------------------------------------------------------------------------------tick, tick... BoOm!Music: Jonathan LarsonLyrics: Jonathan LarsonBook: Jonathan LarsonPremiere: Wednesday, June 13, 2001------------------------------------------------------------------------------

6/13 (8/11) 11.

[In black]

TICK ... TICK ... TICK ... TICK ... TICK ... TICK ...

The sound you are hearing is not a technical problem. It is not amusical cue. It is not a joke.

It is the sound of one man's mounting anxiety.

I ... am that man. [Lights up]

Hi. I'm Jon, and lately I keep hearing that sound, that ticking.It's not a big deal, it's actually kind of pleasant, like awatch.

In one week I'll be thirty. Three-zero. Older than my Dad waswhen I was born. Older than Napoleon was when he ... didsomething that was probably extremely impressive at the time I'm not a historian. I'm a composer. Sorry, a °∞promising youngcomposer.°± I should have kids of my own by now, a career, butinstead I've been "promising" for so long I'm afraid I'm startingto break the fucking promise.

And I want to get some writing done but I keep hearing those tickticks. And sometimes, after a couple of them, I'll hearsomething else a distant BOOM, like a bomb has gone off not toofar away and the next one might be closer and I'd better lookout.

TICK ... TICK ... BOOM! [He bangs a crash on the piano.]

So that's where we are. It's a Saturday night in January, 1990,in my apartment on the edge of SoHo; I'm trying to work, tryingto enjoy what remains of my extremely late 20s, trying to ignorethe Tick Tick Booms.

[#1] 30/90

STOP THE CLOCK - TAKE TIME OUTTIME TO RE-GROUP BEFORE YOU LOSE THE BOUTFREEZE THE FRAME - BACK IT UPTIME TO REFOCUS BEFORE THEY WRAP IT UP

YEARS ARE GETTING SHORTERLINES ON YOUR FACE ARE GETTING LONGERFEEL LIKE YOU'RE TREADING WATERBUT THE RIP TIDE'S GETTING STRONGER

DON'T PANIC - DON'T JUMP SHIPCAN'T FIGHT IT - LIKE TAXESAT LEAST IT HAPPENS ONLY ONCE IN YOUR LIFE

THEY'RE SINGING HAPPY BIRTHDAYYOU JUST WANT TO LAY DOWN AND CRYNOT JUST ANOTHER BIRTHDAYIT'S THIRTY NINETY

WHY CAN'T YOU STAY TWENTY NINE, HELLYOU STILL FEEL LIKE YOU'RE TWENTY TWOTURN THIRTY 1990 - BANG, YOU'RE DEADWHAT CAN YOU DO?WHAT CAN YOU DO?WHAT CAN YOU DO?

Hey, you know what? Forget it. It's no big deal. What's 30?Just, you know, the end of youth.

MICHAELJon, you've got to chill.

Michael. My roommate, my oldest and dearest friend. We grew uptogether, moved to Manhattan and were starving artists together.Were. Mike was a terrific actor but he gave it up to become abig-time market research exec. Now, he's the proud owner of abrand-new BMW.

Mike, you're thirty. Are you happy?

MICHAELThirty's great. Thirty's like NewarkAirport.

Newark Airport?

MICHAELHard to get to, but once you're here,fewer delays.

Mike spends way too much time traveling on business.

MICHAELCLEAR THE RUNWAY - MAKE ANOTHER PASSTRY ONE MORE APPROACH BEFORE YOU'RE OUT OF GAS

JONFRIENDS ARE GETTING FATTERHAIRS ON YOUR HEAD ARE GETTING THINNERFEEL LIKE A CLEAN UP BATTER ON A TEAM THAT AIN'T A WINNER?

MICHAELDON'T FREAK OUT - DON'T STRIKE OUTCAN'T FIGHT IT LIKE CITY HALL

JONAT LEAST YOU'RE NOT ALONEYOUR FRIENDS ARE THERE TOO--

THEY'RE SINGING HAPPY BIRTHDAY

JON & MICHAELYOU JUST WISH YOU COULD RUN A-WAY

JONWHO CARES ABOUT A BIRTHDAY? -- BUT

JON & MICHAELTHIRTY NINETY - HEY!

JONCAN YOU BE OPTIMISTIC

JON & MICHAELYOU'RE NO LONGER THE INGENUETURN THIRTY 1990

JONBOOM - YOU'RE PASSE

JON & MICHAELWHAT CAN YOU DO?

JON / (MICHAEL)WHAT CAN YOU DO? (OOH)WHAT CAN YOU DO?

SUSANJon, breathe.

Susan's here too, My girlfriend. We've been together two years,it's great, she's great, she's a dancer, but supports herselfteaching ballet to wealthy and untalented children. She startstalking about the birthday party she's planning for next week.

SUSANYou're gonna enjoy it I promise. I sentout the invitations, the apartment willbe full of friends, we'll have a greattime.

She's right. Goddamn it, I am looking forward to it!

SUSANAnd you'll play Happy Birthday, we'llall sing...

I have to play it?

SUSANSure.

I can't play happy birthday for myself.

SUSANWhy not?

I've forgotten it.

I realize I've forgotten how to play the piano completely. Holyshit, have I forgotten how to play the piano because I don't wantto play Happy Birthday because I don't want to - Oh God growup?

JON / (MICHAEL & SUSAN)PETER PAN AND TINKER-BELL (AH...)

WHICH WAY TO NEVER-NEVERLAND?EMERALD CITY'S GONE TO HELLSINCE THE WIZARD

ALLBLEW OFF HIS COMMAND

JONON THE STREET YOU HEAR THE VOICES LOST CHILDREN, CROCODILESYOU'RE NOT INTOMAKING CHOICES WICKED WITCHES,POPPY FIELDS OR MEN BEHIND THE CURTAINTIGER LILIES, RUBY SLIPPERS

ALLCLOCK IS TICKING - THAT'S FOR CERTAIN

JON / (MICHAEL & SUSAN)THEY'RE SINGING HAPPY BIRTHDAY (HAPPY BIRTHDAY)I JUST WISH IT ALL WERE A DREAMIT FEELS MUCH MORE LIKE DOOMSDAYFUCK

ALLTHIRTY NINETY -

JON / (MICHAEL & SUSAN)SEEMS LIKE I'M IN FOR A TWISTER (AH...)I DON'T SEE A RAINBOW - DO YOU?

ALLTURN THIRTY IN THE NINETIES

JON / (MICHAEL & SUSAN)INTO MY HANDS NOW THE BALL IS PASSEDI WANT THE SPOILS - BUT NOT TOO FAST (AH...)THE WORLD IS CALLING - IT'S NOW OR NEVERLAND (AH...)WHY CAN'T I STAY A CHILD FOREVER (AH...)AND THIRTY NINETY THIRTY NINETY (THIRTY NINETY)THIRTY NINETY THIRTY NINETY (THIRTY NINETY)THIRTY NINETY

ALLTHIRTY THIRTY NINETYWHAT CAN I DO--?

MICHAEL & SUSANTHIRTY NINETYTHIRTY THIRTY NINETY, OOH

ALLWHAT CAN I DO--?2.

MICHAELHey, tomorrow night I want to show youthe new place.

Oh yeah. Michael's moving out. He's making so much money hebought an apartment with the bathtub in the bathroom.

Tick...tick...tick...

MICHAELAnd will you please let me set up aninterview with my firm?

Lately Mike's been worried my musical theatre career isn't goinganywhere. And I'm not sure I blame him.

MICHAELYou'll love it. You'll be promotedfaster than I was.

I haven't decided, Mike. I'm still enjoying my pre-midlifecrisis.

MICHAELAt least think it over.

I'll think it over.

MICHAELAll I'm asking. See you in the morning.

You going to bed? It's early.

MICHAELI'm still on London time. Night.

SUSANNight.

Sleep well.

[Mike exits.]

I need some air. I grab a joint and escape to the roof. It'scold. I hear a few tick-booms.

I've spent the last 5 years writing a musical called SUPERBIA andwe're doing a workshop this week. It's the other reason I'mfreaking out. We're putting the show on its feet before anaudience for the first time. I'm all hope and apprehension. It'sthe best thing I've ever done, and if the workshop goes well, andif I can get my so-called agent, Rosa Stevens, who hasn'treturned my calls in over 6 months, to actually come and see it,the show might get some buzz. And if there's enough buzz the showmight be produced and if the show is produced it might be a hit -- and if it is I won't have to take the marketing job and I canbuy the BMW anyway and I will have done it all before I'm thirty,or at least I can fudge the dates to make it sound that way in mySunday Times Arts & Leisure Profile.

I am not proud of this line of thinking.

But it's not my fault! It's hard for people born after 1960 to beidealistic or original. We know what happens to ideals. They'reassassinated or corrupted or co-opted. It's 1990 for God's sake.It is not an exciting period. It is not a period of ferment. It'sfucking stodgy is what it is -- conservative, complacent, obtuseand unimaginative. Or, to put it another way: George Bush ispresident of the United States.

After a minute, Susan comes up from downstairs. She's wearing thedress we had made -- a friend who works at the diner with medesigned it. Everyone we know wants to do something else.

SUSANWhat do you think?

[Smoking] Looks good.

SUSANAre you okay?

Sure. Just like the view. The river...

SUSAN

Are you really thinking about going towork with Mike?

I've been waiting tables for four years, Suze. I always thoughtby the time I was thirty I'd either have a hit show or a reallylucrative sell-out career, but I've got neither. Jesus. Hasturning thirty always sucked? Or is our generation differentbecause we've never grown up? Never had a real test. ADepression. A World War, Vietnam -- Maybe that's what I need.

SUSANGood idea. I'll try to arrange that foryou.

Yeah? Thanks.

SUSANAnytime, honey.

Susan takes my hand, warming off the whole roof. We look outover the river. The lights from the prison barge flicker in hereyes.

You really look beautiful.

SUSANThanks.

That dress looks incredible on you.

[#2] GREEN GREEN DRESS

JONDEEP DARK VELVETHUGS YOUR SILHOUETTEBLACK SILK STOCKINGSYOU'RE MY JULIET

SOFT BLOND HAIR, BABYBABY BLUE EYESCOOL ME DOWNBEFORE I JUMP INTO YOUR THIGHS

THE GREEN GREEN DRESS20 BUTTONS AND A STRAPTHE GREEN GREEN DRESS

WHAT A PLEASURE TO UNWRAP

THE GREEN GREEN DRESSOH WHAT IT CAN DOOH WHAT THE GREEN GREEN DRESSDOES TO ME ON YOUME ON YOU

SUSANLET'S FIND A CHAIRWHERE WE CAN SIT AND TALKOR GET SOME FRESH AIRMAYBE WE COULD TAKE A WALK

TELL ME WHAT YOU'RE THINKINGTALK ABOUT YOUR DAYTELL ME WHAT TO DOI'LL DO ANYTHING YOU SAY

BOTHTHE GREEN GREEN DRESS20 BUTTONS AND A STRAPTHE GREEN GREEN DRESS

JONWHAT A PLEASURE TO UNWRAP

BOTHGREEN DRESSOH WHAT IT CAN DOOH WHAT THE GREEN GREEN DRESS

JON /(SUSAN)DOES TO ME- ON YOU (OOOH)ME ON YOU (YOU)

SUSANCAN I HEAR YOU LAUGH, BABE?CAN YOU MAKE ME SMILE?I'LL FORGET WHAT'S ON MY MINDFOR A WHILE

JONCAN I TIE YOU UP, LOVEIF YOU TELL ME YESI'LL UNBUTTON EVERY BUTTONDOWN YOUR GREEN GREEN DRESS OW!

BOTHTHE GREEN GREEN DRESS20 BUTTONS AND A STRAPTHE GREEN GREEN DRESSWHAT A PLEASURE TO UNWRAP

GREEN DRESSOH WHAT IT CAN DOOH WHAT THE GREEN GREEN DRESS

JON /(SUSAN)DOES TO ME ON YOU (OOOH)ME ON YOU (YOU)

BOTHTHE GREEN GREEN DRESSME ON YOU

JONTHE GREEN GREEN DRESS

SUSANTHE GREEN GREEN DRESS

JONTHE GREEN GREEN DRESS

SUSANTHE GREEN GREEN DRESS

BOTHTHE GREEN GREEN DRESS3.

6 AM. The sky glows. Somewhere a bird chirps. I want to shoot it.

SUSANGo back to sleep.

I can't. I'm too wired. Sorry I woke you. I'll just --

SUSANNo, stay, it's okay.(beat)

Jon, you know what?

What?

SUSANWe could just get out of here.

What do you mean?

SUSANLive somewhere else. Somewherebeautiful, near a beach... Cape Cod...

Leave New York?

SUSANWhy not? I think the city just wears youdown. Every time I cross the Triboro Ifeel five years older.

If I want to write shows I have to be here. If you want to be adancer --

SUSANI am a dancer. I'd still be a dancer ifI lived in New England, but I'd have adishwasher.(beat)At least think it over? For me?

Ah. More to think over.

[#3] JOHNNY CAN'T DECIDE

BREAK OF DAY - THE DAWN IS HEREJOHNNY'S UP AND PACINGCOMPROMISE OR PERSEVERE?HIS MIND IS RACING

JOHNNY HAS NO GUIDE - JOHNNY WANTS TO HIDECAN HE MAKE A MARK - IF HE GIVES UP HIS SPARK?JOHNNY CAN'T DECIDE

SUSANSUSAN LONGS TO LIVE BY THE SEASHE'S THROUGH WITH COMPETITION

SUSAN WANTS A FAMILYJOHNNY'S GOT A TOUGH DECISION

JOHNNY HAS NO GUIDE

SUSAN & JONJOHNNY WANTS TO HIDECAN HE SETTLE DOWN - AND STILL NOT DROWN?JOHNNY CAN'T DECIDE

MICHAELMICHAEL'S GONNA HAVE IT ALLHIS LUCK WILL NEVER ENDJOHNNY'S BACKED AGAINST THE WALLCAN HE BEND HIS DREAMS JUST LIKE HIS FRIEND?

JONJOHNNY SEES THAT

JON & SUSANSUSAN'S RIGHT

ALL (parts)AMBITION EATS RIGHT THROUGH YOUMICHAEL DOESN'T SEE WHY JOHNNY HOLDS ON TIGHTTO THE THINGS THAT JOHNNY FEELS ARE TRUE

JOHNNY HAS NO GUIDE JOHNNY WANTS TO HIDEHOW CAN YOU SOAR IF YOU'RE NAILED TO THE FLOOR?JOHNNY CAN'T DECIDE

I want to write music. I want to sit down right now at my pianoand write a song that people will listen to and remember, and dothe same thing every morning for the rest of my life.

ALLJOHNNY HAS NO GUIDE JOHNNY WANTS TO HIDEHOW DO YOU KNOW WHEN IT'S TIME TO LET GO?

JON / (MICHAEL & SUSAN)JOHNNY CAN'T DECIDE (JOHNNY CAN'T DECIDE)JOHNNY CAN'T DECIDE (DECIDE)JOHNNY CAN'T DECIDE (JOHNNY CAN'T DECIDE)JOHNNY CAN'T DECIDE (DECIDE)

DECIDE DECIDE, DECIDE DECIDE (DECIDE, DECIDE, DECIDE)

JOHNNY CAN'T DECIDE (OOH)

But right now I have to go to work.4.

[SFX of Diner]

#1 [Michael]Straight back and to your left.

#2 [Susan]Pick up those fucking eggs!

#1(Brrring-Bbbbrrrrring)

#2We're out of milk!

#1Who took my Rye Bread?

#2Four waters to table 7!

#1I'm sorry, we don't deliver on Sunday--I need table 3 for 2, yesterday--

#2Is there a list?

#1Harrington! Harrington??

#2Kaplan- K-a-p-l-a-n- for seven.

ORDER!

#1No- I'm sorry- those people were herefirst. We don't have tables for seven.

#2Are we in Smoking?

TENSION!

#1I'll have the Salad Nick-oyz and someHolly bread.

BALANCE!

#2I SAID I wanted an omelet with no yolks!That's why you're just a waiter!

Brunch.

[#4] SUNDAY

SUNDAYIN THE BLUESILVER CHROMIUM DINERON THE GREENPURPLE YELLOW RED STOOLSSIT THE FOOLSWHO SHOULD EAT AT HOMEINSTEAD THEY PAY ON

ALLSUNDAY

JONFOR A COOLORANGE JUICE OR A BAGELON THE SOFTGREEN CYLINDRICAL STOOLSSIT THE FOOLSDRINKING CINNAMON COFFEEOR DECAFFINATED TEA

ALLFOREVERIN THE BLUESILVER CHROMIUM DINER

JONDRIPS THE GREENORANGE VIOLET DROOL

ALLFROM THE FOOLS

JONWHO'D PAY LESS AT HOMEDRINKING COFFEE

ALLLIGHTAND DARK

JONAND CHOLESTEROLAND BUMS, BUMS, BUMS,BUMS, BUMS, BUMS, BUMS, BUMS, BUMS,

ALLPEOPLE SCREAMING FOR THEIR TOASTIN A SMALL SOHO CAF¨´

JONON AN ISLAND IN

ALLTWO RIVERSON AN ORDINARYSUNDAYSUNDAYSUNDAY

JONBRUNCH5.

I sink into a soft leather seat. Michael guns twelve fuel-injected Bavarian-engineered market-research-funded cylindersacross Houston Street.

His new Beamer ... is fucking awesome. The stereo. Thesleekness...

MICHAELCheck out the seat.

The seat? ...the seat is HEATED.

MICHAELAnd you can adjust it.

This is a car that allows you to adjust the temperature of yourass.

Michael picked me up from the diner so we can check out his newapartment. We Zhhhooooom -- Past the inhabitants of SOHO, wearingblack, black, black, black...

Past the East Village kids with purple pink green blue spike-buzzcuts, jutting through deconstructed SILENCE = DEATH t-shirts...

Past the Windex, the squeegies, the outstretched palms, theBowery Night Train philosophers.. How can I possibly leave thisbehind?

In a flash, we're rolling into a circular driveway with a marblefountain in the center.

He tosses the keys to the parking attendant, as we breeze in,through the smoked glass revolving doors. Stainless steelkitchen. Polyurethened wood floors. View of the 59th streetbridge. It's still being remodeled.

MICHAELRemodeled!

But my God...

MICHAELJon, welcome to Victory Towers.

[#5] NO MORE

NO MORE WALKING UP SIX FLIGHTS OF STAIRSOR THROWING DOWN THE KEY BECAUSE THERE IS NO BUZZER.

NO MORE WALKING THIRTEEN BLOCKS WITH THIRTY POUNDSOF LAUNDRY IN THE FUCKING DEAD OF WINTER

NO MORE FAULTY WIRINGNO MORE PAINTED FLOORS

NO MORE SPITTING OUT MY ULTRA BRITEON TOP OF DIRTY DISHES IN THE ONE AND ONLY SINK

HELLO TO MY WALK-IN CLOSETSTIDY AS PARK AVENUEHELLO MY BUTCHER BLOCK TABLE

I COULD GET USED I COULD GET USED

Hello?

MICHAELI COULD GET USED TO YOU

NO MORE

CLIMBING OVER SLEEPING PEOPLEBEFORE YOU GET OUT THE DOOR OF YOUR OWN BUILDING

BOTHNO MORE

MICHAELNOXIOUS FUMES FROM GAS HEATERS THAT ARE ILLEGAL

JONOR WILL BLOW UP WHILE YOU ARE SLEEPING

MICHAELNO MORE

JONLEAKY CEILINGS

MICHAELNO MORE

JONHOLES IN THE FLOOR

BOTHNO MORE

JONTAKING A SHOWER IN THE KITCHEN

BOTH

WHILE YOUR ROOMATE'S EATING BREAKFAST AND YOU'REGETTING WATER ON HIS CORNFLAKES

HELLO TO SHINY NEW PARQUET WOOD FLOORSAS WAXED AS A WEALTHY GIRL'S LEGSHELLO DEAR MR. DISHWASHER

MICHAEL / (JON)I COULD GET USED (I COULD GET USED)I COULD GET USED (I COULD GET USED)I COULD GET USED TO YOU (TO YOU)

BOTHNO MORE

JONEXOTIC

BOTHNO MORE

MICHAELNEUROTIC

BOTHNO MORE ANYTHING BUT PLEASANTLY ROBOTIC

MICHAEL / (JON)WE'RE MOVIN ON UP (WE'RE MOVIN' ON UP)TO THE EAST SIDE (TO THE EAST SIDE)

BOTHTO A DELUXE APARTMENTIN THE SKY

(DANCE BREAK)

HELLO TO DEAR MR. DOORMANWHO LOOKS LIKE CAPTAIN KANGAROOHELLO, DEAR FELLOW AND HOW DO YOU DO?

MICHAEL / (JON)I COULD GET USED (I COULD GET USED)EVEN SEDUCED (EVEN SEDUCED)

BOTHI COULD GET USED TO YOU!

6.

MICHAELWhat do you think?

Back home in Soho, Michael is trying on one of three new Guccibelts he's just bought.

MICHAELWell?

I don't know, Mike. I haven't owned three belts over the courseof my entire life.

MICHAELTry it. It's a good feeling.

I feel relaxed, just hanging out with Mike on a Sunday night.

Mike and I met at Camp Shawanga, eight years old. During thefirst week, Mike was thick with Dion Cappporimo, the kid who setfires in the outhouse and bombed the girls with M-80s. I hungwith Jim Shanahan, volleyball team captain and every counselor'sfavorite camper. By week two, Mike and I had dumped our old newbest friends and found each other. We ended up at the same highschool, acting in shows together, best friends through it all.

MICHAELHow's Susan?

OK.

MICHAELJust OK?

She wants us to move to Cape Cod.

MICHAELI am so sorry.

No, maybe I should really think about it.

MICHAELYou're not a Cape Cod guy. Listen. I'vegot a better idea. I want you to

come to the office tomorrow.

Oh no.

MICHAELThey're doing a brainstorming sessionfor a new product. Real creativestuff. You'd be perfect for it. I toldthem all about you. Please? Justcome in, no commitment, I promise. Justget your feet wet?

Oh what the hell.

Sure, I'll do it.

MICHAELExcellent. You won't be sorry. I'mgonna go pack.

You going away again?

MICHAELTomorrow night. Meeting in Atlanta.Departing Newark 6 PM. Drive me?

Sure. Is David busy?

MICHAELI can't ask David right now.

Why not?

MICHAELIt's ... complicated. We...

[The phone.]

Whoops. Sorry Mike. Hello?

DAD [Michael]HEEllo.

Hi Dad. (My weekly call from White Plains.)

DADHow's it feel to be an old man?

I'm not thirty yet, Dad.

DADMake good dough at brunch?

Not bad.

DADYour sister just got a $40,000 bonusfrom the law firm. And of course youheard the news about Chuck.

(My brother in law.)

DADSold another screenplay! The one he'sbeen working on for a month.

Arrrgggh.

DADIsn't that marvelous?

[call-waiting beep] Hold on Dad. I'm getting another call.

ROSA [Susan]Jonathan? It's Rosa.

Rosa? My God, it's Rosa Stevens, my agent! That bitch. She hasn'treturned my calls for months. Why is she calling now, on a Sundaynight? Is she cutting me loose?

ROSAAre you excited?

What?

ROSAAre you excited about your workshop nextweek?

She remembered the workshop!

ROSAI made a few calls, we ought to havesome interesting people there for you to

meet.

She made a few calls!

ROSAI just wanted to say Good luck, honey.See you soon.

Good luck! Interesting People! Rosa, what an angel, she's asweetheart, I love that woman, she -- Whoops. Sorry, Dad.

DADNo problem. That's all the news anyway.Talk to you soon.

Dad signs off the conversation, as always, with the old Bob andRay line:

DADWrite if you get work.

And I reply, as always, with °∞Hang by your thumbs.°±

MOM [Susan]Oh, and Jonnie?

My mother has been on the line the entire time.

MOMYou know you can always move in with usfor a while, [DAD grunts] if you needto. [DAD grunts]

Thanks Ma.

For the first time in months I think I might not need to.

I'm just sitting down to do some writing when...

[phone ring]

SUSANJon?

Susan. Hey.

SUSAN

Hey.

You want to come over?

SUSANI guess I was hoping you'd come up here.

Susan lives in an illegal sublet on the 96th and York.

It's pretty late.

SUSANCome over. We'll watch HBO.

She has pirated cable.

I'm supposed to go in to Michael's office tomorrow.

SUSANSleep here, you'll be closer in themorning anyway.(beat)Jon. Are you weighing whether the tripup here is worth the cable TV?

No!

SUSANYou are, aren't you.

Of course not.

SUSANI mean, I would be in the apartment too.

And I'd be here. It's just as easy for you to come down to SoHo.

SUSANBut it's late and it's New York andyou're a guy, and I'm already inpajamas.

Suze, it's two subways and a bus.

SUSANTake a cab.

I can't afford cabs.

SUSANWell, God, forget it if it's that muchtrouble.

No, it's, I just, I was planning on doing some work tonight.

SUSANYou're going to write the great Americanmusical in the next six hours?

Hey, stop it. It's not that often I really feel like working. Icould use some encouragement. I'm not trying to avoid a commute.

SUSANThat's not what I'm saying.

That's what you're inferring.

SUSANNo, you mean that's what I'm implying.And I'm not implying it, you inferredit.

Wait, what?

SUSANI can't believe we're fighting aboutthis. If we're going to argue let'sargue about something important. Let'sargue about moving up to New England,not about who's going to take the subway--

Hold it, we're on New England now?

SUSANShould we not be?

Why should we be?

SUSANAre you saying we can't talk?

Are you saying we're NOT talking?

SUSANWhat are you saying?

What are YOU saying? I'm saying --

[#6] THERAPY

I FEEL BAD THATYOU FEEL BAD ABOUTME FEELING BAD ABOUTYOU FEELING BAD ABOUTWHAT I SAID ABOUTWHAT YOU SAID ABOUTME NOT BEING ABLE TO SHARE A FEELING

SUSANIF I THOUGHT THATWHAT YOU THOUGHT WAS THATI HADN'T THOUGHT ABOUTSHARING MY THOUGHTS THENMY REACTION TOYOUR REACTION TOMY REACTIONWOULD'VE BEEN MORE REVEALING

JONI WAS AFRAID THATYOU'D BE AFRAIDIF I TOLD YOUTHAT I WAS AFRAID OF INTIMACY

IF YOU DON'T HAVE A PROBLEMWITH MY PROBLEMMAYBE THE PROBLEM'SSIMPLY CODEPENDENCY

SUSANYES, I KNOW THATNOW YOU KNOW THATI DIDN'T KNOW THATYOU DIDN'T KNOW THAT WHENI SAID "NO" I MEANT"YES, I KNOW" AND THATNOW I KNOW THAT YOUKNEW THAT I KNEW YOU ADORED ME

JONI WAS WRONG TO

SUSANSAY YOU WERE WRONG TO

JONSAY I WAS WRONG ABOUT

SUSANYOU BEING WRONG

JONWHEN YOU RANG TO SAY THAT

SUSANTHE RING WAS THE WRONG THING TO BRING

JONIF I MEANT WHAT I SAIDWHEN I SAID "RINGS BORED ME"

BOTHI'M NOT MAD THATYOU GOT MAD WHENI GOT MAD WHEN YOUSAID I SHOULD GO DROP DEAD

JONIF I WERE YOU AND I'DDONE WHAT I'D DONE I'DDO WHAT YOU DID WHEN IGAVE YOU THE RING HAVINGSAID WHAT I SAID

JON SUSANI FEEL BAD THAT IYOU FEEL BAD ABOUT FEELME FEELING BAD ABOUT BADLYYOU FEELING BAD ABOUT ABOUT YOUWHAT I SAID ABOUT FEELING BADLYWHAT YOU SAID ABOUT ABOUT MEME NOT BEING ABLE TO FEELING BADLYSHARE A FEELING ABOUT YOU

I IF I THOUGHT THATTHOUGHT WHAT YOU THOUGHT WAS THAT

YOU I HADN'T THOUGHT ABOUTTHOUGHT SHARING MY THOUGHTS THENI REACTED MY REACTION TOSHALLOWLY YOUR REACTION TOWHEN MY REACTIONI REACTED WOULD'VE BEENTO YOU MORE REVEALING

I'M NOT MAD I'M NOT MAD THATYOU GOT MAD WHENYOU GOT MAD I GOT MAD WHEN YOUSAID I SHOULDGO DROP DEAD GO DROP DEAD

IF I WERE YOU AND I'D IF I WERE YOUDONE WHAT I'D DONE I'DDO WHAT YOU DID WHEN I BUT I'M NOT YOUGAVE YOU THE RING HAVINGSAID WHAT I SAID! SAID WHAT YOU SAID

JONBUT NOW IT'S OUT IN THE OPEN

SUSANNOW IT'S OFF OUR CHEST

BOTHNOW IT'S FOUR A.M.AND WE HAVE THERAPY TOMORROW,IT'S TOO LATE TO SCREWSO LET'S JUST GET SOME REST.7.

Monday morning. The walk to Michael's office takes me throughTimes Square. The Theater District. Jesus look at these theaters.Every show's from London and every ticket costs a jaw-droppingfifty bucks. I guess that's what they want -- the tourists, thesnoring businessmen, the busloads of sweet old ladies fromConnecticut with their 90-decibel cellophane-wrapped hard candies-- I want no part of it.

But let's face it: Broadway is still the place. This is Parnassusfor the musical theater world and for years I've been hiking inthe foothills. Presenting songs in countless workshops, cuttingdemo tapes, scrounging for grants...

Once, at a seminar, on a day I will never forget, I got to havemy work picked apart -- and praised, a little -- by my idol, acomposer-lyricist so legendary his name may not be uttered aloudby me, St---- S-------.

But I write musicals with rock music. A contradiction in terms.Broadway's about 60 years behind anything you hear on the radio.You can't put rock onstage real rock, not warmed-over easy-listening pop, not plastic imitation 50s bubblegum.Nevertheless, that's what I'm trying to do with Superbia.

Could my show end up here? Is it good enough for Broadway, thatmagical street of dreams? Is it too good for Broadway, thatshameless commercial whore? It's that raging mix of envy andcontempt that's so ... healthy.8.

Mike's office. Wow. Big cold lobby. Corporate America! Hundredsof people and they all look busy. Grey flannel execs:

EXEC [Michael]Tell the West Coast we need to liaisewith corporate...

Peacock-faced secretaries:

SECRETARY [Susan]I'm sorry, he's in a meeting and can'tpossibly be reached.

Temps in wrinkled khakis.

TEMP [Michael]Uh, I think the fax machine is jammed.

And my favorite -- the perfect women -- the hard driving, high-cheeked power haircut girls who cruise the Avenues like sleek,silver bullets.

JUDY [Susan]Jonathan? Hi! Judy Wright. Michael'stold me all about you. Come with me,I'll be leading the session. Helpyourself to coffee...

Tick...tick...tick...

JUDYWe are so glad you've come in! We love"creative" people. It's what we're allabout!

BOOM! BOOM! BOOM!

Conference room. Faux wood grain table. Aqua naugahyde chairs.

JUDYEverybody, this is Jonathan.

[The MARKET RESEARCH GUY (Michael)introduces himself to Jon by saying hisname.]

JUDYHe's going to help us out today. Hewrites musicals. You know, like AndrewLloyd Weber.(JON reacts)Okay, let's get started! Today we'reembarking on a major endeavor. We'redeveloping a name for a breakthrough newproduct. A chemical to be used incooking as a fat replacement! It'stasteless, has no calories, no fat, nocholesterol. In fact, it can't beabsorbed into your digestive tract. Thisis going to give Americans a whole newkind of freedom in the way they live andsnack, and we need a name that willcapture all of the --[Jon's hand is up]-- Yes?

How about "Nutrafat"?

JUDY (beat)Jon, At this point in time we're reallyjust idea-generating, OK? We'rebrainstorming, free-associating ... It'sa creative-process-unlocking session.We're not at the naming phase yet. Okay:concepts, people?

ALL(slow, then faster:)STEPHEN [keyboard]: Health.

M.R. GUY: Goodness.

KONRAD [bass}: Freedom.

MATT [guitar]: Dawn.

STEPHEN: New Dawn.

JUDY: Hello! (beat) Free-Dawn.

STEPHEN: (aside) She's good.

(Everyone's looking at Jon.)

JON: (hesitantly) Hope.

M.R. GUY: Hm?

JON: Hope.

M.R. GUY: Dignity.

CLAYTON [drums]: Freedom.

KONRAD: I said that already. America.

MATT: Destiny.

STEPHEN: Manifest Destiny.

JUDY: Inalienable rights.

JON: The right to be skinny

M.R. GUY: (angrily, to Jon) The bill ofrights.

JON: (cowed)What is your problem?

CLAYTON: The Founding Fathers.

KONRAD: The Pilgrims.

MATT: The first Thanksgiving.

STEPHEN: Family.

JUDY: Love.

M.R. GUY: Sex.

CLAYTON: Pleasure.

KONRAD: Desire.

MATT: Lust.

STEPHEN: Urge.

JUDY: Hot.

M.R. GUY: Touch me.

CLAYTON: Yes.

KONRAD: There.

MATT: Touch me again.

STEPHEN: Wow!

JUDY: Yummy!

Where is this going?

JUDYOkay, terrific! Now I want to move tophase two, turning these generalconcepts into specific "idea-avenues"that will create a context for a processthat will facilitate the development ofa model that will...[Jon's hand is up. She sighs] Yes, Jon.

I've got it.

JUDYYou've got what?

I've got the name for the stuff.

JUDYJon, that's not where we're...(gives up)Oh all right, what is it?

"Chubstitute."

[Beat.]

Rather than call security, Judy allows me to leave the buildingunder my own power.9. [The Beamer. Jon and Michael. Jon driving.]

So much for my Market Research career.

MICHAELDamn, Jon, I'm gonna hear about this.

They told me to be creative. I was creative

MICHAELBullshit. You didn't even try.

Hey, I tried.

MICHAELChubstitute?

Come on. How can you take that stuff seriously?

MICHAELBecause they pay me to. Get over inthat lane.

What airline are you?

MICHAELDelta.

I see it.

MICHAELThis wasn't a joke, you know. I reallyhad to push for you.

I didn't belong there, Mike.

MICHAELMaybe not. But ... Jon, for me this isit. It's not some show I can rewrite,or throw away if it's not working. It'sreal life.

[Beat.]

Don't you ever miss acting?

MICHAELI don't miss starving.

But you were really good.

MICHAELNot good enough. Right here is fine.

[Beat.]

Mike. You all right?

MICHAELYeah.

You sure? You haven't had more than a couple of days at home forweeks.

MICHAELThey get me the best hotels. I'm notcomplaining.

I know. But you've really been going all-out lately.

MICHAELI like it. Keeps me distracted

From what?

[Beat.]

MICHAELNothing(beat)

I just Sometimes I wonder. The lifeyou said Susan wants. It doesn't soundso bad. Some peace, you know? Love. Afamily... If the chance for those thingsis there maybe you should grab it.

Yeah?

MICHAEL(beat)Sometimes I wish I could.

[#8] REAL LIFE

SUNLIGHTTHROUGH THE WINDOWACROSS FROM YOUR BEDBEAUTY IS STILLCAN YOU SEE IT?WHAT MORE CAN YOU WANT?

IS THIS REAL LIFE?IS THIS REAL LIFE?

HEARTBEATSOF YOUR CHILDRENASLEEP IN THE NEXT ROOMTRUST SO STILLCAN YOU HEAR IT?WHAT MORE CAN YOU WANT?

MICHAEL / (JON)IS THIS REAL LIFE? (REAL LIFE)IS THIS REAL LIFE? (IS THIS REAL, IS THIS REAL LIFE?)

MICHAELWHY DO WE SEEK OUT ECSTASY

MICHAEL & JONIN ALL THE WRONG PLACESWHY IS IT HARD TO SEETHAT HEAVEN CAN HAVE SIMPLER FACES

MICHAELWARM BREATHOF AN ANGEL

MICHAEL & SUSANAWAKE, NEXT TO YOULOVE'S SO STILLCAN YOU FEEL IT?WHAT MORE DO YOU WANT?

MICHAEL / (JON & SUSAN)IS THIS REAL LIFE? (REAL LIFE)IS THIS REAL LIFE? (IS THIS REAL, IS THIS REAL LIFE?)IS THIS REAL LIFE? (REAL LIFE)IS THIS REAL LIFE? (IS THISREAL, IS THIS REAL, ISTHIS?)

MICHAELIS THIS REAL LIFE?

I gotta go.

Have a safe trip, okay?

MICHAELI'll see you in a couple of days. Don'twreck the car.

Tick...tick...tick.10.

It takes me one and a half hours to get back to Manhattan andpark the Beemer. I've got to go straight to a Superbiarehearsal. We're just running through the musical numbers inpreparation for the workshop.

I need something fast. All that driving. All that talk about fatsubstitutes. On 9th Avenue I duck into a nondescript storefront.Only one thing can cure me now.

[#9] SUGAR

SHE CAN BE WHITE,SHE CAN BE BROWN.SHE'S ALWAYS EASYGOIN' DOWN GOIN' DOWN

SHE DON'T CARE WHAT I LOOK LIKEHOW I DRESS.NEVER SAYS °∞NO.°±ALWAYS SAYS °∞YES.°±

OH OH OH SUGAR,SHE'S REFINED.FOR A SMALL PRICESHE BLOWS MY MIND.

SUGAR SHE'S GOT THE POWERSOOTHES MY SOUL FOR HALF AN HOUR,HALF AN HOUR HALF AN HOUR HALF AN HOUR

I grew up on Tony the Tiger and Captain Crunch, but unlike otherBoomer Juniors haven't progressed to more socially acceptedfixes, like Ben and Jerry's. I go for the original high-powerednumb-busting goodness of the Hostess Twinkie Snack Cake.

The only problem is, it's humiliating to buy a Twinkie. I walk upto the counter feeling like I'm 17 and buying condoms for thefirst time.

COUNTER GUY [Michael]Yeah?

Hi, yeah, I'll just take these, uh, double-A batteries, and apack of the Bic pens, and uh, a Wall Street Journal, and aMademoiselle...

COUNTER GUYAnd four packages of Twinkies.

Right.

KARESSA [Susan]Jon?

Oh My God.

KARESSAJon, hi!

It's Karessa Johnson! She's in the show. She's incredibly hot.That's not why I cast her, that would be wrong, she is talentedand she's got a great voice, but let's face it, I've fantasizedabout her more than once and now here she is in line behind me

and she's buying an Evian water and a package of rice cakes.

KARESSAHow's it going?

Great! You?

KARESSAGreat! I am so excited about the show,it is going to be so good, you are sogifted, I've been telling everyone...

Really?

KARESSAIt has been so great working with you, Ijust think it's so incredible, you're soyoung but you're such a mature talent --

COUNTER GUYYou want me to bag these or you want toeat them here?

Bag, please.

KARESSAWhat are those?

Nothing. They're snack cakes. They're not unlike rice cakes, onlycylindrical and injected with cream.

KARESSATwinkies! Oh my God. I love them!

You do?

KARESSASHE'S MY HONEYSHE'S MY TARTI'M HER CREAMPUFFSHE'S MY SWEETHEART

JONKNOCKS ME OUT,STRIPS ME BARE,

ALL

SUGAR - SUGAR - SUGAR

JONI WON'T CARE.

COUNTER GUYLATE AT NIGHT

COUNTER GUY & KARESSAWHEN I'M SAD AND LONELY

ALLONE THING ONLYCURES MY BLUES.

JON & COUNTER GUYSTRESSED OUT

KARESSABURNED OUT

ALLHANGIN' BY A STRING,SUGAR SUGAR SUGAR,I WON'T FEEL A THING

SUGAR SO SWEET

JON / (KARESSA & COUNTER GUY)ONLY THING I KNOW ISTHAT SHE MAKES MYLIFE SUCH A MESS (OH YES)

SUGAR OH YEAH (SUGAR SUGAR OH YEAH)SUGAR OH YEAH (SUGAR SUGAR)

ALLSUGAR OH YEAHSUGAR OH YEAHS U G A R11.

Rehearsal goes well. I think we're going to be ready for theperformance on Thursday. I'm so excited I can barely sit still.

Maybe this is it. Maybe I really have written the show that will

reinvent musicals for our generation -- the Hair of the 90s --the cultural lightening rod that will energize the 20-somethinggeneration, we "slackers," raised on the Brady Bunch andReaganomics, armed with nothing but Credit Cards, VCRs andInterview Magazine, blowing like tumbleweeds through the 90s,fighting off the savage arrows of apathy, illiteracy, innumeracy,exploding Visa bills, eating disorders, sexually transmitteddiseases, political correctness....

KARESSAOh my God, that is all so true!

Karessa's actually listening to my wired babbling. She walked mehome. She's really nice.

When I get upstairs Susan's waiting for me.

SUSANWho were you walking home with?

What?

SUSANI saw you from the window.

She's in Superbia. We were discussing the show.

SUSANYou kissed her.

On the cheek. She's in the show! It's a cast thing.

SUSANLook, I don't care about that. I...

Susan's holding a Medium Brown Bag. She's packing. I see asweater, some underwear, her extra contact lens stuff. Her"things."

What's going on?

SUSANI got a job.

That's great!

SUSAN

Teaching. Real dancers this time. Witha company in Northampton. I'll be gone acouple of weeks.

Well, if it's just a couple of weeks...

SUSANOr a month. And ... it might lead tosomething else up there.

Something else ... permanently?

SUSANMaybe. Jon, don't look so surprised.It's not like we're getting anywhere.

What do you mean?

SUSANI can feel us slipping apart.

Look, I know you'd like to leave New York. I know you want tomake a change. So do I. And after my birthday, after the workshop--

SUSANI wish everything didn't depend on whathappens at the workshop. What if itdoesn't go exactly the way you want?What if you turn 30 and nothing'schanged? I'm worried you're settingyourself up for a big disappointment.

Maybe you're right. Maybe you're right. I don't know...

SUSANI don't want to be disappointed either.It's not --

[#10] SEE HER SMILE

JONIT'S NOT YOU, SHE SAYSIT'S JUST THAT LIFE'S SO HARDWE ALL GET BLUE, I SAYHANG ON TIGHT - I'LL BE YOUR BODYGUARD

SOMETHING'S BREAKING MY BABY'S HEARTSOMETHING'S BREAKING MY BABY'S HEARTSOMETHING'S BREAKING MY BABY'S HEARTOH - I JUST WANT TO SEE HER SMILE

IT'S SUCH A DRAG, SHE SAYSWHEN THE WORLD'S SO MEANIT'S JUST A RED FLAG - I SAYGOTTA LOOK FOR THE GREEN

OH OH OHSOMETHING'S BREAKING MY BABY'S HEARTSOMETHING'S BREAKING MY BABY'S HEARTSOMETHING'S BREAKING MY BABY'S HEART

JON & MICHAELOH

JONI JUST WANT TO SEE HER SMILE

SUSANI'm not leaving till next week. I'll seeyou at your party, OK?

Hold on. Look, we're both tired. I've been impossible. I'm sorry.I've been hysterical...

SUSANIt's not just you. I know I've beendemanding...

Stay here? We don't to solve everything tonight. We'll order somedinner, go to bed early, just be together. Okay?

SUSANNo. I want to go home.

Stay. It's late. It's a long way. Two subways and a bus...

SUSANI'll take a cab.

JONCYNICAL TOWNCAN BE TOUGH ON AN ANGEL

JON & MICHAELCLIP HER WINGS, BABY,ONE TWO THREE

JONI'M HER CLOWN CAUSE

JON & MICHAELA LAUGHING ANGEL'SRICHER THAN KINGS,

JONOH BABY - DON'T YOU SEE?BABY DON'T YOU AGREE?

WISH I KNEW WHY, SHE SAYSBUT ON A SUNNY DAY I FIND THE RAINLET'S GIVE IT A TRY, I SAYWE CAN DANCE RIGHT THROUGH THE PAIN

JON / (MICHAEL & SUSAN)SOMETHING'S BREAKING MY BABY'S HEART (OO IS THISREAL LIFE?)SOMETHING'S BREAKING MY BABY'S HEART (IS THIS REAL,IS THIS)SOMETHING'S BREAKING MY BABY'S HEART (REAL LIFE?)

ALLOH OH OH OH OH

JONI JUST WANT TO SEE HER SMILE

JUST WANT TO SEE HER SMILEJUST WANT TO SEE HER SMILEJUST WANT TO SEE HERJUST WANT TO SEE HER°¶

SUSANDon't worry about the workshop. I knowit will be wonderful.

Hey, Susan, don't go. Look, I'm sorry --

°¶SMILE.

She's gone.

12.

The workshop. The show's about to start. The room is totallyempty. The show's about to start and I'm staring at sixty emptyfolding chairs. No one's here. NO ONE HAS FUCKING SHOWED UP! NotSusan, not Michael, not even Rosa fucking Stevens!

KARESSAJon.

Karessa! Hey!,

KARESSAHey, boy genius.

Where the fuck is everyone?

KARESSAWe don't start for over an hour, Jon.The house isn't open yet. Relax.

She kisses me.

KARESSAIt's going to be great.

The next fifty-five minutes are a blur.

Michael comes in first.

MICHAELHey, buddy.

Mike! Thank God.

MICHAELWhere should I sit?

Anywhere. Thank you so much for coming.

MICHAELAre you kidding? Wild horses, Jon.

There's an elegant older lady with a cigarette holder. She looks

familiar.

ROSAHello, darling.

Rosa Stevens! It's been so long since I've actually had personalcontact with my agent I didn't recognize her.

ROSAIt's going to go marvelously, don't youworry.

To my surprise, she hugs me.

ROSAYou're perspiring a bit heavily, dear.Before they start you might want to goand towel off.

She glides away, I wipe my face...

DADHellllloo.

Hi, Dad.

DADPretty good crowd.

Not bad, right?

DADAre they paying?

Not technically, no.

DADNext time. I'm proud of you. Write ifyou get work.

Hang by your thumbs.

Suddenly the room is full of friends and the Interesting PeopleRosa promised, and the band is tuning up, and just before thelights go down there is a stir and a latecomer darts for his seat-- Is it? It's -- YES! IT'S HIM!! He's HERE!! My guru of theMusical Theater, the most Interesting Person of all. St----- S---

----.

And my fear... My Fear gathers itself into a ball in my stomachand rises, pulsing, into my throat; it moves on into my skull,where it takes up residence, hissing and shuddering ...and then,miraculously, it keeps going: floating, up, higher, out of myhead entirely, dissolving into the air as it leaves my body --and what remains behind is pure excitement and hope.

Hi, I'm Jon. Thanks for coming. Today you're gonna see a newmusical called SUPERBIA ... written by me ... Thank you...I don'treally have anything to say except Thanks for coming, and Ialready said that...so now I'd better just get the hell off sothese people can do their work. Enjoy the show...

[The band plays part of the Superbia overture]

And after that it's a blur again...

At least until Karessa begins her solo.

[#11] COME TO YOUR SENSES

KARESSAYOU'RE ON THE AIR.I'M UNDERGROUND.SIGNAL'S FADING,CAN'T BE FOUND.

I FINALLY OPEN UP.FOR YOU I WOULD DO ANYTHING,BUT YOU'VE TURNED OFF THE VOLUMEJUST WHEN I'VE BEGUN TO SING

COME TO YOUR SENSES,DEFENSES ARE NOT THE WAY TO GOAND YOU KNOWOR AT LEAST YOU KNEW

EVERYTHING'S STRANGE,YOU'VE CHANGED AND I DON'T KNOW WHAT TO DOTO GET THROUGH.I DON'T KNOW WHAT TO DO.

I HAVE TO LAUGH.WE SURE PUT ON A SHOW.

LOVE IS PASSE IN THIS DAY AND AGE.HOW CAN WE EXPECT IT TO GROW?

YOU AS THE KNIGHT.ME AS THE QUEEN.ALL I'VE GOT TONIGHTIS STATIC ON A SCREEN.

COME TO YOUR SENSES,THE FENCES INSIDE ARE NOT FOR REALIF WE FEEL AS WE DID AND I DO

CAN'T YOU RECALLWHEN THIS ALL BEGAN,IT WAS ONLY YOU AND ME,IT WAS ONLY ME AND YOU.

BUT NOW THE AIR IS FILLED WITH CONFUSION.WE'VE REPLACED CARE WITH ILLUSION.

IT'S COOL TO BE COLD.NOTHING LASTS ANYMORE.LOVE BECOMES DISPOSABLETHIS IS THE SHAPE OF THINGSWE CANNOT IGNORE

COME TO YOUR SENSES,SUSPENSE IS FINEIF YOU'RE JUST AN EMPTY IMAGEEMANATING OUT OF A SCREEN.

BABY, BE REAL,YOU CAN FEEL AGAIN,YOU DON'T NEED A MUSIC BOX MELODYTO KNOW WHAT I MEAN.

DEEP IN MY EYES,WHAT DO YOU SEE?DEEP IN MY SIGHS,LISTEN TO ME.

LET THE MUSIC COMMENCE FROM INSIDE.NOT ONLY ONE SENSE, BUT USE ALL FIVE.

COME TO YOUR SENSES.COME TO YOUR SENSES.COME TO YOUR SENSES.

BABY, COME BACK ALIVE.13.

ROSA [Michael]Jon? It's Rosa calling. I just wanted tosay Congratulations.

Rosa! Thank you so much for calling.

ROSAWell, you left eleven messages thismorning, dear.

Oh, right.

ROSAI think you should be very proud.Everything went beautifully.

Really? Thanks! The cast was good, I think, and the audienceseemed into it -- did you see St----- S-------?

ROSAStevie? Oh yes, I wanted to chat but hemust have snuck out early. But everyonehad fun. Congratulations, honey. We'lltalk soon.

Rosa uh wait -- Do you think...what do you think will happen? Imean does anyone want to move it to the next step, or...I mean,the Interesting People, did anybody say anything?

ROSAWell, Jon, I think everyone was just sointrigued by your talent, and they can'twait to see what happens next.

What happens next.

ROSAYes, be sure to keep me up to date onwhat you're working on.

Nothing? No nibbles? Nothing?

ROSA

Honey, we always knew it's a littlequirky for Broadway, and the cast isawfully big for Off-, and the futuristicthing means sets are expensive andmusical theater is Newark Airport andyou're snowed in at Buffalo -- and now,having plucked out your heart and eatenit like a piece of ripe fruit I'll leaveyou to sweep up the fragments of yourshattered dreams, bye bye honey! Happybirthday!

I get three other calls from friends in the business and they'reall like that.14.

MICHAELJon?

I go to Michael's office.

[Beat.]

I can't do this Mike.

MICHAELUh?

The theater, the music. I gave it my shot. I think I've given itan honest try, with all the talent and effort I've got. And ithasn't worked. I'm not sorry I tried. I'm proud of it, but nowit's time to take hard look at my situation and not beegotistical, not delude myself, just admit it's time to move on.I've been stuck. Everyone else, you and Susan, have kept moving.I'm the only one still here banging my head against the wall. Myhead hurts. I'm going to stop for awhile. The thing is, I canalways come back to it, if I want, when I'm older, when I'msmarter, when I've figured out a little more clearly what it is Iwant to do. [Beat.] I feel better. Just hearing myself say it, Ialready feel better.

[Beat.]

MICHAELYou're right. I think your heart istelling you something, and I think what

you're saying takes courage. I think ittakes courage to let all that stuff go.I'm proud of you.

You are?

MICHAELNo, of course not, you fucking idiot.What is the matter with you?

I can't keep doing this! The show --

MICHAELListen, Jon, the show was very good. Youshould be proud of it. Everyone lovedit.

My friends loved it.

MICHAELWhat's wrong with that?

No one wants to produce it.

MICHAELIt's a workshop. You'll keep working,keep developing it. Or you'll startsomething else.

Spend another five years on a show that doesn't go anywhere? Iswear to God I'll explode. By then I'll be thirty-five --

MICHAEL35, 30, who cares? It's meaningless!Focus on something important! Do yourwork!

That's easy for you to say! You've got a job, an apartment, afucking BMW.

MICHAELHold on. We both made choices.

I don't want to sell out.

MICHAELYou mean like me.

You said it, I didn't.

MICHAELIf it's the car and apartment that'sbothering you, I'm sorry. Why shouldn'tI enjoy those things while I have thechance?

That's not what I'm --

MICHAELJon. Listen to me. All of this -- Thisis just your fear talking. You have totake control of it. You have to thankyour brain for sharing that fear, thenignore it and go on. Fear is likeNewark Airport --

SCREW NEWARK AIRPORT! WHAT THE HELL DO YOU KNOW ABOUT FEAR? WHATDO YOU KNOW ABOUT ANYTHING?

MICHAELI know I'm sick, Jon, and I'm not goingto get any better.

[beat]

When did you ... How long have ...?

MICHAELTwo weeks. I wanted to tell you earlier,but I couldn't.(beat)Look, if you don't mind, it's the middleof the day, and I have a lot of work todo. Close the door when you go, okay?

15.

In the elevator I think of sleep-away camp. How Michael bribedJim Shanahan with M&Ms to switch bunks, so we could whisper inthe night.

I remember being teenagers, when our families rented houses inHyannis and we'd walk down the beach, hop the fence and swim for

hours together up and down the shore.

I think of our first summer back from college, when we reunitedfor a joint on the Kennedy Breakwater, and Mike told me he wasgay.

The sun is fighting off the January clouds as it sinks behind thepark. I run from 53rd and Fifth to East Drive, past the Zoo, theDairy. A pay phone! I jam in a quarter, dial Mike -- his machinepicks up -- I try again -- same thing goddamn it! -- slam thephone down and keep running. I'm running. Past the Skaters, pastthe Carousel, the statue of Shakespeare.

The Sheep Meadow is empty. I hop the fence and run to the middleof the field. Rain begins falling and I spin myself in circlesand stagger around like a wino.

The TICK BOOM, TICK BOOM is so loud I can't hear the rain on thegrass. I can't hear the wind.

I'm about to scream when I realize I'm not alone. Watching mefrom the hill in front of me are hundreds of seagulls. I sprintright into them, waving my arms like a castaway on a desertisland spotting a rescue plane.

They fly up into the air en masse, only to land across themeadow, on another hill. I talk to them. MY FRIEND IS DYING. I'MLOST. I'M AFRAID.

I run past the fountain, the waterfall, up through the woods, tothe top of the Belvedere Castle. I look down into the emptyDelacourt Theater.

I see an old rehearsal piano, sitting out under a tarp, below thetrees. I climb down, hop another Fence, and pull off the tarp.

[#12] WHY

WHEN I WAS NINEMICHAEL AND IENTERED A TALENT SHOWDOWN AT THE Y

NINE A.M., WENT TO REHEARSEBY SOME STAIRSMIKE COULDN'T SING

BUT I SAID, "NO ONE CARES"

WE SANG, "YELLOW BIRD"AND "LET'S GO FLY A KITE"OVER AND OVER AND OVERTIL WE GOT IT RIGHT

WHEN WE EMERGEDFROM THE YMCATHREE O'CLOCK SUNHAD MADE THE GRASS HAY

I THOUGHTHEY - WHAT A WAY TO SPEND THE DAYHEY - WHAT A WAY TO SPEND THE DAYI MAKE A VOW - RIGHT HERE AND NOWI'M GONNA SPEND MY TIME THIS WAY

WHEN I WAS SIXTEENMICHAEL AND IGOT PARTS IN "WEST SIDE"AT WHITE PLAINS HIGH

THREE O'CLOCK, WENT TO REHEARSEIN THE GYMMIKE PLAYED "DOC"- WHO DIDN'T SING- FINE WITH HIM

WE SANG "GOT A ROCKET IN YOUR POCKET"AND "THE JETS ARE GONNA HAVE THEIR DAY - TONIGHT"OVER AND OVER AND OVER'TIL WE GOT IT RIGHT

WHEN WE EMERGED -WIPED OUT BY THE PLAYNINE O'CLOCK STARSAND MOON LIT THE WAY

I THOUGHTHEY - WHAT A WAY TO SPEND THE DAYHEY - WHAT A WAY TO SPEND THE DAYI MADE A VOW - I WONDER NOWAM I CUT OUT TO SPEND MY TIME THIS WAY?

WITH ONLY SO MUCH TIME TO SPENDDON'T WANT TO WASTE THE TIME I'M GIVEN"HAVE IT ALL - PLAY THE GAME" SOME RECOMMEND

I'M AFRAID IT JUST MAY BE TIME TO GIVE IN

I'M TWENTY NINEMICHAEL AND ILIVE ON THE WEST SIDEOF SOHO, N. Y.

NINE A.M.,I WRITE A LYRIC OR TWOMIKE SINGS HIS SONGNOW ON MAD AVENUE

I SING, °∞COME TO YOUR SENSESDEFENSES ARE NOT THE WAY TO GO°±OVER AND OVER AND OVER'TIL I GET IT RIGHT

WHEN I EMERGEFROM B MINOR OR AFIVE O'CLOCK DINER CALLS,"I'M ON MY WAY"

I THINKHEY - WHAT A WAY TO SPEND THE DAYHEY - WHAT A WAY TO SPEND THE DAYI MAKE A VOW - RIGHT HERE AND NOWI'M GONNA SPEND MY TIME THIS WAYI'M GONNA SPEND MY TIME THIS WAY16.

Saturday night. It's my thirtieth birthday. Thirty. 3-0. Hey,it's no big deal. Just three decades. What's 30?

[#13] 30/90 (REPRISE)

DON'T FREAK OUT - DON'T STRIKE OUTCAN'T FIGHT IT LIKE CITY HALLAT LEAST YOU'RE NOT ALONEYOUR FRIENDS ARE THERE TOO --

The apartment is warm and noisy. I realize I don't want to escapeto the roof, or fly to Cuba, or hide in the bathroom. I grab abeer and wade into the crowd.

INTO MY HANDS NOW -- THE BALL IS PASSED

I WANT THE SPOILS -- BUT NOT TOO FASTTHE WORLD IS CALLING -- IT'S NOW OR NEVERLAND

THIRTY NINETY THIRTY NINETYTHIRTY NINETY THIRTY NINETY...

I open gifts. Mostly gag stuff. Three Gumbys, two Silly Puttysand a TV Themes CD.

Susan's here. I don't know what to say. She doesn't either.

When are you leaving?

SUSANTomorrow.

I'll really miss you.

SUSANI'll miss you too.

Will you write?

SUSANI will if you will.

She hands me a large book. I open it. Blank music manuscriptpaper. A thousand sheets.

Thank you.

SUSANHappy birthday, Jon. Don't forget tobreathe.

She disappears into the crowd and suddenly Michael's beside me.He tosses me a box. I open it. Three belts.

Gucci?

MICHAELNot Gucci. You're not a Gucci guy. Butit's life-affirming to own multipleaccessories, and I want you experiencethat.

Thanks, Mike.

MICHAELSure thing. Happy birthday, buddy.

I'm sorry about yesterday. I wish I had known. I don't know whatto say. I'll be there. I promise.

MICHAELI know you will.

[phone ring] I let the machine pick up.

SONDHEIM (V.O.)[beep] Jon? Steve Sondheim. Rosa gave meyour number. Sorry we couldn't talkafter the show, I had to rush out. Justwanted to say Terrific work. Really. I'dlove to get together and talk about it.Give me a call -- and congratulations.You're going to have a great future.[beep]

What do you know?

The dreaded moment arrives. I'm escorted by a gaggle of smilingfaces into the next room. People whisper. The lights are turnedoff.

The darkness is pierced by a blinding glow.

[He blows out the candles on the cake].

They lead me over to the piano to play.

The tick tick booms are softer now. I can barely hear them, and Ithink if I play loud enough I can drown them out completely.

[#14] LOUDER THAN WORDS

WHY DO WE PLAY WITH FIRE?WHY DO WE RUN OUR FINGER THROUGH THE FLAME?WHY DO WE LEAVE OUR HAND ON THE STOVE ALTHOUGH WE KNOW WE'RE IN FOR SOME PAIN?

OH, WHY DO WE REFUSE TO HANG A LIGHTWHEN THE STREETS ARE DANGEROUS?

WHY DOES IT TAKE AN ACCIDENTBEFORE THE TRUTH GETS THROUGH TO US?

CAGES OR WINGS?WHICH DO YOU PREFER?ASK THE BIRDS.

FEAR OR LOVE, BABY?DON'T SAY THE ANSWERACTIONS SPEAK LOUDER THAN WORDS.

MICHAELWHY SHOULD WE TRY TO BE OUR BESTWHEN WE CAN JUST GET BY AND STILL GAIN?WHY DO WE NOD OUR HEADS

MICHAEL & JONALTHOUGH WE KNOW

MICHAELTHE BOSS IS WRONG AS RAIN?

JONWHY SHOULD WE BLAZE A TRAILWHEN THE WELL WORN PATH SEEMS SAFE AND

JON & SUSANSO INVITING?

SUSANHOW AS WE TRAVEL CAN WE

SUSAN & JONSEE THE DISMAY AND KEEP FROM FIGHTING?

JON /(MICHAEL & SUSAN)CAGES OR WINGS? (CAGES OR WINGS)WHICH DO YOU PREFER?ASK THE BIRDS (AH...)

ALLFEAR OR LOVE, BABY?DON'T SAY THE ANSWER

JON /(MICHAEL & SUSAN)ACTIONS SPEAK LOUDER THAN (LOUDER THAN, LOUDER THAN)

WORDS

WHAT DOES IT TAKE-TO WAKE UP A GENERATION?

ALLHOW CAN YOU MAKE SOMEONETAKE OFF AND FLY?

JON /(MICHAEL & SUSAN)IF WE DON'T WAKE UPAND SHAKE UP THE NATIONWE'LL EAT THE DUST OF THE WORLD,WONDERING WHY (WHY)

SUSANWHY DO WE STAY WITH LOVERS

SUSAN & JONWHO WE KNOW, DOWN DEEP

SUSANJUST AREN'T RIGHT?

JONWHY WOULD WE RATHER

ALLPUT OURSELVES THROUGH HELLTHAN SLEEP ALONE AT NIGHT?

JONWHY DO WE FOLLOW LEADERS WHO NEVER LEAD?

MICHAELWHY DOES IT TAKE CATASTROPHE TO START A REVOLUTION

MICHAEL & SUSANIF WE'RE SO FREE, TELL ME WHY?

JONSOMEONE TELL ME WHYSO MANY PEOPLE BLEED?

JON /(MICHAEL & SUSAN)CAGES OR WINGS? (CAGES OR WINGS)WHICH DO YOU PREFER?

ASK THE BIRDS (AH...)

ALLFEAR OR LOVE, BABY?DON'T SAY THE ANSWER

JON /(MICHAEL & SUSAN)ACTIONS SPEAK LOUDER THAN (LOUDER THAN, LOUDER THAN)(LOUDER THAN, LOUDER THAN)

ALL(a cappella)CAGES OR WINGS?WHICH DO YOU PREFER?

JON /(MICHAEL & SUSAN)ASK THE BIRDS (AH...)

ALLFEAR OR LOVE, BABY?DON'T SAY THE ANSWER

JON /(MICHAEL & SUSAN)ACTIONS SPEAK LOUDER THAN (LOUDER THAN, LOUDER THAN,OOH)THEY SPEAK LOUDER (LOUDER THAN, LOUDER THAN WORDS)ACTIONS SPEAK LOUDER THAN...

(The music turns into °∞Happy Birthday°±)

THE END

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