High Hopes

Book and Lyrics by Emily Townshend and Andrew Morley

Music and Additional Lyrics by Lucas Denneboom
Additional Music by Brandon Roderick
HIGH HOPES was first presented at Brockville Collegiate Institute January 21st 2011. The
production was directed by Emily Townshend and Andrew Morley, with musical
direction by Lucas Denneboom and choreography by Kaylee Villeneuve and Maggie
Robertson. The stage manager was Liz Sakowsky. The original cast and pit was as
follows:
CAST
(In Order of Appearance)
KATE ... Emily Townshend
JAMIE .. Andrew Morley
ENSEMBLE ... Clifford Bauder
Joan Gabriel
Melanie Peters
Aaron Robinson
Kaylee Villeneuve
PIT
CONDUCTOR ....... Lucas Denneboom
PIANO . Elias Evans
GUITAR 1 . Brandon Roderick
GUITAR 2 . Michael
Raas
BASS .. Brooke Taylor
REED 1 ... Andrew Flood
REED 2 Joshua Feltmate
TRUMPET .. Lance Brazeau
DRUMS Nate Livingston
PERCUSSION ... Carol Buckingham
The setting is a small, fictional Canadian town called Hammersmith. The majority of the
action happens in Hammersmith Collegiate Institute.

AUTHORS NOTE TO THE DIRECTOR

HIGH HOPES is not a play about drugs. This must be distinctly understood, or nothing
important can be learned from the show. It is a play about life, about honesty, and about
the destructive power of secrets; drugs are merely a plot device. The underlying theme is
about the characters choices about how to deal with their addiction and its effect on
others around them, and these are effects which would remain the same if the addiction
was to alcohol, food, or even technology.
The show is separated into three seasons: Fall, Winter, and Summer. This has caused
confusion with some directors, but the intent is to help the actors differentiate the three
time periods of the play from each other. Fall is the present, comprised of Kate at the
Addicts Anonymous meeting slowly opening up and telling her story. Winter is the happy
story arc, as two opposites attract and find love. Finally, the Summer season opens with
great joy as the whole cast joins in Shakespeare Never Learned Calculus, but quickly
turns dark as challenges are thrown at Kate and Jamie and we approach the plays tragic
climax. The Kate we see in Fall, Scene Two should be very different from Kate in
Summer, Scene 4; she has had time to reflect and process everything, and this gives her
perspective.
The roles of Kate and Jamie must be cast based on acting ability first and foremost. Some
classical training and experience is preferable, though not essential. It is important that
the actors cast in the leads can work well together and play off each other, as their
onstage dynamic must almost exclusively sustain the entire 45 minute show.
On the subject of casting, a body double of relatively similar build for Jamie is absolutely
essential. Beyond that, the director may choose to have as many or as few extras as they
like, though the minimum for Summer Scene 4 is five, including Jamies double. The
extras should be encouraged to bring their own personalities to the roles, and together the
ensemble should reflect a broad spectrum of characters.
The set in the original production was kept very simple; however more elaborate sets may
be used at the discretion of the director. The show functions quite well with a basic door
unit, locker unit, and ideally some sort of backdrop to denote a street and a beach. The
rest of the set is made up of smaller, easily obtainable pieces such as tables, desks and
chairs.
When a script is as short as the one for HIGH HOPES, every word choice becomes
important. This is a fact actors should keep in mind when it comes to the memorization of
lines. Even a simple change of a preposition can, in some places, change the entire
purpose and meaning of a line or even the tone of a whole scene. Obviously there is room
for interpretation in the delivery of lines; each actor must do their utmost to make their
character their own. But if you are looking for a show with lots of opportunities for
improv, I suggest you seek the rights to GODSPELL, or another such comedy. The stage

directions that follow reflect the original blocking and are meant as general guidelines
only. As long as the original dialogue is stayed true to, the director is free to put their own
personal spin on blocking.
Above all, respect for the subject matter is essential. HIGH HOPES has its funny moments,
but at heart it is a serious look at a very hard topic to deal with, and must be treated as
such.
E. J. Townshend and A.G.P Morley
Authors, HIGH HOPES

NOTES FROM THE COMPOSER

The score for HIGH HOPES is scored to be fun and exciting to play for musicians and
singers of intermediate to professional ability. A strong focus on improvisation and
musicianship will ensure an interesting and challenging score that changes every time it is
played. Rock and ballad driven songs makes for a score that can be performed with just a
rhythm section (Guitar, Bass, Drums, Piano) however, for a more full and orchestral
sounding band, the musical director can choose to include any of the additional
instruments included in the package to add to a full-sounding 11 piece orchestra.
Although the musical director can choose any available musicians to play the parts, I
recommend you add instruments to the rhythm section in the following order of priority:

Rhythm Section - Compulsory (Guitar 1, Bass, Drums, Piano)

Guitar 2 Strongly Recommended
Trumpet
Synthesizer
Percussion
Reed 1 and 2
Trombone

The small cast of just two main characters makes the casting process a crucial element of
the productions success. Both Jamie and Kate need to be casted with two strong vocalists
who are adept at making the music their own. The vocal score for HIGH HOPES is
certainly not meant to be taken 100% literally. Your singers should be encouraged to add
their own personal stylistic elements to the music. Therefore, often a (strictly) classically
trained vocalist may not be the best choice for these roles. A singer for a rock band or a
jazz band will almost always be your best bet for this score. Also, it is important to make
sure that the two main vocalists voices blend well together as they sing together in unison
and in harmony frequently throughout the show.
The chorus members can range in number from a minimum of 4 to 10 performers, and
should be balanced with an approximately equal number of males and females if possible.
This will ensure the equal balance of male to female vocal parts in the choral musical
numbers.
I hope you and your band enjoy playing my score and have fun with the improvisational
sections. The most important thing to remember is to make it your own and to have a
good time playing! Happy musicians make good music, and the audience will only enjoy
your music if the band does as well.
Lucas K. Denneboom
Composer, HIGH HOPES

CAST OF CHARACTERS
KATE: The overachiever. Shes a bit of a basket case, and more then a little hypocritical.
She must be likable, however, for the audience to sympathize with her story and the plots
main message to be effective.
JAMIE: Relaxed, goofy, a bit of a cut-up. Not the smartest or the strongest, but he has a
huge heart.
ENSEMBLE: In the original, these consisted of one jock, two mean girls, one nerd,
and one adorable, nave freshman. The archetypes are unimportant, as long as they
reflect a cross-section of the audience.
MUSICAL NUMBERS
1. Overture .. Band
2. Three OClock .... Kate
3. Addicts Anonymous .... Kate
4. Scene Change to Annie .. Band
5. Scene Change .. Band
6. Take the Sweater ... Kate, Jamie
7. Scene Change .. Band
8. Shakespeare Never Learned Calculus . Kate, Jamie, Ensemble
9. Injury Ballet ..... Band
10. Underscore ... Band
11. Once We Get Out .. Jamie, Kate
12. Underscore Jamies Death .... Band
13. Failing ... Jamie, Kate
14. Scene Change .. Band
15. Bows .... Band
16. Exit Music ... Band
17. Optional Encore: Shakespeare Never Learned Calculus ..... Band

1 OVERTURE
FALL, SCENE 1
KATE enters stage right, dressed as if coming in from outside in early fall.
2 THREE OCLOCK
KATE: ITS 3 OCLOCK, AND I WALK,
DOWN THIS LONELY HALL I KNOW
SO ALONE I WISH THAT
YOU WERE HERE TO DO THIS WITH ME
THE CRACKS IN THE WALL MAY
SEEM A BLUR TO ALL OF THEM
BUT I KNOW THEYRE ALL SO
PERFECT JUST LIKE WE USED TO BE
Kate removes scarf, gloves, etc.
ITS 3 OCLOCK AND I STILL CANT HELP MYSELF
I WONDER WHY IM HERE
AND I WONDER WHY YOURE NOT
I WONDER HOW IT ALL GOT SMASHED TO PIECES

Stage dark, curtain closed. Special on KATE. Through following she should occasionally
glance from side to side, and out to the audience, to give impression of being at an AA
meeting.
KATE: My name is Kate and Im an an addict. There! I said it. Im an addict. Its been
about 6 weeks since my last hit. I didnt want to come to these meetings. Most of you
probably recognise me as the girl whos sat in the back right corner for the last five weeks
and never opened her mouth. I didnt want to be here. I still dont. My friend was
supposed to come with me. This was his idea, really. But he couldnt make it. And
thats why I came.
I
3 ADDICTS ANONYMOUS
KATE: I USED TO BE YOUR AVERAGE
NORMAL, EVERYDAY KIND OF GIRL
GOOD GRADES, GOOD CROWD, GOOD EVERYTHING
AND THEN I THREW IT ALL AWAY
TO HELL
IT MAY NOT HAVE BEEN MY IDEA

AT LEAST, NOT AT FIRST BUT IN THE END

IT ALL TURNS OUT JUST THE SAME
AND THATS THE REASON WHY IM HERE
I WONDER HOW I WILL COMPRESS
10 MONTHS INTO A SINGLE HOUR
HOW SLOW THOSE DAYS WOULD FALL AND YET
I CANT RECALL I THIRD OF WHAT WENT DOWN
AND ILL TRY TO GO IN A STRAIGHT LINE BUT
SOMETIMES MY MIND HAS OTHER IDEAS PLANNED
OH, PLEASE JUST LISTEN,
PLEASE, DONT JUDGE
ADDICTS ANONYMOUS

WINTER, SCENE 1
KATE: It all began on a bright, fall Wednesday. I was minding my own business in my
own little corner of the cafeteria and suddenly something heavy slammed against my
back and something cold and wet and sticky had splashed across my physics textbook
and somebody better have a pretty good excuse for this because
At start of show a table and chair has been placed upstage right, which KATE has sat
down at by this point. Locker unit has been placed downstage left.
Lights up. JAMIE enters from stage left and is stumbles into KATE.
KATE: Hey, watch it!
JAMIE frantically grabs napkins.
JAMIE: (babbling) I am such a klutz! Im really, really sorry about this. Can I make it up
to you somehow?
KATE: Sure! You can explain to Mr. Anderson how my physics book spontaneously
turned purple!
JAMIE: (slightly let down) I guess I could. (Rallies) If he doesnt eat me first!
An awkward pause as KATE gives JAMIE a did you really just say that? look. Optional
SFX: school bell.
KATE: I should get to class. I already have to explain the massacred text book
JAMIE: Wouldnt want to be late for Mr. Andersons class!
KATE: You got it. (A beat) Well, see you around I guess.
JAMIE: See ya.
KATE exits. Lights down. Special on JAMIE.
JAMIE: See ya? See ya?! What kind of pathetic, awkward goodbye is see ya? But
thats me, I guess. Pathetic and awkward, though my friends seem to think Im pretty

cool. Problem is, my friends and I are in stage band. At this school, we may as well be a
separate species. Drop me in a group of normal, eight oclock to two fifteen students and
ask me to make small talk, and you may as well drop me on the streets of Paris without a
dictionary. And a group of girls? Make that Tokyo.
But this girl. I dont know what it is, but shes different. She still makes me feel like a
Frenchman in Chinatown, but shes worth finding a French-Chinese dictionary for. And I
have a plan, involving a lot of semi-stalking, Facebook creeping, andDirect segue to WINTER, SCENE 2
WINTER, SCENE 2
Curtain is still closed. KATE is struggling at her locker. JAMIE approaches, hesitantly but
resolved, holding two tickets.
JAMIE: Kate!
KATE: Jamie? Hows it going?
JAMIE: You ever heard of Annie?
KATE: (quizzical) Yeah
JAMIE: And you know that touring companys coming to Hammersmith next week?
KATE: Yes.
JAMIE: I have an extra ticket. (Holds ticket out to her)
KATE: Are you asking me out?
JAMIE: Maybe. Are you saying yes?
KATE: Maybe. (takes ticket)
JAMIE: Ill pick you up at six.
KATE: Meet in the lobby at six fifteen. Ill walk.
JAMIE: Great!
KATE: Yeah. (JAMIE leaves. To audience, suddenly nervous) Maybe.
KATE exits after him.
CONDUCTOR: Ladies and Gentleman, welcome to the Hammersmith Community
Theatre and to tonights performance of Annie, presented by the South Mallory Players!
4 SCENE CHANGE TO ANNIE
Orchestra is hopeless! CONDUCTOR frequently yells (C#s, dammit, C#s! etc.), gestures
wildly and generally tries to save this train wreck. BAND eats, drops stuff, talks on cell
phones, etc. at conductor and directors discretion.
WINTER, SCENE 3

Blackout. Area behind the curtain has been preset to resemble a street at night. The
curtain is closed, onto which is projected the logo for Annie. KATE and JAMIE have joined
the audience in the first row. It is obviously intermission, and the house lights are up.
(Note: two seats must be reserved in the front row!)
JAMIE: So?
KATE: Its not terrible.
JAMIE: Its not great, though, is it?
KATE: Well, what do you think?
JAMIE: I think uh I think Ive never seen a musical before and shouldnt judge.
KATE: Youve never seen one and THIS is your introduction to the genre?! This is a
travesty!
JAMIE: A what?
KATE: Travesty: a shameful tragedy. A horrendous butchery (CONDUCTOR begins to cry)
of something normally incredible. A ridiculous mess of (KATE notices blubbering
CONDUCTOR as the house lights begin to fade out) Never mind
5 SCENE CHANGE
WINTER, SCENE 4
Curtains have opened to reveal a typical Canadian street in November. It is just
beginning to snow. KATE is dressed for the warmer afternoon, JAMIE likewise, but with a
hoodie.
KATE: That was nice.
JAMIE: Im sorry the show was so terrible.
KATE: Hey, the finale almost made up for it (shivers slightly) What time is it?
JAMIE: 9:46 Youre freezing!
KATE: Im fine! Its only 8 blocks home.
JAMIE: (removing hoodie) Take my sweater.
6 TAKE THE SWEATER
KATE:

A SWEATER
A SWEATER
A PLAIN OLD ORDINARY SWEATER
BUT SOMEHOW I KNOW
THAT THIS MEANS SOMETHING MORE.
DO I TAKE IT AND WALK THROUGH THIS NEW DOOR?
OR DO I SLAM THE DOOR AND HOPE THAT SOMEDAY THERELL BE
MORE?

JAMIE:

(HUM)
BABY YOU GOT GOOSE-BUMPS,

AND YOURE SHIVERIN

THEY CAN HEAR YOUR TEETH ACLACKIN IN JERSEY
I PROMISE ITS CLEAN,
I WASHED IT LAST NIGHT!

KATE:

ITS ONLY FIVE BLOCKS LETS NOT DO THIS TONIGHT!

JAMIE:

BABY YOURE BEIN RIDICULOUS,

ITS JUST A SILLY LITTLE SWEATER.
BUT SOMEHOW SHE THINKS
THAT THIS MEANS SOMETHING MORE.

KATE:

MAYBE IM CRAZY TO THINK THAT THIS MEANS

ANYTHING MORE THAN EXACTLY WHAT IT SEEMS
MAYBE IM JUST STUPID, A REAL FIRST-CLASS FOOL

JAMIE:

THIS AINT THE MOVIES KATE! BABY

BOTH:

THIS IS HIGH SCHOOL!

DIALOGUE:
JAMIE: Cmon Kate! I cant watch you freeze like this.
KATE: Well (He puts the sweater on her. She doesnt resist, and slowly puts arms in
sleeves)
BOTH:

SOMEHOW I KNOW
THAT THIS MEANS SOMETHING MORE

KATE zips up sweater and both cross to doorway unit.

KATE: This is me. Here, let me give you your sweater back. (She begins removing
sweater.)
JAMIE: Keep it. You can give it back tomorrow. Or the next day. No biggie. So, I guess
this is goodbye
KATE: Youre not great with goodbyes, are you?
JAMIE: Not really.
KATE: Well then. Till next time.
JAMIE: Does that mean therell be a next time?
KATE: (gives JAMIE a quick, impulsive kiss) Yes.
KATE exits though door. JAMIE does a cheesy victory celebration. Slow fade to blackout
7 SCENE CHANGE
SUMMER, SCENE 1

Late spring. A study hall. KATE, JAMIE, and STUDENTS sit at various desks, writing,
reading, or chatting. KATE is assisting JAMIE with Richard III.
KATE:
Now is the winter of our discontent
Made glorious summer by this son of York;
And all the clouds that low'r'd upon our house
In the deep bosom of the ocean buried.
You with me so far?
JAMIE: It made sense to York the sun came out and chased away the winter, right?
KATE: Not exactly like that. The son isnt the sun; its a son. (JAMIE gives her a
blank look) As in the Kings son (It is obvious they have been at this for some time)
Maybe we should just move on to calculus.
Grumbling, JAMIE pulls two heavy textbooks towards them.
JAMIE: I dont get it though. The guys been dead 400 years and we still have to learn his
stuff?
KATE: Archimedes died 800 years ago, and yet you and Mr Anderson insist his principles
of mathematics and inventions are still important!
JAMIE: Thats (lamely) different. Math and science they govern the world.
KATE: And people like Shakespeare make it worth living in!
Caught up in enthusiasm for her topic, KATE rises out of seat and gestures broadly. She is
met with stares by the other STUDENTS.
KATE: "This above all: to thine own self be true. And it must follow, as the night the day,
thou canst not then be false to any man". (KATE notices STUDENTS stares, and gives them
a whats your problem? look, then lowers her voice.) Thats thats intense. Thats
way more helpful than any calculus. I mean, look at Shakespeare. He never learned
calculus, and he did alright for himself!
8 SHAKESPEARE NEVER LEARNED CALCULUS
KATE:

YOU CAN BET BACK IN FIFTEEN SIXTY FOUR

THERE WERE FOLKS TEACHING MATH TO THE GUYS
BUT BY FIFTEEN EIGHTY NINE THIS CHAP CALLED WILL
HAD DECIDED IT WAS WRITE OR DIE

JAMIE: AND BY SIXTEEN SIXTEEN EVEN THOUGH

THIS GUY WAS NO LONGER ALIVE

WELL ITS TWENTY TEN AND AS YOU KNOW
SHAKESPEARE STILL RULES OVER H.C.I.

ALL:

SHAKESPEARE COULDNT SPELL TO SAVE HIS LIFE

HE COULDNT EVEN DO HIS OWN NAME THE SAME TWICE

SHAKESPEARE DIDNT NEED VECTORS OR PI

HE NEVER LEARNED CALCULUS
AND HE TURNED OUT JUST FINE, YEAH!

KATE:

RICHARD THE THIRD BEATS RADII

JAMIE:

ID RATHER HAVE COMEDIES THAN THE COSINE

HE DIDNT NEED TANGENTS AND TRIG
HE HAD HUMANITY TO ENSHRINE

ALL:

ENS: YEAH!
ENS: NO!

SHAKESPEARE COULDNT SPELL TO SAVE HIS LIFE

HE COULDNT EVEN DO HIS OWN NAME THE SAME TWICE
SHAKESPEARE DIDNT NEED VECTORS OR PI
HE NEVER LEARNED CALCULUS
AND HE TURNED OUT JUST FINE, YEAH!

JAMIE: TO TELL YOU THE TRUTH IVE NEVER CARED

BOUT THE ROOT OF COS X OR THE SIN OF THETA

SQUARED
BUT THINGS LIKE FUNCTIONS, MU AND PI
THOSE THINGS HAVE PUT ROCKETS IN THE SKY!

ENS: NO, NO, NO, NO!

NO! AHH
YEAH!

KATE:
JAMIE:
KATE:
BOTH:
ALL:

BOTH:

MAYBE WE COULD JUST AGREE TO DISAGREE

THAT AINT QUITE OUR STYLE, ITS PLAIN ENOUGH
TO SEE.
BUT IF YOU ADMIT THAT THE BARDS GOT TALENT
MATHS GOT ITS PLACE, BUT YOU CAN GET BY
WITHOUT IT!

ENS:
SHAKESPEARE COULDNT SPELL TO SAVE HIS LIFE
HE COULDNT EVEN DO HIS OWN NAME THE SAME TWICE
SHAKESPEARE DIDNT NEED VECTORS OR PI
HE NEVER LEARNED CALCULUS
AND HE TURNED OUT JUST FINE, YEAH!
SCAT: YEAH, YEAH, YEAH, YEAH ETC

AHH!

ENS: YEAH!

9 SCENE CHANGE INJURY BALLET

Crash chord and lighting effects as KATE trips and falls to the floor. Motion of scene
gradually slows as JAMIE goes to her and other STUDENTS gradually swarm them.
Blackout. Stage is cleared for Injury Ballet, a sequence of tableaus. KATE being helped
away, KATE in emerge, KATE receiving the Tylenol 3.
SUMMER, SCENE 2
Curtain is closed. A potted plant, a lawn chair and a wicker trunk adorn downstage left.
JAMIE enters, carrying a sweater. He is dressed in a white t-shirt.

JAMIE: Kate got hurt pretty bad that day. She couldnt get up at first, and we all got
pretty freaked out when the teacher called the ambulance and the medics took her away
on a stretcher. They only kept her for a few hours, then they splinted her shoulder and
sent her on her way with a Tylenol 3 prescription. But I didnt know that. All I knew was
that my girl, my Kate was lying on a stretcher in a hospital somewhere and there was
nothing I could do about it. So I went home and did the only thing I could think of to
distract me.
But then she showed up, and thats when all our problems really started.
JAMIE puts on sweater and sits down in chair. KATE enters from the side door.
KATE: Jamie?
JAMIE: (visibly out of it, very surprised that shes here) Kate?!
KATE: Jamie!
JAMIE: What are you doing here? I thought I mean you were and now youre
KATE: Up and walking? I sprained my shoulder, not my ankle! They gave me some meds
and kicked me out for an oncoming wave of little league baseball injuries (sensing
JAMIE has tuned out) and zombie apocalypse victims. Im not sure what they were
planning on doing about them, though. They were pretty far gone kept yelling for
brains, braaaaiiiinnns!
JAMIE: Brains? Huh?
KATE: Back from Neverland then, are we?
JAMIE: (without thinking) Not quite.
KATE: Jamie, whats with you tonight? Its like youre half asleep or high or (leans
closer, sniffs him and recoils) high. (Shocked, angry) Youre you Sarah was right.
Youre just another stage band druggie!
KATE makes to walk away, JAMIE attempts to stop her.
JAMIE: (desperate) Kate! Please, just let me explain!
KATE: What is there to explain? You (switches tracks) just call me when you come
down.
JAMIE gives up, takes chair offstage. KATE moves upstage. During her monologue the
locker unit is brought on and the plant and trunk are moved off.
10 UNDERSCORE
KATE: It was awkward for weeks. I avoided him, he avoided me, until finally neither of
us could take it any longer and we just had it out with. By that time I was supposed to be
off my meds but I wasnt. I knew, logically, that I didnt need them anymore, but I just
couldnt give them up. I kept thinking what if the pain just comes right back? I see
now, it wasnt just the physical pain I was afraid of. Somehow, my mind had linked the

Tylenol with stopping all pain. And it was trying to protect me. So I lied to Jamie. I kept
promising him, one more week and Ill get off them. I just need to pass this test or finish
this essay or- excuse after excuse after excuse. It shouldnt have surprised me when I
found out hed broken his promise. Rooting through some Facebook shots from the
weekend on my spare, I stumbled on one lone, untagged picture hidden away in an album
from a lake party. And I flipped out.
SUMMER, SCENE 3
Curtain is closed. JAMIE is struggling at his locker. KATE approaches. It is obvious she
has spent some time searching for him, and he has gone to some trouble to avoid her.
Note: JAMIE is NOT high for the duration of this scene.
KATE: Jamie. Jamie! Where have you been hiding all day?
JAMIE: (irritated) I havent been hiding. You obviously just didnt look very hard.
KATE: We need to talk.
JAMIE: What do you want to talk about?
KATE: What do I want to talk about? How about how youve been lying to me for weeks!
You told me you were going to quit! You promised me you were completely clean. And
(suspiciously) youre baked right now, arent you?!
JAMIE: Of course not! But so what if I was? You wanna talk? How about we talk about
what a hypocrite you are! You swore to me that you were going off the meds. You said
they told you that you didnt need them anymore.
Youre an addict Kate. Youre completely addicted.
KATE: (hurt, scared) And youre not?
JAMIE: No Kate, Im not. And how do I know? Because I dont do it to be cool, or
popular, or because they enhance my performance. I go to all of my classes, take all my
tests and play all my concerts completely sober. Some kids in this town get hammered.
Some jump off cliffs, and some drag race down Main Street, and you know why they do
it? They do it to distract themselves. This town can destroy you. It can take every hope,
every dream and suck it out of you little by little like one of those mad scientists in the
comics taking a blood sample. And if once, maybe twice a month, getting high lets me
forget that fact, then you know what? There are worse coping strategies in this world.
(Quietly) And at least Im not lying to myself and blocking out my pain with drugs I dont
need to be on. You? (More animated) Youre out of control! Youre keeping Tylenol 3 in
a Tic Tac container and popping them in class like theyre candy! (A beat) What happens
if you get caught?
KATE: If I get caught? What about you? Mines prescription. I have a legit medical
reason for takingJAMIE: Abusing.
KATE: (ignoring him) -taking them. What youre doing its illegal, Jamie. And
(suddenly her anger fades and she starts to crack) Im scared for you.
JAMIE: (softly) I know.

11 ONCE WE GET OUT

JAMIE: THEY TELL ME I SHOULD JUST KEEP WAITING.
WELL IVE WAITED LONG ENOUGH
WERE GETTING OUT OF HERE KATE
IF I HAVE TO SMASH THE WALLS DOWN.

JUST TAKE MY HAND, AND TRUST IN ME

SHARE THIS COURAGE IVE FINLY FOUND.
SUMMER RIGHT NOW MAY SEEM PRETTY ENDLESS
BUT IN SEPTEMBER WELL BLOW THIS TOWN
CAUSE ONCE WE GET OUT
WELL BE OKAY
TO SOLVE EVERYTHING THATS WRONG
WE JUST NEED TO GET AWAY
AND WHEN WE GET OUT THE SKIES WILL BE BLUE
CAUSE EVERYTHING I NEED IN LIFE IS RIGHT HERE WITH YOU

KATE:
JAMIE:
BOTH:

MY WINGS WERE CLIPPED FOR SO LONG NOW

I CANT BE SURE THEYLL STILL SUPPORT ME
THERE ARE OTHER WAYS TO GET AROUND
AND THERES GOT TO BE A WAY FOR YOU AND ME

JAMIE: WE CAN RISE ABOVE THIS TOWN

KATE: WE CAN RISE ABOVE THE PAIN
BOTH: CAUSE WE KNOW THAT WHEN WERE FAR FROM HERE
KATE:
BOTH:

WELL BE DANCING IN THE RAIN

AND FINLY IT WILL BE
BABY, JUST YOU AND ME

CAUSE ONCE WE GET OUT

WELL BE OKAY
TO SOLVE EVERYTHING THATS WRONG
WE JUST NEED TO GET AWAY

JAMIE: AND WHEN WE GET OUT THE SKIES WILL BE BLUE

KATE: CAUSE EVERYTHING I NEED IN LIFE IS
BOTH: RIGHT HERE WITH YOU
JAMIE: I KNOW SOMETIMES IT SEEMS THAT THE ONLY WAY OUT IS IN OUR
BOTH:
BOTH:

DREAMS.
(BUT) IF WE STICK TOGETHER WE CAN LEAVE THIS PLACE FOREVER
CAUSE ONCE WE GET OUT
WELL BE OKAY
TO SOLVE EVERYTHING THATS WRONG
WE JUST NEED TO GET AWAY

KATE: AND WHEN WE GET OUT THE SKIES WILL BE BLUE

JAMIE: CAUSE EVERYTHING I NEED IN LIFE IS RIGHT HERE WITH YOU
JAMIE: Kate
KATE: Yeah?
They kiss
KATE: Im not going to keep lying to you. Im not going to promise to quit. But I wont
take it at school, okay? (She hands over Tic Tac container)
JAMIE: Yeah. Okay.
KATE exits left, JAMIE moves downstage right. Locker unit is removed and doorway is
moved on. Behind curtain, picnic table and chairs are moved on.
SUMMER, SCENE 4
JAMIE: And we were okay, for a while. It was an uneasy sort of okay: we realised we
couldnt change each other, so I ignored her problem and she ignored my habit. Out of
sight, out of mind, you know? Until I couldnt take it anymore. I couldnt let her keep
doing this. She was better than that.
JAMIE crossed to doorway, knocks. KATE opens it and steps out.
KATE: Hey.
JAMIE: Hey.
KATE: I though you were going to that party up at the beach.
JAMIE: Nah. I dont really like running with that crowd. I I came to talk to you. Its
important.
KATE: (beginning to shift to defense) So. Talk.
JAMIE: I think you need help. I think we need help. We could see a counselor or go to an
addicts anonymous meeting or
KATE slams door. Freeze. Lights down and specials up as KATE moves downstage left.
KATE: It was all my fault. He wanted so badly to help me, and in my fear and anger I just
shut him out completely. He was right. About everything. But I was scared and stupid and
stubborn and instead of thanking him for being the bigger person I slammed the door in
his face. I didnt know he would If only Id known.
STAGE BAND BUDDIES should be grouped together upstage right behind the curtain by this
point. They have several lawn chairs and a cooler with them, as well as whatever beach
paraphernalia the directors and actors may choose to include. All are dressed for a
summer day that suddenly turned cold (i.e.: sweaters and blankets over tank-tops, shorts,

and flip-flops). JAMIE BODY DOUBLE is present. The group should gradually get rowdier
throughout following monologues.
12 UNDERSCORE JAMIES DEATH
JAMIE: I cant tell you what I was expecting. I think, deep down, I expected her to be
grateful. Sure, I knew shed feel hurt. I knew shed argue and put up a front. She had her
pride. But I thought, in the end, shed let me win. Id drag her there and theyd fix her and
everything would be okay. (Curtain opens to reveal ENSEMBLE, beginning a night of
drunken revelry.) I was not expecting to nearly have my nose broken by her door as it
slammed shut in my face. All at once I was filled with this burning, selfish, all-consuming
desire to go do something, anything shed really, really hate me to do. So I headed to the
beach. To that party I really didnt want to go to. There were a couple of guys I know
from the football team and the rhythm section of the band and they had a cooler of beers
and (shrugs helplessly)
KATE: Theres a reason you shouldnt mix drugs and alcohol. The alcohol impairs your
judgment and lowers your inhibitions to the point where not only can you not judge how
much LSD or crack or pot is too much, but you cant say no.
JAMIE: Id never drank and done drugs before. Id really only had 9 or 10 drinks in my
whole high school career. I though, Whats the big deal? Youre a strong guy. You can
handle it. I was an idiot. And did I ever pay for it.
KATE: No one really knows how much Jamie drank that night. Three, maybe four beers.
A few shots, possibly. But a few of the guys who werent smashed out of their skulls
remember what he took. An X. A few hits of pot. And, right near the end, a crushed up
Tylenol 3. My Tylenol 3.
JAMIE: I still cant believe how it happened. All the stupid crazy stuff Id done when I
was strung out, before I met Kate, and this is what did it.
JAMIE BODY DOUBLE makes swimming motions, tries to get someone to go with him, but
is (gently!) fought off by others.
BUDDY #1: (drunkenly) Hey Jamie, man, what are you doin?
JAMIE BODY DOUBLE begins to wander off. Optional SFX: splashing
JAMIE: I dont know whose idea it was to go swimming. Brandons, maybe. Or Cameron.
We were all pretty out of control by then The water was freezing. It started cutting
though my haze like a knife.
BUDDY #2: Hey, is he going for a swim?

JAMIE: I looked up at the full moon, and suddenly there were six of them, and they were
spinning in circles and I was falling.
BUDDY #3: Wait a second. Jamie?
(This is no longer funny. BUDDIES begin to show concern, start to get up and move
investigate)
JAMIE: The water rushed up to meet me and I heard a few guys yelling and I was just
cold. So cold. And the coldness surrounded me; it filled my mouth and my ears and my
nose and my lungs.
BUDDIES: Jamie? Jamie? Jamie? (Said at least once by each of the BUDDIES, timing is
random, but gradually pace increases and voices get more and more frantic, reaching a
climax with the orchestras gliss)
JAMIE turns, speaks directly to KATE, though she is unaware of his presence
JAMIE: And only my final, scorching thought of how badly Id failed you kept it from
filling my heart.
13 FAILING
JAMIE
:

JAMIE
:

KATE, DONT BLAME YOURSELF

FOR MY MISTAKES
AND KATE, I KNOW THAT YOU,
WILL TRY TO TAKE THIS ON YOUR SHOULDERS
BUT EVEN STILL ITS CLEAR
I STILL HAVE TO TRY
TO STOP YOU
BUT ILL FAIL AT THAT TOO
JUST LIKE IVE FAILLED YOU
EVERY STEP OF THE WAY
YOU DESERVED A BETTER GUY
A BETTER LIFE,
A BETTER CHANCE AT ALL THOSE DREAMS YOU ALWAYS PLANNED
REMEMBER ME
KATE: OH JAMIE,
DONT LEAVE ME
EVERY SO OFTEN
I NEED YOU BABY
IF YOU CAN
I DONT WANT TO LOSE
BUT KEEP GOING
YOU
GET OUT OF HERE
DONT BE AFRAID
ILL TRY TO
GIRL YOUVE GOT TO FOLLOW
MOVE ON
THROUGH

START YOUR WHOLE LIFE

ANEW
AND DONT YOU DARE LET ME
HOLD YOU BACK
YOU DESERVED
A BETTER GUY
A BETTER LIFE
A BETTER CHANCE AT ALL
THOSE DREAMS YOU ALWAYS
PLANNED
FORGIVE ME JUST THIS ONCE
FOR FAILING YOU
KATE

START MY WHOLE LIFE ANEW

ILL NEVER FORGET YOU,
I DONT WANT
ANYBODY ELSE
AND ALL MY LIFE
ILL WANT A CHANCE AT ALL
THOSE DREAMS WE ALWAYS
PLANNED
I FORGAVE YOU EVERYTIME
YOU NEVER FAILED ME
JAMIE

JAMIE: Kate I
KATE: Jamie
Piano chord, JAMIES special fades simultaneously.
14 SCENE CHANGE
FALL, SCENE 2
Stage dark and empty. Special on KATE. We are back at the meeting.
KATE: I quit cold turkey after Jamie died. Stupidest thing Ive ever done since
taking the things in the first place, but there wasnt really another option. I had migraines
for weeks, but it was pretty much the same as caffeine withdrawal. Its been 2 months and
I still cant walk past the pharmacy aisle without feeling nauseous.
(A beat) My parents dont know Im here. The two people on this earth who are meant to
protect me, and they never noticed any of this. They saw their daughter, taking painkillers
for an injury, not realizing that she didnt need them anymore. That they had an addict
under their own roof. It it could have been me in that coffin. (Beat) Jamie made sure it
wasnt. And hes why Im here. Hes the friend that was supposed to come with me.
Im leaving next week. Going off to the city for college. Getting out, just like wed
planned. But I didnt want to leave without telling someone the truth. Someone needs to
know what happened, what really happened, not just what the papers and the coroner and
the PTA decided to report. Small towns forget things quickly, and anything they
remember tends to be wrong. Nobody will remember two teens who tried to save each
other and ended up shattering everything. To them its another small town tragedy, a story
of peer pressure and teenage recklessness told to scare little children away from drugs.
The kid who grew up on cautionary tales has become one.

(Nostalgic) Jamie and I, when we were both on edge but avoiding the obvious, would
argue which was worse: to be in the right and hurting people or to be harmlessly in the
wrong.
We never did finish the argument. (Directly to audience) Maybe, someday, you will.
Blackout.
CURTAIN
15 BOWS
16 EXIT MUSIC
17 OPTIONAL ENCORE : SHAKESPEARE NEVER LEARNED CALCULUS