“So, you’re saying I shouldn’t really have sex. I should just say I had sex with someone. A girl.” from the film “Easy A”. Brandon convinces Olive to fake having sex with him. 5-6 Min.

Olive enters her bedroom with Brandon in tow.

OLIVE
Welcome. This is where the magic happens. And as you well know, by “magic” I mean nothing.

BRANDON
Do you want to go out with me?

OLIVE
What?

BRANDON
Well, I mean, do you wanna be…my girlfriend?

OLIVE
(BEAT)
Uhhhh, Brandon, just a couple hours ago you told me you were “Kinsey 6” gay.

BRANDON
True. But you said I should pretend to be straight, so…

OLIVE
Yeah, I didn’t mean with me. I mean, you’re a nice guy and all, but you’re not really… uhhh …my type.

BRANDON
Yeah, you’re not really my type either.

OLIVE
Yeah, I know that. I got that “V” where you’d rather see a “P”.

BRANDON
Do you wanna have sex with me or not?

OLIVE
Oh my God, dude! Wow! You completely missed the point of that! That is not what I was saying at all!

BRANDON
No, I know what you were saying is that I should just act straight until I get out of this hell-hole and then I can be whoever I wanna be, I – I get that.

OLIVE
And you know I really didn’t have sex with a college guy, right? I just told everybody I did.
(BEAT)
Or, actually, I told one person I did and…you know how these things work. It’s like a wildfire.

BRANDON
So, you’re saying I shouldn’t really have sex. I should just say I had sex with someone. A girl.

OLIVE
Yes! Yes!

BRANDON
Mmmm.

(Suggesting that she should be the “girl”)

OLIVE
Ohhh, no.

BRANDON
Wha…

OLIVE
Oh, no, no, no, no. No, no!

BRANDON
Just…please?

OLIVE
No. No way!

BRANDON
Please?!

OLIVE
No way! Absolutely not!

BRANDON
Think about it! Think about it! We could help each other out!

OLIVE
NO!

BRANDON
You wanna maintain this…floozy façade. I don’t wanna get pushed into shit every day. It’s a winwin-win.

OLIVE
How do you know I like being thought of as a floozy?

BRANDON
Because at least you’re being thought of. Just one good imaginary bonk.

OLIVE
You are on crack! Alright. And not the good kind.

BRANDON
Look, it doesn’t have to be a bonk. It could be anything. It could be an imaginary butter bean, lemon squeeze, cowbell…

OLIVE
I don’t know what any of that means.

BRANDON
Well, that’s cause you’re a virgin.

OLIVE
Okay, you know what? This is not the answer at all.

BRANDON
I’ll pay you. I’ll pay you whatever you want!

OLIVE
I don’t want your money, Brandon. Why don’t you just do what I did and make someone up?

BRANDON
Who’s going to believe me? Hmmm? Look, you don’t understand how hard it is, alright? I’m tormented every day at school. It’s like I’m being suffocated. And sure, we can sit and fantasize all we want about how things are gonna be different one day, but this is today and it sucks. Alright? And there’s only one way around it, and you were smart enough to think of it, so please just help me. ‘Cause I can’t take another day of this. I don’t know what I’ll do.

OLIVE
(Relenting)
I don’t do anything half-assed, alright? It’ll have to be a public event. Melody Bostich is throwing a party tomorrow night. All of your tormenters will be there. You and I are going together, alright? You have to do everything I say, and tell everyone that I am sensational.

BRANDON
Thank you thank you so much for doing this!

OLIVE
Just…just make sure you’re ready to live with the consequences.

Brandon nods.

OLIVE (CONT’D)
What the hell is a lemon squeeze?

BRANDON
It’s like a backwards melon bag.

OLIVE
Why don’t I know any of this?

“You know — you’re not as vile as I thought you were.” From the film “10 Things I Hate About You”. Patrick takes care of a drunk Kat, and they learn more about each other. 5-6 Min. 

Patrick marches Kat around the yard, holding her up.

KAT
This is so patronizing.

PATRICK
Leave it to you to use big words when you’re shitfaced.

KAT
Why ‘re you doing this?

PATRICK
I told you.

KAT
You don’t care if I die.

PATRICK
Sure, I do.

KAT
Why?

PATRICK
Because then I’d have to start taking out girls who like me.

KAT
Like you could find one.

PATRICK
See that? Who needs affection when I’ve got blind hatred?

KAT
Just let me sit down.

He walks her over to the swingset and plops her down in a swing, moving her hands to hang onto the chains.

PATRICK
How’s that?

She sits and looks at him for a moment with a smile. Then FALLS over backward.

PATRICK
(continuing)
Jesus. You’re like a weeble.

Patrick rushes to right her, then starts pushing her on the swing to keep her entertained.

PATRICK
(continuing)
Why’d you let him get to you?

KAT
Who?

PATRICK
Dorsey.

KAT
I hate him.

PATRICK
I know. It’d have to be a pretty big deal to get you to mainline tequila. You don’t seem like the type.

KAT
(holding up a drunken head)
Hey man. . . You don ‘ t think I can be “cool”? You don’t think I can be “laid back” like everyone else?

PATRICK
(slightly sarcastic)
I thought you were above all that.

KAT
You know what they say.

He stops the swing.

PATRICK
No. What do they say?

Kat is asleep, her head resting against the swing’s chains.

PATRICK
(continuing)
Shit!

He drags her to her feet and starts singing loudly.

PATRICK
(continuing)
Jingle Bells! Jingle Belles! Wake up damn it!

He sits her down on the slide and shakes her like a rag doll.

PATRICK
(continuing)
Kat! Wake up!

KAT
(waking)
What?

He sighs with relief.

PATRICK
I thought you were…

(BEAT) (Stares each other in the eyes for a moment)

KAT
(continuing)
When you were gone last year — where were you?

PATRICK
Busy.

KAT
Were you in jail?

PATRICK
Maybe.

KAT
No, you weren’t.

PATRICK
Then why’d you ask?

KAT
Why’d you lie?

He doesn’t answer, but instead, frowns and turns up the music. She bobs her head drunkenly.

KAT
(continuing)
I should do this.

PATRICK
Do what?

KAT
This.

She points to the radio.

PATRICK
Start a band?

KAT
(sarcastically)
My father wouldn’t approve of that that

PATRICK
You don’t strike me as the type that would ask permission.

She turns to look at him.

KAT
Oh, so now you think you know me?

PATRICK
I’m gettin’ there.

Her voice loses it’s venom.

KAT
The only thing people know about me is that I’m “scary”.

He turns to look at her — she looks anything but scary right now. He tries to hide his smile.

PATRICK
Yeah — well, I’m no picnic myself.

They eye each other, sharing a moment of connection, realizing they’re both created the same exterior for themselves.

Patrick pulls into her driveway and shuts off the motor. He looks up at her house.

PATRICK
(continuing)
So what’s up with your dad? He a pain in the ass?

KAT
He just wants me to be someone I’m not.

PATRICK
Who?

KAT
BIANCA

PATRICK
No offense, but you’re sister is without. I know everyone likes her and all, but …

Kat stares at him with new admiration.

KAT
You know — you’re not as vile as I thought you were.

She leans drunkenly toward him.

Their faces grow closer as if they’re about to kiss… And then Patrick turns away.

PATRICK
So, I’ll see you in school

Kat stares at him, pissed. Then gets out of the car, SLAMMING the door shut behind her.

Phillip Lewitski Photo by Benjo Arwas

Actor Phillip Lewitski of Hulu’s Utopia Falls doesn’t leave any stone unturned. He takes his job seriously, as we all should, but even he has times where he’s just not feeling his character.

What if you’re feeling that disconnect the moment you’re called to set? What can you do to quickly get into your character’s head to bring you back to the level of professionalism that’s required and expected of you?

Phillip Lewitski shares his secret with us and gives us great insight as to how he operates as an actor.

(If you’re just becoming familiar with Utopia Falls, it’s the first ever Sci-Fi Hip-hop television series, created by R.T. THORNE (Blindspot, Find me in Paris). It is prestige television for a new generation of young audiences who are culturally diverse, socially and politically minded, and are motivated to see themselves and their issues represented on screen.)

On Hulu’s Utopia Falls, you portray Apollo, a quiet and calm natured dreamer who works as a mechanic and brings his musical talents through drumming to the show. Tell us about your audition.

When my agent first called me about this role she told me they were trying to cast most of their leads as locals but couldn’t find anyone for this particular role. They opened up casting to Los Angeles, Vancouver, New York, Montreal and Toronto.

It all started with a self-tape. I remember when I first read the breakdown it was nothing like anything I had ever read before. It wasn’t a pilot – it got pushed straight to series — so I knew something about this concept was obviously working. They were pretty general when speaking about the show during first rounds of auditions. They just wanted to see faces and people’s interpretations of the role.

As always I read the character description but didn’t read it religiously. I always like to put myself into the role rather than trying to put the role into me. Everyone out there is going to try and be what the producers are asking for as far as character goes so why do you think that’s going to set you apart? There is only one thing you can do to guarantee that you will be set apart… use what you already have. Yourself. There is no one out there on planet earth like you so use that to your advantage. Of course, you should use elements of what they are asking for in the character but your spirit should always remain you or else they will see right through the façade you are trying to put on. If they don’t catch it, the camera will, the camera is a lie detector and never misses anything. If they miss it the first time, I promise you they will see it when they go back and review.

The casting process for this show was pretty extensive. They had quite a few rounds and actually had me read for two different roles. They watched my interpretation of one role and saw that my energy might work better for a different role so they had me read for that. If I was to mold myself into what I thought the producers wanted for that first role they wouldn’t have seen that side of me that was perfect for the other role. I try to be as flexible and free as I possibly can so they can shape me into what they need. I have always seen casting directors as partners in this industry. So many actors fear casting directors and think they are there to watch you fail when in fact it is the complete opposite. Your success is their success when you do an amazing job and that gives the producers something to work with — it makes the casting director’s job easy. They want you to succeed just as much as you want to succeed so in knowing that, it takes a lot of the pressure off and creates a healthy relationship between you and the casting director.

I don’t know if this is a superstition of mine or not but when I tape for a role and they call me in and then hopefully ask for a callback and then a screen test or chemistry test, I always wear the same thing as the first time they saw me. I don’t like changing anything that’s working. I digress, going back to Utopia Falls being that it was a lengthy process I made sure I stuck with what I had done. When I leave a casting studio in my mind it was like I never went in. That’s the only way I’ve been able to keep my mental sanity throughout this journey. This method becomes a lot harder to abide by when you get called in many times for the same role. It is hard to not get attached to the show and the role and the people involved.

Towards the end of the casting process for this particular role, the director and producer were in the room via a video conference call. When we started talking story and character and the direction they were wanting to go in I felt my heart becoming very attached to this project. I let that passion show in my eyes in the room but the second I left it was like that conversation never happened. It was only weeks and weeks later that I received a phone call from my agent with the offer. It was only then that I would allow my mind to be consumed full time by everything I had been through for this role.

Phillip Lewitski Photo by Benjo Arwas

Phillip Lewitski – Photo by Benjo Arwas

Did you make up a backstory for your character or was it given to you?

I become pretty obsessed with the mind of my character when I approach one so yes, a backstory for me is a must. I answer all questions that I could ask anyone about themselves and make sure I have an answer to them for my character. As military as I am with my prep, as soon as I arrive on set I always drop everything I prepared, I drop the blueprint. I never hold onto any strict way of doing or thinking about anything because then I am not free to play with the actors across from me or take direction from the director. I trust that everything I worked on is in my subconscious and will show up if need be.

I also have an amazing support team that I can call on if I need help mentally getting somewhere. I remember I had this one scene where I had to get really emotional and I did all my prep before arriving on set. I spent most of the day alone in my trailer so that I could be focused and ready for that scene. Then one of the AD’s came knocking and told me they needed me on set. I was shuttled to set but when I arrived and was waiting in the green room, I felt like I had lost it. Something just wasn’t there. I didn’t panic because I had a backup for these kinds of situations. I had messaged one of my coaches who was currently across the country from me and told him I might need his help later. Fifteen minutes before they needed me on set I called him up and he knew what I needed. He knows me so well that within five minutes he had hit every trigger I needed and I was at the brink of tears. That was exactly what I needed. It’s a reassuring feeling when you know that if all else fails you have a backup plan because when cameras roll, cameras roll and you can’t hold up production.

Utopia Falls has a large cast. What’s it like interacting with so many people?

There can be a lot of drama on some of these sets with a younger cast especially working on a TV series because the shoots are so long, so there is plenty of room for people to create trouble. Luckily from the first table read for Utopia Falls I instantly got the vibe that the whole cast was going to get along quite well. Halfway through reading the first episode, the chemistry between all of us was electric.

When we started socializing after and got a tour of the sound stage it was an instant connection. We really felt like we were in that world and we knew we were about to start a long rollercoaster of a journey together. Things definitely did get pretty hectic as the months went by. There are all sorts of stresses on set, time restraints being one of them, organization, transportation. There were some days where we had hundreds of extras and double the crew with a six-camera set up for big scenes. As chaotic as it seemed at some points we all had the same end goal and just kept working towards it.

Our call times were all over the place but being that we are an ensemble cast we had a lot of scenes together so were on set as the group of us most of the time. There were times where we had smaller group scenes or one-on-ones but the whole cast got along so well that it was always a blast shooting with whoever. Sometimes we had call times as early as 3am. When we had night shoots we could have call times as late as 11pm so that we could shoot all through the night.

Phillip Lewitski Photo by Benjo Arwas

Phillip Lewitski – Photo by Benjo Arwas

You have seven siblings. Was it chaos growing up?

There are eight kids in total including me. My Maman and Papa always wanted a big family and even dreamed of having seven siblings but to their surprise my Maman’s last pregnancy ended up being twins. My Maman always said that she knew she wasn’t done having kids because during her years of mothering she would have all of us in one room and would hear a distant baby crying even though all of us were right there with her. She knew that that was God’s way of telling her she wasn’t done. After she had the twins she never heard that cry again. Yes, we all lived together in peace and harmony for the most part. Of course, it wasn’t perfect but we all got along quite well. We were homeschooled so we were sort of forced to get along considering we were all we had. We became best friends.

I am the second oldest. My older brother and I were the best of friends and did everything together. There was this one time when he was in the basement playing a video game and I was upstairs. He shouted up to me because he wanted to show me something but I didn’t respond. Instead, I just ran down to see. He thought I didn’t hear him so he started running up the stairs to get me. He had his head down I had my head up and as we turned the corner halfway up the staircase our heads collided. His forehead into my mouth. It was a bloody mess. My two front teeth were knocked out. One was still hanging from my gums. My mom ran down to see what happened. She immediately grabbed my tooth off the ground and put it in her mouth only to later on find out that the technique of putting knocked out teeth in your mouth to keep them alive only applies to adult teeth.

So after she tosses a bloody baby tooth in her mouth she carried me to the sink to try and see what was going on inside my mouth. Meanwhile, my older brother is on the phone with the ambulance freaking out. Long story short I ended up dislocating my jaw and lost both my front teeth way too early. The dentist was able to put the one that was hanging from a thread of gum back in but sadly a week later it died and turned black. I was stuck with a dead tooth that had already healed back into my gums and a big empty gap. My childhood pictures aren’t the prettiest but it made for a good story.

You were home schooled. Home schooling allowed you extra time to study theater and drama studies, but how did you do that if you were at home? Isn’t it difficult to study drama from home?

We were all homeschooled most of our lives but it got to a point after the twins that my Maman just couldn’t do it on her own anymore. So she put some of the older kids in school including me. I went to a self-taught school so that I had the flexibility to audition while keeping my grades up. Essentially it was a school that had the concept of homeschooling but teachers and a faculty who were there to assist you when you did have time to attend.

Considering I was homeschooled most of my life I think it helped keep my creative muscles alive. A lot of us lose that creativity when we go to school because it is so structured. My Maman always made a point that each of us had one hour of creative time separate from each other every day. My Maman put me in a theatre production when I was a kid so I would practice my lines or create different characters during this creative time. I have always been obsessed with Joker so I used to put makeup on, take my dad’s camcorder and create interpretations of Joker while doing little video diaries in character.

I also loved to play my instruments and paint. My little brother and I, when we were really young, used to take my dad’s camcorder and go down in the valley by our house which had a big river and trees and lakes and we made little short films. We would improvise and use ketchup for blood and create this whole storyline, just the two of us. He would direct and work the camera and I would be the actor. We were so young so none of it looked good but it was super fun. I never went to a formal drama school when I was a kid but only attended basic theatre classes. Later on, in life, I started working with incredible acting coaches and attended the Lee Strasberg Theatre & Film Institute in Los Angeles. I found some incredible coaches who I plan on working with for a lifetime. I have this one coach that knows me so well he can trigger me in ways that no one else can.

Phillip Lewitski

Phillip Lewitski enjoying the sunset. Exclusive to NYCastings.

Tell us about your family’s heritage and why it’s so important to you. How has your ancestry helped you as an actor and musician?

Family is everything to me. They are the people I go to when I need to be grounded or when I need to be called out for something. This is deep-rooted in our culture. Family are the people you always go back to. We all have our paths we venture off on but never forget where you come from. My great Grandma has told me stories that I have used in my daily life and without those I would feel very lost at times. I always pray to my ancestors when I act. I ask for their guidance so that I bring honor to them. They are always with me and because of that I never feel alone. A lot of the music I compose is stemmed from things I heard when I was younger. When I went to my first pow wow I’ll never forget feeling the drummers beat in my chest. I use that feeling whenever I sit down at the piano, drums or violin.

You recently shot some episodes of Vikings whose production company, World 2000 Entertainment, is in Ireland. Where did you film? What kind of preparation did you do for your character We’jitu?

We filmed Vikings about an hour and a half outside of Dublin. Although they had the whole cast in a hotel that was only a 15-minute drive to set. It was pretty incredible when I first arrived and got the tour of the set. After watching the show I assumed they used a lot of CGI and green screens but everything you see in that show is real. They have literally built villages bigger than the average community. The Viking ships are all genuine size. The massive walls that surround the villages are all real. It’s one of the biggest studio lots I have ever been on and they are so organized and attentive to detail. The rehearsal periods were super extensive for everything we did. They wanted to make sure that when they brought the whole crew in, which included hundreds of people and a drone camera the size of a small helicopter – and on some days five hundred extras – that we were all ready to go. Things happened really fast for this show so I didn’t have months and months to prep the character. Within a week the contracts were signed the production got me a work permit and I was on a plane to Ireland. To answer the last question, production was amazing. They flew me, business class, had me put up in a gorgeous hotel and shuttled me to and from set in luxury vehicles. They also had incredible chefs catering for everyone on set. I have nothing but good things to say about that production.

What acting values are most important to you? What about life values?

I have witnessed a lot of egos on sets and that’s always been something that I promised myself I would never become. Making a movie or TV show is a group effort. It takes a village to create something from start to finish. For me, I don’t see a set as some sort of hierarchical system. Everyone is playing their part; everyone there is essential to create a quality piece of work so talking down to people or thinking you are better than anyone else is ridiculous in my opinion. This sort of mentality only makes all those long days hell for everyone around you. I’ll never forget my first day on Supernatural when Jensen Ackles and Jared Padalecki walked into the makeup trailer and made a point to shake my hand and welcome me onto the show. It can be very intimidating when you are joining a well-established show so to see how respectful and humble they were was really inspirational and has been something that has always stuck with me.

Have you ever questioned something in the script on any of the productions you’ve worked on?

I think it’s important to question things in the script but make sure it is something you truly believe in and have hard-hitting evidence to back up your argument. Most of the time the director or writer will be fair and hear you out but they will also be honest and if they think your adjustment will make the story lose its integrity they will tell you. There was this one time where I felt like my character wouldn’t react the way the director was asking me to do it and he came back and said let’s do two takes with each version so that the editors can have options. Of course, you have to follow what he says and give both versions your all and trust that in post-production they will know which version to use.

Phillip Lewitski

Contrary to popular belief, Phillip Lewitski gets a night out.  Exclusive to NYCastings.

What advice do you have for Canadians who want to break into show business?

I would say that if this isn’t everything to you… and I mean everything… if you have a plan B or another plan of action go with that because this industry will eat you up and puke you out. If you don’t have that burning unrelenting passion inside of you to get you back on your feet you won’t survive. This is a mental game and your mind has to be fully convinced that this is what you need to do, this is what you came here to do.

Anything else you’d like to say?

I would like to give a big shout out to Matthew Harrison at The Actors Foundry studio. You were a huge part of shaping me into the actor and person I am today. I would also like to shout out David Strasberg at the Lee Strasberg Institute. You are an endless vessel of knowledge I have learned so much from you. To every other acting coach you know who you are who have helped me tremendously on my journey I am forever grateful. It’s not about these people shaping me as an actor, they have genuinely shaped me as a person and that is a priceless gift.

You can follow Phillip here:

Instagram: https://www.instagram.com/philliplewitski/

“Really, its no problem getting tickets?” from the film “Any Given Sunday.” Tony meets with his son Tom for the first time in 5 years. Tony tries to convince Tom to let him see his grandchildren. Ideal for Adult Males in their late 20s, early 30s.

Written By: Daniel Pyne and John Logan

TONY and TOM:

Tony, in his game suit, is having breakfast with his

son, a bland mid level executive in his late 20’s

with a jesus fish on his lapel

Tony: Really, its no problem getting tickets?

Tom: (Uneasy) Well, he’s really more into basketball now.

Tony: (defeated) Yeah? How old is Timmy now? nine, ten?

Tom: Eight. But we don’t really call him Timmy anymore.

Tony: Oh, okay… and Melinda? How’s she?

Tom: She’s fine.

Tony: You look good.

Tom: I’m trying.

Tony: You talk to your mom lately?

Tom: Dad… what do you want?

Tony: What do I want? I wanted to see you.

You’re my son for chrissake. What do you mean?

Tom: I havn’t talked to you for a year. A year ago christmas…

Tony: Christ, gimme a minute tom ok? I havn’t seen you in in what…

Tom: Six years.

Tony: You never picked up the phone either– so don’t…

Tom: Why would it?

Tony: All I ever did was…

Tom: (On edge) PLease DON”T! When you do that, you sound like

a broken record, dad. I get really upset.

Tony looks at him, wondering what he’s wrought.

Waitress: Coffee, danish? Why the long faces?

(no response) Enjoy your breakfast.

She leaves.

Tony: You know I’ll never forget a big mistake I made once as a coach.

I hurt someone and… I couldn’t change what I did, so I denied it. Threw

some money at it… then tried to forget it, block it out.

(beat) you know what? it never goes away.

Tom (now he’s upset): No it doesn’t, and its too late goddamn it, ok?! Its too—

excuse me for my foul thoughts, lord! They come not out of me—

but its too goddamn LATE for that!

My son and daughter are doing fine, and you had nothing to do

with that, and that’s all there is.

Tony: Tom, come on, I… I’m sorry, I…

Tom: Where were you on my Sundays? When I was playing ball? Just…

just don’t even try, ok!

Tony (now at the end of his rope): Can I just… see them? They’re

my grandkids, tom! Please?

Tom (a grim pause): with a child psychiatrist.

 

“No way! He just called him a dick.” from the film “Fast Time at Ridgemont High.” Linda & Stacy chat about high school stuff, and Linda demonstrates how to give a blow job. Ideal for Teen Females early 20s. 1-2 Mins.

Written By: Cameron Crowe.

STACY and LINDA:

LINDA

I hear some surfer pulled a knife

on Mr. Hand this morning.

 

STACY

No way! He just called him a dick.

 

LINDA

A dick. Oh God. People exaggerate so much at

this school.

 

STACY

Linda. That girl looks just like

Pat Benatar.

 

LINDA

I know.

 

They watch her pass.

 

LINDA (CONT’D)

Actually, there are three girls at

Ridgemont who have cultivated the

Pat Benatar look.

 

Janelle Zimbler

 

Marianne Zlotnick

 

LINDA (CONT’D)

None of them talk to each other.

 

STACY

Do you think guys find that

attractive?

 

LINDA

Oh, give me a break, Stacy. You’re

much prettier than them.

 

They sit and eat their lunches. Linda has her

perennial diet lunch of yogurt and raw vegetables.

 

STACY

Yeah but they look more

sophisticated. You’d probably think

they’d be better in bed.

 

LINDA

What do you mean ‘better in bed.’

You either do it or you don’t.

 

STACY

No there are variables that, like,

I might not be good at.

 

LINDA

What variables?

 

STACY

(shyly)

Like, you know, giving blow jobs.

 

LINDA

What’s the big deal?

 

STACY

Well I never did it.

 

LINDA

You’ve never given a blow job!? Stace,

There’s nothing to it it’s so easy

 

She takes out a carrot stick and eases it down her

throat. Stacv tries one but chokes.

 

LINDA (CONT’D)

You just have to practice a little

first.

(feels her throat)

Relax these muscles. Don’t bite.

 

Try it again.  Just slowly in and out.

 

The girls try sliding the carrot sticks down their

throats without gagging.

 

ANGLE ON A BOY

 

at the next table; sees them and points them out to

his companions.

 

STACY

What happens… don’t laugh at me,

but when a guy has an orgasm… you

know, like, how much comes out.

 

Stacy stops practicing and looks horrified. Linda

laughs.

 

LINDA

A quart or so. No I’m Just kidding. Just practice.

 

 

“No occupation” from the film “Adam’s Rib.” Amanda interrogates Doris about the shooting of her husband. Ideal for Adult Females in their 30s. 1-2 Mins.

Written By: Ruth Gordon

AMANDA and DORIS:

Amanda – Occupation?

 

Doris – No occupation.

 

A – Housewife.

 

D – That’s right. Housewife.

 

A – All right.

 

D – And mother.

 

A – Yes.

 

(Amanda offers cigarette.)

 

D – No, thank you.  I don’t believe a woman should smoke. You’ll excuse me saying it.

 

A – Yes, I’ll excuse you… Now.

 

D – It’s not feminine.

 

A – How long have you been married, Mrs. Attinger?

 

D – Nine years and four months.

 

A – I see.

 

D – And 12 days.

 

Assistant – Finished.

 

D – Yes, thank you.

 

Assistant – Thank you.

 

D – Thank you.

 

A – And you have 3 children?

 

D – Warren Jr., he’s 8, Allan, he’s 7 and Trudy, she’s 6.  That’s all.

 

A – When did you begin to suspect you were losing your husband’s affection?

 

D – When he stopped battin’ me around.

 

A – When was that?

 

D – 11 months ago. March 14th.

 

A – He struck you?

 

D – First time, he broke a tooth.  My tooth.

 

A – I see.

 

D – Upper left molar.

 

A – And how often –

 

D – It’s capped now. You can’t notice it.

 

A – Good.  Now, let’s start with the day of the accident—

 

D – Oh, no accident. I wanted to shoot him.

 

A – Suppose we decide later just what you wanted to do.

 

D – Silly.

 

A – The difference between 10 years in prison and freedom is not silly, Mrs. Attinger.

 

D – Call me Doris.

 

A – Pay attention to what I’m saying.

 

D – I don’t care what happens to me.

 

A – Do you care what happens to Warren and Allan and Trudy?

 

D – Yes, I do.  I wanna go home.  Can’t you fix it so I should go home?

 

A – Not right now, but we’re working on it.  Here.

 

(Amanda pours her a glass of water.)

 

D – I promised my kids I’d take them to Coney Island tomorrow.

 

A – Yes, you drink that. Now you would help us very much if you could reconstruct the day.  All of yesterday.

D – Well, first thing in the morning…

 

A – Yes?

 

D – I woke up.

 

A – Yes?

 

D – And I see he didn’t sleep at home.

 

A – And you were shocked and surprised?

 

D – Oh no.  Not shocked, not surprised.  He used to not do that a lot – Come home.

 

A – Did you ever question him about his behavior?

 

D – Certainly.

 

A – Did he offer any explanation?

 

D – Certainly.  He told me to shut up and mind my own business.

 

A – I see.

 

D – But yesterday.  I got worried.  Not worried, mad.  I got mad. You know why?

 

A – Why?

 

D – Cause it was the 4thnight in a row he didn’t.

 

A – Come home?

 

D – Yeah.

 

A – And that made you angry?

 

D – Sure.  It was getting’ a habit with him.  So I sent the kids to school and I went and bought a gun.

 

A – Where?

 

D – This hock shop I go to. I bought a gun and they gave me a book how to – free.

 

A – Had you decided by this time exactly what you planned to do?

 

D – I’ll tell you the honest truth.  I didn’t decide nothin’.  I was doin’ everything like in a dream – like I was watchin’ myself, but I couldn’t help it. Like a dream.

 

A – Yeah.  Wait a second. (To Asst.)  You got all that?

 

Assistant – “Like I was watching myself but I couldn’t help it.  Like a dream.”

 

A – Yeah, that’s good. Now, go on, Doris.

 

D – So then I got very hungry.

 

A – When?

 

D – When I bought the gun.

 

A – Yeah?

 

D – So I went in this hamburger place and I ate 2 – rare – and one lemon meringue pie.

 

A – And then?

 

D – Then I was still hungry.

 

Assistant – Think of that.

 

D – So I walked around and I kept talkin’ to myself not to be foolish.

 

A – And then?

 

D – And then I called up Warren.  He was just getting’ his lunch hour by now.  I said I want to see him important, so if we could have lunch together.  So he said no, naturally.  So I asked him, “You comin’ home after?”  So he says, “What for?”  So I said to him, “Don’t you live there no more?”  So he says, “Don’t bother me at the office.  You want me to lose my job?”  Loud.  So then he hung up.

 

A – And what did you do.

 

D – I had a cup of coffee.

 

A – Where?

 

D – The same place as him, only he didn’t see me.  It was crowded.  The Buffet Exchange.  So then I bought some chocolate nut bars and I went outside of his office and I waited the whole afternoon.  And I kept eatin’ the candy bars and waitin’ until he came out.  And then I followed him.  And then I shot him.

 

A – And after you shot him, how did you feel then?

 

D – Hungry.

Good Trouble With Dhruv Uday Singh

Dhruv Uday Singh of Freeform’s Good Trouble is an actor, a serious comedian and an improv extraordinaire.

In the acting world, improv, otherwise known as improvisation, “is a form of live theatre in which the plot, characters and dialogue of a game, scene or story are made up in the moment. Often improvisers will take a suggestion from the audience, or draw on some other source of inspiration to get started.” – The Hideout Theatre.

Remember in The Shining when Jack Nicholson says “Heeeeeere’s Johnny”? Yep, that was improvised!

It isn’t all fun and games…except when it is. Improv is a beast and you either love it, hate it or pretend to love it or hate it.

Dhruv Uday Singh gives us an inside look at how improv can improve your acting skills, even if you’re an introvert.

You currently play Raj Patil in the Freeform series Good Trouble. Tell us about your audition.

My audition for Good Trouble came through my managers at Art/Work Entertainment. They sent me sides for two scenes. Since the part was initially a smaller role (I think I had two lines in the pilot), the audition was just one round and there were no chemistry reads. Jon M. Chu (who directed the pilot), the creators and the E.P.’s of the show, and the casting directors were all in the room. I’m grateful because they created an incredibly warm atmosphere for actors, which led me to feel comfortable improvising some buttons and sinking into the character. Happily for me, the role grew a lot over the course of the first season, and by Season 2 was a major part. Weee!

Dhruv Uday Singh

Dhruv Uday Singh decides to don an Elf costume for an episode of Good Trouble.

Your character, Raj Patil, is a dorky, magical nerd which you pull off real well. Does that mean you’re a nerd in real life? Or are you just a great actor?

First off, thank you for the kind compliment about my performance! And thanks for the compliment you didn’t say but I’ll conveniently imply, about me being a great actor.

The truth about Raj’s nerddom lies in the middle, I think. He’s more of a dork than I am, so I’m definitely cranking the social awkwardness of the character, but it’s not exactly like I have nothing to draw from. For example… oh I dunno… when I was thirteen, I HTML-coded a website as a Valentine’s Day gift for my girlfriend.

On the other hand, I’ve recently also gotten to play characters with a radically different energy – On a recent episode of FOX’s Prodigal Son, I play a way cockier, crooked insurance guy. In a movie called Lucky that would have premiered at this year’s tragically/understandably cancelled SXSW festival, I play a spooky, hard-to-trust husband. I’m just bringing these up so everyone will know I’m not actually a big dork!!! I’m not!!! </honesty> (HTML humor)

On Good Trouble, do you have a trailer or dressing room? How many days a week do you generally work on the show? Is there wardrobe or you pick out your own? Do your call times differ or are you always called to set at the same time?

Yes, the cast-members have trailers on the show. My weeks on the show vary episode by episode, but it is often between four to five days a week when the show is shooting. The show shoots extremely efficiently (the crew is really incredible!), with a three-camera set-up for coverage, so we’ll often slice through upwards of seven pages a day.

The wardrobe is masterminded by an incredible costume designer, Deena Appel. You might recognize her work, because it’s majorly elevated every project she’s done. (She designed the outfits on Austin Powers, for instance.)

My call times differ a lot depending on the episode. Episodes set at specific L.A. locations can often involve late-night shoots, since the show’s characters enjoy a raging nightlife. (Just like me, by the way – not a dork). The stuff on the Speckulate set, however, usually has more consistent call-times since the scenes occur during typical workdays.

Dhruv Uday Singh

Dhruv Uday Singh with Good Trouble co-worker Sherry Cola.

Is it hard to answer interview questions about the future of Raj and his girlfriend, Mariana (played by Cierra Ramirez)? Aren’t actors the last to know?

It is hard to answer those questions, but only because of discretion on behalf of the writers! The show’s creators are super-kind and clue me in to the larger plot-lines about my character ahead of time.

You studied film and creative writing at USC. Was there an audition process for this school? What was the most memorable lesson you learned at USC? Did you graduate?

There was no audition process, since I wasn’t in the drama program – but I do recall submitting a lot of written work. It was an undergrad degree, so it wasn’t quite as exacting as the grad programs, I don’t think. I learned a decent amount at USC: for example, how to host a crazy house party with no cups. No, I did learn a lot from specific teachers: the novelists Aimee Bender and T.C. Boyle were amazing mentors, and a film history professor named Rick Jewell exposed me to a ton of amazing movies I would never have seen otherwise. The biggest thing I’ll credit my experience at USC with is igniting a love of film that I think I’ll always have.

This is trite, but I learned exponentially more in the three years after college than I ever did in school. I started interning and then working at a medium-sized production company in Sherman Oaks, answering phones, reading scripts, and writing coverage. It taught me a lot about the machinations of the Hollywood system. A couple years later, I started improvising, and the rest, as no one would say about this situation, was history.

You began at USC when you were 17 years old, moving from India to LA. Were you scared? Who paid your bills? Did you have a job while in school? Where’d you live?

To the first question – oh, yeah. The experience was everything from unbelievably exciting to totally terrifying. Not only was I undergoing your boilerplate leave-your-parents-and-become-an-adult transition, but also being blasted by culture shock from transplanting to the exact opposite end of the planet. It was like spinning plates on my head while learning to dance, and no dance is more complicated than the “assimilation tango”. But looking back, I’m so grateful – coming to L.A. taught me a ton about myself, and, like many immigrants, the move gave me a burning drive to succeed.

To the second and third questions – I got a Presidential scholarship to USC, and that helped make finances way more comfortable. I’d work summer jobs back home in Mumbai (I was briefly a staff writer at The Bombay Times), and those combined with my folks’ help all helped pay the bills. But, truly, more than anything, I owe so, so much to my parents those years.

I started off living in the “scholarship dorms” on campus, and moved in with some friends in Downtown L.A. my sophomore year.

You really love improv and perform at the Upright Citizens Brigade Theater in Los Angeles. You’re also an alumnus of The Groundlings Sunday Company and a frequent guest on shows at The Groundlings. Should every actor do improv or it’s not for everyone? Does improv help introverts?

I do love improv! I love improv so much. It’s one of my favorite things on earth! Sometimes I can’t believe it’s an actual style of performance that we’re allowed to do in front of paying audiences.

I also attribute nearly all my acting chops to performing improv. It’s taught me how to experience scenes honestly, it’s made me relaxed in front of audiences, it’s helped free up my authentic self on screen, and it’s my favorite window into developing a character. It’s also the most fun possible tool to keep your muscles strong when you aren’t working, in front of the best acting teacher possible: a live audience.

Incidentally, I really miss the thrill of audiences in these quarantined times. Champagne problems galore, I know. But if you’re looking to do it, there are a ton of live-stream opportunities out there.

As far as the introvert question: I think improv can absolutely help bring you out of your shell, if that’s your desire. The art-form is built on a ton of philosophical vertebrae: principles like “Say ‘yes and’”, “Follow the fear”, “The bold choice is the correct choice”, and so on. To get better at improv, you have to practice these ideas with each performance. When you practice these principles on stage, they can’t help but seep into your life. (Of course, the inverse is true, too: the principles you practice off the stage or screen can also influence your work, for better or for worse.)

Should every actor do improv? Well, it’s kinda like Crossfit, or vanilla-scented candles, or Indian food. It’s not for everyone. That’s no reflection on anyone, by the way: some people (from all walks of life) will respond strongly to improv and want to pursue it, while others (some of them great comedic actors, stand-ups, and clowns) won’t care for it at all. It’s just how the suit fits you. My advice to actors would be: Why not try it and see?

Yeah yeah. Everyone’s a comedian. What makes you think you’re one of us?

I don’t know how to answer that! Hm. I’ve had at least thirty people suggest things I should “put in my act”?

Now be serious and answer this question truthfully: Why?

Probably damage? The going theory is that comedians are always sublimating damage from their childhoods, some unhealed scars or scabs over trauma that they can’t stop itching. And so, early on, we learn to be funny to make things palatable, look those things in the face, and laugh at them. I think there’s some truth to that notion, but it isn’t the whole picture. And doesn’t apply to everybody, of course. But yes, when something knocks over your perspective as a child, it makes you see the world in a skewed way relative to most people. That tilt, that distortion, is the source of your comedic voice. I’m Dhruv Uday Singh, and this is my Masterclass.

Dhruv Uday Singh

Dhruv Uday Singh at a photo shoot.

You kiss a lot of women on screen. How do kissing scenes work? Do you do the actual kissing even during rehearsal? Is it real kissing or is there “acting kissing” where you kiss on the upper and lower lip, not full lips? Do you have a ritual before those scenes?

I’m imagining telling my seventeen-year-old self that, one day, a very astute interviewer will tell me, “You kiss a lot of women on screen” and then I’d be asked how kissing scenes work. Oh my God, I don’t know what I’d do. Probably go make a website.

Okay, these answers about kissing scenes all relate to the pre-COVID-era, because who knows when they’ll ever be done again. The following is also just my experience so far, so I can’t speak for how all sets work.

In kissing scenes, you kiss your scene partner with no tongue, unless the director – who you hopefully trust and respect and is trustful and respectful of you – instructs otherwise for specific reasons. It’s a real kiss. You don’t usually kiss during rehearsal, unless it’s necessary. (For example, if you have to make out while executing complicated blocking, like knocking over furniture in a specific order, which I’ve done.) I think it’s always considered respectful to freshen your breath – you should have some mints from crafty on hand.

The only “ritual” really is to help your scene partner feel as comfortable as possible before takes, as they will hopefully do for you. That goes double for sex scenes, of course. It’s an awkward thing to go to work and make out with your colleagues for your job, sometimes with very few clothes on – all the while attempting to show real chemistry between the characters. It goes without saying, but always be respectful and professional about the work. It helps love scenes a lot if you’re friends with your fellow actor. I’ve been lucky in getting to work with very kind people I enjoy working with, and that definitely trickles into the comfort we feel during any kind of love scene.

When you go up for roles, do they specify “someone who can portray Indian” or are the roles non-specific? What is your take on the Indian culture in a Hollywood setting?

In terms of what the role types specify, it’s been a mix. Sometimes the roles I’ve auditioned for are specifically Indian or otherwise “brown”. Just as often, though, they are general comedy or drama roles with no ethnicity attached. I don’t often mind either way, so long as there is something honest, funny, or interesting to play in the characters beyond their ethnic identity.

Regarding Indian culture in Hollywood… it’s a broader topic than I could justly explore in the scope of this interview. But, speaking broadly… No doubt people think there are limitations about certain roles for certain ethnicities, but I try not to pay attention to limits set by other people. I’m always interested in exploring ways to push the bounds of South Asian representation in Hollywood. For example, Raj is one of very, very few South Asian – and really just Asianlove interests in the history of the industry. Why is that? Why is the history of brown males on the global screen dominated by images like Apu (voiced and written by white people), or terrorists (played from the 80’s to the 2000’s by white actors in brown-face), or laughable dorky nerds? There’s a deliberate un-sexing of the caramel-assed man. For that reason, I know playing a brown guy with a sex drive isn’t that big a deal, but it does feel kind of quietly revolutionary.

You’ve directed several short films. How do you get into “Director mode” vs. “Actor mode?” Do you just wake up and say, “Wah-la! Today I’m going to direct!” For the planned schedule where you’re directing, is it hard to get into that mindset or does it come natural to you?

I really love directing – I believe it’s a perfect blend of my interests and talents. The mindset does come kind of naturally to me. I have a strong visual sense, I know how to work with actors from years of being one, and, perhaps from being an only child, I tend to know exactly what I want creatively. Being a director involves answering questions from every department head, so you have to know what you want.

When acting and directing simultaneously, you have to straddle both horses. The key, I think, is extreme preparation. I like to work on my performance far ahead of time, until I feel like snapping into the character and lines are second-nature. I’ll also storyboard and plan out the shoot well in advance with my D.P. I like to strive for a really fun, relaxed atmosphere on set, because that’s when people do their best work – but the only way to achieve this is to leave nothing to chance in preparation. By laying the groundwork in pre-production, you can then open yourself to the whims of chance that will inevitably be thrown at you on set.

The planned scheduling you mentioned comes fairly easily to me, since as an actor you get used to early call-times and a rigidly planned day.

Dhruv Uday Singh

Dhruv Uday Singh behind the scenes of Prodigal Son with Director Satya Bhabha and fellow actor Keiko Agena.

What advice do you have for people who want to get into the entertainment business?

Joining show business is running away with the circus. You’re not signing up for a normal life, because the circus isn’t normal. Some people thrive on the idea of normalcy, while others detest it. Personally, I think “normal” can often be socially disguised code for “boring” – but I’m a rebellious hippie at heart. Wherever you fall on it, know what it is you’re signing up for!

The other thing, if you want to succeed: you’ll have to work a lot, lot harder than if you follow a “regular” path. What looks like luck to others is usually the result of years and years of underappreciated, unseen, uncelebrated perspiration in the shadows. But here’s the catch: if you have chosen work that is right for you, a lot of that sweat will feel like play. Learning your craft – becoming great at acting, or comedy, or filmmaking, is a lot of work – and it will be punctuated by frequent, brutal, humiliating, and (sometimes) public, rejections that will occasionally knock you the fuck out. And yet, after every beating, eventually – you can’t wait to get back in the ring, to get back to work, to succeed. If you feel that way, then you should pursue it.

Finally: the entertainment business is mostly, in my experience, a confidence game. Not a con game – though there are several unscrupulous types who treat it as such – but a game of competing levels of confidence. As William Goldman wrote in his memoir Adventures in the Screen Trade, “Nobody knows anything.” Because nobody knows anything, everyone is looking for somebody who does. So be undeniable in your craft, and then know it. In simpler terms, I think the core of the whole game is the oldest cliché in the world: self-belief.

I’m pretty sure.

Or do I know?

Anything else you want to say?

Thank you, Ilana, for the really, really insightful and interesting questions! What a pleasure. I hope everyone reading is keeping well, staying safe, and washing their hands. </html>

You can visit Dhruv Uday Singh here:

Instagram: https://www.instagram.com/dhruvudaysingh/

Website: http://www.dhruvudaysingh.com/

“Excuse me I was taking those.” from the TV show, “Ally McBeal.” Ally and a woman in the supermarket have a humorous argument about who deserves the Pringles. Ideal for Adult Females ranging from 25-30. 1-2 Mins.

Written By: David E. Kelley

BARBARA and ALLY:

Barbara:           Excuse me I was taking those

.

Ally:                You Put them back.

 

Barbara:           No I put them Down. I still getting them.

 

Ally:                Well, um, I don';t mean to be difficult but if you were getting them why didn’t

you put them in your cart instead of back on the shelf?

 

Barbara:           Look, people pick items up, them put them down they pick them back up again, its

part of shopping, deciding what to buy. Wether to buy. I was still in the throws of

deciding whether I wanted to buy when you just swooped in…

Ally:                Swooped in?

 

Barbara:           Look, I don’t want to be a trouble maker but these other pringles are the ridged ones.

And I have trouble with ridges.

 

Ally:                Ma’am, after you put the down, on the shelf, you picked up Ruffles. Ruffles have

ridges. Now why would you enter into the throws of considering ruffles if you have

problems with ridges?

 

Barbara:           What are you, a lawyer?

 

Ally:                Sir, Sir, you saw her put these back didn’t you?

 

Barbara:           Awww, isn’t that rich, playing the sex card.

 

Ally:                I beg your pardon?

 

Barbara:           You think he’s just automatically going to side with you because you look how you

look and I look how I look. These are my pringles.

 

Ally:                Did you see that?

 

Clerk:              I don’t get involved in product disputes.

 

Ally:                Fine, you can have the pringles, but lets be honest here. You decided not the buy them

and when you saw that I wanted them you decided that you wanted them back.

 

Barbara:           You pissy little thing, pushing your cart and your calvin klien outfit. You probably

only chose those chips cause I left them on the edge and you wouldn’t have to

Pop a Pore to reach them!

 

Ally:                Why are you being so mean? Is it because you look how you look?

 

Barbara:           I won’t even dignify that, I’ve got the pringles.

 

Ally trips Barbara. She falls into a tower of cans and they all collapse down.

WILD HONEY – Anna Petrovna confronts her husband about his deceit. 1-2 min.

ANNA PETROVNA – How can you say that? How can you lie to me, on such a night as this, beneath such a sky? Tell your lies in autumn, if you must, in the gloom and the mud, but not now, not here. You’re being watched! Look up, you absurd man! A thousand eyes, all shining with indignation! You must be good and true, just as all this is good and true. Don’t break this silence with your little words!

There’s no man in the world I could ever love as I love you. There’s no woman in the world you could ever love as you love me. Let’s take that love; and all the rest, that so torments you – we’ll leave that to others to worry about. Are you really such a terrible Don Juan? You look so handsome in the moonlight! Such a solemn face! It’s a woman who’s come to call, not a wild animal!

All right – if you really hate it all so much I’ll go away again. Is that what you want? I’ll go away, and everything will be just as it was before. Yes…? (she laughs) Idiot! Take it! Snatch it! Seize it! What more do you want? Smoke it to the end, like a cigarette – pinch it out – tread it under your heel. Be human! You funny creature! A woman loves you – a woman you love – fine summer weather. What could be simpler than that? You don’t realise how hard life is for me. And yet life is what I long for. Everything is alive, nothing is ever still. We’re surrounded by life. We must live, too, Misha! Leave all the problems for tomorrow. Tonight, on this night of nights, we’ll simply live!

“Hey I’m sorry I didn’t show up.” from the film “Mystic Pizza.” Kat is late and Daisy is pissed. The sisters argue. Ideal for Adult Females in their 20s-30s. 1 Min.

Written By: Amy Holden Jones

KAT and DAISY:

Kat: Hi Dais’.  Hey I’m sorry I didn’t show up.  I said I’m sorry. Why are you being such a bitch about it?

Daisy: Right. I’m a bitch and you’re an angel, no matter what happens. It should have been stamped on our birth certificates.

K: What the hell is the big deal?  You unload shifts on me all the time.

D: Well you knew I was supposed to meet Charlie’s parents tonight.

K: Dais’ I’m sorry. I forgot.

D: Tim needed you, right?  Just what the hell do you two do together, anyway?  That’s what I’d like to know.

K: Well if I told you it would sound stupid.

D: It would sound pathetic.  Daddy boffing the babysitter is a really old story.  It happens all the time.

K: We talk, we read, we listen to Mozart sometimes.

D: You really believe this thirty year old guy is gonna leave his wife and live happily ever after with you? You’re living in a fucking romance novel Kat.

K: Oh yeah, “boffing, fucking, screwing.” The great Daisy, nobody’s fool. Why don’t you start taking cash for your services? It would be more honest.

D: Wipe your conscience

FENCES – Rose finally tells Troy how she feels. Dramatic monologue for adult female. 1-2 min.

ROSE: I been standing with you! I been right here with you, Troy. I got a life too. I gave eighteen years of my life to stand in the same spot with you. Don’t you think I ever wanted other things? Don’t you think I had dreams and hopes? What about my life? What about me? Don’t you think it ever crossed my mind to want to know other men? That I wanted to lay up somewhere and forget about my responsibilities? That I wanted someone to make me laugh so I could feel good? You not the only one who’s got wants and needs. But I held on to you, Troy. I took all my feelings, my wants and needs, my dreams…and I buried them inside you. I planted a seed and watched and prayed over it. I planted myself inside you and waited to bloom. And it didn’t take me no eighteen years to find out the soil was hard and rocky and it wasn’t never gonna bloom.

But I held on to you, Troy. I held you tighter. You was my husband. I owed you everything I had. Every part of me I could find to give you. And upstairs in that room…with the darkness falling in on me…I gave everything I had to try and erase the doubt that you wasn’t the finest man in the world. And wherever you was going…I wanted to be there with you. Cause you was my husband. Cause that’s the only way I was gonna survive as your wife. You always talking about what you give…and what you don’t have to give. But you take, too. You take…and don’t even know nobody’s giving!

“Excuse me.” from the film “Stranger Than Fiction.” Penny, an assistant hired by Kay’s publisher, shows up just when Kay is trying to decide how to kill Harold in her book. She doesn’t want Penny’s help in any way, but Penny is persistent. Ideal for Adult Females in their 30s. 1-2 Mins.

Written By: Zach Helm

PENNY and KAY:

Int. Garment Loft— Afternoon

 

Kay stands on the end of a factory table in a large poorly converted downtown loft. She wears the same clothes as she did on the building and her foot dangles over the edge.

 

PENNY (O.S.)

 

Excuse me.

 

Kay turns.

 

A formidable stern-looking woman in a sensible outfit stands in the doorway of the loft.

 

PENNY (con’t)

 

Are you Ms. Eiffel?

 

KAY

 

Yes.

 

PENNY

 

Excellent. What are you doing?

 

KAY

 

Research.

 

PENNY

 

Am I interrupting?

 

KAY

 

Yes.

 

PENNY

 

My name is Penny Escher. I’m the assistant. The one the publishers hired.

 

KAY

 

The Spy.

 

 

PENNY

 

The Assistant. I provide the same services as a secretary.

 

 

KAY

 

I don’t need a secretary.

 

PENNY

 

Then I’ll have to find some way to occupy my time.

 

 

KAY

 

And watch over me like a vulture so I don’t get distracted.

Because the publishers think I have writers block. Is that right?

 

 

PENNY

 

Do you have writers block?

 

 

Silence.

 

PENNY (con’t)

(seeing pages on the floor)

Are those pages?

 

 

KAY

 

They’re letters. To me.

 

 

PENNY

 

Are you writing back?

 

 

KAY

 

I don’t respond to letters.

 

Penny moves to pick up the letters. Sees the pile of cigarettes.

 

 

PENNY

Ah. And I imagine you smoked all these cigarettes.

 

 

KAY

 

No. They came pre-smoked.

 

 

PENNY

 

Right. They mentioned you were funny.

 

Kay steps to the other edge of the table, finds a cigarette in a tissue and lights it.

 

KAY

 

What do you think about leaping off a building?

 

 

PENNY

 

I don’t think about leaping off a building.

 

 

KAY

 

Yes you do.

 

 

PENNY

 

No. I try to think of nice things.

 

 

KAY

 

Everyone thinks about leaping off a building. Everyone.

 

 

PENNY

 

Well, I certainly don’t think about leaping off a building.

 

 

KAY

 

They say– I read this in this fantastically depressing book—

That when you jump from a building, it’s rarely the impact that

actually kills you.

 

 

PENNY

 

Well, I’m sure it doesn’t help.

 

 

KAY

 

There’s a…. There’s a photograph in the book, a photograph

From the L.A. times around forty years ago. Called “The Leaper.”

It’s old but… it’s beautiful. From just about the corpse of a

woman who had just leapt to her death. There’s, there’s blood

around her head like a halo. And her leg is buckled underneath her.

And her arm has snapped like a twig

(pause)

But her face is so serene. So at peace.

(pause)

And I think it’s because when she died….

She could feel the wind against her face.

KAY (con’t)

 

I don’t know how to kill Harold Crick.

That’s why they sent you.

 

 

PENNY

 

Yes. That’s why I’m here, to help you.

 

 

KAY

 

How are you going to help me. Hm? You.

Who never thinks of leaping off buildings,

what great inspiration will you bestow on me?

Because I’ll tell you the quaint ideas I’m sure you’ve

gathered in your adorable career as “an assistant” are to

no avail when faced with killing a man.

 

 

PENNY

 

I understand. But do you?

 

 

KAY

 

I can’t just…

(sighs)

As much as I’d like to, I can’t just throw Harold off a building.

 

 

PENNY

 

Ms. Eiffel. Kay. I have been an assistant for 11 years. I

have helped more than 20 authors complete more than 35

books. I have never missed a deadline. I have never lost a

writer to a block for longer than three weeks. I will be available

to you every minute of every day of every week until the final

punctuation is embedded on the final page. I do not like loud

music. I do not abide narcotics. And I will gladly and quietly

help you kill Harold Crick.

“Come on out!” from the film “Fallen” Police detective John Hobbes discovers that the serial killer he’s been pursuing is actually a demon named Azazel that inhabits human bodies and uses them to kill. Ideal for Adult Males in their 40s. 1-2 Mins.

Written By: Nicholas Kazan

MAGUIRE and HOBBES:

HOBBES

Come on out! I know you’re here! What do you want now? Haven’t you had enough fun? (answering himself) Or is there something more? What? Another test? Another torture? You got me to kill someone. You murdered my brother. What more do you want?!

 

Maguire steps out into view

 

MAGUIRE

I just want to bring you in.

 

HOBBES

So it’s you.

 

MAGUIRE

I know you’ve got a gun. Drop it.

 

HOBBES

Or else what? You’ll shoot me? That’d be too easy. Where’s the fun in that?

 

MAGUIRE

Just drop the gun, huh?

 

JONESY

Do what he says, Hobbes.

 

HOBBES

Two of you?

 

This doesn’t fit his plan. He looks back and forth between them, trying to decide which one is Azazel, and then focuses on his partner

 

HOBBES

(painted at the idea) Jonesy? (Are you Azazel?)

 

The other men are on opposite sides of Hobbes, both of them in character.

Hobbes carefully takes out his gun, drops it, stalls for time

 

HOBBES

I didn’t do it, guys. I didn’t do any of it.

 

 

JONESY

I know that, Hobbes.

 

MAGUIRE

We’d both like to believe that. But we have to bring you in.

 

JONESY

Why?

 

Maguire blinks in astonishment, shoots Jonesy a look

 

JONESY

What if we came up here and he’d disappeared into the wilderness… and we drove his car into the lake, end of story?

 

MAGUIRE

What the fuck’re you talkin’ Jonesy? We came to bring in the son of a bitch so he could stand trial. If he did it, fine. If he didn’t, even better. But it’s not our job to decide that.

 

JONESY

You’re quite right, Mack. I don’t know what got into me. (steps forward) Sorry Hobbes. (raises his gun, aims) I gotta put on the cuffs.

 

Jonesy moves forward. Hobbes’ eyes are shifting; he’s trying to figure out how to escape. And which – if either – of these men is the demon. Jonesy stops. Still aiming his pistol right at Hobbes, so he has no chance to run. And odd frozen moment. Why did Jonesy stop?

 

JONESY

You know, Maguire… Life is chock full of surprises.

 

Jonesy moves his gun just five degrees – from Hobbes to Maguire. Maguire frowns. Jonesy shoots. A look of complete astonishment on Maguire’s face… and he falls dead. Hobbes is also stunned. Is this the real Jonesy or the demon?

 

HOBBES

Why’d you do that?

 

JONESY

(casually) Come on. I’m your partner. (gesture towards woods) Go on, you’re free. Run.

 

Hobbes looks at the woods, then back at Jonesy. He isn’t sure if he runs and Jonesy is the demon, won’t Jonesy shoot him in the back?

 

JONESY

(smiles) Keep thinking, Hobbes.

Hobbes’ expression changes; he suspects.

 

JONESY

(nasty, amused) So. Now Jonesy’s fucked too. He just shot his boss.

 

HOBBES

Azazel.

 

JONESY

Yes. The demon himself. How about that, Hobbes? You’re fucked, Jonesy’s fucked. One at a time, eh? That’s how we get you. One by one… Your partners body fits me just fine. See the deal? If I kill you, it’s the final pathetic chapter in the life of another disgraced hero. You’re just one more piece of shit human scum. (cheerfully). Or, turn it around! If I die, I’ll enter you – and before you go down, I’ll  put 20 more murders on your tab! Do I have a preference? Huh? What’s maximum fun? I thing you can guess, can’t you?, what maximum fun is?

 

Slowly he raises his pistol towards his own head…

 

JONESY

Sure you can.

 

His gun moving slowly, inevitably, toward his temple…

 

JONESY

Maximum fun is… (with a big smile) I become you.

 

Just before the barrel reaches his skull Hobbes flies at him. They careen to the floor. They’re wrestling over Jonesy’s pistol. Their bodies entwined, grappling. Visually: it feels like we’re watching something mythic

 

HOBBES

What do you want? My heart? Soul? You’ll never get them.

 

JONESY

Fuck you, and fuck your heart and fuck your soul. And that’s a promise.

 

Is “Jonesy” weakening… or is it intentional: the pistol is now pointed at his head. But Hobbes does not fire. Why? He keeps pushing the point of the gun lower, lower… till it’s aimed at “Jonesy’s” chest. A wrenching burst of energy. The men fly apart as the gun goes off. Silence. We can’t tell who was hit. Both bodies lie immobile in the darkness. We hear “Jonesy” laugh. He’s on the ground. Bleeding. Hobbes appears over him.

 

JONESY

(pained, playful) Sww, you got me, Hobbes. But isn’t that hust ego?, huh?, to want to kill me yourself? What difference’s it make?

 

HOBBES

Not much.

 

Hobbes takes a cigarette pack from his shirt pocket. Knocks one out, lights it.

 

HOBBES

But sometimes little things are important. Besides, I want to talk. (puffs on cigarette) I think you were right: what Reese said? Milano was just like me. And he was trying to do just what I am. That’s why he bought this place, seven miles from nowhere… (another puff) But you didn’t get it, did you? He didn’t quite pull it of, so you didn’t get it.

 

JONESY

Get what?

 

HOBBES

You didn’t get it with him, and you still don’t get it with me.

 

JONESY

I don’t get it, and I don’t give a shit.

 

HOBBES

Don’t you? Open your eyes, Azazel. Look around sometime.

 

The way Hobbes says this is creepy, as though he’s won. For the first time in any human body, Azazel (as “Jonesy”) looks nervous. His eyes scan the room…

 

HOBBES

Don’t you see anything… different?

 

“Jonesy’s” eyes come back to Hobbes, puffing away. “Jonesy” stares at him.

 

JONESY

(frowns) You don’t…

 

He stops talking, overcome by a wave of pain. Hobbes smiles casually, takes another puff.

 

HOBBES

What’d you say?

 

JONESY

I said… you don’t… (talking with great difficulty) you don’t smoke.

 

Hobbes smiles again, takes an even bigger draw, a long and heavy draw, pulling the smoke down into his lungs.

 

HOBBES

That’s right, Azazel. I don’t.

 

A horrible look of realization coming onto “Jonesy’s” face.

 

HOBBES

’Cause cigarettes kill.

 

JONESY

No…

 

HOBBES

Especially: cigarettes laced with poison.

 

JONESY

Noooooo!

 

He spins, writhes his body contorting, his eyes rolling back

 

HOBBES

Ever hear of a “scorched earth” policy? An army destroys its own country before the enemy invades.

 

“Jonesy’s” body clenches… He glares at Hobbes…

 

HOBBES

Seven miles from nowhere. You got no place to got but me.

 

“Jonesy” starts to shake…harder, harder.

 

HOBBES

Come on, Azazel. Enter me, and we die together.

 

Suddenly “Jonesy” has a huge horrifying spasm and stops. Completely. Dead. Hobbes stares down at Jonesy’s body… on his face as he waits for the demon… Very softly, almost inaudible, saying goodbye to this world

 

HOBBES

God bless you Gretta.

God bless you, Sam.

 

 

 

“You’re a pretty angry young fella, aren’t you?”from the film “Confessions of a Dangerous Mind.” Barris is approached by Byrd, who then asks him to be a CIA free agent assassin. Ideal for Adult Males in their 20s and 50s. 1-2 Mins.

Written By: Chuck Barris and Charlie Kaufman

BYRD and BARRIS:

Barris sits on the curb, nursing his wounds.    Byrd exits the

bar and casually approaches.

                   BYRD

         You’re a pretty angry young fella, aren’t

          you? Can’t fight worth a damn though.

                   BARRIS

          Screw off, fag. Don’t think I haven’t

          seen you watching me in that bar for a

          week now.

                   BYRD

          Kind of a loner, I’d say. Fairly bright.

          A tad anti-social. Mad at the world.

          Can I buy you lunch?

                   BARRIS

          Look, there’s a schoolyard half a block

          down. Why don’t you go trolling there?

Barris gets up and starts to walk away.

                   BYRD

          I could teach you at least thirty

         different ways to kill a man with a

         single blow, Mr. Barris.

Barris stops.

                   BYRD (CONT’D)

          Might help you in future bar fights.

          Just a thought.

Barris just stands there.

                   BYRD (CONT’D)

          Oh, and there’s money in it.    Good money.

Barris turns.

                                                             29.

INT. DINER – DAY

Barris and Jim Byrd sit in a booth.   Barris is wolfing a

hamburger. Byrd sips coffee.

                   BARRIS

             (mouth full)

          … and I figure if I can keep afloat

          until I come up with my next game show

          idea, then all will be copacetic.

                   BYRD

          That sounds great, Chuck. Y’know, I’ve

          never known a television producer before.

          I’m impressed.

                   BARRIS

          Yeah, yeah. So what’s this money deal

          you were talking about?

                   BYRD

          Well, I work for a government agency, and

          I can always use good, enthusiastic men

          to help me carry out my directives.

                   BARRIS

          What kind of work?   What government

         agency?

                   BYRD

              (matter-of-fact)

         Problem solving work.   For the Office of

         Diplomatic Security.

                   BARRIS

         Office of what? Never heard of it.    Is

          that the fucking CIA or something?

                   BYRD

          Please be discreet, Mr. Barris.

                   BARRIS

             (whispering)

         Jesus, it is the fucking CIA! Hell, I’ll

          be a spy! Where do I sign up? Are you

         fucking with me? You’re fucking with me,

          aren’t you?

                   BYRD

         Hardly. And you wouldn’t be with the

         company. You’d be a contract agent.

         Independent. No official tie to any

         agency. Is that understood?

                                                      (CONTINUED)

                                                             30.

CONTINUED:

                      BARRIS

             (beat)

          Why me?

                   BYRD

          As you know, I’ve been watching you. For

          years, actually. I’ve only let you know

          about it for the last week.

Chuck stops chewing.

                      BARRIS

         Jesus.

                   BYRD

          I’m happy to report you fit our profile,

          Mr. Barris. Are you interested in this

          work?

Long pause.

                   BARRIS

          Well, what’s the profile?

                   BYRD

          Are you interested in this work, Mr.

         Barris?

                   BARRIS

          Yeah, sure, I wanna be a secret agent.

         Contract agent. Whatever. Get to fuck

         beautiful Eastern European women. Wear a

         trenchcoat. Sounds like a kick.

                   BYRD

          The work we do is very serious. It’s

         essential in quelling the rise of

         communism and allowing democracy to gain

          its rightful foothold around the globe.

                     BARRIS

          Sure.    Yeah. Okay.   That’s good.

“How about a drink?” from the film “Apocalypse.” A captain and Willaird converse in a bar in Saigon. It turns out the captain is with the agency, and Willaird has no choice but to go on the mission. Ideal for Adult Males in their 40s-50s. 1-2 Mins.

Written By: John Milius and Francis Ford Coppola

CAPTAIN and WILLARD:

Not much in this place — a bar, linoleum flooring, a few

tables and chairs, and a juke box. The lounge is fairly

crowded. Willard takes off his cap and walks quietly

past the soldiers at the bar. Some of them, catching

sight of his ribbons, stop talking as he moves by.

An INFANTRY CAPTAIN enters the bar, buys a couple of

drinks and approaches Willard’s table.

               CAPTAIN

        How about a drink ?

               WILLARD

        Sure, thanks.

He sits down at the table with the drinks.

               CAPTAIN

        Winning the war by yourself.

               WILLARD

            (he calls for the waiter)

        Part.

               CAPTAIN

        Which part is that ?

               WILLARD

        My part.

            (TO THE WAITER)

        Beer, with ice and water.

               CAPTAIN

        That’s good gin.

               WILLARD

        I’m sure it is, but I had hepatitis.

               CAPTAIN

        Delta ?

               WILLARD

        No.

               CAPTAIN

        North ?

               WILLARD

        Yeah. Way north.

               CAPTAIN

        What unit were you with ?

               WILLARD

        None.

               CAPTAIN

       Rangers, eh?

                WILLARD

        Sort of.

The JUKE BOX starts BLARING. Annoyed , Willard looks over

his shoulder.

               CAPTAIN

        Were you Longe Range Recon —

               WILLARD

        No — I worked too far north for

        LRRP.

He reaches into his shirt pocket for a cigarette, and the

Captain leans over the table to light it for him. Willard

notices the CIVILIAN on the street has glanced in the bar,

then enters and sits down at a table by the doorway.

               CAPTAIN

        That’s quite an array of ribbons…

               WILLARD

        Let’s talk about you.

               CAPTAIN

        I was an FO for the 25th.

               WILLARD

        Tracks ?

               CAPTAIN

        Yeah.

               WILLARD

        Fat. That’s real fat.

               CAPTAIN

       Sometimes.

               WILLARD

        At least you always have enough

        water. How many gallons does

        each one of those damn things

        carry ?

               CAPTAIN

        Thirty — sometimes fifty.

               WILLARD

        You know, I can remember once,

        getting back below the DMZ — and

        the first Americans we ran into

        were a track squadron. I just

       couldn’t believe how much water

        they had. We’d been chewing

        bamboo shoots for almost a week,

        and before that, for two weeks,

        we’d been drinking anything —

        rain water, river shit, stuff

        right out of the paddies. And

        there were these guys standing

        by their trucks spilling water

        all over. I could’ve killed them.

            (solemnly)

        I swear to God I would have, too,

        if …

               CAPTAIN

        I didn’t know we had units up

        there in North Vietnam.

               WILLARD

        We do.

               CAPTAIN

        How long were you up there ?

               WILLARD

        A long time.

               CAPTAIN

        A year ? Waiter another beer.

               WILLARD

        I go up on missions. Listen

       Captain, buy me all the beer

        you want, but you better tell

        that asshole over there you’re

        not going to find out anymore

        about me.

Willard glances over his shoulder and indicates the

Civilian. The Civilian is given a sign by the Captain.

He rises and comes over to the bar.

               WILLARD

            (continuing)

        What do you want ?

               CAPTIAN

            (indicating the Army jeep)

        If you’re B.L. Willard, 4th Recon

        Group, we’d like you to come with

        us.

               WILLARD

        Whose orders ?

               CAPTAIN

       Headquarters 11 Corps — 405th

        A.S.A Battalion — S-2 —

        Com-Sec — Intelligence —

        Nha Trang.

               WILLARD

        Who are you ?

               CAPTAIN

        The agency.

Willard looks at the Civilian a moment, and then walks

roght out toward the jeep without saying another word.

The Civilian follows.

 

“Well, thanks for finally seeing me” from the film “21 Grams.” Jack Jordan is in prison for killing a man and two children in a hit-and-run accident. He angrily confesses to Reverend John that he feels betrayed and abandoned by God, while Rev. John attempts to save Jack’s faith. Ideal for Adult Males in their 30s-40s. 1-2 Mins.

Written By: Guillermo Arriaga

REV JOHN and JACK:

REV JOHN

Well, thanks for finally seeing me. They tell me you don’t want to eat.

 

JACK

I’m not hungry.

 

REV JOHN

Jack, Jesus didn’t come to free us from pain. He came to give us the strength to bear it.

 

JACK

Maybe He wanted this pain for me.

 

REV JOHN

No, He had nothing to do with this. It was an accident.

 

JACK

No, it wasn’t an accident… Jesus chose me for this.

 

 

REV JOHN

Jack, ask for the mercy of Jesus Christ.

 

JACK

If it was an accident, why do I have to ask for His mercy? …

“I will have mercy on whom I will have mercy. I will have compassion on whom I will have compassion. —

 

REV JOHN

Don’t be so prideful. That’s a sin. —

 

JACK

“And the fearful and unbelieving. And the abominable, the murderers, the warmongers, —

 

REV JOHN

Jack, listen to me. —

 

JACK

“the sorcerers and the idolaters and all liars–

 

REV JOHN

Jesus came to save us, not to damn us.

 

JACK

“shall have their part… in the lake which burneth with fire and brimstone.” Revelation 21:8.

 

REV JOHN

Jesus, loves you. But He also knows how to punish arrogant sinners like you.

 

JACK

“As many as I love, I rebuke and chaste.” Revelation 3:19.

Jesus betrayed me.

 

REV JOHN

Stop this shit, or you’re going straight to hell!

 

JACK

Hell? … This is hell. Right here!

 

REV JOHN

You’re damning your soul! You shut up now… and ask Christ to forgive you!

 

JACK

Hey! Forgive me? I did everything He asked me to do! I changed! I gave Him my life, and He betrayed me. He put that fucking truck in my hand so I could carry out His will and made me kill that man and those girls. But hey, He didn’t give me the strength to stay and save them.

 

REV JOHN

Don’t blaspheme, you bastard! Christ had nothing to do with this!

 

JACK

God even knows when a single hair moves on your head… And you taught me that.

 

REV JOHN

We’re gonna pray for you, Jack.

“You look like a swordfish I caught once.” from the film “The Replacement.” McGinty goes to ask Shane if he will quarterback his team during the strike. Ideal for Adult Males in their 30s-50s. 1-2 Mins.

Written By: Vince McKewin

McGINTY and SHANE:

Shane flops onto the deck of his boat, exhausted, when…

 

McGINTY (O.S.)

You look like a swordfish I caught once.

 

Shane jumps. McGinty is sitting on Shane’s old chair on the stern of the boat.

 

McGINTY

He hit the deck just like that.

 

Shane studies his visitor for a beat before taking a beer out of a cooler and cracking it open.

 

McGINTY

You know who I am?

 

SHANE

(nodding)

We met right before the Sugar Bowl.

 

McGINTY

Hell of a game, that Sugar Bowl. What’d you lose it by? Forty

points?

 

SHANE

Forty-five.

 

McGINTY

Jesus. Sometimes a game can stick with you so that you can never shake it off.

 

SHANE

So it seems.

 

McGINTY

You had a lot of tools. Fast. Quick release. Great downfield vision. You just never had good protection.

 

SHANE

I’ve got three concussions to prove it.

 

McGINTY

That’s why girls don’t play the game.

 

Shane gives him a look as McGinty grins.

 

SHANE

What do you want, Coach?

 

McGINTY

I’m back with the Sentinels. And I want you to quarterback ’em.

Shane just looks at him. Waiting for the punchline.

 

McGINTY

A scrambling quarterback is gonna do real well in this replacement environment. I’ve found the best guards available to protect you. And a wide receiver that even you can’t overthrow.

 

SHANE

I’m retired.

 

McGINTY

Yeah. And it looks like things have gone real well for you since.

 

SHANE

I got no complaints. It’s quiet here. Nobody bothers me.

 

McGINTY

That’s the great thing about plankton. Pretty much keeps to

itself.

 

He grins as Shane slips off his dive booties.

 

McGINTY

You know what separates the winners from the losers, kid?

 

SHANE

The score?

 

McGINTY

Getting back on the horse after you’ve been kicked in the teeth.

(a beat)

I’ve watched film on your games since the Sugar Bowl. I saw you get thrown to the wolves in Seattle. You’re supposed to be carrying a clipboard your first year — not a whole team.

(as Shane looks up)

Your team leaned on you and you crumbled. Is that how you want to be remembered?

 

Shane shrugs and stares out to the water.

 

 

SHANE

I don’t wanna be remembered at all.

 

He pulls a ratty old sweatshirt over his head and walks

over to the door to his tiny cabin as McGinty stands up.

 

McGINTY

You’re still young. You still got bags of talent. If you do well, who knows what will happen when the strike ends?

 

Shane looks up…

McGINTY

I can’t make you any promises, Shane.

 

McGinty points to the boats in the harbor.

 

McGINTY

But wouldn’t you rather take a chance than scrape shit off of other guys’ toys?

 

McGinty nods as he looks him in the eye.

 

McGINTY

Think it over.

 

He turns and walks off the boat as Shane watches him

go…

 

“What are you doing?” from the film “Midnight Run.” Jonathan and Jack are eating at a diner. Jack wants Jonathan to shut up and Jonathan wants Jack to like him and let him go. Ideal for Adult Males in their 30s-40s. 1-2 Mins.

Written By: George Gallo

JONATHAN and JACK:

JONATHON

What are you doing?

 

JACK

What am I doing?  Arithmetic.

 

JONATHON

Arithmetic.  Maybe I can help you.  I am an

accountant.

 

JACK

Well, you know I was thinking that after I

turn your ass in and collect my money,  I’m

going to open up a nice little coffee shop.

 

JONATHON

How much exactly are you getting for me,

if I can ask?

 

JACK

Well, I don’t think that’s any of your concern,

but I’ll tell you just to tell you.  A hundred

thousand.

 

JONATHON

A hundred thousand.  Will you take a hundred

thousand to let me go?

 

JACK

Not by a long shot.

 

JONATHON

Two hundred thousand?

 

JACK

I never took a payoff in my life, and I’m not

going to start with someone like you.

 

JONATHON

Why not?
JACK

Because you’re a fucking criminal and you

deserve to go where you’re going, and I’m

going to take you there.  And if I hear any

more shit from you I’m gonna fucking bust

your head and I’m gonna put you back in

that fucking hole, and I’m gonna put your

head in the fucking toilet bowl and I’m

gonna make it stay there.

 

JONATHON

I have to tell you a restaurant is a very tricky

investment.  More than half of them go under

within the first six months.  If I were your

accountant I’d have to strongly advise you

against it.

 

JACK

You would huh?  Well you’re not my accountant.

 

JONATHON

If I were your accountant I’d have to…..

 

JACK

I told you, I took you out here….

 

JONATHON

I’m just saying that it’s a very tricky business

and if I were your accountant I would really

have to strongly advise you against it, as an

accountant.

 

JACK

You’re not my accountant.

 

JONATHON

I realize I’m not your accountant.  I’m saying

if I were your accountant.

 

Jack eats some type of fatty food.

 

JONATHON

Are you familiar with the phrase arterial sclerosis?

Cholesterol?  If you want I’ll outline a complete

balanced diet for you.

 

JACK

Mail it to me from C block.

 

JONATHON

Why would you eat that?

JACK

Why?

 

JONATHON

Yeah.

 

JACK

Cause it tastes good.

 

JONATHON

But it’s not good for you.

 

JACK

I’m aware of that.

 

JONATHON

Well, why would you do something that you

know is not good for you?

 

JACK

Because I don’t think about it.

 

JONATHON

Well that’s living in denial.

 

JACK

Living in denial?

 

JONATHON

Yeah.

 

JACK

I’m aware of that.

 

 

JONATHON

So you’re aware of all your behavior yet

you continue to do things that aren’t good

for you.  Isn’t that sort of foolish, don’t you

think so Jack?

 

JACK

No.  Stealing fifteen million dollars from Jimmy

Serrano seems foolish.

 

JONATHON

I didn’t think I’d get caught.

 

JACK

Now that’s living in denial.

 

JONATHON

I’m aware of that.

 

JACK

Oh, so you’re aware of your behavior and yet

you continue to do things that aren’t good for you.

Sounds kind of foolish to me.  Don’t you think,

Jon?

 

JONATHON

It was foolish.  But taking fifteen million of mob

money and giving it to charity was good for a lot

of people.

 

JACK

Oh so you pissed of a Mafioso killer just to be

loved by a bunch of fucking strangers.  Makes a

lot of sense.

 

JONATHON

Don’t you want to be loved?

 

JACK

Lots of people love me.

 

JONATHON

Really.  Who?

 

 

JACK

I’ve got an ex-wife and I’ve got a daughter in

Chicago.

 

JONATHON

How do they put up with all your sarcasm?

 

JACK

Beautifully.  I haven’t seen either of them in

nine years.

 

JONATHON

Maybe we should go see them.

 

JACK

No I don’t think maybe we should go see them.

Thanks for the interest though.

 

JONATHON

The job must have been tough on them.

 

JACK

No, I didn’t do this then.

 

JONATHON

What’d you do?

 

JACK

I was a cop.

 

JONATHON

You were a cop in Chicago?  Then you must

know all about Jimmy Serrano.

 

JACK

Do you have the right to ask me certain questions?

 

JONATHON

Yeah, I think I do.

 

JACK

No you don’t.

 

JONATHON

I think I do.

 

JACK

No you don’t.

 

JONATHON

Why not?

 

JACK

Dinner’s over let’s go.

 

They get up to leave.

 

JACK (CONT.)

I can see this is going to be some fucking

trip, boy.

 

JONATHON

I wouldn’t worry about it Jack.  I’m not

going to be with you that much longer.

 

JACK

What do you mean?

 

JONATHON

From what I know about Serrano, if I go to

jail I’ll be dead within twenty four hours, so

sooner or later I’m going to have to give you

the slip.

 

Jack laughs as he lays down the tip on the bill.

 

JONATHON

Glad you find it humorous.  Two dollars, that’s

all you’re going to leave?

 

JACK

That’s fifteen percent.

 

JONATHON

That’s thirteen percent.  These people

depend on tips for a living.

 

Jack looks over the bill again.

“Listen to that.” from the film ” Dr. Strangelove.” General Jack D. Ripper, the delusional commander of a US Air Force base, initiates a plan to attack the Soviet Union with nuclear weapons, even though there is no immediate threat. Ideal for Adult Males in their 60s. 2-3 Mins.

Written By: Stanley Kubrick, Terry Southern, & Peter George

MANDRAKE and RIPPER:

MANDRAKE walks hurriedly through the halls with the portable radio producing another jazz tune, now upbeat.  He enters RIPPER’S office.

 

MANDRAKE

Excuse me, sir, something rather interest-

ing’s just cropped up.  Listen to that.

Music.  Civilian broadcasting.  I think

those fellows in the Pentagon have given

us some sort of exercise to test our read-

iness.  Personally, I think it’s taking it a

bit too far – our fellows will be inside

Russian radar cover in about twenty

minutes.  You listen to that.  Traffic block

full of stations all churning it out.

 

RIPPER

Mandrake.

 

MANDRAKE

Yes sir?

 

RIPPER

I thought I issued instructions for all radios

on this base to be impounded.

 

MANDRAKE

Well you did indeed sir, and I was in the process

of impounding this very one when I happened to

switch it on.  I thought to myself, our fellows

hitting Russian radar cover in twenty minutes,

dropping all their stuff, I’d better tell you, because

if they do, it’ll cause a bit of a stink, won’t it?

 

RIPPER

Group Captain, the officer exchange program does

not give you any special prerogatives to question

my orders.

 

MANDRAKE

Well I realize that sir, but I thought you’d be

rather pleased to hear the news.  I mean after

all, well let’s face it we…we don’t want to

start a nuclear war unless we really have to,

do we?

 

RIPPER

Please sit down and turn that thing off.

 

MANDRAKE

Yes sir.  Ah, what about the planes, sir?  Surely

you must issue the recall code immediately?

 

RIPPER

Group Captain, the planes will not be recalled.

My attack orders have been issued, and the

orders stand.

 

MANDRAKE

Well, if you’ll excuse me for saying so, sir, that

would be, to my way of thinking, rather…well

rather an odd way of looking at it.  You see, if

a Russian attack was in progress we would

certainly not be hearing civilian broadcasting.

 

RIPPER

Are you certain of that, Mandrake?

 

MANDRAKE

I’m absolutely positive about that, sir, yes.

 

RIPPER

And what if it was true?

 

MANDRAKE

Well, I’m afraid I’m still not with you , sir,

because, I mean, if a Russian attack was not

in progress, then your use of Plan B, in fact

your orders to the entire wing…..oh.  Well

I would say, sir, that there was something

dreadfully wrong somewhere.

 

 

 

 

RIPPER

Now, why don’t you just take it easy, Group

Captain, and please make me a drink of grain

alcohol and rain water and help yourself to

whatever you’d like.

 

MANDRAKE

General Ripper, sir, as an officer in Her Majesty’s

Air Force, it is my clear duty, under the present

circumstances, to issue the recall code upon my

own authority and bring back the wing.  If you’ll

excuse me sir.

 

Mandrake tries the door, finds it locked.

 

MANDRAKE

I’m afraid, sir, I must ask you for the key and

the recall code.  Have you got them handy, sir?

 

RIPPER

I told you to take it easy, Group Captain. There’s

nothing anybody can do about this thing now.  I’m

the only person who knows the three letter code group.

 

MANDRAKE

Then I must insist, sir, that you give them to me.

 

Ripper reveals a pistol.

 

MANDRAKE

Do I take it, sir, that you are threatening a brother

officer with a gun?

 

RIPPER

Mandrake, I suppose it never occurred to you that

while we’re chatting here so enjoyably, a decision

is being made by the President and the Joint Chiefs

in the war room at the Pentagon.  And when they

realize there is no possibility of recalling the wing,

there will be only one course of action open; total

commitment.  Mandrake, do you recall what

Clemenceau  once said about war?

 

MANDRAKE

No, I don’t think I do sir, no.

 

RIPPER

He said war was too important to be left to the

generals.  When he said that, fifty years ago, he

might have been right.  But today, war is too

important to be left to politicians.  They have

neither the time, the training nor the inclination

for strategic thought.  I can no longer sit back

and allow Communist infiltration, Communist

indoctrination, Communist subversion and the

international Communist conspiracy to sap and

impurify all of our precious bodily fluids.

 

MANDRAKE

Sir?

 

RIPPER

Mandrake….

 

MANDRAKE

Yes, Jack?

 

RIPPER

Have you ever seen a commie drink a glass of water?

 

MANDRAKE

Well no, I can’t say I have, Jack.

 

RIPPER

Vodka, that’s what they drink, isn’t it?  Never water.

 

MANDRAKE

Well, I believe that’s what they drink Jack, yes.

 

RIPPER

On no account will a commie ever drink water, and

not without good reason.

 

MANDRAKE

Oh, ah, yes.  I don’t quite…see what you’re getting

at, Jack.

 

RIPPER

Water.  That’s what I’m getting at.  Water. Mandrake,

water is the source of all life.  Seven tenths of this

earth’s surface is water.  Seventy percent of you is

water.

MANDRAKE

Oh, God…..

 

RIPPER

As human beings, we need fresh, pure water to

replenish our precious bodily fluids.

 

MANDRAKE

Yes….

 

RIPPER

Are you beginning to understand, Mandrake?

 

MANDRAKE

Yes…..

 

RIPPER

Mandrake, have you ever wondered why I drink

only rain water, or distilled water, and only pure

grain alcohol?

 

MANDRAKE

Well, it did occur to me, Jack, yes.

 

RIPPER

Have you ever heard of a thing called fluoridation?

Fluoridation of water?

 

MANDRAKE

Ah, yes, I have heard of that, Jack.  Yes.

 

RIPPER

Well, do you know what it is?

 

MANDRAKE

No.  No, I don’t know what it is, no.

 

RIPPER

Do you realize that fluoridation of water is the

most monstrously conceived and dangerous

communinst plot we have ever had to face?

 

SHOTS ring out. Ripper returns fire.

 

RIPPER

Two can play at that game, Soldier!

More shots, Ripper returning fire again.

 

RIPPER

That’s nice shooting, Soldier!

 

He tosses the M-16 to Mandrake.

 

RIPPER

Mandrake, come here!

 

MANDRAKE

You calling me, Jack?

 

RIPPER

Get over here and help me return fire!

 

MANDRAKE

I ah, haven’t had very much experience, you

know, with these sort of machines, Jack.  I

only ever pressed a button in my old Spitfire.

 

RIPPER

Mandrake, in the name of Her Majesty and

the Continental Congress, come here and

return fire, Boy!

 

MANDRAKE

Jack, I’d love to come.  But, what’s happened,

you see, is the string in my leg’s gone.

 

RIPPER

The what?

 

MANDRAKE

The string.  I never told you, but, you see, I’ve

got a gammy leg.  Oh dear.  Gone. Shot off.

 

The gunfire increases in intensity.

 

MANDRAKE

Jack, don’t you think we’d be better off in

some other part of the room, away from all

this flying glass?

 

 

 

RIPPER

Nah, we’re OK here.  Mandrake, do you realize

that in addition to fluoridating water, there are

studies underway to fluoridate salt, flour, fruit

juices, soup, sugar, milk and ice cream?  Ice

cream, Mandrake.  Children’s ice cream.

 

MANDRAKE

Good Lord.

 

RIPPER

You know when fluoridation first began?

 

MANDRAKE

No, no I don’t Jack.  No.

 

RIPPER

  1. Nineteen hundred and forty six, Mandrake.

How does that coincide with your postwar commie

conspiracy, huh?  It’s incredibly obvious, isn’t it?

A foreign substance is introduced into our precious

bodily fluids without the knowledge of the individ-

ual and certainly without any choice.  That’s the way

your hard-core commie works.

 

MANDRAKE

Jack…Jack, listen, tell me, ah….when did you first

become aware of, well, develop this theory?

 

RIPPER

I became aware of it, Mandrake, during the physical

act of love.

 

MANDRAKE

Oh.

 

RIPPER

Yes, a profound sense of fatigue, a feeling of

emptiness followed.  Luckily I was able to

interpret these feelings correctly – the loss of

essence.

 

MANDRAKE

Yes….

 

 

RIPPER

I can assure you it has not recurred, Mandrake.

Women…..women sense my power, and they

seek the life essence.  I do not avoid women,

Mandrake, but I do deny them my essence.

 

MANDRAKE

Heh heh…..yes.

 

The GUNFIRE cuts out suddenly.

 

RIPPER

Boys must have surrendered.

 

MANDRAKE

It’s the way it is.  Now Jack, listen.  While

there’s still time, I beg you, let’s recall the

wing.

 

RIPPER

Those boys were like my children, and now

they’ve let me down.

 

MANDRAKE

No no, Jack, not a bit of it.  No, I’m sure they

all gave you their very best.   And I’m equally

sure they all died thinking of you, every man

jack of them.  Ah, Jack.  Supposing a bit of water

has gone off, eh?  And certainly one can never

be too sure about these sorts of things. Would

you look at me now?  Do I look all rancid and

clotted?  You look at me, Jack, eh?  Look, eh?

And I drink a lot of water, you know.  I’m what

you might call a water man, Jack.  That’s what

I am.  And I can swear to you, my boy, swear

to you, that there’s nothing wrong with my bodily

fluids.  Not a thing, Jackie.

 

RIPPER

Mandrake, have you ever been a prisoner of war?

 

MANDRAKE

Ah, yes I was, matter of fact, Jack.  I was.

 

RIPPER

Did they torture you?

MANDRAKE

Ah, yes they did.  I was tortured by the Japanese,

Jack, if you must know.  Not a pretty story.

 

RIPPER

Well, what happened?

 

MANDRAKE

Oh, well, I don’t know, Jack.  Difficult to think

of under these conditions.  But, well, what happened

was they got me on the old Rangoon railway. I was

laying train mines for the bloody Japanese puff-puffs.

 

RIPPER

No, I mean when they tortured you, did you talk?

 

MANDRAKE

Ah, no, I, ah….I don’t think they wanted me to talk,

really, I don’t think they wanted me to say anything.

It was just their way of having…..a bit of fun, the

swines.  Strange thing is they make such bloody

good cameras.

 

RIPPER

You know those clowns outside are going to give

me a pretty good going over in a few minutes.

For the code.

 

MANDRAKE

Yes.  Well, you may have…you may have quite

a point, there, Jack.

 

RIPPER

I don’t know how well I could stand up under

torture.

 

MANDRAKE

Well, of course the answer to that is, boy, no

one ever does.  And my advice to you, Jack, is

to give me the code now.  And if those devils

come back and try any rough stuff, we’ll fight

them together, boy, like we did just now, on

the floor, eh?

 

 

 

RIPPER

Mandrake, I happen to believe in a life after

this one, and I know I’ll have to answer for

what I’ve done.  And I think I can.

 

MANDRAKE

Yes, well of course you can, Jack, of course you

can.  I’m a religious man, myself, you know, Jack.

I believe in all that sort of thing, and…I’m hoping,

you know, Jack, that you’re going to give me the

code, boy, that’s what I’m hoping.  And….

 

Ripper goes into the washroom.

 

MANDRAKE

Oh, you’re going to have a little wash and

brush up, are you?  What a good idea.  Always

did wonders for a man, that, Jack.  A little wash

and brush up, water on the back of the neck, and…

makes you feel marvelous.  That’s what we need,

Jack!  Water on the back of the neck and the code.

Now, now, supposing I play a little guessing game

with you, Jack, boy…..I’ll try and guess what the

code is…..

 

A SHOT. Mandrake tries to open the door, but Ripper’s body has it jammed shut.

 

MANDRAKE

Jack?  Jack?

 

 

FADE OUT

 

 

 

 

 

“Come in, Mr. Juarez.” from the film “Being John Malcovich.” Craig gets a very strange interview from Lester. Ideal for Adult Males ranging from 30-60. 1-2 Mins.

Written By: Charlie Kaufman

LESTER and CRAIG:

INT. LESTER’S OFFICE – CONTINUOUS

        Craig enters. Lester, a giant of an old man, sits hunched

        behind his tiny desk.

                                 LESTER

                   Come in, Mr. Juarez. I’d stand, but,

                   well, you know.

                                 CRAIG

                            (extending his hand)

                   Actually, my name is Craig Schwartz,

                   Dr. Lester.

        Lester flips an intercom switch.

                                 LESTER

                   Security.

                                 CRAIG

                   No, it’s okay, sir. Just a mixup with

                   your secretary.

                                 LESTER

                   She’s not my secretary. She’s what

                   they call an executive liaison, and

                   I’m not banging her, if that’s what

                   you’re implying.

                                 CRAIG

                   Not at all, Dr. Lester. I simply

                   misspoke.

                                 LESTER

                   Tell me, Dr. Schwartz, what do you

                   feel you can bring to LesterCorp?

                                 CRAIG

                   Well, sir, I’m an excellent filer.

                                 LESTER

                            (crafty)

                   You think so, eh? Which comes first,

                   L or… Glooph?

                                 CRAIG 

                    Glooph is not a letter, sir.

                                 LESTER

                   Damn, you are good. I tried to trick

                   you. Okay, put these in order.

        Lester hands Craig a bunch of index cards. Craig orders

        them with amazing speed and dexterity. Lester watches,

        eyes wide.

                                 LESTER (CONT’D)

                            (flips intercom switch)

                   Floris, get Guinness on the phone.

                                 FLORIS (O.S.)

                   Gehginnis ondah foam?

                                 LESTER

                   Forget it.

                                 FLORIS (CONT’D)

                   Fork ah did?

                                 LESTER

                            (flips off switch)

                   Fine woman, Floris. I don’t know how

                   she puts up with this damn speech

                   impediment of mine.

                                 CRAIG

                    You don’t have a speech impediment,

                   Dr. Lester.

                                 LESTER

                   Flattery will get you everywhere,

                   my boy. But I’m afraid I have to

                   trust Floris on this one. You see,

                   she has her doctorate in speech

                   impedimentology from Case Western.

                   Perhaps you’ve read her memoirs,

                   “I can’t understand a word any of

                    you are saying.”

                                 CRAIG

                   No.

                                 LESTER

                   Pity, it tells it like it is.

                   That’s why the eastern, read Jewish,

                   publishing establishment won’t touch

                   it. That’s a quote from the book

                   jacket. George Will, I think.

                            (beat)

                   I apologize if you can’t understan

                   a word I’m saying, Dr. Schwartz.

                                 CRAIG

                   No. I understand perfectly.

                                 LESTER

                            (choking up)

                   Thank you for being kind enough to

                    lie. You see, I’ve been very lonely

                   in my isolated tower of

                   indecipherable speech. You’re hired.

                   Any questions?

                                 CRAIG

                   Just one. Why is this floor so short?

                                 LESTER

                   Low overhead, m’boy. We pass the

                   savings on to you.

                            (laughs heartily)

                   But seriously, that’s all covered in

                    orientation.