tor Dane Macivor,Daeren © Donnell ‘Photo by Dou An McA [Notes on the play |n On It has three distint realities (ehich can and do overlap and ist they are: The PLAY, The SHOW and The PAST. The PLAY i the story of Raymore often than mot there is a sence ofthis happening ina highly ®heatrical, artificial environment; The SHOW: which i happening nove, here, tonight and mainly consists of and THIS ONE and THAT ONE discussing The PLAY and its development and then eventually thet relationship end 16 development; and The PAST which consists of THIS ONE and THAT ONE meeting and becoming lovers, Design We travelled to many theatres during the development and touring of In On 1t,our design concept was to strip each ofthese theatres to the bare walls nd ‘se only two chairs. These chairs would look asf they could have easily been found somewhere inthe building in which the play was taking pace The states of The SHOW, The PLAY and The PAST were each indicated by a diferent ighing sate, ‘The only blackouts were ae indicated inthe script. The only props used were the two chairs a grey sporsjacketatsue and aset of keys ‘The ocket and the two chairs are carefully tracked inthe script based on ‘many months of development and performance syle In order fo clearly delineate between the three realities in In On Tt we developed three diferent kinds of "styles" (in the most superficial sense) of acting In the PLAY we would both perform out-to the aulence but reat asf we were actually facing one another (The script is writen with this asa assumed style so that a stage direction ike BRENDA turns to RAY indicates that the actor playing Brenda turns away from the audience and faces the ‘other actor. In the SHOW we would maintain an wareness ofthe audience, stage directions indicate when we addressed the audience. Inthe PAST we ‘would suddenly be inside a fourth-wall realty with no awareness of the budience whatsoeverStory he backstory ee had for In On It was a follows: Brad skilled ina head-on olson witha blue Mercedes driven by a man named Raymond King, There some question as to how ths accident happened, there seemed to be no ‘son forthe car to wer into Brad's lane. In order to give some reason for ss “accident” (and to assuage hie guilt for Insating that Brad drive Ns car sat day) Bran creates the play about Ray his suicide and the reasons frit cad inefet is returning “from the dead” to asst inthe creation ofthe play rd show) on this evening. This tory was valuable forthe actors but it was Dt necessary thatthe audience “get” this story—the audience will get the oy they need to get Finally the script the characters are called BRAD and BRIAN although they never fer to one another by name. This sso that the actors understand they ae saying real characters and not some stylized version of such. Its very "portant that in any program listing for any fature production ofthis play atthe characters be lite a5 THIS ONE and THAT ONE-this is how eoch ‘ers tothe other—in this way the audience slowly comes to relize that se characters are not postmodern simulations. ‘This helps to keep 2 audience guessing as t0 the nature of the play and causes them to ainualy eeevaluate their perception of such. Special Thanks Darren O'Donnell Kimberly Purtel and Richard Feren who were trumentl in developing this playthrough workshops and rehearsals, |n On It was developed and produced by da da kamera and had its world premiere a the Vancouver East Cultural Cente, in 2001, with the folowing, company: Daniel Mactvor Darren Donnell, THIS ONE.. THAT ONE Dizected by Daniel Maclvor Lighting Design: Kimberly Purtll Set Design by Julie Fox Sound and Music Design by Richard Feren Produced by Shervie Johnson Later on tour the role of THAT ONE was played by Jim Alli 1m Ow Iwas developed with the assistance of the Traverse Theatre in Edinburgh, Scotland, the Philadelphia Fringe Festival, Festival Antigonish [Nowa Seat the High Performance Rodeo in Calgary, Alberta and the Studio Theatee in Washington OC. ‘Special thanks to Mark Russell and Lesley GoreCharacters THIS ONE (Brad, Ray, Miles, Loyd, Pam, trving) ‘THAT ONE (rian, Doctor Ray Brenda, Ten, Lloyd) | | | InOnit Preshoa: A bare space brightly lit. To siple Back char it side-byside upstage eft ace! es centre stage as ving een casually dropped there. As preshew music we her» election of Lasley Gore songs. The fal song ofthe pre-shiei “Sunshine Lops amd Rainbows. With the inal beat of is some the Rouse fad sage plunged into darkness eng ony th jak? lit by ‘tight speci. Westin slence ith ge for sce econ ‘un we hear Maria Calle singing on aia from he na scene of “Anna Bene by Danszti. nthe darkness se he orm of a hah ine white for light-coloured shit and ai He slowly enters fom fag. This is BRIAN. BRIAN approaches the jacket He stonde looking dwn tit. Slay he pick tp the jacket puts ion Ashe djs the jacket we har the beinning of sereching ties. Thea is brutal inerupted by a shriek. Light saps tow special on BRIAN 25 he ks pat theeudenc, He dresses te anion [BRIAN There are the things that happen out of careful planning: two [People have a wedding someone builds a boa, person writes «play “The things that happen around gues lists and blueprints snd rewire ‘And then there are the things that happen over which we haverne control. The things that sneak up onus. The things that just happen, ‘The arbitrary optional hfe-changing things that seem to make me sense the things we have to invent sense for Lots of things. Lite things: the ‘music our lover listens to; bigger things: the way our heath ean come ‘ut from under us ike a carpet ona hardwood floor huge hinge the blue Mercedes. can only imagine it but wihen Ido i's ike this You're ton the road doing some errands; you've got to exchange some tickets Pick up a prescription for somebody's migraine, the usiel You pullout ‘nto the highway to save some time n your big powerful fast machine, being come at by alt of other big powerful fast machines, driven by ‘people about whose level of mental health or blod alcohol you know ‘nothing. Thats a sobering thought, you go for the radio. Crap. Crap. “More crap. Crap Something familia. Crap. Back to something fail Can’ find it, Where was i? One-oh-one point what? Or? Beles the sports after the metal. There it st And in tha ny moment of taking your attention ever so briefly away from the big machine in your hand, the other guy vers into your lane and you look up justin ie to see the headlights ofthe Blue Mercedes, BRAD speaks fom the darkness. ‘The ligh soy shifts from BRIAN epi into ie SHOW sate BRAD Do you think that’s a good way to start?[BRAD enters rom the darkness and stands just om the eg ofthe BRAD Do you think that’ good way to star? BRIAN Start what? ‘BRAD enters the igh BRAD Theshow, BRIAN Itsnot ashow isa play. BRIAN steps upstage and picks up ame of the char. He coves it dounsage BRAD Oh, "to the diene) Hi (Woe individual) Hey! BRIAN Are you here tohelp o*? BRAD Oh, Sure Sorry. BRIAN places the chair dnstage contre facing the auience BRIAN. Now wecan star, BRAD Haven't westarted? BRIAN tales of he ace ond ofr to BRAD. BRAD taes the jncet and pus on BRIAN Now we'e starting BRIAN steps away and takes wpa position upstage right acing the tution. BRAD st fn the chain, Light snaps to PLAY state (to special). BRIAN isthe DOCTOR. BRAD is RAY, Sri ofa muted heartbeat which continues throughout DOCTOR Good morning Ray. RAY Good morning Doc poctor RAY Fine. You know, considering. DOCTOR Considering? RAY haven't buen sleeping, DOCTOR Resty? RAY _ just nerves and... dreams. Lote of dreams keep having this dream ‘about a concrete boa. 'm on this boat big type you kaw, big like Hove was your weekend? ship practically: And it lating on ike a kind ofa canal and its made of concree, Concrete blocks, concrete slabs. ep thinking it should sik—but it does. I's vaguely unnerving, What do you mche ofthat DOCTOR Wel, [RAY Dreaming about concrete bots, DOCTOR Not my beat really. RAY What's that? DOCTOR Not my major. RAY Right. DOCTOR But there are books, you know, dream, you know, dictionaries, RAY. Right. DOCTOR Do you havea boat? RAY No. DOCTOR Mayboit means you should get abot RAY. Should P DOCTOR How's Brenda? RAY Good. Shes thinking about going back o school DOCTOR Ohyeah? [RAY _ She never got her degre. Really jus something to do She aso started going back to church. Which is guess something that happens ata certain age. Or. I guess. DOCTOR Andis Mies sil in school? RAY Nobe's out he's working DOCTOR In? RAY Advertising DOCTOR Advertising? Really? A professional RAY __Tknow It seems ike ust lst year Iwas teaching him how to ride a bicycle and now he's beating me a squash. DOCTOR That's the way. And your dad is sett inal sight atthe Tome? RAY Oh yeah, And the ars running fine and the weed killers workingDOCTOR Hahaha RAY How am I? DOCTOR Can I get you something? ‘Sound the ecient accelerates RAY Sorry? DOCTOR Can Eileen get you something? RAY What do you mean? DOCTOR A ghass of water or..? RAY Oh.No. Thank you, No DOCTOR Raymond. RAY What? DOCTOR _1ve been ooking over your test results, There's nothing ‘onclusive—we're going to need some more tests Before we can say what’ really going on RAY What might be going on? DOCTOR We're looking at « number of possibilities, RAY Ranging from? DOCTOR I'm concerned RAY You're concerned, DOCTOR Taiko get you into the hospital fora couple of days RAY The hospital? DOCTOR The tests are quite extensive RAY When? DOCTOR This weekif we RAY. Rightaway? DOCTOR That would be best yes RAY Oh Gh. Oh What are you telling me? DOCTOR We're looking a number of possibilities. 9 manage i. RAY Worst-case scenario? DOCTOR Ian’ RAY Amick? he DOCTOR Ray. sie this you've got to stay strong and you've got to stay positive. That's your job RAY Ohmy God, DOCTOR As forthe sleeping I can give you something if you lke RAY Ohmy God. DOCTOR Cant get you a glass of water? RAY Ohmy God, DOCTOR We den’t know anything yet. RAY Who's “wer” DOCTOR Sorry? RAY “Wedon't know anything yet” Who's “we?” DOCTOR Uh... You and RAY Bullshit Of course I don't know anything. 'm not supposed to ‘know anything that’s how this works. 'm not part of your "we" ‘Who's “we?" You and who? You and the entire medial profession? You and al the healthy people? You and Eilen? She's stupid you know, Did you know she was Stupid? You havea stupid receptionist She can't ‘emember my name. Ive been coming here longer than she's been working hese and she cant remember my name. Tha’ just stupidity, (Or malice. But she doesn’t appear bright enough to be malicious DOCTOR Raymond you're upset i's perfectly understandable RAY You're enjoying this aren't you? DOCTOR Pardon me? TRAY You are Yu love this. You gett play “Doctor” That's what this is I about isn? DOCTOR (light necous laughter Ray: Lets just take a step back rom this fora second shal we. RAY Lookat you, you are loving this, you're laughing. DOCTOR I'm not—Ray youre upsets normal RAY Oh shut up. Who do you think you ae? George Fucking Clooney? DOCTOR Okay Raymond, RAY And what's the white coat supposed to signify? How ridiculous What did you just come in from the lab? Who's the white cot for? The per litle stupa bitch receptionist out front?Sound: the heartbeat is as most rapid. Note: BRIAN’ hite—or ligtclourd shirt represen the li coat DOCTOR Mister King. RAY _You' pathetic bet you wes it outside. bet you plan te sins te cae shay ato you can wer fin he et thing youre in he wihdowe: Aver tyou samen Ga you. You're a fool. * a Silene Sound: the herent returns nor DOCTOR Cant get you a glass of water? RAY Yes pease BRIAN steps aaa fom the DOCTOR‘: spt ‘Sound out and ight suas to SHOW state. BRIAN head fo the chair psage ef. BRAD Hoty was that? BRIAN stops in his tracts, BRIAN What? BRAD How was hat? BRIAN How was that how? BRAD How was ae Rey? BRIAN regards the audience brie. [BRIAN I dont think this is ealy the time tobe talking about it BRIAN mos upstage and retrieves he second ca. He places it pstge right facing the een, BRAD Tm jst asking, Was the task fulfilled? BRIAN The task? BRAD Yesh BRIAN Yes whatever BRAD Okay then YU just keep doing what I'm doing. BRIAN Um, BRAD Yes? BRIAN I'sjust that ts not that Ray’ angry. [BRAD rises, BRIAN tates the char BRAD has ben siting in ond ces it upstage stege lf facing the oudionce BRAD He'snotangry? BRAD He's raving. BRIAN He's not raving. BRAD “George Fucking Clooney.” BRIAN So? [BRIAN sits in the stage left char e has just placed BRAD “Pet lite stupa bitch?” BRIAN Nol know but BRAD How else then? BRAD tas of his jchet and offers itt BRIAN, How else? BRIAN considers the audience a moment, he then takes the jacket {fram BRAD and puts ito a cross othe sage rig chair. ‘BRAD takes up positon ready ttn the stage lf char BRIAN’ takes up apoio ready to itn the stage lft chal (during his puting oof the jacket that BRIAN —anscen bythe audience — fakes issu frm he poke of he jacket and pan i ft ho.) BRIAN Like this Ligh snaps 1 PLAY state—one special nly om BRAD. Sounds busy restaurant a hnchtne BRAD speaks ashe sts. He is now MILES. MILES Dad? Sorry I'm late Dam rain. Dad? Ray? Light snaps to PLAY state special om BRIAN. [BRIAN spats ee sts. He now RAY. RAY Oh Miles. Yes Hi, Sony MILES Sorry 'm late RAY Not problem, MILES Damn sain RAY Yesh MILES Iwas supposed to be sunny. RAY Wasi? [MILES Damn weathermen don't know a damn thing. They probably pick the damn forecast out of a damn hat. Sof don’t bring an umbrella his‘morning and now I've got to buy another—and we've got half dozen sthome, RAY Well you know MILES Have you ordered? Dad? RAY What? MILES Have you ordered? RAY Oh. No, MILES The tortelin's terrible the eggplants soggy the catch ofthe day ‘strozen and the specials aren't RAY Miles? MILES Yeah? RAY How's work? MILES A farce You know what Blanchard says to me this morning? We've got to make plastic fun again.” What? Hello? “Fun?” The old coos got us come major plastics manufacturer asa client—no other gency in the western hemisphere would touch them no doubt. The ‘world i fen minutes away fom toxic implosion, skateboarders are unning multinationals, the right i about embrace hemp as the few miracle fiber and he wants to make plastic “un” again. Anyways people arent interested in fan anymore, people ae interested in Function Oh, the veal's not awl AY _ saw the Doctor yesterday, have to go for some tests MILES Yeah? I've got a mole I should get looked at, Does that look normal fo you? Actually i look fine ere—it's probably just the Fidiculous bulbs in the damn bathroom. ule insists onthe lowest tvattage se can find—vshat tat twenty ox something? In terms of ‘aging she's of the opinion that I you cart see itt aint happening. Oh ‘eal hey we've got tickets forthe opera atthe conservatory next week and we Cant use them, [now Mom was talking about it Do you think ‘Jou guys would be into H? Td love to but Julie's got her French club, don't know why she doesn’t write this stat down, Well mean she does but... Okay what this? She pretends to make lists, Okay 1 mean ‘he makes the lists but she never looks 3 them again—1 mean she never ‘Sonculls ther again—never scratches anything off ther. What s tha? “That snot a list. That eft a pice of paper with Words on it. A ist reeds to be updated, altered, checked, That's what makes ita list. And ‘She keeps losing them. I now because I keep finding them. mean m “ony But there are the kind of people who make ists and the kind of [opie cho lowe things—these are mutually exclusive qualities. mean “Lets fce the fats Julie” You know? “Let's lve inthe damn workd Jule” RAY drops his head and begin to ep. ad? Whats going on? Dad? Stop it For God's sake, Dad you'te snaking scene RAY. Timsick MILES What? RAY Tmsick MILES No you're not sop it. RAY Ihave wo go into the hospital MILES For what? RAY Fortests MILES Tests Tests are just tet. People go for tests al the time, RAY Ym sick MILES How sick? RAY They don’t know. MILES _ Yeah well tests se. Tests. Then they find the thing then they test the thing then they ix the thing. Dad? RighP Come on: Here. MILES raises his empty lft had tard the auenc. RAY raises is ft end toward the audience and real the ieee he has ben paling the eet being thet MILES bas handed RAY aise. You'll mucousy. Silence. How come Mom didnt cle? RAY I did't tell your mother yet, MILES Well who'd you tll? RAY Nobody. just you MILES You told me fist? Why you tll me fis? Don’t be telling ae stuff ke this fist. Im no good with suf like this. Dont tell me this stuff first okay. RAY Sorry. MILES Tha’ okay but just you know. RAY Sony,MILES. Tell Mom. Don't ell Mom you told me, Just tell Mor. Tell Mom you tld he first. She'd want you to, you know, tel her fist. Tell her first and then she'l all me and ak to Mom and then everything, willbe okay: Okay? Okay Dad? RAY Okay. [MILES Should we have a drink? Do you want a drink? RAY Sure MILES Ym litle hungry: How are you? Are you hungry? RAY could et. MILES Ym pretty hungry. RAY How's the veal? MILES Excellent. MILES looks out the wind Damn! RAY What? MILES stopped raining! And I already bought a damn umbrella, Sound: fades ou ‘An uncomfortable pause. BRIAN rises, light snaps to SHOW slate. BRAD (tothe audience) It doesn’t end very well BRIAN (to BRAD) What? [BRAD Nothing. And you got an opera thing in there. BRIAN Yes. BRAD _So welll eexpecting abit of opera? Beyond what we've ae? BRIAN BRAD Xo. BRIAN Good, BRAD So why s Julie such an idiot, BRIAN Jule? BRAD The wife BRIAN eth know—What about her? [BRAD She's basically an idiot BRIAN Not necessary. BRAD Wenever meet her do we? BRIAN No. BRAD _ All we've got to goon ie what Miles says about her? BRIAN So? BRAD So, BRIAN So. BRAD BRIAN BRAD. So basically she's en io. 1 don’t see that ‘So what des Jule represent? [BRIAN Julie's not important she’s a secondary character. BRAD But she must represent something. BRIAN. No. BRAD And shat about laine? Whe? Elsne the secretary een. Eileen yeah ‘The receptionist ‘And she's what? Stupid? What are you geting at? [Not long on positive women BRIAN Pardon me? [BRAD _ Nothing just some people might think you have a problems with BRIAN BRAD Fm not saying you do I'm jus saying — [BRIAN If anyone has a problem with women you have a problem with BRAD Ido? BRIAN Yes BRAD BRIAN BRAD BRIAN ‘BRAD BRIAN BRAD ‘BRIAN BRAD {don’t have a problem with women. In what way? nots of waysBRAD For eample? BRIAN For example... When Kate brought... what'sher-name over to BRAD Emma? BRIAN No. BRAD Laura? BRIAN No the one with the tattos andthe bone inher nose. BRAD Gwen. It wasn'ta bone. BRIAN Gwen. When Kate brought Gwen over to meet ust the audience) we're having dinner and That One starts talking about. wetness. BRAD About what? BRIAN Wetnes BRIAN pick up the chair he ad ben siting in and places it wpstge ‘for stag igh fing sage BRAD (othe audience) Female eculation BRIAN Yes and tha sort of thing yes. BRAD 1 thinkitkind of tamed her on actually. BRIAN. Oh thats sweet ‘BRAD What's so potential offending about it? BRIAN. Ohcomeon BRAD No ally BRAD res BRIAN approaches BRAD. picks up the cai BRAD ad ben silting in and hen places it upstage far tage right close bese the chair he has us placed BRIAN You don't know where a person comes from, what theit particular experiences ae, how they're afected by shige BRAD Its jus a conversation BRIAN She may have been a Christian, BRAD Christian ejaculate BRIAN Shermight have had issues. BRAD Like what? BRIAN Like whatever, BRAD You aeso status quo [BRIAN What does that mean? BRAD You're dealing with things around this idea of men ae tke this and women ar ike this which quickly devolves into BRIAN Oh please, [BRAD That Asians are like this and Native Americans are lke this, BRIAN Here we go, BRAD The points f you're presenting women es bimbos and halfwits then you ae just preserving the status quo which always presents women as bimbos and halfwits. I shouldnt have to tell you tis, BRIAN You shouldn't have to ell me this? BRAD Nojust... Sony. BRIAN totes of he jacket and present it f9 BRAD. BRIAN Brenda's not» hal-wit BRAD takes the jacket and puts it on BRAD she’s tersible to Ray BRAD and BRIAN tate wp positions dewnstage ef and right cing BRIAN Everybody's tesble to Ray that’s the point, Light sp to PLAY state (ta speci ‘Sound distant oper onthe radio BRIAN is BRENDA, BRAD is RAY, Noe: in Becoming BRENDA. BRIAN crates ane rm ove is chest ‘a olds his other hand to hs rat. By doing this BRIAN i doing ‘vo things giving BRENDA a sense of feminine elgonce and lo. ings RAY Brenda? BRENDA You're ate. RAY Thad late hanch with Miles. BRENDA Hows Miles? TRAY _ Fine. He says hehas some tickets for that thing atthe conservatory—if you were interested—something you wanted to sce? BRENDA Ohthe Puccini RAY Iguess. BRENDA I read it was overstatedRAY Overstated? BRENDA Broad stokes, Lacking in sly. RAY Oh. BRENDA Apparently some Latin American director set it in fish tactory or frat fam or something. RAY Have you been drinking? BRENDA Ohshut up Ray RAY Sorry. Silence. Brenda? Werneed to talk BRENDA Yes we do, know we d, this is ridiculous, why do we bother, why do we even ty, well we don’, that’s just itis it, we don’t try. we ‘Say we will and with the best intenons, the best intentions but we ‘don’ I look at you Ray and Ife. lng sigh «love I guess But Static i's dormant, there's nothing moving in here but. once for you. And the longer ve like this the less eae. I'm elling i quits, RAY Brenda can I say something? I ally need to say something BRENDA RAY What? BRENDA With Tery Burke. LAY Who's Terry Burke? BRENDA Pam Ellis’ husband, RAY Who's Pam Elis? IRENDA Lloyd's mother. RAY Teny? SRENDA Yes, RAY The Christan? JRENDA. There'snothing wrong with being a Christian, Ray RAY Jesus Christ. IRENDA Exactly {AY Who am aking to? IRENDA He's a good man, LAY And a hypocete. How long? How long? rm having an affair BRENDA Almost yee, RAY Oh that’s sweet BRENDA He told Pam: Jhe's spending the day with Lloyd ENDA yesterday-he's spending the day with Lioy RAY Whar? BRENDA I'm sorry Ray but my fees opened up, im cling quits. ve packed some things, et you knon where ame BRENDA turns 1 RAY. What did you want to say? RAY turns to BRENDA, [RAY _Is there sucha thing asa concrete boat? Would a concrete bost float? Ie scems like it wouldn't It seems lke it would just sine BRENDA turn sy Thaven't the slightest des. Silence BRIAN dros his rm to hisses, Ligh snap fo SHOW state Sound ot, ‘See Brenda's nota halt-wit. She's drunk, She's not drunk she's been drinking, She's drunk: She's upset. She's confused, Whar next? BRAD and BRIAN exchange positions onthe sage. (to the euence) A beaut piece of musi. BRAD Ofcourse, BRIAN (quietly to BRAD) Problem? BRAD No, BRIAN Fine. BRAD Fine BRIAN BRENDA BRIAN BRAD BRIAN BRAD BRIAN BRAD ‘BRIAN (continuing othe audionce) Maria Callas— Sound distant Mavi Callas which transforms ink ft: birds ‘plone ot ove pit es distetty oceansinging the mad scene from Anna Bolena by Donazet. Annas on her way to her execution she stops fora moment and ina sublime aria recount the simple joys of her childhood. BRIAN Jus taken a positon upstage ef RAD And then? RIAN A ield,Tery and Lloyd RAD Can Ibe Lloyd? RIAN Sure ‘BRAD wraps the jacket around his wus, BRIAN tows an imaginary ball tard the audience. Light shift to PLAY sae BRAD becomes LLOYD. BRIAN becomes TERRY. LLOYD jumps to catch the ball, misses. LLOYD chases the ball back and arrtes in a special upstage ef fom where he plays the scene. LOYD Sorry Tery LLOYD throws the bal back, [Not the play the scene out oth throwing andl catching towed the audience. ‘Sound with ech catch oe hear the sound ofthe bl iting abel ove, tohen LLOYD mises the all we hart it the grou ad all, log grave ‘You know there's like sx billion people on the planet ane four point sx billion ive in abject poverty. ERRY Whos TERRY catches the bal Hrows it ack LOYD So ike twenty percent ofthe population has eighty percent of the wealth and eighty percent of the population has Hke twenty perent ofthe wealth? LLOYD cates the bal, ows it bok ERRY That's quite abithuh? TERRY catches the bal, tows i bak And if you're talking about really realy rch people. LLOYD cates te bal, rows Back. there's only lke maybe three hundred billionaies on the planet, 50 hardly any TERRY catches the bal, rows it Back tor TERRY Probably fit them al in this il, LLOYD catches the Bll thre i back. LLOYD Yeah and kill hem alt TERRY catches the bl TERRY Hey now. LLOYD _ Just kidding Tery TERRY thous the ball ack. LLOYD catches. ‘Bat and plus, um, also there's enough food for everyone inthe world there don't ned tobe any starving people— LLOYD throws the ball back its just hat etng food ro is more economically viable forthe people who. TERRY catches te ball. the people who. ‘TERRY throws the bll ack LLOYD catches TERRY Who makes the money offit. LLOYD Yeah, LLOYD vows th al back. TERRY catches it Did you know that one North American produces more waste than twenty Chinese people TERRY throws the Bll back LLOYD miss it Sorry Terry, LLOYD rans out of tight get the Bal. TERRY tur 0 that he is ‘facing LLOYD. TERRY You've got good arm but you can't catch for shit {LOYD returns withthe bal. He fees TERRY. Unt indicated the eo speak icty tone another LLovD What? TERRY You've got good arm, OVD smiles, iene Ym going away. LLOYD Whee? TERRY I'm going aay,Lov ERRY Lovo TERRY Lov “ERRY Lovo ERRY ‘To Hamilton? No away away Taking « break: Moving out, Taking a break? Your mom and need some space. What do you mean? “These things just happen Lloyd igh. But just want to say its ben ally great hanging out with you the last couple of years. earned alot of good stuf om you. And bey. is not ike Fm disappearing or anything Tbe around. We'l stayin touch Lov TERRY Lovo ERRY Low ERRY toro eRRY toro erry ow ovo ‘Do you thnk my dad might come back? 1 don't think so 1 did't think so LLOYD trast fc ot TERRY tur to aceon ‘They continue fo how the bal back and forth es before Hey! You know the apostles. Can you name them? LLOYD throws the blo TERRY, Joba, Good. TERRY thus the ball LLOYD. Peter, Andrew. Matthew. LLOYD throws the ball TERRY. That’ fous TERRY tro the al to LLOYD. Jacob and Simon Si LLOYD tvs the bal TERRY, Philip and Thomas. Eight TERRY tvows the ball 9 LLOYD. Judas ‘Terry LovD TeRRY top Terry LLovp ‘TERRY LLOYD tious he ball fo TERRY, hard, TERRY ast mist. ‘Three more. TERRY thro the Ball fo LLOYD. ‘Thaddeus, Bartholomevt. One more. LLOYD throws he al to TERRY. ‘The other Jacob. TERRY catches the ball and holds. on tt Jacob what? Jacob Alphonse? Not Jacob Alpheus. But se, you leamed some good satf hanging ‘ut ith me too, Ltovp TERRY BRAD BRIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN BRAD TERRY tows the all fo LLOYD. LLOYD doesnot even try to atck ft The bal tthe ground Silene Ws not like you were my rel dad or anything anyway. No. The foostod in silence for moment They step downstage, ot of he light After a moment: ight naps to SHOW ste. ‘Thatesad ‘Tha’ ie BRIAN steps cress he stage toward the chi So Tey... hes only i the one scene? BRIAN stops Yeah, Ieee, What? Nono nothing. Ws not about Tey. know but jst. what purpose does Tetry serve? I mean other than for you to explore your abandonment issues BRIAN Noro no.no no. Terry represent an idea of GodBRAD BRIAN BRAD BRIAN BRAD on, ‘As Lloyd will ome to ater oh (tothe eutience) Ws complex. Right So nobody's happy? himself” which in the Trust Fund:-Opera-Buf world is second only 10 \wetring broven shoes after se o'clock as something we "ust can't hve.” Sono Maria Callas—and This One has nothing todo atthe Ceremony, so Kate suggests we ge together onthe Lasley Gove thing ‘and I think, Great this song is least Trust Fund-Opera-Butrtype song You can imagine and Ill work up this ridiculous dance and hel be Ike "Pethaps not” and ll be off the book. BRIAN Simplistic yes I gues BRAD Nobody nobody. BRIAN Nobody nobody? BRAD _ Nobody everybody, BRIAN That would seem tobe the case yes. JRAD Not you, not me JRIAN We had our moments FRAD But not happy? IRIAN No. Sount Lesley Gore's "Sunshine Llipaps and Rainbos.* ‘BRAD and BRIAN took atone anther hough the ist were of the song, BRIAN steps eu toward the chairs up sage right. Light slowly shifts toa special on BRAD asthe sod fl no the tceround BRAD address the audience, RAD _ “How We Met.” Our friend Kate was having a Commitment (Ceremony with her gelftiend Jessica. This One knows Kate from forever I know Kate from this let bookstore Kate and Tused to work atAnd as pat ofthis Commitment Ceremony Kate want all hee Iriends— instead of bringing gis —to do some kind of performance— ‘because she's nto that sort of thing. And she wants me ta doa dance t0 this Lesley Gare song she loves—because she knows Ilove Lesley Gore. And I'm fike "No Way!” but leat say that so Just say "Yeah sure" “Meanwhile This One’ apparently supposed to be doing ip sync to some Maria Calas song But the thing is he's got this cabal. this oven ot these ventyfive-yearald Trust Fand-Opers-Buff ypes be hangs out ‘oth: The Assistant tothe Dean of Antiquated Studies atthe Univesity a Fa Fa and Lite Miss Fox Fur and Little Miss Champagne and Sunglases and Little Lord Lady/s Day At The Track. These se the kind ‘ot people who think Counter Cure fsa yopourt shop. Anyways, Story goes the Trust Fund-Opera-Butls put the kibosh on Maria Callas ‘because apparently This One doesn't que pass as @ Mara Callas—or 4 Maria Anything Fé guess and he was in danger of "embarrassing BRIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN ‘BRAD BRIAN BRAD BRIAN BRAD BRIAN BRAD ‘RIAN BRAD BRIAN ‘BRAD BRIAN BRAD lop ou of hi ight Light snaps to The PAST ‘Sound The lst chara of Sunshine, Lalipops and Rainbows,” [BRAD finishes a ndiculoe dance for BRIAN. Wet Yeoh Ws quite energetic Yeah, you know. [do alot of yoga Right Isa it Um hm? Athletic Do you find? Te gota kind ofa bad back (Ove that can be dangerous. ‘And is Sunday? Yeah Sunday. T work on Monday morning. Me too. Andi can't be a at night. No, ‘And it's going tobe a looong evening, How do you mean? A fall program. Ob ight yes ofcourse. How did you think I meant it? In no way... ust... What do you think of Jessica? She's cool Alii pushy though don’t you find, For Kate?aRAD RIAN 3RAD IRIAN sRAD IRIAN sRAD SRIAN IRIAN, sRAD IRIAN RAD IRIAN RAD IRIAN IRIAN RAD :RIAN RAD :RIAN, RAD RIAN RAD RIAN RaD RIAN RAD Pushy? Opinionated. ‘She has lots of opinions yeah—but so does Kate Oh thas a new thing, ‘You dont lke fessca? No ust no you know. But she loves Kate, Yeah she does love Kate beat ‘Ae you sil seing?. Gordon. Gordon? No. Yes. No, Yes, No yes no yes You know. Right (On again off again. Right Basialy is a two-year relationship tha’ lasted for five yeas anughing) Been there buddy. So on now or off now? Somewhere in between, (Oh that hurts ike your jacket Thanks Ielooks good on you Thanks Abe So Sunday. Yeah Sunday ‘What the heck What? Well iis for Kate and everything right? What about your back? BRIAN Oh. was bluffing about my back, my bac’s ine. Strong like hore. BRAD Oh BRIAN So should we rehearse? BRAD What the heck. ‘BRAD takes of the jacket, Light slowly fade a: See sometimes we were happy. BRIAN No sometimes we weren't sad Light continues fo fade slighly thn suddenly snaps to PLAY state (ro special). BRAD becomes RAY, BRIAN becomes the DOCTOR. DOCTOR Good Morning Ray, RAY Good Moming Doc. So what's the verdict? DOCTOR The verdict? RAY Let's cut stright tothe chase shall we? DOCTOR Ieame across one of those dream dictionaries we weve talking ‘bout I could find concrete Boat butt seems that boat represents kind of rebirth, RAY What's the verdic? DOCTOR it's not good news BRIAN steps dwnstge os the specials ers fade He covers his tie near across his chest and one hand a his hoa becoming BRENDA. BRENDA But snot the worst news, it could be worte RAY Brenda? BRENDA. Pleise Ray RAY I’snot good news—he sid it's not good news BRENDA ut there ee so many treatments—so many nev treatment RAY Brenda? BRENDA No. RAY No what? BRENDA can'tRAY You can’t what? BRENDA IVs not healthy Ray. We're not healthy together, You're beter off without me. BRENDA lis her enpty hand RAY lifts the act he hols os f BRENDA has jus harded itt im. "brought you back your jacket. tk it with me when Tet thought might want something to remind me of you, TAY But you don't, IRENDA But I don't RAY throws the jacket onthe flor at BRENDA’ fet | tay Fuck you! [BRIAN drops his armas hisses, Light snap o SHOW stat. RAD I dom’t buy it. RIAN. What? RAD I don't buy it So Brenda's just going to walk out on Ray? RIAN Yes RAD Ray's dying and she doesn't care. RIAN Its not about Brenda. RAD _It’sall about Brende right now. [BRIAN lif his wns tothe BRENDA positon Light snaps o PLAY stat one special. Sows don oper. RENDA _tdressing the audience) A word in my own defense in which [struggle with cliches to try and describe the sensation of something suddenly going out. Not lites andle—not likes short sharp breeze snd # pop and a slow glow down to nothing and then smoke. This is ‘nore like a shutter slamming ora cover closing—but not lke that ‘because the shuter and the cover indicate something within This is ‘he kind of gong out where something collapes into elf and without «utter tums oat Itis the feeling of something suddenly going out ‘which i forever strangely linked tothe image of lambswoo! jacket fg on the foot BRAD speks fom the dors. -AD You're going to have todo better than thet ‘BRIAN ‘BRAD BRIAN BRAD BRIAN ‘BRAD RIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN ‘BRAD BRIAN ‘BRAD BRIAN BRAD BRIAN BRAD BRIAN BRIAN drops his rns to hisses Sound ext. ght snaps to SHOW site Better than what? Fm not convinced Of what? ‘The depth of her fetng Excuse me? ‘And you're stretching the metaphor. “The metaphor? With your Jacket Thing Ws not My Jacket Thing, (Okay. The Jacket Thing es a different Jacket Thing. Ws "The Jacket Thing.” _BRIAN pick th jacket up fromthe loo an proces BRAD. Brenda's leaving Ray because she can se what he’s become. Which i what? Which sus ke everybody ese. “There is no “everybody ese” Ob thas deep, ‘To you maybe Light snap fo the pas Sound: distant Ley Gore BRIAN held cu he jake! fo BRAD. Take the jacket 1 don want the jacket ‘Then why did you bring it up? jus asked i you were going tobe wearing it tonight Wasn't that apperent? Seeing Iwas weasing it atthe time, Forgot it Do you want to wear the jacket?BRAD _No.I dor'tcae BRIAN Wear it if you want to, BRAD No. itis my jacket. BRIAN Then wear it BRAD You have lots of jackets BRIAN So, BRAD. Thavetwo, BRIAN You never wear this jacket BRAD _Decause you're always wearing it. You've been wearing it ever since we moved in together. Since before. You took it from my else. BRIAN It wasat the bottom of your laundry bag, you never wore i BRAD used to wear tall the time before you claimed it BRIAN _Csimed it? Oh please take the jacket. What's your issue? BRIAN tvs the jacket at BRAD. He catches JRAD Thaveno issue IRIAN Whats your issue? FRAD don’t ke it when you wear my stuf RIAN. What? IRAD__Itbugs me when you wear my stuf RIAN You're not serous. RAD [know Tknow its just thing I don’t know. RIAN Otay okay Ican acept that. fs petty butandit certainly seems ‘ironic coming, from you. RAD tronic? RIAN ron’ « word RAD Whats another word? RIAN I thought we were supposed to end ownership, RAD _ Nobody caes about the privatization ofa jacket. RIAN What's the diffrence? AAD Maybe have an emotional attachment o this jacket. MIAN "Emotional altachment” oh that's an interesting argument om ‘the man who claims to be above sentiment. ‘Sense BRAD I made no "lain [BRIAN _ Watch out or you'l be fining me as just anther cg in the “Patriarchal Industriel Bullshit Machine” BRAD I wasr'ttalking sbout you BRIAN “Bullshit Machine." You accuse my friend of being poseurs. I's the same damn thing, Is all just a persona BRAD Whatis your issue? BRIAN Mister "Noam Chomsky” BRAD (laughing) stat all you've got? BRIAN Hypocrite [BRAD throws the jacket onthe flor at BRIAN ft. BRAD Fuck you! Light snap show. Abest “Ty it again. Defend yourself now. Go on BRIAN slope dem ito BRENDA‘ pt He fs he une put his armen the BRENDA positon [BRENDA word in my own defense— [BRAD What are you doing with your hands? BRIAN Fa hiding my ti BRAD. Soshe's wearing [BRIAN faces the aun Light sly though the ollosng cos fades fom SHOW to PLAY (one special or BRIAN, BRAD in dares) BRIAN _A.word in my own defense in which strugte with cliches while ‘searching for metaphors and come up wth a grey lambwoo jacket and something suddenly going out A grey lambswool jacket ying onthe floor and something suddeniy.. not tke a candle, no tke «shot sharp teas ora "pop" and a alow glow down to nating and then smoke This is sudden Andi eaves no race Just an un-nameable emptiness— {hare would give too mach weight~cassed by something suddenly {going out—and leaving behind noting, Nothing not even a nothing to Feld up the noting, And grey lambswool jacket ying on the for Light slowly ads Yo lack BRAD begins speaking i he darkness, ash peks the light fades up to SHOW state BRAD isting on He oorAAD _ Is thathow you felt about me? Empty? Not even a nothing to hold ‘upa nothing? Is that why we were going o split up? BRIAN picks up the jacket. MIAN Why did you get so upset about the jacket? TAD Because the frst time I wore it you sid I looked good in it BRIAN approaches BRAD. He tans ove him looking dwn. BRIAN fers the jacket to BRAD. ‘You know there is such a thing asa concrete boat. People race them on «river in Missour read abot it ina megazine ‘BRAD takes the jacket and puts iton Lots of people goto wate, TAN Hey Mister King. Light saps o PLAY sate. (One large spc for LLOYD and RAY.) BRAD becomes RAY. BRIAN becomes LLOYD. Y Hey Loyd, YD Why are you siting on ur front awa? Y What? DYD You've been sting on our font lawn for an hour Ym waiting for your dad DD He's not my dad, © Sony. Tey NYD He doesn't live here anymore + Where ihe? "YD I don't know: Hamilton maybe. Mrs. King’s with him. Are you telling me that Lloyd? YD Youknew? Hew. LLOYD sis beside RAY. RAY stares athe oon he assis wet YD Doyou know the Bible? RAY Somewhat. LLOYD Okay, so there's Adam and Eve and they have kids but who do ‘heir kids marry? RAY I don't know. LLOYD _ Seems weird. But you know the apostles right? How come when they wrote it they gave two of them the seme name of Jacob, Why did’ they just give them different names 20 t wouldn't confuse people? Because somebody wrote it right? RAY guess LLOYD Ist made up ore rue? RAY _ Its whatever you wantit tobe I guess. LLOYD Oh. Because the same-name thing kindof makes it ser lik it is true. That that's how i really happened. Siene. LLOYD tos up atthe moon with RAY. You know i's ke everybody lives inthis big cele and everybody wants tobe inthe centre ofthe circle but the centre ofthe ile the smallest part. There's no Wy. RAY Tm dying. LLOYD Everybody's dying. RAY squezes LLOYD's BRIAN Ow! BRAD Poor Lloyd BRIAN Poor Lloyd. BRAD Who's Lloyd supposed to be? BRIAN I think that's obvious isnt it? BRAD Whats going tohappen to Lloyd? BRIAN Oh he's going to grow up and become a computer gek and start aningeious website save the word ted makes tllon dare BRAD Do you think? BRIAN I don’t now. No. Hejust goes away when the play ends BRAD. That'ssad. BRIAN Thats ie‘umber and decide to give him a pice of my BRIAN BRAD 3RAD SRIAN 3RAD_ SRIAN RAD IRIAN RAD IRIAN RAD RIAN BRIAN gets up and walls oof the light. He tales up psition in the dark, parallt BRAD but facing upstage ‘Sound crus a edn recption Light eros fades to speci for BRAD. [BRAD _ Cheers cheers cheers and best wishes to Kate and Jessica on their happy day Ielooks ikem the las ct of he evening—but unfortunately my partner seems to have gone AWOLbut fear not, in Inve showbiz traction whatever that severything's coming up roses and the show must goon and all tha. So. Hit it Kate We heor “Sunshine, Llipops and Rainbows” inthe background as BRAD adresses the ude. “The day before we ad been rehearsing at Ths One’ place and Lite ‘Miss Fox Fur and Lite Lord Lady’s Day At The Track happened fo be there and caught abt ofthe act. Turns out they voted it “Silly” which in the trus-fund-opera-buf manifesto grade of the mast horrific order and so This One acquit himself ofthe whole endeavor with not so ‘much a. see-yalatersucker. A couple of nights later and I'm realy pissed, in both senses ofthe word, and I dig ip This One's phone Sound teephoe rings Light snaps p second special for BRIAN a he spins fo face the suione Hallo? Hey. Hey! Yeah so hey 1 was ust hinking about you You were? Yeah. had a great time the other night You dia? rm sorry tha to leave, Why did you eave? 1 told you Thad to workin the moming Yeah 1 know ba Come over. Come over? BRIAN Come over. BRAD Uh It'sabit late BRIAN I want tomake love fo you BRAD Oh. Okay. Oh. Okay guess. BRIAN Hur. Light BRIAN’ pil out BRAD addresses the audience BRAD _ Now, normally 1 woulda’t do that kindof thing but i was. ‘Wednesday Light quick bat Sound! a nosy dortel, Ligh snaps upto pest. BRAD and BRIAN fce on rather Hey. BRIAN bby Silence. BRAD Aren't you going to invite me in? BRIAN. I'mkind of expecting someone BRAD Yeah me. BRIAN No, Gordon's coming over BRAD Why did't you tell me that? BRIAN Tell you that when? BRAD On the phone, BRIAN On the phone when? [BRAD Twenty minutes ago BRIAN Oh. Oh. Oh BRAD Oh.Oh. BRAD & BRIAN Oh. BRIAN Well do you want to come in? [BRAD Will that’s why I'm here ‘Sound: Super-seny a Barry White Lighters fades dep ra BRAD seductively tae of hence and play throws iat BRIAN. BRIAN catches it BRAD approaches BRIAN slowly. BRADloosens BRIAN' collar an te then pus hend om his chest waling im bckoerds toward the chairs sage ight, Just sit seems the me ‘about kes BRAD drops into the chair and BRIAN slips on ikea he steps t centre, Sound «buy br Light snaps to PLAY state (tu species ‘BRAD becomes PAM ELLIS. BRIAN becomes RAY. Ms. Elis? Pam? PAM Pardon me? RAY Are you Loyd's mother? PAM Yes. RAY I'm Raymond King. Brends’s husband. PAM Oh. Yes Hello. Yes. RAY just wanted to— PAM Offer condolences? ‘A uncomfortable bet Sorry. t's just that its differen for a woman. I guess. Or maybe not How are you? RAY Oh there's aot going on these days. lotto take my attention, PAM ‘That's «good thing. XAY That's good thing "AM I did't see t coming. Did you? RAY 1. maybe ‘AM Or don’t know... maybe I did I's Loyd rally that fel worse fox He'd rally warmed to Terry. Since his father et i's been. Bon be fine. I's Leyd T worry about ‘AY About Lloyd. just wanted to et you know I've had my insurance policy placed in Lloyd's name AM Oh You-Oh, Why? AY You never know justin ase. Accidents happen, AM But why Lloyd AY justo say—tim sorry. WE snot your fault WY Timjust sorry that ithe to happen, PAM Yes. Thanks. TRAY Would you tel Lloyd something for me? PAM. Yes? [RAY Tell him the centre ofthe cr’ not so great PAM. Thecentre ofthe cre? RAY Tel him you can’ really se the cele fom the centre and al bout seeing the circle Alea PAM You know what my problem is Mr. King? RAY. Rey. * em stm alg loins and pion a hey re aN ave ol ane anf bt samen yo Go get sick to get better RAY laugh Can I buy you a desk Ray? RAY Sure [BRAD (io the audience) Another drunk woman [BRIAN Forget sbout tha, whats this? sso SHOW ste BRYAN tes led por fom is ck an lit pf te tune Te poster er plegep of BRIAN an BRAD ey Sie ang Ol hey eng ow, BRAD hia ro ging, BRIAN ot sry Sight. Nats nent work bt ge sho the cl nee tsa pliy mato te proscon What i thie? BRAD The poster forthe show. BRIAN There isno “show! BRAD There snow. BRIAN This isnot acceptable BRAD Why not? BRIAN —Look.t it. Whats it supposed tobe?BRAD loiding the photogroph up for the audience) Wel there's me an Vm Taughing at something and there's you and you're not geting the joke SRIAN _Yes1'm sure everybody’s seen it BRAD Whats weong with i? SRIAN Look tit. Whats it supposed to mean? Look at me! look tke T wouldn't know fun it bit me FRAD Well ifthe shoe fits, IRIAN Oh that's sweet. And what's so funny anyway? ‘RAD That's the point. ‘RIAN The point, you make me look tersble, RAD Well what would you lik toJook lke? RIAN Obviously not the way you see me RAD Oh here we go RIAN Oh here we go where? RAD The village of image RIAN Yes well i's my image. RAD Anyways Ligh sup to the PAST. Sound: distant Lesley Gare AN "Anyway!" “Anyway” Thre is no such word es “Anyways RAD Don't! Dent correct met AN _ Im no it's just... You use ita thousand times a day. It's diving ‘me to distraction, {AD Anyways! just wish you could be yourself, AN What? What do you mean? What's that supposed to mean? AD Forgetit JAN No. What? What do you mean “yourself? Lam mysel. AD. Fine JAN No. What's myst? AD _ Like this ridiculous opera thing. You don't even lke ope FAN dose, AD. You ike Maria Calls, Mara Callas isnot oper. Liking Maria Callas Ike liking Batbea Streisand | ] beat BRIAN Take that back. [BRAD You js thnk you should ke apes because cltred people ike ‘Spersyou think beng an opera bul elevates you from your shame! ‘working cas background. BRIAN Anything le? BRAD You present yourself as this benign... ths open minded. ‘guardian of al things tasteful BRIAN. When in fact? . [BRAD When in fact you use your opinions—or the opinions you bo Teem other people— a ms or al ‘What are you waiting for? BRAD No, What are you waiting for? BRIAN. Forsomething to happen. Light snap 19 SHOW state ‘BRAD holds up the pholgraph once sn, BRAD _That One heaping oe preening happening md On Reselling one epee ang snehig Ths es ta area nk bout 00 you'll realize. i’ probably already happening, BRIAN Okay. BRAD Like inthis next patSound’ a grandfather cock chimes Lig snaps to PLAY sate (hospi, BRAD in his, BRIAN just outside) BRAD becomes RAY’: father, IRVING, AVING Leave me be leave me be I'm not an invalid, can get around Just fine om my own seam thank you very much Thu, RIAN You don't have to play it ike an “old man” VING _ Il play it any way Iwant to. Thug! leant find my thingamsjig, Tve been looking frit everywhere and I eat find it BRIAN steps it is ight a RAY. 4S Your which? VING My thingamajig—the whatsit with the thing—with the stuff in | The Brown one withthe thing, You know AY No! don't Dad ING The travelling box. WwW what? VING The travelling box. The box for traveling WY Asuitesse? VING No. Is thet... Oh yes that right? Yes! guess yes suitcase, Abeat (My hands areal gone hunny. What about st? ZING What bout what? Y Thesiteae JING Oh no didn't bother with it sine could find it. won't be one long anyway. Y Where are you going? ING _ Nowhere. They've got thugs working here, Thugs, Guns and ‘everything, One of them pulled 2 knife on ne, Y He was handing you abutter knife, Dad, Dad Ihave to tll you ‘snething,You'e won't be seeing me agin, ING Whats your name? © Raymond King, Ray, ING You ever killa man Ray? RAY No, IRVING Ws qultea thing. Hed to ofcourse had to. That was the thing It was human lives at take RAY Yes. IRVING _ My uniform’s gone. Took that too, the bastards, That was the thing The uniforms. Because you just didn’ think about it and you just ‘putt on and that's what you wore and that's who you were and that Was that And what happened tothe trains? They're always diving you round now. I don’ ike tobe driven, But ike the trains, All ov (Germany that was lovely tran. And Spain, ‘Sound listnt tins Very high-class quality high-class type surroundings type trains they've {got in Spain. But Germany I ked better—becruse ve got mile Spanish you know, beause of my’ French, I've gota litle French and Spanish is pretty close to French, But I havent gota lick of German. 50 preferred thst. The German trains. Where I couldnt understand ' word. There's nothing beter ell. On the ain and people all round youand you know they're not talking to you-—and even if they were Il you've got to dois rug shoulders) and pretty Soom you're left © Yourself and the lovely litle towns and the countryside changing and ‘hanging andthe trains and the trains. keep siting for something, tohappen. keep waiting and waiting for something to happen. RAY. Throw, Sound: ite gir playin, IRVING My lite skipping girls have all gone home. RAY Who? IRVING _ From the lawn. Your mom made cookies but the girls were ‘gone. There's lot left if you want some. Extra raisin Kind RAY better go now Dad, IRVING What’s your name? RAY lok at IRVING RAY Reymond King, Silene BRAD faces BRIAN. BRAD Nov what? [BRIAN — Ray leaves his father and he gets into his bve MercedesBRAD And you'll be Rey? BRIAN And ll be Ray BRAD And I'm me? BRIAN. Yes, BRAD and BRIAN step downstege and ares the audience, BkaD nth age BRIAN You've go torn some errands RAY What it comes down to now i intention, BRAD | Pick up prescription for somebody’s migraine. Tot paper Exchange some fickets The usta "8" pps XA _What it comes down to now isthe cifeence Between intention and FRAD Aususl day. Nota bad day jst a usual day. LAY _ In my big powerful fast machine SRAD "Inthe car diving log. Aware ofthe machinsy—big power a of he machiney— bg power {tachi psig later ig peer a ache den about whos sobriety nor meal sate You Kno a That oughta bit too heavy. yom owe mthing AY Just another accident RAD You go forthe radio AY Just ike everything. 1AD Cup. AY Just ike everything, WD Crap Just ke everything, AD More crap. YL wish 'd said Fm sorry more AD. Crap. Y _Lwish 4 sad know les AD Something oniliar Y I ish [never sid “nothing” when I meant something, AD Crp. © And Ym glad my mother’s gone, BRAD Back to something familia RAY and that my father won't know the difference BRAD Where was it? [RAY And Brenda willsing at my funeral. BRAD Can't find it RAY and Terry will love her BRAD One ch one point what? RAY and Lloyd will be ine BRAD. Oratter? RAY and Pam isa beautiful woman, BRAD _Notefore the sports after the metal [RAY and Miles s just me but lost sooner. BRAD. Thereitis. [RAY And just a quek jek of the whee. BRAD And in that moment. RAY _ Just lke everything else [BRAD Ws the headlights ofthe ue Mercedes RAY Just another accident RAY clos hse, sein sha! BRAD is desrbing. BRAD _ An incredible vortex of slow motion and silence. Spinning ‘through time, lighter than at, weightless, Wightless and perfectly calm, ‘You look out the window and it's filled with sky—the tops of bullings and tees and elcrcal wires slowly moving past and as they do they, tur to smoke. A thick black smoke that takes 2 moment to disperse Everything tuens to smoke then holds its shape for s moment then drifts Way from iselt.The leaves the wires the trees the buildings. And you feel Sad that it's going but at the same time you fel this bissfl peace at being able to witness it go away. And you think: “This is what i's ke to die” But no, then you realize; "No. RAY opens his eyes No, thisis what its ike to be alive.” And then RAY And then you're gone. BRAD you're goneLight slowly fades to black, est te cou ose ins hp oe ast Ihe cube spans ad te Bacon BRAD pO Do you really find this satisfying ending? BRIAN What? BRAD just think there are probably afew more options BRIAN For God's sake BRAD Do you mind? IRIAN Whatever Light sep to PLAY state ‘BRAD address the uence os he ts het chai centre AAD First date, My idea, We go toa play RIAN Itwas hardly a play, RAD It was this performance thing Kate was putting on. RIAN. What was that anyway? RAD Teas interesting. RIAN Faint praise AAD __ But t's this thing where we're supposed to arrve at nine, and we get there and there's nobody else around excep the box office guy-—so ects curt and eens ur aed ‘This One's already complaining. Sebeck ofthe eg, YAN Iwas not Iason my best behavior ‘AD _ Everything’ lative. Anyway, We yay We go inthe back door and it's this bg empty warehouse space (Note: here BRAD tou rly debe ‘he se for this production shold there beast. and these bright igh JAN Blinding ‘AD And inthe middle ofthe space thee are hese tw "a tellimneitel thet Ths One wane wba nen a TAN Burt don't, AD Bute does’ and we itn the hairs nd nothing’ happen 224 nothings happening and then we hear somebody nigh Sete ‘ook around and about tity meters out pat height se see AN Hundreds! BRAD ‘on? and then i BRIAN Oh my God, BRAD And thenit got kind of weird because we don't know what to do. BRIAN. Sowe ust sit there BRAD So we just sit there and pretty soon they're thinking "They don't ‘know what they're doing ‘Along silence as BRAD ond BRIAN find thomscloes bck in he ‘rong, unconferabe moment. BRAD is loving it, BRIAN i mortified Fifty maybe. And you know first it ike "What the hell is going Oh my God they think we're the show” BRIAN And thn it got kind of tense. BRAD And thenit got kind of nice BRIAN. Iti? BRAD took your hand. BRAD takes BRIAN's hand BRIAN Yes you did BRAD Which was like I might as well ave kissed him fll onthe mouth “This One 0 inthe closet. BRIAN (pling his hand ay) Lam not BRAD Anyway: BRIAN Anyways BRIAN puts is and on BRAD’ eg for moment It was nic, Although once I got to know you Twas convince you just took my hand as one of your radical politcal statements. [BRAD honesty loking a BRIAN) Well did ‘Ateat. BRIAN looks ay. BRIAN Well gues if'san option for an ending but it’ bit ‘sentimental BRAD You aint seen nothing yet Hitt Kate! Sound “Sunshine, Lollipops and Rains” pays from he top BRAD grabs the cai and rashes the back ei opening ition, He rushes back and begins th dance. BRIAN hori, ‘ly he join i nt they otk dance the ridiculous dance, ling ‘and lovingBRIAN BRAD BRIAN BRAD ‘BRIAN BRAD BRIAN BRAD BRIAN BRAD SRIAN 3RAD RIAN SRAD IRIAN "RIAN RAD RIAN RAD RIAN RAD RIAN RAD RIAN RIAN The dance ends. BRIAN fces the audience a if to tke 4 bow. BRAD ‘indicates tothe cutience that tno oer yt. BRIAN tok at BRAD. BRAD move 10 tp of the stage. Where are you going? “To pickup your prescription. Light slow aes tough SHOW to PAST sate «hybrid BRIAN pases unt: Didn't you do that yet? Tm doing it now. Go What? Nothing Good. Do we need anything else? ‘Yes toilet paper forthe how many-eth time. ight right right And could you please exchange those tickets 110i tomorrow You said that Ist week. We've exchanged them thre times already. Fine wel give them away. Keep a schesiule 14, ‘Write it down! Idi Pin the isto your mite! Well then dont No ine fine “hy Saturday. A change charge and an upgrade? Fine Tuesday? No Kates bringing Karen over to moot us on Tuesday, een BRAD ‘BRIAN ‘BRAD ‘BRIAN BRAD ‘BRIAN ‘BRAD ‘BRIAN BRAD ‘BRIAN ‘BRAD BRIAN ‘BRAD [BRIAN ‘BRAD ‘Wie met Karen already “Privately” Great She's your frien. ‘What's that supposed to mean? Se doesnt cll me any more. ‘You cant pick up the phone? Why sit always my fault? Why is everything always my ful. We have to talk Thave a migraine You always have migraine ‘We'l talk when you get back Fine. ‘Try Wednesday Wednesday. BRIAN & BRAD Neat Wednesday. BRIAN BRAD BRIAN BRAD BRIAN BRAD BRIAN BRIAN BRAD BRIAN BRAD BRIAN And shampoo. [And shampoo, BRAD moves tole gain. How are you getting there? im sing my bike ‘othe mall Sure And the thea? Yeah You're not going to go tothe theare if you take your bicycle. I need the exercise {just want to get this dealt with. Fm dealing with it Here its going to ran anyway, ake my cat‘BRIAN reaches into his pocket and mimes throwing keys to BRAD. ‘BRAD pretends to catch the keys he has ees hing in is an BRAD moves step of the stage. He turns back. Prescription, toilet paper tickets and? BRIAN You've helped meto se the beau in people and you've been «really good fiend. BRAD (mildly soling) That's not how it went. BRIAN shampoo, BRAD Shampoo, BRAD sof te sgn ws hroagh he ue ad he dori are BRIAN And not he cheap sit BRAD ight ight BRIAN noes core Lh sty ates at pci on BRIAN oof poy BRAD exit eta damning ede Sent otters ona drying, ca dar ‘hating ners carpal of eden arse se rg BRIAN ssa he oad JRIAN _Of cure anther option woud for an ending. wo be tote tall fal ce end up back we webagar Rope 2 pactage. People ike ay pacage Son So. Bey lene hs ter tne gesin scars end pes ch othe Doce ney Sipe they Dow" And the Decor yaw ae ou Bay And Red then Ray says "How inghave gx Doc” Nolete gnc bse hand Ray sy: “Hw long have [gt Chris adhe Bor {5s Teananwer hat qton Ray Ad Ry say Ray ays B come on char we've gti rer whats soins Sound: rin, din rang. And the Dacor sys: "Tea" and Ray interrupt and he say “needa namer Cais mamber” dhe Der says "Weta thie aii eoul happen st sy ine We eae eng sour aye ‘eos Naybe men ou sng hy ory ys Bethe Botom ine each day ould potently be yor st oes wes scieyouto stat ving youre accordingly: And hens wake Cenfston, which slow becres understanding then Rap ok outa‘ theauience~almont sing bt sree Teste agpeee th sage tvough he audi ou eda athe eae Seu ewe. sc news, sports, Sound A signal light A radio redo, bad music, ews, spor tad music the Maia Calls ei, news, a Search o find he avi api, inaly finding the ari A long stoned not ve tres squealing ‘Age explosive impact Accent scene sours. Female oes, viking “Oh my Gal het happen The uc Mere Sereight inthe Ste Pale bond a. rly the IRIAN tes of hack! nd ls ites for the al phrae and completion of hari I stop pss, ot fhng SIUAN hs teak out efor in But why ae we aking sbout endings anyway. Soe things end But tome Wings js sop BRIAN dps tect the eos he ket pt top {fhe show BRAN teres dees he stage the ayers mh ie “Tg esti et hn ack ith end fori End,