Porn Dead (2012) by Karen Izbinski July 14, 2012. More info about this movie on porndead.com.

FADE IN: Year: 1978. New York City streets. Lights. Cars. Bums. Hookers. Gay bars. Straight bars. Music. Men. Girls. A NIGHT CLUB. A bouncer in a bar at the back stands by a curtain. The curtain spreads to a view of a hallway. Young women dressed in cowboy cheerleading outfits dress and dangle pom poms. Naked men. A door opens to a small set. A nervous, young girl is poised on her hands and knees while a man kneels behind her. INT. MOVIE SET - NIGHT JIM (He leans in and calls to the girl from his chair) You look great, honey. Get that frightened look off your face. Your ass looks so good, I wanna fuck you. Remember, youre gonna love this. SIDEKICK (leans in to JIMs ear and jokes) Christ, she looks like Bambi in the woods. Hey, maybe thats what we should call her, Bambi Woods. JIM Yeah, great idea. Debbie, honey. From now on, your name is Bambi Woods. Got that? Can we get some more KY in here? So, when I say Bambi, take it from the rear, you know what to do. SIDEKICK (laughs and giggles with a Jersey accent) Oh my God. The Mob is gonna love this! JIM Shut the fuck up, Joey! Is she ready yet? Great. Quiet on set! Ready. Set. Action! The man rubs Bambis hips. She turns. He smiles at her, pulls back and shoves his penis in her. She cries out.
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FADE TO BLACK. JIM Oh, Christ. She fainted. Joey, go over there and wake her up. Wait, gorget it. Keep rolling! Pick her up from the waist, Mickie. Make it like she just dropped for more. Good. Keep shooting! EXT. HIGH RISE BUILDING - DAY Year: 2012. Morning in New York City and the streets are busy. A man leans against an APARTMENT BUILDING and waits for a woman to exit. She exits and he runs up to catch up with her. JONATHAN Claire. CLAIRE (she takes notice of him, rolls her eyes and continues a fast walk) What do you want? Do you have something for me? There is a pause. You look like shit. JONATHAN I know. Will you hold up for a minute? CLAIRE Hold up? I am holding up. Youre out of my lifeand holding up mine. My life is hold... while my exthats youholds my life hostage. Matthew is a good man. Just sign the papers. JONATHAN I never said he wasnt a good man. Im a good man, too. Hes just CLAIRE Hes not you. And you were a good man. Now, youre an egomaniac with unrealistic notions about some porn stara girl youve never metwho might have been killed by the Mob. JONATHAN Claire. Claire. Claire! He grabs her by the arm and turns her around. They stop in front of her office building.

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I need your help. CLAIRE (she stares at him closely) I. Dont. Want. To help you. I put my reputation on the line. You ruined me. JONATHAN I told you it was a set up. CLAIRE The truth will set you free, Jon. You should try it sometime. I lost my job. It was in the paperthe newspaper that I work for nowthe only paper that would hire me simply for the notoriety. My career is at an end and I am not doing you a favor. JONATHAN I know and I have no right to ask. Its justyoure right. Your career is at a dead end and at this point you have nothing to lose. She stops walking in the street. Look, I dont have access to what I need. You know that. CLAIRE I do know that and there is a very good reason for that. You were a good cop. You were. No one can deny you that but you crossed a line. Stop dragging people down with you. JONATHAN Im not dragging people She turns. CLAIRE Its bad karma JONATHAN He was my supervisor, Claire CLAIRE That part was good karma JONATHAN Good for you. Bad for me CLAIRE Thats right.
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JONATHAN They call him Skip, honey. CLAIRE Im not your honey and Skip is great for me. JONATHAN Hes boring. CLAIRE Well, apparentlyI like boring now. He can protect me. JONATHAN I protected you She turns. CLAIRE Skip saved me from you. (brief pause) Look, there is a reason for the order of protection, Jon. I dont like you anymore. Its this this constant nonsensethat you make things up as you go along. Its intolerable. .. for everyone who comes near you. JONATHAN It only appears that he saved you from me. It was made to look that way to break us up, get me fired, lose my access to information. A girl was used, abused, and she might dead. CLAIRE She might be alive and she might be hiding. Maybe she wants it that way. Weve gone over this. You could never prove anything. JONATHAN Look, I found someone from the film who can verify that she was underage. CLAIRE Youre positive this time. Who is it? JONATHAN His name is Adrian Mark. Hes a sleazebag but hes got no record, hes not a druggie, and hell give me names, dates, and anything I want. She bends her head to think.
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CLAIRE When are you meeting him? JONATHAN Tonight. At Caseys. Ten. See you there? She looks up, pauses, and walks away. CLAIRE Good bye, Jonathan. JONATHAN Will you be there? CLAIRE Sign the papers, Jon. JONATHAN Ill look for you! Inside the building, she passes security, takes an ELEVATOR up ten floors, and into her office. ASSISTANT Miss Evans. The chief will be here at noon to brief you on the Solomon murder. Would you like a cup of coffee this morning? Claire takes a seat in her office to prep for a meeting. CLAIRE Yes, thank you. The assistant leaves her office. Claire sits back. She pulls her cell from her purse and dials. Its Claire. Can you check something out for me? EXT CLAIRES OFFICE DAY A man in a car makes a phone call. MAN (we hear the phone pick up, silence on the other end) He just saw her.
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INT CLAIRES HOME NIGHT The phone rings as she is making a small salad and pours a glass of wine. CLAIRE What did you find out? Youre positive. Absolutelyno, no. I get it. Thank you. Hands spread on the sink, she leans, wipes her hands on a towel, and moves to a window. The door opens and her fiancee, the Chief of Police (Skip) enters in uniform. SKIP Youre home early. He takes off his Police Chief jacket, loosens his tie, and places his hands on her shoulders. Claire. Her silence disturbs him. CLAIRE Im tired. She moves away from his hold. Grabs the dog collar and the dog gets up. Im taking Charlie out. He moves out to the patio and sits in a chair. He lights a cigar. He pulls a phone out and makes a call. SKIP Dont let him out of your sight. FADE OUT. FADE IN. Year: 1978. In the STUDIO where the porn film is being shot, a crewman whispers to another guy on the set. Joey is smoking and sitting next to the cameraman, Marty. MARTY
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(in a new york accent) I dont know. She doesnt fit the profile. JOEY I know. Isnt it great! Hey, they all fit the profile. They got an ass and if the dick (laughs and slaps Marty on the shoulder) You know were calling her Bambi Woods. Get it? Deer in the headlights. Bambi Woods. (laughs uncontrollably) MARTY (grins a little but continues quietly) I just dont think she knows that this is business. JOEY Thats the whole point. Shes on drugs, Marty. Who the fuck cares? Shes gonna get banged by nine, ten guys tonight and my turn is comin up. Hey, make me look good. You knowheh heh heh. MARTY (pause) She looks just a little young. How old is she? Sixteen? Seventeen? JOEY Hey, thats what the boss wanted. (takes a puff on his cigarette) I brought in hookers. The boss didnt want them. Who wants to see a hooker get fucked, he said. So, I found Bambi at the bus station lookin for drugs. Im like, Hey, Ill get you some but you gotta pay for it some way. She had no money but wanted the drugs. So, here we are. (waves his hand in the air like this was magic) MARTY (cautiously tries to get Joey to take his point of view) Its just..I mean, weve had some pretty sad endings and she JOEY Look. I hired you and I can fucking fire you. You dont want this job? MARTY Hey, Im here. Its just
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JOEY Just fucking nothin. Look, you are now a part of the underworld now. You stop talkin shit like that. Got it? (quietly to Marty) Look man, I like you. Youre good at what you fuckin do but if you fuck this up for me, my boss, or anyone here youre dead. Bang. Dead. Got that? That make to you? (takes a pause) Everyone here is gonna make a lot of money. Youre gettin paid to do a job. Thats it. No one is askin you for an opinion. But if you ask me for one, Ill tell you this. I dont give a shit how old she is. Shes got that girl-next-door look like the boss said. Thats what guys want to masturbate to. Thats what they want to watch when theyre fucking their girlfriends. (blows smoke in Martys face) So, you do a good job for us here and if you want, Ill set it up so you can fuck her, too. All right? MARTY No. Im good. JOEY No, youre not good. (he pauses) You gay? You fuckin gay, man? No. MARTY

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JOEY Good. So, Im gonna do you a favor. Youre gonna get your chance with Bambif MARTY No, I really cant. JOEY (sarcastically)
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I know I didnt hear you say you cantbecause I just told you that you can fuck the kidso youre gonna fuck her. After I get my chance, youre gonna show me how to hit that little fucking start button and you better fuck her and love it or Im gonna find me a new cameraman. (gets up) Do you understand me? (he pulls up his collar) I love it when I can do a guy a favor. Im gonna go get some of Bambithen its your turn. JIM Cut! Joey, your turn! BAMBI (dazed and barely awake) Im kinda tired. What happened? JIM Somebody get Bambi some coke. Honey, youre doin great. You just blacked out but its gonna be finewell fix it in post. BAMBI I think Im ready to go JIM No, not yet, honey. You did enough coke for two days worth of shooting so were gonna get this all done in one nightalright? (calls out to another AJ, set director) Come here! Go over there and squeeze her titties. Theyre supple but not hard. Alright! Joey, you ready? JOEY I! Am! Ready! You ready, Bambi? BAMBI I need something to drink. JIM Alright, honey. What is it? Get the kid a drink. Whatda we got? Give her a couple shots of Yaeger. Thatll warm her up. Get me one, too.
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The phone rings. AJ Its for you, boss. JIM Yeah. MICKEY Howz it goin over there? JIM CLARKE Mickey, weve got a team of girlies takin it every way. This movie is gonna be cute but dirty. MICKEY Good cause Im not financin some teenie bopper kiddie flick. It better have some good ole fuckin in it. Did you get those young girls I asked for? Girl next door types? JIM CLARKE Yeah. Why dont you come down here fuck the star. MICKEY Im too high up for that. Keep her there and Ill stop by later. Got enough coke? JIM CLARKE Yeah. Thanks. Weve got everything we need. MICKEY You make sure this gets done on time. By the way, I like the cheerleading thing its gonna make the girls tits look real good in those tight suits. Great idea. JIM CLARKE Thanks. MICKEY I got the title all figured out. Debbie. Does. Dallas. What do you think? JIM CLARKE Well, it doesnt make any sense. MICKEY Yeah. Thats why people are gonna like itcause everyone wants to fuck the girl next door. No one wants to see a whore get fucked.
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JIM CLARKE Youre a brilliant, man. MICKEY I know. Now, make sure shes ready for me when I get there later. FADE OUT.

EXT CASEYS NIGHT CLUB NIGHT. Year: 2012. Jonathan waits at the bar for an actor who was in the movie Debbie Does Dallas. Hes late. He turns to see Claire across the street with SPARKS, her dog. A MAN BUMPS INTO HIM. MOB GUY Whatdya want? JONATHAN Oh, Im waiting for someone. MOB GUY (he moves closer to Jonathan and digs a gun to his ribs) Like I said, What do you want? He pushes the gun hard against Jonathans body. JONATHAN IIm waiting for MOB GUY He aint comin. JONATHAN How do you know who Im waiting for? MOB GUY If I were you, Id think hard about the company Im keeping. JONATHAN I keep to myself and right now, were in a public place so I doubt that youre planning on using this gun on me right here.
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MOB GUY You think Id kill you right here? (he laughs) You know, youre a pretty stupid guy. You stick your nose where it doesnt belong. You lose your wife. Her picture gets put on all the papers. Man, shes lucky to even have a job. You know, if she were mine (Jonathan moves for his weaponits not there) MOB GUY I took your piece from you earlier on the street. Dont worry. Youll get it back after I leave here. JONATHAN What do you want? MOB GUY I dont want anything. Just like you. You dont want anything. You want to let the past stay in the past. Jonathan doesnt say anthing. MOB GUY You know. Theres a guy outside watching Claire right now. Yes. It would be a terrible thing for her to lose something else after all shes been through. JONATHAN I still have connections. Ill find out who you are and MOB GUY You do that and your only connection to this world is going to disappearjust like that kid in Debbie Does Dallas. You catch my drift? He nudges the gun into Jonathans ribs very hard. You see, I like pretty women like Claire Evans. Shes a knockout. I think other Men might like her, too. Strong, hardened woman like that. Shed be a tough nut to crack on film. A lot of guys might like to have her. Another mob guy walks into the bar. Now, you do as your told. Go get a job delivering the newspaper, I really dont give a shit but you start minding your own businessor your old flame is gonna become my business. Now you go to the little boys room
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and when you come back, have your drink, and leave Claire outside. She wont be coming in. We both know that, dont we? Bartender! Give this man a drink. Its on me. I like it when I can do a guy a favor. Now, turn around and go into the mens room and if I see you come out before five minutes is up Claire Evans is going to get a ride home tonight in a cab thatll drop her off at my place. Got that? Now, buzz the fuck off asshole. Jonathan gets pushed forward and away as the gun presses in his side. He turns to see Claire outside with the dog. MOB GUY nods him to move on. He enters the mens room. MOB GUY Bartender! Slip him one for me. Well pick him up in the back. Mob Guy sets a hundred dollar bill on the counter. BARTENDER Will do, sir. Jonathan exits the mens room in less than five minutes and the bartender calls to him for his drink. BARTENDER Mister. If I were you, Id have this drink that that man bought for you. Whatll it be? JONATHAN Give me a beerand a shot on the side. BARTENDER You got it. Claire is still there and turns to leave. Shes seen enoughenough to know Jonathan is in deep now. JONATHAN Heres a fiver. Keep it. BARTENDER Thanks. Jonathan drinks and in a few minutes hes squinting and dizzy. The bartender helps him to the back and out the rear door. A car is waiting for them and Jonathan is placed in the back seat. The car drives off.
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FADE OUT.

FADE IN. INT CAR NIGHT.

FBI AGENT Jonathan Sparks. My name is Agent Radcliffe. I am with the FBI. Youve been picked up for interfering with an investigation. We can take you home and you can stop your nosing aroundor I can take you in. Your choice. JONATHAN What about Claire? FBI AGENT Claire Evans is walking home safely under our watch. JONATHAN Someone slipped me something. FBI AGENT Thats right. Now, we want you to start forgetting all about Bambi Woods. JONATHAN I dont know if I can do that. FBI AGENT Oh, I would do that if I were you. Life is short and your chances of ever being with your ex-wife are low but we know that youre still trying. Good effort. But we have our own on-going effort and we need you to stop your private investigation in to the past. Jonathan is losing consciousness. Everything is BLURRY. Everything STOPS and goes black. FADE OUT. FADE IN.
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INT JONATHANS APT MORNING. He still has his clothes on. His weapon is on the side table. He picks up his cell and calls Claire at her office. Her secretary takes the call. SECRETARY Miss Evans cannot speak with you Mr. Sparks. JONATHAN I just need to talk with her SECRETARY Mr. Sparks. Youre not to call her at work again. Youre not to call her at all. Good day, Mr. Sparks. The phone goes dead. FADE OUT.

FADE IN. INT EDITING ROOM NIGHT. Year: 1978. Marty is editing the tape and Mickey shows up. He seats himself in a chair behind Marty. MICKIE This looks good. You did a good job. Marty doesnt say anything. Weve got to get this thing done by September first. Can you do that? MARTY I can try but theres a lot of footage MICKIE I didnt ask you if you can try. I asked you if you can do that for me?

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MARTY Yeah. I can. MICKIE Good. Mickey can tell that Marty is uncomfortable. So, I hear you got to screw that kid. How was she? I mean, I screwed her later that night but how was it for you? MARTY Good. She, was a good lay. MICKIE Yeah, she gives good head, too. Shes available for anything we got going. You want to see her again, you can. I owe you big on thiscause I know youre gonna make me rich. MARTY Thats ok. Im dating someone. MICKIE Thats good. Good to know. Mickie uses the silence to deliver a message. Theyre good when theyre young, arent they? Their little titties get hard at the touch. Their skin is soft and plump. Makes me hard just thinkin about it. He pauses to see if Marty adds on to the conversation. You knowsomeone mentioned that you thought Bambi was a little too young for this. Theyre deadbeats, Marty. Dropouts. Wanna bes. Hopefuls. Star struck. Marty continues to edit the tape. But theres one thing that they have that we dontyouth. Thats why these films are so important. Get it? Theyll be remembered forever. Marty makes a mistake. The girls are kids that have no where to go. No guidance. Bad home lives. The grass is always greener.

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Mickie leans in a little. You know. When I was young, all I wanted was to date this girl that lived next door to me. But this idiot, smartass guy, she liked him. A lot of guys and girls have their heads on straight and know what theyre doing in this business. Its business. A lot of them dont. Thats not my problem. You see, Im a businessman. I dont Give a shit about their past or their presentas long as their titties get hard for the camera and they open their mouths and fuck like little bunnies. You got that? He leans in closer. I know its hard for a stand up guy to watch some of this stuff go on. Its hard to for me, too. But business is business and Im going to be giving you a lot of it in the future. He gets up and stretches a little. You have a good night Marty. Mickie leaves and Marty lays his head on the table. FADE OUT. FADE IN. EXT NEW YORK CITY STREET DAY JONATHAN uns through busy side walk traffic. Bumps into people and an old woman. Stops to pick up purse, turns back to see MAN FOLLOWING, stumbles, and continues running. Turns around a corner, steps into a quiet BOOK SHOP where people take notice. He removes his jacket, sits down in chair, grabs a book of the shelf. SWEAT falls from his brow. The FUZZY IMAGE of a STRANGER reflects on the bookcase glass. Stranger walks on. OLD MAN IN BOOKSTORE (He leans down and whispers in SPENCERS ear) That must be a good book, son. What is it?

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INT. PUBLISHING COMPANY DAY MADELEINE (to secretary as she passes open door) Claire! Set up time for me to see Mr. Hayes today. Claire taps her iPad. SECRETARY Hayes said that he hasnt a lot of time today CLAIRE Then perhaps Mr. Hayes enjoys the solitary life of a poor writer. Set it up. SECRETARY Youve also got a call on one. [she shrugs] Its him. CLAIRE (She glances down to the phone) I'll take it. Oh, a latte, croissant SECRETARY and raspberry jam on the side. Yes, Ms. Sharpe. MADELEINE (without looking up from the newspaper) Close the door, please. The phone light blinks. She presses a button. You think this is funny or are you simply ? (Pause) Calling me at work? JONATHAN (breathing heavy) Claire, listen to me. CLAIRE (she sits down with the newspaper and mocks him) What do you want? I can hear you breathing heavy. Is that a part of the story, too? JONATHAN Madeleine, Ive been tracking. CLAIRE (she slams the paper to her lap) The porn star? Jesus Christ, Jon. Im hanging up.

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