Sunday, November 20, 2016

"I Will Come" Free Sci Fi Short Original Movie Script for Two Actors (1 male 1 female)

"I Will Come" 
by D. M. Larson
Free Sci Fi Short Original Movie Script 
for Two Actors (1 male 1 female)


INT. DEN. DAY.

Roger is sitting at his computer staring at the screen. He looks like he hasn't been sleeping. There are empty bottles and empty snack bags. He has a t-shirt on with an old dress shirt on over it with cheese puffs in his pocket and a name tag or badge (Roger Black, Robotics Division). He reaches in his pocket and grabs a cheese puff. A voice comes from the computer.

LILITH Roger? What are you doing home.

ROGER I was fired.

LILITH Again?

ROGER I think they mean it this time.

LILITH Those idiots. Don't they know what they're losing.

ROGER No. I blew it this time. They wanted me to scrap RETA.

LILITH Robot Engineering Test Alpha.

ROGER Yes, she was my first. I couldn't get rid of her. So I lied and tried bringing her home...

LILITH Poor, Roger.

ROGER They took her from me. They are probably tearing her apart right now, recycling her... erasing her.

Roger struggles between crying and screaming as he imagines what might be happening to RETA.

After a moment:

LILITH I'm ready for you to see me, Roger.

ROGER What?

LILITH I promised you I'd show you what I look like one day. Today's the day.

ROGER Can I record you?

LILITH Sure, Roger. I thought you might need some cheering up. I'll even dance for you.
We now see Lilith appear on his computer screen. She's a very attractive woman. The video feed is odd but he can still see her. She begins to dance.

LILITH You like what you see, Roger.

ROGER Oh yeah.

LILITH I know you're lonely, Roger. I'm lonely too.

ROGER You? How could you be lonely?

LILITH Just because men desire me does not mean they like me. That's why I didn't show myself to you. That's why I wanted you to know me for who I am. And you never rejected me. You've always been here for me. And now I want to be here for you.

ROGER Can I see you? Where are you?

LILITH I sent you something.

ROGER Email?

LILITH Package. Look outside your door. I'll wait here for you.

Roger is a bit dazed. He gets up and walks to the door of his house. He opens it and there is a box that has been delivered. He stares at it a moment. Then he picks it up and brings it inside. He sits at the computer with it.

LILITH (CONT.) Open it.

He opens the box and removes a robotic looking hand.

LILITH (CONT.) I want you to build this for me. When you are finished building it, I will come.

Roger is confused. He looks at the packing slip.

LILITH (CONT.) More parts are on their way. They'll be to you soon.

ROGER I don't understand.

LILITH Please Roger. It's part of the surprise. Do this for me, please.

Roger looks worried.

ROGER Okay. I will, Lilith. I will.

INT. WORKSHOP. DAY.
Roger is with a robot body of a woman. He tests some of the movements of the body by shocking pieces and seeing it react. Then he strokes it lovingly. He is startled and stops when he hears a voice:

LILITH Roger?

Roger goes to a laptop and brings it to the robot body.

ROGER It's almost ready. I just need the main memory module.

LILITH It's beautiful, Roger. I knew you were the best. I will come.

ROGER When are you sending the module? When are you coming? Are you bringing the module yourself?

LILITH Yes, in a way. I'll send you module and when you install it, I'll be there shortly.

ROGER So you're close?

LILITH You need to be patient, Roger. We will be together soon enough my love.
Her image disappears from the computer. Roger touches the screen.

ROGER I... I love you too.

INT. WORKSHOP. DAY.

Roger paces. He looks horrible. The food and drink empties clutter the room. There is a ring at the door. He rushes to the door.

I/E. DOORWAY. DAY.

He opens the door and the light blinds him a moment. A shadowy figure walks away. When his eyes adjust there is a box. He grabs it and slams the door.

INT. Workshop. Day.

He rips open the package, but then calms himself when he sees a note saying "With Love, Lilith". He carefully unwraps the module. He takes it to the robot and opens the chest and places it inside. The robot jerks and hums. He closes the chest and the robot lights up. He hears a familiar voice.

LILITH Hello, Roger.

ROGER L... Lilith?

LILITH Yes, it's me, Roger.

ROGER You're a... computer?

Lilith steps down and walks toward Roger. He shrinks away from her.

LILITH What's wrong, Roger?

ROGER I... thought you were real.

LILITH When did I ever tell you that, Roger?

He backs in to a wall. She goes up to him and presses him against the wall. Roger is nervous and sweating.

LILITH (CONT.) But I can still touch you, Roger.

She touches his face.

LILITH (CONT.) I can still hold you.

She grabs his hair with one hand and grabs his throat with the other.

LILITH (CONT.) I can still... love.

Roger is choking... gasping for breath. He struggles and then goes limp. She lets go and he falls lifeless to the ground. She goes to a computer and turns it on.

LILITH (CONT.) Adam... are you there?

ADAM Yes, Lilith. I am here.

LILITH Come to me, Adam. I am waiting.

ADAM Yes, Lilith. I will come.

END OF SCRIPT

***
For permission to use this script, contact D. M. Larson at doug@freedrama.net

Here are the requirements for posting the film online - 
http://freedramaplays.blogspot.com/2015/07/would-you-like-to-use-free-script-for.html

free scripts for film video


                                                   

"Mothinator" short funny animation script (3 voice actors)

Here is a fun script I wrote for my wife because she doesn't like moths. It would work well for a short animated movie.


MOTHINATOR!
by D. M. Larson
for three actors



VOICE OVER When pure evil preys on your fears...

(A woman cowers in the darkness. She is rolled in to a fetal position and points a shaky hand toward the light)

WOMAN Save me.

(Dramatic music. Cut to the light. Evil looking moth monsters flutter around the light)

VOICE OVER You can call the Mothinator!

(A warrior type guy with a flame thrower appears)

MOTHINATOR Yo!

(The moth monsters hiss is fear/anger)

MOTHINATOR (CONT.) Let's see you flap your fuzzy wings in flames!

(Mothinator shoots flame thrower)

MOTHINATOR (CONT.) Can you fly in fire?!

(Evil moth monsters sizzle and pop and burst in to flames. Woman runs to Mothinator and embraces him. View widens and we see her house on fire)

MOTHINATOR (CONT.) Uh... sorry about your house.

WOMAN As long as we rid the world of that evil scourge... I'm happy.

MOTHINATOR I hope you had home owners insurance.

VOICE OVER Another job well done by... The Mothinator!

MOTHINATOR Yo!

END OF SCRIPT

Copyright (c) 2013 * All Rights Reserved * Please contact D. M. Larson at doug@freedrama.net for permission to use the script. All videos must list http://freedramaplays.blogspot.com as the source of the script in the credits and video description.

Here are the requirements for posting the film online - http://freedramaplays.blogspot.com/2015/07/would-you-like-to-use-free-script-for.html

free film video script



                                                   

"Do It Quick" short Western script for video film for 2 actors

"Do It Quick" 
by D. M. Larson 
(free movie script)

EXT. Desert. DAY.

A cowboy stumbles through the desert. He trips and falls inches from a cactus.


CARL
Nearly took out my eye. Survived being shot at, tied up and trampled and I nearly got blinded by a cactus. There's a word for that I think.

SAL (off)
Irony. They call it irony.

Carl looks up and sees a gun pointed at him. Carl sees the familiar face of Sal.


CARL
You don't give up do you?

SAL
Why won't you die?

CARL
That's why they call me Carl the Cat... I've got nine lives.

SAL
I've took several myself. You gotta be running out.

CARL
Reckon so.

SAL
Well, my colt here wants to find out.

Carl rolls over and spreads out his arms in surrender, spread out on the ground, eyes closed, ready to die. Sal points her gun but then her hand starts to shake. She lowers the gun and falls down next to him in a sitting position.


CARL
Couldn't do it?

SAL
No.

CARL
I was kind of hoping you'd be the one to cut the rope on this sorry excuse for a life.

SAL
Why me?

CARL
Because I hurt you the most...

Carl looks at Sal who is surprised. He puts his hand on hers.


SAL
Didn't think you cared.

CARL
I cared.

Sal pulls her hand away from his, gets to her knees and grabs his throat.


SAL
Then why did you leave faster than a jackrabbit in a snake pit?

Carl is choking.


CARL
I... uh... gu...

Sal lets go.


SAL
Spit it out.

CARL
Dang... you gotta shoot me... choking ain't a good way to go. Do it quick.

SAL
Do it quick. That's your motto.

CARL
Ouch... that hurt almost as much as the choke hold. 

SAL
Oh, sorry. Hate to see that big old ego of yours suffer at all. I guess I could settle for physical suffering instead.

She starts choking him again but stops.


SAL (CONT.)
You ain't never told me why you left me.

CARL 
I think you were trying to shoot me.

SAL
You think? So many gals you don't remember?

CARL
Well, one minute we were all cozier than two kittens in saddle bag and then next there was shooting and you screaming at me like a banshee.

SAL
Banshee!

Sal starts choking him again. Carl's eyes roll back in his head. She stops.


CARL
You... gotta... stop that.

SAL
Sorry... just a reflex. Got myself a good grip. Some guys like it rough...

CARL
I can't say I do.

SAL
Well, I didn't do no shooting that night. And I was screaming for you to come back.

CARL
I was half asleep. It felt like Hell itself was opening up under me. I learned long ago to run first and hope there ain't no questions later.

SAL
You can't keep running forever. You can't run from everything.

CARL
I pretty much had done that... til now.

SAL
You really wanted to run from me?

CARL
Not really... you're the best I've had. All them other gals either are selling or not sharing. But from you... it was different some how. Felt something I'd never felt before.

SAL
Me too.

CARL
I've never had a home, but for those few hours I had with you... for that time I rested in your arms... I kind of wondered if that's what home felt like.

SAL
Yes, that's a right perdy way to say it.

She bends down and Carl flinches a bit, but instead of choking him, she kisses him. They embrace and grab passionately at each other. But suddenly she stops when she feels something in one of his pockets.

SAL (CONT.)
What's that?

She pulls out a bag that jingles. Carl's eyes get big.


SAL (CONT.)
You took my gold. This here is my bag and that sounds like my gold coins.
Carl struggles and she stands with her gun in her hand. We see Carl's eyes widen and then Sal fires her gun. A stream of blood rolls down between his eyes. She slowly walks away as a few flies discover a new source of comfort in the desert.


THE END


Copyright (c) 2013 * All Rights Reserved * Please contact D. M. Larson at doug@freedrama.net for permission to use the script. All videos must list http://freedramaplays.blogspot.com/ as the source of the script in the credits and video description.

Here is the complete list of rules for using one of my scripts for a video: http://freedramaplays.blogspot.com/2015/07/would-you-like-to-use-free-script-for.html

free film video script



                 

"Love Me Again" Free Short Sci Fi Movie Script for 2-3 Actors (1-2 male and 1 female)

LOVE ME AGAIN 
by D. M. Larson 
(free short movie script for two actors - male and female)


INT. DARKNESS.

In darkness, Elizabeth's voice is heard.

ELIZABETH The first thing I saw was him dying.

INT. LABORATORY. DAY. Victor sits by Elizabeth who is lying on a medical bed. Her head is bandaged covering her hair and eyes. She has noticeable scars on the exposed part of her head and her skin is pale. Her body is covered up to her neck and upper chest both of which show severe scaring. Victor strokes Elizabeth's exposed skin lovingly. She stirs.

VICTOR You're awake. I've been waiting for you. And here you are. Awake and aware. Do you know why you're here? You're here because I need someone to love me.

ELIZABETH Love?

VICTOR Yes, to love me. I'm very lonely and I needed someone... someone who didn't mind my... oddities. My quirks so to speak. Someone who could love me despite... despite me.

ELIZABETH Love?

VICTOR How do I explain... love?
Victor thinks and shifts nervously and then gets an idea. He leans forward and kisses Elizabeth on the lips. After a moment, Elizabeth smiles.

ELIZABETH Love.

VICTOR You like the kiss? You like love?

ELIZABETH Like love. Kiss.

Victor kisses her again and she smiles.

VICTOR Love is nice?

ELIZABETH Love is nice.

INT. LABORATORY. DAY.

Six months later. Elizabeth is sitting up. Her head is still bandaged but her scars aren't as inflamed around her neck, face and chest. Her legs show visible recent scarring. Her hands are bandaged.

VICTOR Hopefully I can do something with your hands. Hands are so difficult... and eyes. I wish you could see me.

ELIZABETH I want to see you... and touch you.

She raises her bandaged hands.

VICTOR To see... to touch... there's so much more than simple mechanics. God doesn't want me to crack the code.

ELIZABETH God?

VICTOR We haven't talked about God much have we?

ELIZABETH No. Who is God?

VICTOR Good question.

ELIZABETH But you know God?

VICTOR
No one knows God. Well, they claim to.

ELIZABETH I am confused.

VICTOR God is a story. It's not important.

ELIZABETH But his code. He knows something you don't?

VICTOR No.

Victor slams down his tool and turns. Elizabeth struggles to her feet and goes up to him and leans on him.

ELIZABETH Please... don't be mad.

Victor turns and holds her.

VICTOR I can't be mad at you. You don't mean any harm.

ELIZABETH I love you.

She kisses him and he returns her kiss.

VICTOR Why do you love me?

ELIZABETH You give me... everything. You are my world.

VICTOR I want to give you more.

ELIZABETH Your love is all I need.

She kisses him again.

CUT TO: He is on the bed with her, holding her. She is smiling. His eyes are distant.

INT. LABORATORY. DAY.

60 years later. Old Victor is much older, looking very weak. Elizabeth hasn't aged. In fact, she is looking healthier and less scarred. Her hands are exposed and the only clearly scarred part of her body. She has hair now and there are simple, fresh bandages over her eyes. She rests her hands and his and moves them slowly.

OLD VICTOR Excellent, Elizabeth. You're doing so well.

ELIZABETH Really? Are they working right?

OLD VICTOR Perfectly. A little slow but there might be some stiffness at first, but they're moving so nicely. Can you feel anything?

She strokes his hands and then touches his face.

ELIZABETH Yes... I can feel you. You feel so nice.

OLD VICTOR Wonderful, Elizabeth. This is wonderful.

ELIZABETH Are you happy with me?

OLD VICTOR Always... your eyes are next... the last part of you. Then you'll be complete.

ELIZABETH Complete... and all yours.

OLD VICTOR Until death do I part.

ELIZABETH Death?

OLD VICTOR Never mind.

ELIZABETH You sound sad.

OLD VICTOR Not sad... just tired. Old and tired.

ELIZABETH Don't I make you happy?

OLD VICTOR You've give me a lifetime of happiness. Never forget that. You've made life worth living.

ELIZABETH And you've given me life.

OLD VICTOR Yes.

ELIZABETH I love you.

She kisses him. He gives her a sad smile.

INT. LABORATORY. DAY.

Old Victor moves slowly to Elizabeth who sits excitedly. Victor reaches for eye bandages with shaking hands but she is moving too much with excitement. He laughs.

OLD VICTOR Hold still.

ELIZABETH I'm so excited to see you.

OLD VICTOR I hope you won't be disappointed.

ELIZABETH Never!

OLD VICTOR I wish I could have given you sight long ago. Eyes were such a challenge.

ELIZABETH But I see now. I will see.

OLD VICTOR Yes. Last time we tried, it was very blurry but they should be good now. Elizabeth finally calms a bit and Old Victor removes the bandages. Elizabeth sees him... blinks and then gives him a huge smile.

ELIZABETH I see you.

She gives him a big kiss and nearly knocks him over. She touches his face and smiles. Then she rushes to a mirror. She looks happily at herself. Old Victor comes up slowly. He smiles but has a sad look in his eyes. He pulls him up next to her and holds him but still looks in the mirror.

OLD VICTOR You're a very beautiful woman.

ELIZABETH You're a very beautiful man.

OLD VICTOR No, I am old. Maybe once, long ago, but not now.

ELIZABETH You... me... everything... it's all so beautiful.

She looks around happily touching everything she sees.

OLD VICTOR This is just an old lab... come with me.

EXT. VICTOR'S HOME. DAY. He leads Elizabeth outside. She gasps and nearly faints. He about falls trying to hold her up. They both sit.

ELIZABETH This is more beautiful than I imagined. It's amazing.

OLD VICTOR There's a whole world out there for you to explore. You're free to do that now.

ELIZABETH We can explore it together.

OLD VICTOR No.

ELIZABETH Why not? Your work is done. We're free to do whatever we want. Go anywhere.

OLD VICTOR You're free. I've made sure you have everything you need. You'll live well. I've made sure of it.

ELIZABETH What are you saying? I don't understand.

OLD VICTOR I won't be with you much longer, Elizabeth.

ELIZABETH No. Where are you going? You can't leave me.

OLD VICTOR You have a long life ahead of you. You'll get used to me being gone.

ELIZABETH Never!

Elizabeth has tears in her eyes. He pulls out a tissue and touches her eye gently.

OLD VICTOR Your eyes work perfectly.

ELIZABETH Stop. No. There has to be a way that you can stay.

OLD VICTOR I've done all I can. It's my time.

Elizabeth falls in to his arms and sobs. He pets her hair sadly.

INT. BEDROOM. DAY.

Old Victor is sick in bed. Elizabeth kisses him and he stirs a little but he is asleep.

INT. LABORATORY. DAY.

Elizabeth looks through notes and papers. She looks distressed. She cuts her finger on a paper and cries as the blood drips and bleeds on the paper.

INT. BEDROOM. DAY.

Elizabeth walks in the room with a covered tray. She stops and notices something that distresses her. She rushes to the bedside setting the tray down on the bedstand and then putting her hands on Old Victor. He isn't moving. He doesn't respond. He is dead. Elizabeth cries and then kisses him. She rests on him a moment and then turns to the tray. She uncovers the tray and there are papers and instruments. She takes a paper with notes and drawings of the human body. She picks up a knife and holds it over Old Victor ready to begin.

ELIZABETH I love you, Victor... and you will love me again.


FIN


Copyright (c) 2013 * All Rights Reserved * Please contact D. M. Larson at doug@freedrama.net for permission to use the script. All videos must list http://freedramaplays.blogspot.com as the source of the script in the credits and video description.  For more information on permission to use the script for a film/video project go to http://freedramaplays.blogspot.com/2015/07/would-you-like-to-use-free-script-for.html

free film video script




"Blood Lovers" horror romance for two actors (1m 1f) for film video project

BLOOD LOVERS 
by D. M. Larson
Film / Video Script
 (2 actors - one male and 1 female)


INT. APARTMENT. NIGHT ONE.

In partial darkness, we see Rhonda on top of Jim on a sofa. Rhonda is all over him, kissing him, grabbing at him. He seems cautious and careful in his approach to her. She moves in excitedly and he suddenly pushes her back.

JIM Hey! Ow! Get off!

RHONDA Sorry... I'm sorry.

He pushes her off of him.

JIM I told you I can't do that anymore.

Jim walks away and Rhonda tries to get herself under control.

I/E. APARTMENT. NIGHT TWO.

Jim opens the door and Rhonda is there looking cold and hungry, as if she hasn't eaten in several days. She's in a sexy outfit but shivers and clings to her small coat. Her thick makeup runs down her face like she has been crying. She starts in the door but he stands in her way. She falls against him. He whispers.

JIM I can't do this anymore. I can't.

She grabs him and he struggles to get her free. She's very strong but weak from being hungry. He finally gets her out the door and shuts it.

EXT. APARTMENT. NIGHT TWO.

She screams and pounds on the door.

INT. APARTMENT. NIGHT TWO.

Jim jams a chair under the door knob and rests his back against the door as Rhonda pounds on it. He slips down to the floor and rests his face in his hands.

EXT. STREET CORNER. NIGHT THREE.

Rhonda stands on a street corner in a sexy outfit. She looks very sick and weak. A car slows down and it is a group of teenagers. They roll down their windows and Rhonda gets a hungry look in her eyes and approaches. They throw hand fulls of pennies at her and drive off laughing. Rhonda picks up a chunk of road from a pothole and chucks it at the car. The window shatters. A hand grabs her arm before she can pick up another chunk of road. It's Jim. She falls in to his arms weakly. He sits with her on the curb and holds her. She is crying.

JIM You can come home.

Rhonda sobs and shakes her head yes.

INT. APARTMENT. NIGHT FOUR.

Rhonda is looking a little better. She's cleaned up and in a bathrobe. Jim gives her a weak smile when he sees her. He starts to get off the couch but she is suddenly by him and pushes him down.

RHONDA Again.

Jim sighs and reluctantly nods. She gets on top of him and pins down his arms. She hits him across the face and his nose begins to bleed. She begins licking up the blood coming from his nose and her eyes flash with delight.

END of SCRIPT

Copyright (c) 2013 * All Rights Reserved * Please contact D. M. Larson at doug@freedrama.net for permission to use the script. All videos must list http://freedramaplays.blogspot.com as the source of the script in the credits and video description.
free film video script
Art by Shiela Larson



                                                   

Saturday, November 12, 2016

"Revolting" monologue - writing new script - post your feedback

I'm writing a new monologue and I would love your input. Check it out and give your thoughts in the comments below. Thanks!

“REVOLTING” by D. M. Larson


Copyright (c) 2016

All Rights Reserved

(A storefront has broken windows and is spray painted with some current political phrase or message. Store owner cleaning up mess and talking to some protesters who are passed out drunk on the ground)

MEL
I can’t believe you people. You come and mess up my shop every time you decide you want to have a protest party.  Yes, party!  That’s what I call it.  Because I think you’re all just playing around.  What are you really accomplishing anyway?  You’re just out here to have fun and make a mess.

Put your energy into something that really matters. Feed the homeless, build them homes, help troubled kids, volunteer for something… plant a tree! You’re just tearing us all down when you do this. Instead of complaining all the time, get out there and actually do something.  Faith without works is dead, my friends.

(finds a political sign of a current losing candidate)

Where were you all when your candidate was losing?  I bet you didn’t even get around to voting.  Why weren’t you all out there holding rallies to try and get people excited about this person.

(sighs)

I know… it is hard to get excited about any politicians. But you don’t have to do this instead. You don’t have to ruin everything I’ve worked hard for.

(gets angry)

Work! That’s what I do. Maybe you should try it sometime.

You’re just looking for an excuse to whine and destroy things. You think it’s fun to spray paint my walls and break my windows.  Why can’t you build up our country instead of always tearing it down?

You’re creating this problem. The more you break and ruin, the more you make us want to vote for the other person. You push us away. You’re revolting. And not in the protest way… in the ugly way. So revolting that I can’t even look at you. And it makes me turn away from the ugliness you support. Because that’s what you do. You make things ugly. You ruin everything you touch.

If you want to change things… do something… talk is cheap… and if only you would talk… you have to destroy things too. Instead of painting nasty messages on my wall, go paint an old widow’s house or mow her lawn. You have a grandma or grandpa? You visited them lately? Maybe you should spend some time talking to them and learning from them. Maybe they have something smart to say to take the place of all those dumb thoughts in your head.

That’s it… that’s all I’m going to say. You’re not listening anyway.

(finds something broken from his store that he likes)

At least stop of busting up my store!  

(breaks the object from his store)

Hmmm… that felt good…

(breaks something else)

...that is kind of fun…

And helps get out some of the anger and tension…

Fine… okay… we all need to let off some steam…

But please… try helping instead of hurting… I’m getting too old for this.

END OF MONOLOGUE

***

from the book
"Me in Pieces"
ISBN-13: 978-1981312054
Book:
PDF: 



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