Heroines of Chaos

Eco Drama: Stage Play for schools, adults, colleges and theaters.

Student forum: Climate Change, Global Warming, Politics, Planning, Ecology, Economics.

Free script for several actors.

Version 5.0
Grief, grandfather, and weather chaos.
Climate change solutions.
2022

FARMHOUSE ONE: ACCESS TRACK - DAY. A platform or podium might be used to indicate the farmhouse verandah. Pieces of cardboard on small chairs to simulate the headstones; a tyre to symbolize a vehicle. In the area representing the orchard, is a picking ladder with extended anti-roll feet.

ZSÓFI, female, 18, stands at head of track. Zsófi is bare-legged with sensible school shoes, and wearing English-style private-school uniform, an elegant, pin-striped blazer with a PREFECT badge, and a straw boater with a flat brim and crown. She’s holding a bunch of chrysanthemums. Zsófi checks her mobile, and waits. She does not smile. As storyteller, DELBEE comes and stands at the front of stage, to one side.

Hi there. My name's Delbee, and this is the story of my grandmother, Zsófi. It begins here, at the head of a gravel track. Behind me, nestled among trees on a slight knoll, stands an old clapboard colonial farmhouse with an extensive front verandah. There's a cherry orchard with ripe fruit, and there's a carport, which shelters an electric, two-seater farm utility vehicle. There's also a private garden of remembrance, with a new headstone for Zsófi's mother there, and her ashes... And, here comes a monster off-road V8 diesel SUV, roaring up the unsealed track, belching stinking black diesel exhaust fumes.

(Offstage chorus make SOUND of monster diesel off-road sports utility vehicle. SOUND: HONK! HONK! A car-door slams. YUVAN, male, 57, Polish, enters. He wears a dark business suit, with a red tie, and a red peaked cap. Zsófi wrinkles her nose, coughs, waving away acrid fumes.)

How long have we got?
A few years, I think.

(Exasperated, Yuvan throws his hands up.)

What? I meant, how long’re you off school for?
All day. I’m on bereavement leave.
Then why the school uniform?
It’s for Mum.

(Zsófi is suddenly upset. Yuvan puts an arm round her. Zsófi shakes his arm off.)

A few years? What did you think I meant, Zsófi?
The weather. A few years, till it goes completely haywire and we can’t fix it.
That’s enough doom-mongering!
I’m not! It’s legit. I have to live with it. Willy-nilly. It’s the biggest thing in my life.
Okay, Zsófi.

(Yuvan tries to placate her, but Zsófi snorts:)

If we get heavy rain at harvest time, it splits the cherries open, and ruins the crop!

(Yuvan holds up both hands to stop her.)

And if there’s not enough frost in winter, we get no fruit at all! And the bees -

(Yuvan cuts in.)

Zsófi, okay, okay.

(Yuvan leads off toward a small area surrounded by a low, white-painted picket fence. Zsófi follows slowly.)

(PRIVATE GARDEN OF REMEMBRANCE – DAY. Yuvan and Zsófi stand side by side before the headstones, and Zsófi's mother's ashes. Zsófi tries to hold back the tears. )

Our Father, who art in -

(BANG! The SOUND of a scare-cannon in the cherry orchard. Zsófi jumps. Offstage chorus quickly clap fingers together and caw to make the SOUND of many flapping wings, twittering, birds screeching. Zsófi groans. Then PING! Yuvan’s mobile.)

Sorry, Zsófi. Another outbreak. Code red.

(Sound of anguish, groan from Zsófi.)

Uncle, you promised my father.
I’ll be back, Zsófi.

(Yuvan puts his arm around Zsófi. Zsófi shrugs him off again. Yuvan gives up. He begins to walk away, then turns.)

You know how to pick cherries, Zsófi?

(Zsófi snorts.)

Of course!
I’m an engineer, Zsófi.
It all depends on the color, and the variety. They stop ripening as soon as they’re picked ...

(But Yuvan is striding off back to his monster off-road sports utility vehicle. Yuvan turns, and waves goodbye to Zsófi. Zsófi ignores him. SOUND: Car-door slamming. The vehicle roars off down the farm access track, leaving a trail of black exhaust fumes mixed with dust. Zsófi coughs, and waves the fumes away.)

Bloody diesel!

(Zsófi lays the chrysanthemums on the grave, then stands. She takes her boater off, and lets the breeze ruffle her hair. Zsófi checks the sundial on the way up to the house.)

(VERANDAH – DAY. Two walking poles are propped in the corner. Taking her shoes off, Zsófi goes inside. From offstage comes sound of Zsófi in distress, muffled wails, heavy thumps. The wailing ebbs, and finally there is quiet. BANG! SOUND: many flapping wings, twittering, birds screeching. The farmhouse door squeaks open slowly. Zsófi comes out again, wearing dark sunglasses to brave the world, carrying her mobile, and waving the keys to the UTV. Zsófi blow-kisses the graves, then mutters, as she heads offstage.

Cm’on, Zsófi! You can do this!

(Exit Zsófi. Sound: TOOT! TOOT! )

( SCENE LIGHTING OFF : BLACK-OUT : Black-out)

(END OF SCENE)

FARMHOUSE ONE: SAME ACCESS TRACK – NIGHT. Moonlight.

No-one on stage.

(LIGHTS suddeNly illuminate the path to the house. Zsófi enters, followed by ALTAN, in Mongolian clothing, carrying a large bag of belongings. Altan looks around, as if bewildered. Zsófi goes up to Altan and holds out her hand.)

Passport?

(Altan digs it out and hands it over. Zsófi digs a torch from her pocket and checks it.)

Aha. Temporary work visa.

(Zsófi pockets the passport, and then wanders over to the gravestones, and kneels. Altan eventually follows, unsure what else to do. He looks down at Zsófi and realises she is weeping. He kneels down beside her. Altan begins to sing a Mongolian lament from his throat. Zsófi wails.)

( SCENE LIGHTING OFF : BLACK-OUT : Black-out)

(END OF SCENE)

SAME CHERRY ORCHARD – DAY. Sunshine.

A picking ladder with extended anti-roll feet. Altan is near the top; Zsófi on the grass below.

Altan?

(Zsófi holds out her hand. Altan hands some cherries, by the stalks, down to Zsófi, who inspects. A small cart with cardboard punnets stands next to Zsófi, in the shade. Zsófi puts the ripe cherries in one hand, shows them to Altan, who nods. Zsófi eats one happily, and puts the others in a punnet. Zsófi shows Altan the unripe ones, waggles a finger, shakes her head, and hands them up.)

Eat!

(Altan tastes them, shakes his head, and spits them out. They move on to the next tree, and check some low-hanging fruit. Altan only picks ripe ones. They high five.)

( SCENE LIGHTING OFF : BLACK-OUT : Black-out)

(END OF SCENE)

Approach road to a few simple huts thatched with palm fronds by the sea – DAY

Delbee stands at the front of the stage, to one side

Hi everyone. Delbee again. You may have been wondering why Yuvan had to leave so suddenly, and what he meant by code red. So, it was an outbreak of a deadly virus on an island in Micronesia. Imagine a tiny village by the sea. There are a few simple fishing boats on the beach, but no humans in sight. Out along the access road is an approaching cloud of dust, caused by three canvas top Landrover jeeps flying WHO/UNMEER-flag. The convoy slows and halts outside the village, and Yuvan, steps out of the command vehicle at the rear,

(Yuvan, wearing his red peaked cap, enters, carrying a drone and laptop. He flies the drone over the village. Three men from the convoy also enter: they are wearing hoods, facemasks and goggles, and carry a stretcher, and a flame-thrower. They head off across the stage into the village. Yuvan uses short-wave radio and his laptop to track and communicate with them.)

What? One dead in the first hut? What's your guess as to the cause of death?

(Pause.)

What? Bloodshot eyes? Faint pulse, barely breathing? Pneumonia or virus? Nipah? Yes, take a blood sample first.

(One patient is stretchered across the stage from the village toward the jeeps. Then the stretcher-bearers head back into the village with an empty stretcher.)

What? Yes, same procedure. They're all dead in the third hut? How many?

(Pause. Stretcher-bearers carry a second patient across the stage toward the jeeps.)

Four? Four dead already! Yes, take blood samples first, and then build a pyre so we can burn the bodies.

(Pause. Yuvan uses the laptop to manipulate the drone.)

What? Yes, you'll have to burn all the huts, there's no alternative.

( SCENE LIGHTING OFF : BLACK-OUT : Black-out)

(END OF SCENE)