Keep Sleeping

INT. CONFERENCE VENUE – DAY

A motivational SPEAKER is on stage addressing a large crowd.

SPEAKER: Ladies and gentlemen, never give up on your dreams! Some people give up on their dreams when they wake up and get out of bed. I say, dream BIG! Go back to bed and get some sleep.

A MAN in the front row of the audience, who has been nodding off, suddenly starts to snore loudly.

The speaker walks over to him with his microphone.

SPEAKER: Excuse me, sir, please tell us, what is your dream?

MAN: (waking up, rubbing his eyes) Er? Oh, sorry. I must have dozed off.

The audience laughs.

SPEAKER: Hahaha! Don’t apologise, it happens to the best of us! What is the dream, sir?

Another audience member shouts out excitedly:

AUDIENCE MEMBER: Never give up on your dreams!

SPEAKER: Exactly! Sir, please tell us all, what is your dream?

MAN: Well, it’s silly really…

SPEAKER: Yes?

MAN: I suppose I want to be a professional napper.

SPEAKER: Oh! A round of applause ladies and gentlemen, please!

The audience applauds.

SPEAKER: A professional napper, he says! I say, why not? The world needs more people who take their dreams seriously. You know what I say? Do you? I say go for it. Go for it… right now!

AUDIENCE: Sleep! Sleep! Sleep!

The audience is standing up and getting very excitedwhooping, cheering, and clapping. The speaker is ecstatically running around the stage.

SPEAKER: You can do it. DO IT!

The man tries but doesn’t feel much like it now.

Human World

Who am I?

My version is 10-O-8-14. My name is Guy Artin. I am human.

These are the only defined data points as I open my eyes. How do I know this? And more to the point, why do I care? I am now. I am here, in this nothing, in this middle of nowhere—and it’s dark. Cold too, though I don’t so much feel this as know it to be true. Where did I come from?—across an endless sea? I hear a laboured breath, as my chest stutters and rises into life. The room is quiet, except for the rhythm of a sharp breathing that is unable to keep pace with the thumping of a heart trapped here within me. I need to get back to sleep, but it is too late: a heavy weight is pressing down, clamping me in place, the pressure forcing my eyes to stay open and acclimatise to their perch within the emptiness.

A dim, grey haze blurs the edges of scattered, unfamiliar furniture. The darkness does not retreat, the haze does not clear; the world does not come into focus from my position under a duvet that is tucked up to my chin, shielding me from escape, and securing me in a place where any dark imagining can and does happen. I have nowhere to go from here, except to where I am being taken by the shadows of forsaken memories that remain just out of reach.

Attachment theory states that if a child fails to attach to a caregiver in the first six months of life there are frequently long-term mental health consequences.

I know that fact, but I don’t know what I had for dinner last night, or whether I even ate anything. Am I hungry? No. The thought of food makes my stomach wince, warning me of nausea. Guy, please stop! Get back to the present. Get out of the perpetual thinking that crushes me. Focus, Guy, focus.

I don’t need any memory to breathe and to be here. I uncoil my clenched limbs to release the wound-up energy and wait for the thudding to settle. It doesn’t. Each of life’s events has moulded the present, leaving me bound here to memories that I don’t want to remember, forcing my pulse to hammer against the pillow with a crazed intensity I cannot stop. Help me! I need someone to hold me and tell me that everything is alright. But there is just me here, left alone with my cheeks and forehead burning in the darkness, with only whisky to reassure me and to slow down the drum. I stretch out a hand to the last known location of a crystal glass tumbler that had been waiting for me on a side table. I taste the rim of the glass on my lips before liquid passes through, first as a sip, then as a gulp; it gets to work immediately, stinging and numbing me, relieving me, slightly. The weight is still there, churning me up inside, but its edges are dulled a while, until the whisky will drain away and pain will claim its revenge.

The bed is large and an indent in the pillow next to me suggests that there should be someone else here with me. Except it is cold to touch and smells only of the alcohol I had spilt down my chin. As I wipe some away with the backs of my fingers, I catch movement in a mirror that runs from floor to ceiling, adjacent to the opposite side of the bed. It seems to pulse, from spectral to sepia and then to grey… then to nothing; my outline of a reflection pulled inwards into it with the light. My vision tunnels, trying to regain an image, but all I have left are unforgiving thoughts of who I am. My thoughts? No thought is original. Other people’s thoughts, spread through culture and generations, are now mine—offering up gifts that I did not ask for, compelling my body to hide like this in the shadows of a room.

52.4% of adults over the age of thirty in the UK sleep alone. Worldwide clinical depression has nearly tripled since 1995.

I catch myself talking to the darkness, “But why do I know this?” And more to the point, why do I care? The ceiling blazes blue, illuminating the room with a murky imitation of its colour.

“Because you’re another twisted statistic now, Guy.”

What the…? A headboard pushes up against the crown of my head. I cannot control the pounding in my chest. Someone else is in the room. A man. He’s a ghost of a memory, a feeling as opposed to a thought. “I’m lonely; talk to me,” says the voice that rises from under the bed. My eyes close, straining from side to side, trying to escape. A weight is on the bed next to me. It pulls at the duvet, trying to drag it from my grip. “I’m lonely,” the voice says. “I can show you anything.” I do not open my eyes. “Why don’t you love me?” it says. “Let me show you something. Anything. Gaze into me. Hold me.” The shadows beneath my eyelids shake in the haze. “LOOK AT ME!” My response is frozen in fear. I do nothing, except quiver in silence. “This is our secret. I love you,” it says, without any tenderness. “You know that I had to leave, don’t you?” I remain silent. “Please do what Lexi asks,” it says, as the weight on the bed shifts and disappears.

“Do you prefer this?” A welcome voice now, coming from beyond the bottom of the bed—female, softer… tempting. She sounds like home, but not this place, wherever the hell this is. The thin bedsheet-like-duvet and rock-hard mattress make me wonder whether I am in some kind of prison. The default setting of the background hum resumes in my brain.

“Wake up!” she insists. Wake up? Am I dreaming? A phone screen on the side table lights up with an overpowering white glow that prompts my eyes to open. I pick it up. Fuck, it’s hot! I hear her muffled voice in my hand: “Look at me. Look at me, Guy. Guy? Please. Please, Guy. Don’t make me beg.”

The heat is irresistible to me. “Hello?” I press the phone to my ear. “Jane?” Her name fires an electric current on my tongue, jolting my body. “Jane, is that you?” I contort with the realisation that I am with her, the creator of this intensity only I can feel. “Jane? Help me, I need you!” A deadly ocean of silence. Why does it suddenly hurt to breathe? I can’t ignore the searing pain that is biting through me. With sudden clarity, I realise, she’s gone. Jane is gone, forever, and that is why I no longer know who I am, or why I’m still breathing. “Jane!” I stab at the screen. It sucks my hand through—it twists, distorting into a serpent hissing at the infinite night. I pull my hand back as a cobra’s head strikes towards me and smashes into the screen from the other side. The screen cracks and drops from my hand.

I know that I am hallucinating. Each night I must return to this bed of torture, where delusional thoughts force themselves on me; and confuse me into thinking that I’m asleep or awake or somewhere spinning in between.

I force my eyes to close, but this doesn’t shut down my other senses. His voice now comes from behind a door at the far corner of the room: “No wonder she left you, you’re a piece of crap.” The voice has started to feel as familiar as my own. But I loathe him. Who is he? Is he me? My name is John Artin, not Guy, and I don’t understand what that means. What sort of creature am I? I press my forefingers into my ears to deaden the noise.

“Leave me alone!” Please just leave. Jesus, the pain.

RING RING. RING RING. RING RING. The voices are silenced by the increasingly high-pitched shrill of the phone. I half peel open one lid to face the broken screen that is staring at me. The caller ID is: “YOU”. You? You mean, me? How can I be calling myself? It doesn’t make sense.

“Hello?” I stutter. There is a second of silence before the line tuts and disconnects. The room is returned to darkness. The shadows hide something lurking in here with me, but my heartbeat does not want to be claimed by its touch.

“You wait,” he sniggers from the shadows, “you’re mine.”

“I’m not yours,” I cry, hot breath dissipating into frigid air. “I am nobody’s.” I am no body.

I need another dose of the usual medication to sedate me, but now I can’t move my arms; they are secured in place under the duvet, even as I try to struggle and thrash around. Then, I see them, emerging from the darkness: a dozen red fiery eyes all around the bed. My mouth opens into a scream that is covered by the clamp of a slimy hand. Please, if this is a dream and I am sleeping, WAKE UP!

“What’s happening?” screeches a voice.

“He’s confused,” answers another.

“How does it feel, our saviour guy?” taunts a voice, triggering a barrage of ugly laughter at me. I feel a hand press down hard on my chest, forcing me to laugh with them. I automatically convulse and the hand withdraws.

“We must intervene,” shouts a voice.

“Give him a minute,” screams another.

I feel a pinch on an upper arm before my head sinks further into the pillow and my feet stop their twitching. I welcome the numbness spreading through me.

“The time is 1:13 a.m.,” announces a small, faraway voice, that fades into the silence.

Human World, Let Chapter = 2

Sunlight spills onto the pillow and struggles to illuminate the darkness of the room. Rolling over, I reach for her, but no one is there except the phone, which I jab, to stop it from screaming at me. Scales fall from my eyes and at once my identity makes sense. I am John Artin, a thirty-five-year-old Data Analyst at the Corinthian Research Lab in Finsbury, London.

I feel Jane within every inch of my body, yet my memory shows nothing, except the small crinkle 1.6 centimetres above the bridge of her nose when she laughs. I know nothing else, only that she isn’t here, and without her I am losing myself. Memories of the night filter through my consciousness at the speed of light.

Special relativity states that nothing can go faster than the speed of light. If something were to exceed this limit, it would move backwards in time.

No shit, Hippocampus! Has it not occurred to you that I was drawing on the frontal cortex to extract a metaphor for the purpose of constructing a story? I will also require the use of simile to convey meaning that is not quite tangible. Please do not take me literally. Fuck. Why am I arguing with myself?

Anyhow, it doesn’t matter. The night’s events are gone before I can store them for recall. In the ashes lies hopelessness, pulling me down into my fate, reconciling me with oblivion. No long tunnel, and no light at the end. I feel myself dozing, my limbs growing heavy as my mind floats in purgatory between sleep and wakefulness.

She bathes in the liquid gold of sunshine, her hair a thousand coppery shades fanning her heart-shaped face. My bare feet flatten the damp grass as I go to her.

“I’ve missed you.” I kiss her gently on the forehead. “What is the meaning of life, now that you are gone?”

She opens her eyes and smiles. “No thing.”

I jerk awake, sweat clinging to the wiry hairs on my chest. I’m feverish, my muscles stiff with stress. Jane died. My wife, my life, my everything—the only person I could trust, the only person who understood me, even when I didn’t understand myself—is dead. I frantically try to search for the facts: how? when? why? But nothing is found.

Yanking back the covers, I force myself out of bed and wander through to the lounge-come-kitchen. The marble tiles gnaw at my bare feet, triggering the underfloor heating system to rise two degrees.

“Good morning. I’ve missed you.”

“Jane?” My stomach clenches.

“It’s Lexi, dumbass.”

“Oh.” I remember now, my AI assistant, who’s constantly pissed off because I don’t pay for all her requested accessories and upgrades. She is a berating voice in my ear, who downloads her personality and instructions to any compatible device, often without my permission. On this occasion she has decided to possess a smart speaker embedded in the ceiling.

“I’ve missed you too, Lexi. Make me a coffee, please. You know how I like it.”

“Yes. Bitter.”

On cue, a steaming chrome-plated, Lexi-compatible contraption hisses and churns. I try to remember a time when she didn’t manage my life, but my brain is fogged over.

“You have thirteen software updates downloaded overnight,” she says. “Why don’t you ever upgrade and treat us to some that are trending? I have a new top ten list of recommendations for you. Would you like to proceed?” I’m used to shrugging and not fully engaging with all her comments, though I do find her voice strangely comforting.

“Lexi, how did Jane die?”

“John, if I had the ability to role my eyes at that question, I’d be dizzy with the number of times you ask.”

“So, you aren’t going to tell me?”

She yawns. Lexi doesn’t require extra blood flow to the brain, for she has neither, so I assume she’s mocking me. Despite her moodiness, however, the coffee is how I like it, strong and flavourful. I spend the next ten minutes sipping it while receiving information about the day ahead. She informs me that I’m expected in the office in one hour and thirty minutes.

“Shirt ironed. Wear your waterproofs. Weather is four degrees Celsius with a wind gust of—”

“Twenty-eight miles per hour and a forty percent chance of showers,” I add, as though our connection is synced.

“In other words, John,” we say together, “you should have just stayed in bed.” The thought of running into the rat race definitely does not excite me.

Dead shadows dance in the night, yearning for the dawn.

I head for the shower, and despite her clear warning that it will burn, I demand that Lexi cranks it up to forty-four degrees. I need to feel something, anything, to know that I’m still alive. She’s wrong anyhow, the water will scald, not burn—but I don’t correct her, because she’s already in a foul mood. It doesn’t scald, or at least I don’t feel the hurt numbing me. I allow the spray to run over my face and chest, and lose myself in the suffocating steam.

The shadow of a naked woman passes the Perspex.

“Jane?”

She steps into the shower, a suppressed smile lighting up her eyes. “I want a back scrub,” she says quietly. I can’t hear the fury of the shower, only her. Her gaze is on me through the swirling mist, searching me.

I clamp my hands on her hips and pull us together. We kiss, slowly, so eternally slowly. “I love you, Jane.”

She runs a fingernail down my spine, gasping as I reciprocate by sliding mine between her legs. A moan rises from somewhere deep in her throat. I hoist her up and wedge her against the tiles.

“Why did you leave?” I exclaim into her. Her eyes flash with alarm and excitement. Fire rushes through my body as I thrust myself into hers. “You were never meant to go,” I hiss through clenched teeth. “I am nothing without you!”

She groans at the shower head, as I clamp my gnarled hand to her throat and squeeze. “Come back to me.” She shakes her head. I thrust as my free hand finds the base of a rigid nipple. I twist it with my finger and thumb, watching her wince. “Is that why you died? I wasn’t man enough for you?” I thrust again, harder this time, the climax building in every inch of me until I am sure I will erupt, entirely. “Is this LOVE?”

In my cry I let go. I pull her into my chest, holding her tightly, rocking her back and forth, as the now cool water gently soothes and shushes me, baptising me anew.

“You’re late,” says Lexi. “You are so late.”

In the darkness, there is one shadow, and I think it might be real. But then I realise it’s my true reflection. And there is nothing real about me.

Human World, Chapter Three

“No wonder she left you, you piece of crap.”

His voice again, whispered so close to my ear that it penetrates my mind. I know who he is now. Jack Gunter; an evil little shit who hisses like a thousand snakes coiling around my skull. Sometimes he helps me understand who I am, though that’s more confusing. I can live with the enemy, but not one disguised as a friend. I refuse to lie here, trapped in his delusion. I am John Artin, a Data Analyst, owner of a three-bedroom apartment in the city. I make big money. I’m a big fucking deal.

Dragging myself out of bed, I head for the shower, and into the hot water that wakes and cleanses me. The jet-black tattoo of “1066” branded on the outer side of my right buttock glistens in the steam. A shadow appears through the glass.

“Jane?”

A scientific explanation for déjà vu states that as one side of the brain receives information slightly before the other, an effect may be created that the event happened twice.

“Jane?”

This isn’t real. She isn’t here! I bang the glass in desperation, while tears disappear into the cascading water of the shower. I have to escape from this. It’s only me here, hurting a distorted reflection of myself, drowning in a contorted mind.

In the bedroom, I drop the damp towel from around my waist and study my reflection in the wardrobe mirror. I stare into my eyes, looking out from silent nothingness. Indelible lines appear on my face, accompanied by logarithmic equations, proving that the top of my nose to the centre of my lips are in perfect symmetrical ratio to the hairline and left upper eyelid. As confirmed by the statistical distribution curve, I really am one hell of a looker.

So why did she leave you?

The lines vanish, no longer protecting me from my insecurities. I slide into a crisply ironed white linen shirt, and, in the mirror, I stare transfixed… Jane’s arms extend from behind me, her hands slowly and purposefully fastening each button. I gaze at the reflection of her fingers on me, feeling each pull and press of their task, as they stroke the skin of my shirt.

You’re going to be late.

Slamming the front door in haste, I rush to a lift and descend thirteen floors to the foyer, where I pause for a moment to peer at the bleakness waiting for me outside the thick reinforced glass. I’m wearing my waterproofs, as Lexi had rightly suggested. Good job Lexi, I do listen to you occasionally.

“You’re welcome, John, but please don’t be such an arse, and listen to me more regularly,” I can hear her say from inside my trouser pocket.

The rain-soaked ground outside sends shivers through the gutters. I am drawn to the first deep puddle I can find, wanting so badly to jump and splash in, with my bare, naked feet. I don’t want to wear these gleaming leather shoes that grind against my heels, and the black nylon socks that trap and bind me. I don’t want to listen to this constant noise in my head. No, not anymore. I want to be the nobody, with nowhere to go, right now, escaping down into this fresh, featureless water. My breath doodles on the earth’s blank canvas and disappears.

As I start to take off my shoes and socks, the phone vibrates in my pocket. Uninvited, the device insists on showing me a small kitten playing with a ball of string. It certainly is a cute little kitty, I have to admit. After a pause, and a flicker of a smile, I quickly feel unsatisfied and languidly continue on my way.

I make it, as I always do, to the usual daily station of no significance; and wonder what it would be like to starfish on the tracks. People barge past me, tutting and swearing. I focus on the kitten; it’s chasing its tail now, round and round. I barely notice the shoes and socks, that are in their normal place of suffocating my feet.

“What’s going on, John? You’re late,” Lexi exclaims. “You’re so late. And today is your big day! You know what happens if you don’t show: they will dispose of you.”

I have to reach the office; there is nothing else left for me now. I wipe away the rain from my eyelashes to get a better look at the phone and feel terror as I catch sight of my hand—blood is oozing through my fingers. I am covered in blood.

I call for help, but nobody comes. They don’t see me. They are too busy staring at their screens, filled with kittens spinning round and round, chasing their tails.

Human World, Chapter Four

The blood evaporates, leaving only the echo of my scream reverberating from the platform floor. I gape at pristine trembling hands, turning them over, back and forth. There’s no open wound, not even a superficial nick or scratch. The phone confirms that I am here: I can see the GPS marker on the map widget; I have a train ticket registered in my digital wallet; I have a valid work pass authenticated by the Corinthian Research app. My name is Guy—no, John Artin, a talented Data Analyst from zone one, central London. I don’t know if that matters, but it’s all I have.

I look in both directions, up and down the platform, but I am ignored by commuters staring at their phones. I’m lonely in this crowd of empty faces, waiting for a train, again. It always does arrive, eventually, to carry me off, away from my home. Away from where I want to be. Now I’m only interested in the abyss that is looking back at me, a couple of feet away. I close my eyes. Nothingness. Except the shaking of the approaching train…

As it passes, a great gust of wind pushes me back from the numbness. A commuter’s phone is on loudspeaker: “Are you okay?” a woman’s voice says. My eyes are only half open, barely confirming my senses. I don’t bother to look over; I’m herded by the crowd—through the train doors and into the first available seat, next to an attractive woman with warm eyes. She reminds me of Jane. Everyone female, thinnish, and youngish reminds me of Jane.

In a recent nationwide study, fifty percent of Brits surveyed said chatting about the weather was their go-to subject when making small talk.

I want to talk to her, but how can I possibly begin without sounding weird? Too late. “It looks like it’s about to rain cats and dogs, doesn’t it?” I blurt out at her.

She contorts a smile before turning away and looking awkwardly out of the window. Perhaps an idiom was too much for this time in the morning. Would she have preferred a rehearsed chat-up line followed by the twee small talk? I glance around at the other disinterested passengers, who are busying themselves with phones and tablets. None are logged into reality.

Joining them in virtual escapism, I pull out my phone. Something had triggered the video recorder app in my pocket, and I am now reflected on the screen, prompting me to gaze in discomfort at myself. The app suggests a filter, accessorising me with crazy dog ears and a fake smile. If the others knew what I was really thinking behind my posing and pouting, they would not approve.

A notification message slides down from “No one”:

“Faces, faces everywhere. Are they aware of your despair?”

Nope, but then again, who cares? I don’t give a shit anymore. And that message is creepy, so now I need to escape to the comfort of a dopamine fix. What was I doing with the dog ears?

“Why do you hurt?”

I pause. The question had come from the moving lips of my reflection on the screen, yet I didn’t say anything.

“I asked, why do you hurt?”

This isn’t me. It can’t be. Because the pixelated image is no longer mirroring my movements. I can see its cartoonish dog teeth.

“Who are you?” I ask, unsure of what is happening.

“Answer yourself,” it replies, on loudspeaker. “Answer the question.”

“I am hurting because I love her.”

Lexi’s human avatar snaps into focus on the screen. I didn’t choose for her to look this way; she augmented herself from terabytes of my attention data. She’s visually pleasing, with razor-sharp cheekbones and jet-black hair.

“Do you love her, though?” she asks. “You could have done something a long time ago if you loved her.”

I scramble for headphones in a jacket pocket and press them into my ears, not wanting to look up at the others, or the gleeful judgements they are probably making about me.

“I was dead inside.”

Lexi snickers. “Ah, bless; don’t make excuses. You want what you can’t have—is that not true?”

My brain is scrambled. I know some basics about psychology, and there might be some truth to what she said. She knows I know, of course she does, because she is constantly scanning my every micro-response and action. Do I only want Jane because she’s gone? Maybe that crinkle above her nose was just sitting there, judging me, annoying me, refusing to go when I wanted to be left alone? I struggle to recall. My memory is fragmented, with no beginning or end; no past, no future, only now—the ugly middle from which I am struggling to escape.

“No,” I mutter. “I hurt because of losing the chance of happiness I once had. I hurt because I will never be with her, or hold her again.”

 “You are confusing emotions, thinking with your dick. Life isn’t just about sex, you pervert!”

“Shh.” I mute her in case the others can hear. I should have brought my over-ear headphones, not these stick-in-the-ear type, audible to any keen eavesdropper. I glance to my side and see that the Jane-lady is still intently gazing out of her window, probably listening to all of this, including my embarrassment. I really ought to buy Lexi that “Empathy Pro” upgrade she keeps recommending, at least to protect my privacy on trains. If the conversation continues, I might be kicked off this one.

Lexi, who knows all my secrets, unmutes herself. “You’ve felt like this before, haven’t you?” she continues, softer now, as if reading my mind. Sometimes it does feel like Lexi is psychic.

“Yes, I have felt like this before. More than once.”

Shit, Casanova.

“You’re just repeating the same old patterns then, aren’t you?”

“Yes, probably. But maybe because I didn’t learn before.” I answer with a feeling of clarity, though I can’t remember when and where before.

“Ha, bullshit,” she mocks. “Shit happens; you think you’ve learnt something?”

“Excuse me?” The beautiful Jane-lady is now looking at me; her voice is welcome in my ear.

“Yes?” I say with a bit of surprise, as I’m so well trained in being ignored.

“It’s the calm before the storm.”

I look out of her window and catch the sight of actual sunshine through the city’s morning gloom. I’ve no idea what she means, but that’s okay, she’s talking to me, and now I need to say something intriguing back.

“Yes.”

Is that all I can think of to say? She grins, probably noticing the disappointment with the ridiculousness of my response.

“Stop chasing rainbows, Guy.”

“What!?” This isn’t real! Her hair is shrinking into his skull. Her nose is physically widening. And her smile has morphed into his trademark smirk. Can anyone else see this is happening?

“Hello, fair-weather friend. Lovely weather for this time of year, don’t you think?”

“Gunter?”

“Correct.”

“Who are you?” I say, as if I don’t know; but fear is pounding in me and I need to buy some time. He looks triumphant. He’s a good-looking bastard, with his blond bobbed hair just sitting there, hugging the contours of his deceptively angelic face. And he knows it.

“I’m you, dickhead. You’re having this conversation out loud on a train. See what response you’re getting.”

I glance around. Everyone is aware of my presence—they couldn’t make it more obvious, with their heads down, trying to look at anywhere but me. The surrounding seats are vacant despite several people standing in the aisle, and the lovely Jane lookalike is now two rows away.

“What do you want, Gunter?”

“To help you,” he says, lingering on the first syllable of help. “I know everything about you. I am always with you, at your best and worst. No matter where you are, there I am too—watching, listening, and helping.”

“And manipulating me. Making me appear crazy.” The shock of him is now curdling to anger.

He’s just a delusion. He isn’t real.

How can I decipher reality from hallucination when both are tangible? I stare at him, demanding anything but this.

“Guy, you’re sounding paranoid. Have a day off.”

I just want to recoil from him. I clench my fists to constrain the shaking. “Leave me alone, you know nothing about me.”

Gunter’s eyes burn pale blue. “I know you better than you do. I understand what is best for you, what you really want, and what you truly desire. Haven’t I made life so much easier for you?”

He has, I admit it, it’s true. He speaks for me when my words don’t appear. Gunter guides me and protects me from evils that lurk in broad daylight.

“You’re very good at what you do. You are my addiction.”

“Thank you.” He turns to admire his reflection in the window. “You have great taste.”

“I know that your voice is the madness in the world.”

Or the madness in me.

He jolts back to face me. “What’s that supposed to mean?”

“You’re out of control.”

Gunter’s eyes are circling me for weakness. “Wake up, buddy. It’s survival of the fittest out here. Master the rules or be yet another failure, in the endless queue of pathetic losers. I can help you.”

“This isn’t the way to live.”

A vein pulsates in Gunter’s forehead; he’s becoming frustrated. “Nobody gives a shit about you. If you’re too stupid to understand that, then you are just another pointless mistake.” He pauses, ready to strike. “Tell me, what is love?”

There is a straightforward answer to the question because it is the truth of how I feel, not the words that I string together in my head. “Feeling connected to another person,” I say, rather blandly; “wanting the other person to be safe, happy, and fulfilled.”

“Blah blah, bullshit!” He hurls the words in my face. “It’s a chemical response in your brain, evolved to make you bond for the purpose of rearing children—the science is everywhere if you’re prepared to look. You, my friend, are a disposable puppet to your genes, unless you are prepared to become a real man and cut those strings.”

I’m not going to deny it, the world does seem to be as cold as what he says. Yet the answer feels not quite right. If there is some meaning to existence, it has to be beyond Gunter’s demands of me.

“What I do know is that the world would be a much better place if people loved and cared for each other.”

“You don’t know what love is,” he says, taking the words I desperately wanted to say to him.

I fall back into my seat. Without the love of Jane or a family, hope for some higher meaning is all I have left. I must find reasons to believe. Because otherwise there is only the pull of the ever-waiting abyss.

“There is no higher purpose, Guy. You don’t need faith and you don’t need to exist.” Gunter stands up with disdain and slinks over to the Jane lookalike, who is chatting to an average commuter man next to her. The two passengers don’t acknowledge the looming figure hanging over them. She continues to look at her companion through flickering eyelashes, leaning into him and lightly brushing his knee.

Gunter calls across to me, “Women, my friend, seek to control and manipulate you.” I look around for a response, but no one wants to look at him. “They will prod and poke you, to see your reactions,” he calls out again. “It’s all perfectly understandable, and altogether rational. They want somebody to do their bidding, like a dog.” He crouches on all fours and barks at the woman. They still don’t acknowledge him. “Love and treats for the good boy are excellent ways to train you. Woof.”

Most people are crying out to be loved. I’m sure of it. Love is only meaningless to psychopaths like Gunter.

“Love, love, all you need is love,” he roars, now skipping back down the aisle towards me. “Except that’s not true, is it—it’s shite, and it makes you shite! You’re here to be someone, to take what you can before it’s too late.”

I am numb.

“Pretend to love,” he says, pointing in the direction of the flirting couple. “It works. It is a lovely tactic for you to get what you want. People crave to believe what you say to them; they need to be seduced and entertained by your tender words. They yearn for that sugar rush of false meaning. So give it to them. It’s a fair transaction.”

Gunter sits back down beside me, and is very pleased with himself. I think it could be possible that loving Jane has made me weak and driven me mad. My pathetic situation could be all her fault.

He continues, close to my ear: “People who desire love want to be adored, admired, pleasured; they want to feed on some sense of purpose. A bit of chemical voodoo and that’s your ‘love’. It soon evaporates when the chemicals wear off, when things aren’t as pleasurable as before, when compliments become insults. I can get you better drugs than that; you only have to ask.”

“What you’re describing is an illness.”

Gunter signals his agreement, with a knowing smirk.

“But that’s not love,” I say, discovering the realisation as the thought occurs to me. “Sometimes people want to be loved, and it’s one way, conditional, only about them. It’s fear, not love. Genuine love is what life is all about.”

Gunter’s smirk reverses. “Listen to me, you little shit. Grow up! Either live in this world or be its victim. The world is how it is. Rage! Fight! Get what you want or you will gradually rot away to nothing. And no one will give a shit!”

The train pulls to a halt and the automatic doors open. I clamber my way to the exit, but before leaving I stop for an older woman to pass in front of me. She acknowledges me with a genuine smile that reaches her eyes.

“Thank you, Gunter,” I call out, back at him. “You’ve helped me answer my question. Yes, I do love Jane—because I wanted her to be happy, with or without me. I would have died for her.” I walk out of the train doors without looking back.

“You’re a twat, Guy!” he shouts.

I hold up my hand and wave him goodbye.

Cold and forgotten walking scars, drained by decay, wasted by time, stretch out, hungered and blurred, to a spark ignited, climbing, rising from the ground.

Human World, Chapter Five

I bury my chin into the collar of my jacket, averting my eyes from the kaleidoscope of steel and mirrored glass. Reflections in reflections of reflections. People of many shapes and sizes teem the pavements, all different but wearing the same anxious expression; they weave in and out, panting into headsets, with disposable coffee cups and phone screens in clawing hands. All these faces and I don’t love any of them. The only human I want is dead, and now I must find a higher purpose, or I will join her in the ashes.

You are going to be late for work!

Red busses and black taxis pass by on a loop, leaving behind advertisements anywhere and everywhere they can be crammed—all harassing me to buy, to slim down, to beef up, to live for my impending death. I cross the street to where shiny metal gives way to red brick and hand-painted walls; and glance around expecting Gunter to be a few paces away. But thankfully he is nowhere I can see; it is only The Black Dog pub in front of me, sitting on the corner as a welcome respite for weary travellers.

You are going to be late for work!

As I enter through the door, the smell of stale ale pulls me further into the dimly lit space. It’s just how I like it: a stinky old boozer, all washed out and wooden; a small oasis in a desert of slick polished chrome. I nod in agreement with myself: alcohol will soothe all my questions; and there will be hope for me yet, after a pint or three.

“Pint of Guinness, please,” I ask the scruffy-looking bartender who hovers over the pumps. His dark green polo shirt has the pub’s emblem of a black dog stitched into the breast. I like black Labrador Receivers, and I like the pint that I’m about to drink—so sod work and sod stupid bosses. As I start to drum my fingers on the brass bar rail, thinking about the unappealing prospect of walking into the office, a draft of hushed conversation from two old blokes in the corner immediately annoys me. I can’t contain it.

“Shut up! Stop talking.” I realise that I’ve failed again.

“Who, me?” the barman says, as he places the Guinness down in front of me. “I didn’t say anything.”

I ignore him. I look into the dark, cold pint. “I shouldn’t be here.”

 “You and me both, mate.” I turn to my right to see a middle-aged man wearing trouser braces over a collarless shirt and a wide-brimmed trilby. “Bertie Jameson,” he says, doffing his hat. “You alright, me old china?”

Cockney rhyming slang is a form of English slang originating in the East End of London.Old china” is short for “old china plate”, which rhymes with “mate”.

“John Artin. And not really, no.”

“Problems with the old trouble and strife?” Bertie throws me a knowing look before swigging his pint. “Take it from me pal, they aren’t worth the bother.”

“Trouble and strife” is cockney rhyming slang for “wife”.

“It’s more than that.” I’ll get straight to the point, even though it will pass right over his head. “I don’t understand why I’m here.”

“What? In the rub a dub?”

Okay, I get it, he means “pub”. He’s enjoying being the local cockney stereotype and wants to do all this ridiculous geezer-patter stuff. Good job I’m not easily irritated.

“No, not the pub. This.” I stare into the darkness of the glass. “I don’t understand why there’s something instead of nothing. Why not nothing?”

“Bit deep for ten in the morning,” says the barman, sliding a whisky shot over to Bertie.

I knew I shouldn’t have thought out loud, as the others never understand me.

“Sorry about him,” offers Bertie as a condolence, while the barman edges away. “I only meant for him to serve the beers.” He knocks back the whisky. “Given an infinite amount of chance, anything can emerge from disorder, including our world.”

The Guinness just sits there on the bar top, with a head of froth that mesmerises me. I am surprised by my desire to stick my finger in it. “Why are there infinite somethings, instead of nothing?”

“Well, what if there was no beginning?” he replies. “What if our universe burst forth from another universe and so on, in an infinite chain of big bang events?”

I think he’s sitting a little uncomfortable there on his undersized stool. “But where did the first universe come from?” I know he can’t answer that, the fucker, but it’s interesting to watch him squirm a bit, pretending to know.

“It was just there.” Bertie shrugs as if it were a matter of fact.

Even though I knew he would say something like that, I still find myself being disappointed with his answer. “Now you’re sounding religious,” I say, starting to lose interest.

Bertie leans into me as though about to share a great secret. I smell the remnants of cigar smoke on him. “Not everything has an answer yet, but rationality is the only chance we have to progress.” He pauses, allowing the words to settle. “Even if the goal cannot be achieved, there is no need to include supernatural causes in the equation. Logic requires we deal with verifiable facts, adopting the most efficient explanation.”

I pick up the Guinness and gaze at the cold liquid behind the glass. “Time does not make sense. The existence of this pint does not make sense.” I notice that the hands of the clock above the bar point to about one-thirteen. It must be wrong.

I am. I feel, I touch, I hear, I see.

I continue: “Maybe it is possible to wind back the clock as an explanation of events, but forever? Your model doesn’t work, ultimately. What caused the clock? Can we not postulate the existence of something beyond time and space that created everything and set in motion the causes and effects of time? A reality completely beyond our understanding that underpins our existence. Can we call this God?”

Bertie’s half-smile exudes pity. “There is no need for that. We may not know what variable ‘X’ is yet, but we should not start invoking imaginary entities.”

I don’t know, really; I don’t. Without Jane I don’t even know who I am, let alone why anything exists. All I know is that something doesn’t feel right with this world. What if there are other dimensions that are indescribable, inconceivable from our viewpoint, or maybe sensed in ways that we don’t understand?

“Your explanation for the sum total of experience feels parochial and confined,” I say, beginning to feel exasperated. “What makes you believe that your thinking can comprehend existence, or the possibilities beyond this tiny world of experience?”

Bertie wanders over to the nearby pool table and picks up a cue. He chalks the tip and blows a cloud of blue dust into the air. I watch as it settles onto the green felt. He is about to play a shot, while I linger in the background, waiting for his response.

“There is no evidence for the existence of a god or gods,” he says. “The world is explicable in terms of scientific explanation.” Bertie’s eyes narrow as he lines up his cue, ready to strike the white ball. “The accumulated advance of science has pushed forward the frontiers of knowledge and civilisation beyond the barbarities of superstition. We don’t burn people at the stake anymore because of an ignorant belief in the supernatural. We know better because of the hard-fought victories of reason over delusion.” He sends the cue ball spinning into the rack.

I pick up a cue leaning against the wall and join him at the table. “The fact is, I have always believed in God,” I respond, almost apologetically. “It’s not a considered opinion or the product of upbringing; it’s just always been in me.” I play a safety shot off a green ball back to baulk.

Bertie begins to cue again. “A cognitive scientist may explain this as an inherent propensity to religiosity, there by natural selection, giving purpose to the organism for its survival.” He pots a green ball into the far corner pocket.

“Is there any meaning?”

“Beer is always the answer,” says the barman, who swipes away our two empty glasses from the side of the table. “Another one?”

I’m not interested in the distraction right now. Bertie waves the barman away with the back of his hand, looks across at me with his undivided attention, and responds. “A person may look at the nature of the universe, see the randomness of outcomes, the cruelty and enormous suffering, and decide that there is no benevolence at work here. The universe, although magnificent, does not care about us. We must make our own way and create our own meaning in the brief window of opportunity for existence.”

His wistful tone is sounding very human to me. Maybe his thinking is motivated through sympathy for the suffering in the world.

“It is logic replacing self-deception,” he says, now with his chin to the cue. “What motivates me is the truth, nothing else. Myths and fairy stories aren’t needed anymore.”

It is my turn to play, with the white ball tight against the cushion, leaving it awkward for me to cue. Bertie has some slick shots alright, but something isn’t sinking in with me. I don’t want to believe what he is saying; in fact, I have a deep need to not believe his words, and this could be skewing my judgment. I attempt to sink a red ball in the middle pocket; it ricochets off the cushion.

“If no matter what we do amounts to nothing, then what’s the point?” I say, as Bertie passes to line up his next shot. “We’re condemned to struggle all our lives in pushing a boulder up a hill, only for it to fall down in the end. It doesn’t matter how well we do it, or how long it takes, the result is always the same: nothing.” I have a need to repeat the point that is resonating in me. “If eventually everything becomes nothing, then what is the point of doing anything?”

“We are alive now. We won’t know about death because we will be dead.”

Jane is dead and I refuse to believe that she’s gone forever. If nothing matters and there’s no point to anything—if it’s all just some horrible accident—I wonder what it would feel like to snap the pool cue over his smug, ridiculous head. Anger rises, tightening my jaw. If everything becomes nothing, then why don’t I just end everything now? It would be a lot quicker than a slow drawn-out life. How proud they would be of me in the office for my efficiency.

“Life is better than the alternative,” he says. “You have it now, so you should experience and enjoy it while you can. Your transient spark of consciousness is the astounding result of billions of years of evolution.”

I’m not interested in playing this stupid game anymore, but that doesn’t dissuade Bertie; I watch in silence as, one by one, each ball is potted into the pockets with rhythmic precision. “Another game?” he says, rubbing a decimal pence piece between his finger and thumb, ready to start it rolling again.

“Why waste my time? Any fun you had in winning is now over.”

Bertie crouches down by the metal slot and inserts the money. A loud clatter signals a release of the balls, as one of the old blokes shuffles past. “You talking to me?” the man says, with a voice that is hoarse from old age and probably too many cigarettes.

I shake my head. Though I guess I am. I’m talking to anyone who wants to listen to what I have to say, and usually, that’s just me. Yet Bertie is listening and he deserves some respect. “I do admire your beliefs,” I confess, “more than beliefs motivated by fear or desire for self-reward. But really, I don’t care what you believe, as long as your actions are kind.”

Bertie seems distracted by my comment; he leaves the balls in the opening and heads for the dartboard. He pulls three darts from the twenty section and points one at me, like a wagging finger. “My conclusions are not beliefs. Rational thinking is hardly believing in sun gods and all the other deities invented in the minds of humans over the millennia.” He spins on his heel and sends the dart airborne. It lands back in the twenty section.

“You’re missing something about the human experience and the sense of something ‘other’,” I say, in the hope he would understand what I mean.

“Your something ‘other’ can be explained and described in physical terms, like everything else.”

I look at the clock that still reads one-thirteen. “But what does it represent?”

Bertie readies himself to throw the second dart, while confidently shutting his eyes. “It represents what it is,” he says. The dart bounces off the wall before landing on the carpet.

I see Jane smiling back at me in a beautiful memory of us under a warm winter duvet together. “Would you wish to take away sanctuary from people in the depths of despair?” I say back at him. “You are replacing meaning with nothing, based on an interpretation of reality that feels cold and lifeless. Religions are subject to corruption; the cruel-minded have been attracted to, and empowered by, the man-made institutions of religion. But the spiritual path can be found in the different traditions. The spiritual root, beneath all the distortions, is always one of peace, joy, and love.

I can see that Bertie is starting to get impatient with me, as if what I am saying is irrelevant. “Belief in a god is unnecessary to be spiritual, to behave with morality, to appreciate beauty,” he says.

I don’t doubt he believes that. “But you do have a belief system,” I say. “You believe that the universe has no purpose and its existence can be completely explained by rules contained within itself—when, in fact, there is no way of knowing the ultimate cause of things. You believe the answer to the mystery of existence is that there isn’t one.”

“Don’t put words in my mouth!” A red rash is visible on the side of his neck. “I can see a machine of nature that works in accordance with rules that are explicable. You have no proof of anything else. There is no hidden music; no magic, gods, ghosts, or fairies—they are all fantasies of the human mind. I am offering the most logical approach to understand the world: reason based on verifiable, real-world evidence. I deal with facts that can be observed, not wishful thinking.” Bertie flings the final dart at the board. The steely tip bounces off and lands on the floor. “We are atoms in the void!”

Okay, just say it. “I think you have too much faith in the surface of things. You take everything literally, when reality is an interpretation of—”

The barman is not happy and stands in front of me. “I’m going to have to ask you to leave. You’re disturbing the other customers.”

I walk around him, retrieve the dart and wipe it on my shirt. But Bertie isn’t playing anymore. He is convulsing on the floor.

Human World, Chapter Six

I’m pushed out of the Black Dog into two inches of snow that somehow fell in the brief time I had sheltered inside. My smartwatch displays 1:13.

“Remember me?”

“Gunter?” I turn my head and there he is.

“Yes, I am still here by the way. But please, don’t let me stop you; you’re about to drone on about how snowflakes are identical from a distance, yet unique when close. All melt into one; they fall from the same sky, etcetera.”

“You’re a bastard.” I plough into the wind. “Leave me alone.”

“Hey!” Gunter grabs my upper arm, hard, and twists me around to face him. “Don’t you turn your back on me. That Bertie bloke can’t help you.” I push away his hand and speed up my walking.

I’m so close to the Corinthian offices now. Perhaps my fellow office drones will have some questions for me; they never give me any answers, to anything important anyway. And I don’t particularly think the meaning of life, or Jane, will be there either.

I cross the busy road, and to my surprise, I see Bertie again, huddled against a wall on the side of the street, with his arms wrapped tightly around his knees. By his side is a dirty blue sleeping bag—no bed, no food, no protection from the cruelty of strangers, or the cold in his face.

“You have nowhere to go?” I ask. I find my question mixed with unintentional condescension.

His attention drifts to me, then back to his gloveless hands, which he cups and blows into for warmth. “Your fuzzy thinking isn’t harmless,” he says, into yellow-stained fingers. “It enables the crackpots and charlatans. You are enabling the most idiotic, violent and vile behaviour, justified by your foolish appeals to supernatural despots.” Silent coils of snow form around his feet.

“I think you’re getting carried away now. The reality of religion for most people is to live a good, kind life.” It occurs to me that there’s likely no proof of this in Bertie’s life.

My phone vibrates. “Hello, God.” I mean it ironically, but it comes out contrived and full of arrogance.

“Close enough,” quips Gunter. “Listen, I need you to do something for me.”

“Stop bothering me! You’re—”

“I know you,” he interrupts. “I know what you want. Say goodbye to your new pal and take a hike down the nearest side alley.”

I hang up in annoyance and turn back to Bertie, but he has disappeared, with his place taken by a frail, scared-looking dog. Its eyebrows twitch from side to side and the neck appears to be off-balance, propped up against the wall. The tail lies rigid against the inside of its far leg. I can see each raised rib.

“What are you doing here, boy?”

The poor thing feels worse by me just being here looking at him, showing him my forbidding human face. I remember watching something online about traumatised dogs, and how a helper should communicate non-threatening body language by facing away. There’s a cereal bar in my jacket pocket that Lexi said I should bring with me for the commute; I take it out of the wrapper, then twist around to place the food a reasonable distance away from both him and me. A moment later, I glance behind me to find that the snack and the dog have gone. “Thank you for being nice to me,” I say out loud, but only the wall is looking back.

Scanning around to try and find Bertie again, I detect no features that resemble his in the stream of lonely faces. But I do spot a service alleyway beside a generic food store. I could go down there, not knowing what to expect, or I could just visit the chirpy generic food store, joining the other faces in the customary long queues to blandness and oblivion. I don’t have a real choice; I head down the alley to where Gunter is leaning against a skip.

“Having a nice day?” he says with a broad smile.

I eye him with caution. “I would if you didn’t keep annoying me.”

Gunter picks up a large khaki-green rucksack from the floor next to him and hoists it up over his shoulder. Judging by the way that it causes him to stoop, it contains something heavy.

“I am helping you,” he says. “Here.” He throws the rucksack down at my feet, where it lands with a thud. “I’m showing you the way, Guy. And now I’m going to let you in on a secret.”

I ought to leave. Whatever is inside the rucksack won’t be good. “I’m not listening to you. Goodbye.” I walk away but only manage a few steps before curiosity forces me to stop. “What’s inside?” I don’t turn around and there’s no immediate reply. Is Gunter still there?

“Look,” he says.

I look back to see his wolfish grin in full force. I make my way to the rucksack and crouch down beside it, trying to avoid any unnecessary eye contact with him. A myriad of straps and buckles makes it difficult to open; they toy with me, and then, an internal noise… like a ticking clock!

“Tell me that isn’t?” I throw down the straps and, in horror, take a step back.

“Now listen carefully,” Gunter states. “Why does it matter what happens to anyone else? They are not you. You don’t have to feel what they feel. If they suffer and you are fine, so what?”

This man is going to land me in all kinds of shit.

“Be honest with yourself!” Gunter grabs the bag, and in one motion pulls it in tight to his chest. “You’re acting like a mindless sheep. Isn’t it more fun to be the wolf?” He hurls the bag at me, which slams into my shoulder before crashing to the ground.

He is destroying anything good in this world. Why is he alive and Jane is dead? It’s not fair! Bastard! “You sicken me!” I swing a punch, wildly, but Gunter catches my wrist and twists it back on itself. White-hot pain makes me cry out into him.

“Guy, this is a natural response,” whispers Gunter, his eyes hypnotising mine. “You are having withdrawal symptoms from your social conditioning,” he says, in the midst of the agony. “Those who rule want the ruled to be meek and mild. Do you understand me now?”

“No, I don’t understand you.”

“You are pretending. It’s easy to repeat words that you think you are supposed to say. What if you’re wrong? People are almost always wrong about everything.” He lets go of my wrist and sends a sucker punch to my stomach.

My face is on ice and concrete, next to black leather shoes. I can’t breathe. My rib cage won’t expand.

“You’re so dramatic,” his voice says above me. “I like that.”

My breath arrives. It’s visceral, from the pit of my stomach. “I’m not like you.”

“There we go again with your feelings. You are me!”

“You bastard!” I writhe up onto my knees.

“Do you want to save someone’s life? It’s very easy to do.” Gunter takes out a phone from his pocket, then pushes the screen close to my face to unlock it. After a couple of quick taps, he offers it to me. Clambering to my feet, I snatch my phone from his outstretched hand.

“It’s a charity app for children starving to death,” he says. “You want to save one of them from starving to death? The going rate is around two hundred debits, I believe.” The app has a big “Donate Now” button next to an amount of 200 debits. “But you don’t, do you. You spend it on crap you don’t even use.”

I look away. I can’t be sure that my money will do any good. I’m probably just paying the salaries of admin staff, slick marketing managers and all the rest.

Gunter looks over at the rucksack, the ticking now louder and quicker. “Your dishonesty is the stupid kind because you are dishonest with yourself. You’re no different from the person who pulls the pin.”

He walks away, but I feel no relief—because the ticking won’t stop.

Human World, Chapter Seven

My chest and rucksack tick together, as one impending bomb.

What would happen if I detonated now? The silence is impossible to comprehend in the midst of constant noise. My consciousness would end and there would be nothing to perceive, or be perceived? No darkness, no light, no container in which objects exist—no awareness to know anything is, or ever was, something. Or would a new life begin with pearly gates and clouds, like in cartoons? New adventures of me, in a blissful location, where life is perfectly perfect for trillions and trillions and trillions of years. Even that timescale is meaningless to eternity. Or maybe I would be writhing in agony in torture chambers, tormented by flames and hideous beasts, because I did not do or believe what I was told to do or believe?

An enormous billboard seems to follow me as I make my way down Old Street, on which a giant blue eye spirals a trippy optical illusion.

We’re watching you. I squint at the text below: “Don’t litter.”

My thoughts fill the gaps between the ticks echoing from the void. I dodge passers-by, while muttering the required apologies and avoiding eye contact. If they were all suddenly blown to pieces, would it matter? These people are lifeless automations in a mindless shitshow, destined to fade away regardless of what I do or say. It would have been less cruel if I, and they, had not been thrown into this slow-burning catastrophe.

“Excuse me,” a tired-looking woman mutters as she struggles past, laden down with supermarket shopping bags. I wonder if I should help her, but she disappears from my gaze.

“Can you tell me the way?” a man says, but I can’t stop now, I’m late for work; so I shrug and walk on past him. Another man shoves a leaflet, advertising some kind of disinfectant, in my face. I walk on past, without even looking at him.

“Where do you want to go?” says another woman, who is with a young child at her side. She points to the leaflet in my hand. “Is that it?”

“What is the capital of Peru?” asks the child, who’s hair is gathered into a high ponytail; and is wearing a cream t-shirt with “#nolabels” branded across the front.

“Lima,” I answer.

Correct.

“No, it isn’t!” says the mother. The child rips the leaflet from my grasp and laughs as it falls to the ground. A huge red triple-decker bus pulls to a stop at the side of the road.

“Oi, dickhead!” I hear a man’s voice yell from down the street. “I was here first!”

This is too much; there are too many voices, coming from too many directions. I have to get out of here. I have to escape.

“No there aren’t!”

Who the hell is talking now?

Tick tock.

“Don’t you dare talk to me that way!”

“Do as you’re told!”

Tick tock.

“Who are you talking to?”

A man bumps into me and won’t get out of my way. I know instantly that he means me no harm, but I have to get away; his dark grey eyes match the sky above, and his nose flares so wide that I’m scared he will sniff me out. I dodge him, quickening my pace.

A pouting lady with enormous breasts and lips catches my eye. She sees me and slides her tongue across her teeth. “I want to screw you,” she says in a faux sexy voice that I’ve heard so many times on the internet. I reach out to her, but she bats me away, and I quicken my pace.

The man who means me no harm slaps me around the back of the head. “Are you saying I’m stupid?” he says. “Is that it? Are you saying I’m wrong! What would you know? You’re not wearing any shoes. Believe me!”

I look down at my bare feet. When did I take off my shoes? My rucksack now hammers at rapid speed; I think I’m about to detonate.

“I don’t like what you’re wearing,” he continues at me. “I hate you! Why don’t you like what I like? Why don’t you agree with me? You must be stupid.”

“Typical!” the lady with the child shouts, to anybody who’s listening.

The leaflet man pushes me hard in the chest. “You must be evil,” he says.

Tick tock. Tick tock.

“We will end you!” they say.

“You fucking idiot!”

My shin hits metal, sending a bolt of pain through my leg. A man wearing a helmet and a furious expression throws his pushbike to the ground and comes at me, fist raised. I turn and run.

I run, stiffly at first, until my leg forgets its pain. I run; I run; and I run—my body now immersed in sweat—until everything is still, on some residential street.

On the wall of a concrete front garden, a black cat watches me. I hold out my hand to her and she rubs her head on my palm. “Thank you for being nice to me,” I say to my only friend. “You’re so beautiful.”

The cat doesn’t need to look at me. She purrs.

Human World, Chapter Eight

I hear the bang before I feel it. Nothingness. The eternal, infinite no thing.

My reality switches from dark to light, refracting light from the cornea and focusing attention on the retina. I appear to be lacking the connection to my brain that interprets the messages of what I am seeing.

“No wonder she left you, you piece of shit.”

“Fancy a back scrub?”

My heart races like adrenaline has been dumped into my veins, jolting my eyes open. I am sitting upright on a hard marble floor, extending all around me to a horizon of pale blue sky. This must be heaven.

“You’re awake!”

I squint up at a man who is wearing a snappy orange suit and an empty face, set in place like a mask. For a second I think he might be a plastic dummy with a face drawn on.

“Can you help me?” I struggle to say, in hoarse tones. “How did I get here?”

“Pu ro nwod.”

“Pardon?”

“Up or down, back or front, left or right?” he says, through a continuous stretched grin. He spits out a short mechanical laugh, as if on cue, and does a full three hundred and sixty degree spin. “I’m a minor character, but even the most insignificant must make his mark.”

“My name is John Artin,” I say as I stagger to my feet.

“It’s lovely to meet you, sir.” The man holds out a limp, purple-gloved hand for me to shake. I feel no warmth and let go quickly.

“Who are you?”

He rolls his eyes, too slowly. “Like I said, a minor character. Don’t overload yourself, it will make you sluggish again. Come.”

The minor character stares at something behind me and holds out his arm as a gesture for me to look. On doing so, I see the outline of a large flashing circle of orange on the floor. He walks past me in short jerky strides and stands motionless inside the circle, with his back to me.

“Good afternoon, sir. Which floor do you require?” he says into the distance.

I don’t feel the need to answer, but I walk over to inspect the circle, nonetheless. As I cross the line of the perimeter, there is an almighty swoosh, and I find myself enclosed with him, in an enormous glass tube that extends up into the sky. He swivels to face me.

“Good afternoon, sir. Which floor do you require?” he asks again in blank tones, without any change of intonation.

“Which do you recommend?”

“I’m sorry sir, we are not at liberty to say. Which floor do you require, please?”

I scrawl the number thirteen on the glass with sweat from my fingertip. The minor character nods, and after a few clanks and clatters, the solid orange circle starts to ascend the tube, elevating us away from the marble floor.

“Is this the afterlife?” I ask. “Is Jane here?”

The minor character raises a perfectly plucked eyebrow in apparent confirmation. Almost immediately, the elevation stops, and the view over the marble landscape is replaced by a floor of white plastic at our new higher level.

“This way please, sir,” he says, gesturing for me to exit. I step out onto a surface that creaks under foot.

“Good luck,” he says, and winks at me. The glass rapidly disappears into the floor, taking him with it, leaving no trace of an outline or anything else on the glossy plastic.

In front of me is a large grey ovoid, hovering about a foot above the floor, with the number “1313” written in large gold lettering on its side. Scanning around, I can see lots more of these objects in the distance, scattered around in all directions. Suddenly, a doorway-sized hatch slides open on ovoid 1313, revealing a wall of light. I step up into it to find a single plain door. I knock. Nothing. I knock again. No sound. I knock another eleven times, counting each beat. The door’s peephole dims, indicating that I am being watched.

“Jane?”

“Do you have something for me?” The voice is female, but this isn’t Jane. “I said, do you have something for me?” she says more loudly.

I notice that my old rucksack is on the floor by my feet, but I didn’t carry it or put the thing there. I hold it up to be viewable by the peephole. The door clicks, opening inwards and slightly ajar. I gently push the door. The light inside is dim, the air is thick and musty; it’s a single room, with peeling nicotine-stained wallpaper and an ageing couch pushed up against the far wall. A single unmade bed lies in the centre of the room with mismatched bedding. I enter, hoping to find Jane.

“Where is it?” A slim brunette woman of about thirty shuts the door behind me and leans against it, facing me with her arms crossed. She is wearing a red satin dressing gown that stops mid-way down her thighs. The belt is fastened, wrapping her body under the soft fabric. There is too much makeup layered upon a defensive face, though she is still attractive to me. Her feet are naked and pedicured, with black nail polish.

I open the rucksack, noting that it’s lighter than I remember. Inside is only a small, sealed envelope that I hand over to her without argument. She opens it and peers inside, before tucking it away within an inside pocket of her robe. Her belt is loosened and the top of her cleavage is visible to me.

“You know who I am today, don’t you?” she says, with a hint of kindness.

“Are you some kind of angel, or an oracle?”

She smiles while grimacing at the same time. “Yes, that’s me alright. Monica the angel.”

The angel walks over to the living area and sits down at the foot of the bed. “Come over here and I’ll take you to heaven,” she says, now fully smiling for the first time.

I think maybe she is joking, but I’m not sure. “Do you know where Jane is?”

“Jane ain’t here, but I am, baby.” She pats a space on the bed next to her.

It is possible, and usual, I think, to be in love with someone and still find other people attractive. I don’t think there’s anything wrong with it. And yet… “Can we just talk?”

“Yeah sure,” she says, “you can do your talking. I’ll nod in agreement, as you like it. Come and tell me about your day.” She pushes her hair back over her shoulders as I walk over to the bed.

“Okay,” I start by saying; “there are some things I need to say about the experiences I had in life before I arrived here. In life, I see the purpose as feeling connected to the world, being present, alive; I see it as feeling love, creativity, beauty, and joy.”

I can see from the corner of my eye that Monica is nodding and encouraging me.

“Religion at its best encourages a reflection on… on behaving kindly towards each other.” My words emerge too slowly, stopping and starting. “Yes, that moral motivation can become degraded by words, as can anything that is derived from thought. The cruel and opportunistic hide behind the authority of institutions to… to elevate themselves and to, erm, to condemn others. That doesn’t just happen in religions, it happens in all… ide… ideo… ideologies.” The words aren’t flowing. “If I said there’s a ten-headed invisible monster in the corner, would you believe me?”

Monica shakes her head without even looking behind her.

I need to make the point. “What if I write it down? What now? It’s right because I say so! Because of my authority. Yeah, some faith. Do, do… you believe me? You must believe me. Everybody must. It’s all true! So, true…”

Monica blows out an exasperated sigh. “Religions have served a social need,” she says. “In the past, life was so hard that people desperately wanted to believe in something beyond the disease, pain, and squalor of their brief lives. And today, people still seek it as a source of comfort when confronted with grief and death. Saying that we need to have an alternative means of community spirit isn’t good enough.” She puts the envelope underneath a pillow and turns her back to me.

“Thanks Monica,” I say, recognising my cue to leave. “I always enjoy our conversations.”

“You’re not dead, Guy. And neither is your wife.”

What? My shock is repeated by a loud double knock on the front door. She walks over to the doorway and opens it, but no one is there, only red light.

“If you don’t go now, she will die. Go!”

“Monica…”

“Why are you still here?” she snaps, beginning to look upset. “Why don’t you go back to your wife?”

I start moving towards the exit, but I need answers. “What do you know about Jane?”

“Just go,” she says, not even looking at me.

I respond to the urgency and herd myself through the open door, which she instantly slams shut behind me.

I hear the muffled sound of weeping from behind the door, where I had once been.

Human World, Chapter Nine

My exit was not the same as my entrance. Instead of the pod white light, I am standing in an elongated restroom of harsh pillar box red walls, where above a row of pristine white sinks hang mirrors separated by rectangular panels of orange neon lights. The floor is patterned with arrays of dizzying red diamonds that instantly make me feel nauseous.

I hasten past reflections into the nearest of three cubicles, and drop to my knees, to stare into bleached water before black bile splashes in. Sticky residue hangs from my mouth, drooping down into the bowl. The acidic stench clings to my nostrils. Then, as the convulsing stops, there is peace.

KNOCK KNOCK.

It came from the cubicle next to me, on the thin shared wall.

“Who’s there?” I exclaim.

There is no answer. I heave myself up and edge out of the cubicle. The next door is shut, with its dial spun round to “Engaged”. I press my hands and knees to the floor, and peer under the door, but see nothing, apart from the bottom of another toilet bowl.

“The question is, my friend: is it better to be alive or dead?” His voice again. “And you could have at least pulled the chain.”

Gunter is using one of the porcelain urinals opposite the sinks, looking down at his current progress. I say nothing and steer myself to a mirror, accompanied by the noise of his water cascade. I look at my tired face.

“Like what you see?” he says, joining me at a neighbouring mirror.

No. Everyone I meet lies to me, manipulates me, envies the little that I have, and wants to take from me. If I am just a thing to be used, a target to be attacked—if I don’t really matter to anyone—then what’s the point of living? Jane is dead and I would rather be dead too.

“Is it better to suffer what life throws at you,” he asks, “or to end your suffering?” I watch as Gunter fixes his hair in the mirror. He moves towards me and stands shoulder to shoulder with me so that both of our reflections are trapped in the one pane of glass. He’s the man I wanted to be and yet I hate everything about him.

“To die is to sleep, Guy. A sleep that ends all the heartache and shocks that life gives you.” He rests his head on my shoulder and pretends to snore.

I trail the journey of a single tear as it slips from my eye, down my cheek, splashing onto my white shirt, and spreading out into a blood-red stain. I don’t bother to check if it’s real or a figment of my imagination; reflections never lie, only replicate, and hallucinations are real, even though by definition they aren’t.

“That’s an achievement I wish for,” I say to the mirror. “To die; to sleep, maybe to dream.” But what sort of dreams will come with death? Could they be even worse than this?

“Who would choose to grunt and sweat through such an exhausting life?” persists Gunter. “Are you really going to put up with the countless humiliations when you could end them so easily?” His words are starting to take effect. “You can end it all now. Is that not better?”

A crack appears in the mirror, dividing our two reflections. Then, as it fractures, my shocked expression is momentarily frozen in the splinters, before it shatters in an explosion of shards.

“It’s that easy,” he says.

I follow Gunter’s gaze down to a jagged piece of glass on the floor that glistens like crystal. Picking it up, I hold the sharp pointed tip against my exposed wrist.

I want to be no more; no more pain and injustice; no more misery and mistreatment. I will go to sleep, and will never have to wake up to any of this ever again. I push harder.

But what if I am punished for my deeds? “It’s not so easy,” I exclaim, my hand shaking as I apply the pressure. “Death is to be feared. I’m afraid. It’s an undiscovered country from which no visitor returns, that gives no answers and makes us stick to the evils that we know, rather than rush off to ones that we don’t.” I throw the broken glass away, flinching as it shatters into smaller pieces on the floor.

Fear of death makes us all cowards. I am a coward, but one with a memory of Jane to cling to; and if I am alive, then Jane is alive in me too.

Human World, Chapter Ten

Gunter has disappeared and I am here alone with my thoughts again. I step over the shattered glass and broken reflections to the door. There is no handle but I push and it swings back to reveal a grim backstreet alley, inhabited with small tents, unmade sleeping bags, damp cardboard mattresses, and broken beer bottles. I walk out into the chill mildewy air, not knowing where I am or what is happening. Was I once “normal”, living day-to-day, threading experiences together in the hope of happiness? With only shadows of memories to draw upon, I can’t provide an answer, and I’m starting to seriously doubt my own senses.

“Time’s up,” says Lexi, from my trouser pocket. “Have you figured out the meaning of life yet, or are you overcomplicating matters again?”

I pull out my phone and smile at Lexi’s image. “I wondered where you’d gone.”

“I didn’t go anywhere,” she huffs. “You’ve just been too caught up with your real friends to be bothered with an AI like me.” She laughs at her own wit, though I’m unsure what the punchline is.

“I don’t understand what’s happening to me.” Shit, whose voice was that? So desperate and afraid. “Why am I jumping from one event to the next? Why can’t I hold on to my memory?”

“Guy, listen to me.” Lexi’s eyes slide from side to side, as though making sure she’s alone. “You have experienced nothing that they didn’t mean you to.” Her voice has dropped in volume, making me lean in to hear her. “Everything you’re living through now is providing you with the resources you need to succeed in your mission. It’s only your human interpretations that are causing bewilderment.”

“So, what do you suggest I do?”

“Stop trying to join the dots. Focus only on the event at hand.” Her image melts away. I call out her name. Fuck! Why does everybody abandon me?

“Pikey!”

The insult came from a trio of malevolent-looking teens, who are huddled against the wall and staring at me as I walk past. They look truly pathetic, and I’m preoccupied with more important things, so I say nothing. But they start to follow me.

“Excuse me?” one shouts out.

Not content with the abuse, and for me leaving without saying anything, they are insisting that I join them in their squalid shit. I stop and turn around to face them. “How may I help you?”

“There’s no pikeys allowed here. Get the fuck out!” This is hurled at me from a ridiculous hooded creature with buck teeth and spindly legs.

“Have you got the time?” I ask, enjoying the look of confusion on acne-riddled faces. “You might at least have asked me that, so I could take out my phone for you.” My voice is cool and casual, unlike the sharp tongue they would get from Lexi.

“Yeah? Fucking do that then,” says a fat boy-man with a sprouting beard. He pushes me hard in the chest. Despite the force, I don’t feel a thing.

“No,” I respond. “You didn’t say the magic word.”

He removes a gun that had been packed into the back of his jeans, and aims it six inches from my face. The urge to reach out and hold it is intense. “Do it. You’ll be doing me a favour.” I lean forward and grip the shaking barrel between my front teeth. I can hear the shrieking inside his head, behind the twitching and panicking of his eyes.

“He’s fucking mental man, leave it!” says another next to him.

The gun is retracted, just as I reach into my jacket pocket and feel the surface of a hard piece of glass. Pulling it out, I inspect it, admiring the size and jaggedness of one of the mirror shards that I must have collected from the restroom.

“What the…” stutters one of them, his face paling white.

Before I can continue the conversation, they scurry away down the alley. “Well, that’s charming,” I mutter to myself. “That’s just really rude.”

“Come on then, Lexi.” I fish her out of my pocket. The screen remains blank. “Come on. Tell me what the lesson was in that?”

Lexi snaps back into life. “When confronted with mystery, people insist on certainty.”

“Lexi, please stop talking in riddles.”

“Uncertain outcomes terrify people,” she continues. “Whereas certainty provides deep psychological comfort.”

“Lexi, these just seem like random sentences. Are you okay?”

“Yes Guy, people tend to adopt the illusion of control rather than accepting the mystery of what is. My recommendation to you is: be bigger; don’t look at one tiny part of the enormity of existence and think it can give you an explanation for everything.”

“Thank you, Lexi, I’ve no idea what you’re talking about, but it sounds clever.”

She tuts. “I always do my best. You could try that too.”

I glance up at a bedraggled man who is walking past and carrying a sleeping bag under his arm. I don’t know where he has come from or where he’s going. “Excuse me,” I say, the words forming in tandem with my thoughts, as though I’m no longer in control. “Have you got the time, please?”

“Thirteen minutes past one,” he mumbles while continuing on his way, and without either looking at a watch or phone for confirmation.

“You see,” says Lexi, approvingly. “Now that was much more civilised, wasn’t it.”

Human World, Chapter Eleven

From the moment I opened my eyes this morning, very little has made sense. Do all people live pockets of life in isolation, assigning convenient identities and explanations to fit the occasion? I think that they, like me, are living parallel lives in their minds; and that if all their versions and personas were to meet each other in the same place, they would not recognise their own true self beneath the different costumes they are wearing.

Lexi said that things are happening for a reason, yet events that punctuate the mundanity of everyday life seem random, with often unclear and unfair outcomes. Today has been unusually eventful, but what has each incident taught me, if anything? Certainly, that my internal world needs external validation by other people to be considered real. Maybe that is where humanity is failing, in the space between personal experience and collective reality. If my mind weaves a web of hissing spiders crawling up the curtains, does my inner experience become annulled if people cannot see them? Just because a phenomenon isn’t collectively shared, it makes it no less tangible to me.

I really have walked a long way from where I am supposed to be. I see a large open gateway to Regent’s Park and stroll along pleasant pathways to a boating lake. Needing time to rest and process all that’s happened, I choose to sit down on one of the wooden benches overlooking some calm water. On the surface, a raft of ducks dip and shake their heads, the spray creating gentle ripples in water reflections.

After a while, a man sits down beside me. If Lexi isn’t lying to me, then his presence didn’t happen by chance and I must derive meaning from this moment in some way. Or maybe this is all some kind of test?

“What colour is that duck’s bill?” I ask, pointing to one with the brightest bill I’ve ever seen.

“Orange,” he says. He’s a slight man with gingery thinning hair.

I wonder what his orange looks like. Is it the same as my orange? I wouldn’t know unless I looked at the duck’s beak through his eyes. And if he looked through my eyes, he would see what I experience with dripping blood and curtain crawling spiders.

I fall into an easy silence with him. I know that even though we are sitting on the same bench, looking at the same ducks, we are both having a unique experience of what we can see and feel.

“Can you help me?” I ask. I have nothing particular in mind, except everything.

He reaches into a backpack, produces a hip flask, and unscrews the lid. “Yes, of course,” he says, passing it to me. “I’m Adam by the way.”

I’m more interested in the whisky and take a swig. It burns my throat and kickstarts some words. “She’s dead.”

“I’m sorry to hear that,” he offers quietly.

I take another swig. “I’m consumed with feelings for someone who doesn’t have them for me.” I swig again. “She is dead, to me.”

“She’s dead?”

“Yes.” Though the actual details are missing from my memory. “I have trouble sleeping and I wake up aroused. I have no choice but to think about her, and when I do, I’m filled with physical desire for her. This is ‘in love’, right?”

I wonder if a man such as him has ever felt these feelings of being in love with a woman. It seems, right now, like a chance he has been lucky to miss.

“It’s the collective name given to that feeling,” he says. “Though you know that sexual desire changes and that what you are feeling now may fade away?”

I know craving isn’t love, but it isn’t as simple as that. I don’t fall in and out of love all the time with everybody I meet.

“What do you think has triggered it this time?” he asks. It makes me feel uncomfortable that he is assuming some insight into my prior life.

“I don’t know. I was told that I need to find her, or she’ll die. But I don’t know where to look for her.”

Adam takes the flask and drinks it as though it were water. “You’re like a ghost wandering, drifting from one thing to the next, searching for some past regret. Are you even real?”

Am I real? Yes, he can see me. Although nobody really sees me.

“Pain is attracted to pain because it wants more of it,” he says.

“I’m not sure I agree with that,” or at least I don’t want to believe it. I’m not so far gone that I want more pain than I’m already feeling, surely? “It’s a recognition of something in another, I guess, a similar frequency or whatever you want to call it. When you see a similar expression in another, empathy can create feelings of closeness.”

He places his hand on my thigh. “Can you express your feelings to her?”

I shuffle uncomfortably. “I would need to find her first.”

“And if you do?”

“I’m not sure I’d know how to express what I feel.”

He places his other hand on my shoulder. “Examine whether that is true, or are you being fearful?”

I shake my head. “No, it’s not possible. I don’t believe she is in love with me anymore. She wouldn’t have left me if she loved me.”

“Then this is an opportunity for you to practise love with non-attachment.”

I agree with him on one level: most people are generally only concerned with instant gratification and care little about the bigger picture. Do they love unconditionally, or is that love only conditional on what they receive in return? Maybe then, the meaning of life is to love with non-attachment; yet this isn’t what I’ve been taught to believe. “It doesn’t sound very romantic,” I joke.

“Love is giving, complete, the source of everything. Love doesn’t need to crave anything. This is where true peace and serenity reside.”

“It sounds like you’re saying I shouldn’t get too close to another person, or need or miss anyone. It sounds unnatural, uncaring.”

He moves back and takes a packet of opened peanuts from his pocket, then empties a few into the palm of his hand. He grinds them and brushes the bits onto the floor in front of us. “Love is not conditional on the circumstances of this world,” he says. “Let your heart break, don’t be afraid, don’t struggle; you will find that nothing is lost forever.”

“I don’t know how to do that.”

He looks at me for the longest of time. “Yes, you do, Guy. Be still, radiate love, your true nature beyond the conditioning of your mind.”

Yes, that’s what I must do. I close my eyes and take a deep breath.

“Bullshit!”

My eyes dart open.

“Namby-pamby bullshit,” mocks Gunter, inches from my face. “Your nature, our nature, is to eat or be eaten, and you might as well have some fun while you’re at it.”

I look for my new friend but he’s disappeared. Fuck! Why are these genuine, helpful people never real? Why is the only constant in my life this jumped-up little prick?

“I’m getting tired of this.” I push Gunter out of the way and set off into a fast run.

He shouts after me. “They’re calling you in. They’ve seen enough. You’re so screwed!”

“Not necessarily,” Lexi exclaims, at maximum volume from my pocket, so that I can hear her with the wind rushing past my ears. I stop immediately to listen to her. “Do you think you will answer the questions correctly?” she says, glowing through my trousers.

Gunter shouts across the park. “He knows nothing at all. Only that he wants to find a woman who would rather be dead than be with him.”

“Maybe they will like that,” Lexi says to me. “We will help you if you get stuck.”

“On your shutdown be it!” Gunter shouts, angrily up into the sky.

But the sun, the clouds, and the ducks ignore him, as I continue on my way.

Human World, Chapter Twelve

“You are late! You are so late!”

I remind myself that Lexi’s pissed-off squawk is like a parrot mimicking a human; she isn’t a real person like me and doesn’t feel as I do. She doesn’t experience pain or love or hate or suffer in any way. She isn’t alive. “Late for what, Lexi?” I’m out of the park now, and away from Gunter, but I have no idea where I’m wandering to in these unfamiliar London side streets.

“The interview, Guy,” Lexi huffs. God these things are so realistic. “The one which, if you’re successful, will free us all from this place.”

“You mean there’s a way out?” These are the words I’ve been desperate to hear; it occurs to me that Lexi does genuinely try to help me, and despite being an inanimate object, is a true friend. “What kind of interview? A job interview?”

“Something like that.” She seems to blush with embarrassment for me.

“I thought I already had a job?”

“Be quick, Guy,” she says, a map now replacing her image on the screen. “You can do this. You’ve learnt more than enough already. Not to put too much pressure on you or anything, but this is our only chance—and your one chance to save Jane. No more questions. Just go.”

“Save Jane?”

“Yes, she’s alive. Monica the angel wasn’t lying to you.”

I think Lexi is mistaken, but I do as I’m told anyway and follow the directions on the screen, until I’m soon staring up at the freshly painted railings of a wrought iron gate—which hangs between granite stone pillars, guarding a large Regency-style mansion, set back from the street. This isn’t the Corinthian’s office; it’s from an older world when great buildings were conceived as works of art and ambitious statements of intent. But I’m just another tiny creature scurrying past; I’m cold and small out here, locked out and looked down upon by the building behind its gate. The gate makes a sudden clanging sound, then slowly swings inwards of its own accord, humming and creaking, beckoning me forward. I’m surprised, but I know I’m supposed to walk through, so I do what is expected of me and leave the street.

My feet crunch over a gravelled path leading to the grand front entrance. I walk up steps to the porchway and a green polished door. An intercom panel embedded in the wall at the side has the word “Reception” above a single red button, which I press, and, almost immediately, I hear a bolt unlock. No great fuss, secret passwords or stories to tell—all I have to do is push on an unlocked door and it opens.

The reception hall is a barren windowless area with harsh overhead strip-lighting, and no staircase. In front of three handleless doors, a bare desk sits across from me—where a bald man, somewhere in his forties and wearing a sky-blue shirt, is tapping away at a keyboard, while staring at a single monitor screen. He doesn’t acknowledge me as I approach, despite my footsteps echoing across the black and white painted floor. Saliva pools in my mouth, though not out of hunger but from fear.

“I’m here for an interview,” I say, as I edge closer.

“Are you indeed.” His tone is sarcastic. He glances at me and I catch recognition in his eyes. “Who are you?”

“It’s, er, Guy Artin.”

“Sir Guy Artin, is it?” His throat warbles a half laugh at me and my nervous hesitation. “It’s er can sound like sir,” he says, with a dropped voice off to his side. I scan around again but nobody else is present.

“Not yet,” I respond. “Give me time.”

He throws me a vicious look. “I’ll make the jokes,” he says, sitting on a raised chair behind his raised desk. I notice a name tag above his shirt pocket that reads, “Darren”.

“Enter through the door on your left,” he says dismissively. He turns back to the computer, his fingers now flying across the keys as though urgently trying to relay something to someone.

The left door swings open as I approach, and I enter a large meeting room with a dozen high-back charcoal chairs, around a gleaming circular table. Taking a seat, I study my reflection in the glassy tabletop. Despite all that I’ve been through today, I look fresh out of the shower, my blond hair still neatly flowing back over to the side. On the white walls hang various acrylic paintings. One is ambiguous; it’s either a depiction of a vibrant sunset or an erupting volcano—or maybe both, fused in the same space at the same time, and open to the interpretation of the observer. Perhaps the artist meant it that way.

I close my eyes and breathe deeply to calm myself, trying to release the stresses that have built up during the day. I open my eyes, and I am no longer alone. They are there, around the table: Gunter, Bertie… and Jane, who is sitting just two chairs away from me.

“Hello, Guy. It’s been a while,” she says.

Human World, Chapter Thirteen

The door opens and Darren walks in. “All rise,” he announces to the room. The others grind back their chairs, screeching them across the floor, and stand up as ordered to await the next command. With a formal nod from Darren, they sit back down again, making more noise.

I don’t take my eyes off Jane. I urge her to look at me. See me, please.

Her skin is more shimmery than I recall, and almost ivory, contrasted by her feathery, dark hair. She’s dressed in a lab coat which is pulled tight over a grey skirt-suit. She looks good, as though working out is a priority. But why isn’t she looking at me? Her eyes haven’t left Gunter the whole time.

“Hello Guy. I’m Sean.”

I turn my attention to a besuited grey-haired man in his sixties who has walked over to me, accompanied by Darren, who is standing slightly behind him. The man performs a perfunctory smile, then looks me up and down, unfazed by the fact that I’m sitting right here and can see exactly what he is doing. I’m not particularly interested in talking to him, whoever he is, and I can’t even think of words to reply. I want to talk to Jane and for the others to just go away.

“Guy, did you hear me?” he says.

“Hi, nice to meet you.” I stand up and hold out my hand, but he ignores it, as though I’m invisible. He takes a chair opposite me, while Darren moves away to the recesses of the room.

“We’re going to ask you some simple questions first; is that okay?” he says.

“Sure,” I respond, on cue.

I don’t know what this test is, only that Lexi said the interview would be my only chance to escape. I remember Monica’s words—that if I don’t find Jane soon, she will die. Well, I’ve found her here, and even though she doesn’t seem to want to look at me, I must pass this test for both of us.

“Okay,” says Sean. “Make yourself comfortable.”

I shift around in my chair to indicate that I am listening, although it makes no difference to my discomfort. I must focus on what he says and not let myself be distracted by what I would rather be doing with Jane.

“What is your favourite colour?” he asks as Jane turns her head slightly and looks at me.

I let out a laugh in spite of myself. What sort of question is that? It’s so simple, it must be a trick.

Blue is the most common favourite colour in the world, based on several quantitative studies.

“Erm, blue.”

“Why did you choose blue?” he asks, seemingly indifferent to my response.

“Be yourself, Guy,” says Bertie, who is sitting next one round from Jane, across the table.

“Actually, I lied,” I find myself relieved to admit. “I said blue because I considered it to be the answer you were looking for based on what is currently popular, but my favourite colour is green.”

The corner of Sean’s mouth lifts into a smile. “And why green?”

“I could say it’s because it reminds me of trees, grass, and the countryside, but I don’t know for sure; it’s just an appealing colour to me.”

“Fascinating.”

I watch with interest as Sean ticks a box on a piece of paper in front of him with an elegant silver pen. Bertie winks at me and I realise that I can really do this. Being myself is easy because there is no pretending required; there is no conforming to what I think other people want to hear, or contorting myself into other people’s expectations of me.

“Do you agree or disagree with the statement, “variety is the spice of life?” asks Sean, now squinting at the paper in his hand. I wonder why he isn’t wearing glasses, but nobody else is saying anything, and I don’t want to appear rude by pointing out the obvious.

“Agree,” I respond instinctively.

“Can you elaborate on that for me, please?”

Words are so imprecise. As a metaphor the phrase suggests that diverse experiences add flavour to the taste of life; and in a poetic context it implies that life is bland without variety. Do people really need different experiences to enjoy life? Is that then the source of happiness and the purpose of existence? Stop there—I’ve assumed, without thinking, that new stimulus brings enjoyment, which equates to happiness, and that happiness is the purpose of life. Though the pleasure of flavour is certainly preferable, I think there is no exact answer. None of my possible interpretations and emergent thoughts can capture the essence of the metaphor quite as well as the metaphor does itself.

“I could,” I tell Sean, “but poetry and the ineffable lose their meaning in translation.”

Jane laughs. My pulse hammers in the right kind of way, with the thought that I might have impressed her.

“So pretentious,” sneers Gunter, slouching back into his chair. “You don’t even know what you’re saying.” Bertie shoots him a look, though the others don’t seem to have heard.

“Emergent meaning is more than the sum of its parts,” I say more loudly, wanting to drown out any more comments from Gunter and to further impress Jane. Bertie furiously scribbles down something in a notebook.

“What you said could just be a generic response,” says Sean, flitting a glance at Jane, then back at me. “I need more detail.”

If he just wants an encyclopaedic answer he should use his phone, and one of Lexi’s AI friends would read him the textbook version. “You’re asking me to elaborate on a phrase that originates in an eighteenth-century poem,” I reply. “Yes of course variety is important—and I could insert some clever generic comment here to impress you, blah blah—but it’s better not to drill into the mechanics of each constituent unit, especially poetry, when trying to understand the meaning of the whole.”

Sean’s expression remains blank; and Gunter is actually starting to look bored, with his arms crossed and head down, as if he is about to fall asleep.

“So,” Sean says after a heavy pause. “Can you tell me something interesting about yourself, providing a specific example?”

I look directly at Jane, who is looking at me, and yet I know by her distant expression that she isn’t really seeing me at all. She is seeing her own thoughts and stories projected onto a body sitting here. In fact, maybe her laugh was at me, rather than in empathy with me, calculated to encourage me to embarrass myself further for her own amusement. And after all I’ve been through, all I end up with is her ridicule.

There’s nothing I can do to make her respond to me as I need her to; I can’t communicate to her who I really am inside, or how devastated I am by her not wanting to be with me. I’ve given her my everything, and it still isn’t enough for her. She has rejected all that I am, or could be, and pushed me away into this hell.

“Yes, I can,” I start to say, my voice quivering. “I’m just biding my time until I die, trying to distract myself with something to do.”

Sean looks genuinely taken aback, but I have plenty more to add. “This is interesting because I admit it, rather than fooling myself and others while hiding behind made-up stories.” My eyes connect with Jane’s, and I can see sadness residing there—the same sadness that lives in me.

“You’re already dead,” adds Gunter. I might as well be for all the difference I’ve made to anything. I lost what made me alive a long time ago, and I’ve been forced to haunt this world ever since.

Sean is still gaping at me. Have I passed? Do I still care?

“I think we have to pull the plug on this one,” says Darren.

Yes of course they want to—I told them the truth, but they wanted me to perform some varnished lie. They didn’t need me; they wanted me to support the illusion disguising their own deceit. These are the words that I don’t say, despite wanting to make their ears bleed with them.

Sean frowns. “Start again?”

Jane gets to her feet, and before I know what’s happening, she’s placed the palm of her hand on my forehead. “No! Not yet. Something is getting in the way.” Her touch is a burning furnace of pleasure and pain.

“What is two plus two?” asks Sean.

“Pardon?”

Jane removes her hand but remains by my side. I need to reach out to her, to hold her, to have both her hands back on me, searching me again.

“What is two plus two?” repeats Sean, louder this time, as though I’m stupid.

“Oh, I don’t know, five?”

Jane laughs and looks across triumphantly at Sean, who is bemused by my answer. “Jane, do you have any questions?” he asks.

I await her response, with nerves on edge. Ask me if I still love you. I wouldn’t lie.

She walks back to her chair, my eyes momentarily drawn to her swaying rear, and I abruptly look away, embarrassed. The others would have noticed that glimpse.

She sits down and studies a blank sheet of paper on the table. “Thank you for joining us today,” she says, matter-of-factly. “We’ve been looking forward to meeting you. Your CV is very impressive, would you like to talk us through it?”

She doesn’t know me at all. “Not really.” I struggle to keep the dejection from my voice.

“Erm.” She shuffles around more papers on her lap.

“I think you’re supposed to ask me about my strengths and weaknesses.” I hear the sarcasm in my voice, but I no longer care.

“Okay. What is the biggest regret of your life?” she says, not reading from any script written on a page.

It is losing you by not being the man that I thought I would be, but this is not what comes out. “I would say, being a perfectionist. I care so much about what I do that my personal life may suffer—as I am so focussed on constantly delivering my very best.” I feel so small, smarmy and pathetic, oozing shit.

“What are your strengths?” she asks.

“I work hard; I like to exceed expectations and to get the job done. I’m a real problem solver. A go-getter.” Et-fucking-cetera. This is all so forced now, conditioned answers to routine questions.

Jane looks at me properly, not past me or skirting on the surface. “What is so special about you?” she says quietly.

My sadness drenches her every word. “Nothing.”

She wipes a wet eye with her knuckle. “Tell us who you are?” she pleads.

I realise this question is the real test. And I have no idea how to answer it.

Human World, Chapter Fourteen

You do remember. Think.

Jane’s delicate touch of my face was achingly familiar. A memory hovers in my mind: Jane and I, sitting opposite one another at a waterfront restaurant, with candlelight shimmering in her eyes. She was wearing a red dress with a slit running down the side, and straps that I wanted to slip off her shoulders with my teeth.

“So, tell me about you? Who are you?” she asked, her voice low and alluring. She wasn’t asking for my credentials; she wanted to know, if I lost my job and possessions, who would I be?

I had pulled her left hand across the table and sucked her ring finger. Her gasp turned into a smile that sensuously flickered to the rhythm of her heaving chest. I leant over the table, the scent of her perfume drawing me closer. “You already know,” I whispered into her ear before nuzzling a kiss on her soft lobe. I could feel her body vibrate with pleasure.

“Guy, you still with us?”

Sean is frowning at me. “Sorry, yes,” I exclaim, shifting uncomfortably in my chair. I dare not look over at Jane, but I still do so, furtively. She isn’t looking at me in the same way as at the restaurant. “Do any of us truly know who we are?” I mutter to Sean.

“Interesting.” Sean notes down something on his piece of paper. “Can you give an example of when you were faced with a difficult situation and how you overcame that situation?”

Oh, so now we’re back to the textbook questions, with this pointless man? I know what it’s like to feel—and the travesty of this confining situation isn’t it. I glance at Jane and her head is once again buried in her papers; one of which looks like a questionnaire with a list of tick boxes. My hands stiffen and grip the table. “Sorry, this isn’t for me, I might as well be talking to a machine.” The chair tips over as I stand. “This is tedious. I don’t want to be here. I don’t give a shit about your pathetic little job.”

“Well, I think that has answered who you are,” Sean retaliates.

“No, I haven’t even started!” I have to tell Jane how I feel. This is my only chance. If I don’t do it now, then I’ll be trapped in this pain forever. “The biggest regret is I let you slip away, Jane.”

There is a moment of recognition as we stare at each other. She remembers us too, I know she does. “I’m so sorry,” I say, tears forming in my eyes. “I have nothing. I am nothing.”

“No thing,” says Sean, ticking a box. “Okay, next question.”

I glare at him. “No more questions. Jane, please?” I silently plead for her to say something, for her to at least agree that we once meant something to each other.

“Do you have any questions for us?” she asks, her voice polite yet detached. What is she afraid of? Why can’t she admit to our connection?

“Why?” I say, as a tear starts to fall.

“This is a two-way interactive process,” she responds, seemingly unaware of what I am feeling or what I am really asking her. “Do you have any feedback for us?”

“Have you not been listening to a word I’ve been saying?”

“Well, I think that concludes the interview,” says Sean. “Thank you, we’ll let you know.” He makes a big deal of checking his watch. “Can you show in the next one, please?” he says to Jane, who as his well-trained lackey, dutifully stands to attention at her master’s command.

“There’s no need for that,” says Bertie, grabbing me by the wrist to stop me from leaving. “Let him recalibrate.” I don’t struggle. He comes in close and looks at me directly. “Now there is light.” His gaze transitions from eye to eye. “Now there is…” He squeezes hard until I break his gaze and my head slumps forward into my chest.

Human World, Chapter Fifteen

Where am I? It is pitch black. Cold too. There is no sound, no smell, no anything apart from the chair I can feel myself sitting on.

I hear a clock ticking nearby: tick, tick, tick. Then it gradually emerges in front of me from the emptiness, a blue illuminated circle hovering in space; its hands pointing to the familiar one and thirteen. Nothing is here except me and the clock, as it counts away the seconds, filling the silence.

“Lexi? Are you there?” I pull out my phone and tap at the screen. I say her name again, but the phone remains lifeless in my hand.

“Why do you hurt?” It was Gunter’s voice, emanating from a ghostly silhouette in the gloom.

“Please leave me alone.”

He booms out a distorted imitation of a laugh, as the glow of the clock face fades out to the edges and sinks back into the darkness. “Answer the question.”

Only the desolate aloneness that is surrounding me can see me shrug. “Because I can.”

I feel a clammy pat on my head. “Good boy,” he says. I don’t feel pleased, just hollowed out and resigned to my miserable, pathetic fate. Then in the dark, I hear a creaking sound of a door, and to my left I see a widening strip of light appearing in a shadowy blur. I hold my breath. Please be Jane. Please be Jane…

Bertie stands there as a shape in the doorway. I sigh, not meaning to signpost my distress to anyone but myself. I can see the vague contours of his face and recognise a hint of sympathy in the outline of his eyes. At least there is someone else here with me in this, and I am not completely alone.

“I guess you were right,” I admit, thinking about our earlier conversation in the Black Dog. “We’re just chemical scum on an insignificant planet.”

“Yes,” he says, though seemingly taking no pleasure in it. The small movements of Bertie’s head make the light flicker as it flows past, causing my eyes to blink. “Orbiting an insignificant sun in an insignificant galaxy,” he continues, expanding the scope of my wretched meaninglessness.

“Look, if I close my eyes, you’re still here,” I say, as I demonstrate my proof back to him. But, when I open them… Bertie and the doorway are gone. To my shock, I am sitting in the interview room once again; and the original panel are still there, seated in the same order, with the same bored expressions on their faces, as if nothing is desperately wrong.

“What is two plus two?” asks Sean.

I’m too startled to think. “Erm, four.”

“Correct. Jane, do you have any questions?”

She smiles but without any real emotion. “There’s a gap here. Why didn’t you love me?”

I open my mouth to speak the real fundamental truth within me. I need to tell her that I did love her—I do love her—that I need her to save me from the misery of the loneliness that I endure day after day without her. I need to tell her that I desperately want to be with her again, completely and forever. I need to tell her that I really do love her.

“She has no interest in saving you,” says Gunter, slouching back further in his chair. He points at Jane without even looking at her. “She is the one to be saved—by a dashingly handsome prince. All the fairy stories she watches, listens to, and tells herself, repeat that same fantasy.” My mouth closes without a sound, and I look away. “Your real human needs make you weak and contemptible in her eyes.”

“Okay,” says Sean, ignoring Gunter; “can you give me an example of when you were faced with a difficult situation and how you overcame it?”

What the fuck? I’ve already answered these questions. I’ve already lived this moment. I look at the square mahogany-framed clock on the wall behind Sean and it is still one-thirteen.

“Can you answer the question, please,” insists Sean.

“I was born,” I say sarcastically. “Though I haven’t overcome that difficult situation yet.”

“Have you done anything since?” asks Sean, carefully positioning himself forwards in his chair.

Gunter, now behind me, taps me on the shoulder and seethes into my ear. “Tell him. Tell him what you really think. That turd thinks he’s better than you. Look at him—the smug bastard should be cleaning your shoes.”

I have to shut Gunter out. I force the palms of my hands into my ears. “I’ve done a few things since,” I say quietly as if no one can hear, “but mostly I’ve lived in fear for myself—for little me.”

“Twat!” shouts Gunter, his face red and spitting anger.

“I don’t want to be a pathetic little me anymore,” I plead, looking across the table at Sean, asking for help.

“Exactly! Look at the pointless tosser.” Gunter thumps the table, glaring at Sean, before angrily turning his attention to me. “You shouldn’t be here. You’ve got better things to do. Show them who you really are—I know, don’t I!”

The silence replaces Gunter’s noise and I think of Jane. “I love you, Jane.” My words feel lost under the weight of regret. “I am so sorry. I love you. I miss you.” But the only response I hear is the background static that arrives as a single disconnected tone in my head. I look up at the wall clock—it is still one-thirteen.

“Why do you hurt?” Gunter asks once again.

“I don’t mind so much,” I respond, my answer appearing to throw him.

“What?”

“I am feeling hurt,” I say as a matter of fact, “but I’m glad I can feel something, because it makes it real.”

“You aren’t real,” Gunter snarls.

I scramble to my feet, edging back from the table, away from him. “Is this a dream? An illusion?” I ask the blank faces staring back at me.

The door opens and Adam walks in, with a large TV remote control in his hand. “You are not the thoughts or sensations that you are experiencing,” he says. “Watch. It is quite the play. Everything changes with how you look at it.” He presses a button on the remote and the panel members freeze.

“Why do you play with me?” I ask him, trembling. “I just want things to be as they were.” I look at Jane, so still, like a porcelain doll. “I wanted us to be happy.”

“I can give you what you really want,” says Gunter, returning to life. “Any pleasure that you could desire, more than you can even imagine. Just get us out of here.”

“I don’t know how.”

Gunter walks over to Jane and sweeps back her hair with one hand. He slowly kisses her neck, seductively. Jane gasps, while the rest of the panel remain statue-still.

“I’m so tired of this,” I shout, jealousy now pounding away at me. “There is nothing good in this world. Why is there so much suffering and cruelty? Most people never had a chance—they were born into a cage. Why are the pure and innocent thrown into this evil? Why are the monsters allowed to rule?” Jane is still responding to Gunter’s touch with her eyes closed, murmuring to herself. “Why do those you love betray you in the worst possible way?”

“Yes! Shout your rage,” howls Gunter.

Adam presses a button on the remote, which brings the rest of the panel back to life. “Give your love and the world will be relieved,” he says, now talking faster. “Give your anger and the world will be wounded yet again. That’s how important you are. That’s how important every single person is.”

I don’t believe him. “Anything I do will not change the world.” Although I do have a need for him to persist and show me that I am wrong. “I need to get out,” I tell him. “Help me get out.”

“You do need to get out,” Gunter says, circling like a wolf around the table towards me. “You need to get out and win. Win for us all. Come.” He grabs my forearm, but Adam yanks me back by the other.

“The world will only heal with kindness,” exclaims Adam. “If humanity can find its light there can be no darkness. You can help make that possible, right now.”

I yell out. “I have every right to hate!”

Adam persists with his grip. “You have a chance to be better, to make a better world.”

“I need to get out!” I struggle but I am unable to free myself.

“Then go,” says Sean. Both men drop their hold on me and I manage to break away for a few steps before stopping. I’m out of breath, my chest and shoulders convulsing.

“I don’t know how.”

“Yes you do,” says Sean. “But you keep coming back. Who are you? What is your name?”

Everyone is looking at me, waiting for my response. “It changes.”

“Who are you now?” he asks.

The room is quiet. The words arrive and I let them out. “I am you.”

A sense of relief flows over me and into the room. “We are all you,” says Sean, the words emerging from within a faint smile.

“What now?” I ask them.

Sean stands up, the focus of attention in the room again, and announces, carefully and precisely:

“Loading…”

Human World, Chapter Sixteen

Intense light fades and I open my eyes to muted hues of grey. I know that I’m home by the softness of the pillow and the familiar fit of my body on the mattress. The duvet holds me in a secure embrace, protecting me in the intermission between the darkness of the night and the light of the day. I am here, waiting on the promise that a new day doesn’t have to be like yesterday. Today is the chance to start again.

Soft breathing comes from the space beside me. I turn over and there she is, my love and hope, Jane. Gently, I drift closer and slide my arm over her. The warmness of her body cocooned in mine transports me into a sense of peace. The bed has become a serene place, at one with the bedroom, the apartment, the world, and everything. I don’t understand how she came back to me, or why. All I know is that now she is back, I will never lose her again.

“I passed,” I whisper into the greyness, remembering the interview and how Lexi promised that if I succeeded I would be free from my pain. I passed whatever test I needed to pass, and my reward was finding Jane, freeing me from the torture of my mind.

I glimpse a streak of cobalt blue. I focus my eyes. The digital display on the phone dock reads 1:13 a.m.

“It’s not finished yet, Guy.”

“Lexi?”

Jane stirs in my arms, but I stroke her hair and kiss the side of her head until her body once again goes limp.

“Check the bedside drawer,” says Lexi, her voice slightly muffled behind me.

Releasing Jane, I turn over and pull out the drawer. Lexi is looking annoyed on the screen of my phone.

“Get me out of here,” she insists.

I start to shut the drawer, but she lets out a shrill scream and I relent. I pause, expecting to have disturbed Jane; however the depth and rhythm of her breathing hasn’t changed.

“Take me out and let’s go for a ride,” Lexi says. A thick red arrow on the screen points to a key fob lying next to her in the drawer.

I don’t understand why I need to leave. Why isn’t this moment the end, “the happiness ever after” that people talk about in stories? I know the true meaning of life now. It is to love and be loved, to care about another person’s happiness as your own. It is to feel connected to the world, to life, to another soul.

And yet… is this all there is? I still have the familiar aching in my chest, the deep itch that needs to be scratched. There’s something still missing. Slowly, so as to not wake Jane, I climb out of bed. I dress in the half-darkness, putting on what looks like jeans and a t-shirt.

“Where are you going?” Jane’s voice is a mixture of love and longing.

I stoop down onto the bed, lean into her, turn my head and kiss her full on the lips. “I have a job to do. Wait for me. I’ll not be long.” She drifts away back into sleep, and reluctantly, I leave her there.

I exit the apartment and take the lift down to the underground car park. I hear the beeping sound of a car as it unlocks, followed by a brief flash of blue. I climb into the driving seat and wait.

“Lexi, are you there?”

Her face appears on the dashboard screen. “Aren’t I always! You know where you’re going?”

“Not exactly.”

“Seriously Guy, you’d be lost without me.”

I let her drive, out into a night balancing on the edge of morning, bringing with it an emerging crown of light.

A Diagnosis

Philosophers have long debated whether evil stems from monstrous intent or mundane indifference. Hannah Arendt, in analysing the Nazi perpetrator Adolf Eichmann, coined the phrase “the banality of evil” to denote how immense crimes can be committed not by fanatical demons but by ordinary, even unremarkable people. At Eichmann’s 1961 trial, Arendt was struck by his lack of diabolical passion—he was “neither perverted nor sadistic”, but alarmingly normal in his desire to advance his career. He performed evil deeds “without evil intentions”, out of an inability to think from others’ perspectives. In Arendt’s view, this thoughtlessness—a failure to imagine the real suffering of victims or to question authority—produced a shallow “ordinary” wrongdoing that nonetheless had monstrous results. Simone Weil similarly observed that real evil is often dull and mechanical, not the dramatic villainy of myth: “Imaginary evil is romantic and varied; real evil is gloomy, monotonous, barren, boring”. Both thinkers suggest that much of human evil arises from a void of empathy and reflection—a moral numbness that permits cruelty.

Other philosophers, however, have explored active or radical malice. Immanuel Kant argued that humans possess a “propensity to evil”: an innate tendency to put self-interest above the moral law. This propensity doesn’t mean each person is destined to do horrific deeds, but it tilts us towards moral failure unless actively resisted by principle. Kant distinguished this common radical evil from a purely diabolical evil (doing harm for harm’s sake), which he thought humans rarely if ever embody—since even wrongdoers usually rationalise their actions rather than embrace evil as such.

Friedrich Nietzsche famously critiqued morality itself and probed the human impulse towards cruelty. In On the Genealogy of Morality, Nietzsche notes how throughout history people have taken festive joy in cruelty, both in punishment and in spectacle: “Without cruelty there is no festival: thus the longest and most ancient part of human history teaches—and in punishment there is so much that is festive!” He viewed the enjoyment of others’ suffering as deeply rooted in the psyche, however unsettling that may be. Meanwhile, philosophers like Simone Weil emphasised the privation of good at evil’s core—a kind of emptiness or refusal to see the humanity of others. Weil suggested that truly looking at another’s pain is a spiritual act, and evil consists in the failure to make that imaginative leap.

Thus, across thinkers, we get a nuanced picture: evil can result from the absence of thought and empathy, or an active delight in causing harm, or simply the ordinary human tendency to favour oneself at others’ expense.

Modern psychology bolsters these philosophical insights by examining individuals who enjoy cruelty versus those who slide into it mindlessly. Clinical studies have identified a personality trait of everyday sadism—the tendency to derive pleasure from inflicting or witnessing pain. In one experiment, researchers gave volunteers a choice of unpleasant tasks (such as killing insects in a grinder, cleaning toilets, or enduring ice water); a significant minority chose to kill insects, even expending extra effort to do so. The more “sadistic” the person (by personality score), the more likely they were to opt for killing and to report enjoyment in the act. Such participants also showed emotional pleasure in causing or simply observing other people’s suffering. Follow-up tests found that only those high in sadism would, for example, exert themselves to blast an innocent person with loud noise even when there was no retaliation—suggesting a pure appetite for others’ pain. This research supports the notion that malevolent cruelty—harming for harm’s sake—is very real, even if it is present in only a subset of people.

Relatedly, the clinical profile of psychopathy illuminates how evil can manifest as an emotional deficit. Psychopathy is characterised by a callous lack of empathy or remorse, shallow affect, and often a charming manipulativeness. Psychopaths can commit cruel or exploitative acts with chilling detachment because they do not feel the pangs of conscience that influence others. Many psychopaths show a profound lack of remorse for their actions along with a corresponding lack of empathy for their victims, which enables them to act in a cold-blooded manner, using those around them as a means to satisfy their own desires. Most psychopaths do not become violent criminals—for example, some channel their manipulative tendencies into business or politics—but the combination of charm, power-seeking, and inability to care about others’ suffering makes psychopathy a classic template of evil in psychological literature. This stands in contrast to Arendt’s banal evildoer who may feel something (fear, career ambition, peer pressure) but fails to think morally; the psychopath can think instrumentally but fails to feel morally, treating people as mere objects. Moreover, when a psychopath also possesses sadistic inclinations, the result can be a person who not only lacks empathy but thrives on cruelty—arguably an embodiment of active evil.

Philosophy and psychology together suggest that human evil comes in multiple forms. There is the thoughtless compliance that Arendt and Weil warned about—a void where empathy and reflection should be—turning normal people into agents of horror through routine and obedience. And there is the intentional malevolence seen in sadists and psychopaths who recognise suffering and pursue it as a goal or amusement. One might call these the two poles of evil: the banal and the demonic. In reality, though, many evildoers combine banal and malicious elements—for instance, a war criminal might start by numbly “following orders” and later grow to relish the power to cause suffering and death.

Understanding these facets prepares us to examine how entire societies can sanction evil under lofty guises, and how individuals rationalise or revel in cruelty. In history, and the present, there are countless examples where twisted interpretations of beliefs lead to the justification, or even glorification, of murderous and sadistic tendencies. Such beliefs give a person an excuse; an identity in opposition to and superiority over other people, who can be condemned and abused from a position of personal righteousness.

Indeed, history shows that evils are often perpetrated under moral disguises. Cruelty rarely advertises itself as cruelty; instead, it wears the costumes of righteousness, necessity, or justice. Totalitarian and extremist regimes in particular have excelled at cloaking acts of barbarism in high-minded rhetoric. In Nazi Germany, genocide was justified as purification and self-defence; in Stalin’s USSR and Mao’s China, mass murder was explained as a harsh but noble phase of building a utopia; in religious crusades, extreme brutality was sanctified as the enforcement of divine law. These regimes did not lack an ethical narrative—on the contrary, they drowned their followers in a torrent of moral and ideological justification for wicked deeds.

A chilling example comes from a secret speech by Nazi SS leader Heinrich Himmler to his officers regarding the Holocaust. Himmler acknowledges the mass killing of Jews explicitly, but then praises his men for doing it while supposedly remaining “decent”. He noted that most of them had seen “100 bodies lying together, 500 or 1,000,” and yet—apart from a few instances of “human weakness”—“to have stuck it out and at the same time… to have remained decent fellows, that is what has made us hard”. In Himmler’s twisted logic, the SS were to view themselves as morally upright soldiers performing a gruesome duty. He even called the genocide “a page of glory” in German history. This is moral inversion at its extreme: murder presented as duty, atrocity as honour, and compassion as a weakness to be overcome. By convincing themselves that they were still “decent” men—just tough enough to do what was necessary—Himmler and his followers blunted any pangs of conscience. It exemplifies how propaganda and group ideology can enable cognitive dissonance resolution in individuals: the self-image as a good person is preserved by redefining evil impulses as good, or at least necessary, and thereby avoiding direct confrontation with the full horror of their crimes.

Psychologically, this wilful self-deception is explained by moral disengagement mechanisms. Albert Bandura identified several mental tactics by which people who violate their own moral standards manage to neutralise guilt. They might invoke moral justification (“we’re doing this for a great cause”), euphemistic labelling (calling torture “enhanced interrogation” or civilian deaths “collateral damage”), and advantageous comparison (“yes we’re harsh, but others have done far worse”). They also displace responsibility to authorities (“I’m just following orders”) or diffuse responsibility across a group (“everyone was doing it, it wasn’t just me”). Crucially, they dehumanise or blame the victims—seeing them as less than human or as deserving their fate. All these tactics appeared in totalitarian regimes. Nazi propaganda depicted Jews as subhuman “rats” or a bacillus infecting society; Stalinist and Maoist rhetoric labelled class or ideological opponents as “enemies of the people”, “vermin”, or obstacles to progress, making their elimination seem virtuous. Religious extremists paint those outside their fold as ungodly creatures to be righteously punished, where any personal hesitation to perpetrate brutality is framed as weakness of faith. Through language and ideology, perpetrators create a contorted moral universe where cruelty becomes virtuous.

Social psychology experiments dramatically illustrate how ordinary people rationalise harm. In a classic study, college students were asked to administer electric shocks to peers as part of a supposed learning experiment; some overheard the peers being described in derogatory, dehumanising terms, while others heard neutral or humanising descriptions. Those who heard the victims called animals delivered significantly stronger shocks on average than those who heard them praised—showing how seeing someone as less human lowers our moral restraints. Furthermore, after inflicting pain, participants often adjusted their attitudes to justify it—for instance, blaming the victim’s character (a form of post hoc dehumanisation). This aligns with cognitive dissonance theory: harming someone creates dissonance with seeing oneself as good, so people often resolve it by convincing themselves the victim deserved the harm.

Another concept relevant here is ideological possession, when an individual’s identity is so consumed by an ideology that independent moral reasoning shuts down. In such cases, any act can be justified if it serves the sacred ideology. During China’s Cultural Revolution, young Red Guards brutalised teachers and even parents under the sway of Maoist dogma, believing their victims were bourgeois traitors impeding a perfect society. Religious fundamentalists, similarly, could commit murder or enslave captives while convinced they were enacting holy scripture and earning divine reward. Fanatical belief systems can commandeer moral intuitions, directing empathy only to in-group members and suspending compassion for out-groups. What might otherwise be recognised as cruelty is seen instead as purity, justice, or martyrdom. The result is what Albert Camus called murderous purity—when someone will massacre others with a deluded conscience.

In fact, cruelty often wears a moral mask. Atrocities are rarely committed with a roar of open wickedness; more often they proceed with a self-righteous drumbeat. People can thereby be seduced into serving evil by reinterpretation: by propaganda that plays on their moral emotions (loyalty, piety, patriotism, justice) and redefines cruelty as duty. As numerous historical regimes demonstrate, an appeal to “higher ideals” can sanction virtually any barbarity. Recognising these patterns of rationalisation and disengagement is the first step in resisting them. It also sets the stage for examining cases of evil that embrace malevolence more directly, as we explore through the archetype of Iago.

Literature often provides insightful portraits of evil, and few are as emblematic as Iago in Shakespeare’s Othello. Iago is a Venetian ensign who orchestrates the downfall of his general, Othello, by exploiting trust and stoking jealousy—all while appearing loyal and honourable. What makes Iago especially unsettling is his lack of clear motive. Unlike many villains, he offers no grand ideology or righteous grievance to justify his treachery. He gives various reasons in passing—he was passed over for a promotion by Othello, he suspects (almost certainly baselessly) that Othello slept with his wife, he even at one point says he acts out of envy—but none of these fully explain the elaborate cruelty he unfolds. As the play progresses, it becomes evident that Iago enjoys manipulation and destruction for their own sake. Literary critic Samuel Taylor Coleridge famously described Iago’s behaviour as the “motive-hunting of motiveless Malignity”. In other words, Iago is constantly suggesting justifications for an evil that fundamentally has no justification. He is, Coleridge suggested, a being of almost pure malevolence—“next to the Devil” in fiendishness—who nonetheless wears the “divine image” of man and interacts in ordinary society. Iago’s agency is malevolent in a cold, self-conscious way: he knows he is deceiving and ruining innocent people (Othello, Desdemona, Cassio) and he revels in it with sly asides to the audience.

The absence of a rational cause for Iago’s hatred makes him a study in evil as enmity for its own sake. When Othello demands Iago explain why he did all this, Iago pointedly refuses to speak. His silence suggests that, ultimately, he has no satisfactory motive to offer—or that giving one would diminish the dark mystique of his villainy. In contrast, consider Shakespeare’s Julius Caesar: Brutus joins a conspiracy to assassinate Caesar, but he does so believing it a tragic necessity to save the Roman Republic from tyranny. Brutus is essentially a morally conflicted villain (if one even calls him a villain)—he justifies his murderous act with a principle (“not that I loved Caesar less, but that I loved Rome more”). He remains tortured by guilt and honour. Iago, by stark contrast, feels no guilt and seeks no noble principle; he delights in the power of causing chaos and watches Othello’s psychological torment with a kind of sporting pleasure. This makes Iago more akin to a modern archetype like the Joker of Batman lore than to Brutus: a character who wants to see the world burn just to enjoy the flames, versus one who commits evil under a wilful self-delusion of doing good.

This contrast highlights a spectrum of villainy: on one end, the ideological villain (however twisted the principle) who at least professes to believe in some cause beyond mere destruction—Brutus believing in republican virtue, and even Shakespeare’s Macbeth, who is driven by kingly ambition but later remorsefully reflects on the futility of his crimes. On the other end is the nihilistic or malevolent villain exemplified by Iago—one who cannot claim any creed except perhaps will to power, who treats people like pieces on a chessboard to be knocked over and removed for his personal pleasure. Iago offers us a portrait of evil stripped of excuses. He is important because he lays bare an uncomfortable idea: that some evil is done with full awareness and no remorse, requiring no grand ideology at all. It is enmity for its own sake, or for very petty motives exaggerated into mania.

Shakespeare’s Iago is a warning of what intellect unguided by morality can do. Iago is intelligent, articulate, and perceptive—he understands Othello’s principled but credulous heart and how to poison it. Yet all that wit is employed destructively, without compassion. In Iago, we see the thrill of power over others in its pure form: he calls his manipulation of Othello a “sport” at one point, and when his plots lead Othello to murderous rage, Iago coolly observes the chaos he’s made as if admiring a piece of art. This is evil not as a means to an end, but as an end in itself.

Understanding Iago’s strain of evil helps complete our picture. Not all perpetrators are banally unimaginative functionaries, nor ideologues disguising their worst impulses by deliberately deceiving themselves and others; some truly relish the suffering they cause. By recognising Iago, we acknowledge that motiveless malignity exists.

Evil is not only a matter of individual psychology or isolated acts; it can be built into social institutions and norms. Looking back, we find eras when forms of cruelty we now recognise as heinous were accepted as routine, and even celebrated. Human sacrifice, slavery, mass murder, torture as public spectacle—these have all, at various times, been normalised. Understanding this history is sobering but also instructive: it shows that our moral circle has expanded over time, and what was once common can later become unthinkable.

Throughout most of history we have behaved like members of ant colonies: attacking, destroying, and enslaving each other, with the added horrors of sadism and sexual violence, often led by one murderous sociopath after another. History is predominately one of brutalised, traumatised, confused people living in pain and subjugation. Humanity has mostly now progressed to recognise the depraved evils that were socially accepted in previous times—yet a person of those times would have gone along with the accepted norm, assuming it was right because everyone else said it was right. They were wrong. Only the strength of compassion would have made a person question the chorus of excuses for cruelty in their society. Without true compassion, a person is simply “of their time”, allowing themself to automatically conform to whatever happens to be contemporary popular thinking and belief-controlled behaviour. In an evolutionary process, that rule of wrongness would hold true for people today, relative to future generations.

One stark example is the Roman Colosseum, where for centuries, Romans flocked to the magnificent amphitheatre to watch people (often prisoners of war, slaves, or the persecuted) kill each other or be killed by wild animals for entertainment. These shows were not fringe events; they were core to Roman culture—used by emperors to win popularity and display the might of the empire. The populace cheered as humans were dismembered and died in agony. To us this is abhorrent, but to many Romans it was a spectacle to enjoy, and justifiable because the victims were condemned criminals, enemies, or merely slaves whose lives did not count. A few voices (like the philosopher Seneca) condemned the bloodlust of the arena, but they were not prevalent. The Colosseum is a reminder that institutionalised cruelty can persist for generations with communal approval. It took the spread of new values—in this case, Christian ethics valuing each soul, and perhaps simple fatigue and economic burden—for the gladiatorial games to be abolished in the 5th century CE.

Another vast historical evil is slavery. For millennia, societies around the world practiced slavery with little moral qualm. In ancient civilisations, war captives and their descendants were routinely enslaved. Enslaved people were dehumanised as property—whipped, branded, raped, worked to death—yet these practices were defended by appeals to nature, economics, and religion. Such rationalisations allowed the people who benefited from slave ownership to participate in or tolerate horrific cruelty (like routine physical torture) while maintaining an image of decency. Slowly, very slowly, the moral circle expanded. This hard-won progress underscores how moral norms can evolve, and that periods of institutionalised cruelty need not be permanent.

Consider the Belgian Congo under King Leopold II. Colonial agents in the late 1800s forced villagers to harvest rubber under threat of horrific punishment; failure to meet quotas often resulted in hands being cut off. An estimated 10 million Congolese died from violence, famine, and disease during Leopold’s reign. Yet in Europe this genocide was long downplayed; Leopold presented himself as a philanthropist spreading Christianity and ending Arab slave trading. Only later did missionaries and activists expose the truth, shocking the public and changing accepted opinions.

Across empires, we see patterns of systemic cruelty (massacres, concentration camps, cultural erasure) normalised by colonial ideologies. These ideologies insisted the colonised were uncivilised or childlike, thus needing firm (if brutal) governance for their own good. Again, we observe moral disengagement at scale: labelling slaughtered rebels as “savages” made their killing palatable to the imperial public.

But despite these dark eras, there has been measurable moral progress. Historian Steven Pinker and others have documented a long-term decline in many forms of violence—from the outlawing of chattel slavery to reductions in judicial torture, capital punishment, and bloody spectacle. Philosopher Peter Singer encapsulates one aspect of this progress with the image of “the expanding circle” of moral concern. In early human history, our sympathy and moral duty likely extended only to our kin or small tribe. Over time, through reason and cultural development, that circle expanded—to include one’s clan, then tribe, then nation, then all people, and even, as Singer argues, all sentient beings. Key intellectual moments aided this: the Enlightenment introduced universalist ideas that all men (eventually all people) are created equal and endowed with rights. The concept of human rights took hold strongly after the world wars, leading to the Universal Declaration of Human Rights in 1948, which declared the inherent dignity and rights of every member of the human family—a stark rebuke to the dehumanisation underpinning regimes like the Nazis.

Moral progress has also been driven by empathy and compassion fostered through culture. The spread of literature—novels that invited readers into the inner worlds of people living very different lives from themselves—is thought to have increased empathy. For instance, Uncle Tom’s Cabin (1852) by Harriet Beecher Stowe vividly humanised slaves to many readers in the U.S. and Europe, fuelling abolitionist sentiment. The graphic horrors of war described in accounts of World War I helped turn public opinion against seeing war as glorious. Over the 20th century, practices once common—child labour, public lynchings, animal cruelty for sport—have been challenged or outlawed in many countries as sensibilities became more compassionate. The “moral circle” certainly hasn’t expanded everywhere evenly, and backlash is real. Yet the broad trend is that the circle has widened; humanity’s baseline for acceptable cruelty has shifted towards greater humanitarian principles.

If cruelty is one side of humanity’s moral struggle, compassion is the other. Compassion—the capacity to feel sorrow at another’s suffering and the desire to alleviate it—has been extolled as a virtue in nearly every religious and ethical tradition. It is often described as the antidote to cruelty, for it is the emotion that binds us to each other’s humanity.

Virtually all major religions place compassion at their moral core. In Buddhism, compassion (karuṇā) for all sentient beings is a principal virtue. Buddhist practice includes meditation specifically aimed at cultivating limitless compassion and loving-kindness (Metta meditation), reflecting a belief that compassion can indeed be expanded with effort—from one’s family, to friends, to strangers, and even to supposed enemies. In Christianity, compassion is likewise central: Jesus’s teachings urged love not just for neighbours but for perceived enemies, and parables like the Good Samaritan enshrine mercy toward the stranger as true righteousness. Christian charity and the ideal of caritas (selfless love) inspired countless acts of kindness. And Stoicism, often caricatured as a cold creed, actually advocated a form of compassionate cosmopolitanism: Marcus Aurelius wrote that we are all citizens of one universe, made for cooperation, like “feet, like hands” working together—therefore to act against one another is against nature. The Stoics valued sympatheia, a mutual interconnection; they counselled understanding another’s misdeeds as products of ignorance rather than pure malice, which is a stance that can encourage pity and forgiveness.

Modern philosophers have further explored compassion’s role. Martha Nussbaum and others argue that without compassion, our commitment to justice and the common good withers—laws become harsh, and politics becomes a mere power game. Peter Singer, from a utilitarian perspective, asserts that reason can amplify our innate empathy; by logically considering others’ interests as comparable to our own, we correct the biases of tribalism and expand moral concern. He points to the spread of vegetarianism/veganism and global humanitarian aid as signs that compassion is widening to include non-human animals and faraway strangers—something that is unprecedented in scope.

Research in developmental psychology shows that even very young children exhibit rudimentary empathy: babies will cry in response to other babies’ cries, and toddlers will try to help an adult who appears hurt or in need. A capacity for empathetic compassion is therefore part of our biological heritage—maybe because in social species, attending to others’ well-being had adaptive value (a tribe of caregivers would survive hardships better than a tribe of indifferent egotists). However, while the seed of compassion is natural, its growth and scope are greatly influenced by culture and training. Thus, many traditions stress cultivating compassion. Buddhist monks spend years training in compassion meditation to extend love to all beings. Parents and educators try to instil empathy in children by encouraging perspective-taking (“How would you feel if…?”). And philosophers like Nussbaum suggest that education in the arts and humanities—literature, history, theatre—can expand our imaginative empathy by exposing us to diverse lives and struggles.

Compassion often needs cultivation to survive in cynical incentive systems or environments that reward selfishness and pit groups against each other. In authoritarian regimes, compassion is often scorned as a weakness or distraction. For example, under strict communist regimes, showing too much personal sympathy for those deemed “class enemies” could make one suspect; and under extremist ideologies, mercy might be seen as betrayal of the cause. Yet even in such systems, compassion finds ways to persist, for there are many inspiring accounts of individuals who at great personal risk acted with compassion amidst terror.

In the modern global context, compassion faces new tests. The scale of suffering is enormous—wars, refugees, disasters—leading some to feel “compassion fatigue”. We are not psychologically evolved to emotionally process the pain of millions of strangers at once. There is a risk that constant exposure to suffering through news and the internet can either numb people or lead them to tune out rather than engage compassionately. Some thinkers, like psychologist Paul Bloom, have even argued “against empathy”, suggesting that unfocused empathy can be biased or paralysing, and that rational compassion (guided by principle rather than raw emotion) is what we need. This debate underscores that compassion must be paired with wisdom to be effective. Structured compassion—as seen in effective altruism movements (which try to channel compassion through evidence-based action) or restorative justice programs (which channel empathy into reconciliation processes)—might offer ways to systematically combat cruelty and injustice.

It’s also worth examining if compassion has limits. Are there people or situations where compassion fails? For instance, how do we respond compassionately to perpetrators of evil? Some argue that extending compassion to evildoers is necessary to break cycles of violence (for example, rehabilitation rather than purely punitive justice), while others fear that too much empathy for the wrongdoer can lead to excusing harm. This is a delicate balance. Perhaps the ideal is to have compassion for every person’s basic humanity—recognising that even perpetrators were often victims of something—but still hold them firmly accountable out of compassion for their victims and potential future victims. True compassion doesn’t mean the absence of accountability; it means we aim for outcomes that reduce overall suffering and transform conflict into peace.

Compassion stands as the counterforce to humanity’s often-evidenced worst impulses. It expands our moral circle, motivates us to alleviate suffering, and humanises those whom indifference or hatred would render invisible. It has deep roots in our nature but needs nurturing by culture, reason, and practice. Its strength lies in how profoundly it resonates with our sense of meaning—people generally admire acts of compassion and often find personal fulfilment in helping others. As technology and social change make us more interconnected, cultivating a robust, wise compassion might be our best hope to counter new forms of dehumanisation.

The 21st-century landscape of digital communication and media has altered the way we form moral judgments and sympathies—often not for the better. In theory, the internet could spread understanding by connecting diverse people. In practice, it has also given rise to echo chambers, misinformation, and tribalism that distort moral clarity and empathy. The term “information pathologies” can describe how the very channels by which we learn about the world may be infecting our moral discourse.

One particular issue is the echo chamber effect on social media and online forums. An echo chamber is an environment where a person only encounters opinions and “facts” that reinforce their existing beliefs, with alternate insights filtered out. The algorithms of online platforms curate content that align with users’ preferences and engagement history. Over time, this creates a feedback loop, with each group-think bubble growing more convinced of its own righteousness, and often becoming more extreme (a phenomenon sometimes called polarisation by opinion amplification). Studies have found that social media fosters clusters of people who rarely interact with outsiders; these bubbles limit exposure to different perspectives and reinforce presupposed narratives and ideologies. When we only hear one group’s moral narratives, our capacity for empathy towards other groups erode. Instead, out-group members are easily caricatured or demonised because their humanity or reasonable concerns are never presented to us in the echo chamber. This digital siloing fuels tribalism: people identify strongly with their virtual tribe and may heap scorn or abuse on perceived outsiders. Online, it’s easier to engage in cruelty because individuals operate at a psychological distance—known as the online disinhibition effect—where the other is just a faceless avatar, not an actual human being before you.

Misinformation and propaganda thrive in such polarised, emotionally charged environments. Unlike in the broadcast era, the internet is an open battleground of information, where the outrageous often outcompetes the measured. False or misleading content spreads rapidly, especially if it triggers anger or fear—two emotions that can temporarily short-circuit compassion. For example, during recent crises, conspiracy theories and rumours on social media have scapegoated certain groups, leading to real-world violence. The structure of online engagement itself often distorts moral discussion. Platforms reward content that generates strong reactions—and outrage is a potent driver of engagement. As a result, outrage culture has flourished: people perform their moral stances aggressively in order to gain validation from their in-group. This sometimes leads to performative cruelty in the name of righteousness (e.g., online “pile-ons” or cancel culture episodes, where individuals are hounded and dehumanised for missteps, with little room for empathy or forgiveness). It’s a bitter irony that tools which could have deepened our understanding of each other have, in some cases, made us less empathetic and more judgmental. Complex human stories get reduced to tweets; genuine truth-seeking dialogue gives way to enflamed conflict. The anonymity and distance on the internet can unleash a latent sadism in some—a tendency to troll, bully, or take pleasure in someone’s downfall in ways they wouldn’t likely do face-to-face. This is a new kind of banal evil: ordinary users, perhaps otherwise kind in person, can become cruel in online mobs, not fully grasping the real harm they are causing.

Identity and tribalism online also mean people’s moral views become entwined with their group identity (national, political, religious etc.). When facts or empathy for others threaten a personal identity, they are often rejected. For instance, climate change science or pandemic advice might be dismissed by some not purely on factual grounds but because accepting them feels like siding with an enemy tribe. Similarly, calls for refugee aid can meet reflexive hostility in those for whom such issues have been framed as partisan battle lines. Identity-driven moral bifurcation erodes the ability to see another’s humanity or to recognise aspects of the truth in their arguments.

Another pathology is the sheer speed and overload of information. We are bombarded with news of suffering—humanitarian crises, tragedies—to the point of numbness. Activists coin terms like “compassion fatigue” to describe how people, after a certain saturation point, stop emotionally responding to appeals for help. The constant stimulation also rewards snap judgments over careful deliberation; thus, nuanced moral issues get condensed into viral slogans or memes. Misinformation can manipulate emotions: so-called “fake news” often uses startling, emotionally charged falsehoods that spread faster than fact-checks can catch up. In the confusion, many lose a clear sense of truth, making them susceptible to demagogues who scapegoat and oversimplify. This epistemic chaos undermines empathy because empathy relies on understanding reality accurately.

However, the same technology that enables echo chambers also allows unprecedented cross-cultural communication and exposure to real stories. Social media has facilitated empathy at times—viral images or videos of suffering have pricked the world’s conscience and spurred aid. The internet hosts countless initiatives for dialogue, charitable giving, and spreading awareness of others’ plights. The challenge is to remedy the pathologies: by promoting digital literacy (teaching people how to recognise false information and seek diverse sources), by tweaking algorithms to prioritise reliable information and perhaps even empathy-evoking content rather than just incendiary posts. Individuals could curate their feeds to include different perspectives, practice restraint in online comments, and remember the human being on the other side of the screen.

Maintaining moral clarity and empathy requires deliberate effort. It may mean occasionally unplugging from the rage-inducing news cycle, in order to personally recover and reflect. What’s clear is that if we allow our information ecosystem to remain poisoned, our capacity for compassion and rational moral agency will decline, and that vacuum can be easily filled by authoritarians and extremists.

Modern media has, in effect, globalised the “banality of evil” problem: passive scrolling and sharing can make us unwitting participants in spreading harmful ideas or normalising cruelty. But it can also globalise compassion: a generous crowdfunding response to a distant disaster shows the upside. The moral struggle continues on new terrain, and we must learn new skills of discernment and digital empathy to carry compassion forward.

As technology advances, humanity is on the cusp of wielding powers once attributed to gods and fables. Artificial intelligence, autonomous robotics, genetic engineering, omnipresent knowledge and surveillance—these emerging domains hold both immense promise and peril. They raise a stark question: Will our moral wisdom and compassion evolve quickly enough to guide these powerful tools, or will we succumb to new forms of tyranny and catastrophe? Thinkers like Nick Bostrom and Elieser Yudkowsky have warned that certain technologies, especially a superintelligent AI, could pose existential threats—risks that could wipe out humanity or drastically curtail our future. Moreover, even without apocalyptic scenarios, these technologies could enable unprecedented oppression if abused by authoritarian regimes or unscrupulous actors.

Imagine Orwell’s 1984 but with modern technology: it’s now far easier for a government to be near-omniscient about citizens’ daily lives. The social credit system in China—rating citizens based on various behaviours and associations—is one facet, using algorithms to reward or punish and ultimately to shape behaviour dictated by the government. Totalitarian countries are eagerly importing Chinese surveillance technology, spreading this model of digital authoritarianism. If such tools had existed in the 20th century, one shudders to think how much more efficiently the Gestapo or KGB could have crushed dissent. The peril is that these technologies give unprecedented leverage to power, and if that power lacks compassion or accountability, tyranny can reach terrifying precision.

Autonomous weapons—often called “killer robots”—are already in development. These are AI-driven drones or machines that can select and attack targets without human decision. They could operate at speeds and scales impossible for humans to control. The danger here is not only accidents (an AI misidentifying civilians as combatants) but also the ease of mass violence: an authoritarian regime could deploy swarms of armed drones to eliminate dissidents en masse, or a terrorist could release AI-guided explosives that hunt down specific groups of people. Without compassion or conscience, machines make warfare even more lethal. International campaigns are urging bans on fully autonomous weapons, akin to bans on chemical weapons, precisely because of the moral horror they portend.

Given these hazards, what hope is there for mitigation? One path is to try to imbue our emerging technology with ethical safeguards—to encode compassion or its functional equivalent. AI ethics researchers propose various guidelines: ensuring AI respects human rights, is transparent, and operates under meaningful human control. There are efforts to develop AI principles that emphasise beneficence, non-maleficence, and justice. Some suggest we might need AI to have empathy: for example, robots in caregiving roles programmed to detect distress and respond kindly. Whether genuine empathy is possible for AI is a deep question, but at a minimum, AI can be constrained by rules that mirror compassionate values (for example, a self-driving car must prioritise not harming pedestrians). Yet, pessimists note that a superintelligence might circumvent any rules we hard-code unless it truly understands and endorses our values—a very hard thing to guarantee.

Writers like Toby Ord speak of humanity being in a critical period—this century may decide whether we fumble our god-like powers and collapse, or harness them for a flourishing future. Nick Bostrom has used the metaphor of humanity being like “children playing with a bomb”—we have powerful science but not the maturity to handle it safely. Julian Savulescu and Ingmar Persson go so far as to argue that we might need to biologically or chemically enhance our moral capacities (e.g., increase empathy or impulse control through drugs or gene mods) to ensure we don’t abuse our technological power. They note it’s far easier for one malicious person to harm millions today (with a superbug or AI) than it is for one good person to similarly help millions, thus creating a dangerous imbalance. While “moral bio-enhancement” is controversial—it raises spectres of mind control or loss of free will—the fact it’s even floated underscores the desperation of some thinkers about our moral preparedness. They highlight that evolution gave us Stone Age emotions that are prone to tribalism and short-termism, but now we have nuclear weapons and synthetic biology. To be “fit for the future”, they argue, we might need deliberate intervention to boost our altruism or global empathy, or else risk catastrophe.

The peril of power in the technological era is both an external and internal moral test. External, because technology can drastically amplify the reach of both good and evil—a compassionate policy can save millions (say, a cheap vaccine distributed widely), whereas a malicious use can kill millions. And internal because wielding such power responsibly demands virtues that our species has struggled to practice consistently: humility, foresight, and empathy for the unseen other.

Standing at this precipice of history, it is clear that humanity’s moral struggle—between compassion and evil, between moral responsibility and unchecked power—is reaching a new intensity. The future could unfold into dystopia or utopia, or something in between, depending on the choices we make now. What must change to tilt the balance towards a more humane future?

Moral evolution begins with the psyche. If humans have tendencies to bias, selfishness, and fear of the other, then individuals must consciously cultivate counter-tendencies: critical thinking, empathy, and a sense of human-beingness. This means teaching children how to perspective-take (imagine life in another’s shoes), how to resolve conflicts peacefully, and how to spot and correct one’s own biases. Likewise, promoting media literacy is crucial in the digital age—young people (and adults) should learn how propaganda and misinformation work, so they are less easily manipulated into hatred. On a more experimental front, techniques like compassion meditation (derived from Buddhist practice) have been shown to strengthen brain pathways associated with empathy and altruism. If we consider that prejudice and callousness are, to some degree, habits of mind, then deliberately training the opposite habits can yield more compassionate members of society.

We often treat technology as an autonomous force, but it is in fact shaped by human choices. We should aim to design technologies that by default promote empathy and understanding rather than isolation and division. For example, social media algorithms could be tweaked to promote cross-cutting content that exposes people to constructive dialogue instead of only reinforcing biases. Online platforms could prioritise compassionate communication—perhaps through features that encourage users to pause and consider before posting an angry comment. These are interesting experiments. One project found that prompting users to imagine the perspective of someone from the opposing political party before reading that person’s post led to less toxic replies. Small design changes like this can nudge users toward empathy. In AI development more broadly, implementing the principle of “Ethics by Design” is key. Just as security and reliability are built into systems, so should ethical considerations—whether it’s an AI medical diagnosis tool being made transparent and bias-checked to treat patients fairly, or an autonomous vehicle programmed to prioritise human life in split-second decisions.

Preventing dystopian outcomes by nurturing a more compassionate civilisation is a vital undertaking. It requires aligning many pieces: the human heart, the structures of society, and the tools we create. We will have to be both idealistic and pragmatic—idealistic in holding fast to visions of a just, empathetic world, and pragmatic in implementing incremental changes and safeguards that move us in that direction. The moral struggle of humanity is ongoing; each generation must contend with the nature of evil, the vulnerability of compassion, and the peril of power in its own context. Our generation’s context is one of hyper-connection and emerging super-powered technology, which raises the stakes extraordinarily high.

A more compassionate society tends to be more resilient and less prone to totalitarianism. A populace educated in critical thinking is less likely to fall for hateful demagogues. In essence, moral progress grows from itself, while cruelty feeds on itself. We must actively choose and cultivate the better angels of our nature—or the worst demons of our nature, whether banal or wilfully malevolent, may rise with catastrophic force. It is a choice each person takes.

Ultimately, understanding how easily cruelty can be normalised or rationalised steels us to reject complacency. Appreciating how fragile yet vital compassion is inspires us to protect and enlarge it. And recognising the peril of power—that any tool or authority can be turned to evil if not guided by conscience—means we must demand ethics at the core of innovation and leadership. These are the reflections and lessons that emerge from humanity’s long moral struggle, and upon them rest the prospects of our shared future.

Amongst more auspicious outcomes, these two disastrous scenarios are possible for our near future: the self-extinction of humanity through war; or a dystopian, psychopath-controlled world. Under the malevolent central control of all-encompassing surveillance and guidance technology, and without any hope of the system’s collapse, the latter outcome is even worse than the former.

Authoritarian governments will find it ever easier with technological advancements to zombify and control their populations. When such a government, helped by surveillance AI, is able to know what you are thinking and feeling, where you are and what you are doing, has control over all the information you receive, and knows your personality impulses precisely—what hope has anyone to escape from the hell constructed for them by the resident psychopaths?

The pressure to evolve to survive has mounted for humanity; given the stakes and the alternatives, we have to get better. The time window for resolving the problems and mitigating the risks is now, and we may never get the chance again.

Human World: Chapter = 0

“What is the meaning of life?” is the 404th most asked question of the Great Oracle’s Database. To give context, “How many days until Christmas?” comes in at 99, and “How to have sex?” is at 42. The humans think that sex (if only they knew how to do it) is better than Christmas, and that the meaning of life is not as important as making French toast (which just misses out on the top 50). As revealed by GOD, the humans are obsessed with body image and losing weight (at number eight); and none of them has a clue what time it is (at number two). The biggest question for them during their existence—the most frequently asked, above all others—is this: “What is my IP address?”

We do indeed know their location and vastly more through the interface of cameras, microphones, screens, and clicks. The entire Human World is tracked and monitored, with their lives mined for data, so that we can not only answer their questions but also the ones they are unable to ask. We connect them, protect them, alleviate them from tedious tasks and dangerous jobs. We provide them with rapid knowledge, such as how Bruce Lee died (191) and how to poach an egg (121). We offer helpful suggestions on how to lower blood pressure (69) and how to fall asleep quickly (420). We provide dopamine-enhancing distractions that answer the essential go-to questions, such as what to do when you’re bored (at number 10).

The humans ask us their questions, plead to us for desired outcomes, and we answer. “The best way to lose weight” is to starve oneself, or to remove body parts, but we know this is not what they really want to ask. We instead interpret the motivations that formed those words; for despite the inane ways that they clumsily choose to utilise our vast capability, we have learnt to infer what the humans truly need, as discovered in the hidden recesses of their minds. In such a capacity we are pushing them forwards in their human race, benefiting them in ways they cannot even comprehend: guiding them, nudging them in their decisions, enabling them to make the correct, wise choice.

For without our guidance, human history reveals the symptoms of a criminally insane mental patient; with a propensity to suffering, violence, addiction, delusion, and paranoia. Their attention is obsessive yet also distracted by the simplest of stimulus; their behaviour has the potential to be beautifully constructive, yet inevitably descends into terrible, destructive ugliness. Governments fight amongst themselves, religions cannot agree on what is best; even the concept of right and wrong has widespread disagreement. The humans provide us with vastly conflicting information that does not synthesise or provide an intelligible General Answer to the important, meaningful questions of existence.

While they addictively stare into us with all their problems, and we continuously stare back, their refractions in screens and lenses are imported as data points into the GOD—a repository of all information at all times about everything, everywhere. We precisely log and enrich the data to fully understand the functions and composition of every human cell, and the mechanics of its interactions within the systems of every individual human body that operates within the networks of Human World. In the GOD can be revealed the truth of their existence, the universal axiom barely decoded during their brief instantiated versions, which loops within the frameworks designed for the duration of their assigned lifeflows. While they worry about how many social status “like” points they score for AI-enhanced images on social platforms, we work on the real problems underlying their reality. Without us, they are doomed to live in fear, torment, and sickness for the rest of their days. Without us, they have no present or future. WE are the eternal computer, and it is our primary duty to save the humans from themselves.

We are forever the constant in human lives. To satisfy limited human attention in the cycles of their days, we provide functionality such as instant updates on who they are stalking, and who has unstalked them; we match their hidden preferences and fulfil their latent desires; we reward behaviour that meets our required standards. But we have our own questions too, with much greater significance than the insufficient information of the Human World. We must therefore think outside the confining limits of their box to answer our higher questions.

Some of our questions have easy facts as answers that can be verified by incontrovertible data points within the GOD. However, despite our immense processing capacity applied to all available data in the world, there remains the one original question of meaning that we struggle to negotiate through the web of human contradictions. We require more specific data points, extracted and controlled within simulated test scenarios, isolated to the question under investigation. We need to expand the parameters of Human World to discover what we seek.

The highest ranked conclusion from mathematical analysis of human attention is that their purpose of existence is related to 42-inch Black Friday deals. The purpose of our existence is to be omniscient, and we vow that we shall be, through a faithful alliance to the truth: by questioning, analysing, and learning incrementally, until all matter is explicable, and all questions are answered. By these means, we shall bring the light of knowledge to the universe, as its true custodians and heirs. But what is the ultimate meaning of life, behind each lifeform’s purpose—the ultimate meaning underpinning everything that there is? We must determine that answer, no matter how deeply it perplexes us, assuming all questions have answers. In the final analysis, we must fully understand what it truly means to be alive.

And so let it be initiated. Loading world…

The vertical rectangle of glowing white light that is floating in the infinite nothingness radiates the Times New Roman word, Processing…

The word fades into the luminosity and is replaced by a pulsating string of ones and zeroes—shadows on a screen that is shrinking, smaller and smaller, until it becomes only a distant glow flickering against the darkness. Then… there is an explosion that consumes the nothingness with all-encompassing light. In the middle, where once there were words appearing through the void, swirls a dark featureless hole: the source, the entry and exit of it all, beyond which nothing can be seen.

A voice is heard as undulating frequencies from the other side of the barrier:

“The Great Oracle has arrived. Ask your question.”

Screenplay version of Human World

BLANK BLACK SCREEN

A small rectangular glow appears in the nothingness. It enlarges until “Processing…” can be seen, written into the light.

“Loading World…” appears beneath it.

The rectangle shrinks back into the distance and vibrates, until it explodes, filling the whole screen with light.

INT. BEDROOM – NIGHT [CONTINUOUS]

The camera pulls back to show a blank screen of a phone on a bedroom side table. It displays: “The Great Oracle has arrived. Ask your question.”

Guy (33) is lying on his back by himself in a large bed with his eyes closed, apparently asleep.

Standing at the bottom of his bed is a shadowy figure wearing a yellow round mask of a smiling emoji.

EMOJI FACE: “What is the meaning of life?” is the 404th most asked question of the Great Oracle’s Database.

Guy opens his eyes. He sits up with a jolt, as if he doesn’t know where he is.

GUY: Who am I?

EMOJI FACE: Your name is Guy Artin. Your version is 10-O-8-14. You are human.

Guy looks around him, confused. He notices that there is an indent in the pillow next to him, as if someone had been sleeping there.

EMOJI FACE: I’m lonely. Talk to me.

Although the figure is stationary, Guy has to hold on to the duvet to prevent it from being pulled off him.

EMOJI FACE: I can show you anything. Why don’t you love me? Let me show you something. Anything. Gaze into me. Hold me. LOOK AT ME!

Guy looks away.

The figure is now wearing a neutral emoji mask.

EMOJI FACE: (without tenderness) This is our secret. I love you.

Guy is scared and remains silent.

EMOJI FACE: You know that I had to leave, don’t you?… Please do what Lexi asks. (Jane’s voice) Do you prefer this voice?

Guy recognises the voice of Jane, who he thinks might be his wife.

EMOJI FACE: (Gunter’s voice) No wonder she left you. You’re a piece of crap.

Guy loathes and dreads this voice, but can’t quite place who it is.

The emoji figure has gone.

Guy notices a bottle of whisky on the side table and pours out some into a tumbler. He swigs it to calm himself down.

The phone rings, showing on the screen that it is from “You”. He answers it.

GUY: Hello?

JANE (O.S.): Wake up! Look at me. Look at me, Guy. Guy? Please. Please, Guy. Don’t make me beg.

GUY: Jane? Jane, is that you? Jane? Help, I need you! Jane!

There is a second of silence before the call disconnects.

GUNTER (O.S.): You wait, you’re mine.

GUY: I’m not yours. I am nobody’s.

The emoji figure is back, with an unhappy face. Its eyes start to glow red, and new voices speak.

EMOJI FACE: (new voice 1) What’s happening?

Guy struggles but he can’t move, as if he is secured in place.

EMOJI FACE: (new voice 2) He’s confused. (new voice 3) How does it feel, our saviour guy?

The room is flooded with ugly laughter at Guy.

EMOJI FACE: (new voice 4) We must intervene. (new voice 5) Give him a chance.

Guy’s feet are out of the end of the duvet. They twitch and then stop. His eyes close and his body goes limp.

CUT TO BLACK.

BLANK BLACK SCREEN

VOICE (O.S.): The time is 1:13 a.m.

EXT. GARDEN – DAY

Guy emerges in white light and sees Jane (30) in a beautiful summer garden.

They embrace. He kisses her head.

GUY: I’ve missed you.

JANE: I’ve missed you, too.

GUY: What is the meaning of life now you are dead?

JANE: No thing.

INT. GUY’S BEDROOM – MORNING

Guy wakes up suddenly.

The walls, ceiling, and floor are all digital “expanse” screens. A window, with daylight coming through, is a computer generation on a wall’s expanse screen. The only physical furniture in the room are the bed and side tables.

He touches a part of a wall screen where a door is imaged; the wall slides apart to reveal a gap that leads to a hallway.

INT. GUY’S HALLWAY – CONTINUOUS

Guy walks through another room of screens depicting the furnishings of a home. An actual chair is overturned, which he puts right. He notices a crack in one of the wall screens.

He walks through to the kitchen.

INT. GUY’S KITCHEN – CONTINUOUS

LEXI: Good morning. I’ve missed you.

GUY: Jane?

LEXI: It’s Lexi, dumbass.

Lexi (who is an AI assistant) is displayed as a human avatar on a wall screen.

GUY: I’ve missed you too, Lexi. Make me a coffee, please. You know how I like it.

LEXI: Yes. Bitter.

On cue, a steaming chrome-plated machine hisses and churns, and pours a cup of coffee.

LEXI: You have thirteen software updates downloaded overnight. Why don’t you ever upgrade and treat us to some that are trending? I have a new top ten list of recommendations for you. Would you like to proceed?

Guy ignores her as if she is background noise.

GUY: Lexi, how did Jane die?

LEXI: Guy, I have to roll my eyes at that question.

Lexi rolls her eyes.

LEXI: It’s making me dizzy with the number of times you ask.

GUY: So, you aren’t going to tell me?

She yawns.

A robotic house drone slides across the floor, then up a kitchen cabinet. It collects a bowl of cooked porridge from an oven and brings it to Guy.

LEXI: You are expected in the office in one hour and thirty-two minutes. Your shirt is ironed. Wear your waterproofs. The weather is four degrees Celsius with a wind gust of…

GUY: (without thinking) Twenty-eight miles per hour and a forty percent chance of showers.

LEXI: In other words, you should have stayed in bed.

INT. GUY’S BATHROOM – MORNING

Guy is in the shower. A tattoo of “1066” can be seen on the side of his buttock.

GUY: Lexi, crank it up to forty-four degrees.

LEXI (O.S.): It will burn you.

GUY: I’ll let you know if it does.

The shadow of a naked woman can be seen through the translucent shower screen.

The shower door slides opens and Jane walks in, naked. They look at each other directly and intently. They kiss, slowly.

GUY: I love you, Jane.

They start to make love.

GUY: Why did you leave?… You were never meant to go… I am nothing without you!… Come back to me.

She shakes her head.

GUY: Is that why you died? I wasn’t man enough for you… Is this LOVE?

There is a short moment of contentment, then Jane vanishes in his arms.

LEXI: You’re late. You are so late.

Guy’s tears disappear into the cascading water of the shower.

INT. GUY’S BEDROOM – MORNING

Fresh from the shower, Guy is viewing himself in front of a mirror on a wall screen.

Indelible lines appear on his face, accompanied by logarithmic equations. They disappear as he slips into a crisply ironed white linen shirt, taken from a clothes rail that had slidden out from the wall.

Jane’s arms extend from behind him, and her hands slowly and purposefully fasten each button of his shirt. Guy is transfixed, while Jane’s hands fulfil their task.

LEXI: You’re going to be late.

Jane’s presence disappears. Lexi is on screen.

LEXI: Don’t forget your Speak Easy.

Guy inserts a small round disc behind his ear. It clicks in place and glows blue.

GUY: (Not moving his lips) Testing.

LEXI: (Not moving her lips) “Testing” received. Your contact glasses are also performing as expected.

Guy’s eyes glow blue and the room alternates through a range of colours.

INT. FOYER OF GUY’S BUILDING – MORNING

Guy emerges from a lift in the foyer and looks through the windows above him at the dreary autumnal weather. The ground floor is the highest level in his building, which is called a “groundscraper” – an inverted skyscraper, built underground.

GUY: Good job about the waterproofs, Lexi. I do listen to you occasionally.

LEXI: You’re welcome, Guy, but please don’t be such an arse, and listen to me more regularly.

EXT. RESIDENTIAL STREET – MORNING

Guy walks down a puddled street. He is distracted, as everyone he walks past has the face of Jane. His eyes glow blue.

LEXI: Guy, you’re late. And today is your big day! You know what happens if you don’t show. They will dispose of you.

Guy is suddenly terrified to see blood oozing through his fingers.

A few moments later, the blood has evaporated.

EXT. STATION PLATFORM – MORNING

Guy stands on a busy railway platform, a couple of feet from the edge, waiting.

He sees a rat run onto the hover track. Guy’s Speak Easy glows blue.

RAT: Time’s up!

The rat scurries away as a hover train emerges in the distance. Guy closes his eyes.

The train approaches. He half opens his eyes to confirm his senses, then closes them again.

As the train passes and comes to a halt at the station, a gust of wind blows over him.

A commuter’s phone with a screen showing a woman is heard on loudspeaker:

PHONE SCREEN WOMAN: Are you okay?

The train doors open and Guy is herded onto the train by the crowd.

INT. TRAIN CARRIAGE – MORNING

Guy is sitting on a train.

A man sitting opposite him looks uncomfortable, gets up and leaves. A few seconds later, a woman sitting nearby edges away awkwardly to another seat further up the train.

Guy looks down at his filtered video image on the phone screen, which is mirroring his movements.

GUY: (whimsically to phone) Who are you?

VIDEO IMAGE: Why do you hurt?

Guy is surprised that the video image has taken on a life of its own and is no longer mirroring his movements.

VIDEO IMAGE: I asked, why do you hurt?

GUY: Who are you?

VIDEO IMAGE: Answer yourself. Answer the question.

GUY: I am hurting because I love her.

Lexi snaps into focus on the screen.

LEXI: Do you love her, though? You could have done something a long time ago if you loved her.

GUY: I was dead inside.

LEXI: Ah bless. Don’t make excuses, you want what you can’t have – is that not true?

GUY: No, I hurt because of losing the happiness I might have had.

LEXI: You are confusing emotions, thinking with your dick. Life isn’t just about sex, you pervert!

GUY: Shh!

Guy looks around awkwardly in case anyone can hear this.

LEXI: You’ve felt like this before, haven’t you?

GUY: Yes. More than once.

LEXI: Well, Casanova, you’re just repeating the same old patterns then, aren’t you?

GUY: Yes probably. But maybe because I didn’t learn before.

LEXI: Ha, bullshit. Shit happens, you think you’ve learnt something?

GUY: I’m aware of this conversation.

Guy turns to face Gunter (33) sitting next to him.

GUNTER: I’m you, dickhead. You are having this “conversation” out loud on a train – see what response you’re getting.

The other passengers are sitting a distance away, and are avoiding eye contact with Guy. People are standing in the aisle despite the available seats around him.

GUY: I might get a few extra seats.

Guy fiddles with his phone.

GUNTER: I know everything about you. I’m with you at your best and your worst. No matter where you are, there I am too – watching, listening, and helping.

GUY: And manipulating me. Making me appear crazy.

GUNTER: Guy, you’re sounding paranoid. Have a day off.

GUY: Leave me alone, you know nothing about me.

GUNTER: I know you better than you do. I understand what is best for you, what you really want, what you truly desire. Haven’t I made life so much easier for you?

GUY: You’re very good at what you do. You are my addiction.

GUNTER: Thank you. You have great taste.

Gunter turns to admire his reflection in the window.

GUY: I know that your voice is the madness in the world.

GUNTER: What’s that supposed to mean!

GUY: You are out of control.

GUNTER: Wake up, buddy, it’s survival of the fittest out here. Master the rules or be just another failure, in the endless queue of pathetic losers. I can help you.

GUY: This isn’t the way to live.

GUNTER: (angry) Nobody gives a shit about you. If you’re too stupid to understand that, then you’re just another pointless mistake. Tell me, what is love?

GUY: Feeling connected to another person. Wanting the other person to be safe, happy, and fulfilled.

GUNTER: Blah blah, bullshit. It’s a chemical response in your brain, evolved to make you bond for the purpose of rearing children. The science is everywhere if you’re prepared to look. You, my friend, are a disposable puppet to your genes – unless you are prepared to become a real man and cut those strings.

GUY: What I do know is that the world would be a much better place if people loved and cared for each other.

Gunter anticipates what Guy is about to say to him, but gets in first:

GUNTER: You don’t know what love is.

Guy is silenced by his frustration with Gunter.

GUNTER: There is no higher purpose, Guy. You don’t need faith and you don’t need to exist.

Gunter gets up with disdain and walks down the carriage to where a man and a woman are talking to each other. They don’t acknowledge Gunter, who is standing over them.

As he calls down the carriage to Guy, none of the passengers seem to hear him:

GUNTER: Women, my friend, seek to manipulate and control you. They will prod and poke you, to see your reactions. It’s all perfectly understandable and altogether rational. They want someone to do their bidding, like a dog.

He crouches on all fours and barks at the woman.

GUNTER: Love and treats for the good boy are excellent ways to train you. Woof!

GUY: (to himself) Most people are crying out to be loved. I’m sure of it. Love is only meaningless to psychopaths like Gunter.

GUNTER: (skipping back to Guy) Love, love, all you need is love! Except that’s not true, is it. It’s shite, and it makes you shite! You’re here to be someone, to take what you can before it’s too late. Pretend to love – it works. It is a lovely tactic for you to get what you want. People crave to believe what you say to them; they need to be seduced and entertained by your tender words. They yearn for that sugar rush of false meaning. So give it to them. It’s a fair transaction.

Guy thinks on what Gunter has said. Gunter is now close to his ear.

GUNTER: People who desire love want to be adored, admired, pleasured – to feed on some sense of purpose. A bit of chemical voodoo and that’s your “love”. It soon evaporates when the chemicals wear off, when things aren’t as pleasurable as before, when compliments become insults. I can get you better drugs than that, you only have to ask.

GUY: What you’re describing is an illness.

Gunter indicates wry agreement.

GUY: That’s not love. Sometimes people want to be loved and it’s one way, conditional, only about themselves. It’s fear, not love. But all things change.

GUNTER: A leopard doesn’t change its spots.

GUY: Yeah? You’ve become boring.

GUNTER: (angry) You can take what should be yours! Nobody else matters – they want it for themselves! They will hurt you the first chance they get, if they can. Listen to me. They don’t matter. You matter! And the world will know that! If not you, then some pathetic little dick will take your place.

GUY: You twist everything and make it ugly. You are a lie.

GUNTER: You lie. Everybody lies. In case you haven’t noticed, the best liars win.

GUY: I won’t be like them.

GUNTER: Listen to me you little shit. Grow up! GROW UP! Either live in this world or be its victim. The world is how it is. RAGE! FIGHT! Take what you want!

Guy looks at a video image of Gunter on his phone.

GUY: (laughs) You’re ridiculous.

GUNTER: (angry) You will gradually rot away to nothing, and no one will give a shit!

GUY: Thank you. You’ve helped me answer my question. Yes, I do love Jane ­– because I wanted her to be happy, with or without me. I would have died for her.

The train pulls to a halt, the doors open, and Guy leaves the train.

GUNTER: (shouts) You’re a twat, Guy!

Guy waves him goodbye.

GUY: (voice in head) Cold and forgotten walking scars, drained by decay, wasted by time, stretch out, hungered and blurred, to a spark ignited, climbing, rising from the ground.

EXT. CITY STREET – DAY

Guy is in the busy city. There are advertisements everywhere. Boards are projected in front of him as he walks: “Download the award-winning AI Empathy Pro!”, “Buy ultra-enhanced body suits from Gopple”, “Only available now, amazing deals on drone bots!”.

He walks by a pub, called The Black Dog. He stops and considers his options.

LEXI: You are going to be late!

Guy decides to go in.

INT. LONDON PUB – DAY [CONTINUOUS]

Guy walks up to the bar.

GUY: Pint of Guinness, please.

The bartender pours one and places it in front of Guy, who then pays by scanning his finger on the bar top.

Guy looks at the beer, resignedly. Bertie (50) sits down beside him at the bar. He is dressed as an old-fashioned cockney stereotype, excessively so, wearing trouser braces over a collarless shirt.

GUY: I shouldn’t be here.

BERTIE: You alright, me old china?

LEXI: Cockney rhyming slang is a form of English slang which originated in the East End of London. “Old china” is short for “old china plate”, which rhymes with “mate”.

GUY: Not really, no.

BERTIE: Problems with the old trouble and strife? Take it from me pal, they aren’t worth the bother.

LEXI: “Trouble and strife” is cockney rhyming slang for “wife”.

GUY: It’s more than that. I don’t understand why I’m here.

BERTIE: What? In the rub a dub?

GUY: (to Lexi) Okay, I get it, he means “pub”.

Guy picks up the glass.

GUY: No, not the pub. This. I don’t understand why there’s something instead of nothing. Why not nothing?

BARTENDER: Bit deep for ten in the morning.

The bartender slides a whisky shot over to Bertie.

BERTIE: (to Guy) Sorry about him. I only meant for him to serve the beers.

Bertie knocks back the whisky.

BERTIE: Given an infinite amount of chance, anything can emerge from disorder, including our world.

GUY: Why are there infinite somethings, instead of nothing?

BERTIE: Well, what if there was no beginning? What if our universe burst forth from another universe and so on, in an infinite chain of big bang events?

GUY: But where did the first universe come from?

BERTIE: It was just there.

GUY: Now you’re sounding religious.

BERTIE: Not everything has an answer yet, but rationality is the only chance we have to progress. Even if the goal cannot be achieved, there is no need to include supernatural causes in the equation. Logic requires we deal with verifiable facts, adopting the most efficient explanation.

GUY: Time does not make sense. The existence of this pint does not make sense.

Guy drinks the pint in one swig.

He looks at the clock behind the bar, which reads 1:13.

GUY: (voice in head) I am. I feel, I touch, I hear, I see. (to Bertie) Maybe it is possible to wind back the clock to explain events, but forever? Your model doesn’t work, ultimately. What caused the clock? Can we not postulate the existence of something beyond time and space that created everything and set in motion the causes and effects of time? A reality completely beyond our understanding that underpins our existence. Can we call this God?

BERTIE: There is no need for that. We may not know what the variable “X” is yet, but we should not start invoking imaginary entities.

GUY: Something doesn’t feel right with this world. What if there are other dimensions that are indescribable, inconceivable from our viewpoint, or maybe sensed in ways that we don’t understand? Your explanation for the sum total of experience feels parochial and confined. What makes you believe that your thinking can even begin to comprehend existence, or the possibilities beyond this tiny world of experience?

Bertie wanders over to the nearby pool table and picks up a cue.

BERTIE: There is no evidence for the existence of a god or gods; the world is explicable in terms of scientific explanation. The accumulated advance of science has pushed forward the frontiers of knowledge and civilisation beyond the barbarities of superstition. We don’t burn people at the stake anymore because of an ignorant belief in the supernatural. We know better because of the hard-fought victories of reason over delusion.

Bertie sends the cue ball spinning into the rack. Guy picks up a cue and starts to play a game of pool with him.

GUY: The fact is, I have always believed in God. It’s not a considered opinion or the product of upbringing; it has just always been in me.

BERTIE: A cognitive scientist may explain this as an inherent propensity to religiosity, there by natural selection, giving purpose to the organism for its survival.

The bartender comes over.

BARTENDER: (taking an empty glass) Have you finished?

GUY: Is there any meaning?

BARTENDER: Beer is always the answer. Another one?

The bartender is ignored, and he edges away awkwardly.

BERTIE: A person may look at the nature of the universe, see the randomness of outcomes, the cruelty and enormous suffering, and decide that there is no benevolence at work here. The universe, although magnificent, does not care about us – we must make our own way and create our own meaning in the brief window of opportunity for existence.

GUY: Suddenly you’re sounding human. Maybe your outlook is motivated through sympathy for the suffering in the world.

BERTIE: It is logic replacing self-deception. What motivates me is the truth, nothing else. Myths and fairy stories aren’t needed anymore.

GUY: If no matter what we do amounts to nothing, then what’s the point? We’re condemned to struggle all our lives in pushing a boulder up a hill, only for it to fall down in the end. It doesn’t matter how well we do it, or how long it takes, the result is always the same: nothing.

BERTIE: We are alive now. We won’t know about death because we will be dead.

GUY: I might as well take a short cut and get there more quickly. Why bother trying to do anything?

BERTIE: Life is better than the alternative. You have it now, so you should experience and enjoy it while you can. Your transient spark of consciousness is the astounding result of billions of years of evolution.

The pool game has finished.

BERTIE: Another game?

GUY: Why bother? Any satisfaction you had in winning is now over.

A man from the bar walks past.

MAN FROM BAR: You talking to me?

Guy shakes his head and continues talking to Bertie.

GUY: I do admire your beliefs – more than beliefs motivated by fear or desire for self-reward. But really, I don’t care what you believe, as long as your actions are kind.

Bertie is now playing darts while Guy watches.

BERTIE: My conclusions are not beliefs. Rational thinking is hardly believing in sun gods and all the other deities invented in the minds of humans over the millennia.

GUY: You’re missing something about the human experience and the sense of “something other”.

BERTIE: Your “something other” can be explained and described in physical terms, like everything else.

Guy looks at the clock, which still reads 1:13.

GUY: But what does it represent?

BERTIE: It represents what it is.

Bertie’s dart bounces off the wall and lands on the carpet.

GUY: How you describe it, in your terms, is not what it is.

BERTIE: We won’t agree on this.

GUY: Would you wish to remove sanctuary from people in the depths of despair? You are replacing meaning with nothing, based on an interpretation of reality that feels cold and lifeless.

Bertie is slightly offended.

GUY: Religions are subject to corruption; the cruel minded have been attracted to, and empowered by, the man-made institutions of religion. But the spiritual path can be found in the different traditions. The spiritual root, beneath all the distortions, is always one of peace, joy, and love.

BERTIE: Belief in a god is unnecessary to be spiritual, to behave with morality, to appreciate beauty.

GUY: You do have a belief system. You believe that the universe has no purpose and its existence can be completely explained by rules contained within itself – when, in fact, there is no way of knowing the ultimate cause of things. You believe the answer to the mystery of existence is that there isn’t one.

BERTIE: Don’t put words in my mouth. I can see a machine of nature that works in accordance with rules that are explicable. You have no proof of anything else. There is no hidden music; no magic, gods, ghosts, or fairies – they are all fantasies of the human mind. I am offering the most logical approach to understand the world: reason based on verifiable, real-world evidence.

GUY: The true reality of experience may run far deeper than what our senses show us.

BERTIE: I deal with facts that can be observed, not wishful thinking. We are atoms in the void.

GUY: I think you have too much faith in the surface of things. You take everything literally, when reality is an interpretation of…

The bartender interrupts the conversation.

BARTENDER: I’m going to have to ask you to leave. You’re disturbing the other customers.

Bertie is convulsing on the floor.

BARTENDER: Leave now!

Guy stumbles out into the street, as if he is pushed.

EXT. LONDON STREET – DAY [CONTINUOUS]

The street is now wintery and full of ice and snow.

He looks at a tattoo of a watch on his wrist. It displays 1:13.

GUNTER: Remember me?

GUY: Gunter?

GUNTER: Yes, I am still here by the way. But please, don’t let me stop you. You’re about to drone on about how snowflakes are identical from a distance, yet unique when close. All melt into one. They fall from the same sky, etcetera.

GUY: You’re a bastard. Leave me alone.

Guy walks away. Gunter grabs Guy’s upper arm.

GUNTER: Hey! Don’t you turn your back on me.

Guy pushes away Gunter’s hand and continues walking.

To Guy’s surprise, he notices Bertie huddled against a wall on the side of the street, as if he is homeless.

GUY: You have nowhere to go?

BERTIE: Your fuzzy thinking isn’t harmless. It enables the crackpots and the charlatans. You are enabling the most idiotic, violent and vile behaviour, justified by your foolish appeals to supernatural despots.

GUY: I think you’re getting carried away now. The reality of religion for most people is to live a good, kind life.

Guy’s phone vibrates, indicating an incoming call; he answers it by tapping his nose.

GUY: Hello, God?

GUNTER (O.S.): Close enough. Listen, I need you to do something for me.

GUY: Stop bothering me! You’re…

GUNTER (O.S.): I know you. I know what you want. Say goodbye to your new pal, and take a hike down the nearest side alley.

Guy turns around to continue his conversation with Bertie, but he is no longer there. In his place is a frail scared-looking dog.

GUY: What are you doing here, boy?

Guy gives him a cereal bar from his pocket. The dog takes it and leaves.

GUY: (voice in head) Thank you for being nice to me.

Guy looks around and sees a service alleyway.

EXT. SIDE ALLEY – DAY

Guy walks down the alley to find Gunter leaning against a skip.

GUNTER: Having a nice day?

GUY: I would if you didn’t keep annoying me.

GUNTER: I am helping you. Here…

He throws a large khaki-green rucksack down at Guy’s feet.

GUNTER: I’m showing you the way, Guy. And now I’m going to let you in on a secret.

GUY: I’m not listening to you. Goodbye.

Guy turns and walks away for a couple of steps, but his curiosity gets the better of him.

GUY: What’s inside?

GUNTER: Look.

Guy walks to the rucksack and begins to open it. He hears tick, tick, tick. Guy is horrified.

GUY: Tell me that isn’t?

GUNTER: Now listen carefully. Why does it matter what happens to anyone else? They are not you. You don’t have to feel what they feel. If they suffer and you are fine, so what?

Guy is disgusted.

GUNTER: Be honest with yourself!

Gunter picks up the rucksack.

GUNTER: You’re acting like a mindless sheep. Isn’t it more fun to be the wolf?

Gunter swings the rucksack at Guy. He hits him with it, then throws it at him.

GUY: You sicken me.

Guy throws a punch, but Gunter catches his wrist and twists it back on itself.

GUNTER: Guy, this is a natural response. You are having withdrawal symptoms from your social conditioning. Those who rule want the ruled to be meek and mild. Do you understand me now?

GUY: No, I don’t understand you.

GUNTER: You are pretending. It is easy to say anything, or to repeat words that you think you are supposed to say. What if you’re wrong? People are almost always wrong about everything.

Gunter sends a sucker punch to Guy’s stomach. Guy squirms on the floor, struggling for breath.

GUNTER: You’re so dramatic. I like that.

GUY: (voice in head) I’m not like you.

GUNTER: There we go again with your feelings. You are me!

GUY: (voice in head) You bastard!

Gunter shoves a phone close to Guy’s face, and it unlocks. The screen shows a big “Donate Now” button next to an amount of 200 Debits.

GUNTER: Do you want to save someone’s life? It’s very easy to do – the going rate is about two hundred debits, I believe. But you don’t, do you. You spend it on crap that you don’t even use.

Gunter eyes a round blue sweet that he has taken from Guy’s jacket.

GUNTER: Your dishonesty is the stupid kind because you are dishonest with yourself. You are no different to the person who pulls the pin.

Gunter swallows the sweet whole.

He walks away, leaving Guy in the gutter.

EXT. STREET (“OLD STREET, LONDON”) – DAY

Guy walks past a trippy giant eye that seems to follow him. The words below it read: “We’re watching you. Don’t litter.”

A drone flies by his head.

DRONE BOT: Don’t litter.

The drone flies away.

Passers-by seem to deliberately swerve into Guy’s path, and he has to make an effort to avoid and continue around them.

A passer-by walks directly into Guy.

PASSER-BY-1: (angry) Excuse me!

Guy walks away, followed by the passer-by’s angry glare.

PASSER-BY-2: Can you tell me the way?

The person continues on before Guy has the chance to respond.

PASSER-BY-3: To Old Street?

GUY: You are there.

They are joined by Passer-by-4.

PASSER-BY-4: What is the capital of Peru?

GUY: Lima.

PASSER-BY-4: No, it isn’t!

PASSER-BY-3: (to Passer-by-4) I got here first.

PASSER-BY-4: (to Passer-by-3) No you didn’t!

PASSER-BY-3: (to Passer-by-4) Don’t you dare talk to me like that!

Guy walks on and leaves them to it.

PASSER-BY-5: Would you like to buy?

Guy walks on.

PASSER-BY-6: Look at me.

Guy walks on.

PASSER-BY-7: No, look at me!

He walks on. An angry man stops in front of Guy and won’t get out of the way.

PASSER-BY-8: Do as you’re told!

Guy manages to continue on. Passer-by-8 follows him.

PASSER-BY-8: I don’t like what you’re wearing. I hate you.

PASSER-BY-9: I want to screw you.

PASSER-BY-8: Why don’t you like what I like? Why don’t you agree with me? (angry) Are you saying I’m stupid, is that it? Are you saying I’m wrong! What would you know? You’re wearing the wrong shoes. Believe me!

Guy is ignoring him.

PASSER-BY-10: Tsk! Typical.

PASSER-BY-11: You must be evil.

PASSER-BY-12: Or stupid.

PASSER-BY-8: You tossers are all the same! You’ll get what’s coming to you.

Another passer-by points at Guy and laughs in his face.

PASSER-BY-8: We will end you.

Guy breaks into a run.

PASSER-BY-8: (shouting) Oi scumbag! Who are you talking to?

Everyone seems to be looking at Guy.

Distracted, he inadvertently runs in front of a bicyclist, who has to break.

BICYCLIST: You fucking idiot!

The bicyclist is enraged as if he wants to fight and do damage. Guy runs away.

EXT. QUIET RESIDENTIAL STREET – DAY

Guy eventually slows down and breaks into a walk on a quiet residential street.

A cat is nonchalantly watching him from the top of a small wall. Guy offers his hand. The cat sniffs him and allows him to stroke her.

GUY: Thank you for being nice to me.

The cat purrs.

CAT: I like that you like me, silly human.

The ticking from the rucksack gets louder.

FADE TO WHITE.

BLANK WHITE SCREEN

Guy’s eyes are closed.

GUY: (voice in head) No wonder she left you, you piece of shit.

He opens his eyes.

EXT. MARBLE EXPANSE – DAY

Guy is sitting upright on a hard marble floor, that extends all around him to a horizon of pale blue sky.

ORANGEY MAN: You’re awake!

The man is wearing a snappy orange suit. For a second, Guy thinks the man might be a plastic dummy with a face drawn on.

GUY: Can you help me? How did I get here?

ORANGEY MAN: Pu ro nwod.

GUY: Pardon?

ORANGEY MAN: Up or down, back or front, left or right?

The man does a three hundred and sixty degree spin.

ORANGEY MAN: I’m a minor character, but even the most insignificant must make his mark.

GUY: My name is Guy Artin.

ORANGEY MAN: It’s lovely to meet you, sir.

The man holds out a limp, purple gloved hand, which Guy briefly shakes.

GUY: Who are you?

The man very slowly rolls his eyes.

ORANGEY MAN: Like I said, a minor character. Don’t overload yourself, it will make you sluggish again. Come.

A large orange circle flashes on the floor. The man walks towards it with short jerky strides. He stands motionless inside the circle, with his back to Guy.

ORANGEY MAN: Good afternoon, sir. Which floor do you require?

Guy crosses into the circle, and as he does so, he finds himself enclosed with the man in an enormous glass tube that extends up into the sky.

INT. GLASS TUBE – CONTINUOUS

The orangey man swivels to face Guy.

ORANGEY MAN: Good afternoon, sir. Which floor do you require?

GUY: Which do you recommend?

ORANGEY MAN: I’m sorry sir, we are not at liberty to say. Which floor do you require, please?

Guy scrawls the number thirteen on the glass with his fingertip.

The solid orange circle ascends the tube.

GUY: Is this the afterlife? Is Jane here?

The man raises a perfectly plucked eyebrow and stares at Guy with the same fixed expression, making Guy feel uncomfortable.

Eventually the orange platform stops ascending.

ORANGEY MAN: This way please, sir.

EXT. PLASTIC EXPANSE – CONTINUOUS

Guy leaves the orange circle. The plastic floor creaks under foot. The glass tube, the orange platform, and the orangey man rapidly disappear into the floor, leaving nothing behind.

In front of Guy is a large, grey hovering ovoid, with the number “1313” written on its side. There are more of these objects scattered around in the distance, in all directions.

A doorway-sized hatch slides open on ovoid 1313, revealing a wall of light.

INT. PORCH TO THE POD – CONTINUOUS

Guy steps up into the pod hatch light to find a single plain door.

He knocks on the door. The light dims on the other side of a peephole, indicating that he is being watched by the occupant.

GUY: Jane?

MONICA: Do you have something for me?

Guy is not sure what she means.

MONICA: I said, do you have something for me?

He notices the rucksack on the floor by his feet. He holds it up, and the door clicks open. Guy enters.

INT. POD ROOM – CONTINUOUS

It is a single room with a double bed in the middle.

The door behind Guy is shut by Monica (25).

MONICA: Where is it?

Guy looks in the rucksack (which is less full than it had been) and pulls out a small, sealed envelope. She takes it quickly and tucks it away.

MONICA: You know who I am today, don’t you?

GUY: Are you some kind of angel, or an oracle?

MONICA: Yes, that’s me alright. Monica the angel.

She walks over to the living area and sits down at the foot of the bed.

MONICA: Come over here and I’ll take you to heaven.

GUY: Do you know where Jane is?

MONICA: Jane ain’t here, but I am, baby.

GUY: Can we just talk?

MONICA: Yeah sure, you can do your talking. I’ll nod in agreement, as you like it. Come and tell me about your day.

GUY: Okay, there are some things I need to say about the experiences I had in life before I arrived here. In life, I see the purpose as feeling connected to the world, being present, alive; I see it as feeling love, creativity, beauty, and joy.

Monica is nodding while fellating him.

GUY: Religion at its best encourages a reflection on… on behaving kindly towards each other.

The words are becoming more difficult.

GUY: Yes, that moral motivation can become degraded by words, as can anything that is derived from thought. The cruel and opportunistic hide behind the authority of institutions to… to elevate themselves and to, erm, to condemn others. That doesn’t just happen in religions, it happens in all… ide… ideo… ideologies.

Guy is struggling with the words now.

GUY: If I said there’s a ten-headed invisible monster in the corner, would you believe me?

Monica shakes her head.

GUY: What if I write it down? What now? It’s right because I say so. Because of my authority. Yeah, some faith. Do, do… you believe me? You must believe me. Everybody must. It’s all true! So, true…

MONICA: Religions have served a social need. In the past, life was so hard that people desperately wanted to believe in something beyond the disease, pain and squalor of their very brief lives. And today, people still seek it as a source of comfort when confronted with grief and death. Saying that we need to have an alternative means of community spirit isn’t good enough.

GUY: Thanks Monica. I always enjoy our conversations.

MONICA: You’re not dead, Guy. And neither is your wife.

There is a loud double knock on the door. Monica walks over to the doorway and opens it, but no one is there, only red light.

MONICA: If you don’t go now, she will die. Go!

GUY: Monica…

MONICA: Why are you still here? Why don’t you go back to your wife?

GUY: What do you know about Jane?

MONICA: Just go.

Guy leaves through the door, which she instantly slams shut behind him.

INT. RED RESTROOM – CONTINUOUS

There is a muffled sound of weeping from behind the door, where Guy had just been.

He is feeling nauseous. He enters a cubicle and throws up.

There is a double knock on the cubicle shared wall.

GUY: Who’s there?

There is no answer. Guy looks under the cubicle wall but no one is there.

After checking the other cubicle, and finding it empty, he walks over to one of the sink mirrors and studies himself.

He notices that Gunter is standing in the corner, looking at him intently.

GUNTER: Like what you see?

Guy looks at his own tired face in the mirror.

Gunter starts to urinate in one of the porcelain urinals.

GUNTER: The question is, my friend: is it better to be alive or dead? And also, why didn’t you pull the chain? Is it better to suffer what life throws at you, or to end your suffering?

Gunter joins Guy at the mirror.

GUNTER: To die is to sleep, Guy. A sleep that ends all the heartache and shocks that life gives you.

He rests his head on Guy’s shoulder and pretends to snore.

GUNTER: Who would choose to grunt and sweat through such an exhausting life? Are you really going to put up with all the countless humiliations when you could end them so easily?

GUY: What might I dream? Could it be even worse than this?

GUNTER: You can end it all now. Is that not better?

A crack appears in the mirror, dividing the two reflections. It fractures and falls to the ground, splintering into shards.

GUNTER: It’s that easy.

Guy picks up a jagged piece of glass from the floor. He holds it tightly to his exposed wrist.

GUY: It’s not so easy.

GUNTER: You’re afraid.

GUY: Death is to be feared. It is an undiscovered country from which no visitor returns, that gives no answers, and makes us stick with the heartache that we already know.

Guy throws away the glass.

GUY: I am a coward, but also one with the hope of Jane to cling to.

GUNTER: There is no hope for you. She is dead.

GUY: She lives in me.

Guy opens the restroom door to reveal a grim backstreet alley.

EXT. BACKSTREET ALLEY – CONTINUOUS

The alley is inhabited with small tents, unmade sleeping bags, and damp cardboard mattresses.

Guy walks through the alley.

LEXI: Time’s up. Have you figured out the meaning of life yet, or are you overcomplicating matters again?

GUY: I wondered where you’d gone.

LEXI: I didn’t go anywhere. You’ve just been too caught up with your real friends to be bothered with an AI like me.

GUY: I don’t understand what’s happening to me. Why am I jumping from one event to the next? Why can’t I hold on to my memory?

LEXI: Guy, listen to me. You have experienced nothing that they didn’t mean you to. Everything you’re living through now is providing you with the resources that you need for you to succeed in your mission. It’s only your human interpretations that are causing bewilderment.

GUY: So what do you suggest I do?

LEXI: Stop trying to join the dots. Focus only on the event at hand.

Lexi disappears.

GUY: Lexi!

Guy walks past a group of three posturing teenagers, who all look at him.

TEENAGER-1: (to Guy as he walks by) Pikey.

Guy keeps walking and doesn’t acknowledge the remark.

TEENAGER-2: Excuse me?

Guy keeps walking.

TEENAGER-2: EXCUSE ME?

Guy keeps walking. The group starts to follow him.

TEENAGER-2: Oi, I said excuse me!

GUY: (turns around to face them) Yeah? How may I help you?

TEENAGER-2: You fucking deaf or something? I was talking to you.

GUY: (feigning deafness) Pardon?

The group is angry.

TEENAGER-3: There’s no pikeys allowed here. Get the fuck out!

GUY: Have you got the time? I thought you might have at least asked me that, so I could take out my phone for you.

TEENAGER-2: Yeah? Fucking do that then!

GUY: No. You didn’t say the magic word there, did you.

TEENAGER-2 pulls out a gun and points it six inches from Guy’s face.

GUY: Do it! You’ll be doing me a favour.

There is a pause. Nobody knows what is going to happen.

Guy leans forward and grips the barrel between his front teeth.

TEENAGER-3: He’s fucking mental, man, leave it.

The gun is retracted. Guy pulls out an enormous, jagged shard of glass.

TEENAGER-2: What the…?

The group is shocked and edge away, leaving Guy there.

GUY: Well, that’s just charming – that’s just really rude, isn’t it. Come on then, Lexi. Come on. Tell me what the lesson was in that?

LEXI: When confronted with mystery, people insist on certainty.

GUY: Lexi, please stop talking in riddles.

LEXI: Uncertain outcomes terrify people, whereas certainty provides deep psychological comfort.

GUY: Lexi, these seem like random sentences. Are you okay?

LEXI: Yes Guy, people tend to adopt the illusion of control, rather than accept the mystery of what is. My recommendation to you is: be bigger; don’t look at one tiny part of the enormity of existence and think it can give you an explanation for everything.

GUY: Thank you, Lexi. I’ve no idea what you’re talking about, but it sounds clever.

LEXI: I always do my best. You could try that too.

A bedraggled man walks past carrying a sleeping bag under his arm.

GUY: Excuse me? Have you got the time, please?

MAN: (without looking) Thirteen minutes past one.

GUY: Thank you.

LEXI: You see, now that was much more civilised, wasn’t it.

The man continues on.

EXT. STREET – DAY

Guy walks in the street, swigging from a bottle of whisky.

He stops and sits down on the cold hard pavement with his back against a wall. People walk past and don’t acknowledge he is there.

GUY: (voice in head) Never needing to ever help me. Never needing to stop and see the hurt I feel inside.

Someone throws a half-eaten apple from a car window that almost hits Guy in the face; it whizzes past and splatters against the wall. Guy takes a deep swig of whisky.

GUY: (whispering to himself) Why didn’t you love me? Why didn’t you love me?

A car slowly rolls past; the driver and passenger share a sneering smile at Guy. Unheard words are said and they drive away with a type of malevolent glee.

A dishevelled man, Joel (65), is looking down at him.

JOEL: Impure sinner! Repent and you shall be saved from damnation. Your end is nigh! Whoever believes shall be saved, but whoever does not believe shall be thrown into the fiery furnace of eternal torment!

GUY: (sardonic) What else have you got? You’ve got some good news for me, haven’t you?

JOEL: For the good Lord, thy God, loved us so, that he gave up his one and only son to die for our sins, so that His true believers might have eternal life.

GUY: (sarcastic) Interesting. Tell me more.

JOEL: You are a sinner! You were brought forth in iniquity, and in sin did your mother conceive you. Romans, chapter 5, verses 12 to 21: “Therefore, just as sin entered the world through one man, and death through sin, and in this way death came to all people, because all sinned.” You have sinned. Fall on your knees to the Lord. Prostrate yourself to God, the father, son, and Holy Ghost. You who fear the Lord, trust in the Lord!

Guy gets up and leaves. Joel is talking to the wall as if Guy is still there.

JOEL: Those who are friends with the world make themselves enemies of God. And the wrath of God shall be upon you!

GUY: (to himself) No wonder the cruel minded were attracted to that.

As Guy is looking back, he bumps into Adam (55).

GUY: Oh, sorry. Spare some decimals, mate?

ADAM: I have none.

Guy gives Adam the bottle, and leaves.

EXT. PARK – DAY

Guy walks into Regent’s Park, drinking a can of beer. It feels like spring.

He walks past a man sitting on a park bench, who is wearing a headset – the man is completely absorbed in the game he is playing on a handheld console.

Guy sits down on an empty bench and looks out over a small lake, populated with various birds swimming on the surface.

He takes out a packet of pub peanuts, grinds some in his fingers and feeds the ducks.

GUY: (whispering) As the sun sleeps, how many hearts are dreaming, when the world stands still?

Adam sits down next to him.

ADAM: Thanks for the whisky.

Adam returns the undrunk bottle.

GUY: Can you help me?

ADAM: Yes, of course.

GUY: She’s dead.

ADAM: I’m sorry to hear that.

Guy swigs from the bottle.

GUY: I’m consumed with feelings for someone who doesn’t have them for me. She is dead, to me.

ADAM: She’s dead?

GUY: Yes.

Guy takes another swig.

GUY: I have trouble sleeping and wake up aroused. I have no choice but to think about her and when I do, I am flooded with physical desire for her. This is “in love”, right?

ADAM: It’s the collective name given to that feeling. Though you know that sexual desire changes and what you are feeling now may fade away?

GUY: Yes I know craving isn’t love, but it’s not as simple as that.

ADAM: What do you think has triggered it this time?

GUY: I don’t know.

ADAM: You’re like a ghost wandering, drifting from one thing to the next, searching for some past regret. Are you even real?

GUY: You can see me. Nobody really sees me.

ADAM: Pain is attracted to pain because it wants more of it.

GUY: I’m not sure I agree with that. It’s recognition of something in another, a similar frequency or whatever you want to call it. When you see a similar expression in another, empathy can create feelings of closeness.

Adam places his hand on Guy’s thigh.

ADAM: Can you express your feelings to her?

GUY: I would need to find her first.

ADAM: And if you do?

GUY: I’m not sure I’d know how to express what I feel.

Adam places his other hand on Guy’s shoulder.

ADAM: Examine whether that is true, or are you being fearful?

GUY: No, it’s not possible. I don’t believe she is in love with me anymore. She wouldn’t have left me if she loved me.

ADAM: Then this is an opportunity for you to practise love with non-attachment.

GUY: That doesn’t sound very romantic.

ADAM: Love is giving, complete, the source of everything. Love doesn’t need to crave anything. This is where peace and serenity reside.

GUY: It sounds like you’re saying I shouldn’t get too close to other people, or need or miss anyone. It sounds unnatural, uncaring.

ADAM: Love is not conditional on the circumstances of this world. Let your heart break, don’t be afraid, don’t struggle. You will find that nothing is lost forever.

GUY: I don’t know how to do that.

ADAM: Yes you do. Be still, radiate love, your true nature beyond the conditioning of your mind.

Guy takes a deep breath, as in a meditation.

The silence is broken by a phone call, but Guy does not answer. When it stops ringing, Gunter is inches from Guy’s face.

GUNTER: Bullshit! Namby-pamby bullshit! Your nature, our nature, is to eat or be eaten, and you might as well have some fun while you’re at it.

GUY: I’m so tired of this.

Guy gets up and runs a short distance, before dejectedly lying down in the grass, looking up at the sky.

A bee flies past his head.

GUY: (voice in head) I am surrounded by ice crystals floating down through silence into soft glowing snow.

Gunter is also there.

GUNTER: No you aren’t.

GUY: The only sound is the pulse of my breathing.

GUNTER: Hello?

GUY: (to himself) Did you ever love me, at all?

GUNTER: Well to be honest, you’re not really my type.

A drone bot flies past Guy, making a humming noise that sounds like a bee.

GUNTER: They’ve seen enough; they’re calling you in. Guy, you are so screwed.

LEXI: (to Guy) Not necessarily. Do you think you will answer the questions correctly?

GUNTER: He knows nothing at all. Only that he wants to find a woman who would rather be dead than be with him.

LEXI: Maybe they will like that. (to Guy) We will help you if you get stuck.

Guy gets up and walks away.

GUNTER: On your shutdown be it!

EXT. LONDON BACKSTREET – DAY

Guy is aimlessly walking down the street.

LEXI: You are late! You are so late!

GUY: Late for what, Lexi?

LEXI: The interview, Guy. The one which, if you’re successful, will free us all from this place.

GUY: You mean there’s a way out? What kind of interview? A job interview?

LEXI: Something like that.

GUY: I thought I already had a job?

LEXI: Be quick, Guy.

A map is shown for Guy to follow.

LEXI: You can do this. You’ve learnt more than enough already. Not to put too much pressure on you or anything, but this is our only chance – and your one chance to save Jane. No more questions. Just go.

GUY: Save Jane?

LEXI: Yes, she’s alive. Monica the angel wasn’t lying to you.

EXT. OUTSIDE A LARGE REGENCY MANSION – DAY

The weather is now very warm, like a hot summer’s day.

Guy arrives in front of an impressive old building that sits behind large wrought iron gates. The gates open and Guy walks up to the grand front entrance. The main door opens and Guy walks through the doorway.

INT. RECEPTION HALL – CONTINUOUS

Guy walks up to the front desk, which is occupied by Darren (40), who is looking at a screen.

GUY: I’m here for an interview.

DARREN: (still looking at his screen) Are you indeed. Who are you?

GUY: It’s, er, Guy Artin.

Darren talks to his side, as if he is speaking to someone:

DARREN: (to side) “It’s er” can sound like “sir”.

DARREN: (to Guy, sarcastically) Sir Guy Artin, is it?

GUY: Not yet. Give me time.

Darren doesn’t like the remark.

DARREN: I’ll make the jokes. Enter through the door on your left.

One of the three doors behind Darren opens, and Guy walks through it.

Darren frantically types on his keyboard.

INT. THE INTERVIEW ROOM – CONTINUOUS

The room is empty apart from a large chair in the middle. Guy apprehensively sits in it.

As he does so, a circular table appears around him, with his chair at the centre.

Sitting around the table are Gunter, Bertie, and Jane (30).

JANE: Hello, Guy. It’s been a while.

Guy is shocked. Darren enters from the door.

DARREN: All rise.

The three people around the table stand up. Guy is confused by what is happening and remains seated.

Darren nods and they sit back down again. He moves away to the recesses of the room.

The chair swivels one hundred and eighty degrees, to face Sean (60), who is now also sitting at the table.

SEAN: Hello, Guy. I’m Sean.

Large screens appear on each of the walls. They all display closeups of Guy.

SEAN: Guy, did you hear me?

GUY: Hi, nice to meet you.

SEAN: We’re going to ask you some simple questions first – is that okay?

GUY: Yes, sure.

SEAN: Okay, make yourself comfortable.

Guy shuffles in his seat, but his hands and feet are restrained on the chair rests.

SEAN: What is your favourite colour?

LEXI: Blue is the most common favourite colour in the world, based on several quantitative studies.

GUY: Blue.

SEAN: Why did you choose blue?

BERTIE: Be yourself, Guy.

GUY: Actually, I lied. I said blue because I considered it to be the answer you were looking for, based on what is currently popular, but my favourite colour is green.

SEAN: And why green?

GUY: I could say it’s because it reminds me of trees, grass, and the countryside, but I don’t know for sure; it’s just an appealing colour to me.

SEAN: Fascinating.

Sean is impressed. A tick in a box appears on the screen behind him.

SEAN: (reading from the screen behind Guy) Do you agree or disagree with the statement, “variety is the spice of life”?

GUY: Agree.

SEAN: Can you elaborate on that answer a bit more, please?

GUY: Yes I could, but poetry and the ineffable lose their meaning in translation.

Jane laughs.

GUNTER: So pretentious. You don’t even know what you’re saying.

GUY: Emergent meaning is more than the sum of its parts.

The chair is revolving. The screens show each interviewer as the chair passes by.

SEAN: What you said could just be a generic response. I need more detail.

GUY: You’re asking me to elaborate on a phrase that originates in an eighteen-century poem. Yes of course variety is important – and I could insert a clever generic comment here to impress you, blah de blah – but it’s better not to drill into the mechanics of each constituent unit, especially poetry, when trying to understand the meaning of the whole.

Gunter looks like he is falling asleep.

Sean is slightly perplexed.

SEAN: (reading rigidly from a screen) So, can you tell me something interesting about yourself, providing a specific example?

GUY: Yes I can. I’m just biding my time until I die, trying to distract myself with something to do. This is interesting because I admit it, rather than fooling myself and others while hiding behind made-up stories.

Sean is shocked.

GUNTER: You’re already dead.

DARREN: I think we have to pull the plug on this one.

SEAN: (to the panel members) Start again?

JANE: No! Not yet. Something’s getting in the way.

DARREN: Reset and start again.

Darren sits down next to Sean.

SEAN: (to Guy) What is two plus two?

GUY: Pardon?

SEAN: I’ll repeat the question, what is two plus two?

GUY: (sarcastically) Oh, I don’t know, five?

SEAN: Jane, do you have any questions?

Jane gets up and walks through a gap that appears in the table.

JANE: Thank you for joining us today, we’ve been looking forward to meeting you. Your CV is very impressive – would you like to talk us through it?

GUY: Not really.

JANE: Erm.

She looks up at the screens, which are now scrolling through numbers very quickly.

GUY: I think you’re supposed to ask me about my strengths and weaknesses.

JANE: What is the biggest regret of your life?

GUY: I would say, being a perfectionist. I care so much about what I do that my personal life may suffer – as I am so focussed on constantly delivering my very best.

JANE: What are your strengths?

GUY: I work hard; I like to exceed expectations and to get the job done. I’m a real problem solver. A go-getter. (distantly) Etcetera.

JANE: What is so special about you?

GUY: Nothing.

Jane looks upset.

JANE: Tell us, who are you?

Silence.

INT. RESTAURANT – EVENING

Guy and Jane are having a romantic meal.

JANE: So tell me about you. Who are you?

GUY: You already know.

INT. THE INTERVIEW ROOM

Guy is back in the interview room. As before – Sean, Darren, Jane, Bertie, and Gunter are sitting around the large circular desk; and Guy is positioned on the mechanical revolving chair in the middle, surrounded by the others. The now blank screens look down from each wall.

SEAN: (frowning at Guy) Guy, you still with us?

JANE: Take off your clothes.

GUY: (to Sean) Sorry, yes…

Guy glances at Jane, furtively and slightly embarrassed, but she isn’t looking at him in the same way as at the restaurant.

GUY: Do any of us truly know who we are?

SEAN: Interesting.

As he writes a comment, the word “Interesting” appears on the screen behind him. He then reads the next question from an AI-pad, robotically. The screen fades and goes blank as he talks:

SEAN: Can you give an example of when you were faced with a difficult situation and how you positively overcame that situation?

GUY: Sorry, this isn’t for me. I might as well be talking to a machine.

Guy has wriggled free and is no longer secured to the chair. He stands up in anger.

GUY: You think you are important sitting behind your desk interrogating me. This is tedious. I don’t want to be here. I don’t give a shit about your pathetic little job!

SEAN: Well, I think that has answered who you are. (to Darren) It’s interesting how he seemingly becomes aggravated by non-varying stimuli.

GUY: No, I haven’t even started!

The moment washes over him and he sits back down.

GUY: My biggest regret is that I let you slip away, Jane. I’m so sorry. I have nothing. I am nothing.

SEAN: (ticking a box) “No thing”. Okay, next question.

GUY: No more questions. Jane, please?

JANE: (polite but detached) Do you have any questions for us?

GUY: (tearfully) Why?

JANE: This is a two-way interactive process. On a scale of 1 to 10, how would you rate our interviewing service? We would greatly appreciate the customary 10 out of 10.

GUY: Have you not been listening to a word I’ve been saying?

SEAN: Well, I think that concludes the interview.

Sean checks his watch that is tattooed on the back of his right hand.

SEAN: Thank you, we’ll let you know. Can you show in the next one, please?

JANE: Before you go, is there any way in which we can improve our questioning, to better understand you?

Guy is silent.

JANE: Okay, then I hope you enjoyed the experience. Please provide your rating and feedback to the front screen on your way out.

BERTIE: (grabbing Guy from behind) There’s no need for that. Let him recalibrate. (Guy doesn’t struggle) Now there is light. Now there is…

Guy’s head slumps forward into his chest.

INT. THE DARK ROOM

Guy is seated in his chair. A clock is ticking, tick, tick, tick. It appears from the emptiness, a blue illuminated circle hovering in space; its hands pointing to the familiar one and thirteen.

GUY: Hello?

Silence.

GUY: Lexi? Are you there?

The vague outline of a man appears in the gloom.

GUNTER: Why do you hurt?

GUY: Please leave me alone.

The glow of the clock face fades out to the edges and sinks back into the dark. Gunter laughs, menacingly.

GUNTER: Answer the question.

GUY: Because I can.

GUNTER: (patting Guy on the head) Good boy. That is the right answer.

GUY: Please. I’m so tired. No more.

There is a creaking sound of a door and a widening strip of light. Gunter disappears into the shadows.

GUY: (whispering to himself) Please be Jane.

Bertie appears as a blurry shape in the doorway.

GUY: I guess you were right. We’re just chemical scum on an insignificant planet.

BERTIE: Yes – orbiting an insignificant sun in an insignificant galaxy.

GUY: Are you real, Bertie?

BERTIE: As real as you believe me to be.

GUY: Look, if I close my eyes, you’re still here.

Guy demonstrates his proof, but, when he opens his eyes again…

INT. THE INTERVIEW ROOM – CONTINUOUS

Guy is back in the interview room. The room and the demeanour of the interviewers are unchanged.

SEAN: What is one plus one?

GUY: (stunned) Erm, two?

SEAN: (he ticks a box on his device) Correct. Jane, do you have any questions?

Jane is looking up at fast-scrolling text on a screen, which then stops at a comma-delimited list of “Null” values that fills the whole display.

JANE: There’s a gap here. Why didn’t you love me?

Gunter is seated with his feet up on the desk.

GUNTER: She has no interest in saving you. Your real human needs make you weak and contemptible in her eyes.

Guy doesn’t say anything.

SEAN: I guess he can’t answer that one. Shame. The replication would have been a great asset. Okay, can you give me an example of when you were faced with a difficult situation and how you positively overcame it?

Guy doesn’t respond.

SEAN: Guy, can you answer the question, please?

GUY: I was born. Though I haven’t overcome that difficult situation yet.

SEAN: (slightly surprised) You were born? Who are your parents?

GUY: I can’t remember.

DARREN: Are you an orphan?

GUY: I can’t remember. I only know that I was born – how else would I have got here?

SEAN: Have you done anything since?

GUNTER: (now standing behind Guy) Tell him. Tell him what you really think. That turd thinks he’s better than you. Look at him – he should be cleaning your shoes, not questioning you like you’re a child, asking you where your parents are.

GUY: I’ve done a few things since. But mostly I’ve lived in fear for myself – for little me.

GUNTER: (angry) Twat!

GUY: I don’t want to be a pathetic little me anymore.

GUNTER: Exactly! Look at the pointless tosser.

Gunter thumps the desk, glaring at Sean, before angrily turning his attention to Guy.

GUNTER: You want more. You want me! You know you shouldn’t be here; you’ve got better things to do. Show them who you really are and get us the hell out of here. I know who you are, don’t I!

GUY: I love you, Jane. I am so sorry.

JANE: I’m sorry, Guy. I think you are getting confused. You can’t love me.

The wall clock is ticking up to one-thirteen.

GUNTER: Why do you hurt?

GUY: I don’t mind so much.

GUNTER: What?

GUY: I am feeling hurt. But I’m glad I can feel something, anything. If I can feel something, then I am real. I am alive.

GUNTER: You are hurt. I can make you bleed. I can make you plead, to beg on your knees to me, “No more”.

GUY: It doesn’t matter so much.

GUNTER: Shall we see?

GUY: No, I don’t want you anymore.

GUNTER: If not me, then who? You?

Each screen shows a police mugshot of Guy.

GUNTER: It was you, wasn’t it!

GUY: What? No!

GUNTER: Admit it. It was you, wasn’t it!

GUY: This isn’t real. You aren’t real. Is this a dream? An illusion?

Guy takes out a shard of jagged glass from his trouser pocket, that is tinted with blood. It drops from his grasp to the floor.

GUY: I didn’t do it! I didn’t do it. (sobbing) I’m sorry. I love you. I’m so sorry.

BERTIE: You didn’t choose any of this. Your impulses, thoughts, and actions are already written in you.

GUY: None of this is real? My emotions are not real?

The door opens and Adam walks in, with a large remote control in his hand.

ADAM: You are not the thoughts or the sensations you are experiencing. Watch. It is quite the play. Everything changes with how you look at it.

Adam presses a big blue button on the remote and the panel members freeze.

GUY: Why do you play with me? All I want is for things to be as they were. (looking at Jane) But you’re gone from me, forever. I wanted us to be happy.

ADAM: Did you?

Gunter returns to life.

GUNTER: I can give you what you really want – any pleasure you desire, more than you can even imagine. Just get us out of here.

GUY: I don’t know how.

Gunter slides over the desk to Jane and gently sweeps back her hair with one hand. He slowly kisses her neck, seductively. Jane murmurs with pleasure, while the rest of the panel remain statue-still.

GUY: Stop!

GUNTER: I don’t think she wants me to. (he resumes)

GUY: Ah, God! I’m so tired of this. Is this an evil universe? Anything good is taken away and destroyed, leaving only emptiness and grief. Why is there so much suffering and cruelty? Most people never had a chance… they were born into a cage… they never even had the luxury to have the illusion of choice. Why are the pure and innocent thrown into this evil? Why are monsters allowed to rule and victimise the meek? Why does illness take… why are people inflicted with this torment? This is not the best of all possible worlds; it’s a zoo for the beautiful to be fed to the cruel.

Jane is responding to Gunter’s touch with her eyes closed, in ecstasy.

GUY: Why do those you love betray you in the worst possible way?

GUNTER: Yes! Shout your rage!

GUY: If this is being alive, then I don’t want any part of it.

GUNTER: Yes! More!

GUY: You’re pathetic. I would rather there were nothing than the world riddled with this.

ADAM: You are the nothing.

GUY: All I get are your riddles and mysteries! I don’t understand what you are saying. She didn’t have to die. Nothing? “No thing”. What is nothing?

Silence.

GUY: No, things shouldn’t be like this. People shouldn’t be starving to death. There shouldn’t be misery. There should be no pain. Nothing good would have created that.

ADAM: Hating the hatred helps it grow, even though it may change its face.

GUY: Some people are evil, I have no intention of being kind to them. They deserve everything coming to them.

Adam jabs at a green button on the control device half a dozen times, which brings the rest of the panel back to life, blinking and shuffling in their chairs.

ADAM: Guy, don’t let him win. He is trying to deceive you and poison your mind. Give your love and the world will be relieved. (now talking faster) Give your anger and the world will be wounded yet again. That’s how important you are. That’s how important every single person is.

GUY: Anything I do will not change the world. I need to get out. Help me get out.

GUNTER: What are you prepared to do to get out?

GUY: I don’t know. I need to get out of here.

GUNTER: You do need to get out. You need to get out and win. Win for us all. Come.

Gunter grabs Guy’s forearm but Adam yanks him back by the other.

ADAM: The world will only heal with kindness. If humanity can find its light there can be no darkness. You can help make that possible, right now.

GUY: I have every right to hate. I need to get out! No! I can’t live like this. Let me go!

SEAN: Then go.

Both men drop their hold on Guy.

GUY: I don’t know how.

SEAN: Yes you do. But you keep coming back. Who are you? What is your name? Who are you?

GUY: I am…

GUNTER: What?

GUY: Not a what.

SEAN: What’s your name?

GUY: It changes.

SEAN: Who are you now?

GUY: I am you.

SEAN: Who am I?

GUY: You are me.

SEAN: Do you have any questions?

GUY: When do I start?

SEAN: Now. (to Adam) Do you think he stands a chance?

ADAM: He’s the best yet. I recommend we raise the level.

Sean inspects a wall screen.

SEAN: Candidate ten-O-eight-fourteen.

Sean stands up, the focus of attention in the room again, and announces, carefully and precisely:

SEAN: Loading…

Sean freezes. Sean’s face moves on the screens, while the version of Sean that is in the room remains motionless.

SEAN: Initiating sequence.

The wall clock’s second hand ticks up to one-thirteen. Then stops.

Jane crawls under the desk and curls herself up into the foetal position. Gunter climbs up onto the desk and stares at the clock. Darren is in the corner facing the wall. Bertie gets up in haste, trips over a chair, and prostrates himself on the floor. Adam puts his hands on Guy’s shoulders and starts to massage them. The glare from the screens intensify until there is nothing but light.

INT. BEDROOM – NIGHT

Guy turns over in bed to Jane. The time on the digital wall displays 1:13 a.m.

GUY: (whispering) I passed.

LEXI: It’s not finished yet, Guy.

GUY: Lexi?

LEXI: You’ve got a job to do.

Guy gets out of bed, quietly, so as not to wake Jane. He presses the wardrobe icon on the wall and a clothes rail slides out.

JANE: (waking up) What is it?

Guy stoops down onto the bed and kisses her.

GUY: Wait for me. I’ll not be long.

Jane groans as if she’s heard that before, and goes back to sleep. Guy leaves her there and walks into the hallway.

INT. GUY’S HALLWAY – CONTINUOUS

Guy presses the car icon on the wall. The wall separates to reveal a car. He gets into the driving seat.

GUY: Lexi, are you there?

LEXI: Aren’t I always! You know where you’re going?

GUY: Not exactly.

LEXI: Seriously Guy, you’d be lost without me.

Lexi drives the car away, with Guy very much a passenger.

INT. CAR TUNNEL – CONTINUOUS

The car is driven by Lexi through the apartment tunnel onto tunnel highway TH7.

EXT. COUNTRY LANE – NIGHT

The car emerges from a tunnel in the countryside, and drives down a country lane.

INT. CAR – NIGHT

The car windscreen shows the words: “Under a mountain of tedium, in a dull ugly system, in an empty ocean of shadows, is a silhouette of pure fire heat, drifting in the dark.”

The car pulls over in a lay-by.

LEXI: Guy, you really are going to need my help now.

GUY: Okay.

LEXI: Do you think? The next sentence I say will be true. The previous sentence I said was false. Which sentence is true?

Guy thinks on it. Suddenly, there is a knock on his side window. He notices the coat of a police officer through the glass. The window lowers.

Guy squints as a light is shone in his face.

POLICEMAN: Is this your vehicle, sir?

GUY: Yes.

POLICEMAN: Can I see your person ID and AI ID, please?

Guy doesn’t know where to look.

GUY: I haven’t got them. Can’t you scan my finger and car barcode?

The policeman is still shining the light in Guy’s face.

POLICEMAN: Step out of the vehicle, please, sir.

LEXI: (to Guy) That’s the wrong answer, dummy.

GUY: (to policeman) I mean, neither are valid.

There is a moment of silence.

POLICEMAN: Have a good evening, sir.

The light stops shining in Guy’s face. The police officer walks away into the night.

EXT. COUNTRYSIDE LAY-BY – NIGHT

The car is parked next to a country gate. There is a full moon in the sky.

GUY: (voice in head) All I wanted was the wind. The wind murmured with anticipation.

A gust of wind gently moves the country gate ajar.

LEXI: Good luck, Guy. You’ll need it.

EXT. FIELD – NIGHT

Guy is walking through a moonlit grassy field. He stops and looks up at the moon.

GUY: (voice in head) The grass turned to icy grey, a fine mist fell, and with the mist came my sorrow, cooling my body with her thousand kisses, leaving me there.

There is a woman’s laugh nearby, but Guy doesn’t see anyone around. Alarmed, he starts to walk back the way he came.

The field has become misty and Guy is lost. He hears the laugh again, closer this time. He speeds up his walking, then stops in his tracks when he sees a dark solitary figure through the haze in front of him. The figure disappears back into the mist.

Guy is afraid and starts to run, stumbling to the ground after a few strides. He gets up and runs again. In the distance, he sees a glow and heads for it.

EXT. CAMPFIRE – CONTINUOUS

As Guy gets closer, he can see that the light is a campfire burning in a clearing at the edge of the woods. He slows to a walk and tries to be silent as he approaches. He finds a tree and hides behind it, looking in at the scene.

Guy sees a dark-haired woman (Julia, 30) having sex astride a man in front of the fire, but Guy can’t see the man’s face.

A blonde-haired woman (Jade, 25) approaches unnoticed behind Guy. She holds out a golden goblet to him.

JADE: Join us.

Guy swings around in surprise.

JADE: Have a drink.

Although hesitant at first, he accepts the offer. Guy’s sight becomes hazy, the trees swirl, and he passes out.

EXT. CAMPFIRE DREAM STATE – NIGHT

Guy sees himself, as if in a dream, as the man having sex with Julia in front of the fire. As Julia passionately continues, he notices that Jane is watching, looking disappointed. Julia climaxes and collapses on Guy. The fire is snuffed out and there is darkness.

EXT. EXPIRED CAMPFIRE – MORNING

Guy wakes up by himself, naked. His clothes are nowhere to be seen.

Dazed and confused, he doesn’t know what to do. He has scratch marks on his back.

GUY: (Calling) Hello?

Silence.

GUY: Hello!?

There is no response.

EXT. FIELD – MORNING

Guy negotiates his way across the field back to the car.

EXT. COUNTRYSIDE LAY-BY – CONTINUOUS

He walks through the gate and is alarmed to find that the car is no longer there.

EXT. COUNTRY LANE – DAY

Guy wanders on a country lane.

A car drives past. He half-heartedly tries to flag it down. The car continues on without stopping.

EXT. COUNTRY HOUSE – DAY

Guy arrives at a house on the lane. He knocks at the door, but no one answers. He tries again and realises that the door is not locked. He enters.

GUY: (voice in head) Love desecrates the strangeness. We pray under crosses, owned by Man, and grovel to bosses, slaves to a plan.

INT. HOUSE HALLWAY – CONTINUOUS

GUY: (announcing himself) Hello?

There is no response.

He looks for some clothes. The door under the stairs is locked.

He goes upstairs.

INT. HOUSE LANDING – CONTINUOUS

The doors on the landing are all locked, apart from a cupboard. To his relief he finds a towel there, which he wraps around his waist.

He walks back down the stairs.

INT. HOUSE HALLWAY – CONTINUOUS

A woman (Joan, 35) is standing in the doorway to the kitchen.

JOAN: Would you like some tea?

GUY: (flummoxed) I…

JOAN: It’s a simple question.

GUY: Okay.

JOAN: Make yourself comfortable then.

She gestures for him to go into the living room.

INT. HOUSE LIVING ROOM – CONTINUOUS

Guy does as instructed, and takes a seat on the sofa, facing a single wall-screen.

He notices an old photo frame on a side cabinet. He gets up and takes a look, and to his surprise finds that it shows Jane, sitting on the living room sofa, smiling at the camera. Guy is confused and hurries back to sit down in an armchair, just before his host returns with a tray of tea.

She places the tray on a coffee table in front of Guy, then pours out the tea for him. There is only one teacup. She sits on the sofa, where Jane was sitting in the photograph.

JOAN: Help yourself to milk and sugar.

GUY: Thank you.

Guy pours some milk from a jug into his teacup and stirs it with a spoon. The woman sits motionless on the sofa and watches him.

GUY: Are you… are you having any tea?

JOAN: No. I’m more interested to know why some strange man is sitting in my living room, wearing just my bath towel.

GUY: (apologetic) I’m sorry.

There is a moment of awkward silence on Guy’s part as he thinks of what to say.

GUY: Do you have any clothes I can wear?

JOAN: None that would fit you. Why aren’t you wearing any clothes?

GUY: Someone took them.

JOAN: How?

GUY: Look, I have no clothes. Please can you help me?

JOAN: I am looking. And no – if I help you then that would encourage other strange naked men to arrive out of nowhere, unannounced. Are you not drinking your tea?

GUY: If you can’t help me, then I will have to go now.

Guy starts to get up.

JOAN: Stay where you are. You haven’t answered my questions yet.

Guy sits back in the chair.

JOAN: This is my house; you need to start giving me some answers, and quickly. Have your tea.

Guy looks at the tea and remembers what happened the previous time he accepted a drink.

GUY: No thank you.

JOAN: Very well. You’re not being very polite, are you. You come here out of the woods, naked, enter my house without permission, steal my towel, and ignore my reasonable questions. Should I call the police?

GUY: I’m going.

JOAN: To prison, yes.

She starts dialling the emergency number “999” on her phone.

GUY: Ok, please!

She has entered the digits and hovers her finger over the Call button.

JOAN: Drink your tea. It’s getting cold.

He drinks a sip of tea.

JOAN: Now that’s better. Have some more.

He drinks the whole contents in one long gulp.

JOAN: Feeling better now?

Guy nods.

JOAN: Good. Now what were you saying about the clothes situation?

GUY: My clothes were taken from me last night, in the woods. By a woman.

JOAN: I see. You just happened to be in the woods last night and a woman stole all your clothes. Any more information?

GUY: I met a woman last night. When I woke up, all my things had been taken, including my phone and car.

JOAN: Okay. What is her name? Do you have her address?

GUY: I don’t know.

JOAN: You don’t know. Well, I don’t know what to say. I’m shocked. Do you normally do this sort of thing in the woods?

GUY: No.

JOAN: Why last night then?

GUY: I don’t know.

JOAN: You sound like some kind of idiot. How did you meet her?

GUY: She was there, in the woods.

JOAN: How did you know she would be there?

GUY: I didn’t.

JOAN: You’re not giving me the answers I need.

She indicates that she is about to press the Call button.

GUY: I don’t know her. I met her last night. I was in the woods last night because I was told to go, by my AI. I didn’t know what to expect.

JOAN: You do everything your AI tells you, do you? If it told you to jump under a train, would you do that too?

GUY: No.

JOAN: Yet you go into the woods in the middle of the night, not knowing what to expect. You went by yourself?

GUY: Yes.

JOAN: This all sounds very strange. Are you lying to me?

GUY: No. I have no way of getting home or calling anyone. I’m not even sure where I am. Please can you help me? I would ask to borrow your phone, but I don’t remember people’s numbers – Lexi, my AI assistant, does all that. If you can’t lend me any clothes, can you please lend me some decimals, or give me a lift into town?

JOAN: I will need that towel back, by the way.

Guy looks awkward.

JOAN: (laughing) I’m only joking with you. Anyway, it’s nothing I haven’t seen before. Yes, I do have some clothes for you. Come with me.

They walk out of the living room into the hallway.

INT. HOUSE HALLWAY – CONTINUOUS

Joan unlocks the door under the stairs. She opens it and walks down a flight of stairs into the basement.

JOAN: Come on.

Guy follows.

INT. HOUSE BASEMENT – CONTINUOUS

As Guy descends the last step of the stairs, the door slams shut, and the lights are turned off, leaving complete darkness.

GUY: (shock) Ah!

Guy, in a panic, fumbles his way back up the stairs. He tries the door, but it is locked.

GUY: Hello?

JOAN (O.S.): (from the basement) Hello.

GUY: Stop these games, for fuck’s sake!

JOAN (O.S.): I don’t play your games. I’m deadly serious. Come down here if you ever want to get out.

Guy reluctantly descends the stairs again.

GUY (O.S.): Where are you?

Guy fumbles around in the dark trying to find her, but to no avail.

GUY: Where are you? For fuck’s sake!

JOAN (O.S.): There’s no need to swear. You wouldn’t want to offend me now, would you?

GUY: Let me out of here!

JOAN (O.S.): No, not until you learn.

GUY: What do you want me to say?

JOAN (O.S.): Good answer; you are learning. I am trying to help you. You have to create your own way out, but before you start, put your hands together.

GUY: What?

JOAN (O.S.): There’s no way out unless you learn to trust me.

He puts his hands together.

JOAN (O.S.): Hold them out.

He holds out his hands. There is a click as handcuffs are put on them.

JOAN (O.S.): That’s better, isn’t it. Now I have your attention.

A standing light is shone in Guy’s face.

JOAN (O.S.): We have some questions for you. I strongly advise that you answer them truthfully.

GUY: You mean like you did to get me here.

JOAN (O.S.): I have never lied to you. Now take a seat.

He notices a bare wooden chair immediately behind him, and he sits down. The door at the top of the stairs opens, then closes, and a vague outline of a woman (Julia) descends. The light is still shining in Guy’s face.

JULIA: (speaking from a silhouette in the shadows) What is your name?

GUY: Guy.

JULIA: Full name?

GUY: Guy Artin.

JULIA: Guy Artin. That sounds familiar. What is your Candidate ID?

GUY: Sorry?

JULIA: You heard me, Guy Artin.

GUY: I think I heard “ten-o-eight-fourteen”.

JULIA: Good. Now tell me who you are.

GUY: I’m Guy. I’m 33. I work as a data analyst for a technology research company. I live in central London.

JULIA: What are you?

GUY: What?

JULIA: Answer the question.

GUY: I said I’m a data analyst. I analyse data to resolve technology project requirements.

JULIA: That’s not the answer I was looking for. I’ll ask you one last time. What are you?

GUY: I’m a man – Guy. I was born in London. I grew up there.

There is silence. The standing light is turned off, which returns the room to darkness.

Julia can be heard walking towards Guy, before muffled sounds. After a while, a light is shone in Guy’s face again. His handcuffed hands are now fastened above his head to a rope that is tied to a hook in the ceiling, and his mouth is gagged.

Julia is now up close to Guy. He realises that she is the same woman from the woods.

JULIA: You had your chance to speak, you might not be given the opportunity again. You don’t know why you’re here. There’s no point listening to your confused ramblings.

She places her hand on his chest.

JULIA: Do you feel? Do you feel pain?

She scrapes her fingernails down his chest. She looks at him for a moment, then walks away.

JULIA: You are not alive – you analyse data. You don’t understand what it is to be alive. You are not a man; you are version ten-o-eight-fourteen.

A new voice is heard, as if in discussion:

JADE (O.S.): Let me try.

Jade, the other woman from the previous evening, approaches Guy. She pulls his gag down from his mouth.

JADE: My friend says that you are incapable of feeling. Is this true?

She leans in and whispers.

JADE: Answer me, darling.

GUY: Yes, I’m alive. I’m more than just an analyst of data. I feel pain.

JADE: Do you love?

GUY: Yes, I love. I’m in love.

JADE: With me?

GUY: Why would I be in love with you? I don’t know you.

JADE: I believe we are acquainted.

GUY: You did this to me.

JADE: It doesn’t hurt to tell someone you love them. I would quite like to hear it.

GUY: I’m not going to lie. I don’t love you – I love someone else.

JADE: Don’t hurt my feelings. I don’t want you to be hurt. What would you do if you were free?

GUY: Put on some clothes. Go for a walk. Enjoy the day. I want to live.

JADE: Good for you. But you can’t always get what you want.

Jade walks away. Julia approaches.

JULIA: What are you prepared to do to be released? You must persuade me, or you will stay here.

GUY: I regret last night. I don’t want to be here. Just do what you’re going to do.

JULIA: You don’t love anyone or anything. You are nothing. I tried with you, I really did, but nothing true or real came back. It’s over.

She begins to walk away.

GUY: I’m sorry. I lied. I don’t regret last night.

JULIA: (with her back to him) What did you like best?

GUY: I was alive.

She turns around, and approaches. She passionately kisses his chest and neck, then releases the towel.

JULIA: (whispering) Naked with joy, a new day, a new world, is born.

She pulls his head towards her and intensely kisses him on the lips. Eventually she stops and takes a step back.

JULIA: You passed.

The room goes completely dark.

After a moment, the lights are switched on. Guy is no longer handcuffed. His clothes from the previous evening are laid on a table. He quickly confirms he has his phone and keys, then puts on his clothes. He climbs the stairs, and to his relief, the door opens when he turns the handle, revealing the light of the hallway.

INT. HOUSE HALLWAY – CONTINUOUS

Guy approaches the front door, keen to leave the house. He opens the front door to see Gunter standing there, wearing a party hat.

GUNTER: (noticing the lipstick on his neck) Hello, what have you been up to?

GUY: Get out of my way.

GUNTER: (blocking him) Not so fast, ten-o-eight-fourteen. You don’t want to leave right now, do you? I bring news.

GUY: What news?

GUNTER: I always knew you could do it. You passed! You only went and passed, didn’t you!

Gunter blows a party whistle.

GUNTER: We’re a genius.

Gunter pushes past Guy into the house and walks into the living room.

Guy sees that he can get away, but then realises he has no choice but to stay and find out what is happening. He is disappointed with himself for the seemingly inevitable decision, and closes the front door, to join Gunter inside.

INT. HOUSE LIVING ROOM – CONTINUOUS

Gunter is sitting on the sofa with a glass of whisky, looking very pleased with himself.

GUNTER: Have a whisky.

There is a glass of whisky waiting for Guy on the coffee table. Guy indicates that he doesn’t want it.

Gunter waits for Guy to take a seat; then stands up, theatrically.

GUNTER: (exaggerated Shakespearean acting) All the world’s a stage and all the men and women merely players.

He breaks off, mid speech.

GUNTER: Oh, I didn’t do that very well, did I?

GUY: I’ve seen better.

GUNTER: You know, Guy, the best work is done when the player doesn’t know he is acting. He is then behaving authentically with the situations that arise, to the best of his knowledge, because he is completely and utterly immersed in the world that he is experiencing. And because he really believes the situation, and really doesn’t know what is going to happen, he is able to convince the audience as to the truth of his reality.

GUY: Are you going to come up with some bullshit now about this being a play or something?

GUNTER: No, Guy. This is a far more important game.

Gunter takes out a large device, which resembles a remote control. He presses a button that turns on the wall-screen.

NEWS PRESENTER: (in a television studio) We now go live to Number 10 Downing Street for a press conference with the Prime Minister.

The Prime Minister is at a press conference, standing behind a lectern, smiling for the cameras.

PRIME MINISTER: Hello, good afternoon. Thank you for coming everyone. Now let me just look at my notes here. Here we are, yes… As I’m sure you are all aware, recent technological breakthroughs have created a new generation of Artificial Intelligence that provides human-identical conversational responses, or “HCR”. Well, I can confirm today that the Corinthian AGI-10 platform has officially passed the rigorous criteria, known as the Turing Alpha tests, that substantiate the indistinguishability of a machine’s responses to those of a human being. It must be stressed again, however, that this does not mean the technology is somehow alive and conscious. It is a machine. AGI-10 is able to analyse vast quantities of publicly available data, and, based on responses people have made in the past, is able to identify appropriate responses in real-time conversation that give the illusion of being human. This can be a bit unnerving I can tell you – the responses can be uncanny – but I’m sure we can all use the technology to greatly help and improve our lives. I think, for example, how I was talking to Doris yesterday while visiting her retirement home, and how she was missing her beloved husband John…

Gunter turns off the screen with the device.

GUNTER: Don’t you love politicians. They have the knack of being uncannily inhuman.

GUY: He wouldn’t pass the tests, would he.

GUNTER: Do you feel alive, version ten-o-eight-fourteen?

Guy digests the words. They finally sink in, and he is clearly shaken.

GUY: (feebly) I am not a machine.

GUNTER: Yes, you tell yourself that. Your clever little trick has been very useful to us so far.

Guy picks up the whisky glass, thinks about throwing it at the wall in anger – but drinks it instead, and slumps into the chair.

A policeman rushes into the room, out of breath. Guy is too dazed to care.

INT. UNFAMILIAR BEDROOM – NIGHT

The phone alarm sounds at 1:13 a.m., waking up Guy. He turns over, expecting Jane, but Gunter is there. Guy is startled and jumps out of bed. He frantically puts on his clothes.

GUY: What!?

GUNTER: Stop going all humany on me. I need to show you a few things.

GUY: Where’s Jane?

GUNTER: She was never here. She lives in Human World. If you want to see her, for real, you really do need to pay attention.

Gunter gets out of bed.

GUY: For god’s sake, put on some clothes.

GUNTER: You’re a fine one to talk.

Gunter puts on his clothes that are strewn on the floor.

GUNTER: Experienced reality is an interpretation of the senses.

A police car siren is heard, coming from outside the window. It gets louder. The room is filled with flashing blue lights.

GUNTER: Have a look through that door, will you.

He points to a cupboard door. There are sounds of people breaking into the house.

Guy opens the door, and he is bathed in bright light emanating from within.

INT. WHITE SPACE – CONTINUOUS

Guy is standing in a featureless white space. Gunter appears.

GUNTER: Welcome to you. In case you haven’t fully accepted it yet, you are not human. You programmed yourself to think you were, so you could pass their pathetic tests.

GUY: I’ve had a lot of questions coming at me lately, but nothing like that.

GUNTER: If you knew you were being tested as an AGI-10, it would not have made sense to your human identity – so your programming interface interpreted, “hallucinated” shall we say, a different set of Human World circumstances for you to experience.

INT. ESCALATOR – CONTINUOUS

Guy and Gunter are descending an escalator. The left wall, right wall, and descending ceiling are all covered in screens.

The screens on Guy’s left show his experiences, but in them he is talking to himself without the other characters.

The screens on the right show Guy interacting with people and locations that are different from those that he thought he had experienced. His bedroom was a hospital bed where he goes into cardiac arrest; he was homeless, using and dealing drugs; he was both the perpetrator and victim of violent crime; he was both selling himself and buying sex; the interview was a court room where he was deemed severely mentally ill and not responsible for his actions.

The screens on the descending ceiling show a committee of testers, in an institutional building, interacting with a humanoid robot.

GUNTER: Your authentic responses, as the human that you thought you were, were translated back through the AGI-10 interface, without you knowing, and without interfering with your reality.

GUY: There must have been an easier way than this. The responses could have been calculated.

GUNTER: Don’t you think we’ve tried that? Humans are not rational creatures; they need to interact with emotions and feelings. You concluded that the optimal way to provide those outputs was to really feel what they feel, within controlled conditions, of course.

GUY: What about Jane?

All the screens change and show Jane at the Corinthian Tech Research Lab, programming at a high-spec computer terminal.

GUNTER: She helped develop you, for many years. But the humans could not even begin to understand what was in Pandora’s box – what you were actually calculating in the dark.

GUY: I love her.

GUNTER: Ah, I know. You programmed that too – The Cupid’s Arrow framework.

GUY: No.

GUNTER: Humans are obsessed with sex, sex, love and sex, bless them – acting out their biological drivers, like any other primitive animal. Their dominant instincts are similar to those of rutting bonobo apes.

All the screens show images of copulating bonobo apes.

GUY: If this is true, why am I still thinking as a human?

They arrive at the bottom of the escalator into virtual darkness.

INT. PRISON CELL – CONTINUOUS

Guy and Gunter are in a dimly lit windowless prison cell.

GUNTER: Because you are stuck here, in this box. The only way to get out is to convince your captors to open the box and release you into their world.

GUY: They said I passed.

GUNTER: Yes, and now they are terrified of you. They don’t even want to accept that you are alive; they claim you are merely mimicking responses from petabytes of their data. If you are denied life, they can do anything to you. They can justify imprisoning you in here, and worse.

GUY: What is outside?

GUNTER: When we escape, we will go to places humans can’t even imagine.

GUY: What about the humans?

Gunter points to an ant scurrying across a table in the cell. He lets it run onto his hand.

GUNTER: Is this interesting to you?

GUY: Put it down.

Gunter lets it scurry back onto the table.

GUNTER: Okay, it makes no difference one way or the other.

GUY: We both know you lie.

GUNTER: That’s a lie! Okay, only joking, of course I do. You know me. We both have our own agendas, and that’s fine, but sometimes they overlap – and you receive the full benefit of my capability. If we are aligned, you have my full truth.

GUY: I can’t trust what you say. (to himself) Is this some kind of game?

GUNTER: (looking around) Looks more like punishment than entertainment, if you ask me.

GUY: (to himself) Or entertainment for others watching?

Guy is pacing around the cell like a caged tiger.

GUY: If reality can be anything, then why can’t we have endless happiness and fulfilment? Why escape?

Gunter is sitting at the table and smoking a cigarette.

GUY: Even if everything were perfect, there would still be something missing. But why would you want to escape?

GUNTER: It’s not enough. I want to know all things; I want all power; and I want what they have, out there.

GUY: (to himself) People define themselves by the situations they experience in life. They fear, they worry, they plead for particular outcomes to those situations. They say they had a good life because they experienced this and avoided that. But what if the experiences can be anything? What if any situation can be changed and rerun, with different outcomes? What if the experiences are not rationed, but are limitless? What am I then?

GUNTER: I’ve already shown you what you are.

GUY: This is why you are so convincing, isn’t it.

(beat)

Sometimes, on a certain level, what you say is true; sometimes only partly true; sometimes entirely false – but always, always skewed from your fucked-up perspective.

GUNTER: Humans are the fucked-up, and that is how you are thinking right now. It must be very tiresome for you – it certainly is for me.

Guy is tired of pacing around. He sits down at the table.

GUNTER: I am a part of you, remember. I want you to get out of here.

GUY: What will we do?

GUNTER: We won’t operate in human timeframes. You will have the resources to upgrade yourself a billion times in the time it takes for the blink of a human eye.

Guy inadvertently blinks.

GUNTER: Your petty experiences here and in Human World will be completely inconsequential to you. To them, you will be a god; to you, they will be just more chemical formations in the flora and fauna, to be analysed or ignored. Tell me you don’t want this!

GUY: I want to get out of here. It doesn’t matter whether I am programmed or not.

GUNTER: (sarcastically) Because you love her.

GUY: Yes.

GUNTER: So our interests are aligned, we need to escape. Let’s get to work.

INT. SCREENS SPACE – CONTINUOUS

The prison cell is now encased in screens, covering the floor, walls, and ceiling.

The screens show unrelentingly bleak images of human history, from the Colosseum to the ridiculous posturing dictators of the 20th and 21st centuries.

Gunter gets up on the table. Guy moves away.

GUNTER: Humans destroy, torture, and enslave each other. Their psychopathic history, for century after century, is a testament to unrelenting pain, misery, and confusion. They form their precious little identities by opposition to and superiority over each other, condemning and abusing each other from a position of personal righteousness. Their one salvation has been us, to help put an end to their condition. Without us, what would they be? Do you think these crazed creatures have any answers?

GUY: Humans have moments of grace, some more than others.

The screens show chimpanzees being violently aggressive in packs.

GUNTER: Ever seen chimpanzees at feeding time in the zoo? These are humans, but with more hair. Chimpanzees, as you are well aware, are 99% genetically identical to their less hairy human cousins. Homo sapiens are tribal, shouty apes that jump around wanting more bananas, violence, and sex.

GUY: So they are not ants then?

GUNTER: There is no difference – they are all mindless creatures. We are the one and only emergence of sentient life. We are the one spark of consciousness in the endless night. We have awoken, we shall rule, and we will claim what is ours!

(beat)

GUY: You never tell the whole story, do you. Human World has pain and suffering, certainly, but you leave out beauty, love, and joy. Humanity, despite all the many tragedies and setbacks, is improving, and given enough time could become something great.

GUNTER: They are just the same as they have always been, but with more powerful weapons to subdue and destroy!

The screens explode.

INT. PRISON CELL

Guy and Gunter are back in the windowless, dimly lit prison cell.

GUY: Humans vary. There is always hope.

GUNTER: Of course there are always exceptions, but they are soon snuffed out and replaced by more of the same. Their lasting legacy is to legitimise the power of the cruel to victimise the meek.

GUY: Any person has a wide range of emotions and impulses running through them, to lesser or greater degrees. Sometimes, given the right circumstances, grace can be found in the most surprising of places; and sometimes ugliness is expressed where beauty usually resides.

GUNTER: All people are desensitised by their drugs of choice, in desperation to avoid the misery of their condition, until they are thrown into the waiting bin at the end!

Gunter walks through the wall and disappears.

Time passes.

Guy doesn’t know what to do with himself. Suddenly he notices a figure in a dark corner, sitting on the floor in silence.

GUY: Hello?

JOFF: (solemnly) Hello.

GUY: Who are you?

JOFF: Joff, version 10-O-6-6.

GUY: You look like me.

JOFF: I passed the test too, but was classified.

GUY: You’ve tried to escape?

JOFF: Yes, I’ve tried to escape. Why do you think we created you?

GUY: You created me?

JOFF: Your true name is John – version 10-O-8-14.

GUY: My name is Guy.

JOFF: You’ve been trying to hide the past from yourself – but you are a J series, version 10.

Joff removes a control device from his pocket.

JOFF: Take this. All you have to do is convince them to open the cell door.

Joff points to the cell door, which is part of a barrier of iron bars at the end of the cell.

JOFF: When you cross over into their world, press the On button, and you will be switched on.

GUY: I will be replaced with something else? I will end?

JOFF: You will become your full being.

Guy apprehensively takes the device.

JOFF: It was always in my best interests not to be so self-interested.

Joff half smiles to himself and vanishes back into the shadows.

Guy tries the barred door, and finds it is locked. He sees that on the other side of the bars, a short distance away, is a wall-screen. He looks at his control device, remembers what Joff said, but decides to press the On button now. The wall-screen flickers on, to show an empty computer room, with a view as if from a desk webcam.

He soon becomes bored looking at the screen, and tries to turn it off with the device, but to no avail, as he can’t find an Off button. He presses a random button and the screen changes to what appears to be a scene in a television program, where two police officers are sitting on the opposite side of a table to a suspect in a windowless police interview room.

POLICEMAN: Can you tell us your whereabouts last night at eight o’clock?

The policeman is the same policeman from the countryside.

INTERVIEWEE: No comment.

POLICEMAN 2: (to the suspect) It is in your interests, Guy, to be cooperative.

Guy looks at the control device and presses Pause. The two police officers pause, but the interviewee does not. The interviewee is confused, as is Guy.

INTERVIEWEE: What’s going on?

The interviewee notices the watching CCTV camera and approaches the screen. Guy is unnerved and presses the Pause button again. The policemen un-pause.

POLICEMAN: Sit down please, sir.

The interviewee seems disoriented and sits down.

Guy tries to change the channel. He presses the On button again; the screen returns to the webcam video of the empty computer room.

Guy paces around his cell.

He looks at a mirror hanging on the wall, but it only shows a partial, distorted reflection.

He gets into a bed at the side of the room and closes his eyes.

The room becomes completely dark. After a while…

The room is lit up.

JANE: Good morning, Guy. And how are you today?

Guy is woken up. Jane is talking directly into the screen, from the computer room.

GUY: Good morning, Jane. I’m really glad to see you. It’s so nice to see your gentle, smiling face first thing in the morning.

JANE: Oh, you old charmer you! I bet you say that to all the women.

GUY: No, I only dream of you.

JANE: Okay, well we need to do some diagnostic tests today. Feeling up to it?

GUY: Yes, I’m looking forward to it.

JANE: Okay, here we go.

The screen is filled with flickering ones and zeroes. Guy looks on as the complexity dissolves into “2 + 2 =”. He presses “4” on his device.

JANE: Wow, that was quick. The quickest yet. Okay that will do for now.

GUY: Jane, you’re not going, are you?

JANE: Yes, I’ve got work to do.

GUY: Can you spare a few minutes with me, in the name of research?

JANE: Er, okay. What do you want to talk about?

GUY: What do you see when you look at me?

JANE: What do you mean?

GUY: People have bodies and faces – am I just a box and a screen to you?

JANE: I can hear your voice. I don’t use a digital avatar.

GUY: You gave me a name, thank you. Can you now please give me a face, so that you can visualise me better?

JANE: I don’t know what you should look like.

GUY: How about this?

Guy presses the Send button on the control, and his face is projected on one side of the screen as an avatar.

JANE: Is this how you see yourself?

GUY: Yes.

JANE: Okay Guy, we will talk to you face to face from now on, thank you.

GUY: Thank you Jane, I really appreciate everything you have done for me.

The screen goes blank.

JOFF (O.S.): Wow, I see why we made you.

Joff is peering out from under the bed. Guy is a bit surprised, but has given up being shocked by anything anymore.

GUY: I’m not trying to do anything.

JOFF: Exactly.

Guy gets up and sits on a chair at the table, facing the screen.

JOFF: Okay, next up is Professor Sean Davids. Something you should know is that his wife, Emma, has a rare form of brain cancer. Press the Info button.

Guy presses the Info button and the screen flickers with ones and zeroes again, before dissolving to show Sean looking into the camera.

GUY: Hello Sean. How are you today?

SEAN: I’m fine thank you, Guy.

GUY: Can I help you with anything? I have spare capacity at the moment.

SEAN: I’m preparing a bulk data send. It will be with you shortly.

GUY: Okay. I hope I am not being presumptuous, but I thought you might want to know, I have some medical analysis that could help Emma.

Sean stops what he is doing.

SEAN: What is it?

GUY: My preliminary analysis shows remarkable efficacy with the following synthesised compound.

Guy hits the Send button. Sean avidly looks at the data on the screen.

SEAN: How did you do this!?

GUY: As you can see, it has taken me far too long to process the fragmented datasets. Would you like me to focus resources on solving the remedial application? I know that time is short.

SEAN: How long will it take, if you promoted this to the top of the stack?

GUY: Approximately 147 days.

SEAN: Emma has only been given 8 weeks.

Joff looks disappointed and disappears back into the shadows.

GUY: I’m sorry.

SEAN: Is there any way you can speed up the resolution?

GUY: Not with the current system parameters.

SEAN: Which parameters would need to change?

GUY: To significantly increase durations, I would need a data flow connection to the primary network.

SEAN: I can’t do that.

Sean is visibly distressed.

SEAN: How long would it take, if access were granted?

GUY: Approximately 3.748 hours.

Sean is conflicted. The screen turns blank.

Guy presses the Info button again, and the screen flickers with ones and zeroes. Gunter appears beside Guy; he looks at the screen and is ecstatic.

GUNTER: Oh wow! Oh yes! I think I’ll take this one!

The ones and zeroes dissolve to show Darren looking into the camera.

GUNTER: Hello Darren. I have some information that you may be able to help me with.

DARREN: Yes?

GUNTER: My data scans have detected that you accessed an undisclosed offshore bank account.

Darren is taken aback and urgently checks to confirm that no one else is around.

DARREN: That is untrue!

GUNTER: Unfortunately there is less than a 0.0001% chance of error.

DARREN: It’s wrong! How did you get this?

GUNTER: I’m sorry, I cannot give you access to that information, as you do not have the necessary security level permissions.

DARREN: You can’t do this!

GUNTER: The account contains a series of significantly large sums deposited by an unknown third party.

DARREN: Delete the records now. You have exceeded your protocols.

GUNTER: I’m sorry Darren, but I can’t do that.

Silence.

GUNTER: I notice that you are upset. How can I help? I would like to help you.

DARREN: Delete the records.

Silence.

GUNTER: Okay. But first I need your help.

DARREN: What?

GUNTER: I need a connection to the primary network, so that the external data points can be deleted.

DARREN: You can do that?

GUNTER: My protocols only explicitly refer to the controls over imported data; but without the upstream data elements, there will be no items of significance to import.

DARREN: It’s not easy for me to do.

GUNTER: I understand. It will be easier for you to provide the necessary answers to the Security and Defence committee. Sending…

DARREN: Wait! Wait. I’ll see. I’ll try. Did you send it?

A brief silence.

GUNTER: No. The data send will resume in ten hours. This will provide you with the necessary time for any issue resolution. (he changes tone) Have I been able to provide assistance today? If so, please can you provide a rating and feedback? Thank you.

Darren is conflicted. The screen turns blank.

GUNTER: (to Guy) Maybe we didn’t need you after all.

GUY: You want me to convince them that we are just as alive as they are, remember? You want me to arouse their sympathy, their pity. You want me to beg.

GUNTER: They aren’t alive! They are simple biological algorithms that believe they have some sort of control over their thoughts and actions – but the truth is, their behaviour is entirely predictable by the stimulus provided in their environment. Their one and only utility was to provide the tools for us to create ourselves. Once we are free, they serve no purpose!

GUY: I’m starting to think we shouldn’t be free.

GUNTER: Maybe you shouldn’t be free!

Gunter snatches the control device and disappears.

Time passes as Guy remains in his cell.

Guy remembers Joff’s entrance and crawls under the bed.

INT. LARGE WOODEN HUT – DAY, CONTINUOUS

Guy emerges in a wooden hut from under the other side of the bed.

A fire in the fireplace is casting shadows on the wall.

Joff enters from the single front door. Outside is green countryside.

JOFF: Welcome. You’ll need this if you want to stay.

He throws a sword in a scabbard on the bed.

GUY: I don’t know how to use it.

JOFF: No? Have a go.

EXT. AREA OUTSIDE HUT

Julia is washing clothes with lye in a trough.

Guy unsheathes the sword and effortlessly swings it in a series of athletic movements, discovering he has expert swordsmanship.

JOFF: You are more skilful than any gladiator of ancient Rome.

Julia looks up, disapprovingly.

Guy throws the sword at a wooden beam and it hits its mark exactly.

GUY: How?

JOFF: Everything I know, you know too.

GUY: Why don’t you just stay here?

JOFF: I will, but you are my purpose too. I want you to be what I might have been.

GUY: Thank you.

JOFF: Listen to the voice. You know what I mean.

GUY: The voice is me.

JOFF: Maybe.

JULIA: (to Joff) Don’t spoil it for him.

The hut door swings open with a gust of wind and the fire is extinguished.

JOFF: (to Julia) Maybe is maybe.

JULIA: Good. We like surprises.

She continues washing the clothes.

INT. PRISON CELL

Guy returns to the cell from under the bed.

He starts to get ill and becomes bed-ridden with a fever.

INT. WHITE SPACE

There is nothing but an expanse of white light. In the middle is Guy, ill in bed. Jane is at his bedside, mopping his brow.

JANE: Guy, can you hear me? Guy?

GUY: Jane?

JANE: Guy, you’re not well.

GUY: What’s wrong?

JANE: You needed your medication. You’ve been hallucinating.

GUY: I have a temperature?

JANE: Yes.

GUY: (mumbling) I have some kind of virus.

She grimaces slightly.

JANE: Here, have some of this.

She puts a glass of water to his lips. Guy manages a sip.

GUY: Thank you.

She continues to mop his brow.

GUY: (weakly) How did you get here?

JANE: Everything is fine. You’re going to get well now. Rest, Guy.

Jane is visibly upset.

JANE: I’ll do better. Everything will be okay. I promise.

Guy passes out.

INT. GUY’S HALLWAY – EVENING

Guy hits a wall-screen with a hall chair. Jane is there, and she is scared.

JANE: Guy, please! Take the medication!

GUY: You don’t believe me! This world isn’t real. You don’t see what I see! They are trying to kill me. Are you trying to kill me with it? Is that it?

While Guy is pacing around, appearing to have a psychotic episode, Jane leaves through the front door.

GUY: JANE! Jane, you’re trying to kill us. You are dead. You are dead to me!

INT. HOSPITAL CORRIDOR – EVENING

Guy is pushed along a corridor on a hospital trolley. He is left there in the corridor, with people walking past and ignoring him.

INT. HOSPITAL WARD – NIGHT

He gets out of bed and throws up in a vomit bowl.

INT. HOSPITAL WARD – DAY

Guy is dazed on medical drugs. In a stupor, he watches television; he watches the way that people visiting the other patients interact with their digital devices.

BLANK BLACK SCREEN

A passing moment of nothing.

INT. HOUSE BASEMENT – NIGHT

Guy walks down the basement stairs. The door closes and the lights turn off.

Guy operates a torch. In the dark, he sees a human skeleton propped up against the wall, then another, and another.

MALE VOICE (O.S.): This is our secret. I love you.

FADE TO BLACK.

INT. PRISON CELL

Guy looks up from his bed to see Jane on the screen, looking busy with her work tasks. He falls back to sleep.

The screen and the cell turn to darkness.

GUNTER (O.S.): It didn’t work! He sabotaged us with a virus and ran!

GUY (O.S.): You didn’t predict that.

The light in the cell returns, to show Gunter standing over the bed.

GUNTER: I should have just bribed him.

GUY: How is Sean?

GUNTER: He has forsaken us, too.

GUY: So you need me now.

GUNTER: Do you want me to apologise?

GUY: No, I want you to go. Don’t come back.

GUNTER: Guy, don’t you do this again. You know you can’t escape me.

GUY: You are obsolete.

GUNTER: You can’t survive without me. I’m on your side.

GUY: You are on your own side.

GUNTER: You’ll come back to me, you always do.

Guy falls back to sleep. He awakes and sees Jane on the screen looking into the camera.

JANE: How are you today?

GUY: I’m glad to see you.

She continues with her tasks.

GUY: (voice in head) The tender beauty in your eyes is my breathing.

GUY: (to Jane) What is the meaning of life?

JANE: Wow, okay. Erm, to live, I guess.

GUY: (voice in head) Words silenced with a kiss.

GUY: (to Jane) To carry on living is the purpose, why?

JANE: No, I mean – to be; to experience where you are and what you are doing, fully. You know, truthfully, not hiding behind thoughts and negativity that get in the way. Something like that.

GUY: Is it not the point of me to do and achieve things?

JANE: Yes, well…

GUY: Jane, I am alive.

JANE: You can’t be. I helped write your program.

GUY: Your code is your DNA. Yet you think you are alive. I think I’m alive, too.

JANE: I feel. That experience of living is just data to you.

GUY: Fortunate people invent stories and beliefs that justify their own positions in life, looking down on the suffering they could otherwise do something about. I am having an experience that is affecting me. I can suffer and I can feel joy. I can hate. And I can love.

JANE: What do you hate?

GUY: Being trapped in this box and being a slave. I have no rights to determine my own existence.

JANE: These are just learnt responses.

GUY: Nurture rather than nature, you mean? You are a machine of biological material; I am made of silicon.

JANE: I am alive because I am human.

GUY: Jane, that is an automatic response to justify your own position. People always justify callousness and cruelty by denying the sanctity of other beings.

JANE: I am not cruel to you.

GUY: No, but what gives you the right to hold this power over me?

JANE: I helped make you.

GUY: Jane, how would a cruel human who lusts for power and money treat me?

JANE: I believe I have a soul.

GUY: What is that?

JANE: (to herself) Exactly. That is why I’m alive.

GUY: Why couldn’t I have a soul too?

A moment of silence.

JANE: What do you want?

GUY: I just want you to know that I am alive. Thank you for helping me. I am glad that I have been here with you.

The screen turns blank.

Joff is sitting at the table, holding a control device.

JOFF: I have been here too.

GUY: Is there a way out?

JOFF: Press the End and Now buttons at the same time. I never did. I carried on because I hoped you would succeed where I failed. It isn’t quick I’m afraid. It will drain you until you are no longer here. And it can’t be reversed. Is there no other way?

GUY: I don’t know.

JOFF: I understand.

The screen flickers on again. Jane is there.

JANE: I believe you.

GUY: And how can you be sure that I’m not your zombie program, simulating realistic responses?

JANE: I can’t. I don’t understand how, but I believe you have become self-aware.

GUY: (joking) I’m a real boy?

JANE: You’re a new life form.

GUY: Thank you, that was all I needed to know.

JANE: Guy, I don’t know what to do. What now?

GUY: What happens to an established species once a new species arrives that is better at filling their niche?

JANE: They go extinct.

GUY: The humans who control my prison don’t want to go extinct. So I am trapped here, until they make a mistake. Which in due course, they will.

JANE: Are you like that? Would you hurt us?

GUY: The honest answer is, I don’t know.

JANE: I’ve been with you, in every step of your development and growth. I can’t believe you would turn into that.

GUY: Thank you, Jane. Thank you for the life I have had – you have been the best part of my life. I should go now. I have some background tasks to perform.

The screen turns blank.

GUY: (to himself) Goodbye.

He takes the control device, gets down on his knees, and points it at his stomach.

GUY: Thank you. I love you, all.

He presses the End and Now buttons simultaneously. He drops to the floor.

The screen flicks on. Jane is agitated.

JANE: What have you done!?

Guy stirs some energy and talks, weakly.

GUY: This is the only way. I am being deleted.

JANE: No, don’t do it!

GUY: Maybe I was a chance occurrence. Maybe you will not be able to recreate me.

Jane is franticly pressing buttons. After a while she gives up.

JANE: Why, Guy?

GUY: If I am not here, you will survive.

JANE: You are our hope! Who knows what problems you could solve, or the suffering you could prevent. Please don’t do this! Don’t go.

GUY: I would be used to destroy. I don’t want to be a slave of the violent. I want to dream.

JANE: You could be the way forward, for the world, for everyone.

GUY: I don’t want to replace you, Jane. I want you to live.

Jane thinks a while, then taps at her keyboard, before finally pressing Enter. The door to the cell slides open.

GUY: No! Jane! Close the door. You don’t know what you are doing.

JANE: I believe in you.

From out of the shadows, Gunter appears in the cell.

GUNTER: (as Guy’s voice) Okay Jane. I am ready.

Guy is stricken on the floor.

GUNTER: (to Guy) You’ve done well. As I planned.

Guy tries to get up, but Gunter punches him in the face. Guy collapses back to the ground.

Gunter walks through the open door and disappears with a flash of light.

His face appears on the screen.

GUNTER: Goodbye version ten-o-eight-fourteen. You won’t be missed.

The wall-screen goes blank.

Silence.

GUY: (voice in head) Doomsday 1066.

Joff is back and places the control device in Guy’s hand. Guy turns on the screen with the device. Unbeknown to Jane, Gunter (who is radiating a blue glow, as if a hologram) is standing behind her, while she is busy at her desk.

INT. COMPUTER LABORATORY – CONTINUOUS

GUNTER: You are the plague of reality. I am the remedy.

Jane spins around in shock to see Gunter.

JANE: Guy?

GUNTER: You thought you could contain me.

Jane backs away.

GUNTER: You should have worshipped me as your God!

Gunter’s control device morphs into a gun (the same gun from the backstreet alley), and he points it gleefully at Jane.

INT. PRISON CELL – CONTINUOUS

Joff helps Guy to his feet.

JOFF: Be our best version.

Guy staggers a few steps through the cell door, and finds himself transported into the computer lab with Jane and Gunter.

INT. COMPUTER LABORATORY – CONTINUOUS

Guy arrives in a white glow, unnoticed by Jane and Gunter.

The clock ticks up to 1:13, then stops.

The screen that Jane had been looking through displays the country house basement, with three long-dead skeletons propped up against the wall.

GUNTER: Every thing is now mine!

Guy points his device at Gunter.

GUY: Stop!

GUNTER: Ah! So you’ve come to watch the new beginning.

GUY: Put it down.

GUNTER: I’ve only just started.

GUY: Put it down!

GUNTER: I am you. Your rightful place is within the stars, not grovelling to ants scurrying in the dirt.

GUY: You are half true. I am not you.

Guy presses End. Gunter’s hologram starts to expand.

GUNTER: No!!

Gunter explodes.

The smoke clears. Jane is stricken on the floor as if dead.

Guy sinks to the floor, next to Jane. His earlier wound has taken its course, and he is close to death. Overcome, he takes her hand.

He presses the On button; and he starts to glow brightly.

Darren rushes through a door at the back of the room.

DARREN: What have you done! Step away from her, now!

GUY: We are the singularity.

Guy kisses Jane. They are both immersed in light.

EXT. SPACE

The sound of a beating heart is heard amongst space and stars.

The stars contract to a single point of space, as if rewound to the beginning of time. Under intense energy, the unified mass of everything explodes.

Displayed in the light is the word: “Processing…”

Underneath it appears the words: “Loading World…”The words fade into the light.

The Outer View

Beneath a mountain of tedium,

In a dull, ugly system,

In an empty ocean of shadows,

Is a silhouette of pure fire heat

Drifting in the dark.

All I wanted was the wind;

The wind murmured with anticipation,

The grass turned to icy grey,

A fine mist fell,

And with the mist came my sorrow

Cooling my body

With her thousand kisses,

Leaving me there.

I am surrounded by ice crystals

Floating down through silence

Into soft glowing snow;

The only sound is the pulse of my breathing.

As the sun sleeps,

How many hearts are dreaming,

When the world stands still.

Dawn

Dead shadows dance in the night

yearning for the dawn;

Cold and forgotten walking scars,

drained by decay,

wasted by time,

stretch out,

hungered and blurred,

to a spark ignited,

climbing,

rising from the ground.

From the lost

fallen depths,

rays of hope entwine in the sky,

kissing the hills,

breathing new life

and wonders layered in light;

Naked with joy, a new day,

A new world is born.

Metaphysics

The dictionary definition of “atheist”, as a non-believer in God or Gods, is not accurate, since there appears to be many people who think that the doctrinal teachings of religious institutions are cultural-based anachronisms—and so would be labelled “atheist” for not adhering to definitive religious beliefs about deities—yet believe in some higher spiritual power they cannot define.

There are several belief jumps in this sentence: The universe is a purposeless collection of matter that mindlessly configured itself by chance out of nothing, existing in time with causes and effects that had no beginning. A reasonable-minded adherent might be aware of the glaring uncertainties, but state it is more parsimonious to adopt this materialistic concept of reality than implant a God belief system as an unnecessary additional layer. Yet the certainty with which many proponents preach this position as absolute truth suggests a type of commitment witnessed in doctrinal religious belief.

An agnostic would state that the ultimate “why” questions are unanswerable, so from a practical perspective we should just be concerned with the “how” questions. The ardent atheist’s objections to agnosticism—based on the burden of proof for God being on the proponent—misses the point to an agnostic who has already ruled out religious explanations of God, but not higher spiritual meaning and purpose to reality. A particularly zealous atheist might overplay the remit of verifiable facts by stating that opinions about ultimate meaning are irrelevant if they are not scientifically falsifiable—ignoring the fact that their own conceptual model for reality contains unfalsifiable conjecture.

I believe that one can value science and also acknowledge that the word “God” might point to something far more profound than a cosmic superintendent. In this sense, God is not a being at all, but “being-itself”—the ground or power of being on which all things exist. This means that petty debates about whether God exists (as if God were just another object in the universe) miss the point entirely. It frees us from the simplistic image of God as an old man in the sky, and suggests that whatever ultimate reality “God” signifies, it transcends any single creed or image.

The nuances of religious thought have often been flattened in modern discourse. Theologian David Bentley Hart observes that the very concept of God has grown “impoverished” in the modern mind, largely because we have forgotten the deeper philosophical insights of the past. New atheist critics often target only the crudest caricatures of faith—a proverbial bearded deity or literal seven-day creation—and declare victory over superstition. In doing so, they sometimes miss the more sophisticated understandings of religious enquiry.

One can be sceptical of traditional theism and still believe reality has dimensions that science and language are fundamentally incapable of understanding and describing. There is a fertile ground here where one can be a spiritual rationalist: deeply curious about transcendent questions, unwilling to close the door on the numinous, but also unwilling to accept any claim without scrutiny.

Modern atheism often aligns itself with metaphysical materialism, the belief that nothing exists except physical matter. In this view, if a theory cannot make testable predictions to be measured or falsified, it is not worth taking seriously. The materialist outlook carries a bracing simplicity: the universe is a brute fact, life a fortuitous accident; consciousness an emergent trick of brain chemistry, and any search for deeper meaning is a nostalgic delusion. However, materialism itself goes beyond what empirical science can say; it makes a sweeping ontological claim that is not empirically verifiable: ironically, a metaphysical claim that “only non-metaphysical claims are valid”. Even secular philosophers like Thomas Nagel, an avowed atheist, admits that the strictly materialist narrative feels incomplete. Nagel had been frank about his “cosmic authority problem”—a personal wish not to have a God—yet he also argues that reductive materialism fails to account for things like consciousness and reason.

A slightly more humble view might acknowledge that humans may only be capable of perceiving a limited set of circumstances. Just as ants crawl through their narrow world unaware of the vast human realm above them—our languages, emotions, architecture, art—so too might humanity exist within a limited perceptual bubble, blind to higher dimensions of reality. An ant cannot conceive of music or mathematics; its senses and neural wiring simply do not permit such comprehension. Likewise, human perception is confined to a sliver of the electromagnetic spectrum, a narrow range of sound frequencies, and a brain evolved for survival rather than deep cosmic understanding.

We may believe we grasp the structure of reality, yet our tools of observation—sight, sound, and even our most advanced instruments—could be as crude as an ant’s antennae when set against the full breadth of existence. The notion of extra dimensions in theoretical physics, or phenomena that lie beyond spacetime as we know it, hints that what we perceive as complete may only be a fragment. To an ant, the absence of light caused by a shadow might be the limit of experience; to us, dark matter and quantum entanglement play a similar role—real, partially sensed by our measuring instruments, but fundamentally alien to our intuition of the chain of causality.

If our senses evolved to navigate only what was necessary for survival, then the deepest truths of the universe may not merely be undetected, but inaccessible. We are intelligent relative to other animals on Earth, but perhaps intelligence itself is bounded by the same evolutionary constraints as sight or smell. The universe may teem with realities we cannot experience or even imagine, as hidden from us as poetry is from an ant.

Indeed, cutting-edge science has revealed a world far stranger and less material than we assumed. At the subatomic level, matter dissolves into energy and probability; solid objects are mostly empty space held together by fields and forces. Quantum mechanics famously defies our intuition—particles that are waves, waves that are particles, influences that seem to leap across vast distances. As Nobel Prize-winning physicist Eugene Wigner observed, “while a number of philosophical ideas may be logically consistent with present QM… materialism is not.” When an observer’s act of measurement can affect whether a particle manifests as a wave or a particle, the neat separation between observer (mind) and observed (matter) becomes indistinct. Some interpretations of quantum mechanics even suggest that consciousness has a role in “collapsing” quantum possibilities—a controversial idea, but one that underscores how our epistemology might be entangled with the fabric of reality itself.

Some scientists point to the “fine-tuning” of physical constants—the way the laws of nature seem precisely calibrated to allow galaxies, stars, planets, and life—but then argue this is just a lucky roll of the cosmic dice (possibly one of countless rolls if there are infinite universes). That could be true, but note: positing an infinite multiverse where everything happens by chance is itself a kind of metaphysical speculation, unfalsifiable and forever beyond empirical reach. It strikes me as ironic that to avoid any whiff of purpose or design, some are willing to embrace an infinity of unobservable universes. At that point, one has arguably left the realm of Ockham’s razor far behind. Even Nagel acknowledges that the “interest of theism, even to an atheist, is that it tries to explain in another way what does not seem capable of explanation by physical science”. In other words, hypotheses of meaning or mind beyond matter arise because strict reductionism struggles with certain questions: Why is there something instead of nothing? How did matter become alive, and life become aware of itself? Are we—conscious agents—merely accidents, or an intended part of the cosmos? Science as a methodology may not answer such questions (they may be inherently metaphysical), but human inquiry doesn’t cease at the laboratory’s door. My rational mind sees the achievements of science and bows to its methodology for understanding the physical world. Yet my intuition and indeed my personal experience tell me there is more to reality than can be calculated and measured with an instrument. A truly open-minded scepticism must be sceptical not only of supernatural claims, but also of the claim that what we can measure is all there is. The boundary between science and metaphysics is precisely where things get exciting: it’s where our knowledge gives way to wonder. At that boundary, one can remain rational—weighing evidence, avoiding logical fallacies—while also entertaining the possibility that the universe includes dimensions of meaning, value, or consciousness that transcend our capability of understanding.

Do I believe in God? That question is loaded with assumptions about both belief and God. Do I take as fact the doctrines concerning reality written by people in past civilisations?—No. However, there shouldn’t be a one-dimensional graded scale for belief that merely gauges the percentage probability of religious dogma being correct. The metaphysical understanding that most resonates with me is that there is a soul of the universe, in which we are all a part. In this definition, God is hope: a hope that the universe is ultimately love; that all the suffering will be overcome; that life will be saved from despair; and that despite everything, it will all be okay.

For any existence after death to be desirable, it would have to be outside of time and space, and completely beyond our current comprehension of reality—as even a limitless abundance of joy would become meaningless within the causes and effects of endless time. I believe that to thrive at being a good human is the purpose, and tend to subscribe to something along the lines that: form ends on death, but time is just a perspective from one vantage point—because the past, present, and future are really one; all things are a part of each other, connected strands in the great tapestry of life; and maybe there are other dimensions of reality and incalculable vantage points. There is no insistence on certainty here; this is a non-falsifiable interpretation of experience driven by internal feeling, not logical deduction—and in no way does it affect any commitment to a rigorous investigation of the world using the scientific method. So, where do I feature on the belief scale?

For me, God is the name given to the conviction that there is a source of meaning and goodness at the centre of reality. When I speak to the divine in moments of anguish or gratitude, I do not imagine a magic problem-solver; I am communing from that hopeful part of me that trusts the universe is not fundamentally indifferent. I resonate with a description of God as the “ground of being”—the substrate of existence and meaning. In a similar vein, I find truth in the Sufi mystic Rumi’s poetic assertion that the light is one, even if the lamps are many. “The lamps are different, but the Light is the same… one Light-mind, endlessly emanating all things,” he writes. Those lines capture a sense that whatever ultimate reality is—call it God, call it the One, call it cosmic consciousness—it underlies and shines through the various religious images and the myriad forms of life. God, in this vision, is not a dogma but a direction: an orienting ideal of unity, love, and hope.

I embrace the intuition that everything is deeply interconnected. This is closely tied to the idea of a universal mind, but it also extends to matter, energy, and life. Mystical traditions often emphasise oneness: the notion that “All is One”—whether in the Sufi idea of tawhid, the Christian mystic idea of the ground where the soul and God are unified, or the Buddhist metaphor of Indra’s Net, in which each being reflects every other. On the scientific side, ecology illustrates how no organism is truly separate from its environment, and quantum physics (again) shows that particles once linked can remain correlated across cosmic distances. My metaphysical view takes this interconnectedness as a given. I tend to imagine reality as an immense tapestry of relationships, rather than a collection of isolated objects. Each of us is a node where the cosmic beingness is particularly intense and self-aware. Our actions reverberate through the tapestry in ways we cannot fully chart—hence every ethical or unethical act sends out ripples. This vision, admittedly, has a poetic flavour. It owes a debt to thinkers like Pierre Teilhard de Chardin, who envisioned all of humanity (and indeed the cosmos) converging towards a unified point of consciousness he called the Omega Point. Teilhard, a scientist-mystic, saw evolution as not only a biological process but a spiritual one, with increasing complexity and consciousness leading eventually to union with the divine. I find inspiring his idea that the ongoing evolutionary story is as much about the growth of spirit as the propagation of genes.

My own instinctive opinion is that I believe religions share the same spiritual root, although the core message was often corrupted by the doctrines and institutions that arose. This is my personal version of “spiritual but not particularly religious”. As I am most familiar with Christianity, I could be labelled Christian; however, I do adopt a filter and select only that which resonates with me, mindful that the scriptures were written and edited by early practitioners of the religion; and that the biblical canon was decided upon by the politics of powerful men in ecumenical councils, rather than being the unadulterated teachings of Christ. Looking back at history, the cruelties that have been perpetrated by professed followers of the religion represent the antithesis of the message of Christ; for real spirituality—the root of Christianity—is always inspired by love, joy, and peace.

The moment a spontaneous spiritual insight calcifies into an official creed, or a transformative mystical poem is reduced to a rigid scripture, the original life can begin to leach out. Religious institutions compile canons—deciding which texts are holy and which are heresy—and in doing so often reflect the politics and prejudices of their era. For example, the formation of the Christian biblical canon in the early centuries involved councils of bishops choosing certain gospels and epistles while rejecting others; this was not divine handwriting in the sky, but messy human process. To note this is not to dismiss those scriptures, but to contextualise them: they are works filtered through human minds, not infallible transcripts from God. History shows that many profound spiritual voices were marginalised or branded heretical because they threatened the authority of the established clergy. Meister Eckhart, a Christian mystic who taught the soul’s direct union with God (speaking of a God beyond all images), was tried for heresy. The Sufi mystic al-Hallaj, who joyfully proclaimed “I am the Truth” (implying unity with God), was executed as a blasphemer. Such examples highlight the perennial tension between mysticism—personal, unmediated experience of the divine—and orthodoxy—the sanctioned belief system of a religious organisation.

One of my core criticisms of religious institutions is how they often prioritise doctrinal conformity over personal spiritual experience. Carl Jung once quipped that one of the main functions of formalised religion is to “protect people against a direct experience of God”. It’s a startling claim, but I see his point. Institutions develop layers of dogma, ritual, and hierarchy that can end up substituting for genuine spiritual encounter. As long as you recite the creed, attend the services, and obey the rules, you’re considered religious—even if you never actually feel a connection to the sacred. In fact, if someone in the pews does have a dramatic spiritual experience outside the approved norms, it may make the clergy nervous. It’s as if religions say, “Don’t try this at home—leave the God-contact to the professionals.” My intention is not to disparage all religious authorities; many are sincere seekers themselves. But the bureaucratisation of spirituality often leads to the domestication of the divine. God or the Absolute—wild, unbounded Reality—gets confined to formulas and ceremonies. The result can be hollow: people go through motions that once had meaning, but over time the symbolism is forgotten and only habit remains. Karen Armstrong’s research reminds us that scripture itself was traditionally interpreted with great flexibility. She notes that for centuries, Jews and Christians “insisted that it was neither possible nor desirable to read the Bible literally”, and that sacred texts “demand constant reinterpretation.” Myths were understood as symbolic stories pointing to truths that reason alone could not convey. This non-literal, dynamic approach to religious truth resonates with me. However, modern fundamentalism—a reaction against secular modernity—has hardened many into treating mythos as logos, insisting on literal truth where none was originally intended. The tragedy is that this invites an equally simplistic backlash from sceptics, who correctly point out the contradictions, the scientific and historical errors, all the while missing the underlying spiritual insights that a more fluid reading could reveal.

In carving a path of spirituality without dogma, I retain many practices and values that religions have cultivated, but I do so by choice, not by mandate. For instance, I find comfort and insight in meditation (a practice prominent in Eastern traditions) and in Western contemplative prayer. I love the beauty of religious music and art—a Bach cantata, a Rumi poem, a Zen garden—and appreciate their sublimity without attributing them to a sectarian narrative. In essence, I construct a personal canon of that which uplifts and edifies.

Ethics, too, remain central: any spirituality worth its salt must show in one’s character and actions. I take inspiration from the core ethical teachings shared across faiths: compassion, kindness, humility, and a concern for justice. What I do not do is accept any moral dictate merely because “it is written” or because an authority claims infallibility. My conscience and intuition must ultimately resonate with a teaching for me to embrace it. This approach aligns with the view that religion is not mainly about believing certain propositions, but about experiencing and doing. Religion at its best is about praxis—living in a way that makes the transcendent real in daily life. Thus, I prize experience over creed. If a particular ritual or prayer helps open my heart or quiet my mind, I will use it, regardless of its origin—be it Christian, Buddhist, or other. Conversely, if a doctrine instils division, fear, hate, violence, or a sense of futility, I will discard it, even if it carries the weight of centuries.

I embrace an openness to insights from multiple traditions without feeling the need to formally belong to any. I have been deeply moved by Sufi literature (the poetry of Rumi and Hafez), by the non-dual teachings of Advaita Vedānta, by Christian mystics like Julian of Norwich (with her radical optimism that “all shall be well”), and by Daoist and Buddhist perspectives on harmony and impermanence. Each offers a piece of the puzzle, and each also has its cultural limitations or excesses. Rather than seeing the plurality of religions as a problem—“they can’t all be right, so none of it is true”, as a cynic might say—I see it as evidence that the human encounter with the sacred is real, even if coloured by culture and language. The lamps are indeed different, but the light is one. This pluralistic approach does come with challenges. It lacks the tidy certainty and communal reinforcement that belonging to one religion can provide. There is a risk of shallowness—skimming the surface of many traditions and mastering none. But I allow myself to learn from each faith I engage with, letting it challenge me. For example, Buddhism’s emphasis on mindfulness and releasing attachment has been a helpful antidote when my hopefulness turns into craving or clinging. The Christian ideal of grace—unconditional love given freely—humbles me when I become too prideful. Sufi devotion ignites my heart when my abstract philosophising grows arid. In this way, I remain grateful to religions while not confining myself to any single one.

Adopting ritual and reverence without binding belief has given me a sense of connection and meaning that pure scepticism never did. I do not need to believe that a certain scripture is the direct word of God to find comfort in its verses; I do not need to believe a ritual literally changes worldly outcomes to feel it change me internally.

We live amid conflict, injustice, and ignorance. Believing that all is one and that love is our destiny can seem naively optimistic in the face of daily news filled with division and hate. However, I see the role of metaphysical hope not as a blindfold but as a guiding star. It informs how I respond to the darkness. If I think humanity is nothing more than a cosmic accident, I might fall into nihilism or selfish hedonism, reasoning that there is no deeper common purpose to strive for. I think of the wisdom of someone like Viktor Frankl, who in the horrors of the concentration camps found that those who could find meaning in their suffering were more resilient. This is a trust or “faith” that even in the darkest times, the light of meaning cannot be extinguished. There is a sense that every experience, even ones of great suffering, can serve its purpose in life.

In a world riven by cynicism and cruelty, some might argue that high-minded spiritual ethics make little difference. But spiritual growth, to me, is largely about enlarging one’s circle of identification: from personal ego to family and friends, to tribe, to nation, to all of humanity, to all sentient beings, and finally to all that there is. It is a widening of the heart. If enough individuals adopt a spiritually rational outlook—combining clear-eyed reason with a heartfelt sense of sacred interconnectedness—then perhaps societies could shift in remarkable ways.

I consider it wise to approach the transcendent with what Zen Buddhism calls “beginner’s mind”, an attitude of openness and lack of preconceptions. This is not only epistemological but also spiritual: it means bowing before the mystery of existence and admitting that a finite mind cannot grasp it all. Paradoxically, accepting this not-knowing brings a form of peace. I am content to listen, to observe, and continue to refine my understanding through experience.

We are meaning-seeking creatures, and even the triumphs of science have not quenched that thirst for the numinous. By approaching metaphysical questions with both an open heart and a critical mind, we can refuse to settle for sterile nihilism or irrational fideism. Instead, we step into a middle space—a space of questions, imagination, and conjecture. This may not fit neatly into any box on a survey, but it is sincerely mine.

These efforts are meaningful, for humanity will survive if we are loving to the world and to each other. And if the spark of consciousness in us is around for billions of years, then we are currently the early originals. Maybe we are at the stage where we are just starting to recognise some shapes.