I’m not sure if the scene below is finished or not. It feels unfinished, but I’m not sure what I should add to it. So I’ll just leave it open in case I think of something in the next day or so.

(Pages 64, 65, 66 & 67)
INT. CAR – NIGHT

Martin is driving his car. In the back seat are Dino and Sherry. Dino
is passed out and Sherry is tending to his face.

Martin looks back in the mirror.

SHERRY
Shouldn’t we take him to the hospital?

MARTIN
He’ll be fine. It’s the drug making him sleep.

SHERRY
What did you give him?

MARTIN
Sodium pentothal. The truth serum.

SHERRY
Really? That’s real?

MARTIN
The drug is real. The effects are often questioned. Some don’t think it works and others do.

SHERRY
What do you think?

MARTIN
I think it works on some people and not on others.

SHERRY
Do you think it worked on Dino?

MARTIN
If I didn’t, he’d be dead right now.

Sherry runs her hand over Dino’s face. She lightly slaps him. Dino doesn’t respond.

SHERRY
Do you have any water?

MARTIN
Yeah.

Martin hands her a water bottle.

Sherry pours some water in her hands and splashes it on Dino.

MARTIN
You should let him sleep. He’s not going to feel too good for the next
few days.

Sherry ignores him and pours more water on Dino’s face. This time Dino reacts.

DINO
Mmmmm. Mmmmm. What?

SHERRY
Get up, honey.

DINO
What? What?

SHERRY
Wake up, I want to talk to you.

DINO
I’m up.

SHERRY
Do you love me?

DINO
Of course I love you. Why would you ask me that?

SHERRY
I just needed to know.

Sherry strokes Dino’s face some more. She kisses him.

SHERRY
Do you love your wife?

DINO
Yeah, I love my wife. What’s going on here?

SHERRY
Do you plan on leaving her for me?

DINO
It’s moot. She left me.

SHERRY
If she didn’t leave you, would you have left her for me?

DINO
No. I don’t think I could’ve.

SHERRY
Then why were you with me? Why did you keep telling me you were going to leave her?

DINO
Because I didn’t want you to leave me.

Sherry starts tearing up.

SHERRY
So it was okay for me to be with a man that was never going to leave his wife.

DINO
I don’t know what you want me to say.

SHERRY
The truth, asshole! I just want the truth!

DINO
The truth? The truth is I only need you when I want to fuck. It’s not rocket science. What else do I need you for? I already have a wife.

Sherry turns away.

DINO
What? Now you’re upset? Jesus, that’s why you can’t be honest with anyone. No one wants the truth. What’s the difference? I’m with you now anyways. Isn’t that whats important?

SHERRY
I wish it was. I wish it was.

DINO
What’s that mean?

MARTIN
Hey, Dino?

DINO
What?

MARTIN
Shut up and go back to sleep.

I’m enjoying this so much that I’ve already started my next spec script. But one project at a time.

(page 63)
INT. PARTY STORE – NIGHT

Sam is next in line at the party store. A FEMALE CUSTOMER is ahead of him.

The CASHIER #2, 26, is middle eastern.

The Cashier hands change back to the Female Customer.

CASHIER #2
Here you go, ma’am. Have a nice night.

The Cashier #2 looks at Sam. Sam is standing with his eyes closed.

CASHIER #2
Can I help you?

Sam appears to be sleeping.

CASHIER #2
SIR!

Sam opens his eyes.

SAM
Oh yeah, sorry. I need some liquor. Something cheap.

The Cashier #2 gives him something in a small bottle.

SAM
No, no, no. Something bigger. A pint at least.

The Cashier #2 grabs a pint of vodka.

CASHIER #2
It doesn’t get cheaper than this.

SAM
That’ll work.

CASHIER #2
Three-fifty.

Sam gives him the cash and they complete their transaction. Sam stumbles out of the party store and the Cashier #2 watches him as he goes.

Cashier #2 shakes his head in disbelief. Another CUSTOMER is at the counter.

CASHIER #2
Some people don’t know when to say when.

CUT TO:

(pages 59-62)
INT. BAR – NIGHT

Sam is sitting at the bar barely able to keep himself upright. He’s
drunk. His cellphone starts ringing. He answers it.

SAM
Hello?

JIMMY (O.S.)
Look, Sam, Martin just got finished with Dino and he doesn’t think he stole your money.

SAM
Bullshit! That’s fucking bullshit and you know it!

JIMMY (O.S.)
I really don’t know what the fuck to tell you. I really don’t care where my money comes from, I just want my money. Now it’s on you.

SAM
Fuck you, Jimmy! I don’t know what kind of scam you’re pulling on me, but you’re not getting another fucking nickel from me.

There’s a several second pause. Jimmy has hung up.

SAM
Jimmy? Jimmy? God damn it!

Sam smashes his phone on the ground. It startles everyone in the bar.

JOEY
Whoa, whoa, Sam calm down.

SAM
I’m calm. I’m fine. Give me another drink.

JOEY
Sorry, Sam, it’s not going to happen. Let me call you a cab.

SAM
I don’t want a cab. I want another drink.

JOEY
Sam.

Joey stares at Sam for a couple of seconds until Sam gets the meaning.

SAM
Fine. Fuck it. I’ll go somewhere else.

Sam stumbles out the door.

INT. PERRY’S CAR – NIGHT

Perry is driving a nice black sedan. He’s driving in an upscale suburban area with large houses. He looks at the houses as he passes them. He glances on a piece of paper with an address on it.

Perry sees the house and pulls his car into the driveway.

EXT. SUBURBAN HOME – NIGHT

Perry exits the car and walks to the front door. He rings the doorbell.

A middle-aged attractive WOMAN, 47, opens the door. She’s holding a TODDLER, 2, in her arms.

WOMAN
Can I help you?

PERRY
Hello, I’m looking for Jerry. Is he home.

WOMAN
Yeah. Hey, Jerry!

JERRY (O.S.)
Yeah?

WOMAN
There’s someone here to see you.

PERRY
Is that your baby?

WOMAN
No. It’s my grand-daughter.

PERRY
Oh, really? You don’t look old enough to be a grandmother.

WOMAN
Thank you.

JERRY, 46, a very normal looking white man with glasses, walks into the foyer from the hallway.

JERRY
Can I help you?

PERRY
Jerry Miller?

JERRY
Yeah, that’s me.

PERRY
Do you mind if we talk outside in private?

Jerry looks at his wife and shrugs his shoulder.

JERRY
Sure.

Jerry exits the house and shuts the door behind him.

INT. SUBURBAN HOME – CONTINUOUS

Woman peeks behind a curtain to watch the conversation.

EXT. SUBURBAN HOME – CONTINUOUS

JERRY
What’s this about?

PERRY
You’re going to take a ride with me, Jerry.

JERRY
I’m sorry?

PERRY
There’s a young woman in the hospital that you’re going to apologize to.

JERRY
I’m sorry, but I think you’ve got the wrong guy.

PERRY
I never get the wrong man, but we can let the girl decide that. You just need to get in the car.

JERRY
Are you the police?

PERRY
No.

JERRY
Then I don’t have to go anywhere with you.

PERRY
Jerry, I think you’d be better off dealing with me than the police on this one. Don’t you think?

JERRY
I think you better get the fuck off of my property is what I think.

Perry punches Jerry right in the face and Jerry drops to the ground.

Perry punches him again and Jerry lays still on the ground.
Woman comes running out of the house with toddler in arms.

WOMAN
Hey! What are you doing!? Leave him alone!

PERRY
Ma’am, I think it’s best you stay in the house. Tell her, Jerry.

Perry flashes his gun to Jerry.

JERRY
Get in the house, Elizabeth.

ELIZABETH
What’s going on?

Jerry turns to look at her.

JERRY
Just get in the house. It’ll be okay.

Elizabeth backs into the house and shuts the door.

Perry grabs Jerry by the arm to lift him up.

PERRY
Let’s go.

CUT TO:

Martin exits the storage unit. He takes out a pack of cigarettes and lights himself a smoke. His knuckles are cut and bleeding. He then takes out his cell phone and makes a call.

JIMMY (O.S.)
Yeah?

MARTIN
I’ve got nothing, Jimmy. I’ve heard a million different stories, but he hasn’t told me what I want to hear.

JIMMY (O.S.)
What do you think?

MARTIN
I think he’s got one of the greatest imaginations I’ve ever seen, but I don’t think he stole that money from us. He says he found the suitcase in a trash can down by Hart Plaza empty. And I believe him.

JIMMY (O.S.)
All right, cut him loose. Tell him we’re sorry.

Martin hangs up.

Martin looks up. It’s a full moon.

Martin finishes his cigarette, throws it on the ground and stomps it out.

Martin enters the storage unit.

CUT TO:

I recently met up with one of my friends that is following the script and he gave me some more great feedback. He says that Sam is getting lost and the characters are too stereotyped. I agree with him. It’s something I’ve thought about as I was writing and it’s something I’m going to tackle in the rewrites. One thing I’m concerned about with this type of film is that the characters can quickly become caricatures. There’s a fine line I have to walk. Right now, I’m just drawing the outline. Later, I’ll start filling in the details.

(pages 55, 56 & 57)
INT. PERRY’S APARTMENT – NIGHT

Perry is sitting in a chair listening to Greek music. He pulls out a
tray of weed from under his chair. He rolls a joint and starts smoking it.

Perry takes a look at his watch. He pulls out his cell phone and makes a call.

Sophia answers the phone.

SOPHIA (O.S.)
Hello?

PERRY
Sophia, baby, where are you?

SOPHIA (O.S.)
I’m sorry, Perry, I forgot to call you. I can’t make it tonight. I may not be able to see you in a while.

PERRY
Why not?

CUT TO:

INT. HOSPITAL – NIGHT

Perry enters a wing of the hospital. He enters a room.

Sophia is in a bed. Her face is barely recognizable. It’s swollen, black and blue with both eyes blackened. She sees Perry and covers her face.

SOPHIA
Perry, I told you I didn’t want you to see me like this.

Perry walks to her bedside. He grabs her hands and pulls them away. She looks aways.

PERRY
Hey, hey, hey…

Perry tilts her head back towards him.

PERRY
You’ll always be beautiful to me. You never have to worry about what you look like on the outside to me.

Sophia starts crying.

Perry leans over and kisses her cheek.

PERRY
Who did this to you?

SOPHIA
I don’t know. I mean, I have a first name, but the number was blocked. And I’m sure it wasn’t his real name.

PERRY
Where did you meet?

SOPHIA
At my place.

PERRY
Where’s your phone?

SOPHIA
It’s right behind you.

Perry turns around and finds it. He picks it up and scrolls through the calls.

PERRY
Is this the call, at eight-thirty?

SOPHIA
Yeah.

Perry makes a phone call.

NICK answers.

PERRY
Hey, Nick, it’s Perry.

NICK
Hey, Perry.

PERRY
I need a favor. The number I’m calling you with had a blocked number call them at eight-thirty this afternoon. Can you find out what number that was?

NICK
I’ll try. Hold on a sec.

PERRY
(to Sophia)
This is what I do. I find people who don’t want to be found.

SOPHIA
Like a bounty hunter?

PERRY
Kinda. But I don’t report them to the cops.

NICK
Hey, Perry.

PERRY
Yeah, Nick?

NICK
Got a pen?

Sam is driving. He drives up to a bar and slows down. He stops the car and looks at the bar. He then drives away.

Several seconds pass and he makes a sudden u-turn cutting off someone.

He pulls up to the front of the bar and exits his car.

INT. BAR – CONTINUOUS

Sam enters the and walks to the counter.

Joey is tending bar.

JOEY
Hey, Sam!

SAM
Joey, give me a scotch with a water back.

JOEY
I thought you quit.

SAM
A bartender should never ask his customers if they’ve quit drinking.

JOEY
Yes, sir.

Joey pours Sam a scotch and a glass of water and gives it to him.
Sam drinks his scotch in one gulp.

SAM
Another.

CUT TO:

(pages 49, 50, 51, 52 & 53)
INT. CAR – CONTINUOUS

Martin is driving and Dino is in the passenger street.

Martin’s phone starts ringing. Martin answers it.

MARTIN
Hello?

JIMMY (O.S.)
Martin, it’s Jimmy.

MARTIN
Yeah, Jimmy?

JIMMY (O.S.)
I’ve got Sam here and he’s telling me that Dino’s case was his case.

MARTIN
Is that so?

JIMMY (O.S)
It appears so. I want to know how he knows my business. And no bullshit stories this time.

MARTIN
Yes, sir.

Martin hangs up.

DINO
Any problems?

MARTIN
Nope. Turn here.

INT. RESTAURANT – CONTINUOUS

Perry, Jimmy and Sam are sitting at the booth.

JIMMY
We still have a problem.

SAM
What problem?

JIMMY
You still owe me three hundred grand.

SAM
What the fuck are you talking about? I’m telling you this IS my money.

JIMMY
I’m getting fucked either way and I don’t like getting fucked. I do the fucking. Go home. I’ll we’ll call you when Martin is done and we’ll get this figured out. All I know is that between the two of you, I have five hundred and fifty thousand coming to me and I don’t give a fuck how it gets here, but it better fucking be here.

EXT. STORAGE UNITS – DAY

Martin and Dino’s vehicle pull into a Storage Unit business and stop at a unit.

INT. CAR – CONTINUOUS

DINO
What the fuck? You’ve got her in a fucking garage?

MARTIN
I’m not going to take her home with me.

DINO
What about a hotel?

MARTIN
Too expensive.

Martin exits the vehicle. Dino follows.

EXT. STORAGE UNITS – CONTINUOUS

Martin walks over to the unit and unlocks the padlock. He thrusts the unit open.

INT. STORAGE UNIT – CONTINUOUS

Inside the unit is a sofa and a chair with newspapers and takeout boxes littering the ground.

Sherry is gagged on the sofa with her feet bound behind her back to her hands. She’s laying on her stomach. Her eyes get wide when she sees Dino.

Dino rushes over and starts kissing Sherry.

DINO
Oh, Sherry, baby, I’m so sorry. I’m so so sorry. What have they done to you? Untie her you prick!

MARTIN
Well, you see, that’s going to be a problem.

Martin is in the storage unit as he slams the door down shutting them all inside.

DINO
What the fuck are you doing, asshole?

Martin takes out his gun from his chest holster and starts screwing in a suppressor.

MARTIN
Sorry, Dino. Bosses orders.

DINO
Nooooooo!

Dino jumps up to attack Martin, but Martin puts a bullet into his knee.

Dino topples over.

DINO
AAAAAAAAAHHH! You motherfucker! I’m going to kill you, you motherfucker!

Martin puts his gun away. He picks Dino up and puts him into the chair.

DINO
Why the fuck are you doing this? I fucking paid, I fucking paid.

Dino is starting to cry.

MARTIN
Put your hands behind your back.

Dino is holding his wounded knee.

DINO
Fuck you!

Martin takes out his gun and places it on Sherry’s temple.

DINO
Okay, okay, okay.

Dino places his hands behind his back.

Martin puts his gun away. He removes his tie and ties Dino’s hands with it.

Martin takes out a switch-blade and starts cutting up Dino’s shirt. He uses the pieces to tie Dino’s feet to the chair’s legs.

Martin stands up straight and puts his knife away.

MARTIN
Where did you get the money?

DINO
I told you, I won the lottery.

MARTIN
Look, Dino, I know you don’t know how to tell the truth with all these women you’re juggling and the fucking different lives you’re living, but this time it’s very important you tell the truth. Jimmy’s taken the governor off me and I can be very mean without my governor on.

DINO
Please, Martin, you have to believe me, I actually hit the fucking lottery.

MARTIN
Jesus Christ. Well, I can see we’re going to be here all day. I’m going to get some pizza. What do you like on yours?

DINO
How else could I have come up with the money?

MARTIN
Oh, there are lots of ways to come up with money. Theft is usually the easiest way.

DINO
I didn’t steal it. I swear to God I didn’t steal it.

MARTIN
You believe in God, Dino?

DINO
Yeah, yeah, I believe in God.

MARTIN
You’re out cheating on your wife, stealing money, dealing drugs and God knows what else you do, and you believe in God. You oughta be ashamed of yourself.

DINO
You’re a fucking murderer!

MARTIN
I don’t believe in God. I can do whatever I want. And I usually do.

DINO
Then you’re going to hell.

Martin starts laughing.

MARTIN
Very funny. Well, I’m going to get the pizza. I already know what she likes on hers. What do you want on yours?

DINO
I’m not hungry.

MARTIN
Suit yourself.

Martin takes out a handkerchief and shoves it into Dino’s mouth.

Martin opens the door and closes it behind him.

CUT TO:

(pages 47 & 48)
INT. RESTAURANT – CONTINUOUS

Sam enters and sees Jimmy sitting near the entrance.

Sam storms over.

SAM
What the fuck is going on, Jimmy?

Sam notices the briefcase on the table.

SAM
What the fuck is this? This is my briefcase!

JIMMY
What do you mean, your briefcase? Someone else just came in here with it.

SAM
I mean, this is the briefcase I dropped off to you the other night. The one Martin says you didn’t get.

JIMMY
What do you mean the other night?

SAM
What am I, talking in riddles? I feel like I’m starting to lose my mind here. If someone doesn’t start explaining things to me, I’m going to do things you’ll regret.

JIMMY
Sam, Sam calm down. Have a seat.

Sam sits down and inspects the briefcase.

JIMMY
Start from the top. Tell me the story from the beginning.

SAM
Okay, the other night, Tuesday night, er, Wednesday morning, at three in the morning, I get a phone call asking for the money. I thought it was Martin, but he says it wasn’t him nor was it you. But anyways, the caller told me to drop it off down by the river because there was too much heat here at the restaurant. So I did. Then Martin comes around wanting the money that I already gave and I come in here and see it sitting right in front of you. Now I’m pissed because I think Martin is trying to double dip on me.

JIMMY
What do you know about this, Perry?

PERRY
All I know is that Martin was starting to lean on Sam because the money was due. We heard the story he was telling and it sounded like bullshit to us.

JIMMY
It sounds like bullshit to me to.

SAM
Oh, come on…

JIMMY
How would Dino know you owe me money? Dino doesn’t even know you. Do you know Dino?

SAM
No, I don’t know any Dino.

JIMMY
There you go.

SAM
Then he must know you’re business and he’s the one that called me and stole the money.

JIMMY
Let’s find out.

Jimmy takes out his phone and calls Martin.

DINO
What’s the difference? It’s here isn’t it?

JIMMY
The other day, there’s no chance of you coming up with the money and today you have the money. I find that interesting. Do you find that interesting, Perry?

PERRY
Very.

DINO
The craziest thing happened. I hit lotto for two hundred and fifty thousand dollars.

JIMMY
How fortunate.

DINO
Yes, it is.

Jimmy starts laughing.

JIMMY
You’re so full of shit, Dino. Whatever, the money’s here. If I cared about where my money came from, I’d be broke.

Martin enters the restaurant and walks over to the table.

MARTIN
What’s going on?

JIMMY
Dino hit the lottery and brought us our money back.

MARTIN
Oh yeah? The lotto? Really? Good for you, Dino.

DINO
Thanks.

JIMMY
I guess there’s only one thing left to do. Take him to his girl.

MARTIN
Yes, sir. Come on, Dino.

Perry gets up letting Dino escape.

Martin and Dino exit.

EXT. GREEKTOWN – CONTINUOUS

Martin and Dino leave the restaurant and enter a car parked in front.
As the vehicle drives off, another vehicle swoops in to take its place.

Sam exits the vehicle and walks into the restaurant.