Camera Store Film - Official Poster Artwork 2016


John Larroquette - Ray LaPine
John Rhys-Davies - Pinky Steuben
David James Elliott - Karly Regan
Laura Silverman - Tonia Canucci
Cheryl Ladd - Alma
Maddie McCormick - Penny Wednesday
Justin Lieberman - Pete
Paul Ben-Victor - Mr. Bibideaux
Laura Cayouette - Brenda Klammadge
Theodus Crane - Bobby
Hunter Burke - Photo journalist
Bryan Michael Hall - Leveo Cannucci
Rusty Bourg - Customer
Clayton Landey - Dr. Dave Lobell
Hedy Rose Kraft - Young Alma
Michael Buonomo - Nunzy Cannucci
Thomas Francis Murphy - Old man/investigator
Hakim Callender - Tony
Mikki Val - Lorraine
Richard B, Adams - Mall shopper
Kevin Beard - Bus driver
Brady Calhoun - Mall shopper
Tyler Dietrich - Mall shopper
James Howard - Askin Customer
Joey Folsom - Felix Potemkin
Kirk H. Anderson - Bus passenger


Scott Marshall Smith - Writer/Director
Nicholas Cafritz - Producer
Robert Reed Peterson - Producer
Albert T. Dickerson III - Producer
Rankin Hickman - Co-producer
Jacky Lee Morgan - Co-producer
Jim Woods - Co-producer
Justin Burnett - Music
Yaron Levy - Cinematography
Ryan Dufrene - Film Editor
Dean E. Fronk, Donald Paul Pemrick - Casting
Nate Jones Production - Designer
Michelle Jones - Art Director
Ryan Martin Dwyer, Michelle Marchand II - Set Decorators
Ashley Walsh Makeup - Dept. head
Ignacia Johnston - Key Makeup artist
Gloria Belz - Makeup artist
Curtis Foreman - Key hair stylist
Stephanie Jennings - Key hair stylist
Rankin Hickman - Production supervisor
Jacky Lee Morgan - Unit production manager
Paul Uddo, Jimi Woods - First assistant directors
Gerson Paz - 2nd 2nd a.d.
Janna Roach - Property master
Nathan Mulligan - Set painter
Matt Lopac - Asst property master
Camile Kelsey - Lead scenic
Sam Jacobs - On-set dresser
Jonathon Cappel - Leadman
Misha Kachkachushvili - Recording engineer
Dick Hansen - Production sound mixer
Alessandro Chimento - Sound utility
Raam Brousard - Boom operator
Kevin Beard - Stunt coordinator
Richard L. Blackwell - Stunt rigger
Greg Brazzel - Stunts
Meredith Richardson - Stunt double
Steve Acheson - A camera/Steadicam
Gary Harvill - Grip
Brian Hollars - Electrician
Paul Reynoso - Grip
Jonathan E. Robinson - 2nd A.C.
Eric van der Vynckt - 2nd A.C.
Nathan Tape - Gaffer
Robin Batherson - Extras casting
Karen Clark - Costumer
Ashley Heathcock - Asst. costume designer
Molly Kamrath - Set costumer
Pamela Waggoner - Key costumer
Arvid Cristiner - Assistant editor
Bradley Greer - Colorist: dailies/d.i.c.
Richard Brown - Picture car coordinator
A. Welch Lambert - Transportation coordinator
Jimi Woods - Location manager
Nancy Schmitt - Production secretary
James Napper - Production counsel
Casey Moore - Production coordinator
Kyle Landry - Chef
Kristin Garlington - Payroll accountant
Charlie French - Locations
Jennifer Carriere - Script supervisor
Kris Butler - Head set medic


It’s Christmas Eve morning 1994. Ray LaPine and his loquacious, liquored-up salesman Pinky Steuben are trying to make it through the biggest shopping day of the year, again. Two decades ago, their camera store was a thriving neighborhood business. Today, Bibideaux Photographic has withered into a sad relic of a bygone era. The two men now find themselves trapped while merely keeping the store alive for their wealthy, amoral, and absent boss, Mr. Bibideaux. But there is something different about today. With the arrival of an old friend, Ray gets word of a big change coming to the business he thought he knew so well. Ray must act immediately to save himself from the sinking ship before he loses the little chance he has for a better life.

Imprisoned by complacency and denial, these once ambitious, intelligent, and skilled men have de-evolved along with their dead-end jobs and dilapidated store into equal parts comedy, tragedy and futility.


“This is a tough film that comes from an organic reality, but no one in this country can deny the middle class has been sacked. You can make all sorts of rationale for it but these are people’s lives that are devastated. Many of these are well-trained workers and professionals, who have had their jobs eliminated and have been downgraded from the middle class to the working poor.
 “Camera Store not only explores what happened to the American Dream, but why did the pursuit of that dream become not just colder—but sport? Not only were these corporations gunning people’s lives and livelihoods, but the people doing it were enjoying it. So, what’s changed? How have we come as a society and as a people to accept that as a moral behavior? 
 Exploring the ethical and psychological shifts in American corporate culture and accountability actually took Smith back to a short comedy screenplay he’d written years ago, inspired by events and personalities he’d encountered working in a neighborhood camera store while attending New York University’s Tisch School of the Arts, where he received his BFA. 
 “I was putting myself through film school and needed to work, so I took a job in a camera store in a mall, since learning about cameras and photography would help me in school as well. I wasn’t into photography, but I loved movies and watched every movie I could, endless hours of TV, and was a bit of a techno geek. Working in a camera store was a way to get film, experience and all that. And this camera store was jam-packed with characters. There were some really funny people in that store. All of that mixed with other people, emotions, and events at the time and I wrote it all down in this comedy.”

Although there had been interest and attempts to make the original screenplay, it wasn’t until 10 years later, when Smith sat down to write what he had experienced as one of the founding executives and former director of marketing for the motion picture camera manufacturer and rental house Panavision Hollywood that the story merged into one. 
 “I decided to take the opera and make it an operetta on this little stage in a photo store. In both experiences, what seemed funny at first -- the plight of my fellow employees endlessly carping about jobs they took for granted -- slowly merged into the same tragedy. The people I worked with at both places were good, hard working employees -- the backbone of the American middle class. They did as generations before them — worked hard and made their companies and managers rich all under the promise of the American dream. When those companies turned around and decimated that dream, it was no different at the corporate store than the camera store. Like Ray and Pinky, those workers stood in numb disbelief, pink slips dangling from unfeeling finger, betrayed by their own bosses, unemployed in late career, retirements sucked into offshore accounts.
 “These guys were exchanging high-five’s and popping champagne after they were done. People got comfortable with gutting people’s lives and saw these as good jobs. ‘We can’t retire you, we can’t keep our promise. There’s no gold watch, you’re pink-slipped and you’re gone today.’ People were literally shed out on to the streets with nothing. The whole idea of their expectations for all their hard work and loyalty that went into it, and to end up with nothing, is disillusioning, devastating.
 “Ray’s totally shut down, totally angry, and has walled himself into a corner where he’s living in an amorphous future he isn’t acting on. He talks about this one-hour photo business idea all the time, but he never acts on it. And while he may be pissed off at the world, he’s really pissed off at himself. When he berates the mall manager Felix about being a ‘functionary’ with no control or authority, he’s really talking about himself, angry at becoming a functionary in his own store, paralyzed by fear, stuck, working for the guy who stole it all.” 
 Smith sees exploited salesmen like Ray and Pinky as modern-day successors to Miller’s tragic archetype salesman Willy Loman – loyal, dedicated employees who devote their working lives to a company, only to be cast aside with little or nothing when they’ve grown old and outlived their usefulness. 
 “If Death of a Salesman represents the death of the American Dream, and Glengarry Glen Ross represents the funeral for the American Dream, Camera Store would be its requiem.
 “And while Glengarry Glen Ross explores what happens to the people at the bottom, there’s been a real moral and ethical shift since then that seems more like a regression than a progression, and that’s what I wanted to explore.”


In addition to his personal attachment to the story and its contemporary relevance, Scott Marshall Smith chose Camera Store as his first directorial project largely because it was small in scope, took place in one location, was inexpensive to finance, easy to shoot, and would give him and his producers creative control over the material.
 “Camera Store was by far the most personal project for Scott because he lived the story and wrote it when it took place,” said producer Robert Peterson. “Aside from the pragmatic considerations of budget, location, it was a very talkative drama, pure character development and story and that is the type of films we want to make.”
 The Christmas Eve setting worked from a thematic standpoint since the joyful, happy holiday season and bustling retail day contrasted with the sadness and drama taking place in the Camera Store. 
 Smith and his producers decided to shoot Camera Store in New Orleans, Louisiana because of the state’s film and television tax incentives program. It took less than a week of scouting to find the Esplanade Mall in Kenner, which had an entire wing that they were able to use to build their Green Meadows mall. Located on the second level outside Dillard’s department store, the space was perfect for them, providing enough storefront facades to transform it into a mall circa ‘94, as well as office space below on the first level. 
 Location manager Jimi Woods suggested building out the storefronts and putting up facades so the spaces in back of these stores could be used for different departments – hair, make-up, wardrobe, camera, grip. “It was great, like having your own studio site,” said production designer Nate Jones. 
Filming at the Esplanade Mall also saved the production millions in production value. “The mall management was phenomenal, so welcoming and excited to have someone making a movie about a mall,” Jones said. “We were able to film in the main atrium, outside, in the parking lot, in some of the back alleys and passageways. There are a lot of hidden levels and passageways in a mall—the inner working and guts of it – since malls are about the superficial, the presentation. And the management at the Esplanade thought it was great to show it.” 

In addition to Bibideaux’s Family Photographic in the center of the action, Jones and his team built a half-dozen businesses in their southwest wing of the mall—a portrait gallery, an electronics and gadget store Electric Shack; Cannucci’s Italian Eatery; the pirate-themed Scurvy Parrot tavern; and, a cigar shop, toy store, furniture store and arcade.
 “Scott wanted to emphasize these were stores on their way out, on their last legs,” said Jones. “So I tried to choose stores with him that had that energy – shops that you don’t see in malls anymore, like the furniture store, the arcade or cigar store.” 
For the camera store itself, Jones took colors and materials that were “hot in the ‘70s” and sample and modified it, like using carpet for the back counters. He wanted that “older retro feel” and emphasized the products sold during the ‘90s such as Polaroids.

Smith says when he wrote Camera Store he was listening to the Nat King Cole Christmas album and began to write that into the story. 
 “I always write to music and when I was listening to Nat King Cole I thought why not put this character in the movie? So when the movie opens, we see fingers playing the piano and the face of the piano player as he begins to sing. As his voice echoes through this empty mall as do this long shot tunneling through the mall and the music carries the shot along.”

John Larroquette

Tall and urbane, John Larroquette is an actor’s actor, where a lift of an eyebrow or a sideways glance can indicate comedy or drama. In his role of Ray LaPine he brings all his skills to the role of a man living a life of quiet desperation.

He says of the character he is portraying, “Ray doesn’t have a dream anymore. His dream died and he’s a lost man.”

Though he was born in New Orleans and, as a young man he spoke in the distinctive New Orleans style, this is the first time he has worked in his home state.

Larroquette has been honing his craft since the sixties, mainly in television. He won four consecutive Emmys® for Best Supporting Actor in a Comedy Series (Night Court), followed by another Emmy® as Outstanding Guest Actor in a Drama Series (The Practice) and two Emmy® nominations for his work on The John Larroquette Show and again The Practice.

As an indication of his varied acting skills the Academy of Science Fiction, Fantasy & Horror Films nominated him in 2015 for Best Guest Performance in a Television Series in The Librarians, the American Comedy Awards nominated him as the Funniest Supporting Male Performer in a TV Series (Night Court) and he received a Grammy® nomination in 2012 for Best Musical Theater Album (How to Succeed in Business Without Really Trying).

His role as a Johnny Carson-style talk show host was omitted from the theatrical version of JFK (1991), but restored in the director’s cut on video/DVD. He actually wrote to Carson just to inform him that he was playing the part, and Carson appreciated the gesture.

Larroquette has been quoted as saying, “When actors get pigeonholed, that’s their own doing to a large degree. Because if you do something that people like, obviously they’re going to ask you to do it again. It’s up to you to say no. If you’re that insecure about working, you’ll probably do what you’re known to do.”

Even though he provided the opening and closing narration for three of the Texas Chainsaw Massacre movies, he has seen none of them, not being a fan of the horror genre.

John Rhys-Davies

Rhys-Davies plays the outgoing, optimistic salesman to John Larroquette’s unhappy fellow “prisoner” in the camera store of the film’s title.

The Welsh born actor is known for his distinctive roles in some of the biggest movie hits of the past 35 years. Older audiences will remember him from Raiders of the Last Ark (1981) and Indiana Jones and the Last Crusade (1989), while a new generation of fans know him as Gimli the Dwarf (he’s actually 6ft 1) in The Lord of the Rings: The Fellowship of the Ring (2001), The Lord of the Rings: The Two Towers (2002) and The Lord of the Rings: The Return of the King (2003). He also had leading roles in Blake Edwards’ Victor, Victoria (1982), The Living Daylights (1987) and King Solomon’s Mines (the 1985 version, not the versions of 1950 or 2004).

Rhys-Davies , who was raised in England, Africa and Wales, credits his early exposure to classic literature for his decision to pursue acting and writing. He later refined his craft at London’s Royal Academy of Dramatic Arts. His television credits include Shogun (1980), Noble House (1988), Great Expectations (1989), War and Remembrance (1988) and Archeology (1991).

He is an actor who loves to work and has more than 243 movie and television credits. At the time of this writing he was involved in no less than nine films in post or pre-production.

He agreed to star in Camera Store because he loved the script. “It’s as beautifully written a script as I have ever read. It’s a deep, rich, literate, brilliantly written, wonderful story.”

An avid collector of vintage automobiles, he has a host of theater roles to his credit, including The Misanthrope, Hedda Gabler and most of Shakespeare’s works. When not on location he divides his time between Los Angeles and the Isle of Man.

David James Elliott

If you’re wondering where you know the name and face of this handsome actor it is in all probability from the long-running television series Jag (1995 to 2005), in which he played the lead, Commander Harman Rabb Jr.

More recently he portrayed John Wayne in 2015’s Trumbo. He has worked steadily for 30 years, mostly in television, on such shows as Mad Men, CSI NY, Scoundrels, Seinfeld and The Untouchables.

Like so many teenagers, his early interest was in music, as a front man for a rock ‘n’ roll band. But he got the acting bug, auditioned for the Stratford Shakespearian Festival in Stratford, Ontario and was accepted as a member of the Young Company for two years. He was born in Toronto, but spent much of his youth in the Bahamas, where he had many relatives.

People Magazine named him one of the 50 most beautiful people in the world.

Laura Silverman

Laura Siverman plays the owner of a pizza parlor across the mall from the camera store and a long-time friend of the unhappy Ray LaPine.

The sister of actress Sarah Silverman, Laura has an extensive list of credits, both as an actress and writer, going back to 2000. She appeared in such TV shows as Masters of Sex, The Comeback and Nurse Jackie. She starred as herself during the four-year run of The Sarah Silverman Program and was the voice of Laura the Receptionist in all 81 episodes of Dr. Katz, Professional Therapist, for which she was also a writer.

Cheryl Ladd

Cheryl Ladd came to fame as Kate Monroe, one of the beautiful iconic Charlie’s Angels which ran on television from 1977 to 1981. She began her career in the short-lived series Josie and the Pussycats.

She was the first choice for the lead role in the TV movie The Burning Bed, but she declined the part. The role eventually went to Farrah Fawcett, whom Ladd had replaced on Charlie’s Angels. And so it goes.

Her latest film, which was in production at the time of writing, is Unforgettable, in which she stars alongside Rosario Dawson and Katherine Heigl.

She appeared in several episodes of American Crime Story, as well as more than 70 other television shows and movies.

Justin Lieberman

Justin, who plays the enigmatic temporary help in the camera store, has been acting since he was 12, when he co-starred in the successful TV series Nip/Tuck. Following that, he went to work with Ken Olin, Marc Guggenheim and Greg Berlanti with a recurring role on Eli Stone. He had a small role in the indie comedy Last Call.

He is an avid sportsman, enjoying golf, soccer, rollerblading, horseback riding, roller hockey, basketball and wave boarding.

Although he was on 22 at the time, he was an executive producer on the 2015 comedy The Better Half, in which he had a co-starring role.

Paul Ben-Victor

Paul is one of those character actors whose face we all know from his more than 50 film roles. Even in the smallest roles he takes over the screen, as he does in Camera Store.

His films have included Daredevil, A Civil Action, Crazy in Alabama and The Corruptor. On television Paul starred as Chief Inspector Stan McQueen in USA’s hit series In Plain Sight and also starred in the international hit series The Invisible Man. In a complete turn-around from his usual roles he played Moe Howard in the ABC biopic The Three Stooges. He was an endearing hustler in NYPD Blue and a ruthless Greek henchman in HBO’s The Wire. Other roles were in Entourage and Curb Your Enthusiasm.

He produced, wrote and starred in the feature comedy Should’ve Been Romeo alongside Edward Asner, Carol Kane and Michael Rapaport and directed by his lifelong friend Mark Bennett.

Scott Marshall Smith

Scott Marshall Smith was born in Monterey, CA and raised in the Midwest. Shortly following receipt of his BFA from New York University's Tisch School of the Arts, Smith began his career in entertainment, working for storied commercial and music video director, Bob Giraldi.

Smith spent four years learning production on Manhattan's mean streets before leaving Geraldi Productions to pursue his writing career in Los Angeles. In LA, Smith joined the corporate side of the movie business as a founding executive for the then start up camera rental house, Panavision Hollywood where he eventually rose to Director of Marketing. In his marketing role, Scott gained an invaluable grasp of cinematography while supplying cameras to many now legendary filmmakers such as Quentin Tarantino and Emmanuel Lubezki. After five years at Panavision Hollywood, Smith's screenwriting career began to grow.

Hired at Paramount to write Navy Diver aka Men of Honor and at Disney to work on an action adventure thriller for director Tony Scott, Smith left corporate life and became a full time screenwriter. In the ensuing years, he has enjoyed the rare privilege of earning sole credit on two of his produced features while either selling or performing assignment work on more than 40 screenplays for every major studio -- Paramount, 20th Century Fox, Fox 2000, Universal, Warner Bros., Sony Pictures, Disney and Miramax.

During his career, Smith has worked with numerous Oscar nominees and winners such as Robert De Niro, Edward Norton, Marlon Brando, Charlize Theron, Cuba Gooding Jr., Hal Holbrook and Laura Dern.

He has enjoyed professional relationships with talented directors, producers and studio executives -- Frank Oz, George Tillman, Jr., Thomas Carter, Harvey and Bob Weinstein, Laura Ziskin, Lawrence Bender, Gary Foster, Jane Rosenthal, and long time supporter, Elizabeth Gabler, former President of Fox 2000. Able to work in a variety of genres, Smith has written small, intimate films as well as big budget tent poles in excess of $90 million.

Robert Reed Peterson

Robert Reed Peterson has been behind the camera nearly his entire life. By the age of 13, the Sun Valley native was working for his hometown TV Station, KSVT. Throughout high school, Peterson devoted himself to learning the art of filmmaking, shooting everything from music videos and local TV commercials to documentaries and national sporting events.

In 2009, Peterson graduated from Dallas Texas’ Southern Methodist University with bachelor’s degrees in Cinema-Television and Business. Peterson spent the next four years in Washington, DC overseeing digital marketing and branding for one of the nation’s largest car dealer groups, Rosenthal Automotive. During his tenure at R. A., Peterson developed, produced and directed more than 100 TV commercials and YouTube videos, launching the most successful car dealer on the YouTube channel to date.

Peterson soon became a YouTube partner, working directly with Google to develop and implement innovative marketing campaigns that would shape how dealerships market themselves using online video. In 2014, the nation’s leading auto industry publication, Automotive News, recognized Peterson’s burgeoning accomplishments when the magazine named him one of their "40 Under 40” to be watched.

In 2013, Peterson moved to Los Angeles to launch a television development and production company. Formed with veteran writer/producer Ken Braun, Big Lost Pictures currently has several shows in development with major networks and production companies such as Discovery Studios, Original Media, and Left Field Entertainment.

Nicholas Harrison Cafritz

While pursuing a degree in history from George Washington University, Nick Cafritz combined his love of books and literature with his knack for recognizing unique opportunities when he co-founded, Rhymebook. Cafritz’s designed his online music marketplace to pair aspiring artists with a defined audience of potential rights buyers. Cafritz not only served as Ryhmebook’s Director of Marketing but also drew upon his talent for finance to become the driving force behind the fledging company’s first round of fundraising.

After college, Cafritz joined DC based strategic communications firm, Crossfire Strategies, where he quickly rose to become director of business development and client strategy.

He left the company in 2010 when he moved to Brooklyn to open Verboten, one of New York’s most successful nightclubs in the blossoming district of Williamsburg. Nick sought initial fundraising and nurtured the club from concept to reality. Verboten’s explosive rise to the top of the nightlife industry has been chronicled in numerous publications including the New York Times, Business Insider and The Huffington Post.

Additionally, Cafritz owns and operates his own online rare bookstore. Launched in 2014, X Marks the Spot Books’ mission statement was simple - raise an appreciation for rare books to a younger generation.

Albert T.Dickerson III

Albert Dickerson is a veteran creative producer, line-producer and production manager. Beginning his career in 1987 as production assistant on an independent feature film for New World Pictures, Dickerson quickly matriculated to one of Hollywood’s legendary
film schools — Roger Corman’s Concorde/New Horizons Studio. The prolific producer gave career making opportunities not just to Dickerson but to Academy Award-winning directors Francis Ford Coppola, Ron Howard, Martin Scorsese and James Cameron, along with cinematographer’s Mauro Fiore, Januz Kaminsky, and Phaedon Papamichael.

Dickerson flourished under Corman’s tutelage, working a variety of production positions that would reward the young producer with invaluable first-hand knowledge of the production process. Dickerson held positions as prop-master, location manager, transportation manager, 2nd AD, 1st AD, production manager, and line-producer.

In 1998 Dickerson, by now a seasoned professional, left producing to serve as vice president of production at The Motion Picture Bond Company in Los Angeles. Dickerson was responsible for the successful delivery of more than 100 motion pictures with budgets of up to $70 million. He successfully negotiated and coordinated closing bonds with Hollywood’s largest banks, studios, distributors, sales agents and their respective attorneys.

During his 30-year career, Dickerson has produced nearly 50 films and television shows. He has worked with many independent production companies and major studios such as Warner Brothers, Disney, Paramount, Fox and Universal.

Yaron Levy

Yaron Levy has worked on close to 100 films and television shows in various below-the-line capacities. Initially he worked as an electrician, grip and gaffer, moving on to become a camera operator, lighting director and second unit cinematographer.

In 2002 he became a director of photography, working on various TV movies and feature films, including Aces ‘N’ Eights, Marco Polo, Pimpin’ Pee Wee, Night of the Demons, Universal Soldier: Day of Reckoning, Falcon Rising and nine episodes of the TV series Scream.

His most recent movie was Showing Roots, starring Maggie Grace, Elizabeth McGovern, Adam Brody and Cicely Tyson.

Justin Burnett

Justin Burnett started his career working for Hans Zimmer at Remote Control Productions. During this tenure he worked on films such as Broken Arrow, As Good as it Gets, The Prince of Egypt, The Road to El Dorado, and Gladiator. Burnett scored his first feature film Possums which was featured in 1998 at the Sundance Film Festival. His second notable film, Dungeons & Dragons was released in theaters in 2000.

Leaving Remote Control in 2000, Burnett began his 15-year collaboration with Harry Gregson-Williams, working on films such as Spy Game, Phone Booth, Veronica Guerin, Passionada, Man on Fire, Déjà Vu, The Taking of Pelham 123, Unstoppable, Equalizer and Blackhat.

Burnett has composed the music for many other films, including I'll Always Know What You Did Last Summer, Iron Cross, An American Haunting, Crave, Java Heat, Re-Kill and The 2013 Warner Bros. release Getaway.

Among the numerous video games for which he has composed music are Unit 13, SOCOM: U.S. Navy SEALs Confrontation, Syphon Filter: Logan’s Shadow, SOCOM: U.S. Navy SEALs Fireteam Bravo, Metal Gear 2: Sons of Liberty, and Metal Gear 3: Snake Eater. In 2015, Burnett won best score for his music to the video game hit Metal Gear Solid 5: The Phantom Pain.

Every photograph has two sides – positive and negative


Available on Netflix & Streaming Now


It’s Christmas Eve morning 1994. Ray LaPine and his loquacious, liquored-up salesman Pinky Steuben are trying to make it through the biggest shopping day of the year, again. Two decades ago, their camera store was a thriving neighborhood business. Today, Bibideaux Photographic has withered into a sad relic of a bygone era. The two men now find themselves trapped while merely keeping the store alive for their wealthy, amoral, and absent boss, Mr. Bibideaux. But there is something different about today. With the arrival of an old friend, Ray gets word of a big change coming to the business he thought he knew so well. Ray must act immediately to save himself from the sinking ship before he loses the little chance he has for a better life.

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