Can You Cry.

an extended monologue by Daniel Guy.



A YOUNG AMERICAN DIRECTOR WALKS ONTO THE SET.
ON STAGE THERE IS A DIRECTOR'S CHAIR, FACING THE AUDIENCE.


DIRECTOR:
What the hell is going on!

HE MIMES PUSHING HIS WAY THROUGH A CROWD.

Excuse me. Excuse me. Look - get out of my way, I'm trying to make a movie here.......

HE SEES THE ASSISTANT DIRECTOR.

Sammy!
Look - what are all these people doing on the set? We shot the crowd scenes yesterday.
What?
They're here to watch the rape scene? Well they can't. Get these creeps out of here. Call security. I can't have these people in the way.

CLOCKS THE CHAIR.

Sammy!
There's a grip sitting in my chair. I don't believe it. Hey you, get out of my chair!
That's better. Now I can see what the hell I'm doing. O.K. then Sammy, how is it going? Are we about ready with this?

LOOKS AROUND.

Is this the set? Is it finished yet? I mean is this supposed to be the church interior?
No, it doesn't matter. There's no time to change it now. Goldstein's been at my throat again this morning because we are a quarter of a million over budget and we only started shooting on Monday. Is this the altar?

You know it's a little small. How the hell is the girl gonna get raped on that?
She couldn't even play gin on an altar that size. Hey forget it. It's too late.
It's Sunday - where the hell are we going to get another altar.

Is Robert here? Where? Great. Tell him we're ready. How did the rehearsal go this morning? Was Jodie O.K.?

HEARING BAD NEWS.

What do you mean - no? What the hell happened?
-Jodie has walked out? What do you mean - 'Jodie has walked out?'
Sam, don't do this to me. What are you talking about? She can't do that. What are we going to do - we can't do the rape scene without a girl. This is M.G.M. not Marcel Marceau.
- What?
How many times did you rehearse the scene? Eleven times? She rehearsed the rape scene eleven times and then she walked out? She quit? What the hell's the matter with her? Jesus!
- What?
A replacement? You mean you have a replacement? Well that's great - who is she? What has she done?
She's what? She's your niece? Jesus - can she act? Where is she? Can she fit into Jodie's dress? Sammy, she has to be beautiful, or.....
O.K. I believe you.
Well, go and get her. We got to shoot the scene now. We have no choice.

SEES ROBERT.

Robert! There you are. How are you feeling? You're looking great. It was a long day yesterday. But this scene should be easy. Now Sammy tells me there was a problem this morning. Jodie has quit. I'm sorry about that. But we got a replacement. She's very good. You'll like her. But she has to do the scene cold so go easy on her. Is that O.K. with you, Robert? Great.

CLOCKS THE GIRL.

- Oh wait a minute. The girl's arrived. If you'll just excuse me a minute...

GOES OVER TO GIRL.

Is this the girl, Sammy? Great.

OFFERING HANDSHAKE.

- Hi. I'm the director. I'm sure you recognise Robert.

TURNS TO ROBERT.

Robert, come and meet.........er..... what's your name honey?
- 'Carol.' O.K. Carol, you look terrific. We're really pleased that you've stepped in like this at the last moment. It's an easy scene. You're on your back most of the time. I'm sure you'll be fine. How are you feeling, O.K.? Great.
Let's get started. We'll run through it first, nice and slowly, just so you know what to do.
First of all, Carol, you're kneeling here in front of this pew.

HE GESTURES AND MAYBE MOVES HER DOWN.

That's great. You're doing fine. Now at this point, you're praying, O.K?
So.......
- Yep, you got it. That's beautiful. Just close your eyes and keep your chin up.
Fabulous.
The first few shots are just going to be just you. This camera is going to move round here and then we're going to see Robert running in at the back of the church behind you. He's being chased by the cops and runs into the church to hide. When he sees you, he's gonna go approach you slowly, curious
to begin with and then with a kind of crazy lust when he sees how beautiful and innocent you are. ....

ADDRESSING ROBERT.

Robert? Could you just?
That's it, creep up slowly behind her and look mean..... That's it. That's terrific.
- Wait a minute. Just hold it there a minute

CALLS BACK.

Sylvia! Get me Sylvia. We need to do something about the girl's hair. It's all over her face.
Sylvia?

- Ah. Sylvia. Did you catch that? Look, her hair is flopping over her eyes.
That isn't going to work. We need to see her eyes at all times. We gotta see the innocence and the pain in her eyes, you know what I mean?

O.K. That's much better. Will it stay like that? I mean she's going to be knocked about all over the place and I don't want it falling over her face. What? O.K. Leave it then. That's fine. Sylvia. Terrific.Thank you.

So. Where were we? Ah yeah, that's right. Robert has crept up behind you.
So now you're here, Robert. Good. And at this point you're going to put your hand over her mouth. Like this, O.K?

HE MIMES THE ACTION AND THEN STEPS BACK.

Good. That looks great.

HE TURNS TO ADDRESS A CAMERAMAN.

Does that look O.K. to you, Milo?

Good. Fine. You O.K. there Karen? Now Robert is going to lift you up from behind and then drag you over to the altar.

That's good. You can struggle all you want, Karen, but keep your head forward. Gooooood.... Now throw her down onto the altar Robert. That's it.
Make sure, Robert you don't block her face from the camera. Just move back a bit. Yep that's great. Now he's going to grab your throat and push you onto your back. I know the altar is a little small, so don't fall off or we have to shoot it again.
- That's it Robert. Keep your hand on her throat so she's pinned down.
Are you O.K. Cheryl? He's going to move round and stand between your legs...
...that's great. Yeah...Good..... You're doing well, Cheryl. You look beautiful.
Struggle and kick and punch as much as you like but try not to move out of that basic shape and don't turn your head away from that camera over there, see?

- What did you say?
Wait a minute. Robert, just take your hand away from Cheryl's neck for a second. I think she's trying to say something. What did you say?
'Carol.' I'm sorry. It's Carol.
O.K. So Robert. Go back to where you were and now take out the knife..
...that's good. And use the blade to slowly lift up Carol's skirt....
Wait a minute. Sammy? Wouldn't it be better if he held the knife in his left hand? Milo - what do you think? Left or right? O.K .Robert - keep the knife in your right hand.
So you lift the dress, and let's have a kinda sickly smile at this point... No, not you, Carol. I'm talking to Robert. Now, move the knife up to her face and take your other hand away from her neck .That's it, slowly cos you're still not sure if she's gonna scream ... O.K . Karen so you don't scream. Just look up at him. Keep your head still and keep looking terrified....a little bit more...you think he's going to kill you.....more...O.K. that's great.
- Now Robert, now slowly move your left hand down and make out you're unbuttoning your fly....yes....good..

HE IS DISTRACTED.

What did you say, Sam?
- Oh yeah, Jesus I forgot about that. Is it absolutely necessary? You sure?
O.K. No problem. Robert, I forgot about the breasts. I think we talked about it.
At this point, before you go for your fly, you gotta tear the dress open so that her breasts are showing. Can you do that? Wait, what are you going to do with the knife? Maybe you use it to cut the dress. Yeah. That's a good idea. Cut the dress. With the knife. Yeah - but don't do it now. Do it when we shoot.
When you finished that, then you go for your fly...that's it. You got it...Karen - keep your legs up......good.....that's really good, well done Karen. So now Robert you got to make out you're, you know.....yeah, you got it. That's just what I want. You keep doing that, keep the knife close to her face.... great ... keep going till....yep.......Robert, that's exactly it....O.K. When you think you've...you know...finished, pull away, that's it....throw the knife away...

HE WATCHES THE KNIFE BEING TOSSED AWAY.

- Oh shit. Sorry about that Stevie. You O.K.? Great.

HE RETURNS TO THE SCENE.

Now Robert, all you gotta do now is pull up your fly and walk out of the frame. We're going to stay with er....the girl, so er.....what is your name again?
- Carol. That's it. Carol, you just lie there and try to look like you've been raped and you're devastated and in shock and all that, you know what I mean?
That's it....good. If you wanna move your hand up to your face, that's O.K.
Hey, I've got an idea...
- Can you cry?
You can?
Terrific. Then I want you to cry. Just sob a little, if you can. It will be a real bonus. That's going to look amazing. O.K. and then we cut.
Is everybody happy about that? Yeah? Great! So I think we're about ready for a take on that, so if you two wanna get back to your places.....

TURNING

Stevie - you've given the knife back? Good.

TURNING BACK.

You ready Milo? Sammy? Walter? We got good sound? Can I have a little more coloured light through that stained glass window please?

We're up to maximum? O.K. Don't worry. Places then everyone. Quiet on the set.........
Carol, just get down on your knees now. Just shuffle a little to your left.
That's fine. Now start praying. You're going to be terrific.

HE SITS BACK IN HIS CHAIR.

O.K. Here we go. We have sound? Cameras rolling.....
Take Four Nine Eight and................
- Action!

HE LOOKS OUT AND WATCHES THE SCENE.

PAUSE.

WE WATCH HIM WATCHING THE SCENE, HIS REACTIONS CHARTING THE VARIOUS STAGES OF IT. THIS COULD LAST FOR SOME WHILE.

THEN SUDDENLY HE SITS UP - ASTONISHED AS HIS GAZE FOLLOWS ROBERT OFF.

CUT!

Hey Robert - what's up? Why did you stop? Where are you going?
What's wrong? Robert - wait a minute - where are you going?

Sammy!
Where's he gone?
- Well find out!
Jesus. I don't believe it. What's happening here? It was going fine - why has he just walked off the set like that - right in the middle of the take!
Did you see that, Milo? I mean it was looking fine up to that point, wasn't it?
Was it O.K.? I mean have we got enough?

GETS UP, STILL ASTOUNDED.

Jesus, I don't know what the hell came over him. He was doing great.
I mean we cannot waste time like this. This is driving me crazy.

SEES SAMMY REAPPEAR.

- Sammy, have you seen him? What happened? What did he say?
Why did he walk off? What's the problem, doesn't he like your niece? Is he sick?
- 'Upset?' What the hell is he upset about?

PAUSE AS HE TAKES IN WHAT SAMMY IS SAYING.

You cannot be serious! What is wrong with the guy? I mean he's raped a girl in every one of his last eight pictures, why the hell should he be upset by this one? What?
- 'Had enough?' What does he mean he's had enough? He can't do that. He signed the goddam contract!
- I AM NOT SHOUTING SAMMY. I AM TRYING TO MAKE A FUCKIN'
FILM HERE...
O.K. Let me talk to him. Where's Gloria? Get me Gloria. Get me Landau and the lawyers. I am not going to be treated like this...

HE LISTENS AND THEN TAKES SAMMY TO ONE SIDE.
HE TRIES TO CALM DOWN A LITTLE.

- What are you saying to me, Sammy - He doesn't think she should be raped? Jesus, it's in the goddamn script. What else does he want to do with her in the church - marry her?
He does?
I don't believe it.
So what do we do now? We only started shooting four days ago and we're already five weeks behind schedule and now the leading man has seen the Lord. What the hell do you suggest we do in this situation?
The girl has got to get raped in this scene. If she doesn't get raped in the church, we don't get an '18' certificate and if the film gets anything less than that, innocent young kids are going to be watching this shit.
- Wait a minute. I got it. What about this - suppose someone else rapes the girl- how does that affect the plot? Do you know what I'm saying? Does it have to be him? Maybe it could be like, anyone? The girl is in the church. Who else is around? Who else can we get to rape her?
- A Priest?
You gotta be kidding, Sammy. Every priest in every Hollywood picture these days turns out to be either a rapist or a serial killer, you know that. No, we gotta have someone else....
- A nun?
Did you say a nun? Jesus, that's it! The girl gets raped by a nun! Perfect. The nun comes in, sees the girl praying, crosses herself and attacks the girl, violating her on the altar. What do you think?
Great. Get onto casting. Find me an actress who looks like a crazy nun. Make sure she's on set in a nun suit by ten am. Tell the crew. We'll shoot the scene again with a nun. No rehearsal. We cannot have anyone else walk out. O.K. you see to it, Sammy. I'll meet you back at the hotel.

HE GOES BACK TO CAROL.

- Cheryl?
- Sorry? Carol. I'm sorry.

HE LIFTS HER AND AS HE ESCORTS HER OFF.

Listen. Come back here tomorrow. We're gonna shoot the scene again. O.K. Before you go, I need to know something. How do you feel about having sex with a nun?

BLACKOUT.

END.

Daniel Guy