1.

ACT I
Scene 1
The First Car
Here is a lavishly decorated train car with red
plush seats, polished wooden walls, and tables for
each row of passengers which face DS. Everything
is trimmed with a lining of gold leaf. A royal
blue carpet runs down the center aisle which
reaches from USC to DSC (the stage is on a slight
slant, allowing for full view of the space). The
quiet drone of train wheels turning goes on
without interruption, as if theyve been in motion
for years. An elderly man sips soup and reads a
newspaper a few rows from the back, coughing
periodically. Liquid continually drips off of his
spoon and onto his napkin which has been tucked
into his blazer. He jumps slightly every time this
happens. ARTHUR and JENNA sit tensely in the front
row DSL, poised and unspeaking. She stares
intently at a pamphlet that appears to be without
any words. Arthur opens his mouth to speak, then
quickly decides against it, restoring his
composure. He does this once again, more quickly
this time, increasingly in distress. His final
decision to speak only comes with a somewhat
unexpected burst of courage.
ARTHUR
What made you so sure?
JENNA
(Cooly) Sure of what, lovie?
Pause. He does not want to give into her power,
but he wants an answer as much as he want to be
"right." She continues to look down at the
pamphlet.
ARTHUR
A little self-possessed, dont you think?
JENNA
What was, pumpkin?
Pause again. He looks away in defiance. Jenna
folds the pamphlet calmly and places it in her
lap.

2.

JENNA
What was self-possessed Arthur?
He doesnt respond.
JENNA
Its not self-possessed if its true. Matter of fact is
that you followed me onto the train, theres no
debating that.
ARTHUR
Im not debating anything.
JENNA
Oh, for Christs sake!
ARTHUR
All Im saying is, you had no reason to believe that
Id follow you onto the train, yet you sit here and act
like Im your... your trained monkey or something.
JENNA
(Affectionately) You are my little trained monkey,
darling.
He beats her hand which has been making its way
towards his face away.
ARTHUR
Stop.
JENNA
(Genuinely hurt) Whys that?
ARTHUR
I was trying to save you, not follow you.
She laughs sharply, yet not necessarily with
malice.
JENNA
Grand job you did at that.
Arthur turns away pointedly,
at Jenna a few times, who is
turned away from him reading
more, willing her to tend to
up:
JENNA
Need anything, dearest?

annoyed. He glances
also deliberately
the pamphlet once
him. Without looking

3.
He holds his tongue and stares right at her. She
returns the look sarcastically. Suddenly, the
trains wheels suddenly squeak to a halt, causing
the pair and the old man to lurch forward
slightly. They steady themselves on the seats or
small train table in front of them. The couple
peers curiously out the window. In a moment, a
door slides open DSR, opposite of where they had
been looking. The conductor hops in, grinning as
he carries a suitcase in each hand. He places them
in upper compartments above their heads, then a
lady in her thirties with a large baby bump
appears in the doorway after him. A scarf is tied
under her chin and she wears a long baby blue coat
with boots, tights, and mittens. The woman stares
hesitantly around the car, floating on the edge of
the threshold.
CONDUCTOR
Theres a seat right here for you, maam.
She blushes and bows her head as she moves to sit
across the aisle from the couple. Her hands fiddle
uncomfortably in her lap.
CONDUCTOR
Passport?
MAAM
S-sorry?
CONDUCTOR
Your passport, maam.
MAAM
Oh! Oh, oh, oh.
She fumbles with her pockets, struggling to remove
her mittens. The passport is guiltily retrieved.
CONDUCTOR
Thank you maam.
With a flourish, he stamps the book, then hands it
back with a grin.
JENNA
(Quietly) You ever seen such a shy thing? And for her
age too.
ARTHUR
You expect the world to be filled with poets, thats
your problem.

4.
JENNA
But just to think that shes going to be a mother, you
need some willpower, dont you think? Well, at least,
thats what it appears shes en route for.
ARTHUR
Looks like twins to me.
MAAM
(Not turning to face them yet) They are.
JENNA
Could you imagine? Two little bundles ofMAAM
(A little louder, yet more to herself) They were.
Jenna cuts of short, uncertain if she is being
addressed.
JENNA
Oh? Well congratulations, that must be quite the feat
toARTHUR
"Were," did you say?
JENNA
What?
ARTHUR
"Were." She said they "were" twins, not "are." Didnt
you say that, maam?
MAAM
Yes, yes they were.
JENNA
(Dawning realization) Oh. Oh dear did you... did
they...
MAAM
Yes. (Sadder) Yes.
JENNA
(Looking at her pregnant stomach) Recently?
Quicker realization as rises as if to help the
woman.
JENNA
Oh my dear why are you on a train? You shouldnt be
here, you should be with your husband!

5.
MAAM
I want to be with my girl.
JENNA
(More of a statement) Your girl?
MAAM
The one who didnt make it. My girl.
Jenna is not quite sure how to handle this
situation. She turns to Arthur for backup.
JENNA
Maam, perhaps you should lie down? It must be the
exhaustion, youre not thinking straight.
MAAM
Im quite fine. I need to be with my girl.
Jenna turns exasperatedly to the conductor, who
has been watching on with solemn acceptance. This
is not new news to him; hes seen this similar
instance occur many times before with many
different types of players.
JENNA
Sir?
CONDUCTOR
Leave her be.
JENNA
Help her!
CONDUCTOR
I cant.
JENNA
Shes clearly in distress, she doesnt know what shes
talking about! Arthur? Arthur! Make him help!
He only motions for her to sit back down, lovingly
reaching out a hand to hold hers. She looks
between the men in disbelief, undoubtedly
distressed by this interaction.
JENNA
Men.
MAAM
Sir? How long until I see her?
The conductor pulls a pocket watch from his coat
pocket and reads the time aloud.

6.

CONDUCTOR
Only 23 hours, maam.
She settles back into her seat, a bit more
comfortably, contently determined. Jenna, whose
eye have been trailing around the train cabin as
if looking for clues, furrows her brow, turning
her focus into herself. She looks at Arthur, as if
expecting him to have felt some disturbance as
well. She shifts suddenly, grabbing his forearm
tightly.
JENNA
Where are we going.
ARTHUR
Now?
JENNA
Yes. Where are we going now.
ARTHUR
Where Ben is.
JENNA
Wheres Ben?
ARTHUR
O-on the other side of the tracks?
JENNA
Yes yes but do you know where that is exactly?
ARTHUR
Well I... (suddenly confused) Come to think of it, I
dont know where wereJENNA
(To the conductor, who is calmly staring ahead) Sir?
Sir, where are we headed?
He does not appear to hear her.
JENNA
Where is this train taking us?
ARTHUR
Sir, she asked you a questionJENNA
Where are you taking us?

7.

The door at the back of the cabin opens and three

waiters dressed in white cooking attire waltz out
carrying silver covered trays. White cloth napkins
are draped over their arms and they hold their
grinning faces up high. Maam leaps up in surprise
as one of the trio sets the needle of a record at
the back of the train down to begin a song,
subsequently causing anyone to speak later to
raise their voices to just below a yell in order
to be heard over the noise. The trio move to each
set of passengers on the train, uncovering their
dishes and sliding them onto the tables in front
of them. A fresh pot of soup is placed in front of
the now very joyful old man. Maam gasps in
childlike excitement as a tray of oatmeal with
blackberries and milk is given to her. Two covered
platters are placed in front of Jenna and Arthur,
one for each. They glance at each other in
confusion. Two waiter come to simultaneously
reveal the food under the two lids.
ARTHUR
Pear danishes?
JENNA
And yorkshire pudding.
ARTHUR
...I dont understand.
CONDUCTOR
Its the first round of your final supper, eat up while
you still can!
Maam and the old man have joyfully dug into their
plates as the three chefs circle quickly around,
their movements almost a dance to the music
playing. They bring more and more additions to
their plates- fine napkins, silverware, flukes of
champagne, vases of single roses, candles,
doilies, etc. The conductor has taken up residence
in one of the rows of seats, animatedly reading a
newspaper. The two stare at their food in total
disbelief. Jenna breaks out of her stupor and
glances around widely to make sense of the scene.
She approaches the conductor and Arthur looks on.
JENNA
Sir? Sir, I have a question.
The conductor looks up from his paper in mild
surprise.

8.

CONDUCTOR
Yes miss? Is the food dissatisfactory? The place
setting?
JENNA
Well, noCONDUCTOR
We know you like doilies, we can bring some more out if
you would likeJENNA
Yes... No.
CONDUCTOR
Yes? No?
JENNA
If you could do something for me?
Arthur is more engaged, leaning in to hear over
the sound of the still-moving chefs and record
music.
CONDUCTOR
And what may that be, miss?
JENNA
Id like to know if... we... I could have a beef
wellington instead?
CONDUCTOR
A... what?
JENNA
A beef wellington, I said. Id like a beef wellington.
He is greatly taken aback. In frustration, he
marches back to the record player, lifts the
needle off, the returns to Jenna, planting himself
firmly in front of her.
CONDUCTOR
A beef wellington, you said?
JENNA
A beef wellington.
Beat.
CONDUCTOR
And why do you want that, exactly?

9.

JENNA
(Humoring him) Well, you did say that this would be our
last meal, I may as well eat something I like...
Her eyes drift back to her seat, where she has
left the blank pamphlet. She grabs it quickly to
show to the conductor.
JENNA
And the pamphlet said that wed be served only the best
for our individual pallets, so I assumed that this
meant only our favorite foods.
CONDUCTOR
Well yes, of course thats what we mean. (Growing
inquiry) Are you meaning to say you dont in fact like
what weve served you?
JENNA
Well, no. Not really.
The conductor, hardly missing a beat, purposefully
walks to the front of the car. He pulls out a big
wooden box from under a seat, then methodically
leafs through it until he comes upon a file marked
"January 12th, 1929." The conductor runs his
finger down a list of some sort, his eyebrows
furrowed in concentration.
CONDUCTOR
Youre not Ms. Vanderbilt, are you?
JENNA
No sir.
CONDUCTOR
Ms. Birling?
Maam lifts her head from her food a few rows
back.
MAAM
Thats me!
JENNA
Not me.
CONDUCTOR
(Concerned) Ah. (He continues to look) Ah! Here we are,
Ms. Jenna Lenox from Parpaduke, engaged to the late Mr.
Arthur Sinclair, favorite meal: yorkshire pudding with
a side of gravy and champagne. See? I have it all down
so I wont forget, there are so many of you that its

10.

CONDUCTOR
hard to keep track- not that any of you are less
important than the next!
ARTHUR
Any of us?
JENNA
The late Mr. Arthur Sinclair?
CONDUCTOR
Yes and yes.
JENNA
Whats in that folder.
Without an answer, she rises to inspect it for
herself, flipping through the pages. He speaks
matter of factly, surprised but not condescending
about the fact that they did not know this
information.
CONDUCTOR
The dead.
Jenna and Arthur are quiet, frozen in a baffled
suspension.
CONDUCTOR
Or deceased, pardon me. Its hard to know which term to
use around which people. Didnt mean to offend.
The two look down, completely unable to make sense
of the situation. Jenna continues to flip through
the folder.
JENNA
(Reading) Jenna Lenox from Parpaduke. Well loved by
both mother and father. Popular on the playground for
extensive talent of chalk portraits. Recent primary
school graduate. Tremendously instinctual, yet
indecisive. Favorite smell: wet concrete. Favorite
sound: silence. Favorite food: Yorkshire pudding.
Age...
ARTHUR
What kind of sick jokeJENNA
Age: inevitably forever.

11.
CONDUCTOR
(Really for her well-being) Ill be taking that back
nowJenna pulls away, clutching the folder.
JENNA
We arent dead.
CONDUCTOR
Everyone on this train chose to be in some way or
another. They may not have understood the full
magnitude of what that would entail, were all here
now.
JENNA
I didnt choose to be dead.
CONDUCTOR
But youre here now. You must have chosen something.
CONDUCTOR
If Im going to be frank with you, miss, your decision
isnt a terrible one, regardless of whether or you
remember making it or not. Those of us who choose to
die arent all looking for the same thing. I may be
running away from freedom and loneliness, you may be
running to it.
Shes still looking at Arthur, who stares steadily
out the window. Maybe he cant hear the dialogue
around him.
ARTHUR
You never told us what that destination is, sir.
CONDUCTOR
We wont know until we get there.
JENNA
Arthur is labeled "late" in those papers of yours, but
I am not?
CONDUCTOR
Arthur had made a conscious decision to leave while you
were subsequently dragged along by choosing not to
leave Arthur by any cost. Unfortunately- or
fortunately, dont want to make assumptions- that
"cost" was you ending up on this train.
ARTHUR
I decided to leave my current life behind, not to...
come here.

12.

CONDUCTOR
Perhaps the universe had run out of paths for you to
take.
ARTHUR
I dont believe that.
CONDUCTOR
Odd, considering the situation youre currentlyARTHUR
No! No no no, I left for chance of a better existence,
not the end of it.
CONDUCTOR
You left for the unknown, and thats what you got.
ARTHUR
Well I want something else.
JENNA
Thats not how life works.
The three waiters, who have been standing at the
back of the car professionally poised, exit
through the back one by one. Maam begins to cry
softly. They all notice. Arthur stands, turns with
a look to Jenna, then slowly walks over to Maam,
sits next to her and puts an arm around her. She
melts into it. Conductor looks at Jenna with slow
intensity as she places the folder back in its
slot. Maam has stopped crying.
CONDUCTOR
Id savor these next few hours.
Lights fade with the sounds of the train.
The Sleeping Are But Pictures
The company (minus Conductor) are all in their
respective seats, comfortably asleep in their own
ways. The faint rumble of the train rolls on, but
any noise seems to be drowned out by the extreme
quietness in which Jennas presence protects
Arthur, who is asleep on her lap. It is night.
Jenna turns her gaze away from the world rushing
past outside to the man beneath her, appearing
boy-like in his vulnerable state. She removes his
head from her lap and lays it gently onto the
seat, then moves quietly towards the box of
folders once again, plucking hers and Arthurs out
from the group. As if it were about to fall to

13.

bits any moment, she carefully compares the two.

The Conductor enters quietly from the back of the
car, standing for a moment like a grandfather at
the sidelines of a family reunion- he is distant
but taking in every movement, or lack
thereof. fully understanding whats about to
unfold as he walks up behind Jenna.
JENNA
I havent liked yorkshire pudding in years.
CONDUCTOR
My guess is that you havent been to primary school
since then either, have you?
Things soften.
JENNA
I hardly had one lunch period to myself. Theyd always
surround me with commands asking me to "draw them
first! Draw them first!" They were beautiful portraits,
even if they were in pastels. I spend all my younger
years creating something for others that would wash
away in hours.
CONDUCTOR
Like writing.
JENNA
Yeah?
CONDUCTOR
Most books arent read more than once. Its a fleeting
life to be a singular word in story- not only are the
stories they created in a day or two, but all the
building blocks it took to write them? Never again.
Think of all those "I"s and "you"s and "and"s. Youll
never remember them, even if you tried.
JENNA
Nothing stays.
CONDUCTOR
Except impressions. Im sure those kids all remembered
how special they felt when they were inducted into your
sidewalk museum. Thats what lasts. Perhaps its why
youre here in the first place.
JENNA
How so?

14.
CONDUCTOR
Well, though you may not know the precise reason of
jumping onto this train, in actuality there were
hundreds of impressions, the "I"s "you"s and "and"s of
your lifeJenna looks over at Arthur, who is asleep.
-that built up over the years into your final story. Or
in this case, your rather suicidal, imminentJenna looks over to him sadly. She knew it.
CONDUCTOR
It happens on accident more than youd think. Try not
to be sad.
She moves to Arthur, thenCONDUCTOR
But I would say my goodbyes now.
The darkness fades to black, and the rumbling
becomes a hum of sleep.
Passport
The woman, old man, Arthur, and Jenna line up in
front of the conductor, all weary from the
morning. They do not engage with each other,
rather stare at eye level, a solemn film covering
their eyes. Jenna and Arthur huddle close
together.
CONDUCTOR
Alright, Ill be asking each of you to provide your
passport for me to stamp and coats please, and then you
will be off.
MAAM
Passport? I didnt know I had toCONDUCTOR
You dont have to do anything, just know what you want.
MAAM
What?
CONDUCTOR
Your daughter, perhaps?
She stares blankly as he reaches into her coat
pocket to retrieve a small blue passport and reads
from inside the cover.

15.

CONDUCTOR
"Anna Birling, 32, born in Bath, driven to death from
guilt of deceased daughter, Quinn Birling, 26 minutes
old."
She snatches the passport, staring at the
conductor in heated defiance.
CONDUCTOR
Ready?
The old man moves forward from the back of the
group, and in happy acceptance, he hands over his
passport which the conductor stamps and returns.
CONDUCTOR
Wartime regrets, eh?
OLD MAN
And now Im repaying the favors that are due. Theyll
be made, Im making sure of it.
With a quiet smile, he struggles to remove his
coat like his last breath and stares at it as if
its a burden hes carried since birth. The door
is opened, and he continues to slowly walk through
the darkness once he leaves the train structure to
DSR, where he stands motionless, staring out above
the audience. After a moment, the conductor holds
out his hand for Maam to offer up her passport,
which she reluctantly allows him to stamp. She
wraps the coat closer to her body and with a nod,
hurries to slip out the door, but is stopped by
the conductor.
MAAM
For my girl, please- Id like to keep it for my girl.
CONDUCTOR
You wont be needing that here.
MAAM
Shes here, isnt she?
He considers this, then pushes her away. She
stumbles out of the train, staring all around and
makes her way next to the old man, staring in
wonderment in the same direction.
Arthur has reaches the front of the line, then
stops suddenly, a look of confusion gracing his
face. He looks at the conductor.

16.

CONDUCTOR
Your back pocket, sir.
Arthur pats his pants frantically then stops as he
realizes that there is in fact a passport in them.
He draws it out and after a backwards glance to
Jenna who nods encouragingly, hands it over to be
stamped. The conductor reads the inside with a
smile.
CONDUCTOR
"Arthur Sinclair, 26, born in Norwich, driven to death
by lack of motivation, direction, and a certain woman
often met at a certain cafe on Saturday mornings while
your wife, Ms. Jenna-"
ARTHUR
Stop! Stop.
Jenna looks on in muted disbelief. He avoids her
gaze, thrusting the passport forward as if to cut
her off. There is a certain relief he feels once
it is stamped, as if he had expected it or himself
to explode when done. He steps to the side to
allow Jenna to step forward. Much more confidently
than Arthur, she pats her pockets as well in her
dress and coat. When it appears that there is
nothing there, she laughs quietly and rechecks.
She rechecks again, then quickly opens the small
purse that hangs around her neck, obviously too
small to hold a passport. She digs, then lowers
herself to the train floor and dumps the purses
contents out, spreading them around as if it may
be hiding under the small trinkets inside. She
looks up at the two men.
CONDUCTOR
Not there?
JENNA
Not that I can see, no.
Beat. He already knows the answer.
ARTHUR
Why doesnt she have it? I thought you said once we
know what we want well find our passports.
CONDUCTOR
Its true.
Beat.

17.

ARTHUR
So where is it!?
JENNA
(Quietly) I dont have it, Arthur.
Arthur looks back and forth between the two,
exasperated. He wants to get out of here.
ARTHUR
What do you mean, thats impossible- you know your
grievances for leaving this train so lett go.
The conductor grimaces, lowering his head.
JENNA
I cant, Arthur, Im sorry.
She begins to tremble and gathers up the items
strewn across the floor as she speaks, then
stands.
JENNA
Im sorry Im sorry Im so sorry.
ARTHUR
I dont understand.
JENNA
Ive fallen in love.
ARTHUR
What?
JENNA
Ive fallen so incredibly in love with life, Arthur and
youll never understand that. Its impossible to see
things the way you do, I dont look at whats big so
nothing ties me down. I love everything small; I love
the feeling of our bed when it gets unexpectedly cold,
other peoples discoveries, that I can hold book in my
hands and know that it holds the power to change minds,
the five minutes in the evening when the sun just hits
the bedroom window to engulf it in a thousand colors at
once, how your eyes light up when you sing. I love
love, Arthur, and thats more than enough to keep me
looking for what comes next. Im only sorry that it
took me this long to figure out.
ARTHUR
If you love love so much, then get your damn passport
and come with me.

18.

JENNA
But thats security. I cant love that.
ARTHUR
What about me?
JENNA
Who knows. I know what I want. I want to stay.
The train whistle blows, causing Arthur to jump.
He looks to Jenna expectantly.
CONDUCTOR
Time to go.
They hold each others gaze as they get close
enough to feel each others breath. Arthur spins
on his heel, salutes the conductor, and
purposefully makes his way to the others outside,
matching their gaze.
The train lurches and the trio grab onto the walls
to steady themselves. The train picks up speed as
they stand in silence for a moment.
JENNA
Will he remember me?
CONDUCTOR
Im afraid there wont be any him left to do much of
anything.
The train whistle blows twice. The cast, who has
assembled in a tight group DSR looks up and out
over the audiences, into the train windows. Jenna
looks out the first window in the train car. The
wheels begin to turn slowly, and the group minus
Arthur slowly makes their way across the length of
the stage, waving through the window at Jenna, who
waves back. The train picks up speed. Once they
reach DSL, they stop, still looking over the
audiences head. They are in the shadows now.
Arthur remains DSL, also looking up, not moving.
He is also in the shadows.
Jenna takes one last look out the window, then
returns to the front of the car.
JENNA
Where to?

19.

CONDUCTOR
The beginning.
He hands her a conductors hat, which she
straightens onto her head. They hold each others
stares. Lights go down.