# Layli, Majnun, and the Infernal Tree

*Exported from [Holy-Writings.com](https://www.holy-writings.com/) on 2026-06-18 — 1 clipping.*

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> SCENE 1 
> 
> A nightingale's song.  The Crack of dawn.  The Islamic call to prayer. 
> A lamp is burning, and a man beside it, in prayer.  This is MAJNUN 
> (maj-NOON).  He sits on a large oriental carpet.  The room is spacious 
> with columns and hanging draperies.  In the background, the soft colors 
> of dawn play against silhouetted buildings of a 12th century Persian city.  
> Majnun begins to chant, accompanying his chant with motions.  He calls 
> out, arms outstretched, and begins to drop toward the floor.  At the lowest
> point of his prostration, a light comes up on Layli (LAY-lee).  Music.  
> Ravishing, ornately-dressed, veiled - she is the personification of Majnun's love.  
> As he prays she comes forward and begins to dance around him, music 
> following.  Eventually, he becomes aware of her presence, though he never
> seems to lay eyes on her.  They dance: Fred and Ginger in 12th Century Persia.  
> At the end of the dance, they both return to their former positions. Majnun 
> moves as if to quench the lamp.  Layli moves as if to remove her veil.  
> Lights come quickly up to full, Blackout.
> 
> 
> SCENE 2
> 
> Lights up.  The same house.  Majnun is gone, Layli is in the courtyard, 
> transformed into an ORANGE TREE.  During the Scene 1 dance, another 
> individual, MUSA (moo-SAH), entered the room and has been occupied 
> in checking and correcting a set of blueprints of the house's structure. He 
> has worked in a manner at once diligent, surreptitious, and evidently unaware 
> of Majnun or Layli's presence, and he is now finishing up.  He returns the 
> blueprints to a long tube.  A sound from outside, Musa is startled, fearful that 
> he might be caught and his precious drawings confiscated.  He quenches 
> the lamp and tiptoes out of the house.  Another man, Karim (ka-REEM),
> enters.  He stops at the Orange Tree, takes a piece of fruit, and begins to eat it,
> surveying the property casually.  He goes near the lamp and sensing the
> heat, reaches down to touch it.  He jerks his hand back as if it's hot. He thinks a 
> moment and then returns to his orange and his musings.  Another man, the 
> MULLA enters.  He seems to be in a big hurry.
> 
> KARIM
> Mulla, Maharba! Welcome, welcome to Shiraz!
> 
> MULLA
> Thank you.  This is the house of Infernal Hell Fire?
> 
> KARIM
> This is the house of Siyyid Ali Muhammad.
> 
> MULLA (Disturbed.)
> Ali Muhammad will do.
> 
> KARIM
> I'm sorry, Mulla, was he not a descendant of the Prophet?
> 
> MULLA
> Peace be upon Him! Such an honor was made of no consequence once he made
> his pact with Satan!
> 
> KARIM
> Oh.
> 
> MULLA (Looking around.)
> Ayatollah says no stone will be left unturned.
> 
> KARIM
> Yes, yes.  Allah-u-akbar! Ayatollah speaks, and it is so! It is
> inconceivable this house could be used to promote the true faith of God!
> 
> MULLA
> What are you saying?
> 
> KARIM 
> Who am I to say anything once Ayatollah has spoken?
> 
> MULLA
> Come, come.  To the point.  I don't have all day.
> 
> KARIM
> Insh'Allah.  Excuse me, Mulla, for saying so, but this house. . . is. . .
> Well, is it impossible to conceive the good name of Islam might be
> promoted while it is still standing? 
> 
> MULLA
> Speak plainly, Karim.  Don't vex me with your Shirazi riddles!
> 
> KARIM
> For example.  Mulla.  If a local believer -- someone nearby -- were to
> come 
> around every once and a while.
> 
> MULLA
> A caretaker?
> 
> KARIM
> That's a great idea, Mulla!
> 
> MULLA
> It would have to be someone who lives very close, or someone who would be
> willing to live here.
> 
> KARIM
> Yes.  To make that sacrifice.
> 
> MULLA
> Someone to look after the place.  
> 
> KARIM
> Yes.
> 
> MULLA
> Someone we could trust.
> 
> KARIM
> Absolutely.
> 
> MULLA
> Of course, he would have to be compensated for his sacrifice.
> 
> KARIM
> You are too kind, Mulla!
> 
> MULLA 
> (A pernicious smile.  He pronounces each word with great relish.)
> No stone unturned!  (He laughs and goes to leave but turns.)  And get rid of 
> that accursed tree!  "Verily, the Infernal Tree shall be the food of the
> sinner!"
> 
> 	[He exits, laughing.  Karim throws his orange peels on the
> ground.  
> 	Lights out.]
> 
> SCENE 3
> 
> Absurd laughter coming from all directions.  Lights up on Majnun in
> prostration.
>  
> Except he is now in the street.  Merchants with wares, people passing by.
> Layli is gone.  Majnun digs his hands into the dirt, as if searching for gold.
> 
> MAJNUN
> Layli! Layli! Layli!
> 
> 	[Two men stand over him laughing.]
> 
> MAN #1 (In Persian.)
> (Look at this mad boy.  He's lost his mind.  Sifting the dust, crying out
> "Layli! Layli!")
> 
> MAN #2
> Young man, what doest thou?
> 
> MAJNUN
> I seek for Layli!
> 
> MAN #2
> Alas for thee! Layli is of pure spirit, and thou seekest her in the dust!
> 
> MAJNUN
> I seek her everywhere.  Haply somewhere I shall find her.
> 
> MAN #1 (In Persian.)
> (Trans:  It is shameful)
> 
> 	[Layli peeks in.]
> 
> LAYLI (Whispering.)
> Majnun.
> 
> 	[Majnun, hearing, starts up.  The other men do not hear her,
> 	but are jostled by his change.]
> 
> LAYLI
> Here I am.
> 
> 	[Majnun runs off in the general direction of her voice.  
> 	The men laugh out loud -The laughter amplifies.  Darkness.]
> 
> SCENE 4
> 
> Back at the house, we hear demolition sounds.  The orange tree (Layli)
> looks worried. Two WORKERS come over to look at it.  They take out various 
> implements of destruction and get ready to hack away at the orange tree. 
> 
> Karim enters.
> 
> KARIM
> Don't you gentlemen have something better to do?
> 
> WORKER 1
> I thought we were supposed to get rid of the tree.
> 
> KARIM
> Now?
> 
> WORKER 2
> If not now, then when?
> 
> KARIM
> I mean, don't you have walls to knock down? Foundations to tear up? It's
> just a harmless orange tree.
> 
> WORKER 1
> Ayatollah says...
> 
> KARIM
> Yeah, yeah, I know what Ayatollah says! Just get on with it, huh? You're not 
> getting paid to stand around! (He walks away.) What are you looking at, huh?! 
> Get to work!
> 
> 	[The workers shake their head and began to hack away at the 
> 	Orange Tree, chopping at its roots with an axe and a saw.  
> 	They grab the Orange Tree by the arms and tug.  She puts up a 
> 	good fight with comic results.  Eventually, they succeed in tearing 
> 	off an outer layer of her clothing.  They seem quite happy
> 	with this and walk away, dividing up the cloth.  The Orange Tree 
> 	prostrates itself into a fetal position.  She remains there for the 
> 	following scenes.  Lights down. ] 
> 
> 
> SCENE 5
> 
> Another street.  Lights up on a doctor leading Majnun out of his shop. 
> Some other
> young men stand nearby.  
> 
> DOCTOR (Half in Persian.)
> [I'm sorry, Majnun.]  I have no medicine for one sick of love.  [Aren't
> those your friends?
> Go ask if they have seen her.]  
> 
> 	[The doctor exits. Majnun approaches one of the young men.]
> 
> MAJNUN
> [My friend.]  These doctors, they know no cure for me.  It's been years
> I've been away from her.  [My friend] can you help me?
> 
> 	[The young man walks away apologetically.  Majnun approaches 
> 	another young man.]
> 
> MAJNUN (Cont'd.)
> [My friend.]  I can't sleep at night.  I can't rest by day.  Look at me,
> my body is worn to a sigh.  Have you a good word for me, my friend?
> 
> 	[The other young man walks away.  Majnun is left alone.  He
> begins to convulse.]
> 
> MAJNUN
> No.  No.  This tree has borne no fruit but despair.  This fire is blazed
> out.  Fallen to ashes.  Hope be gone! Tonight I meet my beloved in the
> grave!
> 
> 	[He runs off.  Lights out.]
> 
> SCENE 6
> 
> Musa is sitting on the street crying.  His friend, HUSAYN, approaches
> him.
> 
> HUSAYN
> Musa, what's wrong? 
> 
> MUSA
> Oh, Husayn! The house.  It's gone.  They've destroyed it.  What do I do?
> 
> HUSAYN
> But Musa, you said all the plans of the house were already drawn up.  
> 
> MUSA
> Yes, yes, they were.
> 
> HUSAYN
> But then why despair, my friend? One day, this country will retrieve its
> sanity.  And that day, we'll rebuild, Musa.  Just as it was.  Exactly as it was,
> my friend, and because of you.  It is to your everlasting glory that it can be done.
> 
> MUSA
> But Husayn, there is nothing left.  Nothing.  My friend, all I needed was
> a marker.  One reference point and everything could have been rebuilt.  One
> thing.  Anything.  A brick in the outer wall.  That orange tree.  But
> they even took the orange tree, Husayn! They've razed it all and covered it over
> with pavement.  
> 
> HUSAYN
> Well, that's okay, Musa.  It doesn't have to be in the exact same spot...
> 
> MUSA
> No, no.  It's not the same.   It's not the same.
> 
> HUSAYN
> Musa! Where is your faith, man?! Certainly, you conditioned this endeavor
> on the Will of God.  Now give it up.  Come.  Come to my house.  We will
> pray and the way will be made plain.  
> 
> 	[Musa gets up and follows Husayn off.  Lights shift to the next
> scene.]
> 
> SCENE 7
> 
> Majnun reenters with a lamp from the back of the house.  He is exhausted 
> and walks with a limp down the aisle toward the stage.
> 
> MAJNUN
> Where are you? Koja hastid? Koja hastid? Layliy-e-man! Do not leave me 
> alone here! Khahesh-mikonam, Layli, do not leave me alone!
> 
> 	[A watchman enters.]
> 
> WATCHMAN (In Persian.)
> [Hey there! Who are you? What are you up to at this hour?]
> 
> MAJNUN (Rousing from delirium.)
> Uh.  
> 
> 	[He sees the watchman and runs offstage.] 
> 
> WATCHMAN
> [Hey! Stop! Come back here!] 
> 
> 	[He runs after Majnun.  Lights shift to next scene.]  
> 
> SCENE 8
> 
> Lights up on the Orange Tree in Fetal position.  At specfic times during 
> the previous scenes she has moved slightly.  Now she begins to move 
> and pushes upward, apparently breaking through the pavement.  As she 
> comes up, she gasps deeply as if she was suffocating.  She struggles to 
> stand.  Musa enters.
> 
> MUSA
> This, this.  What is this? The tree? The tree? The orange tree!! 
> HUSAYN!!!  
> 
> 	[Musa runs offstage deliriously.  The Orange Tree struggles to 
> 	grow.  Lights shift to next scene.]
> 
> SCENE 9
> 
> Majnun runs back on stage.
> 
> MAJNUN 
> Surely this watchman is 'Isra'il, my angel of death, following so fast
> upon me...
> 
> 	[The watchman reenters.]
> 
> WATCHMAN
> [Why did you run? What have you done?]
> 
> MAJNUN
> (Squaring off to fight him.)
> Or he is a tyrant of men, seeking to harm me.
> 
> WATCHMAN
> [Uh-oh.  Mad dog.  I'm not gonna fight you.]  (He blows his whistle
> twice.)
> 
> 	[Majnun runs in one direction and is barred by another watchman. 
> 
> 	He tries running in another direction and another watchman 
> 	appears.   Then others appear.  He runs straight up the stage and
> 	jumps to scale a wall, crying out in pain as he climbs.  The watchmen
>  		come behind him,  grab his feet and push him up.]  
> 
> SCENE 10
> 
> Lights go out on the watchmen and the street, and come up on the garden 
> where Majnun has flung himself at the feet of the Orange Tree, which he 
> knows as Layli.  A nightingale's song.  Majnun looks up to see Layli as 
> she is bending over to pick up a ring as if she had lost it.
> 
> LAYLI
> Here you are.
> 
> 	[They look at each other.  The Islamic call to prayer is heard.  
> 	They move toward each other in a simple dance.  Music.  She 
> 	gives him the ring and he places it on her finger.  They move 
> 	into a formal and highly anticipated moment.  She puts her 
> 	hand to her veil as might a bride on her wedding night, Eventually 
> 	coming downstage of Majnun, so when she removes her veil.  It is
> 	only Majnun that can look on her radiant face.  He gazes at her, 
> 	she at him for a long moment.  She lowers her gaze, and he falls 
> 	prostrate on the ground at her feet.  She returns her veil and moves 
> 	behind him as in the opening scene, Majnun lifts his head, draws 
> 	a great breath, and speaks.]
> 
> MAJNUN
> O God! Give Thou glory to the watchman, and riches and long life.  For
> the watchman was Gabriel, guiding this poor one; of he was Israfil, bringing
> life to this wretched one! Glory to God in the Highest! My Beloved and I are
> one.
>
> — *Layli, Majnun, and the Infernal Tree (Used by permission of the curator)*