The Odessa playwright, under the office of a healer who promises to rid everyone of all ailments, gathers a line of sufferers - a whole gallery of modern social types: here you have a businessman, a tax inspector, a journalist, an artist, and a judge. Advertising agents, firefighters, musicians and even sanitary and epidemiological station workers enter the room - more than thirty characters played by twenty-two actors. The playwright reduced this entire series of fairly accurate social portraits to the plot of a Christian myth: when, after a long and grueling wait, the Savior finally appears - a doctor deprived of the right to practice medicine, but capable of healing and even resurrecting - people naturally betray him. Apparently, it was the gospel myth and the preaching of modern Christ that were the main meaning and goal of the author’s dramatic work.