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.
Okay, full disclosure. Until last month, my signature dish was cereal. Hot cereal, on special occasions.
Then my sister sent me a Panwise box.
I made risotto on Tuesday. Risotto.
Who even am I?
Direction: Sheepish, honest, a small proud grin at the end; not an announcer What it is for: Self-deprecation that lands as charm, not as a bit. Coach's note: Watch out for laughing at your own joke. 'Hot cereal' is a genuine correction, as if you'd just remembered, and the second 'Risotto' needs a real breath before it because he's still surprised. What casting listens for: Casting listens for whether they'd believe this guy at a party.
...and it came out white. Like, white white. The shirt he spilled an entire curry on.
I held it up to the window like it was a miracle.
Linenbright. I'm not saying it's magic. I'm just saying I checked.
Direction: Mid-conversation, quick, amused outrage; a friend on the phone What it is for: Starting mid-sentence so the listener feels they've walked into a real conversation. Coach's note: Watch out for starting cold. Before the first word, think the sentence you were already saying, so '...and it came out' arrives with momentum. The brand line is still her being fair, not selling. What casting listens for: Casting listens to the first three words; if they sound like the start of an ad, the take is over.
My daddy bought his truck tires at Gravelstone. So did I. So does my boy, now, though he'd never admit I told him to.
They just get it right.
Gravelstone Tire. Ask anybody.
Direction: Plain-spoken, slow, a man who doesn't do commercials What it is for: Understatement: letting one plain sentence carry three generations. Coach's note: Watch out for leaning on the drawl or the sentiment. The smile is on 'though he'd never admit I told him to', and 'They just get it right' is said like a fact about the weather. What casting listens for: Casting wants a man who sounds like he's never set foot in a studio.
Six weeks ago, I couldn't run to the end of my street.
Today I ran to the end of the next one.
It's not a marathon. But it counts.
Paceloft. Start where you are.
Direction: Quietly proud, a little breathless, understated What it is for: Small pride: celebrating something modest without inflating it. Coach's note: Watch out for making it a triumph. 'The next one' is a little joke on herself, and 'But it counts' is the turn: say it quietly, like she's only just decided it does. What casting listens for: Casting listens for pride that's shy of itself.
Hang on. That's it? I'm done?
I blocked out the whole afternoon for this. Cleared the table. I made a sandwich for emotional support.
Tallyleaf. Your tax return, sorted before the sandwich.
Direction: Genuinely baffled, a laugh sneaking in What it is for: Reacting in real time, as if it's happening to you right now. Coach's note: Watch out for knowing the answer before you ask. 'That's it?' is a real question, so check the screen in your head first. 'Emotional support' is a mutter, not a punchline. What casting listens for: Casting wants surprise that sounds unrehearsed.
I have killed a cactus. Twice. Same cactus. Long story.
Now Leafkept sends me plants that actually suit my flat, with care cards a toddler could follow.
Three months. Everyone's alive. Mum's thrilled.
Direction: Bright, confessional, quick; laughing at herself What it is for: A confession that turns into a recommendation without changing voice. Coach's note: Watch out for selling the 'care cards'. The brand middle is still her talking, a little amazed it worked; 'Mum's thrilled' is the proud button. What casting listens for: Casting listens for charm that doesn't wink.
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I don't write reviews. I'm not a review person. But my husband said, 'You've talked about this mattress every morning for a month. Just write the review.'
So. Here's my review.
I used to wake up at three and lie there doing mental arithmetic. Now I wake up and it's morning. That's it. That's the review.
Also, it came in a box and he carried it upstairs. So, bonus.
Slumbercove. Five stars. Probably.
Direction: Candid, dry, a bit sceptical of herself; composing it as she goes What it is for: A testimonial built on reluctance, which is exactly what makes it believable. Coach's note: Watch out for sounding like you're reading a review aloud. She's writing it in her head as she talks, so 'So. Here's my review.' gets a real thinking pause. The heart is 'Now I wake up and it's morning'; don't decorate it. What casting listens for: Casting listens for a person, not a performance of a person; small hesitations are welcome.
I said I'd never drive a minivan. I said it at my own wedding. It was in the speech.
Then we had twins.
Now I drive a Selwyn Roamer, and I'll be honest with you, the sliding doors are the best thing that's ever happened to me. Both sides. One button. Nobody dings anybody in the parking lot.
I'm not proud. I'm just very, very comfortable.
Selwyn Roamer. Come on in, the van's fine.
Direction: Wry, conceding defeat, secretly delighted What it is for: Admitting you were wrong, and enjoying it. Coach's note: Watch out for hitting 'Then we had twins' as the punchline. It's a sigh, almost a shrug, and the laugh takes care of itself. Breathe before 'I'll be honest with you'; that's where the conversion starts. What casting listens for: Casting listens for a dad who sounds like a real dad, not a sitcom dad.
I Texted Him Back
Slice of life, mobile planMature (55+)Southern USOne narrator30 secondsabout 30s
My grandson set me up with Chatterly Mobile, and now I text. I text everybody.
I text my sister when her show's on. I sent a thumbs-up to the plumber, and he sent one right back, and I felt like I'd joined something.
The buttons are big, the bill makes sense, and when I call for help, a person picks up.
Chatterly Mobile. My grandson says I text too much. So I texted him back.
Direction: Tickled, proud, a little sassy What it is for: Delight in something new, told by someone who's earned the right to be smug about it. Coach's note: Watch out for playing 'cute grandma'. She's funny on purpose. The thumbs-up story is the heart: 'I felt like I'd joined something' is sincere, so slow down for it before the plain product line. What casting listens for: Casting listens for an older voice with real timing and zero condescension.
Every January, I make a budget spreadsheet. It has colors. It has formulas. It has a tab called Tabs.
By February, I'm scared of it.
So this year I tried Pocketfern. It just watches what I spend and tells me, kindly, like a friend who's good with money but not weird about it.
Turns out I spend a lot on oat milk. Like, a concerning amount.
Pocketfern. Money, minus the panic.
Direction: Deadpan, sheepish, talking to a friend over coffee What it is for: Dry self-mockery that turns into an honest recommendation. Coach's note: Watch out for punching 'It has a tab called Tabs'. Say it flat, like it's a reasonable thing to have done. 'By February I'm scared of it' is quiet and true; the oat milk line is the only place he lets himself laugh. What casting listens for: Casting listens for a young voice that's funny without trying to be.
PRIYAI'm not sitting on it. If I sit on it, I'll want it.
SAMSit on it.
PRIYAOh no.
SAMRight?
PRIYAOh, that's not fair.
SAMAnd Loungeworthy lets you try it at home for a hundred nights.
PRIYAA hundred nights? I'm never getting up.
SAMThat's sort of the idea.
PRIYAFine. But we're getting the green one.
Direction: Loose, affectionate bickering; real overlaps What it is for: A couple's two-hander where the product wins the argument. Coach's note: Watch out for reading 'Oh no' as a line. It's the sound she makes when her body betrays her argument, so actually sink into a chair if you can. Sam's brand line should sound like something he read on the website and is now gloating about. What casting listens for: Casting listens for a couple who've clearly had this argument about other things.
The Sea at Whitby
Slice of life, paintYoung adult (18-25)Neutral BritishOne narrator30 secondsabout 27s
No, Mum, it's fine. It's small, but it's fine. The kitchen's basically a cupboard with ambitions.
But listen. I painted the bedroom yesterday. This blue from Colourcove, like the sea at Whitby when it's being moody.
And I sat on the floor after, with the window open, and I just... looked at it.
It's mine, Mum. It's the first thing that's properly mine.
Colourcove. Start with one wall.
Direction: Quietly excited, on the phone to her mum What it is for: Playing one half of a phone call, so the listener fills in the other half. Coach's note: Watch out for losing the phone call. Leave gaps where Mum would be talking; 'No, Mum, it's fine' answers a question we never hear. The turn is the silence after 'looked at it'. What casting listens for: Casting listens for whether they can hear the person on the other end of the line.
I'm not a morning person. I'm not even a late-morning person. Before nine, I'm a series of noises.
My wife hands me a Morrowbean. I don't say thank you. I can't. I just nod, like a bear who's been handed a letter.
Three sips in, I remember my own name. Five sips, I remember hers.
By the end of the cup, I'm honestly delightful.
Morrowbean. Good morning, eventually.
Direction: Groggy and gravelly, waking up line by line What it is for: A read that changes energy across its length, from barely awake to charming. Coach's note: Watch out for staying groggy all the way, or waking up too fast. Map it: the first paragraph is gravel, the sips are gradual, and 'delightful' is the first fully awake word. Breathe like you've just woken up: slow, through the nose. What casting listens for: Casting listens for a transformation you can hear, done with subtlety.
The Lazy Article
Slice of life, dog foodAdult (40-55)IrishOne narrator30 secondsabout 28s
The dog knows the sound of the Pawpantry box. Not the doorbell. Not the van. The box.
He's been asleep on the couch since eleven, the lazy article, and the second that cardboard hits the step, he's at the door like he's expecting a letter from his solicitor.
Real chicken, real veg, portioned for his size.
He's thirteen now. He's earned a bit of fuss.
Pawpantry. Dinner he'll get up for.
Direction: Fond, mock-offended, talking about the dog like a housemate What it is for: Comic storytelling that turns tender for one line. Coach's note: Watch out for playing the whole thing for laughs. 'He's thirteen now' is where the fondness shows, so slow down there and let the joke-teller become an owner. What casting listens for: Casting listens for affection underneath the banter; that's what sells pet food.
I am not a gym person. I went once, and a man in a vest looked at me like I'd walked into his house.
So now I do Sweatlet in my living room. Twenty minutes, before the kids wake up, in pajamas I would not wear in public.
Nobody watching. Nobody in a vest.
Some days I'm great. Some days I lie on the mat and think about it. Both count.
Sweatlet. Move like nobody's watching.
Direction: Candid, amused at herself, energy lifting as she goes What it is for: Giving the listener permission, not a pep talk. Coach's note: Watch out for mocking the man in the vest too hard; it's a shrug. 'Both count' is the turn: permission she's giving herself and the listener, so say it gently. What casting listens for: Fitness casting has moved away from drill sergeants; they listen for someone who sounds like the customer.
...forty minutes on hold. Forty minutes of the same flute music, and then, click. Gone.
So my neighbor Dale leans over the fence and says, 'Why don't you just switch to Bramblegate?'
And I said, Dale, I don't have time to switch insurance. And he said, 'It took me eleven minutes.'
Eleven minutes. And when he called with a question, a human being answered.
I owe Dale a beer.
Bramblegate Insurance. Actually easy.
Direction: Starts mid-rant, deflates into sheepish relief What it is for: Entering a scene at full emotional temperature and then changing it. Coach's note: Watch out for starting from zero. You're forty minutes into this grievance, so come in hot and tired. The turn is 'Eleven minutes.'; repeat it as disbelief, not a selling point. What casting listens for: Casting listens for a real emotional arc in thirty seconds: annoyed, humbled, grateful.
Fourteen years I had the same glasses. Held together with a wee bit of tape and a lot of stubbornness.
My daughter dragged me into Framewright. I went in grumbling. I came out, and I'll deny this if you tell anyone, looking quite handsome.
Nobody rushed me. The lass even let me try on the silly ones.
Framewright. Tell my daughter she was right. I can't.
Direction: Dry, gruff, secretly pleased with himself What it is for: A grudging testimonial, where the grudge is the charm. Coach's note: Watch out for losing the aside. 'And I'll deny this if you tell anyone' is quicker and lower, tucked into the middle of the sentence; come back up for 'looking quite handsome'. The tag is a confession, not a slogan. What casting listens for: Casting listens for gruffness with a twinkle behind it.
My Bit
Slice of life, bedtime teaMature (55+)Neutral BritishOne narrator30 secondsabout 28s
The house is finally quiet. The dishwasher's doing its thing. Someone upstairs has stopped thumping about.
And this is my bit. Ten minutes, a mug of Hushbrew, and not one single person needing me for anything.
Chamomile, a bit of lavender, a bit of honey. Nothing clever. Just nice.
I don't answer texts during my bit. I've told them.
Hushbrew. Put the kettle on, then put your feet up.
Direction: Soft, end-of-day, talking in the kitchen at night What it is for: Relaxed without going breathy: low energy, full voice. Coach's note: Watch out for going breathy to sound relaxed. Relaxed means lower energy, not less voice. Let the exhale before 'And this is my bit' be audible and real, and put a small, firm smile on 'I've told them.' What casting listens for: Casting listens for calm that still has a personality in it.
Tell Me About Him
Testimonial, local bakeryAdult (30-45)Neutral AmericanOne narrator30 secondsabout 28s
When my brother got married, I was in charge of one thing. The cake.
I forgot. Completely. Until three days before.
I walked into Moreno's Bakery basically in tears, and Mrs Moreno just said, 'Sit down. Tell me about him.'
She made a lemon cake with blueberries, because he's loved blueberries since he was six. I don't remember telling her that. Apparently I said a lot.
Moreno's Bakery. They listen.
Direction: Sincere, trying to stay casual, a catch in the voice he doesn't expect What it is for: A funny disaster that sneaks up on the speaker emotionally. Coach's note: Watch out for getting emotional at the start. He tells it as a disaster; the feeling sneaks up on 'Tell me about him.' Breathe there as if you're back in the bakery. What casting listens for: Casting listens for emotion the speaker is trying to hide, which is always more moving than emotion on display.
So my daughter, who is fourteen, sat me down with a diagram.
She drew our old internet as a garden hose, and Fernline as a fire hose. Then she drew me, holding the garden hose, looking confused.
Fair.
We switched. Now everybody can be on a video call at the same time, and nobody yells 'You're frozen' across the house.
She's put the diagram on the fridge. I think it's a warning.
Fernline Internet. Ask a teenager.
Direction: Bemused dad, humble, proud of the kid What it is for: Letting a one-word reaction carry the comedy. Coach's note: Watch out for 'Fair.' is the whole character: one word, a beat, total acceptance. Don't rush past it and don't milk it. The fridge line is a quiet worry, not a zinger. What casting listens for: Casting listens for comic timing that comes from character rather than jokes.
Okay, so I ordered the same jeans in three sizes. Don't judge me, it's the only way.
The middle ones? Perfect. Like they were waiting for me.
The other two went back in the same bag. Free. I didn't print anything, I just showed a code at the drop-off.
My mom was like, that seems wasteful. Mom, it's called research.
Seamrow and Co. Try it all. Keep what fits.
Direction: Quick, chatty, voice-note energy What it is for: Run-on, voice-note rhythm that still sounds relaxed. Coach's note: Watch out for making the run-on sentences breathless. Voice notes run on but stay loose, so breathe at the commas the way you would talking. 'Mom, it's called research' is a playful eye-roll, not a zinger. What casting listens for: Casting listens for a natural young voice that could be a friend's voice note.
Thirty-eight years as an accountant. Then I retired, and about a week later my wife said, 'You need a hobby, or you need to leave the house.'
So I signed up with Laterlearn. Watercolor, online, Tuesday mornings.
I'm terrible. Genuinely terrible. My sunsets look like an accident in a ketchup factory.
But I haven't missed a class in a year, and I've made friends in four countries.
Laterlearn. It's not too late. It's just later.
Direction: Warm, amused, energised What it is for: Being delighted about being bad at something. Coach's note: Watch out for selling the retirement dream. 'Genuinely terrible' is said with pride, and the warm turn is the friends in four countries; let that one surprise him a little. What casting listens for: Casting listens for an older voice with energy and self-deprecation, not a grandad caricature.
A Minute With It
Testimonial, car sellingAdult (30-45)Neutral AmericanOne narrator60 secondsabout 61s
I learned to drive in that car. My dad taught me in the church parking lot. I clipped a shopping cart on the very first go, and he laughed so hard he had to get out.
I drove it to college. I drove it to my first job. I drove my daughter home from the hospital in it, at about eleven miles an hour.
So when it was time to sell it, I didn't want some stranger haggling over it on the side of the road.
Drivewhistle made it easy. I put in the details, they sent a real offer the same day, and a nice man called Luis came to pick it up. He asked if I wanted a minute with it.
I did. I took the minute.
I found one of my dad's old parking stubs in the glove compartment. I kept that.
Drivewhistle. Sell your car the way it deserves.
Direction: Reflective, fond, a laugh in the voice that thins out as she goes What it is for: A long-form testimonial that earns its emotion by starting funny. Coach's note: Watch out for playing sad from the top. The first paragraph is a funny memory; the weight builds through the list of drives. The turn is 'He asked if I wanted a minute with it.' Take the minute yourself: a real breath before 'I did.' What casting listens for: Casting listens for restraint; the less she pushes the feeling, the more the listener feels it.
Moving day. Two best friends, both around thirty, in an empty apartment full of boxes
JESSIs that the last one?
TASHAThat's the last one. Unless you count the plant.
JESSThe plant can ride with us.
TASHAThe plant has survived three apartments, two breakups and a bad haircut. The plant rides up front.
JESSI still can't believe you hired movers. We always did it ourselves.
TASHAWe always did it ourselves, and every time, somebody cried and somebody dropped a dresser on somebody's foot.
JESSThat was one time.
TASHAIt was your foot, Jess.
JESSOkay. Fair.
TASHABoxcar Movers were in and out in three hours. They wrapped everything, even the weird lamp. Nothing broken.
JESSThey were nice, too. The tall one called the plant 'ma'am.'
TASHAWhich is correct.
JESSSo this is it. You're really leaving the neighborhood.
TASHAIt's twenty minutes away.
JESSIt's twenty minutes from me.
TASHAHey. Come here. Friday nights are still Friday nights.
JESSYou'll have a guest room.
TASHAI'll have a guest room.
JESSI'm bringing the plant back.
TASHABoxcar Movers. Moving's easier with the right people.
Direction: Easy, jokey best friends; the jokes thin out as the goodbye arrives What it is for: A comic duet that turns into a goodbye, with the brand tucked inside the friendship. Coach's note: Watch out for missing the shift. It's jokes until 'You're really leaving the neighborhood'; then Jess's lines get shorter and Tasha has to hear what's underneath. The tag is Tasha still holding her friend, not turning to camera. What casting listens for: Casting listens for two people who have a history, audible in how fast they answer each other.
Don't Tell Them
Slice of life, cooking stockAdult (40-55)IrishOne narrator60 secondsabout 56s
My nana made gravy every Sunday for fifty years, and she never once wrote down how.
We'd ask, and she'd say, 'Ah, a bit of this, a bit of that, and don't be standing over me.'
When she passed, my sister and I spent a whole winter trying to get it right. Too thin. Too salty. One batch the dog wouldn't touch, and that dog ate a sock once.
Then, clearing out her press, we found it. Not a recipe. Just a box of Pantry and Pine stock, half used, with a note on it in her handwriting. It said, 'Don't tell them.'
We laughed until we cried. Then we made the gravy, the two of us, standing over it. It was perfect.
Pantry and Pine. Proper stock, slow simmered, for proper Sunday dinners. Your secret's safe with us.
Sorry, Nana.
Direction: Warm, wry, storytelling at the kitchen table What it is for: A family story with grief in it that is still, mostly, funny. Coach's note: Watch out for going mournful at 'When she passed'. Say it simply; the sock joke keeps it moving. The turn is 'Don't tell them': land it with Nana's mischief, then give yourself the laugh. The brand copy after is a little embarrassed, because she knows it's an ad now. What casting listens for: Casting listens for humour and grief in the same breath without either one cancelling the other.
The Bell Over the Door
Testimonial, business bankingAdult (40-55)Neutral BritishOne narrator60 secondsabout 60s
I fixed bikes in my garage for thirty years. Neighbours' kids, mostly. For nothing, or for a biscuit.
At fifty-one, I was made redundant from the job I actually got paid for. And my wife said, 'Well. You know what you want to do.'
I did. I'd just been too scared to say it.
The hard part wasn't the bikes. It was the business. Invoices, accounts, a loan, all the things I'd been avoiding my whole life.
At Keelson Business Banking, I got a real person. Nadia. She sat with me for an hour, went through it all twice, and never once made me feel old or daft.
Spoke and Chain opened in March. There's a bell over the door. Every time it rings, I still get a little jolt.
Keelson Business Banking. For the ones who finally said it out loud.
Pop in. I'll have a look at your brakes.
Direction: Honest, steady, a quiet pride that surprises him What it is for: A small-business testimonial told as a confession rather than a success story. Coach's note: Watch out for telling it as a triumph. It's a confession first: 'I'd just been too scared to say it' is the most important line, so breathe before it. The bell should sound like he's hearing it now. What casting listens for: Casting listens for a real working voice: unpolished, specific, believable with money.
Things I searched at three a.m. in my first month as a mom.
Is it normal for a baby to sound like a tiny goat.
How long can a person live on crackers.
Why is she staring at the ceiling fan like it owes her money.
Can you be too tired to sleep.
And, at three-forty, why are all my onesies done up wrong.
Nobody warns you about the snaps. Twelve tiny snaps, in the dark, while someone small and furious kicks you in the wrist.
So I switched to Littlewell zip-ups. One zipper, bottom to top, so you can change her with one hand and half a brain.
Soft cotton. No snaps. Nothing to line up at three a.m.
She's six months now. She still stares at the fan. I still do the searching. But the zipping is easy.
Littlewell. Made by parents who were up, too.
Direction: Exhausted, funny, tender; a new mum talking to another new mum What it is for: A list read where every item is its own exhausted thought. Coach's note: Watch out for delivering the searches as punchlines. Each one is a separate thought, with a fresh breath and a different amount of worry. The turn out of the list is 'Nobody warns you about the snaps', a little indignant. What casting listens for: Casting listens for tiredness that's funny rather than flat, and warmth that comes through the fatigue.
My name's Wade. I run a landscaping outfit. Four trucks, nine guys, and one dog who thinks she's the foreman.
For fifteen years, I did the invoices at the kitchen table on Sunday nights. Shoebox full of receipts. Coffee going cold. My wife asking if I was coming to bed, and me saying, 'Five minutes,' which was never five minutes.
Last spring, my nephew put me on Paperkite. I take a picture of a receipt, and it goes where it goes. I finish a job, I tap my phone, and the invoice is sent before I'm back in the truck.
Folks pay faster, too, because they just click and pay.
Now Sunday nights, I'm on the porch. The dog's on the porch. Nobody's looking for a shoebox.
I'm not a computer guy. That's kind of the point.
Paperkite. Get your Sundays back.
Direction: Easygoing, plain-spoken working man What it is for: A B2B testimonial that sounds like a customer, not a brochure. Coach's note: Watch out for sounding like he's reading a testimonial card. Wade talks in short, practical chunks with breaths between. The heart is the porch, so slow down there, and don't lift for the brand name: say it like the name of a tool. What casting listens for: Casting listens for authenticity; the client wants their real customers to recognise themselves.
The Drawer in the Back
Slice of life, hardware storeMature (55+)Neutral AmericanOne narrator60 secondsabout 57s
Mrs Delgado came in Tuesday looking for a hinge. Not just any hinge. The hinge. The one on her late husband's toolbox, the one he built in nineteen seventy-eight.
Now, they don't make that hinge anymore. Haven't for years.
But we've got a drawer in the back. My father started it. Every odd part, every orphan bolt, every piece nobody could find a home for. Fifty years of it.
Took us about forty minutes. My grandson found it. Held it up like he'd struck gold.
Mrs Delgado didn't say much. She just held it for a second. Then she asked how much, and I told her we'd call it even.
That's the thing about a hardware store. It's not really about the hardware.
Pruitt's Hardware, on Main Street in Carverton since nineteen seventy-four. If we haven't got it, we'll check the drawer.
Direction: Gentle, unhurried, small-town radio storyteller What it is for: Local-radio storytelling where the ad is almost entirely story. Coach's note: Watch out for getting sentimental. He's told a hundred of these stories, so keep it dry. The turn is 'She just held it for a second.' Leave a real pause after it, then let the humour back in on 'call it even'. What casting listens for: Casting listens for a voice that makes a small town sound like a real place.
The Big Green Button
Slice of life, tablet, duetAnyNeutral AmericanTwo narrators (duet)60 secondsabout 79s
Cast: LUCYDAD
A daughter in her thirties on a video call with her father, seventies, who is holding the tablet much too close
LUCYDad. Dad, I can only see your ear.
DADWhat?
LUCYYour ear. Move the tablet back.
DADIs that better?
LUCYNow I can see the ceiling.
DADWell, it's a nice ceiling.
LUCYDad.
DADOkay, okay. There. Hello!
LUCYHi! There you are. How are you liking the Cornertab?
DADIt's good. The words are big. I pressed the big green button like you said, and there you were.
LUCYThat's it. That's all you have to do.
DADI called your Aunt Ruth this morning. She cried.
LUCYHappy crying?
DADI think so. She showed me her tomatoes for twenty minutes.
LUCYThat sounds like Ruth.
DADLucy, can I ask you something?
LUCYSure.
DADCan I call you tomorrow? Just to say hello.
LUCYDad. You can call me every day.
DADDon't tempt me. I've got a big green button now.
LUCYThe Cornertab. A big screen, a simple setup, and one button to see the people you love.
DADNow how do I turn it off?
Direction: Gentle comedy between a grown daughter and her dad; the warmth creeps in What it is for: A comic duet where the real sell is a lonely man's small question. Coach's note: Watch out for playing only the comedy. The turn is Dad's 'Can I call you tomorrow?'; Lucy has to hear what he's really asking and let a beat pass before she answers. Her brand line stays warm and slightly amused, still talking to him. What casting listens for: Casting listens for listening: the daughter's reactions sell the product more than the copy does.
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