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) Hey—I 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 young—younger than me—and 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.

Breathe.

Beat.

There are three million people in this city.

If I jumped… if I fell…

Would any of their lives be disrupted… altered… changed?

I imagine, like everyone does sometimes, standing on the railing, looking down on the people below, and then just falling.

Free. Finally…

Beat. Lights up on MATHEW.

And then—

MATHEW

I see it.

GREG

Hear it.

MATHEW

Chloe—

GREG

Evans. Chloe Evans.

MATHEW

A note. Her writing.

GREG

Run inside.

MATHEW

(reading) Dearest Mathew—

Chloe—

GREG

Evans. Eighteen. Missing since she was twelve.

MATHEW

Chloe, no—

GREG

We— I— We— Thought she was dead.

MATHEW

Chloe!

GREG

This was my story. Six years ago this was—

SCENE NINE

To the audience.

CHLOE

(to nurse) I need air. I need to feel fresh air in my lungs.

The sound and lights of flashing cameras.

It hasn't even been a whole day… Their lights—

She shields her eyes.

They push past each other, trip over each other to get to me.

Microphones in my face.

Tape recorders at my mouth.

More cameras, flashing and clicking.

I need to… I want to… I don't know how to—

Beat.

And then I see it.

Lights on MATHEW and GREG.

MATHEW

Turn on the TV.

GREG

Turn up the volume.

CHLOE

My reflection in the camera.

GREG

She looks—

CHLOE

Terrified.

GREG

Weak.

MATHEW

Remember your strength.

CHLOE

Remember my strength. Dig my fingernails into my hands. Bite my cheeks. Breathe. They look like animals.

MATHEW

Hair messy. Sweater crooked.

CHLOE

Desperate.

GREG

Face changed. Eyes the same.

CHLOE

Someone tries to pull me inside. (to nurse) Stop it!

MATHEW

And now—

CHLOE

I lock eyes with all of them. Smile. And say nothing.

MATHEW

I'll go back to the beginning.

CHLOE

Smile and say nothing.

GREG

This is my story.

CHLOE

Because this is my story.

MATHEW

This is my story.

SCENE TEN

Shift. To the audience.

MATHEW

I admit—

CHLOE

—the beginning—

GREG

—is a bit of a blur.

CHLOE

They push me from hospital to police to my dad to psychologists to my dad to police.

GREG

The picture of her smiling is in every newspaper, every news website across the country.

MATHEW

Ever since my mum died, I like to go to the library. On Mondays, Wednesdays, and Fridays. It's a Wednesday when I first see her. The little girl.

GREG

Immediately my editor tells me someone else is assigned to the story.

MATHEW

She sits alone in the corner. Eight feet from where I am.

GREG

Her dad—

CHLOE

My dad—

GREG

It's him I need to talk to.

MATHEW

That leaves her here.

CHLOE

He doesn't have a clue what to say to me.

GREG

Of course he's not talking.

MATHEW

I watch him leave her here alone. For weeks he does this.

GREG

For weeks we hear nothing. The police keep saying the investigation is ongoing.

MATHEW

She's so well behaved. Barely moves a muscle.

GREG

We find out she's refusing to work with the police. They can't force her. She's done nothing wrong. They leave it up to the team of psychologists but—

CHLOE

No one can make you talk.

GREG

The story goes from national to international.

CHLOE

People follow me everywhere.

GREG

They say she was a runaway in Vancouver, Seattle, Winnipeg, Toronto, New York, London, Beijing. Men take credit for taking her. Women take credit for taking her.

MATHEW

The way she bites her fingernails and sticks her tongue out just a bit when she's writing… the way she smiles whenever she catches me looking at her.

GREG

Media from around the world park outside of her house. Still she says nothing.

CHLOE

I open the curtains. I stand at the window and I stare at them.

MATHEW

I'm drawn to her.

GREG

Lots of people wrote about her six years ago, but not like me. I was in the right place at the right time. For some reason I got exclusive interviews with her father. I sat with him as he cried. He showed me her bedroom, toys, video games. I interviewed her teachers, her friends. It wasn't just a story. I cared about her. About finding her. About catching the person who took her.

CHLOE

No one found me. For six years no one—

GREG

So I feel like I deserve this.

MATHEW

I feel like we're connected.

GREG

But just because you deserve something doesn't mean you'll get it. Because who am I, right? Nobody. Nothing. The words echo through my mind as I drive past her house two, three, four times a day. Follow her as she's driven around the city. Waiting for… something. Anything. A picture. Chance to talk to her. Some new information. You are so pathetic, Greg. I'm about to give up and—

Beat.

It's a random night. A not so random 7-Eleven.

SCENE ELEVEN

Shift. A 7-Eleven. GREG is inside. CHLOE enters. He checks her out, and she notices.

GREG

Go with cinnamon. Always a good choice.

CHLOE

Thank you for the recommendation. But I like spearmint.

She looks at him. He recognizes her. She walks away. He follows.

GREG

Uh…

CHLOE

It's just gum, Mr. Kalowitz.

GREG

You know who I am?

CHLOE

I read your stuff. You're okay. A little boring sometimes.

GREG

Uh, right… Uh… look, I know you're probably getting a lot of requests for—

CHLOE

Can I have some of your Slurpee?

GREG

…Sure.

He hands it to her. She takes a very, very long sip.

CHLOE

You shouldn't drink this, you know. It's bad for your teeth.

GREG

Yeah… right. So—

CHLOE

I've seen you in here before. I recognized you from the paper. You didn't recognize me. I was in my disguise. Scarf, sunglasses. It's stupid. They make me do it.

GREG

Where's your disguise now?

CHLOE

Do you live around here?

GREG

No.

CHLOE

But I do, right? Lots of people want to talk to me.

GREG

I know.

CHLOE

Why should I?

Beat. She stares at him.

I have to go. He's getting impatient.

GREG

Your—

CHLOE

—bodyguard. Thanks for the Slurpee. Nice to finally meet you.

CHLOE exits.

GREG

(to the audience) I get in my car. Don't think. Just write. What have I got to lose?

I dedicate this column to you, Miracle Girl. I'll try not to make it too boring. It's a random meeting on a random night. It's hot, muggy, suffocating almost. I run inside a store to grab a drink. Cue left. You enter. We chat about gum. You say you read my column, so I know you're reading this. You've piqued my interest, Miracle Girl. And after talking to you, it's not just your story that's got me hooked.

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.

GREG

Describe what you were feeling. Hurt? Hungry? You must have been terrified—

CHLOE

(to GREG) I was mad. I was never terrified.

GREG

Even if you were mad, I'm sure you were still—

CHLOE

(to GREG) I said I wasn't!

(to MATHEW) Please don't hurt me. Please. Please. Please don't hurt me.

MATHEW

I'm not going to.

MATHEW moves towards her; she flinches, moves away.

CHLOE

(to MATHEW) No—

MATHEW

You don't have to be afraid.

He goes to touch her.

CHLOE

(to MATHEW) No, please—

MATHEW

It's okay. I promise. Do you like your room?

CHLOE

(to either GREG or MATHEW) What?

GREG

Should I not call it that? Room.

CHLOE

(to GREG) It's okay.

GREG

Tell me what it looks like when you first open your eyes.

CHLOE

(to GREG) There's a bed.

MATHEW

It used to be mine. The comforter's new though. Brand new.

CHLOE

(to GREG) Beside the bed was a little wooden table.

MATHEW

If you look underneath, you'll see my initials. I did that when I was about your age. The lamp is new. I wanted a pink one but I couldn't find it, so you'll have to make do with yellow.

CHLOE

(to GREG) A closet with some clothes.

MATHEW

I guessed at your size. And there are your underthings there. I didn't really know…

CHLOE

(to GREG) A toilet. Sink with a hose attached.

MATHEW

For washing.

CHLOE

(to GREG) A bookshelf.

GREG

Books on the bookshelf?

CHLOE

(to GREG) Yeah.

MATHEW

And a desk. I never had one growing up. I always wanted one. I imagine you reading there, and writing. If you open it up there are pens, pencils, scribblers.

GREG/MAT

How do you feel?

CHLOE

(to MATHEW) My tummy hurts.

MATHEW

I'll get you some food. That'll help. What else do you need?

Beat.

Talk to me.

Beat.

I'm going to take care of you. I promise.

Beat.

It's just for three months. Less than that, how 'bout? Ten weeks. Seventy days.

CHLOE

(to MATHEW) No—

MATHEW

We're going to teach your dad a lesson. I watched him leave you in the library. Instead of taking care of you. You don't deserve that. He needs to learn—

Your hands—

He reaches for her hands; she recoils.

Let me see them. They're all red. Were you banging on the walls? There's no point, you'll just hurt yourself.

GREG

So you're alone. No idea where you are. Did you yell? Scream? Pound on the walls?

CHLOE

(to GREG) Obviously it was gonna be soundproof. I knew that. I'm not dumb. I saved my strength.

GREG

Really? Okay… so, what's going through your mind? What's happening?

CHLOE

(to GREG) I search for an escape route. See if there's a way I can dig myself out. Break a whole in the wall. Anything. I figure out where I should stand when someone opens the door so I can run. I think about what my dad would tell me to do. I wasn't scared. You can't get scared. Or you'll go crazy.

MATHEW

No one can hear you. I had to make sure of that. I had to. Now there has to be rules. I want to be fair, so we'll both make them. My first rule. Don't talk about wanting to leave. Not after everything I've done. It'll only upset me. Your turn.

Beat.

You don't say anything, you miss a rule.

Beat.

Fine. My turn. You have to listen to me. I'm the grown-up. I know what's best. Okay? Your turn. You should talk this time.

CHLOE

(to MATHEW) Please let me go.

MATHEW

I said don't talk about wanting to leave. You already broke a rule.

CHLOE

(to MATHEW) You can't hurt me.

MATHEW

Okay. There you go—

CHLOE

(to MATHEW) You have to feed me.

MATHEW

That's two rules. But I'll let it go since you're new at this. My third and final rule.

Beat.

You have to call me Dad.

CHLOE

(to MATHEW) No—

MATHEW

Yes. And… I have to tell you this. I have a gun upstairs. It was my dad's. If you run away… if you run away, I won't kill you. I don't want to hurt you. Ever. Cross my heart and hope to die. But I will find your dad. Because he has to be punished one way or another. Don't cry. That's only if you run away.

I left a schedule in your desk. It's all the times this week that I'll be downstairs, upstairs, and out of the house. I'll give you a new one every week. Okay?

Beat.

I'll leave you alone now.

CHLOE

(to MATHEW) NO! Don't leave me here! Please! I can't breathe! PLEASE! You can't leave me here! Please just let me come upstairs just for a second. I can't breathe!

MATHEW

I have to go now.

CHLOE

(to MATHEW) No. No, no, no, no, no, no, no, I can't stay here, I can't stay here. Please. Please. Please.

MATHEW

(overlapping with her) Calm down. Ssshhhhh. Calm down.

CHLOE

(to MATHEW) Please—

MATHEW

Breathe in and out. Okay? In and out. Count with me.

She keeps panicking.

Five… four… three… two… one… Now you do it.

CHLOE

(to MATHEW) No—

MATHEW

You have to or you'll panic. Panicking is the worst thing you can do.

CHLOE

(to MATHEW) I want my dad. I want my dad. I want my dad. I want my dad! I want my dad! I want my dad! I WANT MY DAD! I WANT MY DAD! I WANT MY DAD! I WANT MY DAD! I WANT MY DAD!

Shift. Lights down on CHLOE's room in MATHEW's house.

(to GREG) Did you get all that? Could you see the room? See it like you were there?

GREG

Definitely. Now, how long was it before someone finally came in?

CHLOE

I have to go now.

GREG

We need to go over what happened when someone came down to the room. If you leave now we'll have to meet again this week.

CHLOE

I can't.

GREG

But you haven't talked about the person. What they said. What they did.

CHLOE

I talked about the beginning. How strong I was. How I didn't panic.

GREG

You talked about your room.

CHLOE

My dungeon. Where I spent hours and hours and hours locked up, hidden from the world. Isn't that enough?

GREG

It is… but… a whole article is—

CHLOE

I know you can do it. It's like a book. But you get the… instant gratification of the newspaper. People will love your writing. Trust me.

SCENE FIFTEEN

Shift. To the audience.

GREG

It takes me five days to write it.

MATHEW

Five months to build it.

GREG

I agonize over every line.

MATHEW

Every piece of furniture.

GREG

It's painstaking.

MATHEW

Perfect.

CHLOE

Brilliant.

GREG

Bullshit. I mean not totally but—

CHLOE

It's all about my room.

MATHEW

Her room.

GREG

This room. I'm supposed to make it interesting enough—

MATHEW

—beautiful enough—

GREG

—that people will follow me.

MATHEW

—that she will love it. I think of everything. The locks, the lights on a timer, bars on the window, the outer door.

CHLOE

The colour of every piece of furniture, the feeling of the walls.

GREG

The number of books, the smell, how cold it is.

CHLOE

How the breeze from the fan feels against my arms—things I didn't even tell him. He just creates it himself.

MATHEW

It's much better than I had.

CHLOE

He writes it just like I said.

GREG

Like a book. And the people respond to that.

CHLOE

Because they can really see it. Like they're really there.

GREG

Of course that leads them to more questions.

(imitating public) "Who was it? Do I know them? Why did they put so much care into the room? Was she the first? Will she be the last? Wasn't she terrified?"

They want more. My editors expect more.

MATHEW

She's talking more now.

CHLOE

I want to go out more.

GREG

I can't rush her.

CHLOE

I take the bus this morning.

GREG

But I can't let her lie to me either.

CHLOE

I tell my dad Greg's picking me up. He believes me.

MATHEW

I love when she talks to me… but sometimes she asks me too many questions. Where do you work? What did you want to be when you grew up? Do you have brothers and sisters? What do you do for fun? Sometimes I think she's planning something… Tricking me…

CHLOE

Everyone on the bus stares at me.

MATHEW

Sometimes she just stares at me. Like I'm doing everything wrong.

CHLOE

When I look at them, they look away.

GREG

I just need to communicate on her level. Figure out what she needs. Make her feel comfortable enough to open up.

MATHEW

I need to remember—

GREG

—two things:

MATHEW

She's just a kid.

GREG

A scared kid. But still—

MATHEW

I'm the one in control.

GREG

I have a job to do. I repeat it—

MATHEW

—over and over as I make her meals. Wash her clothes. Check her assignments. Go downstairs exactly when the schedule says.

CHLOE

I sit in the back of the bus and two girls come up to me: "Sorry about what happened to you. Can we have your autograph?" They're holding pens and a magazine up to my face. My face is on the magazine. Then this woman. Sitting beside me. She reaches over and grabs my hand. Doesn't say anything. Just looks straight ahead. And when she's getting off the bus, she says: "Thank you." Like I did something for her.

SCENE SIXTEEN

Shift. GREG's condo.

GREG

How are you? How was your weekend?

CHLOE

Boring. Yours? Did you go out lots?

GREG

Uh… enough. Can I get you something to—

CHLOE

Not till two. I have more time today. Like four hours.

GREG

Excellent. We can definitely use more time—

CHLOE

So when we're done the interview at two, we can just talk. Like people. Having a conversation.

GREG

…Sure. Yeah. Definitely. Whatever you want.

CHLOE

Whatever I want? Good. 'Cause I want to talk about my routines. My schedule, my lessons, my books, my exercises, the classes I made up—

GREG

Absolutely. Can't wait to hear all about them. But be prepared, we're also going to have to talk about the person that—

CHLOE

I think this one should just be about me again. How I taught myself. Last time you only wrote about me and they liked your article. On my way here, there was this woman on the bus—

GREG

The bus? Chloe—

CHLOE

She was reading your article and then she hugged me and she wouldn't stop and she was like, "It's so real. It's like I'm there." And she was like bawling her eyes out. Arms around me. That's what your article did.

GREG

Your situation.

CHLOE

Uh-uh. Your writing.

GREG

Well, I'm glad it made an impact. But that doesn't change things. We're still going to talk about who. Now, I have a new plan for today. Since you demonstrated that you like to ask questions, I'm going to let you ask me five questions. So that you can get to know me. Feel more comfortable. Then it's my turn. The whole time. Sound good?

CHLOE

You have to answer my questions no matter what?

GREG

Absolutely.

CHLOE

Number one. Do you have a girlfriend?

GREG

No.

CHLOE

I want to ask why, but I don't want to waste a question.

GREG

I'm too busy. That's a bonus.

CHLOE

Do you have a best friend?

GREG

…Sure. Myself. Happens when you're older.

CHLOE

Happens when you're younger too. Do you think you're a good writer?

GREG

Uh… I don't know—

CHLOE

I think you are. I think you're the best. I think you're—

GREG

Thank you. Two more.

Beat.

CHLOE

Are you close to your family? Wait. No. Don't answer that. What does your family think about the articles?

GREG

Haven't really talked to them much about it.

CHLOE

Really? It's a pretty big deal. I thought they'd be proud of you.

GREG

I'm sure they are… in their own way.

Beat. She stares at him.

What?

CHLOE

What was it like raising yourself?

GREG

What do you mean?

CHLOE

Your parents were divorced. You mentioned that a few times in your columns. You lived with your dad and his new wife up north. I remember in one column you said that they worked all the time. You made it seem like they were too busy for you. That you were alone a lot growing up. So I thought that meant you had to raise yourself. What was that like?

GREG

…I don't really think about it.

CHLOE

Must've been tough. You must've had to work really hard. No one helped you, did they?

GREG

Not really.

CHLOE

No one helped me either. I had to raise myself too. We're the same. Don't you sometimes wish that people knew how hard you worked? They had it easy and you had to earn it. Don't you want to tell them what you went through to get here?

GREG

…Sometimes. Maybe.

CHLOE

Come on. Don't you think you deserve to just scream it so that everyone can hear?

GREG

I don't know—

CHLOE

Admit it. Admit you deserve it.

GREG

Fine. Maybe I do deserve it.

CHLOE

Don't you think I deserve it too?

If we talk about that person, that's all they'll care about. It'll take away from what I did. How I survived. How I taught myself everything. How I raised myself. Just like you. We both had to earn it and no one should take that away from us. Right?

GREG

Of course, but—

CHLOE

I know you understand.

GREG

I do, but—

The sound of deadbolts.

CHLOE

So…

MATHEW enters.

Shouldn't the article be just about me, then? No one else.

Beat. Beat.

GREG

Next time you—

CHLOE

Next time.

A door slams.

Every day started the same. Seven a.m. I trained my mind to wake me up without an alarm. First—

SCENE SEVENTEEN

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

CHLOE

Reading.

GREG/MAT

What did you read?

CHLOE

The Outsiders. From nine to eleven. Then I did my exercises.

GREG/MAT

What did you do?

CHLOE

Jumping jacks. Push-ups. Touch my toes. Running on the spot for fifteen minutes.

MATHEW

Perfect. Afternoon?

CHLOE

I wrote a story. It was about—

MATHEW

You keep playing with your hands, what's wrong?

CHLOE

Nothing.

MATHEW

And you're pulling on your hair. Tell me.

CHLOE

You were late today. You told me you'd always follow the schedule.

MATHEW

It was eleven minutes.

CHLOE

I know, but I got scared.

MATHEW

Did you count?

CHLOE

I tried but it didn't work. And I couldn't breathe

She starts breathing harder.

I didn't know where you were. I thought you weren't coming back. I was gonna be trapped down here forever. No one would find me.

Breathing harder.

I didn't know what to do and… I thought I was gonna—

MATHEW

It's okay… just breathe.

CHLOE

I can't— I can't— I'm sorry—

MATHEW

Close your eyes. Breathe. Here's a trick I learned when I was your age. Imagine all the houses in the neighbourhood. Okay? My neighbours and their neighbours. Can you see it?

She nods.

Now imagine all the neighbourhoods in the city. And then all the towns surrounding the city. Imagine all the space surrounding those towns. All that space. Okay? I want you to do that every time you feel trapped. And to make up for being late… I have a surprise for you. Guess what it is.

CHLOE

I get to go upstairs?

MATHEW

No.

CHLOE

A computer? TV? Radio? Candy? New toothbrush? I need a new toothbrush—

MATHEW

I changed my mind. You have to earn it. Make me smile.

CHLOE

I could read you The Last Polar Bear.

MATHEW

I'm bored of your books.

CHLOE

If you get me some new books, I could read those to you.

MATHEW

I'm still not smiling—

CHLOE

Knock knock.

MATHEW

Who's there?

CHLOE

Honey Bee.

MATHEW

Honey Bee who?

CHLOE

Honey Bee a dear and get me a soda! You smiled!

MATHEW

Did not. Tell me how nice I am for giving you this. That'll make me smile.

CHLOE

You're so nice. Like the nicest, coolest person I know—

MATHEW

I told you not to talk like that. Talk like a grown-up and I'll give you your prize. Don't and I'll never—

CHLOE

I'll talk like a grown-up. Cross my heart and hope to die.

MATHEW

Close your eyes.

He gets the newspaper.

Open them.

CHLOE

For real? Thank you—

She grabs for it but he pulls it away.

MATHEW

It's been thirty-two days and you've been very good. You deserve it.

She goes to grab it but he pulls it away again.

Not so fast. I'm giving it to you so you can see outside in your mind. You have to imagine the city and the people. That way you won't feel so alone. Do you understand that?

She nods her head eagerly. He hands it to her.

CHLOE

Thank you so much, Mathew.

MATHEW

You can have it every day if you're good.

CHLOE

I'll be good. I swear, I'll be so good. Thank you. Thank you. Thank you.

Beat. He watches her rip it open, flipping through everything.

MATHEW

You still have to care about me. You can't use me to get a surprise.

CHLOE

I won't.

She keeps reading.

MATHEW

Then read it later. Pay attention to me now.

She stops reading.

Talk to me.

CHLOE

Um… What's for supper?

MATHEW

Grilled cheese.

CHLOE

My favourite. Maybe we could have some vegetables this time? Carrot sticks or cucumbers or celery and peanut butter. My teacher says that if we don't eat our vegetables we'll get really sick. I used to make the vegetables for—

MATHEW

You don't like the food I give you?

CHLOE

That's not what I meant. I just need to make sure—

MATHEW

Don't lie. I can tell when you're lying. It's my superpower, remember? You don't like the food I give you. You think I'm stupid.

CHLOE

No—

MATHEW

I don't buy you new books, I don't give you vegetables.

CHLOE

I didn't mean that—

MATHEW

I'm stupid, stupid, so stupid!

CHLOE

I don't need vegetables—

MATHEW

I fail at everything! That's what you think.

CHLOE

No—

MATHEW

I'm a terrible dad!

CHLOE

That's not true—

MATHEW

We're not having supper. I'm going to bed and I'm not going to get up for three days. We're not going to eat for three days. And it's all your fault.

MATHEW goes to leave.

CHLOE

Wait—will you tuck me in first? Please? I love it when you do.

Beat.

I don't have the nightmares anymore. Since you taught me. That was so smart of you. You're the best, Mathew. And you don't have to have me much longer. I'll be so good for the rest of the time. I swear. Will you sing to me? Please?

He goes to her.

MATHEW

Hush little baby, don't say a word. Mama's gonna buy you a mockingbird.

MAT/CHLOE

And if that mockingbird don't sing, Mama's gonna buy you a diamond ring.

CHLOE

Thank you.

MATHEW

I'll go make your supper now. I'll try to make some vegetables.

CHLOE

Whatever you want.

SCENE EIGHTEEN

Shift. To the audience.

GREG

That morning.

CHLOE

The third article comes out.

MATHEW

They're doing a series on the missing little girl.

CHLOE

It's all about me.

GREG

There's nothing in it. Nothing substantial. Nothing worthwhile.

CHLOE

My routines, my books, my assignments. How I taught myself all of it.

GREG

I see them reading it.

CHLOE

Hear them talking about it.

GREG

On the train, at the coffee shop.

CHLOE

On the radio—

MATHEW

—and the TV.

GREG

They want—

MATHEW

Her.

CHLOE

Me.

GREG

More.

MATHEW

And I have her. The missing little girl. They want her. And I have—

GREG

A responsibility. To them.

MATHEW

I have—

CHLOE

To go shopping.

GREG

To a meeting.

MATHEW

To see her.

GREG

Summoned by my editor.

CHLOE

(imitating sales clerk) "Colour. You'd look great in reds, purples, greens."

I try on a sweater. Feel it against my skin. Open the change-room door and—

MATHEW

There she is.

GREG

There they are. My editors. Lined up in a row.

CHLOE

All these women. Just standing there.

GREG

Like a firing squad.

(imitating editors) "If it bleeds it leads, Greggy, if it bleeds it leads."

MATHEW

She looks—

CHLOE

(imitating sales clerk) "Beautiful!"

MATHEW

—like an angel. When she sleeps. When she's awake it's tantrums and questions and playing and crying. But when she sleeps—

GREG

(imitating editors) "Where's the violence? Where's the sex? Where's the truth? This isn't the truth."

MATHEW

I watch her chest rise and fall. So perfect.

CHLOE

(imitating sales clerk) "So skinny!"

Someone hands me another sweater and then another.

GREG

(imitating editors) "People are starting to question."

CHLOE

(imitating sales clerk) "Say cheese!"

GREG

I want to be the one to finish her story. Give her a voice. Get the details that lead to catching the monster who did this. But now—

MATHEW

I notice the calendar above her desk. Tuesday, May 24. There's a star in the corner. She's keeping track.

GREG

If she won't actually tell me that there was a person, admit how they interacted with her… be honest about what they did to her… Then—

MATHEW

What am I supposed to do? I can't let her go now. Her dad will never take care of her like I do. I still have so much to teach her.

CHLOE

I turn from the camera and see these girls. They're talking and laughing. Falling into each other's arms. They're best friends. I wish I could go over there. I wish so bad—

GREG

It's not fair. What she's doing.

MATHEW

She'll be okay when I tell her. She'll understand that it's for her own good.

CHLOE

Across the store are a boyfriend and girlfriend holding hands. The girl holds up a shirt to the guy and he laughs. He pulls her in and kisses her on the forehead. They seem happy.

MATHEW

A radio. She's wanted one since she got here. That'll make her happy.

GREG

I need to get control. For once in my life I can't screw things up.

CHLOE

I hope Greg notices my new sweater.

GREG

I have to stand up for myself.

CHLOE

Secretly, I really hope he notices my new sweater.

GREG

For once in my life.

SCENE NINETEEN

Shift. GREG's condo.

GREG

You're late.

CHLOE

Busy morning. Had to study. I'm taking my exams next week.

Beat.

Do you like my sweater? It's new.

GREG

Let's get started. I don't have a lot of time today.

CHLOE

You want to set up a second meeting? I don't mind two this week.

GREG

No. I just want us to stay on track.

CHLOE

Question for a question. Sure.

GREG

No.

CHLOE

Yes.

GREG

No.

CHLOE

Yes.

GREG

(forceful) I said no.

Beat.

Chloe, if I'm telling your story, then I have to tell the whole story. We can't avoid this anymore. You know that. I need you to tell me about the person.

CHLOE

Tell me you like my sweater. It's new. Do you like it?

GREG

Sure. Yeah. I like it.

CHLOE

How much do you like it?

GREG

…A lot. It's very nice.

CHLOE

Thank you.

Beat.

Now what do you want to know about him?

GREG

Him. Okay. Good. Did he live alone?

CHLOE

Like you? Yeah. Ever since his mum died.

GREG

When was that?

CHLOE

I don't know… Like a year before he got me.

GREG

What happened when you first got there? What did he say to you?

CHLOE

He told me it was for seventy days. That it was to teach my horrible dad a lesson.

GREG

Did he threaten you? So you wouldn't escape?

CHLOE

There was no way to escape. And he would never threaten me.

GREG

Why?

CHLOE

Because he was like a puppy. He just wanted to be loved so bad. And he had to be trained. I taught him everything. When to feed me, how much, how often. He had no idea how to raise a kid. Like your dad.

GREG

What was your relationship like in the beginning? Did you spend a lot of time together?

CHLOE

Sometimes. Some weeks he was with me whenever he wasn't working.

GREG

And other weeks?

CHLOE

I don't know… he'd give me my food and… not really say anything.

GREG

Why?

CHLOE

Who knows? Maybe he didn't feel like having me anymore. But he couldn't throw me back. Maybe he felt trapped. Doesn't matter why. What they need to know is what I did. I learned how to make him talk.

GREG

How?

CHLOE

Be nice. Ask questions. Lots of questions.

GREG

Why was it important that he talk?

CHLOE

Helped me get in his head. Figure out how to control him. I'd never escape if I didn't know how to get what I wanted.

GREG

And it probably kept him happy, right?

CHLOE

I never said that.

GREG

Or at least helped with the loneliness. I imagine that if you went for weeks without—

CHLOE

I never said that.

GREG

Then how did you deal with the loneliness?

CHLOE

How do you deal with it?

GREG

I'm not lonely.

CHLOE

'Cause you're so busy? 'Cause you go to lots of parties? What's it like when you're at a party? What does it look like, smell like, taste like? Big buildings, bright lights, red carpets… Sometimes I wanted something, anything, to happen so bad it felt like my bones were gonna push right through my skin. So I'd pretend. That I was at a party downtown. Dancing. Having fun.

GREG

So—

CHLOE

What does it feel like when you're there? What does your body feel like? On fire. Right? Tell me.

GREG

Chloe—

CHLOE

I thought when I got out I was gonna be on fire. I bet there are celebrities at your parties. You're my favourite celebrity.

GREG

I'm not a celebrity.

CHLOE

Sure you are. Now, anyway. Now that you're on the front page.

Beat.

GREG

The days when he was down there with you, were his moods stable or unpredictable?

CHLOE

Why does it have to be all about him? Why can't it be about me?

GREG

It is about you. Did you get into arguments? Did he punish you? Withhold food, that kind of thing?

CHLOE

I'm done talking about him.

GREG

Well, I'm not.

CHLOE

You do know that there are reporters parked outside my house, right?

GREG

I don't care. Talk to me about how he treated you.

CHLOE

It's easy. He didn't control me. I controlled him. That's all people have to know.

GREG

Fine. How did you control him?

CHLOE

I found his weakness. Find someone's weakness and you control them.

GREG

And what was his weakness?

Beat.

CHLOE

He needed me.

Beat.

GREG

I don't think I'm going to put anything in this week.

CHLOE

What? You have to.

GREG

Something doesn't feel right. If we're finally revealing the person, him— how he talked to you, interacted with you—then we want lots of details. We want to make it good. And since you're done talking about him already—

CHLOE

I'll talk about him.

GREG

I also need the truth. If I don't give that to people then I'm not doing my job.

CHLOE

I'm telling the truth.

GREG

Your truth.

CHLOE

I'm telling my story. Like you told me to do.

Beat.

I'll give you details. I want it to go in this week. We had a deal. You can't just change it.

I like them in every week. I want them every week.

GREG

Well I'm sorry but—

CHLOE

You promised. I can't… I had… I had it planned out. I want it to go in this week. You can't change things like that!

GREG

Yes, I can. I control when it goes in.

CHLOE

no!

GREG

Chloe—

CHLOE

I WANT IT TO GO IN THIS WEEK! IT HAS TO! IT HAS TO! iIT HAS TO! IT HAS TO! I HATE YOU! Five… four… three…

GREG

Answer my questions and I'll put the article in.

CHLOE

Every time we meet I give you whatever you want. It's not fair! What do I get?

GREG

What do you mean, "What do you get?" What else do you want?

CHLOE

I… I… I want to go out. I can feel my bones pushing through my skin again. I want to go out.

GREG

Okay—

CHLOE

Will you take me out?

GREG

Will you give me details?

CHLOE

Will you take me—

GREG

Only if you give me details.

CHLOE

What do you want to know?

GREG

Was he violent?

CHLOE

Where are we gonna go out?

GREG

Was he violent?

CHLOE

Yes.

GREG

We'll go to a party. A big gala dinner. Beautiful people, good music.

CHLOE

Dancing?

GREG

So much dancing. How often was he violent?

The sound of the deadbolts.

CHLOE

Once.

GREG

Just once?

MATHEW enters CHLOE's room.

CHLOE

Once is all you get.

The door slams behind him.

GREG

Go back there. In your mind. Can you see your room? What does it feel like, smell like, taste like? Tell me everything.

CHLOE

Are you gonna have fun? At the party. You're not just gonna pretend? You're actually gonna have fun with me?

GREG

I'm going to have so much fun with you. Now what happened that one time?

SCENE TWENTY

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

CHLOE

You wanna hear the new story I wrote? It's a good one. Or I could tell you the joke I remembered. Are you gonna eat with me tonight?

MATHEW

You're nervous.

CHLOE

No, I'm not.

MATHEW

I bought you something. I'll give it to you tonight. Do you want to know what it is?

CHLOE

Sure.

MATHEW

A radio. An expensive one.

CHLOE

…Thanks.

MATHEW

I thought you'd be happy.

CHLOE

I am. It's just…

MATHEW

What?

CHLOE

Today's my last day. Remember? So, I'll listen to the radio tonight. All night. That's awesome. Sorry. Good. Great. But, then I go home tomorrow. I've been keeping track. It's tomorrow that you let me go. My dad will have totally learned his lesson. And I was thinking that I could, like, come visit sometimes. I'll bring Buster. So you can finally meet him. I'm gonna walk him like four hours every day. You could walk him with me. We could—

MATHEW

Why would you want to go?

CHLOE

I need to go to school.

MATHEW

You have books.

CHLOE

I need the sun. I'll get sick—

MATHEW

When you're good enough, I'll take you upstairs.

CHLOE

I need to see my friends.

MATHEW

Your friends forgot about you. They didn't even like you anyway. They were just scared of you. That's why they were nice to you.

CHLOE

No—

MATHEW

You got in fights. You told me that. You were a bully. They're glad you're gone.

CHLOE

No—

MATHEW

And your dad's not even looking for you anymore. He's finally happy. He doesn't have to worry about you. Doesn't have to pay for you. You're expensive and annoying. You always need things—

CHLOE

Then why would you want to keep me? If I'm so—

MATHEW

I have no choice. I'll get in trouble. I can't give you back now.

CHLOE

No. I'll never tell anyone. Never ever ever. I swear to God. Cross my heart and hope to die. I won't tell, Mathew, I won't—

MATHEW

And that. Mathew. You never call me Dad. That was one of my rules and you never do it. I told myself I'd keep you until you learn to love me like a dad. So it's your own fault.

CHLOE

I'll call you Dad. Dad Dad Dad Dad Dad Dad Dad Dad —

MATHEW

Stop it.

CHLOE

Please let me go, Dad. Please let me go. Please let me go, Dad. Please let me go, please, Dad—

MATHEW

Stop saying that. You don't mean it!

CHLOE

Please let me go. Please, please—

MATHEW

Stop it!

CHLOE

Mathew, you have to.

MATHEW

I can't—

CHLOE

You promised! Why'd you tell me that?

MATHEW

I don't know. I don't know. I just… I need you. I need you with me.

CHLOE

I've been so nice to you. You have to let me go. You have to let me go. You can't do this.

MATHEW

You're my everything—

CHLOE

You have to let me go—

He starts to leave.

No. No no no. You are not going up there without me. You have to let me go you have to let me go you have to let me go.

MATHEW

I can't!

He moves to exit.

CHLOE

I HATE YOU!

He turns around.

Look what I did. Do you need me now? Look at what a disgusting dirty pig I am.

MATHEW

What—

CHLOE

I peed my pants. I'm disgusting and dirty. Just like you hate. You don't want someone who is this disgusting and dirty and gross—

MATHEW

You stupid kid—

CHLOE

You don't want someone this gross. You'll have to get rid of me. I'm too gross for you to keep!

She physically starts begging him, clinging to him.

You have to get rid of me now!

MATHEW

Don't touch me!

CHLOE

I'm a disgusting dirty pig and you have to get rid of me!

MATHEW

Get off of me!

CHLOE

Look how disgusting I am! I'm so disgusting that you have to get rid of me! YOU HAVE TO GET RID OF ME! YOU HAVE TO GET RID OF ME NOW!YOU HAVE TO GET RID OF ME!

MATHEW

Stop it!

He shoves her and moves to exit.

CHLOE

No wonder your mum killed herself! That's how bad she wanted to get away from you.

MATHEW

Shut up—

CHLOE

Blue face. Rope around her neck. Right where you'd find her.

MATHEW

Shut up—

CHLOE

She wanted you to find her because you made her do it. You were so crazy that she couldn't live anymore.

MATHEW

Shut up—

CHLOE

You made her do it. You made her do it! You made her do it!

MATHEW

SHUT UP!

To audience.

GREG

He grabbed her tiny, twelve-year-old shoulders. He lifted her up.

And he threw her as hard as he could.

He picked her up again.

And he punched her with all of his frustration.

Over and over and over.

He picked her up again.

And shook her with all of his anger.

He looked into her eyes.

Her nose was bleeding.

She was crying and crying.

She wouldn't look at him.

She wouldn't look at him.

So he picked her up and threw her one last time.

As hard as he could.

And he started to cry.

He kept crying. And crying.

CHLOE and MATHEW's crying gets louder and louder and louder. Silence.

Perfect. Absolutely perfect.