D.C. Copeland
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THE UNDISCOVERED COUNTRY

CHARACTERS

Terry      A drug dealer from suburbia who goes by the professional name "Bear".
Rebecca    Jessica's girlfriend who has killed herself before the play begins. She appears as a ghost.
Jessica    A french poetry teacher.
Angie      A rockstar prostitute.
Tony       Muscle for some local big shots. He recently has hooked up with Angie.
Richie     A bisexual actor of modest success.

SET
Interiors of a modern city. Raw and minimalist.



THE UNDISCOVERED COUNTRY


TERRY
Everyone you are about to see is going to die except one. But don't worry, the next sixty-nine minutes are filled with action. Action-packed. Oh and many of us are on drugs. Many of us take drugs. It won't be shown onstage for the most part except the pills. You can tolerate a few pills, right? There is swearing occasionally. It will not be done excessively but people will say "Fuck". Etc. And there is sex. The insinuation of sex of course. Between men and women. Between women and women. Between men and men. No real penetration. Theatre magic. Kissing. Groping. Yes? PAUSE Ok. Now that we've covered the fundamental terrain of "The Undiscovered Country" if any of you strongly desire to leave the theatre now is a good time. No judgment. It's ok. You may not have known what you were coming to see but now you do so --- Do feel comfortable vacating the premises now if you find this subject matter "undesirable". Ok. Don't worry for those of you who are unsure, I will check in with you at the halftime. Comfortable. Please feel free to be comfortable. If it pleases you. PAUSE. Ok. We're ready? Cuz from here on in its down the rabbit hole - Cheshire cats and all -----------------------------

RICHIE spins the mirror and stops it reflecting into "THE UNDISCOVERED COUNTRY" and it becomes part of the JESS's apartment. He enters UNDISCOVERED COUNTRY. A few moments of loud intense metal rock acid rock music to indicate the disorientation of "down the rabbit hole".

TERRY
He takes an oxy.
These pills are oxycotins. Oxys. And I call them Mommy Os. Personal code name. They're like mother's milk to me. My favorite pharmaceutical. They trick the body and mind into thinking there's connection and love in one's life even if there isn't. (discovery) It's euphoria in a little pill! Minor narcotic, legal when taken with prescription. Not trusting doctors, I prescribe for myself He writes in the air. - "Take as needed" He signs with a flourish. Dr. Bear. He engages with RICHIE.

I met him backstage outside of his dressing room. I snuck in after the performance under the front of seeing Becca, my oldest friend, the Ophelia to his Hamlet. Becca knew what I was up to --- Hell she set the whole thing in motion. (mimic her voice) "Come backstage and meet my Hamlet. He's who you've been waiting for, Terry. He's your Prince." She had already gone home with her girlfriend, Jess, but she had done me the service of an introduction.

RICHIE
Wait a minute. Let me wash this make up off and I'll be myself again.

TERRY
Becca was right. He was the prince I had always fantasized about. I fell in love with him opening night. He took me. His --- what was it? Love at first sight and I'd never experienced it before. It felt like a need. I needed to see him. Night after night. Show after show. Like a moth to a flame. That's what it felt like. I came back every night for a month before working up my nerve to meet him face to face. I waited for him to come out. Would he keep his word or did he tell that to all the boys and girls who wanted to adore him?

RICHIE enters.

RICHIE
So you've seen me five times in a row?

TERRY
He kept his word. Meanwhile, I lied. I had seen him fifteen times in a row. Three and a half hours of Shakespeare. I know. I deserve a medal. Only, time stopped when I looked at him and it was nothing but pure ecstasy to watch him onstage...yes, some nights I was actually on ecstasy, the drug MDMA, but other nights, I wasn't. He was a pure fix in and of himself.

Mm. I must seem like a post pubescent fan-girl.

RICHIE
Ha-ha. Awww. No. Your very cute.

TERRY
(not accepting the compliment) Here. I wanted to give you these. Becca said you liked them.

RICHIE
Stargazer lilies (If necessary change flower to what can be found --- anything but Roses --- Terry had to put some thought into this). My favorite colors - pink and white. That was very thoughtful. So, Terry, right?

TERRY
Uh-huh.

RICHIE
Richie Argotsinger.

TERRY
I know. I mean Beca talks about you all the time and of course the playbill...

RICHIE
So you know my bio, huh? Well in person introductions are more meaningful. (new thought) Thanks for taking the time to come backstage.

TERRY
Really, it's an honor to meet you. I can't tell you how much your performance means to me.

RICHIE
Hahaha. Thank you.

TERRY
I guess I should let you go and um meet your other fans.

RICHIE
No you shouldn't. I don't want to meet any other "fans". I'm very happy getting to know you.

TERRY
Oh --- I just thought ---

RICHIE
Don't think. Talk to me. We just met. And I just expressed that I was interested in getting to know you. So you like my work?

TERRY
Yes! I've never seen anyone play Hamlet --- you just have me from the moment you step onstage.

RICHIE
The character I play has you, you mean - Hamlet the Dane - you mean the role I play. You don't know me. You know the character I'm playing for a living, right?

TERRY
Uh-um. I never thought of it like that.

RICHIE
Well. It's the truth, right? You know my Hamlet which is an act. Do you want to know the person talking to you now after the curtain goes down? His name's Richie. Hi. Nice to meet you.

TERRY
Hi....

RICHIE
Ha-ha. Hey. Hey. I don't bite. I swear. I'm just asking you, "Do you want to get to know me? Because I believe I may be worth your time getting to know for real. And I'd like to get to know you, too. Terry."

TERRY
Uh --

RICHIE
Use your words please. Do you want me to go home with you?

TERRY
(muttering) Fuck it.

RICHIE
What? Didn't hear that...

TERRY
Yes. YES. I do.

We went home together. And that was the beginning of the one nightstand that was a ripple in the pond, cause and effects extending into infinity. Be careful what the cat drags in, yes? I mean it might not be poison for the cat but it could be lethal for you.



JESS
What's up, sweetheart?

BECCA
Nothing, baby bear. Go back to bed.

JESS
Can't sleep again?

BECCA
It's nothing. I think. I think too much. I'll go for a walk...

JESS
And then you'll come back? To nestle in your arms..Little rabbit....I'll come with you.

BECCA
No. No. Sleep. Goodnight sweet prince and flights of angels sing thee to thy rest. (abrupt change as she realizes she has just spoken lines from her play) Do you want anything from the store?

JESS
MM...If they have the orange juice with the pulp...get that. (almost unconscious) I love waking up to orange juice with the pulp. Orange juice with the pulp. Pulpy pulp. Lettuce and tomato and orange juice. Pulp. (new thought) Mmmmm. Bread - a loaf of bread from the Boulangerie if its open....Mmm

BECCA leaves and enters TONY's apartment. She immediately shape shifts into ANGIE. As soon as ANGIE is present and asleep, LIGHTNING rattles (a "death rattle") the stage and a thunderclap is heard.

Flash forward five days JESS wakes up as if from a nightmare. BECCA has already died and it is the day of her funeral.

JESS
----Who's there?----

JESS looks around her and sees no one. She huddles into a small ball, rocking herself back and forth. She grabs BECCA's picture and brings it to her chest, indicating her death.

TERRY
That's one. Ophelia. When she jumped off the roof she was Ophelia. Rebecca Thorn had ceased to be somewhere between her getting cast as the jilted lover, pawn of her father, abandoned sister and the opening night of "Hamlet". Everyone could tell ---

JESS
She was dying before she jumped.

TERRY
--- Everyone could tell she was in trouble but no one knew what to do.

JESS
She was dying before she jumped.

She falls asleep holding the picture.
----

ANGIE
Who's there?

TONY
No one.

ANGIE
I thought it was Bear.

TONY
Nope.

ANGIE
Bear is always late.

TONY
He'll be here. I texted him. Trust me.

ANGIE
I trust no one.

TONY
I know. You are a tough cookie. It says so on your arm. Come over here. Kiss me.
She does so. They begin to make out and are making out throughout the entire dialogue.

TONY
I love you, Angie.

ANGIE
I know.

TONY
Say you love me.

ANGIE
No.

TONY pins her down.

TONY
You don't love me?

ANGIE
No.

TONY
Liar.

ANGIE
No.

TONY
You don't love me?

ANGIE
No.

TONY
I don't believe you.

ANGIE
Let me up.

TONY
Say it.

ANGIE
You're hurting me. If you loved me you wouldn't hurt me.

TONY
You like it.

ANGIE
We tell each other what we want to believe, Tone. Ah. Stop.

TONY kisses her deeply and she gives in.

TONY
Do you love me?

ANGIE
Yes! Alright! Fine! I love you.

TONY
You need me?

ANGIE
Stop these games.

He still pins her down.

TONY
You need me?

ANGIE
I need you.

TONY
I want to be inside of you. Tell me you want me to be inside you.

ANGIE
I do.

TONY begins to have sex with her. ANGIE begins to moan. She is moaning and he is kissing her. He orgasms.

TONY
I love you, Angie.

ANGIE
(getting up) Where's Bear? I have to leave soon.

TONY
I know, babe. Hey don't I take care of my princess...ANGIE arranges herself after her romp with TONY and exits into their kitchen offstage.

TONY
Can you get me a beer. Babe? TONY whistles happily or hums, while waiting. I'm going to buy you a Mockingbird nursery song - "Hush little baby don't say a word, Tony's gonna buy you a mockingbird and if that mockingbird don't sing Tony's going to buy you a diamond ring." Babe, what's taking you so long?

ANGIE
(offstage) I am cooking!

TONY
And what is the lady of the house cooking tonight?

ANGIE
(entering playfully) The sweetest of yams.

TONY
Come here.

ANGIE
Where's Bear?

TONY
He'll be here sooner than the cat's meow. What? No beer?

ANGIE
There's no more beer.

TONY
Fuck!

ANGIE
Don't get mad at me.

TONY/RICHIE holds the cards throughout the whole play. ANGIE fakes going to give him a blowjob.

TONY
(sighs happily) You always know how to make a guy feel better, don't you?

ANGIE
ANGIE grabs the cards from his pocket, laughing. HA-HA! Sucker. And starts shuffling.

TONY
Fine!

TONY gets up and puts on a jacket.

ANGIE
Stay! Play poker. Winner takes all.

TONY
There's nothing to take, Angie.

ANGIE
Money.

TONY
Alright. How much you want to start?

ANGIE
(the voice she often uses with TONY - a mother talking to a child) "Wheeeeelllll. I don't have any."

TONY
Well, then how you gonna play me?

ANGIE
I'll owe you. Or I'll put in two blowjobs. Take your pick. Play me!

TONY
I'll play you alright. I'll play you so hard. But I gotta get some beer first. I'll be more like myself.

ANGIE
Don't leave me alone!

TONY
WHAT? Ha-ha --Why? Ha-ha --- You afraid of Bear all of a sudden?

ANGIE
Ugh - It's the principle, Tony. (to a child) "You don't leave your girl when there's another man coming over."

TONY
Oh ok. You can't handle yourself with another man? Somehow I find that hard to believe. You and your line of work and all, princess.

ANGIE
(shuffling and starting to deal - sing song voice)
"That's not the poe-oint ---!"

TONY
(new beat - adding sunshine to her gloom - He's sets up her favorite game to play - "The Cat")
Hey. Hey angel. You've got the cat to protect you.

ANGIE
She claps her hands in delight at the mention of their cat. I gave you her at Christmas and you still haven't named her. Poor neglected thing. She won't even come out to play anymore!

TONY
I love that cat Angie.

ANGIE
You hate that cat. You don't care. If you loved her, you'd have given her a name.

TONY
What's in a name?

ANGIE
That's not cute.

TONY
It is to me. It makes me feel smart. Like my Angie. I'm being a smart-ass.

ANGIE
Oh just name her, you asshole! Do it right now or just get out and don't come back.

ANGIE gets in his face. TONY counters with holding her arms. This kind of play is a turn on for both of them --- you get the picture.

TONY
It's my apartment.

ANGIE
Name her.

TONY
It's my cat.

ANGIE
Name her or I'll walk out of your apartment and I'll take your cat with me.

TONY
It's so important to you.

ANGIE
Yes. She's part of our family. She deserves a name.

TONY
I thought you don't believe in family.

ANGIE
I believe in the cat.

TONY
Fine. I'll name her. Ready?

ANGIE
Born ready, baby. Shoot!

TONY
Duck.

ANGIE
What?

TONY
Her name is --- "Duck".

ANGIE
DUCK? You're a ---- argh ---- I HATE YOU.

TONY
You love me. (new idea) Hey! Hey! I named the cat. Don't I get something in return?

ANGIE
No! You get nothing. Nothing until Bear gets here and then probably not even then because (school ground playing nah-nah-nah-nah - in-your-face tone) "I have to go to work".

TONY
Aww. That's no fair.

ANGIE
Well, you should think next time you get a fucking slacker dealing for you, Tone.

TONY
Hey. Watch it, Angie. Bear's my friend. I knowed him since I was a kid going to Church school. Bright and weird as a motherfucker. But he's loyal and --- Where'd ya go? What are you thinking? You thinking bout him?

ANGIE
What? You a mind reader now? I didn't say shit. "Bear...Loyal..." Whatever. FINE. FUCK. I heard you.

TONY
Hey. Hey I'm gonna be so much better than Collin ever was...I'm gonna let you in on a little something, right: The Volpes are starting up a club, see and guess who --- guess who they want to be manager?

ANGIE
Ooh I wonder...(as if she were a child now -xmas day) "Who could it be?"

TONY
That's right, Angie. Me. And. Oh Angie. I'm gonna make it big. Ha-ha. My ship's come in see? You won't believe it but it's true. And then, I'm gonna go straight. Off the tar. So don't you go comparing me to that fucking cockroach.

ANGIE
Collin a cockroach? Haha! Collin? No. You don't even come close to the man he was, Tone.

TONY
Hey! Do I deserve that? That's not a way to treat me. I'm not some creep who don't give a rat's ass about you. I love you, baby. Don't compare me with that creep?

ANGIE
My point exactly, honey! Ha-ha! I can't compare you ---- Collin never would say something like (mock Tony's voice) "I love you, baby."

TONY
Fuck you, Angie!

TERRY knocks on the door.

TONY
Just a sec, Bear!!! (stage whisper now that TERRY's outside) Why are you twisting everything around? ...You are my girl. I'll do anything for you. Don't I tell you that all the time?

ANGIE
Oh you do, Tone. (innocent, child voice) "And you told your sister that too, right?"

TONY
You leave Rachel out of this.

TERRY knocks on the door. ANGIE starts laughing and doesn't stop until Tony hits her.

ANGIE
Ha-ha. You told her you'd do anything for her right?

TONY
Watch it Angie or I'm swearing on my grandmother's grave ---

ANGIE
Ha-ha ---- when she told you about what she planned to do...? You went over there in a heartbeat because "she was your girl"?!!! Ha-ha-ha-ha ---

TERRY knocks on the door.

TONY
Do you want the shit or not?

TERRY knocks on the door. TONY covers her mouth. She bites him.

TONY
Argh! What can I do to get you out of this HYSTERIA?

ANGIE
That's what you should have asked your sister and then you should have listened and then helped her like you said you would. Like you said would because you said you said she was "your girl" right? And you "loved her", right?

She spits out the taste of his flesh in her mouth.

TONY
You fucking cunt.

ANGIE
Ha-ha-ha!

TONY
Shut up!

TONY hits her.

ANGIE
Wow. You really do love me, huh Tone?

TERRY knocks again VERY VERY VERY LOUDLY and does not stop.

TONY
Just a second, Bear!

KNOCKING

ANGIE
Stop looking at me! (new beat---gathering herself together) Would you let him in for crissakes before my head splits open?

TONY opens the door. TERRY enters.

ANGIE
BEAR! So good to see you!!! Make sure Tone don't smoke all of your shit while I go wash up, K? You know how he can forget himself.

TERRY
(happily acting "friends" with Tony's girl --- the relationship ANGIE presents to him - in stark contrast to the tension between him and Tony when she's not around) Sure Angie sure!

ANGIE exits and lays downstage in BECCA'S grave. TERRY remains looking at TONY, waiting.

TERRY
You cooking, Tony?

TONY
Wha--? Oh yea. Here. It's all there, Terry.

TERRY
Don't you call me anything but Bear, Tone.

TONY
Sure. Bear. Here.

TERRY goes back to his apartment putting the money in a special jar.

JESS puts on a black jacket. TERRY is putting on his jacket as well as saying the following to his audience:


TERRY
I gave my first blowjob to Tony. In the treehouse at the Church. Don't worry we were fourteen, you know, but it was Church School so all grades into one itty-bitty schoolhouse. He circled me for years. He once tried to reciprocate but men who identify as heterosexuals tend to run when faced with sucking a real live penis. I didn't have any expectations but the poor guy...He said, (mimic Tony's accent) "Terry --- I'm sorry I can't." And then we fell out of touch for years....When I started dealing I got a call. He had just hooked up with this rockstar pro Angie whose fix was crack cocaine and to keep her he needed to get his lady her "black pearls" --- that's the crack code name folks: "tar" "black pearls" sometimes "diamonds" --- if its cocaine ---

TONY
Hey-hey Terry.

TERRY
Back in town, huh Tone? Been awhile. So what? You want to meet up?

TONY
Actually Terry I was hoping to use your professional services.

TERRY
I'm not a whore Tony.

TONY
No no no. No! Nothing like that. I hear your in the um... rock business now? I was looking for some "black pearls"...

TERRY
Right. Well, just call me Bear then. That's what you'd call me if your asking for those specific services, ok?

TONY
Bear.

TERRY
How much you want and where you living?

I thought he might want to get back into some kind of demented relationship but after a few years, and a few experiences with heterosexual men who were "curious" and accepted without question a man blowing their cock better than a woman --- we have a bit more experience usually - "I don't need your friendship, Tony. It's very one-sided. Let's just call a spade a spade and keep it professional from now on." You see, especially now. It's a gay man's marketplace! I realized I don't what am I doing settling for some booty in the closet.

JESS and TERRY meet downstage.

TONY is passed out on the couch.

TERRY
(staring at a grave in the front row of the audience)
"Goodnight, sweet princess and flights of angels sing thee to thy rest. REBECCA THORN. Beloved daughter, sister, friend."...She really liked that play...I mean, it's a great play...Look, I don't think you should be alone. I'll take you to a meeting? I'll even sit next to you.

JESS
No thanks, T. I've seen enough of the AA brigade's "sympathy" for one day.

TERRY
We could go see a movie.

JESS
...(sigh)...I want to go home.

TERRY
I'll take you.

JESS
I want to walk.

TERRY
I'll walk with you.

JESS
Thanks, Terry. But I need to be alone right now.

TERRY
Ok. But later Romeo and I will come over and take you to dinner.

JESS
Romeo? (laughing at him) That's new, huh?

TERRY
His name's Frank. But --- safer bet than Hamlet.

JESS
(laughing still at him) Oh? Ha. Both die T, you know that right?

TERRY
Romeo kills himself for "Le Grand Amour".

JESS
So Richie?

TERRY
No. That just didn't happen.

JESS
Oh. Sad thing that. Becca really thought you two ---

TERRY
It just didn't.

RICHIE
Hey Jess. Terry.

Enter RICHIE --- bursting with charisma

JESS
Speak of the devil.

RICHIE reads out loud:

RICHIE
"Goodnight, sweet princess...and (reads rest to self)" That's horrible...Anyone who got what the circumstance was would never write on her tombstone that fucking quote! Unbelievable.

JESS
Well those are the Thorns.

RICHIE
Yes. Mr. and Mrs. Thorn. Ahem. "Our precious daughter - sacrificial lamb of the arts - so talented and so brave. It was the theatre that killed you...Not a coward. No. Not our daughter. A martyr. A martyr. An artiste."

TERRY
Suicide isn't cowardly.

RICHIE
It's for people who are too afraid to face themselves. Sorry, Jess.

JESS
It's ok. It's true. She was a coward. And she was selfish.

TERRY
What are you even saying? Becca was not --- God, you don't know what she's been ---

JESS
What don't I know, Terry? She was my lover. I loved her --- you never had that with her, ok? Three years of our lives we gave to each together and maybe you've been friends since you were desperate brats vying for attention in hospital support groups, but that's not a real connection, T: That's a relationship based on sharing a weakness. So "I don't know what?" "I don't know what's she been through, right T?" That's your hand to play?

TERRY
Hey, Jess. Can you lay off.

JESS
YOU MADE HER WEAK TERRY. You and the Thorns. "A martyr", a "victim". But she was better than that. I knew she was better than that. I never indulged Becca in her weaknesses and she didn't indulge mine. We were stronger together - AND she decided to jump off a roof which translates to me as throwing our entire relationship out the window no off the roof --- for a reason that I cannot begin to- PAUSE. She collects herself and suppresses her anger, which is threatening to blow again.

RICHIE
It's ok Jess.

JESS
No. (discovery simple) I cannot begin to LET myself understand the reason why.

TERRY
It's not like --- Jess. I loved Becca too

JESS
(Her anger betrays her). Fine, Terry. That's fine, but don't you ever go telling me I don't know my girl when you don't know the first thing about us.

TERRY
"US".

JESS
"US" Terry "US. She destroyed "US" an us that we created together and that had "the best part of me in it". You don't know what it means to make something like that with another person. It's not your bag, T.


TERRY and RICHIE look at one another in stunned silence. This may have been more than JESS has spoken to either one of them.

JESS
I'm sorry I can't --- I'm being bitchy JESS turns with ferocity and refuses the social niceties of an apology.

TERRY
Hey, hey you know, Becca loved you.

JESS
You don't get it, Terry. Of course, she did. Anyone can see that. But that's the whole point. That's why this hurts so damn much. She loved me and I loved her. We took each other on warts and all. And then she betrayed "us". Me. She betrayed me.

RICHIE puts his arm around JESS.

RICHIE
Hey. Hey. Jess. It's the people we truly love that break our hearts, Jess --- the rest are just bruises. So you loved her. Let's go home.

JESS
I want to be alone. (seeing herself and her outburst with perspective) Heheheheha. I'm clearly not in a sociable mood. Sorry. I'm sorry, Terry.

RICHIE
Fuck apologizing to us and fuck sociable. I'm taking you home. There are still people, living people, who love you and care about you.

JESS
(insulted) I don't need your pity.

RICHIE
I'm not giving you pity. I'm honoring your grief. Period. You are the least pitiable person I know.

RICHIE extends his hand and JESS takes it. RICHIE tucks JESS in.

TERRY moves back to his apartment and opens a canister. He takes out a sugar cube - LSD. He keeps it on his fingertip for this monologue. During this next monologue he chooses different people in the audience to "make friends with"...and directs questions and sentences specifically to individuals.

TERRY
I'm angry that Richie took Jess home. That's my job. I'm the one who watches over those girls. Not him. If she hadn't died, it might have all been different. Ha-ha...Well what's done is done right. But see, I could have talked to her about him. I could have told her what happened and she would have hatched a plan with me to get him back. "A Do-Over". She would have known what to do. She always knew how to clean up my messes --- emotional and otherwise.

He notices the LSD tab on his finger.

HC --- my code name for Lysergic acid diethylamide...LSD...It is commonly known or acid, but then it's just an ordinary street drug if I call it that. This is HC for Hart Crane because his poetry was a trip in and of itself. Images drawn from black lines on a page making a journey for anyone who could read him. He inspired me. "Whirling twirling tumbling spinning without time without weight nowhere knowing nowhere going who will stop me falling crawling upside down and inside out many colors swirl and dance before my eyes singing a painfully sweet familiar reprise I pass the stars as they twinkle bright with purple color they light the night". That's Terrence Wright. Fourteen years old. Not Hart Crane. Yes - Me.

Puts the sugar cube on his tongue.

I day-jobbed as an editor for a fairly reputable literary magazine. Until I got so jealous of all the talentless bullcrap we were publishing that I had to quit - was compelled to quit. "Argh! I'm done with this beat." Richie's not the only one who can act you know. I made quite the dramatic mess over there. And then I just stuck to the dealing. I was either going to be a poet dead at thirty or a drug dealer. The best compliment I ever received was when a teacher read MY poem in front of the class, and that kid I told you about, this really popular, foxy, fourteen-year-old named Tony liked it and so everyone else liked it too. That's the power of charisma. Tony said: (putting on TONY's accent) "That is killer, man. But that's like a real famous person wrote that."

(And the class totally laughed with him. Ha-ha.) It was my five minutes of fame and acceptance and then the teacher said, "Well it was written by Terrence. Our own little Hart Crane."

BECCA and TERRY are alone. It's dark. And they have flashlights

BECCA
And so...he came upon her...

TERRY
HIM.

In the psych ward Becca and I found each other. Two failed suicide attempts sneaking from our beds in the middle of the night to make up stories. To comfort each other. She'd tell me about my soul mate - my prince who was yet to be.

BECCA
He came upon him. And took his hand and danced with him.

RICHIE takes TERRY and dances with him while BECCA narrates.

TERRY
(as if she has told him this story one thousand times before)
And what did he say?

RICHIE
I get you. I see you.

BECCA
And he held him so close that he could feel his heart beating against his chest. Ba-boom. Ba-boom. And he could feel his dick get hard in his pants. And he felt loved and adored. He saw into his eyes and there was a man before him who could and would and wanted to make all the pain disappear.

TERRY
(still in the dance)
Did he kiss him?

BECCA
He kissed him ---- tenderly at first ---- as if they were both made of stardust, light falling towards each other, sensing each other's whole being and then all at once. A cosmic "Yes", an explosion. A big bang! As if God created "Passion" in this moment. Just for them.

RICHIE and TERRY kiss so deeply and passionately and purely. It is long and rich in its silent force. RICHIE leaves and settles back into TONY, tripping on crack and opening his cellphone. TONY begins listening to RACHEL's last voicemail.

TERRY
(ecstatic sigh). You should be a poet, Becca.

BECCA
I'm going to be an actress silly.


BECCA lets out a haunting giggle. She leaves and picks up a six-pack, watching TONY, waiting - observing his delusional obsessive replaying of RACHEL's message.

RACHEL
voicemail ---- She's passed any anger. She's dying and her last phone call is to TONY. She's accepting of TONY, doesn't even expect him to be up. The purpose of the voicemail is to say goodbye.

You're not picking up your fucking phone. That's great. That's just --- whatever. I'm over it, Tony. I'm over it. (a drunken sounding laughter)Hehehehe...I sound really weird to myself right now...(repeat of the laughter) Hehehe...I've taken the morphine, Tony. All of it. It's prescribed!!! For the pain, you know...Or no you don't know...How would you know? Hahahaha. I bet you don't know anything about nothing. Nothing. You fucking break my heart, Anthony Domani. Well, take care of yourself. LONG PAUSE.........Bush your teeth with the FLOURIDE remember, you get cavities otherwise...I wish...

BEEEEEEEEEEEEEEEEEEP.

TONY pushes play on the voicemail --- maybe for the twentieth time in a row.


RACHEL
"You're not picking up your fucking phone. That's great. That's just --- whatever. I'm over it, Tony. I'm over it...."

ANGIE takes the phone from him and listens ----

RACHEL
" (a drunken sounding laughter) Hehehehe..."

ANGIE ends the phone call.

TONY
I'll come tomorrow.

ANGIE
SHUT UP! Let Rachel rest in peace.

ANGIE goes to the bag. There's nothing inside of it. Dawning realization while TERRY speaks and she begins to rip up the bag.

TERRY
Two. Tony's stepsister, Rachel Rosa Domani. Suicide. This happened over a year ago but if it was just a guess in your minds its CLEAR now. Rocketed Tony into hooking up with a rockstar pro like Angie who introduced him to the crack. Never took drugs before Rachel's death. Suicide . Suicided after being gang raped and impregnated by members of Tony's old gang. Sorry. It's dark. But you're here, yes, and it's the truth. He didn't get any of the messages. He didn't listen to any of her messages - not the ones from the hospital, or from when she was trying to get her job back, or when she found out about the baby - absent brother. He didn't listen till after she passed out in their Mom's garage in the car the ol' priest had given her. Ol'Betty. Method of death: carbon monoxide poisoning. That's relevant.

TONY
What's up, Angel?

ANGIE
You smoked all of our shit! Here's your fucking beer.

TONY
Why are you being so mean?

ANGIE
(reengaging) I'm being mean? Who got high and left me zero.

TONY
--- I was --- she was driving me crazy.

ANGIE
RACHEL IS NOT HERE.

TONY
I know. I know. But...She could be...She could be a ghost. I think she's a ghost, Angie. I think she's here like haunting me or something.

ANGIE gets ready to leave again.

No. No. You can't leave me.

ANGIE
You're so selfish...You don't think of anyone but yourself. I'm fucking sober, Tony. This wasn't the arrangement. Not one bit.

TONY
Angel---

ANGIE
Don't you fucking angel me, you prick - you shithead! I have to go whore myself out to a sadistic slob SOBER. I haven't done that in YEARS - you fuck. ANGIE starts brushing her hair furiously.

TONY
Angie - I'm afraid. Please?

ANGIE
Look, you're ok. You just don't know it. Your whacked on the cloud, baby.

TONY
(moaning)...Angie...I'm in pain.

ANGIE
Ugh! And I'm not your Mom, Tony. I don't kiss the boo-boos and make 'em better. I just show you the drugs that will make you forget...That's the only trick I got up my sleeve for you, sweetie. ANGIE gives in, and its clearly a struggle to do so --- she puts his head in her lap. Fine.

TONY
Thank you, Angie.

ANGIE
"Rockabye Tony on the tree top...bum da dum dum dum...when the wind blows the cradle will fall and down will come Tony cradle and all."

TONY
What do you mean by that..."I'm going to fall."? Are you saying I'm going to fall?...You want that, Angie?

ANGIE
It's a fucking nursery rhyme.

TONY
But why did you pick that nursery rhyme, huh? Why not the one about the "Twinkle Twinkle" - or "The Mockingbird Song"? The mockingbird who brings a diamond. Your talking about me falling off of a tree branch. It's not nice. (new idea/discovery) You-you-you want me dead. You WANT me to fall so you can hook up with one of the Volpes or go back to that fucking cockroach ---

ANGIE
Don't blasphemy the dead, Tone! Hahaha! Your ridiculous --- Get it through your head. I'm not going back to Collin because COLLIN IS DEAD dead. RACHEL IS DEAD. But I'm here. Singing to you for crissakes ---- I'm HERE being fool enough to love a fuck like you.

TONY
Don't say what you don't mean. I know you, Angie. You hate me.

ANGIE
I hate you? (Laughing out of Desperation - that it almost sounds like sobbing) Ha! Oh -heheeheeeha! It's too much. It hurts inside to think I might actually love you, damned crazy for crissakes --- but fine I don't love you. I do hate you. I despise you, Tony, because you are like a sick dog but I don't have the right outfit for this pity party.

TONY
Angie...

ANGIE
Ugh! Don't! Don't you --- (restraining herself) I'm out of here. You can talk to Duck.

ANGIE leaves and snuggles into JESS's bed under the covers.

TONY
Duck. Duck? Where are you, you little pussy? Here pussy. Here pussycat. (He actually thinks he sees a cat or pretends he does.) Hey! Hey --- stop chasing your tail. Come here. What a good girl! Good girl. Yea ---

There is an email ding. JESS wakes up alert. JESS figures out what it is and goes to check her email.

TERRY and JESS
"Hey gang looking for some extra cash - new shipment of the doc's finest array. Hibernation time - everything must go. Text the Bear and he'll deliver. "

JESS gets her cellphone. TERRY looks at who is calling. He lets it ring for a while. TERRY picks up the phone. JESS puts on an act for him.

JESS
Hey you...

TERRY
It's been awhile...

JESS
...It's just been...

TERRY
...since her funeral.

JESS
That long...Hey look, I got your email about the pipe. I accept your offer...

TERRY
You're sober.

JESS
...That was really Becca's thing you know...I was just doing it for support...

TERRY
Right.

JESS
T. C'MON! - That's what you do when you love someone. You negotiate some shit. Whatever.
I can pay for your fancy pipe. That's what you want right? I want some H and you want a pipe.

TERRY
Mother of Jesus. So that's something you've done, right? Like I'm not sending over a habit in a paper bag?

JESS
I just need a break, little bear...My students are doing transfer programs in gay Paree. I'm alone in an apartment stinking of a ghost.

TERRY
Look. It's your choice to be Miss Isolation Queen.

JESS
TERRY! Are you going to do this for me or not?

TERRY sighs and shakes his head in disbelief.

TERRY
Hang tight, kiddo. The Bear's on his way.

JESS
Merci. Thank you. Thank you, Terry!!!

TERRY hangs up. JESS hangs up

TERRY puts on his hoodie and sneakers - his ritualistic costuming of himself to confront the world out there - one he believes is hostile and so it is. He is about to get her the heroin but changes his mind and chooses methamphetamine. JESS is left alone, wandering around the apartment nervously, picking up this and that to pass this time. She is happy! There will be relief. She no longer has anyone to stay "sober" for --- She is allowing herself freedom from the "us" of her and BECCA. TERRY knocks on the door.

JESS
(sing song joy) It's open! TERRY enters and throws her a brown bag. --- She looks into the bag --- What's this, T?

TERRY
He puts on a German-Jewish Dr. Ruth/Freud accent for much of the scene - anything in quotes.
"Methamphetamine. Brand name Desoxyn. Central Nervous System Stimulant. Amphetamine anorectic. Street name: "Crystal-Meth". It's all he had. No H today. Not on ze chef's menu. Ice and ze black pearls --- but dose I save for ze pros and ze men who love them yes? --- not for ze lipstick lezzies in ze Velvet crème apartments --- ze tenured Professors of ze Academie. But this---this is quality powder, as far as the Amphetamine class. A little Glass to puncture ze Walls of Sorrows...." (his own voice) Look, earth to Jess, I brought it because I thought it would help you out of your depression.

JESS
I'm not---

TERRY
(Dr. Ruth/Freud voice) "Ahem - and I quote ze famous Herr Doctor Walter Schmidt: "ze benefits of the Amphetamine family is that one can experience an elevated mood, an increase in ze alertness, concentration, and energy in ze fatigued and depressed individual."

JESS
I'm not depressed.

TERRY
(Normal voice) Ok, fine you are not depressed. Whatever. Look those are the goods that your friend is holding. If you don't want it, I know people who do...rather desperately actually. But you're not an addict, as you've said, yes? Just seeking some relief, right? Wanting some fun during your summer vacay? Well, I figured why not a new drug, since you've already done H. (Dr. Ruth/Freud voice) "It'z ze crystal of ze crystals for crissakes! Do you vant it or not?"

JESS
Ha-ha. Ok. Ok. Yes. Yes. Doctor Terry.

TERRY
(normal voice) Cool. Want to hang? It's been a long time Miss Lonely-hearts.

JESS is holding the bag, fingering BECCA's picture. TERRY looks back at JESS already in the throes of her excitement and fantasy of relief.

TERRY
Jess?

JESSICA
Hmmm?

TERRY
I haven't left yet, you know?

JESSICA
Huh? Ha. I'm sorry love.

TERRY
Just don't isolate with that shit, ok? We don't want to make me into an asshole drug pusher person, right? I'm your friend. Right?

JESSICA
Duh - ya...(realizing if he isn't reassured he won't leave her alone) Terry. Ha-ha. Sweetheart. It's cool. I'm cool.

TERRY
You're cool.

TERRY starts to leave ---

JESS
Terry?

TERRY
Yes, doll-face?

JESSICA
How do you like to take it?

TERRY
Me? I don't. I'm a designer drug man myself strictly pharmaceuticals for the most part...Do you have a pipe?

JESSICA
Ah---Not anymore.

TERRY
Then, chop it up and snort it. Like coke. A dollar bill is fine or cut up one of your little plastic straws. (Dr. Ruth/Freud) "Any more questions dah-lin?"

She smiles a crocodile grin, convincing no one except herself that everything is fine.

JESSICA
No. Thanks for the house call! You're a good friend.

TERRY
No, He-hahaa --- I'm not. (Dr. Ruth/Freud voice) "But vell - I vill check up on you, yes?"

JESSICA
Sure Dr. T. Whatever.

JESSICA goes into the bathroom - chops and snorts.

TERRY
Halfway point. Again the door is over there. Please do leave quietly now if you would like to not be here anymore. No judgment but do so now before the plane starts its descent. "What's that captain?" It looks like we will be landing in twenty-five minutes. Seats buckled? Rockier the road as we go down deeper deeper down into the hole, yes? Where no traveller has yet returned...

TERRY turns on the MUSIC OF THE METH ZONE before leaving ---- SAME TYPE OF ACID ROCK OF THE DOWN THE RABBIT HOLE BEGINNING - background at first

Jess was already gone before the drug hit her nasal passages. I let the cat in so to speak. Another man's poison? How was I to know, right? Look. I knew better. You don't go to AA and stay there for two years unless there's something. At least, that's my opinion. But what I know right? I've never been - can't stomach one of those "meetings". (Dr. Ruth/ Freud voice) "Bad for ze business". (sigh)

TERRY turns the music LOUDER and leaves.

JESS ENTERS the METH ZONE --- see PAGES 3-4 of this script for effects and symptoms and overdose. Give it no more than 5 minutes of stage time - that's all that can be tolerated for this is intense and HORRIFYING. We use to consider it a dance. Forget the dance. It's just a ZONE - A DEAD ZONE OF ACTIVITIES DONE BY A ZOMBIE. She'll become more and more like a zombie as the five minutes go by. Luckily Terry will come and embody the audience's horror so they won't have to take it on. That's important - when Terry comes in he is HORRIFIED which is how the audience will be feeling because this is not something that is shown on a stage in my knowledge --- confrontation with the reality - JESS takes on the heaviest drugs and the ones with the best and worst side effects.

Actions on manic repeat joined with manic music -solitaire - spread the cards out MESS THEM UP, vacuuming NOTICING A SMALL SPOT ON THE FLOOR- scrubbing same spot with a toothbrush, masturbation, getting hot and removing clothe, putting on clothes, arranging clothes, chopping in the bathroom and snorting in the bathroom, plus her phone rings (TERRY) and she doesn't pick up, she brings a blanket onto the floor while she shops online - no sleeping - don't even try - (CHOOSE A FEW OF THESE TO DO OVER AND OVER - it doesn't matter which but it's the repetition and the forgetting that she did it maybe an hour ago that matters). Cycle should last for three days BUT time doesn't matter - enough for psychosis to set in. The cycle ends with her staring at BECCA'S picture then staring at BECCA (hallucinating her).

JESS
What would you do? What would you tell me to do? "I will eat yogurt. Yogurt will be good for me. Probiotics eat crystals. Hard rocks in my spine."

JESS goes offstage to search for the magic yogurt. She returns desperately confronting BECCA.

JESS
There's no more yogurt. There's no more yogurt. No more----

JESS breaks BECCA's picture. TERRY hears it in his apartment. TERRY takes another oxy and gets ready to check in on JESS. JESS hallucinates glass coming out of her skin. She moans. She exits into the bathroom and starts tearing up at her skin with the broken glass. She moans. TERRY knocks several times until he can be heard over the music.

JESSICA
(weak catatonic monotone disconnected sound --- not a scream - the only sound she can make) AAAAAAAAAAAAAAAH ---

TERRY uses his jacket to shield his arm as he smashes the window (mimed or real). There is the sound of a window breaking which is as dramatic as the sound of a mirror smashing against the ground. Glass. TERRY unlocks the door from the outside. JESSICA emerges from the doorway blood tripping down her face. TERRY goes to the bathroom and gets towels and water... starts to clean her up. He shuts off the music. JESSICA sits on the bed coming down hard. CATATONIC - see Robert DeNiro in Awakenings to understand the mannerisms (playwright will confirm this reality --- its really exactly like DeNiro's character).

JESSICA
(No emotion - a zombie opens its mouth - her jaw is frozen)
Aaaaaaaaaaaaaaaaaaaaaaaaaah ---

TERRY continues to clean her.

JESSICA
Aaaaaaaaaaaaaaaaaaaaaah ---

TERRY gets water and takes out an oxy. He gives it to her. TERRY puts it in her hand and clothes her fingers around it. TERRY silently contemplates what JESS is looking at.

TERRY
Take that, Jess. It's oxy, right? It'll help you.

JESS does not move. TERRY takes the oxy out of JESS's hand - It is a struggle. Her hands will not open and it is not her fault - they are simply immobilized, arthritic hands. TERRY finally manages to pry her fingers one by one open and takes the oxy and puts it in her mouth.

TERRY
Jess. You need to swallow this.

TERRY forces her to swallow. JESSICA gasps for breath as if she's been under water for days.

JESSICA
Becca. Becca was right there. Tell me she's not there.

TERRY
You took too much pussycat.

TERRY begins to tidy up the apartment.

JESS starts another round of hallucination indicated in the following manner:
JESS goes into his satchel. TERRY watches her unbelieving. She does not say anything and if she feels him watching she does not care but continues until she finds the oxy and takes another.

TERRY
You could just ask me. Jeez, Jess. Where the fuck did you go?

JESS shakes her head. She locks eyes with him. She reaches into the satchel and takes out another. Two now. She swallows both never leaving his gaze, like a scared animal trapped by a hunter. JESS sits down on the floor like a heap of muscle and bones - exhausted.

TERRY leaves.

TONY'S begun thinking - pacing the floor - like a caged animal.

TERRY passes him to return to his apartment and TONY feels as if someone had walked on his grave but he doesn't see TERRY, yet he shudders all the same. His paranoia (drug side effect) is in full effect.

TERRY takes off his hoodie and his sneakers.

ANGIE is so HIGH ON CONCAINE - different then meth --- This drug trip is about flying --- anything is possible and infinity is at her fingertips. The carbon monoxide is beginning to spread throughout the room causing light-headedness, headaches, muscle aches, etc. See PAGES 4-5 of this script for symptoms and effects. BEAR's form of crack can easily be blamed as the cause.

***ANGIE enters and is giggling and laughing --- and her thoughts and ideas are COKED UP THOUGHTS - meaning they come in fast and furious and she will change direction based upon new thoughts as if she's never thought of them before and dropping whatever she had just been saying to pursue something new. Nothing drags her down until the end when Tony hits her wear it hurts. It's not what he says - it's that he does it purposefully to hurt her and take her down. "If you loved me you wouldn't hurt me." Perhaps it's a myth she needs to reevaluate. Regardless, actress who plays ANGIE serves the scene best if she plays all of her cards full deck maximum strength - play to WIN! ANGIE's cards: Seduction, Intelligence, Empathy, Acting, Truth-telling, Prankster, Sex Appeal, Feminine That Knows It's Gorgeous Body, etc. The higher she can go and the more impenetrable she is ---- the greater the fall becomes and the reason it's lethal.****

ANGIE
(Seeing Tony) Hello there, Mr. Black Panther Man!

TONY
Where have you been?

ANGIE
(new idea) Where's your piece at, Tone?

TONY
What? Why?

ANGIE
(Like she's talking to a young child - parenthesis indicate this voice) "What? Awww. Tony, no trust!?"

TONY
You want to steal it?

ANGIE
"Me? Little ol' me? Why would I want to steal from my black panther man?"

TONY
I just want to keep it to myself, ok Angie?

ANGIE
(new thought) "AWW. YOUR AFWAID!" (new idea) "Afraid I'll lose my shit and off myself like your sister?"

TONY
She died in the garage. I found her there in ol 'Betty---

ANGIE
I know damn well how she died, Tony.

TONY
Why do you bring her up?

Uncontrolled laughter on ANGIE's part throughout the rest of the scene.

ANGIE
(new idea) It makes you human. You having a sister that killed herself and you all remorseful about it and shit like you would've done something other than use it as the perfect excuse to get paralyzed and shit-faced. (new idea) You're just another bozo on the bus with suitcase upon suitcase of baggage down below and then (new discovery) AND THEN I can go on loving you cuz you're just another bozo on the bus with a ton of baggage like me, like your Angie, and then Angie can go on loving you.

TONY
You're insane, Angie.

ANGIE
(as if she's telling this young child a secret - stage whisper) "No, Tony. I'm ---- high!" (free laughter) Ha-ha-ha!

TONY
You're unstable. See this is why I don't tell you where my gun is.

ANGIE
I'm unstable? Hahahaha! (mock innocent) "You hear that Duck I'm unstable cuz I tell him I like loving him." I know where your gun is anyway. You keep it in your sock drawer and it's the only sock that looks like a gun's in it.

TONY
God, Angie. Why are you in my sock drawer, Ange? You know there's no trust and respect in this house.

ANGIE
"What? What if a rapist comes in or burglar?"

TONY
I'll protect you.

ANGIE
(new discovery) What if I need it against you?

TONY
What?

ANGIE
Sometimes you scare me. You know? (new discovery way of talking about Tony) "You're not an easy-going guy!" Ha-ha-ha ----

TONY
So you'd kill me?

ANGIE
Maybe just a flesh wound. If you got to me bad.

TONY
You should have one, too. I mean with your line of work and all.

ANGIE takes out a small retractable pocketknife from her boot.

TONY
Where did you get that?

ANGIE
Collin gave it to me. "Less obvious than a gun and naked men are terrified of knives, you know. "

TONY
How would you use it...I mean get to it?

ANGIE
...I always keep my boots on. (new discovery) Ha-Ha--- "It's like my costume when I play whore."

TONY
You don't wear your boots with me.

ANGIE
No cuz with you I'm real.

TONY
(He can laugh too now - assured) He-he-heh - Yeah - Hehe - I like that, Angie! With me "you're real."

ANGIE
Alright. Don't get a hard on, it's not like I mean it or anything.

TONY
Jeez you are out of your mind.

ANGIE
(new thought) MAY-beeee! So what. (new idea) Ooh! Ooh! Ooh! Play with me, Tony! Yes! We'll play "Guns and knives"! Go get your sock!

ANGIE makes some samurai swishes in the air.

TONY
Put it away now sweetheart.

ANGIE
Text Bear.

TONY
He's on his way angel. I told you I'll take care of my prin---

ANGIE
Do it again! (new idea!) Hahahaha!!!!! Tell him it's an emergency...Hahahahah! (new idea) Tell him, "It's life and death!" Hahahahaaaa!

TONY texts Bear.

TONY
Done. See?

He grabs the knife from her. He feels in her boot and pulls out wads of cash.

ANGIE
Awwww. Give it back, Tony.

TONY
What's fair is fair. You know where my piece is, and I know where you stash your cash.

ANGIE
(laughing in his face, because everything's joke)
Which goes to show you, (as if she were a child now - innocent and disappointed) "Don't trust no one".

TONY
You hate me.

ANGIE
(new discovery as if they've never talked about this before - sounding out the idea) "I...hate...you---?" (copy a male voice) "I hate you!" Hahaha! Nooooooh....I don't hate you, Tony.

TONY
What's going on with you?

ANGIE
NOTHING's going on. I feel free! and...and fine...absolutely finer than I've ever felt before...(new idea) We should go the aquarium Tony, oooooooooooh YES YES YES YES we should go - lets let let GOOOOO to the aquarium...and see the DOLL-FINZZZZZ? Have you ever ridden on the back of a DOLLFIN? I think dollfiiiiinzz are supposed to be the smaaaaaaaaartest of animals...Smarter than us Tony! Smarter than a speeeeeding bullet! Let's do that, Tony. Let's ride on top of dollfinz together...We could do that, you know? It's possible. I dream that we are doing that right now. Mmm. Yes! (New thought) Oh!!! Oh! Oh! Oh! I'm waving at you and my doll-finz's name is Blue and yours is Betty. Let's play at riding doll-finz...Mine is Blue and yours is OOOOOOLLLLL' Betty. And Blue can fly and do backflips. What can OOOLLL'Betty do? She used to be an ol'Priests'...

TONY
That's not funny.

ANGIE
Oh c'mon...PLAY! PLAY "RIIDE-ING THE DOLLFINZ" with me.

ANGIE begins to mime riding a dolphin and it looks like she is humping the air.

TONY
It's not cute...

ANGIE
(New thought, new beat, as if she were psychic)
Un chant mystérieux tombe des astres d'or.

TONY
Well. That's nice.

ANGIE
Yea. It's "nice".

TONY
What's it mean?

ANGIE
Something my ladylove spoke of to me... "A mysterious anthem falls from the golden stars"...It's the language of love, Tone taught to me by my first and only female amour.

TONY
I don't want to hear about your other ---- You were with a woman?

ANGIE
Yes, Tony. I was with "a woman". (new idea) She was beautiful ha-ha and she would whisper poetry in my ear.

TONY
You loved her.

ANGIE
It's none of your business.

TONY
Fine.

ANGIE
(sigh and sound of a school girl) "But yes. Pure delicious love." I started going to her classes. She'd let me in, you know and then we'd make out in the faculty lounge after hours. Lock the door. (discovery) Naughty schoolteacher! But I was learning a trade.

TONY
What do you mean?

ANGIE
She thought I could teach French. I could be a French teacher. Quit the racket. (New Idea) You could go straight and manage the Volpes club and I'll be a French teacher. Let's play "Club Manager and French teacher!" Hahahaha! Oh my god! I love it! That's a good one! Isn't it, Tone? Isn't it funny? Why aren't you laughing?

TONY
That's for real, Angie.

ANGIE
Hahahaha! Yes. Yes. Yes. Of course it is sweetie! Ha-ha-ha-ha! (Happy very happy) (New thought - excited) Ooh! Where's Duck? Where's the Duck? I want to play with Duck!

TONY makes a decision. He's going to play this real, so "mournful and regretful and it-had-to-be-done" real so that it hurts ANGIE more than if he'd beat her up. He's probably figured out that doesn't work anyway, but just makes her hate him. This is beating her at her own game and it's a pure power play.

TONY
She's dead.

ANGIE
Wha--? No she's not ---

TONY
I'm sorry, angel. She is.

ANGIE
You killed the cat?

TONY
It was my cat. You gave her to me, remember?

ANGIE
No. No. No. No! Tony you don't ---- (try to keep it together)

TONY
I had to --- angel. There were so many rats. I didn't know she was trying to get to them too - brave brave Duck. She just --- got in the way --- I didn't mean to --- I took her outside and cremated her. Just like I know my Angie would have wanted. I watched the ashes fly to the sky - black dust. Don't worry sweetie, I sang her soul to sleep..."Rock-a-bye Duckie..."

ANGIE
No! (She brings it in and makes the grief into a controlled anger) Tony --- you --- are --- a --- shit!

TONY
Are you going to leave me?

ANGIE
Of course, I'm not you, fucking cocksucker. You know I'm not.

TONY
Angie?

ANGIE
I need to lie down.

She curls up on the floor in a fetal position. TONY goes to her and puts her head in his lap gently. He pets her while she shuts her eyes and sleeps. ANGIE's body begins to sob. TONY stops petting her, visibly afraid at the thing in his lap but more afraid to wake it up. He remains paralyzed and watching hawkeyed and slack-jawed. He tenderly leaves her there to become RICHIE.

TERRY is in the process of grabbing a book, holding it up to his face so he can read the binding or stare at the cover and then he throws it on the floor. He is no longer able to see clearly.

RICHIE returns into TERRY's apartment.

TERRY
Champagne?

RICHIE
I don't drink when I'm performing.

TERRY
After our introduction at the theatre I took him home. I let him in.

RICHIE
You've got quite the little pharmacy I see.

TERRY
Please. Help yourself. I just got a new batch of Mollie. Pharmaceutical grade.

RICHIE
Mollie?

TERRY
It's the latest reincarnation of ecstasy. Ecstasy and amphetamine.

RICHIE
Ha. Right. Ecstasy in a puff of powder.

TERRY
A pill actually. It's not like uh coke or ---

RICHIE
A joke.

TERRY goes to his drug cabinet. RICHIE puts on music. RICHIE sneaks up behind him and grabs him.

RICHIE
Terry, put it down. Dance with me.

RICHIE dances with him in silence.

TERRY
(Discovery) I feel like I don't know where you end and I begin. I can't find my center.

RICHIE
Put your center in me.

TERRY and RICHIE dance - RICHIE leads -- maybe it starts as a waltz and turns into something intimate and then into passionate love-making. The tender kiss BECCA spoke of occurs in real time.

RICHIE falls asleep and TERRY stares at him for a moment - lingering moment and then turns back to the audience.

TERRY
In the morning, I turned the tables.

RICHIE stretches himself awake and happy until ---

I told him he had to go. That it was a mistake.

RICHIE
A mistake?

TERRY
I'm sorry but I'm not any good.

RICHIE
You're plenty good, Terry.

TERRY
You have to go.

RICHIE
Why?

TERRY
Just. I need to you go, okay? I'm sorry some things just don't work out.

RICHIE
Don't tell me that line, Terry. Look me in the face and tell me you want me to go and I'll go.

TERRY

"I want you to go."

RICHIE
Oh. Ok, then.

TERRY
So he left. He left. And I didn't stop him. I let him go. I pushed him away. I did.

(new beat)

Months later - he was at Jess'

RICHIE
(to JESS)
You can snort it.

JESS
...that's what I was thinking...just the good ol snort method.. Let's do that...It's just an experiment, anyway. It's just something to do...I'm bored...Make me laugh. "Laughter is the best medicine".

RICHIE
Indeed, that's what the doctor says.

JESS
AND H is also the medicine, Richie. I know it. My guts know it. But I do want someone to laugh with ---? You holding any? Both?

RICHIE
I'll see what I can do, Ms. Templeton. I wouldn't want to neglect a patient.

JESS
Yes! Get me out of my head...This head...This head is dead. Ha. This head is dead. Cette tête est mort...

JESS puts on REBECCA and JESS's song. RICHIE takes a bag of heroin from TERRY's apartment possibly.

RICHIE knocks.

RICHIE
Jess?

JESSICA
Come in. It's open.

RICHIE
Well, hello there Ms. Templeton.

JESS
It took you long enough.

RICHIE
Ms. Templeton, I only provide the finest fairie dust for my friends. And it takes patience for the great drug dealers in the sky to provide.

JESSICA
(joyful and excited)
Ha - silly man. What? You got stoned and fell asleep!!!

RICHIE
Oh ye - of little faith - go and try it. Not too much at first, tho. Just like coke...Until you get to the right place. It's already to go. I'm assuming we're staying snorting, yes?

JESS
Oh yes, the only time you'll see me with a needle is getting a tattoo.

RICHIE
Where is your tattoo?

JESS
Wouldn't you like to know.

JESSICA goes into the bathroom.

RICHIE
(yelling at her offstage) I WOULD ACTUALLY! RICHIE begins shuffling the cards. He could even spread them out like a tarot deck and start drawing them into a celtic formation.

TERRY
Heroin is the ultrafucker of the lotus-eaters. The opiate that kills without question as you fall into a gentle nod. You'd fuck to increase the feeling but the feeling is limitless so why bother? You can't get hard anyway and you don't care. You don't care to do anything but feel your pulse as you lie on the floor and look at the cracks on the ceiling. Fascinatingly empty. Black holes in the sky. And you just rockabyeabyebye.

RICHIE
Jess? JESS? What's taking so long? If you od on me I'll fucking kill you.

JESSICA
Hi.

RICHIE
Well. Hello, Miss. How do you feel?

JESSICA
How do I feel?

RICHIE
Yes...

JESSICA
...I feel like I can see my thoughts like cloud formations in the sky. (She giggles). Do you hear my heart beating. BA-BOOM. BA-BOOM.

She puts his hand on her chest.

RICHIE
(playing doctor)
That's a nice heartbeat you got there, Ma'am.

JESSICA
Well thank you, doctor.

RICHIE
I see. You have a nice big bed there.

JESSICA
The better to fuck you with?

RICHIE
Well now. Are you propositioning me, Ms. Templeton? And here I thought you liked the ladies.

JESSICA
I'll take a dick every now and then.

RICHIE
(film noir voice) "She was a gorgeous mess this dame. I knew right from the start she'd cost me a penny, no matter how high a price I gave her. Why she had the look of a killer she did but looks could be deceiving. Too high a price. Too high a price. But I liked her. That was the only known, certifiable, beyond a shadow of a doubt --- provable --- fact in this rotten stinking case. I liked her, goddamm it. She was just too --- Too damn sexy."

JESS kisses him sensual and RICHIE has never been kissed as if he were a woman. RICHIE makes an attempt to take charge of this kiss by grabbing her hair. JESS takes his face in her hands and holds it. RICHIE is not threatened but curious and surrenders to JESS by letting go of her hair and simply letting go into the blissful retreat of submission --- an action TONY would never do. JESS moves him back down on the bed. It is a reversal of gender roles "technically" - only "technically" - JESS would be acting the masculine, the one who "fucks", the one who "scores" "hits" etc.

ANGIE is tripping out of her head on crack and carbon monoxide --- no longer in time.

ANGIE
"Un chant mystérieux tombe des astres d'or." I would've giving up the whole damn thing....

JESS sees BECCA's picture out of the corner of her eye and without stopping her pursuant kisses, she turns over the frame.

RICHIE
She was a wonderful Ophelia.

JESS stops abruptly and pierces him with a gaze that says more than the truth.
Then she laughs. She laughs and laughs and laughs and it meshes with ANGIE's laughter, which has become girly as she remembers her French teacher.

ANGIE
(giggling like a schoolgirl) She didn't tho ---- Heeheehee --- she - she didn't WANT me, Tone...Why would she want me?...She falls into unconsciousness then wakes up - fights to wake up and to tell Tony the following: She made me think I could be a French teacher...like her...and then she up and left. POOF! Magic disappearing act. "Return to the isle of lesbos" -nPity money. Mercy --- money in purse "Thanks for the good times, babe." She made me love her and I was nothing to her but a whore...Ha-ha-ha- She was good, Tone!!! Uh-huh! ---- Heheheee....heheeeeeeehe...My Queen of Hearts. The player gets played...heheheeheeee, my Queen, my Queen of Hearts.... (She falls out of consciousness.)

JESS
JESS's heroin recollection. Not thoughts like ANGIE on coke but rather NEW DISCOVERIES - each of these sentences is a new discovery into the reality of the situation that without heroin she would never be able look at this objectively - She is like a detective figuring out clues.

She was dying before she jumped. (discovery) She was dying. She wouldn't talk to me. I'd ask her questions. (discovery) She wouldn't talk. She stopped going to meetings. And I don't know where she went at night.....(discovery) She wouldn't tell me exactly - just that she was going out for a walk....She took a lot of walks. (big discovery - happy discovery at what she lost, honoring what she had) It sucks to have someone give herself to you so purely, revealing herself like an open book, magnificent and true like the stars in the sky, and then wham bam, slam the book closed, lock it and throw away the key.

---

(Heroin induced wisdom---HAPPY DISCOVERY, desire to share it)
God manifests through them, right? We see something in them they can't see...and they see it in us and together we get stronger. It's Infinite love. I got sober for her...I never wanted to be apart from her...not a single damn fucking second.

RICHIE
Ha-ha-ha-ha!!!!

JESSICA
What?

RICHIE
You never curse.

TERRY dials JESS.

JESSICA
Damn shit fucking motherfucker...MERDE!

JESS's phone rings.

MERDE! MERDE! MERDE!

JESS's phone rings.

TERRY
Jess?

JESS
Ssssshhhhhhh.

JESS mouths to RICHIE - "IT'S TERRY". JESS does not stop laughing however.

JESS
Ha-ha-ha-ha.

TERRY insulted by her laughter, hangs up.

JESS
Terry? ---- He hung up. Why do you think he'd do that, huh? Where are you going?

RICHIE
You'll see.

RICHIE gives JESS a card. Enters TONY's apartment. He holds ANGIE against him.
JESS turns over the card and holds "THE QUEEN OF HEARTS" against her chest smiling, a heroin sedated blissful grin.


ANGIE
I feel sick.

TONY
Bear's stuff is twisted tonight. You know, Angie, this is why I'm going to go straight. Drugs are unreliable.

ANGIE
Drugs are unreliable? "Anthony Domani, manager of the Volpes' new nightclub, yea?" (macho voice) "Straight-man!" Haha. What ya gonna name the joint sugarplum?

TONY
Paradise. Don't it sound fancy and perfect and where dreams come true? I named it for you angel? It's where our dreams can come true. No more games. Yes? For real. You and me. People will just sit at the bar and stare at the beautiful bottles that look like like like (an idea) an art museum!

ANGIE
Stop talking Tony.

TONY
This is real, baby.

ANGIE
As real as Duck who you killed!

TONY
I didn't mean to --

ANGIE
(truly not caring at this point - because she's dying) Whatever...She wasn't real anyway!

TONY sweeps her up in his arms.

TONY
Come here. I know what's real. This...This hand is real...This chest...where your heart is beating is real...Your beautiful hair, that you almost never wash but I still love because it's your hair...It smells of your sweet sweat and blood and tears...That's real. What? Are you crying?

ANGIE
(one last effort to communicate)
STOP TALKIN! You want to talk about real? Real is this baby: The moment you rise up on the payroll, your done. You front for them --- great. Your expendable. Your muscle. They shoot you dead like Collin --- your own backers --- your Volpes. And me? I'll be shacked up with another of you guys if I'm lucky --- one of you guys waiting around ---- oh there's always a dozen of you --- one of you who likes a a rock star pro, who fucks and sucks for her needs to get fed and he takes her in. (New thought to hammer it home) OHHH! And Us? Now, (again using the voice to talk to a little kid) us'll make believe and play house until....it hurts so bad he gets up and leaves, or he ods, or gets whacked after being a front-man when in truth he's just muscle. That's all he's good for---Oh and all the time he'll say to this rock-star pro, this girl who he's never looked once in the eye. He's saying: "I love you, baby. I love you kitty-kat. I love you, girlie girl. I love you angel-angel!" Hahaahha. God. That's real - sugar man.

TONY
You mean, fucking whore!

TONY hits her HARD against the floor and then looks blankly - not remembering why she is on the floor or what he did.

TONY
What? Angie?

ANGIE
Playing "truth time" with me Tony. Ding ding ding. WIIIIINNNNING! You win the million dollar question. "Who is Angie?" Well done, Mister Domani. (She fades out now into a whispering collapse) Well done...Misterblackpantherman.

Lightning Strikes and then Rain. TONY takes ANGIE into his arms and grabs some red vines from their apartment so that he is holding red vines plus ANGIE in his arms and delivering both to JESS' apartment as RICHIE.

TERRY
Three. "Angie". Last name unknown. Carbon monoxide poisoning mixed with cocaine/crack --- too much poison in the blood. Not enough food. Not enough water. Not enough.

JESS has nodded off.

RICHIE gently puts BECCA down. BECCA finds a comfortable place in JESS' apartment. RICHIE sneaks up behind JESS and offers her the red vines.

JESS wakes, smiling at RICHIE.

JESS
What are these for?

RICHIE
Coming down.

JESS
Oh I'm not. Not ever!

TERRY dials JESS. JESS goes to the bathroom to snort more. The telephone rings and rings and rings. RICHIE ignores it and puts on music. A text message comes in. RICHIE looks at the phone. JESS enters and puts on music.

JESS
Who?

RICHIE
Terry ---

RICHIE texts.

JESS
What did you write.

RICHIE
"Sorry T. I'm not free tonight."

JESS
(new idea) No...I'm not free tonight. Dance with me.

BECCA and RICHIE and JESS dance together.

They begins to make out. RICHIE goes down on her. She is moaning, looking at BECCA. BECCA covers RICHIE and it is BECCA who begins to touch her and kiss her now.
JESS is moaning, only thinking of BECCA, forgetting about RICHIE.

JESSICA
Yes. Mmmmm. Yes. There. There. There. Yes. Bec, Yes.

JESSICA is in ecstasy and orgasms. RICHIE emerges. He holds her.

RICHIE
You thinking about, Becca? ----

JESS
I'm sorry, Richie.

RICHIE
It's ok. It's ok. I don't mind.

JESS
Hold me?

RICHIE does.

LIGHTNING, same as from the beginning when BECCA dies, then thunderclap then rain.
TERRY takes out several big pills - morphine.



TERRY
(to the audience) Four. JESSICA TEMPLETON accidental heroin overdose. I take responsibility. I let in the cat in with the rock in its mouth. You can't do that to an addict. Recovered or not.

You know, I want to hate you Richie, but I don't. I can't. I...Fuck, I know the truth. I don't believe you were out for vengeance, but fucking companionship...You're so...(disgusted as he says it) good.

So I texted him. Pure fucking poetry: a code name that he would recognize: a text to her meant for him because I knew at this point where he was and who was responding to my texts. "Undiscovered Country". It's Hamlet's kingdom of death - it's in PARENTHESIS HA—HA!- "Who would fardels bear/To grunt and sweat under a weary life/But that the dread of something after death/The Undiscovered Country from whose bourn no traveller returns")/puzzles the will."

He texts, "Undiscovered Country."
He is about to take the pills but, he pauses, looking at RICHIE either in his bed or in JESS's.


This is morphine. 5000 mgs. Roll the big money now.

Oh Slyph
I give you kisses goodnight.
Please forget what was said.
I was not in my head.
I was merely
Perceiving that I could communicate
A flower to a butterfly----
Delicates all.
Fragile this fall we could have been.
One of us breaks.

Hark! Attend the spirit of the matter, yes?

The reality was:
Once upon a time
There was a beautiful boy asleep in my bed
(Real discovery, horrific discovery) There was a beautiful boy asleep in my bed!
(deeper into the rabbit hole discovery)....And I didn't know what to do about it.

(he collects himself)
But look you ladies and gentleman, I did something about it.

TERRY takes the poison.

RICHIE
"Undiscovered Country."

A look of "What the fuck?" crosses RICHIE's face before another before terrifying thought takes over and he bolts from JESS's apartment.

After RICHIE leaves, BECCA excitedly moves to JESS.

BECCA listens for JESSICA's heartbeat and upon hearing none, gently tries to wake her as if she would be with her now.

BECCA
"- Un chant mystérieux tombe des astres d'or."

(- A mysterious anthem falls from the golden stars.)

RICHIE knocks on TERRY's door.

RICHIE knocks several times at TERRY's door.

RICHIE
Hey Terry? Terry are you in there?

RICHIE knocks several more times. TERRY turns away from us --- seeking privacy for the first time in the play. RICHIE knocks several times more. Terry experiences cardiac arrest and dies. A peaceful corpse. No more nightmares or dreams. RICHIE is listening to his phone - he could be hearing TERRY's last voicemail...Yet, he walks through TERRY's apartment into TONY's. As TONY now he has lost his mind and is totally delusional. He puts the phone down. He has memorized the final message and it haunts him now.

BECCA hits on the revelation that JESS is not coming back to her.

BECCA
Je suis seule? Jess? No. (as a definitive absolute commandment) "We'll always be together." You said it yourself, "We'll always be "us"."

JESS gets up and leaves her apartment.

BECCA
Where are you going?

JESS enters TONY's apartment becoming RACHEL. BECCA follows JESSICA becoming ANGIE and falls. ANGIE is now a corpse.

RACHEL is repeating her final voicemail to TONY, but now, because she is in his apartment, almost in his ear, it sounds taunting and threatening and mirrors her movements - stalking him - the trope again of a predator closing in on a prey.

RACHEL
You're not picking up your fucking phone.

RACHEL and TONY
That's great.

RACHEL
That's just --- whatever. I'm over it, Tony.

RACHEL and TONY
I'm over it.

TONY
(a drunken sounding laughter)Hehehehe...I sound really weird to myself right now...(repeat of the laughter) Hehehe...

TONY and RACHEL
I've taken the morphine, Tony. All of it.

TONY
It's prescribed!!! For the pain, you know...

RACHEL
Or maybe you don't know...?

TONY
...How would you know? Hahahaha. I bet you don't know anything about nothing. Nothing. You fucking break my heart, Anthony Domani. Well, take care of yourself. LONG PAUSE.........Brush your teeth

RACHEL and TONY
with the FLOURIDE remember, you get cavities otherwise

TONY
...I wish...

*********BEEEEEEP************ (THE MESSAGE IS TOO LONG AND IT CUTS OFF HER LAST WORDS.)

RACHEL
(She completes the message crestfallen) You could be here in person, Tony. I miss you.
RACHEL stares at him --- the crushing of a hero.

TONY
You really shouldn't stare, Rach. It's not polite to stare. This is Angie. I love her. Yea, I love you too...

The carbon monoxide alarm, which is the same as a FIRE ALARM, starts beeping.

TONY
Who's there? Terry? What's that? It's...What is that? No...Shit. Shit. Fuck. She really did cook! The sweetest of yams.

TONY is laughing and dying, sinking to the floor, with a head that is spinning around the reality that he is seeing his dead sister who he loved and didn't save and now ANGIE...

TONY
A fucking yam. Fucking YAM. She never cooks. Why would it be real? He picks up ANGIE in his arms. TONY feels that she's cold and drops her. TONY takes ANGIE up in his arms again. He moans like a hurt coyote. Uuuugh! Argh! He rocks ANGIE back and forth.

RACHEL
Time to go, brother.

Either Rachel indicates her heart or he is compelled by an inner idea. He listens at ANGIE's chest and when he doesn't hear a beat. He makes a decision.

TONY
Ok. Ok. I'm riding ol 'Betty and your riding ol 'Blue.

TONY crawls offstage. RACHEL remains with ANGIE.

THERE IS ANOTHER LIGHTNING CLAP AND The sound of a gun going off that puts the fire trucks and the fire alarm to rest.

There is a brief blackout - as if the lightning caused a power outage. When the lights raise there are three bodies and DOWN THE RABBIT HOLE ACID ROCK MUSIC FROM THE BEGINNING

JESSICA is dead in her apartment.
TERRY is dead in his apartment.
ANGIE is dead in TONY's apartment.
TONY is dead but offstage where the "kitchen" is located.

RICHIE appears ---


RICHIE (OPTIONAL LINE)
Five. Anthony Domani. Gunshot to the head.

---- RICHIE'S MADE IT ... HE'S GOING OUT OF THE HOLE AND INTO REALITY. He swivels the mirror back into his backstage dressing room. He looks at himself in the mirror. He spots the audience in the mirror and smiles pleased and then exits.

END
(Depending on time and depending on the pace the Director wishes to strike at the end see below options)

OPTION 1:
RICHIE exits after positioning the mirror.

The End.

OPTION 2:
The music stops. RICHIE practices his lines whispering them warming them up and putting on eyeliner while he does so as well as a black shirt - his costume for Hamlet the Dane. All black. -

RICHIE (OPTIONAL ENDING 2)
"I die. DIE DIE DIE DIE DIE Horatio...if thou didst...didST.....st...hold me in thy heart. Are are are are areTUH! TUH! TUH! HEART!....absent thee from felicity awhile. TO TELL MY STORY. Hehehaha. The rest. Tah tah tah tah - rest. Is Sigh -sigh sigh sigh sigh ! SIIIIIGH! (sing song like a warm up) SILENCE!"

RICHIE finishes his makeup.
RICHIE exits.

DOWN THE RABBIT HOLE MUSIC ---- the mirror reflects the audience, swinging back and forth .

THE END.