Christopher Ciancimino

With a debt collector hot on his trail, Harvard graduate Billy Schine enrolls in a clinical drug trial to make a quick buck. Carted out of New York City in a shuttle full of oddball characters, Billy and the rest of the guinea pigs, affectionately referred to as "Normals," camp out at hidden research facility. When not popping pills, being tagged, drained of blood, prodded, poked and color-coded, they are telling horror stories of previous tests or generally getting on each other's nerves. As the test drags on, just being there starts to take its toll, and tensions build until the dam finally bursts. Billy realizes that there is no such thing as "normal."

In the insulated bubble of white Apartheid South Africa, Marnus, a sheltered 11-year old boy accuses the grandson of his family’s domestic worker of steeling his fishing rod. A brutal chain of events is set in motion, shattering the illusion of his family’s wholesome facade.

An elderly woman enters a Manhattan subway station only to find herself sitting on a bench beside an elderly man of roughly the same age. As they sit and wait for their train in silence, two complete strangers on a bench, what the audience soon learns that they themselves don't know, is that they once shared the happiest day of their lives, playing together as children. Yet it's now too far back for them to remember anymore, too far back for them to recognize each other anymore. The story then shifts back and forth between the breathtaking landscape of their unconscious', as Isabel Lucas and Oliver Ackland play more youthful representations of how they see themselves inside, and search for the memory they once shared.

With a debt collector hot on his trail, Harvard graduate Billy Schine enrolls in a clinical drug trial to make a quick buck. Carted out of New York City in a shuttle full of oddball characters, Billy and the rest of the guinea pigs, affectionately referred to as "Normals," camp out at hidden research facility. When not popping pills, being tagged, drained of blood, prodded, poked and color-coded, they are telling horror stories of previous tests or generally getting on each other's nerves. As the test drags on, just being there starts to take its toll, and tensions build until the dam finally bursts. Billy realizes that there is no such thing as "normal."

In the insulated bubble of white Apartheid South Africa, Marnus, a sheltered 11-year old boy accuses the grandson of his family’s domestic worker of steeling his fishing rod. A brutal chain of events is set in motion, shattering the illusion of his family’s wholesome facade.

An elderly woman enters a Manhattan subway station only to find herself sitting on a bench beside an elderly man of roughly the same age. As they sit and wait for their train in silence, two complete strangers on a bench, what the audience soon learns that they themselves don't know, is that they once shared the happiest day of their lives, playing together as children. Yet it's now too far back for them to remember anymore, too far back for them to recognize each other anymore. The story then shifts back and forth between the breathtaking landscape of their unconscious', as Isabel Lucas and Oliver Ackland play more youthful representations of how they see themselves inside, and search for the memory they once shared.