Subject: Rotsoap: Roger's Revenge- Part 9 ROGER'S REVENGE: Doing Dirt - 1/19/97 - By Pat C. - BACKGROUND: After he got out of the mental hospital, Roger married Bridget - a marriage in name only - and the two of them set out to get revenge on Dinah and Hart, a plan which included faking Peter's kidnaping, Bridget seducing Hart and getting Hart to gamble away his inheritance. Holly left Fletcher and took off for the Riviera to have some excitement and dig up dirt on Dinah. They all ended up in Cannes, where Holly intercepted a videotape meant for Dinah, and Roger got it away from her without revealing that the tape contained child pornography. Bridget started trying to seduce Hart, but in the process she started falling for Roger. Roger learned that the people he borrowed money from to finance his revenge were also the owners of the videotape and were threatening to hurt his family if he didn't give it back. His ex-agency boss, Vaughn, also wants the tape and implied that there's more going on with it than child pornography. Holly met an artist, Jacques Faber, at the gallery where she picked up the videotape, and went off with him to his Villa in Antibes, convinced that Roger was in love with Bridget and determined to get him out of her system. Neither Roger nor Holly know that Blake had her babies, but Leo and Amanda met in Blake's hospital room while trying to talk to Blake. Dinah stayed in Paris to get her wedding gown, but ran into a lot of people from her past who are threatening her new lifestyle. Roger struck a deal with his creditors that he would repay half the money and get them the tape in 48 hours, but he really intends to get Holly, Peter, Hart and Bridget back to Springfield before he returns the tape. WHEN LAST SEEN: Hart (Lenny Staab) was asking Bridget for his wallet - deciding to gamble for the ransom money despite his reservations. Amanda and Leo were standing in Blake's hospital room, staring into each other's eyes. Bridget was going to call Vanessa to arrange to let Hart talk to Petey tomorrow. Roger and Holly were in her bedroom at Jacques' villa in Antibes; Jacques (Anthony Herrera) had left to get some wine and Roger had just told Holly that her life was in danger. Dinah was on a street corner outside a bistro in Paris with her friend Frances, staring in horror at a poster of Marley Diniro (Anne Heche). Roger's Revenge - Part 9 SCENE: Jacques' Villa in Antibes. 12 midnight Roger is lying on Holly's bed, his hands behind his head, watching her pace the room. He's just finished telling her about Dinah's tape, his debts, the threats on their lives, and now he's patiently waiting for her to finish venting her anger. Holly: (exasperated) Dammit, Roger! Why didn't you tell me this back in Cannes? Roger: Because I thought you were safely out of the way with your lover. I didn't realize that he could be involved in this whole mess. Holly: (Laughs) Oh, Roger . . . this is too much! I know I don't have the best instincts when it comes to men (looks at him meaningfully) . . . but I think I can tell whether a man is capable of child pornography . . . murder . . . Roger: We don't know how much he's involved. Why take a chance? Holly: (starts laughing hysterically) Why take a chance? Do you know how ridiculous that sounds coming from you? (Waves her arms and continues pacing) Why is it the first time I take a little step out of my safe cocoon of a marriage I have to jump right off a cliff? Roger: (stands up and walks over to her) Lucky for you I happen to be here with a parachute. Holly: (punches him in the shoulder) Lucky, nothing! If it weren't for you I wouldn't need a damn parachute. (Walks away from him and then turns back) How could you? (Holly is raging now) How could you marry a woman like that? (Roger starts to speak but she interrupts him.) No... don't answer that. I know you're determined to bed and wed every woman under the age of 30 who blows into Springfield, but with all your agency experience . . . with all your connections . . . why didn't you bother to have her investigated? (She starts hitting him again) You have children, Roger . . . grandchildren! How could you let a woman who traffics in child pornography into their lives? Roger: (holds her arms to get her attention) There's no time for this now, Holly. You can use me as a punching bag all you want . . . once we're safely back in Springfield. Just put on your clothes and let's get out of here. As Roger picks up her dress from the bed and hands it to her, she realizes she's been talking to him for the last ten minutes wearing nothing but a slip. His eyes move slowly down her body and then back up to her face. They stare into each other's eyes and Holly sees a brief flash of something familiar but he quickly conceals his feelings as they hear footsteps on the stairs . . . Holly: Hide . . . Roger: (slipping under the bed) Get rid of him . . . SCENE: Casino in Nice, France. - midnight. Hart walks slowly toward the chemin de fer table. The closer he gets the faster he walks, caught between fear and excitement. The craving for the action is beginning to get him again. He knows it's not too late, he could stop now, he could find another way to get the ransom money. He could put his faith in Roger and Roger's contacts, he could keep searching for Jules, hoping to find Peter on his own without paying the ransom. He could call in the authorities. He could tell Bridget the truth about the two years he was away from Springfield and maybe together they could think of another way to do this, a way that wouldn't put him right back in the middle of the hell he thought he'd finally escaped from. As he approaches the familiar oblong table, the croupier in the middle, dealers on either side taking the player's bets, he smiles. It wasn't always hell. Winning was a kind of heaven. Winning gave him a rush like no other experience could. He moves into one of the open positions and places his chips on the table. SCENE: Vanessa in the clinic. Vanessa: (on the phone to Bridget) Noon? Couldn't we make it earlier? I've got tests at noon tomorrow and I'd like to be here when Peter talks to Hart . . . to make sure he doesn't mention me. Bridget: Sure, we could make it around ten. Would that be better? Vanessa: Yes, much better. (Sighs) Bridget . . . will you tell me why you're doing this now? I thought you wanted to keep Hart away from Peter. Have you changed your mind? Bridget: I don't know . . . Hart has changed, I know that. Ever since he got away from Dinah he's started acting more like the Hart I used to know . . . the one I wanted as a father to my child . . . Vanessa: Where is Dinah? Bridget: (shrugs) Still in Paris, I guess. CUT TO a plushly decorated office in a high-rise building with a view of the Eiffel Tower. A man is listening to Bridget and Van's conversation through his ear phones. We can only see the back of his head. He picks up the phone. MAN: Bingo . . . we finally found out where the kid is. Now we've got all four of them. This means we got Thorpe. SCENE: Paris Bistro. Dinah and Frances are standing on the sidewalk in front of the bistro where they just saw Marley Diniro singing. Dinah: (screaming) What is she doing here? This can't happen! I won't let it happen! I've worked too hard and put up with way too much crap for the past two years to let that little princess just walk back into her life and take up where she left off! Frances: Hey, what are you whining about? You had an easy run over there for two years. You had those parents of hers to mooch off of, you managed to con her grandfather out of her trust fund, from what Marcus tells me you were everybody's little darling. But you better just face it, Deedee. . . those days are over. It's time to pay your dues. Dinah: Pay my dues? I've been paying my dues just living in that podunk town! Trying to act sweet and sociable at all those boring family parties. You try sitting for hours in somebody's back yard being ogled by a bunch of ten year old boys while all the men are walking around with their guts hanging out over their belts arguing about who can light the grill faster, and the women are trading recipes for macaroni salad. Frances: Sounds like you won't miss it much. So what are you complaining about? Dinah: Because all that was about to end! I finally got free of that psycho I married and I'm just about to marry his rich son. Frances: Oh, really? And where's he been lately? Why are you walking the streets again if you've got a rich boyfriend? Dinah: He's . . . looking for his son, I guess. Frances: And he doesn't mind . . . that you're not helping him? Dinah: No. He knows kids aren't my thing. Frances: Sounds like a real understanding guy. Dinah: Yeah. A real wimp! And get this . . .(laughs) he's a farmer! Frances: A rich farmer? That's different. Dinah: Oh, he didn't get rich from farming. And he's not going to waste his money on that pile of manure, either . . . not if I have anything to say about it. Frances: Well now that she's back I guess you won't . . . have anything to say about it, that is. Dinah: (narrows her eyes) She's not back yet. SCENE: Cedar's Hospital Coffee Shop. 6 p.m. (NOTE: Springfield time is about six hours earlier than Paris time) Leo's sitting in the hospital coffee shop. He's been hanging out here for the last few hours, hoping to get another chance to talk to Blake. He's got nothing better to do until his plane leaves - that won't happen for three more hours. Roger wants him to pick up something at the airport in Paris. His eyes wander around the coffee shop. He has to admit that he's also been hanging out hoping to get another glimpse of that goddess he found in Blake's room. Amanda Spaulding. The newspaper photos didn't do her justice. Amanda in the flesh is so much more . . . Leo closes his eyes and thinks about the expanse of Amanda's flesh he saw billowing out from above her low cut dress. His mouth drops open and he sighs deeply. When he opens his eyes he sees that same expanse of flesh standing right in front of him. He raises his eyes reluctantly from her chest to her face. Amanda appraises Leo with a slight knowing smile, guessing exactly what he was thinking. Amanda has the instincts of a whore when it comes to knowing what men want. And she knows Leo wants her. This should be easy. Leo's face reddens, suspecting that she can read his thoughts. He tries to speak but his mouth is suddenly dry. He reaches for a glass of water but can't take his eyes away from Amanda's face. She takes pity on him. Amanda: (holding out her hand) Mr. Flynn? I'm Amanda Spaulding. Sorry I didn't introduce myself earlier, but Ross was so hot on kicking us out of Blake's room it didn't seem like a good idea. Leo: (puts his glass down and stands) Ms. Spaulding . . . yes . . . would you . . . (gestures toward the other seat) . . . uh . . .would you like . . . I mean, maybe . . .(gets behind the chair and pulls it out for her) Amanda finds his nervousness very appealing - and so unexpected in a former state senator, now a hotshot lawyer known for his lack of ethics. She sits down, crossing her legs to give him a nice view of thigh, and letting her hair brush against his hands which are resting on the back of her chair. She notices with satisfaction that he remains behind her chair an unusually long time. This is going to be fun. It's been a long time since she's had a man completely at her mercy - much too long. SCENE: Jacques' Villa. 12:30 am. Roger disappears under the bed just as the door opens and Jacques enters, carrying a bottle of champagne and two glasses. He notices the flush on Holly's cheeks and her obvious excitement. Jacques: (putting down the champagne and taking her in his arms) Perhaps you no longer need the wine? Perhaps you are ready for me now? (He kisses her deeply and his hands move over her body with the familiarity of a long time lover, pulling her closer to him. Holly pretends to respond, but then pulls away with a laugh.) Holly: (walking to the bedside table where he put the champagne and pouring two glasses) I'm more than ready, Jacques. But being a Frenchman, I know you're aware that the better the build-up the more exciting the . . . climax will be. Jacques: (looks at her with amused curiosity) Yes, of course. What are you suggesting, my little seductress? Holly: I'm suggesting . . . (hands him a glass of wine and takes a drink of her own) . . . that I pose for you . . . as I was this afternoon. That you finish that portrait you started of me wearing the towel. Holly hears the sharp intake of breath from under the bed. It's very faint, but she quickly looks at Jacques to see if he heard it too. Jacques seems oblivious to their surroundings. All of his attention is focused on her. Roger follows the action from beneath the bed, only able to see their feet. He watches as Jacques walks toward Holly and she continues, "Did you know that the whole time I was posing for you I kept hoping you would stop painting and make love to me?" Roger rolls his eyes and frowns, wondering what Holly is trying to do. Did she forget she's supposed to get rid of Jacques . . . not drive him crazy with desire? Roger hears Jacques speak, "So you want to pose for me again so we can make your fantasy real?" then Holly, "Exactly. Why don't you go get your paints and easel, while I . . ." Jacques interrupts, "Ah, Cherie, you will have your fantasy. But first, I must have mine . . ." Roger sees Holly's slip drop to the floor beside the bed, and is surprised at the calm in Holly's voice as she says, "Oh, you want to paint me in the nude?" Jacques answers, "Yes. But first I want to make love to you. Then I will paint you as you look after we have made love." Roger sees Holly's feet disappear and from the sinking of the bed above him he can tell that Jacques has laid her on the bed and joined her there. He decides that things are moving too fast and begins to inch his body out from under the bed. This is more difficult than he expected because the springs in the old bed are sagging badly, many have broken through the webbing and keep catching on his clothes. On top of the bed, Holly and Jacques are under the sheet, and Jacques is kissing her shoulders. She frowns, still hoping she'll be able to hold him off. Holly: (trying to sit up) Jacques, this isn't the way I imagined . . . Jacques: (raises his head) It will be better than you imagined . . . Holly: Jacques . . . stop . . . Jacques: (kissing her neck) I can't stop . . . Holly: (she pushes him away) Maybe this will help . . . (she smacks him hard across the face) Jacques: (looks first surprised and then amused) How did you know I love a challenge, Holly? Roger: (off camera) Do you love a bullet in your head too? PAN to Roger, holding a gun to the back of Jacques' head. Roger: If not, I suggest you let go of her, and slowly move to this side of the bed. (He does, and Roger looks at Holly) Now, Holly . . . roll to the other side and get out of the bed. Holly: Roger . . . I'm not wearing anything . . . (she looks around for her slip and within a few seconds she hears a loud thud, as Roger's body crashes to the floor and remains motionless) SCENE: Casino in Nice. Bridget gets a drink at the bar and carries it with her to the chemin de fer room. She sees Hart at the table, his face flushed, smiling, stacks of chips piled in front of him and one of the dealers is just giving him another stack. The people around him are looking at him with envy and admiration, some of them are patting him on the back and shaking his hand. She joins him at the table. Bridget: (sets down her drink and picks up some of his chips) I don't have to ask how you're doing. Hart: (picks her up and swings her around in the air, with a big smile on his face) I'm a winner, Bridge! I'm almost two million ahead! Hart's enthusiasm begins to infect Bridget too. She can't believe this is the same man who was devastated a few hours ago about his son being kidnaped. She's just glad he found something to take his mind off his pain. Especially since she knows that her lies were causing that pain. Then she remembers . . . Roger said he was supposed to lose. But why? Why didn't Roger tell her the details? Bridget is torn between wanting to share in Hart's joy at winning, and her commitment to Roger and Roger's plan. Hart sets her on her feet and gives her a kiss. The other players begin to applaud and cheer. Bridget feels like a celebrity . . . like a movie star . . . or royalty . . . Bridget: Why don't you teach me this game? Maybe I can win too. Hart: (puts his arm around her and pulls her to his side) Okay. Take those chips you're holding, and put them down on the square marked "Player". Bridget: (lays down the chips) How much are they worth? Hart: That's about five thousand dollars. Bridget: (grabs the chips, aghast) Five thousand? No . . . I'll just bet five dollars . . . Hart: (smiles) Don't worry about it, Bridge. I'll give you more if you lose that. (Signals to a passing waiter) Could we have two more of the same? SCENE: Cedars Amanda and Leo are sitting together at a table in the hospital cafeteria. Amanda has ordered carrot sticks and an orange. Leo watches fascinated, as she peels the orange slowly and carefully, then separates it into sections and eats each section individually. Leo: An unusual dinner. Amanda: (the juice from the orange squirts out onto her hand and she licks it off) It's a new diet - you can only eat orange food. Leo: (searching desperately for something to say) Too bad they didn't have any yams. Amanda: (She puts a carrot stick into her mouth, caressing it with her lips, and then bites off the tip.) I prefer finger food. Leo can barely talk. Amanda: I know you're Roger Thorpe's lawyer, but I didn't know you and Blake were friends. Leo: We dated for a while . . . and she helped me with my Senate campaign. (Frowns) . . .that is . . . she worked on my campaign . . . Amanda: That's right! You used to be state Senator! (her eyes light up) I love politicians . . . Leo: You do? (Wondering if there are any vacancies he could get himself appointed to) Amanda: Sure . . . (takes another bite of carrot) . . . all that power . . . all that grey hair . . . (changes the subject to her real reason for being here) So, do you handle Blake's legal affairs too? Leo: Uh . . . no, she's . . . (is that Amanda's foot on his leg?) . . . uh, she's married to a lawyer, remember? (He notices Amanda's foot has stopped moving) . . . uh, but we . . .we work together . . .(her foot starts moving again) . . . she's a private investigator, you know. Amanda: No, really? (Her foot continues its travels) I've been known to do a little investigating myself. Maybe you and I could work together sometime. SCENE: Jacques villa 1 a.m. Roger and Holly are on the bed, leaning against the headboard. Jacques is tieing their feet together at the ankles, as M. Rolande holds a gun on them. Holly: Is this still part of your fantasy, Jacques? Jacques: (looks up from his work and stares into her eyes with sincerity) I hope you know, cherie, I would never have forced myself on you. The very thought is abhorrent to me, and I apologize if I frightened you. Roger: Right. You'll just hold her at gunpoint and tie her up. How about murder, Jacques? Does that also offend your delicate sensibilities? Jacques: I hated to put you through that, Holly, but I had to force your ex-husband to come out of hiding. And I suspected that the prospect of seeing you raped would be just the thing to make him get careless. Holly glances over at Roger and sees that he has closed his eyes. He takes a deep breath, his face is expressionless. Holly: (pulling the blanket around her body) Can't I at least put my clothes on? Jacques: Sorry, cherie. I think without clothes you are less likely to escape. Roger notices Holly's awkwardness. Roger: Aw, come on, Faber. Let me give her my shirt to wear. Jacques: (hesitates) Very well. Roger removes his shirt and holds it for Holly to slip her arms in the sleeves. As she wraps it around her body, Holly feels suddenly comforted and safe. SCENE: Casino in Nice. Bridget and Hart are still at the Chemin de Fer table. Bridget's leaning over the table throwing down chips, Hart is standing behind her, his arms around her. They're both more than a little drunk, and between bets and drinks they kiss. The croupier offers Bridget the shoe. Bridget: What is this? What am I supposed to do? Hart: That's the shoe. He's asking you if you want to be the banker for this hand. Bridget: (grins and kisses the shoe) Sure! Why not? Hart: (smiles at her enthusiasm) Okay. You've seen the way they deal. Take the first card from the top and give it to the croupier, the second card goes under the corner of the shoe, third to the croupier and fourth to the shoe. That's all there is to it. Bridget: (deals the cards then turns to Hart) Why do they call this thing a shoe? Hart: Beats the heck out of me! Bridget: Are we still winning? Hart: Yes, we're still winning. (Takes her face in his hands) We have enough to pay Petey's ransom and enough left over to pay his college tuition. In fact we have enough money to send about five kids to college. They stare into each other's eyes, both considering the meaning of Hart's words. Bridget: Do you think if we had five more kids, they'd all be as great as Petey? Hart: (kisses her) Would you like to find out? Bridget: (nods) Yes . . . I would. Hart collects his chips and puts them in his pockets. Then he takes Bridget's hand and leads her to the door. Bridget: You're not going to say I got you drunk this time, are you? Hart: No. (Grins) This time I got you drunk. SCENE: Cedar's Hospital. 7 p.m. Amanda looks up and down the hall and then moves closer to the door of Blake's room, trying to hear the conversation inside. She hears Leo asking about the babies, but she can't hear Blake's answer. Maybe she's wasting her time here. Maybe she'll just have to concentrate on getting a look at those hospital records if she wants to find out the truth about Blake's babies. She pushes the door open slightly and hears Leo saying, "Do you want me to break the news to Roger when I get to Paris?" Suddenly, she hears someone approaching and quickly closes the door again. Ross: I don't think you should disturb Blake right now. She needs her sleep. Amanda: (takes his arm and leads him away from the room) Oh, that's fine. You're the one I wanted to see, anyway. Cut to Blake's room where Leo and Blake are talking. Blake: No, don't tell him. I want to . . . well, yes, you better tell them . . . will you see Mom, too? Leo: I have no idea. Roger's message on my machine was so cryptic, I'm not really sure what's going on over there. All I know is he told me to wait at the airport in Paris to pick something up. He didn't even give me a number where I could reach him. SCENE: Jacques' Villa 2:00 a.m. Roger and Holly's feet are bound and their hands are tied behind their backs. Jacques is kneeling beside the bed, next to Holly. Jacques: (touches her cheek lightly) What a pity things did not turn out as I had hoped. If only you could have remained my beautiful Holly Norris . . . and not turned out to also be Mrs. Roger Thorpe. Holly: (sarcastically) If only you could have remained my romantic artist, and not turned out to be a . . . Roger coughs to get Holly's attention and frowns in warning. Jacques: A what? Holly: (stalling) Uh . . . I'm not sure what to call you . . .I'm not sure what you're planning to do with us . . . Jacques: Ah, yes . . . well, you know what I'd like to do with you, cherie . . . but no . . . You will be my guests for the rest of the night. Then tomorrow, Mr. Thorpe will be so kind as to take us to the videotape. Sleep well! We'll be getting an early start. (he leaves) Roger: (turns to Holly) Are you okay . . . really? He didn't . . .? Holly: (smiles) I'm fine, Roger. The truth is . . . I don't think I was ever really afraid of him. Roger: So I noticed. For a while there I thought you forgot I was here. Holly: Well, I knew you wouldn't let him hurt me. But also . . . (looks at Roger) the whole time I had this strange feeling . . . that Jacques had no intention of raping me. Roger: Don't let his charm fool you, Holly. That man is a killer. Holly: No really, Roger . . . I think he still believes he can seduce me . . . I think we can use this to our advantage. Tomorrow when we go for the tape . . . Roger: (raises one eyebrow) Forget it, Holly. We're not going to be here tomorrow. (He sits up) Roll over on your stomach. Holly: What . . . why . . . Reluctantly, she does as he asked, and feels Roger lower his head so it's resting on the small of her back next to her hands which are tied behind her. Roger: I'm going to try to loosen these ropes with my teeth. SCENE: Paris. Bistro. Marley Diniro is sitting in her dressing room getting ready for her next set. After five years on a sheep ranch, she's enjoying the clothes, the make-up, the glamour. As she touches up her lipstick, there's a knock on the door. This is something she's not enjoying about being back in civilization - no time to be alone. Marley: (hiding her impatience with the interruption) Come in! A waitress enters. Waitress: Someone at the bar wanted me to give you this note. Marley: (grinning) Please tell me it's from some gorgeous guy, I hope? Waitress: (hands her the note) Are you kidding? If it were a gorgeous guy I'd still be out there talking to him! No, this was from a woman . . . American I think. Marley: (frowns, and distractedly starts to open the note) Thanks, Michelle. Michelle leaves and Marley reads the note. "Still singing, Marley? Hope your new tune isn't as dangerous as the one you sang five years ago." Marley gets up and runs to the door. SCENE: Hotel in Nice. Bridget and Hart are lying on a huge bed in the middle of a huge room surrounded on one side by a wall of glass that overlooks the Bay. The view is mostly of a star-filled sky, and it's reflected in the mirrored wall on the opposite side of the room. Tiny lights are scattered across the ceiling, and the combined effect gives the impression that they are sleeping under the stars. They're lying on their backs, Bridget's head is resting on Hart's shoulder. Bridget: This is almost like being on the farm. Laying out in the middle of one of those fields . . . I can almost smell the hay . . . Hart: Bridget . . . are you happy with Roger? Bridget: Let's not talk about Roger, okay? Hart: Okay. (He pulls her toward him) I don't want to talk, anyway. Bridget: (pushes him away and gets out of bed) No . . . not now. Bridget walks out to the balcony, confused and sad. The alcohol is wearing off and her earlier elation is being replaced by depression. If this had happened a year ago it would have made her the happiest girl on earth. But now . . . how can she tell Hart . . . that while they were making love, she kept seeing Roger's face? Why couldn't this have happened a year ago? Then she never would have gotten so close to Roger . . . never would have started to care about him . . . Why now, when it's too late? Hart joins her. He walks up behind her and puts his arms around her. SCENE: Jacques' Villa - 3 a.m. Roger is still working on Holly's ropes with his teeth. Holly: Could we take a break? Your head is getting awfully heavy, Roger. Roger: Sorry. (Grins) Maybe I should move it . . . maybe to a spot with a little more padding? Holly: (smiles tolerantly) I don't think so. My wrists are getting sore, too. These ropes are starting to feel tighter instead of looser. Roger: (sits up) Okay. Maybe I'll work on your feet for a while. Holly: No, wait a minute, Roger. I think I might have a better chance with your feet. Roger: There's no time to argue about this . . . Holly: No, I'm right . . . didn't you notice . . . he left your socks on under the ropes? What if I can get them off? Wouldn't that loosen the ropes around your ankles? Roger: Hmm... (Looks at her with admiration) ... you just might have something there. (smiles) Okay, give it a try. Roger watches as Holly takes his sock between her teeth and starts pulling. Roger: (grinning) Did I ever tell you about this fantasy I used to have? Holly looks at Roger with disgust, a little out of breath from her struggles. Holly: This is not amusing, Roger. (Looks at his feet) . . . and how long have you been wearing these socks, anyway? Roger: (laughs) Aw, come on, Hol. You always used to say you like the way I smell. Holly: So I did. (Grimaces) I guess I never spent much time around your feet. >> >"Republicans understand the importance of bondage between mother and child." >--Former U.S Vice-President Dan Quayle on Republican Family Values. >> >"Republicans understand the importance of bondage between mother and child." >--Former U.S Vice-President Dan Quayle on Republican Family Values. > "Republicans understand the importance of bondage between mother and child." --Former U.S Vice-President Dan Quayle on Republican Family Values. >>>> >>"Republicans understand the importance of bondage between mother and child." >>--Former U.S Vice-President Dan Quayle on Republican Family Values. >> >