This play explores Hinckley as he saw himself: a misunderstood soul meant for greatness, yet continually thwarted by the whims of others. With his aspirations to John Lennon-caliber singer/songwriter status disregarded and rejected, his overtures to the opposite sex (particularly Jodie Foster, whose precocious performance in Taxi Driver inflames his passions) ignored and discounted, and his bewildered parents unable to help him find a direction in life, all the injustice, the unfairness, the deluded perceptions continue to build–until the idea of forcing himself and his self-perceived greatness into the consciousness of his imagined paramour (and by extension, the rest of the world) through a monstrous, irrevocable act of violence seems like a perfectly reasonable proposition. Hinckley is alternately egged on, counseled, comforted, and berated by all those other voices in his head, whether benign and lofty like Lennon and JFK, or dark and twisted like his assassin brethren, John Wilkes Booth and Taxi Driver's Travis Bickle.