Joe O'Connell

A love story about a middle-aged compression sock businessman from Detroit who unexpectedly falls for his cardiac nurse, a Nigerian immigrant, while recovering from a heart attack and sets his sights on winning her over.

Robert A. Burns, art director on the original Texas Chain Saw Massacre, was obsessed with actor Rondo Hatton aka the Creeper. Burns was average looking but brimming with odd creativity. Hatton, who suffered from acromegaly, had a strangely unique appearance, but was a regular guy. In Rondo and Bob their two stories intersect.

Gary Kent was the king of B movies in the Sixties and Seventies, working for indie directors from Richard Rush to Ray Dennis Stickler to Al Adamson, but he's tackled even larger real-life challenges.

A love story about a middle-aged compression sock businessman from Detroit who unexpectedly falls for his cardiac nurse, a Nigerian immigrant, while recovering from a heart attack and sets his sights on winning her over.

Robert A. Burns, art director on the original Texas Chain Saw Massacre, was obsessed with actor Rondo Hatton aka the Creeper. Burns was average looking but brimming with odd creativity. Hatton, who suffered from acromegaly, had a strangely unique appearance, but was a regular guy. In Rondo and Bob their two stories intersect.

Robert A. Burns, art director on the original Texas Chain Saw Massacre, was obsessed with actor Rondo Hatton aka the Creeper. Burns was average looking but brimming with odd creativity. Hatton, who suffered from acromegaly, had a strangely unique appearance, but was a regular guy. In Rondo and Bob their two stories intersect.

Gary Kent was the king of B movies in the Sixties and Seventies, working for indie directors from Richard Rush to Ray Dennis Stickler to Al Adamson, but he's tackled even larger real-life challenges.