Locked - Pathways Draft 5 (11 - 30 - 23)

LIBRETTO & VOCAL BOOK
PaThWaYs
A New Musical
Music & Concept by

Ethan Clark Davis
Book & Lyrics by
Ryan P. Kennedy
Additional Music & Lyrics by Script Supervision by

Matthew Sullivan Kyle Hejlik
Loosely inspired by the International Baccalaureate’s ‘Theory of Knowledge’ course,

originally designed by Robert Leach and Desmond Cole-Baker.
This is an unpublished piece still under
development.
Any and all changes/additions to the music, lyrics,
or
Dialogue of this play are to be made and/or
approved
by its Authors.
This Play is the intellectual property of Ryan P.

Kennedy
and Ethan Clark Davis under international copyright
law.
-i-
© Davis & Kennedy 2023 PATHWAYS v. 11.30.23
“To laugh often and much: To win the respect of intelligent people and the affection
of children, to earn the appreciation of honest critics and endure the betrayal of
false friends; to appreciate beauty, to find the best in others, to leave the world a
bit better whether by a healthy child, a garden patch, or a redeemed social
condition; to know even one life has breathed easier because you lived.
This is to have succeeded.”
- Ralph Waldo Emerson
- ii -
Cast of Characters
(4m, 3df 1nb, all are ~25, of any ethnicity, LUKE has an English accent.)
EMMA (imagination) — Brilliant and driven, but stubborn. Lost in her own
world. Knows what she needs, not how to get it. First person to tell you that you
have something in your teeth. Struggling composer in Ann Arbor, MI.
Roommates with ELISE. Mezzo. Guitar/piano.
ELISE (emotion) — Passionate people-pleaser. Mom friend. Your biggest, most
aggressive cheerleader. Reads people very well, or does she just think she does?
Public first grade teacher in Ann Arbor, MI. Roommates with EMMA. Mezzo.
BAILEY (faith/belief) — Optimistic, but unsure. A little naive. Will punch
someone for you, but wouldn’t dare to send back bad food at a restaurant. A very
tired, post-pandemic nursing student in Manhattan, living in Brooklyn, NYC.
IAN’s sibling. Alto.
MITCHELL (memory) — Reserved and internal. Inexplicably alluring. Deeply
self conscious, but not particularly self-aware. Recovering addict. Successful, at
the cost of himself. Quickly rising through the ranks of the EPA in Manhattan,
NYC. Baritone.
LUKE (language) — Observant and eloquent, but soft spoken. Old soul with a
lot of soul. He has a not-so-subtle superiority complex. Translator for the French
embassy in London, UK. Roommates with SPENCER. Bass.
SPENCER (sense perception) — Inquisitive, witty, and flamboyant. Deeply
committed to the bit. A class clown who maybe isn’t quite as sure of himself as he
seems. Grad student/actor in London, UK. Roommates with LUKE. Tenor.
LORIE (logic/reasoning) — Analytical and careful. Kind, but guarded. She plays
by the rules, and doesn’t like when others break them. Booksmart, but not so
streetwise. Runs a business and lives with/is engaged to IAN in Atlanta, GA.
Soprano.
IAN (intuition) — Handsome, brash, and impulsive, but with a heart of gold. A
Prince Charming who more often than not, needs the princess to save him.
BAILEY’s brother. Runs a business and lives with/is engaged to LORIE in
Atlanta, GA. Tenor.
- iii -
Ensemble
(Eight performers who represent the eight Ways of Knowing. Any race/gender.)
EMOTE — ELISE’s Emotions.
IMAGINE — EMMA’s Imagination. Proficient piano.
REMEMBER — MITCHELL’s Memories.
BELIEVE — BAILEY’S Beliefs.
SENSE — SPENCER’s Perceptions. Acrobat/tumbler.
SPEAK — LUKE’s Language.
THINK — LORIE’s Reasoning.
ACT — IAN’s Intuition.
Orchestration
CONDUCTOR/PIANO
VIOLIN 1
VIOLIN 2/CELLO
GUITARS (ACOUSTIC/ELECTRIC)
(One acoustic played onstage by EMMA.)
BASS
REED (SAX, FLUTE, PICCOLO)
PERCUSSION 1 (KIT)
PERCUSSION 2 (ACOUSTIC RHYTHM)
KEYBOARD
(Only played onstage by EMMA, MITCHELL, and the performer playing IMAGINE.)
When
Late Spring of a year in the early 2020s.
Where
A cabin on Lake Michigan.
- iv -
Important Notes
There are eight different Ways of Knowing (WoKs): Emotion, Imagination, Memory,
Belief, Language, Sense Perception, Logic, and Intuition. These provide a basis for how
humans attain and express personal knowledge.
The Ensemble of this show can be tricky-–they represent each Way of Knowing,
personified. They do not need to look like their character counterparts physically, so do
what you can in costuming, staging, choreography, etc., to make the parallels as clear as
possible to the audience. Their entrances/exits are never marked, so you may benefit from
keeping some or all of them onstage the duration of the show.
On casting, we ask that you cast appropriately based on who fits best the part, but ideally
have a makeup of actors that represents a full spectrum of identities. The ensemble’s
vocal parts are not tied to a specific track, so put them wherever they need to be.
BAILEY is a nonbinary character and we encourage you to cast them as such. LUKE
does not need to be an English actor, as long as his accent is convincing.
About the Movements: these are left open on purpose. Utilize the music, and more
importantly, the performers, to devise meaning from the short descriptors we give. You
may benefit from using “Reunion” as a way to explore the characters’ history, and
“Revelation” as an epilogue of sorts. We only ask that all Movements are entirely
wordless, and that in “Revelation”, no characters die.
On stage directions: They’re there if you want them. Mostly because they make sense, but
they’re not the word of god. For your convenience (and because I am a raging
anal-retentive), in stage directions, character names are capitalized and in bold and set
pieces are capitalized.
On the set: Yeah, we wrote this with a second level in mind, (the forest trail scene, several
“upstairs” and “downstairs” cues), but, by no means does this mean you cannot put on a
minimalist version. As long as the story is there, the rest will follow. Be creative, and by
god, use the ensemble!
On dialogue: The play should move fast and feel real, but this is a musical. It’s not a
naturalist piece, and it won’t work if it’s played like one. These characters have wit, but
they are not cynical. They are, like you and I, just trying their best. Lines between “/”
marks indicate overlapping dialogue.
- iv -
A Note From the Playwright

PATHWAYS was originally conceived in a Syracuse University freshman dorm study
room in February 2022, though Ethan had musings of it for a few months prior, after taking the
IB Theory of Knowledge course in high school. He had just witnessed a comically overblown
argument about the existence of god between me, our friend Will Nissen and our collaborator
Kyle Hejlik. He sat back silently and watched the entire argument play out before the three of us
calmed down, then he showed us this hilariously complicated chart and said, “Ryan, I want you
to write my musical.” I replied, “That’s a musical?”
What then came out of the next hour and a half was a crazed brainstorming session
developing a title based on Ethan’s original plot outline (which is, not shockingly, very different
from the product you see here), titled “Flow of Knowledge: The Musical (Working Title)”. I
suggested“Pathways”, because I thought it sounded cool and no other musical had that title. I
guess I was the one with a knack for naming, because Ethan then pointed out how the word has
eight letters, like the eight characters/ensemble performers/band members/WoKs, has to do with
the brain (neural pathways), the idea of choices in life that lead us down different “paths” and a
million other ways he was smart enough to figure out. I wasn’t, but the fact that he had such a
firm grasp on a truly original concept, casually up his sleeve, with so much thought to back it up
pulled me on board instantly. He is also such a soft spoken guy that when he gets excited, you
really want to listen.
I became obsessed fast.The first draft of this libretto was conceived and written in just
eight months from April to December 2022, during our sophomore year of college. I initially
wrote each character in the voice of my college friends, which quickly became as disingenuous
as it became dangerous. Sure, write what you know, but don’t let your perceptions of real people
warp based on what you’re writing, and definitely don’t treat your friends like characters in your
play. That kind of consumption and distortion is, unfortunately, a scary byproduct of creating art
for some of us maladaptive types (hell, Sondheim wrote at least one whole musical about it!).
After dropping that obsessive over-realization, my first spark of inspiration for the project
proper came from the Emerson quote in the pages above this one. That was a favorite of a very
dear friend of mine, Russell Adair, who left us far too early in June of 2017. He was a complex
man who lived by simple rules. He just wanted to let those he loved know that they were. I
remember him, in his hard-ass way, affording me some of that when he taught a 12 year old me
how to use a grill, and after about an hour and a half of frustration and nearly setting fire to the
side of his house, I finally made a halfway decent steak, and he put his arm around my shoulder
and said “you’re alright, you know that, boy?”
I hope one day the actions I take have an effect on others the way his did me. I hope I’m
remembered for my impact on others. I think most of us feel the same. The hardest part of
growing up is learning that in 5, 10, 15, 20 years, not everyone I love will be around anymore,
whether by the end of their journey or simply the end of our journey together. We’re all
absolutely terrified we’re gonna lose each other, but when we use our creative outlets in this way,
to show our love, walking that tightrope between appreciation and self absorption, hopefully we
all get something out of it. Who knows? Such is the artist’s plight, I guess.
We want this show to tell the others in the same boat as us what we wish we could hear.
About love, about mortality, about life and its absurdities. We want to take a snapshot of our
lives now and imbue it into a future we can’t anticipate. We want to hold on to what we have, for
just a little longer, until, like ripples in a pond, the image is gone.
- vi -
Musical Numbers
ACT ONE
#1. “Prelude: The Pathways Unwind”..............................Ensemble..................................1
#1a. “Feeling, Trusting, Thinking, Seeing…”.................Emma, Ensemble........................2
#1b. “Emma’s Melody A”................................................Emma, Ensemble........................2
#2. “Moments”...............................................................Full Company..............................3
#3. “All That Matters”.................................................Elise & Emma.............................14
#4. “We Had an Idea…/Somehow”.............................Full Company...............................18
#4a. “Movement I: Reunion”.....................................Ensemble…………………………27
#5. “Perfect For Me”...............................................Lorie & Ian.....................................29
#6. “Late Arrival”....................................................Ensemble……..................................34
#7. “My Kinda Life”................................................Full Company...................................38
#8. “Making Sense”................................................Spencer..............................................42
#9. “My Kinda Life (Reprise)”...............................Mitchell & Lorie................................46
#10. “Somehow (Reprise)”...................................Mitchell...............................................49
#11. “The Fly on the Wall”..................................Bailey...................................................49
#11a. “Movement II: Recurrence”.....................Ensemble...............................................50
#12. “Speak the Truth”......................................Lorie & Luke..........................................52
#12a. “Emma’s Melody B”...............................Emma & Mitchell….……………….…..53
#13. “Ripples”.................................................Emma & Mitchell.....................................54
#14. “A Lovely Dinner Part I”.......................Full Company............................................55
#14b. “Emma’s Melody C”……………….…...Emma & Bailey……………………...…..66
#14a. “A Lovely Dinner Part II”...................Full Company.............................................67
#14c. “A Lovely Dinner Part III”................Full Company...............................................76
#15. “What Now?”.....................................Elise, Luke, Ensemble...................................79
#16. “Faulty Memories”...........................Mitchell & Ensemble…...…............................82
ACT TWO
#17. “Entr'acte”...............................Ensemble..................................................................84
#18. “In The Know”..........................Full Company.........................................................84
#19. “No Hard Feelings”...................Elise & Spencer.....................................................89
#20. “My Own Devices”.....................Bailey & Ian..........................................................92
#21. “Perfect For Me (Reprise)”.........Mitchell & Lorie..................................................96
#22. “Rhyme or Reason” .....................Lorie....................................................................99
#22a. “Movement III: Reflection”.........Ensemble..........................................................101
#23. “Chasing a Spark”..........................Emma, Spencer, Luke.....................................104
#24. “Bigger Person”..............................Ian...................................................................109
#25. “Heartbeat”......................................Emma............................................................113
#26. “Norman Cousins”.............................Mitchell & Ian..............................................116
#27. “To the Moon”......................................Lorie & Ian................................................119
#28. “Ways of Knowing Part I”.....................Full Company...........................................123
#28a. “Movement IV: Revelation”..................Ensemble.................................................127
#28b. “Ways of Knowing Part II”....................Full Company........................................127
#28c. “Emma’s Melody D”................................Emma…………….…….…………….129
- vii -
For Matt, Kyle, Shafiq Abdussabur, Rob and Andrea, Lynette and Elton,
Grace, Russ, the Syracuse University Department of Drama faculty, the
class of 2025, and all the 20 somethings who haven’t quite figured out
how to make it make sense.
- ECD & RPK
- viii -
ACT ONE:
#1 — Prelude: The Pathways Unwind Ensemble
Voices sing in the dark.
ENSEMBLE
ALL KNOWLEDGE COMES FROM SOMEWHERE.
A PRODUCT OF DOUBT, A PRODUCT OF CONFIDENCE,
A PRODUCT OF LOSS, A PRODUCT OF INNOCENCE.
WE ASK, WE CREATE,
AS WE UNRAVEL OUR FATE,
BUT HOW DO WE KNOW WHAT WE KNOW?
Then, lights. Eight performers suddenly appear. They are the ENSEMBLE, physical
manifestations of the eight ways of knowing: Imagination, Emotion, Reasoning, Intuition,
Sense Perception, Language, Belief, and Memory.
HOW DO WE GET IT, PROCESS IT, REJECT IT, OR ACCESS IT,
WHEN WE LIVE IT,
HOW DO THE PATHS WE TAKE TELL US HOW TO GIVE IT
THINK
A THOUGHT,
SPEAK
A WORD,
REMEMBER
A RECOLLECTION.
EMOTE
A FEELING,
BELIEVE
SOME FAITH,
ACT
PUTTING INTO ACTION
IMAGINE
OUR IMAGINATION,
-1-
SENSE
OR WHAT WE KNOW IS REAL.
ENSEMBLE
WE ALL HAVE THEORIES IN SEQUENCES, SERIES OF THOUGHTS
RUNNING RAMPANT IN OUR MINDS,
CONTAIN THEM, IGNORE THEM, BUT WHAT WILL YOU DO
IF, FOR A MOMENT, YOU LET THEM CONTROL,
LET THEM TELL YOU WHAT YOU SHOULD FIND,
AS THE PATHWAYS,
AS THE PATHWAYS UNWIND.
#1a — Feeling, Trusting, Thinking, Seeing… Emma, Ensemble
EMOTE & IMAGINE
FEELING,
REMEMBER & BELIEVE
TRUSTING,
THINK & ACT
THINKING,
SENSE & SPEAK
SEEING;
ENSEMBLE
FEELING, TRUSTING, THINKING, SEEING;
FEELING, TRUSTING, THINKING, SEEING;
IMAGINE!
#1b — Emma’s Melody A Emma, Ensemble
ELISE and EMMA’s APARTMENT. EMMA sits alone at a PIANO. She starts to play.
EMMA
FEELING, TRUSTING, THINKING, SEEING…
ENSEMBLE
IMAGINE!
EMMA
No, no, it needs something else. More…
-2-
(EMMA)
She grows more frustrated.
ENSEMBLE
IMAGINE!
EMMA
I hate the way this sounds, why do I hate the way this sounds?
ENSEMBLE
IMAGINE!
IMAGINE starts playing the piano with her.
EMMA
That’s…better? No! Dammit, come on, Emma, what are we doing?
YOU CAN’T
ENSEMBLE
IMAGINE!
EMMA
I got nothing. Nothing, nothing, nothing!
I CAN’T
ENSEMBLE
IMAGINE!
#2 — Moments Full Company
As quickly as they appeared, the ENSEMBLE is gone. EMMA is alone. She steps away
from the piano.
EMMA
I AM HERE FOR A MOMENT,
MANY MOMENTS.
MANY MOMENTS PASSED.
THESE MOMENTS,
SO MANY MOMENTS,
THESE MANY MOMENTS,
-3-
(EMMA)
NO, THEY WON’T LAST.
FLEETING MOMENTS,
EVERY MOMENT,
LIKE A MILLION MOMENTS FLOATING IN AN OCEAN,
THAT YOU DON’T GET TO SAIL UPON.
IN A MOMENT, THEY’RE GONE…
CAN I CALL MYSELF AN ARTIST

IF I HAVE NOTHING TO SHOW?
LIVING MOMENT TO MOMENT,
PRETENDING TO KNOW WHAT I DON’T?
CAN YOU CALL YOURSELF A PERSON?

CAN YOU DEFINE A LIFE IN MOMENTS?
FOR A MOMENT…
MAYBE.
ELISE enters with her bags for school. She goes to make coffee.
ELISE
Good morning.
EMMA
Morning.
ELISE
When’d you go to bed last night?
EMMA
Didn’t.
ELISE
Okay. Great. You want breakfast?
EMMA
Coffee.
-4-
ELISE
No, you need to eat something.
EMMA
Not hungry.
ELISE
Emma.
EMMA
I’m not, I promise. I’m good. I’m just thinking. And trying to write. And failing.
ELISE
I’m worried about you. You should really go to bed—
EMMA
I am fine. Elise. I will eat when I eat and I will sleep when I sleep.
ELISE
Only you could figure out how to work yourself to death while you’re unemployed.
EMMA
I thought you were going to school.
ELISE
Do something else before I get home, please. It’s cool if Amy stays the night, yeah?
EMMA
Sure…
ELISE throws EMMA a banana as she exits with her coffee. EMMA remains.
ENSEMBLE
FEELING, TRUSTING, THINKING, SEEING,
EVEN FOR A MOMENT…
IMAGINE & THINK f
TAKE A MOMENT TO IMAGINE
SENSE & BELIEVE
THE DIFFERENT AVENUES
EMOTE & SPEAK
LIFE SENDS YOU THROUGH
-5-
REMEMBER & ACT

FOR A MOMENT,
THE LIVES YOU MISSED COME BACK TO YOU.
ENSEMBLE
AND FOR A MOMENT, THE WORLD AS WHAT IT COULD BE,
NOT AS HOW YOU SEE, FOR A MOMENT
FOR A MOMENT, TRUST IN ME.
A FIRST GRADE CLASSROOM in ANN ARBOR, MI. ELISE sits at a desk with a
“world’s greatest teacher” mug filled with pencils on it and a picture of her and her
girlfriend. She is on the phone with a disgruntled parent, putting on an overly polite tone,
but desperately trying to not be interrupted.
ELISE
I know that the Board of Ed has a lot to say about this. I was on the Zoom meeting.
If there is anything I can do to help…ease your concerns, I promise I have no hand in who is
awarded teacher of the year. I want to assure you that your daughter is getting the same education
from me as anyone else at this school, and I hope it comes across as a testament to how well I do
my job that I won—
Long pause. The PARENT yells something inaudible, but aggressive.
Yes, I understand. I’m sorry to hear that. Okay. Thank you, Mr. Kaplan. I hope you have a
wonderful—
The PARENT hangs up.
IT’S A THANKLESS JOB,
A THANKLESS LIFE.
A NEW STUDENT IN,
AN OLD STUDENT PULLED.
IF ADMIN HAD HEARD
THE NAMES I’VE BEEN CALLED,
THEY’D…
NOT SAY A WORD.
BUT I’M NOT IN IT FOR ME,
I DON’T DO IT FOR ELISE,
-6-
(ELISE)
THE GIRL WHO BUSTED HER CHOPS
TO END UP AT THE PLACE SHE BEGAN.
NO, I DO IT FOR THEM,
I’M IN IT FOR THE HOME TEAM,
THE KIDS WHO GROW UP
NOT KNOWING WHEN THEY’LL NEXT EAT,
SO I CAN’T LEAVE AND I’M FEELING…
ELISE gets a phone call.
Nunu! Hi! How are you feeling? I know, I miss you too. Yeah, two more weeks in the school
year. It’s been…good. It’s good, I’m gonna miss this class. Mostly. I’m kidding. Oh sure, okay. I
know, I wish we could do another one, that sounds nice. Okay. I will. I love you. Goodbye.
BUT MAYBE FOR A MOMENT…
An ONCOLOGY OFFICE in MANHATTAN. BAILEY, wearing scrubs and a mask,
prepares to go into an exam room.
BAILEY
SURE, IT’S A LOT OF WORK, BUT HEY YOU LOVE IT.
PEOPLE APPRECIATE THE ALTRUISM, OUTWARDLY, YOU SEE,
IT’S DIFFICULT TO GET THE MOST OUT OF IT.
NURSES AREN’T HEROES, SINCE THE PANDEMIC AT LEAST.
A FEW MORE HOURS, A LITTLE REST,
ONE REPRIEVE, THAT’S GOOD FOR ME.
I BELIEVE ALL I NEED IS A MOMENT…
BAILEY enters the office, MITCHELL waits in the chair for a checkup.
BAILEY
How are y–Mitchell!?
BAILEY pulls their mask down.
MITCHELL
Bailey! Hey! Wow, that’s really funny. Small world, huh?
BAILEY
Yeah! It’s so great to see you! Is everything okay?
-7-
MITCHELL
Just a standard screening.
BAILEY
Oh, good, you almost had me worried about you for a sec.
MITCHELL
Sorry I’ve been so MIA. How’s your brother!?
BAILEY
I probably see him as much as you do at this point.
MITCHELL
Really? That’s a shame. Must be, what, then, 3 years?
BAILEY
He does Christmas with mom and I do Christmas with dad. Other than that…well, Atlanta’s not
exactly close. And he just opened his…thing, and I’ve got—
MITCHELL
I miss him.
BAILEY
So do I.
Beat.
And I missed you, Crown Prince of the New York EPA! How has that been?
MITCHELL
IT’S A LOT OF WORK, BUT HEY, I LOVE IT.
MAKING CORPORATIONS PAY,
CAN’T ALWAYS GET IT THEIR OWN WAY.
IT’S HARDER, THOUGH SINCE EVERYTHING WAS GUTTED.
THE EPA’S BEEN A HOT MESS,
I’VE GOT NO WAY TO UNLOAD THAT STRESS,
A LITTLE AT A TIME,
I’LL REMEMBER WHAT I CAN.
LIVING MOMENT TO MOMENT…
SPENCER and LUKE’s LONDON FLAT. LUKE sits alone on the couch, fumbling with
an engagement ring.
-8-
LUKE
IT TAKES A MOMENT
BEFORE IT ALL COMES CRASHING DOWN
THERE WAS ONE MOMENT, BEFORE HER SMILE BECAME A FROWN.
SHE SPOKE SO FONDLY.
SHE WAS BEAUTIFUL.
THEN I LANGUISHED IN HER LANGUAGE,
NOW I’LL NEVER HAVE THOSE MOMENTS AGAIN…
SPEAK opens the door for SPENCER. He barrels in.
SPENCER
I’m dropping out! And it’s raining and I didn’t have an umbrella and I missed the tube to class
and I didn’t get called back for the Newsies tour /and—/
LUKE
/And/ a good afternoon to you, too, Spencer. One at a time please. Why are we dropping out?
SPENCER
Just… whatever, why do you look like that? Aren’t you getting married?
Beat. LUKE tosses SPENCER the ring.
Oh shit—Clara said no?
LUKE
Clara said no.
SPENCER
So what, that—that’s it? Did you at least get a reason?
LUKE
I am “difficult to connect with”. And then, I got “It’s not you, it’s me”. “Let’s quit while we’re
ahead”. “I’m not ready for that commitment”. Bollocks.
SPENCER
I am so sorry… I was gonna complain about my day but—
LUKE (sighs)
Oh, go on then.
SPENCER
FOR A MOMENT, MY WORK WAS GOOD ENOUGH,
-9-
(SPENCER)
FOR A MOMENT, I FELT LIKE I WAS DOING SOMETHING RIGHT.
BUT APPARENTLY THE AMERICAN
IS WITHOUT MERIT AND INCAPABLE.
LUKE
WHEN YOU’RE ACTING ALL DEFEATIST, SURE,
DISAPPOINTMENT’S INESCAPABLE.
GET OVER IT, YOU’LL BE JUST FINE.
SPENCER
I KNEW IT WAS A BAD IDEA TO COMPLAIN
WHEN YOU’RE IN THIS MOOD
LUKE
IT’S LIKE ALL YOU DO IS WHINE
YOUR CAREER’S NOT ON THE LINE.
I’M SORRY FOR GRIEVING FOUR YEARS OF MY LIFE!
FOR A MOMENT, IT’S ABOUT YOU.
SPENCER
Hey, look on the bright side, you can get yourself back on the saddle! I could help you.
LUKE
What do you know about love, Action Man? Shall I ring, oh, what was she called…?
SPENCER
“Shall” I kill you?
LUKE
You have no right. You left that poor girl here running off to class, I made her breakfast, because
you can’t be bothered. Clara was my world. You’d never know what that’s like!
SPENCER
HEY, TAKE A MOMENT TO BREATHE, MY FRIEND.
I’M SORRY ABOUT WHAT I SAID.
IT’LL GET BETTER, FOR THE BOTH OF US, I CAN SENSE IT,
SO QUIET THE THOUGHTS IN YOUR HEAD.
LORIE and IAN are closing their STORE in ATLANTA. It’s been a long, hard day.
- 10 -
LORIE
Ian?
No response.
Everything’s on the books, right?
IAN
Of course, yeah.
Beat.
You okay, Lor?
LORIE
I’m exhausted.
IAN
Come here, I have something to show you.
LORIE
SO I DO IT FOR HIM.
FOR THAT LOVESICK BOY FRESHMAN YEAR,
WHO I COULD BARELY SPARE A MOMENT FOR.
HE’S ALWAYS THERE TO LISTEN,
BUT I WONDER, IS THERE MORE,
MORE THAN WHAT I SACRIFICED,
LEFT STREWN ABOUT THE FLOOR?
MORE THAN WHAT I PUT ON ICE,
THE FUTURES I IGNORED?
THOSE MOMENTS SPENT TOGETHER,
THEY’RE WORTH IT, I KNOW.
BUT I CAN’T HELP OVERTHINKING THE MOMENTS AS THEY GO.
IAN
So I’ve been emailing back and forth with Anthony from Channel 2… We’re on Clark Howard
this Thursday morning!
Beat. This is unlike him. She squeals. They hug.
LORIE
Honey, I don’t even know what to say… I think this just made my whole week.
- 11 -
IAN
Hey, I think we have a date with that bottle of Merlot and the new Drag Race when we get home.
I’ll take Benji out, you jump in the shower, in bed by 10?
LORIE
I am so in love with you it’s not even funny.
IAN
To the moon.
They kiss.
LORIE
Let me finish locking up and we’ll go, Romeo.
LORIE exits. She’s onto him, but he’s clueless. He takes a beautiful ring from his pocket.
IAN
BEFORE A MOMENT,
THE SWEETEST MOMENT,
THE BIGGEST MOMENT OF OUR LIVES,
I FEEL LIKE A KID AGAIN.
THE FEARS, I CAN’T GET RID OF THEM.
BUT IF I COULD JUST INTUIT,
LIVE IN ONLY THIS MOMENT LIKE I ALWAYS DO,
SHOW THAT GIRL HOW MUCH I LOVE HER,
GIVE HER ALL THAT SHE DESERVES, EVEN
The ENSEMBLE takes over the scene. The CAST reenters.
ALL
FOR A MOMENT, YOU’RE HERE.
MANY MOMENTS,
MANY MOMENTS PASSED.
THESE MOMENTS,
MANY MOMENTS,
SO MANY MOMENTS,
NO, THEY WON’T LAST.
AND THE MOMENTS,
- 12 -
(ALL)
FOR A MOMENT,
LIKE A MILLION MOMENTS FLOATING IN AN OCEAN,
THAT YOU DON’T GET TO SAIL UPON,
MAKE YOU WAIT FOR
LORIE
A THOUGHT,
LUKE
A WORD,
MITCHELL
A RECOLLECTION.
ELISE
A FEELING,
BAILEY
SOME FAITH,
IAN
PUTTING INTO ACTION
EMMA
OUR IMAGINATION,
SPENCER
OR WHAT WE KNOW IS REAL.
ALL
FOR A MOMENT,
FOR A SINGLE MOMENT,
A SINGULAR, STATIONARY, STABLE INCONSEQUENTIAL MOMENT
IN THE PATHWAYS OF OUR LIVES.
- 13 -
Evening in EMMA and ELISE’s APARTMENT. ELISE walks in with bags from work.
EMMA sits on the couch with her headphones in.
ELISE
Hey, how was your day?
EMMA
Same thing I’m always doing.
ELISE
I said, “How was your day?”
EMMA takes off her headphones.
EMMA
Oh, uh, fine. (Sarcastically) How was your day?
ELISE
My day was wonderful; I got called a lot of really nice names by a lot of really happy parents.
Beat. She continues putting her things away. EMMA puts the headphones back on.
Have you left the house at all?
EMMA
It was a lovely walk to the mailroom and back.
ELISE
Okay, great, and how about the UMich people? You talk to them yet?
#3 — All That Matters Elise & Emma
EMMA
It’s fine! I sent an email! It’s not like they’d even want to interview me—
ELISE
Call. Them. You need to put whatever that shit is aside, and get yourself out there—that’s the
only way more projects will come along.
EMMA
Oh, sure, I can imagine them! But will they ever happen? No!
TIMES ARE SLOW, MY CAREER NEVER BUDGES,
MY SUCCESS DEPENDS ON WHO JUDGES ME.
EVERYTHING I KNOW MUST BE RIGHT.
NEVER LETTING UP, TRY AS I MIGHT.
- 14 -
ELISE
NEVER LETTING LOOSE, PUTTING UP A FIGHT.
EMMA
Hey!
ELISE
THERE’S A REASON WHY I LOVE TO TEACH,
AND I DON’T MIND THE LACK OF SLEEP,
THERE’S COMFORT IN CONSISTENCY,
EMMA
JUST LIKE HERDING SHEEP.
ELISE
I FEEL MY WAY BY,
MIXING MY WORK WITH PLAY,
EMMA
BECAUSE ALL THAT MATTERS IS GETTING THROUGH THE DAY.
ELISE
YOU KNOW WE’RE IN DIFFERENT FIELDS,
WITH COMPLETELY DIFFERENT TRACKS.
EMMA
I NEVER KNOW MY NEXT JOB
‘CAUSE THEY CAN THROW ME OUT LIKE THAT.
SO PACK UP THE METAPHORS,
OR JUST TELL ME I’M WRONG,
‘CAUSE ALL THAT MATTERS IS FINISHING THE SONG.
ELISE
Wrong. Trust the process. You’re gonna regret spending your life in your apartment.
EMMA
MUST FEEL NICE NEVER LOOKING FOR SOMETHING NEW.
ELISE
ALL THAT MATTERS IS LOVING WHAT YOU DO.
- 15 -
EMMA
NOT TRUE.
ELISE
YOU WRITE, YOU MAKE, YOU BUILD, YOU CREATE,
EMMA
YOU NURTURE, YOU TEACH, YOU HELP THEM ON THEIR WAY,
SO THERE’S GOTTA BE MORE THAN GETTING THROUGH THE DAY.
ELISE
HEY, I WAS THINKING ABOUT A WAY
TO GET OUR FRIENDS BACK TOGETHER.
MY GRANDPARENT’S PLACE ON THE LAKE.
TAKE ADVANTAGE OF THE BEAUTIFUL WEATHER.
IT GIVES ME A REASON TO REST,
WE BOTH KNOW I’VE GOT DREAMS IN NEED OF RENEWING..
EMMA
IT’LL GIVE ME AN EXCUSE TO BE LESS THAN MY BEST,
WHICH I GUESS IS NO LESS THAN I’M DOING .
ELISE
YOU’RE GETTING ON MY NERVES.
ELISE & EMMA
ALL THAT MATTERS IS THE WORK/YOUR WORK,
ALL THAT MATTERS IS—
ALL THAT MATTERS IS—
ELISE
Come on, Emma! Take a break from taking a break? Get out of Ann Arbor for a bit?
PUT OUR MINDS ON THE MEND,
EMMA
IT'S JUST MEANS TO AN END,
ELISE
LESS WORK, MORE PLAY,
- 16 -
EMMA
STOW MY FEELINGS AWAY,
ELISE & EMMA
ALL THAT MATTERS IS GETTING THROUGH THE DAY.
EMMA ELISE
FEELING, YOU WRITE,
TRUSTING, YOU MAKE,
THINKING, YOU BUILD,
SEEING; YOU CREATE, YOU
ELISE & EMMA
IMAGINE….
ELISE
WHAT DO YOU SAY?
EMMA
HAVE YOU WORKED IT ALL OUT?
ELISE
JUST ABOUT.
EMMA
HOW LONG WOULD IT BE?
ELISE
FOR THE WEEK.
EMMA
WE’RE INVITING THEM ALL…?
ELISE
That was the plan.
EMMA
LET’S MAKE SOME CALLS!
Blackout.
- 17 -
#4 — We Had An Idea…/Somehow Full Company

Lights. LORIE and IAN’s APARTMENT. EMOTE delivers a phone to LORIE, who sits
on her couch, next to IAN. He hands her a glass of wine. They sit for a second.
LORIE
Hey, um…Are you…happy?
IAN
(Laughs) What?
LORIE
Just…asking.
IAN
Yeah, I’m happy. We never get to do this. This is nice.
LORIE (sighs)
This is very nice.
She smiles at him. They are about to kiss, when her phone rings.
Oh my god, wait.
She answers the phone.
Elise! Hi! What’s…what’s up?
ELISE
WE HAD AN IDEA!
EMMA
YOU HAD AN IDEA.
LORIE
OH YEAH, WHAT FOR?
ELISE
TO GET EVERYONE TOGETHER.
LORIE
WHEN YOU SAY—
EMMA
EVERYONE? YEAH, I KNOW,
ELISE
IT’S A TOUGH ASK, SURE,
BUT WE ALL NEED IT,
WE ALL WANT IT,
WE ALL DESERVE IT, ONE WAY
- 18 -
EMMA
OR ANOTHER.
Direct transition to SPENCER and LUKE’s LONDON FLAT. SPENCER is warming up.
SPENCER
O’er hill, o’er dale, thorough brush, thorough briar…
LUKE
You’re half-arsing your fricatives again.
SPENCER (really overdoing it)
…O’er park, o’er pale, ttthhhorough ffflood ttthhhorough fffire—is that full arse enough for
you?
` LUKE’s phone rings.
LUKE
Oh, that’s interesting.
SPENCER
What, new Tinder match?
LUKE
No, you donut, Emma’s ringing me.
SPENCER
This isn’t a bit, right? ‘Cause it’s not funny. Luke?
Beat.
Well, answer it!
LUKE
Right! Emma, are you okay?
EMMA
I’M PEACHY KEEN!
LUKE
NOT WHAT I MEAN.
BUT GO AHEAD.
EMMA
LONG STORY SHORT,
WE WANNA EXTEND
- 19 -
(EMMA)
AN INVITATION ON OUR END,
FOR JUST A WEEK,
OR MORE, WHO KNOWS?
IN MAY, I HOPE YOUR SCHEDULES WORK.
WOULDN’T IT BE NICE TO SEE OUR FRIENDS?
SPENCER
IT’S NOT LIKE I GET ANY WORK.
EMMA & SPENCER
IT’S NOT LIKE I GET ANY WORK.
LUKE
ANYWAY, THAT SOUNDS GREAT.
NOT MUCH REALLY ON OUR PLATES.
ELISE
IT’S GONNA BE A NICE, NICE BREAK!
LUKE
I’LL TAKE WHAT I CAN TAKE,
WHO ELSE IS—
EMOTE brings a phone to MITCHELL, in HIS APARTMENT, setting his table with a
bag of takeout. IMAGINE brings a phone to BAILEY, who knocks on his door.
MITCHELL
Coming!
` He goes to the door.
Hey, B! Come on in.
BAILEY
Ooh, nice place. I brought sparkling grape juice!
MITCHELL
Oh, thanks.
He takes the bottle and sets it on the table.
Man, I can’t believe we haven’t done this yet. Where are you living these days?
He sits at the table. BAILEY sits across from him.
- 20 -
BAILEY
Well, I had a studio in Williamsburg, but the building got demoed, so now I am living with four
unemployed art students in Bushwick because it was the cheapest place on Zillow.
MITCHELL
Fun.
BAILEY
Yup. I had a passive aggressive letter on my door this morning that said asking them to do the
dishes after I come off a shift at the hospital is “weaponized incompetence.” They also asked me
to join their polycule last week.
MITCHELL
What is that?
BAILEY
Better that you don’t know.
Both of their phones start to ring.
Saved by the bell! Look at that. /Elise, hey!/
MITCHELL
/Emma? How’s it going?/
ELISE
WE’RE OKAY!
EMMA
I’M OKAY.
ELISE & EMMA
WE WOULD LIKE TO INVITE YOU BOTH
TO COME STAY,
EMMA
THE HOUSE ON THE LAKE,
SHE THINKS IT COULD BE FUN,
ELISE
IT COULD BE FUN!
ELISE & EMMA
LIKE OLD TIMES, TO GET TOGETHER,
MAYBE SEE EVERYONE.
WE WERE HOPING YOU WOULD JOIN US,
IF NOT, WE UNDERSTAND,
BAILEY
I’M THERE, THAT SOUNDS AMAZING!
MITCHELL
I’LL TRY TO, IF I CAN.
LUKE & SPENCER
I’M THERE,
- 21 -
LORIE & IAN

WE’RE THERE,
BAILEY
WHY, NOT? I MEAN I’M FREE.
…NOT REALLY, BUT WE’LL SEE!
MITCHELL
WE’LL SEE.
ALL
I’VE PAID MY DUES,
PAID ALL MY DEBTS,
I COULD USE A BREAK, I COULD USE A RESET
I’LL TAKE WHAT I CAN GET,
TILL WE CAN MAKE IT OUT…
SOMEHOW!
THE ENSEMBLE returns and shifts the scenery to the LAKE CABIN INTERIOR during
a musical interlude.
BAILEY
IT’S BEEN A MINUTE!
EMMA
A LITTLE LONGER.
ELISE
HEY, THREE YEARS AIN’T SO BAD.
IAN
WITH OUR HEADS ALL UNDERWATER,
LUKE
I’VE GOTTA SAY I’M GLAD,
BUT I’M SURPRISED WE DIDN’T DROWN…
SPENCER
WE MADE IT HERE
ALL
SOMEHOW!
IAN
I GUESS WE HAD NOTHING TO WORRY ABOUT,
WE MADE THE RIGHT CHOICE,
- 22 -
(IAN)
THAT’S WITHOUT A DOUBT.
SPENCER, EMMA, LUKE
AFTER ALL OF THIS TIME,
ELISE, BAILEY, LORIE
THESE YEARS GONE BY,
ALL
IN THE PRIME OF OUR LIVES!
ELISE & EMMA
OH, IT’S HERE
AND TRUE, IT COULD BE WORSE,
IAN & LUKE
BUT AT THIS MOMENT,
I’M TRANSPORTED TO WHERE WE ONCE WERE
ALL
THOUGH WE’D GONE OUR SEPARATE WAYS,
AND WE’VE HAD A LOT OF TIME TO PREPARE FOR THIS DAY,
I’M CONFIDENT ENOUGH I CAN FINALLY SAY,
WE’RE ON SOLID GROUND,
ENSEMBLE
WHAT GOES AROUND…
ALL
AND WE’LL COME AROUND,
SOMEHOW!
EMMA
IT’S BEEN A MINUTE,
I HOPE WE’RE STRONGER
THAN WE USED TO BE.
FEELING OLDER, NOT MUCH BETTER
THAN I USED TO BE.
- 23 -
ALL
I’M GONNA KEEP ON TELLING MYSELF IT’S COOL,
IT’LL ALL WORK OUT IN THE END
EMMA
I COULD ALWAYS GO BACK TO SCHOOL,
SPENCER
I COULD ALWAYS DROP OUT INSTEAD.
ALL
‘TILL THEN I’M KEEPING A COOL HEAD,
‘CAUSE WE MADE IT THROUGH THE FIRST TIME,
SPENCER
TOOK OUR FINAL BOW…
ALL
YEAH, WE MADE IT THROUGH
SOMEHOW.
IAN
AND I DID WHAT I’VE BEEN MEANING TO DO,
SOMEHOW….
SPENCER
What, you finally grew the nards to break it off?
LORIE holds her hand up, revealing the ring.
Fuck me!
LUKE smacks SPENCER.
EMMA
Be so serious right now.
ELISE
You did not!
LORIE
We did.
BAILEY keeps trying to say something but can’t get a word in.
ELISE
AHHHH! /CONGRATULATIONS!!!/
LUKE
/That’s wonderful,/ /you lot./
- 24 -
SPENCER
/Seriously, congrats. That’s awesome./
BAILEY
I KNEW ON DAY ONE! HA! Sorry. Really proud I kept that secret.
EMMA
Elise, did you ever get a solid answer on…
ELISE
Mitchell? Yeah, I think it was a no. Couldn’t take time off, I guess.
IAN
You can’t win ‘em all, right?
LORIE
Seven out of eight.
SPENCER
That’s a real shame. I’m sure he would’ve loved THESE!
Like a magic trick, SPENCER and LUKE pull out water guns and start spraying.
Everyone runs around like little kids, ad libbing and screaming over one another.
IAN picks LORIE up over his shoulder, EMMA wrestles SPENCER’s water gun from
him, etc . This goes on for a minute.
IMAGINE & THINK
TAKE A MOMENT TO IMAGINE,
SENSE & BELIEVE
EMOTE & SPEAK
LIFE SENDS YOU THROUGH.
REMEMBER & ACT
FOR A MOMENT,
They stop playing. Everyone is very out of breath.
ALL
ONE MIGHT BE MISSING,
BUT MITCHELL’S BEEN DITCHING
- 25 -
(ALL)
AS LONG AS I CAN REMEMBER.
I’M USED TO MISSING,
TO REMINISCING ON WHAT I CAN’T SEEM TO REMEMBER.
IAN
I HOPE HE’S DOING OKAY…
ALL
WHAT’S BEEN AROUND HAS COME AND GONE,
AND IF IT’S BACK AROUND, WE TURN AND RUN,
GET BACK ON SOLID GROUND.
IN SPITE OF THINGS YOU SAID AND WHAT YOU KNEW,
KEEP A COOL HEAD AND MAKE IT THROUGH SOMEHOW…
YEAH, WE’LL MAKE THE MOST OF THIS SOMEHOW!
IAN
Man, I missed this place! The smell.
SPENCER
And I missed grandpa’s old whiskey cellar.
ELISE
You drank the reserve bottle last time.
SPENCER
Whoops.
BAILEY
When was the last time we were here? Must’ve been right after graduation, right? When—
LORIE
Yeah! Yep. That’s…when it was.
LUKE
Spence and I were gonna pop out downtown, if anyone would like to join.
SPENCER
No. I didn’t invite them.
IAN
…what?
- 26 -
SPENCER
I’m kidding. Perchance.
LUKE
You can’t just say “perchance”. Are you coming?
BAILEY
Perchance.
IAN
I’ll come, Luke. We can take our car.
LORIE
/Could I maybe—/
BAILEY
/Shotgun!/
LORIE
Oh…Yeah, yeah, B, go have fun. We’re…still good for tomorrow night, though right, babe?
IAN
You know me. Don’t worry about it.
#4a — Movement I: Reunion Ensemble
The ENSEMBLE performs a dance showcasing the relationships of the CAST. Blackout.
- 27 -
Lights. DOWNTOWN, LATE AFTERNOON. IAN, LUKE, BAILEY, and SPENCER

walk around the shops. IAN has, again, too many bags.
BAILEY
So you’re friends with Prince William?
LUKE
That’s an exaggeration, he—
SPENCER
Yeah, we go way back.
LUKE
No, he saw him give a two minute speech and fob off. The Prince sponsored a banquet for the
embassy last weekend. Spencer just happened to be there.
IAN (to SPENCER)
And your broke ass will always take up an offer for free food.
SPENCER
I’m sorry, didn’t you just open? Where did the “three months salary” for that ring come from?
BAILEY
I couldn’t believe that picture you sent me.
LUKE
It was a beautiful ring, /I’m actually quite impressed./
Lights up on EMMA, ELISE and LORIE on the LAKE HOUSE BACK PORCH. ELISE
is examining the ring on LORIE’S hand.
ELISE
/I’m actually impressed./ Go Ian!
LORIE
I have no idea how he picked such a nice one, to be honest.
SPENCER
Yeah. Can’t deny it.
IAN
Thanks. guys.
EMMA
He’s such a sweetheart.
- 28 -
ELISE
He really is.
LUKE
She was well chuffed.
LORIE & IAN
Yeah.
ELISE
Unless…/Is everything okay?/
LUKE
/Is everything okay?/
LORIE & IAN
Yeah! Things are great.
LORIE
He’s great. There's just a couple of…small things I’m worried about. About me.
ELISE
/So you were lying./
BAILEY
/So you were lying?/ About the Prince?
LUKE
Of course he was lying! I was invited for work, and he was my plus one. I was supposed to bring
Clara, but…
BAILEY
What!? That’s why she’s not here this time?
LUKE
Unfortunately.
IAN
Still really sorry about that, man.
LUKE
That’s alright. At least somebody is sensitive.
- 29 -
#5 — Perfect for Me Lorie & Ian

IAN
That’s exactly why I was afraid to propose to Lorie, you know, /it all just happened so fast./
LORIE
/It all just happened so fast./ And…
ON THE DRIVE OVER HERE,
GOD, THAT DRIVE,
WELL, I THOUGHT I WAS GOING TO DIE.
WE WERE SPEEDING LIKE TEENAGERS
DOWN SEVENTY-FIVE…
BUT I’M SAFE IN HIS CARE,
HE’S NOT AWARE OF THE WAYS THAT HE MOVES ME.
HE TENDS EVERY NEED, HE BOWS TO MY EVERY WHIM,
HE WORKS HIMSELF DOWN TO THE BONE.
HE’S REASSURING AND PATIENT, WHAT I WISH I COULD BE.
HE PUTS ME ON A PEDESTAL TOO HIGH FOR HIM TO REACH.
HE KNOWS ME LIKE NOBODY ELSE,
HE SEES PARTS OF ME NOBODY SEES,
HE’S PERFECT FOR ME.
LUKE
You’re at the point in the relationship where you either break up, or you tie the knot.
IAN
Exactly. And I was scared it would be—
LUKE
Like Clara?
SPENCER
You thought she was gonna reject you?
IAN
I DIDN’T THINK SO,
BUT THERE WAS THE POSSIBILITY.
THE WORST PART ISN’T WAITING,
- 30 -
(IAN)
IT’S HOW MY BRAIN’S FIXATING,
UNABLE TO HANDLE A “MAYBE”...
BUT I SHOULDN’T BE SCARED,
WHEN I’M WITH HER, THE AIR IS SWEET AND WARM.
SHE KNOWS WHAT SHE NEEDS, SHE’S DILIGENT, UNLIKE ME.
LONG DAYS WORKING HERSELF TO THE BONE,
NIGHTS OF MUCH NEEDED SERENITY,
I’M OBLIGATED TO RAISE HER TO HEIGHTS SHE CAN’T REACH
ALONE…
I DON’T KNOW WHAT I’D DO WITHOUT HER,
I HAVE NO IDEA WHO I WOULD BE,
BUT IF I KNOW ONE THING,
I KNOW
SHE’S PERFECT FOR ME.
Man, I wish Mitchell was here. Not that I don’t love you guys, I just miss him.
SPENCER
I’m assuming he’s a lock for Best Man.
LORIE
Ian was talking about his groomsmen already. Said the trip would be a good chance to ask the
guys. Especially Mitchell, which, like…
ELISE
Yeah, that’s a shame…Wait, were you gonna ask us…?
EMMA
You don’t have to make me a bridesmaid if you don’t want to.
LORIE & IAN
To be honest, I haven’t really had the chance to think about it.
SPENCER & ELISE
Sure, but I’m saying if I get married—
LUKE
That’s quite the ‘if’.
- 31 -
SPENCER
Let me finish-IF I get married, I know who my best man would be. That’s all.
IAN
Seriously?
ELISE
I know I’d want you there with me.
LORIE
Yeah?
SPENCER & ELISE
Totally.
LORIE & IAN
Thank you.
SPENCER
I never said it was you. I said I know who it would be.
IAN
This freakin’ clown.
BAILEY
/I missed you, Spencie./
LUKE
/You’re unbearable./
LORIE
FIND A DRESS, FIND A PLACE,
SLAP A SMILE ON MY FACE,
BE THE PERFECT BRIDE OF HIS DREAMS.
IAN
FACE HER FATHER,
SHOULD I BOTHER?
IF I STUMBLE AND I FALTER,
LORIE & IAN
WILL THE ALTAR BE ALL IT’S CHALKED UP TO BE?
WOULD YOU STILL BE PERFECT FOR ME?
- 32 -
LORIE and IAN sing to one another.

(LORIE & IAN)
THERE ARE THINGS I WANT TO TELL YOU,
THERE ARE WORDS I CANNOT SAY,
UNSPOKEN THOUGHTS WE HAVE TO LEAVE TO FESTER…
THE WAYS THAT I ADORE YOU,/THE WAYS THAT I ANNOY YOU,
HOW YOU DRIVE ME INSANE,
AND ALL WE LEAVE UNSAID FOR THE BETTER.
IAN
AND THOUGH I’M PROUD TO KNOW YOU,
I’M SO SCARED TO SHOW YOU
ANYTHING THAT MIGHT PUSH YOU AWAY.
SO I’LL STAND IN YOUR SHADOW,

LORIE
I’LL BE RIGHT THERE BY YOUR SIDE,
IAN LORIE
‘CAUSE THERE’S BUT THERE’S
NOTHING ABOUT YOU SOMETHING ABOUT ME
THAT I’D WANT TO HIDE. THAT I’D RATHER HIDE.
SO I’LL TRY TO
YOU DON’T HAVE TO
CONVINCE YOURSELF. CONVINCE MYSELF.
LORIE & IAN
IF I COULD, I WOULD GIVE YOU THE MOON,
AND IF THE SAME IS TRUE,
TELL ME WHAT TO DO
TO PROVE I’M PERFECT FOR YOU.
Slow fade. Direct transition:
- 33 -
Lights. ELISE, LUKE and LORIE sunbathe on beach chairs. EMMA squeals offstage.
Water splash SFX. IAN runs on and grabs a beer from a cooler, followed by SPENCER.
IAN
You okay, baby? Can I get you something?
LORIE
Emma seems like she’s having fun.
IAN
Yeah, we just, uh, yeah.
SPENCER
He’s flirtatiously throwing her in the water. That means they’re engaged now, sorry.
LORIE
Hey, thanks for the input, Spencer.
ELISE
Lorie, c’mon.
LORIE
I’m not saying anything.
BAILEY enters, on the phone.
BAILEY
Yeah, sounds good, we’re right on the dock out back. Yep! Cool, see ya.
BAILEY hangs up.
#6 — Late Arrival Ensemble
(BAILEY)
Uhm, hey, Ian…so…I have something for you.
MITCHELL enters behind IAN.
IAN
Yeah?
MITCHELL covers IAN’s eyes.
MITCHELL
Guess who.
ENSEMBLE
A LATE ARRIVAL TO THE PARTY,
STEP ON UP AND JOIN THE FUN,
YOU’VE SEEN NOTHING, IT’S ONLY BEGUN.
IAN
I can’t believe it! How…how are you? You look good, you look happy, man.
MITCHELL
Happy to be back. It’s been too long, dude.
They hug quite aggressively.
Elise! Thank you for putting this together. It’s…
- 34 -
FREEZE. Stinger. MITCHELL spots LORIE. REMEMBER dances across the stage.
IMAGINE & THINK
TAKE A MOMENT TO IMAGINE
SENSE & BELIEVE
EMOTE & SPEAK
LIFE SENDS YOU THROUGH
REMEMBER & ACT
FOR A MOMENT,
ELISE
We didn’t know you were coming! We never got a yes or no.
MITCHELL
I know, I know, I’ve been super busy. But no more excuses, I’m here.
EMMA (OS)
Is that Mitchell?
MITCHELL
Hey, lady!
IAN
I’m getting cold, I’m gonna run back in. SO happy you made it. And really proud of you. (to
LORIE) Try not to kill Spencer.
LORIE
No promises.
IAN
I love you.
LORIE
To the moon.
IAN kisses LORIE, then runs offstage. ELISE follows IAN, very concerned.
ELISE
/Becarefulbecarefulbecareful!/
Splash SFX. EMMA squeals again.
- 35 -
EMMA (OS)
/Don’t splash me!/ Stop it, Ian!
SPENCER (to MITCHELL)
Look at this handsome bastard! You sure you’re still a vegan?
MITCHELL
Spencer! You still unemployed?
SPENCER
Good one. Hey, how about I grab your stuff and bring it to our room? Go take a dip, it’s nice.
BAILEY (sarcastically)
What a sweetie-pie, you wanna help.
MITCHELL (to SPENCER)
Dude, no, you don’t have to take my stuff in.
SPENCER
You’re right, I don’t. Let me be nice. (He claps twice.) Lucas!
LUKE
Not my name.
SPENCER
Oh, and just so I know, Mitchell, do you still get night terrors and piss the bed?
BAILEY
Aww, somebody’s projecting.
LUKE (to MITCHELL)
In spite of my best efforts, he hasn’t changed.
MITCHELL
I expect nothing less. Save me the bed by the window, would ya?
The three of them exit. MITCHELL crosses to LORIE.
This is crazy.
LORIE
Yeah. And like, Ian’ll talk to Bailey, but we don’t see them, let alone those two idiots, it’s just…
MITCHELL
An adjustment.
LORIE
Sure.
Beat. He finally notices her ring.
- 36 -
MITCHELL
Oh my god! Congratulations, you’re doing it! Wow! That’s…huge!.
LORIE
You mean that?
MITCHELL
Of course I do. I can’t believe I didn’t get to tell Ian!
IAN (OS)
Babe, come look at this fish!
MITCHELL
Dude, you didn’t tell me!
IAN (OS)
Tell you what?
MITCHELL takes LORIE’s hand and holds it up.
Oh! Yeah! October 17 next year, save the date!
SPLASH SFX. EMMA and ELISE both scream.
MITCHELL
October, October…Oh, shit, shit.
LORIE
What…
MITCHELL
That’s the climate conference every year. I’ll see what I can do, I’m gonna really try, but that’s
kinda like my whole—
LORIE
That’s okay! It’s not—definite. Yet, anyway.
MITCHELL
Right.
LORIE
Hey, uhm, You wanna come swimming?
MITCHELL
Later.
She walks over first, leaving him alone.
ENSEMBLE
A LATE ARRIVAL TO THE PARTY,
JUMP IN, THE WATER’S WARM,
OR IS IT JUST THE CALM BEFORE THE—
Direct transition:
- 37 -
Later that night. Everyone passes a joint around the fire. EMMA plays the guitar.
ELISE
Basically, after I gave my acceptance speech, I might’ve given Amy a kiss. Which I shouldn’t
have done in front of the kids, anyway, but of course, y’know, that sets off all these parents
calling and screaming at me about “grooming” this, “indoctrination” that. They actually wanted
to revoke the award.
LUKE
Bloody hell, not that nonsense. I’m so sorry that happened.
SPENCER
I don’t know why anybody cares.
LORIE
You deserved that award. That’s unacceptable.
BAILEY
At least they’re learning better from you than their parents.
MITCHELL
Too bad they’re gonna end up just like mom and dad. Hateful. Miserable.
LUKE
What? You don’t know that.
ELISE
I don’t think they’re hateful, they’re six year olds.
MITCHELL
…who deserve as little grace as anyone else who thinks that about you. End of story.
IAN
That’s right, I think I saw Elise’s first graders on TV on January 6th.
Awkward reactions.
BAILEY
You get the laugh?
IAN
Sorry, guys, I forgot my sister is a huge narc.
BAILEY
Not a narc.
- 38 -
They take a huge hit.

(BAILEY)
Also, not your ‘sister’.
Laughs. BAILEY gives IAN the joint. IAN takes a hit, then offers it to MITCHELL. He
doesn’t react.
ELISE
Emma, can you stop playing that please? We’re having a conversation.
EMMA
“Trust the process”.
ELISE
/Emma—/
LORIE
/I actually/ really like it.
EMMA
Thanks, Lor. See? It’s a vibe.
LUKE
I’m sorry, I’ve gotta go with her on this one, it is a vibe.
#7 — My Kinda Life Full Company
IAN
WE USED TO DO THIS LIKE ALL OF THE TIME,
RIGHT AFTER FINALS, WE’D ALL LOST OUR MINDS.
LORIE
SLEEPLESS AND LISTLESS,
GASPING FOR AIR,
GOD, I WISH WE COULD GO BACK TO THERE…
MITCHELL
REMEMBER HOW DESPERATION WAS NORMAL?
REMEMBER HOW EVERYTHING FELT SO INFORMAL?
EMMA
SCROUNGING AND SCRAPING FOR SCRAPS OFF THE FLOOR,
- 39 -
EMMA & SPENCER

THAT WAS MY KINDA LIFE.
IAN & MITCHELL
IT WAS SOME KIND OF LIFE,
BUT IT WAS MINE.
SPENCER
REMEMBER ALL THE STUPID SHIT WE DID?
ACTING OUT IN PUBLIC,
ACTING LIKE LITTLE KIDS.
BAILEY
SLEDDING ON CAMPUS,
WITHOUT ANY SNOW
SPENCER
TAKING EDIBLES
AT EMMA’S RECITALS,
EMMA
HEY, I DID THE SAME AT YOUR SHOWS.
IAN
WHEN MITCHELL STOLE LOBSTERS FROM WEGMANS,
ELISE
That was you?
LUKE
WHEN SPENCER FAKED HIS OWN DEATH,
ELISE
I almost killed you!
WE DID ANYTHING THAT WE WANTED,
NOW I JUST FEEL SO OUT OF BREATH.
LORIE, EMMA, ELISE
THAT WAS MY KINDA LIFE,
BAILEY, LUKE, IAN, MITCHELL
NOW IT’S SOME KINDA LIFE,
- 40 -
ALL
AND IT FEELS LIKE A LIFETIME AWAY.
I LIVE ON SOMEONE ELSE’S TERMS,
I LIVE IN SOMEONE ELSE’S DREAM,
THAT’S NOT ENOUGH TO GIVE ME WHAT I NEED.
ELISE
FIGHTING KARENS,
MITCHELL
OIL BARONS,
LORIE, BAILEY, EMMA
DISSOLUTION
SPENCER & IAN
MY OWN DELUSIONS
LUKE
WEREN’T THE TRAINING WHEELS SUBLIME?
IAN
WE USED TO DO THIS LIKE ALL OF THE TIME
TRASHING APARTMENTS, DESTROYING OUR HOUSES
HAMMERED, OR HIGH, OR WHAT HAVE YOU,
AND WE KNEW IT’D BE CRAZY
WHEN MITCHELL’D COME OUT OF THE BATHROOM—
MITCHELL (very offended)
THAT’S NOT MY KINDA LIFE ANYMORE.
IAN
Hm?
MITCHELL
I’m sober now. Okay? Let’s not bring that stuff up.
IAN
Alright, alright. My bad.
MITCHELL
It’s fine. I’m gonna head in. Holler if you need me, I’ll be awake. Nice catching up.
- 41 -
He leaves.
LUKE
Goodnight, Mitchell.
IAN
What the hell was that? Drama queen…
LORIE
Ian, seriously?
IAN
What? He knows I didn’t /mean it that way./
LORIE
/He’s our friend./ I don’t like you talking to him like that.
IAN
Whatever. Jesus.
BAILEY
Hey, Spencie, you got any funny stories about grad school?
EMMA
Yeah, how is that?
SPENCER
Uh…It’s fine. Yeah. Good. Just weird to be here. Kinda. I dunno.
ELISE
Weird how?
SPENCER
Not weird, different. Not what I’m used to anymore. British people have this different view of it,
y’know. It’s kinda cool actually, but I missed it here. (to LUKE) He didn’t.
EMMA
Well, what are your plans for after graduation?
SPENCER
I don’t know. Everyone seems to like asking me that, I should probably get an answer.
LORIE (trying to joke, but failing)
Maybe it’s because you can’t expect to live off mommy and daddy’s money in Connecticut
forever.
- 42 -
SPENCER (taking it way too personally)

Says you, Trust Fund!
IAN
Watch it.
SPENCER
She started it!
LUKE
Spence.
#8 — Making Sense Spencer
ELISE
Have you at least thought about where you’re gonna move, or like, what kinda work you want?
SPENCER
I don’t know guys, okay? I’m sorry. Can we please drop it?
LORIE BAILEY EMMA ELISE LUKE
Sure, let’s drop it. Oh, sorry. That’s okay. How come? I’ve told him…
The CAST freezes. SENSE picks SPENCER out of his chair and brings him back to his
LONDON FLAT.
SPENCER
WAKE UP, GO ON A RUN, LOOK AT MY DYING PLANTS.
I’LL WATER THEM AFTER I SHOWER,
CLASS IN AN HOUR,
GIVE MY CLOTHES THE OLD SNIFF TEST
OFF THE PILE ON THE FLOOR,
THOUGHT I WASHED THE REST, MUST HAVE FORGOTTEN BEFORE.
OH WELL, TO CLASS, ALL IN ENGLISH,
I DON’T FOLLOW, WHAT IS THIS?
I FORGOT TO HAVE BREAKFAST,
WHO CARES! NO TIME TO EAT.
FIGHT THROUGH THE BLISTERS ON MY FEET,
GET HOME AND DRINK, RINSE AND REPEAT.
- 43 -
(SPENCER)
BUT I GUESS I’LL KEEP ON DOING MY BEST,
BETTER THAN SLEEPING ON THE STREET,
SO I FIGURE IT’S FINE, IT’S FINE IT’S FINE,
BUT IT’S NOT MAKING SENSE.
NO AUDITIONS THIS WEEKEND,

MY GRADES ARE LOOKING REAL BLEAK, AND
I’M RUNNING LOW ON CASH, OR SO IT SEEMS.
GOTTA MAKE SENSE OF ALL YOU’RE GIVEN,
IT ISN’T LIKE YOU’RE LIVIN’ IN THE DORMS AGAIN,
LIKE YOU’RE EIGHTEEN.
TIME IS TICKING ON THIS PLANET,
ALL THAT I TOOK FOR GRANTED,
WELL, LOOK, IT’S NOT LIKE I PLANNED IT,
NOW THERE’S NO ONE TO INTERVENE.
BUT I GUESS I’LL KEEP ON DOING MY BEST,

AFTER ALL, THIS IS THE DREAM,
SO I FIGURE IT’S FINE, IT’S FINE IT’S FINE,
I’LL LEARN TO USE SOME
SENSIBILITY, THAT’S YOUR RESPONSIBILITY;

SOMEONE NEW IN YOUR BED EVERY WEEKEND,
SOMEONE ELSE’S CLOTHES ON THE FLOOR,
FIGHT THE HANGOVER, BRUSH YOUR TEETH,
AND PUSH ‘EM BACK OUT THE DOOR.
CHASING THE HIGHS,
FACING THE LOWS,
WHEN YOU LIVE IN MY HEAD, THAT’S JUST HOW IT GOES.
SO I FIGURE IT’S FINE, IT’S FINE IT’S FINE…
- 44 -
Back to reality.
LORIE (to IAN)
I’m tired. Let’s head in.
BAILEY (Yawns.)
Me too. Sleep well, everybody.
ELISE
See you all tomorrow.
LUKE
Nighty.
EMMA crosses to SPENCER as everyone else exits.
EMMA
I’m sorry about that. It’s stressful, I get it. You’ll be okay.
SPENCER (speaking very quickly)
Hey, Emma, if you’re gonna be up, I’d love to play some music—
EMMA
Hm?
SPENCER
Oh, nothing.
EMMA
Night, Spencer.
EMMA exits.
SPENCER
Night.
YEAH, I FIGURE IT’S FINE, IT’S FINE, IT’S FINE,
I CAN FIGURE IT OUT, OUT OUT,
MAKE SOME SENSE OF ALL I’M GETTING,
MORE THAN JUST REGRETTING,
AND MAKE IT,
MAYBE MAKE SOMETHING,
MAKE SOMETHING MAKE SENSE.
Slow fade on SPENCER, alone.
- 45 -
Lights. UPSTAIRS. A sleepy, sluggish LORIE, guided by THINK, comes out of the
upstairs bathroom in her pajamas. She bumps into MITCHELL as he goes in.
MITCHELL
Oh, sorry, I didn’t see ya.
LORIE
No worries, lemme just…
They try to get around each other but seem to keep moving in the same direction.
Okay, you go left.
MITCHELL goes to her right.
Okay, other left.
They laugh and find themselves close. IMAGINE plays the piano downstairs.
#9 — My Kinda Life (Reprise) Mitchell & Lorie
MITCHELL
Do you hear that?
LORIE
What?
MITCHELL
Emma’s playing the piano, I think.
LORIE (turning to leave)
Oh…I gotta go to bed, so…
MITCHELL
HEY.
LORIIE
HI.
MITCHELL
JUST WANTED TO SAY SORRY ABOUT TONIGHT.
THAT WAS REALLY IMMATURE.
LORIE
IT’S ALRIGHT.
MITCHELL
ARE YOU SURE?
- 46 -
LORIE
OF COURSE.
MITCHELL
I OWE HIM MUCH MORE THAN I SHOW.
BUT IT’S A PAINFUL MEMORY.
IT WAS THAT KINDA LIFE THAT HURT ME.
LORIE
BELIEVE ME, I KNOW.
LORIE touches MITCHELL’s arm. They stare into each other’s eyes, then break for a
moment.
Uh, wow, she’s…really good.
MITCHELL sticks his hand out, asking her to dance. LORIE laughs.
I’m not dancing with you.
MITCHELL
C’mon, you said it yourself, the music is beautiful. And the moon….I don’t think I’ve seen a full
moon since I’ve moved to the city.
LORIE
Are you gonna turn into a wolf and bite me?
MITCHELL
Wasn’t planning on it. Dance.
LORIE
C’mon, it’s late—
MITCHELL
WE USED TO DO THIS LIKE ALL OF THE TIME.
LORIE
I ONLY DANCE IF I HAVE TOO MUCH WINE, AND I HAVEN’T TONIGHT.
MITCHELL
HELPLESS AND FALLING, LOST IN THE SKY.
DANCE WITH ME, LORIE
FOR THIS MOMENT, LET’S FLY.
LORIE goes to leave, but REMEMBER trips her.
- 47 -
LORIE
Oh!
MITCHELL catches her. BELIEVE and BAILEY’s heads poke out from another room.
Good save.
MITCHELL
I think the universe wants you to dance.
LORIE
Fine, okayyy.
She laughs and buries her head in his shoulder as they start to dance. They sway for a
bit, then look at one another as the MUSIC crescendos.
MITCHELL
IT WAS MY KINDA LIFE,
MITCHELL & LORIE
OH, IT WAS CERTAINLY SOME KINDA LIFE,
BUT IT WAS,
YOU WERE
MINE.
He kisses her. She kisses him back. BELIEVE pulls BAILEY back in the other room.
MITCHELL
Hi.
LORIE
Hey.
Beat.
Wait, no. No-no-no, what the hell! Oh, god that was—
MITCHELL
Lorie, I…
LORIE
That was so…stupid. This was so fucking stupid! Okay, I’m gonna go to bed. With my fiance.
And I will deal with this later, okay…? Goodnight!
- 48 -
She hurries off, accidentally dropping her engagement ring. MITCHELL watches her
leave. He breathes deeply, then slaps himself in the face, hard. Then, a moment of calm.
REMEMBER picks up the ring and gives it to MITCHELL.
#10 — Somehow (Reprise) Mitchell
MITCHELL
I’VE FORGOTTEN WHAT IT FELT LIKE,
AND YEAH, I MISSED IT,
BUT THE BUZZING IN MY HEAD,
IT’S GETTING HARDER TO RESIST IT.
IT WAS WANING UNTIL NOW,
BUT I’LL MAKE MY OWN VOW.
TO REMOVE, TO RECUSE, TO UNDO,
SOMEHOW.
MITCHELL hangs back for a moment. He exits.
#11 — The Fly on the Wall Bailey
BAILEY reenters tentatively.
BAILEY
Oh…my…
WHAT WAS THAT?
WHAT DID I SEE?
DID HE JUST KISS HER?
MAYBE IT’S ME…
I’M NOT DRUNK, AT LEAST, NOT ANYMORE.
I DIDN’T DRINK THAT MUCH TONIGHT ANYWAYS,
SO I NEVER REALLY WAS.
MAYBE I’M HIGH?
I TOOK LIKE TWO HITS,
THERE GOES THAT EXPLANATION…
IS IT ME? AM I DUMB?
ARE WE MORE DIVISIBLE?
OR AM I SO INVISIBLE I’VE BECOME NUMB?
- 49 -
(BAILEY)
I’VE GROWN ACCUSTOMED TO BACKGROUND ACTING,
FAMILIAR WITH BEING WHITE NOISE,
I LOOK LIKE I KNOW WHAT I’M DOING,
SO THEY THINK THAT I’M KEEPING MY POISE.
AFTER ALL, IT’S NOT REALLY EAVESDROPPING.
HOW COULD I HAVE KNOWN WHAT WAS HAPP’NING?
But hey, maybe it isn’t what it looked like!
MAYBE SHE SLIPPED, OR TRIPPED,
OR SOMETHING THAT MAKES MORE SENSE
THAN CHEATING ON MY BROTHER—
THERE’S THE CONSEQUENCE.
IS MY MIND PLAYING TRICKS?
OR IS THIS THE KIND OF WRENCH THAT GETS THROWN IN THE MIX
BY DIVINE INTERVENTION?
IT’S ALWAYS ME WHO PERCEIVES
WHAT I DON’T WANT TO BELIEVE?
I KNOW I’M NOT CRAZY,
MY VISION’S NOT HAZY,
I’M PERFECTLY AWARE,
AND WHAT I JUST WITNESSED RIGHT THERE—
LIKE, COME ON!
IT’S MORE THAN I’M PREPARED TO KNOW.
I KNOW THAT HE DESERVES TO KNOW,
BUT…
IT SUITS ME BETTER,
MAINTAINING MY RESERVES,
THE FLY ON THE WALL OBSERVES,
I SUPPOSE.
#11a — Movement II: Recurrence Ensemble
The ENSEMBLE performs a sequence embodying the fears of the CAST. Blackout.
- 50 -
Lights. Early the next morning, in the living room. LUKE sits in an old armchair, reading
a newspaper. LORIE enters behind him, visibly on edge.
LUKE
Hiya.
LORIE doesn’t react for a minute. SPEAK crosses to tap her shoulder, startling her.
LORIE
Oh! Good morning. I didn't see you.
LUKE
That’s alright, it’s early, you probably weren’t expecting me.
LORIE
Dunno what to expect anymore…
Beat.
LUKE
How’d you sleep?
LORIE
Our bed is like a hundred years old. Ian said he wants to do a boys sleepover, I’m sure it’s
interesting in there with the three of you.
LUKE
I’m jet lagged as all get out, Spencer snores like a grizzly bear, and Mitchell was up doing who
knows what until about 4AM, so Ian isn’t missing much. I like reading, though, so not all bad.
LORIE
Yeah. Nice and quiet out here. You’re not busy, are you?
LUKE
Just the New York Times.
#12 — Speak the Truth Lorie & Luke
LORIE
Then could I ask you something?
LUKE nods.
MY WHOLE LIFE, I’VE KNOWN,
TRUTH ISN'T ALWAYS WHAT I’M SHOWN.
I THINK AND PROCESS, OBSERVE THE EFFECT.
- 51 -
(LORIE)
THEN I KNOW WHAT TO EXPECT.
BUT NOW, I’M A LITTLE STUCK,
I’M SHIT OUT OF LUCK,
I NEED HELP LEST I GET SWEPT AWAY.
Basically…
HOW DO YOU ALWAYS HAVE THE RIGHT THING TO SAY?
LUKE
I listen.
LORIE
That’s it, you listen?
LUKE
I’VE LEARNED THERE’S MORE IN THE WORDS WE THROW
BECAUSE WHAT WE SAY HOLDS MORE WEIGHT THAN WE
THINK WE KNOW.
I DON’T MEAN TO SEEM UNCOUTH,
BUT IT’S A PEACH WHEN YOU DON’T HAVE TO REACH,
AND SPEAK THE TRUTH.
It’s like…a crossword. You use the “clues” around you to figure out the “answer”. Take a nine
letter word meaning “sticky.” I haven’t got a Scooby-Doo. It isn’t “tenacious”, and it can’t be
“adhesive”, that’s only eight—
LORIE
Try “conundrum”
LUKE (writing it in)
Hm… Now there’s the Lorie that made Dean’s every term!
LORIE
YOU REAP WHAT YOU SOW,
AND, LOOK, NOW I’LL SHOW
I CAN GO TOE TO TOE WITH YOUR GAMES.
THEY’RE JUST SMALL DISTRACTIONS.
LUKE
SO YOU NEED A PLAN OF ACTION TO TACKLE THE DAY TO DAY.
- 52 -
LORIE
OF COURSE I HAVE THOUGHTS OF MY OWN,
AND WHAT PEOPLE SAY HOLDS MORE WATER
THAN I’VE KNOWN.
THE PATH IS THINNING, I’M WASTING MY YOUTH!
LUKE
IT’S A CINCH WHEN YOU CAN’T MOVE AN INCH
TO SPEAK THE TRUTH.
LORIE & LUKE
IF I’M TO MIND MY BUSINESS/IF YOU CAN MIND YOUR BUSINESS,
I’LL FIND LIFE’S A BREEZE./YOU’LL FIND LIFE’S A BREEZE.
LUKE
THERE IS CLEAR AND PRESENT DANGER,
LORIE
IT’S SIMPLY SO MUCH SAFER,
LORIE & LUKE
TO LET OTHERS SPEAK FOR YOU!
SO SHUT OUT AND BURN OUT THE LIES YOU HAVE TO CHURN OUT
TO GAIN SOME SEMBLANCE OF CONTROL.
LUKE
I KNOW YOU NEEDED SO MUCH MORE THAN YOU HAD
TO MAKE YOURSELF FEEL WHOLE, AND
EVERYTHING YOU THINK YOU KNOW;
SOMEONE TOLD YOU, ‘THEM’S THE RULES’.
RELATIONSHIPS ARE COMPLICATED,
BUT NOTHING’S LIFE OR DEATH AS IT MAY SEEM.
LORIE & LUKE
IT’S A PEACH WHEN YOU DON’T HAVE TO REACH,
AND SPEAK THE TRUTH!
- 53 -
#12a —Emma’s Melody B Emma & Mitchell

BACKYARD. Late afternoon. EMMA sits alone, pantomiming a small keyboard with
headphones in. MITCHELL enters. IMAGINE underscores the scene on the keyboard.
MITCHELL
Working on anything interesting?
EMMA takes off her headphones. MITCHELL lights a cigarette.
EMMA
I wish.
MITCHELL
May I?
MITCHELL sits next to her.
Ugh. I dunno how you can sit on the ground like this. Must be terrible for your back.
EMMA
Said the vegan smoking a cigarette.
MITCHELL
Touche.
He offers her a cigarette.
For old time’s sake?
EMMA
I’m good. You wanna show me what you got or what?
IMAGINE passes him the keyboard and he plays a short, simple melody.
That’s pretty, I like that.
MITCHELL
Nothing compared to what I’ve heard you do. You gotta send me some of your new stuff.
EMMA
Oh, you do not want that.
MITCHELL
Don’t say that, you were always playing circles around me.
EMMA
Still, we’re the same age and you’re already… y’know. All up in the EPA’s…
- 54 -
MITCHELL
Regional Counsel Office.
EMMA
And I am fighting for my life while you—
MITCHELL
Don’t worry about me, okay? You’re built for this, I’m built for… what I’m built for.
EMMA
And what is that, exactly? Running the government by 30?
MITCHELL
I’m almost 26, you think I’m gonna get that far up the ladder in four years? You're gassing me up
wayyy too much, man, it’s boring as sin. I’m basically good at arguing.
EMMA
Tell me something I don’t know.
MITCHELL
Look, sometimes, I get really stuck. I get in my head. I get all second guessy.
EMMA
I repeat, tell me something I—
MITCHELL
The point is, you have nothing to worry about. I am a flat mess, you know that. If I can start to
rise through the ranks of a dying federal agency, you can find your break.
EMMA
Well, nothing’s… coming. And if anything was, nobody would even wanna hear it.
MITCHELL
Not true! Remember the benefit concert for Lorie’s mom? You won that grant because people
saw your work, what you’re capable of. I wish I could do that.
EMMA
No. You don’t. Believe me.
MITCHELL
I have an idea. Close your eyes.
- 55 -
#13 — Ripples Emma & Mitchell

EMMA
What?
MITCHELL
Trust me.
EMMA closes her eyes. IMAGINE passes the keyboard to EMMA.
Now tell me what you have figured out so far.
EMMA
Mitchell, I can’t see the keys.
MITCHELL
With words. Tell me with words.
EMMA
WELL, I LIKE MY MELODY.
BUT PUT IT WITH A CHORD,
AND IT DOESN’T SOUND RIGHT.
MITCHELL
Don’t describe the notes. Describe what you see.
EMMA
I DON’T KNOW,
I LIKE THE FLOW,
IT’S ALMOST AS IF IT’S FLOATING,
BUT I CAN’T SEE WHERE IT GOES…
MITCHELL
GIVE IT A THOUGHT,
A MEMORY,
IT COULD HELP, OR NOT.
BUT YOU MIGHT SEE
AN OUTLET FOR YOUR MUSIC.
EMMA
This isn’t helping me—
- 56 -
MITCHELL
Shhh.
JUST PRETEND FOR A MINUTE.
TRY TO UNLOCK A GOOD MEMORY.
MAYBE YOU’LL FIND A REMEDY
FOR YOUR BROKEN MELODY;
WHAT DO YOU SEE?
EMMA
…A…ripple?
MITCHELL
A ripple.
EMMA
EMMA opens her eyes and plays on the keyboard.
A DROPLET HITS THE CURRENT,
CREATING A RIPPLING TRIPLET,
THE BASIS FOR A MELODY.
BUT IT WON’T KEEP FLOWING STRONG,
THAT RIPPLE IS MY SONG,
FOREVER RUNNING OUT OF TIME…
MITCHELL
That’s—
EMMA
I know, I know. It’s a disaster, right? Like, the texture is there, but it’s not consistent, the
progression is all over the place—a time signature would help, /Emma!/
MITCHELL
/Beautiful./ I was gonna say it was beautiful. You really have a way with words.
Beat.
EMMA
Too bad I’m not a lyricist.
MITCHELL
EVEN SO, YOU MAKE ME THINK
- 57 -
(MITCHELL)
ABOUT WHO WE WERE BACK IN COLLEGE.
EMMA
I WASN'T TRYING TO BE THAT DEEP.
MITCHELL
WE STOOD AT THE EDGE,
WE STOOD ON THE BRINK OF OUR NEW LIVES!
LEAVING CHILDHOOD BEHIND.
WE WERE DROPLETS
IN A CURRENT,
FIGHTING THE RIPPLING TORRENT
THAT WAS FLOODING OUR SECURITY,
AND I WISH IT WERE DONE,
BUT WE’RE STILL RIPPLES IN THE POND,
DISSIPATING ONE BY ONE.
EMMA
THAT’S A DARK WAY TO PUT IT.
MITCHELL
BUT YOU SEE HOW IT’S TRUE,
WE’RE ADRIFT IN THIS WORLD.
SO WHAT DO WE DO?
EMMA
IF WE FIGHT FOR ALL THAT WE LOVE,
WHAT WE ENJOY, WHAT WE SEEK, WHAT WE ADORE.
BY CHASING WHAT WE DREAM OF,
EMMA & MITCHELL
WE MIGHT GET WHAT WE WISH FOR.
MITCHELL
BUT WHAT IF ALL WE WANT IS WHAT WE HAD BEFORE?
MITCHELL gets a splitting headache and tries to play it off.
- 58 -
EMMA
MITCHELL, ARE YOU OKAY?
MITCHELL
It’s fine, it’s fine…I’m fine. I’m just a little overwhelmed.
EMMA
We’re all glad you came.
EMMA closes her eyes again and begins to play.
EMMA MITCHELL
A DROPLET HITS THE CURRENT,
FORMING A RIPPLING TORRENT, WE’RE DROPLETS
FLOODING OUR SECURITY. IN A CURRENT,
WHEN THE STREAM SLOWS, CROSSING THE RIPPLING TORRENT.
IT REFLECTS WHAT WE CAN’T SEE, THE UNDERTOW SWEEPS US AWAY,
EMMA & MITCHELL
LIKE RIPPLES IN A POND…
WE’VE GOT IT GOING,

AND WE’LL KEEP IT FLOWING,
FLOWING STRONG,
WITH NO SIGNS OF SLOWING,
THE STONES THAT WE’RE THROWING
CARRY ON…
UNTIL—
MITCHELL
What?
EMMA
THE IMAGE IS GONE.
Fade. The ENSEMBLE shifts the scenery back inside to the DINING ROOM. They bring
out a table and chairs positioned diagonally across the stage. We hear chatter.
- 59 -
#14 — A Lovely Dinner Part I Full Company

Lights. ELISE enters, SPENCER in tow, with a magnificent feast. The CAST enters the
DINING ROOM behind them, quite rowdily. Everyone except MITCHELL is tipsy.
SPENCER
Try not to eat it all too quickly, Elise put a lot of effort into this.
ELISE
Hey, you did too.
LUKE
Oh, he gives himself enough credit.
LORIE
Looks so good, you guys.
SPENCER inserts himself in the seat she was clearly about to take and begins to stuff his
face and guzzle water.
Spencer, could I sit next to Ian please?
SPENCER
Hm?
LORIE
I’d just like to sit next to my fiance.
MITCHELL
Spencer, c’mon. Just come sit next to me.
SPENCER
What? I was here. And she can’t middle!
LORIE
What does that mean?
IAN
Dude, it’s okay.
SPENCER
You won’t be in the middle either, I don’t want the conversations to suck! People like us, Elise,
hell, even BAILEY—
- 60 -
BAILEY
/Nope./
LUKE
/Be nice./
LORIE
I’ll just sit with Mitchell, it’s fine.
ELISE (to EMMA and LUKE)
I always ask my kids if something is a pebble or a boulder.
EMMA
He’s hysterical.
BAILEY
I’d like to propose a toast!
Adlibs throughout.
TO THE BEST OF US,
YOU PUT THE REST OF US TO SHAME.
TO MY BRO,
WHO’S BEATEN HER AT HER OWN GAME.
AND TO LORIE, WHO’S REALLY STANDING TALL,
YOU’VE PROVEN
THERE’S HOPE FOR HIM AFTER ALL!
Big laughs.
SO LET’S FORGET.
LET’S SET IT ALL ASIDE.
THE BETS ARE OFF TONIGHT.
LET’S HAVE FUN, GO WILD, DO WHAT WE WANT,
SO RAISE YOUR GLASS TO
A LOVELY DINNER,
WITH EVERYONE LAUGHING, ENJOYING THEIR TIME,
A LOVELY DINNER,
A FRIENDLY REUNION WOULDN’T BE SUCH A CRIME!
Clink. Dishes are passed around by the ENSEMBLE.
- 61 -
LORIE
PASS THE POTATOES.
EMMA
CAN I—
IAN
WHATEVER YOU SAY, BABE.
EMMA
COULD I GET—
ELISE
MORE OF THE GRAVY?
EMMA
ELISE, THE ROLLS.
LUKE
MAKE SURE SOME GETS SAVED.
EMMA
SOMEONE PASS ME THE ROLLS!
ELISE
(Mouth full) Huh?
EMMA
THE ONES IN YOUR MOUTH? THE—
BAILEY
ANYBODY WANT WATER?
EMMA
NEVERMIND.
LUKE
LOVE THE UMAMI.
SPENCER
UMAMI? Y’KNOW WHAT I PREFER?
ALL (except LORIE)
Shut up, Spencer!
- 62 -
LORIE
EMMA, HOW’S THE MUSIC?
EMMA
OH, YOU KNOW, IT’S COMING…
ELISE
I’VE BEEN TRYING TO GET HER SOME WORK,
BUT SHE’S SO CAUGHT UP IN OTHER THINGS.
LUKE
Oh yeah? Like what?
ELISE
THERE’S A FACULTY POSITION ON THE MUSIC COMP TEAM,
AT THE U OF MICHIGAN,
BAILEY
OOH, THAT WOULD BE PRETTY NEAT.
EMMA
I THOUGHT WE WERE KEEPING THAT UNDER THE TABLE.
LORIE
I THINK THAT’S PERFECT FOR YOU, EMMA.
EMMA
YOU DON’T HAVE TO SAY THAT,
THANKS AGAIN FOR THE GRANT,
I’LL PUT IT TO USE WHEN I’M BACK ON A JOB.
LORIE
COULD I GET SOME MORE SPROUTS, PLEASE?
SPENCER
GOD, SHE CHEWS LIKE A SLOB.
LORIE
SOMEONE SHOULD TAKE THAT DRINK
OFF YOUR HANDS.
SPENCER
COULD SAY THE SAME TO YOU!
- 63 -
LORIE
WHO PISSED IN OUR SINK,
MIGHT I ADD?
SPENCER
ONCE!
EMMA
I’M SORRY, WHAT?
IAN
JUST CHILL.
SPENCER
I’M CHILL.
IAN
NO NEED TO START THAT.
JUST TRY AND SIT BACK,
RELAX, AND HAVE
ALL
WHAT A LOVELY DINNER
A FRIENDLY REUNION, A WONDERFUL NIGHT
YES, A LOVELY DINNER,
EMMA
AND NOBODY’S STARTING A FIGHT
The room settles a bit.
ELISE
YOU NEED SOMETHING EMMA?
EMMA
I’M GOOD.
ELISE
TAKE SOME MORE, THERE’S PLENTY!
EMMA
I SAID I’M GOOD.
- 64 -
IAN
Spencer, did you check out the link I sent you?
SPENCER
Oh, the crypto thing? Yeah, I can’t buy in, I already sent all my money to a Ponzi scheme.
Big laughs, some ad libbed dunks on IAN.
IAN
Hey, laugh all you want, but how do you think we made our investment back by the end of our
first quarter?
BAILEY
Don’t listen to him, Spencie, he tried to get our cousins into some—
IAN
I’m telling you—
LORIE
Ian, please.
MITCHELL
You know how bad bitcoin mining is for the environment?
IAN
Oh, no, not bitcoin, it’s actually—
EMMA
SOMEONE ELSE SPEAK, FOR THE LOVE OF GOD!
SPENCER
I HAVE A QUESTION!
ENSEMBLE
NOT YOU!
SPENCER
MITCHELL, WHAT IS IT EXACTLY THAT YOU DO?
IAN
PLANT SOME FLOWERS HERE,
SOME GARDENS THERE,
OR MAYBE SIT AND STARE AT TREES?
- 65 -
MITCHELL
YEAH, NOTHING IMPORTANT,
JUST FIXING A PROBLEM,
A NICHE LITTLE ISSUE,
THE FIGHT OF OUR LIVES.
THE BIG KIDS ARE TALKING NOW,
TRY NOT TO BOG US DOWN,
I CAN SOLVE SOLVE CLIMATE CHANGE,
WHILE YOU TWO SCREW AROUND,
DOING YOUR SCAMS AND YOUR SONG AND YOUR DANCE,
SPENCER
TO EACH HIS OWN, RIGHT?
MITCHELL
SOMETHING LIKE THAT.
BAILEY
WHY ARE WE SO COMBATIVE?
CAN’T WE ALL TAKE A STEP BACK,
AND ENJOY OUR DINNER?
IS THAT A DIFFICULT TASK?
LORIE
IF SPENCER WOULD JUST SHUT HIS FACE,
THEN THIS WOULD BE SO MUCH NICER.
BAILEY
SPENCIE, BE CIVIL FOR ME,
YOU DON’T HAVE TO LIKE HER.
SPENCER
Yeah. Yeah I can be. I can be civil. Truce?
LORIE
If you’re gonna act like you did at graduation, no.
SENSE & EMOTE
THAT’S THE KIND OF FIRE YOU DON’T WANT TO BE STOKING.
- 66 -
IAN
He’s gonna behave. Right? Spencer? We’re all gonna behave?
SPENCER
Actually, let me think about it…
SENSE, EMOTE, REMEMBER, SPEAK
THAT’S THE KIND OF THOUGHT YOU SHOULD NOT BE PROVOKING
SPENCER
Okay, yeah. I thought about it. This is way more interesting.
MITCHELL
Do you ever stop talking?
SPENCER (winking)
Not if I can help it. How are your dad and his girlfriend, Lorie?
ENSEMBLE
THAT’S A HORNET’S NEST, YOU’LL GET STUNG IF YOU KEEP POKING!
LORIE
I SWEAR TO CHRIST, IF THIS MANCHILD DOESN’T SHUT UP—
SPENCER
OH, DON’T MAKE ME BLUSH!
IAN
DON’T TAKE IT SO ROUGH, HE’S ONLY JOKING.
SPENCER
I AM TILL I’M NOT,
‘TILL HUMPTY DUMPTY SITS ON HIS WALL,
AND ACTS LIKE HE’S ABOVE US ALL
MITCHELL
AS IF YOU STAND SO BIG AND TALL,
WHO GAVE YOU THE RIGHT TO MAKE THAT CALL?
ALL YOU DO IS DEFLECT AND STALL.
SPENCER
IAN, TELL THIS VEGAN, PLEASE SUCK MY BALLS!
EMMA gets up and crosses to MITCHELL.
- 67 -
EMMA
I’ll take one of those cigarettes now. For old time’s sake.
MITCHELL
Are you sure?
EMMA
Yes! I am sure. Yes.
She takes it and leaves and IMAGINE follows her out the door with her KEYBOARD,
IMAGINE sits down on the ground next to EMMA, and starts to play. EMMA closes her
eyes as she lights up.
#14a — Emma’s Melody C Emma & Bailey
BAILEY enters, curious.
BAILEY
What’s cookin’, good lookin?
EMMA ignores them and keeps smoking.
Hey, uh… I know you’re probably stressed, so I just wanted to say, like, I can go tell Ian and
Spence to piss off or whatever, if you—
EMMA
Hey, B?
BAILEY
Yeah?
EMMA
I’m good.
BAILEY
You sure? You seem—
EMMA
I live with one Elise. I don’t need two.
BAILEY
Okay, then. Cool beans. I’m gonna just… head back in. I guess.
BAILEY returns back to the DINING ROOM.
‘Scuse me, Lorie.
BAILEY’s hand knocks LORIE’s glass, breaking it, and spilling it all over SPENCER.
- 68 -
ELISE
Mazel tov!
SPENCER
Oh good! No, laugh it up, yeah, I wanted to ruin this shirt.
BAILEY
Oh shhhhoot, /sorry Spencie./
SPENCER
/You’re fine, B./ (to LUKE) Dude, don’t cream your pants, it’s just a little wine.
IAN
Ugh, that sucks, lemme help, I have a spot treating kit.
IAN takes SPENCER into the other room.
#14b — A Lovely Dinner Part II Full Company
BAILEY
I HOPE HE’S ALRIGHT,
I’D HATE TO BE RESPONSIBLE.
LORIE
HE IS, FOR THE FIGHT,
IT’S REALLY INDEFENSIBLE,
LIKE GRADUATION NIGHT,
WHAT GIVES HIM THE RIGHT?
ELISE
HEY, HE ISN’T THE DEVIL,
MITCHELL
JUST AN INDIGNANT BRAT.
AND I DON’T MEAN TO SOUND CRASS,
BUT WHEN IT SHATTERED LIKE THAT, YEAH, I WANTED TO LAUGH.
LUKE
THE GERMANS CALL THAT SCHADENFREUDE,
LORIE
RIGHT, ‘CAUSE IT FELT LIKE FOR ONCE,
JUSTICE BIT HIM IN THE ASS!
- 69 -
ENSEMBLE
WHY CAN’T YOU HAVE A LOVELY DINNER,
EVERYONE LAUGHING, ENJOYING THEIR TIME,
A LOVELY DINNER,
WOULD THAT BE SUCH A CRIME?
LUKE
So, engagement! That’s…exciting. How are you feeling?
LORIE
OH! Good! Good. Thank you. We’re gonna have to start getting into gear pretty quickly when
we get home, so a lot to think about.
MITCHELL
Great timing as ever.
LORIE
It was. I was afraid we had lost something, to be honest…
MITCHELL
OH…
ELISE
OH?
ENSEMBLE
OH!
LORIE
But we’re okay now! Promise.
MITCHELL
ARE YOU SURE ABOUT THAT?
IAN and SPENCER re enter. SPENCER has a new shirt.
IAN
WHAT’S THAT I GLEAN?
AM I SURE ABOUT WHAT?
MITCHELL
Oh, not much,
HOW’S THE STAIN?
- 70 -
(MITCHELL)
I’M SURE IT’S A PAIN TO CLEAN.
SPENCER
He’s great, thanks for the help!
MITCHELL
IAN, I WAS THINKING,
Y’KNOW IT’S AWFULLY CONVENIENT
TO MAKE A BIG DEAL FOR US FOLKS,
AND NOW YOU’RE SO LENIENT
WHEN SPENCER MAKES JOKES
AT LORIE’S EXPENSE, HER FEELINGS ARE HURT,
AS HER FIANCÉ, YOU SHOULDN’T BE DOING THAT.
IAN
AS HER FIANCÉ, I THINK YOU DESERVE A SMACK.
MITCHELL
WHY DON’T YOU DO IT THEN?
IAN
YOU SHOULD PICK YOUR BATTLES, MAN.
SPENCER
I’M JUST BEING SILLY,
OTHERWISE I’D SAY SORRY.
THERE’S NO NEED TO LOOK SO APPALLED.
MY QUARREL WITH LORIE,
NOW THAT’S A DIFFERENT STORY,
AND HOW’S MITCHELL SPEAKING WITH A MOUTHFUL OF MY BALLS?
ALL
WHY CAN’T WE HAVE A LOVELY DINNER,
EVERYONE LAUGHING, ENJOYING THEIR TIME,
A LOVELY DINNER,
WOULD THAT BE SUCH A CRIME?
IT’S NOT ALL THAT HARD,
- 71 -
(ALL)
TO JUST GET ALONG,
YOU PUT IT ASIDE,
ADMIT WHEN YOU’RE WRONG,
AND MOVE ON
IAN
YOU CAN’T MOVE ON.
MITCHELL
THEN ADMIT THAT YOU’RE WRONG.
ENSEMBLE BAILEY
PUT IT ASIDE, I DON’T KNOW ABOUT YOU,
PUT IT ASIDE, BUT I’M HAVING A
PUT IT ASIDE, LOVELY DINNER,
PU-PUT IT ASIDE. ‘CAUSE I PUT IT ASIDE.
PUT IT ASIDE, A LOVELY DINNER,
PUT IT ASIDE, IT’S NOT SUCH A,
PUT IT ASIDE, NOT SUCH A
PU-PUT IT ASIDE! CRIME!
BAILEY
I’M ALONG FOR THE RIDE,
WHY IS EVERYONE SO SNIDE?
MITCHELL, IAN, SPENCER, LORIE
YOU’RE OUT OF LINE!
YOU’RE THE ONE THAT’S OUT OF LINE!
…FINE!
LUKE & ELISE
THIS IS WHY WE CAN’T HAVE NICE THINGS,
ENSEMBLE
THEY’RE TRADING BLOWS LIKE BOXERS IN A RING.
LUKE, ELISE, ENSEMBLE
WILL SOMEBODY CONCEDE?
- 72 -
LUKE
I’M SICK OF THIS CHARADE,
YOU’RE ONLY GONNA FEED
LUKE & ELISE
THEIR EGOS, THIS FACADE.
TAKE A BREATH AND CLOSE YOUR EYES,
LET THE CONFLICT PASS, KEEP WISE,
AND AT SOME POINT, THEY’LL ALL RUN OUT OF STEAM
ENSEMBLE
THE WATER’S BOILING OUT THE POT…
SPENCER
I deserve to be the best man!
THEN AGAIN, MAYBE NOT.
SPENCER
And if he was marrying anyone but you, I would be!
MITCHELL
ARE YOU DONE, ARE YOU FINISHED, CAN WE PUT THIS TO BED?
SPENCER
I HEARD WHAT YOU SAID, EVERY WORD.
“INDIGNANT BRAT”? IS THAT A WAY TO SPEAK OF A FRIEND?
LORIE
YOU’RE LUCKY THAT I’M PLAYING NICE,
SPENCER
YOU’RE LUCKY THAT YOU HAVE HIM,
‘CAUSE IF IT WAS MY WEDDING, HA!
IT WOULDN’T BE A QUESTION.
LORIE
COME BACK TO ME WHEN SOMEONE STAYS,
IF THAT EVER HAPPENS.
- 73 -
SPENCER
FINE, COME TO ME IN A COUPLE MONTHS
WE’LL SEE WHO’S LAUGHING THEN, OF COURSE,
WE BOTH KNOW WHOSE SIDE I’M GONNA TAKE IN THE DIVORCE!
LORIE
WHAT DID YOU JUST SAY?
SPENCER (Pointing to MITCHELL.)
MAYBE YOU SHOULD HAVE STAYED WITH HIM.
IAN, BAILEY, ELISE, LUKE
Woah!
LORIE gets up to leave.
IAN
Hey! Babe, babe, come back, he was just joking, we all just got a little out of hand! (to
SPENCER) Dude, what is wrong with you?
SPENCER gives a shrug and takes a big sip of his drink.
LORIE (suddenly turning around)
Do you get off on this? Seriously, what’s the angle? Do you have some, like, weird humiliation
kink or something?
ELISE
/Lor./
LUKE
/That’s enough now./
LORIE (getting in SPENCER’s face.)
No, I wanna know why he has to make everything such a big deal! I was perfectly fine, we were
all perfectly fine until you start some shit because, why? ‘ What is it, Spencer?
SPENCER
Can I get you some more wine, ma’am?
LORIE
Is it ‘cause nobody stays? Or do you just need attention that badly? Do you think it’s funny?
You’re not funny. You’re a child. And it’s sad. And you’re lucky if you even get invited to the—
- 74 -
IAN
We don’t need to do that!
LORIE
Who’s side are you on here!?
IAN
What’s that supposed to mean?
MITCHELL
It means, maybe you should step off, Ian.
IAN
And what would you know about it?
MITCHELL
You’re not defending her. You’ve been ignoring her this whole trip.
IAN
I’m not ignoring you, Lorie, am I? You just got here, what gives you the right to—
MITCHELL
If you heard some of the things she’s told me…
IAN
She can speak for herself.
BAILEY
Hey, Ian, can we maybe…do this another time?
EMOTE lights a pan on the stove and it begins to smoke.
MITCHELL
No, I think that’s a great idea, let’s ask Lorie.
LORIE
Everybody give me one second.
SPENCER
I’m having a great time. C’mon people, let’s air out all the grievances!
BAILEY
Guys, stop.
IAN
You know what, Mitchell, yeah, let’s ask her.
- 75 -
MITCHELL
How’s about we tell him, Lorie?
LORIE
Shut up.
MITCHELL
I think he deserves to know.
The smoke starts filling the kitchen.
IAN
Yeah, what don’t I know? Lor, what don’t I—
MITCHELL
By the way, you dropped your ring last night.
MITCHELL holds out the ring for LORIE.
LORIE
Shut up! Both of you!
IAN
What don’t I know!?
LUKE
Shit!
The fire alarm goes off. LUKE and ELISE go to the kitchen to deal with the fire. IAN
snatches the ring from MITCHELL.
BAILEY
Mitchell kissed Lorie!
Big beat. ELISE and LUKE return.
IAN
….what.
SPENCER
Oh…
BAILEY
Upstairs. Last night. I saw everything.
MITCHELL (as surprised as anyone else)
…did you now?
BAILEY
Ian, I’m so sorry. I have no reason to lie.
- 76 -
LORIE
/Ian…/
IAN (talking over the room)
/Did this piece of shit take advantage of you?/ /You know she was high, right?—/
LORIE
/Ian, can we please talk about this?/
IAN
/—And you weren’t,/ and that’s supposed to, what? To make us feel sorry for you, cause heaven
forbid we go five seconds without a sob story? I got a real sob story for you. Who was there
when her mom was dying? Hm? ‘Cause I’ll give you a hint, it wasn’t the worthless junkie, off
gambling, or getting high off god knows what, alone.
SPENCER
Jesus, Ian, take it easy, man.
IAN
Oh, would you shut the fuck up for TWO SECONDS!?
LUKE
You do NOT speak to him like that.
IAN
I am not gonna get cucked on my vacation by this guy, man!
MITCHELL
If you ever had an ounce of sympathy for anyone, maybe we wouldn’t be here.
IAN
I have no sympathy? I am the only one, great time capsule, who has ever had any sympathy for
your sorry ass. Picking you up at 2AM, giving you cash, for what? You’re pathetic. She loves
me!
MITCHELL
Then why’d she kiss me, asshole?
IAN swings at MITCHELL and hits REMEMBER instead. The ENSEMBLE reacts
silently. Amidst the chaos, MITCHELL drops IAN with one punch square to the face.
BAILEY SPENCER ELISE LUKE
Ian! HEY! Oh my god! Mitchell!
MITCHELL heads for the door. After a moment, BAILEY rushes to IAN and helps him
up. SPENCER goes to MITCHELL.
SPENCER
Dude—
MITCHELL shoves SPENCER off. MITCHELL gets a splitting headache.
MITCHELL
Fuck all you people.
MITCHELL exits.
- 77 -
#14c — A Lovely Dinner Part III Full Company

EMMA, seething, bursts in from the other room. She slowly makes her way to the table.
EMMA
SORRY, I DON’T WANNA SOUND SNAPPY,
BUT SHUT YOUR MOUTHS AND PUT AWAY THE KNIVES,
IT’S IMPOSSIBLE TO MAKE YOU PEOPLE HAPPY.
IT’S LIKE YOU’RE HELL-BENT ON RUINING EACH OTHER’S LIVES.
IT’S LIKE NOBODY CAN WIN, NO ONE CAN FINISH THE CADENCE,
FOR SOME ARRAY OF REASONS, YOU’RE ALL DEVOID OF PATIENCE,
LACK A SINGLE OUNCE OF SYMPATHY,
YOUR TONAL INCONSISTENCY,
ACCUSATIONS OF BYGAMY,
THROUGH A THIN VENEER OF JEALOUSY,
ARE MALADY TO HARMONY,
RUIN EVERY OPPORTUNITY,
YOU’RE HARBINGING DESTRUCTION OF MY MELODY,
NOW SOMEONE’S FUCKING BLEEDING, AND I WISH THAT IT WAS ME.
BUT THE WORST PART ABOUT IT IS, I’M STILL HUNGRY!
YOU WONDER WHY I REMOVE?
WHY I CAN’T FIND THE GROOVE?
WHAT A GOOD FOR NOTHING,
VACUOUS, DISASTROUS, INSIPID, BLOODY,
IMAGINE stands on the table and starts dancing manically. IAN leaves.
LOVELY DINNER,
DESTROYING OUR FRIENDSHIPS AND LOATHING OUR TIME.
WHAT A LOVELY DINNER,
FIGHTING RIGHT DOWN TO THE LINE.
The ENSEMBLE starts tearing apart the kitchen and dining room; throwing napkins,
food, silverware; causing a massive scene. THINK starts to chase SENSE around with a
knife, BELIEVE sits, rocking, in a corner, etc. EMMA riffs over the chaos.
- 78 -
ALL
WE CAN’T HAVE ONE NICE DINNER?
AND NO ONE GOES HOME A WINNER IN THE END?
WAS IT WORTH THE HOURS WE LOST,
IN THE MADNESS AND CHAOS?
ALL THAT WASTED TIME WE’LL NEVER SEE AGAIN…
IF YOU’D HAVE KEPT YOUR MOUTH SHUT, WE’D BE FINE.
WE’D HAVE A LOVELY DINNER,
A LOVELY, LOVELY DINNER,
A LOVELY TIME!
EMMA
I told you this trip was a shit idea.
ELISE
Em, not the time, honey—
EMMA
Stop treating me like one of your kids. I don’t even care anymore, it’s your goddamn house.
EMMA leaves for her room.
ELISE
Are you /kidding me!?/
LUKE
/Emma, come on!/ Bugger…
LORIE
Bailey, we couldn’t have talked first?
BAILEY
…What?
LORIE
There are better ways to handle that, and I just think—
BAILEY
You know, I think I have a first aid kit in the car. For my brother.
BAILEY exits.
- 79 -
LORIE (to SPENCER)

I need you to get out of my sight.
SPENCER
I’m. Sorry. Okay? I’m sorry. I had no idea—
LORIE
Oh, don’t you dare take the moral high ground right now.
SPENCER
You cheated on my best friend.
LORIE
It’s funny that’s what you think you are to him.
SPENCER (stung)
….Word. Reading the room.
He leaves. LUKE and ELISE stare at her in disbelief.
LORIE
WHAT!?
She exits the opposite way.
#15 — What Now? Elise, Luke, Ensemble
ELISE
WHAT THE FUCK!?
WHAT NOW?
LUKE
I’M STILL IN SHOCK,
SO WHAT NOW?
LUKE & ELISE
SO MUCH FOR RELAXING,
HE SLUGGED HIM IN THE FACE,
NOW MY MOUTH FEELS LIKE CHALK, SO WHAT NOW?
LUKE
ISN’T THIS JUST IDEAL?
ISN’T THAT JUST GREAT?
I THINK YOU SHOULD DEAL WITH YOUR FUMING ROOMMATE.
- 80 -
ELISE
I’M NOT TALKING TO HER,
THERE ARE BIGGER FISH TO FRY,
SHE CAN COME TO ME HERSELF,
IF SHE’LL APOLOGIZE
LUKE
FINE, I’LL DO IT MYSELF, SEE WHAT I CAN MEND,
BUT WE CAN’T LET THIS BE THE END.
LET ME REPHRASE:
I DON’T WANT THIS TO BE THE END.
LUKE & ELISE
MAYBE WE CAN EMPATHIZE,
MAYBE WE CAN TALK IT OUT,
HOPEFULLY WE GET SOMEWHERE,
REMEMBER WHAT THIS IS ABOUT.
ELISE
YOU THINK THAT THEY’LL COME AROUND?
LUKE
WE ALWAYS DO, BUT THEN AGAIN…
LUKE & ELISE
WHAT THEN?
ENSEMBLE
WHERE WHEN?
WHO, WHY?
WHERE, HOW?
WHAT NOW?
WHAT NOW?
WHAT NOW?
Direct Transition:
- 81 -
#16 — Faulty Memories Mitchell & Ensemble

MITCHELL, alone on the DOCK, watches REMEMBER and THINK share a dance.
MITCHELL
FAULTY MEMORIES KEEP COMING BACK TO ME.
UNGRATEFUL THOUGHTS THAT SHOW THE COST,
THE SNAPSHOTS OF A LIFE I’VE LOST,
THESE FAULTY MEMORIES,
THEY REACH ME LIKE A DREAM.
IMAGES AND MAKE-BELIEVE,
NOT SO PRETTY AS THEY SEEM,
IT HURTS TO LET LOVE GO.
IT HURTS TO LET IT DIE.
A PART OF US IS MISSING AS WE WATCH OUR LIVES FLY BY.
WHAT I WANTED FOR THE TWO OF US COULD NOT BE SET IN STONE,
NOW THESE FAULTY MEMORIES LEAVE ME STRANDED, SCARED,
ALONE…
ALONE, ALONE.
THESE FAULTY MEMORIES,

THEY’RE PLAYING TRICKS ON ME.
THE FLASHES AND THE VISIONS OF THE LIFE I’D PLANNED TO LEAD.
THERE’S NOTHING LEFT FOR ME INSIDE THESE MEMORIES.
ALTHOUGH THEY CLOUD MY EVERY MOVE, I’M STILL ABLE TO SEE
YOU’RE EVERYTHING I WISH I HAD,
EVERYTHING AND MORE,
OH, HOW TO FIND A COMMON GROUND,
SIX FEET BELOW THE FLOOR?
WHEN I’M DROWNING,
DROWNING IN THESE FAULTY MEMORIES,
AS I TRY TO LIVE INSIDE THEIR IMPOSSIBLE ALLURE?
- 82 -
MITCHELL ENSEMBLE
I’M AN EMPTY SHELL WHEN DROPLETS FORM A CURRENT,
OF THE MAN YOU THOUGHT YOU KNEW. IS IT WORTH IT TO SWIM THROUGH THE TORRENT
YOU KNEW ME SO WELL, OR BETTER TO DWELL
DID I KNOW YOU? IN THE PAST?
ENSEMBLE
LET THE MEMORIES TAKE OVER,
WATCH AS THE BOAT CAPSIZES ,
IT ALL FALLS APART,
AS YOU REALIZE IT’S…
MITCHELL
NOTHING BUT A NIGHTMARE
REPEATING EVERY DAY,
LIKE A RIPPLE IN THE SEA…
MITCHELL ENSEMBLE
OH, OH, OH… OH…
OH, OH OH…
MITCHELL
WHAT I WANTED FOR THE TWO OF US COULD NOT BE SET IN STONE,
NOW THESE FAULTY MEMORIES LEAVE ME ALL ALONE.
MITCHELL ENSEMBLE
NOW I’M DROWNING, FEELING, TRUSTING,
DROWNING IN THOSE MEMORIES. THINKING, SEEING;
IMAGINE—
MITCHELL
TRYING TO LIVE INSIDE THEM.
THESE FAULTY MEMORIES

ERODE THE REAL ONES AWAY.
End of Act One.
- 83 -
ACT TWO:
#17 — Entr'acte Ensemble
The ENSEMBLE sings in the dark.
ENSEMBLE
ALL KNOWLEDGE COMES FROM SOMEWHERE…
BUT EVEN IF WE SAY IT’S INNATE,
HOW DO WE STAY…
Then, lights.
IN THE KNOW?
#18 — In the Know Full Company
ENSEMBLE
WHEN THE PLANS WE MAKE TAKE A TURN FOR THE WORSE,
WHEN THE PATHS WE TAKE MAKE TRAVERSING THEM A CURSE,
IT SEEMS WE’VE LOST THE FLOW,
BUT EVEN SO,
WHERE DO YOU GO
TO STAY
IN THE KNOW?
IAN sits on the edge of HIS BED. LORIE paces the floor just outside their room. She
texts him as ACT and THINK speak their thoughts, respectively.
THINK
IAN.
IAN, YOU THERE?
IAN, HELLO? CAN YOU PLEASE RESPOND?
LOCKING THE DOOR WAS REALLY CHILDISH.
IF YOU WOULD COME BACK, WE COULD TALK THIS OUT.
ACT
I CAN’T DO THAT TO MYSELF RIGHT NOW.
THINK
HONESTLY, YOU’RE BEING RIDICULOUS.
- 84 -
ACT
WHAT IS WRONG WITH YOU?
HOW WAS I SUPPOSED TO REACT?
THINK
NOT BY RUNNING AWAY.
ACT
DOT. DOT. DOT.
I’M GONNA PRETEND YOU DIDN’T JUST SAY THAT TO ME.
THINK
JUST COME BACK AND WE’LL TALK.
ELISE joins EMOTE and sends a text to EMMA.
EMOTE
I’M SORRY I’VE BEEN OVERBEARING,
JUST COME BACK AND WE’LL TALK,
EMOTE & THINK
BUT YOU CAN’T BLAME ME FOR THIS
IMAGINE
THUMBS UP EMOJI.
LUKE texts SPENCER.
SPEAK
I APPRECIATE YOU CLEANING UP,
THAT WAS RESPONSIBLE OF YOU.
COME DOWN HERE IN A MINUTE, LET’S GO TALK TO EMMA,
MAYBE TAKE HER FOR A HIKE? THAT SOUND GOOD TO YOU?
—LUKE.
SENSE
LMAO BRO YOU AREN’T 40.
YOU DON’T NEED TO SIGN YOUR NAME WITH EACH TEXT,
I’LL BE THERE IN A FEW.
IMAGINE & SPEAK
THUMBS UP EMOJI
- 85 -
EMOTE & SENSE

YOU KNOW HOW CONDESCENDING THAT IS?
EMOTE
HEY.
I WANNA MAKE SURE YOU’RE ALRIGHT.
YOU SHOULDN’T HAVE PUNCHED HIM, BUT HE DID SWING FIRST.
DON’T DO ANYTHING STUPID.
REMEMBER
THANKS, ELISE
I’M OKAY, I SPENT THE NIGHT BY THE WATER.
I THINK I’LL COME BACK SOON.
JUST NEEDED A MINUTE TO MYSELF. TELL LORIE I SAID I’M SORRY.
EMOTE
YOU PROB SHOULD SAY THAT TO IAN LOL
REMEMBER
DON’T TELL ME WHAT TO DO, LOL,
I’LL HANDLE IT.
LUKE meets SPENCER UPSTAIRS by EMMA’s ROOM.
SPENCER
So she really kissed him?
LUKE
Lower. Your. Voice.
SPENCER
Man, I don’t know, he makes shit up all the time!
LUKE
Are you taking the piss? Enough.
He knocks on the door. Lights up on EMMA’s ROOM. She sits silently on the edge of her
bed, headphones in, staring at the wall.
Emma?
No response.
- 86 -
SPENCER
Good morning! It’s, ah, really gorgeous out—
EMMA
Fuck off.
She puts her headphones back on.
SPENCER
Okidoki.
ELISE texts LORIE as LUKE texts EMMA.
EMOTE
LEMME KNOW IF YOU WANNA TALK,
SPEAK
LEMME KNOW IF YOU WANNA TALK,
EMOTE & SPEAK
YOU KNOW I’M ALWAYS GOOD FOR IT,
SPEAK
HIS MAJESTY AND I WANTED TO GO FOR A WALK,
IF YOU’D LIKE TO JOIN, COME OUTSIDE.
—LUKE
EMMA (Through the door)
Okay. I’ll come.
IMAGINE
GOING FOR A WALK WITH THE BOYS,
DON’T WORRY ABOUT ME,
YOU DON’T HAVE TO PARENT.
EMOTE
OKAY COOL HAVE FUN. I’M SORRY YOU FEEL THAT WAY.
BAILEY texts IAN.
BELIEVE
DID YOU SLEEP OKAY?
HOW’S IT FEEL?
- 87 -
ACT
IF PEOPLE KEEP TEXTING ME I THINK I’LL EXPLODE FR.
ENSEMBLE
I WOULD LIKE AN APOLOGY,
BUT I KNOW THEY WON’T GIVE ME ONE,
SO I’LL KEEP TO MYSELF I GUESS.
BAILEY texts the group chat.
BELIEVE
GOOD MORNING MY DARLINGS!
HOPE YOU’RE ALL OKAY.
JUST KNOW I LOVE YOU ALL.
HUGS AND KISSES,
HEART, HEART, HEART.
REMEMBER, THINK, ACT, SENSE, EMOTE, SPEAK, IMAGINE
THUMBS UP EMOJI.
ENSEMBLE
SEE WHAT HAPPENS WHEN YOU LET IT GET OUT OF HAND?
WHEN YOU MESS AND DEAL WITH THINGS THAT YOU DON’T
UNDERSTAND?
PLAY WITH FIRE, GET BURNED,
LIVE WITH THE FATE THAT YOU’VE EARNED,
RECKON WITH ALL THAT YOU’VE SPURNED
AND IF YOU’VE GOT TO, YOU’VE GOT TO LET GO.
STAY IN THE KNOW.
LUKE (to SPENCER)
Sitting room. Five minutes. I’m leaving with or without you.
LUKE exits. SPENCER goes down the stairs to the PORCH.
ENSEMBLE
GOTTA, GOTTA, GOTTA, GET
IN THE KNOW!
Direct transition:
- 88 -
Lights up on the PORCH. ELISE stands at the railing, drinking coffee. SPENCER
enters, visibly upset.
ELISE
You okay? You’re sulky.
SPENCER
I’m not sulky, shut up. I just feel bad. Y’know? It’s fine, whatever.
ELISE
Yeah, you went too far. But you almost always go too far, so I’m not mad. Kinda missed it.
SPENCER
Well, that makes me feel better.
ELISE
I don’t care if you feel better, I care that you’re aware of it.
SPENCER
Still, it’s like, I can’t take anything seriously until it’s too late, and then it’s all put on me.
Deservedly, I guess.
ELISE
When my parents…kicked me out, and Lor and I stayed here over Christmas break with Nunu
and Pop-pop, helping her deal with the Mitchell stuff was hard. It sucked. It wasn’t about me, but
it always felt like it was. She has a way of that. And I love her, I do, but it’s good to remember.
SPENCER
So, what, like, time is a flat fuckin’ circle, Good Will Hunting “it’s not your fault” shit?
#19 — No Hard Feelings Elise & Spencer
ELISE
THERE’S A LEVEL OF PROFESSIONALISM
THAT I TRY TO EXHIBIT IN MY DAY TO DAY.
TAKE CARE OF THIS AND THAT, MULLING OVER,
JUST IN CASE I MISS IT IN THE PLAY BY PLAY.
AND IT SURE AIN’T AS EASY AS IT LOOKS,
LOOKING AFTER HALFWAY DEVELOPED BRAINS,
BUT THEY WON’T TAKE IT AS PERSONAL,
THE REST, IMMATERIAL,
- 89 -
(ELISE)
THEY DON’T NEED TO HEAR YOU SAY:
‘NO HARD FEELINGS’,
‘CAUSE THERE’S NO HARD FEELINGS.
THERE’S A REASON WHY I LOVE TO TEACH,
AND ADULTS ARE A DIFFERENT BEAST,
IT’S NEVER QUITE THAT SIMPLE,
NOT LIKE HERDING SHEEP.
SPENCER
YOU KEEP YOUR DUCKIES IN A ROW,
BUT GROWN-UPS DON’T LIKE TAKING NOTES.
IT’S MUCH HARDER TO GET US TO MOVE WITHOUT HARD FEELINGS.
…THAT’S LESS APPEALING.
ELISE
Exactly. So, enough of the woe is me crap, dude!
THERE’S SOMETHING I SAY TO MY STUDENTS,
IT KEEPS THEM IN FOCUS, IT MAKES THEM BEHAVE.
‘WE HAVE OUR OWN STRENGTHS, WE’RE NOT HERE TO
CRITICIZE OR BLAME’
AND I WISH THAT THEY COULD SEE THE SAME,
SINCE IT SEEMS TO APPLY TO THE SPROUTING SEEDS,
BUT WHAT GOOD DOES IT DO YOU,
WHEN ALL THAT’S COMING THROUGH YOU,
IS A WHOLE LOT OF MESS THAT YOU DON’T NEED?
SO, NO HARD FEELINGS?
I KNOW IT’S HARD BELIEVING THAT.
SPENCER
NO HARD FEELINGS.
ELISE & SPENCER
I HOPE THERE’S NO HARD FEELINGS.
BAILEY enters.
- 90 -
SPENCER
Hey, B.
BAILEY
Mornin’. How you guys doin’?
ELISE
As good as you can, I guess. Checking on the wounded soldier?
They laugh.
BAILEY
Leave it to the nurse, right?
LUKE (OS)
Spence!
SPENCER
That’s my cue. Catch you on the flippity.
ELISE
Do me a favor and never say that again.
SPENCER
Seriously, though, thanks for the pep talk. It kinda rocks that you treat me like an adult.
ELISE
Yeah, yeah, go take your girlfriend on a hike.
SPENCER
She’s not my—you suck!
ELISE
Break a leg, kiddo.
SPENCER exits.
Come talk later. I can tell you want to go in there.
BAILEY
I’m okay. I will be. Okay. Yeah. It’s good. Really. Family! Hehe…
BAILEY crosses INSIDE to IAN AND LORIE’s ROOM. Lights fade on ELISE.
- 91 -
Lights on IAN, with a black eye, sitting on his BED. He is holding a large ice pack or
bag of frozen peas to the bridge of his nose. BAILEY enters and takes a big exhale.
(BAILEY)
You keep that ice on it?
IAN
I can’t put ice on it while I sleep.
BAILEY
I’m guessing you didn’t do much sleeping anyway, right?
IAN
No shit, Sherlock.
BAILEY
Let me older sibling please. I haven’t seen you in three years.
IAN
I hate when you do this.
#20 — My Own Devices Bailey & Ian
BAILEY
Listen, I don’t know a lot about…romantic…love, but I know that I love you. Whether we like it
or not, we’re stuck with each other, so when bad things happen, I wanna fix it. ‘Specially when it
feels like it’s on me, so the least I can do is make sure your eye is—
IAN
My eye is fine. For the 15th time in two minutes.
BAILEY
YOU DON’T HAVE TO LET ME HELP YOU,
YOU DON’T HAVE TO LET ME IN,
BUT YOU’VE SPENT SO LONG FIGHTING DEMONS,
IT’D BE A SHAME TO LET THEM WIN.
I’M NOT PERFECT EITHER,
BUT IF THERE’S ONE THING I KNOW,
IT’S A WHOLE LOT WISER,
IF YOU DIDN’T GO THIS ALONE.
I’M NOT THE SMARTEST PERSON,
I’M NOT THE MOST ADEPT.
BUT I’M TRYING, IAN.
SO IF MY HELP IS SOMETHING YOU CAN’T ACCEPT,
I’LL LEAVE YOU TO YOUR OWN DEVICES,
IAN
Are you serious?
BAILEY
Why wouldn’t I be?
- 92 -
IAN
DO YOU THINK I’M STUPID? DO YOU?
‘CAUSE I DON’T THINK YOU KNOW
WHAT BETRAYAL FEELS LIKE,
BAILEY
WE WENT THROUGH THE SAME DIVORCE, LIL’ BRO!
IAN
IT’S LIKE SOMETHING IN YOUR SOUL,
IT’S YOUR WHOLE LIFE UNWINDING,
AND THE RED THAT I KEEP SEEING,
JESUS CHRIST, IT’S BLINDING.
SO LEAVE ME TO MY OWN DEVICES,
I’LL BE COOL, I’LL BE FINE.
BAILEY
NO YOU WON’T!
IAN
IT’S NOT YOUR BUSINESS, IT’S MINE.
BAILEY
THOSE SAME DEVICES THAT GAVE YOU THAT BLACK EYE?
IAN
Not fair!
BAILEY & IAN
I’M NOT ONE TO MAKE DECISIONS
THAT SEEM SO LEVEL HEADED,
I’M NOT RATIONAL.
THE RATIONALE IS FAR FROM WHERE THEY SET IT,
I EXIST IN MY OWN WORLD,
FOR THE MOST PART, THAT’S OKAY,
IT SERVES ME WELL.
I’M LEFT TO MY OWN DEVICES,
WHEN ALL GOES TO HELL.
IAN
IT’S LIKE A CURSE.
BAILEY
THEN LET ME HELP.
IAN
NO!
BAILEY
WHY!?
- 93 -
IAN
YOU’LL ONLY MAKE THINGS WORSE.
BAILEY
HOW DO YOU KNOW?
IAN
IT’S IN MY BONES,
I DEAL WITH THIS PART ALONE,
I DEAL WITH MITCHELL ALONE.
BAILEY
THIS WAS A TURNING POINT,
WHY ISN’T LORIE THE CONCERN?
IAN
HOW DARE YOU SAY THAT WORD?
BAILEY
FINE, BE WHAT HE THINKS YOU ARE,
AND EVERYTHING YOU LOATHE ABOUT HIM,
IT’S NOT MY PROBLEM ANYMORE,
SINCE THAT SECRET GOT LET OUT,
AND THIS TIME WOULDN’T BE THE FIRST.
THERE WAS NO BETTER WAY AROUND IT,
SINCE YOU LOVE TO NEGLECT THE FACT
THAT I’M A MOTHER FUCKING NURSE!
BAILEY starts to hyperventilate and have a panic attack.
IAN
B? Hey, what’s going on? Are you—
BAILEY
I can’t—I can’t…. Oh my god, I’m… Oh geez, okay.
IAN
Bailey, it’s okay, it’s okay. You’re okay, just breathe, yeah?
PICTURE A FEATHER IN THE AIR.
A LITTLE, DELICATE FEATHER.
AND HELP THAT FEATHER FLY.
MAINTAIN A STEADY RHYTHM,
SEE IT BLOW THROUGH THE SKY.
DESPITE WHAT IT MIGHT FEEL LIKE,
YOU’RE NOT ABOUT TO DIE.
YOU’RE FINE
- 94 -
BAILEY
….I’M FINE
IAN & BAILEY
HELP THAT LITTLE FEATHER FLY
IT DECIDEDLY WILL FALL
AND WHO KNOWS WHAT IT’LL FALL INTO,
IF LEFT TO ITS OWN DEVICES?
SO LET THE AIR FLOW THROUGH YOU,
AND KEEP IT OFF THE FLOOR.
IT CAN’T FLOAT ON ITS OWN ANYMORE.
BAILEY
Don’t kill Mitchell, please.
IAN
I’m gonna try not to.
BAILEY
You’re a….good brother. You’re an ass. But you’re a good brother. And I love you, kid.
IAN
Like you said,
WE CAN’T FLOAT ON OUR OWN ANYMORE.
BAILEY hugs him tightly. Slow fade.
- 95 -
#21 — Perfect For Me (Reprise) Mitchell & Lorie

Lights on MITCHELL, alone where we left him. LORIE enters. He spots her.
MITCHELL
Hey there.
LORIE
I have nothing to say to you.
MITCHELL
WE’RE DROPLETS
IN A CURRENT,
FORMING A RIPPLING TORRENT,
THE UNDERTOW SWEEPS US AWAY…
LIKE WAVES UPON THE SEA,
I KNOW, YOU’RE PERFECT FOR ME.
LORIE
I’m not. This has to stop.
MITCHELL
I LOVE THE SOUND OF YOUR LAUGHTER,
THE WAY THE LIGHT HITS YOUR HAIR,
HOW EVERYTHING AROUND YOU SEEMS TO BRIGHTEN.
HOW YOUR EYES SHIMMER LIKE WATER,
AND HOW, THOUGH LIFE IS UNFAIR,
YOU’LL NEVER, EVER, EVER GIVE UP FIGHTING.
LORIE
YOU’RE NOT IN HIS SHADOW,
BUT I CAN’T BE BY YOUR SIDE,
YOU’LL FIND SOMEONE ELSE,
AND YOU WON’T HAVE TO HIDE.
MITCHELL & LORIE
THE PERSON I BECAME
WHEN LOVE HAD GONE AWAY,
- 96 -
LORIE MITCHELL
WAS NEVER YOURS… WAS ALWAYS THERE, I’M YOURS…
THOUGH I WE’RE DROPLETS
ONCE FELT SAFE IN YOUR CARE, IN A CURRENT,
YOU’RE NOT AWARE CREATING A RIPPLING TORRENT
OF THE WAYS THAT YOU HURT ME. WE’RE ADRIFT IN THE WORLD.
MITCHELL & LORIE
THERE ARE THINGS I CANNOT TELL YOU,
THERE ARE ACTIONS I CAN’T TAKE,
UNSPOKEN THOUGHTS I HAD TO LEAVE TO FESTER…
LORIE
BECAUSE THOUGH I CAN’T BE WITH YOU,
YOU NEED TO HEAR ME SAY,
IT SHOULD STAY THIS WAY, FOR THE BETTER.
MITCHELL
IF YOU ASKED, I WOULD GIVE YOU THE MOON.
SO GIVE ME SOMETHING TO LOSE,
SHOW ME THE MOUNTAINS TO MOVE
TO PROVE
I’M PERFECT FOR YOU.
LORIE
YOU DON’T KNOW WHAT YOU MEAN…
MITCHELL
THERE’S A WORLD WHERE YOU’RE PERFECT,
LORIE
THERE’S A WORLD WHERE YOU’RE PERFECT,
LORIE & MITCHELL
FOR ME.
LORIE
I can’t. I can’t do this.
- 97 -
MITCHELL
Then I need you to answer me honestly.
LORIE
Fine.
MITCHELL
Why did you kiss me?
LORIE
Mitchell, don’t do that.
MITCHELL
If you don’t love me, why did you kiss me?
LORIE
I don’t know, I—
MITCHELL
You can’t say it. You couldn’t even say it when we were together.
LORIE
It’s not that I don’t, I just—
MITCHELL
Lorie, I know it wasn’t right, but if you want this, tell me. We have a chance again.
No response.
I thought so. I’m gonna… head back to New York. I’m sorry it went this way.
He goes.
#22 — Rhyme or Reason Lorie
LORIE
WITH NO RHYME OR REASON WE THREW IT AWAY.
WITH NO RHYME OR REASON…
I CAST HIM ASIDE,

HELL, I DID IT TWICE,
AND WHAT DOES THAT GET YOU?
THROUGH ROSE TINTED GLASSES,
THE RED FLAGS LOOKED WHITE
- 98 -
(LORIE)
WHEN I MET YOU.
AND I WISH THEY WERE TRUE.
BUT I CHOSE MY INSTINCT,

LOST IN PREMATURE BLISS,
LAYING A TRAP FOR MY FUTURE,
THAT MAKES ME REMEMBER WHAT I MISS.
WITH NO RHYME OR REASON I BURNT EVERY BRIDGE,

WITH NO RHYME OR REASON I LOST SOMEONE ELSE,
PROTECTING MYSELF.
MAYBE I’M PROTECTING MYSELF…
EVERY TIME I LET SOMEONE IN,

I LET A PART OF ME GO.
I SURRENDERED MYSELF TO A LIE,
NOW I’M LEFT ALONE…
WHERE DO I GO?
WITHOUT HER GUIDANCE, HOW COULD I HAVE KNOWN?
IT’S BEEN YEARS,
A PART OF ME SIGHS, THE OTHER’S IN TEARS.
WITH NO RHYME OR REASON, WHAT I TOOK FOR GRANTED
WAS TAKEN FROM ME,
WAS TAKEN FROM ME,
I WISH THERE WAS TIME.
I WISH THERE WAS MORE TIME.
CAN I GO BACK?
HOW CAN I GO BACK WHEN I’M SO FAR AHEAD?
- 99 -
(LORIE)
HOW CAN I GO BACK TO WHAT CAME BEFORE YOU
DESPITE EFFORTS TO IGNORE YOU?
YOU’RE THE VOICE OF REASON…
IN MY HEAD…
MOM,
I WISH THERE WAS MORE TIME.
WHERE DO I GO, WHEN I CAN’T GO TO YOU?
NO RHYME OR REASON WILL BRING BACK WHAT WAS,
THERE ARE NO WAYS OF KNOWING HOW TO FIX THIS,
ONLY MINE.
LIFE BREAKS YOU DOWN,

THE WORLD SPINS AROUND,
WITH NO REASON OR RHYME.
ELISE enters.
ELISE
Hey, Lor…
LORIE
Hi…He’s leaving?
ELISE
And that’s a bad thing? Considering…Oh.
Beat.
Look. There’s no right or wrong here. No such thing. Just worse and better. And you can’t know
which pathways are worse and which are better until you go down one of them.
LORIE
None of this makes any sense.
- 100 -
ELISE
It doesn’t. Today is five years, right?
LORIE
You remembered?
ELISE
She was like my mom too.
LORIE
Yeah… She was everyone’s. Ian and I were gonna go by the lake tonight, light a lantern or
something, I don’t know. But now…who knows, right?
Beat.
ELISE
We’re, uhm, losing the house, by the way. That’s what I brought everyone here for.
LORIE
No…
ELISE
Nunu needs assisted living and we can’t pay the mortgage off. Not that my parents would even
want to help. So it’s a lost cause. Just thought I should let you know. Since it used to be so
special for us.
LORIE
If there’s anything I can do to—
ELISE
You can worry about yourself. She’d understand.
LORIE
I don’t—
ELISE takes LORIE’s hand.
ELISE
She’d understand.
#22a — Movement III: Reflection Ensemble
The ENSEMBLE performs a sequence embodying the desires of the CAST.
- 101 -
Lights. SPENCER, EMMA, and LUKE enter on a FOREST TRAIL. EMMA is fit and
well put together for a hike and wears her headphones. LUKE appears dorky and
overprepared. SPENCER has not changed clothes, which will soon be a problem.
LUKE
I told you not to wear those.
SPENCER
The “I told you”ing only makes me want to complain more.
LUKE
Look at Emma. She’s prepared, I'm prepared.
SPENCER
Yeah, for a boy scout retreat, dude, you’re wearing a fanny pack.
LUKE
Skinny jeans on a hike.
EMMA
Please.
SPENCER
I think I look pretty good.
LUKE
Not for a hike!
EMMA
Do you know how loud you have to be for me to hear you with noise canceling headphones?
SPENCER
Somebody's grouchy…
EMMA puts her headphones back on and walks farther from the others.
Love you too, Em.
He notices something not far off the path.
Look at the size of that oak!
LUKE
No.
SPENCER
There’s some good footholds. Emma, climb it with me!
- 102 -
LUKE
No! You. Are. In. Jeans!
It’s too late, he’s already climbing.
Twit.
EMMA contemplates.
EMMA
Eh. Why not.
EMMA starts climbing too. SPENCER and EMMA giggle.
LUKE
Whole lot of children.
LUKE leans against the tree and grumbles under his breath.
EMMA
How have you always been like this?
SPENCER
What do you mean?
EMMA
You just do things. Like, I can’t just be careless. I don't know what it is, really.
SPENCER
…Sometimes views help me. And I wanna help you. And I know that being creatively stifled is
like the worst, most earth shattering thing for people like us. And I also don’t know how to…not
entertain. I guess.
EMMA
That was surprisingly intelligent.
SPENCER
So if this gives you inspiration to write a musical, I can star in it, if you ask nicely.
He leans into her, and they both laugh.
EMMA
Retracted. Moron. Get off me.
SENSE and IMAGINE suddenly appear in the tree with them, backs turned.
- 103 -
#23 — Chasing a Spark Emma, Spencer, Luke

SPENCER
Okay, seriously. Tell me how to help.
EMMA
Ohhhh no. I tried this with Mitchell. I really don’t need—
SPENCER
Mitchell doesn’t get it like I do. Hit me. I’m all ears.
EMMA
CHASING A SPARK
KINDA LEAVES YOU IN THE DARK,
IT’S ALL AN INTERNAL GRIND.
SITTING UP HERE WITH YOU,
I THOUGHT, COULD CHANGE THE POINT OF VIEW,
BUT I’M STAGNANT, STUCK, NOTHING NEW.
GETTING INSPIRED IS A DIFFERENT ORDEAL,

GRASPING AT WAYS TO DESCRIBE HOW YOU FEEL,
AND THE MINUTE SOMETHING COMES, IT’S GONE,
SO YOU MOVE ON…
FOREVER CHASING A SPARK.
SPENCER
Interesting…
EMMA
I told you it was a bad—
SPENCER
No, it’s just…
I’VE NEVER HAD A PROCESS,
I GO WITH THE FLOW,
I’M NOT ONE TO RESIST,
SO I PUT ON A SHOW,
FROM A WORLD I CAN SEE,
- 104 -
(SPENCER)
BUT I VIEW FROM BELOW,
SURE, I’D LOVE TO LOOK CLOSER,
BUT HOW COULD YOU KNOW?
I’M THINKING OF WAYS I CAN OFFER MY MIND,

BUT WHENEVER I TRY, WELL, I’M NOT SO INCLINED,
AND I KNOW THAT YOU KNOW THAT TOO,
WHAT CAN YOU DO,
BUT KEEP CHASING THE SPARK?
LUKE
I see what your problems are. Both of you.
EMMA
Hm?
LUKE
You don’t have a sense of identity.
EMMA
Excuse me?
LUKE
Neither of you know who you are, outside of what other people give you.
SPENCER
Oh yeah? Come up here and say it to my face!
LUKE
I’M NOT CHASING A SPARK.
IF I MISSED MY MARK,
YOU COULDN’T PAY ME TO CLIMB THAT TREE.
BUT WHAT I THINK YOU NEED IS TO FOLLOW MY LEAD,
YOUR LIVES NEED STRUCTURE, NOW ARE WE AGREED?
SPENCER
SOUNDS LIKE SOMEONE’S PROJECTING.
- 105 -
LUKE
I PROMISE I’M NOT,
YOU’RE IN NEED OF CORRECTING.
EMMA
YOU WANNA GET SHOT?
SPENCER
TURN OFF YOUR BRAIN,
JUST SOAK IN THAT VIEW,
GRAB AHOLD OF YOUR SPARK.
EMMA & LUKE
THERE ARE THINGS IN THIS WORLD
TOO ABSTRACT TO DEFINE,
LUKE
LIKE THE LANGUAGE WE USE,
EMMA
THE IDEAS WE DESIGN,
EMMA, SPENCER, LUKE
BUT WHAT HELPS US ALL PULL THROUGH,
SPENCER
IS IT MY SPARK?
IF I WANTED TO MAKE SENSE,

IF I WANTED TO APPEAL,
HAS THE DISTANCE BETWEEN ME AND HER
CLOSED, OUR CONNECTION REAL?
EMMA
HE DOESN’T GET THE VALUE
IN THE PERSON THAT HE IS.
IF I CAN HELP HIM SEE,
HE’LL LEND HIS AID TO ME!
- 106 -
EMMA, SPENCER, LUKE

SO YOU’RE CHASING THE SPARK,
IT’S A SHOT IN THE DARK,
IT’S A BRUTAL UPHILL CLIMB.
LUKE
WHEN THE MOUNTAIN’S BEEN SCALED,
SPENCER
WHEN THE TRIALS ARE FACED,
EMMA
THERE’S A LIGHT AT THE END,
WHEN YOU FINISH THAT RACE.
EMMA, SPENCER, LUKE
SO THE THINGS IN THIS WORLD
THAT JUST CAN’T BE DEFINED,
SPENCER
LIKE WHAT YOU PERCEIVE
EMMA, SPENCER, LUKE
WHEN YOU’RE LOSING YOUR MIND,
SPENCER & EMMA
THEY’RE WHAT MAKE LIFE CLEAR,
EMMA, SPENCER, LUKE
THEY HELP US PERSEVERE.
EMMA
SO I GOTTA CHASE MY SPARK
FAR AWAY FROM HERE!
SPENCER
What’re you thinkin’?
EMMA
I dunno.
HOW ‘BOUT YOU CHASE YOUR ‘SPARK’?
- 107 -
They stare for a moment. She puts a hand on his shoulder, in a completely platonic
gesture. SPENCER leans in to kiss her. She notices and doesn’t quite pull back. He leans
too far as SENSE pushes him out of the tree. SPEAK and IMAGINE catch him and
slowly lower him toward the ground.
LUKE
Spencer!
SPEAK and IMAGINE set him down with a THUD. EMMA and LUKE rush over to
SPENCER and help him up.
EMMA
Hey! Hey, can you hear me? Spence?
SPENCER wheezes.
SPENCER
I’m good, I’m good, I just gotta… walk it off.
EMMA
That was a big fall, we need to get you to a doctor.
He tries to stand and immediately stumbles.
SPENCER
I’m really… ow.
LUKE
Emma, get him!
EMMA
Spencer!?
He faints. Blackout.
- 108 -
Lights up on IAN in the LIVING ROOM. MITCHELL enters with a suitcase and blazes
past IAN. He takes a second to notice. Now is the time.
IAN
And there goes Big Mitchell, running away. Again. Like a coward.
MITCHELL
I’m done with this.
MITCHELL tries to leave, but IAN blocks him.
IAN
I don’t think that’s your call.
MITCHELL
Move.
IAN puts his arm out and stops him again.
I said move.
#24 — Bigger Person Ian
MITCHELL gets past him. ACT shoves MITCHELL from behind, dropping the suitcase.
IAN
Oops.
MITCHELL gets in IAN’s face.
Oh…?
IS BIG MITCHELL GONNA HIT ME?
IS BIG MITCHELL GONNA STAND UP TALL,
OR PULL SOME SHIT, LIKE HE ALWAYS DOES?
TOUGH GUY’S GOT TO SHOW OFF,
TOUGH GUY HAS TO GET “EVEN”,
TOUGH GUY CAN’T TAKE THE FALL.
SO I’M GIVING YOU THE CHANCE TO PROVE IT ONCE AND FOR ALL…
ARE YOU THE BIGGER PERSON,

YOU WANNA GO ANOTHER ROUND?
YOU LOVE TO ACT ALL HIGH AND MIGHTY
RIGHT BEFORE YOU LAY ME OUT.
- 109 -
(IAN)
I DON’T RESPECT THAT.
AND I DON’T PRETEND I DO.
IAN ISN’T SCARED OF YOU,

YET IAN’S ALWAYS THERE FOR YOU,
THROUGH STOMACH PUMPS AND OD’S,
WHEN YOU LOST ALL YOUR MONEY,
WHEN YOU GIVE INTO YOUR VICES
AS YOU TAKE AND TAKE AND TAKE,
AND YET YOU FAIL TO RECOGNIZE
WHAT STARES YOU RIGHT HERE IN THE FACE IS A BIGGER PERSON,
SO, COME ON! FACE ME LIKE A MAN.
` IF YOU THOUGHT YOU COULD ESCAPE IT,
I’M HERE TO SHOW YOU THAT YOU CAN’T,
I HOPE YOU KNOW THAT,
AND DON’T PRETEND YOU DON’T.
‘CAUSE AT THE END OF THE DAY WE BOTH KNOW

WHO THE BETTER MAN IS.
YOU CAN REPRESS ALL YOU WANT,
BUT YOU’LL NEVER BE MORE THAN THIS.
SO, YOU CAN HAVE HER,
LIVE YOUR FANTASY,
BUT I PROMISE WHAT YOU CAN’T SEE
WILL BE THE BURDEN THAT YOU CARRY THE REST OF YOUR DAYS.
RUN FROM THE LIVES YOU SET ABLAZE!
OR PROVE ME WRONG,
AND BE THE BIGGER PERSON.
MITCHELL
Take your best shot.
- 110 -
IAN grabs MITCHELL. MITCHELL’s head starts to pound. BAILEY enters.

(MITCHELL)
Does it make you feel better?
BAILEY
IAN! NOT what we talked about!
EMMA and LUKE enter, carrying an unconscious SPENCER.
EMMA
GUYS!? WE NEED HELP HERE!
IAN
What is—holy—!
IAN lets go of MITCHELL. BAILEY springs into action.
BAILEY
What happened?
LUKE
He fell out of a tree, that fucking muppet!
EMMA
He fainted, and now he’s breathing weird and his leg is definitely not in the right spot.
BAILEY
Okay. Emma, Luke, can you get me any gauze, a cold compress, some ice, whatever we have?
LUKE
Um…sure thing.
BAILEY
And Ian, I need you to call an ambulance. NOW.
IAN calls 911.
IAN
Hello? Yeah, my friend fell out of a tree… I don’t know how bad. Uhhh, what was it?
BAILEY
361 /Slocum Drive./
IAN
/361 Slocum/ Road—Drive—DRIVE. Yes. Thank you. Oh…okay. Yeah, we can do that.
SPENCER wheezes and groans.
- 111 -
BAILEY
Good! Yes, good!
LUKE and EMMA reenter with medical supplies.
EMMA
Alright, here’s what we have.
BAILEY
Thanks. Spencer, can you hear me? We’re gonna reset your knee, okay? It might sting a little.
SPENCER
Mmm… what?
BAILEY
Mitchell, hold him please. Three, two…
SNAP! SPENCER yelps.
Ian, how long?
IAN
We’re pretty far out, they said it’s faster to drive him in if we can. How’s he doing?
SPENCER
I’m dying!
BAILEY
You’re not dying. Take your car, Ian.
EMMA
I’m coming with you. They should probably know what happened.
MITCHELL
Me too. I’ll…sit with him in the back.
LUKE
Right. You mind that boy, you hear me?
IAN
We got him. Promise.
Blackout.
- 112 -
Lights on SPENCER, unconscious in a HOSPITAL BED. A heartbeat monitor plays in

the background. EMMA sits across from him in a CHAIR, with headphones in. She takes
them off to listen.
#25 — Heartbeat Emma
EMMA
I HEAR A HEARTBEAT PLAYING ON A B.
AT LEAST, THAT’S HOW IT SOUNDS THROUGH THIS MACHINE.
I CAN SEE THAT HE’S FINE, I CAN READ HIS VITAL SIGNS,
BUT I WAIT AND I DREAD TO THE REPEATING CHIME
OF A HEART.
IT LIVES,
IT BREATHES,
IT EBBS INTO THE SEA,
IT FLOWS AWAY FROM ME,
WHILE I’M
WAITING, SCOURING, WANTING, FLOUNDERING
She puts her headphones back in.
HIS CHEST RISES AND FALLS SO PEACEFULLY.
I WISH THAT I COULD SAY THE SAME FOR ME.
MY THROAT’S DRY, MY BREATH SHORT, LIKE I JUST RAN A RACE,
BUT WHAT’S KEEPING ME AWAKE IS THE CALM, STEADY PACE
OF THAT HEARTBEAT.
THE OSTINATO OF THAT PULSE

IS STUCK IN MY HEAD.
BRINGING STRESS, AND DISTRESS, AND UNREST,
NOW MY NOTEBOOK FEELS LIKE LEAD.
BUT THE SCRAMBLING,
AND THE RAMBLING,
WON’T FINISH THE WORK THAT’S DUE.
- 113 -
(EMMA)
I’VE WAITED LONG ENOUGH AND ALL I WANT IS…
EMMA pauses as IMAGINE bumps into her. IMAGINE and SENSE have a
conversation at SPENCER’s bedside while EMMA observes.
FOR A MOMENT, THE WORLD DIDN’T SEEM SO INSANE.
THERE’S MUSIC INSIDE A HEARTBEAT,
A SONG THAT CUTS THROUGH THE PAIN
OF THIS MOMENT;
A HEARTBEAT SUSPENDED IN TIME,
HELPED ME FIND PEACE OF MIND IN ITS PERFECT RHYME.
FROM JUST OUT OF REACH,

THE SKY STARTS TO CLEAR.
ALL THAT I’VE NEEDED
IS SUDDENLY HERE.
AS TENSION RELEASES,
I CAN SEE MISSING PIECES.
WHAT IS DIFFERENT,
WHAT IS NEW?
IS IT YOU?
IMAGINE
YOU,
SENSE
YOU,
IMAGINE
YOU,
IMAGINE & SENSE
YOU…
SENSE goes to EMMA and lightly touches her head. IMAGINE lays down beside
SPENCER in his hospital bed. Slow fade.
- 114 -
Lights. MITCHELL and IAN are in the HOSPITAL WAITING ROOM. They probably
did not speak much on the way over. MITCHELL offers IAN a candy bar from the
vending machine.
MITCHELL
Peace offering?
Beat.
Bad joke.
IAN
The UN climate conference is in November.
MITCHELL
What?
IAN
You told Lorie you couldn’t make our wedding because of the Climate Conference, which is the
month after.
MITCHELL
I guess I didn’t know.
IAN
Oh, stop giving me that horseshit, of course you did. You can’t show up for us! Maybe you just
can’t stand when something good happens to me. Or maybe it’s because you couldn’t keep it in
your pants.
MITCHELL
That’s not—you don’t understand.
IAN
I have spent years sticking my neck out for you, and this is what I get in return?
MITCHELL
Ian, please—
IAN
It’s the anniversary of her mom’s passing today. You didn’t even know that, did you? Because
you don’t actually care about her. You just have this version in your head—
MITCHELL
Ian.
- 115 -
IAN
WHAT!?
MITCHELL
I’m sorry. I don’t know what I was doing.
IAN
You’re gonna have to do a lot better than ‘sorry’.
MITCHELL
Then I need you to be prepared, okay?
IAN
Why!?
Beat. MITCHELL gives a defeated smile to his friend.
What is it, Mitchell, are you, like, sick?
MITCHELL
Yeah, so…they found….something. Right here.
He taps his head.
Big ol’ lump. Right behind my left eye.
IAN
Liar.
MITCHELL
I wish I was. Found out a little bit ago, Bailey actually screened me.
IAN
How long? Who else knows? Why didn’t you...Why didn’t you tell me!?
MITCHELL
I don’t have a timeline yet, no prognosis or anything. They’ll run some tests, and then it could be
six months, could be thirty years. They don’t know.
IAN
If you had said something, anything!
MITCHELL
I was gonna tell you when we got here, I just couldn’t figure out how. I guess I didn’t want it to
be…real? Not that it’s any excuse, I know that.
- 116 -
#26 — Norman Cousins Mitchell & Ian

(MITCHELL)
I OWE YOU MORE THAN YOU KNOW,
IT’S TRUE.
IT ISN’T EASY FOR ME TO SHOW
TO YOU.
I’VE SAID MORE ‘SCREW YOU’S THAN ‘I LOVE YOU’S,
I’VE GIVEN MORE ‘SORRIES’ THAN ‘THANK YOU’S,
I’VE WASTED SO MUCH TIME ON VITRIOL.
BUT,
IT MIGHT SOUND STUPID
THERE’S THIS MOVIE,
‘ANATOMY OF AN ILLNESS’,
I WATCHED IT LAST WEEK,
THIS GUY CURED HIS SICKNESS BY LAUGHING,
IT’D BE FUNNY IF IT WEREN’T SO BLEAK.
IT’S BASED ON A TRUE STORY,
A DOCTOR NAMED NORMAN COUSINS,
SO WHY CAN’T WE POINT IT OUT FOR WHAT IT IS?
IAN
YOU’RE RIDICULOUS.
MITCHELL
Exactly!
IAN
THOUGH YOU’RE THE VILLAIN,
THOUGH YOU’RE THE BAD GUY IN MY STORY,
I’D BE WILLING
I’D BE FINE RECOGNIZING THE IRONY.
IF THERE’S A WAY TO MEND YOURSELF, I’M SURE THIS IS A START,
MITCHELL & IAN
SO LET’S GET AHEAD ON CACKLING,
- 117 -
(MITCHELL & IAN)

ON HACKING UP OUR LUNGS,
ON TOASTING TO THIS MESS THAT WE HAVE MADE.
LET’S PRETEND THAT IT’S THE CURE,
EVEN IF WE CAN’T BE SURE
HOW LONG WE HAVE TO LAUGH ANYWAY
IAN
BECAUSE OUR ACTIONS SPEAK,
MITCHELL
THE MEMORIES FADE,
MITCHELL & IAN
BETTER TO DIE FROM LAUGHTER THAN DIE AFRAID
SPLIT THE HURT FROM THE HUMOR,

FIND THE FALLACY IN THE TUMOR,
THE COMEDY ROUTINE WE COULD PERFORM.
WE BOTH THOUGHT THAT WE COULD LOVE HER,
BUT WE END UP TAKING FROM HER,
ANY CHOICE SHE HAD TO STRIVE FOR MORE…
MITCHELL
IT’S INSANE,
IAN
IT’S ABSURD,
MITCHELL & IAN
IT’S A FLAT OUT FUCKING JOKE,
BUT I WOULDN’T WANT THIS LIFE IF IT WASN’T.
SO LET’S LAUGH, LET’S THROW A FIT,
MAYBE WE’LL HEAL OURSELVES A BIT,
AND MAYBE WE’LL END UP LIKE NORMAN COUSINS.
They embrace. A mutual understanding.
- 118 -
IAN
You’re so dramatic.
MITCHELL
Such an asshole.
Suddenly, LORIE enters.
LORIE
Hey…
IAN
Hey…
LORIE
Mitchell, you mind giving us a second?
MITCHELL
Not a problem. Come get me when Spencer’s up.
MITCHELL gives IAN a friendly touch on the shoulder as he exits.
LORIE
We’re all here, by the way. None of us could sleep.
Beat.
I don’t even know what to say. I’m just…sorry. And I love you. I do. SO much, but this isn’t…
IAN
It’s not?
#27 — To the Moon Lorie & Ian
LORIE
WHO KNOWS?
I’D WAIT FOR YOU AT THE END OF TIME.
I’D FOLLOW YOU TO THE MOON.
LORIE & IAN
OH, I’VE FOLLOWED YOU TO THE MOON.
AND WITH YOU IN MY SHADOW INSTEAD OF BY MY SIDE,
I MAY NOT BE PERFECT BUT I STILL COULD HAVE TRIED,
IN THE HEAT OF THE MOMENT, I WAS LED ASTRAY…
- 119 -
LORIE
I LOVE YOU MORE THAN I CAN SAY.
IAN
It’s not right, I hate the way this feels.
LORIE
There’s no wrong or right, just worse and better.
IAN
I hope we can be better someday.
LORIE
Me too.
IAN
So is this it? We’re just…done?
LORIE
IT’S NOT GOODBYE, IT’S A SEE YOU SOON.
IT’S A PAUSE TO ROUTINES AND TRADITION.
LORIE & IAN
I’LL REPLAY EACH FIGHT, EVERY SWOON,
EACH DRUNKEN DANCE IN OUR KITCHEN.
They hold each other as ACT and THINK share a dance. Many tears fall.
I WILL LOVE YOU TO THE MOON AND BACK,
I WILL LOOK FOR YOU IN EVERYONE I MEET.
YOU NEVER HAD
TO BE PERFECT FOR ME.
Slow fade.
- 120 -
Lights back up on SPENCER’s HOSPITAL ROOM. SPENCER begins to wake up.

EMMA has curled up in a CHAIR and fallen asleep. He notices her and sits up.
SPENCER
Ow!
He clutches his side. EMMA groans.
Emma? Did you sleep there?
EMMA wakes with a jolt.
EMMA
Oh! You’re awake! Uh… good, that’s good. How we doin’?
She wipes her eyes, goes to his side, and lightly touches his arm.
SPENCER
...bad. It hurts to, like…everything.
EMMA
I know…They discharged you, which is good. But there’s not much they can do about broken
ribs, which sucks.
SPENCER
I hope they got me the strong stuff.
EMMA
Hey, if you want some good news, I did just get accepted to UMich’s part time music comp
faculty next year. So I’ll let you know about that musical I’m gonna write for you.
SPENCER
Holy—congrats, Em! That’s…OW!
EMMA
You okay?
SPENCER
Sure, sure, just gotta get used to…
They stare into each other's eyes.
EMMA
Umm…I’ll go get everyone else!
She hurries off.
- 121 -
SPENCER
Everyone else?
After a moment, LORIE enters. SPENCER makes a crucifix with his fingers.
Away, witch! The power of Christ compels you!
LORIE
Okay, that actually was pretty funny.
SPENCER
You really are a witch, the real Lorie would never say that.
LORIE
You’re still a jerk, don’t get me wrong, but there were bigger problems to work out than our
stupid grudge match. I’m sorry, Spencer. And I hope you’re feeling a little better.
SPENCER
I’m sorry too. About dinner the other night. And for the nicknames. And for peeing in your sink
after graduation. Definitely for breaking your mom’s urn…
LORIE
Oh my god.
SPENCER
Seriously!
LORIE (laughs)
Honestly, if it weren’t for you, I probably would’ve been the only reason we remember this trip.
SPENCER
I don’t hate you.
LORIE
I don’t hate you either.
ELISE enters.
ELISE
Look who’s up!
Everyone enters. ELISE has flowers. LUKE might be crying.
SPENCER
Okay, okay, hold the applause, ladies and germs, I ain’t dead yet.
- 122 -
IAN
Not even death could keep you quiet.
LORIE
We’re really glad you’re okay.
LUKE
You scared us out of our wits, you bellend.
ELISE (giving him the flowers)
Be nice! We got you these.
BAILEY
I picked them out!
EMMA
No more surprises, please, I don’t wanna spend another night in the hospital with you.
ELISE
Nobody said you had to.
SPENCER starts to cry. He opens his arms for a painful group hug with happy adlibs.
SPENCER
I love you guys. SO much. Oh my GOD, this hurts so bad.
#28 — Ways of Knowing Part I Full Company
IAN
THANKS FOR GIVING US SOMETHING TO WORRY ABOUT.
LUKE
BETTER THAN NOTHING, THAT’S WITHOUT A DOUBT!
LORIE
I’D RATHER WE NOT HARP ON WHAT’S PAST,
MITCHELL
IT’S A SHAME IT HAD TO GO SO FAST…
EMMA & ELISE EMOTE & IMAGINE
FOR JUST A MOMENT, FEELING,
BAILEY & MITCHELL BELIEVE & REMEMBER
MANY MOMENTS, TRUSTING,
IAN & LORIE THINK & ACT
MANY MOMENTS PASSED, THINKING,
SPENCER & LUKE SENSE & SPEAK
THESE MOMENTS; SEEING;
- 123 -
ALL
IN SO MANY MOMENTS, CAN YOU
IMAGINE?
EMMA & ELISE
WHAT WOULD IT BE LIKE IF WE HAD NEVER MET?
LORIE & MITCHELL

HAD OUR PATHS NEVER CROSSED,
ALL
WHERE WOULD WE BE TAKEN,
IN THE PATHWAYS OF OUR LIVES?
ELISE
EVERY DAY YOU’VE SHOWN ME
JUST HOW FAST THE YEARS GO BY
I HATE TO END THE PARTY,
BUT I DON’T THINK WE’LL GET A BETTER TIME
ANOTHER VERSION OF ME
FACED WITH UNCERTAINTY WOULD TURN AND RUN AWAY
BUT IN SPITE OF ALL WE’VE BEEN THROUGH,
I HAVE MY WAYS OF KNOWING
WE’LL BE OKAY.
EMMA
Elise, what are you talking about?
ELISE
I figured it’s as good a time as any to tell you guys that that was our last time at the house. We
can’t afford to keep it.
SPENCER, EMMA, LUKE, IAN, LORIE, BAILEY
(“What!?” “No!” “Come on!” “Are you serious!?”), etc.
MITCHELL
Do you have a buyer?
ELISE
It might be a tough sell, it’s kind of the middle of—
MITCHELL
I need to get out of the city.
ELISE
Mitchell, it’s not cheap, I can’t in good conscience make you—
LORIE
Elise. Let him. Pathways and whatnot.
- 124 -
MITCHELL
I’m getting a pension from the EPA. And I need to be somewhere calmer than Midtown. I’d like
to buy the house. And you are all welcome any time you want. All of you.
ELISE
Thank you.
ELISE hugs MITCHELL tightly.
SPENCER
Pension? You’re 25.
MITCHELL
I’m gonna be figuring some stuff out. Medically. Just for a while.
LUKE
If you ever need us—
MITCHELL
You guys aren’t allowed to worry about me, okay? You have enough already.
BAILEY
WE’LL WORRY WHEN WE NEED TO
WE’LL MAKE SURE YOU’RE ALRIGHT
WHAT’S IMPORTANT IS THAT WE’RE IN ONE PIECE,
IAN
MOSTLY,
LUKE
SO LONG AS NO ONE STARTS A FIGHT.
ALL
BUT BY RESISTING UNLUCKY FATE,
I’VE FOUND SOME WAYS OF KNOWING
WE’LL BE ALRIGHT.
LUKE
Spence, let’s get you out of here. I’ve got a kite scheduled for midnight.
SPENCER
Redeye! My favorite.
LUKE
How do you find some way to whinge at everything?
- 125 -
IAN
Yeah, Lorie and I have to get back too. Been enough time away.
SPENCER
You’re going home… together? You didn’t start a polycule or anything, right?
MITCHELL
That’s what that means!?
LORIE
We are… taking some time apart. But we have a store to run. We owe each other that, at least.
IAN
That we do. Let’s all give the big man some space.
LORIE
We’ll get the car ready for you.
LUKE
I love you. Never again.
MITCHELL
Thanks, Spence. And I hope there’s no bad blood. I was a prick to you.
IAN
Finally he admits it.
They laugh.
ELISE
Okay, enough, enough.
Everyone files off, leaving just SPENCER and EMMA.
SPENCER
Thanks again for staying with me.
EMMA sits on the edge of his hospital bed.
EMMA
Thanks for not dying. And also, for the advice.
SPENCER
Hey, in the spirit of, y’know, confessions and life altering… stuff…Emma…
IF I’M SENSIBLE,
WOULD ‘THIS’ BE POSSIBLE?
I WANNA WAKE UP IN THE MORNING,
BRUSH THE HAIR FROM YOUR FACE,
FEEL THE SUN THROUGH THE WINDOW,
STARE IN YOUR TIRED EYES AND KNOW…
EMMA kisses him.
- 126 -
EMMA
SOMETHING MAKES SENSE.
You’re really bad at hiding it. You act like a high schooler around me.
SPENCER
So more mature than usual. Good to know.
EMMA
WHEN THE TIMING’S RIGHT,
I’LL FIND YOU, AND YOU’LL FIND ME
EMMA & SPENCER
LIKE A RECORD ON REPEAT,
WE SHARE ONE HEARTBEAT…
They kiss once more. EMMA gives him her headphones.
SPENCER
What’s this?
EMMA
THAT IS YOUR WAY OF KNOWING SOMEWHERE DOWN THE LINE,
I’LL BE YOURS AND YOU’LL BE MINE.
I need new ones anyway. These are falling apart.
#28a — Movement IV: Revelation Ensemble
The ENSEMBLE performs a sequence depicting the future of the CAST. MITCHELL
approaches EMMA, sitting on the floor, like she did during RIPPLES.
MITCHELL
Working on anything interesting?
EMMA
Trying.
MITCHELL
Hey, so…I have some unfinished business in the city. With work. Why don’t you stay here for a
bit, if it’s okay with Elise.
EMMA
I’d really like that.
#28b — Ways of Knowing Part II Full Company
MITCHELL
TURN A DROPLET
FROM A FAUCET
INTO A RAMPAGING TORRENT,
LET THE UNDERTOW PULL YOU AWAY…
- 127 -
ELISE
THERE’S NO GOING BACK TO THE WAY THAT WE WERE.
EMMA
IT COULD’VE BEEN WORSE, AT LEAST IT WENT IN A BLUR.
ALL
AND NOW WE GO OUR SEPARATE WAYS,
LUKE
BUT BEFORE WE SPLIT, CAN I JUST APPRAISE
LORIE & IAN
THIS COMMON GROUND.
MITCHELL
AND WHAT GOES AROUND,
MITCHELL, SPENCER, IAN
WELL, IT CAME AROUND!
HA!
ALL
EVERY DAY WE’RE SHOWING
JUST HOW MUCH WE’RE SLOWING DOWN.
COUNT THAT AS A WAY OF KNOWING,
AND GROWING INTO A NEW AGE,
ANOTHER VERSION OF ME, FACED WITH UNCERTAINTY,
WOULD BE REMISS TO FIGHT SO HARD AND TURN THE PAGE.
BY SURVIVING ANOTHER DAY,
WE FOUND OUR WAYS OF KNOWING WE’LL BE OKAY.
LUKE
I KNOW WE’RE AN OCEAN AWAY,
BUT WE’RE ALSO A ‘PHONE CALL’ AWAY,
SPENCER
JUST ‘CAUSE I’M BROKEN, DOESN’T MEAN I’M NOT OF USE,
AND I THINK THAT WE ALL FEEL THE SAME.
EMMA & SPENCER
WHEN LIFE GETS IN THE WAY OF KNOWING YOU’LL BE OKAY,
IAN
YOU TURN TO THOSE WHO LOVE YOU,
LORIE
YOU TURN AND MAKE A STAND,
BAILEY
‘CAUSE WE WOULDN'T BE HERE WITHOUT YOU,
ALL
HAND IN HAND…
- 128 -
LORIE, IAN, SPENCER, EMMA

I’M SEARCHING THROUGH MYSELF,
I’M LOOKING THROUGH THE GLASS,
AND ON THE OTHER SIDE, I START TO SEE THE GREENER GRASS.
ALL
EVERY DAY WE’RE SHOWING
JUST HOW MUCH WE’RE SLOWING DOWN.
COUNT THAT AS A WAY OF KNOWING,
AND GROWING INTO A NEW AGE.
ANOTHER VERSION OF ME, FACED WITH UNCERTAINTY,
WOULD BE REMISS TO FIGHT SO HARD AND TURN THE PAGE.
BY SURVIVING ANOTHER DAY,
WE FOUND OUR WAYS OF KNOWING
EMMA & SPENCER
WE’LL BE OKAY…
LUKE, BAILEY, ELISE
YOU’LL BE OKAY…
IAN, LORIE, MITCHELL
WE’RE OKAY.
ALL
AND WHO KNOWS WHAT TOMORROW WILL HOLD?
AS THESE MOMENTS, MANY MOMENTS,
MANY MOMENTS, SO MANY MOMENTS PASSED.
YOU SAIL ON THESE MOMENTS, HOPING THEY’LL LAST.
SINGULAR, STATIONARY, STABLE, INCONSEQUENTIAL,
INTEGRAL, IMPOSSIBLE, IMAGINARY MOMENTS,
LIKE RIPPLES ON A SEA,
THESE MOMENTS BRING YOU BACK TO ME.
The COMPANY exits, leaving EMMA alone. For the first time, she looks at IMAGINE.
#28c — Emma’s Melody D Emma
EMMA
Thank you.
She sits at her PIANO and plays a short melody.
End of Play.
- 129 -

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LIBRETTO & VOCAL BOOK

Music & Concept by

Additional Music & Lyrics by Script Supervision by

Loosely inspired by the International Baccalaureate’s ‘Theory of Knowledge’ course,

This Play is the intellectual property of Ryan P.

IMAGINE — EMMA’s Imagination. Proficient piano.

REMEMBER — MITCHELL’s Memories.

BELIEVE — BAILEY’S Beliefs.

SENSE — SPENCER’s Perceptions. Acrobat/tumbler.

SPEAK — LUKE’s Language.

THINK — LORIE’s Reasoning.

ACT — IAN’s Intuition.

A Note From the Playwright

CAN I CALL MYSELF AN ARTIST

CAN YOU CALL YOURSELF A PERSON?

REMEMBER & ACT

#4 — We Had An Idea…/Somehow Full Company

LORIE & IAN

Lights. DOWNTOWN, LATE AFTERNOON. IAN, LUKE, BAILEY, and SPENCER

#5 — Perfect for Me Lorie & Ian

LORIE and IAN sing to one another.

SO I’LL STAND IN YOUR SHADOW,

They take a huge hit.

EMMA & SPENCER

SPENCER (taking it way too personally)

NO AUDITIONS THIS WEEKEND,

BUT I GUESS I’LL KEEP ON DOING MY BEST,

SENSIBILITY, THAT’S YOUR RESPONSIBILITY;

#12a —Emma’s Melody B Emma & Mitchell

#13 — Ripples Emma & Mitchell

WE’VE GOT IT GOING,

#14 — A Lovely Dinner Part I Full Company

#14c — A Lovely Dinner Part III Full Company

LORIE (to SPENCER)

#16 — Faulty Memories Mitchell & Ensemble

THESE FAULTY MEMORIES,

THESE FAULTY MEMORIES

End of Act One.

EMOTE & SENSE

#21 — Perfect For Me (Reprise) Mitchell & Lorie

I CAST HIM ASIDE,

BUT I CHOSE MY INSTINCT,

WITH NO RHYME OR REASON I BURNT EVERY BRIDGE,

EVERY TIME I LET SOMEONE IN,

LIFE BREAKS YOU DOWN,

#23 — Chasing a Spark Emma, Spencer, Luke

GETTING INSPIRED IS A DIFFERENT ORDEAL,

I’M THINKING OF WAYS I CAN OFFER MY MIND,

IF I WANTED TO MAKE SENSE,

EMMA, SPENCER, LUKE

ARE YOU THE BIGGER PERSON,

IAN ISN’T SCARED OF YOU,

‘CAUSE AT THE END OF THE DAY WE BOTH KNOW

IAN grabs MITCHELL. MITCHELL’s head starts to pound. BAILEY enters.

Lights on SPENCER, unconscious in a HOSPITAL BED. A heartbeat monitor plays in

THE OSTINATO OF THAT PULSE

FROM JUST OUT OF REACH,

#26 — Norman Cousins Mitchell & Ian