The play is set against a postcard—specifically, a photograph made back in 1981, in Hong Kong, by Index G’s Lee Ka-sing.  One character has been added—a hero-worshipping boy--—in order to engage Ka-sing’s strongman in conversation.

STRONGMAN (momentarily diverted from his narcissism by the boy’s presence):  What are you looking at?

BOY (nervous but unafraid):  You, sir.

STRONG:  Because of the splendor of my physique?

BOY (half-relieved):  Yes, because of the harmonious massing of your muscles and the corded, twine-like tensility of your tendoning, and the highway mapping of your veining and arterializing.

STRONG (impressed):  Quite a mouthful!

BOY: But earnestly and respectfully meant, sir.

STRONG:  I daresay.  So tell me, young aspirant, are you eager to be everything you can possibly be?

BOY:  Not everything, sir.  I don’t want to be a psychopath, for example, though I fear I could easily become one. 

STRONG (flexing in the offshore breeze):  What then?

BOY (shyly):  Well, I wouldn’t mind being a drawing—like you.

STRONG (aghast):  Drawing!!??  What the hell are you talking about?

BOY (surprised at the Strongman’s reaction): Well, you know—flat and sharply cut out.  A rhythmic aggregation of angles, propped against the messy roundness of the real world.

STRONG (a bit defensive): You’re crazy, kid.

BOY (thoughtfully):  Not yet.