Script Files


Are you in or out?

The year is 1919. Your name is Frank Bacon, and you’re the author and lead actor of the most successful play in Broadway history.

Your fellow actors are about to go on strike in support of their union, the Actors Equity Association.

You’ve spent your life fighting for the rights your friends are hitting the bricks to protect. If you go out on strike with them, you risk losing everything you’ve achieved.

Your wife doesn’t want you to go out. The managers will fire you and take away the rights to your play if you don’t cross the line.

What about it, Frank, which side are you on? Are you in or out?

  • Jeffrey Massie
  • Project Type:
  • Genres:
    Drama, True Story, Labor History, Broadway, PG-13
  • Number of Pages:
  • Country of Origin:
    United States
  • Language:
  • First-time Screenwriter:
  • Student Project:
  • World Series of Screenwriting
    Los Angeles, CA
    October 28, 2015
    Official Finalist
  • WorldFest Houston International Film Festival
    Houston, TX
    June 1, 2008
    Silver Remi
  • Big Break Screenwriting Contest
    Los Angeles, CA
    July 16, 2014
Writer Biography - Jeffrey Massie

I was a student at New York University's Institute of Film and Television in the 1970s. At NYU I was one year short of studying with Martin Scorsese, and I was in the same class as Amy Heckerling and Joel Silver, as a result of which someone in a bar in Reseda once bought me a drink.

I grew up with parents who met on the picket line at Disney Studios in 1941, and I spent almost thirty-five years in the labor movement on the staff of the Animation Guild Local 839 IATSE. About fifteen years ago I started taking classes with Joe Bratcher and Judy Farrell at the Twin Bridges Screenwriting Salon.

Since my retirement from the Guild in 2013, my screenwriting has become a full-time occupation, if not (yet) a living.

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Writer Statement

As you read and consider “Equity,” please remember that this is a work in progress. Even though it may read like a “completed” work, every screenplay I’ve ever written is in a state of perpetual transition and improvement, and it’s not complete until I say it’s complete.