Զ2Final Draft, Inc. Final Draft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iagara FALLS [SEPIA] - DAY SUPER - Niagara FALLS, N.Y., 1950 MOS. From OVERHEAD we SEE Niagara Falls and HEAR its roar. After a few seconds, we slowly PULL AWAY from the FALLS and FLY BY over the city itself. FLYING OVER the city we get closer and closer to one particular neighborhood - a typical blue collar residential area of that era. EXT. BLUE COLLAR STREET - Niagara FALLS [SEPIA] - DAY EXT. PORCH STEPS OF HOUSE - DAY A small twelve-year-old Italian-American BOY dressed in a neat white shirt and well pressed dark blue trousers is STANDING by the mailbox of a home. MAKING SURE that no-one is watching him, he OPENS the box and TAKES OUT the mail - LOOKING at it closely. CLOSE UP: LARGE manila ENVELOPE. The address on the envelope reads: Mr. John Colosmo, 2210 Woodbine Ave., Niagara Falls, New York. CLOSE UP: RETURN ADDRESS: Punch Board Games Inc., 850 Main St., Buffalo, New York. CLOSE UP: BOY. He SMILES. He quickly RETURNS the rest of the mail back into the box, and with the manila envelope CLUTCHED in his hand RACES DOWN the street. CUT TO: INT. BLUE COLLAR HOUSE - KITCHEN [SEPIA] - DAY The boys MOTHER - an Italian-American woman in her late thirties - is COOKING at the kitchen counter when the door bangs open and the boy RUNS into the house, straight past her and towards the staircase. His mother barely acknowledges his pace, as if shes used to it by now. CUT TO: INT. BOYS BEDROOM [SEPIA] - DAY The boy RUNS into his room, DIVES onto the bed and eagerly OPENS the envelope. From the envelope he withdraws a punch board. He then also - with a GRIN - TAKES OUT three small packets containing items of costume jewelry - a necklace, a butterfly pin and a bracelet. CLOSE UP: Boy [GRINNING] FLASH CUT: EXT. BLUE COLLAR STREET #2 [SEPIA] - DAY MONTAGE 1) A HOUSEWIFE who ANSWERS the door to the boy PUNCHES OUT a slip of paper from the punch board and HANDS him a quarter. 2) An OLDER LADY has just done the same thing and HANDS the boy a quarter and PATS him on the head. 3) A MIDDLE-AGED WOMAN HANDS the boy a quarter with a large SMILE on her face and RUNS her fingers affectionately through his hair. 00020000077B00000875775,SLAM CUT: EXT. BLUE COLLAR STREET #2 [SEPIA] - DAY The boy ARRIVES at the fourth house. He KNOCKS on the door and a WOMAN wearing a cooking apron ANSWERS - RUBBING some flour off her hands onto the apron. WOMAN Not another punch board, Joey? I never seem to win anything with those things... BOY/JOEY Maybe youll be lucky this time. (beat) In fact, I have a real good hunch that you will! The woman looks doubtful but SMILES at the boys optimism. WOMAN You do, hmm? (beat) Well, okay. Just let me get my purse. As the woman RETREATS into the house to GET her purse, Joey LOOKS through the open doorway and SEES: A small five-year-old GIRL seated at the table, COLORING in a worn book with old crayons. Both of her legs are in heavy braces and its obvious that shes a victim of polio. JOEY Hi, Millie! The girl LOOKS at him, but says nothing - her expression is sad. A moment later the woman RETURNS with a quarter and HANDS it to Joey before TOUSLING his hair and CLOSING the door. SLAM CUT: INT. JOEYS BEDROOM [SEPIA] - DAY MOS. Joey is LYING on his bed, COUNTING his many quarters. FLASH CUT: SUPER - A WEEK LATER INT. FIVE AND DIME STORE [SEPIA] - DAY MOS. Joey HANDS OVER some quarters to the LADY at the counter, and she HANDS him a bag of something in return and he RUNS OUT of the store. CUT TO: EXT. BLUE COLLAR STREET #2 [SEPIA] - DAY MOS. Joey is RUNNING down the street. As he RUNS he TAKES the two items he has purchased out of the bag, and DISCARDS the bag on the ground. CUT TO: EXT. BLUE COLLAR STREET #2 [SEPIA] - DAY Joey KNOCKS at the front door of the womans house, with his hands HOLDING the items behind his back. The woman ANSWERS the door. WOMAN Another punch board, Joey? Already? Joey SHAKES his head. JOEY No, Maam, not today. (beat) Im here with your prizes. WOMAN I won?! JOEY You sure did! Didnt I tell you I had a hunch you were going to win this time, Mrs. Alessi? 00020000074400000FEA73E,Joey BRINGS one of the items out from behind his back - its the bracelet. The woman is clearly shocked. Behind her at the same table as before we can SEE the little girl - again COLORING. Though the little girl TURNS her head occasionally, her face still remains expressionless. Joey LOOKS at her. JOEY (CONT'D) Oh! I almost forgot! You also won the mystery prize! WOMAN The what? JOEY The mystery prize. Joey BRINGS OUT a new pack of crayons and some coloring books out from behind his back and hands them to the woman. JOEY (CONTD) Its not much, but I dont know... maybe you know someone who could use them. In the background the little girl - whos WATCHING - SMILES. The woman SMILES at JOEY - knowing what he has done. WOMAN Can you come in for a soda, Joey? JOEY Gee, no, Mrs. Alessi - I gotta get goin - Ive got all these other prizes to get to the other winners. (beat) Thanks anyway. The woman GIVES Joey a KISS on the forehead. WOMAN Youre a very special boy, Joey DeMonte. As Joey prepares to LEAVE, he WAVES at the little girl. JOEY Bye, Millie! The little girl SMILES at Joey and WAVES happily. CUT TO: We see Joey running down a residential area street. He then ducks into an alley, runs a short distance, then climbs over a wooden fence. Once he is over the fence, we see from his P.O.V. The back yard of a typical late 40s house. There is a wooden swing in the back yard and a pretty dark haired GIRL of Joeys age is seated in it. A small DOG sits lazily on the grass at her feet. GIRL Joey DeMonte, what are you doing here? She pretends to be annoyed by his intrusion but she is, in truth, delighted by his leap over her fence. JOEY Hi, Gina. I brought you something. I know your birthday is next week, so I got you a present. Gina is now intrigued and it shows in her expression. GINA A present? For me? What is it? 0002000009F8000017289F2,Joey walks the short distance to the swing and pulls something from his pocket and hands it to her. She takes it and we see a CLOSE UP now of the costume jeweled necklace. Ginas eyes light up as she admires it. GINA Oh, it's beautiful! I don't know how to thank you, Joey! JOE Well, I do! How about a kiss? GINA A kiss? I don't do things like that! JOEY Aw, c'mon, Gina. Just one, okay? (beat) I've been saving up all year to buy that for you. It cost me a fortune. GINA (beat, as she still admires the necklace) Well ...., okay, but just a small one. Joey bends close to the swing as we see the dog now look up at him curiously. Gina gives Joey a slight and quick kiss on his cheek. JOEY That's it? You call that a kiss? GINA Uh-huh. JOEY Well, I don't! Joey takes Ginas small head between his hands and plants a closed mouth kiss flush on her lips. Gina struggles somewhat to get out of his grasp but not with too much effort. It is obvious she likes it. Joey finally pulls away and smiles at her broadly. GINA (feigning shock and outrage) Joey DeMonte, you are absolutely the most terrible boy in all of Niagara Falls! JOEY (still smiling) Did you like it though? GINA (coyly) Well, ... what if I did? JOEY Then you can be my girlfriend. You want to? GINA (beat, as she thinks it over) Maybe ... but you can't tell anybody. JOEY Hey, I won't tell a soul. GINA Well ... all right. Are you going to buy me more presents ... if I'm your girlfriend? JOEY Sure ... but you gotta' give me lots of kisses. How about one more ... right now? GINA No! And you better get out of here. If my father comes home and finds you here, he will be madder than a hornet. He thinks your father is a mobster. JOEY (laughing) Naw, he's no mobster. He just works in a factory. GINA Well, you better go anyway. He'll be home soon. Joey scrambles up the wooden fence and stops at the top to look back at Gina. She is out of the swing now and trying to clasp the necklace around her neck. Joey blows her a kiss, then drops over the fence as the scene ends. SLAM CUT: INT. THE DINING ROOM OF THE DEMONTE HOME - DAY SEVERAL PEOPLE are seated around a large oak dining room table. A half eaten cake sits in the middle of the table. Cups of coffee and empty cake plates can be seen in front of the people seated at the table. One pretty TEEN AGED GIRL is also seated at the table (JOEYS OLDER SISTER) Joey ENTERS the DINING ROOM with a small gift box in his hand. He goes to the WOMAN at the far left of the table and hands her the gift box. 0002000007DB0000211A7D5,WOMAN Joey, what's this? JOEY It's your Mothers Day present, Ma. WOMAN Mothers Day present? But Mothers Day is two weeks from now, honey. JOEY I know, Ma, but I wanted to give it to you early so you could start wearing it right away. WOMAN Well, isn't that sweet. Several people nod their heads in agreement with the womans comment as she opens the small box and removes the butterfly pin from it. She looks at it fondly and smiles proudly. MRS. DEMONTE Oh, Joey, this is so nice! How on earth could you afford such a nice thing like this? JOEY I've been savin' up, Ma. I saved some money from my allowance each week so I could get that for you. TEEN AGE GIRL Ha! I'll bet he stole it, Ma! MRS. DEMONTE (looking at the girl and frowning) Now, Tina, that's no way to talk about your little brother! He's a good boy. Tina says nothing further but rolls her eyes in disgust and frustration. Mrs. DeMonte places the pin on her dress, then lowers her head and gives Joey a kiss on the cheek. Joey smiles widely. SLAM CUT: EXT. COLOSMO HOME - DAY We see TWO MEN IN SUITS STANDING AT AN OPEN DOOR OF THE HOUSE WHERE Joey SWIPED THE PUNCH BOARD FROM THE HOME'S MAILBOX. They look SERIOUS as they talk with the man that resides there - MR. COLOSMO. MR. COLOSMO Like I said, Agent Clark, I never received any punch boards. I don't know what else I can tell you. AGENT CLARK Do you think it's possible, sir, that someone could have sent in the requests for these boards, using your name and address? MR. COLOSMO I'm not quite sure I understand what you mean? AGENT SMITH What my partner means, Mr. Colosmo, is that someone other than you has probably been ordering these boards, using your address to have them sent to, then rifling your mail box to retrieve them when they arrive, see? That way the real culprit is in the clear. It's called a scam, sir. Considering the small amount of loss here, it's most probably a kid. Can you think of any kid here in the neighborhood who might do such a thing? 00020000080B000028EF805,MR. COLOSMO (long beat) Naw, we got a pretty good bunch of kids in this neighborhood. I can't think of a one who might do something like this. AGENT CLARK Well, all right then, sir. We'll file our report, and if you do see anyone suspicious poking around your mailbox, give us a call, won't you? The agent hands Mr. Colosmo a business card. Colosmo takes it and looks at it. We see a CLOSE UP of the card and it reads: SPECIAL AGENT THOMAS CLARK, U.S. POSTAL INSPECTOR. Both agents the shake hands with Mr. Colosmo, then the two agents head for their car as the scene fades out. SLAM CUT: INT. DEMONTE HOME - JOEY'S BEDROOM - DAY We see Joey and another ITALIAN-AMERICAN BOY OF THE SAME AGE hovering over a form. Joey is pasting something onto the form as the other boy holds it intact. OTHER BOY You sure this is gonna' work, Joey? JOEY Sure, it's a good copy, Nicky. They'll send the money, you'll see. CAMERA DRAWS BACK and we again see the FALLS from an OVERHEAD VIEW. We hear its roar as the CAMERA PULLS BACK SLOWLY. The song HEARTS OF STONE by The Fontane Sisters begins to play now and increases in volume as the scene fades out and the OPENING CREDITS BEGIN TO ROLL. CUT TO: SUPER - CREDITS ROLL AS FOLLOWING SCENE PLAYS OUT EXT. VIEW OF NEVADA STATE PRISON - MEDIUM FACILITY - DAY SUPER - NEVADA STATE PRISON, MARCH 1978 We WATCH a pair of expensive men's shoes WALK confidently down a paved walkway, which is lightly covered in dry, desert like dust. Two pairs of cheap black shoes ESCORT the expensive pair of shoes, one on either side of the expensive shoes. They belong to two PRISON GUARDS. As the shoes continue on their path we TILT UP to see the man whom the expensive shoes belong to - JOE DEMONTE. Joe is now thirty-nine years of age, with an air of sophistication now added to his rugged good looks. He pulls a small cigar box from his suit pocket. With his teeth he pulls one out. Then offers them to the guards, who decline and then look away in frustration at a soon to be ex-con who is better off than they are. 0002000007C8000030F47C2,One of the guards motions to the officer in the tower to open up the gates. As they peel back... ADJUST ON: On either side of the walkway PRISONERS in typical 1970's prison attire (blue work shirts and blue jeans) line up next to the fence - all are solemnly WATCHING JOE as followers would a leader, with awe and respect. As JOE APPROACHES the boundary of the PRISON, more PRISON OFFICERS OPEN the gates. STANDING on the threshold, JOE STRAIGHTENS his suit as he PREPARES to leave - the PRISONERS start to CHANT his name and CHEER, BANGING and RATTLING the fence as JOE STEPS through the gates. The CHEERING and CHANTING continues from the PRISONERS as one burly PRISON GUARD WALKS OVER to JOE and SHAKES HIM DOWN. JOE silently ALLOWS him to do this. GUARD You got some broad to pick you up? Joe remains silent. He turns, so the guard can pat down his backside. GUARD You still like girls after all this time, don't you, DeMonte? JOE I don't know. Maybe I'll swing by 2247 Crestwood Avenue and let your wife take me for a test drive so I can find out. GUARD (showing surprise) Hey, how the hell did you get my address?! Joe does not answer. OTHER GUARD Shit, Jake, the guy got a fucking Diners Club credit card while he was in here! How hard do you think it would be for him to get your address? The first guard just shrugs and shakes his head. Joe straightens his clothes out and the guard steps away from Joe, just as a large black limousine PULLS UP a few feet away. As the car STOPS, the DRIVER GETS OUT and OPENS the back door for JOE. GRINNING, JOE GETS INTO the car. The DRIVER SHUTS the door after JOE, GETS back in the driver's side and they start to DRIVE OFF. We WATCH them start to DRIVE AWAY. A few yards later the limo stops and backs up towards the main gate of the prison. The burly PRISON GUARD who shook JOE down a few moments before takes a few STEPS closer to the car in an attempt to see what's going on. Slowly, the electric window on JOE'S side is wound down. 000200000BC6000038B6BC0,JOE'S head APPEARS. JOE GRINS at the PRISON GUARD and GIVES him the finger. JOE (to PRISON GUARD) Fuck you! The car SCREECHES AWAY. INT. LIMO - CONTINUOUS Joe is sitting in the back seat along side another man in his late thirties, PAULIE SANTOS, who is holding a martini in one hand. PAULIE, also known as MAD DOG, is a dark haired 63 hulk, good looking, in spite of his twice broken nose and knife scar on his left cheek, with far more brawn than brains. He is loyal to his friends and will fight to the death if provoked. He is an ex-con, which is how he and Joe met, and is currently working for a limo company in Reno. The rhetoric and comradeship between these two men is more characteristic of fraternity brothers than of former cell mates JOE Mad Dog, thanks for picking me up in style. Wheres Tony? PAULIE Hes on a limo run to Sacramento, but hell be back tonight and said to tell you he will see you then, okay? JOE Okay, sounds good. Paulie motions towards the liquor tray in the limo. PAULIE Hey, you want a drink? Were fully stocked here. Scotch, vodka, gin - you name it, buddy. JOE No - no, thanks, man. Too early for me. Joe gestures to the other end of the limo. JOE (CONTD) Whos she? JOE'S P.O.V. A YOUNG WOMAN, of perhaps 25 or so, is sprawled out over the other seat, one hand comfortably resting between her legs and the other sucking on a martini stick. She uses the stick to wave Joe over. She is clad in a halter top and mini-skirt. PAULIE (grinning) Oh, thats Penny. Penny the plumber. Figured you might wanna get your pipe cleaned after two years inside, know what I mean? Joe moves across and sits next to PENNY, head resting against the window. The WOMAN runs her hands down his shirt and then out of view. Joe reacts, 'getting into it'. We HEAR the fly on Joes pants being unzipped, then we SEE the WOMANS head dip lower down Joes body until it reaches his crotch area. Then, all we SEE is the top of the womans head bobbing up and down and a MEDIUM SHOT of the upper portion of Joes body as his face ignites in sensual ecstacy. CUT TO: EXT. OVERHEAR VIEW OF LIMO - DAY As the limo heads towards Reno, we HEAR the song WHEN MY BABY SMILES AT ME I GO TO RIO by Pablo Cruz begin to play, increasing in volume as the scene fades out. CUT TO: EXT. NEVADA STATE PAROLE OFFICES - DAY It's small office building. A FEMALE PAROLE OFFICER walks down the walkway into the building. She opens the main door and enters the building. INT. CORRIDOR - DAY As the PAROLE OFFICER WALKS DOWN the CORRIDOR, READING from paperwork on a clipboard, a MALE OFFICER WALKS PAST her in the other direction. The OFFICER INDICATES behind him at an interrogation room. MALE OFFICER You've got a new friend in room two, Stella. PAROLE OFFICER One of mine? MALE OFFICER (nodding) He's been waiting about half an hour. The PAROLE OFFICER CONSULTS the clipboard again and SHAKES her head. PAROLE OFFICER He's been in the joint for two years. Half an hour isnt going to kill him. 0002000008A00000447689A,The PAROLE OFFICER continues WALKING towards the INTERROGATION ROOM. OPENING the door: CUT TO: INT. INTERROGATION ROOM - CONTINUOUS JOE is seated at the table in the room, in an uncomfortable looking plastic chair. There's nothing else in the room except a large two-way mirror taking up the whole of one wall. JOE GRINS up at the PAROLE OFFICER, unconcerned. JOE Better late than never. The PAROLE OFFICER takes one last look at the clipboard. PAROLE OFFICER DeMonte? Joseph? JOE'S smile FADES a little, and he shows signs of slight IRRITATION. JOE Well, my sixth grade teacher said it better during roll call. The PAROLE OFFICER LOOKS UP from her chart. PAROLE OFFICER Whatever. (beat) Check in with me here once a month. And stay out of trouble. You know the rules. You only have a six month parole, so dont screw up, okay? The PAROLE OFFICER goes to LEAVE. JOE (disbelieving) What? That's it? PAROLE OFFICER (nods) I'm not Elliot Ness but do get a job. And soon, okay? She LEAVES. JOE is left alone in the room. He breaks into a wide GRIN and LAUGHS a little as if he can't believe his good luck. FADE TO: INT. RESTAURANT/BAR - REEF HOTEL - RENO - DAY SUPER - A WEEK LATER The RESTAURANT/BAR is empty. It's obviously not open for business right now. By the bar, two male cleaners vacuum the floor while a BARMAN cleans glasses. All of the chairs are up on the tables, except at one table near the window where JOE and TONY BROCK are seated together. TONY is mid-thirties, a former prison buddy of Joes, smart, a flashy dresser, good looking, and like Joe and Paulie, always looking to make a fast buck. Both of them have drinks in front of them. TONY So, okay, youve been out a week now. You got yourself a nice place to live, some cool furnishings,a rent-a-car, some new clothes, a crappy job as a fucking desk clerk at a second rate hotel on Fourth Street, which I assume you had to do to keep your parole officer happy for the next six months. So now what? Joe takes a sip of his drink. JOE A lady. Rita. TONY What? Joe grins. JOE You're gonna' love this! Joe places his drink back down on the table and leans closer to Tony. JOE (CONTD) While I was in the joint, I had a few... pen-pals. 00020000073800004D10732,Tony looks blank. TONY Ah - no. Not some prison groupies - again. JOE Not this time. This time, some sweet, little old ladies. TONY Lonely old ladies, right? Tony begins to get it and leans closer to Joe. JOE Rich, lonely old ladies. TONY How'd you find them? JOE Lonely hearts ads. Tony laughs and raises his glass to Joe before taking a sip. TONY With half a brain... JOE It was so simple, it was perfect! (beat) I placed the ads - or rather, a friend of mine inside had his wife place the ads for me - asking for rich, lonely older ladies. They reply, we talk, I tell them that I need money for this, that and the other, and they gave it up. (beat) It must be my natural charm. TONY Oh, is that what youre calling it these days? (beat) What did you tell them? JOE That my Italian father owed money to the mob. TONY Why go for the base hit when you can knock it over the fence -- first time at bat. JOE Exactly. I said that I stole a whole bunch of money and tried to pay it off, but that it wasn't enough, and then I was caught and put in the slammer. (beat) I told this one broad Rita that I still owe them thirty five large and if I don't come up with it soon, I'm a dead man. Then, I told the same story to this other one - Eleanor. Joe takes another sip of his drink. TONY Well, did they give it up? JOE Not exactly. Oh, I got some bucks from them both while inside. About four grand total. Thats how I paid for the apartment, new clothes and stuff. But Im running low now. (beat) They both want to get together. TONY Where? JOE Here. (beat) They want to come visit me, get to know me better, ya know? TONY When? JOE In a couple of days. Rita is coming in first. Then Eleanor will be coming out in a month or so. TONY Where does this Rita live? JOE Michigan. What does it matter? You wanna' hear the plan and your part or what? 00020000092600005442920,TONY (hesitant) Plan? My part? CUT TO: INT. JOE'S APARTMENT - DAY The apartment is clean and neat. Everything is in its place and everything looks fresh. It looks moderately expensive, with a big screen TV and nice looking furnishings. JOE (O.S.) Fuck!!! CUT TO: INT. JOE'S BEDROOM - DAY Joe is seated on the edge of the bed, while Tony bandages his leg. JOE You're tying it too fucking tight! Tony pulls it tighter. JOE (CONTD) Always were a bastard. TONY Are you sure this is gonna' work? JOE The woman's like sixty years old for Christ's sake! She's gonna' want to have sex, and it sure as hell ain't gonna' be with me! TONY She might find your "injury" a turn on. Tony finishes the bandage, which goes right up to Joes knee. JOE Like hell she will. (beat) Hand me those crutches. Joe points to a pair of crutches propped up against the wall. Tony hands Joe the crutches. TONY Can you walk on those things? JOE I broke my leg when I was a kid. (beat) It's like riding a bike. Joe takes the crutches, and stands up. Attempting to walk, Joe takes a few steps before he trips and falls to the floor as Tony looks on, breaking into laughter. SLAM CUT: INT. CASINO RESTAURANT - NIGHT - CLOSE ON JOE'S BANDAGED LEG JOE So, how long can you stay? We PULL BACK to SEE: Joe seated at a table next to an older woman - RITA. Rita is well dressed and obviously wealthy. Her body language strongly suggests that she has a romantic interest in Joe. Their empty dessert plates are in front of them on the table. Rita snuggles up against Joe. RITA Four days. (beat) Are we going back to your place tonight? Joe drapes his arm over Rita's back. JOE You know I'd love to. (beat) But I can't. RITA Why? What's wrong? It's me - isn't it? Joe reassures Rita. JOE No, no, it's not you, baby. (he points to his leg) I'm useless with this thing. Rita reaches out to Joes leg. Joe feigns pain as she touches it. Rita leans into Joe and he holds her. RITA How did it happen? Joe reacts. His face revealing his mind is racing. JOE It was a warning. Rita looks at Joe, somewhat puzzled. RITA Warning? JOE You know... that money I told you about? RITA The gangsters? JOE Yeah. They still want it. That's another reason I don't want you coming back to my place, babe. These guys could show up there. I don't want to put you in any danger, know what I mean? 00020000095700005D62951,Rita looks on with great concern. JOE (CONTD) Don't worry. It's just...the thing is, I don't have it, and they'll kill me if they don't get it. These guys mean business. (beat) But I don't want you worrying about me. Joe sighs. Rita affectionately rubs Joes arm - she doesn't appear to be taking it too seriously. RITA It'll work out. Joe indicates the empty plates on the table. JOE I don't even have enough money for any of this. (beat) Im sorry. Joe looks away from Rita, feigning shame. Rita is quick to grab her purse and open it. RITA That's okay. Really. (beat) I can pay for dinner. JOE Are you sure? RITA I insist. Rita looks at Joe and smiles. Joe smiles back. There's a long silence between the two. FADE TO: EXT. OUTSIDE CASINO RESTAURANT - NIGHT Joe and Rita are leaving the casino, with Joe on crutches. Just as they're about to cross the street, a black limousine rushes towards them. They jump back onto the sidewalk just in time, as the limo screeches to a halt in front of them. The window is slowly wound down and Tonys head appears, looking straight at Joe. TONY Hey, DeMonte! You'd better come up with the money or you're dead! You've got three days! Tony clicks the window back up and burns rubber as the limo zooms away. Rita is visibly shaken. RITA Was that the man that hurt your leg? JOE One of them. (beat) Come on, let's get you back to your motel. FLASH CUT: INT. MOTEL ROOM - NIGHT Joe is seated on the edge of the bed while RITA nervously paces the room. RITA I'm leaving, Joe! By the look on Joes face it's obvious that he thinks he blew it. RITA (CONTD) I'm getting on a plane tomorrow morning and I'm going back to Michigan! Rita turns towards Joe. Joe remains silent. RITA (CONTD) Joe? Joe doesn't look up. There's a long silence. RITA (CONTD) Look, I'll send you the money you need to pay those horrible people. Joe looks up at Rita, a little shocked. JOE What? RITA As soon as I get home. (beat) I'll send you a cashiers check for the full amount. I won't see you dead, Joe. I love you. He rises from the bed and pulls Rita in close. We see Joe grinning over Ritas shoulder. JOE I love you, too. CUT TO: INT. JOE'S APARTMENT - LIVING ROOM - DAY Joe sits on the sofa, holding an ENVELOPE. He kisses it and then opens it. We see a CLOSE UP of the cashiers check from Rita, made out to Joe for thirty-five-thousand dollars. FLASH THROUGH: 000200000619000066B3613,A) We see Joe cashing Ritas cashiers check at a bank. B) Joe at a new car dealership, shaking hands with a car salesman, then getting into a brand new Datsun ZX Turbo, T-top model. The T-top has been removed already as Joe uses his arms to swing his legs up and over the car door. He turns the key and smiles as the engine is heard purring to life. C) A sales man is fitting Joe for new clothing - suits, slacks, etc., - at an upscale men's clothing shop. D) We see Joe pulling up to his apartment building in his new Datsun 280ZX, then exiting with numerous department store bags. CUT TO: INT. PAULIES HOUSE - NIGHT JOE Youre gonna love what I got in mind, guys. (beat) And youre both perfect to help me pull this thing off. PAULIE What thing? Joe - GRINNING - flicks a crumpled copy of newspaper at Paulie. Its an underground paper. Paulie takes a cursory glance at the newspaper. PAULIE Whats this? JOE Take a look at the classified. Paulie opens the newspaper and flips through to the classified at the back. He scans the adverts. PAULIE Lost and found...bridal wear...what am I looking for? JOE The kinky stuff. He looks at Joe, questionably. Joe nods for Paulie to continue. PAULIE ...busty blonde seeks submissive male for erotic fun - whipping, bondage, S&M... He looks at Joe again. PAULIE (CONTD) (continuing to scan paper) Wheres this going? TONY Yeah, fill us in. Joe leans in his chair and lights up an expensive cigar. JOE These girls sell their used underwear for money. (beat) Sell naked photos of themselves to desperate guys. 000200000A7A00006CC6A74,(beat) Men pay to get whipped by these broads. TONY Its nickel and dime. (beat) Whats your point? JOE Think about it. TONY I still dont get it. What do you have in mind? (beat) PAULIE Think about what? Joe takes a puff of his cigar. JOE Sure, this is all chump change, but what if theres big money to be made with girls who want long term relationships or even marriage with some of these fucked up submissive pricks? Paulies and Tonys interests are piqued. TONY Whatre you thinking, Joe? JOE Im thinking we should run some ads. (beat) See if theres any money here. PAULIE How? We dont have a girl. JOE We dont need one. (beat) Not yet. (beat) Lets just see if theres an avenue worth exploring here. (beat) I got a picture of an old girlfriend of mine. We can put it with the ads, set up a private mail box at one of those private mail center places, and see what we get. TONY What name? I mean - for the girl? CLOSE UP: JOE (thinking) JOE Laine. That was my old girlfriends name. I always liked it. Like Laine Kazan, you know .. the actress? Tony nods slowly. TONY Whatre you gonna do about that other chick you fucked around? The thirty five grand rich bitch? Joe SHRUGS, unconcerned. JOE Im not returning her calls. And I got the other one coming in a month or so Eleanor. TONY Hold on here. You mean youve got this Eleanor, another little old lady, coming into town, and youre gonna put the move on her like you did Rita? You gonna hit her up for thirty-five large, too? JOE Yeah, of course. So Ill need the limo thing again. Now, once Eleanor leaves town, well get on with this submissive guys stuff, okay? Paulie and Tony give him questioning looks. JOE (CONTD) I know what youre both thinking. What am I going to do when both these old broads want me to either pay them back their money or go out there and marry them? Well, I already figured that out. Im gonna fake my own death, see? Ill put an obituary in the paper, and have one of you guys send them a clipping. PAULIE Hey, Joe, let me drive the limo this time, okay? I wanna see what one of these old broads look like. Joe grins then laughs. Paulie and Tony laugh with him. SLAM CUT: INT. PRIVATE MAIL BOX CENTER - DAY SUPER - NEXT DAY Joe is standing at the counter but none of the clerks pay him any attention, so he picks up a bell from the counter and throws the bell at the wall, ringing it. A CLERK cautiously approaches him. CLERK May I help you? JOE Yeah, I'd like to open a mail box here. Clerk hands him a form and a pen. CLERK You need to fill this out with the name for the box, address, etc. The monthly fee is twelve dollars, sir. First payment in advance. 00020000099F0000773A999,JOE That sounds reasonable. Listen, my, uh, niece is staying with me for a while, so is it okay if I put her name on this form, too? That way she can still get all her mail. CLERK Sure, that'd be fine. Just place her name below your own and that will do it. Joe writes in the name LAINE DEMONTE then hands the clerk a manila envelope labeled, "Submission: Classified Section". JOE Could you put this in your outgoing mail, please? SLAM CUT: INT. MAIL BOX STORE - MAIL BOXES SECTION - DAY SUPER - SIX WEEKS LATER Joe enters his box with his key. He goes to open up his box and letters fall to the floor. Its way more of a response than he expected. SLAM CUT: INT. SMALL RENO HOTEL - FRONT DESK - LATE AT NIGHT Joe is behind the front desk, dressed in a white shirt and tie, talking on the phone. JOE No, sorry, the pool closes at ten... good night. Joe hangs up the phone but it rings back quickly. JOE (beat, as Joe listens on phone) Okay, listen, if you want to go swimming at one a.m., that's fine with me. You can piss in the pool too, for all I care. How's that? (beat) Okay, you're welcome. Have a great night! Joe bends down behind the counter and picks up a typewriter. He places it on the counter and places a piece of paper inside. We hear his voice as he types. JOE (V.O.) Dear slave Richard, Thank you for your wonderful letter. I must say reading what you had to say made me very wet. In answer to your question, pet, yes, I would love to flog that cute ass of your's, and by the way, thank you for the charming photo. You really do look adorable in those panties, sweetie. Mmm, I just wish you were here now! This is going to have to be a brief letter, love toy, but I promise to write much more next time, okay? The thing is, slave Richard, my mind is on other things right now, I am sorry to say. You see, my car broke down and the mechanic is being a real jerk. I hate to ask this of you, but if you could send me three hundred dollars so I can get my car out of that idiot's shop, I would be extremely grateful, love. I would pay you back of course as soon as I can. Well, I shall close for now. My thoughts are of you, and I pray I will hear from you very, very soon in graphic detail. With love and true dominance, your new Mistress (I hope), Laine. P.S. Thank you also for your business card, pet. Tell me though, just exactly what does an investment banker do? It sounds very important! 000200000912000080D390C,He pulls the letter out of the typewriter, then pulls out a bottle of women's cologne from his briefcase, which is laying nearby, and sprays the letter before placing it in an envelope. A beat later he pulls out another sheet of paper and loads it into the typewriter. JOE (V.O.) Dear slave Steven .... FADE OUT: CUT TO: INT. JOES APARTMENT - DAY DOORBELL RINGS. We see Joe open the door and we see a FED EX carrier standing there with a FED EX packet. CARRIER Good morning, sir. I have a Federal Express packet for a Mister Joseph DeMonte. JOE Thats me. CARRIER Okay. Sign here please, sir. Joe signs, takes the packet, then closes the door. We see Joe open the packet and extract a check. CLOSE UP on check. We see a bank cashiers check for $35,000. Joe smiles broadly, and the song Eleanor by The Turtles begins to play in the MIDDLE of the song: ELEANOR, GEE, I THINK YOURE SWELL, AND YOU REALLY DO ME WELL Joe, with check still in hand, goes to his telephone, picks up the receiver, then dials. (long beat) Song Eleanor by The Turtles continues to play as Joe dials but becomes softer as he now reaches his party on the other end. JOE Mad Dog, that you? PAULIE Yeah, whats up? JOE I just got the bucks from Eleanor. Time to party! Get some broads together tonight at your house, okay? PAULIE Okay! You got the whole bit? The whole 35 large? JOE Fuckin A! CUT TO: EXT. METROLUX LIMO SERVICE - ESTABLISHING - DAY SUPER - NOVEMBER, 1978 A limo pulls out of the parking lot. We SEE a frame, revealing the business sign, as Joe walks in the front office wearing black jeans, black jacket, and sun glasses. INT. METROLUX LIMO SERVICE - SAME DAY Joe approaches the YOUNG WOMAN at the counter. He reaches into his jacket and pulls out an envelope. Placing it on the counter in front of her, he reaches inside and starts to spread out bills on the counter. The woman is clearly taken back as Joe lowers his sunglasses a bit... JOE Give this to Paulie for me, will you, and tell him that Joe is very grateful. WOMAN I don't - don't think I should be doing this. JOE Don't worry. It's money I owe him from when he lent me the cost of my wifes operation. She had a real bad clitoris problem, and thanks to Paulie she was able to get it repaired. It's working just 00020000082B000089DF825,like it should now. Still uneasy, the woman exits to the back office. A beat later she returns, flustered. WOMAN He said he'd like to see you right away, sir. JOE (smiling) I thought he might. INT. PAULIE'S OFFICE - SAME DAY Paulie's office is decorated with such posters and calendars that are only found in sleazy car mechanics waiting rooms. Paulie is on the phone when Joe enters, his back towards Joe as he sits in a leather chair. PAULIE (into phone) What the hell do you take me for? It doesn't take two hours to get from Sparks to Reno! I don't care if you do pay the meter as you poke your girlfriend.... He turns around, finally taking notice of Joe standing before him. PAULIE (CONTD) We'll discuss this later. He hangs up the phone and the two men stare each other down, finally both grin. Paulie finally breaks the silence. PAULIE (CONTD) You little mother fucker, you wanna get me fired, don't you? You come in here and pull a stunt like that... JOE (smiling) What did you tell her? PAULIE The only thing I could, that your a practical joker. Clitoris operation! Jesus, man ...... (beat) So, where did this money come from? JOE Those ads I was telling you about. Consider it a belated token of my appreciation for the job you did a while back with the limo when Eleanor was in town. PAULIE Oh yeah, okay. Thanks, pal. (beat) Damn. I didn't think you'd get jack without a babe. JOE Yeah, well, I could get a lot more if I had one. You see, pal, they want to meet Laine. PAULIE Whos Laine? JOE That's the name I used. You remember - the girlfriend I had before my state sponsored vacation. PAULIE Her..oh, yeah,..well now what are you going to do, look her up? JOE No, that would be crazy. I need to get a girl, one I can trust. PAULIE Well, good luck on that! I haven't met one of those yet! ...I told you this wasn't going to work. JOE Shut up, and help me think. I got a ton of letters, Mad Dog, but no chick. It's like supply and demand, you see? I've got the demand but I don't have the supply. Usually, in any business, it's the other way around. 00020000083600009204830,PAULIE Hire a hooker. JOE Nah, she can't have that look, you know, used. She's got to look like the girl next door type. That's what made it for Hefner and Playboy. I need the same thing. (beat) And I can't keep jerking these guys around or I'll lose them all. PAULIE How much money have you gotten so far? JOE Ten, almost eleven dimes, from about a dozen guys...but about half of them have already moved on...she said she was looking for marriage and ,well, they seem to think you need to meet the person for that. I don't know why 'cause you just spend the rest of the time makin' love with the lights off. Hey, how about that girl you got answering the phones? Shes got legs that could rival a long country road. PAULIE I know, but she's married and square as they come. She's also dumb as a rock, too. JOE So, what am I going to do? PAULIE (long beat) Wait, maybe there is someone.. . I sort of befriended this 21 dealer down at the Peppermill the other day. JOE Really? PAULIE Yeah, I was just delivering my usual line of bull shit, hoping to get in her pants..... JOE Well, keep your pants on and let's go down there. I want to see what this babe looks like. CUT TO: EXt. RENO DOWNTOWN AREA - DAY. We watch as Paulie and Joe drive in Mad Dogs souped up 1975 Dodge to the casino where this 21 dealer works. Typical late 1970s style music plays as they drive along the Reno streets towards the casino. We see the car from an OVERHEAD VIEW. CUT TO: INT. CASINO FLOOR - DAY Paulie and Joe enter, nodding at a pit boss across the floor. They've been here many times previously and are known. JOE What table is she working? PAULIE I don't know...I don't see her- - - JOE What's her name? (off his look) Great! They begin to walk through the casino and aisles of slot machines. Paulie halts and is about to put a coin in a machine. Joe stops him. JOE (CONT'D) Slot machines were designed to keep the ladies occupied, while their men take care of business... let's go. Joe grabs his arm and yanks him down the aisle. 00020000080C00009A34806,Joe points towards the black jack tables. JOE (CONT'D) That her? (pointing to a blond dealer) PAULIE No, too fat. JOE Her? (pointing again) PAULIE No, too skinny....(beat) oh, now that's just about right. That's her ... the long haired blond. The table on the left. Paulie and Joe's P.O.V.: LEE ANN DODGE is passing out the cards; her seductiveness comes from her lack of trying to be sexy in her actions. She makes her uniform, stretching out the fabric in all the right places. Her long blond hair dances on her shoulders as she deals the cards without emotion. Joe and Paulie cross over and take seats. Only three other players are at the table. PAULIE (to Lee Ann) Remember me? LEE ANN (said with sarcasm) How could I not? I've awakened in a cold sweat for three nights straight. (Her insult only gets Paulie hotter.) PAULIE Alone? LEE ANN (rolls her eyes) There's a twenty-five dollar minimum at this table, gentlemen. Paulie lays down a hundred dollar bill. Joe does the same. PAULIE (to Lee Ann) This is my friend Joe. Joe extends his hand but she brushes him off and deals. LEE ANN (turning her head slightly towards the pit) Money plays. JOE I've got a proposition for you. (She motions towards the cards.) JOE (CONT'D) Hit me. PAULIE (to Joe) Are you crazy? You've got 17 there, man. You're gonna' bust out! JOE Yeah, but she's showing a queen. I think she's got twenty. I need the card. Paulie just sighs as Joe reaches inside his jacket and pulls out a cigar. He lights it and takes a puff, blowing the smoke up in circles. Lee Ann flips the next card over, and it's the 4 of Clubs. Joe grins, and Lee Ann, Paulie, and the other players at the table react with surprise at his luck. Lee Ann then turns up her hole card and it's a king. All the other players lose except for Joe. Joe collects his winnings, then pushes two green chips ($50) over to Lee Ann as a tip, then he and Paulie rise from their seats. JOE (CONT'D) (to Lee Ann) We'll be in the lounge. I'd really like to talk to you about something. LEE ANN (calling out) 0002000007C80000A23A7C2,I get off in an hour. JOE Perfect. CUT TO: INT. CASINO BAR - SAME DAY The bar is dimly lit and cigar/cigarette smoke clouds the air. Joe and Paulie are sitting across from each other at a booth in the back corner. Joe is lost in deep thought as Paulie downs the last of his beer. PAULIE What are you thinking? JOE She's perfect. And her voice - she'd be super on the phone - drive men crazy. PAULIE Yeah, I told ya' she was pretty hot. And you're right about her voice - very sexy! JOE I wouldn't mind her screaming out my name in the middle of the night, I'll tell you that. Joe notices Lee Ann entering the lounge and raises his hand, gesturing. Lee Ann heads over to their booth, passing other tables, where all the men seem to suffer from the wandering eye, watching her winsome features as she goes by. PAULIE (smiling broadly) Hello. She stops in front of the table. There's a beat in which she looks at the two men. Joe finally gets it and gets up and heads to the other side of the booth, tapping Paulies shoulder. PAULIE (CONT'D) What? JOE Move in. Now Lee Ann has her own side of the booth. PAULIE I like your name. (glancing at the name plate on her white casino blouse) Lee Ann rolls her eyes, then withdraws a cigarette from her small purse. Joe is quick to extract a gold lighter from the pocket of his black jacket and lights it for her. Lee Ann smiles at him in appreciation. PAULIE (CONT'D) I knew a girl named Lee Ann once. She was in the sixth grade with me. Man, she was cuter than a pink frog, but she wouldn't have anything to do with me. LEE ANN (rolls her eyes again) Gee, I wonder why that was. (said with sarcasm) Paulie, oblivious to her insult, goes on. PAULIE I don't know. Maybe it was because I looked up her dress a few times. Hey, are you named after anybody special or famous, Lee Ann? LEE ANN (blowing smoke from her mouth) Yeah, Lee Ann the Great. PAULIE (puzzled) Lee Ann the Great? Who was she? LEE ANN (smiling) My great aunt. 000200000A400000A9FCA3A,PAULIE (still puzzled) I don't think I ever heard of her. Joe gives Paulie a look of disgust. JOE So, listen, Lee Ann, thanks for showing up. I've got a proposition for you that I think you might be interested in. That is, if you like money. LEE ANN Who doesn't? Okay, shoot. I'm all ears. We see Joe's mouth moving in speech and Lee Ann nodding occasionally as the camera pulls away, showing their booth becoming smaller and smaller. An old rock n' roll song starts to play now - SH-BOOM by the Penguins. The song gets louder as the scene fades out. SLAM CUT: INT. - JOES APARTMENT - NIGHT SUPER - ONE WEEK LATER Joe, Tony and Paulie are sitting around talking. A stack of letters in disarray sits atop Joes coffee table. JOE Okay, so we got this Lee Ann broad now, but she can't get started for another month. TONY How come? JOE Her mother's coming to town. Seems her old lady works in Europe or somewhere ... some kind of government job overseas, I think. Anyway, she's coming here for a few weeks, and she'll be staying with Lee Ann. So, we gotta' wait a month. And that's okay, but I'd sure like to do something now with this guy - Ted Davies - in Miami. This guy is writing Laine a letter almost every day, and he's hot to trot. I don't want to lose him. PAULIE So, what can we do? TONY Yeah, what? We don't have a girl for him yet. He's got to wait a few weeks, right? JOE Wrong. I've got an idea. It would involve us taking a trip though - to Miami. TONY Us? Who's us? JOE You and me, pal. PAULIE (looking disappointed) I don't get to go? JOE Not this time, Mad Dog. I need you here. Keep an eye on Lee Ann at her work place. Make sure she doesn't have a change of heart. Paulie nods understandingly. TONY Okay, so we go to Miami to see this guy. What do we do once we're there? And who the hell are we supposed to be? JOE Okay, here's the plan. Listen up. I know this kid at the Hilton. He parks cars there. Anyway, he's got an almost new Chrysler 300. He's way behind on the payments, so he knows the car's going to be repo'd' soon. I can get the car from him for a couple of hundred bucks. I figure I write this Davies dude a letter - from Laine of course - and I tell him I am coming down there soon in a car that my Uncle Joe just gave me. I also explain in that same letter that my Uncle Joe has raised me since I was a kid because my parents were killed in a car wreck when I was only five, see? I go on and tell him that good old Uncle Joe is also submissive, just like he is, and that Uncle Joe is also very wealthy and owns a big company here in Reno, etc., etc. 0002000007F20000B4367EC,TONY So? I still don't get it. We got no babe! So, what the fuck is this guy gonna' say when you and me pull up there without this Laine?! And what the fuck are we doing there, anyway? JOE Let me finish, okay? And, by the way, I meant to tell you, Tony, that fucking orange suit you were wearing the other night at the Rickles' show looked like something straight out of Harlem. You need some definite wardrobe counseling, pal. PAULIE (laughing) Yeah, Joe's right, man. Where the hell did you get that suit anyway? TONY Fuck you, Mad Dog! You too, Joe. Forget about my clothes. Just get on with this Miami deal, okay? JOE I tell him in the letter that I am bringing my uncle and his business associate with me on this driving trip for security reasons, sort of as chaperones, see? I tell him they want to meet this guy I am so crazy about and want to marry. TONY Why would her uncle and his business associate want to meet with him? JOE Because they're very protective of Laine, see? Also, it shows how truly sincere Laine is about wanting to be with this guy and eventually marrying him. I already sign the letters to him, with love and dominance, your Mistress and fiancee, Laine. He loves it, too! He now has started signing his letters, love and devotion, your slave and future husband, Ted. PAULIE Jesus, these guys are more warped that I thought! JOE Yeah, that's what's so good about all this. Okay, I send him this letter air express. Then, you and me head out to Miami with the kid's Chrysler. I do the driving, by the way, Tony, because you drive like shit! You almost ran me over with the limo that night I was scamming Rita. TONY Hey, I just wanted to make it realistic, you know? (beat) By the way, are you off parole now? Can you leave the state? JOE Yeah, I got off paper in September, so its no problem. (beat) Anyway, okay, we get to Miami. We go to the guy's house, which is beautiful, by the way. He's sent some photos of it to Laine, which you guys can look at in a few minutes. 00020000083D0000BC22837,TONY Okay, so now we're in Miami with this car. We're at the dude's house. Now what? Where do we tell him Laine is - hiding in the fucking trunk? JOE (smiling) Not exactly. We tell him she's been kidnapped by the Japanese mafia in Omaha. Long beat as Tony stares at Joe in disbelief TONY You're joking, right, Joe? JOE No, I'm dead serious. Listen, this guy's written a ton of letters to Laine so far, and he's a loner. He also loves intrigue and adventure - I can tell. So, he is gonna' love it when we tell him that his sexy and gorgeous fiancee, who is also my loving niece, don't forget, got snatched from outside our motel when we stopped in Omaha for the night. PAULIE By the Japanese mafia, right? JOE Yeah, that's right. TONY (sighing deeply) Look, Joe, I hate to put a damper on things, but what the hell is the Japanese mafia doing in fucking Omaha, Neb- raska?! Also, why the hell would they want to kidnap Laine?! Not to mention that she doesn't even exist! JOE Well, that's rather simple. You see, once we get there, we tell this dude that Laine's grandmother, my late brother's mother-in-law, died recently, and that she left Laine a ton of money, see? However, the old woman owed some money to the Japanese mafia that her late husband had borrowed years ago during World War Two, see? But the old woman never knew about the debt, so she refused to pay it. She and her husband moved to Hawaii after the war, and they became rich, using the money the old man borrowed from the Jap mafia to buy up properties there on three different islands. But the husband died soon after they became wealthy, and he never paid back the loan in full. The Japs have been hounding Laine's grandma for the money for years but she wouldn't pay. TONY Okay, so why didn't they kill her or something? JOE They figured it would look bad if they whacked an elderly lady, especially since Laine's grandmother was so well liked over there in Hawaii. TONY And why was she so well liked? (said with sarcasm) JOE Well, she gave a lot of money to charities and stuff. She provided for the homeless, too. 0002000009420000C45993C,PAULIE Hey, I gave a homeless guy a buck the other day on Virginia Street. But I never gave anything to any charities, I don't think. Joe and Tony look at Paulie and roll their eyes. JOE So, now that the grandmother's dead, they have come after Laine, her only living blood relative. They snatch her because they know she is the heir to her grandma's estate, see? They're gonna' hold her until she gets her inheritance so that she can pay them the 76 grand that her grandfather borrowed years ago. TONY (with sarcasm) Does that 76 large include interest? I would imagine the interest would be pretty steep by now, huh? Probably over ten or fifteen million! JOE Naw', it was a no interest loan, on account of the Japs losing the war. PAULIE That's right! They lost that fucking war! I read about that in school. Got wiped out when Kennedy dropped the old A-bomb on them in Tokyo! Joe and Tony look at Paulie questionably. TONY Where the fuck did you go to school, Mad Dog?! JOE Never mind that shit! Let's get back to business. So, anyway, they kidnap Laine and are holding her until they get their money from her, which she will get as soon as the will is probated, see? TONY In Omaha, right? They're going to hold her in Omaha, fucking Nebraska, is that right? JOE No, they're taking her to their home base in Osaka. PAULIE Is that in Nebraska, too? JOE No, that's in Japan, Mad Dog. PAULIE Japan?! Holy shit, we might never get her back! That's like ten thousand miles from here, man! TONY She doesn't even fucking exist, Paulie, for Christ sake, so who cares where she's being held?! PAULIE Wait a minute, .... oh, yeah, that's right. I got so caught up in this, it was like it was real, you know? JOE Yeah, we know, Mad Dog. That's why Tony and me are going to Miami and you're staying here. TONY Okay, so tell me this - why are they taking Laine to Osaka? Why not just keep her in Omaha? And I still don't know what the hell the Japanese mafia is doing in Omaha?! JOE Okay, I'll answer your last question first. The Japanese mafia is in Omaha because that is their USA headquarters, you see? Now, most people would think their U.S. Headquarters would be - like maybe in San Francisco, or L.A,, or even New York, but it's not. It's in Omaha because that is the least likely place anyone would think of as being their USA headquarters, see? 000200000F150000CD95F0F,TONY (with sarcasm) I'll go along with that logic! JOE Yeah, now as for your other question, Tony. They are taking her to Osaka because that is where they have their film studio. TONY Their what?! JOE Their film studio. You see, while they are holding Laine, and waiting for the probate to be resolved, they are going to force Laine to make porno flicks. TONY Man, I hate to even step into this one, but I will. Why are they going to make her do porn flicks? JOE Well, mostly to humiliate her, you see? But also because she's a hot babe. Look, this guy Davies is a real kinko, Tony. You haven't read all his letters. I have! I guarantee you, man, once he learns that Laine is being made to do porn films, he'll want to see them! So, we get some bucks from him for the ransom, and tell him it will be paid back with a good rate of interest, too, once Laine gets her inheritance. Then, we tell him about her being forced to make porn movies, and we can collect some more from him for the films. TONY But there aren't any films! Shit, there isn't even any Laine! JOE I know that, but he doesn't, see? That's the big difference. By the way, we couldn't ever use Lee Ann with this guy anyway. He likes chicks that are dark haired and petite, like my old girlfriend - the real Laine. That's why that picture of the real Laine caught his attention, and why he replied to the ad in the first place. He said in one of his early letters that he thought Laine looked a bit like Susan Lucci, the actress, you know? Susan Lucci gives this dude a hard-on, see? You guys know who she is? PAULIE Yeah, I know her. She plays in that soap opera on TV. Uh, ... Get Off My Children, I think it's called. My mom loves that show. Joe and Tony glance at one another in disbelief. JOE So, anyway, I write the letter, like I said, send it out air express, we head for Miami, tell the dude that his fiancee was snatched in Omaha, that we need 76K to get her back, and we tell him about the porn films, etc., got it? TONY Wait a minute ... If Laine's uncle - you - is so damn wealthy, why can't he pay the ransom? JOE Well, her uncle - me - will be paying some of it, you see? What we tell this guy is that the original tab owed the Japs by Laine's grandfather is $200,000! Her uncle, me, is indeed well off, but a lot of my bucks are tied up in investments that I can't get my hands on right now. However, I can come up with a big chunk of it, say, like $124,000. Now, if me, her uncle, can put up 124 large to get poor Laine unsnatched, then surely Laine's future husband can come up with a paltry seventy-six grand, right? PAULIE Makes sense to me. TONY Everything makes sense to you, Mad Dog. PAULIE Is that an insult, Tony? 'Cause if it is, I'm gonna' kick your ass! JOE Cut the shit, you two! (beat) Well, how do you like it? TONY (beat, as Tony ponders this) Okay, let me make sure I got this straight. I got the letter part down. Now, after you send the letter, Joe, we head for Miami. When we get there, we tell this jerk-off that his fiancee Laine, who looks like Susan Lucci, but who doesn't really even exist, got herself kidnapped outside our motel in Omaha, which is where the headquarters for the USA Japanese mafia is located. And it's located there because no one would ever suspect it would be there. Her grandmother, who also never existed, just died in Hawaii, and left Laine a small fortune. But the old broad's late husband, who also never existed, owed the Japs a flock of yen from the forties era, and it was never paid back. But there is no interest on this money because the Japs lost the war. Laine is now headed 000200000B990000DCA4B93,for Osaka, Japan, because that is where the Japs have their film studio. They are going to have Laine make some porn movies while she waits for the probate of granny's will to be settled. The ransom is 200 large, but you only have 124 of it, so he needs to put up the other 76. In addition, he can purchase some of the fuck flicks that Laine is making in the Land Of The Rising Sun for a good price,so that he can jerk his brains off looking at them. He will be paid back when the probate is all settled, and with a good rate of interest. Is that about it? JOE Almost. You forgot about the car. We are giving him the car as a sign of good faith. TONY Okay. So, we're giving him this $10,000 car, which the repo' people are looking for , as a sign of our good faith, on a $76,000 loan. This car, which by the way, is no doubt registered to the kid from the Hilton, along the finance company that's right now looking for it. JOE No problem. We tell him that I just bought it for Laine, so the new registration, etc., hasn't come through yet. So, what'd you think? TONY (long beat) I like it! Fuck it, let's do it! PAULIE I like it, too! Fuckin' A! All three of them do high-fives with one another, as the song High Hopes by Frank Sinatra begins to play, and becomes louder and louder as the scene fades out slowly. SLAM CUT: INT. JOE'S APARTMENT - DAY We see suitcases by the door. Joe is on the telephone. Tony enters the apartment and takes a seat on a lounge chair near where Joe is. JOE Yeah, babe, I've got to go down to Florida ... take care of some business down there .... (beat) Of course I'll phone you while I'm (down there.......) (beat) I don't know.... maybe a week or so. Hard to say right now ...... (beat) Okay, you keep that sweet puss' of your's nice and juicy, alright? (beat) Ill miss you, too! Gotta' go, sweet stuff. 'Bye. Joe hangs up the receiver. TONY Who the hell was that? JOE Some chick I met the other night at the MGM. She's kind of foxy, and shes got a great ass. TONY Sounds good. How old is she? JOE I'm not sure ... thirty-five or so. She's divorced. Ive spent the last few nights with her. TONY Yeah? So, you like her, huh? JOE Oh yeah, shes great. I tell you, Tony, this babe can not only suck a mean cock, but she made five fucking passes at the dice table for me at the MGM. TONY (laughing, as he and Joe grab suitcases) Come on, let's go to Miami and get some ducats! SCENE FADES OUT AS THEY WALK OUT THE DOOR. CUT TO: HIGH OVERHEAD SHOT: WIDE ANGLE EXT. NEVADA HIGHWAY - DAY We WATCH a Chrysler 300 SPEED out of Nevada, PASSING a sign which reads; You are now leaving the State of Nevada - Come again And Bring More Money Next Time. DISSOLVE TO: EXT. TED DAVIES HOME IN MIAMI SHORES - DAY Joe and Tony LEAN UP against the car, ADMIRING DAVIESS home which is a large, newly built edifice. JOE This guys got some serious fucking money. TONY I bet Mad Dog wishes he was here to see this. JOE 000200000A2B0000E837A25,Yeah, well, hes got to work. Keep an eye on Lee Ann. (beat) And we got work to do, too. TONY What did you say this guy does for a living? JOE I told you, pal, hes an executive with some airline here. His parents left him a mint, too. This guys got coin collections, stocks and bonds, investments, the works. As they TALK, a man - TED DAVIES - OPENS the front door to his home and WALKS OVER to them. DAVIES is perhaps fifty or so years old and he wears a light blue shirt with a red tie. DAVIES Can I help you gentlemen? JOE Yeah. Were here to give you something from Laine. Im Joe DeMonte, Laines Uncle, and this is Tony ..uh, Skipperbuzzi, my .. uh .. business associate. I think my niece sent you an air express letter that we were coming, right? Ted nods, then all three exchange handshakes. Joe and Tony STEP AWAY from the car. TONY You like cars? Davies EYES the car. DAVIES I love cars. (beat) Wheres Laine? Joe and Tony share a glance. JOE Weve got some bad news, Im afraid, Ted - can I call you Ted? Davies nods. JOE (CONT'D) Theres been an accident. (beat) A kidnapping actually. DAVIES A kidnapping?! I dont understand? What do you mean? Who was kidnapped? JOE Laine. DAVIES Laine? Who took her? Joe tries to keep a straight face. JOE The Japanese mafia. DAVIES The Japanese mafia?! What would they want with Laine? I - I dont quite understand? Is she all right? Tony tries hard not to break up, and smothers a half-laugh with fake sobs. JOE Shes fine, Ted...Theyre holding her in Japan. Osaka to be exact. (beat) Forcing her to.. to do things. Joe covers his face. DAVIES What things? Joe looks up. JOE Porno movies. Davies looks hard at Joe. Theres a long beat - did Joe go overboard? DAVIES Do you have copies? Of the movies, I mean. JOE No. Im sorry, we dont. DAVIES (showing excitement) Can you get some? Id really like to see them. JOE Well, maybe .. (beat) Look, Ted, I dont think you fully comprehend the seriousness of this whole thing. They wont ever let her go unless we bail her out. DAVIES But why did they kidnap her? I still dont understand that. JOE Why dont we go inside and talk, Ted? Its too damn hot out here, and this humidity you got down here is a killer! After a brief hesitation, Davies slowly nods, and we watch Tony and Joe follow Ted Davies up the walkway to the entrance of his home. DISSOLVE TO: INT. TED'S HOUSE - MOMENTS LATER WIDE SHOT It is expensively furnished with high quality dcor and furniture. We see Joe, Tony and Ted seated in the living room, all three sipping iced tea. TONY It must be 95 out there. DAVIES 0002000006950000F25C68F,Ninety-nine actually. I like it hot though. JOE Yeah, well, hot weather is okay, I guess. I prefer the change of seasons though. DAVIES Where are you from originally, Joe? JOE Niagara Falls. The American side. You, Ted? DAVIES Pennsylvania. You know, I went to Niagara Falls years ago, on my honeymoon. JOE Yeah, well thats not surprising. Its the honeymoon capitol, you know? So, you were married once, huh? What happened? DAVIES Oh, we got divorced .. been ten years now. Didnt work out. She was too conservative, you know, when it came to .. sex. I like, well, things that she didn't like, you see? Thats why, in fact, I decided to answer your nieces ad. What she put in that ad, well, its like what Ive always dreamed about. The camera pulls back just far enough to show the three men. We dont hear the actual conversation as Joe now explains to Davies the wild story that he has drummed up for this situation. We see Joes mouth moving and Ted nodding. DAVIES Itll take me a few days to get the money. Ill have to sell off some stock. But $76,000 is a little steep, dont you think? (beat) Cant you bargain with them? Joe and Tony share a glance. JOE Bargain? How much? Davies looks ready to answer. DISSOLVE TO: INT. CASINO RESTAURANT - NIGHT - CLOSE ON TABLE Fifty seven thousand dollars in hundred dollar bills sits on the table of a booth. PULLBACK and Joe, Tony and Paulie slowly appear in the frame, their eyes locked on the money. PAULIE Fifty-Seven grand. (beat) Thats fucking amazing! And you guys stayed at his house, ate his food and drank his booze while you waited for the bucks. I love it! Theres a short silence as they sip cocktails. 0002000006BB0000F8EB6B5,JOE Yeah, we had a pretty good time there. (beat) This is just peanuts though. You find a dark haired broad yet, maybe looks like Susan Lucci a little? PAULIE Actually, I did. I was talking to a friend of mine - a blackjack dealer here .. nice looking broad. (beat) She might be interested in being our next girl. She can meet you tomorrow. JOE Whats her name? PAULIE Jamie Crowe. You know her? JOE Doesnt ring a bell. CUT TO: INT. CASINO BAR - DAY Joe is seated alone at the bar with a drink and is smoking a cigar. Shortly, a young woman JAMIE CROWE - enters the room and she approaches him. JAMIE Are you Joe? Jamie is dressed in a low cut yellow mini-dress and matching high heels. She is about twenty-two years of age and has jet black hair, green eyes, and is very petite and good looking. JOE Jamie? She nods. Joe gestures for hear to take a seat. She does. Joe then motions to the bar tender to bring her a drink. JOE (CONT'D) How much did Paulie tell you about this? JAMIE Not much. Just that you guys were working a scam with rich men and... (beat) He said that I didnt have to sleep with any one - just spank them, whip them and stuff. The BARTENDER places a drink in front of her. She takes it. JOE Let them go down on you, kiss your boobs, that sort of stuff. JAMIE Not a problem. JOE Youve gotta lead them on a bit. Tell them you wanna get married - all that sort of stuff. These guys are looking for marriage, see? No one night stands in this deal. (beat) I deal with getting the money. We split it 50-50. Anything else you get, like jewelry, clothing, trips, and so forth, you keep for yourself. (beat) Sound good? JAMIE (smiling broadly) My mother always said I was sitting on a gold mine! 000200000AB30000FFA0AAD,They clink their glasses - sealing the deal. FADE CUT: INT. LARGE BRIGHT CONDO - DAY Jamie and Joe are looking around the lavishly decorated condo. JAMIE Wow, this place is beautiful! Are you serious, I get to live here?! JOE You need a place to stay where we can pull this off. Joe walks over to a filing cabinet at the end of the room. Jamie crosses over to him. JAMIE Whats this for? JOE Each guy has a file. (beat) So far youre the second one weve got working with us on this, so youre going to be talking to more than one guy, and you need to keep up with each guys particular fetishes etc., - all of which will be in their files. Start reading, okay? Then you can make some calls. CUT TO: EXT. MGM GRAND - RENO - ESTABLISHING SUPER - MAY, 1980 INT. MGM GRAND - FRONT DESK - AFTERNOON WILL GAINES, mid-50's, approaches the front desk carrying department store shopping bags and two chic leather suitcases. DESK CLERK May I help you? GAINES Yes, I have a reservation under Will Gaines. The desk clerk scans the computer files. DESK CLERK Ah, here we are, Mr. Gaines. If you will just sign in please, and let me have your credit card, sir, we'll get you on your way. Gaines hands over credit card and signs the registration form, then the clerk rings for a bell man. TIME CUT TO: INT. MGM HOTEL ROOM - CLOSE UP ON LETTER - LATER The letter, apparently written by "Laine", contains a list of instructions. Step one, "Place offerings on bed". Gaines removes some wrapped gifts from the bags and places them on the bed. Step two, "get completely naked and be sure to be on your knees, with your head lowered in submission, by five minutes to three. Step three, Leave door unlocked so I can enter. I will be there at three p.m.. The note is signed, your divine Mistress, Laine. Gaines looks at the clock on the night stand and we see it showing 2:45 in red digital numbers. He commences to quickly remove his clothing, and we see the items of clothing being tossed on a chair. Then he kneels, just out of view, in front of the door, his head lowered almost to the plush carpeting. We see Gaines from behind, naked. There's a long beat, as Gaines waits for his mistress. His breathing is already heavy in anticipation, and we can hear him breathing hard. (long beat) There's a knock at the door. GAINES It's open, Mistress. Please come in. The door swings open slowly, and a chubby Hispanic maid in her 40's enters into frame. She looks puzzled as she peers down at the naked Gaines on the floor. She is in full MGM maid's uniform and is carrying towels. Gaines, head still bowed and lowered, cannot see her. GAINES (CONT'D) I got everything you asked for. It's all on the bed. Did I do well, mistress? 0002000007FC00010A4D7F6,The maid doesn't know what to make of the situation, and is on the verge of laughing. But the gifts may be of "pawning" value, so she takes them. But in order to carry them, she has to let go of her towels, so she leaves them in place of the gifts. She looks down at the pitiful naked man on the floor, shakes her head sideways, then exits. The door slam jars Gaines, who thinks this is all part of the game, and cannot contain his excitement any longer. We see his hand lower down his front towards his privates. As his head begins to lean back in apparent ecstasy, Lee Ann, as "Laine, enters without knocking, carrying a leather bag. LEE ANN What? I'm not worth the wait? Before Gaines has time to answer, Lee Ann notices the towels on the bed. LEE ANN (CONT'D) (enraged, picking up one of the towels) What is this? Some kind of joke? You think I need a shower, you worm?! You bring me fucking towels as a tribute?! This isn't what I told you to bring me, you scumbag! GAINES (looking now at the towels in total confusion) No, Mistress .... umm...that wasn't-- - Lee Ann hits him on the head with one of the towels. LEE ANN (beat) Looks like I'm going to have to punish you, aren't I? GAINES But, Mistress .... I - I put your gifts on the ........ LEE ANN Shut up, you miserable wretch! And stay on the floor, just like you are! The blood drains from Gaines' face. He wants this but still fears it. Lee Ann rummages through her bag, extracting a small whip and a pair of silver handcuffs. She turns facing Gaines and lets her coat fall to the floor She is wearing a black leather bra, leather short shorts, and black leather boots. Gaines suddenly becomes flushed. We now pull away slowly from the room's interior as the song Mean Woman Blues by Roy Orbison begins playing. We see now the EXTERIOR of the hotel and parts of Reno, as the song becomes louder, and we can also hear the distinct sounds of a whip being used on Gaines, and we hear too his moans of mixed pleasure and agony as the scene fades out. DISSOLVE TO: 000200000A00000112439FA,INT. SAME LARGE BRIGHT CONDO WHERE JAMIE IS LIVING - DAY SUPER - MARCH, 1981 Jamie enters the room with another GIRL. Joe looks her over. JAMIE Joe, this is CiCi, the girl I told you about. Shes British. CICI (with distinct British accent) Hello. Lovely place you have here. Joe eyes CiCi up, then he smiles. CiCi is very pretty. Shes tall and has black hair, long legs, well rounded breasts, and brown eyes, which tend to flash when she speaks. JOE Thanks, but this isnt actually my place. Jamie lives here. (beat) I like your accent. Youll drive our marks crazy with it. CICI I take it that means Im in, yes? JOE I dont see why not. CICI When can I start? I really need some money rather badly, you see? Im behind on some bills actually. I have an auto payment that is rather in arrears. JOE Is it now? Well, I think we can bring it current. CICI Oh, that would be absolutely lovely! JOE Jamies meeting with a man tomorrow for lunch. (beat) Ill need someone to pose as my wife. CiCi looks at Joe. CICI That would be divine! When and where? JOE Tomorrow at the MGM steak house. (beat) Sit down, and Ill brief you on how this works, and your part, okay? CUT TO: EXT. OUTSIDE SEATING OF RESTAURANT - DAY Joe, Jamie, CiCi and TODD WILSON are seated around a table, with their meals in front of them. From the body language its obvious that Joe and CiCi are supposed to be man and wife, and Jamie and Todd are a couple. Todd is a balding, somewhat overweight man in his mid-fifties. JOE (to Todd) Im truly sorry you had to stay in a hotel, Todd. (beat) We wanted you to come and stay at the house, but what with my wifes parents visiting from London, it just wasnt possible. They are very straight laced and quite conservative. Jamie nods in agreement. JAMIE (to Todd) Even the dungeons been closed up, darling. CICI Yes, theyre so conservative. Its such a shame though that we cannot reveal our special and wonderful lifestyle to them, but they just wouldnt at all understand, you see? Todd nods understandingly. TODD No explanation necessary. I completely understand. JOE You know, Todd, Laines really been looking forward to you coming here. Jamie smiles at Todd, and he returns her smile. JOE (CONT'D) Over the past two years since CiCi and I got married, Laine has seen how happy CiCi has made me, and she decided she wanted the same lifestyle as us. Thats why she placed her ad. Joe takes CiCis hand in his. TODD (somewhat surprised) Youre submissive, Joe? JOE Oh yes, you bet! CiCis dominant and Im her total slave. 0002000009E600011C3D9E0,(beat) And I wouldnt want it any other way, would I, darling? CICI Youd better not, my pet! TODD (grinning) Well, Im looking forward to finally experiencing that for myself. Todd looks at Jamie, and Joe quickly reads the situation. JOE (to Jamie) Maybe you two should get going. I think Todd is anxious to get better acquainted with you, Laine. Jamie looks at Joe. JAMIE You wont mind if we leave now? JOE Not at all. CICI You two have a good time. Todd starts to rise from the table, holding Jamies hand. Jamie stands with him. TODD (to Joe and CiCi) I guess well see you later. Joe nods and smiles. JOE And if you want any company, just give us a call. Joe carefully, yet obviously, places a camera on the table. Todd peers at the camera and smiles a little. TODD Maybe later. Todd and Jamie depart, hand in hand. Joe smiles as he watches them walk away. CUT TO: INT. MGM GRAND HOTEL ROOM - DAY From the back, we see Todd, who is sitting naked on the edge of the bed. He looks apprehensive, as if hes waiting for something. A beat later the bathroom door on his right opens. Todd turns to look just as Jamie appears in the doorway. CLOSE UP: On Jamie. Jamie is wearing black leather and PVC. She has on six inch stiletto heels, fish net stockings, a black PVC thong and a black leather corset. Shes also holding a small whip. When she speaks, she adopts a sexy dominatrix tone as she fondles the whip. JAMIE Have you been a naughty boy lately, my love? Jamie takes a few steps towards Todd, and he slides off of the bed and kneels now on the rug. We still only see him from the back. TODD Yes, Mistress Laine. I Im afraid I have. CLOSE UP: On Jamie, showing her with a devilish smile on her face. JAMIE Well, well just have to do something about that, wont we? The song These Boots Were Made For Walking by Nancy Sinatra begins to play, and increases in volume and this scene ends and fades out. EXT. - MGM Hotel shows on screen as song continues to play. CUT TO: INT. JOES APARTMENT - DAY Joe and CiCi are laying in bed. We see Joe naked from the waist up, propped against a pillow. CiCi has the covers up just above her breasts and she is smoking a cigarette. CICI So, do you have sex with all the girls that work with you? JOE I try to. CICI (smiling) Oh, and here I thought I was possibly an exception. JOE Youre an exceptional lay, Ill say that. CICI (still smiling) Well, thank you, kind sir. You werent so bad yourself. Joe leans over to her side of the bed and kisses her on the cheek. 0002000007D40001261D7CE,JOE Listen, its been fun, but I have to get going. Ive got some errands to run that cant be put off. (beat) You can stay here if you want. Tomorrow well get you moved in with Jamie, okay? That should save you some money. CICI Oh, that would be lovely. Im not very fond of where I am staying now. Its kind of seedy. JOE Yeah, well, well get you moved in with Jamie tomorrow. Get you a new car, too. Hows that? CICI Oh . that would be absolutely fabulous! Joe gets out of the bed and quickly dresses. Just before he leaves the bedroom, he turns back towards CiCi. JOE Theres plenty of food in the refrigerator. Liquor is in he cabinet above the counter. The stereo and TV remotes are on the coffee table. So, make yourself at home. I should be back in a few hours. CICI Oh, wow, okay! Thank you, Joe! Joe nods, then leaves. CUT TO: MOVING SHOT: We follow Joe as he drives away from his apartment and heads down Virginia Street to Harrahs Casino. He valet parks his car, then we watch as he enters the casino. We follow until he reaches a roped off area at the back of the casino where FIVE WELL DRESSED MEN of various ages are seated at a lush poker table. We see stacks of chips and MALE DEALER in a white shirt and black western style tie dealing cards to the men. A suave looking white haired MAN in a tuxedo smiles at Joe and opens the red rope to allow him into the closed off poker area. MAN IN TUXEDO (smiling) Nice to see you again, Mr. D. JOE You too, Marcel. Looks like the game is in high gear tonight. Joe approaches the table, pulls out a wad of hundred dollar bills and peels off a good number of them. He slides the bills over to the dealer. The dealer takes the bills, counts them rapidly, stuffs them down the slot in the table and begins counting out chips for Joe. Two of the MEN at the table acknowledge Joe with brisk smiles and big hellos. Still another MAN in a western shirt grins broadly and raises half-up from his chair to shake Joes hand. 00020000097F00012DEB979,MAN IN WESTERN SHIRT (grinning) About time you got here, Joe. Cant wait to get some of your money. JOE (smiling) Not tonight, Hank. Im feeling pretty lucky. Just got done having my balls drained by a very sexy British lady. All the men at the table laugh and smile. MAN IN WESTERN SHIRT Well, shoot, no wonder youre late! Damn, if it was me, I wouldnt have shown up at all! The men all laugh again. CAMERA PULLS AWAY SLOWLY from the poker table as cards are being dealt and the scene fades out. DISSOLVE TO: EXT. JOES NEW EXPENSIVE HOME IN RENO - EARLY EVENING SUPER - OCTOBER, 1982 Joe opens up the door to find Tony standing there, dressed in a business suit. He lets him in. CUT TO: INT. JOES DEN Joe, Tony and a MAN - TOM SCHAFFER - are in the den. TOM is chubby, has thick gray hair, and is about 60 years of age. JOE Tom, this is Jack Slade, my attorney. He'll be able to take care of all the red tape. Tony and Tom shake hands. TONY Did you bring the check? SCHAEFER Yes. CLOSE UP oF JOES DESK There is an array of business papers, contracts, etc. TONY (O.S.) Now, I know - - WIDE ANGLE SHOT: Schaefer is seated at the desk. Joe and Tony stand over the desk, giving them the height advantage. TONY (CONT'D) - - - that Joe has explained to you that he gets the diamonds in the Orient, and that a craftsman in the Netherlands puts together the actual jewelry pieces. Then of course Joe sells the pieces retail at a wide profit margin in Saudi Arabia. Tony steps back for a second, letting it sink in. Schaefer picks up the contract and begins scanning over it. JOE So, if I cut you in on my share, allowing you to put up a hundred K - - give the guy six months to put the pieces together -- by next fall you could easily get as much as one fifty maybe even two hundred K back. TONY Sure beats CD's, doesn't it? SCHAEFER Are you sure about this rate of return? It -- it just seems too good to be --- Tony senses his hesitation and grabs it. TONY Hey, my friend, I even have my money in on these deals all the time. I could invest in stocks but why gamble when you can have a sure thing, right? He hands a pen to Schaefer who signs eagerly. FLASH CUT: EXT. JOE'S HOUSE - DRIVEWAY SUPER - LATER THAT NIGHT Lee Ann is in the passenger seat of Tom's rental car. Suitcases adorn the back seat. Joe leans against the passenger door. JOE Watch out for those alligators while you're down in Florida, little girl. 00020000066C00013764666,(to Schaefer) Make sure she calls me daily. She's never really been away from home before. Schaefer nods. Joe gives Lee Ann a peck on the cheek. Then steps back next to Tony as Schaefer puts the car in reverse and begins backing up out of the driveway. TONY Seems like a nice guy. JOE Yeah, too bad our expert craftsman in the Netherlands is going to have a coronary in a few months in his shop. TONY Yeah, too bad. And too bad also that those gang of kids storm his shop and rob it while the poor guy's laying on the floor. They wave as the car pulls out the drive. JOE Okay, let's see what we got here, Tony. Lee Ann gets fifty percent of this and you get ten percent of what's left. (beat) Damn, it goes so quickly. TONY Yeah, well maybe if you stopped betting so heavy on those lousy Jets, pal, it wouldn't go nearly as fast, huh? JOE (laughing) Yeah, you got a point there. Anyway, I'm goin' to Jersey next week to watch them play. Im taking Melanie with me. TONY Who the hell is Melanie? JOE A little cutie pie I met last week at Harrahs. Shes only 19 but she can suck dick like a vacuum cleaner and she has the tightest twat Ive ever been into. Tony laughs. TONY (grinning) Jesus, Joe, you never quit, do you? Youve got to be the biggest pussy hound Ive ever known. JOE What can I say? I love pussy! And new pussy is the best! You know, Tony, if the good Lord made anything better than pussy, He must have kept it for Himself. TONY (laughing) Yeah, I think youre probably right about that. (beat) Cmon, lets head back inside. Its getting cold out here. Their voices trail off as they head back into the house. 000200000AE100013DCAADB,FADE OUT as the song Palisades Park by Freddie Cannon begins to play. DISSOLVE TO: INT. JFK AIRPORT - DAY SUPER - APRIL, 1983 Jamie and MARTIN KANE, a 57 year old tall man with white hair, are walking through the busy terminal. Martin is skimming through an English- French dictionary. MARTIN Do you know how to say, "May I see your pastry, please?" (off her look) I'm just fooling, darling. JAMIE Uh, oh .. JAMIE'S P.O.V.: Down the terminal, Todd Wilson, one of Jamie's former marks, is walking in their direction. She quickly looks around nervously, finally fixing her eyes on a rest room sign. JAMIE (CONT'D) 'Xcuse me, babe, gotta' go powder my nose! MARTIN Why? You look great. JAMIE Oh, you're such a sweetheart. But I need to go, you know? Be back in a flash. She darts into the rest room. Martin takes a seat along the wall. A beat later, Todd Wilson passes right by him and Martin even apologizes and moves his legs in further in so that Todd can get by. RESUME: At the rest room entrance. Jamie has her head poked out and sees that Todd is gone. She crosses over to Martin. JAMIE See, that didn't take long, did it? Announcer comes on the loud speaker. ANNOUNCER (V.O.) Air France flight 73 to Paris is now boarding at Gate C3. JAMIE That's us, honey. Come on! Oh, I'm so excited! I can't wait to see Paris! Martin smiles. She grabs his arm, and they head for the gate. CUT TO: MONTAGE: SUPER - SUMMER, 1983 INT. CASINO FLOOR - CRAPS TABLE Joe is chatting with Jamie, as he plays craps. Lee Ann stands next to them. INT. JOE'S HOUSE - KITCHEN The table has on it a bottle of vodka and three glasses, and Tony stands over a 56 YEAR OLD MARK with a phony contract. A beat later Joe enters and extends his hand to the mark. INT. BAR - CLOSE ON MARTINI GLASS. We see a hand enter frame and grab the glass, PULLBACK. The hands belong to CICI. Her legs wrap around Joes, who is sitting on the bar stool next to her. She reaches for the olive, seductively pulls it off the stick, eats it, then runs the stick across Joes lips. INT. HOTEL ROOM - DAY Jamie is on the bed, wearing a red teddy with her legs elevated, revealing long black leather boots and a whip in her left hand. She lifts it and brings it down on the mattress. A middle-aged MAN comes into view and begins to slowly lick one of her boots from the sole to the tip. EXT. HOUSE - DRIVEWAY Lee Ann is blindfolded, being led by Schaffer, to an awaiting new sports car. He lifts her blindfold and she reacts, jumping in his arms. EXT. PLUSH JEWELRY STORE - NEW ORLEANS - DAY - ESTABLISHING INT. PLUSH JEWELRY STORE - DAY CiCi is like a kid in a candy store, briskly walking from one case to another, pointing at various jewelry. Her MARK, a fat man in his fifties, eagerly tries to keep up with her. 000200000B17000148A5B11,INT. JEWELRY STORE COUNTER - LATER The sales lady is wrapping up jewelry boxes. The mark slides his credit card across the counter. The sound of the printer as it prints out a receipt rises in intensity... HOSTESS (O.S.) Party of three? INT. RESTAURANT - NIGHT Joe is dressed in a suit, cigar in his mouth, Lee Ann on one arm and Jamie on the other. Right behind is CiCi. All three girls are dressed sexy but tastefully. JOE No, four. The hostess motions for them to follow her. JOE (to Lee Ann) This dinner is to celebrate your latest score, little girl. You did a fantastic job on old Doctor Besormeaux. One hundred and forty large is the biggest single score weve ever had so far. LEE ANN Thank you. I just hope all goes well. I have a funny feeling about that guy. DISSOLVE TO: INT. LIVING ROOM - JOES HOUSE - NIGHT SUPER - CHRISTMAS EVE, 1983 Its a holiday party! Several former FEMALE co-workers of Lee Anns and Jamies, from the casinos they used to work at, are at Joes home for a gala Christmas bash. We PAN around the room - over the blankets, pillows, and sleeping bags on the floor. A couple of girls are giving each other facials. On the couch are another two girls having a small pillow fight that ends with them kissing passionately. They then fall off of the couch, out of view. A large Christmas tree, fully decorated, and with several gift wrapped boxes beneath it, is in the corner of the room. Joe, Paulie and Tony are seated on lounge chairs, each with a pretty GIRL on their laps and drinks in their hands. Paulie is wearing a Santa Claus hat. On the far end of the room, Jamie is at the karaoke machine singing a rendition of JINGLE BELL ROCK as Lee Ann and CiCi act as backup dancers behind her. END MONTAGE: CUT TO: INT. MALL - FUR SALON - DAY SUPER - FEBRUARY, 1984 A 58 year old balding mark, PAUL WHITAKER, is leaning up against a clothing rack. CiCi exits out of a dressing room, wearing a fur coat. CICI (to Whitaker) What do you think, darling? She crosses over to a full-length mirror on the wall. WHITAKER It's nice... looks just like the one I bought you for Christmas though. CICI Oh, pookie, that was egg shell. This one is ivory. DISSOLVE TO: INT. MALL - STORE FRONT - MOMENTS LATER CiCi and Whitaker exit the fur salon. Whitaker has the coat bag slung over his shoulder. CiCis P.O.V.: Down the mall. She spots a nail salon. CICI Oh, lovely! I've been needing a manicure. CiCi takes off for the salon. HOLD on Whitaker - he rubs his brow before sluggishly following CiCi. CUT TO: EXT. OFFICE BUILDING - DAY - ESTABLISHING: A sign next to the stairs of the building lists the businesses with offices, including: "ART, BART & FARGO. SUPER - AUGUST, 1984 INT. JOE'S CAR Joe is at the wheel, wearing a dark suit. Tony is in the passenger seat, also clad in a suit. Joe parks the car. 0002000006E5000153B66DF,TONY Okay, we're here. You set to go in? Joe thinks for a second, then opens up the glove compartment and removes a pair of black rim plastic glasses. JOE Here, put these on, Tony. You'll look like more of an ass hole. Perfect for a lawyer. Tony puts the glasses on. Joe looks at him. JOE (CONT'D) Now you're dull enough. They exit the car. FLASH CUT: INT. FARGO'S OFFICE - MOMENTS LATER. As Joe and Tony enter, FARGO gets up from his desk and moves to the conference table to join his client - MR. KEATING, in his 50s. He motions for Joe and Tony to sit, and they do. FARGO (to Tony) I trust you gentlemen are familiar with one another. As I understand it, you were Mr. DeMonte's lawyer at the time of this jewelry investment deal, yes? TONY That's correct. FARGO I asked you to come here today because I would like to discuss a law suit we are preparing to file. JOE Lawsuit?! Tony puts his hand in front of Joe, gesturing him to be quiet. TONY Based on what? FARGO Quite frankly, fraud. My client was guaranteed a 45% return on his investment. TONY I think you're mistaken, counselor. Let me see the contract, would you? FARGO Well, we don't actually have one. This was a verbal agreement, as you well know, sir. Your client promised as much to Mr. Keating, and a verbal agreement is just as strong- - - TONY I don't recall that. I assume you have witnesses to this alleged verbal agreement? (off his look) FARGO Well, not exactly, but nonetheless, I think we have a pretty strong case. TONY I see. Tony opens up his briefcase and removes a manila envelope. He dumps the contents on the table - it's the photos Joe took months ago of Keating with Lee Ann. He picks two of them up and he and Joe begin to have a loud side conversation about them. 00020000064A00015A95644,TONY (CONTD) I like the pink one. What do you think, Joe? JOE Nah', the black teddy is much nicer. Mr. Keating looks great in black. TONY You think? JOE Hell, yes, look at those curvatures. I don't know many women who could pull that off. TONY But look at him straddle in the pink one. I didn't think men could split their legs that far. JOE He ain't got much there to pull, so... TONY That explains how he can wear this stuff so well. What do you think, Mr. Fargo? Does your client look great in these outfits or what? Fargo and Keating look on nervously when Tony finally looks up from the photos. TONY (CONT'D) (to Fargo) I think you're right. You do have a strong case, and I would love to question Mr. Keating in open court about his company's policy on dress codes. JOE (smiling widely) What's the problem - he's wearing a dress. TONY Well, I guess we'll see you in court. Tony and Joe begin to pack up and exit. Fargo and Keating exchange looks. FARGO Wait! Let's talk this over...... DISSOLVE TO: Joe and Tony getting into Joe's car in the parking area. Both are laughing as they head for the car. JOE Good thing the camera was invented, huh, old buddy? TONY You got that right, Joe! But, you know, Keating did look kind of pretty in those outfits. The scene ends with a long shot of Joe's car driving away as the song Pretty Woman by Roy Orbison begins to play, gaining in volume as we see the car becoming smaller and smaller. CUT TO: INT. RENO AIRPORT - AIRPORT COUNTER - EARLY MORNING SUPER - NOVEMBER, 1984 Paulie and Joe are in line, dressed in parkas and other heavy clothing. 000200000851000160D984B,PAULIE You were supposed to check these guys out. JOE Would you knock it off? You're attracting way too much attention. Besides how was I supposed to know that this guy was dominant and not submissive. He wasn't like that when he came here. We'll just get on the plane and in a few hours - - PAULIE In a few hours she could be buried under ten feet of snow. JOE That's good. The snow will hold her body temperature. PAULIE What time again did you say Lee Ann phoned you last night? JOE Close to midnight. Like I said, she was hysterical, man. She said the guy was sleeping off a drunk so that's how she was able to get to his phone. I called you right after she hung up. (beat) Jeez, don't you remember any of that?! PAULIE I was asleep, I told ya'! I don't remember shit when I've been sleeping! The line moves along and they finally reach the ticket counter. ATTENDANT How may I help you? JOE We need to two tickets on the next flight to Brevig Mission, Alsaka. ATTENDANT Sorry, sir, we don't fly there. PAULIE Maybe you didn't hear .... Paulie charges the counter. Joe blocks him. JOE Where do you fly to that's close by? ATTENDANT Anchorage would be the closest. The next flight is in two hours. DISSOLVE TO: EXT. ANCHORAGE AIRPORT - RUNWAY - ESTABLISHING - DAY A jet is landing and the Anchorage skyline is in the b.g. FLASH CUT: EXT. STREET - SAME DAY They walk sluggishly along on the sidewalk, passing shop fronts that are still closed. JOE So, I guess you think this is my fault, too? PAULIE It certainly isn't mine. Have to take a ferry to get there. I never heard of any shit like that! Joe spots a pedestrian on the street and crosses over to him. JOE Excuse me, do you know where we catch the ferry that goes to Brevig? PEDESTRIAN (pointing east) It's a few blocks down that way but you just missed one. The next one wont leave for two hours or so. JOE Damn, we need to get there now! Isn't there any other way to get there? PEDESTRIAN (beat) Well, if you don't mind spending fifty bucks, I could take you by snowmobile. Joe and Paulie exchange looks. JOE You've got a deal. Let's go! DISSOLVE TO: 00020000076B00016924765,EXT. ALASKA WILDERNESS - DAY Its completely desolate, with the exception of few elk visible in the foreground. The snowmobile slowly makes its way into the frame. PULL IN on snowmobile. The pedestrian is driving and Joe is sitting on Paulie's lap in the back of the snow- mobile. The wind is picking up the snow and spraying it against their faces. PAULIE Jesus, this is killing me! JOE Yeah, this fucking wind is brutal! PAULIE No, not that! You're sitting on my nuts - move! JOE I can't. Paulie gets one of his arms free and pushes Joe. Joe slips but regains his grip. JOE (CONT'D) Shit, I'm going to fall off! PAULIE Your life or my nuts! Geez', thats an easy decision for me. PEDESTRIAN Where do you need to go? DISSOLVE TO: EXT. CABIN - LATER THAT DAY JOE You want to do the honors? PAULIE I've been waiting my whole life to do this. Paulie kicks down the door. JOE I meant knock! The door flies open and they rush inside. FLASH CUT: INT. CABIN - HALLWAY Paulie and Joe turn the corner to find Nelson sitting at the kitchen table. NELSON (with a startled look on his face) What are you doing here, Joe? (beat) (re: Paulie) And whos this guy? Paulie grabs Nelson by the shirt, lifting him up clean from his chair, and slams him up against the wall. PAULIE I'm the ghost from Christmas past, mother fucker! Where is she?! Nelson grabs his head, trying to clear it but Paulie slams him against the wall again. Joe passes by them and heads toward the bedroom. FLASH CUT: INT. BEDROOM - JOE'S P.O.V. Lee Ann is in a huddled mass in the corner. The scars of the past days are present on her face. Joe grabs a blanket from the bed and rushes to her. He wraps the blanket around her and lifts her from the floor. She is shaking as she hugs him. FLASH CUT: INT. LIVING ROOM - MOMENTS LATER Joe is carrying Lee Ann. He passes by Paulie, who has Nelson on the floor - one hand on his throat. 000200000BAB00017089BA5,JOE You've got everything covered here, Mad Dog? PAULIE Yup. Wait for me outside, okay? Paulie reaches up on the wall and grabs a gun off the gun rack. DISSOLVE TO: EXT. CABIN - LATER Lee Ann is leaning up against Joe, softly sobbing. We hear a gun go off. A moment later, Paulie exits the cabin. JOE Was that a gun shot I heard? PAULIE (grinning) Naw', must have been a sled back firing. Let's get back to civilization. We see Lee Ann, Paulie and Joe in the snowmobile from behind, zooming away from the cabin, growing smaller and smaller as the scene fades out. CUT TO: INT. RACE TRACK - BETTING COUNTER - AFTERNOON SUPER - JULY, 1985 The teller pushes the betting stubs through the window and Joe takes them. JOE Thanks. He exits from the line and Paulie crosses over to him. PAULIE I can't believe you bet on number eight. Do you even look at the stats? JOE No. PAULIE No? How could you not? JOE I pick 'em by the name. If I like the name, I bet, if not, I don't. (beat) You know, Ive been wanting to ask you something for months now. PAULIE Yeah, what? JOE About last November when we went up to Alaska to rescue Lee Ann, you remember? PAULIE How could I forget? (beat) Any way, I know what you want to ask me - did I off that Nelson guy, right? Joe nods. PAULIE (CONTD) (smiling) Naw. I just wanted Lee Ann to think I did. Wanted to impress her, you know? JOE What about that gun shot though? PAULIE Oh, I busted a cap all right! Right in the floor, next to his head. He shit his pants too, I think, when I did that. Both Joe and Paulie laugh. CUT TO: EXT. RACETRACK - RESULTS BOARD The results are being posted. Number eight is in first place. ADJUST: On rails. Paulie is leaning over the rail, tearing up his betting stubs. We see them hit the ground. JOE It's all in the name. Joe taps Paulie's shoulder with the racing form and then heads back up into the stands. Paulie frowns. DISSOLVE TO: EXT. LAS VEGAS STREET - STOP LIGHT - AFTERNOON SUPER - AUGUST, 1985 A red convertible with the top down pulls up and stops for a red light. Lee Ann is in the passenger seat and HENRY BANKS, a fat man of 50, wearing a white cowboy hat, is driving. LEE ANN Just think, my pet, tomorrow night we'll be man and wife. HENRY And mistress and slave. Don't forget that part, my beloved Queen Laine. She giggles, reaches over and rubs his crotch. Henry is distracted as the light changes to green and the cars behind him begin honking. ANGLE: on cab in the lane over. The honking gets the attention of the passenger, DOCTOR ANDY BESORMEUX, a white haired well dressed man, age 56, who looks over to find his 'mistress' and fiancee 'Laine' in a compromising position with the unknown gentleman in the red convertible. He takes a double take but by the time he is sure it's her, the car has already started down the road, and his cab is proceeding to make a right turn. ANDY No, no...Go straight. The cab driver doesn't understand and starts shouting things back in Spanish. 00020000090D00017C2E907,ANDY (CONTD) Straight, go straight! It's futile. Andy, frustrated and brokenhearted, slams his head against the back of the front seat. He then starts motioning for the cab to pull over. It does so and he hops out of the cab. ANDY (CONTD) Wait, I'll be right back. He runs up the sidewalk, running into complaining pedestrians right and left, he stops at a pay phone. He picks up the phone and dials. BRIAN (V.O.) Yes, I'll accept the charges. ANDY Brian! BRIAN Hello, Andy, what's wrong? You sound upset. ANDY Get in touch with your P.I. pronto! I need to find out some things, and fast! BRIAN Whats going on? I thought you were going to Las Vegas for your medical convention. ANDY I am in Vegas. I just arrived a while ago, and on the way to my hotel I happen to see Laine in a convertible with some guy, all snuggled up next to him! Shes supposed to be at home in Reno! BRIAN Laine? Your fiancee? ANDY Yes! Somethings wrong here, Brian. I think maybe Ive been conned. (beat) Get hold of your P.I. I want you to find out everything you can about one Joe DeMonte, D-e-M...okay...and about his niece Laine .. same last name, but I think now it may be a phony name. (beat) Yeah, as soon as possible. . How long? BRIAN Give me a couple of days, okay? ANDY All right. I'm staying at The Flamingo. Contact me there. He turns around and looks... DOWN THE BLOCK The cab he was in is gone. He slams the receiver down on the hook. ANDY (CONTD) Damn! CUT TO: INT. LAS VEGAS WEDDING CHAPEL - NIGHT We see Lee Ann in a beautiful white wedding dress. Henry is wearing a tuxedo and a large Texas style white cowboy hat. PASTOR And who gives this woman to this man? JOE I do. Joe, clad in a dark blue suit, white shirt and light blue silk tie, steps forward. We now also see CiCi, Tony, Paulie and Jamie standing in the background, all dressed to the nines. PASTOR Do you, Henry, take this woman Laine to be your wife, to hold, to cherish, to love, in sickness and in health, for richer or for poorer? HENRY Hell, with all the gas and oil leases I got, Reverend, she'll never have to worry about the poorer part. But, yeah, hell, Yes, I do! The pastor gives Henry a look of disdain. PASTOR And do you, Laine, take this man Henry to be your husband, to hold, to cherish, to love, in sickness and in health --- 000200000C4B00018535C45,LEE ANN (giggling) I do! The pastor rolls his eyes. He knows full well that this young beautiful woman is obviously marrying this old coot just for his bucks. But this is Las Vegas, and he's seen many marriages just like this, he is thinking. PASTOR Good. Under the laws of the great state of Nevada, I now pronounce you man and wife. Congratulations. That will be $100. Henry reaches in his pocket and withdraws some bills from a large bankroll. HENRY (handing some money the pastor) Here's two hundred, Rev'. Damn nice ceremony, although I would have liked the Elvis one better, I think. But my little bride here didn't want that one. We now see Joe and the other members of the wedding party extending various congratulations to Henry and Lee Ann. CICI So, where are you two going on your honeymoon, Laine? LEE ANN Hong Kong. Henry has some business to attend to there, so we will be having sort of a business and pleasure honeymoon, I guess. HENRY (grinning widely) Mostly pleasure though. TONY (to Joe, in a hushed tone in the background, far away from Lee Ann and Henry) Man, this guy has got to the biggest ass hole we've had so far, Joe. JOE Yeah, I agree with you on that, pal. But do bear in mind that he also probably has the biggest bank account we've had so far, too! TONY How much more you think we can take him for? JOE Who knows? Maybe another hundred large or so. TONY (smiling) I like it! JOE C'mon, we'd better go up and shake the dick head's hand again. And if you kiss Lee Ann again, don't ram your tongue in her mouth like you did last time, okay? Joe and Tony walk over to where Lee Ann and Henry are standing. They shake his hand again and both of them kiss Lee Ann lightly on the lips. HENRY Is everyone ready to party? I've got a big spread waiting for us back at the hotel. As everyone heads for the exit of the chapel, the song Going To The Chapel by The Dixie Cups, begins to play and grows louder in volume as the scene fades out. DISSOLVE TO: EXT. RENO COFFEE SHOP PARKING LOT - DAY SUPER - SEPTEMBER, 1985 CUT TO: INT. ANDY BESORMEAUXS RENTAL CAR Inside the car, smoke from a cigarette starts to fill the air. The smoke drifts and swirls in delicate patterns around the man seated in the drivers seat - Andy. Andy shifts his eyes to the right and looks at the gun resting on the passenger seat. Andy's eyes now look back out through the windshield at the sole entrance to the coffee shop. A beat later we see from Andy's P.O.V. Joe and Lee Ann exiting the door of the coffee shop and heading for Joe's 1985 Cadillac El Dorado, which is parked in the lot. Andy now flicks the cigarette out of the window of his car, picks up the gun and tucks it in his three-quarter length leather jacket. He then exits the car. CUT TO: EXT. COFFEE SHOP PARKING LOT Joe and Lee Ann are about to get into Joe's car when Andy approaches them. They both are startled at seeing him here and it shows on their faces. JOE Andy! Jeez, what are you doing here?! What a surprise! LEE ANN (a look of fright on her face. She can tell something is wrong by the serious look on Andy's face but she tries to play it off) 0002000009DE0001917A9D8,Hi, Darling. I didn't know you were in town. What a nice surprise! ANDY You won't think it's so nice when you see what I have in mind for you two con artists. Andy raises his hand just enough from his jacket pocket so that Joe and Lee Ann can now see the handle of Andy's gun. ANDY (CONTD) Get in the car. Both of you. (beat) We're going to take a little ride .. out to the desert. Just then a police car, with two uniformed Reno officers inside it, pulls into the coffee shop lot. They are here for their lunch break. Joe and Andy do not see the police car from their angle but Lee Ann does. She starts to scream, capturing the attention now of the two cops as they are exiting their vehicle. Both Andy and Joe look around quickly and see the two cops, who are now heading towards Joe's car in answer to Lee Ann's screams. FIRST COP (to Lee Ann) What's going on? Is there a problem here? LEE ANN I - I just saw a huge rat, officer. It scared me half to death! The two cops look around, obviously looking for the 'rat' but see none. Andy slides the gun further down now inside the pocket of his jacket to conceal it from the two officers. LEE ANN (CONTD) (looking down and pointing) I - I think it went under the car. I'm not certain. But could you look, please? The one officer bends down and looks under Joe's car. Then he raises back up. FIRST OFFICER I don't see anything there, Miss. He must have headed over to that dumpster there. SECOND OFFICER Yeah, that's probably where he came out of. I think it's okay now. You can get in your car. He comes around the car and holds the door open for Lee Ann, obviously taken in by her good looks. He smiles as he holds the door. Joe takes this opportunity to quickly enter the driver's side of his car, and he then closes the door swiftly. LEE ANN Oh, thank you so much, officer. I am so glad you happened to be here. The cop smiles widely as he gazes down at Lee Ann's cleavage. SECOND OFFICER (still holding open the car door. He now looks at Andy) (to Andy) Are you getting in, sir? LEE ANN (before Andy has a chance to reply) Oh no, officer. He has his own car! Thank you again! The officer closes the car door, leaving a very angry Andy standing there. SECOND OFFICER (to Lee Ann) Have a nice day! LEE ANN You too! Joe and Lee Ann drive off as Andy dashes to his rental car and the two officers head inside the coffee shop. Joe looks continually into his rear view mirror as he drives away from the scene. JOE That was quick thinking, little girl! 00020000064600019B52640,LEE ANN Yeah. Thank God those cops pulled up when they did. Looks like old Doctor Andy got wise to us somehow, hm? JOE (looks in the rear view mirror again) Yeah, sure looks that way. That son of a bitch was going to take us out in the desert and kill us, I think! LEE ANN I know! I almost peed in my new Victoria Secret panties! Joe stops for a red light. He looks once again in his rear view mirror and he now sees Andy's car directly behind him. JOE Oh shit! Hold on, Lee Ann! That ass hole is right behind us. Lee Ann turns around to see just as the light turns to green, and she is forced back into her seat as Joe steps on the accelerator and his car races forward rapidly. A high speed chase now ensues, with Andy chasing Joe and Lee Ann through the busy streets of day time Reno, including some residential areas, where Joe almost hits a young boy on a bike. The chase continues on, with several other cars colliding with one another as they attempt to avoid Joe's and Andy's vehicles. Horns blare and pedestrians jump as the car chase rolls on. Joe heads out of town now on the old highway towards Carson City, with Andy in hot pursuit. Finally, as Andy passes one car and is attempting to pull up alongside Joe's car, a small pick up truck, carrying live chickens in its bed, is coming directly at Andy's car. He swerves to avoid it, as does the driver of the small truck, and both vehicles end up crashing into a road side fruit and vegetable stand, sending fruit, vegetables and chickens flying all over the crash area. Joe and Lee Ann continue on towards Carson City unscathed. 0002000009E80001A1929E2,CUT TO: CLOSE UP OF ANDY: Andy is laying alongside his wrecked rental car, some blood shows on his face, as three chickens prance and squawk near him. A grapefruit and a head of cabbage are shown crushed near his face. We now can hear the sounds of a wailing ambulance siren in the distance, heading towards the scene of the crash. FLASH CUT: INT. HOSPITAL ROOM - DAY Andy is laying in a hospital bed with a broken leg and is also wearing a neck brace. TWO FBI AGENTS in business suits are standing in the room close to the bed. One of the men admires Andy's cast. Andy has a look of anger on his bruised face. FBI AGENT#1 That was a close call, Mr. Besormeaux. You're lucky to be alive. ANDY Forget that! You've got their names. Go get them! (beat) Arrest those fuckers! FBI AGENT#2 Well, it's not that simple, sir. We're going to have to do some investigating first. First of all though, we are going to need a written statement from you. If you feel up to it, we could have a stenographer here later today. ANDY Yeah, I feel up to it. Get her over here .. the sooner, the better! CUT TO: EXT. FEDERAL BUILDING IN RENO - DAY - ESTABLISHING: SUPER - MARCH, 1986 INT. INTERROGATION ROOM - CLOSE ON LEE ANN: She sits emotionless in a chair at a small table. U.S. ATTORNEY Come on, Lee Ann, help me out here. I can't help you if you don't help me, you know .. (touches her hand) Did he locate your secret erogenous zone? Your G-spot maybe? Put your secret garden in bloom.... maybe it was more simple than that. Maybe he just reminded you of your dad, sneaking in at night, when mommy wasn't looking...hiding in your closet, and when you went to get your p.j.'s.....boo! LEE ANN That's sick! U.S. ATTORNEY Come on, no use in denying it now, that was the attraction, right? (beat) Yeah, I bet that's what it was. I mean they probably both had the same foreplay - grab you by the legs and yell, "make a wish"... Lee Ann makes a move to slap him, but stops short. She doesn't want another charge. They stare each other down for a few seconds. U.S. ATTORNEY (CONT'D) You're a feisty little fuck, aren't you? LEE ANN Don't I get a lawyer? U.S. ATTORNEY Sure, that's your right. But once he steps in here, I can't help you anymore. LEE ANN You helping me now? (said with sarcasm) U.S. ATTORNEY I'm trying to. (beat) You tell me what I need to know, Lee Ann, and there's a good chance you can walk out of here, or at the most maybe get two years. And we all know how anyone can do two years hanging upside down on some pole. 000200000A060001AB74A00,LEE ANN The way I see it, you got nothing. I wasn't involved in the scams directly and you can't prove otherwise. I think at best you got me on some conspiracy b.s. but that's it, and with my clean record..... U.S. ATTORNEY Think again, young lady. You had cocaine in your possession when you were picked up....that's an automatic ten, plus the conspiracy and any thing else I can think of. So, the only question is - - do you want to get out and be applying for employment or Medicare? There's a long beat. Her life isn't worth wasting. The AUSA senses her change and slides the deposition paper and a pen across the table. Lee Ann hesitantly picks up the pen. U.S. ATTORNEY (CONT'D) Remember to sign and date the bottom of each page. DISSOLVE TO: INT. INTERVIEW ROOM - DAY - FEDERAL BUILDING IN RENO SUPER - OCTOBER, 1986 Joe sits, still clad in an orange jail jumpsuit, using his fingers to tap on the table. The room is relatively dark with the blinds drawn, and a sense of stuffiness is in the air. Joe looks up as he hears someone coming in. If he's nervous, he doesn't show it. JACK GREENBERG, Joe's lawyer, enters. He's a smartly dressed bald man in his fifties and steadily crosses the few feet over to the table and places his briefcase on the table with a thud. He opens it up and scrambles with order through the papers. JOE Okay, Jack, let me tell you how it all went down----- GREENBERG Are you thirsty? Want me to get you a soda? I think I saw a vending machine down the hall. JOE I don't want a soda. I want to know how you are getting me out of here? GREENBERG (long sigh) The government is prepared to make you a deal. JOE Yeah ... what kind of a deal? GREENBERG (sighs again) Well, my friend, they've got you by the scrotum. Pardon the expression but I like to state the obvious. It tends to stretch my three hundred an hour. JOE So, what's their offer? GREENBERG (long beat) Well, first of all, let's look at what they have and what we have, okay? They have a sixteen page statement from your pretty little cohort, Lee Ann Dodge, and they are in the process of getting more statements from your other two bimbos, as well as a few from your victims. They also have numerous files on approximately sixty of your victims that they took from your file cabinet during the search of your home. In addition, they have all those nasty photos of Lee Ann and the other girls in leather and without leather (Jack smiles widely) tying those perverts up and whipping them raw. Jesus, how do those guys find that kind of stuff appealing? 000200000BA50001B574B9F,JOE Never mind that. What else? GREENBERG Well, there's all the whips and other sexual paraphernalia they took from your house. There's also your past record to consider, which if you don't me saying so, is a dandy! JOE Okay, and what do we have? GREENBERG Quite frankly, nothing, I'm afraid. (long beat as Joe stares at the ceiling, then at Greenberg) JOE So ... what's their offer? GREENBERG They want you to plead guilty to three counts of wire and mail fraud. Each count carries a five year max, but don't worry about that. JOE Are you shittin' me?! That's fifteen years, man! No way! GREENBERG You didn't let me finish, Joe. I said don't worry about the counts, okay? The counts are meaningless. The U.S. Attorney just wants to show off, you see? He wants to get three convictions on you because you're charged with sixteen counts, my friend. But that's just for his record, okay? It looks good on paper for him, see? But the bottom line is I get the judge to run the three counts concurrent, not consecutive. So, all you actually get is five years. JOE You can do that? You can get the judge to run the three counts together? GREENBERG (smiling proudly) Of course. They don't call me Back Door Jack for nothing. JOE Back Door Jack? What the hell does that mean?! GREENBERG It means I go in the back doors, my friend, and get things done quietly and smoothly. JOE (long beat while Joe is thinking and looking around the room) Okay, do it. Now, what about bail? GREENBERG Not a problem. As soon as you sign the plea agreement, Joe, I'll have you out of here an hour later. Greenberg slides a paper over to Joe, along with a pen. Bad Moon Rising by CCR begins to play loudly as scene closes. DISSOLVE TO: EXT. OREGON - SHERIDAN F.C.I. FEDERAL PRISON - ESTABLISHING: SUPER - MAY, 1988 O.S. Buzzing is heard as we... CUT TO: INT. PRISON - VISITING ROOM - DAY Joe is buzzed through the door and the guard lets go of his arm and through his P.O.V. we see Paulie sitting alone at a table wearing a new suit and dark glasses. Joe crosses over to the table. Joe and Paulie shake hands. JOE Always knew youd take the high road. PAULIE Nice to see you, too. JOE You know, you are risking a lot by coming here. They wanted to nail you too, you know? Tony, too. PAULIE I know. But I had to come. Had to thank you in person, you know? JOE For what? PAULIE For what?! Jesus, Joe, for not giving me up! That's for what! You probably could have cut a sweeter deal if you handed them me and Tony, right? JOE That's true. They did want both of you. But you know me, Mad Dog, I ain't no fuckin' rat .... not like those broads! (His voice trails off as his eyes begin to focus on a guard walking among the tables.) PAULIE Yeah, those broads sure did you wrong, man. Speaking of which, I got a phone call from Lee Ann. She says to wish you her best. She's doing okay with her probation. She's working at some super market in Reno now, in the bakery department. 0002000007330001C11372D,JOE (shrugs) Good place for her. She baked my ass good, that's for sure! PAULIE She said she's sorry for the way it all went down. JOE Yeah, well, she's young..... never did any time. What could I expect? Its the captain that goes down with the ship, not the crew. Besides, you can't hold a grudge your whole life. No, I wish her all the happiness in the world, no matter what mattress she's achieving it on. PAULIE I still don't understand how the hell you wound up with twelve fucking years, pal?! I thought that ass hole lawyer of your's was supposed to get your terms run concurrently, not consecutively? What was the jerk-off's name again? JOE Jack Greenberg. He calls himself Back Door Jack. (Joe laughs) PAULIE Back Door Jack? What the hell's that supposed to mean? JOE That's what I asked him! He said he got that name because he goes in the back doors to get things done quietly. Personally, I think he got the name because no one will let him in through the front doors! (Joe and Paulie both crack up a bit) PAULIE Well, I just came to say thanks, you know? By the way, you need anything? JOE Yeah, some pussy! (beat) No, I'm okay, but thanks for asking. PAULIE (studying Joes face) Shit, man, I know that look. You're planning on startin' up somethin, aren't you? JOE (smiling) No, of course not. I've only been running scams since I was ten, and I've just decided to take up stamp collecting to pass the time. 'Cause the way I figure it, the thrill of taking somebody for a hundred K pales to selling a stamp of Elvis for fifty bucks. PAULIE Just be careful, okay? JOE Ain't I always. And how about you? PAULIE I'm done, man, seriously. I met a nice chick a few weeks ago. I think I'm gonna' get a real job and settle down. JOE (smiling) Bull shit! Once a con man, always a con man. Its in the blood. 000200000BAB0001C840BA5,PAULIE I've been transfused. (beat) No, really, Joe, this chick is really sweet, and she's straight as an arrow. I think I'm really gonna' get a legitimate job. Maybe even get married. JOE Well, if you're really serious, I wish you luck. PAULIE I am. No shit, man. JOE Congrats, I guess are in order then. Okay, I believe you. Well, sort of. Anyway, I wish you the best, old buddy. PAULIE Yeah, thanks. JOE Look, I'm going to need you do one thing for me. PAULIE Sure, what? JOE I need you to set up a bank account for me. PAULIE Don't you get one here? JOE I can't start depositing huge amounts of cash in this place! PAULIE Huge amounts of cash? From where? From who? JOE (looking around cautiously) Well, you see, Mad Dog, I placed a few ads since coming in here. Lonely hearts type, you know? Anyway, a couple of the women I've been writing to have started to visit me. I'm in ' love' with two of them already (Joe smiles) and I think I'll be getting some money from them soon, so I need an outside account, see? All you have to do is open it up under my name and then with the technology of today I can just get the money wired there. You won't have to step back into the bank, okay? PAULIE (grinning) Jesus, Joe, you're outrageous! You're running a scam right from inside a federal joint! JOE Yeah, well, it helps pass the time, you know? Beats playing bocce and handball, and I'm not into lifting weights. PAULIE All right, all right...I'll do it. But I think you're fuckin' crazy. Jesus, you could wind up with more charges, you know? JOE Naw, these ladies are sweet. They'd never burn me. Both men stand up and shake hands warmly. JOE (CONTD) Okay, thanks for coming up, Mad Dog. Drop me a line soon and let me know about the bank account. Paulie nods and exits, leaving Joe standing alone. Joe watches him go for a beat, before motioning to the guard that he is ready to return to his cell. As Joe is escorted back to his cell, ''Secret Agent Man'' by Johnny Rivers begins to play loudly. DISSOLVE TO: INT. SHERIDAN F.C.I. VISITING ROOM - CLOSE ON JOE: SUPER - JUNE, 1989 JOE You know, Meredith, I can't even begin to tell you how much your coming here means to me. And your letters ... those wonderful letters! I read them over and over .. that's how much they mean to me, and how much you mean to me. WIDE SHOT Revealing Joe is sitting across from MEREDITH BAXTER, an attractive, wealthy woman is her early fifties. MEREDITH Did ... did you really mean what you said in your last letter, Joe? She reaches her hand over to his, slightly grasping it. JOE You mean when I said I've fallen in love with you and want to marry you when I get out of here? Joe smiles at her and clutches her hands in his. MEREDITH (blushing like a school girl) Yes. JOE Of course I meant it, sweetheart. I never say anything unless I mean it. Ever since I got that first letter from you, my love, I knew you were the one I wanted to spend the rest of my life with. 00020000070E0001D3E5708,MEREDITH Oh, Joe ... you don't know how happy it makes me to hear you say that. I love you, too! I just wish ... just wish you were free right now! JOE You know, honey, it's almost ironic that you said that. MEREDITH (looking a bit puzzled) It is, darling? Why? JOE Well ... just the other day I heard from this new lawyer I hired. It seems he knows of a certain U.S. Senator who might just be able to get me out of here early. MEREDITH (getting excited) Really?! Oh, that's wonderful news, Joe! JOE Well, hon, it is and it isn't. You see, this Senator wants a huge chunk of money to do this. MEREDITH Oh .. . how .. how much does he want? JOE (beat) Seventy-five thousand dollars. I wouldn't mind paying it either .. if I had it. But like I told you in one of my letter's, sweet one, I put everything I had ... all six and a half million .. in that bank in Frankfurt, and I can't get it out until I'm released. MEREDITH Yes, I know. I remember you telling me that, love. But I still don't know why you did that? JOE I did it, honey, because I had to get all of my money out of the country before the feds found it and confiscated it, you see? And when I did it, I set up with the bank over there so that only I could get it out personally. I wanted to make sure that no FBI guy could go over there and impersonate me, you see? However, now it sort of seems I screwed myself by doing that because I can't get the money out while I'm in here, and of course I can't pay this Senator until I get out of here, see? MEREDITH Couldn't .. couldn't you sign a note saying you would pay him the money as soon as you were free, lover? Joe gives her a look. JOE It .. it doesn't work that way, babe. I wish did but it doesn't. So, I guess I'm stuck in here until I finish my full term, sweetie. 0002000008570001DAED851,MEREDITH (long beat) I could get you the money, Joe. JOE (long beat) You .. would do that.. for me? MEREDITH Not just for you, Joe. For both of us. It would bring us together sooner, would it not? JOE Well, certainly. Of course it would, honey. But .. well, I don't know. I just wouldn't feel right, I don't think, taking money from you. MEREDITH (squeezing his hands) You wouldn't be taking it, darling. You'd pay me back, right? I mean, once you were out, yes? Maybe we could even go to Germany together, maybe make it our honeymoon trip. (she giggles awkwardly) JOE (long beat) You know, that's a fantastic idea, babe! We could see all of Europe, too. Take our time, go to London, Paris, Rome, Venice. I can't wait to get you alone in one of those gondolas, you sexy woman! Meredith giggles loudly and blushes profusely. FADE TO: INT. VISITING ROOM - LATER Joe approaches, another middle-aged woman - DOROTHY SLOAN , a slightly overweight woman with graying hair and too much make-up on- and sits down. JOE Hey, baby. DOROTHY Hey. yourself! Did your lawyer in Reno get the check I sent? JOE Yes, sweetheart. He will be hand carrying it to the Senator in Washington next week. I should be out about 30 days after that. DOROTHY And are we still going to get married in Las Vegas, sweetie, then go to Europe for our honeymoon? JOE You better believe it, my love. I can't wait to get you alone in one of those gondolas in Venice, you sexy woman! DOROTHY Oh, Joe, I'm so happy! I can't wait! JOE Me either, baby. But right now let's get something to eat, okay? I love those ham and cheese sandwiches. DOROTHY Of course, sweetie. Do you want a coke to go with it? Joe nods, and we see Dorothy rising from her seat and heading towards the vending machine as Joe smiles broadly. FLASH CUT: INT. VISITING ROOM Joe is now sitting across from a third lady - JULIA BECK. We don't hear Julia's dialogue as we PULLBACK but their hand holding and smiles indicate hes got her, too. Scene begins to fade out as camera PULLS BACK and the song Handy Man by Jimmy Jones begins to play and grows louder as this scene fades out. 0002000009990001E33E993,CUT TO: INT. JOE'S CELL - EVENING Joe is lying on his bed, a bible outstretched in his hands. JOE'S P.O.V.: Amongst the scriptures are cut outs of female centerfolds. Joe is lost in the "pages" when an O.S. GUARD bangs his baton on the bars. Startled, Joe looks up. GUARD Mail call. Here's your mail, DeMonte. JOE Oh, yeah, okay. Thanks. Joe rises from his bunk to get his mail from the guard. He places the bible face down on the bunk. The guard looks at it and smiles in obvious approval of Joe's choice of reading material. As Joe stands there scanning his mail the guard speaks. GUARD You know, it seems like every time I pass by your cell, you're reading that bible. I know you're getting out soon, so I hope it's doing you some good. JOE Oh yeah, it definitely is! You better believe it. I can't imagine being without it, especially in here. The guard smiles approvingly, then moves on as the scene fades. CUT TO: EXT. PRISON YARD - DAY SUPER - MAY, 1992 Joe is among several inmates gathered a bench, where an arm wrestling competition is taking place. The two grisly guys are even and prison words of encouragement on heard on both sides. A guard begins to cross over, baton at his side, and he spits tobacco on the ground. GUARD DeMonte! Joe steps out of the crowd. GUARD (CONTD) You've got a visitor at the main gate. Joe looks around. JOE'S P.O.V. A MAN of about 35, with red hair, in a shabby suit is standing against the gate surrounding the exercise yard. He has some papers in his hand. Joe crosses over. FLEMING Mr. Demonte, my name is Ken Fleming. I've been assigned to your case in terms of your upcoming parole. He extends his hand. Joe looks at it but there's no way he can get his hand through the fence to shake it, so Joe just looks away. FLEMING (CONTD) That's okay.. I didn't want to shake your hand anyway. I'm just here to introduce myself and get a look at you. You know, I can size a man up in ten seconds from head to toe and youre not sizing up too well. JOE Excuse me? FLEMING Theres no excuse for you! This won't be your first time on parole and so that leads me to believe that you've never really been on real parole. The free ride is over. You'll get a legitimate job and report to me three times a week. And if I come looking for you, you better be where you are supposed to be...got it? JOE Uh...yes, sir. FLEMING If you decide to take a 2 a.m. run to the local 7-Eleven, I want to know about it. 0002000006FA0001ECD16F4,JOE Okay. Joe eyes are now focused past his parole officer at a pretty young lady exiting the prison gates. FLEMING (CONTD) Hey, eyes over here, huh?! I'll be expecting to see you the day you get out. I'll be checking your residence often, too. I want to make sure you don't write any more sick and perverted letters to twisted souls, like you did in the past. In the b.g. we can see that the one arm wrestling match is now over and another inmate sits down to face off with the champion. FLEMING (CONTD) Well, that's it for now, I guess. I'll be leaving some papers for you with your case manager. You'll need to sign them or you don't get out. I'll let you get back to your marginally civilized game now. See you at my office in two weeks. Fleming beings to walk away. JOE Ass hole! Does Fleming hear him? If so, he doesnt react. It's not the first time hes been called that. Joe crosses back over to the arm wrestling competition. JOE (CONTD) (to another inmate) Who won? INMATE Crazy Jack. He took down Big Al. Did you have him, Joe? JOE Naw, I bet on the moolie'! Shit! CUT TO: INT. MOTEL ROOM - NIGHT A man dressed in a cocktail dress is sitting on the bed. He flips through the TV channels, tossing popcorn into his mouth. MAN So, how'd it go, Ken, with that DeMonte character? FLEMING (O.S.) Okay. I laid down the law to him. MAN Good. I hate sickos like him. (beat) Hey, are you ever coming out of that bathroom, babe? A beat later, Fleming appears in the bathroom doorway, clad in a black dress and heels. A strand of white pearls are nestled in his mouth. The man drops the popcorn out of his hand when he sees his fellow parole officer, and he whistles. MAN (CONTD) Wow, you look divine, babe! Turn around. Fleming does so. MAN (CONTD) (whistling again) 000200000DA30001F3C5D9D,Baby, you look so hot! He jumps off the bed and the two men exchange an embrace. FLEMING I'm worried. They arent as liberal up here as they are in Reno, you know? MAN (smiling) When I see a woman who can wear that dress like you, then I'll worry. You look fantastic, sweetie! Arms around each other's waists, they exit the motel room. We hear the song Judy In Disguise begin to play loudly as the two parole officers exit the room and head for Fleming's car in the motel parking lot. DISSOLVE TO: EXT. PRISON ENTRANCE - MORNING SUPER - JUNE 4, 1992 A guard is leading Joe out; his eyes are squinting from the glare of the morning sun. MOVING SHOT: Of Joe and the guard walking the stretch from the prison barbed wire fences to the main gate. They walk in silence and there is nobody around them except for another guard up in a tower overlooking them. They reach the gate and are buzzed through. GUARD A bus should be here shortly to take you into town. Joe nods, and through his P.O.V. we see three cars waiting near the entrance, close together but not next to one another. JOE Oh, no.... shit! GUARD What? What's the matter? JOE Uh...... Three women now emerge from their respective vehicles, and we see from Joe's P.O.V. - Meredith, Dorothy and Julia, the three women that Joe has been fleecing while in prison. Each one unexpected of the other and assuming they are going to pick up Joe. Almost in unison, they call out his name, and then turn to each other. (long beat as they finally realize what's going on.) RESUME on Joe as he turns to the guard, who himself is confused by the women. Joe rips up his parole papers, then shakes hands with the guard and smiles. JOE (CONT'D) Well, it was fun while it lasted. Joe turns and walks back inside the gates, busted. FADE OUT. EXT. OF SHERIDAN F.C.I. We see Joe headed back inside the prison. Camera shows the three women from an overhead P.O. V. as they climb back into their respective cars and drive off. FADE OUT. FADE IN: INT. PRISON - DAY CLOSE UP: A PRISON CELL DOOR - SLAMMING SHUT. We HOLD on this shot for a moment. FADE TO BLACK. The song Just A Gigolo/I Aint Got Nobody by Louis Prima begins to play loudly now as film ends. SUPER - Lee Ann Dodge and Jamie Crowe both received a five year probationary term for their parts in Joes scam, which they served successfully. They were released from probation in 1992 and still live in Nevada. CiCi Adams was deported to England in 1987. FADE TO BLACK. SUPER - Tony Brock and Paulie Santos were never convicted in this case. Although indicted, along with DeMonte and the girls, the charges against them were eventually dropped by the U.S. Attorney due to lack of evidence. Their current whereabouts are unknown. FADE TO BLACK. SUPER - DeMonte was eventually released on parole in late 1992. His parole was revoked in 1995 and he served still more time in a federal prison for bilking Julia Beck, Dorothy Sloan and Meredith Baxter. While back in prison, DeMonte reunited with Meredith Baxter and married her in Las Vegas upon his release in May of 2001. FADE TO BLACK. SUPER - They are still married and now live quietly in a small town in California. FADE TO BLACK. SUPER - It is estimated that some 160 male victims and 7 female victims lost a combined total of over 9 million dollars via DeMontes scams from 1978 through 1992. FADE TO BLACK. SUPER - None of the money was ever recovered. FADE OUT CLOSING CREDITS ROLL as Louis Prima song continues to play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ystem40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E407010100000011640,Courier40,Courier Final Draft12401614E407010101040,Courier Final Draft40,104070114E4070103000090000001700000002016330B016330B000A0000001B0000000275331F2B775331F2B7000B00000005000000020000C0000002F0000000289DF95856E8610E089F365ACBF10000F0000005A0000000050E0770 104,@7y4,77A4,4,4,4,54,0900130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000D0000000120164001290000000D00000001201640FFFE000000060002000177AA  V F a f E I _ e>BhlVZ ,0gk(,8=Y] &*JNOVhlPTY` v | ! !$!3!7!!""""#;#?##%!%(%%&&&''X'_(()) **+F+M++,$,*,1,6,7,;,T,Z-- //114444445v5z5599=~=>>FBFJKKLxL~MNSUSXTTU9U=UUV!V'VlVrVVaagKgQgRgTg\gagngshhhhi*i0nPnVnnppppqq qqq3q9rDrJrvr|t0t6ttwbwdwwxUxZx[xb{"{({@{D}~}(./3LSKQW]!HN;AQWPV & uy?F{FJ<A )fk w~JQ§«¿ÇÎPU'+ah CH~ȃ18JQ˜ˡΓΘ6;ѡѥѼҙҟHMglӌӑ mpՐ՗RVZasxzׄדך[a}؁ٌّ٨٭ۜ۠|܀ܐܕ pu!(syou=Dsx 39jm       il3:bf{&*05IMgk  !4!7""#m#t$'$+$}$(X(](())1>1C::;Z;_;w;;;;;=U=Z?[?]?n?t@3@9@D@JBBJKL'L1PPQ]QaQQRRRyR~V[VdXXZ%Z,ZZZ[\\]]]d^;^B_T_[__ccccccddddggggjjkmkqkknoqqssuuvZv^yyzz~G~K~L~S49 Zach"^dJV08#)+1eh#$& BFQY^a>B lt$ELgiDHIK $* 688:48gn r TFFFF000000060002000177AA0000000000550000000020001101-777C6F000480048-20F20612E-10 F264FFFF0102000010000003200000001038405AF20A20388000203F20A0000200000007000000003,[].00040000000C00000003023530005000000090000000201500006000000EE0000000430C30FFFF0C00000 10 10930FFFF0C00000 20 10C201020040FFFF0C00000 1043D7A00121C7B3C010930FFFF0C00000 10438B900 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020F2640F264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,77A4,104,|4,4, |4,014,F2000130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF0012800000009000000015001290000000900000001500014000000AC000000001C7B3C5C23E204211C7B4002C,E,42,>Page #aN! Tj?QaN!T FFFE000000060002000177AADnFFFF000000060002000177AA0000000000510000000020001101-777C6F000480048-20C20613A-10 C264FFFF01000010000003100000001018405AC20A038E000203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30FFFF0C00000 10 10930FFFF0C00000 30 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020C2640C264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,77A4,304, 4,4,,y4,24,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000900000001300129000000090000000130FFFE000000060002000177AADHH$$-eLEMQGeneral?Courier Final Draft 0 lGeneralGeneral0General Scene Heading?Courier Final Draft 0 lAction Scene Heading1ActionAction?Courier Final Draft 0 lActionAction2 Character Character?Courier Final Draft 0  Dialogue Character3 Transition Parenthetical?Courier Final Draft 0 Dialogue Parenthetical4GeneralDialogue?Courier Final Draft 0 ActionDialogue5General Transition?Courier Final Draft 0  Scene Heading Transition6GeneralShot?Courier Final Draft 0 lAction Scene Heading7General GENERAL SCENE HEADING ACTION CHARACTER PARENTHETICALDIALOGUE TRANSITION SHOTބsTCHs JOEPAULIE{sRITA I'm getting on a plane tomorrow morning and I'm going back to Michigan! RITA turns to JOE. JOE remains silent. GUARD OTHER GUARD JAMIE CICI TONY TODD KAREN CAROL HENRY GREENBERG ANDY BRIAN MAN IN TUXEDOMAN IN WESTERN SHIRTLEE ANN FRAGILE CARDSGsTCE (V.O.) (O.S.) (O.C.) (CONT'D) (SUBTITLE) (smiling)( studying Joe's face)RsTTR CUT TO: FADE IN: FADE OUT. FADE TO: DISSOLVE TO: BACK TO: MATCH CUT TO: JUMP CUT TO:FADE TO BLACK. FLASH CUT: SLAM CUT::6END MONTAGE. CUT TO:EXT.OFFICE COMPLEX - ESTABLISHING: END MONTAGE. END MONTAGE END MONTAGE:CUT TO: CLOSE UP OF ANDY: FADE OUT:sTSIXINTEXTI/E END MONTAGE"PAULIE'S HOUSE -- NIGHTOVERHEAR VIEW OF LIMO.*SCENE FADES OUT AS THEY WALK OUT THE DOOR.1-VIEW OF NEVADA STATE PRISON - MEDIUM FACILITY&"RESTAURANT/BAR - REEF HOTEL - RENO'#MAIL BOX STORE - MAIL BOXES SECTION($METROLUX LIMO SERVICE - ESTABLISHINGMGM GRAND - RENO1-SAME LARGE BRIGHT HOUSE WHERE JAMIE IS LIVING#JOE' NEW EXPENSIVE HOME IN RENO JOE'S DEN JOE'S HOUSE- JFK AIRPORTSUPER NEXT DAY- JOE'S APARTMENTSUPER- JOE'S APARTMENT SUPER MONTAGE: LIVING ROOM"STREET - LAS VEGAS -STOP LIGHT RENO COFFEE SHOP PARKING LOT,(FEDERAL BUILDING IN RENO- ESTABLISHINGINTERVIEW ROOM+'OREGON - SHERIDAN F.C.I. FEDERAL PRISONEXT.OFFICE COMPLEXCUT TO:EXT.OFFICE COMPLEX JOE'S CAR:- MALL - FUR SALON VISITING ROOM PRISON YARDPRISON ENTRANCE SUPER -- MOVING SHOT: TED'S HOUSENIAGARA FALLS [SEPIA]sTSTDAY NIGHT AFTERNOON MORNING EVENING LATER MOMENTS LATER CONTINUOUS THE NEXT DAY ESTABLISHING EARLY EVENING DRIVEWAY  DAY ONE WEEK LATER.FEDERAL BUILDING IN RENO ESTABLSIHING ESTABLISHING: CLOSE ON JOEKmCRO9INTINT. Scene Heading01119EXTEXT. Scene Heading01128I/EI/E Scene Heading0113@DAY - DAY Scene HeadingAction0114DNIGHT - NIGHT Scene HeadingAction0115HSUNRISE - SUNRISE Scene HeadingAction0116DMAGIC - MAGIC Scene HeadingAction0117GCONT continuing ParentheticalDialogue0118JINTER interrupting ParentheticalDialogue0119$0110GCUTTOCUT TO: Transition Scene Heading1111EFADEINFADE IN:Action Scene Heading1112KFADEOUT FADE OUT. Transition Scene Heading1113IFADETOFADE TO: Transition Scene Heading1114MDISSLV DISSOLVE TO: Transition Scene Heading1115IBACKTOBACK TO: Transition Scene Heading1116PMATCHCUT MATCH CUT TO: Transition Scene Heading1117NJUMPCUT JUMP CUT TO: Transition Scene Heading1118BFBLACKFADE TO BLACK. Transition1119$000 HFFFF000000060002000177AA00000000004F0000000020001101-7F7C6F000480048-20F0-10 F264FFFF0102000010000003200000001038405AF20A20388000203F20A0000200000007000000003,[].00040000000C00000003023530005000000090000000201500006000000EE0000000430C30FFFF0C00000 10 10930FFFF0C00000 20 10C201020040FFFF0C00000 1043D7A00121C7BAC010930FFFF0C00000 10438B900 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020F2640F264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,04,14,04,C004,14,438B4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF0012800000009000000015001290000000900000001500014000000AC000000001C7BAC5C1AE204211C7BB002C,E,42,>Page #!j?Q!FFFE000000060002000177AADhFFFF000000060002000177AA00000000004B0000000020001101-7F7C6F000480048-20C0-10 C264FFFF01000010000003100000001018405AC20A038E000203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30FFFF0C00000 10 10930FFFF0C00000 30 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020C2640C264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,04, 4,x|4,4,4,4,00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000900000001300129000000090000000130FFFE000000060002000177AADorVIS+First Revision*,Second Revision*+Third Revision*,Fourth Revision*.sNTE! Important!# Information?" Suggestion*?Courier Final Draft (MORE)(cont'd) (CONTINUED) CONTINUED:aCTR =Man 1(`Q|g({DESTۉ}P=Man 2(`]DVۉ}P?Woman 1(pQ|g({DESTۉ}P?Woman 2(ԑPO|u`ۉ}P=Boy 1(`Q|g({DESTۉ}P=Boy 2(ԑPO|u`ۉ}P>Girl 1(pQ|g({DESTۉ}P>Girl 2(ԑPO|u`ۉ}P?Old Man(`]DVۉ}PA Old Woman(pQ|g({DESTۉ}PeE9 CHARACTERDIALOGUEk1Arial W?Courier Final Draft 6 Cast List.  - FFFF000000060002000177AA0000000000650000000020001101-777C6F000480048-25F29F20044-10800E1529F279FFFF01043000010000003D000000010F48405F5D29F231E8038800029310529F15900002000000F900000000F4, FRAGILE CARDS by Heidi Putallaz Based On A True Story Name: John Van Horn (agent) Address: 1586 Heather Dr., Ste. 102, Yuba City, CA 95993 Phone Number: 530-400-7037 E-mail address: cwj7474@hotmail.com0004000000320000000A012B23319729B1A12A51E12E81F6100050000001400000004011325A1F6000060000009B0000000310C30FFFF0C00000 10 10930FFFF0C00000 80 10930FFFF0C00000 40-1000070000005400000003010180480 2018010480 101800008000001690000000240,System40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A0000001B00000002E15326279E15326279000B00000005000000020000C000000190000000143411A917F1D4D1000F000000590000000050E010 104,77A4,4,77A4,4,um4,[z4,[].00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000A00000001F6001290000000A00000001F60FFFE000000060002000177AAD f HFFFF000000060002000177AA00000000004F0000000020001101-7F7C6F000480048-20F0-10 F264FFFF0102000010000003200000001038405AF20A20388000203F20A0000200000007000000003,[].00040000000C00000003023530005000000090000000201500006000000EE0000000430C30FFFF0C00000 10 10930FFFF0C00000 20 10C201020040FFFF0C00000 1043D7A0012185D3C010930FFFF0C00000 10438B900 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020F2640F264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,77A4,4,t4,014,F204,~4,:00130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF0012800000009000000015001290000000900000001500014000000AC00000000185D3C5C1AE20421185D4002C,E,42,>Page #1\!j?Q1\!FFFE000000060002000177AADhFFFF000000060002000177AA00000000004B0000000020001101-7F7C6F000480048-20C0-10 C264FFFF01000010000003100000001018405AC20A038E000203C20A0000200000005000000001, 0004000000090000000201300005000000090000000201300006000000640000000210C30FFFF0C00000 10 10930FFFF0C00000 30 00070000003800000002010180205A0 101800008000001690000000240,System40,Courier104014E440007014000100000011640,Courier Final Draft40,Courier104070114E4070101000000116000900000005000000020000A00000013000000020C2640C264000B00000005000000020000C0000000A0000000101000F0000005500000000400 10 104,77A4,~4,04,14,04,04,100130000007E00000000DA91F8CE1C1D1E1F7F1B044,-..'"FFFF0FFFF001280000000900000001300129000000090000000130FFFE000000060002000177AADQ6$$9