drama
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Libretto-Dr.FoxMSU8-22-19.pdf
Book & Music by Benedict Braxton-Smith
Book & Lyrics by Megan Petersen
Copyright 2018 Braxton-Smith & Petersen [email protected]
429 49th St. Apt. 2 Brooklyn, NY 11220
Dr. Fox and the Impossible Cure for Death
Dr. Fox and the Impossible Cure for Death Braxton-Smith & Petersen
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C H A R A C T E R S
DILON SHIELDS – 13-year-old girl tomboy. Constantly asking a million questions. Eager, curious, and odd. Mature when it comes to taking care of her dad, but still a kid in every other way. LEV SHIELDS (Doubled with The Hunter) – 38, Dilon’s dad. Shabby looking, doesn’t like to take anything too seriously. An escapist to a fault. A successful author of the Dr. Fox book series. Childish at times, but charming. DR. JO CORSAC – 42, ever so slightly on the spectrum, neurotic, driven, obsessive about her research. Introverted and very awkward. Not unkind, but distant. A doctor in oncological research. DR. FOX – The one, the only, the mystery. She’s not a real doctor, but she is a real fox. KAYLAH – 20’s, deadpan and monotone, society crushed her soul. She is Lev’s illustrator for his book series, and gatekeeper of other worlds or whatever. DR. GOOCH – 40’s, silly but means well, tries to make light of serious situations and doesn’t get that it’s inappropriate. Seems incompetent, but knows what he’s doing. NURSE ROSLYN SHEINK(VANOVICH) – Russian, she’s either like 40 or 70 and no one can really figure it out. She’s 4ft nothing and a force to be reckoned with. No nonsense. NURSE VEE HICKLE – 30’s, southern belle, has a big heart, if a hug was a person, it would be her. THE HUNTER (Doubled with Lev Shields) – He wears the pelts of every fox he’s ever killed on his belt which weighs him down and gives him a slight drag. He moves slowly, but kills quickly. He is the personification of death and the very disease that is killing Lev. ANNABELLE – Very warm and kind. Longwinded at times. FOXES – The voices of all of Dilon’s questions and curious nature personified. Sprite and full of life. THE DOCTOR – Cold and unfriendly, horrible bedside manner, tired mentally and physically, sees too many patients every day, never looks up from clipboard, works under florescent lighting all damn day/night.
Dr. Fox and the Impossible Cure for Death Braxton-Smith & Petersen
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CUSTOMER – Total tourist, looks like they are on their way to Comic Con, doormat of a human, probably apologizes when someone else bumps into them on the street. PELTS – The voices of all of Dilon’s fears personified. Literally the skins of the FOXES. Weighed down and dragging. Desperately wanting to be put to rest, but forever required to forebode warning.
Dr. Fox and the Impossible Cure for Death Braxton-Smith & Petersen
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G I V E N C I R C U M S T A N C E SETTING: De Leon Springs, Florida and St. Augustine, Florida. Also, the story world of Dr. Fox. TIME: Summer.
Dr. Fox and the Impossible Cure for Death Braxton-Smith & Petersen
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M U S I C A L N U M B E R S
1. Dr. Fox & the Eulogy ..........................................................................................................7 Dr. Fox & Company
2. True as You Want it to Be ...................................................................................................9 Lev & Dilon
3. What Do You Do? .............................................................................................................15 Dilon, Company
4. Gobble-Dee-Gooch ..............................................................................................................20 Dr. Gooch, Nurse Sheink, Nurse Hickle, Lev
5. The Door Appears ..............................................................................................................24 Company
6. Bubble Trouble ...................................................................................................................25 Kaylah, Company
7. Dr. Fox & The Hunt ..........................................................................................................27 The Hunter, Dr. Fox, Company
8. I Need to Know ..................................................................................................................31 Dilon, Jo, Company
8a. I Need to Go…………………………………………………………………………34 Underscore
9. Dr. Fox & the Lullaby ........................................................................................................34 Dr. Fox, Annabelle, Company
10. Focus ..................................................................................................................................38 Jo, Company
11. That’s My Girl ...................................................................................................................40 Lev
12. Choose ................................................................................................................................43 Nurse Hickle, Nurse Sheink, & Dilon
13. Dr. Fox & the Door ............................................................................................................47 Company
14. Enough ...............................................................................................................................50 Dilon, Lev, Jo, Company
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M U S I C A L N U M B E R S ( C O N T ’ D )
15. Dilon & the Lullaby ...........................................................................................................57 Annabelle, Company
16. Find Her .............................................................................................................................60 Lev & Jo
16a. Impossibility (Focus Reprise)…..………………………………………………….63 Jo, Dilon, Company
17. Dilon & the Hunter ...........................................................................................................64 Underscore
18. What I Do ..........................................................................................................................67 The Hunter & Company
19. Don’t Let Her Cry .............................................................................................................70 Lev
20. Nothing ..............................................................................................................................72 Dilon, The Hunter/Lev, Company
20a. Lev’s Lullaby ………………………………………………………………………77 Underscore
21. The Final Chamber .............................................................................................................77 Dilon, Dr. Fox, Jo, Company
22. Enough (Reprise) ...............................................................................................................81 Dilon, Lev, Jo, Company
23. Dilon & the Eulogy ...........................................................................................................82 Company
24. Epilogue .............................................................................................................................84 Company
Dr. Fox and the Impossible Cure for Death Braxton-Smith & Petersen
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#1 “Dr. Fox & the Eulogy” Dr. Fox & Company
(The sound of typing at a typewriter - slow at first, then building.)
LEV Curious how some lives aren’t designed to last very long. We run and run and run and run, but all things must come to an end. However, there is one exception. Some say there exists an impossible cure. And some say that one curious creature found it. Her path begins at the end of another.
(We breathe in. A world explodes out of the sound. A group of FOXES huddle around a small mound of fresh dirt in a forest. It is dusk. They all place daffodils on the mound.)
COMPANY
CURIOUS.
(DR. FOX steps out from the group.)
DR. FOX Curious how some lives are not designed to last very long. We wild foxes don’t often live for more than three years on average. And though our friend’s time was short, it was full. He spent his days wandering, collecting whatever he could find, and searching for what he could not.
COMPANY CURIOUS.
(A distant thud interrupts, but only for a moment.)
DR. FOX
And now we commit his life to the earth. But as his path ends, we are left asking why.
COMPANY WHY, WHY, WHY, WHY, WHY?
(The thud arrives. Gunshots fire in the distance. The FOXES scramble about.)
DR. FOX & COMPANY
RUN!
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(The silhouette of a giant man holding a shotgun appears. BANG. DILON accidentally slams the front door. LEV is momentarily snapped out of his trance, before going immediately back to typing.)
DILON
Wahh. Sorry, Dad. (no response)
Dad? (still nothing)
Lev.
LEV (snapping back to reality, but still distracted.)
Sorry about what, kid?
DILON Slamming the door?
(She makes her way towards LEV, climbing around piles of paper and manuscripts that come together to make a literary maze around the living area which has now become his make-shift office. She goes to unpack her backpack.)
LEV
(pressing his fingers to his temple) You slammed the—nevermind.
(he gestures to the things she's pulling out of her backpack) How was the library? Did you find what you were looking for?
DILON (pulling journals from her backpack)
All. Four. Volumes. They were just sitting right there. I can’t believe no one else had them checked out.
LEV No one’s had the chance with you there the last few days. Haven’t you read all there is to read about Clinical Ornithology by now.
DILON
Oncology, Dad. Oncology. One of us has gotta do research on it. Maybe you could come with me sometime? They even have some of your books there.
LEV (grabbing his head in exaggeration)
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Ooof, the pain!
DILON That’s not funny.
LEV (in real pain this time)
Ah!
DILON Dad?!
LEV I deserved that.
DILON (worried)
Are you okay? Do I need to call the — (doctor)
LEV No, kid. I’m totally fine. I…I just need to finish this. I’m almost done. It’s important.
DILON (clutching one of the medical books)
So is this.
LEV And I completely trust that you will find the answers you are looking for. Besides, I would get in your way. You’re way better suited for that sciency stuff.
(he turns back to his typewriter)
DILON (sarcastically)
So what is Dr. Fox doing this time? Saving the day again?
LEV Somebody’s got to.
#2 “True as You Want it to Be” Lev & Dilon
DILON Too bad she isn’t real.
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LEV I beg your unbelievable pardon.
DILON
She’s just a story.
LEV Just a story?
LOOSEN UP. IT’S ALRIGHT. THE WORLD IS NOT SO BLACK AND WHITE. JUST TRY IT ONCE. PUT DOWN YOUR SCIENCE BOOK. AND TAKE A LOOK BEYOND WHAT’S IN YOUR VIEW. PICTURE WHAT YOU WILL THEN YOU CAN TAKE YOUR FILL. A STORY IS AS TRUE AS YOU WANT IT TO BE.
DILON
That’s just wildly false.
LEV Says who.
DILON Facts. You know, those things you ignore?
LEV Doesn’t ring a bell.
DILON Come on — we’ve gotta be up early for your appointment tomorrow. It’s time for bed.
LEV Time is an illusion.
(With an eye-roll, DILON goes into her bedroom. LEV goes back to typing. Time passes and night turns to morning. DILON comes out of her room, rubbing her eyes.)
DILON
Are you still writing?
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LEV SEE IT YET?
DILON Nope.
LEV IT’S NOT FAR. EXTEND YOUR REACH FROM WHERE YOU ARE. JUST TRY IT ONCE. EMBRACE WHAT MIGHT BE STRANGE AND REARRANGE THE WORDS IN FRONT OF YOU. LIFT THEM IN THE AIR. LET THEM LIVE UP THERE. A STORY IS AS TRUE AS YOU WANT IT TO BE.
DILON
Sure. Now, are you ready to go?
LEV (thrown off)
…Is that a trick question?
DILON Oh my god. How’d you forget your doctor’s appointment again?
LEV
Forgetting is just my body’s way of telling me that I’m gonna be fine. It’s a delicate biological science.
DILON No. Doctors practice a delicate biological science. And they told you to come in to see them.
LEV We already know what it is.
DILON
And now they’re gonna tell us how to fix it. So we're going. And it'll do us both some good to get out of this place for a bit.
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LEV Fine.
(Suddenly, they are in a doctor’s office. THE DOCTOR stands there, looking down at the chart coldly.)
So Doc, am I gonna be all hunky-dory?
THE DOCTOR How long has the headache lasted?
LEV Most of my life. But this one’s come and gone for some months now.
THE DOCTOR
Any numbness?
LEV Besides existentially? Sure.
THE DOCTOR
Any nausea recently?
LEV (frustrated and concerned)
Maybe? I can’t remember. Didn't we go over this last time?
THE DOCTOR We’re just checking in, sir. We need to talk about your options.
(The DOCTOR spins off, and LEV is back at his typewriter. DILON paces - reading several pamphlets.)
LEV
DOOT DOOT DOOT. DOODOOT DOOT. DOOT DOOT DOOT DOOT DOODOOT DOOT.
DILON
(desperately trying to get his attention) Dad.
(still typing) Dad! We have to talk about this. We need to book you in and confirm the specialist and call the hos—
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LEV (still typing – not even looking up)
Just give me a minute.
DILON This is important.
LEV So is this.
(LEV continues typing)
DILON THERE HE GOES AGAIN GETTING LOST INSIDE HIS MIND, LEAVING EV’RYTHING BEHIND THAT HE DOESN’T WANT TO FEEL. HIS MEDS ARE IN THE CAB’NET HID AWAY AT THE BACK, WHERE HE TRIES TO LOSE TRACK OF EV’RYTHING THAT’S REAL. AND HE GOES ON AND ON FOR AGES TYPING PAGES AND PAGES AND PAGES AND PAGES AND—
LEV (interrupting with a flourish from behind the typewriter)
Done.
DILON (“Finally. We can get to what we need to do”)
Great.
LEV (packing up the manuscript into an envelope)
Now I just gotta send it off to the illustrator.
DILON Can we deal with what matters now, please?
LEV There’ll be plenty of time for that, Pickle.
DILON This is serious, Dad.
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LEV
I know. But for now JUST BE HERE, REALLY BE HERE WITH ME. FORGET THAT I’M SICK AND BE HERE WITH ME.
DILON
Okay, okay, okay. But whether you like it or not, we need to pack sometime.
LEV C’mon. Do I have to?
DILON Well, you have to see the specialist, and the specialist is at the hospital. And the hospital is in St. Augustine.
LEV (this place has significance to him)
Wait… St. Augustine?
DILON Yeah. I’ve heard it’s nice this time of year.
LEV St. Augustine is never nice.
DILON (splaying her fingers by her side)
Can you please behave like an adult for half a second? I’m, I’m… (LEV takes a step towards her and holds her hand)
LEV
(finally being serious for a moment) Hey. It’s okay. Yes. St. Augustine. That’s great. I can pick up the manuscript on the way, we can see the specialist, we can…
(Having an idea.) Yeah. Everything’s going to be okay.
(She let’s go of his hands)
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DILON That’s for the doctor to decide. Come on, the sooner we leave, the sooner we can come back.
LEV I’m bringing my typewriter.
DILON We can't bring everything.
LEV (As he exits to go pack)
My typewriter is everything.
#3 “What Do You Do?” Dilon, Company
(He exits. DILON goes to her room. She looks around, daunted by the task before quietly nodding to herself.)
DILON
(She starts packing) ONE THING AT A TIME. KEEP A STEADY HAND. DON’T FILL UP YOUR HEAD WITH THOUGHTS YOU CAN’T WITHSTAND. KEEP YOUR BAG TIDY; KEEP YOUR MIND CLEAR. THE DOCTORS WILL FIX THIS. THERE’S NOTHING TO FEAR. GET THROUGH THE NIGHT. YOU’LL BE ALRIGHT.
WHAT DO YOU DO WHEN YOUR DAD DOESN’T KNOW WHAT TO DO? START WITH A LIST: MAKE SURE THE BILLS ARE PAID, THEN CLEAN UP THIS MESS, GET YOUR BED WASHED AND MADE, THEN CALL THE INSURANCE, AND CHECK ON THE MAIL, AND LOCK ALL THE WINDOWS, TRASH ANYTHING STALE.
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KEEP THINGS IN LINE. HE WILL BE FINE.
WHAT DO YOU DO WHEN YOUR DAD DOESN’T KNOW WHAT TO DO?
(DILON zips up her bag and leaves her room. LEV joins her and they are suddenly at the hospital. Together they walk up to the triage desk. NURSE HICKLE looks up at them and smiles warmly.)
NURSE HICKLE
Well, hello there. Welcome to St. Augustine Hospital. How may I help you?
LEV I’m just bringin’ the ol’ noggin in for a service and an oil change.
DILON (Jabbing her elbow into his side – aside to LEV, reprimanding)
Dad. (trying to be as adult as possible, flipping through documentation she has printed out)
Sorry. Shields, Lev. We’re checking him into oncology. I’ve got all his paperwork here if you—
NURSE HICKLE That’s okay sweetie. We’ve been expecting him.
(To LEV) Sir, if you just come with me.
DILON (Grabbing her bag to go with them)
Great.
NURSE HICKLE (To DILON)
You’re gonna have to stay out here for this part, honey. Standard procedure. Just have to do some prescreening tests.
LEV Nobody told me about any tests! I haven’t studied!
DILON
HE’S TRYING TO ACT CASUAL
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LIKE IT’S JUST ANOTHER DAY, BUT IT’S NOT— IT’S REALLY NOT…
(DILON stands outside of his room alone. Beat)
I GUESS I’LL HAVE TO BE STRONG. I GUESS I’LL HAVE TO BE BRAVE. I GUESS I’LL HAVE TO BE WHAT HE CAN’T BE TODAY. I GUESS I’LL HAVE TO BE TALL. I GUESS I’LL HAVE TO BEHAVE. I GUESS I’LL HAVE TO BE OKAY.
NURSES YOU HAVE TO BE OKAY.
(LEV is being spun into his gown and hospital bed. DILON waits outside his room while the NURSES finish up with LEV.)
DILON WHAT DO YOU SAY WHEN YOUR DAD DOESN’T KNOW WHAT TO SAY? WHAT DO YOU FEEL WHEN YOUR DAD WON’T EVEN THINK ABOUT WHAT’S REAL? WHAT DO YOU DO WHEN YOU DON’T KNOW IF YOUR DAD WILL BE OKAY? WHAT CAN I DO? WHAT CAN I SAY? I GUESS IT’S UP TO ME TO MAKE IT ALL OKAY.
(DILON enters the room. LEV is flapping about like a child in his patient gown, and fiddling with his I.V. NURSE SHEINK slaps his hand to stop him.)
NURSE SHEINK
Sir, please do not touch the machines.
LEV If it’s connected to me, I’m already touching it.
DILON Just leave it alone.
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NURSE SHEINK It would appear we have a fun one on our hands, Vee.
NURSE HICKLE
Come on, Roz. Be nice to the little lady and her pa. They'll be here for a while.
LEV I’d sit still if you’d let me leave for an hour or two.
DILON We literally just got here. What did you forget?
LEV Nothing. Except maybe to pick up the manuscript from my illustrator on our way here.
DILON It’s done already?
LEV Oh yeah. She’s like lightning.
NURSE SHEINK You cannot leave. The doctor will be here shortly.
LEV I checked myself in and I can check myself out.
(Aside to DILON) Dilon, keep the nurses occupied. I'm breaking out.
DILON Don’t be ridiculous, you can't run away.
NURSE HICKLE (being a skosh firm for the first time, maybe ever – but still sweetly)
I’m afraid we’re gonna have to insist you stay put, hun. There’ll be no runnin’ away for you.
LEV
Just watch me.
DILON Stop it, dad. I will get the manuscript. Just tell me where to go.
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LEV
(eventually caving) Fine. It’s a little shop called Annabelle’s Attic. Ask for—
DILON
(“Let me guess…") Annabelle?
LEV (“No…actually...”)
Kaylah. And take this with you.
(He throws her something)
DILON What do I need gum for?
(DR. GOOCH pops his head through the door making an arrived elevator type sound to announce himself.)
DR. GOOCH
Well, hello there, I’m Dr. Gooch. But you can call me Dr. Gooch. (He chuckles at himself)
You must be the specialist.
LEV No. I think that’s you.
DR. GOOCH
Oh, yes. That’s me. You must be…Leave.
LEV Lev.
DR. GOOCH (to DILON)
And you must be?
DILON Leaving.
(DILON leaves.)
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DR. GOOCH (oblivious)
Now, what can I do for you today?
LEV (confused)
You’re the specialist…shouldn’t you know?
#4 “Gobble-Dee-Gooch” Dr. Gooch, Nurse Sheink, Nurse Hickle, Lev
(NURSE SHEINK thrusts a chart into DR. GOOCH’s hands. He lifts his glasses to read it)
DR. GOOCH
(Reading) Oh yes, just one moment. (Beat.) Uh huh, there’s that. (Beat.) Mmhmm. Mhm mhmm.
LEV Doctor?
DR. GOOCH Yes?
LEV What’s the plan?
DR. GOOCH Well, to put it simply…
(NURSE SHEINK pulls down a ridiculously large graph with nonsensical lines and diagrams out of nowhere.)
YOU’RE LOW ON LEUKOCYTES WITH SOME HTN. GLIOBLASTOMA’S A HIGH TEN. SOON YOUR THAL’MAS GLAND WILL FLARE UP AND EXPAND. STILL, TREATMENT OPTIONS SHOULD BE PLANNED.
LEV
Can you run that by me again?
(NURSE HICKLE pulls down another graph that is even more complicated and confusing than the previous one.)
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DR. GOOCH GLOBIN PROBOLITATE NEWTROSIN YOUR HEAD.
NURSES IN YOUR HEAD.
DR. GOOCH
LOXAL DIALYSIS WILL SPREAD.
NURSES IT WILL SPREAD.
DR. GOOCH I-BU-PRID-DLE-DID-DLE, THORZEEN IN THE MIDDLE. ROBBLE BOBBLE GOBBLE- DEE-GOOCH.
NURSES
ROBBLE BOBBLE GOBBLE.
LEV
What was that about my head?
DR. GOOCH FALLEN AXIS TROSIS BOSIS ZALLEN BREE. LOOPY SHAKY LOOSEN DROOPY MEMZAHPREE. PROXY MOXY MEGA BEGA DEEDLE DIP NIP ZA DOODLE PRAY.
NURSES FALLEN BOSIS LOOPY DROOPY PROXY MOXY NIP ZA DOODLE PRAY.
NURSE SHEINK
So we have your first session scheduled for 4pm.
LEV For what?
NURSE HICKLE You’re gunna have to learn to listen ‘round here, dear.
LEV Last time I checked my ears weren’t the problem.
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NURSE HICKLE (to LEV – placating him, now that he’s clearly worked up)
Don’t worry. The side-affects are very manageable. Aren’t they, Dr. Gooch?
DR. GOOCH Obligadooby.
NURSE SHEINK See? You have nothing to worry a—(bout)
LEV
(interrupting, tearing his hair out like he’s Benedict) Am I going insane?!
NURSE SHEINK We have a very reputable psychiatric staff if you would like a consult.
LEV All I want is for you to tell me what this whole treatment thing is. Simply. Two syllable words or less.
NURSE HICKLE Oh, poor sweetie.
DR. GOOCH Don’t worry. Let me put it in laymen’s terms for you.
LEV (finally)
Thank you.
DR. GOOCH One, two, three, go…
BLAH BLAH BLAH BLAH BLAH BLAH BLUE BLEE BLAH BLAH.
LEV Oh, what the—
DR. GOOCH & NURSES BEEP.
DR. GOOCH LU LU LU LA LA LA LU LEE LA.
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NURSES ROCKY MOCKY SOCKY.
DR. GOOCH LEAVE IT TO YOUR DOCKY. TIPPY TAPPY TOBBLE. HIPPY HAPPY HOBBLE. WOBBLE COBBLE GOBBLE-DEE- GOOEEEOOOEEEOOOEEEOOOCH.
I hope that clears it up.
(DR. GOOCH leaves. As he shuts the door behind him DILON enters Annabelle’s Attic – a seemingly tiny store cluttered with strange objects. DILON walks in. Another CUSTOMER approaches KAYLAH at her desk, chewing her gum and apathetically doing her job while keeping her eyes down on whatever she’s doodling.)
KAYLAH
(very dryly) Welcome to Annabelle’s Attic, your local one of a kind antiques and oddities store. What you see is what we have. How may I help you?
CUSTOMER Hi, I’m looking for a—
KAYLAH We don’t have it.
CUSTOMER But I didn’t even—
KAYLAH We don’t carry wizarding wands, sir. Thank you, have a good day.
(She POPS her gum indifferently. The CUSTOMER walks out put off and confused. DILON enters.)
Welcome to Annabelle’s Attic, your local one of a kind antiques and oddities store. What you see is (sigh) whatever. How may I help you?
DILON Are you Annabelle? I mean Kaylah?
KAYLAH Yeah.
(Beat)
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DILON I’m supposed to pick up—
KAYLAH A manuscript. You’re Lev’s kid.
DILON Dilon, actually.
KAYLAH Whatever.
DILON So, you’re the illustrator?
KAYLAH
Unfortunately.
DILON But you’re so…
(KAYLAH pops her gum) I had it in my head that you’d be this like super old librarian lady or something.
KAYLAH I hope to be some day.
DILON I loved your illustrations for Dr. Fox and the Liberian Lion. I’ve read it like nine times. Not that it takes a lot to read a kids book. But don’t tell my dad that.
KAYLAH Uh-huh. Wait one moment.
(It takes all of KAYLAH’s energy to get herself out of her chair, but she does so and disappears into the back.)
DILON
Oh-kay. (DILON wanders around the small space.)
What even is this place?
#5 “The Door Appears” Company
(DILON moves along making sure to keep her hands to herself as she come across a pile of various old doors lined up against the wall. DILON tries to open one, maybe two, but can’t. She gives up and turns
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around to see a blue, upside down-teardrop-shaped door behind her where it was not just moments before.)
Woah. (The door creaks open on its own leaking a sliver of blinding light from the other side. DILON, seemingly hypnotized, goes to push it open. Out of nowhere KAYLAH grabs the handle and shuts it closed)
Did you see that?
KAYLAH I see everything.
DILON
But like, that door just glowed.
KAYLAH Yeah. This way.
(She leads DILON back to her desk.)
DILON Where does the light come from? Where does it go? What’s on the other side?
(KAYLAH plops down a leather bound document in front of DILON with a THUD.)
KAYLAH
Here. That’ll cost you.
DILON Huh?
KAYLAH The manuscript.
DILON Oh, right. How much is it?
#6 “Bubble Trouble” Kaylah, Company
KAYLAH
Did you bring the stuff?
DILON The stuff?
(Her gum POPS as if DILON has just burst her bubble.)
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KAYLAH
You’ve got to be kidding me. The stuff.
DILON (whispered - don't want the fuzz to hear her)
Like…drug stuff?
KAYLAH No.
EV’RY DAY I SIT HERE: HOLIDAYS, BIRTHDAYS, AND NATURAL DISASTERS. THROUGH IT ALL I DEAL WITH FOOLS WHO COME AND GO. THEY ASK FOR: CUCKOO CLOCKS, TAROT CARDS, AND THOSE GLOBES THAT HAVE FAKE SNOW.
(sigh) THROUGH ALL THE EXISTENTIAL PAIN THERE’S ONE THING THAT KEEPS ME SANE. MOST SUGAR TREATS I DISDAIN. I DON’T CARE MUCH FOR THOSE GUMDROPS AND SUCH. I’VE TRIED SOME, BUT THEY GO TOO FAST. I NEED A SWEET THAT CAN LAST.
NOT SOMETHING I CAN EXPLAIN. I HOLD A GRUDGE AGAINST ALL KINDS OF FUDGE. I’VE TRIED SOME, BUT BOY WHAT A FLOP. I NEED A SWEET I CAN POP.
Let’s dance.
(Spotlight on KAYLAH. She does a sort of tap dance.) I COULD GO ON AND COMPLAIN ALL-SEEING EYES ONLY DEMORALIZE WHATEVER, I ALWAYS PULL THROUGH WITH EV’RY PIECE OF THAT SOFT AND GOOEY OH SO CHEWY
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BUBBLE TROUBLE.
DILON Oh, wait.
(DILON pulls out a packet of Bubble Trouble. KAYLAH snatches it from her hand and pushes DILON out the door.)
KAYLAH
Thank you, have a good day.
(The door slams behind her.)
DILON Nice to meet you!
(DILON opens the manuscript. We are transported to the storybook world as she reads. The sound of gunshots. The FOXES flee and hide. Everything goes silent. THE HUNTER enters with his shotgun ready. DR. FOX is hidden behind a tree with another FOX.)
#7 “Dr. Fox & The Hunt” The Hunter, Dr. Fox, Company
FOX #1
(Whispering) We can’t stay here.
DR. FOX
Shh.
FOX #1 We should run.
DR. FOX Not now.
FOX #1 We need to leave.
DR. FOX Stay put.
FOX #1 He’s going to find us.
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DR. FOX Don’t do it.
(The scared FOX tries to run. BANG.)
THE HUNTER THE HUNT IS ON!
(Everything turns to havoc and chaos. All the FOXES start scrambling to get away. THE HUNTER moves slowly and calmly among them)
I GOT TIME TO KILL AND ENDLESS ROUNDS. MY NOSE IS SHARPER THAN A HOUND’S. I KNOW WHERE YOU ARE AND WHERE YOU’VE BEEN. WHERE YOU’LL BE NEXT YOU WON’T NEED SKIN. IF YOU HIDE, I’VE ALREADY WON AND THE GAME IS MORE FUN IF YOU RUN.
PELTS THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN.
FOX #2 What do we do?
DR. FOX
I don’t know. HE’S LIKE A DOG OF HIS OWN BREED HE JUST WANTS TO SEE US BLEED. I’VE NEVER SEEN THIS KIND OF GREED. HE HUNTS FOR SPORT AND NOT TO FEED.
THE HUNTER I CAN HEAR YOUR HEART WITH EV’RY BEAT. IT SPEEDS AND TREMBLES AT MY FEET. I CAN WAIT ALL DAY.
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GOT NO WHERE TO BE. FIRST MOVE’S ON YOU BEHIND THE TREE.
IF YOU HIDE, I’VE ALREADY WON AND THE GAME IS MORE FUN IF YOU RUN.
PELTS
THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN.
THE HUNTER
CAN YOU SMELL THAT? HOW THE AIR GROWS? HOW IT THICKENS AND SICKENS AND STICKS IN YOUR NOSE. DO YOU KNOW WHAT THAT SMELL IS? IT’S ALWAYS THE SAME. IT’S THAT PURE KND OF FEAR THAT POINTS ME TO MY GAME.
(DR. FOX runs out from the tree facing THE HUNTER head on)
DR. FOX YOU DON’T LOOK LIKE SUCH A THREAT. I’LL GET AWAY WITHOUT A SWEAT. SO GO AHEAD AND TAKE A SHOT. I WON’T BE KILLED; I WON’T BE CAUGHT.
(He cocks his gun. She stops.)
HUNTER
DON’T GIVE UP NOW, WE JUST BEGUN. THE GAME IS MORE FUN IF YOU RUN.
PELTS THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN. THE GAME IS MORE FUN IF YOU RUN.
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(THE HUNTER fires. BANG. DILON is walking through the hospital with her father’s manuscript in her face reading, completely unaware of her surroundings. JO is walking equally as immersed in the papers she is holding close to her face. They bump into each other.)
DILON
Wah? Where am I?
JO So sorry.
(JO tries to go about her business)
DILON You’re a doctor.
JO I am.
(awkward beat.) Can I help you with something?
DILON Yeah! I need to find room 1513.
JO Oh. Go through those doors, take two lefts past the cafeteria, then a right, then a left, then—
DILON Could you show me?
JO (a moment as she considers)
Sure.
(They start walking and the set starts to move around them. DILON reaches out her hand. JO gives her the saddest excuse for a handshake ever)
DILON
Dilon, by the way.
JO Oh. Wow. That’s a beautiful name. I had… I used to… know someone. Called Dilon.
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DILON They must have been pretty cool.
(a single awkward attempt at a chuckle from JO) And what is my tour-guides name today?
JO
Doctor Cors—Jordon—Jo…Jo.
DILON So what kind of doctor are you?
JO (forgetting she’s talking to a child)
Oncological research, specializing in the use of induced pluripotent cells in experimental interventions and treat—(meant)
(suddenly remembering she's talking to a kid - and a kid she doesn't really know for that matter)
I mean—I use microscopes in a big lab where—
DILON Wait. You’re Dr. Corsac. The Dr. Corsac.
JO Yes?
DILON (Nerding out a tiny bit.)
Oh my gosh. I read your articles in the International Journal of Clinical Oncology! (slightly to herself) This is so cool.
#8 “I Need to Know” Dilon, Jo, Company
JO
And how old are you?
DILON Thirteen, but age is just a number. Where’s your lab? Where do you do all your research?
JO 10th floor.
DILON Wow. It’s such a maze. How do you ever find your way out?
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JO I don’t most of the time.
DILON That sounds awesome.
JO It does?
(They twist and turn and weave through the halls of the hospital with JO leading the way)
DILON
WHAT BETTER PLACE TO GET LOST IN? ENDLESS ROOMS OF MOVING PARTS. EV’RY HALLWAY IS BURSTING WITH RESEARCH, TESTS, AND CHARTS. AND EV’RYONE’S WORKING TO REACH AN IMPOSSIBLE GOAL. IT’S LIKE SOLVING A PUZZLE THAT’S SLOWLY COMBINING TO MAKE ONE WHOLE.
THERE ARE SO MANY QUESTIONS, AND THE ANSWERS NEVER SHOW. WHERE DOES THAT COME FROM? I NEED TO KNOW, I NEED TO KNOW, I NEED TO KNOW.
JO I get what you mean.
I HAVE MY WORK TO GET LOST IN LOOKING THROUGH A MICROSCOPE. EV’RY DAY I STARE DOWN HARDER IN THE HOPE I’LL FIND SOME HOPE. AND WITH EV’RY NEW STUDY AND PETRI DISH I OVERTURN, MORE AND MORE I’VE DISCOVERED: I KNOW LESS THE MORE I LEARN.
JO & DILON
THERE ARE SO MANY QUESTIONS, AND THE ANSWERS NEVER SHOW. WHERE DOES THAT COME FROM? I NEED TO KNOW, I NEED TO KNOW,
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I NEED TO KNOW HOW EV’RYTHING FUNCTIONS. I NEED TO KNOW WHERE EV’RYTHING GOES. I NEED TO KNOW WHY EV’RYTHING AGES. I NEED TO KNOW, I NEED TO KNOW, I NEED TO KNOW.
DILON But you must be living the dream, right?
JO What makes you say that?
DILON Well, you’re doing what you want to do. It couldn’t be more simple than that.
JO
IT’S EASY TO GET LOST WHEN YOU’RE FOCUSED ON ONE PATH. EVERYTHING ELSE BECOMES SO HARD TO SEE. SOMETIMES MAKING ONE CHOICE MEANS LETTING GO OF OTHERS, AND I CHOSE THE PATH THAT LED THE FARTHEST FROM WHAT I DIDN’T WANT TO BE.
DILON
And what was it that you didn't want to be?
JO Let’s just say my mom and I don’t exactly get along. You know?
DILON I—I don’t…know…
JO Are you and your mom close?
DILON Uh. No. I don’t… know… my mom. At all. Actually.
JO Oh. I didn’t mean to – I mean…I uh…
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DILON Don’t worry about it. Really. You’d think I’d be used to those kinda questions by now?
JO Well. 1513 is just down there!
DILON Thanks! I never would have found it on my own.
JO (awkward chuckle)
Sure.
DILON (with an eyeroll)
My dad’s prob’ly losing his mind in there without his typewriter.
JO Is he a writer?
#8a “I Need to Go” Underscore
DILON Yeah. Lev Shields. You want to meet him?
JO No, no that’s okay. I should be getting back to my…stuff…upstairs…right now.
(JO awkwardly, but hurriedly exits)
DILON
Wait! (Calling out after JO who has now disappeared around a corner)
It was nice to meet you! (DILON pulls out the manuscript, ready to give to LEV, and saunters in to his room, then, excitedly--)
Oh my gosh, dad. You’ll never guess who I just met – (Noticing that LEV is nowhere to be found)
Dad? You there? Hello? (She looks at the manuscript in her hands, looks around for a moment, then excitedly plops herself onto the ground and opens it to begin reading. Transition to the story world, DR. FOX enters a clearing in the forest catching her breath)
#9 “Dr. Fox & the Lullaby” Dr. Fox, Annabelle, Company
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DR. FOX
Hello? (A twig breaks)
Is anyone there? (The sounds of THE HUNTER echo around her)
Someone?
(A humming builds in the distance as a cabin appears where it was not moments before. DR. FOX apprehensively approaches the door to open it. ANNABELLE unexpectedly opens the door. DR. FOX jumps back in surprise.)
ANNABELLE
(warmly) Why, hello there.
DR. FOX (panting)
Oh. Hello. I’m sorry. I heard your… song. And I—
ANNABELLE Please. Come in. Come in.
(DR. FOX hobbles inside the small cabin. It’s cluttered with various random objects – like Annabelle’s Attic. The whole space is warm and cozy. DR. FOX is still a little skittish. She looks out of a window)
You’re bleeding. What happened?
DR. FOX I don’t know. He just swept in and everything went... You could feel it. Then he started coming after us, one by one.
ANNABELLE
The Hunter.
DR. FOX You know him?
ANNABELLE Knew him. Once. Come now. You’ve barely got any color left to you. Looks like you’ve been running longer than he’s been chasing you. I can always tell when I see a runner. The eyes are split. One trying to maneuver ahead, the other looking backward. Neither looking where they are right now. It’s a heavy burden being split like that — each step you take leaving footprints deep enough to be graves. Sorry, I’m blabbing on now, you need to rest.
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DR. FOX I just—
ANNABELLE Come now. Lay down. Here. Put your leg up. Let me bandage it for you.
(she starts cleaning and bandaging DR. FOX’s leg. DR. FOX winces occasionally, ANNABELLE starts humming to sooth her and maybe herself too.)
DR. FOX
(As if she’s breathing for the first time in a long time) Thank you.
(wince) Sincerely. I’ve just never come close before… to… I’ve just never had to think about the fact that I’m going to…
(wince) you know. Thank you.
ANNABELLE
(Still under her breath) …THEN WE RETURN ONCE AGAIN TO DARKNESS UNDEFINED, TAKING OUR VOICES, BUT LEAVING OUR ECHOES BEHIND.
DR. FOX
What’s that?
ANNABELLE An old song from and an old time. These sorts of things tend to either be familiar or forgotten. If it bothers you, I ca—
DR. FOX No. Please. Go on.
ANNABELLE (fuller voice)
A FOUNTAIN ONCE WAS FOUND PRESERVED IN BRONZE AND STONE. RICH ARE ITS WATERS MADE OF LIFE, HEALING HEART AND FLESH AND BONE. THOSE WHO DRINK FROM ITS DEPTHS WILL LIVE LONG PAST THEIR YEARS. RUNNING FOREVER FROM ALL OF THEIR WORRIES AND FEARS.
(DR. FOX perks up, listening intently)
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DR. FOX
Where does it come from?
ANNABELLE Who knows where any of the old songs come from really. Stories, I suppose.
DR. FOX True stories?
ANNABELLE All stories are at least a little bit true. Aren’t they?
(ANNABELLE nods towards the blue, upside down teardrop-shaped door in the corner of the cabin)
SOME SAY A DOOR WAS MADE OF SAPPHIRE BLUE STAINED OAK. PAST IT A WINDING PATH APPEARS THROUGH A CLOUD OF NOISE AND SMOKE. AT THE END OF THE PATH THE FOUNTAIN WATERS POUR—
DR. FOX
(echoing ANNABELLE) SOME SAY A DOOR WAS MADE OF SAPPHIRE BLUE STAINED OAK. A WINDING PATH, THROUGH A CLOUD OF NOISE AND SMOKE. AT THE END OF THE PATH…
DR. FOX
(cutting her off) Have you ever opened it?
ANNABELLE Once.
DR. FOX (dying to know)
And? Was it there? Is it true?
ANNABELLE I think that’s a story for another time. For now, rest. Take my bed for tonight.
DR. FOX (Not wanting to impose)
Oh. Are you sure?
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ANNABELLE
Of course, dear.
DR. FOX (giving in for now)
Thank you… (searches for a name, only to realize she didn’t know it)
I’m sorry… I didn’t catch your name.
ANNABELLE Annabelle.
DR. FOX Annabelle. Thank you, Annabelle. I’m –
ANNABELLE Dr. Fox. I know. Now, go on.
(DR. FOX saunters off to bed, leaving ANNABELLE in the main room, probably with a tea cup. She pauses for a moment before moving on as the melody of a song long forgotten echoes through the walls)
BUT ONLY THE BRAVEST CAN ENTER THE REALM OF THE DOOR.
(ANNABELLE looks over at the door. It glows)
DISEMBODIED DOOR VOICES OH, OH. CURIOUS CURIOUS CURIOUS.
(The light from the door intensifies for a moment as ANNABELLE is stuck, transfixed with the glowing light. It swells then goes out leaving everything in darkness. Transition to the real world.)
#10 “Focus” Jo, Company
(JO is in her lab – Perfectly organized, a labyrinth crafted to keep her in and the world out. She shakily goes about looking at samples under her microscope)
JO
33-CGA, no sign of change. (She moves on to another)
34-CGA, no sign of change. (She nearly drops one)
Get a grip. 35-CGA, no sign of change.
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(As she writes, she breaks her pencil in half. She throws the broken pieces on her journal and pulls on her earlobes)
FOCUS, JO. REMEMBER YOUR BREATHING, JO. COUNT THE DOTS ON THE CEILING BEFORE YOU START FEELING LIKE YOUR HEAD IS REELING, JO, AND SPINNING BACK TO THE BEGINNING WHERE… FOCUS, JO. DON’T PULL ALL YOUR HAIR OUT, JO. YOU HAVE WORK THAT NEEDS DOING, NEW DATA’S ACCRUING. YOU SHOULD BE REVIEWING, JO, YOUR FINDINGS WITHOUT THESE REMINDINGS OF… IMPOSSIBILITY. IT ALL COMES DOWN TO IMPOSSIBILITY. WHAT ARE THE CHANCES? I COULD CALCULATE THE ODDS, EVALUATE THE CIRCUMSTANCES. BUT HERE I STAND IN THE MIDDLE OF IMPOSSIBILITY WHERE HE IS; AND SHE IS… FOCUS, JO. JOT DOWN WHAT YOU’RE SEEING, JO. KEEP YOUR EYES ON THE TABLE WHERE YOU ARE MOST ABLE TO STAY CALM AND STABLE, JO, AND THINKING WHILE TEST TUBES ARE CLINKING BUT…
(The door to her lab opens and LEV steps in. They both stand there looking at each other in silence for a moment, neither of them knowing who should speak first. Then JO pipes up—)
How did… how did you get in here?
LEV (A bit more playful than he should be right now)
What? No, “Hey, how are you, how long has it been?”
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JO How did you find me?
LEV
Were you hiding?
JO I don’t have time for your stupid games.
LEV Neither do I, actually.
JO
(her burning question bubbles to the surface) Why did you bring her here?
LEV (stopped in his tracks realizing. Concerned)
How did you know Dilon was here? Did you meet her?
JO Yes. But don’t worry. She doesn’t know what I… who I am… to her. And anyways. I’m nothing to her.
LEV That’s not true at all.
JO Why are you here? At this hospital. In my lab. Trying to—
LEV
(snapping a bit) I didn’t choose to come here I didn’t choose to be sick. And for your information, I didn’t need to find you. I always knew where you were… Roughly at least. Just in case… she… needed you. And now I guess…
(LEV, folding, and knowing that he snapped) Sorry.
(He goes to leave)
JO (frustration giving way to concern and not easily forgot longing)
Wait. What’s she… like?
#11 “That’s My Girl” Lev
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LEV (stopping in his tracks, almost as if he’s reminding her of Dilon’s name)
Dilon?
JO (pulling back, afraid of being hurt)
Yes. Sorry. I don’t know. That’s probably a stupid question. I’m sorry. You can go… If you wa—(nt to)
LEV (warming to her)
What do you want to know?
JO (sheepish)
I don’t know. Something, anything. What I… I don’t know… missed? Just… a story… I suppose.
LEV (He cracks the tiniest smile)
THERE WAS A NIGHT WHEN SHE WAS FIVE HER NIGHTMARE SEEMED TO COME ALIVE. SHE CUDDLED UP BENEATH MY ARM AND KNEW I’D SHIELD HER FROM ALL HARM. IT DIDN’T TAKE HER LONG TO SLEEP. THE TWO OF US ONE HAPPY HEAP. SHE’S MY WORLD AND THAT’S MY GIRL. THERE WAS A MONTH WHEN SHE WAS EIGHT AND MONEY WASN’T ALL THAT GREAT. SHE GAVE ME EV’RY COIN SHE HAD AND TOLD ME, “I STILL LOVE YOU, DAD.” SHE DIDN’T CRY OR MAKE A FUSS. SHE’S BETTER THAN THE BOTH OF US. SHE’S MY WORLD AND THAT’S MY GIRL.
JO (softening, warming, but having had enough)
Thank you, Lev. I just… wanted to know…
LEV SHE’S GROWING UP, AND ALL TOO FAST, BUT THERE’S SO MUCH THAT HASN’T PASSED.
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SHE’LL BE A DOCTOR SHE’LL BE THE BEST THE THOUGHT OF IT FILLS UP MY CHEST. SHE’S SO SMART, SO UNAFRAID. THE BEST THING WE HAVE EVER MADE.
JO Lev, you should… I should… I have things to do.
LEV Okay, okay, okay. But you can’t run away from this, Jo.
JO I’m not even a part of her life. We had an agreement. We signed what we needed to. I am nothing to her. She is yours. Yours.
(LEV almost giving up, goes to the door to leave. He pauses. Beat. Turning back to JO— )
LEV
SHE’S MAGIC, JO. SHE’S MAGIC.
(LEV leaves. JO is left alone in her lab. She sits)
JO IT’S A CURIOUS THING: TRYING TO MOVE AHEAD WHEN WHAT YOU’VE LEFT BEHIND IS IN FRONT OF YOU INSTEAD.
(The stage moves to another part of the hospital. NURSE SHEINK and NURSE HICKLE are sitting behind their desk filling out various forms and paperwork. NURSE SHEINK has a sandwich in one hand that she takes a bite out of every once in a while. DILON eagerly approaches them with the manuscript tucked under her arm)
DILON Have you seen my dad around anywhere? He wasn’t in his room last time I checked.
NURSE SHEINK Dr. Gooch just took him to—
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NURSE HICKLE Took him back to his room.
DILON Oh, I’ll just go back.—
NURSE HICKLE Why don’t you keep us company for a while?
DILON Nah, that’s okay. You two look busy.
NURSE SHEINK Da.
#12 “Choose” Nurse Hickle, Nurse Sheink, & Dilon
NURSE HICKLE (sassing SHEINK)
Not at all. How about a little game?
(DILON stops. NURSE SHEINK perks up)
NURSE SHEINK You are not thinking about—
NURSE HICKLE (teasing)
You know you want to.
DILON You guys play games on the clock?
NURSE HICKLE ‘Course.
MOST OF OUR SHIFTS WE CAN’T CATCH OUR BREATH. RUNNING FEET SET TO REPEAT ON CALL FOR LIFE OR DEATH. SO, IT’S NICE TO HAVE A SLICE OF THE DAY FOR GAMES AND PLAY. SOMETIMES YOU WIN. SOMETIMES YOU LOSE.
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DO WHAT YOU CAN TO MAKE THE MOST OF THE THINGS YOU GET TO CHOOSE.
NURSE HICKLE
(to DILON) See, those two patients over there? Which one do you think will make it across the room first?
DILON You’re racing patients? Isn’t that a little messed up?
NURSE HICKLE It’s not the worst thing you see ‘round here.
DILON What do you get if you win?
NURSE SHEINK Glory.
DILON And if you lose?
NURSE HICKLE Bedpan duty. I haven’t touched one in three weeks.
NURSE SHEINK I have a particular talent for picking the bad ones.
DILON Why do you keep playing then?
NURSE SHEINK MOST OF THE TIME WE DON’T REST OR SIT. MOMENTS FLY, BUT WHEN WE TRY TO PAUSE IT STARTS TO HIT. IT IS A LOT THAT WE HAVE GOT TO SUPPORT. LIFE IS NO SPORT.
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NURSES SOMETIMES YOU WIN. SOMETIMES YOU LOSE. DO WHAT YOU CAN TO MAKE THE MOST OF THE THINGS YOU GET TO CHOOSE.
DILON
I HAVE SO MANY QUESTIONS. I NEED TO KNOW. THINGS YOU GET TO CHOOSE.
DILON
Can I play?
NURSE HICKLE Of course.
NURSE SHEINK If you lose, you are doing bedpan duty.
NURSE HICKLE
(whispering to DILON) Bet on the one of the right and you won’t have nothin’ to worry about. He’s ex- military.
NURSE SHEINK
Who is your champion, small child?
DILON The man on the right.
NURSE SHEINK Then I will take Mr. Davis.
NURSE HICKLE
Mr. Martin plays Mr. Davis here today at the St Augustine Derby. Here we go. (a la a horse race announcer)
Aaaaaaaaaaaaand they’re off!
(NURSE SHEINK and NURSE HICKLE start cheering on the competitors. Time slows. They continue in slow motion.)
DILON
(internal)
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WHAT A MAGICAL PLACE. IT JUST KEEPS SURPRISING ME. THE PEOPLE, THE SOUNDS. IT’S ALL ENERGIZING ME. AWAY FROM HOME, SOMEWHERE NEW, WE COULD CHOOSE OUR WORLD, WE COULD MAKE IT TRUE.
(Time snaps back.)
NURSE HICKLE What’s this? Mr. Davis is on the move and—and—and…he’s going the wrong way. That makes for an automatic disqualification. Looks like more bedpan duty for Sheinkvanovich.
NURSE SHEINK (Translation: Now I’ll kill you bitch, motherfucker)
Schas po ebalu poluchish, suka, blyad!
(Everyone in the room stares at her)
NURSE HICKLE (As if she understood)
Roz!
DILON Hey,
SOMETIMES YOU WIN. SOMETIMES YOU LOSE. DO WHAT YOU CAN TO MAKE THE MOST—
ALL SOMETIMES YOU WIN. SOMETIMES YOU LOSE. DO WHAT YOU CAN TO MAKE THE MOST OF THE THINGS YOU GET TO CHOOSE.
DILON (like an eager beaver)
Alright then.
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(DILON slams the manuscript down on the desk and starts rifling through it, looking for her page)
NURSE HICKLE
What’s that, sweet-pea?
DILON What I do for fun.
NURSE SHEINK Play with old paper? Interesting.
(DILON smiles and signals for them both to move in closer as she opens to the page she left off on)
DILON
Okay. So it’s late. The world has gone to sleep. All except Dr. Fox and the blue door.
#13 “Dr. Fox & the Door” Company (Slowly, a blue arch brightens from the darkness, growing until its light fills the room of ANNABELLE’s cabin. DR. FOX limps out of bed and goes to inspect it.)
DR. FOX
Curious.
(She reaches for the handle apprehensively cracking it open.)
ANNABELLE Stop!
(DR. FOX doesn’t move, slightly startled as ANNABELLE rushes over to close the door firmly)
Do you have any idea what you’re doing?
DR. FOX The fountain is on the other side.
ANNABELLE Yes.
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DR. FOX Come on. Let’s get it. We can go together.
ANNABELLE It’s not that easy.
DR. FOX What are you afraid of?
ANNABELLE I’m not. That’s the point. I’ve come close. I’ve stared down the barrel of his gun. And I ran. But it doesn’t get you anywhere. I can’t let you—
DR. FOX
Please. He is coming after me and he will not stop. I’m losing blood, I’m losing my mind, I’m losing everything. I need the fountain.
ANNABELLE You can’t keep running away from him.
DR. FOX
I won’t wait around for him to get me either.
COMPANY CURIOUS.
(DR. FOX exits through the large upside down blue teardrop shaped door. Simultaneously, JO enters LEV’s room, stopping when she sees DR. GOOCH. LEV is standing, looking away.)
DR. GOOCH Are you sure you don’t want to sit for a moment and — Oh. Dr. Corsac. I didn’t think we called a—
JO Oh… no… I’m his… was… a… a…
LEV (saving her)
An old friend. She’s an old friend.
DR. GOOCH Oh. Small world.
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(to LEV, earnestly) I should leave you… to…process. And…consider… make sure this is—
LEV No, I’m sure.
(JO picks up the chart from the foot of the bed, going through it, her face sinking with every page she turns)
DR. GOOCH You understand what that means?
LEV Yes.
DR. GOOCH And you’re sure that —
LEV Yes.
JO (pained)
Lev… this is…
LEV (Nodding)
Not ideal, huh… (Then, to DR. GOOCH)
Just tell me how long I have.
(DILON hears this as she enters. She is stopped in her tracks)
DILON What?
(LEV turns around and faces DILON. There hangs a silence so deep you can almost hear DILON’s world shattering before her)
How long you have for what?
DR. GOOCH I’m so sorry, Dilon. If you want, we can —
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DILON I want you to do your job and make my dad better.
DR. GOOCH It’s much bigger than we thought. I can help your dad expla—
LEV I think I can handle it.
(Sincerely, but also“it’s time you left”) Thank you, Dr. Gooch.
DR. GOOCH (understanding, about to leave)
I’m sorry, Mr. Shields.
LEV Lev. If you’re gonna give me news like that, I think we’re on a first name basis, Doc.
DR. GOOCH Sorry… Lev.
(He leaves. LEV beckons DILON to come to him)
#14 “Enough” Dilon, Lev, Jo, Company
LEV Come here, kid. Don’t worry abo—
DILON “Don’t Worry”?!
YOU’RE ACTING SO DAMN CASUAL LIKE IT’S JUST ANOTHER DAY, BUT IT’S NOT, IT’S REALLY NOT.
LEV The doctors have—
DILON You’re here to treat him, right? That’s what you do, isn’t it?
JO N(o) — I’m in research, so —
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DILON So put him in one of your trials.
JO It’s not that easy.
DILON
If you’re not going to help him, then why are you even here?
LEV Jo, maybe we should—
DILON Do you two know each other or something?
LEV We used to.
DILON Then why won’t you help my dad?
LEV TELL HER, JO.
JO I don’t think — it’s —
LEV IT’S TIME TO TELL HER, JO.
JO She—She doesn’t…
LEV IT CAN’T BE UNDONE NOW. NO WHERE TO RUN NOW.
DILON
(to JO, Begging) Can you please just do something to help my dad?
JO I’m — I’m— I’m not his doctor.
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DILON
I don’t care who his doctor his — He needs help. You have to treat him. You took an oa(th)—
JO
(snapping under pressure) You can’t treat your own family.
(a long beat) Oh… I’m… I’m sor—
DILON I HAD SO MANY QUESTIONS AND IT’S ALL BECOMING CLEAR. TEN YEARS WITHOUT YOU AND NOW YOU’RE HERE, NOW YOU’RE HERE.
LEV
I SHOULD HAVE TOLD YOU SHE WAS HERE ALL ALONG. I SHOULD HAVE TOLD YOU. I WAS WRONG. YOU’RE MY GIRL. YOU’RE MY WORLD…
LEV YOU NEEDED TO KNOW HER.
DILON I NEVER WANTED TO KNOW YOU—
JO WAS I EVER ENOUGH? WOULD I EVER BE ENOUGH? HOW COULD I STAY
JO I NEVER THOUGHT I’D HAVE A FAMILY. I NEVER THOUGHT I’D SEE THE DAY. I NEVER THOUGHT THAT I WOULD FAIL. I NEVER THOUGHT I’D RUN AWAY.
BUT IT’S EASY TO GET LOST WHEN YOU DON’T KNOW WHERE TO GO, AND I WAS CORNERED AND FRIGHTENED AND I DIDN’T KNOW…
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WHEN I’D NEVER BE ENOUGH?
DILON I USED TO LAY AWAKE AT NIGHT WONDERING. (WONDERING) ALL MY THOUGHTS CAME ALL AT ONCE THUNDERING. (THUNDERING) WHERE YOU WERE AND HOW YOU WERE AND WHO YOU WERE. AND THERE I WAS LEFT TO GUESSING IN MY MIND OVER AND OVER LIKE ONE BIG BLUR. ALL THIS TIME GONE AND NOW YOU SHOW. WHY YOU LEFT, WHY YOU HAD TO GO. IT’S TOO LATE FOR ANSWERS NOW I KNOW, NOW I KNOW— WE WERE NEVER ENOUGH AND WE’LL NEVER BE ENOUGH. GO AHEAD AND SAY SORRY IT’LL NEVER BE ENOUGH—
So go.
LEV (to JO)
Jo, please don’t. (to DILON, reasoning)
No matter what happened, she’s fami—(ly)
DILON (biting.)
She is not our family. (silence)
JO
I—I just want… to… help.
DILON
Then why don’t you do the only thing you’ve ever done: Run away.
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(“easy to get lost” underscoring. JO looks to LEV, who has put his hands on DILON’s shoulders to try to comfort her. JO leaves. DILON tries to reset, get back on track)
DILON
Now. There’s gotta be someone in this stupid hospital who can make you better.
LEV (resigned)
They’ve tried everything they can.
DILON We can’t just give up.
LEV (taking DILON by the shoulders) SOME THINGS AREN’T MEANT TO BE FINISHED. SOME THINGS YOU HAVE TO RELEASE. NOTHING’S DESIGNED FOR FOREVER, BUT AT THE END OF IT ALL THERE’S PEACE.
DILON YOU HAVE TO BE STRONG. YOU HAVE TO BE BRAVE. YOU HAVE TO BE OKAY.
DILON
Dad, please. It’s us. We’re a team. There has to be something we can do.
LEV I asked them not to do anything anymore…to… fix me.
(like a final sucker punch for DILON.)
LEV I WANT TO BE HERE, REALLY HERE WITH YOU. THE TIME I HAVE LEFT, I’LL SPEND WITH YOU.
DILON YOU’RE GIVING UP. YOU ALWAYS GIVE UP.
(brandishing the manuscript and pushing it towards LEV) YOU RUN TO
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YOUR PAGES, YOUR PAGES, YOUR PAGES AND PAGES AND PAGES AND PAGES AND your pages and pages and pages and pages and—
DILON
(DILON notices the blue door illustration on the back of the manuscript)
The door. The door is real. I’ve seen it.
LEV Why do you have that?
DILON There’s a door just like this one at Annabelle’s Attic.
LEV Pickle, let’s just take a second—
DILON Dr. Fox. The Door. “The Impossible cure for death”. They’re all real, aren’t they?
LEV That’s just a story.
DILON ‘Stories are as true as you want them to be.’
LEV Dilon, wait!
(DILON runs away, ‘til she is alone.)
DILON IMPOSSIBILITY. IT ALL COMES DOWN TO IMPOSSIBILITY.
(DILON puts the manuscript in her backpack. Suddenly she’s at Annabelle’s Attic)
KAYLAH
Welcome to Annabelle’s—you again.
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(DILON smacks down a huge bag of Bubble Trouble Gum on KAYLAH’s desk.)
DILON
The door. Tell me about it.
KAYLAH What do you want to know?
DILON What is it? Where does it go? How do I get through it?
KAYLAH
That’s a lot of questions.
DILON (Fed up, pushing past her)
Doesn’t matter. I’m going.
KAYLAH It might not be what you expect.
DILON (stopping for a moment, looking back at KAYLAH)
Whatever I find can’t be as bad as what I’m leaving behind.
KAYLAH There’s only one way find out then.
(KAYLAH nods at the door on the other side of the store. DILON approaches it)
DILON
I HAVE TO BE STRONG. I HAVE TO BE BRAVE. I HAVE TO BE WHAT HE CAN’T BE TODAY. I HAVE TO MAKE IT ALL OKAY.
(DILON opens the door. Light spills out and floods the room)
DISEMBODIED VOICES CURIOUS CURIOUS CURIOUS!
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(Door slams shut.)
COMPANY The day that she left.
(Darkness. Ten Years Ago. DILON watches on. JO enters, snapping.)
JO Lev, just look at me.
(beat. she collects herself) She was only two. This patient… this… this kid. This beautiful little girl. I stood there and told her parents there was nothing I could do… and… you could see it. You could see their entire world tearing itself apart—shattering. And then I get home, and there she is. Our girl. I pick her up, and—and she looks at me. She really looks at me. And… I just… She knows. I swear she knows. She can tell. She can tell that I’m there, staring at her, not feeling anything I should be. I should be terrified. I should be wondering “what if that happened to my girl?” I should be thinking that I can’t face another day watching people’s children die because the mere thought of it shuts me off so completely that I… just…can’t. But I don’t. None of that comes to mind. All I can think is that she knows. She knows that I don’t feel how I’m supposed to. And how can I do that to her? Make her grow up knowing that? She’d be better off if she never knew me… If I just… right now just… le(ft)—she wouldn’t even remember me. This mother who isn’t… designed to be a… who isn’t enough. Wouldn’t she be better off?
#15 “Dilon & the Lullaby” Annabelle, Company
(JO fades away as DILON, speechless, tip-toes through a dimly lit room. It is ANNABELLE’s cabin, though there’s something off about it. It’s like the color has drained away. Everything is faded. The house creaks and shakes in the cold wind. What was once cluttered is now disheveled, as if someone has been searching the space for something.)
DILON
(Confused by what she just saw) Hel—hello?
(To herself) What is going on?!
ANNABELLE
IT’S A CURIOUS THING: SEARCHING FOR SOMETHING LOST.
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NOT KNOWING WHAT YOU’LL FIND (ANNABELLE limps in)
OR HOW MUCH IT WILL COST.
DILON Oh my gosh. Annabelle.
(ANNABELLE staggers and DILON catches her, helping her balance) Are you ok?
ANNABELLE Oh, I’m fine. I’m not the one you should be worried about.
DILON What is happ—
ANNABELLE Your eyes, dear.
DILON My eyes?
ANNABELLE They’re split. I can’t tell what you’re looking for.
DILON I – I’m looking for the fountain.
ANNABELLE Somebody else wanted to find the fountain some time ago.
DILON Well, I need to find it. And I did everything it said — “go through the door”. So where is it?
ANNABELLE It’s not that easy.
DILON I don’t care. I can’t imagine it’s any harder than the thought of my dad—
(She splays her hands. Realizing no one will come to grab them, she tries to calm herself with a deep breath)
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ANNABELLE The hardest things we encounter often have very little to do with imagination, and much more to do with reality.
DILON …but… the fountain… it’s… real — right?
ANNABELLE
THOSE WHO DRINK FROM ITS DEPTHS; FOREVER IN THEIR YOUTH. WHEN FINDING WHAT’S LOST, YOU WILL FIND YOURSELF FACING THE TRUTH…
DILON What’s the… “truth”?
ANNABELLE That’s for you to find out.
DILON But—Where do I go? I have no id(ea) — I’m just… lo(st)
ANNABELLE Well first you have to decide if you’re a cow or a Buffalo.
(DILON stares at her blankly, quizzically quiet) When a storm approaches from the east, cows run west. They do everything they can to get away from the storm, but it inevitably catches them. But the buffalo — they run east. Into the storm. Through the storm. Headstrong. Sturdy. Brave.
DILON (stunned)
Which one are you?
ANNABELLE (a light smile, maybe even a chuckle to herself)
Neither, dear. I’m old. I am still. And here. Here is where I shall stay. But you – you should go.
(In the distance, the sound of the HUNTER approach)
DILON What?
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ANNABELLE (with a darkness and insistency that she hasn’t shown before)
He’s coming. Go. Now. Run.
(The sounds of THE HUNTER become the sounds of the hospital — accelerating and crescendo-ing. LEV jerks awake with a gasp in his hospital bed and the noises stop. He jolts up, sitting up in his bed looking around. JO who’s been by his bedside, goes straight to him to help)
#16 “Find Her” Lev & Jo
LEV Where is she?
JO Easy, Lev.
(She gently physically encourages him to lay back down.)
LEV Where’s Dilon?
JO You need to rest.
LEV WHERE’S MY KID? WHERE’D SHE GO? WHERE’S MY GIRL? I NEED TO KNOW.
JO You collapsed while looking for her. You’re in no state to be running around.
LEV But I need to — .
JO I’ve looked all over the hospital. She’s not here.
LEV Well, look again.
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JO
I did.
LEV Great, so you’re just giving up like you always do?
(JO retreats into her shell. Beat.) I’m sorry. It’s not your fault. Any of this. It’s all on me.
JO I—shouldn’t have…
LEV No, I was the idiot who had to go get sick and land us in this joint—
JO Don’t be like that…
LEV Like what, myself?
(a small smile flashes across both of their faces)
JO You look awful.
LEV And yet I manage to feel so much worse.
JO
She’ll come back, Lev. She will. (JO trepidatiously puts a hand on his shoulder to comfort him. LEV takes a deep breath.)
Uncanny, isn’t it?
LEV What is?
JO This. Being here. To—gether.
LEV I USED TO STAY AWAKE AT NIGHT WONDERING.
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JO
I USED TO STAY AWAKE AT NIGHT WONDERING.
LEV ALL MY THOUGHTS CAME ALL AT ONCE THUNDERING.
JO ALL MY THOUGHTS CAME ALL AT ONCE THUNDERING.
LEV
WHERE YOU WERE…
JO WHERE YOU WERE…
LEV AND HOW YOU WERE…
JO & LEV AND WAS I EVER ENOUGH? WOULD I EVER BE ENOUGH?
LEV BUT THEN I’D LOOK IN HER EYES… THE OTHER DAY I SAW HER SMILE, I’LL ADMIT IT’S BEEN A WHILE. FOR JUST A MOMENT, THERE YOU WERE. I SEE SO MUCH OF YOU IN HER. SHE’S ALL THE PARTS OF US THAT’S GOOD, AND THINKS IN WAYS I NEVER COULD. SHE’S MAGIC, JO. SHE’S MAGIC.
JO Lev, I have to go.
(she starts for the door)
LEV Look, I’m sorry — I just…
JO Let me know when she comes back.
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LEV
(Stopping her) SHE’S MY WORLD, AND THAT’S OUR GIRL.
(JO leaves. LEV fades away)
#16a “Impossibility (Focus Reprise)” Jo, Dilon, Company
JO FOCUS, JO…. FACE UP TO THE FACTS NOW, JO. YOUR CHOICES NEED CHOOSING AND YOU SHOULD BE USING MORE TIME THAN YOU’RE LOSING, JO. STOP SITTING WHERE YOUR PATH IS SPLITTING.
(DILON enters briskly, pacing around, regularly checking behind herself)
DILON Where am I going?! Pull yourself together, Shields. You went through the door. Now. Find the fox. Find the fountain. Urgh —
IMPOSSIBLITY…
JO IT ALL COMES DOWN TO IMPOSSIBILITY. WHAT ARE THE CHANCES?
DILON WHAT ARE THE CHANCES?
JO I COULD CALCULATE THE ODDS,
JO & DILON EVALUATE THE CIRCUMSTANCES.
JO BUT HERE I STAND…
DILON BUT HERE I STAND…
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JO & DILON
IN THE MIDDLE OF IMPOSSIBILITY
THE HUNTER I can always tell a runner when I see ‘em.
(DILON GASPS. THE HUNTER steps out of the shadows. JO fades away)
#17 “Dilon & The Hunter” Company
THE HUNTER
It’s the eyes. Split. One lookin’ ahead. One lookin’ behind. Never seein’ what’s right there.
DILON (she shakes off the uncanny feeling that she recognizes THE HUNTER; then, posturing—)
I’m not afraid of you.
THE HUNTER (A big intake of breath through the nose. Then smug and menacing –.)
Oh, you are.
DILON What makes you say that?
THE HUNTER You don’t know who I am.
DILON Who are you then?
THE HUNTER
That’s an awful complicated question.
DILON No it’s not. It’s probably the easiest question in the world.
THE HUNTER
Go ahead then. Tell me who you are.
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DILON Dilon. Dilon Shields.
THE HUNTER
(a chuckle) ‘Tsjust your name. What you’re called don’t matter none to who you are.
DILON
Then what does?
THE HUNTER What you do. And you’re a runner. Then there’s me. I’m the Hunter.
(The HUNTER grins and lets out a small sinister chuckle. He draws his gun and points it at a bush. He fires. BANG.)
COMPANY
The night that she left. (LEV storms in, searching around the room. JO stands her ground.
JO Lev, can you just stop for a second and listen to me.
LEV I know I left it around here somewhere.
JO We have to talk about this, I want to talk about it.
LEV It’s a flannel - it can’t just disappear
JO I just need you to understand.
LEV You know, sometimes I wish I kept this place a little tid—(ier)
JO How is that important right — (now)?
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LEV Oh. You put it in the trash, didn’t you? Because that’s what you do.
JO That’s not fair.
LEV
Fair?! You don’t get to talk about “fair”.
JO Don’t you have anything to say?
LEV What do you want me to say? Huh?
(inappropriately mockingly) “Oh yeah you're right, you should just give up?” No.
JO I’m not giving up.
LEV Oh? Then what are you doing?
JO I just—I don’t want her growing up feeling like a burden every single day.
LEV
So it’s as simple as that. You just pack up and run away.
JO Don’t act like this is easy for me.
LEV Have you even taken a second to think about what you’re doing to her?
JO (Something breaks, and she regrets every word as it leaves her mouth)
You forced me to have a child that I never wanted — Do you have any idea what you’d be doing to her if you made me stay?
(The words hang in the air. A bell has been rung that cannot be un- rung.)
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#18 “What I Do” The Hunter & Company
(BANG. Jo disappears. A smile stretches across the HUNTER’s face as his eyes focus in on DILON)
DILON
(terrified, both of him and the flashback) Wait. What just— ? Oh my gosh.
THE HUNTER
(He takes a deep breath in.) CAN YOU SMELL THAT? HOW THE AIR GROWS, HOW IT THICKENS AND SICKENS AND STICKS IN YOUR NOSE. DO YOU KNOW WHAT THAT SMELL IS? IT’S ALWAYS THE SAME. IT’S THE PURE KIND OF FEAR THAT POINTS ME TO MY GAME. IT DON’T MATTER NONE WHERE THEY GO WHAT THEY DONE. SOME TRY TO BEG, SOME TRY TO RUN, BUT IN THE END I ALWAYS SHOOT TRUE. IT’S WHAT I KNOW. IT’S WHAT I DO.
CAN YOU HEAR THAT? HEAR THAT SOFT POUND, HOW IT QUICKENS THEN QUIETS AND MOVES THROUGH THE GROUND. DO YOU KNOW WHAT THAT SOUND IS? THAT DEEP DISTANT DRUM. IT’S THE HARD COUNT OF TIME I’VE PINNED UNDER MY THUMB.
IT DON’T MATTER NOW HE WILL DIE ANYHOW AND SUFFER TOO,
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IF I ALLOW. BUT I CAN STOP THE PAIN THAT SWEEPS THROUGH. IT’S ALL I KNOW.
It’s what I do.
THERE’S NEVER ENOUGH TO ADD TO MY BELT; EV’RY SHADE, EV’RY SIZE, EV’RY KIND OF PELT. EV’RY DAY THE WEIGHT GROWS AND GROWS THEY DRAG ‘HIND MY FEET.
Ev’ry day my pace slows. (He begins approaching DILON and the injured fox, clearly coming to end it all)
IT DON’T MATTER NONE
DILON Don’t do this.
THE HUNTER WHERE I GO WHAT I DONE.
DILON
Just let me go.
THE HUNTER I’M ALWAYS HERE AIMING MY GUN.
DILON I’ll do whatever you want
THE HUNTER I CAN’T CHANGE WHAT I AM OR THE TRACKS IN MY VIEW.
DILON Please!
THE HUNTER Run.
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DILON What?
THE HUNTER (Using his gun to gesture off into the forest)
Run.
(DILON begrudgingly moves out of the way then runs off. THE COMPANY aims at the sky.)
I CAN’T STOP MYSELF. I CAN’T STOP WHAT I DO.
(BANG. Transition back to the real world. JO is standing on the roof of the hospital, cigarette in hand. LEV approaches perhaps a bit weaker in energy and spirit.)
LEV
Sorry. (no response)
Jo?
JO (snapping back to reality, but still distracted.)
Sorry about what?
LEV Slamming the door. You know those’re bad for you.
JO
(cracking a smile) You are the most able-bodied patient I’ve ever met.
LEV
Gotta use it while I can.
JO Has she—
LEV
No. Still no sign (he takes the cigarette from her and takes a drag)
It’ll be okay. I’ll… I’ll… wait it out… with you.
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(a small smile from LEV. Then, trying to distract him. Referring to his shirt)
You still have that old flannel?
LEV It got a lot easier to hold onto it once I didn’t have someone trying to throw it away all the time.
JO I’m…. uh… I…
LEV
(waves his hand a la ‘pish-posh’) No point in holding grudges now, is there?
(he hands the cigarette back to her) And anyways, it is pretty worn out.
JO
I don’t know, looks like it’s got plenty of potential. (A small smile from both. She takes a drag then hands it back.
You still smoke?
LEV Well, this is my last.
#19 “Don’t Let Her Cry” Lev
JO
How are you—um—feeling?
(LEV stares at her blankly) Sorry. You’re right. That was a stupid que—(stion)
LEV
Scared. (beat.)
I—I can’t let her know. But… I’m… terrified.
JO (barely knowing what to say)
I’m… sorry. I’ve been around a lot of — death… and it never —
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LEV No no no. Death, I can… I can do. I just —
I NEED YOU TO BE THERE, REALLY BE THERE FOR HER…
JO Lev, you heard her. She doesn’t want me.
LEV
Please, just… PICK OUT A CHAPEL, PICK OUT A SONG, PICK OUT SOME STORIES; DON’T MAKE THEM TOO LONG. SHE WILL BE BRAVE, SHE WILL BE STRONG WHEN IT’S TIME TO SAY HER GOODBYE. LET HER SPEAK, LET HER SCREAM, LET HER SLEEP, LET HER DREAM. BUT PLEASE, PLEASE, DON’T LET HER CRY. GO THROUGH THE PHOTOS; TAKE HALF A DAY. PUT THEM IN BOXES AND PACK THEM AWAY. KEEP ONE OR TWO. PUT THEM OUT ON DISPLAY SO, I’LL BE THERE AS TIME PASSES BY. LET HER LAUGH, LET HER SMILE. REMINISCE FOR A WHILE. BUT PLEASE, PLEASE, DON’T LET HER CRY. ‘CAUSE I, I NEED TO KNOW WHEN MY TIME IS OVER HER LIFE WILL GO ON. AND I, I NEED TO KNOW THAT SOMEONE WILL BE THERE FOR HER AFTER I’M GONE.
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JO We’ve tried this… I’m not designed to be a—
LEV She’s so much like you, you know? You both have your little ticks. When you’re struggling. You pull at your hair. She splays her hands out by her side… like she’s looking for someone… something… anything to hold on to. And when she needs me the most… I’ll be… gone. Please…
(grabbing JO’s hand and holding it, as firmly as he can) HOLD HER HAND, HOLD IT TIGHT. HOLD IT ‘TIL IT’S ALL ALRIGHT. BUT PLEASE, PLEASE…
(LEV lets his hand slip away from JO’s, then leaves her on the roof by herself. Transition to the storybook world.)
#20 “Nothing” Dilon, Hunter/Lev, Company
(DILON is running through a lattice of trees, checking behind her, occasionally hiding behind one)
DILON
WHERE HE WALKS THE GROUND GOES DRY. IT JUST GROWS AS TIME GOES BY. I’VE NEVER SEEN THIS KIND OF BEAST. DO I RUN WEST OR FACE THE EAST?
(The trees slowly become specters of people, speaking at DILON)
NURSE HICKLE
Be nice to the little lady and her pa. They’ll be here for a while.
NURSE SHEINK You cannot leave.
COMPANY Curious how some lives aren’t designed to last very long.
DILON ONE THING AT A TIME.
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HANDS ARE SHAKING. I CAN FIX THIS. VOICE IS BREAKING. NOTHING’S FOREVER, NOTHING TO FEAR, NOTHING MEANS NEVER, NOTHING MATTERS HERE.
JO You’re not allowed to treat your own family.
KAYLAH That’ll cost you.
ANNABELLE I can always tell when I see a runner.
COMPANY The eyes are split.
DILON I CAME SO FAR. FEET ARE ACHING. I CAN FIND IT; EYES ARE FLAKING. NOTHING’S FOREVER, NOTHING IS CLEAR, NOTHING IS NEVER, NOTHING MATTERS HERE.
DR. GOOCH
It’s much bigger than we thought.
JO Do you have any idea what you’d be doing to her if you made me stay?
ANNABELLE The hardest things we encounter often have very little to do with imagination…
COMPANY
And much more to do with reality…
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DILON GET ME OUT OF THIS PLACE, STOP MY HEAD FROM REELING, WHAT ELSE CAN I DO? STOP THIS SINKING FEELING. I’M SO OFF TRACK. I SHOULD HAVE STAYED RIGHT THERE WITH DAD I’M—
COMPANY Run.
(THE HUNTER appears, pacing around her)
THE HUNTER
I CAN HEAR YOUR HEART WITH EV’RY BEAT.
(He disappears)
COMPANY IT SPEEDS AND TREMBLES AT MY FEET.
LEV (off)
WHERE’S MY KID?
DILON Dad?
LEV (off)
WHERE’D SHE GO?
COMPANY He can’t hear you.
LEV (off)
WHERE’S MY GIRL?
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(Whispers surround her and the HUNTER steps out in front of her, standing face to face)
DILON
Where’s my Dad?
THE HUNTER (deep intake through the nose – he enjoys the fear he smells)
There it is.
DILON Where is he?
THE HUNTER Not so fast. I’m not done yet.
DILON I just want to get back to him.
THE HUNTER Well then. Run.
(DILON turns to run away. THE HUNTER draws his gun)
THE HUNTER THE HUNT IS ON.
(DILON runs through the only door she can see. The stage transforms into a house of mirrors. She is surrounded by the reflections of LEV, JO, DR. GOOCH, NURSES and THE HUNTER.)
DILON
I GUESS I’LL HAVE TO BE STRONG. I GUESS I’LL HAVE TO BE BRAVE. I GUESS I’LL HAVE TO BE OKAY. IT’S TIME TO BE STRONG. IT’S TIME TO BE BRAVE. IT’S TIME TO BE OKAY.
HICKLE NOTHING MATTERS.
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SHEINK SOMETIMES YOU WIN. SOMETIMES YOU LOSE. CURIOUS.
THE HUNTER
CAN YOU SMELL THAT? HOW THE AIR GROWS. HOW IT SICKENS AND THICKENS AND STICKS IN YOUR NOSE. IT’S WHAT I DO. THE GAME IS MORE FUN IF YOU RUN.
JO I HAVE SO MANY QUESTIONS. FOCUS. FOCUS NOW. BUT HERE I STAND. IMPOSSIBILITY.
DR. GOOCH NEVER ENOUGH. NEVER ENOUGH.
LEV YOU’RE MY WORLD. BE HERE WITH ME REALLY BE HERE WITH ME YOU’LL BE OKAY.
DILON Dad!
(The SPECTERS square their gun off at LEV, as DILON can do nothing but stand and watch. BANG. Darkness.)
COMPANY
The day after she left.
(LEV walks into Baby Dilon’s nursery. He crouches at her side. DILON watches on, unmoving)
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LEV (Trying to hold it together for her sake)
Hey hey hey. It’s okay, it’s okay. It's all going to be okay. Don’t worry. I’m here. Dad's here. There you go.
#20a “Lev’s Lullaby” Underscore
LEV(cont’d) You’re okay. Looks like it’s just gonna be just you and me from now on, kid. But we’ve got everything we need, yeah? Everything thing I do, it’ll be for you. Everything. And I promise you, I’m gonna be here for you. I’m never gonna leave you alone. But you gotta promise to not to leave me either, okay? Cause I probably need you more than you need me. You’re magic, kid. You’re magic.
Everything goes dark and DILON is left alone. For the first time since she can remember, there is silence and darkness — Nothing. Except the sound of her breathing and the roar of her own thoughts)
DILON
Dad? (Beat.) Dad? No, no no no no. Please. (closing her eyes and rapidly chanting to herself as if it will change what has happened, reaching out for her father who isn’t there.)
True as you want it to be true as you want it to be true as you want it to be true as you want it—argh—none of this is happening, it can’t be happening, I don’t want it to be happening. God, I’m so done with this! Let me go home or anywhere but here. Anywhere.
(a long silence. DILON holds her breath to see if she can hear something… anything. Then, desperately—)
I tried. I tried to find her. I swear, I tried. But she doesn’t exist. All those times you got lost in your damn typewriter, it was all for nothing. And where is she now, huh Dad? Where’s Dr. Fox, huh? Slipped away? Off trying to help? No. She isn't real. And I am trying to be strong and brave and—tried to make this…okay. But I can’t do it. And I’ve left you. Alone. And I don’t know how to find my way back to you.
#21 “The Final Chamber” Dilon, Dr. Fox, Jo, Company
DILON Dad? (Beat.) Dad? (Longer Beat.) Please. I don't want to be alone. Don’t leave me alone. Dad? (beat.) I’m…afraid. What am I meant to do without you?
(A burst of light and a sound swell surrounds her completely. From this light and sound is a paper chamber. Faceless people are scattered around. In the corner sits an empty ink-well, turned upside down. A
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figure paces around it, twitching its tail and pulling at its ears. DILON rubs her eyes and squints at the figure.)
DILON
Doc—Doctor Fox?
DR. FOX What? Who are you? What are you?
(DR. FOX scuttles up to DILON, grabbing her by the shoulders) How do you know who I am?
DILON So… you are Dr. Fox?
DR. FOX Do I know you?
DILON You’re real?
DR. FOX (having forgotten what that word meant)
Real? Yes. I was. I am. Are you?
DILON I’m… Di— I’m Lev’s kid.
DR. FOX What a curious name. It’s been…who knows how long since I’ve heard a name.
DILON I USED TO LAY AWAKE AT NIGHT WONDERING WHO YOU WERE AND WHERE YOU WERE…
How long have you been here?
DR. FOX & COMPANY …I don’t know.
DILON But—
(Seeing JO standing, staring into the nothing) What is she doing here?
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DR. FOX
This is where lost things go.
DILON & JO (Hazily, like singing a song she barely remembers from her past)
EVERYTHING ELSE BECOMES SO HARD TO SEE…
DR. FOX I was so focused on the path behind me that eventually I forgot the way ahead.
DILON But the cure? You found it, right? You had to have found it.
DR. FOX & JO I lost everything.
COMPANY Everything.
DILON Where is it? Where’s the cure?
DR. FOX This.
COMPANY A FOUNTAIN ONCE WAS FOUND…
DR. FOX This is it.
COMPANY PRESERVED IN SOUND AND LIGHT…
DR. FOX
This is all I found.
DILON This is not enough.
DR. FOX But it’s all there is here.
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DILON
This can’t save my dad. This is nothing.
COMPANY Curious…
DR. FOX
Curious, isn’t it?
DILON It’s not curious, I don't want it to be curious, I don’t need it to be curious. I need it to be a cure.
DR. FOX That’s not possible.
(DILON is catatonic.)
DILON
I… I… I just… Dad.
(The world drips and drifts away as DR. FOX remains, pacing and twitching around the empty ink well. The hospital spins around DILON as the Door shuts on the story world.)
LEV
Dilon! (As soon as DILON sees LEV she breaks from her trance and runs straight into his arms.)
I am so glad you’re okay, kid. I would get out of bed to give you a proper hug, but I just ca(n’t)— It’s too comfortable.
DILON I’m so sorry.
LEV Oh, pickle. What for?
DILON
Running away.
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LEV I do that every day.
(JO comes running in)
JO
Dilon! I was so—worried about you.
DILON (baffled)
You were?
#22 “Enough (Reprise)” Dilon, Lev, Jo, Company
JO Yes. I’m so… so sorry. I should’ve said something as soon as I realized who you were. Or before. I should have found you. I should have looked. I…
IT’S EASY TO GET LOST WHEN YOU’RE FOCUSED ON ONE PATH EV’RYTHING ELSE BECOMES SO HARD TO SEE SOMETIMES MAKING ONE CHOICE MEANS LETTING GO OF OTHERS BUT I’D LIKE TO TRY TO START ALL OVER
FROM NOW ON I WANT TO BE THERE REALLY BE THERE FOR YOU I’LL GIVE IT MY BEST I PROMISE YOU. I’M READY. I’M READY. AND I WONT LET YOU BE ALONE.
DILON
I HAD SO MANY QUESTIONS, BUT IT’S TIME I LET THEM GO. IT’S TIME WE LET THEM GO. I FOUND MY ANSWER AND NOW I KNOW, NOW I KNOW… DAD’S ALWAYS BEEN STRONG, AND HE’S ALWAYS BEEN BRAVE EVEN WHEN THE GOING GOT A LITTLE TOUGH.
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HE’S ALWAYS BEEN THERE. HE’S ALWAYS BEEN MY DAD, AND HE’S ALWAYS BEEN ENOUGH.
(She crawls into his bed and cuddles up next to him making a little Pickle sandwich)
LEV & DILON
(singing and interweaving) I WANT TO BE HERE, REALLY BE HERE WITH YOU THE TIME WE HAVE LEFT, I’LL SPEND WITH YOU
LEV (at the same time)
YOU’RE MY WORLD. YOU’RE MY GIRL.
LEV & DILON (singing and interweaving)
HOLD MY HAND HOLD IT TIGHT HOLD IT ‘TIL IT’S ALL ALRIGHT.
LEV
YOU’RE MAGIC, KID.
LEV & DILON YOU’RE MAGIC.
#23 “Dilon & the Eulogy” Company
(A choral eulogy grows around them as time starts moving folding over. We see DILON and LEV spending their last days together, before LEV passes quietly in his sleep, with the NURSES and DR. GOOCH all surrounding the bed, holding DILON. They wheel LEV away. DILON stays still as everything happens around her. Many people interact with DILON, without her reacting. Lawyers, Funeral planners, Ministers. We see the funeral, and mourners offering their condolences. Everyone is there. NURSE HICKLE hugs DILON.
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People spin around her ‘til Annabelle’s attic builds itself around her. KAYLAH stands next to her. Silence.)
KAYLAH Welcome to — uh… Can I… Can I get you anything?
DILON (I’m fine)
No. Thanks.
KAYLAH I’ve never done this before.
DILON Neither. Should we…
KAYLAH Sure. Lev Shields last Will and Testament: “To Miss Jordan Corsac, my flannel shirt, with love. Try to throw it out now, I dare you. And to my Pickle…”
DILON
That’s me.
KAYLAH Sure. “And to my pickle…to my everything… I leave Everything”
DILON Everything?
KAYLAH
Yes.
DILON How do I… get it all back to Grandma’s?
KAYLAH …is that a trick question?
(KAYLAH points to a typewriter sitting in the corner of the store. A small tag hangs off it. DILON goes up to it and looks at the tag.)
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DILON “Everything.”
(KAYLAH turns to go back to her quarters)
DILON Where are you going?
KAYLAH (The sincerest she’s ever been)
To mourn. A world lost a great man.
DILON (Another Knee-Jerk Correction)
Don’t you mean The world?
KAYLAH We both know what I meant.
DILON (Finally, now that she’s at the end of all things and her Dad is gone, desperation overcomes her and she falls apart, her entire posture at a loss, and her head down, her hands splayed. Almost pleading—)
What am I meant to do now? (KAYLAH doesn’t know what to say to this. She’s lost for words. She walks up to DILON. After wondering if it would be okay for a moment, she puts her hand on DILON’s shoulder. After a brief moment, KAYLAH retreats to her quarters, disappearing like a dry smoke)
#24 “Epilogue” Company
(DILON slowly approaches the typewriter. She taps one key. Then another. Then two more. She types a word. She sits down on the small wooden chair behind it and types a phrase.
DR. FOX
Curious how some lives aren’t designed to last very long.
JO We run and run and run and run, but all things must come to an end.
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KAYLAH However, there is one exception.
ANNABELLE Some say there exists an impossible cure.
DR. FOX
And some say that one curious creature found it.
COMPANY Her path begins at the end of another.
(DILON’s speed increases and she gets carried away with it. The music swells as the blue, upside down-teardrop-shaped door opens behind her. LEV steps out. She stops typing and splays her hands by her head. He reaches out and holds her hand. We breathe out. Blackout.)
END OF SHOW
