“Siret Campbell’s play “Beatrice”, which won the latest Cultural Endowment of Estonia’s Award for Drama, is like a domestic version of the “Black Mirror”, grimly questioning whether the technological developments that make our lives ever simpler actually agree with the deepest nature of a human beings.” – Maarja Helena Meriste, Estonian Literary Magazine, no. 2/18

The story takes place in the near future, when the recording of consciousness is only a new step towards the improvement of life and the attainment of immortality. People live their lives and dream of dreams. Kristi and Tom’s dream for some time has been to have a baby. Now this dream is coming true – Kristi is pregnant. But then Kristi suffers a fatal car accident. However, the baby survives. Along with Kristi’s death report, Tom receives information that the woman had saved her consciousness. This consciousness is handed over to Tom in the form of a tiny chip.

The chip can be used to communicate with Kristi through the audio system. Tom activates Kristi. Everything in their communication sounds as if Kristi really exists. Kristi can make jokes, sing lullabies to her baby girl, and be there for Tom.

Soon Tom realizes that hearing Kristi is not enough, he needs her by his side. Digitized consciousness can be transferred to a surrogate body. Tom sees no other optio. Without talking to Kristi, he chooses a new body for her. It’s not identical to Kristi’s, but it’s a body of a woman Tom could imagine beside him. This new reality – a woman who has an unfamiliar body but Kristi’s consciousness – is about to enter into Tom’s life. It’s supportive and good for Tom, but also strange and unfamiliar. Both are doing their best to live family life in this way. But what does identity consist of? What makes a relationship? To what extent are body and consciousness interconnected?

The story doesn’t end well.

But not badly either.