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
Ferenc volunteers to fight in Ukraine.
war in Ukraine, Europe.

CEMETERY IN ROMANIA – NIGHT. Candles are lit on some graves already. At the front, there are headstones for: Kovácsné Vilma 1897-1960; Kovács-Szabó Ulrika 1919-1993. Kovács-Szabó Tünde 1949-2021.

Quiet, apart from dogs barking, pigs grunting, hens squawking in the distance.

(Day of the Dead. Families come, they light candles, stand in respect, and later drift away.)

(Ferenc in military camouflage, with Ukraine armband, enters, carrying candles and a lighter. Ferenc lights one candle on each family grave in turn.)

Mother, Grandmother, Great-grandmother, forgive me, I volunteered to fight in Ukraine. I'll be gone for some time.

(Ferenc’s phone pings, and he checks a photo from Zsófi, and texts a reply:)

I'm off to Ukraine. Forgive me, my dear, sweet girl.

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

(END OF SCENE)

EUROPE: frontline in Ukraine, Robotyne – DAY. Ammunition boxes lie around. A camouflaged water-cooled heavy machine gun is set up on a tripod, overlooking the fields.

Lt. Kovács (Ferenc, 21) grim in snow-camouflage, with helmet and blackened face, nametag KOVACS, and white and blue armband uses NATO field glasses, to scan the snow-covered fields. Another soldier, wearing the same armband, slumps exhausted. Delbee stands at the edge of stage.

(SOUNDS of war throughout this scene: explosions, gunshots.)

Ukraine. Twenty-twenty-four. February.
They're comiming! They're coming!

(The soldier jumps up, removes the camo netting, checks the machine gun, then begins firing long bursts. BANG BANG BANG BANG ... Ferenc opens a new box of ammo, feeds ammo. The soldier keeps firing, and firing non-stop, till almost all the ammo is gone. The soldier checks ammo boxes, puts protective gloves on, unclips the machine gun for transport, and takes the tripod off. Ferenc uses the glasses to scan the fields again.)

Drón! T-72 Tank!! Back! Run already!

(Ferenc picks up the tripod. The soldier heaves up the heavy machine gun. Ferenc nods, it’s time to run. Both begin to exit the roofless cottage. The SOUND of an incoming artillery shell, flash, and explosion. Cut to black.)

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

(END OF SCENE)

KIRIBATI: Lagoon beach resort: outside beachfront unit – NIGHT.

Delbee stands at front edge of stage. There are two chairs and a table on the patio outside. A patio light is on.

Now we are on Kiribati Island in the Pacific Ocean. There is nowhere on the island more than two meters above sea-level. The beachfront holiday unit here is by the lagoon on Kiritimati island.

(Delbee moves off-stage.)

(Yuvan and a younger woman, SARA, of East European ancestry, around 40 and fashionably dressed, enter together, carrying one bag each. Throughout, Sara has watchful eyes, and is always watching, usually with a hard expression, as if she is a trained operative or foreign agent.)

Not much above sea level, is it?
That’s what I paid for.

(They go inside and dump the bags. Then come out again, with drinks.)

You’re welcome to come and stay, Sara.
uh, maybe. It’s a bit remote from the fashion world.
It’s just - well, if this gets serious, we might need some kind of agreement.
But, Yuvan, you don’t do family; you don’t do relationships.
It’s different now. I have a granddaughter. I want her to inherit.

(Yuvan sips water.)

She’s the last of my line, my only family. I’ll do whatever it takes to stay onside with her.

(Yuvan stands, and takes his glass inside. Sara follows, turning the patio light off. From inside the unit comes the tinkle of laughter.)

(SCENE LIGHTING TEMPORARILY OFF : BLACK-OUT : Black-out. Then sun comes up and lighting returns as for daylight. The next morning.)

(A much pregnant local islander, a young female cleaner, VAIMITI comes on stage, with a trolley and cleaning materials, and knocks on door. Yuvan opens the door dressed for beach, and steps out, followed by Sara, who smiles when she sees Vaimiti is very pregnant, and stops.)

Hey there girl, have you decided on a name yet?
Hawaiki.
What a lovely name!

(Yuvan waits, and then wanders off toward the nearby beach.)

(Time passes: Sara and Vaimiti chat. SCENE LIGHTING TEMPORARILY OFF : BLACK-OUT : Black-out.)

(Yuvan comes back to fetch Sara.)

... And I hope it all goes well for you, Vaimiti. Send me a photo, please. My card’s on the table inside.

(Sara rejoins Yuvan, and slips her arm inside his.)

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

(END OF SCENE)

Original farmhouse: verandah - DAY. Early morning.

Yuvan is sitting, waiting, and drinking a small coffee. His backpack and hiking boots are on a spare chair. Nordic walking-poles are in the corner. The radio is on. Delbee is at front of stage.

One month later: back in New Zealand. At the same farmhouse.

(Exit Delbee.)

In Uganda, the government is racing to contain a deadly outbreak of Ebola.

(Zsófi comes out, with her backpack and hiking boots, and turns the radio off before sitting down. Yuvan gets up, remains standing.)

Lemon and ginger, Uncle, no sugar, please.

(Yuvan nods, and goes in. Yuvan returns with coffee, lemon/ginger, and a croissant. Yuvan offers the croissant. Zsófi gives a little head-shake.)

It would only take a couple of hours by plane.

(Yuvan sits and begins to eat the croissant.)

What about the manifesto, then, Uncle?
The teenage transport boycott?
No going on planes, on buses, or in cars, unless they’re electric.
It would have to be worldwide. Otherwise, it won’t make a difference.

(Zsófi is suddenly dejected, grumpy.)

Why didn't you oldies stop the weather chaos, Uncle?
To us, cars and planes were normal: wonderful inventions!

(Zsófi stands and paces up and down.)

Why go by train, when you can fly? Nobody told us there was a problem!
Twelve hundred tons a second.
What?

(Yuvan stands, staring at Zsófi, bemused.)

That’s the total of carbon dioxide emissions. Worldwide. Day and night. Every second. Twelve hundred tons.
So? It helps the plants grow. Anyway, it’s just a number.
It’s up sixty percent on nineteen-ninety. It’s been getting worse all the time. Except during COVID of course.
What were we supposed to do? Give up everything? Live with no money?
Just stop oil! One child per family! Eco-commissars!
But that’s not what people want, you silly girl!

(Zsófi turns away and leans over the balustrade.)

Humans don’t want wars, either.

(Yuvan pulls out a map of New Zealand from his own bag, spreads it on the table, and takes out a pencil.)

Okay. By bus. Then by train, by ferry to the other island, then by train again, and then we'll hire an electric car. All told: it'll take two days.

(Yuvan traces the route from Kirikiriroa [in upper North Island] southward, and circles Cromwell in the South Island.)

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

(END OF SCENE)

OTAKOU FARM: High Pasture – DAY. SOUTH ISLAND, NEAR CROMWELL. Winter snow.

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

It's two days later. On the other island, nearer the South Pole. It's winter, so there is snow everywhere. A realtor is showing them the high pasture.

(Delbee exits. SOUND: three car doors slam. SLAM! SLAM! SLAM!)

( Realtor’s arrives with Zsófi and Yuvan. Realtor, an older male, points out the boundaries. Zsófi and Yuvan take photos.)

Altan would be so happy here. It’d be just like home for him, with goats, ponies and a yurt.
So, the high pasture’s a leasehold block, with strict limits on stock units.
Yuvan, Yuvan, this is the place. I just feel it.

(Zsófi goes to give Yuvan a hug. Yuvan takes advantage. This time, with the realtor watching, Zsófi lets him.)

Oh, please, Uncle Yuvan, can we?

(They walk back toward the vehicle, and get in. Zsófi smirks. The SUV moves slowly off toward the valley below.)

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

(END OF SCENE)

OTAKOU FARMSTEAD: VERANDAH – DAY. The verandah should be on the opposite side of the stage to the original farmhouse. It is a wooden farmhouse with brick chimney and lean-to verandah. There is also a small stone shed. Beside the shed is a RED BRICK FORGE.

Snow.

(Zsófi and Yuvan arrive.)

So this is the new farmhouse and verandah.
There’s a few winter paddocks in the valley.
We’ll need certified soil test results.

(Yuvan nods.)

But there's a stream for water. It’ll take five years for the cherries, to grow and become productive.
But what about my money?
Who cares? I can put my heart and soul into this one.

(Zsófi stands close, and lets Yuvan hug her again.)

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

(END OF SCENE)

Original farmhouse: verandah – DAY. Back to original verandah position on stage.

Inna, in deshabille, is seated.

(Zsófi, also in deshabille, comes out with a omelette pan.)

Would you like some omelette, Inna?
Why not?

(Zsófi doesn’t know how to answer this question.)

... So what did the counsellor at school say?
Oh, she said ‘depressed’. But I’m not. I’ve just got no magic solution to weather chaos.
Why not?
I don’t see how can we meet the deadline for zero emissions.

(They eat.)

Some major oil producers are outside the Paris Agreement.

(Zsófi puts her fork down, and frowns.)

I don’t see how to fight them. I’d just ... -
- you'd fall out the window during a police search, girl. Oh, yes!

(They both smile.)

It was like that in the Soviet era. People weren’t happy. But it doesn’t mean they were depressed. You have grief, girl, yes. Who wouldn't?
So what now?

(Zsófi raises both palms.)

It must come from the people. The Soviet era ended because people had had enough.

(Zsófi tidies and stacks the plates.)

So ... an oil boycott.
Why not?
Because of the Turkmenistan problem.
What problem?
Ninety-five percent of their exports is oil and gas. And it’s all desert there. Seven million people all told.
(deadpan!)Plenty of room in Siberia. We have holiday camps there. Problem solved.

(Inna shrugs. They both laugh.)

(Inna goes inside and comes out again dressed, ready to go. She pauses, tears welling in her eyes, and takes hold of both of Zsófi’s hands.)

So it’s time for you to fly the nest. I’ll miss you. But I’ll survive. After all, I’m a woman, and I'm Russian.

(Inna kisses the back of each of Zsófi’s hands in turn.)

Nothing is forever.

(Zsófi wipes away a tear.)

Plastics are forever.

(Inna smiles through her tears.)

That’s so you! Text me. Whenever. I’m still your girl, your friend.

(Inna turns, and walks down the steps, looks back and waves farewell. Zsófi waves with her fingers, her other hand wiping away tears. Inna turns and raises a clenched fist salute. Zsófi forces herself to do likewise.)

Love you!

(Zsófi blows a kiss.)

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

(END OF SCENE)