Reruns
By: Kaitlin Arocho
INT. BEDROOM – DAY
Two girls, about 17 years of age, are talking. One’s laying on her back, sprawled out on the bed, THEA, while the other, EVANGELINE, sits curled up in an armchair in the corner.
THEA
An assassin.
EVANGELINE
Seriously?
THEA
Yes. I mean just think about it.
EVANGELINE
I have, and I think you’re crazy.
THEA
But really think about it, it’s not that crazy. You can travel the world, meet different people, be different people…
EVANGELINE
You also have to kill people. And just so I really get that through to you, not that you can, you have to kill people. And why assassin? Why not a bounty hunter or something? At least that sounds better in the morality department.
THEA
Well I mean, yeah. But like, it’s a small price to pay for the amazing pros I just gave you. And when have I ever been worried about morality? Because that just means you’re an off branch cop or something.
EVANGELINE
Not a small price.
THEA
Alright, what would you pick then?
EVANGELINE
A florist.
THEA
Seriously?
EVANGELINE
Let me finish. I would want to be one of those cool florists that can do all these different things with flowers. Make cool perfumes or scents, make oils, maybe even find cool healing properties from certain flora.
THEA
And you say I’m weird.
EVANGELINE
But that’s what I’d want to do in my next life
THEA
But you could definitely do that now. No one said you had to go into law. Just because it’s what your parents want.
EVANGELINE
You don’t get it. It’s all they’ve ever talked about. Your parents have always been supportive of whatever you wanted to do.
THEA
Well…
EVANGELINE
Don’t say they aren’t supportive of you wanting to be a vigilante like it’s the same thing. That’s the one thing they shouldn’t support you on.
THEA
Vigilante isn’t the right word. I don’t know what would be, but it’s not the right one. (beat) You’ve always been into flowers and stuff, why is that?
EVANGELINE
I could say and ask you the same thing for your obsession with having an alter ego of some kind.
THEA
I dunno. I guess a part of me feels like I was always supposed to do it. And I don’t just mean like “oh my gosh this is my calling. I was born to do this.” Does that make sense?
There’s a long silence between them.
THEA
Like, honestly? I think I would be able to do it right now if I really tried. That’s what this feels like. I might mess up the first couple times, but I would get it super fast. Like I’ve done it all before, ya know?
After Evangeline doesn’t answer Thea looks over to her. She can tell she’s thinking about something. Eventually Evangeline answers.
EVANGELINE
Yeah, I get what you mean.
We transition from the room to a village market like place.
EXT. MARKETPLACE – FRANCE – NIGHT
It’s about the early-mid-1500s. We see a young woman, about 17 years of age, closing up her shop. We see a sign that says “MARIE’S FLORAL”. Soon she walks inside.
INT. SHOP – NIGHT
MARIE is cleaning up inside. She startles as she turns around.
MARIE
My lord, you gave me a fright.
We see a HOODED FIGURE standing near the opposite wall.
MARIE (CON’T)
Well don’t just stand there. Let me see what happened to you this time.
The figure walks to the table in the middle of the room. They pull a chair out and take a seat.
MARIE
You can take that ridiculous thing off you know.
The figure complies. They reveal themselves to be another young woman, about the same age as Marie.
MARIE
Why do you even wear that thing if you only work at night? I imagine you’re so fast that you can do what you do without being seen.
FIGURE
Obviously not.
They indicate the gash on their left calf. It’s being held together (poorly) by a piece of fabric.
MARIE
Where did you get this fabric from?
They point to the bottom of their cloak.
MARIE
Are you going to want me to fix that too? I don’t know how to do that, so it won’t be all tha-
FIGURE
I can do it. I’m very capable of doing things other than sneaking around, killing people, and asking you for things.
MARIE
I’m sure you are.
Marie gets up. She goes over to the cupboard and gets a few things. She starts to mix them together. She crosses the room and starts to reach for the handle of the broom closet when a knife lands in the door, just having barely missed her.
MARIE
You just nearly took my head off there. What’s with the sudden aggression?
FIGURE
You’ve never had to go in there. Why now?
MARIE
You’ve never had an injury this bad. It’s a wonder you were able to make it here before passing out.
The Figure continues to stare at Marie until she looks away. Marie takes this to mean she’s free to proceed. We see her struggling to take the knife out. She can’t seem to do it, so the Figure stands up and takes it out with ease.
MARIE
Thank you.
The Figure says nothing, doesn’t even acknowledge, and just goes to sit back down with a grimace of pain. Marie stares for a moment before continuing with what she was doing.
MARIE
You know, I have been helping you for almost a year now. Ever since you stumbled, literally, into my shop. Yet, I know not what to call you.
She takes a few roses out of the closet. She then goes to grind them and adds water. She walks over to the figure.
MARIE
I do believe that’s when you tell me your name.
She places the bowls on the table and kneels down to take care of the Figure’s injury.
MARIE
You know you don’t have to, I just thou-
FIGURE
Athena.
MARIE
Athena? That’s a bit different to me. Where exactly are you from?
FIGURE
Where I’m from isn’t important. But the name’s Greek. It means the Goddess of war and battle strategy.
MARIE
That’s very fitting. A little too fitting…
The Figure flinches, clearly pained at the moment.
MARIE
I’m sorry.
She goes to focus solely on what she’s doing. Soon enough she’s done and gathers everything to clean up. When she turns around the Figure is perched in the window on the wall we first saw her on.
MARIE
You’re going already?
FIGURE
I can’t stay. I put you in danger every time I come to see you.
MARIE
Then why do you?
FIGURE
Because you’ve always been so kind to me. Thank you.
Marie seems taken aback by the last two words.
MARIE
You’ve never said that before.
FIGURE
Guess it was about time I did then.
The figure’s about to leave when Marie stops her.
MARIE
Wait.
The Figure stops and turns.
MARIE
Your real name isn’t really Athena, is it?
The Figure just smirks, pulling up her hood and leaves. We stay with Marie as she stands there, seemingly confused.
We then transition back to the present.
INT. BEDROOM – DAY
Evangeline is still curled up in the chair while Thea is now on her stomach with her arms under her, facing Evangeline. Thea’s voice fades in.
THEA
Hello. Earth to Evangeline. Hey!
EVANGELINE
Ah, huh, what?
THEA
Jesus Christ. I’ve been trying to get your attention for at least thirty seconds.
EVANGELINE
Sorry.
THEA
What were you thinking about anyway?
EVANGELINE
Oh, uh… I don’t really know. I feel like I was remembering… never mind. (beat) Hey, Thea?
THEA
Yes, Evangeline?
EVANGELINE
Where’s your family from?
THEA
I don’t know. Probably Europe if I had to take a guess. But then again, basically everyone’s family’s from Europe. Why?
EVANGELINE
Just wondering. (beat) What’s your name mean?
THEA
What’s with all the questions about my heritage and everything all of a sudden?
EVANGELINE
Just answer the question.
THEA
Alright, geez. It’s Greek. Theia with an “i” between the “e” and “a” was a Titaness. But most people know my name to mean Goddess.
Evangeline lets out a soft huff as she smiles. She’s staring off into space, once again thinking while Thea just stares in confusion and disbelief.
THE END
Art Piece “Unforgivable Choices” by Stevie Hurtado