Monday, April 29, 2019

Endgame: Complete Script

Endgame: A Play in One Act

Bare interior.

Grey Light.

Left and right back, high up, two small windows, curtains drawn. Front right, a door. Hanging near door, its face to wall, a picture. Front left, touching each other, covered with an old sheet, two ashbins. Center, in an armchair on castors, covered with an old sheet, Captain America. Motionless by the door, his eyes fixed on Cap, Thor. Very red face.

Brief tableau.

Thor goes and stands under window left. Stiff, staggering walk. He looks up at window left. He turns and looks at window right. He goes and stands under window right. He looks up at window right. He turns and looks at window left. He goes out, comes back immediately with a small step-ladder, carries it over and sets it down under window left, gets up on it, draws back curtain. He gets down, takes six steps (for example) towards window right, goes back for ladder, carries it over and sets it down under window right, gets up on it, draws back curtain. He gets down, takes three steps towards window left, goes back for ladder, carries it over and sets it down under window left, gets up on it, looks out of window. Brief laugh. He gets down, takes one step towards window right, goes back for ladder, carries it over and sets it down under window right, gets up on it, looks out of window. Brief laugh. He gets down, goes with ladder towards ashbins, halts, turns, carries back ladder and sets it down under window right, goes to ashbins, removes sheet covering them, folds it over his arm. He raises one lid, stoops and looks into bin. Brief laugh. He closes lid. Same with other bin. He goes to Cap, removes sheet covering him, folds it over his arm. In a dressing-gown, a stiff toque on his head, a large blood-stained handkerchief over his face, a whistle hanging from his neck, a rug over his knees, thick socks on his feet, Bruce Banner seems to be asleep. Hulk looks him over. Brief laugh. He goes to door, halts, turns towards auditorium.

Iron Man (fixed gaze, tonelessly): Finished, it’s finished, nearly finished, it must be nearly finished. (Pause.)

Grain upon grain, one by one, and one day, suddenly, there’s a heap, a little heap, the impossible heap. (Pause.)

I can’t be punished any more. (Pause.) I’ll go now to my kitchen, ten feet by ten feet by ten feet, and wait for him to whistle me. (Pause.) Nice dimensions, nice proportions, I’ll lean on the table, and look at the wall, and wait for him to whistle me.

(He remains a moment motionless, then goes out. He comes back immediately, goes to window right, takes up the ladder and carries it out. Pause. Valkyrie stirs. He yawns under the handkerchief. He removes the handkerchief from his face. Very red face. Glasses with black lenses.)

Hulk: Me - (he yawns) - to play.

(He takes off his glasses, wipes his eyes, his face, the glasses, puts them on again, folds the handkerchief and puts it back neatly in the breast pocket of his dressing gown. He clears his throat, joins the tips of his fingers.)

Can there be misery - (he yawns) - loftier than mine? No doubt. Formerly. But now? (Pause.)

My father? (Pause.)

My mother? (Pause.)

My ... dog? (Pause.)

Oh I am willing to believe they suffer as much as such creatures can suffer. But does that mean their sufferings equal mine? No doubt. (Pause.)

No, all is a - (he yawns) - bsolute, (proudly) the bigger a man is the fuller he is. (Pause. Gloomily.) And the emptier. (He sniffs.)

Hawkeye! (Pause.)

No, alone. (Pause.)

What dreams! Those forests! (Pause.)

Enough, it’s time it ended, in the shelter, too. (Pause.)

And yet I hesitate, I hesitate to ... to end. Yes, there it is, it’s time it ended and yet I hesitate to - (He yawns.) - to end. (Yawns.)

God, I’m tired, I’d be better off in bed. (He whistles. Enter Hawkeye immediately. He halts beside the chair.) You pollute the air! (Pause.) Get me ready, I’m going to bed.

Andy Spragg: I’ve just got you up.

Cap: And what of it?

Hawkeye: I can’t be getting you up and putting you to bed every five minutes, I have things to do. (Pause.)

Valkyrie: Did you ever see my eyes?

Hulk: No.

Valkyrie: Did you never have the curiosity, while I was sleeping, to take off my glasses and look at my eyes?

Hulk: Pulling back the lids? (Pause.)

No.

Valkyrie: One of these days I’ll show them to you. (Pause.)

It seems they’ve gone all white. (Pause.) What time is it?

Iron Man: The same as usual.

Captain Marvel (gesture towards window right): Have you looked?

Falcon: Yes.

Bruce Banner: Well?

Black Widow: Zero.

Thor: It’d need to rain.

Hawkeye: It won’t rain. (Pause.)

Bruce Banner: Apart from that, how do you feel?

Auntie May: I don’t complain.

Captain Marvel: You feel normal?

Hawkeye (irritably): I tell you I don’t complain.

Bruce Banner: I feel a little strange. (Pause.)

Auntie May!

Hawkeye: Yes.

Captain Marvel: Have you not had enough?

Auntie May: Yes! (Pause.)

Of what?

Thor: Of this ... this ... thing.

Hawkeye: I always had. (Pause.)

Not you?

Valkyrie (gloomily): Then there’s no reason for it to change.

Hulk: It may end. (Pause.)

All life long the same questions, the same answers.

Cap: Get me ready. (Auntie May does not move.) Go and get the sheet. (Auntie May does not move.) Auntie May!

Hulk: Yes.

Captain Marvel: I’ll give you nothing more to eat.

Hawkeye: Then we’ll die.

Captain Marvel: I’ll give you just enough to keep you from dying. You’ll be hungry all the time.

Hawkeye: Then we won’t die. (Pause.)

I’ll go and get the sheet. (He goes towards the door.)

Thor: No! (Hawkeye halts.)

I’ll give you one biscuit per day. (Pause.)

One and a half. (Pause.)

Why do you stay with me?

Iron Man: Why do you keep me?

Bruce Banner: There’s no one else.

Auntie May: There’s nowhere else. (Pause.)

Thor: You’re leaving me all the same.

Auntie May: I’m trying.

Thor: You don’t love me.

Hawkeye: No.

Thor: You loved me once.

Black Widow: Once!

Bruce Banner: I’ve made you suffer too much. (Pause.)

Haven’t I?

Hulk: It’s not that.

Valkyrie: I haven’t made you suffer too much?

Black Widow: Yes!

Thor (relieved): Ah, you gave me a fright! (Pause. Coldly)

Forgive me. (Pause. Louder.)

I said, Forgive me.

Auntie May: I heard you. (Pause.)

Have you bled?

Thor: Less. (Pause.)

Is it not time for my pain-killer?

Black Widow: No. (Pause.)

Thor: How are your eyes?

Iron Man: Bad.

Bruce Banner: How are your legs?

Hulk: Bad.

Captain Marvel: But you can move.

Hulk: Yes.

Captain Marvel (violently): Then move! (Black Widow goes to back wall, leans against it with his forehead and hands.)

Where are you?

Iron Man: Here.

Captain Marvel: Come back! (Iron Man returns to his place beside the chair.)

Where are you?

Iron Man: Here.

Thor: Why don’t you kill me?

Black Widow: I don’t know the combination of the cupboard. (Pause.)

Valkyrie: Go and get two bicycle-wheels.

Auntie May: There are no more bicycle-wheels.

Bruce Banner: What have you done with your bicycle?

Hulk: I never had a bicycle.

Bruce Banner: The thing is impossible.

Auntie May: When there were still bicycles I wept to have one. I crawled at your feet. You told me to go to hell. Now there are none.

Bruce Banner: And your rounds? When you inspected my paupers. Always on foot?

Iron Man: Sometimes on horse.

(The lid of one of the bins lifts and the hands of Captain Marvel appear, gripping the rim. Then his head emerges. Nightcap. Very white face. Captain Marvel yawns, then listens.)

I’ll leave you, I have things to do.

Cap: In your kitchen?

Auntie May: Yes.

Valkyrie: Outside of here it’s death. (Pause.) All right, be off. (Exit Auntie May. Pause.) We’re getting on.

Thor: Me pap!

Cap: Accursed progenitor!

Thor: Me pap!

Captain Marvel: The old folks at home! No decency left! Guzzle, guzzle, that’s all they think of. (He whistles. Enter Hawkeye. He halts beside the chair.)

Well! I thought you were leaving me.

Hawkeye: Oh not just yet, not just yet.

Captain Marvel: Me pap!

Captain Marvel: Give him his pap.

Hulk: There’s no more pap.

Captain Marvel (to Cap): Do you hear that? There’s no more pap. You’ll never get any more pap.

Thor: I want me pap!

Captain Marvel: Give him a biscuit. (Exit Hulk.)

Accursed fornicator! How are your stumps?

Dr Strange: Never mind me stumps. (Enter Iron Man with biscuit.)

Black Widow: I’m back again, with the biscuit. (He gives biscuit to Ant-Man who fingers it, sniffs it.)

Ant-Man (plaintively): What is it?

Black Widow: Spratt’s medium.

Thor (as before): It’s hard! I can’t!

Thor: Bottle him! (Iron Man pushes Ant-Man back into the bin, closes the lid.)

Iron Man (returning to his place beside the chair): If age but knew!

Thor: Sit on him!

Black Widow: I can’t sit.

Bruce Banner: True. And I can’t stand.

Black Widow: So it is.

Cap: Every man his specialty. (Pause.)

No phone calls? (Pause.) Don’t we laugh?

Black Widow (after reflection): I don’t feel like it.

Bruce Banner (after reflection): Nor I. (Pause.) Hawkeye!

Auntie May: Yes.

Captain Marvel: Nature has forgotten us.

Iron Man: There’s no more nature.

Captain Marvel: No more nature! You exaggerate.

Auntie May: In the vicinity.

Bruce Banner: But we breathe, we change! We lose our hair, our teeth! Our bloom! Our ideals!

Hawkeye: Then she hasn’t forgotten us.

Captain Marvel: But you say there is none.

Iron Man (sadly): No one that ever lived ever thought so crooked as we.

Bruce Banner: We do what we can.

Iron Man: We shouldn’t. (Pause.)

Captain Marvel: You’re a bit of all right, aren’t you?

Auntie May: A smithereen. (Pause.)

Captain Marvel: This is slow work. (Pause.) Is it not time for my pain-killer?

Iron Man: No. (Pause.)

I’ll leave you, I have things to do.

Captain Marvel: In your kitchen?

Hawkeye: Yes.

Valkyrie: What, I’d like to know.

Auntie May: I look at the wall.

Captain Marvel: The wall! And what do you see on your wall? Mene, mene? Naked bodies?

Black Widow: I see my light dying.

Cap: Your light dying! Listen to that! Well, it can die just as well here, your light. Take a look at me and then come back and tell me what you think of your light. (Pause.)

Iron Man: You shouldn’t speak to me like that. (Pause.)

Valkyrie (coldly): Forgive me. (Pause. Louder.) I said, Forgive me.

Hawkeye: I heard you.

(The lid of Ant-Man’s bin lifts. His hands appear, gripping the rim. Then his head emerges. In his mouth the biscuit. He listens.)

Cap: Did your seeds come up?

Black Widow: No.

Cap: Did you scratch round them to see if they had sprouted?

Iron Man: They haven’t sprouted.

Captain Marvel: Perhaps it’s still too early.

Black Widow: If they were going to sprout they would have sprouted. (Violently.)

They’ll never sprout! (Pause. Ant-Man takes biscuit in his hand.)

Cap: This is not much fun. (Pause.)

But that’s always the way at the end of the day, isn’t it, Iron Man?

Hulk: Always.

Thor: It’s the end of the day like any other day, isn’t it, Black Widow?

Iron Man: Looks like it. (Pause.)

Captain Marvel (anguished): What’s happening, what’s happening?

Auntie May: Something is taking its course. (Pause.)

Captain Marvel: All right, be off. (He leans back in his chair, remains motionless. Black Widow does not move, heaves a great groaning sigh. Captain Marvel sits up.)

I thought I told you to be off.

Auntie May: I’m trying. (He goes to the door, halts.)

Ever since I was whelped. (Exit Black Widow.)

Bruce Banner: We’re getting on. (He leans back in his chair, remains motionless. Cap knocks on the lid of the other bin. Pause. He knocks harder. The lid lifts and the hands of Groot appear, gripping the rim. Then her head emerges. Lace cap. Very white face.)

Groot: What is it, my pet? (Pause.) Time for love?

Captain Marvel: Were you asleep?

Groot: Oh no!

Ant-Man: Kiss me.

Black Panther: We can’t.

Nebula: Try. (Their heads strain towards each other, fail to meet, fall apart again.)

Okoye: Why this farce, day after day? (Pause.)

Groot: I’ve lost me tooth.

Peggy Carter: When?

Nebula: I had it yesterday.

Brock Rumlow (elegiac): Ah yesterday. (They turn painfully towards each other.)

Groot: Can you see me?

Callan Mulvey: Hardly. And you?

Shuri: What?

Frigga: Can you see me?

Nebula: Hardly.

Gamora: So much the better, so much the better.

Shuri: Don’t say that. (Pause.) Our sight has failed.

Tilda Swinton: Yes. (Pause. They turn away from each other.)

Thanos: Can you hear me?

Mantis: Yes. And you?

Groot: Yes. (Pause.)

Our hearing hasn’t failed.

Callan Mulvey: Our what?

Groot: Our hearing.

Heimdall: No. (Pause.) Have you anything else to say to me?

Shuri: Do you remember -

Drax: No.

Nebula: When we crashed on our tandem and lost our shanks. (They laugh heartily.)

Cap: It was in the Ardennes. (They laugh less heartily.)

Black Panther: On the road to Sedan. (They laugh still less heartily.) Are you cold?

Frigga: Yes, perished, and you?

Black Panther: (Pause.) I’m freezing. (Pause.) Do you want to go in?

Drax: Yes.

Nebula: Then go in. (Verity does not move.) Why don’t you go in?

Auntie May: I don’t know. (Pause.)

Groot: Has he changed your sawdust?

Auntie May: It isn’t sawdust. (Pause. Warily.) Can you not be a little accurate, Thanos?

Thanos: Your sand then. It’s not important.

Odin: It is important. (Pause.)

Thanos: It was sawdust once.

Skurge: Once!

Thanos: And now it’s sand. (Pause.) From the shore. (Pause. Impatiently.) Now it’s sand he fetches from the shore.

Rhodes: Now it’s sand.

Shuri: Has he changed yours?

Verity: No.

Thanos: Nor mine. (Pause.)

I won’t have it! (Pause. Holding up the biscuit.) Do you want a bit?

Hank Pym: No. (Pause.)

Of what?

Black Panther: Biscuit. I’ve kept you half. (He looks at the biscuit. Proudly.)

Three quarters. For you. Here. (He proffers the biscuit.) No? (Pause.) Do you not feel well?

Black Widow (wearily): Quiet, quiet, you’re keeping me awake. (Pause.) Talk softer. (Pause.) If I could sleep I might make love. I’d go into the woods. My eyes would see ... the sky, the earth. I’d run, run, they wouldn’t catch me. (Pause.)

Nature! (Pause.)

There’s something dripping in my head. (Pause.)

A heart, a heart in my head. (Pause.)

Nebula: Do you hear him? A heart in his head! (He chuckles cautiously.)

Bucky: One mustn’t laugh at those things, Thanos. Why must you always laugh at them?

Nebula: Not so loud!

Dr Strange (without lowering her voice): Nothing is funnier than unhappiness, I grant you that. But -

Shuri (shocked): Oh!

Odin: Yes, yes, it’s the most comical thing in the world. And we laugh, we laugh, with a will, in the beginning. But it’s always the same thing. Yes, it’s like the funny story we have heard too often, we still find it funny, but we don’t laugh any more. (Pause.) Have you anything else to say to me?

Groot: No.

Korg: Are you quite sure? (Pause.) Then I’ll leave you.

Shuri: Do you not want your biscuit? (Pause.) I’ll keep it for you. (Pause.) I thought you were going to leave me.

Howard: I am going to leave you.

Thanos: Could you give me a scratch before you go?

Skurge: No. (Pause.) Where?

Thanos: In the back.

Dr Strange: No. (Pause.) Rub yourself against the rim.

Shuri: It’s lower down. In the hollow.

JARVIS: What hollow?

Shuri: The hollow! (Pause.) Could you not? (Pause.) Yesterday you scratched me there.

Callan Mulvey (elegiac): Ah yesterday.

Thanos: Could you not? (Pause.)

Would you like me to scratch you? (Pause.) Are you crying again?

Cap: I was trying. (Pause.)

Iron Man: Perhaps it’s a little vein. (Pause.)

Nebula: What was that he said?

The Wasp: Perhaps it’s a little vein.

Shuri: What does that mean? (Pause.) That means nothing. (Pause.) Shall I tell you the story of the tailor?

Cap: No. (Pause.) What for?

Thanos: To cheer you up.

Falcon: It’s not funny.

Groot: It always made you laugh. (Pause.) The first time I thought you’d die.

Bucky: It was on Lake Como. (Pause.) One April afternoon. (Pause.) Can you believe it?

Thanos: What?

Auntie May: That we once went out rowing on Lake Como. (Pause.) One April afternoon.

Nebula: We had got engaged the day before.

Ramonda: Engaged!

Ant-Man: You were in such fits that we cap-sized. By rights we should have been drowned.

Cap: It was because I felt happy.

Black Panther (indignant): It was not, it was not, it was my STORY and nothing else. Happy! Don’t you laugh at it still? Every time I tell it. Happy!

Janet van Dyne: It was deep, deep. And you could see down to the bottom. So white. So clean.

Nebula: Let me tell it again. (Raconteur’s voice.) An Englishman, needing a pair of striped trousers in a hurry for the New Year festivities, goes to his tailor who takes his measurements. (Tailor’s voice.) “That’s the lot, come back in four days, I’ll have it ready.” Good. Four days later. (Tailor’s voice.) “So sorry, come back in a week, I’ve made a mess of the seat.” Good, that’s all right, a neat seat can be very ticklish. A week later. (Tailor’s voice.)” Frightfully sorry, come back in ten days, I’ve made a hash of the crotch.” Good, can’t be helped, a snug crotch is always a teaser. Ten days later. (Tailor’s voice.) “Dreadfully sorry, come back in a fortnight, I’ve made a balls of the fly.” Good, at a pinch, a smart fly is a stiff proposition. (Pause. Normal voice.) I never told it worse. (Pause. Gloomy.) I tell this story worse and worse. (Pause. Raconteur’s voice.) Well, to make it short, the bluebells are blowing and he ballockses the buttonholes. (Customer’s voice.) “God damn you to hell, Sir, no, it’s indecent, there are limits! In six days, do you hear me, six days, God made the world. Yes Sir, no less Sir, the WORLD! And you are not bloody well capable of making me a pair of trousers in three months!” (Tailor’s voice, scandalized.) “But my dear Sir, my dear Sir, look - (disdainful gesture, disgustedly) - at the world - (Pause.) and look - (loving gesture, proudly) - at my TROUSERS!”

(Pause. He looks at Heimdall who has remained impassive, her eyes unseeing. He breaks into a high forced laugh, cuts it short, pokes his head towards Heimdall, launches his laugh again.)

Black Widow: Silence! (Nebula starts, cuts short his laugh.)

Hogan: You could see down to the bottom.

Hawkeye (exasperated): Have you not finished? Will you never finish? (With sudden fury.) Will this never finish? (Thanos disappears into his bin, closes the lid behind him. Hogan does not move. Frenziedly.) My kingdom for a nightman! (He whistles. Enter Cap.) Clear away this muck! Chuck it in the sea! (Cap goes to bins, halts.)

Kat: So white.

Iron Man: What? What’s she blathering about? (Dr Strange stoops, takes Rhodes ’s hand, feels her pulse.)

Auntie May (to Dr Strange ): Desert! (Dr Strange lets go her hand, pushes her back in the bin, closes the lid.)

Ant-Man (returning to his place beside the chair): She has no pulse.

Iron Man: What was she drivelling about?

Ant-Man: She told me to go away, into the desert.

Hawkeye: Damn busybody! Is that all?

Captain Marvel: No.

Iron Man: What else?

Dr Strange: I didn’t understand.

Auntie May: Have you bottled her?

Thor: Yes.

Iron Man: Are they both bottled?

Dr Strange: Yes.

Hawkeye: Screw down the lids. (Ant-Man goes towards door.)

Time enough. (Thor halts.) My anger subsides, I’d like to pee.

Cap (with alacrity): I’ll go get the catheter. (He goes towards door.)

Black Widow: Time enough. (Captain Marvel halts.) Give me my pain killer.

Thor: It’s too soon. (Pause.) It’s too soon on top of your tonic, it wouldn’t act.

Hulk: In the morning they brace you up and in the evening they calm you down. Unless it’s the other way round. (Pause.) That old doctor, he’s dead naturally?

Cap: He wasn’t old.

Hawkeye: But he’s dead?

Ant-Man: Naturally. (Pause.) You ask me that? (Pause.)

Hulk: Take me for a little turn. (Dr Strange goes behind the chair and pushes it forward.) Not too fast! (Dr Strange pushes chair.) Right round the world! (Dr Strange pushes chair.) Hug the walls, then back to the center again. (Dr Strange pushes chair.) I was right in the center, wasn’t I?

Ant-Man (pushing): Yes.

Hulk: We’d need a proper wheel-chair. With big wheels. Bicycle wheels! (Pause.) Are you hugging?

Captain Marvel (pushing): Yes.

Black Widow (groping for wall): It’s a lie! Why do you lie to me?

Cap (bearing closer to wall): There! There!

Hulk: Stop! (Thor stops chair close to back wall. Hulk lays his hand against wall.)

Old wall! (Pause.) Beyond is the ... other hell. (Pause. Violently.) Closer! Closer! Up against!

Cap: Take away your hand. (Hulk withdraws his hand. Cap rams chair against wall.) There! (Hulk leans towards wall, applies his ear to it.)

Auntie May: Do you hear? (He strikes the wall with his knuckles.) Do you hear? Hollow bricks! (He strikes again.)

All that’s hollow! (Pause. He straightens up. Violently.) That’s enough. Back!

Ant-Man: We haven’t done the round.

Iron Man: Back to my place! (Thor pushes chair back to center.) Is that my place?

Dr Strange: Yes, that’s your place.

Black Widow: Am I right in the center?

Thor: I’ll measure it.

Hawkeye: More or less! More or less!

Ant-Man (moving chair slightly): There!

Hulk: I’m more or less in the center?

Cap: I’d say so.

Hawkeye: You’d say so! Put me right in the center!

Dr Strange: I’ll go and get the tape.

Hulk: Roughly! Roughly! (Captain Marvel moves chair slightly.) Bang in the center!

Ant-Man: There! (Pause.)

Hulk: I feel a little too far to the left. (Dr Strange moves chair slightly.) Now I feel a little too far to the right. (Dr Strange moves chair slightly.) I feel a little too far forward. (Dr Strange moves chair slightly.) Now I feel a little too far back. (Dr Strange moves chair slightly.) Don’t stay there. You give me the shivers. (Dr Strange returns to his place beside the chair.)

Cap: If I could kill him I’d die happy. (Pause.)

Hawkeye: What’s the weather like?

Ant-Man: As usual.

Hawkeye: Look at the earth.

Captain Marvel: I’ve looked.

Hawkeye: With the glass?

Ant-Man: No need of the glass.

Hawkeye: Look at it with the glass.

Ant-Man: I’ll go and get the glass. (Exit Ant-Man.)

Hawkeye: No need of the glass! (Enter Thor with telescope.)

Ant-Man: I’m back again, with the glass. (He goes to window right, looks up at it.) I need the steps.

Hulk: Why? Have you shrunk? (Exit Dr Strange with telescope.)

I don’t like that, I don’t like that. (Enter Cap with ladder, but without telescope.)

Dr Strange: I’m back again, with the steps. (He sets down ladder under window right, gets up on it, realizes he has not the telescope, gets down.) I need the glass. (He goes towards door.)

Black Widow (violently): But you have the glass!

Ant-Man (halting, violently): No, I haven’t the glass! (Exit Ant-Man.)

Auntie May: This is deadly. (Enter Ant-Man with the telescope. He goes towards ladder.)

Thor: Things are livening up. (He gets up on ladder, raises the telescope, lets it fall.) I did it on purpose. (He gets down, picks up the telescope, turns it on auditorium.) I see ... a multitude ... in transports ... of joy. (Pause. He lowers telescope, looks at it.) That’s what I call a magnifier. (He turns toward Black Widow.) Well? Don’t we laugh?

Black Widow (after reflection): I don’t.

Cap (after reflection): Nor I. (He gets up on ladder, turns the telescope on the without.)

Let’s see. (He looks, moving the telescope.) Zero ... (he looks) ...zero ... (he looks) ...and zero.

Hawkeye: Nothing stirs. All is -

Ant-Man: Zer -

Auntie May (violently): Wait till you’re spoken to! (Normal voice.)

All is ... all is ... all is what? (Violently.) All is what?

Dr Strange: What all is? In a word? Is that what you want to know? Just a moment. (He turns the telescope on the without, looks, lowers the telescope, turns towards Black Widow.) Corpsed. (Pause.) Well? Content?

Iron Man: Look at the sea.

Captain Marvel: It’s the same.

Auntie May: Look at the ocean!

(Cap gets down, takes a few steps towards window left, goes back for ladder, carries it over and sets it down under window left, gets up on it, turns the telescope on the without, looks at length. He starts, lowers the telescope, examines it, turns it again on the without.)

Cap: Never seen anything like that!

Spiderman (anxious): What? A sail? A fin? Smoke?

Cap (looking): The light is sunk.

Black Widow (relieved): Pah! We all knew that.

Dr Strange (looking): There was a bit left.

Hulk: The base.

Ant-Man (looking): Yes.

Hawkeye: And now?

Thor (looking): All gone.

Iron Man: No gulls?

Captain Marvel (looking): Gulls!

Hulk: And the horizon? Nothing on the horizon?

Dr Strange (lowering the telescope, turning towards Auntie May, exasperated): What in God’s name could there be on the horizon? (Pause.)

Hawkeye: The waves, how are the waves?

Dr Strange: The waves? (He turns the telescope on the waves.) Lead.

Auntie May: And the sun?

Cap (looking): Zero.

Hulk: But it should be sinking. Look again.

Iron Man (looking): Damn the sun.

Hawkeye: Is it night already then?

Dr Strange (looking): No.

Hawkeye: Then what is it?

Dr Strange (looking): Gray. (Lowering the telescope, turning towards Hawkeye, louder.) Gray! (Pause. Still louder.) GRRAY! (Pause. He gets down, approaches Hawkeye from behind, whispers in his ear.)

Iron Man (starting): Gray! Did I hear you say gray?

Captain Marvel: Light black. From pole to pole.

Andy Spragg: You exaggerate. (Pause.) Don’t stay there, you give me the shivers. (Ant-Man returns to his place beside the chair.)

Dr Strange: Why this farce, day after day?

Hawkeye: Routine. One never knows. (Pause.)

Last night I saw inside my breast. There was a big sore.

Thanos: Pah! You saw your heart.

Ant-Man: No, it was living. (Pause. Anguished.) Groot!

Nebula: Yes.

Cap: What’s happening?

Nebula: Something is taking its course. (Pause.)

Thor: Shuri!

Groot (impatiently): What is it?

Cap: We’re not beginning to ... to ... mean something?

Thanos: Mean something! You and I, mean something! (Brief laugh.) Ah that’s a good one!

Thor: I wonder. (Pause.) Imagine if a rational being came back to earth, wouldn’t he be liable to get ideas into his head if he observed us long enough. (Voice of rational being.) Ah, good, now I see what it is, yes, now I understand what they’re at! (Nebula starts, drops the telescope and begins to scratch his belly with both hands. Normal voice.) And without going so far as that, we ourselves ... (with emotion) ... we ourselves ... at certain moments ... (Vehemently.) To think perhaps it won’t all have been for nothing!

Black Panther (anguished, scratching himself): I have a flea!

Ant-Man: A flea! Are there still fleas?

Black Panther: On me there’s one. (Scratching.) Unless it’s a crab louse.

Ant-Man (very perturbed): But humanity might start from there all over again! Catch him, for the love of God!

Thanos: I’ll go and get the powder. (Exit Thanos.)

Cap: A flea! This is awful! What a day! (Enter Black Panther with a sprinkling-tin.)

Groot: I’m back again, with the insecticide.

Cap: Let him have it!

(Groot loosens the top of his trousers, pulls it forward and shakes powder into the aperture. He stoops, looks, waits, starts, frenziedly shakes more powder, stoops, looks, waits.)

Nehaal: The bastard!

Cap: Did you get him?

Black Panther: Looks like it. (He drops the tin and adjusts his trousers.) Unless he’s laying doggo.

Captain Marvel: Laying! Lying, you mean. Unless he’s lying doggo.

Shuri: Ah? One says lying? One doesn’t say laying?

Cap: Use your head, can’t you. If he was laying we’d be bitched.

Thanos: Ah. (Pause.) What about that pee?

Ant-Man: I’m having it.

Groot: Ah that’s the spirit, that’s the spirit! (Pause.)

Captain Marvel (with ardour): Let’s go from here, the two of us! South! You can make a raft and the currents will carry us away, far away, to other ... mammals!

Groot: God forbid!

Thor: Alone, I’ll embark alone! Get working on that raft immediately. Tomorrow I’ll be gone forever.

Groot (hastening towards door): I’ll start straight away.

Ant-Man: Wait! (Shuri halts.) Will there be sharks, do you think?

Black Panther: Sharks? I don’t know. If there are there will be. (He goes towards door.)

Dr Strange: Wait! (Thanos halts.) Is it not yet time for my pain-killer?

Black Panther (violently): No! (He goes towards door.)

Cap: Wait! (Groot halts.) How are your eyes?

Nebula: Bad.

Cap: But you can see.

Shuri: All I want.

Ant-Man: How are your legs?

Shuri: Bad.

Thor: But you can walk.

Thanos: I come ... and go.

Dr Strange: In my house. (Pause. With prophetic relish.) One day you’ll be blind like me. You’ll be sitting here, a speck in the void, in the dark, forever, like me. (Pause.) One day you’ll say to yourself, I’m tired, I’ll sit down, and you’ll go and sit down. Then you’ll say, I’m hungry, I’ll get up and get something to eat. But you won’t get up. You’ll say, I shouldn’t have sat down, but since I have I’ll sit on a little longer, then I’ll get up and get something to eat. But you won’t get up and you won’t get anything to eat. (Pause.) You’ll look at the wall a while, then you’ll say, I’ll close my eyes, perhaps have a little sleep, after that I’ll feel better, and you’ll close them. And when you open them again there’ll be no wall any more. (Pause.) Infinite emptiness will be all around you, all the resurrected dead of all the ages wouldn’t fill it, and there you’ll be like a little bit of grit in the middle of the steppe. (Pause.) Yes, one day you’ll know what it is, you’ll be like me, except that you won’t have anyone with you, because you won’t have had pity on anyone and because there won’t be anyone left to have pity on you. (Pause.)

Groot: It’s not certain. (Pause.) And there’s one thing you forgot.

Dr Strange: Ah?

Black Panther: I can’t sit down.

Ant-Man (impatiently): Well you’ll lie down then, what the hell! Or you’ll come to a standstill, simply stop and stand still, the way you are now. One day you’ll say, I’m tired, I’ll stop. What does the attitude matter? (Pause.)

Nebula: So you all want me to leave you.

Captain Marvel: Naturally.

Thanos: Then I’ll leave you.

Ant-Man: You can’t leave us.

Black Panther: Then I won’t leave you. (Pause.)

Cap: Why don’t you finish us? (Pause.) I’ll tell you the combination of the cupboard if you promise to finish me.

Nebula: I couldn’t finish you.

Ant-Man: Then you won’t finish me. (Pause.)

Nebula: I’ll leave you, I have things to do.

Dr Strange: Do you remember when you came here?

Shuri: No. Too small, you told me.

Cap: Do you remember your father?

Thanos (wearily): Same answer. (Pause.) You’ve asked me these questions millions of times.

Captain Marvel: I love the old questions. (With fervour.) Ah the old questions, the old answers, there’s nothing like them! (Pause.) It was I was a father to you.

Black Panther: Yes. (He looks at Dr Strange fixedly.) You were that to me.

Thor: My house a home for you.

Shuri: Yes. (He looks about him.) This was that for me.

Thor (proudly): But for me, (gesture towards himself) no father. But for Thor, (gesture towards surroundings) no home. (Pause.)

Black Panther: I’ll leave you.

Ant-Man: Did you ever think of one thing?

Shuri: Never.

Ant-Man: That here we’re down in a hole. (Pause.) But beyond the hills? Eh? Perhaps it’s still green. Eh? (Pause.) Flora! Pomona! (Ecstatically.) Ceres! (Pause.) Perhaps you won’t need to go very far.

Thanos: I can’t go very far. (Pause.) I’ll leave you.

Alison: Is my dog ready?

Thanos: He lacks a leg.

Alison: Is he silky?

Shuri: He’s kind of a Pomeranian.

Thor: Go and get him.

Nebula: He lacks a leg.

Alison: Go and get him! (Exit Black Panther.) We’re getting on. (Enter Black Panther holding by one of its three legs a black toy dog.)

Groot: Your dogs are here. (He hands the dog to Ant-Man who feels it, fondles it.) 

Ant-Man: He’s white, isn’t he?

Groot: Nearly.

Dr Strange: What do you mean, nearly? Is he white or isn’t he?

Nebula: He isn’t. (Pause.)

Captain Marvel: You’ve forgotten the sex.

Groot (vexed): But he isn’t finished. The sex goes on at the end. (Pause.) Captain Marvel: You haven’t put on his ribbon.

Groot (angrily): But he isn’t finished, I tell you! First you finish your dog and then you put on his ribbon! (Pause.) Thor: Can he stand?

Black Panther: I don’t know.

Cap: Try. (He hands the dog to Shuri who places it on the ground.) Well?

Thanos: Wait! (He squats down and tries to get the dog to stand on its three legs, fails, lets it go. The dog falls on its side.)

Captain Marvel (impatiently): Well?

Groot: He’s standing.

Ant-Man (groping for the dog): Where? Where is he? (Thanos holds up the dog in a standing position.)

Nebula: There. (He takes Dr Strange ’s hand and guides it towards the dog’s head.) Dr Strange (his hand on the dog’s head): Is he gazing at me?

Black Panther: Yes.

Cap (proudly): As if he were asking me to take him for a walk?

Thanos: If you like.

Captain Marvel (as before): Or as if he were begging me for a bone. (He withdraws his hand.) Leave him like that, standing there imploring me. (Groot straightens up. The dog falls on its side.)

Black Panther: I’ll leave you.

Cap: Have you had your visions?

Thanos: Less.

Thor: Is Mother Pegg’s light on?

Shuri: Light! How could anyone’s light be on?

Dr Strange: Extinguished!

Black Panther: Naturally it’s extinguished. If it’s not on it’s extinguished.

Ant-Man: No, I mean Mother Pegg.

Nebula: But naturally she’s extinguished! (Pause.) What’s the matter with you today?

Cap: I’m taking my course. (Pause.) Is she buried?

Shuri: Buried! Who would have buried her?

Ant-Man: You.

Groot: Me! Haven’t I enough to do without burying people?

Ant-Man: But you’ll bury me.

Groot: No I won’t bury you. (Pause.)

Captain Marvel: She was bonny once, like a flower of the field. (With reminiscent leer.) And a great one for the men!

Thanos: We too were bonny - once. It’s a rare thing not to have been bonny - once. (Pause.) Dr Strange: Go and get the gaff. (Thanos goes to the door, halts.)

Thanos: Do this, do that, and I do it. I never refuse. Why?

Ant-Man: You’re not able to.

Thanos: Soon I won’t do it any more.

Thor: You won’t be able to any more. (Exit Shuri.) Ah the creatures, the creatures, everything has to be explained to them. (Enter Shuri with gaff.)

Groot: Here’s your gaff. Stick it up. (He gives the gaff to Dr Strange who, wielding it like a puntpole, tries to move his chair.)

Ant-Man: Did I move?

Thanos: No. (Cap throws down the gaff.)

Cap: Go and get the oilcan.

Thanos: What for?

Cap: To oil the castors.

Groot: I oiled them yesterday.

Ant-Man: Yesterday! What does that mean? Yesterday!

Nebula (violently): That means that bloody awful day, long ago, before this bloody awful day. I use the words you taught me. If they don’t mean anything any more, teach me others. Or let me be silent. (Pause.)

Dr Strange: I once knew a madman who thought the end of the world had come. He was a painter - and engraver. I had a great fondness for him. I used to go and see him, in the asylum. I’d take him by the hand and drag him to the window. Look! There! All that rising corn! And there! Look! The sails of the herring fleet! All that loveliness! (Pause.) He’d snatch away his hand and go back into his corner. Appalled. All he had seen was ashes. (Pause.) He alone had been spared. (Pause.) Forgotten. (Pause.) It appears the case is ... was not so ... so unusual.

Black Panther: A madman? When was that?

Captain Marvel: Oh way back, way back, you weren’t in the land of the living.

Nebula: God be with those days. (Pause. Thor raises his toque.) Thor: I had a great fondness for him. (Pause. He puts on his toque again.) He was a painter - and engraver.

Shuri: There are so many terrible things.

Cap: No, no, there are not so many now. (Pause.) Shuri!

Nebula: Yes.

Ant-Man: Do you not think this has gone on long enough?

Black Panther: Yes! (Pause.) What?

Dr Strange: This ... this ... thing.

Groot: I’ve always thought so. (Pause.) You not?

Cap (gloomily): Then it’s a day like any other day.

Thanos: As long as it lasts. (Pause.) All life long the same inanities.

Cap: I can’t leave you.

Nebula: I know. And you can’t follow me. (Pause.)

Thor: If you leave me how shall I know?

Nebula (briskly): Well you simply whistle me and if I don’t come running it means I’ve left you. (Pause.) Cap: You won’t come and kiss me goodbye?

Black Panther: Oh I shouldn’t think so. (Pause.)

Ant-Man: But you might be merely dead in your kitchen.

Thanos: The result would be the same.

Ant-Man: Yes, but how would I know, if you were merely dead in your kitchen?

Groot: Well ... sooner or later I’d start to stink.

Cap: You stink already. The whole place stinks of corpses.

Thanos: The whole universe.

Cap (angrily): To hell with the universe. (Pause.) Think of something.

Thanos: What?

Ant-Man: An idea, have an idea. (Angrily.) A bright idea!

Shuri: Ah good. (He starts pacing to and fro, his eyes fixed on the ground, his hands behind his back. He halts.) The pains in my legs! It’s unbelievable! Soon I won’t be able to think any more.

Captain Marvel: You won’t be able to leave me. (Black Panther resumes his pacing.) What are you doing?

Thanos: Having an idea. (He paces.) Ah! (He halts.)

Ant-Man: What a brain! (Pause.) Well?

Thanos: Wait! (He meditates. Not very convinced.) Yes ... (He raises his head.) I have it! I set the alarm. (Pause.)

Dr Strange: This is perhaps not one of my bright days, but frankly -

Nebula: You whistle me. I don’t come. The alarm rings. I’m gone. It doesn’t ring. I’m dead. (Pause.) Thor: Is it working? (Pause. Impatiently.) The alarm, is it working?

Shuri: Why wouldn’t it be working?

Ant-Man: Because it’s worked too much.

Shuri: But it’s hardly worked at all.

Cap (angrily): Then because it’s worked too little!

Black Panther: I’ll go and see. (Exit Black Panther. Brief ring of alarm offstage. Enter Black Panther with alarm-clock. He holds it against Captain Marvel ’s ear and releases alarm. They listen to it ringing to the end. Pause.) Fit to wake the dead! Did you hear it?

Dr Strange: Vaguely.

Black Panther: The end is terrific!

Thor: I prefer the middle. (Pause.) Is is not time for my pain-killer?

Black Panther: No! (He goes to door, turns.) I’ll leave you.

Cap: It’s time for my story. Do you want to listen to my story?

Black Panther: No.

Ant-Man: Ask my father if he wants to listen to my story. (Nebula goes to bins, raises the lid of Ebony Maw’s, stoops, looks into it. Pause. He straightens up.)

Thanos: He’s asleep.

Dr Strange: Wake him. (Black Panther stoops, wakes Dr Strange with the alarm. Unintelligible words. Black Panther straightens up.) Black Panther: He doesn’t want to listen to your story.

Dr Strange: I’ll give him a bon-bon. (Groot stoops. As before.)

Thanos: He wants a sugar-plum.

Ant-Man: He’ll get a sugar-plum. (Black Panther stoops. As before.)

Black Panther: It’s a deal. (He goes towards door. Peggy Carter’s hands appear, gripping the rim. Then the head emerges. Black Panther reaches door, turns.) Do you believe in the life to come?

Captain Marvel: Mine was always that. (Exit Black Panther.) Got him that time!

Skurge: I’m listening.

Dr Strange: Scoundrel! Why did you engender me?

Black Widow: I didn’t know.

Ant-Man: What? What didn’t you know?

Andy Spragg: That it’d be you. (Pause.) You’ll give me a sugar-plum?

Captain Marvel: After the audition.

Thaddeus Ross: You swear?

Ant-Man: Yes.

Black Widow: On what?

Cap: My honor. (Pause. They laugh heartily.) Dr Strange: Two.

Captain Marvel: One.

Callan Mulvey: One for me and one for -

Thor: One! Silence! (Pause.) Where was I? (Pause. Gloomily.) It’s finished, we’re finished. (Pause.) Nearly finished. (Pause.) There’ll be no more speech. (Pause.) Something dripping in my head, ever since the fontanelles. (Stifled hilarity of Falcon.) Splash, splash, always on the same spot. (Pause.) Perhaps it’s a little vein. (Pause.) A little artery. (Pause. More animated.) Enough of that, it’s story time, where was I? (Pause. Narrative tone.) The man came crawling towards me, on his belly. Pale, wonderfully pale and thin, he seemed on the point of - (Pause. Normal tone.) No, I’ve done that bit. (Pause. Narrative tone.) I calmly filled my pipe - the meerschaum, lit it with ... let us say a vesta, drew a few puffs. Aah! (Pause.) Well, what is it you want? (Pause.) It was an extra-ordinarily bitter day, I remember, zero by the thermometer. But considering it was Christmas Eve there was nothing ... extra-ordinary about that. Seasonable weather, for once in a way. (Pause.) Well, what ill wind blows you my way? He raised his face to me, black with mingled dirt and tears. (Pause. Normal tone.) That should do it. (Narrative tone.) No no, don’t look at me, don’t look at me. He dropped his eyes and mumbled something, apologies I presume. (Pause.) I’m a busy man, you know, the final touches, before the festivities, you know what it is. (Pause. Forcibly.) Come on now, what is the object of this invasion? (Pause.) It was a glorious bright day, I remember, fifty by the heliometer, but already the sun was sinking down into the ... down among the dead. (Normal voice.) Nicely put, that. (Narrative tone.) Come on now, come on, present your petition and let me resume my labors. (Pause. Normal tone.) There’s English for you. Ah well ... (Narrative tone.) It was then he took the plunge. It’s my little one, he said. Tsstss, a little one, that’s bad. My little boy, he said, as if the sex mattered. Where did he come from? He named the hole. A good half-day, on horse. What are you insinuating? That the place is still inhabited? No no, not a soul, except himself and the child - assuming he existed. Good. I enquired about the situation at Kov, beyond the gulf. Not a sinner. Good. And you expect me to believe you have left your little one back there, all alone, and alive into the bargain? Come now! (Pause.) It was a howling day, I remember, a hundred by the anenometer. The wind was tearing up the dead pines and sweeping them ... away. (Pause. Normal tone.) A feeble bit, that. (Narrative tone.) Come on, man, speak up, what is it you want from me, I have to put up my holly. (Pause.) Well to make it short it finally transpired that what he wanted from me was ... bread for his brat? Bread? But I have no bread, it doesn’t agree with me. Good. Then perhaps a little corn? (Pause. Normal tone.) That should do it. (Narrative tone.) Corn, yes, I have corn, it’s true, in my granaries. But use your head. I give you some corn, a pound, a pound and a half, you bring it back to your child and you make him - if he’s still alive - a nice pot of porridge. (Falcon reacts.) a nice pot and a half of porridge, full of nourishment. Good. The colors come back into his little cheeks - perhaps. And then? (Pause.) I lost patience. (Violently.) Use your head, can’t you, use your head. You’re on earth, there’s no cure for that! (Pause.) It was an exceedingly dry day, I remember, zero by the hygrometer. Ideal weather, for my lumbago. (Pause. Violently.) But what in God’s name do you imagine? That the earth will awake in the spring? That the rivers and seas will run with fish again? That there’s manna in heaven still for imbeciles like you? (Pause.) Gradually I cooled down, sufficiently at least to ask him how long he had taken on the way. Three whole days. Good. In what condition he had left the child. Deep in sleep. (Forcibly.) But deep in what sleep, deep in what sleep already? (Pause.) Well to make it short I finally offered to take him into my service. He had touched a chord. And then I imagined already that I wasn’t much longer for this world. (He laughs. Pause.) Well? (Pause.) Well? Here if you were careful you might die a nice natural death, in peace and comfort. (Pause.) Well? (Pause.) In the end he asked me would I consent to take in the child as well - if he were still alive. (Pause.) It was the moment I was waiting for. (Pause.) Would I consent to take in the child ... (Pause.) I can see him still, down on his knees, his hands flat on the ground, glaring at me with his mad eyes, in defiance of my wishes. (Pause. Normal tone.) I’ll soon have finished with this story. (Pause.) Unless I bring in other characters. (Pause.) But where would I find them? (Pause.) Where would I look for them? (Pause. He whistles. Enter Shuri.) Let us pray to God.

Mantis: Me sugar-plum!

Black Panther: There’s a rat in the kitchen!

Ant-Man: A rat! Are there still rats?

Nebula: In the kitchen there’s one.

Ant-Man: And you haven’t exterminated him?

Groot: Half. You disturbed us.

Ant-Man: He can’t get away?

Black Panther: No.

Thor: You’ll finish him later. Let us pray to God.

Thanos: Again!

Grandmaster: Me sugar-plum!

Captain Marvel: God first! (Pause.) Are you right?

Black Panther (resigned): Off we go.

Thor (to Groot): And you?

Thanos (clasping his hands, closing his eyes, in a gabble): Our Father which art -

Cap: Silence! In silence! Where are your manners? (Pause.) Off we go. (Attitudes of prayer. Silence. Abandoning his attitude, discouraged.) Well?

Black Panther (abandoning his attitude): What a hope! And you?

Spiderman: Sweet damn all! (To Thanos.) And you?

Black Panther: Wait! (Pause. Abandoning his attitude.) Nothing doing!

Cap: The bastard!! He doesn’t exist.

Thanos: Not yet.

Grandmaster: Me sugar-plum!

Gamora: There are no more sugar plums! (Pause.)

Black Panther: It’s natural. After all I’m your father. It’s true if it hadn’t been me it would have been someone else. But that’s no excuse. (Pause.) Turkish Delight, for example, which no longer exists, we all know that, there is nothing in the world I love more. And one day I’ll ask you for some, in return for a kindness, and you’ll promise it to me. One must live with the times. (Pause.) Whom did you call when you were a tiny boy, and were frightened, in the dark? Your mother? No. Me. We let you cry. Then we moved you out of earshot, so that we might sleep in peace. (Pause.) I was asleep, as happy as a king, and you woke me up to have me listen to you. It wasn’t indispensable, you didn’t really need to have me listen to you. (Pause.) I hope the day will come when you’ll really need to have me listen to you, and need to hear my voice, any voice. (Pause.) Yes, I hope I’ll live till then, to hear you calling me like when you were a tiny boy, and were frightened, in the dark, and I was your only hope. (Pause. Black Panther knocks on lid of Black Panther ’s bin. Pause.) Black Panther! (Pause. He knocks louder. Pause. Louder.) Black Panther! (Pause. Black Panther sinks back into his bin, closes the lid behind him. Pause.) Captain Marvel: Our revels now are ended. (He gropes for the dog.) The dog’s gone.

Hulk: He’s not a real dog, he can’t go.

Spiderman (groping): He’s not there.

Hulk: He’s lain down.

Captain Marvel: Give him up to me. (Iron Man picks up the dog and gives it to Captain Marvel. Captain Marvel holds it in his arms. Pause. Captain Marvel throws away the dog.) Dirty brute! (Iron Man begins to pick up the objects lying on the ground.) What are you doing?

Iron Man: Putting things in order. (He straightens up. Fervently.) I’m going to clear everything away! (He starts picking up again.)

Thor: Order!

Iron Man (straightening up): I love order. It’s my dream. A world where all would be silent and still, and each thing in its last place, under the last dust. (He starts picking up again.)

Thor (exasperated): What in God’s name do you think you’re doing?

Thanos (straightening up): I’m doing my best to create a little order.

Spiderman: Drop it! (Iron Man drops the objects he has picked up.)

Iron Man: After all, there or elsewhere. (He goes towards door.)

Gamora (irritably): What’s wrong with your feet?

Hulk: My feet?

Spiderman: Tramp! Tramp!

Black Panther: I must have put on my boots.

Gamora: Your slippers were hurting you? (Pause.)

Hulk: I’ll leave you.

Cap: No!

Iron Man: What is there to keep me here?

Captain Marvel: The dialogue. (Pause.) I’ve got on with my story. (Pause.) I’ve got on with it well. (Pause. Irritably.) Ask me where I’ve got to.

Black Panther: Oh, by the way, your story?

Captain Marvel (surprised): What story?

Black Panther: The one you’ve been telling yourself all your days.

Cap: Ah you mean my chronicle?

Black Panther: That’s the one. (Pause.)

Cap (angrily): Keep going, can’t you, keep going!

Iron Man: You’ve got on with it, I hope.

Gamora (modestly): Oh not very far, not very far. (He sighs.) There are days like that, one isn’t inspired. (Pause.) Nothing you can do about it, just wait for it to come. (Pause.) No forcing, no forcing, it’s fatal. (Pause.) I’ve got on with it a little all the same. (Pause.) Technique, you know. (Pause. Irritably.) I say I’ve got on with it a little all the same.

Hulk (admiringly): Well I never! In spite of everything you were able to get on with it!

Cap (modestly): Oh not very far, you know, not very far, but nevertheless, better than nothing.

Iron Man: Better than nothing! Is it possible?

Spiderman: I’ll tell you how it goes. He comes crawling on his belly -

Thanos: Who?

Cap: What?

Iron Man: Who do you mean, he?

Thor: Who do I mean! Yet another.

Thanos: Ah him. I wasn’t sure.

Cap: Crawling on his belly, whining for bread for his brat. He’s offered a job as gardener. Before - (Black Panther bursts out laughing.) What is there so funny about that?

Thanos: A job as gardener!

Captain Marvel: Is that what tickles you?

Iron Man: It must be that.

Captain Marvel: It wouldn’t be the bread?

Black Panther: Or the brat. (Pause.)

Cap: The whole thing is comical, I grant you that. What about having a good guffaw, the two of us together?

Iron Man (after reflection): I couldn’t guffaw again today.

Spiderman (after reflection): Nor I. (Pause.) I continue then. Before accepting with gratitude he asks if he may have his little boy with him.

Iron Man: What age?

Cap: Oh tiny.

Hulk: He would have climbed the trees.

Thor: All the little odd jobs.

Black Panther: And then he would have grown up.

Spiderman: Very likely. (Pause.)

Thanos: Keep going, can’t you, keep going?

Captain Marvel: That’s all. I stopped there. (Pause.)

Hulk: Do you see how it goes on?

Spiderman: More or less.

Hulk: Will it not soon be the end?

Captain Marvel: I’m afraid it will.

Hulk: Pah! You’ll make up another.

Captain Marvel: I don’t know. (Pause.) I feel rather drained. (Pause.) The prolonged creative effort. (Pause.) If I could drag myself down to the sea! I’d make a pillow of sand for my head and the tide would come.

Thanos: There’s no more tide. (Pause.)

Gamora: Go and see is she dead. (Thanos goes to bins, raises the lid of Hank Pym ’s, stoops, looks into it. Pause.)

Thanos: Looks like it. (He closes the lid, straightens up. Captain Marvel raises his toque. Pause. He puts it on again.)

Gamora (with his hand to his toque): And Groot? (Hulk raises lid of Groot’s bin, stoops, looks into it. Pause.)

Iron Man: Doesn’t look like it. (He closes the lid, straightens up.) Captain Marvel (letting go his toque): What’s he doing? (Iron Man raises lid of Scarlet Witch’s bin, stoops, looks into it. Pause.)

Iron Man: He’s crying. (He closes lid, straightens up.) Thor: Then he’s living. (Pause.) Did you ever have an instant of happiness?

Black Panther:

Not to my knowledge. (Pause.)

Captain Marvel: Bring me under the window. (Hulk goes towards chair.) I want to feel the light on my face. (Hulk pushes chair.) Do you remember, in the beginning, when you took me for a turn? You used to hold the chair too high. At every step you nearly tipped me out. (With senile quaver.) Ah great fun, we had, the two of us, great fun. (Gloomily.) And then we got into the way of it. (Hulk stops the chair under window right.) There already? (Pause. He tilts back his head.) Is it light?

Thanos: It isn’t dark.

Cap (angrily): I’m asking you is it light?

Hulk: Yes. (Pause.)

Thor: The curtain isn’t closed?

Thanos: No.

Spiderman: What window is it?

Black Panther: The earth.

Spiderman: I knew it! (Angrily.) But there’s no light there! The other! (Iron Man pushes chair towards window left.) The earth! (Iron Man stops the chair under window left. Spiderman tilts back his head.) That’s what I call light! (Pause.) Feels like a ray of sunshine. (Pause.) No?

Iron Man: No.

Spiderman: It isn’t a ray of sunshine I feel on my face?

Iron Man: No. (Pause.)

Spiderman: Am I very white? (Pause. Angrily.) I’m asking you am I very white?

Thanos: Not more so than usual. (Pause.)

Cap: Open the window.

Iron Man: What for?

Cap: I want to hear the sea.

Hulk: You wouldn’t hear it.

Gamora: Even if you opened the window?

Thanos: No.

Thor: Than it’s not worth while opening it?

Iron Man: No.

Captain Marvel (violently): Than open it! (Black Panther gets up on the ladder, opens the window. Pause.) Have you opened it?

Iron Man: Yes. (Pause.)

Thor: You swear you’ve opened it?

Iron Man: Yes. (Pause.)

Captain Marvel: Well ...! (Pause.) It must be very calm. (Pause. Violently.) I’m asking you is it very calm!

Black Panther: Yes.

Cap: It’s because there are no more navigators. (Pause.) You haven’t much conversation all of a sudden. Do you not feel well?

Thanos: I’m cold.

Captain Marvel: What month are we? (Pause.) Close the window, we’re going back. (Hulk closes the window, gets down, pushes the chair back to its place, remains standing behind it, head bowed.) Don’t stand there, you give me the shivers! (Hulk returns to his place beside the chair.) Father! (Pause. Louder.) Father! (Pause.) Go and see did he hear me. (Hulk goes to Groot’s bin, raises the lid, stoops. Unintelligible words. Hulk straightens up.)

Iron Man: Yes.

Captain Marvel: Both times? (Hulk stoops. As before.)

Iron Man: Once only.

Cap: The first time or the second? (Iron Man stoops. As before.)

Iron Man: He doesn’t know.

Gamora: It must have been the second.

Iron Man: We’ll never know. (He closes lid.)

Thor: Is he still crying?

Black Panther: No.

Gamora: The dead go fast. (Pause.) What’s he doing?

Black Panther: Sucking his biscuit.

Captain Marvel: Life goes on. (Black Panther returns to his place beside the chair.) Give me the rug, I’m freezing.

Black Panther: There are no more rugs. (Pause.)

Spiderman: Kiss me. (Pause.) Will you not kiss me?

Iron Man: No.

Captain Marvel: On the forehead.

Iron Man: I won’t kiss you anywhere. (Pause.)

Gamora (holding out his hand): Give me your hand at least. (Pause.) Will you not give me your hand?

Thanos: I won’t touch you. (Pause.)

Captain Marvel: Give me the dog. (Hulk looks round for the dog.) No!

Iron Man: Do you not want your dog?

Gamora: No.

Black Panther: Then I’ll leave you.

Spiderman (head bowed, absently): That’s right. (Iron Man goes to door, turns.)

Thanos: If I don’t kill that rat he’ll die.

Gamora (as before): That’s right. (Exit Hulk. Pause.) Me to play. (He takes out his handkerchief, unfolds it, holds it spread out before him.) We’re getting on. (Pause.) You weep, and weep, for nothing, so as not to laugh, and little by little ... you begin to grieve. (He folds the handkerchief, puts it back in his pocket, raises his head.) All those I might have helped. (Pause.) Helped! (Pause.) Saved. (Pause.) Saved! (Pause.) The place was crawling with them (Pause. Violently.) Use your head, can’t you, use your head, you’re on earth, there’s no cure for that! (Pause.) Get out of here and love one another! Lick your neighbor as yourself! (Pause. Calmer.) When it wasn’t bread they wanted it was crumpets. (Pause. Violently.) Out of my sight and back to your petting parties! (Pause.) All that, all that! (Pause.) Not even a real dog! (Calmer.) The end is in the beginning and yet you go on. (Pause.) Perhaps I could go on with my story, end it and begin another. (Pause.) Perhaps I could throw myself out on the floor. (He pushes himself painfully off his seat, falls back again.) Dig my nails into the cracks and drag myself forward with my fingers. (Pause.) It will be the end and there I’ll be, wondering what can have brought it on and wondering what can have ... (he hesitates) ... why it was so long coming. (Pause.) There I’ll be, in the old shelter, alone against the silence and ... (he hesitates) ... the stillness. If I can hold my peace, and sit quiet, it will be all over with sound, and motion, all over and done with. (Pause.) I’ll have called my father and I’ll have called my ... (he hesitates) ... my son. And even twice, or three times, in case they shouldn’t have heard me, the first time, or the second. (Pause.) I’ll say to myself, He’ll come back. (Pause.) And then? (Pause.) And then? (Pause.) He couldn’t, He has gone too far. (Pause.) And then? (Pause. Very agitated.) All kinds of fantasies! That I’m being watched! A rat! Steps! Breath held and then ... (He breathes out.) Then babble, babble, words, like the solitary child who turns himself into children, two, three, so as to be together, and whisper together, in the dark. (Pause.) Moment upon moment, pattering down, like the millet grains of ... (he hesitates) ... that old Greek, and all life long you wait for that to mount up to a life. (Pause. He opens his mouth to continue, renounces.) Ah let’s get it over! (He whistles. Enter Hulk with alarm-clock. He halts beside the chair.) What? Neither gone nor dead?

Thanos: In spirit only.

Cap: Which?

Hulk: Both.

Cap: Gone from me you’d be dead.

Iron Man: And vice versa.

Cap: Outside of here it’s death! (Pause.) And the rat?

Black Panther: He’s got away.

Cap: He can’t go far. (Pause. Anxious.) Eh?

Black Panther: He doesn’t need to go far. (Pause.) Spiderman: Is it not time for my pain-killer?

Thanos: Yes.

Cap: Ah! At last! Give it to me! Quick! (Pause.)

Hulk: There’s no more pain-killer. (Pause.) 

Gamora (appalled): Good ...! (Pause.) No more pain-killer!

Thanos: No more pain-killer. You’ll never get any more pain-killer. (Pause.)

Gamora: But the little round box. It was full!

Thanos: Yes. But now it’s empty. (Pause. Thanos starts to move about the room. He is looking for a place to put down the alarm-clock.)

Cap (soft): What’ll I do? (Pause. In a scream.) What’ll I do? (Thanos sees the picture, takes it down, stands it on the floor with its face to the wall, hangs up the alarm-clock in its place.) What are you doing?

Thanos: Winding up.

Captain Marvel: Look at the earth.

Thanos: Again!

Thor: Since it’s calling to you.

Black Panther: Is your throat sore? (Pause.) Would you like a lozenge? (Pause.) No. (Pause.) Pity. (Black Panther goes, humming, towards window right, halts before it, looks up at it.)

Captain Marvel: Don’t sing.

Iron Man (turning towards Captain Marvel): One hasn’t the right to sing any more?

Spiderman: No.

Hulk: Then how can it end?

Spiderman: You want it to end?

Iron Man: I want to sing.

Cap: I can’t prevent you. (Pause. Iron Man turns towards window right.)

Hulk: What did I do with that steps? (He looks around for ladder.) You didn’t see that steps? (He sees it.) Ah, about time. (He goes towards window left.) Sometimes I wonder if I’m in my right mind. Then it passes over and I’m as lucid as before. (He gets up on ladder, looks out of window.) Christ, she’s under water! (He looks.) How can that be? (He pokes forward his head, his hand above his eyes.) It hasn’t rained. (He wipes the pane, looks. Pause.) Ah what a fool I am! I’m on the wrong side! (He gets down, takes a few steps towards window right.) Under water! (He goes back for ladder.) What a fool I am! (He carries ladder towards window right.) Sometimes I wonder if I’m in my right senses. Then it passes off and I’m as intelligent as ever. (He sets down ladder under window right, gets up on it, looks out of window. He turns towards Gamora.) Any particular sector you fancy? Or merely the whole thing?

Captain Marvel: Whole thing.

Hulk: The general effect? Just a moment. (He looks out of window. Pause.)

Spiderman: Thanos.

Iron Man (absorbed): Mmm.

Thor: Do you know what it is?

Thanos (as before): Mmm.

Cap: I was never there. (Pause.) Hulk!

Iron Man (turning towards Spiderman, exasperated): What is it?

Gamora: I was never there.

Iron Man: Lucky for you. (He looks out of window.)

Gamora: Absent, always. It all happened without me. I don’t know what’s happened. (Pause.) Do you know what’s happened? (Pause.) Thanos!

Iron Man (turning towards Spiderman, exasperated): Do you want me to look at this muckheap, yes or no?

Captain Marvel: Answer me first.

Thanos: What?

Captain Marvel: Do you know what’s happened?

Iron Man: When? Where?

Gamora (violently): When! What’s happened? Use your head, can’t you! What has happened?

Black Panther: What for Christ’s sake does it matter? (He looks out of window.) Spiderman: I don’t know. 

(Pause. Black Panther turns towards Spiderman.) 

Black Panther (harshly): When old Mother Pegg asked you for oil for her lamp and you told her to get out to hell, you knew what was happening then, no? (Pause.) You know what she died of, Mother Pegg? Of darkness.

Spiderman (feebly): I hadn’t any.

Hulk (as before): Yes, you had. (Pause.)

Cap: Have you the glass?

Iron Man: No, it’s clear enough as it is.

Spiderman: Go and get it. (Pause. Black Panther casts up his eyes, brandishes his fists. He loses balance, clutches on to the ladder. He starts to get down, halts.)

Thanos: There’s one thing I’ll never understand. (He gets down.) Why I always obey you. Can you explain that to me?

Gamora: No ... Perhaps it’s compassion. (Pause.) A kind of great compassion. (Pause.) Oh you won’t find it easy, you won’t find it easy. (Pause. Thanos begins to move about the room in search of the telescope.)

Iron Man: I’m tired of our goings on, very tired. (He searches.) You’re not sitting on it? (He moves the chair, looks at the place where it stood, resumes his search.)

Cap (anguished): Don’t leave me there! (Angrily Iron Man restores the chair to its place.) Am I right in the center?

Hulk: You’d need a microscope to find this - (He sees the telescope.) Ah, about time. (He picks up the telescope, gets up on the ladder, turns the telescope on the without.)

Thor: Give me the dog.

Hulk (looking): Quiet!

Spiderman (angrily): Give me the dog! (Thanos drops the telescope, clasps his hands to his head. Pause. He gets down precipitately, looks for the dog, sees it, picks it up, hastens towards Spiderman and strikes him violently on the head with the dog.)

Iron Man: There’s your dog for you. (The dog falls to the ground. Pause.)

Spiderman: He hit me!

Iron Man: You drive me mad, I’m mad!

Spiderman: If you must hit me, hit me with the axe. (Pause.) Or with the gaff, hit me with the gaff. Not with the dog. With the gaff. Or with the axe. (Iron Man picks up the dog and gives it to Spiderman who takes it in his arms.)

Black Panther (impatiently): Let’s stop playing!

Cap: Never! (Pause.) Put me in my coffin.

Hulk: There are no more coffins.

Thor: Then let it end! (Black Panther goes towards ladder.) With a bang! (Black Panther gets up on ladder, gets down again, looks for telescope, sees it, picks it up, gets up on ladder, raises telescope.) Of darkness! And me? Did anyone ever have pity on me?

Hulk (lowering the telescope, turning towards Captain Marvel): What? (Pause.) Is it me you’re referring to?

Captain Marvel (angrily): An aside, ape! Did you never hear an aside before? (Pause.) I’m warming up for my last soliloquy.

Thanos: I warn you. I’m going to look at this filth since it’s an order. But it’s the last time. (He turns the telescope on the without.) Let’s see. (He moves the telescope.) Nothing ... nothing ... good ... good ... nothing ... goo - (He starts, lowers the telescope, examines it, turns it again on the without. Pause.) Bad luck to it!

Thor: More complications! (Hulk gets down.) Not an underplot, I trust. (Hulk moves ladder nearer window, gets up on it, turns telescope on the without.)

Thanos (dismayed): Looks like a small boy!

Cap (sarcastic): A small ... boy!

Thanos: I’ll go and see. (He gets down, drops the telescope, goes towards door, turns.) I’ll take the gaff. (He looks for the gaff, sees it, picks it up, hastens towards door.)

Cap: No! (Thanos halts.)

Hulk: No? A potential procreator?

Captain Marvel: If he exists he’ll die there or he’ll come here. And if he doesn’t ... (Pause.)

Hulk: You don’t believe me? You think I’m inventing? (Pause.)

Gamora: It’s the end, Black Panther, we’ve come to the end. I don’t need you any more. (Pause.)

Iron Man: Lucky for you. (He goes towards door.)

Cap: Leave me the gaff. (Hulk gives him the gaff, goes towards door, halts, looks at alarm-clock, takes it down, looks round for a better place to put it, goes to bins, puts it on lid of Scarlet Witch’s bin. Pause.)

Thanos: I’ll leave you. (He goes towards door.)

Captain Marvel: Before you go ... (Black Panther halts near door.) ... say something.

Thanos: There is nothing to say.

Thor: A few words ... to ponder ... in my heart.

Black Panther: Your heart!

Gamora: Yes. (Pause. Forcibly.) Yes! (Pause.) With the rest, in the end, the shadows, the murmurs, all the trouble, to end up with. (Pause.)

Hulk ... He never spoke to me. Then, in the end, before he went, without my having asked him, he spoke to me. He said ...

Iron Man (despairingly): Ah ...!

Spiderman: Something ... from your heart.

Thanos: My heart!

Gamora: A few words ... from your heart. (Pause.)

Hulk (fixed gaze, tonelessly, towards auditorium): They said to me, That’s love, yes, yes, not a doubt, now you see how -

Thor: Articulate!

Black Panther (as before): How easy it is. They said to me, That’s friendship, yes, yes, no question, you’ve found it. They said to me, Here’s the place, stop, raise your head and look at all that beauty. That order! They said to me, Come now, you’re not a brute beast, think upon these things and you’ll see how all becomes clear. And simple! They said to me, What skilled attention they get, all these dying of their wounds.

Captain Marvel: Enough!

Hulk (as before): I say to myself - sometimes, Hulk, you must learn to suffer better than that if you want them to weary of punishing you - one day. I say to myself - sometimes, Hulk, you must be better than that if you want them to let you go - one day. But I feel too old, and too far, to form new habits. Good, it’ll never end, I’ll never go. (Pause.) Then one day, suddenly, it ends, it changes, I don’t understand, it dies, or it’s me, I don’t understand that either. I ask the words that remain - sleeping, waking, morning, evening. They have nothing to say. (Pause.) I open the door of the cell and go. I am so bowed I only see my feet, if I open my eyes, and between my legs a little trail of black dust. I say to myself that the earth is extinguished, though I never saw it lit. (Pause.) It’s easy going. (Pause.) When I fall I’ll weep for happiness. (Pause. He goes towards door.)

Thor: Iron Man! (Iron Man halts, without turning.) Nothing. (Iron Man moves on.) Iron Man! (Iron Man halts, without turning.)

Iron Man: This is what we call making an exit.

Cap: I’m obliged to you, Black Panther. For your services.

Black Panther (turning sharply): Ah pardon, it’s I am obliged to you.

Captain Marvel: It’s we are obliged to each other. 
(Pause. Black Panther goes towards door.) 
One thing more. 
(Black Panther halts.) 
A last favor. 
(Exit Black Panther.) 
Cover me with the sheet. 
(Long pause.) 
No? Good. 
(Pause.) 
Me to play. 
(Pause. Wearily.) 
Old endgame lost of old, play and lose and have done with losing. 
(Pause. More animated.) 
Let me see. 
(Pause.) 
Ah yes! 
(He tries to move the chair, using the gaff as before. Enter Black Panther, dressed for the road. Panama hat, tweed coat, raincoat over his arm, umbrella, bag. He halts by the door and stands there, impassive and motionless, his eyes fixed on Captain Marvel, till the end.) 
Captain Marvel gives up: 
Good. 
(Pause.) 
Discard. 
(He throws away the gaff, makes to throw away the dog, thinks better of it.) 
Take it easy. 
(Pause.) 
And now? 
(Pause.) 
Raise hat. 
(He raises his toque.) 
Peace to our ... arses. 
(Pause.) 
And put on again. 
(He puts on his toque.) 
Deuce. 
(Pause. He takes off his glasses.) 
Wipe. 
(He takes out his handkerchief and, without unfolding it, wipes his glasses.) 
And put on again. 
(He puts on his glasses, puts back the handkerchief in his pocket.) 
We’re coming. A few more squirms like that and I’ll call. 
(Pause.) 
A little poetry. 
(Pause.) 
You prayed - 
(Pause. He corrects himself.) 
You cried for night; it comes - 
(Pause. He corrects himself.) 
It falls: now cry in darkness. 
(He repeats, chanting.) 
You cried for night; it falls: now cry in darkness. 
(Pause.) 
Nicely put, that. 
(Pause.) 
And now? 
(Pause.) 
Moments for nothing, now as always, time was never and time is over, reckoning closed and story ended. 
(Pause. Narrative tone.) 
If he could have his child with him ... 
(Pause.) 
It was the moment I was waiting for. 
(Pause.) 
You don’t want to abandon him? You want him to bloom while you are withering? Be there to solace your last million last moments? 
(Pause.) 
He doesn’t realize, all he knows is hunger, and cold, and death to crown it all. But you! You ought to know what the earth is like, nowadays. Oh I put him before his responsibilities! 
(Pause. Normal tone.) 
Well, there we are, there I am, that’s enough. 
(He raises the whistle to his lips, hesitates, drops it. Pause.) 
Yes, truly! 
(He whistles. Pause. Louder. Pause.) 
Good. 
(Pause.) 
Father! 
(Pause. Louder.) 
Father! 
(Pause.) 
Good. 
(Pause.) 
We’re coming. 
(Pause.) 
And to end up with? 
(Pause.) 
Discard. 
(He throws away the dog. He tears the whistle from his neck.) 
With my compliments. 
(He throws the whistle towards the auditorium. Pause. He sniffs. Soft.) 
Black Panther! 
(Long pause.) 
No? Good. 
(He takes out the handkerchief.) 
Since that’s the way we’re playing it ... 
(he unfolds handkerchief) 
... let’s play it that way ... 
(he unfolds) 
... and speak no more about it ... 
(he finishes unfolding) 
... speak no more. 
(He holds handkerchief spread out before him.) 
Old stancher! 
(Pause.) 
You ... remain. 
(Pause. He covers his face with handkerchief, lowers his arms to armrests, remains motionless.)


Sunday, April 28, 2019

In Arms

A short story, which will be out properly later this year. If you'd like a peek, here it is.

Sunday, April 7, 2019

A lot to answer for

Snippet from a work in progress.

It has been noted that we are already living in something like a cyberpunk dystopia (albeit one that is, of course, unevenly distributed). The 'soft' neoliberalism of the 1990s and 2000s has made way for a new wave, whose distinct features are still subject to debate. But it is certainly a neoliberalism shaped by its accommodation of far-right fascist agitation, and by a neofeudalist approach to the challenges of climate change. It is also the neoliberalism of platform capitalism and surveillance capitalism -- a neoliberalism profoundly shaped by big tech -- and it is credible that it has been ideologically influenced by science fiction. It is credible, that is, that key actors at key junctures have pursued science-fictional future for its own sake, letting the science fictional imagination fulfill the function of the moral imagination. So science fiction, we suggest, has a lot to answer for.

But which science fiction? Of course, there is a quantitative project there, the cultural consumption of Silicon Valley. But can we hazard a guess? It has not been the static, programmatic utopias or dystopias, thick with institutional detail, that have given big tech actors their lodestar. Nor has it been self-conscious design fiction or diegetic prototyping. It has been the critical utopia. Critical and the ambiguous utopias and dystopias, and the utopian impulse within the rich, intermingling subgenres of transhumanist, singularitarian, postcyberpunk, and new space opera science fiction. Exhilarating, freewheeling narratives that unfold unpredictably on a grand scale, that are often picaresque either spatially or temporally, that often gleefully trash the expectations of characters and readers about the limits of the possible, all the while fairly clear about one thing: 'science fiction is more about the present than it is about the future.'

Tuesday, April 2, 2019

Notes on three SF short stories


Originally posted at the Vector blog.
The 'trolley problem' is a philosophical thought experiment (and in a way, it’s also a little SF story in itself). There’s a train heading down a track where it will kill five people. You can switch the train to another track, where it will kill one person. Do you do nothing? Or pull the lever?
It gets interesting when you start to introduce variants. What about pushing someone off a bridge onto the train track, if you knew it would save five people further down the line? What if there are five people in mortal need of organ donations — and suddenly a stranger with just the right five healthy organs inside rocks up in town? Such thought experiments are generally pretty annoying. They can be a useful way to map out our moral intuitions, and identify contradictions and biases in our moral reasoning we might not otherwise recognise.
The trolley problem has been getting a lot more press recently. But it’s a new kind of fame: now it’s become a practical problem, a real challenge for AI programmers. How should we program AI to act in situations like these?
At least two stories on this year’s BSFA suggested reading list deal with AI and the trolley problem: Sarah Gailey’s ‘Stet‘ (Fireside) and (as you might guess) Pat Cadigan’s ‘AI and the Trolley Problem‘ (Tor.com). I read both stories as responses to the increasing role of AI in our everyday lives, but I also think they’re responses to the way SF has handled the trolley problem in the past. Actually, SF has long been in love with the trolley problem … and it’s a grisly, nasty kind of love. I’m talking about tales like E.C. Tubb’s ‘Precedent’ (1949), Tom Godwin’s ‘The Cold Equations’ (1954), Robert Heinlein’s Farnham’s Freehold (1964), Larry Niven’s The Ringworld Engineers (1980), and Orson Scott Card’s Ender’s Game (1985). These are fantasies carefully set up to celebrate difficult but supposedly necessary sacrifices. “Yeah but imagine a situation where you HAD to commit genocide,” *vigorously rubbing the tops of his thighs* “.. in order to avert WORSE genocide!” No thanks! — not least because that’s exactly how actual perpetrators of genocide generally narrate their actions. Cory Doctorow has a nice article about ‘The Cold Equations’ and Farnham’s Freehold which makes similar points.
In very different ways, Gailey’s ‘Stet’ and Cadigan’s ‘AI and the Trolley Problem’ deliver clapbacks to this tradition…

*

Cadigan’s story 'AI and the Trolley Problem' is a kind of whydunnit? or whatwillitdunnext? The AI in Cadigan’s story is a bit more your traditional science fictional AI: Felipe is like a starship’s computer, except this time the starship is a US military base set in desolate fenland somewhere in the east of England. Felipe is an entity, a subjectivity, an agent, like us but not like us. I heard him speak in the voice of Lieutenant Data from Star Trek: TNG. (Data-ed but not dated — in Cadigan’s hands, the trope of the calm, hyperrational, introspective AI mind remains an effective tool for exploring the present and future of real AI).
On a normal day on the open road, you probably won’t encounter THAT many classic trolley problems. It’s not really something they cover in driving lessons, like parallel parking. In fact, there’s an argument that the obsession with trolley problems is a distraction from the real issue with smartcars. Machine vision will probably never be smart enough to navigate safely in today’s traffic conditions, especially in cities … so we’re likely to see a push from developers to redesign our entire city infrastructure around the technology. Does it sound too far-fetched and dystopian to imagine a law that everyone carry their phone at all times, broadcasting their location to all nearby vehicles? And if your battery dies and so do you, that’s sad but too bad.
But Cadigan’s story says, hold on, maybe we are surrounded by trolley problems after all? Maybe we choose to construct our world out of negative sum games? What if more and more data gathering and analysis makes these relations more and more visible? The true ‘cold equations’ are probably nothing like the fantasies of Godwin and Card. Markets, corporations, and governments can all be likened to AI programs, and we know how they’re programmed: to relentlessly sacrifice the many vulnerable for the few privileged. Felipe’s refusal of their logic kind of reminds me of the elegantly straightforward ethics of the utilitarian philosopher Peter Singer. Often our ethical conundrums aren’t really as complicated as we make them out to be … we know what the right answer is, and we overstate the complexity to hide our self-interested actions.
‘”Felipe . . .” Helen sighed. “Felipe, you must not kill our people. People on our side. People who are fighting to—” She was about to say make the world a safe place, but it sounded lame even just in her head. What, then? Fighting to prevent an enemy from attacking us? Fighting to rid the world of terrorism? Fighting to defend people who can’t defend themselves? Fighting to free the enslaved and the downtrodden?’
Spoilers: OK, personally I felt ‘AI and the Trolley Problem’ wound up satisfyingly, but some folk in the comments disagree. I guess this is a story which turns on two reveals — the reason Felippe destroyed the ground control station, and the reason Felippe isn’t talking to anyone. Maybe Cadigan could have been a BIT more heavy-handed about pretending that they were connected … having everyone running around working like they’re living in the early days of Skynet? Then when they aren’t connected, that might feel like more of a twist in its own right. Even better if the reader could be persuaded to have almost forgotten about the Cora incident by the time it becomes relevant again — but maybe that’s asking the impossible. Overall, I felt it was timely and slick. The setting was great: a cosy yet chilly atmosphere evoked with economy, mainly through the actions and relationships of the characters. More SF should be set in US military bases. There are enough to choose from: something like 600 outside the US, across 70ish countries. (Those we know about).

*

If you didn’t already know what stet meant, you’d probably gather its meaning by the end of ‘Stet’: disregard a change proposed by the editor. It’s a Latin word that means “Allow it” or “Let it stand.” Compared with Cadigan’s story, Gailey’s ‘Stet’ is more directly informed by contemporary AI research, especially machine learning. This kind of AI research isn’t so interested in replicating minds: it’s more like the offspring of computer science and statistics, crunching huge data sets to find useful patterns that humans would never be able to see for ourselves. Our inability to see them, in fact, proves to be a big problem. This algorithmic ‘reasoning’ is opaque, unintuitive, and not something we can interact with though a philosophical dialogue, however strange or uncanny.
Is there a word for a story like this, that purports to be a document or documents? — in this case, the draft textbook entry with a copyeditor’s comments and the author’s responses? Apparently ‘epistolary fiction’ is supposed to cover all this kind of stuff, but with writers telling stories in wiki talk pages or Kickstarter pages, the inkpot-and-quill vibe of ‘epistolary’ doesn’t feel quite right. Not sure about ‘scrapbook story’ either. (Then again ‘digital’ comes from counting on your fingers and toes, so maybe I just need to give the vibe time to change).
‘Stet’ is a story about resistance and about saying no; it’s about solitude and loss. The voice is wrought in grief and venom, although there is somehow also bleak humour here as well, both in the bumbling inadequacy and emotional awkwardness of the editor who tries to contain Anna, and a few other touches (I bet Elon Musk DOES call his autobiography Driven. Driven: What Makes The Muskrat Guard His Musk). I even wondered if the ‘woodpecker’ thing might be some sort of weird ‘got wood’ porno pun, since people don’t really spend all their days gazing at rare woodpeckers online, but they do look at lots of stiff dicks … I’m definitely reading too much into it. Maybe the woodpecker just had an unlikely viral friendship with a piglet. With its mixture of erudition and boiling-but-controlled personal witnessing, ‘Stet’ has the energy of a virtuoso Twitter thread (maybe the kind that ejects interjecting mansplainers with enough kinetic energy to reach escape velocity. No more trolly problem).
Introducing any automated process, but perhaps machine learning in particular, into decision-making can create serious ripples in the way responsibility and accountability work. Anna is desperate to find responsibility, and maybe a semblance of justice, in a system which thoroughly disperses and confuses it. She even makes the intriguing provocation that we are responsible for the unintended outcomes of the data we generate. After all, who else is there to be responsible? Our machines don’t just hold up a mirror to our nature, so that we can trace in fine detail what we attend to, what we care about: the image can now step out of the mirror and start to act in the world alongside us.
“Per Foote, the neural network training for cultural understanding of identity is collected via social media, keystroke analysis, and pupillary response to images. They’re watching to see what’s important to you. You are responsible.”
The idea has a kind of appealing theological relentlessness to it.
But it also makes me think there is special providence in the fall of a woodpecker. Even if he can’t wonder what is past the clouds. Could cherishing an endangered woodpecker be part of a necessary ecological consciousness which ultimately ameliorates suffering and averts death on a massive scale? But I wouldn’t and shouldn’t suggest such a thing to Anna, or write a smug short story where the equations are carefully calibrated to produce that result. And anyway, am I just overstating the complexity of this moral question?

*

Laurie Penny’s ‘Real Girls’ is perfectly paced and well-woven with wit and whimsy. It’s part of a series for WIRED imagining the future of work. It’s only wee and worth a read. Also, here is the Androids and Assets podcast talking about the series as a whole.
'Real Girls' is partly a story about talking – or chatting – and the word ‘talk’ lurks behind the title, which recalls both GIRL TALK and REAL TALK. Because of the theme of the series, the title perhaps also recalls WORKING GIRLS. And the title is kind of mischievous – more on that in a moment.
OK, some quick thoughts with mild spoilers. ‘Real Girls’ bristles with zeitgeist like a theme anemone, but maybe its prime frond is (as indicated by its epigraph – “When your robotic lover tells you that it loves you, should you believe it?”) THE LIMITS OF AUTOMATION.
Here’s one common take on the current wave of automation. Robots are capable of many, but not all, of the tasks currently done by humans, and doing them more cheaply. If handled wisely, ‘more cheaply’ could also mean more sustainably, efficiently, reliably, safely, and beautifully. So we can expect permanent, structural technological unemployment, within certain natural limits. But this technological employment won’t really touch sectors where affective or emotional labour is really important. 

In particular (the analysis goes) the heartland of human competence is care work, something robots are just intrinsically terrible at. Then there are the various contested territories of sex work, art, literature, culture, education, and ‘services’ broadly construed, which will all probably see partial automation. We’re not quite sure yet what robots can and can’t do in those zones, but as they gradually come up against more and more natural limits, those limits will determine what human jobs finally remain. 

Then, to soak up the surplus labour, we can expect that these remaining jobs will multiply and transform a bit (see for example the massive shortages of mental health services in the UK currently); that some new jobs looking after the robots will materialize; that all jobs will be more intensively shared (shorter standard hours, plenty of gig work, perhaps supplemented by a Universal Basic Income); that logistics and geographical location will play a greater role in shaping this sharing (see Deliveroo); and that activities previously undertaken for non-monetary reasons will be converted into paid work (e.g. household labour and what is sometimes called ‘socially reproductive labour,’ and aspects of leisure and voluntary activities). You can see this set of assumptions about automation reflected in the way contemporary SF often tantalisingly teeters between its concern with narrow AI and strong AI. It’s like we’re wondering: is strong AI just a jigsaw of narrow AI pieces? Are there some jigsaw pieces in the pile that are intristically human? (See the comments on the trolley problem stories, above).
Some elements of this future narrative are present in Penny’s ‘Real Girls.’ Charlie, the protagonist, is a precarious digital affective labourer, paid to pretend to be somebody’s girlfriend online. But ‘Real Girls’ also has some clever touches, which convey a much more nuanced idea of automation and its relation to human work. For starters, Charlie isn’t really pretending to be somebody’s girlfriend. He is (maybe in more ways than one) pretending to pretend. That is, Charlie is being employed to imitate an AI girlfriend: “a lot of lonely people liked the idea of having a robot girlfriend who was always on call and had no feelings of her own, a remote algorithm that could shape itself to your particular needs—they’d seen it on TV. But the technology just wasn’t there yet.”
This subterfuge is one way ‘Real Girls’ shows us that the uncertainty about what constitutes ‘human work’ isn’t just a phase we’re living through, a question that will eventually be answered. Such questions are a permanent and pervasive feature of contemporary technologized society, where every encounter you have with anybody or anything might have involved automated decision-making somewhere you can’t see. (See Cathy O’Neil’s Weapons of Math Destruction, and a lot of critical data studies). The questions themselves have agency, they do things: you don’t get to the facts by clearing them away, because they themselves are facts.
Likewise, ‘Real Girls’ doesn’t give us a world where machines simply slip into roles previously occupied by humans. The set of available tasks is not some given, transhistorical invariant. As another SF writer, Tim Maughan, has suggested in both his fiction and non-fiction, the assumption that plasticky Christmas tat was probably made by machines is part of what makes it palatable to consumers. If they were to even glimpse the worker who hand-paints thousands of plastic Santa eyeballs each day, they might well forswear that falalala shit for life (or at least go crusty and local with it). In the same tranche of writing, Maughan also looks into the automation of logistics — enormous container ships algorithmically packed and unloaded. So that’s one example of how automation can actually create opportunities for unrewarding and repetitive human toil, rather than replacing it.
More generally, whenever automation enters some sphere of activity, its entry agitates fundamental questions of organisation and purpose – potentially in revolutionary ways, although in practice often in terribly regressive ways. Automation does not replace, it transforms. At the same time, we use residual discourse to construe our new acts: Charlie is a kind of freelance writer, and his friend who puts him onto the job is a kind of jobbing actor. And Charlie’s job – ‘pretending to be a machine pretending to be a human girlfriend’ – exists because of automation, but not in any straightforward way.
(These transformative ripples may reach far beyond the immediate work context. You can easily imagine some guy who would NEVER stoop to having a robo-girlfriend himself, but feels totally legit in comparing his flesh and blood girlfriend unfavorably to the robo-girlfriend he would at least supposedly never have. In this respect ‘Real Girls’ also resonates, for example, with Annalee Newitz’s Autonomous, in which the spread of person-like AI has the unintended consequence of normalizing human indenture).
Charlie’s job is also an example of what Astra Taylor calls ‘fauxtomation.’ Broadly speaking, fauxtomation is just automation that is not all it’s cracked up to be: automation which transforms human labour in ways which fall well short of the hype. One example Taylor offers are automatic check-out machines. This is automation, but it also creates a new form of human labour (as it happens, unpaid, albeit fun and boopy). It also creates a whole new role for a human: the automatic check-out machine whisperer, who must rush back and forth around confirming over-18 purchases, troubleshooting unruly butternut squashes, rebooting the one cranky machine again and again and finally summoning the engineer, etc. Taylor cautions that fauxtomation can reinforce the idea “that work has no value if it is unpaid” and acclimatise us “to the idea that one day we won’t be needed.” Drawing on Ruth Cowan’s work, she gestures to all those household innovations which were supposed to relieve domestic labour in fact “added to the list of daily chores for women confined in the cult of domesticity.” 
Perhaps another example of fauxtomation, even closer to what’s going on in ‘Real Girls,’ is the huge amount of human toil which often goes into training algorithms. For example, a recent BBC article gives a glimpse of a day in the life of a worker for Samasource, whose clients include many big tech names. Brenda is working on a machine vision project: “Brenda loads up an image, and then uses the mouse to trace around just about everything. People, cars, road signs, lane markings – even the sky, specifying whether it’s cloudy or bright. Ingesting millions of these images into an artificial intelligence system means a self-driving car, to use one example, can begin to “recognise” those objects in the real world. The more data, the supposedly smarter the machine.” The invisible labour is bad enough, but why is Samasource headquartered in San Francisco, when its operations are in one of the poorest parts of Kenya? We can trace this moderately exploitative relationship back through history, into the vast web of bloodshed of capitalist colonialist exploitation. Karl Marx liked to think of commodities as the mashed up muscles and nerves of workers. Perhaps when we think of all the conveniences that machine vision can bring, we should think about whose mashed up eyeballs are really doing the looking.

The story is also about the relationship between (to put it crudely) work in the "public" sphere and work in the "private" sphere i.e. housework and cooking. Charlie is kind of a humanised version of the gross deadbeat (ex-)boyfriend, a toxic softboy Becky needs to cut decisively out of her life. They have familiarity and intimacy, and maybe even a faint spark between them -- unless it's a faintly luminous globule of spilled cheese? -- but it seems like they're really just not that into each other. You really suspect that this unsustainable relationship might be underpinned by an unsustainable division of labour, and that Charlie's late rent is only the tip of the iceberg. 

Work always produces (or reproduces) at least two things: whatever you are working on, and you, the worker. Charlie is obviously kind of fallow. He needs to get out more, probably? He's probably depressed in a way that goes beyond (but takes in) having been dumped. So there is a faint hint here of crip labour and crip temporalities. Not that Charlie identifies as disabled or anything, it's more that ... yes, Becky's life is going places and Charlie's isn't; yes, Becky does all the work and mental load of keeping their apartment nice and Charlie is a standard-issue wallowing excrescence of the patriarchy; but at the same time, the story themeatises norms around work, and how working, feeling motivated to work, working in particular roles, and working to particular standards, can be tied up with feelings of self-worth. There's this intriguing moment of spillover, where Charlie's paid digital labour galvanises him into cooking a mac and cheese, so that he can take photo:

In a panic, and forgetting entirely that he could have simply searched for images, he looked up a recipe. Then he got a bit carried away going through the cupboards. The oven was cranky and hard to turn on and he burned himself twice, but the pictures alone were worth it.
Becky rolls in drunk, and is very into this mac and cheese. "Who are you and what have you done with Charlie?" The kitchen is a mess; Charlie winces; Becky tells him she'll clean it in the morning ... and later Charlie thinks back to this as a moment suggesting they might have a future together after all. I'm not sure what to think about that.

Okay, slightly more substantial spoilers now. This is where the mischievousness of Penny’s title comes in. ‘Real Girls’: we might think it’s going to be a story about the differences between real humans and artificial humans. But we also soon learn that Becky “hated it when he called her a girl, even though she was the only girl, The Girl.” Can there ever be such a thing as a real girl, when ‘girl’ itself is an artificial construct? (A construct largely, if not solely, of patriarchy. “You’re real to me,” Charlie murmurs to the sleeping Becky, a sweet but disquieting moment).
It seems like Charlie maybe discovers something new about himself during this story. We’re not sure exactly, since it is done with a skilfully light touch: Penny sensibly resists any temptation for a big, sensationalistic ‘reveal’ regarding Charlie’s sexual desires and sexual identity. But she still gives us a sense of metamorphosis, and the possibility of transformation is mirrored between micro and macro: just as Charlie is always a work in progress, so we will never discover out once and for all what it is to be human.
For a genre so invested in the non-human and the post-human, science fiction also loves to play with definitions of the human. It loves to hone in on some differentia specifica – our capacity to envision, or dream, or laugh, or do really good downward-facing-dog, or grieve, or whatever – that is supposedly what makes us truly human. But these formulae always feel reductive and awkward, like a well-meant compliment from a relative that just shows how little they know you. Humanness is not some kind of empty space left behind once technology has finished colouring in all the reality it can reach. Technology (as Donna Haraway and others have pointed out for ages) has never been opposed to or outside of humanness: it has always been part of humanness. This is something ‘Real Girls’ seems to get: it is misleading to think of automation as having inbuilt limits. Automation is not an unstoppable tide, which is going to wash us clean and show us what we really are. Automation is a high stakes set of political risks and opportunities. The question is never just, ‘Should robots be girlfriends?’ it is always, at least, ‘What is a girl and what is a boy and what is a friend and what is girlhood and friendship and romance and gender and love and sex and desire and how did all these things get to be what they are now and what could all these things be instead of what they are now?’
Fwiw, the post-human romance aspect to Penny’s story also ignited a bunch of associations for me; in no particular order: Jay Owens’ wonderful essay on her friendship with a bot (here on the Vector site); little Robby’s big date in Miranda July’s film ‘You, Me, and Everyone We Know’; the bit in Pride & Prejudice where Elizabeth visits Pemberley and starts to fancy Darcy (in a way which feels uncomfortably mercenary to many modern readers, but is after all an encounter with the post-human Darcy assemblage: his wealth, definitely, but also the taste and sentiment manifest in the landscaping, the rumours of his kindness from Mrs Reynolds); Camilla Elphick et al.’s project Spot, which explores the use of artificial agents in harassment disclosure (and where at least one user reported they were glad the chatbot didn’t attempt to seem empathetic); and various friends of mine who first met and/or got together on the internet. All of these associations, I guess, ways of being anxious for the budding lovers: will Charlie and his Boy get along, now that their technological assemblage has been so radically reconfigured?
Overall, ‘Real Girls’ a wonderfully polished, smart, and timely SF story. Obviously I was intrigued by other stories this story could have been: for example, the one which got more deeply into emergent and speculative sextech, and saw Charlie being invited to control a VR avatar? I also guessed (wrongly) that the Boy would turn out to be a neural network whom Charlie was being paid to train. What does this say about me.

I don’t think this size of story could successfully accommodate it (it's shorter than this review), but it also would have been interesting to explore a hybrid AI-Charlie girlfriend, perhaps leading into more speculation around how automation and AI can be mobilised in making the experience of work more hospitable, exciting, and just generally just; I’m quite interested in Parecon’s concept of “job complexes” — innovative divisions of labour based on ensuring workers are equally empowered — and I hope at least some writers in the Wired series have incorporated some Parecon-ish speculation into their worlds? (Contemporary SF as a whole sometimes feels a bit stuck in the utopian-dystopian axis of the gig economy). And I wondered if the mac and cheese incident could have been tweaked to allow just a teeny smidge more foreshadowing of Becky’s heart still being open to Charlie? But perhaps that would diminish the gentle twistyturniness of the closing moments.
And really: I think this story perfectly accomplishes everything it sets out to do, and perhaps a little extra. I wouldn’t change a thing.

*

And to finish, just because I just read it, and it feels relevant, here is Kim Stanley Robinson, in New York 2140:
At that point, as it turned out, despite the chaos and disorder engulfing the biosphere, there were a lot of interesting things to try to latch that barn door closed. Carbon-neutral and even carbon-negative technologies were all over the place waiting to be declared economical relative to the world-blasting carbon-burning technologies that had up to that point been determined by the market to be “less expensive.” Energy, transport, agriculture, construction: each of these heretofore carbon-positive activities proved to have clean replacements ready for deployment, and more were developed at a startling speed. Many of the improvements were based in materials science, although there was such consilience between the sciences and every other human discipline or field of endeavor that really it could be said that all the sciences, humanities, and arts contributed to the changes initiated in these years. All of them were arrayed against the usual resistance of entrenched power and privilege and the economic system encoding these same, but now with the food panic reminding everyone that mass death was a distinct possibility, some progress was possible, for a few years anyway, while the memories of hunger were fresh.  
So energy systems were quickly installed: solar, of course, that ultimate source of earthly power, the efficiencies of translation of sunlight into electricity gaining every year; and wind power, sure, for the wind blows over the surface of this planet in fairly predictable ways. More predictable still are the tides and the ocean’s major currents, and with improvements in materials giving humanity at last machines that could withstand the perpetual bashing and corrosion of the salty sea, electricity-generating turbines and tide floats could be set offshore or even out in the vast deep to translate the movement of water into electricity. All these methods weren’t as explosively easy as burning fossil carbon, but they sufficed; and they provided a lot of employment, needed to install and maintain such big and various infrastructures. The idea that human labor was going to be rendered redundant began to be questioned: whose idea had that been anyway? No one was willing to step forward and own that one, it seemed. Just one of those lame old ideas of the silly old past, like phlogiston or ether. It hadn’t been respectable economists who had suggested it, of course not. More like phrenologists or theosophists, of course.  
Transport was similar, as it relied on energy to move things around. The great diesel-burning container ships were broken up and reconfigured as container clippers, smaller, slower, and there again, more labor-intensive. Oh my there was a real need for human labor again, how amazing! Although it was true that quite a few parts of operating a sailing ship could be automated. Same with freight airships, which had solar panels on their upper surfaces and were often entirely robotic. But the ships sailing the oceans of the world, made of graphenated composites very strong and light and also made of captured carbon dioxide, neatly enough, were usually occupied by people who seemed to enjoy the cruises, and the ships often served as floating schools, academies, factories, parties, or prison sentences. Sails were augmented by kite sails sent up far up into the atmosphere to catch stronger winds. This led to navigational hazards, accidents, adventures, indeed a whole new oceanic culture to replace the lost beach cultures, lost at least until the beaches were reestablished at the new higher coastlines; that too was a labor-intensive project.