Hannah Khalil - A Museum in Baghdad

A Museum in Baghdad
All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law.
Copyright 2019. Methuen Drama.
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AN: 2473715 ; Hannah Khalil.; A Museum in Baghdad
Account: s3879645.main.ehost
Museum in Baghdad.indd 1 01/10/2019 15:35

Characters
Then (1926):
Gertrude Bell, fifty-seven, from Durham, presently an
archaeologist
Salim, twenty, Iraqi, Gertrude’s assistant
Professor Leonard Woolley, forty-six, British archaeologist
Now (2006):
Ghalia Hussein, fifty-five, Iraqi archaeologist and director of the
museum
Mohammed Abdullah, twenty-five, Iraqi curator
Layla Hassan, thirty-one, Iraqi archaeologist
Private Sam York, twenty-seven, American soldier (from the Deep
South), female soldier
Abu Zaman*, a character who straddles time and space, trying to
affect the future
Nasiya, an Arab woman who is timeless
Notes
The set should be sparse apart from a large glass exhibition case. It is
empty.
In addition, the space should begin sandless but gradually more and
more sand is introduced throughout the play – emanating from
pockets, things being moved, being swept in on people’s feet.
Camera flashes can be just that or could be moments to reveal images
from antiquity or the war that has raged outside.
At certain points denoted with * we have a choral effect using
members of the company who speak in English and Arabic. This
should have the effect of simultaneous translation like a signed
performance, but with language and perhaps movement.
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We are in the Museum of Iraq in Baghdad.
Abu Zaman is on stage flipping a coin (ideally as the audience
enter). When the moment comes he stops and says:
Abu Zaman It’s time
People are conjured to the stage. We are Then (1926), Now (2006),
Later (this could be in 50, 100 or 1,000 years in the future).
The space is filled with dignitaries and perhaps the odd soldier from
Then, Now and Later.
There are three ribbons, three pairs of scissors, three important
people.
Each important person cuts their ribbon.
Important people I officially open this museum.
Abu Zaman* (with chorus made up of Nasiya, Ghalia, Layla)
Again. ‫مرة أخرى‬
Then
The space clears of people and Professor Leonard Woolley and
Gertrude Bell are left.
Meanwhile Ghalia and Layla are in a corner of the space with a
laptop working.
Abu Zaman is fiddling with a coin – he knows he will need it soon.
Woolley You can’t be happy here . . . Surely you’d prefer
to be on site? Up to your elbows in dirt – I know you, Bell.
Gertrude I’m perfectly happy, there’s just a lot to do, but
I’ve my system. Do you think I’ll make it for the opening?
Woolley You, woman, will achieve anything you set your
mind to. But letting the king tell you when to open? I never
thought I’d see the day . . .

4 A Museum in Baghdad
Gertrude It’s not just him. The government too. You know
that.
Woolley You’re not losing your touch are you, Gerty?
Gertrude Careful or I may decide to come back to your dig
at Kish . . . a bird told me there are some lovely artefacts
being found, perfect for my ‘little’ museum.
Ghalia Stupid idiot!
Abu Zaman Another one?
Ghalia Yes – cretins! If you are going to buy antiquities on
eBay at least get an expert to verify it first!
Abu Zaman How much?
Ghalia This h’mar (Looks for his name on screen.), calls himself
‘the appreciator’, just paid a thousand dollars for a fake
cylinder seal.
Abu Zaman Do you follow the real ones or only the fakes?
Ghalia I report the real ones – breaking the laws of
antiquities. I laugh at the donkeys who buy the fakes!
Layla I’m amazed you make the time. The basements are
still in chaos – trying to get a list of everything stolen or
damaged will take a lifetime.
Ghalia These people need to be brought to justice. They
can’t just take what they want. This is our country and we
have to protect it.
She returns to the screen.
Woolley Has he been? The king – seen what you’re doing
. . . how much is left to do.
Gertrude I expect him any day. But I’m not worried – if
you agree to help me plan this place I’ll surely make the
opening in time.
Woolley The question is – what’s in it for me?

A Museum in Baghdad 5
Gertrude The Englishman’s mantra. What do you want?

Woolley Well, once you are open perhaps you’d consider
loaning us a few items? Your goddess for example.
(Indicating empty glass cabinet.)
Gertrude I won’t lend her unless I have it in writing that
she’ll return: I know your ‘borrowing’ and don’t forget the
Iraq laws of antiquities.
Woolley How could I? You and your laws, like a little girl
who changes the rules of the game to suit her.
Gertrude What are you complaining about? Before my
laws you could barely dig here.
Woolley Yes but now you get the pick of the finds.
Gertrude This isn’t about me – it’s about creating unity,
nationhood.
Woolley Isn’t that why we’ve crowned a king?
Gertrude It’s about galvanising an identity for the people
of Iraq.
Woolley Ha! There was no such country till five years
ago –
Gertrude That’s exactly my point.
Woolley From what I hear they don’t think your laws are
stringent enough.
Gertrude Of course they are. What is found in their
country belongs to them. But you lot do need an incentive to
dig in the first place.
Woolley I predict it’ll all be back to the BM in time for tea
when civil war erupts again and they go back to their tribes.
A beat.
Gertrude What do you think, Abu Zaman – as an Iraqi?
Woolley He’s no fool – he knows she’d be safer in Blighty.

Abu Zaman* (with chorus of Ghalia) Safer? ‫أكرث أمانا؟‬

Gertrude Don’t you be swayed by him. Come on let’s do
this the Arab way – maktouba – let’s toss a coin for it.
Abu Zaman Allow me.
He tosses a coin. In doing so he affects the timeline. You can indicate
or mark this ‘magical’ moment in production or not as you see fit.
Gertrude calls ‘heads’. Abu Zaman shows them both the coin –
tails. Woolley is ecstatic.
Woolley Tails! I win! She comes to England!
Gertrude But my statue!
Woolley Ah ah! It’s not yours – it belongs to the ‘people of
Iraq’, remember?
Gertrude Abu Zaman – how could you?
Woolley Don’t blame the poor chap, he can’t control the
toss of a coin –
Abu Zaman She’ll be safer in England – Professor Woolley
said so.
Gertrude If she survives the journey in one piece. She
doesn’t belong there.
Abu Zaman* (with chorus of Ghalia) It’s dangerous? ‫خطر؟‬
Woolley Don’t panic him! Come on, old boy – I’ll give you
the shipping details.
Gertrude But the opening.
Woolley You can keep her for that, Gertie – send her after.
Why are you so upset?
Gertrude I have high hopes for this place. I don’t want you
interfering – it could be a great museum.
Woolley Don’t be a bad loser.
Gertrude First her – what next? It’s a slippery slope . . .
Woolley You could always chaperone her.

Abu Zaman She will be safer in England won’t she,

Professor Woolley?
Woolley Relax, old boy, we treat our treasures with
nothing but respect.
He has gone.
Abu Zaman places his coin on the floor and goes behind the glass to
see what will happen.
Gertrude stands staring at the glass cabinet from one side.
Ghalia’s attention is also captured by it.
We are simultaneously Then/Now/Later.
Abu Zaman goes behind the glass cabinet and looks through it as
though it is a crystal ball – a vision of what’s to come.
Through it he sees Mohammed (Later). He is older. He is smoking
a cigarette – on a break from his work at the museum. He wears a
lanyard around his neck – it says he is the director of the museum.
He holds it and looks at it then spots the coin and bends to get it. As
he does so three masked men enter and approach him. They grab
him, put a pillow over his head and hustle him out of the space.
Abu Zaman bangs his hand on the glass, frustrated.
A camera flashes.
Under the chorus detailed below we see the exact same action of
Mohammed’s kidnap once more played in a clean, matter-of-fact
way.
Then/Now/Later
Abu Zaman* (with chorus)
What if – ‫ماذا لو‬
You could play a moment ‫بِأمكانِ َك ان ت ُعي َّد الل َحظَ َة‬
Again ‫مر ًة أُخرى‬
He tosses a coin.
And again ‫ومر ًة أخرى‬

He tosses a coin.
And again ‫ومر ًة أخرى‬
He tosses a coin.
Torture ‫تَعذيب‬
Unless ‫اال إذا‬
You could unpick the
َ ‫ُي ِك ُن َك ان ت‬
‫ُزيل ال ُغ َرز‬
stitches
Be ready to start again ‫ُنت ُمستَ ِعدا ً أن تَبد َء من َجديد‬
َ ‫وك‬
Try again . . . ‫وان ت ُحاو َِل مر ًة أُخرى‬
Make it better . . . ‫َجعل ك َُل يش ٍء أفضل‬ َ ‫وان ت‬
The past you can’t change ‫ال أ َح َد ُي ِك ُن ُه تَغي ُري املايض‬
But the future . . .
we must all try to make the ‫ِب علينا جميعاً ان‬ ُ ‫ يَج‬. . . ‫ل ِك َّن امل ُستقبل‬
future the best it can be ‫نَج َعل ُه أَفضَ َّل ما ُي ِكن فَمن يَعر ُِف ماذا‬
For who knows what’s to ‫َسيحدُث؟‬
come?
Only a person who predicts
the future.
‫خص الذي يَتَ َنبأُ بِامل ُستَقبل‬
ِّ َ‫ِسوى الش‬
Fatahit Al Fahl – A fortune
teller
What if it was this person’s
‫ ُمعتَ ِم َد ًة ال عىل مرآه‬..‫وماذا لو كانت تِ َلك ِمه َنتُها‬
job – not with a looking
.‫وال عىل ت َعاوي َذ ِسحرية‬
glass or magic but with ِ ‫وإمنا عىل‬
. . . ‫الحسابات‬
calculations.
With knowledge. A
..‫ بكامريا‬..‫ مبيكروفون‬..‫باملعرفة‬
microphone. A camera.
A clear sight of what had
happened in the distant
past, as well as recent ‫واض َح ٍة لِام َحدَثَ يف املايض البَعيد والتاريخ‬
ِ ‫ورؤيَ ٍة‬
history, with an ِ – ‫ وفَهمٍ لطَبيع ِة اإلنسان‬،‫الحديث‬
‫ألمناط ُسلوك‬
understanding of human . . . ‫رش‬
ْ َ‫الب‬
nature – patterns of
behaviour.

In 5, 4, 3, 2, 1 ٥،٤،٣،٢،١
And what if this person was
asked routinely – ‫وماذا لو ُس ِئ َل هذا الشخص بِصو َر ٍة روتينية‬
What do you think will ‫مالذي َسيحدُثُ فيام بعد؟‬
happen next?
And they had to offer up
their thoughts – what ‫ مالذي َس ُيحىك؟‬..‫َرح أفكا ِر ِهم‬
َ ‫وكان َعليه ْم ط‬
would be the text?
A leader gone. ..‫القائِ ُد َسقَط‬
Showers of bombs ..‫أمطا ٌر من القذائِف‬
Playing cards rain down over the stage
Enemies uniting. ..‫تحدّون‬ِ َ‫أعدا ٌء ي‬
People in hiding. ..‫ناس ُمختَبِئون‬ ٌ ُ‫أ‬
The wrong kind of aid. ِ ٌ‫ُمساعدات‬
‫فاشلة‬
Military heroes made. ٌ
..‫أبطال َعسكَريون يُخلَقون‬
Families fled. ‫عائالتٌ هاربة‬
Children dead. ٌ
.‫أطفال َميتون‬
Seas ..‫بحار‬
Bodies ..‫أجساد‬
Perhaps. . . . ‫ُرمبّا‬
All possible.
‫ بالتأكيد‬.‫ك ُُل يش ٍء ُممكن‬
Of course.
But in the end. They won’t ‫ويف النهاية‬، ‫لكن‬
dig down far enough ‫لن يَتَع َمقوا مبا فيه الكفاية‬
Can’t imagine. ِ‫مل يكونوا قادرين عىل ت َخيُّل‬
What’s to come. ‫ما سيأيت‬
What will happen next . . . ..‫ما الذي َسيحدُثُ فيام بعد‬

Now
Layla and Mohammed are working, logging items.
Gertrude writes in a corner.
Private Sam York collects the playing cards from the floor.
York Sure is hot.
A beat.
Like an oven.
Layla Shame your colleagues didn’t realise.
York What?
Layla That while they sat back and watched, the looters
were taking pipes and wires as well as artefacts, making the
building unpleasant for you now.
Pause.
York The director sent me back here. She had to see the
minister. Is there anything you want me to do?
Layla A tank would have been nice. But it’s a bit late now.
A beat.
York I don’t know much about the ins and outs of what
happened here yet, I wasn’t part of the initial force, but I do
know one tank on its own wouldn’t have been able to do
much.
Layla What are you talking about – a huge US tank on the
grass outside would have the same effect as an ugly guard
dog.
York What most civilians don’t realise is a stationary tank is
like a death trap. They have blind spots like a car . . . you
need at least two.
Mohammed (to Layla) You’ve been schooled. By an
American. Ouch!

Copyright © 2019. Methuen Drama. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or
Now
Layla and Mohammed are working, logging items.
Gertrude writes in a corner.
Private Sam York collects the playing cards from the floor.
York Sure is hot.
A beat.
Like an oven.
Layla Shame your colleagues didn’t realise.
York What?
Layla That while they sat back and watched, the looters
were taking pipes and wires as well as artefacts, making the
building unpleasant for you now.
Pause.
York The director sent me back here. She had to see the
minister. Is there anything you want me to do?
Layla A tank would have been nice. But it’s a bit late now.
A beat.
York I don’t know much about the ins and outs of what
happened here yet, I wasn’t part of the initial force, but I do
know one tank on its own wouldn’t have been able to do
much.
Layla What are you talking about – a huge US tank on the
grass outside would have the same effect as an ugly guard
dog.
applicable copyright law.
York What most civilians don’t realise is a stationary tank is

like a death trap. They have blind spots like a car . . . you
need at least two.
Mohammed (to Layla) You’ve been schooled. By an
American. Ouch!
EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 2/16/2021 6:37 AM via UNIVERSITY OF
SOUTHAMPTON
Account: s3879645
Layla Well, then, two would have been nice.

York And infantry as well – and once you get infantry you
get a big shoot-up and I can tell you for nothing this here
museum’d be a big old pile of rubble if that had happened.
Mohammed At least this historic building is still standing.
Layla looks annoyed.
Layla Historic building!
York has collected all the playing cards and lays them out on the
floor for a game of patience.
They continue their individual tasks in tense silence.
Pause.
York Hey, awesome.
A beat.
Mohammed I’ll bite. What is so awesome?
York I just saw this mask in the amnesty room, someone
brought it back.
She shows him a picture on the back of one of her playing cards.
Mohammed The mask of Warka.
York She made it home.
Layla One of the first representations of a human face . . .
amazing she came back – there are some who would call her
sacrilegious.
York She looks perfect to me
Layla Depictions of beings with souls are haram.

Mohammed Forbidden – but only crazy zealots think that
...
Layla How do you know I’m not one of those?
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Mohammed I know. (A beat.) I heard they were giving you

cards with sites and artefacts on – I never saw them – can I
look?
York Sure – let’s play. You know rummy?
Mohammed Rummy?
York It’s easy, I’ll teach you, you need seven cards –
Mohammed I know how to play.
York Fine, I’ll deal.
Mohammed I’m at work.
York Me too – come on – lighten up. Don’t you wanna see
the cards?
Mohammed Alright.
York Shall we make it more interesting?
Layla Now she’s trying to hustle you.
York I am not – forget it.
Layla He’s got no money – we’ve not been paid for
months.
York Well, why’d ya come into work then?
Mohammed Because it’s my job.
They begin to play.
York Can’t imagine that happening back home. If people
didn’t get paid they wouldn’t go to work.
A beat.
You folks should get paid extra – danger money in this
place. It’s not even safe to get up in the morning. I don’t feel
safe in a Humvee so what you civvies must feel like –
Layla Your concern is touching.
Mohammed begins to laugh.
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York What’s so funny?

Mohammed ‘Drive around – not over – archaeological
sites.’
Layla Isn’t that common sense? Or don’t soldiers get that
in their basic training?
York Hey, we don’t have things that old in the States.
Mohammed Look, Layla! A picture of the Statue of Liberty
saying ‘how would you feel if someone stole her torch?’ – it
doesn’t even come close.
Layla Let me see.
He shows it to her.
York (to Mohammed) We’re supposed to be playing a game
here. You don’t know the rules at all – do you?
A beat.
York Well, if you don’t want to play nice, I guess I’ll have to
do it by myself
She lays out the cards for a game of patience and begins to play.
Gertrude is showing Salim the method of logging with enthusiasm.
Gertrude So this is my plan: every object must have a
running museum number besides its number in its
particular room – the latter for making a catalogue easily
usable by the public. As yet we have only the excavators’
numbers, Ur 1 to 4,000, say, and Kish ditto; while objects
that don’t come from an excavation – like these wonderful
things – have no number at all. The new arrangement will
be chronological not geographical except in the downstairs
rooms where all the big, heavy stone objects, too heavy to
carry upstairs, will stand – a Babylonian room, an Assyrian
room and an Arab room are what we begin on downstairs
when the necessary fittings are made. Do you see? Tell me if
it’s unclear.
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Salim I understand. And this is your system?

Gertrude It is. I borrowed from another I set up in France
during to the war to help trace the missing and wounded.
Strange there should be an overlap here – one about
burying, the other digging up the past. But it’s satisfying
isn’t it – bringing order where there is none . . .
Salim The Assyrian kings had foundation stones for their
palaces on which their achievements were inscribed. I’d
suggest we had one made listing your achievements to go
under the museum, but I don’t think we’d be able to find a
stone big enough.
Gertrude You flatter me. I foresee that I shall make
innumerable mistakes and that I shall be very boring about
museums for some time to come! You mustn’t let me bore
the king when he comes. I can get carried away.
Salim The king is coming? Here?
Gertrude Yes, so we’d better get on.
They fervently return to their work.
Mohammed watches York.
Mohammed Do you think those cards worked?
York I dunno, but I sure like them better than the last ones.
Mohammed Naked ladies?
York Nope, the top fifty most-wanted Iraqis. It’s hard to
keep a poker face with Chemical Ali leering at you.
Mohammed So you’d know Chemical Ali would you – if
you saw him?

York I reckon so.
Mohammed Describe him.
York Why?
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Mohammed I’m just interested to know what the image on

the card looked like.
York He was king of spades.
Mohammed Is that all you remember?
York No, he just looked like an old man, with grey hair and
a moustache. He was wearing a suit and tie and his mouth
was open so you could see his bottom teeth.
Layla Sounds like a million other Arabs.
York It’s hard to describe, but I can see the picture in my
head.
Mohammed Clear enough to be sure? So if you saw him
you’d know it was him, not just another innocent Iraqi with
a moustache.
York Sure. I’m not just going on the moustache thing. You
guys have all got those.
Mohammed That’s what worries me.
York I have had a whole bunch of training you know.
A beat.
What are you two so pissed at me about?
Layla Look around.
York The Iraqi army used this as cover – not us.
Mohammed You just shot at it.
York I wasn’t even here then.
Ghalia enters – she is in a foul mood.
Ghalia And you may as well not be here now if you just
came to play cards and distract my staff from their work,
they’ve a lot to do. You’re supposed to be helping. I’ve seen
no evidence of that so far.
York Yes, mam, no, mam.
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Ghalia Go down, the basement and help Abu Zaman

clear up.
York goes to leave but stops.
Ghalia Well? What are you waiting for?
York The basement door.
Ghalia What about it?
York Where is it, mam?
Ghalia Don’t you know yet?
York I don’t have a great sense of direction . . .
Layla Oh for goodness sake, come on – I’ll show you.
The two women exit.
Ghalia slams around a bit.
Mohammed What’s the matter? The soldier said you went
to see the minister.
No answer.
Did something happen?
Ghalia You knew didn’t you? You could have warned me.
It put me on the back foot entirely. I didn’t have an argument
ready. I suppose you wanted that though didn’t you?
Mohammed What do you mean?
Ghalia We’ve only a few weeks – it’s impossible
Pause.
The opening.
Mohammed Oh that.
Ghalia Yes that.

Mohammed It’s not a big deal, it’s just a soft opening for
journalists, show them we are doing something. Give them a
taste that this museum is going be great again, able to rival
anything in the West.
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A beat.
Better than the British Museum.
Ghalia I’m the director – I should decide when we open.
Mohammed It’s just a couple of rooms.
Ghalia This place will be great. I believe that. It’s why I’m
here. But we shouldn’t rush. The minister doesn’t seem to
get it.
Mohammed My uncle just wants things back to normal.
Ghalia Denying the reality of the situation won’t do that. It
will only put everything in jeopardy.
A beat.
But no one will listen to me. Can’t you speak to your uncle,
put him off, just for a few months till we see how the security
situation pans out?
Mohammed It would be pointless, his mind’s made up.
Besides, I think it’s a good idea. Don’t worry – you need to
be more Iraqi about things.
Ghalia I am Iraqi.
Mohammed I didn’t say you weren’t.
Ghalia What did you mean then?
Mohammed You have to pick your battles here . . .
They continue to work.
Then
Gertrude works on an article. Abu Zaman enters.
Gertrude Has someone come?
Abu Zaman No. Are you expecting?
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Gertrude Nothing concrete. My mind keeps wandering

from the task at hand. I’m trying to devise a clever premise
for a Illustrated London News article. They’re publishing piece
after piece about Woolley’s exploits in Ur – do you see? (She
proffers article.) But nothing about this. Us. Here. The
Museum. I want to change that. (She looks at the goddess.) If
only she could talk. Give them a real story.
Abu Zaman Maybe she can.
Gertrude What do you mean?
Abu Zaman holds out a hand to help her climb on to a stool so it is
as if she is a goddess on a plinth.
Gertrude Don’t be silly.
Abu Zaman Tell us about your journey – how did you
come to be in Iraq, El Khatoun . . .
A beat as Gertrude decides whether to play this game. She
reluctantly stands on the stool.
Abu Zaman I trust the journey wasn’t too arduous.
Gertrude Arduous? They put me in a bloody rucksack!
Some oaf called Smith bumped me around like a common
piece of baggage . . .
Abu Zaman You seem to have survived unscathed.
Gertrude I’m rather resilient. I am thousands of years old
you know.
Abu Zaman How is the view from up there? It’s slowly
coming together. Piece by piece. They’re slowly beginning to
understand how important this is. How important you are.
Gertrude I am important. They set me an impossible task

– an unwinnable game. Yet I’m winning.
Make a country. What did they all have in common? Not
language. Not tradition. No. But the past. Immovable,
intractable, unchangeable history.
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A nation needs to be able to look into the eyes of the past

and understand where they come from. What legacy they
carry in them. And what a legacy – one of the first
civilisations. While palaces, laws and complicated
administrative systems were being built here, bronze age
Britain was grappling with basic pottery. Every Iraqi should
know this. Feel absolute pride.
Abu Zaman (holding up a cylinder seal) From these small
seeds mighty trees can grow . . .
Gertrude Exactly – I need to remind them of their past –
so they carry it with them into a future where this nation
regains its place as the most important in the region, if not
the world . . .
She becomes self-conscious.
Though – I don’t think I can put it quite like that for the
Illustrated London News . . .
Salim enters holding a brown box as Gertrude steps down from
the chair.
Gertrude Abu Zaman, will you order those seals for me –
chronologically . . . (Seeing Salim.) Aha. How is the labelling
coming along?
Salim Like counting grains of sand. This was delivered
for you.
Gertrude From the palace? At last!
Salim hands her the box. It has an object wrapped in paper that has
a word written on it in Arabic script.
Gertrude (reading) Melagit? ‘Not found’? What does it
mean, Salim?
Salim I don’t know, Miss Bell.
Gertrude Not from the king then . . .

He watches as Gertrude carefully unwraps the item. It is a
magnificent crown, bejewelled and breath-taking. They both stare
in wonder.
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Account: s3879645
Gertrude Look at this crown, Salim . . . it’s beautiful!

Magical!
Salim It is, Miss Bell.
Gertrude And someone just brought it here, handed it in,
just like that.
Salim This is where it belongs.
Gertrude What wonderful people. What a place.
Anywhere else they’d have kept it – but not here.
Salim If they’d kept it it would have come back later,
another time. Everything eventually ends up in its rightful
place, don’t you think?
Abu Zaman sees the crown and smiles.
Abu Zaman Melagit.
Salim What is it amu?
Abu Zaman It’s a tradition. After any heavy rain when the
earth washes away from the surface of ancient mounds,
exposing archaeological objects, the locals in the area
surrounding these mounds pick whatever the earth has
given up: Melagit. Beads and cylinder seals made from
semi-precious stones, carnelian, onyx or lapis lazuli. But I
have never seen something so beautiful as this come to light
. . . These objects are considered to have magical powers, a
good omen. They are meant to be a promise of marriage,
children.
Salim It’s good luck, then, a marriage – how wonderful!
A beat.
Gertrude I have been in Baghdad all this time, and Basra
before that. I’ve travelled across the desert, been to Syria and
Palestine. Ana ahchi kl allahjat al arabiat wal farisia [I speak
every dialect of Arabic and Persian]. What’s more I’ve seen
more archaeological sites than Salim’s had hot dinners and
yet I have never heard this tradition. How is that possible?
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Account: s3879645
Abu Zaman There are many rituals and sayings –

hundreds for each tribe. Every time someone new invades
new traditions appear, we adapt, things change a little. You
could never learn them all, you’d have to live through it all
. . . it would take several lifetimes, being born again and
again –
Abu Zaman* (with Nasiya who speaks in Arabic) You’d have
to live for ever. ‫يجب أن تعيش إىل األبد‬
Gertrude Impossible – when there are so many ways to
die. Pneumonia, typhoid, bullet to the heart, drowning,
suffocating, being buried alive.
A beat. She realises they are looking at her as she is gripping the
crown very tightly like she might damage it.
Abu Zaman Let me put that back in the box for
safekeeping, Miss Bell.
Gertrude Thank you, Abu Zaman. You’re like an old tree,
or, like one of our pieces of antiquity here – isn’t he, Salim?
Perhaps you should be the next director of the museum,
Abu Zaman.
Abu Zaman Oh no.
Gertrude Why not? You know more about these things
than anyone.
Abu Zaman Such positions are for the likes of you, Miss
Bell – I’m an Arab. An ‘Iraqi’. For now.
A beat.
It takes one a little while to get used to one’s new hat. The
most important thing is to remember what colour your hair
is underneath.
Gertrude Is that an old Arab saying?
Abu Zaman No but it should be, don’t you think?
Salim smiles.
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Account: s3879645
A beat.
Gertrude I’ll never get to the bottom of all this will I / –
won’t dig down far enough.
Abu Zaman / If you dig down far enough.
Salim I’m sure there are many English traditions we will
never understand. I can never remember when to put the
milk in tea – our tea is much simpler, just with cardamom.
Gertrude I prefer it like that.
Abu Zaman We all drink it the same way.
Salim mimes drinking tea from a china cup with his pinky up.
Gertrude smiles.
Salim Shall I make some for you?
Gertrude That would be very nice. Thank you.
Salim goes to make the tea.
Gertrude (indicating crown) That thing may well have
magical powers, it has me under its spell . . . thinking
strange thoughts . . . You’d better take it and lock it away
somewhere Abu Zaman, till we can get a display cabinet
that’s secure enough to hold it. The broom cupboard has a
lock doesn’t it? It seems sacrilegious but it will have to do.
Abu Zaman Don’t worry – I know where it will be safe
He takes the box and removes some letters from his pocket.
These came for you.
Gertrude Wonderful! Just what I’ve been waiting for!
Thank you.
She opens a letter and begins to read. It annoys her and she puts it
down. She stares into space considering the letter’s contents.

Abu Zaman Not what you were hoping for?
Gertrude I’m waiting for news from the palace, instead all
I get is requests to go back there.
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Account: s3879645
Abu Zaman To England? I didn’t think you took orders,

Miss Bell.
Gertrude It’s always useful to know what people want you
to do when trying to make a decision.
Abu Zaman So you can do the opposite?
Gertrude Sometimes.
A beat.
Now
Layla has returned. Ghalia is working on her computer.
Abu Zaman Your office would be cooler.
Gertrude/Ghalia I prefer to be amongst the artefacts –
that’s why I’m here.
Abu Zaman (proffering box to Ghalia) This was left for you.
Ghalia Thank you. Who by?
Abu Zaman I don’t know.
A beat.
Aren’t you going to open it?
Ghalia Later – I’m busy.
Abu Zaman It could be important.
Ghalia This is important
Abu Zaman More fakes?
Ghalia No, an authentic seal. I’m emailing to report it.
A beat.
Imagine the hands that seal has passed through. What it’s
seen – an invaluable tool which was in the ground for 5,000
years, then carefully excavated, put in a museum and
admired before being grasped by greedy hands and
exchanged for cash. Dealers stood outside those doors with
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Account: s3879645
price lists of how much they’d pay on their car. They let the
thugs do the smashing. And they smuggled the pieces to the
States. Or Europe. It’s sickening.
Abu Zaman There are thousands of those seals out there,
you can’t find every one.
Ghalia I know, but cylinder seals are my speciality –
without them what am I?
Abu Zaman A camel without a desert.
Ghalia Exactly.
Ghalia/Gertrude Will you set up a meeting with the chief
of police?
Abu Zaman nods.
Gertrude We need to ensure everything on display for this
ludicrous opening is secure.
Abu Zaman Bil khidme.
Gertrude is looking at the glass cabinet.
Gertrude/Ghalia Thank God she’s not damaged.
(Indicating the invisible statue.) So beautiful.
Mohammed Beautiful but heavy – I nearly got a hernia
lifting her into that case. (To statue.) No more baklava for you
young lady – diet time.
Layla smiles.
Ghalia She’s very important, don’t mock her!
Mohammed I’m only joking.
Ghalia It starts with teasing and disrespect and ends with
battery and destruction.

Layla That’s quite a leap . . . What’s the matter?
Ghalia I knew what to expect here but it’s still a shock. It’s
like a rollercoaster – you must have ice water running
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Account: s3879645
through your veins to take it all in your stride. Every time I

see something that has been destroyed it’s like a knife in my
flesh. Doesn’t it break your heart, Layla?
A beat.
Layla There are bodies in the streets. It puts broken
statues into perspective.
A beat.
Ghalia Your brother. I’m sorry.
A beat.
Layla Besides – one piece on its own means nothing. It
needs to be in context.
Ghalia Such an archaeologist.
Mohammed You’re both archaeologists.
Woolley enters and looks at the statue in the cabinet.
Woolley There she is.
Ghalia But Layla is a purist – she believes artefacts should
be left where they are found, experienced in that context.
Taking them out of the ground is probably a step too far.
Mohammed What?
Layla Well it’s too late now – they have been dug up. But
they won’t survive. Gradually eroding –
Woolley I’m not sure she’s happy here.
Gertrude (indicating glass cabinet) It’s where she belongs.
Layla Now they’re above ground they should be where
they belong, where they were found as part of a community

museum – not this globalised, commodified, Western version
of a museum, shaping historical narrative in the way that
suits those in power. Artefacts as trophies.
Mohammed I love it when she gets all academic.
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Account: s3879645
Woolley She’d look better in a nice secure display cabinet

at the British Museum. I’m glad you got her back in one
piece. I heard Smith carried her in a rucksack.
Gertrude That’s a lot of tosh. You should not listen to
rumours, Len – she was carefully wrapped in a trunk. I
wouldn’t be so careless.
Woolley Who’ll see her here though eh? Goddesses are
for worshipping.
Ghalia You’d prefer to leave them in harm’s way? No. She
should be locked in the basement where she will be safe and
secure.
Mohammed Next you’ll say she should be back at the
British Museum. But people must see her – here. We want
this to be a tourist destination! Change the way people think
about Iraq! Layla – help me.
Layla Help you?
Woolley Let me take her to safety.
Mohammed To convince her not to lock the goddess up
– we need her! For the opening!
Layla She has no business being in Baghdad. This isn’t
her home.
Gertrude It’s out of my hands. It’s the law.
Woolley You made the law, you can break the law . . .
Ghalia She’s been here since the original opening, bar a
loan to the British Museum . . .
Mohammed It’s amazing they ever let her come back.
Layla That woman. She was obsessed with the Western

version of museums. Too many artefacts were taken from
their rightful places. Half of everything went to the people
who organised the dig as payment. I.e. the West.
Ghalia Half of it stayed here. She was groundbreaking.
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Account: s3879645
Layla Nonsense. What about Egypt?

Ghalia What about Egypt?
Gertrude Would you rather we adopted the Egyptian laws?
Woolley Native inspectors? Nothing allowed out of the
country? NO, THANK YOU.
Ghalia Many items were ruined there because the locals
didn’t have the expertise to dig and preserve properly.
Layla Say what you like – that woman was out for her
own ends.
Ghalia Without ‘that woman’ there’d be no museum.
Gertrude Bell did everything she could to keep artefacts in
Iraq.
Layla We were better off with the Ottoman laws. Duplicates
were all that was allowed to be taken then. She basically put
herself in charge and shared the spoils with her mates.
Ghalia Without Western expeditions nothing would have
been safely excavated.
Gertrude Stop staring at her and make yourself useful
– check my cylinder seal groupings are right before we put
them in the cabinet.
Ghalia If it weren’t for her all these things would be in
London or New York or Berlin.
Layla They are.
Ghalia No we have a museum in Baghdad despite
everything.
Mohammed Exactly, and people should know about it, that

this is the greatest museum in the world, or will be . . . if the
artefacts are all locked up it’s no better than under Saddam.
Ghalia What happened here must never happen again.
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Account: s3879645
Layla I’m telling you there is much much worse than the
looting to come . . . Besides, broken statues have their place
too. A reminder. Attempting to mend them, make them look
new is a form of cover-up.
Mohammed Layla, you aren’t helping my argument. Come
on – I can get a better glass cabinet – reinforced – from my
cousin in Najaf. Then she’ll be safer.
A beat.
The world should see her.
Ghalia Bring the case, then. I’ll get Abu Zaman to look at
it. But I’m not promising anything.
Then/Now/Later
What if – ..‫َماذا لو‬

There was a group of
‫كانت هُناك مجموع ٌة ِم ْن النسو ِة‬
ْ
women
You might call them a tribe ‫ممكن أ ْن ت َُس ُّم َن ُه َّن قبيل ًة‬
Who lived in isolation ‫ِعش َن يف ُعزلة‬
Solved problems ‫املشاكل‬
َ ‫َو َحللْ َن‬
Documented their findings
‫و َوث َ ْق َن نتائج ُه َّن بالقلم‬
in writings
Discovered medicines and ٍ
ْ ‫وعالجات مل ت‬
‫ُعرف بعد‬ ‫أكتَش ْف َن أدوي ًة‬
cures as yet unknown
Could hear the Earth’s ِ ‫يَ ْس َم ْع َن لغ َة‬
‫األرض َويَ ْف َه ْم َنها‬
language understand her
Of course they needed men ٍ ‫لغرض‬
ٍ ‫وكُ َّن يف حاج ٍة إىل رجا ٍل‬
‫واحد ال غري‬
for one particular task

But in that eventuality all
‫ك ُُّل ما كا َن علي ِه َّن ِف ْعل ُه ه َو الطلب‬
they had to do was ask
Their role fulfilled the men
ُ
‫الرجال بدورِهم ت َ َّم َصف ُهم‬ ‫وبع َد ما قا َم‬
were dismissed
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Account: s3879645
The women could return to

‫ات عىل العود ِة إىل َحياتِ ِه َّن‬
ٍ ‫كُ َّن قا ِدر‬
their lives
But soon the men grew
‫واعتَضوا‬ ُ
َ ‫الرجال‬ ‫ارتاب‬
َ ‫ولك ْن ُسعا َن ما‬
suspicious and raged
They didn’t like being on
‫َس ِئموا البقا َء يف الخارج‬
the outside
They agreed that the time
had come to unseat these ‫َوات َفقُوا عىل اإلطاح ِة بهؤال ِء النسوة‬
women
Clearly the only way to do
‫وما ِم ْن طَريق ٍة لفعلِ ذ ََلك اال بِقتلِ ِه ّن‬
that was to kill them.
So they stole into the tribe ِ ‫لِذا ت ََسللَّوا إىل القبيل ِة يف َج‬
‫وف الليل‬
in the dead of night
And set everyone and
‫و أَ ْح َرقوا ك َُّل يشء‬
everything alight
The smell of burning hung
ٍ‫وبَقيَ ْت رائح ُة االحرتاقِ ت َحو ُم يف الهوا ِء لِع َّد ِة أيام‬
in the air for days
No woman survived, the
ْ ‫أي آمرأة وأُل‬
‫ْقيت ال ُجثَثُ يف ق ٍرب‬ ُ ‫لَ ْم ت َ ْن ُجو‬
bodies dumped in a grave
The children they spared,
‫ وأخَذوهم َم َع ُهم اىل بال ِد ِهم‬،‫لَ ْم يُؤذوا األطفال‬
and took back to their land
They never told them of
‫مل يخربوهم أبدا ً عن تاريخهم‬
their history
And so those children – the
‫ الفتيات‬-‫وهؤال ِء األطفال‬
girls
Grew up into women in this
‫أصبَ ْح َّن نسا ًء يف هذا العا ِمل الذكوري‬
masculine world
They followed the rules ‫اتَب ْع َن القواعد‬
Because the truth about

‫ألنَّه َّن لَ ْم يَعرفْ َن الحقيق َة َع ْن ماضيه َّن‬
their past they never knew.
Not of the tribe who had
changed the world for a ِ
‫الوقت‬ ِ َ‫وال َع ْن القبيل ِة التي غ َّريتْ العامل‬
‫لبعض‬
time
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Account: s3879645
Although many of these ‫عىل الرغمِ من أ َّن هؤال ِء النسو ِة الشاباتُ غالباً ما‬
young women would often
ً‫يَتَح َّرقْ َن شوقا‬
pine
For what, they weren’t
‫إىل يش ٍء لَ ْم ت َ ْف َه ْم َنه‬
entirely sure
But their feet would carry
‫لك َّن أقدا َم ُه َّن َستَحملُ ُه َّن‬
them
Into the woods to a
..‫ إىل مكانٍ ُمحدد‬،‫إىل الغاب ِة‬
particular place
They never knew why they
‫سبب تواج ِِد ِه َّن يف هذا املكان‬
َ ً ‫مل يعرفن َ أبدا‬
were drawn to this space
But the terrible truth they
‫ولك َّن ُه َّن لَ ْم يَعرف َن الحقيق َة املأساوي َة‬
did not know
Was that their history was
‫أسفل‬
َ ‫إ َّن تاري َخ ُه َّن‬
deep below
Their feet ‫أقدا ِمهِن‬
Burned and buried with
.‫محروق و َمدفو ٌن م َع أمهاتِهِن‬
ٌ
their mothers.
Forgotten .. ِ‫طي النسيان‬
ِّ ‫َويف‬
Then
Woolley looks up from his work.

Ghalia exits at some point in this section.
Woolley Before I forget – I have news – from the caliph.
Gertrude You mean His Highness King Faisal. He’s sent
word with you? Why didn’t you tell me sooner?
Woolley Slipped my mind.

Gertrude I’ve been expecting him to come and see my
progress.
Woolley Kinging is a weighty business.
EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 2/16/2021 11:08 AM via UNIVERSITY
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Account: s3879645
Gertrude Perhaps he wants it to be a surprise. At the

opening.
Woolley Perhaps he’s busy with the ruminations of
monarchy –
Gertrude You don’t need to tell me – I’ve sat by him and
helped him draw up laws on oil concessions, medical
practices, dredging the river, and more. I was intimate with
every stitch of this young country’s vestments. But now . . .
A beat.
I wish the king would invite me to majlis as he used to. I
never know what’s going on in the cabinet these days and I
have an uneasy feeling that no one is controlling things.
Woolley There’s the king.
Gertrude What’s a king without his advisor?
Woolley He has advisors.
Gertrude His English one.
A beat.
What did he say?
Woolley The usual niceties – asking about my dig. Very
polite as he doesn’t have the first idea.
Gertrude What else?
Woolley Talk of the weather – the floods.
Gertrude Yes, and?
Woolley The general strike at home.

Gertrude Tell me what he wants, you awful man!
Woolley Ah, yes, well, he said there’s something important
he wants you to do.
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Gertrude I knew it! They want me to negotiate with the

Turks about the oil fields don’t they – I was surprised they
didn’t ask me in the first place. I’ll message the maid to pack.
Woolley No, no, Gerty, not that – that’s in hand. No it’s
about this place.
Gertrude Oh.
Woolley I wonder if I should tell you – now I’ve been here.
Gertrude What’s wrong with it?
Woolley Nothing – but you’ve still such a lot to do.
Gertrude I have time.
Woolley He asks if you can do it by 14 June?
Gertrude Do what?
Woolley Have it finished –
Gertrude That’s just a few weeks away.
Woolley He thinks it’s important – let the people know we
are doing something . . . that sort of thing. He will come. Cut
a ribbon, make a speech –
A beat.
You’ll have to tell him no.
Gertrude Out of the question.
Woolley Quite – too much to do.
Gertrude No, it’s out of the question to say no – he’s right
of course, it’s important – let the people know we are doing
something . . .
A beat.
Faisal sent no letter to me?
Woolley No. Just the message. Open the museum. Then
your work here will be done.
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Account: s3879645
Gertrude Is that your opinion – or his? Besides – it will

never be done.
Woolley Well, then, you can pass on the mantle as
planned. I must go, I’ve a report to write on Ur for the BM
– wretched white ants ate my first effort. We’ve all got
responsibilities back in Blighty, eh?
A beat.
You really think you can do it – the 14th?
Gertrude Len, the museum is a life-long task, but I know I
can make the Babylonian stone room ready for an opening,
make the king proud, remind him what I’m capable of. The
rest of the museum will take much longer to be finished. Just
logging these items is taking for ever, though my system is
good. It’s all rather Sisyphean – and the rooms upstairs look
like a bomb site –
Woolley Archaeological site surely. Let’s not conjure more
wars, Gerty . . .
Now
York I’ve done a bad thing. I need to tell someone about it.
Layla appears as if summoned.
York That mask got me thinking. The Warka one . . . that
came back.
Layla Look I’m not really qualified – you should speak to
the director or don’t you have counsellors at your base or
something.
York Oh not that kind of bad thing, it’s to do with an
artefact.
Layla Something stolen? Go on.
York Well, in my first week here I was patrolling on the
Friday, on Mutanabi Street, and I came across the book
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Account: s3879645
market there, what an incredible sight, as if the street was

paved with books, and cars covered in books too and people
all gathered around reading – not buying just reading like
they were eating up the pages . . .
Layla They can’t afford to buy.
York I guess not, but it was amazing, all these people and
they reading and these books, and as I walked I saw one guy
with these beautiful maps. Maps of the Mid East with Arabic
writing marking different places, archaeological sites, cities,
the rivers, so decorative . . . He saw me looking and called
me inside the shop. I thought he wanted me in a
professional capacity – you know as a solider. I didn’t think
he’d try and sell me anything. But he got out this map, this
amazing map. And he said it was one of the first maps of
Iraq, just after it became a country over eighty years ago,
that it belonged to the first king, King Faisal, and then was
given to the National Library where it hung until the war.
He said he could see I’d take care of it, make sure it got a
good home in the States, was displayed somewhere, he
didn’t want it to get destroyed here –
Layla How much did you pay?
York Five hundred dollars . . . I couldn’t help myself, it was
so beautiful, it seemed like the right thing to do – to save it.
A beat.
But pretty quick I knew it was wrong, what I done. And
when I heard I was getting posted here to the museum it
seemed like fate – you know, I could return it. Thing is, if my
commanding officer found out – well, I’d get in some hot
water you know, we’re not supposed to buy stuff like that.
Layla Where is it?
York Here . . .
She takes it out and gives it to Layla.
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York I thought maybe you could take it – say it was handed

in anonymously. So many things are being handed in every
day – no one needs to know.
Layla I could do that –
She is studying the map.
York I’d appreciate it – it’s been on my conscience since I
bought it.
Layla Really? After all the things that you must have seen
and done this has been on your conscience?
She smells the map – York looks bemused.
York Sure. Civilians don’t get it, but it’s different when you
are told to do something, it’s sort of not you, you know –
even the really bad stuff. But that, that’s something I chose
to do, myself, I have to take responsibility for it.
A beat.
Layla hands the map back to York.
She takes out a camera.
York What are you doing?
Layla Photo for posterity. Then you can have it back.
York Huh?
Layla It’s a fake.
She takes a photo and there’s a flash.
Abu Zaman holds the coin up to the light examining it for dirt, then
wipes it on his clothes to shine it.
Abu Zaman If only every problem was so easy to solve
Then
Gertrude The Englishman’s mantra. What do you want?
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Woolley Well, once you are open perhaps you’d consider

loaning us a few items? Your goddess for example.
Gertrude I won’t lend her unless I have it in writing that
she’ll return: I know your ‘borrowing’ and don’t forget the
Iraq laws of antiquities.
Woolley How could I? You and your laws, like a little girl
who changes the rules of the game to suit her . . . anyway I
predict it’ll all be back to the BM in time for tea when civil
war erupts again and they go back to their tribes.
A beat.
Gertrude What do you think, Abu Zaman – as an Iraqi?
Abu Zaman Maybe things would be different – better if she
stayed here . . .
Gertrude Tell you what. Let’s do it the Arab way – maktouba
– let’s toss a coin for it.
Abu Zaman Allow me.
He tosses a coin. Again he affects the outcome and this can be
marked or not in production at the discretion of the creative team.
Gertrude calls ‘heads’. He shows them both the coin – heads.
Gertrude is ecstatic.
Gertrude It’s heads! I win! She stays!
Woolley Show me that coin!
He inspects it – it isn’t a trick one.
Gertrude She stays with me.
Woolley With the ‘people of Iraq’ you mean. I was sure I’d
win – like I’d dreamt it before . . . Why do I feel I’ve been
had, Abu Zaman?
Gertrude Don’t blame the poor chap, he can’t control the
toss of a coin –
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Abu Zaman She’ll be safer here – won’t she? Where she

belongs.
Woolley As long as the Iraqis aren’t revolting . . . and I’m
afraid they are.
Gertrude Professor Woolley!
Woolley What? It is less than a decade since the uprisings
here – the Iraqi revolution – and the only way we quashed
that was with air power.
Abu Zaman You predict another civil war, Professor
Woolley?
Woolley Look around, man. The tribes are twitchy –
Sunnis, Shias, Kurds, Jews – all vying for supremacy.
Imagine taking an Englishman, Scotsman, Welshman and a
Paddy – telling them they are one family – making them
share one house and locking the door on them. Go back in a
week and they’ll each have barricaded themselves in a room
– the English in the drawing room, Scottish in the bedroom,
Welsh in the kitchen and the Irish in the latrine. And when
the Welshman kindly asks if he can use the facilities the
others will barge into the kitchen, devour the luncheon
meat, pour flour all over the floor and destroy every plate in
the house. The Welshman will be cleaning for a week.
Abu Zaman looks worried.
Gertrude Ignore him, he’s just a sore loser.
Abu Zaman But we want our plates intact – our flour in the
jar! What would no kitchen mean for the future of everyone?
With no kitchen . . .
Woolley No one gets to eat.

Gertrude For goodness sake.
Abu Zaman But if things were changed. If she (the statue)
stays here. Educates people – things might be different . . .
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Abu Zaman* (with chorus of Nasiya/Salim)

The future might be better ‫قد يكون املستقبل أفضل‬
Woolley You can’t change the future old boy.
Abu Zaman You are wrong, Mr Woolley. It’s the past you
can’t change. But the future . . . we must all try to make the
future the best it can be . . .
Gertrude and Woolley regard the statue from one side.
We are Then/Now/Later.
Abu Zaman places the coin on the floor as before and moves to look
through the glass to the future once more: a future he is hoping might
now be different.
Through it we see Mohammed again (Later). Again he is older
and toys with his lanyard while smoking a cigarette – on a break
from his work at the museum.
A beat.
Layla enters; she too is older. She is holding a baby – their baby. He
smiles. She hands the child to him and takes his cigarette from him
and draws on it. She finishes it and puts it out under her heel, then
take the baby back. She kisses Mohammed lovingly and exits.
A beat.
Abu Zaman is smiling – looks delighted. The change he made in the
past seems to have saved Mohammed in this present.
But now Mohammed spots a coin on the floor – he bends over as he
did before to pick up the coin and now a group of people who are
masked enter. They get to Mohammed and grab him as before.

Abu Zaman hits the glass with his hand in frustration.
York enters sweeping up sand – she sweeps them away.
She continues to sweep.
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Now
Ghalia enters. She is carrying the box that Abu Zaman gave to her
previously. Mohammed and Abu Zaman follow. Gertrude is
writing an article in a corner.
Ghalia Everyone. Come here. Come on. Who knows
about this?
They all look at her in curiosity.
Ghalia It just appeared – look!
She opens the envelope to reveal the crown from before. It’s from the
4,500-year-old royal cemetery at Ur.
York Sweet lord, I’ve never seen anything like it.
Layla Who from?
Ghalia Abu Zaman?
Abu Zaman looks blankly at them all.
Abu Zaman Melagit.
Ghalia If ‘not found’ – then what?
Mohammed All that gold!
York Funny, you’d think someone would steal that – not
return it, right?
Layla Maybe they just wanted it off their conscience.
Mohammed It’s not exactly common is it – it’d be a
nightmare to sell. Maybe whoever took it was just looking
after it – keeping it safe.
Layla You can be so naive.

Mohammed That’s my youth and optimism for you –
attractive isn’t it?
Layla smiles in spite of herself.
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Ghalia When I opened it – it gave me a surge of hope . . .

despite all the destruction things can get back to where they
belong . . . Isn’t it wonderful.
Abu Zaman Shall I take it to the basement – lock it up
safely there?
York How old is it?
Layla Is it from Ur?
Ghalia Yes – 4,500 years old give or take –
They all stare at it looking beautiful.
Mohammed It’s going to look amazing at the opening.
Ghalia What?
Abu Zaman No!
Mohammed We have to find the best way to display it.
York Someone could model it.
Ghalia No, no, it goes under lock and key, it isn’t being
displayed.
Mohammed This is ridiculous, you are being far too
cautious. A museum needs its public or it’s just an archive
– dead.
Ghalia But you saw the looting
Abu Zaman They were possessed, the pounding – thuds
– bangs – they broke down the door – a wave – ‫موج ٌة عارم ٌة من الدمار‬
They smashed everything in their way! We need these things
intact for the future.

Gertrude / a tidal wave of destruction /
Mohammed No ordinary Iraqis will be at the opening, it’s
only for dignitaries and journalists.
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Ghalia Forget the opening, what about when we lock those

flimsy doors at night – who’s to say they won’t break them
down again?
Mohammed You are being paranoid. It has to go on
display.
Ghalia No it doesn’t.
Mohammed Did you just come back here to lock
everything up?
Ghalia Your uncle may be the minister but I’m still the
director of the museum and I say no.
Mohammed I’m going to call the minister now.
Ghalia I’m right behind you – let’s get him on speaker
phone. My office. Abu Zaman, come with me, back me up.
Abu Zaman The crown?
Ghalia It has an American soldier guarding it. Come on
The three exit leaving the crown behind them.
Gertrude steps forward and picks it up.
Gertrude, Layla and York all look at it.
Pause.
York It’s incredible.
Layla Must have belonged to a queen.
Gertrude Beautiful.
York I want to hold it.
Layla You shouldn’t touch it without gloves.

York Almost doesn’t look real, like a costume.
A beat.
It’s a darn shame . . . it was meant to be worn.
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Layla By a queen. A goddess.

A beat.
Can you smell –?
Gertrude Burning?
York Why don’t you try it on?
Layla Don’t be ridiculous.
York Let’s get a glimpse of what it would have been like . . .
what about it? Don’t be a stick in the mud.
Layla My skin could damage it.
York What are you? Bionic woman?
A beat.
It was made to be worn.
A beat.
Come on! It survived the looting – why not? I won’t tell.
A beat.
Layla looks it at.
York I’ll shut the door . . .
Layla slowly proceeds to take off her head covering, revealing long
black hair. York respectfully turns away.
Layla It’s ok, you can look, you’re a woman aren’t you?
She unties her hair and it is loose around her shoulders.
York takes the crown out of Gertrude’s hands.
For Gertrude it vanishes.

She is looking around for the crown – she can’t see it.
Gertrude It’s gone!
Layla Come on then, quick.
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Gertrude Where?
York lifts the crown ceremonially.
Gertrude It belongs here!
York places the crown on Layla’s head.
York steps back to look at her – an in-breath. She looks incredible,
regal and beautiful, like a ghost from the past. Her whole
demeanour changes – she is transformed.
At this moment Gertrude sees her too. She places her hand over her
mouth in shock at this vision.
Gertrude The goddess!
Layla I can smell burning . . .
Gertrude SALIM! SALIM! ABU ZAMAN!
Pause.
York has picked up the camera which is used to log items and held it
up to take a photo of Layla. The camera flashes. As soon as this
happens Gertrude’s vision vanishes, and she collapses shaking into
a chair, her breathing ragged.
Layla What are you doing?
York I was just taking a picture so you could see.
Layla Put that camera down.
Suddenly Abu Zaman, Mohammed and Ghalia enter the room.
Layla is affected by the crown – it’s as though she’s wading through
sand.
Abu Zaman I told you – look – it wasn’t safe!
Ghalia What are you doing? Hey!

Layla Be calm.
Ghalia Take it off!
Layla I am.
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Mohammed So beautiful.
Ghalia Layla! How can you – be so disrespectful. I’m
shocked. What were you thinking?
Layla takes her hijab and leaves to go to the bathroom and put it
back on.
York It was made to be worn . . .
Abu Zaman It needs to be preserved – to inform future
goddesses.
He takes it carefully from her, checks it for damage, wipes it and
returns it to its box.
Mohammed Future goddesses? Are you feeling OK, Abu
Zaman?
A beat.
York Did you see her – she looked incredible. You should
totally display it like that . . . like a statue, a goddess . . . I’m
going to help her.
She exits.
Ghalia Unbelievable. If the staff can’t be trusted to
safeguard the artefacts then what hope is there –
Abu Zaman (the truth dawning) What hope is there?
Mohammed Without her hijab she looked . . . amazing (He
catches himself.) – the crown – looked amazing . . . it was alive.
Ghalia Where are you going?
Mohammed To try and get a mannequin and a wig.
Ghalia What for?
Mohammed To display it.

Ghalia It can’t be displayed, I told you it’s not safe. What is
wrong with you people? Have you lived with the threat of
violence for so long you are inured to it?
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Mohammed This is a museum – we can make it safe – like

my uncle said.
Ghalia None of you listen to me! Is this what I left my
family in England for? It’s as if you don’t care what happens
to these things. They belong to the world.
Mohammed Of course I care – but if no one sees them,
they may as well not exist.
Then/Now
Salim enters.
Salim Did you call?
Gertrude Just – a dream –
Layla enters and returns to work.
(Then) Salim wraps things for storage. Once he has finished (Now)
Layla unpacks and inspects them, before logging them. A sort of
unproductive factory assembly line.
Layla photographs the items she unwraps with a digital camera.
She continues with her work. After she takes each picture she looks at
the screen on the camera to check the image – but every time she does
so she has to put on her glasses.
Gertrude I must have fallen asleep.
Salim It is hot and you are –
Gertrude A woman? Old? Whatever it is – don’t say it.
Salim Working hard.
Gertrude Oh. Yes.

Salim May I ask what your dream was?
Gertrude It was – like a mirage. Heat haze. It’s so hot – like
I’m beside a blazing fire . . .
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Salim Shall I fetch you some ice water?

Gertrude No. No I’m quite well now.
Mohammed enters.
Mohammed You OK?
Layla Fine.
They work.
Gertrude Or perhaps I’m not . . . I imagined I saw her
coronation. (Indicating cabinet.)
Salim Who? The goddess?
Gertrude Ridiculous isn’t it?
Salim No.
Gertrude Don’t tell me you believe in ghosts and jinns? I
thought you a sensible man, Salim.
Salim I believe in the power of the human mind. Even if
what you saw was not real it was a manifestation made by
your brain. Your wonderful brain is telling you something.
The question is: what?
Gertrude Well . . . there was a crown so maybe it was about
the king?
Salim A warning?
Gertrude Not about him! Faisal is trustworthy and
intelligent. The best of men.
Salim Then perhaps she’s giving you a sign about who
should run this museum. Be the one in charge here. A
woman? YES! You.
Gertrude But it wasn’t my face I saw. I only saw the head

that wears the crown.
A beat.
Salim (of statue) She is beautiful.
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Layla (to Mohammed) Stop looking at me – get on with

your work. I mean it.
Salim I too have dreamt of her.
Gertrude You’re a young man, Salim – you should be
dreaming of women of flesh and blood not cold stone.
Salim You misunderstand. It doesn’t matter.
Layla The director wants everything done double quick
because of this opening. She’s a tyrant.
Mohammed still watches her taking pictures without glasses and
then putting on her glasses to inspect them on the screen. He laughs
at her.
Mohammed You don’t need glasses to take the picture but
you do to see the image?
Layla Blame sanctions.
Mohammed You blame the Americans for everything.
Layla We didn’t all have generators you know. Studying by
oil lamp wrecks your eyes.
Mohammed Generator or not it was still a shitty way to
grow up. I was here too.
Layla I know you were. Unlike some people.
Mohammed She can’t help it – she was kicked out.
Layla That’s her story. I mean would you have left – if you
had the choice . . .
Mohammed Me? No I was born in this city and I will die in
this city.
A beat.
Gertrude I’m sorry. I’ve offended you – tell me.
Salim I am embarrassed.
Mohammed The glasses suit you.
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Layla gives Mohammed a look.

Salim You think of me as a man.
Gertrude Well, you are.
Salim I am a human. And now an Iraqi. In a country of
religions. Many. Mine differentiates carefully between
women and men. About what they can and cannot do. What
their place in the world is. But people like you and her
(Indicating the empty cabinet.) tell me things don’t have to be
this way.
Gertrude Is that your dream?
Salim Yes. I’m afraid I do want to marry. My cousin is
beautiful, kind and smart. I dream of teaching her to write
– like I taught myself. Of bringing her here. To see the
goddess, to see what a woman can be. That it’s not new
thinking. It’s ancient. A legacy. And I will bring my daughter
to see her. So she knows what her potential is. That she can
be more. And my granddaughter. They will all find
inspiration. Through these things. And they will change the
world.
Gertrude How? The only way to change things, my dear
Salim, is to hide in plain sight. Fit in to the structures that
exist.
Salim They won’t see it like that. They’ll remake the world
anew. Inspired by their past. I feel it. And it makes
everything alright. Any version of life is acceptable in this
knowledge.
Gertrude Any version?
Salim I have seen war. The uprisings six years ago. Tribes
uniting. Putting religion aside and rising up . . . Only to be
viciously, violently pushed down again. Thousands killed.

Property destroyed. Towns annihilated. From the land and
sky. Showers of bombs . . . You know my grandmother’s
house was hit and burnt to the ground. She lives in a mud
hut by the river now. But she is still there. She is alive. She
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exists. She endured. Like these artefacts they remind us of

our past, our future, our humanity – they’re for us all, that’s
what matters. They must continue to exist. (A beat.) We
should build a basement. Secure. With locks. To keep them
safe. Or . . . get special strong glass for the display cabinets
. . . I have a cousin – in Najaf – who can help . . . I will ask
him.
Gertrude is impressed.
Gertrude I want you to stay on here after the opening.
Help me with my work in the museum. Will you do that,
Salim? Will you stay?
A beat.
Layla This is so boring. Inside. So stuffy.
Mohammed This is important work. To make the
museum ready.
Layla Logging items. We’ll never have a complete list, all
because things were removed from where they were found
by Bell and her cronies. It’s much easier to keep track of
things when you are on site.
Mohammed Gertrude Bell isn’t the only one who dug stuff
up and moved it.
Layla You don’t understand. You’ve never been on a dig
. . . If you think these artefacts are amazing imagine them in
their context, together, telling you about the people who
lived there. Ya Allah, when will I be on site again?
Mohammed You never know, if we work hard enough on
this the minister for tourism might send us to the north-east
mountains in gratitude, think of it – you and me and all the
treasures we might discover there together.

Layla Would your uncle do that? Find funding for a dig?
Mohammed Would your father allow you to go on a dig?
With me?
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Layla If you’d asked me that two years ago the answer

would have been no way but these days he doesn’t say much.
Doesn’t do much . . . He’s not really there.
Mohammed Then we could go. You and me. Under all
those stars. We’d feel so small we’d have to hold on to each
other – sanctuary – to make sure we were real. Alive. (A beat.)
What? No acerbic retort?
Layla Sounds alright. The director would never allow it
though. Safety first.
Mohammed Her safety concerns are about artefacts, not
human beings. I’d make sure we had an armed guard.
Layla As long as it’s not that one. She’s so irritating.
Mohammed I like it when you are rude to Americans. You
get a bulging vein in your head like Julia Roberts.
Layla The Americans want to be involved in everything.
Mohammed I used to think they meant well.
Layla Like everyone else. I predicted that once the
cowboys came in Baghdad would become a shooting alley.
The Wild East. No one believed me.
Mohammed They didn’t loot the museum.
Layla No. But they didn’t stop it either – did they?
Mohammed No, they didn’t. They didn’t stop it.
Layla They watched.
Mohammed Yes.
Layla And now they are here to help us clean up. Really?
Then
Woolley enters and regards the crown.
Gertrude You’re here – alone?
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Layla If you’d asked me that two years ago the answer

would have been no way but these days he doesn’t say much.
Doesn’t do much . . . He’s not really there.
Mohammed Then we could go. You and me. Under all
those stars. We’d feel so small we’d have to hold on to each
other – sanctuary – to make sure we were real. Alive. (A beat.)

What? No acerbic retort?
Layla Sounds alright. The director would never allow it
though. Safety first.
Mohammed Her safety concerns are about artefacts, not
human beings. I’d make sure we had an armed guard.
Layla As long as it’s not that one. She’s so irritating.
Mohammed I like it when you are rude to Americans. You
get a bulging vein in your head like Julia Roberts.
Layla The Americans want to be involved in everything.
Mohammed I used to think they meant well.
Layla Like everyone else. I predicted that once the
cowboys came in Baghdad would become a shooting alley.
The Wild East. No one believed me.
Mohammed They didn’t loot the museum.
Layla No. But they didn’t stop it either – did they?
Mohammed No, they didn’t. They didn’t stop it.
Layla They watched.
Mohammed Yes.
Layla And now they are here to help us clean up. Really?
Then
Woolley enters and regards the crown.

Gertrude You’re here – alone?

Woolley Hello – where did you find that?

Gertrude How did you get in?
Woolley Abu Zaman – but he’s gone – patrolling the
corridors again.
Gertrude He does that . . . But it’s not patrolling . . . It’s as
though he’s lost something. Like he’s retracing his steps . . .
A beat.
Woolley (of the crown) You know, this is very like some we’ve
come across at the royal cemetery in Ur.
Gertrude Don’t say it like that. I didn’t steal it. Someone
found it and brought it here. (A beat.) You can’t have it.
Woolley You’re welcome to it. I’m sick to death of getting
out gold headdresses. There are many more interesting
things coming out of what I’m calling ‘The Great Death Pit’.
Gertrude Sounds charmant.
Woolley It is incredible, Gerty. The burial pit covers an
unusually wide area – the grave itself has not yet been
opened and all our discoveries have been in the wider area
of the pit. But what discoveries! Apparently after the body
was laid in and a certain amount of earth put back, the
general offerings were laid in a shaft above the grave. With
the offerings were put the bodies of a large number of
people who must have been sacrificed in order that they
might accompany the king /
Gertrude / Or queen /
Woolley / To the next world. The first object was a harp
elaborately inlaid.
Gertrude How many?
Woolley Harps – just one.
Gertrude No, bodies – humans, sacrificed.

Woolley Oh we can’t be sure yet. Thirteen of them were

laid in parallel rows except for one which was crouched up
by the harp – the rest were women wearing identical
headresses.
Gertrude But how many have you taken out so far?
Woolley Seventy-four.
Gertrude Seventy-four dead women, all laid out in rows.
Woolley Not all women – six were men. Don’t look like
that. Imagine it – down the sloping passage comes a
procession of people, the members of the court, soldiers,
menservants and women, the latter in all their finery of
brightly coloured garments and headdresses of lapis lazuli
and silver and gold, and with them musicians bearing harps
or lyres, cymbals and sistra; they take up their positions in
the farther part of the pit. Each woman brought a little cup
of clay or stone or metal, the only equipment required for
the rite that was to follow. Each drinks from the cup; either
they brought the potion with them or they found it prepared
for them on the spot – and they composed themselves for
death. Then someone came down and killed the animals and
perhaps arranged the drugged women, and there’s evidence
to suggest that when that was done the whole pit was set
alight before earth was flung from above on them, and the
filling-in of the grave shaft began.
Gertrude ‘Composed themselves for death’.
Woolley They went willingly to a less nebulous and
miserable existence – the evidence is there.
Gertrude What about the men – where were they? Laid
out like dolls in a toy box too?
Woolley No. By the door.
Gertrude Guarding it. Locking them in.
Woolley That’s very dramatic.
Gertrude Did they hold poisoned cups too or weapons?

Woolley Daggers now you come to mention it.

Gertrude All these women are laid out neatly and you
presume that means a neat – a willing death. But I disagree:
death is not neat or easy. They were forced to drink that
poison – daggers held over them. Then they were burned.
Incinerated. Out of existence.
Woolley Not entirely – their remains are still there.
Probably just part of the ritual.
Gertrude The point is they had no choice. That’s not
suicide it’s murder.
Woolley What’s got into you? You are so maudlin these
days.
Gertrude Sixty-eight nameless, forgotten, dead, burnt
women, that’s what.
A beat.
Woolley I’m sorry I find you in such a humour but you did
call me here you know. And I traipsed – on foot because of
the flooding – through rain and mud, backstreets and
hawkers who followed me and pestered me trying to flog
month-old papers. It’s not safe out there at the moment
– you can feel something is in the air, building. But I came
because you asked. So here I am – what do you want of me?
Gertrude You’re right. I’m not entirely myself. I’m sorry
. . . I wanted to ask if you’d help me plan this place . . .
Then/Now/Later
A noise ‫ضجيج‬
It starts far away – this
..‫الضجيج يأيت ِم ْن بعيد‬
ُ
noise

It could be natural ً‫ُي ِك ُن أ ْن يكون عاديا‬

Nature ‫طبيعة‬
Rain ..‫مطر‬
Thunder ..‫رعد‬
The pounding of animals’
..‫خُطواتُ َحيوانات هارِبة‬
feet – a stampede
But it isn’t that. َ ‫ليست‬..
..‫كذلك‬ ْ َ ‫ليست‬
‫كذلك‬ ْ ‫لك َّنها‬
And it’s not so far now. No.
..‫ انها تقرت ُِب أكرث‬،‫ليست بعيد ًة االن‬
ْ
It’s getting closer
It gets closer and it sounds
..‫قل تشابُ ُهها بالطبيع ِة‬
َّ ‫اقتبَ ْت‬
َ َ ‫كُلَّام‬
less like nature
Less natural ..‫َح ّقاً إن َّها ال ت ُش ِب ُهها‬
And there’s a buzzing to it ..‫فيها طنني‬
Like bees ..‫حل‬
ْ ‫يُش ِب ُه طَن َني ال َن‬
Like drums ..‫أو الطُبول‬
Like drones ‫أزيز‬
But it is human ..‫لكنها أصواتُ برش‬
It is voices. ٌ‫إنَّها أصوات‬
Many ‫كثري ٌة‬
Raised ‫مرتفع ٌة‬
Shouting ‫رصخ‬
ُ ‫ت‬
And as it gets closer it gets
‫ ت ُصب ُِح أَ ْعىل‬،‫وكُلَّام تَق َْتب‬
louder
The sound surrounds ‫الصوتُ يُط ُّوق‬
The sounds surround ‫األصواتُ ت ُحي ُط‬
And then hover ‫ث ُ َّم تحوم‬
Now the beating starts. The
..‫ يخ ِفق‬..‫اال َن بدأَ يَد ُّق‬
pounding.
Not a heart ..‫َيس بقلب‬
َ ‫إنَّ ُه ل‬
A thud. A thump. ..‫دوي‬..‫ة‬
ٌّ ‫إنَّ ا رط َم‬

Singular at first. ‫صوتٌ واح ٌد يف البداية‬

Then more.
More. ..‫كثرية‬..‫كثرية‬..‫ث ُ َّم أصواتٌ كثرية‬
More.
Thuds. Bangs. ..‫انفجارات‬..‫َوي‬
ّ ‫د‬
Heavy weight against ‫ثقيل يُزاح ُم‬
ٌ ‫جس ٌم‬
Thick walls. Doors. ‫ األبواب‬.‫جدراناً سميكة‬
Now a shattering.
..‫ زُجاج‬..‫ طنني‬..‫اآلن تحطيم‬
Tinkling. Glass.
Sharp. ..‫حاد‬
More thuds. ..‫َوي آخر‬
ٌّ ‫د‬
The voices raise. ‫األصواتُ ت َرت َ ِفع‬
Unite.
‫ ت ُصبِح موجة‬.‫تَتَوحد‬
In a wave.
A swell. ‫تَتَضَ خَم‬
A squall. ‫عاصفة‬
A typhoon. ‫إعصا ٌر‬:
Of will. ‫ِم َن اإلراد ِة‬
Pushing. Until. ‫ت َداف ٌع حتى‬
The flood. ‫الفيضان‬
Dams collapse. ..‫السدو ُد ت َنهار‬
A tidal wave. ‫موج ٌة عارم ٌة‬
Of intent. ‫ِم َن ال َنوايا‬
Of destruction. ‫ِم َن الدمار‬
Overwhelms. ‫يقهر‬
Overwhelms. ‫يقهر‬
Engulfs. ‫يبتلع‬
Drowns. ‫يُ ْغرِق‬
Sinks us all. ً‫يُغرقنا جميعا‬

What will be left when the

‫َوماالذي َسيبْقى بَع َد أ ْن ت َهم َد املياه؟‬
waters subside?
Interval.
Then
Gertrude is working on an article. She looks up and scrunches the
paper, frustrated.
Gertrude Oh this is useless.
She throws the paper at the glass cabinet.
Salim Do you need more paper?
Gertrude No. Thank you. I just need to know what to
write in this report. They’re tired of my truths. But I can’t
just tell them what they want to hear . . .
She starts scribbling furiously again as Salim returns to his work.
Gertrude I know how her civilisation fell. Through greed
and mismanagement – the hubris of men. Have we learned
anything?
A beat.
I have such hope for our British mandate here. But when I
raise my eyes across the border to Syria and see how the
French mandate is playing out there – it’s scandalous. It can
only lead to war and bloodshed.
A beat.
So then I must ask – what if disaster calls here too? It’s
always pounding on the doors – trying to get in. I see what
could happen. And sound the alarm . . . But what if I’m
ignored? . . . What will happen to everyday people if the
walls come down on their heads? The wonderful people
here will hate me. Will blame me. And I will be to blame. But
I won’t bury my head in the sand. They may not heed my
warnings but I can’t stop. I will tell the truth – stand and

scream at the rising waters though I feel powerless to stop

them . . .
A beat. She looks to Salim.
Salim Did you say something?
Gertrude Would you do something for me? It’s a bit –
unorthodox.
Salim Of course.
Gertrude I’ve written something – and I can’t decide if the
tone is right. Would you read it out for me – and then forget
everything you read.
Salim I’ll – try my best. Though your handwriting is . . .
Gertrude Thank you – from here . . .
She shows him where on the paper and he reads it out for her. She
listens and watches his reactions closely as he reads.
Salim The Mesopotamian lands cannot fail to expand
economically with great rapidity and economic development
will go hand in hand with the increase of political
importance. We confidently anticipate that Baghdad, with its
brilliant commercial future, will in a few decades replace
Damascus as the capital city of the Arab world (Salim looks
very proud of this prospect.) and we conceive that our task is not
only to fit it for the part which it will play, but also to order
our conduct of its affairs so as to establish lasting amity . . .
(He looks at Gertrude questioningly – he doesn’t understand what
amity is.)
Gertrude Amity – friendship – sadaqa.
Salim Ah. OK. (He continues reading.) To order our conduct
of its affairs as to establish lasting amity and confidence
between ourselves and the Arab race, whatever modifications
the future may bring to their political status.
But if the French exercise the mandate for Syria in such a
manner as to turn the country into a French province,

following the lines of their policy in North Africa and in their

colonies elsewhere, it is inevitable that they will meet with
armed opposition which if successful will bring their
mandatory authority to an abrupt close, and if unsuccessful
will develop into a long period of guerilla warfare.
A beat.
He looks worried.
Salim I hope you’re wrong.
Gertrude I fear not.
A beat.
Salim You are like someone who sees the future. Fatahit al
fahl [fortune teller].
Gertrude* / What’s the point in seeing the future if no one
will listen to you? /
Abu Zaman* / What’s the point in seeing the future if no
one will listen to you? / ‫مل جدوى من رؤية املستقبل إذا مل يستمع إليك احد؟‬
Salim They might.
Gertrude I don’t know – I’m beginning to feel it’s all
mapped out. Like the picture’s been taken and it is
impossible to alter . . .
Now
Ghalia sits on her computer while Layla logs items.
Layla This would be much quicker if you helped with the
items we actually have, rather than chasing the ones on the
internet.
Ghalia looks up surprised.
Ghalia You’re right

She moves and sits next to Layla and starts helping with the sorting
of items.
A beat.
Ghalia I wasn’t actually looking at stolen artefacts online. I
was looking at photographs of my grandson. Winston, my
son, just sent me some – they were playing in the park near
his house in London. He looks so happy. Big toothy smile.
Layla Winston. Good English name. How old?
Ghalia Winston Ahmed is four.
Layla Boys are nice at that age. It’s later you have to worry.
Ghalia My son turned out alright.
Layla He had you for a mother.
A beat while this uneasy compliment lands.
Ghalia What about your parents?
Layla I come here for sanctuary – as a place not to think
about the outside.
Ghalia I’m sure they are glad you work here and that you
have a good career. I never used to worry until I had my son
but when he was born all that changed. I became a worrier.
When you’re a mother yourself you will understand.
A beat.
Layla What makes you think I want to have a child like you?
Ghalia Do you?
Layla I don’t know. Maybe I want to run a museum.
Ghalia You can do both you know. Like me.
A beat.
Layla You never talk about your husband – is he dead?
Ghalia To me.

Layla I suppose we all have things we don’t talk about.

She gets up.
Layla To get the camera.
A beat.
You know while your son is in the park taking pictures of
Winston, Iraqi parents can’t allow their kids to go out and
play because there are no parks anymore – there are no
swings and roundabouts, slides and climbing frames, only
snipers and mines, kidnappping and death. And not just for
the children either – so don’t tell me I’ll learn about worry
when I have a child. I am Iraqi. I can teach the world about
worrying.
She goes.
Ghalia sighs.
A camera flashes and we are reminded of what will happen to
Mohammed through a section of photographs or tableaux.
–– Mohammed smoking with the lanyard.
–– The men entering.
–– They grab him.
–– The pillow goes over his head.
Abu Zaman watches all this shaking his head, distressed.
Then
Woolley enters triumphantly brandishing a newspaper (the same
one Gertrude indicated previously).
Woolley Have you seen the latest Illustrated London News.
Gertrude I don’t take that paper. A rag.

Woolley Well, let me bring you up to date.

Layla I suppose we all have things we don’t talk about.

She gets up.
Layla To get the camera.
A beat.
You know while your son is in the park taking pictures of
Winston, Iraqi parents can’t allow their kids to go out and
play because there are no parks anymore – there are no
swings and roundabouts, slides and climbing frames, only
snipers and mines, kidnappping and death. And not just for
the children either – so don’t tell me I’ll learn about worry
when I have a child. I am Iraqi. I can teach the world about
worrying.
She goes.
Ghalia sighs.
A camera flashes and we are reminded of what will happen to
Mohammed through a section of photographs or tableaux.
–– Mohammed smoking with the lanyard.
–– The men entering.
–– They grab him.
–– The pillow goes over his head.
Abu Zaman watches all this shaking his head, distressed.
Then
Woolley enters triumphantly brandishing a newspaper (the same
one Gertrude indicated previously).

Woolley Have you seen the latest Illustrated London News.
Gertrude I don’t take that paper. A rag.
Woolley Well, let me bring you up to date.
EBSCO Publishing : eBook Collection (EBSCOhost) - printed on 2/26/2021 3:20 PM via UNIVERSITY OF
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Gertrude I’m busy writing my speech for the opening and

no one will accept ‘white ants ate it’ as an excuse.
Woolley (ignoring her) The headline reads: ‘Heroic
Archaeologist’s Military Mind Saves the Day.’ It continues:
‘Regular readers will be be familiar with our reports of the
ongoing archaeological dig in Mesopotamia which is
unearthing rare artefacts to rival treasures discovered in the
Valley of the Kings. Missives from none other than the chief
archaeologist Professor Leonard Woolley’ – yours truly –
‘have brought to light a dastardly plot to plunder the site by
local Arab tribesmen. The good professor and his team were
working into the small hours when they were set upon by
two dozen men with rifles’ – it was actually more like six but
who’s counting. ‘The armed bandits made off with a large
amount of Turkish coinage and a number of precious metal
artefacts including gold jewellery. The quick-thinking
professor used his local acumen –’
Gertrude Your foreman Hamoudi?
Woolley ‘to track down the culprits. On doing so he took
the ingenious action of offering the men security positions
on his dig. The bewildered natives agreed and Professor
Woolley was able to retrieve all the purloined items as well as
gaining a mean security detail. That’s British military
thinking for you!’
Gertrude You didn’t get any of it back did you?
Woolley No. But they are rather good guardsmen. Oh,
don’t yawn at my prowess.
Gertrude It’s tedious, I’m far more interested in the
writing on the cuneiform tablets you found at Kish – any joy
getting them translated?
Woolley As a matter of fact yes, but they have a less happy

ending.
Gertrude Tell me.
Woolley They detail the rulers of Kish from 1800 bc.
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Account: s3879645
Gertrude Fascinating.
Woolley And then go on to say that a flood came down
from on high devastating everything. After that the place
became reborn as Uruk.
Gertrude Uruk – our Iraq – but we haven’t had our flood
yet have we?
Woolley It’s lashing down out there at the moment.
Gertrude I mean it – nothing was swept away before we
came in – you shouldn’t start afresh until the slate is clean.
Woolley There was the civil war. The tribal uprising.
Gertrude But we dashed that – stopped it in its tracks by
bombing and gassing the tribes into submission . . .
Woolley Many more would have died if we hadn’t.
Gertrude But we had no flood – we just broke the dam,
steamrolled in, without invitation – have we made a fatal
error – were we premature?
Woolley Disaster was coming – we stepped in and did
what was required.
Gertrude War. Making war was required? We’re getting
rather good at it aren’t we? You know – after the war in
Europe many people said to me over and over again that it
was a shock and a surprise to them to see Europe relapse
into barbarism. I had no reply – what else can you call the
war? How can we, who have managed our own affairs so
badly, claim to teach others to manage theirs better?
Woolley We must go through it. And come out the other
side.
Gertrude Yes – perhaps you are right – it may be that the
world has now to sink back into dark ages of chaos, out of
which it will evolve into something, perhaps no better than
what it had.
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Now
York You guys all want me to go but I still like it here.
Layla Iraq?
York Hell no! In this here museum – some folks would find
it creepy but not me.
Layla Creepy?
York You know what I’m saying . . . the way Abu Zaman
haunts the corridors – I see him when I secure the entrances
every morning – he stops suddenly and stares into space.
Like he sees something that’s not there.
Layla He’s remembering artefacts that were taken. Where
they stood. His own stocktake of the missing. Destroyed.
York It’s not that. It’s . . . something else. (A beat.) Anyway
it doesn’t bother me. Anything’s better than the base.
A beat.
I had to strangle a dog over there to get the fellas to leave
me alone.
Layla Is that some kind of euphemism.
York looks at her blankly.
York A what?
Layla Some American saying – you didn’t really strangle a
dog?
York I had to, you know what men are like. And put a
whole battalion together and they’re worse than a pack of
starving wolves. Well, I don’t need to tell you – men are the
same the world over.
A beat.
The dog was just a stray – kept coming round for scraps and
Private Armstrong took a liking to him, called him Hutch or
Butch, and the way they all treated that dog, like he was
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Account: s3879645
human – one of them. Treated the dog better than they treat
some of the civilians, spoke to it nicer than they spoke to me.
Layla You killed it because they were nice to it?
York No, I had nothing against it, poor thing, but
Armstrong, that’s another story – he’s a no good son of a
bitch, if you’ll excuse the expression, and he kept pinching
me – every morning at breakfast in the mess I’d make sure I
avoided his table, but wherever I sat – however much I tried
to avoid him – every day I’d get pinched and they’d all laugh
and whistle the whole pack of them. Then this one morning
he didn’t just pinch – he crossed the line, put his hand – well
you get the picture. So I said to him, you do that again you’ll
be sorry, and he was all like what you going to do, missy?
And I just saw red, so I walked out of the mess, went to
where I knew that old stray would be waiting for the
morning scraps, squeezed him by the throat till he stopped
yelping and then left the dog by the door for everyone to
see.
A beat.
They all call me a crazy bitch now but Armstrong doesn’t
pinch me no more.
Pause.
So a euphemism is something that doesn’t mean exactly
what it says?
Layla Yes, it’s indirect. ‘He passed away’ rather than
‘he died’.
York Amazing, your English is real good – you know more
than me.
Layla We used to have the highest rates of English literacy

in the Arab world.
A beat.
York Your brother passed away, didn’t he?
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Account: s3879645
Layla Did Mohammed tell you that?

York He’s into you, you know.
Layla He’s my brother’s friend. Was my brother’s friend.
And he didn’t pass away, it wasn’t peaceful – it was a shower
of bombs.
York My brother died too. Now I’m the only one left. Mom
was so mad when I joined the army.
A beat.
Do you have any other brothers or sisters?
Layla No. It’s just me.
York A lot of pressure to stay alive, ain’t it? Don’t want to
die and leave your folks childless, they’d never forgive us.
Layla Avoiding death in America is very different from
avoiding death in Iraq. You chose to come here.
York Where I’m from there isn’t much of a choice. I’d have
liked to go to college like you. Wasn’t an option.
A beat.
We’re the same age I think. I can imagine if we were at the
same high school we might have been friends . . .
Layla looks at her quizzically.
York I’ve done a bad thing. I need to tell someone about it.
Layla The map? You’ve told me – remember? Or was it a
story I once heard . . . did I dream it?
Then
Salim and Gertrude sit and work at one table. Ghalia and
Mohammed work at another. Ghalia is frustratedly sorting seals
– she can’t seem to get the order right.
Salim Are you alright, Miss Bell?
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Account: s3879645
Gertrude Perfectly well thank you, Salim.

Salim You are breathing like you’re under water – coming
up for air –
Gertrude Am I really? I didn’t notice.
Salim Yes, Miss Bell, is there something I can help you
with?
Gertrude Not unless you can read cuneiform I’m afraid.
I’m trying to decipher what’s on this tablet. I think it’s some
kind of a document of ownership, but I can’t be sure.
A beat.
Really, the Honorary Director of the Museum of Antiquities
ought to be able to read cuneiform! Or have the support she
needs – not be abandoned by everyone. Left to rot.
A beat.
Salim ‘Honorary Director’?
Gertrude I’m just keeping the seat warm.
Salim But who else could do that job?
Gertrude An Iraqi I would hope.
Salim Why?
Gertrude Because this is Iraq.
Salim But it is ruled by Great Britain, so an English
director would be better.
Gertrude It is ruled by an Arab monarch.
Salim Under Britain’s mandate for twenty-five years.
Gertrude You don’t think that’s good for Iraq? There’d be

chaos if we left now.
Salim You are right.
Gertrude After that we will give you independence.
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Salim Independence is never given, it is always taken.

Pause.
Gertrude (of the cuneiform) This is bloody annoying.
Salim Bloody?
Gertrude It’s emphatic.
Salim Covered in blood.
Gertrude It’s basically the same as very.
Salim So when the English are emphatic they cover
everything in blood.
Gertrude gives him a look.
Salim Perhaps you could ask Abu Zaman? About the
cuneiform?
Abu Zaman appears in the doorway.
Abu Zaman I am here.
Gertrude So you are. I do wish you’d stop appearing out
of thin air like that. And looking so grumpy – I told you I’m
not happy about the opening either – I had to pretend I was
all for it, but it’s not my choice.
Abu Zaman It will be hard to keep things safe.
Gertrude I know that – what can I do? No one listens to
me anymore.
A beat.
Abu Zaman May I see that tablet?
She hands it to him, grudgingly.
Abu Zaman It’s a document listing all a farmer’s assets –

and what taxes he owes.
Gertrude A balance sheet! I knew it! Imagine if everyone
in the West knew, civilisation started here: bureaucracy,
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Account: s3879645
documentation, administration, in what they consider to be

a barbaric land, that would show them in Kensington and
Chelsea.
Abu Zaman If I can have twenty minutes with it, then I can
write you a translation.
Gertrude Thank you.
Abu Zaman Bil Khidme.
Salim What is it like in your Kensington and Chelsea?
Does it rain all day long. Is there green grass on all the
rooftops?
Gertrude It certainly rains.
Salim Do you miss it?
Gertrude England? Grey London skies? No.
Salim Your family, your home?
Gertrude Home . . . It’s complicated. Isn’t it. And when
you don’t see a place every day you notice the little changes.
The paint coming off the walls. Tarnished cutlery. Slates off
the roof. If you were there every day you wouldn’t notice,
because it’s gradual, this eroding. But in my memory it is all
as it was – all perfect. And they’re all there. Even the ones
that are dead.
Salim Your brother? He died?
She nods curtly.
Gertrude So it’s rather disconcerting to go back and find
things different.
A beat.
Not the routine. That stays the same: callers at eleven, lunch
at twelve, dinner at seven, then cards and inane chat in the
library. But everything else is wrinkled, fraying, old. People
who were indispensable are missing. Gone. The cabinet’s
empty. Like an unloved exhibit. Tatty. Unrecognisable. And
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Account: s3879645
yet they move around inside it like nothing has changed –

like nothing will ever change. But it’s all changed – do you
see? And it’s sickening . . . shocking . . . disturbing. A bit like
catching yourself in the mirror and realising how you
actually look – what people see – you know?
Pause.
Suddenly she seems to wake up – realise what she has been saying
and feel exposed.
Goodness, I don’t have time to be chatting. I’ve got to finish
writing my address for the opening ceremony. Please get on
with the labels, Salim.
Salim All will be well, Miss Bell.
Ghalia This is a disaster.
Mohammed Ya wash, ya wash!
Gertrude You Arabs – you’re always so optimistic. / I have
two weeks in which to make this place presentable for the
opening. We have no glass for the cabinets – yes I know,
your cousin in Najaf, but that remains to be seen – we’ve
intermittent electricity, not enough fans, and the security
arrangements are insufficient. It’s a disaster.
She sets to writing her opening speech.
Ghalia / I have two weeks in which to make this place
presentable for the opening. We have no glass for the
cabinets – yes I know, your cousin in Najaf, but that remains
to be seen – we’ve intermittent electricity, no air
conditioning, and the security arrangements are insufficient.
It’s a disaster. /
Mohammed You need to be more Iraqi about things.

Ghalia I am Iraqi! And I came back to Iraq thinking I
could make a difference, but we aren’t making any progress.
Every day I learn about something else that has been
destroyed or stolen – everyone’s trying to blame it on the
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Kuwaitis – revenge – that would be understandable but it

wasn’t them, or the Jews as some would have us believe, it
was Iraqis. And this place is for them, for us – to remind us
of our humanity, our shared culture, this was the cradle of
civilisation and now look at it, it’s like a child beating its
grandparent – wrong. How can we trust them? But if we
don’t open this museum to the public what is the point of it?
How can we move forward? But it’s not safe. And now all the
academics are being murdered. You know this morning
when I came into work my driver stopped at traffic lights, a
man knocked on the window and for a moment I was sure,
100 per cent sure that I wouldn’t get here, to the museum.
I’d never see the Warka vase or the lady of Uruk again. Hold
a seal between my fingers. Kiss my grandson. I was going to
be shot in the head because I’m an academic, because I’m a
woman who doesn’t cover, because they think I’m pro-
America or because I work here. And as the man raised his
hand he had a copy of the paper – that’s all he was doing
selling, a month-old paper. And my life flashed before my
eyes. So forgive me if I’m a little ‘irritable’, but I imagined
myself back on digs in the desert, discovering new things,
not stuck in this airless box with you, fearing for my life. It
makes me long for a grey London sky. There I said it. I’d
rather be – (She stops herself.)
There is a camera flash . . .
Then
Gertrude reads over what she has written so far – the first part is
her rehearsing but by the end we have melted into the actual
opening.
Gertrude A hundred years ago the first photograph was

taken. That was when we humans became able to capture
moments. Things. Preserving them. Holding them for ever
in time and space. I’ve always enjoyed taking photographs
on my travels. As a reminder. A way of stopping time. Until I
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discovered archaeology. You all know I love to travel.

Especially in this part of the world. But with archaeology I
discovered time travel. The ability to travel back to the distant
past. Find out the truth about how things were then, in
order to better understand how they function now. And with
that knowledge I truly believe we can overcome divides and
create nations, what was broken can be healed – united.
This is the true power of archaeology.
There is a round of applause . . .
Then/Now/Later
Dignitaries from 1926 and modern day mill about the space. There
is the necessary mingling. We are back at the museum opening.
There are three ribbons, three pairs of scissors, three important
people.
Each important person cuts their ribbon.
Important people I officially open this museum.
Abu Zaman* (with chorus made up of Nasiya, Ghalia, Layla)
Again. ‫مرة أخرى‬
People clap, then walk about the space looking at the items on
display.
Off-centre is the crown in a raised glass box with an open top.
Abu Zaman stands close to it.
Gertrude Why are you standing here?
Abu Zaman I’m just watching.
Gertrude You’re like a bundle of nerves! Anyone would

think you know disaster is coming.
Abu Zaman If it is I want to be ready – I’m here to try and
prevent anything bad happening . . . to the artefacts . . . the
people . . .
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Account: s3879645
Gertrude Well, you can do that from the corner of the

room. Go on. There are some wealthy Americans here who
might donate – I don’t want you putting them off.
Abu Zaman reluctantly begins to move to the corner of the room but
continues to watch proceedings nervously.
Ghalia Where’s the minister?
Salim Where’s the king?
Abu Zaman I haven’t seen him.
Ghalia It’s disgraceful he’s not here.
Gertrude He’ll be here.
Ghalia/Gertrude He’s the one who was so excited to have
it all on show.
Abu Zaman The prime minister’s here.
Salim (to Gertrude) Are you very proud? You should be.
Ghalia approaches Layla and Mohammed.
Ghalia You’re drinking champagne.
Layla I thought I should try it. Who knows when I’ll get
another chance?
Mohammed Do you like it?
Layla It’s fizzy.
Ghalia But your hijab?
Layla Plenty of Muslims drink.
Ghalia Not Muslims who wear hijabs.

Layla I feel safer wearing a hijab. I was going to suggest
you put one on. It might make you feel more . . . at ease.
Gertrude (to Woolley) Now what do you make of it?
SOUTHAMPTON
Account: s3879645
Woolley Compelling speech. But these are hardly the

‘people of Iraq’ you keep talking about, dignitaries and
military personnel and such.
Gertrude Heathens to a man. They’ve barely looked at the
goddess and she won’t be here for long thanks to you.
Woolley I’m only borrowing her. Don’t look so glum –
you’ve done sterling work.
Gertrude I’m not finished yet.
Ghalia (to Mohammed) Have you seen the minister?
Layla No.
Ghalia I can’t believe he’s not here.
Layla The prime minister’s here though.
Mohammed My uncle’s probably just on Baghdad time.
Ghalia After the fuss he made about this opening.
Layla Relax. Try one of these –
Ghalia I wanted to try and convince him to put everything
in storage until the time is right.
A beat.
Mohammed!
Mohammed All right, all right, I’ll go call him.
Woolley Well, you did it.
Gertrude I told you I would.
Woolley It’s wonderful – wonderful ancient history – but
you need to look to the future now, Gertie. Make plans . . .

Gertrude I’ve still a lot to do here.
Woolley Here? You intend to stay on? We’re not getting
any younger, you and I . . .
SOUTHAMPTON
Account: s3879645
Gertrude Are you going to be giving up on digs then? Take

a desk job at the BM? No. I didn’t think so.
A beat.
Abu Zaman It’s all on display – the crown, the goddess, I
didn’t think you’d allow it.
Gertrude/Ghalia They assure me it’s safe . . .
Abu Zaman (to Ghalia) We know otherwise – I told you
what I saw. The looting . . . showers of bombs, bodies. And
there’s worse. What’s to come. What will happen next.
Ghalia I’ve tried –
Abu Zaman What’s the point of knowing the future if no
one will listen to you?
A beat.
Woolley The king isn’t here.
Gertrude He’ll be here. Baghdad time.
Woolley I’ll never forget the first lecture I gave in this
country. You and he in the front row – you whispering
madly, translating every word. You seemed so close then . . .
Gertrude We’re close now.
Woolley Really? Then where is he?
Gertrude He’ll be here.
Ghalia I didn’t come back to be a guard dog.
Abu Zaman That’s my job.
An Iraqi woman – Nasiya – who could be from any time stands
close to the glass box with the crown in it.

Ghalia Who is she? She’s standing very close to the
crown . . .
Abu Zaman Shall I talk to her?
SOUTHAMPTON
Account: s3879645
Ghalia No – it’s ok, I will

She approaches the woman.
Abu Zaman gets out his coin and fidgets with it anxiously.
Woolley Do think seriously about what you should do
next, Gertie. You’ve lots of options – perhaps you’ve done
your bit here.
Gertrude ‘Here’ the museum?
Woolley ‘Here’ Iraq – perhaps it’s time to go home.
Gertrude And where exactly is that?
Woolley Not this ferocious, dangerous place where even
the weather kills . . .
A beat.
Gertrude Do you know who I am? I’ve charted deserts,
negotiated with Sheiks, crowned a king and made a country.
Woolley I know all this.
Gertrude Then don’t talk to me of ferocious weather. This
is my place.
Ghalia (to the woman, indicating the space the antiquities)
Which is your favourite?
A beat.
No answer.
Gertrude You’ve always resented my position here, haven’t
you? My power to decide what stays and what goes.
Ghalia I know you shouldn’t be here, but I won’t say
anything if you are enjoying the exhibits. After all it is all
yours.
Nasiya What do you mean?
Woolley I’ve always respected your decisions, but it’s time
now. Your family need you at home – they’re all mourning.
SOUTHAMPTON
Account: s3879645
Gertrude Who’s put you up to this? My father?

Woolley We’re just worried.
Gertrude Who? The BM? The Foreign Office? The king?
What are you all afraid of? That I’m a woman alone?
Woolley You’re not a woman – you’re more than that.
Gertrude There’s nothing more than that.
A beat.
Ghalia All of this – it belongs to you, every Iraqi. It’s our
heritage.
Woolley You’re working so hard – you’ve barely even
mentioned your brother’s death, never mind shedding
a tear!
Gertrude My health, my family well, that’s none of your
damn business. You wouldn’t bring it up if I were a man
– would you?
A beat.
Nasiya You are Iraqi?
Ghalia Yes.
Nasiya Your accent sounds Lebanese.
Ghalia I spent some time in Paris . . . France.
Nasiya I know where Paris is. You are very pale. Where do
you call home?
Ghalia Here, Baghdad.
Nasiya Really?
Ghalia Really. I came back to make a difference to change
the future for these things. I’m doing what is right. Being
where I’m needed.
SOUTHAMPTON
Account: s3879645
Gertrude This is about my responsibility. Doing what is

right. Being where I’m needed. I’ve started a job and I must
finish it. I owe it to the people of Iraq.
Woolley Stop talking about the people of Iraq – what do
you know of the everyday people, how they live?
Gertrude Plenty. I’ve a boy working here – Salim – he
tells me.
Woolley Does he tell you the people don’t want us here?
They want us to give them back what’s theirs and let them
fight it out.
Nasiya You say this place belongs to Iraqis. If that is true
why are the ordinary people being kept outside?
Ghalia Only for today – once it’s finished all Iraqis can
come.
Nasiya We have never been welcome in this place – it’s
barely been open in the last twenty-five years. You know
what they used to call it – Saddam’s gift shop. Not for us.
Next it will only be open to tourists and students. You don’t
trust us after what happened, but how can you blame us?
You weren’t here then were you? Well? No. Let me tell you
how it was:
Abu Zaman tosses his coin.
Nasiya There was no food to eat, no water, nowhere was
safe. They turned us into savages, the British.
Gertrude That’s not true.
Nasiya There was no food to eat, no water, electricity. They

turned us into savages, the Americans.
Gertrude They need us.
SOUTHAMPTON
Account: s3879645
Nasiya There was no food to eat, no water. They beat us,

murdered us – the state.
Gertrude They want us here.
Nasiya At least under Saddam we could dress how we
wanted, listen to the music we liked, worship our own way
without fear of what others might do. Now look at us – we
are killing each other . . . they’ve made us animals, and while
you are all in here enjoying the culture we are howling at the
gates for food like dogs,
Abu Zaman and Mohammed have noticed this increasingly
volatile woman and have approached her.
Nasiya Look – your guards are here. I’m going – I’m
going. You are all hypocrites.
She goes towards the door but as Mohammed and Abu Zaman
check Ghalia is OK, they don’t see Nasiya slip around the back of
the room, find a stool, pick it up and approach the glass cabinet with
the crown in it.
Woolley Gertrude, the king of this made-up land’s not
even here. He’s not coming – he never was. He pretends he’s
our man but he’s secretly garnering the Arabs against us.
Gertrude That’s not true. I’d know. I’d have heard about
these things –
Woolley You’re not listening anymore. Or no one’s telling
you. But you need to hear me now.
Gertrude NO.
Woolley It’s over, Gertrude. We’re going home. All of us.
It’s finished. DO YOU HEAR ME?
Gertrude sinks down onto a stool deflated and broken at the same
moment as Nasiya rises on the stool.
Woolley LISTEN!
Nasiya We can’t live like this anymore!
SOUTHAMPTON
Account: s3879645
She climbs on the stool and puts her hand into the open top of the
cabinet with the crown in it. She has it out in a flash, holding it over
her head.
RAEESE AL WIZARA’, PRIME MINISTER, WHY ARE YOU
LETTING THE IRAQI PEOPLE ROT? WHY? AREN’T
WE SUFFERING ENOUGH!
Ghalia shouts in horror: Nasiya holds the crown aloft – it’s hard to
tell if she will put it on or smash it.
Ghalia She’ll damage it.
Mohammed Oufil taj [Put the crown down].
Nasiya This is all vanity, can’t you see? People are starving
while you worry about dead things – these things aren’t
alive, they’re dust –
She holds the crown in front of her and crushes it between her hands,
then throws it to the floor. As she does so, Abu Zaman and
Mohammed rush towards her to stop her but it is too late.
Nasiya – but I am real – flesh, blood – I’m ALIVE – HELP
ME!
They take her gently by the arms and lead her out. Everyone watches.
York picks up the remains of the crown.
York Can we fix it?
Layla It’s too late.
Ghalia/Gertrude How could I let this happen?
Then/Now/Later
Under this speech the action of Mohammed’s kidnap is repeated. It

begins from the word ‘Punishment’. Again he is older and toys with
his lanyard as he smokes a cigarette.
He spots the coin on the floor and looks at it. He is about to bend to
pick it up when a group of masked men come in and run to him.
SOUTHAMPTON
Account: s3879645
He didn’t say. ‫مل ﻳَﺘَﺤﺪث‬

And they ‫وﻫُﻢ‬
In this holy month ‫ﰲ ﻫﺬا اﻟﺸﻬﺮ اﳌﻘﺪس‬
Removed his head from his
‫أَزاﻟﻮا َر َأﺳ ُﻪ َﻋﻦ َﺟ َﺴ ِﺪه‬
body
Unholy ‫إِﺛ ٌﻢ‬
Removed his body and
‫ُﻋﻠِﻖ َﺟ َﺴ ُﺪ ُه ﻋﲆ َﻋﻤﻮد‬
hung it from a pillar
An ancient pillar ‫ﻋﻤﻮ ٍد َﻋﺘﻴﻖ‬
But his head was smiling ‫رأﺳ ُﻪ ﻛﺎن ﻳﺒﺘَ ِﺴﻢ‬
َ ‫ﻟَ ِﻜ َﻦ‬
Was happy ً ‫ﻛﺎن ﺳﻌﻴﺪا‬
Because he didn’t breath ِ ُ‫ﻻﻧ ُﻪ مل ﻳ‬
‫ﻔﺶ اﻷﴎار‬
the secrets
And his wish came true ‫وﺗ َﺤ َﻘﻘَﺖ أُﻣﻨﻴَﺘُﻪ‬
‘I was born in this city
’ ‫’ ُو ِﻟﺪتُ ﰲ ﻫﺬ ِه اﳌﺪﻳﻨ ِﺔ وﺳﺄﻣﻮتُ ﰲ ﻫﺬ ِه اﳌﺪﻳﻨﺔ‬
I will die in this city’
And he’s there still َ ‫وﻻ ز َال ﻫ‬
..‫ُﻨﺎك‬
Like the palm trees ‫ﻣﺜﻞ أﺷﺠﺎ ِر اﻟﻨﺨﻴﻞ‬
rooted in the ground ‫ُﻣﺘَ َﺠ ِﺬ ٌر ﰲ اﻷرض‬
rooted to the secrets ‫ُﻣﺘَ َﺠ ِﺬ ٌر ﰲ اﻷﴎار‬
rooted to us ‫ُﻣﺘَ َﺠ ِﺬ ٌر ﺑِﻨﺎ‬
Now
Inside the museum Ghalia turns to York.

Ghalia Where the bloody hell were you?
York (she has a broom and is sweeping again) You can’t blame us.
Ghalia Yes I can – how did she get in?
York Everyone knew the opening was happening – it was
public knowledge.

Layla At least it was just the crown.

Mohammed My pragmatist.
Ghalia What do you mean ‘at least’?
Layla She could have destroyed something more precious.
Ghalia The statue?
Layla NO – a human – living – person – you – me, him!
Mohammed As long as you are fine it doesn’t matter.
Family is what matters.
Layla We aren’t family.
Mohammed We will be.
Ghalia She wouldn’t have hurt us.
Layla I saw you. You thought she was going to attack you.
And I don’t blame you. Everywhere Iraqis are killing Iraqis
– and yet the military is in here.
York Sectarianism is an unfortunate outcome to all this
– but it’s Saddam’s legacy, you can’t blame the US military.
Layla Iraqis weren’t killing each other before you came
here.
York Saddam was an Iraqi and he killed a lot of his own
people. It’s my understanding that’s why she (indicating
Ghalia) was living in England.
Ghalia Who told you that? (No answer.) Well, I’ve more
right and reason to be here than you.
Pause.
I’m tired.
York If you don’t mind me saying you look awful.
Ghalia I barely got a wink of sleep. I kept thinking I heard
the place being broken into again – by an angry mob, looted
. . . But we were in the cases, Layla, Mohammed and I. And

we couldn’t escape. I should have known it was pointless to

try and sleep without my pills.
York Prozac? I’m on that too.
Ghalia Temazepam.
A beat.
To help me sleep. I’ve been taking them since I got here. But
a sleepless night helped me realise a few things . . .
A beat.
Mohammed (of York sweeping) Don’t you mind doing that?
York Not really. It’s kind of therapeutic. Abu Zaman
asked me.
Mohammed Not what you were trained for though is it?
York Beats patrolling the streets waiting for a car to blow
up in your face. Or to be kidnapped . . .
A beat.
Besides I was the only girl at home, I’m used to it. Plus here
I’m surrounded by all this amazing old stuff, it’s really neat.
This place is like a haven, a sanctuary. Nothing bad could
happen here . . . Oh.
Mohammed I’m going for a smoke.
Layla You should quit.
Mohammed I will. Just not today.
He goes.
York Did something happen – between you guys? (No
answer.) He likes you, you know.
Layla I know.
York Do you like him?
No answer.

You pretend, but you’re not so tough. You like him too. I can
see it all now. You two – marriage, kids, the whole nine
yards. He’ll be the director of the museum. You’ll be his
right-hand woman.
Layla The professor is the director of the museum.
Ghalia What a job. Like having a target on your head.
Mohammed’s welcome to it.
Layla He has no experience.
Ghalia Not yet – but he’s ambitious. Layla, will you get Abu
Zaman for me please.
Layla exits.
York She going into hiding? (Indicating the empty case.)
Ghalia What?
York The statue. Into the basement?
Ghalia Until it’s safe enough for her to be on display.
York That’s a shame.
Ghalia Can no one hear me? Until we can secure this place
it should not be open at all. I don’t even know why I’m here.
A beat.
York Have you got a dustpan and brush?
Salim enters.
Salim Miss Bell, I just saw them – taking her away . . .
No answer.
Salim Why are they moving the statue?
Gertrude Why do you think?
A beat.
She’s going to London.

Salim The British Museum?

Gertrude That’s correct.
Salim But you said that things that are found here belong
to us Arabs, us Iraqis – you wrote the laws to protect our
artefacts.
Gertrude Yes I did.
Salim But you are sending her to the British Museum.
Gertrude Yes.
Salim Will she come back?
No answer.
You said –
Gertrude Maybe she’s not Iraqi at all – when she was
carved there was no Iraq was there? So maybe it doesn’t
matter where she is.
Salim What is found in Iraq stays in Iraq you said!
Gertrude Professor Woolley and I were tossing a coin and
I lost her.
Salim But you never lose.
Gertrude Well, I did this time. Perhaps it’s for the best
– perhaps she will be safer there.
A beat.
When do you think we will be able to open this museum to
the public, Salim?
Salim You already had the opening.
Gertrude Yes, yes, but I mean to normal people? Next
week, next month? Next year? In ten years? 1936? One
hundred? 2026? Will it ever be the right time – safe enough?
Have I been premature in creating this place?
Salim No.

Gertrude Who will protect all this? Would you? Lie across
the door if there was a braying mob trying to get in? Risk
your life?
A beat.
What would you risk you life for? The statue? The museum?
Well?
Salim My cousin. I’d put myself in front of her. To save her.
And you?
Gertrude I’m too old. Powerless now.
Salim That’s an excuse!
A beat.
Gertrude You are angry with me.
Salim Yes. We need you.
Gertrude This is where I belong. I won’t go back to
England. Call the car.
Salim exits.
Gertrude folds a letter she has written and puts it into an envelope.
Abu Zaman enters.
Abu Zaman You wanted me?
Gertrude/Ghalia I want you to take this letter.
Abu Zaman You are leaving?
Gertrude I can’t change anything.
Abu Zaman What did you say?
Ghalia I can’t change anything. I’ve tried. I’m powerless.
Gertrude/Ghalia What will you do?
Abu Zaman Stay here until things are safe – until a
caretaker is no longer needed.
A beat.

Then/Now/Later
Abu Zaman* (plus chorus)
Maybe it is all inevitable. ‫ُرمبﺎ ﻛ ُُﻞ ﳾ ٍء ﻻ َﻣ َﻔ َﺮ ِﻣﻨﻪ‬

What if it is? ‫ﻣﺎذا ﻟﻮ ﻛﺎن ﻛ ُُﻞ ﳾ ٍء ﺣﺘ ِﻤ ّﻲ؟‬
It is ‫َﻣ ْﺤﺘُﻮ ٌم‬
What if I can’t? ‫ﻣﺎذا ﻟﻮ ﻟَ ْﻢ اﺳﺘَ ِﻄ ْﻊ؟‬
I can’t ‫ﻻاﺳﺘﻄﻴﻊ‬
No one can ‫ﻻ ا َﺣ َﺪ ﻳﺴﺘَﻄﻴﻊ‬
It seems ‫ﻋﲆ ﻣﺎﻳﺒﺪو‬
Maktouba ‫َﻣﻜﺘﻮﺑَ ًﺔ‬
It is written ‫اﻧﻬﺎ ﻣﻜﺘﻮﺑﺔ‬
But not on paper َ ‫ﻟَ ِﻜﻦ‬
.‫ﻟﻴﺲ ﻋﲆ اﻟ َﻮرق‬
Not on something so
perishable. .‫ ﻗﺎﺑﻞٍ ﻟﻠﺘﻐﻴري‬.‫وﻻ ﻣﻜﺘﻮﺑ ًﺔ ﻋﲆ ﳾ ٍء ﻗﺎﺑﻞٍ ﻟِﻠﺘﻠﻒ‬
So changeable.
On the Earth. On clay. .‫ ﻋﲆ اﻟﻄني‬.‫ﻋﲆ اﻷرض‬
A clay tablet .‫ﻃﻴﻨﻲ‬
ّ ‫ﻟﻮح‬ ٌ
It can’t be unwritten. ‫ﻻ ُمي ِﻜ ُﻦ َﻣﺴ ُﺤﻪ‬
If you throw those etched ِ
‫اﻟﻜﻠامت اﻟﻄﻴﻨﻴّﺔ اﳌﺤﻔﻮر َة‬ ‫إذا رﻣﻴﺖ ﺗِ َﻠﻚ‬
clay words
Into the fire ‫ﰲ اﻟﻨﺎر‬
They become even more
ً ‫ﺗ ُﺼﺒ ُِﺢ أﻛ َرث ُﺻ ُﻤﻮدا‬
steadfast
Unchanging ‫ﻻﺗﺘﻐري‬
Not like writing in the sand ‫ﻟﻴﺲ ِﻣﺜﻞ اﻟ ِﻜﺘﺎﺑَ ِﺔ ﻋﲆ اﻟﺮِﻣﺎل‬
َ
But in the stars ‫ﻟﻜﻦ ﰲ اﻟﻨﺠﻮم‬
The hard ‫اﻟﺼﺎ ِر َﻣ ِﺔ‬
cold ‫اﻟﺒﺎردة‬
Unmoving ‫اﻟﺜﺎﺑﺘﺔ‬

Stars. ‫اﻟﻨﺠﻮم‬
Under all those stars . . . ‫ﺗﺤﺖ ﻛ ﱢُﻞ ﺗِ َﻠﻚ اﻟﻨﺠﻮم‬
The merciless stars that will
not change their ‫اﻟ ُﻨﺠﻮ ُم اﻟﻘﺎﺳ َﻴﺔ اﻟﺘﻲ ﻟﻦ ﺗ ُﻐ َري أﺑﺮاﺟﻬﺎ‬
constellations.
Now
Layla You’ve packed the statue away?
Ghalia I said it to the minister, I said it to Mohammed and
I’ve said it to you – it is not safe here. Not safe for the
artefacts, and now I know it’s not safe for us either
Layla Because of that woman? Oh, it could have been
worse.
Ghalia I used to find your coldness – your pragmatism
disturbing, but now I understand
Layla What do you understand?
Ghalia That you have to be like this to live here. You’ve
been made like this to survive.
Layla That’s rather patronising.
Ghalia Is it? I don’t mean it to be. I admire you
enormously, Layla. You have more courage than me.
Layla No, just less options.
Ghalia I don’t think so, you’re a bright woman.
A beat.
Layla You might have been wasting your time you know.
(A beat.) Putting her away. The minister will decide whether
we store her or put her on display.
Ghalia I know.
Layla You’ve packed up your computer.

Ghalia I’m going. Home, to my family.

Layla To England. Just like that?
Ghalia No, not just like that. I’ve tried but I can’t work in
this environment.
Layla What happened to ‘This is our country and we have
to protect it’.
Ghalia I came thinking about the artefacts, I’m leaving
thinking about the people.
Layla You are afraid?
Ghalia Yes. Yes as a matter of fact I am.
A beat.
Layla We all are.
A beat.
I suppose everyone who can leave will leave eventually, one
way or another. The British Empire did, eventually the
Americans will, and whoever – whatever – comes next –
whatever fresh hell awaits us here – once they’ve done their
worst they too will leave, that will also pass. So you might as
well go too.
Ghalia You are angry with me.
Layla Yes. We need you.
Ghalia I can’t, I’m not strong enough. I can’t do this
anymore just to prove something. I love my son, my
grandson. Maybe Mohammed’s right, maybe I’m not
enough of an Iraqi to be able to withstand this place. It killed
Gertrude Bell, I don’t want it to kill me.
Layla No, Gertrude Bell chose to kill herself, and you are
choosing to leave.
Ghalia And what do you choose, Layla? You have options
too . . .

Layla No I don’t – I don’t have the privilege of choice.

That’s reserved for other people, not Iraqis. None of us will
have a choice until everyone goes. Until then we are like
dust, sand in the wind, pushed here and there by the whims
of the West.
Ghalia Aren’t you afraid of what will happen when the
Americans go?
Layla Of course, but we must go through that.
A beat.
Ghalia You are the future of this place, you’ll do well.
She exits taking her computer bag with her. Layla goes and kicks in
frustration the pile of dirt that York has swept up.
Pause.
York enters with a dustpan and brush.
York I just saw the director leaving. It’s early – is she OK?
Layla She’s gone. For good.
York Gone where?
Layla Back to her family. To England.
York Lucky her. Oh shoot, all the dust has been messed up.
Layla Well, you better start sweeping again.
York It’s like a never-ending task . . . sweeping up sand in
the desert.
Layla When will you go back to America?
York I don’t know, no date yet, a few more months at least.
Layla A country full of people who we don’t want here and
who don’t want to be here.
York I know – funny isn’t it? You know what I think?
Layla No, and I don’t want to know. It’s time to go home.

Layla No I don’t – I don’t have the privilege of choice.

That’s reserved for other people, not Iraqis. None of us will
have a choice until everyone goes. Until then we are like
dust, sand in the wind, pushed here and there by the whims
of the West.
Ghalia Aren’t you afraid of what will happen when the
Americans go?
Layla Of course, but we must go through that.
A beat.
Ghalia You are the future of this place, you’ll do well.
She exits taking her computer bag with her. Layla goes and kicks in
frustration the pile of dirt that York has swept up.
Pause.
York enters with a dustpan and brush.
York I just saw the director leaving. It’s early – is she OK?
Layla She’s gone. For good.
York Gone where?
Layla Back to her family. To England.
York Lucky her. Oh shoot, all the dust has been messed up.
Layla Well, you better start sweeping again.
York It’s like a never-ending task . . . sweeping up sand in
the desert.
Layla When will you go back to America?
York I don’t know, no date yet, a few more months at least.
Layla A country full of people who we don’t want here and

who don’t want to be here.
York I know – funny isn’t it? You know what I think?
Layla No, and I don’t want to know. It’s time to go home.
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A beat. Gertrude notices Abu Zaman cleaning his coin.

Gertrude Why are you still here?
Abu Zaman Sometimes I sleep here.
Layla Come on – you can finish sweeping tomorrow.
They leave – Layla turns out the lights.
Gertrude I should go back to the house. But I can’t face it.
Another sleepless night.
Abu Zaman Bad dreams?
Gertrude No, too many things to . . . It feels like time is
running out. Sand through the hour glass.
Abu Zaman Time doesn’t run out, it keeps going.
Gertrude I’d like to sleep. And see what to do – a sleep
where she comes and guides me. Wake up refreshed,
knowing what to do.
A beat.
Abu Zaman Sleep here. It might help. Sometimes I feel
like they talk to me.
Gertrude Alright. Yes. I’m not afraid. You can go.
A beat.
Abu Zaman It’s time.
He goes, but not before putting his coin on the floor.
Gertrude moves behind the glass cabinet. She looks through it
trying to see what to do – trying to see the future.
We are Then/Now/Later.
We see Mohammed’s kidnap once more. He is smoking. He spots

the coin on the floor and looks at it. He is about to bend to pick it up
when a group of masked men come in and run to him. They put the
pillowcase over his face and tie his hands. They walk him centre
stage and force him to his knees. We know what will happen next.
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Gertrude watches through the glass in horror and presses her hands
and face against it in despair.
We also see in brief fragments moments from the play re-enacted:
–– Woolley celebrating winning the statue.
–– The crowning of Layla as the goddess.
–– Salim miming drinking the tea with his pinky up.
–– Nasiya on the ladder with the crown aloft.
There is a building soundscape of the looting of the museum. It
should mirror Abu Zaman’s description from earlier. An
approaching noise that swells, doors being broken down then glass
smashing, items being sawed, objects being dragged, feet running,
voices, pandemonium.
It should be loud, deafening – the audience should expect people to
storm the theatre.
In distress and horror Gertrude climbs inside the empty glass
cabinet.
At the same time:
Sand begins to fall.
It covers the stage.
It covers everything.
Still it comes.
It covers the box until we can no longer see Gertrude.
We just see sand now.
When the sand stops so does the noise.
Later
Abu Zaman enters. He sees the sand and makes for where
Gertrude was. He runs to that place and begins to dig with his
hands.
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Abu Zaman Here, here! Over here! Come!

A group of people come in – Layla is there, but she hangs back
reluctantly, unsure what they will find.
Abu Zaman Yullah – bessuraha.
They all begin to help and dig.
Blackout.
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Hannah Khalil - A Museum in Baghdad

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A Museum in Baghdad

Museum in Baghdad.indd 1 01/10/2019 15:35

Museum in Baghdad.indd 2 01/10/2019 15:35

Museum in Baghdad.indd 3 01/10/2019 15:35

Museum in Baghdad.indd 4 01/10/2019 15:35

Gertrude The Englishman’s mantra. What do you want?

Museum in Baghdad.indd 5 01/10/2019 15:35

Abu Zaman* (with chorus of Ghalia) Safer? ‫أكرث أمانا؟‬

Museum in Baghdad.indd 6 01/10/2019 15:35

Abu Zaman She will be safer in England won’t she,

Museum in Baghdad.indd 7 01/10/2019 15:35

Museum in Baghdad.indd 8 01/10/2019 15:35

Museum in Baghdad.indd 9 01/10/2019 15:35

Museum in Baghdad.indd 10 01/10/2019 15:35

York What most civilians don’t realise is a stationary tank is

Layla Well, then, two would have been nice.

Layla Depictions of beings with souls are haram.

Mohammed I know. (A beat.) I heard they were giving you

York What’s so funny?

Salim I understand. And this is your system?

you saw him?

Mohammed I’m just interested to know what the image on

Ghalia Go down, the basement and help Abu Zaman

Ghalia Yes that.

Gertrude Nothing concrete. My mind keeps wandering

Gertrude I am important. They set me an impossible task

A nation needs to be able to look into the eyes of the past

Gertrude Not from the king then . . .

Gertrude Look at this crown, Salim . . . it’s beautiful!

Abu Zaman There are many rituals and sayings –

down. She stares into space considering the letter’s contents.

Abu Zaman To England? I didn’t think you took orders,

battery and destruction.

through your veins to take it all in your stride. Every time I

they belong, where they were found as part of a community

Woolley She’d look better in a nice secure display cabinet

Layla That woman. She was obsessed with the Western

Layla Nonsense. What about Egypt?

Mohammed Exactly, and people should know about it, that

What if – ..‫َماذا لو‬

for one particular task

The women could return to

Because the truth about

Woolley looks up from his work.

Woolley Slipped my mind.

Gertrude Perhaps he wants it to be a surprise. At the

Woolley The general strike at home.

Gertrude I knew it! They want me to negotiate with the

Gertrude Is that your opinion – or his? Besides – it will

market there, what an incredible sight, as if the street was

York I thought maybe you could take it – say it was handed

Woolley Well, once you are open perhaps you’d consider

Abu Zaman She’ll be safer here – won’t she? Where she

Woolley No one gets to eat.

Abu Zaman* (with chorus of Nasiya/Salim)

masked enter. They get to Mohammed and grab him as before.

Layla You can be so naive.

Ghalia When I opened it – it gave me a surge of hope . . .

intact for the future.

Ghalia Forget the opening, what about when we lock those

What if – ..‫َماذا لو‬