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She exits. MOTHER enters as 
a hippy and stays on the 
edge. FATHER is sweeping. 
SON enters as a policeman. 
This is a more theatrical 
version of the scene it 
emulates from before. They 
are no longer rushed.
 
SON
Miss, there is no loitering here.

MOTHER
Hey man, this is our corner. The taxpayers, man.

SON
I'm going to have to ask you to move on, ma'am.

MOTHER
Screw you, pig!

She pulls out a gun and 
shoots. He dramatically 
falls to the ground. A 
spotlight is on him. All 
other lights go down. He 
dies dramatically. DAUGHTER 
enters into the light of 
another spotlight.

DAUGHTER
Benjamin Jordan died in the line of duty. He was 45 
years old.

Blackout.
Banjo Music.
When the lights are back up 
we are back at CAST THREE's 
restaurant center stage. 
They sit at the table, 
sipping something. EMILY 
stands. 

EMILY
	(She tries hard)
What I'm trying to say is what I like. What I like is... 
just. Those kinds of things that everybody likes, right? 
I like the breezes and the sun. I like being outside 
when the weather is nice. We should go outside more 
often. I also like to see things happen, to be there 
when it does happen. Like hearing a child's first words 
or watching a tree fall in the forest. That's life. 
Swimming in the pool by the ocean and everything is warm 
but the breeze. And the sand is warm beneath my feet. 
Right? How do we not do these things? How am I not where 
I want to be? I am where I want to be. I'm safe. I'm 
safe with people around me. The sand is not so warm when 
you are alone. So I'm fine. I like to see these things 
happen. I like to see how you are going to act around me 
the day after another long night, right? Tonight. 
Tomorrow. Today. And I am the same on all of those days 
with a flash of bright color every so not often, even 
that is typical of me. It is characteristic of me and of 
us, I think, to take these things for granted. Or maybe 
we don't have to say it. Maybe we'd rather watch each 
other than anything around us. Because maybe you are 
afraid like I am to be in paradise alone. The only thing 
left to observe is the behavior of the ocean and how it 
reacts with the sky. We all like that. We all like that, 
right? But which is really easy?

Pause.

GREGORY
My my my.

CAMILLE
That was fantastic.

NICOLAS
Bravo.

GREGORY
You thought I would say too much.

CAMILLE
Thank you, Emily.

NICOLAS
I'm hungry.

They exit and lights come up 
on an identical restaurant 
set but on one side of the 
stage. MARK is back. He is 
sitting at the table.
There is a title:
"The Fish"
A waitress, DAUGHTER, enters 
with a menu and a glass of 
water. She is going through 
her routine. She is a robot.

DAUGHTER
How are you doing sir?

MARK
Fine, I don't think I've ever eaten alone before.

DAUGHTER
The specials of the day are Penne Pasta with Arrabiata 
sauce and chicken, and Tomato Florentine Soup.

MARK
	(He is noticing her impersonalness)
Thank you.

MARK then looks out the 
window of the restaurant, 
concentrating, thinking. 
MOTHER and FATHER walk by. 
He stares at them. He looks 
away. 
Lights out on that.
Lights up on the other side 
of the stage.
There is the couch and 
chairs.
CAST TWO, sans MARK, sits 
completely motionless, 
slothful.
Title: "Luxury of Apathy"

STEVEN
Have you ever had a fish?

CAROL
Fish are creepy.

JACOB
Creepy?

CAROL
Yes.

STEVEN
This couch is nice.

CAROL
Yes. Speaking of furniture.

JACOB
I'm thirsty.

STEVEN
	(Kind of yelling)
He said he's thirsty!

They have not moved at all. 
FATHER brings out a tray of 
drinks for them.

CAROL
And I'm cold.

FATHER leaves and brings a 
blanket to CAROL.
Lights out on that.

Lights up on the other side 
of the stage. There is a 
vanity. SON walks out and 
looks at an imaginary 
person. He nods and 
gestures. He walks to the 
other half of the stage and 
opens the second drawer on 
the left side. 

SON
Yes, sir.

Lights down.

Other side: Lights.
Table and four chairs. 
DAUGHTER, MOTHER, FATHER and 
MARK are sitting. MOTHER 
stands. Only she is in good 
light. She really takes her 
time, over-stressing her 
emotions. 
Title: "In Paradise Alone"




MOTHER
	(She is trying)
What I am saying is what I like. What I like is the 
sunset, the beach. Good food and friends. To be admired. 
I like a warm fire when it is snowing outside, and hot 
cocoa... I like to be alone. I like time alone, but I am 
also afraid of being alone because there is no one there 
to watch me. That makes me uncomfortable. When there is 
no one there.

Blackout.
Banjo music.
Title: "End Act One"
Intermission.


INTER-ACT
Music
Lights up.
MARK is alone on the stage, 
there is nothing else.
Title: "Center"

MARK
Dying isn't such a great deal. What matters is the 
living. I lived for a while and I liked it or I didn't 
like it. Either way. But where am I going now. You live 
and you live again. You go to sleep and you wake up 
later. So there. Then we are real. You can't be real 
unless you're dead. Dying is not an entity. We all die.

Blackout.
Title: "Banjo Music"
Banjo Music.
CAST ONE is assembled on one 
side of the stage, there are 
remnants of a set lying 
around them.
They move the set to its 
proper setting. They take 
position. They are costumed 
in old period-wear.
They hold.
The entire stage is lit.

FATHER
For love of thou soul, good friend.

SON
My soul? My soul? MY wretched wretched soul?

MOTHER
Lay your knife down young soldier.

They hold.

LAY YOUR KNIFE DOWN YOUNG SOLDIER!

DAUGHTER runs off stage and 
comes back with a goblet.

DAUGHTER
Drink from this goblet and all pains will be forgotten.

FATHER
That's my line.

DAUGHTER
It is.

FATHER
Drink from this goblet and all pains will be forgotten.

SON
As you say father, but nay then. I'll not have another 
taste of freedom hence forward.

FATHER
	(Aside)
Hence forward?

DAUGHTER
Wait. Am I supposed to have the knife too?

MOTHER
No, dear. You bring the knife in the next scene.

FATHER
This is a circus.

SON
Where is everybody?

DAUGHTER
I don't know.

FATHER
And where are the goddamn lights? Oh this is great.

SON
Forget about the lights. Let's just get through this 
scene so we can break.

FATHER
What, you're just in this for the breaks?

DAUGHTER
Shhh.



FATHER
What are we doing here? Nobody even knows what they're 
doing.

MOTHER
Calm down, we can just go over lines.


FATHER
And what would that matter. You give her (indicating 
DAUGHTER) two years she still doesn't know her lines. 
And if she does then her cues are off.

DAUGHTER
I'm sorry.

SON
There's nobody here.

MOTHER
Yes, so let's just go over lines and cues.

SON
No, but nobody's here. We can leave.

FATHER
We can't leave, we have lines and cues to learn.

DAUGHTER
Leave?

SON
The lights aren't even on. Nobody is here. We can go.

FATHER
My god, he's right.

MOTHER
Shouldn't we wait?

SON
No, come on. Let's go.

DAUGHTER
Yeah, yes.

FATHER
	(To MOTHER)
Come on.

CAST ONE exits together. 
Blackout.
Lights up and CAST TWO 
occupies the set which was 
set. They move it around a 
little to suit them. There 
is no couch so someone gets 
it. STEVEN ties himself to 
something and passes out.  
MARK leaves.

JACOB
I'm sorry we have to do this Steven, but we have to 
start somewhere.

CAROL
Yes. Don't take it personally but you were starting to 
really tick us off.

JACOB
We are really sick of all this stupid bullshit banter 
that constantly gets slung around.

CAROL
I don't think he can hear us. You knocked him out.

JACOB
Oh. Okay.

JACOB goes to STEVEN and 
shakes him until he regains 
his consciousness.

JACOB
How are you doing Stevie?

CAROL
Got a headache?

STEVEN
What is going on? What are you doing?

JACOB
We're sorry about this Steven, but we had to start 
somewhere.

CAROL
Don't take it personally.

STEVEN
What are you doing?

JACOB
Shut up.

CAROL
We want you to make a phone call.

JACOB
We need to talk to Mark.

STEVEN
Why don't you call him then?

JACOB
Shut up.

CAROL
You are going to call him for us, Steven. You are going 
to tell him to come over.

STEVEN
What are you doing?

JACOB
Shut up. Are you ready to make a call?

STEVEN 
I won't do it.

CAROL walks to STEVEN and 
harms him. STEVEN screams.

JACOB
Are you going to call Mark?

CAROL
Well?

JACOB goes to STEVEN and 
harms him.

STEVEN
Okay alright okay I'll do it. Stop.

JACOB
Are you going to do as we say and nothing else.

STEVEN
This is insane. What are you doing this for?

CAROL
He asked you if you were going to behave.

JACOB
You want some more?

STEVEN
Okay, I'll do it.

CAROL
We have to untie you. You'll be sorry if you try 
anything.

JACOB
Really sorry.

STEVEN
Okay, alright.

CAROL
That's good Steven.

CAROL goes to STEVEN and 
unties him. JACOB picks up 
the phone receiver.

JACOB
You will act normal and you will tell him to come over 
and that yes everything is fine and that yes we want to 
apologize to him. Tell him that everything is cool.

CAROL
Or else.

STEVEN
Okay. (He dials.)
Hey Mark this is Steve. Um, I'm over at Jacob's house. I 
think you should stop by. Tonight. Everything's cool. 
Come by. See you.
	(He hangs up)
I got the machine.


JACOB kicks him to the 
ground and beats him a 
little. CAROL ties him back 
up.
Blackout.