MUSICAL NUMBERS

1. The Girl Who Drove Away. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM

2. We're Just in Your Head. . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY, ADAM, BEVERLY
3. Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY
4. Ordinary Senior Year. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY
5. My Mom is a Statistician. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, BEVERLY
6. Sam Failed Her Driver's Test . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY, ADAM, BEVERLY
7. Top Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY
8. Simple as That. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, ADAM
9. The Proposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM, SAM, KELLY, BEVERLY
10. There Was a Party. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY
11. The Mad Ones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY
12. I Know My Girl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEVERLY, SAM, KELLY, ADAM
13. Miles to Go. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEVERLY
14. Say the Word . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, ADAM
15. Moving On. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY, ADAM, BEVERLY
16. Go Tonight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY
17. Yellow SUV. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM
18. Run Away With Me. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADAM
19. Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY, ADAM, BEVERLY
20. I Didn't Say Goodbye. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY
21. Remember This . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM, KELLY, ADAM, BEVERLY
 CAST
Sam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KRYSTINA ALABADO
Kelly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EMMA HUNTON
Beverly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATIE THOMPSON
Adam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BEN FANKHAUSER

MUSICIANS
Music Director/Piano. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAUL STAROBA
Violin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROBERT ZUBRYKI
Guitar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CRAIG MAGNAMO
Harp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LYNETTE WARDLE
Percussion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN GARMON
 Krystina Alabado (Sam) and Emma Hunton (Kelly) in the
Prospect Theater’s production of THE MAD ONES at 59E59
 LINER NOTE
I first met Brian Lowdermilk under a tent when they were a young Side called “Makor.” It was in this basement bar/venue that I first met
artist-in-training with me at the Interlochen Arts Camp near Traverse Kait Kerrigan, who Brian had somehow convinced to take their lyrics
City, Michigan. Brian was studying composition, while I was exercising and book and make better sense of them. I remember finding her
my desire to perform in musical theater. It was a brief but important incredibly confident and intelligent. It was in this basement that I first
introduction. Little did I know that I would end up singing their music sang their glorious song, “Run Away With Me” to a young Celia Keenan-
in readings, in concerts all over the world, on their debut album with Bolger in a cast that also included Sara Chase and Alison Fraser.
Kait Kerrigan, and wind up working with them as director of their new In the years following, the piece received numerous workshops and
musical, REPUBLIC. developmental readings all across the country. It became more adult
and, as these writers grew into adults, with spouses and children, so
Several years after our initial introduction under the pines of grew the emotional depth of the characters in the piece.
Interlochen, in the summer of 2003, I received a letter addressed to my
dressing room at the American Airlines Theater, where I was making It has been thrilling to watch Kait and Brian grow, not only as a writing
my Broadway debut as Tom Sawyer in the Deaf West production of team but as humans in search of a higher truth. It seems to me that
BIG RIVER. Brian had written to me to ask if I would participate in a THE MAD ONES is an exercise in growth, a quest for a dialogue with
reading of a musical they had written the music and lyrics for called the innermost parts of ourselves where our pilot light exists. That light
“The Wheel.” I didn’t even listen to the demo CD they had sent along, I that, despite the winds and sometimes storms of change, growth, and
simply said yes. In retrospect, this was my first offer without an audition, maturation, guides us to our simplest desire. It took Kait and Brian
and I jumped at the chance to sing material for the first time. Upon a while to get there, back to that flame, but I think that they have
listening to the CD, I fell in love with their work. To be honest, I don’t unlocked something quite universal in this piece. As Ralph Ellison
remember much about that first reading of the musical that would said in his damning and enlightening novel INVISIBLE MAN, “When I
eventually morph and expand into THE MAD ONES, which you are discover who I am, I’ll be free.” THE MAD ONES challenges the idea
listening to right now, other than we premiered it at The York Theater of what it means to start something. They have written something
on the East Side of Manhattan and it was a story about a girl deciding that captures that moment in a person’s life where the future is both
whether or not to drive her car toward her planned life; college and the limitless and overwhelming. It’s no wonder that these songs have
rest, or into the great unknown. What I do remember is that the score resonated so deeply with young people as they begin their autonomous
was extremely vocally demanding, which to a twenty-year-old singer, lives and drive into the great unknown of adulthood, defining that word
was very exciting. as they go. I can’t wait to see where the car stops next and what songs
they will give us along the way.
In 2005, I was asked to participate in a reading of THE
UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN in a — Michael Arden
series produced by the 92nd Street Y at a space on the Upper West
 SYNOPSIS
18-year-old SAMANTHA BROWN sits in a hand-me-down car with the keys clutched in her hand. Caught between a yearning for the
unknown and feeling bound by expectation, she telescopes back to a time before her world had fallen apart. As she relives her senior
year, we meet Sam’s well-intentioned helicopter mother BEV and her high school sweetheart of a boyfriend ADAM, but it’s her painfully
alive best friend KELLY that haunts her. Kelly was everything Sam is not – impetuous and daring. She pushed Sam to break rules and
do the unexpected. When Kelly’s killed in a car wreck, Sam loses not only her best friend but also the part of herself that was learning to
be brave. Now, Sam has to make a decision. Will she follow her mother’s dreams for her, or will she summon the courage to drive away
from her friends and family into a future she can’t imagine?

Krystina Alabado, Emma Hunton, and Ben Fankhauser (Adam) in the Prospect Theater’s production of THE MAD ONES at 59E59
1. THE
GIRL WHO THE DAWN IS BREAKING, KELLY Memories burst like a soap bubble
THE SUN'S NEARLY WAKING THE Fine. Go. and are gone.
DROVE AWAY LIFE INSIDE ME...
SAM SAM
Lights rise on a girl. IF ONLY I COULD TURN THE KEY. I'm supposed to leave for college Sorry. I think of one memory and
today. they all come flooding back in a big
SAM A moment passes. She holds the key jumble.
IT STARTS AS NOTHING, in her hand. Can she turn it in the KELLY
JUST A THOUGHT OR A DREAM. ignition? Go! KELLY
THEN ONE DAY YOU'RE IN THE mocking
DRIVER'S SEAT, SAM Not a memory jumble.
THE KEY IS IN THE IGNITION,
2. WE'REJUST IN I'm the valedictorian. The
AND NO ONE GAVE YOU valedictorian goes to college. SAM
PERMISSION. YOUR HEAD Shut up.
IT'S ONLY YOU IN THE CAR. KELLY
AND ONLY YOU KNOW HOW KELLY Oh I know. SAM
UNCERTAIN YOU ARE, Where were you headed? This is your fault. All of this. I was
HOW YOUR HEART IS RACING. SAM figuring out who I was - the whole
STILL YOU REACH FOR THE SAM But what if - year - saying what I wanted, doing it,
MOMENT I don't know. It's not like I have a and then one day the phone rings.
YOU'LL FINALLY SAY map or anything. KELLY A memory flashes. Kelly, in another
I'M THE GIRL WHO DROVE AWAY. But what if she doesn't? Oh, twist. time and place. One of those moments
KELLY that just sticks to your brain matter.
LEAVE THE FEAR AND DOUBT Well. Maps are for brain deads. ADAM
BEHIND. HEY SAM, KELLY
CHOOSE THE ROAD LESS SAM I WAS WONDERING out of context, distinctive
TRAVELED I was just daydreaming. WOULD YOU BE MY DATE WHAT - YOU THINK IT'S GONNA
NOT THE MEM'RIES TOO REAL, TO THE FRESHMAN FLING? BITE?
NOT THE GUILT THAT LEAVES YOU KELLY HEY, SAM.
PARALYZED. Technically, you still are. A moment passes. Sam is lost in her
CLOSE YOUR EYES, AND BEVERLY own thoughts.
EVERYTHING'S CLEARER. SAM SLIDE THE CAR INTO GEAR,
YOUR LIFE'S IN THE REAR VIEW You're not here. I'm sitting alone in a EASE YOUR FOOT OFF THE BRAKE. SAM
MIRROR. parked car - to audience
IF NO ONE KNOWS WHO YOU THAT'S IT. Kelly and I - we were -
KELLY THAT'S ALL IT IS. She trails off.
WERE,
My car. NOW YOU LET IT GO.
THE LINE BETWEEN THE DREAM
AND YOU STARTS TO BLUR. KELLY
Beat. KELLY Ok. Give me the keys.
STANDING AT THE CROSSROAD:
THERE'S THE GIRL WHO WAS LET'S GO.
SAM LET'S GO. SAM
WRITTEN IN YOUR DNA, Yeah.
OR THE GIRL WHO DROVE AWAY. What?
SAM Chord. Kelly takes the keys from Sam.
KELLY REMEMBER?
IF I COULD FEEL IT - Talking to yourself.
THE WAY THE DAY BLOWS REMEMBER? KELLY
ACROSS THE SKY, Get in the car, loser.
SAM KELLY
AND HOW THE MILES KEEP ON I need to go back inside.
FLYING BY. YO! Snap out of it.
SAM KELLY DRIVING FOR THE SAKE OF SAM
What are you doing? stage aside DRIVING ANYWHERE. Ah... Left!
You're not doing it right. THAT'S FREEDOM. Kelly turns the car fast, a near miss. A
KELLY horn honks. She flips the loser off.
Think about the one time I got you to SAM SAM
skip school. Fall of senior year. Doing what? half-hearted KELLY
FREEDOM. Very slow, Brown.
SAM KELLY
No. You're not in it. KELLY SAM
in flashback, registering Sam's So where are we going?
KELLY SAM despondence
You said no then too. I said "Get in, What are you talking about? What bug do you have up your ass? KELLY
loser, you're wasting your best life." I have no idea.
Chord. KELLY SAM Sam wants to be mad but she can't
You're not in the moment, Sam. Talk I don't have a bug up my ass! be. She laughs. Something wound
SAM about what it felt like. up inside her releases.
I won't. KELLY
SAM new tactic KELLY
KELLY What did it feel like? Samantha Brown. Do you see that COUNTING THE MILES AS WE GO
I said "Samantha Brown. Get in the fork up ahead? PAST.
car." KELLY
You remember. SAM SAM
FEELING THE WIND BLOWING Yeah. THE TANK IS FULL. THE SUN IS
3. FREEDOM
YOUR HAIR. HIGH.
You're not even trying. KELLY
KELLY Well, one way leads to our school KELLY
LET'S GO! THE HIGHWAY'S SAM and the other leads somewhere KNOWING THAT EVERY MILE
CALLING. THE SUN IS SHINING. I am. else. Which way do you want to COULD BE OUR LAST.
LET'S GET IN THE CAR AND JUST turn? Left or right.
REMEMBER. LET'S GO. KELLY SAM
Try harder. SAM JUST WATCHING THE DAY GO BY.
flashback
PICKING A ROAD AND GOING I don't know. You never take the
ANYWHERE. same route twice. I have no idea SAM AND KELLY
Remember the biker bar? where we are. WE WON'T LOOK BACK. WE NEVER
Get in, loser!
WILL.
Sam gets in the car.
SAM KELLY
SAM Oh god. Who cares? If you don't choose, KELLY
we're gonna hit that house. Left or WE'VE COME TOO FAR.
Explaining, a little uncomfortable
KELLY right!
KELLY DROVE ON ALL OF OUR
WE'RE HEADING SOUTH. SAM
ROAD TRIPS. SHE BELIEVED IN
And the biker. SAM WE'LL DRIVE TIL WE HIT
LIST'NING TO THE HIGHWAY.
Sam laughs in spite of herself. Hold on - let me pull up a map. NASHVILLE.
YOU START DRIVING, AND KEEP
DRIVING. THERE'S NO STOPPING KELLY KELLY KELLY
'TIL KELLY SAYS YOU'VE ARRIVED. OR MAYBE WEST. WE DON'T Maps are for braindeads! Left or NASHVILLE!
KNOW MUCH. WE'RE MAKING UP right?!
THE REST. TEAR UP THE ATLAS. SAM AND KELLY
DON'T READ THE ROAD SIGNS. FREEDOM. FREEDOM. FREEDOM.
KELLY THE TOWN BY-PASSED, SAM KELLY
Ok. What do you want to do now? THE LAST MINUTE self-instructing riffing
GET IN THE CAR Don't talk about it - live it. Don't feel OH YEAH.
SAM AND LET'S GO. the loss of it - feel it. She looks at Sam, expectant.
confident She looks Kelly, who is driving and
Make a right. KELLY grooving along to the radio - pure, in SAM
OH, LET'S GO. flashback - unperturbed by Sam's tentative
KELLY LET'S GO. present struggle. YEAH.
In life, Sam. Think big. What do you PICK A ROAD.
want? PICK A HIGHWAY. SAM KELLY
ANY ROAD KELLY DRIVING, ME RIDING YEAH.
SAM IS GOING MY WAY. LET'S GO. SHOTGUN.
Ugh I don't know. I want to get my LIVE IT UP WITH NO Windows open, so loud I can't hear. SAM
license. COMPLICATED PHILOSOPHIES. JUST A COUPLE GIRLS OUT ON more confident
NO COLLEGE, NO CAREER, THE HIGHWAY. YEAH.
KELLY NO KIDS, NO FANCY HOUSE, NO. Trees blurring into nothing. And I'm
Bigger. LET'S GO. ANY ROAD BUT THE nothing. And she's nothing. KELLY
ONE WE'RE ON. THERE'S NO ROAD MAP YEAH.
SAM AND NO CURFEW.
I want the deafening sound of driving SAM AND KELLY JUST TWO GIRLS WITH NOWHERE SAM
fast with the windows down. NO COLLEGE, NO CAREER, WE HAVE TO BE. with abandon
NO SCREAMING KIDS, NO Kelly starts singing lightly along with YEAH.
KELLY MORTGAGE. the radio.
More! DRIVING ANYWHERE. KELLY
SAM (KELLY) riffing her face off
SAM KELLY NOW SHE'S LAUGHING. YEAH.
I want to break rules and do JUST DRIVING STRAIGHT INTO (FREEDOM)
something unexpected. THE DAWN. AND I START LAUGHING. SAM AND KELLY
THAT'S FREEDOM. (FREEDOM) FREEDOM.
KELLY IT'S SO REAL FREEDOM.
Good. I want Arby's. SAM AND SO LIKE A MEMORY FREEDOM.
THERE'S SOMETHING BURIED (FREEDOM) FREEDOM!
SAM WITHIN HERE - AND THE SUN IS SO BRIGHT THAT
I want to reach the horizon of A LESSON TO KEEP. I'M SQUINTING.
4. ORDINARY
impossibility. THE IMPULSE, AND IT FEELS LIKE I FOUND
THE LIFE FORCE
KELLY THE DIVING IN DEEP.
FREEDOM. SENIOR YEAR
I want to go skinny-dipping in the I FEEL IT, SAM AND KELLY
ocean. SAM
THE CHAOS I USUALLY FLEE FREEDOM. FREEDOM. SOMETHING CHANGED.
IF I HOLD ON RIGHT HERE
SAM THE WHOLE WORLD COLLAPSED.
COULD I LEARN TO JUST - BE. SAM
I want to drive forever! I WAS ON A CERTAIN PATH,
Sam closes her eyes and takes a DRIVING FAST, THE RADIO
AND I'M ALMOST STARTING TO I KNEW WHAT TO DO -
deep breath - willing herself into an BLARING. WINDOWS OPEN,
FEEL IT, I DON'T KNOW AT ALL NOW.
awareness that she could lose at any SINGING LIKE WE'RE ROCK
HOW A DAY GIVES WAY TO THE LEAVES START TO TURN -
moment. She balances on an emotion- STARS.
SOMETHING DEEPER. IT'S FALL NOW. AM I THAT GIRL
al tightrope.
THE CHEAP REST STOP, ANYMORE?
 6. SAM FAILED
THAT ORDINARY GIRL hour and a pedestrian is crossing BEVERLY
THAT I WAS BEFORE? the road at 2.5 miles per hour. If YOU DON'T!
the driver sees the pedestrian from HER DRIVER'S
KELLY a distance of 132 feet and brakes, SAM TEST
YOU DON'T HAVE TO KNOW THAT decelerating at a rate of 11.1 miles I DO!
RIGHT NOW. per hour per second, will the car hit SAM
START AGAIN. the pedestrian? If so, when? BOTH The first time you fail to get your
TELL THE STORY OF HOW YOU FORTY-ONE THOUSAND PEOPLE - license: adorable. The second time:
GOT HERE FROM AN ORDINARY SAM surprising. But I was ambitious.
SENIOR YEAR. The answer, obviously, is yes. In 2 BEVERLY
seconds. Physics is easy - just plug EVERY YEAR. ADAM, BEVERLY, KELLY
KELLY the right numbers into the equation. OH, SAM FAILED HER DRIVER'S
Maybe start with your mom. Driving is... real. SAM TEST FOUR TIMES.
Beverly appears. She clears her throat. I KNOW!
BEVERLY SAM
SAM Are you ready to drive? BEVERLY The first time barely counts: I forgot
What? THAT'S A HUNDRED PEOPLE A my glasses.
SAM DAY.
KELLY Are you ready for me to drive? ADAM
Tag out. SAM Medical condition.
BEVERLY MOM.
Sure. I've had a good life. KELLY, ADAM, BEVERLY
5. MY
MOM IS A Sam drives. Her mom looks on BEVERLY THAT'S ONE!
lovingly. SAM. YOU'LL BE A DEAD MAN.
STATISTICIAN SAM
BEVERLY SAM Next, a parked car bumped into me.
SAM singing sweetly WOMAN.
MY MOM IS A STATISTICIAN. SLOW DOWN, SAM. YOU'RE BEVERLY
AND SHE SEES STATISTICS GROWING UP TOO FAST. WHEN BEVERLY Divine intervention?
EVERYWHERE. IT'S TIME TO GO, I WILL LET YOU CHILDREN UNDER TWENTY
KNOW. I'LL TELL YOU WHEN, SHOULDN'T BE ALLOWED KELLY, ADAM, BEVERLY
BEVERLY SAM. UNTIL THEN, SAM, LET'S TO DRIVE YOU CAN'T TRUST THAT'S TWO! Hoo.
2 TO 1 YOU HIT A RED LIGHT. JUST TAKE THINGS SLOW. YOUR FRONTAL CORTEX IF YOU
50 TO 1 YOU HIT A BEAR. Then, the car lurches. WANNA STAY ALIVE. GRIP ON SAM
TIGHTER WHEN YOU STEER AND The third time, I left the parking
SAM BEVERLY OVERCOMPENSATE WITH FEAR. brake on, which caused the
SHE SEES THE WORLD sudden, a light switch - Monster OR YOU WILL DIE TOMORROW. IN burning smell, which caused me to
AS A HIGH-RISK GAME, Mother THE MIDDLE OF THE NIGHT, YOU panic, which caused me to...
GAMBLING WITH A FANCY NAME, Slow down, Sam! Jesus. CRASH AND SKID INTO A DITCH
TRYING TO CHEAT DEATH AND DO YOU KNOW HOW MANY AND NO ONE WILL BE ABLE TO SAM, KELLY, ADAM, BEVERLY
STAY ALIVE. PEOPLE DIE IN CAR WRECKS FIND YOUR MANGLED DEAD PEE. AND FLEE.
THIS IS THE WAY SHE TAUGHT ME EVERY YEAR? CORPSE.
HOW TO DRIVE. Beat. SAM, ADAM, BEVERLY
Observe. SAM THAT'S THREE.
YES I DO. SAM Kelly sits down in a car with a
BEVERLY Yep. That's the mother I know and clipboard.
Say a car is traveling down a road at love.
a constant velocity of 57 miles per
KELLY KELLY KELLY KELLY
Minnesotan accent The DMV lady Carol Ann. She's from ARE YOU READY FOR THE Come on! Top 10. You love this
Samantha Brown? Minnesota. HIGHWAY? game.

KELLY, ADAM, BEVERLY SAM SAM AM

YEAH, SHE FAILED ONE MORE! No, she's not. Yes. You're misappropriating it.
DRIVER'S TEST NUMBER FOUR!
KELLY KELLY KELLY
SAM She is now, dontcha know! OK THEN. You cannot stop this!
stage aside stage aside as Kelly NUMBER TEN.
Kelly, what are you doing? Turn the key. What does it feel like? BOTH I go skydiving without a parachute.
Sam turns the key in the ignition and DRIVE! NUMBER NINE.
KELLY the whole world comes to life for DRIVE!
stage aside Sam. DRIVE! SAM
Don't talk about it, Sam - live it. DRIVE! Old age.
Sam is skeptical. SAM Suddenly, the car lurches. The breaks
MY HANDS ARE STEADY. squeal. The sound lives somewhere KELLY
KELLY between a harsh reality and a night- Lame. Impossible.
WATCH FOR TRAFFIC. KELLY mare. Sam doesn't look at Kelly. NUMBER EIGHT. ABDUCTED
The car's not going to drive itself. as Carol Ann BY ALIENS WITH ENORMOUS
BOTH HANDS ON THE WHEEL. TURN LEFT ONTO MAIN. GENITALIA. SEVEN.
7. TOP TEN Beat. Sam's turn. Kelly will wait.
Once again, the memory flashes. The SAM
music shifts. Kelly is trapped in a I BARELY EVEN HAVE TO STEER. KELLY SAM
moment. Now let's have the ceremony! reluctant
KELLY Kelly eats Mentos with Diet Coke and
KELLY YOU SHOULD PROBABLY TRY SAM explodes.
WHAT - YOU THINK IT'S GONNA STAYING IN ONE LANE. What ceremony?
BITE? KELLY
Kelly looks at her in the present SAM KELLY NOW THAT'S A DAMN FINE WAY
moment expectantly. AND I FEEL READY, Uh, the one where you honor me? FOR KELLY MANNING TO DIE.
Six!
KELLY KELLY SAM
Well? THIS PART SHOULD BE EASY. You want a ceremony? SAM
SHE TOURS THE TUNDRA AND IS
SAM SAM KELLY SWALLOWED BY A YETI. 5!
No. THE ROAD IN FRONT OF ME IS I want a monument but I'll settle for
She sits down. CLEAR. a ceremony. Honor me! KELLY
I EAT SOME TOENAIL POLISH AT
KELLY KELLY SAM MY MANI-PEDI. 4!
so into it YOU'RE MAKING ME FEEL With what?
Ok. You be Sam. QUEASY, DEAR. SAM
KELLY HIT BY A METEOR. 3!
SAM SAM THE TOP TEN WAYS FOR KELLY
Who are you? AND ALL AT ONCE I FEEL ALIVE. MANNING TO DIE. KELLY
CAUGHT IN A GANG WAR. 2!
SAM
No. Absolutely not.
SAM KELLY ADAM ADAM
KELLY LIKES CAFFEINE AND LOVES rimshot YOU'RE JUST JEALOUS CUZ IT SHE'S THE PERFECT GIRL FOR A
A RANDOM FLING AND ONE TIME If only I'd never cracked a book. ROCKS. GUY LIKE ME.
AT A STARBUCKS SHE MAKES
OUT WITH STING. AND STING IS SAM SAM SAM
ALL LIKE, "KELLY, I THINK YOU Shut up! FOR SURE. HE'S THE PERFECT HOW MUCH MORE PERFECT
SHOULD COME ON TOUR." AND GUY FOR A GIRL LIKE ME. COULD A BOYFRIEND BE?
KELLY'S ALL LIKE, KELLY
Fine! Not ready to face your ADAM BOTH
KELLY demons? Go ahead - sit in that HOW MUCH PERFECTER COULD A PLAY A GAME, EAT SOME FOOD,
"I DON'T KNOW. IS THAT ARMANI? memory swirl for a while. GIRLFRIEND BE? THEN MAKE OUT WHEN WE'RE
SURE!" IN THE MOOD. IT'S AS SIMPLE
But then Sting gets real clingy and The memories bubble up. BOTH AS THAT.
when I say I have to go back to the PLAY A GAME, EAT SOME FOOD,
states, he's like: ADAM THEN MAKE OUT WHEN WE'RE
9. THE
HEY SAM, I WAS WONDERING IN THE MOOD. IT'S AS SIMPLE AS
SAM WOULD YOU BE MY DATE TO THE
"I can't let you go." FRESHMAN FLING? HEY, SAM. SAM PROPOSAL
PEAS IN A PEAPOD.
KELLY BEVERLY ADAM
And I'm like, "Ew. You're my dad's SLIDE THE CAR INTO GEAR, ADAM HAVE SEX WITH ME.
age." And then, he makes me EASE YOUR FOOT OFF THE WE FIT LIKE LEGOS. HAVE SEX WITH ME.
listen to his musical(?!) and I'm BRAKE. IN MY ROOM, I HAVE A PACK OF
like what's with the ship and why THAT'S IT. BOTH CONDOMS.
are you building this? Why are you THAT'S ALL IT IS. WE LIKE OUR CANDY DEEP-FRIED. I HAVE SCENTED CANDLES AND I
building the ship? But I never find NOW YOU LET IT GO. HAVE A BED.
out because I'm literally bored to ADAM HAVE SEX WITH ME,
death. SAM WE'RE LIKE BILL AND... THIS ONE'S AUTUMN POTPOURRI.
REMEMBER? REMEMBER? JUST SLEEP WITH ME.
SAM SAM
It was scandalous. TED. SAM
WHAT SHOULD I DO?
8. SIMPLE AS ADAM
KELLY
BUT NOT COMPARED TO - THAT BEAVIS AND... ADAM
PLEASE SLEEP WITH ME.
SAM SAM SAM
THE NUMBER ONE WAY - ADAM LIKES TACOS AND PLAYING BUTTHEAD. I'M THE BONNIE TO SAM
BOARD GAMES. HIS... SHOULD I HAVE SEX WITH YOU?
KELLY Beat.
THE NUMBER ONE WAY - ADAM ADAM
SAM KICKS MY ASS AT X-BOX. ADAM I WILL MAKE YOU PANCAKES IN
KELLY CALL IT WASTING TIME. WHO? THE MORNING.
Hit by a car on the way home from
the library! SAM SAM BEVERLY
CALL IT IMMATURE. ...CLYDE. PANCAKES ARE GOOD.
SAM
Kelly!
ADAM ADAM gotten into. Where was Kelly? The SAM
AND I'LL MAKE YOU BREAKFAST HAVE SEX WITH ME. beat got louder. I was pushing "The only ones for me are the mad
IN BED; WON'T YOU PLEASE through crowds in a stairwell of this ones -
HAVE SEX WITH ME? KELLY & BEVERLY dorm or frat. Everyone was yelling. I
HAVE SEX, OOH. didn't stop to memorize the details. SAM
KELLY I didn't know how much the night "Mad to talk, mad to be saved,
OH-OH-OH. SAM would matter. I opened a door. desirous of everything at the same
SHOULD I HAVE SEX WITH YOU? THERE WAS A PARTY, A DJ, time -
ADAM A BEAT PULSED ON.
I MAKE GREAT DARJEELING TEA. KELLY & BEVERLY THE COLLEGE. THE CAMPUS. KELLY
Wind blows. HAVE SEX. THE MANICURED LAWN. IF WE'RE GONNA GO,
I WAITED FOR KELLY 'CAUSE SHE WE GOTTA GO TONIGHT.
ADAM ADAM WAS MY RIDE. I HAD COMBED
HUNGER MAKES THE TIMID BOLD. MAYBE NOT TODAY MAYBE THE WHOLE DANCE FLOOR SAM
TOMORROW. AND WANDERED OUT - SIDE THE "The ones who never yawn or say a
SAM PARTY... commonplace thing but burn burn
I CAN FEEL THE HUNGER. KELLY & BEVERLY OR HALLWAY... AND IT WAS - AND burn like fabulous yellow roman
HAVE SEX TOMORROW. IT WAS APRIL AND CHILLY candles exploding like spiders
ADAM AND SAM OR LATE MARCH AND WARM. OUR across the stars..."
FEEL YOUR CARNAL URGES ADAM TOUR GUIDE AND KELLY WERE
TAKING HOLD. MAYBE NOT TOMORROW BACK AT HIS DORM. KELLY
THE WHOLE SKY WAS SPINNING. OH, IF WE'RE GONNA GO,
ADAM ALL I MIGHT HAVE BEEN DRUNK WE GOTTA GO TONIGHT.
LEMME SAY SO I'M UNDERSTOOD: MAYBE IN A WEEK. HAVE SEX - AS I STEADIED MYSELF ON THE GO TONIGHT.
ROOF OF HER - TRUNK. GO TONIGHT.
ADAM, KELLY, BEVERLY ADAM ALL ALONE, WAS I LOST OR WAS I I'm in.
SEX IS GOOD. WITH ME, AND YOUR DINNER ALIVE?
WILL BE FREE! IN THE SPACE, IN THE HOLE SHE SAM
SAM CREATED. For what?
SO GOOD! KELLY & BEVERLY NO ANCHOR.
HAVE SEX WITH ME. KELLY
ABANDONED.
ADAM WE'RE TAKING THE RISK.
I WAITED.
EMBRACE YOUR DESTINY. ADAM WE'RE THE FOOLS WHO WILL
HAVE SEX WITH ME! NEVER LEARN.
SAM, KELLY, BEVERLY PUSHED TO THE EDGE
DESTINY - 11. THE
MAD OUT ON THE LEDGE
10. THERE
WAS ONES WILL YOU DIE OUT
ADAM
OH BABY DON'T DENY MY A PARTY OR BURN BURN BURN?
DON'T ASK IF YOU CAN.
HUNGRY PLEA. HAVE SEX WITH
KELLY
The memory flashes Tell me the part about the candles NO, THAT'S THE MISTAKE GIRLS
ME. MAKE.
KELLY SAM CAUSE THOSE GOOD OLD BOYS
SAM THEY HAD THEIR GOOD OLD
What you think its gonna bite? Uh
WHAT SHOULD I DO? DAYS
SAM KELLY BUT NOW THEY'RE GONE
A starry sky. A club beat. We were Do not pretend you don't have that AND NOW THEIR WORLD IS OURS
visiting the one school we'd both memorized. TO TAKE.
WE'RE MAD TO GO, WE GOTTA GO TONIGHT, SAM SAM
MAD TO DRIVE, Where are my keys? IF WE'RE GONNA GO, MAD
MAD TO BE ALIVE. WE GOTTA GO TONIGHT -
WE'RE CHASING STARS - A SAM KELLY
THOUSAND SUNS. T Just calm down. There's planning BOTH MAD
HE MAD, MAD ONES. involved. What are we living on? GO TONIGHT,
OH WHOA OH OH. Who's paying our cell phone bills? GO TONIGHT! BOTH
TO BE ALIVE.
SAM KELLY SAM WE'RE CHASING STARS,
OH WHOA OH OH. Well A: WITHOUT ANY PLAN, A THOUSAND SUNS.
Kelly smashes Sam's phone. JUST THE KEYS AND A RADIO.
KELLY SAM
OH WHOA OH OH. SAM KELLY THE MAD
Kelly! Yeah.
SAM KELLY
OH WHOA OH OH. KELLY BOTH MAD
And two, Sam: LIVING FOR US.
KELLY IF WE'RE GONNA GO, KICKING UP DUST. BOTH
WE BREAK THE LOCK WE GOTTA GO TONIGHT, MAD ONES.
WE KICK THE DOOR GO TONIGHT, SAM
MAD GO TONIGHT. WE JUST PICK UP AND GO GO GO. KELLY
OH WHOA OH OH.
SAM SAM KELLY
MAD You're drunk. Yes! SAM
OH WHOA OH OH.
BOTH KELLY SAM
TO REACH FOR MORE. YOU'RE DRUNK! IT'S NEVER OR NOW. KELLY
IF WE'RE GONNA GO, OH WHOA OH OH.
KELLY WE GOTTA GO TONIGHT, KELLY
WE MAKE THE RULES, GO TONIGHT, NEVER OR NOW, YES! SAM
WE MAKE A VOW TO BE MAD GO TONIGHT. OH WHOA OH OH.
BOTH
SAM SAM TIME TO TAKE YOUR FOOT OFF KELLY
MAD. I am drunk! And I only have a THE BRAKE. IF WE WANNA GO WE GOTTA
permit. We can't - GO TONIGHT, GO TONIGHT, GO
KELLY SAM TONIGHT. IF WE WANNA GO
GIRL, WE'RE WHAT MATTER NOW. KELLY YEAH, THOSE GOOD OLD BOYS WE GOTTA GO TONIGHT, GO
Ok. First thing's first. You have to go STOP SAYING CAN'T!! THEY HAD THEIR GOOD OLD TONIGHT.
tell that TA I'm not coming back. DAYS The memory begins to dissolve.
SAM
SAM STOP TELLING ME WHAT TO DO!!! BOTH SAM
What? BUT NOW THEY'RE GONE AND BUT WE DIDN'T GO, DIDN'T GO,
KELLY NOW THEIR WORLD IS OURS TO GO THAT NIGHT, DID WE?
KELLY IF WE'RE GONNA GO, TAKE. A beat. Are we going here?
IF WE'RE GONNA GO, WE GOTTA GO TONIGHT, WE'RE MAD TO GO,
WE GOTTA GO TONIGHT, IF WE'RE GONNA GO, MAD TO DRIVE, KELLY
Screw it. He'll figure it out. WE GOTTA GO TONIGHT, NO WE DIDN'T GO, DIDN'T GO,
IF WE'RE GONNA GO, GO THAT NIGHT.
 12. I
KNOW
SAM SAM SAM
to us WHO LET DOWN WHO? MAD
I MEAN OBVIOUSLY. T MY GIRL
HE WHOLE THING WENT SOUTH. KELLY BOTH
PER USUAL, KELLY'S ONLY PLAN WHO LET DOWN WHO? TO BE ALIVE. WE'RE CHASING BEVERLY
WAS RUNNING HER MOUTH. STARS - A THOUSAND SUNS. EIGHTEEN YEARS HAVE COME
SAM AND GONE.
KELLY WHO LET DOWN WHO? SAM I RAISED MY DAUGHTER WELL.
OH BUT WHO LET DOWN WHO? THE MAD EIGHTEEN YEARS SHE'S MY
KELLY WHOLE LIFE, AND NOW IT GOES
SAM WHO LET DOWN WHO? KELLY TO HELL.
WHO LET DOWN WHO? MAD I KNOW MY GIRL
SAM AND I KNOW HER EYES.
KELLY YOU. BOTH AND SHE NEVER RUNS
WHO LET DOWN WHO? MAD ONES. AND SHE NEVER LIES.
KELLY THERE'S SOMETHING WRONG,
SAM YOU. SAM IT'S PLAIN TO SEE.
WHO LET DOWN WHO? OH WHOA OH OH. 'CAUSE HER HEAD'S A MESS
SAM AND HER HEART'S A WHIRL.
KELLY YOU. KELLY I KNOW THOSE EYES.
YOU WERE THE ONE WHO PUT OH WHOA OH OH. I KNOW MY GIRL.
ON THE BRAKES. BOTH AND SHE'S GONNA TALK TO ME.
YOU. YOU. YOU. YOU. SAM
SAM They reach an impasse. The music OH WHOA OH OH. Sam and Adam enter and sit at the
I WANTED TO GRADUATE FIRST. continues. They're not speaking to kitchen table. Beverly enters in an
each other. After a moment, Kelly KELLY apron, bearing a plate of freshly baked
KELLY does a little dance move. Sam OH WHOA OH OH. cookies.
YOU DIDN'T HAVE WHAT IT TAKES. half-heartedly responds. Then Sam
does another. Kelly responds. Then BOTH BEVERLY
SAM they start going back and forth. WE BREAK THE LOCK. I MADE COOKIES. HAVE A COOKIE.
WHO LET DOWN WHO? It's kind of stupid but also kind WE KICK THE DOOR.
of funny to them - maybe only to SAM
KELLY them. It's weird and private. SAM I have a test to study for.
WHO LET DOWN WHO? MAD Sam exits. Beverly zeroes in on Adam.
KELLY
SAM OH WHOA OH OH. KELLY BEVERLY
LIKE YOU EVER FOLLOWED MAD I MADE COOKIES.
THROUGH ON A SINGLE WORD SAM
YOU SAID OH WHOA OH OH. BOTH ADAM
Dance break. TO REACH FOR MORE WE MAKE I LIKE COOKIES.
KELLY THE RULES WE MAKE A VOW
IF WE'D ONLY GONE THAT NIGHT BOTH TO BE MAD GIRL, WE'RE WHAT BEVERLY
THEN I WOULDN'T BE DEAD. OH. MAD MATTER NOW HAVE A COOKIE. HAVE A FEW. AND
THEN YOU'LL SIT AND TALK -
BOTH KELLY SAM WE'LL SIT AND TALK.
TELL ME - TO GO, MAD TO DRIVE. MAD OH WHOA OH OH - YOU'LL TELL ME
She turns to Kelly to echo her and WHO SHE'S HANGING OUT WITH,
Kelly's gone. The song ends abruptly. AND WHO SHE'S IN A FIGHT WITH,
AND WHY SHE ISN'T TELLING ME. BEVERLY BEVERLY AND TELL ME SHE'S THE SAME.
HAS SHE STARTED HUFFING, AND IF YOU NEED TO GO INTO NO MORE COOKIES. THE BOY YOU CALL A REBEL,
OR DID YOU GET HER PREGNANT, THE CVS FOR SOMETHING, I YOU WAITED TOO LONG. THE GIRL - SHE'S RUNNING
OR IS SHE HIGH ON LSD? COULD COME ALONG. NOW THE COOKIES ARE GONE. SCARED,
Beat. I'LL HELP YOU BUY THE SAM, YOU HAVE TO EAT COOKIES CAUSE ANY GIRL WHO'S ON
SOMETHING... WHILE I'M STILL ALIVE TO MAKE HER OWN IS OUT THERE
SAM TEACH YOU TO USE THE YOU COOKIES. UNPREPARED.
off stage SOMETHING... MY MOTHER MADE ME COOKIES. SHE LOOKS AWAY.
Adam! DO YOU NEED TO GO INTO THE WE WOULD TALK THROUGH THE SHE KEEPS HER PROFILE LOW.
CVS FOR SOMETHING... NIGHT. SHE'S GOT MILES AND MILES AND
ADAM ANYTHING... SHE MADE EVERYTHING RIGHT. MILES TO GO.
I dunno. Maybe she's having her... HELP. I'M SO HAPPY
y'know. ME. I ATE COOKIES THE GAME HAS BEEN RIGGED
He grabs a cookie. He runs. Beverly exits. Adam and Kelly appear. WITH MY DEVOTED MOTHER, BUT I LEARNED TO PLAY.
MY GUIDE. BEFORE SHE DIED. AND I'M NOT THE ENEMY.
BEVERLY SAM Beat. I PAVED THE WAY.
I WON'T BE DISCOURAGED. She's trying to kill me. Is she trying I STOOD IN MY OWN MOTHER'S
I REFUSE TO BE OUTDONE. to kill me? SAM KITCHEN -
THE GAME IS FAR FROM OVER. They stare at her. I was trapped.
HELL, IT'S ONLY JUST BEGUN. Lights begin to transition.
I KNOW MY GIRL ADAM BEVERLY
AND I KNOW HER EYES, I dunno, maybe she's having her - She was trapped. THE DOOR SLAMMED BEHIND ME.
AND SHE NEVER RUNS I BLINK AND I'M YOU AGAIN -
AND SHE NEVER LIES. KELLY
I KNOW SHE'S DYIN' TO LET ME Period period period period period! 1982. Beverly is driving down the
IN. Beverly enters grandly in a disheveled 13. MILES TO GO highway, windows down, wind in her
BUT HER HEAD'S A MESS apron. hair.
AND HER HEART'S A WHIRL. BEVERLY
I KNOW THOSE EYES, BEVERLY A LONE BOY ON THE HIGHWAY BEVERLY
I KNOW MY GIRL. aggressive A FUTURE UNDEFINED I'M SINGING JANIS JOPLIN AT THE
SO LET THE GAMES BEGIN. I MADE COOKIES. THE REBEL SOUL THAT GOT AWAY TOP OF MY LUNGS.
Beverly and Sam, shopping. AND LEFT HIS PAST BEHIND. I'M CURSING LIKE A SAILOR
KELLY A LONE BOY ON THE HIGHWAY AND I'M SPEAKING IN TONGUES.
BEVERLY Oh! Nice. YOU'VE SEEN HIS FACE BEFORE. FREEDOM
DO YOU NEED TO GO INTO THE TWO PATHS DIVERGED AND YOU FREEDOM
CVS FOR SOMETHING? BEVERLY WENT RIGHT BUT HE'S LEFT FREEDOM.
HAVE A COOKIE. WANTING MORE.
SAM AND WHERE HE'LL LAND, Beverly returns to the present
No. Why? ADAM THIS TOWN WILL NEVER KNOW - moment.
Dude - it's a trap. HE'S GOT MILES AND MILES AND
BEVERLY Adam runs off. MILES TO GO. A LONE BOY ON THE HIGHWAY.
YOU MIGHT NEED TO GO INTO HIS SHOES THAT POUND THE YOU THINK "THAT COULD BE ME"
THE CVS FOR SOMETHING? BEVERLY PAVEMENT, BUT YOU WERE BORN A WOMAN
Beat. JUST ONE COOKIE. THE DAYDREAM HE CAN'T NAME. AND YOU'LL NEVER BE THAT
Oh wait! NOW MAKE THAT BOY A LONELY FREE.
SAM She hurls the cookies away. She shows GIRL
Do you think I need to go into CVS? Sam an empty plate.
THE GLASS CRACKS IN THE
CEILING
SAM
MEANWHILE THERE'S SO MANY
15. MOVING ON SAM
LIKE THE PHONE CALL...
AND WOMEN SWELL WITH PRIDE. THINGS THAT WE DON'T Ring.
Sam's cell phone rings. It rings again.
BUT WHEN A WOMAN BREAKS UNDERSTAND. NEVER HAPPENED, AND
THE RULES THE WORLD'S NOT I DON'T KNOW WHY I TREMBLE KELLY EVERYTHING IS NORMAL
ON HER SIDE. WHEN YOU REACH FOR MY Aren't you going to get that? INCLUDING...
THE WHEELS OF CHANGE - HAND. Ring.
THEY MOVE SO GODDAMN SLOW. I DIDN'T KNOW HOW TO LOVE Sam. KELLY
YES, WE'VE COME MILES AND UNTIL YOU SWEPT ME AWAY. Ring. lightbulb
MILES AND MILES, SO SAY THE WORD, Don't you think you should wake up Ooooh.
BUT WE'VE GOT MILES AND MILES AND I JUST MIGHT LISTEN. and answer the phone?
AND MILES AND MILES AND SAY THE WORD, Beat. Lightbulb.
SAM
MILES AND MILES AND YOU MIGHT GET YOUR WAY. RIGHT?
AND MILES TO GO. LET ME GO IF IT'S EASIER, SAM
BUT SAY THE WORD, No. KELLY
AND I MIGHT HAVE TO STAY. putting it together
Ring.
14. SAY
THE I WANNA LOVE. IF YOU, LIKE, DON'T PICK UP THE
I WANNA RIDE. PHONE, IT'S SO LIKE NOTHING
WORD I WANNA BE THE GIRL THERE BY
KELLY
Sam. You have to. EVER HAPPENED.
YOUR SIDE.
SAM SAM
JUST TELL ME WHEN. JUST TELL SAM
SOMETIMES WHEN I LOOK AT YOU excitement building
ME HOW. WHAT IF I DON'T?
I DON'T KNOW WHY YOU WAIT. Then...
TELL ME I'M READY NOW, TODAY. Ring.
SCHOOL GIRL IN A LITTLE WORLD
SAY THE WORD,
WHO LEARNS EVERYTHING LATE. KELLY
I'VE ALWAYS HAD ALL THE KELLY
ADAM What do you mean what if you don't? Yeah.
ANSWERS NOW I DON'T HAVE A SAY THE WORD. Ring.
CLUE.
SAM
SOME NIGHTS WHEN THE SAM (ADAM) KELLY
WHAT IF I DON'T?
CLOUDS ARE THICK AND THE AND I JUST MIGHT LISTEN. I'M ALIVE!
WIND STARTS TO BLOW. (SAY THE WORD AND I) KELLY
I STARE OUT THE WINDOW SAY THE WORD, AND YOU MIGHT SAM
You did!
WOND'RING WHERE I WILL GO. GET YOUR WAY YOU'RE ALIVE!
Ring.
I TURN THE LIGHT OUT, UNDER (WHATEVER YOU SAY)
THE COVERS ALL I THINK OF IS LET ME GO IF IT'S EASIER, SAM KELLY
YOU. (SAY THE WORD) BUT IF I DON'T PICK UP THE Now that I'm alive, we're doing this
JUST YOU. BUT PHONE, IT'S SORT OF LIKE IT senior year my way. Just try to keep
SAY THE WORD, NEVER HAPPENED. up with me, Brown.
AND I JUST MIGHT LISTEN. BOTH She waits for Kelly to catch her drift. OH, WE'RE MOVING ON.
SAY THE WORD, SAY THE WORD. 'CAUSE NOTHING ELSE IS
AND YOU MIGHT GET YOUR WAY. KELLY STANDING IN OUR WAY.
LET ME GO IF IT'S EASIER, SAM What are you talking about? STAY FOCUSED ON THE PRESENT.
BUT SAY THE WORD, AND I MIGHT HAVE TO STAY.
AND I MIGHT HAVE TO STAY. SAM
WE'RE MOVING FAST.
KELLY SAM KELLY ADAM
AND IF IT'S LAME, WE'RE I did? YOU'LL NEED A STRAPLESS BRA. Hey, Kelly.
BLOWING RIGHT PAST.
So what happened first? KELLY SAM KELLY
Columbia. Duh. Hey, Adam.
SAM
I woke up at Adam's the next SAM SAM AND KELLY ADAM
morning. Really? THEN TO THE SPA. Hey... Sting.
Adam wakes up. Sam and Kelly sit down for pedicures.
KELLY Adam administers. BEVERLY
ADAM Broad City. as Sting
Groggy, lovey SAM AND KELLY "EVERY BREATH I TAKE" IS ABOUT
Sam, last night was... SAM PEDICURES FOR THE PROM... ON HOW PEOPLE WANT TO MAKE
Sam begins to luxuriate in her morning Genius. MOM. MY TOES ARE GETTING OUT,
after, but Kelly pulls her away. TINGLY. AND STING MAKES OUT UNTIL
BEVERLY DAWN.
KELLY Wouldn't you rather... ADAM She goes in for a kiss.
Blah blah blah. Kiss kiss kiss. Tingly!
MOVING ON. KELLY KELLY
COLUMBIA. SAM AND KELLY ducking
SAM Beverly dons Columbia paraphernalia, DEE-DEE-DEE-DEE. WE'RE MOVING ON.
MOVING ON. suddenly totally on board. WE'RE MOVING ON.
A disco ball drops. Dance lights flood SAM
KELLY BEVERLY the stage. Beverly enters in an slinky Let's get out of here!
YOU'RE MOVING ON. COLUMBIA! gown. She sings with the band.
KELLY
SAM KELLY BEVERLY Road trip!
I'M MOVING ON. COLUMBIA! SENIOR PROM. The girls jump into the car.
ONLY ONE SENIOR PROM.
SAM AND KELLY BEVERLY & KELLY IT'S YOUR SENIOR PROM. SAM
OH, WE'RE MOVING ON. COLUMBIA! BEAUTIFUL LIGHTS. With Kelly driving, nothing's fate.
Beverly is lying in wait. BEAUTIFUL NIGHT.
SAM RIGHT FOR A SENIOR PROM. KELLY
BEVERLY COLUMBIA! OH OH, SENIOR PROM. HOT BOYS, TURN RIGHT.
Samantha. Did you have sex? SENIOR PROM. IT'S NOT A DRILL.
BEVERLY OH OH OH, GLITTERING DISCO
SAM COLUMBIA! BALL. SAM
Mom. I... um... STREAMERS FALL. How does she never even hesitate?
BEVERLY, KELLY, SAM NO, NOTHING LIKE A SENIOR
KELLY ROAR LIONS ROAR! PROM, KELLY
butting in They whisk Mom away. SENIOR PROM, SENIOR PROM- LET'S GIVE THEM A LITTLE THRILL.
Did Sam tell you that she picked a OM-OM! How do ya like these?
college? SAM Sam emerges in a prom gown on Kelly sticks her ass out the window.
OH I'M MOVING ON. AND SENIOR Adam's arm. Kelly appears in a dra-
BEVERLY PROM IS RIGHT AROUND THE matic gown. SAM
You did? BEND. IT'S ALL A DREAM.
 16. GO TONIGHT
KELLY BEVERLY AND ADAM PUSHING SOMEHOW I CAN'T -
Arby's! OH MOVING ON. MOVE.
KELLY
SAM SAM AND KELLY IF WE'RE GONNA GO, SO I SIT IN THE CAR THAT SHE
IT'S ALL SO CLEAR. WE SAY GOODBYE. / SO SAY WE GOTTA GO TONIGHT. LEFT BEHIND SINKING DOWN
GOODBYE! GO TONIGHT. IN THIS VOID LIKE A CRATER.
KELLY GO TONIGHT. GETTING LOST IN A WORLD THAT
wielding a sandwich BEVERLY AND ADAM IF WE'RE GONNA GO, I CAN'T REWIND. IT'S TOO LATE
GOTTA EAT THIS. CAN YOU STEER? OH MOVING ON. WE GOTTA GO TONIGHT. AND IT'S JUST GETTING LATER.
Sam takes the wheel.
GO TONIGHT.
SAM KELLY
GO-OH TONIGHT.
SAM WE SAY GOODBYE TO HIGH IF WE'RE GONNA GO,
IN OUR PLAIN... SCHOOL SAM WE GOTTA GO TONIGHT. GO
SHE WAS - TONIGHT.
KELLY BEVERLY (ADAM)
SHE WAS -
mouth full MOVING ON. (OH)
SITTING ON THE ROOF OF HER SAM
Oh my god this is amazing. WHY DID I SAY NO?
SAM AND KELLY BEAT-UP CAR
HALF-SINGING,
SAM AND FACE THE WORLD. KELLY
HALF-LAUGHING,
DULL... IF WE'RE GONNA GO,
ADAM (BEVERLY) HALF-GOING TOO FAR.
WE GOTTA GO TONIGHT.
KELLY You're moving on. (oh) THE MUSIC PLAYED OVER,
Watch out for that semi. WITH NOTHING TO COME. SAM
The loud insistent honk of a semi. SAM IN A REMIX OF MEM'RY, WE HAD MILES TO GO.
Kelly takes the wheel back. THOUGH WE DON'T KNOW THE LOOP OF THE -
WHAT WE'LL SEE THERE, DRUM OR BASS LINE... KELLY
SAM WE KNOW THAT WE'LL BE THERE OR WAS IT... GO -
NORMAL, GOOD, SIMPLE
NOTHING MUCH, BEAUTIFUL SAM AND KELLY KELLY SAM (KELLY)
ORDINARY - Ordinary senior year. TOGETHER. IF WE'RE GONNA GO, YOU WERE MAD TO REACH,
Sam dons a cap and gown. IT'S TIME TO KICK SOME ASS. WE GOTTA GO TONIGHT. MAD TO DRIVE.
GO TONIGHT. MAD, MAD (MAD, MAD)
SAM ADAM AND BEVERLY GO TONIGHT. AND SO ALIVE.
This has been an ordinary senior MOVING ON IF WE'RE GONNA GO, THE SPACE YOU LEFT
year for most of us - school dances, WE GOTTA GO TONIGHT. THE EMPTY AIR
a lot of tests, a couple road trips, KELLY GO TONIGHT. I REACH, REACH (I REACH,
and some of us even fell in love. FOR ALL YOU LOWER CLASSMEN: GO-OH TONIGHT. REACH)
But the thing that has made my SUCKS FOR YOU! BUT YOU'RE NOT THERE
senior year extraordinary is that I've SAM AND TIME EXPANDS
had my best friend Kelly to share SAM AND KELLY (ADAM AND SHE WAS - THE BEAT GOES ON
it with. BEVERLY) SHE WAS - YOU WERE MAD, MAD
PEACE OUT TO ALL OUR CREW! EVERYTHING I'M NOT. AND NOW YOU'RE -
SAM AND KELLY THE PARTY'S GONE. (MOVING) MY WHOLE UNIVERSE. A
Beat.
OH. WE'RE MOVING ON. (ON) ND I WAS A FOOTNOTE,
Ring. A SLIM SECOND VERSE. SAM
BUT SHE WAS THE CHORUS, SHE WAS -
THE HOOK AND THE GROOVE. SHE WAS -
AND WITHOUT HER THERE
BOTH
OH.
BEAT-UP CAR,
WHEN I WAS YOUR ORBIT
RUN AWAY
18.
RUN AWAY WITH ME.
ALABAMA HEAT, SIGN ME UP.
AND YOU WERE MY STAR. BUT WITH ME WE'LL BE ON THE ROAD LIKE
KELLY NOW YOU'RE A BLACK HOLE AND SOME COUNTRY SONG.
GO-OH I AM LEFT NUMB ADAM WON'T BE LONG.
FROM THE LOOP OF THESE LET ME CATCH MY BREATH. SAM, YOU'RE READY.
SAM MEM'RIES, THIS IS REALLY HARD. LET'S GO ANYWHERE.
OVER AND OVER THE LOOP OF THE - IF I START TO LOOK LIKE I'M GET THE CAR PACKED AND
YOUR WORDS TO ME ECHO. THE LOOP OF THE - SWEATING, THROW ME THE KEY.
THE LOOP OF THE - WELL... THAT'S 'CAUSE I AM. RUN AWAY WITH ME.
KELLY The club beat continues. I'M NOT GOOD WITH WORDS. I'M NOT TRYING TO MAKE YOU A
GO TONIGHT. It stops. BUT THAT'S NOTHING NEW. WIFE HERE.
STILL I HAVE TO TRY I'M NOT TRYING TO TIE YOU
SAM TO EXPLAIN WHAT DOWN.
I WANT TO DO WITH YOU...
17. YELLOW SUV
GO TONIGHT. I'M JUST SAYING THERE MIGHT
WITH YOU... BE A LIFE HERE -
KELLY RUN AWAY WITH ME. A NEW ONE AS SOON AS WE RUN,
SAM LET ME BE YOUR RIDE OUT OF
GO. RUN AWAY WITH ME.
If a yellow SUV is traveling down TOWN.
Elmwood Road at a constant MISSISSIPPI MUD, WATCH ME
SAM LET ME BE THE PLACE THAT YOU SLIDE.
OVER AND OVER velocity of 57 miles per hour and a HIDE.
pedestrian is crossing the road at WE'LL BE ON THE ROAD LIKE
AS I TRY TO LET GO. WE CAN MAKE OUR LIVES ON THE JACK KEROUAC, LOOKING BACK.
THERE'S A BLACK HOLE, A 2.5 miles per hour... GO.
If the football player driving the SUV SAM, YOU'RE READY, SAM.
VACUUM, IN DEEP OUTER SPACE, RUN AWAY WITH ME. LET ME BE YOUR RIDE OUT OF
THAT SWALLOWS ALL MATTER sees the pedestrian from a distance TEXAS IN THE SUMMER IS COOL.
of 132 feet and slams on the brake, TOWN.
WITHOUT ANY TRACE, WE'LL BE ON THE ROAD LIKE RUN AWAY WITH ME.
WHERE LIFE IS SUSPENDED IN decelerating at a rate of 11.1 miles JACK KEROUAC,
per hour per second, will the SUV CALIFORNIA DREAMS, HERE WE
PHYSICS AND TIME, LOOKING BACK, SAM, YOU'RE COME.
EVERY WORD YOU SAID HANGS still hit the pedestrian? Yes. READY.
But only if she hears him coming, ROMEO IS CALLING FOR JULIET.
LIKE AN UNFINISHED - LET'S GO ANYWHERE. READY, SET.
RHYME. only if she slows down just enough GET THE CAR PACKED AND
to look up. It takes two seconds. I SAM, YOU'RE READY.
Beat. Then - THROW ME THE KEY. LET'S GO ANYWHERE. SAY THE
know that. RUN AWAY WITH ME.
What I didn't know was that time WORD AND I'M ALREADY THERE.
SAM SAM, I KNOW IT'S FAST. RUN AWAY WITH ME.
SO I SIT IN THE VACUUM YOU doesn't stop - prom still has a I'M IN LOVE WITH YOU.
theme, the valedictorian still gives The moment hangs.
LEFT BEHIND AND I SIFT SAM, IT'S CRAZY BUT, SAM, I'M
THROUGH EACH PHRASE FOR a speech on a future she knows CRAZIER FOR YOU.
AN EMBER - nothing about. I HAVE THESE PLANS, SAM,
The truth is I don't remember any I HAVE THESE PLANS OF A HOUSE
KELLY of it. Not one slow dance or test. THAT WE'LL BUILD ON A BAY
GO - Not one single day of that spring. WHEN WE RUN AWAY.
Nothing woke me up - nothing LET ME BE YOUR RIDE OUT OF
SAM moved me. TOWN.
FOR A SPARK THAT WILL LIGHT Except one thing... It was yesterday. LET ME BE THE PLACE THAT YOU
'CAUSE I CAN'T REWIND. HIDE.
I UNRAVEL UNTIL I REMEMBER WE CAN MAKE OUR LIVES ON THE
SITTING ON THE ROOF OF YOUR GO.
19. DRIVE SAM
DRIVE. EYES AHEAD.
KELLY
IF YOU FOLLOW MY
Then, Adam appears. He takes over
the test. A fresh wound, a beating
FOCUS AND STEER. INSTRUCTIONS, I CAN FREE YOU. heart. Her mother still hovering
Beverly sits down in the car seat next
DON'T LOOK IN THE REARVIEW I CAN MAKE YOU FEEL ALIVE. - instructing, "helping," making it
to Sam, who is still lost in her own
MIRROR. DON'T THINK. impossible to focus.
thoughts. She has a clipboard. The
test begins. DON'T SWERVE. SAM
DON'T STOP. I CAN DO IT ON MY OWN. SAM
Kelly appears with a clipboard. Mom and Kelly both bear down on EYES AHEAD. FOCUS AND STEER.
BEVERLY
OKAY. Sam.
KELLY ADAM
BUCKLE UP.
DRIVE. BEVERLY OK. BUCKLE UP.
I'LL BE ADMINISTERING YOUR
TEST TODAY. IF YOU FOLLOW MY EIGHTEEN YEARS HAVE COME
SAM AND GONE. SAM
INSTRUCTIONS, YOU WON'T DIE. DON'T LOOK IN THE REARVIEW
JUST KEEP IT SIMPLE.
IF YOU FOLLOW MY MIRROR.
KELLY
INSTRUCTIONS, YOU WON'T FAIL.
KELLY DRIVE.
DO YOU WANT TO DIE? BEVERLY
DRIVE.
DO YOU WANT TO FAIL? SAM OH, I LOVE -
She looks Sam in the eye - it's a real
SAM trying to focus
question. ADAM
KEEP THE SPEED FIFTY-FIVE. DRIVE.
I'LL BE ADMINISTERING YOUR
SAM KELLY BEVERLY TEST TODAY.
NO. DRIVE. EIGHTEEN YEARS YOU'RE MY
Okay then. WHOLE LIFE. SAM
Sam puts her hands on the wheel. The SAM DON'T THINK. DON'T SWERVE.
test resumes. BREATHE AND WATCH THE KELLY DON'T STOP. DRIVE.
HIGHWAY. WATCH FOR TRAFFIC.
BEVERLY KELLY
WATCH FOR TRAFFIC. KELLY SAM IF YOU FOLLOW MY
DRIVE. WATCH FOR TRAFFIC. INSTRUCTIONS, MY
SAM INSTRUCTIONS. DRIVE.
WATCH FOR TRAFFIC. SAM KELLY
FOCUS AND DRIVE. DON'T FORGET TO BREATHE. BEVERLY
BEVERLY Kelly takes over the driving test. IF YOU FOLLOW MY
DON'T FORGET TO BREATHE. SAM INSTRUCTIONS. DRIVE.
KELLY DON'T FORGET TO BREATHE.
SAM OKAY. BUCKLE UP. ADAM
DON'T FORGET TO BREATHE. KELLY IF YOU FOLLOW MY
SAM JUST KEEP IT STEADY. OKAY. INSTRUCTIONS, I'LL KEEP YOU
BEVERLY Kelly, stop. SAFE. TAKE THE NEXT EXIT AND
JUST KEEP IT STEADY. SAM DRIVE.
KELLY OKAY. DRIVE.
SAM I'LL BE ADMINISTERING YOUR SAM
OKAY. TEST TODAY. BEVERLY I DON'T WANT TO BE SAFE.
I KNOW MY GIRL.
BEVERLY KELLY
RELAX. DRIVE SLOW. YOU WANT TO TAKE A RISK.
SAM ADAM I START DRIVING AND KEEP careless and wild and squeeze the
YES. ROMEO AND JULIET. IT'S AS DRIVING. life out of every second. And don't
SIMPLE AS THAT. I CAN'T STOP TIL I FEEL ALIVE crash my car. I'm serious. I will,
BEVERLY AGAIN. like, haunt you.
RISK IS GOOD IF IT'S PLANNED. BEVERLY AND KELLY FEEL ALIVE ON MY OWN.
(I) LOVE. AND I WISH I COULD SAY THAT SAM
SAM YOU'RE WITH ME, You're the kind of person who would
I DON'T WANT A PLAN. ADAM BUT I KNOW I'M ALONE. do this, not me.
SAM, I KNOW IT'S FAST. I'M IN The memory jumble retreats.
BEVERLY LOVE WITH YOU. KELLY
CALCULATE THE RISK YOU'RE KELLY YOU TAKE THE RISK.
TAKING. BEVERLY AND KELLY REMEMBER, REMEMBER. YOU PAY THE COST.
I LOVE YOU. YOU DRIVE UNTIL YOU'RE LOST.
KELLY The music shifts. Sam tries to focus on ADAM AND LOOK AROUND.
BUCKLE UP. not letting them get to her. HEY SAM. SEE WHERE YOU WENT.
AND YOUR LIFE
BEVERLY SAM BEVERLY WILL BE A MONUMENT.
CALCULATE A SHORT EQUATION. What do I want? What do I need? I WILL LET YOU GO.
It doesn't matter if it's a mistake. They disappear. A beat. Sam is alone. SAM
SAM It doesn't matter if I fail. I have to So what - just get the atlas out and
I WANT TO LET GO. think big. I have to take control. SAM - point?
Even if I disappoint everyone, even EYES AHEAD.
KELLY if no one ever speaks to me again. I FOCUS AND STEER. KELLY
THE ROAD YOU TAKE SHOULD have to feel something. DON'T LOOK IN THE REARVIEW What did I always tell you?
FEEL RIGHT. THE ROAD WILL MIRROR.
TELL YOU WHO YOU ARE. KELLY DON'T THINK. DON'T SWERVE. SAM
REMEMBER? REMEMBER? DON'T STOP. a lie
BEVERLY REMEMBER? I don't remember.
MULTIPLY THREAT BY
VULNERABILITY BY COST.
20. I
DIDN'T SAY
ADAM KELLY
RUN AWAY WITH ME. IT'S AS Yeah you do.
ADAM SIMPLE AS THAT. LET'S GO. GOODBYE
SAM, YOU'RE READY. LET'S GO. SAM
MAYBE NOT TODAY, MAYBE BEVERLY KELLY "Maps are for brain deads."
TOMORROW. SLOW DOWN, SAM. SLOW. You passed.
Their voices build until Sam can't hear KELLY
BEVERLY herself anymore. SAM That's right.
I LOVE - I can't do this alone.
SAM SAM
ADAM Listen to me! KELLY I didn't say goodbye.
MAYBE IT'S AS SIMPLE AS Silence. You're scared. You should be. If
CALIFORNIA DREAMS. you're not, you're not doing it right. KELLY
SAM Sam doesn't answer. Sometimes you don't get to say
KELLY I NEVER DREAMED OF RUNNING goodbye.
I LOVE - AWAY. KELLY They look at each other.
BUT I DO DREAM ABOUT THE You do it now, you do it for you, and
HIGHWAY. you do it alone. Be mad, Sam. Be
SAM 21. REMEMBER SAM, KELLY, BEVERLY SAM, KELLY, BEVERLY, ADAM
I really miss you. THIS REMEMBER. FREEDOM.
FREEDOM.
KELLY SAM BEVERLY FREEDOM.
I know. It sucks, right? THE SEAT IS SINKING REMEMBER EVERYTHING THAT
UNDERNEATH YOUR WEIGHT. LED YOU HERE, Blackout.
SAM THE SKY IS PALE WITH MORNING
Can't we just stay like this? LIGHT. KELLY
YOUR HEART IS BEATING AT A EACH ROAD TRIP AND EVERY
KELLY FASTER RATE. SINGLE TEAR.
You know we can't. REMEMBER THIS -
THE RACING HEART, THE FADED SAM, KELLY, BEVERLY
SAM REMEMBER WHAT YOU LEARNED
DAWN.
Just for a little while longer?
REMEMBER THIS
They sit together. Finally, Kelly touches SAM
BEFORE THE MOMENT'S GONE.
Sam's arm. Time to go. She stands AND WHAT YOU STILL DON'T
up and gives Sam's bag to her. In the SAM AND BEVERLY KNOW.
background, Beverly hums. THE STREET IS QUIET BUT THE
SAM, KELLY, BEVERLY
CLOUDS RACE BY,
KELLY YOU LOOK BACK ON YOUR LIFE
What do you want, Sam? SAM
SAM
AND WHO KNOWS WHAT THOSE
SAM CLOUDS WILL SEE.
ON THE GIRL YOU WERE FOR
I want the deafening sound of driving EIGHTEEN YEARS.
fast with the windows down. BOTH SAM, KELLY, BEVERLY
BEFORE YOU START REGRETTING,
SAM YOU LOOK BACK ONE MORE TIME,
I want to reach the horizon of SAM, BEVERLY, KELLY
impossibility. SAM
BEFORE YOU TURN THE KEY, THEN YOU LET IT GO.
KELLY KELLY
I LIVE IN WHAT YOU DO, SAM, KELLY, BEVERLY
REMEMBER THIS - YOUR HAND MIGHT SHAKE AS
IN WHAT YOU WANT TO DO.
NOW THAT I'M GONE. THE IGNITION LIGHTS.
SAM YOU MIGHT NOT KNOW WHAT
Kelly disappears. THE WAY IT FEELS INSIDE THE
ROAD YOU'LL TAKE.
CAR,
SAM BUT NOW THE GEAR IS SHIFTING.
I'M MOVING ON. YOUR FOOT IS LIFTING OFF THE
SAM, KELLY, BEVERLY
BRAKE.
THE STILL, COOL AIR.
SAM, KELLY, BEVERLY
SAM
REMEMBER THIS.
REMEMBER FEELING LIKE YOUR
LIFE BEGINS TODAY.
SAM
TRY TO STOP AND FEEL EACH
REMEMBER
SECOND SLIP AWAY.
FREEDOM.
REMEMBER THIS.
FREEDOM.
FREEDOM.
Emma Hunton, Krystina Alabado, Katie Thompson (Beverly) and Ben Frankhauser in the recording studio. Photos by Rascal Pictures.
 ABOUT THE WRITERS

KAIT KERRIGAN (she/her) is an award-winning lyricist, bookwriter, and playwright. Off-Broadway:

THE MAD ONES (fka THE UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN),
HENRY & MUDGE, with composer Brian Lowdermilk. She has written book and lyrics for the
immersive house party THE BAD YEARS, REPUBLIC, UNBOUND, IRENA; and lyrics for ROSIE
REVERE, ENGINEER & FRIENDS, and EARTHRISE. Her plays include FATHER/DAUGHTER,
DISASTER RELIEF, IMAGINARY LOVE, and TRANSIT. Her work has been developed by La Jolla,
Kennedy Center, Theatreworks/Silicon Valley, Primary Stages, Goodspeed, and others. Awards:
Kleban, Larson, Theatre Hall of Fame Most Promising Lyricist. Alumna of Dramatists Guild
Fellowship, Page 73's I-73, BMI Musical Theatre Writing Workshop, and Barnard College.

BRIAN LOWDERMILK (they/them or she/her) is a queer, gender non-conforming writer and

composer. Their musicals include THE BAD YEARS, HENRY & MUDGE, THE MAD ONES (fka
THE UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN), REPUBLIC, ROSIE REVERE,
ENGINEER & FRIENDS, and their albums OUR FIRST MISTAKE, and KERRIGAN-LOWDERMILK
LIVE. Awards: Jonathan Larson, Alan Menken, Richard Rodgers, Dramatists Guild Fellowship.

www.kerrigan-lowdermilk.com
 PRODUCTION CREDITS
PRODUCED BY: IAN KAGEY, BRIAN LOWDERMILK, KAIT KERRIGAN
ENGINEERED, MIXED BY: IAN KAGEY
EDITED BY: IAN KAGEY & BRIAN LOWDERMILK

EXECUTIVE PRODUCER: SEAN PATRICK FLAHAVEN

PRODUCTION MANAGER: JILL DELL’ABATE
ASSISTANT ENGINEER: JUSTIN BERGER
MASTERED BY: OSCAR ZAMBRANO, ZAMPOL PRODUCTIONS, NYC
RECORDED AT: SEAR SOUND, NYC & KILGORE STUDIOS, NYC
AUGUST 22-23 & SEPTEMBER 4, 2019

ORCHESTRATIONS BY: BRIAN LOWDERMILK

MUSIC COPYIST: JEREMY LYONS
ELECTRONIC MUSIC ARRANGEMENTS AND PRODUCTION: DANA HAYNES
SOUND DESIGN: ALEX HAWTHORN

LAYOUT & DESIGN: DEREK BISHOP

COVER DESIGN: SUBPLOT STUDIO
PRODUCTION PHOTOGRAPHY: RICHARD TERMINE
STUDIO PHOTOGRAPHY: RASCAL PICTURES

The Mad Ones had its off-Broadway premiere at Prospect Theatre Company in 2017.
Under the title The Unauthorized Autobiography of Samantha Brown, the show premiered at Goodspeed Musicals in 2011.

ALL SONGS BY BRIAN LOWDERMILK & KAIT KERRIGAN c BKLK MUSIC (ASCAP)

FOR CONCORD THEATRICALS

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IMOGEN LLOYD WEBBER, VP MARKETING & COMMUNICATIONS

FOR CRAFT RECORDINGS

SIG SIGWORTH, PRESIDENT
MARY HOGAN, SVP A&R ADMINISTRATION
MARK PIRO, PRODUCTION COORDINATOR

www.ConcordTheatricals.com

CR02190 p & © 2019 CRAFT RECORDINGS.

CONCORD
THEATRICALS Distributed by Concord. 5750 Wilshire Blvd, Los Angeles, CA 90036. Unauthorized duplication is a violation of applicable laws. All rights reserved.

LIVE DRAMATIC PERFORMANCE RIGHTS FOR THE MAD ONES ARE REPRESENTED EXCLUSIVELY BY CONCORD THEATRICALS.