Tonight we completed what appears to be the final scene of Norton Street. Rather than ending with a grand explanation of the universe, the story quietly returns to the ordinary. Bornless has confronted the ultimate mystery, only to discover that even after the greatest revelations, life still seems to revolve around simple comforts, familiar routines, impossible escape plans, and the hope that perhaps tomorrow will make a little more sense than today.
As we developed this final scene, the world of KGOD became fully woven into the play. The station announcements, weather reports, commercials, and community bulletins no longer feel like interruptions—they’ve become part of the fabric of Norton Street itself, commenting on the action with the same mixture of absurdity, humor, and unexpected insight that has characterized the project from the beginning.
The ending deliberately refuses to answer every question. Instead, it leaves Bornless exactly where many of us find ourselves: searching, wondering, laughing at the impossible, and somehow carrying on. The final words, “I’ve got to get out of here,” are both comic and deeply human. They suggest that the search itself may be the real story.
Ironically, although we’ve now reached the end of the play, one important task remains. Long ago I received a piece of writing advice that has stayed with me ever since: leave the first chapter for last. Now that we’ve traveled the entire journey, we finally know what the opening scene is really supposed to accomplish. Tomorrow we’ll return to Act One, Scene One—the theater itself—and complete the circle by writing the beginning with the benefit of knowing the development and the ending.
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Here’s the Bardo bus now!
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See You At The Top!!!
gorby