Adapted from the novel, ON SINAI'S LOFTY MOUNTAIN, by Sidney Du Broff.

A recorded voice, off stage, meant to be that of the author, will introduce the scenes, and provide background, as required.

This is the story of Jonathan Jay Pollard, the man who spied for Israel.

Three men and three women will play all the parts.

The stage is generally bare. Austere bits and pieces are moved into place as required, to suggest the appropriate setting.

Synopsis of scenes, following:

(Georgetown) Washington D.C. apartment she shares with her husband, Alan, reading a book while she listens to Tchaikowsky’s Swan Lake. It is early evening. Leah has returned from work, and awaits her husband’s arrival. They will be going out to dinner.

Alan enters. He is about thirty. Leah jumps up to greet him. They kiss warmly, even though it is only this morning that they shared breakfast together. They are fairly newly married.

Alan goes to the window and scrutinizes the street below, remaining obscured by the curtain.

Why is he looking out of the window?

To see if the FBI is there, tailing him, as they have been doing.

Why would they be doing that?

Because he has been spying for Israel.

Why? Why does Israel need a spy?

Because the United States has failed to live up to its part of the 1983 "Memorandum of Understanding" which requires that Israel and the United States exchange intelligence information.

And what is this intelligence?

That Iraq is virtually a nuclear power, only weeks or months away from being able to explode a nuclear bomb.

You provided Israel with this information?

Somebody had to.

Leah is pleased, and very proud of her husband, whom she regards as a hero. But she is deeply troubled by the fact that the US considers Israel expendable. Why else would they withhold this information?

But now that suspicion has been aroused, and the FBI has become involved, Alan and Leah will have to flee – to the Israeli Embassy, where they have Israeli passports waiting for them, that they are citizens of Israel, and will be taking up residence there.

SCENE 2: Outside the Israeli Embassy, which is protected by anti-terrorist structures. A two-way communication system, far back from the building, must be employed by those who come calling, and who must identify themselves before being allowed to enter. Alan identifies himself with his code name – Eilat - and he and Leah proceed into the vestibule, where he explains who he is and why he has come. He is instructed by the Israeli official to wait, who now goes elsewhere to check further.

When the Israeli official returns, some time later, he informs Alan that nobody in Israel has ever heard of him, and demands that Alan and his wife leave the Embassy at once.

Alan is outraged. But nevertheless, he and Leah are unceremoniously ejected from the Embassy into the waiting arms of the FBI.

SCENE 3: In Israel. In the Prime Minister’s office in Jerusalem. Here the Prime Minister is meeting with the head of Military Intelligence (who is, today, the current Prime Minister), and the Head of Mossad. They are in a panic over the events, fighting about who is responsible, looking for a way to absolve themselves, acknowledging that Israel is in deep trouble. They discuss the fact that the United States is a dubious ally, though most of the rest of the world is even more so, and more openly hostile. They recognise their isolation, agree that they must pursue a program of reconciliation with the US, that they will say this was a "rogue operation," and how filled they are with the desire to repent and make everything right.

SCENE 4: In Washington. The head of Israeli Military Intelligence is in discussion with two US officials, who direct the most dire threats at Israel, and her continued existence. The man from Israeli Military Intelligence does all that he can to placate the Americans, and does not hesitate to throw Brady to the (US) wolves, who are most eager to devour him. They demand the return of the documents Brady procured for the Israelis – the originals, bearing his fingerprints, providing irrefutable proof of his involvement and his guilt. The Israeli eagerly complies.

SCENE 5: The Man from Mossad is in discussion with Dr. Brady, who is Alan’s father, and an eminent scientist. Alan and Leah are also present. The US Government has offered a plea bargain, which Dr. Brady prefers, since it will engender considerably less publicity than a trial by jury. It is also what the man from Mossad wants. But Leah, who has been indicted as an accessory, is strongly opposed, being less the academic and more "street wise". However, Alan allows himself to be persuaded by his father’s point of view, accepting as fact that he will serve a year or two in prison, while Leah will get off completely free.

SCENE 6: Alan stands before the judge, waiting to hear sentence pronounced. The judge sentences him to "life in prison" without hope of parole. The American government has double-crossed Alan Brady.

SCENE 7: The Man from Military Intelligence is speaking to a closed session of the Knesset, the Israeli Parliament, reassuring them that they (the government) are doing everything they can for Alan Brady, acknowledging their debt to him, and claiming that the government is "working behind the scenes" to bring about his release. The Knesset members shout out their skepticism.

SCENE 8: The Man from Mossad is speaking with Dr. Brady; he says they are "working behind the scenes". He tells Dr. Brady that they want him to campaign in the US for his son’s release. He has a briefcase filled with money, cash, which he gives Dr. Brady, meant for the campaign in the US, where he will need to direct his effort. Definitely not toward Israel. They don’t want any criticism directed toward Israel; it is as if this event has nothing whatsoever to do with them.

SCENE 9: The Israeli Prime Minister is speaking with the Man from Military Intelligence, is deeply concerned about the unrest in Israel as a result of the events relating to Alan Brady. The Man from Military Intelligence says that the Prime Minister must repeat frequently that they are "working behind the scenes," varying the theme slightly each time, suggesting that they are not in a position to reveal everything at this time, as the negotiations are very delicate with the US. Ultimately, as time passes, people will forget; they have enough problems, events that are more pressing in their day-to-day lives which require their attention, and the Brady affair will ultimately pass into oblivion. They need to feed Dr. Brady with sufficient funds so that he feels he is really doing something constructive for his son. Will his efforts be effective? Certainly not, the Man from Military Intelligence replies, with the US Departments of Justice and Defense, as well as the State Department, against the release of Brady now or ever. The Prime Minister is more than happy to buy this cynical approach.

SCENE 10: Leah Brady appears on television, making the case for her husband and for herself. She is a very effective speaker. She is still on bail, awaiting sentence.

Sandy Spaulding, with her husband Mark, is watching Leah on television. They are both deeply impressed. Sandy says that she has to become involved with this unfortunate situation. Sandy is a lawyer, as is Mark. She is about forty, extremely attractive, with short blond hair and a slight Georgia accent. She feels this situation very deeply, and is surprised that there is little by way of support being offered for the Bradys.

Mark is pleased by his wife’s involvement, that she feels this so deeply. She is a recent convert to Judaism, and she feels that this is her fight, too. The Spaulding family have a long and deep involvement with Israel.

SCENE 11: A middle-aged Jewish woman addresses a gathering, says that they must stand up and fight, that they cannot let this happen to them – that this is, in its own way, a holocaust, a holocaust of the spirit. If they do nothing, they show the government that the government can do whatever it likes to the Jews – just like they did in Germany.

SCENE 12: Leah Brady stands before the judge, awaiting sentence. She is given five years as an accessory.

SCENE 13: The FBI (two of them are present) has brought Leah to the prison where Alan is incarcerated. One man hands Alan a sheet of paper. What is it, Alan wants to know. A list. A list of prominent American Jews. Why has it been given to Alan? So that he can check off the names of those with whom he worked (in betraying America). Alan is surprised, says they are fully aware that he never worked with anyone.

Name names, the FBI insists. Jewish traitors. Alan refuses.

If Alan does not comply, they will take it out on his wife’s hide. They have her in their power and they can do whatever they want to her.

Leah tells Alan that no matter what they do to her, he must never betray their people. Here is a Jewish queen.

This was why the US Government was so eager to have Brady’s head, so that he could be portrayed as a Jewish traitor, and show Jews generally as being disloyal Americans, providing support for Israel, to the detriment of their own country. The charge of "dual loyalty" could be made to stick, directed at a people who felt they were vulnerable.

Leah takes the list from Alan’s hand, tears it up in little pieces, and throws it into the face of the men from the FBI.

SCENE 14: Sandy is speaking with the Israeli Ambassador in Washington, demanding that they do something about getting Alan Brady out of prison. The Ambassador is extremely patronizing, telling Sandy to take her message to the American president. She tells him that it is incumbent on Israel to get the Bradys out of prison. He is annoyed, reminds her that she is not Jewish, and if she really wants to help Israel, she should devote her effort to fund-raising. She reminds him that she is Jewish by choice, whereas he is merely Jewish by default.

SCENE 15: Sandy is picketing the Israeli Embassy. She carries a sign which says, ISRAEL MUST ACT TO FREE THE BRADYS. She is accompanied by another, the middle-aged Jewish woman who we had seen earlier, addressing a group of people. She too carries a sign: THE BRADYS ARE ON OUR CONSCIENCE.

The women chant: ‘Free the Bradys. They are Israel’s responsibility.’

The Ambassador appears. He is thoroughly annoyed. He tells the women to go away, which they have no intention of doing.

SCENE 16: Sandy, who is Leah’s lawyer, is visiting Leah in prison. Leah is chained to her bed. The Warden (female) is also present. Sandy protests the treatment and conditions of her client. The Warden says she is doing what she is told – following orders. Leah is a political prisoner. She has developed an intestinal problem during her stay in prison, which goes untreated. Here she has been forced to undergo examination in front of male guards, as a means of further humiliating her. This is what they meant when they said they would take it out on Leah’s flesh. Her treatment is reminiscent of conditions in a German concentration camp. Sandy conveys this to the (female) Warden, currently present, who explains that this is what they do here, in the "correctional" institution.

SCENE 17: Leah is being released from prison. She has served 3 ½ years of a five year sentence. Physically she is in very bad shape, supported now by Sandy. Both stand before the Warden, who is explaining to Leah that she is being released early for "good behaviour" – that it is a matter of great "leniency and compassion" on the part of the authorities. Leah will be required to live in a "half-way house", a transitionary establishment meant to enable inmate to "adjust" to life in the outside world, while at the same time being supervised and monitored. Leah has chosen to live in New York, but cannot travail more than 100 miles in any direction – terms of her parole.

SCENE 18: Leah appears on television, making a very dramatic and eloquent appeal on behalf of her husband, and herself. She explains that she loves her husband and is going to fight for him, acknowledges that things would have turned out very different had there been a jury trial.

SCENE 19: Leah is walking down the street. Walking toward her is the middle-aged Jewish woman, who recognises Leah from her appearance on television. She throws her arms around Leah and bursts into tears. Holding Leah’s hand, she announces to passers-by that this is Leah Brady, who appeared on television last night. They all become involved and animated, calling out her name. Soon a crowd has gathered, all of whom are sympathetic to her plight and her cause. Leah is deeply moved. She addresses the crowd, tears running down her cheeks. The middle-aged Jewish woman says that Leah needs money to carry on the fight, and proceeds to collect money from the crowd, which she gives to Leah, who is overwhelmed by the support given to her.

SCENE 20: The Man from Mossad is speaking with the Israeli Prime Minister. Both are greatly upset by Leah’s success. She is stirring up people – who will direct their hostility towards Israel, and will begin to demand that Israel take action on behalf of Alan Brady. Fortunately she can’t as yet travel too far afield. They have to do something – before her period of parole ends, at which time she will be able to visit her husband.

SCENE 21: The Man from Mossad goes to see Alan Brady in prison, which is now the place where he is meant to spend the rest of his life, the high-security prison in Marion, Illinois – Marion Prison – in solitary confinement. The Man from Mossad tells him how Leah is ruining his chances of ever getting out of prison. Alan thought that her television appearance was very good. The Man from Mossad says it was terrible – that from his place in prison, anything looks good, but people are all saying how bad it was, and how unsympathetic she has made him appear. That in reality, he tells Alan, Leah is very bitter towards him, blames him for her incarceration, which, she feels, would never have happened had there been a trial by jury. He convinces Alan that while she sounds as if she is campaigning on his behalf, in reality she is collecting money for her own ends. Alan is very angry about this, unable, in his condition, to make rational judgements. Alan is to be permitted a phone call shortly, and he will make use of it to tell Leah to stop ruining is chances of getting out of prison.

SCENE 22: Alan is speaking with Leah on the telephone. He is furious with her, having bought the story from the Man from Mossad in its entirety. Leah tries to put him right, but he will not listen. There are harsh words exchanged between them.

SCENE 23: Leah, clearly not well, is speaking before an audience. Dr. Brady, at the behest of the Man from Mossad, has taken out an injunction against Leah, which prevents her from using the name Brady, where it also includes Alan. This she explains to the audience.

Suddenly, while speaking, Leah collapses.

SCENE 24: Leah is in the hospital. Sandy is with her. A messenger appears. He has an envelope, for Leah. She opens it. It is a divorce notice – from Alan.

SCENE 25: The Man from Mossad is visiting Leah in the hospital, and is very pleased with himself. Sandy is also present. Leah has been effectively silenced, he explains to her. She is ill, has no money, no job, and no prospects. She is not able to influence events in any manner or form. However, he points out to her, Israel is prepared to be magnanimous – they will allow her to come to Israel to live there, integrate and start a new life. But there is a catch. No agitation. She is gagged, silenced. She will not even be permitted to speak about her own plight. Leah refuses. The Man from Mossad points out to her that Alan doesn’t want her any more, the family doesn’t want her. For whom is she fighting? Sandy knows that they have all the cards, that their side has lost, at least for now. She is prepared to help Leah financially, and in any other way, but her fight to help Alan is, by and large, over. Reluctantly, Leah agrees.

SCENE 26: In a hospital room in Tel Aviv, Israel. It is during the Gulf War. Leah is sitting up in bed. Sandy is in a chair nearby. They both have gas masks. There is plastic sheeting over the window. The alarm comes over the television. There is a four-minute warning, before the Iraqi Scuds begin to rain down upon them. Both women put on their gas masks. (Normally people proceeded to shelters, but hospital patients were not evacuated, and remained where they were, a sheet of plastic covering the windows to diminish the effect of flying glass, in the event of a hit by a Scud.

Both women are very calm. We hear the dull thud of a Scud hitting the ground, not too far off. Leah counts, "One." And another: "Two". Leah goes on counting, after each thud, makes it up to seven.

The all-clear comes. The women take off their gas masks. This is what Alan Brady had warned Israel about. Now it is happening. But Israel does not retaliate. Israelis are told to sit and "take it". The United States has gathered Arab support for action against Iraq, but Israeli action would terminate the Arab support. Both women are furious that Israel has once again complied with American requirements.

SCENE 27: The Gulf War is continuing. Sandy, still carrying her gas mask, goes to see a female Member of Parliament in Jerusalem (Guela Cohen) a former member of the Irgun, known for her outspoken views, and an unequivocal supporter of Leah Brady. Sandy asks what they are doing to bring about Brady’s release. They are "working behind the scenes." She has been labouring under the (false) idea that the Man from Mossad is really doing something concrete for Brady, is herself duped, but will not entertain the idea that the Man from Mossad is not Brady’s "great hope".

SCENE 28: It is some years later, at the Wye Conference in Maryland, USA. Israeli Prime Minister Netanyahu is here to sign an agreement with the Palestinians, which will ultimately provide them with an independent state. Signing that agreement, however reluctantly, will also bring about Brady’s release, a fact that Clinton has assured Netanyahu will result. Benjamin Netanyahu, from the start, has taken a very strong position regarding Brady. Now, as Prime Minister, he has made this a priority. He is here, upon signing, to take Brady "home", to Israel.

But now Clinton is reneging. He can’t release Brady just now – his advisors are against it. The Departments of State and Justice are against it, as is the Department of Defense. He wants to take the situation under review, consider it more carefully.

Netanyahu does not want to sign. Clinton applies pressure, makes threats.

General Ariel Sharon (now Minister of Infrastructure) is dead against Netanyahu signing, tells him not to do it. Clinton applies more pressure still. Netanyahu crumbles, signs the document.

SCENE 29: Ehud Barak is now Prime Minister of Israel. He stands alone on the stage, darkened, except for the light that shines on him. He says that he never had anything to do with the events concerning Alan Brady. That it is an internal matter – concerning only the USA - and has nothing to do with Israel.

Sandy is standing on the opposite side of the stage. The light goes on, shines on her. She says, "Ehud Barak, you are a liar. You were Head of Military intelligence at the time." She reminds him that he had come to Washington, and negotiated on behalf of Israel. He had thrown Brady to the wolves – the American wolves who were eager to devour him, and did. Israel betrayed him – and all the Jews.

Barak says he is "working behind the scenes" to bring about Brady’s release.

Sandy again tells him he is liar. She recounts the sins which were committed – that the man who saved Israel continues to rot in prison, now fifteen years (plus).

The lights go out.

SCENE 30: Alan Brady, alone, is under the spotlight, in prison uniform. He talks about his devotion to Israel, and that his betrayal will serve to warn others who might otherwise make a useful contribution.

Barak is under the spotlight, tries to rationalise his action. Light dims.

The spotlight reveals Dr. Brady, Alan’s father. Alan denounces him, says that he believed the Israelis, thought the best way to help was through their efforts. Light dims.

The spotlight is on Leah. She is in her hospital gown, and carries her gas mask. Alan says, "And I betrayed you." This was the girl he loved, and who loved him. He will regret that betrayal to his dying day – and from the looks of things, it is here he will remain until that day. When he betrayed her, he threw away the keys to his prison cell. When he agreed to a plea bargain, rather than a jury trial, which she had wanted, he assured himself that this would be his permanent home.

Leah does not reply. She puts on her gas mask.

The lights go out.

The End -

© Sidney Du Broff, 2000