Lesson 6

[Rebecca Sukle]

Rebecca Has Incredible Monologues

VISION: My success from this program will lead me to be the go-to writer for producers looking for incredible scripts for successful movies enjoyed by a vast viewing audience.

What I learned from doing this assignment is that including these components in a monologue can increase depth of character and add emotion to the scene.

RAGMAN’S MONOLOGUE?

Ragman attends the funeral of his former neighbor Rosalie Gentile two months after the death of her husband.

RAGMAN

It’s hard to lose good people like Rosalie and Tony. Poor Anthony, losing both parents less than two months apart. It was kind of you to help build the coffins and loaning the burial lots.

STAN

Tony and Rosalie were good neighbors, especially after my wife died. My two youngest won’t need the lots for a long time if ever.

Silence. Ragman looks from Anthony to the two fresh graves, anger growing.

RAGMAN

Is this the best the union can do for its people? Hell, farm pigs live better. If God exists, how could he let this happen? The same with war, is this what Paul and I fought for? The army drafted my brother. I only signed up to look after his sorry ass, but watched him fly through the air when a shell exploded. I held his legless body in my arms and left him not knowing if he lived or died. He survived but wished for death, cursed God for his suffering and died from syphilis. I experienced the horrors of war, the mutiliated bodies, dead horses, and the stentch of death. I’m haunted by the men I killed, the unsuspecting victims of my sniper’s scope. This strike offers many of the same abominations. Yes, the priest said his blessings, and all the good Catholics on cue performed the holy bologna rituals; yet, the joke’s on them. Heaven doesn’t exist. Shit, the joke’s on the whole damn world. This is all there is.

BUCHOLZ MONOLOGUE

Republic Steel higher ups call Bucholz to their headquaters office for questiong.

A short, BALD MAN in a brown tweed suit with an ill-fitting jacket stretched across his midsection, motions for Bucholz to approach the table. Bucholz stretches up to his full height, steps forward directly in front of the men.

BALD MAN

Mr. BUCHOLZ!

He glances at the paper in his hand.

Bald man

It says here that you’ve been in the Russellton coalfields since September.

BUCHOLZ

That is correct.

BALD MAN

Now, when we hired you away from Baldwin-Felts, we paid you top dollar to work for us. We based that on your reputation with breaking towns in West Virginia. You assured us that the strike in Russellton wouldn’t last long, especially if the families had to move into tents with winter coming.

BUCHOLZ

I did.

BALD MAN

Why did the strikers get to move into finished barracks? How did stoves, blankets, and food show up at the Russellton camps? WHAT WENT WRONG?

BUCHOLZ

I followed procedures that worked before, both in West Virginia and the war. I took out the leader, the man in charge of construction. He was beaten and left for dead, his attacker not identified. The construction came to a standstill. Outsiders, brothers of the carpenter, backed by the union, intervened and took over the project. The barracks were crudely constructed, no provisions for heat, water, or latrines. The roofs leaked and large gaps between the board siding let cold air push through. The supplies came from Communists, the Pennsylvania and Ohio Relief. They came in groups escorted by elected officials and news reporters. My jurisdiction is limited to Republic Steel and Ford Collier property. A county road runs the length of the valley. You did not provide enough soldiers to patrol all areas.

Bucholz remains stiff as a statue. The men huddle close together to continue their deliberations, but purposely let him pick up bits of the conversation. Bucholz glares. The room quiets, all eyes on him.

MUSTACHE MAN

The drinking needs to stop. It impairs your performance. Yes, we have our informants. We want results. The company plans to resume operations soon, sent in agents to recruit among the strikers. We want the union to appear corrupt, make their members appear as outlaws. Burn down a few houses and blame it on the union strikers.

The other officials nod in agreement.

BALD MAN

Do the job we pay you for or we’ll find someone else who can.

BUCHOLZ

What do you know of the conditions in Russellton or what I accomplished? None of you have ever set foot in the village. We have burned houses, beaten men, provoked fights between union members, all without detection to us. The results of these actions allowed you to get more troops from Governor Fisher, troops paid for by the state of Pennsylvania, no cost to you. Could not afford to pay that many men? Yet, you accuse ME of not doing my job. Replace me if you want, that is your business. But, who will you find to do the violent work I’ve accomplished? The strike will end soon. I guarantee it, but only after you allow me to use any means, kill the trouble makers and organizers, so the rest fall in line. I will return to my duties as I await your permission. You know where to find me. Good Day.

Bucholz, steps forward, glares at each man, gives a mocking salute, executes a sharp military turn, and storms out of the room.

LUDIE’S MONOLOGUE:

Ludie takes action to stop her husbund from confronting Bucholz after learning about the death of his brother Ervin.

Anger rises in Ragman, comprehension replaces shock.

RAGMAN

Bucholz, he killed him, murdered my brother.

LUDIE

Anger won’t bring him back.

Ragman, full of hate and revenge, is beyond tears.

RAGMAN

I could strangle that sonofabitch with my bare hands. God damned yellow dogs, them too, an eye for an eye.

He grabs a knife displayed on the shelf beside his French medal. Ludie screams, grabs a cast iron frying pan.

Ludie

NO! PUT THAT DOWN, NOW.

She holds the skillet it in a threatening manner, races to the door, blocks it.

RAGMAN

Revenge Ludie, revenge. Get out of my way.

He glares. Her eyes blaze back, skillet ready to strike.

LUDIE

No, you back off or I’ll bash your head. Think of your family, me, and your sons. Is revenge worth killing Bucholz or him you? Think about the fall out. The boys and I need you here with us. How much deeper will your parent’s heartache be if they lose another son? Your mother is weak from the flu, Albert sick and helpless. Your father and uncle struggle to hold the farm together. Like it or not, we all depend on you. If you die or get sent to prison, who will protect us, care for us? You think Hubert would give up his job in Ohio? Kate leave her doctor husband and fancy life? Is revenge worth the seven other lives you destroy? Think about it.

Ragman bellows. Shoulders slumped, he returns the knife to the shelf, voice softens.

RAGMAN

You’re right, Ludie, make sense. Put down the skillet. I promise not to confront Bucholz.

She hugs him; he clings to her, his lifeline.

[Andrew Kelm]

Andrew Kelm Has Incredible Monologues!

Vision: I am going to do whatever it takes to be a great writer of TV and movies who is sought after by people I respect within the industry and has multiple successful TV series produced.

What I learned doing this assignment is… This assignment pushed me to deal with the deeper layers of my characters. And I think that’s made the script better! But it may also have tipped it into unproduceable territory 🙂 I don’t think I have ever consciously set out to write a monologue before. In fact I have always avoided them in favor of dialogue. But this strategic approach is great! I am really happy with what came out — at least for now…

FATEMONGERS; a psychic with a blind spot for abusive men uses subtle manipulations to murder a sexual predator who seduces her to get to her sons.

______________________

Roy’s monologue: Daphne has found polaroids of Gilbert in sexual situations with teenage boys

Roy grabs the pictures out of her hand.

ROY
It’s not like what you think.

DAPHNE
What do I think?

ROY
It’s not like they’re victims.

DAPHNE
They’re children.

ROY
They’re old enough to know what they’re doing.

DAPHNE
We’ll see what the police think.

ROY
What about me? If he goes down for this, so do I.

DAPHNE
No. You’re a victim too.

ROY
If I ever was, I’m not anymore. And I never was!

He rips up the pictures and throws them in the trash.

ROY
Gilbert is not the monster you think he is. He helped me. He really did. You think the sex is such a big deal but boys that age are horny. They want to get off however they can. Gilbert makes it OK. He makes these guys you think are victims feel OK about themselves. And he doesn’t just use them and throw them away like toilet paper. He stays in their lives and helps them. The way we’re supposed to grow up is such a load of crap! All these labels. It hasn’t always been like that, you know. In earlier times what Gilbert does would seem normal and healthy — helping boys become men.

DAPHNE
Did he tell you that?

ROY
He gave me books. He was patient with me; showed me certain parts… This is a lie that we’re living, just a way we’ve all agreed to pretend is normal. He puts it on Sundays — and he cares about his congregation! He really does. He cares enough to play the part for them — but that’s not who he really is.

________________________

Gilbert’s monologue — when Daphne confronts him:

DAPHNE
I think you wouldn’t have minded if it got rid of me.

GILBERT
Daphne, please! Roy is family to me. His family is my family.

DAPHNE
And it’s in your best interest to keep it that way.

GILBERT
Why is that?

DAPHNE
Because he’s the only thing preventing me from going after you.

GILBERT
Why are you living here if you disapprove of me so much? A woman with your principles. It must be very painful for you to have to accept my charity.

She gets up to leave.

GILBERT
(sings)
“By the rivers of Babylon where we sat down,” Do you know that one?

DAPHNE
(sings)
“and we wept when we remembered Zion.”

GILBERT
It’s Psalm 137: “There on the poplars we hung our harps, for there our captors asked us for songs, our tormentors demanded songs of joy; they said, “Sing us one of the songs of Zion!” Zion?

DAPHNE
Jerusalem.

GILBERT
Yes, the Hebrews’ captured city, the birthright that was taken from them. To negro slaves in America, it was Africa. But I think everyone has a Zion somewhere buried in our memories — a home that was destroyed by enemies. What about you, Daphne? Do you remember Zion?

Daphne stares as if hypnotized.

GILBERT
When I remember Zion, I think of gay hairdressers and entertainers and, yes, some members of the cloth, and I think of how we sing for our suppers, bound by chains of prejudice. And I think of all the boys growing up who are taught to feel shame over what is natural and healthy. Do you remember how the song ends?

Daphne shakes her head.

GILBERT
(sings)
“Let the words of our mouth and the meditations of our heart be acceptable in thy sight here tonight.” They did a clever thing there: added lines from Psalm 19 and made the whole thing uplifting — transformative — but the end of Psalm 137 is: “Remember, Lord, what the Edomites did on the day Jerusalem fell. “Tear it down,” they cried, “tear it down to its foundations!” Daughter Babylon, doomed to destruction, happy is the one who repays you according to what you have done to us. Happy is the one who seizes your infants and dashes them against the rocks.”

DAPHNE
Send back the pan when you’re finished.

She leaves.

Gilbert takes another bite of cake.

______________________

Daphne – she has discovered that Roy has been picking up guys and he won’t own up to it.

DAPHNE
Well, you know the rules — just be honest about it.

ROY
I’m saving all my love for you.

DAPHNE
(sings softly)
“By the rivers of Babylon where we sat down and we wept when we remembered Zion.”

He kisses her on the forehead.

DAPHNE
I’m not in the mood.

ROY
You never are anymore.

DAPHNE
I’m not very sexual, really.

ROY
What do you mean?

DAPHNE
I’m frigid. Didn’t you realize? I don’t have orgasms. I thought you’d figured that out.

ROY
No.

DAPHNE
You know the money Mom gave us for the downpayment?

ROY
Ya.

DAPHNE
It was from a settlement. That’s how she got her hair salon. A boyfriend she had when I was five. She found him with me playing with my dolls, little cups and saucers of imaginary tea. A lovely little playtime thing, except he had my panties off, and he had his dick out. Hard.

(chuckling)
He was pretending to pour tea with it when my mom walked in.

Roy takes her hand.

DAPHNE
She was going to have him charged, but his family was rich, and … she took what they offered. And good for her. That’s how we can afford a house. But I think that’s also why I’m not very interested in sex now really.

ROY
Honey —

DAPHNE
I can enjoy it. I’m not saying I don’t enjoy it. But I can take it or leave it. If you had another outlet, I would understand. So you haven’t done anything?

ROY
Except when I picked up the couch and you know about that.

She turns over a card — The Devil.

DAPHNE
Just keep it away from the boys.

ROY
I told you I would never —

DAPHNE
You’d better not. Because if you do, I’ll kill you.

Goes back to shuffling the cards.

• This reply was modified 2 years, 4 months ago by  Andrew Kelm.
• This reply was modified 2 years, 4 months ago by  Andrew Kelm.

[Jeff Chase]

Jeffrey Alan Chase Has Incredible Monologues!

My vision: I am an “A” list writer who is known for high concept ideas, great execution, a string of successful movies and is always ready to share his knowledge and do what he can to help another writer on the way up.

What I learned from doing this assignment is: A monologue can really help to make characters stand out from the crowd. I expanded Sarah’s monologue when she begins climbing the wall to the cave. It is her decisive moment to seek the truth. Johnny’s monologue is pretty much the same as I had it and is the “no turning back” moment for him in the movie. I expanded March’s monologue when he insanely confesses his reason for helping Sarah remember her past. This gives all 3 characters more screen time to show their chops. 😊

Title: Shards

Genre: Psychological Suspense Thriller

High Concept Logline: A young, pottery restoration expert with no memory of her childhood pieces together a dark past to discover her hypnotherapist’s ties to her father’s murder and a Conquistador treasure.

SARAH’S “MONOLOGUE”

EXT. STEEP ANGLED SANDSTONE WALL – MOMENTS LATER

Sarah and Johnny stare up in awe at the teardrops — ancient hand and foot holds carved into the sandstone wall.

JOHNNY

Wow. Never knew this was here.

YOUNG SARAH (V.O.)

Don’t go up there, Daddy, please.

Sarah swallows hard, fights her fear — and begins to climb.

JOHNNY

What do you know about March?

SARAH

Enough to know he’s helping me.

JOHNNY

He told me he lost his hand hunting deer outside of Winslow.

Sarah stops, peers down at Johnny —

JOHNNY (CONT’D)

It’s the worst area to hunt in the entire state. I know. Been there.

He climbs to just below her —

JOHNNY (CONT’D)

I think what you’re remembering is more

for his benefit than yours.

She won’t meet his gaze.

SARAH

That’s crazy.

Sarah climbs higher —

SARAH (CONT’D)

Why would he lie? He’s gone out of his

way to be honest with me.

She climbs recklessly, driven by anger and frustration —

SARAH (CONT’D)

Came clean about writing his book.

JOHNNY

Slow down, girl…

SARAH

And everything I’ve remembered…

As she grabs a hand hold, one boot slips — then the other — Sarah dangles by one hand, terrified.

YOUNG SARAH (V.O.)

Oh, my God…

JOHNNY

Hang on…easy, easy…

Sarah struggles to find a toehold in the sandstone — she clutches the wall, glues herself to it, her body trembling.

SARAH

…has lead me here. To this place.

She looks up with determination.

SARAH (CONT’D)

And nothing is going to stop me from learning the truth.

____________________________________________

JOHNNY’S “MONOLOGUE”

INT. POLICE DEPARTMENT SQUAD ROOM – DAY

The door BANGS open. Johnny stalks past Peshlakai’s desk to Frank’s office. Johnny enters, SLAMS the door behind him.

PATROLMAN PESHLAKAI

Uh oh.

INT. CAPTAIN’S OFFICE – CONTINUOUS

Frank looks up from his desk in surprise.

FRANK

What the hell are you —

JOHNNY

– Who dropped Sarah Cole off at the

hospital in grandfather’s truck?

Frank won’t look at Johnny.

FRANK

Your grandfather did nothing wrong.

Frank rises, opens a drawer in a file cabinet.

FRANK (CONT’D)

I told you to leave the cold cases alone.

It’s done and buried. All parties to the

case are dead or —

JOHNNY

– Can’t remember what happened?

Frank drops a folder into the file drawer, SLAMS it closed.

JOHNNY (CONT’D)

Chayton told me there were rumors about a cover up.

Frank returns to his desk, opens a new file folder.

FRANK

I have nothing more to say. Leave that case alone or —

JOHNNY

– Or what, Dad? A private citizen can’t look for clues to something that smells totally rotten?

Johnny stalks to the door, grasps the knob, he stops —

JOHNNY (CONT’D)

It’s like when I was a kid. You’d say NO about something and it’d make me want to do it all that much more. Like my dirt bike. Remember?

He faces his father —

JOHNNY (CONT’D)

So I can’t be sure. Are you telling me “no” about the Sarah Cole case because you want me to butt out? Or because you want me to learn what really happened twenty years ago?

__________________________________________________

MARCH’S “MONOLOGUE”

Johnny places the sword farther underneath the rock andlifts. March kicks a larger stone underneath.

MARCH

More.

Johnny lifts again — March rolls a large rock underneath.

MARCH (CONT’D)

Drop the sword. Flip it over. Both of

you…NOW.

Sarah and Johnny strain to raise the big slab.

March watches with maniacal zeal as the rock teeters and

falls over with a BOOM. Sarah looks horrified, turns away.

JOHNNY

Is that…?

March gazes at the human hand bones with reverence.

MARCH

Yes. They’re mine.

March gently pick up the bones with his good hand. Johnny tries to make a move on March — but March is ready.

MARCH (CONT’D)

Why do you insist on being bad?

JOHNNY

You’ll never get away with this.

MARCH

But I will, Benally. You fell from the ledge. Sarah went to your aid, but alas, she fell, also. And poor me? I’ll be living in Mexico.

JOHNNY

Ballistics will find powder residue in here. That bullet, too, March.

MARCH

…Guess I’ll have to tidy up a bit before I leave. Maybe rearrange the furniture…A small fire perhaps.

Johnny circles toward March.

JOHNNY

Gonna rub two sticks together? Your plan’s got a few worms in it.

March glares at Sarah, anxiously keeps both covered —

MARCH

The treasure is mine! I’ve suffered for years because of your father.

SARAH

He outfoxed you somehow. Your ego couldn’t take it, could it, March?

March’s face contorts in anguish, he whines —

MARCH

He tricked meeee…

INSERT COLOR FLASHBACK – MARCH REMEMBERS LOSING HIS HAND

INT. THE TREASURE CAVE – NIGHT

Tom lies in agony, impaled by the lance.

Bear GRUNTS with satisfaction, stalks to the cave opening.

TOM

Please…don’t hurt…her.

Bear grunts a raspy LAUGH at Tom, crawls out of the cave.

Tom looks around the cave in desperation. He spies a LARGE SLAB of rock on the wall just inside the cave entrance.

MARCH (V.O.)

I thought I’d find Tom dead after I threw your sorry ass off the cliff.

Tom SCREAMS as he draws the bloody lance out of his body.

MARCH (V.O.) (CONT’D)

But he used a lance somehow…

Tom GASPS, turns the lance end for end, uses his last bit of strength to jab the iron point into a crack near the slab.

MARCH (V.O.) (CONT’D)

And, when I returned…

EXT./INT. THE TREASURE CAVE – NIGHT

Bear runs back to the cave, out of breath. He crawls in.

Inside the cave, Tom GROANS and thrusts the lance sideways.

The rock slab loosens — and falls — WHAM.

Outside the cave, Bear SHRIEKS in distress. His body twists, legs flail. He can’t go forward. He can’t back out.

Inside the cave, Bear peers over the rock, GRUNTS at Tom.

BEAR

Unghsh! Helm UGG!

TOM

Sorry. Kinda busy right now.

Tom lays his head back onto the cave wall, stares at Bear.

MARCH (V.O.)

Don’t know how long we lay there. His eyes…just staring at me. I realized there was only one option.

BACK TO SCENE

Sarah’s eyes blaze with anger — and cynical satisfaction.

SARAH

You had to cut your own hand off.

MARCH

Made a tourniquet. Somehow got down the cliff. Wandered delirious for days. Someone dropped me at the hospital in Winslow.

JOHNNY

Old man in a pink pickup?

March shrugs, no idea.

JOHNNY (CONT’D)

Told’em you got hurt deer hunting.

MARCH

What was I supposed to say? That I’d just killed a man? That I was defiling ancient Indian graves?

SARAH

You couldn’t remember where the cave was. You needed my memories.

MARCH

I had become a different man. Had a good life. I didn’t want to do it. But I saw that PBS show, learned you were alive…and felt something inside me I thought was long dead.

March’s psychosis crests. He remembers his mission.

MARCH (CONT’D)

This is my reward.

March gazes at the bones in his hand, then at the strong box.

MARCH (CONT’D)

It’s full of gold. Open it.

[Robert Smith]

WIM MODULE 8 LESSON 6 2523

ROBERT SMITH HAS INCREDIBLE MONOLOGUES

ONE SENTENCE VISION FOR SUCCESS FROM THIS PROGRAM.

I am a great writer who delivers entertaining, informative, and uplifting scripts that sell and get produced.

WHAT I LEARNED DOING THIS ASSIGNMENT IS …?

Development of monologues but also not artificially creating one where there is no demand for it.

REVIEW OF PROJECT

CONCEPT: The soul of a slain Cosa Nostra mobster (Lou Tasca) cannot get into the World to

Come because of his life of crime. His only hope to redeem himself is to do an act of nearly impossible supreme good, namely, persuade the wiseguy who killed him (Carlo Vizzini) to quit the mob, trash his oath of silence about mob activity, surrender to the FBI. and enter the Witness Protection Program.

TITLE: “ANGELS IN GANGLAND”

GENRE: GANGSTER-COMEDY

MONOLOGUES:

#1. LOU TASCA OPENING MONOLOGUE

INT. A PLACE OF DARKNESS BETWEEN TWO WORLDS – NIGHT

Lou Tasca LOU TASCA emerges from the dark and comes into focus. He is 50’s, wears a sports jacket.

LOU

My name is Lou Tasca. I was a gangster. Now I’m dead. This is my story.

Carlo Vizzini emerges from the darkness. His face is tortured with doubt, guilt, and remorse for having killed Lou. .

LOU (V.O.) (CONT’D)

That’s the wiseguy who whacked me. With two bullets to my head, Carlo Vizzini gave me what we call a “serious headache.” He was a friend. We both belonged to the same crew. But. In this thing of ours, when a crew Captain – like our own Tony Rizzo gives the order – as he did – your friend becomes the whack-er and you become the whack-ee.

Carlo takes out Rosary Beads and starts to say the Rosary, kisses the cross and puts away the Beads when he hears…

SFX: Police sirens.

Carlo flees back into the darkness.

BACK TO:

LOU (CONT’D)

I can’t tell you my wiseguy-story without telling you the story of Rabbi Solomon Levitsky. If it wasn’t for him, I wouldn’t have a story, I knew Rabbi Sol and his son, growing up in the old Bronx neighborhood in the shadow of the Cathedral of Baseball. That’s Yankee Stadum, by the way, for those of you who are out-of-towners. Rabbi Sol cared about gangsters. For him, it started when he got his rabbinical degree. He didn’t want to be a pulpit+Rabbi. But his Uncle Max got him an accounting job in the Garment District. His Uncle Max was with the Jewish Bugs-Meyer Mob. That’s right, a religious Jewish family still had a gangster. Anyway, Rabbi Solomon Levitsky was my Rabbi and I wasn’t even Jewish.

#2. MONOLOGUE OF RABBI SOLOMON LEVITSKY (70) (Spirit Guide of protagonist Lou Tasca). Father of Giordano Family Associate, Sam Levitsky.

Monologue is a prayer when he fails to convince Sam (his son) not to become a gangster.

SOLOMON (V.O.).

Lord of the Universe: I have failed as a Father and as a Rabbi. .I thought you gave me a special mission to restore the souls of gangster-transgressors. But. Now. I cannot even rescue my son from a gangster life. Forgive me, Lord of the Universe. Stand with me and I will stand with you and bring home the lost. Amen.

TURNING POINT: Solomon becomes the spirit guide of Lou Tasca in the afterlife in order guide him to atone for his life of crime by returning to gangland to convince his killer (Carlo) to do as he should have done and quit the mob and join the FBI Witness Protection Program. f

__

#3. MONOLOGUE OF TONY RIZZO (ANTAGONIST)

1. High stakes: Giordano Crime Family Crew Captain Tony Rizzo, who had ordered Carlo Vizzini to whack Lou Tasca has heard Carlo claim to see Lou Tasca and repeats things that only Lou Tasca could have known and could have told him.

2. Set up: This has been set up by Carlo’s claiming to be actively seeing the ghost of Lou Tasca and repeating a terrible secret (that he (Tony) was the killer of a major boss, Salvatore “Sally Cat” Catanzaro – a fact which, if discovered, could lead to Tony being killed as revenge by the Catanzaro family, or his arrest, if word reaches the police or FBI.

3. Trigger: The upsetting acting out of Carlo at his birthday party when Lou appears (only to Carlo) and tells him the secrets.

4. Insight into Tony’s character: He’s a killer. Insight into situation: Mob life is fraught with murder as a means of survival,

5. It is a turning point as Tony feels the impetus to kill Carlo

TONY (V.O.)

(to himself.)

Carlo says he saw the ghost of Lou Tasca who was talking to him. It defies all logic But. How else could Carlo know about the two-hundred G’s unless Lou told him? Same with the secret that I whacked a major boss, Salvatore “Sally Cat” Catanzaro. Lou was in on the secret, only Lou could have told Carlo. If word gets around, I could be revenge-killed by the Catanzaro Family or if the police hear, I could get a life sentence. Do I have to kill Carlo in order to silence Lou Tasca for good?

[Eclipse Neilson]

Eclipse Neilson loves Monologues

I want to be a great award-winning writer, known for my genre, who creates the most beautiful films that inspire others to feel deeply, pause, and ponder ways to make the world a better place as I make happy money to continue my career.

THE NUN AND THE WITCH genre: Mystical Sci-fi

Concept: A dedicated nun destined to become a saint in this lifetime, bonds with her beloved soulmate – the village witch to help battle the evils of hatred consuming the heart of humanity, only to discover that time is running out and hell has permeated their village.

I have a few monologues a very powerful one when Lunea speaks about the suffering of witches. It is where she finally breaks in her anger at the world for discriminating against her.

I have a slow evolution of Sisters Anne stepping into her power as a spiritual leader when she speaks to the congregation after she sees the hatred growing in the village.

I have a small monologue when the ghost of Father Sinclair realizes he in his lifetime was part of the problem.

[CJ Knapp]

CJ Has Incredible Monologues!

Vision: I am a confident and empowered writer who embraces challenges and changes and writes produced highly sought-after projects with fresh and exciting ideas.

WIL: Monologues are emotional opportunities to reach the audience and give your character – and the actor an opportunity to shine!

Title: MEMORY HUNTERS

Concept:

In a future with technology to retrieve memories, a Memory Hunter, caught in the mind of a psychopath struggles to find a way out before he destroys her mind and kills her.

ASSIGNMENT

2. Using the steps above, write a monologue for each of your lead characters.

As my story is a thriller -long monologue didn’t work for all characters but in the right place makes a big difference!

3. Tell us the setup for the scene, then present the scene, including the monologue.

4. Present these elements for each monologue.

Demanded by the situationTakes us to a deeper placeTurning point EmotionalHigh stakesA beginning, middle, and ending.

5. Share the monologue with us.

Catherine is the antagonist and is using her company to make deals with criminals to help them hide assets and fund her senatorial campaign:

Energetic applause erupts as Catherine takes the podium. Catherine smiles and shakes Harry’s hand.

CATHERINE HARPIE

Thank you, Harry. I find I’m blushing at your kind words and the accolades you give me.

She turns to the audience and smiles.

CATHERINE HARPIE

Thank all of you for coming out today. I appreciate all the fanfare and am excited about our future.

Harry laughs and nods his head.

CATHERINE HARPIE

Today I wanted to announce the new contract the federal government has granted us. We have an exclusive contract to provide memory retrieval for the FBI. This means more jobs for Michigan! I want to thank my team at Memory Retrieval for all their hard work and determination to make this possible. Without them, this wouldn’t be possible.

The crowd claps.

CATHERINE HARPIE

Again, thank you all today for coming out and for letting me know that you’re here to cheer me on the journey. Michigan has always been near and dear to my heart and I want nothing but the best for her. I pledge that if I am elected, I will put the same dedication into making Michigan a state to be reckoned with as I have with my company, Memory Retrieval Inc.

The crowd is ecstatic.

CATHERINE HARPIE

Are there any questions?

A drone moves forward and projects a 3-D image of a reporter in avatar form.

REPORTER 1

Ms. Harpie how do you think running Memory Retrieval would help prepare you for being our state Senator?

CATHERINE HARPIE

Good question. Running a company requires that I invest in my people. Provide them the materials and incentives to be the best they can be. I would fight for and invest in the people of our great state in the same manner.

The crowd cheers.

Catherine nods at another drone/reporter.

REPORTER 2

Isn’t it a conflict of interest when you can access your opponent’s deepest thoughts?

Catherine chuckles.

CATHERINE HARPIE

I hardly think there is a reason that I’ll need access to an opponent’s memories. I will run on my commitment to Michigan and the people of this great state. The company would be run by my management team so that I can focus on the best interests of Michigan.

Catherine smiles at the crowd. She spots something in the crowd and frowns.

A man pulls and whips his dog with the leash. The dog cringes and whimpers.

CATHERINE HARPIE

Excuse me for a moment.

Catherine climbs down from the podium and marches over to the oblivious man.

The crowd parts as Catherine marches over to him.

The man raises his hand to hit the dog again. Catherine reaches out and snatches his arm in mid-swing.

CATHERINE HARPIE

Excuse me, sir. That is quite enough. No more.

DOG MAN

Mind your own business lady.

Catherine reaches over and takes the leash from his hand.

CATHERINE HARPIE

This is my concern. You have no business with an animal if this is how you treat them. Get off my property.

DOG MAN

I want my dog lady.

Catherine stares him down and he slinks away.

The crowd goes crazy and cheers for Catherine.

[Farrin Rosenthal]

Farrin Rosenthal has Incredible Monologues!

Farrin’s Vision: To do what it takes to become a highly paid A-List Hollywood writer whose produced movies will entertain audiences around the world.

What I learned doing this assignment is how great dialogue monologues share certain key components. They should be: Demanded by the situation. Take us to a deeper place. Contain a turning point. Have emotional high stakes. And structured with a beginning, middle, and ending.

In my thriller script, TRAPPED, Tom finds himself inside a coffin-like-box at the bottom of a pool, accused of stealing $3.6 billion in Bitcoin from a Russian mobster.

The antagonist, Dmitriy, is trying to get Tom to confess, but Tom refuses, claiming he is innocent.

In this monologue from the 3rd act, Dmitriy tells Tom how he knows Tom is guilty and what it takes to pull off what he did. Of course, Tom refutes this, which leads to Dmitriy trying another tactic.

DMITRIY
Yes, Tom, I have point. You see, most criminals in world are morons, who get caught, go to prison. The successful few at very top, who never get caught, are always one step ahead of law. These masterminds know how to deceive everyone around them. Like you, they have mastered the skill of deception. Only manipulator and liar of highest order can make people believe one thing when truth is entirely something else and get away with it. It takes one to know one, which is why I know you fool everyone. Everyone but me.

TOM
And sometimes the truth is much more simple and straightforward.

DMITRIY
The truth is, your box, it fills with water. You are running out of time and air. Confess!

TOM
I didn’t do it!

DMITRIY
Okay, Tom, I tried. Now, let us try something else.

[Tom Wilson]

Tom Has Incredible Monologues!

My Vision: I quickly give producers workable alternatives to fix a problem.

Doing this assignment, I learn to think faster on my feet.

Scene Setup: General Ratkin demands Afghan scientist Sara become his fiancé so American voters will forgive him for abruptly pulling US troops from Afghanistan so he could be run for and be elected President.

RATKIN
Never will you get a golden opportunity like this—a free ride to get your PhD. You find a cure for the disease that kills your people. Research in a clean lab. No more dirty shacks. Work with the best trained people.

SARA

Your free ride out of what you call our shithole country means you no longer bugger our kids. When I agree to be your fiancé, Afghans will hate me more than they hate you for leaving them to be killed by the Taliban. But US voters elect you President! What’s more important after all?

• This reply was modified 2 years, 4 months ago by  Tom Wilson.
• This reply was modified 2 years, 3 months ago by  Tom Wilson.
• This reply was modified 2 years, 3 months ago by  Tom Wilson.

[Jane Turville]

Jane Has Incredible Monologues!

MY VISION: I will make my living as a screenwriter by selling my own narrative scripts and successfully fulfilling writing assignments.

By doing this assignment I discovered that the dialogue in this story is mostly June and Percival sparing. No one delivers a long piece of dialogue and no one situation requires a long piece speech except at the then when June tells everyone the killer’s motivations and then she’s interrupted a lot. So, I took a whack at two scenes that aren’t exactly monologues but where each character reveals some things about themselves through their words.

June Marvel’s Monologue – Phone call to Clara.

June has just discovered that Percival Heriot, world famous detective that she cannot tolerate is coming to live in the same senior rehabilitation home that she just moved into. She wants out but has little to no independence.

June waits impatiently for the BEEP.

JUNE

Clara, this is Auntie June. You must get me out of this place right now. I arrived this morning and find that it is totally unsuitable.

She pauses and fidgets.

JUNE (CONT’D)

I’m extremely sorry that you overheard my comments on little Avery. Precocious children are often misunderstood. My own actions as a child were often misinterpreted.

She looks at her reflection in the mirror.

JUNE (CONT’D)

Please, Clara. Please come get me.

Percival Heriot’s Monologue – sitting with June

It appears that June has died, apparently been poisoned as she ate her breakfast. Earlier, she wanted to tell Percival who she thought was behind the murders and how together, they might trap them. He wouldn’t listen and dismissed her. She told him that she would go it alone. Now, she’s dead.

MARY (CONT’D)

She were a daft old duck, but I liked ‘er.

Mary plunks the knitting bag on the floor beside Percival and leaves. He continues to wipe Junes face.

PERCIVAL

You are not a daft old water fowl. No. You are brilliant and brave.

His foot moves and nudges the knitting bag. The adventure book topples out onto the floor. Percival picks it up and opens it, admires the bookmark, then gently tucks the book in June’s folded hands.

PERCIVAL (CONT’D)

I am glad we did not have the competition. Mon ami, you see what others don’t. You see the heart as well as the mind. We both know who would have won.

[Joseph McGloin]

Joe McGloin has incredible Monologues

Vision: I am a talented, highly regarded, efficient, relaxed, happy screenwriter

What I learned doing this assignment is how understanding the elements makes it relatively easy to create a monologue at just the right time and place in the screenplay.

Using the steps above, write a monologue for each of your lead characters.

Clarence:

3. Tell us the setup for the scene, then present the scene, including the monologue.

Max is not taking his role seriously to the detriment of his charge. His superior pointe out how his lack of caring will be detrimental to the life of his charge

4. Present these elements for each monologue.

Demanded by the situation: Max is
about to take on his assignment about which he doesn’t care
Takes us to a deeper place: Max
realizes his charge is about to experience a life-altering situation that
he can help with – if he chooses
Turning point: Max has descended to
earth and is about to start his task
Emotional: Max has a dawning
realization of the magnitude of his assignment
High stakes: if he doesn’t do his job,
his human charge will be unnecessarily smashed professionally and suffer
unnecessary consequences.
A beginning, middle, and ending:
Clarence has had it with Max’s lackluster approach to his first, important
assignment. He explains the ripple effect of Max’s lack of care. Max has a
dawning realization of the potential magnitude of his task.

5. Share the monologue with us.

CLARENCE

You have been foisted on me with no training to take on a complicated soul’s journey with barely an ounce of care as to her fate.

Grabs two slices of bread from the refrigerator and pops them into the toaster.

CLARENCE

In my place, Max, what would you do?

Makes a bowl of cereal as

CLARENCE

Drop everything to spoon-feed an uncaring angel to help him sort out his feelings while he decides if he will deign to lift a finger to help his assignment from on high?

Sets cutlery onto the table.

CLARENCE

Or would you get back to your vital tasks now backed up so as to be nearly impossible to complete?

Slathers the toasts with butter and slides them onto a plate.

Pulls a chair out for Max.

CLARENCE

Sit down to breakfast. I must return to my work

Splashes orange juice into a glass and slams it onto the table. Gradually fades as

CLARENCE

­because I know that every task has a ripple effect that stretches in every direction throughout eternity.

Gone. The words crack Max’s facade.

Max:

3. Tell us the setup for the scene, then present the scene, including the monologue.

Max has realized that he must let go of his romantic feelings and not enter a relationship with Jane.

4. Present these elements for each monologue.

Demanded by the situation: The two are
inching toward starting a romance
Takes us to a deeper place: Max’s
words are more about his role as her Guardian Angel than about them.
Turning point: Max has learned the importance
of his role
Emotional: it has a feeling of a break
up even though they haven’t been on a date
High stakes: Both Max’s future and
Jane’s depends on it
A beginning, middle, and ending: It
starts with Jane expressing some of her feelings. Then Max says why they
should avoid the relationship. Then Jane is furious, slaps him and leaves

1. Share the monologue with us.

2.

3.

4. MAX

5. I have a job to do, Jane. That job is helping you. That’s number one. If I complicate it, if I take my eyes off the prize, what happens? Things start going wrong. And all the time that it’s taken to get to here, everything that’s been set up over the years, it’s all in jeopardy. One domino falls, and they all follow. I know it doesn’t seem like all that would happen, and maybe it wouldn’t. But I’m not willing to take that chance. I know what’s at stake. I’ve learned how fragile things are in this world. How one decision can cause what looks like a brick building to fall like a house of cards. I can’t. I have to say no to romance.

Jane:

3. Tell us the setup for the scene, then present the scene, including the monologue.

Jane has been tapped for VP after her boss’s running mate has a stroke.

4. Present these elements for each monologue.

Demanded by the situation: Jane has to
decide if she is willing to step into the limelight
Takes us to a deeper place: Jane is
recognized at an international level
Turning point: Jane is tapping into
her life mission with the help of her Guardian Angel
Emotional: Jane is excited and frightened,
and realizes she needs to open to a relationship
High stakes: the Presidential election
now is partially dependent on her decision
A beginning, middle, and ending. Toby
has a stroke. The presidential
candidate taps Jane. Jane has to decide quickly.

5. Share the monologue with us.

MAX

How does “VP” feel?

Jane stands. Pours herself a shaky glass of water. Stares out the window as she drinks.

JANE

Scary. And…right, somehow. I’m just one person. I don’t run with the big dogs. I don’t even know them, who they are, or who they’re married to, or what they would fight to the death for. I don’t have the armor it takes to stand up to them, to not react to their awful attacks. But I do know Jerry Nelson. And I stand with her.

[Jenifer Stockdale]

Jen’s has Incredible Monologues

I write every day, producing not only high volume, but high quality scripts and screenplays that are ultimately made into movies and television shows. I am invited to be a mentor at seminars, summits and safaris.

What I learned from doing this assignment is that by taking out a line of Dacey’s dialogue I could make what Ward says much more powerful. He may not be an Amanda Priestly, but I don’t think it’s half bad…

I also learned that I still have trouble posting on these forums! I accidentally hit reply instead of going down to post and it disappears!

2. Using the steps above, write a monologue for each of your lead characters.

3. Tell us the setup for the scene, then present the scene, including the monologue.

4. Present these elements for each monologue.

Demanded by the situation
Takes us to a deeper place
Turning point
Emotional
High stakes
A beginning, middle, and
ending.

Dacey has just come home from what she thought was a date with Ward (he didn’t show up) to find that her children and all their furniture, etc. is gone.

INT. DACEY’S HOUSE – KITCHEN – CONTINUOUS – NIGHT

Dacey flies into the kitchen and grabs the phone – breathless.

DACEY

Hello?

No answer.

She was too late.

DACEY

Hello. Is anyone there? Ward?

WARD (V.O.)

Dacey, Dacey, Dacey. You didn’t honestly think I was going to leave my children with you, did you?

DACEY

Your children? I am Meg and Jimmy’s mother. You bring them back to me now before I call the police.

WARD (O.S.)

That would be a mistake don’t you think? I mean that man, and what you did. You wouldn’t want that coming out –

DACEY

I didn’t do anything! It was you. I remembered and was protecting you!

WARD (O.S.)

You shouldn’t have, now it will just look like you’re retaliating against me. Keep your damn mouth shut, leave me alone, and I’ll let you see the kids, on my schedule.

DACEY

No, Ward, bring them home immediately and I’ll consider not pressing charges against you.

WARD

I can’t believe you still think you can bargain with me. You’re out of options, Dacey. Sleep disorder, humph. That’s your mother’s rich bitch way of hiding the fact that she’s crazy, and now you’re borrowing a page from her playbook. See, Dacey, the poor folks end up in the place where you work, and people like you, and your mother, you can find a doctor who will give you a fancy diagnosis. Something that is innocuous. Something that seems so simple yet can be used to explain away delusions as vivid dreams or sleepwalking or whatever they call it these days. But, say it is true, it doesn’t even matter. You’re a mess, regardless of what the doctors say you have, and I don’t want to deal with it. And I most certainly don’t want my children exposed to it. Get some real help. Deal with what your mother did to you when you were young and maybe I’ll consider letting you see them unsupervised.

[Leona Heraty]

Leona Heraty Has Incredible Monologues!

What I learned from doing this assignment is…following the monologue requirements helped me rewrite a bland scene and make it great! The process works!

My Vision: To be the best family comedy screenwriter in the industry where my screenplays are produced into fabulous movies, making audiences laugh a lot and making me independently wealthy!

Title: Tara vs. the Termo-Lytes
Genre: Comedy (Sci-fi)
Concept #2: A lost teenage tour guide who’s petrified of bugs must lead her tour group in a battle against mutant killer termites at an abandoned country club.

Tara—Hero

Set-Up: Tara, Meg and Davy have just entered the lobby of the abandoned country club. Tara is uneasy and tries to convince them they should leave right away.

14. INT./LOBBY

The group hears HUMMING and BUZZING. It gets louder. They open the huge door of the main lobby and as they step into a lobby that takes us back to the grandeur of The Great Gatsby, covered in cobwebs and decades of dust.

A gust of wind BLOWS the front door. It SLAMS shut with a BANG! The old room CREAKS and GROANS. Tara jumps and SCREAMS.

TARA
I have a bad feeling! This
isn’t a fun scary place, like
the Haunted Mansion. It’s more
like The House That Dripped Blood!

Meg and Davy LAUGH. Davy rushes around the room, checking it all out.

DAVY
This place is sweet! Let’s stay!
Don’t be a scaredy cat, Tara!

MEG
I wouldn’t call it that. But,
I wouldn’t call it haunted either.

The walls CREAK again. A huge piece of drywall in the dilapidated ceiling breaks free and CRASHES to the ground.

TARA jumps and SCREAMS.

TARA
Cringey! Cringey!

Davy rushes over to examine the piece of drywall on the floor, then does a double take, and touches it.

Something MOVES. Davy’s eyes widen. He flips over a piece of drywall. Oodles of termites scurry out and towards Tara’s feet! She SCREAMS.

DAVY
Cool!

TARA
They’re back to get me!
Like ten years ago…
(pause)
…but this time I’m ten years older!

Tara springs towards the front door and trips over some old cobwebbed boxes, filled with china and cutlery. CRASH! THUD!

TARA
UGH

Davy helps her up. She pats him on the head and runs out the door, motioning for Meg and Davy to follow.

Demanded by the situation: When the piece of drywall falls from the ceiling, the Meg and Davy aren’t concerned, but Tara is worried about the safety of the building.

Takes us to a deeper place: Tara hints at a time years ago when she felt unsafe and how this place makes her feel “shaky.”

Turning point: The termites scurry out from inside the broken up piece of drywall. Tara says she’s glad she followed her gut feelings, and says they should leave now!

Emotional: Tara screams and shrinks back and cowers like a child when she sees the termites.

High stakes: The whole roof could cave in on them!

Beginning: A gust of wind slams the front door shut as they enter the main entrance, and this causes or triggers a loose piece of dry wall to fall from the ceiling.

Middle: Tara hints about her past, facing bugs, and says they don’t want to go through what she went through ten years before. Davy laughs at her for being a scaredy cat and Meg chides her for being such a baby. Tara warns them that this place could hide unknown dangers. At the very least, she says it’s unstable and ready to be condemned!

End: Davy laughs and kicks the piece drywall. A bunch of termites scurry off of the piece of drywall and Tara screams. The group sees Tara’s point and they run outside.

[Lori Lance]

Lori Lance Has Incredible Monologues!

Vision: I want to be a professional screenwriter recognized by the industry as the go-to for family-friendly scripts and have multiple successful movies produced.

Claire’s Monologue:

She’s probably showing me up as we speak. Of all the times I wished there were two of me to get everything done. But I want to be the one, the one and only to tuck Gracey in at night, to cheer on Gavin’s band and give Hannah pep talks before a game.

Alex’s Monologue:

Not everything is as it seems Joshua. Did you know that not all the information on the internet is true? I’ve been fed so many lies that I don’t know what’s true anymore.