Floss’ Monologue from BU21 by Stuart Slade
"So I’m not sure what I can actually add to the whole..."
Overview of BU21
BU21 by Stuart Slade explores the aftermath of a fictional terrorist attack on London through six interconnected monologues. The play offers raw, often darkly comedic, reflections on trauma and resilience. Floss’ monologue is both haunting and deeply human, blending dark humour with poignant introspection.
Character Breakdown: Floss
Name: Floss
Age: Early 20s
Background: Floss is an irreverent and witty young woman coping with the surreal aftermath of a man falling into her garden during the attack. She balances humour with underlying vulnerability, reflecting her struggles to process the traumatic event.
Who the Character is Talking To in This Moment: Floss is addressing a group in a support circle, sharing her experience with a mix of candour and deflection.
What’s Just Happened: Floss recounts the surreal and horrifying moment a man, still in his airplane seat, crashes into her garden during the attack. She reflects on her immediate reaction, the aftermath, and her interaction with the man’s family at the inquest.
The Monologue
"So I’m not sure what I can actually add to the whole – I’m just not completely down with emoting, you know? Like this. Feels a bit – dickish. Sorry.
Fuck it. So basically I was in my dad’s kitchen making a sandwich and then all of a sudden this guy, still in his airline chair, just crashed into the garden. Wee – Bop. Like a cartoon – a really fucking dark Tim Burton cartoon or something.
And I – for the first couple of seconds he was alive, and then he wasn’t. And I’m a twat, and I’ll feel guilty for this for the whole of my life, but the first thing I thought was just – that song – ‘It’s Raining Men!’ Sorry.
[...] And I was just staring at the chair guy, like this – (Eyes wide open.) He looked up at me, and he caught my eye for a moment, and then he just died. The light just went out – quietly, and softly – And the thing is, he looked so kind.
Pause.
And we had to move out of the house for a week, and when we came back chair guy was gone, and they’d tidied everything up as best they could, jet-washed everything, you know – fucked up the whole garden, actually – but there was still this gash in the grass, and on the wall behind there was this black stain – which was like corpse juice or something. Charming.
And for six months me and my dad ignored the black stain on the wall with this sort of studied indifference – I love him for that – we made no mention of it at all – stiff upper lip, all that shit – but neither of us went out into the garden either.
And then one day I came back home, and the wall had been painted white, and there was this trellis and like roses or something planted against the wall, and the gash had this chiminea over it.
And I missed the black stain on the wall, actually. Weirdly.
And when I went to the inquest to give my little spiel – it’ll go on for like four years or something, so it’s awesome that I’ve done mine already – and Chairy – The Man Who Fell to Earth – his name was actually Sunny Mir – Sunny Mir – which is such an awesome name – and he was forty-seven, and he was a doctor from High Barnet.
I didn’t say anything, in the inquest, about him still being alive. His family were there and I didn’t want them to – so I totally bossed the inquest – smashed it – I kept that between me and Sunny. Our little secret.”
Suggested New Thoughts Chunking / Paragraphing
“So I’m not sure what I can actually add to the whole – I’m just not completely down with emoting, you know? Like this. Feels a bit – dickish. Sorry.”
Commentary: Floss begins with self-deprecation and an aversion to overt displays of emotion. This establishes her as someone who uses humour as a shield. Actors can lean into this awkwardness to highlight her discomfort with vulnerability.
“Fuck it. So basically I was in my dad’s kitchen making a sandwich and then all of a sudden this guy, still in his airline chair, just crashed into the garden. Wee – Bop. Like a cartoon – a really fucking dark Tim Burton cartoon or something.”
Commentary: The sudden shift from the mundane to the absurd sets the tone for the monologue. Floss uses dark humour to distance herself from the trauma, and actors should embrace the jarring contrast between the event’s surrealism and its horror.
“And I – for the first couple of seconds he was alive, and then he wasn’t. And I’m a twat, and I’ll feel guilty for this for the whole of my life, but the first thing I thought was just – that song – ‘It’s Raining Men!’ Sorry.”
Commentary: This passage juxtaposes guilt with humour, revealing Floss’ conflicted feelings. Actors should explore the tension between her inappropriate initial reaction and the deep remorse she feels.
“And I was just staring at the chair guy, like this – (Eyes wide open.) He looked up at me, and he caught my eye for a moment, and then he just died. The light just went out – quietly, and softly – And the thing is, he looked so kind.”
Commentary: This is the emotional heart of the monologue. Floss’ description of “the light just went out” is hauntingly poetic, offering a glimpse into her vulnerability. Deliver this moment with quiet reverence to contrast the earlier humour.
“And for six months me and my dad ignored the black stain on the wall with this sort of studied indifference – I love him for that – we made no mention of it at all – stiff upper lip, all that shit – but neither of us went out into the garden either.”
Commentary: Floss’ relationship with her father and their shared silence reflect their coping mechanisms. Actors should capture the bittersweet mix of love and avoidance in this reflection.
“And when I went to the inquest to give my little spiel [...] and he was forty-seven, and he was a doctor from High Barnet.”
Commentary: The inquest provides closure and context, humanizing “chair guy” as Sunny Mir. Floss’ admiration for his name and profession offers a touching contrast to the absurdity of the earlier events.
“I didn’t say anything, in the inquest, about him still being alive. [...] Our little secret.”
Commentary: Floss’ choice to keep Sunny’s final moments private highlights her respect for his dignity. Actors should deliver this with a mix of pride and sadness, showing her growth and connection to the memory.
Journey Keypoints
Hook: Floss introduces her story with discomfort and dark humour, drawing the audience in.
Turning Point: The moment of eye contact with Sunny Mir, marking a profound emotional connection.
Climax: Floss reflects on the aftermath, her father’s silent support, and the haunting presence of the black stain.
Resolution: At the inquest, Floss honours Sunny’s memory by keeping his final moments as their “little secret.”
Performance Tips
Balance Humour and Pathos:
Floss’ monologue is a rollercoaster of emotions. Embrace her wit and sarcasm, but allow the raw emotion to shine through in key moments.Pace the Shifts:
The monologue oscillates between rapid, casual storytelling and slower, reflective pauses. Honour these shifts to create a dynamic performance.Capture the Contradictions:
Floss is at once irreverent and deeply empathetic. Play up these contradictions to bring depth and authenticity to her character.
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Monologues like Floss’ demand precision, depth, and emotional versatility. At Acting Coach Scotland, we specialize in preparing actors for challenging material. Whether you’re honing your craft or auditioning for a role, our expert coaching will help you stand out.
