Outrageous - Drama Monologue

O U T R A G E O U S

You say you have to lay people off. That’s terrible, and you look awful. You're really getting yourself worked up about it, huh?

It’s never easy to ruin someone’s life, is it?

Don’t look at me like that! You just stood here for an hour, and told me your sob story, then you stood here for another hour, and told two other managers about it. You stood here talking, and the guy you’re about to lay off is actually doing work. In the time it took you to stand here and bitch, I could have paid that guy for three hours of work. Maybe we should lay you off? Maybe we should take your pay check?

The hypocrisy is staggering. You stand here with your fake sadness. That puppy dog look. Meanwhile there is some guy working his ass off in the heat that is about to be told to gather his things, because today is his last day.

You come up to me, you tell me about your troubles. You tell me how this affects the departments. How it has put you in a terrible mood. How if we keep firing people, we can never train them right. Everything you say is about the bottom line, and in the same breath you curse the bottom line as if it has nothing to do with you.

What about them? What about their lives? What does this do to the morale of our employees to see people culled like cattle? What does it do to a family to hear their breadwinner was laid off?

But yeah, I hope you survive this terrible crisis. Now go do your fucking job.

Goodbye - Drama Monologue

G O O D B Y E

By: Paul William Fassett

The last thing we said was goodbye and this is how things end. With that word so final, so bitter, so acute. Goodbye. Now all we see of each other are snapshot memories, text messages, pictures on facebook but none of it is real.

None of it. Not even our memories.

If I pursue, you'll pull away. You needed this space, this vast empty desert between us that births no life, no plants, no wild things. We're left with sweet untruths. Memories that never happened. Loves that never blossomed. One single night that was supposed to be so much more but never reached it's climax and now we crave it again. To see things through. To claw at each other like hungry flesh craving animals. 

We want to relive the real thing so we can remember what it was really like instead of just romanticizing it.

But goodbye is final. Goodbye is... Farewell. How do you close the distance created by such a word?

Analyzing Monologues and Tips On Performing

I am going to do a different kind of monologue today. This monologue is going to explain my thought process when I write a scene as well as my thought process when I coach an actor to perform it for an audience. 

Let's take a look at a dramatic monologue:

Oh but you are so perfect! You take every opportunity to tell me when I am wrong! You think I can't make decisions on my own! That I'm going to somehow end up on the street without daddy there to tell me how I fucked up.

Did you ever stop to think that maybe you don't have life nailed down the way you think you do? I mean, you know what they say about glass houses right?

You sit there every day, judging me. I come to you for help and all I get are those eyes, probing me. Have you ever looked at yourself? Asked yourself...

What the hell am I doing here? I mean, if the only purpose of life is to keep on living. To wake up in the morning, eat, sleep, repeat, then why do it!

Look. Will you do me a favor? Go out with me today. Just trust me, we’ll just, go for a walk or something. Down at the park. Just you and me. You don’t have to talk to anyone but me and hell. Maybe you’ll get a tan.

What do you say? Will you come?

My thoughts on an effective monologue and an effective performance are kind of one in the same. In order to understand a monologue you must understand the audience and how they will react to a given written word once performed.

I think a common mistake by actors is they see a given monologue and they believe that it is one note. I see good actors give an otherwise boring yet thoroughly convincing performance simply because they do not understand that they are not performing for the camera, but instead, the audience. They do not understand the emotional arc and how to manipulate their audience both physically and emotionally.

Now I know what you may be saying. "No shit Sherlock." You say that, yet you may be thinking this is simpler than it is. "Just act good." Please, it's not that simple.

A monologue is supposed to have an emotional arc, whether that arc be a build up to a fall, or a frantic roller-coaster of emotion with many dips and many highs and devastating lows.

Let's walk through an example real quick:

Anger:

Oh but you are so perfect! You take every opportunity to tell me when I am wrong! You think I can't make decisions on my own! That I'm going to somehow end up on the street without daddy there to tell me how I fucked up. 

Anger is a powerful emotion. It has impact on you, the person you are angry with, as well as the people around you who are not even involved in the conversation. Ask yourself what happens when you yell at someone. What do they do? 

Most back away, reel back. Especially if you catch them off guard. So if you are in the audience, or behind a desk at a casting, and someone makes you reel back, surprised, that's powerful. You make them take notice. You shake them out of the mundane, day to day, one millionth: "I'm so sad, daddy why don't you like me." Monologues they hear every day. 

I'm not going to be so bold as to say they don't see anger but when you can command their attention the whole way through by taking them on an emotional journey, then you have done your job. The next stop on the journey is the calming stage. You are coming down off your anger now, because you realize you aren't mad at him. You feel bad for him, but there is still some anger there and you can't just let go of it totally.

Calming:

Did you ever stop to think that maybe you don't have life nailed down the way you think you do? I mean, you know what they say about glass houses right?

You sit there every day, judging me. I come to you for help and all I get are those eyes, probing me. Have you ever looked at yourself? Asked yourself...

What happens when you whisper? When you speak low. People come forward, they lean in so they can hear what you have to say. You have their attention now only because you started off so explosively. Let's rate our anger on a scale of 1-10. A 1 is slightly irritated. A ten is spitting mad, your face red and crumpled. In the beginning you are at about an 8, a 9 if you are brave but by the time you get to calming, you have slowly brought your anger down to a five. When you get to the end of the calming state, you should be somewhere along the lines of a 3 to a 1.

In transit between these feelings should be a moment of silence. A moment of reflection for your character. Time to think about what you are going to say. 

What this moment really is, is time for you to gather your emotion for the next scene. Whether you use the Meisner technique, or you pull your emotions from an event or person in your past, this is your moment to gather it.

Surprise anger:

What the hell am I doing here? I mean, if the only purpose of life is to keep on living. To wake up in the morning, eat, sleep, repeat, then why do it!

So now that our audience is leaning in to hear what we have to say, we hit them in the face with a 6 maybe a 7 if you can get there on the anger scale again. Once again you have them reeling back emotionally from the onslaught you are hitting them with. Once again, you are slowly bringing all of this anger down to the moment of emotional bareness. Here is the finale. 

So while you are working your way through the anger scale, tears should be being brought forth. In order to do this, your anger must be about something real. Something or someone from your life that you can associate to this. Once the tears start coming , let them flow. Do not try to control it. Sob if you have to. Many people try to control the emotion. Do not. Allow the emotion to control you.

Your goal is emotional bareness.

Sincerity:

I get sad watching you. Sitting there, watching the world pass by in fucking… 

Emotion has you chocked up, tripping over your words. Look for elipses. They are either lapses in the characters train of thought, or they are tripping themselves up.

Sound bites, on the news, while the real world is out there happening every day without you. All this time. All this pain. Just avoiding life.

This is the moment of sincerity of emotion. You have about 10 seconds max to transition from anger, to sadness. Preferably with tears. Sadness is equal to anger in a lot of ways. Anger is an expression of hopelessness at times. The hopelessness in this case of watching someone you love waste away. Wasting the potential of life because they feel they are incapable of doing anything worthwhile.

Every point in this scene should be emphasized. Pauses used to gather thoughts and emotions should be inserted to increase the tension. When you pause between thoughts, what does the audience do? They listen, they lean in. They wait, impatient, for the next word. Use that impatience to increase the tension. The question that this peice asks of the viewer is: Will the characters come to understand and accept each other for their flaws... Well, will they? That depends on you. Depends on how you chose to play the next part.

So, for sake of argument, let's say that while you are angry, the sadness should show through. The voice should be calling out in anger, but the face should show the despair you feel over feeling helpless.

What is the audience doing? If we have taken them on this roller-coaster ride, they should be right there with us, wanting to share in our sadness.

At the end of this scene we have a moment to think once again. To wipe our tears, maybe even laugh at ourselves. Look at the mess we've mad of ourselves. We haven't cried like this since we were kids. You take a deep breath and look at the man, wasting away and say:

Hopeful:

Look. Will you do me a favor? Go out with me today. Just trust me, we’ll just, go for a walk or something. Down at the park. Just you and me. You don’t have to talk to anyone but me and hell. Maybe you’ll get a tan.

What do you say? Will you come?

You have just taken your audience on a journey. Led them through a story that has an end. A complete three act within just a snippet of time. They still have questions. What did the father say? Did they go for their walk? Did they come to understand each other?

These questions are good, it shows they were paying attention.

So what is essential to a good performance? A knowledge of how the audience will react when confronted by a particular sound, volume, or emotional cue. How do you sharpen this knowledge?

That will be a topic for next time.

I hope you enjoyed this entry and that this helped open your mind a little.

The Erosion Of A Man - Drama Monologue

T H E   E R O S I O N   O F   A   M A N

BY Paul William Fassett

You call me weak. Maybe you're right. You all think there's something wrong with me. You always have. Maybe you're right. Even as a kid. Let me finish. Even when I was little. 

I said let me finish!

You fucking people... You women wear men down. Chip away at us like a river through a fucking canyon and it's not enough that I'm worn away to dust, you keep taking and taking and you make it look like it's my duty to give. 

It started with mom. She did a number on me. That evil bitch of a teacher I had when I was in fourth grade. You remember her? Mom swallowed every stupid thing that woman said about me. She said that she thought I was disabled. She meant retarded. Mom came home and told you three and that was my new nickname. Retard.

Laugh. Go ahead and laugh. It's funny. I grew up thinking there was something wrong with me. I always second guessed myself. Looked to you and Mom for approval and here I am, still begging for it.

I'm glad she died and don't give me that: "She's your mother." bullshit. An asshole is an asshole, regardless of title.

Remember my Kung Fu teacher? The one with the toupee? Mom made me take a martial art because she was tired of me getting picked on. You remember how you used to fuck with me Sherry? You remember how you would pretend to be sparring with me when I would get home, slap box me and shit. Knock me fucking silly. Embarrass me.

Well we were at the dojo and everyone had left so me and Sifu worked together on my forms because I had a belt test coming. Mom called and asked: "You ready to go?" I thought for a minute. Do I want to go home? Because Sherry is going to start beating on me, Mom is going to lecture me about reading more and the rest of you are just going to gouge away, so I said fuck it. I'll stay.

We worked on my forms, and he stepped down on my thigh so I would get deeper into a horse stance and when I couldn't get any lower he would grab the muscle and say: "Flex." but he didn't need to tell me to flex because I was already tense. Everytime he'd grab me my body would seize up. Soon I relaxed and he relaxed and when he asked me to pull my pants down so he could look at my legs, I didn't think anything of it. When he asked me to take off my underwear, I knew something was wrong but he was strong and I was weak so I didn't disobey. I kept thinking: "Stop thinking so much. This is some kind of test, just go with it."

Before I knew it I was lying on my stomach, trying not to cry, clinching my teeth, imagining I was somewhere warm, that the stabs of pain were an ocean wave washing over my back, that my tears were just spray from the ocean bubbles popping on my face. I learned that night that if you concentrate hard enough you can create pressure in your ears and the world sounds like the ocean, so I concentrated and his grunts went into a tunnel and it was like I was being tossed around inside a wave, unable to breath, suffocating, every tiny breath of air making me more aware of the pain.

I passed out at some point and I just remember being in the car, a gentle reminder and a hand on my knee telling me that no one could know what happened. I bled. I bled for days and you made fun of me for being in the bathroom so long. Said I was jerking off. You had no idea because you never looked! You never asked. You didn't care...

All the guys in my class used to joke about Sifu. They knew what he used to do to other kids. They thought it was funny. Something to joke about in the locker room. I read in the newspaper they arrested him recently and I cried. I cried for an hour, sitting on the floor, clutching the paper, all the while feeling guilty for feeling like that. Because who was I to cry? I let him do it! 

Some kid spoke out, against all of his better instincts, against all his fears of ridicule and now the bastard is in jail.

I keep thinking to myself, why didn't I tell you, tell mom? If I told someone, they would have stopped him. Put him away. I let him get away with it, so all those kids he raped, I helped him get away with it by being silent. I was complicit.

You helped him too, by eroding me to an emotional nub, you are just as guilty as I am.

The Camping Trip - Villain Monologue

T H E   C A M P I N G   T R I P

BY: Paul William Fassett 

Yeah, my wife gets around. She gotten around to just about every house on the block. That's why I don't sleep with her anymore. It would be like raw dogging it with a prostitute. Don't know what kinds of exotic STDs you could get from that thing. As if it weren't bad enough my kids tore that thing up coming out of her, now I got every guy with half a hard on wearing her out like hobo with a dumpster coat. Don't look so surprised Brad. Everyone knows my wife has been sleeping around. The neighborhood knows it. I know it. You know it...

I can tell by the look on your face you're angry. I would be angry to if someone was bad mouthing my girlfriend.

Now you look confused. Well, allow me to clear things up for you, Brad. You have been fucking my wife.

You think that I didn't know? You thought this camping trip was your idea? You thought we would come out here, act like best pals, and you would break the news to me gently? You might have even prepared yourself for a little fist fight. We would wrestle around, hit each other a couple times and at the end we would hug it out. Best friends forever, bros before hoes!

Sit the fuck down!

I'm the one with the axe, Brad. So listen.

Did you think I was just going to let you run away with my wife, live in my house, raise my kids! And I wouldn't do anything about it! I thought you knew me Brad. Hah! I thought we were close.

Don't run away Brad. You're just making this hard on yourself!

Penicunt - Comedy Monologue

P E N I C U N T

By: Paul William Fassett

Penis... Let the word swirl around in your head like mouth wash, then spit it out.

What a sterile sounding word, right? I prefer cock! 

Wait, that came out wrong. I mean it's a word with a little punch is all. You can almost imagine your dick with a feather mohawk and a beak clawing the eyes out of some other cock. It's a masculine word. That's the problem with society today. People are becoming walking pussies by words that are supposed to describe their fun bits. Even words like cunt. You think cock has punch, try calling someone a cunt. That's like a hard right hook to the jaw. Words create visuals, especially the ones people are afraid of. When I hear cunt, I think of a huge pot hole in the street filled with oily water, surrounded by dead birds.

Pussy though... Now that's a word I can get behind. Like a fluffy cloud floating in a big blue sky, all alone, made yellow and orange by a low hanging sun.

When I think of vagina, though, I don't imagine a warm wet playground like I would like... No. I think of some obscure village in Romania that raises sheep whose number one export are wool pelvic wigs. It's sterile, too clinical a word to be sexy.

Don't believe me? Then let me prove it. Close your eyes for just a moment and imagine this. Your girlfriend is laying on her back, naked, ready to... Receive you... She pulls you closer and whispers into your ear: “I want you to insert your penis into my vagina.”

I think it's safe to assume you would be a half mast sailboat floudering in the water hoping for a wind to take you far far away. So the point is, political correctness is great and all, but leave my genitals alone, unless you plan on knocking them around a bit.

Just don't call it a fucking penis.

Null Object Pattern - Dark Villain Monologue

This is a snippet from a story I am working on called Null Object Pattern. Works as a sort of weird monologue and should hold a casting directors attention.

N U L L   O B J E C T   P A T T E R N

BY: Paul William Fassett

You don't matter. I wouldn't shed a tear for you no more than I would shed a tear for the millions that died in the Holocaust. Now I don't deny it was a tragedy, I'm not a complete monster. There's just no emotional attachment there. I didn't know anyone that died there so how could I weep? 

After all, people cry more for dead pets than they do the deaths of people they never met.

Just yesterday I was coming home from work and through my windshield I could see a bunny, or a rabbit, (hard to tell the difference). It was white, with pools of blood gathering at its matted fur. It must have gotten hit by a car maybe, I don't know. It was limping, bloodied, up to the curb dragging an injured leg behind it. 

The curb was too high for it to climb but it tried nonetheless. Over and over again. Failing each time. Smacking up against the curb flatly, then falling back until it finally just laid there, breathing heavily, ready to accept death. 

But death never seemed to come... 

It just kept on breathing, and breathing, and blinking, and breathing, and breathing. Blink, expand, contract, expand, contract, blink... 

I watched unable to move, unable to think of what I could do, aside from watch and feel sadness for the pitiful little thing. His blinking became slower, his breathing shallow, until its body shuddered with a coughing fit. Slowly its chest rose, and deflated. Mouth dropped open, eyes stared ceaselessly at me, as if pleading. Pleading for help, or comfort, as if I should run from my car, cradle its head and shout up to the dark sky: 

“No! Not this one! You can't have him!”

I didn't posses the power to do anything, and it didn't matter... It was a dead thing, and didn't matter...