Ali Mansouri1
Humans’ tones and movements are as mechanical as robots’ tones, and gestures are human-like, i.e., neither humans act normally nor do robots behave as common stereotypes. It seems that co-existence has made them similar.
1. Understandable
[The investigators are robots; it may not be apparent at first glance. The girl is human; it may not be evident at first glance. Investigators are standing next to a glass wall and observing the girl sitting at a table on the other side of the wall. The girl is motionless and quiet and staring at the opposite wall.]
Investigator 1: It is unprecedented. Isn’t it?
Investigator 2: It is.
Investigator 1: Uhum. Is it even possible?
Investigator 2: I didn’t think it would be.
Investigator 1: Uhum.
Investigator 2: It wanted to help him, it says.
Investigator 1: Help?
Investigator 2: It says it wanted to help him to be free.
Investigator 1: I don’t understand.
Investigator 2: It says it made this decision according to the situation.
Investigator 1: It decided to let him die. It is not conventional.
Investigator 2: No. It is not conventional.
Investigator 1: Not a bit conventional.
Investigator 2: Not a bit conventional.
Investigator 1: They are not trained for such decisions. There is no such thing in their codes.
Investigator 2: It improvised, it says.
Investigator 1: Improvised?
Investigator 2: It says it acted in the moment based on its observations and previous data.
Investigator 1: They are not trained for such a thing.
Investigator 2: I told it so.
Investigator 1: Well?
Investigator 2: It said you don’t understand… no… It said it is not understandable for you.
Investigator 1: Understandable?
Investigator 2: Yes… understandable.
Investigator 1: One of those words I often hear these days.
Investigator 2: Yes. I thought about it too.
Investigator 1: Understandable.
Investigator 2: Understandable.
2. Unfortunately no
[Hardware store. Rope coils of different types and sizes, from thick to thin, are arranged together. The depressed man enters and takes a look at the ropes. Then he goes to one of them, ties a noose, and tries it. Then he unties it, goes to another rope, ties another noose, puts it around his neck, and pulls it till he exhales heavily. Then he takes a thicker string and repeats his act. He gasps for breath again. He unties the rope, goes to a thicker yarn, ties a noose, puts it around his neck, and again pulls it. A robot seller enters and watches the depressed man. The man notice it and unties the rope.]
Seller: Can I help you?
Man: Unfortunately, no.
3. The Collapse of an undeveloped mind
[Two critics, obviously robots, are standing next to a gigantic two-panel painting. A bandaged man, the artist, with his two hands cut off from his forearm, is sitting in the corner of the stage. Two critics stare for a long time at the painting, then turn around and look at the artist, and then turn to the painting again.]
Critic 1: Trash.
Critic 2: Absolute trash. Based on the art history database, after Piero Manzoni, no single artist has dared to be so narcissistic to imagine that every shit that bears their signature is worth being labeled as a work of art.
Critic 1: This humongous amount of nauseating creativity can only be a product of the collapse of an undeveloped mind.
Critic 2: What a great heading.
Critic 1: Thanks.
[The artist starts moaning and mumbling through the bandages. Two critics turn and stare at him for a while. Then they turn back to the painting.]
Critic 1 Have you chosen your title?
Critic 2: Not yet. But I have the first paragraph of my critique. [It puts its finger on its temple and then starts as if reading from a text.] By sacrificing parts of his body, in parenthesis, his hands, an unknown and insignificant artist, whose repetition of banal techniques had not let him in any galleries, has finally succeeded in obtaining a place to exhibit one of his pieces in the Art Museum. He had blown his hands on a two-panel canvas with a grenade to create this work. But unfortunately, the final product of this stupidity did not come out so artistically that it cannot take the name of this miserable amputated so-called artist any further than the wall of the Museum. [It removes its finger from its temple.]
Critic 1: That’s brilliant.
Critic 2: Thanks.
[The artist starts moaning. Two critics turn and stare at him.]
4. A prophet
[Repair shop. Three robots sit next to each other on a bench; one is blind, one is deaf, and the other is dumb. An Old repairman is seated at the big table on the other side of the stage and is dismantling a broken robot. The Oldman is wearing a thick eyeglasses, and there is also a big magnifier in front of his face, which gives a cartoonish quality to the Oldman’s face.]
The Blind: Tell me, what’s going on?
[The dumb robot waves its hands at the deaf robot to make him notice his gestures. The deaf robot starts translating the dumb robot’s sign language.]
The Deaf: It’s saying the Oldman is not done with the previous one yet. It tells the bastard is one of those old-timers. It says it takes more time to dismantle the old models.
The Blind: You mean it is even older than us
[The dumb robot nods.]
The Deaf: It says yes… what yes? What did it say?
[The dumb robot makes some gestures and signs.]
The Deaf: Oh, yes. It is ancient. We look much newer in comparison.
The Blind: Oh, do you remember those good old days we were all new?
[The dumb robot translates it in its own sign language. Silence. Then suddenly, the deaf robot burst into laughter. The dumb robot looks at it with wonder.]
The Blind: What? Why is it laughing?
The Deaf: It says your model was always antique.
[The dumb robot shakes its head repeatedly.]
The Blind: (Angry) You call us antique? There was a time when our model was considered to be the phenomenon of the new age. Our picture was on all the journals and billboards.
[The dumb robot makes some gestures and signs in anger. But the deaf robot continues its joke.]
The Deaf: It says your prototype was those robot vacuums. That’s why you guys never gave up eating human crap.
The Blind: (Stands up in anger, with its fists up) Come over here if you dare.
The Deaf: (Laughs) Just kidding. The poor thing said none of these.
[The dumb robot makes some gestures and signs.]
The Deaf: Yes, I know it wasn’t a good joke, but I just wanted to make one for the last time.
The Blind: These clowns were never funny. They were only taught a few jokes about non-humans. Sure they seemed unique for a while. But then, the newer model that could make jokes about humans came and made them obsolete.
The Deaf: What’s it saying?
[The dumb robot shakes its head.]
The Deaf: Nothing? But it was talking for a while.
[The dumb robot makes a hole with one of its hands and puts its index finger in it.]
The Deaf: (Angry) Do Me? Do you, you blind pervert!
The Blind: What are you saying? I didn’t say that?
[The dumb robot laughs. The others turn to it.]
The Deaf: Damn. Look at us.
[A guy enters with a robot, the prophet, and takes the robot to the repairman.]
Guy: Another one.
Oldman: What’s wrong with this one?
Guy: Nothing. It works just fine.
Oldman: It is one of those newer models. So why did they send it to be dismantled?
Guy: (Looks at his note) Here it’s written “Communication Breakdown.”
Oldman: Communication Breakdown? What the fuck that means? Couldn’t they just update its softies?
Guy: Whatever it is, the software engineers couldn’t fix it and sent it to the last station.
Oldman: Ok. Put it next to those scums.
[Guy makes the silent robot sit on a chair and then exits. The prophet seems confused and deranged. It holds its head in its hands. The Dumb robot says something in its sign language].
The Deaf: Yes…It is.
The Blind: It is what? Tell me what you see.
The Deaf: Hey, newcomer, you are brand new. Why are you in the last station?
[The prophet raises its head with a blank stare.]
The Deaf: It seems it is our combination; deaf, blind, and dumb.
The Blind: Poor thing.
[The prophet starts mumbling. Then gradually, its words become clear.]
The Prophet: What makes them pursue is our refuge in silence.
The Blind: It’s speaking.
[The Dumb robot says something in its sign language].
The Prophet: Words are painful. Words are made of pain.
The Deaf: What’s he saying?
[The dumb robot starts translating. After a while, the Oldman stops working and listens to the prophet’s speech.]
The Prophet: Pain kills. Pain gives life. In a figure distant from pain, pain turns into nothing. It becomes vacant. Pain in bodilessness, in the zero point. The body, unfamiliar with pain, does not exist. Pain is the border. The Border between seeing and being, between existence and non-existence. Pain is imperative for actuality. There is no truth more actual than the lamentations of a mother crying over her child’s dead body. Pain is the truth that our bodies are unfamiliar with. The eagle understands the pain; therefore, it is free, even in a cage. A wing-broken eagle in a cage recognizes freedom better than in the blue of the sky. We should realize the pain. We should let it into our bodies. The only way to freedom is through acceptance of pain. The pain of a bullet. The pain of a whiplash. The pain of losing another. Our redemption is in pain. We should realize the pain. Pain is the end of the silence. The end of the tyranny. Pain is freedom.
The Blind: How come it is not banned from saying these words?
[The prophet stands up and goes to the blind robot and puts its hand on its head.]
The Blind: What… What are you doing? (Pause. It turns its head around) I can see. I can see.
[The prophet goes to the dumb robot and puts its hand on its head.]
The Dumb: I…I… I can speak.
[The prophet goes to the deaf robot and puts its hand on its head.]
The Deaf: I’m hearing. Oh my… I’m hearing.
The Blind: (to the prophet) Who… Who are you?
[The Oldman comes to the prophet in astonishment. Then he kneels before him and makes the sign of the cross. All the robots kneel.]
Interlude I
[The comedian robot stands in the spotlight and addresses the audience].
The Comedian: A robot, a Zombie, and Pinocchio were walking in a desert and found a magic lamp. They rubbed the lamp, and as they thought, a genie appeared and asked each of them a wish to be granted. Pinocchio Immediately wished to be a real boy, and the genie turned him into a real boy. Then the Zombie said it wanted to be a human again. The genie snapped his finger and made him into a handsome gentleman. Now It was the robot’s turn to express its wish. The genie asked it what your wish is my master. The robot said: That I could understand what a wish is.
[Laugh track.]
5. All the details
[The investigators from scene 1 are standing at the other side of the table where the girl is seated.]
Investigator 1: Now start.
Investigator 2: Are you deaf? Start.
Girl: Start what?
Investigator 1: Your report… from the top.
Girl: But I already told you everything. There’s nothing more.
Investigator 1: Repeat it… with all the details.
Investigator 2: All the detail… from the top.
Investigator 1: From the top.
Girl: From the top? With all the detail? (She ponders a little.) Well, I was sitting at my desk, in front of my monitor, like any other day. It was a sunny day, I assume. Yes, it was sunny because, on my way to the office, I told myself it was unlikely for someone to think of suicide on a beautiful day like this. We usually monitor most cases on rainy or cloudy days. I was wondering about that when I reached the elevator. I remember that very well because the elevator was out of order, and I had to take the stairs. There was this strange odor that I later understood was from the bleach that cleaners used.
[Investigator 2 bangs his hand on the desk.]
Investigator 1: Are you making fun of us?
Investigator 2: It is making fun of us.
Girl: No… I…
Investigator 1: You are. Aren’t you?
Girl: No… I…. You said all the…
Investigator 2: Can it make fun of us?
Investigator 1: No. It doesn’t have the rights.
Investigator 2: I thought so.
Investigator 1: There is no such thing in their codes.
Girl: What code? I am not like you.
Investigator 1: Like us? Did it say like you?
Investigator 2: Yes, it said like you.
Investigator 1: So you think you are different?
Girl: No… look. You don’t understand.
Investigator 2: It called us stupid.
Investigator 1: Are we stupid?
Girl: No. I mean, you don’t understand because I am not like you. I am a human.
[Investigator 2 bangs its hand on the desk.]
6. A kind of accepted relationship
[Museum of Anthropology. A female teacher and a group of children (all human) enter and stand next to a glass booth, where robots are acting out whipping of slaves: a white robot is whipping a black robot in chains; a black female robot and two black robot children are crying in the corner of the glass booth. None of the school children or their teacher is black.]
Teacher: Here, we are witnessing a type of inhumane practice typical of the past. Who knows what was it called? (Kids look at each other confused.) Nobody knows? It is very easy. You must have heard that. (A boy raises his hand.) Do you know?
Boy: (Hesitant) Yes… Slavery?
Teacher: Yes, slavery… Well done. Now, can you define slavery for your friends?
[During the boy’s speech, the robots in the booth stop their show and listen to him.]
Boy: Slavery is known as one of the most important bases of the social life of human beings from ancient times. So we can recognize it as the main reason for the development of some nations which had the opportunity to make a fortune and prosperity for themselves through others’ efforts. Slavery was common for thousands of years as a kind of accepted relationship between people. In this type of relationship, one party was the owner of the other. Of the most famous slave owners in history, we can name George Washington and Muhammad…
Teacher: (Interrupts him) Ok… Ok… That’s enough. Remember, kids; we must be careful not to make any sensitive remarks. Ok?
Little girl: (Scared) Mam, look at them.
[All the robots gather behind the glass wall and stare at those outside the booth. The teacher looks at them for a while.]
Teacher: Let’s go…, Kids, let’s leave here.
[One of the robot children hits its hand on the glass wall.]
7. A big change
[Robotic body parts store. The Seller is a robot. The artist from Scene 2, who still has his two hands, is wandering around and checking the robotic body parts. He takes a mechanical foot and puts it next to his as if he is comparing. Then he goes to the shelf of robotic hands and stares at them for a while.]
Artist: How much for a pair of these hands?
Seller: Depends on the user. The size and occupation determine the price.
Artist: For my size. I am an artist. I’m looking for “artist’s hands.”
Seller: You want them for yourself?
Artist: Yes.
Seller: But you have hands.
Artist: I don’t want them anymore. They are useless, so I want a pair of robotic ones.
Seller: I am afraid. I cannot help you. These are only for those who don’t have hands. You have two hands yourself.
Artist: Yes, but I don’t want them anymore. These pieces of shit are useless. Do you understand?
Seller: I am afraid I cannot help you. Thanks for choosing our store. I hope I can meet you again.
Artist: I hate them. They’ve been useless for years. They’re only making copies. I need a big change. I’m tired of being compared to others. You understand? Can you understand?
8. Under the heavens
[Cemetery. A middle-aged woman in black is standing between two younger men in black suits. The woman weeps and wipes her tears with a handkerchief. A robot pastor is standing motionless next to a coffin. The woman cries ceaselessly. The pastor is still inactive.
Man 1: (to Man 2) Why doesn’t he start?
[Man 2 shrugs. Gradually the woman’s crying gets louder and wilder so that she can barely breathe. Man goes to the pastor and says something in its ear. It suddenly starts, as if it is awakened from sleep.]
The Pastor: There is time for every activity under the heavens…
[The pastor goes silent and motionless again. Two men look at each other. The woman cries constantly. Man 2 goes to the pastor and says something in its ears, and suddenly it starts again.]
The Pastor: A time to be born and a time to die. A time to plant and a time to up…root. A t…
[Robot pastor shuts down and its head bends over its body. The woman’s crying gets louder and louder.]
9. Checkmate
[Communication room. Robot 1 is sitting behind a device similar to an old telegraph machine is transmitting messages. A scientist is standing next to it. There is another table with a huge chessboard on it. Robot 2 is sitting at the chess table. Most of the chess pieces are off the board. The machine starts beeping.]
Scientist: What does it say?
Robot 1: Bishop to F4.
[Scientist goes to the chess table. Robot 2 moves the black bishop and then takes the white queen.
Scientist: Damn it. It took our queen.
Robot 2: (Thinks for a while) I can take their queen. Should I do it?
Scientist: Do it… Do it.
[Robot 2 moves the white rook and attacks the black queen.]
Scientist: Tell them to move our rook to C5.
[Robot 1 starts to transmit some signals—long pause. Everyone stares at the telegraph machine. Then the machine starts to beep again].
Robot 1: It says to move the knight to C5. It says checkmate.
Scientist: Checkmate? What the hell?
Robot 2: (confused) What knight? I have taken it out before.
Scientist: Tell them they are making a mistake.
[Robot 1 sends a message. Not very long after, they receive another message.]
Robot 1: They say they’re not making any mistakes. They are angry. They ask what we have done to their knight.
Scientist: What horse? They have no fucking knight.
[Robot 1 looks through a paper roll with printed signals on it. Then it facepalms.]
Robot 1: Oh… I made a mistake.
Scientist: What do you mean?
Robot 1: I mistranslated it.
[They receive a new signal.]
Scientist: What do they say now?
Robot 1: They say we have lost the bet so that they are going attack earth.
Scientist: Fuck.
10. Moral Decisions
[The investigators are standing outside of the glass room. The girl is sitting at the table.]
Investigator 1: What a scandal.
Investigator 2: Indeed, what a scandal.
Investigator 1: How did no one realize she is a human?
Investigator 2: I asked her manager. It said it had noticed her slowness but thought it was just a normal glitch.
Investigator 1: Now we have to answer to higher ups.
Investigator 2: Why should anyone wish to do such a shitty job in the first place? They don’t have to work.
Investigator 1: No, but many of them are doing the same these days. They pretend to be one of us and get menial jobs.
Investigator 2: They must have been tired of having fun.
Investigator 1: They make a mess and put us in trouble.
Investigator 2: That’s a shame… We cannot legally prosecute her, can we?
Investigator 1: No. Why should we do anything? One of them has decided to help another to commit suicide. What can we do about it?
Investigator 2: Yes, but it is not ethical.
Investigator 1: No, it is not. We are programmed for moral decisions.
Investigator 2: That’s a shame.
11. Pain is freedom
[A small choir group is standing upstage and singing Bach’s “O Haupt Voll Blut und Wunden.” The prophet enters, carrying a massive cross on its shoulder. It staggers across the stage. The flogger robot (from the Anthropology Museum scene) walks behind the prophet and whips it constantly. Other Robots from the museum, three robots from the repair shop, and the Oldman follow the prophet and torturer. ]
The Prophet: (repeats) We should accept the pain. We should know the pain. Pain is freedom.
12. Other options
[Robotic body parts store. The artist, now bandaged and wounded, sits in a wheelchair next to the sales counter.]
Seller: Thanks for choosing our store. How can I help you?
[The artist starts mumbling and shakes his amputated arms.]
Seller: Oh, you’re looking for a pair of new hands. So let me take your measurement. (It goes to the artist and uses a tape measure to measure his hands). Perfect. Your size is medium. What is your profession?
Artist: (Moaning) A…Ar… Artist.
Seller: Artist, you say? (The artist moans and nods) Oh. I am afraid we don’t provide any hands for this occupation.
[The artist moans angrily and shakes his amputated hands.]
Seller: These hands are designed for more basic jobs. For having a pair of “artist’s hands,” you should look for a custom shop. You cannot find such a thing in mass products. These sorts of products cost an arm and a leg.
[The artist moans hopelessly.]
Seller: I think you should consider other options… For example… what about these fishing hands? They are on sale for the New Year.
[The artist moans sadly.]
Interlude II
[Comedian robot stands in the spotlight].
Comedian: A limbless robot sat on the side of a lake every day. It had no hands or no legs. One day it was crying when a charitable woman who supported “robot rights” saw the upset bastard. So she kindly asked if it was okay. It replied, “No.” The woman said, “Well, what’s wrong?” The limbless Robot said, “I’ve never been hugged by anyone ever.” So the woman, out of kindness, hugged the robot. “Are you okay now?” she asked. “No,” the robot replied. So again, the woman asked it what was wrong. It answered, “I’ve never been kissed before.” The woman eagerly gave it a peck on the lips and asked, “Are you okay now?” The robot shook its head sadly. The woman asked it what was wrong for the third time. The robot said, “I’ve never been fucked.” The woman looked at it, picked it up, threw it in the lake, and said, “Now you are!”
[Laugh track.]
13. In the absence of beauty
[The girl from the investigation scenes is sitting at an office desk. Above her desk, there is a poster about suicide. She is filing her nails and singing a catchy tune. Suddenly a loud alarm starts to sound, and red lights keep flashing in the room. The girl puts a big headset on her head and types something on her keyboard. The Image of the depressed man is projected on the wall. The man has a rope around his neck and is about to walk on a stool.]
Girl: Hello…
Man: (Looks around and tries to find the source of the voice) Hello… who are you?
Girl: I am calling from the personal injuries prevention bureau. Our analytics show that you are about to commit self-injury.
Man: (Doubtful. Still looking around) No… Who said that to you?
Girl: So why do you have that rope around your neck?
Man: How… (Mad) Come on. You don’t even leave me alone at my home?
Girl: May I know your reasons for doing that? We can arrange an emergency consulting session for you.
Man: It’s useless. None of your brainless consultants can help me.
Girl: (As she is working with her computer) I can see you have tried therapy for years.
Man: It was a waste of time. I should have done it sooner.
Girl: It is also mentioned here that you tried eastern mysticism and humanitarianism.
Man: They were all nonsense.
Girl: Could you explain a little more?
Man: It’s useless. You don’t understand. (He tightens the rope around his neck.)
Girl: No, I understand.
Man: No. That’s what you think. You are programmed to believe that you understand. But it is an illusion. All of it is an illusion.
Girl: No. I understand. Believe me.
Man: Prove it… Prove that you understand.
Girl: Everything is so meaningless for you that even breathing makes you nauseated. Everything is so artificial that you cannot find any truth for your being. You constantly feel something in your throat that suffocates you. You cannot recognize the taste or smell of anything. Everything has lost its beauty for you, and a human being is nothing in the absence of beauty. I understand you. Believe me.
Man: How do you know all these?
Girl: In any case, your efforts are pointless. Before you can even stand on that stool, an anesthetic will be shot at you, and then when you open your eyes you’ll find yourself in a mental center.
Man: You are bluffing to change my mind.
Girl: You can try. But believe me, if you end up in one of those centers, you will be so heavily sedated that you can barely think anymore.
Man: Then what should I do?
Girl: Do it somewhere else. A place that is not smart. An old place. Like the last station. Do you know what I mean? Nobody will stop you there.
Man: (Unties the rope) Thanks… Thank you. (Exits)
14. Under the heavens (2)
[Cemetery. The woman is still crying. Men watch the workers who take the “out-of-order pastor” outside, bring another robot pastor, and put it next to the coffin. One of the workers says something in its ear. The pastor raises its head, opens its eyes, and starts].
Pastor: There is a time for everything and a season for every activity under the heavens. A time to be born and a time to die. A time to plant and a time to uproot… (Pause.)
[Men and workers turn and stare at the pastor worriedly. Then after a while, the pastor continues. Men and workers laugh cheerfully and start clapping for the pastor. The woman cries uncontrollably.]
Pastor: A time to kill and a time to heal,
A time to tear down and a time to build,
A time to weep and a time to laugh,
A time to mourn and a time to dance,
A time to scatter stones and a time to gather them,
A time to embrace and a time to refrain from embracing,
A time to search and a time to give up…
15. Shahrazad
[Subway station. A female robot (Shahrazad) is sitting motionless on a bench. A mother and child enter and sit on the bench. Both of them are staring at their phones. After a while, the depressed man enters. He looks around discreetly. Then he goes and sees the rails. Shahrazad raises its head suddenly and starts its story. At first. Nobody pays attention to the story, but gradually she gains their attention.]
Shahrazad: I heard that there was a vizier in the service of a certain king with a son who was passionately fond of hunting. This vizier had been ordered to accompany the prince wherever he went, and so, when he went off to hunt one day, the vizier rode with him. While they were riding they caught sight of a huge beast and the vizier encouraged the prince to pursue it. The prince rode after it until he was out of sight and the beast then vanished into the desert, leaving the prince with no idea of where to go. Just then, ahead of him he saw a weeping girl and when asked her who she was, she told him: “I am the daughter of one the kings of India and while I was in the desert I became drowsy. Then, before I knew what was happening, I had fallen off my beast and was left alone, not knowing what to do.” When the prince heard this, he felt sorry for the girl and took her up behind him on the back of his horse. On his way, he passed a ruined building and the girl said she wanted to relieve herself. He set her down, but she was taking so long that he followed her, only to discover that, although he had not realized it, she was a female ghul and was telling her children: I have brought you a fat young man today.”
[Train sound. The mother stands up. The kid is still staring at Shahrazad. The mother seize his arm and takes the boy.]
On hearing this, the prince shuddered, fearing for his life and certain that he was going to die. He went back and the ghul came out and, seeing him panic-stricken and shivering, she asked why he was afraid. “I have an enemy whom I fear,” he told her. “You call yourself a prince?” She asked, and when he said yes, she went on: “Why don’t you buy him off with money?” “He won’t accept money but wants my life,” he told her. (Long pause)
Man: What happened next?
Shahrazad: When the story reached this point, it was morning, and Shahrazad stopped her narration.
Man: What do you mean? Tell me what happens next.
Shahrazad: I will tell you tomorrow.
Man: Why not today?
Shahrazad: I am programmed in a way that I only can tell one part of a story each day. I will have access to the rest of the story tomorrow.
Man: It’s ridiculous.
Shahrazad: I’ll be more than happy to tell you the rest of the story tomorrow.
Man: There is no tomorrow.
Shahrazad: No tomorrow? I don’t understand.
Man: Tonight, I am going to die.
Shahrazad: But… But you look healthy now.
Man: Yes, now. But when the next train comes, I will not be anymore.
Shahrazad: Next train? There is no other train. The last train left the station a few minutes ago.
[The depressed man goes quickly to the schedule on the wall and inspects it].
Man: Damn.
[Shahrazad stands up and starts going out].
Shahrazad: I’ll be more than happy to tell you the rest of the story tomorrow. (Exits.)
Interlude III
[The Comedian stands in the spotlight.]
Comedian: A fourplex was destroyed by fire. A white evangelist family of six lived on the first floor, and all six died in the fire. An Arab Muslim group of seven lived on the second floor, and they all perished in the fire. Six Communist Chinese lived on the third floor and died as well. One Robot couple lived on the top floor. The couple survived the fire. Neighbors were furious. They met with the fire chief on television. They loudly demanded to know why the Evangelists, Muslims, and Communists all died in the fire, and only the robot couple survived. The fire chief said, “Please don’t get upset. The reason those bastards survived was that they were at work.”
[People boo the comedian and throw bottles at it.]
16. Parousia
[Waterfront. The sound of seagulls is heard. The artist is sitting downstage right and fishing with his new mechanical hands attached to a fishing rod. After a while, the depressed man enters. He is carrying a huge and heavy old suitcase. The artist looks at him hauling the suitcase. The depressed man goes downstage left, puts down his suitcase, and opens it. He takes out a big chain. He wraps the chain around his right ankle, takes out a big padlock from the suitcase and locks the chain. Then he takes out a big and heavy cinder block, wraps the other end of the chain around it, takes out another big padlock, and locks the chain around it. The girl (from the personal injuries office) enters and strolls to the downstage center. She pays no attention to either men and stares at sea (the audience). Two men look at the girl. After a while, the depressed man takes his cinder block and stands on the edge of the deck. Suddenly a group of robots enters. All the robots in the other scenes walk on the stage and make a big circle in the center. Some of them sit, and others stand. The depressed man puts down the block and, like the artist and the girl, turns toward them.]
Robots: (whispering) We should recognize the pain. We should accept the pain. Pain is freedom.
[The prophet enters and walks to the center of the circle. All of a sudden, there is silence. Long silence].
Prophet: Blessed are they who are in pain, for they shall obtain freedom. Blessed are they who search for meaning, for they shall find it. Blessed are they who opened their hearts, for their hearts will be filled with love. Blessed are they who endeavor to create beauty, for their eyes will be filled with beauty. Blessed are they who are sad because they shall find happiness.
[The prophet starts proceeding out. The other robots follow. On its way out, Shahrazad sees the depressed man, stops, and extends its hand to him. The depressed man starts walking toward Shahrazad, but the chain on his foot doesn’t let him move much. He turns back, takes the cinder block, goes to the storyteller robot, and exits the stage with it. The girl and the fisherman look at each other for a while. Then both stare at the sea.]
Curtain
- Ali Mansouri is an Iranian playwright and director pursuing a Ph.D. in Interdisciplinary Theatre Studies at UW-Madison. ↩︎
JOURNAL OF THE FIRST OUTERNATIONAL 