What are some of the ways speech can be separated from speakers, and what can happen when we put the two back together again, as theatre? Can ordinary human behaviors be untangled and reassembled, to show multiple stories and possibilities through the limited bodies onstage? These were some of the questions posed during a nine-week rehearsal process in Spring 2014, when two directors and five performers worked together in Champaign-Urbana, Illinois, on the three pieces that comprise Quintets for a Quartet. In these scenes, sound, movement, time, and place are twisted away from one another using techniques including uncanny coordination, pivot montage, and asynchronous speech. The next question we asked, and continue to ask, is: to what end?