Sundays At Tiffany's 2g1j6d

ACT I Scene 1 Darkness. Voices but no one person's voice can be heard clearly. Music starts. Lights up. Nighttime. A party in an apartment living room. The room is full of people. Lights darken and spot light on Jane. Hugh, Jane's boyfriend, has his arm around her shoulder. Hugh is talking to Ronnie, his agent. The party fades into silence. Instrumental version of 'Happy Birthday' begins to play and gets louder. Spotlight fades to black. Another spot, on the girl Jane. Michael enters. Light brighten. Michael and Jane wave at each other. Everyone onstage starts clapping and begins singing. Everyone Happy Birthday to you. Happy Birthday to you. Happy Birthday to Jane. Happy Birthday to you. Vivienne, Jane's mother, enters. Howard enters behind. Vivienne is holding a large box covered with wrapping paper and bow. Vivienne Happy Birthday, Jane-Sweetie. Open your gift, Howard helped me pick it out. Vivienne hands Jane the present. Howard puts his arm around Vivienne. Jane unwraps the present, pulls out a purple stuffed poodle. Young Jane Thanks, this is so fun. Jane puts the poodle down. VIVIENNE Turning from Jane. Speaking to Howard. Now, we're off to Nantucket. Howard It will be wonderful.

Young JANE We are? VIVIENNE No. I meant Howard and I are off to Nantucket. I can't take you away from your birthday party. HOWARD Everyone is here for you, Jane. Young JANE I understand. It's just I love Nantucket. I really, really love Nantucket. And so does Michael. Jane turns and points to Michael, who is watching. VIVIENNE We'll go there again, I promise. And Michael can come, too. Vivienne and Howard exit. Jane picks up her poodle and exits. Lights fade to black. Scene 2 Lights up. Morning. An office. There is a couch and a desk. Door into the office center stage. Grown up Jane enters through door, carrying a Starbucks coffee and pastry bag. Jane sits at the desk and starts to go through messages. Vivienne enters. VIVIENNE Where have you been, Jane-Sweetie? It's practically noon. Vivienne kisses Jane on her cheek. JANE It's ten o'clock.

VIVIENNE I hope that paper bag you're carrying does not hold a blueberry muffin. JANE No, it does not. Jane removes a glazed doughnut from the pastry bag. Vivienne starts to scold, but Jane quickly bites into the doughnut. VIVIENNE Call Karl Friedkin. Right now. Jane ignores Vivienne. This minute! Jane picks up the receiver. Wait a second, Jane-Sweetie. Hold on. Hang up. Jane hangs up the phone. Let me think.(Pause) You know I'm breaking the cardinal rule of production: Never invest your own money, but after all we are family. Since the little play you wrote did fairly well off Broadway, we are going to bring it to the Great White Way. JANE It's called Thank Heaven, Mother. The play that I wrote, got published, and made it to the stage is named Thank Heaven. VIVIENNE Here's what I want you to let Karl know, tell him there is a great deal of interest in this project from Fox Theatricals and Theatresmith. JANE Oh my God! When did Fox call?

VIVIENNE Jane-Sweetie for God's sake. They didn't but let Friedkin think they're interested. Tell him that if he doesn't kick in the money today, tomorrow is going to be too late. JANE Mother, I can see stretching the truth. But outright lying? I hate that. VIVIENNE It's how the game is played. JANE Wait, how did you know Karl Friedkin called me? VIVIENNE A mother's intuition. Vivienne sits. JANE You went through my messages. VIVIENNE I would never do such a thing. Oh, after you call Karl Friedkin and get our money, don't forget to call your dermatologist back. The phone rings. Vivienne picks up the phone before Jane. What do you mean that Jeffery doesn't like the new girl we've cast? That girl is brilliant. Best of all she's eleven years old but she looks eight, so she can talk. Look, call Jeffery's agent and suggest they reread the part in his contract that says he has to play opposite a three-legged monkey if we want him to. Vivienne hangs up. Why don't you run through your presentation for me first, before you do it this afternoon at the production meeting.

JANE I would rather not. VIVIENNE Maybe you're right. I have been feeling weak lately I shouldn't push myself. JANE MotherVIVIENNE I'll just go and call my doctorJANE Fine. If that is what you want. Vivienne Honey, I am a producer on this soon-to-be Broadway hit and your mother. I would like to hear your ideas before the rest of the team. Jane takes out note cards from desk and walks in front of Vivienne. JANE I am very excited by the way this play is shaping up for Broadway. A tony winning director is just about on board and I believe we'll have the producers' go ahead by the end of the week. I would like to start by talking about the sets. I was hoping we could recreate the Astor Court on stage so to add authenticity andVIVIENNE If I could jump in for a second, Jane-Sweetie. I think we should build a new restaurant set. It'll give us more control over lighting the stage and the set changes. Jane shakes her head. Lets think on that one.

JANE Next, I was thinking the girl should always wear white when she's with her friend, at the St. Regis. Since it is the sort of thing the actual girl did wear. VIVIENNE Janey, you have to , this isn't an autobiographical play. Variety in the wardrobe would be better and would add color to the entire production, I am certain of it actually. Trust me on this, I only speak the truth. So who will be playing the girl's friend? JANE I floated the role past Ryan Gosling's agent, and she was very positive. Of course there are other choices: Matt Damon, Russel Crowe, Hughs: Jackman and Grant. Even Patrick Dempsey andVIVIENNE You can play the Hollywood name game as much as you want but I have a feeling that the perfect leading man is right under our noses. Don't you agree? Well, that is a good start. Work more on it. I've got some calls to make. Vivienne exits. Light fade to black. Scene 3 Lights up. Afternoon. The Astor Court. At table, center stage, is sitting young Jane and Michael. Violin music. A waiter enters, holding two deserts. The waiter places the Sunday ice cream in front of Jane and the fruit bowl in Micheal's setting. Michael To the waiter. Thanks so much. The waiter exits. To Jane. Okay, time to play the Jane-and-Michael Game. Jane claps hands.

Young JANE Yay! Michael points. MICHAEL Go. Young JANE Debutantes. First season. Just graduated from high school. Maybe in Connecticut. Possibly-probably-Greenwich. MICHAEL You're definitely spending way too much time around adults. Very good, though. Point for you. Young JANE That couple over there. Jane points to different table. The ones who look like the Cleavers in Leave it to Beaver. What's their story? MICHAEL Husband and wife from North Carolina. Own a chain of tobacco shops. He's here on business. She came to do some shopping. Now he's telling her that he wants a divorce. Young JANE I guess everyone gets divorced. MICHAEL Wait. I got it all wrong. He's not asking for a divorce. He's telling her that he has a surprise-he's made arrangements for them to go on a cruise. To Europe for their second honeymoon.

Young JANE That's a much better story. You get a point. Vivienne enters with Jason, younger man. MICHAEL Here's one you won't get. Michael points to Vivienne. Young JANE Not funny. Want to know something? It's kind of a bummer. MICHAEL What? young JANE I think I know what my mother and Jason are talking about. Howard. Vivienne is tired of him. Out with the old, in with the new. MICHAEL Why do you think that? young JANE Little things, like Vivienne used to buy him stuff, all the time. Fancy ties and shoes. She hasn't given him anything in ages. And last night, she ate at home. Alone. With me. He wasn't even there. MICHAEL Where was he? young JANE Dunno and when I asked Vivienne, she just said, 'Who knows and who cares?'

(Pause)Guess what tomorrow is? MICHAEL No, idea. young JANE C'mon. You know perfectly well. You know, Michael. This isn't funny. MICHAEL Valentine's Day? young JANE Stop it! You know what tomorrow is. You have to. It's my birthday! MICHAEL Right. Wow, you're getting old. young JANE I think my mother is having a party for me. I really don't care about the party anyway. What I really want is a real, live puppy. I don't even care what kind anymore. Maybe he'll be at my party. First we have to see Vivienne's play. And you're invited, of course. MICHAEL Great, I can't wait to see it. You'll probably be making plays when your older. young JANE Nah. (Pause)Oh, oh, we can talk about what we're going to wear tomorrow night. MICHAEL You can help pick out some fancy clothes for me. So I don't embarrass you. young JANE You could never embarrass me, Michael. (Pause)Cat got your-

Vivienne and Jason walk toward table. Here she comes, look invisible. Blackout. Scene 4 Lights up. Evening. An apartment building entrance. Door to building is center stage. Martin, a doorman, is standing beside the door. Michael is standing and eating a hot dog. Before Michael can take a another bite, grown Jane enters but does not notice Michael. Jane walks to the door. Michael follows behind, trying not to be seen. Martin Mr. McGrath stopped by. He said if you came home to tell you that he would probably miss dinner tonight. JANE Thanks, Martin. He made it to dinner after all. MARTIN He didn't, did he? Miss Jane? (Pause) JANE No, Martin, he didn't. MARTIN You know what I think? JANE I know. I'm a sap and an idiot. MARTIN No, Miss Jane. It's Mr. McGrath who's the idiot, if you'll forgive my saying so. Why are with him? Is it because your mother approves?

JANE I'm with him because he at times reminds me of someone I once knew, with his laugh and his quick wit. Hugh is the closest I can get to that person, someone I wish was still in my life. That is not the best reason to be with someone, I know. Martin opens the door. Jane exits through the door. Martin sees Michael. Can I help you, sir? MICHAEL No-ah, I think I know her. We are old friends. That is Jane. MARTIN Jane Margaux? She's lived here for years. MICHAEL Really? She looks grown up. Who is Mr. McGrath? MARTIN Her boyfriend. She puts up with so much from her mother and now him. MICHAEL Mother? Jane still sees her mother, often? MARTIN Vivienne? Everyday. Jane works for her. MICHAEL Oh no, Jane. MARTIN Where do you know Jane from?

MICHAEL I knew her when she was young. MARTIN Would you like me to tell her of your visit? MICHAEL No, please don't. She wouldn't me anyway. I'll just be on my way. MARTIN Yes, sir. Michael exits. Lights fade to black. Scene 5 Lights up. The office. Morning. Jane sitting on the couch, writing notes. Offstage, Vivienne's voice is heard. VIVIENNE (off stage) You sweet Hughie, you, you, you. Where were you when I was looking for husband number four? Vivienne enters. Hugh enters behind, holding roses. VIVIENNE Look who I brought. Quite possibly the handsomest man in New York. Hugh I'm sorry. I'm so, so sorry, Jane. VIVIENNE I'll be in my office, if you two need me. Vivienne exits.

JANE What are you so sorry about? HUGH Last night, are you kidding? I never made it to the restaurant. JANE No big deal. I had a very nice meal. Caught up on some work. HUGH I forgot I had a squash game. JANE No problem. Squash is your life. Hugh sits on couch. HUGH I really am sorry, Jane. You know I love you, don't you? Hugh kisses Jane. Are you hungry? Lunch would be great. I actually have something big to discuss with you. JANE I really have to finish a Thank Heaven scene for Vivienne. HUGH The play is what I want to talk to you about. A little bird tells me that the casting is going to be announced soon. JANE

It is, but no one but me and my mother know that. HUGH Vivienne is looking out for what is best for the Broadway production. I personally think I'm it. Michael and I are one in the same. JANE I wouldn't go that far. HUGH I know the character better than anyone else besides you, the visionary writer. I've played him for over a year. I know him, Jane. JANE Playing him? Lights fade out.

Scene 6 Lights up. Morning. Astor Court. Vivienne walks to young Jane and Micheal's table. VIVIENNE Jane-Sweetie must you always order two desserts? We've talked about your weight. young JANE I'm only eight years old. How about I promise to be anorexic later? Michael laughs. VIVIENNE Don't me precocious with me. You read too many books. We'll discuss your eating habits at home. In private. young JANE

Anyway, that melon isn't even mine. Michael ordered it. Jane points to Michael. VIVIENNE Ah, yes, Michael. Vivienne turns to face Michael. The amazing, ever present imaginary friend. Hello, Michael. How are you today? Vivienne turns back to Jane. Vivienne messes with Jane's hair. MICHAEL Hello, Vivienne, I'm just peachy, thanks for asking. Just because I'm imaginary does not mean I don't get hungry. VIVIENNE There's no reason why you should walk around like this, Jane-Sweetie. Without a good hair cut, everything else is for nothing. If I gave Jason one hour with this hair, you would come out looking like a Vogue model. MICHAEL That's just great just what the world needs an eight year old who looks like a Vogue model. VIVIENNE We have to go. Say goodbye to non-existent Michael. There's a cast rehearsal tonight and I must look in on it, but first we can drop by Tiffany's. While we are there I'll schedule you a make over. Vivienne walks to exit. Jane stands. Michael stands. MICHAEL You're perfect the way you are, Jane. You don't need a make over. Never forget that.

young JANE I won't. VIVIENNE You won't what, Jane-sweetie? Jane shakes her head. I hear Tiffany's calling. Vivienne hold out her hand to Jane. Jane takes Vivienne's hand. Vivienne and Jane walk to exit.

MICHAEL See you tomorrow. Miss you already. Jane waves to Michael. young JANE Miss you already, too. The lights go to black except a spot on Michael. Vivienne exits. Jane runs to hug Michael and begins to cry. MICHAEL It's alright, let it all out. young JANE My dad didn't even come! Vivienne left my party to go to Nantucket, my favorite place in the world! With out me! And I didn't get a puppy, just a fake poodle. Michael pulls out a handkerchief from his pocket. Jane wipes her tears. Thanks. I feel better. You're a good listener.

Michael takes the handkerchief. MICHAEL You're an amazing girl. Do you know that? young JANE Sort of, but only because you tell me every day. MICHAEL You're beautiful, inside and out. You're smart, funny, considerate and incredibly generous. Jane steps back. young JANE What are you trying to say? What is going on? Something bad? MICHAEL You're nine now. A big girl. And so.. I'm leaving you tonight, Jane. I have to go. young JANE I know you do but you'll be back. Tomorrow. Like always. MICHAEL No. I'll never be back. I don't have a choice. It's a rule. Jane shakes her head. Jane? Did you hear me? young JANE I'm not ready for you to go. MICHAEL

I'll tell you a secret. A secret I've never told anyone but you can't ever tell anyone. It's a secret of imaginary friends. Jane covers her ears. young JANE I don't want to hear your secrets. Michael pulls Jane's hands down from her ears. MICHAEL Children have imaginary friends to help guide them into their lives and other people out of them. We make them feel less alone, in their families and find their place in the world. But we have to leave. It's always been that way and it will always be. It's how it works. Once I leave, you won't even me. No one ever does. If you ever think of me, I'll just seem like a dream. young JANE But I told you. I'm not ready. Please don't leave me Michael. You can't, not now, not ever. You don't know how important you are to me! MICHAEL You'll see, you'll forget, and it won't hurt tomorrow. We'll never be apart because love means you are never apart. Jane, I'll always love you. The spot starts to darken. Michael steps out of spotlight and exits. young JANE Michael, please don't go! I'll have no one. I'll never forget you, no matter what. I'll never forget you! Lights fade on Young Jane alone. Scene 7 Lights up. A restaurant. Hugh is sitting table which has three chairs. Grown Jane enters wearing a hot pink cocktail dress. Hugh stands and kisses Jane.

HUGH My God, what have you done with Jane? What did you do to yourself? JANE I decided I was tired of you always being the pretty one. HUGH You mean, the only pretty one- I mean, let's sit down. Hugh pulls out a chair for Jane. Jane sits. Hugh sits next to Jane at the table. I'm going to smoke a cigarette until someone comes and throws water on me. Jane laughs. Hugh retrieves a cigarette from a carton. Ronnie enters. Ronnie waves to Hugh. Jane, look, Ronnie! Hugh waves. Jane you my agent. What a coincidence. Ronnie walks to table. Hey, why don't you us? That's okay, isn't it, darling? JANE What is he doing here? HUGH Ronnie mentioned he might pop by. Ronnie Fancy meeting you two here. HUGH

I'll get drinks. The apple martinis I heard are delicioso here. RONNIE No, I work for you, I'll get them. HUGH I insist. Hugh stands and exits. RONNIE You look so in-ter-es-ting tonight. Pink, huh? JANE Is that a compliment? RONNIE You decide, darling. Jane, now that we're together, let's chat, shall we? I was going to get on your calendar this week, but since I've happened to run into you. Hugh enters holding three drinks. Hugh sets them on the table. HUGH Apple martinis all around. RONNIE Hugh, this was so lucky, running into you like this. Yes indeedy. No point beating around the proverbial bush. I... and Hugh, of course... well, we just need to know when you'll be g him, officially for the lead in Thank Heaven on Broadway. We have other offers but we want this one. Hugh does, anyway. And you know what? I think Hugh deserves it. Don't you agree? We all do. Vivienne included. JANE I don't think it is the time or the place to discuss this.

HUGH I think this is an excellent place. RONNIE Let's talk it out, Jane. It's such a fun subject. HUGH You do plan on giving me the part, don't you? JANE I need to examine all the options. HUGH Options? Jane I'm just not sure if you're right for the part, Hugh. I'm trying to be honest. HUGH You need to change your mind. I was right for it before. (Pause) Right Ronnie? RONNIE Yes, he could win a Tony, Jane. Your play could win one too, if you let Hugh be Michael again. JANE I'm not interested in what I could win. Hugh I want that role, Jane. I deserve it. I made that play work. Me. RONNIE

It's true. JANE Plays are about all the elements, Hugh: design, writing, acting working together. One actor does not make the entire play watchable. HUGH Are you kidding me? That little girl didn't give me shit. I had to perform and all she had to do was memorize her lines. JANE Can we just eat and leave? Hugh I'm leaving NOW. Hugh stands. You're just playing some stupid game! And you know what? Fuck this and your play. Hugh exits. RONNIE I'll go get us another drink. Ronnie exits. Jane stands and exits. Fade to black. Scene 8 Lights up. Mid morning in front the apartment Michael waiting. Martin standing next to the door and watching. MARTIN Are you planning on talking to her this time?

MICHAEL I don't know if I should talk to her. MARTIN Why not? Jane never forgets anyone. MICHAEL I hope for Jane's sake that isn't true. Michael sees Jane and runs off stage. Martin opens the door. JANE Good morning, Martin. MARTIN Miss Jane, there is a young gentleman thatHugh enters. HUGH Hey, beautiful. JANE See you later, Martin. Jane starts to exit. I'm suppose to meet my mother for lunch, she has been a little under the weather lately. I don't have time. I am already late. Hugh grabs Jane's hand. Jane stops walking. HUGH This won't take long. You know I wouldn't dare piss off Vivienne.

JANE Hugh, after last night... I just can'tHUGH C'mon, I want to talk to you, Jane. I came all the way up here from midtown, in traffic. JANE I really don't know that we have anything to talk about Hugh. HUGH I'm a changed man. MARTIN (Cough)Liar. HUGH And I can even tell you why. Give me a chance. I've got to tell you what I always seem to be telling you. I've got to tell you that I'm sorry. I'm so sorry, Jane. I didn't know what Ronnie had planned. I swear. Then my stupid tongue and temper got the best of me. I assumed we were on the same wavelength about the part, Janey. I saw myself in the role. I did it already. It's part of who I am. I guessed you just saw me as perfect for it too. JANE You weren't listening. HUGH You know, I also thought that this project, this play, could turn us into the team I know we can be. I pictured us working together. It would be fantastic. Together in our personal lives and in our professional lives. You know, I'd be there for you. I could help you, you. I've thought about it a lot. It's my dream. Honestly. Jane, I know we can be great again. I've got the ring. Hugh drops to one knee. Hugh places box in Jane's hand. And you got the script. Let's make a trade, sweetheart. (Pause) Do we have a deal?

JANE I'm sorry, Hugh.(Pause) About so many things... about giving you another chance, caring for you in the first place. But I'm most, sorry about what you just said to me. 'Let's make a trade, sweetheart? Do we have a deal?' How could you possibly say that? Hugh stands. HUGH I'm not a speechwriter, like you. I'm just an actor. Okay, maybe I didn't pretty it up enough, and I apologize. But I was going for direct honesty. Isn't that what you want? JANE Pretty it up enough? HUGH You didn't think it was sweet? Jane Try biggest insult of my life! HUGH Listen, I was trying toJANE Probably the worst disaster of a heinous proposal ever! HUGH Jane, you're making a huge mistake in judgment. Maybe you should check with Vivienne. JANE No.

Jane gives box back. HUGH Then, I'll see you around. Hugh exits. Martin rushes to Jane's side. Jane begins to cry. MARTIN Miss Jane, are you alright? JANE Yeah I thinkJane's cell phone rings. Jane answers her phone. This is Jane. (Pause) Sorry, I wont be there, Mother. (Pause) I'm not feeling too great. (Pause) No, Hugh isn't here, I'm not feeling well. I'll talk to you later. Jane shuts her phone off. My life is one giant mess. Martin walks Jane to door. MARTIN Do you know what my wife does when she feels really awful? JANE What? MARTIN She shops. Martin opens door. Jane exits. Lights fade to black. Scene 9

Lights up. Afternoon. Astor court. Michael is sitting (at the same one he and Jane once sat at). Jane enters, holding a Tiffany shopping bag. Michael and Jane's eyes connect. Jane walks to Michael.

JANE Michael? It is you, isn't it? Ohmigod, Michael? You're here. You are Michael? Michael looks from side to side. MICHAEL You know me? Are you sure? Michael stands. JANE Of course I know you! I'd know you anywhere. MICHAEL Jane? Jane nods. Jane Margaux. Please, sit. JANE Michael, (Pause) are you (Whisper)imaginary? MICHAEL I guess that's a matter of opinion. JANE How can this be happening? MICHAEL

Honestly, I have no idea. I'm waiting, for my next assignment. JANE I'm not it? Your assignment, that is? MICHAEL You of all people don't have to ask that, you know what I do, and it isn't with grown ups. (Pause) Michael shakes his head. That didn't come out right. JANE And you ended up at the Astor Court? On a Sunday? Where I happen to be to make myself feel better? MICHAEL Looks like it. Jane, (Pause) how do you me? This isn't supposed to happen. I've never seen a child I was assigned to as a grown up. JANE I don't know. You said I'd forget you, that I'd wake up and not you. The next day I woke up and realized you were really gone, it was like a safe had fallen onto my chest. I couldn't get out of bed. I cried for days and days. I never forgot you. I've thought about you every day for years. And now here you are, again. It's unbelievable. MICHAEL I'm so sorry, Jane. All the kids I am friends with forget, they are supposed to. I never would have caused you such pain if I could have helped it. JANE Well, I'll think of some way you can make it up to me. MICHAEL

Tell me everything. Tell me everything that's happened to you since your ninth birthday. JANE My life isn't that exciting. Writing, eating, and sleeping sums it all up. MICHAEL May I walk you home. Do you mind? JANE No, that'd be great. It's not far from here, over on Park. In the Seventies. MICHAEL I know. Michael stands. Jane How do you know that? Jane stands and picks up shopping bag. Michael Jane, you know how I am. I know certain things. Plus I might have seen you a day ago. JANE What? And you didn't say anything? MICHAEL What would you have wanted me to say? 'Hi, Jane. I was your imaginary friend when you were little but you don't me?' JANE But I do you!

MICHAEL But I didn't know that. They begin to exit. Jane stops walking. JANE Michael, I have to ask. (Pause) I'm sorry, but I have to. Are you going to go away, again? MICHAEL I can promise to see you tomorrow, besides I miss you already. Michael and Jane exit. Black out. Act 2 Scene 1 Lights up. The office. Morning. Jane enters holding a coffee. Jane is dressed more casually than last time she was seen. Jane sits at the desk. Vivienne enters clearly angry. Jane sips the coffee. JANE This is delicious. VIVIENNE It is almost noon. Where the hell have you been? And for God's sake, what are you wearing? Are you going to a rodeo? (Jane does not respond.) I asked you a question, in a very civil tone, I might add. JANE Do you have another Splenda? VIVIENNE I certainly want to hear where you were all day yesterday. I called you so many times, I think I broke the redial button. Is your machine broken? You don't have the common

courtesy to return your sickly mother's call? Or is this some kind of teenage rebellion, years too late? I heard about what happened with Hugh and Ronnie. I don't know what on earth is wrong with you. Do you know how angry they both are? And rightfully so. Because you happen to be stubborn and wrong. Hugh McGrath is perfect. Without, Hugh, there is no Broadway show. JANE Why, thank Hugh, Mother, for your confidence in me. VIVIENNE You're lucky I'm here to do damage control. We're going to meet with poor Hugh and Ronnie for lunch. That is if they will let you in anywhere dressed like a cowgirl.(Long pause) JANE Are you finished, Mother? First, I'm a grown woman. I was out yesterday. With a friend. Where we were is absolutely none of your business. No, my machine is not broken. I was busy. This is not teenage rebellion, since, as I mentioned, I'm a grown woman, acting like a grown woman. I suggest you me. Now, onto Hugh and the role. That discussion is closed. We will never talk about it again. Thank Heaven is my property. I got the funding. I got the producers involved. And I want someone better than Hugh McGrath. Do you hear me, Mother? I never want to discuss it again. So, I'm afraid lunch with Hugh and his minion is out. I wont respond to your critique of my outfit because I decide what I will wear, and I'm not really interested in anyone else's opinion. Jane exits.(Long pause) Knock at the door. Michael peeks in. Michael is disheveled and has a piece of toilet paper on his cheek. VIVIENNE Hello, you must be an actor, right? Do you want to drop off your resume? MICHAEL Why would you say that? VIVIENNE I'm Vivienne Margaux.

Vivienne and Michael shake hands. I know all the leading men in New York. MICHAEL All right. VIVIENNE So why don't I know you? MICHAEL Uhm... Vivienne A million-dollar smile, too. I don't know why our paths haven't crossed before. But it's a pleasure to meet you. Are you lost? MICHAEL No, a friend of mine, works here. VIVIENNE Really? Who is your friend? MICHAEL I'm here to see Jane, this is her office isn't it? VIVIENNE I see. Jane enters. Jane walks to Michael, pulls the piece of paper from his cheek causing Michael to wince. JANE He feels pain.

MICHAEL He does. And he bleeds after shaving too. VIVIENNE I just met your friend, Jane-Sweetie. JANE Good, what's his name? VIVIENNE I did not get a chance to ask. MICHAEL Michael. VIVIENNE Michael what? JANE Just Michael. VIVIENNE Like Sting or Madonna. JANE That's right. MICHAEL Ready for lunch? JANE

Starving. VIVIENNE Jane, you just got here. We have meetings and phone calls- and this thing with Hugh is not settled. JANE Okay, bye. Jane shuts the door forcing Vivienne to exit. MICHAEL We almost didn't make it out of here alive, Bonnie. Jane picks up her purse. JANE Don't look back, Clyde or she'll turn us into pillars of face powder. MICHAEL I'll try not to. Michael opens door. Jane exits. Michael exits. Light fade to black. Scene 2 Lights up. Afternoon. A park. Jane and Michael enter. JANE Let's get far away from here. MICHAEL Where would you like to go? JANE

Paris. Except I have to be back for a two o'clock meeting. MICHAEL Then Paris is probably out. Let's just wander and see where we end up. JANE I have a lot of questions about this 'friend' thing. MICHAEL Unfortunately. I can't give you many answers, it's kind of the rules. I wish I could, though, you have no idea. JANE Who are the people you help, precisely? MICHAEL Children. Obviously, you know that already. And I also help those adult who might need assistance inJANE In? MICHAEL Checking out. Going to a better place. JANE Dying?! MICHAEL Shh.. Yes. Next question, please. JANE I will have to go with more uncomfortable questions then, were you ever involved with

anyone? Romantically? MICHAEL I like people, Jane. All kinds of people. JANE That was evasion if I've ever heard it. How about something easier. How was your day? MICHAEL I met some of my friends. Friends who are... in the same line of work as me. I went for a long run and napped. JANE Mine isn't looking up considering Vivienne has probably set up six meetings with me since I left. Four about my wardrobe. MICHAEL Age sure hasn't slowed her down. JANE Not much. Lately, maybe a little bit, she seems frail. You know, I wrote a play for Broadway, a small thing, nothing major. A confection, you could call it. MICHAEL Like Chocolate. Go on, tell me about it. I like hearing about your writing. JANE You're probably the only one. Anyway, I have a co-investor named Karl Friedkin. When I walked in to work this morning, who should be sitting there but Karl Friedkin? I asked my secretary, about it. Know what she said? MICHAEL That Vivienne is on the hunt for a new husband. Her fourth right?

JANE Fifth. Amazing, my secretary knew. I'm the only one who didn't. I must be impossibly dense. MICHAEL No. You're a nice human being. Your mind doesn't go that way without some provocation. JANE And your does? MICHAEL Let's just say that I've seen your mother in action. You know that she loves you, though, right? JANE Who wouldn't? I'm so nice. Time speeds up. Music plays. Michael and Jane's voices cannot be heard. Set changes to apartment entrance. Night. Music fades. MICHAEL I thought you had a two o'clock meeting. JANE I did. I missed it. Well, here we are. MARTIN Evening, Miss Margaux, and evening, sir. Martin nods to Michael. How are you feeling, Jane? Less under the weather? JANE

Phenomenally better.(Long pause) Jane and Michael lean in but Michael quickly pulls away abruptly. MICHAEL It was a perfect day, but I think I'd better go now. Goodnight, Jane. JANE I miss you already. Jane kiss Michael's cheek. Martin opens door. Jane exits. Martin closes door. MARTIN She looks so much better than she did. MICHAEL She hasn't been feeling well? MARTIN Tonight is the most coloring I've seen her have in years. I was starting to believe she was sick. Michael takes a step backward. Goodnight, sir. MICHAEL Oh, no. That can't be it. Lights to black. Scene 3 Lights up. The office. Morning. Vivienne is sitting at desk. Jane enters. JANE

Mother? What are you doing? VIVIENNE Jane-Sweetie, I thought I'd come in, for a little chat. I am having a quick meeting with Karl. I don't know what's going on with Hugh, or the other one, in your busy life. JANE Wow, my busy life! VIVIENNE Please. Let me talk. Jane-Sweetie, what I came in here to say is that...(Pause) Vivienne stands from desk. JANE Yes? VIVIENNE I'm not going to be around forever, and when I'm gone Margaux Productions will be yours. JANE What do you mean, Mother? VIVIENNE Don't interrupt. There's one more thing. I've told you this before, my mother died of heart failure when she was thirty-seven. You're almost thirty. Think about it. Vivienne exits. JANE What the hell was that about? Jane picks up journal and exits. Hugh enters. Hugh explores, reading through mail and

messages on desk. Hugh sits at desk. Jane enters, holding a coffee. Hugh does not see Jane enter. JANE Now that you've done the snail mail, why don't you check my blackberry? HUGH Jane. I'm not mad at you anymore. JANE Wish I could say the same. Hugh, why are you here? HUGH I'm here because you're my best girl. C'mon, give me a break. JANE Hugh, I've got a ton of writing and editing to do. HUGH I need your help. I don't ask for much. Look, let's be honest with one another. I need this part. I need Thank Heaven. Are you happy now? I'm humbled and humiliated. JANE It's not going to happen, Hugh. I'm sorry, honestly I am. But you're not going to get the role. You aren't Michael. HUGH I am! For God's sake, Jane. I created that character. JANE No.(Pause) You did not. You had nothing to do with creating Michael. Trust me on that. (Long pause) HUGH

You disgusting little shit! Mama's little girl pretending that she's Mama. Still in a fairy-tale world from when you were eight years old. JANE That was nasty, Hugh, even for you. HUGH You know where you can shove that little cameo of yours? I was doing you a favor, volunteering to be in that piece of sentimental crap! JANE You didn't mind it so much this last yearHugh It wouldn't even be put on Broadway if you weren't Vivienne Margaux's needy daughter. You need me, Jane. I don't need you. You need my talent. I don't need yours. Which is a good thing. Because you don't have any talent. JANE I wouldn't be so sure. Watch this. Jane punches Hugh in the eye. HUGH My God, Jane, have you completely gone out of your mind? You have! You've gone nuts! Vivienne enters. VIVIENNE Jane, what is going on? Hugh points to Jane. HUGH

She's insane, that's what happened! JANE Nothing, Mother. Hugh and I just formally broke up. VIVIENNE Broke up? How? Why? What am I missing here? JANE I can see why you might be confused, but we were never very much of a couple. More like solo act with a sidekick. Vivienne leans out of the office. VIVIENNE Mary Louise! Get me some ice wrapped in a towel. HUGH Thank you, for you concern, Vivienne. I'm okay. I'll just sit here a minute. Hugh sits. I don't know what I did wrong. VIVIENNE See that? What has gotten into you? You could have hurt him. HUGH She did hurt me. JANE No more than he's hurt me. I guess you haven't heard about the wedding proposal debacle.

VIVIENNE Jane, don't be flip. I'm being serious. JANE So am I. Or do my feelings not count? VIVIENNE Listen, you can't do anything you feel like. JANE Good thing you cleared that up. VIVIENNE I can't imagine anything Hugh could have done to provoke physical violence from you. JANE Really? I'll give you the list. VIVIENNE You need to beginning explaining right now. Hugh, why don't you start. Jane I want the two of you to leave my office. VIVIENNE This is not your office. This is my office. Every desk, every computer, every toilet, every scrap of paper. You wouldn't be working here if it weren't for me. You wouldn't be working here if I knew you were going to physically abuse a talented actor like Hugh McGrath. I don't have to put up with behavior. JANE You're right, Mother. You don't.

Jane picks up purse and journal. VIVIENNE Don't be ridiculous, Jane. JANE I'm not. Hold all my calls. Forever. Jane exits, slamming the door. HUGH Jane has gone crazy. Did you see that? VIVIENNE That girl has no idea what is good for her. (Pause) Michael's voice is heard off stage. MICHAEL(offstage) I'm going back to see Jane. She's not here? Michael enters. MICHAEL Where is Jane? VIVIENNE You! Vivienne stands and points at Michael. You had something to do with this. Jane has never acted this way before. You corrupted her. MICHAEL

I don't know what you're talking about, first of all. Second, Jane is an adult. And third, she is incorruptible. Hugh stands and throws a punch at Michael. Michael dodges. Michael punches Hugh in the stomach. Hugh stumbles to couch. I'm sorry. Well, I'm not. You've been asking for that for the way you treated Jane. Trying to blackmail her with an engagement ring? VIVIENNE What?! Michael For a part in a play? I'm glad I hit you. VIVIENNE Hugh, don't you dare come into this office again. Vivienne points at Michael. And you keep away from my daughter. MICHAEL Sorry, that is not something I'm capable of. Michael exits. Light fade to black. Scene 4 Lights up. The park. Jane is sitting on bench. Michael enters. MICHAEL Excuse me, miss. Is this seat taken? JANE How do you know I'm a miss? (Pause) What happened to you?

MICHAEL What do you mean? What's the matter with me? JANE You look like you haven't slept in days. Michael sits. Your eyes are all bloodshot. You'reMICHAEL I'm fine, Jane. I'm really fine. Why aren't you at work? JANE Why aren't I at work? Because I punched Hugh McGrath. I think I bruised my knuckles, in the process. Michael kiss Jane's knuckles. I told my mother what I thought, for once, and if felt just great, Michael. I quit my day job, which also happened to be my night job. MICHAEL Hooray for Jane! Good for you! JANE 'Hooray for Jane? Good for you?' I hope this doesn't mean you think your work is done here. Because it isn't, not even close. MICHAEL You are an endless project, changing, evolving, surprising. JANE Excellent sentence fragment. I've decided I'm done with being miserable and oppressed. I want to actually enjoy life. Doesn't everyone deserve that?

MICHAEL Absolutely. And you most of all.(Pause) JANE What? MICHAEL Jane, do you that time when you were little- and Vivienne took you for that long spring weekend in Nantucket? JANE It was to make up for my fifth birthday, and my fourth. Probably my third too. MICHAEL It was. JANE It was the first time I ever being really happy. You and I built sand castles. We went swimming every day, even though the water was freezing, with a capital Brrr. MICHAEL Good times, huh? JANE The best. MICHAEL Let's go back there. JANE I'd love to. When?

MICHAEL Right now. Today. Let's go. What do you say? JANE I'd love to go to Nantucket. You really want to go with me? Michael kisses Jane. MICHAEL Yes. Lights fade to black. ACT 3 Scene 1 Spot light up. Young Jane enters, holding a beach towel. Jane lays down the towel and sits on it. Jane waves to Michael to s her. Michael enters. Young JANE It's so beautiful. MICHAEL It is. young JANE This is the most perfect place in the entire world. MICHAEL I have to agree. young JANE When I grow up I'm going to come back. (Pause) Michael, do you like being my friend?

MICHAEL Of course. young JANE Did you like all your other friends before me? MICHAEL Yup. young JANE Am I...(Pause.) your favorite? MICHAEL Yes. young JANE Why? MICHAEL Because your perfect. You Young JANE No, I'm not. MICHAEL Yeah, you are, but don't tell anyone. You have an old soul and you have nothing inside you but goodness. You are the only person who knows who I am. YOUNG JANE How long have you been my friend? Forever? MICHAEL

No, not forever but a really long time. YOUNG JANE I want you to say my friend Michael, forever. MICHAEL I'm not sure if I can but I'll try. Spot fades to black. Scene 2 Beach sounds are heard. Lights up. A bed and breakfast room in Nantucket. The room has warm wall paper and a bed. A window is center stage. Jane enters holding a bag. Michael enters with one suit case. JANE This is what a Nantucket bed-and-breakfast should look like. This is great. Jane opens the window and looks outside. Michael closes door. Tell me you've ever seen anything this sweet before. MICHAEL Actually, I have. JANE Stop! You're going to lose all credibility, on our first day here. MICHAEL Okay.(Pause) JANE You weaseled out of telling me if you ever dated. But have you ever fallen in love. MICHAEL

Jane, no, of course not. JANE So, this would be the first? MICHAEL For right now, let's talk about something else. JANE When I was a wee, small, girl, I that we used toMichael kiss Jane. Are you trying to shut me up? With this kissing thing? MICHAEL Not at all. I just...like it. Michael walks the window. Long silence. JANE Michael, where are you? MICHAEL What? I'm right here. JANE No, you're off some where far away. We're together. Let's just enjoy this. Just put aside everything and be with me. We will take minute by minute. MICHAEL Yes. Minute by minute. One hour at a time. Michael takes Jane's hand.

JANE Good your back. MICHAEL I'm right here, Jane. That's my hand holding your hand. Michael lifts Jane's hand to his chest. That's my fast-beating heart you can hear. Jane nods. Michael lets go of her hand. Jane explores the rest of the room. Jane picks up a brochure from the night stand. JANE Coffee in the front parlor starting at six in the morning. Windsurfing lessons on the far bay every Monday and Thursday. We can rent bikes. Also, visitors can go up in the tower of the Old North Church. Can we? I want to do everything. MICHAEL Anything you want. JANE How'd you know about this place? MICHAEL I just knew. JANE What do you about me as a little girl? Michael touches Jane's face. MICHAEL You sure were perfect and still are, to me.

JANE There is only one thing I'm sure of...(Pause.) MICHAEL Go on, one thing you're sure of is? JANE I love you, Michael. I think I've loved you my entire life. I needed to say that out loud, not just inside my head. MICHAEL I..I. JANE I'll take that as an 'aye, aye'. MICHAEL I think my existence has been leading to this moment. And here we are. For the first time I feel real. JANE You had me at 'aye. aye'. Jane kisses Michael. Michael touches her cheek. JANE I love the way you touch me. MICHAEL Me too. I love you so much, Jane. I always have, and I always will. Blackout.

Lights up. Night. Michael sitting on the window sill. Jane gradually wakes up. JANE Michael? Is something the matter? Are you sick? MICHAEL I don't get sick, ? Go to sleep. JANE It's four o'clock. Michael sits on bed next to Jane. (Long pause.) MICHAEL Vivienne! It's not Jane! It's not her. She isn't the one who is sick. Vivienne is. Spot light on Jane and Michael. Michael sets out of spotlight and leaves(like he did earlier). Lights brighten. Time speeds up. Morning. JANE Michael? Michael, are you here? Jane starts to wander the room. Phone rings. Blackout. Scene 3 Lights up. A hospital room. Morning. Vivienne is laying in the bed. Michael appears next to the bed. MICHAEL Vivienne. I'm here to help you. I'm Michael. VIVIENNE Jane's Michael? MICHAEL

Yes, Jane's Michael. I wish you could see how wonderful you look, you look the way you always want to look. Beautiful. VIVIENNE There's a mirror in my purse. Michael picks up the purse and pulls out the mirror. Michael shows Vivienne her reflection. I've been better. And worse, I suppose. Doesn't really matter now, does it? MICHAEL Of course it does, looking well is the best revenge. I've heard you say that thousands of times. VIVIENNE Where is my daughter? I can't go until I see my Jane-Sweetie. MICHAEL She'll be here. VIVIENNE How do you know? MICHAEL Because I know Jane. VIVIENNE You were real? All that time when she was a child? MICHAEL Yes. VIVIENNE

At least I know that my daughter will be taken care of when I'm gone. Please take care of her, like I never could. MICHAEL VivJane enters. MICHAEL Hi, trade places with me. Michael stands. Jane sits. Jane takes Vivienne's hand. JANE Mother. It's Jane. I'm here. Mother? What is it? VIVIENNE I was tough on you, Jane-Sweetie. I know that. I'm sorry. JANE It's okay. It's all okay. VIVIENNE But I did it so you'd be strong. I did it so you wouldn't have to be like me. Cold and conniving. So Vivienne Margaux. What a terrible thing that would have been. JANE Just hold my hand, Mom. VIVIENNE I like it when you call me Mom. Thank God, Jane-Sweetie, you're not the least bit like me. So you'll be even more successful. But you'll always be kind. JANE

I thought I was such a disappointment to you, because I wasn't like you. VIVIENNE Oh, Jane-Sweetie. No. Never. You want to know something? JANE What? VIVIENNE You're the only person I ever loved, the only one. You're the love of my life. Come closer. Jane-Sweetie, I wont bite. I have a favor to ask. JANE Of course, Moth-Mom. What do you want? VIVIENNE For God's sake, make sure they bury me... in that new Galliano dress. I look terrible in black. JANE The Galliano. Check. VIVIENNE And one more thing, Jane. JANE Yes? VIVIENNE Don't you wear black to the funeral either. Black makes most people look thinner. But for some reason it makes you look a little top heavy. JANE

Okay, Mom. I'll wear pink. I have just the dress. VIVIENNE You're funny. You always were. Pink at a funeral. Please do. The only thing I hate about dying is saying good-bye to you. I love you so much. Good-bye, Jane-Sweetie. JANE Good-bye, Mom. I love you so much too. Lights fade to black. Scene 4 Lights up. Afternoon. Park. Jane is sitting on a bench, wearing her pink dress. Michael enters. MICHAEL If they had served cocktails, this could have been a Vivienne Margaux reunion party. As it should be. Michael sits. JANE I loved it. Because she would have. Gorgeous day. MICHAEL Even God wouldn't mess with Vivienne. I know why I was sent back in your life. I was here to help your mother. JANE But you're still here. MICHAEL Yes, I seem to be. Unless I really am just your imaginary friend. Which could be possible.

Jane playfully pinches Michael. JANE Did you feel that? MICHAEL Yes, I did. And I cut myself shaving, quite regularly now, which never happened before re-meeting you. I'm here because I want to be with you. And because you're the only person I've ever loved too. I'm here because I couldn't stand to leave. JANE Could you try to answer somethings for me? MICHAEL I don't know if I can tell you. But I'll try. JANE All right, then. Have you... ever talked to, you know, God? MICHAEL Yes. Of course I have. Many, many times. Unfortunately, He's never talked back. Next question? JANE So you believe in-? Jane points upward. MICHAEL How else do you explain... all of this? Or me? Or us? JANE So are you an angel, Michael?

MICHAEL Sometimes. Honestly? No, Jane. JANE I have to ask you. This has been really bothering me. Are you always going to look the way you look right now? MICHAEL Exceptionally handsome, wildly debonair, and unkempt? JANE Pretty much, yeah. MICHAEL You mean, am I ever going to grow old? JANE Yes. Can you promise me that we're going to grow old together? I want us to actually look like we're getting old together. That would mean a lot to me. MICHAEL I cannot promise I'll never an imaginary friend again, but I'll do my best to get wrinkled and stooped. JANE Thanks, I'll do the same. Are you going to stay with me, Michael? Just tell me. Let me know once and for all. Is that what's going to happen? MICHAEL There are things you need to know. For years, I hoped that I would see you. I prayed for this to happen, Jane. I thought about it a lot. I wished it would happen. And then it did. Somebody was listening. That's amazing, isn't it? I had no idea how much I was going to love you. I know I said that, but I wanted to say it again. I love you. But if I am needed

by an adult who is ing on or another child that doesn't mean I'll love you any less. I want to stay with you. Even if that is simply to be just your imaginary friend forever that is fine by me. Michael starts grabbing his chest in pain. JANE Michael, what's happening? What is it? Michael! MICHAEL I feel-pain. JANE Michael? MICHAEL Everything is hurting. JANE What is happening? Michael? MICHAEL The pain is real Jane. I can'tJANE You'll be fine, you have to be fine. Michael you are real to me. MICHAEL Jane. Michael relaxes. Jane crying. Blackout. Scene 7 Lights up. Astor Court. Afternoon. Michael is sitting at a table for three with a

Aggie(played by Young Jane). Waiter enters and puts two deserts on table. MICHAEL Thanks so much. Waiter exits. You're such a girl. AGGIE I am a girl, silly. MICHAEL Are you going to share with me? AGGIE Of course. MICHAEL You are so nice. What game are we going to play today? AGGIE We have to wait to choose, you know that. MICHAEL We could decide secretly. AGGIE No, no. MICHAEL Alright, fine. Aggie, look! Michael points.

Here comes Mommy. Jane enters. AGGIE Now we can play monkey in the middle and you're the monkey, Daddy. MICHAEL Okay, except that we need a ball for that game. But of course I'm the monkey. I'm the hairy one, aren't I? Jane sits in between Aggie and Michael. Michael kisses Jane. I missed you. I always miss you. JANE I missed you too. But I'm here. We're here, all three of us. And there's nothing in the world that's better than that. Nothing I could imagine in my wildest dreams. Why do moments this beautiful make me want to cry? MICHAEL I don't know maybe it is so overwhelming, it goes straight to your heart. Maybe it makes you feel emotions that are locked away inside all at once. JANE How do you do that? Michael What? JANE Be so... perfect. And be able to stay with me? MICHAEL

I figured that one out. It was out of need. JANE Oh. That does makes sense because I needed you. MICHAEL Not your need. Mine. I needed you. I still need you, Jane. I couldn't be with out you so the only option was to become real, not for you but for me. Lights fade to black. END OF PLAY