Transcription
Welcome to 3-2-1- Acting Studios’“10 Lessons to Great Film Actingfor Teens & Young Adults”Taught by John Walcutt1
Welcome to 3-2-1- Acting Studios’“10 Lessons to Great Film Acting for Teens & Young Adults”Taught by John WalcuttThings You’ll Need:1.Lesson 1(Part 1)Camera or Other Video Recording Device (like a cellphone or computer.)2.A journal & pen (to take additional notes and do thewritten exercises!)3.Although not required, a printer is helpful if you wouldlike to write on these hand-outs at home!Acting is personal. It allows people to ityActing for Theatre1.Often considered “bigger” or “broader.”2.Requires voice projection (being louder, supportingyour breath from your diaphragm--not your throat.)3.Stage actors must repeat their performance up to tentimes a week! Depending on the run of the show, someactors perform the same role for years!4.Performing requires reaching the audience in the frontand back row.Acting for Camera1.Often considered “smaller” or “more intimate”2.Actors focus on the person they are talking to in thescene.3.Actors may do multiple takes of the same scene,however those takes are almost always filmed on thesame day.4.Performing for the camera requires letting the cameracome to you. Meaning, you do not need to project yourperformance. The camera will zoom in on your smallerand more intentional reactions.1
Tongue Twisters Warm-Up for Better Enunciation!3Practice these fun tongue twisters out loud, once a day, and before auditions,so you’re warmed up and ready to speak clearly!Around the rugged rocks the ragged rascal ran.Big black bug bit a big black bear and the big blackbear bled black blood.Can I cook a proper cup of coffee in a copper coffeepot?Don't doubt the doorbell, but differ with the doorknob.Eight gray geese in a green field grazing.Free thugs set three thugs free.Grey geese in a green field grazing.High roller, low roller, lower roller.I wish to wash my Irish wristwatchJingle jungle jangle joker.Knit kilts for nasty cold nights.Little lucky Luke likes lakes, lucky little Luke likeslicking lakes.Monkeys make monopoly monotonous.Next nest will not necessarily be next to nothing.Only royal oily royal oil boilsPeter Prangle, the prickly pear picker, picked threeperfectly prickly pears.Queen Catherine wakes the cat, the cat quietly cries.Red Leather Yellow LeatherSome shun sunshine. Do you shun sunshine?Three thick thistle sticks.Unique New York, Unique New York, Unique NewYork.Vincent vowed vengeance very vehemently.Wayne went to Wales to watch walruses.Xylophones exist or so existentialists insist.Yoda met a Yeti on the Plains of Serengeti.Zoologists illogically love to read astrology.
Voice & Diction Warm-Up: The House That Jack BuiltRead the following nursery tale using a single breath for each sentence.Practice until you can easily do it.1.This is the house that Jack built.2. This is the malt that lay in the house that Jack built.3. This is the rat, that ate the malt, that lay in the housethat Jack built.4. This is the cat that killed that rat, that ate the malt, thatlay in the house that Jack built.5. This is that dog that worried the cat that killed that rat,that ate the malt, that lay in the house that Jack built.6. This is the cow with the crumpled horn, that tossed thedog that worried the cat that killed that rat, that ate themalt, that lay in the house that Jack built.7. This is the maiden all forlorn, that milked the cow withthe crumpled horn, that tossed the dog that worried thecat that killed that rat, that ate the malt, that lay in thehouse that Jack built.8. This is the man all tattered and torn that kissed themaiden all forlorn, that milked the cow with thecrumpled horn, that tossed the dog that worried the catthat killed that rat, that ate the malt, that lay in thehouse that Jack built.9. This is the priest all shaven and shorn, that married theman all tattered and torn, that kissed the maiden allforlorn, that milked the cow with the crumpled horn,that tossed the dog that worried the cat that killed thatrat, that ate the malt, that lay in the house that Jackbuilt.10. This is the rooster that crowed in the morn, that wakedthe priest all shaven and shorn, that married the man alltattered and torn, that kissed the maiden all forlorn, thatmilked the cow with the crumpled horn, that tossed thedog that worried the cat that killed that rat, that ate themalt, that lay in the house that Jack built.4
Lesson 2: What’s My Type? (Part 1)Circle 10 words that best describe you and you’ll be one step closer to findingyour type, brand and utifulBest Next tratedFun-lovingFunkyFunnyGayGeekyGirl -AllLaid-backLaw leLoyalMenacingMetroMiddle ClassPerplexedPhilosophicalPolice ubledTrustworthyUneducatedUpper hyWhite-CollarWickedWild ChildWimpyWiseWittyWorking ClassYoungYuppieZanyZealous
Lesson 2: What’s My Type? (Part 2)Now that you’ve circled 10 words that best describe you, fill out the followinginformation below for more specificity in the types of characters you can play!List 3 TelevisionCharacters that you feelyou could play.List 3 Film Characters thatyou feel you could play.What do all these roles havein common?Activity:1.2.3.Select a monologue ortwo to perform oncamera.Record your Performance.Write down whichmonologue best displaysyour type.
Lesson 3: Preparing For Your AuditionFor most auditions, you will be assigned the portion of your script (otherwiseknow as “sides”). For this exercise, please find a scene or monologue ofyour choice from the 3-2-1- Acting Studios SCRIPTS tab.Who am I (in this scene)?Breakdown yourWhat do I want (objective)?character byfinding thefollowing info:1. Gender2. Age3. Race4. Occupation5. Personality6. Emotion in theparticular sceneyou areperformingWhere am I?1. What is myobjective?2. How does myObjectiveimpact mycharacter?3. Whatobstacles comebetween meand myobjective?4. How can mycharacterovercome myobstacles toobtain myobjective?1. How doesyourWho am Italking to?environmentimpact yourcharacter?2. What kind ofpeople (if any)are in theenvironment?What does yourcharacter thinkof them?3. What kind ofprops are in theenvironment?1. How doesyourrelationshipwith thischaracterimpact youropinion ofthem?2. Whatemotions doyou havetoward them?7
Lesson 4: Who Are You? (Part 1)8Talent is in the choices you make!1) What is your1) How does yourtype/brand?2) How are youmarketing yourself?Who is thecharacter onthe page?Who am Inaturally?3) What words didyou circle in thecharacter perceivehim or herself?2) What do othercharacters in thescene think of yourcastability exercise?character?Characters are built on the INSIDE of YOU. By anwering these questions, you cancombine what you know about yourself and the character on the page, to createinteresting choices!What Do You Want?SUPER-OBJECTIVEHow do you plan topursue or achieveyour overallobjective in thisscript? Want areyou fighting for?What do youultimately want?SCENE-OBJECTIVEWhat doI wantin thisScript?What doI wantin eachScene?What doI wantin eachline?What do I want in thisscene? How does itconnect to the superobjective?SUB-OBJECTIVEHow do you plan topursue or achieve yourobjective in each line ofdialogue?ACTIVITYTry a scene with two (2) different scene objectives.Tape each performance and watch your own playback.Note your progress and write down the differences between the two (2) objectives.
Lesson 4: Who Are You? (Part 2)Talent is in the choices you make!SUPER-OBJECTIVEWhat is the primarily goal of my character? What drives him/her in life? Your superobjective (otherwise known as your “overall objective”), is what your character wants toachieve in the entire screenplay. Such super-objectives come down to basic humaninstincts. For example:1. To love or find love2. To achieve or maintain power3. To have children4. To seek revenge5. To have success (a successful career)6. To survive7. To get marriedNotice, that the super-objective is a simple, cohesive character desire. It is always a personalpursuit. In order to discover your super-objective, you’ll most likely need to read the entirescript more than once. It is of utmost important to accept your character’s super-objectiveinstead of denying it or judging your character based on their wants. People will come upwith ways to justify their behavior and the same is with your character!SCENE-OBJECTIVEWhat does my character want in each scene? Your scene-objectives will always relate backto your super-objective—they will not conflict or be opposite of one another. As you findeach scene objective you’ll notice that each scene builds on top of the other, ultimatelysupporting the super-objective.The scene-objective specifically alters your behavior toward other characters; how youcommunicate and act towards them. For example:1. To get you to hire me2. To get you to team up against an enemy3. To deceive you4. To get you to validate me5. To get you to love meOne way to distinguish the difference between super-objectives and scene-objectives is byusing the words “I want” (for super-objective) and “I’m going to get” (for scene-objective).For example:Super-objective: I want power.Scene-objective: I’m going to get rid of my competition.9
Lesson 5: Where Am I?Talent is in the choices you make!1)Atmosphere is important, because it can influence yourcharacter and other characters in the scene.2)Make specific choices! Instead of saying “my house,” choosewhat part of the house and what objects/people surround you(like your grandma’s rocking chair in front of the living roomfireplace).3)It’s better to tape and re-watch yourself than it is to look in themirror. When you look in the mirror, you judge yourself and suchjudgements impact your ability to stay in character.4)“Make Believe” may be required! For instance, major motionpictures studios might have their actors film a scene in front of agreen screen of a castle instead of an actual castle. But theactors have to stay genuine!A COTTAGE IN THE FORESTSANDY BEACHOUSE IN THE SUNTHE LIBRARYMOM’S KITCHENACTIVITYChoose a scene and play your scene in 3 different locations.Be very aware of how the location will affect your character.Record each take.10
Lesson 6: Who Are You Talking To?Talent is in the choices you make!BOYFRIEND/GIRLFRIENDDAD1)because stronger feelingswill be come out if you’re inMOMBROTHERMake personal choices,a more personal relationship.2)Playing a scene is acompletely differentSISTERperformance dependingTEACHERupon whom you’re talking toFRIENDand what your relationship isCLASSMATElike with that character.3)What type of relationshipdoes your character haveBOSSwith the person you areCO-WORKERtalking to in the scene? Howdo you feel about thatHow does this person make you feel?person? (For instance, if youare talking to your mother,IN LOVEdoes your character have aloving or estrangedANGRYrelationship? ThoseNERVOUSemotions will be playeddifferenly, thus givingJEALOUSdifferent performances!)JOYOUSDEPRESSED4)Remember, some choicesare on the page and otherchoices you must create!HEARTBROKENACTIVITYRecord your scene three times as if you’re talking to a differentperson each take. Make sure you have different feelings towardeach person. Be specific with who they are and how you feel!11
Lesson 7: Subtext & BeatsTalent is in the choices you make!The SUBTEXT of a scene is the emotion or meaning that is UNDERthe lines of dialogue or narrative action. Subtext is not WHAT yousay, but HOW you say it. Subtext are the actions and unspokenthoughts going through the mind of the character.For example. “How are you?” is just three words, but the phrase canbe said MANY different ways. Try saying “How Are you?” with thefollowing different subtexts:“I’m happy to see you.”“I can’t stand you.”“I’m so sorry for your loss.”“I’m in a hurry!”“I have a huge crush on you.”What is a BEAT? How can you find where a BEAT is in your script?1)2)3)4)5)6)7)8)1.2.A beat is a change of mood, intention or subject in a scene.A beat is where one action or thought ends and anotherbegins.When we talk in normal life we have breaks - beats - in ourspeech, while we think of the next thing to say or somethingnew pops into our heads and we're thinking of how to word it.An actor shows a beat by changing their tone/actions. Thepoint is to show the changing thoughts in a character's mindwithout actually verbalizing it.Beats are specific, measured, and spaced to create a pace thatmoves the progress of the story forward.In the case of a monologue, a beat is where the characterchanges subjects or changes their approach to the subject athand.Every cinematic genre has a beat that is specific to itsdevelopment. Action films have significantly more beats(usually events); drama has fewer beats (usually protagonistdecisions or discovery).A beat is an opportunity for you to findyour next action!ACTIVITYRecord your lines using 3 different subtexts for each take.Go through your scene and mark each beat in the scene. Nextto the text, write down what each beat means to yourcharacter.
Lesson 8: Obstacles & OppositesTalent is in the choices you make!An OBSTACLE is the thingthat gets in the wayof getting your objective(aka “What you want.”)OBJECTIVEFor example, if you say-- “I want my mom to go to sleep, so that I can sneak out of the house tomeet friends,” your obstacle is that your mom is not going to sleep and your objective is to get out ofthe house to see friends. So if your mom does not go to sleep, your character must come up withother creative ways to get out of the house without getting caught.An OPPOSITE is the knowledge of something that contrasts with your objective.In life, we play opposites. For instance-“I love them, but can’t have them.”“I want this, but it’s bad for me.”“I’m going there, but I’m scared.”Do you observe a pattern in the three opposites listed above? Each statement begins withsaying the objective and then BUT. “But” shows that there is something that contrastswith the opposite.Now, you try filling these out-1.I want to , BUT.2.I need to , BUT.1.2.ACTIVITYIf you haven’t done so already, break your scene down intobeats.In each beat, write your objective, obstacle and opposite.
Lesson 9: TurnsTalent is in the choices you make!BEATS(See Lesson 7 for recap.)Some scripted examplesstart with keywords like:“Suddenly--”“Without warning--”“Out of nowhere--”(All these words signify asurprise or change in eventsSurprising news on the phone is one example of a beat thatalso acts as a TURN in the scene.or character emotion.)Do not indicate beats with afacial expression, butinstead, feel the change inyour emotions and it willnaturally appear on yourface.TURNSA TURN is a major beat change in a scene.No scene should end the same way it began.The objective of every scene on television is to keep theaudience engaged and invested in the characters.ACTIVITYRead through your scene or monologue and markeach turn.14
Lesson 10: Openings & ButtonsTalent is in the choices you make!OpeningsButtonsAn opening is the moment before yourA button is the final moment after your lastfirst line or action in a scene. It is theline of dialogue or action. Similar tochance to show the casting director thatopenings, it’s one of the most importantyou are in character, know what’s goingparts of your performance in which you canon in the scene and are making strong,leave a lasting impression with the castingspecific choices.director.John Walcutt said Openings and Buttons must have what three true things?(fill in the blank)1.2.3.1.2.3.ACTIVITYCreate three (3) different openings for your scene or monologue.Create three (3) different buttons for your scene or monologue.Once you have completed this activity, click the button on the Lesson10 webpage to receive your certificate!
How to Read a Scriptfor “10 Lessons to Great Film Actingfor Teens & Young Adults”3
INT. BATHROOM- NIGHT-- This is a Scene Heading, specifying thelocation of the scene and time of dayTEENAGER fixes his/her hair in the mirror, fully dressed,ready to go out.This is the character name, -TEENAGERdistinguishing who says-- A parenthetical implies action(on the phone)what lines.Yeah Kelly, I’ll meet you guys at or emotion of athe movie. 10:15pm, got it. Just line and shouldwaiting for my mom to go to sleep.not be readIs Sam going to be there? Cool. allowed.-- This isnarrative,describing theaction of thescene.There is a KNOCK on the door.TEENAGER(whispering)Gotta go.Quickly, Teenager puts on a bathrobe, covering their outfit.They open the door to-- MOM, late 40’s, stands in thedoorway watching TEENAGER brush his/her teeth. Teenager Character descriptions can often be foundwears a bathrobe.after a character name.MOMEverything okay in here?TEENAGERYeah.MOMThought I heard you talking tosomeone.TEENAGERMyself.Mom looks questionably at Teenager.MOMMmhmm. Your hair looks reallynice.TEENAGERThanks, just trying out a new lookfor school.MOMSpeaking of, you finish studying?TEENAGERYeah.There is more of thesame scene which continueson the next page.(CONTINUED)
CONTINUED:2.MOMGreat.She lingers.TEENAGERIs there something else I can helpyou out with or.?MOMNo. I’ll be downstairs, Kiddo.TEENAGERYou look tired. Don’t you want togo to bed?MOMNo, I think I’ll stay up a bit andread.TEENAGERI think the lighting in yourbedroom is better than the livingroom.MOMI want to sit by the fireplace.Teenager’s phone BUZZES with a text message.MOM (CONT’D)Who’s that?-- This is a continuation of the character'sprevious line.TEENAGERNo one. Just a friend.MOMOkay. Get some sleep for the bigexam tomorrow.TEENAGEROkay, Mom. Goodnight.Mom closes the door. Teenager rushes to their phone andtypes-TEENAGER(reading allowed)My mom is practically guarding thefront door.The phone BUZZES again.(CONTINUED)
CONTINUED:3.TEENAGER(reading)Ugh, don’t tell Sam.He/She spots the bathroom window. An idea.TEENAGER(typing)Don’t want to miss out. On my way.Teenager takes off the robe, quietly opens the window andbegins to climb out of the house.CUT TO:Transition to the next scene!
“The Escape” Scene BreakdownBy Actor #1for “10 Lessons to Great Film Actingfor Teens & Young Adults”4
“The Escape” Scene BreakdownBy Actor #2for “10 Lessons to Great Film Actingfor Teens & Young Adults”5
“The Escape” Scene BreakdownBy Actor #3for “10 Lessons to Great Film Actingfor Teens & Young Adults”6
Other questions to consider: These will encourage the use of your imagination to put yourself inthe mind of the character!1.What is my Moment Before: The beginning moment of the scene. What am I doing,thinking and feeling immediately before the scene begins?Doing: I am looking in the mirror styling my hair and checking my makeup while chattingon the phone with my best friend.Thinking things like: “I hope Sam is going to be there tonight!” “I like this new shade oflip gloss.” “I can’t wait to see this movie! I’ve always wanted to be out this late with myfriends.” “I’m so excited I’ve been invited to hang out with the cool crowd.” “This willtotally change my social status at school.”Feeling: Excited, Pretty, Daring, Nervous, Energized, Eager, Silly, Hopeful** Notice that the “Doing” of the Moment Before comes from the script, the “Thinking” comesfrom the Super Objective, and the “Feeling” comes from the combination of your “Doing” and“Thinking.”2. Who are the specific people I’m speaking to and about? Make them people from your reallife (YOUR best friend, crush, parent, etc.)Who is the friend I’m speaking to on the phone?I am speaking to my best friend, Sarah. She and I have been invited to hang out withthe cool kids and I am so excited. Our social status is rising!Who is Sam? Sam is the cutest boy in school. I have had a huge crush on him all yearlong, and just last week, Laura told me he broke up with his last girlfriend and might beinterested in me! I hope she’s right! He’s SO cute and nice and funny too!Who is Mom? My mom is sweet and loving but expects a lot from me. I know she’llwant me to do well on the test tomorrow and that she would be really worried anddisappointed in me if I snuck out. I love her a lot. I also feel a little stifled by her andknow that she just won’t understand what this night will mean for my social life, andtherefore for my entire life, at school.3. Button: This is the ending moment of the scene.The ending moment of this scene is crawling out of the window. I can simply mime opening thewindow and looking around to make sure Mom isn’t about to come back in the room. (**OnCamera tip: Place the “window” on a diagonal from the camera instead of making the windowbehind you. That way the camera can still see you face while you try to make your escape! )Meanwhile I’m having all the thoughts and feelings cross my mind that I would REALLY behaving in this moment. I could be thinking: “I can’t believe I’m doing this!” or “I’ll jump into theflower bushes.” or “One, two, three - GO!” or “Quietly now, quietly ” All and any of thesewould make a compelling non-verbal last moment, or button. :)
Super Objective: To go to a late night movie with my friends and Sam, the boy I like. If I go,something could start up between me and Sam and I will get to hang out more with the coolkids. This could change my social status at school in the best way and change my life!Scene Objective: To sneak out of the house without my Mom finding outObstacle: My Mom won’t go to sleep! She also might suspect something she’s asking a lot of questions.INT. BATHROOM- NIGHTOpposite: I want to go out with my friends but I’m afraid of getting caught and disappointing my mom, whom I really love.KELLY, a fashionable teenager, fixes her hair in the mirror,fully dressed, ready to go out.Beat 1: Talking to myfriend on the phone tofinalize plans for thenightKELLY(on the phone)Yeah Liz, I’ll meet you guys at themovie. 10:15pm, got it. Justwaiting for my mom to go to sleep.Is Sam going to be there? Cool.There is a KNOCK on the door.Remember to really ASK thisquestion and allow the camera tosee you HEAR the answer. Thisis an important moment thatmakes you want to sneak out nomatter the cost!KELLY(whispering)Gotta go.Beat 2:Convincingmy mom thateverything isnormal andI’m going tobedQuickly, Kelly puts on a bathrobe, covering her outfit. Shegrabs her toothbrush and opens the door to-- JANICE, Kelly’smom, late 40’s, who stands in the doorway now watching Kellybrush her teeth.JANICEEverything okay in here?Yeah.KELLYJANICEThought I heard you talking tosomeone.KELLYMyself.Janice looks questionably at Kelly.JANICEMmhmm. Your hair looks reallynice.KELLYThanks, just trying out a new lookfor school.JANICESpeaking of, you finish studying?Yeah.KELLY(CONTINUED)
CONTINUED:2.Great.JANICEShe lingers.KELLYIs there something else I can helpyou out with or.?JANICENo. I’ll be downstairs, Kiddo.Beat 3/Turn:What?!Downstairs! MustConvincemom to goto herroom! Thiscould ruinmy wholeplan! Ican’t sneakout if she’sawake!KELLYYou look tired. Don’t you want togo to bed?JANICENo, I think I’ll stay up a bit andread.KELLY(almost desperate)I think the lighting in yourbedroom is better than the livingroom.JANICEI want to sit by the fireplace.Kelly’s PHONE BUZZES with a text message.Beat 4: Play it cool MakeMom believe no one’s textingso she’ll trust that I’m goingto bed so that I can figure outhow to fix the problem of hermaking it difficult for me tosneak out.JANICE (CONT’D)Who’s that?KELLYNo one. Just an email alert orsomething.JANICEOkay. Get some sleep for the bigexam tomorrow.KELLYOkay, Mom. Goodnight.Beat 5: Sharemy dilemmawith my friend.Thought: “Whatcan I do?”New Info! Am I ready for theexam? Have I studied? By goingout tonight will I potentially hurtmy scores/fail? How do I feelabout that (guilty, nervous,scared, confident, certain?) Makea specific choice! Ex. “I feel guiltylying to my mom and not entirelyprepared for the test, plus she’snot going to bed. Maybe I willstay in. This is just too hard. ” Iwill have this thought when mymom brings up the test.Janice closes the door. Kelly rushes to her phone andtypes-KELLY(reading allowed)My mom is practically guarding thefront door.The PHONE BUZZES again. Kelly picks it up.(CONTINUED)
Beat 6: Readingthe text from myfriend. I cannotbe consideredlame! Sam willnever like me ifhe thinks that!Beat 7: Seethe window. Ihave a newidea to sneakout this way.Who says Ineed to usethe frontdoor?!CONTINUED:3.KELLY(CONT’D)Ugh, I am not lame. And you betternot tell Sam.She spots the bathroom window. An idea. She types-KELLYDon’t want to miss out. On my way.Kelly takes off the robe, quietly opens the window andbegins to climb out of the house.CUT TO:
MONOLOGUESBy3-2-1- Acting Studios- Pick one of the following monologues to record for yourclass exercise. -Contact: 818-248-5602
EXT. SCHOOL BUS STOP- DAYJASON, late-teens, stands shivering in the cold. His jacketlooks old and beaten down by the frigid winds.JASONCome on, come on, come on. whyisn’t this thing ever on time? Noteveryone can afford a fleece-linedcoat. I bet the bus is 75 degrees.Okay, Jason. Just picture. I’m onthe bus. I’m on the warm bus.A GUST OF WIND hits him. Jason shutters.JASON (CONT’D)What is taking so long?!END(CONTINUED)
CONTINUED:2.INT. HOUSE, KITCHEN TABLE- NIGHTCAMI, teenager, sits across from her parents, who hold herreport card, displeased.CAMII told you, it’s my teacher fault.How am I supposed to learnChemistry when Mr. Wellner doesn’tteach us anything? So I don’t thinkmy grade in that class shouldreflect my allowance.END(CONTINUED)
CONTINUED:3.INT. FUNERAL HOME- DAYBRADY stands in front of the congregation, most of whom aredressed in black. He remains steady.BRADYGrandpa always brought me fishingevery summer, because he said thatI was his good luck charm. He’dcatch bass over a foot long. Me? Iwas a horrible fisherman. But thatdidn’t matter for Grandpa, becauseI knew all that he cared about wasspending time with me.Brady clears his through, swallowing back tears.BRADY (CONT’D)I’m sure that’s how we all feltspending time with Grandpa. Andthat’s why we’re all here now.END(CONTINUED)
CONTINUED:4.INT. CAR- NIGHTTASHA sits in the driver seat with her window rolled down. Apolice officer writers her a ticket.TASHAI promise, Officer, my speedometeris totally broken. Like, I actuallydidn’t know how fast I was going. Iwould show you, but then I’d bedriving away. But you an trust me,just check my record. I’ve nevergotten a ticket before.END
SCHOOL DANCEBy3-2-1- ACTING STUDIOSContact: 818-248-5602
INT. GYMNASIUM, SCHOOL DANCE- NIGHTSTUDENTS bust a move on the dance floor. Lindsey refills herpunch cup at the punch bowl as David approaches her.DAVIDWhat’s wrong?LINDSEYNothing. I’m just thirsty.DAVIDI don’t believe you.LINDSEYLook, if want to dance withSamantha, that’s fine. I justthought we came here to together.DAVIDWe did come here together.LINDSEYWell you’re not acting like it.DAVIDYou don’t like to dance-- what elseam I supposed to do? Stand near thepunchbowl the whole night.Lindsey’s eyes brim with tears.LINDSEYI just thought you wanted to spendtime with me.DAVIDI asked you to the dance, because Ithought you like to dance.LINDSEYI like to dance, but I’M NOT A GOODDANCER!David is stunned.DAVIDWait. But you’re on theCheerleading team.LINDSEYThey needed a flier. I’m not goodon my feet though.(CONTINUED)
CONTINUED:2.David smiles at Lindsey.LINDSEY (CONT’D)Why are you smiling?DAVID’Cause.LINDSEY’Cause what?DAVIDI don’t know, I guess I thinkyou’re cute. You’re all nervousabout dancing and stuff.LINDSEYYou think I’m cute, because I can’tdance?DAVIDYou should have just told me in thefirst place. I can teach you somemoves.LINDSEYI don’t think so-David grabs her cup and sets it on the table.LINDSEYDavid.DAVIDCome on. You don’t have to be agood dancer to have fun dancing.That’s rule Number One.He gently grabs her hands and leads her to the dance floor.Lindsey smiles and follows David’s lead.END
STUDY HALLBy3-2-1- Acting StudiosContact: 818-248-5602
INT. SCHOOL, STUDY HALL- DAYA TEACHER reads a book, barely monitoring the front of theclass. CAMERON and JADE sit quietly next to one another.Cameron peeks at Jade’s notes.CAMERONPst.Jade looks up, not amused.JADEWhat?CAMERONCan I see your notes from Biology?JADENo, you should’ve paid attention inclass.CAMERONSorry, things come up.JADE(critical)Like your cell phone?CAMERONIt’s not what you think it is.JADEWere you on Instagram instead ofTwitter?The teacher looks up. Cameron and Jade quietly sink intotheir seats. Cameron’s face d
Read the following nursery tale using a single breath for each sentence. Practice until you can easily do it. 4 1. This is the house that Jack built. . Badass Druggy Beautiful Best friend Tormented Big-city Bitchy Educated Blue-collar Bold Elderly Boss Bouncer Victi
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