Sub un pod Luigi lunari

8/13/2019 Sub un pod Luigi lunari

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Luigi Lunari

Under a Bridge, along a RiverEight scenesEnglish text by Mica BagnascoCopyright 2004Luigi Lunari I 20047 Brugherio MI Via Volturno, 80 Con!" Ce!ri#el"$ax% &'( 0'( 88')77 E*+ail% luigi"lunarilibero"itThe English text is a word to word translation from the

original Italian and is not intended for stage production.Luigi Lunari - Under a Bridge, along a River 2

What usefulness can mankind gain from all the

hard work hes doing under the sun?

Plenty of knowledge, plenty of struggles.

He, who increases the knowledge, increases the struggles.The Ecclesiastes. !" #.$.

Who can treasure our collecti%e memory &etter than women? Their

connection to mother nature finds them e'ual mothers, e%er so loyal to

life, forcing them to renew it there where the destructi%e power of

men passes through, mens connection to mother nature is e%er so fee&le

and forgetful despite the charm it spills on them and the game field

of history. ()ot the ancient history, that &eing related to the origins

and the &irth of ci%ili*ations its a womans phenomenon, &ut todays

history, that &y &eing uprooted from its origins its a sheer outcome of

power.

+t this point it would &e dutiful to turn o%er to women the reconstruction( of all those lands where de%astation occurred. Howe%er, us

westerners, who flaunt to the +ra& -s world the emancipation of our

women, will ne%er allow them to do so, since we%e li&erated/ them

only whats necessary to satisfy mens desires, or else, if those are e0tinct,

only whats necessary not to 1eopardi*e mens confidence. 2ifferent

ways of &eing tali&ans3 With knife and fork 4 as )iet*sche

would say 4 instead of &iting with our teeth/, granted the ta&le metaphor,

from which we partake more than our guests, might still hold

any meaning.

5m&erto 6alim&erti 7 8rom 2/ supplement of 9:a ;epu&&lica93 Luigi Lunari - Under a Bridge, along a River 3

Characters+ #um

+ 6entleman

+ Woman

The action takes place under a &ridge, along a ri%erLuigi Lunari - Under a Bridge, along a River 4

Scene OneUnder a bridge, along a river, in the outskirts of a city. A steep bank,

with sporadic tufts of grass, imprinted the trace of a path ascendingtoward the road.


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n one side of the stage, a mount of garbage of an illegal dump.

At the other side, protected by the bridge, a shack made out of card

board and wooden panels, almost like a big card board box which

serves, obviously, as a shelter for some desperate person. !eaning

against the shack a duffel bag.

"itting on the ground, facing the audience while staring at the evermoving water, there#s a $%um&' forty years old, may be less, not necessarily

filthy, neither slovenly nor overly bundled up. (is clothes,

though dirty and worn out, must have been very good once, given the

fine )uality of their fabric and style. (e#s holding a wooden stick and

is picking up ob*ects brought by the water stream, he holds them

briefly one by one with his stick only to relin)uish them to their destiny,

almost as if not worthy of his attention.

All of a sudden he turns toward the shack and says'

THE #5 + pillow. @ts all rotten.

+ause-

+ tin &o0+ause-

+ doll

#y the way3 a few weeks ago, &efore you came here, a corpse passed

&y+ woman, half naked, her eyes wide openactuallywhat was

left of her eyes.

@ let her go and @ didnt say a word to anyone6od for&idA @ remem&ered

a&out the time that 4 @ was dri%ing 4 @ picked up a man who

had &een hurt in an accident, @ took him to the hospital3 and the hospital

and the police ga%e me such a hard time2o you remem&er? @ had

1ust gotten my dri%er licenseEh?

+o answer from the shack.-

)ot to mention the &ack seatall co%ered with &lood.

+ause. "uddenly a noise from above. The %um turns his eyes to the

sky/waiting.

0rom up high a cart of new refuse is being added to the dump, paper,

empty cans, rags/-

Here comes our daily &onan*a

+The bum gets closer to the latest additions, scrounges a bit' examines

an empty package of cigarettes, a lighter, a crooked fork/picks up aLuigi Lunari - Under a Bridge, along a River 5

piece of paper, studies it and reads'-

Baint ;ita from :imaora pro no&isBure, all we need is the Baints

to take care of us. 6o ahead and pray for those in needA

+Tears the piece of paper into bits and throws them back on the

pile.-)othingA

+"uddenly, we hear a cell phone ringing.-

+ WC+)B DC@$E +Announces from the shack-

TelephoneA

THE #5 @ts not mineA..

+ause-

@ said its not mine

+A woman comes out of the shack 1 about sixty2five years old 1 shealso, is wearing clothes that must have been of good )uality' perhaps


3/35

a worn out fur coat. The woman moves next to the duffel bag, searches

through it, pulls out a cell phone, turns it on, talks and listens'-

THE WC+) Hello?es, were herewere here@ dont know3 he might%e

turned it off. He ne%er keeps it ones. +ll right@ dont know

a&out today. )o, @ dont think were going away+ll right. @ understand.

+"he turns off the cell.-He tried to reach you on your cell phone &ut you didnt answer.

Where is it? 2id you turn it off?

THE #5 @ threw it away.

THE WC+) Why?

THE #5 #ecause @ dont need it. 2ont you ha%e yours? Cne is plenty.

THE WC+) Where did you throw it?

THE #5 +A bit annoyed-

What do @ know? C%er thereor may &e in the water. @ dont like

the idea that people can follow me e%erywhere and find me when e%er

they want toit feels like @m &eing spied on, actually, it makes me

feel like a prisoner.THE WC+) @f you dont want to use it, you can turn it off.

THE #5 Then, whats the point of ha%ing it?

THE WC+) This way, you can turn it on when e%er you feel like it?

THE #5 @ ne%er feel like it, so @ threw it away. +nyway, @m going to get the

newspaper.

THE WC+) Wait a minuteA Hell &e here any time.

THE #5 @s that why he called you?Luigi Lunari - Under a Bridge, along a River 6

THE WC+) es.

THE #5 Why didnt you tell me?

THE WC+) @m telling you now.THE #5 @m going to get the newspaper.

THE WC+) What if he gets here?

THE #5 :et him wait.

+(e walks towards the riverbank-

THE WC+) 2id you wash yourself?

THE #5 es.

THE WC+) our neck too?

THE #5 es, my neck and &ehind my ears too.

THE WC+) ou still look dirty to me.

THE #5 Thats &ecause the water is dirty. The usual industrial waste. They

should &e told3 you know whomA

THE WC+) @ know, @ know.

THE #5 The owner of the factoryA

+(e leaves. The woman follows him with her eyes for a brief moment,

and then kneels on a cardboard box, or something that resembles a

kneeler. "he makes the sign of the cross and moves her lips as in

prayer.

A few moments later, we hear a car come to a stop.

The 3oman goes into the shack, she comes out briefly after holding a

blanket, she hangs it somewhere as if to air it a bit.

A 4entleman appears. (e#s slightly younger than the %um. (e dresseswith the simple, proper elegance of a manager/a gray woolen suit,


4/35

perhaps a camel coat/

(e looks from above and walks down along the small path. (e suddenly

stumbles which brings him to a suppressed curse/

(e gives a )uestioning look to the 3oman, gesticulating with his

hands and head as if to say' $/where is he5&-

THE WC+) He went to get the newspaper.THE 6E)T:E+) When is he coming &ack?

THE WC+) @ dont know3 it depends.

THE 6E)T:E+) 5sually how long does it take him?Luigi Lunari - Under a Bridge, along a River 7

THE WC+) 8i%e to ten minutes. #ut theres no rule, once he was gone for two

days.

THE 6E)T:E+) 2oesnt he tell you?

THE WC+) He doesnt e%en reali*e it. He doesnt do it on purpose. @t 1ust happens

andso he goes.

THE WC+) Would you like to sit?

THE 6E)T:E+) Where?THE WC+) We ha%e a chair.

(The woman enters the shack, to come out shortly after with some sort

of a miniature armchair, which is' dirty and falling apart. The gentleman

reluctantly sits on it, careful not to get his clothes dirty.-

THE 6E)T:E+) +after a pause, a bit uncomfortable and impatient.-

(e needs to sign some papers for me

THE WC+) +gain?

THE 6E)T:E+) These should &e the last ones. 6i%en he doesnt change his mindA

THE WC+) @ dont think hes going to change his mind.

(ther indignant gesture on the 4entleman part. The woman resumes

the cleaning of the blanket. !ong pause. Then/-THE 6E)T:E+) +"peaks with embarrassment- ou know#usiness is going well.

E%en too well3 @ hope it continues. We had to add an e0tra shift at the

factoryour &ranch in ;umania also

+(e pauses. The 3oman remains silent.-

2ont you care?

THE WC+) @m happy for you.

THE 6E)T:E+) Well, not 1ust for me. @ gi%e work to three thousand people3 which

makes fifteen thousand people that eat, &ecause of me@ meanus

Pretty good eh? @ feed fifteen thousand peopleA

THE WC+)


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THE WC+) Why what?

THE 6E)T:E+) +%ringing his hands together in agony-

WhythisA What has happened?

THE WC+) Here he comes. #e 'uietA

THE 6E)T:E+) +Abruptly.-

Ch, stop itA Why should @ &e 'uiet? +ll the &etter if he hears me, so hecan answer himselfA

(The %um enters. erhaps he has heard the last line, but he shows no

signs of understanding what#s going on. (e#s holding a newspaper.-

2id you hear me?

THE #5 Walter Polis died.

THE 6E)T:E+) Whom?

THE #5 Walter Polis. He died.

THE 6E)T:E+) Who is he?

THE #5 +correcting him-

Who was/ he?

THE 6E)T:E+) Who was/ he?THE #5 @ dont know. #ut hes undou&tedly dead. @ saw the o&ituary on the

paper.

+pens the newspaper and reads.-

The wife, son, nephew announce the death of Walter Polis

employee of the unicipal Electrical +gency./

THE 6E)T:E+) 2id you know him?

THE #5 )o.

+(e#s rereading the obituary with vivacious curiosity. ause.-

@snt that incredi&le? Cne diesand wife and son ha%e nothing to say

&ut3

He was and employee of the unicipal Electrical +gency/A

THE 6E)T:E+) +Trying to be patient.-

E%identlythat must ha%e &een his 1o&.

THE #5 @ dont &uy it. How can it &e possi&le that a wife, a son, had nothing to

say? +n ad1ecti%e a&out the deceased, an hint of their

griefnothing. Hes dead/ thats all. How do you e0plain it?

THE 6E)T:E+) @ dont ha%e any need to e0plain it.Luigi Lunari - Under a Bridge, along a River 9

THE #5 @t cant &e a&out money, &ecause if a family is really poor, theyre not

going to put an o&ituary on the paper. Cn the other hand, &etween son

and nephew they used a comma, instead of and/ that would%e &een

more correct, which leads one to &elie%e that they used their words

sparingly. Bo, how do you e0plain that?

ay&e he was one of those tyrants that when they pass away, e%ery&ody

1umps up and down. Cr may &e he was someone that one day,

thirty years earlier, had a&andoned his wife and son, and after thirty

years he died, so theres nothing left to do &ut &urying him, so he died,

amenA

THE 6E)T:E+) :isten, @

THE #5 What a&out that nephew? The wife, son, nephew/ Who is he? His

sons son, his &rothers son or his sisters son? +nd this &rother or this

sister, where are they? +re they all dead? Cr perhaps, they ne%er forga%ehim for ha%ing left and dumped on them his own wife and


6/35

son?

+nd that nephew, is the only one with any $hristian compassion left,

and perhaps hes e%en the only one who went to the funeralA

2o you know that people could write no%els on the life of a man like

this? es, a&out someone that when he dies, after an entire life, his

wife and son ha%e nothing to say, e0cept to3 announce his death. +ndthis mysterious nephew, who suddenly appears from &ehind a column

or a &ushwhat a formida&le twistA 2ont you think?

)o need to answer right away. @ts not an easy answer, @ know. @ can

already tell, that this story is gonna stick to my head and 6od knows

when @m going get rid of itit could &ecome an o&session, like one

of those songs that one keeps senselessly repeating for hours, una&le

to stop.

y only hope is that in tomorrows paper therell &e a more interesting

news to focus on. Cne pro&lem &egets another.


7/35

$6ou see5& still refraining himself, while the %um 1 though reluctantly

so 1 is now signing-

se%eneight2one.

THE 6E)T:E+) Thank you.

THE #5 +nything else?

THE 6E)T:E+) )o. Thats all.+(e#s about to leave but hesitates for a moment-

What a&out food? 2o you ha%e enough?

THE #5 We manage, dont worry.

+The 4entleman turns to the 3oman-

THE WC+) 2ont worry, we manage.

THE 6E)T:E+) 2o youneed anything else?

+The %um opens his arms as if to say' no. The 4entleman hesitates a

bit embarrassed he says'-Luigi Lunari - Under a Bridge, along a River 11

@f you need anythingcall.

((e leaves. The 3oman follows him with her eyes as she nods-7ight before the 4entleman exits, the conventional theatrical action

comes to an abrupt stop. The characters become actors8 they move

outside of the dramatic action and position themselves into the places

for the following scene. nce settled into their positions, the actors

resume their characters roles.Luigi Lunari - Under a Bridge, along a River 12

Scene Two(n the scene, the %um and the 3oman. The %um is reading the

newspaper. The 3oman is looking into the sun, toward the path from

where the 4entleman walked away. A doubtful smirk on her face,

then'

THE WC+) He wasnt done.

THE #5 What?

THE WC+) When he left yesterday, he still had something to say.

THE #5 +3hile reading the newspaper-

Then hell &e &ack. @snt this around his usual time?

THE WC+) #utwith me or with you?

THE #5 Pardon mewhat? @ didnt hear you.

THE WC+) Will he want to talk with me or you?

THE #5 +Uninterested-

Perhapswith &oth.THE WC+) )o. )ot &oth.

(ause. The %um puts the newspaper away-

THE #5 om

+ause. The 3oman seems to be waiting for the 4entleman#s return-

omHes strange, dont you think? He keeps asking us if we need

anythingHe reminds me ofdo you know who 2iogenes is?

THE WC+) )o, @ dont know who 2iogenes is.

THE #5 He was a 6reek philosopher. He li%ed in a &arrel. + #um. 2id you

hear me?

THE WC+) @ heard you.

THE #5 Cne day, +le0ander the 6reat goes to %isit him. 2o you know who+le0ander the 6reat was?


8/35

THE WC+) @%e heard of him.

THE #5 +n Emperor. @n those times Emperors went to %isit philosophers1ust

like 6od in the #i&le, who, e%ery now and then, came down and spoke

to the people. 2iogenes was there, sitting on the ground ne0t to hisLuigi Lunari - Under a Bridge, along a River 13

&arrel1ust like the two of usA +le0ander came, they talked, chatted@ dont know what a&outhistory doesnt tell us.

Then when it was time to lea%e, +le0ander asked him if he needed

anything and if there was anything he could do for him.

2o you know what 2iogenes told him?

THE WC+) o%e out of the sun, youre casting a shadow on me.

THE #5 Beeyou knew it? The first time @ was told this story, @ thought it was

a 1oke. #ut then @ asked myselfWhat could +le0ander the 6reat

ha%e done for 2iogenes? Cffered him a 1o&? 6i%en him some

money?What could 2iogenes ha%e needed? To tell you the truth,

the only thing that +le0ander could%e done for him, wasto get out

of the sun. @t sounds like a 1okehowe%er, its the fairest and mostprofound thing one could%e said, the wisestA)e%ertheless, it wasnt

easy to grasp.

(The sunbeams are now reaching a clearing under the bridge.-

+h, the sunA How #eautiful.

((e smiles, closes his eyes, en*oys the sun beams with abandon. Then

moves toward the 3oman and hugs her with tenderness'-

omA@ dont need you eitherA

THE WC+) @ know.

(The %um holds the 3oman close and smiles happily. Then'-

THE #5 ou were right. Here comes +le0ander the 6reat.

(The 4entleman enters the scene, stepping down the riverbank.-om was right.

THE 6E)T:E+) What?

THE #5 Ha%e you forgotten something?

THE 6E)T:E+) @ ha%ent forgotten anything. #utwe need to talk.

THE #5 To me? Cr to om?

THE 6E)T:E+) To you.

THE #5 )ow? Today?

THE 6E)T:E+) When then?

THE #5 When e%er you want. @m always here

THE 6E)T:E+) )owA

THE #5 Bo thentoday. @ knew itA

(The 4entleman tries so hard not to explode.-Luigi Lunari - Under a Bridge, along a River 14

THE 6E)T:E+) Bhall we go home, or my office?

THE #5 Why?

THE 6E)T:E+) Bo we can talk peacefully.

THE #5 Here theres all the peace you want. Theres e%en the sun

THE 6E)T:E+) Here?

+(e takes a look around.-

THE WC+) @f you want me to lea%e@ll lea%e.

THE 6E)T:E+) +Uneasily-

Cf course not.

THE WC+) +!ying with irony-


9/35

@ ha%e things to do around the house

("he moves toward the shack. ause. The %um is en*oying the sun.

The 4entleman looks at him then'-

THE 6E)T:E+) @ts a&out things you already know. )e0t week is the fiftieth

anni%ersary

of the factory@ts also the first anni%ersary of 2ads death.Bo @actuallye%ery&ody thought of cele&rating the two e%ents at

the same time &y throwing a &ig party

THE #5 E%ery&ody whom?

THE 6E)T:E+) E0cuse me? E%ery&odye%ery&odyA The +dministration $ommittee,

the Press $ommitteethe %arious offices, Pu&lic ;elations

THE #5 @ got it.

+Almost prompting-

#y throwing a &ig party/

THE 6E)T:E+) E0cuse me?

THE #5 ou were saying3 #y throwing a &ig party/

THE 6E)T:E+) +7efraining himself-Thats rightthe usual things8or sure therell &e the 5ndersecretary

of the $ommerce, perhaps e%en the Becretary of BtateA @m doing

my &est to get the inister of the 8oreign +ffairs to show up also. +fter

allwe 'ualify. 6i%en the circumstances @%e decided to inaugurate

a nursery3 so the workers can lea%e their children there, the

women that is. #y the way, it has &een done in the 5.B. and in England

with e0cellent resultsF an increase in producti%ity of si0 per cent.

$ostirrele%ant. +nyway, an inauguration calls for inisters, whom

as you know, when it comes to cut a ri&&on will all &e thereA )ot to

mention TD stations, the #ishop who will say mass outside in front of

the cafeteria, after which hell &less the nursery and of course 2ads

&ust which we put in the lo&&y. @t doesnt look much like himwhat

could @ do? The sculptor was recommended &y the $ham&er of $omLuigiLunari - Under a Bridge, along a River 15

merce, @ couldnt turn him down.

(ause-

THE #5 @ can see youre %ery e0citedA

THE 6E)T:E+) Wellput yourself in my shoes3 its 'uite an achie%ementA

(ause-

+h, @ almost forgotA Therell &e something for all the workers tooF

medals for the elderly, and party fa%orers for e%ery one. Well ha%e a

dancing floor with li%e music in two different locations, one in front

of the cafeteria and the other &ehind the warehouse. + rock &and for

the young and folk music for the elderly

(ause-

Therell also &e a delegation from our &ranch in ;umania. + free trip

for the deser%ingA

(Trying to be funny-

@f nothing else &ecause they didnt run to the unions or the local committee

(7esumes his way.-

Those people ne%er left their home, 1ust imagine what it must &e for

them to tra%el to @talyA Cn their way &ack theyll stop to spend awhole afternoon in Denice.


10/35

@snt that nice?

THE #5 )ice.

THE 6E)T:E+) The $ity Halls s'uare will &e named after 2ad

THE #5 )ice.

THE 6E)T:E+) Thereforethere will &e some 1ournaliststele%ision

+9etermined and resolute-What shall @ say a&out you?

THE #5 e?

THE 6E)T:E+) es, you and omA

THE #5 :ea%e om aloneA

THE 6E)T:E+) 8or Hea%ens sake, 6ianni3 dont play dummyA 2o you really think @

can afford to ha%e a &rother who li%es like a &um, with his other

THE #5 @ told you, lea%e om aloneA

THE 6E)T:E+) under a &ridge, ten kilometers from our own factory and Dilla?

E%ery&ody

knows it in town, the 1ournalists will show up and itll &e all

o%er the newspapersdont you think a&out our reputation?THE #5 @s that all you can think of?

THE 6E)T:E+) What?Luigi Lunari - Under a Bridge, along a River 16

THE #5 Cur reputation/ its that all youre concerned with? Bo, to you its

only a matter of imageA

(ause. The 4entleman makes an effort not to loose his patience, trying

to refrain himself. Then'-

THE 6E)T:E+) )o, 6ianni3 @t isnt 1ust/ a matter of image. ou know thatA @ts e0actly

what @ wanted to talk to you a&outthough today it doesnt look

like is going to &e the right day.

THE #5 @t isntTHE 6E)T:E+) @t doesnt matter. )e%er mind, one day well talk a&out e%erything

whene%er youre ready. @%e always &een willingF youre the

one whos &een difficultA Well talk some dayA


11/35

THE WC+) BupperA

(The two men stop talking, they move around as expected, after a

short moment the conventional theatrical action comes to a stop

again.

:ust like at the end of the previous scene, the characters become actors

again, step outside of the conventional theatrical action and settleinto their positions to begin the next scene. The 4entleman exits8 the

3oman exits as well, only to re2enter almost immediately, while the

%um takes his position on the river bank.-Luigi Lunari - Under a Bridge, along a River 17

Scene Three(It#s evening. The %um is sitting on the riverbank. 3e hear a cell

phone ring' the %um hears it but doesn#t budge. A few more rings,

then silence.

The %um releases a gesture of satisfaction. A little later a noise

catches his attention. (e gets up, walks closer to the path from which

the 3oman is coming from, he )uickly tries to help her.-

THE #5 omA@ was getting worried.

THE WC+) ass started off lateso @ decided to stay a little longer and pray on

my own. What a&out you?

THE #5 @%e &een herethinking. @%e straightened things up around the

houseread the newspaper. )othing more a&out that guy Walter Polis

who died yesterdayno other o&ituary. C&%iously no&ody else had

anything to say. @%e got some hot tea3 would you like some?

THE WC+) es, thank you.

THE #5 +ours the tea-

;emem&er the o&ituary we wrote for 2ad?5ntiring worker, e0emplary hus&and and father, guardian of the industrious

tradition of our city/We picked our &rains to make sure

nothing was left outit ended up &eing half a column long3 it included

e%erythingA

Perhapse%en Walter Poliss o&ituary already included e%erythingA

Will you tell me what you prayed for?

THE WC+) @ dont e%en know. @ 1ust did.

THE #5 2id you pray for me?

THE WC+) )o. )ot today.

THE #5 8or my &rother?

THE WC+) es, may&e.THE #5 2o you think he needs it more than @?

THE WC+) @ dont know, @ dont think anything.

THE #5 om, why dont you go &ack to him? Why dont you go &ack home?

+The 3oman doesn#t answer.-

om, @ dont need anything. )ot e%en youA @m sorry to see you sufferLuigi Lunari - Under a Bridge, along a River 18

THE WC+) Buffer?A

THE #5 @ dont take any pleasure to see you herein thisto see you li%e

like a &ag lady working so hardsoon itll &e coldthen hot

THE WC+) y life has &een harder.

THE #5 @ know that om, @ remem&er.THE WC+) How can you remem&er? ou werent e%en &orn.


12/35

THE #5 et, @ remem&erA Perhaps you and 2ad passed it on to me

((e curls up close to her-

THE WC+) +!ittle by little, like a fairy tale.-

)othing e0cited me any more, neither day nor night. We slept in &etween

the machinery, among the piles of merchandise, for fear of

thie%es and also so we could &e ready to work as soon as we wokeupCr else, we went to sleep right away when too tired to keep on

workingA We slept like that e%en when we had the first two workers,

for fear they might steal. Cur kitchen was in a corner ne0t to the

workers room. + little &urner. We looked for a home, a real home,

only when the new machinery was deli%ered and there was no more

room in the warehouse

THE #5 @ remem&er the house. @ remem&er the walls

THE WC+) Thats right, walls. )othing else &ut walls.

THE #5 What then?

THE WC+) +"till like a fairy tale.-

Then, &usiness picked up. The warehouse &ecame a factory, the twoworkers turned into ten, then twenty

THE #5 then one hundred

THE WC+) then one hundred, then two hundredso on and so forth until we

no longer new them personallyA our father didnt like thatme neither,

though @ was ne%er %ery sentimentalwomenare more pragmaticA

#y then there were so many workers that we had to hire accountants,

office clerks

THE #5 +!ike a child.-

Tell me a&out the one whom retired and you hired his son

THE WC+) Cf courseA Cur first worker retired and asked us to hire his son to replace

him, so your father did.

THE #5 mean while you had to hire accountants, office clerks.

THE WC+) es. 8irst a secretary, her name was +ntonia, she had to answer the

phones3 @ used to do that, &ut then @ &ecame so &usy with e%erythingLuigi Lunari - Under a Bridge, along a River 19

elseso we hired +ntonia. @ remem&er her &ecause she died so

young. Howe%er, &y the time she passed away, she was no longer the

only office clerk. Bo e%en the clerks &ecame ten, then twenty, then one

hundred

THE #5 then the managers

THE WC+) the managers, the general managers

THE #5 The offices, om, the officesA

THE WC+) Cf courseA Cffices instead of people3 human resources office, purchases

office, sales office

THE #5 press office, pu&lic relations

THE WC+) )o, no3 that came after you and $arlo arri%edA We had nothing to do

with those thingsA That was too much@ dont know, that was

something else, like a different world.

our father kept saying @m going to the warehouse/&utthere

was no more warehouseF there was the factory/, he didnt e%en want

to look at it. +t times, when he couldnt help it, hed go to take a look

at the assem&ly line&ut it hurt him so. @t hurt him to see those workersin their smocks, with their dirty hands and not knowing any of


13/35

their namesweather they had children or what kind of pro&lems they

had Bo as soon as he could trust me, he turned e%erything o%er to

me and he took off to3 :ondon, +merica,


14/35

would you gi%e it? To 2iogenes or +le0ander the 6reat?

THE WC+) Wasnt 2iogenes the one who li%ed in a &arrel? Well@ think@d

gi%e it to him

THE #5 ou see? oure wrong. ou didnt understand a thing @ told youA +

euro or a million didnt make any difference to 2iogenes, he didnt

need anything omALuigi Lunari - Under a Bridge, along a River 21

+le0ander the 6reat on the other hand, could arm a soldier, feed a

horse, &uy a sail for his shiphe could put it to fruitionA @s as simple

as that, om3 +merican soldiers need more help than the peasants of

Dietnam, or the shepherds of +fghanistanwhat could they possi&ly

need? Think a&out ite%erything e%erything is nothing and nothing

is e%erything its all the same. They%e ne%er had anything so

they dont need anything. They dont e%en know what they need from

this world. @ts the +merican soldiers that find themsel%es in the 1ungle

or the desert without showers, hot water, air conditioning or icemaker

They are the ones who suffer, they are the ones missingthingsA 2ont you think so, om?

THE WC+) @m not following you 6ianni. ou dont make any sense.

THE #5 What @ mean om, is that you should stay with $arlo, not me?

THE WC+) @m staying with you.

THE #5 oure making a mistake om3 a &ig oneA

THE WC+) @m staying with you.

THE #5 Why?

THE WC+) @ dont know and @ dont want to know it3 all @ know is that @ must stay

with you.

+ause-

THE #5 om, listen to me3 @m drowning. Theres nothing you can do. ouneed to let me go. @ts not a tragedyThats the way it isA

The world keeps on turning, e%ery now and then someone is left &ehind,

gets cut out, tired, fed up, nothing matters anymore and he starts

to drown. @m like a &roken toyA :ike a rotten appleA What do you do

with a rotten apple? ou tell me, what do you with it? 2o you keep it,

so the others will rot too?

((e shakes his head in pain.-

:et me drown omA 2ont make me feel guilty of pulling you down

with meA @ assure you@m all right omA @m serene, @ dont need

anything.

@m at peace. 2o you know what it means to &e at peace? )ot that

many people can say thatA 6o &ack home om, go &ack to $arlo.

Please stay with himA

THE WC+) +(ugs him-

@m staying with you, my child.

(ause. The %um seems resigned and gives into the 3oman#s hug.-

+Up above on the path the 4entleman appears. (e hesitates for a moment

then walks down the slope. 3hen he gets to the end of the path

the %um and the 3oman pull apart abruptly. They do so in a decisive

manner, almost as if the actors themselves stopped acting a specificLuigi Lunari - Under a Bridge, along a River 22

scene while changing attitudes and positions.

The 3oman enters into the shack, or else walks up the path and disappears.-


15/35

Luigi Lunari - Under a Bridge, along a River 23

Scene FourThe new situation is a confrontation between the brothers. They take

position like two actors getting ready for the next scene.

!ong pause. !ittle by little they enter into their characters. The 4entleman

seems embarrassed, the %um more at easy, or at least he pretendsto be. (e pulls out tobacco and paper and rolls up a cigarette

then he gestures to his brother that he needs a lighter. The 4entleman

gets closer, and offers him his.

THE 6E)T:E+) 6o away, 6ianniA 6o awayA @ wont allow your hatred to ruin myself,

the factory and om

THE #5 ine is not hatred, $arlo.

THE 6E)T:E+) What is it then? +nswer me3 stu&&ornness? @nsanity?

+ause-

@m only asking you to disappear from town for a few days3 1ust like

you disappeared from the factory and home. + few days only, so we

can say3 /Hes goneAHe went skiinghes in a clinic for some

tests/

+;hanging tone-

6ianni, were here alone, 1ust the two of usA:ets talk. 2o you understand

what @m trying to say? Talk/.


16/35

with a doctor and two nurses that will take you to a clinicdoctors

o%er there are used to not understanding.

("ilence-

THE #5 @ didnt mean to insult you, $arlo.

THE 6E)T:E+) +Imposing upon himself a sense of calmness.-

+ll right, all right.THE #5 @ dont understand what you should defend yourself from.

(The 4entleman sighs, exasperated-

Ch, @ see. People could think @m right. )o, dont worry. People are

like you, $arlo3 e%ery&ody will &e on your sideA

THE 6E)T:E+) E%ery&ody what? What side are you talking a&out?

THE #5 Theyll all &e prisoners of your machine, $arloA Theyll all &e lost in

your la&yrinthA @m not saying its your fault, 6od for&idA ou are a

%ictim too, its o&%ious3 you are a prisoner too, you too ha%e &een

contaminated

THE 6E)T:E+) +with sarcasm-

Thats rightA What a&out you?THE #5 What a&out me? @ dont want to gi%e the impression to &e a contrarian/,

nor to 1udge myself &etter than others1ust &ecause one day

@ was a&le to open my eyes and @ reali*ed that this world

THE 6E)T:E+) that this world what? $ome on3 what a&out it? @s it all wrong? @s it

going down the tu&es?

THE #5 Btop it, lea%e me aloneA What do you care? What do you do if someone

gets up from the ta&le and throws the cards on the floor &ecause

he doesnt feel like playing anymore? 2o you run after him? 2o you

force him to play? 2o you make him reco%er?@ dont want to play

anymore, $arlo. @ left. @%e changed my mind.Luigi Lunari - Under a Bridge, along a River 25

THE 6E)T:E+ @ seeso you would &e The Cne Whom Cpened His Eyes. The chosen

one, the one whom came out of the darkness where e%ery&ody

else instead is

THE #5 2ont do that $arlo. @ dont claim any presumption, in fact, @ dont

e%en claim to &e right. Perhaps you are the ones who are right. Perhaps

what youre all doing is the right thingne%ertheless, its not my

fault either if all of a sudden

THE 6E)T:E+) @f all of a sudden what?

THE #5 ou know what the negati%e of a picture is like3 all that is white in it

&ecomes &lack and all that is &lack &ecomes whitee%erything in it is

e0actly the opposite of its reality. Thats e0actly what happened to

meall of a sudden

((e flips his hand one hundred and eighty degree turn as if to say'

from here to here< Then, little by little lost in his thoughts/-

+s if @ had &een re&ornas if @ had &een resuscitatedas if my eyes

had opened@ understood it all, all was clear and precise

6od in Hea%en, @ said to myself3 is this the world we li%e in? @s this

what were li%ing for? @s this as good as it gets? Work, lo%e, wars,

pain, sufferingWhat for? oney? Power? Head lights on newspapers?

Papara**i+ scintilla, a crum&of what? 5s, mankind, the

king of the uni%erse/THE 6E)T:E+) Bo, all of a sudden you thought to yourself3 theres a when/ and


17/35

theres a howA/

THE #5 @ was on line at a gas station. 6as prices were raising at midnight, so @

wanted to fill up. @ would%e sa%ed four fi%e euro. @snt it gross? et, @

sat there on line for a half an hour of my life, my time with tens of

other cars

THE 6E)T:E+) Bo thats where you had your epiphanydont get me wrong3 @m noto&1ecting to itA 8or many others it took e%en less3 for )ewton it was an

apple, for +rchimedes a ring

THE #5 @t wasnt 1ust a&out sitting on line for gas. @t 1ust so happened that that

day

was the daythat 2ad passed away

THE 6E)T:E+) )iceA The day that 2ad passed away&ut it started at the gas station.

THE #5 ou and om called me so @ was running home.

THE 6E)T:E+) Well, running home/@ wouldnt e0actly put it that way.

THE #5 Perhaps @ didnt want to get there so fast. ost likely thats why @ got

myself on line3 to &uy time, so @ could think. +ll of a sudden

THE 6E)T:E+) +ll of a sudden?Luigi Lunari - Under a Bridge, along a River 26

THE #5 +ll of a sudden @ heard 2ad speak. He called my name. His %oice 4

real, among the noises 7 @ turned around and there he was, @ swear to

6od, @ saw himA


18/35

(Anticipating his brother#s reaction, whom by the way, doesn#t even

dream of one-

es, youre right3 that wasnt the right thing to say. oneytrou&lesA

)e%er mindA Btillyou could at least try to e0plain it to yourself

THE #5 @ dont owe myself any e0planations.

THE 6E)T:E+) What a&out others? 2o you think its (forget a&out who you arenow, think a&out how you were a year agoA 2o you think its naturalLuigi Lunari - Under a Bridge, along a River 27

that one can dump his normal life and come to li%e herein this

dumpster? 2ragging his other along.

THE #5 :ea%e om alone.

THE 6E)T:E+) @m not the one who wont lea%e her aloneA

THE #5 ou know %ery well that @%e got nothing to do with her &eing hereA

THE6E)T:E+) 6i%e me a &reak, you%e got nothing to do with herA

THE #5 @ do nothing &ut tell her to lea%eA

THE 6E)T:E+) HorseshitA

THE #5 Bhe wont listen to meATHE 6E)T:E+) @ can only imagine how/ youre telling her to lea%e. oure a hypocrite

6ianni.

THE #5 Cn the contrary, if you con%ince her to go &ack home, youd do me a

fa%orA

THE 6E)T:E+) oure a selfish hypocrite and a liarA

THE #5 @ dont need anything

THE 6E)T:E+) Cnly ommyA

THE #5 )ot anyone.

THE 6E)T:E+) )ot anyone/A $ome onA Bometimes you really disgust meA Thats

right, you are disgustingA @ts con%enient isnt it, to sit there cooped up

in your little shrine, perfectlycontent, satisfied, like an hermit, likean @ndian guru, pretending not to see that e%ery&ody else is going mad

&ecause of you while you ignore their suffering@ dont &elie%e you

6ianniA @ dont &elie%e your pro&lems, your demonsnone of itA

oure a wormA :ook at yourselfA @m insulting you and what do

you do? ou sit there &lissfully, looking at the sky. )othing fa*es you.

What are you thinking a&out?

@s it your superhuman wisdom? @s it the mission that you were chosen

for, as the only person among all mankind whom has opened his eyes

and understood? Thereforee%erything is due to you, like it would to

a 6od, so much so that you shouldnt e%en ha%e to ask for anythingA

ou say you dont need anything nor anyoneA eanwhile, you watch

your mother torturing herself, you watch me come here e%ery day

&egging you to come &ack to your senses, imploring you to esta&lish a

dialogue and you continue to watch immune to anything, like an

idol to whom people &ring human sacrificesA ou are a monsterA 2o

you understand? + onsterA

Bo what do you ha%e to say, eh? Would you answer me? 8or Hea%ens

sake, would you say something and stop pretending, eh?Luigi Lunari - Under a Bridge, along a River 28

+(e grabs him and starts shaking him-

What if @ threw you in the water? What if @ smashed you head? @ &et

youd &e happy, right? Cf course3 youd &e a martyr then, eh? 8or

$hrists sake, answer meA


19/35

THE #5 +>aintaining his composure and removing his brother#s hands from

his neck-

om is here

(The 4entleman lets him go and pulls himself together almost as if he

were coming out of a role, same procedure of the previous scene. The

3oman enters, sits and looks at them.-THE WC+) +To the 4entleman-

Were you lea%ing?

THE 6E)T:E+) es.

THE WC+) Bo soon?

THE 6E)T:E+) +After a pause, impatient-

es, so soonA

(:ust before the 4entleman leaves, once again the usual break of the

theatrical convention, the three interpreters visibly abandon their

characters gestures. The actor who plays the 4entleman can also

make a gesture of complicity in reference to the scene that *ust ended.

The actors that play the %um and the 3oman are taking positions tobegin the next scene.Luigi Lunari - Under a Bridge, along a River 29

Scene Five(The new situation is between mother and son.-

THE #5 The days are getting longer. The air feels so good tonight, dont you

think?

THE WC+) es it does.

THE #5 2ont you ha%e anything to do? 8or e0ample@ dont

knowsomething to mend?

THE WC+) )ot reallywhy?THE #5 #ecause unless youre doing somethingits almost as if you were

spying on me, or interrogating mewhich free*es me and @ cant

talk@ ha%e many things to ask you.

(The 3oman gets up, without a word enters the shack, shortly after

she comes out with some sewing material in her hands. >ean while'-

2o you want to know something om? $arlo is con%inced @ want you

to stay here. 2o you think @ do?

THE WC+) @ dont know.

THE #5 2idnt you e%er ask yourself that?

THE WC+) )o.

THE #5 et, youre assuming so.THE WC+) Why? What do you mean?

THE #5 @ mean that if you are hereyou must ha%e thought @ needed you, or

that @ would%e liked ha%ing you here.

THE WC+) @ didnt think of anything. @ did what @ felt like doing.

THE #5 +ctually, what you felt you had/ to do.

THE WC+) @ dont understand.

THE #5 +!aughs shaking his head-

ou know you are remarka&le, om? When you find it difficult to

answer or dont want toyou say you dont understand.

THE WC+) E%en your &rother doesnt always understand you.

THE #5 @n his case thats true om. #ut you, you do understand om, youunderstand and you know e%erythingA


20/35


THE WC+) +ll @ know is that this is my place.

THE #5 #ut why om, why?

THE WC+) @ told you @ dont know anything else. @ts like asking a cat why she

protects her kiddies

THE #5 Cr asking a tiger why she eats themAWhat are you protecting me from, eh? oure making a &ig mistake

omA $arlo is the one who needs protectionA

(The 3oman doesn#t answer. ause. The %um shakes his head giving

up.-

@d like to ask you somethingBomething that came up last time @

spoke with $arlo. Please dont answer me @ dont know/. Try to

make an effortif you really want to help.

(ause-

What did 2ad mean when hed say3/2amned money/? 2id he

really mean it?

THE WC+) Ha%e you asked $arlo?THE #5 $arlo? es, and he answered that 2ad would say3 damned money/

meanwhile, he made &illions./

THE WC+) Thats trueA

THE #5 om, stop pretending you dont understandA @ know he was making

&illions. Why did he say damned money/? +nd damned factory/?

Eh? Was he 1ust saying that? What it hypocrisy? Was it one of those

things he told others so he could show that e%en rich people 4poor

them 4 ha%e their pro&lems?

THE WC+) our father was sorryof course he was also happy for the way

things went3 howe%er, he was sorry for all the things he had to lea%e

&ehindATHE #5 Things such asF no longer knowing his workers &y name

THE WC+) How could he ha%e? There were more than three thousand

THE #5 +nd the fact that at the &ar he was no longer one of them

THE WC+) That was his regret. He showed me his hands3 look/ hed say @%e

got calluses tooA +nd you do also. ou see? )othing much has

changedA/

THE #5 Would he ha%e wanted to start all o%er again?

THE WC+) )o, of course notHe had worked so hard to &e what he

wasPerhaps he had different e0pectations. He ne%er thought it

would turn out this wayto e0pand and &ecome rich, yes&ut without

ha%ing to loose others along the roadwithout ha%ing to &eLuigi Lunari - Under a Bridge, along a River 31

treated like a stranger, almost like an enemy/@ can no longer say

@m a communist, without ha%ing people laughing at me thinking @m

an hypocrite./ Hed say.

THE #5 What a&out you?

THE WC+) What a&out me?

THE #5 What did you tell him?

THE WC+) @ told him3/ 2ont pay attention to that, mind your own &usinessA

THE #5 2idnt you e%er think of stopping him?

THE WC+) Btop him? How?

THE #5 es, stop himA #efore it was too late. #efore he could no longer remem&er

his workers &y name, &efore the &asement turned into a factory,


21/35

&efore youmade a lot of money. What did you need a huge

factory for? 2id you really need one in Bicily and then another one in

Tunisia?

THE WC+) What do you mean did you really need/? )o one really needs to do

anything in this worldhowe%erone must keep going, thats allA

THE #5 Geep going where/ om?THE WC+) What do you mean where/?

THE #5 )ow your showing your true colorsA What a&out yourself? 2idnt you

e%er think of stopping?

THE WC+) @%e ne%er played cards. @ ne%er went to the &ar. @%e always worked3

if your father stopped, @d work e%en harder, so he could see me and

&egin againA

(ause-

THE #5 Turn aroundA

THE WC+) What?

THE #5 Turn around, look the other wayA@ dont want you to see my face

while @m talking.THE WC+) @snt it enough @m working?

THE #5 )o, it isnt.

(The 3oman does so by turning around her chair. "he is now giving

her back to her son and the audience.-

We must keep going ahead, we must go on, we must mo%e forwardA @f

we stop were deadA

#ut where are we going? What is it that were trying to achie%e, ifLuigi Lunari - Under a Bridge, along a River 32

each time we reach a goal, another one will attract us like a magnet, so

it can imprison us with its spell?

@ remem&er a&out a legend @ heard when @ was little. + poor fisherman,whom had freed a genie from a &ottlewas granted a wish and

he asked for a modest home in e0change of the misera&le shack he

was li%ing in with his wife, &ut soon he regretted his small re'uest and

asked for a palace instead. Then shortly there after he went &ack to the

genie asking for a kingdom where he could &e king. He was soon unhappy

with that and asked to &ecome emperor and then popethe genie

kept granting him his wishesuntil one day the fisherman asked

to &ecome 6od himself. Cnce again the genie granted the wish. Gingdoms

and palaces disappeared, and the fisherman found himself one

more time sitting &y the &ank of a ri%erF poor and hungry 1ust like the

first day

+re you listening to me? +re you?

THE WC+) es.

THE #5 What do you say?

THE WC+) )othing.

THE #5 @s it what 2ad wanted?

THE WC+) @ dont know.

THE #5 +(e smiles while shaking his head-

Cf course you doA #ut you dont know how to say it, or you dont

want to say it3 &ecause you know @m right3 ou should go to $arlo

and help him, whos still aiming to &ecome omnipotentAThats what 2ad wanted to say. +nd he told me so. @ took from him.


22/35

The difference is that @ was a&le to stop. @ understood that this keep

going/ would%e precipitated into a %orte0 from which it is impossi&le

e0it and impossi&le to stop. 5nless one really wants to, of course.

Think of #a&els tower, where the men dont want to stop, clim&ing

higher and higher into the skyuntil 4 its o&%ious 4 they go completely

mad so they can no longer understand each other.+re you listening?

THE WC+) es, yes. Geep goingA

THE #5 Eh, keep going, she saysA oure not e%en listening. @ dont &lame

you3 6od knows how many times @%e already told you these things.

+nyway, @m done. Theres nothing else to say.

ay&eone or two more things. Cr a hundred. #ecause you know,

om?

@ start/ to think and then @ keep going. @ start from nothingand

then @ cant stop. This also is a %orte03 a different kind of %orte0 &utLuigi Lunari - Under a Bridge, along a River 33

1ust as lethalA+ny silly thing can set me off, like3 2id @ take my pill this morning?/

Cr else/2oes 6od really e0ist?/on and onone thought

leads to anotheruntila get a headache.

omwas it really smart of us, to lea%e the 6arden of Eden?

Eh?@magine all those chimpan*ees that all of a sudden saw us stand

up and lea%e3 what did they make of us?)o3 e%en &etter3 what

would they think of us if we went &ack? Perhapswed &e disfigured

&y a %irus, perhaps retarded &ecause of the o*one hole, or perhaps all

wo&&lylike 1ellowith no &onesWhat do you say om? Where

are you?

(The 3oman comes out of the shack carrying a blanket that she layson her son#s shoulders.-

THE WC+) Put this on. @ts getting chilly.

THE #5 Thank you, om. ou know whats importantA @ take off with my

grand speechesand you notice that its getting chilly. @ lo%e you.

(The 3oman resumes sitting like before.-

Thats how women are. Theyre attached to things.

ou seein the 7 fishermans story 7 @ left out a detail. He wasnt the

am&itious one. @t was his wife. @t was the woman who told him3 ou

ha%e &een so stupid to ask for so littleA 6o &ackA +sk him to &e king,

to &ecome an emperor, popeA/ @ts always &een like that. E%e with

her apple, lady ac&eth

THE WC+) This has nothing to do with anything.

THE #5 @ts you women who start e%erythingA #ut then its the men who keep

goingon and on and onuntil its too lateA

What did you say?

THE WC+) @ts not a matter of men or womenA

THE #5 oure right. @ wonder why @ &rought up this thing a&out women. @t

has nothing to do with anythingor perhaps it does, @ dont knowA

Eh?

((e looks at her and waits for a reaction, she doesn#t.-

Perhaps thats how it went for 2ad. Eh? He had you pushinghimBay something, om.


23/35

THE WC+) @ helped him. When he got discouraged @d say3/Ha%e faithA/ When

he was tired @d say3 /#e strongA/ @d tell him/Think a&out $arlo

and 6ianniA/

THE #5 What a&out him?

THE WC+) Then he regained e%erything3 strength, faith

Luigi Lunari - Under a Bridge, along a River 34THE #5 2idnt it occur to him that thinking a&out us, could%e meant something

else? He was goneyou were gone. +nd you? 2idnt you think

of that? 8rom onday through 8riday, Eh? 2idnt you think of that?

@ knowA @ts hard to think ofits painful e%en when one doesnt ha%e

to make a decision. Take me, for e0ample, and my speeches3 its as if

@ was running around like a chicken without a head through the la&yrinth

of my mind. E%ery speech has a specific direction, howe%er,

there are so many distractions, @ try to pursue one direction which ine%ita&ly

leads to another and then anotherand as soon as @ know it, @

loose my train for thought.

Where was @? Where was @ &efore @ got distracted?THE WC+) +Almost )uoting him-

Why did he keep going?

THE #5 Thats rightA Why do we keep going? 6oing where? What for? Bo we

can li%e &etter? @ dont think soA en get &usier, more preoccupied,

more ner%ous3 mothers dont spend time with their children, one day

theyll e%en stop ha%ing themA +nd all this for money, to fill the house

with things, so we can take ad%antage of progress3 tra%eling, tele%isions,

automo&iles, clothesA@f you snoo*e you loose3 we must keep

going, accumulate, ha%e fa&ulous careers, keep on mo%ing where each

step forward will open up new opportunitiesits a %orte0 that engulfs

us &ecoming stronger and faster dragging us to the &ottomTHE WC+) 2ont get all e0cited. ou know its not good for you.

(ause. The %um slowly recovers then he stars up again, now calmer.-

THE #5 2o you know, in medie%al times, what was the most &eautiful gift that

a knight could &ring to his damsel? + gift to which no woman could

resist, it would%e &een a panty dropper e%en for a nunA

+ pair of scissorsA +nd @ll tell you why. @t was a product of ad%anced

technologymore precious than 1ewelsA

Cn the other handtoday, e%ery&ody can afford a pair of scissorsA

;emem&er 6randpa? Cnce a year hed take the carriage and go to

town to see the outdoor operaA Today who cant afford, with 1ust a

push of a &utton, to see whate%er they want? Cperas, mo%ies, soccer

gamesand who doesnt ha%e closets full of clothes, yet throws them

away &ecause they are no longer fashiona&le a few months later? Who

doesnt go skiing? Who doesnt take a trip? #ooks cost nothingA +nd

children go to schoolA

)ot all of them, true3 howe%er, you watch...the race 1ust startedA

Therere still differences &etween classes, ne%erthelessthanks to

progress theres e%erything for e%ery&odyA 8orget a&out scissorsA +nd

we keep on and on making things we dont ha%e the time to use or

wear them out, yet, we throw them awayA

(3ith enthusiasm-Luigi Lunari - Under a Bridge, along a River 35We ha%e e%erything, omA We ha%e e%erything and moreA What need


24/35

do we ha%e to en%y those whom ha%e more than we do, when the

poorest in this land of plenty has more food he can eat? What more

need do we ha%e of re%olutions, uprisings, social &attles? Think a&out

the communists, omA What would they ha%e said, two hundred years

ago, if they had known how comforta&ly our la&or workers li%e today?

What do you mean only eight hours a day? +nd theyre e%en tryingto propose less? +nd they make enough to &uy an automo&ile? They

%ote, they make decisionsF they dress well and they send their children

to college? Well then/They would%e said/thenwe did itA We

wonA This is paradise on hearth, thisis communismA

We would ha%e to e0plain to them that this isnt e0actly correct3 to

them though, working si0teen hours day, their children doomed to &e

li%ing the same way, diseases to face it would%e sounded too good

to &e true. Well ha%e more than we could hope forA We ha%e our

rightsF we dont need anymore $hristian charityA We wonA $arl ar0

stuck it up


25/35

smoldered e%ery &it of life inside, e%ery desire of life, this lifeBo @

decided to call it 'uitsA Thats it, no moreA This is my life now. The

soil, the ri%er, that terri&le godsend that each day comes down from

the sky to keep the memory ali%e

Bo, @ scrounge left and right to read whats going on up

thereTheyre destroying the world, om, as long as they can keepmo%ing ahead. This is the only world we ha%eA @f @ could only keep

my train of thought, &efore @ get a headache, @ can see the grand finale3

a molecule gone cra*y, the eye shuts off, words fall from the mouth

like slo&&er, the ears are turning sounds into a torturous &u**ing

human lar%a are ram&ling among the ruins as they stutter and

shakeperhaps while copulating, perhaps not, who knowsA

2ont worry om, this is not a tragedyA Therell &e plenty of other

creatures who will li%e their li%es in a &alanced and wise way3 plants

and her&s will co%er the ruins, &ees will continue to &uild their &ee

hi%es, chimpan*ees will keep picking fleas from their &a&ies, dolphins

will dance among the wa%es, and all fish will notice that the oceansha%e &ecome more li%a&le

+s for mankind&ah, he left the 6arden of Eden, he challenged 6od,

he won, he wasnt a&le to handle his %ictoryand ended up in ruins.

Will he try +gain? We ha%e more time at our disposal than we ha%e

life, dont we om? Perhaps some day some&ody else will try againA

Cr may &e not.

What do you say om?

((e turns towards his mother, whom had left for some time now, by

having gone back into the shack.-

+The %um shakes his head, yet, not overly disappointed.-

+s usual, @%e talked in %ainA

(%reak.

nce again, the theatrical fiction dissipates. The %um leaves his role,

the 4entleman enters 2 to be precise 2 the actor who plays the role of

the 4entleman.-Luigi Lunari - Under a Bridge, along a River 37

Scene SixThe %um leaves, the woman enters. "he gets close to the riverbank,

kneels down to wash something in the water.

The 4entleman is walking down the path. (e#s holding a crunched up

newspaper.-THE 6E)T:E+) Where is he?

THE WC+) +"tartled-

Hell &e &ack soon.

THE 6E)T:E+) +(e moves close to her, grabs her arm as to prevent her from doing

the washing-

2o @ ha%e to see you doing this? oure doing it on purpose, arent

you?

THE WC+) @ 1ust need to rinse

THE 6E)T:E+) 2ont you see the water is filthy? our son talks a&out it all the timeF

its polluted &y the factoryA How can you rinse anything in it?

(3ithout a word the 3oman stops and gets up with effort-There she goesA )ot a wordA Will you say something? #ut of course


26/35

she ne%er doesA oure a ru&&er wall omA The two of you plotted

e%erything to dri%e me mad, to destroy e%erything, to turn e%erything

into ru&&erA

((e shakes the newspaper in front of her eyes-

Ha%e you seen the newspaper?

(At the top of the path the %um appears. The 4entleman leaves hismother alone and turns aggressively to his brother.-

What a&out you3 ha%e you seen the newspaper?

THE #5 They ran out of itA

THE 6E)T:E+) +"arcastically-

@t figuresA They ran out of it since =3"" amA @t flew off the shel%esA

THE #5 $ould you lea%e me a copy? Cr else, 0ero0 it for me?

(The 4entleman stares at him speechless, then he turns to the woman-

THE 6E)T:E+) 2id you hear what he said?

+The 3oman has already left and entered the shack.-

@t figures, if she smells trou&le, she lea%esA

((e#s calling'-omALuigi Lunari - Under a Bridge, along a River 38

THE #5 :ea%e her aloneA

THE 6E)T:E+) ou lea%e her aloneA

(The %um walks down the path. The 4entleman gets close to him waving

the newspaper-

ou%e got what you wanted3 are you happy now? What did you do3 a

press release? +n e0clusi%e press conference? Eh? How much did

they gi%e you? Why not talk to the TD while you were at it?

(The %um takes the newspaper and purses it, he does so in all calm

without paying attention to his brother#s rage.-om, come on outA @%e got to talk to &oth of youA

(The 3oman leans on the doorway of the shack.-

This morning, less than an hour ago, @ ga%e the lawyer instructions to

file for an interdiction noticeA

THE #5 8or me?

THE 6E)T:E+) What do you think?

THE #5 That wasnt necessary3 dont @ always sign e%erything you ask me to?

THE 6E)T:E+) What a&out this stuff then? Eh?

((e rips the newspaper from his hands-

@f nothing else @ll &e a&le to say3 Hes cra*y3 what can @ do?/

THE #5 ou can say that now. @m not going to retract it.

(The 4entleman didn#t pay attention to him' he#s browsing for something

in the newspaper, which he finds-

THE 6E)T:E+) ou know, in this machine of ours that dri%es us higher and higher,

that makes us richer with things to own and to dotheres a %irus that

is distorting e%erything, it corrupts and rots e%erything. )e%ertheless,

we must keep going, keep mo%ing ahead further and further8or

hea%ens sake what for? Bo we can relentlessly work ten, twel%e hours

a day, Baturdays and Bundays

2o you ha%e any idea how much it costs us to stop the assem&ly line

on 8riday e%ening? Turn all the o%en machines off and then start e%erythingall o%er again on onday morning?2o you? Eh?


27/35

(7esumes reading-

Bo that mothers cant see their children and fathers see them only at

&edtime/

THE #5 @ts true.

THE 6E)T:E+) Ch really? What a&out'uote. $arl ar0 stuck it up


28/35

Dictory cant &e achie%ed &y running awayA ou cant help people &yLuigi Lunari - Under a Bridge, along a River 40

running away to a desert islandA 8irst of all3 we must produce thingsA

We must research and study through trial and errorA HousesA #readA

ThingsA achinesA 5ntil work will &e transformedA 5ntil our hands

and arms will multiply at infinitumA 5ntil e%ery&ody in the wholeworld will ha%e e%erything of e%erythingA We must produce, 6ianni3

we must produceA

(ause-

THE #5 +In all calm, with detachment-

What if our producing/ will e0plode in our hands?

THE 6E)T:E+) +atiently-

When3 tomorrow? @n three months? @n a hundred years, three thousand

years? Bo whatwhat do you care?

THE #5 Thats rightA #ecause therell &e no&ody left to talk a&out it.

(ause. The 4entleman wipes up his sweat.-

+The 3oman comes out of the shack-THE WC+) +re you done?

THE 6E)T:E+) es we are. Cr perhaps 1ust started.

(To his brother-

What would 2ad ha%e to say, to you of all people, so proud of ha%ing

a direct connection with him? He, who produced/ all his lifeF without

ha%ing studied3 like meA +nd then there came you, destroying e%erythingA

THE #5 There you areat your age 4 $EC of an industry, 4 still asking yourself,

like a child3 What would 2ad ha%e to say?/

;emem&er when @ was little how many times youd ask me that?

What would 2ad ha%e to say?/ 1ust &ecause @ did or didnt do something.

THE WC+) (With sudden energyBtop talking a&out your fatherA

THE 6E)T:E+) Ch, a reaction at lastA 8inally something different from the usual3 @

dont know, @ didnt hear, @ didnt understandA 6ood for you omA

#y all means, speakA

THE WC+) @ simply said to stop talking a&out your father. He has nothing to do

with your discussions3 those were different times. Times/ when producing

was the right thing to do, there was no danger nor need to

a&andon e%erything. People needed things and we ga%e them to them.

Howe%er, now

THE 6E)T:E+) What a&outit?

THE WC+) )ow its different.Luigi Lunari - Under a Bridge, along a River 41

THE 6E)T:E+) How is it different, for 6ods sake?

THE #5 Bhes right3 now we come up with new needs so we can produce more

things. Thats where the spiral starts3 come up with new needs, make

more things, more money, so we can ha%e e%en more things and always

less timeoure right om3 2ad stopped &efore it was too

lateA

THE 6E)T:E+) 2ad didnt stopA He diedA

THE #5 He understood.

THE 6E)T:E+) What did he understand? +nd if he did, what would he ha%e done?

ou tell me? Would he ha%e done what you did? 2ump e%erything,

lea%e and deny himselfA


29/35

(The %um doesn#t answer-

ou tell him, omA

THE WC+) Enough you twoA ou ha%e no right to talk for your father.

(ause.-

@ll say something to &oth of youF since you%e come to a crossroads,

each of you on the opposite side, as if you were the only ones to ha%ethe right to e0ist, the only ones with the truth in their pockets, so you

take the li&erty to 1udge e%ery&ody else including your parents

though, you dont know e%erythingA

)ot &oth of you 4 pay attention now 4 are your fathers childrenA

(Astounding pause-

THE 6E)T:E+) What?A

THE #5 omA

THE WC+) 2o not ask 'uestionsA 2o not 1udgeA

THE 6E)T:EE) Whom else then?

THE WC+) +Interrupting them with a slow gesture-

@%e said what @%e said, what e%er will &e will &e.THE 6E)T:E+) +After a pause, laughing sarcastically-

@ dont &elie%e a word you%e saidA @ts a trick3 a dirty trapA ou did it

on purposeA

THE #5 om, did you do it on purpose? @s it true?

Why?

THE 6E)T:E+) +As before-

Well know it soon enough.

(ause. Again, the break of the theatrical convention. The two men

leave. The woman is now alone and moves center stage.-Luigi Lunari - Under a Bridge, along a River 42


Scene Seven(The woman is center stage. As she reenters into her character, she

screams. A long scream, maddening, devastating, interrupted only by

monosyllables of denial. Then she falls on her knees, the face in her

hands.

"ilence. "he lifts her head up and listens spasmodically. "he screams

once again, then again silence.-

THE WC+) Ch y 6od, no, noA

("he closes her eyes tight, almost as if waiting for something, puts her

hands together like in prayer. "he makes the sign of the cross andwhispers'-

+%e aria, gratia plena, 2ominus tecum , et &enedictus frictus %entris

tui


30/35

THE 6E)T:E+) @ts me.

THE WC+) +"he slowly nods her head-

@ knew it.

(ause. The lines that follow are small fractions of the silence8 the

atmosphere is abstract and surreal.-

THE 6E)T:E+) @ shot him. Hes dead. @m sorry.THE WC+) @s that all you can say?

THE 6E)T:E+) He was trying to kill me.

THE WC+) He didnt ha%e any guns.

THE 6E)T:E+) When you asked, Who is it?/Would you%e preferred?

THE WC+) @ dont know what @ would%e preferredF @ dont know whats &etter

if this is the way it was meant to &e.Luigi Lunari - Under a Bridge, along a River 44

THE 6E)T:E+) This is how it went. Bomething &igger than me and him, &igger than

e%ery&ody.

(The 3oman exits )uickly, from the same place the 4entleman came

in.0or a few brief moments the 4entlemen remains alone on stage with

his thoughts. "uddenly he throws the pistol on the floor.-

THE WC+) @ closed his eyes. )ow hes at peace. Perhaps hes happy. @ hope

theyll come soon.

THE 6E)T:E+) @m sorry, om. #ut its your fault.

(The 3oman shakes her head, trying to remove herself from everything.-

oure the one who turned us against one another. He ended up paying

for itA @m sorry.

THE WC+) He no longer needs me. +fter all, he used to say that you were the one

who needed help. What do we do now?

THE 6E)T:E+) @%e ne%er lost my mind, om. )ot e%en for a moment and @m notgoing to loose it now.

@ will turn myself in. Theres nothing else to do. @t would &e ridiculous

to think otherwise.

THE WC+) What a&out the factory?

THE 6E)T:E+) Thats rightA @%e forgotten all a&out it. oull take care of it om3

like it used to &eA oure the strongest3 you lost two sons and your

first thought went to the factoryA

THE WC+) @m too old and tired, with too many sins on my &ack.

THE 6E)T:E+) What sins can you possi&ly ha%e om?

THE WC+) 2idnt you say that @%e turned you against one another?

THE 6E)T:E+) Thats not what @ meant, you know thatA

THE WC+) Ch dear, dear 6od, Dirgin ary,


31/35

(3ithout answering the 3oman picks up the pistol and shoots three

shots.-

THE WC+) How a&out that?

THE 6E)T:E+) Theyre going to ask us a ton of 'uestions, om? Well contradict

one another. The truth will come outA

THE WC+) 6et yourself a good lawyer3 spare no e0pense.THE 6E)T:E+) omA

THE WC+) +0orcefully-

EnoughA )o more whiningA ou know @m doing the right thingA @ts

&etter like this for e%erything and e%ery&odyA

EnoughA @m sick and tired of following your father, you and your

&rother to end up where @%e ne%er wanted to end it upA

THE 6E)T:E+) om, @ dont understand you. What are you saying? What are you

talking a&out?

THE WC+) @m tired of &eing 'uiet, like all womenA EnoughA 2o as @ tell youA

8ind me a good lawyer and lets try to limit our lossesA $all the Police.

$all them now. +ctually3 go to them, right awayA 6oA((er voice )uivers-

@ want@ want to &e alone

(The 4entleman looks at her in astonishment, fearfully, almost horrified.

(esitates and shakes his head.-

THE 6E)T:E+) 2ear 6odA What are you made of om?A $ain killed +&el, and E%e,

his mother

THE WC+) +Again with much determination-4 6o awayA 2ont say another wordA

6o awayA

(The 4entleman steps backwards, first slowly then runs away )uickly,

as he stumbles on the path.-

7ight before he exits, once again the theatrical convention comes to a

stop.

The man pulls himself together as he leaves, the 3oman releases the

tension of her character.-Luigi Lunari - Under a Bridge, along a River 46

Scene Eight(The 3oman is alone in the middle of the stage. After a very long

pause/-

THE WC+) How many years ha%e gone &y since that day? anyA

+t firste%erything went well@n any caseit went the way it was

supposed to goA 6ood lawyersand no&ody 4 police 4 1udges 4 askedtoo many 'uestions. @ pleaded guilty. The case was closed right away.

+s for prisonnot e%en a day3 a couple of guarded weeks in a clinic,

two, three four e%aluationsafter which came a pathetic %erdict, 1ust

to &e reminded that one shouldnt kill any&ody, including a

sonE0cuses, paroleand then @ was released. + ton of money in

lawyersand that was allA

(The %um enters, or perhaps already did, or, he will soon' his shirt is

stained with blood at the height of his heart.-

@ had nothing left inside, @ didnt want to li%e. @d go to the cemetery

e%ery day, @d speak to himWhen he was ali%e it was him who

talked all the time3 &ut now he was dead, so @ was a&le to speak, little&y little, a &it at a time.


32/35

Then

(The 4entleman enters, or perhaps already did, or, he will soon' he

has a rope around his neck, worn nonchalantly like a scarf.-

it was the other one whom couldnt take it any longer. They found

him in the &athroom of his office3 he had left a note saying3

EnoughA/Thats all.THE 6E)T:E+) That was all.

THE WC+) )ot e%en a word to his mother3 8orgi%e me/, something like that. Bo

they left me alone with the factory.

("he laughs with bitterness-

Then the %ultures came. They were popping out of e%ery corner

until @ finally saidtake it. The damned factoryA #ut the workers

didnt know what to make of itA Bo

+"he makes a vague gesture with her hand. ause.-

THE 6E)T:E+) 8orgi%e me, eh? 8orgi%e me for what? Why? #esides3 werent you

the one who should%e asked forgi%eness?

(ause. The 3oman cries in silence-Luigi Lunari - Under a Bridge, along a River 47

THE #5 :ea%e her aloneA Would youfor once, can you lea%e her alone?

((e moves towards the 3oman.-

$ome om. @ts o%er. Theres nothing left anyone can do nowA

THE 6E)T:E+) @s it really o%er?A What if it starts from here?

+To T(E 3>Achanging tone-

om@ must%e asked you at least a thousand times, &ut you ne%er

answered me. Why did you go away with him 4 that time?

+The 3oman doesn#t answer-

THE #5 6o on, om. Tell him. @d like to know also.

THE WC+) Cncemany years ago, when he was still little@ was working, @had &een out of the house all day. @ got home %ery late, he was going

to &ed. He was rude to me and refused to gi%e me a kiss goodnight.

Then he told me3 @ needed you&ut you werent there. )ow @m

sleepy./

THE 6E)T:E+) +"urprised, not understanding. ause-

Bo what?

THE WC+) )othing.

(The 4entleman makes an impatience gesture.-

THE 6E)T:E+) Bo thats why? $ome on, om3 you%e got to &e kidding?

(ause. The 3oman falls on her knees, crying silently-

2id you understand?

THE #5 :ea%e her alone. What does it matter?

THE 6E)T:E+) +%ecoming more impatient-

When she doesnt know what to say, she starts to prayA

THE #5 Would you let her pray in peace?A

+The 3oman doesn#t pay attention to them.-

THE WC+) Dirgin aryA Tell meyou whom saw your own son on the cross.

Tell medo you feel guilty? $ould you ha%e stopped him? $ould you

ha%e kept him from growing? 2ont you ha%e any regrets? Ha%e you

e%er thought of gi%ing him what he was looking for, so he didnt ha%e

to get himself killed? Were you a &ad mother also?(f the two men, the 4entleman has a silent reaction of astonishment'


33/35

his expression is cross between bewilderment and disdain. (e moves

his hand up and down with his fingers close together as if to say'

$3hat is this woman talking about5&

3ith a gesture the %um invites him to be )uiet, not to disturb her.

Then with a dismissive movement, invites him to step aside and leave

the 3oman to her thoughts. The two men withdraw8 perhaps they turntheir backs to her.-Luigi Lunari - Under a Bridge, along a River 48

+The 3oman hesitates, reluctantly starts to talk, little by little her

speech becomes clearer, more precise. A bit at a time, due to the impact

of her words, the 3oman comes out of her character to become

the voice of a feeling and a reason which merge into a warning/"he

speaks with sincere warmth' neither the character nor the interpreter

must be afraid that the speech may sound like a sermon or a lecture/-

THE WC+) 7 2uring my free time 4 and @%e got lots of itA 4 @ thought of you, my

children and of your father too, &ut particularly of myselfCh, &elie%e

me, not for me3 &ut for youA @ tried to understand what @ couldreproach myself a&outF what @ could%e done differently, @ dont know

how, &ut thinking it o%er, perhaps@ could%e pre%ented or tried to,

when you were still kids, or later, or may &e right &efore you ended up

the way you didthats when my son told me that @ should%e &een

the one to ask for forgi%eness

)o, please, dont say anythingAPerhaps you too, as an adult, missed

me, 1ust like your &rother did when he was littleperhaps you too

needed meand @ wasnt there.

Howe%er, if this is the way it went(which is what @%e come to &elie%eA

@t isnt &ecause it had to &e this way. Bo little &y littlelike peeling an

onion, @ stripped the truth off myself, as if it were flesh and %einssomy eyes could slowly open, the fog lift ande%erything appeared

simple and clearit de%astates me to hear that its of no use anymore,

to think it would%e &een so easy at the timeA

What else do @ ha%e left, if not to hope 4 granted if @ knew howA 4 that

it could help others?

Heres my life3 @d like to sit on the edge of a road, where people go

&y more than e%er on automo&iles and less and less &y footwatch

the men getting &usier and the women follow suit

Women3 there we areA @d like to stop you all, one &y one3 and tell

you, sit right here, near me:ets ha%e a talkA 2ont follow the menA

:et them run towards their trials, their heart attacks, let them dri%e

themsel%es cra*y with their money, their carriers, their despica&le suicidal

wars

ou stay here with meA @ll tell you my storytogether, well understand.

any things will come to lightA oull seeA

To all women, @d like to say3 open your eyesA Ha%ent you noticed we

were cheated on? Thats right, when men told us3 ou and us are

e'ualA We must all ha%e the same rights, &e on the same le%elA Why

&e locked up in the house, stuck in the kitchens, tied up to the cri&s,

not knowing neither how to read nor write? +ll of you also, like us3Luigi Lunari - Under a Bridge, along a River 49

should &e pursuing a career, power, money/

When they told us this, why didnt we understand the terri&le trap we


34/35

were falling into? Cn the contrary, we &elie%ed in it and fought for it

so it could succeedA

en and women are e'ual/ says the men. @ts us women who make

the men, creating them inside our wom&s, fi&er &y fi&er, like the oyster

makes the pearl, and then raising them with the milk from our

&reasts, as always, like animals do3 the cows, the sheep, the monkeysA@n the same e0act way, as it should &e3 &ecause theres no other way

&ut the law of nature, to which women are anchored to and from

which e%erything is &orn. Cn the other hand 4 men 4 &uild3 cities,

kingdoms and ci%ili*ations, so they can destroy them with wars and

re%olutions. They call progress3 &eing a&le to li%e in different houses,

to run or fly always a &it faster, to increase our life e0pectancy, to

write music and &ooks they call timeless, yet, that time de%ours and

makes them e%er so incomprehensi&le. Bo they get swallowed into a

%orte0 where any new disco%ery will generate new sla%eryA Cne e0tra

penny today, will call for two pennies tomorrowA

+ more efficient tool wont alle%iate hard work &ut gi%e these nitwitsa one more reason to work harderA + &igger and faster road will soon

&e in%aded &y these mad men so they can gi%e free rein to their desire

to go faster, to plot, to do more things, to &e there, up and down, e%erywhere,

without sleep, without peace1ust like the drop of water that

caught in the current turns into a waterfallA

Bo this wild running around for a crum& of wealth, a trace of glory, a

moment of power, will continue until the prick of a pin will deflate

this &ig lie and pull the curtain o%er this ridiculous farceA

This is the History of mankind. )ewspapers and &ooks talk a&out it all

the timeA The names, the dates and faces change, the &ig lie transforms

itself like a chameleon, it updates its make up &ut under the disguise

there flutters the same swarm of drones, reaching higher and higher,

attracted to the light that &linds and pierces them.

)e0t to and &ehind all thistheres us womenA @ntact, untoucha&le,

Destal %irgins in our collecti%e unconscious, confident of our dutiesA

How does it compare then 4 to mens stupid game7 what were capa&le

of doing through a di%ine gift and natures choice? +ll this for

e%er and e%er a guarantee that life goes on, that mankind will pre%ail

and that it could also &e &etter, granted, those sons whom so generously

we gi%e to the &ig ri%er of life, will not, once grown into men,

fall into the %orte0 like new drones reaching higher towards the reflectionof the light that already pierced their fathersA

:ets open our eyes women of the whole worldA ou whom call yoursel%es

free, and you whom are called sla%esA $areful nowALuigi Lunari - Under a Bridge, along a River 50

en grant us freedom only as long as it wont interfere with their desires

or interests, only as long as it will free them of their fear of usA

To think that we 4 who think of oursel%es as free 4 fought so they

could free us, so that history could free us from the role that up until

that moment 4 they had tied us toA We fell in the trap3 we walked

down the streets, we fought, we had heroines and martyrs all this so

we could con'uer the right to &e called cra*y like them, so we coulda&dicate our role, our throne, we, whom hold life in our hands, we the


35/35

'ueens, we the omnipotent onesA

@d like to say to e%ery woman that passes &y me, who sees me and

hears meA :ets sa%e oursel%es. :ets sa%e them, &ecause &y sa%ing

oursel%es well sa%e them alsoA :ets make &etter menA :ets stay

close to the children that come out of our wom&sA :et them not follow

their fathers footstepsA :ets stop them if we see them &uilding their#a&els tower.

When they call uslet us &e thereA :ets teach them the wisdom of

&eing attached to the true things of life, unlike the things of the world

&uilt &y menA :et us renew life there where the stupid and useless destructi%e

power of men passes through.

We must go &ack to nature, which we should ne%er ha%e a&andonedA

:ets not relin'uish our &oundless and necessary power of motherhood

for a &owl of chicken soup of something called e'uality that humiliates

and empties usA

:ets laugh in their faces when they allure us3 lets nod our heads in

sign of pity, like we would do with retarded people. Their plan hasfailedA Each day declares and pro%es their failureA Theirs was not the

road to undertakeA Curs isA Curs is the truth, ours is the wisdomA Cur

wom& is the master of the worldA )ot the money, not the progress, not

the power of the phonies and liars who dictate the rules of their stupid

game, shrines on which they &lindly and unconsciously hold their sacrificesA

ou too, &e carefulyou too who are called 4 sla%es 4 shadows without

faces, %eiled &odies without a soulA E%en if the %ery high wall of

ignorance and darkness stops these words &efore they can reach you.

#e careful, when your time will come, &e careful to choose a different

road from ours3 that your freedom may not &ring you to a&dicate your

role, as we%e a&dicated oursA

@ said e%erything @ wanted to say to the woman who passed along the

road and stopped near me, sat and heard my story.

@ close my eyes, and @ wish @ could go &ack

+"he closes her eyes. The men slowly turn their heads towards her.-Luigi Lunari - Under a Bridge, along a River 51

THE #5 omA

THE 6E)T:E+) omA

THE WC+) +9istant, with simplicity-

es, my children. @m here

Blowly fade into dark.

The End

Sub un pod Luigi lunari

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