DANCING STALLIONS
The Dana Montana Story
SCREENPLAY
Richard Louis Bencriscutto
3340 Olympia Dr.
Racine, WI 53406
262.939.5449 (text or email only)
RLBencriscutto@aol.com
PROLOGUE
Dana Montana has accomplished extraordinary things during a life full of overwhelming challenges to her emotional well being and physical security. A strong sense of independence was forced upon her at an early age. Growing up under the negative influence of many disadvantages, Dana struggled to overcome every obstacle placed in her path. Early employment as a cocktail waitress led to a position as a Playboy Bunny at the Chicago Playboy Club. It was 1963 and the nation was being swept with intense social and political changes. After being fired from Playboy because she was too old at 23 to maintain the new younger Playboy Image, Dana used her knowledge and experience in the upscale operation of a business in the sex industry, to open and operate the Sugar Shack in Lake Geneva, Wisconsin.
At first, the club's entertainment centered around rock bands and go-go girls. That was followed by exotic dancers. Dana was just trying to survive in a harsh world that always seemed to press her to the limits of her endurance. Sensitive to basic human rights issues, and women's issues in particular, Dana got the idea to turn the tables on the sexual exploitation of women in entertainment by offering a male stripping review. The world and our society was ready and in 1979, three years after her concept was actually placed on stage, an article entitled, Naughty Night Life, appeared in the Chicago Sun-Times and launched a media frenzy propelling Dana and her concept into the national spotlight.
A major feminist barrier was breached by Dana's bold presentation of exotic male dancers. Finally, women were on the same sexual fantasy fulfillment footing as had always been available to men. They were now in a position to continue their forward progress, legally and politically, toward a society where men and women were truly equal. For Dana, it meant fame and fortune, but not necessarily fulfillment on a personal level. The endless difficulties that drove the development of her iconoclastic idea also kept her from realizing much in the way of happiness.
Reaching out to her true first love, horses, in the ‘90s when the Sugar Shack frenzy began to fade, Dana turned her creative energies to a different stage, conceiving of and producing The Dancing Horses, now presented in an indoor arena at her Animal Gardens petting zoo in Delavan, Wisconsin, a few miles outside of Lake Geneva. Dana’s life has come full circle, from her difficult childhood where relationships with animals, horses in particular seemed safe, to her time as a Playboy Bunny, the Sugar Shack years, and now back to investing her passion for all things equestrian in staging The Dancing Horses review.
INT. LAS VEGAS DANCING HORSES INDOOR ARENA - AFTERNOON
We SEE DJ ADONIS holding his GRANDSON and standing next to
his mother, DANA MONTANA, who had to be assisted into her
chair, unable to speak because of a recent stroke which also
left her paralyzed on her right side, but present for the
grand opening of her Las Vegas Dancing Horses extravaganza.
After three years in preparation, the house lights dim, the
cinemascope screen comes to life projecting a message for all
in the audience to Follow Their Dreams.
D.J.
Ma, are you all right? Can I get
you anything?
Dana shakes her head indicating she is okay.
D.J.
(continuing)
Let me take your cane. Just sit
back now and enjoy the results of
all your hard work.
During the introduction, the first equestrian act EXPLODES
into the arena and is greeted with a spectacular light show
supported with the musical theme from Star Wars as the
BROTHERS and SISTERS descended from the patriarch of the
Arabian line, stallion Baskin Robbins, gallop into the arena.
DJ looks at his grandson, then, down at his incapacitated
mother who was once such a strong, vital, driving, and
demanding woman, and sits down to remember his mother's
earlier years when, instead of four-legged stallions, it was
two-legged stallions she was choreographing in the much more
confined arena of her Sugar Shack stage when in 1979
fanatical feminists were flocking to the club by the bus
load, show after show, night after night, year after year all
through the 80's and early 90's. DJ was one of the first
stars of male exotic dancing. His flashback takes him back
to his high school years.
EXT SUGAR SHACK - PARKING LOT - DUSK
We SEE DJ, just a kid, 14, parking cars in the club lot, but
is mature for his age and looks older. A WOMAN pulls up to
the font door of the Sugar Shack and hands DJ her keys and a
$10 tip.
FEMALE DRIVER NUMBER 1
Hey there, handsome, here you go!
D.J.
That works for me!
The OCCUPANTS get out and he drives away to park their car.
EXT. REMOTE HIGHWAY - NIGHT
A 1975 Ford Mustang convertible is driving down a winding
isolated road in rural Wisconsin with the top down.
INT. CAR
SIX WOMEN inside the car are sipping on a bottle of wine and
passing a pipe full of marijuana; one refuses the pipe. The
DRIVER, 25, needs directions.
DRIVER
Will you look at that map again,
I know we're lost. All I can see
are barns and cow fences.
The FRONT PASSENGER, 24, hands the pipe to a REAR PASSENGER,
26, in the back seat, then opens a road map looking for the
coordinates indicated on a newspaper ad about the Sugar Shack.
FRONT PASSENGER
(slurring her words)
I've got it right here.
FRONT PASSENGER
(continuing; pointing
on the map)
Just keep going, we should be only
a few minutes away.
REAR PASSENGER
Do we really want to do this ...
watch some guys take their clothes
off?
DRIVER
You bet we do, and pass me that
pipe!
FRONT PASSENGER
That's right, for years I've had
to put up with my boyfriend coming
home from his favorite strip club
with his buddies, then expecting
to be able to treat me like some
sex toy. Now, it's my turn.
EXT. SUGAR SHACK BUILDING
We SEE an AERIAL shot of car proceeding down highway with
Sugar Shack LIGHTS in the distance about a mile down the
road. All of a sudden, in the middle of nowhere, a line of
cars backed up down the road leading to the Sugar Shack
parking lot.
The girls in the car come to a stop at the end of the line
and wait their turn to park. Finally, they arrive, DJ
directs them to an empty space, two make their way to the
front door of the club, while the other two stay back to play
with DJ.
D.J.
This way, ladies.
WOMAN DRIVER NUMBER 2
Whatever you say. We're not here
to cause any problems.
WOMAN PASSENGER NUMBER 1
No, but you could sure solve a
problem we're having.
D.J.
Oh, yah, and what's that.
WOMAN PASSENGER NUMBER 2
I've got this itch . . .
They are all hot and bothered from the drugs, alcohol, and
anticipation of living out their fantasies of turning the
tables on the sexual exploitation of women in American
culture. It doesn't take much for them to talk DJ into
joining them in the back seat for some heavy petting which
was rapidly escalating until his parking attendant PARTNER
pounds on the window alerting him to the fact that the cars
are piling up outside the club.
PARKING ATTENDANT NUMBER 1
DJ, let's go, the cars are backing
up down the road. If your mother
comes out we'll both catch hell
and you know it!
D.J.
All right . . . All right, let me
get my pants on.
We SEE DJ pulling himself together and gets back to work.
The two women enter the club and join their friends who have
a table. ELLIOT LANZANNA is on stage.
We SEE DJ's grandson fussing, his daydream ends, his
attention is back on the Dancing Horses arena in Las Vegas.
After the first act, there is a pause in the action for more
cinematography, theme music, and message.
Once again we SEE DJ looking down at his mother and slips
back into another flashback, initially about his first night
on stage as DJ Adonis presenting his "ROCK WARRIOR" themed
show, then about her, this time in 1980 when he remembers
watching news coverage of her trip to a New York talk show
just after the Sugar Shack became a wildly popular cultural
phenomenon.
EXT. NEW YORK CITY NBC BUILDING - ROCKEFELLER CENTER 1982
A crush of REPORTERS BUZZING with anticipation as DANA
MONTANA, 41, pulls up in a 1981 white stretch Cadillac limo.
The driver opens the door, Dana steps to much APPLAUSE along
with four of her sexy, young, provocative, exotic Sugar Shack
DANCERS in costume. REPORTERS begin firing questions at her.
We see FEMINISTS holding SIGNS and shouting encouragement.
FEMALE REPORTER 1
Dana, is one of your dancers going
to perform on the show today?
FEMALE REPORTER 2
When did the idea for male
stripping first come to you?
FEMANISTS
Go Dana! It's about time! Take it
off boys! You show them, Dana!
Dana avoids stopping to answer questions. Dana and the
dancers enter the NBC building and the reporters follow
SHOUTING questions. A new CROWD gathers inside the building
as Dana and the dancers make their way into the elevator.
INT. NBC STUDIOS FOR THE TOMORROW SHOW WITH TOM SNYDER
As Dana and the dancers exit the elevator, they are ushered
to the Green Room and given pre-show instructions. Dana,
LARRY SLADE, 23, GUY GARRET, 21, ROBERT COCHISE, 25, and
ELLIOT LANZANNA, 24, can hear the crowd noise of the live
audience anticipating Dana's arrival on stage.
LARRY
Not as plush as I imagined.
DANA
Hey big shot, five hours ago you
were in bed back in farm country
and now you're complaining the
Green Room isn't up to your
standards?
They all sit down to wait for further instructions. They can
see a flurry of activity on the TV MONITOR.
INT. TOM SNYDER'S DRESSING ROOM
A distinguished TOM SNYDER,45, and his attractive FEMALE
ASSISTANT, 27, are milling around, unsure of how to control
what is about to happen on stage.
TOM SNYDER
I can't believe it's come to this.
So, what do you think, how far
should we let her guys go when
they do their routines?
FEMALE ASSISTANT
Well, you know, the more they
show, the higher the ratings!
Yeah, but is the public ready for
this?
FEMALE ASSISTANT
(continuing)
What do you mean? The real
question should be are men ready
to finally accept women as equals?
TOM SNYDER
Don't start in with more of that
feminist crap. I've heard all I
can take and you women have all
the rights you need.
FEMALE ASSISTANT
OK, OK ... five minutes to show
time. I'll get Dana.
INT. TOM SNYDER SOUND STAGE
The audience is BUZZING with anticipation as Tom Snyder walks
out on the stage. LINDA GOODMAN, 52, is the first guest.
TOM SNYDER
You know what's coming? Are you
ready for this? Should I bring
her out now?
TOM SNYDER AUDIENCE
(CHANTING IN UNISON)
We want Dana ... We want Dana ...
We want Dana ...
TOM SNYDER
Just hold on. Dana will be out
shortly, but our first guest is
Linda Goodman, here to share her
astrological insights. Please
welcome, Linda Goodman.
INT. TOM SNYDER SHOW GREEN ROOM
Another guest opens the show, so Dana must wait. Her dancers
are huddled at one end of the Green Room. Sidding alone, and
tired from the flight, she closes her eyes and drifts back in
time to the first night she presented male exotic dancing to
the first audience of women who, as a segment of a major
society, were ready to revel in their newfound and hard-won
feminist rights ... now among them, the right to experience
male exotic fantasy fulfillment entertainment.
INT. SUGAR SHACK DRESSING ROOM - MONDAY NIGHT
The three dancers, Guy Garret, Elliot Lanzanna, Larry Slade,
and Dana Montana are preparing for the opening of the Sugar
Shack male exotic review.
Dana is kneeling down tying the drawstrings on Elliot's
pants.
DANA
Calm down, will you. Everything's
going to be just fine.
ELLIOT
But Dana, look at me. My legs,
they're just too thin, and I'm not
muscular enough. The women are
going to boo me right off the
stage.
GUY
Look, if they don't like you, they
won't like any of us. Believe me,
this thing's going to work, I just
know it.
LARRY
And besides, what's the worst
that can happen? Just listen to
them, they're ready for a party!
How can we go wrong?
EXT. OUTSIDE THE SUGAR SHACK
(SERIES OF SHOTS)
1) Some women waiting outside in a line.
2) Others are coming into the club.
3) Cars pulling up with VIP parking.
(END OF SERIES OF SHOTS)
INT. SUGAR SHACK LOBBY
Women inside the club are paying the cover, being seated,
sitting at tables and randomly talking about their
expectations.
INT. SUGAR SHACK SHOW AUDITORIUM
Various women are CALLING OUT wanting the show to begin.
SUGAR SHACK AUDIENCE
Let's go! Start the show! Get
those hunks out here!
INT. SUGAR SHACK DRESSING ROOM - OPENING NIGHT
Back in the dressing room, Dana and the dancers are making
last-minute preparations.
WOMEN IN AUDIENCE (O.S.)
(chanting in unison)
We want Elliot... We want the
Guy... We want Larry...
(repeating)
DANA
Well, this is it. I better get
out there before they tear the
house down!
Dana leaves the dressing room to announce Elliot as the
opening act.
ELLIOT
I can't believe I'm about to step
out on that stage! How did she
ever talk us into doing this?
GUY
I feel the same way, but hey,
there's no turning back now!
DANA (O.S.)
Ladies and gentlemen, thank you
all for coming.
This is a very special night as
the Sugar Shack goes into yet
another dimension of
entertainment. It's new and it's
different. It's risky, but damn,
it's about time. Now, let's have
a really big welcome for my first
gorgeous male dancer, the first
anywhere. Ladies and gentlemen
... Elliot Lanzanna!
After hearing his introduction and the crowd anticipation,
Elliot nervously leaves the dressing room for the stage. The
MUSIC,a driving synthesized disco BEAT, for his act
electrifies the crowd.
INT. TOM SNYDER SHOW GREEN ROOM
Dana snaps back to the reality of what is about to happen.
An assistant is getting Dana ready to go on helped by the
youthful hip MAKEUP ASSISTANT, 26, and the more mature
WARDROBE ASSISTANT, 52.
MAKEUP ASSISTANT
You're Dana Montana, aren't you?
DANA
Yep, sure am.
MAKEUP ASSISTANT
You've been the talk of the office
since the story broke in Time
Magazine. We sure are glad to
have you here. It's a pleasure to
meet someone who could do what you
did, Ms. Montana.
DANA
Hey, thanks, but it's no big
deal, really.
MAKEUP ASSISTANT
That's not true. What you've done
is fabulous. You've made everyone
sit up and take notice.
WARDROBE ASSISTANT
That's right, you've helped
liberate women all over the
country!
With that, Dana hears her name being called by Tom Snyder
while also being hustled along by the Production Assistant.
Dana and the dancers walk out and find their seats to the
CHEERS of the crowd.
INT TOM SNYDER TOMMORROW SHOW SET
Tom is sitting at his desk waiting for taping to begin while
the makeup assistant finishes a touch-up. Dana and the
dancers are just off stage, but Tom doesn't acknowledge their
presence. Then he looks up after hearing from his hidden
microphone that they are taping.
TOM SNYDER
Today we have a real treat for
you. Dana Montana is here with
two of her dancers. Now, these
are not ordinary disco variety
dancers. These guys dance naked
at a nightclub owned by Montana in
a little Wisconsin town, Lake
Geneva. What a way to make a
living!
Dana and the dancers walk out on stage to their chairs to the
ROAR of the crowd, waving as they walk. Tom's remarks and
tone are cutting and sarcastic.
TOM SNYDER
(continuing)
So, naked men dancing ... is this
how you get off, Dana?
DANA
We have a nice clean club ... not
at all like some sleazy strip
joint like the ones in Cicero,
where I'm from.
TOM SNYDER
Wait a minute, Dana. Are you
suggesting that all strip clubs in
Cicero are sleazy? Is that why
you came here, to make that stupid
meaningless point?
TOM SNYDER
(continuing)
Anyway, don't you think men
dancing naked is sleazy?
DANA
You'd have to come to our club and
see for yourself ... then you'd
understand.
TOM SNYDER
Well, it seems as if you've
brought your club to me. I
suppose I better let you show me
what you've been talking about and
we'll let the audience decide.
Stage right has been prepared for a sample of one her
elaborate choreographed acts. Robert Cochise made his way to
the center of that stage in full American Indian ceremonial
garb featuring feathers and leather. His act drives the
audience WILD.
DANA
What did I tell you?
TOM SNYDER
I have to admit, the audience
seems to approve! So, Dana, are
there any clubs in Manhattan good
enough for you and your dancers to
check out tonight before you head
back to cow country?
DANA
We'd like to hang out, but we've
got to get back to the Sugar Shack
for a sold-out show tonight.
TOM SNYDER
That's about what I expected you
to say. Don't let me hold you up,
if you've got to get going.
Dana knows it's useless to try and score any points. Waving
to the crowd and receiving well deserved APPLAUSE, Dana and
the dancers walk off stage and head for the exit.
A row of LIMOS are parked to rush Dana and the dancers to the
airport. Dana gestures that the dancers take the first limo
while she gets into the second alone. Exhilarated,
frustrated, and exhausted, Dana slumps into her cushion. A
POLICEMAN on horseback and CLOMPS by. Dana closes her eyes
and drifts back to her childhood and love of horses.
SUPER: CHICAGO 1946
FLASHBACK - AERIAL ZOOM
Aerial zoom of the neighborhood, September 1946, as Dana's
GRANDFATHER, 61, is walking down the street toward their
home. Five-year-old Dana is outside walking home from school
along side a POLICEMAN, 46, on HORESEBACK.
Dana and her grandfather are about a block apart approaching
the modest two-story brick house from opposite directions.
Dana gives the horse one last pet on the nose, then runs into
the house before her grandfather gets to the front yard gate.
INT. DANA'S GRANDPARENTS' HOME IN 1946 CHICAGO
Inside the house Dana's GRANDMOTHER, 58, is cooking and
cleaning.
Dana is playing in the living room.
GRANDFATHER
Buon Giorno.
Grandmother turns away from her ironing board and to the door
as Grandfather opens the door hanging his coat up.
GRANDFATHER
(continuing)
Come sti?
Returning to her ironing she continues talking to him as he
sits down at the kitchen table after taking off his shoes and
opens up a newspaper.
She gets him an expresso.
GRANDFATHER
(continuing; heavy
Italian accent)
Ah, spaghetti for dinner? The
sauce smells good.
GRANDMOTHER
(heavy Italian accent)
It should, I put in lots of garlic
and three kinds of meat with the
sausage. Dana, come in here and
say hello to your grandfather.
As five-year-old Dana puts down a teddy bear before getting
up to enter the kitchen, the phone RINGS. Grandmother
answers.
GRANDMOTHER
(continuing)
Pronto!
INT. DANA'S MOTHER'S HOTEL APARTMENT
Dana's mother, LAVERN, is sitting on the edge of her bed
clothed in a negligee.
She is thin and gaunt from years of poor nutrition, drinking,
and drug use. She lights up a cigarette.
LAVERN
Ma, it's me. How is everything?
What's Dana been up to?
GRANDMOTHER
Pronto,pronto. Che cosa fa? It's
been a week since you called last.
How do you think that makes Dana
feel? None so cosa fare.
LAVERN
All right, all right, Ma. I get
the message. Tell Dana I want her
to come and see me tomorrow.
GRANDMOTHER
No! You tell her, she's right
here.
Grandmother beckons Dana to the phone.
DANA
Hello.
LAVERN
Hi honey, it's your mother. How
are you?
DANA
Fine.
LAVERNE
Did you hear Granny and I talking?
How would you like to come and
visit me tomorrow?
DANA
Let me see, I'll ask Granny.
Dana hands the phone to her grandmother. She skips into the
living room and starts playing with her toys, pretending a
fantasy of how it would be to see her mother.
GRANDMOTHER
OK, it's all settled. I'll send
her in a cab tomorrow. She'll be
there for lunch. You be ready
this time. Arrividerci.
LAVERN
Yes, mother, I'll be up when she
arrives. Goodbye.
PAN TO:
INT. GRANDPARENT'S HOME - LIVING ROOM
Dana is holding a Barbie Doll pretending the doll is her
mother. In her other hand is a rag doll, representing her.
She carries on a dialogue between them altering her voice
accordingly.
BARBIE DOLL
I'm so happy to see you. What
would you like to do today?
DANA
Oh, let's go to the park and play.
BARBIE DOLL
Sure, then we'll go to a movie.
RAG DOLL
You're so pretty. I want to be
just like you when I grow up.
Everyone thinks I'm so lucky to
have a mommy like you.
Dana keeps up the role playing as the scene shifts.
DISSOLVE TO:
INT. NEXT MORNING DANA'S BEDROOM
Grandmother is dressing Dana for the trip to downtown
Chicago. She only has two outfits to choose from.
Grandmother combs Dana's waist-length hair.
DANA
I want to wear my yellow dress.
Is that OK?
GRANDMOTHER
Yes, yes. Let's try it on now.
Belle, belle, my piccolo angelo.
Come over here so I can comb your
hair. I don't know why your
mother won't let me cut it.
DANA
I don't mind Granny, she never
cuts her hair either.
GRANDMOTHER
Ya, ya, your mother ... never
mind. Andiamo! Andiamo! Come
along, let's go, the cab will be
her any minute now.
Dana gathers her things in a tote bag, puts on her coat and
walks downstairs with her grandmother. Half way down the
stairs the cab arrives and beeps its horn.
Her grandparents walk her to the car.
EXT. OUTSIDE IN FRONT OF HOUSE
Cab is parked with motor running as Dana and grandparents
walk towards it and open the back door.
Dana enters.
GRANDMOTHER
Got everything you need? OK.
GRANDFATHER
Bye, bye Dana.
(to the cab driver as
he shuts the door)
Take her to the Rancroft Hotel.
The cab takes off as the scene shifts to inside the cab.
DISSOLVE TO:
INT. INSIDE THE CAB
Dana's fidgeting with her bag and pulls out a storybook.
CAB DRIVER
What are your plans today, young
lady?
DANA
Oh, my mommy wants to see me.
We've got special things we're
going to do all day. She can't
wait until I get there. She's the
best mommy in the world. Hey, do
you want me to sing a song for you?
CAB DRIVER
Sure, you go right ahead.
Dana starts singing her favorite "ABC" song and tries not to
look at the bums and hoboes lining Madison Avenue.
At a stoplight several approach the cab.
HOMELESS PERSON
Can you spare a quarter. I needs
to get some food to eat.
CAB DRIVER
Sorry, got to go, the light's
changing.
Dana's curled up in the fetal position hoping the dangerous-
looking men will leave quickly.
DANA
Hey, mister, would you like to
hear another song?
CAB DRIVER
Yep, I would.
Dana starts singing "Anchor's Away."
DANA
(after finishing)
You know, my dad taught me that
song. He's in the Navy and goes
all over the world.
After speaking, Dana sits back in the seat and thinks about
the reality of her non-relationship with her father, someone
she has never lived with and rarely even seen.
CUT TO:
EXT. RANCROFT HOTEL
Cab pulls up to the front entrance and a doorman opens the
cab door.
The doorman and Dana converse as he escorts her to the
elevator.
FOLLOW IN:
INT. RANCROFT HOTEL
DOORMAN
Hello, Miss Dana. How are you
today?
DANA
Just fine, thank you.
DOORMAN
I suppose you're here to see your
mother.
DANA
Yep, I can't wait. We're going to
do lots of exciting things today.
DOORMAN
Bye bye, now.
Entering the elevator, the operator recognizes Dana and let's
her close the gate.
ELEVATOR MAN
OK, Dana, you know what to do.
Remember, right there. That's it.
Stand back now.
Dana finds the corner and watches as the floors go by. When
the elevator gets to the 5th floor it stops, the operator
opens the gate.
Dana skips down the long dark hall to room 513. She knocks
on the door.
DANA
Mommy, I'm here. Open the door
please.
She waits a minute, then tries again.
DANA
(continuing)
Mommy, get up, it's Dana. Come
open the door.
She sits down, turns around, and leans up against the back of
the door. Several more minutes pass then she knocks again.
DANA
(continuing)
It's me, mommy, are you in there?
Finally, Dana's mother, Lavern, finally responds to her
daughter's attempts to awaken her. She gets out of bed and
drags herself to the door.
CUT TO:
INT. DANA'S MOTHER'S HOTEL ROOM APARTMENT
LAVERN
I'm coming, I'm coming.
Lavern fumbles with the four locks and security chain, her
mind not fully conscious yet. She opens the door.
LAVERN
(continuing)
Dana, hello dear. Come on in.
How was your cab ride?
Dana gets up, picks up her bag, and enters the hotel room and
hugs her mother.
DANA
What we gonna do today? Let's go
to the park, can we?
LAVERN
Sure, honey, we'll have some fun
today, but first mommy as to get
a little more sleep. Play with
Pekoe for a while.
Dana reluctantly complies. Her mother is soon fast asleep.
After playing with Pekoe, Dana draws in her coloring book
then walks over to the window and looks out at the bleak
colorless concrete world her mother lives in.
After some minutes, she goes over to her mother and tries to
awaken her.
DANA
Mommy, get up, get up. Let's go
to the park. I want to see the
horses.
LAVERN
All right, honey, in a little
while.
Lavern rustles around in her purse and pulls out a few bills.
LAVERN
(continuing)
Here, take this money and go down
to Toffenetti's, then take in a
movie if you want. When you get
back, I promise we'll do something.
DANA
Well, OK. I'll see you later.
Lavern rolls over and Dana puts on her coat, leaves the room
and heads down the hall to the elevator.
FOLLOW OUT:
INT. RANCROFT HOTEL
ELEVATOR MAN
(Jamaican accent)
Where ya off to now, little one?
DANA
Think I'll get some lunch at the
diner.
The elevator man opens the gate, Dana walks in, then, as
usual, he lets her close the inside gate. She watches the
floors go by. At lobby level she skips through the lobby and
out the front entrance.
DOORMAN
(opening the door)
Where's your mom today?
DANA
Oh, she's not feeling well, but
she'll be better later, then we're
going to the park!
DOORMAN
All right, now, see you later.
FOLLOW OUT:
EXT. TOFFENETTI'S RESTAURANT
Dana walks down to Toffenetti's Restaurant.
FOLLOW IN:
INT. TOFFENETTI'S RESTAURANT
Dana pulls open the large front door and finds a seat at the
counter.
WAITRESS
Hi, Dana, you want some lunch
today?
DANA
Yep, sure am hungry.
WAITRESS
Where's your mom?
DANA
Oh, she's coming later.
WAITRESS
Here's a menu, dear. Take your
time and let me know when you're
ready.
Dana fumbles with the menu. Not able to read yet she is
holding the menu upside down, but determined to act like an
adult, she continues trying to make out the words. The
waitress recognizes the situation but decides to go along
with Dana's ploy.
WAITRESS
(continuing)
Looks like you've decided to get
that hamburger, there. And some
French fries and a malt. Is that
what you want, Dana?
DANA
Yep, that's it. Thanks.
Dana sits alone at the counter and listens to the other
people around her as she eats. After paying the bill she
makes sure to leave a tip.
WAITRESS
Thank you, honey, but you didn't
have to do that.
DANA
OK. Bye.
After Dana leaves, the waitress is standing with friends in
the back having a cigarette.
WAITRESS
You know that little girl, Dana,
she left a nice tip, more than I
get from most of the deadbeats
that come in here.
CUT TO:
EXT. ORIENTAL THEATER
Dana leaves the restaurant and decides to go to the nearby
Oriental Theater to see a movie. Outside the theater Dana
needs help to buy her ticket. A policeman comes to the
rescue.
POLICEMAN
(in an Irish accent)
Here, let me help you, there.
(to the cashier)
I think she wants one ticket.
(to Dana)
There you go. Have a good time,
now, lassie.
FOLLOW IN:
INT. INSIDE ORIENTAL THEATER
Dana enters the ornate old theater lobby and is transported
into a temporary wonderland where for two hours the
troublesome real world dissolves into the movie screen and is
replaced by a "happy-ever-after" adventure.
Dana moves about until she finds a seat where no one is
sitting in front of her.
After the movie Dana heads back to the hotel and tries to
wake her mother up again.
CUT TO:
INT. DANA'S MOTHER'S HOTEL APARTMENT
DANA
Come on mom, get up will ya.
LAVERN
All right Dana, all right. I'll
be up in a few minutes. Take
Pekoe outside and brush his coat.
He's a mess. When you get back
I'll be up and waiting for you.
DANA
You mean it this time?
LAVERNE
Promise.
DANA
OK, then. Where's Pekoe's brush?
LAVERN
On the counter under the window.
CUT TO:
EXT. RANCROFT HOTEL
Dana is sitting on the hotel steps grooming Pekoe the
Pomeranian puppy. People walk by and compliment Dana on the
fine job she is doing.
PASSERBY
Doesn't that dog look pretty.
You've done a wonderful job for
such a little girl.
DANA
Thank you, I try my best.
Dana ties a bow around Pekoe's neck. When Pekoe is ready she
brings him back to the hotel room.
FADE OUT:
FADE IN:
INT. DAN'S MOTHER'S HOTEL APARTMENT
Dana's mother is finally up. Dana comes in with Pekoe and
finds her mother taking a bath. She plays with the pets while
her mother dresses.
Then they clean up the hotel room apartment before Lavern
makes Dana a simple dinner.
DANA
I'm back.
LAVERN
Bring Pekoe in here. I want to
see how he looks.
DANA
Do you like the ribbon?
LAVERNE
Not bad, but work on that spot
just under his shoulder while I
dry off and get dressed.
Dana finishes grooming Pekoe and starts on the other
Pomeranian, then plays with the spider monkey while her
mother dresses.
LAVERNE
(continuing)
Dana, help me get this place
cleaned up a little, then I'll
make you some dinner. How about
macaroni and cheese?
DANA
Yea, my favorite.
They pick up, straighten up, clean up, then Dana's mother
makes a simple dinner. While sitting at the table, they
don't really talk much. Before they sit down to dinner,
Dana's mother CALLS for a cab to come and pick Dana up.
LAVERNE
(dialing for a cab)
Yes, I want a cab at the Rancroft
Hotel in 30 minutes.
(to Dana)
Eat your dinner now, Dana.
LAVERNE
(continuing)
Let me help you with your coat.
Here's some money for the cab.
You be good to Granny now.
DANA
I will.
LAVERNE
Love you.
CUT TO:
EXT. RANCROFT HOTEL OUTSIDE
Dana leaves the hotel room and makes her way to Rancroft
entrance where a cab is waiting. The Rancroft doorman opens
the cab door for Dana.
DOORMAN
Goodbye Dana. Come again soon.
DANA
Bye mister.
DISSOLVE TO:
INT. INSIDE THE CAB
CAB DRIVER
Where to little lady?
Dana hands him the bills wrapped in a note containing the
exact address.
CAB DRIVER
(continuing)
What were you doing in town all by
yourself?
DANA
Oh, my mother just had to see me.
She's so pretty, you should see
her. We had the best time. And
my dad's in the Navy and travels
all over the world. Would you
like me to sing you a song?
DISSOLVE TO:
INT. AERIAL OF CAB DRIVING
Cab continues down Madison Avenue
FADE OUT:
FADE IN:
INT. DANA'S GRANDPARENTS' HOME IN 1946 CHICAGO
Several weeks later Dana is coming home from school and
overhears grandmother talking to her mother.
GRANDMOTHER
I have her day in and day out.
The least you can do is call her
once in a while. Now, when are
you going to see her again?
LAVERN
Listen, I'm working in Calumet
City this weekend. Have Dana
ready by 4 p.m. on Friday and I'll
take her with me.
GRANDMOTHER
Buono, buono. I'll tell her.
Arrivederci.
Grandmother puts down the phone and turns to Dana.
GRANDMOTHER
(continuing; to Dana)
Dana, your mother wants you to
come along on a weekend trip to
Calumet City.
DANA
What, a trip? Where? I've never
been on a trip before?!
GRANDMOTHER
She's picking you up on Friday at
four o'clock.
FADE OUT:
FADE IN:
INT. DANA'S GRANDPARENTS' HOME IN 1946 CHICAGO
Friday, four o'clock in the afternoon. Grandmother has Dana
ready with an overnight bag when a black car pulls up to the
house.
GRANDMOTHER
Got everything? Andiamo, Andiamo.
CUT TO:
INT. OUTSIDE IN FRONT OF HOUSE
Dana's mother and two other ladies are in the car. Dana gets
in and her grandmother waves goodbye as the car pulls away.
CUT TO:
INT. INSIDE THE CAB
LAVERN
Dana, I want you to meet two
friends of mine, Cinnamon and
Amelia. We all work together.
CUT TO:
EXT. AERIAL OF BLACK CAR
Scene is of the black car making its way to Calumet City.
Incidental non-consequential talking is going on and Dana
sits back quietly and listens. Then the car pulls into town
and drives down the brightly lit main street.
DANA'S OLDER VOICE (V.O.)
At first I was so excited. A
trip, an overnight stay at a
motel, it was a dream come true,
a chance to get closer to my
distant mother. During the next
24 hours my child's illusions were
about to meet reality.
CUT TO:
EXT. CALUMET MOTEL
The big black car pulls up to the entrance to the motel.
Dana and the three ladies get out and unload their baggage.
A valet parks the car and they enter the motel, check in and
make their way to their room.
CUT TO:
INT. CALUMET MOTEL ROOM
Dana's mother is hurrying to get ready for the first show of
the night. She instructs Dana on what to do while she's gone.
LAVERN
You behave yourself. Just stay in
the room until I come back. You
can watch TV or something. I've
got to run.
Dana turns on the television but quickly gets bored. The
motel room door is cracked open and the noise of a big party.
Curious, she follows the party sounds to a balcony where she
can see what's going on.
FOLLOW TO:
INT. MOTEL BANQUET HALL
She sees her mother finishing up her tap-dancing act. She
leaves the stage and a comedian follows. After him the two
other ladies in the car come on stage and begin taking off
their clothes, first one, then the other.
During the comedian's act Dana's mother comes out into the
audience and sits down next to a huge homely man who keeps
buying her drinks and tries to be affectionate with her.
Dana's mother tucks a swizzle stick in her bra for each drink
that is served. Dana finds the stripping silly, and is
repulsed by the ugly man trying to kiss her mother.
FOLLOW TO:
INT. CALUMET MOTEL ROOM
She can't stand anymore and returns to the room, falling
asleep. The next morning Dana's mother wakes her up and
tells her how to behave on the way home.
LAVERN
Dana, a nice man is going to give
us a ride home. Whatever you do,
don't call me mom. I want him to
think you're my little sister. Do
you understand.
DANA
Yes, mother.
They finish packing and leave the room.
CUT TO:
EXT. CALUMET MOTEL
A car is waiting, motor running, with a man,CARL, inside.
Her mother gets in the front seat and Dana climbs in back.
CUT TO:
INT. INSIDE THE CAR
LAVERN
Carl, I'd like to introduce my
little sister, Dana. Isn't she a
cute thing?
CARL
You got that right.
Dana's mother and Carl talk and flirt with each other the
entire way home, while completely ignoring Dana.
While driving away Dana's older voice comments.
DANA (V.O.)
Somehow I survived my early years.
New challenges came with school.
I came from a broken home and that
wasn't accepted in our Catholic-
Italian community.
Three years later, in 1949, my
second-grade class was preparing
for our First Holy Communion.
FADE OUT:
FADE IN:
EXT. ST. MEL'S ELEMENTARY SCHOOL
Three years have passed and Dana is now seven years old and
attending St. Mel's Elementary School. She is walking toward
the front entrance, alone.
FOLLOW IN:
INT. ST. MEL'S ELEMENTARY SCHOOL
She enters the school and after stopping at her locker, makes
her way to Sister Giovan's second grade classroom. No one
talks to her in the halls, or in the classroom.
INT. ST. MEL'S ELEMENTARY SCHOOL CLASSROOM
When class begins, Dana tries to be a model student in order
to win the teacher's favor, but with no success.
FOLLOW IN:
SISTER GIOVAN
Settle down, class. Quiet. Now,
who can tell me the name of the
apostle who was blinded by God so
that he might better see his
mission in life?
A few hands go up, one of them is Dana's.
SISTER GIOVAN
(continuing)
All right, Dana, let's hear what
you have to say.
DANA
Was it the apostle Peter?
SISTER GIOVAN
Didn't you read the assigned pages
last night? What am I going to do
with you? Jenny, you answer the
question.
Dana tries but fails to make a favorable impression on her
teacher. To the other children she is shunned because she
comes from a broken home. At the end of class the teacher
mentions the upcoming parent-teacher conferences. Dana turns
her head and sheds a tear.
SISTER GIOVAN
(continuing)
Children, as you know, the annual
parent-teacher conferences will
take place in three days. Pick up
one of these forms and have your
parents fill it out. Then return
it tomorrow.
A boy sitting next to Dana notices her crying and knows that
her parents never come to school.
BOY
How come you don't have any
parents?
Dana gathers her things and leaves without answering him.
FOLLOW OUT:
INT. ST. MEL'S ELEMENTARY SCHOOL HALLWAY
In the hallway there are signs about the First Holy Communion
ceremony scheduled for the end of the month. Dana overhears
some other girls talking about the dresses they're planning
to wear. She knows she has to tell her grandmother about it.
FADE OUT:
FADE IN:
INT. DANA'S GRANDPARENTS' HOME
Dana comes home from school and gives her grandmother the
parent-teacher conference form, then informs her of the
upcoming First Holy Communion ceremony.
DANA
Here, Granny, will you and
Granddad come to school like you
did last year?
GRANDMOTHER
Sure, sure, we'll come again.
DANA
My class is having their First
Holy Communion at the end of the
month. I heard some of the other
girls talking about their dresses.
GRANDMOTHER
That's right. I remember they say
something about it in church last
Sunday. I'll figure something out.
Later that day, grandmother calls Dana's mother and informs
her of the date for the upcoming ceremony. The subject of
the dress also comes up.
GRANDMOTHER
(continuing)
Lavern, it's time for parent-
teacher conferences at school.
Are you going to take Dana this
year?
LAVERN
Ma, you know I have to work.
You'll do it won't you?
GRANDMOTHER
Tu dovrei andare. You should go.
This isn't right. When will you
learn?
LAVERN
Ma, stop it!
GRANDMOTHER
This you have to do. On the last
Sunday of this month Dana will be
having her First Holy Communion
ceremony. You will be there, and
she needs a dress.
LAVERN
I will definitely come for that.
Ma, you know I design and sew my
own costumes. Let me see to
Dana's dress.
GRANDMOTHER
Bene, bene, that's more like it,
but you better not let her down.
LAVERN
I won't, Ma.
It is the day before the ceremony and no word from Dana's
mother about the dress. Dana's grandmother calls Lavern.
GRANDMOTHER
So, where's the dress? You
haven't forgotten about it, have
you?
LAVERN
No, Ma. The seamstress is making
last minute alterations and I'll
have it to you sometime today.
GRANDMOTHER
Nine o'clock tomorrow morning.
You'll be there, won't you?
LAVERN
Yes, Ma, I'll be there.
GRANDMOTHER
And be on time!
Later that evening, a cab pulls up to the house and drops off
a package.
CAB DRIVER
Hello, I'm looking for Mrs. Dane.
GRANDMOTHER
I'm her.
CAB DRIVER
I have a package for you.
GRANDMOTHER
Grazie, grazie.
(to Dana)
Look, your dress is here. Hurry,
I want you to try it on. There's
still time just in case any
alterations are needed.
Dana tries on the dress while grandmother puts in a few
safety pins hear and there.
DANA
Oh, Granny, the dress is so
beautiful. And to think that my
mother designed it!
Won't the other girls be jealous.
FADE OUT:
FADE IN:
INT. ST. MEL'S CATHOLIC CHURCH
Everyone is assembled at the church. The other children are
with their parents. Dana's grandparents are filling in, as
usual. Dana, lined up in the back of the church, is proudly
wearing her custom-made and one-of-a- kind dress.
The ceremony begins and Dana's mother hasn't yet arrived.
Just before Dana begins walking down the aisle, she hears a
car come to a screeching halt just outside the front door of
the church. It's Dana's mother, late as always and wearing
inappropriate clothes, she arrives just in time to see her
daughter walk down the aisle.
LAVERN
(proudly-turning to
her right)
That's my daughter, Dana.
(turning left)
I designed her dress!
Dana looks back and sees her mother. She is both happy that
she made it and upset that she made a scene. The Holy
Communion ceremony gives way to scenes of Dana at Lake Como
in Lake Geneva, Wisconsin. Her older voice describes what's
happening.
DANA'S OLDER VOICE (V.O.)
For a brief moment I felt proud,
wearing the dress my mother
designed at my First Holy
Communion, but that pride was soon
replaced by the stigma that
stalked me at school. When the
other kids said hurtful things,
I'd often run home to cry on
Granny's shoulder. My refuge, my
retreat from all of this was our
cabin on Lake Como in Lake Geneva,
Wisconsin.
FADE OUT:
FADE IN:
INT. OUTSIDE IN FRONT OF GRANDMOTHER'S HOUSE
The family is packed and getting into their car. They take
off. The car is seen driving along Highway 45 North crossing
the Wisconsin border, then entering Lake Geneva and pulling
into the dirt driveway of their Lake Como cabin.
DANA'S OLDER VOICE (O.S.)
It was at Lake Como that I got in
touch with my soul. The time I
spent there healed my heart and
revitalized my spirit.
DISSOLVE TO:
EXT. LAKE COMO CABIN LAKEFRONT
Dana, now a teenager, is walking along the lake shore with
Prince, her precious collie. A couple riding horses go by.
JOHNNY, her boyfriend, drives up in the family truck.
JOHNNY
Dana, feel like going for a ride?
DANA
Sure, Johnny, what did you have in
mind?
JOHNNY
Just get in. You'll see.
DISSOLVE TO:
EXT. NEARBY FARM
They drive to a nearby farm, get out and walk to a fence.
JOHNNY
Dana, come over here. What do you
think of that brown and white
pinto over there?
DANA
He's beautiful. You know I've
always admired a good quarter
horse.
JOHNNY
That's Cheena, and he's yours!
DANA
Johnny, you can't mean that? This
is the most wonderful thing that's
ever happened to me!
JOHNNY
Would you like to ride him?
DANA
What do you think?
Johnny and Dana walk out to Cheena and bring him back to the
barn where they saddle up Cheena and Johnny's horse.
Dana steals a kiss in the romantic seclusion of the barn and
the young lovers go off riding.
DANA'S OLDER VOICE
I always thought Johnny and I
would eventually marry and settle
down on a Lake Como farm,
surrounded by the beauty and
serenity of rural Wisconsin life.
Some things are just not meant to
be. My dream of marrying Johnny
just could not stand up to the
cold reality of a call from my
mother that would eventually chart
the course of my true destiny.
CUT TO:
INT. INSIDE LAKE COMO CABIN
The family is sitting around after dinner when the phone
rings.
CUT TO:
INT. LAVERN'S NEW APARTMENT
Dana's mother has just moved into a rundown basement
apartment near where Dana is living with her grandparents.
With clutter and mess all around, and a new baby to care for,
Lavern calls her daughter.
LAVERN
Hello, Ma, put on Dana, will you?
GRANDMOTHER
Si, si. Just a momento.
DANA
Hello, Mother.
LAVERN
Dana, you know I've taken an
apartment just a couple of blocks
away from you and Granny. I want
you to come and live with me.
Let's talk about it when you get
back to town.
DANA
Mother, you can't be serious.
After all this time, now you want
me to be with you?
LAVERN
Look, I know this must be a shock,
so you think about it and I'll
tell Granny what I have in mind.
I'll see you when you get back.
DANA
(upset)
Oh, Mother!
Dana slams down the phone in disgust.
DANA
(continuing)
Granny, you won't believe what my
mother wants. She actually thinks
I should come and live with her in
that roach-infested damp and
dreary basement apartment she's
taken down the street!
GRANDMOTHER
Really. Well, Dana, it's about
time don't you think?
DANA
But Granny, I've got a life with
you and Grandfather. I don't want
to move in with her. You know
her. She just wants me over there
so I can be her slave.
GRANDMOTHER
Well, this time you'll have to
take the good with the bad.
FADE OUT:
FADE IN:
INT. LAVERN'S NEW APARTMENT
A typical day in Dana's new life is shown as Dana's older
voice narrates. Up early, feed the baby, take care of the
dogs, clean up the house, off to school, home right away,
take care of the house, laundry, feed and change the baby,
feed and clean up all the animals, make supper, and watch the
baby when her mother goes off to work.
DANA'S OLDER VOICE
I knew my mother just wanted me
around so I could slave for her,
but I didn't have much of a
choice. I still wanted her love
and approval but she seemed
incapable of loving anything but
the menagerie of animals she'd
adopted over the years. My days
were an endless cycle of cleaning,
cooking, caring for the baby and
the animals, going to school, and
starting all over again the next
day. I wasn't allowed to date or
participate in activities at
school. I'd be grounded for the
littlest thing so my mother would
have an excuse to keep me around
all the time. I used to have to
make up stories just to be able to
spend a little time with my
friends. One night, nearing my
18th birthday, mother caught me at
a bar with some friends. It
didn't matter that I wasn't even
drinking.
FADE OUT:
FADE IN:
INT. CLANCY'S BAR
Dana's friends are shooting pool. Dana is sitting on a bar
stool sipping a coke when her mother barges in.
LAVERN
So, you lie to me and I find you
in a bar, DRINKING, no less!
Lavern picks up a glass near Dana and smells it for alcohol
content.
LAVERN
(continuing)
Get your things. You're leaving
here right now.
DANA
Mother, let go of me!
Lavern turns to the bartender
LAVERN
And you! Serving a minor. You're
going to pay for this. I know
people in the police department
who would like to hear about this.
BARTENDER
Wait a minute, lady. I checked
her picture ID showing her age to
be 21.
Dana pulls away from her mother's grip.
DANA
Mother, you will never embarrass
me like this again!
(turning to her
friend)
Come on, Shannon, let's get out of
here.
FOLLOW OUT:
EXT. OUTSIDE CLANCY'S BAR
Dana and SHANNON exit the bar and walk to her car, a
Chartreuse and black Chevy.
DANA
How about putting me up for a
while? I've got to get away from
my mother.
SHANNON
Sure thing, Dana. I understand
completely.
DANA
I'm just going to stop home and
pick up a few things.
SHANNON
OK.
FADE OUT:
FADE IN:
EXT. BUS STOP
Dana starts her new life away from her mother as a legal
adult, now in charge of her own destiny. She is seen going
to work, riding the bus, getting off, entering the office,
doing some typing, walking proudly to the bus stop after
work, getting home, getting in her car, and looking for a
part-time job.
DANA'S OLDER VOICE
Since I turned eighteen, my mother
couldn't keep me with her anymore.
I stayed with my girlfriend for a
few weeks until my grandmother
decided I should move back in with
her. It was fine; I came and went
as I pleased. I found clerical
work right away, but that wasn't
enough. I wanted the security of
knowing I could take care of
myself and that took money. More
money meant a second job. Driving
around after work one night I
spotted a Help Wanted sign at a
local drive-in.
FOLLOW IN:
EXT. RICHARD'S DRIVE-IN
Dana pulls into the drive-in, gets out of her car, and
approaches a middle-aged man in a greasy apron behind the
counter.
DRIVE-IN OWNER
Watta you wan?
DANA
I see you're looking for help.
I'd like to apply.
DRIVE-IN OWNER
You ever hoppa cars before?
(looking her over
from head to toe)
DANA
Well, no, but I've eaten here many
times.
DRIVE-IN OWNER
Thassa good. You know enough ...
and besides, you gotta pretty nice
little body. The customers, they
likka service from pretty girls.
DANA
Well, I don't know how pretty I am
but if you say so. When can I
start?
DRIVE-IN OWNER
You come tomorrow.
FADE OUT:
FADE IN:
EXT. RICHARD'S DRIVE-IN
The next day Dana is in uniform; green pants, a white blouse
with the name "Richards" stitched over the left breast. It's
8 p.m. on a summer evening on the west side of Chicago. Guys
from a group that call themselves the Midnight Express, pull
in, squealing their tires and revving the engine of a new
Chevy convertible. One of the boys starts giving Dana a hard
time. DARRYL is driving.
DARRYL
Wo, check out the new chick.
DANA
May I help you.
DARRYL
May you ever, baby. Help me, help
me, I'm desperate.
DANA
Don't give me a hard time now.
BACKSEAT BUDDY
Oh baby, you can give me a hard
time, anytime.
With that Dana gives a loud whistle and her 125-pound dog,
Vegas, leaps from her car and jumps onto the hood of Darryl's
car, coming to a scratching halt and barking ferociously.
DARRYL
Hey, I was just kidding. Call off
you dog before he scratches up the
hood. C'mon, we were just having
a little fun. What's your name
anyway?
DANA
Vegas, down boy, down.
(to Darryl)
So, what was it that you wanted to
ask me?
PAN TO:
Camera backs away as Dana's older voice describes what is
happening on screen. The boys come again and again. Dana
and Darryl are drawn to each other. She finds out that
Darryl's father is a doctor and that they have a beautiful
home in the suburbs with a live-in maid. Darryl often talks
about Mary's Bar, where they hang out. He invites Dana to
drop in after work.
DANA'S OLDER VOICE
Vegas came to the rescue again.
Those boys kept coming back to see
me and each time I noticed Darryl
more and more. He went out of his
way to talk to me, and he behaved
like a gentleman. I found out
that his father was a doctor and
they live in a beautiful home in
the suburbs with a live-in maid.
Considering my background, I
couldn't help but fantasize about
becoming part of Darryl's
storybook family.
EXT. RICHARD'S DRIVE-IN - DAYS LATER
Darryl and his friends have just finished their drive-in
dinner. Dana is walking up to their car to remove the tray.
DARRYL
We're all going to Mary's. You
know where it is, right? Just
down the street and over one
block. Why don't you stop in
after work?
DANA
I'll think about it. You might
see me one of these nights.
FADE OUT:
FADE IN:
EXT. RICHARD'S DRIVE-IN (EVENING)
Her evening shift is ending and Dana is walking back to her
car, but instead of getting in and driving away she throws
her jacket in the car, pets Vegas, and walks over to Mary's
Bar.
DANA
Vegas, be a good boy now. I'll be
back in a little while.
VEGAS
(barks approval)
Rough, Rough.
CUT BACK:
INT. MARY'S BAR
Dana approaches the bar with apprehension. She doesn't drink
and isn't comfortable with people who do. Entering Mary's,
Dana sees Darryl at the bar, already plastered.
Dana slides up on a bar stool with her five-foot-two frame
feet dangling over the floor.
DANA
You're wasted!
DARRYL
Yep, guilty as charged, your honor.
DANA
I don't get it, Darryl. Why do
you drink like this? What's your
problem?
DARRYL
Awe, you don't want to know, Dana.
Want something?
DANA
I don't drink, but I'll have a
coke.
DANA
(continuing)
Well, that's great. This is a
perfect arrangement. You can look
over me ... cause I don't.
FADE OUT:
The camera pulls back as Darryl begins to tell Dana the
sordid story of his broken life.
The scene shifts to them driving off on a romantic date on
another day. Movies, picnic, rowing a boat on a lake, a
picnic afterwards. Parking in his car, they begin to explore
each other sexually. Dana's Catholic conscience resists but
gradually she is drawn into the building passion of their
relationship.
Then, on Halloween, they come home after a costume party and
fall asleep. In the early morning Darryl sleepily makes love
to an unaware Dana.
FOLLOW IN:
INT. DANA'S BEDROOM
Her grandparents are away and Darryl and Dana have fallen
asleep after coming home from a Halloween party. Darryl
wakes up in the early morning. Dana is still sleeping.
Sexually aroused, he fondles her and rolls over on top of
her, partially penetrating and ejaculating.
DANA
(waking up slowly)
What's going on? What did you do?
Oh no, you didn't, tell me you
didn't!
DARRYL
I couldn't help myself, but it's
all right. I wasn't in all the
way, and it has to be in deep for
anything to happen. You're still
the same. We didn't really do it.
DANA
Oh, Darryl, how could you? What
are we going to do if I get
pregnant?
DARRYL
Don't worry, nothing's going to
happen.
CUT TO:
INT. DOCTOR'S OFFICE WAITING ROOM
Several weeks have gone by and Dana is sitting in her
doctor's waiting room frantic about the possibility that she
is pregnant. The NURSE calls her into the doctor's office.
NURSE
Dana Montana.
DANA
Right here.
NURSE
Follow me please.
They go into an examination room.
NURSE
(continuing)
Take off your clothes and put on
this gown. The doctor will be
right in.
DANA
(to herself)
Please God, let me not be
pregnant. Please God, I'll do
anything you say.
The DOCTOR comes in.
DOCTOR
Well, Dana, what can we do for you
today?
DANA
I was wondering if you could tell
me whether I'm pregnant or not.
DOCTOR
That shouldn't be too difficult.
Lay down on the table if you
would, please.
Dana complies and positions her feet in the cold stainless
steel stirrups. Her surgical gown does not cover much and
Dana feels exposed.
DOCTOR
(continuing)
Just give me a few minutes to
examine you.
DANA
(to herself)
I can't believe this guy. He's
touching me in places I won't even
let Darryl near. The only
difference between him getting 20
years instead of a $20 fee is a
lousy piece of paper medical
degree. So, that makes it legal
for him to undress and fondle
hundreds of helpless women.
DOCTOR
Have you ever had sexual
relations? Dana? Have you had
relations with a man?
DANA
Do you mean petting?
DOCTOR
No, I don't mean petting. I mean,
have you been sexual with a man?
Have you been naked and made love
to a man?
DANA
Well, on Halloween night my
boyfriend sort of got half way
inside me before I knew what was
happening, and, you know, his
juice came out. But he said he
had to be all the way in for me to
get pregnant. Is that true?
DOCTOR
We'll take the test now, but from
what you've told me so far I'm
afraid there's a good chance
you're pregnant.
Dana grimaces at a statement she knows deep down is correct.
She puts on her clothes and goes home.
FADE OUT:
FADE IN:
INT. ST. MEL'S CATHOLIC CHURCH
It's Valentines Day. Dana's wedding is about to take place.
Darryl is pacing in the priest's chamber waiting for the
ceremony to begin.
Dana's grandparents are being seated in a forward row. Her
future in-laws are uncomfortable but accepting of the
situation.
Dana is being attended to by her matrons of honor in the
vestibule of the church.
Dana's father flies in from Las Vegas to give her away. The
wedding goes smoothly.
The reception is also a success, but on their first night
together in a motel Darryl goes out drinking with his buddies
and leaves Dana alone.
The baby is born and too soon after, Dana gets pregnant
again. Darryl starts drinking and refuses to stay with Dana
at the hospital during the birth of their second child.
Dana decides to go back to work and finds a job as a
secretary, then another job as a cocktail waitress. The
camera pans from one group to the other as Dana's older voice
narrates.
DANA'S OLDER VOICE
Granny knew right away. Darryl
was ecstatic. His father thought
it might settle Darryl down and
teach him responsibility. My
mother was ready to help me with
any choice I made about the
pregnancy and possible marriage.
And my father even agreed to fly
in from Las Vegas to give me away.
I was in back of the church
praying to a statue of the Madonna
that everything would turn out all
right. Down the aisle I went on
the arm of my mostly absent
father. After the "I do's" the
reception turned out to be one of
the highlights of my life.
Everyone had a good time and a
good buzz because the alcohol was
free. It didn't take long,
however, for this storybook scene
to turn sour.
During our first night together,
Darryl walked out on me to drink
with his buddies. Darryl's father
delivered our first child,
Danette. I was a content
housewife and mother until I
mistakenly got pregnant again.
The pregnancy and birth of our
second child, Darryl Jr., spelled
disaster for our marriage. Darryl
wouldn't stay with me at the
hospital and from that day on we
grew further and further apart.
I knew I had to get back out in
the working world and reestablish
my independence. I found a job as
a typist and a second job as a
cocktail waitress at the Fourth
Estate club on Michigan Avenue.
FADE OUT:
FADE IN:
INT. FOURTH ESTATE COCKTAIL LOUNGE
Dana is working her usual night shift when two high-roller
well-dressed regulars, MURRAY LATERMAN & BOBBY STEIN, walk in.
DANA
Look, those guys are here again.
COCKTAIL WAITRESS
Yeah, and they're sitting in your
section ... again.
DANA
I better treat them right. Think
I'll bring them some hors
d'oeuvres.
Dana waits until they sit down at a table, then she loads up
a plate of appetizers.
DANA
(continuing)
Hi fellas!
(setting down the
hors d'oeuvres)
Now, don't get too excited. These
are not Italian meatballs.
Jewish or Bohemian, or something,
but definitely not Italian. So,
nibble at your own risk.
DANA
(continuing)
Now, what can I get for you boys
today?
MURRAY
I'll have a gin and tonic.
(turning to his
friend)
Bobby, what do you want?
BOBBY
A martini sounds good.
MURRAY
(turning to Dana)
Say, how long have you been
working here?
DANA
Long enough to know when I'm not
serving the real thing. None of
my relatives would eat these
meatballs!
MURRAY
You've got a great personality,
did you know that?
BOBBY
What's your name?
DANA
Dana, Dana Montana.
MURRAY
Hey, you couldn't possibly be
related to Christie Montana?
DANA
I, ah, I guess you could say that.
He's my father!
MURRAY
I'll be damned. I used to work
with him. We tended bar together
at a place called the Trade Winds
over on Rush street ... a long
time ago. He still around?
DANA
No, he moved to Las Vegas.
MURRAY
Please, excuse me for not
introducing myself. My name is
Murray Laterman and this is my
friend Bobby Stein.
(turning to Bobby)
You know what Bobby, she should be
a Bunny. Don't you think; I mean
she'd be great working for Hef.
DANA
Wo, slow down Murray. I'm not
your average cocktail waitress.
I've got two kids to take care of
at home. I'm separated from my
husband, I work a regular day job
... and most important, I don't
fool around.
MURRAY
So what?
DANA
So what!? So I'm not going to bed
with Hugh Hefner ... so I'm not
going to get a job at Playboy!
MURRAY
Listen, Dana, I'm the food and
beverage director at Playboy. Do
I look like I went to bed with
Hugh Hefner?
DANA
Well, you may have a point, but,
look at me. Do I remind you in
any way of a Playboy centerfold?
MURRAY
Dana, you're too hard on yourself.
You're voluptuous and you've got
a wonderful personality. You'd be
great as a Bunny. Let me set up
an appointment with ADRIENNE
FOOTE. She's the Bunny Mother.
I'll put in a good word for you.
DANA
Well, all right, but I know
nothing will come of this.
CUT TO:
EXT. OUTSIDE CHICAGO PLAYBOY CLUB
Dana's walking down Michigan Avenue toward the Chicago
Playboy Club. The flags are snapping in the stiff October
shoreline breeze. Dana stops to look in the show window and
sees several gorgeous women. It sets her back. Then she
hears an announcer's voice before responding to a DOORMAN
who's calling out to her.
ANNOUNCER
Ladies and gentlemen ... the world
famous, one and only ... Chicago
Playboy Club.
(repeating in the
background)
DOORMAN
Need some help, little lady?
DANA
I have an appointment with
Adrienne Foote. I'm supposed to
apply for a position as a Bunny
but I'm not sure I qualify. I
really don't think there's much
use in my keeping the appointment.
This was just a fantasy--and not
even my fantasy.
DOORMAN
That's not true! I think you're
real pretty, ma'am. You just go
right up them stairs and you give
'em your best.
FOLLOW IN:
INT. CHICAGO PLAYBOY CLUB
Dana goes through the open door leading to a new life for
Dana Montana. She passes the gift shop and notices the
pictures on the wall of Playboy Playmates and Bunnies, then
up the stairs to the management area.
Sitting down in the waiting area, Dana passes time before her
appointment watching the real Bunnies go by and sensing the
the mystique that surrounds them and the Playboy
organization. Finally, she's called into ADRIANNE's office.
ADRIENNE
So, you're Murray Laterman's
friend?
Dana just watches her as she speaks. Adrienne is the living
breathing standard of what a Playboy Bunny symbolized.
Adrienne hands Dana an application.
ADRIENNE
(continuing)
Is that the real color of your
hair?
DANA
No, I dyed it blond a couple of
months ago. I'm really a redhead
... I mean I've had red hair
almost all my life, though I'm
really a brunette.
ADRIENNE
I'll tell you one thing right now.
The blond hair goes ... get back
to your normal color ... and stop
biting your fingernails--get false
ones. Lose ten pounds
immediately! Watch what you eat.
Short people show the pounds they
put on instantly. You're short
you realize.
DANA
Fine, anything you say.
ADRIENNE
Now, go upstairs and get fitted
for a costume.
DANA
Does that mean ...?
ADRIENNE
It doesn't mean a damn thing.
Just go up to the dressing room
and ask for LUCY. She'll fit you
for a costume and meanwhile I can
look over this application. Then
I'll see how you look in the
costume.
FOLLOW IN:
Dana finds Lucy and the dressing room and enters. Lucy, a
matronly middle-aged black woman, helps the Bunnies with
whatever problems they are having. She looks Dana over.
LUCY
You hear for a fittin?
DANA
That's right.
LUCY
You better try on a 36-C
DANA
You know, Lucy, I'm at best a 34-B.
LUCY
You were a 34-B. You are now a 36-
C. You leave the details to Miss
Lucy.
Lucy helps Dana adjust to her new look. They shove white
fluffy bunny tails hear and there until the costume fits
properly.
LUCY
(continuing)
That's it. Jam a few more under
your tits. They fill things out
just fine. Front office still
can't figure out why we go through
so many thousand of these little
tails each year. If they only
knew.
(giggling)
Dana was feeling awkward and insecure until she catches a
glimpse of herself in a mirror.
LUCY
(continuing)
Yes. You look great. Don't feel
so strange. It takes time to get
used to this whole thing.
CUT TO:
EXT. OUTSIDE CHICAGO PLAYBOY CLUB
Dana's approaching the main exit and she spots the doorman.
DANA
I made it! I think I actually
made it!
DOORMAN
I knew you would!
Dana skips and struts down the sidewalk with a thick book
under her arm; the Bunny bible. Arriving home, she is
confronted by her grandmother over her decision to become a
Playboy Bunny.
CUT TO:
INT. DANA'S GRANDPARENTS' HOME
Dana is entering her grandparents' home.
DANA
Granny, I made it. I think
they're going to let me be a
Playboy Bunny!
GRANDMOTHER
You what?
Grandmother is shaking her separated hands over her head as
is the Italian custom.
DANA
A Playboy Bunny, and it's a
perfectly respectable profession
for a woman. I'll be working at
the famous Playboy Club downtown.
Oh, Granny, it's going to be
terribly exciting. Try to
understand, please.
GRANDMOTHER
Oh my God in heaven. A rabbit.
A Playboy rabbit. You'll end up
naked for everyone to see your
body. You'll have staples in your
navel like those other bad girls.
DANA
Granny, settle down. Bunny, not
rabbit. This is a wonderful
opportunity for me. I am going to
be a Playboy Bunny. Do you have
any idea how many girls want to
work for Playboy? It's very
special and very professional.
GRANDMOTHER
You'll have to sleep with that
terrible man, Leffner!
You, the mother of two babies.
Shame on you. Think of the
children. Oh, Dana, think of your
grandparents.
DANA
Granny, I don't have to sleep with
anybody ... and his name is Mr.
Hugh Hefner, not Leffner. I'll
probably never see him. It's
completely different than you
think.
GRANDMOTHER
I forbid it! My granddaughter is
not going to be a Playboy rabbit.
Where did I go wrong? Momma mia,
momma mia.
DANA
Bunny, Granny, Playboy Bunny! And
I'm going to do it. It may be the
best thing that ever happened in
my life.
Grandmother gives up and goes to a small room in the house
with an altar. A visiting neighbor, Philaminna, accompanies
her.
FOLLOW IN:
INT. ALTER ROOM IN GRANDMOTHER'S HOUSE
The two elderly Italian women light candles and say prayers
to a statue of the Blessed Virgin Mary.
GRANDMOTHER
Blessed Madonna, please don't let
Dana do this terrible thing.
PHILAMINNA
Thassa right, and ifa you don'ta
do as she says I'ma gona through
you right out on the street.
(with threatening
gestures)
GRANDMOTHER
No, no, Philaminna, don'ta say
such things.
FADE OUT:
FADE IN:
INT. GRANDMOTHER'S LIVING ROOM
Later that night Dana is sitting in a living room chair
studying the Playboy manual.
DANA'S OLDER VOICE
The more I learned about Playboy,
the more I was impressed. Every
detail of the management and
operation of the club was spelled
out. The mystique that Playboy
wanted to create for its customers
was captured word for word on
those pages. The Playboy Club was
a carefully choreographed and
strictly structured business. It
was my job, as a Playboy Bunny, to
effortlessly guide the customer
each step of the way through the
sensual playground that was the
Chicago Playboy Club.
Dana finishes reading the manual and hugs it tightly before
going to bed.
CUT TO:
INT. PLAYBOY CLUB TRAINING AREA
Dana and the other recruits are assembled waiting for KELLY
COLLINS to begin the session. Kelly, the epitome of grace
and style, and KEITH HEFNER's girlfriend, enters the room and
steps up to a podium. It is Kelly's job to mold the girls
into the Bunny Image.
KELLY
Listen up gang ...
(waits for quiet)
Making it past Adrienne is a piece
of cake. You are not a Playboy
Bunny until I say you are. The
record will show that about 50% of
the prospective Bunnies who get
this far, get no further.
Now, let me make one thing
abundantly clear. If you came
here to meet men, or operate as
some kind of a swinger, get out
right now. Anyone caught giving
their telephone number to a
customer is finished on the spot.
Hugh Hefner is a very busy man and
the last time I checked there
wasn't one Bunny on his
appointment calendar. The number
two guy is his brother, Keith, and
he's my boyfriend ... need I say
more, cuties. Playboy isn't
broken, so don't set out on your
own to fix it! You do exactly as
I tell you and exactly as you read
in the Playboy Manual and you may
have a shot at surviving this
week. You deviate one iota and
you're history!
DANA
(to herself)
Yes, Ms. Collins, yes, Ms.
Collins, right Ms. Collins, thank
you, Ms. Collins.
KELLY
All right, the first thing you're
going to learn is the Bunny Dip.
Watch this demonstration ...
A seasoned Bunny shows the recruits how a Bunny bends over
backwards with a tray of drinks so that in case of any mishap
the spillage would not find its way onto the customer. A
proper Bunny Dip also gives the customer a close-up view of
a Bunny's bosom.
Dana and the others are shown films, take written and
performance tests, and listen to more lectures.
Finally, Dana's in the dressing room preparing for her first
night working as a Playboy Bunny.
DANA'S OLDER VOICE
One of the experienced Bunnies
showed us how to execute the Bunny
Dip, a way of bending backwards
with a tray of drinks so that in
case of any mishap the spillage
wouldn't find its way onto the
customer. A proper Bunny Dip also
gives the customer a close-up view
of a Bunny's breasts. We were
shown films, we listened to
lectures, and took written and
performance tests. I loved what
I was a part of. I was determined
to be first in my graduating
class. Finally, at the end of the
week, there were three recruits
remaining, and I was one of them!
My first night working as a
Playboy Bunny was not exactly the
"dream come true" I'd hoped for.
FADE OUT:
FADE IN:
INT. PLAYBOY CLUB - CARTOON CORNER
Dana's serving a few customers in the quiet Cartoon Corner
with her SUPERVISOR nearby. Dana notices a large group of 10
approaching her station.
SUPERVISOR
All right, Dana, just keep calm
and do your job.
Dana sighs then walks over to the horseshoe booth.
DANA
Hello, I'm Bunny Dana. Welcome to
the Playboy Club. May I take your
cocktail order, please?
Dana takes a series of orders before reaching BENNY DUNNE.
Recognizing Benny Dunne as a VIP with the authority to fire
her on the spot should she make a mistake, Dana is flustered.
DANA
(continuing)
May I take your order, please.
BENNY DUNNE
Give me tomato juice.
He barks at Dana and that upsets her. She doesn't even
notice the last man who orders a drink. Dana walks back to
her bar station and waits for the orders to be filled.
DANA
God, do you see who's at my
station?
WAITRESS
Yeah, and he's so handsome
DANA
Handsome!? Benny Dunne looks like
a friggin horse.
WAITRESS
No, No, not him, Dana. The other
guy, stupid. Don't you recognize
him? That's ...
Dana stops paying attention because her drink tray is now
loaded. She carefully carries the tray over to the booth.
She positions herself and executes a perfect Bunny Dip. She
delivers the first drink and the next six drinks. Then she
comes to Benny Dunne. She reaches for his tomato juice and
the tray slips from her grasp spilling the juice on Benny.
BENNY DUNNE
You dumb bitch! You stupid fool!
Who the hell are you? Look what
you did. You got tomato juice all
over my pants.
Dana's supervisor quickly comes to the rescue
SUPERVISOR
Benny ... Benny, please. It's her
first night. Take it easy, we'll
get it cleaned up.
(turning to Dana)
Bunny Dana, please clean off the
table and we'll start over.
Everybody just relax, I'm very
sorry.
DANA
I'm so sorry.
(turning to the last
man)
Dana starts cleaning up the mess.
ANDY WILLIAMS
Don't worry sweetheart, it could
happen to anyone.
Dana finally takes a good look and backs away like a star
struck schoolgirl.
DANA
Oh my God. You're Andy Williams!
God, Mr. Williams, I'm so
thrilled, I mean, sorry that I
spilled ... Jeez I spilled on Andy
Williams.
ANDY WILLIAMS
Don't worry about Benny, he's a
loudmouth. He shouldn't talk to
any of you kids in here that way,
and I intend to tell someone about
it, too.
DANA
You're in Las Vegas all the time,
aren't you, Mr. Williams?
ANDY WILLIAMS
Yeah, a lot of the time ... why do
you ask?
DANA
My dad lives in Las Vegas. His
name is Christy Montana.
ANDY WILLIAMS
You're putting me on. I know your
dad. What a great guy. You won't
believe this, but I played golf
with him at the Desert Inn last
week. He's a terrific player.
Wait till I tell him that I met
his daughter. He must be real
proud of you, working as a Bunny.
DANA
I ... I don't know, Mr. Williams.
I don't get to see him very often.
Benny Dunne interrupts Dana.
BENNY DUNNE
You ... you clumsy fool. Get away
from that table. Don't you say
another word to Mr. Williams.
Get away before you hurt somebody.
You are a disaster. I said get
away! I don't ever want to see
you again!
Another Bunny is quickly assigned to take Dana's place. Dana
is sent back for two additional training days, but then
resumes working and things go well.
Unable to fraternize with customers by strict policy, Dana
and her friends meet after work at a bar on Rush Street.
Dana and her Bunny friends are strutting down Rush Street
approaching the Stork Club.
DANA'S OLDER VOICE
Another Bunny took my place that
disastrous night. I was sent back
for two additional training days
after which I resumed my duties
without any other incidents.
Unable to date our customers, some
of us would meet after work for
some socializing at the Stork Club
on Rush Street.
FADE OUT:
FADE IN:
EXT. STORK CLUB
Dana and friends, GAYLE, a striking platinum blond, MARGIE,
a gorgeous woman with jet-black hair, and Dana, the redhead
approaching the club entrance.
FOLLOW IN:
INT. STORK CLUB
The Bunnies are local celebrities and people notice when they
walk in. They sit down and a waitress takes their drink
orders. They never have to pay for a drink, however, as the
owner appreciates the fact that they come in to his bar.
Obnoxious conventioneers bother the Bunnies but Dana
dispatches them rudely.
CUSTOMER
Here come the Playboy Bunnies.
FRIEND
Yeah, aren't they something.
Dana an friends find an open table
DANA'S OLDER VOICE
My friends and I would hang out at
the nearby Stork Club after work.
We never paid for a drink because
the owner like the fact that we
came in. He said it gave the
place celebrity appeal. Gayle and
Margie were my two closest friends
from work. Together we made quite
an impression. I was short but
curvaceous and always wearing high
heels; Gayle was a stately
striking platinum blond; and
Margie was a stunning woman with
jet-black hair. The minute we
walked in we attracted attention
... sometimes the wrong kind of
attention. Rush Street was a
conventioneer's paradise. Lining
the street was a collection of
strip clubs, saloons, and
nightclubs all just a few steps
from the Playboy Club. The
drunken conventioneers couldn't
resist a chance to "score" with
one of the Bunnies they might have
seen at the Playboy Club.
Camera focuses on a drunken conventioneer approaching Dana's
table.
CONVENTIONEER
Hey, I remember you girls from the
Playboy Club this evening. How
about showing us the town?
DANA
Get lost buster. We're alone,
can't you see, and we like it that
way!
DANA'S OLDER VOICE
We were proud of who we were and
what we represented. We worked
hard but the rewards were worth
it. I wasn't the most beautiful
Bunny by far, but I had other
qualities. Because of my
background I was tough and
determined.
I knew I could make a name and a
place for myself with Playboy, but
it would take being cunning not
cute.
CUT TO:
INT. PLAYBOY CLUB
Dana's instructing the bartender to fill her drink order by
placing the drinks in special mugs.
DANA'S OLDER VOICE
I was not working at Playboy just
to bolster my self-esteem. I was
there for the money and I found
ways to earn more money but still
stay within the rigid rules of the
Playboy manual. A Bunny cocktail
waitress could earn $5 per case of
mugs sold with her drinks. I
arranged for all my orders to be
served in the mugs. If a customer
complained I simply took back the
mug, washed it, and pub it back in
the case. Most of the time the
customers, especially the ladies,
were pleased to get a souvenir of
their Playboy Club experience.
Dana is serving drinks in the special mug.
WOMAN CUSTOMER
Oooooh, look at that cute mug. I
want a couple of those to take
home. Bring all my drinks in
those.
DANA'S OLDER VOICE
There was room to maneuver within
the rigid Playboy system. My
policy was to adapt to the rules
but make them work for me whenever
possible. I was never told to
serve all my drinks in mugs. I
was never told not to serve all my
drinks in mugs. There was a gray
area and I took advantage of it.
The Playboy Club became the one
place where I was respected and
appreciated for who I was.
I wanted to spend as much time
there as possible. I began
working double, then triple
shifts. I wanted to be a part of
everything that went on at the
club. I volunteered for off-site
promotion work but was seldom
asked because of my less than
"perfect" Bunny Image. On one
fateful day in November, however,
I was selected to help with a
business promotion at a nearby
hotel.
FADE OUT:
FADE IN:
INT. HOTEL - PRESIDENT'S ROOM
Dana and the other promotion Bunnies are dressed in the
cheerleader outfits with the Playboy Bunny emblem proudly
displayed on their chests. The mood is businesslike but
festive. Then, shocking news spreads through the group like
wildfire.
DANA'S OLDER VOICE
Things were going well. I was so
proud to be representing Playboy
at this function. The mood of the
crowd was businesslike but
festive. Then, all of a sudden,
everything changed. People
started to gasp and cry. It was
November 22, 1963, in the early
afternoon. President Kennedy had
been assassinated in Dallas.
HOST
Excuse me everyone. May I please
have it quiet for a minute. Thank
you. As many of you have just
heard, President Kennedy was shot
in Dallas while riding in
motorcade. There's no word yet as
to whether he is alive or dead.
Our gathering today will be
postponed until tomorrow morning
at nine o'clock. At this time,
everyone is free to leave.
FOLLOW OUT:
EXT. HOTEL - PRESIDENT'S ROOM
The Bunnies assemble and leave together. Trying
unsuccessfully to hail a cab, they agree to walk back to the
club. Along the way they stop and look in a storefront with
televisions broadcasting coverage from Dallas. The assembled
crowd stands in stunned silence.
DANA'S OLDER VOICE
We were told to return to the
Playboy Club, but there wasn't a
cab anywhere around, so we decided
to walk back. Along the way we
passed a storefront full of
televisions broadcasting coverage
of the horrible scenes from
Dallas. We were all speechless.
FADE OUT:
FADE IN:
INT. PLAYBOY CLUB
The Bunnies finally arrive at the Playboy Club and are seen
entering the club. The club was open but news of the
assassination is being broadcast over television monitors and
so everyone is in a melancholy mood.
DANA'S OLDER VOICE
The President's passing was felt
deeply by everyone. My night
shift passed slowly. When the
evening ended so did the innocence
of our great country. America had
come of age. Gone was the
"Camelot" world of President
Kennedy's administration. In its
place was a cruel, unsafe world
ruled by violence and crime, not
ideals, law, and justice.
I was used to living in such a
world. Because of the challenges
I faced growing up, I was
sensitive to basic human rights
issues. I spent more time at the
club and took on more
responsibilities than any other
Bunny. The other Bunnies came to
me with their problems.
One problem that came up over and
over had to do with Adrienne's
preferential assignment to the
choice Penthouse station. My
relationship with Adrienne was
strained at best. I knew it was
risky, but I had to do something
about this injustice. A general
meeting was called.
FADE OUT:
FADE IN:
INT. PLAYBOY CLUB - MEETING ROOM
The morning meeting is attended by all the Bunnies, Adrienne
Foote (Bunny Mother), and Keith Hefner. Adrienne steps up to
the podium to open the meeting.
ADRIENNE
As you know, Dana Montana called
this meeting in order to resolve
some concerns that a number of you
brought to her attention over the
past few weeks. Keith is here,
(motioning to Keith)
he'll listen, and hopefully come
up with a solution to your
problems. Let's begin by having
Dana give us an overview of what's
been bothering many of you.
Dana stands up.
DANA
During the past few weeks some of
the girls have felt passed over
for assignment to the Penthouse
shift. We all know that's where
the most money is made. We feel
that the Penthouse assignments
should be spread evenly through
the roster. Now, why don't some
of you who've talked to me
privately explain how you feel.
PLAYBOY BUNNY
Obviously, I'm one of the girls
who is seldom picked to work the
Penthouse shift. I'm not exactly
sure why that is.
What I do know is that I'm here to
make money. I've got a family to
support and every dollar makes a
difference. Most of us feel the
same way.
That Bunny sits down and several more voice their views on
that subject and on other grievances and complaints directed
at Adrienne's management of Bunny affairs. Keith Hefner
closes the meeting.
KIETH HEFNER
I want to thank you all for
bringing this to our attention.
We'll give the matter careful
consideration. That's all, you
may go now.
DANA'S OLDER VOICE
At first, no changes were made.
About two weeks after the meeting,
however, Adrienne Foote was moved
into another position and Toni
LeMay took over as Bunny Mother.
Toni soon appointed me as her
assistant and working conditions
gradually improved for all the
Bunnies.
I've managed to survived by being
resourceful in the face of
hardships. Applying that trait in
the course of working for Playboy,
I volunteered to be Camera Bunny;
a position none of the other girls
wanted because policy did not
promote good tipping.
DISSOLVE TO:
INT. PLAYBOY CLUB - LOUNGE AREA
Another Bunny is going through the Camera Bunny procedure
with a group of customers sitting in a booth.
CAMERA BUNNY
Would you like to have your
picture taken?
CUSTOMER
Well, sure, but how much will it
cost?
CAMERA BUNNY
A nickel!
She takes a Polaroid, gives the picture to the customers, and
the customer hands her a nickel.
DANA'S OLDER VOICE
Unbelievably, most often that's
exactly what the customers would
give--one nickel. I saw another
opportunity to improve tips for
the Camera Bunny. The first
change I made was to ask the
customer if they wanted their
picture taken with one of the
Bunnies--that was an instant
success. Next, when asked how
much the picture cost I said,
"Whatever you want to give." The
tips started rolling in and
everything was fine until one
night when three men wanted their
picture taken.
FADE OUT:
FADE IN:
Dana volunteers for the Camera Bunny shift and is seen
walking through the club with camera in hand. She approaches
a table of customers--three men.
FIRST MAN
(waving Dana over)
Hey, take our picture!
DANA
Sure, would you like to have your
picture taken with one of the
Bunnies?
FIRST MAN
Why, sure, that would be great!
DANA
Just a minute while I ask another
Bunny to join us.
Dana gets a Bunny over for the picture, positions everyone,
and snaps the shot.
2'D MAN
So, how much will that be?
DANA
Anything you want to give, sir.
The second man pulls 50 cents out of his pocket and hands it
to Dana. She gives him a look of displeasure.
2'D MAN
Isn't that enough?
DANA
I usually get between $5 and $20.
2'D MAN
Just for a picture?
DANA
Don't you think it's worth more
than 50 cents?
2'D MAN
Well, what if that's all I've got?
DANA
That would be very sad.
2'D MAN
You'd like me to have more,
wouldn't you?
Dana, sensing that the whole exchange is getting out of hand,
stops pressuring them and bows out gracefully.
DANA
Well, thank you fellas.
DANA'S OLDER VOICE
Those three guys gave me a hard
time, but I didn't think anything
of it until the next morning when
I was called into the office.
Toni and Keith were waiting to
talk with me.
KIETH HEFNER
I've got a report on you, here,
suggesting that you are soliciting
from the customers.
DANA
Soliciting? I never ....
TONI LEMAY
With the camera, Dana, gouging.
Do you know what we charge for
Polaroids?
DANA
Yes, a nickel.
KIETH HEFNER
Last night you deviated from our
policy in a major way and told an
undercover Willmark agent that you
usually got between $5 and $20!
DANA
(to herself)
I knew there was something unusual
about those guys last night. It
figures they were undercover
Willmark agents. Playboy hires
them to make sure the employees
are performing properly.
TONI LEMAY
Keith, she's the most dedicated
Bunny I've got. I don't think she
would ever do anything to
intentionally damage Playboy. I
really don't.
KIETH HEFNER
Wait a minute, Dana. You don't
mean that the customers actually
hand you a nickel ... I mean a
nickel!
DANA
Yes, sir. They never give more
than a nickel if you say that to
them. It becomes some sort of
bizarre joke to them. Just follow
me around and I'll show you what
I mean!
Keith leans back in his chair and stares back at Dana.
KIETH HEFNER
All right, Dana, you can go now.
Dana leaves while Keith and Toni converse. Dana comes into
work the next morning and draws a two-week suspension. On
her first day back a memo was posted directing the Camera
Bunnies as to what to say in response to any customer
question regarding how much to pay for a Polaroid.
DANA'S OLDER VOICE
The next morning I was sent home
on a two week suspension. When I
returned the camera policy had
been changed.
FADE OUT:
FADE IN:
INT. PLAYBOY CLUB
Two weeks later Dana returns to work.
BUNNY
Dana, take a look at this memo.
Dana takes a moment to scan the document.
DANA
Can you believe this? I was
suspended for altering the camera
policy and they go ahead and
change it to what I was doing.
Figure that.
2'D BUNNY
Hey, Dana, your grandmother is
here with the kids.
DANA
Great. Tell her to bring them
into the dressing room.
GRANDMOTHER
Here are the children, Dana. I'll
be going now. You send them back
in a cab, all right?
DANA
OK, they'll be home for dinner.
(to kids)
So, what would you like to do
today?
Dana and some of the other Bunnies play with the children for
a few minutes then Dana puts her coat on and takes them
across the street to a movie.
She returns to the club to work, then picks them up after the
movie. Around five she sends them home in a cab.
Dana goes back to work and is shown waitressing and
troubleshooting other more managerial problems that come up.
In the middle of the evening Hugh Hefner comes into the club.
DANA'S OLDER VOICE
I was working long hours and I
missed spending time with my
children. By having them dropped
off at the club I at least got to
see them some during the week.
The other Bunnies and I would play
with the kids in the dressing
room, then I'd take them to a
restaurant or drop them off at a
movie. I'd go back to work, then
pick 'em up. I remembered what it
was like, having a mother that
didn't have time for me. I wasn't
going to let my children go
through the same thing. Our ritual
took place many times during the
months I worked at Playboy. My
life was dedicated to serving the
needs of the Chicago Playboy Club.
I spent more time there than any
other Bunny. I assumed extra
responsibilities and learned from
the inside what it took to run a
first-class business operating in
the exotic entertainment world.
The real world of Playboy is an
efficient well-run business; not
a bordello.
FOLLOW IN:
INT. PLAYBOY CLUB - PENTHOUSE SUITE
Dana's working the main lounge when Hugh Hefner comes in.
BUNNY
Look at that, the big man himself.
DANA
You know, this is the first time
I've ever seen him in the club.
He's not exactly what I expected.
BUNNY
I know what you mean.
DANA
If there is a "Playboy Image" Hugh
Hefner does not look the part.
BUNNY
With men it's not so much how they
look as how they act.
DANA
You're right, but he's just so
ordinary looking ... not exactly
the person you'd expect to be
heading up the Playboy empire.
BUNNY
Look at the other VIP's he's with
... they're all the same,
professional businessmen, not
players.
There's a call for Dana. She goes to the nearest phone to
answer the call.
DANA
Yes, this is Bunny Dana.
TONI LEMAY
Dana, there's going to be a
gathering at the Playboy Mansion
tonight. You're expected to be
there. Plan to spend at least two
or three hours, but play it by
ear. You know what to do.
DANA
Right, I'll go over around nine.
Will that be all right.
TONI LEMAY
That's fine.
FADE OUT:
FADE IN:
INT. PLAYBOY MANSION
Dana arrives through the main entrance. The party is in
progress. VIP's and other Bunnies and Playmates are mingling
in the crowd. Her first Playboy Mansion party, Dana isn't
quite sure what to expect. She sits down and a waitress
brings a tray with champagne cocktails. She takes one and
looks around while sipping the drink.
Another Bunny from the club spots Dana and sits down.
GAYLE
So, they corralled you into this
too, I see.
DANA
Yep. My first time, how about you?
GAYLE
I've been to one other party here.
DANA
I'm a little concerned about what
to expect.
GAYLE
Don't worry, it's not at all what
people think. Nobody's going to
ask you do take your clothes off,
or take drugs or anything like
that. You'll probably be bored
most of the night. Well, I'm
going to mingle. Try and do the
same thing.
Dana gets up and walks over to a small group of men
congregating over small talk. While talking she spots Hugh
Hefner and follows to see what kinds of activities surround
him.
DANA'S OLDER VOICE
I followed Hugh Hefner and the
other VIP's for several hours and
never once saw anything lewd or
raucous going on around them. No
one approached him suggesting
anything out of line. I wasn't
expected to do anything that made
me uncomfortable. No orgies went
on, nobody was shooting up or
passing pills around. Since I
don't drink much, all in all, it
was an uneventful evening.
CUT TO:
INT. PLAYBOY CLUB
Dana returns to the Playboy club after the mandatory Playboy
Mansion party to work out the end of a night shift. A
customer gets too friendly with a Bunny and is escorted out
of the club.
MARGIE
Dana, how was the party?
DANA
Oh, the usual, I guess, a little
boring, actually.
Dana overhears some confusion going on at the bar.
DANA
(continuing)
What's happening now?
BUNNY
Get your hands off of me. I'm
telling you for the last time.
DRUNK CUSTOMER
You should be friendlier after all
the tips I've given you. Come on,
baby. Give daddy a kiss.
Security is alerted and they converge on the scene with the
manager.
MANAGER
Excuse me, sir. Would you come
with me, please.
DRUNK CUSTOMER
What's going on? I was just
having a little fun. Where are we
going?
FOLLOW OUT:
INT. PLAYBOY CLUB - HALL TO FRONT DOOR
They escort him to the exit, give him his hat and coat and
forcefully escort him out the door. Dana discusses the
incident with the affronted Bunny.
CUT BACK:
INT. PLAYBOY CLUB - BAR AREA
DANA
What exactly did that guy do to
you?
BUNNY
He had his hands all over me and
wouldn't stop when I asked him to.
DANA
You did the right thing calling
security. This beautiful fantasy
world of ours wouldn't last a day
if the customers allowed to peel
away the illusion we create for
them.
DUKE CAMP,general manager of the club, is walking up to Dana
with a certifiable VIP, RICHARD HOFF.
DUKE
Excuse me, Dana. I'd like to
introduce you to Richard Hoff.
I've got to get to a meeting.
I'll let you two get acquainted.
Duke leaves and Dick and Dana get some small talk out of the
way.
RICHARD
I see you're taking pictures
tonight. Would you take one of me?
DANA
Certainly, Mr. Hoff.
RICHARD
Please, call me Richard.
DANA
All right, Richard, come and sit
over hear. Would you like your
picture taken with a Bunny?
RICHARD
No, alone will be fine.
Dana poses him and snaps the Polaroid. Richard Hoff hands
Dana a $100 bill.
RICHARD
(continuing)
Thank you. Here. Go buy your
kids some toys. Duke tells me
you've got a couple of children
... listen, Dana, lets have lunch
one of these days.
DANA
I'd like to, Richard, but it's
against the rules.
DANA'S OLDER VOICE
From talking with Duke, I knew I
could "bend" the rules where a VIP
like Richard Hoff was concerned,
but I was still legally married
and wasn't at all ready to involve
myself with another man in any
way. Dick kept approaching me and
I politely put him off, time after
time.
Dana walks away and continues taking pictures of other
customers. Richard is disappointed but not discouraged.
Later in the evening Dana becomes upset with a crude customer.
CUSTOMER
Why don't you ever smile? Come
on, give me a smile, baby.
(obscenely flapping
his tongue)
DANA
You smile, you dipshit, I'm too
busy to smile right now!
Dana pulls away from the crude customer and retreats to the
bar where Richard is sitting.
RICHARD
Is anything wrong, Dana? You seem
upset.
DANA
Nothing I'm not used to.
RICHARD
So, Dana, how about that lunch
date?
DANA
(thinking first)
Why don't you meet me at the Stork
Club after work tonight.
RICHARD
That's great, Dana, I'll see you
later.
DANA'S OLDER VOICE
So many of our customers were were
so crude and sexist.
Richard was always a perfect
gentleman, and dressed in the
finest tailored suits. If I had
a fantasy about the kind of man I
hoped to meet some day, it was
Richard. Although I kept putting
him off, he kept pressuring me for
a date. Finally, I agreed to meet
him for a drink after work.
CUT TO:
INT. STORK CLUB
Dana strides in looking great; wearing a flowing long white
cape, high heels, a miniskirt, and a revealing satin blouse.
Richard is waiting for her at a secluded private table. He
doesn't waste a minute with small talk.
RICHARD
You're such a beautiful woman ...
I admire you so much. I want you
to come back to my apartment with
me.
DANA
Don't put me in this position,
Richard. You'll get me over there
and then you'll try to get me to
go to bed with you, and I won't.
This is just a waste of your time.
Why don't you pick on someone else?
RICHARD
All I care about is being with you
... spending time with you.
You're important to me ... I need
to be around you.
Dana is caught off guard by a powerful psychological hook--
the need to be needed. She doesn't respond, but just looks
at him conveying in her eyes how moved she is.
RICHARD
(continuing)
Let's go.
They put on their coats and leave the club.
CUT TO:
EXT. FREEWAY
Driving along the freeway no words are spoken.
FADE OUT:
FADE IN:
EXT. MARINA TOWERS
Richard's car pulls into the parking structure of the Marina
Towers Condominiums near the Chicago River where he lives.
CUT TO:
INT. MARINA TOWERS - RICHARD'S PENTHOUSE
Using his keys, Richard opens the door and invites Dana to
sit down and wait for a minute. An upper-floor suite, Dana
looks out over the Romantic Chicago skyline while Richard
prepares a surprise.
RICHARD
Close your eyes.
DANA
What's this?
Dana feels something slipping over her shoulders.
RICHARD
It's yours. I bought it for you.
That's why I've wanted you to come
here for such a long time. I know
you, Dana. I know about your
kids, the kind of life you've had.
I know that you don't sleep
around. I admire that and it only
makes me want you all the more.
Dana, bewildered, walks around the apartment trying to clear
her head. In a floor-length mirror, she catches a glimpse of
a Cinderella figure wrapped in a magnificent fur coat.
RICHARD
(continuing)
Dana, come here, I've got
something else to show you.
He takes Dana down the hallway, to another suite of rooms.
RICHARD
(continuing)
This is yours. I'll hire a maid
who can take care of the children
and you can live here.
DANA
Richard, this is all very
wonderful but I couldn't possibly
do this. I'm still married and
I'm working at Playboy!
RICHARD
Forget it! You never hear from
your husband. He's old news.
You'll never get back together
with him. As far as the club
goes, you'll quit. You'll live
here like a queen!
DANA
No, I love Playboy, Richard.
Anyway, this is far too much for
me to handle in one evening. I've
got to get home to my kids now.
Let me just take this in more
slowly ... take some time to think
and we'll talk tomorrow.
RICHARD
OK, you go to your kids. My, or
should I say, our Thunderbird's
downstairs. I'll tell the doorman
to give you the keys. You see the
kids. I want you back in a few
hours.
FOLLOW OUT:
EXT. MARINA TOWERS
Dana takes the elevator down to the lobby and can't believe
what just happened. The doorman gives her the keys to a
white Thunderbird parked just outside the front doors. She
enters, starts up the car, and takes off down a deserted
early-morning Eisenhower Expressway.
At her usual exit two police officers are waiting to escort
her home safely. Dana has to sound her horn several times
before they recognize her. When they arrive at Dana's home,
and after a few minutes of small-talk, they wave goodbye to
each other .
Walking up to her door, she hears the phone ringing. Dana
picks up the phone.
DANA
Hello.
RICHARD
Where the fuck have you been. It
shouldn't have taken you 20
minutes to get home. What the
fuck's been going on!
DANA
Richard, for heaven's sake, relax.
I talked for just a few minutes to
some friends of mine. They're two
police officers who escort me home
whenever they see me.
RICHARD
You've got no fucking business
talking to cops. You didn't
mention my name, did you?
DANA
No, Richard. Now, I've got to get
some sleep. I'm exhausted. I'm
going to bed, but I'll get over to
see you tomorrow.
Dana hangs up the phone and immediately it rings again.
RICHARD
You better be staying there. I'll
call. I'm going to check up on
you, Dana.
After hanging up the phone, Dana mumbles to herself, confused
and concerned.
DANA
(to herself)
I can't believe this guy. What
have I gotten myself into. I
better break things off with him
tomorrow ... yes, first thing
tomorrow.
FADE OUT:
FADE IN:
EXT. MARINA TOWERS
The next morning Dana is pulling into the Marina Towers and
parks the Thunderbird, makes her way to Richard's penthouse,
and knocks on the door.
INT. MARINA TOWERS - RICHARD'S APARTMENT
Richard opens the door and Dana walks in.
DANA
Here are your keys. I really have
to go ... I'm scheduled to work at
five.
RICHARD
No you don't. I called Duke and
you have the night off. I told
him to replace you--that I'm
taking you out to dinner. So, he
replaced you. That's all there is
to it, so relax.
Dana is hypnotized by his determination and overbearing will.
She follows his intimidating lead. They share a romantic
candlelight dinner then return to the penthouse. The scenes
shift to follow Dana's offstage dialog.
DANA'S OLDER VOICE
I was hypnotized by his
overbearing will. After a
leisurely romantic candlelight
dinner, we returned to the
penthouse. As if in a dream, soon
soft music and the moody glow from
white scented candles created a
magical mood.
FOLLOW TO:
INT. MARINA TOWERS - RICHARD'S BEDROOM
Richard takes Dana by the hand and leads her to his bedroom.
Although Dana's Catholic conscience resists, she is
mesmerized by the moment--drugged by Richard's charm and
strength of will. Ever so gently, yet passionately, he
removes one item of clothing after another. Dana reclines
into his soft silky silver down comforter and watches while
he undresses. He never takes his eyes off of Dana.
RICHARD
Dana, you are so beautiful.
He dismisses the distance between them and presses his firm
hard body into hers until penetration is deep and satisfying.
Dana moans with delight. His movements begin a crescendo of
sensual ecstasy. Tears come to Dana's eyes and she begins to
stiffen.
RICHARD
(continuing)
C'mon baby, move a little.
He stops suddenly.
RICHARD
(continuing)
Damn it, you are the worst fuck in
history! What the hell is it with
you?
He jumps off the bed and glares at Dana before changing his
attitude.
RICHARD
(continuing)
I'm sorry. You just don't know
what to do. Let me help you.
There are a lot of women like you.
Richard returns to kissing and fondling Dana, in order to
bring her sensual pleasure before taking his own quick
release.
RICHARD
(continuing)
Do you still feel guilty?
Dana is bewildered.
DANA
Richard, I don't use any kind of
birth control. Am I going to get
pregnant?
RICHARD
Naw, you don't get pregnant every
time you make love, for god's sake.
He laughs trying to make light of the situation.
DANA
Please go get me something like a
douche, or something at the drug
store.
RICHARD
Have you lost your mind. I'm
going to get dressed and go get
you a douche at this hour? Get
serious, Dana.
CUT TO:
INT. PLAYBOY CLUB
Days later Dana sees Richard at the club. He gives Dana some
money but ends up flirting with a Playboy centerfold the rest
of the evening.
RICHARD
Dana, hello. I'm glad I ran into
you. Please take this and buy
something for your children.
DANA
Richard, really, you don't have
to ...
He turns to TERRY KIMBALL as she walks by.
RICHARD
Terry, wait a minute, ...
Richard leaves Dana and goes off to flirt with Terry. That
night, on her drive home, Dana tears up the bill and throws
the pieces into the wind out onto the freeway. Weeks later,
Dana has a run-in with Richard at the club.
General
The scenes will shift to keep up with Dana's off stage dialog.
DANA'S OLDER VOICE
I felt like a whore when he gave
me that $100 bill, before going
off to spend the rest of the night
flirting with Terry Kimball, a
Playboy Centerfold. That night,
while driving home, I ripped the
bill up and threw the pieces to
the freeway wind. Weeks went by
before I ran into Richard again at
the club. He was drunk,
obnoxious, and disorderly.
FADE OUT:
FADE IN:
INT. PLAYBOY CLUB
Dana, in Bunny costume, walks past Richard sitting at a table
with several men.
RICHARD
Hey, bitch, come here!
DANA
What did you just call me?
RICHARD
You heard me ... bitch!
Duke Camp picks up on what's happening and decides to
intervene.
DUKE
Richard, hold it down a little,
will you?
RICHARD
Fuck her, Duke. You gonna let
this cheap slut come between us?
Duke is fuming and has lost his patience.
DUKE
Richard, you know I don't want to
do this, but I have to ask for
your key. As of this moment you
are no longer a member and you are
not welcome on these premises.
This young lady is a Playboy
Bunny. She works in this club and
there is nobody on earth who is
going to speak to her in that
manner. You have no right to
abuse her and I will not tolerate
it for a single second. Get out
of here before I personally throw
your ass onto Walton Street!
Richard leaves without a scene. Dana returns to work without
any further incidents involving Richard.
Dana begins to reap the rewards of all her hard work. She
buys her first brand new car and proudly drives it to and
from work each day.
In Lake Como, she acquires an Arabian white stallion, Cass.
General
Scenes shift to follow Dana's off stage dialog.
DANA'S OLDER VOICE
Richard was not the only VIP to be
thrown out of the club. He was
supposed to be a "dangerous" man
with possible connections to
organized crime, but he never
threatened me after that incident.
I continued working long hours and
making good money. Eventually I
was able to buy my first brand new
car, a white Pontiac Bonneville
convertible. Back in Lake Geneva
I fell in love with an expensive
but beautiful white Arabian
Stallion, I bought and named Cass.
CUT TO:
EXT. LAKE GENEVA COUNTRYSIDE
Dana's riding Cass in the open Lake Geneva countryside,
smartly dressed in white sharkskin hip-huggers and a low-cut
top, Cass and Dana make an attractive couple.
DANA'S OLDER VOICE
Together we rode through the
serene Lake Geneva countryside.
One afternoon, while riding just
outside of the city of Lake
Geneva, we passed by the old Club
J-Mar.
Act VIII
EXT. CLUB J-MAR
Dana dismounts, ties up Cass, and meanders over to take a
closer look at the old boarded-up building. She looks
inside, after pulling aside a loose board, and imagines
owning a renovated Club J-Mar; her own nightclub.
DANA'S OLDER VOICE
I dismounted, tied up Cass, and
walked over to the old boarded-up
building. The scene inside seemed
to be a moment from the past
frozen in time.
Cobwebbed glasses were still on
tables with chairs surrounding a
well-dusted dance floor. There
were bottles on the backbar still
filled with liquor. I pushed
aside another board and forced my
way inside.
FOLLOW IN:
INT. CLUB J-MAR
Inside, Dana walks around dreaming of turning the old bar
into her own nightclub.
DANA'S OLDER VOICE
Once inside I could see that a
party of some sort marked the last
night the old Club J-Mar was in
business. Everything was covered
with a thick untouched dusty-white
haze. The temperature was cool
and the atmosphere dreamlike. The
building and furniture seemed to
be in reasonably good condition.
It couldn't cost much to buy this
old building. Just then, the name
for MY club came to me with an old
memory.
FADE OUT:
FADE IN:
EXT. CHICAGO LOOP - PLANETARIUM
Darryl and Dana are young lovers parked at the lake front
listening to the radio which was tuned to WLS.
DICK BIONDI (O.S.)
Dick Biondi here with one of the
hottest songs going, "Sugar
Shack," by Jimmy Gilmore and the
Fireballs.
The song plays for a while.
DANA
What a great name for a nightclub!
DARRYL
What are you talking about?
DANA
Sugar Shack. That song we just
heard on the radio. It would make
a great name for a club. You
know, a cozy place where everybody
could go to spend a sweet night of
fun and frolic. The Sugar Shack.
I love it!
CUT BACK:
INT. CLUB J-MAR
DANA'S OLDER VOICE
I had the name and I had the
building. Before deciding to buy
the old Club J-Mar or not I wanted
some advice. I arranged for a
local carpenter to judge what it
would take to make renovations.
FADE OUT:
FADE IN:
The next day the carpenter stops by to give his evaluation of
the property.
DANA
So, what do you think?
CARPENTER
This place is a disaster. Every
joint is weak. You'd be crazy to
pay a single dollar for this
building. Now, you could tear it
down and start over, but that
would cost a small fortune.
DANA
Oh, no, you can't be serious.
CARPENTER
I'm afraid so. I could use the
business but I'd hate to see you
throw good money at this bad
building. You know where to reach
me.
DANA
Thanks for coming out.
Dana stays after the carpenter leaves and paces pondering her
dilemma.
Dana shows the building and shares her dream with several
other friends. No one understands Dana's enthusiasm for the
project.
DANA'S OLDER VOICE
I brought some friends over to
look at the building. No one
thought it was a good idea to move
ahead with buying the building.
I couldn't shake the feeling that
I was doing the right thing
despite the lack of encouragement.
I decided that if I could get my
husband to agree to work with me
I could make a go of it somehow.
Although we had been estranged for
months, his mother told me where
I could find him.
FADE OUT:
FADE IN:
INT. DARRYL'S APARTMENT
Darryl is shacked up with an old hooker and has been on a
bender for days. He drags himself to the door to respond to
Dana's repeated knocking.
DANA
Darryl, are you in there, it's
Dana. I want to talk to you.
DARRYL
What the hell are you doing here?
DANA
Get dressed, there's something we
need to discuss.
DARRYL
Listen, Dana, if it's about
money ...
Dana turns her back and waits outside the door for Darryl to
get dressed. He opens the door and steps into the hallway.
DANA
Let's find a restaurant so we can
talk.
DARRYL
Let's find a bar so we can talk!
FADE OUT:
FADE IN:
INT. NEIGHBORHOOD BAR
Dana and Darryl are sitting in a booth. Drinks are being
served. Darryl's having a beer--Dana coffee.
DANA
Look, bygones are bygones. Let's
say we put everything behind us as
of today and start over. I found
this bar up in Lake Geneva and I
want to buy it. I believe we can
get our marriage back on track.
If you feel that way too, then
come with me and see the building--
see what you think. It needs
renovating but we could work on it
together. Just think, we'd have
our own business!
DARRYL
Well, Dana, it might be worth a
try.
DANA
All right. You go home and in a
few days I'll pick you up and
we'll drive to Lake Geneva.
FADE OUT:
FADE IN:
EXT. RURAL WISCONSIN ROAD
Darryl and Dana drive up to the old Club J-Mar building along
Highway H just outside of Lake Geneva. Along the way they
get into a number of personal issues festering under the
surface.
DARRYL
So, I suppose you have your pick
of guys at the Playboy Club.
DANA
Well, being a Playboy Bunny does
mean something, Darryl.
DARRYL
I know that's true. About the
club, what are you going to name
it, again?
DANA
Don't you remember ... that day
down by the lake front ... we were
parked near the Planetarium and
listening to the radio ... that
song came on, you know, "Sugar
Shack" and I told you I thought it
would make a great name for a
nightclub.
DARRYL
That's right, you did say that,
didn't you?
FOLLOW IN:
EXT. CLUB J-MAR
Dana and Darryl drive up to the old building. They get out
of the car and approach, then enter the building. Darryl
looks around and begins to share Dana's dream.
DARRYL
Do you really think it could work,
Dana? It would be quite an
adventure, wouldn't it ... and I'd
like being back with the kids.
You know I've always loved you ...
It's true.
Dana cringes inside. So many nights she's cried herself to
sleep hoping to hear those words.
DANA
I've never stopped loving you
either, Darryl.
FADE OUT:
FADE IN:
With Darryl's support Dana goes ahead and buys the building
for $5,000 down on a $20,000 mortgage. Dana keeps working at
the Playboy Club, Darryl gets a job and visits her there. On
the weekends they go to Lake Geneva and work on renovating
the old Club J-Mar into The Sugar Shack.
General
Scenes shift to follow Dana's off stage dialog describing the transition.
DANA'S OLDER VOICE
With Darryl ready to give our
marriage another try and willing
to work with me to renovate the
Club J-Mar, I didn't hesitate to
buy the building. I kept working
for Playboy during the week.
Darryl got a job and even started
visiting me at work. We spent the
weekends in Lake Geneva getting
our Sugar Shack ready to open. We
shared our first real Christmas
together as a family with feelings
for each other. Darryl toasted in
the new year of 1966 with only one
glass of champagne. This was
going to be our year. Our family
would stay together, the Sugar
Shack would open, and I would
continue to supplement our income
by working for Playboy. That was
the plan ... until disaster struck!
General
Scenes have shifted along with Dana's dialog leading to the first week
in January 1966 with Dana working at the Playboy Club.
INT. PLAYBOY CLUB
Dana is back working a night shift after the holidays when
Toni LeMay, the Bunny Mother, finds Dana, hands her a list,
and gives her some nervous instructions.
TONI LEMAY
Dana, track down all the Bunnies
on this list and make sure they
stay late for an after-hours
meeting.
DANA
What's this about? No one's going
to be happy about hanging around
after 4 a.m. unless it's something
important.
TONI LEMAY
Just be there ... by the way
you're on the list too.
BUNNY
We're getting fired, aren't we?
DANA
Are you out of your mind? They
wouldn't fire fifteen of us at one
time ... in the middle of the
night!
INT. PLAYBOY CLUB - MEETING ROOM
Toni LeMay looked up at Dana from behind her desk--
emotionless.
TONI LEMAY
It's over, Dana.
Looking at the group.
TONI LEMAY
(continuing)
I can't save any of you. The
official reason is that all of you
are too old. We're going to have
only really young kids on the
floor.
Looking at Dana.
TONI LEMAY
(continuing)
This is not easy for me,
especially with you, Dana.
The Bunnies are in shock and Dana is crying.
DANA
Will I ever be able to come back.
TONI LEMAY
No, I'm afraid not.
Dana's anguish turns to rage.
DANA
This was deceitful and wrong ...
after all we've done for Playboy.
Toni, mark my words. When this
Playboy Club no longer exists,
Dana Montana will be famous for a
club that she owns and operates!
The Bunnies leave the Playboy Club for the last time and set
out down Walton Avenue to start new lives.
The firings are big local news and the next day Dana and some
of the other Bunnies were interviewed on radio and for
newspaper articles.
Dana is heartbroken but regroups and finds another cocktail
waitress job in the loop.
She and Darryl ready the Sugar Shack for opening night.
DANA'S OLDER VOICE
We were upset and stunned as we
gathered our things and left the
Chicago Playboy Club for the last
time. The firings were big news.
I was interviewed for newspaper
articles and by Wally Phillips
from WGN Radio. My dream of
opening the Sugar Shack was set
back, but not shattered. I found
another cocktail waitress job in
the Loop and finally we were ready
for opening night.
CUT TO:
INT. SUGAR SHACK
Dana Darryl and the staff are making final preparations for
opening night. Down to their final penny, Darryl takes some
returnable soda bottles back in order to buy cigarettes while
Dana touches up the final coat of varnish on the bar.
DANA
Darryl, here's two more bottles.
Remember, get me a pack of Camels.
DARRYL
All right, is there anything else
we need?
DANA
No, that I think we're ready ...
ready as we'll ever be. I'm going
to check the varnish on the bar,
just to make sure it's dry.
DARRYL
Did you hear from Wally Phillips
yet?
DANA
No, but he owes me one after the
interview I gave him in January
over the Bunny firings.
DARRYL
Yah, but that was news ... this is
business.
DANA
I know, but I've got a feeling
he'll give us a plug.
DARRYL
Anyway, being Memorial Day weekend
there sure are a lot of people in
town celebrating. A few of them
might find their way here.
DANA
Let's hope so.
FADE OUT:
FADE IN:
Four hours later it's time to open the doors to the Lake
Geneva Sugar Shack.
General
Scenes will shift to follow Dana's off-stage dialog.
DARRYL
Look outside, Dana, there must be
50 people already in line!
Dana takes her position at the door, prepares to check ID's
and take a modest cover fee. Everything is ready and the
Sugar Shack opens its doors for the first time. One customer
recognizes Dana and speaks to her as he pays the cover.
CUSTOMER
So, you're Bunny Dana ... yeah,
Wally Phillips said you were in
business for yourself and that we
should stop by.
DANA
Yep, that's me ... former Bunny
Dana Montana. Well, I'm going to
have to thank Wally Phillips the
next time I talk to him.
CUSTOMER 2
Dana, what band will be playing
tonight?
DANA
Tom Thumb and the Three Fingers,
have you heard of them?
CUSTOMER 2
Sure have!
DANA
And to spice things up we've got
a couple of gorgeous go-go girls.
CUT TO:
INT. INSIDE SUGAR SHACK
Camera shifts to the stage and dance floor area. The band is
shown playing, people dancing, and the go-go girls in action.
Darryl is behind the bar serving drinks.
All goes well until the expected winter slump. They survive
the off season and the summer of 67 starts off well but hits
a snag when student riots in the quiet resort town of Lake
Geneva are covered in the media. The resulting stigma slowed
tourist trade the rest of the summer. Lake Geneva and the
entire nation was caught in the grip of a social upheaval
surrounding events in the 60's.
The spring of 1968 saw the promise of more business because
of Playboy's decision to build a club and resort complex in
Lake Geneva. Business did improve but the transplanted
Playboy customers wanted to see more of Dana's go-go girls.
She agrees to let them go topless. That leads to booking
exotic acts.
General
The scenes shift to follow Dana's off-stage dialog sequencing the events
that led to the breakthrough year of 1969 for the Sugar Shack.
DANA'S OLDER VOICE
Our opening night was a success.
The band and the go-go girls were
a hit. Darryl and I made a good
team. He managed the bar area and
I worked the crowd. He even had
a theatrical sense of humor.
In the weeks that followed our
opening, Darryl would don a Batman
cape and perform some dance antics
on stage whenever the band played
the song, "Batman." Throughout
the rest of the summer of 1966
business was booming, the bills
were paid, and some money was
banked, but not enough to carry us
through the lean winter months.
Lake Geneva was a summer resort
community and there weren't enough
local residents to support most
businesses during the long winter
months. When business began to
fade, so did Darryl, taking a job
in Chicago and disappearing back
into his bottle. I took a job as
a supermarket checker, just to
keep food on the table. To
compound our problems, I became
pregnant with our third child
during the "better" days over the
summer which further stretched our
meager resources. Somehow I made
it to spring and with the opening
of the 1967 tourist season the
Sugar Shack was back in business
once again. Rock bands were
packing them in over the summer of
'67. Lake Geneva always attracted
large numbers of tourists over the
Fourth of July, many of whom were
unruly college students whipped
into a frenzy by events creating
social unrest during the turbulent
60's. This was the decade of
President Kennedy's election and
assassination, the Berlin Wall and
Russian space advances, the Civil
Rights Movement and the Cuban
missile crisis, the Freedom March
on Washington, bell-bottoms, the
pill, smoking pot, and burn-the-
bra demonstrations as as women
became more militant in seeking
rights that the men in our society
took for granted. The Civil
Rights Act of 1963 carried a
women's rights rider. Marilyn
Monroe is found dead in 1962 and
the President's Commission makes
public the needs of women in
American society. Betty Friedan's
best-selling book, The feminine
Mystique, implanted the
possibility of change in the minds
of millions of American women.
The Vietnam War had escalated by
1967 and involved over 250,000
American soldiers as combatants in
the most unpopular war in history.
Demonstrations were taking place
all over the country. The riots
in Lake Geneva in the summer of
'67 were inspired by an entire
nation writhing from political and
social unrest. The Sugar Shack
was poised to ride the crest of a
tidal wave of cultural transition
to a new horizon of entertainment
that was destined to make a strong
social statement.
DANA'S OLDER VOICE
(continuing)
The bad press hurt tourism for the
rest of the summer. Business
suffered and by the time I closed
the Sugar Shack for the winter I
was down to my last dollar. It
was another scrape-by off season
but there was something to look
forward to. In the spring,
Playboy was planning to open a
club and resort complex in Lake
Geneva. Every business in the
area, including the Sugar Shack,
stood to benefit. I was
intimately familiar with the
Playboy Club conventioneer
clientele that began dropping in
to visit the Sugar Shack. As
expected, they wanted more, or
should I say less, from our go-go
girl entertainment. Under lots of
pressure, I agreed to let the
girls to topless. Because of the
Playboy spin-off revenues I was
able to keep the Sugar Shack open
on a shortened weekend schedule
longer into the winter months, but
by March my finances were
seriously strained. I decided to
seek a loan.
FADE OUT:
FADE IN:
INT. LAKE GENEVA BANK
The last scene ends with Dana sloshing through the snow up to
the bank's front door. She enters the warm building and
believes there is a good chance she will get a much-needed
loan.
BANK LOAN OFFICER
Yes, Ms. Montana, what can I do
for you? Please, have a seat.
DANA
As you may know, I'm a customer at
your bank, and I own and operate
the Sugar Shack nightclub just
outside of town.
BANK LOAN OFFICER
Yes, I'm aware of that.
DANA
Well, I'm sure you're also aware
that any business operating in the
Lake Geneva area is hit hard
during the long winter off season.
BANK LOAN OFFICER
That is certainly true.
DANA
I've been in operation for two
years and I brought financial
statements to show you that the
business is sound based on summer
revenues.
BANK LOAN OFFICER
May I take a look at those.
Dana hands them over.
DANA
This time of year my operating
budget reaches rock bottom. I'd
like to apply for a $3,500 loan
for a three to six month period.
I should have no problem repaying
the loan by September.
The loan officer just sits quietly, listening with a cold
blank expression on his face.
BANK LOAN OFFICER
Miss Montana ... I understand you
have three small children and you
are separated from your husband.
I think I've also been told that
you are presenting topless dancers
in your club. Miss Montana, I can
assure you that the board of
directors of this bank would take
a very dim view of my lending
their money out to someone like
you. No ... no, Miss Montana, you
are just not the kind of person
that we consider a good risk. To
be honest with you, I just don't
think you're going to make it in
our business community.
Dana is becoming visibly upset.
DANA
You don't understand. I'm good
for the money ... and I really
need it badly. I just need your
help for a couple of months ...
please help me.
BANK LOAN OFFICER
It's a closed issue. Under no
circumstances could I possibly
approve such a loan request.
Dana is now angry.
DANA
Now, you listen to me. I've
worked hard all my life to make an
honest living and I won't be
talked to like some street bum.
I am going to make it in this town
and when I do you'll never see a
penny of my money at this bank ...
and it may amount to millions ...
millions, do you hear me!
The loan officer is visibly shaken by Dana's outburst.
DANA
(continuing)
And, if I make enough money I'm
going to buy this bank just to
fire your ass, DO YOU HEAR ME!
Dana stands up and pounds on his desk.
DANA
(continuing)
Furthermore, I'm closing all of my
accounts as of today.
Dana turns to leave with tears streaming down her face.
FADE OUT:
FADE IN:
INT. SUGAR SHACK
Despite financial setbacks Dana opens the Sugar Shack for the
1969 season.
DANA'S OLDER VOICE
With help from my grandparents and
a lot of hard work, the Sugar
Shack opened on time in the spring
of 1969. I found the best rock
bands and the most beautiful
topless go-go girls available.
For the first time, the Sugar
Shack stayed open all winter on
weekends. With business booming
promoters were suggesting that I
take the next logical
entertainment step--book exotic
acts.
Dana's on the phone in her office talking to a promoter.
PROMOTER
Don't overlook your market. An
important part of your regular
audience are people coming from
the Playboy resort. You know what
they want to see.
DANA
Sure, they come from the Playboy
Club wanting to see some skin. I
always promised myself that my
club would be run with the same
high standards that I was exposed
to as a Playboy Bunny in Chicago.
The thought of showcasing
strippers just doesn't sit well
with me.
PROMOTER
Dana, you can present an exotic
act in a tasteful and classy
manner. It can be what you make
of it. Let's face facts ... you
have to please your audience.
DANA
I know you're right ... let's give
it a try. So, tell me more about
this Lolita.
DANA'S OLDER VOICE
I wasn't happy about the prospect
... and I'm sure Sister Angelica,
my fourth grade teacher, was
turning over in her grave ...
but I booked the Sugar Shack's
first exotic act. Actually, the
topless go-go girls showed more
skin. The strippers went down to
a G-string and pasties. I was
sitting in my office the day
Lolita arrived.
CUT TO:
EXT. SUGAR SHACK
During Dana's dialog the scene is of an old rundown bus
driving along Highway H heading toward the Sugar Shack. It
pulls into the parking lot sputtering, steaming, and dripping
oil. Its body was banged up and hand-painted in a collage of
colors. Dana walks out to see what has invaded her parking
lot. The lady that emerged from the broken-down bus looked
about as much like a stripper as did Dana's grandmother.
LOLITA
Hi, honey, nice place ya got here.
Her husband is with her. They invite Dana to come inside and
see their bus. Approaching the door she hears strange noises
which don't seem to bother Lolita and her husband. The
interior is dirty and smells like a barn. A series of staked
wooden crates serves as their bed. A tiny pony was penned in
by a homemade stall a few feet further back. Toward the back
of the bus is an assortment of cages containing rats, snakes,
birds, and rabbits. Dana has seen enough and backs away.
LOLITA
(continuing)
Oh, listen, this isn't some weird
scene or anything. Didn't my
agent tell you, I use them in my
act. Really, you'll love them.
DANA
Look, I'm not sure I like the idea
of you bringing snakes into my
club.
LOLITA
Well, I've used them throughout my
whole career ... it makes for a
great act! If you don't like it
though, I'll change, but I'm sure
you're going to adore it.
CUT TO:
INT. SUGAR SHACK
Arriving with just an hour before show time, Lolita and her
husband begin preparations for her act. The exotic act, as
a publicity draw, does its job and the Sugar Shack is packed
with enthusiastic fans.
FANS
We want Lolita ... we want Lolita
... we want Lolita ...
Darryl turns to Dana.
DARRYL
You know, I think this stripper
thing is going to work ... let's
get more booked right away.
Lolita's husband walks throughout the crowd with a kinkajou,
a furry little wolverine that was willing to perch on
anyone's shoulder. Lolita, five-feet tall with a 38-inch
chest, begins her act and uses the various animals that her
husband brings out into the auditorium.
At the end of her act, her husband placed a basket on stage.
With a subtle signal, the lights were dimmed. Down to her G-
string and bra, she reached into the basket and pulled out a
12-foot python. When she turns around her breasts are bare
and the python is seductively surrounding them.
A man sitting near the stage is startled, gets up, and moves
back quickly scattering chairs and patrons along the way.
Women are screaming and things become chaotic. Just then
Lolita picks the snake up over her head and starts spinning.
Dana hears loud smacking sounds against the wall. The snake
is expelling fecal pellets and people sitting near the stage
are getting splattered. The song ends, the snake goes back
in the basket, and Lolita exits stage left. Dana is right
behind her.
DANA
What the hell was that all about?
LOLITA
I'm so sorry. He's never ever
done that before. He just ate
after not eating for the longest
time. I had no idea that would
ever happen. My husband will put
things back in order.
Her husband is out in the crowd apologizing to the people who
were affected by the snake's untimely defecation. Just then
Darryl turns to Dana.
DARRYL
You know, Dana, guys will take a
lotta shit just to see a couple of
great tits!
Dana just shakes her head. Unsure what would happen the next
night, Dana ends up turning 50 people away at the door.
Lolita is followed by Sally Rand, Chesty Morgan, and others.
Strippers were a sound business decision but Dana feels her
standards are dropping.
CUT TO:
EXT. ELKHORN STRIP CLUB
Another strip club opens in Elkhorn. Dana and Darryl go to
check out their competition. They slip in and sit in the
back.
While there, an old farmer slips out of his coveralls, jumps
on the stage, pins down the stripper, and starts sucking on
her breasts. With that Dana and Darryl leave aghast.
DANA
Darryl, if that's what we have to
do to stay in business, I'm
putting the Sugar Shack up for
sale.
DARRYL
I understand how you feel but
business is slow and we've got to
find a way to pay our bills.
DANA
Darryl, I've got an idea.
DARRYL
Yeah, what is it?
DANA
I'm going on the road ... as far
away from here as possible and get
a job as a stripper. I'll put an
act together from bits and pieces
of all the bimbos we've hired.
I'm younger and prettier than most
of the babes we've seen on our
stage. I know I can make good
money as an feature act. I just
know it!
DARRYL
It's worth a try.
The next day Dana calls her booking agent.
DANA
Hal, I know you're not going to
believe me, but I want you to book
me as an exotic act, but not
anywhere near Lake Geneva. Can
you do that for me?
AGENT
Dana, all you ever do is complain
about the acts I send you. Now
you want to become one of them?
Are you serious?
DANA
Just do it an don't ask anymore
questions.
Dana gets to work and designs an act for herself and
rehearses it while waiting for her agent to call back.
Within days she is booked for $500 for a week in Minnesota.
Her commitment starts to wane. Dana remembers turning down
an offer to pose as a Playboy centerfold during her days as
a Bunny.
She faces the fact that despite the money, she just can't go
through with it. The Sugar Shack continues to book exotic
acts. Dana is informed by a friend on the local police force
that the Sugar Shack is targeted for a raid.
General
The scenes will sequence to follow Dana's off-stage dialog.
DANA'S OLDER VOICE
I came up with an idea for an
exotic feature act, designed my
own costume and props, rehearsed
and waited for my agent to call
back. A few days later he had me
booked in Minnesota for a week at
$500. All of a sudden I got cold
feet. How was I going to get up
in front of a group of strangers
and take off my clothes. When I
was a Playboy Bunny I turned down
an offer to pose for a centerfold.
I just knew I couldn't go through
with it, so I called my agent and
canceled. I continued booking
exotic acts until one day a friend
of mine on the police force came
by to see me.
INT. SUGAR SHACK
Dana is sitting in her office when the phone rings.
OFFICER
Dana, I'm afraid I've got some bad
news for you.
DANA
What is it, John?
OFFICER
You know that club in Elkhorn,
they want to close it down because
of the things that go on there.
They've got to put some heat on
you so their actions don't look
prejudicial. They've got a hard-on
for you for some reason and the
Sugar Shack is scheduled for a
raid.
DANA
But for what? There isn't a thing
that I could get pinched for, not
a single thing!
OFFICER
They'll bust you and do it
legally. They'll get you if they
try hard enough, believe me.
General
The scenes will sequence to follow Dana's off-stage dialog.
DANA'S OLDER VOICE
I knew he was serious. I took
apart everything that was going on
at the club. I warned the staff
to expect undercover cops looking
for violations. The Fourth of
July weekend was coming.
MORGANNA, The Kissing Bandit, was
booked to highlight the holiday
week. She was supposedly
talented, beautiful, and famous
... or should I say, infamous.
She had a reputation for being
arrested for streaking at high-
profile sporting events; an
effective gimmick for generating
thousands of dollars worth of free
publicity. When I learned this
about Morganna I started to worry.
From the moment she pulled into
the driveway we were at odds with
each other.
INT. SUGAR SHACK
In the office, Dana is briefing Morganna about the potential
problems with the police.
DANA
Morganna, this is a big weekend
for us. The crowd can sometimes
get out of hand, but I need to you
stay calm and don't do anything
outside the bounds of what's
accepted in our county. We're
being targeted for a raid and
there will probably be undercover
police attending one or more of
your shows. Just remember, no
contact is allowed between you and
the customers, nor can you
simulate anything like a sex act.
All Morganna can think of is another chance to get arrested
for doing something sensational.
MORGANNA
What can I do to help this happen?
DANA
No, you don't understand. I don't
want you to get arrested. I'm not
looking for any publicity.
MORGANNA
You know, I've been busted all
over the country for my snake bit.
Wait 'till you see it!
DANA
Morganna, listen, you can't do
your snake routine ... and
remember, you can't touch the
customers. I'm serious now ...
are you listening.
MORGANNA
Well, all right, but it isn't
going to be much of a show if I
can't have a little fun on stage.
On the Fourth of July, however,
you have to let me do something
special.
DANA
Well, we'll have to talk about
that. For now, just stay out of
trouble. Your first show starts
in two hours. Remember what I
told you.
DANA'S OLDER VOICE
Her first few performances went
without incident. She pushed but
basically stayed within my rules.
Then I got another call from my
friend on the police force.
Dana's in her office when the phone rings.
OFFICER
They're gonna try to bust you this
weekend, Dana. Be careful.
Undercover officers been in a
couple of times, but you're hard
to nail. You're running a tight
ship there ... but this is no time
to ease up.
DANA
Thanks again ... we'll be ready.
Just as Dana hangs up the phone, Morganna walks in. Dana
decides not to inform her that the raid is on for the weekend
for fear of inciting her to do something risky.
MORGANNA
Dana, the Fourth of July weekend
starts tomorrow. How about
letting me use the folding snake
during the show?
DANA
Morganna, if that snake makes one
appearance on stage I will
personally grab the fuckin' thing
and stick it up your ass!
I'm not going to take a chance on
getting busted so you can have
some more cheap publicity. Don't
fuck with me ... I mean it!
The next night the Sugar Shack was ready to help a full house
celebrate the Fourth of July holiday weekend. Backstage Dana
confronts Morganna.
DANA
(continuing)
I want a clean simple show
tonight, Morganna. I have my
reasons for saying it, but just
know that it's important. You
must be very careful tonight.
Dana goes to the door and looks over each customer trying to
spot the undercover cops. Then three biker types come in.
They make Dana nervous because of their reputation for being
rowdy and causing trouble. Dana confronts them.
DANA
(continuing)
Listen, I'm not going to tolerate
any loud nonsense or trouble from
you guys!
BIKER #1
Hey, lady, we want to see this
broad, Morganna ... nobody's
giving you no shit ... stop
fucking with us.
DANA
Go sit down and behave yourselves.
That's all the shit I'm giving you.
Dana keeps her eyes on the bikers and on Morganna, to make
sure she doesn't get out of hand. The bikers are sitting
close to the stage but are behaving themselves.
During the first few songs Morganna is staying within the
boundaries Dana set for her, but then she starts bending over
at the edge of the stage and dangling her full rounded
pendulous breasts directly over the heads of the three
bikers.
Dana rushes to the stage to order Morganna back. Just as she
gets there Morganna buries her breasts in the face of one of
the bikers. At the moment of contact all three bikers get
up, wave their badges, and snap handcuffs on Morganna, Dana,
and the other dancers.
BIKER #1
Vice, police, vice ... this club
is closed ... everyone leave
quietly.
(turning to Dana)
You're under arrest Miss Montana.
DANA
It figures it would be you guys.
The only ones in the whole joint
I would have sworn weren't cops.
BIKER #2
Have your dancers get dressed.
FOLLOW OUT:
EXT. SUGAR SHACK - PARKING LOT
They lead Dana and the dancers in handcuffs to the squad cars
covering the parking lot. Shortwave radios traffic agitates
the quiet country night. Red, white, and blue spinning squad
lights transform the parking lot into a kind of UFO landing
strip. People are scattering everywhere. Customers are
rushing to get in their cars and escape from the legal
confusion.
FOLLOW IN:
INT. SQUAD CAR
Dana and Morganna are sitting in the back of a squad car.
DANA
Well, are you happy now?
MORGANNA
Isn't this fantastic. I hope they
tipped the press about this!
CUT TO:
EXT. COUNTY JAIL
Darryl comes up with $2,000 to bail Dana and the dancers out
of jail. Dana is frantic and angry. Dana gets into the car
with Darryl.
DANA
We've got to get the club open as
soon as possible.
First thing tomorrow we'll go to
Milwaukee and talk to an attorney.
FADE OUT:
FADE IN:
INT. ATTORNEY'S OFFICE
ATTORNEY
From what you've told me, Miss
Montana, the charges don't amount
to much. I wouldn't worry if I
were you. I'll file an injunction
to reopen the club pending trial.
DANA
That's a relief to hear. You
really think things will work out?
ATTORNEY
It's really a rather elementary
legal problem, but before I can
begin defending you I'll need a
$5,000 retainer. After that we'll
have to see just how many hours
are involved, but it shouldn't be
too much.
DANA'S OLDER VOICE
Somehow I managed to come up with
the retainer and the club was
reopened, but before the case went
to trial my lawyer called to say
he was leaving private practice
and joining the district
attorney's office. So, there I
was, out $5,000 and my case wasn't
settled yet. My friend on the
force came through again.
CUT TO:
INT. SUGAR SHACK
Dana gets a call in her office.
DANA
Hello.
OFFICER
I hear you lost your lawyer ...
the guy who was handling the vice
bust.
DANA
That's right ... know any good
attorneys?
OFFICER
As a matter of fact, that's why I
called. There's a fella by the
name of JAY SCHWARTZ, a Racine
attorney. I hear he's as tough
and as smart as they come. Well,
that's all. Good luck, Dana.
DANA
Thanks!
Dana makes an appointment for a consultation with Jay
Schwartz and meets with him the next day.
FADE OUT:
FADE IN:
INT. JAY SCHWARTZ - OFFICE
Dana is seated across from Jay Schwartz, a Jeff Chandler-
handsome young man just 30 years old.
JAY SCHWARTZ
I've looked through your case file
and, well, you've got five felony
counts against you, Dana.
DANA
I don't really understand all that
legal mumbo jumbo. Just give me
the bottom line.
Jay looks a little bewildered that Dana doesn't want more of
an explanation.
JAY SCHWARTZ
Let me distill things so you can
understand the situation you're in.
Jay starts tapping his fingers on the now closed file.
JAY SCHWARTZ
(continuing)
At 1-5 years for each of the five
felony counts, you are facing a
maximum sentence of 25 years.
DANA
In jail?!
JAY SCHWARTZ
Where'd you think ... the Bahamas?
DANA
I can't believe this ... our
judicial system is a joke. This
whole thing is ridiculous and it's
all been blown way out of
proportion. I'm out thousands of
dollars ... nothing has been
settled ... and I might still go
to prison. How completely unfair,
and for what? I haven't hurt
anyone!
JAY SCHWARTZ
Look, settle down. Don't waste my
time with speeches. Anyway,
that's what I get paid for ... and
my speeches are a lot better than
yours. I don't really have time
to fool with this case, but I
think you've been jerked around
and I sympathize with you. People
have been giving you a pretty
shabby deal here. I'll see that
you get this whole thing settled
for $500. Who knows ... if I get
you off, maybe I can get into a
former Playboy Bunny's pants. You
write the check and I'll set a
trial date.
Dana writes the check, hoping she can cover it, and Jay sets
a trial date. The day of the trial arrives and Jay gives
Dana a wake-up call with strategy instructions.
CUT TO:
INT. DANA'S HOUSE
Dana's up drinking a morning coffee when the phone rings.
JAY SCHWARTZ
I'll pick you up in two hours. Be
ready and dress conservatively.
Begin right now to act and think
like a lady. If you say "fuck"
once today, I'll kill you!
Dana starts to ponder what to wear and how to make herself
up. She tries on different outfits, but decides that a
frumpy conservative outfit just wouldn't be Dana Montana.
Instead she finds a stylish pants outfit--made of rust-brown
suede material featuring short hot pants. Completing the
outfit is a sleek matching waist-length cape accented by a
matching hat and high-heeled boots. Dana is sure this is the
right "impression" to make in the courtroom.
Jay pulls up to the house.
FOLLOW OUT:
EXT. DANA'S HOUSE
Dana gets into Jay's car.
FOLLOW IN:
INT. JAY SCHWARTZ - CAR
JAY SCHWARTZ
What the hell do you have on? Do
you call that conservative? I
said conservative. You look like
a hooker from Rush Street!
DANA
Jay, this is in. It's very vogue
... believe me.
JAY SCHWARTZ
You're going to be IN all right
... IN jail that's where! It's
too late to change now.
Dana slams the door and they speed off, Jay squealing the
tires in disgust.
JAY SCHWARTZ
(continuing)
And you'll probably get another
charge thrown at you because of
that damn outfit.
DANA
For what?
JAY SCHWARTZ
For disturbing the peace.
FADE OUT:
FADE IN:
INT. COUNTY COURT HOUSE
The courthouse is uncharacteristically modern, with none of
the gothic architecture usually associated with courtrooms.
Courtroom C was jammed. People are even standing along the
sidewalls. Mostly men, they are interested in seeing
Morganna and Dana twist during the trial.
Morganna is provocatively positioned right in the middle of
the group, flaunting her 48-double-D's in a low-cut tight-
fitting sweater. Dana nods to her politely but really wants
to strangle her. Dana walks toward her seat.
DANA
(to herself)
Had I only strangled her when she
first started causing trouble, I
wouldn't be here today facing a
prison sentence for something she
did against my orders!
The proceeding starts and the lawyers banter back and forth
with all the preliminary formalities. The officers make
statements and Jay cross-examines them. Finally, Dana is
called up to the stand.
She begins her long walk. The crowd is silent. Every eye is
on her. Each step is accented by a sharp staccato sound
spike of her heels impacting the cold hard marble courtroom
floor.
DANA
(continuing; to
herself)
Act like a lady ... act like a
lady ... act like a lady ...
She reaches the gate and swings it open before sitting down.
She crosses her legs as demurely as possible and sits back in
the chair. Everyone's eyes are looking at her legs. She
looks at Jay ... he glares back at her.
Jay scratches his head, plunges his fists into his pockets
and leans his microphone closer.
JAY SCHWARTZ
Your honor ... I ask you ... are
those the legs of a criminal?
The courtroom erupts with laughter. Even the somber old
judge has to let loose with a smirk. Jay was determined and
cleaver. After considerable interplay between the
prosecuting attorney, Jay, and the judge, the charges are
reduced and Dana is ordered to pay a $200 fine.
JUDGE
Miss Montana, you have been found
guilty of three misdemeanor counts
of allowing obscenity in a public
place and fined $200. See the
bailiff. Case Closed.
The courtroom audience erupts with applause. Dana walks from
the courtroom a free woman and is treated like a celebrity,
with people asking for her autograph. She never talks to
Morganna, who is also surrounded by thrill seekers.
Act IX
FADE OUT:
FADE IN:
INT. SUGAR SHACK
The Sugar Shack is back in business, but Dana's personal life
has become bankrupt. Dana would divorce Darryl, but her
husband threatens to force the sale of the Sugar Shack as
part of any settlement.
Always struggling for funds during the winter, Dana starts up
a high-stakes poker game on Sunday nights at the club.
DANA
All right, ante up, $10 each for
the house.
Dana collects the up-front money.
DANA
(continuing)
Who are we waiting for?
JACK
BRANDY told me she was coming
tonight ...
and would bring a friend, someone
she knows from Las Vegas.
DENNIS
I see her car pulling in.
Brandy pulls into the Sugar Shack parking lot. She and her
friend, LARRY SLADE, get out and enter the Sugar Shack.
BRANDY
Hi, Dana, sorry I'm late. I just
got off work. Things got hectic
right when I was supposed to
leave.
2'D MAN
That's all right, we're just
getting started.
Dana, and everybody else, I'd like
to introduce Larry Slade. He's
back from Las Vegas where he just
finished a seasonal position as
Liberace's bodyguard, driver, and
assistant.
DANA
Well, we finally attracted a
celebrity, of sorts, to one of our
poker games!
LARRY
I guess I did rub elbows with him,
but that's about it, except for
the the fact that he always
carried most of his money and
jewels around with him, and it was
my job to make sure they didn't
"disappear."
Dana is watching Larry intently. She is disarmed by his
rugged good looks and charm, polite and pleasant personality,
humble and sincere manner. The poker game gets under way and
Larry loses, and keeps on losing.
They take a break during which Larry and Dana strike up a
conversation.
LARRY
(continuing)
Dana, you know I've stopped into
the club and seen your dancers.
I also know that you stage the
shows yourself, designing
costumes, choreographing the
dancer's routines, and training
the girls. I've seen shows all
over Las Vegas and you should know
that your acts are just as classy
as anything they put on there.
DANA
Thanks for the compliment, but
that's the one aspect of this
business that I really find
satisfying.
LARRY
One of your dancers, I think her
name is Shenanigans, is so smooth
and provocative on stage. She
presents herself with such
professionalism. I think she has
the quality to headline or feature
as a touring act ... and I know
you deserve the credit!
Dana sits back in her chair and sensing that they had a
rapport building between them, speaks right up about a
radical idea that's been churning around in her head for
months.
DANA
What would you think if I were
able to turn the tables on the sex
exploitation business?
LARRY
What do you mean exactly?
DANA
You know ... I could teach men to
strip for women, just like I now
teach women to strip for men.
LARRY
Men ... what are you talking about?
DANA
Men, Larry, MEN! I could coach
them just as effectively as I do
the girls and I think women are
ready for it. I've never heard of
this being done anywhere in the
world!
The others at the table picked up on what was being said and
laughed at the prospect.
GEORGE
Dana, really, can you imagine the
reaction of the men in the
audience on the night you put a
male stripper on stage?
JACK
Shut up about that stupid idea,
Dana, and deal the cards.
DANA
You guys ...
Dana stops talking and deals a hand. When her husband,
Darryl, staggers in drunk. He stumbles over to Dana and
tries to tell how to play her hand.
DARRYL
No, no, play the ace.
DANA
C'mon Darryl, I'm winning. Don't
mess with my good luck ... you'll
change everything, and besides
you're so drunk I wouldn't trust
your advice anyway.
Darryl keeps on pestering Dana but eventually loses interest
in being a bully. Dana is fed up with what seems like
endless suffering at the hands of abusive men. She stops
talking about her idea, but doesn't stop thinking about it.
FADE OUT:
FADE IN:
INT. SUGAR SHACK
During the early evening hours before the patrons come and
the stage springs alive with the enticement of exotic
entertainment, Dana decides to try out her idea of male
stripping on a select group of female employees. She has
been working with CLARK, one of her male waiters, preparing
for the trial run of her male exotic idea.
DANA
All right, ladies have a seat.
Clark, are you ready.
CLARK
Any time, Dana.
DANA
Hit the music.
Clark comes out in a make-shift costume and goes through a
complete strip during one song. The girls get into the whole
scene and go wild. Clark is a raw unrefined amateur but all
who observe get the idea.
DANA
(continuing)
So, ladies, what did you think of
that?
BRENDA
Dana, was he workin it ... was he
buffed! You've got to try it out
for real.
COLLEEN
She's right ... that was awesome.
I want to see more!
FADE OUT:
FADE IN:
The next night Dana is hosting the Sunday night poker game.
Larry turns up to play. Dana starts in on her idea again
with Larry.
DANA
Larry, I'm going to do it!
LARRY
Do what?
DANA
I'm going to try my idea of
presenting male exotic dancers at
the club ... what did you think I
meant?
LARRY
Hey, well, good luck, but remember
what I told you the last time we
talked about this. You've got to
have real men dancing ... no
sissies!
DANA
I remember, Larry. I know you're
right, but real man I've talked to
about this want's nothing to do
with it.
LARRY
You've just got to keep trying.
DANA
You're absolutely right. I need
good-looking tough real men--guys
who have the courage to try
something different and the
willingness to listen and learn
about what needs to be done to
make this work ... and interested
in having some fun and making some
good money!
LARRY
You sound like a commercial for
the US Army.
DANA
I'm deadly serious. I know
exactly the kind of man I need.
Larry ... you are that man!
LARRY
Me ... dance?
DANA
Look, Larry, you're perfect. You
only work about six months out of
the year and mostly in the winter
when you wouldn't need to be here.
You're handsome, charming, well-
built, and you've even been on
stage before. One other thing, I
think you've got the guts to try
it and the guts to pull it off.
JACK
Either shut up about this idiotic
idea or get out of the game.
Larry and Dana toss in their cards and go off by themselves
to continue their discussion.
LARRY
What would I do ... I mean what
would I wear? How would I do it?
When would you actually want to
start?
DANA
Hold on ... I can't start with
just one dancer. I need two or
three, at least!
LARRY
Yeah, yeah, well, where the hell
are we gonna find 'em?
DANA
We've got to ... that's all there
is too it.
FADE OUT:
FADE IN:
INT. SUGAR SHACK
A few days later, Dana's in her office when a handsome young
man, ELLIOT LANZANNA walks into the club. As he enters the
office Dana can see that he is a meticulous dresser. He
greets Dana by kissing her on the hand.
ELLIOT
Hello, is anybody here?
DANA
I'm in the office ... come right
in.
ELLIOT
Miss Montana, I'm so pleased to
meet you. You're much younger
than I expected ... and so lovely
... and to have a club like this,
of your own. Larry wasn't real
specific about my coming here to
meet you. He just said it was
some sort of a business idea.
DANA
Yeah, you might say that, Elliot.
What do you do for a living?
ELLIOT
I'm a pilot. I fly private
charters and commercial flights.
It's OK, but I'm not going to fly
airplanes forever.
DANA
That certainly sounds like
challenging work. I'll tell you
why Larry sent you to see me.
I've decided to do something
revolutionary here at the Sugar
Shack. I'm going to present, for
the first time anywhere in the
world, male exotic dancers
expressly for the entertainment of
women. I wanted to talk to you
about becoming one of them.
ELLIOT
Sounds intriguing ... tell me more.
DANA
I've been watching you for the
past few minutes and you are just
the type of man that I've been
looking for. You're handsome,
charming, comfortable with your
manhood, and you're mysterious ...
all in one package. Just one more
thing, can you dance?
Elliot smiles, nods that he can, but the full impact of what
he just heard has not quite hit him.
ELLIOT
I grew up thinking I'd be a
fireman, or maybe a cowboy ...
certainly not a male stripper.
DANA
Elliot, the world we live in keeps
changing. When you were a boy
there was no such thing as an
astronaut. You couldn't have
wanted to become one as a boy.
Now we have them and it's a goal
you could strive for.
ELLIOT
I have to admit, you've got a
point there, but what would it
involve, I mean becoming a male
exotic dancer.
DANA
First of all, I'll work with you
personally for as long as it takes
to get you ready. Your act will
be completely choreographed. I'll
design a set and costume
especially for you.
Elliot, looking like a young Errol Flynn, with an entrancing
personality mixed with magnetic charm, listens and is drawn
into Dana's dream.
ELLIOT
Let's give it a try. When do you
want to get started?
A few weeks later a man named Guy Garret makes a commitment
to become a member of the first group of male exotic dancers
the world had ever seen. Dana feverishly prepares the three
men for opening night.
General
The scenes shift to keep up with Dana's description of how she trained
her male dancers.
DANA'S OLDER VOICE
Each man had his own strengths and
weaknesses. One was a natural
dancer while another could barely
follow a beat. Each dancer was
given his own stage image,
costume, and choreographed dance
routine. I admired these men. I
couldn't promise them success. I
thought I knew what it took to
stimulate a woman's fantasies, but
no one had ever tried this before.
It would take more than bare flesh
to draw a woman's mind into the
sensual drama unfolding before
her--it would take mystery and
adventure ... fear and safety ...
sex and security. The male ego is
fragile, and men don't take well
to rejection. They were
temperamental, difficult to work
with, but they listened and
learned. By opening night they
were ready.
Dana and the three male dancers are nervously waiting in the
dressing room. The crowd, about a hundred, not bad for a
Monday night, was assembled and impatient for the show to
start.
CROWD (O.S.)
Bring em on! Where are the men?
C'mon let's see these hunks!
ELLIOT
God, Dana, my legs are so skinny
... they're going to boo me right
off the stage.
DANA
You'll do fine ... don't worry.
The crowd grows restless and Dana senses it is show time.
She leaves the dressing room to introduce the first dancer.
The three men listen and wait.
DANA (O.S.)
Ladies and gentlemen, thank you
all for coming. This is a very
special night as the Sugar Shack
goes into yet another dimension of
entertainment. It's new and it's
different ... it's risky, but damn
it's about time. Now let's have
a really big welcome for my first
gorgeous male dancer ... for the
first time anywhere ... ladies and
gentlemen ... Elliot Lanzanna!
CUT TO:
INT. SUGAR SHACK
Dana leaves the stage and reenters the dressing room to
reassure Guy and Larry that everything will be all right.
The crowd is resoudingly receptive to Elliot's show.
Dana looks out on the stage from behind the curtain and a
reflective mood overcomes her face. Dana's older off-stage
voice narrates a condensed version of what will transpire in
the years to come.
DANA'S OLDER VOICE
Elliot, Guy, Larry, and the
concept of male exotic dancing
were accepted by a population of
American women who had worked for
and were ready to enjoy the same
opportunities for sexual fantasy
fulfillment that have always been
available to men. The Sugar Shack
experience grew into a national
phenomenon in 1979 when the
Chicago Sun-Times ran a full-page
feature article.
Titled "Naughty Night-Life" the
story was syndicated across the
country and the publicity started
an avalanche of media attention.
Articles in national magazines,
guest appearances on national talk
shows, interviews on radio and for
countless newspapers followed.
Calls for reservations began
immediately and we were booked
solid for months. Other dancers
followed the brave men who
launched our bold entertainment
adventure. Among the best were
Robert Cochise, D.J. Adonis--my
son, and Paul Czar. Yes, fame and
fortune found the Sugar Shack and
my name became well known, but my
real reward comes each time I see
the joy on the faces of the women
who find a new sense of sexual,
personal, and social dignity
because of the Sugar Shack
experience. During the 90s
interest in male exotic dancing
waned, the Sugar Shack shifted to
female exotic entertainment while
continuing to present the original
Sugar Shack experience on the
weekends. During the 90s I began
to develop my Dancing Horses
review which is presented daily at
my theme park, Animal Gardens in
Lake Geneva.
INT LAS VEGAS DANCING HORSES INDOOR ARENA - EVENING
We SEE a pyrotecnic display signalling the exciting finale of
the Daning Horses Las Vegas Show and the sound brings Dana
back to the present. The seven Brothers and Sisters horses
are prancing along a walkway just in front of the
specatators. As the show ends, Dana looks up at her son, DJ,
with a tear in her eye, closes her eyes, and SEES herself as
a young woman again riding Baskin Robbins in the beautiful
rolling countryside of her ranch. The camera follows her
then fades to black.
THE END
Dancing Stallions
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