The Giver

(Two-Act Version)

A play by
ERIC COBLE

Based on the book by

LOIS LOWRY

Dramatic Publishing Company

Woodstock, Illinois ● Australia ● New Zealand ● South Africa

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 The Giver
(Two-Act Version)

CHARACTERS
FATHER: Jonas’ good-natured father.
MOTHER: Jonas’ good-natured mother.
LILY: Jonas’ 7-year-old sister. May double as ROSEMARY.
JONAS: an 11-year-old about to grow older.
ASHER: Jonas’ best friend, 11 years old.
FIONA: another friend of Jonas’, also 11. May double as
ROSEMARY.
LARISSA: an old woman in need of care.
The CHIEF ELDER: the master of the ceremony.
The GIVER (OLD MAN): an old man about to change.
ROSEMARY: a young girl from the past.
VARIOUS VOICES: as many extras as desired as members
of the community.

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PLACE: In and around the

community. TIME: Soon.

PRODUCTION NOTES: The play can be performed by as few

as six actors: 4 men (Father, Jonas, Asher, the Giver) and 2
women (Mother / Chief Elder, Lily / Fiona / Rosemary /
Larissa).

The play must move quickly, using light shifts and sound as
Jonas is pulled from place to place, as opposed to elaborate
sets that take time to bring on and off. There should be NO
blackouts. All residents of this world, including the adults,
should speak in natural contemporary ways, NOT as
emotionless robots. The strangeness of this society appears in
word choices and what is not said, rather than in “science
fiction” behavior.

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 The Giver
(Two-Act Version)

AT RISE: In the darkness, the sound of a jet plane ROARS

overhead. Pause. Then a CALM VOICE echoes around us.

VOICE (V.O.). Attention. There is no cause for alarm. The

low-flying airplane seen over the Community today
was not a threat. A pilot-in-training merely misread his
navigational instructions and made a wrong turn.
Realizing he was breaking the rules, he was trying to find
his way back before his error was noticed. He apologizes
for any alarm he may have raised. (Beat) Needless to say,
he will be released.

(Silence. Then lights come up on a family eating at a

simple table: FATHER, MOTHER, 7-year-old LILY and
11-year- old JONAS. They all wear comfortable grey
clothes and eat cheerfully in a harsh white light.)

FATHER. Who wants to be the first tonight for feelings?

LILY. I felt very angry this afternoon. My Childcare group
was at the play area and we had a visiting group of
Sevens, and they didn’t obey the rules at all. I was so
angry at one male, I made my hand into a fist, like this.
(She demonstrates.)
FATHER. Where were the visitors from?
LILY. Some other Community. I don’t remember.
MOTHER. How did you feel when your group of Sixes
visited another Community last year?

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 7

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8 The Giver (Two-Act Version) ACT I

LILY. Strange. They were learning usages my group hadn’t

learned yet, so we felt stupid.
FATHER. Do you think that the boy today felt strange and
stupid, being in a new place with rules he didn’t know
about?
LILY. … Yes.
MOTHER. I feel a little sorry for him.
LILY. Me too. And sorry I made a fist. Thank you.

(They continue eating.)

FATHER. Well, I’m feeling a little

worried. MOTHER. What about?
FATHER. One of the newchildren isn’t doing well.
LILY. What gender is it?
FATHER. Male. He’s a sweet little male, but he’s not
growing as fast as he should and he doesn’t sleep soundly.
The other Nurturers and I have him in the extra care
section, but the Committee’s beginning to talk about
releasing him.
MOTHER. Oh no. I know how sad that must make you feel.
FATHER. I may ask the Committee for permission to bring
him here at night, if you don’t mind. I don’t want to trust
him to the night crew. I think he needs something extra.
MOTHER. Of course.
LILY. Maybe we could even keep
him! MOTHER. Lily—
LILY. I know. Two children to each family. Very
clear. FATHER. Thank you.
MOTHER. Jonas?

(JONAS has been staring at his food.)

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ACT I The Giver (Two-Act Version) 9

FATHER. Jonas.
JONAS. What?
FATHER. We’re sharing feelings. Anything you want to share?

(Beat. He looks at them)

JONAS. I’m feeling … apprehensive.

FATHER. Why is that, son?
JONAS. I know there’s really nothing to worry about, every
adult’s been through it, you and Mother and everybody.
But
… it’s almost December.

(They look at each other.)

LILY (almost whispered). The Ceremony of

Twelve. FATHER. … I’m glad you told us your
feelings.
MOTHER. Lily, go get on your nightclothes. Father and I
are going to talk to Jonas for a while.
LILY. But—
FATHER. Lily.
LILY. Privately?
MOTHER. Yes. This talk will be a private one with Jonas.

(LILY gives her brother a final look and walks out. FATHER
takes a sip of coffee. Silence. They wait.)

FATHER. When I was an Eleven as you are, Jonas, I was

very impatient waiting for the Ceremony of Twelve. I
enjoyed the Naming of the Ones as I always do, but I
didn’t much pay attention to the other ceremonies, except
my sister—she became a Nine that year, and we watched
and cheered when she removed her hair ribbons and got

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her bicycle. I’d been training her on mine, even though I
wasn’t supposed to.

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10 The Giver (Two-Act Version) ACT I

(MOTHER and JONAS laugh.)

JONAS. Everybody breaks that rule.

MOTHER. I think the Committee is looking into lowering
the age of bicycle-riding—
JONAS. Which means the children will be Elders by the
time any change is made.
FATHER. So I cheered Katy and her bike and I didn’t pay
much attention to the Tens and Elevens and finally at the
end of the second day, it was my turn—
JONAS. The Ceremony of Twelve.
FATHER (nods). My parents looked so proud. Even my
sister—though she wanted to be out riding that bicycle
publicly—but to be honest, there wasn’t the suspense
there is for your Ceremony. I was already fairly certain
what my assignment was going to be.
JONAS. How? It’s a secret. The Committee of Elders don’t
tell anyone what their assignment’s going to be—
MOTHER. Yes, how’d you know?
FATHER. I knew what my gift was. When my friends in my
age group were holding bike races or building vehicles or
bridges with their construction sets—
JONAS. Like I do with my friends—
FATHER. I was always drawn to newchildren. I spent all my
volunteer hours at the Nurturing Center. The Elders knew
that.
JONAS. They’ve been watching me a lot at school. They
watch all the Elevens and take notes.
FATHER. They don’t make mistakes. So when my
assignment was announced as Nurturer, it wasn’t a big
surprise. It was what I most wanted.

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ACT I The Giver (Two-Act Version) 11

JONAS. But I don’t know what I most want. I don’t know

what my gift is. What if I’m disappointed with my
assignment?
MOTHER. They’ll find exactly the right assignment for
you. Don’t worry. (She rumples his hair.) And after your
Ceremony you’ll be training with your Assignment Group
—
FATHER. No more volunteer hours. No more recreation
hours. Your old friends won’t be as close—
JONAS (shaking his head). But Asher and I will always be
friends, right? And we’ll still be in school—
FATHER. Absolutely. There’ll just be changes.
MOTHER. Good changes, though. After my Ceremony,
when I entered my training for Law and Justice, I found
myself with people who shared my interests. I made
friends on a new level, friends of all ages—
JONAS. Did you still play after Twelve?
MOTHER. Occasionally. But it didn’t seem as important to
me.
FATHER. I still do! Every day in the Nurturing Center.
Bounce on the Knee, Peek-A-Boo, Hug the Teddy. Fun
doesn’t end when you become Twelve.

(LILY walks in wearing a grey nightgown, with a stuffed

elephant.)

LILY. This is certainly a very long private conversation.

(MOTHER and FATHER laugh and begin clearing the table.)

FATHER. I’ll come help you remove your hair-ribbons,

Lily- Billy.
LILY (looking at her stuffed animal). Are all comfort objects
imaginary creatures?

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12 The Giver (Two-Act Version) ACT I

FATHER. I think so. Yours is an “elephant,” right?

LILY. Right.
JONAS. Mine was a “bear.”

(FATHER, MOTHER, LILY are gone as 11-year-old ASHER

charges on-stage in a grey tunic, awkwardly. Lights shift.)

ASHER. Mine was a “dolphin.”

ANNOUNCER (V.O.). Twelve Days Until the Ceremony.
DIFFERENT ANNOUNCER (V.O.). Attention. This is a
reminder to Females under Nine, that hair ribbons are to
be neatly tied at all times.
ASHER. That has to be about your sister.
JONAS. Of course it is. Her ribbons are always a mess.

(They pass a basket of grey apples.)

ASHER. Throw me an
apple. JONAS. Asher—
ASHER. What? I need to improve my hand-eye
coordination, don’t I?
JONAS. No doubt.

(JONAS scoops up an apple and tosses it to ASHER as they

spread out, playing catch.)

ASHER. You know what I don’t want to be assigned? I

could never be an Instructor of Threes.

(JONAS laughs.)

ASHER (cont’d). Can you imagine me teaching them precise

language?

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ACT I The Giver (Two-Act Version) 13

JONAS. Every one of them would be asking for a smack

when they want a snack!
ASHER (drops the apple, scoops it up and tosses it to
JONAS). You’d think after the fourth round of the
discipline wand, I’d have learned not to say, “I want my
smack” at meal time—
JONAS. Remember the lashes on your legs?
ASHER. Remember when I stopped talking altogether?
JONAS. Silent Asher! How we long for those days!
ASHER (throws the apple hard at JONAS). The Threes I’d
be teaching would long for those days—it’d be a total
disappointment—
JONAS. I think you mean
“disaster.” ASHER. “Disaster.”
Exactly.

(And as ASHER throws the apple, for a moment—only

a moment—it changes. It flashes RED … then it lands in
JONAS’ hand. He pauses … looks at it. It’s grey again.)

JONAS. Did …
ASHER. What?
JONAS. Nothing.

(He throws the apple—again, only for a second, it flashes

red in the air. Asher fumbles and drops it.)

JONAS (cont’d). Ash? Does anything seem strange to you?

About the apple?
ASHER. Yes! It keeps jumping out of my hand onto the ground.

(He throws it back as a chime sounds.)

ASHER (cont’d). Back to learning.

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14 The Giver (Two-Act Version) ACT I

(ASHER slumps off. JONAS looks at the grey apple in his

hand a moment longer and then puts it in his tunic pocket
as—
A baby cries. JONAS turns to see LILY, MOTHER and
FATHER walking to the dining table carrying a crying
bundle. Fluorescent light glares.)

LILY. Isn’t he cute?? Look how tiny he is! And he has funny
eyes like yours, Jonas!

(JONAS walks over and looks at the baby.)

MOTHER. Lily, it’s rude to point out differences.

LILY. I apologize, Jonas.
JONAS. Apology accepted.
LILY. But they’re light! Like yours! Maybe he has the same
Birthmother as you!

(JONAS stares at the baby.)

LILY (cont’d). What’s his comfort object called?

FATHER (looks at a tag on the animal). “Hippo” it
says. LILY (giggles). Hippo!

(JONAS walks away, getting his homework out on the table.)

LILY (cont’d). I think newchildren are so cute. I hope I get

assigned to be a Birthmother.
MOTHER. Lily! (LILY recoils.) Don’t say that. There’s very
little honor in that assignment.
LILY. But I was talking to Natasha, she does her volunteer
hours at the Birthing Center, and she told me that the
Birthmothers get wonderful food and most of the time
they just play games while they’re waiting—

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ACT I The Giver (Two-Act Version) 15

MOTHER. For three years, Lily. Three births and then

they’re Laborers for the rest of their lives until they enter
the House of the Old. Is that what you want?
LILY. Well, no. I guess not.

(JONAS finds the apple in his pocket. He takes it out and

looks at it. The baby cries.)

LILY (cont’d). I wish we knew his name.

FATHER. As a matter of fact—I feel a little guilty about this,
but I saw this year’s naming list in the office today.
Number 36—this little fellow—if he makes it to the
Naming without being released—he’s to be Gabriel. I
whisper it to him if no one is around to hear me.

(JONAS looks at them.)

LILY. Hello, Gabriel.

FATHER. I call him Gabe, actually.
JONAS. Gabe. (They all look at him.) It’s a good name.
ANNOUNCER (V.O.). Attention. This is a reminder to
male Elevens that objects are not to be removed from the
recreation area and that snacks are to be eaten, not
hoarded. Thank you.

(JONAS looks at the apple, still grey in his hand. His family
looks at him.)

JONAS. I just wanted to look at it …

(They watch him uncomfortably. He throws it in the trash.)

LILY. I think Gabriel’s asleep.

FATHER. Here. I’ll show you how to feed him.

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16 The Giver (Two-Act Version) ACT I

(They walk out.)

JONAS. Father …

(An 11-year-old girl runs on behind JONAS as lights

shift. This is FIONA. She’s in a grey tunic, carrying
towels. Several bathtubs appear around the stage.)

ANNOUNCER (V.O.). Ten Days Until the

Ceremony. FIONA. Hello, Jonas.
JONAS. Hello, Fiona.
FIONA. You’re doing your volunteer hours in the House of
the Old today?
JONAS. I thought so. Yes. I wanted to see you. I mean I
haven’t seen you in a while. You know.
FIONA. I’m glad you’re here. We celebrated a release this
morning, so that always throws the schedule off a little.
Asher and I are going to help with the bathing. You want
to help?
JONAS. Sure.

(ASHER enters, escorting an OLD MAN to a tub offstage.)

ASHER. Hi, Jonas!

JONAS. Hi, Asher.

(FIONA starts after ASHER with her towels.)

JONAS (cont’d, to FIONA). Maybe we can talk after you’re

done?
FIONA. Maybe. We’ll see.

(And she’s gone as JONAS steps to an old lady

[LARISSA] entering in her grey bathrobe. He reads her
nametag.)

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ACT I The Giver (Two-Act Version) 17

JONAS. Your turn, Larissa. I’ll start the water and help you in.

(He pushes a button on the tub. Sound of running water

as he helps her in and removes her robe. She leans back.)

JONAS (cont’d). Comfortable?

(She nods. He starts gently, steadily, scrubbing her back.)

LARISSA (eyes closed). This morning we celebrated the

release of Roberto. It was wonderful.
JONAS. I knew Roberto! I helped with his feeding last time
I was here, just a few weeks ago—
LARISSA (opening her eyes). They told his whole life
before they released him. They always do, but to be honest
— (Whispers.) Some of the tellings are a little boring. I’ve
even seen some of the Old fall asleep during tellings. Like
when they released Edna—did you know Edna?
JONAS. No.
LARISSA. Well, they tried to make her life sound meaning-
ful—and of course all lives are meaningful—but Edna.
My goodness. She was a Birthmother and then worked in
food preparation for years, she never even had a family
unit— (Confidentially.) I don’t think Edna was very smart.

(JONAS laughs and begins washing her feet)

LARISSA (cont’d). But Robert’s life was wonderful. He had

been an Instructor of Elevens, he’d been on the Planning
Committee, raised two very successful children and did
the landscaping design for the Central Plaza. Not the
labor, of course, but the design!
JONAS. Now your shoulders. (She leans forward and he
scrubs her shoulders and neck.) Tell me about the
celebration.

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18 The Giver (Two-Act Version) ACT I

LARISSA. Well, telling of his life is always first. Then we

all raised our glasses and cheered. We chanted the anthem.
He made a lovely speech, and several of us made speeches
wishing him well. I didn’t though—never fond of public
speaking—He was thrilled. You should have seen the look
on his face when they let him go.
JONAS (pauses). Larissa. What happens when they make
the actual release? Where exactly did Robert go?
LARISSA (shrugs). I don’t know. I don’t think anybody does
except the Committee. He just bowed to all of us and then
walked like they all do, through the special door in the
Releasing Room. But you should have seen his look. Pure
happiness, I’d call it.
JONAS (grins). I wish I’d been there to see it.
LARISSA. I don’t know why they don’t let children come.
Not enough room I guess. They should enlarge the
Releasing Room.
JONAS. We’ll have to suggest that to the Committee. Maybe
they’d study it.
LARISSA (laughs). Right. And maybe have an answer by
the time you’re in here.

(JONAS starts to dry her off— looks to see FIONA

helping her old person out of the room. He starts to call
out … doesn’t.
Lights shift as LARISSA leaves and FATHER and LILY
walk out with Gabe in a basket.)

ANNOUNCER (V.O.). Eight Days Until the Ceremony.

LILY. —And there I was on Mother’s bicycle against the
rules and suddenly there were two security guards—I was
so terrified!

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ACT I The Giver (Two-Act Version) 19

FATHER. Do you think it was a warning dream?

LILY. I guess. Not to take other people’s things.

(JONAS joins them at the table.)

FATHER & JONAS. Thank you for your dream, Lily.

LILY. How about you, Father?
FATHER. No dreams last night. (To baby.) Gabe? Any
dreams? (They laugh.) Jonas?
JONAS. I did dream last night.
LILY. For once!
FATHER. Good. Tell
us.
JONAS. I think I was in the House of the Old.
FATHER. That’s where you were yesterday.
JONAS (nods). But it wasn’t really the same. There was only
one tub in the dream, and I’d taken off my tunic, so my
chest was bare. I was perspiring because it was so warm.
And Fiona was there.
FATHER. Asher too?
JONAS. No. It was only me and Fiona.

(MOTHER enters prepping her work materials.)

JONAS (cont’d). I think I was trying to convince her that she

should get into the tub of water. I wanted to bathe her. But
she wouldn’t. She kept laughing and saying no. (They look
at him.) That’s all.
FATHER. Can you describe the strongest feeling in your
dream? JONAS. … The wanting. I knew she wouldn’t. And
I think I knew she shouldn’t. But I could feel the
wanting all
through me.

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20 The Giver (Two-Act Version) ACT I

MOTHER. Thank you for your dream, Jonas.

(MOTHER and FATHER glance at each other.)

FATHER (standing). Lily, will you walk beside me to

school this morning? We need to be certain the newchild
doesn’t wiggle himself loose.

(LILY and FATHER start out with Gabe. JONAS moves to

join them.)

MOTHER. Wait, Jonas. I’ll write an apology to your

instructor so you don’t have to speak one for being late.

(JONAS sits as LILY and FATHER leave. MOTHER sits

across from him. Pause. They look at each other.)

MOTHER (cont’d). Jonas. The feeling you described as the

wanting? It was your first Stirrings. It happens to
everyone. It happened to Father when he was your age. It
happened to me. It will happen someday to Lily. And very
often it begins with a dream.
JONAS. Do I have to report it?
MOTHER (laughs). You did. In the dream-telling. That’s
enough. JONAS. But what about the treatment? The
Speaker says that treatment must take place—my Ceremony
is about to
happen, I don’t want to go away someplace for treatment
just because of a stupid dream—
MOTHER. No, no, no. It’s just the pills. That’s all. That’s
the treatment for the Stirrings.
JONAS. The ones you
take? MOTHER. Yes.
JONAS. And Asher does too—

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ACT I The Giver (Two-Act Version) 21

MOTHER. Many of your groupmates probably do. The

males at least. And they all will soon. Females too.

(She hands him a pill. He looks at it. Swallows it.)

JONAS. That’s all?

MOTHER. That’s all. But you mustn’t forget. I’ll remind
you for the first weeks, but then you must do it on your
own. If you forget, the Stirrings will come back.
JONAS. How long will I have to take them?
MOTHER. Until you enter the House of the Old. But after a
while you won’t even pay attention to it. (Looks at her
watch.) If you leave right now, you won’t even be late for
school.

(He grabs his bag and starts out.)

MOTHER (cont’d). And Jonas? (He stops.) Thank you again

for your dream.
JONAS (grins). I’m already forgetting it.

(And he charges out to ASHER and FIONA sitting outside

eating as his MOTHER disappears. Lights shift.)

ANNOUNCER (V.O.). One Day Until the Ceremony.

FIONA. Our family is getting a newchild tomorrow. I’m so
excited.
ASHER. I’m just scared.
FIONA. Are you sure “scared” is the right word?
ASHER. I heard about a guy who was absolutely certain he
was going to get assigned Engineer, and instead they gave
him Sanitation Laborer. He went out the next day, jumped
into the river, swam across, and joined the next
Community he came to. Nobody ever saw him again.

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22 The Giver (Two-Act Version) ACT I

JONAS (laughs). Somebody made that story up, Ash. My

father said he heard that story when he was a twelve.
ASHER (looking into the distance). I can’t even swim very
well. My swimming instructor said I don’t have the right
boyishness or something.
FIONA. Buoyancy.
ASHER. Whatever, Fiona. I don’t have it. I sink.
JONAS. Have you ever once known of anyone—I mean
really known for sure, Asher, not just heard a story about it
—who joined another Community?
ASHER. No. But you can. It says so in the rules. If you don’t
fit in, you can apply for Elsewhere and be released. My
mother says that once, about ten years ago, someone
applied and was gone the next day. She told me that
because I was driving her crazy. She threatened to apply
for Elsewhere.
JONAS & FIONA. She was just joking.
ASHER. I know. But it was true, that someone did that once.
Here today and gone tomorrow. Not even a Ceremony of
Release.
JONAS. How can someone not fit in?
FIONA. We’re all going to get just the right assignments.
You’ll see.

(JONAS and ASHER look at each other. Lights shift.)

ANNOUNCER (V.O.). The Ceremony of Twelves.

(LILY races by with MOTHER and FATHER behind her,

FATHER carrying Gabriel, as FIONA, ASHER and
JONAS adjust their tunics, preparing.)

LILY (to JONAS). I hope you get Pilot! Then you can take
me flying!

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ACT I The Giver (Two-Act Version) 23

JONAS. Sure I will. And I’ll get a special little parachute

that just fits you and I’ll take you up maybe 20,000 feet
and open the door and—
MOTHER. Jonas.
JONAS. I was only joking. I don’t want to be a Pilot. If I get
Pilot I’ll put in an appeal—
ASHER. I’d take it.
JONAS. I’m glad Gabe’s here and not being released.
FATHER (to Gabriel). You get one more year to see if you
grow sufficiently, little guy. We’ll have to sign a pledge
not to get too attached—we can discuss this later—into
the auditorium, everyone—arrange by number—scoot!
Scoot!

(They all sit in a line, spread across the stage, facing us

as lights shift. JONAS, FIONA and ASHER are close
together, LILY and MOTHER further away. All are
nervous, excited. This is it.)

ASHER (to JONAS). Ready, Number Nineteen?

JONAS. Ready, Number Eighteen. How about you, Number
Twenty?
FIONA. I think I’m ready. I just need to keep breathing.

(A man [or woman] steps out in front of them all, facing us.
This is the CHIEF ELDER.)

CHIEF ELDER. Welcome. Today is very special. You

Elevens have spent all your years until now learning to fit
in, to curb any impulse that might set you apart from the
group. But today you are Twelves. Today we honor your
differences. They have determined your futures. We have
with us today those with unusual scientific aptitudes, love

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24 The Giver (Two-Act Version) ACT I

of newborns, love of caretaking— (JONAS and ASHER

look at FIONA, who sits up straighter.) and many other
skills. The Elders have observed you carefully all year,
and today you receive your assignments. Number One?
(Facing out to us.) Madeline will receive the assignment
of Fish Hatchery Attendant. (Applause.) Madeline, thank
you for your childhood.

(JONAS leans over to ASHER.)

JONAS. I’m glad that assignment’s been

taken. ASHER. I would have taken it.
CHIEF ELDER. Number Two. Inger—will receive the
assignment of Birthmother.

(Applause.)

ASHER. I would have taken that.

JONAS. You can’t be a Birthmother, Asher.
CHIEF ELDER. Inger, thank you for your childhood. Three—
ASHER. I don’t think I can wait—

(Lights and sound shift—We hear a heartbeat … the CHIEF

ELDER continues counting, but her words are distant.)

CHIEF ELDER. —Five. Six—

(Heartbeat continues … The Ceremony continues as

everyone applauds in slow motion—JONAS looks around
— there it is—his family flashes red. Just for a moment.)

CHIEF ELDER (cont’d). —Thirteen. Fourteen—

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ACT I The Giver (Two-Act Version) 25

(More slow distant applause. Heartbeats … JONAS looks

— ASHER and FIONA flash red for a moment … then the
audience itself … then everything shifts back to real time,
real space. Heartbeat stops.)

ASHER. Isaac just got assigned Instructor of Sixes. I

could’ve been Instructor of Sixes—
FIONA. Quiet, Number Eighteen.
CHIEF ELDER. —Eighteen. Asher?

(ASHER stands nervously and walks up to stand beside

the CHIEF ELDER.)

CHIEF ELDER (cont’d). When the Committee began to

decide Asher’s assignment, there were some possibilities
that were immediately discarded. For example, we did not
consider designating Asher an Instructor of Threes,
teaching them precise language. (Laughter. ASHER
glances at JONAS.) But today his lapses are very few. His
corrections and apologies are very prompt and his good
humor is unfailing. Asher. We have given you the
assignment of Assistant Director of Recreation.

(Cheers. JONAS and FIONA applaud happily as the

CHIEF ELDER places a badge on ASHER’s tunic and
hands him a folder. ASHER returns to his chair.)

CHIEF ELDER (cont’d). Asher. Thank you for your

childhood.

(JONAS sits up straight … LILY and MOTHER are eager …

FIONA gives him a nudge on the elbow …)

FIONA. Ready, Number Nineteen?

CHIEF ELDER. Number Twenty.
Fiona.
FOR AUTHORIZED DIGITAL USE ONLY
26 The Giver (Two-Act Version) ACT I

(Pause. They stare. The crowd goes silent.)

CHIEF ELDER (cont’d). Number Twenty. Fiona.

(FIONA hesitates … She stands and walks to the CHIEF

ELDER. JONAS stares … The CHIEF ELDER begins
speaking silently about FIONA.)

ASHER. What happened?

JONAS. … I don’t know …
ASHER. She skipped you!
JONAS. I … I don’t know.
ASHER. What did you do wrong??
CHIEF ELDER. Fiona, we have given you the assignment of
Caretaker of the Old. Thank you for your childhood.

(JONAS sinks in his chair. MOTHER looks terrified.

ASHER wants to scoot away. Slight applause as FIONA
sits back down with her badge and folder. She doesn’t look
at JONAS.
Silence.)

CHIEF ELDER (cont’d, to the audience). I know that you

are all concerned. I have caused you all anxiety. I
apologize to my Community.
ALL. We accept your apology.
CHIEF ELDER. Jonas. I apologize to you in particular. I
caused you anguish.
JONAS. … I accept your apology.
CHIEF ELDER. Please join me. (JONAS does, shakily.
CHIEF ELDER puts her arm around JONAS’ shoulder.)
Jonas has not been assigned. Jonas has been selected.
(JONAS blinks.) Jonas has been selected to be our next
Receiver of Memory.
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ACT I The Giver (Two-Act Version) 27

(A gasp from the crowd—from MOTHER—JONAS looks

around.)

CHIEF ELDER (cont’d). Such a selection is very, very rare.

Our Community has only one Receiver. It is he who trains
his successor. We have had one Receiver for a very long
time.

(Lights come up on an OLD MAN standing in the row.

He has light eyes and a beard, and he is watching JONAS
intently.)

CHIEF ELDER (cont’d). We failed in our last selection. It

was ten years ago and I will not dwell on the experience
because it causes us all terrible discomfort. (JONAS shifts
uneasily.) We have not been hasty this time. We could not
afford another failure. With other Twelves we can monitor
training and modify behavior, but the Receiver-in-training
cannot be observed, cannot be modified. He is to be alone,
apart while he prepares for the most honored job in the
Community. Jonas has shown all the qualities a Receiver
must have. Intelligence, integrity, courage—Jonas, the
training required of you involves pain. Physical pain.
(JONAS looks at him.) You have never experienced that.
Yes, you have scraped your knees in falls from your
bicycle. Yes, you crushed your finger in a door last year.
(JONAS nods.) But you will be faced now with pain of a
magnitude that none of us here can comprehend because
it’s beyond our experience. The Receiver himself was not
able to describe it, only to remind us that you would need
immense courage to face it. (JONAS looks at the OLD
MAN.) You will also need wisdom, which will come with
training. And finally the Receiver must have a quality
which I can name but not describe. None of us will
understand it. But perhaps Jonas will. The Receiver calls it
the Capacity to See Beyond.
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28 The Giver (Two-Act Version) ACT I

(JONAS looks around … unsure … And there it is—all

his friends and family—they’re in color for the first time
—only for a split second, and then it’s gone again.)

JONAS. … I think it’s true. I don’t understand it yet. But

sometimes I see something. And maybe it’s beyond.
CHIEF ELDER (hands JONAS a folder). Jonas. You will be
trained to be our next Receiver of Memory. We thank you
for your childhood.

(The CHIEF ELDER walks off, leaving JONAS standing,

staring at us.
Then a sound in the crowd—his name whispered.
“Jonas.” Then another … “Jonas.” Another. All start
saying it—“Jonas”—louder faster—“Jonas. Jonas
Jonas”— chanting, accepting, giving him new life—he
smiles— “JONAS”—unsteady—“JONAS”—windswept
—“JONAS JONAS JONAS JONAS!!”
They all freeze. Lights shift. JONAS turns to see the
others break free of the lines, collecting bicycles to go
home. ASHER and FIONA are whispering.)

JONAS. Ash! Congratulations!

ASHER (a fraction of a beat—he takes a slight step back).
Thanks. Congratulations.
JONAS. Want to ride home, Recreation Director?
ASHER. … I’m going with my parents. I’ll see you
tomorrow though.

(He’s out of there. MOTHER, FATHER and LILY walk by

with bikes, hugging JONAS.)

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ACT I The Giver (Two-Act Version) 29

MOTHER. You’ve been greatly honored. Your father and I

are very proud.
FATHER. It’s the most important job in the Community.
JONAS. What did the Chief Elder mean about the person
before me failing? What happened to him?
MOTHER. Her, not him. It was a female. But we are never to
speak her name.
JONAS. What happened to her?

(Pause.)

FATHER. We don’t know. We never saw her again.

(Silence.)

MOTHER. You’ve been greatly honored, Jonas. Greatly

honored.
FATHER. We’ll talk at home.

(They walk off, LILY staring at JONAS as they leave. JONAS

turns to see FIONA leaving with her bike.)

JONAS. Fiona. (She pauses.) Congratulations.

FIONA. Thank you. Have you read your folder yet?
JONAS. The rules and instructions. I completely forgot.
(Opening his folder.) Have you read yours?
FIONA. I started. It’s a lot of material.
JONAS (pulls out a paper, looks for more). Mine is just one
sheet.
FIONA. It’s private. I’m not supposed to read
it. JONAS. I know.

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30 The Giver (Two-Act Version) ACT I

(He scans the paper—lights come up on the OLD MAN

facing forward, speaking what JONAS reads.)

OLD MAN. Jonas. Receiver of Memory. One: Go

immediately at the end of school hours each day to the
Annex entrance behind the House of the Old. Two: Go
immediately to your dwelling at the conclusion of
Training Hours each day. Three: From this moment on
you are exempted from rules governing rudeness. You
may ask any questions of any citizen and you will receive
answers. Four: Do not discuss your training with any other
member of the Community, including parents and Elders.
Five: From this moment on you are prohibited from
dream-telling. Six: Except for illness or injury unrelated
to training, do not apply for any medication. Seven:
You are not permitted to apply for release. Eight: You
may lie.

(Silence. Lights go out on the OLD MAN. JONAS quickly

puts the paper in his folder.)

FIONA. Are your rules clear enough?

JONAS. … Yes.
FIONA. I’m going to the House of the Old. I don’t know
why I’m nervous, I’ve been there so often before.
JONAS. … Everything’s different now.
FIONA (nods, looks at him). I don’t want to be late. (She
starts away, turns back.) If we finish at the same time, I’ll
ride home with you.
JONAS. I’d like that.

(And she’s gone. He sets his bike down and steps to a

room. Lights shift, possibly a scrim rises and we see it for
the first time—it’s unbelievable.

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ACT I The Giver (Two-Act Version) 31

BOOKS. Columns and walls and furniture made of

books. From floor to ceiling, thousands of ancient books,
modern books, huge books, tiny books. A world of books.
But they’re all black and white and grey.
JONAS gapes. The OLD MAN steps out behind him.)

OLD MAN. Hello.

(JONAS jumps—turns—bows.)

JONAS. Hello. I’m Jonas.

OLD MAN. I know. Welcome, Receiver of Memory.
JONAS. Sir, I apologize for my lack of understanding—
OLD MAN. No apologies in this room. We haven’t time.
JONAS. But I think you are the Receiver of Memory, I’m
not anything at all—
OLD MAN. When I became a Twelve, I was selected as you
have been. I was frightened as you are. I came to this very
room to begin my training. The previous Receiver seemed
just as old to me as I do to you. He was just as tired as I
am today. Simply stated, my job is to transmit to you all
the memories I have with me.
JONAS. Sir. I would be very interested to hear the story of
your life and—
OLD MAN. No. No. I’m not being clear. It’s the memories
of the whole world. Before you, before me, before the
previous Receiver and generations before him.
JONAS. I don’t
understand. OLD MAN.
What.
JONAS. I don’t know what you mean when you say “the
whole world” or “generations before him”. I thought there
was only us. I thought there was only now.

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32 The Giver (Two-Act Version) ACT I

OLD MAN. There’s much more. There’s all that goes

beyond—all that is Elsewhere—and all that goes back and
back and back. I received all that and here in this room,
all alone, I re-experience them again and again. It is how
wisdom comes. And how we shape our future. I am so
weighted with them. It’s as if … it’s like going downhill
through deep snow on a sled. At first it’s exhilarating—the
speed, the sharp clear air—but then the snow accumulates,
builds up on the runners, and you slow, you have to push
hard just to keep going and … (Looks at JONAS.) That
means nothing to you, does it?
JONAS. … I don’t understand, sir.
OLD MAN. Of course you don’t. You don’t know what
snow is. Do you? (JONAS shakes his head.) Or a sled?
Runners?
JONAS. No, sir.
OLD MAN. Downhill? The term means nothing to you?
JONAS. Nothing, sir.
OLD MAN. Move to the bed and lie face down.

(JONAS lies on the bed of books.)

OLD MAN (cont’d). Close your eyes. Relax. This will not
be painful.
JONAS. What … what are you going to do, sir?
OLD MAN. I am going to transmit the memory of snow.

(And he puts his hands on JONAS’ back.

Lights and sound shift. JONAS looks up. The OLD MAN
is still behind him, touching him, but in darkness now—
in the single shaft of light pouring over JONAS is SNOW.
He reacts to it touching his skin—scared—then pleasure.
Catches a flake on his tongue.)

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ACT I The Giver (Two-Act Version) 33

JONAS. Snow. This is snow?

(He reaches under the bed—pulls up a rope handle from

nowhere.)

JONAS (cont’d). Sled. Hill. I’m on a sled on a hill.

(More snow. JONAS grins widely.)

JONAS (cont’d). And I’m moving … downhilllllll!!

(He pulls back on the rope—laughing, yelling—the bed

as sled—)

JONAS (cont’d). Runners! Speed! Sled downhill!

(WHOOM. Lights shift. He is back in the room, on the

bed, with the OLD MAN watching him, his hands no
longer on the boy. No snow. JONAS looks around—at his
hands, feels his dry face.)

OLD MAN. How do you feel?

JONAS. … Surprised.
OLD MAN (sits down). It was exhausting. But you know,
even transmitting a tiny memory to you—I think it
lightened me a little.
JONAS. But—you don’t have the memory anymore? It was
such fun! And I took it from you—
OLD MAN. All I gave you was one ride on one sled on one
hill. I have a whole world of them in my memory.
JONAS. … are you saying that I—I mean … could I do it
again? Because I think I’d like to, I think I could steer this
time by pulling the rope, I didn’t last time because it was
so new, but this time—

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34 The Giver (Two-Act Version) ACT I

OLD MAN (laughs). Another day, for a treat, maybe. I only

wanted to—
JONAS. Why don’t we have snow and sleds and hills? Did
my parents have sleds? Did you?
OLD MAN (shrugs). No. It’s a distant
memory. JONAS. But what happened to snow?
OLD MAN. Climate Control. Snow made growing food
difficult. And unpredictable weather made transportation
almost impossible at times. It wasn’t a practical thing, so it
became obsolete when we went to Sameness.
JONAS. Hills.
OLD MAN. Hills too. Trucks, buses, slowed them down.
So … (Waves his hand.) Sameness.
JONAS. I wish we had those things still. Just now and then.
OLD MAN. So do I. But the choice is not ours.
JONAS. But sir, since you have so much power—
OLD MAN. I have great honor. So will you. But you will
find that that is not the same as power. Lie back down.
(JONAS does.) Let me give you something else. And this
time I’m not going to tell you the name of it.

(JONAS closes his eyes. The OLD MAN lays his hands on
his back.
Lights shift—warm light plays over JONAS—he smiles,
licks his lips—and opens his eyes.)

JONAS. Sunshine.

(Lights shift. We’re back in the book room.)

OLD MAN. You did get the word. Good! That makes my
job easier. Not so much explaining.

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ACT I The Giver (Two-Act Version) 35

JONAS. And it came from the sky.

OLD MAN. That’s right. Just the way it used to.
JONAS. Before Sameness. Before Climate Control.
OLD MAN. That’s enough for today, we’re off to a good
start. JONAS. Sir. (OLD MAN pauses.) The Chief Elder
told me that it would be painful. But it didn’t hurt at all. I
really
enjoyed it.
OLD MAN. I started you with memories of pleasure. My
previous failure gave me the wisdom to do that, at least.
(He looks at the boy.) It will be painful.
JONAS. I’m brave. I really am.
OLD MAN (watches him … smiles). I can see that. I think I
have enough energy for one more transmission.

(JONAS lies down eagerly, closes his eyes. The OLD MAN
puts his hands on his back …
The sunlight streams down again—beautiful, hot—JONAS’
smile turns into a frown—he moves his arms—)

JONAS. Ouch. (He shifts, wincing.) Owwww—

(He opens his eyes. Lights shift back. The OLD MAN
looks at him.)

JONAS (cont’d, rubbing his arm). It hurt. I couldn’t get the

word for it.
OLD MAN. It was sunburn.
JONAS. It hurt a lot. But I’m glad you gave it to me. It was
interesting.

(The OLD MAN watches him.)

OLD MAN. Get up. It’s time for you to go home.

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36 The Giver (Two-Act Version) ACT I

JONAS (starts out). Goodbye, sir. Thank you for my first day.

(The OLD MAN nods, sits there weakly, sadly.)

JONAS (cont’d). Sir?

OLD MAN. Yes.
JONAS. It’s just that I don’t know your name. I thought you
were the Receiver, but you say now I’m the Receiver …
so I don’t know what to call you.
(The OLD MAN stares at him, sinking further into his chair.)

OLD MAN. Call me The Giver.

(Lights shift. JONAS steps away from the Room of Books

to see his parents walk in with the baby, setting the table,
once more in the harsh white light.)

MOTHER. You slept soundly, Jonas? No dreams?

JONAS (smiles, nods). I slept very soundly.
FATHER (puts the baby on the table). I wish this one
would. MOTHER. So do I. He’s so fretful at night.

(Sound of snow falling in the wind.)

JONAS (smiles). I slept soundly.

MOTHER (handing him pills). Don’t forget your pills though.

(He takes them as lights shift and his parents freeze.

FIONA approaches with her bicycle, and JONAS walks to
her, picking up his own bike.)

FIONA. I looked for you yesterday. So we could ride home

together. Your bike was there, and I waited a while, but
then I went home.

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ACT I The Giver (Two-Act Version) 37

JONAS. I apologize for making you wait.

FIONA. I accept your apology.
JONAS. I stayed a little longer than I expected.

(She smiles and waits for him to go on. He looks away.)

JONAS (cont’d). You’ve been doing so many volunteer

hours with the Old, there won’t be much you don’t already
know. FIONA. Oh, there’s lots to learn. There’s dietary
rules and
medication, punishment for disobedience—did you know
they use a discipline wand on the Old, the same as for small
children?

(FLASH. Just for a moment, FIONA’s hair flashes red.

JONAS stares at her.)

FIONA (cont’d). What?

JONAS. Nothing.
FIONA. I really think I’ll like it better than school.
JONAS. Me too.
(She waits, watching him. He nods.)

FIONA. Well. I have to

go. JONAS. Me too.

(And she freezes as JONAS turns to the GIVER in his

Room of Books.)

GIVER. You’re one minute late

— JONAS. I apologize—
GIVER. Ah ah ah.
JONAS. —I’m one minute late because it just happened
again. What I think you call “seeing beyond.”

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38 The Giver (Two-Act Version) ACT I

GIVER. Describe it.

JONAS. It started with an apple a few weeks ago—one
second it was a regular old apple, and then one second it
had changed—looked different. The same thing happened
at the Ceremony when I looked out at the faces of the
crowd—they changed, just for a second. And today, just
now, outside it happened with Fiona—her hair looked
different, not it’s shape, not it’s length—I can’t quite … It
changed. I don’t know how or why.
GIVER (nods). Lie down.

(JONAS does, but the GIVER merely sits beside him.)

GIVER (cont’d). Call back the memory of the ride on the sled.
Just the beginning of it.

(JONAS sits … the snow begins to fall, he opens his eyes,

pulls up the rope as the bed becomes the sled again … )

GIVER (cont’d). Look down at the sled.

(JONAS does—the sled is now distinctly RED. He whirls to

the GIVER—lights shift, the snow stops.)

JONAS. Yes! I saw it! In the sled!

GIVER. Look to the bookcase, the very top row of books—

(JONAS looks—the uppermost row of books flashes red—

then back to its muted grays.)

JONAS. It happened.
GIVER. You’re beginning to see the color
red. JONAS. The what?

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ACT I The Giver (Two-Act Version) 39

GIVER. How to explain this? Once back in the time of the

memories everything had a shape and size, but they also
had a quality called color. There were lots of colors and
one of them was red. Your friend Fiona has red hair—
quite distinctive actually, I’ve noticed it before.
JONAS. And the faces of the people at the Ceremony?
GIVER. Flesh is not red, but it has red tones in it. There was
a time actually—you’ll see it in the memories—when
flesh was many different colors. Before we went to
Sameness.
JONAS. The red was so
beautiful. GIVER. It is.
JONAS. Do you see it all the time?
GIVER. I see all of them. All the colors.
JONAS. Why can’t everyone? Why did colors disappear?
GIVER (shrugs). Our people made that choice. Before my
time, before the previous time, back and back and back.
We relinquished color when we relinquished sunshine.
We gained control of many things. But we had to let go of
others.
JONAS. We shouldn’t have!

(Beat. The GIVER smiles.)

GIVER. You’ve come very quickly to that conclusion. It

took me many years. Lie back down. We have so much to
do.
(JONAS lies back down, closing his eyes.)

GIVER (cont’d). I’m going to give you a memory of a

rainbow.

(The GIVER freezes as lights shift and ASHER runs on.

JONAS hops up to meet him.)
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40 The Giver (Two-Act Version) ACT I

JONAS. Asher!
ASHER. Oh. Hello, Jonas.
JONAS. I want you to do something.
ASHER. What.
JONAS. Um. (Points.) Look at those flowers very carefully.
The geraniums.

(He puts his hand on ASHER’s shoulder and closes his

eyes, concentrating hard as ASHER looks at the flowers.)

ASHER. … What’s the matter? Is something wrong?

(He pulls away from JONAS.)

JONAS. No. Nothing. I thought for a minute that they were

wilting and we should let the gardening crew know.

(ASHER looks at him weirdly. JONAS tries to smile as

ASHER freezes—JONAS darts back to the GIVER—the
Room of Books now has more color to it.)

JONAS (cont’d). It’s not fair!

GIVER (unfreezing). Explain yourself.
JONAS. It’s not fair that nothing has color. If everything’s
the same, then there aren’t any choices! I want to wake
up in the morning and decide things! A blue tunic or a red
one? But it’s all the same. Always. I mean, I know it’s not
important what you wear, but—
GIVER. It’s the choosing that’s important. Isn’t it?
JONAS (nods). My little brother—no, that’s inaccurate—the
newchild that my family takes care of—
GIVER. Gabriel.

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ACT I The Giver (Two-Act Version) 41

JONAS. He’s grabbing toys and he’s really cute and

wouldn’t it be great if we could hold up things that were
bright red or bright yellow and he could choose?
GIVER. He might make wrong choices.
JONAS. Oh. (Pause.) It wouldn’t matter with a newchild’s
toy, but it would matter later, wouldn’t it?
GIVER. Not safe?
JONAS. Definitely not safe. What if people were allowed to
choose their own mate? And chose wrong? Or what if …
(Laughs.) What if they chose their own jobs?
GIVER. Frightening, isn’t it?
JONAS. Very frightening. I can’t even imagine it. We really
have to protect people from wrong choices.
GIVER. It’s safer.
JONAS. Much
safer.
GIVER. Come. I’m going to show you something unsafe.
It’s called an “elephant.”

(The GIVER touches JONAS’ back, and we hear the sound

of a tremendous elephant. JONAS rears up in awe as the
GIVER freezes—JONAS turns excitedly to LILY, who
picks up her stuffed elephant.)

JONAS (quietly, eagerly). Lily. Did you know that once

there really were elephants?
LILY. Right. Sure, Jonas.
FATHER. Time for bed, Lily-
Billy.

(FATHER unties her hair ribbons and combs her hair.

JONAS stands behind them, puts one hand on each of
their shoulders—closes his eyes—we hear the distant
sound of an elephant—JONAS concentrates harder …

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FATHER keeps combing, LILY wriggles free.)

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42 The Giver (Two-Act Version) ACT I

LILY. Jonas! You’re hurting me with your hand!

JONAS (backs off). I apologize for hurting you,
Lily. LILY. ’Cept your apology.

(She pets her elephant and freezes as JONAS turns to the

GIVER, who moves as if in serious pain.)

JONAS. What’s the point of being the Receiver if I can’t share

anything with anyone?
GIVER. The Council of Elders will ask you for counsel and
advice.
JONAS. Do you advise them often?
GIVER. Rarely. I wish they’d ask my wisdom more often.
There are so many things I could tell them, things I wish
they’d change … but they don’t want to change. Life here
is painless. It’s what they’ve chosen.
JONAS. Then why do they need a Receiver?
GIVER. Oh, they need me. And you. They were reminded of
that ten years ago.
JONAS. When you tried to train a successor?
GIVER. And failed. When the new Receiver failed, the
memories she had received were released. They didn’t
come back to me. They went … I don’t know exactly.
Someplace out there. And then the people had access to
them. It was chaos. They really suffered for a while.
Finally it subsided as the memories were assimilated. But
it certainly made them aware of how they need a Receiver
to contain all that pain. And knowledge.
JONAS. But you have to suffer like that all the
time. GIVER. It’s my life. It will be yours.

(He sits wearily.)

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ACT I The Giver (Two-Act Version) 43

JONAS. I haven’t suffered, have I? (The GIVER sits

silently.) There was the sunburn you gave me on the very
first day. But that wasn’t so terrible. What makes you
suffer so much? (The GIVER sits silently.) If you gave
some of it to me, maybe your pain would be less.

(The GIVER looks at JONAS, who holds his gaze and nods.)

GIVER. Lie down. I can’t shield you forever. (JONAS lies

down.) All right. We’ll start with something familiar.
Let’s go again to a hill. And a sled.

(He puts his hands on JONAS’ back. Lights shift as JONAS

sits up—snow falls again, he has the rope in his hands.)

JONAS. The hill’s steeper. (He starts sliding.) The ice—too

much ice—

(Wind howling around him—he’s THROWN off the couch

— goes sprawling on the ground in the snow—we hear a
sickening CRACK. JONAS SCREAMS, grabbing his leg
—)

JONAS (cont’d). AAHH!! MY LEG!!

(He’s about to throw up—screaming—he rolls over—lights

shift—
He’s back in the room of books. The GIVER sits back,
unable to look at him.)

JONAS (cont’d, feeling his leg, gasping). My leg was … it

was broken … My leg broke …
GIVER. Yes.
JONAS. It still aches … may … may I have relief of pain?
Please?

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44 The Giver (Two-Act Version) ACT I

GIVER. … No. This is only the beginning of the pain. It will

get much … much worse.

(JONAS stares at the GIVER, who cannot meet his eyes.

Blackout.)

END OF ACT I

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 ACT II
(Lights up on JONAS sitting at home as his family talks
and plays at the table. He looks very, very alone.)

FATHER. Is something wrong, Jonas? You’re so quiet tonight.

MOTHER. Aren’t you feeling well? Would you like some
medication?
JONAS. I’m just tired. School lessons were unusually difficult
today—I’m going to bed.

(His family goes back to talking and laughing with the

baby as lights shift, and JONAS turns to face the GIVER
as lights come up on his library.)

JONAS (cont’d). They have never known pain.

(The GIVER touches JONAS’ shoulder. Lights shift around

him—wind and clear blue sky as he looks out over water
— sound of waves.)

GIVER. But they have never known a brisk sail on a blue-

green lake either—

(Lights shift—a beautiful sunset in the Rockies.)

GIVER (cont’d). Or an orange sunset behind the mountains.

(JONAS gasps, grabs his stomach and falls to the floor in

agony.)

JONAS. Aah!

(Lights shift. He’s back in the Room of Books. The books

all have even more color now. The GIVER kneels beside
him.)

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 45

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46 The Giver (Two-Act Version) ACT II

GIVER. And they have never known starvation. (JONAS

clutches his stomach.) I’m sorry. I have to include pain
each day now. But let me give you a meadow dotted with
yellow wildflowers before you go—
JONAS. … Why?
GIVER. Why the flowers?
JONAS. Why do you and I have to hold the memories??
GIVER. It gives us wisdom. Without wisdom I could not
fulfill my function of advising the Committee of Elders.
JONAS. What wisdom do you get from hunger?
GIVER. Some years ago, a lot of citizens petitioned the
Committee to assign Birthmothers four births instead of
three, so that there would be more Laborers available.
JONAS. That makes sense.
GIVER. The Committee of Elders came to me for wisdom.
JONAS. And you used your memories?
GIVER (nods). And the strongest memory that came was
hunger. It came from centuries back. The population had
gotten so big that hunger was everywhere. Excruciating
hunger and starvation. It was followed by warfare.
JONAS. What’s warfare?
GIVER. You will learn. As you already understand hunger.
JONAS. Did you describe it to them?
GIVER. They don’t want to hear about the pain. They just
seek advice. I simply advised them against increasing the
population.
JONAS. When was the last time they asked your advice?
GIVER. Do you remember the day the plane flew over the
Community a few months ago?
JONAS. Yes. I was scared.

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ACT II The Giver (Two-Act Version) 47

GIVER. So were they. They prepared to shoot it down. But I

told them to wait.
JONAS. Why? How did you know the pilot was lost?
GIVER. I didn’t. I knew there had been times in the past—
terrible times—when people destroyed each other in haste,
in fear, and had brought their own destruction.
JONAS. But that means … you have memories of destruction.
And you have to give them to me.
GIVER. Yes.
JONAS. But it will hurt.
GIVER. It will hurt
terribly.
JONAS. But why can’t everyone have the memories?
Wouldn’t that make it easier
— GIVER. They selected us.
JONAS. When did they decide that? It wasn’t fair! Let’s
change it!
GIVER. How do you suggest we do that? I’ve never been
able to think of a way, and I’m supposed to be the one
with all the wisdom.
JONAS. But there are two of us now. Together we can think
of something!
GIVER (smiles). The decision was made long before my
time and yours and before the previous Receiver and—
JONAS. —Back and back and back. Which means nothing
can be changed.

(He turns to his family playing with Gabe.)

LILY. He’s really changing! He can sit alone and grab toys
and—

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48 The Giver (Two-Act Version) ACT II

FATHER. After all the extra time we put in with him, I hope
they’re not going to decide to release him.
MOTHER. Maybe it would be for the best. He still doesn’t
sleep.
FATHER. But—
MOTHER. And I know you don’t mind getting up with him,
but the lack of sleep is awfully hard for me.
JONAS. I could take him.
FATHER. What?
JONAS. Why not put Gabriel’s crib in my room tonight? I
know how to feed and comfort him and it would let you
and Father get some sleep.
FATHER. You sleep so soundly, what if his restlessness
didn’t wake you?
LILY. If no one goes to tend Gabriel he gets very loud. He’d
wake all of us—someone would hear him.
FATHER (laughs). Right. All right, Jonas, let’s try it just for
tonight.

(JONAS takes Gabe’s crib into his room and sets it down.
The others exit. Gabriel cries.)

JONAS. Oh no, not already, Gabe, don’t—

(He picks up the crying child … WHOOM. Lights shift.

Clear blue sky, sound of waves and wind … )

JONAS (cont’d). What … (Looks around.) It’s sailing!

Gabriel, this is my memory of sailing—you’re taking it—
you can’t—

(The scene fades. Gabriel is asleep.)

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ACT II The Giver (Two-Act Version) 49

JONAS (cont’d, quietly). I’m not the Giver. You’re not the
Receiver, I can’t … this shouldn’t …

(He puts Gabriel back in his crib.)

JONAS (cont’d). Oh no.

(He runs to the Room of Books, now vivid with color—

Lights shift … The Giver sits rigid in his chair, his face in
his hands.)

JONAS (cont’d). Giver? (No response.) I’ll come back

tomorrow, sir. (No response.) … Unless maybe there’s
something I can do to help?
GIVER (looks up, gasping). Please. Take some of the pain.

(JONAS helps him to the bed and lies down.)

JONAS. Put your hands on me. Quickly. Now.

(The GIVER touches him.

The stage goes dark except for one shaft of light slicing
over JONAS. He opens his eyes—a noise, getting louder
… louder … and an EXPLOSION. Sounds of SCREAMS
— “Water! Help Me!”—JONAS looks around, horrified—
tries to move—can’t—smoke—horses screaming—)

JONAS (cont’d). Help. Help!

(Building—chaos—)

JONAS (cont’d). HELP!

(LOUDER—SHOTS—SCREAMS … it’s hell … A HUGE

FINAL EXPLOSION.

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50 The Giver (Two-Act Version) ACT II

Lights shift. He’s back in the room holding himself on the

floor, as small as we’ve seen him … )

JONAS (cont’d, V.O.). Warfare.

(Silence. The GIVER looks away.)

GIVER. Forgive me.

(JONAS lies on the floor, staring in shock, shaking … )

GIVER (cont’d). I had to show you war. I had

to. JONAS. … I wanted to die.
GIVER. I know. I’ll be gentle with you the next few days.
There are so many good memories too. I’ll show you
what’s called a “birthday party.” And museums filled with
all the colors you can name—and a horse—one of my
favorites, riding a brown horse across damp grass and
sleeping beside a campfire—there’s—
JONAS. Your favorite.
GIVER. What?
JONAS. Show me your favorite.
GIVER. I—
JONAS. You don’t have to give it away yet. Just tell me
about it … I need it. I need to look forward to it …
GIVER (smiles). No. I’m happy to give it to you.

(He reaches over and touches JONAS’ shoulder. Lights shift.

Warm firelight—sounds of quiet talking and laughing—
snowfall outside the windows—)

JONAS. I smell food—

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ACT II The Giver (Two-Act Version) 51

(Laughter, a dog barking, sounds of young and old, delight,

sweetness—)

JONAS (cont’d, V.O.). Family.

(Lights fade back to the Room of Books. JONAS sits

peacefully. The GIVER looks at him.)

GIVER. What did you perceive?

JONAS. Warmth. And happiness. A celebration of some
sort. A holiday. And something else, I can’t quite get the
word for it.
GIVER. It will come to you.
JONAS. Who were the old people? Why were they
there? GIVER. They were called Grandparents.
JONAS. Grandparents?
GIVER. It means parents of parents. Long ago.
JONAS. Back and back and back … but my parents must
have had parents! I never thought about it before. Who are
my parents’ parents? Where are they?
GIVER. You can look in the Hall of Open Records for the
names.
JONAS. I can’t quite get the word for the whole feeling of it,
the feeling that was so strong in the room—
GIVER. Love.
JONAS. … Love.

(Pause.)

JONAS (cont’d). Giver?

GIVER. Yes.

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52 The Giver (Two-Act Version) ACT II

JONAS. I wish we still had that. I can see that it wasn’t a

very practical way to live, with the Old right there in the
same place, where maybe they wouldn’t be well taken
care of, but … I was thinking, I mean feeling, actually,
that it was kind of nice. I wish we could be that way …
and that you could be my grandparent.

(The GIVER smiles. JONAS turns to MOTHER and

FATHER at their table with Gabriel in his basket. Lights
shift.)

JONAS (cont’d). Do you love me?

(Awkward silence.)

FATHER (laughs). Jonas. You of all people. Precision of

language, please!
JONAS. What.
MOTHER. You could ask “Do you enjoy me?” The answer
is “yes.”
FATHER. Or “Do you take pride in my accomplishments?”
And the answer is wholeheartedly “yes!”
MOTHER. Do you understand why it’s inappropriate to use
imprecise words like “love”?

(Pause. JONAS looks at them … )

JONAS. Yes. Thank you. I do.

(Gabriel cries offstage.)

MOTHER. Oh dear.
FATHER. He’s making such progress during the days—
MOTHER. But without Jonas he still can’t sleep the night—
JONAS. I’ll take him. It’s all right.

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ACT II The Giver (Two-Act Version) 53

(He picks up Gabe as his parents exit. A single shaft of

light plays down over JONAS and the baby. Gabe stops
crying at JONAS’ touch. We hear wind, horses running.)

JONAS (cont’d, eyes closed, quietly). Those are horses,

Gabriel. And grass and sunlight.

(The sounds fade. JONAS looks down at the now sleeping

baby.)

JONAS (cont’d, quietly). Things could change, Gabe. I don’t

know how, but there must be some way for things to
change. There could be colors. And grandparents. And
everybody would have the memories. (Pause.) There
could be love.

(Lights shift as he sets down the baby and starts out,

intercepted by MOTHER.)

MOTHER (holds up a box). Did you remember to take your

pill, Jonas?
JONAS (takes the pill in his hand). Thank
you. MOTHER. Have a good day.

(She leaves. He steps outside … looks at the pill … and

HURLS it as far as he can. He looks around—happy.)

JONAS. Asher! Ash, I see your bike, where are you?

VOICE (V.O.). Pssheeeww! Pow! Pow pow!
ANOTHER VOICE (V.O.). You got me!

(ASHER races on, aiming an imaginary gun.)

ASHER. Blam! You’re in my line of ambush, Jonas! Watch out!

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54 The Giver (Two-Act Version) ACT II

(JONAS steps aside. More yells offstage—JONAS

watches it all, increasingly uncomfortable … FIONA and
LILY race on firing “guns.”)

FIONA. Counter attack!!

(Sounds of other kids shooting, screaming, laughing—

JONAS is in the middle of it all … the sounds of actual
shooting begin to filter in around him … )

ASHER. You’re hit, Jonas! Pow! You’re hit again!

(Sounds of true war—screams, explosions—JONAS looks

away, can’t catch his breath, back in the hell of actual
warfare—shrieks, ripping, roaring …
And it stops. FIONA, ASHER and LILY stare at him. JONAS
is just barely holding it together, trying not to cry … )

FIONA. What’s wrong, Jonas?

LILY. It was only a
game. ASHER. You
ruined it.
JONAS. Don’t play it anymore.
ASHER. I’m the one training for Assistant Recreation
Director. Games aren’t your area of expertness.
JONAS. Expertise.
ASHER. Whatever. You can’t say what we play even if you
are going to be the new Receiver. (Beat. JONAS stares
hard at him … ) I apologize for not paying you the respect
you deserve.
JONAS. Asher. You had no way of knowing this. I didn’t
know it myself until recently. But it’s a cruel game. In the
past there have—

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ACT II The Giver (Two-Act Version) 55

ASHER. I said I apologize, Jonas.

(JONAS looks at him … Long moments pass … )

JONAS. I accept your apology, Asher.

(ASHER and LILY turn and walk away. JONAS watches

them go.)

FIONA. Jonas … do you want to go for a ride along the river?

(JONAS looks at her, aching. She is so lovely … and he

shakes his head “no.” FIONA nods, steps back, watches
him a moment longer … then leaves the way ASHER did.
JONAS stands utterly alone.
Then FATHER steps to the table with LILY and
MOTHER. Lights shift, and JONAS turns to face them.)

FATHER. I want to get to sleep early tonight. There’s a

Birthmother who’s expecting twins tomorrow. Tests show
they’re identical—
MOTHER. Oh dear. I hope you’re not the one assigned—
FATHER. I am. I’ll have to select the one to be nurtured and
the one to be released. Usually it’s just a matter of
birthweight. We release the smaller of the two.
JONAS. Do you take it Elsewhere, Father?
FATHER. No, I just get the smaller one cleaned up and
comfy, then I perform a small Ceremony of Release and—
(Smiles at Gabe and waves.) Then I wave bye-bye!
LILY. Bye-bye!
JONAS. And somebody else comes to get him? Somebody
from Elsewhere?
FATHER. That’s right, Jonas-bonus.

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56 The Giver (Two-Act Version) ACT II

JONAS. I wonder if Larissa could get the twin?

LILY. Larissa?
JONAS. An old woman I used to bathe. Fiona told me she
was released in a wonderful Ceremony last month. She’s
Elsewhere now, could—
MOTHER. Jonas. The Old are not given children to raise.
Larissa doesn’t need a newchild—
LILY. What if they give the little twin a name Elsewhere, a
name like maybe Jonathan. And here in our Community, at
his naming, the twin we kept is given the name Jonathan,
and someday maybe our group of Sixes would go to visit
another Community on a bus and there in that group of
Sixes was their Jonathan, and then maybe they would get
mixed up and take the wrong Jonathan home and maybe
his parents wouldn’t notice and then—
MOTHER. And maybe when you become a Twelve, they’ll
give you the assignment of Storyteller! I don’t think we’ve
had a Storyteller in the Community for a long time—
LILY. What if we’re all twins and don’t know it, and
Elsewhere there’s another Lily and another Jonas and
another Father and another Mother and—
FATHER. Lily! It’s bedtime!

(He scoops her off as JONAS turns to the GIVER—the

Room of Books now glowing with every shade
imaginable.)

JONAS. Giver, do you ever think about release?

GIVER. I wish I could put in a request for it sometimes,
when I’m in an awful lot of pain. But I’m not permitted to
do that until the new Receiver is trained.

(He gestures for JONAS to lie down.)

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ACT II The Giver (Two-Act Version) 57

JONAS. And I can’t request release either. It was in my rules.

GIVER. They hammered out those rules after the failure ten
years ago.
JONAS (pauses). Giver. Tell me what happened. Please.
GIVER (shrugs). On the surface it was quite simple. The
Ceremony was held, the selection was made—
JONAS. What was she like?
GIVER. … She was a remarkable young woman. Very self-
possessed and serene. Intelligent, eager to learn—

(JONAS glances back—in the shadows he sees the shade of

ROSEMARY standing … waiting … a memory … )

JONAS. Can you tell me her name? My parents said it

couldn’t be spoken again in the Community—
GIVER (hesitates … afraid). … Her name was
Rosemary. JONAS. Rosemary. I like that name.

(He takes a step toward the girl.)

GIVER. Jonas, you remember the memory of the family, the

grandparents?
JONAS. Love.
GIVER. That’s what I felt for Rosemary. I loved her. I feel it
for you too.

(ROSEMARY looks at JONAS.)

JONAS. What happened to her?

GIVER. Her training began. She was so enthusiastic. So
delighted to experience new things … I remember her
laughter.

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58 The Giver (Two-Act Version) ACT II

(ROSEMARY steps to the bed and sits down. The GIVER

pauses … )

JONAS. Please tell me.

GIVER. It broke my heart to transfer pain to her. But it was
what I had to do.

(JONAS and ROSEMARY watch each other … )

GIVER (cont’d). Five weeks. That was all. I gave her a ride
on a merry-go-round, a kitten to play with—sometimes I
chose one just because I knew it would make her laugh,
and I so treasured the sound of that laughter in this silent
room … But she was like you. She wanted to experience
everything. I gave her loneliness and I gave her loss, the
memory of a child taken from its parents. (ROSEMARY
puts her head in her hands.) Everything changed once she
knew about pain.
JONAS. She wasn’t brave enough?
GIVER. She insisted I continue, that I not spare her. And I
knew she was correct. Poverty, hunger, terror—I had to,
Jonas. It was my job. And she had been chosen—

(ROSEMARY stands and takes a step away. The GIVER

watches her … )

GIVER (cont’d). Finally one afternoon, I tried to finish as I

do with you, by transferring something happy and
cheerful. But the times of laughter were gone by then.

(ROSEMARY puts her arms around the GIVER … kisses his

cheek … and steps away.)

GIVER (cont’d). She left here that day and went directly to
the Chief Elder and asked to be released.

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ACT II The Giver (Two-Act Version) 59

JONAS. But that’s against the rules—!

GIVER. It wasn’t against her’s. They had to give it to her.

(ROSEMARY hesitates … and disappears into the shadows.)

GIVER (cont’d). I never saw her again.

(JONAS stares at the old man. Moments pass … )

JONAS. Giver. What if something happens to me? An

accident? You’ve already given me so many important
memories, they’d be gone forever—
GIVER. Memories are forever. When Rosemary was gone,
the memories came back to the people. They overwhelmed
the Community—all those feelings. And I was so
devastated that I didn’t even try to help them through it.
That’s why they can’t lose you, they’d never know how to
deal with all those memories. (Looking hard at JONAS.)
You may never ask for release.
JONAS. I won’t. And I’m only wondering because my father
is releasing a newchild today, a twin— (Looks at a clock.)
Actually, I suppose he’s already finished. I think it was
this morning.
GIVER (quietly). I wish they wouldn’t do that.
JONAS. Well, they can’t have two identical people around!
Think how confusing it would be! (Laughs.) I wish I could
watch.
GIVER. You can.
JONAS. No, they never let children watch, it’s very private
— GIVER. Jonas. You are the new Receiver. You have
access to everything. If you want to watch a release, you
have simply
to ask.

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60 The Giver (Two-Act Version) ACT II

JONAS. Well, maybe I will then. But it’s too late for this
one, I’m sure it was this morning—
GIVER. All private ceremonies are recorded. They’re in the
Hall of Closed Records. Do you want to see this
morning’s release? (JONAS hesitates … ) I think you
should.
JONAS. All right then.

(The GIVER presses a button on the wall and a light plays

over JONAS from downstage, as if from a monitor.)

GIVER (to the screen). Show this morning’s release of the twin.

(JONAS sits on the bed, looking out at the “screen.”)

JONAS. Oh. It’s just an ordinary room. I thought maybe

they’d have it in the auditorium, so everybody could
come, but—
GIVER (watching the screen). Shh.

(We hear JONAS’ father speaking calmly, along with the

sounds of a crying newborn and other sounds.)

JONAS. That’s my father.

FATHER (V.O.). I thought for a moment, that they might be
exactly the same. Then we’d have a problem. But that one
is six pounds even. So you can clean him up and dress him
and take him over to the Center. And you, little guy,
you’re only five pounds, ten ounces. A shrimp!
JONAS. That’s the same voice he uses with
Gabriel. GIVER. Watch.
JONAS. Now he cleans him up and makes him comfy. He
told me.
GIVER. Be quiet, Jonas. Watch.

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ACT II The Giver (Two-Act Version) 61

(The baby continues to cry.)

JONAS. Why does he have a needle

— GIVER. Shh.

(The baby cries … )

FATHER. I know it hurts little guy. But I have to use a vein

… All done. That wasn’t so bad, was it?
JONAS. Now he cleans him up and makes him comfy—

(The crying whimpers … and stops.)

JONAS (cont’d). Why isn’t the newchild … moving …

(FATHER cleans up the room.)

JONAS (cont’d). … he killed it. My father killed it!!

(JONAS stumbles back into the GIVER.)

FATHER. Bye-bye, little guy.

(And the light from the monitor clicks off. JONAS stares
… in horror … )

GIVER. When they notified me that Rosemary had appealed

for release, they turned on the tape to show me the
process. There she was, my last glimpse of that beautiful
child … they brought in the syringe and asked her to roll
up her sleeve. You suggested she wasn’t brave enough? I
don’t know about bravery, but I do know I sat here numb
with horror. And I listened to Rosemary tell them she
would prefer to inject herself. Then she did so. I didn’t
watch. I looked away. (To JONAS.) And there you are,
Jonas. You were wondering about release.

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62 The Giver (Two-Act Version) ACT II

JONAS. … no. NO!!

(He throws himself against the GIVER, who catches him,

holds him as he screams.)

GIVER. Jonas. Jonas.

(JONAS rips himself free—falls to the bed. The GIVER

watches him as he cries quietly … then the old man
presses the button on the wall.)

GIVER (cont’d, into monitor). Notify the new Receiver’s

family unit that he will be staying with me tonight for
additional training.
ANNOUNCER (V.O.). I will take care of that, sir. Thank
you for your instructions.
JONAS. “I will take care of that, sir.” “I will take care of
that, sir.” “I will do whatever you like, sir. I will kill
people, sir. Old people? Small newborn people? I’d be
happy to kill them, sir. Thank you for your instructions, sir
—”
GIVER. Listen to me, Jonas. They can’t help it. They know
nothing. It’s the life that was created for them. It’s the
same life you would have, if you hadn’t been chosen—
JONAS. But my father lied to me!
GIVER. It’s what he was told to do. And he knows nothing
else.
JONAS. What about you? Do you lie to me too?
GIVER. I am empowered to lie. But I have never lied to you.

(JONAS stares at him … )

JONAS. Releasing is always like that? For people who break

the rules three times? For the Old?

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ACT II The Giver (Two-Act Version) 63

GIVER. Yes.
JONAS. What about Fiona? She loves the Old! What will
she do when she finds out?
GIVER. Fiona is already being trained in the fine art of release.
She’s very efficient at her work. Feelings are not part of
the life she’s learned.
JONAS. What should I do? I can’t go back. I
can’t! GIVER. I know. That’s why we must make
a plan.
JONAS. A plan for what? There’s nothing we can do—it’s
always been this way back and back and back—
GIVER. The memories tell us it has not always been this
way. People felt things once, before things changed.
Having you here with me this past year has made me
realize that things must change again. And for the first
time … I think there may be a way. (JONAS looks at him.)
You must escape, Jonas. If you can get away, get to
Elsewhere, your memories will come back to the
Community. They’ll have to bear the burden themselves,
as they did when we lost Rosemary. They’ll need me to
help them. And this time I will.
JONAS. They’ll just find a new Receiver to take my place.
GIVER. There’s no one ready for training. Not soon enough.
And I can’t take them back. They will be forced to bear the
memories.
JONAS. But how could I escape? When—
GIVER. The Ceremonies are coming up in two weeks. It’s a
day of great distraction—
JONAS. If I left early that morning, Mother and Father
won’t think anything of it—I could say I’m going for a
bike ride— leave them a note and go before dawn even—
and then by the Ceremony time, they’d think I was with
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Asher or you—

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64 The Giver (Two-Act Version) ACT II

GIVER. And Asher would think you were with your parents
or me—
JONAS. And we could be long on our way by then.
GIVER. No. You will be on your way. I must stay here.
JONAS. I can’t do this without you—I need you to come—
GIVER. If I go, the Community will be left with no one to
help them. They’ll be thrown into chaos. They’ll destroy
themselves. I can’t go.
JONAS. But—
GIVER. When you’re gone and the memories are returning
and confusion is setting in, I shall go to the auditorium
and announce you have been lost in the river. We’ll begin
a Ceremony of Loss. They won’t look for you and we’ll
begin the task of bearing the memories.
JONAS. But I’ll need you too—
GIVER. Jonas. I wouldn’t survive the journey. I’m very
weakened now. Do you know that I no longer see colors?
(JONAS takes his hand.) You have the colors and you
have the courage. For the next two weeks, I’ll transfer
every memory of escape and strength to you that I can. It
will be difficult, but there has to be an Elsewhere out
there. You’ll find it.
JONAS. Giver—
GIVER. You know the one memory I haven’t given you? I
wanted to keep it for myself to the last.
JONAS. What.
GIVER. When I was a boy, I didn’t have “seeing beyond” as
you do. I had hearing beyond. I began to hear something
truly remarkable. It’s called Music. I’ll give you some
before you go.

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JONAS. No. I want you to keep that. To have with you when
I’m gone.
GIVER. My work will be finished. When I’ve helped the
Community to change and become whole.
JONAS. Will you come find me then?
GIVER (hugs him). I love you, Jonas. But I have another
place to go. When my work here is finished, I want to be
with my daughter.
JONAS. I didn’t know you had a daughter! You never
mentioned a daughter!
GIVER (smiles, nods). Her name was Rosemary.

(JONAS and the GIVER look at each other. Lights shift

as MOTHER and FATHER step to the table with LILY
and Gabriel. JONAS turns to face them, putting on a
smile.)

MOTHER. Did you have a pleasant day in the extra training,

Jonas?
JONAS. Yes. And busy.
FATHER. Me too! Yesterday was just a pleasant busy day
for all of us, wasn’t it?
JONAS. It seems like it. Hi, Gabe. I missed you.
FATHER. Enjoy him, Jonas-bonus. This is his last night as
visitor.
JONAS. What do you mean?
FATHER. Well, with you gone, we had him stay overnight
at the Nurturing Center—he’d been sleeping so soundly—
MOTHER. Didn’t go well?
FATHER (laughs). It was a disaster. He cried all night
apparently. The night crew were really frazzled by the
time I got to work.

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66 The Giver (Two-Act Version) ACT II

LILY. Gabe, you naughty thing.

FATHER. So we obviously had to make the decision. When
we met this afternoon even I voted for Gabriel’s release.

(JONAS stops dead.)

JONAS. Release?
FATHER. We certainly gave it our best try, didn’t
we? MOTHER. Yes, we did.

(LILY nods.)

JONAS. … when. When will he be released?

FATHER. First thing tomorrow morning. We have to start
our preparations for the Naming Ceremony, so we thought
we’d get this taken care of right away. (To Gabriel, sing-
song.) It’s bye-bye to you in the morning, Gabe! Bye-bye!
Bye-bye!

(They all freeze. Lights shift. JONAS stares at them …

then picks up Gabriel in his basket and walks quickly to
FATHER’s bicycle with Gabriel in a sling. The bike
stands upright, fastened to the stage, but able to be
pedaled. Lights come up on the GIVER in the Room of
Books.)

JONAS. Tonight. Right after it gets dark. I have to go

tonight. GIVER. We’re not ready—you don’t have enough
memories— JONAS. I won’t let them take Gabe.

(They look at each other … this is it.)

GIVER. Take food—do you have food?

JONAS. I have food. I have my father’s bicycle. I have the
memories of escape, of courage. (He gets on.) I have
Gabriel.

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ACT II The Giver (Two-Act Version) 67

(A slight cry from the baby.)

JONAS (cont’d, touching his back). Shh. Shhh. Here’s a

memory of swinging in a hammock, Gabe. Those are palm
trees. The ocean. It’s OK. It’s OK.

(Gabriel gets quiet. JONAS looks one final time at his world
… and climbs onto the bike. He starts pedaling in place—
his family and the GIVER slowly, slowly fading into the
blackness … )

GIVER. You’ll have to go around the other communities—

let no one see you—
JONAS (pedaling hard). I know.
GIVER. There should be fewer and fewer communities,
farther and farther apart—
JONAS. There are.
GIVER. They’ll be looking for you soon—
JONAS. We’ll sleep by day and ride by night … My legs ache
…
GIVER. Strength …
JONAS. They’re going numb …
GIVER. Courage …

(Sound of an airplane overhead.)

JONAS. Search plane!

(He leaps off the bike, pulling Gabriel with him—they lie
on the ground—Gabe crying—the plane droning closer … )

GIVER. They can’t see color, remember—You’ll be as grey

as the bushes—

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68 The Giver (Two-Act Version) ACT II

JONAS. But they have heat-seekers—they’ll find our bodies—

(Gabe crying louder … ) Gabe … Gabe.

(He puts his hand on the baby’s chest, closing his eyes—
plane sounds LOUD—lights shift … )

JONAS (cont’d). Snow. It’s snow, Gabriel. And cold. It’s OK

to be cold. We have to be cold …

(The plane passes—fading away. Lights shift back.)

JONAS (cont’d). It wasn’t as strong. The memory wasn’t as

strong …
GIVER (fading away himself). It’s what we planned. What
we hoped! As you move away from the Community, you’ll
shed your memories and leave them behind for us.
JONAS. But I need them! I need to make us cold. And
brave. … Gabe needs them …

(The GIVER is gone.)

JONAS (cont’d). … Giver?

(He’s alone. Sound of water running. Birds. Actual sunshine.

JONAS looks around. They are in the woods.)

JONAS (cont’d). The trees are getting thicker, Gabe. And

that’s a stream. A real stream! (Drinking.) And a
waterfall! Gabe! You hear that? Birds! You see them?
See? And … deer. Those are … real … deer. And I
don’t know what the reddish brown thing with the thick
tail is. Oh, Gabe. It’s even better than the memories.
(Gabe whimpers.) And I still have food. Don’t worry.
(Feeding Gabe.) Though not much. We better keep
moving.

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ACT II The Giver (Two-Act Version) 69

(He settles Gabe in his seat, climbs back up, and starts
pedaling—a little more wearily. Lights brighter—clearer
sun.)

JONAS (cont’d). You see the wildflowers? How the wind

moves the trees? (Pedaling grows more difficult.) And
hills. This is what … a real hill … feels like … (Pauses
for breath.) I think … they’ve stopped searching for us. I
wonder what’s going on back in the Community?
(Looking in his bag.) And what we’re going to do for
food. (Pause. He looks around.) Gabe? I wanted choice
so badly … and I think I made a wrong one. (Gabe
begins to cry.) But if I’d stayed, you wouldn’t even be
able to cry now. So what kind of choice is that? Here. It’s
the memory of a meal. Birthday cake. It’s the best I can
give you— (Lights barely shift around them.) I can barely
hang onto them anymore. They’re almost gone.

(And then … something white floats around JONAS and

Gabe. JONAS looks up … )

JONAS (cont’d). Gabe. Snow. It’s real snow. Snowflakes. It’s

so cold. It’s like … It’s …

(Gabe is quiet. JONAS lets the bike fall to the ground,

steps away, exhausted—the snow falling. He holds Gabe
tightly.)

JONAS (cont’d). We have to get you warm. Remember

sunshine?

(He closes his eyes tightly … lights barely shift … warmth

plays over them … Gabe is quiet, shivering. Lights shift
back—snow falls harder.)

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70 The Giver (Two-Act Version) ACT II

JONAS (cont’d). I’m sorry.

(He struggles on through the snow, weaker … Darkness

falling over them … and in the dark he sees MOTHER
and FATHER.)

JONAS (cont’d, laughs). Gabe. I still have my own memories.

(ASHER and FIONA dimly appear as well. … and the

GIVER.)

JONAS (cont’d). We’re almost there, Gabriel. (Looks around,

freezing, rubbing Gabe.) I remember this place …

(Wind slices over them—he struggles on … )

JONAS (cont’d). Gabe? Make a sound, Gabe. Hey. Come on,

Gabe—You can’t … we have to …

(More wind—he stops in the snow. There, in the whiteness

and wind … is a sled.)

JONAS (cont’d). Hah.

(He sits on the sled, holding Gabriel tightly, picks up the

ropes.)

JONAS (cont’d). Gabriel. We’re going for a ride. It’s a hill,

another hill, but no ice no fall no pain not this time … just
… (And they’re sliding.) Hang on, Gabe! Hang on! We’re
sledding! We’re …

(And in the darkness around him we begin to see lights—

tiny lights shining from windows around him … red … blue
… yellow … )

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ACT II The Giver (Two-Act Version) 71

JONAS (cont’d). Gabe … I know those lights! I know where

we are, I remember this place I remember this place—

(He rolls off the sled—holding Gabe—staggers up facing

us—the wind is gone. Silence. A thousand glittering lights
in the darkness around him … and we hear people
singing.)

JONAS (cont’d). Gabriel. That’s … music.

(Singing grows louder … he grins … )

JONAS (cont’d). We’re home.

(Lights fade on him looking out at us smiling … beautiful …

Blackout.)

THE END

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 NOTES

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