Digital Script

This PDF is for authorized digital use

only and may not be printed.

Federal law provides severe

civil and criminal penalties for
the unauthorized alteration,
reproduction, distribution or
exhibition of copyrighted materials.
This PDF may not be distributed
in excess of the amount of copies
purchased.

For performance, you must still

apply for rights on our website,
be approved and purchase a cast
quantity of scripts in either digital or
print format.
 The Layover

By
TRACY WELLS

Dramatic Publishing Company

Woodstock, Illinois • Australia • New Zealand • South Africa

FOR AUTHORIZED DIGITAL USE ONLY

 *** NOTICE ***
The amateur and stock acting rights to this work are controlled exclusively by
THE DRAMATIC PUBLISHING COMPANY, INC., without whose permission
in writing no performance of it may be given. Royalty must be paid every time
a play is performed whether or not it is presented for profit and whether or
not admission is charged. A play is performed any time it is acted before an
audience. Current royalty rates, applications and restrictions may be found at
our website: www.dramaticpublishing.com, or we may be contacted by mail
at: THE DRAMATIC PUBLISHING COMPANY, INC., 311 Washington St.,
Woodstock, IL 60098.

COPYRIGHT LAW GIVES THE AUTHOR OR THE AUTHOR’S AGENT

THE EXCLUSIVE RIGHT TO MAKE COPIES. This law provides authors
with a fair return for their creative efforts. Authors earn their living from the
royalties they receive from book sales and from the performance of their work.
Conscientious observance of copyright law is not only ethical, it encourages
authors to continue their creative work. This work is fully protected by
copyright. No alterations, deletions or substitutions may be made in the work
without the prior written consent of the publisher. No part of this work may be
reproduced or transmitted in any form or by any means, electronic or mechanical,
including photocopy, recording, videotape, film, or any information storage and
retrieval system, without permission in writing from the publisher. It may not
be performed either by professionals or amateurs without payment of royalty.
All rights, including, but not limited to, the professional, motion picture, radio,
television, videotape, foreign language, tabloid, recitation, lecturing, publication
and reading, are reserved.

For performance of any songs, music and recordings mentioned in this play that are in copyright,
the permission of the copyright owners must be obtained or other songs and recordings in the
public domain substituted.

©MMXXII by
TRACY WELLS

Printed in the United States of America

All Rights Reserved
(THE LAYOVER)

ISBN: 978-1-61959-276-6

FOR AUTHORIZED DIGITAL USE ONLY

 IMPORTANT BILLING AND CREDIT REQUIREMENTS
All producers of the play must give credit to the author of the play in all
programs distributed in connection with performances of the play and in all
instances in which the title of the play appears for purposes of advertising,
publicizing or otherwise exploiting the play and/or a production. The name of
the author must also appear on a separate line, on which no other name appears,
immediately following the title, and must appear in size of type not less than
fifty percent (50%) the size of the title type. Biographical information on the
author, if included in the playbook, may be used in all programs. In all programs
this notice must appear:

“Produced by special arrangement with

THE DRAMATIC PUBLISHING COMPANY, INC., of Woodstock, Illinois.”

FOR AUTHORIZED DIGITAL USE ONLY

The Layover was originally performed by the Tabb High
School drama department in Yorktown, Va. The show
premiered in May 2021.
CAST:
Dana.......................................................................Shaili Bedi
Michael..................................................................Elias Sears
Gabrielle......................................................... Crystal Versluis
Frank....................................................... Jonathan Cole Hurd
Edith............................................................ Abigail Goodrich
Jackie/Flight Attendant..................................Jacqueline Rose
Rick/Flight Announcer.................................Hannah Sweazey
Erin/Traveler..................................................Semira Thorson
Charlie.............................................................Parker Thorson
Alex................................................................ Faith Mazzuchi

PRODUCTION:
Drama Teacher/Coach/Producer....................Elizabeth Milne
Student Director............................................Madelin Pittman
Cinematographer............................................ Tamala Hughes
Technical Co-Directors.......... Emma Cantwell, Emily Knaub
Stage Manager.................................................... Bert Hughes
Tech Crew.........................Maddie Pittman, Brenna Bagelieri
Set Design......................................................Maddie Pittman

4
FOR AUTHORIZED DIGITAL USE ONLY
 The Layover
CHARACTERS
DANA (DAN): Nineteen-year-old with a mixed past who finds
herself stranded in an airport.
MICHAEL (MICHAELA): Unusual stranger, sitting and
waiting in an airport terminal.
GABE (GABRIELLE): Michael’s companion, also waiting.
FRANK: An older gentleman excited for a trip of a lifetime.
EDITH: Frank’s wife, calmly awaiting her trip as well.
JESSICA (JESSIE): First-time parent traveling with an infant.
CHRIS (CHRISTY): Jessica’s spouse.
RICK (RITA): An acquaintance of Michael and Gabe.
JACKIE (JACK): A troubled young person.
STEPHANIE (STEVE): A parent who is tired and just wants
to get home.
AARON (ERIN): Stephanie’s spouse—equally tired.
ALEX: Their oldest child who just wants to be left alone.
CHARLIE (CHARLOTTE): Their youngest child who has too
much energy, age 8 to 11.
TRAVELER: Traveler wearing earbuds.
FLIGHT ATTENDANT: Enters terminal carrying a mysterious
bag.
FLIGHT ANNOUNCER: Offstage voice or can also be played
at a small check-in counter.
OPTIONAL EXTRAS: Barista, Passengers, Airport personnel.

TIME: Modern day.

PLACE: This play takes place in a waiting area outside the
gate in an airport terminal.

5
FOR AUTHORIZED DIGITAL USE ONLY
 PRODUCTION NOTES
CASTING: Feel free to assign genders or races as needed to any
character, except for Frank and Edith. Also, any of the couples
can be played as same-sex couples, again except for Frank and
Edith. If you need to change other identifying characteristics
such as names to better identify with your community, you may
do so. Alternate character names are suggested for convenience.

COMBINING ROLES: There are many potential options for

doubling or even tripling of roles. All roles above are easy to
combine except for Dana, Michael, Gabe, Frank and Edith.

Additional production notes on set, costumes and props can

be found in the back of the book.

6
FOR AUTHORIZED DIGITAL USE ONLY
 The Layover
AT RISE: DANA is sitting in the chair closest to upstage,
facing R. She is looking upstage L, watching the planes
take off and land. After a moment, MICHAEL enters L and
crosses to the bank of chairs opposite DANA. He puts his
hand on the chair diagonally facing her.

MICHAEL. Is anyone sitting here?

DANA (looks at the chair briefly, then turns back to the
window). Nope.
MICHAEL. Do you mind if I do?
DANA (turns back, with attitude). It’s not like I own that
chair. Sit if you want, it’s a free country. (Turns back to the
window.)
MICHAEL. Thank you, I appreciate it. My legs were getting
tired. (Sits.)
DANA (abrupt). Like I said, I don’t own the chair. It wasn’t
mine to give. No need to thank me.
MICHAEL. All I’m saying is, this is a big airport.
DANA. I guess so.
MICHAEL (trying to strike up a conversation). Would’ve
been worse if I was carrying a suitcase. Good thing I always
travel light. Where’s your bag?
DANA (turns back to MICHAEL with a sneer). Are you
blind? It’s right—

(She points down to the floor next to her, then looks and sees
that it’s not there. She jumps up, alarmed.)

7
FOR AUTHORIZED DIGITAL USE ONLY
8 The Layover

DANA (cont’d). Where is it? It was right here a minute ago!

(She jumps up and starts looking under and around the seats.)

MICHAEL (calmly, not moving). I’m sure it’s around here

somewhere.
DANA (frantically). Where? It was right there next to me and
now it’s gone!
MICHAEL. What did it look like?
DANA. It was bright pink and had a big painted rainbow on
one side and a bunch of hearts on the other side.
MICHAEL. Pink with rainbows and hearts, huh? (Starts to
laugh.)
DANA. What’s so funny?
MICHAEL. Just didn’t peg you as a rainbow and hearts kind
of girl.
DANA (annoyed). Oh, and you’ve gotten to know me so
well after meeting me what … two minutes ago? (Resumes
looking.) Where could it be?

(She looks around under chairs as GABE enters L and

crosses to the seats during MICHAEL’s line.)

MICHAEL. I’m sure it’s fine. I mean, it’s not like airports are
known for losing bags or anything.

(DANA looks from around a chair to glare at MICHAEL as

GABE approaches.)

GABE. What’s going on?

MICHAEL. She can’t find her bag.
GABE. What’s it look like?

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 9

(GABE sits down next to MICHAEL.)

MICHAEL. Rainbows, hearts, pink. You know … real girly-

girl stuff. (Smirks.)
DANA (standing up, annoyed). I am not a girly-girl.
MICHAEL (shrugs his shoulders). Hey, I’m not the one with
the pink rainbow bag.
DANA. It’s from when I was a kid. My mom got it for me. It
was all I had time to grab.
GABE. So you left in a rush?
DANA. You could say that. (Continues to look, but less
frantically.)
GABE. What for?
DANA. It was just this thing. I got into some trouble back
home. Was blamed for something I didn’t— (Stops,
realizing she doesn’t even know him.) Wait a minute, why
do you care?
GABE (shrugs his shoulders). Just making conversation.
DANA (sneers at MICHAEL and GABE). You guys are weird.
MICHAEL. Since when is it weird to make polite conversation
with a total stranger?
DANA. Since forever!
MICHAEL. Good to know. (Turns to GABE.) Remind me
next time that it’s now rude to talk to strangers.
GABE. Will do.
DANA (scrutinizing MICHAEL and GABE). Do you guys
know each other or something?
GABE. Or something.
DANA. What?
GABE. Nothing. (Chuckles.) Yeah, I guess we’ve known
each other for awhile.

FOR AUTHORIZED DIGITAL USE ONLY

10 The Layover

DANA. Are you going on a trip together or something?

MICHAEL. Or something.

(FRANK and EDITH enter L, slowly. FRANK is carrying a

bag. They cross to the seats.)

DANA. You’re both acting really strange. (Thinks for a

moment, then comes to an angry conclusion.) Hey! You
guys stole my bag, didn’t you?
GABE (calmly). I assure you, we did not.
DANA (looking around for anyone who will listen). Someone
help me! These two men are con artists. They stole my bag!
MICHAEL (looks around). And yet there’s not a rainbow or
heart to be found anywhere.
EDITH (as she approaches). Dear girl, what is the matter?
DANA (pointing at MICHAEL and GABE). It’s them! They
stole my bag.
EDITH. But they don’t have any bags.
DANA. They must’ve hidden it somewhere.
EDITH. Well what does it look like?
GABE. Pink with hearts and rainbows.
DANA. See! I told you. They’ve got my bag!
EDITH. Oh no, dear. I saw your bag and it’s perfectly fine.
DANA. You did?
EDITH. It’s near mine. There’s a bunch of bags waiting to be
sorted before they load them on the plane.
DANA (calming down). Oh, OK.

(DANA sits down and resumes looking out the window.)

FRANK (to EDITH). Should we sit right here?

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 11

(FRANK indicates two seats in the same bank as DANA.)

EDITH. Yes, dear, these are just fine.

(EDITH sits in the chair closest to downstage as FRANK

sits next to her.)

GABE (to FRANK). Are you coming or going?

FRANK (not understanding). Excuse me?
GABE. You traveling home or going somewhere exciting?
FRANK. Oh. (Suddenly excited.) I’m going on a vacation!
MICHAEL. Where to?
FRANK (pulls ticket and itinerary out of his shirt pocket and
pats them). Got a two-month trip across Europe right here.
Been waiting all our lives to take this trip— (Pats EDITH’s
hand.) haven’t we, sweetheart?
EDITH. Sure have.
FRANK (holds out his hand). Name’s Frank, by the way.
GABE (shakes FRANK’s hand). Nice to meet you, Frank. I’m
Gabe. (Indicates MICHAEL.) And this is Michael.
MICHAEL (with a quick hand wave). Hey.
FRANK (patting EDITH’s hand). And this beautiful woman
is my wife, Edith.
EDITH. Nice to meet you.
GABE. So how long have you two crazy kids lived around here?
FRANK (chuckles). Oh, we don’t live around here.
DANA (with a sneer). Then what are you doing in this airport?
EDITH. Layover.
MICHAEL. Layover? That sucks.
FRANK. There weren’t any direct flights.
MICHAEL. Gotcha.

FOR AUTHORIZED DIGITAL USE ONLY

12 The Layover

FRANK. Doesn’t bother me any. Gives me some extra time

to just sit quietly and enjoy the company of my bride. (Pats
EDITH’s hand.) Isn’t that right, sweetheart?
EDITH. Sure is.
DANA (scoffs, without looking away from the window).
Good luck sitting quietly with these two around. (Points
her thumb at MICHAEL and GABE.) They’re real chatty.
EDITH. What’s your name, dear?
DANA. Dana. (Looks at EDITH suspiciously.) Why? What
does it matter to you?
EDITH (ignoring the attitude). Are you from around here too,
Dana?
DANA (not wanting to be bothered, turns back to the window).
No.
EDITH. Ah, you’re stuck here on a layover too, then?
DANA (with scorn, without looking away from the window).
Looks like it, doesn’t it?
EDITH (unbothered). Where are you headed?
DANA (turns suddenly, angry and lashing out). I don’t know
and I don’t care! Anywhere but where I came from. I just
had to get out of there, OK?
EDITH (calmly, unbothered). OK, dear.
DANA (stands and crosses to EDITH). They didn’t want me
there anyway—knew I was trouble. I would’ve been locked
up for sure if I’d stayed. (Stepping closer to EDITH—
too close.) How do you like that? Does that satisfy your
curiosity? Are you happy now?

(GABE stands and quickly crosses to DANA and takes her

arm.)

GABE. Hey there. Just take it easy.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 13

FRANK (patting EDITH’s hand). She’s just fine, aren’t you,

sweetheart?
EDITH. Sure am.
DANA (jerking away from GABE). Don’t touch me! (Crosses
back to her chair and sits in a huff.) Better for everyone
that I left.

(Brings up her knees, drawing herself into a ball and turns

to face the window, looking to others like she is ignoring
them—which she’s not. JESSICA enters L, pushing a
stroller, followed by CHRIS, who is laden with two small
suitcases a diaper bag, another small bag, a purse and
perhaps a car seat.)

JESSICA (looking back at CHRIS). Hurry up, honey. I think

I see a couple seats over here.
CHRIS (exhausted). I’m going as fast as I can.
JESSICA (now near the seating area, she stops and turns).
Let me help you. (Plucks her purse off his hand and starts
rifling through it.) I need my lip balm anyway. (Finds her
lip balm and starts applying it.)
CHRIS. Seriously?
JESSICA (loops the purse on her arm or over the handle of
the stroller). I guess I could take the diaper bag too. (Peeks
in the stroller at the baby.) This little snuggle muffin needs
her bottle soon anyway, doesn’t she?

(The sound of the baby laughing is heard.)

CHRIS. Don’t worry about it. I’ve got it.

JESSICA (turning to CHRIS). No really, I need to get that bottle.

(She starts to wrestle the diaper bag out of CHRIS’ hands.)

FOR AUTHORIZED DIGITAL USE ONLY

14 The Layover

CHRIS. Stop, Jess! I said I’ve got it.

JESSICA. And I said I need that bottle, Chris!

(With one final tug, she frees the diaper bag, which causes
everything else that CHRIS was holding to go flying.)

CHRIS (looking down at the mess. With sarcasm). Great. As

if traveling with an infant wasn’t enough of a nightmare.
DANA (laughs). That was awesome.

(MICHAEL and GABE stand and cross to CHRIS.)

MICHAEL. Here, let us help you with those.

CHRIS (gratefully). Thanks.

(CHRIS, MICHAEL and GABE pick up bags and stack

them as JESSICA crosses to a chair across from DANA
and sits, positioning the stroller so both she and DANA
can see the baby.)

JESSICA. Sorry about the noise and the mess. No one tells
you how much stuff you need to bring when you travel with
an infant.
FRANK. Are you going to check some of those bags?
CHRIS. Heck no! Do you see how much the airlines charge
you to check a bag?
GABE. They’re not going to allow you to bring all of that on
the plane with you, are they?
CHRIS. Sure they will! (Holds up a suitcase.) Our suitcases
are regulation size to stow in the overhead compartments
and the airline allows you one bag per passenger plus a
diaper bag as long as they fit under your seat.
EDITH. That doesn’t sound right to me.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 15

FRANK. I’d hate for you to get turned away at the gate.
CHRIS. This is our third connecting flight today so trust me,
we know they’ll let us on.
DANA. Your third connecting flight! Are you a moron?
EDITH (admonishingly). Dana!
MICHAEL. Why so many connecting flights?
CHRIS. Kids are expensive! We had to save some money,
and this was the cheapest flight we could find.
GABE. Couldn’t you just drive?
DANA. Or take a bus?
CHRIS. Our car was in the shop.

(CHRIS looks at JESSICA, who is rifling through the diaper

bag for a bottle and burp cloth.)

CHRIS (cont’d). I did check out some bus routes, but this one—

(He points with his thumb at JESSICA and looks at FRANK.)

JESSICA (looking up suddenly, with bottle and burp cloth

in her hand). There was no way I was getting stuck on a
smelly old bus for fifteen hours!
FRANK. Fifteeen hours! Where are you from?
JESSICA. Toledo, Ohio.
MICHAEL. And where are you headed?
CHRIS. Cincinnati.
DANA. Cincinnati? Isn’t that in Ohio too?
FRANK. How was a bus ride from Toledo to Cincinnati going
to take fifteen hours?
CHRIS. Tons of stops.
FRANK. Ah, right.

FOR AUTHORIZED DIGITAL USE ONLY

16 The Layover

DANA. So you bought a plane ticket with not one … not two
… but three connecting flights to go from the top of Ohio
to the bottom of Ohio?
CHRIS (to MICHAEL). I know, I know … it was stupid to fly
with all these layovers.
DANA. And to Ohio of all places! I mean … if it were a
tropical island or something then maybe. (Incredulous.)
But Ohio!
GABE. What I want to know is, if you were flying from one
city in Ohio to another, why did they give you a connecting
flight all the way over here? You’re nowhere near Ohio!
JESSICA. Great question. (Smiles at CHRIS.) My husband
may be many things, but travel agent he is not.
DANA (looking into the stroller and speaking in “baby talk”).
You think your parents are morons too, don’t you? (Sound
of the baby laughing is heard.) That’s what I thought.
JESSICA (leaning into the stroller). Here you go, sweetie.
FRANK. So how long is your layover? My wife Edith and I
are on a layover as well. (Looks at EDITH lovingly and pats
her hand.) Aren’t we, sweetheart?
EDITH. Sure are.

(JESSICA and CHRIS look at each other, confused. They

raise their eyebrows at each other, then turn back to FRANK.)

JESSICA (overly sweet and a little awkward). Oh, aren’t you

just the sweetest?
CHRIS (awkwardly, not knowing what to say). Yes. What a
lovely … couple you make.
FRANK. Thank you, but you don’t have to say that.
CHRIS (awkwardly). No, I mean it … really.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 17

(CHRIS opens his eyes wide and looks at JESSICA, then

looks back at FRANK.)

DANA (looking in the stroller at the baby). Seriously kid,

your parents are weirdos.

(Sound of the baby laughing is heard.)

CHRIS. But to answer your question, we don’t have a long

layover at all. (Looks at his watch.) It should be about an
hour or so.
JESSICA (tense, remembering). I don’t think so, Chris.
Remember, our first flight was delayed.
CHRIS. Oh right! I forgot about that.
JESSICA (starts rifling through her purse). And there was
that awful incident on our second flight—
CHRIS. Oh yeah! Gruesome affair—the whole thing was just
terrible.
DANA. What happened?
JESSICA (jumps up, panicked, holding a plane ticket). Oh
no! Our next flight is boarding in ten minutes!
CHRIS. Ten minutes! That can’t be right. We just got here!
JESSICA. See for yourself.

(She holds out the ticket for CHRIS to see. He looks at it,
grabs it to look more closely, then looks from his watch to
the ticket to his watch again to the ticket again and then to
JESSICA’s face.)

CHRIS (wide-eyed and panicked). Our flight is boarding in

ten minutes!
JESSICA (equally wide-eyed and panicked). I know!

FOR AUTHORIZED DIGITAL USE ONLY

18 The Layover

CHRIS (still looking at JESSICA, wide-eyed). We’ve got to go!

JESSICA (still looking at CHRIS, wide-eyed). I know!

(JESSICA and CHRIS start scrambling as GABE stands.)

GABE. Can we help you with some of that?

CHRIS. No, thanks. We’ve got a system.

(CHRIS holds out his arms as JESSICA loops one bag onto
each, then she turns to the baby and pulls the bottle out of the
stroller. Immediately the sound of the baby crying is heard.)

JESSICA (as she picks up the diaper bag, talking to the baby).
You’ll get it back as soon as we’re on the plane.
DANA (looking into the stroller at the baby). I know, baby.
Parents are awful, aren’t they?

(Sound of the baby crying stops. Sound of baby cooing is

heard. DANA looks up at the others.)

DANA (cont’d). This kid gets it.

JESSICA (looking back at the baby in the stroller). That’s
weird. She usually cries nonstop when I take her bottle away.
DANA. What can I say? Babies love me.
EDITH. That’s because deep down, you are lovable, Dana.
DANA. Oh, cool it, Granny. No one asked you.

(DANA crosses her arms and turns back to the window as

CHRIS and JESSICA are all packed up again and ready
to go.)

JESSICA. Well it was nice meeting all of you.

CHRIS (from behind his mountain of bags). Yes, really nice.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 19

FRANK. I hope this flight goes much smoother than those

other two.
DANA (abruptly turning back, excitedly). That’s right! You
never told us what happened on that second flight. I believe
the word you used was “gruesome.”
FLIGHT ANNOUNCER (offstage or speaking into a paging
system). Flight 236 to Cincinnati now boarding.
JESSICA (turning to CHRIS). That’s our flight! Let’s go.
(Turning back to wave at the others as she starts to push
the stroller to R.) Bye, everyone!
GABE, MICHAEL, FRANK & EDITH (waving). Bye!
DANA (still looking out the window). Good riddance.
JESSICA (turning back to CHRIS). Hurry up, honey! Our
plane’s leaving any minute!
CHRIS (exhausted). I’m going as fast as I can.

(If using a counter, JESSICA crosses to it, shows the ticket,

then exits R, followed by CHRIS.)

MICHAEL. You know you’re not fooling anyone, Dana.

DANA (turning to MICHAEL). What’s that supposed to mean?
MICHAEL (standing and crossing to DANA). This whole—
(Waving his arm from DANA’s head to her feet.) tough-girl
exterior you have going.
DANA. You don’t know anything about me.
GABE. We know more than you think.
DANA. Oh, really?

(MICHAEL shoots GABE a silencing look.)

GABE. I just mean that girls like you think it’s cool to act all
rude and condescending but in reality, there’s nothing but a
sweet, squishy little teddy bear inside.

FOR AUTHORIZED DIGITAL USE ONLY

20 The Layover

DANA (scoffs and dramatically crosses her arms). You

couldn’t be more wrong.
GABE (mimicking her, with arms crossed). Enlighten me, then.
DANA (turning to GABE). I live on the streets—by choice.
GABE. Who would choose that?
DANA. It’s better than being at home.
GABE. Fine. What else?
DANA. My family hates me.
GABE (dismissively). Doubt it. What else you got?
DANA. You should see my record. I’ve been in court so many
times, the judge knows me by name.
GABE. He only knows your name because he reads it on the
court documents. Next.
DANA (standing, adamant). It’s true! I saw him once at the
grocery store and he said hi to me and everything!
GABE (standing). That doesn’t prove anything.
DANA. Yes it does! I’m awful—a mess—no good. (Turning
away.) Just ask anyone who’s ever met me.
EDITH. I’ve met you and I don’t think you’re awful.
DANA. Give it a few more minutes.
GABE (taking a step closer to DANA). What happened in
your past doesn’t have to define your entire life, Dana. Isn’t
that why you’re here?
DANA. Here in this airport? (Turning back to GABE.) I’m
here in this airport because I skipped town.
GABE. All I’m saying is there’s still time.
DANA (crossing her arms, defiantly). Time for what?

(DANA stares at GABE, challenging him.)

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 21

FRANK (turning to EDITH). I’m going to go get a cup of

coffee, sweetheart. Would you like anything?
EDITH. No dear, I’m fine. But thank you.

(FRANK smiles at EDITH, kisses her hand or head and exits

L or crosses to a coffee stand.)

GABE. Time to make a choice.

DANA. What choice?
GABE. A choice of who you really are and where you’re headed.
DANA (sits and turns to window). I know where I’m headed.
It’s on my ticket.
GABE (sits). Where’s your ticket?
DANA (feeling inside her pockets). It’s right—

(She stops as JACKIE runs on from L, yelling and laughing,

looking over her shoulder at RICK, who enters, also running.)

JACKIE (laughing). Come on, slowpoke! Looks like you

need a few more cardio workouts if you’re going to keep
up with me.
RICK. You can run all you want, Jackie, but it’s not going to
change anything.
JACKIE. If you can’t catch me, then you can’t take me.
RICK. Then I’ll call for backup.
JACKIE (antagonistically, with sarcasm). Ooh! I’m so scared!

(She laughs loudly and runs to the seating area, hiding

behind and peeking out from DANA’s chair.)

DANA (scornfully). What are you doing?

JACKIE. I’m playing keep away with that clown over there.
(Points to RICK.)

FOR AUTHORIZED DIGITAL USE ONLY

22 The Layover

DANA. Go play it somewhere else. I’m sitting here.

JACKIE. Ooh! Looks like we have a feisty one. (Stands and
says to RICK.) Hey, Officer Rick, you might want to make
some room in your schedule for this girl. (To DANA.) What
did you say your name was?
DANA. I didn’t.
JACKIE. Man, I like you! If I wasn’t busy running from this
fool, (Indicates RICK.) I think you and I could really be
friends.
DANA. Unlikely. I don’t have friends.

(RICK is now standing behind one bank of chairs while

JACKIE is standing behind the other.)

RICK. C’mon, Jackie, you know I’m going to get you

eventually. You made your choices and now this is where
they landed you. You can’t outrun your fate.
JACKIE. Maybe not. But I can have a little fun before I go!

(She fakes out RICK a few times before she starts to run off
L, laughing.)

JACKIE (cont’d). Ha! You’re such a chump.

DANA (with a sneer, to JACKIE). You’re obnoxious, you
know that?
JACKIE. Yeah, well, something tells me we will be seeing
each other real soon. (Brings her hand to her forehead in a
salute.) See you later, suckers!

(She laughs uproariously and runs off L as RICK sighs and

sits next to MICHAEL.)

MICHAEL. Bad day?

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 23

RICK. Not particularly. It’s the same thing every day around
here.
DANA (incredulously). So you’re just going to let her go?
RICK (chuckles). Trust me, Jackie’s not going anywhere.
She’ll tire out eventually. They always do.

(RICK turns to MICHAEL as DANA turns away, though still

listening.)

RICK (cont’d). So you guys are working today?

MICHAEL. You know it.
RICK. Which one is it? (Holds up his hand quickly.) No wait!
Let me guess. (Looks around the airport and points to a
passerby or offstage.) Her?

(MICHAEL starts to answer but RICK stops him.)

RICK (cont’d). No, wait. (Looks around again, then points to

another passerby or offstage.) It can’t be him.
MICHAEL. Nope.
RICK (looks around for a moment then points at EDITH). Is
it her?
MICHAEL. Yep. Gabe’s here for her. You’re getting good.
RICK. When you’ve been stuck working at this terminal for
as long as I have, you pick up on things. (Leans closer to
MICHAEL.) So what’s the holdup?
MICHAEL. Just waiting on her husband.
RICK (looks around). Where is he? (Suddenly.) Oh wait! Is
he—
MICHAEL (interrupting). No, nothing like that. He’s just on
a layover. He’ll be on his way soon.

FOR AUTHORIZED DIGITAL USE ONLY

24 The Layover

(FRANK enters and crosses over to the seats during the next
few lines, holding a travel cup of coffee.)

DANA (turns, suddenly, to EDITH). What is he talking about?

You’re traveling together, aren’t you?
EDITH. Not this time, dear.

(DANA is confused as FRANK approaches.)

FRANK (to EDITH). The coffee cart has some of that

chamomile tea you like. Do you want me to get you a cup?
EDITH. No thanks, darling. I’m all right.
FRANK. I just know how it helps calm your nerves.
EDITH. I’m not nervous, dear.
FRANK. Oh good. I was worried about that. (Takes a sip of
coffee.) Truth is, I’m a little nervous. (Chuckles.) Maybe I
should’ve gotten myself some of that tea instead.

(They look at each other for another moment, then FRANK

notices RICK.)

FRANK (cont’d). I see a new friend has joined us.

RICK (standing). Actually, I was just leaving. (Nodding at
MICHEAL and GABE.) Michael. Gabe.
GABE (waving). See you, Rick.
MICHAEL. Have a good one.
RICK (ironically). Ha! I wish. (Exits L.)
EDITH (to FRANK). How much time do we have left?
FRANK. Let’s see. (Pulls out his ticket and looks at it, then
turns to EDITH, smiling.) We’ve still got a little bit of time,
sweetheart.
EDITH. Good.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 25

(EDITH smiles and leans her head on FRANK’s shoulder.)

GABE (to FRANK and EDITH). How long have you two
been married?
EDITH & FRANK (in unison). Fifty-three years.
FRANK. Not long enough. (Looks at EDITH and smiles.)
Isn’t that right, sweetheart?
EDITH. That’s right.
GABE. How nice to be married all that time and still be so
much in love.
DANA (turning to FRANK and EDITH). Fifty-three years?
Aren’t you two sick of each other?

(EDITH sits up straight and starts laughing. FRANK turns

to look at her and smiles.)

FRANK. What’s so funny?

EDITH. I was just thinking about the last fifty-three years.
FRANK (smiling). And you found that funny?
EDITH (smirking). Some of it.
FRANK (rubbing the sides of his face). It’s the sideburns
thing, isn’t it. You’re laughing about those again.
EDITH. That’s right! I’d forgotten about those. (Laughs
harder.) And darling, those were full blown muttonchops.
You looked like something out of 1855.
FRANK (smiling). I thought I looked distinguished.
DANA (trying not to laugh). Muttonchops? You’ve got to be
kidding me.
FRANK. OK, if you’re not laughing at my muttonchops,
you must be laughing at the time I drove the car through
that diner.

FOR AUTHORIZED DIGITAL USE ONLY

26 The Layover

EDITH (stops laughing immediately). I am most definitely not

laughing about that one. You could’ve killed me!
DANA (smiling, turning to face the others, interested). Whoa!
Things just got interesting.
MICHAEL. A diner, Frank? Do tell!
FRANK (laughing.). Well if I’m being honest, it was all
Edith’s fault.
EDITH (smiling, incredulous, and swats FRANK on the arm).
It was not!
FRANK (smiling, a little flirtatiously at EDITH). There I was,
minding my own business, heading off to my part-time job
at the pharmacy when I laid eyes on the prettiest girl I’d ever
seen, standing outside the diner, eating an ice cream cone.
EDITH (defensively, but still smiling). It was a hot summer day!
MICHAEL. Sounds like that wasn’t the only thing that was
hot. (Elbows GABE and smirks.)
DANA (sneers at MICHAEL). Gross.
FRANK. Needless to say, I just couldn’t keep my eyes on
the road. Next thing I knew, the front end of my car was in
somebody’s milkshake and a police officer was writing me
a big ol’ ticket.
DANA (admiringly). Nice! Frank breaking the law … who
knew he had it in him?
FRANK (taking EDITH’s hand and smiling at her lovingly).
I may have gotten a ticket, but I walked away that day with
something even better—this pretty lady’s phone number.
EDITH (smiling at FRANK). And it’s been an adventure every
day since then.
DANA (doubtful). You really expect me to believe that every
single day of the last fifty-three years was marital bliss?
(Turns away and crosses her arms.) No way. Marriages
aren’t like that. Just ask my parents.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 27

EDITH. I didn’t say that every day was bliss. I said every
day was an adventure. Sometimes adventures are fun
and exciting—other times they are scary and stressful.
Sure, I could focus on the bad days, the differences and
the disagreements. (Looks at FRANK and smiles.) But one
thing I do know, after fifty-three years, is that every day—
the good and the bad—was an adventure that brought us
here to this day, ready to see what tomorrow has in store.
(Pats FRANK’s hand.) Isn’t that right, sweetheart?
FRANK (smiles at EDITH). Sure is.

(CHARLIE enters excitedly, looks around, perhaps runs

over to the coffee cart, ticket counter, etc, followed by
STEPHANIE and AARON and distantly followed by ALEX,
who is busy looking at her phone. AARON carries a bag and
STEPHANIE carries a purse.)

STEPHANIE (wearily). Charlie, stop running all over the

airport and come here.
AARON (to STEPHANIE, indicating seats). Do you want to
sit over here?
STEPHANIE (frustrated, a little harsher than she intended).
Yeah, sure whatever. I don’t care.

(She crosses to CHARLIE and grabs his arm.)

DANA (holding out her hand, indicating AARON and

STEPHANIE). There’s that marital bliss.
AARON (as he approaches the seats). Mind if we sit?
MICHAEL. Sure thing. Plenty of seats.

(AARON sits in the row behind GABE and MICHAEL. ALEX

sits across from DANA, still looking at her phone. DANA

FOR AUTHORIZED DIGITAL USE ONLY

28 The Layover

looks at her briefly, then returns to looking out the window.

STEPHANIE drags CHARLIE, who is noisily protesting,
over to sit next to AARON.)

AARON. Sorry about the noise. I know some people don’t

like to be bothered while they wait for their flight.
STEPHANIE. Wherever we go, commotion is sure to follow.
(Looks at CHARLIE.) Isn’t that right, Charlie?
CHARLIE (with a big grin). Yep!
FRANK (chuckling). That’s all right. We have ten
grandchildren. We’re used to noise. (Looks at EDITH and
pats her on the hand.) Aren’t we, sweetheart?
EDITH (smiles at FRANK). Sure are.
AARON (confused). We?
FRANK. My wife and I.
AARON. Ahhh, I see. (Except he doesn’t. Still confused.)
And she’s … ? (Looks around, trying to find her.)
EDITH. Right here.
STEPHANIE (scolding). Aaron!
AARON (not sure why he’s getting yelled at). What?
STEPHANIE. Leave that nice man, alone.
AARON (sheepishly). Sorry.
FRANK (chuckling). It’s all right. No harm done.
GABE (turns around to talk to AARON and STEPHANIE). So
where are you guys headed?
AARON. Home … thank goodness.
MICHAEL (also turning). And where’s home?
STEPHANIE. Albuquerque.
GABE. Albuquerque! Great place. (Turns to MICHAEL.) We
haven’t been to Albuquerque in … (Thinks.) How long has
it been, Michael?

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 29

MICHAEL (unsure). Six months?

GABE. Sounds about right.
AARON. Sounds like you guys travel a lot.
MICHAEL. You could say that.
CHARLIE (loudly). Are you guys a couple or something?
STEPHANIE. Charlie! (Claps a hand over his mouth.) Sorry.
He’s a little nosy.
MICHAEL. That’s all right.
CHARLIE (wriggling away from STEPHANIE). So are you?
A couple or something?
MICHAEL (smiling at CHARLIE). Or something.

(CHARLIE, now disinterested, runs over to the bank of

chairs behind DANA and starts crawling under and walking
on them.)

GABE. When’s your flight?

STEPHANIE. Oh, not long, thank goodness. They should be
calling for boarding any minute.
AARON. We thought a family trip would be a great idea.
STEPHANIE. But with a rambunctious kid and a moody
teenager, family trips aren’t what they used to be.
AARON. Especially when your plane’s been delayed for an
extra hour and a half.
STEPHANIE. Yeah I guess there was a flight ahead of ours
that had to make some kind of emergency landing—some
kind of medical issue onboard.
EDITH. How awful!
AARON. Needless to say we are all ready to go home.
FRANK. Ah, I remember those days. One day you’ll look
back on these memories with fondness.

FOR AUTHORIZED DIGITAL USE ONLY

30 The Layover

AARON. Maybe when we have grandkids of our own, eh’

Stephanie?
STEPHANIE. Maybe. (To FRANK.) Do you have pictures of
those grandkids you mentioned?
FRANK (excitedly). Sure do!

(FRANK stands and pulls out his wallet, then crosses to

sit next to STEPHANIE. AARON looks over her shoulder
as MICHAEL and GABE turn around to look at pictures
during the next few lines. ALEX looks back at STEPHANIE
and AARON, then looks at CHARLIE, who is standing on
the chair directly behind DANA.)

ALEX. Why do they always have to do that?

(CHARLIE shrugs his shoulders as DANA says her next

line, then resumes his antics.)

DANA (turns at the sound of ALEX’s voice and looks at her).

Do what?
ALEX. They act like they care so much about people they’ve
never met and yet clearly don’t care about their own kids.
DANA (sitting up a little straighter, now interested). Yes!
Exactly. Parents are so fake.
ALEX (looking back down at her phone). Sooooo fake.
DANA (finally feeling like someone understands her). Yes! All
they care about is looking good in front of everyone else.
ALEX. It’s like they’re trying to win at “adulting.”
DANA. Ha! If that’s what adulting is, then forget it.
ALEX. Forget it.
DANA. And if you’re their child, don’t even think about
making a mistake! They’ll hold it over your head forever.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 31

(CHARLIE has picked up FRANK’s bag and is holding it up

over his head.)

ALEX (looking at CHARLIE). Charlie, put that down.

DANA (turns to look at CHARLIE, then back at ALEX). It’s
like they think they’re your boss and can control every
aspect of your life.
CHARLIE. You’re not the boss of me, Alex.
DANA (turns to look at CHARLIE, then back at ALEX). And
then when you get in trouble and actually need them for
once … like really need them, they totally ignore you.
ALEX (turning to AARON and STEPHANIE). Are you guys
just ignoring what’s going on over here?

(She shakes her head and turns back to look at CHARLIE.)

DANA. Do they even see me?

ALEX. Can they even hear me?
DANA & ALEX (both stand at the same time and look in
each other’s direction). Am I invisible?!

(CHARLIE stops his antics. GABE and MICHAEL stop

looking at pictures and turn to look at DANA while FRANK,
AARON and STEPHANIE stop and look at ALEX.)

STEPHANIE. Honey, why are you shouting?

ALEX. Because I’m tired of you ignoring what’s going on
right in front of you.
DANA. Because I’m tired of being overlooked.
AARON (standing and crossing to ALEX). What is it, Alex?
What are we missing?
ALEX. Right now? Charlie—he’s acting up and no one seems
to care.

FOR AUTHORIZED DIGITAL USE ONLY

32 The Layover

DANA (thinking, sadly, as she watches AARON and ALEX).

No one cares.
AARON. OK. You’re right. (Looks up at CHARLIE.) Charlie,
come here right now.
CHARLIE. Aw, man!
AARON (louder). Now!
CHARLIE. Fine.

(CHARLIE pouts and crosses to stand next to DANA.)

ALEX (looking down). It’s not just Charlie, you know.

STEPHANIE (standing and crossing to ALEX). What do you
mean?
ALEX (looks around, as if for escape, but after a moment
realizes she has started something and needs to see it
through). You guys are so busy with work and Charlie and
stuff around the house, it’s like you’ve totally forgotten
about me.
DANA (looking out the window). Do they even know I’m gone?
STEPHANIE (putting her arm around ALEX). Oh honey, of
course we haven’t forgotten about you. We know you’re
getting older and just wanted to give you your space.
ALEX (finding some courage inside herself). And that’s fine,
but you act like I’m this whole other person you don’t even
know.
DANA (looking at ALEX and her parents but thinking about
her own). It’s like I’m a stranger.
AARON. There are just so many changes as you kids get
older, sometimes you do seem like a totally different person
than the little girl who used to love to ride on my shoulders
and hold my hand.
ALEX (pleadingly). I’m still that girl, Dad. Can’t you see that?

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 33

DANA (wistfully, looking out the window, thinking about her

parents). I’m still their little girl. Can’t they see?
STEPHANIE. We see you, Alex. Believe me, we do.

(STEPHANIE and AARON hug ALEX as DANA looks at

them.)

GABE (after a moment, stands and says to DANA). I see you,

Dana.

(DANA turns sharply to look at GABE.)

CHARLIE. Who’s Dana?

DANA (annoyed). Seriously?

(ALEX, AARON and STEPHANIE break their embrace.)

STEPHANIE (exasperated). Charlie!

(All look up at the sound of the announcement.)

FLIGHT ANNOUNCER (offstage or speaking into a paging

system). Flight 543 to Albuquerque now boarding.
AARON. That’s our flight.
STEPHANIE (to ALEX). Let’s keep talking about this on the
plane. I had no idea you felt this way.
ALEX. OK.
STEPHANIE. Things will be better when we get home. I
promise.
ALEX (smiling). I’d like that.

(STEPHANIE and ALEX hug.)

AARON. We’d better get going so we don’t miss our flight!

FOR AUTHORIZED DIGITAL USE ONLY

34 The Layover

CHARLIE. Let’s go! (Starts running off R.)

STEPHANIE (exasperated). Charlie!
AARON. I’ll get him. (Runs off R.)
STEPHANIE (turning back to the others). Nice to meet all
of you.

(All except DANA wave as STEPHANIE and ALEX cross to

the ticket counter for a moment, if present, and then exit R.
DANA and FRANK return to their seats.)

FRANK (takes EDITH’s hand). Not much longer now.

EDITH (smiling at FRANK). I’m ready.
FRANK. I wish I were.
EDITH. When it’s the right time, I’ll be there, waiting for you.
FRANK. OK. I guess I can live with that.

(He takes EDITH’s hand, kisses it and looks into her eyes.)

DANA. If you’re going to miss each other so much, why

don’t you both just go on the stupid trip?
GABE (calm). It doesn’t work like that.
EDITH. He only has one ticket.
DANA (exasperated). Then have him go and buy a second
ticket!
MICHAEL (calm, in the same tone as GABE). It doesn’t
work like that.
DANA (pointing to the ticket booth or offstage, becoming
more agitated). The ticket booth is right over there!
GABE & MICHAEL. It doesn’t work like that.
DANA (becoming more agitated—perhaps sensing something
is wrong). Fine! I’ll buy the ticket. (Starts looking around.)
Where is my bag?

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 35

EDITH (calm, in the same tone as GABE). Its where it’s

supposed to be.

(TRAVELER enters, wearing a hoodie and earbuds, and

walks to the seating area during the next line.)

DANA (yelling). Someone get this woman a ticket! Please!

GABE, MICHAEL & EDITH (in unison). It doesn’t work
like that.
TRAVELER (to FRANK, takes out his earbuds and indicates
EDITH’s seat). Anyone sitting here?
DANA (incredulously). Are you blind?
FRANK. Yes. This seat’s taken.
TRAVELER (surprised). Oh, OK.

(TRAVELER crosses and sits next to DANA. He leaves one

earbud out and looks at his phone.)

DANA (yelling at TRAVELER). What is wrong with you? Are

you an ageist? You can’t see someone if they’re over the
age of sixty-five?

(TRAVELER doesn’t react at all.)

EDITH. It’s really all right, dear.

DANA. No, it’s not! He totally ignored you.
EDITH. It’s fine.
DANA. It’s not fine! It’s never fine to just ignore someone!
MICHAEL. Why are you getting so upset, Dana?

(DANA stands up and faces TRAVELER directly. TRAVELER

does not look up from his phone.)

FOR AUTHORIZED DIGITAL USE ONLY

36 The Layover

DANA. You might be able to ignore her, but you won’t ignore
me. Why don’t you take out those earbuds and apologize to
Edith for ignoring her?
EDITH. He wasn’t ignoring me, dear.
DANA. Yes he was!
MICHAEL (calmly). He’s not wearing earbuds, Dana.
DANA. Yes he—

(She stops as he takes off his hood, and she sees he’s not
wearing his earbuds.)

DANA (cont’d). Wait, what?

FLIGHT ANNOUNCER (offstage or speaking into a paging
system). Flight 876 to New York now boarding.

(TRAVELER stands, nearly knocking DANA down, who has

to take a step back to avoid him, and crosses to the ticket
counter or off R.)

DANA. What’s going on?

(FLIGHT ATTENDANT enters L, holding a large pink duffle

bag with rainbows and hearts on it. She slowly makes her
way across the stage. Perhaps she is stopped by passengers,
stops by the coffee cart, etc., until FRANK goes to her.)

DANA (seeing the bag). My bag!

(All turn to look at FLIGHT ATTENDANT, except FRANK.)

DANA (cont’d). She’s got my bag!

(DANA starts to rush over to FLIGHT ATTENDANT, but

MICHAEL stops her.)

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 37

MICHAEL. Don’t.
DANA (struggling to break away from MICHAEL). Let me
go! She’s got my bag!
EDITH. Frank will go and check on your bag, dear. (Turning
to FRANK.) Frank, will you find out where that flight
attendant is taking that pink bag?
FRANK. Of course, dear.

(FRANK stands and crosses to FLIGHT ATTENDANT who

is now near the seats.)

FRANK (cont’d). Excuse me.

FLIGHT ATTENDANT (stops). Yes? How can I help you?
FRANK (pointing to the bag). Where are you taking that bag?
FLIGHT ATTENDANT (looks down at the bag, solemnly). I
have to take it to security.
DANA (struggling against MICHAEL). Security! Why?
There’s nothing bad in my bag. Does she think there’s a
bomb in there or something? Why does everyone always
think I’m a criminal?
FRANK. Why are you taking it to security?
FLIGHT ATTENDANT (nervously, looking around). I … I
don’t know if I should say.
DANA (struggling against MICHAEL). Give me back my bag!

(FRANK looks back at EDITH, uncertainly.)

EDITH. Frank, please.

FRANK. I don’t mean any harm, I promise.
FLIGHT ATTENDANT. All right. (Takes a deep breath.)
There was an incident … on an earlier flight.

FOR AUTHORIZED DIGITAL USE ONLY

38 The Layover

FRANK. I think I heard something about that—some kind of

medical issue?
FLIGHT ATTENDANT. That’s right. A girl … about
nineteen years old. She— (Stops, emotional, the words
caught in her throat.)
EDITH (putting a hand to her heart). Oh dear.
DANA (loosening herself from MICHAEL’s grasp, but not
advancing any closer to her bag. Nervously). What is it?
What happened?
FLIGHT ATTENDANT (tearfully). There wasn’t anything
we could do.
FRANK. You mean she’s— (Stops, unable to say the rest.)
FLIGHT ATTENDANT (sadly). Yes.
DANA (anxiously). What? What happened to her?
FLIGHT ATTENDANT. One minute she was fine and the
next minute … (Stops and thinks.) Her behavior was really
erratic—running up and down the aisle, giving the flight
attendants a hard time, messing with the other passengers.
Something wasn’t right with that girl.
DANA. Maybe it wasn’t the girl’s fault! Did you ever think
of that?
FLIGHT ATTENDANT (leaning into FRANK). A few of the
other attendants think she was on drugs.
DANA. Drugs!
FLIGHT ATTENDANT. The medical examiners are here.
We won’t get the report back for a few days.
FRANK. How awful.
EDITH (to FRANK). And the bag?
FRANK (indicating the bag). And the bag?

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 39

FLIGHT ATTENDANT. Security will know what to do.

They’re the ones who handle the luggage of passengers
who have died.
DANA. Died?
FLIGHT ATTENDANT (looking at the bag). It’s a shame,
isn’t it? At some point, maybe when she was little, this girl
loved hearts and rainbows. And now she’s gone.
FLIGHT ANNOUNCER (offstage or speaking into a paging
system). Flight 971 to Paris now boarding.
FRANK (looking up). That’s my flight.
FLIGHT ATTENDANT (smiling, as best she can). Have a
good trip.

(FLIGHT ATTENDANT exits, carrying the bag. DANA

watches the bag as it exits.)

DANA (to herself). Died?

FRANK (crossing to EDITH). Well, I guess it’s time.
EDITH. I guess it is. (Stands.)
FRANK (takes ticket and itinerary out of his pocket and looks
at it, sadly). I don’t know if I can do this without you.
EDITH. You can and you will. (Taking FRANK’s hand.) Can
you do one thing for me?
FRANK. Anything.
EDITH (smiles). Enjoy every minute. See the world. Make
new friends. Smile often. Laugh a lot. And when it’s your
time, I’ll be here—ready and waiting.
FRANK. I’ll do my best.

(FRANK and EDITH look up at the sound of the FLIGHT

ANNOUNCER.)

FOR AUTHORIZED DIGITAL USE ONLY

40 The Layover

FLIGHT ANNOUNCER (offstage or speaking into a paging

system). Final boarding for flight 971 to Paris.
FRANK (looking back at EDITH). I’ve got to go.
EDITH. Safe travels, my love.
FRANK. You too, sweetheart.

(They embrace/kiss. FRANK picks up his bag, blows EDITH

a kiss and crosses R to ticket counter and/or offstage.)

DANA (looking back and forth between EDITH and

MICHAEL, anxiously). I … I don’t understand.
EDITH. Frank can’t go where I’m going, dear. It’s not his time.
DANA. Where are you going?
GABE (crossing to EDITH). She’s coming with me.
DANA. With you? (Alarmed, looking back and forth between
GABE and MICHAEL.) I thought you two were just travel
buddies. Where are you guys taking her?
MICHAEL. Not both of us.
GABE. Just me. And I’m taking her somewhere where she
can relax and reflect on the good life she’s had—where she
can enjoy the fruits of her lifetime.
EDITH. Heaven?
GABE (smiling at EDITH). You could call it that. (Holds out
his arm.)
DANA. But I thought this was an airport.
MICHAEL (with a smirk). They don’t call it a terminal for
nothing.
DANA (shocked). Really?
MICHAEL (chuckles). No, not really. That was a joke.
DANA (reproachfully). A joke?
MICHAEL (sheepishly). Admittedly not a good joke.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 41

GABE. You can say that again.

DANA (thinking to herself). I thought I was just here on a
layover.
EDITH (crossing to DANA). You were, dear. (Takes DANA’s
hand.) A layover’s just a period of waiting before the next
stage in your journey. For Frank and I, we just needed a
little more time to say goodbye. For you—maybe you just
needed a little more time to get used to the idea that your
life on earth is over.
DANA (alarmed). Does that mean everyone here is dead?
(Realizing, sorrowfully.) That poor little baby!
MICHAEL. That baby is fine! Not everyone here is dead.
Some are just passengers waiting for their flights.
DANA. Could they see me? Hear me?
MICHAEL. No.
DANA. But that baby …
MICHAEL. Babies are a lot more open minded than people
realize. They perceive things others don’t.
DANA. And that girl—Alex? She and I had a whole
conversation.
MICHAEL. You didn’t. She wasn’t talking to you.
DANA. She was looking right at me!
MICHAEL. Except she wasn’t.
DANA. And that crazy girl—Jackie—the one that security
guard was chasing?
GABE. Oh, she was dead.
MICHAEL. Rick has the same job we do, only he’s here
to take souls to the “other place.” (Uses air quotes when
saying “other place.”)
DANA. The other place?

FOR AUTHORIZED DIGITAL USE ONLY

42 The Layover

(MICHAEL grits his teeth, uncomfortably, and points down

to the ground.)

DANA. OK, but what about Frank and Edith? She’s dead and
he talked right to her!
GABE. When a couple have been together as long as Frank
and Edith, they share a connection that is stronger than death.
That’s why Frank could see Edith, but no one else could.
DANA (coming to terms, ruefully). Well that explains the jerk
with the earbuds. I guess I was wasting my energy yelling
at that guy.
MICHAEL. You have to admit that was pretty funny. Gabe
and I enjoyed it, didn’t we Gabe?
GABE. You put on quite the show, Dana.
DANA (realizing). Wait a minute! If no one could see Edith
or I, then how could they see and talk to you guys?
GABE. Michael and I are celestial beings—we can make
ourselves visible to humans whenever we want.
MICHAEL (shrugs his shoulder). Perk of the job I guess.
GABE. Speaking of jobs, I really should do what I came here for.
(Turning to EDITH and holding out his arm.) Are you ready?
EDITH (taking his arm). Ready as I’ll ever be.

(Perhaps a bright light shines from off R. GABE and EDITH

start to walk toward R. EDITH taps GABE’s arm, and they
stop, turning back to DANA.)

EDITH (cont’d). I meant what I said before, dear.

DANA. What’s that?
EDITH. That deep down inside you really are lovable.
DANA (turning away, uncomfortable). You don’t know me.

FOR AUTHORIZED DIGITAL USE ONLY

 The Layover 43

EDITH. You’re right. I don’t know what you did in your

life—what awful things you’ve seen, what tragedies you’ve
experienced, what poor choices you’ve made. But the
things you’d rather forget aren’t all that you are. Like the
flight attendant said, somewhere inside is still a girl who
loves hearts and rainbows. I just know it. Remember that
when you figure out where you’re going next.
DANA. Aren’t I going the same place you are?
EDITH (smiling). I sure hope so.

(EDITH takes GABE’s arm, and they exit R, perhaps into

the light.)

DANA (to MICHAEL, alarmed). What does she mean?

What’s going to happen to me?
MICHAEL. To a certain extent that’s up to you.
DANA. Up to me? How?
MICHAEL. Don’t get me wrong, there’re some questions to
be answered … hoops to jump through. It’s not a guarantee
by any means. Your life and the choices you made will be
evaluated. It won’t be easy, let me tell you. But when all
is said and done, you have to decide if you’re willing to
take a hard look at your life—good and bad—all for the
possibility of a better hereafter. And to do that you first
need to decide for yourself who you were during your time
on earth. Were you your mistakes? Your bad choices? Your
faults? Or were you something more?
DANA (anxiously). I … I don’t know! Ever since I can
remember, everyone I know—my teachers, my friends, my
parents—they’ve seen me as the bad kid. That’s all I know.
MICHAEL. But is that all you are?
DANA. I … I hope not.

FOR AUTHORIZED DIGITAL USE ONLY

44 The Layover

(RICK enters from L. He takes a few steps toward DANA

and stops.)

MICHAEL (seeing RICK, nods at him). Rick.

RICK (nodding back at MICHAEL). Michael.

(RICK crosses his arms and looks at DANA.)

DANA (panicking). Wait a minute! What is he doing here? Is

he here for me? (Pleadingly.) Tell me he’s not here for me!
MICHAEL. No, Dana— (Pauses.) you tell me.

(DANA looks back and forth between MICHAEL and RICK

as lights black.)

End of play.

FOR AUTHORIZED DIGITAL USE ONLY

 PRODUCTION NOTES
SET: The play can be done on a bare stage with two banks
of eight chairs set up in rows of four with two of the rows
facing the other two rows. If creating a more elaborate set, I
suggest that a large window be placed upstage. This could be
done with simple framework, as a painted backdrop or with
projections that could also feature airplanes taking off and
landing in intervals. If using a check-in counter for the flight
announcer, that should be placed upstage right so as not to
interfere with the main action. If you choose to have a coffee
cart with a barista onstage, that should be placed upstage left.
Otherwise, when characters reference getting a snack/drink,
then can enter/exit to do so.

COSTUMES: Modern-day attire. The flight attendant, check-in

officer and any other airport personnel should be dressed in a
uniform accordingly. Frank and Edith should be dressed in attire
befitting their age. Dana and Alex should be dressed youthfully.
Charlie/Charlotte should be dressed in attire befitting their age.
Michael/Michaela and Gabe/Gabrielle should wear clothing in
shades of white and gray. It shouldn’t be overly obvious … at
first. Perhaps they wear gray pants and a gray jacket, but when
they take off their jacket they are in a startlingly white shirt/
dress. Rick should wear primarily black with red accents but
should appear to also be in a uniform befitting a security guard.
Traveler should wear a hoodie. If a barista is present on stage,
he/she should wear an apron.

PROPS: Bags of various styles (5), plane ticket/itinerary (7),

small rolling suitcases (2), diaper bag, baby’s bottle, burp cloth,
cellphones (2), travel cup of coffee, wallet with photos, earbuds,
pink duffle bag with hearts and rainbows on it.

45
FOR AUTHORIZED DIGITAL USE ONLY
 NOTES

FOR AUTHORIZED DIGITAL USE ONLY

 NOTES

FOR AUTHORIZED DIGITAL USE ONLY

 NOTES

FOR AUTHORIZED DIGITAL USE ONLY