ANNE BOLEYN - LOTTIE/SAMMIE

KATHERINE (to ANNE): You wished to speak to me?

ANNE (a little taken aback): Er - yes - it would be as well.
KATHERINE (proudly) As well?
ANNE: It ill becomes you, Madam, to be haughty.
KATHERINE: If you would keep your place as the King’s concubine-
ANNE: Concubine! I am not - (She checks.) How dare you!
KATHERINE: That is what all of Europe calls you. If it is wrong I am sorry. But you are surely not
his wife.
ANNE: Madam, I came to spare you.
To appeal to your better self to renounce this man Who no longer loves you.
And to retire with honour and dignity
As dowager Princess of Wales.
Are you determined to risk the future
Of your daughter Mary?
I warn you the King’s patience is cut to the quick. Any further resistance will only madden him.
KATHERINE: I do not understand you.
It is the future of my daughter that I protect
By refusing consent to this lie.
ANNE: There is no future, Madam, for those that are dead.
KATHERINE: (after a pause) You say to frighten me, the king would never permit it.
ANNE: To live in the past is a dangerous delusion, Madam.
Henry has empowered me to say
That he does not wish to see you here
On our return from Windsor in a month’s time.
KATHERINE: More lies.
If it were true, he would tell me so himself.
ANNE: It is true
KATHERINE: Then it was said by a Henry
Who is not my Henry.
ANNE: Precisely, dowager Princess.
KATHERINE: Listen, you foolish girl;
Some men are dual by nature.
My Henry is generous and brave and trusting,
But he harbours an alter ego
That I have learned to seal in slumber.
It is vicious, crafty and cruel.
As long as I am here at the palace
My love will control this spirit.
But if you tamper with the seal
And banish its guardian,
God help you, and God help us all.
ANNE: You would try to retaliate;
To frighten me with a witch’s cauldron.
I can hold the King in my arms
And at my feet if I will: Can you?
KATHERINE: I am contented to hold him in my heart.
ANNE: You hold nothing but a phantom;
You are old, unlovely and unwanted.
Am I to inform the king that you disobey him?
KATHERINE: (suddenly weary) I do not know. I have tried to help you.
Let him confirm it in his own hand.
ANNE: You choose to doubt my word?
KATHERINE: (motioning her to go) If you please, I am tired after my drive.
ANNE: (handing her a note) Perhaps you recognise this hand,
Giving me authority to search your chambers.
KATHERINE: (reading) It is incredible.
ANNE: Yes, the alter ego. I am afraid I removed the seal.
KATHERINE: You fool, you blind, unhappy little fool. That is why you are here.
No wonder you thirst to be queen.
Fear already pickets your bones.
ANNE: A thirst that soon shall be assuaged.
I came in kindness to give you a last warning,
If the Pope will not grant dispensation
We shall settle this matter in May.
KATHERINE: You will still be Henry’s concubine in Europe.
ANNE: You shall crawl to me for that.

ELECTRA - LOIS

ELECTRA: It’s not really my sister that I wish I could speak to.
It’s my brother.
Every morning, like my father, I think of him.
I think of how he might look.
I think of the ways in which he might have changed.
I picture him, as a boy, as a child.
But I worry that I will my waste my life waiting.
For him.
I worry that I will my waste my life waiting for him.
There were rumours, but they came to nothing.
That he was safe and that he was coming back.
My mother thinks that he wants to take her life.
She thinks that when he comes back, that he will take her life because he’s eager for blood.
And in a way, I find the idea comforting.
I know it sounds odd.
I know it must sound unhealthy, but I find the idea of my mother pleading for her life, the way my
father pleaded for his, strangely soothing.
I think of her - only very occasionally, not often - but I think of her, at my feet, a hand
outstretched.
Please, she’s saying.
Please.
I’m not sure that I care.
If someone else wakes.
They already think so little of me.
But, to me their behaviour is just as perplexing.
To carry on, as before.
Not to speak of it.
To not even mention it.
I look at my mother and my sister and, sometimes, I’m not entirely sure that we can be related to
one another.
And this man, this man that my mother has brought into our home.
He glides around corridors that were once my father’s as if they were now his own.
Sleeps in my father’s bed, sits in my father’s seat.
I’ve even seen him wearing my father’s clothing.
And no one says a word.
I rarely feel at home.
When my mother dreams of my brother, and she wakes terrified, she comes to me
And she exclaims that I’m to blame.
She says that my grief keeps her awake.
But, otherwise, they gloat.
She tells me that I am not the first to lose a father.
And she tells me that I won’t be the last.
She says were I not here to remind of what they have done, they would be free.
So yes, there are times when I think of how it might feel to have them scrabbling at my feet.

ELLIE PARKER - GRACIE/EMILY

LESLIE: Hello! Earth to Ellie.

ELLIE: I’m fine.
LESLIE: Such a liar. What’s the matter?
ELLIE: Everyone had these big personal events, and mine was lame. I’m an idiot.
LESLIE: That’s ridiculous Ellie, you were very very good today.
ELLIE: Easy for you to say. Yours was huge. You burnt your house down with your brother. No
wonder you’re such a good actress. You’ve got all this shit in your life that you can just draw
from. It’s deep. And I’m just like this shallow bird bath.
LESLIE: I made it up
ELLIE: What
LESLIE: I made it up. My personal event.
ELLIE: You made up your personal event?
LESLIE: Come on Ellie, you know I like to practice my accents in class. Sometimes I make
things up so I can practice my acting.
ELLIE: What’s the point? It defeats the purpose! The whole point is to use something that really
happened in your life, and you put it into your acting!
LESLIE: That’s bullshit. The whole method thing is a wank. Sense memory is so self indulgent.
ELLIE: No, it’s not. You draw from your life experience and you put it in your work. It makes it
real. It makes it honest and that’s how you make a scene work.
LESLIE: Oh bull shit Ellie. Sorry, but how many times are you gonna cry about your drunk
mother? It’s boring. It’s far more real and truthful and honest to use your imagination. And it’s
limitless.
ELLIE: Let’s try something.
LESLIE: Okay.
ELLIE: Let’s put your theory to the test. Let’s see who can cry first.
LESLIE: Okay
ELLIE: On the count of three
LESLIE: Alright.
BOTH: One, two, three…
(both start to attempt to cry)
LESLIE: I’m starting to get one here.
ELLIE: That’s not real though.
LESLIE: Yeah, it is, it’s real. Look, it’s gonna spill out in a second.
ELLIE: You’re not crying!
LESLIE: You see, now that’s dignified cause I don’t have to use any loud wailing, and it looks
like I’m holding back. My nose is going too.
ELLIE: I’m drawing from my own pain, see. Look at this, you think that’s faking it?
LESLIE: I think it gets a little embarrassing. I think there’s something dignified about holding
back and letting one just kind of spill out gently. It’s something real, Ellie!

FLEABAG - LUCY/LOIS/GEMMA

FLEABAG: Claire, what the hell has happened?

CLAIRE: Tell the truth
FLEABAG: It’s horrendous
CLAIRE: It’s horrendous
FLEABAG: It’s modern
CLAIRE: Don’t lie
FLEABAG: I’m not
CLAIRE: I look like a pencil
FLEABAG: You don’t, you don’t look like (laughs)
CLAIRE: Don’t laugh (sits in chair)
FLEABAG: It’s okay
CLAIRE: It’s not okay, I’m gonna lose my job
FLEABAG: You won’t lose your job it looks cool
CLAIRE: It’s not cool
FLEABAG: It’s edgy
CLAIRE: Oh fuck off
FLEABAG: It’s chic
CLAIRE: It’s unsalvageable
FLEABAG: Claire, it’s French
CLAIRE: Really
FLEABAG: Yes, have you been drinking?
CLAIRE: Yes, he gave me champagne before he ruined my life that’s how they get you
FLEABAG: Did you go to Antonia? Claire!
CLAIRE: I know
FLEABAG: What? You remember what happened to me, is this what you asked for?
CLAIRE: No, he’s just a bastard
FLEABAG: Right, fuck it
CLAIRE: What?
FLEABAG: Come on (pulls Claire out of chair)
CLAIRE: No, no it’s alright
FLEABAG: Come on
CLAIRE: Oh slow down
FLEABAG: Right
ANTONIA: No
FLEABAG: Antonia
ANTONIA: No that is exactly what she asked for
FLEABAG: No we want compensation
ANTONIA: Claire
CLAIRE: I’ve got two important meetings and I look like a pencil
ANTONIA: No don’t blame me for your bad choices. Hair isn't everything?
FLEABAG: Wow
ANTONIA: What?
FLEABAG: Hair is everything we wish it wasn’t so we could think about something else
occasionally but it is a difference between a good day and a bad day we’re meant to think it’s a
symbol of power symbol of fertility some people are exploited for it and it pays your flipping bills
Antonia so hair is everything!
ANTONIA: If you want to change your life, change your life, but it’s not happening here
FLEABAG + CLAIRE: Sorry sorry Antonia
FLEABAG: See you next week

HANNAH AND HER SISTERS - AMY/OLIVIA

HOLLY: I’ve got a singing audition for a West End musical. Of course I’ll never get it?
HANNAH: Singing?
HOLLY: Yeah, can you believe that?
HANNAH: Well, no I-I know I just uh… No I-I eh you know, I, I didn’t know you sung
HOLLY: Well, you think everybody in musicals can sing so well?
HANNAH: No! No, I, eh, it’s just that they sing
HOLLY: Well… you know uh.. I sing a little, I mean..
HANNAH: Ohh!
HOLLY: You know
HANNAH: I know.. No- I know
HOLLY: I mean y-you know, don’t say it that way, you know, because my confidence is not my
strong point, I-
HANNAH: No, I’m sorry. No I didn’t mean that, No I-I didn’t mean that
HOLLY: Uh, you know, I think I can fake my way through a song
HANNAH: Uh-huh
HOLLY: Easily. (pause) w-why? You don’t think it’s realistic?
HANNAH: No, I didn’t,I, that’s no. No, I-I-I, no I-I just.. Hate to see you put yourself in a position
where, where you get hurt, you know. You know, you know how you take..
HOLLY: Yeah
HANNAH: Every, eh, single rejection as-as a confirmation that you have no talent, or
something?
HOLLY: Yeah, well maybe I’ll get it
HANNAH: I hope
HOLLY: Boy, you really know how to cut me down
HANNAH: What? You don’t, don’t be so sensitive. Can’t I say anything?
HOLLY: Tch, well I sing! For chrissake, Hannah, you heard me sing!
HANNAH: Okay! Okay I- what happened? You know, we were having a really nice time, a-and
suddenly, everything went to a bad feeling.
HOLLY: Nobody but you can do that to me, I don’t know why
HANNAH: Look, everything’s going your way
HOLLY: You’re right. I’m happy. Why must I let my insecurities spoil everything?

KILLING EVE - AMY/LUCY

V - I’m proud of you

E - Proud?
V - Yes. We’re safe now. You made us safe
E - What do you mean?
V - After today people will be angry. But we can look after ourselves now can’t we?
E - I’m going home
V - What?
E - I’ve got to go home
V - You can’t go home
E - Yes I can
V - We need to talk
E - No
V - You’re ruining the moment
E - What do you think is happening here?
V - What? I think we’d..
E - You’d think we be what? Bonnie and Clyde? Just go on a killing spree? Cut a few throats?..
V - Stop it
E - You want me to be a mess. You want me to be scared. But I’m like you now, I’m not afraid of
anything. This is what you want.
V - This is what you wanted. This is what you want. (Eve walks away) No Eve. You.. why are
you being like this? You love me.
E - No
V - I love you
E - No
V - I do
E - You don’t understand what that is
V - I do. You’re mine
E - No
V - You are you are mine! EVE! I thought you were special.
E - Sorry to disappoint

LIFE OF PI ACT 2 - SHAHED

I was so spent, I could hardly move. And so, Richard Parker went ahead of me. He stretched
his legs, and walked along the shore. At the edge of the jungle, he stopped. I was certain he
was going to look back at me, flatten his ears to his head, growl. That he would bring our
relationship to an end in some way. But he just stared ahead into the jungle.
And then Richard Parker, my fierce companion, the terrible one who kept me alive, disappeared
forever from my life.
After a few hours, a member of my own species found me. He left and returned with a group
who carried me away. I wept like a child. Not because I was overwhelmed at having survived,
although I was. I was weeping because Richard Parker left me so unceremoniously. It broke my
heart.
You know, my father was right. Richard Parker never saw me as his friend. After all we had
been through, he didn't even look back. But I have to believe there was more in his eyes than
my own reflection staring back at me. I know it, I felt it, even if I can't prove it. You know, I've left
so much behind: my family, the zoo, India, Anandi. No one has seen that island since, and you’d
never read about those trees in any book. And yet, if I hadn’t found those shores I would have
died, if I hadn’t discovered that tooth I would have been lost alone forever. Even when God
seemed to have abandoned me, he was watching. Even when He seemed indifferent to my
suffering. He was watching and when I was beyond all hope of saving.. He gave me rest and
gave me a sign to continue my journey..