The three most revered marabouts (holy men) in the country leave paradise for earth to answer the prayers of a poor water carrier. They arrive in a land in the grips of famine, where the only person to show any hospitality is a blind woman willing to sacrifice her only possession, her goat. In return, the marabouts shower her with gold with the condition that she use it to do good. The woman fulfils her task, saving the country from famine and spending her money freely. However, her charity begins to have serious side effects that call into question the real nature of good and evil.

Of all Kaki's plays, Le porteur d'eau et les marabouts bears the clearest hallmark of Bertolt Brecht. The story in many ways reflects that of The Good Person of Szechwan, which Brecht based on an old Chinese folk tale. However, at the time of writing Le porteur d'eau et les marabouts, Kaki was more than a little surprised to discover that the Maghreb already had its own version of the Chinese tale. Kaki's work thus draws on two sources: a local legend - a folk tale woven around the saintly Marabouts - and Brecht's play, itself a modern version of an old folk tale.
The play revolves around two main themes: narrative structure (form) that draws on epic and dramatic styles of storytelling, and reflection (content) that highlights the contemporary categories of ethics and morality.
After Kaki's first plays, which comprised his 'political trilogy' (Le peuple de la nuit, 132 ans and Afrique avant un), Le porteur d'eau et les marabouts forms part of a new 'fantasy trilogy', including Diwan El Garagouze (The Green Bird), A chacun son jugement and Le porteur d'eau et les marabouts.
These last three plays underline Kaki's mastery of the art and highlight his view of theatre: a story that subjects reality to highly perceptive, often fierce, scrutiny and which draws on fantasy quite 'naturally', not to make the show more entertaining, but to lend the subject the strength and scope of universal criticism.