Out of the Wings

Un lugar estratégico (2003), Gracia Morales Ortiz

A Strategic Point : ONE-ACT PLAY, excerpt 1 , ONE-ACT PLAY, excerpt 2 , ONE-ACT PLAY, excerpt 3

A Strategic Point, translated by Gwynneth Dowling

ONE-ACT PLAY, excerpt 1

Context:

A woman and man meet on a bridge shared by two cities that used to be at war with one another. The woman does not trust the man, or the uneasy peace that now exists in the area.

Sample text

WOMAN:: They … they taught me not to trust you lot, see? None of you lot. They taught me that as a girl and then … and then … I’m well aware of what you’re capable of.
MAN:: Who?
WOMAN:: Them. Them over there … you and yours.
MAN:: Are you talking about the war? We weren’t any worse than your people.
WOMAN:: Not to trust …not to trust … not to trust …
MAN:: I’m not dangerous.
WOMAN:: And why should I believe you? Bridges are important places. Uniting and dividing … narrowing and widening … Places that no one likes to share!
MAN:: Don’t talk like that. We’re in peacetime now.
WOMAN: (Sarcastically.): Peacetime. Do you really believe that? You know very well that as soon as something happens – no matter how small – we’ll be back at war. Nobody’s forgotten anything. Understand? Nobody’s forgiven anything! It could be any little thing – the rumour of a possible attack, a missing girl, a stolen car … anything! And we’ll be enemies again. You and I. You know I’m right.

Copyright

The above sample taken from the translation A Strategic Point by Gwynneth Dowling is licensed under a Creative Commons License.

ONE-ACT PLAY, excerpt 2

Context:

The man and woman have been disturbed on the bridge by a vagabond. This elderly woman ignores the dividing line between both halves of the bridge. She claims to be able to fish in the dry riverbed.

Sample text

MAN:: Who do you take us for? Look below you! The riverbed’s been dry for years! It’s impossible to fish for anything in it.
VAGABOND:: How long did you say?
MAN:: I don’t know. Ever since I can remember …
VAGABOND:: Doesn’t time fly! I’ve even got old, see? It was only yesterday that I was a girl. And a very pretty one, of course. Old. Although not as old as this bridge. Do you know how long it’s been here?
WOMAN:: No.
VAGABOND:: Since the sixteenth century. A long time … How long will it remain? Who knows. Imagine how many things these stones must have seen. And what are you two doing here?
WOMAN:: Taking a walk.
MAN:: Yes. We were looking at the riverbed.
VAGABOND:: This is one of my favourite places. I come by here everyday for a while. (She gets out her fishing rod and readies it.) Bridges let you fly for a few minutes, don’t you think? (She goes back to stand in the exact centre of the bridge and casts off decisively.) Strategic points, yes indeed. And what’s more there’s good fishing here. Always something to catch.
MAN:: I don’t understand. How do you cross it? Where do you come from?
VAGABOND:: Where do I come from? Let’s see … Where do I come from?
WOMAN:: Yes. You arrived from that side of the bridge. Do you live over there? (She points to the right.) On that side?
VAGABOND:: I live many places. I’m a vagabond. We vagabonds aren’t from anywhere. That’s our prerogative.
MAN:: But don’t you know that … the bridge … That half belongs to them, and this half belongs to us …
VAGABOND:: Look! I think I got a bite. (She has caught a blue boot.) Blue, and … (She inspects the sole.) size 39. Didn’t I tell you – boots and more boots. I might just have the matching one for the right foot … (She puts it in the trolley. She wets her finger and holds it up.) I think the wind is changing. (She rubs her hands and starts gathering her things.)
WOMAN:: You haven’t answered us.
VAGABOND:: Haven’t I?
MAN:: No.
VAGABOND: (She covers her head with the shawl that was on her shoulders.): Maybe we’ll meet again some other day here. (She moves off towards the left side.) Time passes differently on bridges. Don’t you think? (She walks away.) Like it moves in zigzags. Zigzags.

Copyright

The above sample taken from the translation A Strategic Point by Gwynneth Dowling is licensed under a Creative Commons License.

ONE-ACT PLAY, excerpt 3

Context:

The man and woman from the beginning of the play have changed into military uniform. The male soldier has a detonator in his hand and is about to blow up the bridge.

Sample text

FEMALE SOLDIER:: What’s that?
MALE SOLDIER:: Taking charge, that’s what I’m doing.
FEMALE SOLDIER:: No! Wait! (She runs to her bag and takes out another detonator.)
MALE SOLDIER:: I knew it! Well, it’s me who’s going to do it.
FEMALE SOLDIER:: No! The bridge must be destroyed by my side.
MALE SOLDIER:: Ha! You’ve chosen the wrong night.
FEMALE SOLDIER:: This is the first important mission I’ve had, don’t you understand? I have to carry it out! I have to prove I’m capable of doing it!
MALE SOLDIER:: Well, me too! Do you know how many of my colleagues have died just so I could get to this bloody place tonight? Their faces are right here – right in front of my eyes!
FEMALE SOLDIER:: I see those faces, too!
MALE SOLDIER:: Well, then. What are we waiting for?; Both stand in front of one another holding a detonator. Very tense.
MALE SOLDIER: (Decisively.): On one!
FEMALE SOLDIER: (Decisively.): On two!; The walkie-talkies start making the same sound as before. The two soldiers are unsure of what to do next. They stand still for a moment, not reacting. In the end both of them answer their walkie-talkies, neither one putting down the detonator.
BOTH: (At the same time.): ‘Lone Duck’ speaking, over. (Pause.) Yes, I’m still waiting on the designated bridge, Sir. (Pause.) What did you say? Could you repeat that? But, why now? (Pause.) Yes, Sir. On your orders. (Pause.) And the charge? Will I leave it in place, or …? (Pause.) Understood, Sir. (Pause.) Yes, Sir. Over and out.; They stare at one another, walkie-talkie in one hand, detonator in the other.
MALE SOLDIER:: What do we do now?; This images freezes for a moment. Slowly, they place the detonators on the ground. They take off their hats and jackets.; The light changes. We return to the autumn of the beginning.; The sound of the river stops.; The bridge rotates another 90 degrees, the same direction as before, so that now we see the opposite side of it.; The orange tree is no longer there.; The WOMAN stands on the right side, the MAN on the left.
WOMAN:: Too much of a coincidence. (She looks in her bag and takes out an orange which she starts to peel.)
MAN:: Everyone says that’s what happened. Both of them, right here, rifle in hand.
WOMAN:: It’s far too coincidental. It’s got to be a myth.
MAN:: Why would they make up something like that?
WOMAN:: I don’t know. Maybe so we don’t forget.

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