Next Appointment

You head out to your car to get to your appointments for the day, the first of which is to go talk to one of your friends who is a director to make sure that Marsha is going to be able to work and pay you back all of the money that she owes you and that means getting her gigs. You head over to a nice house where the director is shooting today. When you get there you park the car and head in. You see the director, the director, a fat kind of ugly man with a stern expression, stands in the center of the room, surrounded by lights and cameras.

"Ricky, good to see you," he says, extending his hand. "I've been looking forward to this meeting."

"Likewise," you reply, shaking his hand firmly. "I've got some great ideas for the project."

"Good, I hope so," the director says, his tone serious. "I don't want to work with Marsha again. She's terrible. I hope you have a solution."

"I do," you say, confidently.

The director raises an eyebrow, clearly intrigued. "Come with me," he says, leading you into a side room. The room is dimly lit, with a large table in the center, covered in blueprints and scripts. The director pulls out a chair for you, gesturing for you to sit down. "I'm listening," he says, his tone serious.

You take a seat, spreading out the blueprints in front of you. "I've been thinking about this a lot," you begin. "Marsha is a talented actress, but her attitude can be a problem. But I think I have found a way to keep her in line."

The director nods, listening intently.

"Go on," he says, his tone serious.

You take a deep breath, choosing your words carefully. "Well, as you know, Marsha got into some trouble. She was not paying her rent, her junkie bf left her and she had no money. I stepped in and helped her out, got her out of the mess she was in."

The director raises an eyebrow. "And how did you manage that?"

You lean back in your chair, a confident smile spreading across your face. "Let's just say I have connections. I was able to make the problem go away, and Marsha was very grateful."

The director nods, understanding. "I see. And now you're saying she owes you one?"

You shake your head no, and tell him she owes you more than that. "I didn't help Marsha out of the goodness of my heart. I did it because I knew it would benefit both of us. She knows that, and she knows she owes me. And I plan to collect."

The director's eyes narrow. "How so?"

"I've been thinking about this a lot," you continue. "Marsha's attitude is a problem, but I think I have a solution. The thing she needs is a strong hand, and I plan to give that to her, and I promise she will not cause you any trouble. To prove it tell me one type of scene you wanted to do to her but have not done."