He puts this question in various ways not only to his family – who like most of us – are unwilling to consider it – but also increasingly - as the play progresses, directly to the audience. Yes you. Why are there not more whistleblowers? Would you be one. Is it the ONLY way to be adult on this beautiful but damaged planet? Is Armageddon so critical that doing anything else – poetry drama – irrelevant? Schumann thinks so. But do you. And if you don’t do you really really love this planet? Rachel SAYS she loves this planet, but she is too busy being mayoress of their small town. Alan her son (Schumann ‘s stepson) has an outrageously uncontrollable Oedipus complex, and acts on it. Sarah, who according to Schumann dresses as the personification of Armageddon, is too busy skyping a killer whale called Gudrun. Let this be an example to you, to chill your very spine. Schumann is so carried away by his whistleblowing – while still challenging the audience to love this planet, that he tears the house apart looking for bugs, dresses in anti radiation gear and explores radiation leaks in the house with a geiger counter. Finally he is interviewed by a psychiatrist and thinks the latter is mad. In the end he is carried away by the boys in white coats still challenging the audience. While the mayoress has a party for the council.

There is a poignant scene in the play where he turns down his father; and also a very moving scene when he says that he has to part from his pregnant girlfriend, Monica, even though he can’t tell her. Her distress is her love for him and it is pitiable and moving to see. There is catharsis and reconciliation towards the end of the play. The plot is entirely character-driven. There is also the sexually frustrated relationship between Antonio’s sister and his father. Incestuous desires are expressed, sometimes in hatred and sometimes in stymied love. Undercurrents also flourish between Antonio’s doctor and his would-be publisher, Hugo.