INT. RAY'S OFFICE, DAY.
The place is a mad house. Phones ringing, paperwork, Gina and Maurice
talking on cell phones while Ray talks on the land line.
He hangs up and instantly picks up the receiver again. Then he looks
up a number and dials.
|
 RAY:
Asia?
We need you desperately.
|
INT. ASIA'S HOUSE, DAY.
Asia is a mess of a house wife, the kids are going crazy and she
hasn't bathed.
|
ASIA:
Ray, as much as I'd like to help you out-
RAY:
(O.S.)
We don't need you to fuck, we need you to direct. This union
thing is taking off and we need a genius to help keep it organized.
|
BEAT
|
ASIA:
Would I be paid?
RAY:
(O.S.)
You bet.
Here, I'll read you my credit card number. You book a flight
and we'll pick you up. Any time, day or night.
|
INT. STUDIO OFFICE, DAY.
Jaime and DAN sit on one side of the room, facing Ray and Gina on
the other side.
|
DAN:
Okay Ray, You tell me why I should sign on to this union
thing instead of dumping all the old stars and starting fresh
with cheaper talent.
|
Ray looks at Gina.
|
GINA:
Two two five seven.
DAN:
(looks at Jaime)
Yeah, I've heard about how you're going to solve my paperwork
problem but I've got a handle on that as it is.
GINA:
Constantly updated data base about STDs.
DAN:
Not really my problem. I mean, I'm concerned-
RAY:
You'd better be. Because the Right would love to shut you
and every body else down over something clear cut like a health
issue. No one's going to win a first amendment case against
that.
DAN:
Okay, okay. I see that. I don't know why it should be my
expense rather then the actors.
RAY:
Because if it costs the actors they'll try to fake it to
save money. If its free to the actors and if they'll go to
jail for attempted manslaughter if they don't take care of
it they'll take care of it.
DAN:
I can see that.
But, I'm still not convinced.
GINA:
Mainstream.
DAN:
Yeah. That I don't see.
I don't see the mainstream studios cutting into our business
in a significant way for-
RAY:
Its not them cutting into our business. Its the society
as a whole. If we continue to live on the dirty edges of society
we'll continue to be victimized by the leaders of the society
looking to make points. But if we're on the inside, they can't
pick on us without pissing off whole segments of their constituents.
And the way to be on the inside, is to follow the rules.
DAN:
Yeah, but unions are dying all over the place. Why should
this be the only place they're growing?
GINA:
Because the people being unannounced don't speak English
too well. The society is going anti union as they see a separation
between the service sector and the working sector. And I know
you want to be on the inside of that wall.
DAN:
What makes you think I want you on the inside with me?
GINA:
Because you want to fuck me. Why else would you do this
if it didn't mean lots of money and the chance to hang out
with beautiful easy women?
|
BEAT
|
DAN:
She's smart Ray. She's a smart one. Its easy to see why
you let her do the talking.
|
INT. CAR, LATER.
|
GINA:
Let me do the talking?
You LET me do the talking?
RAY:
He's an asshole. That's why he hates the idea of a union.
GINA:
That doesn't mean-
RAY:
If we don't let him think he can be in the union and remain
an asshole, he won't do it. And the only producers we have
on board so far are the companies run by old porn stars.
GINA:
(Growls)
|
They stop at a light and Gina watches some kids waiting for the
walk signal.
|
RAY:
We can still adopt.
As soon as this settles down you wont be going to the studios,
fucking for money.
GINA:
I don't want them.
RAY:
You don't have to say that for me.
GINA:
I'm not. I hate Asia's kids. And they're great kids. I hate
all the attention they take. I want all the attention. I don't
think you should have kids until you grow up yourself.
|
Ray nods.
Gina looks at him. She twists her fingers in the hair at the back
of his neck.
|
GINA:
You know if porn becomes respectable, when the news comes
out about us, they won't be able to accept us anymore.
|
BEAT
|
RAY:
I've thought about that. It was always a stretch to think
they'd accept us anyway, but ...
GINA:
But what?
RAY:
Its a part of American psychology that the hero is an outsider.
Someone for whom the very qualities that make him fight the
big fights also means he can't be part of the mendacity.
GINA:
Oh.
|
BEAT
|
GINA:
So, we're iconic heroes are we?
RAY:
I like to think so.
|
The light changes.
INT. HOUSE, EVENING.
Ray comes in where Gina is working on a costume. He's holding a
digital camera.
|
RAY:
Hey Jean, which one of these do you think would make a better
teaser for the new gallery?
GINA:
Oh, I never know.
|
[sound from outside of a car door closing and an engine revving.]
|
RAY:
What's that?
|
Ray leaves the camera with Gina and goes towards the front door.
Through the window we see a silent flame explosion erupt from the
car parked in the drive way.
The house windows explode inwards [with a crash of thunder following.]
Ray is knocked to the ground and covered in glass.
|
GINA:
Daddy!!!
|
Gina runs to Ray.
He's mostly all right.
Maurice, naked, comes from a another part of the house.
|
MAURICE:
What the ...
|
Gina helps Ray to his feet.
|
RAY:
Are we on fire?
MAURICE:
No, but your car is totaled.
Those Russians sure hate that car.
RAY:
Russians?
What makes you think its the Russians?
MAURICE:
Molotov cocktail in your car? Russians have a things about
cars. Under the Soviets hardly anybody had a decent one.
RAY:
Gina, call the police.
Every body else will have but it will save them time if
they don't have to search for the address.
|
Gina leaves the room.
|
MAURICE:
You calling the cops?
RAY:
What?
You want to tell me we should just keep this in the family.
They could have killed us.
MAURICE:
They will, unless you back off.
|
BEAT
|
MAURICE:
Nah, you got to call the cops.
They're going to come no matter what you do. Its just I
got to go.
RAY:
Oh, and why's that?
MAURICE:
Because a bunch of LA cops find out that a married couple
had a naked black stud living with them ...
That crime will be solved and they'll call in the KKK, Rampart
division, to deal with me.
|
Maurice leaves to get dressed.
INT. HOUSE, LATER.
A Medical Aid is patching up Ray's cuts while Gina talks to a detective
off to one side.
Another Detective is talking to Ray.
|
DETECTIVE:
I know it might not seem like it right now. But you two
are very lucky.
RAY:
Oh, I know.
DETECTIVE:
Do you have any idea who might be mad enough at you to do
something like this to you?
|
BEAT
|
RAY:
My wife and I are trying to unionize the actors in Adult
movies. So there are a lot of people mad at us. But ...
I've been told that one particular pair of Russian brothers
are the most likely to threaten our lives.
|
INT. BOB HOPE AIRPORT, DAY.
Asia comes up the ramp with her kids.
Gina and Ray meet them, Ray's face still has bandages.
Asia is horrified.
|
RAY:
Don't worry.
We're putting the headquarters in an office building with
security and put you three up in a hotel until you find an
apartment or house you like.
|
Asia takes a big breath and shakes her head.
|
GINA:
Please Asia.
Its coming together but we're running it out of our pockets
and we have to shoot new stuff for the website constantly
to provide for the union.
|
More head shaking.
|
ASIA:
Porn was only supposed to be for a few years, then I'd retire,
get my boobs deflated and live the life of a shy person.
|
BEAT
|
ASIA:
Sign me up for a shoot.
I should contribute too.
|
Smiles.
INT. STUDIO, DAY.
Gina, naked under her robe, is standing by the cameraman pointing
where she wants the camera to go as two naked women are going at each
other on a couch.
Ray comes up behind her and slides his arm around her waist.
Gina turns into his embrace, Ray kisses her and then whispers in
her ear.
|
RAY:
There was an explosion at our web hosting company.
They've cut us off. I'm going out to buy some servers and
I'll have us up again from the house. I don't think we should
tell anybody, they're scared enough of working with us.
|
Gina nods silently and kisses his jaw before they break.
Gina goes back to directing and Ray leaves.
INT. BEDROOM, NIGHT.
Gina is lying on her side when Ray's head comes into FRAME from
behind her.
He kisses her and she draws up his top hand to hold.
He slips his other hand down the bed under her and between her legs.
They move gently together.
|
GINA:
Hmm. Sex at home, with out lights, cameras and make up is
always better.
|
BEAT
[Door bell]
|
RAY:
Fuck.
GINA:
You are.
Ignore them. Its just someone come to vandalize us again.
|
They move some more.
[doorbell and pounding.]
|
GREEN:
(O.S.)
Ray and Gina Angelino?
Open up, this is the police.
|
Ray and Gina freeze.
INT. HOUSE, LATER.
Ray is barefoot in jeans and a T shirt as he opens the doors too
two detectives who walk right in.
Gina comes out a minute later in short shorts and one of Ray's T
shirts.
|
JENKINS:
Jenkins and Green, LAPD.
RAY:
Do I get to look at that, or do you just flash it at me?
|
The Detectives make a performance of showing Ray their badges and
ID.
|
RAY:
Vice?
What did we do, at this time of night, to bring Vice to
our door?
|
One of the Cops takes his time to look Gina up and down (do they
know?).
|
JENKINS:
We hear you've been having a lot of meetings with cops recently.
GINA:
We had threats and vandalism.
JENKINS:
But you didn't call us?
|
The cops wander around the house, looking.
|
RAY:
For arson, vandalism, computer crimes, and threats? Why
would we?
JENKINS:
Because you do porn which makes every thing about you lives
our interest.
All this other shit, its all related to porn, so its our
beat.
GINA:
When our car blew up I called the general number and who
showed up ... I guess the dispatcher decided.
RAY:
Yeah, the same as when the car was vandalized. And computer
crimes are federal-
JENKINS:
Shut up!
I don't give a shit a out all that crap. You work in the
valley, your ass is ours.
RAY:
Porn isn't a crime.
JENKINS:
Today.
But Prostitution and drugs are.
GREEN:
So's kiddy porn.
RAY:
If you know anything about us, you know we're fighting to
keep kids out of porn.
JENKINS:
Yeah.
You're scum, which makes you ours and you always will be.
I noticed you didn't say anything about drugs.
GINA:
We don't-
GREEN:
Shut up!
JENKINS:
It'll go best if you just show us where the drugs are.
RAY:
We don't have drugs, we don't use them, we don't even drink
much.
JENKINS:
Yeah, right.
|
Green opens some kitchen drawers.
Gina picks up the phone.
|
JENKINS:
What's she doing?
RAY:
You need a warrant to perform a search.
JENKINS:
Then we'll get a warrant, but that'll keep us here all night.
RAY:
We weren't going any where.
JENKINS:
What the fuck do you think you're playing at?
|
Ray just gives him a blank look.
INT. HOUSE, MORNING.
The CSU team is finishing up.
The Lawyer from the First Amendment group is watching them.
Gina is curled up on Ray's lap in the living room, still barefoot.
|
JENKINS:
(to lawyer)
You Free Speech guys working for this union they're making?
LAWYER:
That would present a conflict.
We work for the producers and distributors. Ray and Gina
are producers too.
JENKINS:
Then we're all on the same side.
|
BEAT
(the cops are working for the producers to harass the union.)
LATER.
The Lawyer is talking to Ray and Gina.
|
LAWYER:
He didn't say anything of course-
|
Ray reaches for the telephone.
|
LAWYER:
What are you doing? I told you, there's nothing we can take
to the citizen's board.
RAY:
Not calling them.
Yes, this is Ray Angelino, I'm an independent film producer
and union activist in the San Fernando valley and my wife
and I were just harassed by LAPD working for other producers.
I'm afraid to call their superiors. We've had multiple death
threats and bombs exploded.
Yes, I'll wait.
LAWYER:
Uh, I think I need to go Ray.
RAY:
As an officer of the court you're responsible to report
any signs of official corruption you encounter.
|
The Lawyer gives Ray a hard look.
EXT. HUSTLER STORE, NIGHT.
Gina, in a revealing gown waves to the crowd, etc. 
Ray is in the far background.
EXT. HOUSE, NIGHT.
Ray drives up to their house and they get out. Gina is still in
her gown and has to pull up the hem almost to her waist to climb the
stairs to their house. 
|
RAY:
Why bother?
You can't wear it again?
GINA:
I don't want to fall. I plan to keep using this body, for
a while at least.
|
They reach the door and Ray unlocks it.
INT. HOUSE, CONT.
Gina and Ray come in the door.
Andrewpov shoves Gina and she slides across the floor into a couch
end table knocking over a lamp.
Ray turns and Pickof hits him in the face with the gun.
Ray goes down.
Pickof kicks Ray several times.
|
PICKOF:
You send the police after us.
Then the FBI and immigration.
|
Kick.
Ray grunts and moans.
|
PICKOF:
This is capitalist country.
We work hard, we get what we deserve. We don't need unions.
|
Kick.
|
PICKOF:
Unions are part of failed system.
|
Pickof pulls back the slide, cocking the gun.
Ray looks up and moves at the last moment.
The bullet punches a hole in the floor.
Andrewpov kicks Ray back into place and then holds him down with
his foot and a couple hundred pounds of weight.
Pickof aims his gun again.
Gina whacks Pickof in the dead with the weighted end of the lamp.
Pickof goes down.
Andrewpov turns to see what hit his brother and Gina sticks the
glass end of the lamp in his face.
Andrewpov screams like a small animal and runs away, leaving his
brother behind.
Gina goes to Ray.
|
RAY:
I thought Russians were tough. But one little New York girl
and they run like babies.
|
Gina is crying.
|
GINA:
Can we move to a new place?
On a quieter street?
RAY:
With a swimming pool and jacuzzi?
|
Gina smiles.
EXT. SCREEN ACTORS GUILD HEADQUARTERS, DAY.
The place is surrounded by reporters and observers.
On the dais are Ms. Gilbert and Asia, in a conservative sun dress
and half powered makeup.
GRAPHIC: Years later.
|
GILBERT:
Today we join the two most successful acting unions in the
country into one, Screen Actors Guild.
|
Gilbert and Carrera exchange pens.
LATER
Gilbert moves through the crowd and finds Ray and Gina standing
near Bruce Boxleitner.
|
GILBERT:
Ray, Gina, I'd like to introduce you to my husband.
RAY:
Hello, Ray Angelino.
|
Gina shakes his hand too.
|
GINA:
Gina Angelino.
BRUCE:
Bruce Boxleitner.
GINA:
Oh, you kept your own name, I like that.
|
BEAT
Gilbert and Boxleitner don't know if Ray and Gina are pulling their
leg or if they really don't know who Boxleitner is.
EXT. DOROTHY CHANDLER PAVILION, NIGHT. 
(Stock footage)
Thousands of well dressed people are entering.
(careful, no indication that this is Oscar night)
GRAPHIC: Ten years later.
CLIP (continuous shot)
INT. PORN STUDIO, N/A.
Bebe is going crazy as a guy fucks her.
She's lying on a bed and she's loving what he's doing.
Then he pulls out and shoots cum on her breasts and stomach.
Bebe oohs and collects some on her finger before bringing it to
her tongue and oohs some more.
|
DIRECTOR:
(O.S.)
And cut!
|
Total change, a beast personality explodes from Bebe.
She pushes the guy off her and the camera follows as she gets up
and pulls on her robe.
|
BEBE:
Jesus, Mary and Joseph!
Is that how you fuck your dog at home? I'm not a dog. I'm
a fucking porn star and I expect somebody who knows what he's
doing.
|
She smells something.
She scoops more cum off her stomach and smells it.
|
BEBE:
Pee! You peed on me.
|
She tries to attack the guy but is held back by other on the set.
|
BEBE:
If I ever get my hands on you.
|
And she walks off.
Image fades to.
INT. THEATER, N/A.
Asia and some big male star are standing at the podium.
|
ACTOR:
And Bebe Strait for The Bitch of The San Fernando Valley.
And the award goes to ...
|
He looks at Asia who opens the envelope and then excitedly leans
into the microphone.
|
ASIA:
Bebe Strait for The Bitch of the San Fernando Valley.
|
SHOT of the well dressed audience.
As Bebe, in a conservative dress, goes nuts. (she repeatedly gives
the "Yes" hand pump.)
The people in her row stand up.
When Bebe passes the Bud Lee at the end of the row she grabs him
and kisses him.
|
ASIA:
(Smiles)
Hey, lay off my husband.
|
BEBE makes it up to the podium.
|
BEBE:
Wow, I never thought I'd live long enough for this. First
I have to thank my great director, Bud Lee. And the screen
writer, Raven, and everyone at Crossover Pictures.
|
BEAT
|
BEBE:
You know, I've been a bitch for a long time. But only recently
has there been an opportunity for me to be recognized for
my life's work. There are two people, who aren't here tonight,
who are responsible for this and I'd like to give them a rousing
round of applause.
|
Bebe starts clapping with Asia and Bud Lee.
BEAT
The other Porn actors in the house start clapping too but it take
some time to get the rest of the audience on board.
INT. NEW HOUSE, NIGHT.
An older Ray and Gina are watching the awards on TV.
|
GINA:
Ray, look.
They don't know who she's talking about. Congratulations.
RAY:
Me?
She said, "two people." I think she meant you.
GINA:
Oh, so now I'm two people?
RAY:
Yeah, gorgeous and really gorgeous.
|
INT. BOXLEITNER / GILBERT HOUSE, NIGHT.
Melissa G and her husband are watching the show from home.
|
BOXLEITNER:
Look dear, they don't know she's talking about you.
GILBERT:
That's okay dear.
The people who matter know.
|
She turns to her kids and their families who are watching with them
and Beaming at Gilbert.
Fade out.
Alternate ending (We go back to just after the scene where Gilbert
and Carrera sign the joint operating agreement.) INT. NIGHT CLUB,
NIGHT. A big party is going on when a pair of young women all dolled
up and wearing almost nothing come in. BEAT A very good looking man
in a suit jacket and open shirt collar comes up to them with a big
smile. It looks like he might be the first person to try to seduce
them. MAN: Hello ladies. GIRLS: Hello. MAN: (sly smile) You know that
this is an industry party? GIRLS: Uh huh. MAN: Can I see your guild
cards? GIRLS: Huh? MAN: Your Adult Actors Guild cards. GIRLS: Uh,
weÕre not like in the movies- GIRL #2: Not yet. The man pulls out
two business cards. MAN: Well until you are part o the union IÕm afraid
you canÕt stay. Here, this will give you the phone number and serve
as your entrance ticket to a class about what its like to be a guild
member. BEAT MAN: Go. The girls turn around and start to leave when
the door is opened from the outside by a young guy and girl. GIRLS:
Forget it, he wonÕt let you in. They all leave.
