Part One: A Better Life Than Mine

NEO-CONTEMPORARY FAILURE
By Cat Ferris

Part One
A Better Life Than Mine
.
NOTE ON STRUCTURE:
If a character is not mentioned to be actively in the scene, they are in the chorus.

The whole cast, minus GEOFF, stands as a chorus.

JACK
So what exactly makes you real?

MARY
Money.

DELAYNA
Love.

BOY WONDER
That's gotta be the answer.

ANNE
It isn't.

JACK
Power.

ROD
Influence.

ANNE
Attention.

JACK
I want to be real.

MARY
It's not worth your time.

ANNE
You're only as real as you're real in the minds of others.

JACK
I'm only half a person then.

ASHLEY
Poor thing.

JACK
Why are we all standing up here?

MARY
Wouldn't you like to win?

ANNE
It is almost revolutionary that I'm where I am.

MARY
Time always marches forward.

LOUIS
I have so many friends.

MOTHER
People can make you whatever they'd rather you be.

BOY WONDER
I'm the future.

ROD
No, you're not.

BOY WONDER
I'm not the future!

ASHLEY
I can see all the way back there!

ASHLEY'S DAUGHTER
Don't lock your knees.

MARY
Quiet down.

BOY WONDER
Stop touching me.

DELAYNA
God, I'm going to faint.

JACK
I wonder if anyone can see me.

GEOFF makes his way down the risers.

ASHLEY
Oh, look! There he is.

MARY
Shhh

JACK
We're making eye contact. In the fourth row.

MARY
Everyone wants to kill themselves nowadays.

ANNE
I don't.

LOUIS
Well, you still could.

JACK
I can make people real. They can be whatever I want them to be.

MARY
That's the spirit.

GEOFF gets to the stage.

ROD
What is wrong with him?

ANNE
He's 38.

ASHLEY
What's so wrong with that?

ANNE
Shut up. They're listening.

MOTHER
My baby boy. Everyone is looking at him– Are you sure I'd say that?

MARY
He gets us to say whatever he wants.

JACK
I want to do that.

LOUIS
You already do.

ANNE
Don't you just love him?

GEOFF
I try to avoid nostalgia. I always have. Life is forward, forward, forward. That's the rule, if you try to stay in the past, you're going to slow down. If I stopped for a moment to think about my family, or my lovers, or my coworkers, you know what I'd find? They suck. You romanticize everything, keep it that way. Don't ever try anything else. But sometimes you have to reminisce. So I'm going to reminisce. When I was a kid, I always wanted dolls. I was always out and about, I was never playing with toys. I was a serious, stone faced child, but I wanted dolls. Something about them sitting in the toy store behind the glass, their plastic faces just out of reach, lined up side by side, looking down at me. You could do anything with a doll. They could be whoever you like.
I always liked to imagine myself as one of those dolls. The pink cheeked little boys, holding a little dog, always smiling. I was a funny kid. I didn't have many friends, until I did. And well, I didn't want a doll anymore.

Blackout, then:
1968.
The rehearsal space of a musical in the late 60s.
We see CARSON and ASHLEY. The leads in the show. We see them silently acting the scene, as the atmosphere feels real and the tension rises, the lights come up and Jack enters.

JACK
This is fucking ridiculous. This is- you people are fucking ridiculous. Aren't you professionals? ANNE! ANNE! did you hire anyone off the fucking street? I thought these were fucking professionals!

Jack is the choreographer. He is 24, and while he's been doing this for a very long time, he has taken to prove himself by being aggressive and loud. Everyone is afraid of him and he knows it.

And Ashley! Ashley, what the fuck was that? I get that you've plopped some babies out that flabby body of yours but that doesn't mean you shouldn't have those legs rotated the right way.

Ashley is a middle aged actress. She is ALWAYS funny. It's very natural to her, everything is comedy and she's a star. She's a well trained actress, dancer, singer, but she is tired and messing up a bit because of this.

ASHLEY
Jack, what the fuck are you talking about?

JACK
You're lousy. That's what I'm saying. You're lousy. You're terrible at this.

ASHLEY
Ooh, people of your age. People of your age. Your generation. You think you know everything. Look, as the librettist knows, kid, I was doing this before you could even walk.

JACK
That's exactly the problem!

CARSON
Kid, just tell her what you need her to do.

JACK
I've been telling her what I need her to do. And she's just not doing it.

CARSON
Demonstrate it.

Jack grumbles.

ASHLEY
Take my role and we'll do the number again, show me what you want me to do.

It happens again, except with Jack in Ashley's part. He dances it better than she did, all the while making intense eye contact with Ashley.

JACK
That's all you had to do. All you had to do. Jesus Christ. But you can't do that. Can you? It's too hard for you.

Ashley starts to argue when Anne enters. Anne is the director, she is very calm, collected, and scarily smart. Next to her is her younger brother, and the composer, Rod.

ANNE
Take a smoke break.

JACK
I don't smoke.

ANNE
Well, it's time to start. Go. We'll rehearse a book scene.

Jack goes, mumbling to himself.

ASHLEY
I'm not going to do this Annie.

ANNE
You have dealt with bitchy choreographers before, Ashley. You know what it's like. You get it. I know you have.

ASHLEY
But not ones who think that they're the director. Carson- CARSON. What would you say?

CARSON
I think if he wants to be listened to, he needs to be listenable.

ANNE
In this business you don't listen to someone because they're nice, you listen to them because they're good at what they do, and he's good at this.

ASHLEY
Not good enough- Geoff. Geoffrey, honey. You get it.

ANNE
He's the librettist, not your friend. This is the behavior that gets you kicked out of shows!

ASHLEY
This is fucking ridiculous.

ASHLEY storms off.

ANNE
This will be a great story for the columns. Story behind the flop.

ANNE goes after Ashley.
The ENSEMBLE and CARSON chatter amongst themselves about the situation.
Louis, Rod, and GEOFF approach them.
Louis is the lyricist. Rod is the composer. And Geoff is the librettist. They are 42, 40, and 37 respectively.

LOUIS
Just to, just to clarify. You're all doing fine. You sound fine.

ROD
There's no need for any musical improvements.

CARSON
Thank you.

Louis sighs and leaves. Rod looks at GEOFF, who has grown mildly distressed.

ROD
This is normal. Every show has a moment like this.

CHORUS
How does he know that?

GEOFFREY
I've been in a lot of shows and this has never happened.

ROD
It's different when you're in them. you'd be seeing this differently. Different part of yourself is on the line.

CHORUS
He's never acted and he's never written a play before. What does he know?

ROD
But this? It's fine. And you know that I wouldn't lie to you.

Anne returns with Ashley.

ANNE
Let's run the death scene into the number.

The scene begins.

ASHLEY
I don't think you understand how much I need you here.

CARSON
(A much worse actor than she)
I do.

ASHLEY
Then why won't you show it? Why won't you look at me and tell me exactly what it is? What is it?

CARSON
You know that I want you.

CHORUS
Oh, my god. He's still awful.

ASHLEY
Then why won't you say it to my face? Listen, look. Give me your hand. Please. Please just touch me. Let me know how much you want me around. I want you around. I want you around. Do you want me?

CARSON
(With extra emphasis on ever 'want')
I want to wake up every day with you there. I want to see you and hold you. I want to feel you.

CHORUS
This is ridiculous, Geoff.

CARSON
I want to have your hands in mine. I want to know that you love me. I want to know it every day.

CHORUS
This is sick. They're going to think you're some sick freak.

CARSON
I want. I want- I want---

CHORUS
Your premiere. Your time to present to the world the next generation of librettists, 20 years too late.

CARSON
What do you want?

CHORUS
You'll let him blow it for you.

CARSON
And I mean that. What do you want? You've yet to tell me. Really. I mean. You've said it but you haven't said the truth. I need to know what you want. Really. Deep down.

CHORUS
You're already behind, and he's going to throw this out for everyone. Everyone. Your family name. Chronic ensemble actors everywhere will never be allowed to write a musical again. How will you face the hoard that actors equity sends upon you?

CARSON
Tell me what you want, Marge!

ASHLEY starts to burst into song but Geoff shouts first:

GEOFFREY
I AM BEGGING YOU! To lay off the emphasis on want. It doesn't help. It doesn't add anything. All it does is make this seem absurd, when it's not absurd. It's life. It's a broken person saying something broken, it's emotional, it's not ridiculous.

CHORUS
You're a moron.

Silence. GEOFF is aware what he did was out of line. GEOFF awkwardly excuses himself and goes off.

ANNE
I swear, I'm only working with crazies. They're drawn to me like mosquitos to stagnant water.

ROD
It's his first show. First show jitters. He has no idea what he can do, what he should do, as a librettist. Give him a break.

CHORUS
A total moron!

ANNE
Next time, I'm directing one of my friend's shows… The Valium girls are exactly what I need right now…

The ensemble begins the dance that the scene opened with as a transition. The CHORUS is replenished, but before she does, Anne stops and speaks to the audience..

ANNE
You have to break ground constantly. Over and over again. And nothing you do is ever good enough. And you'll only be remembered for being the one who did it.

She goes.
A hotel room.
Sitting on the ground, passing a blunt are CARSON, ASHLEY, AND GEOFF GEOFF is drinking, Carson is watching the television.

CARSON
I don't understand why anyone even bothers anymore. Do you remember being kids? We all thought that we could do anything, but we grew up. It's the powers that be. You can only do what you can do.

ASHLEY
I never saw you as the cynical type.

GEOFF
I was at the peace march…. Lots of… things. Things. Things and people. Very passionate.

CARSON
I don't know why anyone bothers.
(Light)
Anne wants you dead.

GEOFF
She's a lousy director.

CARSON
She's giving you your standards.

GEOFF
Does she want them back? My first show, I was in the ensemble, the one where I met Rod, and I, well, I remember the director, who was an awful piece of shit, only show he ever directed, but he could control a room better than her.

CARSON
No one in their right mind would let someone who's only writing credits are staged readings on Broadway, man. She's crazy.

GEOFF
I'm eternally grateful for her.

ASHLEY
Enough talking about the show. I have gotten away from my kids for one night, and it can't be to talk about the show. I'm either fucking your friend over there or I'm getting drunk.

CARSON
Anne would rather die than date my costar.

ASHLEY
What do you have to drink?

GEOFF
Dusty gin in dirty glasses.

ASHLEY
Why's it dusty?

GEOFF
I prefer bourbon.

ASHLEY gets up and begins pouring drinks.

ASHLEY
Would you like one, cowboy?

CARSON
No.
(To Geoff)
I thought you were sober?

GEOFF
Not today.

ASHLEY
Not when he's in New York.

Ashley sits down and they both drink.

CARSON
That's a lot of gin.

ASHLEY
I'm a lot of woman.
(To Carson)
That movie where you were on a horse. What year was that?

CARSON
I'm not sure

GEOFF
1956.

CARSON
How do you know that? Christ, that was… wow.

ASHLEY
Geoff's memory is so good, I bet he remembers the director of his first movie.

GEOFF
I was six years old, he was about 5ft 8, it was his first movie. Timothy Lorens. Last movie too.

CARSON
You're bullshitting. What was our apartment number in college?

GEOFF
A148

CARSON
I want to refute that but I can't remember… How'd I never notice this?

GEOFF
I don't bring it up.

ASHLEY
Back to horses. Was it a real horse?

CARSON
As opposed to a donkey?

GEOFF
Maybe a mule. Or a zebra.

ASHLEY
Or two gentlemen in a suit.

CARSON
It was a real horse.

ASHLEY
Well, you know what they say about men who ride horses.

CARSON
What?

ASHLEY
I've just made that up.

CARSON
You're too much.

ASHLEY
Much better than being too little.

CARSON
Ain't that the truth?

GEOFF
Truth is very subjective.

The door opens and Jack enters.
Jack acts with a restless energy, pacing, leaning, looking out the window.

JACK
Early for liquor.

ASHLEY
His mother is Irish.

JACK
Late for liquor.

CARSON
You just came right in here.

ASHLEY
(To GEOFF)
Dog.

JACK
He Lets Me come and go. I have things to say. Thoughts to express.

GEOFF
I don't.

JACK
We should… kick Anne out. If you can convince Rod and "Louis the lyricist" to go against her.

CARSON
No.

JACK
We head straight to the producer. I will have the entire show fixed by the opening.

CARSON
You're psychotic. Rod will never go against his own sister. I mean that.

JACK
What do you think?

GEOFF
I think… we're screwed.

Jack stops and looks at the television.

JACK
Doesn't it make you sick?

Carson gets up.

CARSON
It makes me hopeful. If a bunch of stupid kids can go out into the street and demand change and almost, almost get it, who knows what we can do.

JACK
Why can't I change things?

CARSON
There are two things that can change things in life. People and God. That's all.

ASHLEY
Musicals can't change anything. Neither can God… toodle-loo.

CARSON leaves, ASHLEY follows.

JACK
Who's Ashley?

GEOFF
You've seen her in shows. We've all seen her in shows.

JACK
No. I know what she is. But what's she doing? Why do you know each other?

GEOFF
Well, when I was a kid, I was doing touring shows. You know, like Miller and stuff. Well she was in those, and then when I was in- when I was doing graduate studies, she was too. And when I moved to Hollywood, she got me my first role. We keep crossing paths. Like… birds… She's my best friend in the world.

JACK
Which I'm sure means so much when you've got half the city in your rolodex.

GEOFF
She's different.

JACK
Well, she's a bitch.

GEOFF
Friend, you have a lot of nerve.

JACK
I've got to have a lot of nerve. Considering this show will fail unless I get more of it. You could do with some more of it, actually.

GEOFF
How old are you?

JACK
24.

GEOFF
And you have your own studio. And you're choreographing another Broadway show. You can relax. Leave her alone. I mean that.

JACK
Is that what you've told yourself all these years? Well that makes a lot of sense.

GEOFF
I was a dancer as a small kid, when I was… 5, or 6, and younger, and that's how I became an actor. I get how high strung you people are. From ballet to commercials, that was my path.

JACK
I want to sober you up.

GEOFF
Why? I don't. I spend most my time purposely making myself-

JACK
Because if you're such an actor, and such a dancer, and such a singer, I want to run the 11'o o'clock scene with you. I have ideas.

GEOFF
We don't need ideas. It's fine.

JACK
Get up. I need to see how it would look.

Jack helps GEOFF up.

GEOFF
I don't know if I remember it.

JACK
The scene starts with, uh, 'I never thought I'd be here'

GEOFF
I never thought I'd be here.

JACK
'Looking out at all of you'

GEOFF
Looking out at all of you-- how come you remember my lines more than I do?

JACK
Because I love them, keep going, 'looking out at all of you'

GEOFF
Looking out at all of you. And you. And you.

JACK
Do you remember the song?

GEOFF
The tune.

JACK
Hum the tune, and let me move you.

GEOFF hums the number while Jack adjusts his hands and legs and steps back and watches, and adjusts, and watches, etc, on and on for a moment. GEOFF eventually makes him stop and sits down on the bed.

GEOFF
I'm an old man.

JACK
Can you imagine how much better that scene would look if they were looking down on him like the sun.

GEOFF
It's not a dance number.

JACK
I'm not thinking about it as dance. No. No. I'm thinking about it all as dance. This is all dance.

GEOFF
It's not.

JACK
Why not?

GEOFF
That's not what I wrote.

JACK
I think it is. I think you put movement into words and all I have to do is put the words back into movement.

GEOFF
I like them as words.

JACK
But they could be both. You know what theater is? It's about two things, two groups take over the entire room, even when they shouldn't. The directors and the songwriters. And you're neither a director or a songwriter.

GEOFF
And neither are you.

JACK
I want to make a third group. I want to make the choreographer all encompassing.

GEOFF
Then why involve me?

JACK
You're writing the words that I choreograph. That the actors perform, that they dance.

GEOFF
You have a very broad definition.

JACK
But a dictionary. Here, um, I'll dance the scene. The scene, the opening scene. After the song.

GEOFF
Just the words?

JACK
Just the words.

GEOFF
I can't remember them very well… uh… 'Look where we are'

JACK
'Well, it isn't good enough of a place to be going."

GEOFF
'but we can keep going'

JACK
'But are we?"

Quietly they continue, into the transition and the chorus speaking:

CHORUS
The narcissism of theater is not a matter of self centeredness, but of self reflection.

The same space. 5 am. GEOFF is getting up for the day, drinking a glass of orange juice as ASHLEY enters.

ASHLEY
That kid is bad people.

GEOFF
I haven't figured him out yet.

ASHLEY
I know his type. I know you know it too.

GEOFF
Don't. Don't say what you're going to say, because it's not true.

ASHLEY
Him and Billy Watson could've been a pair. Rotten, cruel people. I bet they'll even end up the same way.

GEOFF
He's a dancer, and he's got ideas, and no one but me wants to hear those ideas. That's all it is. I have no other interest in him. But he's an interesting person.

ASHLEY
"But he's an interesting person" you make me laugh, Geoff.

GEOFF
You think so lowly of me.

ASHLEY
I do!
(She leans)
That Carson…

GEOFF
Why now? Other than pure spite. He's been my friend for 20 years.

ASHLEY begins making herself a drink.

ASHLEY
Well, he's been around but he's never been around. Good god. I'm hungover, do you mind?

GEOFF
Too late for me to say no.

ASHLEY
Do you want one?

GEOFF
This is only half orange juice!

They both laugh.

ASHLEY
Carson is sure a man.

GEOFF
You'll have to give me the details. Believe me it's been a dream as long as I've known him.

ASHLEY
I'll let you ruminate on the concept a bit longer, honey!
(She drinks)
Do you think I'm good at this role?

GEOFF
Yes! That's why I wanted you, you're perfect.

ASHLEY
I am perfect, I know that. But that doesn't mean perfect for the role! Does everyone really think you're sober out west?

GEOFF
Only Carson. Only Carson did. He's… kinda dumb, and also very sensitive.

ASHLEY
Pooooor thing. I can't wait to crush his spirit. Everyone knows the most delightful failures are built around the most toxic, vicious affairs.

GEOFF
Please don't ruin my show!

ASHLEY
Oo, someone's anxious.

GEOFF
This is what I want to do with my life. This is a new start. I'm on a path I like. For once.

ASHLEY
Hey, kitten, calm down. I'm just being funny! I got you into this mess, I won't pull you out of it. As long as you promise to keep making me the star.

GEOFF
I plan to.

ASHLEY
Sticking by you brings us both good things. Just basic instinct, huh?

GEOFF
You're giving me all I could ever want.

ASHLEY
I'm glad you know that you owe me!

She howls with laughter.

GEOFF
But do you know what you owe me?

ASHLEY
A million bucks… or, no this!
She hands him the half drank glass of alcohol.

You're a writer now. Think of it metaphorically.

We transition as:

MAURICE
It's about fitting in, really. You act the right way with the right people, and suddenly you're the best living playwright. You don't even really have to have the words. Just the wit.

We are in a restaurant.
Rod is smoking a cigarette. Louis is popping some pills. And next to them is hit Playwright, MAURICE.
Geoff enters.

GEOFF
Another intervention? My shrink would be proud. What's it this time?

CHORUS
We have some advice.

GEOFF
It's not advice if you didn't ask for it.

ROD
You know what the difference is between actors and writers?

GEOFF
Class.

LOUIS
It's power. You're a step above. But you're still a step below.

MAURICE
at least until you've won the Tony.

Awkward silence.
MAURICE shakes GEOFF's hand.

MAURICE
I loved you in, that, uh, sitcom. As that bit character. You're great at a bit.

GEOFF
Which one?

MAURICE
Which have you been in?

GEOFF
I've been the supporting cast of every movie and television series since 57. And before that I was in–

MAURICE
Well, I like all of them.

GEOFF
I like your plays. The ones I can remember.

MAURICE
Yeah, and we're just like each other. Outsiders who came in. I wasn't always a writer. I used to be a director.

GEOFF
What's your point?

MAURICE
You'll get the power after the Tony. When everyone wants to give you the power. That's what it is. For writers.

CHORUS
You need to take it.

LOUIS
You don't even have to take it.

ROD
But you'll get it.

GEOFF
I got my first bit role when I was 8 years old. You know what they told me then? That in 10 years I'd be the next star. Then in 10 years after that, same thing. Well it's almost been 10 years after that 10 years and I haven't been the star there.

CHORUS
Maybe it's too late.

MAURICE
There's still one more year. Maybe you'll win the Tony. Maybe you'll win an Oscar for your role as the ditzy doofus #6 in a 3 episode teleshow. Who knows…. Alright. Well I've done my job. I've given the advice. I'm going back to the coast.

He goes.

LOUIS
He's a prick.

ROD
He's straight and narrow.

LOUIS
And straight.

GEOFF
Can't wait to become him.

GEOFF goes. We go into the next scene:

Anne's kitchen. Anne is with Rod.

ANNE
It'll be nice. Really nice. I mean, if there's one thing I'm good at, it's keeping people from tearing each other to shreds. I have teenagers!

ROD
Then why am I here?

ANNE
I need a witness if anything gets rough.

ROD nods.

ANNE
Jesus. How do we find the craziest people on the planet? Pieces of work when I just want to work. Every single one of them. I feel I should be more crazy.

ROD
You're not neurotic enough.

ANNE
I need to start.

She lights a cigarette.

My analyst said I'm his best patient. That means something.

ROD
I can't think of what.

ANNE
You just want to say it.

Rod laughs.

ROD
Well, your witness would like a cigarette.

ANNE
It'll cloud your judgment, you're too young.

ROD
Mother? You're back from the dead?

ANNE
(doing an impression of their mother)
I am. And I told you to never do show business.

ROD
Sorry, Ma.

ANNE
(As above)
No you're not! You hate me. You hate me just like your father.

ROD
Noo, Ma! It's not true. We'll prove it! You can lock us both in the closet.

ANNE
(as herself)
Don't volunteer me.

ROD
You're my big sister, you're supposed to protect me.

ANNE
And you're my brother, you're supposed to beat up my bad boyfriends, but you never did that.

ROD
I just gave 'em to Louis.

ANNE
Time and time again.

We hear JACK getting let in by her husband. He enters the kitchen, clearly having been crying, very upset.

You're early.

JACK
Did you want me to come late?

ANNE
No.

JACK
If you're firing me from the show, tell me now so I can go home.

ANNE
We're not going to fire you. That's a big decision that I don't get to make. Nor would I want to.

JACK
Fuck off.

ROD
Uh-huh. I'm not going to witness this.

He goes.

ANNE
Prick.
(To Jack, gentle)
This is an adult conversation, we're not trying to upset you.

Jack doesn't like being condescended to.

I don't have to try very hard, clearly. Ashley's stopping by. I need you two to work it out. I can't direct her and handle you.

JACK
There's no working it out, she's a bad performer.

Anne breathes, keeping herself calm.

ANNE
What's new with you?

JACK
What?

ANNE
What do you do? I know you occasionally help out Mary Corey, But what else?

JACK
I work on this show.

ANNE
Are you married? Do you have friends?

JACK
No.

ANNE
Nothing, really?

JACK
I only have associates.

ANNE
Can't let anyone see you, Jack.
(She laughs)
No redecorating your apartment with furniture that's only green? No parents that want to know how you're doing that you won't talk to? How's Mary Corey, I know she's always keen to see how her students are doing? Any college friends trying to get back with you now that you're working on Broadway?

JACK
Are you calling me uneducated?

ANNE
Never.

Anne sighs and turns and looks at her counter.

What's your poison? I have everything, my husband likes to throw cocktail parties with his mistress more than anyone else on earth.

JACK
I don't like drinking.

ANNE
Who does, kid? Ooh, I know a few.

JACK
Why are you such a bitch?

ANNE
I'm not, really. I could be one, if that's what you'd like. I could demand you get fired, it would be in their interest to hire a more experienced choreographer.
(She pours herself a drink, speaking very casually)
Listen, kid, I've had every type of interaction with every type of full-headed egotistical woman hater on earth, nothing you can do or say can upset me, or hurt me, it just makes me want to put you six feet under ground. There is nothing unique about a young man upset that an older woman reigns supreme, believe me.

Jack doesn't say anything.

You remind me of my oldest. Which is why I will never work with you again after this.

Entering, partially escorted by ROD is ASHLEY. She is fall-over-incoherent-how'd-she-even-get-here drunk.

Anne feels like someone just kicked her in the stomach.

ASHLEY
I promised I'd be here, Rodney, I have to be here.

ANNE gets up and grabs her keys off the counter. Then Rod shakes his head.

ROD
I'll get her home.

ASHLEY
I don't need to go home, I have a meeting.

Anne tosses her keys to Rod. She is defeated.

ANNE
Take my car.

Rod and Ashley go.

JACK
And I'm the one ruining this production. I see how it is.

ANNE
Believe me, if it were up to me, the script wouldn't be written by one of Rod's buddies, the stars wouldn't be a burnt out comedienné and a falling movie star who can barely memorize his own name, and everything would just be great.

JACK
Okay.

ANNE
Oh, brother… kid, you get over yourself, you'll make one hell of a director one day.

JACK
I'm not a director. I'm a choreographer.

ANNE
You're more than dance, kid, I can tell.

Jack looks up at her. No one has ever said that about him.

JACK
I guess that's the next step.

ANNE
Know that I won't be writing you any letters of recommendation.
(She laughs)
crazies, crazies, crazies. Makes a girl wish for half a tablet of valium.

JACK
I'm sure Louis could get you one of those.

ANNE
I'm worse than Louis. I just hide it better. Plus, I'm about a half step down from being a housewife, abusing valium is part of my culture.

She grabs her purse and takes out a bottle of Valium.

You're a lot more person than I ever thought. Assume you were pretty one note.

JACK
I am.

ANNE
(Taking a pill)
You're just focused. Nothing wrong with being focused. As long as it's on the right things.

JACK
You're deeply dissatisfied.

ANNE
(nodding)
I'm deeply dissatisfied.

Anne sits down.

Why were you crying when you got here?

JACK
What?

ANNE
Again, I have kids. I can read a snotty, puffy eyed, angry face. Walking in here like you were going to give me a piece of that little mind of yours. Why were you crying?

JACK doesn't know what to say. He feels cornered.

You're a dancer, kid, you already lost your manhood.

JACK
I thought I was getting fired.

ANNE
See, now doesn't that feel better?
(She laughs)
Well, you're not getting fired.

JACK
You already told me that.

ANNE
Reiteration is the key to knowledge building… not that you'd know that.

Jack feels frozen.

JACK
I'm not stupid.

ANNE
I didn't say that. I didn't say anything about that. You're a smart cookie. I believe that.

JACK
Good. You'd better.

ANNE
I do.

JACK
Why do your husbands keep leaving you?

ANNE
Oh, they learn my deep, dark, secret… I have three tits.

She laughs.

JACK
I'm being serious.

ANNE
And I'm not, pumpkin. I cheated on one, and the others cheated on me. That's all it is.

JACK
You have no shame.

ANNE
Not about things that happened when I was 20, no. I've worked past the shame. It's a great thing to do. I recommend it. You have to understand that I can see what you're trying to do, and well, as I said, everything a man can do to me, has been done. I am unaffected, kiddo. You're not outrageous.

Jack gets up.

See you tomorrow.

He goes, angry, as we transition into the next scene:

CHORUS
Opening nights are exciting. A lot less tiring when you're not on the stage.

The ENSEMBLE is performing a closing number.
As it comes to the end, we hear JACK and GEOFF talking.

GEOFF
They hated it.

JACK
I loved it.

The ensemble goes into bows as it transitions:

It is 1969. Right now, the chorus is staring down intensely. They look up.

MARY
Nepotism that he got here.

LOUIS
Nepotism if he won.

CHORUS
God, I wish I had that much nepotism.

CHORUS
There is never this much fuss about the drama desk awards.

SHRINK
I doubt he'll address the crowd.

LOUIS
He likes the attention.

SHRINK
But not that much.

DELAYNA
We're all watching at home.

MOTHER
I don't understand it.

MARY
Nepotism is built in. I mean, what is theatre but knowing people who know people who know people.

ANNE
Wouldn't you know!

CHORUS
Wouldn't we know!

ASHLEY
Oh my god!

CHORUS
I can't believe it. He won.

GOSSIP
Does he even deserve it?

CARSON
What a year!

ANNE
He's a still a newbie.

ROD
but a damn good one.

ANNE AND ROD
(to each other)
You made a great choice.

SHRINK
Middle aged men rejoice!

CARSON
How does it make me look?

ASHLEY
How does it make me look?

GOSSIP
How does it make me look?

MAURICE
How does it make me look?

GEOFF enters.

JACK has found his way to the ground and is standing and watching his dancers.

CHORUS
He doesn't care about anything.

GEOFF
knock-knock.

JACK
Take ten minutes.
(To GEOFF)
I told you to never come here.

GEOFF
You're about to let them out.

JACK
They get to leave once they get it perfect.

GEOFF
Did you hear about my good news?

JACK
I don't care about your good news, man.

CHORUS
He cares about it.

GEOFF
Mmm, of course. Did you hear the results?

WOMEN
He's 13 years younger than you.

MEN
More handsome. Physically fit.

WOMEN
He's a dancer, of course he is.

MEN
He's a kid.

WOMEN
He's where you are.

MEN
Except 13 years younger.

WOMEN
He's just starting out.

MEN
Maybe a little ahead of you. But he's just starting out.

WOMEN
He's just 13 years younger.

JACK
I didn't wanna know.

GEOFF
What if I told you you won too.

JACK
That's not true.

GEOFF
Do you know?

JACK
I won best choreography. Mary Corey lost to me.

MARY
What can I say, except I'm very good at what I do.

ANNE
She's a pro. I wish we'd got her.

GEOFF
And how do you know that?

JACK
Mary called me. And she told me all the results. Mary does that, I learned everything from her and she wants to keep me learning.

GEOFF
So you do care?

JACK
No.

CHORUS
Do you know what the big difference between him and you is? You're both just starting out.

GEOFF
I won.

JACK
I don't care.

CHORUS
You're brand new voices. But he's 25 and you're 38.

MARY
The youngest choreographer of his talent…

CHORUS
You acted in one Broadway show. He's choreographed four.

ANNE
He's got the claws and the grits that you have.

CHORUS
But he's 25. Far away from middle aged. He'll be kicking when you've got a cane.

MARY
Four shows.

CHORUS
But this is your first.

MARY
Four shows without even one award. Poor kid.

CHORUS
And you've got one in your hand.

JACK
Do you want me to tell you I think you're impressive?

GEOFF
I wouldn't mind.

JACK
I don't think you're impressive. I think you're already going stagnant. I have my next project, you don't. I'm heading forward, you're stalling.

GEOFF
I haven't had time to stall.
(After a moment)
I think we're alike.

JACK
You're sick.

CHORUS
Maybe you're meant to be the supporting cast.

GEOFF
Come on, we both know that we have more to give. Don't you want to direct?

JACK
And what more do you want?

GEOFF
I want more.

JACK
Do you want to star in your next show? People say I've got a big head… or do you want to be a lyricist?

LOUIS
It's rotten work.

GEOFF
I just want more. And I can give you more. We get more together.

CHORUS
Clever plan. Genius plan. Hoist yourself up to him!

JACK
I'm listening.

GEOFF
I'll let you direct if you think you can do it.

JACK
Do you think I can't?

GEOFF
You have to make me a promise.

JACK
I don't do promises.

GEOFF
I do.

JACK
And I don't.

GEOFF
You know? You have a way with dancers, not with people.

JACK
(to the dancers)
Come on, show the Tony award winner here what I got!

The dancers dance which brings us into the next scene:
ASHLEY's daughter begins to leave:

ASHLEY'S DAUGHTER
I used to think that he started too late. But he didn't start late. He started at the right time, it just happened to be… Oh.

She goes.

ASHLEY has been replaced by the JACK in the chorus. The dancers leave.

ASHLEY and GEOFF are going for a walk in a park.
It is 1970.
ASHLEY
It's nice that it's finally over.

GEOFF
It doesn't feel great.

ASHLEY
Of course it doesn't, honey, but it will feel great when it opens in London.

GEOFF
I told my mother it was opening in London and she said, and I quote from her letter, "Why not in Dublin?"

ASHLEY
She makes a great point.
(Stopping)
You know, for someone who has only gotten along in the world because of a pretty face and the shallowness of Hollywood producers, Carson is one hell of a catch, isn't he?

GEOFF
We did this show in college, I think you saw it actually, but anytime he'd flash that grin of his, the audience would just erupt in applause. He's a big star.

ASHLEY
To juxtapose my tiny star.

GEOFF
I was really surprised that Anne had you both. I told her, I said, "You know I am good friends with both our stars" and Anne went, "No wonder they agreed to it! I sure wouldn't."

ASHLEY
How come you never told me this story while the show was running?

GEOFF
Same reason anyone keeps secrets.

ASHLEY
You're not anyone.

GEOFF
The New York Times disagrees.

ASHLEY
Good reviews don't make a person, honey.

GEOFF
I'm not a person, I'm an actor.

ASHLEY
So am I.

GEOFF
No, you're an actress. Very different.

They are quiet for a while. She leans on him.

ASHLEY
I missed being outside. I feel like the spring has always, for as long as I can remember, been work, work, work.

GEOFF
I haven't seen the sun in six weeks.
(Pointing to a tree)
And what is that?

ASHLEY
I find your dedication to solitude amusing… Oh, Geoff. Do you know what I appreciate about you? After all these years, you've never changed. You're as young as ever.

GEOFF
I sure don't feel it.
(He stops)
I try to change. All the time.

ASHLEY
You make choices.

CHORUS
Being an actor and a writer isn't making a choice.

ASHLEY
If you stop talking you'll hear that a park in this city isn't ever peaceful.

GEOFF
That's why I keep talking. I love lying to myself.

CHORUS
It's being controlling.

ASHLEY
You're funny. I'm going to miss you. I always do. I always have. Every single time we've met and then disappeared and then met again, I've missed you more and more.

GEOFF
I'll call you. How's your girl?

ASHLEY
At her age they're always fine. It's when they get older that it becomes a problem. She's right on the edge. She thinks I'm a square.

CHORUS
And actors usually don't like themselves.

GEOFF
A blessing all the same.

ASHLEY
You know what the dawn of a new decade means? I mean, like scientifically. It means that the blessings are turning into people.

CHORUS
But writers sure do.

GEOFF
I have a proposal for you.

ASHLEY
I'll only say yes if the ring-

GEOFF
I'm doing a new show.

ASHLEY
Who's the producer?

GEOFF
Don't have one.

ASHLEY
The director?

GEOFF
I can't say.

ASHLEY
Because I'll say no?

GEOFF
Because I don't know. But I know that I want you in it.

ASHLEY
You're crazy. You don't even offer to buy me a drink first.

CHORUS
A worthy offer.

GEOFF
I find it hard to make deals when I'm blacking out.

ASHLEY
That sounds like fun. That's what you and I should do before you leave. When do you leave? Well, we should do it now then. Motherhood is exhausting, you get told off for drinking at 11 am on a Tuesday… My aunt was a nun, and whenever I pour myself a drink while the kids are playing in the den, I can hear her saying, "The blood of sin, Ashley. That's the blood of sin." She was also insane. As a matter of fact.

GEOFF
You're too much.

ASHLEY
And it's funny that no one has ever said that about you.

GEOFF
Promise me you'll read for it, at least.

ASHLEY
She wants to be an actress one day.

GEOFF
Too young for the role.

ASHLEY
I told her it's a bad industry.

GEOFF
I agree.

ASHLEY
You have any horror stories you could give her?

GEOFF
I always do. I have a lot.

CHORUS
Children and actors never mix.

ASHLEY
Write a book and let her read it. She doesn't listen to me. I tell her the horror of… being 13 and surrounded by middle aged men who point to you and go, "She's a little too fat for the role."

GEOFF
My co-stars--

ASHLEY
Gave you drugs. Liquor. Pills. It's all the same. She's crazy about you. You're her uncle Geoff, she might trust you more. You might be able to talk her out of it.

GEOFF
But I'd want her to follow her dreams.

ASHLEY
Was it your dream as a kid to act? Or was it Mummy's and Daddy's dream to have an extra source of income.

GEOFF
It was my dream. To dance. Then act.

ASHLEY
Is it your dream now?
CHORUS
No.

GEOFF
Yes. Of course. I wouldn't do it otherwise.

ASHLEY
Then you'll owe her a role. A safe one. Someday.

GEOFF
I promise.

ASHLEY
I'll read.

She goes, but before she does she turns to the audience:

ASHLEY
I know everything about Geoff, every crack, every story, every feeling. I can look in his eyes and feel everything he ever felt, the world has brought us together time and time again for a reason. But that doesn't mean I'm close to him.

GEOFF stands alone.

CHORUS
The news is show-biz.

COLUMNIST enters.

COLUMNIST
Shocking news today, Tony award winning choreographer Mary Corey was found dead in her New York apartment. Authorities do not believe it was foul play, and suspect drugs.

JACK enters.

JACK
They'll eat you alive if you don't have the nerve. But they'll also eat you alive if you do have the nerve.

JACK goes.

COLUMNIST
She was 38.

JACK goes.

They're on a porch in a middle class Chicago suburb.

DELAYNA enters.

DELAYNA
I liked your show. I wish I'd gotten to see more of the city.

GEOFF
Oh, thank you. I really mean that. I'm feeling low. Did you hear Mary Corey died? I read it in the paper the moment I got off the plane.

DELAYNA
Who's that?

GEOFF
A choreographer I sorta knew. She was friends with a choreographer I know. Or enemies. I'm not sure. Or both, probably. That's how it tends to work.

DELAYNA
I don't understand show biz.

GEOFF
Neither do I.

DELAYNA
Your brother is out back with your mother getting drunk, by the way.

GEOFF
I know.

DELAYNA
Sometimes I wonder if you were adopted.

GEOFF
Ma thought the same thing. Every day until my voice dropped and you could hear dad coming from my mouth, she'd look at me and go,
(With an Irish accent)
"You don't look like me, you don't look like your Pa, you're smarter than your brothers, you're nothing like me father, I wonder if I've given birth to an outer space man."
(Doing an impression of his Working class Chicagoan father)
"What are you talking about? The boy has your temper. Your temper. 100% you."

DELAYNA
Better than his temper… The boys love your gifts.

GEOFF
What boy doesn't love season tickets to a theater of their choice?

CHORUS
A straight boy.

DELAYNA
They're going to be the most cultured footballers at University of Illinois.

GEOFF
Pa would've loved that sentence.

DELAYNA
I never liked your father, Geoff.

GEOFF
Neither did I. Cheers?

DELAYNA
I'm proud of them.

GEOFF
You should be.

DELAYNA
I'm an empty-nester now, Geoff. They're going off. J.C. is married. It's just me and…

GEOFF
Darling, you should go back to college. I mean, you've got the money now, and the time.

DELAYNA
No. I mean, I don't think so. I think that when I had J.C. there was a point to it.

GEOFF
What was the point?

DELAYNA
I think that, well, it was the world trying to tell me that I was meant to be a mother.

CHORUS
Is there any mother not meant to be a mother?

GEOFF
You are the smartest lady I know. I can remember your valedictorian speech to the word all these years later.

DELAYNA
And I can remember yours. And I became a mother and you became an actor. Two not-so-academic pursuits, hon. No, but what I'm saying is, the world gave me J.C. to tell me that I was headed down the wrong path. And that path is well behind me now, I'm not heading back to it. I have to keep going forward…
(Light)
What are you looking at? I know that look. You've been giving us that look since you were 12 years old.. I swear, I know those sly eyes. All dark and looking right through me like a piece of soaking wet paper. You're going to write me into one of your plays.

GEOFF
You're a character.

CHORUS
What a cruel thing to say.

DELAYNA
I don't want to be a character. Or if I am going to be one, since I know now that I don't get much choice, you have to make me pretty… and 22. And I gotta have a line of boys vying for my attention. But I can't give any of them the time of day. And I gotta be tall and slim-

GEOFF holds up a hand, Delayna laughs.

GEOFF
No character I could ever write based on you would be anything other than fantastic.

DELAYNA
You're so charming.

GEOFF
Thank you.

DELAYNA
The issue is that you know it.

CHORUS
When you know you're charming, that makes it manipulation.

DELAYNA
It's a little bit frightening.

GEOFF
I'm sorry.

DELAYNA
But if you have those eyes, those sly eyes, to every woman you come across, I swear you'd be on your third wife by now.

GEOFF
Oh?

DELAYNA
Oh, stop looking at me, Geoff. Gosh. You make me feel like a game show contestant. Everyone knows you're the genius of the family, Geoff, everyone thinks it. You don't have to rub it in.

GEOFF
Do you love my brother?

DELAYNA
We're getting a divorce. Now that the kids are all out, and well, women can do that now.

GEOFF looks at her for a long moment. She looks away.

CHORUS
You really blew it.

WOMEN
Does she know she's wonderful?

MEN
Better than him, at least.
MOTHER enters. She is with TONY.
She is a very excessive type. Very bigger than life, bold, dressed eccentrically. Large movements. She is getting too old for her own energy.
Tony is a boundary crosser. He is very touchy with Geoff, who pushes him away without acknowledging it.

MOTHER
I CANNOT believe that it is just me and your brother back there. We were having a hoot of a conversation. You'd best join us.

DELAYNA
I'm just getting some fresh air. Fresh city air.

MOTHER
I'm not talking to you, Delaine, I'm talking to my Geoffy.

GEOFF
I've had enough conversation for the day.

MOTHER
Weird child. All these years, still weird.

DELAYNA goes.

GEOFF
How's your back, Ma?

TONY
She's fine.

MOTHER
Why don't you ever fly me to Hollywood to see you?

GEOFF
You wouldn't like it.

TONY
Who are you to say that, Geoff?

MOTHER
You don't know that. Your Pa always thought that I was meant to be a big star.

GEOFF (in unison with his Brother)
'But then I had your brothers and I lost the body'

MOTHER
Oh, don't you mock me. You know I'm right. I could've done what you do. I could've been a movie star.

GEOFF
Then why weren't you?

CHORUS
the level of disrespect that drips from your mouth, GEOFF.

MOTHER
Because I am unlucky, Geoff. Because I squeezed out a kid at 16 and I spent the rest of my life shaping them into the people I could've been.

GEOFF
You know that's not our fault.

MOTHER
It isn't. It's not your fault at all. You're the baby I chose to have. You're the kid that I shaped into a star. I put you in the classes, I got you into the shows, I put you on stage, and in front of the cameras and the least I would like would be a trip to Hollywood California to see the things I built for you.

GEOFF
I've been meaning to tell you, I'm quitting acting. I'm a writer.

MOTHER
30 years too late, love.

TONY
Disrespectful.

GEOFF
Oh, Tony don't act like you ever liked me being an actor in the first place. Fine, Ma, you want to go to Hollywood. I'll buy you a ticket to go to Hollywood. But it's nothing. It's nothing, compared to this. There's no one there. No people. Actors aren't people.

MOTHER
Well, I know that.

GEOFF laughs.

CHORUS
What does she even know?

GEOFF
Ma, you know that I love you. That I thank you. My life is a tribute to you.

MOTHER
Oh, yes, I know. I remember how your Pa reacted to your taking of my name. The problem is that it's a real bad tribute. And I'm still alive, then too.

GEOFF
I'm sorry.

MOTHER
I know you're a queer.

TONY
Ma.

GEOFF gets up and starts to go.

CHORUS
Who doesn't?

MOTHER
Everyone does. I mean, 40 years old, unmarried.

GEOFF
And an actor.

MOTHER
Those things aren't related. But everyone thinks they are. Do you know how that feels?

GEOFF
I'm going in.

MOTHER
I built you a better life than mine. You should keep it better.

TONY
This has been productive.

GEOFF
I'm burned.

TONY
You sober? I'm not.

GEOFF
Never.

MOTHER
You two can ignore me all you want, it won't make me shut up.

GEOFF
Any plans for the summer?

TONY
You don't care.

GEOFF
You're right! That's why I bother to come out here even though you people are nothing but rude to me. I don't care.

TONY
Don't make a scene. Though that seems to be the only thing you know how to do.

MOTHER
You're unbelievably disrespectful, unkind.

TONY
Drink a beer with us, it'll appease her.

MOTHER
Appease me! Appease me. If my son loved me I'd be appeased.

Mother starts to go and then stops and speaks to the audience:

MOTHER
My Ma used to tell me that the worst thing you can do to your mother is embarrass her. That's not true. The worst thing you can do to your mother is shove her into traffic.

She goes.
Tony gives Geoff a gentle punch to the shoulder.

TONY
It is nice that you came, though.

GEOFF
Delayna asked.

TONY
It's always Delayna, isn't it? Dumb prick. What about me? About Pete and Bob and Phil? What if we want to see you? Your brothers. What if we want you to come over and drink a beer with us from time to time?

GEOFF
One may notice that you don't want that, friend.

TONY
D'you know what that is? Because every gosh darn time you come down you come and cause some issues.

GEOFF suddenly shoves him away.

GEOFF
I need you to stop touching me.

TONY
(Mocking)
Why are you so disturbed by brotherly affection? Getting too old to hug me? Ohhhh. Poor Geoff, being loved by his brother.
(He playfully punches his shoulder)
You're too old to be this much of a hardass.

GEOFF
You're too old to be this much of a regulaR ass.

TONY
Never too old to get back at you for being a pretentious dick. Our entire lives Geoff. I swear, you popped out of the womb ready to recite Shakespeare.
(He laughs)
How does it feel?

GEOFF doesn't answer for a long time.

GEOFF
Everything feels exactly the same.

TONY
Nothing ever makes you feel any different.

He pats Geoff on the shoulder and goes inside.
He's alone for a moment, then:

1971.
We are in GEOFF's Los Angeles house.
The ENSEMBLE has become various members of GEOFF's inner circle, actors and actresses, all holding scripts.
Carson is there as well. Ashley is studying the script. Next to her is her teenage daughter, watching the room with intense, studying eyes.

ASHLEY
Honey, when you said this is a cold reading, I really didn't think it would be this cold.

CARSON
Geoff likes to live in a theatrical freezer.

GEOFF
Friends, I am waiting for the director, which will give you time to warm it up.

ASHLEY
I don't think this is the role for me. It's too serious, I'm not serious. Honey, if there is one thing I am, it's a comedian. If I play this as comedy the audience will leave. You're not Neil Simon.

GEOFF
It's comedic. It's a funny character.

ASHLEY
Sure she's funny, but she's a- she's a battered wife. She needs lithium and a two month stay at a state hospital.

GEOFF
That's where the comedy comes from. The contrast. Juxtaposition.

ASHLEY
It's not a contrast, honey. It's an emotional whiplash. I feel like you're putting everyone in a tumble drier and turning it on.

CARSON
You know what you need, Geoff?

GEOFF
Friend, all I need is for the director to show up.

CARSON
A dramaturg.

ASHLEY
I imagine Geoff fancies himself a dramaturg.

GEOFF
I used to tell people I was a dramaturg, when I was in college.

CARSON
'Because it sounds impressive but means nothing' that's what he used to say.

ASHLEY
Well, I'm sure that outside your dorm was a line of girls that stretched to the end of the block.

CARSON
Who doesn't want to fuck a dramaturg?

GEOFF
Does anyone want coffee? Tea? Orange juice? I always have orange juice. In the fridge. Always. I drink like two gallons a week.

CARSON
Orange juice is the ticket to sobriety.

ASHLEY
He mixes it with vodka.

CARSON
Bourbon, actually.

ASHLEY
Geoff, It's a reading, why do we really need the director? Don't you just want to know how it sounds?

GEOFF
I want to know how it sounds with a director.

ASHLEY
I'm going to be late for filming. I have a movie, Geoff, it's more important than the reading, unfortunately. We're going to be late for filming. What am I going to tell Steve? Sorry we missed shooting, I was busy not reading the next Geoffrey O'Doherty play.

GEOFF
(With a sudden burst of aggression)
You are well aware that a show is nothing without a director. Without a CENTRAL creative force!

CHORUS
Why can't you be the creative force, Geoff?

ASHLEY
Geoff, you're the creative force. In this script, in this show, in this room. We don't need a director right now.

It is then that Jack enters. Looking fantastic, smoking a cigarette. Completely unbothered, not frantic, fine. He takes his hat off and takes a script from off the table.
Ashley is full of an intense, consuming rage, stifled by the to-the-point energy being inflicted on her.

JACK
Act one, scene one. Geoff, read the stage directions for us.

GEOFF
'A small Chicago apartment, in early June. There is a coffee table with various empty cups, and a ratty sofa, on which, SARAH is sitting'

ASHLEY
'John? John, John where are you?"

CARSON
'Not home'

GEOFF
'Enter John. A middle aged banker, big, sharp eyed, and handsome'

ASHLEY
'I thought I heard you under the floorboards again'

CARSON
'I don't know what that means'

ASHLEY
'Like a little mouse… scurrying around'

CARSON
'Well, I wasn't scurrying. I was just walking. I'm going back to the office for the night'

ASHLEY
'You just left'

CARSON
'I have things I'm still thinking about. Things I can improve on.'

ASHLEY
'It can't wait till morning?'

CARSON
'By morning, there will be too many people there. I'll forget the idea'

ASHLEY
'Tell me the idea and I'll remember it. I have the sharpest memory of anyone alive.'

CARSON
'I'm going'

GEOFF
'John leans down to kiss her, and she sits forward, staring out'

CARSON
'I guess not. Goodnight.'

ASHLEY
'Goodnight'

GEOFF
'John doesn't leave. He just stands there.'

As they continue reading, it changes from a reading to a rehearsal of the show, the ensemble and Ashley's Daughter leaves, with Geoff stepping away and Jack standing watching them.

ASHLEY
'I know you don't want me here'

CARSON
'I don't want my wife in our house?'

ASHLEY
'I'm willing to leave. If it would fix all of this.'

JACK grabs Ashley's arm and moves it.

JACK
I like this but you're iffy.

ASHLEY
What am I iffy about?

JACK
Everything. I need you to breathe the character.

ASHLEY
Breathe the character… Carson, what is he saying?

JACK
Don't talk to him. Look at me. Look at me. Breathe the character.

ASHLEY
'Do you want me to leave, John'

CARSON
'Maybe I do'

ASHLEY
'I'm sorry'

JACK
You're not getting it.

ASHLEY
I get the character through and through. I've met- I've met her. I can see her, I know her favorite color, I know what the lipstick she puts on feels like. I am getting it.

JACK
You're not! Everyone knows that you're not getting it. Everyone in the room-

CARSON
Jack, we're off.

JACK
No, you're not.

The PRODUCER enters.

PRODUCER
They are.

JACK
Stupid fucking producers think that they can control art. They don't know anything.

Jack goes to talk to members of the ensemble.
Geoff enters.

GEOFF
I'm enjoying the blocking, friend.

CHORUS
What an ego trip.

JACK
It was a disaster

GEOFF
This seems unnecessary.

JACK
I don't like her.

CARSON
You want to get drinks?

ASHLEY
No, I need to bring my daughter home. I'm cutting through vines with her. That's the age she's at. Tense, tough.

CARSON
I'll buy you a machete.

ASHLEY
I called her father yesterday, asked him to come down, bring her to Europe with him. Or see a show. Or… anything. Do what father's are supposed to do with their daughters.

CARSON
And he said no.

ASHLEY
He asked me to hand the phone over. Which I did. And he told her no… do you have children, Carson?

GEOFF
Everyone knows you don't like her.

CARSON
(After a moment)
Probably.

ASHLEY
Well, if you ever do. I hope you treat them well. And good. Or at least you pretend to. Cruelty has no place around children.

CARSON
Maybe that's why you can't get into this performance. This role. At least to Jack.

ASHLEY
Oh, don't. Don't. I don't talk about work outside of the rehearsals. I don't even think about it.

CARSON
Sarah has no children.

ASHLEY
Sarah wishes she didn't have children.

GEOFF
(overhearing)
That's not exactly true.

JACK
No. She's right.

CARSON
Which in her screwed up mind is exactly the same as not having children.

ASHLEY
And I can't understand that…

CARSON
Where's your daughter? I'll bring her out for ice cream. Bring you both to a show. Just for tonight.

ASHLEY
You're so charming for a whore.

CARSON
Come on, dating your co-star isn't drama nowadays. It's encouraged. It brings people in. Everyone reads the tabloids.

JACK
Ashley you got it. You understand it. You have it in that thick head of yours exactly what the character is. Now perform it.

ASHLEY
What is your fucking problem? You little worm of a man. You want to be taken seriously, you dime store freak? Then be a serious director. Give us direction. Not platitudes, not nonsense. Because right now, kid, all you're speaking is nonsense. Christ. God fucking dammit. You know what the issue is?

CHORUS
Break the tension.

ASHLEY
I would've never said yes to this show if I knew I'd have to be anywhere near you.

CHORUS
Break the tension.

ASHLEY
I could ruin your career. You might be a man but I am a star.

JACK
You're a doll.

CARSON
Let's calm down.

CHORUS
Break the tension, Geoff.

PRODUCER
This isn't the time.

ASHLEY
I could put you on the world's stage. I could put you up there and tear you to shreds and no one would give a shit. You're nothing. You are a selfish little kid trying to imitate someone much greater than you. You can't fill those boots, you can't.

GEOFF
This is a waste of all our time.

ASHLEY
This is your fault.

GEOFF
We're making a show, Ashley. You want out of it, fine, but we both know that an actor who can't work with the hottest choreographer on Broadway won't be staying on Broadway.

ASHLEY
And without me, he won't be a director!

JACK
You're burnt out. Poof. There's nothing there!

CARSON
Oh, would you people stop this! This is ridiculous! This is bullshit!

The stage bursts to life.
We are now in a PARTY after the premiere of the show, at GEOFF's house.
The ENSEMBLE (Minus MOTHER, DELAYNA, and the now dead MARY) swap places with the chorus and members of the chorus are attending the party.
People are drinking, smoking and doing drugs.
Jack, Carson, Geoff, and Ashley, are enjoying the party.
Someone brings Geoff a drink. GEOFF gets slowly more intoxicated throughout the scene.

Ashley's Daughter runs up to ASHLEY

ASHLEY
Who brought you?

ASHLEY'S DAUGHTER
Dad did.

ASHLEY
This is no place for--

ASHLEY'S DAUGHTER
Uncle Geoff, I loved the show. It was so smart. Would you tell me your creative processes behind it?

JACK
"Creative processes" This kid puts Clive Barnes in the ground.

GEOFF
I'm not smart, you know that. Ask him. He's the director.

JACK
The creative processes were… being a wino and committable. In that order.

ASHLEY'S DAUGHTER
But, no, Uncle Geoff. Can I… follow you around tonight and listen to everything you say? I think you say such wonderful things.

JACK
What?

ASHLEY
You cannot follow your uncle Geoff around Tonight. And neither can I, we're going.
(To Carson, kissing him)
I'll see you tomorrow.

CARSON
Or tonight

ASHLEY'S DAUGHTER
(As she's pulled away)
I want to see it again tomorrow. And the day after that.

GEOFF
With how everyone's drinking tonight I don't know if we'll be on tomorrow. Or the day after. Including myself. I'm about two drinks away from shit faced. I'll call you Ashley, I promise.

ASHLEY and her daughter leave.

No, no, friend? Well quite quite quite How many of these have I had? I can't even remember the ending.

CARSON
If you can't remember, the answer is always too many. To good theater and good friends.

CARSON goes back to the party.

ROD approaches them.

ROD
Geoff, I'm sure you're getting tired of this, but that really was a fantastic show. You have a finger on the pulse of… well, of the world. More than America.

GEOFF
Thank you. Means a lot from the current king.

ROD
Between us, if I knew you could direct this well, Louis and I would've made you do more than just the choreography.

JACK
Keep me in mind for the next one.

ROD
Are you kidding? Anne hates you. You're an asshole.
(He laughs)
we're going to go… smoke or something. This is one hell of a party. Thank you, Geoff. You're fantastic. A fantastic writer. A fantastic friend. Host. Actor. All of them.

He goes.

JACK
I'm feeling the generational destruction.

GEOFF
Not new enough drugs for you?

JACK
Everyone is just fine.

GEOFF
Friend, I think you're a genius. Okay. I don't know if I've said that enough. I think you're a genius, Jack. I've put a few too many back tonight, but I think that you're the world's most wonderful man I've ever met. And I've met a lot of men. And what I'm saying is that if every man was like you, or if we got you and Richard Nixon in a room together, the entire world would collapse in. You could blow everything up…. We are connected. I can see into you but I can't understand it…

ANNE, PRODUCER, GOSSIP, and SHRINK approach them.

GOSSIP
(Kissing JACK to greet him)
You are far too young to be in this business. And far too fantastic to not be the king of the world.

SHRINK
This guy has been my client for 5 years on and off and I had no idea he was an award winning playwright.

GEOFF
Neither do I sometimes. This is Dr. Morgan Mendelsohn.

SHRINK
Mind if I-

GEOFF
Smoke, drink, gorge, cheat on your wife, I don't care.

SHRINK
(To Anne)
Real smart fella.

SHRINK goes.

ANNE
I always knew you had it in you, Jack. You're not a rising star, you're the sun. You're not going to be able to deal with how many offers you'll have on your desk. And women you'll have on your desk. And men for that matter.

JACK
Offers… Do you have one for that matter?

ANNE
God, no. Not as a pair and not sold separately. I think you're both fabulously talented, but I think if I ever have to work with you again, I'll pull my own teeth out! Fantastic boys, I'll see the next one. Front row.

Anne hugs them both and goes.

JACK
We'd be better off for it if she didn't have any teeth. So would half the producers in this city.

GEOFF
You should be nicer.

JACK
What would that get me?
(After a moment)
We do need the next one.

GEOFF
I need a composer.

JACK
Rod.

GEOFF
Rod is a double deal with Louis. I want to do the lyrics.

JACK
You could convince him.

GEOFF
Rod without Louis definitely means Rod with Anne.

JACK
Ah… We'll figure it out. And no Ashley.

GEOFF
Ashley and I come as a pair.

JACK
Do you want me or do you want Ashley Stevens?

GEOFF
You make… a point.

PRODUCER
Can I give my personal opinion?

JACK
The producer wants to give an opinion? Well that's never happened before.

PRODUCER
Know that I mean this with… Good intentions. Geoff, get this right. I hate this show.

JACK
Okay.

PRODUCER
I think it's cynical. I think it's bitter. I think it's a real slog. And the critics will think it's too funny, they'll think it's a summer comedy. But do you know who will love it? The audience. Those Midwesterners.

Producer goes.

GEOFF
You know, I'm a Midwesterner.

JACK
He knows.

Coming onto the stage, approaching them, is BOY WONDER. He is a very young composer, 20 at the oldest. Very energetic and bold.

BOY WONDER
(talking to friends off stage, hushed)
Shut up, shut up, I will- I- shh

He turns and very nervously approaches them.
Geoff puts a hand out for him to shake, which he does. It's very intensely awkward.

GEOFF
I don't know you... I like to know people. I like to know everyone.

BOY WONDER
Oh, I'm- I'm-- Hi, I love your work. I really do. I'm- I'm trying to write shows like you, and like your musicals. I really like your musicals.

GEOFF
Musical.

BOY WONDER
Is there really only one? Well, it doesn't feel like it. That's how much I like it. Its all I think about. That's good theater… Well, uh, let me introduce myself, I'm currently the rehearsal pianist for Rod Burnett and Louis Curtis' next show.

JACK
Congrats.

BOY WONDER
Anyhow, I'm just so in love with your new show. I loved that play and you're such a fantastic director.

GEOFF
He's not bad.

BOY WONDER
Anyways, what I was going to ask, since you're the host, well if I could play some songs from my own show. Since this is such an influential group. I know that feels out of line, but I'm sure you had to get started from somewhere too.

GEOFF
I just knew the right people. That's why I became an actor first. To meet the right people. Convince them I'm… a genius or something.

BOY WONDER
It would liven up the atmosphere. I think the moment everyone in the party decides to go off into their own little corners with their drug of choice, well I think you need to liven it up.

JACK
I imagine you're great at livening things up. How old are you?

BOY WONDER
20.

JACK
Oh, good lord.

GEOFF
Oh, darling.. this is not the place for you. This isn't the place for anyone. Get me another drink.

BOY WONDER
It isn't the place for me. You're right. That's why I snuck in. I saw it on Mr. Curtis' planner. Where I'm supposed to be is behind that piano performing.

JACK
Life is the performance and you're a one off, kid.

BOY WONDER
I don't have to be. Look man, someone gave you your chances. I've read your work, I've asked about you. I've snuck into these guys' shows since I was 15 years old. Now I want you to pay back Rod over there for writing a musical with a no one and let one of his students show himself off.

JACK
I like your attitude. What's your name?

BOY WONDER
It's Jeff too, actually.

JACK
No it's not.

GEOFF
Now or never, I can barely stand up. Come on.

Geoff leads him to the piano, Jack mindlessly follows.

GEOFF
Friends! FRIENDS! Friends and colleagues, and others, people, people, This kid here is… apparently quite good at what he does. And I believe that he is good at what he does. So he's going to play some songs for you, and you're all going to listen.

Geoff leaves, and a mildly stunned and insulted BOY WONDER sits down at the piano and begins to sing and play.
Jack goes to follow BOY WONDER, but he stops and listens to the song. BOY WONDER is giving it his all. He is a talented… pianist at least.

It brings us onto an empty stage, On the balcony of Geoff's house.

He is sitting on the ground, nursing a bottle of some type of liquor.

Mary steps down the risers and stands behind him.

MARY
You're a side character.

Jack enters with a nervous Boy Wonder next to him. He is on something, with a frantic energy and big bugged out eyes.

JACK
I FOUND OUR COMPOSER!

Jack starts to say more but Boy Wonder stops him and they go back inside.

MARY
Hiding at your own party is such a Geoff move.

GEOFF
Who are you?

MARY
You know who I am. We met once or twice at parties, at your premiere, at the Tonys.

She sits next to him.

I know you know me. Mary Corey. Dancer, choreographer, actress. Everything.

GEOFF closes his eyes.

You wanna hear a story? When I was a little girl, I mean, 12 or 13, like, like the age of Ashley's little girl? Well all the other girls would smoke to keep the weight off, but I was naturally heavy, so I did heroin. It kept me chic right through my 30s.

GEOFF
Did you stop?

MARY
I swapped it out. I swapped it for uppers in my 40s… This work is hard! No one ever tells you how hard it is. They act like it's just, other people who make it hard. People with the money and the power to keep you down that you have to constantly be fighting. There's always another rung, right? But that's not it, it's just hard. It's painful, it torture. It's like you're putting your mind through hell every single day, for years, years, years and years. And what do you get out of it? Well nothing, until you die. So I needed energy, I needed more, I needed to be up and up to keep going.

GEOFF
And it stopped you.

MARY
It did. It threw me right off this balcony, well not this one. Or not any. I died in a bathtub. 3 abusive husbands behind me. No kids. A great big penthouse. More awards than any woman before me ever had. And I died alone, in a bathtub. Isn't that something?

GEOFF
Do you want some?

MARY
I just want to see you. Talk to you. I wish I was at this party. I'd be having a ball! You should've invited me! Why didn't you invite me, Geoff? I know we're not really friends, but we're buddies. You invited me to the last one, and I always invited you to mine. So why aren't I here?

GEOFF
You are.

MARY
Why aren't you there then?

GEOFF
Just needed a break.

MARY
At your own party? In your own house? That is the break. That's the silence. You came out here and I won't leave you alone. So you either need to go back to the party or you need to throw yourself off this balcony!

GEOFF
We can just keep talking.

MARY
Do you want to?
(After a long moment)
I just love conversation. I love connecting with people. Feeling people. Really getting into their minds. Isn't it just fantastic? It's wonderful. There hasn't been a single person I ever met who wasn't wonderful. They all just feel me with wonder.

GEOFF
I'm going to be sick.

MARY
What did your Dad used to say? You never said it to me but I know that he said it to you.

GEOFF
'If you can't handle your liquor, you drink until you can'

MARY
Oh! He was insane. And Polish.

GEOFF
There was this… actor.

MARY
In your first touring show? He used to give you gin to help steady your nerves.

GEOFF
He was gorgeous. No, that was my-

MARY
5th touring show. You lost your virginity to him.

GEOFF
That's it. I hate this business.

MARY
You could teach. Or kill yourself.

GEOFF
Did you teach?

MARY
I was going to, eventually. Teaching is such a worthy profession. It's the purest thing anyone can do for the world. You help the next generation bring us forward. I never thought I had it in me. Maybe I want to stay with the past.

GEOFF
I don't.

MARY
That's what I like about you. You're always going forward, Geoff. Right now we're flying! So are you going to teach?

GEOFF
I don't have the nerve.

MARY
So you're going to kill yourself?

GEOFF
Not till the Tonys.

MARY
And maybe you'll win a Pulitzer!

Maurice enters from the party.

MAURICE
Hey, buddy! Pal! Friend! I have been looking all over for you. I really have to give my congratulations. You're fantastic. I mean, you write like a sitcom, and not one that would be canceled after 3 episodes. More like 5. I jest. You are a genius in your own right, man. And boy do you keep good company! I am just so honored to be your friend. Anyways, what I came here to say, other than to congratulate you, is that I am throwing a little party at my house on the cape, in a couple weeks, and I'd be honored to have you there. And I know that you're probably busy with the show, and that you- you work in those bit roles out in California, but I would just love to have you around. You seem like a really interesting person. Well, what I've mostly heard is that you're a bit of a weirdo, but interesting is all I care about….Well, give me a call, I'm in the city for a few more weeks.

Maurice goes back inside.

MARY
That guy is a piece of work! You know, I slept with him once. On a boat. Not the worst mistake of my life, but one of many… Do you have a cigarette?

GEOFF
I have never smoked.

MARY
They don't let you smoke when you're dead. It's a real bummer. Did you find it easy to quit? Because I didn't. It made me so depressed. I was lying in bed all day miserable because I quit smoking, which is ridiculous because smoking never made me feel very good in the first place.

GEOFF
What were you thinking?

MARY
I was thinking about slitting my wrists.

GEOFF
In the bathtub.

MARY
In the bed. I took an upper in the bathtub. Relaxed and then ZING and then my heart exploded or whatever. God, it was fabulous. What a way to go out, in your most raw and basic form. I hadn't even shaved my legs yet.

GEOFF
I'd like to die clothed.

MARY
And that is your right. As a man, as a man that's what you have earned. I want to go to the party and tell everyone about my next show.

GEOFF
You don't have a next show.

MARY
I am a true artist, Geoff. True artists always have a next show. Always. Even when you've started it, you're onto the next one. It's really a shame, it means a lot of shows never happen because the artist dies before they get to them. Can you imagine if every "next show" ever conceived popped into existence the moment they were pronounced dead? Well, there'd be a lot less tragedy in this world. A lot less…

Mary begins up the risers, as the chorus replenishes.
Jack's apartment. He is pacing, back and forth, very focused, precise. A dancer.
He does this for a while, as Geoff enters and stands and watches him.

Geoff has a bottle of sparkling mineral water and a small cake.

GEOFF
You always seem to be thinking.

JACK
I'm not.

GEOFF
I heard a rumor that you like mineral water and lemon cake.

JACK
You shouldn't listen to rumors.

GEOFF
You don't like them?

JACK
I do, but you shouldn't listen to them

Jack grabs two forks from a drawer.

I'll take the mineral water but we're splitting the cake.

GEOFF
I won't argue.

GEOFF goes to sit down on the sofa and Jack gestures for him to sit on the floor. He does so. Jack sits on the sofa behind him.
They pass the small cake back and forth.

JACK
So are you trying to tell me that you don't want me on the show?

GEOFF
Where'd you get that?

JACK
Coming in here all gentle, bringing gifts, what are you about to drop on my lap?

GEOFF
I'm celebrating the fact we're starting on our third show, that's it.
(Pause)
Why are you so suspicious, friend?

JACK
I always am. Why the gifts?

GEOFF
I like giving people things. Means more than just telling them they're fabulously terrific and wonderful.

JACK
Why do you do that?

GEOFF
Do what?

JACK
Get all flowerly.

GEOFF
Why are you so rude to… everyone and anyone you come across?

JACK
I'm serious.

GEOFF
Well, not everyone is as masculine as you, angel.

JACK
Tell me.

GEOFF
It's just how I talk. I don't know who in your life told you that everything means something, but sometimes it's just how I am.

JACK
I've never heard anyone who talks like you do.

GEOFF
You must know very few people, friend.

Geoff starts to get up. Jack stops him.

JACK
I think you should put your guard up more.

GEOFF
I pick and choose my battles, kid, and I like the battles I've got… Why should I put my guard up when it's just you and me?

JACK
You never know what I could do. That's what I'm working for. I want to work with you, but I don't want to trust you.

GEOFF
Will that make you work better?

JACK
I don't know.

GEOFF
If it works, it works.

JACK
That's your philosophy?

GEOFF
I love the sidelines.

JACK
I don't think you do.

GEOFF
Then why would I be there?

JACK
Because you know you can't do anything else.

GEOFF
I'm writing the lyrics, aren't I?

JACK doesn't say anything. GEOFF sits next to him.

JACK
Is the play any good? In your own mind?

GEOFF
What about yours?

JACK
I don't know.

GEOFF
I don't know. I think I'm always happy about everything, at least I try to be. If this show is good, we did a good show, and if this show was bad, our next one will be a lot better.

JACK
It can only go up?

GEOFF
Exactly!

JACK
I disagree.

GEOFF
And that is why you're so unhappy.

JACK
No, Geoff. I'm just saying that's not how it works.

GEOFF
In your years of experience?

JACK
People make bad things and good things and then more bad things and more good things and the only goal is to be allowed to keep making more things.

GEOFF
Who could ever stop you?

JACK
Death.
(Pause.)
Yourself.

GEOFF
Death…

JACK
You're closer to it than I am.

GEOFF
I don't like to think about it like that.

JACK
Shocking.

GEOFF
No, friend, what I mean is that if I spend my time thinking about how I am halfway through my life, I'm only going to be living half my life. People die at every age. I don't know if I have 5 years or 10 years or 35 years, or 50. You don't know if you'll die when you're 45 or 55 or 105. We can predict it, we can look at our family and predict our own deaths, but we will never know… My great-grandfather, on my mom's side, was an old Irish man, he was alive when I was a little child. I remember him laughing with my mother, how he might not as well bother to buy new clothing, since he'd be dead before he'd gotten the chance to wear it, and then he'd live a decade more. He died at age 95, a full 20 years after that.

JACK
I don't think I'll live to age 95.

GEOFF
God willing! The man was rotting away. My point is, see the future with open eyes.

JACK
I'm much more interested in the present.

Jack gets up, taking the cake and the bottle.

I'm grabbing a notebook. We're going to plan it out.

GEOFF
I have pages and pages of plans, Jack.

JACK
Recite them to me.
Jack goes.

We are now in ASHLEY'S living room.
Ashley enters with a bottle of aspirin.

ASHLEY
Geoff? Geoff, you are the only person I know who could have a hit play and still be this depressed. Other than myself.

GEOFF
I feel great.

ASHLEY
It's just a closing, Geoff. It happens to every show eventually. Can you imagine how it would be if one show took up a Broadway theater for, for, forever? That would be sickening.

GEOFF
I'm not sad about the closing. I'm not sad about anything. I just wanted to see my good friend Ashley before I head back home.

ASHLEY
That's not your home.

GEOFF
I work there. I own a house there. Jack and I are working on the next one, but I still have to go home.

CHORUS
It's just us there.

ASHLEY
Oh, yes I forgot. See, I always thought home was where you spent your time, where the people you loved live.
(She sits down on the sofa, handing him a tablet of aspirin)
Why do we celebrate the opening but never the closing?

GEOFF
If we celebrated every show that closed, the city would be sold out of champagne 365 days a year.

ASHLEY
We don't need champagne. Not you and me, honey. What we need is a big, tall glass of the cheapest scotch they sell.

GEOFF
Very working class.

He takes a swig out of the bottle and hands it to her.

ASHLEY
I pride myself on my roots… I am happy you stopped by today. Actually. Before you go. I was going to fly to Hollywood and see you next week and I guess this saves me the plane ticket.

GEOFF
That's clingy. That's excessive. And I have something to say to you too, that's why I came.

ASHLEY
if it's "I love you" don't say it.

GEOFF
It's not.

ASHLEY
Why don't we both say what we need to say at the same time as each other.

GEOFF
Ok.

ASHLEY
One, two, three…

GEOFF
(in partial unison with Ashley)
I want you in my next show and I promise I'll keep Jack--

ASHLEY
I'm dying of liver failure.

GEOFF
What?

ASHLEY
What a mood killer, right? Judy Holliday and I, two of a kind… though that was breast cancer. Well the doctors say it's too late. I think I've been hiding it pretty well, I've known since 69.

GEOFF
And you didn't tell me.

ASHLEY
I was going to tell you when you could tell. But it's too late now, so I think, what the hell, I look great!

GEOFF
What about--

ASHLEY
Her father will take her. Which is fine, he's grown responsible since I told him. And Carson, well Carson's making sure she's going to be able to deal with it. He brings her to church every Sunday, and he'll handle my estate. That's why we got married so quickly. I wanted someone there.

CHORUS
She's alone.

GEOFF
I don't know what to say.

ASHLEY
Do you want the bottle back?

Ashley pats his shoulders and gets up, going into the other room.
Geoff follows her.

CHORUS
(Variously)
What a statement.
Why would she say that?
Why wouldn't she say that sooner.
Why didn't you say anything?
Why didn't I?
Why didn't I?
What about her daughter
What about you?
What about you?
What about you?
I want you here with me right now.
She's going to die alone.
She's going to be alive.
She's going to stay alive.
She's standing.
She's alive.
She's alive.
She's going to die.
She's going to die and she'll never be back.
She'll never be back.
She'll never be back.
She'll be gone forever.
She'll be gone forever and you'll never see her again.
Or think about her
Or think about her.
You'll always think about her.
You're going to die alone.
She's going to die alone.
You need to be there with her.
You need to be away from her.
You need to be selfless.
You need to be selfish.
You need to be there.
What about you?
You need to be there.
What about you?
You need to be there.
What about you?

As the chorus continues, the set changes into a hospital room in Chicago. Laying on the bed is MOTHER. There is a steady beeping. It makes GEOFF incredibly uncomfortable.
Geoff enters.

GEOFF
Hi, Ma.

MOTHER
Where's your brothers?

GEOFF
They were just here, Ma.

MOTHER
But why aren't they with you?

GEOFF
Because I wanted to be with you. Just you and I.

MOTHER
My baby boy.

GEOFF
Are you in pain?

MOTHER
Where is Delaine?

GEOFF
Delayna?

MOTHER
Where did she go? That girl is my daughter.

GEOFF
Ma, they divorced.

MOTHER
But she's still my daughter. Best kid I ever had.

GEOFF
Do you want me to call her? See if she'll come see you?

MOTHER
She's not here!

GEOFF
She cares about you enough that she'll come if you want her to come!

MOTHER
She isn't here.

GEOFF
She isn't. I'm sorry. I'm sorry, Ma.

CHORUS
No you're not.

MOTHER
Why are you here? Why are you-- Why are you alone? You should have someone with you. It can't just be you and me.

CHORUS
You're not sorry.

GEOFF
It's just you and me.

CHORUS
She should be the one who's sorry.

GEOFF
It's just you and me, Ma.

MOTHER
You're paying for this.

GEOFF
I am. I'm making sure you're getting the best care in--

MOTHER
You're paying for this. You're making it happen.

GEOFF
I really do owe you everything, Ma. You're not wrong. I owe you everything. I'm paying you back.

MOTHER
Why are you making this happen?

GEOFF
I don't have enough time to pay you back all that I owe you. It would take the rest of my lifetime. I love you.

MOTHER
Why would you do this to me?

GEOFF
And I want to make sure you're not in pain. Are you in pain?

MOTHER
Where are your brothers?

GEOFF
Do you want me to get them?

MOTHER
Where are your brothers?

GEOFF
I can go and get them, Ma. I can get them and bring them back.

MOTHER
(SCREAMING)
Take him away! Come back!

GEOFF
Ma, it's okay.. it's okay. It's me, Ma. Why are you yelling? Ma, it's okay.

MOTHER
My son.

GEOFF
(So gentle)
That's me, Ma.

MOTHER
My son.

GEOFF
I'm here, Ma.

Mother is full of a seething rage that she cannot express, bridled by her health.

MOTHER
My homosexual son.

GEOFF
I love you, Ma. Are you in pain, Ma? I don't want you to be in pain.

MOTHER
Homosexual.

GEOFF
I'm going to make sure you're not in pain, I don't want you to be in pain. I will talk to the doctors, I'll yell at them. I'll make sure nothing hurts. I'll make sure you never hurt again.

CHORUS
It's too late. Everything you say only makes her hurt more.

GEOFF
They'll up the morphine, Ma. They'll warm you up, just tell me what hurts.

The chorus speaks over then now, quietly.

CHORUS
You're the reason she hurts.

GEOFF
Please just tell me what I can do, Ma. I'll do it. I'll do anything.

CHORUS
You're not just killing her. You're torturing her.

MOTHER
Sick in the head. Sick in the head.

CHORUS
You're ripping into her flesh.

GEOFF
Do you hurt?

CHORUS
You're watching as her skin splits apart. Melts and shows you her blood.

MOTHER
I HURT! I HURT!

CHORUS
Her bones. All revealed because of you.

GEOFF
Don't hurt! I don't want you to hurt! HELLO? DOCTOR?! DOCTOR?

CHORUS
There's nothing you can do to help her. You've already done it, Geoff.

GEOFF
I will help you! I'll get the morphine upped. I'll make sure the morphine is as high as it can be, Ma.

CHORUS
It's too late.

MOTHER
I DON'T WANT ANY GODDAMN MORPHINE!

CHORUS
It's too late, Geoff.

GEOFF
I'm sorry.

MOTHER
Homosexual. Homosexual. That's what you are. Homosexual.

GEOFF
I'm sorry, Ma.

MOTHER
I will never forgive you for that.

GEOFF
(getting up)
I'm sorry, Ma.

MOTHER
I will never forgive you.

GEOFF
I love you.

MOTHER
I will never forgive you.

GEOFF
I love you.

MOTHER
You disgust me.

GEOFF
I love you.

MOTHER
I HATE YOU!

GEOFF
I love you! I love you, Ma. I love you so much! I love you! I love you! I love you! I love you! I love you! I love you! Isn't that enough?
It isn't.
Things seem to leave quite quickly, as we are now on GEOFF'S PORCH
Anne enters, wearing all black.

GEOFF is smoking a cigarette. This is the one and only time he is smoking throughout the entire show.

As is Anne, who enters and stands next to him.

ANNE
Would you?

He lights her cigarette.

That's one dreadful party.

GEOFF
(Chuckling)
I have no idea what she expected. "They have to celebrate my life, not grieve my death." Well, Ashley, they're grieving your life, does that work? God, she'd be back there pouring everyone drinks, trying to get them to sing and laugh.

ANNE
Maybe that's what you should be doing.

GEOFF
I can't.

ANNE shifts.

ANNE
It's surreal. 43 years old…

GEOFF
I brought Carson home after the funeral. And we got to his house, and I couldn't move. I sat there, he wanted me to go in with him, but I was stuck. And he turned to me and he said, "what do I do now, Geoff?" And all I could say was, "Go inside." I wasn't. I was cold, I wasn't- I didn't try to comfort him, I couldn't find the words to comfort him- I just told him to go inside.

ANNE
You could never comfort him.

GEOFF
I could've tried.

ANNE
Nothing anyone can say will comfort you either, will it?

Silence.

GEOFF
She didn't live a life of joy and excitement, she made others happy, but her life, her entire life, was full of pain and grief and people hurting her, and pain, and exploitation, and I don't understand why the world would do that to someone, and then kill her at 43. When people die that young, they should've had the right to live a happy and fulfilling life, you can't just torture someone and then shoot them and expect us to be grateful for the time they had! What life am I supposed to be celebrating?

ANNE
You're going to feel that for the rest of your life.

GEOFF
I know.

ANNE
Death means everything. It pops up like a beast, and pulls you under. And it's never fair. It's too permanent to ever be fair. When my mother died, I remember when I heard it and what I thought was, "All that trouble, and all she got out of it was death." Some say it's like being put at peace, finally, but if it takes death to put you at peace, what's the point?

Silence.

GEOFF
My mother died a few weeks ago.

ANNE
It's been a hard few months for you.

GEOFF
It should be harder than it has been. Everything has been still and quiet. I don't think the wind even blows anymore.

ANNE
Is your father still alive?

GEOFF
No. About 15 years ago… It's like eras, eras in my life defined by death. Someone dies and everything changes, but everyone else stays the same. That was with my father, and then with Billy. But now they're dead, and it's not at all like that, nothing has started, nothing has ended. Ashley is dead, and everything has stayed the same but I'm different. Life is continuing without me because it's continuing without her.

Silence. Anne knows exactly what he means.

ANNE
When I was in highschool, a girl in my class died. I didn't know her, I don't remember her name. It was something typical, a car accident, something like that. A tragedy, but commonplace. Everyone was a bit sad, but we all moved on. I never really knew her. And yet, sometimes I'll be out shopping, and I'll be behind a lady at the check stand, and I'll notice her shoes are the same shade of red as that girl's shoes at our junior prom, and like someone pressing into my ribs, I can feel the empty space that she left. Just space, like air that's been vacuumed away, that we'll never get back… and Rod will laugh or smile, and I will look right at him and I can hear our mother, or see her wrinkles that form by his eyes, and then in less than a second, the moment passes, and it's just Rod, no one else. I think people take with them, when they die, they take a bit of the world, and that's never coming back. It's been pulled away. And you'll never get over it.

GEOFF
I can't get over it. It's surrounding. She was the only one who knew me, the only one who I really ever knew.

ANNE
You died with her, then. But you're still filling the space.

GEOFF
That's selfish of me.

ANNE
Maybe, but we do appreciate it.

They both look out past the audience, as GEOFF puts out his cigarette, and we transition.

GEOFF is now standing by a piano, being played by BOY WONDER.
Also nearby, sitting with a couple of his groupies, is JACK.
Jack is smoking something and tapping his foot to the rhythm, enjoying the music, very into it.
It is GEOFF's parents' house, now just his.

CHORUS
And just like that, you're back to the theater. The theater is always there, waiting for you. As it always has been.

CHORUS
And just like that, you're back to the theater. The theater is always there, waiting for you. As it always has been.

WOMEN
How beautifully consistent, Geoff.

MAN
How human!

CHORUS
The theatre is always there.

BOY WONDER
Oh, the lead starts singing--

GEOFF
I can read music.

JACK
Can I just say that it's fantastic? It's fantastic. The music. The lyrics. It's fantastic. You're fantastic. It's fantastic.
(Handing the cigarette off)
Okay, okay, Geoff. We have to look at this critically.

GEOFF
We should read another scene.

JACK
I don't need to see another scene.

GEOFF
We'll get Rod and Louis and Anne and Maurice and Carson, and they'll give us real feedback. Professional feedback.

JACK
They lie. I don't.

GEOFF
How many days have we been here?

BOY WONDER
Here? In this house?

GEOFF
Yes. What day is it?

BOY WONDER
We've been here for 5 days.

GEOFF
And what have we done? We have drank, we have smoked, he has had a copious amount of sex, and what have we gotten out of it? A musical. We made a musical. Jack has witnessed the birth of a musical and it's time to cut the cord, we need some new eyes.

BOY WONDER
Maybe we just need to rest our own.

GEOFF
I don't want to rest, I want to write this show.

BOY WONDER
We've already written it, man. Listen, I want to go see the city. I've never been to Chicago. I want to go pick up some… girls, relieve some tension.

JACK
We can't stop you.

GEOFF
You're the most wonderful person in the world.

BOY WONDER
Not yet.

BOY WONDER goes.

JACK
Boo. I love that kid. Real inexperienced. A pretty good lay, too. But real inexperienced. We can mold him into whatever we want.

GEOFF
I need constant ambition. He doesn't have it.

JACK
But he does have the music.
(To the groupies)
I'll give you all the callbacks.

The groupies start to leave.

ADAM
We loved the show, Mr. O'Doherty.

Once they're gone, Jack seems to relax.

JACK
I like it.

GEOFF
It's great.

JACK
I feel awful. One too many dexedrine and one too many drinks.

GEOFF
Sorry to break your sobriety.

JACK
I'm such a lightweight. The only reason I don't drink is that I make bad decisions when I do. But, this, what we're doing here tonight, this is a good decision.

GEOFF
Yeah? Well, I feel sick. The things that went on in this house. I was barely raised here. My childhood room was just a bed without any blankets and an empty dresser, I was always out working.

JACK
You're an empty dresser.

GEOFF
So, who were they?

JACK
The audience?

GEOFF
Did you pick them up on the street? What?

JACK
They're dancers, Geoff. This was their second audition. I went to an open advanced modern class, picked out whoever I liked the most.

GEOFF
Isn't that… that's exploitative.

JACK
But it's fantastic, isn't it?

GEOFF
It is. Gone are the days of women getting to spreading their legs for a leg up, now men have the exact same opportunity.

JACK
(Putting a cigarette out)
They always did.

GEOFF
With you, maybe.

GEOFF begins to look through his things.

JACK
What's wrong?

GEOFF
I need an aspirin.

JACK
Were you fun when you were young?

CHORUS
(Each line overlapping)
I am fun
I am young

GEOFF
No. I was boring. That's why I have such a circle of friends. Everyone loves plain people.

JACK
They can be a nice contrast.

GEOFF
The most important part of my life is being the life of the party. Where are you from? You've never told me.

JACK
Nowhere interesting.

GEOFF
Are your parents still alive?

JACK
Yeah, we don't talk much. I haven't seen them in, God, over 15 years… My parents are pretty weird folks. I was one hell of a dancer as a kid. I mean, so good that you could ignore that I'm short and ugly and my smile is crooked. My Dad was pretty delusional about it, though. Brought me from revue to revue, all over the country.

GEOFF
You drop out of school?

JACK
Yup. Well, they took me out. 11 years old.
GEOFF
No correspondence school?

JACK
I don't know what that is.

GEOFF
I'm sorry.

JACK
God, no. No, I wouldn't trade this for anything. I wouldn't trade it for all the education in the world. For all the knowledge in the world. Nothing, and I mean nothing, beats the lights in your eyes.

GEOFF
And the applause.

JACK
No, the moment before the applause. The collective breath. That's what I loved. That moment right before everyone starts clapping, like a millisecond, it's the air.

GEOFF
It's work. Were you made to dance? I mean, was it your parent's idea?

JACK
Well, what three year old wants to dance? It's always the parents. Even if the thing is throwing a fit, wanting to be a ballerina, it's always the parents. They made the right choice, dance found me. Showbiz found me. They pushed me toward it but I would've quit if it wasn't made for me… Dad's hard work paid off, 13 years old, got my first broadway role, Mary Corey's Sandals and Sacrilege. Said I was 16. Mary really took me under her wing.

GEOFF
This is certainly a revelation.

JACK
You think I wouldn't kill to be back on a stage? But I can't do it. I never had a future in it. I was Mary's project. My parents couldn't handle it, me turning into a teenager, and Mary thought I was the most terrific dancer in the world. Maybe I could've been. My Dad said to her, since they became friends when I was in Sandals, "It's a shame that the kid's gotta leave this behind–" My sister had just been born, my folks were nearly bankrupt, and… Mary took me in. She said she didn't want to see a talent like mine go bust because of something silly like money. She and her husband took me in like a stray cat, trained me– taught me everything I know– put me to work. Lived with them for years. Dance is everything. It's all that mattered.

GEOFF
Why'd you stop? Why aren't you Fred Astaire?

JACK
(equally humored and bitter)
I could dance. Not much else. I can't sing, I can't act. Mary tried with me. She and I were in a show together, when I was 18. I played across from her. I was so… young and awkward and... I had no idea how she didn't laugh every night during the seduction number. We had to cut most my songs because I can't hold a tune… Show went to shit in Boston. The asthma kept me out of the army, so I'm grateful for it, but January air in Boston? Plus pills, they had me on dexedrine, because if you take enough of it, it sorta helps. We all told ourselves that if we pushed through it, I'd be fine, so I just kept pushing and pushing and pushing and then next thing I know, I'm spending a week in the ICU. I'm fired because, well, I couldn't dance anymore. I still can't dance like that anymore. Mary was good about it though. Recast the role, she hired me as her assistant. Show flopped, though… I love dance. I do. It's really how I see the world. Some people, they have inner monologues, but I don't, I just have dance. It's how I process everything. Every color, every taste, every smell, every emotion, it's all dancing. It's all movement. It's not in my bones, but it's a film around them that everything else is attached to. Dance and I are not one and one, we're the same. We move together.

GEOFF
I think you're very special.

JACK
See, everyone says that, and yet, and that is what I like about you.

GEOFF
You like that I praise you?

JACK
I love that you praise me, but what I like is that you're unremarkable. You have cemented your way into everyone's life by being the only sane one in the room, the only one whose throat isn't being throttled by the spirit that looms over us.

GEOFF
You don't know that.

JACK
(With an intense, neverending burst of love and energy and intensity)
But I do know that! I look at you and I see someone who has everything together, he's one with himself and nothing else! I see someone who will live and die and die and live just like Geoffrey O'Doherty, nothing more, nothing less, and that's perfect! That's exactly what I need, that's what we all need. And I want you to promise me that we'll make this musical! I don't do promises but you do, and for you I'll promise, but I need you to promise me back that we will do this musical and this musical will be great because you are the humanity that Broadway needs! You're the only human one in the room, Geoff! The only human on this planet of aliens! Have you ever tried cocaine?

GEOFF
Yes.

JACK
(laughing for a moment, then:)
I think I'm very alone, Geoff.

GEOFF
I'm with you.

JACK
You're alone too.

CHORUS
I don't know how you stand it, Geoff.

GEOFF
No, I'm not.

JACK
I envy you.

GEOFF
Why? What's there to envy?

JACK
Direction and choreography, unless they're on tape, they're very finite things. They shape a show, sure. But we will never know how Shakespeare looked. We will never see it with our own eyes. In 70 years from now, I'll be all gone.

GEOFF
Then you should make pictures, Jack. Go out to Hollywood. They'd take you in a minute.

JACK
My love is the theater, and it's finite. The only thing that sticks, that stays, is the words. And you get to write the words.

GEOFF
You can do that. You could write a play.

JACK
But I can't. But that's all I want, right? And I can't do it. Dancing wasn't enough, so I direct, and that isn't enough, so the next step is to write and I just can't do it. I don't have it in me. I don't have the personhood.

GEOFF
I wish I could help you.

JACK
So, even though you're terrifically normal, plain, human, you'll be the one who lives and dies with this play in your name. Long after anyone who has seen it is dead, the words will still remain. It's yours. It'll always be yours. I'm afraid that when I'm 65, I'll look out over my life and think, God, I've really done nothing. I've directed shows and choreographed and danced and really I've done nothing. Because it's over with. That moment right before the applause is over, it's fleeting, out of their minds. I'll be a legend, and that's all.

GEOFF
Not too bad to be a legend.

JACK
It's mythological, Geoff. Mythological. I don't want to die like that.

GEOFF
Things get different as you get older. You gain a new perspective.

CHORUS
No you don't.

JACK
Not me. I've been the same since I was 12 years old. It's always been the same. Different coat of paint.

CHORUS
Why don't you help him?

GEOFF
I promise you.

JACK
What?

GEOFF
I promise you the show and I promise you… the show. I promise.

There is a moment. JACK begins to do stretches. He stretches his calves, touches his toes, rolls his shoulders, he's warming up as they continue talking. Jack is very nonchalant now.

JACK
Is the stammer real or do you put it on because of the roles you take? I always wondered that. I used to see you on TV as a teenager and wondered about it. It humanizes you. I bet it gets you roles.

GEOFF
I like to keep people guessing.

JACK
I guess about you all the time. I think I'm usually wrong, the more I learn about you the less I find.

GEOFF
Sure.

JACK
Have you ever tried to off yourself?

GEOFF
What?

JACK
I get the feeling you have.

Geoff is stunned, at a loss for words.

GEOFF
Why would I?

JACK
I don't see much in your life I would live for, personally.

GEOFF
I think you say things to push people away from you, make them a bit afraid.

JACK
Maybe. I'm a very angry person…

Geoff looks at Jack, takes him in, and then says, carefully, like he's telling a story:

GEOFF
I went to college in Chicago and then the year afterwards, I moved in with my older brother, Tony, and his wife Delayna… I sorta lived there, Chicago, as a kid, but I was out in Ohio or touring or whatever throughout most of my childhood. My childhood room was just a mattress and an empty dresser, because I wasn't ever there to make it my own. So I went to college, and I said to myself "I'm going to stay here, I'm putting down roots" I was a pretty content young man, though Carson had already moved out to work in the movies. I was drinking a lot but other than that I was real happy. I love kids, I love my nephews, so I was happy to be living with them, being able to take care of them some nights, and being a good uncle. Anyhow, I auditioned for this show, it was a new play, and I got the first callback-- now mind you I had already been in about 70 plays by that point in my life, and I'd been auditioned for about 300. I had a thick skin, I knew the deal, I was prepped and ready for rejection, and then I got the second call back. And then... I didn't get the role. Which was fine, I felt pretty low about it, but it was fine. Delayna and my brother went out the night after I got the news, left me with the kids for a weekend, which was fine, and I think the moment they closed that door, and I don't know if it was related, that lowness was replaced by this cloud, like a light in my brain had burned out. And so I called up my oldest brother, Bob. He lived up in Milwaukee at the time and Delayna and Tony were going up to see him, so I called him up and said, 'When they get there you have to tell them to come back, you have to tell them to come back' and of course he was confused, asking me why he needed to, and what was going on, and I didn't have an answer. I was just being absolutely crazy. Now my brother Bob is 12 years older than me. We were not hardly raised together, by the time I was old enough to be his little brother, I was already out working, so he and I, well we never really knew each other. He didn't hate me or anything, he just thought, and still thinks, I'm a little odd, doesn't really understand me all that well, and well nowadays he doesn't talk on behalf of the homosexual thing, but that's a different fish on a different line. Anyways, he asks me if the kids are okay, and I say they're fine but I'm not sure for how much longer. Bad phrasing, bad bad phrasing, because that makes him panic and a couple hours later who shows up but the police and-- and Delayna's parents. Really marvelous. The police make sure I'm not planning to kill the kids, or whatever it is that Bob got from what I said, and then they leave. Susan and Larry, the parents, now they're less than pleased. They tell me to get out until they can talk to Delayna. They didn't want me around the kids, they said no matter what I told the police, they don't trust me one bit. And so they kick me out for the night, and well, the lights in my brain are just completely burned out, I hardly have the will to deal with myself and this is where I really show off my genius ability to reason, I just go out with the intention to bar hop all night. Very reasonable, but the thing is, I get to the first bar, which was my favorite place at that age, which was this very very shady, unlicensed place, and well, I have a few shots and then sit there all night, I can't even really bring myself to move. The bartender is a friend of mine, and well he and I go back to his apartment after the place closes, and well, I was a very neurotic young man, I knew I was a queer but I always had to ease into it, so he's trying to make moves on me as we get into the townhouse that he's living, and we get into an argument about it and he shoves me down the stairs. He's very apologetic but I'm not drunk enough to forgive him, so I go out and find my way back to Tony and Delayna's and I sit on the sidewalk by the gate, because I'm not going to get myself arrested trying to Susan or Larry to let me in, so I'm just sitting there for hours, and right as the morning sun begins to appear, guess who shows up but good old Tony and Delayna. Now Tony is real pissed. I mean real pissed. I have not seen him more angry since then, and he was not wrong to be, I mean here I was, the guy he left in charge of his kids, sitting outside his house, drunk and roughed up, while his in-laws took care of the kids inside. Delayna is pretty angry herself, but she's trying to defuse it, she's trying to work it out, that's what Delayna does, when good old Larry comes out the front door and sticks the family shotgun right up against my head. Tells me to get out of here, tells me to go. Now Tony and I are not the closest, but he also wasn't quite swell on the idea of me getting shot in the head. So Tony wrestles the thing out of his hands, turns out it wasn't even loaded, and gets real close to beating him before Delayna starts crying and begging, his own father in law, and you know, now the neighbors are all awake and before you know it the cops are back at the house and we're all being spoken to. I'm tired, I've barely sobered up, and I am just completely and utterly done, so I'm standing there, and I tell the cop who is trying to question me that I wouldn't much mind if Larry shot me. Turns out that the neighbors didn't see the gun, all they heard was the fighting and now the cops are asking about the gun, why Larry had a gun to my head, and I got Delayna bawling her eyes out, the kids are all crying as their grandpa is taking away in handcuffs, Susan is telling me she's gonna kill me that she's gonna send her brother out to kill me because I got an old man arrested, and Tony, God, Tony was bright red, the poor guy was so embarrassed. Delayna goes with her mother to go bail her father out of jail and Tony tries to get the kids to calm down, and I go and sit in the laundry room. And I'm sitting in the laundry room, I'm sitting there and I realize that well, and I do hate to be so dark, but I was much bolder at that age, I was realize that I could hang myself from the ceiling fan! So I start on that, and as I'm standing on that chair, trying to figure out the exact method for this sorta thing, Tony comes in, knocks me off and beats me more than I've ever been beat since. Tony had never as so much touched me since we were little kids-- he knocked out 3 of my teeth-- which he paid to fix because he's a good brother-- and then held me down on the ground, all upset and crying. And so I spend the next two or so days just hiding in my room, because really how are you supposed to react to that sorta thing? Boy did I feel bad, even though all the trouble was solved within a few weeks! Everyone forgave each other, and I eventually, I mean a couple months later, felt that light bulb in my head light back up... It's burnt out before, but I have an analyst, and I have friends and means, it won't lead there anymore.

JACK
(enamored)
You sure have a lot of words.

GEOFF
I was-

He decides not to tell the truth.
I'm sorry.

JACK
It's okay.
(Looking around)
What are you going to do with this house?

GEOFF
Sell it, maybe. I don't know. My brothers don't want it, I was the only one who would even come near it. My mother before she passed was living with my eldest brother, she didn't even really want to be here. They did the upkeep though. Made them sick… I was the youngest, I was the favorite, I was beat a lot less, so it's easier for me to be here.

JACK
Your father beat you?

GEOFF
(humorous)
Didn't yours?

JACK
No. My father is a good man. Different priorities. Different types of people. My body was very valuable to him. They kept me under their thumb, they were so worried about me getting hurt or sick or fat.

GEOFF
My father was… in a lot of pain. Throughout his life. Blue collar, factory work. He wasn't built for it. He played it up, he made everyone think he was built for it, but he was sickly. He hated it, he hated that he was sickly, he wanted more than anything to be built for it. But he wasn't… my brothers, my brothers wouldn't let their kids around him when they were young. You know how it is. Or maybe you don't. I'm saying too much. But my point is that by the time I was 8 years old, I was making more than he was, and he didn't like that one bit. I kinda think it's funny now, I mean, now that they're both dead. It wasn't funny at the moment. Once I was 12 and my mother would let me act out on my own, no matter how bad it got out there, and believe me when I say it got bad, going home would always be worse. It's like a bad novel you get at an A&P, the sad backstory… I was considering burning it down, I mean, getting the permits and everything, not arson.

JACK
That makes sense.

GEOFF
I won't do it though. I'll just sell the house. Or convince my brothers to decide what to do with it.

JACK
Were you the black sheep of the family?

GEOFF
No, I was just the faggot little brother.

JACK
Me too. Though, I don't have any brothers.

GEOFF
Sisters?

JACK
A younger one. She's in highschool. I've never met her.

GEOFF
Will you go to her graduation?

JACK
No, but I'll call her. We've spoken twice. She barely knows me. I don't want to intrude. I sent her and my mother a nice set of wine glasses. I assume she'll be the type who likes to drink wine. Just from the junior high portrait of her I have.

GEOFF
I always wished I had sisters. I mean, Tony, his wife and I- she's still alive, they just divorced, well she was my brother's highschool sweetheart, so when I wasn't out touring, she was always in and out of our house. She was nice. She was like a sister. Is like a sister. We still talk. I prefer women, as friends. As writing subjects. Easier to be friends with women.

JACK
I disagree.

GEOFF
We're different people.

JACK
I wish you'd write more men. It would make my job easier. It's easier to direct men.

GEOFF
Harder to work with them…

CHORUS
Especially him.

GEOFF
Every woman I've ever met is sad. All of them. Even the happy ones. They're sad. There's something so tragic about every woman I've come across, it's a real thing. That's why they're great to write, you're halfway to conflict just by having her there.

JACK
I don't think anyone's ever thought of that before.

GEOFF
Ah, does it make me too unique for you?

JACK
just disturbed. Can we clear some things? Move them, furniture. I want to move.

GEOFF
(As he begins to move the furniture)
What's to move to?

JACK
The atmosphere.

Jack stops, then gives Geoff a big hug. They're both silent...
This brings us into our transition, and to:

CHORUS
What does absence do when it doesn't make the heart grow fonder?

DELAYNA and GEOFF are getting lunch.
Neither seems comfortable, like there's a force sitting between them keeping them from having a real connection that was once there.

DELAYNA is newly divorced and very happy, but she's over doing it. She is trying to present herself as on the market.

GEOFF idolizes her.

DELAYNA
What I'm saying is that you don't exactly look swell.

GEOFF
We've been busy.

DELAYNA
Do you like it?

GEOFF
I think I'm really getting a hang of this whole "librettist" thing, except I'm doing the lyrics too this time.

DELAYNA
So it's going to play here first?

GEOFF
It's best to test a show with an audience.
(After a beat)
but we haven't cast yet, it's not going to be for a while.

DELAYNA
I'd like to meet this composer and what's-his-name, Jack? They sound otherworldly.

GEOFF
They are. So are you, though.

He leans back and starts looking for the waiter.

DELAYNA
You're such a sweetheart. But I think everyone knows that… I'm thinking of moving to Tennessee. You know, I haven't lived there since I was a little, little girl, and well I think I should reconnect to my roots.

GEOFF
I agree, that would be good for you.

DELAYNA
Geoff, you're so accepting. That's what I like about you, there's no question. I never look at you and expect the answer "no" You're great that way.

GEOFF
You're welcome.

DELAYNA
And of course I won't be abandoning my family. I'll be coming up from Tennessee to see the boys when they're on break from college, and to visit the grandbabies. It's all different, but it's still the same.

GEOFF
60 years ago, saying that would've gotten you institutionalized.

DELAYNA
Isn't that fantastic? We keep on marching. I'm marching.

She lights a cigarette.

Did you hear about Bobby Fisher?

GEOFF
I've read about it. Passively. In the paper. Glancing at the paper. I'm not interested in chess. Or the soviets. I only read the reviews nowadays. And only to get angry.

DELAYNA
Well, it IS a story. American resilience. That's what it is. American strength and resistance.

GEOFF
Against the soviets?

DELAYNA
Against the soviets. I cannot believe it. I didn't know you could feel so proud for a man I've never met. It's like the entire world makes sense again, a haze has been lifted. The future has been possible.

GEOFF
I am enthralled by you. You are a thrilling woman.

DELAYNA
Geoff, you should write a musical about it.

GEOFF just looks at her for a long, long moment. She balances her cigarette on her lip as she takes out her wallet.

GEOFF
You don't have to pay, friend.

DELAYNA
I want to pay.
(After a moment)
I'm a free woman now, Geoff. And it's wonderful.

CHORUS
Isn't it wonderful, Geoff?
Isn't everything wonderful?

The chorus continues into the transition, as we go from a restaurant to auditions for the show:

I'd love to be wonderful
Everything is wonderful.

ANNE
Auditions are the most wonderful thing.

ASHLEY
Auditions are the most humiliating thing.

CARSON
Show the tit of desperation to any Prince, Feuer, and Mackintosh.

ASHLEY
If they're not making you strip down…

MARY
They're making you strip down.

CHORUS
What a thing to inflict! The worst moment for any actor. Not that you aren't aware. It happens over and over again.
It would be less cruel to line them up and shoot them!

ANNE
New voices, new faces, the next big star.

LOUIS
The next big project.

ROD
Teaching pretty boys to sing.

MARY
And pretty girls to sing.

ASHLEY
The only people who like auditions are sociopaths and serial killers.

PRODUCER
That gives a bad name to sociopaths.

CHORUS
What a thing to inflict, Geoff.
What a cruel cruel thing!

WOMEN
You're nauseatingly cruel.

MEN
I cannot believe you!

The stage has been transformed. Sitting at a table is JACK, BOY WONDER, PRODUCER, and a casting director. There is a chair for Geoff that's yet to be filled.

Jack is leaning back with his feet on the table, watching as a line of young to not too young wannabe stars dance for him.

He is bored.

BOY WONDER
Maybe we could hear some bars.

PRODUCER
Or their monologues.

JACK
I'm not looking for actors, I'm looking for performers.

LIGHTS reveal a poster behind them:
OPEN AUDITIONS
Women aged 20-45
DANCERS preferred for a new musical,
Then in VERY LARGE text:

WRITTEN BY
JACKSON AINSWORTH
(based on the play by Geoffrey O'Doherty)

Number 56, give me a little twirl.
(To Boy Wonder)
Isn't that just dreadful?

BOY WONDER
Yes- wait-

PRODUCER
Jack, let's not waste these ladies' time. Pick 10, we bring them back tomorrow.

BOY WONDER
I need to hear them sing. Anything. Their ABCs.

JACK
How could I pick ten?

BOY WONDER
Well, they're numbered. Can you count?

JACK
Number six, you're out. Lose 10 pounds and then audition again in New York.

She leaves.
PRODUCER
I'm about to say Jack, if they can read, if they can move, and if they're not entirely tone deaf--

JACK
Number 19. You are beautiful. How long have you been dancing?

NUMBER 19
Since I was very little, sir.

JACK
And can you act?

NUMBER 19
Yes, sir.

BOY WONDER
I don't think that equity would approve of this.

JACK
And can you sing?

NUMBER 19
Do you want me to sing something?

BOY WONDER
Yes!

JACK
No, I believe you, honey. You're onto the second round. The girl outside will tell you more.
(He snaps his fingers)
NUMBER 15!
(He sits up)
You drink soda?

NUMBER 15
Occasionally.

JACK
How many a day?

NUMBER 15
Not very frequently. Maybe one a week.

JACK
Work on your expressions and talk to us in New York…

She starts to go but she is stopped by GEOFF. Who enters. He is enraged, red faced and angry, he pushes aside the table.

GEOFF
You are psychotic! You are demented and you're sick. You're sick!

JACK remains calm.

BOY WONDER
Hey!

GEOFF
You have never had an original thought in your head!

JACK
I was in the room, wasn't I?

GEOFF
Did you make the ideas? Did you outline the plot? Did you take notes upon notes on the inspiration? Did you write the lyrics? Did you write the music? Did you write a single word down about this show?

Jack looks at him. Cold. Clear. They make eye contact.
GEOFF continues, matching his tone:

You did not write a thing. You haven't even created anything. And right now I'm doubting you ever will. Who are the others? Who else did you take from?

PRODUCER
We'll take the credit down, Geoff.

JACK
No we won't.

BOY WONDER
We'll discuss it later.

JACK
Who's to say that I didn't write the show? No one knows. I could or I couldn't. Why should they believe you over me?

GEOFF looks at BOY WONDER.

BOY WONDER
There's… no way to know for sure.

GEOFF
I'm not writing to kickstart your career.

JACK
Then why am I directing?

GEOFF
We are on the same level.

JACK
If that was true, you wouldn't care so much.

GEOFF
I care that my work is my work.

JACK
(to the dancers)
Is the show a… script? Is a show a script or is the actors and the-
(To Geoff)
You're an actor, you understand it, right?
(To the dancers)
Is it a spectacle? The sound? The energy, or is it just the words on a page?

The dancers are intensely uncomfortable. One step forward.

OLIVE
It's the "everything" sir. It's about everything, sir, not just the words.

JACK gets up, and goes to her.

JACK
I found our star!

GEOFF
You found the spectacle. You found the star. But you know what, kid, you don't have the script anymore. You don't have he fucking music-

BOY WONDER
Do NOT drag me into this! Listen, I might be young but I know where I want to be going and I know where I want to be. And where I want to be is right here.

GEOFF
(hurt, very angry)
Without my lyrics. Without my book. Without my characters. Without my title.

JACK
We'll cope.

GEOFF
You are nothing without the words, Jack. You said it yourself. You are finite, you are a moment, I am forever.

JACK
(To the dancers, trying to make them laugh)
God fears the character actor!

GEOFF
You are nothing.

JACK
But I have something.

CHORUS
What do you have?

JACK
Which is everything in this world. Something or nothing.
(He gets up)
Girlie, number 48. That's a big number for someone so petit. I think we'll call you number 4.

OLIVE
My name is Olive- Olive Cameron.

JACK
Well, Olive, Do you have a number? I mean, a song prepared. Or a scene. But do the song first, considering the situation, the song is more important. I want to hear your voice. I bet you have a terrific voice. I can tell by your stance, by how you hold your shoulders, you're a triple threat.

OLIVE
I'm not sure.

BOY WONDER
Do you have the sheet music?

OLIVE
I left it--

BOY WONDER
Can you read sheet music?

OLIVE
Yes.

BOY WONDER leads her to the piano, displacing the pianist, and she stands behind him as he plays.
She almost starts doing the lyrics, but stops herself and begins to sing it on "La-la" She sounds great

Geoff goes. The producer starts to go after him, but Jack grabs his sleeve.

The chorus sings alongside her, as we transition:

Mary is pacing around GEOFF'S house in Los Angeles. She is picking things up and looking at them.
GEOFF enters. He is already drunk.

MARY
It's been a while since you were home.

GEOFF
I have many homes.

MARY
New York is the apartment, Chicago is your mother's home, god rest her soul-

GEOFF
Why isn't she here?

MARY
She didn't love you, Geoff. She couldn't be bothered to tell you to kill yourself tonight.

GEOFF
Lovely.

MARY
You're a God.

GEOFF
Not great at that one.

MARY
You're a God. That's what I'm saying, you're a God. And none of them get it. They called you plain, and they called you a bit actor, but we all know that's true. You're on top of a mountain that they can't even see. You are so kind to have dived down to their level. The sickened masses, Geoff, you're blessed to come down to them. You built them in six days and they're tearing you apart in a hundred. That isn't fair.

GEOFF
I'll send my son to set them straight.

MARY
You don't have a son, Geoffrey. All you have is your words.

GEOFF
They don't want them.

MARY
And they don't want them! What's a God's creation if they don't worship the god that made them. You have to punish them.

GEOFF
I need to write it.

MARY
They don't want it, Geoff. No one wants it Geoff. No one has ever wanted it. So what do we do? You kill yourself.

GEOFF
I don't want to die.

MARY
But you don't have anything to offer the world. And they scrounge up what you gave them already. What's the point, Geoffy? You gotta have a point…
(Embracing his shoulder)
Can I show you one of my dances? I never got a chance to show it to the world, Geoff. I gotta show it to someone, Geoff.

GEOFF
Okay.

MARY steps away, as ROD nad LOUIS enter:

ROD
I haven't worked without Anne in a while.

GEOFF
(sober but disoriented, talking to no one in particular)
Her son just went off to college.

ROD
She could use the break. This work is rougher on her, the critics are rougher on her.

LOUIS
I just can't imagine who would direct. And I don't understand the concept, if we don't have a choreographer attached, it's a musical about a play, we need a--

ROD
It's very abstract.
LOUIS
Geoff, it's incomprehensible…
(Looking at him, very kind)
Do you need a Valium?

GEOFF
I need to write a show. We could co-write the lyrics.

ROD
For a concept this ambitious, I need to be able to work smoothly, he does the lyrics.

GEOFF
Okay.

ROD
I'll find a producer.

CHORUS
A producer is all you need to be real.

As the lights go down, we are faced with GEOFF alone, as MARY enters.

MARY
Did you get it?

GEOFF
I'm too far from the microphone.

MARY
And what about me?

GEOFF
What about you? What about you?? I am God and you were created by me. You know that.

MARY
And so what do we do about that?

LIGHTS DOWN.