(Hana is a Jewish girl who falls in love with Jaroslav, who, after the arrival of the Germans,

the Nazis, is afraid to reciprocate his love for Hana for racial reasons. She doesn't realize this
and does everything she can to keep his love. She is unaware of the hopelessness of her
actions, but she is all the more stubborn and loving.
Hannah's monologue is highlighted in red and can be filmed against a mobile phone camera
solo.)

SCENE 1.

HANA enters a corner behind the church. He is surprised.

JAROSLAV (O.S)
What are you doing here?

HANA approaches him, towards the camera.

HANA
I don't want to lose you!
I've been waiting for you all afternoon.

JAROSLAV (O.S)
I'm on duty.

HANA
Catch me, come on, I want it.
Harder, harder! I belong to you, you know that?
Hold me! Let me see how...

HANA whispers.

HANA
Honey, buy a flower and come to my mother to ask for my hand in marriage! Now
Mommy won't be able to say a word.

JAROSLAV (O.S.)
You should get out of here as soon as possible.

HANA is surprised by what he is saying.

HANA
Is that what you wish, you don't care about me?

Jaroslav turns to her, trying to reason with her, takes her hand, scolds her.
 JAROSLAV (O.S.)
I want you to leave as soon as possible. The sooner the better...

HANA's not happy, she's interpreted it in her own way.

HANA
Are you worried about me?

Jaroslav pretends to be worried. He nods in agreement, which reassures and comfort Hana.

HANA
I've done everything. Together we can do this.
I said we wouldn't leave and that we could get married.

Jaroslav turns away from her, he doesn't understand.

JAROSLAV
How?

HANA
Soon I won't be Jewish anymore, twice I'll go to the parish and get baptized.
Fortunately, my father was baptized.

JAROSLAV
It's no use anymore.

HANA
Why not?

JAROSLAV
I don't want you and your family weighing me down!

HANA slaps him in the face ( the camera) and immediately regrets it.

HANA
I'm sorry.

Jaroslav holds his moment of silence, he apologizes too.

JAROSLAV
I'm sorry.

HANA grabs him (the camera), won't let him go. She holds him with all her strength.

HANA
It's written - therefore the man leaves his father
 and his mother, that he may be joined to his wife, that the two may become one
flesh.

Jaroslav rises up, and with a swift step walks away. HANA looks after him firmly. She shouts
after him.

HANA
I'll never leave you and I will never give up on you, remember that!

SCENE 2.

(In this scene, Hana comes to collect her niece from a surrogate family, from a former lover who
betrayed her and caused her trauma. Here Hana is a resigned, physically devastated being who
miraculously survived a concentration camp and is full of rage and implacability. Dialogue against
the camera)

HANA enters the garden.

HANA
Miro, come here!

Jaroslav, Ivana is turning around.

HANA
Do you hear me?! Come on!

Mira stands, she doesn't want to, Jaroslav pushes her to go to her aunt. Mira grabs Ivana's hand as
a last help.

HANA
Don't touch her!

Ivana lets go of Mira.

IVANA (O.S)
HANA...

HANA looks back into her face, shakes.

IVANA
I'm sorry. Forgive me! If I could take it all back...

HANA suddenly straightens up, and silent despair gives way to anger. She reaches Mira and grabs
her by the arm, pulling her away.
 HANA
You could have!

Ivana backs away.

HANA
You could! you're responsible for everything! Both of you!

HANA flicks her eyes at Jaroslav, who doesn't look her in the eye. HANA gives them one more
hateful look.

SCENE 3.

(This scene is meant to demonstrate the ability of expressive expression of the main character,
who has been through a traumatic, wartime situation and privately faces her own demons, a
certain schizophrenia, and the actress should here show the other, subverted face of human being.
She doesn't want to kill herself with a gun, rather she ends her past identity, demons and action
with this act, which in a way calms her down. The gun can be imaginary)

HANA sits down on the bed, breathing heavily, lies down and closes her eyes, turns her head to the
wall. Hands emerge from the wall, wanting to grab her. The wall stretching out, forming tentacle-
like arms reaching for her. (In rehearsal, the actress pretending to be caught by someone else's
hands and choke her, improvising.)

HANA grabs a pistol (imaginary) from the pile of thrown blankets, turns it on herself, puts the
barrel in her mouth. He pulls the trigger, over and over again, shooting herself imaginatively,
ending her life, or what she went through. The gun is not cocked.

So, HANA throws it down on the ground. She cowers on the bed, screaming hysterically.

HANA

Uááá….