LIBRETTO johngen: Music by Lyrics by Andrew Lippa Tom Greenwald Book by Andrew Lippa & Tom Greenwald Originally Produced by Goodspeed Opera House Michael P. Price, Executive Producer Originally Produced in New York City by The Lamb's Theatre Company, Ltd. Carolyn Rossi Copeland, Producing Director NOTICE: DO NOT DEFACE! Should you find it necessary to mark cues or cuts, use a soft black lead pencil only. NOT FOR SALE This book is rented for the period specified in your contract. It remains the property of IALS TO: MTI MUSIC LIBRARY 31A INDUSTRIAL PARK ROAD ‘Music Tuearae InreenarionAt NEW HARTFORD, CT 06057 421 West Séth Street New York, NY 10019 (22) 541-4606 Copyright © 1996 by Andrew Lipa and Thomas GreenwaldIn accordance with the terms and conditions specified in your performance license, all music, lyrics and dialogue contained herein are the property of the Authors and are fully protected by copyright. You are not permitted to make any changes to the music, lyrics or dialogue of the Play, including the interpolation of new material and/or the exclusion of existing material. Any changes shall constitute a willful infringement of said copyright and will subject you to all the criminal penalties and civil liabilities under the United States Copyright Act. This book may not be duplicated and must be returned at the conclusion of your production. This Play is the property of its Authors. Remember, you have rented these materials and been granted a performance license. You may not duplicate any portion of these materials, disseminate them in any way, in whole or in part, including electronic or digital transmission and posting on the Internet, or use them for performances other than those specified in your license agreement. Federal Copyright Law specifically prohibits the public performance of tke enclosed material without a performance license. MTI's delivery of the enclosed material does not authorize you or your group to perform the enclosed show(s) in any manner whatsoever. For example, it does not matter whether your audience pays {for their tickets or not; it does not matter if your group is a school or not. The law requires you to obtain a license prior to performing the enclosed material. For further information regarding the severity of the punishments for willful infringement of copyright, please visit wuw.copyright.gov. ‘Music THEATRE INTERNATIONAL 421 West 54th Street New York NY 10019 (212) 541-4684 www.MTIShows.com Music THEATRE INTERNATIONALORIGINAL DIRECTOR’S NOTE This is a play about a sister and a brother, a mother and a son, about Jen's journey. It is not about abuse, the Vietnam War, talk shows or single parenting. In telling this story, simpler is better. ‘The show, as it evolved in readings, workshops and productions, became simpler and more suggestive—leaving more to the audiences’ imagination. For instance, we found that it was not necessary to relay to them in which year each scene was taking place ~ the dialogue and material is enough. The physical production should also be simple. Two small boxes down left and right, a larger one up center, and two chairs up right and left are sufficient for the entire show. The three boxes contain most of the props for the show. The costumes should be basic, with pieces added on to help establish the period and ages of the characters, and the lighting should move with the show and isolate the action wherever possible. One thought regarding style: We found that the material worked best when little or no effort was made to "play" a seven-year-old or a nine-year-old or etc, Again—honest, organic, moment to moment acting is much more important. The singing, too, should be effortless and relaxed, nothing pushed or forced that makes the audience aware of the fact they are singing. When in doubt—true and unsentimental. Gabriel Barre > September 1996MUSICAL NUMBERS ACT.ONE, 1. Prologue. 2. Welcome To The World... 3. Christmas I.. 4. Thing Big. 5. Trouble With Men. 6. Intro to Hold Down The For! sil, 7. Hold Down The Fort. 8. Timeline... It Took Me A While.. 10. Transition: Reunion.. | 11, Out Of My Sight. 12. Run & Hide. 23d —ACT TWO 13, 14, 15, 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. Opening Act Dessesssictisieeennensinn arpatnstascineer nT Old Clothes. 37 Christmas IL... 39 Little League. Ad Just Like You... 48 Bye Room. 49 Talk Show... 54 Smile Of Your Dreams. evens 63 It Took Me A While - Reprise. Graduation...... ‘The Road Ends Here. 70 ‘That Was My Way 7 Every Goodbye Is Hello.JOHN & JEN was originally produced at the Goodspeed Opera House in 1993, and had its New York premiere in 1995 at the Lamb's Theatre: Carolyn Rossi Copeland, producer. A revival of JOHN & JEN was produced in 2015 by The Keen Company Jonathan Silverstein, Artistic Director This script reflects changes made for that revival | |JOHN & JEN aa ACT ONE PROLOGUE TIME: 1952 PLACE: U.S.A JEN [sings] DEAREST BROTHER PLEASE DON'T HATE ME ARE YOU ALL RIGHT? JOHN (M FINE JEN I WORRY ABOUT YOU JOHN TKNOW JEN WHAT HAPPENED? JOHN NOT NOW, JEN JEN DO YOU BLAME ME? JOHN NOT NOW, JEN JEN WAS IT MY FAULT? JOHN REMEMBER THE OLD DAYS JEN JUST BE CAREFUL,TOWN & JEN JOHN ‘THE WAY WE WERE BACK THEN REMEMBER JEN PLEASE BE CAREFUL, IF ANYTHING EVER HAPPENED TO YOU I WOULD— JOHN WHERE IS THE KID WHO USED TO HELP WITH MY HOMEWORK? JEN WHERE IS THE KID WHO USED TO THROW ME THE BASEBALL? JOHN WHERE IS THE KID WHO COULD PROTECT ME FROM DADDY? JEN WHERE IS THE KID WHO WOULD LOOK OUT FOR THE OTHER? JOHN WHERE ARE THE KIDS WHO MADE A PROMISE FOREVER? JEN WHERE ARE THE KIDS BOTH WHO MADE A PROMISE FOREVER ‘TO HELP OUT EACH OTHER “CAUSE NOTHING ELSE MATTERED ONE SISTER, ONE BROTHER NO, NOTHING ELSE MATTERED BUT HELPING EACH OTHER WHERE ARE THOSE LITTLE KIDS? JOHN HAVE YOU SEEN THEM AROUND?TON & JEN {renee JEN HAVE YOU SEEN THEM AROUND? BOTH TELL THEM I SAY HI... [Segue to]- FOUN & jew SCENE 1 The year is 1952. eae JEN BROWN HAIR RED FACE BIG GREEN EYES WEIRD SMELL BIG EARS. ALWAYS CRIES, WELCOME TO THE WORLD IT’S SUCH A FUNNY PLACE. - ‘THE PEOPLE WHO YOU LOVE THE MOST ARE ALSO THE ONES WHO MAKE YOU CRY I'M NOT SURE WHY WELCOME TO THE WORLD 1 DON'T KNOW HOW IT WORKS FOR SOME STRANGE REASON IT’S OKAY WHEN SOMEBODY BIG HITS SOMEONE SMALL THATS NOT FAIR AT ALL BUT I'LL MAKE SURE YOU'RE HAPPY AS SAFE AS YOU CAN BE I'LL NEVER LET HIM HURT YOU ‘TRUST ME, YOU'LL SEE Don’t be scared little brother. You can open your eyes. It's just me. WELCOME TO THE WORLD IT’S WAITING JUST FOR YOU STARTING TODAY EVERY STEP OF THE WAY TLL HELP YOU AS YOU GROW WELCOME TO THE WORLD SAY “HELLO” Lights fade.)JOuN & JEN a8 SCENE 2 As the music begins, we hear jingle bells, It is Christmas, 1957. JOHN is five, JEN 11 JOHN ICAN’T BELIEVE TOMORROW IS CHRISTMAS ICAN'T BELIEVE IT’S FINALLY HERE I'M NOT GONNA SLEEP, I'M GONNA WAIT ALL NIGHT TIL I CAN HEAR THOSE REINDEER JEN Hey! Any sign of Santa? JOHN No, I can’t believe how late he is! JEN Well, you can’t rush him, he's on a very tight schedule. JOHN When does he get to our house? JEN As soon as you stop asking, JOHN I WONDER IF SANTA GOT ALL MY LETTERS HE MUST HAVE READ A MILLION THIS YEAR WE'RE NOT GONNA SLEEP, WE'RE GONNA WAIT ALL NIGHT TIL CAN HEAR THOSE REINDEER. EN Hey John, I read somewhere that Santa oa come unless you're sleeping, JOHN lin disbelief} No way! JEN No, it's true, He's actually very shy. JOHN He is?JouN & JEN JEN ‘Yup. So if we go to sleep, he'll come and bring us some presents. JOHN But— JEN (firm) Go to sleep! JOHN 1 WROTE HIM IN ADVANCE SO HE WOULD HAVE A CHANCE ‘TO REALLY SHOP AROUND TIL HE FINALLY FOUND WHAT I NEED THE MOST JEN John, ssshhh! [JEN slips out, stopping as though overhearing something.] JOHN KNOW SANTA'S GONNA BE HERE TONIGHT YOU CAN BE REAL SURE OF THAT AND INSIDE HIS BAG, STICKING RIGHT OUT THE TOP, JUST FOR ME— MY OWN MICKEY MANTLE BAT! ISHE is looking down the stairs nervously. JOHN has noticed that SHE has slipped cout of the room.} [getting excited] Jen, where'd you go? Is it Santa? Is he here? [HE bolts from the room. SHE is on her way back. THEY meet.] JEN [holding him back protectively] It’s nothing, John. Go to bed JOHN agitated] and three quarters! You can’t tell me what to do! I'moun & FEN JEN Please listen to me Johnny — JOHN No, [know you saw something down there. He’s here, isn’t he? Santa’s here! JEN John, wait! [JOHN breaks free and charges past HER, but stops short at what HE sees.) [bitter] I CAN'T BELIEVE THEY'RE FIGHTING ON CHRISTMAS CAN'T BELIEVE THEY'D RUIN HIS NIGHT 1 CAN'T BELIEVE THAT EVEN ON CHRISTMAS DAD HAS TO WIN DAD MUST BE RIGHT [recovering] Everything's OK, Daddy's just angry. They'll make up. [An awkivard silence. HE has no reaction.] Hey, you want to wrap some presents? [HE takes his time in answering.) JOHN {coldly} It's Mommy's fault. Why does she always have to get him so mad? JEN It’s not Mommy's fault, John. JOHN [angry] Well, whose fault is it then? [A beat.] JEN [withholding the truth} It's nobody's fault. Now come on, let's go to bed. JOHN [pulling away} This wouldn't have happened if Santa had been here!youn & jen [SHE has no answer.] (JOHN) He's not coming, is he? [Again, no response. Eventually HE says with finality:] ‘There is no Santa Claus. [A long moment as JEN contemplates her answer] JEN THERE ARE SO MANY HOUSES SO MANY LITTLE BOYS SANTA MIGHT NOT GET TO EVERYONE THERE ARE SO MANY CHILDREN BUT NOT ENOUGH TOYS SANTA JUST CAN'T GET TO EVERYONE SO EVERY CHRISTMAS EVE HE FLIES FROM COAST TO COAST CHECKING HOUSES SO HE’LL KNOW WHERE TO GO WHERE HE’S NEEDED MOST THAT'S WHY SANTA COULDN'T BE HERE TONIGHT HE SAW THIS HOUSE AND HE KNEW HE'D HAVE TO TAKE CARE OF THOSE BROTHERS AND SISTERS WHO DON'T HAVE THE THINGS WE DO JOHNNY SANTA COULDN'T BE HERE TONIGHT HE HAS OTHER THINGS TO DO HE HAS TO HELP CHILDREN WHO DON'T HAVE EACH OTHER LIKE YOU HAVE ME AND I HAVE YOU. [Lights shift] JOHN AND YOU'LL MAKE SURE I'M HAPPY AS SAFE AS CAN BEJoun & TEN JEN NO ONE WILL EVER HURT YOU YOU'LL SEE, TRUST ME (Lights change...]10 - JOHN & JEN SCENE 3 1960. JEN is 13, JOHN is 7. JEN is in the hiding place. JOHN wants in and knocks on the down left box. JOHN Jen, open up. JEN ‘You can’t get into the hiding place without the password. JOHN I forget! JEN Well? JOHN [suddenly comes to him] Paul Anka. JEN Okay. In. [JOHN runs into the room to JEN.] JOHN eager] Good morning, Miss Tracy. JEN Ina minute, John. I'm doing something. JOHN insistent] Good morning, Miss Tracy. JEN Good morning, class. Now take your seat JOHN Hey, I want to be the teacher. JEN Excuse me — who's thirteen years old? JOHN ‘You are.}OuN & JEN -u- JEN And who’s nowhere close to thirteen years old? JOHN Jam, JEN Exactly, Now let's begin Where were we? JOHN Great Americans. IJEN picks up a book. JEN Oh, that’s right. Well, who can tell me who was George Washington? We'll start with... John. [During the following, THEY act out the story as it is happening.] JOHN GEORGE WASHINGTON WANTED TO OWN A COUNTRY BUT HE WAS POOR, HE WAS POOR SO HE SOLD CHERRY TREES FROM HIS TRUCK AND WHEN HE HAD ENOUGH MONEY HE MOVED TO THE UNITED STATES WITH HIS DOG, MARTHA JEN BUT HIS FRIENDS FROM BEFORE WERE MAD THAT HE LEFT SO THEY CAME TO KILL HIM JOHN HE RAN TO THE RIVER WITH THE BAD GUYS BEHIND JEN AND PARTED THE WATERS And walked through them with his dog, JOHN MARTHA, But the river closed and swallowed up the bad guys, so he moved to Valley Forgery with his dog,- FOUN & JEN BOTH MARTHA JOHN WHERE HE INVENTED MONEY WITH HIS FACE ON IT AND EVERYBODY USED IT SO HE GOT RICH ENOUGH TO BUY THE COUNTRY AND MAKE HIMSELF PRESIDENT. JEN BUT WHAT DID HE SAY (AS HE WENT ON HIS WAY? YOU GOTTA THINK BIG AIM HIGH WHY RENT WHEN YOU CAN BUY YOU GOTTA THINK BIG STAND TALL AND YOU CAN DO ANYTHING AT ALL. Now memorize that for tomorrow. JOHN How? JEN Just pay attention and follow me, YOU GOTTA THINK BIG AIM HIGH WHY WALK WHEN YOU CAN FLY BOTH YOU GOTTA THINK BIG STAND TALL. AND YOU CAN DO ANYTHING AT ALL. JEN Freeze! Now I'd like for the class to tell me who they think is a great American living today. Mmm... let's see... John? JOHN HE'S BIG AND STRONG. AND NEVER WRONG AMAN THAT [ KNOWJouNn & JEN 13 (JOHN) HE WORKS ALL DAY SO WE CAN PLAY AMAN THAT I KNOW WHEN HE TALKS, PEOPLE LISTEN THEY'RE SURE HE'S RIGHT WHEN HE YELLS, WE COME RUNNING. DAY OR NIGHT HE'S ONLY MAD. WHEN 1 AM BAD MY VERY OWN DAD'S THE ONE SOMEDAY I'LL BE LIKE HE 1S TO ME TO MY VERY OWN SON. JEN You don’t really want to be like Daddy, do you? JOHN Why not? He's a great American! JEN [harshly} No, he's not! IA beat.) JOHN Well who do you want to be like? JEN I'M GONNA BE LIKE AN EAGLE WINGS AS WIDE AS AN AIRPLANE I'M GONNA STAND ON A TREETOP AND FLY FAR AWAY I'M GONNA NEVER FEEL FRIGHTENED I'M GONNA ALWAYS FEEL SAFE AND LIVE IN A KIND PLACE WHERE NO ONE CAN FIND ME AND STAY THERE FOREVER I'M NOT LIKE AN EAGLE BUT SOMEDAY I'LL FLY14 = JOUN & JEN JOHN Why can’t we just stay in here? It’s safe! JEN We can’t stay here forever, John, you know that. [JOHN sulks.] What's the matter? ISHE examines HIS face. Music stops. John — what's this? JOHN Nothing. JEN (furious) Did Dad do this to you? JOHN [nervous] Ican’t remember, JEN Did he? JOHN It was my fault, I broke a glass. JEN Dad hit you in the face because you broke a glass? JOHN Tt was my fault. It’s for my own good — JEN How can you think that someone who hits you is a great man? [BEAT] John, you listen to me. If you ever do something bad again, something that’s your fault, you tell Dad that I did it. Whatever it is, tell him I did it. Remember that! JOHN Tm afraid. [Music up.]JOuN & JEN 15 JEN [taking charge] John, we're gonna make a deal right now. [THEY knee! on the floor, facing each other.] JOHN What kind of deal? JEN A deal to protect each other and stick by each other against everybody. Forever. JOHN OK. JEN And to help each other get as far away from here as we can, as soon as we can. JOHN OK. JEN Promise! JOHN I promise. JEN Now — shake. ITHEY shake their secret handshake.} JOHN WE GOTTA THINK BIG AIM HIGH JEN WHY WALK WHEN YOU CAN FLY JOHN WE GOTTA THINK BIG BOTH STAND TALL, AND YOU CAN DO ANYTHING ANYTHING AT ALL.JouN & JEN JEN IT’S UP TO YOU, YOU GOTTA THINK BIG IT'S UP TO YOU... Lights shift, and abruptly restore as JOHN slams something. Segue to:]1OmN & FEN 17 SCENE 4 1962. JOHN is now 10, JEN 16. HE is having a snack, watching TV or otherwise minding his own business. JEN enters. JEN (lense) John, go to your room, JOHN Huh? JEN (suddenly sweet) I mean, will you please go to your room? (off his look) Billy Clay is coming to pick me up and I would prefer it if you didn’t embarrass me right now, JOHN Billy Clay? What happened to Peter Clonsky? JEN We broke up. JOHN Already? JEN What do you mean already? We dated for six days. JOHN Jeez. A record. JEN Quiet! Billy’s different. So please don’t ruin it for me. And remember the rules JOHN Rules? Huh? What are you talk- JEN One: tell me I look pretty when he comes to pick me up. JOHN That's not possible.18 - TOWN & JEN JEN ‘Two: Laugh at all my jokes when he drops me off. JOHN But you're not funny. JEN And three: if we decide to come back and watch TV after the party... which I'm quite sure we will... don’t bother us! Make sure you're at the far end of the house where I can’t see you, hear you, smell you, or even know you're alive JOHN You're the worst sister ever. JEN ‘Thank you. JOHN You're welcome. (SHE starts to leave) Hey! I don’t care how many boys you go out with, you can’t tell me what to do. JEN They're not boys, they’re men. (Bent) Enjoy your evening! SHE leaves. Troubl JOHN SOMETIMES YOU JUST KNOW WHEN YOU HATE SOMEONE, YOU GET THIS FEELING, LIKE THE TASTE OF TOMATOES IT'S A EASY THING TO FEEL BUT A HARD THING TO EXPLAIN PERSON THAT [ USED TO LIKE HAS GONE TOTALLY INSANE WITH ONE THING ON THE BRAIN! JEN HAS TROUBLE WITH MEN JEN HAS TROUBLE WITH MEN WATCH THEM TELL A LIE, WATCH HER HAVE A CRY WATCH IT HAPPEN AGAINJOHN & seEN - (JOHN) JEN HAS TROUBLE WITH MEN BILL OR BOBBY OR BEN FIRST A HAPPY START, THEN A BROKEN HEART JEN HAS TROUBLE WITH MEN Here's how a typical week goes. [JEN mimes all the following as JOHN describes.] MONDAY NIGHT AT DINNER SHE ANNOUNCES WITH GREAT JOY SHE HAS MET AN EXTRA SPECIAL PERFECT SENIOR BOY TUESDAY HE INVITES HER TO A PARTY, SHE SAYS YES. WEDNESDAY AFTER SCHOOL SHE BEGS MY MOM TO BUY A DRESS ISHE tries on the dress, JOHN gives her the thumbs up] ‘THURSDAY SHE SPENDS HALF THE NIGHT PRETENDING NOT TO CARE FRIDAY ALL HER FRIENDS COME OVER AND THEY DO THEIR HAIR THEN ALL AT ONCE IT'S SATURDAY SHE’S READY FOR HER DATE HE PICKS HER UP AND OFF THEY GO WHILE WE SIT HOME AND WAIT AND SOON ENOUGH, SHE’S BACK IN TEARS, HE ACTED LIKE A TOTAL BRAT HE FLIRTED WITH SOME OTHER GIRL. OR GOD FORBID, HE TOLD HER SHE LOOKED FAT! FAT! FAT! WATER RAT! YOU CAN WRITE IT IN PEN JEN IS ROTTEN WITH MEN IF SHE’D ONLY SEE WHEN SHE'S PANCY FREE LIFE'S MUCH HAPPIER THEN JEN IS CRUMMY WITH MEN CARL OR CARY OR KEN 1 HAVE TO ADMIT, [ DON’T MIND A BIT WHEN— DJEN interrupts]20 = JouN & JEN JEN John! I can’t believe you said I looked good in that dress! JOHN You told me to! THEY glare at each other for a moment. JEN (begrudgingly) I suppose you can watch TV with me if you want, JOHN I would, but I have to go call my girlfriend. JEN Girlfriend?!!? JOHN (acting grown-up) ‘Turns out Billy Clay's litte sister thinks I'm cute. [HE runs off stage while JEN burns, then pokes his head back onstage.) (whisper-sings slyly, to us) JEN HAS TROUBLE WISTH MEN!JouN & FEN eae SCENE 5 1964. JOHN is twelve and sits with his baseball glove and ball. JEN, eighteen, entters with a suitcase and coat. Miser JEN [to herself} A PLACE THAT'S OVERFLOWING. WHERE BUILDINGS TOUCH THE SUN APLACE WHERE I CAN BE SOMEONE AND NO ONE Hey. You want to come to the station with me and mom? [JOHN shakes his head.] You want to talk? [JOHN shakes his head.] What do you want, Johnr JOHN Nothing I guess. ISHE takes the ball from HIM.] JEN ‘ARE YOU GONNA MISS ME, JOHN? JOHN No WAY JEN NOT EVEN A LITTLE BIT, JOHN? JOHN No WAY ISHE tosses the ball back- JOUN & JEN JEN COME VISIT ME AT COLLEGE, JOHN CAN'T | COME WITH YOU TODAY? JEN HOLD DOWN THE FORT, JOHN ‘TAKE CARE OF THINGS WHILE I'M GONE DO YOUR HOMEWORK, HAVE SOME FUN AND WHEN YOU WANT TO HIT SOMETHING HIT A HOME RUN HOLD DOWN THE FORT, HOT SHOT SHOW ALL THE WORLD WHAT YOU'VE GOT START TO LEARN WHAT LIFE’S ABOUT. AND WHEN YOU WANT TO THROW SOMETHING. THROW SOMEONE OUT HOLD DOWN THE FORT HOLD DOWN THE FORT YOU'RE SO STRONG AND YOU'VE JUST STARTED GROWING SO REMEMBER THE ONE THING WORTH KNOWING WHERE YOU COME FROM IS NO PLACE LIKE WHERE YOU'RE GOING HOLD DOWN THE FORT, JOHN ‘TAKE CARE OF THINGS WHILE I'M GONE DON'T STAY OUT LATE, KEEP YOUR HEAD AND WHEN THE WORLD IS AGAINST YOU AND WHEN YOU FEEL LIKE EXPLODING AND WHEN YOU WANT TO PLAY TOUGH GUY PLAY BASEBALL INSTEAD JUST PLAY BASEBALL, JOHNNY, AS LONG AS YOU CAN, AND HOLD DOWN THE FORT, KID BROTHER HOLD DOWN THE FORT, YOUNG MAN [On the words “young man," THEY repeat a bit of their secret handshake. JEN picks up her suitcase and starts out.] JOHN Why do you hate Dad so much? He loves us.Foun & yEN = 23 = JEN [sarcastically] Sure he does. JOHN Jen, I don’t think I can hold down the fort JEN Of course you can. JOHN think you should stay here and hold it down with me. JEN You know I can’t do that. JOHN You tell me all I have to do is play baseball, well who am I supposed to play with? JEN Your friends. JOHN What am I gonna do when— JEN Don't do this to me Johnny. JOHN All my life you've been telling me that you'd stick by me, that we'd be together, and now you're leaving me. JEN exploding] Stop acting like a baby! You're twelve years old! I thought you of all people understood how badly I gotta get out of here! I can’t hold your hand forever! [As SHE heads out:] Grow up JOHN [alone] I NEED YOU HERE I NEED YOU... HERE [Segue into...- 24 - 1OuN & JEN SCENE 6 JEN is at college, 1964-1968, She is writing to JOHN. When JOHN responds, it is 1963. HE is 17. The narration should be presented as if THEY are reading headlines. JEN I'M FREE YM QUT IN THE WORLD VM FREE NO WAY I'M LOOKING BACK ON TO A BRAND NEW LIFE. WAIT AND SEE LOOK AT ME JOHN [as if reading the news.) 1964, The Beatles invade America and all over the United States parents are looking on in horror. JEN EVERYTHING IS DIFFERENT JOHNNY COLLEGE IS A CRAZY PLACE I'M TELLING THIS TO YOU SO DON'T TELL MA EVERYBODY SMOKES AND DRINKS ‘THEY'RE REALLY INTO POLITICS AND SOMETIMES I DON'T EVEN WEAR A BRA Lights back up on JOHN.) JOHN ‘The four shaggy Brits have girls screaming and throwing intimate articles of clothing onto the stage. JEN SOMETIMES WE STAY UP UNTIL IT’S LIGHT OUT SCREAMING OUT “I WANT TO HOLD YOUR HAND!” I KNOW YOU MUST THINK THAT I'M A WEIRDO NOW BUT IF YOU WERE HERE, YOU'D UNDERSTAND JOHN _..People can only wonder if what is happening is the beginning of...JOUN & JEN JEN [overlapping] is the beginning of more than just a cultural revolution. 1966. U.S. increases military presence in Southeast Asia JOHN DAD SAYS NEW YORK IS A DUMP AND ALL THE KIDS THERE ARE FREAKS YM ALL CONFUSED CAN’T YOU COME HOME? ICAN'T WAIT TO VISIT LIKE WE PLANNED. IF YOU WERE HERE, YOU'D UNDERSTAND— JEN dent's military agenda, but... JOHN Congress continues to support the P: [overlapping] «the President's military agenda, but it appears public support is beginning to waver. 1967. The Summer of Love. JEN EVERYTHING IS DIFFERENT, JOHN NEW YORK IS SUCH A GROOVY CITY THERE'S SO MUCH TO LEARN AND DO AND SEE IMET A GUY NAMED JASON WHO DOES POTTERY AND POETRY ‘TONIGHT I THINK WE'RE TRYING LSD JOHN ‘Young people everywhere are in a mood of peace, harmony, and general anarchy. JEN [smoking pot} YOU WOULD NOT BELIEVE HOW HARD THE WORK IS MY HEAD FEELS LIKE I'S BURIED IN THE SAND IF YOU CAME I'D BARELY GET TO SAY HELLO MAN I REALLY HOPE YOU UNDERSTAND JOHN This event appears to be confirmation that the gap...26 - JouN & jen JEN overlapping] that the gap between generations in this country is wider than ever. JOHN DAD SAYS THE COUNTRY’S GONE NUTS AND ALL THE KIDS ARE TO BLAME YOU TELL ME “CHANGE” BUT HE TELLS ME “DON’T” [CAN'T JUST MAKE MY MIND UP ON DEMAND IF YOU CAME HOME IF YOU CAME HOME YOU'D UNDERSTAND [Lights sharply change.) JEN JOHN EVERYTHING IS DIFFERENT WHY DAD SAYS NEW YORK JOHNNY 1S ADUMP COLLEGE IS A CRAZY PLACE AND ALL THE KIDS THERE YM TELLING THIS TO YOU SO ARE FREAKS DON’T TELL MA EVERYBODY SMOKES AND DRINKS. YOU TELL ME “CHANGE” THEY'RE REALLY INTO POLITICS AND SOMETIMES I DON'T EVEN WEAR A BRA, YOU WOULD NOT BELIEVE HOW HARD THE WORK IS IF YOU CAME 1’D BARELY SAY HELLO SAY HELLO SAY HELLO SAY HELLO [Lights restore.] 1968. Nixon wins. HE TELLS ME “DON’T” ICAN’T JUST MAKE MY MIND UP ON DEMAND IF YOU WERE HERE YOU'D UNDERSTAND IF YOU WERE HERE HE'S BIG AND STRONG. AND NEVER WRONG MY VERY OWN DAD. SOMEDAY I'LL BE LIKE HIM JEN JOHNJoun & yew 27 = JEN EVERYTHING IS CHANGING JOHNNY JOHN DAD SAYS YOU'RE A COMMUNIST JEN TORGANIZED A MARCH AGAINST THE WAR JOHN EVERYTHING IS CHANGING, JENNY, JEN ICAN’T MAKE IT HOME FOR CHRISTMAS JOHN DAD SAYS YOU DON’T LOVE US ANYMORE JEN JASON’S NEEDS ME HERE JOHN T.GUESS YOU'RE TIED UP JEN WE'RE MUCH TOO BUSY JOHN TRYING TO TAKE ASTAND BOTH ANYWAY I THINK IT’S PROBABLY BEST LIKE THIS JEN I KNOW THAT YOU COULD NEVER UNDER— JOHN NO YOU COULDN'T EVER UNDER— BOTH MAYBE ONE DAY YOU WILL UNDERSTAND! JOHN CAN STILL REMEMBER YOUR INSPIRING WORDS OF WISDOM ‘THEY WERE SOMETHING ABOUT HITTING A HOME RUN DON’T YOU THINK IT’S ODD THAT DURING HIGH SCHOOL I HIT FIFTY— 28 - JOHN & JEN (JOHN) AND MY SISTER DIDN'T SEE A SINGLE ONE JEN CAN IT BE TWO YEARS SINCE I HAVE SEEN YOU? ‘TIME FLIES WHEN YOU'RE YOUNG, DON’T YOU AGREE? I CAN'T WAIT TO TALK TO YOU ON CHRISTMAS EVE WHILE YOU WAIT UP FOR SANTA JEN JOHN TM FREE 1969. I'M OUT IN THE WORLD Men walk on the moon. YM FREE Mets win the World NO WAY I'M LOOKING BACK Series. Woodstock ON TO A BRAND NEW LIFE Helter Skelter. WAIT AND SEE The Soviet Union tests LOOK AT ME nuclear weapons. Mylai Massacre exposed IJEN takes a letter out. SHE opens the letter and reads it as HE sings.) JOHN IT TOOK ME A WHILE TO REALIZE IT WAS GOOD YOU WENT AWAY I'VE DISCOVERED SOMETHING NEW ABOUT MYSELF EVERY DAY I REMEMBER MY FIRST DAY OF HIGH SCHOOL I LOOKED FOR YOU, BUT YOU WEREN'T THERE SO | WENT INSIDE ALL BY MYSELF AND GUESS WHAT? I DIDN'T CARE. IT TOOK ME A WHILE TO REALIZE THAT I COULD HOLD DOWN THE FORT MAN CAN'T GET TOO FAR IN THIS WORLD. LEANING ON HIS SISTER FOR SUPPORT ONE TIME WHEN I CAME HOME DAD WAS MAD ‘CAUSE I RAN FROM A FIGHTFOUN & JEN (JOHN) HE YELLED AT ME TO BE A MAN AND NEXT TIME — BOY I STAYED. SINCE THAT DAY, I'VE NEVER BEEN AFRAID V'VE THOUGHT ABOUT OUR DEAL AND IF I'D EVER GET AWAY AND NOW — I’M FINALLY READY 1 KNOW YOU WON'T BELIEVE ME BUT I'LL MISS YOU EVERY DAY WHEN I'M GONE IT TOOK ME A WHILE TO REALIZE, WHAT IT WAS I WANTED TO BE DAD SAYS HE THINKS I'D MAKE A GOOD SOLDIER AND IN TWO MONTHS I’LL FINALLY MAKE HIM PROUD OF ME I'M GONNA JOIN THE NAVY JEN [reading his leter] JOHN GONNA FLY AJET JEN GONNA FLY AJET JOHN I HAVEN'T REALLY TALKED ABOUT IT YET JEN WHY HASN'T HE TOLD ANYONE? j JOHN | [GUESS THAT MEANS THAT YOU'RE THE FIRST TO KNOW. | LOVE ALWAYS, | JEN | LOVE ALWAYS, BOTH JOHN30 — JouNn & JEN [During the following, JOHN pulls down a hand-painted sign on a brightly colored sheet that reads,”Welcome Home Jen.) Seer Penta a JEN YOU GOTTA THINK BIG AIM HIGH WHY WALK WHEN YOU CAN FLY YOU GOTTA THINK BIG STAND TALL AND YOU CAN DO ANYTHING AT ALL. ANYTHING AT ALL, ANYTHING AT ALL. [Lights shift.) JEN JOHN YOU GOTTA THINK BIG THIS IS GONNA BE ODD AIM HIGH ‘THIS IS GONNA BE STRANGE WHY WALK WHEN YOU CAN FLY T'S SCARY TO THINK HOW 7 MUCH A PERSON CAN . CHANGE YOU GOTTA THINK BIG STAY CALM, JOHN STAND TALL AND NO TEARS SHE'S JUST YOUR SISTER AFTER ALL. SHE'S STILL YOUR SISTER AFTER ALL THESE YEARS JEN rings an imaginary doorbell in profile.) JOHN Damn it — no tears.JouN & FEN eaat ro SCENE 7 1970. JOHN is 18, JEN 24. A reunion at their home, BOTH [sizing each other up in amazement] LOOK AT YOU JEN YOU'VE GROWN JOHN YOU'VE. HRUNK! [During the following, they're affectionate but tentative.) IT’S GOOD TO HAVE YOU HOME NEW YORK AGREES WITH YOU YOU LOOK PRETTY PRETTY EXCEPT FOR THE FACT YOU FORGOT TO USE SHAMPOO I NEVER SHOULD HAVE LET YOU OUT OF MY SIGHT YOU TOOK A LOOK AT A MAP AND LOOK WHAT HAPPENED WHAT DO YOU LIKE TO BE CALLED THESE DAYS — “SUNSHINE,” “STARBRIGHT”? [NEVER SHOULD HAVE LET YOU OUT OF MY SIGHT! JEN IT’S ODD YOU MENTION HAIR WHEN DID YOU GET THAT CREW? IT LOOKS KINDA WILD EXCEPT FOR THE FACT ‘THEY WENT OUT IN SIXTY-TWO 1 NEVER SHOULD HAVE LET YOU OUT OF MY SIGHT YOU JUMPED RIGHT OFF OF MY LAP AND. LOOK WHAT HAPPENED ONE OF THOSE JOHN WAYNE ARMY MEN CHIN UP, UPTIGHT I NEVER SHOULD HAVE LET YOU OUT OF MY SIGHT- 32 - JouN & JEN JOHN WHAT'S AN ACID TRIP REALLY LIKE? DID YOU SEE GOD? DOES HE TRIP TOO? JEN IF ANYONE COULD WIN AN UNWINNABLE WAR YM SURE IT WOULD BE YOU JOHN [sarcastic] THOSE CLOTHES ARE SO UNIQUE WHERE DID YOU GET THAT RAG JEN WAIT ‘TILT SHOW YOU MY FORMAL ENSEMBLE MADE OUT OF THE AMERICAN FLAG BOTH I NEVER SHOULD HAVE LET YOU OUT OF MY SIGHT 1/YOU TOOK A LOOK AT A MAP AND LOOK WHAT HAPPENED JOHN DO BELLBOTTOMS MAKE IT HARD TO WALK? JEN HOW OFTEN DO YOU SAY ‘SIR’ WHEN YOU TALK? BOTH IF YOU WANT TO GO SO WRONG, WELL, THAT'S YOUR RIGHT BUT I NEVER SHOULD HAVE, EVER SHOULD HAVE LET YOU OUT OF MY SIGHT! JEN My baby brother — the high school graduate JOHN My big sister — the college graduate. Special six year program. JEN Hey, New York has a lot of distractions. JOHN Apparently.JouN & TEN - a3 JEN Watch it. Wow, it’s so weird to be back. It’s like old times, right Johnny? Hey! Let’s see if our old hiding place is still there! JOHN What for? JEN I bet it’s exactly the same! Nothing ever changes around here. JOHN How would you know? JEN God, I used to love that place. Let's go! JOHN I don’t think so... JEN Iheading off ‘mon, just for a minute. We'll play some of the games we played when we were little kids, JOHN [softly] But we're not little kids anymore. [1t becomes clear he’s not going with her.] JEN coming back] Okay, That's cool, man. [A beat of awkward silence.) JOHN So I hear you're thinking about going to grad school. JEN Eventually, [ hope. Right now I've got enough to worry about, with packing, moving, finding a place to live— JOHN What do you mean, moving? Moving to where? JEN Didn’t Mom tell you? Jason and I are moving to Canada.a4 JOuN & JEN JOHN What?!? JEN I KNOW WHAT YOU'RE GOING TO SAY SO JUST SAVE IT JOHN SAVE IT FOR DAD YOU LIKE TO IMPRESS HIM ANYWAY BUT WE BELIEVE IN LOVE AND WE'RE AGAINST THE WAR AND WE'RE GOING TO CANADA A WEEK FROM TODAY JOHN — DON'T LOOK AT ME THAT WAY JOHN WHAT'S THE MATTER WITH JASON? TOO SCARED TO FIGHT FOR HIS COUNTRY? TOO YELLOW TO FACE THE RED TIDE? WHAT'S THE MATTER WITH JASON? AGAINST IT ON PRINCIPLE PRINCIPLES TOO GOOD FOR EVERY MAN THAT'S DIED? GO AHEAD — RUN AND HIDE! WHAT'S THE MATTER JENNY? SMITTEN BY HIS SPEECHES? IN LOVE WITH THE IDEA OF BEING BY HIS SIDE? WHAT'S THE MATTER JENNY? ANYTHING TO HURT DAD? THERE IT IS AGAIN, FEEL THAT OLD FAMILY PRIDE! GO AHEAD ~ RUN AND HIDE! DAD FOUGHT AGAINST THE GERMANS AND IT’S A GOOD THING HE DID OR WE WOULDN'T BE HERE TODAY I BELIEVE IN MY DAD AND I BELIEVE IN MY DUTY AND | BELIEVE IN THE USA!}OuN & FEN - 35 JEN ceeretaanlcll f JUST LIKE DAD IN EVERYTHING YOU EVER DO? GO AHEAD — HIT YOUR KIDS TOO! JOHN JEN GET OUT OF HERE, JUST GO! BE JUST LIKE DAD, JOHN THIS FAMILY’S ALL | KNOW CARRY THE TRADITION PROUDLY ON, ‘THE MINUTE YOU JUST LIKE DAD WALK OUT THAT DOOR THE SCHOOL OF HARD KNOCKS YOU ARE NOT MY FAMILY AND GET CARRIED HOME IN A BOX! YOU'RE NOT MY FAMILY ANYMORE! BOTH WHAT'S THE MATTER JENNY/JOHNNY CAN'T BEAR TO STAY GO AHEAD — RUN AWAY. [Silence — for way too long.) JEN Can [have a hug before I go? JOHN No way. love you Johnny.- 36 - Joun & Fe EPILOGUE 1971. JEN crosses to center. \ JEN BROWN HAIR RED FACI BATTLE CRIES SOMEWHERE FAR OFF A HERO DIES 1s dowon the “Welcome Home Jen” flag. She drapes it over John's coffin.) sign, on the back of which is an American I NEVER SHOULD HAVE LET YOU OUT OF MY SIGHT A CREDIT TO HIS COUNTRY A FIGHTING MACHINE Seaman John Tracy. Killed in action. He was nineteen. [JOHN reappears up left, in formal military whites.) JOHN HOLD DOWN THE FORT, JEN TAKE CARE OF THINGS WHILE I’M GONE. JEN Inot looking at him) I'm sorry, little brother. END OF ACT ONEFOUN & FEN ae ACT TWO SCENE 1 Time: 1972 Place: Canada MUSIC. JEN is 26 years old. Her son JOHN is a newborn. JEN removes the flag, still draped over the coffin. JEN DEAREST BROTHER DO YOU HATE ME? ARE YOU ALL RIGHT? VM FINE, (OH YES 1M FINE LOOK, HE’S MINE MY SON I CAN'T BELIEVE HE’S MINE aie I'VE GOT YOUR OLD CLOTHES HE'S GONNA FIT THEM HE'S GONNA FIT THEM ~ JUST RIGHT I'VE GOT YOUR RECORDS HE'S GONNA PLAY THEM HE'S GONNA PLAY THEM — ALL NIGHT, ALL NIGHT I'VE GOT THEM RIGHT HERE I'VE SAVED IT ALL NOBODY GETS IT — BUT HIM I'VE GOT YOUR YEARBOOKS WE'RE GONNA READ THEM WE'RE GONNA READ THEM ~ OUT LOUD38 JOHN & JEN (JEN) I'VE GOT YOUR BASEBALLS HE'S GONNA MAKE YOU. HE'S GONNA MAKE YOU ~ SO PROUD, SO PROUD I'VE GOT THEM RIGHT HERE I'VE SAVED IT ALL. NOBODY GETS IT — BUT HIM IT'LL BE LIKE STARTING OVER LIKE MY LIFE HAS JUST BEGUN WHAT | THOUGHT I LOST FOREVER COMES BACK IN MY SON IT'LL BE LIKE STARTING OVER ONLY THIS TIME, NO MISTAKES JUST BE THE TWO OF US KEEPING EACH OTHER SAFE AND I WON'T EVER LEAVE YOU AND YOU WON'T EVER LEAVE ME I'VE GOT YOUR BOXES UP IN THE ATTIC LOCKED IN THE CLOSET ~ ALL YOURS, ALL YOURS YOUR BOOKS, AND PICTURES, AND POSTERS, AND PAPERS, AND LETTERS, AND AIRPLANES, AND TROPHIES, AND MEDALS— AND OLD CLOTHES YOUR OLD CLOTHES [SHE finally sings directly to her son.] I'VEGOT HIS OLD CLOTHES UP IN THE ATTIC YOU'RE GONNA FIT THEM — JUST RIGHT, JUST RIGHT YOU'RE GONNA FIT THEM YOU'RE GONNA LOVE THEM YOU'RE GONNA FIT THEM YOU'RE GONNA LOVE THEM I'VE GOT HIS OLD CLOTHES.JouN & TEN — 39 - SCENE 2 1979, Back in America. JOHN is 7, JEN 33. JOHN [very sarcastic] MOM IS GONNA TRY TO SELL ME THAT SANTA SONG AGAIN I THINK SHE THINKS I THINK IT’S TRUE BUT AT LEAST SINCE I WAS TWO SANTA‘S HAD OTHER THINGS TO DO [JEN enters up right with an over-decorated Christmas tree.] NO ONE'S THAT BUSY NOT EVEN MY DAD AND I HAVEN'T SEEN HIM SINCE THE DAY HE GOT MAD. [Lights up on JEN arranging presents under the tree.] JEN [to herself] His first Christmas back in the States. His first Chris I’m counting on you. mas since his father left. Santa, [SHE plugs in the lights. JOHN MOM IS GONNA CRY WHEN SHE SINGS THAT SANTA SONG AGAIN I THINK SHE THINKS IT HELPS ME THINK IT'S TRUE I KNOW THERE'S NO SANTA BUT I CAN'T TELL THAT TO MOMMY SO AFTER A WHILE I'LL CRAWL OUT OF BED AND GO DOWN THE STAIRS AND TURN ON THE LIGHT AND ACT REALLY SAD [DON'T EVEN WANT SANTA! 1JUST WANT My — [HE crawls downstairs. JEN is still arranging presents. HE mimes flicking on the lights. They “switch on.”] Mommy?- 40 = JOUN & JEN JEN fvith JOHN echoing] SANTA COULDN'T BE HERE TONIGHT HE HAS OTHER THINGS TO DO HE HAS TO TAKE CARE OF THOSE LITTLE CHILDREN WHOSE MOMMIES— JOHN Mom, where’s Dad? JEN What? JOHN Is he coming home for Christmas? JEN Uh, no, honey, he’s not. JOHN Well then, I got an idea — let’s go to Grandpa's. We haven't seen him in a long time. JEN Don’t you want to spend Christmas here? Just us? It'll be fun. JOHN Just me and you for Christmas? C'mon Mom, that’s not fun, that’s boring! JEN Wel be fun, I promise. JOHN But Mom, why can’t we go to Grandpa's tomorrow? We could leave early — JEN John, please. [don’t want to go to your grandfather's, so just stop talking about it. IJOHN sees her cracking, and reverses course.] JOHN OK, Mom. I was just kidding. [Unenthusiastically] We'll have fun here, I know we will. [BEAT] Wait! I got a great idea!Foun & FEN - 41 (JOHN) 1 KNOW IT’S NOT CHRISTMAS YET BUT I WANT TO GIVE YOU MY PRESENT I MADE IT LAST FRIDAY AT SCHOOL MISS MARTIN SAID IT WAS THE NICEST IN THE CLASS, SHE TOLD ME I HAD TALENT MOM — —real talent! LET ME GO GET IT THE pulls out a present wrapped in newspaper. HE kneels in front of HER] T KNOW IT’S JUST WHAT YOU NEED THE opens it for her.] ANEW NAPKIN THING FOR THE TABLE THE NAPKINS GO IN JUST LIKE THIS AND THEN WHEN YOU WANT ONE JUST LIFT THIS THING RIGHT HERE HERE, HERE THEN PULL AND IT’S READY TO USE OPEN THE CARD UP IHE grabs the card.] HERE LET ME DO IT I WROTE IT FOR YOU AND I SIGNED IT “LOVE JOHN” 1 KNOW IT’S NOT CHRISTMAS YET BUT I HAD TO GIVE YOU MY PRESENT I'M SORRY THAT IT COULDN'T WAIT BUT DADDY WENT AWAY SO [ HAD TO MAKE SURE THAT YOU'D STAY DON'T EVER GO AWAY MOMMY WHO NEEDS STUPID DADDY ANYWAY. JEN DADDY LOVES YOU VERY MUCH JUST AS MUCH AS | DO— JOHN [Cutting her off] Mom? Do you really like the napkin holder? I signed the bottom — did ya see?—42- JOuN & JEN JEN saw. And it’s the best napkin-holder anybody ever made for me. NOW LET'S YOU AND ME LOOK AND SEE WHAT SANTA LEFT UNDER THE TREE. [JOHN starts to run to the tree.] a Freeze! [SHE points at a present — JOHN rips it open.) JOHN Wow! A baseball glove! THE realizes something is wrong with his “new” glove.] JEN It was your uncle's. He loved baseball almost— JOHN [finishing her sentence sarcastically] —as much as I do JEN Honey, if this glove was good enough for your uncle, it’s good enough for you. JOHN They make better ones now. JEN That's impossible. JOHN My friend Charlie has a better one. JEN Ive kept this glove for years just so I could give it to you. JOHN But Mom, I'll be the only kid in school with a crappy old glove. JEN John, don’t talk that way. Your uncle used that glove. You should be proud to wear it. JOHN Llove it, OK?Foun & 7EN -43 [HE starts out, then turns back and says sarcastically:] (JOHN) ‘Thanks a lot Mom! softening} I mean, Santa. THE e: JEN takes a baseball out of the box.] JEN JUST PLAY BASEBALL, JOHNNY, AS LONG AS YOU CAN PLAY BASEBALL, JOHNNY [JOHN reappears wearing a batting helmet and holding a bat.]- 44 - JOuN & JEN SCENE 3 1981 JOHN is 9, JEN 35. JOHN Oh goody, it’s time for baseball again. My favorite time of the day. The only sounds you can hear are the crack of the bat, the pop of the glove and one woman screaming like a maniac JEN offstage) John? Are you ready to go? [JEN enters wearing a windbreaker and baseball cap.] JOHN Mom, is Grandpa gonna be there? JEN Honey, your grandfather lives 200 miles away. He can’t come to every game. JOHN Why does he live so far away? JEN That's far? JOHN Is Dad gonna be there? JEN John, your father still thinks it’s 1968. He's either writing poetry, smoking pot, or protesting something, quite possibly all three. I don’t think he'll be there. JOHN Oh. Are you gonna be there? JEN I'm always there, honey. JOHN Oh, Well, just don’t forget the rules. JEN How could | forget? Don’t yellron & JEN = 45 - JOHN What else? JEN Don’t tell you what to do. JOHN What else? JEN Don't tell anyone I'm your Mom. JOHN {as if heading off to war] OK. 1 guess I'm ready. [Music, Little League atmosphere. JOHN is in the batter’s box.] JEN C'mon Johnny! Elbow straight! Mommy knows best! JOHN IF I'M NOT IN THE GAME SHE YELLS AT THE COACH “HE'S A SENSITIVE BOY, YOU WANT HIM TO QUIT?” ‘THEN IF THEY STRIKE ME OUT SHE YELLS AT THE UMP “HE'S A DELICATE BOY, GIVE HIM ONE MORE CHANCE TO HIT!” IF DO. GOOD THE steps up to the plate.] JEN Arms up, shoulders square! JOHN SHE GIVES ME A HUG JEN Keep the bat in the air! JOHN IF | MESS UP JEN Stay still, don’t twitch!= 46 = JOuUN & JEN JOHN SHE GIVES ME A KISS. ' [HE watches a pitch go by.] I JEN ‘That was a ball, you son of a— JOHN SHOULD ANY SON HAVE TO PUT UP WITH THIS? JEN OK, shake it off baby! HE'S SO FRAGILE AND SMALL KEEP YOUR EYE ON THE BALL THEY THROW IT SO FAST [Reacting to a pitch] NOW THAT'S A GOOD CALL ‘THE ONLY THING HARDER THAN WATCHING HIM SWING IS WATCHING HIM SWING AND MISS TJOHN swwings and misses.) SHOULD ANY MOM HAVE TO PUT UP WITH THIS? [JOHN hits it and starts running] AND WHEN I CHEER FOR MY SON IT’S JUST OUT OF PRIDE BUT HE WANTS TO HIDE SO WHAT CAN I DO BUT JUST LET IT SLIDE. [JOHN goes into a slide. JEN stands and yells:] Are you out of your mind, you stupid jerk! He was safe by a mile! IJEN goes into slo-mo pantomime of erazy rage.] JOHN | [mortified] OH THERE SHE GOES SHE'S SCREAMING AGAIN IF WE START TO LOSE, SHE STARTS TO LOSE IT TOOJOuN & JEN 47 - (JOHN) BUT EVERYONE KNOWS: ‘THAT YELLING'S FOR MEN OH, WHY CAN'T MY MOM JUST LEAVE ME ALONE AND SELL HOT DOGS AND COOKIES LIKE THE OTHER MOMS DO! JOHN IF ('M NOT IN THE GAME SHE YELLS AT THE COACH “HE'S A SENSITIVE BOY, YOU WANT HIM TO QUIT?” THEN IF THEY STRIKE ME OUT SHE YELLS AT THE UMP “HE'S A DELICATE BOY, GIVE HIM ONE MORE CHANCE TO HIT” [He swings and misses again] IF 1 DO GOOD SHE GIVE ME A HUG IF I MESS UP SHE GIVES ME A KISS SHOULD ANY MOM JOHN SHOULD ANY SON BOTH JEN HIE LOOKS $0 SMALL ‘THE PITCHER’S SO TALL. HE THROWS IT SO FAST THE BALL'S LIKE A ROCK EYE ON THE BALL. NOW THAT'S A GOOD CALL ‘THE GAME HURRIES PAST TSIT IN SHOCK 1 YELL AND BOY HE GETS MAD BECAUSE HIS MOM’S NOT HIS DAD ‘THE ONLY THING HARDER THAN WATCHING HIM SWING IS WATCHING HIM MISS SHOULD ANYONE HAVE TO PUT UP WITH— ‘mon Johneeee— [JOHN swings and misses a third time. VOICE yells ‘You're outta there!” JEN stands and yells:] I'm so proud of you, honey! IIOHN gives her a ‘look’ and lights out.)48 JOuN & TEN SCENE 4 1984, JEN is 38, JOHIN 12. ] EN is at HER brother's grave. JOHN watches from his chair up left. JEN has a purse and a bunch of flowers which she sets down in front of the down right box. JEN YOU SHOULD SEE THIS KID IT’S FRIGHTENING THE WAY HE REMINDS ME OF SOMEONE | ONCE KNEW HOW HE LOVES BASEBALL. AND HATES TOMATOES THE WAY HE SLEEPS WITH HIS ARM TUCKED UNDER HIS NECK IT’S SO TRUE HE SLEEPS JUST LIKE YOU ‘YOU'RE COMPLETELY IN THE SHADE NOW IT'S AMAZING THE WAY THIS TREE GREW THINGS GET SO BIG TIME FLIES AWAY HEY — HAPPY THIRTY-TWO. I BROUGHT YOU A PRESENT [SHE takes out a picture of her son] HE LOOKS JUST LIKE YOU TOMORROW HE'S GOING TO CAMP AND I CAN'T DEAL WITH IT I'VE BARELY EVER LET HIM OUT OF MY SIGHT 1 KNOW THAT IT’S JUST THE START NOW THAT HE'S GROWING UP, LEAVING HOME, ‘TAKING FLIGHT YOU SHOULD SEE THIS KID YOUR NAMESAKEFOUN & JEN a9 - (JEN) I WONDER BACK WHEN I DID THAT IE (KNEW THAT EVERY TIME I CALL OUT HIS NAME, I'D BE THERE AGAIN PUSHING YOU AWAY aaa AND THAT SHITTY GOODBYE AND THAT TERRIBLE DAY AND ALL THAT [ KNOW IS I WON'T FAIL MY SON THE SAME WAY I FAILED YOU (YOU) SHOULD SEE THIS KID I WISH YOU COULD SEE THIS KID BUT THAT'S JUST LIKE YOU YOU ALWAYS TALKED BACK ‘YOU ALWAYS FOUGHT BACK YOU'RE NOT COMING BACK BUT I WON'T LET MY BABY LEAVE ME TOO. NO, I WON'T LET HIM BE JUST LIKE YOU. NOT LIKE YOU. Happy birthday little brother. IJEN crosses upstage, leaving the picture and flowers at the “grave.” Lights change. JOFIN appears on stage, He is bustling about, packing for camp. JOHN BYE BED BYE CHAIR BYE DESK BYE — Fwhispers} TEDDY BEAR [HE sings “doot-doots"] BYE MICHAEL JACKSON POSTER BYE CHOCOLATE YOOHOO COASTER sd50 - JouN & JEN (JOHN) BYE ARROW BYE BOW BYE ROOM - GOTTA GO! [HE sings “doot-oots”] CIAO FISH LATER ON TANK BE GOOD BOOKS SEE YA, PIGGY BANK [HE sings “doot-doots”] BYE MAGIC JOHNSON BACKBOARD BYE LUKE SKYWALKER LASER SWORD. BYE REALLY COOL STEREO BYE ROOM — 1 GOTTAGO... [JEN enters with boots and HIS toothbrush, HE throws her a stream of stuff to pack, all of which SHE somehow catches.] I'M GOIN’ AWAY, MOM I'M BLAZING A TRAIL, SO STARTIN’ TODAY, MOM JUST FORWARD MY MAIL. I'M TAKIN’ A TRIP, HITTIN’ THE ROAD GETTIN’ A NEW AREA CODE FOLLOW THE SIGNS, TURN ON THE LAMP, [GOTTA GO TO CAMP. JOHN JEN I'M GOIN’ AWAY MOM. BYE FILTHY SOCKS UNDER THE BED I'M BLAZING A TRAIL. BYE DEAFENING MUSIC THAT POUNDS IN MY HEAD SO STARTIN’ TODAY MOM BYE DIRTY DISHES LEFT IN THE DEN JUST FORWARD MY MAIL. BYE HEARING THE PHONE RING AGAIN AND AGAIN AND AGAIN U'M TAKING A TRIP, BYE CAN I PLEASE GET A HITTING THE ROAD BBGUN,JOuN & JEN (JOHN) GETTING A NEW AREA CODE FOLLOW THE SIGNS TURN ON THE LAMP IGOTTAGO TO CAMP GEN) ALL OF THE KIDS IN MY SCHOOL HAVE ONE AW C’MON MOM, YOU'RE NOT ANY FUN YOU KNOW WHAT I SAY SON? GO TO CAMP, [Together THEY stuff his clothes and gear into a large army dufflebag, and HE gets her to join him in singing “doot doots"] JOHN BYE COUCH JEN [a bit mournfully] BYE MESSY BED JOHN BYE HOUSE JEN BYE SLEEPY HEAD JOHN FAREWELL THIRD STONE ON THE WALK HASTA LA VISTA TELEPHONE ADIOS EVERYTHING I OWN JEN BYE DESK JOHN BYE CHAIR JEN BYE FISH JOHN BYE TANK JEN BYE BED JOHN BYE BOOKS- JOHN & JEN JEN BYE JOHN— Bye John— [lt suddenly hits her fully wohat's happening. Silence.) JOHN [plunging alvead] Mom? Have you seen my sleeping bag? I can’t find it. JEN [distracted] No honey I haven't. JOHN ‘Oh, here it is. I’m just about set. Let’s go downstairs. Mom? C’mon Mom... IA long beat as SHE sizes HIM up.] - EN Do you think they need any more ae at this camp? JOHN [to drown her out] BYE BED JEN A baseball coach, maybe? JOHN BYE CHAIR JEN Don't forget to write in your journal every day- JOHN BYE DESK JEN Every day. JOHN BYE HOUSE [HE turns to give HER a peck on the cheek. SHE seizes the opportunity to give HIM a big bear hug.)TON & JEN eae (JOHN) Ok Mom. Ok Mom. Ok Mom... [HE is finally able to extract himself from HER grip.] Bye Mom! [JOHN exits up left, leaving JEN alone on stage.) JEN YOU GOTTA THINK BIG AIM HIGH BE BRAVE NOW DON’T YOU CRY YOU GOTTA THINK BIG STAND TALL AND YOU CAN DO ANYTHING. [JOHN reappears, grunged out and with a hand-held mic, a la talk shows.) JOHN ANYTHING AT ALL. [Segue right into...]- 54 - JOuN & JEN SCENE 5 1986-90. JOHN 14-18; JEN 40-44. [Spollight on JOHN. Applause sign flashes.) JOHN (as host) Hello and welcome to “Tell America Your Problem,” the hot new talk show of 1986. Today's topic: Single Moms, Troubled Teens. TIEN is defending HERSELF to the audience.) JEN [matter-of factly] BLASTS MUSIC ALL DAY DOES NOTHING I SAY WHAT CAN 1 DO? WHAT CAN 1 DO? His ATTITUDE'S SHOT ALREADY SMOKES POT | WHAT CAN [ D0? WHAT CAN I D0? IVS HARD TO EXPLAIN BUT GOD, I ADORE HIM ‘THROUGH ALL THE PAIN TWILL BE THERE FOR HIM I WILL ALWAYS BE THERE FOR HIM JOHN Ah, but maybe that’s the problem. Maybe you're there for him a little bit too much. [To The Audience] Am | right?!? [Applause sign flashes.)youn & TEN JEN [more and more tense] YOU'RE NOT BEING FAIR MY SON NEEDS ME THERE JOHN What about his father? JEN MY SON HAS NO ONE ELSE TO LOVE HIM JOHN What about his grandfather? JEN MY SON HAS NO ONE ELSE TO LOVE HIM JOHN Trouble with men beat] Jen? Hey, maybe it's the other way around... Maybe you have no one else to love you! JEN I HAVE A SMASHING CAREER JOHN [as lecherous boss] “Say Jen, could-you rub my back before you type the letter?” JEN I HAVE A DATE TWICE A YEAR JOHN [as evasive guy] “You have a 14-year old son? Mmmm... | don’t think so.” JEN AHATFUL OF SHRINKS JOHN, [as arrogant shrink] “Jen, I'm beginning to think once a week isn’t enough.” JEN EX-HUSBAND WHO DRINKSS JouN & TEN JOHN [as 60's left-over] “Man, Reagan's way worse than Nixon ever was!” JEN I HAVE PLENTY WITHOUT YOU TELLING ME WHAT I DO AND DO NOT HAVE! JOHN chuckling] OK, calm down, I think we hit a nerve. [to off-stage] what's that? [back to audience} My producer's telling me that's all the time we have for this year. We'll take a break and be right back! [Blackout. Spot up on JEN. Applause sign flashes. JOHN moves to the down left box. JEN has a hand-held mic.] JEN [as solicitous host] Good afternoon, welcome to "Talk It Over, Talk It Out,” 1988's Telly-Award winner. Today: flower children of the 60's — fascist parents of the 80's. JOHN SHE SLEPT WITH DOZENS OF MEN MY BEDTIME IS TEN WHAT CAN I DO? WHAT CAN 1 D0? SHE TOOK ACID WITH GEEKS ISMOKE WEED — SHE FREAKS WHAT CAN I DO? JEN [sarcastic] WHAT CAN HE DO?JouN & JEN 57 - JOHN DID WHAT SHE HAD TO DO WENT WHERE SHE HAD TO GO NOW IT'S MY TURN TO LIVE AND IT’S NO THIS, NO THAT NO, NO, NO, NO! JEN She might argue that she’s learned from her mistakes, and she's not going to let you make the same ones. JOHN WHY DOI HAVE TO PAY FOR HER RUNNING AWAY JEN ‘She might argue that she’s seen how the world treats people, and she’s not going to let you be treated that way. JOHN SHE WON'T LET ME FIND MY OWN WAY JEN And what way is your way? JOHN FAR AWAY ‘TO BE A WRITER SOMEDAY JEN She might argue that you can be a writer and still stay close to home. Don’t they have word processors where she lives? After all, she’s sacrificed everything for you. JOHN - SO I MUST DO THE SAME? WHY SHOULD I PLAY THAT GAME? JEN She might argue that you're the only one she can count on. JOHN ICAN'T HELP HER I’M NOT INSIDE HER HEAD ONLY ONE MAN CAN HELP HER AND THAT MAN IS DEAD!es youN & JEN JEN [crossing down right] Gosh, juicy stuff... Let’s take some questions from the audience. JOHN [as audience member, from up right] ‘Yes, I have a question for the mother... Why did you give your son the same name as your brother? JEN 1 WAS DOING SOMETHING KIND JOHN Isn't that a little creepy? JEN SO I SHOULD LEAVE HIS LIFE BEHIND OUT OF SIGHT AND QUT OF MIND? JOHN [as host] Cleveland, go ahead please. [JOHN crosses back to down left box.) JEN [as audience member, up center] Yes, hi, Um... I was just curious if John realizes the pain he's causing his mother by deliberately doing everything he can to hurt her? JOHN I DON’T THINK YOU UNDERSTAND JEN I understand that you've been spending more time with your new girlfriend Sharon than you have been with your own mother, JOHN SO I SHOULD LIVE AT HER COMMAND SIT AT HOME AND HOLD HER HAND? [Lights change. THEY suddenly both turn to each other.} JEN John, you've been seeing her too much.JOHN & IEN - 59 = JOHN BIG DEAL JEN John, I don’t think she’s good enough JOHN GET REAL JEN John, are you sure it’s gonna last? JOHN HOW SHOULD I KNOW? GOD 1 HOPE SO [Lights restore.) JEN [as host] ‘Ma'am, does that answer your question? He does realize the pain he's causing his mother; in fact, that’s quite the point. [Lights shift. Applause sign flashes. JOHN Welcome back to “Bare Your Soul,” the show that's currently number one for the 1989-90 season. [Drum roll.} Today's topic: Sons who need to get away from their mothers so badly that they run away from home to stay with their grandfathers, three times in the past year; [Cymbal crash} this grandfather, of course, being the very man whom she herself has spent a lifetime running away from, ITHEY both freeze for a beat, then turn to the audience with much animation.) JEN HE'S GETTING ME BACK JOHN I NEEDED SOME SLACK JEN IT'S AN ACT HE'LL OUTGROW60 JOHN & JEN JOHN THAD NO PLACE T0 GO BOTH WHAT CAN I DO? WHAT CAN I D0? JEN I'S AGAME CHILDREN PLAY JOHN GRANDPA SAID [ COULD STAY JEN ‘THEY PRETEND TO BE STRONG JOHN [DON'T THINK IT WAS WRONG BOTH WHAT CAN I DO? WHAT CAN I DO? [Lights shift suddenly as THEY snap at each other.] JOHN CAN YOU SBE WHO AM? NOT YOUR LOST LITTLE LAMB JEN CAN YOU UNDERSTAND HOW YOU REALLY NEED ME RIGHT NOW? JOHN CAN YOU SEE THAT'S IT’S TRUE HOW I HAVE TO LEAVE YOU? JEN CAN YOU SEE THAT'S IT’S TRUE, HOW ILL NEVER LEAVE YOU? JOHN HOW IT'S TIME TO LEAVE YOU JEN HOW ILL NEVER LEAVE YOUFoun & yen - 61 JOHN NOW IT’S TIME TO LEAVE YOU JEN NOW I'LL NEVER LEAVE YOU JOHN TIME TO LEAVE YOU JEN NEVER LEAVE YOU JOHN TIME TO LEAVE YOU JEN NEVER LEAVE YOU NEVER LEAVE YOU [Suddenly everything stops. JOHN pulls a package out of the floor. THEY are back in real time.] JOHN What's this, Mom? It’s addressed to me. [JOHN examines the package.) It’s from Columbia, Mom. Why didn’t you tell me this came? JEN Iwas going to tell you — you kept interrupting — JOHN This was sent over two weeks ago. You know I’ve been waiting for this! JEN T'm softy. I don’t know what happened — JOHN know what happened. You hid mail from me. [HE tears it open and begins to read to HIMSELE. After a moment:] Looks like I’m going to New York, Mom. Oh my God, the honors writing program! JEN Oh, John. JOHN Oh man, I gotta tell Sharon. I didn’t even tell her I was applying to Columbia I never thought I'd get in. This is unbelievable!62 oun & jen JEN I'm sure she'll be— JOHN I gotta go tell her, Mom. Don’t wait up. We'll celebrate soon. [BEAT] You do want to celebrate, don’t you? JEN Of course. JOHN She's gonna dit [HE exits. There isa long silence, then:]JOuN & JEN - 63 - SCENE 6 1990. JEN slowly takes out a photo album, SHE fondly turns through the pages. JEN AT THE BEACH, IN THE YARD, WITH BUSTER, MoM. DAD. AND JOHN. AT THE GAME. IN THE HOUSE. WITH SANTA. JEN AND JOHN: JOHIN AND JEN LOOK AT HIM SMILING LOOK AT ME DREAMING DREAMING OF SOMETHING YOU WORK, YOU CRY YOU NEVER ASK YOURSELF WHY AND YOU SMILE THE SMILE OF YOUR DREAMS YOU SLEEP, YOU EAT YOU KEEP THE HOUSE NICE AND NEAT AND YOU SMILE THE SMILE OF YOUR DREAMS AND YOU TRY TO REPLACE WHAT YOU'VE LOST BUT IT CANNOT BE DONE AND YOU TRY TO PRETEND TO FORGET BUT IT’S THERE IN YOUR SON [SHE finds a picture of HER brother and takes it out of the album.] | HE WALKS, HE PLIES NOW TRY YOUR HAND AT GOODBYES64 — JouNn & FEN (JEN) WHILE YOUR SMILE IS THE SMILE OF YOUR DREAMS ISHE rips up the picture. FANTASY JOHN stanuis in salute up left.) JOHN What's the matter, Jenny? JEN looking back at JOHN.] YOU TEACH, YOU LEARN JOHN Can't I come with you today? JEN YOU PUT AWAY ALL YOU EARN JOHN She said I had talent, Mom — real talent! JEN AND YOU SMILE THE SMILE OF YOUR DREAMS JOHN Can't we stay in here — it's safe. JEN YOU SHOUT, YOU SING JOHN Is grandpa going to be there? JEN LET OUT A LITTLE MORE STRING JOHN Dad says he thinks I'd make a good soldier. JEN AND YOU SMILE YOU SMILE. YOU SMILE... JOHN It was my fault. I broke a glass.1onN & JEN - JEN [confused] John. JOHN ‘Thanks a lot Mom — I mean Santa. JEN Santa couldn't be here tonight. JOHN A man can't get too far in this world leaning on his sister for support. Where are those little kicls? Have you seen them around? Have you seen them around? Have you seen them around? IFANTASY JOHN exits as JEN goes back to the photo album, picks it up and sits down — trying to put the pieces of the picture together again.] JEN HE STIRS, HE GROWS: AND THEN YOU REALIZE HE KNOWS HOW HE’S KNOWN ALL THE WHILE HOW HE SEES THROUGH YOUR GUILE HOW HE READS THAT YOUR SMILE [REAL JOHN enters, notices HER.] IS SIMPLY THE SMILE OF YOUR DREAMS [MUSIC winds down, REAL JOHN watches as JEN whispers:] John don’t leave me. [After a beat, JEN exits.)66 2 JOHN & FE SCENE 7 JOHN [to the audience] TODAY I GRADUATE HIGH SCHOOL 1 GUESS THAT MEANS THAT I'M A MAN AND THE WORLD IS THERE TO MAKE MY OWN SOME DAY — MAYBE I CAN IT TOOK ME A WHILE TO REALIZE I CANNOT GO AWAY SOME THINGS HAVE TO WAIT IN THIS WORLD WHEN A MOTHER NEEDS HER SON TO STAY I. CAN'T WAIT TO SEE HER FACE RELIEF AND JOY INSTEAD OF FEAR IT TOOK ME A WHILE TO REALIZE I'M THE ONE MAN SHE CAN COUNT ON FOREVER SHE NEEDS ME HERE SHE NEEDS ME... HERE JEN bursting in from up right, frantic] John? ARE YOU READY? INEED A FEW THINGS FOR THE PARTY I'M GOING INTO TOWN YOUR FATHER SHOULD BE HERE SOON NOW WHERE'S YOUR CAP AND GOWN? JOHN Mom, can I talk to you for a second? I have some great news. JEN GO GET READY! DON'T YOU FORGET TO SHAVE AND PLEASE JOHN PUT ON A TIEyoun & JEN = 67 - (JEN) NOW HOW DO YOU LOAD THIS CAMERA? Ba GOD I'M SO NERVOUS | COULD DIE! You'd think I was graduating, not you~ JOHN Mom, I've decided... not to go to Columbia. I've decided to stay here. JEN What did you say? JOHN I'm not going away. I’m gonna call Columbia tomorrow and try to get your money back. JEN I HAVE A LOT TO DO GO GET READY WHERE'S YOUR GIRLFRIEND? WHAT A SURPRISE, SHE'S LATE TODAY. I'LL BE BACK IN AN HOUR IS MY HAIR OK? [HE grabs HER by the arms, MUSIC stops.] JOHN Mom, you're not listening to me. [said I’m staying home. TJEN stares blankly at HIM.) ae lerossing may) DON’T BE STUPID I DON’T WANT TO HEAR ANYMORE GIVE UP WRITING FOR A JOB IN A HARDWARE STORE WHAT WOULD YOU DO A DUMB THING LIKE THAT FOR? JOHN JEN I don’t think we can afford it— JEN | SO NOW YOU CARE ABOUT MONEY THAT'S A NICE THING TO KNOWa 1OuN & JEN JOHN I don’t know if I'm smart enough— JEN WHAT'S WITH THESE STUPID EXCUSES? WHY DON’T YOU WANT TO GO? JOHN ‘Cause love you~ JEN ‘THAT'S NOT A GOOD ENOUGH REASON YOU CAN LOVE ME FROM THERE BUT STILLI/M FLATTERED TO KNOW HOW MUCH YOU CARE JOHN WHY ARE YOU SO CRUEL? JEN GO PUT ON ATIE JOHN I DID THIS FOR YOU JEN YOU DON'T RUN THIS FAMILY JOHN YOU CALL THIS A FAMILY? I DON’T SEE ANY FAMILY JEN DON'T YOU TRY TO PUSH ME ‘THERE WILL BE NO DISCUSSION JOHN YOU CALL THIS A FAMILY? I DON'T SEE ANY FAMILY JEN DON’T YOU TRY TO PUSH ME [JOHN grabs the keys out of HER hands.] JOHN YOU CAN'T RUN MY LIFEyoun & JEN 68 = JEN ‘THERE IS NO DISCUSSION JOHN YM OLD ENOUGH TO VOTE JEN DON’T YOU TRY TO PUSH ME JOHN AND OLD ENOUGH TO DIE IN A WAR JEN HOW DARE YOU JOHN YOU DON’T RUN MY LIFE ANYMORE— JEN I thought I told you to go get ready. Now. [JOHN tosses the keys to the floor in front of her. SHE picks them up and turns to leave.] JOHN [following her} HOW COULD I EVER LEAVE YOU, MOTHER? WITHOUT YOUR CONSTANT GUIDANCE T WOULDN'T HAVE A CLUE HOW COULD I EVER LEAVE YOU, MOTHER? WITH EVERY DAY REMINDING ME WHAT LEAVING HOME TAUGHT YOU HOW TO LIVE IN PAIN HOW TO SLEEP IN FEAR ‘THANKS FOR ALL YOU'VE DONE, BUT NO THANKS, MOTHER I'LL STAY RIGHT HERE I'LL STAY HERE UNTIL THE DAY I DIE DON'T YOU TRY TO LIE! I KNOW HOW YOU FEEL! THIS IS WHAT YOU WANT! [SHE slaps him. JEN takes a moment to realize what has happened, then slowly goes to the “grave."]70 JOUN & JEN IJEN kneels at her brother's SCENE 8 Immediately following. reece grave] JEN ‘TWENTY YEARS I'VE TRAVELED ON IT’S BEEN A WINDING TRAIL I'VE GROWN UP SOME, AND FELL DOWN SOME LEARNED TO FLY AND FAIL ‘TWENTY YEARS I'VE STRUGGLED ON AND NOW AT LAST IT’S CLEAR ‘THE ROAD ENDS HERE. ABABY IN HIS MOTHER'S ARMS KNOWS THINGS HE CAN'T EXPRESS A LITTLE BOY, A MAMA'S EYES HE DOESN'T HAVE TO GUESS. ‘THERE'S SO MUCH A CHILD CAN LEARN FROM JUST ONE LITTLE TEAR THE ROAD ENDS HERE. ‘THE ROAD ENDS HERE. CAN YOU FEEL FROM WHERE YOU SLEEP THROUGH THE DARKNESS AND THE GROUND? CAN YOU HEAR FROM WHERE YOU LIE EVERY SIMPLE WHISPERED SOUND? CAN YOU SMELL FROM WHERE YOU REST ALL THE FLOWERS IN YOUR TREE? CAN YOU FEEL, CAN YOU SEE THAT YOUR SISTER MUST BE FREE! TWENTY YEARS SHE'S TRAVELED ON WITH HISTORY AT HER SIDE A GROWING BOY REMINDING HER OF ALL SHE CANNOT HIDE TWENTY YEARS IS FAR TOO LONG TO LIVE FOR WHAT IS GONEJOUN & JEN — 71 - (EN) IJOHN enters. JEN sings to HIM.] I PUSHED YOU TOO HARD [LOVED YOU TOO STRONG T WENT FOR IT ALL BUT I SOMEHOW WENT WRONG THAT WAS MY WAY I WATCHED YOU TOO CLOS I HELD YOU TOO LONG I TAUGHT YOU THE WORDS BUT I LEFT OUT THE SONG ‘THAT WAS MY WAY IGAVE YOU ALL THAT I HAD IN MY HEART THE GOOD AND THE BAD THE CARING ‘THE TEARING APART I MAY STILL PUSH YOU TOO HARD OR HOLD YOU TOO LONG INEED TIME TO LEARN AND THE ROOM TO GO WRONG BUT I WILL GO RIGHT PIECE BY PIECE DAY BY DAY WILL YOU ACCEPT ME FORGIVE ME AND LOVE ME AS | FIND MY WAY.Peat Re ented JOHN THERE'S A WONDERFUL WORLD FOR ME AND FOR YOU THERE ARE WONDERFUL THINGS WE'LL GET TO DO OUT THERE — SOMEWHERE — THE WORLD AND ALL ITS WONDERS ONE SMALL STEP IS ALL IT TAKES TO KNOW EVERY GOODBYE IS HELLO. THERE'S A PHRASE THAT I KNOW —I LEARNED IT FROM YOU ALWAYS HONOR THE OLD — BUT LIVE FOR THE NEW OUT THERE — SOMEWHERE — ABOUT TO BE DISCOVERED TRUST YOURSELF AND EACH NEW DAY WILL SHOW | HOW EVERY GOODBYE IS HELLO. JEN I WILL ALWAYS BE NEAR TO HEAR OF ALL THE THINGS YOU'LL BE EVERYONE NEEDS A HOME TO RETURN TO. AND YOU CAN TURN TO ME. BOTH ‘THERE'S A TIME IN OUR LIVES WHEN WE WILL KNOW. THERE'S A TIME TO STAY HOME ~ AND A TIME TO GROW OUT THERE ~ SOMEWHERE — YOUR LIFE AND ALL ITS PROMISE, SOMETIMES PART OF LOVE IS LETTING GO BUT EVERY GOODBYE IS. [THEY embrace] WELCOME TO THE WORLD. HELLO [THEY start to go off. then look back at each other one last time and then exit Lights fade.] [END OF PLAY]ACT ONE, Scene 1 Scene 3 Scene 5 Scene 6 Scene 7 Epilogue SUGGESTED PROP LIST Colorful baby blanket - 3° x 5° ‘American History Book Baton Suitcase Bus Tickets New baseball glove and ball 2 newspapers Letter from John in personal envelope “Welcome Home Jen” sign Above with American flag on back (3' x 5’)AcT TWO Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 Scene 7 American Flag with “Canadian” baby blanket on back Decorated Christmas tree with presents Old, beat-up baseball glove and ball wrapped in box Handmade napkin holder with napkins, wrapped in newspaper Handmade Christmas card and envelope Baseball bat Purse with picture of son in it in small frame Bunch of flowers Army duffle bag Boom box 3 pairs boxer shorts 3 tshirts flashlight plaid shirt rain parka boots toothbrush nerf basketball Luke Skywalker laser sword teddy bear sleeping bag tennis racket 3 pairs balled up socks can of tennis balls 2 fake wireless microphones Columbia acceptance packet (8 1/2” x 11” envelope with stuff) Photo album Photo of brother in uniform saluting (to be ripped) Purse Camera Pad and PenBasic: Prologue Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 AcT Two Basic: Scene 2 Scene 3 Scene 4 Scene 8 SUGGESTED COSTUME PLOT — JEN white shorts, white blouse, white plain sneakers, white socks Over dress 50's pinafore or period young girl's dress with basic dress from Act Il and scarf Strip off Act Il dress, put up hair in ponytails or pigtail ‘Take off dress, put on bathrobe and sweater Take off bathrobe, revealing sweater Take of sweater, add basketball jersey (## 27) Take off shirt, carry on coat Hair down, shoes and socks off, hippie clothes on (ie. macrame vest, bell bottoms, moo-moo, tie-dye, etc.) roach clip on rawhide, peace sign on chain, headband, glasses, sandals plain colored dress, flat brown shoes to match, hair down and slightly managed Add Christmas type sweater ‘Take off sweater, add windbreaker and baseball cap ‘Take off windbreaker and cap Add: blazerBasic: Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 Epilogue ACT TWO Start: Scene 3 Scene 4 Scene 5 Scene 6 SUGGESTED COSTUME PLOT — JOHN chinos, white t-shirt, high-top sneakers Take off snakers, roll up pants Put on robe with short-sleeve shirt underneath ‘Take off robe revealing shirt (untouched and open) Put on sneakers (elastic laces) Button up shirt Tuck in shirt Take off shirt and sneakers, add: belt, blue oxford shirt loafers, varsity jacket Quick change into full military uniform with cap, white gloves, white shoes, blue jeans, white socks, ‘star wars’ t-shirt under sports shirt of some kind or little league shirt, under beat-up bathrobe ‘Take off bathrobe (to sports shirt), put on more contemporary sneakers, batting helmet Take off sports shirt (to star wars shirt), add windbreaker at end of scene Take off sneakers, windbreaker add: army boots unlaced, earring, baseball cap backwards, black t-shirt, ete. ‘Take off boots, earring, black t-shirt, cap, add: white shirt, black shoes