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MUSICAL NUMBERS

1. The Girl Who Drove Away...... SAM 2. We're Just in Your Head...... SAM, KELLY, ADAM, BEVERLY 3. Freedom ...... SAM, KELLY 4. Ordinary Senior Year...... SAM, KELLY 5. My Mom is a Statistician...... SAM, BEVERLY 6. Sam Failed Her Driver's Test ...... SAM, KELLY, ADAM, BEVERLY 7. Top Ten...... SAM, KELLY 8. Simple as That...... SAM, ADAM 9. The Proposal ...... ADAM, SAM, KELLY, BEVERLY 10. There Was a Party...... SAM, KELLY 11. The Mad Ones ...... SAM, KELLY 12. I Know My Girl...... BEVERLY, SAM, KELLY, ADAM 13. Miles to Go...... BEVERLY 14. Say the Word ...... SAM, ADAM 15. Moving On...... SAM, KELLY, ADAM, BEVERLY 16. Go Tonight...... SAM, KELLY 17. Yellow SUV...... SAM 18. Run Away With Me...... ADAM 19. Drive...... SAM, KELLY, ADAM, BEVERLY 20. I Didn't Say Goodbye...... SAM, KELLY 21. Remember This ...... SAM, KELLY, ADAM, BEVERLY CAST Sam ...... KRYSTINA ALABADO Kelly...... EMMA HUNTON Beverly ...... KATIE THOMPSON Adam ...... BEN FANKHAUSER

MUSICIANS Music Director/Piano...... PAUL STAROBA Violin...... ROBERT ZUBRYKI ...... CRAIG MAGNAMO Harp...... LYNETTE WARDLE Percussion...... DAN GARMON

Krystina Alabado (Sam) and Emma Hunton (Kelly) in the Prospect Theater’s production of THE MAD ONES at 59E59 LINER NOTE I first met Brian Lowdermilk under a tent when they were a young Side called “Makor.” It was in this basement bar/venue that I first met artist-in-training with me at the Interlochen Arts Camp near Traverse Kait Kerrigan, who Brian had somehow convinced to take their lyrics City, Michigan. Brian was studying composition, while I was exercising and book and make better sense of them. I remember finding her my desire to perform in musical theater. It was a brief but important incredibly confident and intelligent. It was in this basement that I first introduction. Little did I know that I would end up their music sang their glorious song, “Run Away With Me” to a young Celia Keenan- in readings, in concerts all over the world, on their debut with Bolger in a cast that also included Sara Chase and Alison Fraser. Kait Kerrigan, and wind up working with them as director of their new In the years following, the piece received numerous workshops and musical, REPUBLIC. developmental readings all across the country. It became more adult and, as these writers grew into adults, with spouses and children, so Several years after our initial introduction under the pines of grew the emotional depth of the characters in the piece. Interlochen, in the summer of 2003, I received a letter addressed to my dressing room at the American Airlines Theater, where I was making It has been thrilling to watch Kait and Brian grow, not only as a writing my Broadway debut as Tom Sawyer in the Deaf West production of team but as humans in search of a higher truth. It seems to me that BIG RIVER. Brian had written to me to ask if I would participate in a THE MAD ONES is an exercise in growth, a quest for a dialogue with reading of a musical they had written the music and lyrics for called the innermost parts of ourselves where our pilot light exists. That light “The Wheel.” I didn’t even listen to the demo CD they had sent along, I that, despite the winds and sometimes storms of change, growth, and simply said yes. In retrospect, this was my first offer without an audition, maturation, guides us to our simplest desire. It took Kait and Brian and I jumped at the chance to sing material for the first time. Upon a while to get there, back to that flame, but I think that they have listening to the CD, I fell in love with their work. To be honest, I don’t unlocked something quite universal in this piece. As Ralph Ellison remember much about that first reading of the musical that would said in his damning and enlightening novel INVISIBLE MAN, “When I eventually morph and expand into THE MAD ONES, which you are discover who I am, I’ll be free.” THE MAD ONES challenges the idea listening to right now, other than we premiered it at The York Theater of what it means to . They have written something on the East Side of Manhattan and it was a story about a girl deciding that captures that moment in a person’s life where the future is both whether or not to drive her car toward her planned life; college and the limitless and overwhelming. It’s no wonder that these songs have rest, or into the great unknown. What I do remember is that the score resonated so deeply with young people as they begin their autonomous was extremely vocally demanding, which to a twenty-year-old singer, lives and drive into the great unknown of adulthood, defining that word was very exciting. as they go. I can’t wait to see where the car stops next and what songs they will give us along the way. In 2005, I was asked to participate in a reading of THE UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN in a — Michael Arden series produced by the 92nd Street Y at a space on the Upper West SYNOPSIS 18-year-old SAMANTHA BROWN sits in a hand-me-down car with the keys clutched in her hand. Caught between a yearning for the unknown and feeling bound by expectation, she telescopes back to a time before her world had fallen apart. As she relives her senior year, we meet Sam’s well-intentioned helicopter mother BEV and her high school sweetheart of a boyfriend ADAM, but it’s her painfully alive best friend KELLY that haunts her. Kelly was everything Sam is not – impetuous and daring. She pushed Sam to break rules and do the unexpected. When Kelly’s killed in a car wreck, Sam loses not only her best friend but also the part of herself that was learning to be brave. Now, Sam has to make a decision. Will she follow her mother’s dreams for her, or will she summon the courage to drive away from her friends and family into a future she can’t imagine?

Krystina Alabado, Emma Hunton, and Ben Fankhauser (Adam) in the Prospect Theater’s production of THE MAD ONES at 59E59 THE DAWN IS BREAKING, KELLY Memories burst like a soap bubble

1. THE GIRL WHO THE SUN'S NEARLY WAKING THE Fine. Go. and are gone. DROVE AWAY LIFE INSIDE ME... SAM SAM Lights rise on a girl. IF ONLY I COULD TURN THE KEY. I'm supposed to leave for college Sorry. I think of one memory and today. they all come flooding back in a big SAM A moment passes. She holds the key jumble. IT STARTS AS NOTHING, in her hand. Can she turn it in the KELLY JUST A THOUGHT OR A DREAM. ignition? Go! KELLY THEN ONE DAY YOU'RE IN THE mocking DRIVER'S SEAT, SAM Not a memory jumble. THE KEY IS IN THE IGNITION, I'm the valedictorian. The AND NO ONE GAVE YOU 2. WE'RE JUST IN valedictorian goes to college. SAM PERMISSION. YOUR HEAD Shut up. IT'S ONLY YOU IN THE CAR. KELLY AND ONLY YOU KNOW HOW KELLY Oh I know. SAM UNCERTAIN YOU ARE, Where were you headed? This is your fault. All of this. I was HOW YOUR HEART IS RACING. SAM figuring out who I was - the whole STILL YOU REACH FOR THE SAM But what if - year - saying what I wanted, doing it, MOMENT I don't know. It's not like I have a and then one day the phone rings. YOU'LL FINALLY SAY map or anything. KELLY A memory flashes. Kelly, in another I'M THE GIRL WHO DROVE AWAY. But what if she doesn't? Oh, twist. time and place. One of those moments KELLY that just sticks to your brain matter. LEAVE THE FEAR AND DOUBT Well. Maps are for brain deads. ADAM BEHIND. HEY SAM, KELLY CHOOSE THE ROAD LESS SAM I WAS WONDERING out of context, distinctive TRAVELED I was just daydreaming. WOULD YOU BE MY DATE WHAT - YOU THINK IT'S GONNA NOT THE MEM'RIES TOO REAL, TO THE FRESHMAN FLING? BITE? NOT THE GUILT THAT LEAVES YOU KELLY HEY, SAM. PARALYZED. Technically, you still are. A moment passes. Sam is lost in her CLOSE YOUR EYES, AND BEVERLY own thoughts. EVERYTHING'S CLEARER. SAM SLIDE THE CAR INTO GEAR, YOUR LIFE'S IN THE REAR VIEW You're not here. I'm sitting alone in a EASE YOUR FOOT OFF THE BRAKE. SAM MIRROR. parked car - to audience IF NO ONE KNOWS WHO YOU THAT'S IT. Kelly and I - we were - KELLY WERE, THAT'S ALL IT IS. She trails off. My car. THE LINE BETWEEN THE DREAM NOW YOU LET IT GO. AND YOU STARTS TO BLUR. KELLY Beat. STANDING AT THE CROSSROAD: KELLY Ok. Give me the keys. THERE'S THE GIRL WHO WAS LET'S GO. SAM LET'S GO. SAM WRITTEN IN YOUR DNA, Yeah. OR THE GIRL WHO DROVE AWAY. What? SAM Chord. Kelly takes the keys from Sam. KELLY REMEMBER? IF I COULD FEEL IT - Talking to yourself. THE WAY THE DAY BLOWS REMEMBER? KELLY ACROSS THE SKY, Get in the car, loser. SAM KELLY AND HOW THE MILES KEEP ON I need to go back inside. FLYING BY. YO! Snap out of it. SAM KELLY DRIVING FOR THE SAKE OF SAM What are you doing? stage aside DRIVING ANYWHERE. Ah... Left! You're not doing it right. THAT'S FREEDOM. Kelly turns the car fast, a near miss. A KELLY horn honks. She flips the loser off. Think about the one time I got you to SAM SAM skip school. Fall of senior year. Doing what? half-hearted KELLY FREEDOM. Very slow, Brown. SAM KELLY No. You're not in it. KELLY SAM in flashback, registering Sam's So where are we going? KELLY SAM despondence You said no then too. I said "Get in, What are you talking about? What bug do you have up your ass? KELLY loser, you're wasting your best life." I have no idea. Chord. KELLY SAM Sam wants to be mad but she can't You're not in the moment, Sam. Talk I don't have a bug up my ass! be. She laughs. Something wound SAM about what it felt like. up inside her releases. 't. KELLY SAM new tactic KELLY KELLY What did it feel like? Samantha Brown. Do you see that COUNTING THE MILES AS WE GO I said "Samantha Brown. Get in the fork up ahead? PAST. car." KELLY You remember. SAM SAM FEELING THE WIND BLOWING Yeah. THE TANK IS FULL. THE SUN IS YOUR HAIR. HIGH. 3. FREEDOM You're not even trying. KELLY KELLY Well, one way leads to our school KELLY LET'S GO! THE HIGHWAY'S SAM and the other leads somewhere KNOWING THAT EVERY MILE CALLING. THE SUN IS SHINING. I am. else. Which way do you want to COULD BE OUR LAST. LET'S GET IN THE CAR AND JUST turn? Left or right. REMEMBER. LET'S GO. KELLY SAM Try harder. SAM JUST WATCHING THE DAY GO BY. PICKING A ROAD AND GOING I don't know. You never take the flashback ANYWHERE. same route twice. I have no idea SAM AND KELLY WE WON'T LOOK BACK. WE NEVER Get in, loser! Remember the biker bar? where we are. WILL. Sam gets in the car. SAM KELLY SAM Oh god. Who cares? If you don't choose, KELLY we're gonna hit that house. Left or WE'VE COME TOO FAR. Explaining, a little uncomfortable KELLY KELLY DROVE ON ALL OF OUR right! WE'RE HEADING SOUTH. SAM ROAD TRIPS. SHE BELIEVED IN And the biker. SAM WE'LL DRIVE TIL WE HIT LIST'NING TO THE HIGHWAY. Sam laughs in spite of herself. Hold on - let me pull up a map. NASHVILLE. YOU START DRIVING, AND KEEP DRIVING. THERE'S NO STOPPING KELLY KELLY KELLY 'TIL KELLY SAYS YOU'VE ARRIVED. OR MAYBE WEST. WE DON'T Maps are for braindeads! Left or NASHVILLE! KNOW MUCH. WE'RE MAKING UP right?! THE REST. TEAR UP THE ATLAS. SAM AND KELLY DON'T READ THE ROAD SIGNS. FREEDOM. FREEDOM. FREEDOM. KELLY THE TOWN BY-PASSED, SAM KELLY Ok. What do you want to do now? THE LAST MINUTE self-instructing riffing GET IN THE CAR Don't talk about it - live it. Don't feel OH YEAH. SAM AND LET'S GO. the loss of it - feel it. She looks at Sam, expectant. confident She looks Kelly, who is driving and Make a right. KELLY grooving along to the radio - pure, in SAM OH, LET'S GO. flashback - unperturbed by Sam's tentative KELLY LET'S GO. present struggle. YEAH. In life, Sam. Think big. What do you PICK A ROAD. want? PICK A HIGHWAY. SAM KELLY ANY ROAD KELLY DRIVING, ME RIDING YEAH. SAM IS GOING MY WAY. LET'S GO. SHOTGUN. Ugh I don't know. I want to get my LIVE IT UP WITH NO Windows open, so loud I can't hear. SAM license. COMPLICATED PHILOSOPHIES. JUST A COUPLE GIRLS OUT ON more confident NO COLLEGE, NO CAREER, THE HIGHWAY. YEAH. KELLY NO KIDS, NO FANCY HOUSE, NO. Trees blurring into nothing. And I'm Bigger. LET'S GO. ANY ROAD BUT THE nothing. And she's nothing. KELLY ONE WE'RE ON. THERE'S NO ROAD MAP YEAH. SAM AND NO CURFEW. I want the deafening sound of driving SAM AND KELLY JUST TWO GIRLS WITH NOWHERE SAM fast with the windows down. NO COLLEGE, NO CAREER, WE HAVE TO BE. with abandon NO SCREAMING KIDS, NO Kelly starts singing lightly along with YEAH. KELLY MORTGAGE. the radio. More! DRIVING ANYWHERE. KELLY SAM (KELLY) riffing her face off SAM KELLY NOW SHE'S LAUGHING. YEAH. I want to break rules and do JUST DRIVING STRAIGHT INTO (FREEDOM) something unexpected. THE DAWN. AND I START LAUGHING. SAM AND KELLY THAT'S FREEDOM. (FREEDOM) FREEDOM. KELLY IT'S SO REAL FREEDOM. Good. I want Arby's. SAM AND SO LIKE A MEMORY FREEDOM. THERE'S SOMETHING BURIED (FREEDOM) FREEDOM! SAM WITHIN HERE - AND THE SUN IS SO BRIGHT THAT I want to reach the horizon of A LESSON TO KEEP. I'M SQUINTING. impossibility. THE IMPULSE, AND IT FEELS LIKE I FOUND 4. ORDINARY THE LIFE FORCE FREEDOM. KELLY THE DIVING IN DEEP. SENIOR YEAR I want to go skinny-dipping in the I FEEL IT, SAM AND KELLY SAM ocean. THE CHAOS I USUALLY FLEE FREEDOM. FREEDOM. SOMETHING CHANGED. IF I HOLD ON RIGHT HERE THE WHOLE WORLD COLLAPSED. SAM COULD I LEARN TO JUST - BE. SAM I WAS ON A CERTAIN PATH, I want to drive forever! Sam closes her eyes and takes a DRIVING FAST, THE RADIO I KNEW WHAT TO DO - AND I'M ALMOST STARTING TO deep breath - willing herself into an BLARING. WINDOWS OPEN, I DON'T KNOW AT ALL NOW. FEEL IT, awareness that she could lose at any SINGING LIKE WE'RE ROCK THE LEAVES START TO TURN - HOW A DAY GIVES WAY TO moment. She balances on an emotion- STARS. IT'S FALL NOW. AM I THAT GIRL SOMETHING DEEPER. al tightrope. THE CHEAP REST STOP, ANYMORE? THAT ORDINARY GIRL hour and a pedestrian is crossing BEVERLY THAT I WAS BEFORE? the road at 2.5 miles per hour. If YOU DON'T! 6. SAM FAILED the driver sees the pedestrian from HER DRIVER'S KELLY a distance of 132 feet and brakes, SAM TEST YOU DON'T HAVE TO KNOW THAT decelerating at a rate of 11.1 miles I DO! RIGHT NOW. per hour per second, will the car hit SAM START AGAIN. the pedestrian? If so, when? BOTH The first time you fail to get your TELL THE STORY OF HOW YOU FORTY-ONE THOUSAND PEOPLE - license: adorable. The second time: GOT HERE FROM AN ORDINARY SAM surprising. But I was ambitious. SENIOR YEAR. The answer, obviously, is yes. In 2 BEVERLY seconds. Physics is easy - just plug EVERY YEAR. ADAM, BEVERLY, KELLY KELLY the right numbers into the equation. OH, SAM FAILED HER DRIVER'S Maybe start with your mom. Driving is... real. SAM TEST FOUR TIMES. Beverly appears. She clears her throat. I KNOW! BEVERLY SAM SAM Are you ready to drive? BEVERLY The first time barely counts: I forgot What? THAT'S A HUNDRED PEOPLE A my glasses. SAM DAY. KELLY Are you ready for me to drive? ADAM Tag out. SAM Medical condition. BEVERLY MOM. Sure. I've had a good life. KELLY, ADAM, BEVERLY Sam drives. Her mom looks on BEVERLY THAT'S ONE! 5. MY MOM IS A lovingly. SAM. YOU'LL BE A DEAD MAN. STATISTICIAN SAM BEVERLY SAM Next, a parked car bumped into me. SAM singing sweetly WOMAN. MY MOM IS A STATISTICIAN. SLOW DOWN, SAM. YOU'RE BEVERLY AND SHE SEES STATISTICS GROWING UP TOO FAST. WHEN BEVERLY Divine intervention? EVERYWHERE. IT'S TIME TO GO, I WILL LET YOU CHILDREN UNDER TWENTY KNOW. I'LL TELL YOU WHEN, SHOULDN'T BE ALLOWED KELLY, ADAM, BEVERLY BEVERLY SAM. UNTIL THEN, SAM, LET'S TO DRIVE YOU CAN'T TRUST THAT'S TWO! Hoo. 2 TO 1 YOU HIT A RED LIGHT. JUST TAKE THINGS SLOW. YOUR FRONTAL CORTEX IF YOU 50 TO 1 YOU HIT A BEAR. Then, the car lurches. WANNA STAY ALIVE. GRIP ON SAM TIGHTER WHEN YOU STEER AND The third time, I left the parking SAM BEVERLY OVERCOMPENSATE WITH FEAR. brake on, which caused the SHE SEES THE WORLD sudden, a light switch - Monster OR YOU WILL DIE TOMORROW. IN burning smell, which caused me to AS A HIGH-RISK GAME, Mother THE MIDDLE OF THE NIGHT, YOU panic, which caused me to... GAMBLING WITH A FANCY NAME, Slow down, Sam! Jesus. CRASH AND SKID INTO A DITCH TRYING TO CHEAT DEATH AND DO YOU KNOW HOW MANY AND NO ONE WILL BE ABLE TO SAM, KELLY, ADAM, BEVERLY STAY ALIVE. PEOPLE DIE IN CAR WRECKS FIND YOUR MANGLED DEAD PEE. AND FLEE. THIS IS THE WAY SHE TAUGHT ME EVERY YEAR? CORPSE. HOW TO DRIVE. Beat. SAM, ADAM, BEVERLY Observe. SAM THAT'S THREE. YES I DO. SAM Kelly sits down in a car with a BEVERLY Yep. That's the mother I know and clipboard. Say a car is traveling down a road at love. a constant velocity of 57 miles per KELLY KELLY KELLY KELLY Minnesotan accent The DMV lady Carol Ann. She's from ARE YOU READY FOR THE Come on! Top 10. You love this Samantha Brown? Minnesota. HIGHWAY? game.

KELLY, ADAM, BEVERLY SAM SAM AM YEAH, SHE FAILED ONE MORE! No, she's not. Yes. You're misappropriating it. DRIVER'S TEST NUMBER FOUR! KELLY KELLY KELLY SAM She is now, dontcha know! OK THEN. You cannot stop this! stage aside stage aside as Kelly NUMBER TEN. Kelly, what are you doing? Turn the key. What does it feel like? BOTH I go skydiving without a parachute. Sam turns the key in the ignition and DRIVE! NUMBER NINE. KELLY the whole world comes to life for DRIVE! stage aside Sam. DRIVE! SAM Don't talk about it, Sam - live it. DRIVE! Old age. Sam is skeptical. SAM Suddenly, the car lurches. The breaks MY HANDS ARE STEADY. squeal. The sound lives somewhere KELLY KELLY between a harsh reality and a night- Lame. Impossible. WATCH FOR TRAFFIC. KELLY mare. Sam doesn't look at Kelly. NUMBER EIGHT. ABDUCTED The car's not going to drive itself. as Carol Ann BY ALIENS WITH ENORMOUS BOTH HANDS ON THE WHEEL. TURN LEFT ONTO MAIN. GENITALIA. SEVEN. Beat. Sam's turn. Kelly will wait. Once again, the memory flashes. The SAM 7. TOP TEN music shifts. Kelly is trapped in a I BARELY EVEN HAVE TO STEER. KELLY SAM moment. Now let's have the ceremony! reluctant KELLY Kelly eats Mentos with Diet Coke and KELLY YOU SHOULD PROBABLY TRY SAM explodes. WHAT - YOU THINK IT'S GONNA STAYING IN ONE LANE. What ceremony? BITE? KELLY Kelly looks at her in the present SAM KELLY NOW THAT'S A DAMN FINE WAY moment expectantly. AND I FEEL READY, Uh, the one where you honor me? FOR KELLY MANNING TO DIE. Six! KELLY KELLY SAM Well? THIS PART SHOULD BE EASY. You want a ceremony? SAM SHE TOURS THE TUNDRA AND IS SAM SAM KELLY SWALLOWED BY A YETI. 5! No. THE ROAD IN FRONT OF ME IS I want a monument but I'll settle for She sits down. CLEAR. a ceremony. Honor me! KELLY I EAT SOME TOENAIL POLISH AT KELLY KELLY SAM MY MANI-PEDI. 4! so into it YOU'RE MAKING ME FEEL With what? Ok. You be Sam. QUEASY, DEAR. SAM KELLY HIT BY A METEOR. 3! SAM SAM THE TOP TEN WAYS FOR KELLY Who are you? AND ALL AT ONCE I FEEL ALIVE. MANNING TO DIE. KELLY CAUGHT IN A GANG WAR. 2! SAM No. Absolutely not. SAM KELLY ADAM ADAM KELLY LIKES CAFFEINE AND LOVES rimshot YOU'RE JUST JEALOUS CUZ IT SHE'S THE PERFECT GIRL FOR A A RANDOM FLING AND ONE TIME If only I'd never cracked a book. ROCKS. GUY LIKE ME. AT A STARBUCKS SHE MAKES OUT WITH STING. AND STING IS SAM SAM SAM ALL LIKE, "KELLY, I THINK YOU Shut up! FOR SURE. HE'S THE PERFECT HOW MUCH MORE PERFECT SHOULD COME ON TOUR." AND GUY FOR A GIRL LIKE ME. COULD A BOYFRIEND BE? KELLY'S ALL LIKE, KELLY Fine! Not ready to face your ADAM BOTH KELLY demons? Go ahead - sit in that HOW MUCH PERFECTER COULD A PLAY A GAME, EAT SOME FOOD, "I DON'T KNOW. IS THAT ARMANI? memory swirl for a while. GIRLFRIEND BE? THEN MAKE OUT WHEN WE'RE SURE!" IN THE MOOD. IT'S AS SIMPLE But then Sting gets real clingy and The memories bubble up. BOTH AS THAT. when I say I have to go back to the PLAY A GAME, EAT SOME FOOD, states, he's like: ADAM THEN MAKE OUT WHEN WE'RE HEY SAM, I WAS WONDERING IN THE MOOD. IT'S AS SIMPLE AS SAM WOULD YOU BE MY DATE TO THE 9. THE "I can't let you go." FRESHMAN FLING? HEY, SAM. SAM PROPOSAL PEAS IN A PEAPOD. KELLY BEVERLY ADAM And I'm like, "Ew. You're my dad's SLIDE THE CAR INTO GEAR, ADAM HAVE SEX WITH ME. age." And then, he makes me EASE YOUR FOOT OFF THE WE FIT LIKE LEGOS. HAVE SEX WITH ME. listen to his musical(?!) and I'm BRAKE. IN MY ROOM, I HAVE A PACK OF like what's with the ship and why THAT'S IT. BOTH CONDOMS. are you building this? Why are you THAT'S ALL IT IS. WE LIKE OUR CANDY DEEP-FRIED. I HAVE SCENTED CANDLES AND I building the ship? But I never find NOW YOU LET IT GO. HAVE A BED. out because I'm literally bored to ADAM HAVE SEX WITH ME, death. SAM WE'RE LIKE BILL AND... THIS ONE'S AUTUMN POTPOURRI. REMEMBER? REMEMBER? JUST SLEEP WITH ME. SAM SAM It was scandalous. TED. SAM WHAT SHOULD I DO? KELLY 8. SIMPLE AS ADAM BUT NOT COMPARED TO - THAT BEAVIS AND... ADAM PLEASE SLEEP WITH ME. SAM SAM SAM THE NUMBER ONE WAY - ADAM LIKES TACOS AND PLAYING BUTTHEAD. I'M THE BONNIE TO SAM BOARD GAMES. HIS... SHOULD I HAVE SEX WITH YOU? KELLY Beat. THE NUMBER ONE WAY - ADAM ADAM SAM KICKS MY ASS AT X-BOX. ADAM I WILL MAKE YOU PANCAKES IN KELLY CALL IT WASTING TIME. WHO? THE MORNING. Hit by a car on the way home from the library! SAM SAM BEVERLY CALL IT IMMATURE. ...CLYDE. PANCAKES ARE GOOD. SAM Kelly! ADAM ADAM gotten into. Where was Kelly? The SAM AND I'LL MAKE YOU BREAKFAST HAVE SEX WITH ME. beat got louder. I was pushing "The only ones for me are the mad IN BED; WON'T YOU PLEASE through crowds in a stairwell of this ones - HAVE SEX WITH ME? KELLY & BEVERLY dorm or frat. Everyone was yelling. I HAVE SEX, OOH. didn't stop to memorize the details. SAM KELLY I didn't know how much the night "Mad to talk, mad to be saved, OH-OH-OH. SAM would matter. I opened a door. desirous of everything at the same SHOULD I HAVE SEX WITH YOU? THERE WAS A PARTY, A DJ, time - ADAM A BEAT PULSED ON. I MAKE GREAT DARJEELING TEA. KELLY & BEVERLY THE COLLEGE. THE CAMPUS. KELLY Wind blows. HAVE SEX. THE MANICURED LAWN. IF WE'RE GONNA GO, I WAITED FOR KELLY 'CAUSE SHE WE GOTTA GO TONIGHT. ADAM ADAM WAS MY RIDE. I HAD COMBED HUNGER MAKES THE TIMID BOLD. MAYBE NOT TODAY MAYBE THE WHOLE DANCE FLOOR SAM TOMORROW. AND WANDERED OUT - SIDE THE "The ones who never yawn or say a SAM PARTY... commonplace thing but burn burn I CAN FEEL THE HUNGER. KELLY & BEVERLY OR HALLWAY... AND IT WAS - AND burn like fabulous yellow roman HAVE SEX TOMORROW. IT WAS APRIL AND CHILLY candles exploding like spiders ADAM AND SAM OR LATE MARCH AND WARM. OUR across the stars..." FEEL YOUR CARNAL URGES ADAM TOUR GUIDE AND KELLY WERE TAKING HOLD. MAYBE NOT TOMORROW BACK AT HIS DORM. KELLY THE WHOLE SKY WAS SPINNING. OH, IF WE'RE GONNA GO, ADAM ALL I MIGHT HAVE BEEN DRUNK WE GOTTA GO TONIGHT. LEMME SAY SO I'M UNDERSTOOD: MAYBE IN A WEEK. HAVE SEX - AS I STEADIED MYSELF ON THE GO TONIGHT. ROOF OF HER - TRUNK. GO TONIGHT. ADAM, KELLY, BEVERLY ADAM ALL ALONE, WAS I LOST OR WAS I I'm in. SEX IS GOOD. WITH ME, AND YOUR DINNER ALIVE? WILL BE FREE! IN THE SPACE, IN THE HOLE SHE SAM SAM CREATED. For what? SO GOOD! KELLY & BEVERLY NO ANCHOR. HAVE SEX WITH ME. ABANDONED. KELLY ADAM I WAITED. WE'RE TAKING THE RISK. EMBRACE YOUR DESTINY. ADAM WE'RE THE FOOLS WHO WILL HAVE SEX WITH ME! NEVER LEARN. SAM, KELLY, BEVERLY PUSHED TO THE EDGE DESTINY - 11. THE MAD OUT ON THE LEDGE 10. THERE WAS ONES WILL YOU DIE OUT ADAM OR BURN BURN BURN? OH BABY DON'T DENY MY A PARTY DON'T ASK IF YOU CAN. HUNGRY PLEA. HAVE SEX WITH KELLY The memory flashes Tell me the part about the candles NO, THAT'S THE MISTAKE GIRLS ME. MAKE. CAUSE THOSE GOOD OLD BOYS SAM KELLY SAM What you think its gonna bite? Uh THEY HAD THEIR GOOD OLD WHAT SHOULD I DO? DAYS SAM KELLY BUT NOW THEY'RE GONE A starry sky. A club beat. We were Do not pretend you don't have that AND NOW THEIR WORLD IS OURS visiting the one school we'd both memorized. TO TAKE. WE'RE MAD TO GO, WE GOTTA GO TONIGHT, SAM SAM MAD TO DRIVE, Where are my keys? IF WE'RE GONNA GO, MAD MAD TO BE ALIVE. WE GOTTA GO TONIGHT - WE'RE CHASING STARS - A SAM KELLY THOUSAND SUNS. T Just calm down. There's planning BOTH MAD HE MAD, MAD ONES. involved. What are we living on? GO TONIGHT, OH WHOA OH OH. Who's paying our cell phone bills? GO TONIGHT! BOTH TO BE ALIVE. SAM KELLY SAM WE'RE CHASING STARS, OH WHOA OH OH. Well A: WITHOUT ANY PLAN, A THOUSAND SUNS. Kelly smashes Sam's phone. JUST THE KEYS AND A RADIO. KELLY SAM OH WHOA OH OH. SAM KELLY THE MAD Kelly! Yeah. SAM KELLY OH WHOA OH OH. KELLY BOTH MAD And two, Sam: LIVING FOR US. KELLY IF WE'RE GONNA GO, KICKING UP DUST. BOTH WE BREAK THE LOCK WE GOTTA GO TONIGHT, MAD ONES. WE KICK THE DOOR GO TONIGHT, SAM MAD GO TONIGHT. WE JUST PICK UP AND GO GO GO. KELLY OH WHOA OH OH. SAM SAM KELLY MAD You're drunk. Yes! SAM OH WHOA OH OH. BOTH KELLY SAM TO REACH FOR MORE. YOU'RE DRUNK! IT'S NEVER OR NOW. KELLY IF WE'RE GONNA GO, OH WHOA OH OH. KELLY WE GOTTA GO TONIGHT, KELLY WE MAKE THE RULES, GO TONIGHT, NEVER OR NOW, YES! SAM WE MAKE A VOW TO BE MAD GO TONIGHT. OH WHOA OH OH. BOTH SAM SAM TIME TO TAKE YOUR FOOT OFF KELLY MAD. I am drunk! And I only have a THE BRAKE. IF WE WANNA GO WE GOTTA permit. We can't - GO TONIGHT, GO TONIGHT, GO KELLY SAM TONIGHT. IF WE WANNA GO GIRL, WE'RE WHAT MATTER NOW. KELLY YEAH, THOSE GOOD OLD BOYS WE GOTTA GO TONIGHT, GO Ok. First thing's first. You have to go STOP SAYING CAN'T!! THEY HAD THEIR GOOD OLD TONIGHT. tell that TA I'm not coming back. DAYS The memory begins to dissolve. SAM SAM STOP TELLING ME WHAT TO DO!!! BOTH SAM What? BUT NOW THEY'RE GONE AND BUT WE DIDN'T GO, DIDN'T GO, KELLY NOW THEIR WORLD IS OURS TO GO THAT NIGHT, DID WE? KELLY IF WE'RE GONNA GO, TAKE. A beat. Are we going here? IF WE'RE GONNA GO, WE GOTTA GO TONIGHT, WE'RE MAD TO GO, WE GOTTA GO TONIGHT, IF WE'RE GONNA GO, MAD TO DRIVE, KELLY Screw it. He'll figure it out. WE GOTTA GO TONIGHT, NO WE DIDN'T GO, DIDN'T GO, IF WE'RE GONNA GO, GO THAT NIGHT. SAM SAM SAM to us WHO LET DOWN WHO? MAD 12. I KNOW I MEAN OBVIOUSLY. T MY GIRL HE WHOLE THING WENT SOUTH. KELLY BOTH PER USUAL, KELLY'S ONLY PLAN WHO LET DOWN WHO? TO BE ALIVE. WE'RE CHASING BEVERLY WAS RUNNING HER MOUTH. STARS - A THOUSAND SUNS. EIGHTEEN YEARS HAVE COME SAM AND GONE. KELLY WHO LET DOWN WHO? SAM I RAISED MY DAUGHTER WELL. OH BUT WHO LET DOWN WHO? THE MAD EIGHTEEN YEARS SHE'S MY KELLY WHOLE LIFE, AND NOW IT GOES SAM WHO LET DOWN WHO? KELLY TO HELL. WHO LET DOWN WHO? MAD I KNOW MY GIRL SAM AND I KNOW HER EYES. KELLY YOU. BOTH AND SHE NEVER RUNS WHO LET DOWN WHO? MAD ONES. AND SHE NEVER LIES. KELLY THERE'S SOMETHING WRONG, SAM YOU. SAM IT'S PLAIN TO SEE. WHO LET DOWN WHO? OH WHOA OH OH. 'CAUSE HER HEAD'S A MESS SAM AND HER HEART'S A WHIRL. KELLY YOU. KELLY I KNOW THOSE EYES. YOU WERE THE ONE WHO PUT OH WHOA OH OH. I KNOW MY GIRL. ON THE BRAKES. BOTH AND SHE'S GONNA TALK TO ME. YOU. YOU. YOU. YOU. SAM SAM They reach an impasse. The music OH WHOA OH OH. Sam and Adam enter and sit at the I WANTED TO GRADUATE FIRST. continues. They're not speaking to kitchen table. Beverly enters in an each other. After a moment, Kelly KELLY apron, bearing a plate of freshly baked KELLY does a little dance move. Sam OH WHOA OH OH. cookies. YOU DIDN'T HAVE WHAT IT TAKES. half-heartedly responds. Then Sam does another. Kelly responds. Then BOTH BEVERLY SAM they start going back and forth. WE BREAK THE LOCK. I MADE COOKIES. HAVE A COOKIE. WHO LET DOWN WHO? It's kind of stupid but also kind WE KICK THE DOOR. of funny to them - maybe only to SAM KELLY them. It's weird and private. SAM I have a test to study for. WHO LET DOWN WHO? MAD Sam exits. Beverly zeroes in on Adam. KELLY SAM OH WHOA OH OH. KELLY BEVERLY LIKE YOU EVER FOLLOWED MAD I MADE COOKIES. THROUGH ON A SINGLE WORD SAM YOU SAID OH WHOA OH OH. BOTH ADAM Dance break. TO REACH FOR MORE WE MAKE I LIKE COOKIES. KELLY THE RULES WE MAKE A VOW IF WE'D ONLY GONE THAT NIGHT BOTH TO BE MAD GIRL, WE'RE WHAT BEVERLY THEN I WOULDN'T BE DEAD. OH. MAD MATTER NOW HAVE A COOKIE. HAVE A FEW. AND THEN YOU'LL SIT AND TALK - BOTH KELLY SAM WE'LL SIT AND TALK. TELL ME - TO GO, MAD TO DRIVE. MAD OH WHOA OH OH - YOU'LL TELL ME She turns to Kelly to echo her and WHO SHE'S HANGING OUT WITH, Kelly's gone. The song ends abruptly. AND WHO SHE'S IN A FIGHT WITH, AND WHY SHE ISN'T TELLING ME. BEVERLY BEVERLY AND TELL ME SHE'S THE SAME. HAS SHE STARTED HUFFING, AND IF YOU NEED TO GO INTO NO MORE COOKIES. THE BOY YOU CALL A REBEL, OR DID YOU GET HER PREGNANT, THE CVS FOR SOMETHING, I YOU WAITED TOO LONG. THE GIRL - SHE'S RUNNING OR IS SHE HIGH ON LSD? COULD COME ALONG. NOW THE COOKIES ARE GONE. SCARED, Beat. I'LL HELP YOU BUY THE SAM, YOU HAVE TO EAT COOKIES CAUSE ANY GIRL WHO'S ON SOMETHING... WHILE I'M STILL ALIVE TO MAKE HER OWN IS OUT THERE SAM TEACH YOU TO USE THE YOU COOKIES. UNPREPARED. off stage SOMETHING... MY MOTHER MADE ME COOKIES. SHE LOOKS AWAY. Adam! DO YOU NEED TO GO INTO THE WE WOULD TALK THROUGH THE SHE KEEPS HER PROFILE LOW. CVS FOR SOMETHING... NIGHT. SHE'S GOT MILES AND MILES AND ADAM ANYTHING... SHE MADE EVERYTHING RIGHT. MILES TO GO. I dunno. Maybe she's having her... HELP. I'M SO HAPPY y'know. ME. I ATE COOKIES HAS BEEN RIGGED He grabs a cookie. He runs. Beverly exits. Adam and Kelly appear. WITH MY DEVOTED MOTHER, BUT I LEARNED TO PLAY. MY GUIDE. BEFORE SHE DIED. AND I'M NOT THE ENEMY. BEVERLY SAM Beat. I PAVED THE WAY. I WON'T BE DISCOURAGED. She's trying to kill me. Is she trying I STOOD IN MY OWN MOTHER'S I REFUSE TO BE OUTDONE. to kill me? SAM KITCHEN - THE GAME IS FAR FROM OVER. They stare at her. I was trapped. HELL, IT'S ONLY JUST BEGUN. Lights begin to transition. I KNOW MY GIRL ADAM BEVERLY AND I KNOW HER EYES, I dunno, maybe she's having her - She was trapped. THE DOOR SLAMMED BEHIND ME. AND SHE NEVER RUNS I BLINK AND I'M YOU AGAIN - AND SHE NEVER LIES. KELLY I KNOW SHE'S DYIN' TO LET ME Period period period period period! 1982. Beverly is driving down the IN. Beverly enters grandly in a disheveled 13. MILES TO GO highway, windows down, wind in her BUT HER HEAD'S A MESS apron. hair. AND HER HEART'S A WHIRL. BEVERLY I KNOW THOSE EYES, BEVERLY A LONE BOY ON THE HIGHWAY BEVERLY I KNOW MY GIRL. aggressive A FUTURE UNDEFINED I'M SINGING JANIS JOPLIN AT THE SO LET THE GAMES BEGIN. I MADE COOKIES. THE REBEL SOUL THAT GOT AWAY TOP OF MY LUNGS. Beverly and Sam, shopping. AND LEFT HIS PAST BEHIND. I'M CURSING LIKE A SAILOR KELLY A LONE BOY ON THE HIGHWAY AND I'M SPEAKING IN TONGUES. BEVERLY Oh! Nice. YOU'VE SEEN HIS FACE BEFORE. FREEDOM DO YOU NEED TO GO INTO THE TWO PATHS DIVERGED AND YOU FREEDOM CVS FOR SOMETHING? BEVERLY WENT RIGHT BUT HE'S LEFT FREEDOM. HAVE A COOKIE. WANTING MORE. SAM AND WHERE HE'LL LAND, Beverly returns to the present No. Why? ADAM THIS TOWN WILL NEVER KNOW - moment. Dude - it's a trap. HE'S GOT MILES AND MILES AND BEVERLY Adam runs off. MILES TO GO. A LONE BOY ON THE HIGHWAY. YOU MIGHT NEED TO GO INTO HIS SHOES THAT POUND THE YOU THINK "THAT COULD BE ME" THE CVS FOR SOMETHING? BEVERLY PAVEMENT, BUT YOU WERE BORN A WOMAN Beat. JUST ONE COOKIE. THE DAYDREAM HE CAN'T NAME. AND YOU'LL NEVER BE THAT Oh wait! NOW MAKE THAT BOY A LONELY FREE. SAM She hurls the cookies away. She shows GIRL Do you think I need to go into CVS? Sam an empty plate. THE GLASS CRACKS IN THE SAM SAM CEILING MEANWHILE THERE'S SO MANY 15. MOVING ON LIKE THE PHONE CALL... AND WOMEN SWELL WITH PRIDE. THINGS THAT WE DON'T Sam's cell phone rings. It rings again. Ring. BUT WHEN A WOMAN BREAKS UNDERSTAND. NEVER HAPPENED, AND THE RULES THE WORLD'S NOT I DON'T KNOW WHY I TREMBLE KELLY EVERYTHING IS NORMAL ON HER SIDE. WHEN YOU REACH FOR MY Aren't you going to get that? INCLUDING... THE WHEELS OF CHANGE - HAND. Ring. THEY MOVE SO GODDAMN SLOW. I DIDN'T KNOW HOW TO LOVE Sam. KELLY YES, WE'VE COME MILES AND UNTIL YOU SWEPT ME AWAY. Ring. lightbulb MILES AND MILES, SO SAY THE WORD, Don't you think you should Ooooh. BUT WE'VE GOT MILES AND MILES AND I JUST MIGHT LISTEN. and answer the phone? AND MILES AND MILES AND SAY THE WORD, Beat. Lightbulb. SAM MILES AND MILES AND YOU MIGHT GET YOUR WAY. RIGHT? AND MILES TO GO. LET ME GO IF IT'S EASIER, SAM BUT SAY THE WORD, No. KELLY putting it together AND I MIGHT HAVE TO STAY. Ring. I WANNA LOVE. IF YOU, LIKE, DON'T PICK UP THE 14. SAY THE I WANNA RIDE. KELLY PHONE, IT'S SO LIKE NOTHING WORD I WANNA BE THE GIRL THERE BY Sam. You have to. EVER HAPPENED. YOUR SIDE. SAM JUST TELL ME WHEN. JUST TELL SAM SOMETIMES WHEN I LOOK AT YOU SAM ME HOW. excitement building I DON'T KNOW WHY YOU WAIT. WHAT IF I DON'T? TELL ME I'M READY NOW, TODAY. Then... SCHOOL GIRL IN A LITTLE WORLD Ring. SAY THE WORD, WHO LEARNS EVERYTHING LATE. KELLY I'VE ALWAYS HAD ALL THE KELLY ADAM What do you mean what if you don't? Yeah. ANSWERS NOW I DON'T HAVE A SAY THE WORD. Ring. CLUE. SAM SOME NIGHTS WHEN THE SAM (ADAM) WHAT IF I DON'T? KELLY CLOUDS ARE THICK AND THE AND I JUST MIGHT LISTEN. I'M ALIVE! WIND STARTS TO BLOW. (SAY THE WORD AND I) KELLY I STARE OUT THE WINDOW SAY THE WORD, AND YOU MIGHT You did! SAM WOND'RING WHERE I WILL GO. GET YOUR WAY Ring. YOU'RE ALIVE! I TURN THE LIGHT OUT, UNDER (WHATEVER YOU SAY) THE COVERS ALL I THINK OF IS LET ME GO IF IT'S EASIER, SAM KELLY YOU. (SAY THE WORD) BUT IF I DON'T PICK UP THE Now that I'm alive, we're doing this JUST YOU. BUT PHONE, IT'S SORT OF LIKE IT senior year my way. Just try to keep SAY THE WORD, NEVER HAPPENED. up with me, Brown. AND I JUST MIGHT LISTEN. BOTH She waits for Kelly to catch her drift. OH, WE'RE MOVING ON. SAY THE WORD, SAY THE WORD. 'CAUSE NOTHING ELSE IS AND YOU MIGHT GET YOUR WAY. KELLY STANDING IN OUR WAY. LET ME GO IF IT'S EASIER, SAM What are you talking about? STAY FOCUSED ON THE PRESENT. BUT SAY THE WORD, AND I MIGHT HAVE TO STAY. AND I MIGHT HAVE TO STAY. SAM WE'RE MOVING FAST.

KELLY SAM KELLY ADAM AND IF IT'S LAME, WE'RE I did? YOU'LL NEED A STRAPLESS BRA. Hey, Kelly. BLOWING RIGHT PAST. So what happened first? KELLY SAM KELLY Columbia. Duh. Hey, Adam. SAM I woke up at Adam's the next SAM SAM AND KELLY ADAM morning. Really? THEN TO THE SPA. Hey... Sting. Adam wakes up. Sam and Kelly sit down for pedicures. KELLY Adam administers. BEVERLY ADAM Broad City. as Sting Groggy, lovey SAM AND KELLY "EVERY BREATH I TAKE" IS ABOUT Sam, last night was... SAM PEDICURES FOR THE PROM... ON HOW PEOPLE WANT TO MAKE Sam begins to luxuriate in her morning Genius. MOM. MY TOES ARE GETTING OUT, after, but Kelly pulls her away. TINGLY. AND STING MAKES OUT UNTIL BEVERLY DAWN. KELLY Wouldn't you rather... ADAM She goes in for a kiss. Blah blah blah. Kiss kiss kiss. Tingly! MOVING ON. KELLY KELLY COLUMBIA. SAM AND KELLY ducking SAM Beverly dons Columbia paraphernalia, DEE-DEE-DEE-DEE. WE'RE MOVING ON. MOVING ON. suddenly totally on board. WE'RE MOVING ON. A disco ball drops. Dance lights SAM KELLY BEVERLY the stage. Beverly enters in an slinky Let's get out of here! YOU'RE MOVING ON. COLUMBIA! gown. She sings with the band. KELLY SAM KELLY BEVERLY Road trip! I'M MOVING ON. COLUMBIA! SENIOR PROM. The girls jump into the car. ONLY ONE SENIOR PROM. SAM AND KELLY BEVERLY & KELLY IT'S YOUR SENIOR PROM. SAM OH, WE'RE MOVING ON. COLUMBIA! BEAUTIFUL LIGHTS. With Kelly driving, nothing's fate. Beverly is lying in wait. BEAUTIFUL NIGHT. SAM RIGHT FOR A SENIOR PROM. KELLY BEVERLY COLUMBIA! OH OH, SENIOR PROM. HOT BOYS, TURN RIGHT. Samantha. Did you have sex? SENIOR PROM. IT'S NOT A DRILL. BEVERLY OH OH OH, GLITTERING DISCO SAM COLUMBIA! BALL. SAM Mom. I... um... STREAMERS FALL. How does she never even hesitate? BEVERLY, KELLY, SAM NO, NOTHING LIKE A SENIOR KELLY ROAR LIONS ROAR! PROM, KELLY butting in They whisk Mom away. SENIOR PROM, SENIOR PROM- LET'S GIVE THEM A LITTLE THRILL. Did Sam tell you that she picked a OM-OM! How do ya like these? college? SAM Sam emerges in a prom gown on Kelly sticks her ass out the window. OH I'M MOVING ON. AND SENIOR Adam's arm. Kelly appears in a dra- BEVERLY PROM IS RIGHT AROUND THE matic gown. SAM You did? BEND. IT'S ALL A DREAM. KELLY BEVERLY AND ADAM PUSHING SOMEHOW I CAN'T - Arby's! OH MOVING ON. 16. GO TONIGHT MOVE. KELLY SAM SAM AND KELLY IF WE'RE GONNA GO, SO I SIT IN THE CAR THAT SHE IT'S ALL SO CLEAR. WE SAY GOODBYE. / SO SAY WE GOTTA GO TONIGHT. LEFT BEHIND SINKING DOWN GOODBYE! GO TONIGHT. IN THIS VOID LIKE A CRATER. KELLY GO TONIGHT. GETTING LOST IN A WORLD THAT wielding a sandwich BEVERLY AND ADAM IF WE'RE GONNA GO, I CAN'T REWIND. IT'S TOO LATE GOTTA EAT THIS. CAN YOU STEER? OH MOVING ON. WE GOTTA GO TONIGHT. AND IT'S JUST GETTING LATER. Sam takes the wheel. GO TONIGHT. SAM GO-OH TONIGHT. KELLY SAM WE SAY GOODBYE TO HIGH IF WE'RE GONNA GO, IN OUR PLAIN... SCHOOL SAM WE GOTTA GO TONIGHT. GO SHE WAS - TONIGHT. KELLY BEVERLY (ADAM) SHE WAS - mouth full MOVING ON. (OH) SITTING ON THE ROOF OF HER SAM Oh my god this is amazing. WHY DID I SAY NO? SAM AND KELLY BEAT-UP CAR HALF-SINGING, SAM AND FACE THE WORLD. KELLY HALF-LAUGHING, DULL... IF WE'RE GONNA GO, HALF-GOING TOO FAR. ADAM (BEVERLY) WE GOTTA GO TONIGHT. KELLY You're moving on. (oh) THE MUSIC PLAYED OVER, Watch out for that semi. WITH NOTHING TO COME. SAM The loud insistent honk of a semi. SAM IN A REMIX OF MEM'RY, WE HAD MILES TO GO. Kelly takes the wheel back. THOUGH WE DON'T KNOW THE LOOP OF THE - WHAT WE'LL SEE THERE, DRUM OR BASS LINE... KELLY SAM WE KNOW THAT WE'LL BE THERE OR WAS IT... GO - NORMAL, GOOD, SIMPLE NOTHING MUCH, BEAUTIFUL SAM AND KELLY KELLY SAM (KELLY) ORDINARY - Ordinary senior year. TOGETHER. IF WE'RE GONNA GO, YOU WERE MAD TO REACH, Sam dons a cap and gown. IT'S TIME TO KICK SOME ASS. WE GOTTA GO TONIGHT. MAD TO DRIVE. GO TONIGHT. MAD, MAD (MAD, MAD) SAM ADAM AND BEVERLY GO TONIGHT. AND SO ALIVE. This has been an ordinary senior MOVING ON IF WE'RE GONNA GO, THE SPACE YOU LEFT year for most of us - school dances, WE GOTTA GO TONIGHT. THE EMPTY AIR a lot of tests, a couple road trips, KELLY GO TONIGHT. I REACH, REACH (I REACH, and some of us even fell in love. FOR ALL YOU LOWER CLASSMEN: GO-OH TONIGHT. REACH) But the thing that has made my SUCKS FOR YOU! BUT YOU'RE NOT THERE senior year extraordinary is that I've SAM AND TIME EXPANDS had my best friend Kelly to share SAM AND KELLY (ADAM AND SHE WAS - THE BEAT GOES ON it with. BEVERLY) SHE WAS - YOU WERE MAD, MAD PEACE OUT TO ALL OUR CREW! EVERYTHING I'M NOT. AND NOW YOU'RE - MY WHOLE UNIVERSE. A SAM AND KELLY THE PARTY'S GONE. (MOVING) Beat. OH. WE'RE MOVING ON. (ON) ND I WAS A FOOTNOTE, Ring. A SLIM SECOND VERSE. SAM BUT SHE WAS THE CHORUS, SHE WAS - THE HOOK AND THE GROOVE. SHE WAS - AND WITHOUT HER THERE BOTH BEAT-UP CAR, RUN AWAY WITH ME. OH. WHEN I WAS YOUR ORBIT 18. RUN AWAY ALABAMA HEAT, SIGN ME UP. AND YOU WERE MY STAR. BUT WITH ME WE'LL BE ON THE ROAD LIKE KELLY NOW YOU'RE A BLACK HOLE AND SOME COUNTRY SONG. GO-OH I AM LEFT NUMB ADAM WON'T BE LONG. FROM THE LOOP OF THESE LET ME CATCH MY BREATH. SAM, YOU'RE READY. SAM MEM'RIES, THIS IS REALLY HARD. LET'S GO ANYWHERE. OVER AND OVER THE LOOP OF THE - IF I START TO LOOK LIKE I'M GET THE CAR PACKED AND YOUR WORDS TO ME ECHO. THE LOOP OF THE - SWEATING, THROW ME THE KEY. THE LOOP OF THE - WELL... THAT'S 'CAUSE I AM. RUN AWAY WITH ME. KELLY The club beat continues. I'M NOT GOOD WITH WORDS. I'M NOT TRYING TO MAKE YOU A GO TONIGHT. It stops. BUT THAT'S NOTHING NEW. WIFE HERE. STILL I HAVE TO TRY I'M NOT TRYING TO TIE YOU SAM TO EXPLAIN WHAT DOWN. GO TONIGHT. I WANT TO DO WITH YOU... I'M JUST SAYING THERE MIGHT 17. YELLOW SUV WITH YOU... BE A LIFE HERE - KELLY RUN AWAY WITH ME. SAM A NEW ONE AS SOON AS WE RUN, GO. LET ME BE YOUR RIDE OUT OF RUN AWAY WITH ME. If a yellow SUV is traveling down TOWN. Elmwood Road at a constant MISSISSIPPI MUD, WATCH ME SAM LET ME BE THE PLACE THAT YOU SLIDE. OVER AND OVER velocity of 57 miles per hour and a HIDE. pedestrian is crossing the road at WE'LL BE ON THE ROAD LIKE AS I TRY TO LET GO. WE CAN MAKE OUR LIVES ON THE JACK KEROUAC, LOOKING BACK. THERE'S A BLACK HOLE, A 2.5 miles per hour... GO. If the football player driving the SUV SAM, YOU'RE READY, SAM. VACUUM, IN DEEP OUTER SPACE, RUN AWAY WITH ME. LET ME BE YOUR RIDE OUT OF THAT SWALLOWS ALL MATTER sees the pedestrian from a distance TEXAS IN THE SUMMER IS COOL. of 132 feet and slams on the brake, TOWN. WITHOUT ANY TRACE, WE'LL BE ON THE ROAD LIKE RUN AWAY WITH ME. WHERE LIFE IS SUSPENDED IN decelerating at a rate of 11.1 miles JACK KEROUAC, per hour per second, will the SUV DREAMS, HERE WE PHYSICS AND TIME, LOOKING BACK, SAM, YOU'RE COME. EVERY WORD YOU SAID HANGS still hit the pedestrian? Yes. READY. But only if she hears him coming, ROMEO IS CALLING FOR JULIET. LIKE AN UNFINISHED - LET'S GO ANYWHERE. READY, SET. RHYME. only if she slows down just enough GET THE CAR PACKED AND to look up. It takes two seconds. I SAM, YOU'RE READY. Beat. Then - THROW ME THE KEY. know that. LET'S GO ANYWHERE. SAY THE RUN AWAY WITH ME. WORD AND I'M ALREADY THERE. SAM What I didn't know was that time SAM, I KNOW IT'S FAST. doesn't stop - prom still has a RUN AWAY WITH ME. SO I SIT IN THE VACUUM YOU I'M IN LOVE WITH YOU. The moment hangs. LEFT BEHIND AND I SIFT theme, the valedictorian still gives SAM, IT'S CRAZY BUT, SAM, I'M THROUGH EACH PHRASE FOR a speech on a future she knows CRAZIER FOR YOU. AN EMBER - nothing about. I HAVE THESE PLANS, SAM, The truth is I don't remember any I HAVE THESE PLANS OF A HOUSE KELLY of it. Not one slow dance or test. THAT WE'LL BUILD ON A BAY GO - Not one single day of that spring. WHEN WE RUN AWAY. Nothing woke me up - nothing LET ME BE YOUR RIDE OUT OF SAM moved me. TOWN. FOR A SPARK THAT WILL LIGHT Except one thing... It was yesterday. LET ME BE THE PLACE THAT YOU 'CAUSE I CAN'T REWIND. HIDE. I UNRAVEL UNTIL I REMEMBER WE CAN MAKE OUR LIVES ON THE SITTING ON THE ROOF OF YOUR GO. SAM KELLY Then, Adam appears. He takes over 19. DRIVE DRIVE. EYES AHEAD. IF YOU FOLLOW MY the test. A fresh wound, a beating heart. Her mother still hovering Beverly sits down in the car seat next FOCUS AND STEER. INSTRUCTIONS, I CAN FREE YOU. - instructing, "helping," making it to Sam, who is still lost in her own DON'T LOOK IN THE REARVIEW I CAN MAKE YOU FEEL ALIVE. impossible to focus. thoughts. She has a clipboard. The MIRROR. DON'T THINK. test begins. DON'T SWERVE. SAM DON'T STOP. I CAN DO IT ON MY OWN. SAM EYES AHEAD. FOCUS AND STEER. BEVERLY Kelly appears with a clipboard. Mom and Kelly both bear down on Sam. OKAY. ADAM BUCKLE UP. KELLY OK. BUCKLE UP. I'LL BE ADMINISTERING YOUR DRIVE. BEVERLY EIGHTEEN YEARS HAVE COME TEST TODAY. IF YOU FOLLOW MY SAM INSTRUCTIONS, YOU WON'T DIE. SAM AND GONE. JUST KEEP IT SIMPLE. DON'T LOOK IN THE REARVIEW IF YOU FOLLOW MY KELLY MIRROR. INSTRUCTIONS, YOU WON'T FAIL. KELLY DRIVE. DO YOU WANT TO DIE? DRIVE. BEVERLY DO YOU WANT TO FAIL? SAM OH, I LOVE - She looks Sam in the eye - it's a real SAM trying to focus question. KEEP THE SPEED FIFTY-FIVE. DRIVE. ADAM I'LL BE ADMINISTERING YOUR SAM KELLY BEVERLY TEST TODAY. NO. DRIVE. EIGHTEEN YEARS YOU'RE MY Okay then. WHOLE LIFE. SAM Sam puts her hands on the wheel. The SAM DON'T THINK. DON'T SWERVE. test resumes. BREATHE AND WATCH THE KELLY DON'T STOP. DRIVE. HIGHWAY. WATCH FOR TRAFFIC. BEVERLY KELLY WATCH FOR TRAFFIC. KELLY SAM IF YOU FOLLOW MY DRIVE. WATCH FOR TRAFFIC. INSTRUCTIONS, MY SAM INSTRUCTIONS. DRIVE. WATCH FOR TRAFFIC. SAM KELLY FOCUS AND DRIVE. DON'T FORGET TO BREATHE. BEVERLY BEVERLY Kelly takes over the driving test. IF YOU FOLLOW MY DON'T FORGET TO BREATHE. SAM INSTRUCTIONS. DRIVE. KELLY DON'T FORGET TO BREATHE. SAM OKAY. BUCKLE UP. ADAM DON'T FORGET TO BREATHE. KELLY IF YOU FOLLOW MY SAM JUST KEEP IT STEADY. OKAY. INSTRUCTIONS, I'LL KEEP YOU BEVERLY Kelly, stop. SAFE. TAKE THE NEXT EXIT AND JUST KEEP IT STEADY. SAM DRIVE. KELLY OKAY. DRIVE. SAM I'LL BE ADMINISTERING YOUR SAM OKAY. TEST TODAY. BEVERLY I DON'T WANT TO BE SAFE. I KNOW MY GIRL. BEVERLY KELLY RELAX. DRIVE SLOW. YOU WANT TO TAKE A RISK. SAM ADAM I START DRIVING AND KEEP careless and wild and squeeze the YES. ROMEO AND JULIET. IT'S AS DRIVING. life out of every second. And don't SIMPLE AS THAT. I CAN'T STOP TIL I FEEL ALIVE crash my car. I'm serious. I will, BEVERLY AGAIN. like, haunt you. RISK IS GOOD IF IT'S PLANNED. BEVERLY AND KELLY FEEL ALIVE ON MY OWN. (I) LOVE. AND I WISH I COULD SAY THAT SAM SAM YOU'RE WITH ME, You're the kind of person who would I DON'T WANT A PLAN. ADAM BUT I KNOW I'M ALONE. do this, not me. SAM, I KNOW IT'S FAST. I'M IN The memory jumble retreats. BEVERLY LOVE WITH YOU. KELLY CALCULATE THE RISK YOU'RE KELLY YOU TAKE THE RISK. TAKING. BEVERLY AND KELLY REMEMBER, REMEMBER. YOU PAY THE COST. I LOVE YOU. YOU DRIVE UNTIL YOU'RE LOST. KELLY The music shifts. Sam tries to focus on ADAM AND LOOK AROUND. BUCKLE UP. not letting them get to her. HEY SAM. SEE WHERE YOU WENT. AND YOUR LIFE BEVERLY SAM BEVERLY WILL BE A MONUMENT. CALCULATE A SHORT EQUATION. What do I want? What do I need? I WILL LET YOU GO. It doesn't matter if it's a mistake. They disappear. A beat. Sam is alone. SAM SAM It doesn't matter if I fail. I have to So what - just get the atlas out and I WANT TO LET GO. think big. I have to take control. SAM - point? Even if I disappoint everyone, even EYES AHEAD. KELLY if no one ever speaks to me again. I FOCUS AND STEER. KELLY THE ROAD YOU TAKE SHOULD have to feel something. DON'T LOOK IN THE REARVIEW What did I always tell you? FEEL RIGHT. THE ROAD WILL MIRROR. TELL YOU WHO YOU ARE. KELLY DON'T THINK. DON'T SWERVE. SAM REMEMBER? REMEMBER? DON'T STOP. a lie BEVERLY REMEMBER? I don't remember. MULTIPLY THREAT BY VULNERABILITY BY COST. ADAM KELLY RUN AWAY WITH ME. IT'S AS 20. I DIDN'T SAY Yeah you do. ADAM SIMPLE AS THAT. LET'S GO. GOODBYE SAM, YOU'RE READY. LET'S GO. SAM MAYBE NOT TODAY, MAYBE BEVERLY KELLY "Maps are for brain deads." TOMORROW. SLOW DOWN, SAM. SLOW. You passed. Their voices build until Sam can't hear KELLY BEVERLY herself anymore. SAM That's right. I LOVE - I can't do this alone. SAM SAM ADAM Listen to me! KELLY I didn't say goodbye. MAYBE IT'S AS SIMPLE AS Silence. You're scared. You should be. If CALIFORNIA DREAMS. you're not, you're not doing it right. KELLY SAM Sam doesn't answer. Sometimes you don't get to say KELLY I NEVER DREAMED OF RUNNING goodbye. I LOVE - AWAY. KELLY They look at each other. BUT I DO DREAM ABOUT THE You do it now, you do it for you, and HIGHWAY. you do it alone. Be mad, Sam. Be SAM 21. REMEMBER SAM, KELLY, BEVERLY SAM, KELLY, BEVERLY, ADAM I really miss you. THIS REMEMBER. FREEDOM. FREEDOM. KELLY SAM BEVERLY FREEDOM. I know. It sucks, right? THE SEAT IS SINKING REMEMBER EVERYTHING THAT UNDERNEATH YOUR WEIGHT. LED YOU HERE, Blackout. SAM THE SKY IS PALE WITH MORNING Can't we just stay like this? LIGHT. KELLY YOUR HEART IS BEATING AT A EACH ROAD TRIP AND EVERY KELLY FASTER RATE. SINGLE TEAR. You know we can't. REMEMBER THIS - THE RACING HEART, THE FADED SAM, KELLY, BEVERLY SAM DAWN. REMEMBER WHAT YOU LEARNED Just for a little while longer? REMEMBER THIS They sit together. Finally, Kelly touches SAM BEFORE THE MOMENT'S GONE. Sam's arm. Time to go. She stands AND WHAT YOU STILL DON'T up and gives Sam's bag to her. In the SAM AND BEVERLY KNOW. background, Beverly hums. THE STREET IS QUIET BUT THE SAM, KELLY, BEVERLY CLOUDS RACE BY, KELLY YOU LOOK BACK ON YOUR LIFE What do you want, Sam? SAM SAM AND WHO KNOWS WHAT THOSE ON THE GIRL YOU WERE FOR SAM CLOUDS WILL SEE. I want the deafening sound of driving EIGHTEEN YEARS. fast with the windows down. BOTH SAM, KELLY, BEVERLY BEFORE YOU START REGRETTING, SAM YOU LOOK BACK ONE MORE TIME, I want to reach the horizon of SAM, BEVERLY, KELLY impossibility. SAM BEFORE YOU TURN THE KEY, THEN YOU LET IT GO. KELLY KELLY SAM, KELLY, BEVERLY I LIVE IN WHAT YOU DO, REMEMBER THIS - IN WHAT YOU WANT TO DO. YOUR HAND MIGHT SHAKE AS NOW THAT I'M GONE. THE IGNITION LIGHTS. SAM YOU MIGHT NOT KNOW WHAT Kelly disappears. THE WAY IT FEELS INSIDE THE ROAD YOU'LL TAKE. CAR, SAM BUT NOW THE GEAR IS SHIFTING. YOUR FOOT IS LIFTING OFF THE I'M MOVING ON. SAM, KELLY, BEVERLY BRAKE. THE STILL, COOL AIR. SAM, KELLY, BEVERLY SAM REMEMBER THIS. REMEMBER FEELING LIKE YOUR LIFE BEGINS TODAY. SAM TRY TO STOP AND FEEL EACH REMEMBER SECOND SLIP AWAY. FREEDOM. REMEMBER THIS. FREEDOM.

FREEDOM. Emma Hunton, Krystina Alabado, Katie Thompson (Beverly) and Ben Frankhauser in the recording studio. Photos by Rascal Pictures.

ABOUT THE WRITERS

KAIT KERRIGAN (she/her) is an award-winning lyricist, bookwriter, and playwright. Off-Broadway: THE MAD ONES (fka THE UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN), HENRY & MUDGE, with composer Brian Lowdermilk. She has written book and lyrics for the immersive house party THE BAD YEARS, REPUBLIC, UNBOUND, IRENA; and lyrics for ROSIE REVERE, ENGINEER & FRIENDS, and EARTHRISE. Her plays include FATHER/DAUGHTER, DISASTER RELIEF, IMAGINARY LOVE, and TRANSIT. Her work has been developed by La Jolla, Kennedy Center, Theatreworks/Silicon Valley, Primary Stages, Goodspeed, and others. Awards: Kleban, Larson, Theatre Hall of Fame Most Promising Lyricist. Alumna of Dramatists Guild Fellowship, Page 73's I-73, BMI Musical Theatre Writing Workshop, and Barnard College.

BRIAN LOWDERMILK (they/them or she/her) is a queer, gender non-conforming writer and composer. Their musicals include THE BAD YEARS, HENRY & MUDGE, THE MAD ONES (fka THE UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN), REPUBLIC, ROSIE REVERE, ENGINEER & FRIENDS, and their OUR FIRST MISTAKE, and KERRIGAN-LOWDERMILK LIVE. Awards: Jonathan Larson, Alan Menken, Richard Rodgers, Dramatists Guild Fellowship.

www.kerrigan-lowdermilk.com PRODUCTION CREDITS

PRODUCED BY: IAN KAGEY, BRIAN LOWDERMILK, KAIT KERRIGAN ENGINEERED, MIXED BY: IAN KAGEY EDITED BY: IAN KAGEY & BRIAN LOWDERMILK

EXECUTIVE PRODUCER: SEAN PATRICK FLAHAVEN PRODUCTION MANAGER: JILL DELL’ABATE ASSISTANT ENGINEER: JUSTIN BERGER MASTERED BY: OSCAR ZAMBRANO, ZAMPOL PRODUCTIONS, NYC RECORDED AT: SEAR SOUND, NYC & KILGORE STUDIOS, NYC AUGUST 22-23 & SEPTEMBER 4, 2019

ORCHESTRATIONS BY: BRIAN LOWDERMILK MUSIC COPYIST: JEREMY LYONS ELECTRONIC MUSIC ARRANGEMENTS AND PRODUCTION: DANA HAYNES SOUND DESIGN: ALEX HAWTHORN

LAYOUT & DESIGN: DEREK BISHOP COVER DESIGN: SUBPLOT STUDIO PRODUCTION PHOTOGRAPHY: RICHARD TERMINE STUDIO PHOTOGRAPHY: RASCAL PICTURES

The Mad Ones had its off-Broadway premiere at Prospect Theatre Company in 2017. Under the title The Unauthorized Autobiography of Samantha Brown, the show premiered at Goodspeed Musicals in 2011.

ALL SONGS BY BRIAN LOWDERMILK & KAIT KERRIGAN c BKLK MUSIC (ASCAP)

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FOR CRAFT RECORDINGS SIG SIGWORTH, PRESIDENT MARY HOGAN, SVP A&R ADMINISTRATION MARK PIRO, PRODUCTION COORDINATOR

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CR02190 p & © 2019 CRAFT RECORDINGS. CONCORD THEATRICALS Distributed by Concord. 5750 Wilshire Blvd, , CA 90036. Unauthorized duplication is a violation of applicable laws. All rights reserved.

LIVE DRAMATIC PERFORMANCE RIGHTS FOR THE MAD ONES ARE REPRESENTED EXCLUSIVELY BY CONCORD THEATRICALS.