“It’s not that I want you alive–quite the op­po­site. I’ll even kill you my­self, af­ter my dra­matic mono­logue.”

Meh. You can do bet­ter.

“He’ll find you. He’ll kill you. He’s not so dif­fer­ent than I.”

Still not right.

What does it take to prop­erly tell some­one you are go­ing to kill them, and more im­por­tant, why?

You’d never kill some­one with­out telling them why.

Just an ego thing. Not like they ac­tu­ally need to know: they’ll be dead in a mo­ment.

Ego.

It’s all about your ego.

A great mono­logue does won­ders for your ego, ir­re­spec­tive of its ef­fects on your soon-to-be vic­tim.

“I don’t care whether you live or die. Wait; that’s a lie. I do in­deed want you dead, but–”

That was ter­ri­ble.

Per­haps you should start with the point.

“I want you dead.”

Sim­ple. Clean. Sticks to the facts.

Any other facts?

“I want you dead. So does he.”

How to fin­ish? You con­sider “But, I don’t want him to find you.” But, you don’t like start­ing sen­tences with “But.”

You go back to those three sim­ple rules: Sim­ple. Clean. Stick to the facts.

“I want you dead. So does he. I don’t want you and him to talk.”

Bah. This sucks. You can’t get it to work.

Now, it is time for some dra­matic li­cense.

You’ll have to leave the ex­po­si­tion for later. Your au­di­ence–and rest as­sured, you will have an au­di­ence, for what is a dra­matic mono­logue with­out one?–won’t un­der­stand why you want this David dead; why you don’t want him found; why you don’t want him to kill David; why you don’t want David to talk; why you don’t think he is ready for it.

You said you’d never kill some­one with­out telling them why. This should teach you never, ever to say never–ever.

You hope your au­di­ence will be will­ing to sus­pend their dis­be­lief, as you don’t re­ally think this mono­logue is ter­ri­bly re­al­is­tic. A real per­son would­n’t say some­thing like this.

Then again, you’re real enough, and you’re say­ing it.

You do think it is ter­ri­bly epic.

You have to ad­mit, sushi is en­tic­ing. But there are more ur­gent mat­ters to at­tend to.

You point the bar­rel of the gun up his nose, and his eyes go wide.

You open your mouth, and be­gin to speak.