 We are. Okay, she didn't realize what I was saying. I'm going to put a whole lot of stuff in there. I'm not going to see you. I'm not a college man. Oh, my God. She's gone crazy. She's been going crazy. She's been going crazy. She's been going crazy. She's been going crazy. She's been going crazy. Oh, my God. Three of us. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. Hi. I know, right? No? No? No? No? No? No? No? No? No? No? No? No? Okay, miracles. Just so about to see your head. Just so about to see your head. Just so about to see your head. Just so about to see your head. Here, look my hand. And this is Johnny. This is Rebecca's. This is Let's do it. festival. We really mean thank you for coming. You are an important part of the process and it's really fun to be in a room with a lot of people who love theater and love to see plays get made and we look forward to hearing from you afterwards. So thank you for being here and for supporting your work. It's very important we think. I want to say thanks. I also want to say thanks to the members of my staff, the Tennessee Rep staff who've worked very hard to make this event happen. They built us a little stage. And Shane's back there helping us be online. We're also saying hi to all the folks out in the interweb because we're being live streamed on new play TV. So don't stand up and take your clothes off or anything. I also want to thank ABT for their support of us. And also of course for the help that they gave us with the technology to allow us to be able to live stream tonight. Also thanks to National Arts Magazine for their support of this. And then of course my thanks would not be complete without thanking the obvious. The woman who believes that new plays are important and then she puts her money where her mouth is and supports the Ingram New Works Festival. So a big thank you and a round of applause please for Martha Esau. I hope at some point, now this play doesn't have an intermission at night but afterwards you're going to want to buy some M&Ms. I just want to know any concessions you buy, support or programming so we hope you're going to sugar shock on our behalf. I also hope that if you're not subscribed already I'm looking around here and seeing lots of subscribers, lots of actors, lots of folks who are already a member of the family. But if you're not, I hope you will consider joining the family and becoming a subscriber. We have a fabulous season lined up next year and it includes a new addition that actually was born in the New Works Festival that we're very excited about. If you were around and you were here a couple years ago, you were here with David Auburn was our New Works Fellow and he launched his play The Columnist in a reading here and of course it's playing in New York right now and due to our relationship with that development process we were able to get a special release to produce that play next season. So we're bumping it, we're bumping it into the very next season and we're really really delighted to have the honor to do that as the first regional theater. So how about a applause for the Columnist? And of course check out the festival schedule starting tomorrow. We're going to be at National Children's Theater for the readings of the new play by Stephen Deets called Rancho Mirage and now you get to applaud for Stephen Deets. This is the time where I'm going to ask you to check your cell phones, please make sure they're quiet, turn them off, step on them, sit on them, whatever you want, just to make sure they don't interfere with your experience of the play. We would appreciate that. I'd like to introduce to you now my Artistic Associate. She helps me with every branch of the artistic programming that we do here at Tennessee Rep with relations to the new play festival. She is the director of the New Works Lab. So I'm going to ask her to come up and give you just a brief overview of how the lab functions and say hi to Lauren Shouse. Welcome. We're thrilled to have you here. This is sort of the culmination of our New Works Lab experience. I've had the great pleasure to work with four regional and local playwrights throughout the year in a laboratory environment. They brought in plays that started out either they're an idea, a draft, or a couple of pages even. And we met about once a month since September together. We brought professional actors into that process and really had an opportunity to just do what a laboratory does, you know, sit around and really make these plays better. And our goal at Tennessee Rep is to serve the play. About midway through our process, our fellow Stephen Deets came in and really had some great time with the playwrights to give them one-on-one feedback, to sit down and really get inside the plays a little bit more. And then for the last half, we've been headed towards our rehearsal process. We have about three rehearsals for each of the plays. And then we come and they work with the director in that process as well. And then we come to the part where you all come in. And it's a really important part of the New Works development process to have an audience here to find out what the playwrights get to find out what you all are receiving from the play. So thank you for being part of that process. And I'm going to turn it back over to Renee who's going to tell you a little bit more about Nate's play instead of the stage reading. Is there a freedom? Yay! One of the great joys of getting to work on a new play like this is to be a, have really inside look at the process, working with these great actors. I don't really, I'm not going to say much to set the play up itself, literally, because it makes itself known to you. And I do want to just throw out a word there if you're not used to stage reading the concept. Just so that, you know, the actors, of course, we've had three rehearsals. The actors, during that time, we've been a part of the process insofar as that playwright, during our rehearsal process, has encouraged to do whatever changes they want. I mean, it's really about serving the play. That rehearsal process is about making the play be as much like the playwright wants it to be as we can possibly do it. So we have three rehearsals to do that. So of course the actors will be carrying a script. Any stage direction that you have to know about to understand what's going on will be read aloud. And so we'll try to make sure that you can tell what's going on to get to use your imagination. There is a talk back immediately following the play. We really hope you can stick around for 15 minutes and have a little chat with us about it. But there's not an intermission. So you get to talk after the whole thing. Again, thank you for being here supporting me work. I know you're going to enjoy Larry's. Larry's by Nate Ebbler, a living room, a couch and matching chair, two doors, no walls, a lampshade on the floor. Larry is on stage drinking a lamp cord snakes out from under one of the doors. Wanda enters from the other door. Did you get my email or not? Wanda. Because if I'm the only one in this marriage, I need to know that now. Like today. Today, Larry, are you listening? Yes, Wanda. You can't just not respond to things. Not responding is not an option. I don't want to be in a marriage by myself. Listen to me, please. Is this the marriage you wanted? Wanda. There is someone I need you to be. And that's someone communicates. That's someone responds to emails. That's what are you doing? Wanda, you got to shut up now, okay? Nice, Larry. I need you to stay calm and I need you to listen to me. Did you see me today? Are you drinking? One drink isn't drinking. One drink. I'm not going to debate you right now. Did you see me today? Did you get my email? Can we not talk about the email? Because you got it or because you didn't get it? Please, just please. Please what? Did you see me today? What are you talking about? I think, please, just, will you listen to me? Okay, fine. I'm listening. You want to know if I saw you today? I don't know how to do this, so I'm just, I'm just going to be honest. Here we go. I think I need your help. Should I be sitting down for this? Yeah, well, yeah. Does this end with a screening match? Because I want you to know I am ready for one. I went to work today. I think I've got it so far. I saw me. I was already at work. When I got there, there I was. I was already there. At your office? Yes. This is like a metaphor? No. You saw yourself at work and you don't want to clean teeth for the rest of your life? This literally happened. You can't ever just talk to me about things. If you don't want to have a baby, just say so. What? The email. You obviously got my email and saw yourself at work. Stop talking about the goddamn email and listen to me. Why are you yelling? I was actually at work. Another me. He was there. He was doing Marty Carlisle's branch work for God's sake. What? I walked in and Katie said, when did you go out to the parking lot? And I said, what? And she said that you should have fired her last year. Wanda. You should have fired her or had one of the other guys do it. This isn't about Katie. I hate that you see her every day. This isn't about Katie. Are you sure? Because all I'm hearing right now is, sit down Wanda. I'm not happy with my life. I really saw myself today. I actually saw myself today. Yeah, I get it. You talked to Katie Lane. You saw yourself and then you came home from work early and started drinking. Please for once, just listen to the words I am saying. I think I got it. We're not having another baby and you're gone just like that poof out of our life. It's over. That's my answer. The man I saw at the office, the me, he was here. I knew you'd leave me. As soon as we got McKinsey moved into that door, my thought to myself, is this it? Because I bet it's it. Here it is. This is it. It was in our house. All of those books said the same thing. There's a moment and maybe you don't see it coming, but there it is. And this is it. I should have protected myself. I should have left you in the middle of the night. I don't know who you are anymore. Wanda. A man opens the front door. He is dressed exactly like Larry, except this one has a goatee and a gun in his hand. How did you get out of the trunk? Oh my God, there's more than one. Larry? I don't know who you are or what you want, but coming into my house is over the line. You understand that? Larry, that man looks just like you. Come over here, baby. Larry, the man who looks just like you has a gun. Don't move, baby. Stay away from him, Walnut. How many of you are there? How did you get here ahead of me? Who are you? I'm Larry. I'm Larry. There's only one of you, understand? And I'm me, all right? You're, I don't know what you are, but whatever you are, you aren't me. I tried to explain it to you. You did a terrible job. I told you I saw two of my somebody at work. I always say that. Every time there's a problem, it is not a mid-life crisis. Get him out of here. I will, baby. She was talking to me. Larry! Yeah, baby. I know. I'm taking care of it. You have a goatee. What? You have a goatee. Look, Wanda, he has a goatee. Don't talk to her. He has a goatee. I said go talk to her. I don't have a goatee. So what? I don't have a goatee. See, we're not the same. You're identical. I don't know who this guy is, but I promise you I'm your husband. I'm Larry. Look at me. I don't have a goatee. This one has a goatee. The other one had glasses. What? I don't have glasses. Right? I'm Larry. I know me. He has a goatee. Do you see it? At the gas station, we fought. He was like insane or something. He clawed at me. Like some kind of wild animal. I finally knocked him out and locked him in the trunk of his car. I almost didn't make it home to him. Something is happening. Something is obviously happening. I don't know what exactly, but I know it's not my fault. I know I didn't do anything. I know that there's an explanation for all of this. An explanation and a solution. I don't know what it is, but I know there is one. I have a solution. Okay, I'm going to just hide in that closet and don't come out until I kill you two. Don't open that closet. Go ahead. That's okay. Don't go in there. I'm going to shoot this guy. And I don't want you to watch. Wanda. Stop talking to her. She's my wife. She's my wife. You should have stayed in the trunk. Wanda, get in the closet. Don't get in the closet. Wanda, get in the goddamn closet. What? You killed him, didn't you? At the gas station, he's a killer. I wasn't at the gas station because there was another guy who looked just like me, right? You said it, but somebody said if I met you, if you met your W, you'd have to kill him or have sex with him. What? I'm saying he attacked me. The door won't close right. What are you doing? He said to close the door. He isn't your husband. He's some kind of pervy cop of your clone or some kind of sci-fi shit. He's homicide maniac. You're the one with the gun. You. See? Just talk. At the same time, ask me. Kill that guy. See? This guy tried to kill me. This guy is a killer. Self-defense. You hid the body. I panicked. Killers panic, don't they, baby? I am me. I am your husband. I need your help. It's like I've been telling you I went to work. How long has he been here? I just came home. He didn't miss with you or anything, did he? She is my wife. Did he touch you? Whatever happened, I'll forgive you because, you know, he looks just like me, but you got to be honest here a little bit. Neither of you are my husband, Dargene. I am. I am your husband. Mary, rush this Larry. Careful, baby. Okay, boy. I want you to listen to me. Want to start a party? Yes, baby. Not just shoot all the Larry's in the room. My fault now you're saying I wanted to fight myself at a gas station? I wanted to come home and talk to my husband, my real husband. Email. Oh, can we not get into the email right now, please? You got the email? Yeah. We're having a baby or we're getting divorced one night. Real nice. He got the email. I got the email. But you don't want to talk about it. How the do I? I mean, how the hell are you supposed to respond to that? There are more important things going on at the moment, Wanda. What is more important than our marriage? I make it all about you. You understand what's going on here, right? We'll deal with our problems after we deal with this guy. Wanda and I do not have problems. Sin, believe me, buddy. She's not your wife. I'm the real Larry. I'm your husband. He's not. I am. Stop saying that. Make me. And eventually gets her cell phone out of her purse. This is your mother. I know you told me only to call in an emergency and please know that I'm trying my best to respect your adult boundaries. But this is an emergency and I don't mean to worry you, but I think I'm having some sort of psychotic breakdown, maybe. Or maybe your father is having some sort of psychotic breakdown. Or maybe your father isn't your father. Can you please come home and help me? This is your mother. Call me back. Another front door appears on stage. The other doors move over accordingly. A man opens the new front door. He looks like the other Larry's. Wanda. Oh, God, I'm sorry. I'm so sorry. I got your email. You did? I just didn't know how to respond. I mean, to put into an email all the things that I've been I'll do whatever it takes. Oh, Wanda. Oh, magic Wanda. I'm so sorry. Is it you? Yes. It's not you. It's me. It's me. It's been me all the time. Larry? I can't believe you're here. I don't know what the... Am I crazy? I'm crazy. Is that it? Are you here? Is it you? You reached out to me and I knew I'd see you at some point in the future, but I didn't think you'd be here. Never again. I promise. The email? Yes. Absolutely. Whatever it takes because I'm lost. You know that, right? My whole life. Why is this happening to me? This is part of it all. That's why I deserve this, right? I know that's what you'd say. You'd say, Larry, you deserve this. You shit. I know you're what you shit. Just like you. Maybe I do, but God, how much do I have to go through? I want to have a baby. We should have a baby. I'll do that if you think you can forgive me. For what? Does that mean for what? Like, if you forgive me and it's all in the past or do you want me to, like, you know, confess to everything? Because I'm willing to. I told you that months ago. I'm willing to do whatever it takes here, whatever it takes. What? I need you back. I need you. What is wrong with you? I make the wrong choice. What? I'm dying inside. This isn't the life I want. I was wrong. What? Stop saying what like that. I know you know what I'm talking about. Look at me. I'm not even me anymore. I'm a shell of me, a sad little version of me. What? This house is a tomb without you. A tomb. Can I kiss you or touch you? I need to... Let's make a baby. Did you see you outside? Exactly. The second I went into her bed, I was outside of us. I should have stayed inside. I know that now. I made this house a tomb, not you. I'm not blaming you. I'm not blaming Katie either. It was my fault. What about Katie? Oh, I don't know where she is. She's gone. I'm alone. Truly alone. Maybe for the first time in a long time. And yes, I don't know what that means for me. I'm still discovering who I am. I'm yours. I know that much. And your email. Yes, it was a little dramatic, I suppose. But I understand your terms. And after not hearing from you for so long, I thought, well, that's it. It's over. Just like in all those books, there's a moment. And this is it. Here it is. And I tried to give you space like you asked for. And we called it temporary because that's what people say in these situations. But I felt like we knew it wasn't. And yes, I know I'm not supposed to call. And yes, maybe I keep calling, sort of, because the hanging up isn't calling exactly. How can you live without me? I can't live without you. I'm terrible at it. We were together for so long. I mean, we were different people when we met Warwick. Katie Lane? She's not here anymore. I know I did that. I know I brought her into our lives, into our bed between you and I. But she's not here anymore, I promise. Into our bed? You want me to say it? I'll say it if you want me to say it. I'll say it. We had sex. We did. At the office. At her apartment. Here, in this house. In our bed. But you know and I know it was more than the sex. It was the emotional affair that went along with it. I knew it! I knew it! You shit! You shit! First to me, then, I've already done to myself any more. I know I don't know you, but we can relearn, right? We can start over. Reconnect. You're here. You sent the email. You made an offer. That means you're willing to take a step. You are taking a step. I want you out of this house. I can't even look at you. You want to move back in? I want you to move out. What about your apartment? Apartment. Your apartment? The apartment? What? If you want to move back into the house, fine. I'm fine with that. I'm willing to do that. Please, don't get me wrong. It's 50 percent yours, and it will be if we sign the papers or not. You have as much right to be here as I do. But I'm asking a practical question, and I'm sorry for that, because maybe we should only be talking feelings and emotions right now. I don't know what's happening. Exactly. Maybe it's time to stop talking about divorce and start talking about reconciliation. Well, I'm not ready for reconciliation, Larry. I want some answers. I will never lie to you again. Who are those men, and why are you dead in the closet? Is that like a metaphor? What is this? Holy shit, what is that? Me and F and G. You're hurting, but Jesus, baby. That's a little extreme, isn't it? It scared the shit out of me. It's you. Yes, I understand. It's me. Why did you do this? You're saying this is my fault? I forced you to build like a Halloween installation in the closet. You're trying to teach me a lesson? Larry, you killed this man. You said so yourself. Okay, I guess. Do I just not have a shot here at all? Is there any chance of us working this out? You know what? Don't say anything. I won't take no for an answer. Larry! If this is how you have to express yourself, then this is how you have to express yourself. You killed me. I see it now. You had to do it. You killed this man. Okay, I killed that man. It's him or you. And now he's gone, of course. Where did he come from? Yes, he came from... I don't know what to say here. I feel like you have an exact answer in mind that I'm not going to get anywhere near. Larry. I don't know where he came from. We got married too early, or we should have had another child, or I should have quit dentistry and become a photographer, or boredom. He just came out of boredom. I mean, maybe that's small, but it's real, isn't it? He's not me anymore. I'm not that. Did you see you at work today? I went through the wrong door. I lost everything over the wrong choice. Did you see yourself at work today, Larry? What are you talking about? Oh, shit. See, every question, you know exactly what you want me to say. How could I possibly do that? You're being unfair. You're another one. Asshole! Larry enters through the new front door with one hand over his eye and carrying the lamp. The other Larry follows carrying the... I'm sorry. Are you... are you okay? You poked my goddamn eye out. Does it hurt? Yeah, it hurts. Great. How many of you are there? Don't talk to me. Okay, don't even look at me. I'm so pissed at you right now. He showed up while you were running around the block. You were running around the block. He came at me with a stick. Why did you let him in? He looks just like you. He's too tall to be me. She was talking to me. Stop it. We're on a time out. Can I get some bandages or something? Is this the one you locked in the trunk? You're the one I locked in the trunk with. Why are you just standing around, getting me an ice pack or something? This hurts like a... I said I was sorry. Kind of grown man poked somebody in the eye with a stick. I was defending myself. I was defending myself too. You got both your goddamn eyes intact. That one has a goatee. Stop it. Stop talking. I'll get right on that, honey. I'm your husband. Where did you come from? Look at me. Where did you come from? Why are you here? Do I really sound like that? All right. That's so weird. You're not helping. He's a double just like you. I'm not a double. I was here first. Then you showed up with the gun, then him. And I want to know where he came from. Are you going to get me something for my eye or not? Get him something for his eye. That was originally the closet. Who are you? I'm me. You're the one that's somebody else. Come over here, baby. I don't want you to get too close to these guys. If you can't sort yourself out, Larry, I will. Don't mom-tone me, okay? You're a child. I'm your husband. Fine. You know what? You're not my husband. Don't get mad at me. You used your mom-tone. You made me use my mom-tone. I point out a fact, and she gets mad at me for it every time. You always do this. She always does that. You look like my husband, but you're not my husband. He is. He is? No, not him. The other one. Oh, he is? And how do you know that? Wanda, I'm your husband. I came home, and he was here. You're both, I don't know what you are. You're an infestation or something. He was here first, and that makes him my husband. Wanda, I'm your husband. He wasn't here first. He was. I saw him. I should know. I was there. But that Larry said he came home and found the closet guy. The closet guy was here before that guy. Remember? It was him or me, self-defense. I'd like somebody to explain to me. Kind of in detail. What's going on? Can that happen? Doesn't matter anyway, baby, because when I got home this morning, when I got up this morning, I was the only Larry here. I had my coffee. I kissed you goodbye. I went to work. I'm me. You're you there? Somebody else. I'm me. I'm her husband. Yeah, okay, pal. We're having problems, but we're going to work it out. Do you understand? I got it. Take a step back. She sent me an email today with terms for reconciliation. You just sent our private email out to everybody then? When she moved out, it wasn't permanent. I made mistakes, but I knew in my heart it wasn't over for us. What are you talking about? This is my house. Our house. I don't know who you are, but I will fight to the death to defend my family. Do you understand? He's back. I am the only Larry here. I am the only Larry. There's something wrong with the house. I am the only Larry. You know exactly why. What? Is that for me? Here. Can't believe you hit me with a stick. I'll leave it. Why don't we have an eyepatch? The bathroom? The bedroom? No more trying to kill each other, okay? No more sticks. I agree with Wanda. We should calm down and figure out what's going on here. Well, I'm sorry I attacked you. I'm very... Things are heightened right now. I think we can all agree on that. Now, the two of you have some explaining to do. Stop acting like you're the real one. I am the real one. You're a double. I'm not a double, Wanda. When you came home, the other man, the man in the closet, he was already here. Yes, but... He was here when you got here. He was here first. The bedroom looks wrong. What? That's what I was trying to tell you before you hit me with a stick. What are you talking about? Look! It's not right. Absolutely not. Nobody goes into the bedroom with my wife except me. It's not even our bed. Oh, you see, move out of the way. You only have one eye. That doesn't make me blind, asshole. When did you buy that? But why do we agree on rules for the credit card if we're not going to follow that? I didn't buy that. That's not mine. That's what I'm saying. That's not our bedroom. Yes, it is. Yes, it is, but it's not. Look. Well, what the hell is it then? I don't have an answer for that. I'm just observing. I mean, you tell me. This is you. You're doing this. I'm not doing anything. And now you're thinking clearly it's all him. You killed the man in the closet. You walked in the bedroom and now it's different. He killed the man in the closet? He's a pervert, too. Who are you? Don't do that. I'm Larry. Would you know if you weren't? Wait a minute. The sound of someone trying to unlock the front door. Who's that? Oh, here we go. What's wrong with the lock? My key won't work. Shit. Is that? I called back. Why? I needed help. I wanted to call the police and he said don't call the police. The police? They were trying to kill each other. There was a gun. A gun? Get in the closet. What? I'm going to get rid of her. Why? Get in the closet. There's a dead body in there. I'm not getting in there. You put that dead body in there. Wanda opens the closet. No dead Larry. Where'd he go? Don't look at me like that. Why would I have had time to move a body? You didn't just get up and walk away. Open the door. Get in there. What about him? He's staying out here with me. Why him? Because he isn't wearing an eye patch and he isn't a murderer. We should get out of here. What? You and me. Work it out. We have a lot to talk about. Don't you think? Don't say a word. Nothing about the Larry's in the closet or divorce or Katie Lane or anything at all. Just sit on that couch and keep your mouth shut until I can get rid of Mac. Long tone. No matter how bad your day is I want you to know mine is worse. Mac, I'm sorry about phone call. We're having a baby or we're getting divorced. What? You sent your email to the wrong person. Again. I'm impressed though. You made it three whole weeks without me here before you threatened divorce. I didn't mean for you to see that. I didn't. The baby things knew though but I get it. I'm old news. Why would you love me anymore? It's not like I still need parents or anything. Did you repaint my room already? I didn't mean to send it to you. It was an accident. Your father and I are going through some issues right now. One thing to think that you don't actually matter to your parents and another all together to see the proof marked urgent in your inbox. You're a girl. What Larry? Why is our son a girl? This is our daughter. Mackenzie. We don't have a daughter. This is our daughter. Okay. What does a heart attack feel like? I can't breathe. He's a girl. He's a girl. You seem a lot less shocked than I'd expect honey. Can we? I'll grown up thing right now. Every time you do it, I like die inside that much. Why didn't you tell me as soon as that you walked in the door? Our is more important to me than multiple dads. How could anything be more important than multiple versions of your father running around loots to warn you? But you know, navigating a cell phone is like beyond you. How many are there? Like how many did I see or what's my guess? Because I only saw the two at the Circle K and the one that came and saw me on campus. You saw your dad on campus? Yeah, I saw him first at like 10 a.m. He was all like, I really saw myself today and the sky is so blue, isn't it Mack? Do you ever think about how big blue is? And I was like, okay, here we go, midlife crisis, thank you psychology class. But then he goes like, we'll be okay. There are others to take care of you. One of them will take care of you. And then he ran, like literally ran off into the distance like a jailbreak style. You really did that? Yep. You just ran away. Big time. We can do that? He wasn't saying that. Oh, now you want to run away too. Don't defend me to my wife. I am not defending you. What about you? Does everybody want to leave me? You're a girl. It's like the least most important question ever. Which one of them is my Larry? So you can serve the divorce papers to the right one. Please don't pick at your mother right now. There's a lot of, it's a very tense day. Who brought the gun? Put that down. Who would have liked to have seen him? Which one is your father? I am. How should I be doing? Oh no, which one's my husband who I made me want a divorce? I don't know, all of them, or none of them. This doesn't get weird when you get into quantum physics. I mean, there's some element of each one of them, but them, they all look exactly alike. We don't. You do. He has a goatee. Who does? Him, I do. You see each other differently? Yes. Goatee, eyepatch, trope, done. That one's not. Evil me? You are, in fact. You belong in some other universe. This is my house. Probably not. Maybe small or whatever, but if you looked close enough, you'd find them. It's the multiverse. It can happen has a certain probability, and when the probability balances out, reality branches off in two different directions. One universe where the coin landed on heads, one where it landed on tails. No one believes that. Heliosyntricity. Not believing that it make it untrue. There are more than two of us. Yeah, because like for every metaphorical coin flip, two more branches, so you know like an infinite number. How do you know this? Public television? On a few weeks back. Oh, shit. Maybe, but he said he has a son named McKenzie, right, and I am most definitely a girl. But somewhere else, the coin landed on boy, because here he is. That's not true. Apparently it is. It's not. I don't believe it. But you totally go to church and stuff, and believe in God or whatever, and he's never been in your living room, but here are three versions. It's like my brain is on fire. I'm strangely just out of sight. If you were to get behind every door, who knows what the world would look like? This isn't happening. And yet? You're wrong. I am, huh? Okay. Deny away. How many are there? Total. Probably an infinite number, or near infinite, or not. I don't really know. No. No, I have one husband. I have Larry, and that is all I have. I know exactly who he is, and he is not evil, and he doesn't have a son, and he's not a killer, and he's not dead in the closet. I know what my life is, and this is not it. Oh my God, you are like the most dramatic person ever. Who do you think you are? I'm your daughter, forever and always, whether we like it or not. You've got your mouth. This is the universe in which we live. It's big and strange, and we are small and powerless. Larry grabs the gun and puts it to his head. What? I'm sorry. I love you. Larry pulls the trigger. The gun clicks. Wow. Mackenzie immediately crosses something off her college list. You want a divorce? Relationship work. You moved out. You trashed me on the internet. You want to ruin me. You can't forgive me for sleeping with Katie. You slept with Katie Lane? Yes. I was. The wrong one. You're the ones who are wrong. You're an invasion. You might look like my Larry, but that doesn't make you my Larry. My Larry? 19? The Larry who cradles my head when I sleep. What the hell are you talking about? My Larry! I don't cradle your head while you sleep. Then you're not my Larry. My Larry cradles my head when I sleep. I don't remember you ever sleeping in your bedroom. Mostly you fall asleep in the living room watching court TV. I wanted to do that too. My Larry is going to come home. We are going to start over. We're going to have another baby, and things are going to be like they used to be. Here we go. I want to have another baby. I know you think that, but I gotta say there's no way that's what you really want. They'll talk to her like that. You saw the email? I mean how does a person even respond to that? I want to start over. There we go. Get out your tiny violins. And where am I in this new start? You like want to keep trying motherhood until you get it right? If at first you don't succeed or whatever? Mack, stay out of this. Your mother didn't mean to involve you in our, you know, discussion. And yet, my husband Larry is going to walk through that door and he's going to sort all of you out. A new door appears on stage. All the other doors are just accordingly. Another man enters. Larry! The pirates next, and then you. Calm down, okay? I'm the only Larry. You hear me, I patch? I know who you are. You gotta get off of me. Why is he a bad guy? He is black. He's not black, he's brown. We can do all the things we meant to do. I don't want to hurt you, but you gotta let go of me. I didn't mean to hunt you either. Lady, I don't know you and I don't know who you think I am, so get out of my way, all right? Nobody else gets you in here, you understand? This is the last one. I'm the only one. Are there others? Are there more? This is it, probably. I honestly don't know. Larry, Larry, it's me. It's Wanda. Wanda? Wanda like the Wanda that sent me the email, Wanda? Yes! You got my email! What is wrong with you? Who sends an email like that? Lady, I am having a very difficult day today. Do you understand me? Look, there are three versions of me standing in your living room and one knocked out on your floor, meeting multiple versions of yourself, put stress on a man. Have you ever fought your own double? It's hard. It takes time. You're evenly matched and you both know what the other one's gonna do before he does it. You gotta be tricky. You gotta be fast. So you'll excuse me! She's your wife! It's through the door that led to the bedroom. I have no idea what to do when she does that. Me either. I'm sorry, I didn't mean to. This is how they always do it. They fight, she gets angry that the world isn't exactly like she imagined it in her head and then she runs crying into the bedroom. This fight's maybe a little different because you know, multiple Larry's. Is she really my wife? No, she's my wife. You're not married? No. You don't have a daughter? No. That's one way, tails another. You're my daughter? I mean, you know, not your daughter, but yeah, your daughter. What's your name? Mackenzie. Mackenzie. He's obviously not supposed to be here. Neither are you. This is my house. This one isn't married, that one's divorced and you're evil. I'm supposed to be. Then where exactly am I supposed to be? But that's not the right question. What is the right question? Understand I'm just being realistic here. We understand. He came here chasing you and you all came here chasing her in some way or another, but the universe is cracked, right? Pieces stacked wrong. You all came here because of her, but with everything out of order, I think you have to ask is she where she's supposed to be? Or not. I mean, you know, do whatever. Who wants a drink? End of scene one. Larry is icing his jaw. Wanda is still in the bedroom. I was here first. Again, I know you think that, but it just looks that way to you. Like, you know, sunset doesn't happen. It's an illusion because, you know, we're spinning through space or whatever. Many of the truths we cling to are only true from our point of view. Obi-Wan said that. And you can't get any more gospel than Obi-Wan can do. Go through it again. I'm still not a white guy. And you weren't ever a white guy. Are there more brown people than white people in your universe? People than white people in this universe. She runs and hides. Part three is she comes back out. And why are they standing there? Yeah, so that's part two. He stands outside whatever door she's hiding behind and he doesn't say anything. He, like, waits in silence for her to open the door, which she does part three, and then they start all over again. That's not... She's making up stories. That is not what happens. It's what happens. And why aren't you standing over there? Oh, she hates me. Hate her back. Works for me. Go through it again. What do you want me to say? I want to know all the ways that we're different. He's brown. I'm divorced. She's a boy. You're evil. I'm not a boy. Cheers. Should she be drinking? She drinking. No drinking. He's riding. I'm drinking. Don't tell me how to raise my kid, all right? You want one? No. I'm telling you right now, there's no food. Empty refrigerator, I'm sure of it. They're like high school kids who accidentally raised a daughter. Standing right here, we can hear you. You're not my dad, evil Larry. I'm going to count to three and you're going to put the drink down. Counting thing never works. I know, right, but you're going to keep it dry. Why are you standing here? I'm waiting for her to come out. I'm waiting for her to come out. You heard what she said. You're not who you think you are. Not what she said. Why are they fighting? Evil Larry and the other Larry or Wanda and Evil Larry and the other Larry? The woman, the Wanda. Why is the Wanda in the bedroom? Because of the email everybody got. We're having a baby or we're getting divorced. Wanda. Can you believe that? This is my family of origin. She knew that a lot. What? Emotionally blackmail us in a one line email. No, she's not. And it wasn't. I mean, yes, the email was maybe, you know, how did you respond? Can you respond to that? We're working on some other things. Some other important things happen today. We can all agree on that, right? Tell her you're getting a divorce. Thank you for the advice. But if my lady friend sent me that email, you better believe I'd be out the door. She's not my lady friend. She's no like. You need to be around a person who would send an email like that. I'm sure you see it very clearly from your perspective. From my perspective, your wife is emotionally blackmailing you and instead of doing something about it like a grown man, you're waiting outside her door like a puppy. You don't have a wife. It's more complicated than that. Not from where I'm standing. Larry. And some index cards. What are you doing over there? You, you went, where did you just come from? The bedroom. This is the bedroom. This is the bedroom. What's wrong with the house? He did it. I did not do it. I was over here when it happened and as I recall, you were over there. I was not. Why are there two couches in the end of the world? Never say anything like that again. Good idea. I am not going to engage with you right now. Each of you a question. Wait. This is not a good idea. Damn, with evil Larry on this one. He's back on the evil of Larry. I don't think any of us should have to... Good. Stand up for yourself. Okay, please just, would you stay out of this? This is just like the email. If you want to talk to us, just talk to us, all right? We will not be manipulated. Which one are you? He's the one that's not married. Why are you still here? Well, I came here to fight my way through the Larry's, but I got to admit, now I'm kind of curious to see how this is going to go. How we can breathe? After we start to go for dessert. Oh, this right here is incredible. Where do we go for dessert? I'm not your husband. Neither. Is a divorced one. For the question, if you think you are my husband. Trasor by land called. Me at all. I bought you the perfume in the first place, didn't I? You didn't remember anything. Remember that? Came in like a little upside down pyramid. Yeah, we all share, right? Mackenzie, right? Yep. But you have to focus on the differences. He's not married. He's divorced. This guy's evil. Say it again! One more time, and I'll sue you, evil Larry. I am your husband. I'm me. In the breezeway? Outside of Winston Hall? You don't remember? I know, it was on the lips. It wasn't just sex. You were in love with the hygienists? It was a choice. I made the wrong one. I lost. All choice involves a loss, or at least a perception of one. And that's what choice is. One thing, not another. I think choice creates an illusion that we are responsible for all the things we do or do not do. You're very different from my Mackenzie. Fear of loss keeps us from doing most anything, don't you think? And really, when you think about it, you didn't actually lose. It turns out you both chose to screw her, and not to, right? Surely one of the other ones didn't. Did you screw the hygienist? My hygienist is a Puerto Rican man named Dale. You have no idea. I crossed off lesbian experience after an hour and a half in my door. The first three weeks of college is a heady time. You're not scared by any of this? The duplicates, whatever they are? I find the idea of this multi-verse being kind of peaceful, honestly. Somewhere I've done everything on the list already. Somewhere I'll never do any of it. Shame is out the window. Wanda enters through one of the doors, followed by Larry and Evil Larry. Where's the bedroom? Let's focus on all the things I do remember. Those were hard questions. You're blaming the questions? You agree they were hard, right? I think maybe you didn't know the answers because you're not really her husband. You didn't know the answers either! Wanda exits out a different door. Wanda! Help me make a pillow fort. Mackenzie starts to believe this is happening. What is happening? It'll be terrible. It doesn't matter how minor it is. The minute they start fighting, I feel like I have to poop. It's awful. You're building a fort for what reason exactly? No matter where you go in the house, you can hear it. So I started making pillow forts. It's a paltry defense, but at least it's something. It's always like this? Now, today's the first day there was a Larry and an Evil Larry. I'm into fighting. Yes, it's always like this. What do they fight about? Top three in ascending order is money, me, and on we. You know that word? Yeah. Yeah, I know that word. You know how when you hear a word and you're like, oh yes, a we for me? Can somebody fight about on we? Right? I guess it's more like because of. But still, are you going to help or not? Yeah, I'll help. Wanda enters through one of the doors, followed by Larry and Evil Larry. Ask me another question. Anything I'll answer. If he gets one, I get one. Fair is fair. Nothing is where it belongs. What are you looking for? I'd like to go to my bedroom and lock the door so I can maybe just have one minute to myself without running into Larry's everywhere, but nothing, the bedroom, isn't where it's supposed to be. And that makes an Evil? The devil with the goatee is always the Evil one. It's a descriptor. Like a stereotype. Goatee doesn't make somebody Evil. Ah, but it does. It makes somebody Evil. Are you punching your doppelganger in the face? I'm not Evil. You're like an angry black guy then? Very funny. Your action seemed pretty angry, Larry. When I saw the first one, I got so... It's not like looking into a mirror. I mean, you see you, but you immediately saw the differences too. My first thought was, Larry, you're going to have to kill this guy. And that was it. Suddenly I was fighting for my life. That's not an angry Larry. That's a scared Larry. There's a difference. Believe me. I mean, this morning I had it together, but then, you know, you see a whole shitload of yous running around. It's kind of hard to get your mind right. Larry is dismantling the pillow fort. What are you doing? You're building it wrong. Light materials on top, heavy materials on bottom. There's a science to everything. Even pillow ports. Doesn't your dad tell you stuff? You're wrong. It's already tons better. It would collapse the other way. Not bad. The other thing. I think you are how other people see you. What you are on the outside is not what you are on the inside. Like how you're a white guy? I'm not a white guy. You are me? You look just like my dad. Who you are is who you are. How else could it possibly be? Prove it. Are you drunk? No. Larry puts the lampshade on the Kinsey's head. How about now? I see what you're doing here. You look drunk to me now. I see you with the lampshade on your head standing next to that bottle and I think, boom, drunk girl. But that doesn't make you any more drunk than I am white. Be who you are. Not who other people think you are. Who am I? You're heartbroken. You're like heartbreak, Larry. Says who? Says me. I'm the Namer. And who am I? I'm a heartbreak, Larry. Don't let her do that. Be who you want to be. I'm not brown, Larry. I'm just Larry. If I'm anything, I'm super Larry. Super Larry. My whole life doesn't revolve around your mother. That puts me a few steps ahead of these other guys. I want to be happy, Larry. Then be that. Nice to meet you, happy Larry. Go find a happy universe to live in. Okay. How do I do that? Life is choices. Pick a door, happy Larry. Open the doors. You can't just choose to be happy. You are who you are and not what other people say you are. Not what you appear to be. That's not true. Yeah. While many of the truths we cling to are only true from our point of view. Mackenzie crosses something off her list. What are you crossing off? Meet a nice guy. Heartbreak Larry comes back in through a different door. He shoot himself before he got here. No bullets. Are we just not going to talk about that meet a nice guy thing? If I met my double, I think I'd have to have sex with her or kill her. I mean, that would be like the first thought. Sex didn't occur to me. I assumed everybody would think of that. Sex. I'm saying theoretically. Yeah. Heartbreak Larry opens a different door. I need to kill myself because if there was more than one of me that would mean there was more more than one life for me to live. Know what I mean? If I met my double, I'd let her have my life and then I'd go do all the things I wanted to do but couldn't. You have your own life ahead of you. Mackenzie, how many times have I told you not in the living room? Are you drunk right now? I am. So you'll talk to her but you won't talk to me? What do you want from me? I want you to admit what you said. You're saying I said things that I didn't say. You did. I didn't say I wasn't going to fight for you. You did. You said those exact words. Wanda opens a door. It's not what she's looking for. She closes it. I'm just trying to be clear here. Whoever wins gets you. Is that the deal you're on? She tries another one. Still not right. Closes it. I'm saying I already fought for you. I won you. We got married. Now you want me to do it all over again? I'm glad to fight these guys but I want some guarantees from you first. I understand. I need terms. Wanda opens a third door. She exits. The other two laries follow after her. Mackenzie gets into the pillow fort. It's roomier than you'd expect. I'm fine out here. One of them ran away. One of whom? Dads. Found me on campus and set us goodbyes and escaped into the blue. Blue sky, Larry. He told me one of the other laries would take care of me. I understand. They were like two years older than me when they got married. In a universe this big, there must be a Larry that wants to be a parent but not that one. He did not want his life. I'd want my life. What's so good about your life you wouldn't give it up? It's mine. Heartbreak Larry re-enters to the door he first walked out of. It's a maze. She wants a fight, she gets a fight. Mackenzie, get out of the fort. No. Grown-ups do not make pillow forts. He helped me and he's a grown-up. Your hypothesis is flawed. Brown Larry, Evil Larry. Evil Larry, Brown Larry. I betch. I remember. I'm Super Larry. Why are you Super Larry? It fits me better. Why does he get to choose? I'm not Brown Larry. I'm not Evil. Can you fight? What? I don't know. Sometimes black guys can fight. You knocked the divorce one out cold. That's probably no indicator one way or the other. I want you to know I'm not being racist. I'm just trying to get a sense of the opposition. The opposition? You're not married, right? This isn't your house. She isn't your wife. You know you don't belong here, right? Right. So you don't have anything to fight for, right? Nothing that's going to motivate you to go all adrenaline crazy or draw on otherwise unknown strength. What? You ever seen a guy fight for love? Don't put on the other side of it. That's all I'm saying. I'm going to steal weight. I'm over the fighting thing. Too busy making pillow forts to get your hands dirty. God, I'm an asshole. I'm a dentist. But I know I defend myself. I'm a dentist too. Though I was. I mean, I still am, but I hardly see patients anymore. Mostly I just have to run the business. What business? My business. Your business? Fine. Sorry. Our business. I don't own a business. Has one way entails another? You didn't buy the business from comfort dental in 99? The numbers didn't work. They worked. They didn't. I couldn't do that. No daughter, no wife. No daughter, no wife. Just me. It was a risk, but I took it. What's life without a little risk? How's the business doing? I'm opening a second office next year. Oh, I'm a dentist. Okay, that makes me feel better. Why? Well, if I have to kill you, now I have a reason. Where's the divorced one? Heartbreak, Larry. Heartbreak. Please. Yeah. I want you to stay right here. Mackenzie, you understand no matter what you hear coming from the other rooms, you just stay here and everything will be okay. Right. Evil Larry picks up off the shade and weighs it in his hand. Not evil. Feel free to leave any time and we won't have a problem. Mackenzie, put the living room back the way it was. But evil. I don't think it's the goatee, though. You're not going to get in my fort with me, are you? No. Is it because you don't want your daughter to date black guys? You don't know me. I'm a stranger and I'm also sort of your father. So let's not... I wouldn't call you a stranger. I want you to know I feel like we shouldn't be alone. You're right. We should absolutely stick together. That's not what I meant. Every door leads to a living room. Maybe it's like a cosmological constant. Clean up your mess. Now, honestly, Mack, what is your obsession with pillow forts? I need a space that fits me. A small safe home inside your larger dangerous one. Please get out of the fort and talk to me like an adult. I think I'm doing okay from in here. Which one are you? I'm Super Larry. There's a Super Larry? This is the one that doesn't know you. And you two are playing in your pillow fort? Okay, see, yeah, I'm not. I'm satisfied to make my own choices without your input. He looks exactly like your father. Yeah, because I'm the only girl in history to be attracted to a guy that reminds her of her father. I am not here to fight with you. And yet? Listen, I'm not okay. I haven't been in a pillow fort. I'm not getting in that pillow fort. It's still here. You and your husbands have been pretty busy with your own thing, and I thought somebody ought to look after your daughter. Sure they're old enough to take care of herself. Gotta say, I think you're way off. I don't want you here. I want him here. That is not for you to decide, Mack. It's time for your babysitter to go home. Somebody has to watch out for your daughter. He's not my babysitter. I can take care of myself just fine. I've been doing it since I was zero. Not have you criticized my parenting skills in front of a stranger. Wanda pulls Mackenzie out of the pillow fort. You're an inspiration to me, the way you handle things so well. Not now. We will not do this now. Right now, you will be my daughter, and you will help me, and we can go back to you being the delightful brat that possessed my daughter tomorrow. I'm sorry that I'm so busy being myself, that I've run out of time to be who you want me to be. You turn things around like that. Don't turn things around like that. That is what you're saying. It's not. Right now, you will be my daughter. You actually are my daughter. This isn't something you can just choose, Mackenzie. I said you should have waited a year, another year. You'd be more mature. You can handle the freedoms of college, and this is what I get for giving in to you and your father. No, I'm a bad daughter because I went to college. Look at what's happening. Your father has split into a thousand pieces, and you're at recess with some stranger? Do you know what this has been like for me today? Again, I don't matter. You matter, Mackenzie, but there are things going on here that have to be sorted out first. It's me, right? You'd be happy if I was different. No. You can't be happy with me at all. That's not what I said. Well, that's how I heard it. You're the one that said you had to start over. I know that I made some mistakes. Oh, I know, and I'm one of them, right? I'm not trying to hurt you. You're doing a terrible job. What do you want me to do? I want you to tell me the truth. I want you to say you want a clean start with a child that doesn't know about all the mistakes you've made. I want you to say you want a daughter that is the constant reminder of all the baggage and rubble behind you. Am I right? And there's my answer. Have your new baby. You want to start over? Start over. I will, too. I'm going to go look for a parent who wants me. Mackenzie exits. I hate the person she turns me into. She said all those things. I didn't. You think I'm a terrible mother? I don't know you, but yeah, kind of, yeah. Anybody? It's not working. Where are you going? I don't want to be alone. You are not. Or Mackenzie just exits the room. Everybody leaves. Heartbreak, Larry, enters through the door. Brown, Larry, just exits the room. Which one are you? Happy, Larry. You're a divorced one, aren't you? I've decided I'm going to make some changes in my life. What did I do to make you cheat? One of the changes I'm making is to not talk about the past. Were you unhappy? I'm happy now. Don't I look happy? Happy Larry wants to talk to me. How did you know I was the divorced one? It's all over you. And you're not wearing an eye patch. Please. Please just tell me. If it was you, tell me it was you. If it was me, just say it. I don't think happy anymore. Just tell me. Happy Larry. Just tell me. You did. I didn't. It just happened. I don't know when or how it happened. It just happened. I know exactly when it happened. You went downtown to Moselle's to pick up the food for the Christmas party. You said it wasn't ready. It was. Hey, you went with me. It started that afternoon. Am I right? How did you know? The chicken skewers were cold. I don't know. Did I leave you or did you leave me? Am I happy there? It's not a happy universe. How do I look there? Do I look good? Yes. But you're faking it. I don't know if you know you're faking it, but you are. You're hurt. You're alone. And you're pretending. You don't know that. You go to bed alone, wake up alone. And in between, you pretend. I didn't know that. Because I do the same thing. I don't want to cry anymore. I want to be happy, Larry, from now on. Yeah, well, it's not working. Maybe you should be somebody else. Heartbreak, Larry exits. Larry enters through the same door. Which one are you? I'm the one you were yelling at in our kitchen. In what used to be our kitchen. Oh, right. You're the one that won't fight for me. I'm sorry I didn't know where our first kiss was. And I'm sorry you misunderstood what I was saying about fighting for you. I don't know who you are. And I am your husband. Just because you look like my husband doesn't mean that's who you are. Well, who are you? Huh? What about that? For all I know, another you is going to walk through that door and actually want to be a part of this family. Who says you're you? You want another version of me? Because one of me walked out on you. Oh, yeah. You want her? You want to be the sad one? Because you know what that is? That is sleeping alone in some sort of soul-sucking darkness and crying every five minutes, apparently. And frankly, I am not interested in that. And I don't think you are either. I don't want to hear any more about other versions of me. I want you to get rid of the doubles. You want me to kill the doubles? Yes. Fine, do that. You want me to go kill myself? Don't say it like that. Well, am I supposed to say it? Don't do that. Mackenzie does that. You, I hate that. You twist my words up. You're telling me to kill myself. I didn't say that. You said that. Said get rid of. Well, well what? You already killed one of them. What's the big deal? In self-defense. Well, don't defend yourself. Why do I have to kill them? You said when you meet your double, you'd have to kill them or have sex with them. Right? Do you want to have sex with them? Wow. I only have one husband. One husband who is not going to kill off the other versions of himself. Maybe you are my husband. He wasn't willing to do anything for this relationship either. Wanda exits. Larry exits out a different door. Mackenzie and Heartbreak Larry enter from the other two doors. Cosmological constant. Neat. Did you kill him already? Divorce one. Did I kill him? Yes. Because I'm evil, Larry, or because I told you I was going to kill him. Yes, to both. Heartbreak Larry exits. He will Larry enters through the same door. Didn't I just... Did we just have a conversation? What are you doing? I'm looking for a parent who wants me. With the black guy leave? No, I lost him somewhere in the house. When you find him, get him out of here. Right. Did you hear what I said about looking for a... In a minute, Mack, your dad's got something to take care of first. He will Larry exits. Heartbreak Larry opens one of the doors. He looks around. Who are you? I'm the divorce one. The Larry, alright? I am evil Larry. You know what I mean? I don't want my life anymore. Let's trade. What are you trading? One day is out of my life. You can have it. You can do anything. Nothing to hold you down. Be whoever you want. I like my life just fine. Do you? Did you get a sleep with Katie Lane? I did a lot. It was great. Got up for grabs. If I hadn't slept with Katie, I'd wonder about it every day. I would. Shut up. You'd believe if you could. If there was something to jump to, you'd jump. I did. You aren't me. I am you. I know how bad your marriage is. My marriage is not bad. Alright, it's not perfect. And yes, there are problems. I'm not talking to you about this. You know I'm right. Why do you want to stay in a bad situation? That's what it is to be married in America. You stay in a bad situation and you hope it gets better because you know it could be a lot worse. It is worse. It's not. It could be. Believe me, but it's not. What could possibly be worse than this? Being alone. Being you. That's worse. I see a chance to get her back. I will take that. You understand I'm chasing you right now. I've been looking for you so that I can kill you. You're not going to be able to kill me. Watch me. I wouldn't be able to kill me. Well, you're not the evil one. Will you give me a head start? Yes. Yes, I will give you a head start. Can you count to ten? Yes. Yes, I will count to ten. Loud, though, so I can hear you. I know how to talk. All right? All right. Are you going to close your eyes? One. I'm going to kill the other Larry starting with heartbreak. I've decided. Don't try to talk me out of it. Why would I try to talk you out of it? Because you... Wait, what? I just told the other one to kill you. Which other one? I don't know. You all look alike. It's an infestation. Don't want any of their Larry's to kill me. Not you specifically. What do you want exactly? I mean, I'm trying to eliminate options for you here, but is it going to matter or not? Because if I go around slaughtering my doubles, it'll be all like maybe we should get a divorce, and I'll just save myself the trouble. You understand? Nice, Larry. Make it about you. Yeah, because it is all about me. You are selfish. I'm selfish. You're the one asking versions of your husband to kill each other for your undying love. That is not what I asked for. You're right. You didn't ask for it. You implied it. And that makes it worse, because if by some chance you get what you wanted and decide you didn't want it in the first place, you could cover your own ass. Go to hell. I want a baby or I want a divorce. Do you actually want either of those things? You don't love me. No, Magic Wanda. I do love you. I just love me more. That's not how it's supposed to work. Hell it isn't. You love you way more than you love me. I do not. Fine. You know, that's what makes me evil then. Huh? I love myself more than you. Okay, look how evil I am. Oh, there goes Evil Larry gleefully loving himself all over the place without a care of a word. My Larry wouldn't talk to me like that. Larry is talking to you like that. You are my Larry. I am the only Larry. And Larry wants you to make a goddamn decision. Care of the rest of them? For me? Not for you. If you finally get around to deciding something, let me know. Evil Larry exits. Wanda sits in the pillow fort. Back in the pillow fort, huh? Oh, I'm sorry. I thought you were... You look just like her. Everybody says that. I don't see it. Okay. Do you know where she was? She isn't anything like me. If she comes back here, tell her to wait here. I know which one you are. In your universe? If we did, I don't remember it. Are you happy without me? You're kind of hiding in a pillow fort right now. I think maybe you should be focusing on your own happiness. I have to start over. Okay. Have you seen her? I want a baby. Okay. Aren't you going to tell me that's not what I want? Why would I tell you that? Did you want children? Not then. Do you want children now? Is that an invitation? Because I'm not getting that pillow fort with anybody. Okay. You never got married? No. Why not? Didn't want to. I didn't know what else to do. I thought I was supposed to. Figure out who you actually are, instead of who you're supposed to be, and the universe opens up to you. You're not like the other ones. No. Because you didn't marry me. Wanda, I can't do it. I can't kill those other guys. If it was self-defense, or if they knew it was coming. I know it's coming. The one with the eyepatch is trying to kill you too. The evil one? I told him it was here. Why? Make a baby with me. What? Right now. You told him to kill me? We'll start over. Where is he? Looking for a heartbreak. Make a baby with me. Wanda. Make a baby with me. Stop saying it like that. You're scaring the shit out of me. What are you doing? Make a baby with me. Why don't you want me? I do want you, but I can't... There's a lot of things going on. It's not a new start. There is no new start that doesn't happen. That's like something out of a TV commercial. Does he have a weapon? I want to be a new mother. You hate being a mother. I don't. I love it. Since when? Since always. Can we talk about the man who sent to kill me first, and then do the baby thing? I did not send him to kill you. You? Have your terms. You don't want that. I do. You don't? I do. You hate being a mother. I don't. You do. I'm going to go kill this guy, and then we'll talk. All right? You changed your mind. What? Absolutely. I don't have a daughter, so I don't know. It just doesn't seem safe for you here, right? You're holding my hand. Yes, I am. I don't want you walking off without me again, okay? Okay. Okay. How do you depend on your mother? Why? So we can fix this, or put a stop to it, or something. Have a new baby, or get a divorce. It's not what I meant. She has to choose. You get that, right? No extra her is running around. She's the center of all this. Not you. Wanda crawls out of the pillow fort. That is it! That is the last straw! What are you doing in there? Evil Larry and Heartbreak Larry come out of the pillow fort. And I think he was planning on strangling me, but then instead... Hey, listen up. Let's not go into details of situations here. You're not my... And everything I do, I've done already, somewhere else, so I can do anything and it doesn't matter. Life is choice, and I choose to be happy living. Okay, let's just keep it cool now. How could you do this to me? Oh! Nobody's doing anything to anybody! And I'm not evil, am I? No, I didn't have anything to do with you at all. You're not my Wanda. Mackenzie was right. I have no idea what you are, or if it's you who belongs here or us. But I will tell you this. My life is mine. So you can check the judgment shit at the door. I don't know who you are. I don't know you either, lady. You had me chasing myself around the house so that I could kill myself over and over again, and then get to fight with you about having a baby, or getting a divorce, like that's some kind of a prize. On your wife! You're not. You look like somebody I used to know, but you're just not her. Heartbreak Larry opens the front door. We can see the outside, a blue sky. Are you coming with us? Where are you going? If it is the end of the world, I don't want to spend it here. Evil Larry and Heartbreak Larry exit. The door exits with them. We see the other doors adjust accordingly. You want to go too? Go. I don't know who you are anymore than the rest of them. Sure you do. I'm you if you didn't have me. Then I'm glad I had you. You are not. Dare you say that to me. Look at how unhappy you are. You're looking for what? Some big reason to leave? The universe is broken. That's a pretty big reason. I'm not the one who's leaving. Everybody else is leaving. Just because somebody said you were a wife and a mother doesn't mean that's what you are. I get it. I was a mistake. Getting married was a mistake. You're not happy. Don't do the same thing again. Do something new. You weren't a mistake. We didn't get married because of you. We chose to have you. We weren't good at being married. We did what everybody does when they can't be alone together and it's time to take the next step. We have you. You have me to say your relationship? Yes. Fine, yes. How'd I do? This is your fault. My fault? She wasn't ready to go to college. I'm going to do all the things you didn't do because I was there to stop you. That's not true. Here, Mackenzie gives Juan to the college list. I won't stop you anymore. Do something. What is this? You've done these things? What is wrong with you? Brown Larry opens the door. You see the outside. Brown Larry takes Mackenzie's hand. They exit. The door exits with them. The others adjust accordingly. Look at how many are crossed out. So what? So what? So she's living her life. Who are we to say what she ought to be doing? We are her parents. We set a terrible example. Who are you? We did the best we could with what we are given. She is the entire reason we have existed for the past 18 years. Mackenzie! What you did. What I did. You made me for all of the things I did and didn't do. You're not the man I married. I am the man you married. Then you're not the man. Why did you send the email? So you talked me into staying with you. I can't do that anymore. I didn't think it would be like this. Her wedding was so pretty. I thought it would be like that. Wanda holds a couch, Christian. This is the one we didn't buy. We decided it would stay in too easy. Somewhere. Some other version of me is living the life I wanted. Why do you keep looking here if you know what you want isn't here? I'll cut. That's it then. You see the outside. Mackenzie is right. There's a universe where I stay. Right? I'll stage with her. Larry is left alone on stage. He turns to the last door. He walks to it and opens the door and a play. Analysis at this point. It's sort of like a first response. Somebody's brave. Break the ice. The crazy roller coaster ride. Crazy roller coaster ride. Thank you. What else? It's very absurd, but it makes so much sense. I mean, it does. By the end of it, I'm going, wow. Wow, it all fell into place. And the whole conceit from the very get-go is, this is bizarre. This is absurd. This is unreal. Right. I mean, it becomes very real. Does anybody else want to comment on that? Did you have, did you feel connected to a certain reality about it? Or did the absurd qualities keep you from what? The absurd quality was much better, because I thought the way that the set shifted with the emotional shift in the play as well, between characters. I thought that was wonderful. That was great. Right. So you could see that in your mind's eye, the shifting doors that come and go with people. What else? What else strikes you? Yeah? Well, Mr. Becker, it was so farcical in the beginning, yet did not end happily. I mean, that's... Did we say yes? Just that it ended was happy. You know, and I don't know what I would say, you know, for example, if I was a marriage counselor and I had these people in there, I'd be fine. But the truth is that me, as the audience went on, to see, to see that fragmentation is just, I think I would have been unhappier had, had we sort of come to a close where we're trying to force everything back together. Thank you. Do you guys want to comment on that or something else? But does it have the end blended with you, maybe? I just love the juxtaposition of the choices with the alternate universe. The alternate, but also our choices make that alternate universe. You know what I'm saying? Uh-huh. Yes? I want to know when Larry... Nate's dead right now. You'll have to ask him in a minute. I'll ask him in a minute or four. If so, when you open the door, what was on the door? Because you're going to see something. It's black when you open the door, because it has the outdoors on the other two. What's on the other door when you open the door? You could design the door so you can't see what's on the other side. The door's in the way. Some choice has been made about that. So the last door that Larry opens, because when other people go out there towards the end of the show, it's we see outside. We see outside whether it's all the same blue sky that we see. I think the first time it's that that Exodus is described. The last time he opens the door, does it say... We'll read this last stage direction when we're talking. What the last Larry steps into or out of. That's a good question. Let's see what the playwright specifically wrote on the page. The last stage direction we just follows. Larry is left on stage. He turns to the last door, walks to it, and opens the door. And the playwright. I think he's going to say, we don't want to know. We don't want to know what he's saying. You think what? Another version of me today. So I think he's waiting for her to come home. Oh, interesting. Say what? It would be interesting if he was on the other side of the door. Anyway, I was having the ideas about a different version of Wanda. Like, you were hoping for one, or you're glad you didn't see one, or what was the last one. You take one. Yes, man. I have a question. I want to make sure I got that I understood this. When these two left holding hands, was that supposed to be Wanda in another form, like younger, meeting Larry all over again? What do you think? That's what I thought. So you got that feeling about it, that she was kind of getting a younger, a new start. Right. The younger version of herself with a different Larry. Yes, man. Was that the single Larry, wondering what it would be like to have a child? Say what? Was that the single Larry, wondering what it would have been like to have a child? And she needed a father, because some of these guys were a father to her. Yeah? Take care. I just got the feeling she was delving into madness. She was remembering and trying to make things right, and she was going mad. Mad, like just mad. So you think those Larrys were manifestations of an insanity on her part? Is that what you're saying? I just think she was actually going mad. She didn't know she was, but she actually was. I felt like. That's how it landed on you. Excellent. Thank you for sharing. Yes. What I really enjoyed was first starting out, I immediately was like, okay, they need to look the same. I need to go ahead and think that. But then it was explained that they looked different to, you know. To each other. They looked different to each other. So that kind of went ahead and just explained it, but then still they encompassed the character all so well. If I could still see them all, it's just like. Oh yeah? I think I can see that. Yes. What I'm really fascinated by is the notion of accountability in the play, especially in relationships. And in real life, when there's only two people in a relationship, you can sort of hide and lie. And it's really great to have this conceit where you have five, where everyone has to be held accountable. It's really interesting to think about relationships that way. Somebody's going to call you on it. Yeah, this person did this and she did it and she knows both. Interesting. Yeah, yes, ma'am. I really appreciated the use of the McKenzie character as the daughter, seeing the breakdown of her parents. I think you know often, children need so much more than parents realize. And I really appreciated the narration of how she saw what was happening. You know, she's got the notable story, but she knew enough to call her parents on what was happening. Right. You must have thought about McKenzie as a character. How does she strike you? I thought it was really great that there was a surprise that she was a girl instead of a boy. Like that? Yeah. There was a boy in another universe? Yeah. Yeah. I saw a hand over here. Yes ma'am. Well, I thought it was interesting. She was being reactive to her mother, so she was doing everything opposite. And also, the whole play reminded me of a book called Finding Meaning in the Second Half of Life. Were there lots of Mary's in that book? Yes. Thank you for your comment. Back again. She brings that up in that, for her, that the idea of multiversities is longing. That you can tell that there's so much to her that she longs to have put right. And so I like, there's a moment where I felt like she imagined the universe. Like, she regretted the fact that she wasn't in the universe where everything worked out. I don't know. And so her response to that was, all right, well then, whatever. I'll just do what I want. But I just thought there was a really beautiful undercurrent with Mackenzie and Doug very well. Longing and how that so broke her understanding of the multivariate. Which of those characters of the Larry's do you relate most to, or remind you of somebody you know, or have been you in front of somewhere in your life, I mean. Superb. Cut. Cut. I'm going to sit with Larry, but last we have a new heartbreak Larry's with us. Yes. I'd love to give it to you then another, or how did the Larry's strike you as a slate of Larry's? I see a thumbs up. Can I say something verbal about that? This is like, no, there are, but a viewer of Larry's. Yes. And they were well distributed. I felt like this is what you find when you fragment yourself. Everyone's well represented. Best play ever. Best play ever. We're writing that down. We also, from Wanda's perspective, you like, I'm sorry, did I interrupt? Thomas, I'm going to talk to you. That's okay. I'm sorry. Interesting. I think from Wanda's perspective that sometimes when you are evaluating relationships, you start breaking down, well, there's this about Larry and there's this about Larry and I like this about Larry and I don't like this about Larry and then all those things kind of come in and you're trying to pick and sort which ones you can live with and which ones you can't. And if you could just kill that one, then maybe you could live with that one. That idea of that I thought was very... Oh, cool. For me, there was a kind of a symmetry to having the first Larry, Jeff's Larry come out and he was puzzling so hard to figure this out and she was harping at him and so he kind of became this every person guy, right? He kind of became our hero and then it got blurry as the play went along and other people were pushing their perspectives, right? And then it sort of came back around on itself and we saw him again on the stage at the end and so for me, somehow it was like everything exploded into all these quantum realities and then it distilled back down to something that I could relate to and go with the things it was saying about a relationship and other things at the end. I mean, it became very profound in that and somehow that journey through all those zillions of permutations back to that one every man kind of guy did it for me. What do we think this plays about? Oh, learning to love. Out love? Learning to love. Learning to love again. Learning to love again. It ends fragmented in a way but everyone finds their peace and you become... You find yourself and you go where you need to be. Well, I think I'm... I'm... I think she also wants to make sure that in another universe she's there together. In the end, she wants to make sure that in another universe they're together. Yeah. Was like a jump in something, right? Yeah? Yes, sir. I wanted to make a comment about one moment in the play. I thought that there were some funny, you know, good... There were points in the play where there were just some stereotypes thrown out and they weren't necessarily integral to the play but there was one moment involving brown Larry that I wondered whether the playwright meant to go as far as he could and that was near the beginning, there was brown Larry refers to having lady friends and all that and I thought that that was going toward the stereotype of black guys having a lot of children out of women. And I wasn't sure whether the audience, any audience would kind of find that a step too far. They may have some feeling about that. I didn't even notice it and in addition to that, it doesn't matter what political threat it's what the author wants to say. And if we go around being political threat, I shouldn't be here tonight. You know what I mean? Yeah, I think the question, I think it's really about, is there an intention to that? And if there wasn't an intention to that, it would be an intention to throw my author off from the playwright. He has every right to have that intention. Yeah, I got it. Oh, yeah. I thought for me, I'm just thinking, sort of essentially it came down, she was very focused on Larry and Larry should do this and Larry should do that and she's waiting for Larry and then she's left at the empty nest with the daughter leaving and well, what now? Well, I'm going to focus on Larry and Larry's got to provide me either with another baby or something's got to happen. But finally she works through all of this Larry business and Mackenzie gives her a beautiful kind of send-off. Look, Mom, it's time for you to do something for yourself. And I thought for me, that was sort of the door opens for Wanda to start her own different identities. I mean, maybe she'll have 10 different identities too, but you know, she, it's up to her now to what she's going to do next. Thank you. Thank you very much. Yeah. I felt that. I mean the biggest thing that Larry was about was making choices of what you want to do with your life because Wanda in the beginning, she sends an email and she's putting all the choice on him to stay or go. And then at the end, after seeing all the different Larry, she realizes she doesn't like any of them and finally she makes her own choice and she leaves. Thank you. Yes, sir? Also, I think there's issues of like learning to love yourself before you try to invest in loving someone else. Oh, yeah. Because the line that always punches me is when he's like, you are mad at me for things I've done and things that I haven't done. Like what do you want to do? And Mackenzie called her on it. She said you got married to her and had a kid too early. She didn't have time to love herself yet. So she's trying to love Larry in a way that she doesn't love herself. Interesting. Maybe I'll have a thought about what it's about. That's not what I'm saying. You don't have that thought? Is that what you want now? Whatever you want to say. There's some things that I just love. I just love that. Is that like a metaphor bit? I just love that. I wanted that to come back again. I was like, come on, let me say that again. I love it. And oh my gosh. And the truth of Mackenzie, you know, I'm an adult now. This is peer-to-peer. If I hear that, my daughter is going to Nate's house. I never hear that. I know. I'm going. Sorry about that. All the way to the front row and like on it. And there were so many old things. I was trying to write them down. I was so magnolious in an early whatever, in Atlanta when they were first, you know, kind of the first few audiences. And people were just falling all over the place, just laughing. But this play did what that play did. And I'm wondering, and it won't shoot. You know what I'm saying? And what I feel like, I wanted, unlike my daughter back there, who is going to give me peer-to-peer back layer. I did not like the ending because I felt it completely deflated the balloon and the comedy did not set me up for that ending. And I wanted some kind of, I don't know, I just wanted a little bit of light somewhere. I just want, I didn't want it to be so down because, to me, the expectation was somewhere else. So I'm just a little uncomfortable with endings. All I'm saying, I don't know how you'd resolve that. But. I don't mean that. But. But. I don't know. You can't go that much. Maybe a little dancing. The entire play that we construed as Laris White has walked out on him. And in the very beginning, he's meditating on all of that and reconstructing it through his various selfs. And then it's, I don't think it's a downbeat ending at all. He's finally put it all together and he's looking through this ambiguous story. That's an interesting way to look at it. Back in New Orleans. I find it so interesting that this play about relationship that has gone on a pretty long time. The only character that seemed to really make an act of other-centered love was Brown Larry. Mm-hmm. Yeah. Yeah. Yeah. Can we ask for that? Sure. Because you never married him. Well, I'm just going to say, you know, talking about all these choices. And I really think that, you know, sometimes when we try to, in Wanda's character, control so much. And not so much about all these other people's choices, but the control and the thing that she's holding on to. Trying to keep control. With each of all of them. And she says something about the Larrys. You are who you are because of me. Mm-hmm. And how all these people seem to be different because of her control or trying to affect their lives. Right. And the mom talk in a very strong way. Yeah. The mom talk. So now we have a lot of theater people in the crowd. I'm very curious about, can we talk for a quick sec about how you would imagine this on the stage? Would you be interested in seeing it? What kinds of things do you think you would, what would you, what would extra be added to it by seeing it produced with production eyes? I'm very excited to see how the doors work. Do it. I think it's common to do that. Gary could do that. I don't know. But Gary could do that. Lots of doors. So you have that advantage of seeing the doors. Well, would you be interested in seeing this produced? Sure. Oh yeah. Yes. This is simple. It's so simple, very minimal, how you kind of see it. Because well, I mean, she says in the stage directions ultimately in the very beginning courses that there are no walls, right? So you have to figure out some kind of theatrical world that makes sense where things are very fluid. I mean, you have to have two couchs and two sofas, right? Right. One at the first and then the next one at the next. Now there's two sofas, right? And then the last. And doors somehow move. Would you like some pillars, one for each character, and on the pillars, great. Once they're brought in, even Larry wants to know. Great idea. All right, we have the walls in the front doors. But we can't see the character moving from door to door. Interesting. Yeah. Oh yeah. Yeah, any minute if you're still playing on the screen. Track doors. I'll bet if the playwright were here. He must know you meant it. In fact. Possessed of the notion that life is choices, and that's all there is to it. Like there's no good or bad, there's just choices. There's good and bad, or better and worse outcomes, but there's choices. And another one who was fond of saying again and again that your life is defined by your relationships. And I think that I thought it would be cool to put a play at the crossroads of those two things. And I think, I mean there was other stuff, like multiverse stuff, and I've read all those divorce books. Like I read a ton of that, you know, like the second half of your life. And I mean, so I think that mattered too. But that idea, like whether or not life is choices or life is relationships, I think. How long, when did you get started on this? In October? September? Right at the top of the lab, right? Yeah. You didn't come in with a draft? Nope. Any questions? Would you like to ask the playwright perhaps once through the door? I don't know. Yes, Karen. Did you have friends or people in your life that were like these characters? Careful. Yeah, absolutely. And I mean, I'm a lot like, there are things about Wanda and Mackenzie in particular that are very much like me, you know, and certainly stuff about all of them. And I think that I, I think that's probably true of everybody. But in the past couple of years, like there's been a lot more relationships that have been around for a long time are far more tumultuous than they've been before. I think that's partly economy stuff, probably just like maybe the age that I'm at now or whatever. But it's like a huge crest of divorce or near-divorce all over the place. And so I think that I was bound right about it. You know what I mean? So I think that more than like people, I know. I do not know an evil Larry. It was a lot like my brother. I mean, coming on the dialogue and the sort of rapid fire exchange and hearing that in life and putting that on the page and then getting actors to say it, what's that process like? It's excruciating. I don't know, you know, you try to make it, you know, like funny, but not, you know, like too funny. Is that what you mean? Like how do you, well, like you type it and then you get mad at yourself and then you type it again. And then you're like, it's awesome. And then you go to bed and then you wake up and you're like, oh, it's terrible. And then there's also drinking and then there's also like, you know, it just runs pretty well. It's like so, I mean, it's like over and over again. How are you working with the actors? Oh, it was awesome. There was so much stuff that it was like, oh, I can type it, but they can't say it. You know what I mean? Like so much stuff. And some of the actors have been with it for a while so it was cool to really get to know them. You know, and the play would not, I think the play has quite a ways to go still, but it would not be in the shape that it's in now if it were not for them. I mean, we were rewriting all through the rehearsal process and everything, so that's the best part about this process. Yes, ma'am. Did you ever think of the ending as maybe she would end up with one of the lairies? Yeah, you know, for a long time, I had Wanda come back in. Yeah. You know, I mean not Wanda, but another Wanda come back in. But so, yeah, I did. It's an option. Yeah. At the crossroads between choices and relationships, nobody on stage ever says, I love you. Throughout the whole thing, nobody ever says, I love you. If they say, you did this wrong, you did this wrong, I got this right because you weren't here. But nobody says, I love you. Somewhere in there, some part of these characters have been loving each other. Even lairies have been loving each other. The mom never says to the daughter, I love you. Husband to wife. Any of the husbands never says, I love you or even I loved you. Well, and Brown Leary has the best loving gestures, at least, to Mackenzie by holding her hand and sort of saying, I'll be here for you. He never had to deal with Wanda. Yes, sir, I'll be here. Since you had the whole multiverse question going on, does that give you like this kind of create a freedom to think, I could end this however I want? You couldn't evil Larry this stage? Yes, but I would not call that freedom. So that was something that wouldn't do anything. Oh, shit. Like my whole thing is like it's left choices relationships anyway, so it's like bothering me in the real world and then also in my play, like you just have to choose, you bastard. Oh my god, there's so much stuff. Yeah, if a man could walk on. You had lots of different endings, or were you always thinking, okay, we're going to end with original Larry? Really early on, I decided on the conceit of the doors entering and leaving. And I wanted to get down to whatever was going on in Wanda and Larry's relationship. You know, like why Wanda was staying? More than anything else, you know, like guilt, or like she felt like she was staying, or it was just inertia, or, you know, she was waiting for something better, or whatever, so I knew that that had to be solved. But then the way that that was solved and what happened in its aftermath, she never decided to not leave. I want to ask you, did you write all of those expressions in that Bobby did ever do? I only wrote one of them in. The rest is all Bobby. There is a universe where Wanda is crying, waiting for closet Larry to come home. Yeah, this is totally, this is totally true. He could be single on that one. There's also a troll player. Trunk Larry? Trunk Larry? Trunk Larry? Sky Larry? Sky Larry? Sky Larry? Sky Larry? Sky Larry? Sky Larry? Who was just taking the closet? All right, I want to keep you from it. If you have any burning questions for Nate, now's the time before we're done. Oh, did you ever think about, at any point in time, since the idea of the multiverse anything is possible, a female version of Larry? No, but in a really, in a really early version of it, another Wanda shoulda. Harvard Larry is a divorced Wanda shoulda. And although that was fun, it really had no place for the discussion that I decided I wanted to be having. And nothing. So in other universes, are there now all the other versions of your play that you could- Yeah, that would be really good. There are people that firmly believe this. There are competing versions of the multiverse, like these theories or whatever. So we can all be comforted by the fact that if we didn't like this version of the multiverse, and so the choices at the core of it is their choice or her choice or his choice. At the core of it, what do you see the choice being? Who's started us into? Who opened this door? And if they did it, did they do it together? Is it her choice, his choice? How do you see it? That's part number one and part number two. The reason I asked about the end was because the first image of a guy hanging in the closet, when we get to the end and a guy alone opens a closet, my mind goes back to Larry hanging in the closet. So those are two things I had to leave me to believe. Well, is Larry the protagonist? I think Wanda is the protagonist. Or who changes? Who makes the choice? Sure. I think that the possibility that Larry hangs himself at the end is totally possible, that this abrupt moment of touching the door knob, opening the door slightly, is reinforcing the idea that at least he's choosing. You know what I mean? Like anything's next. She's out there, it's a blue sky. He hangs himself, any of these things are possible. I think that since the play, I think that somehow the email cracks the universe a little bit. That she offers him this choice that there's no good answer to. Having a baby or good in the divorce, which neither of which she means. But to try to... I could do it dramaturgically, I think, like extract the way those choices are intertwined. But in terms of the play, those people I think both feel like they can't do anything without the other one. And there are... I mean, that's, you know, codependency. You know, they are like so entwined so that what she does affects him and vice versa. I think that she gets the ball rolling in the sense that she starts this particular fight. Thank you so much for your feedback, for participating, for being a lovely audience. We hope that you'll come and see Rancho Mirage over the weekend with National Children's Theater. And one last round of applause.