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Lesson 6 Assignments
Reply to post your assignment.
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10 Replies
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Before jumping into this assignment, here is another great monologue from Quint in Jaws (1975) – The Indianapolis Speech Scene: https://www.youtube.com/watch?v=u9S41Kplsbs
Another thing, here is the screenplay version (shooting draft) of THE DEVIL WEARS PRADA – “Cerulean Sweater Scene monologue,” which is shorter and not as good as the final movie version. I’m thinking it is partly because writers are afraid to write long monologues and somewhat struggle to reduce pages to have it accepted and/or the movie within budget.
MIRANDA: This… stuff? Okay. I understand. You think this has nothing to do with you. Let’s talk for a moment about that awful blue sweater you’re wearing. Cameron Diaz wore a dress that color on the cover of Runway. The same shade of blue quickly appeared in eight other designers’ collections, then went to the secondary designers, the department store labels, and to some lovely Old Navy, where you no doubt found it. That blue is worth many millions of dollars and countless jobs. And it was selected by the people in this room from a pile of… stuff.
NOTE: in the movie, while delivering her monologue Miranda is selecting accessories and a jacket for the ballerina dress. I think the movement may help the visuals during such a monologue.
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Lynn Has Incredible Monologues
VISION: I am determined to become a great screenwriter capable of getting my screenplays in various genres produced into movies that inspire vast audiences to mitigate climate change.
THE PITCH: WEATHERING IT (Rom-Com) is about two college students who struggle to overcome family fights about global warming, then try to get married during the worst ever Texas freeze.
I LEARNED that it’s okay to have long dialogue entries (monologues) IF they are demanded by the situation, takes us to a deeper place, serve as a turning point, are emotional, are high stakes, and have a beginning, middle, and ending.
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Protag Ellie sort of had such a monologue (not very long or developed). I have now increased and improved it.
It’s near the end of Act 3 after Jim has called off the wedding even tho he loves her because he wants her to go ahead with her mission to help her Uncle Layo “save the earth.” Up until this point Ellie has been somewhat of a retreatist due to her perceived anger problem. As the story has progressed Ellie has become a more capable “people person,” using finesse and tact with people, but hasn’t lost all her meekness, fear of “breaking things/relationships,” tearfully accepting Jim’s calling off their marriage. And then:
Ellie’s sitting on the bed.
JIM: You okay?
ELLIE: No, I’m not. My father left Mom and me and it ruined our lives. She loved him to the end. It likely gave her the cancer, so he took Mom away from me as well.
Jim face fills with sorrow.
ELLIE: But the thing is I was just five and what I remember is Mom’s terrible fit of rage, breaking dishes, and I blamed her for years for pushing him out. But she only did that after he left. I understand now at a gut level it wasn’t because of her anger. So– (stronger voice) I’m taking the reins.
Ellie stands, fists on hips. Jim sits down in the chair.
ELLIE: Let me tell you, Jim Higson, I’m not going to end up like my mom. We’re getting married. You’re not the only one making decisions. I’m Texas woman strong. You can’t railroad me off my track. I’ll Sadie Hawkins you all the way to the altar.
JIM: But–
ELLIE: No buts or you’ll be landing on yours. The wedding is on. I’ll find a way to pursue my dreams, help Uncle Layo, AND face life with you.
JIM (fake distaste): So you’re going to be one of those equality wives?
ELLIE: Dang right. Maybe even domineering.
JIM (sighs): I still don’t feel right about it. I just told Uncle Fred–
ELLIE: I’ll handle it.
… She goes on to confront Uncle Fred and then handle the worse situation that arises in Act 4.
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Dave has incredible monologues
My vision: I would like to be a successful writer in Hollywood, with a number of successful movies to my credit that put forward a core belief about environmental, political, or personal values.
What I learned from this assignment is that using the model for monologues allowed me to add more depth and meaning to the story.
INT. PUB – NIGHT
Nigel sits at the bar with Roger, who is 25 and has broad shoulders and rugged features, including a crooked nose that looks like it was broken once. Each drinks a pint of beer.
NIGEL
Livia’s a good, solid girl. I’ve never seen her frightened like this.
Roger’s tone is brusquely sympathetic.
ROGER
Must be hell for you. Damned fascists. Have they let you talk to her?
Nigel shakes his head.
NIGEL
That’s part of the hell – never knowing how they’re treating her.
Nigel drinks from his beer.
ROGER
My uncle fought alongside the Americans in Iraq. Shrapnel from a mortar round hit him. He spent the next 50 years in a wheelchair.
Roger’s voice grows bitter.
ROGER
They told him freeing Iraq was the goal. Later, he realized it was a lie. It was so the damned Americans could get their oil.
Roger shakes his head.
ROGER
They slaughtered hundreds of thousands of civilians over there. He saw some of the carnage. Pieces of bodies in mounds of rubble.
Roger takes a drink of beer. Nigel places a consoling hand on his shoulder and speaks with a sarcastic note.
NIGEL
The military has a nice term for that – collateral damage.
ROGER
Military bastards. Ordering you to kill or to die. It’s my bloody life. I’ll decide when something’s worth risking it for.
Roger falls silent for a moment.
ROGER
Then the buggers lie to cover up their crimes. Same reason they put reporters in prison.
After a moment, Nigel speaks.
NIGEL
She’s being held in Ardennes, the Shiloh capital, near Los Angeles. I’m flying over there.
Nigel continues uneasily.
NIGEL
Feels a bit daunting – confronting a military state. I’ve never even had a fist-fight.
ROGER
You’ll do fine, Nigel. You’ve got the truth on your side.
Nigel’s voice softens as a memory immerses him.
NIGEL
Three kids cornered me on the street once, when I was 14. One of them stepped forward and punched me in the face, and I ran away.
He falls silent for a moment.
NIGEL
Never really gotten over it.
ROGER
Ancient history. You’re a stout bloke, now.
Nigel seems to awaken from his memory.
NIGEL
I’m leaving in two days.
Roger speaks somewhat shyly.
ROGER
Fancy an ally coming along?
NIGEL
Honestly, Rog?
ROGER
We became friends when we were 12. That’s more than half my life ago. And in all that time, you’re the only mate I’ve ever had who never mocked me in front of other blokes or made me feel small. Never broke a promise. Never lied to me. I’ve learned how to behave and be a friend by knowing you. Now that you’re in a bit of trouble, I wouldn’t be much of a mate if I didn’t try to help. You’ve already paid me for it by the way you’ve been all these years. I want to help. The fact that we’ll be fighting a bunch of fascist bastards just makes it better.
They laugh for a moment. Nigel’s eyes are full of gratitude and affection.
NIGEL
Damned good of you, mate.
They shake hands.
INT. HOTEL ROOM – DAY
In the morning, they eat quietly at the small table. The air among them is tense. A noise from Nigel’s phone signals a call. He presses a button on it.
NIGEL
Hello?
He listens for a moment.
NIGEL
That’s great news, sir! We’ll call as soon as we’re on our way.
He disconnects the call.
NIGEL
That was Hartwell. Shiloh’s given him permission to fly today.
ROGER
Damned good! We’re getting out of hell!
Nigel checks his watch.
NIGEL
Time to get going.
They stand. Nigel looks at Roger for a moment and speaks sincerely.
NIGEL
Rog, I can never repay you for coming along. Risking your life for Liv and I is more than we ever deserved. I’ve always looked up to you for being such a courageous bloke. And your loyalty has taught me what true friendship is. I’m a better person for knowing you, mate. I hope I’ve given you some fraction of what you’ve given me. And I hope to God that if only one of us sees tomorrow, it’ll be you.
Roger smiles.
ROGER
No better way to go out than in battle, fighting these bloody fascists with my best mate.
They embrace whole-heartedly. As they pull apart, Roger’s voice has a shy note.
ROGER
Like to lend a hand today.
Nigel shakes his head.
NIGEL
This is a one-man job, Rog. Having two there is a greater risk.
He pauses.
NIGEL
Besides, Amelia and Livia will need your help to get to the plane if I don’t make it.
Roger looks at him.
ROGER
Don’t say that, Nigel. And don’t think it.
Nigel nods.
INT. AIRPLANE – DAY
The plane speeds down the runway, and when the wheels lift off the pavement, the five passengers cheer. It circles above the coastal cliffs and sails out over the sweep of the Pacific Ocean and continues climbing into the air.
Roger looks at Nigel.
ROGER
We beat the bastards, mate! We bloody damned well beat them!
Nigel’s voice is exhilarated.
NIGEL
Fascism can be defeated!
Livia is immersed by a soft wonder. She speaks quietly.
LIVIA
This is like a dream.
She begins to cry softly.
LIVIA
I’d given up. Every day, more women were being executed. When you live for so long without hope, and the forces against you are so overwhelming, you begin to see you’re done for. The world outside becomes more distant every day, until it seems like only the prison exists. All that lay ahead of me was my execution. My hope had held on for weeks, but finally it died.
She hugs Nigel, sitting beside her.
LIVIA
It’s a miracle to see you, Nigel. But I know it’s real because you’re real. It’s too wonderful.
Nigel smiles as he hugs her.
NIGEL
I’ll never be as happy again as I am at this moment. It wouldn’t be possible.
Roger puts his arm around Amelia.
ROGER
Everyone, this is Amelia. A very plucky American lass who flew us all the way from Tribal to Shiloh.
They applaud Amelia.
NIGEL
My God, it’s because of her that we got here in time to rescue Livia. What are your plans, Amelia?
AMELIA
I’d like to see some of England. Maybe Roger will show me.
She and Roger smile at each other. Livia turns to June.
LIVIA
June, you saved my life. What will you do now?
June smiles.
JUNE
I don’t know. I’ve never been outside Shiloh. Touring London with you and Nigel sounds nice.
Nigel smiles at her and raises his voice.
NIGEL
What about you, Mr. Hartwell?
Hartwell turns partway back toward them.
HARTWELL
I can’t go back to Shiloh. But that’s all right. Life in Shiloh was hardly worth living.
He thinks for a moment.
HARTWELL
I’ve always heard good things about Elysium.
NIGEL
If you were living there, Shiloh couldn’t go in and – arrest you, could they?
HARTWELL
No. There’s no extradition between states.
They fall silent for a moment. Nigel’s tone is edged with humor.
NIGEL
By the way, sir, where are we going?
HARTWELL
I was thinking of Mexico City. A British Airways flight there takes off for London every day.
The five passengers cheer heartily.
FADE OUT.
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This reply was modified 2 years, 3 months ago by David Holloway.
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This reply was modified 2 years, 3 months ago by
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Lesson 6: Amazing Monologues! ASSIGNMENT
Subject: Monica has Incredible Monologues!
Vision: I will continue to learn everything I can through all different media to apply what I learn to become the best screenwriter I can be. To be successful in getting my movies made and to win awards in the process.
What I learned from doing this assignment is the process for writing a monologue. I don’t know if I did it right, but at least I have the framework which I can elevate the quality in later drafts.
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.
Conall has just tried to use the artefact to try to bring his wife and kids back to life. But he doesn’t understand how to use it. Jay stops him and says many factors go into attempting to change the timeline. They go to a café to get something to eat.
Jay’s monologue in the café.
Present these elements for each monologue.
Demanded by the
situation: Conall still doesn’t
understand that Earth humans are so unevolved and do not appear to be
interested in evolving to take their place amongst the stars and the
galactic community.
Takes us to a deeper
place: There is more to the Universe than Earth human’s measly,
meaningless lives when those same lives could be so much more rewarding
with a purpose.
Turning point: Motivates
Jay to consider whether or not they should attempt to save humanity by changing
the timeline and just let all the events happen.
Emotional: Conall is
shocked that Jay has such a low opinion of humanity.
High stakes: The future
of humanity, Jay’s people, are at stake.
A beginning, middle, and
ending.Beginning: Jay is triggered by the humans in the
café playing on their phones and not engaging in any relational
communication.
Middle: Jay muses about not
saving humanity at all and letting it all unfold, but…
Ending:
Jay has to consider how
much effort has gone into changing the timeline and saving his people and
the future. Humanity has been saved by default.INT. CAFÉ – DAY
Conall sits Jay down at a table by the window. He goes up to the counter to order.
Jay watches the people in the café. Most are playing with their iPhones even when they’re sitting with another person.
Conall returns to the table. He brings a bowl of strawberry ice cream for Jay. And a coffee and pastry for himself. Conall sits down.
CONALL
What’s the matter?
JAY
Look at these people. They don’t even engage one another.
CONALL
So what are you saying?
JAY
Humanity might not be worth saving. They’re little more than bio-bots.
Jay takes a spoonful of ice cream.
JAY
There is so much more to the Universe than what I’ve seen of humanity so far. Don’t you want more? A purpose that is meaningful? Don’t you want to join the galactic community? Meet your neighbours from other planets?
CONALL
I’m sure we all want that on some level.
JAY
You all need to want it sooner rather than later. For all I know the conditions may already be altered and changing the timeline will fail. Then this civilization will be destroyed and there is nothing you or I can do about it. Except watch it unfold.
Conall looks around. The people oblivious to their precarious situation.
CONALL
Maybe the timeline should be taken back two hundred years. Delay the industrial revolution until humanity evolves spiritually.
JAY
I’ll run the calculations. But it might already be too late.
Conall’s mobile rings. He looks at it.
CONALL
Lieutenant, what’s wrong?
Conall listens. We’re coming.
Conall’s monologue after rescuing Harry from one of the time streams.
Present these elements for each monologue.
Demanded by the
situation: Harry thinks that changing the timeline is a game and he has no
consideration for the consequences of any of his actions.
Takes us to a deeper
place: Harry is jeopardizing the
mission.
Turning point: Conall
has had enough of Harry’s antics and contemplates killing him.
Emotional:
High stakes: The present and the future of humanity
are at stake.
A beginning, middle, and
ending.Beginning: Conall rescues Harry from the
timeline.
Middle: Conall delivers an
ultimatum.
Ending: Either Harry behaves
or Conall will destroy the artefact.INT. SAUCER – NIGHT
Conall and Harry fall to the floor.
CONALL
SHUT THAT ONE DOWN.
Jay types on his tablet. That time stream fades. Conall pushes the blue button.
JAY
Where were you?
CONALL
Somewhere in the Napoleonic war.
Lieutenant Sarah has pounced on Harry. She has one of Harry’s arms behind his back.
JAY
Do you think you changed anything?
CONALL
I tried really hard not to. But this one got himself taken captive. So that might have done something. And I left three bullets behind. Couldn’t help it. Had to create a diversion to rescue the fool.
HARRY
I really need the facilities. The food was horrible. And some water. I’m pretty sure they gave us watered down horse piss.
CONALL
I don’t fucking care what you want at this moment. Of all the boneheaded things to do. Just jump into one of the time streams. After all the warnings we’ve given you.
HARRY
It’s taking too long.
CONALL
And now it’s going to take longer. Careful planning has gone into this mission. From beings a hell of a lot smarter than you or I. You may think you know everything but you don’t. No one does. Not about this artefact anyways.
Conall pulls his gun.
CONALL
Now you can either wait until it’s determined we have the right time steam. Or, we will destroy the artefact and I shoot you now. What’s it going to be?
HARRY
Fine. But I still need to use the facilities.
CONALL
Lieutenant.
LIEUTENANT SARAH
On it.
CONALL
Take your gun.
She marches Harry out of the saucer.
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MODULE EIGHT LESSON SIX
FRAN HAS INCREDIBLE MONOLOGUES
WHAT I LEARNED: Think of a situation you might have had similar to your character. Feel for that character in that moment. What did you feel. What would your character feel in that situation. And then just write.
MY VISION: I want to write great movies. Movies that are magical, movies that move people and tell the truth. I want to write movies that stars will want to be in.
MEREDITH TO KYRON
Meredith tells Kyron why she left him. Why she disappeared on him and never accepted his proposal of marriage.
KYRON: Why didn’t you leave with me when you had the chance? Married me instead of Jerome?
MEREDITH: Most of my life, I’ve listened to everyone else. Their opinions. What I should do. How I should do it. How I should live. Catering to their needs. Doing what they wanted me to do. Letting them decide what was best for me. My hopes, my dreams. All wasting away while others wanted me to be the more practical, sensible shoes Meredith. They were right. I was wrong. Well, not anymore. I’m tired of listening, appeasing, waiting for my turn. It’s never going to be my turn, if I don’t reach out and take it. Be the one who makes the rules for my life. That’s what happened, Kyron.—To us. I let others tell me how I felt about you. That it wasn’t love. I was too young to know.–He wasn’t “our kind.” But that wasn’t true. It isn’t true. If you had asked me—in a moment—then—before all the lecturing, I would have gone to the ends of the earth with you. It’s how I still feel. That has never changed. Not for one second of my life—since we first met. Wrong time. Wrong place. Wrong everything when we were young. You were you the wrong man in their minds.
KYRON: It isn’t that way anymore.
MEREDITH: How could I have been so foolish to let the love of my life slip away from me like that?
OLGA TO DMITRI THE SOLDIER
Olga has followed Dmitri to the tavern. She sees him with his comrades, drunk and in revelry. She watches as he shares her love letters to him with his comrades. Making fun of them. Making fun of her.
DMITRI: (reading letter to comrades) Perhaps my father, when he returns to business, will allow you to enter into his service. I should love for you to come to the palace one day. So that we can be married—with my father’s blessing.
(beat)
(laughing) She wants to marry me!
Laughter all around.
DMITRI: Like a desperate—foolish–whore who’s fallen in love with one of her clients.
COMRADE ONE: Take her up on it, Dmitri! Live the life of a czar!
Olga enters stunned. Angry. Unamused. She wrests the letter out of Dmitri’s hands. Staring at his comrades with the fire and wrath of Peter the Great raging in her eyes …having heard every word.
OLGA: You think you have bruised me. Wounded me. Crushed me. Far from it—poor—dear—Dmitri. Instead, you have saved me from a hellish life with the likes of you. Wakened me to the realities, the cruelties of this world. Something as Grand Duchess I never knew—until now. Without your pitiful attempts at scorn and derision, I would have never felt the joy of knowing what hateful creatures men truly are. I may never be czar by law. But in this moment, I feel as though I am–czar. You have given me that joy of knowing what it is like to rule over men. Know you this—my love, that on the day you see me again, I will be the one to bruise you, to wound you. –To crush you. Whether it be in this life or the next. There will be no escaping the consequences of your actions.
Olga turns to leave
OLGA: Remember. Come near me again. Touch me ever again. And your life is forfeit.—
In grand style—and dignity– Olga exits the tavern.
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Erin Ziccarelli Has Incredible Monologues!
Vision: I am creating profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.
What I learned from doing this assignment is: the steps to creating a great monologue. I have three lead characters each with a scene where I can combine some of their lines of dialogue into a monologue. This lesson has helped me give essence to the monologue and keep it organized to deliver a punchline at the end.
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.
· Setup for Scarlett’s monologue: Scarlett has just found out Alex’s identity. She’s not taking it well. She’s starting using to try to numb the pain. Alex arrives and tries to explain himself, but he’s not doing a good job.
· Setup for Roger’s monologue: Roger has revealed that his last name is really Walsh. Alex has just realized that he’s been helped by someone from a rival family.
· Setup for Alex’s monologue: Alex has just rejected his old ways. He doesn’t know if Scarlett will wake up or if she can hear him. Still, he wants to deliver a speech to her and apologize for his past mistakes.
4. Present these elements for each monologue.
Demanded by the situation:
Scarlett needs to
confront Alex about the inheritance.
Roger needs to
tell Alex the truth about his past to help him.
Alex needs to
apologize to Scarlett and explain that he’s changed.Takes us to a deeper place
Scarlett: deeper questions
about the crime families and the point of all the black marketeering and
family structures.
Roger: deeper
understanding of how Alex can change and move forward, just as he has.
His “change agent” status in the story is solidified.
Alex: Deeper
answer to Scarlett and Roger’s questions about what the point of their lives
was.Turning point:
Scarlett: Scarlett
reveals that she knows the truth about the conservatorship. It all makes
sense to her why Alex reached out.
Roger: Roger
motivates Alex to go back to the South End and confront Richard.
Alex: Alex
declares his devotion to Kitty’s memory and Scarlett’s future.Emotional
Scarlett: It’s makes
us empathize with Scarlett’s otherwise unlikeable character. We
understand why she acts the way she does, and we understand where Alex is
coming from.
Roger: We respect
his resilience and see his kindness and generosity towards Alex. He’s
overcome a lot to get to this point. He’s devoted to his job and to helping
Alex make a lasting change.
Alex: the
audience is moved as Alex realizes what he’s been given and reassures us
that Alex has made a permanent change.High stakes
Scarlett was the
last thing that was keeping Alex from slipping back into his drug use
habits. If she rejects him, he’ll go right back to his old ways.
Roger’s reveal
comes at the beginning of Act 4 when Alex is still grappling with whether
or not he should confront his antagonist. Roger pushes him in the right
direction without telling him what to do.
Alex’s apology to
Scarlett and telling her that he forgives her comes after he’s found out
that she told Richard to destroy him. We’re not sure how he’s going to
react, but he does so through the forgiveness that Roger showed him.A beginning, middle, and ending.
Scarlett:
Beginning: Alex
triggers Scarlett by referring to her as “family”
Middle: Scarlett
annunciates a lot of the questions that Alex has been trying to answer. She’s
struggling with them too.
Ending: Scarlett
reveals to Alex that she knows about the inheritance. Answers the question,
and not in the way that Alex wanted to hear. It flusters him, only
digging a deeper hole.Roger:
Beginning: Roger
is forced to admit his past. He describes his role in the black market
and the futility of the old ways.
Middle: Roger explains
the transition he’s made – from hating people like Alex to helping him.
He tells Alex that he must leave Boston.
Ending: He hands
over the last of the inheritance money. Tells Alex that he has
everything he needs to be free of the old life.Alex:
Beginning: Alex sees
Scarlett lying there. It reminds him of being by Ted’s side as he died.
He tells her there are things he wish he had told her.
Middle: Alex
explains that he no longer sees value in the inheritance money from
Nathanial Caden. He sees value in their relationship.
End: Alex
apologizes and tells Scarlett that they can move forward together. They can
move onto a better life.5. Share the monologue with us.
Scarlett to Alex:
SCARLETT
Why now? Was it a near death experience? Bet to an old friend? Or…fate. Do you remember how Nathanial Caden made his money? That asshole profited off screwing people like you, and then his last laugh was leaving the results of it to you. So, what is family? What was the point of this life? Do we live life? Do we lead a life? Do we choose a life, or do others choose for us? He chose – family was a card in his game, you’re no different. If you want to call Kitty family, if you want to call me family, tell me one thing – did you try to find me before or after you learned of the conservatorship?
Roger to Alex:
ROGER
I chose. If I hadn’t, I’d still be at odds with people like you. I was good at the business too, Alex. If I’d stayed, I would’ve worked on the Dunbar sale. I would’ve gone to jail later on, right alongside Ted. And for what? Scarlett will always be one of mine. You were right – you never leave the old life behind. But the same loyalty I have to her, I have to you too. I always will. That’s where I’ve changed. I’ve tried to help you see that it’s not too late. There’s still a chance for you and Scarlett. Once she’s well, you’re both leaving. I told you that to get out and stay out, you need means and hope. You did it on your own and your future is yours. Cash the check or don’t, it’s your choice. You’ve got all the hope you need.
Alex to Scarlett:
ALEX
Roger never gave up on you, Scarlett. You owe him your life. And now I know I owe you mine. Those days and nights when I had no reason to believe, to keep going, you gave me one. I wish I could’ve told you that. And I wish I had told you…. (beat) Kitty couldn’t say it for the same reason I didn’t. We were ashamed. And when your grandfather left me his fortune, he knew it would lead me to you. Why he waited 24 years, I’ll never know. The money wasn’t the gift. I’m proud that you’re my daughter. Whether it’s fate or destiny…you’re dealt your cards and you play your game. Sometimes it’s skill, the rest is luck. I’m sorry for letting you both down. The choices I made…left me with regret. I can’t go back. I know the three of us will never be together as a family, but you and I can still move forward. You were by my side as I left it all behind, and I promise to be there when you do the same. Don’t go down the same road I did, Scarlett. There’s another life, a real life, waiting for us. You won’t have to stand alone anymore.
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WIM2 – Dana Has Incredible Monologues
My Vision: I intend to perfect my skills to become a successful screenwriter, scripting acclaimed and profitable films, recognized by my peers, and living an adventurous life.
What I learned from doing this assignment?
Using this monologue assignment created the pivotal moment in my script when Ruth’s sister, Diana, explains her pathology to her lover, Ruth’s congressman husband. It helped me explain her motivation, envy, hate, and her evil ambitions that turned the story in a new direction. This was fun!
SETUP:
Until this moment in my script, the audience suspects Ruth’s husband in the kidnapping. When her sister Diana arrives, we soon learn she’s the catalyst in her sister’s demise and her motives. The monologue below is Diana reassuring Henry, Ruth’s congressman husband, about her ambitions for them as a power couple.
SCENE:
Diana moves toward Griffin with focused, fierce contempt for her sister, her words inspired by some predetermined destiny for herself and her lover.
DIANA
This is what we’ve been working for. There’s no turning back, not now. And tomorrow, after her body is found, you will give a speech about the death of your beloved wife. It’s been written for you. It’s an impassioned speech, one that will galvanize your election and sweep you into office with the sympathy of a nation.
(beat)
I will replace Ruth on the campaign as your personal advisor. Our being together will appear normal and, in time, accepted and understood. And with Ruth gone, I will leverage the family trust to buy political influence and exploit the Talcott name to ingratiate ourselves within the Washington elite.
(beat)
Those aging prunes won’t dare deny you the Appropriations Committee, not after tonight. Not again.
(beat)
You will a be an established member of the party, adored by the voters, respected by the sycophants in the press. You will ascend to power, to leadership, and ultimately, to the speakership. This is your destiny. And if your enemies dare stand in your way, we will crush them into dirt in the streets.
Diana takes his faces in his hands, close enough to kiss.
DIANA
We are to the end of our beginning. One last step. One irrelevant life, and we will be mated together… in all things.
Diana pulls his face toward hers.
DIANA
No-one can stop us. No-one.
Diana forces him to kiss her, and Griffin wraps himself to her in a lovers embrace.
-
Module 8 Lesson 6 – Amazing Monologues
Lisa Long Has Incredible Monologues!
My Vision: I will do whatever it takes to be comfortable saying that I am a writer by creating impactful stories with amazing characters in order to sell my scripts.
What I learned from this assignment is actors want meaningful words to say and placing them in a monologue will entice them. However, it is not easy to create a monologue.
I created these two monologues, but I feel I can do better and will continue to work on them, I also need a third monologue for Ed the other main character too.
MONOLOGUE 1:
Setup: Molly is nervous to ask for Jane’s help with her toe shoe because Ed has forbidden her to dance. Molly sneaks into Jane’s bedroom at night. Jane tells her about her mother as a child. This picks up after the initial part of the scene…
Jane starts to sew the ribbon onto the worn toe shoe.
MOLLY
How was she as a little girl?
JANE
She was a very bright light back then. Always made me smile when I got to see her.
MOLLY
Tell me more.
JANE
Hmmm. Alma put April in dance classes because she wanted April to be a well–rounded young lady. To have grace and poise. To do her school learning and also activities so she could eventually get into a good college. But, of course April loved dance so much that eventually she wanted to do it professionally. Alma said absolutely not! She wanted more for April. She wanted April to be a secretary or a nurse. It broke April’s heart to not dance. Then April met Ed and they were going to settle down. Well, that didn’t work out because April could not give up dancing.
Jane looks at Molly who has lowered her head.
JANE (CON’T)
So you see why Ed was so upset when you came in here saying all you wanted was to dance. It means rejection to him. It really has nothing to do with you at all. (pause) My goodness, you do remind me of your mother.
Jane takes Molly’s face in her hands.
JANE (CON’T)
You are a bright light too. Don’t let anyone take that from you.
Molly stares into Jane’s eyes.
MOLLY
What were you like as a child, Jane?
Jane goes back to sewing.
JANE
(laughs) Oh I grew up in another time. My grandma was stricter than Alma even. Actually, she was outright mean, but she taught me how to cook. She was the only mom I ever had. My mom left when I was two years old. I never saw her again. And my dad wasn’t in the picture at all. So, it was my grandma who taught me right from wrong. And when I did wrong she hit me with a switch.
MOLLY
Oh no! What’s a switch?
JANE
A tree branch. That’s how it was done back then.
Molly looks terrified.
JANE
Well, it worked, I was a good little girl. But when I grew up, I was a holy terror for a while. (laughs) Then I decided that I was only hurting myself. So, I started working in the kitchen. And that eventually led me to Ed’s.
Jane finishes the toe shoe cutting the thread with her teeth.
JANE (CON’T)
So, you see it could be worse. Ed’s dad used a belt on him.
MONOLOGUE 2:
Setup: Ed had forbidden Molly to go to NYC to dance in the Nutcracker. She returns home and Ed is waiting for her. Ed went to NYC and saw her performance, but before Ed can say anything, Molly speaks…
MOLLY
Ed, I know you’re mad at me for going to New York when you told me not to…probably furious, but I HAD to do it. I had no choice. This was my lifelong dream. And I did it! I was great!
Ed doesn’t say a thing.
MOLLY (CON’T)
I’m sorry. I worked so hard to get there. Mars pushed me to be great. It’s all I’ve ever wanted. Please don’t be mad at me. I’m sorry!
Ed still doesn’t react.
MOLLY (CON’T)
(Starting to cry) But maybe I want something else now. All this time I’ve had a one-track mind. Dance, dance, dance. I never thought about you and your fear of losing me like you lost April. I’ve been so selfish. I want to make this work. If I have to give it up, then I will so that I can stay with you. I’ll help you with this place. I’ll be good and do whatever you say. Please talk. Say something!
Ed stands and goes to Molly. He embraces her.
-
WIM Module 8 Lesson 6: Joel Stern Has Incredible Monologues!
My Vision: To write eight scripts that eventually become Hollywood blockbusters (and to get a speaking line in at least one).
What I learned from this assignment: How to write a powerful monologue.
In my first monologue, protagonist Jim “Ace” McCarthy, a decorated WWII hero and his Polio-stricken son Steven attend wife and mother Jane’s funeral (she died young and suddenly from cancer).
Jim, facing a new challenge of being a widower questions his fate with the priest. The end of the scene shows antagonist Ted (former platoon mate whose life Jim saved) enjoying Jim’s anguish…
EXT. CEMETERY – DAY
Jim and Steven hold hands. Behind them, parents and friends.
STEVEN
Daddy, why did she have to die?
(cries)
I miss her so much.
The PRIEST, (50) mumbles a prayer as Jane’s casket is about to be lowered.
Hysterical mother PATTY, (47) throws herself on the casket.
PATTY
Take me with you! I can’t go on…
Jim grabs her. They’re face-to-face. She looks like she’ll cry on his shoulder. Instead she slaps him.
PATTY
Get your hands off me! She knew what you did!
JIM
(lowers voice)
Please, control yourself Patty. Look at me. What did she think I did?
She yanks her arm away.
PATTY
You’ll find out soon enough.
JIM
Why didn’t she tell me she was sick?
Her HUSBAND, (48) guides Patty away.
Jim hyperventilates. The world spins. He braces himself against a chair.
STEVEN
(echoing voice)
Daddy, are you okay?
The PRIEST, (55) rushes over. Jim hears the priest’s words as an echo:
PRIEST
Jim — please sit.
Jim and the priest sit.
JIM
I’m a widower Father. A widower with a kid who has Polio. Heck, I’m still a kid myself. Wasn’t giving up two years of my life and surviving the worst hell mankind could serve up enough? Why is He torturing me like this?
His in laws look back as they walk away.
PRIEST
Perhaps — perhaps Jim, it’s a test of your soul.
JIM
(scoffs)
A test of my soul…
Jim stands, practically speechless.
JIM
Why couldn’t He just leave me alone? I would’ve been happy to be some ordinary Joe who comes home each night from his boring job to a loving wife and healthy kid.
He turns away with his hands in his pockets.
JIM
Poker night with my pals. A ballgame with my son. Watching him get married. Having grandkids. But no, He had to kill her and —
Jim’s POV: Steven in his wheelchair by his mother’s grave.
JIM
— leave my boy…
(choked up)
… half-dead. That grave over there isn’t just for Jane, Father. I’m already in it next to her.
From Jim’s POV: Ted’s in the last row enjoying the show.
My second monologue is given by Carol — an investigative reporter and Jim’s failed love interest. She offered to help Jim identify Sal (we never see him) — a mobster who through relentless phone calls — threatens Jim with murdering Steven if Jim’s gambling debts aren’t repaid within ten days. Carol — who ghosted Jim after his odd behavior — has a change of heart and knocks on his door. Jim repairs the phone he ripped off the wall after Sal’s last call…
EXT. JIM’S HOUSE – EVENING
Carol rings the bell. Jim opens the door.
JIM
Well, well.
CAROL
May I?
INT. JIM’S KITCHEN – LATER
Jim reattaches the phone to the wall. Carol sips coffee.
CAROL
I’m glad I’m not a telephone.
Jim’s silent.
CAROL
Look, I’m sorry I disappeared, but it’s only been two months since my husband left and —
JIM
Right.
Job done. He joins her at the table. He lights a cigarette, blows smoke to the side.
JIM
How about we start with you telling me who you really are.
CAROL
(deep exhale)
My real name is Marie LaPointe.
He studies her with suspicion.
CAROL
I came here after the war for a better life. There was nothing left for me to live for in France. My parents were murdered by the Bosch. Papa… papa worked with the FFI…
CAROL FLASHBACK:
Twenty civilians are lined up against a wall.
A MAN and WOMAN (50) are singled out by a German OFFICER, (35). He eyes both, up and down — and shoots each one in the head.
The officer backs away.
OFFICER
Feuer!
They’re all mowed down.
RETURN TO SCENE:
INT. KITCHEN – CONTINUOUS
Jim’s eyes are closed tight. A tear rolls down his cheek. He squeezes her hand.
CAROL
(shaken)
I spoke with my FBI contact. He said he’ll meet with us this week.
JIM
So, you really are a reporter.
CAROL
Freelance.
He puts out his cigarette and leaves. Carol composes herself. He returns with a family picture of him, Jane and Steven.
CAROL
Oh, such a beautiful family.
JIM
Turn it over.
The FBI number Jane scribbled is on the back.
CAROL
May I?
He nods. She picks up the phone.
CAROL
There’s no dial tone, Jim.
-
Andrew Boyd, Amazing Monologues
Vision: For Hitler’s Choirboys to be such a compelling screenplay that Spielberg and Gibson will battle it out to produce their most powerful WW2 drama since Hacksaw Ridge or Schindler’s List.
What I learned from doing this assignment: I love the monologue, which raises the stakes, lets the emotions soar, reveals character and creates a turning point.
Principal Characters:
Sam Fuller, Henry Gerecke & Hermann Goering
Monologues:
Sam Fuller
Sam is the sidekick to Chaplain Henry Gerecke, he’s a hustler, a jailbird and a project for the chaplain. Alternatively furious and funny, he’s a foil for Henry, an everyman who asks awkward questions and demands answers. He’s a gifted piano player and entertainer, who at the beginning of the midpoint sequence entertains GIs in The Stork Club in Nuremberg – and makes a sworn enemy of Sergeant Brannigan.
EXT./ INT. STORK CLUB – NIGHT
The Stork Club above the Opera House in Richard Wagner Street is a blazing beacon, illuminating sidewalks spilling with DRUNK GIs and MPs tapping night sticks.
Inside, the NOISE is deafening and the atmosphere riotous. The place is packed with jitterbugging GIs and their FRAULIENS. Happy Hanukkah POSTERS line the walls.
Brannigan’s with his pals, BEER in hand, scowling at the bar. Sam pounds the PIANO and THE BAND is thumping.
The white singer, EVELYN, leans on the piano making eyes at Sam in a curve-hugging dress. Sam leans over and kisses her on the lips, to Brannigan’s disgust.
SAM
(To Evelyn)
We’re minting it, baby!
Brannigan rises to bluster out. His PALS grin and hold him back. This place has music, booze and broads.
Sam finishes up the hit of the day, Don’t Fence Me In and riffs a little counter-point to some joke-telling.
SAM
Tell you, the boys behind bars love that number, especially that Rudolf Hess. He can swing – one day he will.
(Sinks a beer)
So Unser Rudi finally stands before Winston Churchill, clicks his heels and whacks out a Nazi salute. Great man sucks on that cigar and blows smoke in Rudi’s face.
(Churchill’s drawl)
‘So. You’re the madman, are you?’
Evelyn and the audience appreciate the impression.
SAM
‘Nein!’ yells Hess. ‘I’m just his deputy!’
(Riffs those keys)
Ah, you gotta laugh!
Sam sticks on a HITLER MOUSTACHE, hurls a Nazi salute and hammers out the tune of the Battle Hymn of the Republic.
SAM
I signed up for ze Nazis ’cause I liked the uniform
Was ze Jews who invaded Poland and who treated us viz scorn
So ve gave zem a home in Auschwitz and we fattened zem up viz corn
So ve von’t take ze blame no more.
Blame it all upon ze Führer – Seig heil!
Blame it all upon ze Führer
Blame it all upon ze Führer
So ve von’t take ze blame no more…
Some GIs are ROARING, others wonder what to make of it. They take their cue from Jewish SGNT SHLOMO, a man mountain who insists they see the funny side.
SAM
Hey, you gotta laugh – seriously! I’m not allowed to tell Jew jokes no more. Yeah, they made me burn my material. Up in smoke. Orders. Man in uniform with shiny boots. I said, ‘Hymies don’t mind – they feed me the lines.’ Take a bow, Sgt Shlomo.
Sam waves towards Shlomo, who takes an expansive bow.
SAM
If you like the material, buy Schlomo a beer. If you don’t, buy him two – this stuff is rough.
But you gotta obey them orders. That’s what they keep sayin’… Hey! I found out why Hitler murdered himself! Yeah, couldn’t pay his gas bill…
And it’s back to Battle Hymn:
SAM
Ve killed zem for their own protection – Sieg heil!
Ve killed zem for their own protection
Ve killed zem for their own protection
So ve von’t take ze blame no more.
Ladies and Gentlemen, on behalf of the Negro master race I apologise to all our Jewish friends. Tonight I vas only obeying orders. Happy Hanukkah!
The place erupts again. And Sam hits that pre-war hit:
SAM
Mairzy doats and dozy doats and liddle lamzy divey…
But that last quip is too much for Brannigan. He smashes a BOTTLE and his good ol’ boys wade in. Before they can storm the stage, six Jewish GIs close ranks, including Shlomo, who’s even bigger than Brannigan. Shlomo, who’s that close to Brannigan’s face, grins and rumbles:
SGNT SHLOMO
Smatter, Sarge? Don’t you got no irony?
Brannigan weighs the odds: on-duty MPs still happily tap their batons. Brannigan throws Sam a look: You’re dead, boy. Right now there’s no way round that Jewish sergeant.
SGNT SHLOMO
Like the man said, you gotta laff. Ditch that broken bottle, Sarge.
Sam snaps back a salute, blows a kiss at Evelyn and never misses a beat of Mairzy Doates.
OUTSIDE: Brannigan and his boys burst out into Richard Wagner Platz. Added illumination comes from burning copies of Mien Kampf. They shove off into the night.
*
Demanded by the situation: Yeah, because this stuff is so awful ‘you gotta laugh’. Where better than at the midpoint?
Takes us to a deeper place: It reveals Sam as an entertainer and survivor with a reckless streak.
Turning Point: It sets up the enmity between Sam and Sgnt Brannigan which will result in a jail term for Sam.
Emotional: An outpouring of gallows humour to overcome the horror of events. A tension breaker, which then raises the stakes again.
High Stakes: Not at first, but it winds up Brannigan to the point of near murder.
Beginning, middle and end: Sam is singing off colour songs and cracking jokes, in the middle he goes too far for the racist Sergeant who lunges at him with a bottle, and after Jews stand up for Sam, the Sgnt stalks off, nursing a fatal grudge.
*
Henry Gerecke
Context: In Act 3 Chaplain Henry Gerecke gets his mojo. He confronts Nazi armaments minister Albert Speer with hard evidence of his collusion with slavery in a manner designed not simply to get a confession, but to provoke a change of heart. With Henry and Speer in his cell is Jewish psychologist Gustave Gilbert, who has been spurring Henry on to get tough but has no idea of the storm that’s coming. What follows is the central part of that confrontation.
Henry leaps to his feet. His swiftness and the harshness in his voice startles the German, and Gus too.
HENRY
Goering, Himmler, Hitler… the mistakes were all theirs and theirs alone? As for you, the scales just fell from your eyes? That it? You were blind, but now you see?
Gus begins to protest. But Henry’s usual solicitous patience has given way to scathing sarcasm.
HENRY
You ignored the Führer’s announcement in ’39 that he planned to annihilate the Jews. Huh? And again in ’42. And in ’43 you happened to walk out of a conference just before Himmler announces his intention to slaughter every Jew and all their children… Gimme a break! Unglaub<i style=”font-family: inherit; font-size: inherit;”>lich, Herr Speer. Unbelievable.
Henry pulls a photograph from his briefcase and slams it on the flimsy table, which creaks in protest.
HENRY
Recognise that?
Speer gets to his feet and picks up the photo: him, at a concentration camp, surrounded by men in striped pyjamas.
HENRY
(His rage rising)
Your VIP tour of your own armaments factory at Mauthausen. You complained the barracks were too lavish for slave labourers. (Beat)
Know how many died at Mauthausen?
SPEER
I…
HENRY
100,000. Give or take. Including slaves worked to death on your fighter jets. And you didn’t know!
Gus
Henry…
Gus reaches for his sleeve, but Henry sidesteps.
HENRY
I want the truth, Gus! And I want this man to face up to it! He thinks if he presents himself as a reasonable decent man his judges will accept him as such. Hah? One of us? Is that it?
His attention is back on Speer, whose mouth hangs open.
HENRY
But what decent man could possibly sanction this?
Henry dives into his briefcase and hauls out an object tied into a coil which he shakes in front of Speer.
HENRY
Recognise this? It’s steel whip. One of the many used on the foreign slaves who manned your factories.
Henry unties the steel coil and springs open with a metallic hiss, a snake darting for freedom, flashing close to Speer’s exposed face and clattering against the floor. The Judas window flies open. Gus waves it away.
HENRY
Take a closer look.
Unsettled, Speer takes the object between his thumb and forefinger, and peers more closely.
HENRY
What are those?
He stabs his finger at dark marks on the metal. Speer purses his lips and begins to shake his head.
HENRY
(Raging)
Oh yeah, they’re bloodstains. Your SS guard aimed this whip at their eyes. Women’s eyes. Women dragged out of their homes to work for you. For up to 100 hours a week.
Gilbert folds his arms. Speer is holding the whip as though it were on fire. Henry is on him like a foxhound. He hauls a document from his bag and waves it.
HENRY
Sent to you by Dr Wilhelm Jäger, senior physician at the Krupp works. You recall what Jäger said?
Speer’s mouth is working but makes no sound. Henry reads:
NEWSREEL MONTAGE
HENRY (V.O.)
‘Your workers lived in ash pits, dog kennels, baking ovens… every day they were brought to me covered in black bruises… writhing in pain. They died off like flies…’
INT. SPEER’S CELL – EVENING
HENRY
But you… you turned a blind eye. You say you didn’t commit those atrocities? But my God, man, you did nothing to stop them! The proof is in your hands.
Finally, Speer frees his eyes from Henry and raises them towards the whip still in his hand, a hand now poised, as if to strike. Speer lets the ribbon of black steel fall with a clatter, his fingers outstretched. He steps past Henry, walks slowly towards the window and hugs his arms.
*
Demanded by the situation: Henry has to turn Speer around to penetrate his self-serving denial and get him to denounce Hitler.
Takes us to a deeper place: It reveals Henry as a powerful interrogator and Speer as willing party to war crimes.
Turning Point: It sets up Speer to denounce the Fuhrer in court. It also pays off O’Connor’s wound at Mauthausen.
Emotional: It reveals the horror of Nazi slave camps and the appalling complicity of men like Speer who turned a blind eye.
High Stakes: Life or death. Literally.
Beginning, middle and end: Earlier (not shown here), Henry appears to be sympathetic to Speer. In the middle (this section) he confronts him. At the end (not shown here) he helps Speer to take responsibility and opens the way for a change of heart.
*
Hermann Goering
Context: In this scene the antagonist Hermann Goering confronts the chaplain with justifications for his actions. His aim is to win the chaplain over as an ally, by demonstrating a pragmatic moral equivalence and to secure the release of Nazi high command to join the Allies in the fight against their joint enemy: Soviet Russia. The scene begins on P5 of Act 1.
INT. CORRIDOR / GOERING’S CELL – DAY
A fusillade of German ricochets through the window of Goering’s cell. Sam, on guard duty, raises an eyebrow.
GOERING
The Treaty of Versailles was a humiliation, an emasculation! Do you know what it is to feel humiliated, Pastor? Do you know how much it cost to buy a loaf of bread in 1922?
Henry glances hopefully towards the cell door window.
GOERING
160 marks. And in 1923? 200…
Henry pulls in his chin, That’s not good.
NEWSREEL MONTAGE
GOERING (V.O.)
Two hundred… thousand… million… marks. For a single loaf of bread!
We Germans were better off burning banknotes than trying to buy coal. Why? Because we were printing Reischmarks like there was no tomorrow to service the debt you saddled us with – your USA. And then Crash! Wall Street collapses beneath its own excess and you pull the rug from beneath the entire German economy. So the Führer draws a line, and one by one we reclaim those territories snatched from us by that verdamt Treaty.
INT. GOERING’S CELL – DAY
Goering scoffs, his contempt as dry as it is furious.
GOERING
Back then, Britain and France could have stopped us in our tracks. But those craven cowards handed us all the time and territory we asked for. Appeasement! While you…!
Henry lifts his hands in exasperation, but the Supreme Commander of the Luftwaffe is diving for the kill.
GOERING
Your industrialists made fat fortunes hawking war materials to the Fatherland at inflated prices so we could fight your allies, and then fight you!
Henry is on his feet now, temper fraying.
HENRY
So Germany was right to go to war – with the entire world? The ends justify any means, however brutal? That what you’re saying?
GOERING
Of course! And so are you.
NEWSREEL MONTAGE
GOERING (V.O)
Hiroshima, Nagasaki – how many women and children did you turn into candles like Nero when your bombers rained fire on Dresden? 200,000? Had the tables been turned, it would be you standing accused of war crimes, not us!
INT. GOERING’S CELL – DAY
Henry sighs, and stares at his watch. Again. Wearily he rises to leave, but Goering constrains him with a hand.
GOERING
(Conciliatory)
We may never agree on everything, Herr Pastor, but on this we must: it is the Bolsheviks who pose the greatest threat to Western civilisation. The English-speaking peoples and the Germans are the same. Our blood is the same! You, too have German blood! We must work together, so the Americans can see things from the German perspective before it is too late. (Beat) You see? We are back to an understanding.
HENRY
What I understand is this: if you’re right about any of this, then more knowledgeable men than me will judge. That’s why you’re here. What I know is this…
He leans in close enough to smell Goering’s breath.
HENRY
You guys started the first war. And the second. And dragged us in to finish them both. You declared war on us, Herr Reichsmarschall, four days after Pearl Harbor. Now you want us to walk a mile in your jackboots? Sorry, that’s just not our style! (At the door) Enough!
And as Sam swings the door open and purses his lips. Don’t say I didn’t warn you.
*
The monologue is demanded by the situation, as Goering is fighting for his life.
It takes us into a deeper place by not only revealing Germany’s depth of humiliation over the Versailles Treaty, but by highlighting Goering’s amoral justifications for waging war with the world, and his scheming attempt to manipulate the chaplain to support his case for freedom.
The chaplain’s rebuttal also reveals for the first time Henry’s incisiveness, as well as his fiery temper.
It is a turning point, as for the first time, Henry gets tough with Hermann Goering.
It is emotional and high stakes, because as the date of execution draws nearer the stakes are rising and so are tempers.
And it has a beginning a middle and an ending: it begins with Goering’s justification and heartfelt grievance over the Treaty of Versailles and its consequences; it turns on Goering’s attack on the United States, which provokes Henry, and ends with Henry walking away.
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