Prelude (light)
Music. Then the lights go out. A moment, and Diana turns on a light. She sits alone in a chair waiting. Gabe enters. GABE What are you doing up? It’s three-thirty. three-thirty. Just Another Another Day Day DIANA It’s the seventh night this week I’ve sat till morning. GABE Great. Here we go. DIANA Imaging the ways you might have died. GABE Ah, yes and tonight’s winner is? DIANA In a freak eptem!er i"e storm with no warning# GABE $e"ause that happens. DIANA %here’s a gang war, there’s a !ird flu, trains "ollide. GABE What’d we say a!out wat"hing the news? DIANA &ow you a"t all sweet and surly $ut you swore you’d "ome home early And you lied.
GABE 'ou 'ou gotta let go, g o, (om- I’m almost eighteen. DIANA Are you snorting "oke?
GABE &ot at the moment. DAN (Off (Off ) Who’s up at this hour? DIANA 'our father. Go. )p the !a"k way. GABE (Going (Going ) Why does he hate me? DIANA $e"ause you’re a little twat. GABE 'ou "an’t "all me a twat. * But But she shoos him off as Dan enters.+ enters.+ DAN verything okay? I heard voi"es. DIANA ust me. %alking to myself, you know. &ow you head on upstairs- I’ll !e up for se in a minute. DAN 'ou’ll. 'ou’ll. . .uh. . .are you sure you’re okay? DIANA Go. *She ushers him off, then sings:+ sings:+
They’re the erfect lo!ing fam’ly, so adoring. . . And " lo!e them e!ery day of e!ery wee#. S$ my son’s a little shit, my husband’s boring And my daughter, though a genius, is a frea#. Still " hel them lo!e each other %ather, mother, sister, sister, brother brother,, &hee# to chee#' * (atalie (atalie enters, the way Gabe )ust left, with a ile of boo#s and a tallboy of *ed Bull, Muttering Muttering to herself.+ &atalie? It’s It’s four in the morning- is everything everything okay? NATALIE
GABE &ot at the moment. DAN (Off (Off ) Who’s up at this hour? DIANA 'our father. Go. )p the !a"k way. GABE (Going (Going ) Why does he hate me? DIANA $e"ause you’re a little twat. GABE 'ou "an’t "all me a twat. * But But she shoos him off as Dan enters.+ enters.+ DAN verything okay? I heard voi"es. DIANA ust me. %alking to myself, you know. &ow you head on upstairs- I’ll !e up for se in a minute. DAN 'ou’ll. 'ou’ll. . .uh. . .are you sure you’re okay? DIANA Go. *She ushers him off, then sings:+ sings:+
They’re the erfect lo!ing fam’ly, so adoring. . . And " lo!e them e!ery day of e!ery wee#. S$ my son’s a little shit, my husband’s boring And my daughter, though a genius, is a frea#. Still " hel them lo!e each other %ather, mother, sister, sister, brother brother,, &hee# to chee#' * (atalie (atalie enters, the way Gabe )ust left, with a ile of boo#s and a tallboy of *ed Bull, Muttering Muttering to herself.+ &atalie? It’s It’s four in the morning- is everything everything okay? NATALIE
verything’s great. Why wouldn’t it !e great? It’s great. I’ve /ust got three more "hapters of "al"ulus, a physi"s pro!lem set, a history h istory 0ui1 and two pages on floral imagery in %lowers in %lowers for Algernon whi"h Algernon whi"h is like duh. verything’s so under "ontrol it’s /ust like. . . "alm. *She guls from the can.+ DIANA Honey, you need to slow down, take some time for yourself. I’m going to have se with your father. NATALIE Great. %hanks. I’m so glad I know that. * Diana Diana goes (atalie dros the the boo#s on a table and sings:+ sings:+ So it’s times li#e these " wonder wo nder how " ta#e it, And if other fam’lies li!e the way we do "f they lo!e each other, or if they )ust fa#e it, And if other daughters feel li#e " feel, too.
&ause some days " thin# "’m dying But "’m really really only trying to get through. through. *Gabe runs bac# on, getting dressed for the day+ day+ GABE %or )ust another day. . . %or another stolen hour /hen the world will feel my ower and obey. GABE AND NATALIE NATALIE "t’s "t’s )ust )ust another day . . . GABE %eeling li#e "’ll li!e fore!er fore!er . . . NATALIE %eeling li#e this feeling ne!er goes away . . . GABE AND NATALIE NATALIE %or )ust another day.
* 0ights. 0ights. "t’s "t’s later. "n the bedroom. Dan holds Diana, after.+ after.+ DAN %hat was great, wasn’t it? It was great. 2h 3hrist, I’m late. DIANA %hat’ll tea"h you to take a whole ten minutes.
DAN orry, what? DIANA I said, isn’t it a !eautiful day? DAN 2kay. ure. I mean, it’s "loudy, and raining, and really "old for eptem!er, !ut !eautiful. DIANA (akes you want to dive in with !oth feet, doesn’t it? DAN A!solutely.
* Diana goes. Dan sea#s to us:+ I never know what she’s talking a!out. * 1e sings4+ /hen it2s u to you To hold your house together... A house you built with 3atience and with care... But you2re graling with That grey and rainy weather, And you2re li!ing on a latte Diana: And a rayer4 3rayer4 DAN AND DIANA &an you #ee The cu from tiing5 &an you #ee The gri from sliing in desair5 %or )ust another day. DAN AND GABE "n the hustle and the hurry. DAN 6ou want to wie 6our worry clean away. DIANA, DAN & GABE %or )ust another day.
DIANA " will #ee the 3lates all sinning4 DIANA AND NATALIE /ith a smile so white And winning all the way4 ALL 2&ause what doesn2t #ill me Doesn2t #ill me, So fill me u %or )ust another day. GABE "t only hurts when "’m here.
ALL $um, $um, $um . . . *Gabe )oins Diana in the 7itchen.+ DIANA 'ou’re going to !e late, and you’ve got a huge day. GABE 'ou have no idea what I do all day. DIANA a11 !and !efore s"hool, "lass, key "lu!, and then foot!all. GABE &ot !ad. DIANA &ow get out of here. * As he goes, to us:+ It only hurts when he goes. ALL $um, $um, $um . . . *Gabe stes out of (atalie’s way as she strides into the #itchen.+ GABE (orning, sunshine
* (atalie does not ac#nowledge him she sea#s to Diana:+ NATALIE o I got the date for my winter- re"ital- do you think you guys "an "ome? DIANA We’ll put it on the "alendar. NATALIE (om, the "alendar is still on April of last year. DIANA 2h. Well, happy aster5 NATALIE Happy aster, (om. *She goes, assing Dan as he enters.+ DAN Hi, sweetheart. NATALIE he’s on fire this morning. DAN 2h, I know. NATALIE *$h right+ ww. DAN Hon, "an you do the shopping today? I’m slammed at work, and we’re out of everything. DIANA I keep "ave "lean. 'ou go out, get fire5 DAN )hh. . . a!solutely. *To us+ Again, no "lue. * 1e lea!es the #itchen, gathering his belongings. (atalie and Gabe gathering their things for school. /hile Diana ulls out the fi8ings for sandwiches, and starts ma#ing them on the table.+ DIANA "t only hurts when "2m breathe.
DAN "t only hurts when " try. GABE "t only hurts when " thin#. NATALIE: "t only hurts when " cry. DAN: "t only hurts when " wor#. GABE "t only hurts when " lay. NATALIE "t only hurts when " mo!e.
A66 It only hurts when I say...
NATALIE, GABE AND DAN "t’s )ust another day And the morning sun is stunning And you wish that you were running far away. away. "t’s )ust another day Birds are singing, things are growing And you wish you could be going But you stay. And you stay and stay ta#e fore!er, Though you #now it’s now or ne!er, And you #now that for fore!er. . .
DIANA A busy, busy day.
" will hold it all together. " will hide the mess And "’ll sur!i!e another day And " will ray To hold on )ust this way And for my fam’lys sa#e"’ll ta#e what " can
"’m only )ust awa#e. . .
DIANA
9!ery day is )ust another And another. . . And another. . . Diana’s now ma#ing way too many sandwiches, and )ust #ees ma#ing them.+ " will hold it all together /e’re the erfect lo!ing fam’ly "f they say we’re not, then fuc#’ em DAN *Going to her + 7iana. 7iana DIANA The erfect lo!ing fam’ly " will #ee the lates all sinning And the world )ust #ees on sinning. . . * As (atalie and Gabe stand together, watching Dan bends to her.+ DAN 7iana. Honey? NATALIE 7ad? DAN 7on’t worry a!out it. Go on ahead. 'ou’ll miss the !us. GABE (om? DIANA verything’s fine5 I’m /ust making sandwi"hes. 2n the floor. 'ou go ahead. 'ou’ll miss the !us. DAN *To (atalie+ Go. * (atalie goes, and after a half beat, Gabe follows.+ weetie? verything okay? DIANA I wanted to get ahead on lun"hes. DAN ure. 6et me help you up. DIANA I guess I got "arried away. DAN
(ay!e a little. * 1els her u+ 6et’s go see the 7o"tor. %his is /ust a !lip. 2kay? &othing to worry a!out. I’ll wrap up the, um, sandwi"hes, and then we’ll go. * 0ights. School bell. Music. (atalie is laying iano in a school ractice room.+
Everything Else Mo;art was cra;y %lat fuc#ing cra;y. Bat-shit, " hear, But his music2s not cra;y, "t2s balanced, it2s nimble, "t2s crystalline clear.
There2s harmony, logic 6ou listen to these, 6ou don2t hear his doubts $r his debts or disease. 6ou scan through the score And ut fingers on #eys And you lay... And e!erything else goes away. 9!erything else goes away. And you lay 2til it2s erfect, 6ou lay 2til you ache, 6ou lay 2til the strings $r you fingernails brea#. So you2ll roc# that recital And get into 6ale, So you won2t feel so sic# And you won2t loo# so ale, 2&ause you2!e got your full ride And your early admit So you2re done with this school And all of this shit, And you graduate early, 6ou2re gone as of May And there2s nothing your 3aranoid arents can say... And you #now that it2s )ust A sonata away... And you lay... And you lay... And e!erything else goes away.
1enry slis into the room, watching+ 9!erything else goes away. 9!erything else goes away. HENRY ounds good. NATALIE I still have this pra"ti"e room for seven and a half minutes. HENRY 'eah, I mean, I know- I /ust like to listen. I’m Henry. NATALIE &atalie. HENRY 'eah. I mean. I know. NATALIE It’s a little "reepy that you know. HENRY We’ve gone to s"hool together for, like, si years. NATALIE 8eally? HENRY I sit !ehind you in four "lasses. NATALIE )h-huh. Also "reepy.
HENRY 'ou’re in here a lot. $efore s"hool, and after. NATALIE 8ight. even minutes. * A brief moment, and 1enry turns to go.+ 'ou give up way to easily. * 1enry stos and turns bac# to her.+ HENRY )h. 'ou’re kind of a "onfusing person.
NATALIE 'ou should meet my mother. *She attac# the #eys. Music. 0ights. The Doctor aears, in glasses, with cliboard, rumled and world-weary. Diana listens.+ DOCTOR %he pink ones are taken with food !ut not with the white ones. %he white ones are taken with the round yellow ones !ut not with the triangle yellow ones. %he triangle yellow ones are taken with the o!long green ones with food !ut not with the pinks ones. %he round !lue ones with food !ut not with the o!long white ones. %he white ones with the round yellow ones !ut not with the trape1oidal green ones. plit the green ones into thirds with a tiny 3hisel. If a train is leaving &ew 'ork at a hundred and twenty miles an hour and another train is leaving t. 9eters!urg at the same time !ut going !a"kwards, whi"h train. . . *The beginning of who’s cra;y lays during the monologue+
Diana ends u at the end of the monologue bac# in her li!ing room after all the running around with the ills, ends u in her li!ing room gathering her senses together then catches (atalie and 1enry tal#ing and #issing. Gabe enters behind Diana GABE Are you spying on your own daughter? DIANA When did she get a !oyfriend? How did I miss this? GABE Well . . . you kind of miss a lot. DIANA 7o you think they’re in love? GABE Who :nows? %hey’re young, they’re horny. . . it happens.
*Gabe goes. Dan aears, wearing a similar if not e8act same outfit as 1enry. "t was years ago.+ DAN (arry me. DIANA What? DAN
(arry me. 6et’s have a family. I know, we’re too young, !ut we’re not, I’m almost twenty-two, and how do you know this isn’t a sign saying we !elong together? DIANA How do you know it’s not a sign saying get new ru!!e rs? DAN $e"ause I know it’s not. I love you, and this !a! yDIANA AND NATALIE %his is "ra1y DAN AND HENRY (ay!e it is * Diana wa#es u from her flashbac# loo#ing bac# at (atalie and 1enry #issing as they head oosite ways lea!ing each other. Diana sings:+ I Miss the Mountains There was a time when " flew higher, /as a time the wild girl running free /ould be me. (ow " see her feel the fire, (ow " #now she needs me There to share "2m nowhere.
All these blan# and tran
oens ill bottles+ Mountains ma#e you cra;y 1ere it2s safe and sound. My mind is somewhere ha;y My feet are on the ground. 9!erything is balanced here And on an e!en #eel. 9!erything is erfect (othing2s real... (othing2s real. Starts ouring them into toilet+ And " miss the mountains. ", " miss the lonely climb. /and2ring through the wilderness. And sending all my time /here the air is clear And cuts you li#e a #nife " miss the mountains... " miss the mountains... " miss my life. " miss my life. Music ends. Gabe enters.+ GABE 'ou sure a!out this, (om? DIANA 'ou think it’s a !ad idea? GABE I think it’s a great idea. I think you’re !rave. DIANA What will your father think? GABE &othing. If he doesn’t know. *They smile and run off. 0ights, suddenly, and music. Dan a ears, )oined by e8uberant =oices.+ It’s Gonna be Good DAN "ts gonna be good "ts gonna be good
"ts gonna be good Good "ts gonna be good Two wee#s and its all wor#ing >ust the way " thought it would And " don2t sit and wor# >ust waiting for the hone to ring VOCIE *ing' A-0ing' *ing' A-0ing'
*spoken+ DIANA Hello? 2h hi everything;s great here sweetie, fantasti"5 I disinfe"ted the entire house, rewired the "omputer and did some de"oupage. 2k, !ye !ye. Hmm, net I think I;ll retile the roof. *sung+ DAN "ts gonna be great "ts gonna be fuc#ing great The se8 is still ama;ing And we don2t stay u that late "t2s almost been a month And she2s hay as a clam Do " loo# great5 " am' *spoken+ NATALIE I;d ask you, !ut I;m not going to. HENRY We;ve !een going out for < weeks and = days. 7on;t I get to meet your family? NATALIE 'ou keep "ount? 'ou;re so the girl. And no. DAN &atalie. And this must !e Harry. GABE It’s Henry. DAN 9leasure to finally meet you. 3ome in. Why don ;t you "ome in and /oin us for dinner.
NATALIE )m dad, Henry "an;t really stay. He;s got.
*sung+ DAN "t2s gonna be good NATALIE *spoken+ Homework DAN "t’s gonna be good NATALIE *spoken+ urgery DAN /e2ll sit right down together li#e a hay family should NATALIE *spoken+ 8a!ies DAN /e2ll eat and tal# and laugh and )o#e My ride my brood and me "t2s gonna be good you2ll see ALL /e2ll smile and chat And )ust li#e that "t2ll all me all o# "ts gonna be great "ts gonna be great "ts gonna be gonna be gonna be Great that way aaaa "ts gonna be good "ts gonna good /e2ll sit right down together )ust li#e a family should And eat and tal# and laugh and )o#e my family and me "ts gonna be good gonna be good Gonna be gonna be gonna be gonna be gonna be Good good good good good good good good good good Gonna be good, gonna be good Gonna be good you2ll see.
*spoken+ DIANA $7' "t2s someone2s birthday HENRY *To (atalie+ /hose birthday is it5 NATALIE *Small 3ause+ (y !rother’s. HENRY I didn’t know you had a !rother. NATALIE I don’t. * Music+ He died !efore I was !orn. DIANA * A beat, sees them+ What? What is it? * Dan goes to Diana+ He’s Not Here DAN 1e2s not here 1e2s not here 0o!e, " #now you #now Do you feel he2s still real5 0o!e, it2s )ust not so /hy is it you still belie!e5 Do you dream or do you grie!e5 6ou2!e got to let him go 1e2s been dead ?@ years (o my lo!e he2s not here.
*spoken+ NATALIE %his is fu"ked. DAN 6anguage5 NATALIE >u"k this. HENRY
It was wonderful to meet you !oth. DAN What a!out the new meds? DIANA We have the happiest septi" tank on the !lo"k. DAN 'ou esus 7i. %hey were working. DIANA %hey weren;t really. DAN We;ll get a new round. We;ll "all the do"tor. DIANA &o5 DAN 7iana, look, I know.
* Music Starts+ DIANA 'ou know, really? What ea"tly do you know? DAN *spoken+ I know you;re hurting. I am, too. You Don’t Kno DIANA Do you wa#e u in the morning and need hel to lift your head5 Do you read obituaries and feel )ealous of the dead5 "t2s li#e li!ing on a cliffside not #nowing when you2ll di!e. Do you #now, do you #now what it2s li#e to die ali!e5
/hen the world that once had color fades to white and gray and blac#. /hen tomorrow terrifies you, but you2ll die if you loo# bac#. 6ou don2t #now. " #now you don2t #now. 6ou say that you2re hurting, it sure doesn2t show. 6ou don2t #now. "t lays me so low. /hen you say let go, and " say you don2t #now.
The sensation that you2re screaming, but you ne!er ma#e a sound. $r the feeling that you2re falling, but you ne!er hit the ground. "t )ust #ees on rushing at you day by day by day by day. 6ou don2t #now, you don2t #now what it2s li#e to li!e that way. 0i#e a refugee, a fugiti!e, fore!er on the run. "f it gets me it will #ill me, but " don2t #now what "2!e done. I A! "he One DAN &an you tell me what it is you2re afraid of5 &an you tell me why "’m afraid it2s me5 &an " touch you5 /e2!e been fine for so long now 1ow could something go wrong that i can2t see5 &ause "2m holding on and " won2t let go " )ust thought you should #now
" am the one who #nows you " am the one who cares " am the one who2s always been there " am the one who2s heled you And if you thin# that " )ust don2t gi!e a damn Then you )ust don2t #now who " am &ould you lea!e me GABE 1ey dad, it2s me. DAN &ould you let me go under5 GABE /hy can2t you see5 DAN /hile you watch as " drown BOTH And wonder why DAN Are you bleeding5 GABE
Are you waiting5 Are you wishing5 Are you wanting all that she can2t gi!e5 DAN Are you bruised5 Are you bro#en5 GABE Are you hurting5 Are you healing5 Are you hoing for life to li!e5 DAN Does it hel you to #now5 BOTH /ell so am " DAN Tell me what to do. GABE 0oo# at me. DAN Tell me who to be. GABE 0oo# at me. DAN So " can see BOTH And you’ll see DAN " am the one who holds you GABE " am DAN " am the one who2ll stay GABE " am DAN " am the one
DAN /ho won2t wal# away5 GABE " won2t wal# away DAN 6eah, yeah, yeah " am the one who2ll heal you GABE " am DAN And now you tell me that " won2t gi!e a damn GABE 6ou do gi!e a damn DAN But " #now you #now BOTH /ho " am 6eah, yeah, yeah, yeah DAN That2s who BOTH " am 6eah, yeah, yeah, yeah DAN That2s who BOTH " am 6eah, yeah, yeah, yeah DAN That2s who " am &ause "2m holding on GABE And " won2t let go
BOTH 6eah " thought you should #now " am the one who #nows you " am the one who cares " am the one who2s always been there 6eah, yeah, yeah " am the one who needs you And if you thin# that " )ust don2t gi!e a damn, DAN Then you )ust don2t #now who " am DIANA 6ou say you hurt li#e me 6ou say that you #now $h, you don’t #now " #now you don’t #now 6ou say that you’re hurting " #now it ain’t so 6ou don’t #now /hy don’t you )ust go5 &ause it lays me low And "’m saying DIANA 6ou don’t #now DAN /ho " am DIANA 6ou don’t #now DAN /ho " am GABE 6ou )ust don’t #now who " am
* 0ights. Music changes. (atalie is in her room with 1enry. 1e is wor#ing on something at her des#.+
NATALIE When she gets like this? he’s useless. he "an’t use the phone. 3an’t drive.
HENRY I !et she’s got great pills. I mean, not that I would go there. %hat shit’s inorgani" NATALIE And totally ineffe"tive, apparently. HENRY I’m old-s"hool. 7ying !reed. All the preppies and the /o"ks are raiding their parents’ medi"ine "a!inets and popping ana and snorting Adderall. NATALIE 8eally? HENRY $ut me, I’m the master of the lost art of making a pipe out of an apple. * 1e roudly re!eals his handiwor# . . .+ NATALIE 'eah, you’re the (a"Gyver of pot. *. . . and offers it to her.+ 'ou promise this’ll help? HENRY &o *She considers it, then turns away.+ What? #u$erboy and the Invisible Girl NATALIE Suerboy and the "n!isible Girl Son of Steel and Daughter of Air 1e2s a hero, a lo!er, a rince She2s not there
Suerboy and the "n!isible Girl 9!erything a #id oughtta be 1e2s immortal, fore!er ali!e Then there2s me " wish " could fly And magically aear and disaear " wish " could fly "2d fly far away from here Suerboy and the "n!isible Girl
1e2s the one you wish would aear 1e2s your hero, fore!er your son 1e2s not here " am here DIANA 6ou #now that2s not true 6ou2re our little ride and )oy, our erfect lan 6ou #now " lo!e you " lo!e you as much as " can NATALIE Ta#e a loo# at the "n!isible Girl 1ere she is, clear as the day 3lease loo# closely and find her before she fades away NATALIE !"d GABE Suerboy and the "n!isible Girl Son of Steel and Daughter of Air 1e2s a hero, a lo!er, a rince She2s not there She2s not there She2s not there She2s not there DAN 6et’s not get dis"ouraged. We’ll talk to the do"tor to treat you without the drugs. 'ou have to keep trying though 7i. *Transition into Doctors office+ As the transitions haens you hear a bunc h of old lines reeating as Diana starts to show more frustration until finally the doctor aears and tries to ;one her into where she is.+ DOCTOR 7iana? DIANA 2h sorry, "an you repeat what you said DOCTOR Why don’t you tell me a!out the last time you truly felt happy *She has no answer for him.+ Were you happy when you got married?
DIANA I thought I was.
DOCTOR %here’s a differen"e !etween !eing happy and /ust thinking you’re happy? DIANA (ost people who think they’re happy /ust haven’t thought a!out it enough. (ost people who think they’re happy are a"tually /ust stupid. DOCTOR I see. Were you happy when your son was !orn? * Music changes+ DIANA (y son? *Gabe Aears, watching+ DOCTOR %ell me a!out him. DIANA A!out my son? DOCTOR Why is he still around? Who is he? What is he? * Diana does not answer. Gabe sings:+ I’! Alive GABE " am what you want me to be And "2m your worst fear, you2ll find it in me &ome closer &ome closer DOCTOR Where does he "ome from, what do you think? GABE " am more than memory, " am what might be " am mystery 6ou #now me So show me /hen " aear it2s not so clear if "2m a simle sirit or "2m flesh and blood
"2m ali!e, "2m ali!e, " am so ali!e And " feed on the fear that2s behind your eyes And " need you to need me, it2s no surrise
"2m ali!e, so ali!e "2m ali!e. NATALIE >our times a week? %hat’s a lot, isn’t it? DAN It’s what the do"tor re"ommended NATALIE * After a ause+ %his is never going to get !etter, is it? *Gabe )oins them listening+ He’s never going away DAN I don’t know, &atalie. NATALIE %his is one of those moments when you "ould /ust !e a typi"al parent and lie and say yes. DAN 'es. NATALIE %hanks. %hat’s "omforting. GABE " am flame and " am fire " am destruction, decay, and desire "2ll hurt you DAN 'ou know, &atalie. . . GABE "2ll heal you DAN It’s not all a!out your "omfort. GABE "2m your wish, your dream come true And " am your dar#est nightmare too "2!e shown you DAN It’s a!out helping your mother.
GABE " own you And though you made me, you can2t change me "2m the erfect stranger who #nows you too well
"2m ali!e, "2m ali!e " am so ali!e And "2ll tell you the truth if you let me try. 6ou2re ali!e, "2m ali!e, and "2ll show you why "2m ali!e, so ali!e NATALIE 8isperdal? GABE "’m ali!e. . . NATALIE @alium? ana? GABE "’m ali!e NATALIE * shrugs+ What the hell. GABE "2m ali!e "2m right behind you. 6ou say forget but "2ll remind you. 6ou can try to hide but you #now that " will find you. 2&ause if you won2t grie!e me, you won2t lea!e me behind. $h, how, oh /oah /oah DOCTOR 6et’s say he’s eighteen now- isn’t that when kids move out? Isn’t it time to let him go? GABE (o, no, no "2m ali!e, "2m ali!e, " am so ali!e. "f you climb on my bac# then we both can fly "f you try to deny me, "2ll ne!er die "2m ali!e, so ali!e "2m ali!e
6eah yeah "2m ali!e "2m ali!e "2m ali!e "2m ali!e DOCTOR It’s !een four weeks, and I’d like to try something new today. ometimes, when these stories are hard to tell, hypnosis "an !e helpful. * Music+ DIANA 2h, I don’t think I "ould !e hypnoti1ed. I mean, its fine. I’m /ust not the type DOCTOR 9ut your feet on the floor. 'our hands in your lap. $reathe. She does. 1e sings+ Ma%e &$ Your Mind' (at)h Me I’! *alling DR# $ADDEN /al# with me /al# with me DIANA *spoken+ 2k walking DR# $ADDEN Go all the way the down Down a long flight of stairs DIANA *spoken+ tairs? DR# $ADDEN Go ste by ste into the dar#ness down there DIANA *spoken+ hould we turn on a light? 'ou know, with the stairs. DR# $ADDEN /al# with me, down a hall A hall with blue light At the end of there2s a door "t2s a door that you2!e ne!er laid eyes on before $en the door $en the door
*spoken+ 3an you hear me 7iana? DIANA 'es. DR# $ADDEN Are you nervous? DIANA &o DR# $ADDEN Good. &ow.
*sung+ Ma#e u your mind to e8lore yourself Ma#e u your mind you ha!e stories to tell /e2ll search in your ast %or what sorrows may last Then ma#e u your mind to be well *spoken+ DAN 7i, you "ome home from these sessions in tears. Is this helping? 7i? 7i? DIANA We were !oth undergrads, ar"hite"ture. %he !a!y wasn;t planned, neither was the marriage. I had always epe"ted to !e too !usy !ut when the !a!y "ame it all seemed to make sense until...until... DR# $ADDEN )ntil?
*sung+ DAN 1e2s not here, he2s not here 0o!e " #now you #now
DR# $ADDEN Ma#e u your mind to li!e stronger now Ma#e u your mind let the truth be re!ealed Admit what you2!e lost and li!e with the cost
At times it does hurt to be healed GABE &atch me "2m falling DR# $ADDEN *spoken+ If you tell me the story you own it. GABE &atch me "2m falling DR# $ADDEN *spoken+ If you don;t, if you keep it hidden. GABE %aster than anyone should GABE !"d DIANA &atch me "2m falling DR# $ADDEN *spoken+ It owns you. GABE !"d DIANA 3lease hear me calling DR# $ADDEN *spoken+ What;s your story 7iana? GABE !"d DIANA &atch me "2m falling for good
*spoken+ HENRY Hey, I;m not supposed to !e !a"kstage, !ut for lu"k. NATALIE 7id you see my parents out there? HENRY Are you ok? NATALIE I;m fine. (y dad said they;d !oth !e here. HENRY
%hen I;m sure they will !e. NATALIE 8ight. DIANA We had &atalie too...and I know she knows. I "ouldn;t hold her in the hospital. NATALIE Where the hell are they? DIANA I "ouldn;t let myself hold her. DR# $ADDEN %hat;s the first time you;ve mentioned &atalie in weeks o f therapy. NATALIE God. 7amnit5
*sung+ She2s not there NATALIE !"d HENRY She2s not there NATALIE, HENRY, !"d DAN She2s not there DR# $ADDEN Ma#e u your mind you want clarity Ta#e what you #now and then ma#e it ma#e sense >ust admit what you fear And soon it comes clear The !isions are )ust your defense GABE !"d NATALIE &atch me "2m falling HENRY *spoken+ &at? GABE !"d NATALIE &atch me "2m falling
HENRY *spoken+ Are you gonna !e ok? GABE !"d NATALIE 0osing myself in the air. GABE, NATALIE !"d DIANA &atch me "2m falling HENRY *spoken+ 7ude. GABE, DIANA !"d NATALIE Don2t lea!e me crawling &atch me and show me you care NATALIE *spoken+ m, than# you for coming. This is "n!ention in & DR# $ADDEN *spoken+ 0et2s try to understand what all this is doing to you, and your family. NATALIE *spoken+ %uc#. DR# $ADDEN *spoken+ 6our grief for your son, your distance from (atalie. NATALIE *spoken+ I;m sorry, I /ust um, the thing is. 'ou know what the pro!lem with "lassi"al is, it;s so rigid, stru"tured, you have to play the notes on the page, there;s no room for improvisation. HENRY *spoken+ 2h no.
*overlapping+ DIANA &atch me "2m falling %alling "2m falling. *overlapping+ DR# $ADDEN Ma#e u your mind to be free at last Ma#e u your mind to be truly ali!e 9mbrace what2s inside the lace that has died
And ma#e u your mind to sur!i!e *overlapping+ ALL &atch me "2m falling &atch me "2m falling %lying head first into fate &atch me "2m falling 3lease hear me calling &atch me before it2s too late &atch me before it2s too late &atch me before it2s too late &atch me "2m falling &atch me "2m falling &atch me "2m falling. *overlapping+ DR# $ADDEN *spoken+ )nresolved loss "an lead to depression and a fear of loss to aniety. %he more you hold to something you;ve lost the more you fear losing it. 7epression, aniety, depression, aniety, one leads to the net, then the other, it;s a vi"ious "y"le. /ouldn2t you li#e to be free from all that finally5 /ouldn2t you li#e to go home clear out his room, maybe send some time with your daughter, and let your son go at last5 HENRY *spoken+ hould we go? DIANA !"d NATALIE *spoken+ 'es. GABE *spoken+ (om? DIANA *spoken+ 'es I would. DAN o 7i how was your session today.
DIANA 2h you know, same old. HENRY
Hey do you wanna go gra! something to eat? NATALIE &o, I think I /ust want to go home. DAN Are they working out for you well. DIANA (gr%i"g !""%'ed) ust fine. HENRY 3ome on it’s on me. NATALIE (gr%i"g !""%'ed) &o, I want to go home. DAN AND HENRY 3ome on I know you have a lot on your mind, please talk to me. DIANA AND NATALIE I am fine, "an’t you /ust leave me alone5
7iana4 Why stay? Why stay? o steadfast, and stolid, And stoi", and solid >or day after every day... Why stay? Why stay? Why not simply give in, And get on with livin;, ;3ause everyone knows you tried $ut somehow something died 2n the way. o tell me why you stay. 7iana B &atalie4 Why stay? Why stay? nduring, and "oping, And hurting, and hoping
>or day after fu"king day Why stay? Why stay? Why not simply end it? We;d all "omprehend it, And most of the world would say, He;s !etter off that way, %o !e free And may!e so is she.C 7an4 A promise, A !oy says forever... A !oy says, 7an B Henry4 CWhatever may "ome, We;ll "ome through. And who "an know how, When all I know now %o !e true Is this promise %hat I make to you.C 7an4 A 0uestion, A !oy wonders whether Henry4 %he two stay together A !oy wonders %he way that they stay, hould I stay? >or year after year, 2h... >or love of from fear 2h, oh oh... ither way, ither way... %hat;s the promise %hat I made that day. Henry4 Here;s what I say4 Henry B 7an4 %o the girl who was !urning o !rightly, 6ike the light from 2rion a!ove. 7an4 And still I will sear"h for her
&ightly If you see her, 9lease send her my love. And the !oy was a !oy Henry4 >or all seasons %he !oy is %hat !oy is long-lost 6ong-lost... %o me now. And the man has o lost... >orgotten his reasons, >orgotten his reasons... $ut the man still 8emem!ers his vow. &ow... A promise, A man says forever. A man says I;ll never regret 2r let you. %he promise that I made %o stay, and I stayed true... :nowing one day we;d 8emem!er that /oy. 'ou;d remem!er that girl, I;d remem!er that !oy ;%il we do, %he promise I made I;ll make it !rand-new %he promise that I made to you.
"here’s A +orld GABE There2s a world, there2s a world " #now A lace we can go where the ain will go away There2s a world where the sun shines each day There2s a world, there2s a world out there "2ll show you )ust where And in time " #now you2ll see There2s a world where we can be free &ome with me DR# $ADDEN *spoken+ Goodman, 7iana. GABE
&ome with me DR# $ADDEN *spoken+ 7is"overed un"ons"ious at home. GABE There2s a world where we can be free DR# $ADDEN *spoken+ (ultiple ra1or wounds to wrist and forearms. elf-infli"ted GABE &ome with me DOCTOR 7amnit. D!" Standing in this room, /ell " wonder what comes now. " #now " ha!e to hel her, But hell if " #now how. And all the times that "2!e been told The way her illness goes. The truth of it is no one really #nows. And e!ery day this act we act gets more and more absurd. And all my fears )ust sit inside me, screaming to be heard. " #now they won2t, though, not a single word. " was here at her side /hen she called, when she cried. 1ow could she lea!e me on my own5 /ill it wor#, this cure5 There2s no way to be sure. But "2m weary to the bone And whene!er she goes flying " #ee my feet right on the ground. $h now " need a lift And there2s no one around. Hey5 GABE Hey5 DAN AND GABE $hhh Ahhh oooh
