 
## Leaping Off the Page

### Any Time of the Year Edition

A collection of scripts for use in church programs

By L. Ruth Carter

Copyright 2014 by L. Ruth Carter

Smashwords Edition

License Notes

Thank you for downloading this ebook. It is the copyrighted property of the author, and may not be reproduced, copied, and distributed for commercial or non-commercial purposes.  
The material may not be performed in a public forum.

For information on how to purchase performance rights and printable scripts,  
please visit the author's website:  
l-ruth-carter.com.  
It's not painful. I promise.

If you enjoyed this book, please encourage your friends to download their own copy at Smashwords.com.

Thank you for your support.

~~~~

## Table of Contents

ONE-ACT PLAYS

Pilgrim's Pathway

Annual Report

Naaman's Dilemma

Two Captive Maids

SHORT PLAYS AND SKETCHES

Thine Is the Kingdom

Gracious Sakes Alive!

Yikes! All Those Fruits!

Don't Sweat It

Foul

Home Run

It's a Life

The No Show

Sisters

MONODRAMAS

Eve's Elegy

Damascus

A Leper's Song

Saved Alone

So Send I You

Who In the World Does Paul Think He Is?

Zacchaeus

LITANIES

Psalm 40:1-17

Isaiah 35

END NOTES

About the Author

Purchasing Production Kits

Also Available: Christmas Edition

Also Available: Easter, Mother's and Father's Day Edition

~~~~

## One-Act Plays

These plays range in length from 15 to 30 minutes

~~~~

## Pilgrim's Pathway

A One-Act Play

SCENE: We are in the wilderness, full of trees, rocks, gullies and cliffs. A narrow path meanders across the stage from left to right.

CAST

Chris: Short for Christian, Chris is our pilgrim. Carrying a heavy burden (backpack), he/she is obviously weary of the climb. Dressed in hardy rock-climbing gear. Clothes should be dirty, torn. He/she could have scratches and bruises too.

LG: Man or woman. Well meaning, sincere, wants only to help Chris. Dressed in top of the line mountaineer garb. The sort that is for looks rather than for work. Could look like a catalog model for Eddy Bauers. No backpack.

Lawson: Man or woman. Another sincere, well meaning, would-be helper. Dressed formally, in executive type clothes. No backpack.

Josh: Man or woman. However you look at it, this one is a helper. Blue jeans, plaid shirt, lined vest, boots. Large backpack.

SET PIECES: You may keep this simple and just have a couple of things to suggest the trees and rocks. Have one rock and a log that can be sat on. You can use a piano bench and stool and invite the audience to use their imagination.

PROPS AND COSTUMES: Two large backpacks, water flask, long list of items.

Chris: _(Enters from stage left. Weary, tired, discouraged. Collapses on a rock at the side of the path and gingerly eases out of the backpack. Rotates shoulders, then takes a drink from a water flask. Groans, wipes mouth with back of hand.)_

LG: _(Enters unnoticed from somewhere upstage. He stands back and looks at_ _Chris_ _, shaking his head in commiseration.)_ Tough, isn't it?

Chris: _(Turns, startled)_ Huh? _(Spots LG, who moves in closer)_ Oh. Yeah.

LG: _(Sits on nearby rock or log)_ Been traveling long?

Chris: _(Shrugs)_ Long enough.

LG: _(Nods knowingly)_ Know what you mean.

Chris: You?

LG: Me?

Chris: Been traveling long?

LG: _(Aghast)_ Oh, no! _(Recovering quickly)_ I just came from over there. _(Waves vaguely towards the trees from whence he had come)_

Chris: _(Slowly)_ I see.

LG: I don't think so.

Chris: What?

LG: I don't think you see.

Chris: _(Grimaces)_ Probably not.

LG: You don't see how you can be toiling along this terrible path, all worn out, when here I am at the same place, rested and not traveling at all.

Chris: I did wonder.

LG: _(Nods)_ Thought so.

Chris: Well?

LG: Well what?

Chris: Why are you here, fresh and rested?

LG: There's a way station back there.

Chris: Way station?

LG: Kind of like a rest area, but more so.

Chris: How more so?

LG: It has everything.

Chris: Everything?

LG: You bet. Full facilities, of course. The finest food, comfortable rooms, miniature golf, wifi, you name it.

Chris: Sounds—luxurious.

LG: Only the best.

Chris: Sounds kind of like a resort.

LG: You got it.

Chris: Sounds like you could stay there forever and never have to move on.

LG: _(Stretches expansively)_ You sure could.

Chris: Are you staying or moving on?

LG: Staying, of course! I'm the manager!

Chris: Oh.

LG: You could stay too. We could use someone with your obvious capacities.

Chris: _(Suspiciously)_ What do you know about my capacities?

LG: I've watched you. On the path.

Chris: What did you see?

LG: Tenacity. Determination. Grit.

Chris: I had to keep going. I had no choice.

LG: _(Sympathetically)_ Like when you got caught in that storm?

Chris: _(Startled)_ You know about that?

LG: _(Nods)_ You almost gave up.

Chris: _(Grimly)_ I didn't, though.

LG: No, you didn't. Wonder why?

Chris: _(Glumly)_ I don't know.

LG: _(Nods at pack)_ Pack heavy?

Chris: _(Groans)_ Sure is. My shoulders burn.

LG: _(Nods sagely)_ They would.

Chris: It's been horrible. I was sure I wouldn't make it up that last rise. I don't know how I got here.

LG: I know what you mean. It's a tough one. I didn't think you'd make it, either.

Chris: But I did.

LG: Tougher hills up ahead.

Chris: _(Dismayed)_ Tougher?

LG: It never gets easier, you know.

Chris: Sometimes it seems like that.

LG: It is like that.

Chris: How do you know it's tougher if you haven't been there?

LG: I've heard the stories. _(Shudders)_ Terrible.

Chris: I am tired...

LG: _(Leans in closer)_ Come stay with us. Just for a spell. Get rested, take a load off and all that. It'll do you good.

Chris: I don't know...

LG: No harm in taking a break is there?

Chris: I'm supposed to be going on this path.

LG: You can come back to it, refreshed, invigorated, ready for the next hard challenge.

Chris: You didn't come back.

LG: I can, though. Any time.

Chris: I don't know.

LG: Come on. You know you need to.

Chris: _(Looks at pack, rubs shoulders)_ I don't know.

LG: Just leave that horribly heavy knapsack right there and come to us _. (He moves pack away from the trail)_

Chris: But I can't do that! _(She picks up pack)_

LG: Why not?

Chris: They told me not to leave my pack. I'll need it for the journey.

LG: It must be an awful weight.

Chris: Well _...(She looks down path and then towards way station)_ A way station is a way station. It's not a destination.

LG: _(Takes her load and dumps it on the ground. He gestures for her to precede him. She hesitates, shakes her head and starts to pick up pack. A third person, Lawson, enters from the upstage area.)_

Lawson: _(Furious)_ LG! What are you doing here?

LG: _(Peevishly)_ Oh, hi, Lawson. Just talking to Chris here.

Chris: How'd you know my name?

Lawson: _(Ignoring_ _Chris_ _)_ You're trying to get her to leave the path, aren't you?

LG: _(Indignantly)_ I am not! She just needs a break, that's all!

Lawson: She takes a break at your so-called way station and she'll never continue on that path!

LG: So what? The path's not all it's cracked up to be.

Lawson: _(Turns to_ _Chris_ _)_ Don't you listen to LG. He's a bad one. Keeps people from the their destination all the time.

Chris: _(Wide-eyed, dismayed)_ Oh.

Lawson: Now you just put your pack on. You'd better move on before this coyote leads you astray.

Chris: _(Struggles into the pack as Lawson pushes LG towards the stage left exit)_

Lawson: Now you get out of here, LG! You've done enough damage!

LG: Damage? Surely not. _(To_ _Chris_ _)_ Sure you don't want to come? No? _(Goes to exit and turns in)_ Well, maybe you can pop in at the next way station. We have 'em at regular intervals. But don't get messed up with that one. Really. _(Exits)_

Lawson: Now, listen to me, Chris—

Chris: _(Interrupting)_ How come you people know my name?

Lawson: _(Rolls eyes)_ We've been watching you, of course.

Chris: _(Baldly)_ Why?

Lawson: We want to make sure you stay on the right path. If you take one wrong step, you'll be lost for good. You don't want that, do you?

Chris: No, of course not.

Lawson: You have to stay on the path. If you deviate even a little, you may never find your way again. Don't you listen to the clowns like LG who would lure you away.

Chris: No, no, I must stay on the path.

Lawson: Do you have enough things in your pack?

Chris: _(Falteringly. Winces shoulders)_ I think so.

Lawson: If you don't have just the right things, you'll miss the way.

Chris: _(Worried)_ I will?

Lawson: You sure will. _(Pulls a long list from pocket)_ Now here's a list of things you should have.

Chris: _(Dismayed, looking at list)_ But that's such a lot!

Lawson: _(Sternly)_ Of course it is. Walking this path is serious business.

Chris: But my pack is already so heavy!

Lawson: No help for it. You want to do this right, don't you?

Chris: Of course I do!

Lawson: Then you've got to have these things. _(Points to list)_ If you don't have them, and if you don't follow the procedure just right, you're doomed.

Chris: _(Sinks wearily back on the rock)_ I don't have half the items on this list.

Lawson: Then it's obvious I can't help you. Not without that stuff. _(Goes to exit)_ You get those things and you'll be all right. _(Exits and then pops back in)_ I'd wish you luck, but I don't see much hope for you. You gotta do it right, you know! _(Exits)_

Chris: _(Looks at list, slumps)_ What am I to do? I'm so tired. My back aches and my feet hurt. One person tells me to take a break and forget it all. The other says I'm doomed. My pack is already so heavy! _(Gets slowly up and starts to trudge wearily towards the stage right end of path)_ I wish I had help. Real help.

Josh: _(Appears from the up center area)_ Well, why didn't you say so before?

Chris: Not another one!

Josh: Another what?

Chris: Another person with oh, so helpful suggestions. _(Waves list)_

Josh: _(_ _Takes list and puts it in pocket_ _)_ Oh, you don't need that.

Chris: _(Hard)_ I sure don't.

Josh: I have no helpful suggestions.

Chris: Good.

Josh: I just have helpful...help.

Chris: Help?

Josh: Yes, help.

Chris: What kind of help?

Josh: Me.

Chris: How can you help me?

Josh: I'm here.

Chris: I see that.

Josh : I'm your help.

Chris: Why weren't you here before?

Josh: Oh, but I was.

Chris: I didn't see you.

Josh: Don't you remember that awful storm?

Chris: I sure do. It rained and rained and then it turned to ice. It was a miracle I found shelter when I did.

Josh: It sure was.

Chris: Sure was? A miracle?

Josh: That it was. You came around that bend in the path and the lightning flashed just in time for you to see the little hut.

Chris: It was warm, and there was food. I got a good night's sleep.

Josh: You remember that last rise?

Chris: _(Groans)_ I sure do. Impossible.

Josh: You remember getting all the way up?

Chris: Well, no, as a matter of fact... _(Stops and stares at Josh_ ) That was you?

Josh: _(Nods)_

Chris: I do remember a kind of surge of energy and...

Josh: _(Nods)_

Chris: That was you?

Josh: _(Another nod)_

Chris: Why didn't I see you?

Josh: You didn't ask for me.

Chris: I see you now.

Josh: You asked for me.

Chris: I did?

Josh: Yep.

Chris: How?

Josh: You prayed.

Chris: You mean, when I said, "Help"?

Josh: Uh huh.

Chris: That was a prayer?

Josh: Wasn't it?

Chris: I guess so.

Josh: Here I am.

Chris: What do I do now?

Josh: You go on.

Chris: _(Wails)_ But I'm so tired!

Josh: _(Nods)_ You lost your joy.

Chris: I did?

Josh: You sure did.

Chris: When?

Josh: When you decided you had to do it all on your own.

Chris: _(Nods)_ That's when the pack started to get heavy.

Josh: You listened to all the other voices and you no longer heard the music.

Chris: It's been hard.

Josh: I don't know how you got as far as you did.

Chris: I need help.

Josh: I'm here. I am with you. I will be with you.

Chris: How can you help?

Josh: You will give me your pack. And I will give you rest.

Chris: ( _Clutches strap)_ My pack? But—

Josh: _(Grins)_ Surely you don't want to carry that heavy thing!

Chris: But some of those others wanted me to give it up. I knew that was wrong.

Josh: I'm not asking you to give it up. I'm asking you to let me carry it.

Chris: _(Warily removes pack)_ But you already have one yourself.

Josh: _(Takes his pack off and hands it to_ _Chris_ _)_ It's a trade. _(Starts putting_ _Chris_ _'s pack on, shifting it until it is comfortable)_

Chris: _(Hefts it in her hand)_ It feels just as heavy as mine.

Josh: _(Encouragingly)_ Put it on.

Chris: _(Heavy sigh)_ Oh, all right, but I don't see...

Josh: _(Helps_ _Chris_ _put it on)_ There you are.

Chris: _(Turns back to Josh, a brightness coming to her face)_ It's not so heavy on me. In fact, it feels like it is holding me up! I feel—

Josh: _(Smiling)_ How do you feel?

Chris: I don't know—uh—bouncy, springier, more buoyant.

Josh: There's another word for that.

Chris: What?

Josh: You know.

Chris: Oh. You mean, "joy"?

Josh: That's it.

Chris: But why? I mean, I don't deserve...

Josh: _(Smiles to take away sting)_ No, you don't.

Chris: Then why? _(Pauses as she gets it)_ Oh!

Josh: _(Big smile as they start down the path)_ Exactly. Oh. _(And out they go, bouncy, springy, buoyant.)_

Curtain

~~~~

## ANNUAL REPORT

A One-Act Play

Scene: We are in an anteroom of Hell. If you have full stage capacities, you can go crazy with weird sets and lighting. Or you can suggest weirdness with a few well-placed pieces. One way would be take everyday objects and place them in ways totally foreign to their normal function. For example, putting a stepladder upside down. Hang a noose from one of the legs. Drape dark colored cloths over assorted pieces such as music stands or bookshelves, to have a variety of heights and widths. Have a few things to suggest an office: a table or desk, a few chairs, a filing cabinet, maybe a computer. Festoon these with cobwebs and the like. If special effects are possible, have a couple of pails of dry ice, and make use of a lot of blues and reds in the lighting. The desk should be just up of center stage, on a raised dais, if possible. An executive chair should be behind it. Three plain kitchen type chairs can make a haphazard grouping down left, with another chair and maybe an end table down right. Do not make an equilateral triangle with these three points. The triangle should be an isosceles. If you use music, it should be dissonant, grating, and dirge-like.

Cast: There are five demons in this play. I shall write them with gender, but you shouldn't have any difficulty making adjustments if you want to switch the gender for any of them. Care should be taken by the actors. While I write this as comedy, the characters are evil. They should take themselves seriously. If you ham it up, you could have the audience relating to them in empathy, and we do not want that at all. We want the empathy to be for the victims of their evil. For costuming, be distinctive for each character, using lots of dark colors. Makeup can be as weird as you can make it—use greens and purples on the faces, for instance. Hair, too, could be wild. I will give some specific ideas for each character, but they are suggestions only. It might even be better to just hint at weirdness, because it would highlight how Satan makes his ploys look harmless. (The names are all anagrams.)

Rafe: He represents a spirit of fear. I've got this one as the biggest dude you can find. Have him look like a mutated biker. Black leather vest, chains, cowboy boots, long hair, and then weird it up. Since there are decent people who dress like that, we will want to take this guy further. Give him camouflage makeup or lots of tattoos, and try to give him something that would suggest a weapon—a whip, a big knife, an Uzi, whatever. When people see somebody like this, they get out of the way—fast! A woman could be dressed and made up in a similar fashion—a kind of biker/commando/terrorist.

Ronpo: I've got this one as a female. A spirit of lust. The Vampira look would be great. Long black sleeveless dress, elbow length black gloves, long hair, white face, black lipstick, the biggest, most glittering earrings you can find. A cigarette in one of those long cigarette holders would make a nice touch. If the clothes could be a trifle ragged or stained, that would be good. If a man does the part, dress him in a tuxedo and cape. White face and black lips would still work, with perhaps a blood red lip liner pencil to outline his lips.

Caviare This one is a spirit of greed. Have him in a three-piece suit and tie. The vest could be a bright flowered thing. Try for a pocket watch. If possible, mutate him by mismatching a couple of bilious plaids such as were in vogue in the sixties. His hair could be a clashing purple or orange 'fro with a hippie headband. For makeup, try some geometric patterns on the face. Have him carry and use a large calculator with paper printout. A woman can be similarly garbed and made up.

Galle The others are so fantastically rigged out that this one gets lost. This is a spirit of legalism. I would try and cast the smallest, most unobtrusive looking person I could find, but somebody with the ability to have a powerful presence on stage when needed. Whether this person is a man or woman, have him or her dressed to the most conforming "Sunday-go-to-meeting" standard of the particular church you're working for. Or going in another direction, a police uniform might work. I'll write this character as a woman. Don't do anything outlandish with costume, hair or makeup. She should be meticulously groomed, without a hair out of place. All of her gestures, the way she sits, stands and walks should be completely "ladylike". I see her sitting quietly in a corner, not joining in the braggadocio of the others. If a man, try and get somebody smaller than any of the other men in the cast. I see him as small, skinny and bald. Again, his demeanor is most circumspect. Nothing overdone with this one, unless it is in the area of the prim and proper.

Oner: The Grand Poobah: A CEO. He's the one that is hearing the annual reports and will decide on promotions and raises or demerits and penalties for his underlings. I see him dressed as a kind of Grand Inquisitor—long, flowing black robe with big jeweled miter and badge of office on a chain around his neck. He could wear a huge ring on his left hand. Again, be creative and bizarre with the makeup. You could do one side of the face black and the other side white, like they did in one of the original Star Trek TV shows. A woman can be dressed this way, too. While this person doesn't have to be the biggest the cast, he or she should be able to command the moment through absolute ownership of the role, the play and the stage.

_At CURTAIN, the stage is empty. The entrances of the first four characters should overlap each other so that the next one enters before the preceding one gets settled._ _Galle_ _enters first, goes to the desk at center, places a file neatly in the middle of the desk, bows deeply, then goes to the single chair down right and sits primly, hands folded on top of her purse on her lap._ _Caviare_ _enters next. He is carrying his calculator, from which trails a long piece of paper with lots of calculations on it. He also carries a sheaf of notes—small bits of paper, such as receipts that come loose and drift around him everywhere he goes. He gives a perfunctory bow to the desk then purloins one of the down right chairs._

Caviare : _(He pulls a second chair in front of him on which he places his calculator)_ Ready for the annual report? _(He starts in on his calculations, the machine whirring and printing his figures.)_

Galle : _(Calmly)_ Yes.

Caviare : _(Looks disdainfully at_ _Galle_ _)_ I've never seen you here before.

Galle : _(Unperturbed)_ I'm new. I was promoted to this section last year.

Caviare: _(Grunts and bends to his work)_ Hmmmph!

Rafe : _(Entering with_ _Ronpo_ _arm in arm)_ Stick with me. I am going places fast! _(At the desk,_ _Rafe_ _gives a sneering salute)_

Ronpo _:_ _(Giggles, strokes her hand sensuously along the table's surface)_ That's how I like it. Fast.

Rafe _:_ _(Prowls around the stage right area, glares at_ _Caviare_ _)_ You again. _(Sneers)_ And what great triumphs have you plunged to this year?

Caviare : _(Continues tapping in numbers on his calculator)_ Plunged? Don't you mean risen?

Rafe _:_ _(Sneer)_ Plunged. The lower you go, the better, _nicht wahr_?

Ronpo : _(Giggles, gestures broadly)_ Plunge to success! Rise to failure! _(Creeps her fingers insinuatingly along_ _Rafe_ _'s arm)_ And I go as low as I can.

Rafe : _(Flings_ _Ronpo_ _away)_ Not as low as I can, pet. _(Menaces_ _Caviare_ _)_ Answer my question. What great triumphs have you plunged to?

Caviare _:_ _(Rips a length of paper from his calculator)_ Nothing you'd understand.

Rafe : _(Sneers)_ You're right. I wouldn't. _(Looms over_ _Galle_ _)_ Never saw you before.

Galle : _(Without flinching)_ I'm new to this section.

Rafe _:_ _(Snorts, unimpressed. He looks at each of the other three in turn. Speaks with sarcastic contempt)_ I can see I'm really up against some stiff competition for the promotion to Legion 5.

Ronpo _:_ _(From behind_ _Caviare_ _, draping her arms over his shoulders and peering at his work)_ You have a lot to fear from this one _. (She swipes a long piece of the calculator tape and sweeps to center stage, trailing the paper behind her like a kite)_ Numbers! _(She hoots)_ How can you fight against numbers?

Caviare : _(Following her, fretfully)_ Give me back that tape! It's my report!

Rafe : _(Grabs tape and holds it out of_ _Caviare_ _'s reach, who is trying to get it back)_ Why didn't you just bring last year's numbers, Caviare? They're always the same, year in and year out.

Caviare : And your report isn't always the same _? (Snatches tape and smoothes it fretfully.)_ Tell me, how many haunted houses and howling wolves and creepy crawlers are you going to chortle over this year?

Rafe : Fear. That's the biggest factor in dealing with those stupid humans. I've got them whimpering and screaming. I've got them frozen in place and running in panic. They don't know where their nightmares end and their terror begins. What can your puny little numbers do in the face of that?

Caviare : _(Shakes his head sadly)_ That's the trouble with you, Rafe. You have no subtlety. Fear is a powerful force, I'll give you that. _(Gestures with his papers)_ But I deal with something even stronger. _(Pauses to set it up)_ Greed!

Rafe : _(Snorts)_ Greed! There's no fun in that! Why, I had one poor quaking fool so terrified of thunderstorms he could no longer go to the bowling alley!

Ronpo : _(Puzzled)_ Why bowling alley?

Rafe _:_ _(Roars with laughter)_ Because his mother used to tell him that the thunder was the angels' bowling. I worked on a few lightning effects and now he believes it's the demons bowling and that we are the bowling balls!

Galle : _(Quietly)_ My clients are afraid of looking bad to their colleagues and friends. _(Everybody ignores her)_

Ronpo : Nice touch, Rafe. _(Smiles scornfully)_ But no finesse. I'll bet your poor little victim will soon realize that if he doesn't go to bowling alleys he'll have nothing to fear. Caviare's right. You're about as subtle as a California earthquake.

Rafe : Earthquakes! I got in a couple of good ones in this year, to say nothing of the volcanoes, tornadoes, tsunamis, and other so called acts of the One we do not name.

Galle : _(Speaking quietly and again ignored)_ My clients believe those events are punishments when they happen to other people.

Ronpo : _(Shaking head in mock pity)_ Poor Rafe. Those disasters are so limiting. Now, my department is all encompassing. I agree with Caviare, greed is exciting. _(Licks her lips)_ But when I take that greed and channel it into lust, it consumes my victims' every moment, waking or sleeping. It makes them feel so good! They call it "fooling around." Boy, are they fooled!

Caviare: But they even put that aside when it comes to money. Remember what that book of theirs says?

Rafe: _(Clapping his hand over_ _Caviare_ _'s mouth)_ It is forbidden to mention that book!

Galle: My clients read that book—religiously!

_(The other three stare at her. She smiles complacently._ _Caviare_ _shakes loose of_ _Rafe_ _and takes a pose at center stage)_

Caviare _:_ _(Declaiming)_ Money is the root of all evil! _(To_ _Rafe_ _)_ So your fear tactics, _(snaps fingers)_ so what? _(To_ _Ronpo_ _)_ Lust? _(Another snap)_ Peanuts! Why, only last week I got sixteen more penny-ante executive types hooked on 10 per cent under the table deals!

Galle: My clients tithe 10 per cent of their incomes to their church.

Caviare: _(Squeaks)_ Church?

Ronpo: Who are you working for, anyway? The other side?

Rafe: Well, you're not going to advance very far, that's for sure. Want me to teach you how to change into a four ton Gila monster _? (Generously)_ I will, if I get my promotion. It's one of my specialties. I used it to great effect in 1573 in a Spanish dungeon.

Galle: No, thank you. I did it once back in 902, and the effects were temporary. I ultimately lost that client.

Caviare: I remember that 1573 thing. Seems to me we later lost that guy, too. Wasn't he burnt at the stake?

Rafe: _(Defensively)_ We only lost a few.

Galle: A few here. A few there. Every time we lose one, we lose. Period.

Rafe _:_ _(Sourly)_ So how many have you lost?

Galle: Since I changed foci? None.

Ronpo: Oh, sure. They read that—that book. They tithe. I'll bet they never fool around.

Galle: Never.

Ronpo: Is that any way to run an organization?

Caviare: You are so naive.

Rafe: I still say fear is the way to get them.

Ronpo: Lust!

Caviare: Greed!

Rafe: Fear!

Ronpo: Get 'em sweatin'!

Rafe: They sweat, all right!

Caviare: You two are so juvenile.

Rafe: We're dealing with juveniles. That's why fear works.

Ronpo: Lust!

Caviare: Greed!

_(The three have gathered into a clump and are arguing vociferously when_ _Oner_ _enters and goes to the large chair behind the desk. He stands and thunders)_

Oner: Order _! (_ _Galle_ _has been sitting quietly on her chair. The three squabblers look up appalled, awkwardly bow or salute and quickly scramble to their places.)_

Caviare _:_ _(Goes to his chair and feverishly tries to restore order to his piles of paper)_ Yes, sir!

Rafe: _(Paces behind. Growls)_ Yes, your eminence.

Ronpo : _(Tries to vamp_ _Oner_ _who glares at her. She sulkily sits next to_ _Caviare_ _)_ Yes, your worship. _(These last three lines should overlap each other)_

Oner: _(Sitting down, he raps a gavel on the desk)_ This meeting is called to order. Caviare, will you read the minutes from last year's annual report?

Caviare: _(Frantically searches through papers, which fall and drift around him)_ Minutes? _(Squeaks)_ Minutes? I had them here a minute ago!

Ronpo: _(Titters)_ Appropriate.

Rafe: _(Guffaws)_ A minute ago.

Oner: _(Glares)_ Enough!

Ronpo _:_ _(Subsides)_ Yes, sir.

Caviare: _(Scooting around room, checking papers he had dropped earlier)_ Minutes! I'll have them for you in a minute, sir!

Rafe: _(Exchanges glance with_ _Ronpo_ _)_

Oner: _(Glares at them, but they say nothing. He turns to_ _Caviare_ _)_ Well?

Caviare _:_ _(He triumphantly holds up a tattered paper that had fallen to the floor)_ Yes, your most munificent Excellency, I have them.

Oner: _(With thin sarcasm)_ Bravo. _(Heavy patience)_ Now will you read them?

Caviare: Yes, sir. _(Clears throat nervously)_ These are the minutes taken at the Annual Report of _— (he looks up)_ Do I have to read all that prelim stuff, sir?

Oner: You have copies for everyone?

Caviare: _(Nods)_

Oner: Then skip down to the business.

Caviare: Yes, sir. _(He looks down at paper)_ The first report came from Rafe, the department of terrorism.

Oner: Ah, yes. How'd he do?

Caviare: Lots of chaos and mayhem, sir.

Oner: Yes, yes. Skip down to the next bit.

Caviare: The second report was from the financial department _. (He swallows hard)_

Oner: Hmmm, yes. And who gave that report?

Caviare: Me, sir.

Oner: _(Correcting)_ I, sir.

Caviare: Aye, sir?

Oner: Aye. I, sir.

Rafe: _(Snorts)_

Oner: _(Glares)_

Caviare: Aye, aye. I mean, I sir.

Oner: So how did you do?

Caviare: It was a glowing report, sir.

Oner: I expect nothing less. _(Waves languid hand)_ What came next?

Caviare: An account from Ronpo on the doings of the sexuality department.

Oner: Another successful report?

Caviare: Yes, sir.

Oner: Any other summaries?

Caviare: No, sir.

Oner: All right. Distribute copies of the minutes to everyone and we will proceed with the meeting.

Caviare: _(Gulps and scurries around the room to find the copies and bestow them on each person in the room while the next bit of dialog goes on)_

Oner: Rafe, you might as well start.

Rafe: Yes, sir. _(He paces vigorously around the room, forcing_ _Caviare_ _to scoot around him)_ I implemented a couple of particularly successful disasters. Some of my finest attempts, I believe. We had more storms, cyclones, hurricanes, tornadoes this year than any other year since the humans started recording such things. Hundreds lost their lives and hundreds of thousands lost their homes. The earthquakes were even more devastating.

Oner: _(Raises brows)_ And you say these were successful?

Rafe _:_ _(Licking his lips in remembered glee)_ I positively grew fat on the despair as the victims saw their possessions swept off by flood and wind.

Oner: You idiot! Did you stick around later? Did you not see the volunteers and donations that came to help the ravaged areas? The fear was often replaced by gratitude and hope. The other side triumphed in many small incidents.

Rafe: But that's the point, sir, they were small incidents. Nothing to compare to the magnitude of the catastrophe.

Oner: We are more apt to lose in the those little details. Remember the poem about losing a war for want of a nail?

Rafe: Nail? What nail?

Oner: That's what I thought. Google it. Did you do anything else?

Rafe: Yes, sir. We got working on some heartier, more virulent strains of hepatitis, tuberculosis and AIDS. Even influenza. We saw some small success with those.

Oner: Again, the emphasis on small.

Rafe: _(Glumly)_ Yes, sir _. (Brightens)_ We did really well in the area of the occult, sir. That's my favorite, as you know.

Oner: Yes, I do know, and I've spoken to you about that before.

Rafe: Well, this time, I've got a whole community shaking in their shoes. They think there's a demon under every bed. They're bringing in exorcists and shamans and witch doctors to deal with it. This project alone doubled my size, let me tell you!

Oner: You fool! They were an ignorant, apathetic lot before you started on them. They didn't care or believe in anything. Now they believe in us! Before you know it they will be believing in the other side. We've lost too many through that route.

Rafe: But sir, it tastes so good. Um, I mean, bad.

Oner: Yes, I know, but leave the indifferent alone. They belong to us with very little effort. There are plenty of others who will dabble in the paranormal that can keep you busy.

Rafe: Yes, sir.

Oner: Ronpo, let's hear from your side.

Ronpo _:_ _(Hands a piece of paper to_ _Oner_ _. It could be a Focus on the Family bulletin, or any similar literature that would be familiar to the congregation.)_ This is a paper put out by one of the organizations that belongs to the other side. It clearly states the success of this past year's work. An increase in teen pregnancies resulting in record breaking numbers of abortions. Legislation giving rights to so-called fringe groups. STDs continue to afflict people. TV shows, movies, books and magazines that celebrate lust and pornography.

Oner: Why do you show me a bulletin from the enemy?

Ronpo: To show how widespread my campaign has been. Their statistics are nowhere near accurate. _(Laughs)_ What they don't know is that people from their own company are part of those statistics. Some of their employees enjoy pornography of some description.

Oner: So what did you focus on?

Ronpo: _(Points to the paper)_ TV shows and Movies of R-Rating and lower, down to Triple X. They have these people screaming frantically. But it's the internet that's really made my figures climb.

Oner: Idiot! _(He scrunches paper and tosses it aside)_ I've told you before. You only get the already depraved with those. Work on the nice shows, the family movies. Get the porn in subtly, through attitudes. You'll have more success if you work in small increments at a time. The people you want to target would be too squeamish to read or watch the blatant stuff. Ease them in gently, a little bit at a time. Their imaginations are so powerful you don't have to give them much at all. They'll take that little ember and fan it into a roaring fire!

Ronpo: _(Glumly)_ Yes, sir.

Oner: Caviare, do you have your papers in order?

Caviare: Yes, sir.

Oner: Report, please.

Caviare: Yes, sir. As you know, I have made a specialty of greed. It is almost too easy. These stupid little humans love money. They'll do anything to get it. Petty theft and grand larceny continues to rise without any effort from us. We just have a little fun with it sometimes.

Oner: Have you done anything more than that?

Caviare: _(Proudly)_ Oh, yes, sir! We've got some really sophisticated programs going. This year we refined on the idea of getting something for nothing. We implemented a number of pyramid type schemes that are making millions for the few people at the top and bilking fortunes out of the marks that fall for the scam.

Oner: There are still too many people who are too sharp to be taken in by something like that.

Caviare: Yes, sir. Some of them have discovered electronic fraud. This is an old dodge, but many of them think they can't be caught. They're still trying to get something for nothing.

Oner: So you've got the easy marks and the computer nerds. What about the rest?

Caviare: I've got large numbers of people peeved at government cutbacks or government spending. It all amounts to the same thing. They scream because taxes are too high and they scream because their benefits are cut. Some of them have found ways to cheat on income tax and welfare allowances. Others by the millions have borrowed beyond their means. We foster that, of course. Money is the root of all evil, after all.

Oner: It is the love of money that is the root of all evil! Money in and of itself is a neutral thing.

Caviare: Yes, sir.

Oner: These humans don't have to steal or cheat to fall prey to the traps of greed. All you have to do is encourage their discontent. Make them feel that they aren't getting their just dues. People who engage in these schemes, or rob and steal often get caught. When they are, it sometimes makes them pause and think, to be sorry for what they did. That leads to repentance. And you know what repentance leads to!

Caviare: _(Gulps)_ Yes, sir.

Oner: So make them want what they cannot have. Work on their jealousy. They may never actually do anything illegal to get what they want, but it'll sour them and they will belong to us.

Caviare: Yes, sir. I'll work on those, sir. Envy and greed, sir. That's the ticket! Envy, greed, and discontent. Yes, sir. I'll get to it right away, sir!

Oner: _(Looks at_ _Galle_ _)_ I've never seen you before.

Galle: No, sir, I'm new here.

Oner: Ah, yes. Promoted from Legion 3?

Galle: No, sir. Legion 2.

Oner: _(Raises brows)_ A double promotion?

Galle: _(Modestly)_ Yes, sir.

Oner: So what's your specialty?

Galle: Well, sir, it's been called by many names by the various practitioners. I haven't quite lit on one I like, sir. Maybe you could help me with that?

Oner: Well, tell me what you did, then.

Galle: I was assigned a small group of people. They were to be my sole target.

Oner: Interesting. Who are they?

Galle: They call themselves a church, sir.

Oner: So what did you do?

Caviare: Get the treasurer to abscond with the missions money?

Galle: Oh, no. He wouldn't even think of such a thing!

Caviare: What a muffed up opportunity!

Oner: What else?

Ponro: Did the preacher run off with the organist?

Galle: They were already married to each other.

Oner: No other little infidelities?

Galle : No, sir.

Ronpo: _(Yawns)_ Bo-ring!

Galle: And I know for a fact that they have very little traffic with pornography. They burned a pile of their CD's, tapes and books, and many of them got rid of their television sets.

Rafe: _(Gives the cut throat gesture)_ Looks like it's back to Legion 1 with you!

Galle: They went from being a lackadaisical group to a fanatical one.

Caviare: And you say this is success?

Galle: Yes. The way I see it, they already belonged to the other side. There wasn't much I could do about that. So, I worked on stealing their joy. The Enemy promised them life—abundant life. I took that away from them. They turned away from their salvation and embraced works. Instead of their Christianity being based on the work of Him we do not name, it is based on their own work. They have devised a long list of rules to define a good Christian, and they try to live by that. They insult the One who would give all things freely to them by trying to earn them. That's what I have done.

Oner: You have been wily, subtle. That is the best way to deal with these human beings. Give them something else to worship. Something else to be their god.

Rafe: But we don't want people to be kind to each other! They're the ones that mess up my little disasters!

Oner: Rafe, you have given them a god, and that is what we want to see. But you have given them us. That is gratifying: it feeds us. But as I said before, it has the potential of driving them into other paths of faith.

Ronpo: What I do traps them. They become addicted to momentary pleasures. It gets so that they can only live from one of these moments to the next.

Caviare: And when they steal, they send somebody else down.

Oner: Ronpo and Caviare, you have given them lust and greed as gods. This, too, is a beginning. The problem is, they worship sex and money, and they can come to recognize that these are bad for them. But when you give them something good to be their god, that is a trap which is most difficult for them to see. Good deeds, clean living, a ministry, even their Book, can all become gods. These wipe out grace and the people live in continual failure.

Rafe: So we have failed?

Oner: Yes. You have done nothing to advance our cause. You've just marked time. Most of what you three have dealt with is inherent in their natures anyway. Rafe, Ronpo and Caviare, you are going to be put back into Legion 2. Try and learn methods that will strike at the very heart of the Enemy, and you will quickly advance. Galle, you will be advanced to Level 5. Not only will you continue to work with your particular little group of people, but you will also be in charge of these three clowns.

Galle: _(Inclines head)_ It will be my privilege.

Oner: _(Stands)_ Now, you three, get out of here before I get really mad and demote you even further.

Rafe: _(Shaking, backing out)_ Yes, sire, your eminence, sir.

Caviare: _(Gathering calculator and papers)_ Yes, your despoticalness.

Ronpo: _(Swiftly to the door)_ Yes your most noisome imperialist!

(They all exit)

Oner: _(Sits and gestures to_ _Galle_ _)_ Now, tell me, what is your next tactic with your victims?

Galle: Oh, very simple, really. I'm going to get them to stop praying.

Oner: What? Won't that go against all these good works of theirs?

Galle: _(Sneering grin)_ Oh, they'll go through the form and even say some eloquent prayers, but they'll be saying them, not praying them.

Oner: _(Nods head)_ Ingenious. And how will you accomplish this?

Galle: Already set in place, sir. They no longer believe the Enemy answers prayer. So they will no longer pray. Just mouth pious words and then try to work out the answers themselves.

Oner: _(Smiles, says slowly and deeply)_ And so they shall be as gods.

(They both sit back, well satisfied. The CURTAIN closes, the LIGHTS black out, the MUSIC swells and fades and we have...)

Curtain

~~~~

## NAAMAN'S DILEMMA

A One-Act Play

Dedicated To Bob and Sue Blough

I have written three treatments on the story of Naaman: "Naaman's Dilemma" and "Two Captive Maids"—both of which are One Act plays. The third, "A Leper's Song" is a monodrama.

SETTING: Samaria, circa 700 BC. We are in the tent of a Syrian army captain.

PROPS: Use whatever you can to suggest a soldier's tent. For the action the following items will be needed: small table; bench or stool; barrel; scrolls and maps; miscellaneous clothing; bags; optional embroidery, vegetables and paring knife.

COSTUMES: Can be period or modern—but make them consistent to the characters.

CAST: Two women; three men

Naaman: A captain of the Syrian army. Has won many battles. Maybe he's now facing one he can't win. Costume: army uniform. His shoes should be easy to remove.

Lady Naaman: Naaman's wife, a beautiful, intelligent woman. Costume: a lovely gown befitting her noble rank.

Sara: Their Hebrew maid, a young girl. Costume: Plain working clothes.

Scribe: (Johar) One of Naaman's servants, a scribe, a bean counter. Very loyal to Naaman. Costume: the equivalent of suit and tie.

Aide: (Gojar) Naaman's aide-de-camp, as tough a soldier as Naaman himself. He would give his life for Naaman. Costume: army uniform—fatigues.

SCENE: At CURTAIN, only Lady Naaman and Sara are present. Lady Naaman is sitting quietly doing some hand sewing, such as embroidery. Sara is doing a small task, perhaps cutting vegetables. If the actress can do it, she can sing a little tune.

Sara: _(The song)_ The Lord God almighty has chosen me, He'll never depart from my life. I turn to my God; I become His own, I live in His unending love.

Lady: _(As_ _Sara_ _'s song ends)_ How I wish I had your faith, Sara.

Sara: What do you mean, my lady?

Lady: You say Elisha is a great man.

Sara: No, my lady. Elisha is a prophet.

Lady: A great man.

Sara: _(Respectfully)_ It is God who is great, my lady.

Lady: But you say this Elisha can heal my husband's leprosy.

Sara: _(Carefully)_ Elisha has done many great things, my lady, but it is because he is a man of God, don't you see?

Lady: No, I don't see!

Sara: _(Patiently)_ It is God who does these things. He does these wonders through Elisha because the prophet is God's man. You see?

Lady: It is hard for me to see.

Sara: I know Elisha can heal my master because it is really God who does such things.

Lady: It is no easier for me to believe a god can do this than a mere man. The Syrian gods are capricious, not given to occupying themselves in the affairs of men.

Sara: _(Sadly)_ Yes, you know the Syrian gods, my lady.

Lady: _(Sharply)_ What does that mean?

Sara: _(Bowing her head)_ I mean no disrespect, my lady.

Lady: None is taken. Speak up, girl! What do you mean?

Sara: _(Deep breath)_ Well, the Syrian gods are objects of wood and stone, whereas the God of Israel—

Lady: _(Interrupting)_ The God of Israel has no such image. He cannot be seen and therefore does not exist.

Sara: _(Shy smile)_ He cannot be seen, my lady, but he is.

Lady: _(Shakes head ruefully)_ And that is why I wish I had your faith, Sara. You can believe that which you cannot see.

Sara: _(Happily)_ Why, my lady! You have just defined faith!

Lady: _(Laughs)_ Yes, I believe I have! _(Sobering)_ But I do wish I could believe. I wish I could be certain that Naaman will be healed.

Sara: _(Kneels by_ _Lady Naaman_ _'s side)_ He will be, my lady. I feel it—no, I know it!

Lady: _(Tenderly)_ What a comfort you are! What would I do without you?

Naaman: _(Enters, storming in, furious, breaking up the quiet atmosphere)_ Of all the nerve! _(Raging, he pulls some draperies from the wall and stuffs them into an inadequate bag)_ How dare he suggest such a thing!

Lady: _(Getting up quickly, going to him and touching his arm)_ What, my husband? What has happened? _(_ _Sara_ _has backed off, trying to keep out of the way of the angry man)_

Naaman: _(Flinging_ _Lady Naaman_ _'s hand away and striding to the door of the tent. Bellows out the door)_ I am a commander of the Syrian army! _(Turns and kicks at a barrel)_

Lady: Naaman! Please, my lord! You will hurt yourself and not even know it! Remember your leprosy.

Naaman: _(Sits on barrel, scowling. Pulls off his sandal. Mutters)_ See what he's made me do? _(Leaps up, swinging the sandal like a weapon)_ Enemies flee at the mention of my name! And that man, that bald little man can drive me to madness!

Lady: _(Pushes him back down, kneels and inspects his foot)_ Please calm down. This is how lepers lose their toes!

Naaman: Don't touch me, woman, lest you become a leper yourself!

Lady: _(Snaps)_ Well, take better care, my husband! I have no wish to become a widow!

_(Two men, the_ _Scribe_ _and the_ _Aide_ _enter and stand hesitantly in the doorway)_

Naaman: Well, you shall be soon enough, my wife, thanks to that charlatan, Elisha _! (He pulls his foot up and looks at it himself)_ It looks okay. _(He springs to his feet)_ I am a great soldier! A proud and honorable man! _(He is hopping around on one foot and putting his sandal on the other while he is saying all this. He doesn't succeed)_

_(The two men in the doorway exchange glances and finally the_ _Scribe_ _clears his throat nervously)_

Scribe: Ahem!

Naaman: _(Swinging around to them)_ What are you doing here? _(Points sandal at them)_

Scribe: _(Backs up a step and stammers)_ Well, I—I...

Naaman: _(Catches sight of the_ _Aide_ _and advances menacingly on him)_ And you?

Aide: _(Holds his ground and snaps a salute)_ Sir!

Naaman: _(Looking from one to the other)_ Well?

Scribe: _(Clearing his throat again)_ You're wanting to leave, sir?

Naaman: At once! _(Drops sandal and grabs some scrolls and starts shoving them any which way into a bag)_ I want to leave this benighted country and never see its impertinent people again!

Aide: Why, sir?

Naaman: _(Explodes)_ Why? Did you hear what that quack told me to do?

Scribe: Yes, sir.

Naaman: I have never been so insulted in my life!

Aide: No, sir.

Naaman: And on top of that, he sent his servant! _(Apoplectic)_ His servant! He should have come out to see me himself!

Scribe: Yes, sir.

Naaman: I am captain of the guard! I am a great commander! Does he not realize this? Does he not understand my status and dignity? _(He hops about again on one foot, trying to put his sandal on)_

Aide: No, sir.

Naaman: _(Gets the sandal back on)_ And then—and then, he tells me to _—(Sputtering, grabs scrolls again)_

Scribe: _(Calmly, rescuing scrolls from_ _Naaman_ _, smoothing them out, neatly packing them into the proper satchel)_ He said something about the Jordan River, sir.

Naaman: _(Storming)_ He told me to take a bath! Me! A bath!

Scribe: _(Coughing)_ I believe it was seven baths, sir.

Naaman: _(Growling)_ Seven!

Aide: _(To_ _Scribe_ _, nervously)_ You're not helping.

Scribe: _(Ignoring_ _Aide_ _)_ Yes, sir. Seven baths, sir. In the Jordan River. Sir.

Aide: _(Hissing, afraid)_ Shut up!

Naaman: Seven baths in the Jordan River! Who does he think I am?

Scribe: A leper, sir?

Naaman: _(Spins to him)_ What's that?

Scribe: He thinks you're a leper, sir.

Aide: _(By now he's frantic)_ Johar! What do you think you're doing?

Sara: _(Quietly)_ It makes sense.

Aide: _(Moves away, throwing his hands up in despair)_ I don't believe this!

Naaman: _(Turns threateningly to the girl, who stands her ground without defiance)_ What are you rattling on about, girl?

Sara: _(Speaks with a gentle, respectful boldness)_ A leper is unclean. Water purification is part of the ceremonies of the temple.

Naaman: But this is the Jordan! A sludgy, filthy, muddy excuse of a river! How can one get clean in that? It's disgusting! It makes my flesh crawl.

Lady: The prophet told you to bathe in the Jordan River?

Naaman: _(Newly enraged)_ That phony! That no-good snake oil fraud! Telling _me_ , a commander of the Syrian army, to wash in that slime hole!

Lady: Yes, I can see why you're so upset. It is an affront to your dignity. To think that you honored him by going to him, I would expect he'd be a little more respectful!

Sara: _(Timidly)_ But, my lord?

Naaman: _(Roaring)_ What now?

Sara: Shouldn't you do it?

Naaman: Do it? Go down to that scrummy water hole and immerse myself in it?

Sara: But if it would cure your leprosy...

Lady: _(Kindly)_ That's the point, dear. How can such dirty water cleanse anyone, let alone someone of leprosy?

Sara: _(Pleading)_ You must have faith. It is God who heals, not the water!

Naaman: Then why doesn't He heal me? Why all this hocus-pocus? Why didn't Elisha just wave his hands over me and—poof! my leprosy is gone? Why this elaborate charade?

Sara: I don't know, sir, but he must have his reasons.

Naaman: Reason! There's no reason in such an asinine request!

Lady: If it had been one of our nice, clean Syrian rivers...

Naaman: _(Indignant all over again)_ Yes! I can seeing bathing in Abana River or even the Pharpar, but the Jordan! Words fail me.

Scribe: _(Coughing)_ It seems like a simple enough thing to me.

Naaman: It's an outrage!

Aide: _(Delicately)_ I spoke with the prophet's servant a few minutes ago.

Naaman: And what did that little man want?

Aide: Well, supposing sir, that Elisha had changed his mind?

Naaman: What do you mean, changed his mind?

Aide: Well, what if he said for you to do something else?

Naaman: Something else? What is it? Speak up, man!

Aide: What if he said you were to travel a journey of seven days and seven nights until you came to the great sea?

Naaman: I'd do it.

Aide: And then what if he said you were to swim out to a small island?

Naaman: No problem.

Scribe: _(Catching on)_ But if you were to accomplish the swim wearing your full armor?

Naaman: Hmmm. Difficult, yes, but I could handle that.

Aide: On the island is a tall mountain. You must climb to the top, encountering all kinds of obstacles.

Naaman: What obstacles?

Scribe: Lions, sir.

Aide: And bears.

Lady: Oh, my.

Naaman: I've killed worse in my time.

Scribe: At the top of the mountain is a cave. In the cave, a small golden jar.

Aide: You must bring that jar back to the prophet and then your leprosy will be healed.

Naaman: What are we waiting for? We will set out at once!

Scribe: You don't know the whole, my lord.

Naaman: Spit it out, man!

Scribe: The cave is filled with snakes, sir.

Naaman: _(Squeaks)_ Snakes?

Aide: Vipers.

Naaman: _(Swallows hard)_ Snakes don't scare me. _(Pacing about)_ Get everything packed! We leave on the morrow.

Aide: You would do this? You would go on this difficult, hazardous trial to be cured of your leprosy?

Naaman: Of course! We will start at first light. If the sun were not low in the sky, we would go now. _(He picks up clothes and crams them into a bag)_

Scribe: _(Taking the bag from him)_ Wait.

Naaman: _(Glares)_ What?

Aide: The prophet did not ask this of you.

Naaman: He didn't?

Scribe: No, sir.

Naaman: What mean you by this?

Aide: There are no bears.

Scribe: Or lions.

Aide: Or snakes.

Naaman: _(Enraged)_ You have tricked me? There is no island? No cave?

Scribe: No jar.

Aide: There is no mighty quest of valor.

Naaman: _(Awfully)_ You have made a fool of me!

Aide: No, sir. You would perform a dangerous, heroic trial to be cleansed of your leprosy.

Naaman: I would show my merit. I would prove worthy of healing.

Scribe: But you would not do a simple everyday act, like bathing in a river.

Naaman: But the island and the snakes would take great courage and strength. Only a man such as myself could accomplish such a thing. It would be worthy of my mettle. _(Lips twist)_ The river thing is so—so—demeaning.

Sara: _(Apologetically)_ Maybe that's the point, my lord.

Naaman: What are you talking about?

Sara: If you swam the sea and climbed the mountain and brought back the jar, it's you doing the work. You could claim you were healed because of the great feats you had accomplished.

Naaman: I don't get your point.

Lady: I think I understand. By humbling yourself and bathing in the river, there will be no doubt but that it was God who healed you.

Sara: _(Eagerly)_ Yes, my lady. God doesn't help us because we are good and deserving. He helps us because He loves us. The cleansing will be His work, not yours.

Naaman: But I must earn this great act of condescension.

Sara: No, my lord, God heals because of who He is, not because of who you are.

Naaman: Then why must I bathe at all?

Sara: I don't know. That is what He asks of you, so that is what you must do. I think maybe He just wants to see your faith. And if you have no faith, your willingness to be obedient.

Lady: And that is a part of this faith?

Sara: Yes, my lady.

Naaman: _(Quietly, thinking hard)_ Yes, I see. I see also that it is much harder than any physical Endeavour. _(Turns and look at the two servants who are watching with great interest)_ Well, you two clowns spun me a pretty tale. Whether it's your logic that's won, or this young maid's faith, I don't know. I shall bathe in that accursed river. We leave at first light.

Sara: Thank God!

Lady: Yes, thank God!

Naaman: _(To the men)_ Now, be off with you and get some sleep! Tomorrow is a big day.

(The two men look at each other, grin and then exit)

Naaman: _(Looking at the women)_ A very big day.

Curtain

~~~~

## TWO CAPTIVE MAIDS

(2 Kings 5)

A One-Act Play

I have written three treatments on the story of Naaman: "Naaman's Dilemma" and "Two Captive Maids"—both of which are One-Act plays. The third, "A Leper's Song" is a monodrama. "Two Captive Maids" has much of the same text as "A Leper's Song".

Scene: This takes place in Syria, approximately 700 BC. We are in the courtyard of Naaman's house. There could be a couple of pillars and lots of flowers: enough to show that it is a place of beauty. A stone bench slightly right of centre stage cants slightly towards down left.

CAST:

Sara: A young Hebrew maid with great faith. Suggested props: a pail of water and rag for scrubbing the floor.

Linna: Another Hebrew maid—younger than Sara:—who is terribly afraid of something.

Lady: The wife of Naaman, she is learning to have faith.

_Linna_ _, limps in. Her foot hurts. She goes to centre stage bench and collapses on floor, cradling her head on her arms on the bench. Her back is to the audience._ _Sara_ _, enters stage left. She is a maid. She carries a bucket of water and a rag. She stops in surprise when she sees_ _Linna_ _._ _Sara_ _puts the bucket on the floor down left and goes tentatively to_ _Linna_ _. She sits on the bench next to the other girl with her legs on the upstage side and her body turned to_ _Linna_ _and the audience. She bites her lip, not knowing what to say. She's never seen_ _Linna_ _before, but the other girl is obviously distressed._ _Sara_ _carefully pats_ _Linna_ _'_ _s_ _shoulder in a comforting "there, there" gesture._

Sara: What's the matter? Can I help?

Linna: _(Startled, scrambles to her feet, backs off, hastily wipes tears from face with palms of hands)_ Don't touch me. _(Said despairingly, not angrily or defiantly)_

Sara: _(Taken aback)_ Why not?

Linna: _(Gulps and turns away. Grasps apron and twists it. Fierce whisper)_ I can't tell. _(She uses apron to wipe off another tear)_

Sara: _(Swings her legs around to down stage side of bench)_ Why not?

Linna: _(Repeats stubbornly)_ I can't tell you. _(This has a trace of defiance in it)_

Sara: Oh. _(She tries a new tack)_ Can I ask you your name?

Linna _:_ _(Nods, saying nothing)_

Sara: _(Waits a bit, then)_ Well?

Linna: _(Turns her head and peeks at_ _Sara_ _)_

Sara: _(Patiently, gently, as to a frightened bird)_ What is your name?

Linna: _(Shyly)_ Linna.

Sara: _(Smiles and steps closer to touch her)_ I'm Sara.

Linna: _(Steps back hastily putting her hands up in a guarding gesture)_ Don't touch me.

Sara: _(Stops, smiles ruefully)_ Sorry. I forgot.

Linna: _(Clutches apron)_ That's okay.

Sara: Why don't you sit on the bench and tell me about yourself?

Linna: _(Wavers a bit)_

Sara: I promise I won't touch you.

Linna: _(Damp smile)_ Okay. _(She sits on bench at left end._ _Sara_ _sits at other end, maintaining a careful distance)_

Sara: I've never seen you before. Are you a new maid?

Linna: Yes. I'm supposed to wait here for someone to come and tell me what to do.

Sara: Are you a captive?

Linna: ( _Nods_ ) Some soldiers came and took everybody in my village away. They marched us for many days until we arrived here in Syria.

Sara: That happened to me, too. I'm an Israelite.

Linna: I'm from the mountains by the Great Sea.

Sara: And now we're both here, working for Captain and Lady Naaman.

Linna: I'm scared.

Sara: I used to be frightened, too. But Lady Naaman has been very kind. She's trying to find my parents for me.

Linna: You don't know where your parents are?

Sara: _(Shakes her head sadly)_ We got separated when we were captured.

Linna: Me, too. _(She wipes tear with apron)_

Sara: _(Stretches out a comforting hand. When Linna shrinks away, she hastily draws back)_ Sorry. I forgot. _(An awkward silence)_ Are you sure you can't tell me what the matter is?

Linna: _(Nods in shame)_ I can't.

_(_ _L_ _ady Naaman_ _enters, sees the two girls together._ _Linna_ _leaps guiltily to her feet, but_ _Sara_ _stands calmly and serenely.)_

Lady: Good. You two are getting acquainted. _(She turns to_ _Sara_ _)_ Sara, I'm putting Linna in your charge. Please teach her in her duties.

Sara: Yes, my lady.

Lady: _(Turning to Linna)_ You've been crying, child.

Linna: _(Gulps, nods)_

Lady: _(Reaches out comforting hand)_ You'll feel better soon as you adjust to your new situation, and I'll try very hard to help you find your parents.

Linna: _(Backs off, stammering)_ D-don't t-touch me, my lady.

Lady: _(Small frown)_ Why not?

Linna: _(Mournfully)_ I can't tell you.

Lady: _(Looks questioningly at_ _Sara_ _)_ Do you know what this is about?

Sara: _(Shakes her head)_ She won't tell me, either, my lady.

Lady: _(To Linna)_ Do you know what your problem is?

Linna: _(Nods, deeply shamed)_

Lady: But you can't tell me?

Linna: _(Stays silent, digs toe of good foot into floor)_

Lady: You do know that I am your mistress?

Linna: _(Nods)_

Lady: You know you must do everything I order you to do?

Linna: _(Nods)_

Lady: I order you to tell me what your trouble is.

Linna: _(Distressed)_ I—can't.

Lady: _(Sternly)_ Why not? You must answer me. That's an order.

Linna: _(Wails)_ Because you'll send me away!

Lady: _(Disconcerted)_ You won't tell me because you're afraid I'll send you away?

Linna: _(Nods, weeping again)_

Lady: What if I promise not to send you away?

Linna: _(Small)_ I can't tell you.

Lady: _(Sighs, then changes tactics)_ In that case, I _will_ have to send you away. I can't have any maids who won't obey me.

Linna: _(Horrified)_ You wouldn't, my lady!

Lady: I'm afraid I must. This is your first day and already you defy me. I cannot allow such disrespect.

Linna: _(Earnestly)_ But I _do_ respect you, my lady!

Lady: Then you must tell me.

Linna: _(Twists apron, hangs head and mumbles)_ Leprosy.

Lady: Pardon? I didn't hear that.

Linna: _(A little louder)_ Leprosy. _(Almost a shout)_ I have leprosy! _(Appalled at her own boldness, she stops and turns away)_

Lady: _(Smiles gently)_ Oh, my dear girl. Is that all?

Linna: All? _(Repeats dumbfounded)_ All? Leprosy is a bad disease. It's horrid. People die of it.

Lady: _(Gently)_ I know.

Linna: Their skin goes bad. Then their fingers and toes fall off. Sometimes their noses.

Lady: Yes, I know that, too.

Linna: It is very contagious. I could infect anyone I touch. You must send me away, now.

Lady: _(Stoops down and hugs Linna close)_ Well, I'm not afraid, and I'm not sending you away.

Linna: _(Amazed)_ You're not?

Lady: _(Smiles)_ Didn't I promise? Now show me where your leprosy is.

Linna: _(Pulls long skirt away from her lame foot, revealing a festering sore)_ Right there. _(She bites her lip)_ My toe is going to fall off!

Lady: _(Gently examining foot)_ It must hurt a great deal.

Linna: It does. A lot. It throbs all the time and sometimes it feels like it's on fire.

Lady: _(Standing briskly)_ I shall go check with a physician. Sara, tell our story while I'm gone, won't you dear? _(Exits)_

Sara: _(Takes Linna's hand)_ Leprosy _is_ a bad disease. I know, because Captain Naaman had it. Real bad. _(Walks to the pail of water down left and stoops down on haunches. Swishes rag in water)_ Might as well get some work done while we're talking _. (Wrings water from rag and looks up)_ He was awful sick _. (Smiles her admiration)_ Captain Naaman is a big, brave man. _(Stands up. Returns to centre stage. Shakes her head and holds rag to her chest, not realizing she's dripping water on herself)_ He's a soldier _. (Proudly)_ A commander! And the king really likes him because he wins lots of fights.

Linna: And he had leprosy?

Sara: That's right. Captain Naaman had leprosy. _(On haunches, pauses in her work)_ And Lady Naaman was very sad. _(Shakes her head)_ I saw her crying one day. _(Stands up, faces down centre, remembering)_ That's when I found out. She told me, you see. _(New energy. Leaps to feet with fists on hips)_ Well, I couldn't believe it!

Linna : What couldn't you believe?

Sara: _(Paces down right)_ I know leprosy is bad and all that.

Linna: You said that.

Sara: And I know people die of it. But they don't have to!

Linna: Don't have to?

Sara: Die of it, I mean. _(Shakes head, gets on knees, barely starts to scrub and stops in amazement)_

Linna: But what couldn't you believe?

Sara: That Lady Naaman didn't even know that! _(Scrambles to her feet)_ When I told her, she just stared at me and said, _(deadpan)_ "Leprosy kills." I mean just like that! _(Repeats deadpan)_ Leprosy kills!

Linna: But leprosy does kill.

Sara: _(Pacing energetically)_ What I couldn't believe was that Lady Naaman didn't know that God can do anything. Anything!

Linna: God?

Sara: Yes, God _. (Slower—wanders down right, remembering)_ Why, I remember when my daddy told me that God made the whole world! _(Brisker—back to centre stage)_ Well, He can certainly heal leprosy.

Linna: I never knew that.

Sara: _(Sobers, sits on bench)_ That's when Lady Naaman told me that she and Captain Naaman and the soldiers and the king, even, didn't know about God. I mean, _(taste the words)_ the God of Abraham, Isaac and Jacob. That's what my daddy used to call God. He used to call Him Yahweh, too.

Linna: I've never heard about that god.

Sara: _(Story-telling mode. Brisk)_ So I told Lady Naaman about Elisha. He's a prophet. _(Knowingly)_ That means he's a man of God. _(Smiling)_ Because he believes God and obeys Him, God does miracles through him. _(Big grin)_ Boy, you should hear some of the stories!

Linna: _(Wistfully)_ I'd like to.

Sara: _(Back to the story)_ Anyway, I said, "Lady Naaman, if only my master"—that's Captain Naaman—"if only my master were with the prophet who is in Samaria! For he would heal him of his leprosy."

Linna: Where's Samaria?

Sara: It's part of Israel, which was my home.

Linna: That must be far away.

Sara: It is. So, I told Lady Naaman some of the stories about Elisha and God's miracles. She said, "He is a great man." And I said, "Yes, but it's God who is great. Elisha is great because he is God's man."

Linna: What do you mean?

Sara: _(Frowns slightly, scrubs floor)_ I'm not sure she understood that. I'm not sure I really understand it, either, _(matter of factly)_ but that's the way it is. _(Firmly—no doubt about it)_ It is God who is great. _(With reverence)_ The God of Abraham, Isaac and Jacob. Yahweh. God. I guess she didn't have to understand it to believe it, because she told Captain Naaman. _(Wide eyed wonder)_ And then Captain Naaman told the king! Can you believe it? The king!

Linna: How do you know all that?

Sara: _(As if to give her credentials for knowing such a thing)_ I know because Lady Naaman told me about it afterwards. So then the king gave Captain Naaman a whole bunch of money and a letter to give to the king of Israel, and told him to go to Israel and get healed of the leprosy. So Captain Naaman went.

Linna: _(Breathlessly)_ Was he healed?

Sara: _(Big smile)_ H got back home yesterday. _(Up and moving about. By this time the task of scrubbing the floor is totally forgotten. She waves the rag around like a banner)_ You wouldn't believe the commotion! I mean, I never saw such a fuss _! (Sees them sitting around the courtyard—relives it)_ The king was there and lots of important people and they were _(dances a bit with the rag)_ all cheering and shouting and dancing around. _(Stops, says very gently)_ Lady Naaman was crying again. _(Perhaps she's crying too)_ This time it was because she was so happy.

Linna: I'd be happy, too.

Sara: _(Hushed)_ Then everything got real quiet so that Captain Naaman could tell his story. _(Feeling important)_ He told how he saw the prophet Elisha in Samaria. Elisha told him to go and wash in the Jordan River seven times and he would be cleansed of his leprosy.

Linna: _(Listens, awestruck)_

Sara: _(Giggling, moves down stage)_ Oh, you should have seen Captain Naaman when he got to that part of the story. _(Paces back and forth with great vigor, miming_ _Naaman_ _. From this point on she will go back and forth between being_ _Naaman_ _and being herself)_ He stormed back and forth and shook his fist and bellowed to show how angry he had been at such a suggestion.

Linna: _(Giggles)_

Sara: _(Jumps up on bench and stands arms akimbo)_ "Wash in the Jordan River, indeed!" he raged. _(An aside, drop pose)_ His face got quite purple when he said this and the king laughed and said that Captain Naaman should keep his day job. "Did you wash?" asked Lady Naaman. "I did not," retorted Captain Naaman. "I said, _(resumes pose of indignation)_ 'Wash in that filthy, muddy river! I would not so demean myself.' _(Steps down from bench, continuing as_ _Naaman_ _)_ I thought Elisha should come to me and _(gestures)_ wave his hand over me and the leprosy would just disappear. _(Minces down right, burlesquing her imitation)_ I was doing him a great honor by coming to him. _(A quick, rueful grin as the little girl, then back to exaggerating_ _Naaman_ _'s actions)_ "And I also thought that if I had to wash, why couldn't it be in some of the nice clean rivers here in Syria _? (Marches towards the bucket down left)_ So I marched off, absolutely furious at the insulting way I had been treated."

Linna: _(Sadly)_ So he didn't get healed?

Sara: Wait _. (Goes back to being the little girl and looks off, warmed by the memory)_ He stopped then in his pacing and looked off in a gentle kind of way and a small smile came to his eyes. _(Hugs self)_ He patted my head and then he looked at his servants who had gone with him on the trip. _(Looking off towards stage left. She is lost in_ _Naaman_ _'s wonder. No burlesquing)_ "I have good, loyal servants," he said. "I don't deserve them. They came after me and convinced me to do what the prophet had told me to do _. (Shakes head)_ They used logic _. (Turns head to glare over audience's heads)_ Spare me from logical servants! They'll get you every time! _(Shakes head again and walks slowly to the bench)_ They reminded me that if the prophet had asked me to do a great mighty thing, I'd have done it. _(Faces audience and nods)_ They were right. I would have. _(Goes energetically down right with lots of macho muscle flexing)_ I'd have wrestled with a bear or climbed a great mountain or swum a mighty sea if that's what the prophet had asked me to do _. (Stops)_

Linna: _(Impatiently)_ Did he do it?

Sara: _(Smiles)_ He did. _(Walks to the bucket stage left and kneels before it on one knee)_ He said, "I went down to that scrummy river and I bathed _. (Dips into the dirty water with fingers and feels its texture)_ Seven times. On the seventh wash, _(holds hand out, looking at it)_ my skin was completely restored. _(Feels arms and face)_ It was like that of a baby. Soft and clean and healthy _. (Lifts radiant face u)_ The leprosy was gone _. (Almost a whisper, head bowed)_ All gone."

Linna: Oh.

Sara: _(She stands quietly, being herself again and wipes hands on skirt. Walks to bench)_ That's when Lady Naaman started crying again. She cried softly so that it wouldn't interrupt his story and she hugged me tightly. _(Looks at bucket as if_ _Naaman_ _were still there)_ I saw that Captain Naaman and some of the tough soldiers with him had tears in their eyes _. (Wavering smile)_ I was crying, too. Now Captain Naaman wouldn't lose his toes or fingers.

Linna: Or even his nose!

Sara: _(Firmer, bigger smile)_ But I wasn't surprised like those others were. _(Absolute assurance)_ I knew God would heal Captain Naaman because I had been praying He would. And I pray that God heals you, too.

Lady: _(Entering)_ I spoke to the physician, Linna. You don't have leprosy, dear. If you did, it wouldn't hurt so much. It's an infection, and he gave me some herbs that'll help clean out your wound.

Linna: _(Happily)_ Thank you, my lady! _(Turns excitedly to_ _Sara_ _)_ See? Already God has answered your prayer!

Lady: Did you tell Linna the whole story, dear?

Sara: Except what Captain Naaman said to the king at the end.

Lady: Oh, yes! You must tell her that!

Sara: _(Moves to down centre to a spot she has never been before, overlooking the audience. She has once again taken on the persona of_ _Naaman_ _, but more subtly so. It is her convictions that ring out)_ Captain Naaman stood straight and tall before his king and concluded, "I went back to the man of God and told him that there is no God in all the earth except in Israel. And I tell you that now. The God of Israel is God, and there is no other _." (Raises arms and face)_ He raised his arms and face to heaven and cried out, _(ringingly)_ "Praise be to God!" _(Drops pose, completely back to being the little girl)_ And I say that, too. Praise be to God.

Linna: Praise be to God.

Lady: Praise be to God

Sara: _(Hugs self. With soft reverence repeats)_ The God of Abraham, Isaac and Jacob _. (A firm nod)_ The God of Captain Naaman _. (Goes to bucket, dips in rag, stops and looks up with a radiant smile)_ Oh, and the God of me!

The LIGHTS dim, the MUSIC swells, the CURTAIN closes and we come to

Curtain

~~~~

## Sketches

Some are ten minutes long, others are just two minutes.

## THINE IS THE KINGDOM

A Short Play

(Please note: This short play has much of the same text as the monodrama, "Damascus.")

This play takes place in Nero's Rome, during a time of great persecution for Christians. It is 64 AD, shortly after the fire that devastated Rome. It is thought Nero set the fire and then blamed it on the Christians. We are in a small, bleak jail cell. There can be a bench, a pitcher of water and a cup on stage.

While this is a period play, it can be staged in contemporary set and costumes. This would be effective because there are many people living under severe persecution today and presenting this in a contemporary fashion would help to highlight that. If, however, you want to have fun with first century AD set and costumes, go for it.

CAST:

Julia: A Christian woman in Rome who is about to be martyred. She knew both Peter and Paul who have recently been executed. While she is not an educated woman, she has great faith in Jesus and has studied the scriptures.

Centurion: Her arresting officer. He was one of the centurions present at the crucifixion of Jesus. As a soldier, he must do what he is ordered to do whether he agrees to it or not. Since this takes place in 64 A.D. and he was there at the cross, he would be over 50 years old. The implications here are he has not advanced much in his career. He must do his job, part of which is the arrest of Christians. This is hard because he doesn't see the point or reason for this wholesale slaughter. It bothers him. So, while his words are hard, they are the words of a seeker whose heart is soft to the Lord. As you read the lines, think of the impassive, expressionless soldier who underneath it all is full of turmoil.

Scene: It is a small cell. Bleak, isolated, cold. A lone woman slowly moves about, clutching torn garments about her bruised, dirty limbs.

Julia _:_ _(Praying haltingly)_ I have to speak with you, Lord, but I don't have the words. I don't know what to say. _(Small smile)_ But then, I don't have to know what to say, do I? You know my mind and my heart. You know my thoughts, my confused, mixed-up thoughts. _(Hugging herself)_ Sometimes the fears overtake me and I feel there can be no reason in all of this. _(Quickly)_ I don't fear death. How can I, when it means stepping into Your glorious presence? No, death is a beginning of something so magnificent I cannot comprehend it. How could I fear that?

But I fear pain. Yes, I fear pain. _(Stares straight ahead for a beat)_

I must talk to you, God and I don't know what to say. I will pray as your Son taught us to.

_(As_ _Julia_ _starts the Lord's Prayer, the_ _Centurion_ _quietly enters and eavesdrops. He maintains his hard, steely demeanor but he recognizes the words of the prayer)_

Julia: Our Father— _(she stops and looks up with a smile as she emphasizes the first person pronoun)_ My Father in heaven. Your Name is to be praised above all others. Lord, your kingdom come. _(Pray with real meaning)_ Your will be done on earth as it is in heaven. Give me today my daily bread. _(Looks up and adds)_ Give me today the grace and courage I need—for today. _(Resumes)_ Forgive my sins as (stops, thinking about this next bit and then continues firmly) I forgive those who sin against me. Do not let me fall into temptation. _(A real plea)_ Deliver me from evil. _(With strength and assurance)_ For yours is the kingdom, the power and the glory forever. Amen.

Centurion: _(Hard. He must be hard, but he recognizes this prayer as the words of Jesus. His mockery is a cover for how deeply he is touched)_ You pray to this God of yours? The Jewish carpenter?

Julia _(Startled. She had been unaware he had entered)_ Yes.

Centurion: What is the kingdom you say is this God's? Rome will soon have your tiny sect crushed as I would a fly under my boot. Where will your God's kingdom be then?

Julia: You may kill us, but you cannot kill our God.

Centurion: Cannot kill your God? I was there! On that hill outside Jerusalem. Thirty years ago it was, and I remember it clearly. That man died. Died. That was the end of him. I myself plunged a spear into his side. I knew he was dead. And once a person is dead, he stays dead.

Julia: If he is dead, why do you fear his followers so that you must kill us?

Centurion: There is no understanding you Christians. No understanding you at all. You know you will die and yet you continue your adherence to a dead leader.

Julia: It is because we know he defeated death. He rose from the grave on the third day and now his Spirit dwells in each of us who believe in him. How can we fear death when in him there is life?

Centurion: _(He shakes his head to clear it)_ If Nero has his way, the Roman Empire will soon be purged of your treason. As your leader Jesus died, as his henchmen Paul and Peter died, so too will you and all the others. Then we'll see where the kingdom, the power and the glory lie! Rome will prevail! Nero is and will be the greatest emperor!

Julia: Only as God allows it. The Hebrew prophet Daniel told Nebuchadnezzar, the mighty Babylonian king, "You are a king of kings, for the God of heaven has given you a kingdom, power, and strength and glory." Nebuchadnezzar was great only because God ordained it.

Centurion: The Babylonians fell to the Persians. The Persians fell to the Greeks as the Greeks in turn fell to Rome! Nero is greater than some ancient potentate.

Julia: Each kingdom flourishes only by God's grace. David, the greatest king of Israel, at the end of a long and successful reign, gave all the honor to God. "Blessed be the Lord God of Israel forever," he prayed. "The greatness and the power, the glory, the victory and the majesty are yours. All that is on earth is yours. All that is in heaven is yours. The kingdom, O Lord, is yours and you are exalted above all else."

Centurion: And where is Israel now? Is it not a vanquished people, an occupied country? Where is the power, the glory—the kingdom? It is all gone! And soon, your little Jewish sect will be gone, too!

Julia: Again, why do you fear us? If, as you say, our leaders are dead, how can we be a threat to the might of Nero's Empire?

Centurion: Because you are insidious! Did you know the men who guarded Paul and Peter, hardened soldiers every one of them, converted to your cause? _(He had to arrest the guards. They were his friends)_

Julia: _(Smiles)_ Yes, I knew that.

Centurion: _(Hard)_ And now they face the lions in the coliseum. Where's the kingdom, the power and the glory in that?

Julia: _(Shaking her head)_ It is not a political kingdom to which we refer. At one time that's what the Jewish believers thought it was.

Centurion: Delusions of grandeur—their national pastime.

Julia: But God's kingdom encompasses something much bigger than an earthly dominion. It crosses borders and languages, seas and mountains. The kingdom is more than Israel, more than Rome.

Centurion: And that's the kind of talk that will get you all killed.

Julia: _(Earnestly)_ The kingdom is where God is. The kingdom is the hearts of men and women who seek to put God first, who confess Jesus is the Son of God. The kingdom is the realm of the heavenly places. It is not physical or temporal. And so you cannot touch it.

Centurion: _(Sneer)_ You think not? So you say the kingdom is in you? And that I cannot touch it? Did not the lash of the whip touch your back? Will not the executioner's blade touch your neck?

Julia: Yes, you may do all those things to my body. But you cannot touch the kingdom of God because that is in my heart. My soul and spirit belong to him and my physical death will mean life with Jesus. As Paul wrote from his prison cell, "For to me to live is Christ, and to die is gain."

Centurion: I cannot understand you. You are all fools.

Julia: God uses the foolish things of this world to confound the wise.

Centurion: I cannot understand you. And yet there was something about him, there on the cross... _(He trails off, remembering. He softens)_

Julia: You see? Even you can see it.

Centurion: _(Shakes his head, dispelling the moment of weakness)_ No matter. I have been ordered to give you one more chance to recant this God of yours, this Jesus of Nazareth. I will give you a few minutes to think about it and when I return, I will have incense which you can burn to Nero.

Julia: Thereby proclaiming Nero as god?

Centurion: Exactly. To claim fealty to anyone else is treason, and for that you must die. If you are willing to burn the incense, we will spare your life. Think about it. Meditate. I'll be back in a few minutes. _(He exits)_

Julia _(She begins to paraphrase Psalm 145, slowly, with great feeling and reality to her own life, so they become her words)_ I praise you, my God, my king. I bless your name forever. Everyday I bless you. I praise your name forever. Great is the Lord and greatly to be praised.

_(The_ _Centurion_ _returns. He is carrying a candle and incense. He waits impassively just inside the door while she meditates. The words of the scripture as they are spoken with such personal meaning complete the softening. He is more open to the Holy Spirit than he has been since the crucifixion.)_

Julia: _(Continuing the psalm, only peripherally aware of the_ _Centurion_ _)_ I meditate on the glorious splendor of your majesty. I meditate on your wondrous works. I declare your greatness, your mighty acts. I sing of your righteousness.

My Lord is gracious, full of compassion. He is slow to anger and has great mercy. My Lord is good to all. His tender mercies are over all his works.

All your works praise you, O Lord. Your children bless you. We sing the glory of your kingdom, we shout of your power. We declare to Rome, to Nero, your mighty acts. We proclaim the glorious majesty of your kingdom. Your kingdom is an everlasting kingdom and your dominion will endure forever.

The Lord holds me up when I fall. My eyes wait expectantly for you, my Redeemer. You open your hand and satisfy all my longings.

My Jesus is righteous in all his ways and gracious in all his works. He is near to all of us who call on him, to all of us who call on him in truth. He satisfies the desire of all who fear him. He hears my cry and he saves me.

The Lord protects all who love him, but he destroys the wicked. I sing the praise of the Lord. Bless his holy name forever. Amen.

Centurion: _(Moves into the room)_ So. You have meditated.

Julia _(She nods and gestures to the incense and candle in his hands)_ I will not be needing those.

Centurion: _(He puts them down)_ I did not think so. Come.

Julia: _(She smiles warmly at him)_ I'm going to see my Jesus.

Centurion: _(Quietly)_ I know. You have said. (He gestures to the door) It is time.

Julia: _(She goes to the door, stops, turns in)_ And what of you, Centurion:? What did you say then? At the cross, when the earth shook and the sun was darkened? What did you say that day he died? _(She exits)_

Centurion: _(He stays still and then in a low voice)_ Truly he must be the Son of God. _(EXITS slowly, leaving behind the incense.)_

Curtain

~~~~

## Gracious Sakes Alive!

A Short Play

This play discusses God's grace. The challenge is to give the grace we so much want to receive. It runs about seven minutes, and has four characters: two women; one boy; one girl.

CAST OF CHARACTERS

Marge: A young mother who has been away on vacation for two weeks. Bright, caring—a good friend and neighbor.

Ellen: Marge's friend from church, another young mother. Maybe she has a little more to learn.

Maggie: Marge's four year old daughter.

Nicholas: Ellen's four year old son. These two children could be played by older people. If they are, every effort must be made for them not to be "cutesy". It would be great if they could be done by actual four or five year olds.

SCENE: This could take place in a family room, on a deck or patio, or at the kitchen table of a nice suburban home. I'll use a living room. There should be a sofa, easy chair and coffee table in the center stage area. The coffee table should have some books on it and maybe a candy jar or plate of cookies. A table down right or down left for coffee pot, mugs, cream and sugar should have a trash can nearby. There should be a couple of other chairs scattered about, one that needs to be in the upstage area left or right of center.

SET PIECES: Sofa, easy chair, straight back chair, small table (i.e.: card table), trash can

PROPS: Bible, notebook, purse, jacket, coffee pot with coffee, cream, sugar, two mugs, spoons, napkins

_At Curtain,_ _Marge_ _, the hostess, leads her guest into the room._

Marge _(Enter with_ _Ellen_ _and gesture to her to sit on sofa)_ Thanks for coming over, Ellen. _(Take_ _Ellen's_ _jacket and put on chair out of the way)_ Having missed two weeks of the Bible Study, I feel like I'm hopelessly behind.

Ellen: Happy to. _(Looking around)_ You've got a new carpet! (If a carpet doesn't work here, say, "I love your sweater! Is it new?")

Marge: _(Smiling)_ Our Christmas gift to each other. Like it? _(Or, "Bob gave it to me for Christmas.")_

Ellen: Gorgeous. _(At coffee table, put purse and books down)_ I tell you, Marge, this has been quite a study. _(To door, looking out)_ Are you sure the kids'll be all right playing outside?

Marge: _(Sits on easy chair. She's used to Ellen's disjointed conversations)_ Of course. My Maggie dotes on your Nicholas. True love, I'm sure.

Ellen: _(Chuckling, to sofa and sit)_ Nicky wouldn't admit it, but he enjoys Maggie's adoration. In her eyes, he can do no wrong.

Marge: Oh, to be four years old again!

Ellen: Or to be loved like that. _(Picks up her notebook)_ Now, how can we get you caught up on that study?

Marge: I wish I could have been there. _(Getting up)_ Could I get you some coffee?

Ellen: _(Nodding)_ Please. You'd have loved it. I mean, positively loved it!

Marge: _(To the coffee pot)_ Yes. Grace is such a vital subject.

Ellen: Yes, indeed it is!

Marge: _(Fixing two cups of coffee)_ The grace of God's love is so big. Too big to comprehend. Cream? Sugar?

Ellen: Both, please. _(Or whatever the actress can stomach)_ None of us could ever deserve His free gift. _(Archly. Puts book down)_ I certainly couldn't. I mean, really!

Marge: _(Bringing the coffee cups over)_ And that's what grace is all about, isn't it? That we simply don't deserve it. _(Gives Ellen her cup)_

Ellen _:_ _(Sipping coffee)_ It certainly is. Absolutely.

Marge: What a remarkable thing that kind of love is! If I could only grab hold of it myself. _(Sip)_

Ellen: What do you mean, Marge?

Marge: Well, you know _—(put cup down)_ to be able to love like that _. (Curl legs up in chair)_ It is such a _(hand gestures for emphasis)_ dynamic, vibrant thing. I want to grab hold of it—both ways. To totally accept God's grace and then to be able to extend it to others. I probably would never get mad at my husband again for leaving his whiskers in the bathroom sink.

Ellen _:_ _(Laughs)_ You must admit that there are some things that simply cannot be borne!

Marge: _(Smiles)_ But grace means that love bears all things.

Ellen: Bears all things? _(Marge points to the Bible in front of Ellen)_ Oh, the Love Chapter.

Marge: Yeah. _(Feet back on floor, leaning toward Ellen—earnest)_ Maybe grace means the kind of love that is so total you don't even know you're bearing all things! You're not offended by these irritants in the first place!

Ellen _:_ _(Getting excited)_ Hey, part of our study did deal with that. I thought how wonderful it would be to have someone love me like that. _(She reaches for her notebook)_ It's in here somewhere. _(Starts leafing through the pages)_

Marge: And that's what's so exciting. God really does love us like that. _(Rubs her jaw and chuckles)_ Whiskers and all.

Ellen: _(Looking up from her book)_ What? Whiskers? Oh, that. _(Snickers)_ Well, at least you don't leave any in the sink!

Marge: _(Shakes her head ruefully)_ Wanna bet? I'm afraid Jesus loves me through a lot of things I do that kind of clutter up my relationship with him. _(Picks up cup and sips)_

Ellen: _(Flipping a page in her book)_ Oh, here it is! _(She waves it and accidentally knocks over her coffee so that it spills all over the place. If you can't protect your stage floor adequately, change the action so that she spills it on Marge's nice white sweater. Whatever it is, it should make a mess that would need some effort to clean.)_ Oh, my gracious! Your new carpet! _(Or "sweater")_ I'm so sorry! _(Both women down on their knees to clean up the mess. You may have to ad-lib a bit with the apologies and reassurances while you clean up.)_

Marge: _(Laughing, touches Ellen's shoulder)_ That's okay, Ellen, we can easily clean it up. _(To table for handful of napkins)_ That's what carpet cleaners are for. _(Or, "that's what stain removers are for.")_

Ellen: But your cup! _(Or plate or jar—whichever it is, if it breaks on impact, she can pick up a couple of pieces and hold them out ruefully. If it didn't break—and these things are sometimes hard to engineer—she picks up the item in question and examines it closely for scratches or nicks.)_

Marge: Ellen, don't worry about it. _(Taking the cup—or plate—or jar)_ It's only a cup. _(Or plate—or alligator—you know what to do.)_ Plenty more where that came from. _(Takes mess to trash can and deposit it)_

Ellen _:_ _(Smiling)_ Well, I am sorry to be such a klutz.

Marge: No harm done _. (Both women resume seats. Marge picks up her Bible)_ Now, what's this about grace?

(Two small children suddenly erupt into the room. I could have said enter, but children rarely do anything so dull. These two erupt—and then stand hesitantly just inside the door)

Marge: _(Looking up at them)_ What is it, kids?

Maggie: _(Very woebegone, to Marge, climbs into her lap)_ Nicky spilled his drink.

Ellen: _(To Nicky)_ What drink?

Nicky: _(Not looking at anyone)_ I put water in the sandbox pail.

Ellen: _(Grimaces)_ You were drinking from the sandbox pail? _(Wipes his face with a napkin)_

Nicky: _(Nodding)_ It was nice and cold from the hose.

Maggie: _(From Marge's lap)_ He spilled it on the car.

Ellen: _(Swings in to Maggie)_ What car?

Nicky: _(Gulp—digs toe into carpet)_ Ours.

Ellen _:_ _(She stands and towers over him—low voiced and controlled)_ You spilled water on our car?

Nicky: _(Nods)_

Maggie: On the trunk.

Nicky: It was a naccident.

Ellen: Nicky, that was a very naughty thing to do. You go right over there to that chair _(Points to chair in the upstage corner)_ and sit. I don't want you moving from there until it is time for us to leave.

Nicky: _(Nods and moves slowly over to the appointed chair. Maggie trails after him.)_

Ellen: No, Maggie honey, I don't want him playing with you just now. He's been a bad boy.

Maggie: Oh. I'm sorry, Nicky. _(She sits on floor next to him and stares down at her hands unhappily.)_

Ellen: _(Shaking her head and sighing. To sofa and sit)_ That kid drives me nuts. So clumsy. I swear! No grace there! _(Smiles wryly at Marge)_ Now, where were we?

Curtain

~~~~

## Yikes! All Those Fruits!

A Short Play

SCENE: Can take place just about anywhere, so have fun coming up with your own scenario.

PROPS: Primarily a big hat bedecked with fruit. The fruits are listed at the end.

CAST:

Pastor: A man or woman who has been preaching on the fruit of the Spirit.

Carmen: A member of the congregation who is trying, really trying, to do it right.

Pastor: Carmen, how nice of you to pop in and see us!

Carmen: Well, Pastor, I just don't know what to do with myself.

Pastor: How can I help?

Carmen: You've been preaching about the fruits of the Spirit, and it's all weighing me down something fierce _. (Indicates her hat, which, if this piece goes the way I think it's going to go, will be a true work of art and pretty much impossible to pull off._  _)_

Pastor: _(Eyeing the hat)_ What seems to be the problem?

Carmen: It's all so impossible!

Pastor: How so?

Carmen: Take kindness. You preached on that last week, and I was so inspired, I really was.

Pastor: _(Smiles)_ Thank you.

Carmen: _(Growls)_ It's so hard! I was determined to be kind every single day. Like the Boy Scouts, you know?

Pastor: One good deed a day?

Carmen: Exactly!

Pastor: How'd it go!

Carmen: It was a disaster!

Pastor: _(Startled)_ A disaster?

Carmen: Nothing but. _(Removes pineapple from hat. Told you it'd be difficult)_ It's like this pineapple.

Pastor: _(Nods wisely)_ A pineapple.

Carmen: All woody and prickly.

Pastor: I'm listening.

Carmen: Take Thursday, for instance.

Pastor: All right.

Carmen: I went to the mall. Had to get my roots touched up.

Pastor: I see. _(Beat)_ I think.

Carmen: So I see this little old lady wanting to cross the street.

Pastor: Classic Boy Scout good deed.

Carmen: That's what I thought!

Pastor: Well, it is a kind deed...

Carmen: It was a disaster!

Pastor: Hmmm. I believe you mentioned that.

Carmen: I took her arm, waited for the light, and started across with her. Man! She was slow. The light changed before we were even half way across, and I had to wave at the cars to make them stop.

Pastor: But you did get across okay?

Carmen: Eventually.

Pastor: So that was good, right?

Carmen: Wrong!

Pastor: Wrong?

Carmen: Wrong.

Pastor: _(Pause)_ I'm still listening.

Carmen: She didn't want to go to the mall.

Pastor: Oh.

Carmen: She was waiting on that corner for her daughter-in-law who was going to pick her up and take her out to lunch. They ended up missing each other, missed lunch, and now the daughter-in-law isn't talking to her. Again.

Pastor: How do you know all this?

Carmen: What else could I do? I took the old lady to lunch, of course. Figured my roots could wait. She told me all about that. How the two had been estranged, and that lunch engagement was an attempt to patch things up. I've got her in the car now. We'll be going to see the daughter-in-law after I'm through here so I can apologize, and hopefully things will be fine.

Pastor: That's kind of you.

Carmen: _(Shrugs)_ What else could I do? _(Sighs, pushing the pineapple away)_ Woody and prickly.

Pastor: Anything else?

Carmen: _(Takes coconut off her hat.)_ Longsuffering. Didn't you say in that sermon last month that it's something like patience? Patience! Man, it's a hard one to crack! I work and I work on it...

Pastor: _(Takes coconut, hefts it)_ I can see that it'd be tough.

Carmen: _(A bunch of grapes with most of the grapes gone)_ Self-control. It seems like it's the little things that get me on that one.

Pastor: Where'd all the grapes go?

Carmen: _(Stares at the bunch)_ I ate them. Of course.

Pastor: _(Nods)_ Of course.

Carmen: _(Pomegranate)_ Goodness. Now that one really gets messy.

Pastor: How so?

Carmen: How can you define it? What is goodness, anyway? I simply don't know how to measure it.

Pastor: _(Lifting hat off her head)_ Is that what the rest of this? _(Examines apple)_

Carmen: Faithfulness. An apple a day keeps the doctor away. And all that.

Pastor: And all that. _(Holds up a banana.)_

Carmen: Gentleness. Bruises easily.

Pastor: _(Peach. Looks inquiringly)_

Carmen: Oh that. Peace. It's still green. Too hard and not much flavor.

Pastor: Yet.

Carmen: Yet.

Pastor: _(Broccoli)_ This isn't a fruit.

Carmen: No. It's a super-food. Full of vitamins and minerals and fiber. It even has protein! Everything necessary for life.

Pastor: Let me guess. This is love.

Carmen: Yeah.

Pastor: That appears to be it. You only have eight here. Where's your joy?

Carmen: Oh, right. _(Digs in purse and produces a baggy with a squashed tomato)_

Pastor: _(Taking it and examining it)_ This is your joy?

Carmen: _(Nodding)_ I can't keep it together. It just rolls away from me and gets squashed.

Pastor: _(Takes the hat and all the fruit and puts it on a table behind him.)_ I can see why.

Carmen: _(Startled)_ You can?

Pastor: And I apologize. I've been preaching about the fruit of the Spirit, focusing on a different one each week.

Carmen: Yes. And I've been getting it.

Pastor: Well, I haven't.

Carmen: Huh?

Pastor: Each week I preached on a distinct fruit. But they're not. Or rather, it isn't. Paul talked about the fruit, not fruits.

Carmen: Well, of course, we all know that.

Pastor: Forget that fruit basket. It's irrelevant.

Carmen: It is?

Pastor: You, my dear Carmen, are the fruit.

Carmen: Me?

Pastor: Yes, you. The Spirit is working in you and you are the fruit.

Carmen: But it's such hard work!

Pastor: Stop working on it.

Carmen: Stop?

Pastor: Relax in the Lord and trust Him to make it work.

Carmen: Relax...

Pastor: Now, go out to that new friend of yours in the car and be. That's all. Just be.

Carmen: Thank you, Pastor. Just be. The Spirit will nurture the rest in me.

Pastor: And you will embody it.

(Carmen exits and the Pastor takes a bite of apple.)

The fruits (Galatians 5:22-23)

Love—broccoli

Joy—tomato

Peace—peach

Longsuffering—coconut

Kindness—pineapple

Goodness—pomegranate

Faithfulness—apple

Gentleness—banana

Self-control—grapes

Curtain

~~~~

## DON'T SWEAT IT!

A Sketch

Cast

Stanley: (Or Stella) A Christian with a heart for missions.

Graham: (Or Gracie) He (or she) has the answers. He (or she) thinks.

SCENE: This can take place anywhere. A bus stop, a sidewalk café, an office lobby, an elevator. I'm going to put it at a bus stop—a good place to just meet up with people.

_Stanley_ _enters, briefcase in hand. He's waiting for his bus to work. He stretches, yawns a bit, then relaxes._ _Graham_ _comes jogging by, as he does every morning, headphones on. He waves at_ _Stanley_ _, continues on by, then double takes as_ _Stanley_ _rotates his shoulders and yawns again._

Graham _(Takes off the headphones and crosses to_ _Stan_ _)_ Boy! You look beat!

Stanley: _(Grins. It's rueful, joyful and weary all at once)_ Yeah.

Graham: What's up?

Stanley: Missions Conference at the church this week.

Graham: Missions?

Stanley _:_ _(Nods)_ Meetings every night.

Graham: You really into all that pith helmets and jungles stuff?

Stanley: Why, yes. Although very little of it is pith helmets and jungles anymore Our world desperately needs Jesus and His hope.

Graham: It's old-fashioned.

Stanley: Well, the command to go is 2,000 years old.

Graham: It's irrelevant.

Stanley: Huh?

Graham: And it's totally unnecessary.

Stanley: Unnecessary?

Graham: Totally.

Stanley: How can you say that?

Graham: Every one has their own path to God. We just need to feed some of them, give 'em some clothes. They'll all find the way to God in their own way.

Stanley: And if they can't?

Graham: Don't worry. They'll find their way. Every religion has truth, after all. Don't sweat it. You don't have to spend all that money sending missionaries to start churches.

Stanley: That's—interesting.

Graham: It's sensible.

Stanley: By the way, how's the soup kitchen at your church doing?

Graham: Closed down. After we moved out to the suburbs, the street people couldn't find the way or something. _(Looks at his watch)_ Well, I've gotta run. _(To exit and turns in)_ Don't sweat it. It'll be all right.

Curtain

~~~~

## FOUL!

A Sketch

Two people - men or women. Bert or Beth, Arnie or Annie. We are in Bert's house. The door bell rings. Bert answers the door.

Bert: _(Opening the door)_ Hi, Arnie, what's up?

Arnie: _(Entering)_ You're dressed up awfully spiffy! _(The tone is accusatory)_

Bert: _(Grinning)_ I like to think so!

Arnie: I thought we could do a little golf today.

Bert: Yeah, it's a pity we had to cancel our game yesterday.

Arnie: So much for the weather channel. They predicted "sunny with a small chance of rain".

Bert: Instead we got "rainy with a small chance of sun"!

Arnie: So how about that game today? Not a cloud in the sky.

Bert: Can't. I'm tied up.

Arnie: Don't see any ropes.

Bert: _(Chuckles)_ It's Sunday morning.

Arnie: And a perfect day.

Bert: It is a perfect day, isn't it?

Arnie: So how about it? _(Swings an imaginary golf club)_

Bert: I'm going to church.

Arnie: But you go every week!

Bert: Guilty as charged.

Arnie: Surely you can skip church one week when the weather's as glorious as this! There won't be many more chances like this before winter hits.

Bert: Well, I made two decisions when I realized that God would stick by me through fair weather and foul.

Arnie: Yeah? What two decisions?

Bert: One — that I wouldn't be a fair weather Christian.

Arnie: I've heard of fair weather friends. What's a fair weather Christian?

Bert: Someone who trusts God only when things are going well. As soon as a trial hits, their faith hits the dirt.

Arnie: Okay, okay. I hate to ask, but what was the second decision?

Bert: That I wouldn't be just a foul weather church-goer!

Curtain

~~~~

## Home Run

A Sketch

I wrote this piece on March 27, 2006, shortly after the death of Charles M. Tanner, the founder of Covenant Players, a Christian touring drama ministry. There are a lot of in-jokes here, so it'll have the most meaning to people who have been associated with Covenant Players.

Silas: Peter, Peter! He's here! He's here!

Peter: Who? Who's here?

Silas: You know. The one they called Chuck.

Peter: There are lots of Chucks.

Silas: Chuck Tanner.

Peter: Oh, yeah. The guy who said it was hard to win a pennant, but even harder to lose one. Coached baseball.

Silas: Baseball?

Peter: _(Pantomimes batting a ball)_

Silas: Right. Strange way to spend a Sunday afternoon. _(Shakes head)_ No, not the baseball coach.

Peter: Let's see. Chuck Tanner, you said?

Silas: Yeah. Charles M.

Peter: Little guy?

Silas: Hmm, well. He wasn't big...

Peter: Passionate?

Silas: Totally committed.

Peter: Liked to hug a lot?

Silas: Whoa! You got it!

Peter: And talk?

Silas: Don't I know it!

Peter: Isn't he the guy that said if you understand and trust, that's wisdom?

Silas: Yeah. And if you don't understand and trust, that's faith.

Peter: Okay. I got him now. Wrote plays, didn't he?

Silas: Lots of them. _(Glumly)_ A few too many.

Peter: Oh, now I remember! Bananas and oranges!

Silas: That's right. And I want to meet the man.

Peter: Where's he now?

Silas: Somewhere about. I don't know. I've been looking.

Peter: Well, figure it out, man. What do you know about him?

Silas: Well, I worked on it. I figured he'd look up his old friends.

Peter: Did he?

Silas: Not right away, of course.

Peter: Of course. They all want to see the Son first.

Silas: Didn't you?

Peter: All I ever wanted.

Silas: Me, too. It was great. Animated conversation, deep silences, a little weeping, a lot of laughter. I know this Chuck guy spent a long time with Him.

Peter: We have lots of time.

Silas: An eternity. Then, like everyone else, I knew he'd look up old friends.

Peter: There's a lot of 'em up here.

Silas: Yeah, I know. I figured he'd want to start a drama group with them, so I went to the Celestial Playhouse.

Peter: Makes sense. It's always great to get new expressions of worship. He wasn't there?

Silas: No. I couldn't find them doing that.

Peter: What else does he like to do?

Silas: He's a friendly guy—loves people. He loved to fellowship with family and friends. Strong coffee, cheesy omelet's, burnt French fries...

Peter: Everybody here loves fellowship. Maybe not the burnt French fries, but...

Silas: That's what makes it so hard—everybody's having such a good time with everybody else, it's hard to find a distinct group. Then I remembered something. Something, well—

Peter: Distinct?

Silas: Yeah. Distinct. Sometimes I peeked in on him having lunch and asking his friends a lot of questions. I think they called it "quiz".

Peter: Strange.

Silas: Well, I thought so, but they all seemed to enjoy it. So I looked for a bunch of people doing that. Nothing.

Peter: Don't blame them. I'd rather be fishing! Fishing! Did you try that?

Silas: Of course not. Not everybody has the same fascination with fishing that you have.

Peter: So, what'd you do?

Silas: I looked everywhere. I even went to the roundhouse. I vaguely recalled he had a thing for trains. Weak, I know, but...

Peter: No banana, eh?

Silas: Bananas! I really gotta find this guy.

Peter: Uh huh.

Silas: All I found was a bunch of people playing—what did you call it? _(Mimes batting a ball)_

Peter: Baseball.

Silas: Yeah. Baseball. Musta been the other Chuck Tanner.

Peter: Too bad.

Silas: Weird game, too.

Peter: How so?

Silas: They had this one little guy who wanted to pitch for both teams.

Peter: Weird. Well, keep looking, Silas. You've got lots of time.

Silas: Yeah. _(Walks off, mumbling)_ Bananas!

Curtain

~~~~

## IT'S A LIFE

A Sketch

Cast:

Alec: A searcher after the things of God. Doesn't go to church. Yet.

Barney: A church-goer.

SCENE: A cafeteria at work, or a food court. Any place where fellow employees can eat their lunch. The set only needs one small table and a couple of chairs.

The two guys enter with cafeteria trays and lunch. They will eat throughout their conversation.

Alec: _(Putting the tray down)_ So, how was church yesterday?

Barney: _(Shrugs, sits)_ I don't know.

Alec: _(Raised brows, sits)_ What do you mean, you don't know?

Barney: I didn't go.

ALEC: Oh. Okay. You away visiting family this weekend?

Barney: No.

Alec: Sick or something? You look—

Barney: _(Interrupting)_ No, I wasn't sick.

Alec: Car broke down? I keep telling you, you should get a Chev.

Barney: Of course my car wasn't broken down.

Alec: Well, what was wrong?

Barney: For Pete's sake, Alec! There was nothing wrong! I just didn't go to church!

Alec: But you love church. You're always trying to get me to go with you.

Barney: Okay, okay. I didn't go to church because they had some missionary speaking.

Alec: _(Flat)_ Oh. That's terrible. _(A beat)_ Is it catching?

Barney: _(Sourly)_ Funny. It's just...

Alec: Just what?

Barney: You know.

Alec: No, I don't know. You're the church goer, not me.

Barney: Well, it's embarrassing!

Alec: You're kidding.

Barney: No, I'm not. You get some guy in a shiny suit showing slides of Darkest India—

Alec: Isn't that Darkest Africa?

Barney: Whatever. The guy drones on about famine and leprosy and land rovers and his work among the Hottentots.

Alec: Sounds interesting.

Barney: Interesting! You outta your mind?

Alec: It sounds fascinating.

Barney: I don't believe you. You don't even go to church and you're fascinated by musty old slides?

Alec: You've told me how becoming a Christian last year has changed your life.

Barney: It has.

Alec: But I haven't seen it.

Barney: What do you mean you haven't seen it? I keep telling you—

Alec: I know what you keep telling me. But I haven't seen it.

Barney: You from Missouri?

Alec: _(Ignoring that)_ Your lifestyle is the same as it was before. You're still making payments on useless Fords and you still eat soggy French Fries.

Barney: What's that got to do with anything?

Alec: I've been reading that New Testament you gave me.

Barney: That's great! _(Mumbles)_ I think.

Alec: It talks about feeding the hungry.

Barney: Yeah.

Alec: I haven't seen you do that. Unless it's your own stomach.

Barney: I donate stuff to the Food Bank. You know that!

Alec: Giving away a can of beans changes your life?

Barney: Well, what do you want me to do? Go down to the Rescue Mission and dole out the soup?

Alec: _(Grins)_ Now that would change your life!

Barney: Oh, come on! You know how busy I am!

Alec: Making money.

Barney: Some of which I give to missions.

Alec: I know you're generous with your money, Barney.

Barney: Well then?

Alec: This missionary guy. Well, it seems to me...

Barney: What?

Alec: Well, that he's generous with his life. And that I can see!

Curtain

~~~~

## The No Show

A Sketch

Two people - one should be a man, the other may be a man or a woman. They're standing in a parking lot of a college, talking.

Calvin: (or Colleen) Man! I can't believe you got off like that!

Dodge: Neither can I. I thought I was a goner for sure.

Calvin: Was the coach mad?

Dodge: Oh, yeah. At first, anyway. He was going to throw me off the team, fine me $200.00 and cancel my scholarship all in one blow.

Calvin: Cancel your scholarship?

Dodge: Yeah.

Calvin: But that's the only way you can afford college.

Dodge: I know.

Calvin: He was going to do that just because you missed one game?

Dodge: _(Shrugs)_ It would have been in his rights to do it. I am the quarterback, after all. It's in the terms of the scholarship. They need me.

Calvin: They sure do. Logan had to sub and his knee is still dicey. It cost us the game.

Dodge: He wasn't supposed to suit up for another week.

Calvin: So what did you tell the coach?

Dodge: The truth.

Calvin: The truth? You crazy?

Dodge: _(Shrugs)_

Calvin: What kind of excuse was that?

Dodge: Pretty lame, but it was the truth.

Calvin: So how come coach let you off?

Dodge: I don't know. I guess he could see I was cut up about it.

Calvin: So he let you off.

Dodge: Yeah.

Calvin: Wow.

Dodge: Yeah. Wow.

Calvin: So why are you hanging around the parking lot now? Shouldn't you be off celebrating?

Dodge: I'm waiting for Earl. We train together.

Calvin: I thought you did that at two. It's now _(glances at watch)_ 4:30.

Dodge: I know. He didn't show today. That's why I'm waiting here. He comes past here to get to his car after class. When I see him I'm going to give him what for. Nobody stands me up!

Calvin : _(Just stands there, stunned. He can't believe it.)_

Curtain

~~~~

## SISTERS

Dedicated to my nieces Michelle and Aimee, who now have children of their own.

A Sketch

This play is a short dialog between two sisters. They are seven and eleven years old. While the main theme of the play is about friendship and the sister relationship, it also deals with forgiveness.

CAST:

Michelle: The eleven year old. She is despondent because her family has recently moved and she has no friends in the new place. She thinks.

Aimee: The seven year old. She may have the same problems as Michelle, but she has a different way of looking at them!

SCENE: It takes place in front of a home. It could be the front porch or the sidewalk. You may have steps for the girls to sit on or a curb. Whatever it is, Michelle is sitting dejectedly with her chin cupped in her hands. Aimee skips in, large ball in hand.

Michelle: _(Sighing with gusto)_ Sigh!

Aimee: _(Sitting on curb next to_ _Michelle_ _)_ What's the matter, Michelle?

Michelle: _(Not moving much)_ Now that we've moved, _(wails)_ I don't have any friends!

Aimee: _(Big smile)_ You have me.

Michelle: (Stares at Aimee) You're just my sister. _(Shifts away from_ _Aimee_ _and turns her back.)_ How can you be my friend?

Aimee: _(Pondering)_ Oh? What _are_ friends?

Michelle: _(Superior tones)_ Friends are people you can play with. _(She gets up and starts to move away)_

Aimee: _(Scrambles to her feet. Bounces ball to_ _Michelle_ _when she turns to her)_ You can play with me.

Michelle: _(Catching ball)_ But you're four years younger than me. _(Tossing ball back)_ We don't like the same things. _(Starts away)_

Aimee: _(Catches ball, runs after_ _Michelle_ _and circles her to stop her)_ Do you like to run?

Michelle: _(Heavy sigh of impatience)_ Yes.

Aimee: _(Skipping in front of_ _Michelle_ _to her other side. Over her shoulder)_ D'you like to skip?

Michelle: _(Frowning uncomprehendingly)_ Sure.

Aimee: _(Pitches ball to_ _Michelle_ _)_ Play softball?

Michelle: _(Catching ball)_ You know I do.

Aimee: _(Coming right up to_ _Michelle_ _conspiratorially)_ D'you like to pretend?

Michelle: _(Growing irritated, pushes past_ _Aimee_ _)_ Well, yeah. Sure.

Aimee: _(Standing her ground, fists on hips)_ D'you like to laugh?

Michelle: _(Turning and staring at_ _Aimee_ _)_ You crazy?

Aimee: Well, do you?

Michelle: _(Sits glumly, hugging ball)_ Well, sure. Naturally.

Aimee: _(Softly, down on her haunches beside_ _Michelle_ _)_ I like to do all those things.

Michelle: Well, yeah, but...

Aimee: What's so different, then?

Michelle: _(Turning her back on_ _Aimee_ _. She's making too much sense for a lowly seven year old)_ A seven year old can't do as mush as someone who's just turned eleven.

Aimee: _(Circling_ _Michelle_ _and standing tall)_ I can climb a tree as high as you can.

Michelle: _(Starts to protest)_ But... _(She catches_ _Aimee_ _'s eye and turns away_ )

Aimee: _(On her haunches beside_ _Michelle_ _, addressing the back of her head)_ I beat you at checkers 14 times.

Michelle: _(Quick turn of head)_ Six.

Aimee: Fourteen.

Michelle: _(Turns head away grumpily)_ Who's counting?

Aimee: I am. ( _Gets up and strolls nonchalantly a couple of feet away. A sideways glance at_ _Michelle_ _)_ My jokes are just as dumb as yours.

Michelle: _(Starting to laugh)_ Hey!

Aimee: _(As if conceding a major point)_ Well, the faces _you_ make are funnier. Look what you're starting with!

Michelle: _(Tossing ball upstage, she wrestles_ _Aimee_ _to the ground)_ Watch it!

Aimee: _(_ _Michelle_ _is sitting on her and they're both laughing)_ I guess you are stronger than me. _(Puff, puff)_ But we can have lots of fun together!

Michelle: _(Grudgingly)_ Yeah. _(Grins)_ It's fun beating you up. _(_ _Aimee_ _makes a mock, "Who me?" gesture)_ You talk too much. _(Helps_ _Aimee_ _up)_ But friends are more than just people to play with. Friends are with you all the time.

Aimee: _(Brushing herself off)_ Dummy! I'm with you a lot more than other girls. We live in the same house, you dough brain!

Michelle: _(Going to pick up the ball)_ Friends are people who care.

Aimee: _(Following_ _Michelle_ _)_ I care.

Michelle: _(Stops with ball in hands and stares at_ _Aimee_ _)_ You do?

Aimee _:_ _(Take ball and bounce it a couple of times)_ Sure. I'm your sister, aren't I?

Michelle: _(Take ball back and hold it high)_ No matter what?

Aimee: _(Rolls eyes)_ Welll...

Michelle: _(Toss ball at_ _Aimee_ _and huff away)_ You see?

Aimee: _(Calling after her)_ How many of the girls at school would forgive you for spilling grape soda on her favorite white sweater?

Michelle: _(Turning in)_ It was just an accident!

Aimee: I forgive you.

Michelle: _(To_ _Aimee_ _)_ But it was! It...! _(Stops and stares)_ You what?

Aimee: Yup. I forgive you.

Michelle: _(Astounded)_ You forgive me? _(_ _Aimee_ _smiles and nods)_ But that was your favorite sweater!

Aimee: I forgive you.

Michelle: _(Sitting down on curb again)_ I guess you really _do_ care.

Aimee: _(Sitting down, too)_ No matter what.

Michelle: Me, too. No matter what.

Aimee _:_ _(Hand out)_ So are we friends?

Michelle: _(High fives)_ Yup! My sister is my best friend.

Aimee: _(Leaps to her feet)_ Great! Let's go play in the park. There's a great –

Michelle _:_ _(Her chin propped in her hands again)_ I can't. _(Big, shuddering sigh)_ I'm still depressed.

Aimee: _(Puzzled)_ Why? I'm your best friend now!

Michelle: _(Grins)_ I don't have any second best friends!

Aimee: Oh, you! _(_ _Aimee_ _throws ball at_ _Michelle_ _and they have an impromptu dodge ball game as they run off to play in the park.)_

Curtain

~~~~

## Monodramas

These are one-person plays.

## EVE'S ELEGY

A Monodrama Plus Lesson

This lesson may be taught by one or two people. One does the object lesson and application, while the other tells Eve's story in the first person. If one person does the whole thing by herself, she should have a scarf she can drape around herself as a costume when she becomes Eve to show that she is stepping into Eve's persona.

Theme: Separation from the God, the Source of Life, causes death. Being rooted in God by accepting Jesus results in life.

Scripture: Genesis 1-3

Memory Verse: Romans 3:23

Equipment Needed: A potted plant; a dead leaf from the plant; a leaf that has been sprouted in water; a scarf

### The Introduction: PLANT OBJECT LESSON

(This story is written to be told indoors. However, this introduction could be adapted to an outdoor setting. Suggested adaptations are in brackets. Suggested directions are in brackets and italics. The object lesson is with a plant that can be sprouted from a leaf. If you're outside, use a tree that could be sprouted in similar fashion. The kids already know all about this, so it makes them feel real smart when they can tell you what to do.)

Here is a lovely plant _(tree—choose an indigenous tree, one which thrives in the local conditions)_. Isn't it beautiful? It needs a lot of care. What does a plant _(tree)_ need in order to grow? _(As the kids answer, deal with their answers in the order they give them, not the order here.)_

Dirt

It's planted in good earth. See, it's loose dirt, dark and with good nourishment in it. _(Describe the earth in question.)_ The plant gets vitamins and minerals from the dirt and that helps it grow. If it were planted in sand or clay, it wouldn't grow well at all _. (Adjust this if you're outside. A cactus in the desert needs different soil than a pine in the rain forest.)_ It would probably die. Being planted in the dirt means that it is stable, too. When the wind blows it, it stays put because the ground holds the roots. Only big winds like hurricanes and tornadoes can rip a tree out of the ground, and even those winds can't get all the trees! _(You might want to leave this last point out, unless the kids mention it. Judgment call.)_

Water

We also water it. _(It needs rain.)_ It needs just enough water to keep the dirt moist _(change this to fit the plant in question)._ If I give it too much _(if it rains too much)_ it'll drown. If I don't give it enough water _, (if it doesn't rain enough)_ it would die of thirst. The plant's roots spread wide _(or deep)_ so it can get all this water and send it to the leaves and flowers and stem. _(Again, adjust this to the particular plant you're using.)_

Sunshine

The plant also needs sunshine. The leaves get important nourishment from the sun and sends it to the rest of the plant. Do you know what this process is called? Yes, it's called photosynthesis. If it doesn't get enough sunlight, the leaves would shrivel up and die. If it gets too much, it would burn.

Summing up

So the roots need the leaves to get the nourishment from the sun and the leaves need the roots to get nourishment from the soil and the water. When I pluck a leaf from the plant, that leaf will die because it has been separated from the roots and the nourishment that is in the soil and the water. If I separated all the leaves from the roots the whole plant would die because both parts need each other. This one leaf will die because I have separated it from the roots and from the soil _. (A child might mention the solution of rooting the leaf in water, which is part of the conclusion. Affirm the child and say it's such a good suggestion that you're going to come back to it at the end of the story.)_

This problem of death and separation started way back in the Garden of Eden. Eve will now tell you her story.

### The Bible Story: EVE'S STORY

(This is the story of the Garden of Eden told in the first-person by Eve.)

God made the world and it was beautiful. Most beautiful of all was the garden where we lived. The Garden of Eden. In it grew beautiful trees and flowers of every description. Many animals lived there and we were beautiful, too. There was no killing, no violence, no ugliness of any kind. A clean, sparkling river flowed through the garden. The weather was always perfect. There was just the right amount of sunshine and water and earth for things to grow healthy and strong. All the animals had enough to eat because of all the different kinds of plants. Amongst the trees in the garden there were two very special ones: The tree of life and the tree of knowledge of good and evil. It was a truly beautiful place.

After that, God made us. First of all, He made my husband, Adam and then He made me. He breathed His life and His Spirit into us so that we could be His friends. That meant we were made in His image. He gave us the Garden of Eden to be our home. We were so happy there. So unbelievably happy. Adam was such a gentle, kind husband and we loved each other very much.

God told us we could eat the fruit of all the trees of the garden except one: the tree of knowledge of good and evil. Don't eat of that one, He told us, because if you do, you will die.

Well, that seems pretty easy, doesn't it? Only one rule! Now it seems there are so many rules to remember. Back then, it was just one. And that one rule was so easy, too. After all, there were hundreds of other trees there. So what if we couldn't eat of that one. We could never go hungry with all the other fruit we had there to eat. There's no way we could miss out on that one with all the rich variety we had.

And so we were very happy. We had a good job, too. We were to name all the animals! What a wonderful time that was, getting to know them all so we could give them good names. I loved them all. The animals were happy and friendly.

But the best thing of all was God Himself. He was our friend. Each evening, as it got cooler, God would visit us in the garden. He walked with us through the trees and we talked. Oh, how we talked! We talked about everything. We knew God loved us and we loved Him. God made us and He wanted the very best for us. His friendship continued to nourish our bodies, minds, spirits and hearts. It was like He was our earth, our water, our sunshine. Everything was pure and holy because God, who was pure and holy, had made it.

And then I spoiled it all.

One day I was strolling through the Garden by myself when one of the animals spoke to me. None of the animals had spoken before. I didn't know they could. Later, I realized it was the devil speaking through the serpent, but I didn't know it then. We had named this animal serpent because that name means shining one. He was beautiful.

He asked me, "Did God say you were not to eat of every tree in the garden?"

I answered him. "We may eat of every tree in the garden except one. If we eat that one, we will die."

The serpent snorted. "You won't die. God doesn't want you eating that fruit because He knows if you do, you'll be just like Him, knowing good and evil."

Now I didn't know anything about evil because I'd never seen it before. Everything I knew was pure, clean, the way God had made it.

So the serpent said, "You'll be like gods, knowing good and evil."

Instead of believing God who loved me and wanted only the best for me, I listened to Satan who spoke through the serpent. I was so stupid, so incredibly stupid! My heart breaks as I remember how I broke the trusting, loving relationship I had with God.

I ate the fruit and then gave some to Adam who ate it, too.

Immediately, we were ashamed of what we had done. We knew we had disobeyed God. We couldn't face Him. The wonderful, warm relationship we had with Him was gone because we didn't trust Him, didn't believe Him and didn't obey Him.

That was our first death. The death of trust. The death of friendship. Our spirits shriveled and we were shamed and afraid. We, who had never known fear, cowered in hiding, knowing God would come in the evening as He always did.

God called out, "Where are you?"

And Adam replied, "I heard your voice in the garden and I was afraid, so we hid."

God then asked us if we had eaten of the tree He had told us not to eat. He knew! We couldn't hide from Him and we couldn't hide what we had done. He knew. He always knows.

Adam said, "The woman You gave me gave me the fruit and so I ate."

He blamed me! That was another kind of death, another separation. The beautiful relationship I'd had with my husband was ruined. He made it look like it was all my fault. He would never have done that before. My heart broke again.

So I blamed the serpent. I said he'd tricked me.

The thing is, I was to blame, and so was Adam. We both had a choice and we made a wrong one. We could believe God. We chose not to. We could obey Him. We chose not to. Nobody forced us. It was a decision we made and now we had to live with the results.

Our disobedience was sin. God sent us out of the Garden and we can never return. He put an angel to guard it so we couldn't sneak back.

God said we would die if we ate of that tree. We are dying. Every day. We are growing older. We see animals die and rot into the ground and one day we know we, too, will die. Life is very hard. We have to work hard for our food. The animals are no longer gentle and friendly. They are wild, savage. They kill each other. Adam and I, we still love each other, but we lost something very precious when we made our choice to disobey God. We lost trust and we lost our friendship with God. He no longer visits us in the evening. Our sin separates us from Him. And that is the worst thing of all.

I would weep every day except for one thing. God made us a wonderful promise. He said that one day Somebody would come who would defeat both death and Satan. I don't know who that will be, but I wait for Him. Because of that promise, I know God still loves us and wants to be our friend.

### Application: Back to the Plant

Eve told us that God would send somebody who would defeat Satan and death. Do you know who that is? Yes, Jesus! Jesus defeated Satan by taking our punishment when He died for us. He defeated death by coming back to life three days later. We just have to accept that life by believing in Jesus.

Look! It's like this dead leaf. See? It had fallen off the plant and died, but somebody stuck it in some water. Now it has roots of its own and it will live. We can plant it in the ground and it will grow. If nobody had put it in the water, it would have died.

Because of our sin, we are separated from God. That causes death. Just like a dead leaf, separated from everything that can give it life. If we don't plant ourselves in Jesus, we too, will die. He gives us life. I put my roots in God and I will live. Will you do that, too? Will you choose life? Will you choose God, too?

### Point of Decision

Eve has told us her story. It is a sad story but it has a happy ending because Jesus came. Jesus defeated death and Satan. He forgives our sins and He is our Friend. He wants to be your friend. If you want Him in your heart as your Friend, pray this prayer with me:

**Prayer:** Lord, I thank you for being my Friend. I want you in my heart. Please forgive my sins and make me your very own child. Amen.

Curtain

~~~~

## DAMASCUS

A monodrama

(Please note:  
This monodrama has much of the same text as the short play, "Thine is the Kingdom.")

Themes: The Lord's Prayer; Thine is the Kingdom; faithfulness; courage; New Testament times; persecution; assurance; prayer; Bible; women; praise; worship.

Setting: It is a few years after the death and resurrection of Jesus. The followers of the way have heard that Saul, the persecutor of Jesus, is on his way there. We are in a small house in Damascus. It is a cold, bleak room, sparsely furnished. Maybe just one bench.

Character: Abigail is a Jewish woman and recent convert to "the Way". She has been a believer a very short time and is now facing a severe test of her faith.

Scene: This monodrama is a play in which the imaginary "fourth wall" of theatre is utilized. Never is the actor to look at the audience or acknowledge it. This is a slice of life and nobody is in the room except the character and her God.

_Abigail_ _enters, carrying a scroll. She looks around fearfully. She is afraid of being seen or overheard. She is in great turmoil. She tries to pray._

Great and mighty God. _(Stops, a little panicked, wails a bit)_ I don't know how to pray. I don't know what to say. My thoughts are so confused. Dark fears and doubts press me down. _(To the door. Puts hand on it as if to keep him out)_ Saul is on his way here. _(Turns and leans her back against the door)_ Already he has killed many followers of Jesus. I fear for my life and for my friends. We will be next. The fear has dimmed our hope _. (Steps away from door, hold a hand out in a plea)_ Shine your light on us, Jesus, give us rest from this persecution. _(Moves back into center stage)_ I must talk to you. Somehow I must express my mind and my heart. I know you know these already, but I don't! I have to talk to you for my sake. Please excuse me if I do not pray with eloquence or learning. _(Muttering)_ I am only a woman in a land where women count for little. _(With great intensity)_ I don't know how to pray! But pray I must. I must. I am so new to this. Praying was something men did, not women. Help me. Enlighten me. _(Step down stage)_ Give me the words. _(Stands in an attitude of prayer then suddenly cocks her head as if hearing something. Take your time with this)_ What's that? _(Tilt head the other way)_ I hear no voice, yet something is speaking to me. _(Listens some more)_ Pray my prayer? _(Repeats it)_ Pray my prayer? Whose prayer _? (Paces frenziedly)_ Who is talking to me in a voice I cannot hear? Why am I so sure it's important? How could I receive such a _...(Stops, eyes wide in wonder)_ It's the Holy Spirit! Talking to—to—me! Pray my prayer, he says. _(Discovery)_ Why, he must mean the prayer Jesus taught that day on the mountain. Joanna told me about it! I remember it. _(She closes her eyes, holds a beat and then begins)_ I'll pray your prayer, Jesus! _(As she prays, she takes the time to internalize each sentence, so it becomes her prayer. She kneels by a bench, placing the scroll on it)_ Our Father _—(She stops then begins again with the more personal pronoun, a shy, gentle smile in her eyes)_ My Father in heaven, your Name is to be praised above all others. Your kingdom come, _(pray with real meaning)_ your will be done on earth as it is in heaven. Give us today the bread we need. _(Looks up and adds)_ Give me, too, the courage and grace I need today. Forgive my sins _(falters, then firmly as she realizes she must forgive Saul)_ as I forgive those who sin against me. Do not lead us into temptation _(a real plea)_ but deliver us from the evil one. _(Finish with strength)_ For the kingdom, the power and the glory are yours forever. Amen. _(Finishes the prayer, then frowns over the last sentence)_ The kingdom is God's? How can that be? This land isn't God's _. (Paces vigorously about the room)_ The Romans own it, rule it. They and others before them have occupied it for centuries. It's not God's. We Jews can do nothing without our overlords' permission. The great glories of David's kingdom are gone forever. So how can the kingdom be God's now? How can the kingdom be His, when it is Tiberius who reigns? And when we can be threatened by the Pharisee, Saul? Wait. _(Picks up scroll, looking at it. The story of David is in the scriptures. Slowly sit on bench)_ I remember the story of David. He built a great kingdom. It was Israel's finest hour. What was that he said at the end of his life? _(Open scroll)_ "Yours, O Lord is the greatness and the power, the glory, victory and the majesty...Yours is the kingdom, O Lord." The kingdom is yours, Lord. That was the king speaking. Does that mean Israel is God's, no matter who is king? Whether it's David or the Persians or the Assyrians, the Greeks or the Romans? The kingdom is the Lord's and whoever reigns does so by His grace. Daniel even told Nebuchadnezzar that it was God who had given him kingdom, power, and strength and glory. _(Up, moving strongly as she works this out)_ But there must be more. There must be! Is the kingdom limited to Israel? Is it an earthly, political thing of history only? No, it must be more than that. God is bigger than any dominion ruled by man. _(A real discovery. Awed)_ The kingdom is wherever He is! _(Back to working it out)_ The kingdom is heaven where God reigns in glory. _(Excitement as she realizes the personal nature of it)_ But it is also here in me because He is in me. Why, _(holds up the scroll)_ the psalmist said God inhabits my praise! My worship is His throne! _(She opens the scroll and smiles, then begins to read from Psalm 145:10-13, 17-19, speaking the words as if they are hers, spoken with fresh, new meaning)_ "All your works praise you, O Lord...They speak of the glory of your kingdom and talk of your power. They make known to the sons _(adding)_ —and daughters—of men your mighty acts and the glorious majesty of your kingdom. "Your kingdom is an everlasting kingdom and your dominion endures throughout all generations... "...The Lord is righteous in all his ways and gracious in all his works. The Lord is near to all who call on him _, (realizes that she is doing just that and that the Lord really is near to her)_ to all of us who call on him in truth. He satisfies the desire of all who fear him. He hears our cry and he saves us." _(A brief pause while she absorbs this promise and takes it in her situation_. _New energy.)_ So. The kingdom, the power and the glory are yours, Lord. They are yours right here. Right here in this room as I wait for Saul to come. When I sing praises to you all of heaven rejoices with me. My adoration of you lifts me up and you fill me with your power and your glory. It is seen in me as I give it to you. The kingdom, the power and the glory are yours—yours—forever. _(Carefully places scroll down and looks up with a real serenity)_ Amen, Lord, and thank you. I'm ready. When Saul arrives I'll be ready. I'll be ready, for your kingdom is here, right here in Damascus. Thank you, Jesus.

Suggested companion readings: Jude 24-25; Rev. 1:6; 4:8-11; 5:7-14; 7:9-12; 21:23-26

Curtain

~~~~

## A LEPER'S SONG

( 2 Kings 5)

A Monodrama

I have written three treatments on the story of Naaman: "Naaman's Dilemma" and "Two Captive Maids"—both of which are One Act plays. The third, "Leper's Song" is a monodrama, and it contains much of the same text as "Two Captive Maids".

Preamble: The Bible is full of stories. It is full of real people. People just like you and I. We are going to meet one of them now. We know very little about her, but she was pivotal in her particular story. Come with us to the country of Syria, around 700 B.C. We are in the courtyard of a lovely home. The people who live here are wealthy and influential. They have many slaves. Let's peek in on one of them now as she relives "A Leper's Song".

Scene: This takes place in Syria, approximately 700 BC. We are outside the home of Naaman, in a courtyard. There should be a couple of pillars and lots of flowers. Enough to show that it is a place of beauty. A stone bench slightly right of center stage cants slightly towards down left.

A little girl enters. An adult can play her, but she is quite young and must be played realistically young, not cutesy young. She is a maid. She carries a bucket of water and a rag. She puts the bucket on the floor down left, dunks the rag in the water, then starts scrubbing the floor in front of the bench. She could be talking to herself, or we could have a couple of other servants also doing chores. In which case, she would relate the story to them and they would respond accordingly.

(Looks up from her scrubbing. She is on her knees)

Leprosy is horrid _. (Pauses in her work, straightens, holding rag in front of her)_ It's a bad disease. I mean, people die of it! _(Concerned, sits back on her heels)_ And Captain Naaman had it. Real bad _. (Walks to the pail of water down left and stoops down on haunches. Swishes rag in water)_

_(Wrings water from rag and looks up)_ He was awful sick _. (Smiles her admiration)_ Captain Naaman is a big, brave man. _(Stands up. Returns to center stage. Shakes her head and holds rag to her chest, not realizing she's dripping water on herself)_ He's a soldier. _(Proudly)_ A commander! And the king really likes him because he wins lots of fights _. (Sadly)_ But he was also a leper.

_(Notices the dripping water, tries to pat it off, gives up and gets down on knees to start scrubbing again)_ Lots of people have leprosy. _(Holds hand out, looking at it)_ It makes their skin bad and their toes and fingers fall off. _(Touches nose protectively)_ Sometimes their noses! _(Grimaces)_ It's foul _. (Another shrug)_ But lots of people have it. And they have to go away because they're dirty and might make other people sick. _(Sighs)_ And then they die. _(Shrugs again)_ It happens. A lot!

_(A change in energy - brisker. Goes to bucket to re-dampen the rag.)_ So Captain Naaman had leprosy. _(On haunches, pauses in her work)_ And Lady Naaman was very sad _. (Shakes her head)_ I saw her crying one day. _(Stands up, faces down center, remembering)_ That's when I found out. She told me, you see. _(Wanders slowly to center stage, shaking her head)_ I felt bad because she was crying. _(Small smile, conveying her affection and her concern)_ You see, Lady Naaman is nice to me. _(Sits on bench, hugging herself, once again forgetting her rag)_ I didn't like to see her crying.

_(Looks away down right, remembering)_ Sometimes I cry. _(Shuddering, lost in the memories)_ That's because the bad soldiers came and took me away from my parents and my home. _(Turn face as if explaining to somebody down center)_ I lived in Israel then. That was my home. The soldiers brought me here to Syria and _(matter of factly)_ now I have to live with Captain and Lady Naaman and be their maid. I cry because I'm lonely. I miss my parents. _(Beat)_ I miss my God, too. Can the God of Israel still be my God now that I'm in Syria? So I cry.

Well, I was sad to see Lady Naaman cry. She told me Captain Naaman had leprosy and that he couldn't be a soldier anymore and that he would die. _(New energy. Leaps to feet with fists on hips)_ Well, I couldn't believe it! _(Paces down right)_ I know leprosy is bad and all that. _(Stops and turns face to focal point)_ I mean I just said so _. (Resumes pacing)_ And I know people die of it. But they don't have to _! (At center, facing forward, hands back on hips)_ Die of it, I mean. _(Shakes head, gets on knees, barely starts to scrub and stops in amazement)_

And you know what? Lady Naaman didn't even know that _! (Scrambles to her feet)_ When I told her, she just stared at me and said _, (deadpan)_ "Leprosy kills." I mean just like that! _(Repeats deadpan)_ Leprosy kills _! (Amazed)_ Well! _(Pacing energetically)_ I just couldn't believe that Lady Naaman didn't know that God can do anything. Anything! _(Slower—wanders down right, remembering)_ Why, I remember when my daddy told me that God made the whole world! _(Brisker—back to center stage)_ Well, then, he can certainly heal leprosy.

_(Sobers, sits on bench)_ That's when Lady Naaman told me that she and Captain Naaman and the soldiers and the king, even, didn't know about God. I mean, _(taste the words)_ the God of Abraham, Isaac and Jacob. That's what my daddy used to call God. He used to call Him Yahweh, too.

_(Story-telling mode. Brisk)_ So I told Lady Naaman about Elisha. He's a prophet. _(Knowingly)_ That means he's a man of God. _(Smiling)_ Because he believes God and obeys Him, God does miracles through him. _(Big grin)_ Boy, you should hear some of the stories!

_(Back to the story)_ Anyway, I said, "Lady Naaman , if only my master" - that was Captain Naaman - "if only my master were with the prophet who is in Samaria! For he would heal him of his leprosy." _(Explains parenthetically)_ Samaria is part of Israel, which was my home.

I told Lady Naaman some of the stories about Elisha and God's miracles.

She said, "He is a great man."

And I said, "Yes, but it's God who is great. Elisha is great because he is God's man."

_(Frowns slightly, scrubs floor)_ I'm not sure she understood that. I'm not sure I really understand it, either, _(matter of factly)_ but that's the way it is. (Firmly—no doubt about it) It is God who is great. _(With reverence)_ The God of Abraham, Isaac and Jacob. Yahweh. God.

I guess she didn't have to understand it to believe it, because she told Captain Naaman .

_(Wide eyed wonder)_ And then Captain Naaman told the king!

Can you believe it? The king!

So then the king gave Captain Naaman a whole bunch of money and a letter to give to the king of Israel, and told him to go to Israel and get healed of the leprosy. So Captain Naaman went.

_(Big smile)_ Well, he got back home yesterday. _(Up and moving about. By this time the task of scrubbing the floor is totally forgotten. She waves the rag around like a banner)_ You wouldn't believe the commotion! I mean, I never saw such a fuss! _(Sees them sitting around the courtyard—relives it)_ The king was there and lots of important people and they were _(dances a bit with the rag)_ all cheering and shouting and dancing around _. (Stops, says very gently)_ Lady Naaman was crying again. _(Perhaps she's crying too)_ This time it was because she was so happy.

_(Hushed)_ Then everything got real quiet so that Captain Naaman could tell his story. _(Feeling important)_ He told how, after his long journey and all that money, he didn't see Elisha at all! Elisha had the audacity to send his servant with a message. His servant! It was an outrageous lack of manners! Didn't he know how important Naaman was?

"And what did this rude servant say?" asked the king.

"He told me to go and wash in the Jordan River seven times and I would be cleansed of my leprosy."

_(Giggling, moves down stage)_ Oh, you should have seen Captain Naaman when he got to that part of the story. _(Paces back and forth with great vigor, miming Naaman_ _. From this point on she will go back and forth between being Naaman_ _and being herself)_ He stormed back and forth and shook his fist and bellowed to show how angry he had been at such a suggestion.

_(Jump up on bench and stand arms akimbo)_ "Wash in the Jordan River, indeed!" he raged. _(An aside, drop pose)_ His face got quite purple when he said this and the king laughed and said that Captain Naaman should keep his day job.

"Did you wash?" asked Lady Naaman .

"I did not," retorted Captain Naaman . "I said, _(resumes pose of indignation)_ 'Wash in that filthy, muddy river! I would not so demean myself. _' (Steps down from bench, continuing as Naaman_ _)_ I thought Elisha should come to me and _(gestures)_ wave his hand over me and the leprosy would just disappear. _(Minces down right, burlesquing her imitation)_ I was, after all, doing him a great honor by coming to him. _(A quick, rueful grin as the little girl, then back to exaggerating Naaman's actions)_

"And I also thought that if I had to wash, why couldn't it be in some of the nice clean rivers here in Syria? _(Marches towards the bucket down left)_ So I marched off, absolutely furious at the insulting way I had been treated."

_(Goes back to being the little girl and looks off, warmed by the memory)_ He stopped then in his pacing and looked off in a gentle kind of way and a small smile came to his eyes. _(Hugs self)_ He looked at his servants who had gone with him on the trip.

_(Looking off towards stage left. She is lost in Naaman_ _'s wonder. No burlesquing)_ "I have good, loyal servants," he said. "I don't deserve them. They came after me and convinced me to do what the prophet had told me to do. _(Shakes head)_ They used logic. _(Turns head to glare over audience's heads)_ Spare me from logical servants! They'll get you every time! _(Shakes head again and walks slowly to the bench)_ They reminded me that if the prophet had asked me to do a great deed of velour, I'd have done it. _(Faces audience and nods)_ They were right. I would have. _(Goes energetically down right with lots of macho muscle flexing)_ I'd have climbed a great mountain or swum a mighty sea or... or wrestled a bear if that's what the prophet had asked me to do. _(Stops)_

_(Turns in and says softly)_ "So I did it. _(Walks to the bucket stage left and kneels before it on one knee)_ I went down to that scrummy river and I bathed. _(Dips into the dirty water with fingers and feels its texture)_ Seven times. The first time, there was no change. The second time, nothing. Third, fourth, fifth and sixth, the leprosy was as scabrous as ever. On the seventh wash, _(holds hand out, looking at it)_ my skin was completely restored _. (Feels arms and face)_ It was like that of a baby. Soft and clean and healthy. _(Lifts radiant face up towards the focal point)_ The leprosy was gone. _(Almost a whisper, head bowed)_ All gone."

_(She stands quietly, being herself again and wipes hands on apron. Walks to bench)_ That's when Lady Naaman started crying again. She cried softly so that it wouldn't interrupt his story and she hugged me tightly _. (Looks at bucket as if Naaman_ _were still there)_ I saw that Captain Naaman and some of the tough soldiers with him had tears in their eyes. _(Wavering smile)_ I was crying, too. Now Captain Naaman won't lose his fingers or toes or even his nose. _(Firmer, bigger smile)_ But I wasn't surprised like those others were _. (Absolute assurance)_ I knew God would heal Captain Naaman because I had been praying He would.

_(Moves to down center to a spot she has never been before, overlooking the audience. She has once again taken on the persona of Naaman_ _, but more subtly so. It is her convictions that ring out)_ Captain Naaman stood straight and tall before his king and concluded, "I went back to the man of God. I wanted to pay him the money you had sent but he refused it. I told him that there is no God in all the earth except in Israel. And I tell you that now. The God of Israel is God. There is no other."

_(Raises arms and face)_ He raised his arms and face to heaven and cried out, _(ringingly)_ "Praise be to God!"

_(Drops pose, completely back to being the little girl)_ And I say that, too. Praise be to God. _(Hugs self. With soft reverence repeats)_ The God of Abraham, Isaac and Jacob _. (A firm nod)_ The God of Captain Naaman . _(Goes to bucket, dips in rag, stops and looks up with a radiant smile—just realizing it)_ Oh, and the God of me! Right here in Syria!

Curtain

~~~~

## Saved Alone

A Monodrama

This play is a monologue featuring Horatio Spafford, the man who wrote the words to the hymn, "It Is Well With My Soul."

Horatio Spafford was a wealthy Chicago lawyer and friend of D. L. Moody. In late 1873, Spafford's wife and four daughters sailed to England to join Moody on one of his evangelistic crusades. Spafford, who had been detained in Chicago by business, was to follow a couple of weeks later. The ship his family was on collided with another vessel and sank. His daughters all drowned. His wife was spared. This monodrama takes place about one week after the tragedy. Spafford is now on his way to join his wife in Wales. The captain of the ship he's on has just pointed out to him the spot where it was believed his daughters died. We are in his cabin, a simple room furnished with narrow bunk, a chair, a chest of drawers, and a porthole.

_(Sitting on bunk)_ "Saved alone." _(Shakes head, staring at nothing)_ Two words. That's all. Just two words and they split my life apart. _(Beat)_ "Saved alone." _(He pulls a worn telegram from his coat pocket and smoothes it on his leg.)_ My wife's telegram pounds at my brain until it is all I can hear. _(Looks up in anguish.)_ Why, Lord? _(Paces stage right)_ How can we ever come through this? _(Paces to center)_ First our son, dead after a quick illness. Then our property - burned in that dreadful fire. And now our daughters, lost at sea. _(Cries out. Paces to left)_ Must we endure _all_ the trials of Job?

_(To the porthole stage right, stands looking out. His voice flattens out.)_ The captain took me on deck this morning to show me the place they went down. In twelve short minutes, the sea claimed the ship and the lives of my daughters. Their bodies are down there in those anonymous depths. _(Moves away)_ Oh, my Lord, the storm buffeting my soul matches the fury of the wind and sea that night just a week ago. _(Uses hands to describe fog)_ The fog, the billowing waves, the second ship suddenly appearing too late to avoid a collision. _(Drops hands to hug body, moves to stage left wall)_ In that moment, my whole life was thrown into chaos _. (Leans head against arm on wall)_ I can hear their screams. The frightened voices calling for their daddy. Oh, the horror! To think I let them go to England without me!

_(Turns and leans against wall, staring straight ahead)_ I stood at the rail beside the captain and stared at the peaceful waters of my daughters' graves. _(Moves slowly to chair and sits, visualizing each daughter)_ I saw again Bessie's eager eyes as she would slip her small hand confidingly into mine. I saw once more Maggie's scraped knees and tender affection for her stray puppies, Annie's frown of concentration as she pored over yet another book. And Tanetta, blossoming into lovely womanhood, her eyes full of dreams that will never be realized. _(Moves to stage left and gazes out)_ I will never see them again. Never feel their arms tightly around my neck. Never see them grow into mature, Christian women nurturing their children. My grandchildren. The grandchildren my wife and I will never have.

_(Looks around cabin)_ My life has become a wasteland. How can I bear this pain? My girls, torn from us so abruptly, so violently? _(He sinks onto the bunk, his shoulders shaking with his grief, his hands shredding the telegram.)_ And my wife, so frail, so alone. _(Deep groan)_ What she must be going through, alone in Wales? She was there. She heard their frightened calls and was helpless to come to their aid. The sea nearly claimed her, too! How is she taking this?

_(He smoothes out the telegram)_ "Saved alone." Good news and bad news. She was saved, but only her. She was spared me. And my girls are lost.

_(He carefully refolds the telegram and replaces it in his pocket. He goes to the porthole and looks out.)_ The sea, so unforgiving in its rage that terrifying night. Today it is so peaceful. Like a river. The sun rolls back the clouds and glints off the water in a golden sparkle, warming me with God's peace. I see Your face there, my Jesus. You were there. There with them. _(Gazes over audience heads down center)_ You are here _. (Spreads arms out and then hugs)_ My girls are sheltered in your embrace. They are not lost at sea. They are nestled in your care. Forever.

_(He moves away and stands by his bunk.)_ My sorrows engulf me but you are here. You regard me in my helpless estate and you care. You know how I feel. You, too, know grief. And loss. You have known the darkness. And you bring me out of that darkness into your light. You have given much to me. You shed your blood for me. You know. You know. _(He sighs, his face relaxing.)_ It is well. _(A pause as he collects himself, a wiping of tears)_ The sorrows still fill my heart. The loss will always be there, an inescapable part of me. But you are here. Here with me.

I go now to my beloved wife who needs me as I need her. As we both need You. It is well. _(He sits slowly.)_ You are here. Yes, all is well with my soul. _(He bows his head and the curtain slowly closes of the lights fade out as the music, It Is Well With My Soul swells and then fades out.)_

Curtain

~~~~

## So Send I You

A Monodrama

Cast:

MC: This person introduces the monologue to the congregation and then leads them in singing the hymn at the end. This part could and maybe should be adlibbed. It could also be done by the person performing Margaret Clarkson, as long as it is clear that the fourth wall is up during the actual monologue.

Margaret Clarkson: The author of the great missionary hymn, "So Send I You." She is 23 years old, a school teacher in Kirkland Lake, Ontario.

Setting: A small, simple cabin in the north woods of Ontario, 450 miles north of Toronto. The year is 1937. All that is needed for the set is a chair with a small table next to it. Have the table at up center with the chair to one side. Both are canted, facing down right and angled towards down left. This puts the table at a power point of the set, and on this is placed the Bible. The table and chair will be the hub for Margaret's movements. She should never move more than five or six paces away from the hub.

MC: _(While the MC is speaking,_ _Margaret_ _enters and sits on the chair, reading her Bible.)_

There is nothing as fascinating as the workings of God in the lives of men and women who follow Him. It is exciting to read about the apostles, the church fathers, the missionaries, the martyrs, the preachers and the very ordinary people who touched God and were touched by Him. So many of them were just like you and me.

Many people have chronicled the stories of how God's grace moves in His people. One such writer is Philip Osbeck, author of a series of books that tells how many of our favorite hymns came into being. We are going to do a short drama based on a story in one of those books, 101 Hymn Stories. It happened in 1933 in Kirkland Lake, Ontario, a mining community some 400 miles north of Toronto.

A young woman, Margaret Clarkson, has come to teach in the town's small school. We are going to catch a glimpse of her in her bedroom, a plain, simple room in a boarding house. Imagine worn home spun furniture made cheerful by the addition of colorful cushions and blankets. Imagine a braided rug on the scarred floor and a fire burning in a pot-bellied stove. It is evening, a time for reflection and meditation. We'll peek in on Margaret as she "meditates" on John 20:21. So Send I You.

Margaret: _(She's sitting in a chair, reading her Bible. John 20:21. KJV.)_

"Then said Jesus to them again, Peace be unto you: as my Father hath sent me, so send I you."

_(She slowly reads again)_ As my Father hath sent me, so send I you. _(Puts the Bible down. In a low voice, she repeats)_ So send I you. _(Looking up)_ Oh, God, why haven't you sent me? Why haven't you called me? Why have I been pushed aside here, forgotten, abandoned?

_(She energizes, gets up, crosses down right to glare out the "window".)_ Kirkland Lake, Ontario. What a God-forsaken bit of desolation! There's nothing here _! (A bit of a rant, she paces left)_ Nothing but trees, and rocks and hills and _—(a sputtering pause, she stops the pacing and turns to face the audience, then she spits out the worst offense)_ and snow! _(Rants right stage)_ Snow, snow, snow! _(Stops pace. It gets worse)_ Oh, and don't forget the moose! _(Snarls)_ Moose! _(Marches to the left)_ If I never eat another bowl of moose stew, it'll be too soon!

_(Change of energy. She goes to chair, stands behind it and grips the back, looking up at where she perceives God to be.)_ How much longer can I bear it, Lord? Oh, it's not the snow—or the moose. _(Turns sideways, facing the "window" stage right. Hugs herself)_ It's the isolation, the loneliness _. (Move down left)_ If only there were another person who believes as I do about you, God, I could bear it. I could bear it with joy! But this daily grind, this going to school day after day and teaching the sons and daughters of gold miners who don't care and don't want to care, that's what gets me down. There simply isn't anyone here I can have fellowship with. I don't know why people go to church here. It certainly doesn't seem to be to meet you!

_(She continues to move around the room)_ The pay is lousy, too. I wouldn't mind that so much if I could get even a little appreciation or recognition. The kids aren't so bad. I think they're grateful for a room with a fire where they don't have to be chopping wood or hauling water or hunting for squirrels. It's not their fault they can't get interested in noun conjugation and square roots and the finer points of English common law!

_(Sits)_ But it would be nice if even one parent said, "We like how you teach our kids." Or, "I like those little poems you write, Miss Clarkson." Or if only one person would say, "Pray with me, Margie. Let's talk to Jesus!"

But they don't. They think I'm silly. It's a waste of time to write poetry, they say. They don't understand my habit of putting my feelings and experiences into verse. They're not impressed that some magazine down in Toronto has published some of my work.

They think I'm too young. _(Stands, indignant)_ Too young! I'm 23! I'm a mature woman with a college education!

_(Moves down right)_ They think I'm narrow-minded. They tell me they don't want to hear what I have to say about you, God. They say they're quite fine and don't need you, thank you very much, and then off they go to the bars and get drunk and beat their wives and kids.

_(To table, leans on it, depressed)_ There's nobody here to be my friend. Nobody who wants to know who I am. Nobody who would be bothered if Margaret Clarkson slid off the face of the earth.

Sometimes, I think they hate me!

_(Straightens, moves straight down stage, accusing)_ I wanted to be a missionary! Instead, I'm here as a _(spits the words)_ school teacher! You know how much I've wanted to be a missionary!

_(Pacing)_ But I can't. They won't let me. They turned me down for health reasons. _(Spits it)_ Health reasons! So where do I end up? Kirkland Lake! The wilderness at the end of the earth! It's too much! It's unfair! You know I want to serve you, God, to be a missionary. It isn't fair! It's a waste.

Why do I have to be here instead of on the mission field? _(Loud cry)_ Why didn't you call me? ( _She picks up her Bible and waves it)_ As the Father has sent me, so send I you. _(Lowers Bible—a real plea)_ Why haven't you sent me? _(She slowly looks at the Bible and reads the text.)_ "As my Father hath sent me, so send I you." _(She closes the Bible and clutches it to her chest. Her head tilts as she thinks it out. Take your time with this part.)_ Oh. _(A note of awe)_ You mean—you have sent me? Here? To Kirkland Lake? This mining camp is my mission field? That where I am is where you have sent me? _(Realization setting in)_ Oh, God, forgive my blindness, my self-centeredness! Of course this is my calling, my mission. As the Father sent His Son, so Jesus has sent me. "So send I you." _(Get a rhythm.)_ "So send I you." _(Slower, thinking—a poem is coming) "So send..."_

_(Energizes, looks around)_ Where's my pencil? _(Grabbing paper and pen, she starts to scribble that great poem, "So Send I You". As the actor speaks the words of the poem, they must be real. At times halting, at other times coming out in a blurt as she writes the poem. Remember this is the first time Margaret speaks the words—they are new to her.)_

So send I you to labor _(searches for word, finds it and writes)_ unrewarded... _(The actor may then recite the entire poem—it can be found in many hymnals or on line. One such site is http://hymnoftheweek.net/?p=40. Move around, take your time with it, live with it, breathe it. As you continue through the poem, it should get harder and harder as the truth of it pours into her.)_

_(The last line)_... So send I you to taste of Calvary.

(Her head is now bowed as she is yielded to the work God is doing in her. She holds this position for a few beats and then a solo flute or oboe plays hauntingly the coda from the John W. Peterson tune, "As the Father hath sent me, so send I You." Lacking a flute, a soprano voice could sing the words a cappella. She holds her position.)

MC: _(Takes center stage._ _Margaret_ _quietly exits at this point)_

A few years after this poem was published, John W. Peterson discovered it and set it to music. "So Send I You" soon became one of the greatest missionary hymns of the 20th century. Margaret Clarkson, however, wasn't completely happy with the tone of the hymn. She felt it spoke too much of the sorrows and privations of the call of God and not enough of its joy and victory. Thirty years later she wrote additional verses which can be used interchangeably with those of the original song. Please stand and sing with us the newer verses of this hymn.

(I found the lyrics of the newer version here: http://www.hymnlyrics.org/newlyrics_s/so_send_i_you_by_grace_made_strong.php. It, too, can be found in a number of hymnals.)

Original hymn copyright: 1954 Singspiration Music (ASCAP) ARR UBP of Benson Music Group, Inc. (365 Great Circle Road, Nashville, TN)

Newer hymn copyright: 1963 Singspiration (ASCAP), Div. of Zondervan Corp.

Curtain

~~~~

## Who In the World Does Paul Think He Is?

A Monodrama

Paul's epistle to the Philippians.

CAST: Syntyche, a Philippian woman, indignant at being mentioned in Paul's letter (Phil. 4:2).

COSTUME: She's a "church lady." Since the text of this piece has a lot of anachronisms, keep the clothes modern, conservative, classic. Dress (hem just below the knee), hat, gloves, purse, heels, jacket.

SETTING: Syntyche's living room. A chair and small table canted just left of centre.

PROPS: The essential props are a purse, scroll of Philippians, and a pair of scissors. (I know. The play is anachronistic. It doesn't have to be a scroll. It just tickles my fancy to have her dig a scroll out of a fashionable purse.)

Who in the world does Paul think he is? Traipsing around the Mediterranean—breezing in, breezing out— here, there, and everywhere. So he spent some time here. Even got a church going—with my help, I might add. But then he skips town, moves on to the next place, and sends out letters, like he's still in charge.

Those letters! The way people go on about them, you'd think they were holy writ, scripture, or something. He writes a letter to a group of people somewhere, and they, oh so carefully copy it—several times—and send the copies to all the other outposts where Paul did his thing. You know the drill: "If you want to be blessed, make ten copies of this letter and send them to ten different churches." Well, today's letter was different. _(Pulls scroll out of purse.)_ Paul wrote this one to us. _(Reads)_ "To all the saints in Christ Jesus who are in Philippi _(Phil 1:1)."_ That's us. _(Points)_ Right there at the top. _(Pause)_ Oh. _(Another pause)_ My husband gave this to me. "Here, put it in your purse, dear." My husband! The man who vowed to cherish, support, and protect me? He wants me to copy it! And send it somewhere. Rome, probably. Or that cesspool, Corinth.

Epaphroditus read it out loud to us at church this morning, and it started off so nicely. Real appreciative. _(Reading it_ ) "I give thanks to my God for every remembrance of you _(1:3)_." Isn't that sweet? He says he loves us, misses us, prays for us. He even calls us his partners in the work—and well he should. I'll bet I wasn't the only person in the room with tears in my eyes. I admit, this letter is quite the change from some of the more scolding ones forwarded from other churches—like Corinth. It's so full of hope and optimism. And to think he wrote it in prison! Prison! I felt the joy in it, I truly did. He gives us good advice, too, like "live in a manner worthy of the gospel", "stand firm in the faith", "work side by side" and "watch out for evil-doers." Hey, I've said all those things myself—except I didn't call the evil-doers "dogs". And then, when he talked about Jesus humbling himself even to death on the cross, I tingled! No kidding. I tingled.

It was good. It was so good, and I was feeling it. _(Beat. Tightly)_ And then it happened. I heard my name. Syntyche. My name! _(Reading it)_ "I urge Euodia and Syntyche to agree in the Lord _(4:2)_." I couldn't believe it! I was so mortified. How could Paul do this to me? In a public letter! "I urge Euodia and Syntyche to agree"? I don't disagree! It's Euodia! She's the one who is constantly disagreeing with me. I say "up", she says "down". I say "light", she says "dark". I say "yes", she says... _(nods)..._ uh huh. Why, only last week she disagreed with me before I'd even said anything!

_(Stares at the offending words)_ Who does Paul think he is? A disciple? Hmph! One of the guys that followed after Jesus? Peter, James and John? So now it's to be John and Paul. _(Beat)_ John and Paul. Hmmph. Soon everyone will be calling themselves "disciples". John and Paul. _(Beat)_ George and Ringo _. (Pause)_ Who does Paul think—? _(Waves scroll)_ An apostle. He always calls himself— _(Looks for it in letter_ ) Yeah, here it is. _(Reading)_ "Paul and Timothy, a..." _(a long pause)_ "slaves of Jesus Christ." _(Petulant)_ So. All right. _(Throws scroll down on table)_ He didn't—

Still. Such a shame. It could've been such a good letter. Well, I don't want to miss my blessing, so I'll make my ten copies and send them out. _(Picks up scissors)_ I'll just cut out the bits that don't fit—like my name _(cutting)_ and just one or two... _(Looks up)_ How about that? I'm feeling more blessed already! _(Back to snipping.)_

Curtain

~~~~

## Zacchaeus

A Monodrama

Let's see. Three water jugs. I can give one to that young widow woman who works so hard in the fishery. I've seen her trying to tote water home in that old leaky wineskin. And then there's that stone mason who broke his leg and is unable to work just now. It's been pretty hard for him to provide for that growing family of his. I know they could use one of my water jugs. I'll just fill it up with bundles of flour, figs and olives and the like, so they can eat, too. That'll be fun. I can do that for the widow, too. Both families surely deserve any help I can give them.

Now, who should I give that third jug to? _(Suddenly giggles gleefully, rubbing his hands together)._ I know! Hadad ben Hadad! That rascally old scoundrel wouldn't expect anything from me! Why, he and I have been trying to cheat each other for years! He's even succeeded from time to time, too. He won't know what hit him. _(Sobers)_ I won't give it to him because he deserves it. He doesn't deserve anything from me, the old reprobate! I'll give it to him because he doesn't deserve it. _(A quick look up)_ And I know all about getting what I don't deserve, don't I? If I got what I really deserved, I'd be swinging from a gallows somewhere.

_(Checks his list)_ Hmmmm. Eight cloaks. Eight! That means I own 16! What do I need with 16 cloaks? Or even eight, for that matter? I can only wear one at a time. I know I said I'd give away half of all my goods, but this is ridiculous! I can only wear one cloak, so I'll just keep one. _(Scribbles on his list)_ There. Fifteen cloaks to give away. I think I'll send them to that leper colony in Judea. What fun! We'll just add the cloaks to the barrels of grain and vegetables we've already got earmarked for them. Those poor souls are so used to getting cast-off old rags. They'll enjoy having something nice to wear for a change. _(Skips around a bit)_ I've never had so much fun in my life!

_(Looks up as if he just suddenly notices the audience.)_ Oh, hello, there! I'll bet you're wondering what old Shorty is doing, giving away all this stuff? Well, I've only just begun, let me tell you!

Now, you've probably all had dealings with me at some time or another. As you know, I work for the Roman government, collecting taxes. Thing is, the only way a tax collector can earn a living is if he takes a little off the top. If the real tax is 15%, I simply charge 16% and pocket the change. It's made me a tidy bit of profit over the years. I can't pretend I haven't done a lot of that. As you can see, I am a man of some wealth and substance. This is just the way things get done around here and you've all been pretty helpless to do anything about it. It never bothered me. I figured I had a right to some of those taxes. So what if nobody liked me? I was rich. So what if nobody respected me? I was feared. And if it wasn't for that wily old Hadad ben Hadad, I'd be sitting pretty. Somehow that ol' hyena had a way of making off with some of my hard-earned graft. Still, I've managed to amass quite a fortune.

Yesterday, things were going pretty much as usual. A merchant had come by to settle his accounts. He owed 21% of his profits in taxes. It came to thousands. After I rounded the figure up to 25%, I had a nice sum for me, too. It was starting out to be a pretty profitable day. All I had to do was watch out for that scamp, Hadad!

Well, my next customer was a blind beggar. He never had much money from his begging, but it was my duty to relieve him of Rome's share. I confess I frequently got an extra coin or two from him, but it really wasn't worth the effort. Today he was different, however. To my astonishment, he could see! He looked me straight in the eye and told me he'd been healed by Jesus of Nazareth.

Now, I'd heard of this Jesus. A fisherman or carpenter or some such, he was now an itinerant preacher with a rather motley following. Some stories of so-called miracles had made it even here, to Jericho. I hadn't put much credence to them. Stories have a way of being blown up beyond recognition. But here, right in front of me, was proof of a miracle. I'd seen this old guy begging at the gates for years. His eyes had been cloudy and crusty. Now they were bright and clear. He'd been such a pathetic heap of bones, too, as he'd groveled for the few coins passers-by would drop into his cup. Now he stood straight and tall, with such a glad expression on his face!

I knew I just had to see Jesus.

I quickly closed up my shop and went looking for Him. The old beggar had told me that Jesus was still here in Jericho. I ran down the streets until I found a large crowd of people. They were listening to a man I could not see. Somebody told me it was Jesus. I had to see Him!

I tried to press closer but the crowd wouldn't budge. I craned my neck and stood on my toes to try and peer over the heads or around the shoulders of those in front of me. No good. I am just too short. Look at me! Everybody's taller than me! Even my wife is taller than me! The only name anybody knows me by is "Shorty".

I try to see this man. I turn to the right, I turn to the left. I cannot get through the crowd and I cannot see past the people.

I do not understand, but it has become very important that I see this Man. I see that the crowd is moving on, following Jesus. I see they are heading for the central square. I think. If I can get ahead of them, I can perhaps climb on something to give me height and then I can see Him. Taking another street, I quickly run to the square. There I see a tree. A nice big sycamore, in the middle of the square. It's perfect.

It's a long time since I climbed a tree. Perhaps I've never climbed a tree. Somehow I managed to clamber up and sit on a branch just above the heads of the crowds.

Sure enough, along He came! I could see Him, this Man who could heal blind people! A warmth spread through me as I looked at His face. It was so full of gentle love as He spoke and ministered to the people. I felt a kind of fulfillment in just looking at him that I'd never felt when counting my money. It was enough that I could see Him.

Suddenly, Jesus stopped! Right under my tree! He looked up, directly into my eyes and held out His hand. "Zaccheaus," He said. This Man, whom I'd never seen before in my life, called me by name! Me! Zacchaeus! "Come down quickly from there," Jesus said, "for I want to go to your house!"

I was overcome. This great Man, this Man of God, wanted to come to my house! My house! I scrambled down as fast as I could, feeling a great joy sweep over me. I could barely talk, I was so happy. Nobody had ever wanted to come to my house! They all hated me! They feared me! But this Man, who could heal blind beggars, he wanted to come to my house, to visit with me. Me! Zacchaeus!

As I led Jesus to my home, I could hear the grumbles of the crowd. "Jesus is going to the home of a notorious sinner," they said. And it was true. I am a notorious sinner!

I do not know why Jesus chose to come to my house. I just know that He did, and somehow, I don't understand this either, I felt like I needed nothing else but Him. My wealth, which I had worked so hard to gather became an obscenity to me. I longed to rid myself of the suffering I had caused people in my greed and pride. I wanted to be cleansed of the great wrongs I had committed. I knew I was, indeed, a sinner. As the joy Jesus gave me grew inside, I wanted to respond somehow, out of the fullness of my heart.

"Lord," I blurted. "I am going to give half of my wealth to the poor." Even as I said this, my joy expanded. It felt so right. And then I thought, but what about the people I have wronged? Oh, I must do something for them, too! So I said, "And I'm going to pay back everybody I cheated! I'm going to pay them back four times as much as what I took!"

As I said this, it was like a great weight had been lifted from me. Without growing an inch, I felt taller, lighter, somehow more full of vibrant life. Jesus smiled as He hugged me close.

"Today," He said, "you and your family are saved, for you are a son of Abraham. The Son of Man has come to seek and to save all who, like you, are lost."

I don't deserve this! Not one little bit!

And now I must get on with my task. This is so much fun _. (Looks at his list)_ There. I've now given away half of my wealth. Now I must pay back all those whom I've cheated _. (Turns a page of his note pad and chuckles)_ And I think I'll start with poor old Hadad ben Hadad! I'm going to return everything I've ever cheated out of the old goat. Four-fold! I can hardly wait to see his face.

_(He looks up in an attitude of prayer)_ You did it for me, God. You gave me Jesus when I had done nothing to deserve Him. Thank you, God. Thank you for coming into my home. Thank you for saving me while I was still a sinner.

Curtain

~~~~

## Litanies

## Psalm 40:1-17

A Litany

Readers: A and C are men; B and D are women

A: I waited patiently for the LORD to help me.

Men: He turned to me.

Women: He heard my cry.

B: He lifted me out of the pit of despair.

C: He lifted me out of the mud and the mire.

B: He set my feet on solid ground.

C: He steadied me as I walked along.

All: He has given me a new song to sing, a hymn of praise to our God.

D: Many will see what he has done.

B & D: They will be astounded.

A & C: They will put their trust in the LORD.

ABCD: Oh, the joys of those who trust the LORD,

C: who have no confidence in the proud,

D: or in those who worship idols.

All: O LORD my God, you have done many miracles for us.

A: Your plans for us are too numerous to list.

B: If I tried to recite all your wonderful deeds, I would never come to the end of them.

C: You take no delight in sacrifices or offerings.

D: Now that you have made me listen, I finally understand—you don't require burnt offerings or sin offerings.

Men: Then I said, "Look, I have come. And this has been written about me in your scroll:

Women: I take joy in doing your will, my God, for your law is written on my heart."

A: I have told all your people about your justice.

C: I have not been afraid to speak out, as you, O LORD, well know.

A: I have not kept this good news hidden in my heart;

C: I have talked about your faithfulness and saving power.

A: I have told everyone in the great assembly of your unfailing love and faithfulness.

Men: LORD, don't hold back your tender mercies from me.

Women: My only hope is in your unfailing love and faithfulness.

D: For troubles surround me—too many to count!

B: They pile up so high I can't see my way out.

D: They are more numerous than the hairs on my head.

B: I have lost all my courage.

All: Please, LORD, rescue me!

A: Come quickly, LORD, and help me.

B: May those who try to destroy me be humiliated and put to shame.

C: May those who take delight in my trouble be turned back in disgrace.

D: Let them be horrified by their shame, for they said, "Aha! We've got him now!"

Women: But may all who search for you be filled with joy and gladness.

Men: May those who love your salvation repeatedly shout,

All: "The LORD is great!"

B: As for me, I am poor and needy, but the Lord is thinking about me right now.

D: You are my helper and my savior.

All: Do not delay, O my God.

Curtain

~~~~

## Isaiah 35

A Litany (adapted from the New Living Translation)

SHOUT TO THE LORD by Darlene Zschech

Leader : Shout to the Lord all the earth, let us sing.

All: The wilderness shall rejoice. Yes, even the wasteland shall be glad

Leader : The desert will bloom with flowers. Yes, it will blossom abundantly, singing for joy.

All: It shall be as glorious as Lebanon.

Women: As lovely as Carmel.

Men: Yes, as beautiful as the plains of Sharon.

Leader : The mountains and the hills will break out with singing and the trees of the field will clap their hands.

THE TREES OF THE FIELD by Stuart Dauermann, Steff Geiser Rubin

Leader : Shout to the Lord all the earth, let us sing.

All: The trees of the field will clap their hands

Men: They shall see the glory of the Lord.

Women: They shall see the splendor of our God.

Men: With this news, strengthen those who have weak hands.

Women: With this news, encourage those with feeble knees.

Leader : Say to the fearful and faint of heart, "Be strong and do not fear. Look! Your God is coming to destroy your enemies. He is coming to save you. He will keep you in perfect peace."

THOU WILT KEEP HIM IN PERFECT PEACE by Anonymous

Leader : Wait upon the Lord, for He is coming.

Women: When He comes, He shall open the eyes of the blind.

Men: When He comes, He shall unstop the ears of the deaf.

Women: The lame will leap like a deer.

Men: The silent will shout and sing.

Leader : Springs will burst forth in the wilderness and streams will water the desert.

Women: The parched ground shall become a pool, and springs of water will quench the thirsty land.

Men: Grass, reeds and rushes will flourish in the habitation of jackals.

Leader : A road called the Highway of Holiness will go through the desert. Evil people will not travel on it, but it shall be there for others. Even fools will not get lost if they walk on it.

All: No lions or dangerous beasts will menace it and only safety shall be found there.

Leader : Only the redeemed of the Lord shall walk on it.

THEREFORE THE REDEEMED by Ruth Lake

Leader : Shout to the Lord all the earth, let us sing.

###

## End Notes

## About the Author

**L. Ruth Carter**

Writer, public speaker, actor, singer—I am a storyteller. Although I have held jobs through the years in retail, administration, and Christian theater, I always come back to my love of stories. The very best stories are those that focus on and glorify Jesus Christ.

After spending many years travelling around Canada, the U.S., and Europe with an itinerant drama ministry, I now live in Cottage Country, Ontario with my father and my dog, Scooter.

Connect with me online

My website, Leaping Off the Page, is l-ruth-carter.com.

~~~~

## Purchasing Production Kits

I hope you enjoyed reading these program resources. If you would like to produce and perform any of them in your church, go to my website where you may order production kits . These kits, which can be for the entire collection or individual pieces, are 8½ x 11 inch PDF documents that includes scripts plus any bulletin inserts for the litanies. Purchasing a kit gives you the rights to print as many copies as you need, and to perform the programs, dramas, and readings in your church. The kits are also available in hard copy.

Smashwords, through which I've published this ebook, adheres to the honor system. While it is true that there will always be piracy of authors' intellectual property, Smashwords believes that keeping the prices low, and making the materials easily accessible, will eliminate most piracy. I believe that, too, which is why I've offered this book at a low price. I think, too, you will find that my price for the performance kit is quite reasonable.

~~~~

## Also Available: Christmas Edition

A collection of plays, stories, and poems  
for use in church programs.  
https://www.smashwords.com/books/view/305756

Come and Worship

A Christmas Eve service using the five stanzas of "Angels from the Realms of Glory" for each of the five candles in the Advent wreath. The length will be affected by the amount of music that is included in the program.

Christmas Bells

Short Story. Six to eight minutes.

What inspired somebody to write a poem that was to become a favorite Christmas carol? The poem, "Christmas Bells", a testimony to the faith of Henry W. Longfellow, is better known by its first line: "I heard the bells on Christmas day..." This story tells of the journey Longfellow took through the devastation of the American Civil War and heart-breaking personal tragedy to a deeper faith in a God who is not dead "nor doth he sleep."

A Christmas Moment

One-Act Play. Approximately 20 minutes. Three women.

What do you do at Christmas time when it seems like God has forgotten you and that you have no significance, no "moment"? Marilyn, a photographer, works with her husband at the local mall. He is Santa Claus, and she takes pictures of him and the children. Because her husband is battling cancer, Marilyn is facing a crisis of faith. Does God care, she wonders? Anna is the owner/operator of a small café. Sally, who works at the café, is Anna's granddaughter. Anna and Sally also have tragedy in their lives that has battered their faith, but they're fighting through it. "A Christmas Moment" is what happens when Marilyn walks into the café, and doubt and despair meet faith and hope.

This is a one-act treatment of the monodrama, "Megan's Moment."

Christmas Salutations

A Rap. Three to four minutes. Three people plus.

A raucous, rhyming piece of fun plaintively asks the question, "where is Jesus?" in the midst of Christmas chaos.

Christmas Truce

Short Story. Five to seven minutes.

It's a well-known story: during World War I, several spontaneous celebrations of Christmas randomly occurred in the trenches as enemies put down their weapons and met in no-man's land. In this story, we see the events unfold through the eyes of Franz, a young German soldier.

Megan's Moment

Monodrama. Eight to 10 minutes. One woman.

Tired, sad, and discouraged, photographer Marilyn has returned home after working all day at the mall taking pictures of children sitting on Santa's knee. Her husband Charles, who plays Santa Claus, did not come home with her because he is helping Megan, one of the children who saw him that day. Charles has cancer. Megan's mother has cancer. Marilyn is trying desperately to grab hold of the faith Charles has in rich abundance as she struggles with her doubts. How can God care, she rages? We watch as she is lifted from despair into hope, from doubt into faith.

Recitations for Children

Nine simple pieces which vary in length from a couple of lines to a poem of four stanzas.

~~~~

## Also Available: Easter, Mother's and Father's Day Edition

This collection of performance pieces includes one-act plays, sketches, monodramas, poems, litanies, and worship services.

Exalt the King

A litany for Palm Sunday, it includes a responsive reading interspersed with singing.  
Previously published by Lillenas Publishing Company in their _Easter Program Builder No. 32_.

Palms

Comedic Sketch. Four children. About six minutes.  
Two children explain Palm Sunday to a couple of friends who have a hard time understanding what it all means.

Hosanna!

Alphabet Poem. Eight children. Two minutes.  
Spelling out "Hosanna!" children tell the story of the triumphant entry using rhyming couplets.  
Previously published by Lillenas Publishing Company in their _Easter Program Builder No.34_.

The Bitter Cup

Monodrama. One woman. Six to eight minutes.  
Featuring Salome, the mother of James and John, this piece takes place in that time between Jesus' death and His resurrection. As she grieves, she ponders some of the things Jesus said to her.

Oh What a Day!

Monodrama. One woman. Six to eight minutes.  
Mary Magdalene has just seen Jesus alive, and she is overcome with joy.  
Previously published under the title "In Him Is Light" by Standard Publishing Company's _Easter Programs for the Church_ , 2004.

A sample from this script follows below.

O Glorious Day

Worship Services for Good Friday and Easter Sunday.  
This program of narrations, readings, litanies, and music, is built around the hymn by J. Wilbur Chapman, "One Day When Heaven Was Filled With His Praises."  
Previously published by Lillenas Publishing Company in their _Easter Program Builder No.33_.

Were You There?

Worship Services for Good Friday and Easter Sunday.  
This is a "two act" program, Act One: The Passion, and Act Two: The Resurrection, which revolves around the questions asked by the traditional spiritual, "Were You There When They Crucified My Lord?" These questions are answered in monologs by biblical characters who were there. Poems, litanies, music, and audience participation put everyone in the congregation there, and affirm the resounding truth that God was there.  
Previously published by Lillenas Publishing Company in their _Easter Program Builder No.31._

Undiscovered Genius

A Short Play. Two women. Six to eight minutes.  
Two women discuss what they are getting their moms for Mother's Day, and how their moms have blessed them.

A sample from this script follows below.

To Be a Dad

A Play. One man, one woman. Approximately 10 minutes  
A young pastor, whose wife is expecting their first baby, wonders if he can be a good dad. The church secretary asks him what kind of dad his father was, and how he can follow his father's example.  
Previously published by Lillenas Publishing Company in their _Mother's & Father's Day Program Builder No.12._

Children's Easter Recitations

Previously published by Lillenas Publishing Company in their _Easter Program Builder No.33._

Children's Mother's Day and Father's Day Recitations

Previously published by Lillenas Publishing Company in their _Mother's & Father's Day Program Builder No.12._
