Different variants of the Biblical narrative serve as the creative duo’s point of artistic departure. The account of Matthew the Apostle, which has remained most engrained in public consciousness, portrays Judas as a contrite human, who returned his thirty pieces of silver and subsequently hanged himself. In contrast, Saint Peter relates in Acts of the Apostles that Judas did not give any money back, but instead bought himself a plot of land – only to perish in an accident. In comparison, Papias of Hierapolis, one of the Apostolic Fathers, claims that Judas became so obese that he was unable to walk unencumbered on a road that was wide enough to allow a horse and cart to pass smoothly. Why such a diversity of versions? Why have we suppressed other testimonies? What did the reality look like? What could it look like? These are some of the questions that the creators of the play have attempted to answer. The story of Judas runs through the play like a silver thread among contemporary acts of betrayal, treason, and treachery.