REWRITE (Screenplay)

REWRITE
by
Sam Bass
Sam Bass
2018 Broadway
Little Rock, AR. 72206
502/240-3253
Sambass155@sbcglobal.net
Registered WGAw
REWRITE
FADE IN:
EXT. RURAL TWO LANE HIGHWAY - DAY
The scenery is baron. A few Yucca grow across the landscape.
A HARLEY-DAVIDSON NIGHTSTER motorcycle and rider blast past a

speed limit sign.
The speed limit sign wobbles on it's post from the wind
created by the passing motorcycle.
SAM (V.O.)
My name is Sam Bass. I'm a
screenplay writer and the poor
bastard that gives his or her want-
ta-be famous life to entertain you.
Isn't that pathetic. It's a freakin
struggle. This is my miserable
story and the story of about a
million other eraser heads. Enjoy.
CLOSE ON THE SIGN - Speed Limit, 55.
Suddenly a FORD COBRA MUSTANG blast past the speed limit

sign.
The motorcycle speeds over a hill with the Mustang close

behind.
SAM BASS, a thirty something average man steps from the side
of the road. He unwraps a BAZOOKA BUBBLE GUM and pops it in
his mouth chewing. He pumps a shell in his military style
MOSSBERG pump shotgun and shots at the motorcycle as it get
near him.
The motorcycle jerks to the side and goes down sliding along
the highway with the rider under it. Sparks fly and the rider
rolls to a stop.
He is face to face with a lizard.
The Cobra slams on the brakes and slides to a stop. Two men
get out of the vehicle and start shooting at the downed biker
and Sam with their COLT forty-five automatics.
The biker rolls to dodge the bullet. He gets up and limps to

an out cropping of rocks for cover stilling dodging bullets.
He takes out a RUGER nine millimeter automatic pistol and
begins to shoot at the two shooters.
(CONTINUED)
2.
CONTINUED:
The two men continue to shoot at the biker and Sam on the
side of the road.
Sam manages to get off two shoots before he is pinned down

again. Police sirens are heard.
The two shooters get back in their Cobra and speed away.
Sam stands and starts shooting at the biker. A voice is heard

off scene.
DIRECTOR
Cut, cut. You're suppose to say,
You're done now ass hole.
Sam looks toward the RED DIGITAL ONE CAMERA and the Director
sitting nearby.
SAM
Sorry, I got wrapped up in the
moment.
The director rolls his eyes and takes a drink of SEVEN-UP

soda.
DIRECTOR
Let's take it from the Cobra
driving away.
INT. CONVENIENCE STORE - MORNING
Sam walks into a small neighborhood convenience store. The

store is packed with LIQUOR, WINE, CIGARETTES, SOFT DRINKS,
READING MATERIAL and FOOD PRODUCTS. A TV plays hanging from
the wall behind the clerk.
CLOSE ON THE TV - A news reporter is giving the news.
TELEVISION NEWS REPORTER

The writer's strike is over and the
siticoms are back. The Writer's
Guild have come to an agreement
with film Producer's
representatives today ending a year
long strike...
BURT KAHN, An average and happy thirty something immigrant

clerk from India sits on a stool behind the counter. He turns
the TV down. Burt looks up while setting a BUTTERFINGER candy
display down and speaks to Sam as he walks in speaking with
an India accent.
(CONTINUED)
3.
CONTINUED:
BURT
Sam. What's up me ho.
SAM
Same old crap, ho me.
Sam smiles as he picks up an ENQUIRER magazine looking it

over.
BURT
Hey you still working on that movie
about the biker?
SAM
Yeah, I managed to get a little
part-time work to keep my writing
going.
RYOBI, an elderly man wearing glasses with thick lense and

designer DIESEL frames walks in. He looks at Sam.
RYOBI
Oh hello nut sack.
(looks at Burt)
Oh, sorry I missed you chocolate
pant load.
SAM
How'd you get a permit to be out of
the home for the criminally rude.
RYOBI
I see you little freaks are still
finding ways to be criminally poor.
BURT
Hate being poor.
RYOBI
Yeah, I got money. Makes me horny.
SAM
I don't want to see that.
BURT
What a couple of positive guys.
SAM
Positive somebodies going screw me
over today.
(CONTINUED)
4.
CONTINUED: (2)
RYOBI
You're about as positive as a pair
of smashed nuts.
Ryobi moves on to the cooler takes out an OCEAN SPRAY

CRANBERRY DRINK.
SAM
Sorry, I couldn't hear you for the
loose teeth in your mouth.
Ryobi is amused.
RYOBI
I see you're still dressing like a
gay cadaver.
BURT
You're a ray of sunshine this dark
life. Don't let the sun hit those
glasses it'll put your eyes out.
Ryobi sets his drink on the counter.
RYOBI
Give me one of those black EL VERSO
CIGARS.
Burt lies one on the table.
SAM
How do you smoke those things?
RYOBI
For those of us that are simpler
people. You put it in your mouth
and then light the end not in your
mouth with a match or cigar lighter
and puff lightly.
BURT
Another comedic first.
Ryobi picks it up and opens the wrapper on his cigar. He puts

it in his mouth and takes one of Burt's cigarette lighters he
has for sale and lights it.
Burt rings him up.
BURT (CONT’D)
Three ninety six
Ryobi starts counting out small coins.
(CONTINUED)
5.
CONTINUED: (3)
RYOBI
Your should consider bank robbery.
You get a lot of practice here.
SAM
Retailers use a cash register
instead of gun.
RYOBI
Here's some wisdom for ya Burt.
When you own a business it should
pay more than minimum wage.
BURT
Like you, Mr. Trump?
Sam puts the Enquirer down and looks at STAR magazine.
SAM
Good thing I got a real job.
BURT
Real job, look at that employment
magazine.
(he points)
You got two part-time jobs. How do
you keep a real job working on
movies.
SAM
The guy I work for at my regular
job is all right. He'll bitch a
little, but it's okay.
RYOBI
Maybe the state will give you dumb
asses a mental disability
subsistence.
SAM
Better than reading Penthouse all
day.
RYOBI
What could be better than that?
SAM
Playboy.
RYOBI
No, I like the internet.
They all laugh. Ryobi drops his last coin.
(CONTINUED)
6.
CONTINUED: (4)
RYOBI (CONT’D)
You should consider alcoholism and
get away. Sort of a liquid
vacation.
SAM
Not me, I don't drink or smoke. I
can't afford to be bad.
RYOBI
Gotta go, turd blossoms. See you
tomorrow. If I'm unlucky.
Ryobi walks out starting across the parking lot when two men
bump into him. They move on and Ryobi turns and glares at
them.
Suddenly The TWO THUGS in their twenties burst into the tiny
store with cheap revolvers in hand.
SAM
Oh shit.
FIRST THUG
Give me the money.
BURT
All right be calm, everybody gets
money today.
INSIDE TO OUTSIDE - Ryobi has his cell phone out and talking.
The first Thug see Ryobi and takes a shot at him. Ryobi takes
off across the parking lot.
BACK TO SCENE
The thug turns his attention back to Burt.
BURT (CONT’D)
Chill, you'll get all the money.
FIRST THUG
Shut up and dig.
SECOND THUG
Stop with the chit chat and load
the cash bag man.
BURT
Okay relax.
Sam backs up slightly and trips over a store display. He

stumbles but doesn't fall.
(CONTINUED)
7.
CONTINUED: (5)
The two thugs glance at Sam.
THUG
Be still you clumsy bastard.
Sam acknowledges the thug by putting his hands up higher.
Burt ducks behind the counter and comes up with a double

barrel shotgun shooting.
The thugs shoot back.
Sam is on the floor scrambling for cover as debris flies over

him.
Burt shoots again and hits one of the thugs.
The criminal drops to the floor seriously wounded.
The second thug shoots two more times.
Burt ducks and shoot back.
The man is hit in the shoulder. He falls back against a

newspaper rack and drops his gun.
Burt checks his shotgun and reloads while watching the

wounded men.
Sam jumps to his feet and starts writing in a note pad. A

siren is heard in the background from outside.
Burt looks at him as he leans his shotgun against the

counter.
BURT
What the hell are you doing?
Sam looks at him with a question on his face.
SAM
What, this is a great scene I'm
taking notes before I loose the
moment.
BURT
Don't forget my royalty.
SAM
I'm glad the voices in your head
only talk to you.
(CONTINUED)
8.
CONTINUED: (6)
BURT
They are saying, Shut up.
INSIDE TO OUTSIDE - A police car from across the street turns

around and speeds into the parking lot. The policeman in the
passenger jumps out and runs inside with his gun drawn. His
partner gets out and backs him up.
The policeman, OFFICER BURNS comes through the door looking

at the bodies. Another police car stops in the background.
Ryobi comes in the Store with a ball bat.
RYOBI
I'm back to bail your asses out.
OFFICER BURNS
Chill Ryobi. What the hell happened
Burt?
BURT
We were robbed.
OFFICER BURNS
Not by these guys. Good job Burt.
RYOBI
Yeah good job, but smeller. I
didn't think you had the ball for
it.
BURT
I was lucky. Those guys I-Q's were
in the single digits.
RYOBI
Evenly matched.
The Officers looks at Sam.
OFFICER BURNS
You all right?
Sam nods.
OFFICER BURNS (CONT’D)

Okay. I'll write it up. You need a
ride home Ryobi?
Ryobi nods. A kid comes in the story and takes his baseball
bat from Ryobi and leaves.
RYOBI
Sorry kid. I had an emergency.
(CONTINUED)
9.
CONTINUED: (7)
SAM (V.O.)
This is my life. I thought it would
have been better.
DISSOLVE TO:
EXT. SIERRA APARTMENTS, LOS ANGELES - MORNING
A clean very well landscaped, but aging stucco apartment

complex sets next to a busy neighborhood street with its
sprinkler running. The sounds of morning traffic can be
heard.
SUB-TITLE - THREE MONTHS LATER
MISSY, a young very pretty woman in her twenties dressed in

an ARMANI business suit walks from her apartment toward the
parking lot.
As the woman walks she pushes the button on her car alarm
activator attached to her key ring. The familiar chirp of the
iGeneration alarm being turned off is in the air. She smiles
her "I've made it attitude".
Missy opens the car door to her new black MERCEDES-BENZ

parked across two parking spaces. She looks at a beige 1977
VOLVO parked next to her. The Volvo has squeezed between her
back bumper inches away and the properly parked car next to
it. The young woman has a look of irritation on her face.
MISSY
You jackass.
She gets into her car starts it and backs out.
Burt comes out of his nearby apartment.
He sees Missy backing up. She bumps the Volvo's vulnerable

quarter panel putting a small dent in the middle.
INT. MISSY'S MERCEDES-BENZ
She looks back through her back window and smiles.
MISSY P.O.V.
The quarter panel dent is visible.
MISSY (O.C.)
Asshole
BACK TO SCENE
(CONTINUED)
10.
CONTINUED:
She sees Burt.
MISSY (CONT’D)
I feel better.
EXT. SIERRE APARTMENTS
Burt looks closer at the dent as he moves across the parking

lot.
BURT
Hey, Missy. You want me to get Sam?
Missy looks out her window.
MISSY
Hell no. That's his reminder to not
park there, gay lord.
BURT
Park there? This is a parking lot.
MISSY
Yes, park there. He is a turd in
the punch bowl.
BURT
Oh... won't he care you hit him?
MISSY
Don't you hear so good, dildo?
Screw him. I've tried to be nice.
It's crunch time.
She begins to back out.
BURT
Missy? You should do what's right.
MISSY
He won't notice a new dent on that
peg leg car anyway, but I did my
part.
BURT
What, gave him the dent?
Burt watches her. Ryobi Comes out of his apartment.
RYOBI
Hey Turd Burglar, good morning. You
too Titty Nazi.
(CONTINUED)
11.
CONTINUED:
MISSY
Good morning prune sack.
BURT
Hello Ryobi.
RYOBI
Hey Burt, I'll walking to your
store. Do you think you could have
it open by the time I get there?
Burt nods.
She looks at Burt then Ryobi.
MISSY
If you open by noon, you're safe.
Missy Rolls back.
BURT
Bye Missy. I know you're too busy a
person to do the right thing. See
you soon.
MISSY
Cram it knob scratching donkey
hole.
BURT
Hump you Missy.
RYOBI
Bye freaky.
Missy shoots him the finger as she slows to change gears and
yells back.
MISSY
Pull your head out of you fine ass
Burt, You can see and hear.
BURT
I'm not the one with a head up my
firm butt.
MISSY
You wish, foreign man.
BURT
Get on the road, before I do the
chicken dance on your ass.
(CONTINUED)
12.
CONTINUED: (2)
Missy drives away giving them the driving finger.
BURT (CONT’D)
I am a citizen. The government
probably wishes you weren't.
A closer view at the front of the apartments, shows Sam as he

exits his apartment. He is backing out the front door
carrying a brief case. His arms are loaded with stacks of
paper and a donut in his mouth used like a third hand. He is
wearing un-ironed tee-shirt and khaki pants.
Ryobi looks toward Sam. Burt turns and waits to talk with
Sam.
RYOBI
Look there's the other pin head.
Burt looks at Ryobi strangely.
RYOBI (CONT’D)
I'm going to the store. Be there,
stinky mcstink.
Ryobi walks away.
BURT
I'll be there comfort wipe.
Suddenly, the door jerks open as Sam tries to close it. He

balances his load to keep from dropping it. Sam is surprised.
In front of him is the very pretty LILLIAN, his common law
wife and long time lady friend.
She is wearing a short sensual satin slip. Her light skin,

jet black hair and dark brown eyes blend with the black slip,
making her prominent to Sam's eye.
LILLIAN
You keep walking away. We need to
talk. I don't like our situation.
He instinctively looks at her partially nude body and then

looks around for neighbors prying eyes. Sam then quickly
looks at her face and mumble from behind his donut.
SAM
What are you doing?
LILLIAN
Sam, You need to...
Sam interrupts Lillian.
(CONTINUED)
13.
CONTINUED: (3)
SAM
Please Lillian don't start again,
about the money. Believe me, I'm
trying as hard as I can.
Lillian looks at him sternly.
LILLIAN
Listen Sam, we have bills, B-I-L-L-
S'. Quit that dam artsy crap and
get a real job. You can't write!
SAM
I got a job. Two of'em.
LILLIAN
Minimum wage bull shit.
Sam almost drops his papers and fumbles with them while
trying to talk to Lillian. She appears disgusted.
SAM
Lillian please, just hang on. I'll
sell one of my scripts or maybe a
book then we'll have all of those
things you want.
LILLIAN
Like a pool or would that be a
plastic wading pool?
Lillian looks more up-set.
LILLIAN (CONT’D)
Damn it Sam you're obsessed! That
crap's not going to sell. Give it
up.
SAM
Please Lillian. Help me, don't
fight me.
LILLIAN
Don't be a loser.
Burt is embarrassed for Sam and the fact he is seeing the

ordeal. He looks down at the street.
Lillian slams the door and bumps Sam backward, he drops his
papers.
Sam bends down and retrieves them by picking up two and

dropping one until most of them are in his arms again.
(CONTINUED)
14.
CONTINUED: (4)
Burt has walk to Sam and picks up the last fee papers and
help Sam.
BURT
Good morning Sam. You need some
help.
SAM
Yeah, hi Burt.
BURT
Trouble in paradise?
SAM
Yeah.
Sam stands and walks toward his car mumbling to himself.
BURT
What happened to your clothes? They
got more wrinkles than an
elephant's ball sack.
SAM
Our irons not working.
BURT
No shit, the Fema-Nazi wouldn't do
it anyway.
Sam ignores Burt and keeps walking as he talks to himself.
SAM
What the hell does she know? This
is hard enough without her stuff.
Lillian's always bitchin.
BURT
Sam, about the other Nazi. Missy
hit your car and drove away.
Sam stops and looks at Burt.
SAM
Did you say Missy hit my car again.
BURT
Yes, right there.
Burt nods and points.
(CONTINUED)
15.
CONTINUED: (5)
SAM
Her anger management is not
working.
BURT
She's rude too.
SAM
And evil.
Burt smiles and nods again.
BURT
You want me to be a witness, so you
can get her insurance to pay. Ryobi
will too. He's saw her when he was
peeking out his window.
SAM
That would be a first if she paid.
He throws his donut in the scrubs.
BURT
I'm sorry, you're not good with
women.
SAM
What does that mean?
BURT
Well you know.
Burt shrugs his shoulders.
A miniature red dachshund grabs Sam's donut and runs. MRS.

FISHBINE, an elderly lady watches her dog.
SAM
Speak of the devil.
MRS. FISHBINE
Frosty put that nasty thing down.
You can never tell where they've
been.
SAM
Bye Ms. Fishbine.
Ms. Fishbine is slowly walking away with her dog.
MRS. FISHBINE
Bye. Have you seen Ryobi?
(CONTINUED)
16.
CONTINUED: (6)
BURT
He went for a walk.
Sam sets the papers and his brief case on the hood of his car
while fishing for his keys. Ms. Fishbine has finally walked
away.
SAM
If that's old. Put me on suicide
watch.
BURT
So, you want to burn her?
SAM
No, she's just old and nosey.
BURT
No Missy.
He looks at the dent in his beige Volvo.
SAM
Missy?
(Burt nods)
I suppose I should. But she'd
probably like it.
Mrs. Fishbine is walking back by
MRS. FISHBINE
Good morning again boys. Isn't it a
great day?
He turns and smiles at the old lady and her dachshund

mumbling.
SAM
Good morning again, Mrs. Fishbine.
BURT
Mrs. Fish.
Sam unlocks his car.
The dog is still holding the donut. Ms. Fishbine looks at her
dog then smiles at Sam.
MRS. FISHBINE
He can't have sweets. But he bits
if I try to take it.
(CONTINUED)
17.
CONTINUED: (7)
SAM
I don't see anything sweet around
here.
MRS. FISHBINE
I hear Lillian's after you to get a
job. Better be careful she might
kick you out.
SAM
I got a job and that's my
apartment. Who you been talking
too?
Mrs. Fishbine shrugs her shoulders.
Sam gathers his things. He awkwardly gets into his car. Burt
looks inside Sam's car.
BURT
Sam, I running late, could you drop
me at the store?
SAM
Sure get in.
The elderly lady smiles and waves.
MRS. FISHBINE
Bye boys. Oh Sam, Missy hit your
car and drove away. You going to
let her get away with it again?
SAM
Thank you, Mrs. Fishbine. I'll see
if I can have her executed.
MRS. FISHBINE
She's Satan, you know.
BURT
Or worse. Your daughter.
MRS. FISHBINE
What?
SAM
Nothing. She's just a little mixed
up.
MRS. FISHBINE
In the head. She devil.
(CONTINUED)
18.
CONTINUED: (8)
Sam waves as Burt gets in the car and they drive away.
INT. 1977 VOLVO
SAM
So, Burt how you doing since the
shooting?
BURT
I'm fine with it. If I hadn't shot
them they would have killed us. You
know Those guys had horrible
records. They're pure Missy's.
Sam nods as he drives.
SAM
You're right, shoot first. You
gotta save your own ass no one else
will.
BURT
Sort of.
INSIDE TO OUTSIDE - Burt sees Ryobi walking. He waves. Ryobi

gesture for them to stop.
BACK TO SCENE
Sam doesn't notice and keeps driving.
BURT (CONT’D)
Poor Ryobi's had a tough life.
SAM
Damn right. Hell on earth.
BURT
Yeah he told me he fought in Korea
and Viet Nam.
SAM
Things are getting bad here too. I
can see it everywhere.
They turn a corner and Sam stops at Burt's convenience store.

Burt gets out and looks back in the car.
BURT
In India we say, Cheer up the worst
is yet to come.
Sam looks at him closer.
(CONTINUED)
19.
CONTINUED:
SAM
Yeah, like, God takes care of a
blind cow.
BURT (O.C.)
In America usually by putting it on
the dinner table.
Burt stands back and waves as Sam drives on. Ryobi is

walking toward him.
RYOBI
Hey, bird brain. Open up I got
business, or maybe I should wait
until your robbed first.
BURT
I'm laughing on the inside.
RYOBI
Save your breath. You'll need it to
blow up your dates.
DISSOLVE TO:
INT. 1977 VOLVO, SOUTH INTERSTATE FIVE, LOS ANGELES
Sam drives onto the expressway from the on ramp. Traffic is

bumper to bumper and inching along.
He is drinking a cup of BURGER KING COFFEE and looking

through a script as his vehicle inches along with the
traffic. Sam looks up in surprise.
Sam sees the car in front of him have stopped.
Sam slams on the brakes and spills coffee on him and the car.
He reflexes from the shock of the hot coffee and starts
wiping coffee.
The radio plays soft rock music. Sam looks down in the seat
beside him. The script he was reading has coffee on it. He
grabs the script and starts wiping it off with his shirt
sleeve.
SAM
Crap!
The radio disc jockey comes on and suddenly speaks

pleasantly.
(CONTINUED)
20.
CONTINUED:
DISC JOCKEY (RADIO V.O.)

Morning road warriors, this is K-N-
T-L, nine. three F-M. twenty-four
seven. I'm T-J the D-J playin your
favorites. All day everyday.
Sam looks at the radio and shakes his head.
Horns start to honk and people behind Sam are waving for him
to move on.
Sam looks up and sees the cars in front of him has moved
ahead about a quarter of a mile.
SAM
All right! All right!
Sam speeds forward.
EXT. FIVE STORY BUILDING SANTA MONICA - MORNING
Sam turns his vehicle into the busy parking lot of the office
building.
INT. 1977 VOLVO - MORNING
Sam sees a rare open parking space, when he gets near it to

turn in, a small car zips in front of him and parks. Sam
swerves and drives on.
SAM
Jerk!
SAM P.O.V.
He looks in his review mirror and sees a woman get out.
BACK TO SCENE
SAM (CONT’D)
Excuse me, Jerkette!
Sam stops at the back of the lot and parks. He gathers his
things, gets out of the car and walks toward his office
building.
CUT TO:
INT. FIVE STORY OFFICE BUILDING - MORNING
Sam gets off of the elevator and walks a few steps to an

office and goes inside.
21.
INT. FIVE STORY OFFICE BUILDING
Sam walks to his desk in the corner of the room. He sits his
papers down and his brief case beside them. He sits down. Sam
looks around the room for a "good morning" from someone.
Everyone is looking down at their desk. Then people around

the room, start meekly smiling at Sam as if they are afraid
to openly move or speak.
SAM
Good Morning.
Sam smiles at each person with a question on his face.
Then the sounds of computer key boards typing and phone

conversations begin to fill the room. Sam starts to look
through the papers on his desk.
MR. ROBERTS, a heavy, loud little man wearing an outdated

vested suit walks toward Sam and stops in front of his desk.
Sam doesn't look up.
ROBERTS
Sam... Sam.
Sam snaps out of it and looks up at Roberts, staring straight

up his hairy nostrils.
SAM
Yes.
Roberts pushes out an envelope toward Sam.
ROBERTS
Take this, it's you're last
check. You just got that writing
junk of yours on the brain and not
my business.
SAM
Hard work never hurt anyone until
now.
ROBERTS
I like you Sam, but I got a
business to run.
Two people sitting near Sam look up. Sam is embarrassed. He

takes the envelope.
(CONTINUED)
22.
CONTINUED:
SAM
Thanks Mr, Roberts. You're so... so
blunt.
Roberts abruptly turns and walks away like a palace guard.

His feet hit the floor as if he is punching holes in the
carpet.
ROBERTS
You got ten minutes then you can go
do your writing someplace else.
Sam is sad for a moment and then smiles, almost happy.
SAM
I love writing, not this mundane
cow pile.
Roberts speaks as he walks.
ROBERTS
This mundane cow pile wrote you a
lot of checks. That's the only
writing that counts.
Sam puts a few things in his brief case. He stands and looks
around the room.
SAM
Life is too short, to die here.
The people are distant, but they look at him as if they feel
sorry for him.
Sam proudly starts moving out of the office past the resident
slaves chained to their desk.
The office staff watches him. They are to frightened to speak

or make any gesture toward Sam.
Sam turns and moves toward the exit. He passes a young woman.
KELLY BROCK, a very pretty shy girl sits bent over at her
desk. Her eyes look up and she whispers.
KELLY
You're free. I need this job or I'd
go with you.
Sam smiles at Kelly kindly. He turns as he exits the door and

speaks.
(CONTINUED)
23.
CONTINUED: (2)
SAM
Don't feel sorry for me. I'm
realizing my dream.
Sam smiles. He turns and walks out.
The people just stare at the door where Sam was. Kelly is
still watching.
KELLY
Bye. Good luck.
Roberts enters the room.
ROBERTS
What are all of you gawking at?
Get back to work.
The people put their heads down and quickly go to work. Kelly
continues to look toward Sam's direction and privately waves.
INT. FIVE STORY OFFICE BUILDING LOBBY
The elevator door opens and Sam walks out. He moves to a

secluded area and sits in a lobby chair.
Sam takes out his cell phone and dials. The phone rings and a
male voice picks up.
MALE (PHONE V.O.)

Paine Agency.
Sam tries to be courteous.
SAM
Hi this is Sam Bass. I am calling
about the scripts, you are
reviewing for...
The male voice cuts Sam off.
MALE (PHONE V.O.)

Yes, we reviewed them, they are
unacceptable.
SAM
Well I...
The male voice cuts him off again.
(CONTINUED)
24.
CONTINUED:
MALE (PHONE V.O.)

We don't accept calls before
one P. M., but you need not
call back.
SAM
But you...
The phone hangs up and a buzz is heard. Sam looks at the

phone.
SAM (CONT’D)
Okay fancy balls, kiss my ass.
Sam dials the phone again. It rings and Sunny, a female agent
answers.
SUNNY (PHONE V.O.)

Meredith Talent Management.
Sam smiles because he likes Sunny.
SAM
Sunny, this is Sam. Have you
heard anything about my
scripts?
Sunny's voice is up beat.
SUNNY (PHONE V.O.)

Yes Sam, the producer said they
where kind of crap. I thought for
him to say that, was pretty tacky,
but...
SAM
Thank you Sunny.
(Sunny is still talking
inaudibly)
Good bye Sunny, you're the best.
Sam hangs up while Sunny takes a breath to talk again. He

gets up and puts his phone away.
STAN WATSON, an average looking middle-aged agent is walking

by. He recognizes Sam and starts shaking Sam's hand.
STAN
Hey Sam, buddy. You ready to sign
with me. My agency's got your
number. We can write you up for
three hundred ta get you rolling.
(MORE)
(CONTINUED)
25.
CONTINUED: (2)
STAN (CONT'D)
Hell, I'll cut you a deal today
knock a hundred off. What'ta ya
say, buddy?
SAM
Stan, I was always told agents
don't get paid unless they get you
a paying job or sell your script.
STAN
Who told you that. We all gotta
live right? It takes money to live,
right? Well it takes money to make
you great and two hundred is your
number.
SAM
I don't think so Stan. I heard
about you getting into that license
problem with the state. I can't do
it.
STAN
Your loss buddy. Stan knows how to
get to the top and your on the slow
train now. You need ta claw to the
top, sea monkey.
Sam nods.
SAM
Top of the rock pile in prison.
Stan walks away toward the front door.
STAN
Don't forget, I'll make you famous.
Sam waits and watches Stan then walks toward the front doors
of the office building.
DISSOLVE TO:
EXT. MUL T I S T ORY OF F I CE COMP L E X - DA Y
Sam walks from his car toward the front of the building. He
stops and looks at the building.
As Sam steps onto the sidewalk he trips and recovers. Sam

looks back as he walks.
A pretty lady walks from the building and smiles at his

clumsiness.
(CONTINUED)
26.
CONTINUED:
Sam is embarrassed as he nears the front door. Directly in

front of him is GABRIELLA AGIA, a large woman with no waist
line. Sam turns to her as she walks fast past him.
SAM
Gabriella, I was just coming
to see you.
She continues to walk and Sam hustles to catch up. Gabriella

smiles an evil smile as she walks toward her car.
GABRIELLA
What for?
SAM
Susan said, your agency is going to
represent me.
GABRIELLA
Susan? Are you kidding, I got
nothing for you Sam. I have a
thousand people like you wanting me
to rep them. Susan miss spoke.
Gabriella stops beside her car.
SAM
But Susan said...
Gabriella rudely interrupts.
GABRIELLA
Sam, I am the biggest agent in
town and Susan is just one of my
Rep.'s and I say no.
Gabriella turns her backside to Sam and gets inside her car.
As Sam looks at her broad butt, he comments to himself.
SAM
You're right you are the biggest.
GABRIELLA
What?
SAM
You're the queen of big.
Gabriella closes her car door still looking at Sam. She rolls
her window down.
(CONTINUED)
27.
CONTINUED: (2)
GABRIELLA
Sam,
(Sam perks up looking at
her)
I got a tip for you.
(Sam intently listens)
Press your clothes.
SAM
I got a tip for you. Quit going to
the pet store to get your hair
done.
GABRIELLA
I never.
She starts her new black CADILLAC and drives away leaving Sam
standing.
SAM
You should doohickey.
INT. CONVENIENCE STORE
Burt looks up and sees Sam walking in.
SAM
Hey Burt.
BURT
Hey Sam, did you make a million
today?
SAM
Yeah a million headaches. I lost my
job.
BURT
Work is a four letter word.
SAM
Yeah, but Lillian's going to freak
out.
BURT
Maybe you can fix it. Love is
grand, divorce is a hundred grand.
Ryobi walks in.
RYOBI
Hey nipple nose and there's the
fart that lingered.
(CONTINUED)
28.
CONTINUED:
BURT
Hey, Ryobi. How's the human thing.
RYOBI
About as screwed up as Romeo over
there.
SAM
Funny, I get screwed every time I
deal with Lillian. With her,
everybody gets screwed over.
BURT
We know.
RYOBI
Oh, boo who. You should be my age
with no prospects for anything
except dyin. Prostate the size of a
house. Hell gettin screwed over is
an adventure.
Ryobi goes inside the cooler for a cranberry juice.
BURT
You win the lottery when it comes
to misery.
RYOBI
That's me, Mr. Lucky. Have casket
will travel.
SAM
Speaking of that give me one of
those Power Ball tickets that plays
ten times.
Sam smiles and goes to the cooler and picks up an orange

juice and a package of nuts.
A grubby looking street person come in and pulls out a knife

and pushes it out toward Burt.
SAM (CONT’D)
Oh shit.
STREET PERSON
Give me your money.
Ryobi rolls his eyes.
(CONTINUED)
29.
CONTINUED: (2)
RYOBI
Shoot that dummy. He brought a
knife to a gun fight.
SAM
Stop talking Ryobi. He's serious.
RYOBI
Me too. Shoot'em.
STREET PERSON
Shut up.
BURT
Okay,settle down. I got your money.
You can have it.
RYOBI
Burt, everybody knows you don't
have any money. Shoot him for being
stupid.
Burt just looks at the man.
STREET PERSON
Shut up, California raisin.
RYOBI
You cut to the quick with that one,
urinary olympian.
BURT
Okay, You got it.
STREET PERSON
Hurry up. I'm gonna cut ya, if I
don't get some money pecker wood.
Sam's eyes are glued to the nervous man and his knife.
Burt comes out with a large police night stick and slams it
across the street persons wrist and he drops the knife. Burt
comes around the counter and slams the man across the
shoulder blades and then throws him outside.
RYOBI
Slam his ass again.
BURT
Go on, get out, before I call the
cops.
(CONTINUED)
30.
CONTINUED: (3)
SAM
Call the cops Burt. He's bad news.
BURT
It won't do any good. Someone else
will be here to do it again.
RYOBI
Hell, this has been going on since
the beginning. Nothings going to
change. Just smash their asses and
scare off.
SAM
I think I'd move my store to
another location.
BURT
This is L.A. The places I can
afford are combat zones. Here it's
drunks and bum trying to rob me. If
I were some place else it might be
some real bad asses.
RYOBI
Some choice.
SAM
I gotta quit coming in here. You
get robbed to much.
RYOBI
What, are you some kind of light
weight. We gotta support Burt.
Sam takes out his note pad and take some notes.
BURT
It's a coincidence. Probably won't
get robbed again for six months.
What's with the notes this time?
SAM
I don't want to lose the moment.
Burt nods.
RYOBI
The only moment we are in is this
one. Don't be a wart on societies
ass cheek. Get some fire balls.
(CONTINUED)
31.
CONTINUED: (4)
BURT
Go Ryobi. Support your community.
Ryobi rolls his eyes.
RYOBI
At my age the support I give is to
my pants to keep'em from falling
down.
Burt and Sam smile and ignore him.
EXT. SIERRE APARTMENTS - AFTERNOON
Sam drives into the parking lot and stops in front of his
apartment. He gets out and walks to the front door. Sam puts
his key in the lock and starts to turn it. The door abruptly
opens.
Lillian is looking at Sam with a serious face.
LILLIAN
We need to talk.
Sam hears a small dog barking, he looks around.
He sees Ms. Fishbine and Frosty, the little dachshund. Ms.

Fishbine waves at Sam Like she knows something.
He ignores them and walks in.
INT. SAM'S SIERRA APARTMENT
Sam walks past Lillian. She is still dressed in her business

suit from the days work.
SAM
Hello honey.
Lillian takes off her blazer and lies it on the sofa ignoring
Sam.
LILLIAN
I want to talk to you.
SAM
Sure.
Lillian sits on the sofa. Sam puts his hand on hers and she
pulls away.
(CONTINUED)
32.
CONTINUED:
LILLIAN
Listen Sam, I want you to move. I
can't stand all of this insecurity
with the writing career and all.
SAM
Lillian, They're not just dreams my
career is real. It's like any
business it just takes a while to
get it going.
Sam just continues to looks at her for a moment.
LILLIAN
I'm tired of your loser dreams
slash career of writing scripts and
books or what ever it is you do! I
just don't believe it's going to
happen and you've been at it a long
time!
Sam is still in shock from the sudden attack. He partially

snaps out of it.
SAM
You're right Lillian. I'm sorry you
feel the way you do. Your blinded
by your need for money, but it will
come. I just need to do the writing
first.
Sam gets up, walks toward the bedroom and starts packing his
clothes.
LILLIAN
It's been a long time and I don't
even see a glimmer of anything.
SAM (O.S.)
I get it Lillian. This has been
coming for a long time.
Lillian doesn't understand Sam's quick actions. She walks to

the bedroom door and begins to talk.
LILLIAN
Sam, why don't you quit this before
you become old and penniless It's
not to late to find someone else
and settle down to a normal life.
SAM
You're right. It's never to late.
(CONTINUED)
33.
CONTINUED: (2)
Sam closes his first suitcase. He opens his second and starts
packing it. Lillian is mad she wants an answer.
LILLIAN
You can't just leave without
talking this out! We have furniture
to split.
Sam stops and looks at her with hurt and anger on his face.
SAM
I love you and I wouldn't do this
to you. But I've had one of the
worst days of my life and I don't
want to continue it. You keep the
furniture and the apartment.
Sam closes his second suitcase. He picks up his luggage and

walks out of the bedroom then walks to the front door and
opens it.
Lillian yells out at Sam.
LILLIAN
You're obsessed with that dam
writing and Hollywood crap! I want
security, not you!
Lillian leans on the bedroom door quietly frustrated. She

pauses then cries while she walks into the bedroom and
watches Sam through the window with tears streaming down her
face.
LILLIAN P.O.V.
Sam walks to his car in the parking lot.
EXT. SIERRA APARTMENT PARKING LOT
Sam has trouble with the key, getting it to unlock the door.
It opens he puts his suit cases in the back seat of his old
car. Sam gets in and tries to start his car. He cranks it but
it won't start.
He gets out and opens the hood and fumbles with something
under the hood.
Sam gets back in the car and it starts. He drives away.
INT. SAM'S SIERRA APARTMENT
Lillian watches solemnly through the window with tear filled

eyes.
(CONTINUED)
34.
CONTINUED:
LILLIAN
Good bye you fool.
EXT. SIERRA APARTMENT PARKING LOT
Sam drives from the parking lot and onto the street and out
of sight.
Ryobi is walking on the sidewalk and waves at Sam as he

passes.
OUTSIDE TO INSIDE - Lillian watches through the window. Her

expression changes to a cold stare as she watches Sam.
Ryobi looks back at her watching Sam and walks on shaking his
head.
DISSOLVE TO:
EXT. CITY STREET - SUN DOWN
Sam is driving down the street Staring straight ahead in a

daze. He looks to the side and sees an apartment complex
parking lot.
EXT. APARTMENT COMPLEX PARKING LOT
Sam suddenly turns into the parking lot and drives to the
back in a vacant area and stops.
INT. SAM'S CAR
Sam is still in shock from the break up with Lillian. It is

getting dark and Sam looks at the radio as it plays a song.
Sam smiles. He continues to stare for a moment and hits the
steering wheel. His eyes glaze slightly with water. Sam talks
to himself.
SAM
Damn it! I'm right. I can do this.
(He holds back his
emotions as his eyes fill
with tears.)
I don't need anybody.
Sam turns off the motor and stares for a moment.
SAM (CONT’D)
I don't deserve this. I gave her
everything.
Suddenly a loud knock on Sam's window brings him out of it.

He looks outside.
35.
EXT. APARTMENT COMPLEX PARKING LOT
A security guard is standing beside his car looking down at

him.
SECURITY GUARD
Hey Bozo, you all right?
Sam looks up and out the window.
SAM
Yes, I'm okay.
SECURITY GUARD
What's you doing here?
Sam starts his car.
SAM
Nothing I was just leaving.
SECURITY GUARD
Move it out. No loitering dumb ass.
Sam backs out and starts driving away.
SAM
All right ass hole. I'm leavin.
Give a rest.
SECURITY GUARD
Hey, Come back here.
The security guard watches Sam's car move leaving.
SAM P.O.V.
INSIDE TO OUTSIDE - Sam can see the guard in his review

mirror as he drives out of the parking lot onto the city
street.
BACK TO SCENE
Sam gives the guard his driving finger.
The guard stands with his hands on his hips watching Sam.
DISSOLVE TO:
EXT. DENNEY'S RESTAURANT HOLLYWOOD - NIGHT
Sam turns his car into the busy parking lot and drives to the
back looking for a parking place.
(CONTINUED)
36.
CONTINUED:
A police car follows him.
Sam parks in a remote area near the dumpsters. The police car
rolls to a stop blocking his exit and turns on his emergency
lights and spot light.
Sam gets out of the his car looks at a policeman and his
partner that are getting out of the police car.
He shuts his car door, it springs back open, Sam slams it

again. The door shuts and stays.
Sam smiles, puts the key in the lock and turns it, Sam is
having trouble getting the key out. He looks at the dumpsters
near his car then to his car and talks to himself.
SAM
How appropriate.
The policemen are waiting.
POLICEMAN
May I see your license sir?
Sam fumbles in his front pocket and pulls out his drivers
license.
SAM
Yes, what did I do?
POLICEMAN
I am sighting you for making an
illegal u-turn.
The policeman takes the license. He looks for a moment and

hands the license to his partner.
SAM
I didn't u-turn.
POLICEMAN
You'll have the opportunity to tell
your story in traffic court.
The partner turns and goes to the police car and starts
talking on the police radio. The policeman with Sam looks at
him and starts writing in his ticket book.
Sam has had it for the day. He just simply relaxes and waits.
The policeman looks at Sam as he writes.
(CONTINUED)
37.
CONTINUED: (2)
POLICEMAN (CONT’D)
Oh, I almost forgot that ass hole
guard over at the apartments said
hello.
Sam acknowledges almost unconcerned from this final blow.
SAM
Probably your brother.
POLICEMAN
In-law.
The policeman's partner gets out the car and gives the
drivers license to the policeman and he passes them to Sam.
SAM
I must be physic.
Sam puts his license away. The policeman gives him the ticket
book.
POLICEMAN
Sign here please.
Sam signs. The policeman tears off Sam's copy and hand it to
him.
SAM
Gee thanks officer.
POLICEMAN
Drive carefully.
Sam takes the ticket and stuffs it in his pocket. The

policemen get in their vehicle and drive away.
SAM
Ass wipes.
Sam walks to the restaurant past a few strange looking people

in the parking lot smiling at him as he walks. His head is
down and he hardly notices them. Sam opens the front door to
the restaurant and walks inside.
INT. DENNEY'S RESTAURANT
Sam turns toward the counter area of the busy restaurant and
sees his old friend, PAUL ROMERO, an average middle-aged man.
A passing man bumps into him and walks on unconcerned. Sam

rolls with it hardly noticing.
(CONTINUED)
38.
CONTINUED:
His friend, Paul watches Sam.
PAUL
Sam, over here.
Sam looks up and walks to Paul. They shake hands. Paul offers
him a seat.
PAUL (CONT’D)
Hey Sammy, how's my buddy?
Sam smiles and sits with Paul.
SAM
Besides being depressed as hell,
fine. You?
PAUL
I'm great. Hell of a day.
Sam smiles weakly again.
SAM
You're always great. What's new?
PAUL
So, what happened? Did you get a
ticket?
SAM
Yeah, I don't need to talk about
that. I just want something to eat
and this day to end.
Paul smiles and looks over at the waitress. It's Kelly from
his office. She walks over to them.
PAUL
Kelly get my friend here a cup of
decaf coffee and his favorite,
cheese burger. He needs help.
Sam smiles.
SAM
Hi, you work at my old office.
KELLY
Yeah, this is my second job.
SAM
Better that the first?
(CONTINUED)
39.
CONTINUED: (2)
KELLY
Yeah, I'm saving to go to acting
school. Still want the cholesterol
burger?
Sam smiles and nods.
SAM
Yeah, great. Go ahead and kill me.
Everybody else is trying to.
Kelly smiles and looks at Sam for a second longer.
KELLY
Coming up?
She turns, pours a cup of coffee and gives the chef Sam's
order.
PAUL P.O.V.
Paul and Sam watch Kelly's body from behind.
BACK TO SCENE
Sam is staring into nothingness.
Paul looks at him.
PAUL
Hey, that bod could get a dead
man's attention. Is Lilly giving
you hell again.
SAM
Yeah, she's making changes and I'm
one of them.
PAUL
She's doing you a favor. Evil lurk
at her address.
SAM
Yeah I should have done something
sooner. My misery level would have
been a lot less.
Sam looks at Kelly with a pitiful expression as she sets his

coffee down in front of him. Kelly looks at Sam with a kind
look.
(CONTINUED)
40.
CONTINUED: (3)
KELLY
I don't usually ask, but are
you okay?
Sam twist his head answering no. He recomposes and smiles.
SAM
Just a really Bad day and very
long.
Paul looks at Kelly and his friend.
PAUL
He'll be all right. He just
temporarily crushed.
Kelly smiles.
KELLY
You want to talk about it?
Sam smiles.
SAM
Yeah, I guess I should.
Sam stares at the counter. Kelly and Paul look at him

waiting.
PAUL
Well...
Sam looks at Kelly and Paul
SAM
It's really nothing.
Kelly sees a new customer come in.
KELLY
That's what they all say. I'll be
back in a minute.
Sam smiles at her. Paul looks at him as she leave.
PAUL
Kelly could bring a guy out of
anything. Take her out. She's hot
for you.
SAM
Yeah, she's good.
(CONTINUED)
41.
CONTINUED: (4)
PAUL
Good, I think she likes you.
Besides she's got an ass like a
steel clap. Who wouldn't want that.
Sam looks at Paul.
SAM
Right, like I need another woman to
complicate my pitiful life and
steel clap my future.
PAUL
You could do worse dummy.
Burt walks in moving toward Paul and Sam.
BURT
It's the olson twins.
PAUL
Hey Burt, what's up?
BURT
(smiling)
Just slummin. Hey I got a script I
need to sell.
PAUL
You and everybody else.
SAM
And like everybody else, I got an
opinion about how bad yours is.
They all smile to themselves. Ryobi walks in and sees the

group.
RYOBI
Hey, the bed wetters are here.
BURT
Hello Ryobi. Did your parents re-
name you after a drill, cause you
screwed everybody.
Ryobi sits with them.
RYOBI
Yeah, screwed up. Like you mutts.
(CONTINUED)
42.
CONTINUED: (5)
A different waitress brings a white paper bag with Sam's food

in it and sets it in front of him. Paul has an idea.
PAUL
Hey, let's go to the bar next door
and unwind this junk. They got a
special tonight.
BURT
I'm always up for a special.
Sam smiles, gestures his approval and puts some money on the
table. Paul and he get up to walk out with Burt.
SAM
Ryobi, you want to go?
RYOBI
Hell no. I'm old. I take my med's,
eat a little pie, take a leak, if I
can and go home.
They all shrug and walk out.
BURT
See yea, Ms. Fishbine was asking
about you.
RYOBI
Tell her I'm out of Viagra.
Kelly finishes with the customer and watches them go while

looking directly at Sam.
EXT. DENNEY'S RESTAURANT
Paul, Burt and Sam stop on the sidewalk.
They look across the parking lot to a next door strip mall
and the weird looking people coming and going from the bar.
The two policemen that gave Sam the ticket are talking to the
strange people that walk to and from the bar and check
identifications. The bar is lit by a neon lights. A banner
sign glares: WEDNESDAY $2 BEER NIGHT.
Paul looks at Sam.
PAUL
Our lucky night.
Sam smiles and starts eating his burger as they cross the
parking lot to the bar and go inside.
(CONTINUED)
43.
CONTINUED:
The policemen looks at them as they walk past.
INT. BEER BAR - NIGHT
Paul, Burt and Sam walk in and head for a remote table in the
back of the typical neighborhood bar.
The Bartender sees Paul and his friends. He yells out
BARTENDER
Hey Pauly!
Paul smiles at the bartender and speaks as they walk toward a

seat.
PAUL
Hey, Mickey.
The bartender mixes a drink for a customer.
BARTENDER
Hey Burt. How about a rain dance?
BURT
I'm not that kind of Indian, doo-
fusss and the other Indians aren't
either, dumbwaiter.
SAM
That was kind of racist.
BURT
No, he treats everyone the same.
Tomorrow he'll ask a black man to
do a rain dance.
DISSOLVE TO:
Paul, Burt and Sam are drinking Cokes. There are six Coke
cans sitting on the table.
PAUL
Isn't this great, pal's talking
things out?
SAM
Yeah.
Paul looks at the front door and sees Kelly with Missy and
Sharon her girlfriend walking in. Burt doesn't notice.
BURT
Corny.
(CONTINUED)
44.
CONTINUED:
PAUL
Look who just came in, Ms. Good
Body and the rock hard boob team.
Sam looks toward the door.
SAM
With Missy. Hell on earth is in our
domain.
BURT
Evil of evils, but she looks so
good.
Kelly is smiling as she walks straight toward them. She stops

in front of the table looking at Sam with her friends.
KELLY
Hi Sam, we never got to finish
talking.
Paul looks at Kelly smiling and gets up.
PAUL
I'm going to throw some darts. You
two talk. Come on Burt. You coming
Missy?
MISSY
Sure I wouldn't miss an opportunity
to dart Burt.
Sharon smiles big.
SHARON
I'll play.
BURT
Right darts. Love darts.
Sam looks at Kelly. Missy speaks up.
MISSY
Talk to the turd and We'll go play
with Paul and Burt so they can show
us how to play. With ourselves like
they always do.
Kelly smiles.
KELLY
Be nice Missy.
(CONTINUED)
45.
CONTINUED: (2)
MISSY
Always. Burt's my little man.
Burt is insulted.
BURT
Nothing little about me. You don't
know a man like the Burt.
MISSY
Yes, I do. He's a hundred pound gay
boy that works at the police
station cheering up the prisoners.
Kelly smiles at Sam and sits down. Paul walks toward the dart
game with Burt and the girls.
KELLY
She and Burt like each other.
SAM
What?
KELLY
I can tell.
SAM
Is Missy your friend?
KELLY
My cousin.
Sam Smiles.
SAM
She's...
KELLY
Awful, I know, but she's my
favorite aunt's baby.
SAM
Must be adopted. From a laboratory.
Kelly smiles.
KELLY
My name's Kelly. If you don't know.
SAM
I remember from work. I'm Sam.
Kelly grins.
(CONTINUED)
46.
CONTINUED: (3)
KELLY
I know. So, what kind of work are
you doing now Sam?
SAM
I'm a writer.
KELLY
Do you and Paul write together?
Sam look as if he is in thought.
SAM
Sometimes, but Paul is a lot better
known in the business than me. So
we don't get to work together much,
he gets the big projects.
Paul walks to the table and looks at Sam and Kelly while
standing with the two girl and Burt. Missy is friendly to
Burt and holding on to his arm. SHARON is close to Paul.
PAUL
Come on, we're going to my house.
The dart boards are full.
Sam and Kelly look at each other in agreement.
MISSY
Let's go to that new club Burt.
What could we do at Paul's?
BURT
No Missy if you are with me you are
with my friends. Just be nice.
Sam views Missy and Burt curiously.
MISSY
All right sweetie.
Burt smiles at missy.
BURT
That's my Sugar baby.
MISSY
Oh Burt.
Burt smiles at Sam. He and Missy start walking out. Sam looks
at Kelly.
(CONTINUED)
47.
CONTINUED: (4)
SAM
What the...
Kelly shrugs.
KELLY
She's a little nuts, but she likes
Burt.
SAM
Okay then.
Kelly and Sam get up. They walk out with the others.
DISSOLVE TO:
INT. PAUL'S APARTMENT
Paul, Sam, Kelly, Burt, Missy and Sharon walk into the living
room of Paul's luxury apartment. Paul looks at the two girl
friends.
PAUL
I'll get something to drink. Sam
you and Kelly put on some music.
SAM
Country?
BURT
What is country.
KELLY
Soft rock.
Kelly and Sam toy with the CD player.
Paul and Sharon go to the kitchen. Burt and Missy sit on the
sofa and she playfully kisses Burt on the neck.
BURT
Not the neck. I want to live.
Sam and Kelly pick a CD and start the music. They hear Paul
and Sharon laughing and talking. A soft rock song plays in
the background.
Kelly puts her arms around Sam and begin to sway to the
music. Sam smiles and looks into her eyes. They kiss softly.
Kelly stops and looks at Sam.
KELLY
This is a little fast for me.
(CONTINUED)
48.
CONTINUED:
Sam smiles and nods then looks at Burt and Missy.
SAM
Who would have thought it, Burt and
Missy.
Burt and Missy stand.
BURT
We're going.
Burt fakes a yawn.
MISSY
It's late.
KELLY
Right. See you tomorrow.
SAM
Burt, Do you have a will?
MISSY
Funny, no balls.
As Burt and Missy walk out, Burt turns and smiles at Sam.
SAM
You poor bastard.
BURT
Live like there's no tomorrow.
Kelly smiles. She and Sam move to sit on the sofa and talk as
they walk a few steps.
SAM
I like you Kelly.
KELLY
I like you too Sam.
Sam is relaxed for the first time and lies back on the sofa.
Kelly begins to caress his face, his eyes close.
KELLY (CONT’D)
What are you thinking?
SAM
For the first time in a long time,
nothing. It's great.
(CONTINUED)
49.
CONTINUED: (2)
She kisses him softly on the cheek. Sam is asleep. She looks
at his lovingly.
EXT. CONVENIENCE STORE - MORNING
Sam pulls in and parks his car. A couple of bums are drinking
from a brown paper bag sitting against the wall.
INT. SAM'S CAR
He takes out his cell phone. Sam is impatient while he waits

for John Madison to answer.
MADISON (TELEPHONE V.O.)

Hello!
Sam composes himself.
SAM
Mr. Madison, Sam Bass. I've decided
to move back to Ohio where my
father lives. I should return your
script notes, before I go.
John Madison's voice sounds happy to hear from Sam.

I'm glad you called. I needed to
talk to you, but couldn't find your
number. You can't leave. I have a
big check here for you to start the
story. Sorry it took so long.
Sam is very happy.
SAM
What? That's great.

Come over here as soon as you can.
I need to get started.
SAM
How about this morning?

Good, Do you remember where I live?
SAM
Sure.

I'll be here for a couple of hours.
(CONTINUED)
50.
CONTINUED:
Sam smiles very big.
SAM
Good, I'm on the way.
Sam hangs up the phone. He relaxes for a moment in his car. A

bum walks up and taps on Sam's window.
Sam looks out.
SAM'S P.O.V.
The bum is swaying trying to stand straight due to his

drunken stupor.
BUM
Hey man, you got a dollar. I need
some breakfast.
SAM
I was going to ask you the same
thing.
BUM
Cheap ass.
SAM
Buy some deodorant. Call it a
marketing tool.
BUM
No way man. I'm manly
SAM
Okay, maybe some TIC-TAC'S.
The bum walks away.
BUM
Wise ass.
Sam drives on.
EXT. PRESTIGIOUS BEVERLY HILLS STREET - DAY
Sam is driving looking at the homes and addresses. He passes

a row of beautifully landscaped mansions.
EXT. MADISON MANSION
Sam turns into a driveway, with a large gate held up by a

large ornate white brick post.
(CONTINUED)
51.
CONTINUED:
He stops beside a long white brick wall with a speaker and

video camera staring at him. He pushes the speaker button and
waits. The speaker answers. It is the female receptionist.
RECEPTIONIST (SPEAKER V.O.)

Yes.
SAM
I'm Sam Bass, here to see
Mr. Madison.
Sam waits for a few seconds.

Who?
SAM
Sam, Sam Bass.
There is total silence for a moment.

Did you call me an ass?
Sam is not happy but he knows he must be patient.
SAM
No, I'm here to see Mr. Madison!
I'm Sam Bass.
There is silence again. Sam is getting more impatient.

Did you call me an ass again?
SAM
No. You guys need to fix your
speaker.

What's a squeaker? Never mind, may
I have your name please?
SAM
Sam Bass.

Larry David?
SAM
Who?
(CONTINUED)
52.
CONTINUED: (2)

Oh, Mr. David. I love your show.
Wasn't that Curb your intrusion?
SAM
No, Curb Your Enthusiasm.

Great, come on it. Love it.
Sam looks over and waits for the gate to open. He continues
to wait. The gate doesn't open. Sam pushes the button again.
RECEPTIONIST (SPEAKER V.O.) (CONT’D)

Yes?
Sam composes himself.
SAM
Open the gate please!

All right.
Sam waits. A few seconds passes.
RECEPTIONIST (SPEAKER V.O.) (CONT’D)

Is that you Sam?
Sam is frustrated.
SAM
Yes!
The speaker voice answers with an even tone.
RECEPRIONIST (SPEAKER V.O.)

Sorry, I forgot. I had to let Mr.
David in first.
SAM
Oh yeah, Curb Your Intrusion.

No, Curb Your Enthusiasm. Come on
in.
SAM
Someone should curb your
enthusiasm.
(CONTINUED)
53.
CONTINUED: (3)
The gate slowly opens. Sam starts to drive through. The gate
suddenly begin to close. Sam speeds forward. The gate snaps
shut behind him.
INT. SAM'S VEHICLE
Sam is still frustrated.
SAM
Damn.
SAM'S P.O.V.
Sam looks down a long grey brick road leading to a well

landscaped estate.
BACK TO SCENE
He drives on toward the mansion. Sam drives behind the house

and sees a maintenance man working on patio furniture. He
stops beside the man.
EXT. SAM'S VEHICLE
Sam puts his head outside the vehicle and talks to the handy
man.
SAM
Where do I park?
The man looks at Sam.
MAINTENANCE MAN
Where ever you want to sir.
Sam stops his engine and gets out of the car.
MAINTENANCE MAN (CONT’D)

You can't park there.
SAM
I thought you said.
MAINTENANCE MAN
Said, smead, not there. It's
prohibited.
Sam gets in his car and backs up a couple of inches. He gets

out and walks on.
MAINTENANCE MAN (CONT’D)

Thank you.
(CONTINUED)
54.
CONTINUED:
Sam does a back hand wave and keeps walking. He walks to the
guest house that has been converted to an office setting
behind the mansion.
SAM
This place is a freakin nut house
like it's owner.
He walks up the stairs to the second floor and moves inside.
INT. OFFICE
The receptionist looks up from her desk and speaks to Sam

with the same familiar voice on the speaker.
RECEPTIONIST
Yes?
Sam smiles. He sees Ryobi.
SAM
Ryobi, what are doing here.
RYOBI
If I wanted you to know my business
I'd have told you before now.
SAM
Okay, well hello Ryobi.
RYOBI
What you doing here?
Sam ignores Ryobi and turns to the receptionist.
SAM
Hi, I'm Sam Bass.
The lady is looking through some papers.
RECEPTIONIST
I'll be right with you.
The woman looks at him with a blank look as the phone rings.
She pick it up and answers, looking at Sam with a question on
her face.
RECEPTIONIST (CONT’D)
Madison Companies, yes, Mr.
Madison is not available. Could he
call you? Yes, number please
(She writes it down.)
Thank you.
(CONTINUED)
55.
CONTINUED:
The receptionist hangs up. Sam is still waiting. She looks at

him wondering what he wants.
Did you just walk in?
Sam looks at her with a stare to keep her attention.
SAM
I'm Sam, at the gate. You know Mr.
David's friend.
She looks a little unconscious.
RECEPTIONIST
Mr. Bass? Oh yes, Larry's friend.
Hold on a second.
She looks at Ryobi.
Go on back Sweety.
Ryobi gets up.
RYOBI
Thanks gorgeous.
She smiles shyly and looks at Sam.
RECEPTIONIST
Okay, Larry?
SAM
No Sam.
RECEPTIONIST
Larry's friend.
SAM
That's right.
The receptionist is staring at the wall. Sam is still

waiting. The reception snaps out of it.
RECEPTIONIST
Here to see Mr. Madison right?
SAM
Yes, right. Madison, Larry, Bass,
David, Sam and Ryobi.
The receptionist looks at him with another blank look.
(CONTINUED)
56.
CONTINUED: (2)
RECEPTIONIST
Oh, I'm sorry Mr. Madison is with
ah...
SAM
Nobody?
The receptionist smiles big and nods.
RECEPTIONIST
Right, go on in.
Sam is wondering where to go and waits for a moment.
SAM
Where?
The receptionist points to a hall behind her like Sam is

stupid.
RECEPTIONIST
Down the hall.
Sam walks down the hall talking to himself.
SAM
Oh, how stupid of me! I should read
minds. How dare I not know what you
are talking about.
Sam walks down the hall looking at doors with only numbers on
them with no names. He talks to himself again.
SAM (CONT’D)
Just down the hall, I guess I'll
Use use my x-ray vision now.
Sam decides to take a chance and opens a door. He sees a man

and women in an almost compromising position. They separate.
The man looks harshly at Sam.
MAN
Don't you knock?
Sam is surprised.
SAM
Hell no. I'm rude and stupid. I
should run this company.
Sam closes the door and keeps walking talking to himself.
(CONTINUED)
57.
CONTINUED: (3)
SAM (CONT’D)
I didn't realize, I was
interrupting important business of
the porn king.
Sam is frustrated. He opens the last door at the end of the

hall.
INT. LOBBY JOHN MADISON'S OFFICE
Sam sees CHERRY, a woman he had worked with sitting at the

reception desk. Ryobi passes her and walks out past Sam.
RYOBI
All yours colostomy bag.
Sam just looks at Ryobi as he walks on.
SAM
Who writes your material?
RYOBI
Sam Bass.
He looks back at Cherry
CHERRY
Sam, good to see you.
SAM
Hi Cherry, Long time.
CHERRY
Yes, I missed you.
SAM
I missed you too.
CHERRY
I could use a little Sam attention.
SAM
Sorry Cherry. I'm kinda seeing
someone.
CHERRY
Yeah, my husband might not like it
anyway.
SAM
You got married?
(CONTINUED)
58.
CONTINUED:
CHERRY
Yeah, sorta. You here ta see Mr.
Madison?
Sam nods.
SAM
Sort of.
CHERRY
Okay honey, remember me in your
dreams. He's waiting on you right
in there.
Cherry points. Sam moves past Cherry. He is tempted by her

beautiful body and smile.
SAM
Thanks Cherry.
She licks her lips and smiles seductively.
CHERRY
My pleasure.
Sam opens the door behind Cherry still looking at her.
SAM
Ah... me too.
INT. JOHN MADISON'S OFFICE
Sam enters the office.
JOHN MADISON, a slick looking forty something man looks up

from his expensive walnut desk. He is surrounded by luxury
and rich oil paintings in his spacious office. He motions for
Sam to come in.
MADISON
Come in Sam. Sit down.
SAM
Thanks.
Sam walks inside and sits in one of two chairs sitting in

front of John Madison's desk.
MADISON
Are you ready to get started?
Sam smiles and nods.
(CONTINUED)
59.
CONTINUED:
SAM
Sure.
MADISON
Good. We got urgent business.
SAM
Great.
Madison pulls a check from his desk drawer and hands it to

Sam.
MADISON
Here's, the deposit. Let's get
rolling.
Sam takes the check.
SAM
I'll need the list of addresses and
phone numbers to started the
interviews.
Madison smiles.
MADISON
They are ready, pick them up out
front.
(Sam rolls his eyes)
Sam I like you, you're a part of
the Madison Company family now. You
need to act like it. Don't
embarrass us. Do you have family in
Los Angeles?
Sam looks curious at Madison.
SAM
No, why?
Madison smiles again.
MADISON
Nothing really, I thought you
might want to share the holidays
with our family, since yours is so
far away.
Sam is pleased.
SAM
That's nice, but I have plans.
Thank you.
(CONTINUED)
60.
CONTINUED: (2)
Sam stands to leave. Madison makes a last statement.
MADISON
You won't quit me on this will
you? We need this story.
Sam looks confident.
SAM
I'll finish. I always do.
Madison acknowledges.
MADISON
Good, That's what Paul said. In
ninety days I can expect a book and
a script?
Sam looks surprised.
SAM
I think it'll take...
Madison interrupts.
MADISON
Sam, I got dead lines, maybe
I...
SAM
I'll have a first draft ready,
ninety-days.
Madison is happy.
MADISON
That's my man. Be careful how you
handle the interviews. Get the
information, put the heat on. Get
help if you need to. I'll pay extra
for that.
Sam nods.
SAM
All right, Mr. Madison.
Madison stands and smiles.
MADISON
Okay, three months. Mix it up out
there. Make some waves. I want you
to get attention on this.
(MORE)
(CONTINUED)
61.
CONTINUED: (3)
MADISON (CONT'D)
We also want publicity. Let the
world know what you're after.
SAM
Sure.
Sam smiles an uneasy smile, he turns and leaves.
MADISON
I'm depending on you buddy. Keep a
high profile we gotta get noticed.
Sam acknowledges and keeps walking.
SAM
Right get noticed?
DISSOLVE TO:
EXT. HIGH RISE APARTMENT BUILDING - AFTERNOON
Sam is standing on the steps buzzing the call box on the

wall.
SUB-TITLE - TWO MONTHS LATER
He looks at the speaker as the voice of Mrs. Rosenstein comes

out, in the form of a crabby older female.
MRS. ROSENSTEIN (INTERCOM V.O.)

Yeah?
SAM
Mrs. Rosenstein?

Yeah! Who wants to know?
SAM
I'm Sam Bass, Mr. Madison...
She interrupts.

That old bastard sent ya. Come on
up, twenty-three.
She pushes the buzzer to let Sam inside the building.
INT. HIGH RISE APARTMENT BUILDING
Sam enters the lobby area. He hears people talking, arguing

and children playing. But no one is in sight.
(CONTINUED)
62.
CONTINUED:
Sam starts to walk forward. Mrs. Rosenstein's loud course

voice comes over the tenant intercom outside the front doors.

Second floor, Bozo.
A surprised Sam turns toward the stairs and walks up.
INT. HIGH RISE APARTMENT BUILDING HALL
Sam stops in front of apartment twenty-three and knocks. MRS.

BETH ROSENSTEIN answers the door. She is a late sixties
attractive woman with brunette hair.
MRS. ROSENSTEIN
Hello Mr.?
Sam fills in the blank.
SAM
Sam, Sam Bass.
She smiles.
MRS. ROSENSTEIN
Come in honey. Don't try anything
stupid. I'm a conservative.
SAM
No ma'am.
MRS. ROSENSTEIN
You a liberal?
SAM
No, I'm not involved.
MRS. ROSENSTEIN
Get involved.
SAM
Yes ma'am. First Monday.
Sam is almost embarrassed at the way she smiles at him as he

enters.
INT. ROSENSTEIN APARTMENT
The front room is filled with memorabilia. Autographed

pictures of movie stars are on the wall. Studio lights set in
one corner and a movie one sheet is tacked to the wall.
(CONTINUED)
63.
CONTINUED:
Mrs. Rosenstein sits in her favorite easy chair and Sam sits
near her in another chair.
MRS. ROSENSTEIN
You're here to talk about Harry
Pope and his scandal or that
son-of-a-bitch Madison and his back
stabbing. Which bastard do you want
to talk about?
Sam looks a little uncomfortable.
SAM
Yes ma'am, I mean, no. Yes, I do
work for Mr. Madison and yes, I
want to talk about Harry Pope.
Mrs. Rosenstein looks at him with a suspicious look.
MRS. ROSENSTEIN
Confused? What about my money?
Sam is caught by surprise.
SAM
I thought Mr. Madison took care
of all of that already?
She smiles.
MRS. ROSENSTEIN
He did, I was just checking. So,
you want to talk about Harry? He's
a great film producer and business
tycoon or may I should say buffoon.
I suppose you want the dirt?
Sam looks sincere.
SAM
No, just what you know.
She looks almost mean.
MRS. ROSENSTEIN
What I know is plenty. Everybody
that knew Harry is either dead or
senile, except me. Harry was the
master of cover-up.
Sam is more interested.
(CONTINUED)
64.
CONTINUED: (2)
SAM
You knew him well?
She grins.
MRS. ROSENSTEIN
Hell yes, but Madison just want's
the dirt he doesn't care about a
real story. He's a black-mailer.
Sam smiles and looks at her.
SAM
No ma'am, we want the real story.
MRS. ROSENSTEIN
That may be what Madison told you,
but he's but that nice.
SAM
Exactly what was your relationship
with Harry Pope?
She smiles very big, in deep thought.
MRS. ROSENSTEIN
Love slave.
Sam looks at her with a question on his face.
SAM
That's it?
Mrs. Rosenstein is indignant.
MRS. ROSENSTEIN
Yes, Harry had me picked me up
every Wednesday at noon for all day
love and every other Saturday
afternoon for thirty years. Love
slaves hear a lot, because no one
thinks they count. They just go
unnoticed.
Sam writes the information down and speaks as he writes.
SAM
Was he married?
Mrs. Rosenstein laughs.
(CONTINUED)
65.
CONTINUED: (3)
MRS. ROSENSTEIN
No, Harry Pope was cheap. He
wouldn't marry or even go on a
date. I'm sure his accountant
figured out it was cheaper to keep
me than marry my fine ass.
Sam writes and ask another question.
SAM
I'm sure. Was Harry good to you?
She nods.
MRS. ROSENSTEIN
Harry was cheap but he liked me. He
was kind.
SAM
You speak as if he is dead. He is
still living.
Mrs. Rosenstein looks almost angry.
MRS. ROSENSTEIN
His ass should be dead. The way he
treated me for thirty years.
Sam questions her again.
SAM
I thought he was kind.
MRS. ROSENSTEIN
I was young, dumb and in love with
the low life and sometimes he was.
Beside, I like nookie a lot and
Harry was the best.
SAM
Okay, well ah, why did you stay
with him? Besides the ah nookie.
MRS. ROSENSTEIN
It's simple. I was hooked,
desperate for love. Harry's love.
Consequently, I wasted my life on a
fantasy.
She looks in deep thought.
(CONTINUED)
66.
CONTINUED: (4)
SAM
I'm sorry. Could we talk about
Harry as a person?
MRS. ROSENSTEIN
Harry was good to me is some ways
and very cold in others...
DISSOLVE TO
NIGHT:
Mrs. Rosenstein moves to look out the window. Sam is almost

asleep nodding off. He catches himself.
MRS. ROSENSTEIN (CONT’D)

You know sex with Harry was
like good clothes, it just lasted
and lasted. Sometimes he would talk
about his son.
SAM
Okay then. Harry was a sex God.
What about his son?
MRS. ROSENSTEIN
I don't know anything. He was
vague.
Mrs. Rosenstein turns with her gown open.
Sam blinks.
SAM
Mrs. Rosenstein.
Mrs. Rosenstein is almost evil
MRS. ROSENSTEIN
Speaking of good sex. You wanta
get lucky?
SAM
I'm already lucky.
MRS. ROSENSTEIN
I got something for you little boy.
That statement gets Sam's attention. By that time Mrs.

Rosenstein is across the room and attacking Sam, trying to
kiss him.
(CONTINUED)
67.
CONTINUED: (5)
SAM
Mrs. Rosenstein, I can't do this. I
have someone else.
MRS. ROSENSTEIN
Close enough.
Sam rushes to the front door while she is still tries to kiss
him.
SAM
Mrs. Rosenstein.
He exits and closes the door.
EXT. HALL - NIGHT
Sam is relieved. Mrs. Rosenstein speaks through the door.
MRS. ROSENSTEIN (O.C.)

Call me.
SAM
Right.
He turns and walks down the dark hall toward the stairs. A
tall dark man steps from the shadows and hits him in the
stomach. Sam bends over and gasp.
The man straightens Sam up and pushes him against the wall.
The man speaks to Sam in a mean whisper.
DARK MAN
Leave it alone. Don't do anymore.
The man hits him again and straightens Sam up a second time.
DARK MAN (CONT’D)

Do you understand?
Sam nods as he gasp. The dark man walks away.
SAM
Did Pope send you?
The man abruptly turns.
DARK MAN
Don't be stupid let it go.
Sam falls against the wall to hold himself up and catch his
breath.
(CONTINUED)
68.
CONTINUED:
The Dark Man walks on.
Sam continues to recompose himself. He stumbles to a nearby

window facing the street and watches the dark man.
SAM P.O.V.
The man exits the building and gets into an awaiting

expensive looking black Jaguar with a driver. They drive away
quickly.
BACK TO SCENE
Sam stumbles down the stairs. He takes out his cell phone and
dials.
SAM
Paul. Meet me at my motel, yeah.
He hangs up and puts his phone away.
EXT. HIGH RISE APARTMENT BUILDING - NIGHT
Sam walks out the front door. He gets into his vehicle and
tries to start it. He gets back out of the car and opens the
hood. Sam works on the car for a moment then closes the hood.
Sam gets back in his car and starts it then drives away.
EXT. CUT RATE WEEKLY MOTEL - NIGHT
Sam stops the car in his parking place a few doors down from
the motel office and gets out.
BLAIR, the motel manager a slim energetic man from India

steps outside the front door of the office and speaks in a
traditional India accent.
BLAIR
Mr. Bass, Mr. Bass!
Sam looks back and walks to the manager.
BLAIR (CONT’D)
Your mail box is full, come
in, I will give it to you.
Sam answers as he walks inside the office.
SAM
Thank you.
BLAIR
You are very popular now.
69.
INT. CUT RATE WEEKLY MOTEL OFFICE - NIGHT
The manager gets all of Sam's phone messages and gives them
to him.
Sam smiles at him and walks outside.
Burt walks from the back room.
BURT
Hey Sam. How's the project?
SAM
Hi Burt. Do you work here?
BURT
No, I am helping my uncle Blair.
(he looks at the manager)
He and I are writing a screenplay.
SAM
Isn't everybody.
BURT
Where have you been. I don't see
you since you left the complex.
Missy walks from the room behind the counter.
MISSY
Hi, dumb ass.
BURT
Missy.
MISSY
Sorry Sam. I am going through a
personality makeover. Burt is
teaching me. I should say, Hello,
how are you?
SAM
That's good. I'm fine.
BLAIR
It is very good, the lessons help
us all.
SAM
I know what you mean.
Ryobi walks from the back room.
(CONTINUED)
70.
CONTINUED:
RYOBI
Hey, it's ball sack. How are you.
SAM
Ryobi, my day is complete. You sure
get around.
RYOBI
Gotta make a living.
SAM
You working here?
RYOBI
No I'm writing a Bollywood script
with the Taj Mahal twins.
SAM
Isn't everybody. Hey, I gotta go.
Good to see you all. Keep up the
bad work, Ryobi. Thanks you Blair.
BURT
Don't forget your friends.
SAM
What was your name again.
Sam smiles and leaves with his mail.
RYOBI
Get a real job, ninnyhammer.
EXT. CUT RATE WEEKLY MOTEL OFFICE - NIGHT
BEN KINDLE, a well dressed man is sitting in a new Mercedes

as Sam exits the office.
Sam looks around the seedy motel and walks toward his room.
BEN gets out of his Mercedes and yells out to Sam.
BEN
Mr. Bass?
Sam stops and is concerned about the stranger calling for

him.
SAM
Who wants to know?
(CONTINUED)
71.
CONTINUED:
BEN
I'd like to talk to you about a
screenplay you are writing.
SAM
Who are you with.
Sam looks at him and sizes Ben up for a defense.
BEN
I'm Ben Kindle from Magnum Studios
and our company wants to
buy the rights to your book and
your script.
Paul drives up and gets out.
PAUL
Hey guys. How are you, Ben?
BEN
I was just talking to Sam about his
Pope book and scene play.
SAM
I sorry but I was contracted by
John Madison.
Harry smiles and gives Sam his business card.
BEN
All right, but if anything changes
please call me or Mr. Cohn. I'm
sure our studio will be generous.
PAUL
They are good people to do business
with Sam.
BEN
Thank you Paul. Well, Give us a
call.
Sam looks at the card and puts it in his front pocket.
SAM
Thank you, I'll call if anything
changes.
Ben smiles and walks to his car.
(CONTINUED)
72.
CONTINUED: (2)
BEN
Come by sometime Paul. We need to
do a project together.
PAUL
I will Ben, thanks.
Sam and Paul watch Ben get in his car and drive away. Sam
turns to Paul.
SAM
Paul, I got the hell beat out of me
for interviewing Pope's old
girlfriend.
PAUL
Did you call the police.
SAM
No, they won't do anything.
PAUL
I'll check around. Be careful till
this thing goes public.
SAM
I'm sorry I called you. I panicked.
PAUL
Hey, that's okay. Listen, if you
don't need me, I've got a meeting.
I'll call you later.
SAM
I'm over my head. Help me out.
Paul nods.
Sam goes inside his motel room as Paul gets back in his car
and drives away.
INT. SAM'S ROOM - NIGHT
The room is cluttered with an old computer, stacks of

scripts, variety magazine and open luggage.
Sam walks into the room.
SAM
Home sour home.
He takes a note from the computer.
(CONTINUED)
73.
CONTINUED:
CLOSE ON THE NOTE - Call me. I went to an appointment. Kelly
Sam puts the note down and turns on his computer. He then
flops down in an old over stuffed chair beside the telephone.
He picks up the telephone from the night stand and dials a
number. It rings and Sam waits.
Madison's voice answers on the other end.
MADISON TELEPHONE (V.O.)

Hello!
Sam is concerned. He is unloading his pockets and putting

them on the table next to the computer. There is POWER BALL
ticket he bought with his change and a package of WRIGHLEY'S
DOUBLE MINT GUM. He looks at the Power Ball ticket.
SAM
I don't know why I bother to buy
these things. Hello Mr. Madison
this is Sam, I want to know what's
going on with the Pope story.

What do you mean Sam? I should
ask you the same thing.
Sam is firm in his explanation.
SAM
I got through the sex crazed
Rosenstein woman's interview, but
when I left her apartment some guy
punched me out and told me to but
out of the story and then some guy
from Magnum Studios wants to buy
it.
Madison's gets stronger.

Don't worry. I'll have my people
check into it and get Pope to back
off. There will be no more trouble,
trust me on this.
SAM
Are you sure?

Just do your interviews. I need
this story! Keep shaking things up,
buddy. Make more noise.
(CONTINUED)
74.
CONTINUED: (2)
Sam is still concerned but needs the money.
SAM
I don't like getting my face
punched in, I...
Madison interrupts.

Listen Sam, I'm sorry for the
trouble, I'm adding five thousand
more, just for you and I'll fix the
violence.
SAM
Well I'll try one more...
Madison is pushing for Sam to stay on the story.

Just stay on it, I'll take care
of you.
The phone hangs up on Madison's end. Sam looks at the dead

receiver and hangs up while still in thought.
SAM
I am concerned asshole. People
keep doing that to me.
Sam lies back in the chair looking at his computer screen

saver working and closes his eyes.
EXT. OLDER NEIGHBORHOOD STREET - MORNING
Sam stops his vehicle in front of a older stucco cottage.
Sam gets out of the car with his brief case and walks to the
front and knocks. He waits. He knocks again and waits. Mr.
Brill, a very old gentle speaks loudly from behind the door.
MR. BRILL (V.O.)

Yes, who is it?
SAM
Mr. Brill, I'm Sam Bass working for
John Madison.
The door opens slightly still on the chain lock and Mr. Brill
piers through the opening, a small rat terrier is sticking
his head through the door and growling.
(CONTINUED)
75.
CONTINUED:
MR. BRILL
Prove it!
Sam pulls a folded letter from his pocket, unfolds it and

shows it to Mr. Brill with his I. D.
SAM
This is my letter of introduction
from Mr. Madison.
MR. BRILL
Let's see some I.D.
Sam shows him.
Mr. Brill looks at it for a moment. The very old Mr. Brill
opens the door, dressed very casually in shorts and a "Born
to be Wild" tee-shirt.
MR. BRILL (CONT’D)

Why didn't you say so. Mr. Who
ever you are! Come in, Come in!
The small rat terrier backs off and growls from the middle of
Mr. Brill's living room.
Sam enters the small house and follows Mr. Brill into the
living room.
SAM
Thank you.
He sees similar memorabilia as he had seen at Mrs.

Rosenstein's home. Variety and the Hollywood Report are
stacked two feet high on the coffee table and in other
locations around the room.
MR. BRILL
Sit Mr. Bass, I'll get coffee.
Sam smiles at his host as Mr. Brill putters into the kitchen.
The small rat terrier jumps on the coffee table and startles
Sam. The small dog just stands still, growls and staring at
Sam. He looks around the room and sets his brief case down as
he sits in a cain chair. Sam hears dishes clanging in the
kitchen. Sam looks at the Small dog.
The Terrier continues to stare and growl.
Sam looks down on the floor.
He sees a large cockroach run past the front of his shoe.
(CONTINUED)
76.
CONTINUED: (2)
He rolls his eyes and sits still.
SAM
Did you know Mr. Pope well.
MR. BRILL (O.S.)

Yes, I knew the old fart very well.
Mr. Brill enters the room with a tray to sit on the coffee
table. He sees his small dog is in the way.

Down King, Down!
The small dog jump down and goes into a back room.
Sam is relieved. Mr. Brill looks at Sam as he sits down.

So, what the hell do you what?
Sam smiles at Mr. Brill.
SAM
Just information about Harry Pope
for the screenplay.
Mr. Brill smiles very big with green teeth.
MR. BRILL
I got lots of information on Harry.
Madison has paid me well too, but
you gotta leave my name out of
this. Harry's a tough old bird, I
know, I worked for him for thirty
years.
Sam takes out a tape recorder from his brief case.
SAM
That's been a long time ago. I'm
sure whatever you say will be all
right now. Are you ready to start?
MR. BRILL
Hell no, You take notes, don't
tape my voice!
Sam gets a note pad out of the case
SAM
All right. Did you drive for him?
(CONTINUED)
77.
CONTINUED: (3)
Mr. BRILL
Yes and I did his dirty work, but
there were benefits. I picked up
his women and a lot of them liked
me better than him. If you know
what I mean.
SAM
Could we talk about Mr. Pope?
MR. BRILL
Sure, let's rip the pond scum. But
I didn't say anything and we never
did this interview. Got it?
SAM
Got it.
Sam nods as Mr. Brill begins to talk.
MR. BRILL
Let's see where to begin, Harry
Pope slept with every starlet he
could. That's the way Harry does
business. He screwed everybody,
either for sex or money. He's as
deadly as a cobra. If you had a
beautiful wife and/or a lot of
money, he'd get'em both. By now he
probably needs a stand in to
ride his starlets, but I'll bet
he's still stealin from the rich.
SAM
Was there anything specifically he
did besides steal deals and women?
MR. BRILL
Yeah, There was this woman I Picked
up every Wednesday and Saturday. I
did it for thirty years.
SAM
Was she special?
MR. BRILL
Yeah, she was beautiful and she
helped Harry get his start. That
woman and this other guy. A mean
old man always bitchin and callin
people names. You know like; dumb
ass and numb nuts, like that.
(MORE)
(CONTINUED)
78.
CONTINUED: (4)
MR. BRILL (CONT'D)
He watched Harry's back. Tough
bastard.
SAM
Then He just cast her aside?
MR. BRILL
Yes, like so much trash.
SAM
Was her name Beth Rosenstein?
MR. BRILL
Yes, You know her?
SAM
Yes.
MR. BRILL
She knew all of the dirt on
everybody and Harry knew how to
work it. It took him thirty years,
but when he knew it all, she was
out. I think she thought he would
marry her or something.
SAM
I bet that made her mad?
MR. BRILL
Hell yeah. But she couldn't go up
against Harry. Harry was a cold
man. In some weird way I think they
loved each other.
SAM
That relationship sounds screwed
up.
MR. BRILL
Yeah, they had a son, but Beth
never told him about the baby,
cause she was afraid Pope might
corrupt him.
SAM
Where's the boy now.
(CONTINUED)
79.
CONTINUED: (5)
MR. BRILL
I don't know. She gave the baby a
Hollywood alias and moved someplace
out of the main stream. They were
soon forgotten.
SAM
And the babies name was John
Madison?
MR. BRILL
Maybe, I know he wanted the dirt on
Harry to get even with him for the
way he treated his mother and to
get richer.
SAM
That's interesting.
MR. BRILL
I don't think he would want you to
use that info. Because His father
is someone else, not Harry.
SAM
That's why Harry left her? I think
it's time for the truth.
MR. BRILL
Yeah, you're right. He was pissed.
Even thought their relationship was
nothing anyway.
SAM
The father was you?
Mr. Brill laughs and coughs then hesitates.
MR. BRILL
Yes, we had an affair. I really
cared for her, but she hated me
because Harry left her. I just
found out about John a few weeks
ago. We did the DNA and he's my
boy.
SAM
And now John goes after Harry.
MR. BRILL
Yes, He's doing well too.
Sam smiles.
(CONTINUED)
80.
CONTINUED: (6)
SAM
What about the mean old guy that
watched Harry's back?
MR. BRILL
He's still around. I think he's a
partner now or something. I hear he
lives at some apartments not to far
from the studio's. He visits Harry
at the hospital everyday.
Sam nods while in thought.
SAM
You know his name.
MR. BRILL
I heard it a couple of times. It
was Robert, Ryan, something like
that.
DISSOLVE TO:
The small Rat terrier runs from the back room and begins his
staring and growling at Sam again from a distance.
Sam stands with a look of relief and looks at his watch.
SAM
Thank you Mr. Brill. Look at the
time. We spent most of the day.
MR. BRILL
It' okay, tell John to send dad
another check. You ran over a
little.
Sam nods. He picks up his brief case and leaves Mr. Brill's
home.
SAM
Thanks Mr. Brill. Your son would be
proud.
Mr. Brill smiles then turns and looks at the small dog.
MR. BRILL
Good boy King, protect daddy
from those low lives.
EXT. OLDER NEIGHBORHOOD STREET
Sam gets in his car and drives away.

81.
INT. SAM'S ROOM - NIGHT
Sam enter his room carrying a stack of papers. He walks to

his computer smiling sets the papers down and turns on his
computer.
He sets down, pulls up his FINAL DRAFT computer program on

the screen opens a file and starts typing.
DISSOLVE TO
MONTAGE OF:
Sam's clothes are wrinkled, his hair is messed up and he is

still typing. He stop and makes a crazy frustrated face.
CUT TO:
Kelly comes in the room and looks over his shoulder trying to
get his attention from the computer without success.
CUT TO:
Sam is typing with a large coat on and takes a drink of

coffee. Kelly sits beside Sam pointing at the computer with a
blanket wrapped around her.
CUT TO:
Sam is interviewing a policeman at the studio gates of Harry

Pope's Magnum Studios. Kelly is with him carrying a
briefcase.
CUT TO:
Sam is typing again while Kelly goes through papers beside

him.
SUB-TITLE - ONE YEAR LATER
Sam is wearing different clothes and still typing on his

c o mp u t e r . He s t o p s and pi cks up a scr eenpl ay , l ook s at t he
cover and smiles.
CLOSE ON THE SCREENPLAY COVER - "THE POPE OF HOLLYWOOD", a

feature length screenplay, written by Sam Bass.
He l i es t he sc r eenpl ay d o wn and pi cks up t he ma n u s c r i p t and

proudly looks at it.
CLOSE ON THE MANUSCRIPT COVER - "THE POPE OF HOLLYWOOD",

manuscript, written by Sam Bass.
(CONTINUED)
82.
CONTINUED:
He turns and picks up the phone and dials. Mr. Madison

answers.

Hello!
Sam is smiling as he talks.
SAM
Mr. Madison, I'm glad I caught you.
The screenplay final draft and
manuscript draft are ready.
There is a long pause.

Listen Sam, I don't need the
material now. Really I just
needed the first draft in that
first ninety days. That's
why I gave you all the time you
wanted to finish, instead of
the ninety days we originally
agreed on.
Sam has a desperate look on his face.
SAM
What do you mean I've got money
coming damn it. I put a year of
my life into this son-of-a-bitch
and never ask for a dime.
Madison is calm and indifferent.

Sam, I just wanted that material
to keep Pope in line. If he knew
I had all the goods on him he'd do
what I ask. But, I don't need it
now. I got my deal. The script and
book are yours I'm not paying the
last installment.
Sam's computer beeps. He looks at the screen and pushes a

button.
CLOSE ON THE COMPUTER SCREEN - An e-mail come up. "Sam,

Consider this electronic transfer a release of John Madison
to Sam Bass in reference to all works related to "THE POPE OF
HOLLYWOOD". Signed this day, John Madison.
The line goes dead. Sam appears almost destroyed.
(CONTINUED)
83.
CONTINUED: (2)
SAM
I can't believe this. I'm
quitting this ass hole, low life.
Greedy bastards business, once and
for all. I'm so tired of people
hanging up on me and lying and
screwing me over, back stabbing,
low life, no good, son-of-a-
bitches.
Sam throws the hard copies script and manuscript in the trash
can. He suddenly turns off his computer. Sam jerks the memory
stick from the computer and throws it in the trash too
Kelly comes in the room.
KELLY
You all right Sweetie?
SAM
No, that low-life Madison screwed
me. He's not paying the last
payment and we got no money.
KELLY
We'll make it with out him. You got
other scripts to sell.
Kelly hugs Sam and he stands.
SAM
Yeah, good riddance to the sorry
piece of shit, pain in the ass,
wiping paper.
KELLY
Yeah, me too.
They begin to kiss and caress each other. Cloths begin to

come off and they lie down on the sofa.
DISSOLVE TO:
Sam sits up. Kelly is still out of sight.
SAM
I can make this better. I'll go see
Paul. He'll know what to do.
KELLY (O.C.)
Not now. I'm busy.
(CONTINUED)
84.
CONTINUED: (3)
SAM
Tonight, there will be more.
KELLY
You owe me.
Sam smiles and gets up getting dressed.
Kelly looks over the back of the sofa.
Sam smiles at Kelly and walks toward the front door.
SAM
I'll be back soon.
KELLY
Okay, If I'm not here when you get
back, I've gone to my appointment.
I'll call you later.
Sam walks out.
EXT. CUT RATE WEEKLY MOTEL - DAY
The sun hits Sam's eyes. He pulls back slightly and puts on
his sunglasses. Sam walks toward the street.
Suddenly a News Van pulls into the parking lot and stops. a
News Reporter gets out with a camera and start rolling film
as they approach Sam.
Ryobi walks near Sam from the direction of the office.
RYOBI
What the hell?
REPORTER
Sir, sir are you Sam Bass?
RYOBI
Hell no. Get lost.
Sam is a little disgruntled about the way his day has gone as
he walks.
REPORTER
Sir, are you Sam Bass?
SAM
Yeah, so?
The reporter responds.
(CONTINUED)
85.
CONTINUED:
REPORTER
Have you been offered a movie deal
yet?
RYOBI
Don't answer that. It's just news
department bull shit. Zip it.
Sam is lost.
SAM
What the hell are you talking
about?
The reporter turns to the cameraman.
REPORTER
Stop the film!
Sam looks at the reporter with a question on his face.
REPORTER (CONT’D)
Don't you know?
Sam is frustrated.
SAM
No, what?
RYOBI
Don't listen. It's just news hyp.
REPORTER
Harry Pope died last night and
his studio just announced five
minutes ago they are in
negotiations with John Madison
to buy the script and book
you wrote.
SAM
I just talked to John Madison a
couple of hours ago. He doesn't
want them.
REPORTER
I guess he does now.
RYOBI
Sam, Don't do anything until you
see the studio guy, Ben Kindle.
(MORE)
(CONTINUED)
86.
CONTINUED: (2)
RYOBI (CONT'D)
He came by earlier talking about
Harry's story. Said he couldn't get
you on your phone.
SAM
Script and manuscript. Holly crap!
Sam turns and starts running toward his room.
RYOBI
Go boy.
He sees the maid dumping the trash in her large cart.
SAM
Wait, wait!
The Maid Looks up and is frightened of the madman running

toward her.
She takes off with the cart at full speed. Then decides the
cart is slowing her down and runs away leaving the cart.
Sam stops at the cart out of breath. He starts digging

through the trash and looking. Sam throws out a banana peel
and paper towels and finally finds his script and manuscript.
He is relieved, then stops to think.
SAM (CONT’D)
I have it on my memory stick.
He digs deeper looking for the memory stick.
He sees the television camera rolling film.
Sam smiles slightly embarrassed. Sam reaches in and pulls out

his memory stick putting it in his pocket.
The Reporter ask another question.
REPORTER
Are you selling the script
or producing the movie.
Ryobi intervenes.
RYOBI
He's going with the studio.
SAM
What?
Ryobi smiles and nods.
(CONTINUED)
87.
CONTINUED: (3)
Sam smiles very big while he decides how to play the

Hollywood game.
REPORTER
Well, are you producing or selling?
SAM
Ah, I'm producing from my own
sources and publishing with a large
house in New York.
RYOBI
Sam, be careful the studio may want
to just buy.
SAM
You talking for the studio?
Ryobi shakes his head no.
Abruptly Sam's friend Paul drives into the parking lot and
parks beside Sam's car. He gets out and goes to Sam.
Sam looks at his friend curiously.
Paul pulls Sam to the side and speaks to his friend.
PAUL
Sam, I spoke with Ben Kindle,
he wants you to go see Mr. Cohn
at Magnum. The Iron man Pope
died and they are ready to make
a deal.
Sam smiles with a reserve.
SAM
How do the reporters know all of
this before we do?
PAUL
I helped a little, you needed the
publicity.
Ryobi walks away.
RYOBI
Go kid.
Sam embraces his friend. They look at the film crew filming
them and quickly break the embrace.
(CONTINUED)
88.
CONTINUED: (4)
SAM
We're not gay.
Ryobi looks back.
RYOBI
Yes they are.
The reporter has one last question.
REPORTER
Do you have anything to say about
the Pope story.
Sam smiles and looks at his friend Paul and then at the
reporter.
PAUL
We are sorry for Mr. Pope and his
family. The story about him is true
and dynamic.
SAM
Just one more thing...
Suddenly John Madison slides his car to a stop next to Sam.

Sam is interrupted as he moves away from the speeding
vehicle. Madison sticks his head out of the car.
MADISON
Before you say that Sam, Listen!
The Reporter turns to the camera and begins to speak.
REPORTER
There you have it, the new kid on
the block is going to tell his own
story about the most powerful
icon in the movie industry for
fifty years, Harry Pope. The
Hollywood legend!
John Madison gets out of the car and starts talking to Sam.
MADISON
Listen Sam, I'm negotiating a
deal of the century. They called
me just a little while ago right
after we hung-up.
Sam is mad and looks at Paul for help.
(CONTINUED)
89.
CONTINUED: (5)
PAUL
It's all yours, Hollywood! You're
in control.
Sam smiles and looks back at Madison.
SAM
I have never finished a
conversation with you, ever! Get
lost nut sack.
Madison is in his best negotiating stance.
MADISON
I deserve that. Listen Sam, buddy,
my friend! I'll pay the full
deposit!
SAM
No, you're too flaky.
A new Mercedes pulls into the parking lot and stops beside
Madison's car. Gabriella gets out and rushes her heavy body
toward Sam with her panty hoses making sawing sounds as her
thighs rub together.
MADISON
Here comes artificial intelligence.
SAM
You two trolls, go away.
Sam looks at Gabriella and then Madison. He is frustrated and

starts walking toward the street.
GABRIELLA
Don't do anything until you consult
with me.
SAM
I'm not buying toilet paper. I
don't need you.
MADISON
Look Sam. I'll throw in an extra
ten thousand just for you.
Sam keeps walking. Paul is smiling. He goes to his friend and

walks with him.
GABRIELLA
Don't do it Sam. I'll get you
thirty.
(CONTINUED)
90.
CONTINUED: (6)
MADISON
All right, all right! You got me,
fifty thousand, today.
GABRIELLA
I got a better deal Sam. He's the
dumb ass that screwed this up in
the first place.
Gabriella cuts in.
SAM
You people are just a little better
than Hitler. Go away.
MADISON
Your right Sam, she's a loser. You
know how agents screw you over.
They are just plain feces on your
heal.
GABRIELLA
Don't listen to this smuck! We got
deals to make. He's got things to
screw up. I am your agent Sam.
Sam and Paul are still walking toward the street.
SAM
No you're not.
Madison tries again a little more desperate.
MADISON
Okay, okay, I should have treated
you better. My penalty is a hundred
thousand, for being a jerk. There
I'm punished.
Gabriella Screams out.
GABRIELLA
I got your contract right here!
I'll close this deal right now
just sign and I'll get you a
million, cash.
SAM
You're lyin.
GABRIELLA
I'll guarantee it.
(CONTINUED)
91.
CONTINUED: (7)
She holds up an ink pen.
SAM
Right. What with rejection.
GABRIELLA
I never rejected you, Sam. I was
just taking some time to consider
the possibilities and technically
I'm already contracted, I advised
you about you cloths.
MADISON
I'm the guy with possibilities. She
a cesspool of destroyed dreams.
Paul smiles at his friend as they move on toward the street.
PAUL
Let's have a coffee and figure
this out.
Sam and Paul are almost to the Street. Madison is getting

more desperate.
MADISON
All right, my mistake! I'll give
you half of the profits and a
hundred thousand for being me.
Gabriella steps in front of Madison.
GABRIELLA
I'll rep you for half my regular
fee and guarantee the million! I
got A-list people begging to do
your film.
Sam and Paul steps onto the sidewalk. Madison speaks up and
steps in front of Gabriella.
MADISON
Okay, all right! I was wrong, I'll
give You...
(Madison grimaces in pain
to say it.)
Seventy five percent of the front
end fees! Probably three million.
Sam and Paul turn the corner smiling as they go behind a

building out of sight.
Madison is surprised.
(CONTINUED)
92.
CONTINUED: (8)
MADISON (CONT’D)
I'll sue to get my property back.
Come on Sam, be reasonable.
GABRIELLA
You get my million and our lawyer
will defend you for free. We'll
kick Madison's ass for you.
SAM (O.S.)
No.
Gabriella looks defeated then perks up.
GABRIELLA
What about, the lowe fee, getting
you on American Idol and the
million?
SAM (O.S.)
Well... No.
Sam suddenly reappears looking at Madison and Gabriella.
Madison and Gabriella are hopeful.
GABRIELLA
Don't forget who got you this far.
MADISON
Me.
Sam smiles at them and walks out of sight.
SAM
No.
Madison and Gabriella look totally destroyed as the news

reporter talks to the camera inaudibly in the background.
DISSOLVE TO:
EXT. MAGNUM MOTION PICTURE STUDIOS COMPLEX - DAY
Sam is walking toward the front doors looking around at all

of the grandiose architecture and expanse of the studio
offices.
INT. MAGNUM MOTION PICTURE STUDIOS COMPLEX - DAY
Sam walks into the pristine foyer and straight to the

President of the Studio's office.
(CONTINUED)
93.
CONTINUED:
A pretty secretary looks up and smiles.
SECRETARY
Mr. Bass?
Sam acknowledges by nodding his head.
SAM
Yes.
The secretary treats him very well.
SECRETARY
Mr. Cohn is expecting you, go
right in.
Sam smiles and walks into the Presidents office.
INT. COHN'S MAGNUM OFFICE
He sees Mr. Cohn, the President of the Studio and Ryobi.
COHN
Come in Mr. Bass, be seated.
I am very glad you came. You know
Ryobi.
Sam appears confident.
SAM
Sure. What's your story Ryobi.
RYOBI
I'm looking out for you.
Cohn looks serious.
SAM
You, looking out for me. What? You
my agent?
Ryobi smiles confidently.
COHN
Ryobi's on our board. He ask us to
talk with you. Let's get down to
it. Everybody want's to do the
trashy life story of Harry Pope. We
just want to be first. So let's
make a deal, Mr. Bass? We do like
to be first and prompt.
(CONTINUED)
94.
CONTINUED:
SAM
What did you have in mind, Mr.
Cohn?
COHN
We'll give you the six picture deal
that Paul said you want and you
produce the Pope story first with
approved crews. Of course it goes
without saying you leave us out of
the story and allow your friend
Paul to co-produce.
SAM
Of Course, it goes without saying.
Also, we are Indie's. So it would
be an independent film.
COHN
Sure, we like Indie's. We also must
agree on the stars and director you
hire.
SAM
Sure.
COHN
Ryobi here will be our studio man
on the set. He's a very good writer
and our biggest stockholder.
SAM
You're kidding.
RYOBI
Hell no, we're working together
kid.
Sam appears reluctant.
SAM
Great. I always wanted to work with
a... never mind.
Mr. Cohn smiles and stands. He extends his hand to shake.
COHN
Then we have a deal?
Sam smiles and shakes Mr. Cohn's hand. He turns to Ryobi as

he stands and shakes his hand.
(CONTINUED)
95.
CONTINUED: (2)
SAM
We have a deal. Welcome aboard
Ryobi.
RYOBI
Don't get cozy. I'll be watching
you. I'm the studio guy.
SAM
I knew there was something about
you.
RYOBI
Was it my Hair or my beautiful
eyes?
Sam Doesn't know what to do next and Cohn is in a hurry.
COHN
I'll have the documents drawn
by our legal department and send
them to you for your approval. I
will c-c a copy to Paul and Ryobi.
SAM
Great.
Sam smiles in agreement.
COHN
Okay then, we'll be in touch.
Sam walks out.
EXT. MAGNUM MOTION PICTURE STUDIOS COMPLEX - DAY
1:00 Sam exits the building and walks toward his trusty car. 1:00
INT. SAM'S CAR
He gets inside and inadvertently looks at the passenger

seat and sees a note.
CLOSE ON THE NOTE - SAM, DON'T FORGET, MEET ME AT THE BEVERLY

HILLS CAFE FOR LUNCH at 1:00. I HAVE SOMETHING SPECIAL TO
TELL YOU. LOVE, KELLY.
Sam is surprised as he tosses the note in the seat and starts

his car.
SAM
Damn, I forgot!
(CONTINUED)
96.
CONTINUED:
Sam backs out of his parking place and speed forward. He goes
toward the Studio security gate.
The Guard yells out to him as he gets close.
SECURITY GUARD
Hey, slow it down!
Sam slows down and drives through the Gate.
SAM
Sorry, I'm very late.
The Guard looks at him with a stern look on his face as he

passes and then suddenly change his expression to a big smile
and is very friendly.
SECURITY GUARD
Oh, Hello Mr. Bass.
Sam smiles and drives on.
SAM
How'd he do that?
INT. SAM'S VEHICLE
Sam drives and switches on the radio. He turns onto Pico

Boulevard and speeds down the street.
DISSOLVE TO:
EXT. BEVERLY HILLS CAFE - DAY
Sam drives slowly past the cafe looking for a parking place.
He sees Kelly sitting inside and then spots a parking place.

He turns his car into the metered space and parks. Sam
hurriedly gets out and runs toward the cafe.
Sam sees the same policemen slowly drive by that gave him a
ticket. The policeman on the passengers side sees him and
speaks as they pass.
POLICEMAN
Congratulations Mr. Bass.
Sam smiles and waves as he hurries to the cafe.
SAM
News travels fast.
97.
INT. BEVERLY HILLS CAFE - DAY
Sam walks inside.
Kelly looks up and is happy to see him. Sam goes to her table
and kisses Kelly on the cheek as he sits down. Kelly smiles
lovingly at Sam. Sam starts his alibis for being late.
SAM
Kelly honey, I'm sorry I'm late.
I had an appointment and...
Kelly interrupts him and holds his hand.
KELLY
Sam you don't have to explain,
it's okay. Now listen I have big
news. Are you focused?
Sam smiles and anticipates Kelly.
SAM
What news? Is it good? Needs to be
good.
Kelly smiles and looks like she is holding onto a big secret.
KELLY
Well...
Sam is dying to know?
SAM
What Kelly. I waiting here.
KELLY
I got a new job.
Sam looks at her with a happy face.
SAM
And?
KELLY
And I got a part, co-starring
in a big movie!
Sam is very happy.
SAM
You never told me you where an
actress.
(CONTINUED)
98.
CONTINUED:
Kelly earnestly explains.
KELLY
All waitresses and waiters are
aspiring actors in Hollywood.
Besides you were so busy, you
didn't notice. Now, we can do some
of the things we have always wanted
to do.
Sam fakes a look of disappointment and shakes his head.
SAM
Well, I guess... we could do them
before we start the six picture
deal I signed with the studio,
that's why I was late.
Kelly is very happy.
KELLY
Let's start now?
SAM
Right now.
Kelly goes into her pocket and throws a ten dollar bill on
the table. She gets up.
KELLY
Let's go!
Sam is surprised, gets up and speaks as he follows Kelly out.
SAM
Where?
Kelly looks at him then a TV on the wall of the cafe.
The TV is tuned to the Power Ball lottery drawing show.
CLOSE ON THE TV - The host is draw floating number balls from

the plastic box before him.
HOST
And the last number and multiplier
is sixteen. That's sixteen. If you
got it call in.
All of the numbers show on the screen.
Sam takes a lottery ticket from his pocket and looks at it.
(CONTINUED)
99.
CONTINUED: (2)
Kelly takes the ticket.
KELLY
Come on. You play those too much.
SAM
But...
KELLY
No but's.
She puts the ticket in her pocket and pulls Sam through the
front door.
EXT. BEVERLY HILLS CAFE - DAY
Kelly and Sam walk toward his car.
SAM
Where are we going?
Kelly answers as they walk.
KELLY
Shopping!
SAM
Shopping I love shopping and we
actually have money. Oh, wait..
KELLY
We don't have the money yet.
SAM
I really wanted to check my Power
Ball ticket.
KELLY
We'll check it when we get home.
Let's go shopping.
SAM
What about the money?
They stop and look at each other.
SAM AND KELLY

Credit cards.
INT. LARGE MALL DEPARTMENT STORE - DAY
Kelly and Sam walk through the store loaded with packages.
(CONTINUED)
100.
CONTINUED:
Sam sees Lillian and looks almost shocked. He had forgotten

her.
Lillian's eyes meet Sam's.
KELLY
Who is that.
SAM
Some one I once knew.
Kelly looks at Sam as he stares at Lillian across the isle

walking toward them.
KELLY
Is that Lillian?
SAM
Yeah.
Kelly understands and speaks to Sam in an understanding tone.
KELLY
I'll be shopping over here in
the women's department. When you
are finished come get me.
Sam acknowledges as he keeps his eyes on Lillian.
SAM
Okay.
Kelly shrugs and speaks as she walks away.
KELLY
And pull your head out of ass.
Sam is still looking at Lillian.
SAM
Okay.
Lillian stops in front of Sam. He feels awkward with all of

his packages.
LILLIAN
Sam, how are you?
SAM
I'm fine.
Lillian hugs Sam, without a response from him. He holds his

packages like a defense mechanism against Lillian.
(CONTINUED)
101.
CONTINUED: (2)
LILLIAN
Looks like you've been shopping.
SAM
Yes.
LILLIAN
I've been trying to find you.
Sam looks a little nervous.
SAM
What for? You got everything.
There's nothing else to get.
LILLIAN
Don't feel that way. Let's put that
awful time behind us. It was a bad
time and a mistake on my part.
Kelly looks at Sam and Lillian talking with a disappointed

expression on her face. She lip sync her words.
KELLY
Bitch.
Lillian smiles almost seductively at Sam.
LILLIAN
Your name has been in all the
papers and in the news. I wanted to
say congratulations.
SAM
Thank you?
Lillian starts her sales pitch.
LILLIAN
I made a terrible mistake about
you and me. I know that now.
SAM
You do?
Lillian tries to appear remorseful.
LILLIAN
You may come back home. I want you
to know, I still love you.
Kelly looks again at Sam and Lillian as she looks at clothes

and lip syncs again.
(CONTINUED)
102.
CONTINUED: (3)
KELLY
Son-of-a-bitch.
Sam just looks at Lillian with a blank look.
SAM
You do?
Suddenly Kelly walks to Sam's side and holds his arm.
KELLY
Hi.
Lillian tries to smile at her competition. Sam introduces

them.
SAM
ah, Kelly this is Lillian
an old friend. Very old.
KELLY
Hi.
Lillian tries to smile but can't totally do it.
LILLIAN
Hello.
KELLY
Sam, I'm going to the ZALE'S
JEWELERS. When you finish meet me
there. Burt called. He and Paul are
coming for Italian.
SAM
Okay, I'll be there in a
minute.
Kelly looks Lillian over and walks away.
Lillian looks into Sam's eyes and starts to speak. Sam stops
her as she begins.
SAM (CONT’D)
Don't Lillian. I'm sorry, I
could never be sure of you, whether
it is true that you want to come
back or you're back for the money.
Besides I love Kelly and that won't
change.
Lillian isn't going to give up that easily.
(CONTINUED)
103.
CONTINUED: (4)
LILLIAN
Sam, it's not because of
your success, it's because I
love you.
Burt and Missy walk up with Paul and Sharon.
BURT
Hey Sam, where's Kelly. We're
having Italian at CARINO'S to
celebrate.
SAM
Great, okay.
BURT
Hello Lillian, Crawling back?
Lillian is irritated.
MISSY
Leave her alone. Because she is.
LILLIAN
I see you're a bottom feeder now.
MISSY
And loving it. I'm a sucker.
BURT
Missy's, reformed from her evil
ways, maybe you should consider it.
LILLIAN
I fine with evil.
Missy and Burt are amused.
PAUL
Hi Lillian, well gotta run.
Lillian nods.
SHARON
I'm Sharon. I heard so much bad
about you. Sorry, we can't talk,
but we've got to find Kelly.
Sam's friends turn and go.
LILLIAN
Bye, I hope you all die painful
deaths. The quicker the better.
(CONTINUED)
104.
CONTINUED: (5)
Paul turns back.
PAUL
You wanta come Lillian?
LILLIAN
Funny.
Sam looks at his friends.
SAM
I'll be there in a minute.
Burt speaks to Lillian as he walks away.
BURT
Bye Lillian, try not to be
yourself.
Sam looks at her with glazed eyes.
LILLIAN
What about us Sam?
SAM
It's to late Lillian. Your too much
about money and not much about
love. Good bye.
Sam turns and walks away. Lillian watches him with tears in
her eyes.
LILLIAN
You'll be sorry.
SAM
I doubt it.
INT. MALL HALLWAY
Kelly is standing in front of an electronics store watching a

TV in the window next to ZALE's JEWELRY store holding Sam's
lottery ticket. She looks at the ticket and then the TV where
a new person is talking about the lottery number.
CLOSE ON THE TV - A number comes on the screen and starts

flashing - $296,000,000. A sentence runs across the bottom of
the screen - a winning ticket in Los Angeles. Who could it
be?
Kelly starts squealing and looking at the ticket.
(CONTINUED)
105.
CONTINUED:
Sam walks to the Kelly and his friends. They all gather
around Kelly. Kelly greets him with a hug.
Kelly points at the ticket and the TV screen. Sam looks at

the ticket and then the TV and does a victory dance. The
friends crowd in and look at the ticket.
CLOSE ON - Lillian's eyes are filled with tears as she

watches.
FADE OUT.
THE END

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EXT. RURAL TWO LANE HIGHWAY - DAY

The scenery is baron. A few Yucca grow across the landscape.

A HARLEY-DAVIDSON NIGHTSTER motorcycle and rider blast past a

CLOSE ON THE SIGN - Speed Limit, 55.

Suddenly a FORD COBRA MUSTANG blast past the speed limit

The motorcycle speeds over a hill with the Mustang close

He is face to face with a lizard.

The biker rolls to dodge the bullet. He gets up and limps to

Sam manages to get off two shoots before he is pinned down

Sam stands and starts shooting at the biker. A voice is heard

The director rolls his eyes and takes a drink of SEVEN-UP

INT. CONVENIENCE STORE - MORNING

Sam walks into a small neighborhood convenience store. The

CLOSE ON THE TV - A news reporter is giving the news.

TELEVISION NEWS REPORTER

BURT KAHN, An average and happy thirty something immigrant

Sam smiles as he picks up an ENQUIRER magazine looking it

RYOBI, an elderly man wearing glasses with thick lense and

Ryobi moves on to the cooler takes out an OCEAN SPRAY

Ryobi sets his drink on the counter.

Burt lies one on the table.

Ryobi picks it up and opens the wrapper on his cigar. He puts

Burt rings him up.

Ryobi starts counting out small coins.

Sam puts the Enquirer down and looks at STAR magazine.

They all laugh. Ryobi drops his last coin.

The thug turns his attention back to Burt.

Sam backs up slightly and trips over a store display. He

The two thugs glance at Sam.

Sam acknowledges the thug by putting his hands up higher.

Burt ducks behind the counter and comes up with a double

The thugs shoot back.

Sam is on the floor scrambling for cover as debris flies over

Burt shoots again and hits one of the thugs.

The criminal drops to the floor seriously wounded.

The second thug shoots two more times.

Burt ducks and shoot back.

The man is hit in the shoulder. He falls back against a

Burt checks his shotgun and reloads while watching the

Sam jumps to his feet and starts writing in a note pad. A

Burt looks at him as he leans his shotgun against the

Sam looks at him with a question on his face.

INSIDE TO OUTSIDE - A police car from across the street turns

The policeman, OFFICER BURNS comes through the door looking

The Officers looks at Sam.

OFFICER BURNS (CONT’D)

EXT. SIERRA APARTMENTS, LOS ANGELES - MORNING

A clean very well landscaped, but aging stucco apartment

SUB-TITLE - THREE MONTHS LATER

MISSY, a young very pretty woman in her twenties dressed in

Missy opens the car door to her new black MERCEDES-BENZ

She gets into her car starts it and backs out.

Burt comes out of his nearby apartment.

He sees Missy backing up. She bumps the Volvo's vulnerable

INT. MISSY'S MERCEDES-BENZ

She looks back through her back window and smiles.

The quarter panel dent is visible.

She sees Burt.

EXT. SIERRE APARTMENTS

Burt looks closer at the dent as he moves across the parking

Missy looks out her window.

She begins to back out.

Burt watches her. Ryobi Comes out of his apartment.