Writer’s note: This script has not been formatted for Film Production at this point.

Director: Congratulations everybody, we have blocked the whole play and it only took us a week. All we have to do get to be able to do it in two hours. I know it's late, but I only have a few notes to give you. Where's my note book? (Tom picks it up from one of the theater seats and puts it in a place that Matt will see it) ah ha now lets see...I'll be brief, I know Amy wants to get working on the backdrop tonight.

Director: OK, gather around, we have everybody? Settle down. As always, if you're not onstage physically, please be onstage mentally. Studying lines, developing character. NOT, playing jokes, goofing off, distracting those that are onstage physically. Othello? Othello, when you deliver the killing stab to Iago put a bigger motion into it. Show it like it has some force, I know we are just blocking now, but it has to be a part of your blocking right from the start. Every part of your fiber wants to kill this monster and you have to show that to the audience.

(Mike nods)

Iago. Same goes for you. Your reaction needs to be huge. Really make the audience think you've been dealt a killing wound. Scream out in pain

Eric: How could it be a killing wound if he can't be killed?

Director: I'm looking for a mortal nemesis, not the embodiment of evil. We now have the whole thing blocked out lets really put some effort into the characters. Tomorrow we will be working on . . . Amy? what will be working on?

Amy: Act 2 Scene 1 & 2

Director: So anybody who is not in those scenes has an entire night to study their lines. That's it. Amy do you have anything to add?

Lodovico mentions the Scottish play

(Cassio hits him over the head with his script)

Amy: (everybody starts to get their things together and Amy has to talk louder to compete) Costume fittings will be on Saturday at 10 at the Costume Warehouse. (Tracy walks in but Amy doesn't see her) We're going to be off book on Monday. If anybody would like to stay and help paint the backdrop, the help will be appreciated.

(Eric passes the camera and briefly breaks the fourth wall.)

(Move to small intimate setting)

Amy: Tracy, what are you doing here?

Tracy: I was told you would be going out and enjoying yourself rather than work yourself to death like you usually do every night.

Mike: Come on, Amy. We're all going over to The Golden Lion tonight. Take a break just for tonight.

Amy: You know I can't. We have the backdrop to finish tonight.

Mike: (pleading) Amy, you need a break. Let Joe and Tom work on it. You haven't taken a night off since we started this. I never see you anymore except here.

Amy: You see me when I get home.

Mike: No, I don't. My eyes are closed by the time you get home.

Amy: That proves it! You don't really love me.

Mike (playfully): No, I don't. I want you to return to practicing your wifely duties to pacify your husband to be or I shall discipline you. (he playfully attacks her, she giggles and they kiss all gooey) I'm going to go change. (exits)

Amy: Mike called you, didn't he?

Tracy: Yes, he's worried about you. I am too. You can' t keep going on like this. Especially in your condition. You do have a condition, don't you?

Amy: I went in today.

Tracy: I know, and?

Amy: And I have a condition.

Tracy: (excited) Congratulations!

Amy: Not congratulations.

Tracy: (exasperated) Amy! You haven't told him have you.

Amy: No, and he's not going to be told.

Tracy: Amy, he's in love with you. He's going to marry you.

Amy: We're not married yet. I don't want him to marry me just because I'm pregnant.

Tracy: Amy, he asked you two weeks ago. AND he still doesn't know. I don't think the pregnancy had anything to do with him proposing. You're doing it the right way. In this day and age you have to get pregnant just to get a man to think about proposing to you.

Amy: Alright, alright! But it's supposed to be a long engagement. We haven't even set the date yet.

Tracy: It still can be.

Amy: Yeah right with baby in tow. No, what's going to happen is: We'll get married, have a kid right away. I'll have to stay home with the kid and Mike will have to give up the theater and get a good paying job that he'll hate. We'll start hating each other, get divorced and our child, being a victim of being raised by two nutcases, bombs the white house.

Tracy: Aren't you a fountain of optimism.

Amy: We're not ready for a baby.

Tracy: It won't be like that unless you make it that way. You two will be able to work it out. And anyway you have me to help. (look from Amy) He has a right to know and he's going to love the idea. Just tell him.

Amy: I'm going to.

Tracy: Tonight. Now.

Amy: No, I've got too much stuff to do here. And I want it to be special.

Tracy: When?!

Amy: I'll tell him.

(Mike comes in and interrupts)

Mike: Are we ready to go?

Amy: I can't. I have to paint the backdrop.

Mike: Tracy, can't I trust you to do anything.

Tracy: Like you gave me a chance. (playfully shoves him) I haven't even brought up the subject yet.

Mike: You've been standing here talking for 5 minutes.

Tracy: You really should learn some etiquette, (to Amy) and you really should go out with us.

Amy: I have responsibilities here.

Mike: And you've been waking up every morning and puking and looking exhausted all day. If you're going to get over this flu, you need to take some time out for yourself.

Tracy: He's right you know.

Amy: And going to the bar instead will get me over this flu.

Mike: How do you know unless you try. Anyway, it will make me feel better.

Amy: Well it's not very nice of me to make other people work and not help them.

Mike: Why not?! People do it all the time. It's called management and you are a stage manager.

Amy: I'm not that kind of manager.

Tracy (yelling to them): Joe! Tom! What do you say to Amy taking off tonight and going to the Lion?

Joe: Have fun.

Tom: See you tomorrow.

Amy: You guys really don't mind?

Tom: We got it tonight.

Joe: It's just the backdrop.

Tom: It won't take us very long.

Joe: You have to take care of yourself so you're not sick through the run of the show.

Tom: I will kill you personally if you are not here for every show. God knows I can't handle running it.

Joe: Go on.

Tom: Relax.

Tracy: They don't mind.

Mike: We don't mind.

Amy: Alright!

Mike: And besides, you have to go, I don't have any money.

Amy: I don't' have any money either. I'll have to go to the ATM.

Mike: OK! Let's go.

Amy: OK you guys go on to the Lion, I'll meet you there.

Mike: We'll all go together.

Amy: Everybody else is already there and the ATM is the other way. You go on ahead. I'll be fine.

Mike: I'm not going to let you go to the ATM alone.

Amy: Mike, it's one block away. I'll be fine. I don't need you to hold my hand.

Mike: Hold your hand? Jesus, here we go again. I'm not taking your independence. I just want to walk with you.

Amy: And I want you to go on ahead to the Lion.

Mike: And I want to make you safe.

Amy: So I'm not safe when I am not with you?

Mike: Amy, it's just a walk around the corner.

Amy: Right, just around the corner.

Mike: I'm not saying something is going to happen, but something could. I just want to spend time with you.

Amy: And make sure I'm safe. If a walk around the corner is that dangerous then none of us should go. We'll all stay here and paint the backdrop.

Tracy: I think we better not push it and take what we can get.

Mike: Fine.

Amy: Fine. (softens and goes toward Mike) I'll be fine, OK? (Mike softens up, too) OK?

Mike: OK. (they kiss)

Amy: Set up a tab will ya, because if I'm taking the night off to have fun then have fun is what I'm gonna do to you. (grabs him sexually off camara, laughs and they all go out the door)

Tracy: Come on daddy-o lets go party

Mike: Daddy-o? did we just slip back in time or that a stab at hip nostalga?

Tracy: Lets just say I'm inna good mood. Hey were's eric?

Mike: he's probably primping up in the back. Hes got to look his best, all the time.

Tracy: Yum. and that he does. So is he seeing anyone?

Scene 2 The ATM

(Eric is already at the ATM. Amy is walking up. He turns and sees her. He stays standing on a ledge or edge of something to make himself slightly taller)

Eric: I guess we both had the same idea.

Amy: Yep. I guess so. (Puts her card in)

Eric: So how long have you and Mike been together?

Amy: The old prep school roommate didn't tell you? Going on three years. He proposed a couple of weeks ago.

Eric: Really? When is the wedding?

Amy: We haven't set a date. but I think it will be sooner then we expect.

Eric: humm

Amy: So, Mike tells me that you two used to perform together in school

Eric: Yep. Our last show was Baby In The Bath Water. I did the voice of the psychiatrist and Mike . . .

Amy: Don't tell me..

Eric: . . . played daisy. The old fiancee never told you?

Amy: No. How did he look in a dress?

Eric: He turned a few heads. but I think he was beginning to enjoy wearing it just a little to much.

Amy: Oh really, I wondered why I would catch him gazing into my closet.

Eric: At least you haven't caught him in the closet, yet. (laughs)

Amy: I would have loved to have seen that.

Eric: Then I'm sure he hasn't told you about the cast party after the play.

(look from Amy and laughs, she is finished at the machine and they both start walking)

pause.

Eric: How did you get talked into stage managing this play?

Amy: Matt asked me to do it. we worked on a production of Loot last season.

Eric: Stage managing?

Amy: Yes.

Eric: Well I didn't see that show, but if you were doing even half as wonderful of a job I can see why he asked you again. You are absolutely amazing at this. (Amy blushes and looks down at her feet) I, for one, would not be able to do it like you. For example, the way everyone started gathering their things and talking to each other when it was your turn to speak was just rude. I don't know how you put up with them.

Amy: Comes with the job. The stage manager is the least liked by the cast and crew. I'm the one who carries the whip.

Eric: But don't they realize the show would not, could not, go on without you. You are the keystone, without you the whole structure would collapse.

Amy: That's the intriguing thing about theater. No one person is that important. The show would still go on. Whether or not I was there. The show always goes on. The show is what is important, not even the actor. It always amazes me that even the person with the tiniest role. Someone with two lines. A part that I could throw on a costume and say their lines if need be. The bit part players think that they would stop the show if they weren't there. They don't get it. The show becomes larger than all of us.

Eric: I can see that in the bit players. Some, we can just skip over their lines altogether. But, if an actor with a major role would happen to be absent . . .

Amy: See, that's it right there. Even you aren't that important.

Eric: You could just throw on a costume and walk into my role?

Amy: I admit it would be a bigger problem. But, we would still find a way to put the show on.

Eric: What would you do? How would you do it?

Amy: If you happened to be knocked unconscious 2 minutes before curtain, we would be frantically calling all the professional actors and agencies to get someone to cold read your part. We would start late, but the show would go on.

Eric: But the quality would be gone. To send actors out into unfamiliar settings when they had rehearsed it for weeks a certain way with a certain person, well that's chaos.

Amy: Exactly. That is what is intriguing.

Eric: Even if you were gone for a performance. Even though you are behind stage and the audience doesn't see you, the actors would panic if you weren't there to be sure everything was ready. It would be like going into an operating theater with unsterilized instruments. It doesn't make sense.

Amy: But it would be like in a time of war given the choice of operating on a wounded soldier in the field with unsterilized equipment or letting that soldier die.

Eric: War is chaos.

Amy: The show must go on.

pause.

Amy: So, you're going to med school to be a surgeon?

Eric: You're very intuitive.

Amy: That's what they tell me. I'm rather surprised you're doing this play.

Eric: Why wouldn't I be doing this play?

Amy: Being semi-professional we get a lot of amateurs that still have day jobs. But, you are the first med student I've ever come across doing theater in his spare time.

Eric: What's so strange about being a med student and interested in theater?

Amy: Nothing. What's strange is that you have spare time. Most med students I know, the good ones anyway, don't have any time to breathe let alone star in a play.

Eric: I won't lead you to believe that doing both has not taken its toll on me. My last midterm I got a B.

Amy: Oh no, a B. Horrors.

Eric: Go ahead, be sarcastic. I know it looks like I'm doing alright, but I'm a pre-med student. I have to get the best grades to be able to be a med student.

Amy: Well, you got your work cut out for you.

Eric: Yeah, I just didn't expect to get such a big role. And I didn't expect how much time it would take up.

Amy: We all have our choices in life.

Eric: Some are easier than others.

(At the turn of the alleyway Eric grabs the back of Amy's head and slams it into the wall then shoves her going limp body into the alley. She stumbles blood is pour from her head and blinding her. Eric hits her in the throat pushing her deeper into the alley. She falls to the ground. She tries to scream but only gurgles. Eric comes forward for the final attack. In a last ditch effort Amy jumps at Eric. This takes him by surprise, he raises his arm in defense and catches her in the mouth and pushes her away. He then back hands her knocking her into the wall. she falls to the ground not moving. He looks down and sees a stain on his shirt and a button is missing. He is outraged. He starts kicking Amy's still body repeatedly cursing her for ruining a 600 dollar shirt. He calms down soothes himself with a little mantra. He then begins to role up his sleeves. and looks into the camera.)

Eric: There is a fine line between control and chaos. One has to cross it for one to learn the truth. So there is a price. (looks toward Amy turns and walks away)

Scene 3 The bar

Mike: So, who's the man of the week for you?

Tracy: Surprisingly I come to you single and ready.

Mike: Ready for some poor schmuck to fall in love and worry his brains out his ears because you are too headstrong and independent to realize that wanting to keep you safe is a good thing. Not an attack (he looks to the door.)

Tracy: You worry too much.

Mike: I love her too much. (the beers come he takes a drink) Tracy, I'm really worried about her. She has been throwing up regularly for two weeks. Just out of the blue. She looks perfectly fine, even laughing and having a good time and she suddenly runs to the bathroom. She doesn't want me to know but I know she went to the doctor's today. Why won't she tell me what's going on?

Tracy: She will. You have to be patient. Some people need time to be able to tell another person something that is very important to them.

(Eric walks through the door and Mike gets up to stop him as he passes)

Mike: Have you seen Amy?

Eric: No, isn't she working on the backdrop tonight?

Mike: She was supposed to meet us here. Where have you been?.

Eric: I had to get some money.

Mike: So did Amy! Are you sure you didn't she her?

Eric: For the second time, no. I haven't. You let her go to the ATM alone?

Mike: I didn't let her. Sometimes she can be quite stubborn.

Eric: I know, I can't believe you talked her into coming out.

Mike: You know I can't either. I bet you she stayed there and is working on that backdrop.

Eric: You can keep your money.

(Eric goes back to play pool. Mike goes over to tell Tracy where he's going, she wants to go he says to stay there. I'm thinking a shot from the door and lots of bar noise and its just gestures. Mike leaves.)

Scenes 4-6 The search

Mike running past the alleyway where Amy actually is.

Amy is still alive and tries to call to him. The blood in her mouth chokes her she drops her hand back down to the ground and it rests on the gold heart shaped charm leaning on the ground. Amy dies.

Mike walking into the theater and back out of the theater.

Mike walking back to the ATM and leaving

Scene 7 Chris' special scene

Mike walks towards the bar almost to the alleyway. He sees a gathering of some people and looks to find Amy dead. Sound fades. Mike goes to Amy and holds her. Silence. Police arrive. Ambulance arrives. Where are we going to get an ambulance. Mike won't let go. Sound slowly comes back.

Scene 8 The bar again.

Girl walks in and says something to a group of people. One guy gets up and goes to Tracy. She runs out and the guy follows her. The guitar player stops him and asks what's going on. He stops playing and stops the band and tells them.

Singer: Everybody. Amy has been hurt. (everybody stops) We don't know how badly yet, but there is an ambulance in the ally next to the Walgreens.

(Everybody runs out. Camera weaves through crowd going to the back where the pool table is and Eric. He calmly finishes his shot. Notices a sleeve becoming untidy and re-rolls it. Pays for his tab. Finishes his beer and walks out. The camera follows him out. He comes upon the crowd of people, everybody swarming in front of him. Start to slow down. Sound fades.

Scene 9 continuation into funeral

Meld into grave side funeral scene. Close in on Mike & casket. He puts a rose on it and it is lowered, everyone leaves but Mike. The sun starts to set behind him. Tracy comes back and gets him to leave the grave side.

Scene 10: Mike not leaving his apartment. For each answering machine msg. Mike is in a different position. Something showing passage of time

Tracy: (on machine) Hi Mike, it's Tracy. Please pick up. I know you're there. You haven't left your house in three days. I have spies watching your every move. (pause) When you're ready to talk I'll be here.

Tracy: (on machine) Hi. It's me again. Please pick up the phone. I'm worried about you. We're all worried about you. Call me.

Director: (on machine obviously uncomfortable) Mike, this is Matt, the director of Othello. I guess you knew that. Anyway, I know this is a rough time for you and I want you to take all the time you need. I'm holding your part for you until you tell me to re-cast it. No pressure. I don't even want you to think about that now. Just wanted to let you know that (beeeeep). (he would have finished: our thoughts are with you.)

Tracy: (on machine) Ok. That's it! If you don't pick up, I am coming over there and making you face life again. (pause) I'm waiting. (pause) You don't want me to have to come over there and drag you out of your cave, do you? (pause) Ok. If you don't call me today. I WILL be coming over there tomorrow.

Dr.'s Office Receptionist: (on machine) This message is for Amy Louden. This is Dr. O'Toole's office. I'm calling to confirm her 2 o'clock appoint tomorrow for her initial pre-natal exam.

(Mike looks at machine with amazement. Something clicks and he smashes the machine and everything else in his apartment.)

Scene 11: Police department. Tracy's dad is the detective assigned to the case. She decided to drop by to see how things were going.

Dad: (hanging up the phone) Oh my god. Look what the cat drug in. Watch your fuckin' language boys, my daughters here.

Tracy: Thanks Dad.

Dad: You come all the way out here to hang out with your ol' dad?

Tracy: Yep.

Dad: No alterior motive? Just missed me, eh?

Tracy: Yep.

Dad: Honey. I know you want answers. Who did it. Why it happened. Truth is we don't know.

Tracy: I can help, maybe.

Dad: This ain't no Hardy Boys book. Kids don't help their parents on cases in real life.

Tracy: Nancy Drew was better anyway.

Dad: I don't want to get you all upset again. You have been a big help. Please let us do our job and put the pieces together.

Tracy: Dad, I'm not a baby. Stop treating me like one.

Dad: It's hard enough for me just being on this case. I liked Amy a lot. She was a good kid. I'll catch him honey don't worry. (ring) Lt. Chapman here. (Tracy flips open the file that's in front of her and takes out a peice of paper.) Mike Deeter? Yeah, he is involved in the Taylor case. (grabs piece of paper back from Tracy and puts it back in the folder) No, send a black and white to his apartment, I'll be along shortly. (Tracy is on her way out the door). Tracy!

Tracy: See you, Dad. Gotta go. Have an urge to visit a friend.

Dad: Tracy, you don't know what your getting into! (into phone) Yeah, any patrol car that's in the area. Tracy get back here. (She waves as she walks out the door). No, I don't think he's armed, just very upset. Have the patrolman treat him as potentially suicidal. (hangs up the phone and runs out the door)

Scene 12:

(Mike is destroying his apartment. During the melee, glass is broken. He grabs a piece, sits down and starts slashing his wrists. It draws blood but is not sharp enough. He cries for the first time? He calms down deliberately gets up and goes into the bathroom. Opens the medicine cabinet and is looking for something specific. He just dumps everything that's in his way onto the floor. He finds safety razors and tries to get one out, sees that it's impossible and goes into the kitchen. He grabs a knife and tests how sharp it is. Not sharp enough. Goes to the art table and pulls an exacto knife out of the drawer. Walks to living room and puts the knife to his wrist. The door knocks. He pauses and looks up for a second and then back down to his wrist. The doorknob turns and starts to open slowly but its blocked by debris)

(Mike puts down knife very deliberately next to the table and goes to the door and looks out.)

Mike: (not opening the door further) I thought you guys need a warrant before you open the door.

Rourke: I need to ask you a few questions.

Mike: And that gives you a reason to open my door?

Rourke: I needed to ask you some questions. We got a report of a ruckus coming from over here. You didn't answer. I had probable cause that you might be in some trouble. So, I tried the doorknob. And it was unlocked.

Mike: Thanks for checking. I'm ok.

Rourke: Who messed up your apartment.

Mike: I did. I like it that way.

Rourke: Could I come in?

Mike: What for?

Rourke: To ask you a few more questions.

(Mike concedes and clears the debris away from the door and lets them come in. Rourke notices the knife on the table and blood on Mike's wrist.)

Rourke: Are you sure you're OK?

Mike: (anxious) Yeah, fine. Just peachy.

Rourke: What happened to your wrist?

Mike: I cut it.

Rourke: How?

Mike: With a knife.

Rourke: Is there someone you can call that could come over and stay with you?

Mike: No.

Rourke: I'm afraid I'm not going to be able to leave you alone. You are obviously upset ..

Mike: What right do you have to just waltz in here and tell me that I'm not fit to be left alone!? Are you a shrink?

Rourke: No. But, I have reason to believe that you are a danger to yourself and standard procedure dictates that I must take you into custody for your own safety. Unless, you have someone that can come over and stay with you now.

Mike: This is ridiculous! Just get out of my house! Get out!

Tracy: (walking in) What's going on? (looking around) What happened?

Mike: Tracy! Jesus! Can't you people just leave me the fuck alone!

Rourke: Your friend is very distraught and I didn't want to leave him alone. Can you stay with him?

Tracy: Sure. How did this happen?

Rourke: I think he did it himself. He must have made a lot of noise because a neighbor called us.

Mike: That's right. Just talk about me like I wasn't here. (aside) You better get used to it.

Rourke: I'll be going. If you need any help, don't hesitate to call. (hands her a card) This is also the suicide hotline number. (police leave)

Mike: Ok he's gone. Now it's your turn.

Tracy: No. I'm not leaving.

Mike: Tracy, I want to be left alone.

Tracy: So you can slice up your wrists? I don't think so.

Mike: Why do you care? You never even liked me.

Tracy: What are you talking about? Of course I liked you. You made Amy happier than anybody I've ever seen.

Mike: Amy (cries. Tracy holds him for a moment)

Tracy: We need to get you out of here. Come on, get into the shower. I'll try to make a dent in this place.

Mike: (going to the shower) Leave it. I like it that way. (he enters the bathroom, she hears the water running and she starts cleaning up anyway.)

Scene 13 The car ride

(Mike is just staring out the window.)

Tracy: So what are you in the mood for? Italian? A sub? A burger? What?

Mike: I'm not hungry.

Tracy: Too bad. I'm taking you to lunch whether you like it or not. AND I'm going to force you to put some food in your mouth. (long pause)

Mike: Have they found him?

Tracy: No.

Mike: Figures.

Tracy: They're doing they best they can. I doubt they can nail someone with just a button.

Mike: What?

Tracy: The button. No ones talked to you? The police haven't searched your apartment?

Mike:(shakes head) Searched my apartment for what?

Tracy: The police found a button, they would search your clothes for the same kind of button to see if it was yours.

Mike: They're basing their whole investigation on a button they found at the crime scene?! There's garbage all over that ally! Why would they think it was the killers? Are they complete idiots?

Tracy: No. It's where they found it.

Mike: They found it someplace other than the alley? This is sounding better all the time.

Tracy: They found it lodged in her mouth. (Mike is obviously shocked) I'm sorry, we weren't going to talk about this. We are going for some food and getting our minds off of this.

Mike: How did you find out about this?

Tracy: My dad's the detective on the case, remember. He asked me if it was off of something Amy could have been wearing and the killer took it with him, like a work shirt or over shirt or something.

Mike:(shakes head) No, she was wearing jeans and that ratty T-shirt. She loved that shirt.

Tracy: That's what I told him. So, they've been trying to find the owner, but it's not much to go on.

Mike: Why was it in her mouth?

Tracy: Let's talk about something else. I heard the through the grapevine that they haven't re-cast your part in Othello yet.

Mike: The cops think it might be me?

Tracy: You are the boyfriend. Hey, you remember Sue, don't you?

Mike: Sue? Was it her button?

Tracy: No. Sue, Emille? She plays eric wife in the play?. She has this major thing for Eric. And most of the time when she wants a guy. She gets a guy, if you know what I mean. I remember one time she practically stripped in a bar just to get some guys attention. He was cute and everything, but she hadn't even spoken to him. Hadn't even just tried to say hi and get shot down. Needless to say, he went home with her that night. So, she's been putting the moves on Eric and he just doesn't seem to be interested. I told her the rumor that you all think he might be gay. But Sue thinks he's just not interested in sex at all. I asked her how . . .

Mike: They haven't cast my part yet.

Tracy: What?

Mike: You said they haven't cast my part yet. They're having rehearsal right now.

Tracy: Yeah?

Mike: Take me there. Take me to the theater.

Tracy: Now? You're ready to jump back in? Just like that?

Mike: My life has to start again sometime.

Tracy: OK. But we're stopping at Burger King first. You need food.

Scene 14: The rehearsal hall. They are already in the middle of rehearsing a scene. Page 27 Cassio: She's a most exquisite lady . . . lots of stops and starts, people trying to come off book. Eric already is off book.

IAGO Well, happiness in their sheets. Come! (Cassio cracks up, and the rest of the cast starts going)

Director: Alright! We've had our fun and games. While we're stopped, Cassio smile more, you're talking about a beautiful woman whom you desire. (look from Cassio) You're an actor, act like it.

Cassio (with hand movements): She is all that and a bag of chips.

(more laughter, Eric spots Mike in the doorway)

Director: Come on, lets get this scene done then we can have a break. Back at the top people. Lets go.

(Cassio notices Mike and stops, one by one everybody onstage notices Mike. Director finally looks where everybody else is)

Director (walking up to Mike, Cassio, Desdemona, and Emilia following): Mike. Hello. I thought you would call first. Well, never mind that. Welcome back.

Mike: Thanks.

Cassio (hugging): Welcome back man. We've missed you.

(hugs and greetings from Desdemona and Emilia too)

Eric: (aside) ahh the return of the dammed.

Eric:I knew you would come back my friend. (shakes hands)

Director: Ready to jump back in? (Mike nods) Tom! Fill in Mike on where we are. (to Mike) Tom took over Amy's job, uh, I mean, the stage managers job. I didn't mean to mention . . . well, I, uh . . .

Tom: Alright everybody! That's a ten minute break, be ready to start at the top of Act 2, Scene 2!

Director: Thank you, Tom. (exit pulling cigarette pack out)

Tom: Welcome back, Mike. (Mike nods) We've stayed pretty much on schedule. We have a week and a half till opening night. We've kept your blocking down to a minimum so you can concentrate on lines. After you've learned everybody else's movement, our foot-in-mouth director has faith in you to expand your own blocking.

(Mike and Tom walk off toward the lobby. Tracy is left in the theater with Eric and a couple others)

Eric: Tracy, have they found anything yet?

Tracy: They who?

Eric: The police. Have they found anything on Amy's murderer?

Tracy: Why are you so interested?

Desdemona: We are all interested. We all loved Amy, we want to be sure this slimeball gets what he deserves.

Tracy: Well I don't know anything.

Eric: We all know your father is heading up the investigation.

Tracy: Yes, my overprotective father who knows that Amy was my best friend.

Eric: He hasn't told you anything?

Tracy: That surprises you?

Eric: Well, yeah. You are obviously the one closest to her and you would know if anyone had anything against her. You would know things that were happening in her life that her family probably didn't even know. Hell, they need all the help they can get.

Tracy: (looks at him strangely) Yeah.

******************

(Des goes to kiss othello, Mike stops short seeing Amy and backs away unable to kiss her. Des stumbles forward and looks at Matt)

Matt: Ok, OK. Lets do a little work here (Looks at Mike then looks at Des) Lets take out the kiss. Des just take his hand and look into his eyes.

Mike: No. Don’t change anything. I can do this. Just give me a minute. (Mike takes a moment to prepare. Looks up at Des, sees Amy starts crying and walks off the stage)

Matt: You know what lets move on to ACT II scene 1. Where's Montano? Somebody go and get Greg for the next scene.

(Mike walks to the side of the audience where Eric is sitting reading over a biology textbook. Michelle walks by.)

Mich: Hey you guys, I'm going over to get a soda, ya'all want something?

Eric: no thank you.

Mike: Where are you going?

Michelle: Well, duh. To the Mobile Snack Shak. Where we always go.

Mike: Who’s going with you?

Mich: Wha? I'm just going across the street I'll be right back Ya want somethin?

(Tom walks in carrying paint cans)

Mike: Its getting dark and you shouldn't be out side by your self.

Mich: I’ll be fine Its just (right there)

Mike: (grabs her) Its nothing! you can't go out there alone! You can't go out...

Tom: (interrupts) Hey, I'm thirsty. (gets between Mike and Michelle) I’ll head over there with you Michelle, Its ok mike I need to get some thing to drink as well.

(Tom and Michelle leave)

Mike: (to him self) can't go out alone (he starts to walk away to back Stage he is followed by eric)

Eric: Tis such a sad state he is in. So many trials of passion to suffer through, (to camera) to explore.

Eric: Mike, are you OK?

Mike: No, no I'm not. What am I doing? I shouldn't be doing this. Matt’s changing all the blocking because I can’t act. Tom follows me around like I’m a walking time bomb making sure I don’t go off. I've got to tell Matt to get someone else to do this.

Eric: Hey. Wait a minute. You are going through a traumatic experience. Matt and Tom are trying to uderstand and help the only way they know how. NO one wants you to quit, especially Amy. (Mike looks at him) Yes Amy. What was the definition of life for Amy?

Mike: The theater. Everywhere I look I see her.

Eric: Exactly, because this is where she put her life. You can still be with her here. Listen, I need to go on now. Don't do anything rash and after rehearsal we'll go and get something to eat. Let us feast and drown our woes with buckets of ale. I entreat you my lord.

Mike: good Iago, honest Iago, thinks thou we' shall feast this night on good spirits.

Scene 15 - 16

Two Restaurants. Mike and Eric at a steak place. Tracy, Michelle, and Sue at a sushi bar. Scenes are interlaced.

Steak place: Enter mike and Eric.

Mike: (to hostess) Two for smoking. (to Eric) You don't mind, do you?

Eric: No, of course not. Just ignore the years I’ve told you it’s a disgusting dirty habit and I hate it when the smell get into my clothes. I didn’t mean any of it.

(hostess seats them)

Mike: Eric you need to lighten up.

Eric: I am not the one that yelled at Michelle just because she was going to the Snack Shak

(Mike lights a cigarette)

Sushi place: Enter Michelle, Sue, and Tracy lighting a cigarette.

Michelle: (to hostess) Table for 2, (looks at Sue and Tracy, counts on her fingers) no wait, 3.

Hostess: Smoking or non?

Michelle: uhhh

Sue: (still holding a cigarette) Smoking. (to Michelle) I swear you must dye your hair brown.

Michelle: No, it's all natural color. I did put red highlights in it a couple of years ago (looks at hair) but I think it's all worn off now.

Hostess: We have three seats up at the bar, or would you like to wait for a table?

Michelle: Ooooo. Bar!

Tracy: (to Michelle) Not that type of bar. (to Hostess) We'll wait for a table.

Sue: Michelle, I swear. You only care about getting drunk and getting laid.

Michelle: I do not! I care if he’s cute or not.

Tracy: Well, isn’t this the pot calling the kettle black. (Michelle is distracted)

Sue: Yes, and we’ve all been so unobservant of your play for Mike.

Tracy: What?

Sue: I don’t blame you. It’s been all I can do not to jump his gorgeous bod.

Tracy: I didn’t think you had the reserves of will power in you.

Sue: Oh, it’s real easy when Amy was standing right there. Now that she’s gone . . .

Tracy: Hey! Amy is my best friend. I’m so hurt and enraged by her murder so that no other feelings get in except for the one thing she cared about most, Mike. He’s taking it harder than anybody else. Boy did I make a mistake to think you actually cared about him.

Michelle: (paying attention now to Tracy’s outburst) We do care about Mike. How can you not with those gorgeous eyes and that melt in your mouth smile. Do you think it’s too soon to ask him out?

Tracy & Sue: Yes!

Steak Place: Mike and Eric are seated.

Eric: Is it harder because you know Michelle wants you?

Mike: What?

Eric: Oh come on. You can’t tell me you haven’t seen it. Every girl in that play wants to "console" you. Even Tracy is probably secretly glad that Amy’s dead. (Mike shoots him a look) Ah. But thine eyes are clouded by guilt and remorse. Thine heart is blinded to the beguiling ways of women.

Mike: Methinks you have fallen too far into Shakespeare.

Eric: Isn’t that what good acting is? Letting yourself to into a part?

Mike: Yes, but not completely. You have to keep a little part of you separate or else you’ll be . . .

Eric: Insane?

Mike: Yes.

****

At the Steak place. Mike and Eric are seated at a booth.

Eric: (examining the A1 Steak Sauce bottle) You’ve done a lot of Shakespeare, what's your take on Iago?

Mike: Iago is a man who enjoys the power he feels when he manipulates people. He seeks out that feeling like a drug addict.

Eric: A drug addict?

Mike: Yeah. Power is not a noble accomplishment. People, like Iago, who seek power are shallow and manipulative. The even manipulated the definition to make it sound like it was something worthwhile to attain.

Eric: Would you consider that evil?

Mike: Nah, Iago thinks he's evil, but he's just a shmoe who likes to screw up other people's lives.

Switch to Sushi bar they are seated.

Tracy: Why would Eric go out to dinner with Mike?

Michelle: To eat, duh!

Sue: They're friends, Tracy. God, you have gotten awful possessive of Mike. Maybe she's hoping get a little piece of him. (Sue and Michelle giggle)

Tracy: Sue, you only have one thing on your mind.

Sue: The best thing.

Tracy: I'm worried about Mike, yes. I don't trust Eric. Don't you think he's manipulative?

Sue: All I see is one hot, gorgeous bod.

Michelle (dreamily): Strong, big hands.

Steak place again. Eric looking at the silverware.

Eric: You will agree that Iago is a strong character.

Mike: In what way?

Eric: You have to possess strength to follow through with the intricate place plans he came up with.

Mike: Either strength or weakness.

Eric: Weakness in what?

Mike: Strength in what?

Eric: Talk about weakness, who was weak today?

Sushi bar.

Michelle: Oh god! Tracy. I didn't tell you what happened today. Mike got all freaked out when he had to kiss me onstage and then he yelled at me, just went off on me because I wanted a soda.

Sue: That not what happened.

Michelle: It is so.

Sue: He yelled at you because you were going to the store alone.

Michelle: I did go the store.

Sue: And Tom was with you.

Michelle: Oh yeah.

Sue: Tracy, don't look so worried. Michelle's brain cells turn on eventually.

Tracy: Wait a minute. What happened? Mike couldn't kiss you?

Michelle: Yeah, there's that scene where we're all mushy at the beginning and he's supposed to kiss me, you know. But, he didn't. He just backed up. You know, it's always kind of weird to kiss onstage. But Mike has done this before. He's not like, you know, a newbee.

Back to Steak place.

Mike: I just couldn't do it. It seemed like I was cheating on Amy.

Eric: You have kissed Michelle with Amy in the theater and with her watching you kiss another woman.

Mike: I know, it's weird, but Amy's not there now.

Eric: It's still the same play. It's just a play.

Mike: But it's the play we were working on together.

Eric: You worked on lots of plays together.

Mike: But she's not there now! She just had to go to the ATM alone.

Eric responds: well we all have to live with our mistakes and move on.

Mike : mistakes?

Eric: (ignoring mike) Miss, could you bring me some new silverware this is dirty.

Sushi bar. Sue picking up silverware.

Sue: It was kinda freaky, though. Mike getting all weirded out about Michelle just going to the store. We go down there all the time.

Tracy: And you go to the ATM all the time, too.

Michelle: Yeah, duh.

Tracy: That's how Amy got killed, duh. He didn't go with her.

Steak place.

Mike: What do you mean 'mistakes'?

Eric: not everyone can make the right choice every time.

Mike I didn't have a choice. Amy was too stubborn there was no way that I could have went with her.

Eric: OK. Whatever you say. It could have been her mistake to push it. (pause) I'm sorry. I didn't mean to bring this up. We were talking about the play. Maybe we should talk about something else.

Mike: Like what? (Eric shrugs) What do you thing of sue?

Sushi bar.

Sue: He's just taking this thing way too hard.

Michelle: Yeah, way too personally. (Sue and Tracy both look at her)

Tracy: I just don't think Eric's the right person to console him.

Sue: I know how to console him.

Tracy: Somehow, I don't think that will be at all helpful. You'd best be concerned with your husband.

Sue: Eric? God, I wish we were married. Honeymoon night, every night. Even before the marriage.

Steak place.

Eric: who?

Mike sue. You know Emilia. your wife.

Eric: Oh yes. My dear sweet wife. What about her?

Mike: Well, I hear she might be interested in getting to know you a little more...personally. She's kinda cute.

Eric: No thank you. I have more important things to keep me occupied. (to waitress) Excuse me, I asked you for some new silverware. Do you mind earning you tip and getting it? Thank you.

Mike: That wasn't necessary. We haven't even ordered yet.

Eric: If you have a job, do it right. I can not stand sloppy work..

Mike: Not every one is as anal as you. We're not perfect.

Eric: I don't expect perfect. But I do expect quality. Especially if I have to pay for it.

Mike: 15% does not give you the right to give our waitress a hard time? You could be alittle more polite,

Eric: We do not like to be reminded that we have made mistakes. We have invented politeness as an agreement not to point out mistakes of others. If I don't tell you yours, you won't tell me mine. That, my friend, is the social downfall of society today. People don't strive for perfection because they know politeness will save them. They are confused as to what to achieve with their lives.

Sushi bar

Michelle: Oh! I forgot! The Gap was having a one day only sale today!

Sue: So?

Michelle: So! The Gap has the only jeans that fit me perfectly. They are just so expensive and there was a sale today.

Sue: It wouldn't take much to make you happy, would it?

Steak place.

Mike: All people need to do is to be happy with what they are doing.

Eric: But how can they be happy with it if there not striving for something better?.

Mike: Because sometimes it's fun just to sit back and relax. There are some people that just want to hang out at a bar. They work at a job just for the weekend and to hang out with their friends. That's all they want to do with their life. How do you achieve perfection at a bar? What would be the perfection of a barfly?

Eric: There is nothing to achieve at a bar. Except to get wasted and forget that your life is meaningless. People created that specifically for that purpose, to escape their responsibilities. Those people aren't living their lives, they are escaping from them.

Mike: You were at the bar that night. The way you talk, I wouldn't think you would even step foot in a bar.

Eric: I was escaping my responsibility. Just like everybody else there. I'm not perfect, but I can say my mistakes are less costly than other people's.

(Eric gets up and goes to the bathroom)

(Tracy goes gets up and goes to the bathroom)

(Split screens were Eric is in the bathroom and Tracy is in her bathroom but it looks like they are looking at each other. While Eric speaks Tracy is looking thoughtfully into the mirror and stops almost as though she is listening, but she is starting to put 2 and 2 together.)

Eric: I think he does suffer under the weight of his guilt. So many pleasures to partake for just one act.

Scene 17:

Theater opening night.

take Eric Tracy scene, more clever dialogue and escalate it.

Tracy enters wishes people good luck has a little conversation with mike. Then she moves on to Eric's scene..

Eric's dressing room just before opening night. Eric is changing into costume. Tracy walks in.

Eric: Hi. What are you doing here?

Tracy: Just hanging around.

Eric: Anything I can do for you?

Tracy: Do for me?

Eric: (bowing) I am your humble servant, mademoiselle..

Tracy: Oh, really?

Eric: That's if you play your cards right.

Tracy: Oh, and if I don't you shall turn into a nasty rouge?

Eric: That's right, I shall sully your reputation. Oh wait a minute. That's already been taken care of.

Tracy: Touche (pause) I guess Amy didn't play her cards right.

Eric: I beg your pardon.

Tracy: I know she can be damn opinionated and stubborn at times and that must really be like nails across a chalkboard for someone like you.

Eric: Someone like me?

Tracy: You just love to have people do things for you. And have them beg for more.

Eric: Let's just say I've taken the character to heart.

Tracy: No. I think you auditioned so well because you just had to be yourself.

Eric: Well I'm glad this part was written for me then.

Tracy: That's the one thing I've noticed about you. You are always yourself.

Eric: There's only me to be.

Tracy: Everything about you is sharp. Never any scuffs on your shoes. Everything nice and pressed. I bet you iron your jeans.

Eric: I do like to look my best.

Tracy: Perfectly tied ties. Never too short or too long. Always a tasteful design. You would never wear one of those fish ties. Shirts always buttoned all the way to the neck and the shirt cuffs never rolled up. (pause) Buttons. Strange how a button ended up in Amy's mouth. The police went through all of Mike's shirts. Found lots of buttons missing, you know Mike, but none that matched. I'm sure you don't have any buttons missing, now that would be strange.

Eric: Lot's of strange things in this world

Tracy: Don't you know it. Like the fact that the ATM receipts show you finishing you last transaction one minute before Amy started hers and yet you didn't see her. At least that's what you told Mike and me at the bar that night. Yet you told the police detective, my father, (Eric walks toward her) when he questioned you that you did see her. That she went back into the theater to get something and would be along shortly.

Eric: Oops.

Tracy: Why did you kill her?

Pause

Tracy: I know you did it. I know it was you. Why?

Eric: If you know so much then you must know the motive 'Mrs. Drew'

Tracy: God help me no. You barly know her. She never did anything hurtful in her life. There is just no reason in the world that you should have done such a horrible thing.

Eric: There is every reason.

Tracy: WHAT? WHAt could possibly be a reason?

Eric: Because I wanted to.

Tracy: what?

Eric: Because I wanted to. She was there walking next to me talking about something inane and then...

Tracy: my god...

Eric: No, not yet.

(relaxed cat and mouse - Eric casually keeps between her and the door)

Tracy: What did you have against Amy?

Eric: Nothing

Tracy: Thats unacceptable. You had to have a reason to kill her.

Eric: Not a reason to kill her per se. Have you ever watched the ripplkes in a pool? how a drop of water can change everything. how its little waves bounce form one side to the next distorting other ripples, enhance some. Its quite mesmerizing. Its alot like lives. One peroson effecting another effecting another. Its a never ending cycle whos outcome cannot be fathomed, unless...unless you make the ripple. Unless you upset the balance and create the tides. its a lot easier then you might think. That one insiginificante act was enough to change your lives forever. you will all thank me someday. especially eric. for the strength i have forced him to find.

Tracy: You think you're God.

Eric: (laughs) For every life in my hands, I am God.

Tracy: You're not going to get away with it. (He comes towards her menacing) I told my father everything. (He's still coming) He's coming right now.

(Tracy makes a run for it and Eric grabs her and methodically starts smashing her head on the floor and punching her. He glances up and catches his reflection in the mirror. His hair is out of place. He goes over to his make up table and combs it back into place. Tracy is staring at nothing. Eric walks back to her and looks down at her. Steps over her and out. Tracy closes her eyes.)

Scene 18: Backstage towards end of play. Act 4 Scene 3 Emilia: I know a lady . . .. Mike is in the wings watching.

Roderigo: It's going really well, Not that the old blue haired would notice.

Mike: But we do it for the love, man! Repeat after me, I love the theater.

Both: I love the theater.

Tom (entering): Shit! Where's the damn torch?! It's in the next scene!

Mike: Relax. It must be around here somewhere. It's opening night. We'll get through it.

Tom: But I won't live through it. If the torch is not sitting on the Left prop table, in the middle between his show dagger and the hankerchief, Eric will rip me a new asshole.

Mike: Maybe he already picked it up.

Tom (while searching for it): No, not Mr. Perfectionist. He wouldn't touch it until it was time to touch it. If it wasn't in the proper place he wouldn't just pick it up and put it in it's place, he would come and get me to show me that it was out of place. (Laughter from green room) It's them, those little pricks! Theater is just some place to goof off, play with props that are just hanging around, doesn't matter that it needs to be used in the very next scene!

Mike: Don't worry. Get everything else ready. I'll go up to the prop room and see if we have something that'll work. Chill. If I can't find something, Eric will improvise. (starts to walk away, to himself) and if he can't improvise, he shouldn't be on the stage.

Tom: He's going to kill me.

Scene 19: Prop room. Mike walks in and sees Tracy. Runs over to her and checks for a pulse.

Mike: Tracy. Tracy! (she opens her eyes) Tracy, what happened?

Tracy: Eric. Eric did this. Killed Amy.

Mike: What!?

Tracy: Eric killed Amy.

Mike: Why? Never mind. Rest now. I'm going to get help. Hang on.

Scene 20 Backstage again.

Tom: Where's the tourch? What am I going to do?

Mike: (Grabs Tom by the shoulders) Tracy is up in the prop room. She has been hurt badly. You are going to call 911 and get an ambulance and the police. Now!

Tom: Oh my god...

Mike: NOW!

(Tom runs off. Mike goes over to the wall where swords and knives are hanging. He pulls down a real knife and replaces his prop knife and takes down another knife and hides it in on his belt in back. Then walks to the wings and watches Eric Act 5 scene 1 Roderigo: I know his gait, 'tis he -- villain thou diest!" Iago stabs Cassio in leg and notices Mike, exit to stage left. Mike and Eric stare at each other from opposite wings till Iago's next entrance. When Iago stabs Roderigo looks directly at Mike with maniacle smile. Switch attention to Mike close in, sounds of play fade, music rises, move back to see end of scene Iago: This is the night, etc.

Blackout, Mike and Eric pass each other in the dark.

Scene 21: Finale

Act5 Scene 2

(start moving attention back to Eric in the wings.)

(close in on Eric, sounds of play fade, different? music rises, Onstage we hear "Murder! Murder!" Backstage doors bang open, paramedics come running in and Extras guide them upstairs. His attention is caught by the display the knives are missing. He looks around to put them back in their place and he realizes that Mike must have them, he turns his attention back to Mike and smiles)