Jerusalem Live

An Easter Telecast.

This docudrama dares to ask the most critical questions of all life: not only who was Jesus, but who is Jesus, and, most importantly, what does He mean to you?

It's nearly spring of A.D. 30. Rome is attempting to keep a fragile peace with its province of Judea. A dove faction in the Jewish hierarchy attempts to prevent anything from disrupting hoped for peace talks with their Roman conquerors. They're convinced a humble carpenter's son from Galilee is a threat to that peace process and have arranged the help of one of the Nazarene's own followers to help take him off the world stage permanently. The political powderkeg in Jerusalem has attracted the attention of the world press and the electronic media.

Written by former DramaShare member Steven Krumlauf. Published with approval by DramaShare.

Cast:  18

Bible Reference: Luke 22:4

Set:  bare

Lighting:  author makes no suggestions re house lighting for the musical bridges. The bridges and their titles are optional.

Sound: wireless mics as available
It's recommended that only Jennings and Reynolds be "miked" into the PA system.

Song: are suggested in script, substitutions may be made.

SFX:  see Special Instructions

Costumes:

• typical Biblical garb for those in the Passion Week
• Peter Jennings should appear in a business suit behind the anchor desk
• Dean Reynolds could be wearing a typical khaki-type, "bush" shirt.
  • To note the passing of time, Jennings should change neckties from scene-to-scene, Reynolds may change shirts for each scene.

Props: as indicated in script

Special Instructions:  This dramatic retelling of the arrest and trial of the Galilean through the camera lenses of ABC News could take place on a nearly bare stage with tight, close-up, overhead spotlighting on the principal actors to create stark realism and add emphasis to dialogue. Wherever possible, very familiar dialogue is used from Scripture to add authenticity to the recreation of actual events (*).

To economize on the number of actors necessary on stage, liberal use is made of prerecorded crowd noise supplemented by a variety of live, male and female voices off stage. The authenticity and impact of that technique will be greatly enhanced if the mix between recorded and live voices is balanced equally and at full volume. Limiting the number of characters seen on stage from the antagonists' point of view further underscores the fact that Jesus, abandoned early by his own followers, from a human standpoint, suffered, bled and died alone.

 Time: 90

Sample of Script

(Opens with a dark stage, a dark auditorium. BLACKOUT.)

(1) VOICE 1: We interrupt this program to bring you a special report from ABC News. Here now from our ABC studios in Washington is Peter Jennings . . .

(Lights up on a bare anchor desk, down stage right. Peter Jennings is seated behind the desk and looks straight ahead as though facing a camera at eye level.)

(2) JENNINGS: Good evening. ABC News has just learned that recent Israeli efforts to regain a measure of autonomy at the expense of Rome may be in jeopardy. With us live from Jerusalem tonight is ABC's Mideast correspondent, Dean Reynolds . . .

(Spot up on Dean Reynolds, who is standing alone, down stage left with a microphone in hand. Reynolds also looks straight ahead as though facing a camera.)

(3) JENNINGS: Dean, our sources tell us there was an incident that took place just a short while ago in the Jewish capital that could threaten to derail Jerusalem's peace talks with Rome . . .

(4) REYNOLDS: That's right, Peter. I'm standing just outside a garden spot, just southwest of downtown Jerusalem, an old olive grove the neighbors here call 'Gethsemane.' A few minutes ago, this was the scene of a near riot as representatives of the Jewish ruling council, the Sanhedrin as it's called, attempted to capture a man they say is a bigger threat to peace than Rome itself. ABC News obtained this exclusive footage of the actual arrest.

(Lights out stage right and stage left. Light up center stage where three sleepy men lay on their sides in a semi-circle, while a fourth male, Jesus, bends down in a catcher's position, hovering over the prone male in the center.)

(5) JESUS: Why are you still sleeping? Get up and pray so that you will not fall into temptation.

(SFX: We hear the sound of an angry mob approaching in the distance and the noise gradually gets louder, and we can begin to pick out individual voices shouting loud threats, i.e., "We know you're in there!", "We have you surrounded!", "There's no escape!", "You must come peacefully!", "Surrender now!", "Come out now!" etc., repeatedly. As Jesus looks toward his right . . .)

(6) JESUS: Get up! (Jesus stands up straight as his three sleepy companions slowly and reluctantly join him on their feet.) Let's go! My betrayer is here!

(SFX: The sound of the angry mob reaches a crescendo and then subsides as Jesus, encircled now by his three companions, looks OSR and calls out.)

(7) JESUS: Who is it you want?!

(8) CHORUS OF VOICES FROM STAGE RIGHT: Jesus! Jesus of Nazareth!

(9) JESUS: I am he.

(SFX: Dull thuds as the sound of men falling down.)

(10) JESUS: Who is it you want?!

(11) CHORUS OF VOICES FROM STAGE RIGHT: Jesus! Jesus of Nazareth!

(12) JESUS: I told you that I am he. If you are looking for me, then (Jesus gestures toward the trio of followers) let these men go!

(From out of the shadows, Judas appears and approaches Jesus . . .)

(13) JUDAS: Rabbi!

(Judas embraces Jesus, who offers no resistance, and he receives a kiss on both cheeks.)

(14) JESUS: Judas, are you betraying the Son of Man with a kiss?

(Judas offers no response, but, with head bowed in shame, backs away slowly, walking backwards, toward up stage right.)

(15) JESUS: (Tenderly) Friend, do what you came for.

(Judas turns on his heels now and runs out of the light and off stage right. Two men dressed as temple guards come from out of the shadows, step between Jesus' followers, and seize him by both arms, pulling Jesus away from the other three men. Just then, Peter angrily pulls a dagger out of his tunic and slashes at one of Jesus' captors. The guard screams and grabs his ear, falling to the ground in pain and thrashing around, groaning and moaning in agony.)

(16) JESUS: (Angrily) Peter! Put your sword away! Shall I not drink the cup the Father has given me? All who draw the sword will die by the sword. Do you think I cannot call on my Father, and he will at once put more than twelve legions of angels at my disposal?!

(Guard 1 continues to rock back and forth in pain on the ground while holding his bloody ear to the side of his face. Jesus gestures to Guard 2 that he wishes to attend to Guard 1, and Guard 2 releases his grip on Jesus' arm. Jesus walks over to the writhing Guard 1, bends over the fallen soldier, and looks up at Peter.)

(17) JESUS: No more of this!

(Jesus reaches for the fallen man's hand, which has been holding his severed ear, pulls the hand away, places his own hand on the side of the guard's head for a moment, then drops his hand, revealing a perfectly whole ear. The guard is astonished, but doesn't know how to thank the man he came to arrest. He looks up into the face of his captive with reverence and awe. A third guard suddenly appears from out of the shadows, angrily pushes the worshiping Guard 1 aside, and roughly grabs Jesus by the arms. Guard 2 joins Guard 3, and both start to drag Jesus off stage left. Jesus holds his hands up to motion the guards to stop as he wants to address the unseen "crowd" following the trio ahead. Jesus looks back to address the imaginary mob . . .)

(18) JESUS: Am I leading a rebellion that you have come out with swords and clubs to capture me?

(19) JESUS: Every day, I sat in the temple courts teaching, and you did not lay a hand on me. But this is your hour . . . when darkness reigns.

(20) GUARD 3: (To Jesus, very angrily) That's all, dog! You'll have your day in court. We're taking you to Annas!

(Guards 2 and 3 roughly drag a stumbling Jesus off stage, upstage left.)

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