Crime Boss Investigator - Major Roles Casting
Malitta Reimers (no minors) for Sadie
{Female / mid-20s-ish, warm & playful but can snap into serious, brave, and even vulnerable}
Sadie is the second protagonist, working alongside the titular Crime Boss Investigator. She's warm, playful, cheerful; youthful but tough. She needs believable tenderness and grounding in crisis, she’s the person who says a goofy line one beat and is screaming in terror the next.
A fair warning: Sadie does say "fuck" multiple times in an exclamatory way.
Anyone playing Sadie must give natural delivery, basically big emotional swings without sounding “performed.” You will need to be comfortable with physical sounding reads like breaths of fear or hesitance, grunts of pain as she sustains several injuries; some severe and some minor, and panic in moments where she feels outmatched. This role requires an actor who can sound like a real human under pressure, not a stage performance. The power is in the restraint more than anything. As a disclaimer, near the final minutes of the finale there is a brief, hesitant line where she says “I love you.” We don't want to hide that from people who aren't comfortable with it; but consider that it is a very impactful culmination of events with deep thematic ties, not a cheap romance gimmick scene, or milquetoast fan service.
This role is highly ideal for demo reel benefit, with strong emotional scenes & action reacts for reels. She is also likely the most heavily credited role and we expect her to be a highly admired, fan-adored character so expect heavy exposure and as an added benefit.
- english
- female adult
- american (midwest)
- female young adult
"What the hell is wrong with you!? The CBI I know would NOT have done that." She’s hurt. Disappointed. She believed in this person, and now she feels betrayed. The first sentence can have sharpness. The second sentence should land heavier, almost breaking slightly. It’s less “I hate you” and more “I thought you were better than this.” Even here, keep that underlying warmth in the tone. She never becomes cruel. “Would NOT have done that” should feel like it hurts her to say.
“Right. Well, you can drop the front. I'm cool!” Avoid sarcasm, or sounding smug. She’s inviting, not challenging. She’s gently teasing someone who keeps acting guarded. There’s a little flirt energy, but it’s soft, not bold or cocky.
“But... right now, is this really still for your family? Or did you just get... so lost in what you believed, that you tunnel visioned on it? You saved me. You saved people I didn't think could be saved. I said... I love you. Okay? I'm saying it now. I keep hesitating but... with how this is all going I have to say it now, I need you to hear it before I—before I might lose you for good! I don't know what the hell is gonna happen from here since we brewed a dozen more problems but I want to be with you during it all, okay?” You absolutely only need to do one take for this, don't worry, just make it your best. This monologue moves through six emotional shifts. We are intentionally using this full section to find actors who can transition naturally between them. Yes, it is long. Yes, that is the point. She’s not attacking, but rather sort of questioning. This should feel thoughtful, not accusatory. She cares deeply about this person. Fear creeps in here quietly at the realization that she could lose him. As previously stated, no, this isn't the setup to some cheap love-y gimmick, this is an extremely layered arc culmination. Only a fraction of her dialogue is anything like this. The emotional weight here exists because of everything that came before it. We are intentionally using this section to find performers who can handle that level of build-up and payoff.
