THE CRY OF THE REED

A Play

by

Sinan Ünel

Sinan Ünel Represented by::

3176 Decatur Ave. #4-I The Gersh Agency
Bronx, NY 10467 41 Madison Avenue, 33rd Floor
C: 917-535-6045 New York, NY 10010
sinan@sinanunel.com tel: (212) 634-8107
www.sinanunel.com
SETTINGS:

KONYA; A city in central Anatolia, in Turkey. Home of the 13th century mystic
poet/philosopher Mevlana Jalaladdin Rumi.

DIYARBAKIR; A city in Southeastern Turkey, near the Iraqi border.

TAL AFAR; A city in Northern Iraq, near the Syrian border.

TIME;

September 2004

CHARACTERS;

Seven actors, five men and two women, are required to perform the following nine roles;

Josh: (m) 31 - An American traveling to Konya.

Hakan: (m) 22 - A young Turkish mystic follower of Rumi. A student.
Ayla: (f) 60 - A Muslim, wise, mystic teacher or Rumi. A Shaikh and teacher.
Sevgi : (f) 28 Turkish / American journalist..
Philip: (m) 37 Canadian journalist.
Tariq: (m) 41 Iraqi police officer.
Nabil: (m) 18 Iraqi insurgent
Kadir: (m) 30 Iraqi insurgent
Emir: (m) 43 A leader of the insurgents.
Shaikh Mumtaz: (m) Religious figure
Whirling Dervishes

The roles Tariq, Emir and Mumtaz are played by the same actor.
The roles of Hakan and Kadir are played by the same actor.
The actors playing Philip, Nabil, Hakan and Sevgi play the whirling dervishes.
 1.

ACT I
SCENE 1
(A street in downtown Konya. Josh walks.
Hakan follows him.)
HAKAN
Monsieur! Attendez! Vous êtes Français?
(Josh walks.)
You are American? May I help you?
JOSH
No thanks.
HAKAN
You need guide? I am best guide in Konya. I take you to Rumi museum. I am expert in
Konya history. Sir! Please stop.
JOSH
What?
HAKAN
(Recites.)
Whomever you may be, Come.
Even though you may be an infidel, Come.
JOSH
What are you nuts?
HAKAN
Do you understand this? It is very good philosophy.
JOSH
What do you want from me?
HAKAN
Nothing. I want to help you. Be your friend.
JOSH
You’re the tenth guy to hassle me today. They all want to help me. They all want to “show
me museum.”
HAKAN
There is reason you didn’t go with the others. You wait for me.
JOSH
You’re wasting your time, okay? I have no money.
HAKAN
Who say anything about money? You insult me. I don’t want money.
JOSH
Good. Because my wallet was stolen!
HAKAN
What?
 2.

JOSH
And my saxophone.
HAKAN
You musician? Me too!
JOSH
Will you please leave me alone, now?
HAKAN
That’s terrible. God will punish such terrible people.
JOSH
(Walks.)
Yeah, right.
HAKAN
Where are you going? I see you walk from street to street. I follow you but you disappear
in crowd. You looking for something.
JOSH
A mosque and a park...
HAKAN
A mosque and park? What’s the address?
JOSH
I don’t know! It was in my wallet!
HAKAN
Sit down for a minute. Take some rest. I offer you tea?
JOSH
(Exasperated - almost in tears.)
I have to find this house.
HAKAN
Sit. Be calm. You will find. Don’t worry.
(Josh sits.)
You are here for festival?
JOSH
No. What festival.
HAKAN
Ohhh. Everyone come from all over the world to celebrate life of Rumi. To listen, to pray,
to watch semazen. It is very very beautiful. And this year, for the first time, guess what?
JOSH
What?
HAKAN
Me! I am to be semazen for first time. In front of all the people. It is great honor.
JOSH
Great.
 3.

HAKAN
It is very very difficult. Study, discipline. Outside and inside. Outside you must be elegant.
Like bird. You must learn to fly. Inside, much harder. Like a voice of the heart. Do you
understand this?
JOSH
Sure.
HAKAN
No you don’t. You don’t even listen. All you think is mosque, park, mosque, park. I lose
wallet. Mosque, park. You not listen at all.
JOSH
Is there an embassy around here?
HAKAN
In Konya? No! Who live in this house with mosque, park. You come all the way to Konya
to find this man?
JOSH
(He walks.)
Forget it.
HAKAN
(Josh starts to move.)
Wait. Where are you going?
JOSH
Back to Ankara. At least I have a return ticket.
HAKAN
Stop!
JOSH
What am I going to do? What am I going to eat? How am I going to sleep?
HAKAN
Tell me name of this man.
JOSH
It’s not a man. It’s a woman. Her name is Ayla Okan.
HAKAN
Ayla Okan?
JOSH
Yes. She’s a teacher or something.
HAKAN
Allahu Ekber. Do you see this? Do you understand this?
JOSH
What are you talking about?
HAKAN
She’s my mentor. My teacher.
 4.

JOSH
Are you fucking kidding me?
HAKAN
(Earnestly)
No. I am not doing that. A most amazing woman. She teach me, take care of me.
JOSH
Wow. Is this some coincidence or what?
HAKAN
You think this is coincidence? This is no coincidence. I see you on the street and I follow
you and I don’t know why. You try to get away and I still follow you and I still don’t
know why. I listen to my heart. What is your name?
JOSH
I’m Josh.
HAKAN
And I am Hakan. Smile, Josh. Be happy. This is God’s hand. Come with me. I will take
you to her right away.

SCENE 2
(Ayla addresses an audience of Muslim women.)
AYLA
My friends. I apologize for the delay. Ziya Bey is working very hard to fix the projector.
In the meantime, I thought I’d take this opportunity to relate to you something which
happened to me today.
As I was passing through the center of Konya this morning, I heard a most magnificent
sound. A sound which seemed to emanate from the center of the earth and which filled the
universe with such longing as you cannot conceive. This is a sound which, in fact, I hear
every day. But never had I heard it before in this kind of magnitude, this kind of longing of
the spirit.
You may be amused when I tell you what this sound was. It was the sound of the braying
of Ali Efendi’s old donkey. This poor creature has served his master all his life and Ali
Efendi has always treated his donkey with great respect and leniency. I don’t know why
but this sound, which many find so offensive, even comical, came to my ears, this
morning, as a sound of wondrous beauty. Suddenly I understood it, and I related to it,
because it was an expression of grief. And how many of us, I ask you, have not
experienced grief? And how many of us live our days with a cry of sadness trapped in our
throats but don’t have the courage to shout it out as freely as this humble creature of God?
I noticed that Ali Efendi was pruning his glorious rose bushes and I called out to him. Ali
Efendi, I said. What’s wrong with your donkey that he brays so longingly every morning?
Is he hungry, is he in pain? Is he sad about getting old? Ali Efendi raised those white
eyebrows and smiled in that whimsical way of his, and he said: Ayla Hanim. You are wise.
(Smart man.) You know better than I. Look around you. Look at all the animals, trees and
plants, and even all the inanimate objects that surround us. Aren’t they all crying out with
the same longing? If you listen carefully you will hear what they say. They’re all crying
out: I want to be human. I long to be human. That, he said, is why my donkey is braying.
One more moment, Ziya Bey. I’m nearly finished.
 5.

AYLA (cont'd)
My friends, all the lower species long to be like us, like all of us ordinary humans gathered
in this room.. Because we have an awareness of spirit which they don’t have. But we’re
also in longing, are we not? We long for an even higher awareness. Just like Ali Efendi’s
old donkey, we too want to cry out as loud as we can. Like a new born baby who cries
because she’s been torn away from her source, we too are all in wondrous, miraculous
grief.
Let’s now turn our attention to this terrific film about the life and teachings of our great
master, Mevlana Jalaleddin Rumi.
(Lights dim. The haunting sound of the ney. The
film begins: the flapping skirt of a whirling
dervish fills the screen.)

SCENE 3
(Door knock. A hotel room in Southeastern
Turkey, near the Iraqi border. Philip opens the
door.)
PHILIP
Hey! You made it!
(Sevgi enters with an overnight bag and a
camera.)
SEVGI
Oh my God! What have you done?
PHILIP
What?
SEVGI
It’s that cheap stuff that rubs off on your pillow at night.
PHILIP
Oh yeah. You like it?
SEVGI
It’s awful!
PHILIP
Sacha says it works wonders.
SEVGI
Sacha’s an idiot and you look ridiculous.
PHILIP
And you look fantastic.
SEVGI
Oh come on, Philip.
PHILIP
Have a seat.
 6.

SEVGI
Why? Let’s go!
PHILIP
Aren’t you tired? Take a load off. Wanna coke?
SEVGI
No thanks.
PHILIP
I’m gonna have one.
SEVGI
Fine.
(He gets a coke. She sits, sending something’s
up.)
PHILIP
Desk clerk taught me some Turkish last night.
SEVGI
Oh dear, really?
PHILIP
Just a few phrases.
SEVGI
I can only guess.
PHILIP
Kapa ceneni kadin.
SEVGI
(Laughs.)
What? Oh come on. You’re kidding me.
PHILIP
What does it mean?
SEVGI
You know what it means.
PHILIP
Shut your mouth bitch!
SEVGI
Oh come on, Philip. I’m not that bad.
PHILIP
Yes you are. When you get worked up you are.
SEVGI
You’re a misogynist, you know that?
PHILIP
Come on. It’s a little bit funny, don’t you think?
 7.

SEVGI
Kapa ceneni kadin. No. it’s common. It’s banal.
PHILIP
(Seductively.)
Kapa ceneni kadin. It’s got a ring to it. I like it.
(Beat.)
Don’t you?
(She smiles. Just a moment between them.)
SEVGI
It’s good to see you Philip.
PHILIP
I know.

SEVGI
Why are we sitting? You’re the one who’s always go go go. We have to get there before
dark.
PHILIP
We need to talk.
SEVGI
About what?
PHILIP
Sacha says there’s definitely going to be an attack.
SEVGI
Tal Afar?
PHILIP
Yes.
SEVGI
When?
PHILIP
Probably tonight.
SEVGI
So we should get there, right? What are we waiting for?
PHILIP
Stop. I want to make sure this is what you want.
SEVGI
What do you mean?
PHILIP
It’s different now, Sevgi. Before the war, it was fun. An adventure. It’s not like that
anymore.
SEVGI
So what? You think I went to Iraq for fun?
 8.

PHILIP
Of course not.
SEVGI
Do you have any idea how frustrating this is? To sit in my house and watch it all on TV?
Of course I want to go. It’s unbearable not to go. Where is this coming from Philip? I
thought I could count on you.
PHILIP
I called your editor.
SEVGI
You what?
PHILIP
You don’t have a pass.
SEVGI
What did you do that for?
PHILIP
Because I knew they wouldn’t just change their minds after two years. You lied to me
Sevgi.
SEVGI
You’re an asshole.
PHILIP
I’m just trying to protect you. Going as a journalist still offers a modicum of protection.
SEVGI
Are you saying I’m not a journalist?
PHILIP
If you don’t have the proper documents, you’re a sitting duck. You know this. Are you
really going to put us both in danger?
SEVGI
I have proper documents.
PHILIP
Really?
SEVGI
Yes!
PHILIP
Can I see them?
SEVGI
Fuck you Philip.
PHILIP
Please.
(She grabs her bag, shows them to him.)
 9.

PHILIP (cont’d)
You’re going on your Turkish passport?
SEVGI
What do you think I did in Ankara for a whole week? I got my pass from a contact at a
newspaper there.
PHILIP
Okay.
SEVGI
Better than traveling with my American passport, don’t you agree?
PHILIP
Maybe. I’m not sure.
SEVGI
Clean, innocent Muslim girl from a Muslim country. It’s gotten you out of few messes, if
you remember.
PHILIP
What does Josh think about this?
SEVGI
What?
PHILIP
Did you lie to him too?
SEVGI
I didn’t lie to anyone!
(Grabs her bag.)
That’s it. You know, Philip, I don’t have to go with you. I’m an adult. I can go on my
own.
PHILIP
Come on, Sevgi...
SEVGI
What difference does it make? I don’t give a damn what he thinks. I’m a journalist. This is
what I do. I can’t just...
(Frustrated.)
God!
PHILIP
What?
SEVGI
I’m suffocating, do you understand that? The only time I feel alive is when I’m there, in the
middle of what’s going on. I know it’s a sickness, I know that. But I thought you, of all
people....
PHILIP
(Over.)
Okay, okay. I know.
 10.

SEVGI
I’m going. I don’t care. With or without you. I have to go.
(She moves to the door.)
PHILIP
Fine.
(She stops.)
You better get changed. We don’t want to be late.
SEVGI
I liked you a lot better as a blond, you know that?
(Sevgi takes her bag and goes to the bathroom.)

SCENE 4
(Ayla’s living room in Konya. Hakan and Ayla.)
AYLA
You’re proud of yourself are you?
HAKAN
He has a pure heart.
AYLA
What insolence. What do you know of a pure heart? You disobeyed me. You went
downtown when you should’ve stayed here to watch the workers. They could’ve stolen
everything.
HAKAN
I apologize. I heard a voice.
AYLA
Ah yes. Another voice. You know what’s going to happen to you and your voices. You’re
all going to end up in the crazy house.
HAKAN
Someone gave him your name.
AYLA
Someone always gives them my name. It’s a rampant disease. What is he? An American?
HAKAN
Yes.
AYLA
Great. Another needy person.
HAKAN
May I send him in?
AYLA
Yes! Send him in for the love of Allah! But remember, it will be a long time before I
forgive you for this.
 11.

HAKAN
(Big smile.)
Thank you Ayla Hanim.
AYLA
Get out before I strangle you.
(Hakan exits. A moment later, Josh comes in.)
JOSH
Hello.
AYLA
(Friendly now.)
Hello! Come in, come in. What is your name, please?
JOSH
I’m Josh Wyler.
AYLA
Welcome Mr. Wyler. Sit down. It’s a pleasure to meet you.
JOSH
I’m sorry if he got in trouble.
AYLA
Oh it’s nothing. The boy has a heart of gold. It’s his brain that’s the problem. He’s got the
devil doing somersaults in there. I’m sorry about the mess. The workers are getting the
house ready for the festival next week.
JOSH
Yes I see that.
AYLA
Which unfortunately means that I have no rooms available now. Shall I make some calls
for you? There are some excellent B&Bs around.
JOSH
That’s alright.
AYLA
(She dials the phone.)
Not a problem. Oh! And Hakan told me what happened. It’s so embarrassing when these
things happen to tourists. I can lend you a small sum if you’d like. You can repay me when
you get back to the States.
JOSH
Thanks. You don’t have to do that.
AYLA
(About phone.)
Busy. Let me try another.
JOSH
No, please. Don’t make any phone calls now. I just...
 12.

AYLA
(Looking in the phone book.)
Yes?
JOSH
(Hesitantly.)
May I ask you something?
AYLA
Of course.
JOSH
Are you alone in this house?
AYLA
You mean aside from Hakan? I have one resilient guest. Mr. Smith. I don’t think he’d
leave if the house fell on his head.
JOSH
No, I mean do you have anyone staying here with you? Anyone visiting? A relative?
AYLA
A relative?
JOSH
Yes.
AYLA
Why are you asking me this, Mr. Wyler.
JOSH
Please call me Josh.
AYLA
I prefer Mr. Wyler, is that alright?
JOSH
Could you answer my question?
AYLA
Any relatives staying with me? No.
JOSH
(He was afraid of this.)
I’m sorry I’ve bothered you. I won’t take up any more of your time.
AYLA
Who gave you my name, Mr. Wyler?
JOSH
It’s not important.
(Hakan enters.)
HAKAN
Ayla Hanim. Excuse me.
 13.

AYLA
(To Hakan.)
What is it?
HAKAN
The workers are leaving. They want their day’s pay.
AYLA
Tell the workers to go screw themselves.
HAKAN
(Beat.)
Are you sure?
AYLA
Get out, Hakan.
(Hakan goes.)
AYLA (cont’d)
Mr. Wyler?
JOSH
Your daughter gave me your name.
AYLA
(Pause. This is astonishing.)
My daughter?
JOSH
Yes. I’m sorry. I don’t want to cause any trouble or worry.
AYLA
Sevgi gave you my name?
JOSH
Yes.
AYLA
I haven’t heard from or seen Sevgi in years. All my letters are returned unopened.
JOSH
I know.
AYLA
How do you know Sevgi?
JOSH
I’m her... uhm... boyfriend. I’m her lover.
AYLA
(Pause.)
Will you please sit down, Mr. Wyler? Will you please stay for a while?
JOSH
There’s a bus that leaves in....
 14.

AYLA
Please. As my guest.
JOSH
Alright.
(Josh sits.)
AYLA
Except you must excuse me for a moment while I go and pay the workers for their
miserable days’ work.
(She takes money out of her purse.)
Especially before they go off and do what I just told them to do.
(Ayla exits.)

SCENE 5
(Sevgi is on a roadside on the outskirts of the
Northern Iraqi town, Tal Afar. It’s hot but she’s
dressed in a trench-coat and scarf. She’s taking
photos. Sounds of traffic. An Iraqi policeman
approaches her.)
TARIQ
Good afternoon, Ukhti. (sister)
SEVGI
(She puts down the camera.)
Hello.
TARIQ
May I be of some help?
SEVGI
My friend is trying to find a taxi.
TARIQ
I can see that. Where did you come from?
SEVGI
We took a taxi from Mosul but the driver wouldn’t go any further.
TARIQ
Smart man. As you can see, everyone is leaving Tal Afar. What are you doing here?
SEVGI
We’re journalists. There is a rumor that there is going to be an attack soon. Maybe tonight.
TARIQ
Everyone knows this. You will be in great danger.
SEVGI
We have a contact. We’ll be in a safe house.
TARIQ
A contact in Tal Afar?
 15.

SEVGI
Yes.
TARIQ
Where are you from, Ukhti?
SEVGI
I’m Turkish.
TARIQ
Ah. From Turkey. Your Arabic is very good.
SEVGI
Thank you.
(Philip enters.)
PHILIP
Assalam-un Aleykum.
TARIQ
Aleykum Salam.
SEVGI
Any luck?
PHILIP
Nope. Are you okay?
SEVGI
Yes. He’s friendly.
TARIQ
And your friend? Where is he from?
SEVGI
He’s Canadian. From Canada.
TARIQ
Canada, USA?
SEVGI
No. Not Canada USA. Just Canada.
TARIQ
(Laughs.)
I know, I know. I’m only joking.
SEVGI
He’s funny.
PHILIP
Ask him if he knows anyone who can drive us.
SEVGI
(To Tariq.)
My friend wants to know if...
 16.

TARIQ
I speak English.
PHILIP
Great. Will you help us?
TARIQ
What is the name of your contact in Tal Afar?
SEVGI
His name is Yashar Terzi. He’s the president of the Iraqi Turkmen front.
TARIQ
I know who Yashar Terzi is.
PHILIP
Do you know where he lives?
TARIQ
Of course. But it will be difficult to find a taxi to go there now. It’s going to be dark soon.
PHILIP
We realize that.
TARIQ
I know of one person who might be willing to drive you. But it will cost some money.
PHILIP
We’re willing to pay.
TARIQ
I will go and ask.
(Tariq goes.)
SEVGI
What do you think?
PHILIP
He’s alright. He’ll charge us. At least a hundred. Maybe two.
(She snaps photos.)
What do you want to do?
SEVGI
(Still with camera.)
What do you mean?
PHILIP
We could go back.
SEVGI
You’re not serious.
(More photos.)
I’m staying, Philip. You can go if you want.
SEVGI (cont’d (cont’d)
(Tariq returns.)
 17.

TARIQ
He says twenty dollars.
PHILIP
Twenty dollars?
TARIQ
You can’t blame him. He will put his life in danger.
PHILIP
Twenty dollars is fine.
TARIQ
(Calls out back.)
Kadir! T’al! 9! (come)
(Two men - Kadir and Nabil - run up. They’re
wearing ski masks and carrying guns. Nabil
starts to grab one of the bags.)
PHILIP
Hey, hey, hey! Stop!
TARIQ
What’s the matter? He help with bags.
PHILIP
Is this the guy?
TARIQ
Yes, this is Kadir and his brother. They will drive you together.
PHILIP
(Holding on to the bag.)
Sorry. Sensitive equipment.
TARIQ
Trqoo. (let it go)
(Nabil lets go of bag.)
You take your own bag.
SEVGI
Why are they wearing masks?
TARIQ
Because they are not fools. They don’t want to be seen transporting foreigners.
PHILIP
He’s right. It’s okay.
TARIQ
Of course it’s okay. I am American trained police officer. If you can’t trust me, you can’t
trust anyone and you shouldn’t be here. If you don’t take this taxi I cannot be responsible
to protect you.
PHILIP
Thanks for your help.
 18.

TARIQ
No problem. Pay him. He does not speak English.
(Philip pays the man. Sevgi picks up her bag.)
TARIQ (cont’d)
Let him carry bag, Ukhti. It is insult to let woman carry.
(Sevgi lets go of the bag.)
PHILIP
So long.
TARIQ
Goodbye. Good luck.
(Sevgi looks at Tariq one last time. He smiles
reassuringly.)
TARIQ (cont’d)
Don’t worry Ukhti. You’re good Muslim girl. Allah will watch over you.
(Sevgi follows Philip.)

SCENE 6
(Ayla returns.)
AYLA
I’m confused, Mr. Wyler. Are you telling me you’re here looking for Sevgi?
JOSH
She told me she was coming here.
AYLA
My God.
JOSH
But obviously she lied.
AYLA
She lied?
JOSH
Yes.
AYLA
Do you have any idea where she is?
JOSH
I have a good guess.
AYLA
Tell me.
JOSH
I think she’s gone to Iraq.
 19.

AYLA
To Iraq?
JOSH
She was there several times before the war. As a journalist.
AYLA
She’s a journalist? How astounding.
JOSH
She’s been wanting to go back ever since. We had huge arguments. The paper refused to
send her.
AYLA
Is she good?
JOSH
What?
AYLA
As a journalist? Is she very good?
JOSH
She’s frustrated. They won’t give her the assignments she wants.
AYLA
Good for her.
JOSH
Pardon me?
AYLA
It’s good to be dissatisfied. She’s a searcher. She’s curious, like me. About human nature.
About politics and world affairs.
JOSH
Please. You’ve got to help me. We have to track her down.
AYLA
How do we do that? She’s in Iraq.
JOSH
I found this email....
AYLA
Mr. Wyler. You’re very distressed.
JOSH
If you spoke to her, you might be able to change her mind.
AYLA
What email? What are you talking about?
JOSH
It was from this guy, this other journalist. Philip. He said he’d be at the hotel Kervan in a
town called... I can’t pronounce it. A place with a D. Near the Iraqi border....
 20.

AYLA
Diyarbakir.
JOSH
Yes! Can we look up this hotel? I think she’s gone to join him. Maybe they’re still there.
AYLA
You want me to call my daughter, whom I haven’t seen in twelve years, at some flea
infested hotel in a remote town, and tell her not to go to Iraq?
JOSH
I don’t know what else to do.
AYLA
(Pause.)
Tell me something about her Mr. Wyler?
JOSH
Like what?
AYLA
She was sixteen when I saw her last. Is she beautiful? Is she compassionate? I know she’s
smart.
JOSH
Yes.
AYLA
Do you have a photo?
JOSH
I had one in my wallet...
AYLA
Her hair?
JOSH
She cut it three years ago. After her first trip to Iraq.
AYLA
But when you first met her it was long?
JOSH
Yes.
AYLA
How long have you known her?
JOSH
Seven years. We’ve been living together for six.
AYLA
Where do you live? Which city?
JOSH
Actually we just bought a small house in Somerville.
 21.

AYLA
(How astounding.)
Somerville?
JOSH
Only five blocks from where you used to live.
(She’s moved by this. She almost can’t believe
it.)
AYLA
You can’t imagine how much this means to me. I’ve been hoping, praying for something -
anything ... I’m so grateful to have met you.
(As if seeing him for the first time.)
You look exhausted. Have you had anything to eat?
JOSH
Yes.
AYLA
What did you eat?
JOSH
A - uhm - protein bar?
AYLA
That can’t be enough to sustain you.
JOSH
Well if you read the literature on the packaging, I won’t ever have to eat anything again.
AYLA
I don’t want you on an overnight bus. You’ll stay here. Agreed? This couch is very
comfortable.
JOSH
Agreed.
AYLA
Good. I’ll tell Hakan to prepare some food.
JOSH
Will you call her? At this hotel?
AYLA
What makes you think she’d listen to me? What makes you think she’d even talk to me?
JOSH
She would. Of course she would.
AYLA
(She considers it.)
I can’t do it, Mr. Wyler. I can’t tell her what to do or not to do... especially if it’s something
she clearly feels so passionate about. But I’ll look up the number for you.
(She looks up the number. Writes it down. Hands
it to him.)
 22.

JOSH
She’ll think I’m nuts. She doesn’t know I’m here.
AYLA
Maybe she needs to know.
(She exits.)

SCENE 7
(In Tal Afar, Kadir and Nabil, still in masks, lead
Sevgi and Philip into a bare room.)
PHILIP
Is this Yashar Terzi’s house?
SEVGI
Ha-the beht Yashar Terzi?
KADIR
Usr-ee el Emir j’al. (Be patient, Emir is coming.)
PHILIP
What did he say?
SEVGI
He said to be patient. We’ll have answers when the Emir comes.
(Nabil drags in a mattress.)
KADIR
(Politely indicates to sit.)
Uk-ado.
(Philip and Sevgi sit.).
KADIR (cont’d)
(To Nabil.)
Ha’at m’y. (bring water)
(Nabil goes off again. Kadir stands next to door
with gun.)
SEVGI
What are you thinking?
PHILIP
Nothing. Just enjoying myself.
SEVGI
Do you think we’ve been kidnapped?
PHILIP
I don’t know. Why don’t you ask him?
 23.

SEVGI
Don’t be silly.
PHILIP
Why not? He seems charming.
(Nabil comes with glasses of water. An airplane
is heard overhead. Both Kadir and Nabil stop,
look above.)
PHILIP (cont’d)
It’s only a surveillance plane.
(The plane fades. Nabil gives glasses to Sevgi
and Philip, and another one to Kadir.)
KADIR
(Drink.)
Ishrabu.
(Sevgi places her glass down. Philip drinks it.
Hands back his glass. Kadir holds his glass,
waiting. )
PHILIP
Shukran.
(To Sevgi,)
Drink your water.
SEVGI
I don’t want to.
PHILIP
Drink it anyway.
SEVGI
No! They use these cups in the toilets.
PHILIP
Do as you’re told. We’ve talked about this. Drink the water, hand back the glass, and thank
him.
SEVGI
(She drinks, hands back the glass.)
Shukran.
(Kadir drinks water. Takes glasses from Nabil.)
KADIR
Sen bekle.
(Kadir exits, leaving Nabil with Sevgi and
Philip.)
SEVGI
This is temporary. They’ll take us as soon as the danger passes.
 24.

PHILIP
Did he say that?
SEVGI
No but....
PHILIP
What else do you know?
SEVGI
We haven’t been kidnapped, Philip!
PHILIP
Tell me what else we said.
SEVGI
What are you talking about?
PHILIP
We had this talk. Years ago.
SEVGI
We never...
PHILIP
Sevgi.
SEVGI
We haven’t been kidnapped!
PHILIP
Don’t show fear. They can smell it a mile away. Like dogs. Don’t let fear enter your
psyche. You know what I mean?
SEVGI
Yes.
PHILIP
Because if you let it in, it’ll become real. Don’t let fear become real. What else?
SEVGI
I don’t know.
PHILIP
Sevgi...
SEVGI
Don’t lie.
PHILIP
Yes.
SEVGI
I won’t lie.
PHILIP
Lies will catch up to you. Just try not to lie.
 25.

SEVGI
I won’t lie, Philip. Look. He took off his mask. Isn’t that a good sign?
PHILIP
Depends.
(Nabil takes out a small mirror and combs his
hair.)
SEVGI
This one seems nicer. He’s handsome too. Takes care of his appearance.
PHILIP
Wanna ask him out?
SEVGI
(Smiles.)
Stop it.
PHILIP
Why not? I think he likes you. I hear Rambo 12 is showing at the Tal Afar cinemaplex.
(Sevgi smiles, trying to suppress a laugh. Looks
at Nabil. Nabil smiles back.)
PHILIP (cont’d)
See? Nobody can resist that smile.
SEVGI
Stop that. I don’t want to laugh.
PHILIP
Go ahead and ask.
SEVGI
(To Nabil.)
Minfadlach. Nahna magh too feen?
NABIL
Anutm diyoof.
PHILIP
Did he say yes?
SEVGI
I asked him if we’ve been kidnapped.
PHILIP
Great. And?
SEVGI
He said we’re guests.
PHILIP
Well that’s a relief.
(Another plane. Nabil looks up. Sevgi tenses
up.)
 26.

PHILIP (cont’d)
Take out your notebook.
SEVGI
Why?
PHILIP
Take out your notebook and pen. Write everything.
(She takes out her notebook. Starts to write.
Nabil watches her. She looks at him, then looks
down.)
SEVGI
(She’s afraid.)
I’m not afraid.
PHILIP
I know.
SEVGI
What about you?
PHILIP
Am I afraid?
SEVGI
Why aren’t you writing?
PHILIP
I have an excellent memory.
(Sevgi writes. In Konya, Josh is on the phone.)
JOSH
Hello, do you speak English? Good. I’m looking for a guest of yours. A Canadian man.
His name is Philip. I don’t know his last name.... Canadian.... From Canada. Do you know
who I’m talking about?... Okay.
(He’s on hold.)
(In Tal Afar, there is a loud knock on the door.
Nabil puts on his mask. Kadir comes back in.)
KADIR
(At door: who is it?)
Mean?
(Someone’s voice is heard beyond the door. To
Nabil: you wait.)
Intutherle.
(Nabil waits with his gun while Kadir leaves the
room. Beyond the door, we hear the voices of
Kadir and other men, shouting and having a
discussion.)
SEVGI
What’s going on. What do you think is going on?
 27.

PHILIP
I don’t know. Just stay calm.
JOSH
Yes. Was he alone?.... By himself?... Alone.... Was anyone with him?
(Beat.)
Okay. Thanks.
(He hangs up.)
(Kadir walks in with another man. Kadir goes to
Philip and starts kicking him. Philip is silent.
Sevgi screams.)
KADIR
You spy. You filthy pig!
SEVGI
Stop! What are you doing?
(Kadir rams the gun on his chest. Sevgi
screams.)
KADIR
Stand up. Stand up pig! You filthy spy!
(Philip stands. Kadir shoves his gun on Philip’s
chest.)
SEVGI
No! Don’t do that! He’s not a spy! Stop it.
EMIR
(To Sevgi.)
You! Woman. Stay there. Stay on the floor. Nabil!
(Nabil points the gun at her. She’s terrified. She
screams.)
Shut up!
(She quiets down. She’s crying.)
I am the Emir. We think you’re both spies.
SEVGI
We’re not spies!
EMIR
Take the dog away.
(Kadir hits Philip. Philip is calm.)
SEVGI
No! No! Stop it! Don’t hurt him!
EMIR
Be calm. Sit down.
SEVGI
Leave him alone!
 28.

PHILIP
Do as you’re told!
KADIR
Shut up!
(He hits Philip. Philip falls. Kadir is on him,
hitting and kicking him.)
SEVGI
Don’t hit him! He has a son! Stop! Stop! He has a son!
EMIR
(To Kadir.)
Kadir stop!
(Kadir stops, breathing heavily.)
Behave yourself.
(To Sevgi.)
You calm down.
SEVGI
Are you okay? Philip are you okay?
PHILIP
I’m fine.
(Kadir advances on him again. Sevgi screams.)
EMIR
Kadir!
(Kadir holds back.)
KADIR
(To Philip: throat cutting gesture.)
I’m the one who’s going to cut you.
(Sevgi screams, whimpers.)
EMIR
Take him away.
SEVGI
No, no. Don’t take him. Please don’t take him away.
(Kadir and Nabil grab Philip by the collar and
drag him out. Sevgi is terrified.)
EMIR
He’s not going to get hurt.
SEVGI
I don’t believe you. Look what they did to him.
EMIR
You stay calm and everything will be fine.
SEVGI
He’s not a spy.
 29.

EMIR
It’s up to us to determine that.
SEVGI
(She shouts.)
Philip! PHILIP!!!
EMIR
(He advances on her - she cowers.)
Stop it. Stop it.
SEVGI
I want to hear him. I want to hear his voice.
(Nabil enters.)
SEVGI (cont’d)
What have you done with him? Bring him back.
(Emir is trying to contain her.)
EMIR
Don’t you understand orders? I’m ordering you to stay calm.
SEVGI
I won’t stay calm. I want to see him. I want to hear his voice.
EMIR
Tie her down. Tie her.
SEVGI
No!
EMIR
(As Nabil straps her wrists behind her.)
Is this what you wanted? Didn’t I tell you to obey?
SEVGI
Let me go. Let me go. PHILIP! PHILIP!
EMIR
Strap her mouth. Blindfold her.
SEVGI
No. Please. I’m claustrophobic. Don’t blindfold me. Please.
(Nabil blindfolds her. She screams. Emir covers
her mouth until she can’t make a sound. He
straps her mouth shut and pushes her down on
the mattress.)
EMIR
I hope this will teach you a lesson. Now I won’t have to worry about any more noise
coming out of you.
(Emir and Nabil exit.)
 30.

SCENE 8
AYLA
You have to try this. Hakan makes the best cheese borek in all of Anatolia.
JOSH
Thank you.
AYLA
Now he’s laboring over his creamed eggplant for you. He’s thrilled that you’re staying.
JOSH
This is delicious.
AYLA
I have a confession to make. When you first told me you were Sevgi’s boyfriend, I was -
how can I say this - flabbergasted. I thought, what does she see in him. But apparently
Hakan saw it at once. The soul of a musician.

JOSH
I don’t know about that. I just play an instrument.
AYLA
The saxophone is not just an instrument. It’s a soulful instrument. Have you ever played
the ney?
JOSH
She was there. They left in a taxi only a few hours ago. She and the Canadian guy. Philip.
AYLA
Good.
JOSH
“Good?”
AYLA
Yes. We know where she is, we know who she’s with. We have reason to believe she’s in
reasonably good health...
JOSH
Now how do you get that? The way I see it is, she hasn’t slept, she’s covered with insect
bites, she’s zooming toward mortal danger in a taxi that may break down in the desert at
any moment, with a man no one can trust. How is this good?
AYLA
A little faith, Mr. Wyler.
JOSH
Oh is that the problem?
AYLA
How about a shot of whiskey?
JOSH
Whiskey?
 31.

AYLA
Oh no. Are you in AA? It’s so annoying this AA. Everyone’s in it.
JOSH
No, I just thought... Yes, I’d love a shot of whiskey. Thank you.
AYLA
I’m afraid to ask what you “thought.”
JOSH
I thought you’d become a devout Muslim. That you covered up, that you pray five times a
day... I’m surprised, that’s all.
AYLA
I am a Muslim. I do pray five times a day. But I also enjoy the occasional shot of whiskey.
Is that alright?
(She hands him a glass.)
Cheers.
(They drink,)
JOSH
I don’t get this. Why aren’t you worried? Aren’t you worried at all?
AYLA
What good would worry do?
JOSH
Something’s wrong with me. I used to be a rational, clear thinking person. Now I’m
having an anxiety attack every three minutes.
AYLA
Tell me about this Canadian man. This Philip.
JOSH
What can I say? He’s a jerk.
AYLA
Why is that?
JOSH
He’s the one that came up with the outrageous idea of hiring a plane and fly over Basra.
Just to take some photos, she said. They almost got shot down. That’s why they wouldn’t
let her go back.
AYLA
Is there something between them?
JOSH
What do you mean?
AYLA
Something romantic.
JOSH
What? No. Of course not.
 32.

AYLA
Are you sure?
JOSH
Yes I’m sure. Well I’m not sure. But why? He’s married. He has a kid.
AYLA
I think you feel Sevgi slipping away from you.
JOSH
No. Why do you say that? That’s not true.
AYLA
Oh come on, Mr. Wyler. Why do you deny this? You’ve read her private emails. You’ve
followed her half way across the globe...
JOSH
What else was I supposed to do?
AYLA
You’ve forbidden her from going to Iraq. She’s had to lie to you to get away...
JOSH
I love her.
AYLA
Precisely. But not enough to let her follow her passion.
JOSH
Not enough to let her put her life in danger.
AYLA
Mr. Wyler, when you walked through that door, do you know what I saw? All I saw was a
dark cloak hanging over you. A cloak of despair. This cloak conceals who you really are.
You’re fighting this thing tooth and nail but you cannot win.
JOSH
What are you talking about?
AYLA
The glorious love which you carry within your heart. Why does it make you so
uncomfortable? You tell me you love her but these are hollow words. What they really
mean is that you want her by your side. You want to protect her, you want her to love you
and need you and forever be yours. Like a possession. This is despair. This is what
conceals your true nature.
JOSH
Isn’t it right to want to protect her?
AYLA
Your love is so much broader than this. Part of you sees her for who she is but you’re
fighting it. She’s as pure and fluid as water. Even as a little girl, she didn’t like being held.
If you tried to hold her, all she’d want was to flow, to escape. You’re terrified of losing her
- I can see that - but you cannot hold her down.
JOSH
She lied to me!
 33.

AYLA
The lover always suffers. This is the majesty of love. You’re a smart and talented man.
You say you’re rational. But what good is any of that to you now? How can you
rationalize THIS? You try to analyze it, you psychoanalyze it, you define it, make it a
question, make it an answer, you put it right side up, upside down, look at it from every
angle possible. Yet you can’t make any sense of it at all. So you trivialize it. You make it
about lies and emails and abandonment.
JOSH
What am I supposed to do? Tell me what to do!
AYLA
How about acknowledging how powerless you are. When I look at you I don’t know
whether to laugh or cry. Look at yourself: You’re ridiculous. You have no money, no
shelter, nowhere to go. Do you think this is mere coincidence? Lovers are ridiculous.
Where is the pride, Mr, Wyler? You’re nobody.
JOSH
I can’t face life without her.
AYLA
You want certainty? Play the lottery. There is no certainty in this. Humility is your only
choice.
JOSH
She could be killed. Tortured. She could be beheaded.
AYLA
(Sharply.)
Don’t you think I know this? Don’t you think I realize this?
(Pause. He stays silent. Abrupt shift in tone.)
Tomorrow morning I’m going to go out and buy you some new clothes.
JOSH
You don’t have to do that.
AYLA
It would give me pleasure. Would you deny me that pleasure?
(Beat.)
The fear of loss is like a sister to me, Mr. Wyler. As intimate as my own limb. So please
don’t tell me what the dangers are.
(Beat.)
Now come. Hakan will be hysterical if you don’t enjoy his eggplant.

SCENE 9
(Nabil is there with food.)
NABIL
Are you hungry?
(Sevgi doesn’t move.)
I’ve brought you some food. If you’re hungry, I will free you so you can eat. Indicate with
your head if you’re hungry.
(Sevgi nods.)
If you make any loud sound, I will have to tie you again.
(He frees her.)
 34.

SEVGI
Did you kill him?
NABIL
Emir will not kill anyone unless they are guilty. He is being questioned. If you are both
innocent you will be freed. Now eat.
(She eats. Slowly. He watches her.)
You are from Turkey?
(She nods.)
My father went to Turkey several times. He said the country is corrupted by the west but
the people are righteous. I wish I could go there some day.
SEVGI
Maybe you will.
NABIL
(Grins.)
If you are freed, will you invite me?
SEVGI
Only if my friend is also freed.
NABIL
Then I hope you will both go free soon. Since in less than one month I will be a martyr.
SEVGI
What is your name?
NABIL
I am Nabil.
SEVGI
How will you be a martyr Nabil?
NABIL
I cannot tell you that.
SEVGI
Will you strap a bomb on yourself?
NABIL
Why are you asking this?
SEVGI
I’m a journalist. I want to write about martyrs.
NABIL
Why?
SEVGI
So the world can understand what they do and why they do it.
NABIL
I made sure they put a piece of meat in there for you. If you don’t eat, I will have to tie you
again.
SEVGI
I’m not hungry.
 35.

NABIL
Alright then.
(He starts to tie her.)
SEVGI
How old are you?
NABIL
You ask too many questions. I think perhaps you are a spy.
SEVGI
Have you told your family that you will be a martry?
NABIL
Of course. They are happy and proud. This is the path Allah has chosen for me. Now stay
still so I can strap your mouth.
(He straps her mouth and blindfolds her. He
picks up the plate. Emir enters.)
EMIR
Did she eat?
NABIL
Only a little.
EMIR
Go.
(Nabil exits with plate.)
EMIR (cont’d)
Your friend has a much better appetite than you. We’re going to run out of supplies if we
keep him much longer
(He sits next to her.)
Now listen to me. You seem like a nice girl. I know you are afraid. I am not a bad man. I’m
only doing my job. And I’m telling you right now. As long as you tell me the truth, there is
nothing to be afraid of. Do you understand? Nod your head.
(She does.)
Good. Now I want to take off your blindfold and untie your mouth - but I don’t want you
to shout or scream, alright? Because if you get upset, I will be sad. If you scream, I’ll
scream back at you and then you’ll be more upset. I want us to stay calm and have a
friendly conversation. Do you agree?
(Sevgi nods.)
Good.
(He unties her mouth, takes off her blindfold.
Takes a good look at her and shakes his head.)
Look at you. This is no place for a woman.
SEVGI
My hands hurt.
(He frees her hands.)
EMIR
I should take you to my mother’s house.
 36.

SEVGI
I don’t want to go anywhere without my friend.
EMIR
Well we can’t go anywhere tonight anyway.
SEVGI
Where is he? What have you done with him?
EMIR
Tell me something and be honest. Are you a Muslim?
SEVGI
Yes.
EMIR
What are you doing with a Jewish American spy?
SEVGI
He’s a Christian. Not a Jew.
EMIR
There is no difference. Wasn’t Christ a Jew?
SEVGI
He’s not an American either. He’s Canadian.
EMIR
Again, what is the difference? They are all filled with the hatred of Muslims. They want to
get rid of us. They have no good intentions in their hearts. If you are a true Muslim, what
are you doing with the enemy?
SEVGI
Why do you think all Christians and Jews are bad? Even the Koran says there are good
people among them. Aren’t there any people with bad intentions among Iraqis or Muslims?
EMIR
Yes there are. And we’re beheading them one by one. Now tell me: What is your plan?
Why have you come to Iraq?
SEVGI
We came to tell the stories of the Iraqi people. To show the world how you fight against the
most powerful military on earth. You use your fists and weapons to fight - we use our
words and pens.
EMIR
(He chuckles.)
What kind of a woman are you? What business do you have fighting or trying to help?
Who do you think you are? Go to your home. Read the Koran. Cook, take care of your
family, pray for us. Don’t you have any family? Any parents?
SEVGI
I have a mother.
EMIR
Where does she live? How did she possibly allow you to come here?
 37.

SEVGI
She lives in Konya. She doesn’t know I’m here.
EMIR
You lied to your mother? How can you expect me to trust you if you lied to your own
mother?
SEVGI
I didn’t lie. I just didn’t tell her.
EMIR
How would she feel if she knew you were here? She’d be worried sick. What about your
father?
SEVGI
He’s dead.
(Suddenly there is a gun shot. Sevgi jumps.)
SEVGI (cont’d)
What was that?
EMIR
It’s nothing. Don’t worry about it.
SEVGI
Did they shoot him? They shot him didn’t they?
EMIR
No, I said....
SEVGI
Oh my God. I can’t believe I sat here and spoke to you. You deceived me. You lied to
me....
EMIR
No, no. Nonsense. No one shot anyone....
SEVGI
You’re the one with bad intentions. What kind of Muslim are you? What right do you have
to speak to me like that and behave as though you’re my friend....
EMIR
Stop it. Stop it....
SEVGI
You have no heart. You’re all animals. You ask me why I came. I came to prove to the
whole world what animals you are.
EMIR
Shut up! Listen to me! I beheaded four women last week. I have no problem beheading
another. Now you stop talking and insulting me.
SEVGI
(She sobs.)
Oh my God. You’ve killed him. What am I going to tell his wife. His only child. This is
my fault.
 38.

EMIR
(He shouts - off.)
Nabil!
(To Sevgi.)
Stop whimpering you stupid woman.
NABIL
(From beyond the wall.)
Nam?
EMIR
Jeeb Wa Hutoalbab. (get the man and put him against the door)
(Nabil goes off. Sevgi continues to cry.)
EMIR (cont’d)
Look at you. Did you hear the things you said to me? Do you know how much you hurt
my feelings? I’m trying to help you. Why do you behave this way?
(Beyond the door. Nabil and Kadir drag Philip
in. Kadir has a gun against his head. Nabil
shouts:)
NABIL
Jibna!
EMIR
Philip! Philip, answer me. Talk to this woman so she knows you are alright.
(To Sevgi.)
Go on. Speak to him.
SEVGI
Philip are you there?
PHILIP
Yes.
SEVGI
Are you alright?
PHILIP
I’m fine.
SEVGI
Oh my God. You’re lying..
PHILIP
Kapa Ceneni kadin.
(She sobs.)
EMIR
Ghudun..
(They take him away.)
SEVGI
Why won’t you let me see him?
 39.

EMIR
You will see him soon enough. Do you believe we didn’t shoot him now?
SEVGI
Yes.
EMIR
Are you sorry about the things you said, that you insulted me?
SEVGI
Yes.
EMIR
Good. I’ll tell you what I’m going to do. I’m going to go look on the internet. I’m going to
check out your story. If I find some articles you both wrote, and if they are as you say they
are, fighting the Muslim cause, then I promise you I will let you go free. This is the
promise of one Muslim to another. Do you believe my promise?
SEVGI
Yes.
EMIR
Good. Allah willing we will all be alive tomorrow, and providing you’ve told the truth, you
will have your freedom. Do you promise to behave so I don’t have to bind you again?
SEVGI
Yes.
EMIR
Good.
(He’s leaving.)
SEVGI
Wait.
EMIR
What is it now?
SEVGI
I have something to tell you.
EMIR
Tell me then.
SEVGI
My family moved to America when I was nine years old. I completed my studies there. I
work for a newspaper in Boston.
EMIR
You are an American citizen?
SEVGI
I have dual citizenship. Both of my parents are Turkish.
EMIR
Why did you keep this information from me?
 40.

SEVGI
Everything else I’ve said was true. You will see when you read the articles.
EMIR
I will look at them carefully.
SEVGI
One more thing.
EMIR
What?
SEVGI
My father is not dead. He’s a Jew.
EMIR
(Pause.)
And you? Are you a Jew?
SEVGI
No.
EMIR
Why should I believe you?
SEVGI
I am a Muslim. I pray five times a day. I do the salat. God willing I will go to pilgrimage
before I’m thirty.
EMIR
You deceived me.
SEVGI
(She cries.)
I didn’t mean to deceive you.
EMIR
You are a strange girl. I’ve never met anyone like you.
SEVGI
Is it my fault that my father is Jewish? My mother is a devout Muslim. I have always
followed her path.
EMIR
Is it true that your mother is in Konya?
SEVGI
Yes.
EMIR
If everything checks out, I will tell Nabil to bring you a telephone. I want you to call your
mother and tell her everything. Do you understand?
SEVGI
Why?
 41.

EMIR
Because a good Muslim girl must never betray her family. Especially not her mother who
gave her life and protected her from all harm. A mother and her child are linked together
like chapters of the same book. One doesn’t make sense without the other. This phone call
is my gift to you as proof of my good intentions. Do you agree to call her?
SEVGI
Yes.
EMIR
Now get down and pray. Pray for my men who will be sacrificing their lives tonight in the
name of Allah and his prophet.
(He exits.)

SCENE 10
(Hakan is laying sheets on the couch. Josh
comes in from the bathroom.)
HAKAN
Don’t worry. I will make sure there is a room ready for you tomorrow night.
JOSH
I won’t be here Hakan.
HAKAN
Why? Ayla Hanim said you will stay.
JOSH
She did?
HAKAN
Yes! Look look.
(A musical instrument resembling the flute.)
A gift for you. From me. The ney.
JOSH
Thank you.
HAKAN
I hope you are not sleepy. Ayla Hanim prays long time in the evening. After prayer she
likes to come down and have tea before bed.
JOSH
Who’s pictures are these?
HAKAN
This is Ayla Hanim’s mother. And these are various other relatives. This is brother who
live in Istanbul.
JOSH
How long have you known Ayla Hanim?
 42.

HAKAN
Almost three years. We are very close. I think of her as my own mother. This is funny
story. When she first met me, it was three o’clock in the morning, in this room. She come
in and I was standing here. Like this.
(Fear, shock.)
And she was standing right there, like this.
(Fury.)
JOSH
What were you doing?
HAKAN
Stealing, of course. What else? But I don’t steal anymore. Allah gave me the gift of Ayla
Hanim and I will never steal again. I will die and I will not steal. I am reformed. I have no
more bad habits,.
JOSH
Good.
HAKAN
Except one.
JOSH
Well everyone should have at least one.
HAKAN
It is very terrible. It is pulling the thirty-one.
JOSH
The what?
HAKAN
Pulling the thirty-one. You know.
(Masturbation.)
JOSH
Pulling the thirty-one?
HAKAN
This is what we call in Turkish. Does the Christian religion forbid it?
JOSH
Of course. You’ll go blind.
HAKAN
Ach. That is ridiculous.
JOSH
Does Islam allow it?
HAKAN
Imam says it is forbidden except if the situation is extremely urgent.
JOSH
I see.
 43.

HAKAN
But for me, it is always urgent. I cannot control myself. Some days I pull the thirty-onefive
or six times.
JOSH
Wow. Really?
HAKAN
Yes.
JOSH
How do you find the time?
HAKAN
Time is not an issue. I can do it anywhere. On the bus, walking down the street. I can do it
without taking off my pants.
(Puts hands in pocket.)
See?
(Beat.)
I am not doing it now but I could be.
JOSH
Okay.
HAKAN
I am trying very hard to reform myself. Islam is very specific. There is always a limit to
such things. I believe the limit to pulling the thirty-one is five times a day.
JOSH
How do you get that? Is it... written somewhere or...
HAKAN
If you study the Koran carefully, you will be able to conclude that five is the logical
number.
JOSH
I see.
HAKAN
If it is less than five, I’m afraid I will never be a very good Muslim.
JOSH
How much has Ayla Hanim told you about her past?
HAKAN
Ohhhh. Her past is very interesting. She was very political. Very extreme. She was a
communist. Her husband moved her to the United States to protect her from going to jail.
Ayla Hanim very very smart. She was radical activist.
JOSH
Right.
HAKAN
Then she come to Konya and study Rumi and find God. She say, God is great and this is
the right path. And now she is shaikh. Loved and respected by everyone. She is very
wonderful and wise person.
 44.

JOSH
There are no photos of the children.
HAKAN
What children?
JOSH
Ayla Hanim’s children.
HAKAN
Ayla Hanim has no children.
(Pause.)
She has children?
JOSH
Yes.
HAKAN
(He’s shocked.)
I didn’t know this. She never tell me this.
JOSH
Well don’t say I said anything.
HAKAN
Why she never tell me?
JOSH
I don’t know.
HAKAN
How many children does she have?
JOSH
She had... well she has one now. A daughter. She’s my girlfriend.
HAKAN
Ohhh. This is why you’re here.
JOSH
Yes.
HAKAN
And she has another?
JOSH
Yes. A son. But he died.
HAKAN
He died? Oh no. I did not know this....
JOSH
Well please don’t.....
HAKAN
Ayla Hanim’s son died? This is so sad.
 45.

JOSH
(The ney.)
Listen can you....
HAKAN
I cannot believe it. She kept this as secret all this time. Nobody knows this.
JOSH
Well forget I said it, okay. Come on. Teach me how to play this.
HAKAN
There is nothing to teach. It plays itself. You blow into it and it plays.
JOSH
Can you play for me? I want to hear it.
HAKAN
I am very sad now.
JOSH
Forget about it, alright? She kept it a secret for a reason.
HAKAN
What reason?
JOSH
Hakan please. Don’t say anything. Come on. Play.
HAKAN
You play with me. We have duet.
JOSH
I don’t know. I don’t...
HAKAN
It is very simple. Listen.
(He plays.)

SCENE 11
(Philip is shoved in. He falls on the mattress.)
SEVGI
Philip! Oh my God.
(Someone throws in his shoes, slams the door
shut.)
Are you okay? What have they done to you? Did they beat you?
PHILIP
Just my feet. Soles of my feet.
SEVGI
Oh my God.
 46.

PHILIP
Mean mother fucker.
SEVGI
Which one?
PHILIP
The short one. Kadir. There are about fifteen of them out there.
SEVGI
Put them out. Let me see. Can I touch them?
PHILIP
No. Don’t. Just... slip off my socks, will you?
(She does.)
How do they look?
SEVGI
They’re swollen.
PHILIP
Did they question you?
SEVGI
Yes.
PHILIP
They didn’t hurt you, did they?
SEVGI
No. Emir questioned me.
PHILIP
Fucking bastards. Same questions over and over again. Where are you from? What are you
doing here? Who are you spying for.
SEVGI
He said he’s going to read our articles on the internet.
PHILIP
So fucking what?
SEVGI
He’s going to release us if it all checks out.
PHILIP
Don’t believe that.
SEVGI
I think he was sincere. He said he’s going to send a phone if the stories check out.
PHILIP
A what?
SEVGI
A phone.
 47.

PHILIP
What for?
SEVGI
To call my Mom.
PHILIP
You’re fucking kidding me.
SEVGI
That’s what he said.
PHILIP
And you believed him?
SEVGI
Yes.
PHILIP
Don’t do that. They play mind games. Don’t get your hopes up. You’ll be crushed.
(She touches his foot.)
Ow. Ow.
SEVGI
Sorry. Sorry.
PHILIP
I said don’t touch.
SEVGI
Maybe some water. To cool them off.
PHILIP
Okay.
(She gets her hand wet with some water. Rubs it
gently to his foot.)
SEVGI
The thing is, I don’t even think I would call my mom.
PHILIP
What?
SEVGI
I mean if the phone comes, it means we’ll be released. Why would I call her? In the middle
of the night.
PHILIP
That would be stupid.
SEVGI
Why? She’d just get worried.
PHILIP
You would call your mom.
 48.

SEVGI
No! I haven’t seen her in twelve years. It would devastate her.
PHILIP
If they brought a phone, you would call your mom.
SEVGI
No. I wouldn’t.
PHILIP
Ow.
SEVGI
Sorry.
PHILIP
This is a stupid conversation. They’re idiots but they’re not that stupid.
SEVGI
I think the Emir is an essentially....
PHILIP
What?
SEVGI
Never mind.
PHILIP
Don’t do that. Tell me what you were going to say.
SEVGI
I almost said... I mean he’s fighting for what he believes. He has a cause. I almost said he’s
essentially a good man but then I remembered he told me he just beheaded four women.
PHILIP
They’re Sunnis.
(Pause. This is bad news.)
They call themselves Ansar Al Islam.
SEVGI
(Beat.)
Are they Zarqawi’s people?
PHILIP
I don’t know. They’re not very well organized.
SEVGI
I’m sorry.
PHILIP
Why?
SEVGI
This is my fault. If I weren’t there, you wouldn’t have taken that taxi.
 49.

PHILIP
Can we stop having stupid conversations?
(Beat.)
We need to get some sleep.
SEVGI
Sleep? How can you sleep?
PHILIP
I lie down. I shut my eyes. I sleep. Come on. Try to rest before it starts raining bombs.
(He shifts around on the mattress. He sleeps.)

SCENE 12
(Josh is fooling around with the ney. Ayla comes
in. Night gown and robe.)
AYLA
Has Hakan gone to bed?
JOSH
Just a few minutes ago.
(About the ney.)
Sorry, did I....
AYLA
No. Not at all. My room is all the way up there in... it’s far from everything.
(Beat.)
Don’t you think it’s strange that we’ve been thrown together, like this Mr. Wyler? I feel
like someone’s grabbed me and jolted me, shaken me to the core. Look. Look. Look at
yourself. The mirror of sorrows and mistakes. I cannot get to sleep.
JOSH
I’ve been thinking about what you said.
AYLA
It stares us right in the face but we’ll do anything, anything not to look at it. This is why
Rumi was such a profound revelation. The courage to gaze in that mirror.
(Beat.)
When I returned to Turkey, I was completely - my God. I was so desolate, Mr. Wyler.
Someone gave me an address. This piece of paper. She said, go to this house. A shaikh
lives there. You will find consolation. And I thought, what consolation? My life is over,
what use is consolation to me? But somehow that piece of paper stuck to me. Three weeks
later I found myself staring at that house. But I couldn’t go up to the door. All my life I’d
been a skeptic. The entire idea - of a shaikh? Of whatever it was that they professed. Come
on. It was outrageous. What was I thinking, what was I doing here. I walked around the
block, I came back and looked at the house again. And then I went home. For five days, I
did the same thing. Looked at the house, walked around in circles and then went home. On
the sixth day, Mr. Wyler, I finally rang the doorbell. I was taken inside, to an ordinary
living room. People were gathered around and in the middle sat the most unassuming old
man, with the most penetrating, sparkling eyes I’d ever seen. He smiled at me and said,
welcome. I thought my God, this is a cult, this is everything I’ve run from all my life. At
that moment all the paths my life had been, all the various jagged directions I’d followed,
they all pointed their arrows straight at me. And I faced all these arrows and I said:
Dissolve. No more. All I saw at that moment was this man’s face and the expression in
those eyes which said - simply and eloquently - love.
 50.

AYLA (cont'd)
It was months before his death and he knew it. I sat with him that day and the day after
that, and until the day, may God rest his soul, my shaikh passed from this world. And I
realized, I never knew this. I never grasped the simplicity and profundity of this. All my
life I’d been a searcher. Of truth, justice. Who knew that the entire time this was where I
was headed.
JOSH
I think she’s already left me. She doesn’t love me anymore.
AYLA
But you love her.
JOSH
I can’t do this. No.
AYLA
I’m dying for a cup of tea. How about you?

SCENE 13
(Philip asleep. Sevgi lies down with eyes closed.
Nabil comes in with blankets. He goes over to
Philip and lays the blanket over him. Sevgi sits
up.)
NABIL
(Indicating Philip.)
Shhhh.
(He gives her a blanket. He goes out.. A moment
later he comes back with a phone. Drags in the
cord, quietly places the phone on the floor near
the door. Exits.)

SEVGI
Philip.
(No response. She nudges him.)
Philip!
PHILIP
What?
SEVGI
Look.
PHILIP
(He turns over. Looks at the phone.)
No fucking way.
SEVGI
I told you.
PHILIP
It’s not working.
 51.

SEVGI
(She checks.)
It’s working.
PHILIP
Damn.
(Sevgi takes deep breaths.)
PHILIP (cont’d)
Don’t get ahead of yourself. Calm down.
SEVGI
I feel like I’ve been holding my breath ever since we’ve been in this room.
PHILIP
We don’t know what’s going to happen.
SEVGI
We’re going to be released, that’s what’s going to happen.
PHILIP
Make your phone call.
SEVGI
No. Why?
PHILIP
You have to. You do.
SEVGI
It’ll give her a heart attack.
PHILIP
You can’t worry about that now.
SEVGI
I’ll call her in the morning, when we’re free.
PHILIP
What’s the matter with you?
SEVGI
Nothing.
PHILIP
This may be our only chance.
SEVGI
No! That’s not true. Don’t say that.
PHILIP
Then I’m calling someone.
SEVGI
Fine. Go ahead.
 52.

(He goes to the phone. His feet hurt. Nabil

enters.)
NABIL
Khif andak. (stop)
(To Sevgi.)
Only you. You will call.
SEVGI
Why? He won’t call Canada. Let him call.
NABIL
No.
(Points gun at Philip.)
Move. Move!
(Philip moves away from phone. A plane is
heard overhead.)
NABIL (cont’d)
Emir says only you. You have five minutes. Then I’ll take phone away.
(Nabil goes.)
PHILIP
That was not a surveillance plane.
SEVGI
Philip, please.
PHILIP
What is this? You’ve got some issue with your mother or something?
SEVGI
No!
PHILIP
You know what? You’re right. I fucking damn well wouldn’t be here if it weren’t for you.
I’d be back in Mosul enjoying the full luxury of a cot on the American base.
SEVGI
Don’t say that.
PHILIP
Well it’s true. I don’t know what the fuck I was thinking. Why the fuck I agreed to let you
come I will never know.
SEVGI
Stop it. Stop. Be happy. We’re going to be out of here soon.
PHILIP
See? This is what I’m talking about. You’re all about emotions. You cry, you scream, you
get happy. I keep telling you, you can’t get hopeful. Face the facts. You’re not released
until you’re released. Until you see the sky. You have no business being here Sevgi.
You’re an amateur.
SEVGI
Stop that.
 53.

PHILIP
Fuck you. You’re on your own.
SEVGI
ALRIGHT! ALRIGHT. I’ll call her, okay?
PHILIP
Don’t do me any favors.
SEVGI
Just give me a moment. Let me think. I just......
(Philip lies down, turns his back at her. She
remains seated on the mattress. She’s torn, she’s
thinking. In Konya, Hakan enters the living
room.)
HAKAN
I heard sounds. Is Ayla Hanim up?
JOSH
Yes, she...
(Ayla appears with tray, carrying tea pot, sugar
and cups.)
HAKAN
Ayla Hanim. Let me do that.
AYLA
It’s alright. I thought you’d gone to bed.
HAKAN
No! I will serve you.
AYLA
It’s okay, Hakan.
HAKAN
Please. Let me have the tray.
AYLA
Why? It’s late. Go to bed.
HAKAN
I will always serve you. I will serve you all my life.
AYLA
What’s the matter with you?
HAKAN
Ah. Ayla Hanim. Ah. Ah. How my heart is breaking.
AYLA
What’s happened?
HAKAN
Please sit. Do not ask questions. Let me serve tea.
 54.

AYLA
No.
(She looks at Josh, She knows.)
You sit.
HAKAN
No. I am your servant.
AYLA
Sit.
(Hakan sits.)
It’s important to learn be served, as well as to learn to serve others.
(She places the tray down. Takes cups off the
tray, begins to pour. In Tal Afar, Sevgi dials the
phone.)
AYLA (cont’d)
(To Josh.)
Do you take sugar, Mr. Wyler?
JOSH
Two please.
(Ayla puts sugar in tea. Phone rings. Everyone
stops. Josh looks at the phone. Philip sits up.)
AYLA
What time is it?
JOSH
Three o’clock.
(Ayla gives tea to Josh. Phone rings.)
SEVGI
It’s ringing.
AYLA
And you Hakan?
HAKAN
Pardon me?
AYLA
How many sugars?
HAKAN
Ayla Hanim....
(Phone rings.)
HAKAN (cont’d)
No sugars for me.
JOSH
Aren’t you going to answer it?
 55.

AYLA
(She gives Hakan tea.)
I’m sure it’s the wrong number.
SEVGI
She’s not answering.
JOSH
What if it isn’t. What if it’s an important call.
AYLA
Nobody calls at three in the morning.
(Phone rings.)
JOSH
I think you should answer.
AYLA
They’ll hang up.
SEVGI
She’s not answering.
JOSH
I think it could be her. Or news about her.
AYLA
Mr. Wyler....
(A plane overhead. Louder than before.)
PHILIP
I think you’d better hang up.
SEVGI
One more ring. Just one more.
JOSH
Please answer it. Please. Please.
AYLA
Alright Mr. Wyler. Alright.
(She answers the phone.)
AYLA (cont’d)
Hello?
SEVGI
Mother. It’s Sevgi.
AYLA
Hello?
SEVGI
It’s Sevgi Mom. It’s Sevgi.
 56.

AYLA
Sevgi. Is it you?
SEVGI
Yes. Yes!
AYLA
How are you? Are you alright?
SEVGI
Yes. I’m in Iraq. We’ve been....
PHILIP
Tell her.
SEVGI
We’ve been detained....
AYLA
You what?
SEVGI
Detained. We’ll be released in the morning.
AYLA
Detained?
JOSH
Oh God. By who?
PHILIP
Tell her where we are.
SEVGI
We’re in Tal Afar.
AYLA
Tal Afar?
SEVGI
Yes. But we’re going to be released in the morning.
JOSH
Detained by who?
AYLA
In the morning?
SEVGI
Yes. I want to come to Konya Mother. Is that alright?
AYLA
To Konya? Of course.
JOSH
Have they been kidnapped?
 57.

AYLA
Yes. Yes. Come to Konya my darling. As soon as possible.
JOSH
What is she saying? What is she talking about?
(A bomb falls. Sevgi tries not to scream.)
AYLA
What was that?
PHILIP
Sevgi. Get down!
AYLA
Sevgi? What happened? What was that?
SEVGI
I have to go. I’ll see you soon.
AYLA
Sevgi?
(Another bomb. Sevgi screams. She’s thrown
off.)
AYLA (cont’d)
Sevgi? Are you alright? Sevgi?
JOSH
What’s happening? What’s going on?
AYLA
We got cut off.
(More explosions in Tal Afar. Artillery, rockets
fired from the ground. Voices of men shouting:
Allahu-Ekber. Allahu-Ekber. Sevgi and Philip
are huddled together in a corner.)
JOSH
What did she say? She was detained?
AYLA
Yes. That’s what she said but....
JOSH
By whom?
AYLA
I don’t know. Maybe the police.
JOSH
Oh my God. I knew it. I knew this was going to happen.
AYLA
She’s going to be alright.
 58.

JOSH
How do you know? How do you know it’s the police? What if it’s the insurgents....
AYLA
She’s coming home tomorow.
JOSH
How do you know that? How can you be like this? What is wrong with you?
AYLA
Will you stop Mr. Wyler?
JOSH
No. No. Something’s seriously the matter with you. She’s in trouble, don’t you
understand?
AYLA
STOP IT! STOP IT! SHE’S FINE. SHE’S COMING HOME TOMORROW. SHE’S
GOING TO BE FINE!
(Rockets continue to be launched. Philip and
Sevgi are huddled together. Huge bomb. Sevgi
screams. Philip holds her. Blackout. Allahu
Ekber. Allahu Ekber.)

SCENE 14
(Dawn. Bright. A cock crows. Sevgi and Philip
are huddled together, asleep. Call to prayer.
Sevgi stirs, as does Philip. Slowly he wakes,
opens his eyes. Looks down at Sevgi. He
caresses her hair. She opens her eyes. Nabil
enters.)
NABIL
Get up. Get up. Please.
SEVGI
Nabil.
NABIL
Separate. Don’t let them see you like this.
SEVGI
Are we being released?
NABIL
No.
SEVGI
What do you mean? Emir promised. He sent the phone.
NABIL
Tal Afar was turned to rubble last night. Emir was martyred with seven of our other men.
 59.

SEVGI
What?
NABIL
Kadir found out about the phone. He’s furious. Now get up. I must tie you.
SEVGI
No, no, Nabil. Emir read our articles. He knew we’re not spies.
NABIL
Be still. Kadir is coming.
SEVGI
No! I won’t be still. Emir gave a Muslim’s promise.
(Kadir comes in. Shoots his gun to the ceiling.)
KADIR
(To Philip.)
You dog. Get up.
(Motions.)
Ew koff. Ew koff. (get up. Get up)
SEVGI
Don’t make him stand. His feet.
KADIR
Ew koff!
PHILIP
Yes sir.
(Philip stands. He’s in pain.)
SEVGI
Why are you calling him sir? This is a peasant. He’s an animal.
PHILIP
Kapa Ceneni kadin.
(Kadir and Philip tie Sevgi and Philip’s hands.)
SEVGI
What are you going to do? What will you do with us?
NABIL
We will take you out of Tal Afar. We will await orders from the new Emir.
KADIR
(To Philip: Walk.)
Imshi.
PHILIP
Can I take my shoes?
KADIR
(Pushing him.)
Imshi.
 60.

SEVGI
Let him take his shoes. His feet.
KADIR
What matters his feet? He will be dead by tonight.
(Philip walks. Nabil nudges Sevgi with his gun.
Nabil picks up Philip’s shoes.)

END OF ACT I
 61.

ACT II
Scene 1
(Konya house. Ayla is on her knees. She prays.
She begs. She cries.

In Tal Afar, Nabil brings Sevgi back to the room.

Philip is not there.)
NABIL
Shall I bring you some water?
SEVGI
Yes, please.
(Nabil exits. For a moment, Ayla and Sevgi are
on stage together - one in Konya, the other in Tal
Afar. There is a knock on the door in Konya.)
HAKAN
(From beyond the door.)
Ayla Hanim?
AYLA
(She stands, tries to compose herself.)
Yes Hakan.
HAKAN
May I come in?
AYLA
Yes.
(He enters as she heads to the back room.)
I’ll be right out.
HAKAN
I will wait.
(Ayla exits. Hakan waits. Nabil brings Sevgi a
glass of water.)
SEVGI
How many times will they question him Nabil? It’s three days in a row.
NABIL
Perhaps this will be the last time. The new Emir will arrive today.
(Beat. He hands her the water.)
Don’t worry. He’s a good man. A good leader.
SEVGI
Will he release us?
NABIL
Allah willing.
(Beat. She drinks water.
 62.

NABIL (cont'd)
She hands him the glass.)
Are you hungry?
SEVGI
No.
NABIL
Then I’ll wait until Kadir brings him back and then I’ll bring you lunch.
(Nabil goes. Ayla, now composed, comes back
out.)
AYLA
What is it?
HAKAN
Mr. Smith wanted to pay his bill.
(He gives her money.)
He wants a receipt.
AYLA
Where is he?
HAKAN
He said he doesn’t want to see you.
AYLA
That’s silly. I offered him another room.
HAKAN
He says if he can’t have his usual room, he’ll go somewhere else.
AYLA
Fine.
HAKAN
I will clean the room and get it ready right away.
AYLA
(She’s writing out the receipt.)
Where is Mr. Wyler? I haven’t seen him in two days.
HAKAN
He’s been very busy. I’ve been helping him. We’ve called all the press...
AYLA
The press?
HAKAN
Yes. All the major newspapers, radio and television stations.
AYLA
It will be everywhere now. Everyone will know.
HAKAN
He says we must make use of the media. He’s also called the Turkish Ministries of Interior
and Exterior and the FBI and several other American agencies.
 63.

AYLA
Goodness.
HAKAN
He’s not getting any sleep. All night he’s on the phone and the internet.
AYLA
(She hands him the receipt.)
Will you ask him to come down and see me?
HAKAN
Of course. I hope you will tell him to get some rest before he gets sick.
AYLA
I will.
HAKAN
And you mustn’t worry so much either, Ayla Hanim. I truly believe, in the depths of my
heart, that Sevgi Hanim will be released soon. She will come home safe and sound.
AYLA
I hope you’re right, Hakan.
HAKAN
I’ve been praying day and night. Allah is listening to our prayers. He will not let us down.

SCENE 2
(Nabil comes in.)
NABIL
I want to ask you something.
SEVGI
What’s that.
NABIL
Emir said you are not married. Is this true?
SEVGI
Yes.
NABIL
You are a virgin then?
(Beat.)
Are you a virgin?
SEVGI
Why are you asking me this Nabil?
NABIL
I want to help you. Tell me if you are or if you are not a virgin.
SEVGI
I am a virgin. Yes.
 64.

NABIL
Then why are you worried?
SEVGI
What do you mean?
NABIL
Don’t you know that if you are a virgin, and you ask for forgiveness, whatever your sins
are, you will enter Paradise? In paradise you will be happy for all eternity. Like me.
SEVGI
I don’t want to die, Nabil.
NABIL
Why not? You are wrong to be afraid of death. Your death won’t be ordinary like a car
accident or a heart attack. It will be a sacrifice to God. People will hear about it all over the
world. You should look forward to it and be proud to die such a death.
(Kadir’s voice is heard beyond the door.)
KADIR
Nabil!
NABIL
Nam?
KADIR
(Open the door.)
Iftah Albah’b!
(Nabil opens the door. Kadir shoves Philip in
and pushes him down to the floor.)
KADIR (cont’d)
(Sit.)
UKAHD!
(Philip doesn’t sit. Kadir shoves him down.)
UKAHD!
PHILIP
(To Sevgi.)
You okay?
KADIR
(Shut up.)
Okhras!
(Kicks him.)
PHILIP
Hey!
KADIR
(shut your mouth.)
Sakir Tima’kh!
(Kicks him.)
 65.

PHILIP
YOU SHUT UP! MOTHERFUCKER! YOU SHUT UP!
(Kadir hits him.)
HIT ME! I DON’T CARE. YOU FUCKING BURN IN HELL MOTHERFUCKER.
SEVGI
(Over,)
Stop it! Stop it!
(Kadir starts to laugh. Hits Philip. Laughs.)
KADIR
Ana yali. Ha-lth bahak.
(He makes throat sliting motion: I’m the one
who’s gonna cut you.)
PHILIP
Yeah I know you’re gonna enjoy that, you asshole.
KADIR
(Laughs.)
Ehr. Ehr. An-kareeb.
(Yes, yes. Very soon.)
(Nabil brings tray of food. Places it down, leaves
the room.)
KADIR (cont’d)
(Pushes Philip down toward the food. Eat.)
Kohl!
SEVGI
Stop it! Stop it, leave him alone!
KADIR
(Mocking him, laughing and pushing him.)
Kohl! Ya hamar! Kohl!
SEVGI
Get out of here. Leave him! Get out!
KADIR
(Laughs at her: I’m gonna cut you too.)
Ha-ith bahik inti kaman.
(Kadir leers at them both and leaves the room.
Sevgi sobs.)
PHILIP
(Pause.)
Hey...
SEVGI
I don’t want him to kill me. I don’t want my life to end at the hands of some dirty peasant
who can’t even read or write.
PHILIP
Sevgi...
 66.

SEVGI
I want you to kill me. Look in my eyes and shoot me in the head. That’s how I want to die.
PHILIP
How am I gonna get a gun?
SEVGI
I don’t know. Maybe you’ll have to smash my head. With a rock or something.
PHILIP
Sevgi...
SEVGI
No, really. Promise me you will. Do you promise?
PHILIP
I promise.
(Pause. She calms down. He reaches for some
food.)
Eat something.
SEVGI
I’m not hungry.
PHILIP
(Hands her some.)
Eat this.
(She does.)
Did he take you outside?
SEVGI
Yes. I’m sure I’m making mistakes but he doesn’t say anything.
PHILIP
Maybe he doesn’t know how to pray either.
SEVGI
I doubt that. They all go to Koran school.
PHILIP
(Beat.)
Did you look east?
SEVGI
I don’t know. East? Why?
PHILIP
There is a road there. Not too far.
SEVGI
So?
PHILIP
This afternoon, when he takes you out to pray again, I’ll ask to go to the bathroom.
SEVGI
Philip....
 67.

PHILIP
I can take the little one. I’ll grab his gun.
SEVGI
No, Philip. No.
PHILIP
We can do this. We can run.
SEVGI
We can’t run. You can run. I can’t. And you know they’ll shoot us.
PHILIP
We can run. It’s our only chance.
SEVGI
No! The new emir will come today. Nabil just told me.
PHILIP
So what?
SEVGI
He might release us.
PHILIP
Are you kidding me? They’ll never release me. You know that. They’re never letting me go
alive.
SEVGI
Don’t say that. Let’s just wait for the Emir. I’ll talk to him. I might get us out of here.
PHILIP
You might get us out? Who’s fantasizing now?
SEVGI
Just. Just. Let’s wait a few more hours. Til tomorrow morning.
(He sits back. She eats something. Pause. He’s
staring at her.)
What?
PHILIP
Straighten out your hair.
SEVGI
What?
PHILIP
It’s messed up. Straighten out your hair.
SEVGI
Why? Am I going to a ball?
PHILIP
Come on. It’s important.
SEVGI
Why is it important Philip? Like we have to eat regularly, like we have to get enough sleep?
Like you clean your shoes every morning?
 68.

SEVGI (cont'd)
I see you cleaning your shoes and I’m flabbergasted. We could be killed at any moment
and you’re cleaning your shoes. Why are we trying to look good all the time?
PHILIP
Stop arguing and just do it.
SEVGI
(She straightens out her hair.)
You’re so annoying, you know that? I didn’t know how annoying you were. My Dad was
right.
PHILIP
Much better.
SEVGI
He always said the best way to get to know someone is to go on vacation with them.
PHILIP
You look great, you know that?
SEVGI
What are you talking about? I haven’t taken a shower, I haven’t washed my hair in...
PHILIP
(Over.)
You’re really sexy.
SEVGI
You’re losing your mind.
PHILIP
I’ve never been more sane in my life.

SCENE 3
(In Konya, Josh comes into the room.)
AYLA
Mr. Wyler.
JOSH
Hello.
AYLA
I’ve been worried about you.
JOSH
I’m sorry.
AYLA
Are you alright? Are you eating?
JOSH
Yes.
 69.

AYLA
I wanted to tell you that I’ve asked Mr. Smith to vacate the corner room. In case Sevgi
comes. For the two of you. I hope that wasn’t presumptuous, putting you in the same room
together. Of course you can keep your own room if you’d like. The corner room has the
best view.
JOSH
I see.
AYLA
That was sort of a question, I think. I think that was a question.
JOSH
I really can’t answer that.
AYLA
I understand.
(Beat.)
Will you join me for dinner tonight?
JOSH
Mrs. Okan, I....
AYLA
Yes?
JOSH
I think I should leave.
AYLA
What?
JOSH
I don’t think I can stay here anymore.
AYLA
Why? Where will you go?
JOSH
I think I’m... I’m a bit of a burden on you. Not that I won’t pay. Of course I will pay what
I owe you. I’ve made lots of phone calls and...
AYLA
What kind of nonsense is this? What are you talking about?
JOSH
I feel that my presence here... What I mean to say is, this is a difficult time and I know
you’re worried and I think you don’t want to think about it or you want to think about
other things but I can’t, I can’t, you see...
AYLA
Mr. Wyler....
JOSH
No, no. Please, please don’t call me Mr. Wyler anymore. My name is Josh. I hate this
formality. I’m so miserable and so alone, I just....
 70.

AYLA
Josh. Josh. Alright. Josh.
JOSH
I feel like we’re in this together. Our fates are sealed together, that we’re both devastated,
we’re both worried. Yet I feel such a distance, I feel so alone...
AYLA
No, no. You’re not. I’m here. You’re not alone.
JOSH
See? I’m just making it worse.
(Beat.)
You have your way. You’re coping - whatever way you can - and I’m only causing
trouble. I can’t do this. I can’t do this to you.
AYLA
Are you trying to protect me?
JOSH
Yes!
AYLA
Then stop it!
JOSH
I know what you’ve been through.
AYLA
Stop that. Stop trying to protect me. You can’t protect me, Mr. Wyler, I mean Josh. I’m
sorry. Josh. I have faith. This is not merely a coping mechanism. This is truth. This is my
center. I have God. I have prayer. I have trust. I don’t need your protection. Do you
understand that?
JOSH
I’m sorry.
(A realization.)
I think I’m ashamed.
AYLA
Ashamed of what?
(She laughs. He’s silly, he’s cute.)
Why are you ashamed?
JOSH
Because I don’t have that thing. Because I feel vulnerable. I’m ... I mean I this is why
people with religion feel so goddamn superior. Because they have that thing watching over
them. Well I don’t have it, that thing. That Jesus thing. Like someone is watching over me,
guarding me. Like that thing when I’m dead and there are two sets of footprints on the path
of my life, Jesus and I walking together? Except during the most difficult moments, when
I’m devastated, when there’s a huge loss or fear or whatever, like right now, there’s only
one set of footprints. And I’m like what the hell is up with that? Did Jesus abandon me?
But no he didn’t. In fact, au contraire... As my Mom constantly tells me, during the hard
times, Jesus is actually carrying me in his arms. My mother actually believes that! Well
there’s no Jesus carrying me right now. He doesn’t carry me, he doesn’t talk to me, or
comfort me or whatever. I realize it’s ridiculous but I’m ashamed because I don’t have an
imaginary friend.
 71.

AYLA
You’re a brave young man. It doesn’t matter to me whether you believe in God or not.
JOSH
I wish you’d tell my mother that.
AYLA
Hakan says you’ve contacted some people.
JOSH
Yes.
AYLA
Do you have any news?
JOSH
News?
AYLA
About Sevgi. Anything.
JOSH
I have some information.
AYLA
What kind of information?
JOSH
I’m afraid it’s not encouraging.
AYLA
Tell me.
JOSH
Nobody wants to take responsibility for one thing. The Turkish government says she’s an
American, it’s their problem. The American government says she’s gone as a Turkish
journalist which, according to the Iraqis, is apparently true. The FBI says that the chances
of saving her are much better if we don’t admit that she’s also an American citizen. So I’m
pushing the Turks to understand this and to start a negotiation with the Iraqis. Not that
there’s much to negotiate over.
AYLA
I appreciate all you’re doing.
JOSH
The Iraqis are finally treating it as an abduction rather than a missing person case.
Abducted by whom, no one really knows. It’s assumed it’s a Sunni group, which is not
good, but at least we believe she’s still alive.
AYLA
Thank God.
JOSH
That’s all the information I have right now.
AYLA
What can we do? I mean is there anything we can do? Other than hope? And pray?
 72.

JOSH
(Beat.)
There is, actually. There is one thing.
AYLA
What thing?
JOSH
I hesitate to tell you.
AYLA
Please.
JOSH
A correspondent from Al Jazeera has told me that they would be willing to air a statement.
AYLA
A statement?
JOSH
A statement from the family. The FBI says that these can sometimes be helpful.
AYLA
What kind of statement? Aimed at whom?
JOSH
At the people who’ve abducted her. Something about Sevgi. About who she is, and what
she means or... I mean a statement from the family which expresses how much she’s cared
for. The FBI says this can sometimes help. That it can “humanize” her. That’s what the FBI
says. Humanize.
AYLA
And you hesitate to tell me because....
JOSH
I can’t make such a statement. It would be disastrous. Only you can. Only a statement
coming from you, her mother, could possibly be helpful.
AYLA
A statement on the radio?
JOSH
Yes. Two minutes.
AYLA
With hopes that the insurgents who have abducted her, will hear?
JOSH
Everyone says they’re total media junkies. They don’t miss a thing on the radio or TV.
They love to be talked about on the air.
AYLA
What would I say?
JOSH
I have no idea.
 73.

AYLA
Mr. Wyler I... I’m sorry. I keep doing that Josh.
JOSH
Actually, you know what? Josh sounds totally weird. Just please keep calling me Mr.
Wyler. Please.
AYLA
Are you sure?
JOSH
Absolutely.
AYLA
Mr. Wyler, I... I don’t know what to say.
JOSH
This is the only thing. Please. It’s our only chance. It’s not even a chance. Our hands are
tied. There’s really nothing we can do. But we can do this. Against all odds. Even if the
chances of it making any difference at all are slim, even if it may not work at all, it’s still
something. Something we can do. Please it’s something we can do.
AYLA
Yes.
JOSH
Yes?
AYLA
I will do it.
JOSH
Thank you.
AYLA
Will you now agree to have dinner with me tonight?
JOSH
Of course.
AYLA
Good.
(He’s leaving.)
JOSH
Thanks for putting me in the same room with her. That’s hopeful thinking. I like hopeful
thinking.
AYLA
So do I.
(He exits. )
 74.

SCENE 4
(Tal Afar. Nabil enters with two wooden chairs.)
NABIL
Emir is here. He’s coming to see you now. You must cover your hair.
(Sevgi covers her hair.)
PHILIP
What’s up?
SEVGI
Emir’s coming.
NABIL
(About food.)
Are you finished?
SEVGI
Yes, Nabil.
(Nabil picks up the tray and goes. Kadir enters
with one more chair.)
KADIR
(To Philip. Stand.)
Ew Koff. Ew Koff!
(Philip stands. Tariq enters.)
TARIQ
Greetings friends.
(To Kadir. Tea.)
Ha Chay.
(Kadir goes.)
SEVGI
Oh my God. It’s you.
TARIQ
Yes. It’s nice to see you again.
SEVGI
You’re the policeman. You’re the one who....
TARIQ
Please. Do not take it personally. I was only doing my job.
SEVGI
You handed us over to the insurgents.
TARIQ
Insurgents, police, all Iraqis are the same, ukhti. We all fight for the same cause. Please. Sit
down.
(Sits. Smiles.)
Do you notice anything else about me? Look carefully.
 75.

PHILIP
He’s his brother.
SEVGI
What?
PHILIP
Look at him. He’s the other Emir’s brother.
TARIQ
You’re very astute. Yes. My brother was martyred and I’ve taken his place. It’s my duty.
(Nabil enters with tray of tea and serves.)
TARIQ (cont’d)
Now tell me. Have you been comfortable?
SEVGI
We’re prisoners.
TARIQ
Yes but we still want to make sure you’re well taken care of.
PHILIP
I get beaten every day and told several times that my head’s going to be chopped off. But
the food is terrific.
TARIQ
Ah. Kadir is a wild one. You must overlook his shortcomings.
PHILIP
Oh sure. Why not. He and I are buddies.
(Nabil goes.)
SEVGI
Are you going to release us?
TARIQ
I don’t know.
SEVGI
We’re innocent. Your brother knew this. He looked on the internet and found our stories.
He knew we are jounalists and not spies.
TARIQ
To be honest with you ukhti, to me, there is no difference between a journalist and a spy. I
do not believe in this thing called journalist. You all work for Israel and America. You say
you come to Iraq to write reports. What is to report about Iraq?
SEVGI
We try to show the plight of the Iraqi people. How they fight to overcome Imperialism.
TARIQ
You want to show the misery of the Iraqi people, how they suffer every day. Why does the
West want to see this? To shame us more than we are shamed? We are shamed in front of
the whole world and you want to show more of this? Why? Why do all the journalists
come to Iraq? You say you fight for us. Don’t lie. You fight for yourself.
 76.

TARIQ (cont'd)
You go back, you have your story, and you get money and you are proud for going to Iraq
and surviving. You go back and you are hero.Your son think, your daughter think, my
father is hero. You think this is heroic? Come to Iraq to take photographs of us like
animals, like zoo, you take pictures of us. You look at the children dying in the street and
you say you do this for Iraq? Mothers crying, fathers banging their heads against walls. All
for the infidels who sit in living rooms and eat pork and look at the faces of the Iraqi
children dying on the television. And they think they see suffering. They see nothing. They
see a shadow. The shadow of the people who are shamed.
SEVGI
We know this. We understand this.
TARIQ
You understand nothing. You’ll never understand unless it’s your own child. Unless it’s
personal.
SEVGI
You’re a good Muslim. It would be wrong for a Muslim to kill innocent people.
TARIQ
What do you know of being Muslim. You live in America. You call yourself a Muslim?
Don’t make me laugh. You will go home and say the Iraqi people are fighting for Iraq. No.
Iraqis are many people: Arabs, Kurds, even Turks. We do not fight for Iraq. We do not
fight for democracy. What good is democracy for us? We have the law of the Koran. We
fight for our religion. We struggle to protect our faith. This is the plight of all Muslims all
over the world. We are fighting to restore our pride.
(To Sevgi.)
Why aren’t you drinking your tea? Is it too hot?
SEVGI
No.
(She drinks.)
TARIQ
(Beat.)
I will tell you something. I can tell you that you both, the two of you who call yourselves
journalists, that you mean NOTHING to me. But this is not true. Allah has sent you to us
for a reason. He has plucked you like a fruit from a tree and he’s given you to us. There is
a reason for this. Allah is helping me to fight the Muslim cause and you’ve been given to
me as a gift to fight this noble fight. The question is, how will I use you. How will I take
advantage of this gift of Allah? One way is to kill you. To cut off your heads and show it
to the whole world. This is a good way. It is a good sacrifice. It shows the world how far
we can go. It shows the might of Allah.
SEVGI
I don’t think you want to do that. I think in your heart, you don’t want to do that.
TARIQ
Actually, I do. I would sincerely like to do that. For me, that would be the easiest way to
take care of this problem of the two journalists. But I must think like a businessman. I
must consider other options. Number two, I could videotape you while crying and pleading
and hope that America will give us money or meet some demands. But you know America
will never meet demands. Number three, I could sell you to Zarqawi - and he would pay
very much money for you - but then we know what your fate will be and that will make no
difference. Besides, I would be doing that for profit which is not the Muslim way. The last
thing I could do is to release you. But I would do that only on one condition.
 77.

SEVGI
What’s that?
TARIQ
Only if you and the American...
SEVGI
He’s not an American.
TARIQ
Whatever. The Christian. The infidel. Only if you and the infidel will go on videotape and
tell the world that you are Muslims. That you accept Allah as the one God, and that you
embrace Mohammad as his only prophet. Are you willing to do this?
SEVGI
Of course.
PHILIP
No way.
TARIQ
Then I have no other choice.
SEVGI
He will do it.
PHILIP
No fucking way.
SEVGI
He will. I tell you, he will.
TARIQ
Ah. Woman is smart. Woman always knows.
PHILIP
I won’t do it.
SEVGI
Philip!
TARIQ
I will leave you to think about it. I give you until tomorrow morning. I must now go and
take care of other matters. I’ve asked the cook to prepare an especially nice meal for all of
us. I hope you will enjoy your evening. It may be your last. Good-bye.
(He exits.)

SCENE 5
(Night time. Ayla enters, followed by Josh.
They’ve just finished dinner.)
JOSH
Wow.
 78.

AYLA
I know. Cooking is Hakan’s discipline. I’m not a good cook at all. Cognac?
JOSH
Really.
AYLA
(She pours.)
When I was an American wife, I was so enchanted with the conveniences. Cans and sprays
and television dinners. Bacon bits. I adored them all.
JOSH
It’s hard to envision you as an American wife.
AYLA
Well I couldn’t maintain it, obviously. The inexhaustible strife for happiness. What does
the constitution call it? The pursuit?
JOSH
Yes.
AYLA
Such an ironic little phrase. As though it’s a fugitive or some sort of prey. The pursuit of
something nobody can even define. After what happened to me, I couldn’t “pursue”
happiness anymore. I had to face it, I couldn’t turn away.
(Beat. She gives him the glass. They drink.)
Did you contact your friend at Al Jazeera?
JOSH
Yes.
AYLA
Is it arranged?
JOSH
Tomorrow morning at eight o’clock.
AYLA
I’m very nervous.
JOSH
I know.
AYLA
How am I to these people? How am I to touch their hearts. They hate Sufis, you know.
JOSH
I didn’t realize that.
AYLA
I must make them see reality in a different way. Not through the eyes of anger, but through
compassion and forgiveness. In two minutes, Mr. Wyler. Do you believe I can do this?
JOSH
I don’t know.
AYLA
You say that a lot.
 79.

JOSH
What?
AYLA
“I don’t know.”
JOSH
Sorry.
AYLA
No. It’s good to not know. To be uncertain. The whole world is going mad because they all
want to know yet they realize they cannot know. No one can be certain. This is why they’re
all fighting. They’re not just fighting each other, they’re fighting themselves. The
uncertainty within themselves. But faith is not about that. Faith is about learning to live
with uncertainty.
JOSH
I thought you were certain. That you believe you’re certain.
AYLA
I’m certain of God’s presence. But I also realize that he’s unknowable. That the mind of
God - and his intentions - are incomprehensible. Yet I continue to...
(Places her hand on her heart. Beat.)
When I saw my son’s face, in that obscenely ordinary moment, when he looked at me,
looked right through me, as if I didn’t matter, as though what he was thinking had no
bearing on me at all... I saw the decision forming on his face. I didn’t comprehend it but I
saw it. And then, he was right there, next to the open window, and he said.... It was as
though he’d realized his own power, that he had this power, and that it was up to him and
to absolutely no one else - which is the epitome of arrogance since the life, the gift of life
that had been given to him, had come not through his will, but through my own loins. He
said, simply, that’s it. He turned away and he was gone. From that moment forward, Mr.
Wyler, every minute of every day, I’ve asked myself, what could I have done? What did I
do? What did I fail to do? What kind of power did I have? Of course it’s a ridiculous
question because I had no power at all. This is why I left, Mr. Wyler. Abandoned my
marriage, my only other child. For this.
(Beat.)
This thing you want me to do, this statement, it scares me, doing this thing. It gives me the
illusion of power. It gives me choice. It gives me action. I don’t want that. I don’t want
responsibility or choice or action. I want helplessness. Paralysis. I don’t want to be
responsible, Mr. Wyler. I can’t do this. Don’t ask me to do this.
JOSH
And who should be responsible? Your God? Should Allah alone be responsible?
AYLA
Only he knows. Only he decides.
JOSH
Fine. Don’t do it then. Let’s not do it. Let’s just wait and see. See how things turn out. We
can hope, as you say. We can pray.
AYLA
I’m sorry to disappoint you. I’m so afraid it could make things worse.
JOSH
I want to tell you something. Guess where I met Sevgi for the first time. When I first saw
her. For the first time.
 80.

AYLA
Do you really want me to guess?
JOSH
Alliance International. Do you have any idea what that is?
AYLA
Is it something like AA?
JOSH
It’s an organization of atheists. Of people who struggle to end the tyranny of religion over
everyone all over the world. We believe - no, we don’t believe, we know - that religious
faith is blind. It’s primitive, irrational, and it threatens our existence. We believe that
religious thinking, religious rule, religious schooling, anything that has any religious
affiliation whatsoever, should no longer be tolerated. That it should be outlawed, banned.
Because this fantastic stupidity, this fantastic fiction, is destroying us. And guess what
else? Sevgi was there before me. She’s the most furious atheist I know.
AYLA
I see.
JOSH
No you don’t. I don’t think you really see at all. Do you have any idea why she became an
atheist?
AYLA
No.
JOSH
Because she idolized you. She was angry at you, hurt by what you did, but she couldn’t
help but idolize you. She idolized what she remembered of you: an enlightened, intelligent
and independent woman. Not someone who believes in myths and fantasies. Somebody
who did not accept helplessness.
AYLA
Mr. Wyler.
JOSH
I’m sorry I came here. I’ve caused nothing but trouble. I wish I’d never found you. I wish
I’d just left you alone. Good night.
(He exits.)

SCENE 6
(Iraq. Night. Sevgi is awake. Philip is asleep. Or
pretending to be asleep.)
SEVGI
Philip.
(Pause.)
Philip...
(Beat.)
I know you’re not asleep, Philip. Stop ignoring me.
 81.

PHILIP
I don’t want to argue anymore.
SEVGI
I don’t want to argue either. I just want to understand. I want to know why. Are you
religious?
PHILIP
Yes.
SEVGI
You are?
PHILIP
Yes.
SEVGI
No you’re not.
PHILIP
How do you know? You don’t know me. You don’t know anything about me.
SEVGI
Then just pretend. That’s what I do. I go out there and I pretend to pray. I go through the
motions. Everyone pretends, Philip. Don’t you know that? They just pretend so much, they
convince themselves. You know it doesn’t mean anything.
PHILIP
It’s not about that.
SEVGI
Then what?
PHILIP
They want to humiliate me.
SEVGI
What?
PHILIP
They’re going to broadcast it all over the world. My family will see it. My son will see it.
What will my son think of me?
SEVGI
This is about pride? Because you think your son will be ashamed of you? He won’t be
proud of you? My God, Philip, if this is about pride, then you’re just like them. You’re
behaving like them. You’re a stubborn prick!
PHILIP
I have no idea what you’re babbling about. I’m not even awake now.
SEVGI
Fuck you, Philip! Fuck you. We’re both going to die!
PHILIP
(Sits up, aggressively:)
Well we’re gonna die anyway, sweetheart. Somebody must’ve told you that.
 82.

PHILIP (cont'd)
If not tomorrow, then very soon, like within the next fifty or sixty years, which, in the large
scheme of things, is about a nanosecond or so. So to tell you the truth, I don’t know what
you’re being so whiny about. I wish you’d just shut up and go to sleep.
SEVGI
I’m being whiny because in spite of the enlightening lesson, Philip, I’d like my nanosecond
back please. Now look. I know you’re angry, I know you’re scared, but I know you and I
know you’re not that selfish.
PHILIP
Yes I am. I’m extremely selfish. I’m unbelievably selfish.
SEVGI
No you’re not.
PHILIP
Will you stop saying that? No you’re not, no you’re not. Yes I am! You don’t know the
half of what I am!
SEVGI
Sorry.
PHILIP
(Beat.)
So what’s the big deal? What are you gonna do with your nanosecond? Marry the douche
bag?
SEVGI
He’s not a douche bag. Don’t do that. Don’t try to insult me.
PHILIP
I wasn’t insulting you. I was insulting the douche bag. And you know he is a douche bag.
SEVGI
Stop that! You shut up about him. You have no idea. He’s a wonderful, extremely
loving....
(She can’t go on. It’s too difficult.)
Oh God, Philip....
PHILIP
What’s the matter? Run out of cliches?
SEVGI
Why are you attacking me? I’m not the enemy.
PHILIP
(Pause. He sits back.)
The thing is, I totally get these guys. You know?
SEVGI
What do you mean?
PHILIP
I understand them. I relate to them. Is that sick? I get their instincts. As far back as I can
remember, three years old, four years old, I loved guns. I loved explosions. Pow pow pow
make everybody die. We don’t live unless we kill. Nothing survives unless something or
someone dies. I tell myself - yeah, sure - I believe in God, but then I think what kind of
motherfucker came up with this crazy scheme?
 83.

PHILIP (cont'd)
(Beat.)
You know what killing feels like? It feels like love. I’m not kidding. It’s just as intrinsic
and just as necessary. It makes me feel like I’m the center of the fucking universe - like
everything revolves around this. Yet, I turn around and I realize that I’m nothing. That I’m
utterly, utterly insignificant. In God’s eyes, hell, I’m no more alive than that rock.
SEVGI
Philip...
PHILIP
No, no, I mean I know the joke’s on me - ha ha - but come on. Like isn’t it enough that
I’m utterly pathetic - why do I also have to know that I’m pathetic? I realize the whole
universe is mocking me, why -fuck - why do I also have to mock myself?
SEVGI
So what are you going to do? File a complaint?
PHILIP
Yes! No wonder these guys are burning from the inside out. They’re cockroaches,
scurrying about, trying to do something, anything, just to convince themselves they matter.
No wonder they’re exploding with rage. I just happened to step into the line of fire. So
fucking what? Who fucking cares? They should kill me. Why wouldn’t they kill me? Better
me than them, right?
SEVGI
Philip...
PHILIP
Oh don’t worry, I’ll do your silly pretend thing. “I accept Allah as the one God blah, blah,
blah.” You’re kinda sweet to believe they’re going to release us.
SEVGI
Thank you.
PHILIP
I’ll tell you another thing, though. As long as we’re on the subject of the mighty creator.
Something absolutely brilliant. Something magnificent.
SEVGI
What’s that?
PHILIP
Flesh. Oh my God. What a brilliant invention. You eat it. You smell it. You touch it. Oh
man. You fuck it. I worship flesh. Love is too fucking abstract. Don’t get me wrong. I love
love. But flesh is something else. Is there anything more appetizing, more satisfying than
what’s between a woman’s legs?
SEVGI
Philip...
PHILIP
Look what you did. That’s funny.
SEVGI
What?
PHILIP
You crossed your legs.
 84.

SEVGI
No I didn’t.
PHILIP
Yes you did. I saw you. You tightened your legs.
SEVGI
Okay maybe I did.
PHILIP
Would you deny me that right now? If I wanted to smell you? Bury myself inside of you?
SEVGI
Yes.
PHILIP
Huh.
SEVGI
No. I don’t know. No.
PHILIP
I can’t believe I never told you this, but when I’m around you, I’m so fucking horny.
SEVGI
Stop it.
PHILIP
I’m serious. Even if the guy is standing there with a gun on my chest, if you’re nearby, all
I’m thinking is, she’s so delicious. She’s so beautiful.
SEVGI
What about your wife?
PHILIP
What difference does it make? She’s not here. You are. When they slit my throat, I hope
you’re in the same room so I can smell you. I hope I’m as hard as a rock. That’s how I
want to go. Throbbing with sex. Throbbing with you.
(He’s crying.)
SEVGI
Philip. Philip.
(After a moment she goes to him.)
Don’t cry. It’s going to be alright.
(She holds him, he cries.)

(In Konya, Hakan walks into the living room.)

HAKAN
Ayla Hanim. It’s very late.
AYLA
I can’t sleep tonight, Hakan.
HAKAN
Tomorrow is the first day of the festival.
 85.

AYLA
I know.
HAKAN
What are we going to do?
AYLA
We’re going to do everything that’s expected of us. We’re going to behave normally.
HAKAN
Can you do that?
AYLA
Yes I can. And so can you. It’s all an act, Hakan. Don’t you know that by now?
HAKAN
I’m not sure, Ayla Hanim.
AYLA
(Hands him a piece of paper.)
Will you take this to Mr. Wyler’s room? Don’t wake him. Slip it under his door.
HAKAN
I won’t sleep either. Call me if you need anything.
AYLA
Thank you. I will.
(Hakan goes. In Iraq, Sevgi continues to hold
Philip. He sleeps. Josh plays the ney. Fade.)

SCENE 7
(Darkness. We hear a voice on the telephone.)
VOICE ON TELEPHONE.
Mrs. Okan...... Are you there?
AYLA
Yes.
VOICE ON TELEPHONE
We’re nearly ready, Mrs. Okan. One more moment.
AYLA
Alright.
(Lights rise to reveal Ayla on the phone. Hakan
is with her.)
AYLA (cont’d)
(To Hakan, covers telephone.)
Where is Mr. Wyler?
HAKAN
He’s listening on the other extension.
 86.

AYLA
Good.
(In Iraq, Sevgi rises. Philip is still lying down.
Nabil enters quietly with breakfast tray.)
NABIL
Good morning.
SEVGI
Good morning, Nabil.
NABIL
I’ve brought you fresh eggs. Fresh from the hen.
SEVGI
Where is the Emir?
NABIL
He is also having his breakfast now. He said he will see you after breakfast.
(Philip wakes. Sits up. Nabil goes.)
VOICE ON TELEPHONE
Alright, Mrs. Okan. We’re ready now.
AYLA
Alright.
VOICE ON TELEPHONE
When I say “go,” you may begin to speak.
AYLA
Thank you.
VOICE ON TELEPHONE
Five, four, three, two, one. Go.
AYLA.
Hello. I’m speaking to you today as the voice of a Muslim mother. I address those who
have kidnapped my daughter and are keeping her hostage along with her Canadian
colleague. My daughter is Sevgi Okan. She’s twenty-eight years old. She’s an
accomplished journalist. She is a kind and passionate young woman.
I’ve never met you, I do not know you, but I know that you’ve all had mothers who have
loved you. I know that you understand the heart of a mother and what she signifies in the
majesty of Islam.
Any mother will tell you that Islam is the religion of peace. Of forgiveness and love. Peace
is the primary message of the Prophet who forgave the Christians and the Jews and
embraced all humanity, all of Allah’s creation, the animals, the dirt, the flowers, as equals.
Islam is the latest and most evolved of all religions. It is Islam’s responsibility to convey to
the world this message of the glory of acceptance and love.
(Kadir burst into the room. Points at Sevgi.)
 87.

KADIR
You. Come.
(Philip rises.)
Not you! Sit!
PHILIP
Where are you taking her? No! Stop it!
KADIR
(To Sevgi.)
Get up. Hurry. Now!
(Sevgi stands.)
KADIR (cont’d)
(Points gun at Philip.)
Sit! Sit!
(Kadir shoves Philip to the wall. He takes Sevgi
away. Ayla continues.)
AYLA.
I am not only pleading for you to release my daughter and her innocent friend, but also to
open up your own hearts and to release the anger that is trapped there because it imprisons
you. You know what freedom means. Your mothers taught you the meaning of freedom as
she gave you the gift of life.
(Kadir shoves Sevgi into a room. Tariq is there.
He’s furious.)
TARIQ
Sit. Sit!
SEVGI
What’s the matter? What’s wrong?
TARIQ
Listen.
(There is a transistor radio. Ayla continues.)
AYLA
The whole world is watching you now. They all have their eyes upon you to see what you
will do next. I ask you to please, allow my daughter to return to me, and to allow the
Canadian man to return to his family. This is your chance to be a vessel of Islam. I beg of
you to release these young people and to show the whole world Islam’s true intentions.
My name is Ayla Okan. I’m a mother with a heavy heart. May Allah have mercy on all of
us. Blessings on you all.
(Tariq turns off the radio.)
TARIQ
This is your mother?
SEVGI
Yes.
 88.

TARIQ
She is a Sufi.
SEVGI
Yes.
TARIQ
Is she stupid enough to think that her nonsense about love and acceptance is going to
change our minds? Doesn’t she know the prophet himself was a warrior? He fought for ten
years, he slaughtered tribes in the name of Islam. Doesn’t she know this?
SEVGI
I don’t know.
TARIQ
Are you a Sufi too?
SEVGI
No.
TARIQ
Are you lying?
SEVGI
I’m not lying. I haven’t seen her in many years.
TARIQ
Are you a liar?
SEVGI
No.
TARIQ
Don’t lie.
SEVGI
I’m not lying. What’s wrong? What’s happened? What have I done?
TARIQ
What’s this?
(A clipping from a newspaper. She looks at it.
Beat.)
WHAT’S THIS???? TELL ME WHAT THIS IS!
SEVGI
It’s a photo of Philip.
TARIQ
Who is he spying for?
SEVGI
He’s not a spy.
TARIQ
If you lie one more time, I will have Kadir shoot you right now!
SEVGI
I’m not lying.
 89.

TARIQ
Why is he in disguise?
SEVGI
What?
TARIQ
Look at the photo! What color is his hair?
SEVGI
It’s not a disguise! He did that to blend in.
TARIQ
Blend in? What does this mean, “blend in?”
SEVGI
To not be noticed. To not stand out.
TARIQ
Not be noticed. Like spy.
SEVGI
No! Why are you doing this? He’s said he will meet your conditions. He will accept Allah
and the prophet. He’s willing to convert.
TARIQ
It will not be an honest conversion. You’re both liars.
SEVGI
No!
TARIQ
You’ve dug your own graves. You will not see your friend again.
SEVGI
No.
TARIQ
Yes. I will give you twenty minutes to come to terms with your sins and to ask for Allah’s
forgiveness. Twenty minutes. Do you understand? And then you will die.
(She nods.)
Take her away.
(Kadir grabs her by the arm.)
SEVGI
Wait.
(To Kadir. Sharply.)
Wait.
(Kadir stops.)
TARIQ
What is it?
SEVGI
I want to ask for something.
 90.

TARIQ
For what? What could you possibly ask for?
SEVGI
I want to call my mother.
TARIQ
What?
SEVGI
Give me this one thing. It’s my last request. Let me talk to her for five minutes.
TARIQ
Are you crazy? Why would I do that? Let you make phone call.
SEVGI
Your brother let me. He encouraged me. To talk to my mother.
TARIQ
My brother was not very smart.
SEVGI
Your brother was a good man. He understood compassion. Unlike you, he was a decent
man.
TARIQ
How dare you talk to me that way? Aren’t you afraid at all?
SEVGI
Afraid of you? No. You don’t scare me. I will meet my maker soon. I will be in the
presence of Allah. Why should I be afraid? I’ll be in paradise for all eternity. Where will
you be?
TARIQ
Take her.
SEVGI
Your brother would never have denied a Muslim girl’s last request.
(Kadir grabs her again. They’re going out the
door.)

TARIQ
Stop.
(They stop. A snicker.)
What will you tell her?
SEVGI
I’ll apologize for having wronged her. I’ll tell her that I love her. And I’ll say good-bye
TARIQ
Fine. I’ll let you speak to your Sufi mother. You can give her a message from me. Tell her
she will receive a package from us soon. It will contain your head.
(He nods at Kadir. Kadir takes Sevgi away.)
 91.

SCENE 8
(In Konya, Josh enters the room.)
AYLA
Was that two minutes?
JOSH
Just a bit over. But he said it’s fine. They’ll broadcast it several times throughout the day.
AYLA
Do you think they’ll hear it?
JOSH
We can only hope.
AYLA.
I think they’ll listen to it but they won’t hear it.
(Beat.)
I’m expected to address the Sufi women this afternoon. Well they’re not exactly Sufi
women, most of them are tourists. From Germany, America, all over the world. We’re a
trend. Isn’t that fun?
(Beat.)
They come to hear about faith. They want me to convince them of what’s within their own
hearts.
(In Iraq, Nabil brings Sevgi into the room.)
JOSH
I’ll let you get ready.
AYLA
It’s in everyone’s heart, Mr. Wyler. Even in your own, no matter how much you deny it.
JOSH
Maybe you’re right.
(He exits.)
(Nabil brings the phone.)
NABIL
Five minutes.
(Nabil exits. Ayla shuts her eyes. A moment.
Sevgi dials the phone. The phone rings. Ayla
doesn’t look up. Sevgi hangs up. A moment later
she dials again. The phone rings. Ayla keeps her
eyes shut. Phone rings again. Ayla opens her
eyes. On the third ring, she gets up and answers
the phone.)
AYLA
Hello?
(Beat. She knows.)
Is anybody there?
 92.

SEVGI
I was unfair to you.
AYLA
Sevgi, is that you?
SEVGI
I should’ve answered your letters. I shouldn’t have cut you off.
AYLA
Are you safe? Where are you? Are you coming home?
SEVGI
No.
(Long pause. Both women are speechless. During
the following, they remain composed, with their
emotions under control.)
SEVGI (cont’d)
I’m sorry.
AYLA
Nothing to be sorry about my darling.
SEVGI
I want to ask a favor of you.
AYLA
Of course. Anything.
SEVGI
There is a man in Boston. His name is Josh Wyler.
AYLA
Yes?
SEVGI
Will you write that down?
AYLA
Of course. Josh Wyler. I’ve written it down.
SEVGI
His phone number is 617.... Are you writing this down?
AYLA
617
SEVGI
516-2378
AYLA
I wrote it down.
SEVGI
Tell him that I love him. Very much. Will you do that, please?
 93.

AYLA
Of course.
SEVGI
Tell him that I feel him.
AYLA
Feel him?
SEVGI
Reaching out to me. Is that silly?
AYLA
No.
SEVGI
And also that I’m sorry.
AYLA
For what?
SEVGI
He knows.
AYLA
No regrets, my darling. No regrets.
SEVGI
(Beat.)
There are tiles on the floor of this room.
AYLA
Tiles?
SEVGI
Yes. Black ones and white ones. I start to count them. I count, one, two, three, four, five...
but then I stop. I can’t count after five. Why is that? Is it because I’m afraid?
AYLA.
Listen to me Sevgi. Listen to me, my darling.
SEVGI
It’s so strange. It’s very frustrating.
AYLA.
Don’t be afraid. Not for one minute. The pain is nothing. Do you understand? It’s not real.
It’s only a transition, like crossing into another room. Only good things await you. You
will be embraced. You will be welcomed with open arms.
SEVGI
Are you sure?
AYLA.
Of course I’m sure. Of course.
(Nabil comes in.)
 94.

SEVGI
I must go now.
AYLA.
I love you my girl. My beautiful girl.
SEVGI
I love you too.
AYLA.
Go with peace.
SEVGI
Goodbye.
(Sevgi hangs up. Nabil gathers the phone and the
cord. Exits.
Ayla is slouched over her desk. .She raises her
head as though coming up for air. Her face is
contorted. Her mouth is wide open. She gasps.
She howls. She screams.
Hakan Rushes in.)
HAKAN
Ayla Hanim. Ayla Hanim.

(He touches her. She’s in his arms. She’s

wracked with sobs. He holds her.)
SEVGI
One, two, three, four, five....
(Blackout.)

SCENE 9
(Night. Sevgi paces back and forth.)
SEVGI
(She shouts.)
Hello! Hello! Anybody there? Hello?
(She bangs on the door.)
Nabil? Anyone? Can anybody hear me?
(She kicks the door. She’s making a lot of noise.
Nabil comes.)
NABIL
Why are you making so much noise? Are you crazy? Do you know what time it is?
SEVGI
I can’t stand it anymore. It’s been hours. I can’t stand being alone in this room.
 95.

NABIL
Please be calm. Everyone’s asleep.
SEVGI
Why won’t he just kill me? What is he waiting for?
NABIL
Stop it! Be quiet.
SEVGI
He said twenty minutes. It’s been hours. I don’t want to wait anymore.
NABIL
If you’re not quiet, I will have to tie you and blindfold you. Is that what you want?
SEVGI
Where’s Philip? Is he still alive?
NABIL
I don’t know.
SEVGI
Just tell me the truth, Nabil. You know the truth. Tell me the truth.
NABIL
(Pause. He considers it.)
Your friend is dead.
SEVGI
(She shouts.)
Nooooooooo!
NABIL
Shhhhhh.
SEVGI
No! No no no no no no no no!!!
NABIL
Stop that! Stop that!
(She wails. He leaves the room.)
SEVGI
Nabil! Where are you going Nabil?
(He comes back with rope and blindfold.)
NABIL
You leave me no choice.
SEVGI
No. No. Don’t tie me Nabil, I can’t stand it.
NABIL
Stay still.
 96.

SEVGI
No. I’ll be quiet, I promise.
NABIL
Are you sure?
SEVGI
Yes.
NABIL
I don’t want my Uncle to hear you.
SEVGI
Your Uncle?
NABIL
The Emir is my Uncle. If you wake him, he’ll get angry. Do you understand?
SEVGI
Yes.
NABIL
Are you going to be quiet?
SEVGI
I’ll be quiet.
NABIL
Do you promise?
SEVGI
I promise. I’ll be quiet.
NABIL
I’ll be back soon. When the sun comes up.
(He exits. Sevgi takes one of Philip’s shoes. She
wipes it. She cleans it. She presses it to her
chest.)

SCENE 10
(Middle of the night. Ayla sits in the dark. Her
eyes shut. She’s uneasy. Not sleeping. Hears a
sound. The door opens.)
AYLA
Hakan?
JOSH
It’s me.
AYLA
Oh God.
 97.

JOSH
It’s okay.
AYLA
What’s okay? Is she okay?
JOSH
There is a bit of news.
AYLA
Yes?
JOSH
There is a videotape.
AYLA
A videotape.
JOSH
Of the Canadian. Sevgi’s not in it.
AYLA
The Canadian?
JOSH
Apparently it’s quite gruesome. I’m trying to talk Al Jazeera into not airing it.
AYLA
How horrible. How horrible.
JOSH
But it means, for us, there’s still hope.
AYLA
Hope.
JOSH
She’s not in it. There’s still hope.
AYLA
What good is hope Mr. Wyler? This pain, this agony, do you think you can avoid it, evade
it, with hope? Do you imagine it won’t catch up to you sometime? Each time there’s hope
you think you can escape it somehow, that it will forget you, overlook you. But it doesn’t. I
will lose her one way or another one day. And so will you. Why not tonight? Why not
right now?
JOSH
Let’s just wait and see, okay? She might be released.
AYLA
It’s not personal, you know. We all feel it’s personal, we all feel sorry for ourselves: it’s
happening to me. But it’s universal. It’s happening to everyone. No one escapes. Agony is
God’s way of telling us: Don’t be complacent. Do not forget.
JOSH
Let’s wait and see what happens in the morning.
 98.

AYLA
Yes. Let’s wait some more. Who knows what will happen in the morning.
(He goes.)

SCENE 11
(Dawn. Sevgi, still holding Philip’s shoe, has
fallen asleep. Nabil is in the room. She wakes.
She sees him standing by the door with his gun,
watching her.)
SEVGI
Nabil.
(He stands there silently. She sits up.)
What are you doing?
NABIL
Get up.
SEVGI
What?
NABIL
(Points gun.)
Get up!
(She does.)
Stand there. Against the wall.
SEVGI
What’s going on Nabil?
NABIL
(Points gun.)
Tell me you are not afraid.
SEVGI
Are you going to kill me now?
NABIL
Don’t ask questions! Only tell me that you will go willingly.
SEVGI
No.
NABIL
Why not? I told you that your death will be noble. If you meet Allah with gladness, with
love in your heart...
SEVGI
I don’t want to die, Nabil. I already told you that.
NABIL
I WAS THE ONE WHO CUT YOUR FRIEND!
(Beat.)
 99.

NABIL (cont'd)
My uncle made me. It’s a test he said. But the infidel did not want to go. He was afraid.
He would not stay still
SEVGI
Nabil, please...
NABIL
Under my hand. I could barely hold him down. He was screaming and squirming like a
goat.
SEVGI
Stop it! Stop!
NABIL
But you. You will go willingly.
SEVGI
NO!
NABIL
Tell me you will go willingly.
SEVGI
Either kill me now or go away. Go ahead Nabil. Shoot me now.
NABIL
(Pause.)
I want to tell you something.
(Beat.)
It’s a secret. I haven’t told anyone this.
(Beat.)
Are you listening?
(She nods.)
When I enter Paradise, I will ask Allah to bring you to me. I think he will accept because I
will be a martyr. And if he accepts I will not want any of the other virgins that he offers to
me. I will want only you.
SEVGI
Is this what this is about, Nabil? This is it? This is what it’s about?
NABIL
Everything will be much better than this life. I hate my life here. In Paradise we will be
happy together for all eternity.
SEVGI
You are wrong Nabil.
NABIL
Why? Don’t you like me? I will make you happy.
SEVGI
I am not a virgin.
NABIL
(Beat.)
Yes you are.
 100.

SEVGI
No. I’m not. And I am not a Muslim. I don’t believe in Allah or Mohammad or the Koran.
NABIL
Stop talking now.
SEVGI
You are foolish Nabil. You will sacrifice your life for nothing. Allah does not care what
you do or how you die or whether you’re a sinner or a martyr.
NABIL
(Points gun.)
I said stop talking.
SEVGI
You’re on your own. It’s only you and your conscience. Only you decide what to do. So
decide now Nabil. Is it yes or no.
NABIL
You are not a virgin.
SEVGI
No. And I’m afraid to die. I’m terrified of dying.
(Pause. He stands with his gun still pointed at
her,)
NABIL
Cover yourself.
SEVGI
Why?
NABIL
Do as I say. You’re indecent. Cover your hair.
SEVGI
What difference does it make?
NABIL
DO AS I SAY.
(She does.)
If you walk fast you might reach the road before Kadir gets up. You must be careful. Here
is some money.
(He tosses it on the floor.)
Someone will pick you up and take you to the border.
(She kneels down to pick up the money.
He spits on her.
She picks up the money and stands back up.)
SEVGI
Thank you Nabil.
 101.

NABIL
Now go before I shoot you.
(She goes.)

SCENE 12
(Ayla and Hakan.)
AYLA
What do you mean, you won’t go? What are you talking about?
HAKAN
I don’t feel it, Ayla Hanim. I don’t feel it in my heart.
AYLA
That’s nonsense. You’ve worked toward this for months! You just give it up, you just give
it up because your heart it breaking, because you’re upset? Is this the way you think this
works?!
HAKAN
I won’t go unless Sevgi Hanim is spared. Unless she comes home.
AYLA
You’re a dervish! This is discipline. If you’re not ready to give your life to this, if you’re
not willing to commit yourself entirely, your whole being, your soul, your entire spirit...
You know this, you know this. You don’t just give up, turn away because of an
inconvenience.
HAKAN
I’m sorry. I can’t do it.
AYLA
You mean you won’t do it. Don’t say you can’t. Be honest, say you won’t!
HAKAN
I won’t do it. I’m not worthy. I’m not a good Muslim. I sin. I stray.
AYLA
For the love of Allah, Hakan. Who is worthy? Who is perfect?
HAKAN
I don’t even know if I believe in Allah anymore.
AYLA
What?
HAKAN
Josh doesn’t believe in God. He told me. He says Allah is imaginary. He doesn’t exist.
What if he’s right?
AYLA
You listen to him? That unbeliever? Why do you think he knows anything? Do you know
what this means? You can’t stay here anymore. I can’t keep you in this house.
 102.

HAKAN
I will return to my village.
(Josh enters.)
JOSH
Mrs. Okan.
AYLA
(Furiously at him:)
Get out of here! You’ve disrupted everything! Don’t tell me anything. Don’t give me
anymore news. If she’s dead I don’t want to hear it from you. Let a soldier come to my
door. Let a government minister call me and tell me. Go away. I don’t want to hear it from
you.
JOSH
She’s coming home.
(Pause. She freezes.)
She’s coming home.
(Beat.)
They picked her up at the border a few hours ago. They’re flying her to Ankara. The
Minister of the Interior called me. She’s traumatized but otherwise fine. He said they won’t
keep her long. Someone has to go and fetch her.
AYLA
She’s coming home?
JOSH
She’s coming home.
AYLA
Oh my God. Hakan did you hear that? She’s coming home.
(Josh holds her. Hakan slips out.)

SCENE 13
(A large auditorium in Konya. We hear the ney.
Shaikh Mumtaz speaks to the audience. He’s a
reluctant speaker, dressed in traditional Mevlevi
garb.)
SHAIKH MUMTAZ
Ladies and gentlemen, dear valued friends. Thank you for attending our sacred ceremony
this afternoon.
(As Mumtaz speaks, three semazen enter slowly,
one by one. They wear the traditional Mevlevi
costume: a long, flowing, white robe, a black
jacket, and a tall, cylindrical hat. They advance
slowly, deliberately, their arms crossed over their
chests. They make a circle around the room, and
line up at the far end, behind Mumtaz.)
 103.

SHAIKH MUMTAZ (cont’d)

Everything in the universe revolves. The revolving of the dervishes which you will witness
today represents humanity’s mystical journey towards love and truth.
(Hakan enters. Makes the same journey around
the room and lines up with the other dervishes.)
SHAIKH MUMTAZ (cont'd)
As he whirls, the dervish stretches out his arms. His right hand is turned upwards to the
heavens, his left hand turned to the ground. Thus, as a conduit between the temporal world
and that of the spirit, he conveys Allah’s spiritual gift to all creation, to all creatures without
discrimination, to all beliefs, nations and races.
(The music rises. Mumtaz stands at one end of
the stage. Each dervish must salute him before he
begins to turn. One by one, the dervishes
approach him, bow in front of him, and then
begin to spin and revolve around the room.)
(In Konya, Ayla is dressed to leave the house.
Josh is there.)
AYLA
Aren’t you coming?
JOSH
You should have her to yourself for a while.
AYLA
And you? Will you wait?
JOSH
I don’t know.
AYLA
Josh. Dearest Josh.
JOSH
Yes?
AYLA
I know why you came to me now.
JOSH
Why is that?
AYLA
You came to show me that as I ran from grief, I also ran from love. That grief and love are
one and the same. Like the two hands of God, they touch you....
(Hands on his cheeks.)
... and they caress you... both at the same time.
(Music swells The dervishes turn. Ayla goes.)

END OF PLAY
 104.