by Brad Fraser
OLIVIA: Whatever.
NORMA: I mean it. Walk.
OLIVIA: Sure.
OLIVIA lights a cigarette.
NORMA: And no smoking in the house.
OLIVIA: Don’t blame me if I’m raped and murdered.
NORMA: I won’t.
OLIVIA: Bye.
OLIVIA exits. NORMA slumps in her chair looking like she might cry. There’s a sound of a car starting off. NORMA rises and moves to the door.
NORMA: Olivia?
Sound of the car engine being revved and squealing away quickly.
Fuck.
NORMA shakes her head and moves back to her seat to watch television for a moment. The doorbell sounds.
Yeah?
LORENE: (off) It’s me.
LORENE enters.
NORMA: Why are you here?
LORENE: Haven’t heard from you in a while.
NORMA: Busy.
LORENE: Where’s Olivia?
NORMA: What can I do for you Lorene?
LORENE: I thought you might like to come and see Tricia with me tomorrow.
NORMA: Why would I want to do that?
LORENE: Because two months ago she could barely walk and was the bitchiest person on the planet and now it’s like she has a whole new lease on life. Just like that. Because of one very good surgeon. I know we’ve all said things we can’t take back but we are still friends.
NORMA: Are we?
LORENE: Yes. But you’re dealing with an alcoholic.
NORMA: Please.
LORENE: Norma. You’re miserable.
NORMA: Get out.
LORENE: Okay fine. You just stay here in your dark little house that reeks of empty liquor bottles and old lady smells and—
NORMA’s communication device rings. NORMA answers it.
NORMA: Yes? What? Is she okay? I see. Which division? Thank you.
NORMA hangs up.
LORENE: Division?
NORMA: I have to go.
LORENE: Norma.
NORMA: Fuck off Lorene.
NORMA exits. Lights rise on TRICIA at home, seated in a chair.
TRICIA: It’s funny. You get used to pain. You learn to live with it. It’s horrible but it also gives you an excuse not to do anything you don’t want to. It keeps you constantly aware of what’s happening with your body. So when it’s suddenly gone—for a while—you actually miss it—like a real cunty friend who drives you crazy but is always there. One day it’s the most dominant thing in your life and an operation and a few days later and it’s completely gone. But the last thing I expected was a sense of loss.
Lights rise on NORMA pacing in a waiting room at the local police station. FERN and LORENE enter. NORMA looks at them balefully and goes on pacing. After a moment TRICIA enters.
NORMA: Not you too.
TRICIA: Of course.
FERN: Olivia’s our friend.
NORMA: Don’t.
TRICIA: None of us is going anywhere so get off your high horse or I’ll have Lorene kick you right in the ass only because I can’t yet.
Pause.
FERN: Do you think she’ll go to jail?
NORMA: It was a minor accident. No one’s going to jail.
LORENE: This is so—low class.
TRICIA: Norma you should’ve stopped her.
NORMA: I made a mistake okay. I made a mistake and gave her a drink because I thought she could handle it. One drink. One stupid fucking drink.
LORENE: Norma.
NORMA: I’ve begged her to stop. You have no idea what’s she’s been like—how bad it’s become since she left AA. Because she blames me. And she should. It’s my fault. It is. I was—scared she was going to stop loving me—okay stop shut up—don’t say it—it is love. It is. To me. It’s all I know. It’s all I ever wanted. I gave up everything for her. My family. My friends. I didn’t care. No one—nothing made me feel as good as when I was with her and I thought AA was going to take her away and I wanted to stop it but in the end it didn’t matter because she doesn’t love me. She probably never did.
TRICIA: She does.
NORMA: As a friend. Like a sister. Just like you. Just like everyone because I’m horrible—
FERN: You’re nice—
NORMA: I’m not nice. I pretend to be nice so I get what I want. I’m not understanding. I’m not sympathetic—
LORENE: Norma come on.
NORMA: If I’d really loved Olivia I would’ve put her well-being ahead of my own selfish needs but I didn’t want to because I didn’t want to be alone. And now she hates me. She’s hated me for months—maybe years and so have I. I’m a sad pathetic failure and it’s all my fault.
Long pause. LORENE moves to comfort NORMA.
LORENE: Norma it’s not as bad—
TRICIA: Don’t do it Lorene.
LORENE: What?
TRICIA pushes LORENE away from NORMA.
TRICIA: It’s really important we don’t negate her responsibility by getting all oh don’t worry Norma it’s not your fault everything’s gonna be alright when it’s not.
FERN: Tricia don’t be so cruel.
TRICIA: And what’ll you say when Olivia does it again and kills someone or hurts herself—it’s okay—don’t worry about it?
LORENE: She won’t do it again.
TRICIA: She’s been doing it for years and we’ve been letting her.
FERN: But she was arrested.
TRICIA: This was a mistake showing up here like this—like we’re going to save the day—in some weird way I think she actually gets off on the drama.
FERN: She’s our friend.
TRICIA: Booze is her friend.
LORENE: We need to support Norma.
TRICIA: Norma’s just as sick as she is. The best thing we can do is walk away and let them figure it out.
LORENE: Trish?
TRICIA: If we don’t she’ll make us hate ourselves. She’ll make us hate each other. Can’t you see that? It’s happening already. It has been for a while.
FERN: How can you be so mean?
TRICIA: I love them. They’re the best friends I’ve ever had. They get me like no one else ever has. But we can’t keep doing this. You both know that.
Long pause.
Good luck Norma.
TRICIA exits. Pause.
LORENE: Call me—if things change.
LORENE exits. Pause.
FERN: Sorry. I’m—sorry.
FERN exits quickly. NORMA stands alone. After a moment OLIVIA enters looking terrible. Pause. They stare at one another for a long moment.
OLIVIA: About fucking time.
NORMA: Don’t.
OLIVIA: I was in there for hours.
NORMA: You hit another car.
OLIVIA takes the ring off and tosses it on the ground between them.
OLIVIA: Take your stupid ring.
Pause. NORMA exits.
Norma?
OLIVIA moves to the ring and picks it up. A light rises on TRICIA alone.
TRICIA: It took me about three months to get off the Percocets which isn’t too bad considering how addictive they are. My spine healed nicely. I could walk. I started writing again. On the net. I have quite a following and make a bit of money. I’ve called Norma a few times.
A light on OLIVIA.
OLIVIA: Tissue it’s Olivia. I know it’s late and everything but I miss you. I really really do. I’m sorry for saying those things but I was drunk—okay I’m always drunk. I’m drunk now. But I miss you. Give me a call. Norma won’t talk to me anymore. I’m sorry.
A light on LORENE.
LORENE: Diana had a baby girl. One day I got an email from her and there was a picture of her and this handsome young man and this beautiful baby girl. No message or anything. Just a picture. I wasn’t sure what it meant—like if she was being nice or a bitch—but damn that kid was cute.
The light on OLIVIA dims.
OLIVIA: Lorene where the fuck have you been? We’re buds remember. Since the third grade. I’m thi
nking of going back into AA. I think I have to because they fired me from my job and Norma’s buying a condo. Can you believe that? She says I can have the house. Fucking phone me bitch!
FERN is singled out in a spot.
FERN: That whole thing about the bride’s father paying for the wedding is really a thing of the past. Actually the bride had a father and a former stepfather and a current stepfather but we still ended up paying the most. Miles looked so so so manly though in that beautiful tux. So grown up. Walt cried. I’d never seen him cry before.
The light on OLIVIA dims until she is lost in black.
OLIVIA: Fern it’s me. My lights are out. I don’t know why. I sold that ring a few months ago. I sent them money. There doesn’t there isn’t I can’t I have no power. How can I have no power? Everything just went out and it’s night. Are you there? Call me if you’re there please. I know it’s been a long time but there’s this—I’m cold and I have no power. Please call me.
NORMA is singled out in a spot in her new condo. She’s going through the ritual of making tea.
NORMA: The view’s great. The bedroom’s miniscule. I bought a couch that folds out into a guest bed but I never have any guests. I called Tissue a couple times to get together but she was always too busy although we plan to see each other soon and I think we will. Olivia showed up one night and kept screaming up at me from the street. She wanted money for smokes. That was embarrassing but someone eventually told her to shut up or they’d call the cops and she went away. She lost the house. I have trouble sleeping. I always have.
OLIVIA is heard from the darkness.
OLIVIA: Norma!
NORMA pauses almost as if she’s heard OLIVIA’s distant voice. Pause. A doorbell sounds.
NORMA: Yes?
She opens the door. LORENE, FERN and TRICIA are there. FERN carries flowers.
FERN: Surprise.
Pause.
NORMA: Wow.
FERN: Blame me. When I got your change of address card I called the others and insisted we make a gesture. These are for you.
FERN hands NORMA the flowers.
NORMA: They’re beautiful. Thank you.
LORENE: Won’t you ask us in?
NORMA: Of course. Sorry. I was just—surprised. Come in.
They enter.
LORENE: Thanx.
TRICIA: Not bad.
FERN: It’s a wonderful view.
TRICIA: Have you lost weight?
NORMA: A bit.
TRICIA: I could tell.
NORMA: What’s new?
LORENE: I’m a grandmother.
FERN: And I’m on my way.
TRICIA: I got a cat.
NORMA: A cat? You were always a dog person.
TRICIA: Cats aren’t so obviously codependent.
The kettle whistles. NORMA continues to make tea.
NORMA: You’ll all have tea?
LORENE: Sure.
FERN: (to NORMA) How are you doing?
NORMA: I’m working more. Reading more.
TRICIA: Sleeping more?
LORENE: Sleep is for the young.
NORMA: Thank you for coming by.
FERN: Did you think we wouldn’t?
NORMA: Who knows?
LORENE: We go back a long way.
TRICIA: A toast?
FERN: Please.
They all raise their tea cups.
LORENE: Who’s going to do it?
NORMA: Tricia.
TRICIA: Sure. To uncertain futures.
THE OTHERS: To uncertain futures.
TRICIA: And absent friends.
A light rises on OLIVIA alone.
THE OTHERS: And absent friends.
OLIVIA: Hello my name’s Olivia—and I’m an alcoholic.
Brisk fade to black.
ACKNOWLEDGEMENTS
This play was written with feedback and encouragement from many quarters and it would be remiss of me not to thank the following people: Peni Christopher, Lexa Shropshire, Sharon Vrouwe, Linda Kash, Teresa Tova, Lynne Griffin, Kristina Nichol, Jane Spidell, Shannon McDonough, Maggie Cassella, Lynn Slotkin, Marianne Copithorne, Janice MacDonald, Ali Magnum, Chick Reed, Maria Vacratsis, Colette Leisen, Maryse Warda and all of the other women in my life, and on Facebook, who shared their intimate information with me that contributed to the creation of these characters. Many thanks as well to Sarah Frankcom and the amazing actresses who workshopped the play in London. As always, BJ Radomski, David Gale, Trevor McCarthy and Cameron Conaway must be thanked for their constant feedback and support.
photo by Manon Cousin
Brad Fraser won his first playwriting competition at the age of seventeen and has since written numerous plays, including Cold Meat Party, Love and Human Remains, True Love Lies and Poor Super Man, among others. Brad is a five-time winner of the Alberta Culture Playwriting Competition, a winner of the London Evening Standard Award for Promising Playwright, London’s Time Out Award for Best New Play and the L.A. Critics Award. In addition to his work as a playwright and director, Brad writes for print media, radio, film and television.
Five @ Fifty © Copyright 2012 by Brad Fraser
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Library and Archives Canada Cataloguing in Publication
Fraser, Brad, 1959-
5 @ 50 [electronic resource] / Brad Fraser.
A play.
Electronic monograph.
Issued also in print format.
ISBN 978-1-77091-089-8
I. Title. II. Title: Five at fifty.
PS8561.R294F58 2012 C812'.54 C2012-904494-6
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