This action might not be possible to undo. Are you sure you want to continue?
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 wantta-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.
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.
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.
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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.
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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? Playboy. SAM
RYOBI No, I like the internet. They all laugh. Ryobi drops his last coin.
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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. Oh shit. SAM
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.
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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.
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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.
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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. Asshole BACK TO SCENE MISSY (O.C.)
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.
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.
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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.
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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-LS'. 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.
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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? Yeah. SAM
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.
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SAM Her anger management is not working. BURT She's rude too. And evil. SAM
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?
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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. No Missy. BURT
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. 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. BURT
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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. What? MRS. FISHBINE
SAM Nothing. She's just a little mixed up. MRS. FISHBINE In the head. She devil.
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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. Sort of. BURT
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.
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. Crap! SAM
The radio disc jockey comes on and suddenly speaks pleasantly.
DISC JOCKEY (RADIO V.O.) Morning road warriors, this is K-NT-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. 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. SAM
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. Yes. SAM
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.
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.
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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. Well I... SAM
The male voice cuts him off again.
MALE (PHONE V.O.) We don't accept calls before one P. M., but you need not call back. But you... SAM
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)
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.
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. What for? GABRIELLA
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. What? GABRIELLA
SAM You're the queen of big. Gabriella closes her car door still looking at Sam. She rolls her window down.
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(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. I never. GABRIELLA
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. Hey Burt. SAM
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.
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. We know. BURT
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. Oh shit. SAM (CONT’D)
STREET PERSON Give me your money. Ryobi rolls his eyes.
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RYOBI Shoot that dummy. He brought a knife to a gun fight. SAM Stop talking Ryobi. He's serious. RYOBI Me too. Shoot'em. Shut up. STREET PERSON
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.
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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.
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. Sure. SAM
Lillian sits on the sofa. Sam puts his hand on hers and she pulls away.
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.
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.
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 getting dark and Sam looks at the radio Sam smiles. He continues to stare for a steering wheel. His eyes glaze slightly to himself. with Lillian. It is as it plays a song. moment and hits the with water. Sam talks
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.
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.
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.
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. In-law. POLICEMAN
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. Ass wipes. SAM
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.
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?
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. Coming up? KELLY
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.
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. Well... PAUL
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.
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 rename you after a drill, cause you screwed everybody. Ryobi sits with them. RYOBI Yeah, screwed up. Like you mutts.
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.
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 Hey Pauly! BARTENDER
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, doofusss 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? Yeah. SAM
Paul looks at the front door and sees Kelly with Missy and Sharon her girlfriend walking in. Burt doesn't notice. Corny. BURT
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. I'll play. SHARON
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.
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. What? SAM
KELLY I can tell. SAM Is Missy your friend? My cousin. Sam Smiles. She's... SAM KELLY
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.
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. Oh Burt. MISSY
Burt smiles at Sam. He and Missy start walking out. Sam looks at Kelly.
47. CONTINUED: (4)
SAM What the... Kelly shrugs. KELLY She's a little nuts, but she likes Burt. Okay then. SAM
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. Country? SAM
BURT What is country. Soft rock. KELLY
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.
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. It's late. MISSY
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.
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. Hello! MADISON (TELEPHONE V.O.)
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. MADISON (TELEPHONE V.O.) 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. MADISON (TELEPHONE V.O.) Come over here as soon as you can. I need to get started. SAM How about this morning? MADISON (TELEPHONE V.O.) Good, Do you remember where I live? Sure. SAM
MADISON (TELEPHONE V.O.) I'll be here for a couple of hours.
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. Cheap ass. BUM
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. 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. BUM
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. Yes. RECEPTIONIST (SPEAKER V.O.)
SAM I'm Sam Bass, here to see Mr. Madison. Sam waits for a few seconds. Who? RECEPTIONIST (SPEAKER V.O.)
SAM Sam, Sam Bass. There is total silence for a moment. RECEPTIONIST (SPEAKER V.O.) 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. RECEPTIONIST (SPEAKER V.O.) Did you call me an ass again? SAM No. You guys need to fix your speaker. RECEPTIONIST (SPEAKER V.O.) What's a squeaker? Never mind, may I have your name please? Sam Bass. SAM
RECEPTIONIST (SPEAKER V.O.) Larry David? Who? SAM
52. CONTINUED: (2)
RECEPTIONIST (SPEAKER V.O.) Oh, Mr. David. I love your show. Wasn't that Curb your intrusion? SAM No, Curb Your Enthusiasm. RECEPTIONIST (SPEAKER V.O.) 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. Yes? RECEPTIONIST (SPEAKER V.O.) (CONT’D)
Sam composes himself. SAM Open the gate please! All right. RECEPTIONIST (SPEAKER V.O.)
Sam waits. A few seconds passes. RECEPTIONIST (SPEAKER V.O.) (CONT’D) Is that you Sam? Sam is frustrated. Yes! SAM
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. RECEPTIONIST (SPEAKER V.O.) No, Curb Your Enthusiasm. Come on in. SAM Someone should curb your enthusiasm.
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. 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. Thank you. MAINTENANCE MAN (CONT’D) SAM
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. Yes? RECEPTIONIST
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.
The receptionist hangs up. Sam is still waiting. She looks at him wondering what he wants. RECEPTIONIST (CONT’D) 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. RECEPTIONIST (CONT’D) Go on back Sweety. Ryobi gets up. RYOBI Thanks gorgeous. She smiles shyly and looks at Sam. RECEPTIONIST Okay, Larry? No Sam. 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.
56. CONTINUED: (2)
RECEPTIONIST Oh, I'm sorry Mr. Madison is with ah... Nobody? SAM
The receptionist smiles big and nods. RECEPTIONIST Right, go on in. Sam is wondering where to go and waits for a moment. Where? SAM
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.
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? Sam Bass. RYOBI
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?
CHERRY Yeah, sorta. You here ta see Mr. Madison? Sam nods. Sort of. SAM
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. Thanks. SAM
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.
MADISON Good. We got urgent business. Great. SAM
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. No, why? SAM
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.
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)
61. CONTINUED: (3) MADISON (CONT'D) We also want publicity. Let the world know what you're after.
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. Yeah? MRS. ROSENSTEIN (INTERCOM V.O.)
SAM Mrs. Rosenstein? MRS. ROSENSTEIN (INTERCOM V.O.) Yeah! Who wants to know? SAM I'm Sam Bass, Mr. Madison... She interrupts. MRS. ROSENSTEIN (INTERCOM V.O.) 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.
Sam starts to walk forward. Mrs. Rosenstein's loud course voice comes over the tenant intercom outside the front doors. MRS. ROSENSTEIN (INTERCOM V.O.) 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. Hello Mr.? MRS. ROSENSTEIN
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. No ma'am. SAM
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.
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.
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. That's it? SAM
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.
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.
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.
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. Call me. Right. MRS. ROSENSTEIN (O.C.) SAM
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.
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. Mr. Bass, BLAIR 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. Thank you. SAM
BLAIR You are very popular now.
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. Missy. BURT
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.
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. Mr. Bass? BEN
Sam stops and is concerned about the stranger calling for him. SAM Who wants to know?
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.
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.
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. Hello! MADISON TELEPHONE (V.O.)
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. MADISON TELEPHONE (V.O.) 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. MADISON TELEPHONE (V.O.) 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? MADISON TELEPHONE (V.O.) Just do your interviews. I need this story! Keep shaking things up, buddy. Make more noise.
74. CONTINUED: (2)
Sam is still concerned but needs the money. SAM I don't like getting my face punched in, I... Madison interrupts. MADISON TELEPHONE (V.O.) 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. MADISON TELEPHONE (V.O.) 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.
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. Thank you. SAM
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.
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. MR. BRILL (CONT’D) 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. MR. BRILL (CONT’D) 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?
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? Got it. SAM
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)
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? Yes. SAM
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.
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.
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.
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.
proudly looks at it.
l i es
t he sc r eenpl ay
d o wn
up t he
ma n u s c r i p t
CLOSE ON THE MANUSCRIPT COVER - "THE POPE OF HOLLYWOOD", manuscript, written by Sam Bass.
He turns and picks up the phone and dials. Mr. Madison answers. Hello! MADISON (TELEPHONE V.O.)
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. MADISON (TELEPHONE V.O.) 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. MADISON (TELEPHONE V.O.) 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.
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-abitches. 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.
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? Yeah, so? SAM
The reporter responds.
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. No, what? SAM
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)
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. Go boy. RYOBI
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. What? SAM
Ryobi smiles and nods.
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. Go kid. RYOBI
Sam embraces his friend. They look at the film crew filming them and quickly break the embrace.
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.
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.
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.
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.
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. No. SAM (O.S.)
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. Me. MADISON
Sam smiles at them and walks out of sight. No. SAM
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.
A pretty secretary looks up and smiles. Mr. Bass? SECRETARY
Sam acknowledges by nodding his head. Yes. SAM
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.
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. Sure. SAM
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.
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. Great. SAM
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!
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.
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. Well... KELLY
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. And? SAM
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.
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? Right now. SAM
Kelly goes into her pocket and throws a ten dollar bill on the table. She gets up. Let's go! KELLY
Sam is surprised, gets up and speaks as he follows Kelly out. Where? SAM
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.
99. CONTINUED: (2)
Kelly takes the ticket. KELLY Come on. You play those too much. But... No but's. SAM KELLY
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. Shopping! KELLY
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.
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? Yeah. SAM
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. Okay. SAM
Kelly shrugs and speaks as she walks away. KELLY And pull your head out of ass. Sam is still looking at Lillian. Okay. SAM
Lillian stops in front of Sam. He feels awkward with all of his packages. LILLIAN Sam, how are you? I'm fine. SAM
Lillian hugs Sam, without a response from him. He holds his packages like a defense mechanism against Lillian.
101. CONTINUED: (2)
LILLIAN Looks like you've been shopping. Yes. SAM
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. Bitch. KELLY
Lillian smiles almost seductively at Sam. LILLIAN Your name has been in all the papers and in the news. I wanted to say congratulations. Thank you? SAM
Lillian starts her sales pitch. LILLIAN I made a terrible mistake about you and me. I know that now. You do? SAM
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.
102. CONTINUED: (3)
KELLY Son-of-a-bitch. Sam just looks at Lillian with a blank look. You do? SAM
Suddenly Kelly walks to Sam's side and holds his arm. Hi. KELLY
Lillian tries to smile at her competition. Sam introduces them. SAM ah, Kelly this is Lillian an old friend. Very old. Hi. KELLY
Lillian tries to smile but can't totally do it. Hello. LILLIAN
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.
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.
104. CONTINUED: (5)
Paul turns back. PAUL You wanta come Lillian? Funny. LILLIAN
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.
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.
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