HOWARDFINEACTINGSTUDIO
AUDITIONINSTRUCTIONSANDSELECTIONS
FORMALES
PLEASEREADTHEFOLLOWINGINSTRUCTIONSCAREFULLY
•
•
Preparetwo(2)monologues:Thefirstmustbefromthefollowingselections
providedbytheStudio.Thesecondonecanbeyourchoiceoritcanalsobe
fromtheStudioselections.(Yourselectionmaybecontemporaryorclassic,
proseorverse,byanyplaywrightfromanycountry.Please,nothingfromfilm
ortelevisionormotivationalpresentations.However,aselectionfromanovel,
shortstoryorpoetrywouldbeacceptable.)Choosematerialthatyoucan
identifywithandthatisage-appropriate.Keepinmindthatwe’relearning
aboutyouthroughthematerialyou’vechosenandpreparedforthisaudition.
Dotheappropriateresearchandpreparationforbothmonologues.Ideally,
readthefullscript.Ifyouareunabletofindthefullscript,sosomeresearch
onlineaboutthestory/plot,tohelpwithunderstandingthecontextofthe
piecesyou’vechosen.
•
ItisstronglysuggestedthatyoureadHowardFine’sbookFINEONACTING:A
VisionoftheCraftinpreparationforyouraudition.Youwillfindthathis8Stepsareaninvaluabletool.(ThebookisavailableattheStudiooron-line.)
•
Bringextracopiesofyourmonologueswiththefollowinginformationonthe
topofeachpage:Yourname,Titleofplay,playwright,androle.
•
Pleaseattachthemonologuestoyourheadshot&resumeandbringthis
withyoutotheaudition.
Remember-Preparationgivesyoufreedom.
Welookforwardtoseeingyouraudition.
Thankyou.
HowardFineActingStudio-Australia
BALMINGILEADbyLanfordWilson
“Flick”–Youngadult
FlickandTig(amaleprostitute)areatanall-nightcoffeeshopinNewYorkCity
FLICK
Imean,Iwasjustwalkingdownthestreetandtheycameuponmeliketheywas
important,andtheystartpushingmearound,youknow.Andtheypushedmeintothis
alley,notanalley,butthishallwayandbackdowntheendofthattothisdarkplaceat
theendofthehallwayandtheystartpunchingatme,andIjustfellintothisballonthe
floorsotheycouldn’thurtmeornothing.ButifIcamedowntherewithacoupleof
fighters,acoupleofguys,likemyfriends,itwouldn’thavetobeyouoranything,but
justacoupleorthreeguys,bigguys,likewalkingdownthestreet,youknow.Justso
theycouldseeIgotthesebuddieshere.
SeeI’monH,Imean,I’mflyingandIgottatalkman,butI’mseriousnow;justafew
guysandthey’dleavemebe,maybe,becausethey’dthinkIhadthesebuddiesthat
lookedafterme,youknow;causeI–youknow–theykickedmeup,ifIwasn’tonH,
man,they’dbepainsallthroughme–youknow–walkingdownthestreetbymyself–
Istartlookingaroundandwonderingwho’souttheregonnamessmeup,youknow.I
getscaredashell,man,walkingdownaroundhere,Imean,Ican’tprotectmyselfor
nothing,man.YouknowwhatImean?YouknowwhatImean?YouknowwhatImean?
Youknow?ImeanifIhadthesecouple–ofbigbuddies–fighters–you–youknow–if
Ihadacoupleofguys–like–bigguys–that-youknow,there’slikenothing–Icould–
like,ifyouwalkedaroundwiththesebuddies,Imeanyoucoulddo,man–youcoulddo
anything...
BURIEDCHILDbySamShepard
“Vince”–Youngadult
Vincehasrecentlybeeninterestedinreconnectingwithhisfamilywhohehasn’tseen
insixyears....
Act3,Scene1
VINCE
Iwasgonnarunlastnight.Iwasgonnarunandkeeprightonrunning.CleartotheIowa
border.Idroveallnightwiththewindowsopen.Theoldman’stwobucksflappingright
ontheseatbesideme.Itneverstoppedrainingthewholetime.Neverstoppedonce.I
couldseemyselfinthewindshield.Myface.Myeyes.Istudiedmyface.Studied
everythingaboutitasthoughIwaslookingatanotherman.AsthoughIcouldseehis
wholeracebehindhim.Likeamummy’sface.Isawhimdeadandaliveatthesame
time.Inthesamebreath.InthewindshieldIwatchedhimbreatheasthoughhewas
frozenintimeandeverybreathmarkedhim.Markedhimforeverwithouthimknowing.
Andthenhisfacechanges.Hisfacebecamehisfather’sface.Samebones.Sameeyes.
Samenose.Samebreath.Andhisfather’sfacechangestohisgrandfather’sface.
Anditwentonlikethat.Changing.ClearonbacktofacesI’dneverseenbeforebutstill
recognized.Stillrecognizedthatbonesunderneath.Sameeyes.Samemouth.Same
breath.
IfollowedmyfamilyclearintoIowa.Everylastone.Straightintothecornbeltand
further.Straightbackasfarasthey’dtakeme.Thenitalldissolved.Everything
dissolved.Justlikethat.Andthattwobuckskeptrightonflappingontheseatbeside
me.
DEATHOFASALESMANbyArthurMiller
Act2
BIFF
Nowhearthis,Willy,thisisme.
YouknowwhyIhadnoaddressforthreemonths?IstoleasuitinKansasCityandIwas
jailed.Istolemyselfoutofeverygoodjobsincehighschool.AndInevergotanywhere
becauseyoublewmesofullofhotairIcouldneverstandtakingordersfromanybody!
That'swhosefaultitis!It'sgoddamntimeyouheardthat!Ihadtobebossbigshotin
twoweeks,andI'mthroughwithit!
Willy!Irandownelevenflightswithapeninmyhandtoday.AndsuddenlyIstopped,
youhearme?Andinthemiddleofthatofficebuilding,doyouhearthis?Istoppedin
themiddleofthatbuildingandIsaw-thesky.IsawthethingsthatIloveintheworld.
Theworkandthefoodandthetimetositandsmoke.AndIlookedatthepenandsaid
tomyself,whatthehellamIgrabbingthisfor?WhyamItryingtobecomewhatIdon't
wanttobe?WhatamIdoinginanoffice,makingacontemptuous,beggingfoolof
myself,whenallIwantisoutthere,waitingformetheminuteIsayIknowwhoIam!
Whycan'tIsaythat,Willy?
Pop!I'madimeadozen,andsoareyou!Iamnotaleaderofmen,Willy,andneither
areyou.Youwereneveranythingbutahard-workingdrummerwholandedinthe
ashcanlikealltherestofthem!I'monedollaranhour,Willy!Itriedsevenstatesand
couldn'traiseit!Abuckanhour!Doyougathermymeaning?I'mnotbringinghome
anyprizesanymore,andyou'regoingtostopwaitingformetobringthemhome!Pop,
I'mnothing!I'mnothing,Pop.Can'tyouunderstandthat?There'snospiteinitany
more.I'mjustwhatIam,that'sall.Willyouletmego,forChrist'ssake?Willyoutake
thatphoneydreamandburnitbeforesomethinghappens?
FATPIGbyNeilLaBute
CARTER
Dude,Iunderstand.Like,totally.
Iusedtowalkaheadofherinthemallor,youknow,nottellherstuffatschoolsothere
wouldn’tbe,whatever.Myownmom.Imean…I’mfifteenandworriedaboutevery
littlething,andI’vegotthisfuckingsumowrestlerinahousecoattrailingbehindme.
That’saboutasbadasitcanget!I’mnotkiddingyou.Andthethingwas,Iblamedher
forit.Imean,itwasn’tlikeadiseaseorlikesomepeoplehave,thyroidorthattypeof
deal…shejustshovelledshitintohermouthallthetime,hadafewkids,and,bang,
she’supthereat350,maybemore.Itusedtoseriouslypissmeoff.Mydadwasalways
workinglate…golfingonweekends,andIknewitwasbecauseofher.Ithadtobe!
How’shegonnalovesomethingthatlookslikethat,getallsexywithher?
I’mjustakidatthetime,butIcanrememberthinkingthat.Yeah,it’swhatever,but…
thisonce,inthegrocerystore,we’reatAlbertsonsandwe’repushingfourbaskets
around–youwannaknowhowhumiliatingthatshitis?–andI’msupposedtobeata
gamebyseven,I’monJV,andshe’sjustfartingaroundinthecandyisle,pickingup
bagsof“funsize”Snickersandcheckingoutthecalories.Yeah.Imean,whatisthat?!
So,Isuddenlygooffonher,like,thissophomoreinhighschool,butI’mallscreamingin
herface…“Don’tlookatthepackage,takealookinthemirror,youcow!PUT‘EM
DOWN!”Holyshit,there’sstockboys–bunchofguysIknow,even–arerunningdown
theisle.Managerstumblingoutofhisglassbooththere,theworks.
Butyouknowwhat?Shedoesn’tsayawordaboutit.Ever.Notabouttheswearing,the
thingsIcalledher,nothing.Justthis,like,onetearIsee…aswe’resittingatastoplight
onthewayhome.That’sall.
FOOLFORLOVEbySamShepard
EDDIE
Andwewalkedrightthroughtown.Pastthedonutshop,pasttheminiaturegolf
course,pasttheChevronstation.Andheopenedthebottleupandofferedittome.
Beforeheeventookadrink,heofferedittomefirst.AndItookitanddrankitand
handeditbacktohim.Andwejustkeptpassingitbackandforthlikethataswewalked
untilwedrankthewholethingdry.Andweneversaidawordthewholetime.Then,
finally,wereachedthislittlewhitehousewitharedawning,onthefarsideoftown.I’ll
neverforgettheredawningbecauseitflappedinthenightbreezeandtheporchlight
madeitglow.Itwasahot,desertbreezeandtheairsmelledlikenewcutalfalfa.We
walkedrightuptothefrontporchandherangthebellandIremembergettingreal
nervousbecauseIwasn’toutforaexpectingtovisitanybody.Ithoughtwewerejust
outforawalk.Andthenthiswomancomestothedoor.Thisrealprettywomanwith
redhair.Andshethrowsherselfintohisarms.Andhestartscrying.Hejustbreaks
downrightthereinfrontofme.Andshe’skissinghimalloverthefaceandholdinghim
realtightandhe’sjustcryinglikeababy.
Andthenthroughthedoorway,behindthemboth.Iseethisgirl.Shejustappears.
She’sjuststandingthere,staringatmeandI’mstaringbackatherandwecan’ttake
oureyesoffeachother.Itwaslikewekneweachotherfromsomewherebutwe
couldn’tplacewhere.Butthesecondwesaweachother,thatverysecond,weknew
we’dneverstopbeinginlove.
KEYEXCHANGEbyKevinWade
ActI,Scene4
PHILIP
Sogreat.Sowegetkeysmadeforeachother’sapartments.Sothenyouknowwhat
happens?I’lltellyouwhathappens.MaybeonenightI’mataparty,abar,whatever,
andImetagirl,andrightoffweknowit’samutualattractionsituation,andwehavea
littlechatandadrinkmaybe,andnextthingyouknowwe’reinacab,andthere’sa
physicalthingthat’shappening,andwe’rechewingeachother’sfacesandtryingto
decidewheretogo,youknow,yourplaceormine,onlyholdthephonehere,thereis
nodecisiontobemade,becauseyou’vegotakeytomyplace,andIdon’tknowif
you’vedroppedbyorwhat,andIdon’twanttochanceputtingeitheryouormeinthat
awkwardsituation,soit’sofftoherplacesomewhereintheEastEightieswhereI’ve
gottoclimboverhertworoommatesandthreecatstodoitonafoammattressonthe
floorreal,realquietlikebecauseSallymyroommatehasacommercialcallbackatninethirtyinthemorningandthiswholetimeI’mhavingsomeresentmenttowardsyou
becauseyourhavingakeymeantthatithadtobethecatsandthefloorandSallythe
roommateasleepornothing.
KEYEXCHANGEbyKevinWade
ActI,Scene5
MICHAEL
Ifyoureallywanttoknow,marriedlifesucks.Mywifeleftme.
Thecomposer.Theguyshe’sbeenworkingwith.Hetellsherhecan’thelphimself.
Andshecan’thelpherself.Sothey’reouttheresomewherehelpingthemselves.
Ican’tbelieveit.We’reinbed.I’mtryingtogetsomethingstarted,andsheupand
turnsonthelightandstartstocryandsayswe’vegottotalk.“There’sthisman,
Michael.You’vemethim.Eric.Themusician.Idon’tknowhowthishappened.Ihave,
wehavefeelingsforeachother.I’vebeentryingtorationalizethemaway,pressure
fromthewedding,theintimacyofworkingtogether,butIcan’t.I’mwithyounow,but
I’mthinkingabouthim,andthat’snotfairtoeitherofus.Ican’tsneakaroundonyou.I
havetofigureoutwhatI’mdoing.Ican’tjustliveinthislimbo.”Thenwe’reinthe
bathroom,andshe’sputtingallhermakeupandshitintoabag,andshe’stellingme
thatit’snothingI’vedone,thisEricguyistotallydifferent,theyconnectonawhole
otherlevel.Istillcan’tbelieveit.Shestartstopackupherdiaphragmandjelly,andI
saycan’tyouholdoffonthefuckinguntilyouknowalittlebetterjustwhatthefuck
youaredoing?Andshesaysphysicalattractionispartofwhat’sbetweenthem,andit’s
herbody.Wefight.She’sreallycryinghardnow,andshegoesbackintothebedroom.I
seethetubeofdiaphragmjellylyingnexttothesink.I’mnuts,youknow,I’mreally
crazy.Iemptythetubeofjellyintothetoilet,takemytubeofmuscleliniment,holdthe
twotubesnozzletonozzle,andfillupthejellytubewithTigerBalm.
REDbyJohnLogan
“Ken”
QuietKenhasbeenadutifulapprenticetotheverydemandinganddifficult-but
brilliantmodernartist–MarkRothko.
Act1,Scene4
KEN
Boresyou?!Boresyou?!—Christalmighty,tryworkingforyouforaliving!—The
talking-talking-talking-Jesus-Christ-won’t-he-ever-shut-uptitanicself-absorptionofthe
man!Youstandtheretryingtolooksodeepwhenyou’renothingbutasolipsisticbully
withyourgrandioseself-importanceandlecturesandariasandlet’s-look-at-thefucking-canvas-for-another-few-weeks-let’s-not-fucking-paint-let’s-just-look.Andthe
pretension!Ican’timagineanyotherpainterinthehistoryofartevertriedsohardto
beSIGNIFICANT!
Youknow,noteverythinghastobesogoddamnIMPORTANTallthetime!Notevery
paintinghastoripyourgutsoutandexposeyoursoul!Noteveryonewantsartthat
actuallyHURTS!Sometimesyoujustwantafuckingstilllifeorlandscapeorsoupcanor
comicbook!Whichyoumightlearnifyoueveractuallyleftyourgoddamnhermetically
sealedsubmarineherewithallthewindowsclosedandnonaturallight—BECAUSE
NATURALLIGHTISN’TGOODENOUGHFORYOU!...
THEMATCHMAKERbyThorntonWilder
CORNELIUS
Isn'ttheworldfullofwonderfulthings.
TherewesitcoopedupinYonkersforyearsandyearsandallthetimewonderful
peoplelikeMrsMolloyarewalkingaroundinNewYorkandwedon'tknowthematall.
Idon'tknowwhether-fromwhereyou'resitting-youcansee-well,forinstance,the
way(pointingtotheedgeofhisrighteye)hereyeandforeheadandcheekcome
together,uphere.Canyou?Andthekindoffireworksthatshootoutofhereyesallthe
time.
Itellyourightnow:afinewomanisthegreatestworkofGod.Youcantalkallyoulike
aboutNiagaraFallsandthePyramids;theyaren'tinitatall.Ofcourse,upthereat
Yonkerstheycameintothestoreallthetime,andboughtthisandthat,andIsaid
"Yes,ma'am",and"That'llbeseventy-fivecents,ma'am";andIwatchedthem.But
todayI'vetalkedtoone,equaltoequal,equaltoequal,andtothefinestonethatever
existed,inmyopinion.
They'resodifferentfrommen!Everythingthattheysayanddoissodifferentthatyou
feellikelaughingallthetime.Golly,they'redifferentfrommen.Andthey'reawfully
mysterious,too.Younevercanbereallysurewhat'sgoingonintheirheads.Theyhave
akindofwallaroundthemallthetime-ofprideandasortofplay-acting:Ibetyou
couldknowawomanahundredyearswithouteverbeingreallysurewhethersheliked
youornot.ThisminuteI'mindanger.I'mindangeroflosingmyjobandmyfutureand
everythingthatpeoplethinkisimportant;butIdon'tcare.EvenifIhavetodigditches
fortherestofmylife,I'llbeaditch-diggerwhooncehadawonderfulday.
THEMANWHOCOULDN’TDANCEbyJasonKatims
ERIC
Idon'tknowwhyIcan'tdance.Butit’s-Ican't.Ican'tmakemybodymoveinthese
waysthatthemusicisdemandingthatImove.It'sjustsogoddamnembarrassing.The
situation.Imean,standinginpublicaroundhundredsofpeoplewhoaredisplaying
theirpurist,truestselves.Imean,ittakesthemnomorethantwodrinksandtheir
soulsareoutthereonthedancefloor.Theirgoodness.Theirsensuality.They'resharing
andloving.Iwatchthat,lookatthat.Butmybodyfightsit.Istarttoanalyzethemusic.
Therhythm.Thetimesignature.Iunderstandthetheoryofdancing.Theideaof
spontaneouslysharinginthismomentthatexistsnowandonlynow.Thegiveandtake
withyourpartner.Twomirrorsonalandwheregravityholdsyoutothispointandthen
leavesyoufree.Andthattheuniversehappensrightthereandthen.Like,truth.I
understandthisintellectually.ButGail,Ineverhaveexperiencedit.Ican'tdance.
Becauseitwasthedamholdingthewater.IfIletthatout.Thatonething,everything
wouldfollow.Icouldn'tdance.Icouldn'thaveanormaltalkabouttheweatherwitha
neighbourwithoutgettingintoaconversationaboutGod,loveandeternity.Imean,
afterall,theweatherhasthesehugeconnotations.Icouldn'tactcorrectlyinsocial
situations.Icouldn'tsacrificetruthforarelationship.Icouldn'tholdyouwhenyou
neededtobeheldbecauseIwantedyoutobestronger.BecauseIwantedtobe
stronger.Icouldn'taskyouforthewarmthofyourtouchoutofneed.Icouldn'tlet
myself.Iwouldonlyaskforyourtouchoutofstrength.Outofsomethingthatwouldn't
becomesickandinterdependentandsymbiotic.Iwasn'tabletodothesethings.
Idon'tknow,Gail.Imean,youmarryingFreddidn'treallysayanythingtome.Itwas
likesomethinginthiscontinuum.Thiscycle.Imean,itwasthisthingthathappenedin
mylife.Theloveofmylifegotmarriedtoanotherman.Itdidn'tseempermanent.
ButthefactthatElizabeth...Thefactthatthisangel...thisunbelievablegiftisn'tmine.
Andwillneverbemine.Thisiskillingme.
THESEAGULLbyAntonChekhov
KONSTANTINTREPLEV
(Pickingthepetalsfromaflower)Shelovesme-shelovesmenot,shelovesme–she
lovesmenot,shelovesme–shelovesmenot.(lastpetal)See–mymotherdoesn’t
loveme.Whyshouldshe?She’sdesperatetobelieveshe’sstillthesamewomanshe
wasadecadeago-thestarofherday–butallofasuddenI’mtwenty-five–thehardto-hideevidencethatshe’snolongerveryyoung.WhenI’mnotaroundshe’sstillfortysomething,butwhenIamaround,she’sjoinedtheover-fiftyclubandshehatesmefor
it.
PlussheknowsIthinktheatre’sdead.Amiddle-classmausoleum.Shestillbelievesinit,
ofcourse.Saysshelovesit–evenimaginesitservesafunction–thatsheactuallyhas
someeffectonpeople’slives.Shecan’tseethatit’sadeadformthatpeopleonlycling
tooutofnostalgia.It’sgotnothingtodowithreality.Withbeingalivenow.Mayaswell
betelevision–it’sequallyasbanal,deadlyandmeaningless.Allweevergetisthesame
sentimental,self-congratulatoryshitmasqueradingasreality.Orsecondhandideas
dressedupascuttingfuckingedge.WhenIseeactorsonstagepretendingtobereal–
pretendingtoeat,drink,walk,talk,love–wearjackets–Iwanttoscream:STOP.STOP
TRYINGTOMAKEMEFEELYOURFAKEFEELINGS.STOP
TRYINGTOTRICKME.STOPTREATINGMELIKEACHILD.YOURREALITYISNOTMY
REALITY.YOURDEADWORLDISNOTMYWORLD.WhenIseethesameclichés–the
samereheatedliesoverandover–Iwanttorunscreamingfromthetheatreandbury
myselfinlife.
THISISOURYOUTHbyKennethLonergan
Act2
WARREN
Idon’treallygetwhatyou’reupsetabout.Ithoughtwehadareallygoodtimetogether
andIwasactuallyinafairlyUpstateofmindforonce.
Well,Ididn’tmeanthatinanykindoflasciviousway,soIdon’tknowwhyyouwantto
takeitlikethat.Ireallylikeyou.
I’msorryIsaidanythingtoDennis.Idefinitelycavedintothepeerpressure.ButIalso
definitelysaidaslittleaspossibleandwastotallyrespectfulofyouinthewayItalked
aboutyou.EventhoughIwasprettyexcitedaboutwhathappenedlastnight,andalso
aboutlike,maybelike,theprospectoflike,Idon’tknow,likegoingoutwithyou–
WhichIwouldbeveryinto,ifyouwere.Butifyouwanttothinkthewholemeant
nothingtome,thengoaheadbecausethat’snotthecase.
It’stotallyweird,like,takingallyourclothesoffandhavingsexwithsomeoneyou
barelyknow,andthenbeinglike“What’supnow?”Youknow?Likeit’ssuchanintense
experiencebutthennobodyknowswhattofuckin’say,eventhoughnothingreallybad
actuallyhappened.Youknow?
Ireallylikeyou…Idon’treallyagreewithmostofyouropinions…butIdon’tmeetalot
ofpeoplewhocanactuallymakemethink,youknow?Andwhocanholdtheirownin
aninterestingdiscussion.AndwhoI’mtotallyhotforatthesametime.Youknow?
It’safairlyeffectivecombination.
THISISOURYOUTHbyKennethLonergan
Act2
DENNIS
Idon’tknow,man.I’mlike,highonfear.Ifeeltotallyhighonfear.I’mlike–Idon’teven
knowwhattodowithmyself.IwannalikegotocookingschoolinFlorence,orlikegointo
showbusiness.Icouldsototallybeacompletelygreatchefit’slikeridiculous.Orlikean
actororlikeadirector.Ishouldtotallydirectmovies,man,I’dbegeniusatit.Likeifyou
taketheaveragepersonwiththeaveragesensibilityorsenseofhumororthewaythey
lookattheworldandwhatthoughtstheyhaveorwhattheythink,andyoucompareitto
thewayIlookatshit,there’sjustlikenocomparisonatall.Icouldtotallymakemovies,
man,Iwouldbelikeoneofthegreatestmoviemakersofalltime.PlusIamlikesomuch
betteratsportsthananyoneIknowexceptWallyandthosebigblackbasketballplays,
man,butItotallyplayedwiththoseguysandcompletelyearnedtheirrespect,andWally
waslike,“Denny,man,youaretheonlywhitefriendIhavewhoIcantakeuptownand
hangoutwithmyfriendsandnotbeembarrassed.”BecauseIjustgoupthereandhang
outwiththemandlikegetthemsomuchmorestonedthanthey’veeverbeenintheirlife
andlikeamcompletelynotintimidatedbythematall.Youknow?
I’mhighonfear,man.Iamcompletelystonedoutofmymindonfear.Andlikeyouguys
thinkI’mliketotallyconfidentandontopofit,butit’snottrueatall.Myfuckin’motheris
sofuckin’harshandwildlyextremethatIjustgottrainedtosnapbacktwiceashardthe
minuteanybodystartstofuckwithme.
THISISOURYOUTHbyKennethLonergan
Act2
WARREN
Itissortofamazingthatoneofusactuallydied.Youknow?(Pause.)It’slikemyDad’s
alwayssaying,“Doyouknowhowbadyouguyswouldhavetofuckupbeforeanything
reallyseriouseverhappenedtoyou?(Pause).YouandallyourfriendsfromtheUpper
WestSidewhowenttothatfuckin’schoolwheretheythinkit’sgonnacrippleyoufor
lifeiftheyteachyouhowtospell?(Pause.)Doyouknowwhathappenstootherkids
whodothekindofshityouguysdo?Theydie,man.Andtheonlydifferentbetween
youandthemismymoney…It’slikeabigfuckin’safetynet,butyoucan’tstretchiftoo
far,man,becauseyoursisterfellrightthroughit.”(Pause.)Butthefactis,he’sjustso
freakedoutofhismindthathedidsowell,anditallblewupinhisfaceanyway.Likehe
didthisgreatenterprisingthingforhimselfandhisfamily,andmadeafortuneinthis
incrediblytoughracket,andgotahouseontheParkwithoutanyhelpfromanyone,
andheneverfeltbadforanyonewhocouldn’tdothesamething.Butwhenhewasat
theheightofthispowers,hetotallylostcontrolofhisowndaughter,andsheendedup
gettingbeatentodeathbysomeguyfromtheworldnextdoortous.Andtherewas
nothinghecoulddoaboutit.(Pause.)So…forthelastnineyears,he’dbeentryingto
literallypoundhislifebackintoshape.Butit’snotreallygoingtoowell,becausehe’s
totallybyhimself.(Pause.)Youknow?