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The end of the year is upon us. Did you accomplish all that you set out to? Is there one thing you still haven’t done? As the entertainment industry takes a break for the next few weeks, we can find ourselves with little to do. Now is a good time to check out the Education tab and take a lab or webinar.

My challenge to you actors is to name one intentional step you are taking before this year winds down. Is there someone you need to reach out to? A post you can comment on? A webinar you have been meaning to take? Do you have a scene you want to work on? A monologue you need to polish? Find a local acting class? Is there one habit you have been building?

Please share it in the comments below. One small step leads to another and another. Let’s encourage each other to keep the momentum going.

Who wants to win $5k and do what they love the most?

We recently partnered with DramaBox to find writers that can adapt their titles or create new ones for their vertical series app. Interested? Read more here: https://www.stage32.com/happy-writers/contests/Stage-32-%20-Drama-Box-Sc....

(Please note that this is done as it would be a script for a comic. I have a background in comics, so I use comic terms for the script. I do hope to get this made as a movie or short TV show. I'm looking for feedback on the pages, if you can take the time to read and leave a review in the comments. replace panels with shot.)

Ch5 Pg 7

(Ch5 Pg6 Panel 1 - Close-Up Panel)

Garerit, who explains with a calm, confident smile, clearly anticipating the giant's confusion Garerit is still standing with a relaxed posture, arms crossed as he speaks. His demeanor is assured, and his eyes convey a sense of understanding that knows what he's doing. The small branches behind him are gently swaying in the breeze, symbolizing the task he will handle.

SB (Garerit - Speaking, Dialogue Bubble): "The branches, though, are light enough to be carried. It's the perfect balance."

(Ch5 Pg7 Panel 2 - Full-Width Panel)

Garerit climbs onto the tree. He's quickly scaling it with ease. This moment emphasizes Garerit's agility and resourcefulness, as he's able to adapt to situations quickly. The background shows the dense forest around them, providing context for the scene and the enormity of the task they're facing. Garerit's quick thinking is evident as he prepares to ride the tree instead of carrying it.

SB (Garerit - Thought Bubble): "I'll climb up! It'll be easier if I ride the tree."

(Ch5 Pg7 Panel 2 - Medium Panel)

Garerit is sitting on the evergreen hidden in the tree's branches, his feet dangling down. He appears comfortable and confident, almost as if he's been in this position before. The tree's branches spread out around him, creating the illusion that he's helping to support the branches. From this angle, it seems like Garerit is doing the work, even though Garna is still carrying the tree. The tree trunk continues to rest on Garna's shoulder, with Garerit's weight distributed, which is easily balanced by the giant.

SB (Garerit - Thought Bubble): "Let's see if I can make it look like I'm carrying all the weight."

SB (Garerit - Speaking, Dialogue Bubble): "I got hold of all the branches, let's move forward and get to the castle."

(Ch5 Pg7 Panel 3 - Full-Width Panel)

We see the task in motion. Garna is lifting the massive tree trunk, which he carries with ease, though his face shows a slight strain due to its weight. Meanwhile, Garerit has found a spot in the tree to sit and hide among the branches. Garna, who is still adjusting his grip on the trunk, contrasted with Garna's strength and slow, steady pace.

SB (Garna - Thought Bubble): "He's keeping pace with me. He doesn't seem to struggle at all!"

(Ch5 Pg7 Panel 4 - Full-Width Panel)

Garerit is riding on the tree with a look of satisfaction. Garna continues to carry the tree trunk, but now there's a certain lightness to his steps- he's carrying both the trunk and the tailor without much effort. The forest around them continues to stretch wide, showing the distance they've already covered and the impressive teamwork between the two. Garerit's cleverness is on full display here, as he manages to manipulate the situation to his advantage without losing any of his charm.

SB (Garna - Thought Bubble): "He's small, but the branches are no burden to him! He's Clever!"

Ch5 Pg 8

(Ch5 Pg8 Panel 1 - Full-Width Panel)

Garerit is perched on the tree, now almost invisible behind the branches, making it appear as though he's holding them up with all his might. Garna continues to carry the tree trunk, his massive body hunched slightly under the weight, supporting the entire tree. The image emphasizes the illusion, with Garerit giving a subtle smirk as he realizes how easily he's tricking Garna into thinking he's helping. The giant is unaware of how the tailor has turned the situation to his advantage.

SB (Garna - Speaking, Dialogue Bubble): "You're good at this!"

SB (Garerit - Speaking, Dialogue Bubble): "Been doing this type of thing for most of my life."

(Ch5 Pg8 Panel 2 - Full-Width Panel)

Garna walks as he continues carrying the tree trunk, now with a more relaxed and confident stance, while Garerit leans back and enjoys the sway of the branches. The background should depict the wide open forest, with mountains looming in the distance, showing that their journey is far from over. The image conveys a sense of manipulation and trickery, with each using their strengths in the way that best suits them.

SB (Garna - Speaking, Dialogue Bubble): "You have!"

SB (Garerit - Speaking, Dialogue Bubble): "The road ahead is long, Garna. We'll need to quicken the pace if we want to make it before nightfall!"

SB (Garna - Speaking, Dialogue Bubble): "Right."

(Ch5 Pg8 Panel 3 - Close-Up Panel)

Garerit's face shows his satisfied grin as he glances over at Garna from the far end of the tree. His eyes twinkle with amusement as he realizes how successful his plan is. The playful aspect of his personality comes through here, as he's enjoying the wit-based victory. He's using his small wit to manipulate the situation, and the panel highlights that Garerit knows he's in control, even if Garna doesn't fully realize it yet.

SB (Garerit - Thought Bubble): "He has no idea. This is going perfectly." "We're doing so well at this pace we just might make it before sundown."

(Ch5 Pg8 Panel 4 - Close-Up Panel)

Garerit's satisfied grin as he rides the tree, looking ahead. His face is pleased with his success, and there's a twinkle in his eye, signifying his awareness of the illusion he's created. This small moment emphasizes how Garerit can outsmart the giant while maintaining a sense of humor and confidence in the situation. There's a playful element to Garerit's character here, and this panel highlights the ongoing theme of wits over brute strength.

SB (Garerit - Thought Bubble): "Let's see how long it takes him to realize he's carrying me."

SB (Garna - Speaking, Dialogue Bubble): "You're doing great, better than expected."

(Ch5 Pg8 Panel 5 - Wide Panel)

In this wide panel, Garerit and Garna continue along the road with the tree. The illusion of Garerit holding up the branches remains intact, and the two of them make their way through the forest. The size contrast is evident again, with Garerit small on the tree, while Garna carries the trunk. This panel shows them moving toward the next stage of their journey, and it visually reinforces the teamwork and misunderstanding between the two characters.

SB (Garna - Speaking, Dialogue Bubble): "Let's keep going. We're almost there."

SB (Garerit - Speaking, Dialogue Bubble): "Right, I'm bearly tired at all."

[ The original landscape scene is attached to this post. And you can watch the reframe here: https://www.stage32.com/media/3951361911743848803?ref=search ]

I did a little experiment to see if something that was shot for 16:9 could easily be reframed for vertical without losing original intent - I found a few interesting things I thought I would share:

- some of the dialogue lines landed better (in my opinion) simply because of the adjusted composition on screen

- if you were close up in landscape, you will go MACRO on reframing for vertical. So when you do your own samples using a phone, for example, don't forget to shoot it/frame it vertically from the start

- the tone changes for me quite a bit. In this week's Writer's Room Breakdown Webcast, Michael Schulman described the trending viewing preferences as searching for something like "the intimacy of a novel" - besides being a beautiful description, I can see, post this little experiment, how a vertical framing can get you there.. not like in my experiment though where we get right up their nose haha. but it gave me the sense of what that might be for this vertical composition.

All in all - I think they meant it when they said this format requires its own guides/rules/conventions. Pretty exciting.

The other reason I wanted to share this is to perhaps show that things don't need to be perfect to try getting some of your scenes shot and edited for POCs or just to visualize. When I did this bit, I actually paid around $500 to have a cinematographer and his audio recording buddy come in and shoot this is in half-day. As for the actors, Kevin was a buddy of mine and for Michael I did do a casting and did pay him an Ultra Low SAG rate even though this was obviously not a SAG production. But beautiful things happen when we respect our colleagues :)

If I was doing this today, an iPhone and Premiere Pro / DaVinci is all I would have needed.

Has anyone else tried reframing some of their existing projects? Or got their friends together and bullied them into being actors for the day to try out some scenes you wrote? Would love to hear about the experience.

I'm dating myself here, but the first film I ever worked on was "The Shawshank Redemption." I remember seeing Nikki Marvin walking around the set, a small woman in an oversized coat (if memory serves), commanding respect and authority without ever saying a word. When I wasn't watching Roger Deakins work, I was watching her. I knew next to nothing about the business at that time, and I remember asking someone on set, "Who is that, and what does she do?" I got a one-word response... "Everything."

For a producer who really knows what they're doing, that statement is still true today. A great producer doesn't just "manage a set." They protect the actors, champion the writers, support the directors, govern the BTL staff, looking out for their well-being and respecting their time. They are open with their praise and constructive with their criticism. They know the script, they know the budget, they respect the locals and the filming environment, and they never, ever "phone it in." In short, a great producer knows that they can only serve the film by also servicing the people and places that make it happen, and they do all of this without most people even knowing they're doing it. So, why aren't they protected?

Do you think producers need more advocacy for their rights and protections? Let me know in the comments section below, and if you haven't done so already, hug a producer today (or if you don't want to seem creepy, at least say "thanks").

https://variety.com/2025/film/features/movie-producers-united-hollywood-...

Hi there dear community,

A major investor for our film "Seeing Rachel" has just dropped out (due to a downturn in their business) and so I'm looking at various sources of finance for the film.

One which has come to my attention, is debt financing and I wondered if any of you had any experience of working with DF on your productions? Also, what guidance could you give me, as to the pros and cons?

Thanks in anticipation of your help.

Geoff

How do we feel about this?

https://www.hollywoodreporter.com/business/business-news/netflix-warner-bros-deal-hollywood-1236443081/

I spent my week leading up to Thanksgiving, doing a chat gpt self guided UFO themed tour based around my areas with a Welsh friend who hadn't seen most of Cali or Arizona before so she really enjoyed it. I am not even a big conspiracy theory or alien person but I thought the road trip would be a hoot. I'm someone who is always looking to try something, "different" over, "the norm" when it comes to anything in life. What are some of the creative ways you get yourself out and active during what's known as, "the slow season" for acting?

FADE IN:

EXT. ABANDONED WAREHOUSE – NIGHT

RAIN HAMMERS the roof like a drunk percussionist. Lightning CRACKS. A BLACK HELICOPTER descends violently, its rotors whipping the rain into a frenzy. The side door slides open.

A HUGE, SHIRTLESS MAN (mid-40s, inexplicably oiled) stands framed in the doorway. His name is BRICK KILLMORE. He wears sunglasses at night. And a bandolier of grenades shaped like pineapples.

BRICK

(gravelly, like a bear with a hangover)

"Remember, boys – this is a stealth mission."

He BACKFLIPS out of the helicopter. Lands in a puddle. Doesn’t break eye contact with the camera.

INT. WAREHOUSE – CONTINUOUS

THREE HENCHMEN play poker around a barrel-fire. One chews a toothpick. Another has an eyepatch. The third is just… weirdly sweaty.

HENCHMAN #1

(muttering)

"Killmore’s gonna show up. I can feel it."

HENCHMAN #2

(adjusting eyepatch)

"That guy’s like herpes – shows up uninvited, ruins your weekend."

SUDDENLY – THE ROOF EXPLODES. BRICK KILLMORE crashes through the ceiling, landing directly on the poker table. Cards fly. The barrel-fire tips over. The sweaty henchman catches on fire.

BRICK

(cracking knuckles)

"Gentlemen… you’re holding my stapler."

A BEAT. The henchmen exchange glances.

HENCHMAN #3

(screaming, on fire)

"WE DON’T EVEN WORK IN AN OFFICE!"

BRICK sighs. PUNCHES him so hard his skeleton flies out the back of his body cartoon-style.

MONTAGE: BRICK dismantles the remaining henchmen using:

- A paperclip

- A strongly worded Post-It note

- One (1) disciplinary meeting about "appropriate workplace conduct"

When the dust settles, Brick stands victorious. His hair is perfect. His pecs glisten.

A SHADOWY FIGURE steps from the darkness. It’s THE BOSS – a middle manager in a cheap suit, clutching a coffee mug that reads "#1 DAD".

THE BOSS

(deadpan)

"Killmore. You were late on your TPS reports."

BRICK’S EYE TWITCHES.

BRICK

(whisper-shouting)

"Not… the TPS reports…"

DUN DUN DUUUUN.

SMASH CUT TO:

EXT. MEGACORP HEADQUARTERS – DAY

A GLASS SKYSCRAPER. The logo reads: "EVIL INC. – WE EVIL GOOD".

BRICK KICK-DOORS his way into the lobby.

SECURITY GUARD (70 years old, named Stan) looks up from his crossword.

STAN

(sighing)

"Again?"

BRICK NODS. Stan presses the alarm button. It plays "Careless Whisper" on a kazoo.

BRICK

"Where’s the server room?"

STAN

(pointing)

"Past the motivational posters."

BRICK SQUINTS. A WALL OF POSTERS reads:

- "TEAMWORK MAKES THE DREAM WORK (unless the dream is leaving before 5PM)"

- "FAILURE IS NOT AN OPTION (but dental is)"

BRICK GROANS. PULLS OUT A ROCKET LAUNCHER.

STAN

(cheerfully)

"401k’s vested in three weeks!"

BRICK PAUSES. Lowers the rocket launcher.

BRICK

"Damn. That’s good benefits."

TO BE CONTINUED…

(Just kidding.)

INT. MEGACORP LOBBY – CONTINUOUS

BRICK pockets the rocket launcher with visible regret. Stan slides a pamphlet across the desk.

STAN

(conspiratorially)

"Also, we got a ping-pong table."

BRICK

(squinting harder)

"...Full health coverage?"

STAN

(nodding)

"Including therapy for 'workplace trauma.'"

BRICK’S FIST SHAKES. He exhales through his nose like a bull who just got a 5% 401k match.

BRICK

(grudgingly)

"Fine. But I’m filing a complaint about the kazoo alarm."

STAN shrugs, hands him Form 47-B ("Complaints/Unjustifiable Homicide").

SMASH CUT TO:

INT. SERVER ROOM – CONTINUOUS

FLUORESCENT LIGHTS BUZZ ominously. Rows of servers hum. A SINGLE IT GUY (Glenn, 28, cargo shorts) types furiously.

GLENN

(without looking up)

"Password?"

BRICK

(deadpan)

"Guest."

GLENN

"…Really?"

BRICK

(loading shotgun)

"I’m not great with technology."

GLENN SIGHS. Slides a sticky note across the desk: "Password123."

BRICK

(blinking)

"That’s… it?"

GLENN

(munching Cheetos)

"Upper management said cybersecurity was ‘a buzzkill.’"

BRICK stares at the sticky note. The shotgun looks sad.

SUDDENLY—THE DOOR BLASTS OPEN. In strides BRICK’S ARCH-NEMESIS: KAREN FROM HR. Power suit. Clipboard. Lethal amounts of passive aggression.

KAREN

(clicking pen)

"Killmore. You didn’t initial page 37 of your onboarding paperwork."

BRICK’S EYE TWITCHES AGAIN.

BRICK

(voice breaking)

"I WAS BUSY SAVING THE WORLD."

KAREN

(smirking)

"World-saving requires two forms of ID and a signed W-9."

BRICK WHIPS OUT A FLAMETHROWER.

GLENN

(casually)

"Uh, that’s a write-up."

BRICK SCREAMS INTO THE FLAMETHROWER. Cut to:

EXT. MEGACORP BUILDING – CONTINUOUS

BRICK is LAUNCHED out a window. He TUCK-AND-ROLLS into a conveniently placed dumpster labeled "FAILED CAREER CHOICES."

HIS PHONE BUZZES. A text from THE BOSS:

"TPS REPORTS STILL PENDING. ALSO, FIRE EXTINGUISHER TRAINING IS MANDATORY."

BRICK WHIMPERS. FADE TO BLACK.

TO BE CONTINUED… (For real this time.)

FADE IN:

EXT. CITY STREET – NIGHT

BRICK KILLMORE lies sprawled in the dumpster, covered in expired yogurt and shattered dreams. A STRAY CAT (named Mr. Whiskers, unimpressed) stares at him from atop a pizza box.

MR. WHISKERS

(judgingly)

"Meow."

BRICK

(groaning)

"Not now, Whiskers. I’m having a moment."

HIS PHONE BUZZES AGAIN. Another text from THE BOSS:

"REMINDER: ANNUAL PERFORMANCE REVIEWS ARE NEXT WEEK. DRESS CODE: BUSINESS CASUAL (NO BANDOLIERS)."

BRICK’S EYE TWITCHES SO HARD IT COULD POWER A SMALL VILLAGE.

SUDDENLY—A MYSTERIOUS FIGURE steps into the alley. Wearing a TRENCH COAT and a NAME TAG that reads "HELLO MY NAME IS: PLOT DEVICE."

MYSTERIOUS FIGURE

(whispering)

"Killmore. There’s a file… a file so dangerous, HR tried to shred it twice."

BRICK

(squinting)

"Is it… my unpaid parking tickets?"

MYSTERIOUS FIGURE

(gravely)

"Worse. Your unsubmitted timesheets."

BRICK GASPS. The cat hisses. A DISTANT KAZOO plays ominously.

MYSTERIOUS FIGURE

"The Boss is cooking the books—literally. He’s using them to barbecue."

BRICK

(standing up dramatically)

"That’s a violation of corporate policy."

MYSTERIOUS FIGURE NODS SOLEMNLY. Hands him a USB DRIVE labeled "CONFIDENTIAL (DO NOT EAT)."

BRICK

(clenching fists)

"Time to punch some numbers… literally."

CUT TO:

INT. MEGACORP ACCOUNTING DEPARTMENT – NIGHT

BRICK KICK-DOORS his way in. The room is a sea of cubicles, each with a SAD OFFICE WORKER (tie askew, soul crushed).

SAD OFFICE WORKER #1

(monotone)

"Welcome to hell. The coffee’s decaf."

BRICK

(scanning the room)

"Where’s the Boss?"

SUDDENLY—A SPEAKER CRACKLES. THE BOSS’S VOICE echoes through the room like a haunting by PowerPoint.

THE BOSS (V.O.)

"Killmore. You’re the virus in my system."

BRICK

(smirking)

"Funny. I was just thinking the same thing about your expense reports."

THE BOSS (V.O.)

(scoffs)

"Those are creative interpretations."

BRICK PULLS OUT A CHAIR—not to sit, but to SMASH IT INTO A PRINTER. The printer EXPLODES in a blizzard of paper and toner.

SAD OFFICE WORKER #2

(cheering weakly)

"...That was my performance review."

BRICK

(nods)

"You’re promoted."

SUDDENLY—THE ELEVATOR DINGS. Out steps KAREN FROM HR, holding a LEGAL PAD and UNYIELDING EYE CONTACT.

KAREN

(smug)

"Killmore. You didn’t schedule your exit interview."

BRICK

(loading a STAPLE GUN)

"Exit this building—or enter the morgue."

KAREN

(clicks pen)

"That’s hostile workplace behavior."

BRICK SCREAMS. FIRES THE STAPLE GUN. IT JAMS.

KAREN

(smirking)

"Out of staples? How tragic."

BRICK WHIPS OUT A CALCULATOR.

BRICK

(typing furiously)

"Let’s calculate… your chances of survival."

KAREN

(raising an eyebrow)

"Zero… because I have health insurance."

BRICK FREEZES. HIS LIP QUIVERS.

BRICK

(whispering)

"...Damn you."

CUT TO BLACK.

TO BE CONTINUED… (

FADE IN:

INT. MEGACORP ACCOUNTING DEPARTMENT – CONTINUOUS

BRICK and KAREN stare each other down across a sea of overturned cubicles. A SINGLE STAPLE clatters to the floor between them like a tumbleweed in a corporate wasteland.

SUDDENLY—THE CEILING COLLAPSES. BRICK’S HELICOPTER CRASHES THROUGH THE ACCOUNTS PAYABLE DEPARTMENT.

BLACK SUITED COMMANDOS repel down on VISIBLY EXPENSED nylon ropes. Their leader? STAN THE SECURITY GUARD, now wearing tactical suspenders over his uniform shirt.

STAN

(cracking knuckles)

"I took an optional combat seminar."

BRICK

(grinning)

"Stan. You son of a bitch."

STAN

(shrugging)

"Benefits include dental."

KAREN

(clicking pen furiously)

"This is unauthorized demolition!"

BRICK WHIPS OUT A CHAIR. Not to sit—to SMASH it over the nearest copier. The copier EXPLODES in a blizzard of W-2 forms.

SAD OFFICE WORKER #3

(cheering weakly)

"...My tax withholdings..."

BRICK

(gravelly)

"You’re free, son."

SUDDENLY—A PROJECTOR SCREEN descends. THE BOSS appears via GRAINY ZOOM CALL from what appears to be a BEACH RESORT.

THE BOSS

(sipping margarita)

"Killmore. You’re violating the company dress code."

BRICK

(adjusting his bullet bandolier)

"Casual Friday."

THE BOSS

(smirking)

"Funny. Because today’s Tuesday."

BRICK’S EYE TWITCHES. His MUSCLES TWITCH harder.

STAN

(whispering)

"That’s time theft. Straight to HR jail."

KAREN

(triumphant)

"Gotcha."

BRICK

(loading PAPERCLIP GUN)

"You’ll never take me alive."

KAREN

(scoffs)

"We don’t have to. PTO’s been denied."

BRICK GASPS. The commandos GASP. Even the copier debris seems to GASP.

STAN

(horrified)

"...No... paid... leave?"

BRICK COLLAPSES to his knees. The PAPERCLIP GUN slips from his fingers.

BRICK

(whispering)

"...Monsters."

SUDDENLY—THE FIRE SPRINKLERS activate. Not from fire—from EXCESSIVE WORKPLACE DRAMA. Everyone is SOAKED.

KAREN

(screaming)

"MY PAPERWORK!"

BRICK

(standing slowly)

"Time to liquidate... your assets."

He KICK-FLIPS onto a ROLLING OFFICE CHAIR, SLIDING toward Karen with the SPEED of a MID-MANAGER AVOIDING RESPONSIBILITY.

CUT TO:

EXT. MEGACORP ROOFTOP – NIGHT

THE BOSS SMUGLY sips his margarita by the ROOFTOP POOL. The CITY sprawls below him.

SUDDENLY—BRICK CRASHES through the GLASS CEILING, LANDING in the HOT TUB. Bubbles FURIOUSLY.

THE BOSS

(sighing)

"You’re tracking carpet fibers in the wet area."

BRICK

(rising like a PHOENIX... if phoenixes HAD HEALTHCARE DEDUCTIBLES)

"End of the line, Boss."

THE BOSS

(smirking)

"Wrong. This is the end..."

He PRESSES A BUTTON. The POOL DRAINS... revealing a SECRET ESCAPE SUBMARINE labeled "CORPORATE RETREAT".

BRICK

(blinking)

"...Is that tax-deductible?"

THE BOSS

(winking)

"Team-building exercise."

BRICK LUNGES—

—only to SLIP on a WET POOL NOODLE. He FACE-PLANTS onto the MARBLE DECK as the Boss STROLLS toward the submarine.

THE BOSS (adjusting his SUNHAT)

"Killmore. You failed to account for liabilities."

BRICK SPITS OUT A TOOTH. It CLINKS against the tile—audibly DEDUCTIBLE.

BRICK

(grunting)

"Your escape... is unauthorized!"

THE BOSS

(shrugging)

"So’s your PTO request."

BRICK ROARS—flips the HOT TUB over with SHEER RAGE. Water FLOODS the rooftop, short-circuiting the TIKI TORCHES.

SUDDENLY—KAREN REPELS down from a HELICOPTER wearing FULL SCUBA GEAR.

KAREN (through DIVING MASK)

"Violation: unsanctioned aquatic activity!"

BRICK GRABS a FLOATING POOL BAR. Swings it LIKE A CLUB. Hits the SUBMARINE’S HATCH—which DINGS like a MICROWAVE.

THE BOSS (laughing)

"Impact-resistant! Cost: three company retreats!"

BRICK GROWLS—RIPS a CHAIR from the POOL DECK. It’s WICKER. This is PERSONAL now.

BRICK

(hefting chair)

"Last chance... hand over the W-2s."

THE BOSS SMIRKS. Presses ANOTHER BUTTON. The SUBMARINE’S HATCH opens—revealing GLENN THE IT GUY at the controls, EATING CHEETOS.

GLENN

(mouth full)

"Uh. Password?"

BRICK SCREAMS—HURLS the WICKER CHAIR. It BOUNCES off the submarine’s hull HARMLESSLY.

THE BOSS (boarding submarine)

"Performance review: unsatisfactory."

BRICK PANTS. WATER drips from his GLISTENING PECS. The KAZOO ALARM plays DISTANTLY.

KAREN (adjusting CLIPBOARD)

"Next steps: disciplinary meeting."

BRICK CLENCHES his FISTS—then FREEZES. His PHONE BUZZES. A TEXT from STAN:

"PSA: Donut truck in lobby."

BRICK’S EYES WIDEN.

BRICK

(whispering)

"...Chocolate-glazed?"

SMASH CUT TO:

INT. MEGACORP LOBBY – CONTINUOUS

BRICK STORMING toward the DONUT TRUCK—only to SKID to a HALT. The TRUCK is UNMANNED. A NOTE reads:

"OUT: Mandatory sensitivity training."

BRICK SCREAMS at the CEILING.

SUDDENLY—A VENT COVER CLATTERS open. MR. WHISKERS drops down, dragging a MANILA FOLDER with his TEETH.

BRICK (scooping file)

"You... magnificent furry bastard."

HE FLIPS it open. Inside: THE BOSS’S TAX RETURNS.

A STAMP on the front: "AUDIT IN PROGRESS."

BRICK’S SMILE could MELT STEEL.

BRICK

(gravelly)

"Time to... file for bankruptcy."

CUT TO BLACK.

TO BE CONTINUED... (Probably.)

Oh WOW! I had a conversation with my cousin last night. He is also an author & an amazing man with incredible insight. I asked him to read my script a few weeks ago…

He pointed out that – in my script – I blatantly created a character who was an egotistical know-it-all – and highly recognizable! (Not saying anyone in my family fits those character traits.) Hopefully no one I know reads this & I just defeated my purpose.

But… isn’t that what we do… write about people we know? Or at least use their personality in some way…

I was too obvious.

I didn’t realize… But I do need to change several scenes now with different dynamics & an entirely new character. It’s not worth hurting someone’s feelings.

Have you ever accidentally written in a recognizable character and regretted it?