FINAL SCRIPT/FLOW
Movies to do:
- A Chorus Line
- Come back to the young and beautiful you (1 auditionee/ CD)
- Hereditary (2)
- EEAAO (2)
- 4 Sisters and A Wedding (5)
Scene:
- An audition session where a casting director is looking for actors who
can play in an upcoming movie (A Chorus Line context). For each
audition round, the casting director will call out different auditionees to
do scenes from movies.
Characters:
Casting Director- Ella
Auditionee #1- Fia
Auditionee #2- Isa
Auditionee #3- Niña
Auditionee #4- Rex
Auditionee #5- Camille
(Narration) (Lights Out) (Cue music #1) Casting Director- The stage is
completely bare, surrounded in black. There is a white line painted on the
floor downstage parallel to the footlights. The house goes to "half then to
black. As the stage lights come up, we see a line of auditionees in rehearsal
clothes, facing dance mirrors upstage. (The upstage wall is made of
three-sided revolving panels. One side black, one side mirror, and one side the
special ribbon deco design used in the finale only.) A final audition is in
progress.
CD- Right! Let's do whole combinations, facing away from the mirror. Okay,
I'm going to put you into your groups now. When I call out your number, I'll
tell you where you're gonna be in the formation.
A #3: Oh, God, I don't remember my number.
CD: Right, when I find a number without a person, it's you.
Okay, girls first. Number Two, first chair. Number Five, 2nd chair. Number one,
3rd chair. And number three, 4th chair. Number three? Niña de Luna.
A #3: Number three. (She runs into place)
CD: Last group, number four, last chair.
ALL AUDITIONEES: GOD, I HOPE I GET IT. I HOPE I GET IT. HOW MANY
PEOPLE DOES SHE NEED? LOOK AT ALL THE PEOPLE! AT ALL THE PEOPLE.
HOW MANY PEOPLE DOES SHE NEED? HOW MANY BOYS, HOW MANY
GIRLS?
(Music out at exactly 1:48)
(Cue music #2)
CD: Today, I want you to tell me your stage name, real name if it's different.
And I'd also like to know where you were born and when.
A#2: Ah excuse me, sir... do we have to? I mean it's not very polite to ask a lady
her age.
CD: Being polite doesn't interest me. Your age does. And I want to know your
age. Okay, let's go down the line. We'll start on the end, stage right. Start with
your name and step forward.
A#4: My real name is Rex full name. Ah- kung taga saan ka. Bday mo (Backs
into line)
CD: Next. And Louder.
A#3: Nina full name... sometimes known as nickname 1, nickname 2,
nickname 3... all of the above. Whatever, it's real and I was born in birthplace
on a Thursday evening at 10:40 p.m., August 17, 1950 (change to ur full bday
details).
A#1: (Stepping forward): I'm Sofia Cariño-it used to be Daproza. Born in
Quezon City, Manila, May 1, 2002, which makes me twenty-four. (Backs to line)
CD: Next.
A#5: (Coming forward) Camille full name. It's always been full name. I was
born in birthplace. December 5, four thousand six hundred and forty-two
(replace with bday). The Year of the Chinese zodiac. (Backs to line)
CD: Next.
A#2: My real name is Isabelle Encinares. My Jewish name is Rochmel Lev Ben
Yokov Meyer Beckenstein, and my professional name is Gregory Gardner
(replace). Very East Side, and I do not deny it. Born birthday.
(Music out)
CD: Before we do any more, let me explain something. I'm looking for a strong
acting group. I need people that look terrific together and that can work
together as a group. Now, I have your pictures and resumes, I know what
shows you've been in-but that's not gonna help me. And I don't want to give
you just a few lines to read. I think it would be better if I saw more from you. I
don't want you to think you have to perform. I just want to hear you talk and
act. And everybody just relax-as much as you can.
CD: Okay, 1st group, Auditionee number 5 to the front, please. (A #5 walks to
the center)
Please perform this scene (hands script to Camille)
CD: And, ACTION! (Cue music #3)
A#5: Come back to the young and beautiful you.
CD: CUT! (Music out) (Enunciating properly to self) Come back to the young
and beautiful you. (To auditionee). Isa pa!
A#5: Come back to the young and beautiful yo-
CD: (Enunciating properly) Come back to the young and beautiful you. Ganun
dapat. BEAUTIFUL! Isa pa,
A#5: Butipul (lawl HHAHA). Ayaw nyo po ba kung pretty nalang? Come back
to the young and pretty you. Oh kaya: Tara na, sa dating ikaw! Oh diba? Mas
cotchy!
CD: Cotchy?! Anong cothcy, isa pa nga.
A#5: Come back to the young and beautiful yo-
CD: CUT! Jusko, sige we can do this.
Iha, gayahin mo nalang ako ha: (Mag bback and forth sila)
Beautiful, (2x na ulit)
Come back, to the, young, and beautiful, you
Ayan sige buoin mo na. Come back to the young and beautiful you!
A#5: Come back to the young and beautiful you. (Maling pagkasabi)
CD: Ay jusko po, papanindigan natin to, isa pa!
(Cue music #4)
A#5: Come back to the young and beautiful you. (Maling pagkasabi)
CD: CUT! Isa Pa
(Mga 4 times uulitin mag adlib nalang si CD)
A#5: Direk okay na po, kaya ko na po. Kaya ko na po talaga. Tingnan nyo po ah.
Uhh, CAMERA! Rolling, SOUND! Rolling, ACTION! Come back to the young and
beautiful you. (Maling pagkasabi) CUT! GOOD TAKE! MARK IT! I lOVE IT
MOVING ON!
Direk, how was it? For me, I think we got it.
(Music out)
CD: Okay pack up, next na, jusko po.
CD: Number one and four to the front, here’s your scene. Number one, you are
the mother and number four, you are the son. ACTION!
—-----------------
CD: (Narration) What begins as a tense, quiet dinner escalates when Peter
challenges his mother’s passive-aggression, triggering Annie’s explosive
release of repressed grief and rage. Annie weaponizes her role as a mother,
attacking Peter not just for the accident that killed his sister, Charlie, but for
his perceived lack of remorse and refusal to take responsibility. The horror
here is grounded in emotional realism rather than the supernatural, as Annie
claims to shield Peter while simultaneously blaming him. Peter’s crushing
retort—that Charlie never wanted to go to the party in the first
place—exposes Annie’s own guilt, leaving the family in a shattered stalemate.
A#1: Is there something on your mind?
A#4: It just looks like you might want to say something.
A#1: Like what? Why would I want to say something? So I can watch you roll
your eyes at me?
A#4: I have never rolled my eyes at you-
A#1: Oh sweetie - you don’t have to. You get the point across. I don’t want to
say anything. I’ve tried saying things.
A#4: So try again. Release yourself.
A#1: Release you, you mean!
A#4: So fine, so release me! What do you wanna say? Fuckin’ say it!
CD: (Narration) Annie explodes out of her seat.
A#1: Don't you swear at me - you little shit! You don’t EVER raise your voice at
me! I'm your Mother, you understand? I've given everything to you! All I ever
DO is worry and slave and defend you, and all I get back is that fucking face
on your face! So full of disdain and resentment and always so annoyed. Well,
now your sister’s dead! And I know you miss her and I know it was an
“accident” and I know you're in pain - and I wish I could take it all away! I wish I
could shield you from the knowledge that you did what you did - but your
sister is dead. She's gone forever. And what a waste. If it could’ve maybe
brought us together - something! - if you could have just said “I’m sorry” or
faced up to what happened: maybe then we could do something with this!
But you can’t take responsibility for anything, so now I can’t accept. And I
can’t forgive. Because nobody admits what they’ve done!
CD: (Narration) She sits down. A heavy silence. Peter is looking away, fighting
tears.
CD: Okay and CUT! Nice job, next. Number two and three, you’re up next.
Here’s your script. Number two, you play the mother, and number three you
are the daughter.
—---------------------
CD: IRS 9TH FLOOR - ORIGINAL UNIVERSE. Evelyn's mind is going a mile a
minute. She gasps.
A#2: It's you. It's been you this whole time. You are the reason my daughter
doesn't call anymore. Why she dropped out of college, gets tattoos. You are
why she thinks she’s gay.
A#3: Hah! You're still hung up on the fact that I like girls in this world? The
universe is so much bigger than you realize, Evelyn.
Look, I'll be out of this universe in a jiffy. I'm just popping in, to check on
something.
CD: (Narration) TAXES UNIVERSE: EXIT. LAUNDROMAT. Evelyn chases Joy to
her car. Joy stops abruptly and turns.
A#3: . . . Stop, mom
CD: The tears in Joy's eyes stop Evelyn in her tracks. Waymond and everyone
left watch from the laundromat. (Cue music #5)
A#3: Good for you. You're figuring your shit out. And that's great. But I'm tired.
I don't want to hurt anymore. And for some reason when I'm with you, it hurts
both of us. So, let's just go our separate ways. . . Please
CD: Evelyn is taken aback. For the first time she is truly seeing Joy’s pain. Joy
waits for her mom to say something.
A#2: Okay
CD: (Narration) Evelyn watches as her daughter walks to her car. Evelyn turns
her back to Joy and begins to walk to the laundromat with her head down in
shame. She hears Joy open her car door.
A#2: Wait
CD: Joy turns, one foot already in the car, but Evelyn doesn’t know what to say.
A#2: You're getting fat.
A#3: What.
A#2: And you never call me even though we are on a family plan and it's
FREE. You only visit when you need something, and you got a tattoo, and I
don't care if it's supposed to represent our family, you know I hate tattoos. Out
of all of the places I could be, why would I want to be here with you? You are
right. It doesn't make sense.
Maybe it's like you said, maybe there is something out there, some new
discovery that'll make us feel like even smaller pieces of shit. Something that
explains why even after seeing everything, and giving up, you still went
looking for me through all of this noise. And why no matter what, I still want
to be here with you. I will always want to be here with you.
CD: (Narration) Joy goes to her mom. Finally vulnerable.
A#3: So... what? You're just going to ignore everything else? You could be
anything, anywhere. Why not go somewhere where your daughter is more
than just... this. Here, all we’ll get are a few specks of time where any of this
actually makes sense.
A#2: Then I will cherish these few specks of time.
CD: CUT! (Music out)
—----------