Moeller - An Almost Perfect Thing

An Almost Perfect Thing 2014 by Nicole Moeller Playwrights Canada Press 202-269 Richmond Street West, Toronto, ON, Canada M5V 1X1 phone 416.703.0013 No part of this book may be reproduced, downloaded, or used in any form or by any means without the prior written permission of the publisher, except for excerpts in a review or by a licence from Access Copyright, www.accesscopyright.ca. For professional or amateur production rights, please contact the publisher Cover design and illustration by Sbastien Thibadeau Book design by Blake Sproule Author Photo Fred Katz Photographic The Alegreya serif typeface used was designed by Juan Pablo del Peral. The Source Sans Pro sans serif typeface was designed by Paul D. Hunt. The typefaces are used under the SIL Open font license version 1.1. A play. A play.

Electronic monograph in multiple formats. Issued also in print format. ISBN 978-1-77091-208-3 (PDF).--ISBN 978-1-77091-209-0 (epub) I. Title PS8626.O4325A64 2014 C812'.6 C2013-907999-8 C2013-908000-7

We acknowledge the financial support of the Canada Council for the Arts, the Ontario Arts Council (OAC)an agency of the Government of Ontario, which last year funded 1,681 individual artists and 1,125 organizations in 216 communities across Ontario for a total of $52.8 millionthe Ontario Media Development Corporation, and the Government of Canada through the Canada Book Fund for our publishing activities. For Jared and Tracy A Note About the Style of the Play The scenes in which the characters address the audience directly are indicated throughout the play. In these scenes, each character is telling his/her individual story.

They are not interacting with each other, but it is important to note that often one character's line informs or affects the next character's line. The scenes should bleed into each other quickly without solid blackouts. This is especially true of act one, scenes two through nine, which should almost be treated as though they were one. An Almost Perfect Thing was first produced by Workshop West Theatre at La Cit Francophone, Edmonton, Alberta, in March 2011. It featured the following cast and creative team: Chloe: Tess Degenstein Mathew: David Ley Greg: Frank Zotter Directed by Michael Clark Dramaturgy by Tracy Carroll Set and costume design by Daniela Masellis Lighting design by Itai Erdal Composition/sound design by Darrin Hagen Movement coach: Marie Nychka Stage managed by Lester Lee Special acknowledgement: Michael Peng Characters Greg: forty Mathew: in his forties Chloe: twelve to eighteen Locations Multiple settings are used throughout, with Mathew's house and Greg's condo often used on stage at the same time. ACT ONE SCENE ONE To the audience.

GREG Once upon a time MATHEW There was a girl. GREG A woman I guess you could call her by now. CHLOE bursts onto the stage gasping for air. A lady. CHLOE Bouchard Crescent. MATHEW She falls from the sky it seems.

GREG Out of nowhere, really. MATHEW She appears like an angel. GREG Clinging to some sort of hope. Like she did for thousands of days before this one. MATHEW Waiting CHLOE tries to catch her breath. CHLOE Smithson Avenue.

MATHEW to be saved. CHLOE Oak. Pine. Crab apple. GREG She races past the houses that once meant something. MATHEW Searching, hoping, praying.

GREG Past that same brown Ford truck that's been rusting in front of that CHLOE grey house GREG since she was a little girl. And then she sees it. Like a piece of heaven and hell all mixed in one. She sees it. CHLOE Home. Beat.

They all breathe together. SCENE TWO Shift. Martini Bar. To the audience. GREG I'm at this party. Opening of a new martini bar downtown called Martini Bar.

I know four things about most people here: Career choice. Accomplishments or lack thereof. Where they sit on the political spectrum. And their preferred alcoholic beverage. Other than that I know as little about them as they do about me. Beat.

He looks around the bar. Feel the beat of the music in my chest. Drink burning my throat. Head light. Search the bar For someone Anyone Breathe SCENE THREE Police station. To the audience.

CHLOE (said at the same time as GREG) Breathe My dad takes me to the police station. They put me in a small room and The sound of a heavy door slamming. Dad! Why am I here? Am I in trouble? Dad Don't cry. Bite my cheeks. Dig my fingernails into my hands. (imitating police officer) "Sorry for the wait there uh, Miss Evans.

My name is Constable Peterson, but I want you to call me Ann, okay? We're going to get ya to the hospital in a bit here. But first, how 'bout we retrace your steps. How did you get to your dad's?" (to audience) Her voice her body, her smile, the way she holds her hands together like that She's nervous. I'm not in trouble. I can tell. (to police officer) I have to go.

I have to go to the dentist. My teeth hurt. My teeth hurt so bad. Please. I have to go. I have to go NOW! I HAVE TO GO NOW! SCENE FOUR MATHEW's house, upstairs.

To the audience. MATHEW Chloe! My head is Chloe? He reaches for her. The couch So groggy Chloe? Fell asleep I fell asleep He looks around for her. Chloe? The light downstairs keys The door is open. What? Chloe? SCENE FIVE Martini Bar. GREG (to woman) HeyI was hoping I'd see you.

How've you been? I've missed you. (to audience) Alicia. Alyssa? Alyssia (to woman) So. You feel like getting outta here? For old time's sake (imitating woman) "Didn't you just turn forty? Aren't you getting a little tired of the one-night stand? Greg." Beat. (acknowledging someone across the bar) Hey. (to the audience) We work together.

He's youngyounger than meand he's already moved his way to the top. Traffic report to front page to "number one news blogger." Apparently his Twitter account has about five billion followers. (to co-worker) This, my friend, is for you. I figure it's time that I He takes it and hands me the empty he's holding. (imitating co-worker) "Thanks." Asshole. Why do they all love him? Why did he get promoted? Why do I have to SCENE SIX The hospital.

To the audience. CHLOE (cutting GREG off, as if continuing his line) Why do I have to stay at the hospital? Why are the police holding my dad? Why won't he stop crying? (imitating dad) "Chloe! My baby! My baby! Chloe" Why don't I feel anything? They make me share a room. I lock myself in the bathroom. I think about him. I breathe deep 'cause we have a connection and it'll make him breathe deep. He'll get crazy if he doesn't.

Five four three SCENE SEVEN MATHEW's house. To the audience. MATHEW Two one Search every room. Outside. Inside. She Must Be Chloe Somewhere.

Through the house Under the beds. Chairs. Cupboards. Chloe She said She'd never Chloe Grab my gun. Grab my gun. Finger on the trigger.

She said she'd never leave me. Sweat dripping. Eyes burning SCENE EIGHT Martini Bar. GREG wipes sweat from his forehead. To the audience. GREG I hate when I sweat.

Drips from my forehead. Burns my eyes. Beat. He looks around the bar. I'm sick of this shit. He hails a cab.

I grab a cab and head home. (to neighbours) Nice night. My neighbours don't talk. Not even when spoken to. We ride the seventeen floors in silence. Go inside.

Turn on the TV. Make myself a drink. Rye and ginger. Go out on the balcony. Look down on the people below. Beat. Beat.

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