Monologues 4 kids
Monologues 4 teens
Scene Study 4 adults

Scenes and Monologues
for Women

Acting skills
Prep for cold reading
How to self tape for auditions - film/theater
Voice over skills
Headshots for theatrical Commercial
Want to add modeling to your resume
Contact form
photography service
Acting skills and audition training for all actors

Ten Things I Hate About You

In this modern Shakespeare adaptation (another?), Kat (Julia Stiles) waxes poetic about beloved boyfriend,
a boy first hated and then loved and then lost and hated again and soon to be loved again.

written by Karen McCullah Lutz & Kirsten Smith; adapted from the play by William Shakespeare

Kat: I hate the way you talk to me. And the way you cut your hair. I hate the way you drive my car. I hate it when you stare I hate your big dumb combat boots. And the way you read my mind. I hate you so much it makes me sick-- it even makes me rhyme. I hate the way you're always right. I hate it when you lie. I hate it when you make me laugh -- even worse when you make me cry. I hate it that you're not around. And the fact that you didnt call. But mostly I hate the way I don't hate you - - not even close, not even a little bit, not even at all.


100 Girls

Matt (Jonathan Tucker) is confronted by a tense situation: Dora the (lonely) Smart Girl (Marissa Ribisi) is standing on the
ledge of the dorm's roof, staring off into space.

written by Michael Davis

(Dora is on the roof of the dorm, standing on the edge and looking off into space.)
Dora: You know, the first time I did this, nobody noticed. Now nobody cares.
Matt: I care. Why are you doing this?
Dora: Because I was born with the greatest curse of all.
Matt: What's that?
Dora: I'm ugly. And I'm also very smart.
Matt: You're not ugly.
Dora: I know what's in store for me. No one will ever have passion for me. People all around me will be falling in love, and making love, and getting married, and having kids. The closest thing I'll ever have to that is someone inviting me to their Christmas dinner because they feel guilty I might be spending the holiday alone. Or if I'm lucky, my male counterpart, an obese man or guy with a harelip, will invite me to coffee. And we'll pretend to love each other, and tie the knot because we're so desperately afraid of growing old alone.


The Accused

Deputy D.A. Kathryn Murphy (Kelly McGillis) prosecutes the men who encouraged the rape of her client.

written by Tom Topor

Kathryn Murphy: Ladies and gentlemen, Mr. Paulson has told you that the testimony of Sarah Tobias is nothing. Sarah Tobias was raped, but that is nothing. She was cut and bruised and terrorized but that is nothing. All of it happened in front of a howling crowd and that is nothing. Well, it may be nothing to Mr. Paulson but it is not nothing to Sarah Tobias and I don't believe it is nothing to you. Next Mr.Paulson tried to convince you that Kenneth Joyce was the only person in that room who knew that Sarah Tobias was being raped. The only one... Now you watched Kenneth Joyce. How did he strike you? Did he seem especially sensitive, especially observant? Did he seem so remarkable that you immediately said to yourselves, "Of Course! This man would notice things other people wouldn't!" Do you believe that Kenneth Joyce saw something those three men didn't see? In all the time that Sarah Tobias was being held down on that pinball machine the others didn't know? Kenneth Joyce confessed to you that he watched a rape and did nothing! He told you that everyone in that bar behaved badly...he was right. But no matter how immoral it may be it is not the crime of criminal solicitation to walk away from a rape, it is not the crime of criminal solicitation to silently watch a rape ...but it is the crime of criminal solicitation to induce or entreat or encourage or persuade another person to commit a rape - "Hold her down! Stick it to her! Make her moan..." These three men did worse than nothing. They cheered and they clapped and they rooted the others on, made sure that Sarah Tobias was raped and raped and raped... Now tell me... Is that nothing?


Addams Family Values

Scheming "black widow" Debbie Jellinsky (Joan Cusack) picked the wrong family to pick on -- and she certainly picked the wrong rich bachelor when she set her murderous sights on Uncle Fester.

written by Paul Rudnick, based on characters created by cartoonist Charles Addams

Debbie: I don't want to hurt anybody. I don't enjoy hurting anybody. I don't like guns or bombs or electric chairs, but sometimes people just won't listen and so I have to use persuasion, and slides. My parents, Sharon and Dave. Generous, doting, or were they? All I ever wanted was a Ballerina Barbie in her pretty pink tutu. My birthday, I was 10 and do you know what they got me? Malibu Barbie. That's not what I wanted, that's not who I was. I was a ballerina. Graceful. Delicate. They had to go. My first husband, the heart surgeon. All day long, coronaries, transplants. "Sorry about dinner, Deb, the Pope has a cold." Husband number 2: the senator. He loved his state. He loved his country. Sorry Debbie. No Mercedes this year. We have to set an example." Oh yeah. Set this! My latest husband. My late, late husband Fester, and his adorable family. You took me in. You accepted me. But did any of you love me? I mean, really love me? So I killed. So I maimed. So I destroyed one innocent life after another. Aren't I a human being? Don't I yearn and ache...and shop? Don't I deserve love...and jewelry? Good-bye everybody. Wish me luck.


The American President

A decision President Shepherd (Michael Douglas) made has cost Sydney Ellen Wade (Annette Bening), his girlfriend, her job, and she storms out, angrily.

written by Aaron Sorkin

Sydney: Have you seen a grey cable-knit sweater?
President Shepherd: A grey sweater? No. I called you at the office today.
Sydney: Its Beth's, I wore it one time and I didn't want to leave it.
President Shepherd: Where are you going?
Sydney: I'm going home and then I'm going to Hartford.
President Shepherd: Connecticut?
Sydney: Yes. Do you know if it was sent with your dry-cleaning?
President Shepherd: What's in Connecticut?
Sydney: Uh, Richard Reynolds' campaign. He may be able to get me a job.
President Shepherd: When did you decide to get a new job?
Sydney: Not long after Leo Solomon fired me from my old one. (opens drawer) Beth's gonna to kill me.
President Shepherd: Why did he fire you?
Sydney: Uh, "Total failure to achieve any of the objectives for which I was hired." I told him he was being unreasonable. After all, I did get to dance with the president and ride in Air Force One a couple of times. But, you know those prickly environmentalists. It's always gotta be something with them. If it's not clean air, then its clean water. Like it's not good enough that I'm on the cover of People Magazine.
President Shepherd: I'll call him.
Sydney: You'll call him? You mean you'll call him yourself, personally? It'll come from the President? That's a great idea. I think you should call Leo and make a deal. He hires me back for, say, 72 days. I go around scaring the hell out of Congress making them think the President is about to drive through a very damaging and costly bill. They'll believe me right? Cause I'm the President's Friday night girl. Now, I don't know if we can dip into that well twice, especially since I've lost all crediblity in politics, but you never know. I might just pull it off again. I might be able to give you just the leverage you need to pass some piece of ground-breaking crime legislation, like a mandatory three-day waiting period before a five-year old can buy an Uzi. (slams drawer shut) Oh, fuck the sweater! She'll have to learn to live with disapointment.


Beautiful Girls

Gina (Rosie O'Donnell) launches a tirade against the unreal so-called "beautiful" women of the world. Rated R for language.

written by Scott Rosenberg

Gina: I'm speaking to both you, okay, you're both fucking insane. You wanna know what your problem is? MTV, Playboys, and Madison fucking Avenue. Yeah. Let me explain something to you. OK, look, girls with big tits have big asses, girls with little tits have little asses. That's the way it goes. God doesn't fuck around, he's a fair guy. He gave the fatties big, beautiful tits, and the skinnies little, tiny niddlers. If you don't like it, call him. (entering store) Hey Mitch. Thank you. Oh guys, look what we have here. (picking up Penthouse magazine and opening it) Look at this: your favorite. Oh, you like that?
Tommy (Matt Dillon): I'd go along with that.
Gina: Yeah, that's nice, right? Well, it doesn't exist, okay? Look at the hair. The hair is long, it's flowing, it's like a river. Well, it's a fucking weave, okay? And the tits. Please, I could hang my overcoat on them. Tits, by design, are intended to be suckled by babies. Yeah, they're purely functional. These are silcone city. And look, my favorite, the shaved pubis. Pubic hair being so unruly and all. Very vain. This is a mockery, this is a sham, this is bullshit. Implants, calogen, plastics, capped teeth, the fat sucked out, the hair extended, the nose fixed, the bush sh-these are not real women, alright? They're beauty freaks. And they make all us normal women with our wrinkles, our puckered boobs, hi Bob, our cellulite, seem somewhat inadequate. Well, I don't buy it, alright? What you fuckers, you think is that there's a chance in hell that you'll end up with one of these women you don't give us real women any thing approaching a commitment. It's pathetic. I don't know what you think you're going to do. You're going to end up 80 years old, drooling in some nursing home, and then you'll decide that it's time to settle down, get married, have kids? What are you going to do: find a cheerleader? Charge it, Mitch.
Willie (Timothy Hutton): I think you're over simplifying.
Gina: Oh, eat me. Look at Paul--with his models on the wall, his dog named Elle Macpherson. He's insane! He's obsessed. You're all obsessed. If you had an ounce of self-esteem, of self-worth, of self-confidence, you would realize that as trite as it may sound: beauty is truly skin deep. And you know what? If you ever did hook one of those girls, I guarantee you'd be sick of her.
Tommy: (looking at the magazine) Yeah, I suppose I'd get sick of her, after about, what, 20 or 30 years?
Gina: Get over yourself.
Tommy: What?
(They leave the store)
Gina: No matter how perfect the nipple, how supple the thigh, unless there's some other shit going on in the relationship besides physical, it's going get old, okay? And you guys, as a gender, have got to get a grip, otherwise the future of the human race is in jeopardy.


East of Eden
Abra (Julie Harris), deeply in love with the son of the embittered mute and paralyzed AdamTrask, goes to Trask's bed to speak to him about his relationship with Cal.
written by Paul Osborn, from the novel by John Steinbeck

Abra: (softly) Mr. Trask. (she waits) Mr. Trask -- can you hear me? Is it just Cal you won't answer? Can you answer? (Adam makes no sign) I think you can understand me, though. I think behind your eyes you're just as alert as ever and understand everything I say -- only you can't show it. (pauses) Mr. Trask, it's awful not to be loved. It's the worst thing in the world. Don't ask me -- even if you could -- how I know that. I just know it. It makes you mean -- and violent -- and cruel. And that's the way Cal has always felt, Mr. Trask. All his life! Maybe you didn't mean it that way -- but it's true. You never gave him your love. You never asked for his. You never asked him for one thing. (pause) Cal did something very bad and I'm not asking you to forgive him -- or bless him or anything like that. Cal has got to forgive you -- for not having loved him -- or for not having shown your love. And he has forgiven you. I know he has. But you must give him some sign, Mr. Trask -- some sign that you love him -- or he'll never be a man. All his life he'll feel guilty and alone unless you release him (she pauses) I love Cal, Mr. Trask. And I want him to be happy and strong and whole. And only you can do it. Try! Please try! Find a way to show him! Ask for something. Let him help you, so he knows you love him. Let him do for you -- (she looks at him a moment more) Excuse me, Mr. Trask, for daring to speak to you this way -- if you hear me -- but I had to! (upset, she runs from the room)


The Notebook

Mere days before she will say "I do" to her fiance, Allie (Rachel McAdams) confronts Noah (Ryan Gosling) after several years of being separated (not by their own choice).

written by Jan Sardi & Jeremy Leven, from the novel by Nicholas Sparks

Allie: Do you remember sneaking over here the first time you told me about this place? I got home late that evening, and my parents were furious when I finally came in. I can still picture my daddy standing in the living room, my mother on the sofa, staring straight ahead. I swear, they looked as if a family member had died. That was the first time my parents knew I was serious about you, and my mother had a long talk with me later that night. She said to me,"Sometimes, our future is dictated by who we are, not what we want." And I know it was wrong of her to keep your letters from me, but just try to understand. Once we left, she probably thought it would be easier for me to just let go. In her mind, she was trying to protect my feelings, and she probably thought the best way to do that was to hide the letters you sent. Not that any of it matters, now that I have Lon. He's handsome, charming, successful. He's kind to me, he makes me laugh, and I know he loves me in his own special way...but there's always going to be something missing in our relationship -- the kind of love we had that summer.