The government and society has turned their backs on Christians.......

....they are feared to have been the true enemy of mankind because of what they believed. Under the administration of the Man in Power (Anti-Christ) the few Christians that remain must run and hide to survive...their only other option is to take the Mark.

The Story...

This play begins with two young Christians being captured by Police personnel. From the initial stages we can tell that Jonathon is not fully committed to the government's ruling, but the 'why' is not revealed just yet. Not until he gets home where his Christian wife and daughter are in hiding with empty stomachs, a single bible and Marion who chooses not to walk the path of faith as her mother and younger sister. Jonathon knows his time is short and he won't be able to protect his family from the government for much longer...lots of twist and action but only one question remains to be answered.., can Jonathon succeed in saving his family from the very same fate he himself  have carried out on those who choose to die in Christ than deny His existence?

Conclusion...

In the end, the audience will be asked to stand if they believe in Christ - a very powerful gesture.

This play is about a family trying to make it through the Tribulation Period; it is about One man's struggle to look past everything he has seen to believe in One he cannot see. This play will challenge you, your cast and your audience. It will force you to analyze the depth of your commitment and dedication to God and further challenge you as to how far you would go to maintain your integrity.

Length: 90 Minutes
Cast: 4 Males, 4 Females.
Audience: Adults
Genre: Contemporary Action Drama

Sample Scenes

THE SCRIPT

Scene 1

Lights come up on living room. There is a table set for four at center stage. A refrigerator at DSL. A coach with accompanying chairs at DSR.

A faint sound of sirens is heard. The sound increases by the second and we hear the screech of a car as it stops. Car doors open and close simultaneously. Enter GIRL and BOY. They are breathless. They quickly take a seat among the audience towards the front. We hear another car pull up. Doors open and close. Enter CHARLES and JONES. They are dressed in black suits and long black overcoat. Their expression is stone cold.

They pull flashlights from their coats and scan the faces of the audience as they move up the aisle.

JONES:  They must be around here somewhere.

They continue to shine their lights on faces in the audience as they get closer to the front.

CHARLES:  Shut up and just keep looking.

            [SFX: a faint, short cracking sound]

CHARLES:  Did you hear that?

JONES:  Hear what?

[Charles moves down the aisle shining his light on faces until it stops on a familiar face.]

CHARLES:  You!  Step forward.

The girl hesitates, obviously afraid. Charles squeeze through the members of the audience and grabs her before she even attempts to run.

Jones looks to the other side just in time to see the boy get up and make an attempt for the exit.

JONES:  One more step  [He raises his pistol] and you’re a dead man.

             [Boy halts. Jones carefully approaches him and grabs him violently pulling him onstage.
Charles does the same with the girl. Both boy and girl are thrown down violently to the ground.

Boy tries again to run, but Charles grabs him before he leaps offstage, and hits him hard across his face sending the boy sprawling to the ground.

Charles points his gun at the boy.

CHARLES:  They once said you are innocent until proven guilty. In this new world, without the mark, you are just plain guilty punishable only by death.

Jones rests his hand on Charles gun hand lowering it.

JONES:  Let’s wait for Jonathon to get here.

CHARLES:  Why?

JONES:  Because we answer to him.

CHARLES:  For now. Jonathon Simmonds is a coward. He reminds me of these fools who waste their lives away for something they can’t even see.

            Charles kicks the boy in his rib cage. Boy lies clutching himself as the girl goes to
            Him.

CHARLES:  They are weak…a sorry excuse for a human being.

Jones stoops beside the boy and girl and examines their right hand. A bandage is fixed to a specific spot on their hand.

JONES: They don’t have the mark.

CHARLES: You think they would have us chasing them for two miles if they did?

            Jones slaps on the handcuffs.

JONES: Jonathon should be here by now.

CHARLES: I think he has a hard time keeping up. His pity for people like this is taking a toll on him…slowing him down.

JONES: You should say that to his face.

CHARLES: You think I’m afraid to.

JONES: It doesn’t matter. He’s standing right there.

[JONNY walks out to view from USC. HE is also dressed in a black suit. JONNY scouts the  room looking about]

CHARLES:  You missed all the fun, Supe.

JONNY [ignoring Charles]: This is an old church. It’s the perfect hideout. The last place we would think to look is inside a derelict.

Jonny continues to examine the room until he comes to the table.

JONNY:   At least four people were here [he takes up a glass of juice from the table set for
    four] and not very long ago either. This is still cold.

He puts the glass down.

CHARLES:  Maybe they took off when they heard us coming?

JONNY:  Blazing sirens….shattered doors….a trigger happy policeman…and you think maybe they heard you coming?

CHARLES: Your sarcasm don’t move me, Supe.

JONNY: How about a simple order. Climb down from that high horse of yours and take these two to the jeep.

Jones hands Jonathon an envelop.

JONES:Take a Look at this, sir. It fell from the girls’ pocket.

Jonny takes the envelope and looks at it, back and front. He then pulls the letter from inside the envelope.

JONES:  It’s addressed to Ruth Simmonds.

JONNY:  I can see that.

JONES:  Name ring a bell?

JONNY [shaking his head]: No!

JONES:  Thought she might be a relative or something.

JONNY:  I can’t be sure unless I run a check on it.

JONES:  Christians are officially fugitives from the law. The politicians are pushing to pass the law to have them shot on sight. If she is a relative maybe you can save her….in the event that she hasn’t already saved herself.

Jones turns and exits.

 Jonny stares at the pictures that were in the envelope along
With a hand written letter.

LIGHTS FADE. 

Scene 2

[Lights come up on Living Room setting. The furniture has been re-arranged. The Coach is at CS. The table at DSR and the refrigerator remains at DSL. There are three doors up stage representing BRENDAS, MARIONS and RUTH’s room. RUTH is sitting in the coach reading a book. She is dressed in a long house dress. ENTER BRENDA (she also wears a house dress) with Bible in hand.]

BRENDA [Lets herself fall loosely in the coach beside her mother]: I finished reading the
book of Revelation.

RUTH: And..?

BRENDA:  I have more questions than answers.

RUTH:  What kind of questions?

BRENDA:  It is very hard to believe some of the things I read in this book.

RUTH:  My mother used to tell me Bible stories when I was young. I pretended as if I
believed…but I didn’t. 

BRENDA:  When did you actually start to believe?

    (pause)

RUTH:  When she vanished right before my eyes. I figured that if she was right about the rapture then she must be right about everything else.

BRENDA [sadly]: I miss her so much mom.

RUTH:  So do I. But we will see her again.

BRENDA:  How can you be so sure?

RUTH:  It’s called faith.

BRENDA:  I don’t understand why this is happening to us Mom.

RUTH:  All I can say, Brenda, is that God knows.

Ruth gently strokes Brenda’s hair and offers a smile. Brenda smiles back. She gets up and walks over to the refrigerator, opening the door and sticking her head in for a moment.

BRENDA:  Mother…

RUTH:  Yes dear!

BRENDA:  There’s nothing in the fridge.

RUTH [sadly]: I know.

BRENDA [closes the door]: Is there anything in the cupboards?

RUTH:  I’m afraid that’s empty too. It’s been three months now since your father left.

BRENDA:  When is he coming home?

RUTH:  I don’t know, honey.

BRENDA:  Do you think something happened to him..?

RUTH:  No.

BRENDA:  How can you be so sure?

RUTH:  I just am, Brenda. [unsure] If something bad happens, I will know.

BRENDA [goes to sit beside Ruth in an attempt to cheer her up]: God will protect us…won’t He? He will provide for us and take care of us…wont he?

RUTH:  He has to. He promised he would.

BRENDA:  And he will protect father too…?

RUTH [smiling]: See, you do have faith.

BRENDA:  Faith comes by hearing, and hearing the Word of God. [Picks up bible]
You have to admit…I’ve been spending quite a lot of time with this book…[sighs]
As if I have anything else to do with my time.

RUTH:  I wish Marion would be more like you.

MARIONS VOICE: As if that is gonna happen [She steps out of her bedroom dressed in jeans skirt and body blouse] I’ve never liked fairy tales.

BRENDA:  They are not fairy tales, Marion.

MARION:  Yeah! Prove it.

RUTH:  Look at what is going on around us, Marion. What more proof do you want?

MARION:  Man deserves what is happening now. Our every effort has always been
towards a Global war. This has nothing to do with any, spiritual war between angels
and demons. It is merely a difference of opinion.

RUTH:  You believe that?

MARION:  You would too…if you would just open your eyes to simple rational truth.

RUTH: If you want the truth Marion. You better learn to read the Bible.

MARION:  Why don’t you save us some time and just tell me?

RUTH:  You want me to tell you the truth?

MARION:  Or the concept thereof…yes. Tell me the gospel according to mother.

RUTH:  It is sin that has robbed us of peace: It is sin that drives a man towards
World domination and it is sin that stops you from believing the truth.

MARION:  Who are you to decide what is wrong and what is right? Who are you
To define what is sin?

RUTH:  I did not create the definitions, child...God did.

MARION:  Then where is He?

RUTH:  Everywhere.

MARION:  I want to see Him.

BRENDA:  Don’t test Him Marion.

MARION:  Who is this God? Why can’t I see Him or touch Him or feel Him? He appeals to none of my senses so what reason do I have to believe in His existence?

RUTH:  He’s our creator, our guide, and our saviour...

MARION:  Blah, Blah, Blah. You make Him sound like a fairy tale character. (pause) I
rest my case.

RUTH:  Marion, If Jesus called you, would you answer?

MARION:  I need more than just a call. I will not believe in something I can’t see.

BRENDA:  If you could see God, you would not need faith.

MARION:  I don’t need either God or faith.

RUTH:  Is there anything you want Marion.

MARION:  Oh yeah. A one way ticket out of this prison. Maybe a nice long
Soak in a Jacuzzi and a double cheese burger.

RUTH:  There’s only one way to be contented in this world and that’s by taking the mark of the beast.

MARION:  I know.

RUTH:  Is that what you want?

MARION:  I would do anything to be happy and normal again.

RUTH:  How will you profit from gaining the whole world and losing your soul?

MARION:  Why do I even bother talking to you?

RUTH:  Why don’t you allow the truth to set you free?

MARION:  I am free! That’s the whole point.

BRENDA:  Marion…

MARION:  I don’t want to hear it. [disgusted] You two are getting on my last nerves!

[She walks to the fridge and opens it. She looks in…then slams the door shut]

MARION:  I’m so sick and tired of this…!

BRENDA [Loudly]:  Marion!!!

MARION:  What kind of a God would allow his children to go hungry? You can’t leave
Your own home without some stupid jocks chasing you to stamp a triple six in
Your forehead…

RUTH:  MARION

MARION:  …and you two just sit there…[she walks over and take up the
    bible] Reading this stupid book and blabbering about a loving God who neither
feeds you or clothe you or delivers you.

This isn't actually a review but a message to let the author know that I recently saw the production of, THE MARK produced by, NEW BRANCH THEATRE CO. and it was so inspirational! A great deal of biblical truth, and encouragement, came through while the characters were very realistic and grounded in strong dialogue. The combination of drama and comedy kept me completely involved. NEW BRANCH did an exceptional job bringing this piece to life and the music gave the piece added dimensions and contributed to the rhythmic flow. I guess this is kind a review of sorts but just wanted, mainly, to say thank-you to you, Cleveland , for writing it..!  

Ronnie Stopa