SCENE 5 INT. AIRCRAFT - DAY A metal podium littered with buttons, lights, and monitors floats high above a large common area. Upon it stands a man with tall, spiked hair and wide, unblinking eyes above a menacing toothy smile. A purple cape covers the rest of his body, its collar just as tall as his hair. He is undoubtedly a SUPERVILLAIN. SUPERVILLAIN: Thank you all for joining me here for this wondrous occasion! His voice booms through numerous speakers, clear, if slightly staticy, to be heard by the countless HENCHMEN that are like sardines in his enormous metal monstrosity. SUPERVILLAIN: I hope that each and every one of you knows just how pivotal you have been in making my, er, OUR most recent campaign a success! Amid the sea of identical figures the focus is upon two in particular, more impossible to pick out than Waldo from the supervillains perch. This is why one of them deems it safe to lean in and whisper- HENCHMAN 1: I wouldn’t have known from our dental plan. They snicker. Like the rest of the interchangeable henchman, these two are wearing a grey jumpsuit that covers most of their body and head, and tinted goggles. HENCHMAN 2: If he really wants to thank us he should cater our lunches every so often so we don’t have to hold down whatever they try to pass off as food in the cafeteria. More chortling. SUPERVILLAIN: The taking of Capital City wasn’t easy, as you all know, but by working together- Gloved hands appear from beneath the cape and connect. SUPERVILLAIN (CONT): -as A TEAM we were able to overcome the obstacles that were presented to us. HENCHMAN 1: If by “overcome”, he means throw wave after wave of us at the city until it was overcome, then yes, we certainly did. Their laughter is cut short as a robot guard floats close overhead. They straighten and wipe their faces clean of identity, once again part of the mass of lackeys. SUPERVILLAIN: But, unfortunately, our work is not over. Holding a city can be just as difficult as capturing one, and I must once again make a humble request to you all. By- HENCHMAN 2: Taking the week off? HENCHMAN 1: Accepting this generous raise? Or any pay at all? HENCHMAN 2: Getting an inkling of satisfaction out of this glorified slave trade? SUPERVILLAIN: -realizing your FULL POTENTIAL as employees of Supervillain, Inc, we can once again bathe in the rewards of a successful venture. A beat. Supervillain frowns, as if expecting something more than the silence. SUPERVILLAIN (CONT): Unfortunately, in order to maximize our efficiency and optimize our strategy, a few… cutbacks will be required. A murmur in the crowd. Henchman 1 and 2 glance at each other, eyebrows raised. Supervillain smiles. SUPERVILLAIN (CONT): Therefore, there may have to be some… restructuring in order to… leverage our core competencies. HENCHMAN 2: Does that mean we have to work with the accounting department? A gloved hand drops on a large red button at the center of the podium. From Supervillains view we see a square of the airship floor burst open. There is now nothing between over half of the henchman and the sea rushing by far below the ship. With a collective scream they plummet. As the ship drifts off into the distance, heads start bobbing out of the water, including Henchman 1. To no one in particular (there is no sign of Henchman 2)- HENCHMAN 1: (gasping) So what kind of compensation comes with this?

SCENE 5 INT. OFFICE - DAY ALAN, 50's sits behind his desk. Tie askew. Sweat marks stain his shirt beneath his arm pits. JOE, about the same age, sits in a chair facing him. JOE: Remember that time you needed me to lie to Betsy and say you were with me playing poker. You sly dog. You never did say what you were up to. ALAN: C'mon, that's ancient history, Joe. JOE: Yeah? Couldn't have been more than what, five years? ALAN: Try fifteen. Anyway, forget that. The reason I called you in... JOE: Fifteen years. I don't know where the time goes. Say, how is Betsy? ALAN: Fine. Just fine. Listen, Joe, about your sales figures. JOE: Say no more. I realize I haven't topped the chart in a while. But baby, I'm back. I'm closing in on a big one. Don't want to say too much. Can't jinx it. Right? ALAN: Joe the last time you hit a point on the marker, Clinton hadn't discovered cigars. JOE: That's a good one. Reminds me of the time you-- ALAN: Thing is, I'm catching a lot of heat from upstairs. JOE: Screw upstairs. You and me. We go back. I've pulled your hairy ass out of a few scrapes. When I think of what Betsy would say if she knew... ALAN: Joe. You're fired.

SCENE 3 Int. restaurant –night A fancy restaurant in the process of closing for the night: everything is cleaned up, the manager AMANDA (40) is balancing the cash register. Another manager CARLA (35), both well dressed, approaches her. Amanda: “We have to fire him.” Carla. “Who? José?” Amanda:” Yup. Let´s do it now.” Carla: “Ok. I´ll get him.” Amanda focuses on the cash register until JOSÉ (30) is led to her by Carla. He wears a busboy uniform. He wipes his wet hands on his soiled apron, looking at both elegant women with patient eyes. Amanda: “So José! How was your night?” José: “It was a lot of work, but it went well, I think.” Amanda: “You think so? José, we have come to a slightly different view on this evening. Carla, haven´t we?” Carla: “Yes we have. José, we put a lot of effort into your training.” José: “Yes! I´m really thankful for that! Two weeks, right? This was my first night with pay.” Amanda and Carla exchange a look: (his last night, too) Carla: “We understand. It seems like it is all very new to you.” Amanda: “We don´t think you´re ready yet. Isn´t it all a bit overwhelming?” José: “No, actually, I felt I could handle it. I even had some time to help the others.” Carla: “That´s great, but we don´t want our employeeés to mix up their tasks. You don´t belong behind the bar, for example.” Amanda: “The Bar is off limits José. It´s really a stage and we´re very careful whom we put on it, see?” José: “Ok. I understand. No more bar.” Amanda: “José, I´m afraid we have to let you go.” José: “huh?” Amanda: “We´re sorry, but we have to let you go.” José: “But -I´m not trying to go anywhere. You don´t have to let me. Really it´s fine.” Carla: “You can leave your work clothes here, don´t need to wash them.” José: “Is this about papers? Hey, I got the card!” He pulls out the little blue card with the social security number on it. José: “I got it in Queens, just as you said. It looks real nice, right? If anyone ask if you knew I was without work papers, this will looks just like a real card!” Amanda: “You can keep the card.” José: “It was only 50 bucks. I invested it. You invested your time and training in me. I trust you.” Carla: “We all trust each other here, right? Maybe if you work in another restaurant-“ Amanda: “We´re really creating a special place here, José, everything has to be part of the bigger picture.” Carla: “And we feel you don´t belong in that picture.” Amanda: “We´re letting you go.” José: “This means: I´m fired?” Amanda: “No. We´re letting you go.” Carla: “See, José, it´s the little nuances that matter in a place like this.”

Feedback 2 Hey Audrey! I like reading your scenes. This one is especially short and to the point. Nice work! Only thought: there could be more struggle in Alan. We see in the beginning he looks like he hates doing this, but in the dialogue I don´t catch that anymore. He could be cold as stone from his words. Maybe if he had a line where Betsy was actually not in his life anymore...? Just an idea.

haha! Funny one! maybe it´s just me -but the last line about compensation seems like it could be replaced with something else... something like: "is this the dental plan?" -not quite, but something specific that was mentioned before, you know? I got all the visual images instantly, though! nice work! Feedback 4 -by the way.

Thank you, Paula. I appreciate your kind words. Yes, actually had a little more with something along those lines but deleted it. I see now that was a mistake. :) Thank you for the feedback.

FEEDBACK 12 Very good scene, Paula. Throughout, I was interested to see where you were going with it. In a short expanse of time you gave me characters that evoked some emotion from me, either sympathy or disgust. Well done. If I had any suggestion, it would be to add perhaps one more seeming infraction to their list of gripes about Jose. It may give it even more punch.

FEEDBACK 3 This was an enjoyable read. Could easily picture the scene visually thanks to the stellar writing. I like how you the dialogue built tension as the scene went on, especially with the henchmen not quite knowing what's coming while we're in the know. The only dialogue line that didn't connect with me like the rest was "Getting an inkling of satisfaction out of this glorified slave trade?"-- it felt off from the rest. Look forward to reading more of your scenes!

Thanks for the feedback Paula. Yea, I wasn't too thrilled with the punchline either. I like your suggested wording, I'll throw a few options around. Thanks again.

FEEDBACK 9 Nice very nice. Very rich english. I have to go to dictionary all the time :) I like everything in that scene. Although thou that 2 particular HENCHMEN would be punished. And was amazed that half of half of the henchman were sank.

Feedback 10. Hey Audrey. I like that. though would be interesting to see JOE's reaction after "You’re fired". That can create additional drama here.

Scene 03 INT./EXT. CAR - DAY On a two-lane country road snaking through the grassland, a sedan speeds, a plume of dust on its wake. JAKE (30s), a sun-baked surfer type on the driving seat, CHUCK (30s) baby-faced, rides shotgun, twiddling his thumbs. CHUCK How long 'till we get there? JAKE Why don't you drive, for a change? CHUCK You know I like to be on time. JAKE Loosen up man, we're meeting that guy, but it's not like we must exactly, absolutely, arrive-- CHUCK I chose the place and I chose the time and I had reasons for that. JAKE Oh, yeah? What? CHUCK You talk too much, drive too slow and ask too many questions. JAKE Fine, have it your way. He presses the pedal. The sedan speeds away. EXT. OLD SUGAR MILL - DAY Jake and Chuck stroll up to GEORGE (40s), at the shade of a rusting mill house but still sweaty--he's in suit and tie. GEORGE Good, you're on time. Let's get it over with. Did you bring the money? CHUCK With the compliments of Mr Grey. He puts his hand inside his jacket, brings out a PISTOL with SILENCER. CHUCK (cont'd) You're fired. He SHOOTS George right between the eyes. Jake's eyes go wide watching George crumple to the ground. JAKE What?... What? CHUCK A bullet is much less than fifty grand. He's had his usefulness but now it's over. We roll him out to the river, the alligators will take care of the rest. EXT. RIVER BANK - DAY Jake and Chuck watch George's body moving away in the slow stream. JAKE I don't like this kinda stuff. Let's go back. CHUCK Yes. I'll drive. JAKE Oh, good. I'm tired of-- He's sketching a smile, but it turns into a grimace of fear as Chuck brings out his silenced pistol. CHUCK You're fired. He fires, Jake tumbles back, SPLASHES into the river. Chuck watches Jake following a distant George. Something disturbs the surface of the water... Could be a log, except that it's moving against the stream... Chuck allows himself a smirk, his face no longer baby-like.

Feedback 02 Hi, Audrey. Unlike most times, when one is told to cut the scene short, this time you cut it too short. We want more after "You're fired", if only to see Alan's congested face after Joe strangled him with his own tie :-)

Feedback 03 Hi, Paula. Great job of driving the scene with dialogue. I think it would have more impact if we didn't know that they were planning to fire Jose, so probably cut the first lines. Also, add José's words after he understands, it feels like the scene lacks an ending.

FEEDBACK 5 I really liked this scene, Roy. Great back and forth dialogue and the few action lines set up the scene well. Nice ending. Definitely has me wanting to read more of the story. Thanks!

SCENE 4 Sorry this is so long. Beginning effort and I'm not sure where to cut yet. INT. MUSEUM JANITORIAL OFFICE EVENING MR. CARSWELL (63) sits serenely at his desk. Filling out the nightly sheets when there is a polite knock at the door. He looks up to see Malcolm’s pathetic face being held by the Security Guard in front of the window . A smile spreads across Carswell’s face and he nods. Malcolm opens the door and the guard sets him in front of Carswell’s desk still carrying the garbage bag. SECURTIY GUARD: Here ya go. MR. CARSWELL: Thank you, Frank. SECURTIY GUARD: Fred. MR. CARSWELL: Yes, yes. Dismissed. FRED: (under his breathe) I’m not your lap dog... Mr. Carswell pins Fred with a glare and he slinks from the room. Turning his focus onto Malcolm, who begins to sweat, he slowly puts down his pen. MR. CARSWELL: So. You weren’t down there... because you... Malcolm imperceptibly stiffens as he waits for the flood gates to open and drown him. MR. CARSWELL: ... were napping on the job. MALCOLM: (relieved) Napping? Are you kidding? I find this job stimulating. I mean, like, after a shift I can’t sleep for days. Seriously It’s like a Ritalin fueled joy ride for me. Super happy and motivated employee here. MR. CARSWELL: Uh huh. Here... He reaches for a drawer, pulls, realizes it’s locked. Puts his hand on his belt to retrieve his keys and is disturbed to find that they are not there. He pats down the paper piles on his desk and Malcolm panics knowing that Mr. Carswell will not find his keys on his desk. Glancing around the room he sets his eyes on the coffee pot only 1 step away from his position. MR. CARSWELL: Where are they? I was sure I hadn’t put them down. MALCOLM: Oh dear, can I help you find something? MR. CARSWELL: Don’t move a muscle. Just let me think. I had them when I walked in tonight. MALCOLM: Are you looking for your wallet? MR. CARSWELL: No. Be quiet. I can’t think when someone else is nattering. MALCOLM: Are you looking for your hat? Mr. Carswell is wearing his hat. MR. CARSWELL: Are you a complete idiot? MALCOLM: Just trying to help sir. MR. CARSWELL: Stop. Stop trying to help. MALCOLM: Did you say you were looking for your wallet? MR. CARSWELL: No! I said I am not looking for my wallet. Stop bothering me. MALCOLM: I’m sorry sir. I’ll just go back to cleaning. Swivelling toward the door, he takes one step. MR. CARSWELL: Ah hah! Clenching his shoulders Malcolm is shocked to find Mr. Carswell right beside him. MR. CARSWELL: I knew I didn’t lose them. They were right here. Triumphantly, Mr. Carswell snatches his keys from beside the coffee pot. MALCOLM: Oh, you were looking for your keys. With so many of them you figure they would be hard to lose. MR. CARSWELL: You think your so smart. Crossing to his desk he now opens the drawer. MR. CARSWELL: I filled this out last week knowing that you would screw up again. Pulling out a termination paper. MR. CARSWELL: All it needs is my signature. MALCOLM: (agitated) You can’t. I wasn’t sleeping. I just... was trying to take initiative. MR. CARSWELL: Doesn’t that just suck. MALCOLM: But, you don’t understand. If I lose this job my foster father will kick me out. MR. CARSWELL: Should a thought of that before. MALCOLM: Seriously. I will not go anywhere. You can have me on the shortest leash. I will heel. I will sit. You just have to tell me what to do, I’ll do it. MR. CARSWELL: Really? MALCOLM: Really. MR. CARSWELL: Okay. Leave. MALCOLM: Leave? MR. CARSWELL: (smiling) Yup. MALCOLM: (hopeful) Go back to cleaning? MR. CARSWELL: (scowling) No. Leave. (with extreme pleasure) You. Are. Fired!!!

Thanks, Roy. Great visual! Wish I had included it!

FEEBACK 16 Good scene, Roy. I think you win the prize for most extreme firing. lol The only thing that I would suggest is perhaps a bit more of a line for the last "you're fired". Maybe something snarky about his usefulness. Otherwise, well done.

FEEDBACK 17 Hi Kim. I think I got a little confused by the middle part. You might want to keep the dialogue to the point which is why Malcolm is being fired, specifically, and not stray quite so much, for example the bit about helping Mr. Carswell find what he was looking for. Additionally, you might want to rethink some of your parentheticals. Your dialogue is strong enough to work without it. Well done.

Hi Audrey, I will look at making the scene more specific. As for the parentheticals, It's a bit of a habit. Will work on that, too. Really grateful for your honesty.

Thanks, Alexander. Good idea.

I'm glad you feel I've helped. One thing that helps me decide if I should use a parenthetical, is if the reader can't possible glean how the character is reacting by reading the line.

Lovely, I will put that in my repertoire.

SCENE 7 We see deep forest. 11 am. Summer. Birds flying back and forth and singing on thousands voices. We see an OLD MAN with long white bear dressed in a long cape. He Slowly walking from a forest on a sunny meadow. And sees a hovel. There are picnic leftovers everywhere. Empty wineglasses, smoking bonfire, dishes and wine cask. OLD MAN takes the wine cask. Shakes it up. EMPTY. Throws it away disappointedly. OLD MAN: HM. Gardener! Are you hear? GARDENER! A young man (18 yo) jumps out the hovel. His face smashed after a good sleep and he’s got wild hair with a straws inside, his body barely covered with bed shit. He smiles. GARDNENER: Oh Master, I did not expected you that yearly time. OLD MAN: AH What a smell. Talk to another side! Early? Its time to have a lunch soon but I did not have even a breakfast. Where is the cook? To hell with her! GARDENER: Master I have no idea! But you can go to the house and I look after her. MASTER Looks at 2 empty wine glasses on the grass . OLD MAN: Are you along? YOUNG MAN: Oh sure OLD MAN moves poor fellow from his way to the hovel. COOK (woman) VO: I coming. Just a second. OLD MAN stared heavily at the liar-gardener. OLD MAN: this wine, what did you make it from? YONG MAN: Ohhh just aaaa, fruits, OLD MAN: APPLE? A young woman appears. She dressed in white tunic barely as well. Cook WOMAN: Master, I am so sorry. That early morning I went through the garden and a snake bite me and I lost consciousness. And the gardener saved me. OLD MAN: STOP IT. I am tied of you. I do not eat by time, my garden is in the mess. You lazy, misbehave and lying all the time. You are fired! The sky becomes dark and the wind blows and the OLD MAN star to grow and his voice becomes so loud that the ground cracks. OLD MAN: for you laziness, lies and disobedience you’ll be sent from the garden! And never return until, Until, Woman VO (from far away): Time to lunch! OLD MAN: I’ll think it over , but now I send you out of the garden! He claps and the Gardener with the Cook disappeared. INT CLASSROOM: DELETE bottom released by boy’s finger. We are in the big room with white walls, big windows and high ceiling. Full of light. Zeus (boy 12 yo) stays near the table. Closes the laptop. A teacher (woman) comes to him TEACHER: So Zeuz have you finished? Zeuz: Yes but you know, I can not fix my creatures, they always misbehave. TEACHER: That is why we send bad examples from the garden . you Just keep on trying. I’m sure one day you’ll develop really great CODE and save all your creatures! Woman VO (from far away): Time to lunch! The boy looks strangely at the teacher TEACHER: Just finish the GOD DAMN code! INT the boys room. Boy sleeps His head lays on opened laptop. HIS MOTHER: Hear you are! SLYPPY! The boy: MOM I just saw a strange dream. MOTHER: What dream The BOY: I do not remember. Just some one said to me to finish a code. But What code? I do not remember.

SCENE 4 INT. RECORDING STUDIO – NIGHT LYOR, a middle-aged record exec suit, stands next to BEANS, a hip-hop producer decked in the mandatory accessories: fitted hat, rope gold chain, and glitzy sneakers. YOUNG BOOGIE (40s) emerges from the RECORDING BOOTH. His middle-aged features clash sharply with his youthful attire and attitude. YOUNG BOOGIE: Y’all see that? Done in three takes. LYOR: That was three takes that took three hours, Boogie. YOUNG BOOGIE: I think we market it as a single. It has a radio crossover feel. LYOR: Listen, Boogie, we need to talk -- YOUNG BOOGIE: About the budget for marketing? I know I been floppin’ a tiny bit numbers-wise, but I’m back. I can feel it. Young Boogie is back just like ’06! Remember ‘06, Lyor? BEANS: ’06 was a good year for us. YOUNG BOOGIE: That’s what I’m saying! Ten years later and success is comin’ full circle. Boogie points emphatically at the recording booth. YOUNG BOOGIE: The hot fire I just laid down in that there booth? Shit. It’s ’06 all over again. Lyor, what’d you buy with that ’06 money we made? LYOR: I don’t remember. BEANS: You bought a damn yacht. LYOR: I bought a yacht. YOUNG BOOGIE: You got that yacht because you believed in me. 2016 is another yacht year. BEANS: I could use a yacht. YOUNG BOOGIE: I hear the rumors that I’m washed up. Hip-hop doesn’t have any age membership, right? I’m just aging like good wine, Lyor. You like wine, right? LYOR: I don’t see the relevance of wine to this discussion. YOUNG BOOGIE: Listen, you get me a few more writers on board and we make some more tracks like what we just did. It’s another yacht year. BEANS: He could be right, Lyor. LYOR: Could is not a word I like in these scenarios. YOUNG BOOGIE: One more shot, Lyor. I can hit whatever niche you need. Even some of that hipster-y rap. I can rap about craft beer and climate change. I got untapped potential, Lyor. LYOR: Earl, we’re dropping you from the label. Hip-hop is a young man’s game. Your run was good but your time has come and your time has passed. BEANS: This is harsh. YOUNG BOOGIE: I understand, Lyor. LYOR (shocked): You understand? YOUNG BOOGIE: I understand what you’re sayin’. Young Boogie’s time has passed and I appreciate everything you did for me. You gave me a shot when I was just a drop out doin’ open mics to keep my nose clean. LYOR (relieved): You had a great career. Be proud. YOUNG BOOGIE: Now it’s time for a new phase. I’ll drop the ‘Young’ and just be ‘Boogie’. That makes me relevant with a whole new demographic. LYOR: That’s not how this works, Earl. BOOGIE: Beans, throw another beat on. Beans shrugs, mildly entertained by this fiasco, and flips on a new beat. A painful mash-up of drums and violins ERUPTS from the studio speakers. BOOGIE: One more shot, Lyor. I’m a new artist with a new name and a new sound – opera rap. LYOR: Oh, God. Boogie hustles into the RECORDING BOOTH and locks himself in. BEANS: Opera rap? That could be good. LYOR: I’m calling security.

FEEDBACK 10 Hey^ I really like everything here. A little bit shorter in the middle. The Twist is good and the conflict between BOOGIE and LYOR set Up really good well done.

Thank you, Nicholas.

You're right, Audrey. A simple "You're fired too" would work better. Thanks.

Scene 7 INT. HOTEL MANAGER’S OFFICE – NIGHT A good looking 20’s something stoner guy, Kade, stands in the office of his stressed-out boss Ann (40’s.) Ann: No, no, no, no, no, no, no! Kade: What? Ann: We don’t do that sort of thing here. KAde: Everybody does it. I know you do. Ann: But not with guests! What I do on my own time is my business, not yours. The same goes with our guests. Kade: She was having a rough day. Her boyfriend left her all alone. I was trying to make her feel better. Ann: By smoking a joint and then having sex with her? Kade, you’re a bellhop. Your service does not including hopping from room to room like a little bunny, having sex and smoking weed with our female guests. Kade: But I am very service minded. I do a good job. I make a lot of the ladies’ stays here better. Ann: No. You are fired! You are sooo fired. Beyond fired. Burned, scorched, torched, cremated, kind of fired! Kade: Does that mean I no longer get the employee discount in the dining room? Ann: Get out.

SCENE 3 DAN: Hey Eric. Thanks for coming in. So here's the deal, gonna probably have to let you go-- ERIC: Probably? DAN: Yep, maybe probably. See the thing is, we got some cutbacks to make and well there's certain people who don't seem to be performing-- ERIC: No. DAN: Excuse me? ERIC: You're not firing me. DAN: I'm not? ERIC: No way, Dan. You're a total pushover. DAN: No I'm not. ERIC: Yes you are. DAN: Well if you say so. But I still gotta fire you unfortunately. ERIC: Tell you what, I'm gonna go take twenty outside to smoke some weed and pretend this never happened. DAN: Thing is, I still gotta fire somebody before the end of the day. We've got to make some budget cuts-- ERIC: Cool well, can I give a recommendation? Carol from Accounting. Reall Debbie Downer if you ask me. My kid's sick, boo hoo. DAN: Carol's one of the best workers. And her kid has cancer. ERIC: So we're agreed that she's kind of bringing the place down. DAN: No. I hate to do this-- ERIC: So don't do it. Find some other ways to cut down the budget. Do we really need everyone to have a computer? DAN: Actually yes-- ERIC: Welp. You know where to find me if you need me. Good talk Dan. DAN: But you're fired-- ERIC: No I'm not. But nice try. See you out there.

Feedback 8 This was great. I thought you could play a little more with Alan's discomfort since they are so close but overall a very good job!

Feedback 9 Really liked this one. I think it would be fun to play up his stupidity a little more of a pushover so that she's trying to work it out with him but her frustration builds to a breaking point. But great job!

Thank you, Tillery. I'm glad you liked it. And thank you for the great suggestion to improve it.

Feedack 8 Short and funny, I liked it very much. The dialogue is great to show the characters, especially Kade. I loved the punchline about the employee discount.

FEEDBACK 9 Eric is a great character, I liked how you showed a power relationship opposite to what is common, usually you expected to have the boss being the one in power and the employee being powerless, but the way you wrote the scene it's very original. I'd just suggest a little description at the beginning to know where they are, the location. You get from the dialogue that it's an office, but I think knowing that right from the beginning would help the reader focus on the characters and not guessing what kind of job and location the scene is taking place.

SCENE 6 INT. CITY HALL - MAYOR'S OFFICE - DAY The mayor behind his desk. MAYOR: I really don't know how to say this. We really appreciate all your years of service, but I think it's time we part ways. Standing up on the other side of the desk, ATOMIC MAN, a superhero dressed in tights, cape and mask. ATOMIC MAN: Are you serious? MAYOR: We can't afford you anymore. ATOMIC MAN: Come on, mayor. My paycheck isn't that big. I practically work pro bono. Just between us, I have a secret identity and a real job. MAYOR: Don't get me wrong. We appreciate very, very much what you do in the city. But.... ATOMIC MAN: Speak mayor, I can take it. MAYOR: We can't afford to rebuld the city every couple of years. All those superhero and supervillain fights? Not good business for the city. ATOMIC MAN: The supervillains are the ones destroying the city. MAYOR: Look, maybe if you move to some other city the supervillains will move. ATOMIC MAN: You don't want a superhero in your city. I get it. There'll be one less super hero in the city. He flies, smashing through the roof. ATOMIC MAN (V.O.) Meet the new villain in town!

--- SCENE FOUR --- INT. ELECTRONICS STORE - RICK'S OFFICE - DAY RICK, in his late 40s, is writing at his desk as the general manager for an electronics store. TREVOR, early 20s, wearing the store's "uniform" enters. RICK: Just go ahead and take a seat and I'll be right with you. Trevor bumps into a bookcase as he enters the room. TREVOR: Do I need to close the door? RICK (without looking up): Yes, please. Trevor slowly shuts the door. Pauses for a second. Takes a deep breath and turns around to face Rick, who is still writing. Trevor sits down in the only chair in front of Rick's desk. Trevor shifts his weight uncomfortably in the seat. Rick finishes up his work. RICK: There have been a number of complaints against you. TREVOR: Wait, was one of them Felicia? RICK: No. TREVOR: Okay. RICK: No, it's not okay. These are some serious things here. (Rick shuffles some papers.) Turkey bowling in the software aisle. Son, we don't even sell turkeys here. We're in the electronics business. TREVOR: It was a close match. I finished fourth overall. RICK: There's a fridge full of sodas and pizza rolls on the showroom floor. TREVOR: The fridge in the break room isn't working properly. RICK: It would be working if you hadn't blown up the microwave. TREVOR: I was trying to make Felicia a chocolate burrito. RICK: It was wrapped in foil. TREVOR: That was a bad idea. RICK: You were caught fraternizing with one of the cashiers in the home theater room. TREVOR: In my defense, I was closing up that night and I thought everyone was gone. RICK: It was 2 o'clock in the afternoon. Look, you never take responsibility for anything and you never seem to learn anything from any of your mistakes. TREVOR: I've learned plenty. RICK: What have you learned? Name one thing you have learned working here. TREVOR: Felicia doesn't like it if you put your tongue in her ear. RICK: That's it, you're fired. TREVOR: Whew... that's a relief. RICK: A relief? TREVOR: Yeah, I thought you were going to be upset that I made out with Felicia in your office.

--- FEEDBACK THREE --- I like. I wonder if the scene would have started off better if the Mayor began with "We can't afford to rebuild the city..." and immediately launch Atomic Man into the defensive.

SCENE 07 INT. OFFICE SPACE A young man, 22, JAMES, sits at his cubicle, dumfounded. Standing over him is BILL, 50, with a very apologetic look. JAMES: You're firing me? BLLl: We don't like to use those words, but in essence, yes. JAMES: How would you put in then? Huh? BILL: We like to think of it as "letting you go." JAMES: Who's "we"? You keep saying "we"! I think it's just you! You've had it in for me since I started this job! BILL: James, I was the one who hired you! JAMES: Yeah! And this whole time you've regretted it! BILL: I'm starting too, yes. Hence that is why I am firing you! JAMES: So you said it! You are firing me! BILL: If that's the way you want to look at it, then fine! JAMES: I can't believe this. BILL: I told you right from the beginning, you weren't to receive any special treatment. It's nothing personal. JAMES: Dad... I love you. But go fuck yourself. THE END.

SCENE FIVE INT. BABYROOM – DAY TEENAGE BOY: I didn't hurt the child. Look, he's smiling. WOMAN: You don't get it, don't you. TEENAGE BOY: not really WOMAN: that's why I have to let you go. Twice TEENAGE BOY: He couldn't sleep. I tried everything to make him sleep. I was afraid that the neighbors would complain. I had to. WOMAN: no you didn't. TEENAGE BOY: please, I need the money. I promise I will follow every instruction you give me. Scout's honor. WOMAN: You're supposed to hold up three fingers. What were you looking for in my night table anyway? TEENAGE BOY: something to quiet the baby. WOMAN: you thougth that my dildo was the right thing to use to ease my baby boy. TEENAGE BOY: It worked. The moment I put it on his belly, he stopped crying. I won't tell anyone. WOMAN: tell what? TEENAGE BOY: your secret WOMAN: GET OUT!