Broken Pieces

Brian Beals was awarded honorable mention in Drama in the 2020 Prison Writing Contest.

Every year, hundreds of imprisoned people from around the country submit poetry, fiction, nonfiction, and dramatic works to PEN America’s Prison Writing Contest, one of the few outlets of free expression for the country’s incarcerated population.

This piece is also featured in Breathe Into the Ground, the 2020 Prison Writing Awards Anthology.

BROKEN PIECES

DIXON THEATRE WORKSHOP PRESENTS:
“BROKEN PIECES”

TEAM MEMBERS:
DARRION BENSON, #M16943
BRIAN HARRINGTON, #M10552
DARVIS J. FRANKLIN, #M48276.

(Characters)

– Stewarts –

William Stewart: 68 years old, patriarch of the Stewart family. He’s deeply religious – Christian, and worked in the United Steel Mill for 40 years before retiring in poor health.

Sydney Stewart: 46 years old, and is the son of William Stewart. He’s a businessman that started out with a small auto-repair shop, and spent the last 20 years building it into a thriving full-service auto center. Not religious, and is growing into father William’s role.

Julian Stewart: 19 years old, grandson and nephew of William and Sydney, respectively. He’s a college sophomore, and conscientious.

Shelia Stewart: 44 years old, daughter of William; mother of Julian, and is a deeply religious Christian, single mother and school teacher.

Czar Stewart: 21 years old, and an accused killer and repeat felon, He’s conflicted on his place in the Stewart family and his place in the larger community. He lacks resolve to decide his own course.

– Davis Family –

Troy Davis: 19 years old, college student – sophomore, and is conscientious.

Paris Davis: deceased, – victim of murder, 22 years old – member of Jo-Jo’s street clique.

– Street Clique –

Jo-Jo: grown street thug; boss of street clique. He’s a sinister character.

Slim: grown street thug; under-boss of Jo-Jo’s street clique, and callous.

Nardo: grown member of Jo-Jo’s street clique and reluctant follower.

– Supporting Characters –

Minister Kelly: 51 years old, Baptist Minister and Community Activist that presides over the church that the Stewart and Davis families attend.

Major Ross: 42 years old, Correctional Officer and member of Minister Kelly’s congregation. He’s a strong presence in the criminal justice system. Stand-up guy.

– Extra Characters / Various Others –

Prisoner #1

Prisoner #2

It was cold, even for a late-Autumn day. Troy Davis stood still as a statue, his hands deep in his pockets, his collar up, a solemn figure. His silent vigil made the multi-colored leaves, blowing in the breeze, come alive as if some poetic dance of nature.

It all went unnoticed by Troy. He stood transfixed by the small headstone that marked the grave of his revered brother, Paris Davis.

Paris was Troy’s older brother. He had been inexplicably killed by his best friend, Julian Stewart’s older brother, Czar. Staring at the headstone, flashes of sentimental times spent with his brother flooded his memories.

His shoulders slumped, and puddles of tears began to flood his eyes. He thought this small headstone wasn’t enough to represent how large his brother’s life was to him.

Troy felt their presence before he could hear them approaching. He turned his head slightly, his vigil interrupted, to acknowledge Jo-Jo, Slim, and Nardo walk up. Troy awaited in silence, curious at what these friends of Paris’ wanted.

NARRATOR TALKS ABOUT “BROKEN PIECES”
Good evening fellas. How are y’all doing today?

The Dixon C.C. Theater Workshop presents the play “Broken Pieces”. It is an original work written by the Dixon C.C. Writing Team.

Broken Pieces is a glimpse of what happens to the lives of ordinary people when a crime is committed by someone in their family, or by a close friend. This play examines how routines, schedules, feelings of safety and security, self-confidence, and everything else that makes up the fabric of their lives, can unravel and fall to pieces…

It is a look at what happens in the immediate aftermath of our crimes, it looks at how it impacts our families, communities, and our own lives… This Play gives you a look at the things you don’t see because it shows what happens while you are being processed, indicted, and housed in a holding facility. . . A look at how the bonds that hold us together are tested.

ACT 1 SCENE 1
PRELIMINARY SITUATION

(Music Intro: Anthony Hamilton’s Song, “I’m From”). As large screen displays Headlines of newspapers describing the turmoil of Chicago’s troubled neighborhoods:

” MURDER RATE SOARS AS YEAR’S END APPROACHES”;
” YOUNG MAN SLAIN IN THE PARKING LOT OF THE STEWARD AUTO CENTER”;
” FAMILY STRUGGLES TO UNDERSTAND THE CIRCUMSTANCES OF PARIS DAVIS’ MURDER”.

(Music Fades as screen rises, [Approx. Time 1:30])

(After 30 Sec. pause, Earth Wind And Fire’s Song: “Open Your Eyes”, begins).

Troy walks out on stage, he stands still until the music fades, (Approx. 1 min.), then delivers a soliloquy informing the audience about the initial incident.

SOLILOQUY
You remember the time I wore your Jordans to school to impress a girl in my class? That same day, some guys had jumped me for your shoes. When I got to our own front porch, out of breath and barefoot, you asked,

“Troy, what happened, Troy, what happened?”. . . The look on your face hurt more than the blows I survived. I hated disappointing you.

So, in a weak attempt to reestablish myself in your good graces…, I asked… “you mad?”

It wasn’t the shoes you cared about, you were more bothered by the fact that I allowed someone to take something from me. You came real close when you said, “don’t let it happen again”. And I haven’t. Since that day, no one has taken anything from me…, until now. But how was I to stop him from taking you from me P. I was at school, trying to make a way for us, remember? You said after I graduated, you would get out too. You promised me, and you’ve never lied before… So get up, get up!! How did we get here? Why did this happen, P?

JO-JO, Slim, and Nardo enter the stage. JO-JO and Slim position themselves slightly behind Troy. Nardo remains farther back, still in position to hear the conversation.

JO-JO
What’s up shorty? I see you standing strong Lil bro. P would be proud you coming back from school to represent like this.

Slim
Man, it’s cold. You’ve been standing out here all this time. Everybody waiting on you, your people sent us to get you.

Troy
(In a somber tone), I never could imagine being in a moment like this.

Jo-Jo
That little headstone is too small to represent your brother’s legacy.

Slim
Yeah, it’s hard for me to believe this. The things P stood for, the things he did out here, —-Pause—- You brother was a giant.

JO-JO
(Shaking his head in disgust) Your brother loved you Troy, he was in these streets to make sure you and your Momma had everything you needed. —-long Pause— Man shorty, we can’t go out like this. —Pause—- Naw, not like this.

Slim
Dig Troy, I know fool little brother, Julian, is your boy, but I seen him coming out of Harold’s yesterday, he looked like he didn’t have a care in the world.

JO-JO
I didn’t see none of his people at the funeral today!

Slim
He probably went to see his brother.

JO-JO
Yeahm he can still see his brother.

Slim
He can still talk to his brother.

JO-JO
(Calculating) And here we are, talking to a gravestone. We need answers,… Not just that,… Somebody gotta answer for this.

Slim
Come on shorty, we gotta get you to the repass.

(Jo-Jo and slim turn to walk away. Nardo lingers. When Troy turns to follow, Nardo halts him.)

Nardo
(Emphatically) Troy listen, … I was watching you when you walked up! Seeing you standing there made me think of something I read, … “still waters run deep!” Troy, sometimes it’s good to hold fast and think. Strong consequences come from quick decisions. –Pause– You’re a good guy man. I can’t tell your future, but it’s what you do now that’s going to allow God to work it out for you.

Troy
That’s good advice for Czar, that ain’t the advice I need.

Nardo
All I’m saying is the strongest thing a man possesses is a made up mind.
(At which point, both parties exit the stage).

NARRATION AFTER 1ST ACT

Act One was a look at the victim’s family from the point of view of the deceased young brother, Troy Davis. It began at the gravesite of his older brother. Troy talks to him about dreams shattered, and how fundamental their relationship was on his journey to becoming a man.

Even before he can begin to understand this tragedy, the pressure to take revenge is literally on his back, in the form of Jo-Jo and Slim… That is a pressure that most of us know first hand, from either having experienced it… or in a more sinister way of having been someone whom has applied it.

BROKEN PIECES (ACT 2)

Door opens center stage as (Father), William Stewart, assisted by Son, Sidney Stewart, enters the livingroom area, and heads to an empty couch. Sidney Stewart then helps his father to be seated as he adjusts the couch pillows behind him, making sure he is comfortable.

Sidney
Daddy, did you take all your medications?

William
All but that one pill that puts me to sleep.

Sidney
(In an authoritative tone) You gotta take all the pills, Dad!

William
(Responding calmly) I know how to take my medications. —Pause

William
How’s work at the shop?

Sidney
Things are going well. In fact, so well, I’m ready to open a new shop on the West Side.

William
I’m glad your business is doing good, but I called this meeting to talk about Czar.

Sidney
Czar, Czar, all our meetings are about Czar!

William
We meet to talk about what we need to talk about,. . . and we need to talk about getting Czar bail, and a lawyer.

Sidney
But I did that the first time, and the second time, and we agreed that the last time, was the last time.

William
yeah, well you try explaining that to Sheila.

Sidney
o.k. daddy, I’ll tell her I ain’t paying for no bond or no lawyer. In fact, I’m not investing anything else in Czar anymore.

William
This ain’t like before, this is a murder case, this is his life we talking about!

Sidney
(In a loud, angry tone) but he killed that boy! (Julian, Czar’s younger brother, abruptly enters the livingroom door after hearing the commotion.)

Julian
Whoa, whoa, whoa, you don’t know if he killed somebody or not.

Sidney
You haven’t been here Julian, you been away at school. I’ve sacrificed for Czar, I brought him into the shop, and invested time and love into his training. He just keeps taking me for granted, and not living up to his responsibilities. He doesn’t take care of his Grandfather, and he chooses to run the streets instead of listening to his mother and me.’

Julian
I know my brother got his demons, and we all do, and they may get the best of him most of the time, but we still shouldn’t give up on him!

Sidney
So what should we do Julian? Should this family just give in to Czar’s foolishness everytime his so-called demons get the best of him? That wouldn’t be wise. That would be enabling him. Tell me! What has czar sacrificed for this family?

Julian
Uncle Sid, Czar has made sacrifices for me. Some of the things he did in the streets, made it easier on me growing up in this neighborhood. (Julian exits).

Sidney
Julian, I’m not trying to hear all that street talk right now. That’s the exact thing that got him in all this mess in the first place. Don’t you get it? Someone has lost their life. He better find God while he’s in there, cause I can’t help him anymore. (Julian Exits).

SIDNEY PERFORMS SOLILOQUY
Man, this new shop means everything to me! It’s my dream, my come-up! It’s my chance to make this family secure. To give “pops” a more comfortable life, for what he has left. But, if I have to spend one more dime on this nephew, It just might leave our family in pieces.

William
Son, you seeing this all wrong. You need to humble yourself, and remember what your role is in this family.

Pause 

I labored Forty years of my life at the Mill, to put food in your mouth. Forty years of my life to put clothes on your back. Forty years of blood, sweat, (William pauses to look at them both and continues), and tears to keep this family thriving. You speak of sacrifice, and then in the same sentence, you speak of giving up on your nephew. When someone sacrifices, they don’t alter course, they remain on that uncomfortable road, because they are guided by some belief that a greater good is being served. (Pause) What are you guided by?

(Julian reenters)

Julian
Uncle! I just left Momma’s room. She won’t get out the bed, she won’t eat. She’s devastated, and here we are in this men’s meeting, the Stewarts’, and we’re talking about not helping… ” The Stewarts'”?!!

(Sidney sits down with a contemplative look on his face, and then a knock at the door grabs everyone’s attention. Julian steps over to answer the door…).

Julian
Who is it?

Minister Kelly
It’s Minister Kelly.

(Julian then proceeds to open the door, and Minister Kelly enters.

Minister Kelly
Hey Julian, how are you holding up?

Julian
I’m just trying to keep it together.

Minister Kelly
I called your mother earlier, and we talked for a few minutes. I promised her I’d stop by to check on her. Pause… (Seeing William respond) God bless you brother William!

William
God bless you Minister!

Sidney
Aw man, don’t you get enough members hitting that collection plate?

(Julian intervenes, aware that his Uncle is deflecting some of his frustration towards the Minister.)

Julian
Hey, Minister Kelly, why don’t you have a seat and make yourself comfortable?

Minister Kelly
Mr. Stewart, with all due respect, I know I don’t have to explain how difficult this occurrence has been for our community. I just left the Davis family’s repass, after presenting the Eulogy at Paris Davis’ funeral service. That family, and our community, is suffering. Now we have to begin the healing process.

(The Minister’s dialogue is interrupted by a knock at the door. Julian moves to answer the door.)

Julian
Who is it?

Person at the door
I need to holla at you.

Julian
Yeah, but who is it?

(The person outside the door is Nardo, the nervous hood that accompanied Jo-Jo and Slim at the cemetery.)

Nardo
It’s me, Nardo. . .

Julian
(with disdain) Man, what do you want?

Nardo
(Feigning insult) Man shorty, I’m here for your benefit!

Julian
(Incredulously) How can anything you got to say, benefit me?

Nardo
You know Troy, Paris Davis’ little brother?

Julian
Yeah! What about him?

Nardo
Jo-Jo and slim trying to get shorty to get down on you!

Julian
What, Troy don’t even move like that.

Nardo
Look man, (Nardo is throwing his hands up to convey that he means no harm) I’m tired of all this killing. We ain’t gotta keep doing eachother like that, I’m gone. . .

(Julian stands there for a moment to gather his thoughts. He then reenters the room.)

Julian
Granddad, I gotta make a quick run, I’ll be back in a little while.

Minister Kelly
(Standing from his seat) Mr. Stewart, gentlemen, it’s been pleasant speaking with you, but I have to run as well. I look forward to us meeting at the Church Sunday.

(The Minister then turns, proceeding towards the door, while calling Julian. . .)

Minister Kelly
Julian, I want to speak with you more about what you can do to help with the healing process. I need you to, immediately, come over to the Church with me.

Julian
I can’t commit to that right now.

Minister Kelly
I understand what you are going through and I have a solution for how we can get through this. It will only take a few minutes of your time.

(Julian and Minister Kelly depart together, leaving Sidney and William alone in the room. William struggles to get up from the couch. He then starts walking out of the room.)

Sidney
Dad, what are you doing? Where are you going?

William
I’m going to check on my Daughter.

Sidney
Then let me help you!

William
I don’t want your help. If you want to help someone, go help your nephew. That’s who you should help (William exits the stage).

Sidney
(While throwing his hands up in exasperation…) Dad, Dad, come on Dad.

INTERMISSION

NARRATION AFTER ACT II

That is what it looks like, sounds like, and feels like. . . When a family is trying to figure out how to cope with our crimes. You saw Three generations of the Stewart family, discussing their responsibilities and the limit of what they are willing to sacrifice for one of their own.

Czar Stewart,. . . his value is literally weighed by his Uncle, as the family’s aspirations clash with what is expected. Are you the only one who pays for your crimes?… The questions of legacy and morality were put to the test, as family bonds crack and break. Now we need answers.

ACT III SCENE III

(Music Intro: Smokie Norful’s song “God Is Able” plays for One Minute before the cast emerges on stage).

Troy, Jo-Jo, and slim exit the Davis family home, and stand in the yard for a brief discussion. . .

Slim
Man, it’s too many people crying and grieving up in there. We needed to get this air.

JO-JO
Shorty, my heart bleeds to see your Momma crying like that.

(Jo-Jo gesture Slim to follow up on that thought.)

Slim
(Trying to look convincing) Yeah shorty, my heart bleeds too! —Pause– Straight up!

Troy
I don’t know what to do for her!

JO-JO
You gotta make it right —Pause— That’s what you gotta do!

Troy
(Displaying frustration) So, you think gettin’ down on Julian gonna make things better?

JO-JO
Not just better, it’s gonna make it even.

—Pause— 

Slim
Jo-Jo, you seen Nardo?

JO-JO
(Looking surprised and concerned) Nah, I haven’t —Pause– In fact, I haven’t seen him since we first got here.

Slim
we better go find Nado!

JO-JO
Yeah, we better go find ’em.

(Jo-Jo and slim leave hastily, looking for Nardo.)

ACT III SCENE III

(“God is able resumes playing while Troy paces”)

Standing alone again at last. Troy paces in his front yard, grieving and feeling pressured, Troy leaves the yard and walks down the street. His head down, he walks mindless of direction and destination. Meanwhile, Julian has left the family meeting. He goes out looking for Troy. He hopes to discuss the situation, man to man with Troy, his best friend.

Julian suddenly takes notice of Troy coming up the street towards him. He calls out…

Julian
Troy, can I talk to you?

Troy
(Troy looks up and responds coldly) Talk, talk,. . . about what?

Julian
(Responds beseechingly) I wanna talk to you about everything that happened!

Troy
(In a hostile tone) About everything that happened!? What,… you know what happened?

Julian
(Responds shocked and caught off guard) Huh? Naw, I don’t know what happened, I just wanna talk so we can try to figure it out.

Troy
(Hostile) Figured it out. It’s already figured out, Paris is dead, Czar killed him, so what’s left to figure out?

Julian
(In a diplomatic tone) I just want to figure out how we can get past this, move forward? Man, you don’t care about my family!

Julian
(Responds as if confronted, but adopts a conciliatory tone as he stands chest to chest with Troy) Huh? Naw bro, listen to what you saying, I do care. Troy, I know it’s not the same as losing Paris, but I’m afraid of losing Czar too.

Troy
(Responding in anger) You damn right, it’s not the same thing!

Julian
(Responding remorsefully) Bro, you’re right, it’s not the same thing. I mean, Paris was like a brother to me. —-Pause— I’m hurt too. Troy, we been tight our whole lives. We started started Bible Study, School, and we sang in the Church Choir together since we were kids. We always hooped together, and our mothers are best friends. Don’t that carry any weight?

Troy
(Responds with hostility) Stop calling me bro! I’m not your brother. All that stuff you talking was before Czar killed Paris. That changed everything. Czar caused this! Czar left these pieces of destruction behind.

Julian
(Responding in a diplomatic tone) But why Julian? Why would my brother kill Paris? It don’t make sense! They were always thick as thieves!

Troy
(Responding with indifference) I don’t know why! Why don’t you ask him?

Julian
(responding diplomatically) Why don’t we ask him?

Troy
(With a complacent tone) But what’s that going to accomplish? That won’t bring my brother back. I’m not seeing your brother right now, all I see is hurt, and all I need is revenge!

Julian
(Responds pleadingly) C’mon Troy, that’s not you, that’s Jo Jo, Slim talk. They’re the ones that don’t care about us or our families.

Troy
(Responds both shocked and surprised) You know about Jo-Jo?

Julian
(States clearly and affirmatively) Yeah, I know he ain’t right. —Pause— He ain’t never been right! I’m here cause I care Troy,. . . about our friendship and our families. We could put an end to all this hurt and start the healing process.

Troy
(Doubtful, but inquisitive) yeah, and how do you expect to do that?

Julian
(Responds clear, certain, and affirmatively) we can start by trying to get some answers!

Troy
(Responds with hesitancy and uncertainty) I don’t know if I can just talk to Czar right now!

Julian
(Responds with certainty) Yeah, I was thinking the same thing —Pause— but that’s the only way we’re going to find out what’s going on ! (Reluctantly, Troy agrees with a head nod! They then leave together).

NARRATION AFTER ACT III

The brother of the deceased, and the brother of the accused meet. They have been the closest of friends all their lives. This relationship is symbolic of the communities we come from. We are often pitted against one another because of the tragedies we played no part in. Can we find the answers we need to pull ourselves together? Or will the “Broken Pieces” of our world be too damaged to glue back in place?

In the upcoming and final Act, these brothers go to the one place they can find the answers they need.

BROKEN PIECES ACT IV

The stage is empty. (Music Intro), J. Cole’s “Born Sinner” plays. A Correctional Officer comes out, and searches the prison dayroom. Once the search is completed, the officer walks to the edge of the exit. He pantomimes, calling on his radio, signaling the cell doors to open. (Approx. 1:30 Sec.)

Prisoners rush out, most of them running at top speed, the thundering sound is amplified by the prison’s concrete walls.

One prisoner falls, others rush past him. Two prisoners reach the phone at the same instant, both grabbing the handle.

Prisoner 1
Appreciate it shorty, thanks for grabbing the phone for me.

Prisoner 2
Naw man, I got here first, I don’t know what you talking about.

Prisoner 1
Man you know this is my phone, I get this phone everyday at 12:30.

Prisoner 2
I got to call my girl, I asked you before, and I been waiting a week.

Bystander
We can run this phone better than this, let’s have some consideration! Everybody should be able to use the phone.

(Major enters unseen by the arguing prisoners).

Major Ross
Gentlemen, I know I didn’t just see a confrontation over this phone! You grown men still can’t figure it out! —Pause— (The Major recognizes a problem causing prisoner) Aren’t you in C-Grade?

Prisoner 1
(Looking sheepish) Major Ross, what today is? I think I am in B-Grade today.

Major Ross
You know what? Just lock up! Everybody lock up!

(The prisoners ad-lib remarks as they turn to leave for their cells. One prisoner shouts out:

Prisoner
Bootleg Rick Ross.

Major Ross
Huh! Yeah, I’m a boss, now go lock up!

(Major looks around and identifies the prisoner he’s looking for.)

Major Ross
You, stop a minute. Are you Czar Stewart?

Czar
Yeah, that’s me.

Major Ross
Have a seat over there. (Pointing to the chair).

(All the prisoners have returned to their cells. The Major walks over to the entry point and talks into his handheld radio. He says:, “Open door #6”. The Major motions in Minister Kelly, The Major and Minister Kelly embrace.

Minister Kelly
I really appreciate you doing this for me, Robert.

Major Ross
You know I wouldn’t do this for anyone else but you Minister Kelly.

Minister Kelly
Yeah Robert, this is important. I’m here trying to prevent further harm to the community I serve.

Major Ross
Minister, I believe that community involvement is paramount to security in corrections. We need men like you to have welcome access to the system, to help prepare these men to get ready to go home.

Minister Kelly
I wish more people in corrections understood this. After all, the communities these men come from are major shareholders in their success.

Major Ross
Yeah, well they got you and they got me! We’re going to work it out. —Pause— Here’s the young man you want to talk to.

Minister Kelly
(Approached chair) How are you son?

Czar
(Looking broken, responding listlessly) I’m alright.

Minister Kelly
Czar, this incident has really hurt the community. The Dabis family is in so much pain… Even your family is having a hard time coping with how to react to this. And your mother doesn’t understand why you haven’t called home… —-Pause— (The Minister pulls out the letter) She gave me this letter to give to you. Here son, I promised her I would do this. The Minister hands Czar the letter, and walks back over to stand by the […]. Czar receives the letter. Holds it up, and examines it. He gathers himself, and opens the letter. Czar reacts as the letter is being read in his mother’s voice.

Czar,

Love,
MOM

He is visibly shaken by the letter. After allowing Czar a minute to compose himself, the Minister walks over and gave Czar a brotherly embrace.

Minister
(Looking Czar in the eyes) Czar, look at me son. I brought your brother and Troy Davis with me. That friendship is being tested. . . I want you to talk to them, they both want to know why this happened son,. . . we all do.

Czar
(Pulling himself together) Minister, that’s going to be hard, I haven’t explained this to no one. Not even to the Detective I turned myself in to.

Minister
(Patiently) You haven’t seen the impact this has had on everyone else son. You’ve only had to deal with your own conscience. Now I need you to be strong Czar. I need you to tell these young men what happened. Son, think about the Bible verse I taught you in Bible Study: John 8:32, “and you will know the truth when you hear it, and the truth will set you free”. —Pause— Robert, bring those young men in.

Major (Talks into Handheld Radio)
Open Gate 6

(Troy and Julian enter the Jail Dayroom, as they approach, Czar is pacing nervously. Troy looks at Czar, stonefaced, eyes glazed. Troy is struggling to contain his anger and pain. Julian, glad to see his brother, but also aware of the tension between Troy and Czar.

Julian
(Reaching for an embrace) Czar, how you doing big bro?

Czar (Czar holds up his hands to prevent Julian from embracing him.)
Hold on Julian,
(Czar turns to look directly at Troy).

First off, I want to say sorry for the pain I’ve caused, and (Pause) at the same time, I know no matter what I say or how much I apologize, it won’t be enough. I just feel like if anybody, both of y’all deserve the truth about what happened that night. (Heavy Sigh) Well, what happened was me and P had been pressed for money, and everytime we was together, all I kept saying is something gotta change! I mean, I was a 21 year old, 2 time failure, watching you, my Lil brother, set the example of doing what I was suppose to be, and I didn’t know how to handle that. I was depending on my people to take care of me, when it was my time to be the one to take care of them. (More stern tone) All this was my fault, cause if it wasn’t for me blaming somebody else for my misfortune, none of this would have even. . . (Pause).

See, earlier that day, I remember straining my brain on how I was gonna come up with some bread. I had just asked my Uncle for help, he denied me. I remember feeling like a burden, and I was tired of that feeling. But like too many times to count, Paris came calling with an answer. He hit my phone saying, “bro, we got one, I’m telling you. You already know how I’m coming. Meet me at my crib at like 9:30-10:00”. I didn’t even question Bro. I told ’em, “bet, say no more”. When I pulled up at y’all house, he was already in his car waiting on me. So, I bailed in with him, and we took off. He said you might not like the who! But this is exactly what we’ve been looking for. He went on to say that he had talked to Jo-Jo and Slim, and they said they saw my Uncle Sid, put what looked like 10 bands in his safe. (Shocked, in disbelief) I blanked out for a second, and before I knew it, we had pulled up to the side Street next to Sid’s shop. We start arguing in the car, and I’m telling him we ain’t finna do this one. This my family. I watched him grind and sacrifice for what he got, and bro just disregarded everything I said, and got out the car anyway.

(At this point, the stage blacks out. A light comes on center stage. Two men stand behind a transparent curtain performing a reenactment of this part of Czar’s story).

I chased behind him ’till I got in front of him, and put my hands on his chest like, “nah bro”. He was like, “watch out, ain’t nobody gonna hurt him, you finna sit here and miss a come up over what, blood? Huh, you talking about family” (as he ups a gun off his waist) “I’m family!” That’s when he took a step towards the shop. So I grabbed him and before you knew it, we was tussling for the gun, and it ended up going off, Man, everything just happened so fast.

(At this point, the reenactment ends. Stage lights come back on, and Czar completes his story.)

Julian
Bro, that explains everything. I knew you had to have a good reason. . . Man, because of Uncle Sid. . . Wait to tell him. (Suddenly he remembers Troy) Troy see, I told you he had a good reason.

Czar
Cool out Julian. . . Troy, just say something.

Troy
(Turns to the Major) Take me out of here.

(The Minister and Major walk over…)

Major
Mr. Stewart, (talking to Czar) Go back to your cell.

Julian
Hold on Major, let me talk to him…

Major
Now Mr. Stewart…

(Czar heads off stage).

Julian
I’ll be back Czar. I’ll be back.

Major
You both wait right here.

(Julian turns to Troy).

Julian
Troy man, we alright ain’t we? He didn’t have no choice, he had to do it. . . I mean, you get that, . . . right?

Troy
I don’t know if we alright. I don’t know. But you wrong about Czar. He had a lot of choices. He just made bad ones… And because of that, everything is broken!

Julian
Broken! . . .Broken!. . . Troy, everything in our lives been broken! Our brothers kept us on the porch for a reason! You know that bro. . . We supposed to been the light at the end of the tunnel. We supposed to make sure our people’s sacrifices was worth it! That’s the weight that was placed on our shoulders from day one Troy. Day one! What, you forgot? Since the beginning, we been dealing with broken pieces! We came up in a broken community, surrounded by broken spirits!. . .  Survived a broken School System, avoided a broken Criminal Justice System. . ., and it’s up to us to fix it!

In our adolescence, them people told us our future only held two destinations, and that was the graveyard, or the penitentiary! And even though we showed them wrong, it still hit home with us. And now you wanna just quit?!! You wanna throw the towel in?!! Throw all that down the drain?!!

The choices me and you make determine the outcome of us as well as our loved ones. . . It’s up to us to break the cycle!! And you out?!! You out?! ! !

Music plays as everyone exits the stage.