indeed, he is outside on the porch, in front of the crowds.)

   I find no fault in this man.

[ ]

(Immediately, his hands go up again to quell the negative response.)  You have a custom that at the time of the Passover you request us to release a prisoner.

   (Chuckle to audience in the church.)  Silence.

(Once again addressing the crowd.)  I have two prisoners.  As a gift of goodwill, Rome offers you a choice.  You may have (gesturing to each side) Jesus....or......Jesus.

(To church audience)  Silence.  The two prisoners stood there.  The madman.  And the murderer.  Jesus BarJoseph.  Jesus Barabbas.

Silence.  I had them.  Nobody moved.

*MUSIC IN*

Then I saw him.  (Gesturing)  A man on the edge of the crowd--a priest.  Then another man.  Both priests.  One moved around the perimeter, one to the center.  Then I heard it.  The clink of silver.  The rumbles came.  Then the storm.  (Quiet, then building.)  Barabbas. . .Barabbas. . .Barabbas. . .Barabbas. . .give us Barabbas!

(To the crowds)

Shall I crucify your King?  (Nods head to indicate his acknowledgment of what a good bribe can do.)

(To the church audience.)  The clink of silver.  (Turning left, he mimes dipping hands in a bowl of water and washing them.  He turns toward each person or persons that he talks about.)  In front of the gods, and in front of my wife, and in front of these....DOGS!, and in front of...him, I washed my hands.  (Holds up dripping hands.)  Let his blood be on us, they cried.

*MUSIC OUT*

(Pilate fiercely flings water from his hands onto the crowd.  Twice.  As M1 begins narration, Pilate wipes hands on towel, gestures the dispensation of the two prisoners, and M2 hangs the towel on its hook on the sacrifice sign.)

M1 (Entering from the back, down the house right aisle):  Then Pilate released Barabbas and had Jesus whipped and sent him to be crucified.

M1:  And Judas, when he saw that Jesus was condemned, (he mimes throwing the coins) threw the thirty pieces of silver onto the floor of the temple and went out and hanged himself. 

(M1 moves up to the platform level, stage left.  M2 is stage right.)

*MUSIC IN*

M2: Imagine what sounds you may have heard if you had been standing on Golgotha hill that Friday morning.  The sounds of the animals:  horses, dogs attracted by the odors, the circling birds in the sky overhead.

(They each pick up a chair and move it to the far sides of the stage, facing away from the audience.  They stand facing the audience, down stage of the chairs.)

M1:  The sounds of people:  cries of derision, gasps of pain, the mutters of neighbor commenting to neighbor, the workman's grunt, the centurion's bark, the mother's sob.

M2:  The sounds of the tools of the trade:  hammer, nails, rattling armor.  The slide of timber on gravel.  

(They move to stand next to chairs, on the onstage sides.)

M1:  At noon that day, the sun suddenly went out.  They didn't have automatic street lights in Jerusalem.  There would not have been a moon.  It takes a while to light a fire with flint.

M2:  The Romans have given the people what they wanted.  They have crucified the failed revolutionary.  And they have thrown in a couple of their own prisoners for good measure.  In those days, judgments were quick.  It was the actual execution that took a long time.

(They place their robber bandanas on their heads.  They turn around, backs to audience.  They sit in the chairs, grasping the sides of the seats firmly with the hands.  The feet and legs should probably stay in a fairly normal sitting position rather than trying too much for a realistic cross image.  The heads tipped back should help lend a very strained quality to the speech.  If played correctly, this position will do the only straining necessary, and the conversation can continue quite naturally.  Each actor should move his head before speaking.  This should help to give him focus and identify who is speaking.)

JESTUS:  Jesus, why don't you get started with the revolt?  These nails are startin' to hurt my hands.

DYSMAS:  All right, Jes.

J:  I ain't talkin' to you anymore, Dis.  All right everybody, let's get organized.  Everybody throw rocks at the Romans.  On three.  One, two, three.  ....Doesn't seem to be workin', Jesus.

D:  Jes, it's my fault.  I didn't understand what Jesus was tellin' me.  It wadn't about the Romans.  It was about you and me...and today.  He knew all about that the three of us 'uz  gonna be here today.

J:  Oh you're a prophet, huh Jesus.  Is that right?  A prophet?  I guess that figures, 'cause prophets always end up dead.  But I thought you was s'posed to be a saviour, Jesus.  Cept if you were a saviour, you'd do some savin' wouldn't ya! 

D:  Stop it, Jes.  You'd be scared to talk like that if you knew who he really was.

J:  Oh, 'scuze me yer powerful majesty.  Hey, your majesty,  You ain't got much of an army, do ya?  Let's see, you got uh.....well, there's uh....Huh!  Doesn't seem ta be anybody Jesus.

D:  Jesus, you have me when you become King.

J:  Oh yeah.  Hire Diz.  He's a robber.  And he's a murderer.  But that ain't much.  And every plan he ever made turned out to be a flop.  But you're workin' on that, RIGHT DIZ?

D (There is now a sudden frantic quality to his words):  What?

J:  I SAID AIN'T THAT RIGHT.

D:  I didn't hear you, Jes.

J:  What'd ya do?  Go out for lunch?

D:  Jesus was speaking.

J:  Oh no.  The King made a proclamation, and I missed it.

D:  Stop it Jes!  Jes, tell the truth.  Hurry!  (Pause)  Jes.

J:  What?

D:  Tell the truth.

J:  I ain't hidin' nothin'.

D:  We're gonna die, Jes.

J:  No I ain't.  I got some friends comin' by afterwhile.  They're gonna beat up these Romans and get me off of here.

D:  Tell the truth.

J:  I'm tellin' the truth.  Their names are Shadrach, Meshach, and Abednigo.

D:  You're goin' to hell, Jes.

J (Sings):  Ain't no heaven and there ain't no hell,
            The devil's been pullin' on the synagogue bell.

D:  Tell what you did.

J:  This little Roman went to market.

D:  Tell Jesus what you did.

J:  This little Roman stayed home.

D:  Tell Jesus what you did with the knife.

J:  What YOU did!  I will not take the blame for what YOU DID!!

D (Pouncing, hopeful):  That's right!  I shoved him.  And what did you do?

J:  This little Roman had roast beef.

D:  You held onto the knife.

J:  This little Roman had none.

D (His energy has been failing him, so he summons all his strength):  YOU COULD HAVE DROPPED THE KNIFE!  (Pause).

(JESTUS' next words are the last words of his life.  They are a mixture of anger and tears.)

J:  And this little ROBBER went wee - wee - wee  all the way.....

(Little pause.)

D:  Jes?  Jes, DID YOU SAY ROBBER?

(JESTUS' head rolls back and then flops forward.  He is dead.)

D:  Jes, I can't talk anymore; just tell me that you meant that.  (A final gasp.) JEZ!!!

(Slowly Dysmas loses strength.  His head finally drops too, and he is gone.)

*MUSIC UP AND THEN AFTER A MOMENT, OUT*

(Pause.   They stand.  They take off bandanas and hang them on the nails on the sacrifices post.  They step forward.  It is quiet.)

M1:  That day a man named Joseph, of Arimathea, a respected member of the council, and secretly a follower of Jesus, went to Pilate and asked for the body of Jesus.  Pilate confirmed that Jesus.....was dead.  And he gave him the body.

M2:  Then Joseph took the body, wrapped it in a clean linen shroud and placed it in his family tomb.

(They cross to the chairs and bring them together at the center during the next line.  They are placed immediately below the sacrifices sign, still facing upstage.  They now represent the tomb.)

M2:  Then they rolled a great stone in front of the door to the tomb, and went away.  The next day was Saturday, the Sabbath.

*MUSIC IN*

M1:  On the Sabbath, the chief priests went to Pilate again.

(They face each other and mutter secretly for a bit.  Then they turn front toward Pilate.)

M1:  Go ahead.

M2:  You.

M1:  No, go ahead.

M2:  Sir . . .

M1 (Interrupting):  We remember that while he was still alive, the deceiver said this:  (M2 joins in at some point.)  On the third day I will rise again.

M2:  So give the order for the tomb to be made secure until the third day.  Otherwise, his disciples may come and steal the body and tell people he has risen again.

M1:  And the last deception will be worse than the first.

M2:  And Pilate agreed.

M1:  And so they went and made the tomb secure by putting a seal on the stone and posting a guard.

*MUSIC OUT*

(They turn upstage and pick up their spears for the soldiers.  They step below the chairs.  Spears are held in offstage hands.  Heads are bowed.  They become the soldiers as their heads snap up.  Petronius and Marcus are two soldiers, standing looking straight forward.  Petronius has a frozen frown on his face.  Marcus' face holds a grin, that could be from his natural outlook or from fear.  They stare front.  Marcus glances right.  Then left at Petronius.  He is suspicious of Petronius.  Petronius looks in Marcus' direction and M looks away to stare front.  P eyes him.  P casually looks away.  M checks P again--keeping a vigil, watching out for a trick.  P suddenly snaps his eyes back at M, and M looks front, trying to  seem casual.  P looks front.  Then he looks far left.  It's a set up.  M bites.  He looks left.  P then seems to see something.  M looks for what P sees. Neither men are moving, but we see P's arm slowly, independently, stealthily rising high into position above M's right shoulder.  It becomes a claw as it reaches its zenith, and then suddenly it plunges down onto its prey!  M shrieks and jumps.)

Petronius:  Ha!  Some soldier you are.

(Marcus looks fiercely at Petronius and then he thinks better of himself.  He won't stoop to this.  He looks front with his grin intact.)

P:  Hmpf.

M (Angered again):  Are you laughing at me?

P:  Does it look like I'm laughing?

M (Considers, then gives up):  All right then.

P:  Hmpf.

M:  There, you did it again.  You're laughing at me!

P:  Marcus, calm down.  You're startin' to imagine things again.

M:  I didn't imagine that.  You laughed at me.

P:  Why do I always get stuck with the new ones?  Marcus, the soldier's job is to sort out the real from the unreal and respond only to the real.  All day long you've been hearin' things that weren't there and seein' things that never appeared.

M:  Well, it's not my fault.  I didn't ask to be shipped down to Jerusalem to stand guard in some cemetery.  I enlisted to fight the Parthians, not spirits.

P:  Right there's your problem, Marcus.  You're not focusin'.  Focusin' fights fear.  Stop worrying about spirits in general and think about the spirit that's right behind you.

M (Whipping around in panic):  What!?!

P:  See--there's a big stone between you and him--so what's to worry about?  He ain't gettin' out.

M (Not to be outdone):  Spirits go right through rocks, Petronius.

P:  Well, in that case, he's probably long gone.  We might 's well go on back to the barracks and take a floggin'.

M:  Stop makin' fun, Petronius.

P:  Well, you're not here to guard the spirit Marcus.  All you got to worry about is the dead body.

M:  Eugheghuuew.

P:  Now what's the matter?

M:  I just don't like talkin' about . . .

P:  Corpses?

M:  Yeah.

P:  Haven't you ever seen a corpse before, Marcus?

M:  Yeah, sure.  (Oops, maybe not.)  But I don't stand around to watch 'em . . . 

P:  Rot?

M:  Will you have some respect, Petronius!?

P:  Oh calm down.  It's the dead guys that can't hurt you.  Or don't they teach that in basic training anymore?

M:  I'm not afraid of the dead!  (Ah ha.  He is!)  It's just that this isn't Rome.

(PETRONIUS calls out to someone down left.)

P:  Hey Flavius.  Marcus just figured out we're not in Rome.

M:  Petronius, will you stop makin' fun?!  You know what I mean.

P:  No.  What do ya mean Marcus?

M:  I mean these people are weird.  Why else would we be standing guard over some . . . Don't say it!  (Quick change of subject.)  For instance, did you know that these people only believe in one god?

P:  Whataya expect?  They're a heathen people.

M:  That's what I mean.  When people are that heathen, things happen.  Like yesterday when this prophet guy of theirs . . . (Once again, Marcus can't say it.)

P:  Croaked?

M:  Ewyeagh!

P:  Yeah yesterday, go on.

M:  Yesterday, I felt the earth shake.

P:  Mmnm, you're right.  That was pretty weird.

M:  Yeah, and the sun god, Mithra, left the sky right in the middle of the day.

P:  Yeah, that was weird too.

M (Marcus is finally making a friend):  And a man on the street told ÿÿme there were spirits walkin'.

P (Suspecting what he's up against here):  Spirits?

M:  Yeah.

P:  Spirit's walkin'?

M (Nodding):  Mmmm, hmmmm.

P:  Did they attack you?

M:  No, they couldn't find me.  (His shameful confession.)  I went and hid in the spear cabinet.

P (Calling to Flavius again):  Did you guys hear that?!

M:  Petronius!  Will you shut up!

P (Mr. reality therapy):  Marcus, you're yellow!

M:  I am not!

P:  Well I didn't go off and hide in the spear cabinet.  I stayed right out there with the spooks.  In fact, I was gonna tell ya somethin' but I thought you might get scared.

M:  What?

P:  You sure you won't get scared?

M:  Just tell me!

P:  All right.  Well, see, I was takin' a nap under this one tree, and this one spook came walkin' along (he demonstrates with two walking fingers), and he tripped over my feet and it sort of startled me, see.  (A bit of advice) And whenever I'm startled, bein's I'm a soldier, my first instinct is to kill first and think later.  So I run him through with my sword--went right through him--and he turns to me and says, "Oh, pardon me sir.  I didn't mean to startle you.  I'm in a hurry to get over to the crucifixions.  Gotta welcome in the NEEEW folks.

M:  Is that really what he said?

P:  Yeeaaah.

M (Ponders, then decides to help his new friend):  Petronius.

P:  Yeah, Marcus.

M:  It's bad luck to stab a spirit.

P:  I made the story up, oat brain!

M:  Oh.  It's lucky for you.

P (Tired of all this):  Where are those replacements?  They oughta be here by now.

M (A bit of smugness, thinking he's finally caught Petronius):  Are you gettin' scared?

P:  No, I'm not scared!  I ain't afraida no spirits, heathen prophet or no.  I ain't scared a nothin' you can't see!

M:  All right, all right. (Pause)  Petronius?

P:  I'm not gonna talk about spirits anymore, Marcus!

M:  I wasn't gonna talk about spirits.

P:  All right.  What?

M:  Do you think they'll really try to come and steal his . . . you know.

P:  Skeleton?

(Marcus groans)

P:  Marcus, listen!

M:  What?

P:  What do you hear?

M:  Nothin'!

P:  Exactly.  You know why you hear nothin'?

M:  Why?

P:  Because it's the Jewish Sabbath.  And none of them does anything on the Sabbath.  They don't do any work on the Sabbath.  None of them does and any marketing on the Sabbath and nobody does any travelin' on the Sabbath, and nobody robs any 

BOTH:  graves on the Sabbath!

M:  Why didn't you say so before?

P:  I was tryin' to help you get over your nervousness, son.

M:  I'm not nervous.

P (Seeing the replacements at a distance down left):  Ah, finally.  Here those guys come.

M:  I'm not nervous.

P:  All right, Marcus, I understand.  I do really.  Listen, you're new around here.  Everybody's jittery at first.  It's all right son.  I'll tell you what, tomorrow you and me are supposed to rotate with those other guys down there.  I'll ask them if we can stay right here.  With solid rock at our backs, can't nothin' surprise us.  If those grave robbers do show up, which I doubt, we'll meet 'em head on!

M:  Hah!  I'm not afraid.  (Spoken like a barracks motto.) Though heaven itself assail me, I shall stand firm.

P (Looking at Marcus encouragingly):  THERE'S the spirit.  (MARCUS whips around, thinking there's a spirit behind him, stage right.)  I'm sorry.  (PETRONIUS holds out a hand for an arm to arm handshake, Roman style.) Until dawn tomorrow, Marcus.

M:  Until dawn.

(Immediately after the hand shake, the guards go place their spears in the holder.  They turn front as story-tellers.)

M1 (Turning the stage left chair around to face the audience):  Six days earlier. . .

M2 (Picking up the stage right chair and carrying it stage right to remove it from the context of the next scene): . . . on the Sunday of his arrival in Jerusalem.

M1:  Jesus had spoken these words to the crowds:
     "Now is the judgment of this world.

M2:  Now shall the ruler of this world be cast out.

M1:  And when I am lifted up from the earth

BOTH:  I will draw all men to myself.

*MUSIC IN*

(M2 continues while M1 sets the sign crossways on the spears, making the image of a cross.  All the various character props hang from the cross beam.)

(M2 walks down the center aisle toward the back of the audience as he speaks.)

M2:  The light is with you for a little longer.  Walk while you have the light, lest darkness overtake you; he who walks in darkness does know where he goes.  While you have the light, believe in the light, that you may become sons of God.

*MUSIC OUT*

(M1 becomes Cleopas, who is at least in his late seventies.  He is sitting in a chair center stage.  He is staring straight ahead.  An imaginary boy of 12 sits at his feet.)

CLEOPAS:  He was sittin' in the grass by the road when we first saw 'im.  It was a beautiful morning, day after the Sabbath.  You should remember when it was, lad.  Let's see, you're twelve, to 
that means it was exactly 40 years before you were born.  Same number of years that we wandered in the wilderness before we were led into this land.  So, it was fifty two years ago, today. 

	  My brother, Matthias, and I were on our way to Emmaus.  We was escapin' Jerusalem.  The revolution had failed, our leadered been killed, and now we were runnin' for our lives.  

	  Anyway, as we walked along, we were arguin' back and forth about who had stolen Jesus body that morning.  Matthias thought it was the priests, tryin' to stop rumors.  But I knew for sure it had to have been Ceasar's gang.  It was just like somethin' they would have done.
  
	  Anyway, I happened to glance over my shoulder, and I noticed that the man from the grass by the road was walkin' right behind us.  He was spyin' on us!  I signaled to Matthias to keep quiet, and the spy came up on Matthias' left and said, "What were you two men talking about?"  

	  Well, I gulped and said, "Well, everyone knows what's been going on in Jerusalem these days."  
	  And he said, "Tell me."  
	  That's when Matthias, who never in his life had a sensible bone in his head, just blurted out the whole story, all about our hopes that Jesus would have been the redemption for Israel and about how the Romans had killed him.  And then the spy did, did what a, what I thought at the time was rather strange.  He began quoting from all the prophets, and Moses, and the Psalms--all about the Christ.      
	  Well, I didn't know Cleo if he was trying to tell us that Jesus couldn't a been the Christ, or that he musta been the Christ.  
	  By then, we was in Emmaus, an' I invited him to stay the night with us; I wanted to make sure he wasn't going to betray us to the high priest.  I figured if one our own company could do that, I wasn't going be too careful.  
	  We went to our uncle's house, and he welcomed us, and Auntie fixed a meal for us.  We sat down to supper, and the spy reached for one of Auntie's hard breads, and he blessed it, and he broke it.  He handed a piece to Mathias, and he handed a peice to me.  That's when I saw it:  there in his hand, a hole.  Like in a piece of wood when a nail's been pulled out.  And he looked at Mathias and he looked at me, and he vanished.  Right from where he was sitting.  
	
	  Well Auntie screamed, and Mathias and I jumped up and started runnin'.  This time we were runnin' toward Jerusalem.  When we got back to town, we took the main roads.  And when we got about a hundred yards from the house where the others were hidin', we started shouting, "We seen Him!  We seen Him!"  We didn't care who heard us.  

	  We got to the house, and Mathias ran on up the stairs, I stayed down to talk to the lookout, told him the whole story, and he didn't believe a word of it.  

	  (The memory makes him angry as he relives this moment, bringing him to tears at the sight of Jesus).  I grabbed him by the arm and shoved him up the stairs.  And as we rounded the corner into the room, I saw the lookout's face go white.  And I came up behind him and looked over his shoulder, and there was Jesus sittin' in the middle of the room, eatin' a plate of fish.

*MUSIC IN*

	  Cleopas, you're gonna here a lot of story tellers in your life, and all of 'em'll be better than me.  But not a one of them will have a better story.  This is greatest story you will ever hear.  And now it must become the greatest story you ever tell.  You have heard it from the mouth of one who has seen the Christ alive from the dead.  (Gently, with deep love)  Don't let this story die when your Grandpa does.  Do you understand me, Cleo?

[ ]

(Pause.  CLEOPAS nods and then he stands up.)

*MUSIC OUT*

Gonna be a warm day.  Why don't we go on inside.  I think I smell some breakfast.

(M1 turns upstage.  The whistling is heard.  Those four notes.  It sounds like Dysmas.  The whistling transforms the actor.  He straightens up, becoming M1.  With his back still to the audience, M1 whistles the four notes.  The sound effects operator responds to those four notes by turning on a tape of a piano version of "Christ the Lord is Risen Today".  It starts simply with those four notes and then continues underneath the following narration.  M2 joins M1 on the platform.  M1 turns front as himself.  As M1 speaks, he crosses to stage right to get the chair.  M2 picks up the center chair.  At some non-distracting moment, they each fold up their chairs to sorta pack things up in preparation to go.)

M1:  Well that's the end of our story.  There are a couple of loose ends that we've noticed though.

M2:  For instance, I wonder how Jacob and Jezpah got their donkey back.

M1:  And I'd like to know if Jestus' final words were a curse....or a confession.  Maybe someday I'll get to ask him.

(The two men walk to the back of the auditorium as the hymn completes.)

                          End of Play

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