Reader Support Guide — June
Last Kids on Earth · Disney Branded Television · Series Regular
3 Scenes Percy Jackson Tone You Read: Ruby · Jack
⚠ What Will Go Wrong
Most readers will kill this audition by doing one of these three things:
  • Play Ruby too comedic — and destroy the real fear underneath it
  • Rush Scene 2 and blow straight past the emotional turn
  • Step on June's monologue in Scene 3 and take the scene away from her
If any of these happen, the audition doesn't land. Full stop.
01 Why This Matters

June is the engine of every scene. She's running on zero sleep, the world is ending, and she's still the most organized person in the room. But here's the thing — she can only fight for control if you give her something to fight against. If you read this like a placeholder, she's acting alone. These sides are deceptively emotional inside an action-comedy shell. Your job isn't to stay out of the way. It's to be so real that she has no choice but to go there.

02 Performance Engine
June's Drive

June is controlling chaos, protecting Ruby (even when Ruby hates it), burying guilt about her parents, and refusing to fall apart — all at once.

If you don't push back, she never has to fight for that control. You lose the scene.
Your Fuel

Push back with real stakes. Let silences land before you speak. Stay grounded — this is NOT a comedy read.

The moment you go campy, the whole tone collapses and takes June with it.
03 Scene Snapshot
Scene 1 — Bathroom
  • You are Ruby — June's younger sister
  • Panicked, sarcastic, wants out
  • June holds Ruby in place with logic
  • Ends on June cracking: "Not great."
Scene 2 — Rooftop
  • You are Jack — new kid, potential ally
  • Zombie banter opens it — then it pivots hard
  • June confesses the divorce, the text, all of it
  • Ends: "anywhere but here."
Scene 3 — Driver's Ed Car
  • You are Jack — dual steering chaos
  • Apex predator on their tail
  • June fires her thesis mid-swerve
  • Reveal: Jack let go 3 blocks ago
04 Your Job
  • Read every line like it has weight — zombies are real, stakes are life/death
  • S1 as Ruby: be genuinely scared — not sitcom scared, not sarcasm-as-a-shield scared. Actually scared.
  • Most readers will punch "You dumped him. He's not coming." or add attitude. Don't. It's not a dig — it's information. Flat truth lands harder than attitude ever will.
  • S2 as Jack: the pivot at "Just thinking about my mom" is everything — drop the banter, go fully present
  • After the dad/text reveal — "Oh god. What'd you do?" is shock, not curiosity. Play the difference.
  • S3 as Jack: read like you're white-knuckling a wheel with a monster on the bumper
  • Let June's full monologue run — every interruption costs her the scene
  • Deliver "You won the argument three blocks ago." quiet and flat. It's a reveal, not a punchline.
05 Playing Multiple Characters mandatory
  • Ruby (Scene 1): younger sister — reactive, raw, dark humor as armor against real fear
  • Jack (Scenes 2–3): peer — easy, curious, then genuinely moved by what June reveals
  • If Ruby and Jack feel the same, the audition dies instantly.
  • Signal character shifts with a brief pause and full reset between roles
  • Ruby's sarcasm is defensive — she's protecting herself. Jack's is playful — he's connecting. Never swap these.
06 Reader Fundamentals
This is where readers quietly ruin auditions:
  • Dropping energy mid-line — the actor feels it and pulls back
  • Reading ahead instead of reacting — you stop being a scene partner and become a cue machine
  • Treating silence like dead air — silence is where June lives. Honor it.
  • Never act over the actor. Support. Don't compete.
07 Key Beats
  • S1: Hit "NOBODY'S OKAY" — uppercase means something. Give it full volume.
  • S1: After "I kinda couldn't stand her" — pause before Ruby moves to the door. Let that land.
  • S1: Ruby removing the barricade is a physical decision — make it sound like one
  • S2: The bounce exchange is ping-pong — zero air between lines. If you pause, the rhythm dies.
  • S2: Full stop after "it took a couple of soldiers to keep her on that bus."If you rush this, you kill the emotional turn that follows. That turn is the whole scene.
  • S2: The dad/text reveal is the gut punch of the audition — react like it hits you
  • S3: "FLOOR IT" — land it like the car is actually being eaten
  • S3: Hands-off reveal is the button. Let June's "Oh." be the real ending.Play it like you've been patiently waiting to drop it. Because Jack has.
08 Rhythm, Pace & Energy
  • Scenes 1 & 3: elevated pace — danger is present and physical
  • Scene 2 (first half): medium, dry — zombie-killing as stress relief
  • Scene 2 (second half): drop hard at "You okay?" — go quiet and conversational
  • Scene 3: high throughout — moving car, monster, full chaos energy
  • Ruby's "NOBODY'S OKAY" — your loudest line across all three scenes
  • Jack's "You won the argument three blocks ago" — your quietest. Dry, flat, zero performance.
  • Em-dashes (—) are hard cuts — interrupt there, don't trail off
  • Skip parentheticals aloud — they're actor direction only
09 Do This / Avoid This
Do This
  • React to June's logic like it's new info every time
  • Let humor and danger coexist — both are fully real
  • Honor Jack's genuine curiosity in Scene 2 — he actually wants to know
  • Play Scene 3's ending completely straight — the comedy is already in the writing
Avoid This
  • Playing Ruby as pure comedic relief — the fear is real and it needs to be
  • Rushing the bounce exchange — the rhythm IS the joke
  • Soft-reacting to the dad/text reveal — that's the emotional centerpiece
  • Adding physicality during June's monologue — she owns Scene 3, not you
10 Connection critical

June can only go as deep as you let her.

  • S1: Ruby's fear is what makes June's steadiness land — if Ruby's not scared, June's not heroic
  • S2: Jack's listening is the whole scene. Don't perform listening. Actually listen.
  • Hold space after "I'm not letting myself think about that" — that pause is June's whole character in two seconds
  • S3: Your steering choices create June's obstacle — commit fully or the conflict disappears
  • June's final "Oh." only works if your reveal genuinely surprises her. Play it that way.
11 Tone & Reference Anchor
  • Touchstone: Percy Jackson (2024 Disney+) — grounded kids in genuinely impossible situations
  • If you play this like multi-cam or animated tone, it falls apart immediately — the whole show breaks
  • Humor comes from character logic, not from winking at the audience
  • Every joke lands because the characters take their situation seriously — play that straight
  • American accent throughout — no drift between Ruby and Jack
12 Quick Reset
  • Scene 1: Bathroom. Ruby is scared. June is the wall. You crack it at the end.
  • Scene 2: Rooftop. Banter → grief. Jack opens the door. June walks through it.
  • Scene 3: Car chase. June fires her thesis. Jack already let go of the wheel.
  • Your job: Be real. Let the actor fly. Trust the scene.
Want Help With The Actual Performance?

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