The American playwright John Pielmeier read one day in a newspaper that a corpse of a baby had been found in the cell of a novice nun. Although the event itself did not particularly attract his attention, he became interested in the possibilities for reflection aroused by the article. He started writing Agnes of God, spurred on by the questions of whether saints exist in today's world and if miracles are possible in a society that is defined by secularity. The characters in Agnes de Dios, Doctor Livingston, who has abandoned her religion after receiving a Catholic education, and mother Miriam, who becomes devoted as a last-ditch attempt to free herself from the world, her demons and the flesh seem to embody the two focuses of the drama: rationalism and faith. The terrible event shakes up the weak foundations of both of their beliefs.
Who was the man who entered the convent and seduced Sister Agnes? Or was she the seducer? How was it possible that none of the other nuns realised that Sister Agnes was pregnant? Is it true that even the nun herself did not know? Was the baby conceived by divine intervention? Was it God, just as Sister Agnes stated, who strangled this child conceived by a fallen angel, to take it immediately into his divine presence? Crime or miracle?

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