An Almost Perfect Thing (2 page)

Lights on
CHLOE
with the paper. To the audience.

CHLOE

It's you.

GREG

Six years ago, I poured my heart into your story, into your life.

CHLOE

I never gave up hope.

GREG

I don't claim to understand why you won't work with the police. It's none of my business. But because I care, because I feel invested in your story—

CHLOE

Here's a word of warning:

GREG

We don't need names or locations. But if you don't give us details—

CHLOE

—we will fill in the blanks.

GREG

We will make up your story for you.

CHLOE

True or not.

GREG

Claim your story, Miracle Girl. Take control. I'll be here when you're ready. And just for the record—

CHLOE

Cinnamon is better than spearmint.

GREG

In my opinion anyway.

SCENE TWELVE

Shift. GREG's condo. CHLOE enters.

CHLOE

I only have fourteen minutes.

GREG

No lawyer, social worker… dad?

CHLOE

I'm eighteen. Legally an adult. You want to write an article about me.

GREG

A book, actually.

CHLOE

What? Why a book? No—

GREG

You're way too interesting for just an article. Your story is too interesting. If you're thinking about money, a book will be much—

CHLOE

I don't care about money. I like articles. In the newspaper.

GREG

I'll go more in depth in a book. It's more what you want for your story—

CHLOE

How would you know what I want?

Beat. She walks around the room.

I like your apartment.

GREG

Condo. Thanks.

CHLOE

I like the way you can see over the whole city. The people. Buildings. Must make you feel safe.

GREG

Removed, actually… Nice view though.

CHLOE

Why should I pick you? Your column is on page seven.

GREG

You already like my work. I can give you references, a resumé, whatever you want.

CHLOE

Interview me. Show me what it'd be like.

GREG

…Okay. Well… first, I'd make sure you're comfortable. Can I get you anything? Bottled water, Diet Coke, Perrier—

CHLOE

I eat and drink at scheduled times, thank you.

GREG

Okay. Then I'd turn on my tape recorder—

CHLOE

That's cheating. What next?

GREG

Uh… I'd ask you a question that would allow you to talk freely, for as long as you want.

CHLOE

Okay. Ask me.

GREG

Now?… Put us in your shoes. What's a day like right now in the life of Chloe Evans?

CHLOE

What else?

GREG

What's the best part of being free? What's the hardest part? Do you see a tutor? How often? What's the pressure like from the police? How come you weren't wearing your disguise in the 7-Eleven—

CHLOE

Okay—

GREG

What does it feel like to be labelled a victim?

CHLOE

I said okay. My turn. How do you know I was somewhere interesting? That I'm not a runaway?

GREG

I'm a writer. I trust my gut.

CHLOE

How can you write it without names or locations?

GREG

Those are just details.

CHLOE

Why did you look at me like that in the 7-Eleven? Before you knew who I was.

GREG

…I don't… I didn't… look at you—

CHLOE

You forget to breathe. When you get nervous. I have it too. You're how I imagined. I wanted to meet at your house because someone's home says a lot about them.

Beat.

My bodyguard is going to be here in a few minutes so—

GREG

Okay. What about—

CHLOE

I want to be in the paper. I want a whole bunch of articles. Like you did the first time. Six years ago. It was in once a week. I liked that.

GREG

You read it?

CHLOE

It was very good. You talked to my dad, my friends. It was like I could hear them. Like they were there with me.

GREG

Wow. That's… thanks—

CHLOE

You got some of your facts wrong though. It wasn't perfect.

GREG

Right.

Beat.

Okay. A series. We meet once or twice a week for a month and then we go to print.

CHLOE

No way. I don't want to wait that long. Like you said, if I don't tell them now, they'll fill in the blanks. It'll be too late, right? We'll meet for… eight weeks. Do the interviews at the beginning of the week, and it comes out on the weekend.

GREG

That's not how it works for a series like that. We do all of the interviews and then—

CHLOE

Not this time. Now what about the rules? We both set them. A rule for a rule. Me first. You can't trick me into telling you who it is.

GREG

You can't give your story to anyone else.

CHLOE

I have to be able to trust you.

GREG

Same here.

CHLOE

And you have to stick to my schedule.

GREG

Fair enough. Do you want to talk money now, contracts—

CHLOE

I don't do contracts.

GREG

But—

CHLOE

I'll be back Monday at noon. The first article can go out on Saturday.

GREG

I'll have to talk to my editor but—

CHLOE

I liked how you called me Miracle Girl. I like how it feels in my mouth. Chloe Evans. Miracle Girl. See ya Monday.

SCENE THIRTEEN

Shift. To the audience.

GREG

And so it begins.

CHLOE

I get what I want.

MATHEW

I go to the library every day now. To watch over her.

GREG

My editors are worried about the legalities of it. They talk to their lawyers. The police are actually happy—

MATHEW

Her dad doesn't even walk her home anymore. I watch her walk home all alone.

GREG

We all assume there's a dangerous person on the loose. But no one can get mad at her for not giving up that person because she's probably a victim of unimaginable trauma. So now everyone's going to be looking at me.

MATHEW

She just seems so sad. So lonely.

GREG

My editor: "Don't fuck this up, Greg." My colleagues: "Who'd you sleep with to get that?" The people: "Greg who?" Everyone thinks I'm going to screw up.

CHLOE

Everyone thinks I'm going to slip up.

MATHEW

I spend hours—

GREG

Researching.

MATHEW

Planning.

CHLOE

Deciding.

GREG

Past cases. Stockholm syndrome. Victims of violence. Sexual abuse. I have to do her story justice. I have to do her justice.

MATHEW

I'll take such good care of her. Teach her everything I know. Give her the proper meals, books, lessons.

CHLOE

I'm excited.

MATHEW

Nervous.

GREG

So nervous. It isn't right. A series shouldn't be published as you go.

MATHEW

Because anything could go wrong.

GREG

I don't get to plan it out. She could just quit and then—

MATHEW

But I feel like I have a duty to her.

GREG

To help her.

MATHEW

To save her.

GREG

And if this is what she wants then—

CHLOE

Miracle Girl Speaks.

GREG

The first article comes out. I write about what it feels like to be back in the world. How she spends her days. What she thinks of her social workers, her tutors.

MATHEW

Her dad—

CHLOE

I won't talk about my dad. Ever.

MATHEW

I'm teaching him a lesson.

GREG

We run a big picture to go with it. People react instantly. They feel—

CHLOE

I feel—

GREG

Compassion

MATHEW

Motivated.

CHLOE

Powerful.

GREG

Like I have purpose.

MATHEW

For the first time in a long time.

GREG

For the first time in a long time.

SCENE FOURTEEN

Shift. GREG's condo.

GREG

I tried to call you. We really should meet in my office.

CHLOE

I like it here. Everyone liked the article.

GREG

People are impressed by you.

CHLOE

People are dumb. What did they think? I'd come back some idiot?

GREG

They're just surprised that—

CHLOE

Well they shouldn't be.

GREG

Right. Do you want anything? You comfortable? Today's a big day. The first day we get into your story. You ready for that?

CHLOE

You seem nervous.

GREG

Why don't we just dive in? I'd like to start with you telling me about the last day you were seen.

CHLOE

Can't. Could lead you to who it is.

GREG

So you do admit that you were taken.

CHLOE

Duh.

GREG

Had you ever seen or spoken to this person before?

CHLOE

Never said that.

GREG

So you didn't know them?

CHLOE

Never said that.

GREG

Okay… Take a minute and try to figure out a way to tell me about that day without any incriminating evidence. You can describe if he put you in a car, if he wanted to show you something in his house. I'm not saying that's what it was, but those kinds of details will help paint a picture of—

CHLOE

How do you know it's a he?

GREG

That's just an example. You can write it out first if that's easier. Make some notes. I'll wait.

CHLOE

I don't want to write it out. That's why I have you. My turn. You get to ask questions, I get to ask questions. You want me to feel comfortable, don't you?

GREG

Of course but—

CHLOE

Then I need to get to know you. My turn—

GREG

But you haven't answered my question yet.

CHLOE

Yes, I did. I said I can't tell you. That's my answer. My turn. You live alone.

GREG

Yes. Now—

CHLOE

That wasn't a question. That was a statement. This is a question. Did you always want to be a journalist?

GREG

No. Were you in Toronto?

CHLOE

That's not what you say. And now you broke the rule so you lose a question. My turn. What did you want to be? You have to tell me or you lose another question.

GREG

I used to write fiction. Short stories mostly.

CHLOE

Why don't you anymore?

GREG

Haven't felt inspired to, I guess.

CHLOE

That's sad. Why did you decide to become a journalist instead of a fiction writer?

GREG

I don't know. Instant gratification?

CHLOE

What does that mean?

GREG

Nothing. My turn. The day you were taken, did you have to go far away or were you in the city?

CHLOE

Can't tell you. My turn.

GREG

What can you tell me?

CHLOE

Figure it out. My turn. Do you like that people read your work? Follow you? Wait every day just to hear what you have to say?

GREG

I'm not sure that they're waiting to hear what I have to say.

CHLOE

They are now. Did you like being on the front page last week?

GREG

Sure… yeah. I guess… I don't know. My turn. You don't need to tell me where you were or how you got there. But I want you to describe your first day, or your first memory. What happened. What was said to you. Okay?

Beat.

You're going to have to answer something.

CHLOE

I will. Just let me think…

Beat.

I have an idea. Why don't you write this like a fiction book? Since you're a real writer, you know how. Not many people know how. You'll get to be really descriptive. Like it's one of your short stories.

GREG

Chloe—

CHLOE

Close your eyes.

He doesn't.

It starts in darkness. That means you have to close your eyes to get it right.

The lights go out. For the rest of the scene CHLOE alternates between speaking to
GREG
and
MATHEW
. She can be physically in the scene with
MATHEW
, but speaking to
GREG
. When
CHLOE
is with
MATHEW
,
GREG
does not see what we see.

It's so dark when you wake up that you stick your hand in front of your face and you can't even see it. You try to make out shapes but there's just nothing. Nothing. But you're okay. You just have to stay real calm—

Shift. CHLOE's room in MATHEW's house.

HELP ME! SOMEBODY! HELP ME! DAD! HELP ME! HELP ME! SOMEBODY! HELP ME! PLEASE! Dear God, please help me. Please help me, God, please— Help me, please, please, help me, help me, please—

GREG

And so what's happening?

CHLOE

(to
GREG
)
Nothing. I stay completely calm. I breathe and count. That's what you have to do when you don't want to panic. My dad taught me that. Breathe and count.

GREG

Okay so—

CHLOE

HELP ME! PLEASE! HELP ME! SOMEBODY! HELP—

GREG

You're breathing and counting and then what happens—

The sound of two deadbolts and a key.

CHLOE

(to GREG)
The lights come on.

MATHEW enters. He and CHLOE stare at each other.

GREG

How'd they come on? Was there someone in the room with you?

CHLOE

(to GREG)
No. They were controlled from outside the room.

GREG

And you're alone?

CHLOE

(staring at MATHEW, speaking to GREG)
Completely alone.