Details
Episode:
1
Union:
Non union
Area of media:
Feature Film
Network:
Paid?:
Yes
Rates:
Non-Union
Rate: 300$/Day (Plus travel stipend and accommodations)
Deadline:
Jan 2, 2026
Auditions:
No in-person auditions. Booking on self-tapes only
Shooting starts:
Jan 25, 2026
Shooting finishes:
Jan 25, 2026
Shooting locations:
Montreal
Cities for response:
Toronto, Montréal, Ottawa
Comments
This is a great opportunity for actors to work as leads in an ultra-professional environment as well as copy the content for their reels.
Storyline
The Price of Her Love is a contained, gut-punch vertical drama that all unfolds in one family restaurant booth over the course of a single “nice” meal. Ten-year-old Owen is a foster kid who’s learned to disappear into the corner while his foster mom Miss Jenna showers dessert, sleepovers, and new phones on her biological daughter Sutton—funded by the foster payments meant for him. When Lana, the mother everyone told Owen had abandoned him, finally walks in, the booth turns into a one-room courtroom: Jenna clings to her “good mom” image and the income he represents, Lana fights through guilt to tell the truth about why she left, and social worker Ms. Carter insists that, for once, the system listen to what Owen wants. Over six short episodes, the story rises from a slapped hand and a stolen slice of cake to a boy choosing love over money, as a quiet waiter and the entire restaurant bear witness. It’s intimate, performance-driven work built for extreme close-up—cracks in a voice, a flinch at the word “abandoned,” the moment a child finally says, “I want a mom.” If you’re drawn to stories that ask audiences to rethink what care, love, and responsibility look like in real life, is this the booth you’re ready to sit in?
Roles
| Role type | Role | Gender & Age range |
| Lead | LANA (BIO MOM) | Female 20 - 30 Years old |
Description (Female, Late 20s–30s, Any Ethnicity)Lana is a survivor who did the unthinkable to protect her child: she left him in the system to get them both away from an abusive partner, then spent years rebuilding her life so she could safely bring him home. She carries guilt and stigma, but underneath is steel. She doesn’t scream; she explains, even when her voice shakes. Her love is steady, humble, and fiercely protective. Wardrobe: Thrifted-but-clean clothes—simple blouse or T-shirt, cardigan or light jacket, jeans or work pants. Could read as someone who works retail, service, or entry-level professional. Nothing flashy, but intentional. Screen Time: Moderate–Heavy Performance Arc: Begins watching from across the restaurant, too scared to approach ? steps in when she hears Jenna rewrite the story of “abandonment” ? calmly lays out why she left and how long she’s been fighting to come back ? intentionally steps back during the choice, refusing to guilt Owen ? ends holding her son as he chooses her, promising a life where he’s never a paycheck again. Key Scene Moments: Sitting alone with her phone, staring at old photos and the caseworker’s text. Saying Owen’s name and freezing when he finally recognizes her. Explaining the abuse and escape in a few, raw lines. “You don’t owe me anything…I’ll love you no matter what you decide.” Final walkout and stinger booth scene, where she quietly watches Owen take his first bite of cake that’s truly his. Required Range: Grounded, emotional, and controlled. Needs to convey years of regret and love in very few words—often through eyes and breath rather than big speeches. Must be able to cry or sit on the edge of tears without losing clarity. Strong listening partner for the child actor and Miss Jenna, anchoring the story’s emotional truth. Special Skills: Comfort playing emotionally heavy scenes opposite a child; able to sustain prolonged hugs and physical closeness on camera. | ||
| Role type | Role | Gender & Age range |
| Lead | MISS JENNA (FOSTER MOM) | Female 30 - 40 Years old |
Description (Female, 30s–40s, Any Ethnicity)Miss Jenna treats foster care like a side hustle and Owen like an account balance. She can flip from sugary, Instagram-mom sweetness with her bio daughter to ice-cold contempt for Owen in a single breath. She’s obsessed with appearances—her nails, her clothes, her “good mom” image—and terrified of losing the foster checks that pad her life. Underneath the polish is raw entitlement and desperation. Wardrobe: Try-hard “put together”—trendy blouse, fitted jeans or skirt, statement nails, big lashes, jewelry that reads a little “too much” for a casual lunch. She looks like she wants everyone to see how well she’s doing. Screen Time: Heavy Performance Arc: Starts as controlling but “nice” foster mom, doling out dessert and phones to her daughter while denying Owen crumbs ? escalates into emotional abuse (“you’re a meal ticket,” “no one wants you”) ? cycles through victimhood, rage, charm, and bargaining as the contract disappears ? cracks completely in the final episode, grabbing Owen and blurting that she’ll “just get another one,” then realizing how monstrous that sounds. Key Scene Moments: Slapping Owen’s hand away from the sundae while cooing at Sutton. The “my meal ticket, not here to eat my money” line landing. Flipping personas: sweet to others, vicious in a whisper to Owen, then syrupy again for Ms. Carter. Screaming that she “needs” his income, not him, as a person. The “I’ll just get another one” line and seeing the whole restaurant go still. Required Range: Must handle rapid emotional flips—plausible charm, manipulative guilt trips, and raw meltdown—while keeping it grounded and believable. Needs strong micro-beats (eyes to the check, to Owen, to the phone) and the ability to play both overt abuse and quieter, insidious digs. Comfortable being unlikeable without sliding into caricature or camp. Special Skills: Comfort working closely with a child actor in an emotionally intense context, maintaining professional boundaries. Able to manage overlapping dialogue and precise blocking in a tight booth space. | ||
| Role type | Role | Gender & Age range |
| Lead | OWEN | Male 10 - 12 Years old |
Description (Male, 10–12, Any Ethnicity)Owen is a foster kid who’s learned to make himself small. He sits in the booth like he’s bracing for weather—watching Miss Jenna for signs of a storm, trying not to want too much, trying not to cry where anyone can see. There’s a heartbreaking mix of hurt and hope in him; he still believes his mom loves him, even as he’s told she abandoned him. This story lives on his face. Wardrobe: Slightly worn, practical clothes that don’t quite fit as well as Sutton’s—T-shirt or hoodie a little big, jeans, scuffed sneakers. Reads as “taken care of enough,” but clearly second-tier next to the bio kid. Screen Time: Full (central POV; present in every episode) Performance Arc: From sensitive, eager-to-please kid quietly absorbing abuse ? trying to hide tears and convince himself his mom still cares ? stunned, disbelieving when Lana appears ? torn between safety, guilt, and the promise of real love ? finally choosing his mother and saying “I don’t want more stuff. I want a mom,” then taking that first bite of cake he was never allowed. Key Scene Moments: Hand slapped away from the sundae; the first micro-flinch. “She didn’t abandon me” repeated even as he’s being told no one wants him. Seeing Lana in the restaurant—shock pause before running into her arms. Listening while the adults argue, quietly clocking who sees him vs. who uses him. The choice line and walk toward his mom; stinger moment opening the napkin-wrapped cake. Required Range: Strong naturalism and emotional depth. Needs to play subtle self-protection (hiding tears, focusing on the menu) and big outbursts (sobbing “I choose my mom”) with authenticity. Must feel like a real kid, not a precocious mini-adult—small gestures, half-swallowed lines, and long, reactive takes. Comfortable carrying the emotional spine of the piece in very tight close-ups. Special Skills: Comfort working opposite intense adult performances; able to cry on camera or credibly play on-the-edge emotion; able to take direction for eyelines and repeated physical beats (reaching for dessert, sliding out of booth, hugging). | ||