#3A—Book Opening
ACT 1 SCENE 4: DELILAH’S BEDROOM THE NEXT MORNING
Lights up. DELILAH is sitting up in bed, dressed for the day, opens the book to page 43. PRINCE OLIVER appears.
PRINCE OLIVER
(singing)
HELLOOOO!!!!
DELILAH
Oh my god.
She slams the book closed, fixes her hair, checks her breath…and then opens the book again, striking a “casual” pose.
PRINCE OLIVER
HELLOOOO—
(off-handedly)
Oh, hey.
DELILAH
You look lovely.
PRINCE OLIVER
DELILAH (shrugs)
Well, thanks, I just woke up like this. (changing the subject)
And you’re still here.
PRINCE OLIVER
Surely you don’t think a story exists only when you’re reading it? When you go to sleep, do you cease to exist?
DELILAH
Of course not.
— 32 — B etween the l ines
DELILAH
How come you’re the only—
Sorry-
You go.
No, you.
PRINCE OLIVER
Thank goodness you’re—
DELILAH (CONT’D)
PRINCE OLIVER
DELILAH
PRINCE OLIVER
Thank goodness you’re here! I need your help. (opening his tunic, revealing a mole)
Tell me: is this an abnormal mole?
DELILAH stares at his quite lovely torso.
DELILAH
Uhhh…
PRINCE OLIVER
Oh dear God! I knew it! I have the wasting disease, don’t I?
DELILAH
Nothing is wasted on you. I think it’s a freckle. Just a suggestion, you should only flash your pecs to your fiancée.
PRINCE OLIVER closes his tunic.
PRINCE OLIVER (delighted)
Are you jealous?
DELILAH (sarcastic)
Of a beautiful princess who has a guy totally fixated on her? Um, yeah.
B etween the lines — 33 —
PRINCE OLIVER
That princess has the brain capacity of a sea cucumber.
DELILAH
You act like you’re in love with her.
PRINCE OLIVER
Don’t believe everything you read.
DELILAH
Trust me, I don’t. My world is full of people creating fake versions of themselves.
PRINCE OLIVER
Why would anyone live a fictional life by choice? I would give anything to experience something real.
DELILAH
Be careful what you wish for. Reality sucks.
GRACE (off stage)
Delilah, have you seen my car keys?
DELILAH
(calling offstage)
On the counter next to your phone.
PRINCE OLIVER
That voice I heard? Is she your queen?
DELILAH
Basically. She’s my mom.
GRACE (calling from offstage)
Delilah! Move it!
DELILAH
I’ve gotta go, or my mom’s gonna kill me-
— 34 — B etween the l ines
PRINCE OLIVER
(sincerely)
Ah! So she’s an evil Queen.
DELILAH
Some days. I’ll talk to you later, okay…?
DELILAH starts to close the book.
PRINCE OLIVER
Wait! I’ve always wondered why I was written. But now I think I know. I was meant to meet you.
(smiling)
You are amazing, Delilah McPhee.
(smiles, smitten and blushing)
Stop-
I’m…sorry?
DELILAH
PRINCE OLIVER
DELILAH
(flustered)
No, I mean, like…Um…Don’t stop?
PRINCE OLIVER
(gently teasing her)
Ah, I’ve embarrassed you. All right then, you’re not amazing. You are run-of-the-mill. Completely dismissible.
DELILAH
I really have to go. So, I’m just gonna…
B etween the lines — 35 —
#4—Talkin’ to Oliver
DELILAH closes the book and falls onto her bed, squealing with delight.
(DELILAH)
I’M STARTIN’ TO BELIEVE WHAT HE TELLS ME
I SEE MYSELF THE WAY THAT HE DOES
SMILIN’ ‘CAUSE THE WAY HE LAUGHED OR LOOKED AT ME
IT’S GOT ME ON A DOPAMINE BUZZ (gets off the bed, grabs her backpack)
I’VE NOTICED THAT THE WORLD IS LOOKIN’ BRIGHTER
SO BRIGHT WHEN I’M TALKIN’ TO OLIVER *
DELILAH begins to imagine what life would be like if PRINCE OLIVER were in her world. The bed tracks off as the kitchen table tracks on, with PRINCE OLIVER sitting on it, smiling broadly.
I KNOW ALL MY CARES WOULD FLOAT AWAY IF HE WERE HOLDIN’ MY HAND
FEELS LIKE EVERYTHING IS A-OKAY WHEN I’M TALKING TO OLIVER GRACE enters unable to see PRINCE OLIVER.
Who are you talking to?
GRACE
DELILAH
No one. I’m…Um…Just doing my daily affirmations. “You…are…enough.”
GRACE
Okay…??? Are you coming?
DELILAH
I think I’ll walk to school today.
GRACE
Suit yourself.
GRACE exits. The school bell rings and DELILAH finds herself at school, PRINCE OLIVER at her side, as her fantasy continues.
Students pass through the halls as DELILAH imagines she and PRINCE OLIVER as the “it” couple.
DELILAH
SUDDENLY THE SCENERY SUITS ME
THE HALLWAYS HUM A HAPPIER TUNE
AND NOT A THING CAN BOTHER ME OR BRING ME DOWN
— 36 — B etween the l ines
(DELILAH))
I’M BUSY BEING OVER THE MOON
I’M MARCHIN’ TO A DIFF’RENT KINDA DRUMMER BUM BUM- WHEN I’M TALKIN’ TO OLIVER
CAN’T SEE CLEARLY WHEN I LOOK AROUND
I GOT MY HEAD IN THE CLOUDS
I FLY TWENTY FEET ABOVE THE GROUND
WHEN I’M TALKIN’ TO OLIVER
MY HEART BEATS LIKE A FANFARE TRUMPETS BLARE
PRINCE OLIVER becomes a drum major, conducting the STUDENTS like a marching band.
ALL
BA-DA-DA-DA-DA-DA-DA-DA
BA-DA-DA-DA-DA-DA-DA-DA
BA-DA-DA-DA-DA-DA-DA-DA
DELILAH
WHEN I’M TALKIN’ TO OLIVER
WHEN I’M TALKIN’ TO OLIVER
TRANSITION TO THE LIBRARY MS. WINX enters, seeing DELILAH.
WHEN I’M TALKIN’ TO OLIVER
WHEN I’M TALKIN’ TO OLIVER
DELILAH, lost in her fantasy, does not notice MS. WINX. PRINCE OLIVER exits. WHEN I’M TALKIN’ TO OLIVER.
B etween the lines — 37 —
ACT 1 SCENE 5: SCHOOL LIBRARY
MS. WINX
Delilah? Who’s Oliver?
DELILAH is snapped out of herfantasy world.
DELILAH
Ms. Winx? Has a book ever…spoken to you?
MS. WINX
My goodness, of course!
DELILAH
No. I mean, has a character in a book like…literally spoken to you?
MS. WINX
Books speak to people all the time. I myself have had a 38-year dalliance with the hero of this classic—
(presenting a copy of PRIDE AND PREJUDICE)
Jane Austen’s PRIDE AND PREJUDICE.
#5—Mr. Darcy and Me
I was 15 when I met Mr. Darcy and immediately knew he would be the standard upon which I would judge all other men and find them oh, so woefully inadequate.
WHEN I DREAM OF MR. DARCY
MR. DARCY APPEARS
HE’S MY GUIDE THROUGH THE COUNTRY SIDE AS WE TAKE A RIDE THROUGH THE MEAD-OW WHEN I DREAM OF MR. DARCY
MR. DARCY IS HERE
WE HOLD HANDS AND BEGIN TO DANCE AND CHAT ABOUT OUR PLANS TO SOON BE WED-OH HOW I DESIRE THAT EACH SEPTEMBER HE WOULD LONG FOR A WOMAN AND REMEMBER ME THEN HE WOULD WHISK ME OFF TO PEMBERLY
— 38 — B etween the l ines
MS. WINX’S fantasy is manifested on stage. A dashing MR. DARCY enters, gesturing for her to join him in a passionate and serious tango inspired dance. MS. WINX’S fantasy begins to spin out of control and the dance becomes hysterically comedic. MR. DARCY exits, leaving MRS. WINX panting and desperate for more.
(MS. WINX)
WHEN I DREAM OF MR. DARCY
MR. DARCY ISN’T REAL
THOUGH I’VE PINED STILL I ONLY FIND
HE’S IN MY MIND, THAT’S TOO BAD-OH
WHEN I DREAM OF MR. DARCY
MR. DARCY MAKES ME FEEL
I’VE SPENT YEARS CRYING POINTLESS TEARS FOR A GUY WHO’S MERELY JUST A SHAD-OW SO YOU’RE BETTER OFF CREATING
THAN SPENDING YOUR NIGHTS FICTION DATING WRITE BOOKS ‘STEAD OF CRACKIN’ ‘EM
DON’T END UP STACKIN’ ‘EM!
YOU CAN HAVE MORE THAN MR. DARCY
MR. DARCY AND ME!
MRS. WINX, flushed with passion, fans herself with her copy of PRIDE AND PREJUDICE.
(to DELILAH)
Trust me, Delilah. You don’t want to end up binge-watching Hallmark movies, tweaking your Farmers Only dating profile, and revisiting a book you’ve read way too many times. I really think you should consider joining creative writing club.
DELILAH
I’ll think about it.
MS. WINX
Okay, good! Because Mr. Darcy is waiting for me in chapter 34. “In vain I have struggled. It will not do. My feelings will not be repressed.”
(growls)
Grrr...
DELILAH
Um…but you just said Mr. Darcy’s not real…
B etween the lines — 39 —
MS. WINX
Listen, I’m a woman ripe with post-menopausal zest who’s easily bowled over by tight breeches and a cravat. Save yourself, Delilah.
#5A—Mr. Darcy Tag
(MS. WINX)
MR. DARCY AND ME!
MS. WINX exits.
DELILAH exits as ALLIE, RYAN, MARTIN, and JANICE enter and sit at a table eating lunch, and staring at their devices. On the other side of the stage, JULES sits alone at another table.
— 40 — B etween the l ines
ACT 1 SCENE 6: SCHOOL CAFETERIA
RYAN enters carrying a quart of skim milk. He stops and looks at the carton, puzzled and then takes his seat.
RYAN
(reading the carton of milk)
Hey babe…if it’s one percent milk…what’s the rest of it?
ALLIE
(shutting him down)
Ryan. Stop.
DELILAH enters, unaware of ALLIE, RYAN, MARTIN, and JANICE’s presence.
MARTIN
(referring to DELILAH)
Incoming…
ALLIE
(referring to DELILAH)
I swear I’m gonna have to get a restraining order.
JANICE
Ooh! I kinda like her sweater.
RYAN (to ALLIE)
Babe. Just ignore her.
Thinking no one is paying attention, DELILAH opens the book to page 43.
#6A—Book Opening
PRINCE OLIVER & DELILAH (in harmony)
HELLO!!!!!
ALLIE notices DELILAH talking to herself.
B etween the lines — 41 —
ALLIE MCANDREWS
(to RYAN, MARTIN, JANICE)
Um. Pretty hard to ignore that.
JANICE
Who is she talking to?
DELILAH continues to talk to PRINCE OLIVER as ALLIE, RYAN JANICE, and MARTIN observe. They cannot see or hear PRINCE OLIVER.
Where have you been?
I was in the library with Ms. Winx.
PRINCE OLIVER
DELILAH
PRINCE OLIVER
Did you tell her about me?
ALLIE
She talks to herself all the time.
DELILAH
I figured if anyone could get it, it would be a librarian-but she didn’t.
MARTIN
(not looking up)
Classic undiagnosed Schizoaffective Disorder.
JANICE
Um. Who are you?
MARTIN (shrugging)
My mom’s a shrink.
PRINCE OLIVER
I guess what you and I have is just magical.
— 42 — B etween the l ines
DELILAH (blushes)
Yeah. That.
DELILAH turns upstage and sees ALLIE, RYAN, MARTIN, and JANICE.
ALLIE
Hey, psycho? We can all hear you.
DELILAH closes the book and crosses to the only available seat which is at a table where JULES is sitting.
JULES
For the record? If Allie was on fire, and I had a glass of water, I’d drink it.
DELILAH sits, not engaging with JULES.
RYAN
Guys…is Canada…like…a real place?
#6—Inner
Thoughts
A pin spot isolates ALLIE. We hear her inner thoughts.
ALLIE MCANDREWS
SOMETIMES
I FEEL LIKE I COULD KILL HIM— NOT ACTUALLY KILL HIM
BUT YOU KNOW WHAT I MEAN (I COULD SCREAM)
THERE’S A BURDEN IN RULING OVER MINIONS AND WEIGHING THEIR OPINIONS
THIS IMAGE IM MAINTAINING–YA IT’S DRAINING AND THE PARADOX I FACE ALWAYS PUTS ME IN MY PLACE
NO ONE REALLY LIKES A WOMAN WHEN SHE TAKES UP SPACE
WHOA…
BUT THESE ARE JUST MY INNER THOUGHTS (INNER THOUGHTS)
MY DEEPEST DARKEST INNER THOUGHTS (INNER THOUGHTS)
YA THESE ARE JUST MY INNER THOUGHTS THAT NO ONE NEEDS TO KNOW- NO- NO- NO.
B etween the lines — 43 —
The pin spot fades on ALLIE, and isolates JANICE. We hear her inner thoughts.
JANICE
SOMETIMES WHEN I’M KISSING BOYS
IM AC-TU-ALLY THINKING ABOUT THIS GIRL NAMED DEBRA WHO PLAYS VOLLEYBALL SHE IS—
SUPER COOL AND BRILLIANT SHE LOOKS LIKE VENUS WILLIAMS
I LOVE TO WATCH HER SPIKE IT (YEAH I LIKE IT)
WHEN SHE LAUGHS SHE KINDA SNORTS AND SHE’S REALLY GOOD AT SPORTS
WANNA KISS FROM HER KNEE PADS TO HER SPANDEX SHORTS (getting carried away in the fantasy)
Whoa…
BUT THESE ARE JUST MY INNER THOUGHTS (INNER THOUGHTS)
DEBRA AM I IN YOUR THOUGHTS (IN YOUR THOUGHTS)
YA THESE ARE JUST MY INNER THOUGHTS THAT NO ONE NEEDS TO
KNOW... OHH... OHHH…
The pin spot fades on JANICE and isolates RYAN who stares blankly into space. RYAN has no inner thoughts. The pin spot isolates MARTIN. We hear his inner thoughts.
MARTIN
LATELY I’VE BEEN HACKING AND I HACKED INTO A PERSONAL EMAIL
THE PRINCIPALS EMAIL
I LEARNED WAY MORE THAN I BARGAINED FOR LIKE WHAT HE’S DONE WITH ONE CERTAIN FEMALE OUR CHEMISTRY TEACHER
MRS. BROWN crosses, buttoning her blouse, flush with a post-coital glow.
MRS. BROWN
Uh-oh!
NOBODY KNOWS ABOUT OUR RELATIONS OR CONJUGATIONS
OR OUR VACATIONS
TO LOCATIONS DOWN THE SHORE
— 44 — B etween the l ines
MARTIN
(to audience, smiling broadly with a wink)
I know.
Pin spots now illuminate MARTIN, JANICE and ALLIE.
MARTIN, JANICE, ALLIE
THESE ARE JUST MY INNER THOUGHTS INNER THOUGHTS
THEY CAN’T ALL BE WINNER THOUGHTS- INNER THOUGHTS
THESE ARE JUST MY INNER THOUGHTS THAT THAT NO ONE NEEDS TO KNOW… NO...NO...NO...
THESE ARE JUST MY INNER THOUGHTS INNER THOUGHTS
I WONDER WHAT’S FOR DINNER- NOW THEY’RE DINNER THOUGHTS.
THESE ARE JUST MY INNER THOUGHTS THAT THAT NO ONE NEEDS TO KNOW…
The pin spots fade. The scene resumes.
RYAN
(aloud to the group)
Last year, I swallowed the letter K from Scrabble and it still hasn’t come out.
ALLIE MCANDREWS
Babe, don’t share your inner thoughts.
ALLIE, JANICE, MARTIN ‘CAUSE NO ONE NEEDS TO KNOW.
JANICE
(noticing DELILAH’s sweater)
Wait! That sweater Delilah is wearing-
ALLIE Yeah?
B etween the lines — 45 —
That’s your Alexander McQueen!
JANICE
ALLIE MCANDREWS
Are you kidding me?
(to JANICE with a sly smile)
Janice, watch and learn.
(crossing to DELILAH; sweetly)
Oh my god, Delilah! I love your sweater. Where did you get it?
DELILAH
My mom.
ALLIE MCANDREWS
Really? Because that’s Alexander McQueen couture. One of a kind. I bought it in Tulum.
So, where do we think your mom got it?
DELILAH
Goodwill?
ALLIE MCANDREWS
(to JANICE)
Oh! I did a deep clean on my closet. Sent like six bags to Goodwill… (to DELILAH)
I’m gonna need that back.
I’ll wash it and-
DELILAH
ALLIE MCANDREWS
You don’t wash Alexander McQueen. (puts her hand out expecting the sweater)
I’m waiting.
MARTIN shoots a video of DELILAH taking off the sweater with his phone.
— 46 — B etween the l ines
DELILAH
(handing the sweater to Allie)
Here you go, Allie.
MARTIN shows the video to ALLIE.
ALLIE MCANDREWS
That’s so savage. Post it. (to DELILAH)
On second thought, I never really liked it that much.
ALLIE drops the sweater on JULES’ head and exits, with JANICE and RYAN.
MARTIN (to DELILAH)
Don’t worry, Delilah. I tagged you.
MARTIN exits. JULES folds the sweater and hands it to DELILAH.
JULES
That sweater looked way better on you.
DELILAH (awkwardly)
Can we start over? I’m Delilah McPhee, and I’m socially awkward.
JULES (laughs)
Jules Quintero. The epitome of awesome. My pronouns are they/them.
DELILAH (hesitant)
Oh…so you’re, um…a-
JULES
A Pisces? That’s what you were gonna say, right?
DELILAH
No, uh,I was…I didn’t know what I was gonna say.
B etween the lines — 47 —
JULES
I’m non-binary.
(realizes DELILAH has questions)
You know how some books are fiction...and others are non-fiction?
DELILAH
(going along with the metaphor)
You’re…both?
JULES
I’m the whole motherf-ing library. All the classics..and a couple of books you didn’t even know exist.
(JULES’ phone DINGS.)
You might want to check this out.
JULES shows DELILAH her phone. We see the video MARTIN has posted: DELILAH removing her sweater, with a YES/NO poll: HOT OR NOT?
JULES (CONT’D)
(reading the results on their phone)
Eight percent think you’re hot.
(looking up at DELILAH)
When they did that to me, my numbers were way lower.
DELILAH
(watching the video)
Oh my God…oh my GOD! How many people have seen this?
JULES
Only five… (looks on their phone)
…hundred. And one.
(DELILAH’s phone dings)
Two.
(DELILAH’s phone dings)
Three…
— 48 — B etween the l ines
(DELILAH’s phone dings)
What do I do?
DELILAH
JULES
(unwrapping a Dove chocolate)
Ignore it. Ignore THEM.
If only it were that easy.
(reading the DOVE wrapper, deadpan)
DELILAH
JULES
When people throw stones at you, pick them up and build something.
DELILAH
Where’d you get that?
JULES lifts up the DOVE chocolate wrapper.
JULES
Off my Dove wrapper. (hands her the bag of chocolate)
Here. Take the whole bag.
Why?
DELILAH
JULES
In case you need advice when I’m not around. They exit.
TRANSITION TO ACT 1 SCENE 7
The LADY IN WAITING opens the door. She holds an empty glass.
Queen Maureen?…I’m waiting…
LADY IN WAITING
QUEEN MAUREEN enters with a bottle of wine.
B etween the lines — 49 —
That’s your job.
QUEEN MAUREEN
LADY IN WAITING
What took you so long? We’re not Russian literature.
QUEEN MAUREEN
Then why do I have the urge to throw you in front of a train?
LADY IN WAITING
Spinster.
Wench.
Lush.
Supporting character.
QUEEN MAUREEN
LADY IN WAITING
QUEEN MAUREEN
They both exit as DELILAH enters.
— 50 — B etween the l ines
ACT 1 SCENE 7: DELILAH’S RENTAL HOUSE
DELILAH
(narrating)
Sometimes there’s one parent who just gets you. For me, that was my dad. If I screwed up a test, he would make waffles for dinner. If I didn’t want to talk, he just let me be silent. If I had a problem, he’d drop everything and listen, like I was the most important thing in his world.
(calling DAD on her cell)
Pick up, Dad. Please pick up.
GRACE enters and overhears.
VOICEMAIL RECORDING:
Sunrise salutations, it’s Dave McPhee. I can’t come to the phone right now because I’m in shavasana!
(HOT YOGA GIRLFRIEND’S voice)
Babe!! No talking during savasana!!
(they giggle; then Dave speaks)
Oops…gotta go! Leave a message! Namaste!
A BEEP.
DELILAH
Hey, it’s Delilah, I just wanted to--
VOICEMAIL RECORDING:
The mailbox you are trying to reach is full.
DELILAH (frustrated)
Great talk, Dad.
GRACE
Delilah!? Why are you calling your father?
DELILAH
Dinner’s in the oven. You’re welcome.
B etween the lines — 51 —
You didn’t answer my question.
GRACE
DELILAH
Because I had a shitty day and you weren’t here.
GRACE
What happened?
DELILAH
Guess who donated that Alexander McQueen sweater? GRACE looks at DELILAH’s face.
GRACE
Tell me it wasn’t Allie McAndrews. (DELILAH nods yes)
Oh, Delilah…mean girls are inevitable. Like the way a strapless bra always ends up becominga belt.
DELILAH
It’s not just Allie. It’s…everything sucks! I miss…our old house…
GRACE
I miss sleeping in on weekends.
Mani-pedis.
Eating takeout.
DELILAH
GRACE
DELILAH
Dad. GRACE (hurt and angry)
Really? Again? Why does he get a free pass? I was the one who dropped out of nursing school because we didn’t want you raised by strangers. Seventeen years later he walks out, and somehow I’m the bad guy.
— 52 — B etween the l ines
DELILAH
Well at least when he was here, he was here.
GRACE
What does that mean?
DELILAH
Nothing. I’m trying to have a conversation. You know, like mothers and daughters do.
GRACE
Those mothers have more time-
DELILAH
Those mothers make time. DELILAH storms off.
Delilah!
Dammit!
GRACE
DELILAH
GRACE
Dammit!
#7—Start Again Tomorrow
DELILAH (narrating)
When did “happily ever after” turn into “hatefully ever divorced?” It wasn’t always like this. Our life used to be pretty great, when I was little. Dad would read to me at night. My favorite was Cinderella, the Texas Chainsaw Massacre version, where the stepsisters hack off their feet to fit into the shoe. I’d hide under the covers pretending to be scared, so Mom would sing me to sleep.
In a flashback, DELILAH recalls this memory.
GRACE
THE WORLD IS GOOD AND IT WILL CHARM YOU
B etween the lines — 53 —
THE ONES YOU LOVE WILL NEVER HARM YOU
(GRACE)
IF YOU GIVE IT YOUR ALL THEN YOUR DREAMS’LL COME TRUE AND WE’LL START AGAIN TOMORROW
SO REST YOUR HEAD AND EASE YOUR BREATHING YOU ARE LOVED SO KEEP BELIEVING
THOUGH IT’S BEEN A LONG DAY AND IT’S BEEN A LONG WEEK WE CAN START AGAIN TOMORROW
AND OH THE FUN WE HAD WITH A COUPLE OF LAUGHS AND A COUPLE OF TEARS
AND OH THE FUN WE’LL HAVE IN A COUPLE OF DAYS AND A COUPLE OF YEARS
IT’S TIME FOR BED YOUR DREAMS WILL GUIDE YOU SO GO TO SLEEP I’LL BE BESIDE YOU
THOUGH IT’S BEEN A LONG DAY AND IT’S BEEN A LONG WEEK WE CAN START AGAIN TOMORROW GRACE kisses DELILAH’s forehead.
I love you.
DELILAH
I love you more.
— 54 — B etween the l ines
GRACE
I love you most.
(narrating)
That was then.
Present day. GRACE is drying dishes.
DELILAH
GRACE
NOW YEARS HAVE PASSED AND THEY WERE TRYING AND NOW I KNOW THAT I WAS LYING
THOUGH YOU GIVE IT YOUR ALL IT’S THE WORLD AGAINST YOU AND IT STARTS AGAIN TOMORROW
Transition from Delilah’s bedroom to the roof.
B etween the lines — 55 —
ACT 1 SCENE 8: THE ROOF OUTSIDE DELILAH’S BEDROOM
DELILAH opens the book to page 43; PRINCE OLIVER appears.
HELLOOOOOO!!!
Delilah? Are you all right?
PRINCE OLIVER
DELILAH
I had a fight with my mom. She loses it every time I mention my dad.
PRINCE OLIVER (soberly)
Ah! Was he taken by a dragon?
DELILAH
No. A very flexible yoga instructor.
PRINCE OLIVER
My father is just a flashback. I wish I had memories of him.
DELILAH
Trust me, you don’t. It’s harder to lose someone when you know what you’re missing.
PRINCE OLIVER
Where is your father now?
DELILAH
In Boston with his girlfriend and her perfect little daughter. They don’t exactly want me around.
PRINCE OLIVER
Well, that’s their loss.
Ollie, you hardly know me.
DELILAH
PRINCE OLIVER
I know that you write notes on your hand when you need to remember something. And that you bite your lip when you read.
— 56 — B etween the l ines
DELILAH
(biting her lip)
I do not.
PRINCE OLIVER
Ah! You just did it! And you wear my favorite frock every night.
DELILAH
(indicating the t-shirt she’s wearing)
This? Why is it your favorite?
PRINCE OLIVER
Because you wear it to bed.
DELILAH (blushing)
Ollie!
#8—In My Perfect World
(changing the subject slightly)
Do you ever imagine what it would be like? If we could actually be together?
PRINCE OLIVER
Constantly.
DAYLIGHT
WAKING UP BESIDE YOU MARV’LING AT YOUR BEAUTY IN THE EARLY SUNBEAMS I’M OVERJOYED…
DELILAH
Oh…so we’d be like…sleeping in the same bed?
PRINCE OLIVER
Is that not how it’s done in your world?
B etween the lines — 57 —
DELILAH
(flustered by PRINCE OLIVER’s innuendo)
Well, yes. But you’re missing a few steps. Like—
WEEKENDS
GOING ON ADVENTURES OR MAYBE WATCHING MOVIES
LAYING ON THE SOFA AND HOLDING HANDS…
PRINCE OLIVER
Who is “Movies” and why must we watch him?
DELILAH
(laughing)
Oh Ollie, you have so much to learn.
PRINCE OLIVER
WE’RE FACE TO FACE
DELILAH
IN THE SAME TIME AND SPACE
PRINCE OLIVER
IT CAN’T GET ANY BETTER
DELILAH
WE’LL FIN’LY BE TOGETHER IN MY PERFECT WORLD
YOU ARE NEXT TO ME IN MY PERFECT WORLD
I FEEL HAPPY AT LAST
PRINCE OLIVER
THE FUTURE IS CLEARER
WHILE HOLDING YOU NEARER
I LOVE HOW YOU FIT INTO
PRINCE OLIVER & DELILAH MY PERFECT WORLD
PRINCE OLIVER
Tell me everything! I want to know more about your world!
— 58 — B etween the l ines
DELILAH
Well…In my world the men wear aprons and do all the cleaning-
PRINCE OLIVER
Fascinating!
DELILAH
Mmm-hmm. Yeah. And they always take the children to school.
PRINCE OLIVER
I would like that-
DELILAH
And they have dinner on the table just in time for the women to come home from their fulfilling careers.
PRINCE OLIVER
What fun! Okay, okay…so what about YOU AND ME AND FIVE LITTLE CHILDREN?
DELILAH
Uh-
MAYBE YOU MEAN THREE CHILDREN?
PRINCE OLIVER
I WAS THINKING FOUR CHILDREN
Two are twins!
DELILAH
WE LIVE ON A LITTLE HILLSIDE
No twins.
PRINCE OLIVER IN A HUMBLE DWELLING WHERE I WEAR MY APRON
DELILAH
Right!
‘CAUSE ALL MEN DO SIDE BY SIDE
B etween the lines — 59 —
YOU’LL BE MY GUIDE
PRINCE OLIVER
DELILAH
WE’LL MAKE A PERFECT DUO
PRINCE OLIVER
SO TEACH ME ALL THAT YOU KNOW
DELILAH
IN MY PERFECT WORLD
THERE’S ADVENTURE WAITING IN MY PERFECT WORLD
THERE IS SO MUCH TO DO…
PRINCE OLIVER
WHEN EACH DAY IS ENDING
I’M HAPPY I’M SPENDING
DELILAH & PRINCE OLIVER
A LIFETIME BESIDE YOU
IN MY PERFECT WORLD
PRINCE OLIVER
Tell me, is there dancing out there?
DELILAH
Of course! People out here dance all the time.
PRINCE OLIVER
Excellent! Then perhaps you know the “Beggar’s Dance?”
(performing a medieval chain dance)
HITHER TO THEN BOWETH TO THINE NEIGHBOR THITHER HENCE AND DANCETH TO AND FRO!
DELILAH
Oh, god. Never do that again.
PRINCE OLIVER
What? I’m a tremendous dancer! Okay, let’s see some of your moves-
— 60 — B etween the l ines
No. I said people dance. I don’t dance.
DELILAH
PRINCE OLIVER
Someday, Delilah McPhee, you will dance with me.
DELILAH
I don’t think so-
Promise me.
Ollie, no-
Please???
PRINCE OLIVER
DELILAH
PRINCE OLIVER
DELILAH (reluctantly)
Fine. I promise.
SIDE BY SIDE
PRINCE OLIVER & DELILAH
I’LL BE YOUR GUIDE/YOU’LL BE MY GUIDE
WE’LL BE THERE FOR EACH OTHER READY FOR ANOTHER
PRINCE OLIVER
DAYLIGHT WAKING UP BESIDE YOU MARV’LING AT YOUR BEAUTY IN THE EARLY SUNBEAMS
I’M OVERJOYED IN MY PERFECT WORLD
I HAVE SO MUCH TO LEARN
DELILAH
IN MY PERFECT WORLD
WE STAY UP WATCHING MOVIES
MORNINGS SITTING IN THE KITCHEN
SKIMMING THROUGH THE PAPER
SIPPING ON OUR COFEE
WE’RE HOLDING HANDS
PRINCE OLIVER (CONT’D)
WE’LL SHARE A DANCE
B etween the lines — 61 —
You’ll need some pants.
DELILAH
PRINCE OLIVER
WE’LL BE THERE FOR EACH OTHER READY FOR ANOTHER
PRINCE OLIVER DAY IN MY PERFECT WORLD
YOU
IN MY PERFECT WORLD
DELILAH DAYLIGHT WAKING UP BESIDE
BESIDE YOU
DELILAH, PRINCE OLIVER MORNINGS SITTING IN THE KITCHEN THAT’S MY PERFECT WORLD
PRINCE OLIVER
Just one tiny dance step?
DELILAH
Ugh, Oliver…no.
#8A—Perfect Playoff
(narrating)
I know what you’re thinking. This girl should be talking to a therapist, not an illustration. Truth is, I would have spent all night with Ollie, if it wasn’t for my chemistry midterm.
DELILAH (CONT’D)
My teacher, Mrs. Brown, grew up in Hoboken, has more plastic in her than the ocean, and is definitely mob-adjacent.
(putting on a shirt over her t-shirt)
And since Allie and her squad are in the class, I really wish this was an invisibility cloak.
— 62 — B etween the l ines
ACT 1 SCENE 9: CHEMISTRY CLASS
ALLIE, RYAN, MARTIN, and JANICE, huddle. JULES sits alone. DELILAH is standing apart, wearing her backpack and carrying the fairytale book in her hand. MRS. BROWN is showing students personal photos on a device.
MRS. BROWN
…And this is my first husband and me on our honeymoon in Cape May… (points to her boobs)
…The girls were real then. This is me and my second husband and my second face on our honeymoon in Atlantic City. And this is me and…I have absolutely no idea who that man is…
MARTIN
Isn’t that Principal Hess?
MRS. BROWN (changing the subject)
Anyhoo… (shrugs)
Now, today’s lab test is sixty percent of your grade, or in other words, will determine who’ll be taking AP Physics next year, and who is going to “Science Is Fun.” Jules, who’s your partner?
The other students pair up.
Don’t have one.
JULES
MRS. BROWN (to DELILAH indicating JULES)
Delilah, you can work with her.
DELILAH
I’m happy to work with them.
JULES and DELILAH share a smile.
Thanks.
JULES
B etween the lines — 63 —
DELILAH joins JULES, placing the fairytale book on the table.
INTERCOM (V.O.)
Mrs. Brown, please come to the principal’s office. Mrs. Brown, to the principal’s office.
MRS. BROWN
Uh-oh! All right young people, eye wash station’s over there, try not to set yourselves on fire!
MRS. BROWN exits.
JULES
Do you want to take notes, or do you want me to?
DELILAH
My handwriting sucks. You do it.
MARTIN
(eyeing JULES and DELILAH)
New couple alert.
RYAN
Wait, the new girl’s a lesbo? That’s. So. Hot.
JULES
Ryan, acting like a dick won’t make yours any bigger.
#9—Crazy Chemistry
ALLIE sidles up to DELILAH.
ALLIE MCANDREWS
So, if you’re not a couple…then who are you interested in, Delilah?
DELILAH
I’m interested in doing this chemistry lab.
ALLIE MCANDREWS
Lighten up…
— 64 — B etween the l ines
ALLIE
THE TEACHER’S LEFT US ALL ALONE
MINIONS
MMM
ALLIE
AND I’VE GOT TESTING OF MY OWN RYAN
(SEDUCTIVELY)
HEY...
ALLIE ignores him and zeroes in on DELILAH. JULES watches, wary.
ALLIE
I’M GONNA POSE A NEW HYPOTHESIS THAT I DON’T THINK YOU’VE EVER BEEN KISSED BUT, I’M SURE THERE’S SOMEONE’S GOT YOU YEARNING
RYAN
YAH!
ALLIE
THEY REALLY GET YOUR BUNSEN BURNIN’ RYAN moves to respond; ALLIE stops him with a gesture, shutting him down.
SO C’MON LIGHT THAT LIGHT LET THE SPARK IGNITE PROB’LY SHOULDA WARNED YA!
ALLIE seductively pets RYAN, who loves every minute of it.
ALLIE (CONT’D)
SEE HOW EASY IT IS TO FIND LOVE IT’S ALL ABOUT THE
OOOH
RYAN, JANICE, MARTIN
ALLIE, RYAN, JANICE, MARTIN CHEMISTRY!
ALLIE
THINGS HEAT UP WHEN YOU MIX THE RIGHT STUFF THAT’S SOME CRAZY
RYAN, JANICE, MARTIN
OOH
B etween the lines — 65 —
ALLIE, RYAN, JANICE, MARTIN * CHEMISTRY TRUE ATTRACTION
ALLIE
WILL CAUSE A
ALLIE, RYAN, JANICE, MARTIN BIG REACTION
ALLIE AND THEN BEFORE YA KNOW IT IT’LL HIT YOU HARD
RYAN, JANICE, MARTIN OOH
ALLIE, RYAN, JANICE, MARTIN HIT YOU HARD
ALLIE AND BABE,
ALLIE, RYAN, JANICE, MARTIN THAT’S CRAZY CHEMISTRY
ALLIE
Racers, start your engines…
JULES
Allie, what are you doing…
ALLIE
I’m just trying to help. Delilah, for all you know, your person could be right here in this room… (to the other students) …and may the best contestant win!
JULES exits to get help. JANICE, MARTIN, and RYAN step forward like contestants on RuPaul’s Drag Race.
JANICE
Are you a carbon sample? Because I wanna date you.
— 66 — B etween the l ines
MARTIN
I’d like to get you on a table…periodically.
RYAN
I wanna get you in the back of my car.
(realizing his statement is creepy)
Not like the trunk. But like the back seat-
ALLIE MCANDREWS
Babe. No. Stop.
ALICE, MARTIN
LET YOUR CHEMICALS TAKE THE LEAD YOU’VE
OOH
RYAN, JANICE
ALLIE, RYAN, JANICE, MARTIN * GOT CRAZY CHEMISTRY!
ALLIE, MARTIN
LET HIM MEASURE OUT WHAT YOU NEED BABE YOU’VE
OOOH
RYAN, JANICE
ALLIE, RYAN, JANICE, MARTIN * GOT THAT CHEMISTRY! HEAT CONDUCTION
ALLIE
CAN LEAD TO
ALLIE, RYAN, JANICE, MARTIN SWEET SEDUCTION
ALLIE
THEN PRETTY SOON YOU’LL FIND YOURSELF FALLING HARD
RYAN, JANICE, MARTIN FALLING HARD
ALLIE AND BABE,
B etween the lines — 67 —
ALLIE, RYAN, JANICE, MARTIN THAT’S CRAZY CHEMISTRY!
DELILAH
Allie, can we just get back to the test?
MARTIN
(holding up the fairytale book)
Look what I found?
Give it back.
DELILAH
ALLIE
Delilah, we’re just testing to see who you have chemistry with.
(opens the book to page 43)
Oh, it looks like we have another contestant.
DELILAH
Allie -- don’t!
ALLIE opens the book to page 43 revealing Prince Oliver on the cliff.
ALLIE
Ooo, Delilah, he’s a snack. Too bad he’s not real.
Closes the book.
Allie, give it back!
DELILAH
RYAN
BEFORE YOU MOVED HERE HER LIFE WAS LAID OUT PERFECTLY THEN YOU CAME ALONG AND YOU BROKE HER KNEE
ALLIE tosses the book to RYAN.
MARTIN, JANICE, RYAN YOU BROKE HER KNEE
RYAN tosses the book to ALLIE.
— 68 — B etween the l ines
ALLIE
NOW YOU OWE ME
NOW YOU OWE ME
ALLIE tosses the book to JANICE.
MARTIN, JANICE, RYAN
OOO THAT’S CRAZY CHEMISTRY
JANICE tosses the book back to ALLIE.
ALLIE
LOOKS LIKE SOMEONE’S ALREADY FOUND LOVE GOT YOURSELF THAT CHEMISTRY
ALLIE (CONT’D)
TOO BAD, BABE, BUT YOU’LL BE BETTER OFF
ENDING THIS DEPENDENCY
MARTIN, JANICE, RYAN OOH
ALLIE, JANICE, RYAN, MARTIN * HOW HEART-BREAKING
ALLIE
BUT, THIS IS
ALLIE, JANICE, RYAN, MARTIN MINE FOR TAKING
ALLIE
AND THEN, REALITY IS GONNA HIT YOU HARD
RYAN, JANICE, MARTIN
AND THEN REALITY IS GONNA
ALLIE, RYAN, JANICE, MARTIN
HIT YOU HARD
HIT YOU HARD
HIT YOU HARD
DELILAH grabs the book-it’s a tug of war between her and ALLIE.
DELILAH loses her grip and the book smacks ALLIE in the face just as MRS. BROWN and JULES enter.
B etween the lines — 69 —
OW!!
ALLIE
MRS. BROWN
Delilah McPhee! Did you just hit Allie McAndrews? AGAIN!
DELILAH
It was an accident!
MRS. BROWN
Principal Hess’s office, NOW!
MARTIN, JANICE, RYAN OOO- KICKED OUT OF CHEMISTRY.
#9A—Crayons and Hand Puppets
TRANSITION TO HALLWAY
JULES has been waiting for DELILAH.
JULES
What did the principal say?
DELILAH
He’s making me see the school psychiatrist.
JULES
Ah! Dr. Ducharme. As shrinks go, he’s not that big of a douchebag. Blame it on stress, your parents, or the patriarchy. If he gets out the crayons, you’re fine. If he gets out the hand puppets, you’re screwed.
(putting her arm on DELILAH’s shoulder)
Delilah, it’s going to be okay.
(hands DELILAH the fairytale)
Thanks.
DELILAH
JULES exits. DELILAH enters DR. DUCHARME’S office which is decorated with butterflies.
— 70 — B etween the l ines
ACT 1 SCENE 10: DR. DUCHARME’S OFFICE
DELILAH sits.
DR. DUCHARME
So what’s going on? You’re bullying Allie McAndrews?
DELILAH
No. It’s the exact opposite. Allie and her boyfriend are making my life a living hell. They posted this whole thing on Instagram-
DR. DUCHARME checks his phone.
Don’t even bother. They took it down.
DR. DUCHARME (disbelieving)
Okay…but you’ve attacked Allie twice.
DELILAH
This is a really big misunderstanding. Allie and Ryan took something of mine.
DR. DUCHARME
It was a library book. A…fairytale, right?
DELILAH
Yeah. So?
DR. DUCHARME
Fairytales don’t usually inspire violence.
DELILAH
Tell that to the Brothers Grimm.
DR. DUCHARME
Touché. Delilah. You know, I looked at your old transcripts. You were a straight-A student, never in trouble. What changed?
DELILAH
Life.
B etween the lines — 71 —
(DELILAH)
(confessing)
I don’t drink. I don’t get high. Reading is what I do to make everything go away.
DR. DUCHARME
Lots of people escape into fiction. But there’s a difference between a distraction, and an obsession. So which one is this?
DR. DUCHARME takes the book.
Give him back.
(dead serious)
Give him back!
Him?
DELILAH
DR. DUCHARME
DELILAH
(correcting herself)
It. Give it back to me.
(desperate)
Please, give me back the book! Give me back the book! Give me back theDELILAH has a panic attack.
DR. DUCHARME
(returning the book)
Here, Delilah. Relax. Deep breaths, deep breaths… (once DELILAH has calmed)
You seem pretty attached to that fairytale.
DELILAH
(bluffing)
No, I’m not.
— 72 — B etween the l ines
DR. DUCHARME
Prove it. Instead of reading it, go for a walk. Invite a friend over and watch Netflix and chill.
DELILAH
That does not mean what you think it does.
DR. DUCHARME
(confused; shrugs)
Look, I know you’re upset. But you hit another student, and I can’t magically make that go away.
DELILAH
Please don’t suspend me. My mom will kill me.
DR. DUCHARME
Then we’ll call it a mental health break.
DELILAH exits the office; JULES is waiting for her.
JULES
So what did he say?
DELILAH
I’m taking a… (air quotes)
“Mental health break.”
JULES
Oh, so you’re suspended.
Exactly. Why are you still here?
DELILAH
JULES
My lawyer says I don’t have to answer that question.
DELILAH
(shutting JULES out)
I gotta go.
B etween the lines — 73 —
DELILAH starts to exit.
Delilah, I’m here if you need me.
JULES
— 74 — B etween the l ines
ACT 1 SCENE 11: RAPSKULLIO’S LAIR
TROLL, QUEEN MAUREEN and LADY IN WAITING are gathered; FRUMP enters excitedly
FRUMP
Hey everyone! Gather around, I have an important announcement! I’m going to do it. I’m gonna tell Seraphima I love her.
PRINCESS SERAPHIMA enters on a mission.
Prince Oliver!
PRINCESS SERAPHIMA
FRUMP
Princess Seraphima…
Prince Oliver!
PRINCESS SERAPHIMA
FRUMP
Princess Seraphima!
WHAT?!
Nothing.
PRINCESS SERAPHIMA
FRUMP
PRINCESS SERAPHIMA
You guys! Please help! I need to find Prince Oliver right now. We’re going to make a baby.
FRUMP’s jaw drops.
Does Ollie know that?
LADY IN WAITING
PRINCESS SERAPHIMA
It’s going to be a surprise. Anyone wanna watch?
B etween the lines — 75 —
FRUMP
(snapping out of his stupor)
I’m out.
FRUMP starts to exit, but QUEEN MAUREEN stops him.
QUEEN MAUREEN
Seraphima, if you can tell me how babies are made, I’ll abdicate.
PRINCESS SERAPHIMA
Babies come from baby powder. You just add water.
Everyone is dumbfounded.
Nailed it.
QUEEN MAUREEN
Everyone immediately departs in different directions.
RAPSKULLIO enters.
He starts painting butterflies on a canvas.
#10—Butterflies
RAPSKULLIO
HAPPY LITTLE FLAPPY LITTLE BUTTERFLIES
SWEET AND JUST AS DAINTY AS CAN BE-EE-EE
DEE DEE
HUM A LITTLE DITTY
DEE DEE
MY YOU’RE AWFULLY PRETTY
HAPPY LITTLE FLAPPY LITTLE BUTTERFLIES
I LOVE THEM AND I KNOW THEY LOVE ME-E-E
HAPPY LITTLE FLAPPY LITTLE BUTTERFLIES
He taps the canvas.
Beautiful Marjorie…
One butterfly flitters off. He taps it again. Cecil.
He taps it again.
— 76 — B etween the l ines
(RAPSKULLIO)
Alistair.
RAPSKULLIO taps the canvas, nothing. Then again, nothing. Francine!
Suddenly Francine flits away.
DEE DEE DEE DEE DEE DEE DEE DEE DEE DEE!
FRUMP enters, chasing FRANCINE.
FRUMP
Treat! Treat!
PRINCE OLIVER enters.
Rapskullio!
PRINCE OLIVER
RAPSKULLIO
Oliver! I’m so glad you’re here! Frump and I were about to have a little tea party!
FRUMP
We were?
RAPSKULLIO
We can all put on our fancy-boy pants and share our feelings. I’ll go first. (with great emotion)
Today I saw a sunrise, and I wept. (he sobs in silence; then:)
Now you go, Frump.
FRUMP
I am hopelessly in love…with Princess Seraphima.
RAPSKULLIO (shutting FRUMP down)
We know. Prince Oliver?
PRINCE OLIVER
I can’t share feelings right now.
B etween the lines — 77 —
RAPSKULLIO
What could you possibly be upset about? Dear sweet…perfectly illustrated Ollie. Right down to those ridiculously cute dimples…Flash ‘em for me!
PRINCE OLIVER
No.
Flash ‘em-
RAPSKULLIO
PRINCE OLIVER
No!
RAPSKULLIO (pleading)
Ollie…?!
PRINCE OLIVER
Okay…
#10A—Delilah’s Room
PRINCE OLIVER smiles, flexing his dimples, accompanied by a musical chime.
RAPSKULLIO
(clapping with childlike delight)
Yay!
(poking PRINCE OLIVER with his paintbrush)
Now, what’s got your tights in a twist?
PRINCE OLIVER grabs the paintbrush from Rapskullio.
PRINCE OLIVER
What’s the point of being a hero when you can’t save the one person you want to? (a sudden thought as he studies the paintbrush)
Rapskullio, can you paint anything onto your magic canvas?
— 78 — B etween the l ines
I suppose.
RAPSKULLIO
PRINCE OLIVER
And will whatever you paint appear like the butterflies do?
RAPSKULLIO
I don’t see why not.
PRINCE OLIVER
I need you to paint something for me.
RAPSKULLIO
What do you have in mind?
PRINCE OLIVER
A girl. With eyes the color of honey.
RAPSKULLIO (intrigued)
Ohhhh…
DELILAH (narrating)
While I was waiting for my Mom to get home and lose it because I was suspended, I distracted myself by sorting the mail. That’s when I saw it: a Christmas card, from my dad. On the front was a photo of him with his new and improved step-daughter.
B etween the lines — 79 —
ACT 1 SCENE 12: DELILAH’S RENTAL HOUSE
DELILAH is in the kitchen, holding the Christmas card as GRACE enters.
GRACE
(furiously)
Delilah Eve McPhee, what the hell is going on? You got suspended?
DELILAH
So you’re not even going to listen to my side?
GRACE
I got fired by the McAndrews…
What?
DELILAH
GRACE
(picks up the book)
…because of this book? You’re too old for fairytales. And in real life, we just lost half our income.
DELILAH
I could get a job-
I already picked up a night shift.
But what about school?
GRACE
DELILAH
GRACE
I quit.
#11—I’m Not Through
DELILAH
Mom, you can’t. I’ll help you. We’ll figuresomething out--
— 80 — B etween the l ines
GRACE
I didn’t give up seventeen years of my life so that you could throw away yours.
I CAN’T BELIEVE I LOST MY JOB
BECAUSE MY DAUGHTER HAD AN ARGUMENT NOT WHEN WE CAN’T PAY OUR RENT.
DELILAH
I know, but-
Forget it.
GRACE
YOU THINK I’M HAPPY SCRUBBING FLOORS TO BARELY PAY THE BILLS YOUR FATHER OWES? WELL THAT’S NOT THE WAY THAT IT GOES
DELILAH
GRACE
Hey!
I’M NOT THROUGH
DELILAH LISTEN TO ME! I’M NOT THROUGH
DELILAH
YOU NEVER LET ME SPEAK!
GRACE
DON’T KNOW WHY
GRACE, DELILAH NO MATTER HOW HARD I TRY!
GRACE
IT’S ALWAYS THE SAME BATCH OF DISAPPOINTMENT
NOTHING IN LIFE’S EVER FAIR AND I’M NOT THROUGH
DELILAH
Mom, if you’d just listen-
B etween the lines — 81 —
Yeah, me too!
GRACE
I NEVER MEANT TO END UP HERE
I MISS MY HOUSE MY KID THE LIFE HE STOLE AND FEELING LIKE I HAD A ROLE
DELILAH
GRACE
BUT LIFE IS NOT SOME FAIRYTALE
IT ISN’T MAGIC IF YOU MARRY WELL IT’S SOME CRAZY VERSION OF HELL
DELILAH
I can’t listen to this right now.
I’M NOT THROUGH!
GRACE
DELILAH
DON’T WANNA ARGUE WITH YOU!
GRACE
I’M NOT THROUGH!
DELILAH
DON’T WANT TO BLAME YOU!
GRACE, DELILAH
PLEASE JUST TRY TO TAKE IT EASY ON ME
GRACE
I USED TO BE NEEDED FOR EVERYTHING AND NOW YOU DON’T NEED ME AT ALL AND I’M NOT THROUGH (noticing the Christmas card)
WHAT IS THAT?
DAD SENT THIS
YOUR FATHER SENT THIS?
DELILAH
GRACE
— 82 — B etween the l ines
Yeah.
HE SENT THIS TO ME?
NO NOT TO YOU
HE SENT IT TO US
DELILAH
GRACE
DELILAH
GRACE
THAT’S EXACTLY THE THING
I DO NOT NEED TO SEE!
DELILAH
MOM WAKE UP GET OVER YOURSELF
I’M ANGRY TOO IT’S NOT JUST YOU!
GRACE
YOU’RE STILL A CHILD
I’M NOT A CHILD
DELILAH
GRACE
YOU CAN’T UNDERSTAND
DELILAH
I UNDERSTAND PLENTY
I got stuck with you.
GRACE
You what?
I’M NOT THROUGH!
GRACE, DELILAH
DELILAH
EXACTLY! THAT’S THE POINT MOM!
GRACE, DELILAH
I’M (YOU’RE) NOT THROUGH
B etween the lines — 83 —
DELILAH
INSTEAD YOU’RE ACTING LIKE THE WORLD IS THROUGH YOU KNOW YOU USED TO CARE AND NOW YOU ARE BARELY AWARE YOU’RE ALWAYS WAY TOO CAUGHT UP IN YOURSELF TO NOTICE ANYONE DELILAH storms off.
GRACE
BUT I’M NOT THROUGH.
DELILAH is revealed on the roof.
— 84 — B etween the l ines
ACT 1 SCENE 13: THE ROOF OUTSIDE DELILAH’S BEDROOM
She opens the fairytale to page 43. PRINCE OLIVER enters.
PRINCE OLIVER
Delilah! Good news! I asked Rapskullio to(noticing she’s upset)
Are you…crying?
DELILAH (despondent, overwhelmed)
Everyone thinks I’m crazy because I spend all my time lost in a fairytale.
PRINCE OLIVER
Well, I’m not crazy and I spend all my time lost in a fairytale.
DELILAH
Ollie, it’s not funny.
We’ll fix it, together.
PRINCE OLIVER
DELILAH
How?
#12—A Whole New Story
You live in a book. I’m stuck in the real world.
PRINCE OLIVER
Yes, but-
Ollie, I can’t do this.
DELILAH
PRINCE OLIVER
Delilah. Please don’t shut me out-
B etween the lines — 85 —
DELILAH
IF I COULD CHANGE MY STORY
I’D START IT OVER HERE AND NOW
I’D LISTEN TO THE WORLD AND GET BACK ON TRACK
I’D DITCH THE MAKE BELIEVE AND ACCEPT THE HARSH REALITY
I’D STAY INSIDE THE LINES AND NEVER LOOK BACK
NO ONE WOULD CARE
NO ONE WOULD KNOW
NO ONE WOULD SEE ME LET HIM GO
DELILAH closes the book; PRINCE OLIVER exits.
IT’D BE A WHOLE NEW STORY
IN BLACK AND WHITE
I’D CHANGE MY MIND AND SEE THAT THEY WERE RIGHT A WHOLE NEW STORY
THERE’S NO MAGIC SPELL
SO I’D LEAVE HIM BEHIND AS WELL
OR WHAT IF I ESCAPE
WITH NOTHING BUT THIS FAIRYTALE AND FIND A PLACE TO HIDE SOMEWHERE BETTER THAN HERE
I WOULDN’T BE ALONE HE’D ONLY BE A PAGE AWAY AND I’D ALWAYS FEEL AT HOME AS LONG AS HE’S NEAR
SOMEONE TO CARE
SOMEONE TO KNOW
SOMEONE TO NEVER LET ME GO
IT’D BE A WHOLE NEW STORY
WITH ALL I NEED
I’D BUILD MY WORLD AROUND THE WORDS I READ A WHOLE NEW STORY
HE’D KNOW HOW I FEEL STILL NOTHING COULD MAKE HIM REAL
— 86 — B etween the l ines
IF I COULD WRITE IT MY WAY
I’D HAVE A BETTER FATHER I’D EMPTY OUT HIS BEDROOM AND ERASE HIS OTHER FAMILY
I’D WRITE A BRAND NEW MOTHER WHO DOESN’T CRY AT DINNER I’D TAKE AWAY THE DAY JOBS THAT KEEP HER OUT ‘TIL MIDNIGHT
AND IN THIS DIFF’RENT STORY EVERYONE BELIEVES ME THERE WOULDN’T BE A DOCTOR WHO THINKS THAT I’M INSANE
BUT PEOPLE WON’T CHANGE AND BOOKS STAY THE SAME AND STORIES CAN’T CHANGE WHY CAN’T THEY CHANGE? WHY CAN’T MINE CHANGE?
INTO A WHOLE NEW STORY THAT STARTS RIGHT NOW WITH AN EVER AFTER AND A FINAL BOW A WHOLE NEW STORY THAT I’M SAFE INSIDE WITH NO NEED TO RUN AND HIDE.
I CAN CHANGE MY STORY
SO I’LL START IT OVER HERE AND NOW I’LL LISTEN TO MY HEART AND STAY RIGHT ON TRACK
I’LL TAKE THE MAKE BELIEVE INSTEAD OF MY REALITY
I’LL SLIP BETWEEN THE LINES AND NEVER LOOK BACK
DELILAH falls like Alice in Wonderland landing in the book on page 59.
PRINCE OLIVER Delilah!?
B etween the lines — 87 —
Ollie?
Um…? Who’s she?
BLACK OUT END OF ACT 1
DELILAH
PRINCESS SERAPHIMA
— 88 — B etween the l ines
#12A—Entr’acte
The action starts with DELILAH having just landed in the fairytale.
Delilah!?
Ollie?
Um…? Who’s she?
PRINCE OLIVER
DELILAH
PRINCESS SERAPHIMA
QUEEN MAUREEN
What in the sainted name of science fiction is going on? Is that the reader?
LADY IN WAITING
Who cares. This is the most exciting thing to happen since Gutenberg.
#13—Best
Day Ever
PRINCESS SERAPHIMA
Seriously you guys. WHO. EVEN. IS. SHE?
PRINCE OLIVER
Seraphima, um…this is…
FRUMP (stage whisper to PRINCE OLIVER) Cousin.
PRINCE OLIVER
This is my cousin.
B etween the lines — 89 —
INSIDE THE
ACT 2 SCENE 1:
BOOK
PRINCESS SERAPHIMA
(relieved)
Ohhhhh!!! Your cousin!
(to Delilah)
You and I are gonna be the best of friends.
FRUMP
You probably don’t recognize me because of the curse…
DELILAH
Frump!
She pats him on the head and, blissfully, FRUMP’s leg shakes with a scratch reflex.
The TROLL steps forward, beaming.
TROLL
It is an honor, my lady. After years of Waiting for Godot, the plot finally advances.
OLIVER takes DELILAH’S hand.
I can’t believe you’re here.
PRINCE OLIVER
DELILAH
(suddenly recoiling)
Wait, Ollie…am I dead?
RAPSKULLIO
You are very much alive. And a most welcomed surprise, indeed!
WE HAVE NEVER HOSTED A STRANGER
I’LL ADMIT IT’S QUITE A GAME CHANGER
SO YOU SEE IT’S VERY EXCITING
WE WILL BE OUR UTMOST INVITING ALL
YES MY DEAR
RAPSKULLIO
WE’RE DELIGHTED TO SHOW YOU WHAT THE KINGDOM IS MADE OF
— 90 — B etween the l ines
NOW YOU’RE HERE
ALL
RAPSKULLIO
AND WE HAVE TO MAKE SURE THAT IT’S GRAND
Two FAIRIES deliver a large canvas. DELILAH stands behind it as RAPSKULLIO paints a gown.
RAPSKULLIO (CONT’D)
I WILL PAINT A GOWN SO EXQUISITE
QUEEN MAUREEN YOU WILL LOOK DIVINE FOR YOUR VISIT!
RAPSKULLIO
(speaking in a french accent)
CETTE COULEUR WILL FLAUNT YOUR COMPLEXION
QUEEN MAUREEN
May I say your hair is perfection?!
SOMEONE NEW
ALL
QUEEN MAUREEN
OH MY OLIVER LOOK AT THIS ENCHANTING BEAUTY
ALL
MUCH TO DO
QUEEN MAUREEN
AND WE PROMISE YOU THIS DAY WILL BE
ALL (CONT’D)
AH-AH
THE BEST DAY EVER
ALL (CONT’D)
The two FAIRIES remove the canvas revealing DELILAH now wearing a gown worthy of a princess.
DELILAH
WELL I’VE NEVER GOTTEN TO DO THIS BEFORE!
B etween the lines — 91 —
(DELILAH)
But look at these… (she reveals bare feet)
RAPSKULLIO, MAUREEN THERE’S A REMEDY!
RAPSKULLIO
Slippers please!
The LADY IN WAITING offers DELILAH slippers. ALL
SHE’S A REVERIE BEST DAY! AHHHHHHHH
WOAH-OH-OH-OH-OH
IT’S THE BEST DAY EVER, EVER, EVER BEST DAY!
WOAH-OH-OH-OH-OH
DELILAH
IT’S THE BEST DAY EVER, EVER, EVER.
FRUMP
Welcome to the castle!
QUEEN MAUREEN
Would you like a tour?
DELILAH
Of course!
PRINCE OLIVER (taking DELILAH’S hand)
YOU WILL LOVE THE VIEW FROM THE TOWER FRUMP (taking DELILAH from PRINCE OLIVER)
I WILL TAKE YOU UP TO YOUR BOWER
RAPSKULLIO
SHOW YOU WHERE THE JEWELS ARE HIDDEN
— 92 — B etween the l ines
TROLL
No! You know the west wing’s forbidden!
PRINCE OLIVER (grabbing DELILAH’S hand again) FOLLOW ME!
THIS IS ONE OF MY FAVORITE SPOTS FOR THOUGHT AND REFLECTION
ALL
WAIT AND SEE
PRINCE OLIVER
THERE ARE SO MANY WAYS WE CAN SPEND
ALL THE BEST DAY EVER
DELILAH
WELL I’VE NEVER GOTTEN TO DO THIS BEFORE
ALL
SEE THE SIGHTS!
ON THE PROMENADE
ROWS OF KNIGHTS!
QUEEN MAUREEN DARLING, OH MY GOD.
ALL
BEST DAY! AHHHHHHHH WOAH-OH-OH-OH-OH
DELILAH
IT’S THE BEST DAY EVER, EVER, EVER
ALL
BEST DAY! AHHHHHHHH WOAH-OH-OH-OH-OH
IT’S THE BEST DAY EVER, EVER, EVER
PRINCE OLIVER
Care to dance?
B etween the lines — 93 —
I told you, I don’t dance.
DELILAH
PRINCE OLIVER
But princesses are required to dance.
DELILAH
You know I’m not a princess.
PRINCE OLIVER Yet.
The FAIRYTALE characters scramble to prepare a coronation which is led by a scepter wielding QUEEN MAUREEN.
ALL
IT’S THE BEST DAY
IT’S THE BEST DAY EVER
IT’S THE BEST DAY
IT’S THE BEST DAY EVER
IT’S THE BEST DAY
IT’S THE BEST DAY EVER
IT’S THE BEST DAY
IT’S THE BEST DAY EVER
PRINCE OLIVER presents DELILAH to QUEEN MAUREEN for coronation. DELILAH is made a princess much to the chagrin of PRINCESS SERAPHIMA.
DELILAH, PRINCE OLIVER
IT’S THE BEST DAY EVER
DELILAH
‘CAUSE I’VE NEVER GOTTEN TO DO THIS BEFORE Ollie, could we have a minute alone?
PRINCE OLIVER
Your wish is my command.
PRINCE OLIVER whisks DELILAH away to Ever After Beach. PRINCESS SERAPHIMA tries to wrestle QUEEN MAUREEN’S scepter away.
ALL
IT’S THE BEST DAY! AHHHHHHHH
— 94 — B etween the l ines
(ALL)
WHOAH-OH-OH-OH-OH
IT’S THE BEST DAY EVER, EVER, EVER
QUEEN MAUREEN (to SERAPHIMA, who holds scepter)
Let go!
IT’S THE BEST DAY! AHHHHHHHH
WHOAH-OH-OH-OH-OH
IT’S THE BEST DAY EVER, EVER, EVER
The FAIRYTALE CHARACTERS place a picnic blanket and exit as DELILAH and PRINCE OLIVER enter.
DELILAH
(taking in this new bucolic location)
It’s beautiful.
PRINCE OLIVER and DELILAH sit on blanket.
PRINCE OLIVER
Alone, at last. Just you and me, and no one else.
IT’S THE BEST DAY EVER
‘CAUSE I’VE NEVER GOTTEN TO DO THIS BEFORE PRINCE OLIVER leans in for a kiss just as FRUMP enters, pretending to serenade them with a mimed violin.
FRUMP
We are so glad you’re not a child.
FRUMP exits.
DELILAH, PRINCE OLIVER BEST DAY
WHOAH-OH-OH-OH
PRINCE OLIVER
IT’S THE BEST DAY EVER, EVER, EVER
DELILAH
WHOAH-OH-OH-OH
B etween the lines — 95 —
DELILAH, PRINCE OLIVER
IT’S THE BEST DAY
WHOAH-OH-OH-OH
PRINCE OLIVER
IT’S THE BEST DAY
PRINCE OLIVER and DELILAH inch closer together.
DELILAH
EVER
PRINCE OLIVER
EVER
PRINCE OLIVER and DELILAH are faceto- face about to kiss...
They kiss.
EVER
I can’t believe-
That was incredible-
Sorry-
You go.
No, you.
That was incredible.
That was my first real kiss.
DELILAH, PRINCE OLIVER
DELILAH
PRINCE OLIVER
DELILAH (CONT’D)
PRINCE OLIVER
DELILAH
PRINCE OLIVER
DELILAH
— 96 — B etween the l ines
Mine too.
PRINCE OLIVER
DELILAH
This has gotta be a dream.
PRINCE OLIVER leans in, and kisses DELILAH again.
Did that feel like a dream?
Yes.
(meaning it’s too good to be real)
PRINCE OLIVER
DELILAH
PRINCE OLIVER
WE’RE FACE TO FACE
IN THE SAME TIME AND SPACE
WE’RE FINALLY TOGETHER
DELILAH
IT CAN’T GET ANY BETTER
PRINCE OLIVER (CONT’D)
NOW THAT WE’RE IN
PRINCE OLIVER (CONT’D)
MY PERFECT WORLD
YOU’RE MY LOVELY PRINCESS IN MY PERFECT WORLD
NOW OUR LIVES CAN BEGIN
DELILAH
MY HEARTBEAT IS WHIRLING
I FEEL CLOSE TO TWIRLING
SO HAPPY TO BE HERE
PRINCE OLIVER IN MY PERFECT WORLD
He kisses DELILAH deeply.
B etween the lines — 97 —
#14—In My Perfect World Reprise
(PRINCE OLIVER)
(kneeling)
Delilah McPhee, will youA bone is tossed onto the stage. FRUMP stomps on annoyed.
FRUMP
(to SERAPHIMA, offstage)
For God’s sake Seraphima! If you just want me to bring it back to you, why do you keep throwing it?
PRINCESS SERAPHIMA enters.
PRINCESS SERAPHIMA
Cuz you’re a good doggie, Frumpy.
FRUMP
Still not a dog.
Delilah, will you-
What is he doing?!
What are you doing?
PRINCE OLIVER
PRINCESS SERAPHIMA
DELILAH
PRINCE OLIVER
Delilah McPhee, will you marry me?
DELILAH, PRINCESS SERAPHIMA
What?!
PRINCESS SERAPHIMA (disgusted)
She’s your…cousin!!!!
PRINCESS SERAPHIMA dashes off crying.
— 98 — B etween the l ines
FRUMP
Sera, wait!
FRUMP chases after her.
So, is that a yes?
PRINCE OLIVER
DELILAH
I…Um…
Before DELILAH can answer, ONDINE interrupts from OFFSTAGE.
ONDINE (O.S.)
Girl! What, what, what are you doing?
DELILAH
Who’s that?
#15—Do It For You
PRINCE OLIVER
Oh no, not them.
ONDINE, MARINA, KYRIE enter.
ONDINE, MARINA, KYRIE
BA-DUM BUM
BAH-DA-DUM-BUM
AH-OOOO
BA-DUM BUM
BAH-DA-DUM-BUM
AH-OOOO
Did I just hear what I think I did?
ONDINE
DELILAH
Oliver proposed and-
ONDINE He wants you to be his princess?
B etween the lines — 99 —
KYRIE
Classic man! Shoving us into his ideal stereotypes.
MARINA
Say? How old are you?
Seventeen.
DELILAH
KYRIE
And you’re gonna tie yourself down to some guy for the rest of your life?
MARINA
What’s wrong with you?
ONDINE
What’s wrong with her?
PRINCE OLIVER
(aside)
How come there’s never a sea witch around when you need one? (to Delilah)
Delilah. Don’t listen to them. We could live happily ever after.
MARINA
Ha! Isn’t it just like a man to tell a woman what to do?!
KYRIE
Men! Can’t live with ‘em-
ONDINE
Can’t legally drown ‘em!
MARINA
Girl! What do you really know about this guy?
KYRIE
How did you even get here?
— 100 — B etween the l ines
ONDINE
What makes you think you need a prince to rescue you?
DO YOU WANNA WAKE UP ONE DAY
TAKE A LOOK AROUND YOU WANNA SEE A LIFE YOU DON’T KNOW?
MARINA, KYRIE
AH-OOOO
ONDINE
‘CAUSE YOU DIDN’T TAKE YOUR OWN PATH YOU TOOK SOMEONE ELSE’S AND YOU THINK OF ALL YOU LET GO
MARINA, KYRIE
AH-OOOO
KYRIE
WHATCHA HAFTA SEE IN YOURSELF IS YOU HAVE A PURPOSE AND YOU GOTTA MAKE YOURSELF HEARD
ONDINE, MARINA
AH-OOOO
KYRIE
C’MON IF THERE’S SOMETHIN’ YOU WANT GIRL REACH OUT AND TAKE IT
IF YA WANT MY HELP SAY THE WORD
ONDINE, MARINA
AH-OOOO
MARINA
YOU–HOO
YOU CAN TAKE IT FROM MEY–HEY
YOU CAN TAKE IT FROM HER–HER
MARINA (CONT’D)
YOU CAN TAKE IT FROM US
MARINA (CONT’D)
YOU–HOO
ONDINE, KYRIE
—HOO
—HEY —HER
MERMAIDS
ALL OF US!
ONDINE, KYRIE
—HOO
B etween the lines — 101 —
(MARINA)
NEED TO LISTEN TO ME
LISTEN UP, LISTEN UP
WHATEV-A
HOO
WHATEV-A
HOO
WHATEV-A
HOO
MARINA
YOU DO
DO IT FOR YOU
ONDINE, KYRIE
MARINA
ONDINE, KYRIE
MARINA
ONDINE, KYRIE
ONDINE, KYRIE (CONT’D)
HOO—HOO
ONDINE, MARINA, KYRIE
ONDINE
YOU GOTTA MAKE A CHOICE
DON’T LET ‘EM DO IT FOR YOU
ONDINE, MARINA, KYRIE
DO IT FOR YOU HOO-OOH-OOH
ONDINE
GOTTA TURN YOUR LIFE AROUND
DON’T LET ‘EM DO IT FOR YOU
ONDINE, MARINA, KYRIE
BA-DUM BUM BAH-DA-DUM-BUM AH-OOOO
BA-DUM BUM BAH-DA-DUM-BUM AH-OOOO
PRINCE OLIVER attempts to whisk DELILAH away.
— 102 — B etween the l ines
PRINCE OLIVER
Great advice, friends. We truly appreciate it. But Delilah and I were just having a very important conversation…
DELILAH crosses to the MERMAIDS, drawn by their siren song, much tothe frustration of PRINCE OLIVER.
ONDINE
DO YOU WANT TO BE LIKE THE GIRL WHO HAS NO AMBITION DOESN’T EVER DARE TO BE BOLD?
ONDINE, MARINA, KYRIE
AH-OOH
KYRIE
GOT A LITTLE CAUGHT UP IN LOVE
LIVIN’ IN A DAYDREAM ONLY EVER DOES WHAT SHE’S TOLD
ONDINE, MARINA, KYRIE
AH-OOH
MARINA
YOU–HOO
YOU CAN TAKE IT FROM HEY–HEY
YOU CAN TAKE IT FROM HER–HER
ONDINE, KYRIE
—HOO
—HEY —HER
MARINA (CONT’D)
YOU CAN TAKE IT FROM US
ONDINE, MARINA, KYRIE
ALL OF US!
YOU-HOO
-HOO
MARINA
ONDINE, KYRIE
NEED TO LISTEN TO ME
LISTEN UP, LISTEN UP
MARINA
B etween the lines — 103 —
WHATEV-A
HOO
WHATEV-A
HOO
WHATEV-A
HOO
YOU DO
HOO- HOO
(MARINA)
ONDINE, KYRIE
MARINA
ONDINE, KYRIE
MARINA
ONDINE, KYRIE
MARINA
ONDINE, KYRIE
ONDINE, MARINA, KYRIE
DO IT FOR YOU HOO-OOH-OOH
ONDINE
YOU GOTTA DO WHAT’S GOOD FOR YOU DON’T LET ‘IM DO IT FOR YOU
ONDINE, MARINA, KYRIE
DO IT FOR YOU HOO-OOH-OOH
ONDINE
YOU GOTTA DO WHAT’S GOOD FOR YOU DON’T LET ‘IM DO IT FOR YOU
ONDINE, MARINA, KYRIE
GIRL YOU GOTTA GOTTA DO YOU
GOTTA GOTTA GOTTA DO YOU
GIRL YOU GOTTA GOTTA DO YOU
GOTTA GOTTA GOTTA DO YOU
— 104 — B etween the l ines
ONDINE
Honey, love is like a tidal wave.
DELILAH
Because it sweeps you off your feet?
ONDINE
Oh, hell no-
ONDINE, MARINA, KYRIE
LOVE IS A TIDAL WAVE
IT’LL DRAG YOU UNDER HOLDIN’ YOU DOWN WHILE YOU DROWN MAKES YOU START TO WONDER
LOVE IS A TIDAL WAVE
IT’LL DRAG YOU UNDER
HOLDIN’ YOU DOWN WHILE YOU DROWN MAKES YOU START TO WONDER
ONDINE (riffing)
YAH
GOTTA GOTTA DO YOU
DO YOU
GOTTA GOTTA DO YOU
MARINA
KYRIE
MARINA
KYRIE
DO YOU HOO HOO
ONDINE (riffing)
YAHHH
GOTTA GOTTA DO YOU
MARINA
B etween the lines — 105 —
DO YOU
GOTTA GOTTA DO YOU
KYRIE
MARINA
KYRIE
DO YOU
HEY HEY HEY
ONDINE, DELILAH
ONDINE, MARINA, KYRIE
MARINA, KYRIE
DO IT FOR YOU-HOO
YOU GOTTA THINK IT THROUGH
DON’T LET ‘EM DO IT FOR YOU
DO IT FOR YOU-HOO
GOTTA DO WHAT’S GOOD FOR YOU
DON’T LET ‘EM DO IT FOR YOU
YOU HOO
YOU CAN TAKE IT FROM MEY-HEY
YOU CAN TAKE IT FROM HER-HER YOU CAN TAKE IT FROM US
ALL OF US
YOU HOO
NEED TO LISTEN TO ME
LISTEN UP, LISTEN UP
WHATEV-A, WHATEV-A, WHATEV-A YOU DO
ONDINE
Honey, you better think about how you got here, and how you’re gonna get home. Here’s a hint: marrying a prince isn’t the answer.
ONDINE, MARINA, KYRIE
WHATEV-A
WHATEV-A
WHATEV-A YOU DO
Ollie, they’re right. I can’t marry you.
DELILAH
MARINA
Ooooh! And…here we go.
(pulls away)
Wait. How did I get here?
DELILAH
— 106 — B etween the l ines
PRINCE OLIVER
I asked Rapskullio to paint you onto his canvas. Whatever he draws appears in our world. You said you wanted to be with me-
PRINCE OLIVER kneels to propose.
MARINA
Hey Kyrie, you know what they call it when a man tells a woman what she wants?
KYRIE
Uh-huh: Correctile disfunction.
ONDINE, KYRIE, and MARINA laugh.
DELILAH
But Ollie, I left everything else behind -(a realization)
Oh my God! My mom! I abandoned her like...like my dad did. I can’t stay here!
DELILAH starts to exit.
Where are you going?
PRINCE OLIVER
DELILAH
If Rapskullio got me here, he must know a way to get me out. DELILAH exits. PRINCE OLIVER dashes after her.
#15A—Do It All For You
ONDINE
Our work here is done.
ONDINE, MARINA, KYRIE (as they exit)
WHATEV-A
WHATEV-A
WHATEV-A YOU DO
B etween the lines — 107 —
ACT 2 SCENE 2: RAPSKULLIO’S LAIR
RAPSKULLIO enters, humming joyfully. He steps on something (music ping). Unconcerned, he takes another step (another music ping). One more step (a final music ping). He lifts his foot only find FRANCINE stuck to the sole of his shoe.
#16—Butterflies (Reprise))
RAPSKULLIO (screaming in horror)
Nooooooo!!!! Francine?!
HAPPY LITTLE
FLAPPY LITTLE BUTTERFLIES
SWEET AND JUST AS FRAGILE AS CAN BE OOOH
HUM A MOURNFUL DITTY
Oh! My! God!
WHAT AN AWFUL PITY
HAPPY LITTLE
FLAPPY LITTLE BUTTERFLIES… The butterfly’s wing twitches…
WHAT IS THIS?
OH FRANCINE! COULD IT BE-E-E? …twitches again.
HAPPY LITTLE
And again.
FLAPPY LITTLE
Again.
BUTTERFLIES
FRANCINE flutters away.
DEE-DEE-DEE-DEE-DEE-DEE-DEE-DEE-DEE
Yay!
DELILAH enters.
DELILAH
Rapskullio, I need you to send me home.
— 108 — B etween the l ines
Ah! Yes! Of course, of course-
So you can do it?
RAPSKULLIO
DELILAH
RAPSKULLIO
Me? Oh God, no.
PRINCE OLIVER enters.
Delilah!
Oliver, I’m stuck here.
PRINCE OLIVER
DELILAH
PRINCE OLIVER
No, you’re not. Rapskullio paints butterflies onto his canvas because they don’t exist in our world.
RAPSKULLIO
The author thought to include mosquitos, but not a single monarch.
PRINCE OLIVER
But every time the book is opened, those butterflies disappear.
RAPSKULLIO
And since you play no part in our little fiction, you too will surely be ejected.
PRINCE OLIVER (taking DELILAH’s hand)
You could be leaving any minute.
RAPSKULLIO
I’ll give you two some privacy.
RAPSKULLIO exits.
PRINCE OLIVER
You were right. It’s harder to lose someone when you know what you’re missing.
B etween the lines — 109 —
DELILAH
Do you have to be so damn perfect?
PRINCE OLIVER (earnest)
It’s how I was written.
DELILAH
How much time do you think we have?
#17—Something To Hold Onto
PRINCE OLIVER
Not enough. Delilah McPhee, will you please dance with me?
JUST THIS ONCE
BEFORE YOU GO
JUST ONE DANCE
IT’S ONLY YOU AND ME
DON’T BE SCARED
I’LL HELP YOU THROUGH
I’LL GIVE YOU SOMETHING TO HOLD ON TO
PRINCE OLIVER guides DELILAH in a tentative waltz.
ALL MY LIFE
I NEVER DREAMED
THAT I COULD BE AS HAPPY AS THIS AS THIS
I’M RIGHT HERE
ALWAYS FOR YOU
THIS IS OUR SOMETHING TO HOLD ON TO They waltz gorgeously, sweeping across the stage, in classic fairytale fashion.
HOLD ON TO ME
HOLD ON TO ME
THIS IS AS FREE AS I’LL EVER FEEL
OH AND JUST BECAUSE IT’S FICTION DOESN’T MEAN IT’S NOT REAL
TAKE MY HAND
I’LL GUIDE THE WAY
— 110 — B etween the l ines
(PRINCE OLIVER)
REST YOUR HEAD
BE IN THE NOW RIGHT NOW
NOTHING ELSE
CAN EVER UNDO THIS OUR SOMETHING TO HOLD ON TO I’LL BE YOUR SOMETHING TO HOLD ON TO PRINCE OLIVER kisses DELILAH. The book is opened.
17A—Something Ballet
RAPSKULLIO
Book opening! Page sixty everyone! Places! Places! Chaos! The book begins to reset.
The FAIRYTALE CHARACTERS scramble as they are thrown into places for (tableau 7).
PRINCE OLIVER
HOLD ON TO ME
DELILAH
I DON’T HAVE ANYTHING TO HOLD ON TO LIKE YOU PRINCE OLIVER
HOLD ON TO ME
Three ORDERLIES in hospital scrubs enter, tearing DELILAH away from PRINCE OLIVER. In movement that is more dance than blocking, PRINCE OLIVER is forced offstage by the resetting of the book. The ORDERLIES change DELILAH a vista into her real world clothing and gingerly place her in a hospital gurney. GRACE is revealed sitting beside DELILAH, reading the fairytale book. PRINCE OLIVER and SERAPHIMA are revealed in an illustration on the last page of the book (tableau 7).
GRACE
“Real fairytales are not for the faint hearted. But somehow, all that pain and suffering is worthwhile when it leads to the ending. Happily…Ever…After…” GRACE sighs; closes the book, the tableau fades.
B etween the lines — 111 —
ACT 2 SCENE 3: INSIDE A HOSPITAL ROOM
The soundscape of a very real hospital drones as DELILAH suddenly sits up, dazed.
DELILAH
Mom? Mom!
GRACE (great relief)
Hey…
Where am I? What happened?
DELILAH
GRACE
You’re in the hospital. I found you lying outside on the ground… (her eyes swell with tears)
…D, were you trying to hurt yourself?
DELILAH
No, Mom. I just…I go out on the roof when I need…when I need…
DELILAH covers her face with her hands, crying.
GRACE
What, baby? What do you need?
DELILAH (releasing her anger)
I don’t know! You’re the adult!
GRACE (matching her energy)
That doesn’t mean I know what I’m doing! (taking a deep breath; exhaling)
I thought I’d lost you. I mean, really lost you. And I’d never forgive myself if anything like that…
GRACE is too emotional to continue speaking.
— 112 — B etween the l ines
Mom, it’s okay.
DELILAH
GRACE
No. It’s not. I am sorry. I have been so preoccupied with school and the shit with your father and I--
DELILAH
Did you think you and Dad would be together forever?
GRACE
(this is hard for her to admit)
Yeah. I did.
(this is ever harder for her to admit)
And the truth, Delilah? Sometimes I miss him…and I hate myself for that.
DELILAH
How do you deal?
GRACE
I…eat my feelings…I study…and I remind myself to take it one step at a time.
(takes a deep breath, wipes tears from her eyes and then...)
Did I ever tell you about the day you started walking?
#18—Leaps and Bounds
No.
DELILAH
GRACE
From the minute you began crawling, I followed you around with a video camera, so I could catch the moment you stood up. I was determined. But then…
THE VERY FIRST STEPS YOU TOOK HAPPENED WHILE MY BACK WAS TURNED YOU STOOD AND WALKED ALONE
HOW COULD I MISS THAT MILESTONE
PRETTY SOON YOU WERE RUNNING AND I’D TRAIL BEHIND
B etween the lines — 113 —
(GRACE)
AND I’D BE THERE TO CATCH YOU EVERY TIME YOU’D STUMBLE
I’D ALWAYS DRY YOUR TEARS
I’D WALK BEHIND YOU THROUGH THE YEARS
I SWORE I’D NEVER MISS OUT OR TURN AWAY AGAIN
AND YOU WENT LEAPS AND BOUNDS
YOU’D GO LEAPS AND BOUNDS AND I COULD NOT BELIEVE HOW FAST YOU GREW
I TREASURED EV’RY MOMENT CHASING YOU WITH EACH LEAP AND BOUND
I THOUGHT THAT I’D BE YOUR SOLID GROUND I’D ALWAYS KEEP YOU SAFE AND RIGHT ON TRACK AND NEVER TURN MY BACK
BUT NOW WE’RE FURTHER DOWN THE ROAD I MUST HAVE LOOKED AWAY AGAIN GOT CAUGHT UP IN IT ALL I WASN’T THERE TO CATCH YOUR FALL
I’VE MADE MISTAKES, I’VE MISSED OUT AND NOW I TURN TO SEE
HOW YOU’VE COME LEAPS AND BOUNDS
YOU’VE COME LEAPS AND BOUNDS MAYBE YOU CAN’T SEE IT BUT, BOY, I DO
I NEED TO SAY HOW PROUD I AM OF YOU ONE MORE LEAP AND BOUND AND YOU’LL BECOME YOUR SOLID GROUND
I PROMISE I’M HERE
I’M LIST’NING NOW JUST NEEDED YOU TO HELP REMIND ME HOW
NO ONE HANDS YOU A BOOK OF INSTRUCTIONS
— 114 — B etween the l ines
I love you.
(GRACE)
NOTHING’S CLEAR FROM THE MOMENT WE CRAWL AND SOME MOTHER’S TEARS TRICKLE DOWN TO THEIR CHILDREN
I KNOW THAT YOU’VE BEEN SPARING MY FEELINGS I KNOW THAT YOU’VE BEEN HIDING YOUR OWN I SEE NOW THAT I’VE BEEN BUILDING UP WALLS
BUT YOU’LL GO LEAPS AND BOUNDS AND I WON’T MISS ANOTHER STRIDE YOU’LL GO LEAPS AND BOUNDS AND I’LL BE RIGHT THERE BY YOUR SIDE
I HOPE THAT YOU CAN SEE ITBECAUSE IT’S TRUE YOU’RE REALLY SO AMAZING FROM MY POINT OF VIEW
SO, SINCE YOU’VE GONE LEAPS AND BOUNDS IT’S TIME FOR ME TO LEAP AND HOPE I’M BOUND TO CATCH UP TO YOU
I love you more.
DELILAH
GRACE
(smiling through tears)
I love you most.
GRACE and DELILAH hug. SONG button.
The DOCTOR enters.
DOCTOR
Good news! It’s just a mild concussion. Delilah needs a couple of days of bedrest. Mrs. McPhee, if you’ll come with me, we’ll sign some paperwork and talk about some options for therapeutic support.
GRACE
Of course.
B etween the lines — 115 —
(GRACE)
(to DELILAH)
I’ll be right back. Rest.
#18A—Book Opening
GRACE rises, sets the book on a chair next to DELILAH, and exits with the DOCTOR.
DELILAH picks up the book, staring at the cover, questioning if what she experienced inside the book was real. There’s only one way to find out. DELILAH opens the book.
PRINCE OLIVER appears on page 43 (tableau 1). There’s no “HELLO!” No movement from PRINCE OLIVER whatsoever. Has he lost the ability to speak to DELILAH?
DELILAH
Ollie?
(he doesn’t respond)
Ollie?! Can you hear me?
(stillness and silence from PRINCE OLIVER)
Oliver?!
(desperate)
Ollie!!!
(emotionally broken)
I can hear you, Delilah.
PRINCE OLIVER
DELILAH
(relieved)
Oh, my God! I thought I’d lost you! I thought this was all in my head!
PRINCE OLIVER
It might as well be. You were right. We can’t be together.
DELILAH
Ollie, are you okay?
— 116 — B etween the l ines
PRINCE OLIVER
No, Delilah. I’m not! When I close my eyes you’re still with me. But when I open them and see that you’re gone, I’m…gutted.
DELILAH
I’m right here.
PRINCE OLIVER
Yes. You’re there. Where I never will be.
#18B—Something to Hold Onto (Reprise)
PRINCE OLIVER (CONT’D)
SOMEDAY SOON YOU’LL FALL IN LOVE
SOMEDAY SOON YOU’LL HAVE FORGOTTEN ME
SOMEONE REAL WILL TREASURE YOU
HE’LL BE YOUR SOMETHING TO HOLD ONTO
DELILAH
(through tears)
This is not our ending.
PRINCE OLIVER
It certainly feels like one. (tears fill his eyes)
Delilah, please close the book. I’d like to be alone.
DELILAH
But Ollie-
PRINCE OLIVER (forcefully)
Delilah, please!
B etween the lines — 117 —
#18C—Delilah Closes the Book
DELILAH closes the book.
ACT 2 SCENE 4: INSIDE THE BOOK
PRINCESS SERAPHIMA enters searching for FRUMP.
PRINCESS SERAPHIMA
Frump? Frumpy?
FRUMP enters, assuming she’s looking for PRINCE OLIVER yet again.
FRUMP
(dismissively)
Listen, Seraphima, I don’t know where Ollie is.
PRINCESS SERAPHIMA
No, I’m looking for you.
FRUMP
Really?
PRINCESS SERAPHIMA
(sits, despondent yet vulnerable)
If Ollie’s marrying his cousin, then what happens to me?
FRUMP
Maybe you’re meant to be with…someone else.
PRINCESS SERAPHIMA
But he’s the prince, and I’m the princess.
FRUMP
You’re so much more than just a princess, Seraphima. Don’t you want someone to love you for who you are, not what you are?
PRINCESS SERAPHIMA
I guess I never will dance at a ball.
FRUMP
Sure you will.
PRINCESS SERAPHIMA
With who?
— 118 — B etween the l ines
Me!
FRUMP
PRINCESS SERAPHIMA
Frumpy, dogs don’t dance.
#19—Out of Character
FRUMP
I’m more than just a dog. Why do you keep treating me like I’m neutered?
PRINCESS SERAPHIMA
What’s that?
FRUMP
It’s when they… (gesturing with a snip)
…never mind. (sighs)
Let me say it another way-
IF I WANTED TO DO A TAP DANCE THAT MIGHT BE QUITE OUT OF CHARACTER BUT OH WHAT FUN IT WOULD BE TO TAP DANCE WOULD YOU LIKE TO TAP OUT OF CHARACTER WITH ME?
FRUMP tap dances briefly.
PRINCESS SERAPHIMA
Frumpy, you need to get your nails clipped.
FRUMP
IF A DOG WERE ABOUT TO TAKE A STAND HE WOULD BE OUT OF CHARACTER BUT I’VE GOT SOMETHING I HAVE TO STAND FOR SO I’LL DARE TO STAND OUT OF CHARACTER ‘CAUSE YOU MAKE MY TAIL GO YOU MAKE MY KNEES GO YOU MAKE MY EVERYTHING GO SO FAR OUT OF CHARACTER
B etween the lines — 119 —
(FRUMP)
AND I’VE GOT SOMETHING I NEED TO TELL YOU
IT’S BOUND TO SOUND OUT OF CHARACTER AND I’M SURE EVERYONE ELSE CAN TELL BUT I HAVE ALWAYS BEEN SO OUT OF CHARACTER FOR YOU WROO WROO WROO WROO-WROO-WROO WROO WROO
SO OUT OF CHARACTER FOR YOU
Emboldened, FRUMP convinces PRINCESS SERAPHIMA of his love through an elaborate, show stopping, tap dance seduction.
I WON’T DREAM THAT YOU’LL EVER LOVE ME BACK YOU’D BE TOO OUT OF CHARACTER BUT I’VE BEEN WAITING TO SHOUT IT OUT
I KNOW I’M OUT OF MY MIND
YOU’RE OUT OF MY LEAGUE
I’M OUTTA LUCK
‘CAUSE I’LL ALWAYS BE
SO OUT OF CHARACTER FOR YOU
SO OUT OF CHARACTER FOR YOU
SO OUT OF CHARACTER FOR
FRUMP is face-to-face with PRINCESS SERAPHIMA, will they kiss???
PRINCESS SERAPHIMA
(surprisingly deeply attracted)
Frumpy, you seem so…so…
(leans in closer for a kiss)
So what?
FRUMP
PRINCESS SERAPHIMA
(desperately smitten)
So human.
PRINCESS SERAPHIMA moves in for the kiss. FRUMP, overwhelmed with excitement, pulls away in celebration of his success.
FRUMP
YES!
— 120 — B etween the l ines
PRINCESS SERAPHIMA grabs FRUMP’S hand, shoots him a come hither glance, and drags him offstage.
#19A—Out
of Character Playoff
(narrating)
DELILAH
You’d think bedrest would be a dream come true. But when you have a concussion you also can’t look at screens, and worst of all, you’re not allowed to read. I was almost looking forward to being back at school, until Dr. Ducharme asked to meet with me.
B etween the lines — 121 —
ACT 2 SCENE 5: DR. DUCHARME’S OFFICE
DELILAH sits in DR. DUCHARME’S office.
DR. DUCHARME
I owe you an apology. Jules showed me Martin’s last post. He took a-
DELILAH
Mental health break?
DR. DUCHARME
Oh no. He was straight-up suspended.
DELILAH
(disbelieving)
You really just called me in here to say you were sorry? Not because I fell off my roof?
DR. DUCHARME
You what?
(she has backed herself into a corner)
DELILAH
It wasn’t a big deal. I’m fine. Anyway, thanks for the talk…
DELILAH stands, attempting to exit.
DR. DUCHARME
Nice try…sit down. What were you doing on the roof?
DELILAH
I go out there to read.
The fairytale?
Maybe?
Delilah, did you fall on purpose?
DR. DUCHARME
DELILAH
DR. DUCHARME
— 122 — B etween the l ines
DELILAH
No. I wasn’t trying to hurt myself. But these days I feel like I’m falling even when my feet are on the ground.
DR. DUCHARME
Tell me more about that.
DELILAH
I’ve been in this town for half a year, and it still doesn’t feel like home. I just don’t think I belong here.
DR. DUCHARME
I’m gonna prescribe something for you.
(writing on a notepad; smiling impishly)
This should help.
DELILAH
(rolling her eyes)
Great. Just medicate me.
DR. DUCHARME
Doctor’s orders.
(hands her paper)
Read it.
DELILAH
(reading the note out loud)
This is a forced mandate for human interaction, beginning with creative writing club.
DELILAH and DR. DURCHARME EXIT
Transition to the HALLWAY.
#20—Inner Thoughts (Reprise)
JANICE, ALLIE, MARTIN, and RYAN cross through the hall. A pin light isolates an excited JANICE as we hear her inner thoughts.
B etween the lines — 123 —
JANICE
DEBRA- AGREED TO BE MY TRAINER
A pin light highlights ALLIE; we hear her inner thoughts.
ALLIE
I’M CATFISHING A STRANGER
A pin light highlights MARTIN; we hear her inner thoughts.
MARTIN
SHE THINKS THAT IT’S A STRANGER BUT- IT’S ME
A pin light highlights RYAN; who thinks out loud because he has no inner thoughts.
RYAN
LAST WEEK I HAD A SPOOKY NIGHTMARE AND SLEEP-WALKED TO MY NEIGHBORS AND SET OFF HER ALARM (IT WAS LOUD) SHE THOUGHT I WAS A GHOST AND SHE RAN OUT TO HER CAR AND SHE DROVE AWAY AND NOBODY HAS SEEN HER SINCE
MARTIN, JANICE, ALLIE (looking at RYAN in horror)
WOAH.
RYAN
BUT THESE ARE JUST MY INNER THOUGHTS INNER THOUGHTS
MARTIN, JANICE, ALLIE
RYAN THOSE WEREN’T INNER THOUGHTS
ALL INNER THOUGHTS
YEAH, WE ALL HAVE INNER THOUGHTS THAT NO ONE NEEDS TO KNOW, NO, NO... NO, NO, NO...
MARTIN, JANICE, ALLIE, and RYAN exit as JULES and MS. WINX are revealed at a library table.
— 124 — B etween the l ines
ACT 2 SCENE 6: SCHOOL LIBRARY
DELILAH enters.
MS. WINX
Jules, that short story you wrote. Who would have thought to make Venus de Milo the heroine of Farewell to Arms…
DELILAH, having overheard this, finds JULES’ story thesis hysterical and genuinely laughs out loud.
MS. WINX (CONT’D)
Delilah! I’m so glad you’ve decided to join creative writing!
DELILAH
I didn’t really have a choice.
(holding up DUCHARME’s “prescription”)
Where is everyone?
JULES
I’m the only member. The good news is the club agrees on everything. The bad news is… (a wink in their eye)
…we’re all sleeping with each other.
MS. WINX
Okay! Let’s start with a five minute freewrite! Pencils up! And go!
MS. WINX exits as DELILAH and JULES begin writing. ALLIE and JANICE enter. JANICE carries a bouquet of flowers, and a card. ALLIE nudges her towards DELILAH, they’re up to no good.
JANICE
(too sincerely)
Oh my god, Delilah! These flowers got delivered to the front office for you!
(playing dumb, giggling to ALLIE)
I wonder who they’re from? Your crush?
JANICE hands DELILAH the bouquet.
DELILAH
I don’t have a crush.
B etween the lines — 125 —
ALLIE MCANDREWS
(handing DELILAH a card)
Look! There’s a card!
DELILAH takes the card and reads it. She looks up at ALLIE, hurt. JANICE and ALLIE laugh then strut off smiling; their work here is done.
JULES snatches the card.
JULES
(reading)
“Dear Delilah, sorry you jumped off your roof…and lived.” (snaps their focus to DELILAH)
You realize you don’t have to listen to them.
DELILAH
It’s not going to stop them from talking.
JULES
No, because people see what they wanna see. Shapes in clouds, Jesus in their toast. (shrugs)
Look, when you’re different, just existing is a daily act of courage. That’s why I’m gonna be the protagonist of my own story. Why can’t you be the protagonist of yours?
DELILAH
What?
JULES
Why don’t you just admit you have a boyfriend?
DELILAH
What makes you think I have a boyfriend?
JULES
Because for the last few weeks you’ve been dancing through the hallways mumbling the name Oliver. I’m guessing that’s not your orthodontist.
DELILAH
You wouldn’t believe me if I told you.
— 126 — B etween the l ines
Try me.
Oliver is a character in a fairytale.
JULES
DELILAH
JULES
(a realization)
So that’s why you were talking to your book in the cafeteria.
DELILAH
You don’t think that’s weird?
JULES
It’s so weird. But who hasn’t had a literary crush? I once had a dream about Luna Lovegood, from Harry Potter. She was into some really weird stuff.
DELILAH
No. It’s not like that. I think that…we’re meant to be together.
JULES
That’s cool.
#21—Allie McAndrews
DELILAH
Really? Cuz Allie and her minions think I’m crazy.
JULES
Who cares what they think. IT MIGHT SEEM NICE BEING IN A GROUP LIKE THAT WITH TONS OF FRIENDS WHO TRUST YOU WITH A BASEBALL BAT
YOU THINK YOU KNOW WHAT THAT LIFE ENTAILS WITH THE PRINCESS HAIR AND THE PERFECT NAILS BUT YOU CAN’T BE PART OF THEIR FAIRYTALES NO-OH-OH-OH-OH-OH-OH
B etween the lines — 127 —
(JULES)
(in mock horror)
‘CAUSE WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS *
YOU’RE LIKE A TOTAL PARIAH
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
YOUR LIFE IS OVER AND YOU FIT
ALL THE CRITERIA FOR SOCIAL SIBERIA-A-A
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
YOU MIGHT AS WELL BE IN HIGH SCHOOL HELL
Look. Their best memories have already happened. Ours haven’t even begun.
DELILAH
But they’re normal!
JULES
Normal is a dryer setting. Why are you letting them define who you are?
DELILAH
Oh my God! You’re so right!
THEY CROWD AROUND BUZZING LIKE A KIND OF SWARM
THEY CLUSTER UP
LIKE DARK CLOUDS BEFORE A STORM AND YEAH THEY LOOK GOOD IN THEIR SKINNY JEANS BUT THEY PRIMP AND THEY POSE LIKE THEY’RE BEAUTY QUEENS AND THEY LIVE TO PERFORM FOR THEIR TINY SCREENS WOAH-OH-OH-OH-OH-OH-OH!
BUT, WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
YOU DON’T OBSESS OVER LIP GLOSS WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
JULES
YOU USE THE BRAIN IN YOUR HEAD SO DROWN OUT THE CHEERING SQUADS OF “SELFIES!” AND “OH MY GODS”
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
— 128 — B etween the l ines
JULES & DELILAH
YOU’LL FIND YOUR WAY AND YOU’LL BE OKAY!
WE’LL BE OKAY
WOAH-OH-OH-OH-OH-OH-OH!
NA, NA, NA, NA, NA
WHEN YOU’RE THE ENEMY
NA, NA, NA, NA, NA
WHEN YOU’RE THE ENEMY
NA, NA, NA, NA, NA
WHEN YOU’RE THE ENEMY
NA, NA, NA, NA, NA
WHEN YOU’RE THE ENEMY
JULES
So, what are you going to do about your book boyfriend?
DELILAH
I’m gonna get to get him out.
How?
I’ll…write him a new ending.
JULES
DELILAH
JULES
But how are you going to change a story you didn’t write? That’s just fan-fiction.
DELILAH
You’re right.
Why don’t you go to the source?
JULES
DELILAH
You mean the author? Jessamyn Jacobs? How’s that gonna happen.
JULES
(taking out their phone)
Hey Siri? Where does Jessamyn Jacobs live?
B etween the lines — 129 —
(Siri searches)
Boom. She’s an hour from here.
Seriously? But I don’t have a car.
So take mine.
I don’t have a license.
(JULES)
DELILAH
JULES
DELILAH
JULES
So what?
OUTCAST AND EXILED BUT FREE STUDENTS enter, crossing through the hallway, focused on their devices.
DELILAH
FREE!
ENSEMBLE
YOU’RE THE ENEMY
JULES *
RULING THE OUTSIDE WITH ME
ENSEMBLE
YOU’RE THE ENEMY
JULES
IF NO ONE CAN HEAR YA IN SOCIAL SIBERIA THEN SCREAM
JULES, DELILAH SCREAM!
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
ENSEMBLE
BLAH BLAH BLAH BLAH MCANDREWS
JULES, DELILAH (CONT’D)
THEN WHY NOT DANCE IN THE HALLWAY
— 130 — B etween the l ines
JULES/DELILAH
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
ENSEMBLE
YOU’RE THE ENEMY OF ALLIE MCANDREWS
JULES, DELILAH *
THEN YOU CAN MAKE YOUR OWN RULES
‘CAUSE NO ONE’S THE BOSS OF YOU SHE’S NO ONE SHE’S ALLIE WHO-OO-OO??
ENSEMBLE
OOH
JULES, DELILAH
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
DELILAH
I MIGHT GET THROUGH WITH A FRIEND LIKE
JULES, DELILAH
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
ENSEMBLE (CONT’D)
YOU’RE THE ENEMY OF ALLIE MCANDREWS
ENSEMBLE (CONT’D)
NAH NAH NAH NAH NAH
ENSEMBLE (CONT’D)
YOU’RE THE ENEMY OF ALLIE MCANDREWS
JULES *
YOU MIGHT GET THROUGH WITH A FRIEND LIKE
JULES, DELILAH
WHEN YOU’RE THE ENEMY OF ALLIE MCANDREWS
ENSEMBLE
YOU’RE THE ENEMY OF ALLIE MCANDREWS
JULES, DELILAH (CONT’D)
I MIGHT GET THROUGH WITH A FRIEND LIKE YOU!
JULES tosses DELILAH the keys to their car. GRACE enters. DELILAH turns to exit, only to find herself face-to-face with GRACE.
GRACE
Absolutely not. And here I thought I would surprise my daughter with a ride home so she doesn’t have to take the bus…and instead I find her contemplating grand theft auto.
B etween the lines — 131 —
Mom, I’m not stealing the car --
You don’t have a license!
But Mom --
You do have a concussion -
DELILAH
GRACE
DELILAH
GRACE
DELILAH
Mom!
GRACE
This is what they mean when they say that the frontal lobe of the teenage brain isn’t done cooking until you’re in your twenties.
(taking a deep breath for patience)
Delilah, you are not driving to a stranger’s house…
(smiling broadly)
Alone.
(to JULES)
Thank you.
(to DELILAH)
You. Let’s go. I’m driving.
GRACE tosses the keys in the air and catches them as she exits. DELILAH turns back to JULES and tosses them their keys.
JULES
I want all the details.
JULES exits.
#22—From Allie to Jessamyn
— 132 — B etween the l ines
DELILAH
(narrating)
It took an hour to get to Jessamyn Jacob’s house. An hour that I spent in a confined space with my mother, answering all her questions, and telling her all the things I should have told her months ago.
(she smiles)
Which turned out to be pretty great.
GRACE and DELILAH have arrived on the doorstep of JESSAMYN JACOBS.
DELILAH (CONT’D)
Do you think I should just ring the bell?
GRACE
As opposed to breaking a window? Yes.
(giving her hand a squeeze)
I’ll be waiting in the car. You’ve got this, kiddo. Remember - one step at a time.
GRACE starts to exit.
Mom?
(GRACE turns)
I love you.
I love you more.
I love you most.
DELILAH
GRACE
DELILAH
GRACE
Oh my God. GO.
B etween the lines — 133 —
ACT 2 SCENE 7: JESSAMYN JACOBS’ HOUSE
DELILAH rings the doorbell. Lights up on JESSAMYN JACOB’s house. JESSAMYN opens the door, suspicious.
JESSAMYN
Can I help you?
DELILAH
I hope so. My name’s Delilah, and I need to talk to you about your book-
JESSAMYN
(cuts her off; she’s answered this before)
Let me guess! The English teacher at the high school gave that assignment where you get extra credit for interviewing a living, breathing author.
(committed to ending this convo)
Let me save you the trouble! Yes! I always wanted to be an author. My ideas come from questions that keep me up at night! And I had absolutely nothing to do with the casting of Cameron Diaz-
DELILAH
(stopping her cold)
This is about Between the Lines.
JESSAMYN
(taken aback)
How do you know about that book? I selfpublished a single copy-
DELILAH
You mean this?
DELILAH presents the book.
JESSAMYN
(looking at the book, puzzled)
I wrote it for my son years ago, to help him through a tough time. But it got lost during our move here. Where did you find it?
DELILAH
In my school library. And actually, well, it sort of found me.
— 134 — B etween the l ines
Would you like to come in?
JESSAMYN
DELILAH
That’d be great.
JESSAMYN and DELILAH enter the house. There is a writing desk on one side, covered with stacks of galleys. Next to the desk is an easel, with an unfinished illustrations JESSAMYN has been creating. On the other side of the room is a couch, with decorative pillows.
JESSAMYN
It was sweet of you to return the book after all this time.
JESSAMYN reaches to take the book from DELILAH.
DELILAH
(clutching it protectively)
I’m not here to give it back. I came to ask if you’d ever consider…rewriting it?
JESSAMYN laughs; tickled at the naïve thought of rewriting a book that has already been published. Uncomfortable, DELILAH also laughs, but she’s serious.
JESSAMYN
Oh! You’re serious! Look. The story isn’t mine to change. Maybe it belonged to me at first, but now it belongs to you…and anyone else who’s ever read it.
DELILAH
(blurting; with passion)
But it’s not a happy ending!
JESSAMYN
(well knowing that it is a happy ending)
It isn’t?
I…I can’t explain why.
DELILAH
JESSAMYN
(curious)
Try me.
B etween the lines — 135 —
DELILAH
(looks down, slightly embarrassed)
The characters from the book started…speaking to me. Well, one character in particular. I hear him all the time. And I thought that you might be the only person in the world who knows what that’s like.
(looking up at JESSAMYN)
Do you?
JESSAMYN
Oh, sweetie-
I USED TO THINK, WOO!
I MUST BE CRAZY
WHERE’S MY MIND?
I’VE LOST MY MARBLES
‘CAUSE I’M HEARING VOICES ALL THE TIME!
I’D HEAR
QUEEN MAUREEN enters.
QUEEN MAUREEN
YOU! HAVE A MARTINI WITH THE QUEEN!
JESSAMYN
AND THEN I’D THINK WAIT? WHAT?
HAVE I HAD TOO MUCH CAFFEINE?
THEN SUDDENLY SERAPHIMA enters, with her fish. FRUMP follows.
PRINCESS SERAPHIMA
Shhh! You guys, he’s taking a nap.
RAPSKULLIO and TROLL enter.
JESSAMYN
I’D BE SURROUNDED
SURE THAT I HAD NOW BEGUN TO SNAP
— 136 — B etween the l ines #23—Can’t Get ‘Em Out
RAPSKULLIO
A BUTTERFLY!
OOH! ANOTHER SPECIES! LOOK, FRANCINE!
JESSAMYN
A SMUGTROLL
I like the hero’s journey but the plot’s a little lean.
JESSAMYN
THE VOICES I HEARD
WERE MAKING A NOISE BUT MAKING SENSE!
AND MAKING ME FORGET TO GET MY KID FROM PRE–SCHOOL WHOOPS!
JESSAMUN (CONT’D)
THEN I THOUGHT SHOULD I GO TO A DOCTOR?
NO WHAT THE HECK WOULD I SAY?
JESSAMYN (CONT’D)
THAT I CAN’T GET ‘EM OUT
GET ‘EM OUT
GET ‘EM OUT OF MY HEAD
JESSAMYN (CONT’D)
THEY’RE ALWAYS WAITING FOR ME.
OOOH AHHH
OOOH AHHH
ENSEMBLE
JESSAMYN (CONT’D)
I CAN’T GET ‘EM OUT
GET ‘EM OUT
GET ;EM OUT
ENSEMBLE (CONT’D)
OOOH AHHH
ENSEMBLE (CONT’D)
GET ‘EM OUT
GET ‘EM OUT
GET ‘EM OUT
RAPSKULLIO, TROLL, MAUREEN, SERA
A butterfly, ooh! Another species, look Francine. I like the hero’s journey but the plot’s a little lean.
You! Have a martini with the queen! Shh, you guys he’s taking a nap!
ENSEMBLE
GET ‘EM OUT
GET ‘EM OUT
GET ‘EM OUT
JESSAMYN (CONT’D)
OF MY HEAD
B etween the lines — 137 —
(JESSAMYN)
AND SO I’D ASK MYSELF
RAPSKULLIO, TROLL, MAUREEN, SERA
A butterfly, ooh! Another species, look Francine. I like the hero’s journey but the plot’s a little lean. You! Have a martini with the queen! Shh, you guys he’s taking a nap!
JESSAMYN
IF IT WAS ME WHO LET ‘EM IN WHY CAN’T I GET ‘EM OUT?
DELILAH
Wow, so you do get it!
JESSAMYN
Yes! But, you know I finally wrote the fairytale and they quieted down.
(to the FAIRYTALE CHARACTERS)
Shush!
(to FRUMP)
Sit!
(to DELILAH)
But, I understand. It can be very distractingWHEN OUT OF THE BLUE
DELILAH
THEY ALL START
JESSAMYN, DELILAH
FILLING UP YOUR BRAIN
JESSAMYN
YOU WANNA STOP THEM THINKING THEY’LL KEEP
JESSAMYN, DELILAH
DRIVING YOU INSANE!
JESSAMYN
Yes!
YOU’RE TRYING TO
— 138 — B etween the l ines
SLEEP!
JESSAMYN, DELILAH
DELILAH
BUT THEN YOU HEAR PRINCE OLIVER enters.
PRINCE OLIVER
ARE YOU AWAKE?
I THINK I BROKE MY SWORD!
YOU THINK
JESSAMYN
JESSAMYN, DELILAH
“I’M FIN’LY GONNA BREAK!”
DELILAH
BUT HEARING
PRINCE OLIVER
HELLO! YOU’RE LOOKING LOVELY TODAY
DELILAH
HE MAKES ME FEEL THINGS
FEELINGS THAT I’D NEVER WISH AWAY
JESSAMYN
HE SAYS THAT?
DELILAH
UH-HUH
WE MEET ON PAGE 43
JESSAMYN AND NOW YOU’RE
JESSAMYN, DELILAH HERE BECAUSE
DELILAH
I THOUGHT YOU’D HELP ME BREAK HIM FREE
B etween the lines — 139 —
DELILAH (CONT’D)
THE VOICES I HEAR ARE MAKING NOISE AND MAKING SENSE AND ALMOST MADE ME DRIVE A CAR WITHOUT A LICENSE
ENSEMBLE
OOH AAH
JESSAMYN, DELILAH * WHOOPS!
DELILAH
BUT MY MOM DROVE ME HERE JUST TO MEET YOU AND SHE PLAYED ENYA ON REPEAT
BUT I CAN’T
GET HIM OUT
GET HIM OUT
GET HIM OUT
OF MY HEAD
ENSEMBLE
OOH SAIL AWAY!
DELILAH (CONT’D) *
DELILAH / ENSEMBLE
DELILAH
DELILAH, PRINCE OLIVER
I’M ALWAYS THINKING OF HIM (YOU)
DELILAH
I CAN’T GET HIM OUT
PRINCE OLIVER
GET ME OUT!
DELILAH
GET HIM OUT OF MY HEAD AND SO I ASKED MYSELF
IF IT WAS YOU WHO WROTE HIM IN WHY CAN’T YOU GET HIM OUT?
JESSAMYN
Get him out?
— 140 — B etween the l ines
Yeah.
DELILAH
JESSAMYN
Did you tell anyone about Oliver talking to you?
DELILAH
My mom, but at firstI SHUT HER OUT!
ENSEMBLE, JESSAMYN NO!
DELILAH
YesJESSAMYN YOU SHUT HER OUT??
DELILAH
Yes-
ENSEMBLE, JESSAMYN NO!
DELILAH
Well, you see, I was afraid to tell her, ya know, becauseI KNEW SHE WOULDN’T BELIEVE ME
WHY I HAD TO FIND YOU BUT YOU CREATED THE BOOK YOU WROTE HIM INTO THE STORY AND INTO EXISTENCE
SO CAN’T YOU HELP GET HIM OUT?
JESSAMYN
I’VE SURE HE’S ALREADY OUT THERE
A PRINCE WITH A HEARTBEAT
ENSEMBLE OOH
B etween the lines — 141 —
DELILAH
NO!
IF YOU JUST RE-WRITE THE END?
JESSAMYN
YOU GOTTA GET YOURSELF OUT OF THE MESS YOU’RE IN
JESSAMYN/ENSEMBLE
‘CUASE YOU
CAN’T GET HIM OUT
GET HIM OUT
GET HIM OUT OF THE BOOK
THERE’S SOMEONE WAITING FOR YOU
YOU CAN’T GET HIM OUT
GET HIM OUT
GET HIM OUT OF THE BOOK
SO LOOK INSIDE YOURSELF
‘CAUSE YOU CAN’T GET HIM OUT
GET HIM OUT
GET HIM OUT OF THE BOOK
ENSEMBLE
OOH
DELILAH
I CAN’T LEAVE HIM INSIDE
GET HIM OUT OF THE BOOK
I CAN’T LEAVE HIM INSIDE
GET HIM OUT
GET HIM OUT
GET HIM OUT OF THE BOOK
JESSAMYN
IT’S TIME TO LET HIM GO...
DELILAH slips between the lines, into a liminal space where she and OLIVER are able to communicate.
PRINCE OLIVER
(excited to see her)
Delilah!
DELILAH
(excited as well)
Ollie!
I asked the—
DELILAH (CON’T)
I think I—
IPRINCE OLIVER (CONT’D)
PRINCE OLIVER
Sorry-
— 142 — B etween the l ines
DELILAH
You go.
No, you.
#23A—Between The Lines Reprise
PRINCE OLIVER
DELILAH
I’m here with the author of your story. I asked her to rewrite the ending.
PRINCE OLIVER
And?
DELILAH
(struggling to deliver the bad news)
Well…she told me she…
PRINCE OLIVER
(reading DELILAH’s body language)
…She can’t do it.
How did you know?
I think I’ve always known.
DELILAH
PRINCE OLIVER
DELILAH
(taking OLIVER’s hands)
You weren’t written for me. You were written for her son.
PRINCE OLIVER
But he stopped reading the book years ago.
(a sobering realization)
Ah…and so will you.
B etween the lines — 143 —
DELILAH
Ollie, when I pick up a book, I escape into someone else’s life. But by the end, I’ve learned something about my own.
(realizing this applies to her as well)
That’s why you exist. Your story stays the same so that other people’s stories…
PRINCE OLIVER
…Can change.
YOU’LL STAY A PRINCE
I’LL STAY A PRINCE
I WON’T FORGET YOU.
I WON’T FORGET YOU.
DELILAH
OLIVER
DELILAH
OLIVER
DELILAH
I NEVER KNEW WHAT
DELILAH & PRINCE OLIVER
LOVE COULD FEEL LIKE ‘TIL I MET YOU
DELILAH
BUT HERE I AM
PRINCE OLIVER AND HERE I AM WITHIN THESE PAGES
DELILAH
I THINK MY STORY NEEDS HEROIC LEADS LIKE ME BUT BETWEEN THE LINES
I DISCOVERED SOMETHING NEW AND MY PERFECT WORLD WAS CLEARER WHEN YOU BROUGHT IT INTO VIEW
— 144 — B etween the l ines
I’m sorry.
PRINCE OLIVER
I’LL LIVE TO TELL MY STORY AND HELP SOMEONE ELSE TO SEE
DELILAH
A WHOLE NEW STORY
PRINCE OLIVER BETWEEN THE LINES
DELILAH, PRINCE OLIVER THAT’S WHERE I’M MEANT TO BE
DELILAH
PRINCE OLIVER
Delilah? Why does this hurt so much?
DELILAH
Oh, Ollie. Because it’s real.
OLIVER smiles sadly. He has at long last experienced something real, and yes, it hurts. They kiss one last, heartbreaking time.
PRINCE OLIVER breaks the kiss and starts to exit, holding DELILAH’S hand in his until the very last possible moment.
I CAN’T GET HIM OUT GET HIM OUT GET HIM OUT OF THE BOOK IT’S TIME TO LET HIM GO…
JESSAMYN
Delilah?
(Dazed, DELILAH doesn’t respond)
Delilah!
Huh?
DELILAH
JESSAMYN
Lost you there, for a minute.
B etween the lines — 145 —
I…um…um…
DELILAH
JESSAMYN
Are you all right?
JESSAMYN’S voice snaps DELILAH back to reality.
DELILAH
Yeah. Yeah, I am. (smiles broadly)
I really am.
(processing this new clarity)
Could I please have a glass of water?
JESSAMYN
Of course.
JESSAMYN exits. DELILAH picks up the book, but doesn’t open it. She sits down, looking at it, trying to process what has happened.
JESSAMYN’S son, EDGAR enters with a glass of water. He looks exactlylike PRINCE OLIVER, if PRINCE OLIVER were a modern teenager.
EDGAR
Here you go-
DELILAH looks up nonchalantly at EDGAR. Then A double take as she is gobsmacked by his resemblance to PRINCE OLIVER.
DELILAH
(to the audience)
Oh. My. God.
DELILAH stands frozen, stunned by EDGAR.
EDGAR
(trying to get her attention)
Hello? Hello?
(sing-song but not like OLIVER)
— 146 — B etween the l ines
DELILAH
(snapping to attention)
Um...hi?
Hi. I’m Edgar.
Delilah.
EDGAR
DELILAH
EDGAR
My mom said you wanted a glass of water?
EDGAR hands DELILAH the glass, she drinks a bit, staring at EDGAR.
DELILAH
Thank you–
Sorry-
You go.
No, you.
EDGAR (CONT’D)
Is that–
DELILAH (CONT’D)
EDGAR
DELILAH
EDGAR
(gestures to the book in DELILAH’s hands)
Is that Between the Lines?
(snatches the book from DELILAH)
I thought I ditched this years ago.
DELILAH
What?!
B etween the lines — 147 — HELLOOOOOOOO!?
EDGAR
My Mom wrote it for me after my dad died. I guess a book about a prince who’s raised without a father was cheaper than therapy.
DELILAH
Did it work?
EDGAR
I don’t know…maybe? But then I moved on. Rescuing princesses isn’t really my thing.
DELILAH
It wasn’t Oliver’s thing, either.
(confused)
EDGAR
Wasn’t it? I mean, the dude literally spends the whole book chasing after some girl in a tower.
DELILAH
But that’s just what’s on the page.
Okay…then…what’s off the page?
All the things that didn’t get written.
EDGAR
DELILAH
EDGAR
Wait. What?
#24—Finale Part 1
DELILAH
You don’t really think a story exists only when you’re reading it? When you go to sleep, do you cease to exist?
EDGAR
I…hope not.
— 148 — B etween the l ines
DELILAH
Exactly. For example -
I IMAGINED THAT FIGHTING DRAGONS WASN’T OLIVER’S CHOSEN DESTINY HE DREAMT OF MORE HE DISLIKED HIS STORY
EDGAR
Hey, that’s interestingTELL THE REST TO ME
DELILAH
HE WAS TRAPPED DESPITE ALL OUR TRIES! WE SAID OUR GOODBYES AND THEN IT HAD TO END. (shaking her head)
SO I’LL TRY AGAIN!
EDGAR (amused)
You need a pen.
EDGAR hands her a pen from the desk.
DELILAH (resolutely)
I’LL SAY IT IN OTHER WORDS I’LL SPIN IT DIFFERENTLY TO WHAT I WANNA SEE
EDGAR, DELILAH SAY IT IN OTHER WORDS
EDGAR
So you’re a writer.
DELILAH
No, I’m a…
B etween the lines — 149 —
(DELILAH)
(realizing)
Actually, maybe I should be. If it were my book, Oliver would get out and live the life he wants.
EDGAR
That’s way better than what my mom wrote.
DELILAH
Really?
Yeah. Any other changes?
EDGAR
DELILAH
Well…
THERE’S THIS POOCH FRUMP and PRINCESS SERAPHIMA appear.
DELILAH, FRUMP AND HE WANTS TO SMOOCH THIS GIRL
PRINCESS SERAPHIMA BUT SHE WON’T BECAUSE HE’S NOT A HUMAN
EDGAR, DELILAH WITH A REWRITE HE’S IN A NEW LIGHT SERAPHIMA realizes she loves FRUMP. They embrace.
FRUMP, PRINCESS SERAPHIMA NOW THEY’RE A PAIR AND THEIR LOVE IS BLOOMIN’ QUEEN MAUREEN enters.
DELILAH, QUEEN MAUREEN THE QUEEN WILL SEE IF SOBRIETY COULD FINALLY BE
— 150 — B etween the l ines
DELILAH, EDGAR
THE KEY TO HAPPY DAYS
QUEEN MAUREEN lifts a martini glass.
QUEEN MAUREEN
Starting tomorrow.
RAPSKULLIO enters.
RAPSKULLIO
THE EVIL LEAD WILL TRADE VILLAINY FOR HIS PHD
RAPSKULLIO opens his coat, revealing dozens of projected butterflies.
DELILAH, EDGAR, RAPSKULLIO IN ENTOMOLOGY!
DELILAH, EDGAR
THE WAY IT USED TO BE IT DOESN’T HAVE TO BE SAY IT IN OTHER WORDS
SPIN IT DIFFERENTLY TO WHAT YOU WANT TO SEE SAY IT IN OTHER WORDS
EDGAR
The troll?
DELILAH
Becomes a book critic!
#24A—Finale Part 2
The mermaids-
EDGAR
DELILAH
Burn their seashell bras!
B etween the lines — 151 —
EDGAR
You’re so weird.
(smiles)
I like that. My mom has this theory. She says books have a way of showing up in people’s lives exactly when they need them.
EDGAR returns the book to her.
Your mom’s right.
JESSAMYN enters.
Everything okay?
DELILAH
JESSAMYN
DELILAH
Yeah. It’s good. I’m so sorry for barging in on you. I’d better go.
JESSAMYN
You’re welcome to stay as long as you like.
DELILAH
Thanks, but my mom is waiting for me in the car.
(she starts to exit, then stops)
I believe this belongs to you.
DELILAH hands JESSAMYN the book.
JESSAMYN
Hey, Delilah? Live the story you want, if it’s not the story you’re in.
JESSAMYN and EDGAR exit.
DELILAH
I THINK I’LL WRITE ANOTHER CHAPTER
ANOTHER CHAPTER
LET GO OF THE PAST AND WE’LL SEE
‘CAUSE IF I WRITE ANOTHER CHAPTER
ANOTHER CHAPTER
I’LL CHANGE WHAT IS WRITTEN FOR ME
DELILAH steps forward, changingher clothes while narrating.
— 152 — B etween the l ines
(DELILAH)
(narrating)
Long, long ago, I was trapped inside a story I didn’t like. So instead, I dove head-first and heart-first into a fairytale. I had a magical makeover, sang a siren song with mermaids, and fell in love with a very handsome prince. But he couldn’t save me. I had to save myself.
B etween the lines — 153 —
ACT 2 EPILOGUE: NEW YORK PUBLIC LIBRARY FIVE YEARS
LATER
Time has advanced.
DELILAH is now a confident 23-yearold. She stands behind a lectern, reading from the novel she wrote.
DELILAH
(reading out loud)
…And so, as it turns out, not every story ends with a handsome prince and a happily ever after. Sometimes, it ends with a mother and daughter, and a new beginning. The End. Applause is heard from an unseen audience.
JESSAMYN joins DELILAH at the lectern, applauding.
JESSAMYN
That was Delilah McPhee reading excerpts from her debut novel, A Whole New Story. Delilah will be signing copies of her book in a few minutes. Let’s give her a moment to catch her breath.
(to DELILAH)
You were terrific!
I was so nervous.
DELILAH
JESSAMYN
You’d better get used to it. I think you’ve got a long career ahead of you.
JESSAMYN exits. GRACE enters, wearing scrubs, and hugs DELILAH.
Mom! Wow. That’s a fashion choice.
DELILAH
GRACE
My Versace’s at the cleaners. I just got off work and I didn’t want to miss a single word!
ALLIE MCANDREWS enters, speaking into a phone.
ALLIE MCANDREWS
Miss McPhee will need her dress pressed and brought to her hotel for tomorrow’s event… you don’t WASH Alexander McQueen!
— 154 — B etween the l ines
(ALLIE MCANDREWS)
(over her shoulder)
RYAN!
RYAN crosses, in search of ALLIE. He is carrying twins in a baby Bjorn and wearing an apron, cuz all men do.
ALLIE exits, followed by RYAN as JULES enters.
JULES
Was that Allie and Ryan, or am I having high school PTSD?
DELILAH
Believe it or not, she’s my publicist. Turns out she’s really good at getting what she wants.
JULES
Wow…okay. All that stands between you and me and way too many margaritas are two hundred signed books. Move it!
GRACE
I’ll meet you guys at the reception. We are gonna celebrate tonight!
GRACE turns to exit, but is stopped by an entering DR. DUCHARME.
Uh, hey Delilah.
DR. DUCHARME
Dr. Ducharme? Wow. It’s been forever!
DELILAH
DR. DUCHARME
I had to find out how the story ended.
He hugs DEL#ILAH.
DELILAH
(gesturing towards JULES)
You remember Jules.
JULES
Dr. D!
JULES exchanges an elaborate handshake with DR. DUCHARME.
B etween the lines — 155 —
DELILAH
(pointing to GRACE)
Oh, and this is my Mom, Grace.
Nice to meet you. I like the scrubs.
DR. DUCHARME
GRACE (flustered; and attracted to DR. DUCHARME)
Um, this isn’t what I usually wear. I mean, it is, ‘cause I’m a…nurse… (blurting out defensively)
My Versace’s at the cleaners.
DELILAH
What she means is that she’s just heading to the reception.
DR. DUCHARME
Me too…
(to GRACE)
Care to join me?
GRACE
(smiling with confidence)
Mmhmm…
GRACE and DR. DUCHARME exit. JULES and DELILAH watch them, then laugh.
DELILAH
I did not see that coming!
JULES
Then you probably didn’t see this coming eitherEDGAR enters as JULES exits.
DELILAH
Edgar!
EDGAR sweeps DELILAH off her feet in a congratulatory hug.
— 156 — B etween the l ines
You were amazing!
I thought you couldn’t make it?
EDGAR
DELILAH
EDGAR
I took my exam early. I wouldn’t have missed this for the world.
DELILAH
I cannot believe all these people came to hear my story.
EDGAR I can.
#24B—Finale Part 3
DELILAH
NOW IT’S REAL YOU’RE PART OF MY WORLD THE STORY’S UNFURLED BUT WE’VE GOT LOTS OF TIME
GRACE, DELILAH
NOW IT’S RIGHT
GRACE
AND LOOK WHAT YOU FOUND WITH FEET ON THE GROUND
DELILAH
BUT WITH MY HEAD IN THE CLOUDS
Everyone enters, joyfully living their best lives.
DELILAH, EDGAR, GRACE
NOTHING’S GOING RIGHT
YOU WANNA RUN AND HIDE SAY IT IN OTHER WORDS
IT’LL BE OKAY
‘CAUSE THERE’S ANOTHER WAY SAY IT IN OTHER WORDS
EVERYONE ELSE
DA
DA
B etween the lines — 157 —
DA DA
DA DA
DA
DA DA
DA DA
DA DA DA
DA
DA DA
ALL (EXCEPT DELILAH)
BA DA DA DA DA DA DA DA
BA DA DA DA DA DA DA DA
BA DA DA DA DA DA DA DA
DO IT FOR YOU
DO IT FOR YOU
DELILAH
BA DA DA DA DA DA DA DA
BA DA DA DA DA DA DA DA
START AGAIN
DON’T STAY
BETWEEN THE LINES
WRITE IT YOUR WAY
ALL (CONT’D)
IF YOU’RE FEELING TRAPPED AND YOU CAN’T ADAPT SAY IT IN OTHER WORDS
TRY FOR SOMETHING NEW
JUST REMEMBER TO GIVE IT ALL YOU GOT AND YOU CAN CHANGE THE PLOT
‘CAUSE IT’S UP TO YOU YOU KNOW WHAT TO DO SAY IT IN OTHER WORDS
The COMPANY exits, leaving DELILAH and EDGAR alone.
DELILAH, EDGAR
I’M IN LOVE WITH YOU—
DELILAH
Jinx!
EDGAR
Aw, man.
I’M IN LOVE WITH YOU
SAY IT IN OTHER WORDS?
DELILAH
EDGAR
DELILAH
THAT’S THE ONLY WAY
DELILAH, EDGAR
IT’S WHAT I’LL ALWAYS SAY IN MY PERFECT WORLD
— 158 — B etween the l ines
B etween the lines — 159 —
#25—Bows
THE END
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