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THE GOSPEL

OF JUDITH

ISCARIOT

 

by Y.I. H AY

 

 

(Text {for play/movie/novel} for an Eco-Feminist Passion Play, and for initiating seekers of redemption in our technotronic and bureaucratic age into The Order of The HEJERA (The Heavenly Jerusalem Association.)

Version A.2

COPYRIGHT: THE HAYUT FOUNDATION

P.O.B. 8115, Jerusalem 91080, Israel


Table Of Contents

ACT ONE - THE SQUARE
Scene One - JUDITH AND TERESH
Scene Two - THE RASAN AGENTS
Scene Three - JESUS OF NAZARETH
Scene Four - HAKI AND JUDITH
Scene Five - JUDITH AND JESUS

ACT TWO -
Scene One - JUDITH OBSERVED IN THE LABORATORY
Scene One - JUDITH OBSERVED IN THE LABORATORY - Part B
Scene Two - JUDITH AND HAKI
Scene Three - JUDITH IN THE MESSIAH MACHINE
Scene Four - JUDITH AND Mr. SMYTH-JOBS
Scene Five - JESUS AND THE RASAN AGENTS

ACT THREE
Scene One - HAKI AND JUDITH WATCH TV
Scene Two - THE CIRCLE OF JESUS
Scene Three - THE NEW SEDER ORDER
Scene Three - THE NEW SEDER- ORDER - Part B
Scene Four - HAKI RETURNS TO GETHSEMANE
Scene Five - THE CIRCLE OF THE RASANS - AT HEADQUARTERS
Scene Six - JESUS-JOB ON T.V.

EPILOGUE

Notes - CONSTRUCTIVE CRITISISM ON JUDITH


THE GOSPEL OF JUDITH ISCARIOT - ACT II

Scene One - JUDITH OBSERVED IN THE LABORATORY

 

(The following scene is shown on the stage through a TV­-like drape-frame. On the sides are two work desks with a computer or TV monitor on it. On the right sits the Tall Agent, on the left sits some rich-businessman-like figure, with something of a showman about him. They are watching the scene on the center through their monitors, and talking on the telephone as they do.

MR. JOBS: Nice shots, how did you get them?

TALL AGENT: It was easy to find that the old dotard meets his visitors in the Operational research Lab at the Truman Building. There are plenty of monitors there, and I placed two cameras behind two of them, the old Big Brother trick. The only trouble was the dark part of the session, as you will see.

MR. JOBS: O.K. Let's rewind to the beginning. (He presses the appropriate buttons). I can see her coming in. Nice pair of legs. Pity she's wearing this long coat. But wait! As she walks close, yes... I can see... her dress has quite an opening... Wow! What tits! She's a feast to the eyes. But that's not what you were supposed to be watching there. You said you have evidence about some plot?

TALL AGENT: Just wait. There are some real saucy pictures on their way.

(Judith arrives into the left frame. She is dressed in a tight light brown coat which is already opened at her bosom, as Mr. Jobs described. Now is heard the voice of a man who is not in the picture).

GREAT PARSHAN: Come in please. May I take off your coat?

JUDITH: (in mock coyness) If you like to, yes please.

GREAT PARSHAN: I would like to. My job, as Parshan, namely interpreter and allegorizer, is to dress up a corpus of facts in order to have them stripped and then better reveal what's beneath. I bet that under that tight coat you are wearing several gossamer dresses like layers of rainbow colors, each looser and lighter and more radiant than the other.

JUDITH: What an awful old romantic you are. But actually beneath this light green dress I shall stay with, I'm wearing only my panties.

MR. JOBS: She seems cut to seduce the old man, but it is not clear who is leading whom on.

(We see the old man's back as he approaches and bends to help her take off her coat, then he goes off-frame with the coat as she is seen in that looser, gauze-like green dress.

GREAT PARSHAN: I see it is as you say. Beautiful!. But let me tell you, my charming young lady - you are even more beautiful than you look!

JUDITH: How can that be?

GREAT PARSHAN: Maybe because I can see in you what you haven't yourself yet seen. Yes, winking at me, I see the perfect fruit of millions of years. Years of painstaking work. Firm and round as two pomegranates, and as delicious no doubt. But your heart, beneath them, oh your heart! I'd die for the chance to enter into it.

JUDITH: You really like to take some liberties, don't you?

GREAT PARSHAN: As I say, mademoiselle, my job is to play it all the way.

JUDITH: Perhaps I came to give you the opportunity. To play, I mean. To play, and to act, for liberty.

GREAT PARSHAN: What a temptation! even a pair of them. And I thought it was I who was the tempter in this act.

JUDITH: Maybe two can play this game, Daddy-O. You raise your finger. I'll jump.

GREAT PARSHAN: If you'd shake so your breasts, my old heart might burst. Like bells that toll, they make me recall how it all started. Very much like what the prophets of old called "Mah azot Shadai" - visions of God. Or as the Bible calls them, literally, "visions of My breasts".

JUDITH: You're really insufferable. Try to be more serious.

GREAT PARSHAN: About what? Taking liberties?

JUDITH: Yes. About liberty.

GREAT PARSHAN: What about liberty then? And please, don't get shy now trying to cover your lovely bosom as you say it. Liberty is about exposing the heart.

(The camera is focused in a region almost full with Judith's breasts, as they come bobbing in from left to right or from right to left.)

MR. JOBS: What are we doing? Exposing a conspiracy or enjoying one of the best sneak shows in the city?

TALL AGENT: You've not seen anything yet.

JUDITH: You heard these words before from Jesus, but let me repeat them for you. Let's liberate this university. Let's cooperate. Working together we can surely do it.

GREAT PARSHAN: My gracious young lady. You allowed my old eyes to look at your lovely skin, and now you even let me hear what comes from within, from your heart. I thank you for that. But are you not mixing your words? This sounds more like the cry of Baraba, than the mystical discourse your Jesus delivered.

JUDITH: So you heard him then?

GREAT PARSHAN: I did, and I enjoyed it. And what's more, it was almost verbatim from an old text I myself gave him some years ago.

JUDITH: You know Jesus from before?

GREAT PARSHAN: And fairly well too. A student of mine, from my inner circle even. He dropped out though, and, I regret to say, lost his marbles too. You see, he wasn't as steadfast as some of his disciples would make out. Quite the contrary.

JUDITH: I don't give a fucking shit for any slander you may say or insinuate about Jesus.

GREAT PARSHAN: My sweet lady, you can give me whatever you want.I'll lap it up. Fucking, shitting, even menstruation, they all give a taste of the truth, some way to tell between the real and the false.

JUDITH: I want the truth then. Don't you want us to be liberated from the Rasans?

GREAT PARSHAN: One should not scream it in this place, you know, they may be eavesdropping even right now. But I assure you that I do.

JUDITH: Don't you see that if you and I, if we all acknowledge him as the Messiah, then the salvation of Israel, indeed of the whole world, is at hand! Salvation - it's even his very name!

GREAT PARSHAN: My lovely miss, I'm afraid you missed an elementary grammar class. His name is Yeshua. But Salvation is in Hebrew "Yeshuah" - not a male but a female term. Haven't you got your gender confused, Miss Ish Krayot!?

JUDITH: Don't patronize me like that, using these piddling old grandmmarian arguments to relieve you from believing. Gender confusion? It is sex which confuses you! I can see your roving eyes. You are so absorbed in my tits you can't hear the good news I try to bring you about Salvation.

Mr. JOBS: This chick has got some spunk.

TALL AGENT: She's also got glorious ass cheeks, as you'll soon see.

(Meanwhile the Great Parshan is having a hearty laugh.)

GREAT PARSHAN: So you have a good sense of what truth is - like my wanting to familiarize myself with your assets?

JUDITH: I saw you salivating by just looking.

GREAT PARSHAN: So you place more credence in body language than in high­sounding theories?

JUDITH: You can say that.

GREAT PARSHAN: Like those old behavioral scientists, you trust the signs of salivation rather than of salvation. And I tell you salvation is material, has a body - and a feminine body at that. So perhaps the secret of salvation has to do with secreting juices and salivation. The view of your tits may reveal more about it than Jesus's proclamations?

JUDITH: I don't care what you are mumbling. You're profaning the Name of my Lord.

GREAT PARSHAN: I speak the truth, my lady. No buts, and no buttons to conceal your treasures either. It's what You Judith are that gives this Jesus his meaning. You are the essence of the universe, no less than he is. Yet you, let me say, have a bit more to offer..

So consider me your humblest servant. Perhaps you are the Messiah and I have been waiting here for you for umpteen years. Who cares. Now that you are here, what will you please?

(JUDITH: Cut out the flatteries. Just pronounce Jesus, that's all you need.

GREAT PARSHAN: Again that Man! Sure you can have a better taste.)

JUDITH: I insist that you hear his message!

GREAT PARSHAN: Sure, my lady. But what's the use of my hearing his second-hand message? For any thing he's got, I'm sure you got twice that. I see in you double of what you see in him. He gave that esoteric sermon about the two and the One which he stole from me. But your proud pair of tits carries this message much more eloquently. I can look at your bosom and get God's message so much better.

JUDITH: Oh yea, I heard you. You said you can see from them how it all started. No doubt you regressed to act out on your infantile visions.

GREAT PARSHAN: Breast-sucking is surely a sweet way of initiation, but not the only one. As I said, through you I can see and read what the prophets of old called "Mahazot Shadai" - literally, "visions of My breasts". Between their two pinnacles, I can see the start of the Galaxy and its final destiny, in their swelling I can see the Heavenly Jerusalem.

JUDITH (shaken): Let me sit. (She sits down). Now, why did you mention the Heavenly Jerusalem? You were reading my mind, not my breasts, right?

GREAT PARSHAN: Why are you so shaken, dear girl?

JUDITH: I was trying to talk about Jesus, whom you tried to put down, and you insisted on drifting into your wily diversions. But then you jump, all of a sudden, to hit me right in the very point where Jesus had hit me. You both have this crazy talk as if the Heavenly Jerusalem was some woman or a bride from heaven.

GREAT PARSHAN: And did we regard her in the same way?

JUDITH: Not exactly. Jesus regarded her as apart from me. I even saw her then as my rival. Whereas you seem to see her somehowin me .

GREAT PARSHAN: And you want to know the truth about her?

JUDITH: Yes, I do!

GREAT PARSHAN: Do you know what the name "Jerusalem" means?

JUDITH: Jesus has taught me that. The original Hebrew name is "Yerushalayim" or "Yerushalem", and it means "to demonstrate or to teach wholeness and peace".

GREAT PARSHAN: Yes, "Shalem" is whole. Yet people always call her "Yerushalayim", which means "to demonstrate/teach Shalayim". "Shalayim" is a twain form of noun, used for paired entities, like trousers, bicycles - or breasts. How can a whole be dual?

JUDITH: Just listen to Jesus, and you would understand it. He's striving to overcome duality and make all things whole.

GREAT PARSHAN: Surely, for the striving to make the two into a single whole is perennial, and it is the message that Yeshua was trying to deliver in his obscure way. This is the secret of Bereshit , of creation, the basic "bi-ness" of Being in the twain principles of expansion and contraction, of male and female, of heaven and earth. And this is just what "Jerusalem" means and what Jerusalem is meant to become and demonstrate to the whole world by the union of the Earthly and of the Heavenly Jerusalem. That Ish of yours, your Jesus, is wanting in that respect, it is what he lacks and what he is seeking. But his lecturing is not half as good as you in demonstrating it, you've got it made in your Being, in your Body, in your bosom.

JUDITH: Not again...

GREAT PARSHAN: What is a message, a gospel? It is "Besora "! same as "Basar", namely "flesh" of the body. What is the Gospel of Jerusalem? Surely it is the union of the flesh and spirit, of the earthly and the heavenly. And the word "Earth" comes from the Hebrew word "Eretz", which has to do with "Ratson", with craving. The Maker of all Worlds made the earth as a living being which produces a bio-mass, the living soil, the flesh of the Earth, which is called Adamah, and which calls for Him. Adamah is the feminine form of Adam - which is all humankind - and thus the flesh of both Adam and Adamah call for the gospel, for the God-spell, for the Word of God. It was Job's great finding in the Bible - "from my flesh I shall perceive God"...

Mr. JOBS: Now he claims I feature in his Babble Book?

GREAT PARSHAN: ..and you, Judith, are the perfect representative of both Adamah and Adam. I dare say you seem a perfect model to display the visions of God from your flesh. You are really built to reveal Mahazot Shadai, recall the divine breasts.

JUDITH: Your breast obsession brings you to blaspheme all the way then. I thought you held the Bible sacred.

GREAT PARSHAN: I do, and I may be the last man on earth to still know the Bible well, from beginning to end and right back to the Beginning. For the Bible begins in B, the letter of Being, which looks like a pair of breasts. "Bereshit" is the first beginning, the feminine divine manifestation. She is adorned in this part of the universe with the twin domes of the Heavens and the Earth as the two breasts to nurse the Baby Adam.

JUDITH: It's a weird interpretation you have, but it's cute, I must admit. But you promised me to explain about the Heavenly Jerusalem and the Messiah.

 

GREAT PARSHAN: What does the word "Adam" signify? Adam is both all humankind and every human child. And Adam is endowed with twin souls. One is an animal-earthy soul, of Olam Hazeh (namely This World), and one a divine-heavenly soul, of Olam Haba (The World to Come). Thus Adam needs to be nursed by these two breasts, the earthly and the heavenly. And, as you must know, the first attractions any human baby faces are the twain fountains of goodness - Breasts, Boobs, B osom, Bozooms. They seem to bob and call the baby - Bo Bo Bo - come, come, come.

In infancy, one is fed the same milk from the twin source. Soon one grows to be fed by two foods from two sources. The material maternal food is fed to the mouth, whereas the divine heavenly food, the subtle air movements of the heavenly entities of the letters and words, are fed to the ears. And the first divine words of love come from the mother's lips calling the baby, sending messages made largely of B's, like Bo, Bo, Bo, - come, come, come, and Ba, Ba, Ba, - coming, coming, coming. Thus the first verbal message coincides with the non­verbal one. This is the very call we utter to the Messiah - to come, come, come. Then the first letter-sound the baby utters is invariably B, often "Ba-Ba-Ba-" and also "Bo-Bo-Bo". So each person's primal messages already give orientation to invoke the Coming of the Messiah - Bo, Bo, - and Olam Ha Ba, haBa-Ba, the coming of the Heavenly Jerusalem.

JUDITH: Calling to the breasts perhaps, but how do you jump from there to calling the Messiah?

GREAT PARSHAN: What do we all pray for? For the Coming of the Messiah, to come to us, even to come in us, with us, or from us. Tell me, when you thought Jesus is the Messiah, how did your soul call for him?

JUDITH: Don't bug me with that, will you?

GREAT PARSHAN: What, then, do you want me to do?

JUDITH: To tell me the truth about the Messiah and the Heavenly Jerusalem.

GREAT PARSHAN: I'll tell you what. You claim you have clear sense of what truth is. Like you claim I want to fiddle with your bottom and your breasts. Let's assume this desire on my part as a basic premise and build upon that kind of truth. Let me add to that that I, perhaps as a civilized pervert, want to produce the best nude pictures in the world. And for this, my beauty, the old beast that I am will need your cooperation. Let these be the rules then: you, my beauty, will state what you want to know, Heavenly Jerusalem or whatever, and I shall take your pictures. Perhaps we can then drive some honest transaction between us and even engage in fruitful conversation.

JUDITH: You know what, I could do that, but we must draw the lines from the beginning.

GREAT PARSHAN: I accept. You just say where the line passes.

JUDITH: I say, you can take pictures perhaps, but no hands on me, and remember, don't you ever touch me with your pecker!

GREAT PARSHAN: I'll accept whatever you stipulated, but realize, it is you who is putting on a Rasan device and leading me in reins. It's not just a line you propose to draw between us, as you allow your lovely flesh to my roving eyes and protect it from my hand, it is a whole box of constraints to put either of us in. Now, if I can do neither pecking nor poking or picking at your lovely form, can I please have at least some liberty at peeking?

JUDITH: What for?

GREAT PARSHAN: So I could show you the Heavenly Jerusalem out from your own flesh.

JUDITH: You can do some peeking I guess, but no more.

GREAT PARSHAN: I shall use, if you don't mind, some special three­dimensional peeking device which can pick up the contours of any terrain, be it a topographic model or a model for an urban design - or your own beautiful young skin and model figure. Would you like to be viewed as if you were a city or even the bare earth Herself, Miss Ish-Krayot?

JUDITH: Yes, like the earth. This is indeed the way I sometimes feel, but have no way of showing it.

(He proceeds to produce a probe which looks somewhat like a hand-held microphone with a cord coming from it, or more like a hand-held flashlight with a 5-inch quartz crystal mounted on it as a lens.)

GREAT PARSHAN: Here is my flesh-light probe, I hope you like it?

JUDITH: I see you stick to your wily tricks, you dirty old Jew. If you do not stick your pecker, then you fetch some electronic dildo you no doubt want to shove into me.

GREAT PARSHAN: This peeker probe will stay - as you insist - only skin deep. But by picking the contours, whereby your heaving flesh presses the skin towards heaven, we shall also get a good notion of what messages the flesh gives and what the skin hides. We have an ingenious feedback device here. This peeker can pick the vibrations of your emotions, and as it does, the color of the flash beam it emits changes accordingly. Look, here I aim it at the tips of your fingers.

(He beams her five fingers with a yellow beam. On the other TV screen appears a six fold view of the tip of her hand which is illuminated by the narrow beam as if it might be picked up by the six faces of the apex of the crystal. When he moves the beam and the fingers appear, the forms seem to move and look as kaleidoscopic patterns that join or separate at the edges. The Parshan advances the light until the reflected images of the five fingers seem to form a six-pointed star pattern.)

GREAT PARSHAN: Isn't that a lovely view? You see, it's written in our body that we want to reach for the stars. Even to be stars. Did you ever want to become a star?

(The color of the beam changes to blue, then to dull red and then to blue again.)

JUDITH: This is none of your business.

GREAT PARSHAN: O.K., we'll just continue the audition then. Now, if you'll take off your dress, we can explore some beauty spots.

(The color of the beam changes to red.)

GREAT PARSHAN: You see, you did not have to say any indignant word and the color changed to an anger color by picking your reaction to my indiscreet suggestion. But please, lovely miss, I promise to you that the pictures that will appear will be much richer and more beautiful if you divest yourself of your habits.

JUDITH: My habits? (The color meanwhile changes to yellow.)

GREAT PARSHAN: I meant your dress. It is the same word, you know.

JUDITH: I guess you're right. All right, I tell you what. I shall take off this dress, but I am going to keep my panties on, no matter what.

GREAT PARSHAN: And I'll keep as well all the other conditions you've already stipulated. That's O.K.

(Judith takes off her dress and puts it carefully on the table.)

TALL AGENT: Isn't she something. A real cheesecake.

Mr. JOBS: Yea, I could gobble her up. I wonder how this old geezer will proceed.

 

(Meanwhile the Great Parshan moves the light beam up Judith's arm and to her armpit, evoking some fantastic figures through all these reflections. Judith is first frozen, but then she gets tickled in the armpit and the figures seem to palpitate. Judith is becoming captivated by these new views of her own person. The view starts reaching the curves of the breasts; beautiful forms appear as the color changes from blue to green and then to yellow. Then it bursts into red as Judith's voice is heard, loud and shrill.)

JUDITH: (yelling) Why are you taking off your pants?!

GREAT PARSHAN: (Unperturbed) I promised I would not abuse you sexually, and I would not. No hands and no pecker. However we should be on equal terms. But if the view of my old skin disturbs you dear - no pain, I'm not offended. We can turn off the lights, which we need to do anyway to be able to use this fleshlight system to its out most.

JUDITH: You are a wily old goat, though.

GREAT PARSHAN: Just try to relax again, and see if you can change the color just by your own feelings.

(The Great Parshan switches off the lights, and the only illumination is from the light beam travelling along the contours of Judith's body and the images on the screens: six fold pictures of features from the illuminated section of her body and are dynamic - mating and separating from each other while the frames of the screens stay fixed. On the wings, left and right, are dim lights at the monitors where the Tall Agent and Mr. Jobs sit.)

JUDITH'S VOICE: I want to know what is it that you seem so intent to protect, that you are afraid to risk even hearing about Jesus.

PARSHAN'S VOICE: It is a secret as old as this world is. Let's not risk spilling it prematurely.

JUDITH'S VOICE: Come on, you old goat. You are not a partner to some million-year plot, are you?

PARSHAN'S VOICE: Well, in a way, yes. And to a six thousand years plot certainly.

JUDITH'S VOICE: (giggling) Wow, you look rather young in that case, I would say.

(There is a series of color changes on Judith's body and on the six fold unfolding of her skin on the screen. The light beam gets to the outline of her breast. As she giggles and her breasts lightly sway, the unfolding six fold picture becomes a most enticing display of barely illuminated orbs appearing in the darkness which, because of the reflections, suggest pairs of breasts of hidden women that can lie in any of the four directions. The light moves on slightly, as if the orb rotated, and the crescent gets somewhat wider until the light touches the nipple and produces a point of light in the dark region. It becomes, in fact, the famous star-and-crescent image, reflected upside-down and left-to-right in adjoining screens. As Judith's breast sways, the star-images disappear and reappear. The Great Parshan then points towards the star in the image.)

PARSHAN'S VOICE: Somewhere, in the midst of our galaxy, in the Middle-East of our sweet Milky Way, there is the space Mother­Ship called the Heavenly Jerusalem. This is the home of the Great Mother, whose name is Bereshit. From Her, it all started, and from Her issues the light of understanding to all the worlds that can receive it. This is the home base of the HEJERA - the HEavenly JERusalem Association - and of the HEJERA Missionaries - the Galactic Navigators, the G.N.s of heaven.

We received it from those galactic navigators who came to this planet almost six thousand years ago, bearing the sign of a six-pointed star and the crescent, to symbolize the start of the process of the enlightenment of a dark planet with the light from that far star of redemption they came from. Their mission, in other words, was to establish on earth a city of "Jerusalem" which would develop to become fit to receive the Heavenly Jerusalem. They aimed to land at an inviting piece of land, at the junction of the torso of this earth - namely her biggest continent - with her legs, namely two other continents. There they aimed and came and deposited their star seed. Let me show you what they saw.

(The multiple-image on the screens seems to burst as more screens light up. First it gets duplicated on twelve screens, then there are 16 screens, arranged in a square 4 screens wide and 4 screens high, all showing the star­-and-crescent breath-taking breast visions. Soon the four screens in the middle turn black and then start glowing with a single view - of the globe of the earth, rotating while surrounded by these twelve moon pictures. It then freezes on a closer view of Asia, Africa and Europe, with the Middle East in the very middle. with the unusual perspective of the east at the top of the image and the mediterranean from the middle and down, it looks somewhat like a part of the erect human figure, from the breast to the knees)

JUDITH'S VOICE: You don't say. But what does this fancy story of the Heavenly Jerusalem have to do with your fixation on my breasts?

PARSHAN'S VOICE: They are truly magnificent, and indeed they have to do with the galaxy and with fixing the fate of this planet in it. Do you know why on earth did "the galaxy" get that name?

JUDITH'S VOICE: You claim to know the Galactic matters, so you tell me.

to be continued . . .