Synopsis.
Name
The Trip to Abilene. A room that agrees its way, nod by pleasant nod, into a decision not one person at the table actually wanted ... and finds out only on the way back that it was unanimous the whole time, in the wrong direction.
Arc
The bend is this: everyone consents, and nobody agrees. It is not a fight that goes wrong. It is a fight that never happens, because each person, to spare the group a friction they imagine, gives the group a friction they cannot see. An idea is floated without being wanted, a trial balloon nobody owns. The first assent is given to be agreeable, not because the thing is good. The one who privately objects reads the room, counts the nods already given, and swallows the objection rather than be the lone holdout. Each swallowed objection is a nod to the next person, so the silence compounds: every public yes becomes the evidence the next private no argues itself down with. A consensus that no single seat holds is read off the table and cited as the mandate, and the decision is ratified on the authority of an agreement that exists nowhere but in each member's reading of the others. Let one person say the private thing out loud and the whole false consensus falls: the agreement is the story.
Stakes
Whether the private thing is ever said in time. Every plot moves it the same direction: not toward the truth in the room, toward the accord on the record. The production cannot make the group manage its agreement. It can only show that every seat consented, that no seat agreed, and that the one move that would have stopped it was free to all and made by none until the road ran out.
Estate
khai-misfits: the house that holds this production and answers for the whole run.