Amy’s Monologue from Breathing Corpses by Laura Wade
"Oh you’ve been - You're all red, round your eyes..."
Overview of Breathing Corpses
Breathing Corpses by Laura Wade is a haunting exploration of death, despair, and the ripple effects of loss. Amy’s monologue captures the bleak reality of her life as a chambermaid who repeatedly discovers bodies in the hotel where she works. This monologue blends dark humor, vulnerability, and existential frustration, making it an exceptional choice for actors seeking to showcase emotional range and depth.
Character Breakdown: Amy
Name: Amy
Age: Early 20s
Background: Amy works as a chambermaid in a budget hotel. She is burdened by her grim discoveries and the emotional toll of her stagnant, unfulfilling life. Despite her sarcasm and dark humor, she craves connection and a better future.
Who the Character is Talking To in This Moment: Amy speaks to the recently deceased person she has found in the hotel room, using them as a sounding board for her frustrations and existential musings.
What’s Just Happened: Amy has discovered yet another body, prompting her to reflect on life, death, and her own unhappiness.
The Monologue
Oh you’ve been - You're all red, round your eyes. Well I can't clean up now, can I? Least you didn't sick up on yourself, quite tidy really. You know what gets me? Why wouldn't you go somewhere really good? 'Cause you're not going to have to pay for it next morning, are you? Why wouldn't you book into somewhere really posh, the Ritz or the Hilton or something, that's what I'd do.Get a bus to London, new credit card 'cause you'll not be around to pay the bill, will you? See a show. Have a nice long jacuzzi and then fall asleep forever but- But least it's a nice four-poster, Egyptian cotton. Chocolate on the pillow.Not a hotel on a bloody roundabout in this bloody shithole, nice plants in the lobby but if there's chocolate on the pillow it means I didn't clean your room before you checked in. And it might not be chocolate…Had a cup of tea, at least. I'd like to do that. Something mad. Not. Not top myself but- Go somewhere. Far away in a fast car.
Didn't touch the shortbreads, I'm not surprised. Why would you not– Why wouldn’t you think there was something better coming for you? Like a person to come and drive you away, out of your life or - or something you could wait for.Most days all I want at the end of it's a sit down. A walk in the park even. With someone who wet shaved and likes buying me stuff and isn't a bastard like my dad. Someone to talk to. That's not dead.
Just 'cause you found a body you lost all your hope? That's it? What the bloody hell's going to happen to me, then? I think I will get the boot this time. You weren't to know.
They don't think I did it, not real- although I did get questioned last time ‘cause they found my fingerprints on the bottle next to the bed, got in trouble for what it was, disturbing a crime scene - Manager says i'm the angel of death.
Don't know why it's always me.I mean, do you think there's something wrong with me, there must be. Why can't the thing that makes me different be a nice thing?
Special ‘cause I’m, I don't know pretty or something. Someone people'd want to look after. Stupid cow. I should go then, Go tell them, Not good to leave it too long.
BROKEN DOWN:
"Oh you’ve been - You're all red, round your eyes. Well I can't clean up now, can I? Least you didn't sick up on yourself, quite tidy really."
Commentary: Amy opens with dark humor and a detached tone, masking her discomfort and shock. Actors should lean into the casual delivery, balancing sarcasm with underlying unease.
"Why wouldn't you go somewhere really good? 'Cause you're not going to have to pay for it next morning, are you? Why wouldn't you book into somewhere really posh, the Ritz or the Hilton or something, that's what I'd do."
Commentary: Amy’s reflection on the choices of the deceased reveals her frustration and desire for something better in life. Actors can use this section to highlight her disillusionment and yearning.
"Didn't touch the shortbreads, I'm not surprised. Why would you not– Why wouldn’t you think there was something better coming for you? Like a person to come and drive you away, out of your life or - or something you could wait for."
Commentary: This section shifts to a more vulnerable tone as Amy questions the deceased’s loss of hope, reflecting her own longing for escape and connection. Let the vulnerability emerge naturally, contrasting with the earlier humor.
"Manager says I'm the angel of death. Don't know why it's always me. I mean, do you think there's something wrong with me, there must be. Why can't the thing that makes me different be a nice thing?"
Commentary: Amy’s self-deprecation and frustration reveal her feelings of inadequacy and isolation. Actors should deliver this section with a mix of bitterness and quiet sadness.
"Special ‘cause I’m, I don't know, pretty or something. Someone people'd want to look after. Stupid cow. I should go then, Go tell them, Not good to leave it too long."
Commentary: The monologue concludes with Amy’s resignation and self-directed scorn. Actors should let the weariness and defeat linger, leaving a lasting impression of her internal struggle.
Suggested New Thoughts Chunking / Paragraphing
Opening Observation: Amy begins with dark humor, commenting on the deceased and their circumstances.
Frustration with Choices: She questions the deceased’s decisions, reflecting her own dissatisfaction with life.
Personal Vulnerability: Amy shifts to a more introspective tone, expressing her desire for connection and hope.
Self-Reflection: She wrestles with her perceived flaws and the emotional toll of her repeated discoveries.
Resignation: The monologue ends with Amy’s resignation to her situation and her role in reporting the death.
Journey Keypoints
Hook: Amy’s opening humor and detachment immediately draw the audience in, setting the tone of dark irony.
Turning Point: Her reflection on the deceased’s loss of hope reveals her own deep vulnerabilities.
Climax: Amy’s self-directed frustration and longing for recognition peak as she questions what makes her “different.”
Resolution: The monologue ends with weary resignation, leaving the audience with a sense of her emotional exhaustion.
Performance Tips
Balance Humor and Pathos: Amy’s dark humor masks her vulnerability. Use the humor to engage the audience, but let the underlying sadness peek through.
Explore the Layers: Amy’s emotions shift from sarcasm to frustration to vulnerability. Honor these transitions to create a nuanced performance.
Embody the Physicality: Amy’s job as a chambermaid and her environment influence her demeanor. Use subtle physicality, such as tired movements or slumped posture, to reflect her weariness.
Engage with the Audience: Although Amy speaks to the deceased, her words resonate with universal struggles. Maintain a conversational tone to connect with the audience.
Learn with Acting Coach Scotland
Amy’s monologue from Breathing Corpses offers a raw and layered exploration of humor, despair, and vulnerability. At Acting Coach Scotland, we guide actors in unlocking the depth and authenticity required to deliver powerful performances like Amy’s.
