Character Bios

Homer – Homer is a War Veteran in his late fifties, but looks much older, possibly due to his vagrancy. He is a man disillusioned with life who has “Stepped out” of normal society. He has a tendency to go on drinking binges, but this is not why he’s homeless. He is at his best when he has nothing, but it’s not so much fear of success that brings him down as it is contempt for society and normalcy.

Confucius – He is in his sixties, or perhaps older, but still clear enough of mind to call attention to moral and ethical questions that life presents. He is non-judgmental, but yet has a clear understanding of right and wrong. He tends to get more pensive as the opium kicks in.

Shakespeare – This is the bard later in life, in the late 40’s, when most of his greater works are behind him. Success has made him kind, and he seems to genuinely enjoy the company of those around him, even though he’s not above needling them or joking at their expense. He still seems to think in terms drama and the stage.

Descartes – At this point, Descartes is in his early 40’s, an aristocrat and in many ways a Renaissance man. He is well-versed in philosophy, math and science, and he is quick witted, when he’s sober.

Aristotle – The father of logic, Aristotle has little patience for abstract concepts. At this point in his life he is young, in his early thirties, and still feels the need to prove himself to be both worthy of and smarter than his teacher, Plato.

Plato – In his sixties and kind of a fatherly character, he believes in more ethereal concepts than his associates, and has more faith in the divine. He loves to talk, and will take over a conversation whenever he gets the chance.

The Libertarian – Part pirate, part womanizer and part shrewd businessman, the Libertarian is always a half step ahead of everyone around him, although they rarely realize it. He travels with his concubines, won from someone in the card game, no doubt.

Thespian Chef – All the world’s a stage, and the Thespian Chef who wears a regal mask, wants to be the biggest actor on it. Large, loud and quick with a recipe or two, the Thespian Chef commands attention whenever he enters a room.

The Bartender – Charming, dapper, and quick to give a free drink, this bartender is every tavern patron’s dream. He is essentially the barker and the ringmaster to the circus that is “The Zone” bar. He probably understands the secrets of the bar better than anyone, but he won’t tell.

Sage – Sage is the more modern of the Libertarian’s concubines, perhaps even a late 20^th century woman. She identifies strongly with Homer, as a modern man. She is not the preferred one of the concubines, and the Libertarian tends to let her go her own way, especially if it serves his purposes. She is red-haired, curvy and in her late twenties.

London – London is not just a concubine, but a prized possession and pet to the Libertarian.  She is blonde, young, physically perfect, and apparently devoted to her man. She speaks only when spoken to, but the Libertarian trusts her as a confidante. 

Scouting Locations For Movie

Here are some photo shots of locations that have a great chance of being filmed on camera for "Grand Lotto".

Harvard Square #1

Harvard Square #2

Harvard Square #3

Old Tavern #1

Old Tavern #2

Paramount Theater

Stunning and Beautiful Motion Picture Costumes

After a long search, I have found the costumes that will be used in the film. Below you will find period costumes for The Bartender, Sage, London, The Libertarian, Shakespeare, Confucius, Descartes, Aristotle, Plato.

INFAMY! The Notorious Philosophers and Pharaoh Table Scene

INT. THE ZONE - BACK ROOM - CONTINUOUS
The door to the room opens and the thick tobacco smoke is visible in the doorway. The room looks old, with an old table in the middle and five card players, anachronistically-dressed, sitting around it playing a game Homer recognizes as Pharaoh, the 17th Century French Gambling Game.

The LIBERTARIAN, a man with a patch on one eye dressed in a studded leather pirate gear who appears like a turn-of-the-century businessman, has two very attractive women, SAGE and LONDON, leaning over each shoulder. He stands at the Banker's spot at the card table and he is the first to look up and see Homer.

LIBERTARIAN

Oh good, fresh meat. We'll bring you in on the next hand, if you like.

Plato, middle-aged and wearing a Greek toga, looks up briefly.

PLATO

At least he travels without an entourage.

LIBERTARIAN

Meaning what?

PLATO

Look to yourself for the answer. Meditate on it.

LIBERTARIAN
Plato, I meditate by counting the gold you owe me. If you have

something to say, come out and say it, buddy. We're all gentlemen, are we not?

ARISTOTLE, dressed similarly to Plato but a few years younger, shakes his head wistfully.

ARISTOTLE

I'm with Plato! Look, banker, you've taken it all, we have no coins left but our homes and our women.

DESCARTES, wearing a black frock with oversized white collar, stands and beckons for Homer to come further into the room.

DESCARTES

You must forgive my associates, Monsieur, they are not entirely civilized. Do you wish to join the game?

Homer shakes his head, still a little stunned. The Bartender leads him to a chair near the table.

BARTENDER

Gentlemen, this is Homer. I think he'll just be observing for tonight.

LIBERTARIAN

A shame. Who knows. It could have been your lucky night. Sage, take the gentleman's coat.

Sage sashays over to Homer and removes his coat, revealing a fairly clean but plain shirt underneath. She rubs his shoulders a bit as she takes the coat away and goes to hang it up.

LIBERTARIAN

You're sure you won't test your skill and luck against us?

HOMER

No, thank you.

CONFUCIUS, a small Asian man in flowing robes with a wispy white beard, looks up from his intense study of the game board for the first time.

CONFUCIUS

The will to win, the desire to succeed, the urge to reach your full potential... these are the keys that will unlock the door to personal excellence.

There is a long pause in which everyone looks at Confucius.

LIBERTARIAN

Wealth earned from the will of your winnings! That, Confucius, is success, and a man's total potential.

CONFUCIUS

The superior man understands what is right; the inferior man understands what will sell.

SHAKESPEARE, complete with Elizabethan garb and neck ruffles, raps his fingers on the table impatiently.

SHAKESPEARE

Gentlemen, if you don't mind, I do have plays to pen.

Aristotle snorts.

ARISTOTLE

Plays? What you write aren't plays. Where's the chorus?

SHAKESPEARE

If the dialogue is lyrical and true, there is no need for a chorus.

PLATO

The chorus is the voice of God. What purpose is there in creating a play if not to create a vision of God?

LIBERTARIAN

You're crazy. There is no God.

DESCARTES

Yes there is, I've proven it.

All turn in unison to Descartes.

ALL

Shut up, Descartes!

DESCARTES

Barbarians.

SHAKESPEARE

Back to the original point, in a proper play, God is represented in every line of dialogue, every stage direction. It is God who moves the hand of the writer and stirs his soul.

Plato seizes the moment to begin an oratory, pacing around the room excitedly.

PLATO

Let us construct a play for the glory of God and the human condition.

ARISTOTLE

Now, it begins...

PLATO

We have all the elements represented here. Wealth, poverty, wisdom, virtue, youth, age and the desire for knowledge. Homer, you shall be our hero. What is your ethos?

HOMER

What?

PLATO

What is it that you need? What monster will you slay, what mountain will you climb, what glorious and dangerous journey will you set sail on.

ARISTOTLE

He obviously lacks wealth--his quest should be to acquire it.

CONFUCIUS

But what if wealth has no interest to him?

PLATO

Does it?

Homer shrugs.

HOMER

I suppose.

PLATO

It's settled, then. Homer pursues wealth. What is against him?

DESCARTES

The elusive nature of wealth itself is against him.

SHAKESPEARE

But an elusive nature is not a villain. A play needs a villain.

CONFUCIUS

Wherever there is wealth, there are those who hide in the shadows of thievery.

ARISTOTLE

True enough.

PLATO

A thief. Brilliant. And who will help him on his adventure?

LIBERTARIAN

Why does he need help? Can't someone go out and accomplish something purely on their own skill?

DESCARTES

Maybe the only help he needs is divine help.

PLATO

Exactly! And God is represented by?

ARISTOTLE

The chorus!

PLATO

You always were my favorite, Aristotle.

SHAKESPEARE

Amateurs. You couldn't write a play if I spotted you two acts and a comedian.

LIBERTARIAN

Is there any chance we could play cards at some point this evening?

Shakespeare turns back to the game table.

SHAKESPEARE

Quite right.

LIBERTARIAN

Shakespeare, you're in for two gold coins on the seven, Plato, your home on the four, Confucius, one concubine on the ace--my choice, and Descartes and Aristotle, you are not in on this turn, correct?

DESCARTES

Wait...I wager 1,000 acres of land in France. The Divine Property. 

PLATO

Is not everything divine property?

DESCARTES
But not all have been consecrated by unicorns that roam the green pastures.

LIBERTARIAN

I've always wanted a little place to call home. Now I have chance to win a 1,000 acres of fairyland, I can make much use of. Which card do you want?

Descartes looks to Homer.

DESCARTES

Perhaps our newcomer would like to choose.

HOMER

Eight.

DESCARTES

Interesting. Why?

HOMER

There are eight of us in the room.

ARISTOTLE

If I were to leave, then would your bet become false?

HOMER

No. I was asked when there were eight in the room. Whatever happens after that doesn't matter.

PLATO

But surely it matters more what the conditions of the room are when card is drawn, not when the number is chosen.

LIBERTARIAN

It's superstitious nonsense, anyway. The number of people in the room has nothing to do with the card drawn.

ARISTOTLE

You seem awfully sure of yourself. What then, does determine the order of the draw.

LIBERTARIAN

Mathematical probability.

Descartes laughs.

DESCARTES

Any "probability" is no more sound than superstition. Homer determined that there are eight of us in the room, an empirical fact on which a decision can be based.

LIBERTARIAN

But I know that there is only one eight left in the deck, with multiples of several other cards. You have less chance of winning with a eight.

SHAKESPEARE

Less chance of losing, too. It is less likely to end up as the bankers card.

ARISTOTLE

The point is that in a true game of chance, there is little that we can do to affect the outcome. If, however, we believe in divine influence...

PLATO

Then we call upon that which is divine in ourselves to create the result we desire, as Homer did in choosing the eight.

SHAKESPEARE

Gentlemen, I respect your logic sincerely, but I have to believe that God has more important issues to deal with than our private gamble.

DESCARTES

We shall see.

Homer takes out his notepad, writing down the numbers 27, 41 and 8.

CONFUCIUS

I do not believe I agreed to let you choose.

LIBERTARIAN

What?

CONFUCIUS

My concubine. I did not say you could choose.

LIBERTARIAN

It was implied.

ARISTOTLE

We've met your concubines, Confucius, and none of us are taking the one with the cleft palate and club foot off your hands.

CONFUCIUS

She is an excellent cook.

LIBERTARIAN

I do not eat Chinese.

Descartes stifles a laugh at this point, causing the Libertarian, Shakespeare and even Homer to smile. The ladies GIGGLE.

SHAKESPEARE 

As a wordsmith, I suppose I could not have phrased that better.

The Libertarian withdraws two cards from the "Shoe".

LIBERTARIAN

Banker draws the ace, player draws...eight. It appears I lose on both counts.

They all laugh.

Homer Steps Into The Mysterious Old Bar Room Called, "The Zone"

EXT. THE ZONE - NIGHT
HOMER stands outside the door to a mysterious old bar called "The Zone." He peeks in the window, but can't see anything. He studies the door, the window, the sign and everything else about the bar for a minute, evaluating. Finally, he goes in.

INT. BAR - NIGHT
HOMER steps into the bar, taking a moment to adjust to his unusual surroundings. The bar is dim, lit by candelabras, and is rather empty except for several attractive women around the bar, including two in particular wearing flapper fashion from the 1920's playing billiards (not pool, but billiards). HOMER looks back to the door, reconsidering his choice of watering hole when the BARTENDER, tall dark and handsome calls to him.

BARTENDER

Its happy hour, friend--buy one get one free. Are you in?

That's all the convincing HOMER needs and he straightens his coat and makes directly for the nearest open barstool. The Bartender flashes him a 400 megawatt smile.

BARTENDER (CONT'D)

What can I get for you, sir?

HOMER glances around.

HOMER

Do you have wine?

BARTENDER

Name your grape and your year.

HOMER

Do you have something French...and cheap?

BARTENDER

French and cheap? I used to date her, my friend.(The smile again)

I'm thinking Balzac Blanc will cure what ails you. Three dollars, four gold flakes or one coin of the realm.

HOMER produces the crisp five from his pocket and lays it on the bar. The Bartender disappears in the back. HOMER takes a notepad from his pocket and writes "247" on a blank page.

The Bartender returns with a bottle of white wine. He pours a generous glass for HOMER, takes the five and goes to get change.

BARTENDER (CONT'D)

(Over his shoulder)

A classic taste for French wine, it's also got a nice burn. Don't mind the reference to the illustrious "de Balzac", the great French literary genius.

HOMER takes a large swig, downing almost half the glass. The Bartender returns, laying two dollars on the bar.

BARTENDER (CONT'D)

What do you think?

HOMER nods.

BARTENDER (CONT'D)

So, what brings you to our bright and shiny corner of the world?

HOMER

Ahh... Thirst.

That earns another GQ smile.

BARTENDER

There are many kinds of thirst, my friend...I'm sorry, can I ask your name?

HOMER

They call me HOMER.

BARTENDER

Is that what you want them to call you?

HOMER

That's what they call me in the streets.

BARTENDER

It's a good handle, anyway. It's like it speaks of Homer, the Greek Poet, author of the Iliad and the Odyssey.

HOMER

I never thought of it that way.

BARTENDER

Maybe you should. (Beat) So back to this thirst of yours...

HOMER downs the rest of his glass.

HOMER

I'm working on it.

The Bartender quickly tops off the glass.

BARTENDER

Thirsty you are. But what are you really thirsty for? A drink? Wine? Knowledge? Companionship? We're all thirsty, but we usually don't even know what it is we really want or need.

HOMER

Look pal, please don't take this the wrong way, but whatever you're selling, I'm sure I can't afford it. I just came for a drink.

The Bartender evaluates HOMER for a moment.

BARTENDER

Are you trying to politely tell me to shut up and let you enjoy your free drink?

HOMER

Ding, ding, dong!

The Bartender nods.

BARTENDER

I can do that. But let me ask you something first.

HOMER braces himself for the "Catch," whatever it may be.

BARTENDER (CONT'D)

If all you wanted was a drink, why didn't you take your paper to the liquor store and buy a whole bottle of something that you could drink in some private space?

HOMER

I like the company of men. Women, are great too but most of them, except for the whores in the ghetto, don't find me attractive, being a bum, although amusing at times, when my pants fall down.

Bartender LAUGHS.

BARTENDER

I'll tell you what--if you finish that drink and walk out the door without getting yourself involved in the iconic men in the back room, where there's a secret game table, and the philosopher's creed, you're going to wonder about that for the rest of the night, at least. Maybe considerably longer.

The Bartender turns and begins to walk away. HOMER lets his eyes follow the Bartender, while the scantily-clad women eye him almost hungrily and the television screens showing today's winning lottery number.

HOMER

Wait!

The Bartender stops and turns back.

BARTENDER

Yes?

HOMER

Why do you think I came here?

BARTENDER

Because you're not what you appear to be. You're an aristocrat in a bum's clothing. And you didn't stay here for happy hour. You stayed here because you recognize something of yourself in this place. It cannot be what it appears to be because it simply doesn't fit. It irritates you in the way that you must irritate people who see you on the street. You want to pretend you were never here, that this place doesn't exist, but you can't because it has drawn you in and now you have to understand it.

HOMER

I think you read too much into things.

BARTENDER

Maybe. But if I were to offer to introduce you to the card players playing in the backroom, would you be able to resist?

HOMER

I'd rather you introduce me to the broads playing pool.

The Bartender LAUGHS.

BARTENDER

It's billiards. And all in due time. All of your thirsts can be satisfied within these walls, but they must be addressed in order of importance.

HOMER

Who are these card players, and what game are they playing or rather should I say, gambling?

The Bartender looks at HOMER.

BARTENDER

You want to know the funny part? You know them.

HOMER

I do?

BARTENDER

Well, you know of them, at least. Why don't I introduce you to them? If, after you meet them, your most burning question is about the broads, you can ask them yourself, especially the Libertarian, who is quite the womanizer. One thing though, don't take them too seriously...They can be a little... Intense, to say the least.

The Bartender makes a swirling gesture with his finger near his temple, then flashes his smile again as he steps around the bar and leads HOMER toward the back room which is candlelit by candelabras. HOMER hurries along after him, stopping to grab his half-finished drink and bring it along. They stop by an old golden framed doorway, the Bartender knocks and whispers something, as the golden door swings open, and they step inside.

In The Backdoors Of Renoir's Theater Draft

EXT. THEATER - DAY
HOMER stands outside the front of the old theater building, staring at an "A-frame" style sign in the front that advertises the Renoir film, "Grand Illusion" with a ticket price of $5. The show time lists 12:15 pm. Homer takes out a pen and writes down "12 15" in his notebook. He reaches into his pocket and pulls out his change, counting out about 70 cents. He writes down "70". He sighs and walks around the block.

EXT. THEATER - BACK DOOR -DAY
HOMER walks to the back door of the theater. He feels the edge of the door, realizing that the latch is taped open. He pulls the door open just wide enough for him to slip inside, and so he sneaks in like air.

INT. THEATER - DAY
The theater is dark except for the light coming from the black and white film on the screen. There are about a dozen PATRONS scattered throughout the room.

HOMER has entered from a door to the right of the screen and he quickly makes his way to a seat near the front of the theatre, spying and empty seat with a half-eaten box of popcorn beside it. He sits down, picks up the popcorn and begins to eat while he watches the movie.

INT. THEATER - EVENING
HOMER is nearly alone in the theater now, and he is still watching with rapt attention right up until the word "Fin" appears on the screen and the lights begin to come up. He blinks in the growing light and makes his way to the main exit, getting a suspicious glance from the usher as he makes his way out.

First Draft Of Intro

INTERTITLE
Meet Homer, a War Veteran and Homeless Vagrant. He is about to discover, changes in class, status, and style. Some men, are gifted with lucky numbers, Homer is one of them. Let us follow him, observe and watch.

EXT. ALLEY - MORNING
This is a filthy street on the "forgotten" side of Cambridge, Massachusetts. There are a number of back doors to businesses with the names stenciled on them. There are a few old boxes and pieces of garbage littering the alley. A shaggy-haired, bearded man in raggedy clothes, rises from a pile of garbage adjacent to a stonewall, clearly just waking up. He shambles off down the street.

He wanders down the alley until he reaches a cross street. A car drives by and a RUDE MAN leans out the passenger window.

RUDE MAN

How about you get a job and take a bath, chief?

Laughter disappears with the car as it goes around a corner. HOMER does not look up throughout the exchange. He keeps walking. He walks by a trash can and picks up a newspaper and finds an odd antique box laying on the ground. He opens the box and finds charcoal in it, he takes one out and writes a sign on the ground, saying, "Hungry and thirsty for dreams. Any help appreciated! Thank you!" and He sits beside a wall near a street corner and sets up the box while he reads the paper.

A YOUNG BOY walks by and sees HOMER sitting against the wall.

YOUNG BOY

Seriously? You want people to give you money for just sitting and reading the paper? C'mon, hobo! Everyone's literate these days. Learn to play an instrument, for gods 'sake!

HOMER ignores him. The young boy walks away, pausing to kick over the box. HOMER doesn't look up from the paper, but straightens the box.

TIME PASSES

A YOUNG WOMAN passes by and throws some coins in HOMER's box. He nods a "Thank You" in her direction. HOMER is reading the movie section and sees a listing for a Renoir film festival. He rises slowly, pocketing the coins from the box and tucking the newspaper in his back pocket and carrying the box of charcoal.