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A monologue from the musical by Lisa Lambert and Greg Morrison (Based on the book by Bob Martin and Don Mckellar)
Okay. Now here it comes. The moment I was talking about. Not only the culmination of the plot, but a moment
that has fascinated me more than any other and that has brought me back to this record again and again. Here it comes. You see?
You can’t quite make out what she says because someone drops a cane. I’ll play it for you again. Is she saying “live while you can”, or “leave while you can,”?
I mean, it’s Beatrice Stockwell, so it might just be a cynical quip, but this is a wedding and that’s exactly what you think when you’re standing at the altar, isn’t it, “Live” or “Leave” and you have to live.
Because you do love her in some way. It’s not an exact science. An arrow doesn’t come out of the sky and point to the one you’re supposed to be with.
So, one day you say it to someone, you say “I love you” and you basically phrase it as a question, but they accept it as fact
and then suddenly there she is standing in front of you in a three thousand dollar dress with tears in her eyes, and her nephew made the huppah, so what do you do?
Do you say I was kidding, I was joking? No, you can’t! You live, right? You choose to live.
And for a couple of months you stare at the alien form lying next to you in bed and you think to yourself “Who are you? Who are you?”
And one day you say it out loud… then it’s a trial separation and couples counseling
and all your conversations are about her eating disorder and your Zoloft addiction, and you’re constantly redefining and re-evaluating and revisiting
before you finally lose the deposit on the house and the whole “relationship” boils down to an animated email on your birthday.
But still, in the larger sense, in a broader sense, it’s better to have lived than left, right?
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