Skip to content
Conrad A. Panganiban

Conrad A. Panganiban

playwright | conradap@gmail.com

Menu
  • Home
  • Scripts
    • Full-Lengths
    • One-Acts
    • 10-Minute Plays
    • Sketches
    • Monologues
  • Resume
    • Credits
  • Journal
  • Videos
  • Press
  • NPX
  • About
    • About Conrad
    • Contact
    • Terms of Use
Menu
Romero and Julianne cast image

Romero and Julianne

Posted on 09/03/201207/01/2019 by Conrad

Download the script (PDF)

Romero and Julianne
A Short Dramatic
Play with Words and a Park Bench
by conrad a. panganiban
written 9/3/2012

Cast of Characters

ROMERO:
Late 50s. Male. Speaks with a British Accent. Homeless.

JULIANNE:
40s. Female. City worker.

Setting

A Mid-afternoon at a Park in front of a park bench.

Lights up to reveal ROMERO, a homeless person, standing with an umbrella raised in a fencing “En Guard” position in front of the City Worker, JULIANNE, who is wearing hard hat and carrying a clipboard. They are both standing in front of a park bench, which has Romero’s belongings all around it.

ROMERO
In all protestations, you shall leave my dwellings be!

JULIANNE
Sir, I’m just trying to do my job.

ROMERO
Nay! It is a God-given testimony, that all should have dwellings to comfort all souls.

JULIANNE
I think what God is talking about is the human body being the vessel for a soul.

ROMERO
You spread any more blasphemous theories of God and I swear you shall perish by my sword.

JULIANNE
I don’t think it’s going to rain.

ROMERO
Dost thou truly believe that thy tongue is sharper than my blade? Perhaps ye would like to find out? En guard, good wretch!

(ROMERO lunges very slowly towards JULIANNE giving her plenty of time to sidestep him. As ROMERO gathers his breath for another lunge, JULIANNE writes down something on her clipboard, and in mid write, ROMERO moves forward again with umbrella raised, and once again JULIANNE moves out of the way while still writing! ROMERO stands in amazement staring at Julianne.)

ROMERO
I doth see, that you madam are an accomplished swordsman as well and I am of no contest to you.

(ROMERO falls down to his knees and lays down his umbrella.)

ROMERO (CONT.)
I yield to you, good madam. All I ask is that you tell my dearest, Genevieve, that I loved her with every drop of blood that courses through the very veins in which you are about to strike through. In all regrets and lamentations, I have disappointed her to no ends, and without confession, my soul shall be tied to earth forevermore. Please make it quick so as the incantations of the lowly spirit held in this vessel, as you say, be able to roam in mourning through the woods beyond my dwelling.

JULIANNE
Ummm… you’re gonna have to remove your items sir?

ROMERO
Why dost thou continue to torture me by not yet taking my life? Take it! TAKE IT!

JULIANNE
Okay.

(As JULIANNE moves the bench, ROMERO flinches, but all she does is to pick up one of its ends. ROMERO realizing what is happening quickly gets up and sits on the side of the bench that is being lifted, and begins to plead once again…)

ROMERO
The only thing of value I have left as a remembrance of my being is what is in your hands. So please, with the assistance of God’s own merciful hand, let my dwelling be! And in return, I ask that you take my life.

JULIANNE
Sir, you’re not making this any easier for either of us. I have a job to do. Now will you please let me do it. I’m sorry. Please.

ROMERO
Oh, you’re very cunning in your cold, evil, and wicked ways of turning a phrase of countenance on my vulnerable soul. To that, I recuse my offer and I protest your actions with every fiber of this inaction!

JULIANNE
I’m not going to tell you again, Get off the bench!

ROMERO
Never.

JULIANNE
This doesn’t belong to you!

ROMERO
I don’t see any other’s belongings astrewn about so I manifest that this IS MINE! Mine. MINE!

JULIANNE
How ’bout I call the cops and then you can call the clinker your home?

ROMERO
I was waiting for you to give call to the knights of the most crooked-est of kingdoms, called San Francisco. They are an evil batch, they are. In the midnight oil blackened of nights, they are the ones doing the prodding with their light sticks telling the villagers to vacate our abodes. Devil spunk they be! Well, fine, if that is your recourse, then CALL ON THEM! Call on them, ALL! Much like Peter, I will be the Rock, supplanted on this very corner spot and whomever doth even attempts to move me shall be stricken dead with no remorse whatsoever as they will be the ones forever wandering the woods as I have prayed to Peter to throw away their keys to their Heaven’s home. For I. SHALL. NOT. MOVE.

JULIANNE
This can’t be happening. Sir, I don’t want to call the cops on you, but I will if I have to.

ROMERO
You have my answer.

JULIANNE
If you don’t move, I can lose my job. Sir?

ROMERO
This home. This home upon which I am seated. Is the only home I have known for the past 425 nights and 424 days. I have counted each one as light sets behind me and shines in front. And I will still be seated here in order to count my 425th rising of the fair sun to let me know that I am alive. To let me know that I have a purpose to fulfill. To let me know that there is a God and that He can somehow forgive me of the pains that I have caused to so many others. If this home is to be taken from me, that hope of an unattained purpose shall render me a worthless wretch. An ocean with no water in its fill. A forest filled to its brim with sand. And time with no memory. I shall be a complete waste of breath without this home.

JULIANNE
Look, I don’t wanna call the cops.
You seem like a nice man. A very confused man. But nice.
But I have a job to do.
A job to keep my family fed.
JULIANNE (CONT.)
A job that will keep a roof over our heads.
An obligation to them to keep everything together.
To keep myself together.
To not lose it… again.

I hear you.
I listened with keen ear to your story of woe.
And I understand. Fully.
I know about losing a home, the dwelling, the place where you can hang your hat.
As you sat here waiting for each day to rise in front of you,
I’ve had each one of mine sink into the bitter, cold and isolated darkness of
The abyss of my heart’s floating mystery: Why did my husband take his life?

Questions hath lead to more wondering to more sleepless nights of rocking Jennelle and Coby to sleep with their question of “When is daddy coming home?”
And as I wiped the brow from the rain of tears, which shed over them, I whispered,
“He is home.”
So as you await your 425th day to begin here on this bench,
I still await for my own sun to rise again here in this life.
My life.
For my babies lives.
Because it’s hard. It’s damn hard,
When the person I loved, my everything, my Rock
Took his.

(beat)

Please forgive me, but if you can see it in your heart, can you please let me do my job, here and as a mother, and leave?

(Without further protests, ROMERO nods, “yes”, picks up his things and begins to move on, but stops and turns around.)

ROMERO
Will you please take good care of her?

JULIANNE
Of course. But you’re free to “visit” your home if you wish?

ROMERO
I don’t understand.

JULIANNE
We’re just moving it. To the other side of the park. In front of the Newberry Stage.
ROMERO
The Newberry Stage?

JULIANNE
Yes. That’s where they’re going to begin the Shakespeare in the Park Summer Shows.

ROMERO
Serious?

JULIANNE
Yes, Sir. Apparently, there are more and more fans of the Bard wanting to see his work. Hence, the need for more seating areas.

ROMERO
And there rightly should be!

JULIANNE
If you want, you can head back there later this afternoon to see it, but since we’re moving all these benches over there, I don’t know how you’re going to be able to spot this one.

ROMERO
I have already foreseen the solution. You may foresee it yourself, if you wish.

(ROMERO goes behind the bench to point something out to JULIANNE.)

JULIANNE
Shakespeare Rulez with a ‘z’.

ROMERO
Well, he does.

(ROMERO returns to his belongings and picks them up.)

Good day, Mrs…?

JULIANNE
Capaletti. Julianne Capeletti.

(ROMERO presents a flourished bow.)

ROMERO
And I, Romero Martinez, am forever in thy service. I wish you a good day, Mrs. Julianne Capaletti.

JULIANNE
And same to you, Mr. Romero Martinez.

(ROMERO exits.)

END OF PLAY

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Share this:

  • Click to share on Twitter (Opens in new window)
  • Click to share on Facebook (Opens in new window)

Related

  • Twitter
  • Instagram
  • YouTube
  • Tumblr
Headshot of Conrad A. Panganiban

Conrad A. Panganiban (he/him/his) is an award-winning Filipino American playwright representing the San Francisco Bay Area. His plays include Daryo’s All-American Diner, Welga, and River’s Message. Conrad’s work has been produced by Bindlestiff Studio, The Chikahan Company, CIRCA Pintig (IL), the MaArte Theatre Collective, and CATS (Contemporary Asian Theatre Scene) . Awards include: Best Play of 2023, Daryo’s All-American Diner (BroadwayWorldAwards Chicago), Best New Play, Daryo’s All-American Diner (Chicago Reader, Best of 2023), Susan Fairbrook Playwright Fund Awardee (TheatreWorks Silicon Valley), 2023 New Voices in Comedy Writing Fellowship (Killing My Lobster), James Milton Highsmith Award Winner (SFSU), National Ten-Minute Play Festival Finalist (Actors Theatre of Louisville), and Bay Area Playwrights Festival Semi-Finalist (Playwrights Foundation). Resident Artist: Bindlestiff Studio. Member: Dramatist Guild of America, and Theatre Bay Area. MFA, San Francisco State University. @consplayspace

Copyright Notice

Scripts on this website are copyright protected and may not be reproduced, distributed, disseminated, altered or performed without the author’s prior written permission. conradap@gmail.com

Creative Commons License
The work on conradpanganiban.com is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Pixabay.com

Some of the images used on this site, especially for the featured pictures, are from https://pixabay.com/

Archives

  • April 2025
  • March 2025
  • December 2024
  • October 2024
  • September 2024
  • August 2024
  • July 2024
  • June 2024
  • May 2024
  • February 2024
  • January 2024
  • December 2023
  • November 2023
  • October 2023
  • August 2023
  • July 2023
  • June 2023
  • May 2023
  • February 2023
  • January 2023
  • December 2022
  • November 2022
  • October 2022
  • August 2022
  • May 2022
  • April 2022
  • January 2022
  • November 2021
  • June 2021
  • May 2021
  • March 2021
  • February 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • May 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • February 2019
  • March 2018
  • January 2018
  • October 2017
  • July 2017
  • June 2017
  • August 2016
  • June 2016
  • May 2016
  • April 2016
  • December 2015
  • November 2015
  • October 2015
  • August 2015
  • July 2015
  • June 2015
  • August 2014
  • June 2014
  • January 2014
  • December 2013
  • November 2013
  • September 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • December 2012
  • November 2012
  • September 2012
  • August 2012
  • July 2012
  • June 2012
  • May 2012
  • April 2012
  • March 2012
  • February 2012
  • December 2011
  • November 2011
  • October 2011
  • September 2011
  • August 2011
  • July 2011
  • June 2011
  • May 2011
  • April 2011
  • March 2011
  • January 2011
  • December 2010
  • September 2010
  • August 2010
  • April 2009
  • August 2008
  • July 2008
  • June 2008
  • May 2008
  • March 2008
  • February 2008
  • January 2008
  • November 2007
  • October 2007
  • September 2007
  • August 2007
  • July 2007
  • May 2007
  • March 2007
  • January 2007
  • December 2006
  • September 2005
  • May 1995
Mastodon
©2025 Conrad A. Panganiban | Built using WordPress and Responsive Blogily theme by Superb