PASSAGE

by

Christopher Chen

Representation:
Rachel Viola
United Talent Agency
888 Seventh Ave.
9th Floor
New York, NY 10106
T: 212.659.2600  
F: 877.260.5079
ViolaR@unitedtalent.com Draft 4.27.19
CHARACTERS

COUNTRY X: B, G, H, M, S, MOSQUITO, GECKO

COUNTRY Y: D, J, Q, R, F

When double or triple casting, it is suggested that actors play both Country X and
Country Y roles. Gender and sexuality are fluid. Pronouns can be replaced within the
script.

AESTHETIC

A bare, minimalist aesthetic, a neutral environment with almost no set. All actors should
be dressed minimally and similarly, yet with clear delineations between Country X and
Country Y. For example, their shirt colors might be different. All actors' speech should be
modern.
 1.

PROLOGUE

(The actors gather onstage, out of character.

The following is a suggested greeting, but it
may be improvised or changed based on the
ensembles' wishes.)

ACTOR PLAYING G
Hello everyone, hi. Thank you for joining us this evening. We are the
ensemble.
(Ensemble says hi.)
We're just going to go around and introduce ourselves. Give our name,
and just... where we're from. (Could also be something about ourselves.)
Again, my name is actor's real name, and I'm from real hometown.
(The ensemble goes around and introduces
themselves.)
Okay, it's a pleasure sharing this space with you this evening, and here we
go.
 2.

ACT I

SCENE 1

(Slow fade up from darkness.)

Q
When I think of Country X, the thinking starts from darkness. And by that I
mean the same darkness as the blank space in your mind, before a
thought forms. Does that make sense? Do you know what I'm talking
about? Because all thoughts, and hence all universes really start--
because they have to, right?-- from nothing. In the beginning. Right?
That's all I'm saying. So when I think of Country X, it starts, because it has
to... with my eyes closed.
(She closes her eyes)
And then, here's what I do. Because I haven't been to Country X before, I
think back to a country to which I have been: Country W, which borders
Country X, and hence has a similar feel.
(She opens her eyes.)
At least I think they have similar feels because they look the same in
photographs, and anyway borders are man-made so they might as well be
the same country for all the earth cares. This makes sense, right? You've
done this too? When imagining places you haven't been to?
(She closes her eyes.)
So I stopped there for a week-- this country similar to Country X. And I
stayed in a small hotel, on a dirt road. The ocean wasn't far off. There
were palm trees, warm rain, and a gentle tropical breeze. And there were
jungles and mountains in the distance. You could smell the wet soil.
(She opens her eyes.)
Can you picture what I'm describing? Can you fill in the rest of the picture
yourself?
(Sounds of a ship.)
This is how I picture Country X in my mind. Yes, I know it's reductive, I
know I'm romanticizing it, and that it's infinitely more complex than tropical
rain and mountains. But I'm just being honest about how my mind makes
its first sketches. But I don't have expectations. I'm ready for whatever the
country gives me. I'm joining my fiancee there. I'm going to Country X to
live.
 3.

SCENE 2

(On the ship over. F is slightly older than Q.)

F
I've enjoyed our talk.

Q
So have I.

F
It's refreshing, talking to you.

Q
How so?

F
Everyone going to Country X these days just seems to talk about
opportunity, opportunity.

Q
That kind of describes my fiancee, doing business there and all. You don’t
fault me for that?

F
You're not your fiancee.

Q
I’ll be living off his “opportunity.”

F
We all have to live somehow.

Q
R, my fiancee, says I don’t have to work if I don’t want to. I plan to. But
first I want to take some time to really get to know Country X, in a deeper
way.
(Beat. Then Q chuckles to herself.)

F
What is it?

Q
No, I just know that sounds naive?

F
How come?
 4.

Q
Oh: (self mocking earnest) "Know the country, in a deep way!"
(F laughs.)

F
Well that is what you should do, right?

Q
Yeah, I guess.

F
Though of course there's limits to what you can know. Especially with
Country X.

Q
Why especially?

F
Well, it's in a different position.

Q
Mm.
(Slight beat, Q not sure what F means.)

F
Because it's under our control.

Q
Of course, yes.
(Pause)
Why are you going to Country X? Did I even ask you? (Apologetically) We
were talking about me the whole time.

F
(Warmly) I was asking you.
(Q smiles.)
I'm taking a teaching position there.

Q
Ah.

F
At the National School.

Q
Have you been to Country X before?
 5.

F
Briefly, while traveling.

Q
Ah.

F
Hey, when we disembark, why don’t we do some of our exploring
together?

Q
I'd like that very much.
 6.

SCENE 3

(Country X. H, M and G sitting in H's house,

drinking tea and talking. B enters.)

H
B come join us!

M
We have tea...

H
M will serve you tea.

B
Tea, yes thanks!
(M does.)
(To G) Professor, so good to see you!

G
It's good to see you. You're famous now.

B
(Demurring) Oh...

G
A profile in The Nation? You've arrived!

B
It's not a big deal.

M
Of course it is! Best doctor in Country X? That's...

H
Best Country X doctor in Country X!

M
No, no, / don't start.

H
Why say "Country X / doctor"?

M
You're diminishing the moment.

H
They're diminishing it, like it's some surprise a Country X citizen went to /
 7.

medical school.

B
I know, I know.

H
You deserve more than scraps, my friend, is / what I'm--
(M does a big groan at "/")
Sorry, not scraps. Hey, congratulations. Truly. Best doctor in the country.
We've known this all along.
(They all raise their cups. B modestly follows.)

G
B, I'm so glad I caught you, but I'm afraid I was just on my way out. My
temple duties call.

B
Be well, Professor.

G
Thanks for the tea!
(Goodbyes, etc.)

H
(Humorously conspiratorially) So now that the Holy Woman is gone...
(Laughter)
But seriously, maybe B can now settle our little debate.

M
Ah, yes.

B
What debate?

H
(Gesturing to the door) Our esteemed Holy Woman, our religious studies
professor, was uncomfortable taking sides, condemning her fellow human
beings, but you'll have no problem with that, right B?

B
Oh no, not at all.
(Light laughter.)
So what's this debate you're having. Let me hear it.

M
So the question on the table is: Is it possible to be friends with a Country Y
Citizen.
 8.

B
Is it possible to be friends with a Country Y citizen?

M
That's the question of the evening.

B
(To H) Was this your idea?

H
I don't remember how it came up.

M
H just said, out of the blue: "Question of the evening: Do you think it's
possible to be friends with a / Country Y Citizen."

H
Oh that's how it / happened?

M
Indeed, / yes, yes.

H
Oh okay, well that's how it came up.
(Everyone laughs.)

B
So what do you mean by "friend."

H
Defining terms, a true scientist.

M
We've settled on: more than a casual acquaintance. Someone you trust
dearly and enjoy spending time with.

H
Actually enjoy spending / time with.

B
Actually, okay.

H
But trust, that's the / most important--

B
(Reassuring) Okay, / I get it.
 9.

H
And respect too! You have to / respect your friends.

M
Okay so friends, friends, you know, friends. There's / your definition.

B
Like us! (Indicating the three of them)

H
(Mock grudgingly) Okay, yes, we're / friends.

M
(Mock grudgingly) Okay, okay.
(They laugh lightly.)

B
So where do the sides stand.

M
Well, knowing full well H's soapbox agenda for raising the question, I took
a contrarian view. But one I actually believe. I said yes, of course it's
possible, we're humans beings, right? But then I'd say the, the burden of
empathy would, in fact, lie with the Country Y Citizen. They'd have to
make the greater effort.

H
That's good: Burden of empathy. Empathy is a burden to them.

M
And H is not being empathetic right now by not / taking my argument
seriously.

H
I'm kidding, I'm kidding.

M
But yes, once the position of power is acknowledged, then that's the first
step, a big step towards a hypothetical friendship. And it's possible.

H
(Lightly teasing) Because you have Country Y friends. That's how you
know it's possible.

M
Sure, okay.
 10.

H
Like your new friend, that new teacher at the National School?

M
Exactly, yes. She's very nice.

H
I'm sure she is.

M
(To B) You'd like her.

B
I'd like to meet her. Okay point (pointing to M), counterpoint (pointing to H)
(Perhaps this is humorously dramatic, maybe H
humorously warms up.)

H
So I think it's impossible to be friends, true friends, with a Country Y
Citizen. Because true friendship does-- it just does-- require a baseline of
equal-ness between you. And the oppression and crimes Country X has
endured, and continues to endure at the hands of Country Y are just too
great, and haven't been drained from the bloodstream. So the disparities
that two potential friends would start with-- in this current time, here and
now-- are just too great to overcome.

B
To be equals.

H
Yes. Even if you meet the most humble, caring, giving Country Y /
Citizen...

M
Like this new teacher? That's who you're talking about?

H
I'm sure she's a lovely person but she still-- and she can't help it, I know
this-- but she still has, embedded within her, an inherited power, which she
can't give away or dismiss. By design you can't be equals, so...
(Pause as people think it over.)

M
So-- okay then so my response was: What H says is absolutely true. But
when we think about us and them, we can activate a different kind of, uh,
headspace if we choose. Instead of focusing solely on how much power
they have...
 11.

(H shakes her head.)

Are you gonna let me finish?
(H does some motion indicating "continue")
I was saying that focusing on how much power they have ends up
reinforcing their power, and gives us this, this perpetual victimhood
identity, / which--

H
And I wasn't saying our / identity is...

M
But-- but to focus on that, instead of cultivating the power we have, inside
ourselves. /

H
No, no, / no--

M
As opposed to--

H
It's not an either / or thing I'm--

M
As opposed to only defining ourselves in relation to them. And yes, it's not
either or, that's what I'm saying.

H
Hm? What?

M
Wait.

B
Uhh...
(They all laugh because of the confusion.)

H
You can't downplay what they did.

M
I'm not.

H
That's sticking your head in the sand.

M
I'm saying let's not start the argument with "everything's hopeless," that we
 12.

don't have the capacity to make friends with, with an entire race of
people, / because that's--

H
That's the--

M
That's sticking your head in the sand!

H
That's clear sight!
(M sighs.)
Even "enlightened" Country Y citizens, if they don't abuse this power
they've been given, that's just going mean the power will work in other
ways. They'll overcompensate, or patronize, even if they don't know
they're patronizing. They will act on the fact that we are Country X. That's
just the truth.

M
We're all gonna die. That's another truth. It's defeatist.

H
As long as Country Y remains here in our country, it is our country-- Okay,
B, where do you stand? What's the good doctor's opinion?

B
I don't know if I want to get / involved now.

H
Come on, it's all in good fun.

M
Fun, oh / okay.

H
This is fun! Yes! So come on, who's side are you on. Are you friendly with
Country Y, now? Because of the article?

M
Hey look, / don't be like--

H
I'm kidding, I'm kidding! B knows I'm kidding, / right?

B
Ehhh you were--
 13.

M
Over the line.

B
You were at the / line.

H
Okay, I'm sorry...
(Does a motion of stepping backwards)
Stepping back from / the line.

B
Back up, yes.
(They all laugh.)
Well okay. To be honest-- the other day I had a little moment where-- I was
waiting for a pedicab outside the hospital. And one slows down, driven by
a Country Xer. But then he sees a Country Y doctor a few paces down,
who definitely came after me, and he quickly speeds up, goes right past
me to get to her, and as he was passing he gives me this look, like a
shrug, like "Sorry, gotta do what I gotta do." And I'm like okaaaaay did that
just happen?? So-- heh-- as much as I want to agree with M's optimism, if
the question is: Can I be friends with a citizen of Y? That's not my mood
today.
(H leans back in victory.)

H
Well now.

M
But in your scenario, that's the fault of the driver right? If he had picked
you up there wouldn't be a problem. Let's make sure we know who's really
to blame here.

H
Are you kidding me?? The driver was a gutless shitbrain infected by
Country Y.

M
Yes okay, and that's the problem I was speaking to. If he had inner
strength and dignity he wouldn't have done that.

H
No, this speaks to my point: It is the young doctor who should have seen
B waiting-- was it obvious you were there first, and / waiting?

B
It was, yes.
 14.

H
Yes, so the young Y doctor abused her position of power.

M
I'm just saying why can't the onus be on the Country Y doctor, yes, but
also the Country X driver-- he's not just some helpless child, blowing in the
wind.

H
See? That right there. That's the problem.

M
What?

H
"Both sides share equal responsibility." No, no, no.

M
I'm not saying we're equal, I'm trying to talk about mindset. How we see
ourselves. As victims? / Or or...

H
Well okay, yeah, I think anyone who gives Country Y a pass needs to see
what kind of a mindset they have.
(Charged pause.)

M
What's that supposed to mean.

B
Okay look, can we just--

M
Finish the thought.

B
Can we just step back / for a--

M
No. Tell me what you meant by that.

H
I'm just being rational.

B
No, you're being personal.
 15.

H
No, rational. Because there's a... a rationality to how peoples' views are
formed.
(Beat)

M
Go on. Continue.
(Beat)

H
It's rational to start identifying with the people who pay you, that's / all I'm--

B
Wow, you seriously just said that.

H
You were doing fine on your own, as your own boss, your own business,
you didn't need to merge with Country Y Corporations, you didn't need to
take their money. But you did. You gave them control.

M
How long were you waiting to say this?

H
It's how I feel. But it's fine, okay? I understand. But that's why I can say
there are reasons why you've changed your views, on Country Y, that's all.

M
How dare you.

B
Look--

M
(Silencing B) No! (Back to H) How dare you call me a sellout.

H
I didn't call you a sellout.

M
I didn't grow up like you did. You got that? I had to go out and work, and
take care of myself, because no one else did, not even my fellow X'ers.
Okay? I had to find my own strength, by myself, this is why I talk about
inner strength.

H
Okay. I get it.
 16.

M
And to get here, to this place where I'm proud of who I am, yes, I took
advantage of opportunities, with Country Yers, who have been accepting
of me. Okay? They have.

H
I accept you.

M
No, you don't. Not when you judge me like this, for the way I've lived my
life, when you've always just sat here in your fucking mansion, free to take
any uncompromising position you want, which not all of us can afford to /
do.

H
(To B, and out, generally) This isn't a mansion.

M
Are you taking this seriously?

H
(Softly) Yes, yes I am.

M
Are you taking me seriously?

H
Yes. Can I respond?

M
Armchair activism.

H
Can I respond?
(Beat. Not clear if M granted permission or not.)
I understand and respect self empowerment. I do. But now that you're in a
better position, it's time for group empowerment.

M
How dare you suggest I don't support our group.

H
But now I'm talking about mindset. Because this is a war. That's what this
is. And in times of war, everything-- anything and everything-- depends on
us all being on the same side, being comrades in this war.
(Beat)
So. If you can't say Country Y is evil. And I'm not talking about the people,
 17.

the nature of their souls in some hypothetical culture-less realm. And I'm
not talking about the little acts of kindness they may dole out from time to
time. I'm talking about what they're actually doing as a whole. Right here
and now. And what they're doing-- and you know this to be true-- what
they're doing is not seeing us as human beings, as actual human beings,
and so they're inflicting violence on us from this line of sight, and the ones
who aren't literally perpetrating the violence are tacitly accepting the
violence, from this same, this very same line of sight. Yes, tacit
acceptance is the reason why that little boy was violently thrown into a jail
cell over batteries, okay? Batteries! What country am I bringing my boy
into, where he can be thrown like a rag doll onto a cold cement floor just
because some officer felt like it?!--... That's why this is war. That's why
they are responsible, not us, and all of them living here are complicit,
because they allow it. So if you can't take a stand, and say that Country Y
is evil... then...

M
Then...

H
Then I don't know... I frankly... can't see how we can go on.
(Pause. Then M stands up.)

M
Well I'm glad to hear you feel so strongly about our friendship.
(He leaves.)

B
Wait, wait!
(She tries to follow. Too late. She reenters.)
What was that?

H
It's been brewing for a long time.

B
What has?
(H shakes her head.)

H
You can't really be friends with someone who doesn't respect you.

B
M respects you! You disagree but...

H
But we're too far off. I've known that for a while now.
 18.

(Slight beat)

B
So what-- you're not friends anymore??

H
What can I say? No respect, no friendship.

B
He respects you. You don't respect him? As, as a person?

H
There's no way to respect a fundamentally different world view. And that
means the whole person. Because that's what a world view is. That's who
you are as a whole. So...
(Beat)
You don't agree? It's too extreme, huh?
(S, H's assistant, enters with a note.)

S
Sorry to interrupt, but there's a message for B.

B
I'm summoned to the hospital.

H
It's your day off, right?

B
Emergency. I gotta run.

S
I should tell you, the roads are closed now.

B
What??

H
All of them??

S
The protests have come this way. No vehicles.

B
Guess I'm walking. (Re: the discussion over M) This isn't over.

H
Goodbye friend.
 19.

SCENE 4

(B arrives at the hospital office of D, Head

Doctor, out of breath. D keeps working, not
looking up.)

B
Hello? Excuse me?

D
(Still not looking up) Yes? What is it, B?

B
You called for me?

D
I called for you?

B
I was at a friend's house having tea. I got a message saying I was
summoned for an emergency.
(D looks up, stares at B for a slight beat.)

D
Oh, right. That was ages ago.

B
The roads were blocked up, so I had to walk.

D
Well, it turns out we didn't need you anyway. An attendant said the patient
had a heart problem, but it turns out he made a mistake, not the heart
after all, so... there you are! You're free to go.
(B stands there, a bit paralyzed.)
Is there a problem? I'm sorry about the mistake.

B
Oh, it was just my day off, so...

D
I just said I was sorry.
(Pause)

B
You're right. Thank you.

D
For...
 20.

B
The apology.

D
Oh. You're welcome.
(Pause)

B
(Moving to leave) Well, I guess I should...

D
Well wait a second. You're not upset, are you?

B
No. Of course not.

D
Well the thing is... what if it we did need you?

B
I don't understand.

D
It's been an hour since I first called for you. You're supposed to be
available for emergencies even on your days off.

B
I had to walk for an hour to get here. The roads were closed because of
the protests.

D
(Derisively, under his breath, to himself.) The protests.
(Slight beat. Back to B.)
Look, it's your responsibility to be here within twenty minutes if we need
you. No excuses.
(Pause.)
Is this going to be an issue with you?
(Beat)

B
No. No issue.

D
So I guess... that's it, right?
 21.

SCENE 5

(In a temple, marked only by a spotlight.)

G
This place. This is the place. I’m standing in it right now. It is a holy place
for Citizens of X. No one quite remembers why this place was marked as
sacred, but it was and so it remains. It is a place marked for peace.
(B has entered.)
How would you talk about this temple?

B
Well, when we come here, we agree that the rest of the world, all of its
problems, poisons, complications, unite into a singular insignificance. We
agree they are insignificant in the face of-- of...

G
The great cosmos?

B
Sure. The great cosmos. The cosmos beyond, and also the one within.
This is the place where we return inside ourselves, to a place that is ours
and ours alone. A place that is marked by childhood.
(Turning to audience)
Do you know what I mean when I talk about an interior place like this?
Like if I say valley. If I say green valley. Okay close your eyes. Please, try
this with me. Seriously, close your eyes. If I say green valley. Misty green
valley. Bordering a forest. And a cabin on the edge of the forest. With a
warm light inside. You can picture these things, right? And make them
your own? And does this-- okay, and keep your eyes closed-- does this
take you back to childhood? Or what I'm really asking is: does this process
of picturing these things-- valley, forest, cabin-- of arranging them, and
making a continuous landscape-- valley, forest, cabin-- does this remind
you of how you once imagined things when you were a child?

Okay you can open your eyes.

(G is gone.)
And so, and so does this process, then, of creating and exploring your
universe, feel sacred? In the same way the innocence of childhood feels
sacred? Our imagination was more accessible back then, wasn't it? So
weren't we more in contact with our inner selves back then? Before we
grew older and became aware of more people, and saw how many other
universes there really are. And yet wasn't there always some tiny kernel of
hope, back in the day, in thinking your interior universe was the one true
universe? Does this ring true? Did you feel that as a child?

How did I get here. Okay so the temple, then, is a vessel, in which you can
 22.

return to that private universe deep inside yourself, and explore it, and call
it sacred. But here you feel it is not, and never was, a lonely place.
Because others come here too, and remember childhood in the same way
you do. You feel communion with them. Even if you can't see them. So it is
communion between what is inside and what is beyond yourself. And this
is what is called God.
 23.

SCENE 6

(The temple. B suddenly wheels around,

encounters F coming in.)

B
Hey! You there!

F
Yes?

B
Take off your shoes when you enter this space.

F
I have. I'm sorry, I didn't mean to disturb you. I can leave.

B
No. It's okay. I... didn't see your feet.
(Slight beat)
I apologize.

F
If I'm not supposed to be here...

B
Everyone's allowed in the temple.

F
But if you don't want me here...

B
No need to patronize me.

F
Oh, I didn't mean to.

B
... to be overly concerned about my wishes. I said you are allowed in the
temple, so do what you want.

F
I'm just entering a space I don't know much about, so I'm treading with
care.
(Beat. B softens up.)

B
Please. Come in.
 24.

(F does. A silence. We hear the outside jungle

sounds, the atmosphere shifting. They both take it in.)
Do you feel it?

F
Feel what?

B
The night around us? Encroaching?

F
Hm. (Thinking)

B
You're supposed to agree with everything I say.

F
(Slightly off guard) Oh, I--

B
That was a joke.

F
(With a relieved, brief laugh) Ah haaa.
(They take in the jungle sounds.)
Well, I feel something encroaching. I didn't call it "night" in my mind.

B
So what is it?
(Atmospheric sounds rise then fall, rise then fall.)

F
Okay... whatever it is, it's... not encroaching, exactly. I'm realizing... it's
just... there. Does that make sense?

B
It does.

F
I can hear the sounds of the jungle, but this thing is also-- it's people, and
houses and cars, and animals.

B
How it extends beyond these walls.

F
The walls feel thin now, yes. I can feel the night air.
 25.

B
Like we're not in a room at all.
(Atmospheric sounds rise then fall, rise then fall.)
You're not normal, are you.

F
What's normal?
(They smile at each other.)
Hey, I know this sounds forward, but... are you Doctor B?

B
Yes, I am.

F
I recognized your photo from the magazine, / that's how I--

B
Ah, yes. The article.

F
My name is F.
(She extends her hand. They shake.)
I'm a teacher at The National School over (indicates "nearby")...

B
Ah.

F
I'm new here.
(A look of recognition dawns on B's face.)

B
You came up in conversation.

F
What?

B
My friend M, said he met a new Country Y teacher, who / taught at...

F
M, yes! I met him at the Club House! / I like him.

B
Yes, he likes you!

F
Wow, small world.
 26.

(They smile.)
And you, you work at King's Hospital right?

B
Yes, how did you-- / do you...

F
Oh from the article...

B
Ah / of course.

F
Yeah, and I recently met someone who works there, too...

B
Oh! Who?

F
Doctor... D? Is that...

B
He's my boss.

F
Ah! Small world.

B
Yes.

F
The Country Y Club House it's... (does a motion indicating
"overwhelming") every expat at once!
(B laughs.)
Do you like working for him? Doctor D...

B
Do I like working for him? Um...
(Slight beat, F laughs.)

F
Say no more. You just said it all.
(B laughs.)

B
Did you enjoy his company?
 27.

F
I'm gonna take a risk here and tell you what I really think.

B
The truth can be risky.

F
I'm feeling bold. But on first impression I generally got the sense that some
kind of small animal must have crawled into his ass and died there.
(Slight stunned silence. Then B bursts out laughing,
quickly followed by B.)
I went too / far!

B
(Still laughing) No, no! You're very perceptive! That actually did happen!

F
(Still laughing) Oh / yes?!

B
(Still laughing) Yeah! It was a-- a marmot.

F
(Still laughing) A marmot! Oh no! Poor marmot! /

B
(Still laughing) Poor little guy.
(F does a little cry and hand motion of a marmot
trapped inside an ass.)
(Winding down laughter with a sigh/beat). No I... do not like him.

F
Sorry, we're in a temple.

B
This is holy talk.
(Slight laughter.)
So interesting (that you brought him up). I actually had kind of an
unpleasant experience with him, right before I came here.

F
Ah.

B
Yeah and before that, another unpleasant experience with a Country Y
Citizen. So I think that's why I snapped at you, about the shoes.
 28.

F
I see. Yeah we suck.

B
But you're one of the good ones. (Teasingly) Right?

F
I try.
(They smile at each other.)

B
So how do you like Country X so far?

F
Well I just got here, so still, feeling / my way.

B
Right, right.

F
I've been here before, briefly. I visited the caves.

B
Ah, the caves.

F
Yes.

B
Did you like them?

F
It was quite an experience.

B
They can be overwhelming to some people. Sorry I didn't mean to say you
were / overwhelmed by them, or...

F
Oh no, no, it's--...
(Slight beat.)
I was, actually.

B
Yeah?

F
Yeah. At the risk of sounding like a-- a Country Y--... seeker or
 29.

something... they changed my life.

(Beat. F isn't going to go on.)

B
The experience of being in the caves changes many people. Even
Country Xers. And it's different for each person. Some people
experience... truth... in ways they can't describe. Some people even see
and hear things that aren't there.

F
I want to go back.

B
Really?

F
Yeah.

B
How about I take you.

F
Would you?

B
How about Sunday. It's my day off.
 30.

SCENE 7

(F alone in her house.)

F
In truth, one of the reasons I chose to come back to Country X was my
experience in the caves. From a distance they're hard to see. It's this
chaotic network of nooks and crannies spread across the hillside. A cave
could look like just a shadow between two rocks, but step closer and go
inside-- that's when you see there's a whole universe within. So I venture
inside one. Other visitors are close behind. We keep walking until we're at
a place with no more light, and we just... stop. And we're standing there
together. Complete strangers. In total darkness. We've gone silent.
(A small beat of silence.)
We can hear each others' breaths. We hear each others' heartbeats. And,
you'll have to trust me when I say this... we can hear each others'
thoughts. The darkness lets us do this. We have become... one mind. And
we're thinking, with our one mind: Isn't. This. Something.
(A soundscape enters with distorted sounds of a
mosquito. A figure of a man towers over her.)
Ah. Don't be scared. We are still in my living room. Believe it or not... I
know this looks like a human, like H's assistant, or the Head Doctor. But
this is actually... a mosquito. This is going to sound strange, but I've been
seeing things differently here, upon my return to Country X. Things take
on... different forms. And, and...

MOSQUITO
And I can talk too.

F
You can.

MOSQUITO
Yes.

F
And why talk to me?

MOSQUITO
Why talk to me?

F
Why not?

MOSQUITO
People normally want to kill me. You didn't. You saw me resting my weary
wings on a coat hook. And said: "Pretty thing."
 31.

F
I thought you mistook the coat hook for a tree branch.

MOSQUITO
I mistook nothing. I found a place to rest and so I did. Am I only allowed to
rest on what you call a tree?

F
Of course not.

MOSQUITO
This is not your house. The jungle doesn't understand walls.

F
Mosquito...

MOSQUITO
Yes?

F
I feel bad. In the temple the other day, I made mean comments about
another person.

MOSQUITO
The head doctor...

F
Yes.

MOSQUITO
But what if he's mean to others?

F
But I don't want to be a person who speaks ill of others.

MOSQUITO
But it opened a door of friendship.

F
There must be another way.

MOSQUITO
Or is kindness a luxury.

F
Are you just being contrarian?
 32.

MOSQUITO
NO.

F
Mosquito?

MOSQUITO
Yes?

F
Have I come to the right place for this last leg of my journey?

MOSQUITO
Shall I give a cryptic answer or let the question sit?
(F smiles.)
 33.

SCENE 8

(Q and R are playing cards, having a good

time.)

R
So tomorrow night, drinks with my friend J...

Q
J...

R
Think I told you about him, Security Liaison...

Q
Right, Security Liaison. What does that mean!

R
Glorified security guard.
(They laugh)

Q
(In mock important voice) Executive in charge of teenager maintenance at
the / mall!
(They laugh)

R
Chief / executive.

Q
Yes.
(Slight beat)

R
Actually-- he probably has more power than his title suggests.

Q
Is he like... police?

R
I guess. So Country X still has their official police force, but we-- I mean
Country Y-- we kind of, have a presence.

Q
Sounds... insidious.

R
It's... complicated.
 34.

(They go back to game.)

I'm so glad you're here.

Q
I'm loving it.
(R smiles.)
Yeah it feels... I dunno... alive here. Or something. You know?

R
Like, the energy, right?

Q
Yeah...

R
I felt that when I first got here too.

Q
It's weird, it's like... everyone here seems to be... living, like actually living.
Does that make sense?
(R does a little laugh in recognition.)
Like Country Y-- in comparison-- it's just so clear now how much we were
just... not living. Like we were just sleepwalking, and consumed in these,
these meaningless distractions and-- but then here it's like, like...

R
It's kinda more about survival here, right? But not survival, but...

Q
Living, / right?

R
Living, yeah! You got it.
(They laugh.)
Well I'm glad you're finally here, living with me in this living place.

Q
Yeah.
(Pause. Go back to cards briefly?)
Hey so I met this woman on the boat, coming here. And she had this
really... adventurous spirit. And we agreed to go explore Country X
together.

R
Well I was gonna do that with you too.
 35.

Q
During the days, when you're at work.

R
Ah.

Q
Do you have any friends who are local, or native?

R
(Teasing) Native? Like some native specimens you can observe?

Q
You know what I mean. Country X born.

R
Most of the locals are native born, I think.

Q
Oh okay.
(Beat)
Why were you being mean just now?

R
I was mean?

Q
(Derisively) "Observe native specimens."

R
I was kidding. But I'm sorry.

Q
(Good humored) Watch yourself.
(R puts up his hands in: "you win." Pause.)

R
So you want to go where the locals go? Is that it?

Q
If it's not too much to ask.

R
Like food places? And clubs?

Q
Sure.
 36.

R
Okay. I'll take you to those places.

Q
Great. Thank you.
(Slight beat)

R
Though to be honest, those places aren't that different from, you know,
more mainstream places, after you've been here a while.

Q
Mainstream places?

R
Well like last night, Cafe X. That was pretty good Country X food.

Q
Sure, / of course.

R
But-- but the place is Country Y owned. But the food is still authentic
Country X, / and the atmosphere...

Q
Yeah, yeah but...

R
(Smiling, semi-facetiously accommodating) But... We'll still go to the down
'n dirty local places. Get that-- authentic feel.

Q
(Following his lead)... Then come crawling back to the more mainstream
places?

R
That's right.

Q
That's so weird, to say mainstream.

R
Are you getting all p.c. on me?
(Q does a little bitter, dismissive laugh.)
I think you'll find the more you're out here, that stuff'll seem more...
meaningless. You know?
 37.

Q
No, I don't know.

R
Like-- like what we were saying before: how it feels so real here, right? So
all this p.c. stuff just kinda starts to feel like a bunch of word games, you
know? And in Country Y we'd just talk and talk and talk about it, but here
we're actually living it. Does that make sense?
(Slight beat. Q considers.)

Q
But I guess, that's why maybe it would be good to... to be even more
vigilant. Right? If you're inside of it?
(Slight beat. R considers, a bit confused.)

R
No but what I'm saying is...
(Does a slight laugh.)
Never mind, let's / not--

Q
Okay.
(The following is a humorous game-- i.e. it's funny to
passive aggressively keep the argument going under
their breaths-- so, a bit exaggerated, but still barbed.)

R
(Re: what does it matter) Mainstream, not mainstream....

Q
Yeah, mainstream for who, was all I / was...

R
Yeah, for us. That's / what I was...

Q
But we aren't in Country Y, was / what I...

R
But we're Country Y citizens so they will be mainstream to us, was all I
was... was saying.
(Slight beat. They laugh. Beat.)
I'm not gonna have to walk on eggshells all the time, am I?

Q
Not if you say the right things.
(Beat)
 38.

R
Okay. I-- I feel you've been a little...

Q
(Daggers) Go on...

R
I just feel like there's this... judgment in your voice, sometimes. Since you
got here.

Q
I'm judgmental. Please say more.

R
Like maybe you have these... expectations? Or something? About how life
in Country X should be? And then when I don't make them happen, you
get a little...

Q
A little judgey.
(R shrugs. Slight beat.)
I don't have expectations.
(She takes a beat. She sighs.)
But okay... Maybe this past week-- because it's just been, you know,
staying home, go to the Country Y clubhouse, go to a bar, come / home
again...

R
But you just got here.

Q
I know. So I'm explaining. Maybe I've been a little... restless.
(Pause)

R
You know, I think we're just, finding our language again.

Q
I think so too.
(Beat)

R
Are we cool? Can we be cool?

Q
Yes, we can, we can be cool.
 39.

R
Come here.
(He draws her in for a kiss.)

Q
One thing my new friend wants to do is go to the caves.

R
The caves.

Q
Yeah, have you been?

R
No not yet. I've heard they're...

Q
What.

R
Nevermind.

Q
What?

R
I've heard they're a little... overhyped. / But--

Q
Oh.

R
But I'm sure they're great.
(Slight beat)

Q
Okay so you think I'm judgmental, (He reacts), but I think you've become
weird and jaded.

R
Oh really.

Q
Yes, about Country X. It's not like you.
(He ponders.)

R
I guess you do become more... in tune... with your home country out here.
 40.

You put up some boundaries.

(Q does a motion indicating putting up boundaries. R
follows. They laugh lightly.)
But I'll try to act less jaded.
(Q does an act of acknowledgement. Thumbs up?
Nodding.)
I want you to be careful out there, at the caves.

Q
Why?

R
It's the wilderness out there. Like the actual wilderness, with wild animals.

Q
Oh yeah?

R
People have been killed. You'll need protection.

Q
Ooo. (Sincerely) I'll be careful.

R
Thank you.

Q
You've changed... A little bit.

R
Welcome to Country X.
 41.

SCENE 9

(J, R and Q at a bar.)

R
Well J knows all the places, he's been here a while.

J
(Doing a little laugh) I have, yes. And actually it's our official suggestion
right now that Country Y citizens avoid local, Country X establishments. At
least for the next few weeks.

Q
How come?

R
Tensions. There've been tensions lately.

Q
You didn't tell me about that.

J
It's normal. That's how it goes here: Things rise up, then they settle down.
Comes in waves.

Q
What happened? / What...

J
A local boy, imprisoned, over theft. He stole.

Q
What did he steal?

J
And the law is clear. You steal, you go to jail. That's / the--

Q
But what did / he--

R
But I guess it doesn't matter, right? (To J) That's what you're saying, the /
law's the law.

Q
Okay, just asking.
 42.

J
Batteries. He stole batteries.
(Slight beat.)
Harsh right? Thrown in jail over batteries?

Q
I uh...

J
(Mock outrage) Yeah what are they doing over there, locking locals up
over batteries!

Q
(Playing along) Yeah what are you doing?

J
(Still playing) What are we doing in Country X??
(Slight awkward beat)
It's a good question. No it is. I've read the articles, I know what some
people are saying back home. But guess what-- that question? Not my
problem. The only question I'm responsible for is: are we going to enforce
the law or not. And guess what: It's their law-- you steal, you go to jail--
that's on their books.

Q
But it's how you choose to enforce the law, right?

J
We enforce the law equally. We're strictly by the books.

R
Their law, / on their books.

J
Their law, yes. Their laws, their government, their courts.

Q
But I guess / what I'm--

J
We're playing by their rules.

Q
Playing by their rules to take advantage of them. Right?

R
(Trying to laugh it off) That's not...
 43.

Q
I mean, / that's what--

J
(Mock horror) Take advantage! My god, lock up your daughters...
(R laughs.)

Q
(Mimicking the mocking tone, mock overly sensitive, to J) I don't mean you
personally are taking advantage, or (to R) you.
(Pause)

R
But you are kind of saying that, right?

Q
What.

R
That it's us personally?

Q
No, I--

R
We are Country Y.

Q
Yes, I know.

R
And this is-- I mean it's the globalized world. If you engage with another
country through legitimate means, then that's... that's legitimate! There's /
no other way of--

Q
Yeah but-- but it's using the guise of legitimacy to pretty much usurp a
country.

J
Guise of legitimacy? What does-- it's legitimate or it's illegitimate. / Guise?
What does..

Q
Well I'm...

J
Their President is in power, so...
 44.

Q
Well...

R
Well what?

Q
President K? Come on.

J
What's wrong with president K?

R
(To Q) Okay / look.

Q
(To J) Are you serious?

R
Look, / you don't--

J
Yeah, what's wrong with him?

Q
He's a puppet, right? Of ours?

R
Look, you don't know what you're talking about.

Q
Excuse me?!

R
But you don't, you don't. I mean we all used to read about, about all the
terrible things Country Y is doing in Country X, but it's just not true! When
you're here it's just not--

J
It's (okay)...

R
You can't pass judgment! You're passing judgment. Again! /

Q
I'm / not passing--
 45.

R
On, on his job, his livelihood! /

J
/ It's okay.

R
And mine too! No, it's not okay. I apologize to you on her behalf.

Q
Don't apologize for me!

R
But what you're saying is not valid. It's just embarrassing.
(A stunned beat.)

Q
How dare you.
(Q abruptly leaves.)

J
It's like you two are gonna be married or something.
(R follows after her.)
 46.

SCENE 10

(R catches up to Q a block or two outside the

bar.)

R
Hey, hey!
(He grabs her arm. She pulls away.)
Hey I'm sorry. I'm / sorry for--

Q
No, no!

R
I was out of line.
(He moves towards her, she backs away.)
What more do you want me to say?

Q
You're-- you're--

R
What?

Q
You're a completely different person.

R
I'm not a completely different person.

Q
No, you are. You are. You'd never say those things to me back home. You
are a completely different person.
(Beat)

R
I'm the same person I always was. Hate to break it to you.
(Pause)

Q
Then I guess I'm very confused.
 47.

SCENE 11

(F and B at B's home, day of the trip.)

F
I actually lived in Country T for a few years, when I was / young.

B
No kidding.

F
From about 5-8?

B
Why so short?

F
I was a military brat. Moved a lot. Within Country Y too.

B
Military brat. Why do they call it that?

F
Maybe we tend to be brats. Never staying in one place for long, so we act
out.

B
So you were a bratty kid?

F
No, the opposite. Very timid.

B
Huh (interesting).

F
Sickly too. Timid and sickly.

B
And always moving. Great friend material.
(F laughs.)

F
You were born in Country X?

B
Born, raised, residing.
 48.

F
Ah.

B
Yep, my home.

F
Being overrun with carpetbaggers, like me. It must be very hard.

B
That's what she said.
(Slight beat)

F
Hm? Who? Who said?

B
Nevermind, it's a childish Country X joke.

F
Ahaaa, I thiiiink I get it too.
(She laughs.)

B
(Over F's laughter) I took a risk. Pushed our familiarity to the next level.

F
(Through laughter) Okay we're officially at the next level.

B
No turning back now.
(They laugh again.)
 49.

SCENE 12

(Suddenly, it's revealed that S, H's assistant,

has been watching. G enters discreetly and
stands beside S.)

G
Are they talking in there?

S
Ah, Professor! I didn't hear you come in.

G
Why are you here? Is H coming too?

S
No, she's not. I'm on loan. Driving them to the caves. You going too?

G
I was invited, but I'll see.

S
Do you want to go in now?

G
Let them talk for a bit. Is the rest of the party here?

S
Not yet.

G
What are they talking about?

S
Oh I wasn't eavesdropping.

G
Of course not.
(Slight smiles.)

S
They were joking about something women say. Didn't get the reference.

G
Sometimes you can get things without getting every reference.
(They watch. F and B laugh.)
 50.

S
They're getting along great.

G
You're right about that.
(They watch.)
Huh (interesting).

S
What?

G
Do you see what B's doing? How she opens her arms but then keeps
folding them back together?
(She mimics it.)

S
Yeah

G
There's a struggle there.

S
What do you mean?

G
B wants to share everything with F, but still doesn't know much she can
reveal.

S
Huh.

F
You just blew my mind.

B
Glad to hear it.

F
That's a totally different perspective.

S
She's flattering her. Overflattering.

G
She sees that. She's backtracking.
 51.

F
I mean, did your research take a long time?

G
"Perspective" was the problem word.

S
Possibly condescending, so she's reinforcing the science.

G
You're good.

S
I've got practice.

B
So tell me, are you married?

S
Whoa, hello!

G
It's for platonic intimacy, I think.

F
I'm not, no.

B
But you're such a catch.

G
I think.

B
Well, there are a lot of attractive Country Y Citizens here.

F
To be honest, I don't really... fit in with them.

B
You don't fit in with your own people?

F
Eh.

B
You seem likable enough.
 52.

F
(Laughing) Oh thank you!
(B laughs too)
I dunno, I think I get along better with Country Xers.
(Slight beat)

S
B looked down. She bristled.

G
Yeah I saw.

S
Maybe she thinks F has a Country X fetish.

F
What I mean is... there's something really... unfinished about Country Y
Citizens in this country. And you should be comfortable and complete
before you give yourself to another.

B
You're a Country Y Citizen in X. Are you an unfinished person?

F
Ha.

S
Got her there.

F
You're right. So I'm no catch either.

B
Well, you'd bring something to the table. You'd fill a deficit of your own
country's making.

F
What do you mean?

B
Being under the control of Country Y makes us feel incomplete, being
suddenly considered this offshoot of something greater.

F
Ah.

B
So you'd do a great service to a Country Xer by marrying them, filling a
 53.

Country Y shaped hole.

G
How's she going to get out of this one!

S
Was it a trap?

G
F's confused. She doesn't know if it's irony or not, and if it's irony tinged
with truth, how far down does the hostility go, and is there an intention to
relay this hostility to her and then how conscious is this intention how far
down does that go.

S
Yeah that's what I was thinking.
(Beat)

B
I was married once. But they died.

F
I'm sorry to hear that.
(B goes to drawer. Takes out a photograph.)

B
This is V.
(F looks at it. Looks back up to B and smiles warmly.)

F
V is beautiful.

B
V died two years ago. They were my life. Since then I've found it... difficult
to connect to people. I have friends, yes. But there's a spirit V had, and
this... common language we shared.

F
Mm. (Respectful understanding.)
(Beat)

B
On some level we all speak the same language.
(She looks at F for a beat, then looks away.)
But in practice...

F
Hard to find.
 54.

B
Yeah. But then...
(F smiles.)
You... seem to really listen to me. You seem to care.

F
I do care.

S
What do you think, G? Does she really care about B? Or is it wishful
thinking.

G
Do you know B to be a good judge of people?

S
She's sometimes blinded by charisma.

G
Sometimes it's good to give passion the benefit of the doubt. What about
F?
(S thinks for a bit.)

S
I think she's a little lost.

G
Hm.

S
Doesn't relate to her own people, not a Country X citizen either.

G
So where is she to go? What if she just wants to disappear?

S
You can't disappear. No siree. We'll see you.

G
You have feelings about F.

S
I shouldn't be so forthcoming with my opinions.

G
Forthcome away.
 55.

S
Okay, well. She has no right to be here. All of them. This is our country.
Even if she just drifted here in search of adventure or work. Because if you
come here in search of work, guess what, you're taking one of our jobs.
You can't be a neutral entity. She has no right to be here.

G
So her responsibility is to leave?

S
Yes.

G
And what if I said she has nowhere to go home to, or everywhere to go
home to. What if the world is her home?

S
That's fluffy, you're being fluffy.
(A slight, charged stare-off. Then they laugh. Q
enters.)
Oh! There's Q. That's the group. Should I announce you?
(G has vanished.)
G?
 56.

SCENE 13

(B, Q and F.)

F
Q this is B-- B, Q. Oh! BBQ!

Q
You look... familiar.

B
Do I? Well you look kind of familiar too...

Q
Thanks so much for coordinating this trip.

B
It's my pleasure.
 57.

SCENE 14

G
I can see them in my mind's eye from above. They move like tiny insects,
along an imperceptible trail, across imperceptible elevations. They move
almost blind, towards imperceptible holes in the earth where, upon
entering, they will be made even blinder. They seek blindness out. As if
they do not like the way things look, and want to see anew.
(They are walking. F suddenly feels faint as they near
the cave. She stumbles down. Reactions of concern,
"Are you okay, what's wrong" etc.)

F
No sorry I just-- I suddenly don't feel so good.

Q
/ What's wrong??

B
What are you feeling?

F
A migraine, I think-- I'll be fine, I just need / to sit down.

Q
Should we go back?

B
Let's go back.

F
No, I'll be fine. You two go ahead.
(Vehement protests.)

B
We'll come back another day. We need to / get you--

F
It's what I want. Please. I'll wait for you right here. Go.
(B and Q look at each other, then begin to walk. They
walk in an uncomfortable silence for some time.)

Q
The air is so lovely.

B
Yes, it is.
 58.

Q
Invigorating.
(B doesn't respond. They walk in silence for a few
long, awkward beats.)
I've heard there are wild animals here. Near the caves.

B
Mm. Like what kinds?

Q
You know, I didn't think to ask. I'm sure it's-- I mean everywhere has wild
animals. Trails back home had mountain lions and bears. But you never
actually encounter them.

B
I think there are supposed to be wild boars here.

Q
Wild boars?

B
Yeah.

Q
That's it?

B
From what I've heard.

Q
Huh. (Interesting)
(They continue to walk in awkward silence. Then they
both start sentences at once.)
Please...

B
No, / please...

Q
Please... I insist.
(Slight beat)

B
I was just going to ask how you were enjoying Country X so far.

Q
Oh I'm loving it, yeah.
(Slight beat.)
 59.

Yeah it's just... It's very new, and different for me.

B
Mm.
(Beat)

Q
What I find really interesting, is how much it's-- it's-- not... automatically...
Welcoming? Here?
(B makes a funny face.)
Which is a good thing!

B
Okay /...

Q
Just because-- well as opposed to, you know, being catered to, sucked up
to. It seems instead like--... There's a sense of: this place is yours, really,
and... And there's pride in that, you're not trying to please anyone. Does
that make sense?

B
I like to think we're naturally friendly.

Q
Oh no, you are! You are! Oh god, I'm not saying / this right.

B
I-- I understand what you mean.

Q
It's just-- it's just different from, the stereotypes. Which is a good thing.

B
What are the stereotypes?
(Slight beat)

Q
Oh just-- you know, that there's a-- an accommodating nature, maybe?
Which isn't true. I mean it's true, you're accommodating, but not over
accommodating, is--

B
How long have you known F?

Q
Oh not long. Just from the boat ride over. You?
 60.

B
Just met her too.

Q
She's really friendly.

B
She is.
(They walk in silence. Q looks really troubled.)

Q
Hey I'm sorry if-- I didn't mean any offense by any of that. About being
welcoming, or not welcoming, / I just

B
Don't worry about it.

Q
I know I sound like a fool.
(Slight beat)
I'm just going through some things, I think, so I'm a little--... I had a fight
with my fiancee, so...

B
Mm.

Q
He’s really changed out here, 's the thing. So I feel a bit... lonely here I
guess, to be perfectly honest with you. I think that's why I wasn't saying
things right, my socials skills are kind of-- I'm rambling now, I'm not
making any sense.

B
You don't have to worry. I'm not judging you.

Q
This isn’t who I am. I’m just going through some things.

B
We're here.

Q
Oh! This is it!

B
This is it. I want... you to go in first.
 61.

Q
Oh no, I don't wanna leave you behind...

B
You said you were going through some things. Well the caves are a place
to confront things, find answers. But you'll have to do it alone. I'll wait out
here for a bit, have a smoke, then join you.
(B gestures.)

Q
Okay then. Thank you.
(Q moves ahead of B, and soon she is alone, nearly
in darkness. An unintelligible sound is heard. She
swirls around. The sound again.)
Hello? Hello?! Who's there!
(We hear a muffled "boom")
Who's there!
(The boom again, with greater prominence. Then, we
hear the sound of an animal growling. Scared, Q pulls
out a gun.)
Go-- go away! Shoo!
(The growling rises, then falls, segueing into a single
pair of footsteps, moving at a leisurely pace, heard
from a distance first, then gaining in sound. Q aims
the gun. The footsteps continue to come, then, when
it sounds like they are right in front of her, they stop. Q
looks closer, then lowers the gun.)
Oh. It's you.
(Suddenly, an intense drone, mixed with the "booms"
and the animal sounds rise quickly and with full force,
into a frightening roar. In terror Q aims the gun again,
looks away, then shoots. The gunshot echoes in the
cave. Silence, then blackout.)

(Instead of an intermission, we will experiment with

taking a pause right here. Lights come up... )

G
We're going to just take a breath here. A little pause for one minute. You
can talk to your neighbor, stretch, but we ask that don't get up unless it's
really an emergency. But... stay with us.
 62.

ACT II

SCENE 1

(After a minute...)

G
Okay, we're going to continue. How are you doing? How's it going so far?
Each of you is seeing this story in slightly different ways, depending on
your experience. Even the experience of what books you might have read.
Like this story tonight, some of you will recognize as a kind of remix of
E.M. Forster's A Passage To India. If you haven't read it that’s fine. And if
you have read it, you should let that go too. I think the author himself
would say that... this isn't his story, but our story. And by ours I mean all of
us here, in this room, right now. (Possibly says: "Right?" to ensemble, out
of character, and they might nod in agreement.) I am trying to... bring us
all to the same page. Even though... that’s impossible. Right?
(Immediately, and violently-- with a violent sound
accompanying-- the design atmospherics of the play,
mainly lighting, crash into something much darker,
colder, and menacing. Transitions between scenes
might be more harsh and violent too.)
 63.

SCENE 2

M
So there's no physical evidence.

H
Nope.

M
Then she should be released!

H
Yep.

M
If there's no evidence, they can't hold her, it's as simple as that. It's un-
fucking-believable.

H
It's not unbelievable.

M
Right, you're always right. But the real travesty is... B is innocent until
proven guilty. So in the eyes of the law, she still didn't do anything, right?

H
Mmhm.

M
But look what was done, what is provable. This Country Y psychopath,
who brings a gun on a hike, actually shoots at B.

H
I / know...

M
So there is evidence for that CRIME. And what is B actually accused of? A
vague "assault" charge?? No specifics, and yet she's still locked up!
While this Country Yer, who actually attempted / murder, that actually
happened...

H
Yes... she walks free.

M
... walks free. How can they be so blatant? That's my question. You know?
 64.

H
Of course I know. Who are you talking to here?

M
Do they think we won't take action against this?

H
It's already happening. The battery protesters have taken on B's cause,
it's escalating fast.

M
Good, that's good. I'm so mad right now, I'm just so mad.

H
What if she did it?

M
Excuse me?

H
What if B actually did something, and the shooting was self defense?

M
What?! This is B we're talking about. One of the most gentle souls on the
planet.

H
And what if she wasn't gentle?

M
What are you doing?!

H
This is how the case is going to look when it's brought to trial. They'll first
show B isn't a gentle soul. Because she isn't! She's a human being, with
flaws just like the next person! But the burden on an accused Country X
citizen is to be a spotless angel. An impossible standard. So once that's
undermined, then they win the case. This is how it works. So we have to
be prepared.

M
Do you think she did something?

H
Of course not. It's B!

M
We need to secure a counter charge on her behalf. For attempted murder.
 65.

Let's come at this full force.

(H looks at him and smiles.)
And that's it, I'm getting out of business with them.

H
Country Y?
(M indicates affirmative.)
It's good to have you back.

M
I'll start making calls.
 66.

SCENE 3

J
Where's Q?

R
At our place.

J
Good.

R
She hasn't left the house once, since...

J
She needs to stay there. It's not safe in the streets for her.
(R nods.)
These protests-- no, riots-- are getting out of hand. It's vandalism and
barbarism now. And people at home wonder why we're so severe.
(Slight beat)

R
What about these attempted murder charges against Q? Are they serious?

J
No. They're not.

R
Are you sure?

J
It's posturing. A desperate attempt to change the story. Don't you worry
about it, I'll make sure it doesn't go anywhere, I know people.

R
Thanks.

J
She's brave, to have defended herself like that. How's she doing?

R
She's a little... uh...

J
Scared?

R
More than that. Really uh... down. Like despondent, or something.
 67.

J
Well, after what she's been through.

R
She won't talk about it.

J
Well yeah, the trauma.
(Beat)

R
But she's never, uh... she's never really told me... the story. What
happened.

J
But the police report, you / read the--

R
Yes.

J
So she told the story once, doesn't want to tell it again. What's the
problem?

R
I dunno, something feels... weird.

J
(Slightly irritated) Weird how.
(Pause)
Is she talking... at all?

R
No.

J
Don't let her talk to anyone else.

R
Why not?

J
We're building a case for her. So if she's acting weird and, and
despondent, if she's unreliable in any way...

R
Thanks again for everything you're doing.
 68.

J
We're all behind you. We stick together.
 69.

SCENE 4

(M and H visiting B in jail.)

B
F insists we go ahead. So I do. On her wish. So Q and I walk together.
And all the way she, she keeps up this mindless babble, just on and on
and on, until she-- she actually says, get this, she says... she's surprised
how unfriendly Country X is.

M
What??

B
She says: I expected you guys to be more accommodating.

H
I'd assault her too. Kidding.

M
What did she even mean by that?

B
Who knows? We're not tourist friendly (?!?!)

H
What happens next.

B
I tell her to go into the cave alone. It'll be more mystical for her that way.
She seems scared at first, but then goes in. I smoke a cig, enjoy the air,
and then I hear a scream, her scream. So I rush in, and I'm fumbling for
my lighter, I can't see anything. And I'm calling out her name the whole
time, asking if she's okay. And then I reach out and, and touch her. And
when I touch her, she grabs me, and then she pushes me back, really
hard, and I fall to the ground, and I'm like what the fuck! Right? And then,
and then she shoots at me. Okay?! She. Shoots. At. Me! And it's the
loudest explosion I've ever heard. I feel the bullet, the wind from the
fucking bullet going right past my head at point blank range. And it's
confusion, I'm like is there someone else here? Because she can't be
shooting at me, right?! And where'd she even get the gun?! And then I
hear scrambling. She's rushing past me, out the cave. When I get outside,
she's gone. I have no idea where she is. And I'm like what. Just.
Happened? Right? I make my way back to F and we decide to head back.
And S is there with the car, but now there's a police car waiting for us too.
And then...
(Beat)
 70.

I should never have gone. How stupid of me. Has she been arrested yet?

M
No.

B
And why the fuck not?!

H
We're working on it.

B
It's not fair.

M
We know.

B
I'm fully on your (indicating H) side now, about Country Y.

M
We all are.

H
We all stand beside you.
 71.

SCENE 5

(F alone. A GECKO creeps in, looking for food.

F observes for a beat. Then...)

F
Hello.

GECKO
Hello.

F
You look like a man, but I know you're really a gecko, crawling along my
wall.

GECKO
Gecko... along your... wall...

F
Can you see me?

GECKO
I... see you...

F
There was something else that happened in those caves, long ago,
standing with those strangers.

GECKO
Strangers.

F
Something I tried to forget. After standing there together and feeling
communion, someone decides to call out. You know, to hear an echo.

GECKO
Ech-cho...

F
It's a little girl. She calls out: "Hello!" And everyone expects her voice to
echo back. But instead, all we hear is, is this muffled "boom" sound...
(We hear the muffled boom.)
She tries again, the same thing. Hello!
(We hear the muffled boom.)
Others try. I try it too. Hello!
(We hear several booms in sequence.)
Suddenly, everyone is doing it, it becomes this mass panic, trying to hear
echoes that don't come.
 72.

(We hear a multitude of booms.)

What's happening?! What's going on?!
(We hear the boom from before.)
No matter what we say, how we say it. No matter who says what. It all
comes back the same.
(We hear a multitude of booms.)
And I was afraid. I did not want to lose my voice! That is who I am! I'll be
honest, little Gecko. The other day, I was actually afraid to reenter the
caves. It wasn't a migraine. When we were almost there, a fear, a panic
gripped me. I couldn't go on. And now...

GECKO
And now...

F
How do we move forward? What are we to do?

GECKO
What are we... indeed.
(She looks at GECKO)
 73.

SCENE 6

(Q and F at Q's apartment)

Q
You don't believe me.

F
I don't know.

Q
You can say it if you don't. Why not be honest?

F
Okay. I don't.

Q
Good. That's better. That's why you've waited so long to see me. Right?
(F doesn't respond.)
Sorry. I just-- I haven't seen anyone in a while. Please don't go.

F
I'm not going.

Q
I need someone on my side.

F
I'm not on your side.
(Pause)

Q
Why don't you believe me?

F
I know B. She wouldn't hurt anyone.

Q
Well I'm sorry you can't feel what I went through! Doesn't mean it didn't
happen!
(Pause. F stares at her.)

F
So what happened?

Q
So you can pick my story apart?
 74.

F
Why would I do that?

Q
That's what R's been doing, needling me, saying my story needs to be
airtight. He was the one who forced me to bring a gun! I didn't want to, but
we were just fighting all the time so I said okay, I won't fight you on this, I'll
take it, fine.

F
What do you mean your story needs to be airtight?

Q
I didn't want to leave you. When you felt sick.

F
I know you didn't.

Q
You seemed like you'd actually prefer it if we went on, so that's / why I...
why...

F
I know, I know that's what happened...
(Beat)
What happened next? What really happened in the caves?
(Beat)
I want to tell you... the real reason I stayed behind... was that I was afraid.

Q
What were you afraid of?

F
You experience things in those caves. I know you did. Because I did too.
So I know. Just tell me what happened.
(Long pause.)

Q
I'm walking up the trail without you. And during the walk, B is very silent.
She seems distracted. So I try to talk, to fill the space, because I think
she's uncomfortable, so I want to make her comfortable. So I start talking,
and the more I talk, the more I feel we're drifting, drifting apart. Do you
know that feeling?

F
Yes, I do.
(An atmosphere shift, that keeps rising in intensity.)
 75.

Q
And suddenly a panic sets in. Because it's clear now, it's so clear that she
doesn't really want to be here with me. She wants to be back with you,
she's not even hiding it!
(Slight beat)
And before I know it I'm alone in the cave. She's abandoned me, like she
wanted to from the beginning. She's made up some excuse and I don't
expect she'll ever join me. But then... I realize I'm mistaken. Because...
suddenly, out of nowhere... there she is.

F
B.

Q
Yes, B.

F
Are you sure?

Q
Yes!

F
Are you sure that's what you saw?

Q
Yes! Who else could it have been?! Huh? What other explanation could
there be?!
(Long pause. Atmosphere increases. Q is in tears.)
You hate me.

F
No.

Q
I don't want you to hate me.

F
Look at me. Does it look like I hate you?
(Pause.)

Q
(Quietly, fighting back tears.) It wasn't B I saw. It wasn't. I just-- I thought I
was going crazy. A person comes in. And, and it's... R. My fiancee. That's
who I think I see: R. But how did he get here? What's happening to me?
And as I look at him... suddenly my future, my past, my self start crumbling
away. Because it's so clear to me now that this man, this man I staked my
 76.

life on, is not the man I thought, and it's so clear that I'm really alone, have
always been alone, my whole life, and...
(Slight beat)
I call to him but he doesn't respond. Something's not right. His image
wavers. I call to him again but he just stands there, looking at me. His
eyes are different, they're... not his. They're the eyes... of an animal. This
isn't my fiancee, even though it looks like him. He's changing before my
eyes. And it's angry, this creature, it moves toward me and I scream, I
scream but it keeps coming! I think it's going to kill me! This creature I
thought I knew! I call out for help. I call out and... and...
(Atmospherics crescendo, then fall.)
I made a mistake. I made a terrible mistake.
 77.

SCENE 7

(F and B at B's house. The following should be

played as respectful and non-confrontational
for as long as possible.)

F
Cheers.

B
Cheers.

F
To justice. A kind of justice.

B
A kind of justice, yes.

F
How are you feeling?

B
I'm feeling a lot of things.

F
I'm sure.

B
You know, I haven't been reinstated at the hospital yet.

F
Really?
(B nods.)
How come? I didn't even know you were...

B
I was put on indefinite suspension, once the charges came.

F
But the charges are dropped, so now...

B
They said they need to do some paperwork for the reinstatement. But it's
been a while, and they won't return my calls.

F
That's terrible.
(B shrugs.)
 78.

You can't just go there? Make a stand, say: "I belong here"?

B
So I'm forced to make some righteous stand in order to return to my job?
On top of everything else I went / through?

F
No, you're right, you're / right.

B
Sorry, I didn't mean / to sound--

F
No, it's okay, it's okay.

B
It's just irritating. Very irritating.
(Pause. They both take drinks.)
I really appreciate you visiting me, when I was...

F
That's what friends are for.

B
You didn't have to.

F
Yes I did.

B
To us.
(They toast. Silence.)

F
I should tell you, I've been in touch with Q.
(B is surprised by this.)

B
Oh yeah? What did she say?

F
I mean, she's devastated. But obviously it's not what you've been through.
(B doesn't respond.)
And I know-- I'm sure you're not in a position to... uh...
(Slight beat. B is slightly puzzled)

B
Forgive her?
 79.

F
No, no. Uh, maybe I'm not sure / what I--

B
It's not like a light switch: not forgive, then forgive, you know?

F
No of course, of course. I don't even know why I brought her up. Sorry.
(Beat)

B
How's she doing?

F
We don't / have to--

B
No, I'm curious. It's fine.
(Beat)

F
I think she's feeling really uh... really isolated. She says she's being
shunned by the Country Y community, because of her backtracking. I think
they really wanted the conviction to go through.
(B does a disgusted sound.)
And her marriage is off now. Her fiancee left her.

B
I would too, if I were him.
(F doesn't respond.)
So you feel sympathy for her.

F
Guess I'm a softie. It did take guts to reverse herself, I'll give her that
much. But...
(No response.)
Did I say something wrong?

B
This woman dragged my name through the mud. For me to have been
suspected of such an act casts a permanent shadow on my character.

F
Of course. No, you're right, you're so right, I'm sorry, I need to see the
bigger picture.
(A long, VERY charged pause. B studies F closely. F
does a nervous laugh to try and break the pause. This
 80.

causes B averts her gaze.)

Let's not talk about her anymore. I'm really sorry if I--...

B
You uh... (Does a bitter little laugh)...

F
What.

B
(It's difficult for B to say the following) You uh... forgot... that she tried to kill
me.
(B meets F's gaze.)
Right? Did you?

F
No, I didn't forget.

B
But all these things we're talking about: the conviction, my job, and then
on her side what she's going through, and... all that. You forgot.
(Pause while F reflects.)

F
It wasn't on the top of my mind. I'm sorry.

B
Don't keep saying sorry.

F
Okay.

B
When that gun went off, I thought my life was over.

F
That should have been at the top of my mind. I'm so sorry. I shouldn't have
forgotten that your safety is the most important thing. I shouldn't forget-- I
can't forget that, (admonishing herself) I can't forget that, because I'm--...

B
(Slowly finishing her sentence)... because you're my friend. That's why you
shouldn't have forgotten.

F
Right. Exactly.
(Awkward pause.)
I feel I'm... I'm not--...
 81.

(She shakes her head? Pause.)

Should I go? Do you want me to leave?

B
I'm not sure. Maybe.
(F pauses, then makes to leave. Then stops.)

F
I just want to say that, I'm-- okay not sorry, but-- as a friend, I feel awful
that I didn't acknowledge the true-- the true weight of the shooting, when
we were talking just now. And I want to be here for you, in any way I can, if
and when you need me.
(B doesn't respond at first. F makes to leave.)

B
I was a little triggered... when you brought up Q, and what was happening
to her... I think... maybe... I just got this feeling that--... You wanted me to
drop my charges against her. And that that was maybe why--... why you
came over here.

F
That couldn't be further from the truth.

B
I'm still going through with the charges. Even though she's dropped her
false charges.

F
I know.

B
Do you think I should?

F
Drop your charges?
(B nods.)
I don't think I can answer that.

B
Why?

F
Because I'm not in your shoes.

B
You think I should drop the charges.
(F doesn't respond.)
 82.

You did, right? Come here to try and see if you could get me to drop the
charges against her?
(F does an exasperated sound.)

F
No! I-- You don't believe me?

B
Look, I know what you did. I know that you're the one who got her to
change her story. I know I'm free now because of you. And I want to thank
you.

F
You're my friend.

B
And you're her friend too.

F
No.

B
It's okay. You can have many friends. I guess I was just hurt because, I
thought you came here to celebrate with me, be with me, and that was all.
And then suddenly I got the feeling-- when you mentioned Q-- like you
were actually here on a mission, to solve the other half of, of some
problem.

F
You really don't think much of me, do you.

B
Am I wrong?

F
Okay, do you want the truth? Fine. If it felt right, I might have mentioned
the possibility of dropping your charges. But it didn't feel right, so I didn't.
Because when I visited her, I felt sympathy for her. I did. I saw that she
was a very lost and, and lonely soul. And I saw that, if she was thrown in
jail, it would... it would destroy her.
(Beat)

B
And what if she had killed me? Would you be so forgiving, then?

F
No, of course not.
 83.

B
If the bullet went five inches to the left, I'd be dead. So there's no
difference in her action, just because she got lucky. She cannot be allowed
to draw a gun on a Country Xer. That's that. That's why she needs to go to
jail.
(Silence. A noticeable shift in B's energy.)
I think I realize now that... from the beginning, I may have been under
some... uh... misconceptions.

F
About...

B
Expectations, I think.

F
Can you elaborate?
(Pause)

B
When I was arrested. When we walked back down the hill and the cops
were waiting for us, for me, and when they grabbed my arms and twisted
me around by force-- me, one of the most prominent doctors in the country
who uses these arms to perform open heart surgery for people of all
countries-- the humiliation, the indignity of that-- and when they lowered
my head into the police car like an animal being forced into a cage, and as
the door closed, and I saw you on the other side of the window, the
aloneness of, of my humiliation-- it hit me. Like a sledgehammer. It hit me
that... you didn't want to share this with me.

F
Share... what?

B
My humiliation.

F
I tried to stop them! Did you hear me yelling, / demanding they stop, that
they were making a mistake?

B
Yes... Yes... I heard all that, yes.

F
So I was trying / to help you.
 84.

B
Yes. You were. I know. That's all-- that's all good.
(Pause)
I didn't expect you to do this. But it occurred to me, afterwards, that when
the policeman grabbed me... you could have grabbed my other arm, and
tried to pull me away.

F
You wanted me to play tug of war with you?

B
Or you could have held onto me and refused to let me go. You could have
said: "If she goes, I go." And you could have been pushed and shoved into
the car, just like me.

F
It never crossed my mind to do that. That's not in my nature.
(Slight beat)
When we were separated, the wheels immediately started turning in my
mind, I started plotting about how to free you, thinking of people I knew,
levers I could pull, I was even thinking did B have lunch, should I bring her
food, and how was I even going to find you, so I was looking for an officer
who could tell me where your first stop was, so I could be at your side as
soon as humanly possible. And you're upset I didn't force my way into the
car with you? I'm sorry but that sounds-- it doesn't seem like a fair
expectation. Don't you think?

B
Yes, I agree. That's why I said I didn't expect you to do it.

F
Then what are you saying? What did I do wrong?

B
But to chain yourself to another person. To allow yourself to be
manhandled. Made a spectacle of. To put yourself in danger for them.
That's what I expect from my friends. And this time you didn't do that.
Okay. But from behind the window, I suddenly felt a different side of you
come out. I knew you didn't have the capacity to do those things. I
sensed... your hesitation.
(Pause. B shrugs. A silence.)
 85.

SCENE 8

(G is revealed, watching the scene,

somewhere near the audience, indicating a
similar eavesdropping construction as she had
with S, but with the audience as S this time.
The same look as the Temple, from before.)

G
Who are you? Who are you playing now?

ACTOR PLAYING S
Not sure. How am I being seen?

G
Where are we?

ACTOR PLAYING S
Looks like The Temple, yeah?

G
Seems like it. But... let's call this The Caves instead.
(Instant atmosphere of a cave. Cavernous sounds,
drips of water, dark lighting.)
Can you picture the place? The smell of wet earth, the uncertain terrain
underfoot, all the possible distances stretching into the dark. It can be a
little scary, huh. And yet, there's something about being in the dark with
you that's... comforting. Makes me feel I know you more. But how much
can I know you.
(Silence with cave sounds.)
This is something I struggle with so much. I'm not going to lie. The
struggle of being together, and being separate. Right? Think back to a
person with whom you’ve had differences and reached an impasse. The
immovable wall that comes up gives the feeling that even if you practice
empathy, you can never truly understand another person’s experience.
Right? And this failure to connect is where the seeds of anger and
violence begin.
(Silence with cave sounds.)
Did the thought cross your mind: What if the person just disappeared?
Wouldn’t that be better? It's crossed my mind before. I'm not going to lie.
And yet, I think to Thich Nhat Hanh, a scholar from Country Z, which
suffered unspeakable oppression at the hands of an outside force. Yet still
he said... oppressor and oppressed are one: like an overpowering tree
and its small leaf. The leaf refines the tree's sap, nourishing the tree, so it
is the mother of the tree, which is its mother in turn. So they are the same.
We cannot separate. So what if I said apply that to your enemy. Easier
said than done. Right? Still this feeling of isolation. Even if I tell you we are
 86.

all linked. Let's go deeper into the cave.

(Cave sounds grow more intense. Atmosphere grows
darker. Possible light flickers. Possible sudden bump
to this new environment? Silence with cave sounds.)
What I'm saying, how I'm phrasing all this, is going to hit people in different
ways. This will hit you differently based on the amount of-- if I may--
privilege or non-privilege you have. If you’ve experienced violence, or if
you’ve experienced other hardships that were life and death to your soul,
but seem too small so you don't voice them, so they wound you from
within, keep wounding, adding to the deep ocean of wounds of everyone
else, over lifetimes and generations passed down.
(Silence with cave sounds.)
These private wounds. These differences of experience. Let's go deeper
into the cave.
(Sudden bump (?) to an even deeper cave
atmosphere. Silence in cave sounds. From hereon in,
we will slowly descend into deeper cave atmosphere,
moving towards darkness. )
You're receiving me in different ways. Some might be moved, others not,
depending on where you are in your lives. Can I reach you just the same?
How about closure to our story. Q returned to Country Y, under unknown
circumstances. F, well, she had a terminal illness. She passed on. B's
career recovered and flourished once again. The two met a few more
times before F passed, but something had dimmed since their first
encounters.
(Silence with cave sounds.)
So many of us are just hanging on by a thread. We are one loved one's
death away from the edge. Can you feel that too?
(Sounds segue into something more rhythmic and
non-melodious, like a very slow and steady heartbeat,
a pulse.)
I'm trying to reach you. But what if I'm unable to hold your interest much
longer? What if our connection, right here, is a spell, and what if it's
starting to break?
(Silence with pulse.)
Hang in there. Please. Stay with me. Even if I run out of words. Stay with
me.
(Silence with pulse.)
I can't offer any tricks. I'm really a simple woman. Will you stay with me
still?
(Silence with pulse.)
This may not fit into your expectations of how things should be. I
acknowledge that. But still...
(Silence with pulse. Pulse starts shifting into the
"booms.")
Still stay with me just the same. This is... this is the test.
 87.

(Silence with pulse, shifting into booms.)

I don't want to lose you. Even if I have no more stories to tell. This is the
story right here.
(Booms, growing in intensity.)
It's coming. Stay with me.
(Booms with growing cacophony of racial and ethnic
strife, including possible chants of: "Country Y out of
Country X!" and gunfire.)
Hang in there. Stay with me.
(The booms with the cacophony getting more
discernible and loud.)
Stay with me, stay with me through this.
(The booms with the cacophony getting more
discernible and loud. It is almost dark now.)
I can see you still.
(The cacophony segues into a long, sustained cave
drone that cuts out abruptly.)

End of Play