Scene 5: The Portable Homeland
A border crossing. A worker carries a simple suitcase.
Historical Artwork
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Characters in This Scene
Esperanza
Bracero-era migrant mother
12 lines
Miguel
Her adult son, reflecting back
14 lines
Border Agent
U.S. immigration officer
5 lines
Elena
Miguel's daughter, third generation
8 lines
Abuela's Voice
Voice of ancestral memory
4 lines
Narrator
Scene Narrator
4 lines
Script
[A border crossing, suggested by a simple line across the stage. ESPERANZA stands with a cardboard suitcase. She wears her best dress and clutches a small image of the Virgin of Guadalupe. Her son MIGUEL, now elderly, watches from the shadows as a younger version of himself plays nearby.]
NARRATOR: 1944. The United States needs workers. The Bracero Program promises Mexican laborers legal work in American fields. For Esperanza, a widow with a young son, it is a chance at survival. For Miguel, it is the beginning of a journey between two worlds—a journey that has not ended.
ESPERANZA: (to young Miguel) Listen to me, mi'jo. Where we go, they will not speak our language. They will not eat our food. They may not see us at all. But remember: you carry México inside you. No one can take that away.
YOUNG MIGUEL (voice): Will we come back, Mamá?
ESPERANZA: (a pause) Home is not always a place, mi'jo. Home is what we carry. (touching the Guadalupe image) She crossed borders too, you know. From Tepeyac to every corner of the world. We will be like her.
BORDER AGENT: (stamping papers) Next. Papers. Name.
ESPERANZA: Esperanza Morales. And my son, Miguel.
BORDER AGENT: (barely looking up) Esperanza. That means hope. (stamps) Welcome to America. Don't cause trouble.
[Lights shift. Time passes. MIGUEL steps forward as his elderly self. His granddaughter ELENA stands with him, clearly American-born, perhaps holding a phone.]
MIGUEL: (to Elena) Seventy years. I have lived more of my life on this side than on that side. I fought in Korea. I paid taxes. I buried your abuela in California soil. And still, sometimes, I dream in Spanish.
ELENA: Abuelo, why does it matter? You're American now.
MIGUEL: (gently) Am I? Your father's coworkers ask him "where he's really from." Your grandmother was asked for papers at the grocery store until the day she died. We are from here now, mi'ja. But "here" does not always want us.
ELENA: It's different for me. I don't even speak Spanish that well.
MIGUEL: And that breaks my heart. (pause) But I understand. You are building something new. A new language. A new identity. Just as my mother did.
ABUELA'S VOICE: (echoing) You carry México inside you. No one can take that away.
ELENA: (moved) Abuelo... tell me about her. About Esperanza. Tell me everything.
MIGUEL: (sitting down, smiling) She was born in a village you will never see, in a country that no longer exists exactly as it was. But her blood is in your veins. Her prayers are in your bones. And her hope—Esperanza—her hope is why you exist at all.
[ESPERANZA appears behind them, young again, still holding her Guadalupe image.]
ESPERANZA: (to the audience) They ask us: Are you Mexican or American? As if we must choose. As if the heart cannot hold two loves. (she looks at Elena) My great-granddaughter will never cross a border with a cardboard suitcase. But every day, she crosses borders I cannot see—between languages, between cultures, between who she is and who the world says she should be.
NARRATOR: Today, over 37 million Americans trace their ancestry to Mexico. They are doctors and farmworkers, soldiers and artists, teachers and dreamers. They carry two flags in their hearts. Two languages on their tongues. Two histories in their memory. The border runs through families now—but so does love.
ALL (speaking together): We are the children of the Fifth Sun—not the one that set, but the one still rising.
Discussion Questions
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1.
How has Mexican-American identity evolved across generations?
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2.
What does Esperanza mean by "home is what we carry"?
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3.
How do language and culture connect across generations? What is lost? What is gained?
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4.
How does this scene connect to contemporary immigration debates?