Script library

Free monologues to practice. Every text here is in the public domain, so you can perform, film and post it freely. Pick one that suits you, film a take, and when a Breakout challenge opens, post your reel. The monthly challenge speech is chosen from this library.

A note on the texts: these are standard public-domain versions. Spelling, punctuation and line breaks vary between editions, so feel free to use the edition you prefer. Times are estimates at an easy speaking pace.

Dramatic · 4 scripts

Dramatic 258 words · about 2 minutes

"To be, or not to be"

Hamlet · Hamlet, Act 3, Scene 1 · William Shakespeare, c. 1600

The most famous soliloquy in English: a man weighing action against endurance. Stillness and a wide emotional range matter more than volume.

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To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep, perchance to dream—ay, there's the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The pangs of dispriz'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscover'd country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action.
Dramatic 90 words · under 1 minute

"Tomorrow, and tomorrow, and tomorrow"

Macbeth · Macbeth, Act 5, Scene 5 · William Shakespeare, c. 1606

A short, devastating speech after hearing his wife has died. A great test of restraint: the smaller you play it, the harder it lands.

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She should have died hereafter;
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Dramatic 143 words · about 1 minute

"The quality of mercy is not strained"

Portia · The Merchant of Venice, Act 4, Scene 1 · William Shakespeare, c. 1598

A persuasive, controlled plea in a courtroom. Work on clarity, pacing and who you are speaking to.

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The quality of mercy is not strain'd,
It droppeth as the gentle rain from heaven
Upon the place beneath: it is twice blest;
It blesseth him that gives and him that takes:
'Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God's
When mercy seasons justice. Therefore, Jew,
Though justice be thy plea, consider this,
That, in the course of justice, none of us
Should see salvation: we do pray for mercy;
And that same prayer doth teach us all to render
The deeds of mercy.
Dramatic 111 words · about 1 minute

"Friends, Romans, countrymen"

Mark Antony · Julius Caesar, Act 3, Scene 2 (opening) · William Shakespeare, c. 1599

A crowd-turning speech built on irony. The fun is in how 'honourable' changes meaning each time you say it.

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Friends, Romans, countrymen, lend me your ears;
I come to bury Caesar, not to praise him.
The evil that men do lives after them;
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious:
If it were so, it was a grievous fault,
And grievously hath Caesar answer'd it.
Here, under leave of Brutus and the rest—
For Brutus is an honourable man;
So are they all, all honourable men—
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me:
But Brutus says he was ambitious;
And Brutus is an honourable man.

Comedic · 4 scripts

Comedic 151 words · about 1 minute

Falstaff on honour

Falstaff · Henry IV, Part 1, Act 5, Scene 1 · William Shakespeare, c. 1597

A cheerful coward argues himself out of heroism. Pure comic logic: let the audience watch the argument build.

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'Tis not due yet; I would be loath to pay him before his day. What need I be so forward with him that calls not on me? Well, 'tis no matter; honour pricks me on. Yea, but how if honour prick me off when I come on? how then? Can honour set to a leg? no. Or an arm? no. Or take away the grief of a wound? no. Honour hath no skill in surgery, then? no. What is honour? a word. What is in that word honour? what is that honour? air. A trim reckoning! Who hath it? he that died o' Wednesday. Doth he feel it? no. Doth he hear it? no. 'Tis insensible, then. Yea, to the dead. But will it not live with the living? no. Why? detraction will not suffer it. Therefore I'll none of it. Honour is a mere scutcheon: and so ends my catechism.
Comedic 80 words · under 1 minute

"What fire is in mine ears?"

Beatrice · Much Ado About Nothing, Act 3, Scene 1 · William Shakespeare, c. 1599

A sharp-tongued woman overhears that she is loved, and softens in real time. A short, warm turn from wit to feeling.

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What fire is in mine ears? Can this be true?
Stand I condemn'd for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly.
Comedic 94 words · under 1 minute

"If we shadows have offended"

Puck · A Midsummer Night's Dream, Act 5, Scene 1 (epilogue) · William Shakespeare, c. 1595

A playful, direct address to the audience. Short, rhymed, and a good test of charm and eye contact with the camera.

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If we shadows have offended,
Think but this, and all is mended,
That you have but slumber'd here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
If you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to 'scape the serpent's tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.
Comedic 65 words · under 1 minute

Lady Bracknell on engagements

Lady Bracknell · The Importance of Being Earnest, Act 1 · Oscar Wilde, 1895

Dry, imperious comedy. Play it completely straight and let the absurd rules do the work.

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Pardon me, you are not engaged to any one. When you do become engaged to some one, I, or your father, should his health permit him, will inform you of the fact. An engagement should come on a young girl as a surprise, pleasant or unpleasant, as the case may be. It is hardly a matter that she could be allowed to arrange for herself.

Romantic & lyrical · 3 scripts

Romantic & lyrical 124 words · about 1 minute

"O Romeo, Romeo! wherefore art thou Romeo?"

Juliet · Romeo and Juliet, Act 2, Scene 2 (the balcony) · William Shakespeare, c. 1595

A young woman talking herself into love. ("Wherefore" means why, not where.) Keep it breathless and private, not grand.

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O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
Romantic & lyrical 207 words · about 1.5 minutes

"I left no ring with her"

Viola · Twelfth Night, Act 2, Scene 2 · William Shakespeare, c. 1601

Viola, disguised as a man, realizes another woman has fallen for her. A thinking-out-loud speech that moves from shock to humor to tenderness.

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I left no ring with her: what means this lady?
Fortune forbid my outside have not charm'd her!
She made good view of me; indeed, so much,
That sure methought her eyes had lost her tongue,
For she did speak in starts distractedly.
She loves me, sure; the cunning of her passion
Invites me in this churlish messenger.
None of my lord's ring! why, he sent her none.
I am the man: if it be so, as 'tis,
Poor lady, she were better love a dream.
Disguise, I see, thou art a wickedness,
Wherein the pregnant enemy does much.
How easy is it for the proper-false
In women's waxen hearts to set their forms!
Alas, our frailty is the cause, not we!
For such as we are made of, such we be.
How will this fadge? my master loves her dearly;
And I, poor monster, fond as much on him;
And she, mistaken, seems to dote on me.
What will become of this? As I am man,
My state is desperate for my master's love;
As I am woman,—now alas the day!—
What thriftless sighs shall poor Olivia breathe!
O time! thou must untangle this, not I;
It is too hard a knot for me to untie!
Romantic & lyrical 60 words · under 1 minute

"Was this the face that launched a thousand ships"

Doctor Faustus · Doctor Faustus, Scene 13 (A-text) · Christopher Marlowe, c. 1592

Six lines of awe and longing at the sight of Helen of Troy. Short and rich; great for a close-up.

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Was this the face that launch'd a thousand ships,
And burnt the topless towers of Ilium?
Sweet Helen, make me immortal with a kiss.
Her lips suck forth my soul: see where it flies!
Come, Helen, come, give me my soul again.
Here will I dwell, for heaven is in these lips,
And all is dross that is not Helena.