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ARE YOU SAFE? (or <strong>the</strong> occupation of love)<br />

by Shebana Coelho<br />

ACT I<br />

SCENE 1<br />

A pitch dark stage - as dark as you can make it -<br />

slowly lightens <strong>in</strong>to shadows. A dim blue<br />

searchlight roves across <strong>the</strong> stage, <strong>and</strong> <strong>in</strong>to <strong>the</strong><br />

audience, <strong>and</strong> <strong>in</strong> <strong>the</strong> arc of its turn<strong>in</strong>g, it<br />

illum<strong>in</strong>ates a table <strong>and</strong> two chairs. In one chair,<br />

fac<strong>in</strong>g <strong>the</strong> audience is a GIRL, fair-sk<strong>in</strong>ned, <strong>in</strong><br />

her twenties with long black hair. Her h<strong>and</strong>s are<br />

clasped beh<strong>in</strong>d her back, as if <strong>the</strong>y are tied<br />

toge<strong>the</strong>r. But <strong>the</strong>y are not. Her head is lowered,<br />

as if she is sleep<strong>in</strong>g. But she is not. One side of<br />

her face looks discolored, as if she’s wear<strong>in</strong>g a<br />

face mask, <strong>the</strong> k<strong>in</strong>d you get <strong>in</strong> beauty salons. A<br />

MAN, <strong>in</strong> his fifties, sits <strong>in</strong> <strong>the</strong> chair to her<br />

left. When <strong>the</strong> spotlight reaches her aga<strong>in</strong>, her<br />

head sw<strong>in</strong>gs up <strong>and</strong> she opens her eyes.<br />

GIRL<br />

Later, he tells me he knew my name all along.<br />

MAN<br />

Your middle name, to be exact.<br />

GIRL<br />

All it takes is a Muslim <strong>in</strong> <strong>the</strong> middle.<br />

MAN<br />

Naseema, to be exact.<br />

GIRL<br />

Naseema.<br />

11

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