Objective: To get permission from Coach Babych to interview members of the football team and/or himself.

Super-Objective: To use the material towards becoming a respectable journalist.

Outcome: Coach slams the office door on him.

JEFF is in the school hallway trying to keep up with COACH BABYCH, who is ignoring him, while avoiding the various students trying to make their way to class. He constantly moves around COACH BABYCH while talking.

JEFF: Hey, Coach Babych! I was wondering if perhaps you could spare a few minutes to answer some questions about the upcoming season? Or if not, then maybe you could have some of the players take the time to answer a few? Please Coach; it wouldn’t take very long. I can take time out of my schedule if it’s more convenient for your guy--uh!

JEFF is knocked to the ground as a jock walks through him with any concern. COACH BABYCH keeps walking without looking back.

JEFF: Coach wait up!

JEFF picks himself up and sprints to catch up.

JEFF: Look, I know my last piece was a little harsh, but you guys lost by a rather significant margin, would anyone have disagreed with my assessment? OK, saying the offence would have had trouble against a junior high defense was going too far, but I promise that this article will simply focus on the outlook of the new season. It will be like any other preview for a prospective squad and will focus on the potential. I could even profile the captains if you like.

They arrive at COACH BABYCH’s office. COACH BABYCH unlocks the door while JEFF continues with his plea.

JEFF: This is just good business Coach, you need the coverage, your guys need the coverage, and I’m willing to do the job. Come on Coach, what do you say?

COACH BABYCH slams the door shut.

Ayden & Molly Monologue

To get Molly to forgive his mistake in order for her realise why he kept Daniella a secret
Outcome: Molly realises how much Ayden needs her during this difficult time.


MOLLY: Why did you hide the fact that you have a daughter from me?

AYDEN: I really [did not mean ...]

MOLLY: (Interrupting.) I can’t believe you broke your promise to Rayann. She made one simple request from you and look what you have done. I can’t even look at you right now.

MOLLY runs into the bathroom and locks the door.

AYDEN: (Following.) Please don’t hide from me. Molly, I can’t stand to see you mad. You of all people should know that I never meant for any of this to happen. Do you really think that I went out specifically looking to break my promise to my wife? I loved Rayann more than humanly possible – especially for someone like me. I have been a wreck since she (pause) passed on. (Taps on door.) Molly, please. Could you open the door – for me?

Pause.

Molly, I can’t –You are – I need – Fine then, stay in there!

MOLLY cries softly behind the door.

Pause.

I’m sorry, I didn’t mean to yell.

He lines up his body up to be exactly in the centre of the door and sits down with his back straight against it.

(Sighs.) Molly, I want you to believe me when I say that this was an accident. I hope you don’t think that I am proud of the fact that I have a ... a ... daughter. I think her mother drugged me when we met. I had no idea Julia and I had done anything like that together, let alone that this girl existed. Then sixteen years later, she comes knocking on my door trying to tell me that I am her ... her ... father. I was as shocked as you are now. I am not happy about it, I promise you that. I figured that if I ignored the child, she would go away. I guess I was wrong. I don’t even know what to do anymore. I didn’t mean to hurt you, Molly.

The door unlocks and Molly steps out.

CHARLES KENNARD SUPERDRAFT MONOLOGUE by NATHAN

Objective: To convince his best friend to stay in this town. Superobjective: To leave the town safely. Outcome: he suceeds.

CHARLES: No, we can’t go. No. Dont you see? If we leave now, the entire village will think that we killed those men. Two mysterious strangers show up, and people in the village start getting killed, and then the two mysterious strangers disappear? How long until you think they’d find us? Our caravan isn’t fast, even if we did have horses! But lets assume we’d steal a horse. I mean, we can’t buy one, we have no money, and if we stole one, well, that certainly makes us look all the more innocent doesn’t it. We have to stay.

I know that you are concerned that we might be next, but there is no guarantee. This is the only chance we have. Here’s what we do, we lay low, and we stick together. If we need to go into the village, we go in the early morning, and then come back here. I didn’t want to mention this, but we have to start thinking about this from the murderers perspective. He has the perfect opportunity to blame this all on us. The town hates us as it is. I’d suggest we start going to church, but that good Father scares me a hell of a lot more than any murderer. To tell you the truth, this whole town gives me the creeps. I’d rather not stay, but now that we’re caught in this trap, the best thing for us is to just play along. I suspect we are caught up in something that is way over our heads. Have you noticed that Rabbit is the only woman in the village? I’m not making this up. Name one other woman that you saw or talked to. You can’t can you? Either we’ve got a town full of the shyest housewives I’ve ever seen, or something else is going on. I’ve got a really bad feeling about this. Why haven’t we even heard of a town of this size? Why didn’t we see any signs for it on the road? Do you understand the gravity of what’s going on here. I just...

(takes a few calming breaths. Sits down with his head in his hands)

I just think the best thing to do is wait. We need to be very quiet, and just watch and wait. And try and figure out how to get horses. If we have horses, at least we have the option of leaving when we want to. Horses... Although...Now that I mention it, I don’t recall seeing any horses in the village either...

Monologue Second Draft

Objective: To goad a silent, indifferent companion into conversation.

Super-objective: To determine how alone he really is.

Outcome: DAN is unresponsive, completely shuts out JAMES.

James is sitting in a bucket seat in front of a console covered in dial, lights, screens and knobs. His feet are carelessly propped up . He leans back, staring out a window at a starry sky and a bright round object which could be earth or the moon. Dan crouches on the floor, repairing a spacesuit.

JAMES: Dan.

Silence.

Dan?

No answer.

You know that irritating either/or fallacy that starts with, “There are two kinds of people in the world?” You know what I think? It starts with this curious, unchallenged premise: everyone, every single person in the world, holds a metaphorical glass partially filled with liquid. This stuff, obviously, symbolyzes the life of that individual. Why the glasses are never filled to the brim or completely empty, I don’t know. It seems arbitrary. One man - Man, Everyman, whatever - looks at his glass and unquestioningly accepts the fact that his life happens to be in liquid form. He’s just glad that it’s not empty, despite his stumbles and attempts to drink it to the dregs. He says, “My glass is half full; I have another chance at life.” This man’s optimistic reaction is generally admired by the the rest of us tipplers.

Another person, a . . . woman, let’s say, in the interests of equity, tilts her glass against the light, and sees only what has been drained away from her. She wonders what she’ll be left with at the end of the day. She complains, “Who spilled this? My glass is half empty.” This woman’s attitude is not excused. She’ll be encouraged to swirl the liquid around in the glass till she sees a second chance floating there and then tie her life up neatly into a happy ending so we can all toast each other.

Dan, you’re one of the first types, I think. You don’t seem to care what glass you’ve been handed.

Me? I want to know what the heck I’m drinking, anyway.

DAN is putting the space suit on.

(Raising voice) Look at you, you just stand there and humour me. What, are you waiting for me to talk myself into a corner, give up and fall into line with the rest of you glass-half-full dupes? Wait for it then.

DAN exits through an airlock.

(More quietly) Why do I have to drink this stuff at all?

Super Draft: Victor Monologue

Objective: To get the administrator to start giving equal rations to the sick and old
Super-objective: in order to prevent a citizen uprising, resulting in anarchy
Outcome: The administrator recognizes Victor’s case and makes amendments

An undersized office in an enormous warehouse building

VICTOR stands before the ADMINISTRATOR, who is sitting at his desk staring hardheartedly at his visitor

VICTOR

Thank you for seeing me sir. I’m here because I want to talk to you about the current state of affairs regarding ration distribution. Now, I know that our current living conditions don’t allow for much leeway, but you are denying the sick and the elderly the food they are entitled too. Without it, they will surely die. (Sternly) You may think you’re making a wise sacrifice here, but I guarantee you that this will not turn out well.

The ADMINISTRATOR glares irritably at VICTOR. VICTOR notices his temper rising. The ADMINISTRATOR opens his mouth to speak, but VICTOR cuts him off

Let me rephrase that.

The ADMINISTRATOR closes his mouth, acknowledging VICTOR’s final chance to speak

(Clearing throat) It’s not just the sick and elderly who are upset, all the people are growing suspicious and hostile towards you and your enforcers. They’re losing faith in your ability to hold control over the compound. While you may have made the compound into what it is now, that doesn’t mean the people will accept all of your decision without question… especially when lives are on the line. There is even word that if things continue like they are, people are going to revolt against you.

The ADMINISTRATOR’s eyes flare with shock and displeasure

Between your authoritarian rule and anarchy, you and I both know which is the better choice. Unfortunately, an angry mob won’t know heads from asses once they are riled up. For what it is worth, I suggest you give the people what they want and deserve, and for right now it’s the food they deserve.

VICTOR looks at the ADMINISTRATOR for a response. The ADMINISTRATOR thinks for a moment before he nods in concurrence

That’s all I needed to say, thank you for your time. (Turns and starts to leave, but stops at the doorway) (lightheartedly) Don’t give up on the people and they won’t give up on you.

Monologue - Superdraft

Objective: to get Tye to agree to come travelling with her.

Super-objective: in order to not feel tied down.

Outcome: Tye doesn’t join her; she goes off with Jessie.

TYE is sitting at a desk covered in watch parts and is focused entirely on his tinkering. He doesn’t turn around. NATCH enters and talks to TYE’s back.

NATCH: Sometimes, Tye, I wonder why we stick around this place. Everyone around here wanders through their blind little lives, and hardly any are interesting. Maybe we should move again. Find new people. Jessie seems like he could handle it. We could take him with us and start over. What do you say?

TYE makes an impatient gesture and keeps working.

Come on, when was the last time we were out on the road? I can barely remember. You never have any fun these days. With you, it’s always work, work, work. You care more about those damn watches than anything else. I want a change, I want to get out of this house, away from these little people. I want to see people like us again. I’m sick of being the only ones.

Come with me. It’ll be fun, like the old days. You can set up shop or whatever. You could do locks again; you liked those. I think you’ve worked on watches for too long. You’ll go mad here on your own, with only that ticking in your ears. Maybe that’s what you’d prefer. God knows you tell me to be quiet often enough. It’s not right, you know. This place is stifling, you must feel it. I don’t want to leave you here, but I will if I have to. I’ll take Jessie and we’ll go. You’ll be all alone with no idea when I’m coming back. You wouldn’t have to tell me to clean up, or quiet down, or to control myself. You’d like that. And I could do whatever the hell I wanted. Can you imagine that? Me, loose on my own? And only little Jessie to reign me in. That should give you nightmares.

Maybe you’re waiting for me to go. You should’ve just left if you wanted to be alone all this time. Too attached to your clocks, I guess. Are you bored? Is that why you’re always buried in gears? We’ve been living here too long. Nothing left to surprise us. Goddamn it, nothing surprises you anyway, so why should it matter? (Pause) No, wait, I get it. You’re bored of me, right? You got so used to knowing what’s happening and what’s going to happen, that you actually became bored of me. I’m too unpredictable for you, and you don’t like not knowing. Anyone else it’d be the other way around, but not for old Tye! No sir! He likes things his way and his way only. No flexibility for Tye; he’s as rigid as the watches he works on.

NATCH approaches TYE but doesn’t touch him.

No room for someone like me. You probably can’t even hear me over that ticking, can you?

Draft 2

Objective: Trying to get the liquor store man to give her alcohol for free because she is a regular customer.
Super-objective: She wants to get drunk to forget her son and her problems.
Outcome: She dashes out of the liquor store with the wine.

ACT 1
In the liquor store Candace frequently goes to. She is trying every method she knows to convince the store worker to give her free alcohol. It is about two in the afternoon.

CANDACE: No, I was going to pay. I really was!

Removes two bottles of wine from the bottom of her pants.

I like your shirt. Buttons are sexy. You’re so... muscular.

Thinks for a moment, unzips her jacket, and slowly takes it off.

You don’t see a body like this one every day, do you?

Runs one hand down her side, still holding the wine bottles in her other hand. She stares into his face for a while, and then suddenly realizes that he isn’t turned on by her.

Okay look. I need this wine okay? It’s just two bottles, and it’s the cheapest kind.
This liquor store makes so much money every day that no one will notice if these bottles are gone.
Besides, you don’t even run the store. The manager will never find out. I think that as a regular customer, you owe it to me to treat me to it this time.

She pauses as she sees him pick up the phone and begin to dial.

I can pay you back eventually. No, I really will.
Listen to me. When I get my next Welfare cheque I’ll pay you first. Personally. I’ll leave cash on your doorstep!
Don’t look at me that way. I’ll pay you back if I say I will.
Here, take this as collateral.

She places an expired credit card on the counter as well as a cheap, knock-off Rolex watch.

You sit here, and every week you exchange my money for something that will disappear in just a couple of days. Why don’t you just give it to me!

She glances toward the door.

Thank you darling, I knew you’d let me.

CANDACE dashes out of the liquor store with the two bottles and runs head on into two police officers who are just about to enter the store.

Monologue Final Draft.

ANNE:

Rae, please. Just listen to me, okay? Please don't cry, just listen and let me say this. I am NOT crazy. Okay? I am not crazy. Shh... Don't cry, baby girl. This is not your fault.

I fucked up, okay? I fucked up and I am taking the blame. It is going to cost us a lot of money but I am taking full responsibility. I told them it was all me and that you guys had nothing to do with it.

I told them that you kids and your dad didn't know anything about what I was doing. I told them who I was involved with and that I never brought anything into the house. It's going to be okay, I took care of everything. And you know what? I didn't know until I got there that this was all real and that I was right about everything. When I went in and gave my statement, I could tell that they had heard those names before. Maybe I'm a sell-out but I did what I had to do. Now I need you to do the same thing.

Don't say anything, just listen. I need you and Thomas to go down to the police station and just tell them you want to give a statement. Are you listening? Tell them you want to give a statement and then tell them that you don't know anything about what my friends and I have been doing.

Tell them you have never seen drugs in the house and you have never heard me talking about it. That's all you have to say. Just give a statement. If they ask you any questions just tell them you want to speak to a lawyer. Okay? Come here so I can give you a hug, baby girl... I just need you to do this for me, okay? I know you think I'm crazy but I'm not, okay? I promise. I'm not crazy.

Monologue Final Versions

Please post the final versions of your monologues here...