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Some examples of whats new to expect inside our members area: The Dungeon Master's twin brother must defend the honor of the castle by his sword. As the fight with the Black Knight proceeds, the real action is down in the dungeon. A servant slave is in the hanging stocks and is being punished for spilling soup. Leather Bondage & S&M Chat Rooms #After_Hours_Lounge - [General Adult Chat Room] A Place for Friends to RELAX and ENJOY conversation and laughs...(common sense is a requirement here.) #D/s_Desires - [D/s Chat Room] ¨¨°º~~º°¨¨A Gathering Place¨¨°º~~º°¨¨Masters, Mistresses, submissives/slaves - Welcome¨¨°º~~º°¨¨ #Gorean_Realms - [Gorean Chat Room] Gathering and Learning Place, Tuchuk Camp for those of Gor -- Respect and honor a must ... please conduct yourselves accordingly, request FIRST for all private messages in channel, slaves need not beg entrance. This is also an entire Gorean Online Community and can be found by clicking here. #Panther's_Lair - [Gorean Chat Room] ¨¨°º"©æ}~ Panther's Lair, Sisters of the Forests, Hunters, Panther Girls of Gor ~{æ©"º°¨¨ #Pillories_Yokes_&_Stocks - [Bondage Chat, D/s Chat, Roleplay Chat Room] Welcome to the medieval dungeon where pillories, yokes and stocks abound. Come in and subject those therein to wonderful exquisite tortures. #Hottub - [General Adult Chat Room] Hot, wet, plenty of room... Leave attire at the door. No cellphones please. #Trivia - [General Adult Chat Room] !!!!Welcome to TRIVIA!!!! A place for competitive Trivia! Type !start in channel to start the game! Game is reset on the first day of each month, one winner per month. Have fun and good luck! #Lesbian_Loft - [Lesbian Chat Room] For Females who love Females, no males, please. :) #Dommefemsub - [Lesbian Chat Room] A Dommes realm for sensual BDSM with their femsubs. ( no males please ) #Asgard - [Gorean Chat Room] 18+ JOT A Gorean Hall in Torvaldsland and home of the High Jarl. All are welcome to visit (only home slaves don't beg entrance, all slaves beg all else.) #Latex_Lingerie - [Latex Fetish Chat Room] latex lizzy has done it again, a mess in lingerie... somebody find the janitor, clean up on isle 69! #LeatherLust_Help - [Admin] Leather Lust IRC Network Help Channel -- enter and be patient, an IRCop will enter and help you with your problem. #MP3_Haven - [General Adult Chat Room] MP3 Haven-- Music! Music! Music! Share, Play, Swap, discuss! #Gangbang_Hotel - [Fantasy, Cybersex Chat Room] That sleazy hotel you always wanted to check out, but never dared... until now... #Lobby - [General Adult Chat Room] Welcome to Leather Lust, a different type of IRC network. Adult Chat, the way it should be! #DommesDungeon - [Bondage Chat, D/s Chat Room] Dungeon for Doms, Dommes and all that are willing to enter and be subservient to them (scening permitted and encouraged, no private messages without permission granted in channel first.) #Gorean_Portal - [Gorean Chat Room] Welcome to Gor. An online environment based on a series of novels by John Norman. Uphold the principles and values, and be welcomed. #Bi-Fem-Sensuality - [Female Bisexual Chat Room] ~*~ Bisexual Females and Those who Enjoy Them ~*~ (No private messages without permission granted in channel first!)   EXPLANATION OF TERMS Bondage refers to the act of restricting the movement of a person. Bondage can be physical or symbolic and may involve many different methods. Primitive cultures used bondage on stolen brides to prevent their escape. This form of restraint eventually evolved into symbolic bindings around the waist, legs, and wrists and according to some, the finger. The tradition of carrying the bride across the threshold also comes from this custom. There was a strange twist to sex and bondage during the 19th Century when parents were encouraged to bind the hands of their sons behind their backs to prevent them from masturbating. Adult men were not exempt and were often expected to have the same thing done to them Today television programs are full of abduction and bondage scenes. Children play cowboys and Indians using rope bondage. And in 1989 over 40% of patients in American nursing homes were put into restraints. Regardless of the popularity of bondage, it is not socially acceptable for adults to utilize it for sex play. The benefits individuals receive from bondage vary. Simple solitary bondage is like meditation for many practitioners. The brain seems to release more alpha waves, causing a floating or hypnotic state similar to when one drives on a highway late at night. Other people prefer to pull against the restraints, building a rush of adrenalin and euphoria. Men who are much stronger than their partner, but still want a passionate reciprocal exchange of physical power, benefit from partial bondage. This handicaps the man so that the woman appears to have equivalent or superior physical strength. Some build up immense confidence and self esteem by being able to work their way loose from the restraints. Many find thatbondage relieves then of always having to sexually perform. This allows them to relax and not feel guilty about enjoying the sensations their partner is creating. Bondage often serves as simple support. Secure and comfortable bondage allows the person acting as the victim, to relax completely, without worrying about balance or other practical distractions. Imaginative sexual positions may move from ridiculously awkward to fun with such support. A major effect of bondage, when used during sex, is the release of normal inhibitions. A prisoner or victim does not feel as personally responsible when obeying commands, especially ones they have fantasized about but didn't have the courage to try. The person performing the bondage experiences a similar release of inhibition due to the tremendous increase in feelings of personal power. However, sexual etiquette requires for the dominating partner not to use the situation to exclusively fulfil their own fantasies, particularly ones that their partner, namely the victim, doesn't find arousing. Bondage scenes are negotiated ahead of time which enables both people to determine what type of scene they want to act out and what paraphernalia might be needed. A safe word guarantees that sexual limits of the partner playing the victim will be expanded but not violated. The safe word is also a command to end the game, whether it is because the victim feels discomfort, boredom or their limit has been reached. Regardless of why the safe word was used, it is the responsibility of the perpetrator to get them out of bondage within a few seconds. Bondage also creates trust and appreciation for the perpetrator. Those bound are for the first time not able to reciprocate acts of affection and stimulation received from the partner. They become fully aware of the role of their partner plays in expressing affection and controlling sexual arousal. Many victims become extremely grateful and submissive upon finally being released. Bondage , like other sex games, will generally not produce an erotic effect unless one is sexually attracted to their partner or has an overpowering lust for bondage, in which case the partner is of lesser importance. In addition, most safety conscious people do not play with people they don't know. Bondage, unlike other types of sex, may require a long period of time, up ton 48 hours. This necessitates the partner being diverse and having the physical and mental stamina required to keep the game intense, focused and progressive. The perpetrator is often more exhausted than the victim at the end of the bondage session. CAUTION: Bondage, like mountain climbing, skydiving, body building and car racing can be dangerous if the proper precautions are not taken. People who practice bondage read about the safety of new equipment or positions they can use on their partners. Positions are selected according to the length of time in which the partners have to play. Many positions seen in magazines are extremely uncomfortable and would not work for more than a few minutes. Pulling a person's arm upward while they are bound behind their back (strapado torture position) can easily dislocate a shoulder. A person is never left unattended while bound. Furthermore, the person who is bound is constantly monitored for breathing, circulation, skin tone and temperature of the fingers and toes. Nothing is put near the neck except properly fitted collars. Ropes, blindfolds, hoods, or other restraints can slip out of their original position and cause suffocation. The restrictive cuffs or ropes match on each side of the body in order to produce the proper sensations. Those learning bondage add additional paraphernalia slowly, avoiding gags, latex hoods, impaling, lacing and crucifixion. The following are specific examples of common bondage play. Spreader Bars Spreader bars are used in conjunction with leather cuffs and sometimes chains. They are designed to alleviate the need of anchoring a person to a chair or bed. A leg or knee spreader also keeps the victim from closing their legs to protect or hide their genitals. This type of vulnerability is particularly exciting for women who enjoy being exhibited. Spreader bars, as opposed to tying someone to the bed posts, allow the legs to be raised into different positions and for the person to easily be flipped over on their stomach. Bondage Cage Cages are used to imprison partners without the need of additional restraints. Cages are made to resemble wire chicken coops, coffins or wooden boxes. The type of cage one selects is determined by the feelings one wants to produce. If the fantasy involves an interrogation of a prisoner, bars are often used. If the slave is impersonating a pet, the chicken wire pen or kennel sets the proper mood. Necrophilia's and vampires prefer coffins. Wooden boxes with holes for ventilation are versatile in most cases and claustrophiles (people who are aroused by being trapped in small areas) enjoy being placed in them. Cages may or may not be large enough to permit the slave to stand or lay fully stretched out. The size of the cage determines how long a person is left inside. Cages are used as beds, for punishment, or during a recess in S/M play. Some perpetrators have anchored male prisoners wearing Prince Albert penis rings (metal rings that pierces the urethra and exits near the fraenulum) to the cage bars by wrapping his penis around a bar and fastening the Prince Albert to a cock ring at the base end of his penis. People practicing long term bondage that need to leave the house for a couple of hours often leave their partner in a cage. This is considered safe; on the assumption that the chances of the house catching fire and the perpetrator getting into a car accident are accident slim. Bondage Chains Chains are used for suspension or attaching one restraint to another. They are also used for ornamentation or to connect various ring piercings on the body. Chains, because they rattle and feel cool, add tactile and auditory sensations to the bondage scene. Chains are preferred by some for suspension because they are heavy duty and various items can be hung from the links. A 3" or 4" panic snap is added to provide for immediate release. The disadvantage to using chains is their weight and bulk if people take sex toys with them on a trip. Bondage Collars Collars can are worn by slaves and by the perpetrators. They act as a visible and physical reminder of their submissive state. The collar is often black leather with a buckle and some include chrome studs as decoration. It is either worn alone or with a leash attached to a 'D' ring. Others use an ordinary necklace with some type of charm or emblem to signify their commitment. Pet slaves sometimes have personalized dog tags attached to their collar. Wrist restraints Wrist restraints are occasionally attached by a chain to the "D" ring with the arms in front of the body or to the sides. This is dangerous if done from the back because it can cause self-strangulation. Crucifixion Crucifixion consists of suspending a person by the wrists and ankles from a stake. It was originally done by Phoenicians, Assyrians, Egyptians, Persians and Romans as a method of execution. Nailing the wrists and feet usually meant a fast death from blood loss while using ropes meant that the person would live several hours before suffocating. Death could take several days if their weight was supported by something. The Carthaginians used crucifixion as a form as a form of ritual sacrifice. Malcus, in order to ensure himself victory in battle, dressed his son, had a crown placed on his head and then crucified him as a sacrifice to the god Baal. Once dead, the victim was usually burned with the cross. The Romans developed four more types of crucifixes: the Y, X, T and H. The latter involved hanging a person horizontally by one leg and one arm. Leather cuffs are preferred for most, but people also wrap their ankles and wrists with ropes using Ace bandages to give some protection underneath the binding. The roped binding is to be secure but not too tight. A few people find crucifixion games arousing and powerful because of its religious association with pain and sacrifice. CAUTION: There is a danger that setting the restraints too loosely may cause permanent crushed nerve damage. Constant monitoring of the extremities for circulation is done by all who play with restraints. Some choose to have an orgasm during suspension. However, the body tolerates more pain before orgasm than afterward and they risk experiencing increased pain. Positions that require one's arm to be separate and support their weight will put stress on the lungs and can cause suffocation. The least painful position is one where both hands are hung together above the head and the ankles are spread but still have support. This can be tolerated by some for as long as 10-15 minutes, depending on the person, their weight, and the type of bondage. Cuffs Leather cuffs are 2-3" wide leather strips that fit around the wrists or ankles. They have buckles, latches or padlocks and may be lined with fur for comfort. Cuffs are simpler to use, more restrictive than rope, and can be removed faster. Chains, leather straps, or spreader bars are sometimes used to attach cuffs to each other. Encasement Encasement is a type of bondage that also involves sensory deprivation. The Sadhus of India used this method as one way of preventing orgasms while trying to achieve an altered state of consciousness. It is also used as a type of chastity device. Encasements of heads were used in the form of hideous helmets or metal masks during the middle Ages as a form of humiliation. This type of torture was portrayed in the movie "Man in the Iron Mask" and if this had a similar effect on the head as it does the penis, we can only imagine the psychological torment it could cause. A man usually encases his penis in a metal ball or other material that will not come into constant contact with the penis. Both of these have a small hole for the urine to pass. Encasements make it impossible for the person to achieve an orgasm and there is no sensation in the penis while encased. However, after several days have passed and the ball is removed the penis becomes extremely sensitive to touch. Gags Gags are used to render a person speechless, which has a great psychological impact. Some victims prefer gags because they muffle their screams. Those using gags establish an alternative signal to replace the safe word. Some have their partner hold a marble and drop it if they want the game to end. There are many types of gags. They include bridles, ball gags, mouth covers, muzzles, adhesive tape, stuffers, and dildos and bar gags. Ball gags are effective and safe as long as they are anchored or strung onto a strap that is wide enough to be comfortable. Penis or dildo gags are available with the penis mounted on the inside of the mouth, the outside or both. Penis gags are used for humiliation, sex, and punishment and teasing. People strap on the gag with the dildo that protrudes outward and then mount it. They also have the option of sitting on the partner's gag and sucking on their genitals. Head harnesses are available in Japan with a high-heel shoe attached to the front so that the toe penetrates the mouth. Muzzles or head harnesses are used by many because they are comfortable, generally anchor the jaw, permit breathing and do not chafe the lips. The person is not rendered completely speechless but the sound is muffled. CAUTION: There is a risk of the person not being able to breathe adequately through their nose, gagging on saliva, damaging their teeth on hard objects put in their mouth, swallowing or choking on vomit or stuffings that can be bitten off or have come loose from the mouthpiece, or the mouth becoming uncomfortably dry. Many only use gags for two minutes at a time. Handcuffs Handcuffs are adjustable and when applied correctly it is impossible for the victim to escape. They are easy to apply and are a convenient form of restraint for those wanting to move their partner to another location. Generally mitts, socks or boots are used to protect against the discomfort caused by the metal pressing against the skin. Good quality handcuffs with built-in safety locks that keep them from tightening after being locked are used in the S &M community. Those who have more than one set usually have them all keyed the same and keep extra keys readily available during bondage play as a safety precaution. Handcuffs are applied so that the key hole faces away from the body, making them more accessible and easier to remove. CAUTION: For safety, handcuffs are carried closed. This guarantees that the key is available before play begins and padding (gloves or Ace bandage) is used on the wrists to protect them from abrasion. Body harnesses are used for decorative attire, suspension and to anchor onto other restraints. Decorative harnesses are made of rope in bondage scenes and of leather costumes. Harnesses used most for suspension are parachute harnesses which are available for purchase in many Army Navy surplus stores. Hoods Hoods are used to depersonalize a partner. This anonymity gives the dominator more power, both parties fewer inhibitions and focuses the victim's sensations entirely on their body. Hoods are made of soft or hard heather, latex, silk scarves or wooden boxes. The sensations, smell and sound effects obviously differ. Some opt for pin holes that allow restricted vision. Others are specifically designed for oral sex and the only opening is over the nose and mouth. The wearing of leather costumes is not limited to the use of victims. Frightening effects are also created by only the dominator wearing a hood or mask. These have both eye and mouth openings. CAUTION: Latex Hoods with only a few holes under the nostrils have been known to accidentally slide around and cut off the person's oxygen supply so you must be extra careful when placing a hood on your partner and always make sure they can breath. Impaling Criminals were often executed by being sat on the sharp point of a stake. Their weight drove the stake up into their torso, causing a slow death. Ancient Assyrians developed this into a form of torture where the victim could live a day or more before expiring. Impalement has since evolved to include any penetration of the body that restricts a person's ability to move. Ropes Ropes are often used for bondage. They offer a technical challenge to the dominator and are versatile in their application and effect. Rope is inexpensive and can be purchased from any hardware store. People often use silk curtain sashes, soft nylon rope or the magicians' rope found in magic shops. Rough ropes are used for those who are into punishment or cowboy scenes. Erotic rope play is done by pulling a long rope very slowly across the genitals and breast or wrapping it between the fingers and toes. The rope essentially takes the place of caressing hands. Once the person has used all the rope, the victim is then slowly released in the same manner. The whole process may take an hour or longer. Thorough planning of a scene is done ahead of time. If the victim wants to be spanked or have their partner play with their genitals that make sure that hands and rope do not obstruct the area. Arms are bound separate from the body to facilitate occasional movement or relocation which prevents much discomfort as time passes. Bondage rope is washed after use if a person has more than one partner. It is usually put in a pillow case or laundry bag to prevent tangling and dried at the highest temperature to kill bacteria. CAUTION: Knots are not placed on areas where veins or arteries come close to the surface. Pressure on the lower rib cage is also dangerous. The ankles and knees may need additional padding and are not bound together unless the person is lying down, sitting or supported by a harnesses while standing. There are many other safety precautions which should be adhered to when using bondage rope. The victim is placed in a comfortable position, unless the game dictates otherwise. The diameter of rope is 1/4-1/2" thick. It is always applied doubled or in tows, which decreases the risk of cutting off circulation because it broadens the area of pressure. The correct pressure for rope is discernable by a slight indentation in the skin. A person's body swells during the application of rope and takes about five minutes to return to normal. The rope can slip out of position after this time and can be dangerous if it ends up around a partner's neck or another area that could cut off circulation (warmth) comparing the colour of the fingers with what they looked like before the bondage session began. The dominator also requests that the partner move their hands and toes to check for numbness because many people don't notice it until they move. You should always keep a pair of bandage scissors is always kept near to cut a person loose if their circulation is cut off or if they use the safe word. A partner never leaves a room while the victim is in bondage. Shackles Shackles are restraints made of metal strips that cuff the ankles, neck, or wrists. They have a loop that allows the attachment of chain or locking mechanism. Shackles are popular in authentic medieval dungeon scenes but are uncomfortable and can cause injury if not padded for a fantasy scene. The strong psychological impact of shackles overrides the concern for comfort for many who use them.

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Van Dorn walks west on Santa Monica Boulevard. The entrance 
to Wild Mary's is formed by the larger-than-life painted 
rear view of a bent over woman. Her long legs flank either 
side of the open passageway.

A young man in a cowboy shirt repeats monotoned litany to 
passersby:

		CALIFORNIA COWBOY
	Free information. Free information 
	inside. Come in and get free 
	information. Free information. Free 
	information inside.

Jake pauses in front of the California Cowboy, then enters, 
passing through Wild Mary's muscled thighs.

							CUT TO:

INT. WILD MARY'S - NIGHT

Jake walks into Wild Mary's and is greeted by a young woman 
in a shift and bikini pants. Her name is BEATRICE.

		BEATRICE
	Hello. My name is Beatrice. Have you 
	been here before?

		JAKE
	No.

		BEATRICE
	What we offer here is nude body to 
	body contact on a bed in a private 
	room. It's twenty dollars a half 
	hour, thirty dollars an hour. Anything 
	else you desire may be discussed in 
	the privacy of your room. Tips are 
	allowed. We accept Bank Americard, 
	Master Charge and American Express.

		JAKE
	I don't really want... 'body to body 
	contact.'

		BEATRICE
	That you may discuss with the girl 
	of your choice in the privacy of 
	your room.

A SECOND TEENAGE HOSTESS steps through a beaded curtain and 
joins Beatrice and Jake.

		SECOND HOSTESS
	Hi.

		JAKE
	I'm looking for a girl. Have you 
	ever been in a porno film?

Jake reaches for this folded photo but the Second Hostess 
takes him by the hand.

		SECOND HOSTESS
	Come back with me. I'm sure you'll 
	find what you want.

A THIN MAN walks into the room. He looks about 35 and carries 
a small bag.

		THIN MAN
	I called on the phone. You have a 
	Domination Room?

		BEATRICE
	Yeah. Did you bring your own 
	domination equipment?

		THIN MAN
	Yes, but I've never been here before.

		BEATRICE
	I'm sure everything will be just the 
	way you want it. Twenty dollars half 
	hour, thirty dollars hour. Tips are 
	allowed.

		THIN MAN
	Let's start with a half hour.

The Thin Man gives Beatrice a twenty and walks off with her. 
Jake, curious, follows.

Beatrice and the Thin Man step into the Domination Room: a 
simulation of a Medieval dungeon. A large wood X-shaped cross 
is bolted to one wall. There are straps for the client's 
hands and feet. Instruments of torture hang from another 
wall. A bare-breasted girl, wearing bikini pants and leather 
chaps, sits lethargically on a folding chair. A mask of black 
leather and buckles completely cover her face.

Beatrice notices Jake is following them.

		BEATRICE
	You want to take a session?

Jake is dazed by what he sees. He wasn't even aware such 
perversions existed.

		JAKE
	No. I don't think so.

		BEATRICE
	You sure? We have regular sessions, 
	too. Only twenty dollars?

Jake turns and (like Lot from Sodom) walks away without 
looking back. As he leaves, he passes the Second Hostess 
attempting to communicate with two teenage MEXICANS.

		TEENAGE MEXICAN
	Sexo?

The Second Hostess forms an oval with the index finger and 
thumb of her left hand and passes the index finger of her 
other hand through it in an obvious gesture:

		SECOND HOSTESS
	Si. Sexo. Sexo.

EXT. STAIRWAY TO LOVE - NIGHT

Later that night. Jake locks his car and walks south on 
Western toward Santa Monica Boulevard. Ahead, a continuous 
row of massage parlors blend into neon.

Girls call out as he walks: "Come on in and get free 
information," and "Want to have a good time?" and "Lonely?"

He stops by the Stairway to Love. Three girls stand just 
inside the door. A sign in the window reads: "Come in -- 
Satisfaction Here." He enters.

							CUT TO:

INT. STAIRWAY TO LOVE - NIGHT

The First Hostess, FELICE, greets Jake as he enters:

		FELICE
	Hi, you been here before?

The two other Hostesses gather round.

		JAKE
	No.

		FELICE
	We offer Female Wrestling, that is, 
	nude body to body contact, with a 
	girl of your choice in a private 
	room. Twenty dollars a half hour, 
	thirty dollars hour. Any other 
	arrangements may be discussed in the 
	privacy of your room. Tipping is 
	permitted. We accept Bank Americard, 
	Master Charge and American Express.

		JAKE
	Yeah.

		FELICE
	Do you want to take a session?

		JAKE
	I just want to ask some questions.

		FELICE
	You may do that in the privacy of 
	your room.

		JAKE
	Okay. I'll take a half hour.

		FELICE
	Do you have any particular choice of 
	girl?

		JAKE
	You'll be fine.

Jake gives Felice a couple tens. She in turn passes them to 
the MANAGER, a 225 pound, blond-haired Malibu surfer. He 
puts the money in a cash box and fills out a time sheet.

Jake eyes the Manager uneasily as Felice escorts him up the 
"Stairway to Love."

							CUT TO:

INT. ROOMS - NIGHT

Felice shows Jake into a ten-by-ten cubicle. The walls are 
barren; a bed-sized slab of foam rubber lies on the floor.

		FELICE
	Wait a second. I've got to get a 
	sheet.

He looks around the small room. Through the makeshift 
pasteboard walls he can hear the SOUNDS OF OTHER COUPLES 
"making love."

Felice quickly returns with a sheet and spreads it across 
the foam. She slides the door shut behind her.

		FELICE
	You're still dressed?

		JAKE
	Well, I want to...

		FELICE
		(sitting)
	Sit down. Make yourself comfortable. 
	My name's Felice.

Jake squats down on the foam, crossing his legs under him.

		JAKE
	There's a girl I want to ask you 
	about.

		FELICE
	You're not Vice, are you?
		(rote)
	Do you work for the Los Angeles Police 
	Department, or do you have any other 
	affiliation with any law enforcement 
	agency?

		JAKE
	No, I don't.

		FELICE
	I have to ask you that. If you were 
	Vice you couldn't deny it. You ought 
	to dress less square. You wouldn't 
	get hassled so much. Here, let me 
	help you get that tie off.

Felice reaches over to loosen his tie. Jake, self-conscious, 
removes his tie.

		JAKE
	Well, actually I wanted to ask about 
	this girl. I have her picture here.

		FELICE
	Pull out your cock.

		JAKE
	What?

		FELICE
	Cops aren't allowed to do that either. 
	A judge ruled that that was 
	entrapment. Don't ask me why. I guess 
	he figured the sight of a Vice 
	Officer's dong would make a girl 
	unable to stop herself.

She laughs.

		JAKE
	No, Felice, I'm not a cop. In fact, 
	right now I've got as little respect 
	for the police as you do.
		(pulls out folded 
		glossy)
	I'm looking for a girl. A runaway. I 
	need someone to help me.

		FELICE
	Are you going to stiff me?

		JAKE
	What do you mean?

		FELICE
	Look, that twenty dollars you just 
	paid, I don't get any of that. That 
	goes to the guys that own this place. 
	I get two bucks an hour, minus ten 
	percent for a bail fund. I make all 
	my money on tips.

		JAKE
	You want a tip?

		FELICE
	Sure. What do you want? Tips can be 
	anywhere from thirty dollars to 
	seventy dollars.

		JAKE
	What do you mean?

		FELICE
	What do you want to tip me for? Look, 
	you got to spell it out. Whatever 
	you want, just say it.

		JAKE
	I'll give you a tip. Here's forty 
	dollars.

Jake digs out a couple twenties and gives them to her. Felice 
tucks the bills into her bikini crotch and pulls off her 
shirt top. Her breasts seem surprisingly pale and small.

		FELICE
	Now, what do you want?

		JAKE
	I said I just wanted to talk to you...

		FELICE
	That's cool.

		JAKE
	...about this woman.
		(showing glossy)
	I'm trying to find her. Do you know 
	her?

		FELICE
		(uptight)
	Look, I don't know anybody. I never 
	seen her before.

Jake, previously upset, is now angered. Nobody tells him 
anything, he gets nowhere.

		JAKE
	I'm getting angry.

		FELICE
	Wait a minute, that's going to cost 
	you more than forty bucks.

		JAKE
	I'm getting angry. I want some 
	answers.
		(stands)
	Where's the guy who runs this place?

He slides open the door and walks out. Felice pulls on her 
shift and follows him.

		JAKE
	Who is it? That blond guy? Where is 
	he? I'm going to talk to someone.

		FELICE
	Wait?

		JAKE
	Where is he? Where's the bastard 
	that runs this shit hole?

The Manager, as if on request, steps to the top of the stairs. 
His huge frame fills the hallway.

		MANAGER
	What do you want?

		FELICE
	He's causing trouble.

		JAKE
		(contentious)
	I got a picture here. I want you to 
	tell me where to find this woman. I 
	been asking everybody. Nobody knows 
	anything.

		MANAGER
	Calm down, mister. You don't want to 
	get the cops in here do you? You got 
	a family?

		JAKE
		(shows picture)
	I don't suppose you've ever seen 
	this girl before either? Her name's 
	Kristen, but I suppose you've never 
	seen her?

		MANAGER
	Why don't you just go outdoors, 
	mister? Cool off.

		JAKE
	Cool off, huh? How's this for cooling 
	off?

He knocks a cheap print of a naked woman off the wall. The 
frame crashes to the floor.

		MANAGER
	Hold it, mister.

		JAKE
	What do you think of that? Or this?

Jake knocks over a small table. The Manager has had enough. 
He grabs Jake's arm, wrenches it tight behind his back and 
rams Jake's face into the wall. He forces Jake down the 
stairway of love.

Jake struggles and kicks, but is no match for the larger 
man. At the foot of the stairs, the Manager ejects Jake, 
thrusting him across the sidewalk.

Jake rams face-first into a parked car. He staggers on the 
sidewalk. His mouth and nose bloody.

He looks back. A black and white slows down. There's nothing 
to be done. He moves on.

							CUT TO:

INT. HOLIDAY INN ROOM - DAY

Van Dorn, thinking, lies face up on the bed in his motel 
room. He wears slacks and a white undershirt.

His face is bruised, his lip is swollen. An open First Aid 
Kit sits on the lamp stand.

LATER. Jake slouches in a chair watching "Day of Discovery," 
a Sunday evening religious program. The chorus of wholesome 
young people look like they've come from another planet.

A soothing, innocuous hymn. In the distance church bells 
RING, as if signalling a call to action.

							CUT TO:

EXT. BEVERLY HILLS - DAY

The next day. Jake, now wearing a print sport shirt under 
his navy jacket, strides down Camden. He has a plan.

He checks an office building address and enters.

							CUT TO:

INT. OUTER OFFICE - DAY

Jake stands as a SECRETARY says to him:

		SECRETARY
	Mr. Ramada can see you now.

He thanks her and walks into Ramada's office.

							CUT TO:

INT. RAMADA'S OFFICE - DAY

Bill Ramada stands to greet Jake as he enters. His office is 
expensively decorated in chrome and glass. A framed poster 
from the New York Film Festival hangs on one wall.

Kurt sits on a plush white sofa.

		RAMADA
	Hello, Mr. Holcum. You look out of 
	breath. What's the matter? The 
	elevator broke?
		(to Kurt)
	Is the elevator broke?

Kurt shrugs.

		JAKE
	No. I walked up. Don't ride elevators.

		RAMADA
	My secretary said you wanted to 
	discuss a business proposition.

		JAKE
	Yes.
		(as Ramada sits)
	I'm interested in financing an adult 
	feature film. I was told you were 
	the man to come to.

		RAMADA
	Film making can be pretty expensive...

Jake has slipped into his business shoes. He's cool, 
confident.

		JAKE
	I've got fifty thousand dollars to 
	invest.

		RAMADA
	Oh.
		(a beat)
	Why is it that you want to get into 
	film financing?

		JAKE
	Well, Bill -- mind if I call you 
	Bill?
		(as Ramada nods)
	Let me be frank. I've made a lot of 
	money. I've got my own business in 
	Detroit. Rivets. I make rivets and 
	sell them to Fisher Body.
		(a beat)
	Well, rivets, you know, can get pretty 
	boring after a while. When my business 
	manager told me I should shelter 
	some money, I thought I'd try this.

		RAMADA
	What exactly do you have in mind?

		JAKE
	I thought I'd invest in a film. I 
	want to sort of become involved in 
	the process of making a film, meet 
	the people who make films, learn how 
	it's done...

		RAMADA
	In other words, you want to get laid?

		JAKE
	Not exactly...

		RAMADA
	It's cool. Why do you think I got in 
	the movies? How much poon do you 
	think you get in the car wash 
	business?
		(a beat)
	Look, fifty thousand dollars buys a 
	lot of pussy. You can get your joint 
	pulled by beautiful girls every night 
	for the rest of your life for fifty 
	thousand dollars. So why fuck with 
	the movie business?

		JAKE
		(smiles knowingly)
	It's an investment.

		RAMADA
	If you want to watch when we shoot a 
	film, for fifty bucks, I let guys 
	stand around and watch. It's a lot 
	cheaper.

		JAKE
	I thought you were a businessman.

		RAMADA
	Don't get me wrong. A couple years 
	ago, I woulda jumped at fifty thousand 
	dollars possible financing. But the 
	Lord's been good to me. I can now 
	finance any films I choose. Big ones, 
	small ones. Right now we're setting 
	up a two hundred thousand dollar 
	feature film. Live sound. I like to 
	keep my own money in my films. That 
	way you don't have to share the 
	profits. There's plenty of guys in 
	town that'll take it, though. But if 
	I was you, Mr... what was your name 
	again?

		JAKE
	Jake.

		RAMADA
	...I'd just start my own business. 
	That's what I did. Get into kid porn. 
	That's big now. Why don't you come 
	around the set? Meet some people. If 
	you still want to invest, I'll ask 
	around.

		JAKE
	Sounds all right.

		RAMADA
	Okay. Keep in touch with my secretary.

Jake nods and turns to exit.

		RAMADA
	So long, Mr. Jake.

							CUT TO:

INT. L.A. FREE PRESS

The next day, Van Dorn waits in line to place a "Personals" 
ad in the Los Angeles Free Press.

He wears an open sport shirt, slacks and loafers. Bit by bit 
he's been going native. He realizes he isn't going to 
infiltrate the pornography underworld looking like a furniture 
dealer from Grand Rapids.

Even so, Jake's conventional dress sets him apart from his 
fellow advertisers. The long line winds back and forth and 
represents just about every possible deviation from the 
American heterosexual norm: studs, butches, hookers, freaks, 
cultists: misfits all.

The CAMERA studies the line: an attractive boy wears a studded 
collar, a low-rider sports his colors, a diminutive girl 
waits silently in her hari-krishna robe.

The line inches forward. Behind Jake, one woman tells another 
about this great swinging party. Van Dorn takes some comfort 
in the fact that the MAN in front of him, dressed in a 
seersucker suit, looks pretty straight.

The GIRL AT THE WINDOW takes his ad:

		MAN IN SEERSUCKER SUIT
		(reading ad)
	'W/M, 35, 140 fastest tongue in west, 
	will demonstrate proficiency in all 
	dialects to females under 50. Looks 
	not imp.' That's all in caps, 'LOOKS 
	NOT IMP.' 'George Harper. P.O. Box 
	102, Alhambra, Ca., 91801.'

		GIRL AT THE WINDOW
	That's 'dial-a' what?

		MAN IN SEERSUCKER SUIT
	Di-a-lects. D-I-A-L-E-C-T-S. Like 
	talking.

The Man in the Seersucker Suit pays his fee and Jake steps 
up to the window.

		JAKE
	I'd like to place a 'Personals' ad 
	in the Free Press.

		GIRL AT THE WINDOW
	How many weeks?

		JAKE
	Just one.

		GIRL AT THE WINDOW
	The rate is a dollar per line, a 
	dollar and a half bold face.

Jake takes out a slip of paper and hands it to the Girl.

		JAKE
	I have it here. Can you take this 
	down?

The Girl takes the slip of paper and reads it back to him as 
she fills in the advertising form:

		GIRL AT THE WINDOW
	'Film Producer' -- that should be in 
	caps, bold face.

		JAKE
	Okay.

		GIRL AT THE WINDOW
	'Film Producer seeks young men, 18 
	to 25, for hardcore film. Prior film 
	experience a must. Call Jake at 
	Players Motel. 777 Vine. 463-5671.

Jake nods.

							CUT TO:

EXT. DARK ROAD - NIGHT

A small film crew sets up a shot. Ramada, Kurt, Van Dorn and 
others, standing by a trailer, watch from the b.g. Jake's 
floral rayon shirt is open to the third button.

The script evidently calls for "Dark Road -- Night" because 
that's where the gaffer is arranging lights around a parked 
red Mustang. A YOUNG ACTOR in a soldier's uniform waits in 
the car. Niki and another actress, dressed as a stewardess, 
stand on their marks near the front of the car.

Ramada and Kurt walk over to talk to the YOUNG DIRECTOR. 
Niki, finished for the moment, walks back toward the trailer.

Niki picks a heavy coat out of the trailer, and wrapping it 
around her, stands next to Jake. They watch as Ramada gives 
the Director some last minute advice.

		JAKE
	Are you the star of this picture?

		NIKI
	You kidding? Three days work. I finish 
	tonight.

		JAKE
	The other girl is the star?

		NIKI
	She thinks so.
		(a beat)
	What do you do?

		JAKE
	I work with Ramada. We're doing some 
	pictures together.

		NIKI
	Well, next time you talk to him, 
	tell him to pay his actresses more.

		DIRECTOR
		(calling)
	All right, girls, Niki! To your 
	places.

		NIKI
		(to Jake)
	Nice meeting you.

Niki throws off her coat and runs to the set. The Actor backs 
the Mustang out of CAMERA range.

There is a pause, the Director calls: "ACTION!" and the 
Mustang drives to where the two stewardesses, stranded, are 
waving for help. The cameraman pans with the Mustang. The 
Soldier opens his door, looks at the girls' car and offers 
to help.

Kurt steps over to Jake.

The Soldier, looking at the stranded stewardesses, rubs his 
inner thigh.

		KURT
		(to Jake)
	We'll come in for a closeup here.

Niki unfastens the Soldier's belt and pulls down his zipper. 
The Soldier leans against the car as Niki sinks to her knees 
and opens his trousers.

							CUT TO:

EXT. PLAYERS MOTEL - NIGHT

The Players Motel is a "specialty motel." It offers "X-rated 
movies, Closed Circuit Color TV, Water Beds." Rates are $10 
a night, or $8 for two hours.

Most clients prefer the two hour rate.

Van Dorn pulls his rented Pontiac into the lot and parks in 
the first available space.

Weary, he gets out of the car and heads for his room. He 
passes a colored whore with a towering synthetic wig.

Further down the line of rooms, Wes De Jong sits slouched in 
the front seat of his rental car, watching, waiting.

A prostitute wearing jeans and a shoulder bag, enters a 
lighted room with her trick, a construction worker. He 
unbuttons his shirt as she closes the curtains.

Wes sits up when he sees his brother-in-law shuffle past the 
rooms, take out his key and open a door.

							CUT TO:

INT. PLAYERS MOTEL - NIGHT

Jake, not bothering to fully shut the door, steps into the 
room, throws his key on the bed and plops down beside it. 
He's emotionally and physically exhausted.

The decor is Vegas sleaze: tinted mirrors, red shag carpets, 
felt wallpaper, pseudo-Louis Seize chairs and a plexiglass 
chandelier. The large room has, at one end, a sitting area 
with a sofa and chairs, and at the other, a water bed covered 
with a black satin sheet. A large ceiling mirror is bolted 
above the bed.

Jake, hearing a NOISE, looks up.

Wes, wearing a suit and tie, steps tentatively in. He surveys 
the tawdry room. Jake just looks away.

		WES
	What's going on, Jake?

Jake says nothing for the moment.

		WES
		(continuing)
	Jake?

		JAKE
	How did you find me?

		WES
	I called every L.A. hotel. The Holiday 
	Inn gave this as a referral number. 
	Your office said you had no business 
	in New York, so I figured you had 
	come out here.
		(looks around)
	What's happening, Jake? What are you 
	doing? Nobody's heard from you. Anne's 
	worried sick. We didn't know if you 
	were dead or alive.

Jake stands and steps over to Wes:

		JAKE
	Wes, do me a favor.

		WES
	What?

		JAKE
	Leave me alone. Go home. Go away.

Wes starts to protest.

		JAKE
		(continuing)
	Just do what I say. Don't ask.

		WES
		(insistent)
	What is going on?

		JAKE
	I think I've found a way to find 
	Kristen. I have a plan. But I have 
	to be alone.

		WES
	What plan?

		JAKE
	You don't want to know.
		(a beat; softer)
	Now, Wes, leave, please. For me.

		WES
	What will I tell the others? They 
	care about you.

		JAKE
	Tell them anything you want. Tell 
	them I'm on a vacation, a business 
	trip. Tell them I needed a rest. 
	Tell them anything, just don't tell 
	them...

Jake looks about the whorey room. His voice cracks a little.

		JAKE
		(continuing)
	...just don't tell them about this.
		(A beat)
	Now go.

Jake escorts his brother-in-law to the door. Wes turns and 
embraces him. Jake breaks the embrace and firmly pushes Wes 
out of the room.

Jake closes and chains the door.

							CUT TO:

INT. PLAYERS MOTEL - DAY

The next morning. Jake has rearranged the furniture so that 
the sofa directly faces the door. Van Dorn, wearing a blue 
tie-dyed shirt with a sunburst on the front, sits in the 
middle of the sofa. On either side of the sofa tall thin 
lamps stand on end tables. A telephone, legal pad and travel 
clock have been placed on the coffee table. Beside Jake rests 
Mast's sheaf of notes and pictures. Behind him hangs an 
iridescent poster featuring the sex signs of the zodiac.

He waits. There is a knock at the door.

		JAKE
	Come in.

A handsome STUD, about 22, wearing tight jeans, steps 
cautiously into the room.

		STUD #1
	Jake? Mr. Holcum?

Jake checks the appointment schedule on his legal pad:

		JAKE
	Pete? Come in.

		STUD #1
		(enters)
	Yeah. Peter Long. That's the name I 
	use.

		JAKE
	We're casting male roles in an 
	explicit sex action feature. The pay 
	is $100 a day. There'll be up to two 
	weeks work. You say you've had 
	experience?

		STUD #1
	I was in the Mitchell Brothers' film, 
	'Sodom and Gomorrah.' I don't know 
	if you saw that. I played Damon, the 
	slave of the Queen of Gomorrah.

Van Dorn's pretty good at this. He's given many job interviews 
before. The phone rings and he answers.

		JAKE
	Yes, this is Jake.
		(a beat)
	We're casting right now. Have you 
	had experience in hardcore films?
		(a beat)
	I can fit you in from 4:00 - 4:15 
	today.
		(a beat)
	At the Players Motel, 777 Vine, Room 
	106.
		(a beat)
	We'll see you then.

Van Dorn hangs up and looks through his sheaf of papers. 
Pulling back a page of notes, he reveals the unfolded 8x10 
glossy from "Slave of Love." He looks at the two young men 
violating his daughter, then back up at Peter Long. Long is 
neither of the men.

		JAKE
		(continuing)
	All right, Pete. I have your exchange 
	here. If we decide to use you, we'll 
	give you a call.

Long turns and exits. Jake checks his appointment schedule 
then puts his hand to his temples. He has become the thing 
he hates most: the procurer. Self-contempt fills his face.

TIMECUT: The next interviewee stands in front of Van Dorn. 
He's a tall black man about 25. An ex-athlete.

		JAKE
	You're not exactly the type we're 
	looking for.

		BLACK STUD
		(hostile)
	You mean I'm black?

		JAKE
	No, just not the type.

		BLACK STUD
	What do you mean, not the type? Don't 
	you know who I am? I'm Big Dick Brown! 
	I've been in more porno movies than 
	you ever saw. I've worked with Harry 
	Reems. I've worked with Johnny Wad. 
	Not the type! I can come ten times a 
	day. I can keep it hard two hours at 
	a time. My cock is nine inches long.

		JAKE
	I'm sorry, Mr. Brown. I'm sure you're 
	very good, but at the moment, I've 
	got nothing for you. If something 
	comes up, we'll give you a call.

		BLACK STUD
	Shit! You just don't want to hire a 
	nigger, that's all. I knew this was 
	a scam. I shouldn'ta come.

The Black Stud turns and storms out.

TIMECUT: An angelic, muscular boy about 19 stands in front 
of Van Dorn. Jake looks weary.

		JAKE
		(tired)
	I'm sorry, but you're just not the 
	type we are looking for. We had 
	something else in mind.

		STUD #2
	Don't you want to see my stuff, man?

		JAKE
	What stuff?

		STUD #2
		(pointing to crotch)
	You know, my stuff!

Jake nods with resignation.

The boy drops his jeans. Framed by firm, smooth, naked thighs, 
Van Dorn looks at the angelic boy's "stuff." He nods.

TIMECUT: It's the end of the day. The last orange rays of 
sun come through the window.

Jake, weary, looks up. A young man steps in from the fading 
sunlight.

The young man looks about 21. His sun-bleached hair falls 
just to his shoulders. A hippie who's hit the streets.

Jake looks at his 8x10 glossy, then back at the young man. 
This is him. This is the young man in the pink bikini shorts.

This is the YOUTH from Kristen's hardcore movie, the one who 
slapped her, the one who forced her face into his crotch.

		JISM JIM
	Hey man.

		JAKE
	We're casting for an explicit sex 
	action feature...

		JISM JIM
		(initially hostile)
	I know. Word's out on the street -- 
	word's also out you ain't really 
	hiring anyone.

		JAKE
	That's not true, Mr...?

		JISM JIM
	Jim Sullivan. Sometimes they call me 
	Jism Jim.

		JAKE
	That's not true, Jim. In fact, I 
	think you're very close to the type 
	we're looking for.

Jim immediately becomes more compliant.

		JISM JIM
	Oh yeah? I've done a lot of good 
	stuff. Shorts, features. No major 
	roles it's true. But good stuff.

		JAKE
	That's what I wanted to talk to you 
	about.

Jake reaches over and picks up the glossy.

		JAKE
	I've seen you in some stuff. I like 
	your looks. I particularly liked you 
	in this film.

Jake shows him the glossy.

		JISM JIM
	Oh yeah? I remember that. It was 
	made by some college kids.

		JAKE
	It was called 'Slave of Love.'

		JISM JIM
	God, I don't know what it was called. 
	I never saw it. I only got twenty-
	five bucks for the whole Goddamned 
	thing.

		JAKE
	I thought you were quite good in it. 
	I also like the girl in it. Really 
	thought she was good.
		(points out Kristen)
	I wondered if she was still around. 
	If she was still working.

Jim examines Kristen's picture. His expression sours.

		JISM JIM
	Wait.
		(a beat)
	Wait a minute. Look, I need the work 
	and I want to be in your picture, 
	but that is one bitch I will never 
	work with again.

Jim, nervous, paces around. He tries to explain.

		JISM JIM
		(continuing)
	Look, that was one freaky bitch, one 
	very, very freaky bitch. I don't 
	know what she was into, I don't know 
	what she was on, but I don't want to 
	have anything to do with her again.

Jake's face grows cold and mean as he listens to Jim's 
description of his daughter's defilement.

		JISM JIM
		(cups genitals with 
		right hand)
	Do you know what she did to me? Do 
	you know what she did to me, man? 
	That fucking cunt! I couldn't walk 
	for a week. My prick was sore and 
	red and chewed out. She was cra-zy. 
	I don't want to work with her again.

All the while Jim speaks, Van Dorn's long arm reaches slowly 
for the lamp on his right.

His right hand locks around the base of the lamp. Still 
listening, watching Jim intensely, Jake grips the balls of 
his feet into the carpet.

Jake is beyond logic, beyond restraint.

He rises, lamp in hand. The cord pops out of the wall; the 
bulb flashes out.

Reaching across the table, Van Dorn smashes the youth across 
the face. The plaster lamp shatters; the shade flies off. 
Jim reels backward.

Knocking over the coffee table, Van Dorn advances on the 
dazed, bleeding youth.

Van Dorn pounds him again with the plaster stump of the lamp.

Van Dorn stops. He looks down at Jism Jim. The youth is barely 
conscious.

Realizing what he's done, Jake pulls Jim up by his collar 
and drags him into the bathroom.

He hauls the youth into the large "erotic" shower. He pulls 
the shower douche off the wall, and sprays Jim's face.

The battered youth opens his eyes. He's terrified. He's been 
in kinky scenes before. He pleads:

		JISM JIM
	Hey, stop, stop. I'll do anything 
	you want. It's okay. I can dig it. 
	You can do anything you want to me.

		JAKE
		(full of rage)
	Where is she? Where is the girl?

		JISM JIM
	She's got a man. A white guy. Tod 
	something or other.

		JAKE
	Where does he hang out?

		JISM JIM
	I don't know.

		JAKE
	Where!

		JISM JIM
	Look, I know this chick Niki. She 
	works at Les Girls. She would know. 
	Honest.

Van Dorn lets him go and starts to walk away. Looking back, 
he sees Jism Jim struggling to his feet. Jake spins around 
and punches him once more. Jism Jim tumbles back into his 
shower. Jake walks off rubbing his red knuckles.

							CUT TO:

EXT. PLAYERS MOTEL - NIGHT

Jake throws his luggage into the trunk of his car and drives 
off.

							CUT TO:

EXT. LES GIRLS - NIGHT

Les Girls, a garish sexual supermarket, covers several 
storefronts. Its fluorescent exterior stands open to drifters 
and browsers alike.

Jake straightens his tie-dye shirt, and enters.

							CUT TO:

INT. LES GIRLS - NIGHT

Inside Les Girls is a glow of yellow and orange plexiglass. 
The bright fluorescents bounce off the white linoleum.

Jake passes an arcade of peep shows and turns the corner.

On one side is a rotunda around which men stand in pay stalls 
watching a pair of naked female dancers.

On the other side is a row of curtained "phone booths."

Jake walks up to a WOMAN with a coin changer around her waist. 
A lifer.

		JAKE
	I was told to meet a girl named Niki 
	here.

		LES GIRLS WOMAN
	In one of the booths. Any of the 
	first three.

Jake starts over.

		LES GIRLS WOMAN
		(continuing)
	It's five dollars for two minutes.

		JAKE
	Huh?

		LES GIRLS WOMAN
	Five dollars a token.

Jake fishes in his pocket and pulls out a ten-dollar bill. 
He hands it to the woman.

		JAKE
	Here. I'll take two.

The Les Girls Woman punches out two tokens.

Jake cautiously pulls the curtain aside and steps into the 
first booth.

The booth is divided by a floor-to-top glass partition. On 
Jake's side of the partition is a pay wall phone. On the 
other is an orange folding chair.

The sign on the phone reads "One token -- two minutes." Jake 
puts a token in the phone.

Niki, the girl from Ramada's set, naked, steps into the other 
half of the booth and plops down on the chair.

		NIKI
	Hello.

Jake picks up the receiver in his half.

		JAKE
	Are you Niki?

		NIKI
	Sure. Like in Mikey and Niki. Did 
	you see that picture?

		JAKE
	No.

		NIKI
	Too bad. I wasn't in it.

Jake's eyes flash downward for a moment. No longer shocked, 
he is saddened by the demeaning vulgarity of it all.

		NIKI
		(continuing)
	It's your money. You talk.

		JAKE
	I'm making a film. Jim Sullivan's 
	going to be in it. He said you might 
	know where Tod is.

		NIKI
	Do I know you? Weren't you on the 
	set the other night? With Ramada.

		JAKE
	Yeah.

		NIKI
	You making a feature?

		JAKE
	Um-hm. Live sound.

		NIKI
	Got any parts? I'm free. Not free-
	free, but, you know, free. I don't 
	really do this.

Gestures vaguely.

		JAKE
	Jim and I have been trying to run 
	down a girl.
		(takes out glossy)
	Do you know her?

He presses the picture against the stained glass partition.

		NIKI
	Joanne?

		JAKE
	You know her?

		NIKI
	No. I saw her with Tod.

		JAKE
	Do you know where she lives?

		NIKI
	Nah.

		JAKE
	Do you know where she would be?

There is a CLICK and the phone goes dead. Niki says something 
but Jake cannot hear her. She motions to the phone as she 
gets up to leave.

Jake puts his second token in the phone and Niki sits back 
down.

		JAKE
		(continuing)
	Where is she?

		NIKI
	Tod might know.

		JAKE
	Where's he?

		NIKI
	Last I heard he went to San Diego.

		JAKE
	If we went there, would you be able 
	to find him?

		NIKI
		(eyeing him)
	You're not a film producer, are you?

		JAKE
	How much do you make a week, Niki?

Jake uses his manipulative voice, the one he might use when 
discussing a shade of blue in a convention display.

		NIKI
		(catching on)
	Are you a private detective?

		JAKE
	Something like that. How much do you 
	make?

		NIKI
	Here? What a joke. There was some 
	detective asking about that girl.

		JAKE
	Three hundred?

		NIKI
	This is just temporary. I once made 
	nine hundred in outcall.

		JAKE
	I'll give you $700 a week, cash, if 
	you help me find this girl.

		NIKI
	Up front?

		JAKE
	Half now, half later.

		NIKI
	Make it nine hundred. That was my 
	best week.

		JAKE
	Okay. My client pays for it anyway.

		NIKI
	When do we start?

		JAKE
	Tonight. When you get out, we'll go.
		(a beat)
	Why didn't you tell the other 
	detective?

		NIKI
		(shrugs)
	This is different. This is nine 
	hundred dollars.

							CUT TO:

EXT. VAN NUYS DELL - NIGHT

Wes parks in front of a Van Nuys delicatessen and walks in.

							CUT TO:

INT. VAN NUYS DELI - NIGHT

Wes walks into the well-lit deli and spots Andy Mast sitting 
alone with a glass and a bottle of beer.

A cross section of California types are scattered around the 
room. A JUKEBOX plays country and western.

		WES
	Mr. Mast? My name's Wes DeJong. I'm 
	Jake Van Dorn's brother-in-law. We 
	met out here a couple months ago 
	when he hired you. Your agency said 
	you might be here.

Mast motions for him to sit.

		MAST
	Ssh. I'm on a stakeout.

		WES
		(looks around)
	Oh.

Mast looks down at the beer bottle.

		MAST
	I'm staking out this beer bottle. 
	Trying to find out if I'll finish it 
	or it'll finish me.

		WES
	I'm worried about Jake.

		MAST
	I'm off that case. He fired me.

		WES
	He didn't look good at all. Something 
	strange is going on. He's got himself 
	into some trouble. He wouldn't say 
	what.

		MAST
		(lights cigarette)
	I'll tell you, that was an interesting 
	case. The Van Dorn girl. I've handled 
	runaway cases like it before. Usually 
	when you put the pressure on the 
	porn underworld for an underage kid, 
	she pops up in about a week. Everybody 
	denies ever seeing her, but there 
	she is at the airport with a prepaid 
	ticket home. Well, I put pressure on 
	all over town for this girl and it 
	stayed cold as ice. In fact, certain 
	people for this girl and -- nothing.
		(thinks)
	I guess I gave your brother-in-law 
	sort of a raw deal.

Mast spots a long-haired youth walking toward the juke box 
and calls to him:

		MAST
		(continuing)
	Hey, buddy, E-fifteen.

The kid ignores him and makes his selection: a rock song.

		WES
	I want to rehire you. To find out 
	what's happening to my brother-in-
	law.

		MAST
	I've been on another case. All day.
		(a beat)
	I suppose I can move it over. Seven 
	fifty a week, plus travel expenses.

		WES
	Do you really think Kristen is just 
	a runaway?

Mast thinks. A shadow crosses his face.

		MAST
	Maybe. Maybe not.

		WES
	I also want you to protect my brother-
	in-law.

		MAST
	Huh?

		WES
	You have to understand. He can be 
	mean, self-righteous. He had a Vishund 
	once. Loved that dog. He came home 
	one day and the dog bit him. He took 
	that dog and staked him out in the 
	back yard. It was winter. Every day 
	he came home and watched that dog 
	until he froze. He's capable of doing 
	anything.

		MAST
	To his own daughter?

		WES
	To anybody.

							CUT TO:

EXT. HIGHWAY - NIGHT

Van Dorn's car speeds through the California night. The 
Pacific, moon-lit, stretches like a sinister plain.

							CUT TO:

EXT. SAN DIEGO MOTEL - NIGHT

Jake pulls into a freeway exit motel and parks at the office.

							CUT TO:

INT. JAKE'S MOTEL ROOM - NIGHT

Jake's suitcase lies open on the luggage rack. He pulls off 
his tie-dyed shirt, folds it up neatly, and places it in the 
suitcase.

He sits on the edge of the bed and undoes his shoestrings. 
He removes each shoe as if it were an individual effort.

There's a KNOCK.

Jake looks through the blinds, unhooks the chain and opens 
the door.

Niki, tugging up her jeans, scuffles in.

		NIKI
	You actually paid for both these 
	rooms? I thought you were just going 
	to get a receipt for two, and kickback 
	the desk man.

Jake, awkward, puts a shirt on.

		NIKI
		(continuing)
	I thought you were going to bed?

		JAKE
	I am.

Niki is street-wise. She can instantly interpret situations 
which would stymie the average person; but, as if to balance 
this perceptivity, she is often stymied by the ordinary.

In brief: she assumes Jake is paying her $900 a week not 
only to help him but also to be his personal playmate.

		NIKI
	Do you have any pills? Any Valium, 
	Librium? You know, pimps will sell 
	Valium at fifty cents a piece. Can 
	you believe that?

Niki sits on his bed, her legs folded under her.

		NIKI
		(continuing)
	You know Valiums pick me right up? 
	Take four or five and I'm wide awake. 
	Isn't that strange? Know what puts 
	me to sleep? Coke. I think I'm really 
	fucked up.

Niki removes her sweater and starts to pull off her Rorer T-
shirt. Jake motions for her to stop.

		JAKE
	No.

		NIKI
	Huh?

		JAKE
	Niki. Calm down. Relax. Let's just 
	talk for a while. Then, later, you'll 
	go back to your room and we'll get 
	some sleep.

He sits on the bed beside her.

		NIKI
	You have anything to drink? You want 
	to go out and get something?

		JAKE
	I don't drink, but you can go out.

		NIKI
	You don't drink?

		JAKE
		(points to stomach)
	Ulcers.

Niki studies him for a moment, then says:

		NIKI
	You're not a private detective either, 
	are you?

		JAKE
	No.

		NIKI
	I didn't think so. I've fucked 
	detectives. Who are you?

		JAKE
	A friend.

		NIKI
	Of Joanne's?

		JAKE
	Yeah.
		(looks away)
	I'm her father.

		NIKI
		(more disappointment 
		than shock)
	Jesus.

		JAKE
	Her name is Kristen. She disappeared 
	a couple of months ago.

		NIKI
	And your wife? Where's she?

		JAKE
	She's dead.

		NIKI
	Hey, don't worry about it. Your 
	daughter's around. We'll find her in 
	a couple days.

							CUT TO:

EXT. SAN DIEGO - DOWNTOWN - DAY

Jake's car drives through San Diego's "downtown," four square 
blocks of adult bookstores, peep show and flop houses south 
of San Diego's center. Uniformed soldiers from Camp Pendleton 
and the Miramar Naval Station occasionally cross the wide 
streets.

The Singapore Club, Lux Adult Movies, the Princess Rap Parlor, 
Curious Books Shop, Sexciting Movies...

							CUT TO:

EXT. THE OKINAWA BAR - DAY

Jake and Niki walk toward the Okinawa, a hangout for working 
girls, players and street people.

Niki, tugging up her jeans, walks next to Jake. She wears 
her Rorer T-shirt; Jake a blue dress shirt.

		NIKI
		(putting her arm on 
		Jake)
	Jim Rucker runs this place. He knows 
	where everybody is. It's a nice place. 
	Hires a lot of girls, but they don't 
	pay shit.

							CUT TO:

INT. OKINAWA BAR - DAY

Jake holds the door open for Niki as they enter.

The Okinawa is a credit to its namesake. A BLACK PLAYER, 
sitting at the bar, stares absently at two girls playing 
pool.

Niki, in her element, steps up to the bar.

		NIKI
		(to Counter Girl)
	Is Rucker here?

		BAR MAID
	He'll be back in a couple hours.

		NIKI
	Tell him Louise was here. I'll come 
	back later.

They turn to exit.

EXT. SAN DIEGO BEACH - DAY

Jake and Niki sit at a ramshackle picnic table at a park 
overlooking the ocean. Several children play in the distance.

Niki finishes her Big Mac, crumbles the bag and throws it 
away. She unwraps a Milky Way and she finishes her fries.

Jake watches with astonishment as she chomps her way through 
a second candy bar.

		JAKE
	You really shouldn't eat like that. 
	All that sugar. It's not good for 
	you.

		NIKI
	At least I'm a growing person.

		JAKE
	You won't keep growing at this rate.

		NIKI
	What rate?

		JAKE
	You know what I'm talking about.

		NIKI
		(snotty)
	You never met a working girl before, 
	have you? You think I like sucking 
	off guys all night? Maybe I do. So 
	what?
		(a beat)
	You can't even say it, can you?

		JAKE
	Say what?

		NIKI
	'Sucking off.'

		JAKE
	Okay. Sucking off. Now does that 
	make me as good as you?

		NIKI
	You don't understand shit.

		JAKE
	Okay, tell me. Why do you live like 
	you do?

		NIKI
	Did you ever live in a room with six 
	people and you didn't have any money, 
	any food, any furniture? Have your 
	brother come out, his car break down, 
	he can't get a job? Your friends 
	stealing food, going through trash 
	behind a supermarket?

		JAKE
		(sympathetic)
	Is that the way it was with you?

		NIKI
	No. But does it make any difference?
		(a beat)
	How did you get to be the way you 
	are?

Jake doesn't answer.

		NIKI
		(continuing)
	Don't knock it. A girl can save up a 
	lot money doing this -- big money. 
	Then you're free. You can go off to 
	Europe, meet somebody, get married. 
	My girlfriend's going to buy her own 
	beauty parlor. Not me. I'm gonna 
	travel. 'Keep movin' that's my motto.
		(a beat)
	Would you rather work at Copper Penny 
	at a dollar-eighty an hour, having 
	every two-bit cocksucker able to 
	yell at you? I can make more money 
	suc... doing what I do for five 
	minutes than I can all week at another 
	job.

		JAKE
	You used to work at Copper Penny?

		NIKI
	No.

		JAKE
		(pause)
	You and I, Niki, have very different 
	ideas about sex.

		NIKI
	Why? Are you a sex fiend?

		JAKE
		(smiles)
	No.

		NIKI
	Neither am I.

		JAKE
	But it's all you do.

		NIKI
	How important do you think sex is?

		JAKE
	Not very.

		NIKI
	We're just alike. You think sex is 
	so unimportant you don't do it. I 
	think sex is so unimportant I don't 
	care who I do it with.

Jake thinks. That sounds right. But it can't be right. He 
looks away, then back at her.

		JAKE
	You can never understand a person 
	like me. I am a mystery to you. A 
	middle class person, a Mid-westerner. 
	A man who doesn't pursue women. A 
	man who believes in social order. A 
	man who goes to church, believes in 
	God, and a man who, at the end of 
	his life, believes he will be 
	redeemed.
		(a beat)
	This is all unfathomable to you.

Fifty years ago, in art, the prostitute sought to justify 
her life to the bourgeoisie. Now it is the bourgeoisie who 
must justify himself to the whore.

		JAKE
		(continuing)
	I don't see why I must justify myself 
	to you. I don't care about the things 
	you do. I don't care what's happening 
	in New York or Los Angeles. I don't 
	care about movies or TV. I don't 
	care who's on Johnny Carson.

		NIKI
		(incredulous)
	What do you care about?

		JAKE
		(cold)
	I care about my daughter.

INT. OKINAWA BAR - DAY

Niki and Jake stand at the counter talking with JIM RUCKER, 
an entrepreneurial type about 40.

		NIKI
	You remember me. Louise? Rhymes with 
	squeeze.

		RUCKER
		(looks, then nods)
	You working in San Diego now?

		NIKI
	I'm still in L.A., but I'm looking 
	for Tod. I heard he was around.

		RUCKER
	'Was.' He and that shitheel Ratan 
	went down to T-J. Maybe I shouldn't 
	say that. Anyway, I hear he's back 
	in Frisco now.

		NIKI
	Was he with a girl?

		RUCKER
	No.

		NIKI
	Thanks.

Niki starts to leave.

		RUCKER
	Keep in touch, baby. Got some good 
	stuff comin' up. Need you back, baby.
		(as they exit)
	And take good care of your friend 
	for me.

Jake turns back as Niki gives him a tug.

							CUT TO:

EXT. OKINAWA BAR - DAY

They walk toward the car.

		JAKE
	What's T-J?

		NIKI
	Tijuana.

		JAKE
	They were here?

		NIKI
	Tod was.
		(her voice chills)
	He was with Ratan.

		JAKE
	What does that mean?
		(no answer)
	What does he do?

		NIKI
	He deals in pain.

		JAKE
	Is Kristen safe?

She doesn't answer.

		JAKE
		(continuing)
	Let's get a plane for San Francisco.

							CUT TO:

INT. L.A. POLICE MISSING PERSONS - DAY

DETECTIVE BURROWS walks back into his office. Mast, sitting 
on the edge of the desk, is waiting for him.

		BURROWS
	Apparently your friend has gone into 
	Mexico. A Border Guard responded to 
	the APB. How does it feel to have 
	the L.A.P.D. doing your work for 
	you?

		MAST
	You're going to thank me for this. 
	You know what the media's like. They 
	love this kinda shit. If that guy 
	goes off half-cocked and gets himself 
	hurt, you're going to have so much 
	bad publicity, you...

		BURROWS
		(interrupting)
	I heard you the first time. We had 
	nothing to go on with this kid. Just 
	a runaway.
		(a beat)
	Do you really think he's in danger?

		MAST
	If he has anything to say about it, 
	yeah. I've been asking a lot of 
	questions and I don't like the answers 
	I'm getting. He's made a lot of people 
	nervous, including some poor faggot 
	who thought he was going to be a 
	movie star.

		BURROWS
	We aren't gonna arrest him for that...

		MAST
		(interrupting)
	Big threat. TV would ream you.

		BURROWS
	Keep me informed of what he's up to. 
	You help me, I'll help you.

Mast nods.

		BURROWS
		(continuing)
	Why don't people stay where they 
	belong?

							CUT TO:

INT. SAN DIEGO AIRPORT - DAY

Jake and Niki sit in a line of multi-colored plexi-glass 
chairs in the Western Terminal of the airport. Niki munches 
a pack of Chuckles while Jake, his elbows on his knees, looks 
at the floor. Niki prattles on.

		NIKI
	You know what your problem is? You're 
	a very negative person. You think 
	negatively.

Jake tries to ignore her.

		NIKI
		(continuing)
	You have to believe in something. 
	What do they believe in -- the 
	Whatjamacillit church?

		JAKE
	Christian Reformed. It's a Dutch 
	Calvinist denomination.

		NIKI
	Do they believe in reincarnation? I 
	believe in reincarnation.

		JAKE
	They believe in the 'TULIP.'

		NIKI
	What the crap?

		JAKE
		(smiles)
	It's an anagram. It comes from the 
	Canons of Dort. Every letter stands 
	for a different belief. T-U-L-I-P. 
	Like -- are you sure you're interested 
	in this?

		NIKI
	Yeah, yeah, go on.

		JAKE
	T stands for Total depravity, that 
	is, all men, through original sin, 
	are totally evil and incapable of 
	good. 'All my works are like filthy 
	rags in the sight of the Lord.'

		NIKI
	Shit.

Jake is charmed. He's never been called upon to explain his 
beliefs to someone so totally ignorant of them.

		JAKE
	Be that as it may. U is for 
	Unconditional Election. God has chosen 
	a certain number of people to be 
	saved, The Elect, and He has chosen 
	them from the beginning of time. L 
	is for Limited Atonement. Only a 
	limited number will be atoned, will 
	go to Heaven.

		NIKI
	Fuck.

		JAKE
	I can stop if you want.

		NIKI
	No, please go on.

The INTERCOM ANNOUNCES a flight: Jake listens for a moment. 
It's a flight to Mexico City.

		JAKE
	I is for Irresistible Grace. God's 
	grace cannot be resisted or denied. 
	And P is for the Perseverance of the 
	Saints. Once you are in Grace you 
	cannot fall from the number of the 
	elect. And that's the 'TULIP.'

		NIKI
	Wait, wait. I'm trying to figure 
	this out. This is like Rona Barrett. 
	Before you become saved, God already 
	knows who you are?

		JAKE
	He has to. That's Predestination. If 
	God is omniscient, if He knows 
	everything -- and He wouldn't be God 
	if He didn't -- then He must have 
	known, even before the creation of 
	the world, the names of those who 
	would be saved.

		NIKI
	So it's already worked out. The fix 
	is in?

		JAKE
	More or less.

		NIKI
	Wow. Then why be good? Either you're 
	saved or you ain't.

		JAKE
	Out of gratitude for being chosen. 
	That's where Grace comes in. God 
	first chooses you, then allows you, 
	by Grace, to choose Him of your own 
	free will.

		NIKI
		(amazed)
	You really believe all that?

		JAKE
	Yeah.
		(shrugs)
	Well, mostly.

		NIKI
	I thought I was fucked up.

		JAKE
	I'll admit it's confusing from the 
	outside. You've got to see it from 
	the inside.

		NIKI
	If you see anything from the inside 
	it makes sense. You ought to hear 
	perverts talk. A guy once almost had 
	me convinced to let his dachshund 
	fuck me.

		JAKE
	It's not quite the same thing.

		NIKI
	It doesn't make any sense to me.

The INTERCOM ANNOUNCES Western Flight #601 to San Francisco. 
They rise.

							CUT TO:

EXT. TRAVEL LODGE - DAY

Jake's rental car pulls into a San Francisco Travel Lodge.

							CUT TO:

EXT. NORTH BEACH - AFTERNOON

Niki places a call from a phone booth. Jake watches the 
passing denizens of North Beach.

The familiar sordid tableau is played out before his eyes: 
massage parlors, peep shows, strip joints, sex shops.

		NIKI
		(hangs up phone)
	Tod'll meet you at the bookstore at 
	Eddy and O'Farrell tomorrow noon. I 
	told him you were a 'specialty' 
	customer.

		JAKE
	Why can't I meet him now?

Niki, cocky, walks next to Jake. She is in her element. She 
calls out to a pimp:

		NIKI
	I hope your prick falls off.

Jake, surprised, turns away from the pimp's cold stare.

		JAKE
	Why can't I meet him now?

Niki brazenly calls out to a strutting hooker:

		NIKI
	Rot in hell, honey.
		(to Jake)
	He's busy now.

		JAKE
	Where does he live.

		NIKI
	Just a second. It's my ass I'm 
	risking. You better do it my way. 
	These fuckers don't mess around.

Niki walks off. Jake follows.

							CUT TO:

EXT. TRAVEL LODGE - DUSK

Jake's rental car is parked outside his motel room.

							CUT TO:

INT. JAKE'S ROOM - NIGHT

Jake sits on the edge of his bed, studying the crease in his 
trousers.

His shirt is partiallly open.

Niki, swigging a Coke sits squatted atop the built in desk.

		JAKE
	I must have been in more motel rooms 
	this week than in the rest of my 
	life. At least it feels that way.

		NIKI
	I know what you mean. After a while 
	they all look the same.

		JAKE
	They are the same.

		NIKI
	Do you live in a house back in 
	wherever.

		JAKE
	Grand Rapids? Of course.

		NIKI
	On your own land?

Jake nods.

		NIKI
		(continuing)
	Just you and your daughter?

Jake nods.

		NIKI
		(continuing)
	Look, I really don't know your 
	daughter but...

		JAKE
	But what?

		NIKI
	I wouldn't expect too much. I mean 
	about her coming back. Once a girl 
	gets into the life.

		JAKE
	What makes you so sure?

		NIKI
		(changing the subject)
	You wife isn't dead is she?

Van Dorn surprised, turns around.

		JAKE
	Why do you say that?

		NIKI
	Just a guess. She ain't dead though 
	is she?

Jake shakes his head "no."

		NIKI
		(continuing)
	She left you right?

		JAKE
	Yeah.
		(a beat)
	She was the one called Joanne. How'd 
	you find that out?

		NIKI
	Just a guess. Did you have it good 
	with your wife? You know, sex.

Jake resents Niki's forwardness: what business of hers is 
this?

		JAKE
	I don't blame you, Niki. Really I 
	don't. It's this culture, where 
	everything's based on sex, sold on 
	sex...
		(starts to get angry)
	...magazines, music, TV. It's 
	destroying everything. Buy this 'cause 
	of sex, use this 'cause of sex. Kids 
	think it's normal. They think they're 
	supposed to talk dirty, wear scanty 
	clothes...

		NIKI
		(interrupting)
	Don't get upset. I lied too. I don't 
	make no five hundred dollars a week. 
	Everything I make goes to Granville.

		JAKE
	Granville?

		NIKI
	My man. 'Pimp.' I split 'cause he 
	don't treat me for shit. Thinks he's 
	so cool 'cause he's black. I once 
	tried to take my clothes but he says, 
	'You can't take 'em 'cause they're 
	my clothes -- I bought 'em.' Yeah, 
	with my fucking money...

Jake doesn't want to get involved with Niki's problems:

		JAKE
	Look, Niki, this really isn't my 
	business. I don't know anything 
	about...

		NIKI
	So I guess we're both fucked, huh? 
	But at least you get to go to heaven. 
	I don't get shit.

The DOORBELL RINGS. Jake, suspicious, walks over to the window 
and peeks out. Seeing someone he recognizes, he opens the 
door.

Andy Mast, woebegone and wrinkled as usual, stands at the 
door.

		MAST
		(looking at Niki 
		knowingly)
	This is just how you found me once.

Jake slips outside.

							CUT TO:

EXT. TRAVEL LODGE - DUSK

		JAKE
	What are you doing here?

		MAST
	I felt like such a shit, pilgrim, 
	after what I did to you -- not that 
	I did anything wrong -- that I kept 
	investigating, poking around. There's 
	some poor s.o.b. in L.A. with his 
	face all bent out of shape who you've 
	damaged his movie career. Lucky for 
	him, people don't look at his face.

		JAKE
	Do the police want to arrest me?

		MAST
	Nah. They don't care about some faggot 
	hustler. They're more interested in 
	your daughter's health -- and yours. 
	Like I am.

		JAKE
		(disbelieving)
	Yeah, sure.

		MAST
	Listen, pilgrim, you're way out on a 
	limb here. You don't know what you're 
	into.

		JAKE
	You sure as hell haven't been any 
	help.

		MAST
	I'm sorry about that. Have you found 
	anything out? You've got to tell me.

		JAKE
	Why don't you tell me something for 
	a change?

		MAST
	Like what?

		JAKE
	Who is Ratan?

Mast pales.

		MAST
	Where'd you hear that name?

		JAKE
	I just heard. Who is he?

Mast walks toward the swimming pool.

Mast looks at the still, blue surface of the pool. Jake steps 
beside him. A tourist passes by with his two sons. Mast 
thinks, then speaks:

		MAST
	You know, it's possible to buy 
	anything on this earth. You can buy 
	child whores, slaves. You can have 
	people raped, killed...
		(a beat)
	One of the men who supposedly arranges 
	such things is named Ratan. He usually 
	isn't in this country.
		(a beat)
	How'd you hear about him?

		JAKE
	It's just a name.

		MAST
	Don't do anything more. I'll find 
	out what I can.

		JAKE
		(nodding toward motel)
	Does she know anything about this?

		MAST
	Who? The whore? No. She's just a 
	victim. A dime a dozen.

							CUT TO:

INT. JAKE'S ROOM - NIGHT

Jake sleeps in his Travel Lodge bed.

A jagged shard of blue light plays across his face.

							CUT TO:

EXT. EDDY AND O'FARRELL STREETS - DAY

Jake stands at the corner, then turns and enters the porn 
bookstore.

							CUT TO:

INT. PANDORA'S BOOKS - DAY

Jake looks around.

Seeing no one he recognizes, he pays his admission fee walks 
down a rack, picks up a copy of "Hot Twat," pages through 
it.

It's been over a week since Jake first stepped into a porno 
bookstore. The change in his manner is striking. He now seems 
at ease in the endless night-world of pandering and 
pornography.

A few moments later, a long-haired man steps up behind him. 
The young man is wearing red alligator boots and a silver 
and turquoise belt -- like the man in "Slave of Love." Tod 
scrutinizes Jake a moment before speaking.

		TOD
		(under his breath)
	Hey, Jake.

Jake turns. Tod gives him some skin. Tod seems unattractive 
at first, but the longer one looks at him, the more oddly 
sensual he appears.

		TOD
		(continuing)
	I hear you got money to spend.
		(as Jake nods)
	I hear you're interested in... 
	interesting things.

		JAKE
	Yeah.

		TOD
	Do you work for the San Francisco 
	Police Department, or do you have 
	any other affiliation with any law 
	enforcement agency?

		JAKE
	No.

		TOD
	What you got in mind?

		JAKE
	I want to meet Ratan.

		TOD
		(backs off)
	What is that? A kind of chair? I 
	never heard of no Ratan.

		JAKE
		(studying Tod)
	I was told that there were certain 
	things that only Ratan could provide.

		TOD
	You're talking about real excitement?

		JAKE
	Yeah. I heard you and Ratan just 
	came from Mexico. And that you had a 
	film of a girl being, ah you know...

		TOD
	Who told you about this?

		JAKE
	Rucker.

		TOD
	I don't know no Ratan, but I may be 
	able to help you out. It's not me, 
	of course. Just helping out a friend. 
	It'll cost you five hundred bucks 
	for a single screening.

		JAKE
	Is this with a girl named Kristen?

		TOD
		(nods)
	Um-hm. You got the five hundred?

		JAKE
	Well...

		TOD
	Take it or leave it.

		JAKE
	Okay.

		TOD
	Meet me here today at seven o'clock. 
	With the money. Then we'll go see 
	the film.

		JAKE
	Good.

Tod puts his hand on Jake's shoulder and smiles.

		TOD
	You ain't gonna ever have no thrill 
	like this.

							CUT TO:

INT. TRAVEL LODGE - DUSK

Niki sits on a bed watching a syndicated sitcom and munching 
a Taco Bell enchilada.

She hears a CAR pull up and a man's FOOTSTEPS walks to the 
door.

She cautiously gets up to see who it is.

EXT. EDDY AND O'FARRELL STREETS - DUSK

Jake walks out of Pandora's Books behind Tod. They turn the 
corner and walk out of sight.

							CUT TO:

EXT. JONES STREET - DUSK

Jake and Tod enter the "Hot Pink" massage parlor. A sign on 
the front door reads: "Sex/Intercourse/Here."

							CUT TO:

INT. HOT PINK - NIGHT

Tod leads Jake past two girls into the back of the parlor. 
Tod smiles to one of the parlor girls and touches the other.

INT. MASSAGE PARLOR - NIGHT

Tod ushers Jake into a barren "office" in the rear of the 
parlor.

A sheet has been tacked up at one end of the office. Across 
the room, the projectionist, a boy about 15, stands next to 
a battered old 16mm silent projector.

Two other men sit in the darkened room. One looks middle-
aged and decadent; the other, about 26, wears jeans, a western 
shirt, and a beat up flight jacket. He's saved up several 
years for this.

Jake sits in an empty office chair next to the other men.

Tod nods to the boy and he starts up the projector. A grainy 
black and white image appears on the screen.

The projectionist punches a cheap cassette player which echoes 
scratchy Mexican fiesta music through the room.

It's clear why the projectionist has chosen a Latin sound 
track: the film is set up in a Tijuana flophouse.

On screen, a girl with long blonde hair and Kristen's build 
sits on the edge of a barren double bed. She wears jeans and 
a shirt. Her face is covered by a black leather mask. The 
eye slits are taped shut.

A Cerveza poster of a half-naked Mexican girl hangs on the 
wall behind her.

A young Mexican, stripped to the waist, walks over to the 
girl. Taking instructions from someone off camera, he starts 
to undress her.

The girl, unable to see her seducer, nevertheless submits to 
his desires.

Jake watches the screen from the shadows. The pale images 
flicker across a metal filing cabinet behind him. Tod slips 
out of the room.

On screen, the young Mexican has finished the girl. He turns 
to the director for further instructions.

A man wearing a white suit walks into the frame. He flashes 
a stiletto from his sleeve and stabs the young Mexican. The 
girl, not able to see what is happening, turns her head 
quizzically.

Jake watches in unbelieving horror. The young man in the 
flight jacket is calm and dispassionate.

The young Mexican falls to the floor bleeding. The man in 
the white suit bends down and wipes the stiletto on the 
Mexican's pant leg.

The man in the white suit steps over to the girl and puts 
one hand under her mask. He lifts his stiletto again. He 
rips off the mask from the girl's face; it is not Kristen.

Jake is relieved. The faces of the others are full of 
anticipation.

Jake's relief turns to horror at what he now sees. Blurred 
images reflect against the metal cabinet behind him.

							CUT TO:

INT. TRAVEL LODGE - NIGHT

Mast, waiting for Jake, talks to Niki. The TV still plays in 
the background.

		MAST
	You know Granville's looking for 
	you, Niki?

		NIKI
	My name ain't Niki. It's Pattica, 
	like in Attica.

		MAST
	Granville's looking for you anyway.

		NIKI
		(arrogant)
	Who's that?

		MAST
	The guy who bought you that ring.

		NIKI
	Well, he can just fuck himself.

She pulls off her ring and starts to hand it to Mast.

		MAST
	Keep it, honey. You're gonna need 
	it. I know that boy. He can make 
	life real tough for a working girl. 
	He'll string you out again.

Gestures to his veins.