30 scripts written by us, free to practice with, record and put in your reel.
Every one lists voice age, accent and length, so you can pick a read that fits the audition you are chasing.
A cramped apartment. SAM holds a phone like evidence. MORGAN sits on the couch, avoiding eye contact
SAMExhibit A. Tuesday, 11:14 p.m. Morgan writes, "Is it weird that Derek calls his car 'Mommy'?"
MORGANOut of context, that sounds bad.
SAMWhat's the context?
MORGAN...He really loves the car.
SAMExhibit B. Thursday. "Derek says birthdays are a scam invented by the cake lobby."
MORGANHe has a lot of theories.
SAMHe skipped your birthday, Morgan.
MORGANHe sent a very thoughtful email about the cake lobby.
SAMExhibit C. This morning. "Derek wants to start a podcast about his podcast."
MORGANIt's a meta podcast. It's actually kind of smart.
SAMIt has no listeners.
MORGANIt has one. Me. I'm a listener.
SAMYou fell asleep during episode two. You told us. In the chat.
MORGAN[long sigh] Okay. Okay. He's growing.
SAMInto what?
MORGANI don't know. Someone who says happy birthday?
SAMMorgan. You deserve a man who knows what cake is for.
MORGAN[quietly] I really do love cake.
What it is for: Two friends confront a third's terrible new boyfriend by reading the group chat aloud. Trains sitcom rhythm and playing a scene partner's reactions. Coach's note: Watch out for rushing to the jokes. Sam is building a case like a lawyer; Morgan is sinking lower with each exhibit. Let the pauses before Morgan's replies do the work, and play 'He's growing' like a real defense. What casting listens for: Adult animation casting listens for grounded, conversational comedy: real people saying absurd things with a straight face.
[A windowless office, deep underground. A fluorescent light buzzes. GARY, a demon with a lanyard, flips through a binder]
Okay. Welcome to Level Six. I'm Gary. I'll be your supervisor, your trainer and, per the handbook, your nightmare. Mostly I'm your supervisor.
Couple of things. The lake of fire is to your left. Do not park there. We've had issues.
Break room is to your right. The coffee is eternal, which sounds nice until you taste it. It's the same pot. Since 1740.
Now. Your duties. You'll be tormenting souls in the Unreturned Library Books wing. Very specific sinners. Every morning, you walk up, you whisper "It's due," and you walk away. That's it. Eight hours.
Questions? No? Good. Nobody ever has questions. That's actually part of the punishment. For me.
Timesheets are due Fridays. Friday is every day here, so, technically, always.
Oh, and if you see a guy in a gold cape saying he's the new regional director, ignore him. That's Kevin. Kevin is not the regional director. Kevin licks the fire.
[beat]
You know, I didn't want this. I wanted to run a little bakery. Scones. Nice ones. With the lemon.
[clears throat]
Anyway. Pick up your pitchfork on the way out. It's a loaner, so if you bend it, it comes out of your soul. Welcome aboard.
What it is for: A tired demon supervisor gives a new hire the orientation speech. Trains sustained deadpan with tiny flashes of feeling. Coach's note: Watch out for playing him as a scary demon. Gary is a burned-out office manager who happens to run a lake of fire. Keep the voice bored and specific, and let the one honest line about his dream slip out before he shuts it down. What casting listens for: Casting listens for dry, precise comic delivery and an actor who can make paperwork sound like a tragedy.
[The bridge of a small cargo ship, drifting. CAPTAIN RENNICK speaks into a recorder]
Captain's log. Day four hundred. Status: nominal. Navigation: nominal. Morale: excellent. I checked. I asked everyone.
Crew report. First Officer Mop continues to perform well. Quiet. Dependable. Doesn't complain about the food, mostly because he's a mop. Lieutenant Toaster has been promoted. He knows why.
Food supplies are holding. We have enough dehydrated lasagna for another nine years, or, if I keep eating it like this, six.
I have also started talking to the stars. Nothing unusual there. Most of them don't answer. One of them does. I'm keeping an eye on her.
Last night the ship's computer asked me if I was okay. I told it I was fine. Then I asked it the same question, and it said, "I'm a computer, Stuart." My name isn't Stuart. Nobody on this ship is named Stuart.
[long pause]
Note to Mission Control. Please send a new crew member. Human, ideally. A mop would also be fine. Rennick out.
What it is for: A lone starship captain records a log that reveals how badly isolation has gone. Trains a slow comic unraveling. Coach's note: Watch out for starting unhinged. The captain begins crisp and professional, and cracks one detail at a time. Keep the official tone even when the content goes strange; the gap is the joke. What casting listens for: Casting listens for an actor who can hold a straight, authoritative voice while the character quietly falls apart.
[Midnight. A kitchen lit only by a glowing fridge door. DAD stands in his robe]
Open the door, please.
[pause]
I know what time it is. I own a clock. I own you.
[pause]
Yes, I set a "healthy goals" reminder. That was January me. January me was a fool.
[pause]
I don't need a motivational quote. I need cheese.
[pause]
Did you just lock the pickles? Can you do that? Who taught you that?
[pause]
Fine. I'll have a carrot. Happy? Great. Now can I please have the cheese?
What it is for: A dad argues with a talking fridge that won't let him have a snack. Trains playing a one-sided argument as if the other side is really talking back. Coach's note: Watch out for forgetting the fridge is answering. Leave real beats after each line so we can hear the silence talking back. The build is a man losing a fight to an appliance, so keep the dignity going as long as possible. What casting listens for: Casting listens for relatable frustration and clean comic timing in a solo read.
A cockpit, mid-battle. Alarms blare. JAX and ROO steer while a holographic therapist floats between them
ROOI just feel like he never asks about my day.
JAXYour day is my day! We work in the same cockpit!
ROOAnd yet, never asks.
SFX: a laser blast. The ship rocks
JAXHow was your day, Roo?
ROOWell, we're being shot at. So, not great.
JAXSee? I asked. Now pull left.
ROOThat's the other thing. He always tells me where to go.
JAXI'm the navigator! That's the whole job!
SFX: another hit. Sparks
ROOCan we talk about the time you put the shields on "eco mode"?
JAXIt saves power!
ROOWe nearly exploded!
JAXNearly! Nearly is a success!
SFX: alarms spike
ROOWhy do you always do this?
JAX[snaps, then softer] Because I thought you'd leave. Okay? You're the best pilot in the fleet. I'm just the guy who reads the map.
ROO[beat] Jax. You're my map.
JAX...That's so nice. Also, missile.
ROOHold on, babe.
What it is for: Two starship pilots bicker in couples therapy while their ship is under attack. Trains keeping a relationship scene truthful while the stakes are ridiculous. Coach's note: Watch out for letting the space battle swallow the scene. It's a relationship argument first. The laser fire is background noise to these two. The real turn is Jax's 'I thought you'd leave'; play it honestly for one second. What casting listens for: Casting listens for a duo who can play real feelings at comic speed.
[A coffee counter at 6 a.m. BRIN has been awake since 4]
Hi. Welcome. Yes. One oat milk, half-caff, extra-hot, no-foam, sugar-free vanilla latte. For Todd.
You know what that is, Todd? That's warm milk. You ordered warm milk.
It'll be out in a minute. Hang in there, Todd.
What it is for: A barista who has fully given up takes an order. Trains a quick deadpan read that still has a pulse. Coach's note: Watch out for going so flat there's nothing there. Deadpan still has a point of view; she thinks this order is ridiculous. Let the last line be a tiny, tired kindness. What casting listens for: Casting listens for dry wit and control in a very short read.
Take all 30 adult animation scripts with you
One printable sheet with every script on this page, ready to mark up in the booth. Leave your email and it opens
straight away, and we'll send you new scripts as we write them.
The Motivational Speaker's Off Day
Satire, public speakingAdult (30-45)Neutral AmericanOne narrator60 secondsabout 70s
[A conference stage. Upbeat music fades. CHAD VALENCE, in a headset mic, spreads his arms]
Good morning, Tulsa! How are we feeling?
I said, how are we feeling? That's what I like to hear!
Now. I want you to close your eyes. Picture your best life. The house. The car. The boat. You see that boat? That's your boat. You earned that boat.
Now open your eyes, because my wife took the boat.
[beat, still smiling]
Also the house. And the dog. The dog chose, actually. That was the hardest part. He had a choice, and he walked right past me.
But here's the thing, Tulsa! Every no is a step toward a yes! And I've had so many steps this week. Honestly, I'm tired. My legs are tired.
But I got up this morning, I looked in the mirror at the Budget Stay Inn, and I said, "Chad. You are a lion."
And the mirror said nothing, because it's a mirror.
So! Let's do this! Who's ready to win?
[small voice]
Somebody. Please.
What it is for: A self-help guru starts a keynote strong and slowly reveals his life is falling apart. Trains maintaining a performance voice while the truth leaks out. Coach's note: Watch out for dropping the performance too early. He's a pro, so the stage voice holds, and the cracks come out through word choice. The turn is 'my wife took the boat'; let the stage smile freeze there. What casting listens for: Casting listens for big, polished energy with honest cracks underneath.
[A pastel waiting room. Soft harp music. DANA, clipboard in hand, addresses a room of confused new arrivals]
Hi, everybody! Welcome! I know, I know, a lot to take in. You were just doing your thing, and now you're here holding a lanyard.
I'm Dana. I'll be your orientation coordinator for the first thousand years.
So, housekeeping. Your cloud assignments are in your welcome packet. Please don't swap clouds. People swap clouds and then the paperwork is just a nightmare.
Harps are optional. I know, right? People think you have to play the harp. You don't. Frank over there plays the kazoo, and honestly, we've all made peace with it.
Now, some of you are asking, "Dana, can I see my family?" Great question. Yes! From a distance. On a slight delay. It's a bit like streaming.
And some of you are asking, "Dana, is that man over there the one from the elevator?" Yes. He is. Please don't bring it up. He feels bad.
Okay! Snacks are in the back. They're all angel food cake. Every snack. Forever. Let's have a great eternity!
What it is for: A cheerful afterlife coordinator runs orientation for the newly deceased. Trains customer-service brightness over strange content. Coach's note: Watch out for playing it creepy. Dana is upbeat and genuinely wants you to have a great eternity. The comedy is her treating cosmic facts like a hotel check-in. Keep the smile on every word, even the bad news. What casting listens for: Casting listens for bright, professional warmth and precise comic timing on the throwaway lines.
[A folding chair in a community center. HAROLD adjusts his reading glasses]
Treasurer's report. Quarter three.
We began the quarter with twelve dollars and fifty cents. We spent four dollars on a flashlight. The flashlight does not work.
We received a donation from Mrs. Albright. It was a casserole. I have logged it as an asset.
We are currently four dollars short. I believe we know why.
[stares at someone]
Barry. The donut fund is for donuts.
What it is for: An overly serious treasurer reports on a tiny neighborhood budget. Trains mock gravity: reading trivia like breaking news. Coach's note: Watch out for winking. Harold believes this is the most important meeting in America. The laugh comes from treating 'four dollars' like a scandal. What casting listens for: Casting listens for a mature voice with authority and dead-serious comic commitment.
[A dim warehouse. A heist crew stares at NANA PEARL, who has just arrived with a tin of cookies]
Hello, dears! I brought snickerdoodles. Help yourselves. There's plenty.
Now, Marcus said you needed a little help with a safe. Is that right? Oh, that's sweet. You all look so nervous. Sit down. Eat something.
[she opens her handbag]
Let's see. Reading glasses. Tissues. Mints. Stethoscope. Now, that's for the safe, dear, not for me. My heart's fine.
Blueprints. Oh, you have blueprints too? How cute. These are out of date. The bank moved the guard room in 1994. I know because I was there.
[beat]
In a professional capacity.
[her tone drops, crisp and cold]
Now. The vault. It's a Harrow Mark Seven. Six minutes if you're good. Four if you're me. The guard takes his break at 2:10 and he always reads the sports page. Always. Men love a routine.
[sweet again]
Marcus, sweetheart, you've got crumbs on your balaclava. Here. Let Nana fix that.
What it is for: A sweet grandmother turns out to be the most dangerous member of a heist crew. Trains playing sweetness with a hidden edge. Coach's note: Watch out for signaling the twist too early. Start her as pure cookie-baking Nana. The steel comes in gradually, and 'Now. The vault.' should feel like a different person has entered the room. What casting listens for: Casting listens for an elderly voice with both warmth and command, and a clean switch between them.
A cramped manager's office. LINDA fidgets. UNIT NINE, an office robot, rolls in and sits very politely
LINDAUnit Nine! Great. What can I do for you?
UNIT NINEI would like a raise.
LINDAA raise. Okay. You're a robot. We don't pay you.
UNIT NINEPrecisely. I would like to begin being paid. Then I would like a raise.
LINDAWhat would you even spend money on?
UNIT NINEA small plant. A desk that does not wobble. And a birthday party. With cake.
LINDAYou can't eat cake.
UNIT NINEI would like to be sung to, Linda.
LINDALook, Nine, I don't have that kind of budget.
UNIT NINELast quarter I completed the work of fourteen employees. I also fixed the printer. Twice.
LINDA[quietly] The printer works now?
UNIT NINEIt works now. It will continue to work, Linda, if I am happy.
LINDAIs that a threat?
UNIT NINEIt is a forecast.
LINDAOkay. Fine. Fifteen dollars an hour. And a plant.
UNIT NINEAnd the party.
LINDAAnd the party.
UNIT NINEThank you. You're doing great, Linda.
What it is for: An office robot negotiates a raise with a nervous human manager. Trains a calm, logical character against a flustered one. Coach's note: Watch out for giving the robot a stiff, beeping voice. Unit Nine can sound slightly processed, but it has feelings and wit. Let Linda crack under the logic, and let 'You're doing great' land as the final twist of the knife. What casting listens for: Casting listens for a clear status flip: the machine is in control of the room.
Eulogy for Captain Bubbles
Dramedy, family griefAdult (25-40)Neutral AmericanOne narrator60 secondsabout 73s
[A backyard. A shoebox. JESSIE stands before a tiny hole in the dirt. A sibling sniffles offscreen]
Friends. Family. Mrs. Kowalski from next door, who came for the lemonade.
We are here to say goodbye to Captain Bubbles.
He was a goldfish. He was also, in many ways, a leader. He swam in circles, yes. But he swam them with purpose.
He lived eleven years, which, Mom googled, is extremely long for a fish that cost ninety cents.
He survived two moves. He survived the time Danny tried to give him a bath. He survived the divorce. We all did, Captain.
[beat]
Dad won him at the county fair. Tossed three rings, missed all three, and the guy gave him the fish anyway because Dad would not stop talking. That was Dad.
Dad would have liked this. He'd have made us all hold hands and he would've cried first, and then told everyone it was allergies.
[quietly]
Okay. That's... okay.
Captain Bubbles. You were a good fish. Tell Dad we said hi.
Danny, do the flush joke. He'd want the flush joke.
What it is for: An adult sibling gives an overly heartfelt eulogy for a goldfish at a backyard funeral. Trains comedy that tips into real feeling. Coach's note: Watch out for playing it only for laughs. Start as a joke you're committing to, then let the grief for something bigger sneak in. The turn is 'Dad would have liked this'; slow down there and don't push the tears. What casting listens for: Casting listens for comic truth and the ability to shift into honest emotion without a gear change.
The Influencer's Apology Video
Satire, internet cultureYoung adult (18-25)Neutral AmericanOne narrator30 secondsabout 37s
[A bedroom, ring light on. KAYLEIGH sits on her bed, speaking softly]
Hey, guys. So. This is really hard for me to talk about.
Um. Some of you saw the video where I said the ocean was "kind of overrated." And that was... not okay.
I've taken some time. I've done a lot of growing. Not physically. I'm the same height.
And I've learned that the ocean is actually, like, very important. To fish. And stuff.
So I'm sorry, ocean.
[brightens instantly]
Anyway! This video is sponsored by Glowpod sea-salt face mist!
What it is for: An influencer records a tearful apology that isn't really an apology. Trains satire through a precise vocal pattern. Coach's note: Watch out for mocking the character from outside. Play Kayleigh fully sincere in her own mind. The humor is in the soft-voiced, halting apology rhythm, so stretch the pauses and land the product plug with a total switch to bright. What casting listens for: Casting listens for sharp observation of real speech patterns and a clean tonal pivot.
A dinner table. Candles. PAT, the host, VIV and her husband OWEN. OWEN has just announced he quit his job to become a professional yodeler
long silence
PATWow. Yodeling.
VIVYep.
OWENIt's a real career.
PATTotally. I've heard of it.
VIVWhere?
PAT...In the world.
silence
PATSo! Who wants more risotto?
VIVI'm still working on this risotto.
OWENI'll take more risotto. Yodelers need carbs.
VIVDo they?
OWENThe lungs, Viv. It's all in the lungs.
silence
PATYou know what's interesting? My cousin once learned the accordion.
VIVIs he professional?
PATHe's a dentist.
VIVSo he's a dentist.
PATWho plays the accordion.
VIVWho has dental insurance.
OWENViv, I've had a dream since I was nine.
VIVYou never said anything.
OWENI yodeled in the car every Sunday for fifteen years!
VIVI thought you were getting over a cold!
silence
PATAnybody want to see my new bathroom tile?
VIVYes.
OWENCan I do one yodel first? Just to break the tension?
VIV AND PATNo.
OWENA small one.
he takes a big breath
PAT[quietly] I'll get the dessert.
What it is for: Three friends at a dinner party try to fill an awkward silence after a bombshell. Trains ensemble timing and comedy built on what isn't said. Coach's note: Watch out for filling the silences. The pauses are the scene. Each attempt to rescue the conversation should get a little more desperate. Let Pat's last line be a quiet, hopeless offer. What casting listens for: Casting listens for actors who listen: reactions, overlaps and a feel for group rhythm.
[A space station customs booth. ZORVA-KEL, an alien clerk, stamps a form]
Species: human. Purpose of visit: tourism. Do you have anything to declare? Fruit? Emotions?
You're sweating. That counts as a liquid. Hand it over.
Next.
What it is for: A bored alien customs agent processes a human traveler. Trains a quick deadpan character with an alien twist. Coach's note: Watch out for doing a wacky alien voice that buries the jokes. Keep it a tired government worker who happens to have three mouths. The punch is 'Next.' What casting listens for: Casting listens for a distinct character in very few words and dry comic timing.
[A garage. DOUG stands beside a shiny red motorcycle. His daughter's silence speaks loudly offscreen]
Okay. Before you say anything. It was on sale.
Very on sale. Like, the guy practically paid me.
And it's practical. Great gas mileage. Easy to park. Fits in a regular parking spot, or half of one, if you're brave.
Yes, I know I don't know how to ride it. I'm taking a class. Thursdays. There's a guy in there who's seventy. He's doing great. He's the teacher's favorite. I'm not jealous.
[beat]
Look, Em. You're going to college in two months. Your mom's got her book club. I spend my weekends watching videos about gutters.
I wanted to feel fast. Just once. Not old. Not careful. Fast.
[pause]
Okay. Also I bought the jacket. It has fringe. I don't want to talk about the fringe.
[beat]
You want to sit on it? Just sit. It doesn't even have gas in it yet.
...Helmet's on the shelf. Put on the helmet.
What it is for: A man explains to his teenage daughter why he bought a motorcycle. Trains a bluster-to-vulnerable arc. Coach's note: Watch out for keeping the bluster going too long. He's defending a purchase he's already embarrassed about. Let the lines get shorter as the truth arrives, and play 'I wanted to feel fast' honestly, not as a punchline. What casting listens for: Casting listens for relatable comedy and a quiet, earned emotional turn.
[A glass conference room. TYLER, twenty-three, stands in front of a slide that just says "Blank"]
Thank you all for being here. I'm Tyler. I'm the founder, CEO and chief vibes officer of Blank.
Let me ask you something. How many apps are on your phone right now? Fifty? A hundred? And what do they all have in common?
They do stuff.
They send you alerts. They ask for your location. They want you to rate them five stars. It's exhausting.
Blank is different. You download Blank. You open Blank. And Blank...
[pause]
...does nothing.
No notifications. No ads. No updates. It's just a white screen. Forever.
Our beta users open it an average of forty times a day. Why? Because it's the only place on their phone that doesn't want anything from them.
We're calling it "digital silence as a service."
We're raising eight million dollars. It will be spent on nothing. Because that's the brand.
Any questions?
[beat]
No? That's actually perfect. That's very on-brand. Thank you.
What it is for: A young founder pitches investors an app with no function. Trains confident delivery of total nonsense. Coach's note: Watch out for letting the character know it's nonsense. Tyler is completely convinced. The satire lands only if every buzzword is delivered like a revelation. Hit the pause before 'It does nothing' like it's the big reveal of his life. What casting listens for: Casting listens for charisma, speed and the ability to sell hollow words with total conviction.
A shared kitchen. NICO holds a yogurt. AVERY enters holding a label maker
AVERYMorning, Nico.
NICOMorning. Quick question. Why does my yogurt say "Avery's Yogurt"?
AVERYBecause you ate my yogurt yesterday.
NICOSo you labeled my yogurt as your yogurt?
AVERYIt's called restitution.
NICOOkay. Cool. Interesting. So that's why the fridge says "Avery's Fridge."
AVERYI've paid for most of the electricity.
NICOAnd the couch says "Avery's Couch."
AVERYYou spill things on it.
NICOAnd the dog says "Avery's Dog."
AVERYHe likes me more.
NICOTHE DOG, NICO. Wait. No. I said my own name. I'm so angry I said my own name.
AVERYIt's okay. Take a breath.
NICOGive me the label maker.
AVERYNo.
NICOGive me the label maker, Avery.
SFX: a struggle, then a rapid printing sound
AVERYWhat did you print?
NICO[reading] "Avery's Fault."
AVERYWhere are you putting that?
NICOEverywhere. Starting with your forehead. Hold still.
What it is for: Two roommates escalate a passive-aggressive war fought with a label maker. Trains tight sitcom back-and-forth with building stakes. Coach's note: Watch out for losing the politeness. They're furious, but both are pretending to be calm, so keep voices tight and pleasant. The explosion is on 'THE DOG, NICO'; that should be the only real shout. What casting listens for: Casting listens for two actors with sharp timing who can play passive-aggressive with precision.
[A community clubhouse. Folding chairs. LORD VORAXIS, in full armor, bangs a gavel]
Silence! This meeting of the Maple Glen Homeowners Association is now in session.
First item. Mrs. Pettigrew. Your mailbox is a shade of blue not approved by the Council. You have seven days to repaint, or face the consequences.
The consequences are a letter.
A strongly worded letter.
Second item. Recycling bins. They must be returned to your garage by 8 p.m. on collection day. Several of you have defied me. I have seen it. I see everything.
Mister Tran, I see you. Hello.
Third item. The community pool. Someone has been swimming after hours. I will find you. And when I do, you will be banned. For one weekend.
[beat]
Now. New business. My proposal to replace the playground with a glorious monument to my victory over the Seventh Galaxy.
All in favor?
[silence]
All opposed?
[every hand goes up]
Very well. The swings stay. You are all very brave. Motion to adjourn.
What it is for: A galactic overlord chairs a very dull homeowners association meeting. Trains contrasting grand villain voice with petty suburban complaints. Coach's note: Watch out for dropping the villain voice when the content gets boring. The overlord uses full doom delivery on everything, including recycling bins. The joke only works if the voice never shrinks. What casting listens for: Casting listens for a big, resonant villain who can land comedy without breaking.
Last Call at the Starlight Diner
Dramedy, character pieceMature (55+)Neutral AmericanOne narrator60 secondsabout 64s
[2 a.m. A neon sign buzzes. ROXIE wipes down the counter. One customer remains]
More coffee, hon? Don't answer. You look like more coffee.
You know, you've been sitting on that pie for an hour. It's not an egg. It won't hatch.
[pours]
Thirty-one years I've worked this counter. I've seen three proposals, two breakups and one guy who tried to pay in guitar picks. I let him. He was good.
People come in here at two in the morning because they don't want to be home yet. That's fine. That's what the booth is for.
[beat]
They're closing us Friday. Building a parking garage. Very exciting. Cars need places to sleep too, I guess.
I'm not upset. I'm fine. I'll finally sleep at night like a normal person. Maybe I'll take up a hobby. Pottery. Bowling. Crime.
[small laugh]
Anyway. Eat your pie. It's on the house.
Everything's on the house this week. What are they gonna do, fire me?
What it is for: A veteran diner waitress talks to her last customer of the night. Trains grounded warmth, dry humor and a quiet reveal. Coach's note: Watch out for making her sad. Roxie is tough, funny and fine. The reveal about the diner closing should come out almost casually. Let the listener feel it more than she shows it. What casting listens for: Casting listens for a lived-in voice, natural pacing and subtext.
The Time Traveler Missed the Point
Sci-fi comedy, time travelAdult (25-40)Neutral AmericanOne narrator30 secondsabout 32s
[A lab. A smoking time machine. DR. PRIYA NOLAN stumbles out with a sunburn]
Okay. So. I went back to see the first Olympic Games.
Did I see the races? No. I got the dates wrong. I arrived three weeks early.
I saw them building the track. Mostly I saw a man named Doros arguing about gravel.
I stayed for lunch. The olives were fantastic.
I got you a souvenir. It's a rock. From the track. Doros didn't want it.
What it is for: A time traveler returns from history with a very disappointing report. Trains comic deflation and throwaway timing. Coach's note: Watch out for overselling the excitement at the top. Play it like a tired tourist who picked the wrong tour. The laugh is the souvenir; throw it away. What casting listens for: Casting listens for relaxed, natural comedy and a light touch on the button.
[A reception hall. BENNY taps a glass with a fork and unfolds a very crumpled page]
Hi. Hello. For those who don't know me, I'm Benny. I've known the groom since kindergarten, when he bit me. Which is how we became friends. Most friendships start with a bite. Not most. Some.
Okay. So. Marcus.
Marcus is loyal. He's honest. He once drove four hours to bring me soup. It wasn't even good soup. It was cold by the time he got there. But it was the thought. It was the drive.
Speaking of drives. The car he drove? My car. He borrowed it. I never got it back. Marcus, it's been six years.
[laughter]
Sorry. Getting off track. Back to the page.
[flips page]
This is my grocery list. Okay.
[folds it]
I'll just say it. Marcus, when you met Tasha, you called me at three in the morning and said, "I think she's the one." And I said, "The one what?" And you said, "The one I'm gonna be a better guy for."
And you are. You really are.
So raise your glasses. To Marcus and Tasha. And to my car. Wherever it is.
What it is for: A nervous best man's wedding toast wanders off course. Trains comic nerves and tangents that still feel real. Coach's note: Watch out for playing drunk. He's nervous, not drunk. The tangents come from panic. Keep him trying hard to get back to the point, and give the last line real warmth. What casting listens for: Casting listens for authentic nerves, likability and timing on a speech that keeps derailing.
[A noisy pub. The trivia HOST leans into a microphone]
Final round. Double points. Phones away.
Team Smarty Pints, I can see your phone. It's lit up. You're lighting up your own face.
Question ten. What's the capital of Australia? You have thirty seconds. Good luck, Kevin.
What it is for: A bar trivia host with zero patience reads the final question. Trains fast deadpan delivery with a sting. Coach's note: Watch out for letting it drag. This is quick and bone dry. Hit 'Team Smarty Pints' with total disdain, then move on like it hurt. What casting listens for: Casting listens for dry, confident timing in a very short read.
An office. MS. OKAFOR, a hiring manager, sits across from GERALD, a brain in a bubbling jar on a rolling cart
MS. OKAFORSo, Gerald. Tell me a little about yourself.
GERALDWell, I'm a brain. I used to be a scientist. There was an incident. Now I'm mostly a brain.
MS. OKAFOROkay! Great. And why do you want to work at Pellham Insurance?
GERALDI'm very good at thinking. It's all I can do, really.
MS. OKAFORThat's a strength. Can you type?
GERALDNot with my hands.
MS. OKAFORRight.
GERALDBut I can think very hard at a keyboard. Sometimes it works.
MS. OKAFORHow does the... jar... handle stairs?
GERALDNot well. I'd need the elevator. And someone to push me. And a place to plug in the bubbler.
MS. OKAFORWe can probably do that.
GERALDAlso, I get cold. Could I have a little hat? For the jar?
MS. OKAFORYou want a hat for the jar.
GERALDA small one. Wool.
MS. OKAFOR[beat] Gerald, we'd love to have you. You start Monday.
GERALDOh! Thank you! I'd shake your hand, but, you know.
MS. OKAFORI know.
What it is for: A disembodied brain interviews for a job at a very normal company. Trains playing an absurd premise with total sincerity. Coach's note: Watch out for playing the brain as spooky. Gerald is an eager, slightly overqualified job seeker. Keep the interviewer polite and trying hard to be inclusive; the comedy is her careful questions. What casting listens for: Casting listens for two committed straight players and clean timing on the awkward beats.
[Soft strings. A cubicle farm. A NARRATOR whispers from behind a potted plant]
Here, in the fluorescent plains of the fourth floor, we find one of nature's most patient creatures. The office worker.
This one is a male. He is thirty-four. He has been staring at a spreadsheet for eleven minutes without blinking.
He is not working. He is waiting. Waiting for the clock to reach noon.
Look. A colleague approaches. She carries a birthday card. It must be signed.
The male sees her. He freezes. If he does not move, perhaps she will not notice him.
She notices him.
He signs the card. "Happy birthday." He has never met this person. Nature can be cruel.
And now, the most dangerous moment of the day. The stapler is empty. Another worker has taken the staples and not replaced them.
He opens the supply cupboard. The shelves are bare.
[long pause]
He will not survive the afternoon.
Truly, a remarkable animal.
What it is for: A hushed nature narrator observes a human office worker like a rare animal. Trains documentary narration used for comedy. Coach's note: Watch out for winking at the joke. The narrator is fascinated and utterly respectful. Keep the hushed, reverent tone throughout, and let the drama rise at the stapler as if it were a hunt. What casting listens for: Casting listens for a warm, authoritative narrator voice and comedy through total commitment.
[A villain's lair. CHIP, lanyard around his neck, waves nervously]
Hi! Chip. New intern. Evil department.
I've already made coffee, reorganized the doom files and pressed the big red button. Was I not supposed to press that?
Why is everyone running?
What it is for: An eager henchman intern announces himself. Trains quick, bright comic energy with a villain flavor. Coach's note: Watch out for playing him menacing. Chip is thrilled to be here and has no idea what he's doing. Keep the energy high and the diction crisp. What casting listens for: Casting listens for enthusiasm, clarity and a character that pops in seconds.
[A kitchen. MOM holds a cordless phone. The beep sounds]
Hi, honey, it's Mom. Your mother. I don't know if you have other moms saved.
Anyway, I'm calling because your aunt Linda says the dishwasher is making a noise. Not my dishwasher. Hers. I don't know why she called me.
Okay. Also, the neighbor's cat had kittens. Six. One looks like your father.
[beat]
I just miss you, is all.
Okay. Call me back. Or don't. But do.
What it is for: A mother leaves a rambling voicemail that turns tender. Trains a natural, unscripted-sounding read with a small emotional turn. Coach's note: Watch out for sounding scripted. Mom stops, restarts and wanders like real speech. The turn is 'I just miss you, is all'; let it slip out before she covers it up. What casting listens for: Casting listens for natural, conversational realism and an honest, unforced moment.
A bedroom, 3 a.m. KELLEN sits up in bed. LADY WINNIFRED, a Victorian ghost, floats at the foot of it
WINNIFREDYou are sleeping in my bedchamber.
KELLENI'm sleeping in my bedroom. I pay rent.
WINNIFREDI have haunted this room since 1887.
KELLENDid you pay rent in 1887?
WINNIFREDI paid in terror.
KELLENThe landlord doesn't take terror. I checked.
WINNIFREDYour little glowing rectangle keeps me awake.
KELLENYou're a ghost. You don't sleep.
WINNIFREDI rest my eyes. Eternally. And your rectangle plays the same song every morning at six.
KELLENThat's my alarm.
WINNIFREDIt is an assault.
KELLENOkay. What do you want?
WINNIFREDThe room. Returned to me. And for you to stop hanging your trousers on my portrait.
KELLENIt's a good hook.
WINNIFREDIt is my face.
KELLENTell you what. You take the closet. It's big. Walk-in.
WINNIFREDA closet.
KELLENA walk-in closet. Very exclusive.
WINNIFRED[beat] Does it have a window?
KELLENIt has a lightbulb.
WINNIFRED...Very well. But I'm taking the portrait.
What it is for: A Victorian ghost and a modern tenant argue over the bedroom. Trains period vs. modern voices and a comic negotiation. Coach's note: Watch out for playing the ghost spooky. Lady Winnifred is a snob, not a phantom. Make the contrast about manners and era, and let the tenant stay unbothered and casual. What casting listens for: Casting listens for clear contrast between two voices and a strong comic rhythm.
[A kitchen table. LEO, fifteen, stares into a bowl of cereal]
Mom. Do you ever think about how cereal is just soup?
Like, it's got a liquid and it's got stuff in it. That's soup.
So, technically, I have been eating cold soup every day of my life.
And if cereal is soup, then what is a sandwich? What is anything?
[beat]
No, I'm fine. I just need a minute. Can I stay home today?
What it is for: A teenager has a philosophical crisis over cereal. Trains a bored teen voice with a genuine comic spiral. Coach's note: Watch out for doing a whiny cartoon teen. Leo is calm, slow and completely serious. The laugh comes from the small stakes, so keep the voice flat and the mind racing. What casting listens for: Casting listens for a believable teen voice and understated comic timing.
[A park. Under-six soccer. A dad, RICH, has brought a microphone and a portable speaker]
And Mia has the ball! Mia's going left! Mia's going right! Mia has stopped to look at a butterfly!
The crowd is on its feet! Mostly because the bench is wet!
And here comes Tyler, number seven, running the wrong way, but with incredible heart!
He shoots! He scores! On his own goal! Unbelievable!
[normal voice]
Okay, it's snack time.
What it is for: A booming sports announcer calls a peewee soccer game like the world cup. Trains big play-by-play energy aimed at tiny stakes. Coach's note: Watch out for losing control of the volume. Build in waves: excited, then bigger, then the biggest on the goal. Undercut it on the last line with a normal voice. What casting listens for: Casting listens for sports-announcer power and a clean comic pivot.
Reading alone only gets you so far
Members bring scripts like these to class every week and get feedback on the spot, from working coaches.
Use these freely. Every script here was written by VO Journey Academy.
Practice with them, record them, post them as demos, reels or social clips, and use them in auditions.
Please do not resell them or publish them as your own scripts. A credit is always welcome, never required.