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My Lady's Song - Act 1 · Table Read

• 0:00
  Speaker 1: There Go one two Tabor.
• 0:02
  Speaker 2: My All, My Lady's Song by Dan Lauria and Frank Megna,
• 0:17
  Speaker 2: based on a story by Dan Lauria. Interior, Black Limo Night.
• 0:24
  Speaker 2: As credits roll, we hear Peggy Lee singing fever. Camera
• 0:28
  Speaker 2: slowly pans over a smooth, dull, black, leathery background. Suddenly
• 0:34
  Speaker 2: a cleaning rag travels across, leading it shiny, the first
• 0:38
  Speaker 2: in a parade of images, an ashtray being cleaned, a
• 0:42
  Speaker 2: small liquor cabinet being restocked, royal red, roughly textured surface.
• 0:48
  Speaker 2: After a moment, a silver dustbuster moves back and forth
• 0:52
  Speaker 2: across the screen. The red surface is the carpet of
• 0:55
  Speaker 2: a stretch Limo, the opposite front door of the black Limos.
• 1:01
  Speaker 2: First third of credits ends. Interior Lasal Limo Service Garage Night.
• 1:07
  Speaker 2: Uncle Charlie late sixties, the heavy set manager of Lasal
• 1:11
  Speaker 2: Limo Service, speaks to Sal Marino, the driver, who is
• 1:16
  Speaker 2: off camera.
• 1:17
  Speaker 3: Hey, Sal, Yeah, everything going okay?
• 1:20
  Speaker 1: Great? Nice old man, extra fifty. I'm on the wrong
• 1:24
  Speaker 1: end of this shit.
• 1:25
  Speaker 4: What are you gonna do? You get my blowjob?
• 1:27
  Speaker 2: Sal, a tough ex con in his mid fifties, wears
• 1:30
  Speaker 2: the hard years on his face. He backs out of
• 1:33
  Speaker 2: his side and looks at Charlie across the top of
• 1:35
  Speaker 2: the black limo. Standing behind Charlie is Leo, a goon
• 1:39
  Speaker 2: in his late twenties. Next to him is a mean
• 1:42
  Speaker 2: dog on a short leash.
• 1:44
  Speaker 1: I'll leave that to little Leo here.
• 1:46
  Speaker 2: Leo's face tightens.
• 1:47
  Speaker 5: The dog growls, easy boy, everybody knows he's your sex.
• 1:51
  Speaker 6: Sleg.
• 1:53
  Speaker 4: That'll be the date.
• 1:54
  Speaker 6: As long as he makes you happy.
• 1:56
  Speaker 1: Charlie, keep pushing.
• 1:57
  Speaker 2: Up, more growling shit.
• 2:00
  Speaker 4: I'll right you two, Just knock it off.
• 2:02
  Speaker 1: Sal, You're going back out tonight. Tonight, it's almost midnight.
• 2:06
  Speaker 6: Vince is here, Vince. He wants to see you at
• 2:09
  Speaker 6: the club.
• 2:11
  Speaker 1: When about ten minutes ago.
• 2:13
  Speaker 2: Charlie and Leo head for the office door as the
• 2:16
  Speaker 2: limo pulls away.
• 2:18
  Speaker 1: Washed up old bastards.
• 2:19
  Speaker 3: In his day, sal Lebarbara would have any of your
• 2:22
  Speaker 3: young punks for lunch.
• 2:24
  Speaker 4: Sala barba salda nothing.
• 2:27
  Speaker 1: You know, Sal's right, you were starting to look a.
• 2:30
  Speaker 7: Look like this dog.
• 2:32
  Speaker 2: They entered the office and close the door. Loud disco
• 2:35
  Speaker 2: music jumps out at us exterior New York City street night.
• 2:39
  Speaker 2: The sound of loud New York City streets. As we
• 2:42
  Speaker 2: turn on to forty second and eighth Avenue and hear
• 2:45
  Speaker 2: nothing but loud mechanized disco. Interior front seat of Sal's
• 2:49
  Speaker 2: black Limo Night. Second third of credits roll As Billie
• 2:53
  Speaker 2: Holiday sings lover Man, Sal drives down eighth Avenue. The
• 2:58
  Speaker 2: city is shut out from Sal's in world. He turns
• 3:01
  Speaker 2: onto forty fifth Street. End of the second third of credits. Exterior,
• 3:06
  Speaker 2: Private Eye Club Night. The limo drives past the front
• 3:10
  Speaker 2: of the strip club. Live nude girls flashes in neon.
• 3:14
  Speaker 2: A large poster on the front wall reads to night
• 3:17
  Speaker 2: porn stars Hara Rheims and Lada Minas. The limo parks
• 3:21
  Speaker 2: across the street under a sign that reads, don't even
• 3:25
  Speaker 2: think of parking here. Sal exits limo. The music stops,
• 3:29
  Speaker 2: only to be replaced by disco music from inside the
• 3:32
  Speaker 2: Strip club. Sal tosses his butt and puts on his
• 3:36
  Speaker 2: black suit jacket. He walks across the street to the club.
• 3:40
  Speaker 2: Interior Private Eye Club Night. The packed club pulsates with
• 3:44
  Speaker 2: ear piercing disco music. Men with cigars and drinks tuck
• 3:48
  Speaker 2: it up and sheer. Hara and Lada, two beautiful young
• 3:52
  Speaker 2: ladies one in her twenties. The others slightly older, are
• 3:56
  Speaker 2: on stage in the beginning stages of their dance act,
• 3:59
  Speaker 2: and are very elaborately dressed. Obviously there act as a
• 4:02
  Speaker 2: lesbian dance number meant to excite heterosexual males. Sal moves
• 4:07
  Speaker 2: through the crowd to the bar, where Frank, the bartender,
• 4:10
  Speaker 2: greets him.
• 4:11
  Speaker 4: Sally, boy, how's it hanging well? Can I catch you? Yeah?
• 4:14
  Speaker 6: Good? Frank?
• 4:15
  Speaker 1: Good?
• 4:15
  Speaker 6: Vince here, he's waiting for you in the office.
• 4:18
  Speaker 4: What the office?
• 4:20
  Speaker 1: Thanks?
• 4:21
  Speaker 7: Hey, you want to drink first?
• 4:22
  Speaker 4: What?
• 4:23
  Speaker 6: Drake?
• 4:24
  Speaker 1: Yeah?
• 4:25
  Speaker 2: Sal heads for the back office. He passes the stage.
• 4:28
  Speaker 2: Lada has one breast exposed as Hara dances behind her.
• 4:32
  Speaker 2: Harah reaches around and caresses Lada's exposed breast. Harrah spots
• 4:37
  Speaker 2: Sal and winks. Sal just smiles and keeps walking. Interior
• 4:42
  Speaker 2: back office, Private Eye Club, Late night. Vincent Delora, a
• 4:46
  Speaker 2: rugged mid fifties, sits behind a large oak desk that
• 4:50
  Speaker 2: dominates a stylish office. He's going over some books when
• 4:53
  Speaker 2: there's a knock at the door. The door opens and Sal.
• 4:57
  Speaker 4: Enters, Sally, why.
• 5:00
  Speaker 1: Oh good, Vince, I'm good. When'd you get in yesterday?
• 5:03
  Speaker 4: I got in yesterday. A long time almost two years
• 5:07
  Speaker 4: at family business south West, La, La Land. All legal,
• 5:10
  Speaker 4: all respected, well legal.
• 5:12
  Speaker 1: Anyway, we're doing good.
• 5:14
  Speaker 4: We're doing good.
• 5:15
  Speaker 1: Your father would be proud.
• 5:17
  Speaker 4: My father wouldn't understand different world. How's your mom? She's
• 5:21
  Speaker 4: doing all right?
• 5:22
  Speaker 6: A men's a men's.
• 5:23
  Speaker 4: You know she get the roses for her birthday.
• 5:26
  Speaker 1: She loved them.
• 5:27
  Speaker 4: Thanks. Hey, the least they can do. What was it
• 5:30
  Speaker 4: seventy seven eight?
• 5:31
  Speaker 1: She'll be eighty this year. Eighty?
• 5:33
  Speaker 4: Gee, Kamella is eighty. Ah, we should live so long.
• 5:38
  Speaker 4: We gotta do something special for my girlfriend. Right, we'll
• 5:41
  Speaker 4: do something special for my girlfriend this year. You hear me,
• 5:44
  Speaker 4: that'd be good. Remind me that's in order. You got it,
• 5:48
  Speaker 4: and you you okay?
• 5:50
  Speaker 7: I'm good.
• 5:51
  Speaker 6: I like driving and.
• 5:52
  Speaker 4: Watching them shoot those movies. Maybe we should change places.
• 5:57
  Speaker 1: All I do is dry.
• 5:58
  Speaker 4: Yeah, you get tired of it? You let me know.
• 6:02
  Speaker 4: I will gotta take care of my favorite soldier.
• 6:04
  Speaker 1: Soldier, those days are long gone.
• 6:07
  Speaker 4: Why what are you an old man or what?
• 6:09
  Speaker 6: Yeah?
• 6:09
  Speaker 1: I am?
• 6:10
  Speaker 2: Sincon pours himself a perrier with lime.
• 6:13
  Speaker 4: I'll give you a million bucks. You show me somebody
• 6:16
  Speaker 4: getting younger. Have a drink, Mavie. What do you want
• 6:19
  Speaker 4: I got everything here, Diet Pepsi's good, Look at this way,
• 6:25
  Speaker 4: die at pepsi and sparkling water. That's what it comes
• 6:28
  Speaker 4: down to. Next thing, you know, we'll be playing Peknockle.
• 6:32
  Speaker 4: We used to be bols.
• 6:34
  Speaker 2: Remember Sally Bowls can sell his drink that was there.
• 6:38
  Speaker 4: Now, forget it. The old days. We had to be hard,
• 6:43
  Speaker 4: we had to be mean. Now it's all legal, oohs, gambling,
• 6:48
  Speaker 4: point even prostitution in some states. Soon drugs will be
• 6:53
  Speaker 4: a hell of a way to fight crime. Make it
• 6:55
  Speaker 4: all legal, all legal, and all disgustingly weak.
• 7:02
  Speaker 2: Vince starts dreaming of the old days.
• 7:04
  Speaker 4: Remember when we started working for my father running numbers
• 7:07
  Speaker 4: in Brooklyn. I mean, we understood what family meant. The bond, loyalty.
• 7:13
  Speaker 4: It's like a dirty word today.
• 7:15
  Speaker 1: We were kids.
• 7:16
  Speaker 4: Yeah, but with the balls the size of Uncle Charlie
• 7:22
  Speaker 4: taking us on our first hit, you got me through that.
• 7:26
  Speaker 1: Uncle Charlie said, you wanted to see me about something?
• 7:29
  Speaker 4: Yeah? Yeah, how would you like to be in a
• 7:32
  Speaker 4: porn movie?
• 7:34
  Speaker 2: Close on Sal's face exterior, New York City Street night,
• 7:39
  Speaker 2: last of the credits run as a ridiculously long white
• 7:43
  Speaker 2: limo moves through the city streets to the rhythm of
• 7:45
  Speaker 2: the disco music playing in the strip club. The decadence
• 7:49
  Speaker 2: of late Night Eighth Avenue is seen end credits as
• 7:53
  Speaker 2: the white limo pulls up to the club's stage entrance.
• 7:56
  Speaker 2: Sell exits and goes to the passenger rear door and
• 7:59
  Speaker 2: opens it. He waits like a soldier at his post.
• 8:02
  Speaker 7: Tot dot was lovely, Sal, just love me.
• 8:06
  Speaker 8: Now, when the girls come out, they will get into
• 8:09
  Speaker 8: the limo and you will shut the door and get
• 8:11
  Speaker 8: into it as you pull away.
• 8:13
  Speaker 6: And that's it.
• 8:13
  Speaker 8: That's all I need, Jose. Let's get that camera set
• 8:18
  Speaker 8: up for when the girls shut the exit the club.
• 8:21
  Speaker 2: Three men, acting like a film crew move a lamp
• 8:24
  Speaker 2: from across the street. They start laying some track.
• 8:27
  Speaker 7: What do I do now, go back to Vince's office.
• 8:29
  Speaker 7: I'll call you when the girls are ready.
• 8:31
  Speaker 2: Sal leaves.
• 8:32
  Speaker 7: What are we waiting?
• 8:34
  Speaker 8: Oh no, Now they could have gotten another stud and
• 8:37
  Speaker 8: had the option of another fuck.
• 8:39
  Speaker 7: I don't understand these people. Don't they love their craft?
• 8:42
  Speaker 2: Please interior back office, Private I Club, Late Night. We
• 8:48
  Speaker 2: hear a news broadcast on TV after.
• 8:51
  Speaker 6: Three weeks of a strike, the hotel workers Union and
• 8:53
  Speaker 6: the hotel owners have agreed to come back to the
• 8:55
  Speaker 6: table with Senator Backster mediating.
• 8:58
  Speaker 1: I'm looking forward to sitting with sides and ending the strike.
• 9:03
  Speaker 2: Pump Vincent Delora, rugged mid fifties, sits behind a large
• 9:07
  Speaker 2: oak desk that dominates a stylish office. He's going over
• 9:11
  Speaker 2: some books. When there's a knock at the door. Vincent
• 9:14
  Speaker 2: shuts off the TV as sal.
• 9:15
  Speaker 4: Enters Sally Boy.
• 9:20
  Speaker 2: Interior, Private Eye Club, back office night.
• 9:23
  Speaker 4: Hey, how's a porn star?
• 9:26
  Speaker 6: Some star?
• 9:27
  Speaker 1: That a limo's like driving a bus.
• 9:28
  Speaker 5: I've never seen one that big two TV's, two bars,
• 9:31
  Speaker 5: two stereo, two cameras.
• 9:33
  Speaker 2: Here, Vincent tosses Salin.
• 9:35
  Speaker 4: Envelope must have set you back a few over one
• 9:39
  Speaker 4: hundred grand.
• 9:40
  Speaker 2: It's a lot of cat sala is shocked by the
• 9:42
  Speaker 2: amount of money inside the envelope.
• 9:45
  Speaker 4: Porn's big business, salve, big power.
• 9:48
  Speaker 6: There's got to be two g's here.
• 9:50
  Speaker 4: Movies pay big two two g's.
• 9:53
  Speaker 1: For driving up and opening the door.
• 9:55
  Speaker 4: What's up, Fince, it's easy money, nothing's easy, sal You
• 9:59
  Speaker 4: got one more shot to do. You open the door
• 10:01
  Speaker 4: for the girls, and that's where two grand. You were
• 10:04
  Speaker 4: never in the movie before?
• 10:05
  Speaker 6: Okay, then what.
• 10:08
  Speaker 4: Then You're gonna take the girls to pick up our
• 10:10
  Speaker 4: favorite John. They're gonna be in the backseat doing their
• 10:13
  Speaker 4: thing while you tour the city. When they're done, you
• 10:16
  Speaker 4: drop mister big shot off, You drop the broads off.
• 10:20
  Speaker 4: Nothing you haven't done a million times before. This time.
• 10:24
  Speaker 4: You go home with two grand and you keep your
• 10:27
  Speaker 4: mouth shut. That's all you got the whole thing.
• 10:31
  Speaker 2: Have another diet soda, Sal gets a soda.
• 10:35
  Speaker 4: Look, Sal, Making porn is not illegal. Making home movies
• 10:39
  Speaker 4: with two consenting adults or three consenting adults is not illegal.
• 10:46
  Speaker 4: You don't want to do it. I'll give Leo a call.
• 10:49
  Speaker 4: I just figured i'd throw a little your way. That's
• 10:51
  Speaker 4: all what your beak for old time sake. Besides, the
• 10:55
  Speaker 4: girls asked for you.
• 10:57
  Speaker 2: Sal starts to say something.
• 10:59
  Speaker 4: And because you got the right license to drive that
• 11:03
  Speaker 4: white yacht out there, the last thing this John needs
• 11:06
  Speaker 4: is to be stopped for a ticket.
• 11:08
  Speaker 6: Okay, why not?
• 11:11
  Speaker 1: Thanks, better get back. I have to prepare for my
• 11:13
  Speaker 1: close up.
• 11:15
  Speaker 2: The two old friends laugh. Sal turns to leave.
• 11:19
  Speaker 4: Sal. One more thing tomorrow. You bring that boat back
• 11:25
  Speaker 4: to me at LaSalle. Don't clean up anything, don't touch
• 11:29
  Speaker 4: the video equipment. You understand.
• 11:32
  Speaker 1: Yeah, huh, I understand.
• 11:35
  Speaker 2: Sal exits, the door closes. Close up shot on Vincent
• 11:40
  Speaker 2: exterior Private Eye Club stage entrance night. The rear door
• 11:44
  Speaker 2: of the long white limo opens. Harah and Lata exit
• 11:47
  Speaker 2: the club and approach Sal standing by the open door.
• 11:51
  Speaker 2: Evening Sal Sal bows at the waist.
• 11:53
  Speaker 6: Good evening, my lady, cop. What the hell was that?
• 11:59
  Speaker 7: What with the bowing? Just open the door, close it
• 12:03
  Speaker 7: when the girls get in.
• 12:05
  Speaker 1: Well, I thought, you know a way to show, don't
• 12:08
  Speaker 1: think and don't show.
• 12:10
  Speaker 7: But I gotta say this, Daniel Day. You don't have
• 12:15
  Speaker 7: to show nothing. You don't gotta say nothing. You're a
• 12:21
  Speaker 7: limo driver in a porn movie at it's after midnight.
• 12:24
  Speaker 7: That's all You've got to know. Everybody.
• 12:26
  Speaker 8: Back to one, Andy, We got, we got once again.
• 12:30
  Speaker 2: The girls head back to position one as they pass Sao.
• 12:34
  Speaker 2: Close up on Sao.
• 12:35
  Speaker 9: I'd like to kick his ass, Believe me, he'd enjoy
• 12:38
  Speaker 9: An exterior New York City street night traveling.
• 12:42
  Speaker 2: We hear Edda James singing at last as the big
• 12:46
  Speaker 2: white limo cruises down city streets. Interior, Big White Limo
• 12:50
  Speaker 2: continuous inside window opens between Sal and.
• 12:53
  Speaker 9: The girls say uh, sal You're gonna do a Fox
• 12:57
  Speaker 9: scene with us in this movie.
• 12:59
  Speaker 2: Sal nervously laughs and turns red.
• 13:02
  Speaker 10: Yes, Salvin's gonna have them write a scene for the
• 13:04
  Speaker 10: three of us.
• 13:06
  Speaker 9: I'm afraid not, ladies, you ever had to at one time, Sally.
• 13:10
  Speaker 10: I never had that pleasure, even when you was a
• 13:13
  Speaker 10: big time guy.
• 13:14
  Speaker 6: I was never that big, never too eate.
• 13:17
  Speaker 10: Oh stop it, lot of you're embarrassing the poor guy.
• 13:20
  Speaker 10: Sal You know where to go?
• 13:22
  Speaker 6: Yeah, I got the address.
• 13:23
  Speaker 10: You ask the night clerk to call up to apartment
• 13:25
  Speaker 10: seven k K like in King.
• 13:28
  Speaker 2: Exterior east side apartment building. Night Sal enters the building
• 13:33
  Speaker 2: a lot of exits the limo and lights a cigarette.
• 13:35
  Speaker 2: Harah joins her.
• 13:37
  Speaker 11: What's a name?
• 13:39
  Speaker 10: Nothing?
• 13:41
  Speaker 9: Look, kid, I gotta do this and this is the
• 13:44
  Speaker 9: big bucks. I ain't getting any younger. If Fince finds out,
• 13:47
  Speaker 9: Vince ain't gonna find out. Shit like this is between
• 13:50
  Speaker 9: me and the Senator. I've been riding that pony for years.
• 13:53
  Speaker 9: It's about time that horse paid off. Oh you gotta
• 13:55
  Speaker 9: do is keep your mouth shut. You owe me that much.
• 13:59
  Speaker 10: It's not that I always get like this. When I
• 14:02
  Speaker 10: got to do one of these scumbags who sets himself
• 14:04
  Speaker 10: up to be better than anyone else.
• 14:06
  Speaker 9: Remember it's not a dick, it's money.
• 14:10
  Speaker 2: Sal exits the building.
• 14:11
  Speaker 1: He'll be right down.
• 14:13
  Speaker 9: You get in, Sal, we'll get the door.
• 14:15
  Speaker 10: Put on some of that old shit you listen to.
• 14:17
  Speaker 2: Sale gets into the limbo and lowers his window. He
• 14:20
  Speaker 2: plays the rest of at last, who's that singing?
• 14:24
  Speaker 1: Eddie James, one of the best.
• 14:27
  Speaker 10: Can almost feel the pain you play her while we
• 14:30
  Speaker 10: do our thing.
• 14:31
  Speaker 6: Okay, sure, kid, I'll just do that. He's in the lobby.
• 14:36
  Speaker 2: Lada opens the rear passenger side door.
• 14:39
  Speaker 10: You know, Sal, My mama would never let me listen
• 14:41
  Speaker 10: to music like that, she said, Only Saint Louis trash
• 14:44
  Speaker 10: would sing such sinful songs.
• 14:46
  Speaker 1: Is that where you're from? St? Louis?
• 14:48
  Speaker 10: I'm from wherever they want? What the hell is their dime?
• 14:51
  Speaker 6: Right if you say so? Harry comes.
• 14:55
  Speaker 2: High is Sugar, A well dressed man in his mid
• 14:58
  Speaker 2: fifties enters the limo.
• 15:00
  Speaker 10: Sal, just keep driving around till we tell you to
• 15:02
  Speaker 10: head back. Don't open the window.
• 15:05
  Speaker 2: The two girls jump in.
• 15:07
  Speaker 6: You got it.
• 15:08
  Speaker 2: Exterior New York City Street night continuous the city in
• 15:12
  Speaker 2: the wee hours, as Eda James sings the Love of
• 15:14
  Speaker 2: My Man montage of shots dashboard as light goes on,
• 15:19
  Speaker 2: indicating tape recording times square the Washington Bridge from the
• 15:24
  Speaker 2: west Side Highway, Empire State Building, Grant's Tomb sunrise at
• 15:29
  Speaker 2: the seventy ninth Street boat basin, exterior east side apartment
• 15:36
  Speaker 2: building early morning, Sal exits and runs to open the
• 15:39
  Speaker 2: rear door for the John, who looks at Sal.
• 15:43
  Speaker 4: I was told you're a man who knows how to
• 15:45
  Speaker 4: keep his mouth shut.
• 15:46
  Speaker 6: That's what they say.
• 15:48
  Speaker 4: Let's keep it that way.
• 15:50
  Speaker 2: The John takes out a roll of money and peels
• 15:52
  Speaker 2: off a few bills, putting them into Sal's suit jacket pocket.
• 15:56
  Speaker 2: The John enters the apartment building interior, big white limo continuous.
• 16:01
  Speaker 2: Sal opens the inside window where two ladies.
• 16:05
  Speaker 6: I'm at your sirfa I live.
• 16:07
  Speaker 10: In queens Brooklyn.
• 16:08
  Speaker 1: Me too, so I'll drop a lot off first.
• 16:11
  Speaker 9: Hey, stop at a good digner on Queen's Boulevard.
• 16:13
  Speaker 1: Whatever you say, but I'm buying.
• 16:15
  Speaker 2: Sal starts to close the window.
• 16:18
  Speaker 10: Sal, I want to come up front with you. She's
• 16:20
  Speaker 10: going to start smoking like a chimney.
• 16:21
  Speaker 6: Back here, shoot yourself.
• 16:23
  Speaker 2: Window closes as a lot of pulls connecting wires from
• 16:27
  Speaker 2: her pocketbook, and during the following dialogue, she connects one
• 16:30
  Speaker 2: TVVCR to the other TV. She removes two blank tapes
• 16:34
  Speaker 2: from her purse. She then removes a tape from one
• 16:37
  Speaker 2: of the VCR's and puts it in the blank.
• 16:39
  Speaker 9: Okay, whatever you do, don't let him open that window.
• 16:41
  Speaker 10: I know, I know.
• 16:42
  Speaker 9: When we get to the restaurant, tell him my fell asleep.
• 16:45
  Speaker 10: I don't care if you have to fuck the old bastard.
• 16:46
  Speaker 6: Don't let him back here.
• 16:47
  Speaker 10: Don't worry about it.
• 16:48
  Speaker 9: If I had my equipment, I'd be able to burn
• 16:50
  Speaker 9: off a DVD and nothing flat.
• 16:51
  Speaker 10: Why does Vince want to copy?
• 16:53
  Speaker 9: Who knows two can play at that game?
• 16:56
  Speaker 4: Alie, can you read that line? Instead of saying DBD,
• 17:00
  Speaker 4: can you say tape?
• 17:02
  Speaker 6: Yep?
• 17:03
  Speaker 4: Okay, because they actually didn't have DVD ut.
• 17:06
  Speaker 1: An old bastard. Have you seen this face?
• 17:10
  Speaker 4: I remember when Joe had that face.
• 17:12
  Speaker 1: I guess I know my new age range.
• 17:17
  Speaker 2: She then removes the tape from one of the VCRs
• 17:20
  Speaker 2: and puts in the blank.
• 17:21
  Speaker 9: Look, whatever you do, don't let him open that window.
• 17:23
  Speaker 10: I know, I know.
• 17:24
  Speaker 9: When we get to the restaurant, tell them my fall asleep.
• 17:26
  Speaker 9: I don't care if you have to fuck the old bastard,
• 17:28
  Speaker 9: don't let him back here.
• 17:29
  Speaker 10: Don't worry about it.
• 17:31
  Speaker 9: Find my equipment. I'd be able to burn off a
• 17:32
  Speaker 9: tape and nothing flat.
• 17:34
  Speaker 10: Why does Vince want to copy?
• 17:35
  Speaker 6: Who knows?
• 17:36
  Speaker 9: But who complay this game?
• 17:38
  Speaker 2: Harah exits interior, Big White Limo continuous. Haarah sits in
• 17:43
  Speaker 2: the front seat and sell heads for Queens. Haarah puts
• 17:47
  Speaker 2: her head back on the big leather seat and closes
• 17:49
  Speaker 2: her eyes. Her knee covers the record.
• 17:52
  Speaker 10: Light Queens my good Man music, Please.
• 17:55
  Speaker 1: You got it?
• 17:57
  Speaker 2: Sell presses play and Dinah Washington sings, What a difference
• 18:01
  Speaker 2: a day makes?
• 18:02
  Speaker 10: She sounds great, Yeah, smooth, I saw that guy you.
• 18:06
  Speaker 2: Sal looks at Hara, who's asleep.
• 18:09
  Speaker 1: Tough night at the office.
• 18:11
  Speaker 2: Sal smiles and pulls away. Exterior long white Limo. Early morning.
• 18:17
  Speaker 2: The limo heads for the Queensboro Bridge as Dinah Washington
• 18:21
  Speaker 2: sings and Hara sleeps. New York City at dawn, Nothing
• 18:25
  Speaker 2: like it. Exterior Empire Diner, Queens Boulevard continuous. We see
• 18:30
  Speaker 2: the Queensboro Bridge. The big white Limo maneuvers in the
• 18:34
  Speaker 2: diner parking lot. Interior front of Big White Limo continuous.
• 18:39
  Speaker 2: Sal is about to wake Hara when he stops and
• 18:42
  Speaker 2: stares at her for a moment. He brushes some hair
• 18:45
  Speaker 2: covering her face. Flash. Harah astride the john, grinding and
• 18:50
  Speaker 2: looking straight at the camera. Sal shuts off the music.
• 18:54
  Speaker 1: Hey, hey, we're here, Hey kid, get up? What we're here?
• 19:00
  Speaker 6: Where I'll get your partner.
• 19:03
  Speaker 2: Sal moves to lower the window. Harah grabs his hand.
• 19:06
  Speaker 10: I'll get her. She's probably out like a light too.
• 19:10
  Speaker 2: We'll be right in exterior Empire Diner parking lot, Queens Boulevard. Continuous.
• 19:16
  Speaker 2: Sal heads for the diner entrance. Harah goes to the
• 19:19
  Speaker 2: limo's rear door. Interior, Big white Limo Continuous. Harah opens
• 19:24
  Speaker 2: the door to find Lotta Fast asleep as the tape plays.
• 19:28
  Speaker 2: The red recorder light on one of the VCRs is
• 19:30
  Speaker 2: glowing as a tape of the threesome plays on the
• 19:33
  Speaker 2: other screen, Haro wakes Lada.
• 19:36
  Speaker 10: What the hell are you doing? What you're supposed to
• 19:39
  Speaker 10: be taping?
• 19:39
  Speaker 6: This?
• 19:39
  Speaker 10: Not sleeping, it's taping. It's taping.
• 19:41
  Speaker 6: Don't have a kitten? What I'm supposed to watch us? Fuck?
• 19:46
  Speaker 6: Give me a break.
• 19:47
  Speaker 10: Is it done?
• 19:48
  Speaker 2: Lata looks at the VCR counter.
• 19:49
  Speaker 9: It's an hour tape, Hi dev, how much longer a
• 19:53
  Speaker 9: couple of minutes? You copied both tapes. I'll start the
• 19:57
  Speaker 9: other one while we eat. By the time he gets
• 19:59
  Speaker 9: me home, all of both had this at my place.
• 20:01
  Speaker 9: I could have made a dozen tapes by this time. Look,
• 20:03
  Speaker 9: order me sausage and eggs and just eat slow.
• 20:06
  Speaker 10: Okay, hurry up, it's a tape. Well hurry anyway, I'll
• 20:11
  Speaker 10: entertain what's his face? I want no part of.
• 20:13
  Speaker 2: This interior Empire diner. In Queen's Morning, Sal sits in
• 20:17
  Speaker 2: a booth. Harah joins him.
• 20:20
  Speaker 10: She's getting herself together. She wants eggs.
• 20:23
  Speaker 1: Your wish is my command.
• 20:25
  Speaker 10: What do you warm? Buffett?
• 20:27
  Speaker 1: I did well tonight at least I can do.
• 20:29
  Speaker 10: Your money's no good here.
• 20:31
  Speaker 6: What do you rock? A fella?
• 20:32
  Speaker 10: We did pretty well ourselves.
• 20:34
  Speaker 6: I don't care what you made. And stop the crap.
• 20:36
  Speaker 1: We both know that was no regular porno film.
• 20:38
  Speaker 10: What are you talking about?
• 20:40
  Speaker 5: Vince didn't pay me two grand to do what I
• 20:42
  Speaker 5: always do. I saw the record light. I didn't just
• 20:46
  Speaker 5: fall off a truck.
• 20:47
  Speaker 10: He must have fell on your head.
• 20:49
  Speaker 6: All right, Forget I said anything.
• 20:52
  Speaker 10: Sal, What you think you know? You don't know, and
• 20:55
  Speaker 10: you don't want to know.
• 20:57
  Speaker 1: That's right, I don't, but I'm still I'm breakfast.
• 21:01
  Speaker 10: I don't want to know.
• 21:03
  Speaker 2: The waitress approaches, Lata stands behind her.
• 21:06
  Speaker 10: Can I take your with it?
• 21:07
  Speaker 4: Mm?
• 21:08
  Speaker 9: Eggs over with Italian sausage, right toast, orange juice and coffee?
• 21:12
  Speaker 10: Make that too?
• 21:12
  Speaker 5: And you, sir, oatmeal, grapefruit, juice, coffee, You got it.
• 21:17
  Speaker 2: Lata sits next to Hara, facing Sal oat meal. Sam
• 21:23
  Speaker 2: smiles then looks to Hara, who smiles back. Smile.
• 21:27
  Speaker 11: I don't know who Sam is, but he didn't come into.
• 21:29
  Speaker 10: The Sorry, it's so weird, okay, guys say thank you.
• 21:34
  Speaker 2: Sal smiles then looks to Hara, who smiles back. Exterior
• 21:39
  Speaker 2: Sal's home, benson Hurst, Brooklyn. Late morning, Sal pulls the
• 21:43
  Speaker 2: white limo into the long, narrow driveway alongside his three
• 21:46
  Speaker 2: story house in benson Hurst, Brooklyn. The limo barely fits
• 21:50
  Speaker 2: and Sal has a hard time getting out. He hears
• 21:53
  Speaker 2: his nephew, wearing a college jacket, call from across the street.
• 21:57
  Speaker 11: Hey, uncle, Sal, where'd you get the mobile home?
• 22:00
  Speaker 6: You believe this?
• 22:01
  Speaker 2: Interior, big white limo continuous. The door opens and Anthony
• 22:05
  Speaker 2: steps inside. Sal watches him. Anthony can't believe his eyes.
• 22:10
  Speaker 11: This is unbelievable. Even I could get late in here.
• 22:13
  Speaker 6: Hey, sorry, smells like perfume.
• 22:17
  Speaker 2: Anthony looks around the car.
• 22:18
  Speaker 11: Don't touch the vc os, two of everything? Cameras too?
• 22:22
  Speaker 6: Yeah?
• 22:23
  Speaker 11: Where are there in the monitor? Is the TV screens?
• 22:26
  Speaker 11: One in each TV? Even if an automatic zoom at
• 22:28
  Speaker 11: a time?
• 22:29
  Speaker 6: What's up me?
• 22:30
  Speaker 11: In and out for close ups? Does it automatically?
• 22:32
  Speaker 6: One goes in? Yeah, goes out.
• 22:34
  Speaker 11: That type of thing for an edit, It's like having
• 22:36
  Speaker 11: four cameras.
• 22:38
  Speaker 1: Say Anthony, you know about all this type stuff, right?
• 22:41
  Speaker 7: Yeah?
• 22:42
  Speaker 11: Sure, uncle sal What do you need?
• 22:44
  Speaker 5: Could you take a tape out of one of these
• 22:45
  Speaker 5: vc os, copy and then put it back so no
• 22:47
  Speaker 5: one could tell it was touched?
• 22:49
  Speaker 6: Nothing to it.
• 22:50
  Speaker 11: I have blank tapes and connectors at home. I could
• 22:52
  Speaker 11: do it right in here.
• 22:54
  Speaker 5: You mean you can copy one of these tapes right
• 22:56
  Speaker 5: in this car without going to a labo zome?
• 22:58
  Speaker 4: Sure?
• 22:58
  Speaker 11: Why not?
• 23:00
  Speaker 12: Better?
• 23:00
  Speaker 11: I have to do that at all?
• 23:01
  Speaker 1: Son of a bitch?
• 23:02
  Speaker 11: What's the matter?
• 23:03
  Speaker 6: This is easy, Anthony?
• 23:05
  Speaker 1: Look at me. Nothing's easy.
• 23:08
  Speaker 11: What's on the tape?
• 23:10
  Speaker 6: You shouldn't ask questions?
• 23:12
  Speaker 11: Then you should know that I will see what's on
• 23:13
  Speaker 11: the tape when I recorded. Also, you should know that
• 23:17
  Speaker 11: the two camera set ups here. You want to copy
• 23:19
  Speaker 11: both tapes there, just one.
• 23:20
  Speaker 1: If we have time, let's get both. But no one
• 23:23
  Speaker 1: can know that you know about these two women having
• 23:25
  Speaker 1: sex with this man on this tape. That's not let's
• 23:30
  Speaker 1: ast your words there. If we have time, let's get both.
• 23:34
  Speaker 5: But no one can know that you know about the
• 23:35
  Speaker 5: two women and the man having sex on this tape. Gabiese,
• 23:39
  Speaker 5: really I mean it, Anthony, Sure, wipe that smile off
• 23:44
  Speaker 5: your face.
• 23:45
  Speaker 1: Learn something here. College boy dying for the real thing
• 23:48
  Speaker 1: ain't too bright.
• 23:50
  Speaker 11: Dying for a piece of tape is just stupid, I understand, Uncle.
• 23:54
  Speaker 2: Sal Sal gives him a hard look.
• 23:57
  Speaker 11: For my education. Why would anyone have sex and a
• 24:01
  Speaker 11: limo with cameras some kind of kinky thing or what?
• 24:04
  Speaker 10: Mo?
• 24:05
  Speaker 5: Well, yeah, maybe it was just a lot safer celebrities.
• 24:09
  Speaker 5: High profile people can't be seen going in and out
• 24:12
  Speaker 5: of their apartments or hotels with porno queens. This way,
• 24:15
  Speaker 5: there's no photographers around, no spies, no nothing. Sometimes they
• 24:19
  Speaker 5: play an X rated film of the girls they're with
• 24:21
  Speaker 5: a turn on.
• 24:22
  Speaker 1: Plus they have a bodyguard. Me cabiese capeche Now get going.
• 24:29
  Speaker 2: Anthony exits the Limo, slamming the door. Interior kitchen, benson Hurst, Brooklyn,
• 24:35
  Speaker 2: late morning. Sal walks into his typical Brooklyn Italian kitchen
• 24:39
  Speaker 2: and goes to the sink to wash up. His mother, Carmela,
• 24:43
  Speaker 2: calls out, Sal.
• 24:45
  Speaker 1: That you yeah, Ma, it's me, Yeah, yeah, I'm home.
• 24:51
  Speaker 2: Carmela, a feisty eighty year old, is the typical Italian
• 24:55
  Speaker 2: mother who lives for only two things, family and cooking.
• 24:59
  Speaker 12: You must be I hungry.
• 25:00
  Speaker 1: I'm too tired.
• 25:01
  Speaker 6: Deep Ma, you gotta have something.
• 25:04
  Speaker 1: I had a bowl of oatmeal.
• 25:05
  Speaker 6: Oat meal that's for kids.
• 25:08
  Speaker 2: How about some nice peppers and eggs?
• 25:10
  Speaker 4: Nah?
• 25:11
  Speaker 1: Nothing, you like peppers and eggs. I'm gonna call and
• 25:15
  Speaker 1: hit the sack.
• 25:16
  Speaker 2: Sal finishes washing and goes to the wall phone. Carmelos
• 25:19
  Speaker 2: starts making peppers and eggs.
• 25:21
  Speaker 6: Two minutes.
• 25:22
  Speaker 1: I may have to go back to Manhattan.
• 25:25
  Speaker 2: You gotta be here for dinner.
• 25:27
  Speaker 12: Your sister is coming all the way.
• 25:29
  Speaker 1: Over all the way from across the street.
• 25:31
  Speaker 12: Don't be fresh.
• 25:33
  Speaker 2: Cell's on the phone. He gets the answering machine of
• 25:35
  Speaker 2: La Salle Limo Service. We hear a beat.
• 25:38
  Speaker 1: Hello, Charlie, it's about nine to twenty. I just got in.
• 25:42
  Speaker 5: I'm at home. How about to bring the limo back
• 25:44
  Speaker 5: after I get some sleep.
• 25:45
  Speaker 1: I'm dead. Give me coffee, need it right away.
• 25:48
  Speaker 2: Sal hangs up and sees his mother putting a plate
• 25:51
  Speaker 2: on the table and the peppers and eggs cooking in
• 25:53
  Speaker 2: a fry pan. Coffee and orange juice is on the table.
• 25:56
  Speaker 12: Sit, manga.
• 25:58
  Speaker 6: What's this you want to.
• 26:00
  Speaker 2: Peppers and eggs?
• 26:01
  Speaker 12: You're a pisson mo sid relax, drink the juice.
• 26:06
  Speaker 6: I'll drink the juice.
• 26:07
  Speaker 2: Carmela puts the eggs in a dish and brings the
• 26:10
  Speaker 2: fry pand to the sink while looking out the window.
• 26:13
  Speaker 6: Jesus, Mary and Joseph.
• 26:16
  Speaker 2: What's that in the driveway?
• 26:17
  Speaker 6: A bus?
• 26:19
  Speaker 1: That's a triple Limmo?
• 26:20
  Speaker 2: You drive that in the street?
• 26:23
  Speaker 6: That doesn't fly?
• 26:25
  Speaker 1: Vince spent over one hundred grand?
• 26:26
  Speaker 12: Then what the hell people do with something like that?
• 26:29
  Speaker 12: They don't know what to spend their money on. I'm
• 26:33
  Speaker 12: telling you the end of the world.
• 26:35
  Speaker 6: Vince is in town.
• 26:37
  Speaker 2: My boyfriend's here.
• 26:40
  Speaker 12: Well, tell them to come over to eat with us,
• 26:43
  Speaker 12: or the phone rings you eat?
• 26:46
  Speaker 2: She grabs the phone. Hello, who's this Vince.
• 26:52
  Speaker 12: Yeah, if you're my boyfriend, you come and eat today.
• 26:57
  Speaker 6: Come.
• 26:57
  Speaker 12: I got fuzili and chicken cutlet. I got melon with
• 27:01
  Speaker 12: lean perjuto from Patsy's nice perjuto. Yeah, you fresh guy.
• 27:12
  Speaker 6: Just come over.
• 27:13
  Speaker 2: Yeah, yeah, yeah, he's right here. She passes the phone.
• 27:17
  Speaker 6: It's Vince, Vince. Now you're dead meat if you don't
• 27:21
  Speaker 6: come see it.
• 27:23
  Speaker 5: Look if you want to bring back the limo and
• 27:25
  Speaker 5: then I'll drive you out here for the best mill
• 27:26
  Speaker 5: you ever had.
• 27:28
  Speaker 1: You sure, okay? You sure? You don't want me to
• 27:31
  Speaker 1: clean up the limo? Okay?
• 27:35
  Speaker 6: Okay?
• 27:35
  Speaker 1: Yeah, yeah, yeah, yeah, I see around. Uh three good?
• 27:38
  Speaker 2: Ma, Yeah, three is good.
• 27:40
  Speaker 1: She says, yeah, I'll see you.
• 27:42
  Speaker 2: Then Sal hangs up the phone. He thinks for a moment,
• 27:47
  Speaker 2: what's the matter?
• 27:49
  Speaker 1: Huh oh nothing.
• 27:52
  Speaker 2: You gotta go back to the city now.
• 27:54
  Speaker 5: No, Uncle Charlie will drive him out. When did Charlie
• 27:58
  Speaker 5: have a pass on a meal?
• 28:00
  Speaker 2: Sal starts eating while Carmela looks out the window. Exterior
• 28:05
  Speaker 2: sells home benson Hurst, Brooklyn, late morning. We see Anthony
• 28:09
  Speaker 2: getting into the back of the long white limo. He
• 28:12
  Speaker 2: carries cables and two blank tapes. Interior kitchen, Benson Hurst, Brooklyn,
• 28:17
  Speaker 2: late morning.
• 28:19
  Speaker 12: Looks like that crazy Anthony getting in the bus. I'm
• 28:24
  Speaker 12: gonna break his feet.
• 28:25
  Speaker 5: That's okay. I gave to kid a couple of bucks
• 28:27
  Speaker 5: to clean up. But don't say word to Vince. You
• 28:30
  Speaker 5: don't want anyone in that cobbled me. It's like it's
• 28:32
  Speaker 5: baby me.
• 28:34
  Speaker 6: I don't say nothing.
• 28:36
  Speaker 2: Sally eats his peppers and eggs as Rosemary Clooney sings
• 28:39
  Speaker 2: her Italian song Mambo Italiano. Interior Sal's dining room, Brooklyn,
• 28:45
  Speaker 2: late afternoon. Montage of a typical Brooklyn Italian dinner. Everyone
• 28:50
  Speaker 2: is there, Vince, uncle, Charlie, Anthony, Sal's sister, Donna, Sal's niece,
• 28:55
  Speaker 2: and Carmela. Wine flows, pasta flows, everyone drinks. Everyone eats
• 29:02
  Speaker 2: too much. Vince takes a bite of brishol, throws a
• 29:06
  Speaker 2: kiss to Heaven, then kisses Carmela. Carmela loves it. Charlie
• 29:11
  Speaker 2: eats like he's going to the chair. A great time
• 29:14
  Speaker 2: is had by all. Interior doorway of Sal's house, twilight.
• 29:20
  Speaker 2: Vince puts on his sports coat. Through the open door.
• 29:23
  Speaker 2: We see the white limo in front of the house.
• 29:25
  Speaker 2: Rosemary Clooney song ends in the background of the following dialogue,
• 29:30
  Speaker 2: Uncle Charlie gets out of the driver's side of the limo,
• 29:33
  Speaker 2: goes in the back, and eventually comes out with the videotapes.
• 29:38
  Speaker 4: I must have gained twenty pounds.
• 29:40
  Speaker 1: Charlie must have gained one hundreds.
• 29:42
  Speaker 4: Sal I got a special job for you. You get
• 29:45
  Speaker 4: away for a couple of weeks. A couple of weeks,
• 29:48
  Speaker 4: you drive the girls from last night to LA.
• 29:51
  Speaker 1: Well, that don't take two weeks.
• 29:53
  Speaker 4: I want you to take two weeks until the union
• 29:56
  Speaker 4: negotiations are over. You get paid around the clock, twenty
• 29:59
  Speaker 4: four seve all expenses, paid your own credit card for hotels, gas,
• 30:05
  Speaker 4: everything first class. It's easy.
• 30:07
  Speaker 1: Nothing's easy. Why do you want these girls on ice?
• 30:11
  Speaker 4: That's none of your business.
• 30:12
  Speaker 1: If I'm driving, it's my business.
• 30:15
  Speaker 2: They stare at each other, and for the first time
• 30:18
  Speaker 2: we realize what hard men they really are. Finally, Vince smiles.
• 30:27
  Speaker 4: I need to know where those girls are the next
• 30:30
  Speaker 4: two weeks. I just want to cover my ass in
• 30:33
  Speaker 4: case anything goes wrong with the union negotiations. If nothing
• 30:37
  Speaker 4: goes wrong, they make another movie in LA They make money.
• 30:42
  Speaker 4: I make money, no problems. What if things go wrong,
• 30:46
  Speaker 4: they won't go wrong. I don't want any more trouble, Vince.
• 30:51
  Speaker 4: This family owes you. You don't have to do nothing you
• 30:54
  Speaker 4: don't want to do. I'll send someone if things go wrong.
• 30:59
  Speaker 4: Well you have to do is drive. I'm only asking
• 31:03
  Speaker 4: because it's good money, and the girls ask for you again?
• 31:08
  Speaker 6: Well, yeah, what is that?
• 31:11
  Speaker 4: You got something going with these plutons of what?
• 31:14
  Speaker 6: Hey?
• 31:15
  Speaker 4: Maybe we should bring them home for your mother to
• 31:17
  Speaker 4: meet them.
• 31:18
  Speaker 2: Sala makes the sign of across God forbid.
• 31:22
  Speaker 4: She's still trying to set me up with your sister.
• 31:24
  Speaker 1: You know that, right, Dona's been widowed long enough.
• 31:28
  Speaker 2: Charlie approaches with the tapes.
• 31:30
  Speaker 4: Everything is okay, of course, everything is okay. So what
• 31:34
  Speaker 4: do you say, soldier?
• 31:36
  Speaker 1: We're going anywhere near Chicago already on the tour. Why
• 31:41
  Speaker 1: someone I haven't seen in a long time?
• 31:43
  Speaker 4: You want to break your heart again? You beat my guest,
• 31:46
  Speaker 4: just as long as you keep an eye on the girl.
• 31:50
  Speaker 4: Now you want the job or what?
• 31:52
  Speaker 1: Yeah? Sure?
• 31:53
  Speaker 6: Why not?
• 31:54
  Speaker 4: Charlie?
• 31:54
  Speaker 3: All the credit cards you need sal or in the
• 31:56
  Speaker 3: glove compartment of the town car and your driveway list
• 32:00
  Speaker 3: of cities to hit on the way.
• 32:01
  Speaker 1: What do you call your itinerary?
• 32:04
  Speaker 3: Here's the keys the girls will be ready by noon tomorrow.
• 32:08
  Speaker 4: They'll both be at lottest place.
• 32:09
  Speaker 1: You know where I know where.
• 32:12
  Speaker 4: Everything is good. It's good, have a safe trip. Now,
• 32:16
  Speaker 4: let's get out of here before Camella brings out more food.
• 32:20
  Speaker 3: It was great, the best dis irishman ever.
• 32:23
  Speaker 2: Ate, Vince and Charlie walked to the white limo.
• 32:26
  Speaker 4: I never saw anyone to eat like you.
• 32:28
  Speaker 6: It was good.
• 32:29
  Speaker 4: Yeah, it was good. But take a breath once in
• 32:31
  Speaker 4: a while. Wow, Wow, why are you talking? Eating like
• 32:34
  Speaker 4: that could kill you. I'll die for that food you would.
• 32:38
  Speaker 4: Oh yeah, I don't want to go know And I
• 32:40
  Speaker 4: left food like that behind.
• 32:42
  Speaker 2: Not on sALS front door shuts screened to black as
• 32:47
  Speaker 2: Ruth Eddings sings ten Cents of Dance. Interior Sell's bedroom,
• 32:52
  Speaker 2: benson Hurst, Brooklyn night sal and t shirt and shorts,
• 32:56
  Speaker 2: towel around his neck, enters his modest bedroom. The tapes
• 33:00
  Speaker 2: lie on his small desk. He sits at the desk
• 33:03
  Speaker 2: looking at the tapes, flash Lata and Harah having sex
• 33:07
  Speaker 2: in the back of the limo with a jahn. Sal
• 33:10
  Speaker 2: puts Duff tape across the tapes. Then he goes to
• 33:13
  Speaker 2: his dresser drawer, reaches under and sticks the tapes to
• 33:16
  Speaker 2: the bottom of the dresser. His knees pop as he
• 33:19
  Speaker 2: has a hard time standing. Exterior Q Gardens, Queen's Brownstone.
• 33:25
  Speaker 2: Early morning, Harah's outside Lata's apartment with a couple of suitcases.
• 33:30
  Speaker 2: She's dressed in tight pants, black shoes with four inch heels,
• 33:34
  Speaker 2: and a tank top. Sal pulls up in a black
• 33:37
  Speaker 2: Lincoln Town car. Ruth Ettings song ends as Sal gets
• 33:41
  Speaker 2: out and starts putting Harrah's bags in the trunk.
• 33:44
  Speaker 6: Where's Lada?
• 33:46
  Speaker 10: Lata's not coming, Sack, Vince know about this, Sure, I'll
• 33:50
  Speaker 10: set up.
• 33:50
  Speaker 2: Front interior front seat of Lincoln Town car. Early morning,
• 33:54
  Speaker 2: Sal gets behind the wheel. He reaches for the car phone.
• 33:58
  Speaker 6: Who are you calling, Oh, Charlie, I'm calling into you.
• 34:01
  Speaker 10: I told you Vince knows about Lada.
• 34:04
  Speaker 1: I don't care if he knows or not. I have
• 34:05
  Speaker 1: to call in.
• 34:06
  Speaker 10: Please, Sal, don't call in today.
• 34:09
  Speaker 1: If I don't, they'll just call me.
• 34:10
  Speaker 6: Then.
• 34:10
  Speaker 10: Don't tell them Lata is not here.
• 34:13
  Speaker 6: That I can't do.
• 34:14
  Speaker 2: He starts dialing.
• 34:15
  Speaker 10: She call me and I'll have her fly to wherever
• 34:17
  Speaker 10: you want.
• 34:18
  Speaker 1: You have to do that anyway.
• 34:19
  Speaker 2: Haarah puts her hand on Sal's inner sigh, Sal, you
• 34:23
  Speaker 2: help her and we'll both.
• 34:24
  Speaker 10: Make it work.
• 34:24
  Speaker 5: They get your hand off me or I'll slice it off.
• 34:28
  Speaker 5: I don't play the patsy for anyone.
• 34:30
  Speaker 2: Speakerphone picks up at the other end.
• 34:32
  Speaker 4: Yeah.
• 34:34
  Speaker 2: Interior le sal Limo Service Office, continuous. Uncle Charlie stands
• 34:38
  Speaker 2: at his desk. Leo sits on the couch, the junkyard
• 34:42
  Speaker 2: dog on the floor beside him.
• 34:43
  Speaker 1: Oh, but I didn't bring anything up between you and
• 34:45
  Speaker 1: love a boy?
• 34:45
  Speaker 4: Asshole?
• 34:46
  Speaker 2: The dog barks, You got the girls? Interior front seat
• 34:50
  Speaker 2: of Lincoln town Car, continuous.
• 34:53
  Speaker 1: I got Harah. Lota is a no show?
• 34:56
  Speaker 6: Do you mean a no show? The fuck is this?
• 35:00
  Speaker 1: You'll tell Harrah tell yourself. You're on the speaker phone.
• 35:03
  Speaker 2: Harah gives Sal a mean look, then switches gears to
• 35:06
  Speaker 2: talk to Uncle Charlie.
• 35:08
  Speaker 10: Hello, Charlie, how's my cutie doing?
• 35:11
  Speaker 4: What's going on? A lot?
• 35:13
  Speaker 10: I got a message on her machine. They want her
• 35:15
  Speaker 10: for a photo layout in Club magazine. It was good money,
• 35:18
  Speaker 10: so she figures she can meet up with us in
• 35:19
  Speaker 10: Pittsburgh in a couple of days.
• 35:21
  Speaker 2: Interior l Salimo Service Office, continuous.
• 35:25
  Speaker 3: Parah, you tell her to call me. I will if
• 35:30
  Speaker 3: she's not there in two days, she's not She fuck me.
• 35:33
  Speaker 3: If she's not there.
• 35:34
  Speaker 1: In two days.
• 35:34
  Speaker 3: If she's not there in two days, she's gonna not
• 35:38
  Speaker 3: be anywhere.
• 35:38
  Speaker 6: With two days.
• 35:39
  Speaker 4: Leo will see to that.
• 35:41
  Speaker 6: You understand me, You understand me.
• 35:44
  Speaker 2: Interior, front seat of Lincoln town car continuous.
• 35:47
  Speaker 10: Sure, Charlie, I understand. Don't worry about anything.
• 35:51
  Speaker 6: So do I go or do I stay? You'll go.
• 35:54
  Speaker 6: You call me in two days. A lot of better
• 35:56
  Speaker 6: be there.
• 35:57
  Speaker 2: Charlie hangs up. We hear a dial tone. Haarah glares
• 36:00
  Speaker 2: at Sal. Sal hangs up. Haarrah exits the front seat
• 36:04
  Speaker 2: and gets in the back of the town car, slamming
• 36:07
  Speaker 2: the door.
• 36:08
  Speaker 6: This is gonna be a fun trip.
• 36:10
  Speaker 2: We see the town car pull away as we hear
• 36:13
  Speaker 2: Bessie Smith saying I'm gonna love that man. Interior Lata's bedroom,
• 36:18
  Speaker 2: early afternoon. Lada stands at the radio in front of
• 36:22
  Speaker 2: the window overlooking the street. She watches the town car
• 36:25
  Speaker 2: pull away. Exterior Verrazano Bridge to Staaten Island day montage
• 36:31
  Speaker 2: of images. Verrazano Bridge onto Staten Island Express to Gothaal's Bridge,
• 36:36
  Speaker 2: New Jersey Turnpike. A series of exit signs along New
• 36:39
  Speaker 2: Jersey Turnpike. I ninety five sign one hundred miles to
• 36:43
  Speaker 2: Philly sign Vince Lombardi service station. Exterior Vince Lombardi service Station.
• 36:51
  Speaker 2: Late morning, Sal pulls the town car into the service station.
• 36:55
  Speaker 2: He parks and opens the window and stops the tape
• 36:58
  Speaker 2: of Bessie Smith.
• 36:59
  Speaker 6: I have to go.
• 37:00
  Speaker 10: Thanks for sharing that.
• 37:02
  Speaker 1: You have to go.
• 37:03
  Speaker 4: Go.
• 37:03
  Speaker 10: Maybe I'll take off no.
• 37:05
  Speaker 1: Skin off my nose if you do. You want coffee.
• 37:08
  Speaker 10: Black with equal may I get out and smoke.
• 37:13
  Speaker 1: I don't care if you burn. I'm not your father,
• 37:16
  Speaker 1: Thank God.
• 37:18
  Speaker 2: Exterior Vince Lombardi service Station. Later, Sal comes out of
• 37:22
  Speaker 2: the diner with two cups of coffee. Two biker types
• 37:25
  Speaker 2: are harassing hera at the limo. Sal throws a look
• 37:28
  Speaker 2: to the heavens, then proceeds to the limo.
• 37:31
  Speaker 5: I saw you fucked two guys at once, then leave
• 37:33
  Speaker 5: them wasted in that?
• 37:34
  Speaker 4: And what was that?
• 37:35
  Speaker 1: Ah?
• 37:36
  Speaker 6: I gave it the office.
• 37:38
  Speaker 11: How about taking us on?
• 37:39
  Speaker 10: Sorry? Boys, no dicks under four inches. It's a union rule.
• 37:43
  Speaker 11: I got more than you can handle.
• 37:45
  Speaker 10: Why don't you boys go back to your wives, count
• 37:47
  Speaker 10: your blessings.
• 37:49
  Speaker 4: I ain't married.
• 37:50
  Speaker 6: I can believe that pretty uppity for a slug.
• 37:52
  Speaker 2: Hera flicks her cigarette at him as Sal steps in.
• 37:56
  Speaker 6: Any trouble here and nothing she can't handle.
• 37:58
  Speaker 1: Hey, fellows, why don't we leave the lady alone?
• 38:01
  Speaker 4: Lady, who the hell are you?
• 38:03
  Speaker 1: I'm a driver now one.
• 38:05
  Speaker 6: Don't you two get lost before someone gets hurt?
• 38:07
  Speaker 11: Hey, old man, I think you better go back and
• 38:09
  Speaker 11: have another cup of coffee.
• 38:10
  Speaker 4: Yeah, we'll call you when we.
• 38:11
  Speaker 2: Threw The first biker goes to push Sal, who throws
• 38:15
  Speaker 2: the hot coffee in his face, then shoves his arm away,
• 38:18
  Speaker 2: and from nowhere a razor comes out of his sleeve.
• 38:21
  Speaker 2: Sal spins behind the biker and holds the razor to
• 38:24
  Speaker 2: his neck.
• 38:24
  Speaker 6: Stick your arms straight out, get him out.
• 38:27
  Speaker 1: How are getting the car?
• 38:29
  Speaker 4: Take it easy, miss.
• 38:30
  Speaker 2: Biker number two blocks the car door.
• 38:32
  Speaker 6: You can't take both of us. If you don't move
• 38:34
  Speaker 6: from that car, It'll only be one of you to take.
• 38:36
  Speaker 2: Blood trickles down Biker number one's neck.
• 38:40
  Speaker 1: Do a stats man.
• 38:41
  Speaker 2: Biker number two steps away.
• 38:43
  Speaker 1: Power, get behind the wheel and start the car.
• 38:45
  Speaker 6: The keys are in my pocket.
• 38:46
  Speaker 2: Parah takes the keys from Sal's jacket pocket. She gets
• 38:49
  Speaker 2: in the passenger side and slides behind the wheel. Sal
• 38:52
  Speaker 2: backs up to the passenger side. He sits down and
• 38:55
  Speaker 2: grabs the biker's pant belt from behind. The other biker
• 38:59
  Speaker 2: moves towards the Sal quickly puts the razor between Biker
• 39:02
  Speaker 2: number one's leg.
• 39:03
  Speaker 1: Boom, he moves, and you sing the high notes. Now
• 39:06
  Speaker 1: bend over, bend.
• 39:09
  Speaker 4: The ways, he says.
• 39:10
  Speaker 2: Interior front seat of Lincoln town Car, continuous. Head it
• 39:14
  Speaker 2: Heit It Hall exterior Vince Lombardi service Station continuous. The
• 39:18
  Speaker 2: two bikers rush out to the car. We can only
• 39:21
  Speaker 2: punch at Sal's window as Harah peels out of the
• 39:23
  Speaker 2: parking lot. Interior front seat of the Lincoln town Car continuous.
• 39:28
  Speaker 2: Hara is high on the emotion of the fight. Sal
• 39:31
  Speaker 2: looks at the side view mirror to see if they're
• 39:33
  Speaker 2: being followed.
• 39:34
  Speaker 10: Tao was great. You made those bastard squirm. You should
• 39:39
  Speaker 10: have cut it off.
• 39:40
  Speaker 6: That guy. Pull over.
• 39:41
  Speaker 1: Let me behind the wheel.
• 39:42
  Speaker 10: I'll drive for a while.
• 39:43
  Speaker 1: I said, pull over. They may follow it, those punks,
• 39:47
  Speaker 1: I said, pull off.
• 39:48
  Speaker 2: She pulls over, but doesn't get out. Exterior New Jersey
• 39:52
  Speaker 2: Turnpike I ninety five, late morning. Sal gets out and
• 39:56
  Speaker 2: runs around to the other side and looks back down
• 39:58
  Speaker 2: the highway.
• 40:00
  Speaker 10: You're an old stud when you have to.
• 40:01
  Speaker 6: Be, aren't you get the hell on the other side?
• 40:04
  Speaker 2: Sure? Interior front seat of Lincoln town car. A little later,
• 40:08
  Speaker 2: Why are you so hot?
• 40:09
  Speaker 10: You did great?
• 40:10
  Speaker 1: Just shut up?
• 40:11
  Speaker 10: Why the hell are you yelling at me.
• 40:13
  Speaker 1: For letting this happen.
• 40:14
  Speaker 10: I was having a smoke, having.
• 40:15
  Speaker 6: A smoke and dress like a fucking slut.
• 40:17
  Speaker 2: Harah reacts angrily.
• 40:19
  Speaker 10: You son up a bit, Well, what did you expect?
• 40:22
  Speaker 10: Pull over? I said, pull over before I scratch your
• 40:25
  Speaker 10: fucking eyes out.
• 40:26
  Speaker 2: Haarrah grabs the wheel and the car swerve. Jesus Christ,
• 40:30
  Speaker 2: pull over, pull over now? Okay, okay, exterior New Jersey
• 40:34
  Speaker 2: Turnpike I ninety five, early afternoon. Sal pulls the town
• 40:38
  Speaker 2: car over. Harah exits and furiously walks down the highway,
• 40:42
  Speaker 2: mumbling to herself. The high heels make it comically hard
• 40:45
  Speaker 2: as traffic zooms by. Sal exits town car.
• 40:49
  Speaker 6: What where are you going?
• 40:51
  Speaker 1: Get back here?
• 40:53
  Speaker 4: Now?
• 40:55
  Speaker 6: Hey, go fuck yourself.
• 40:57
  Speaker 1: I hope they come after us, and this time you
• 40:59
  Speaker 1: can handle it yourself.
• 41:00
  Speaker 10: I hope they come back and cut off that wriggled
• 41:02
  Speaker 10: old raisin of yours. Not that you need it, you.
• 41:05
  Speaker 1: Know, remind me next time not to save you, sweet ass.
• 41:08
  Speaker 2: Harod turns and walks back to Sal.
• 41:11
  Speaker 10: That'll be the day I need a man to save me.
• 41:14
  Speaker 10: This sweet ass has taken care of itself long enough
• 41:16
  Speaker 10: not to take any shit from you or anyone else.
• 41:19
  Speaker 6: Yeah, I suppose you could have handled back there without me.
• 41:21
  Speaker 2: Parah gets in Sal's face.
• 41:24
  Speaker 10: You cheap has been. You're a limo driver. I sit
• 41:28
  Speaker 10: in the back. You drive me. You don't judge me.
• 41:32
  Speaker 10: Nobody tells me how to dress, Nobody tells me what
• 41:35
  Speaker 10: to look like. Nobody tells me what to do. No one,
• 41:38
  Speaker 10: no one ever has, no one ever will.
• 41:41
  Speaker 6: Well, maybe it's time.
• 41:42
  Speaker 1: Maybe if someone had, you wouldn't be able.
• 41:44
  Speaker 2: Sal stops himself from saying slut. Harrah stares at him,
• 41:48
  Speaker 2: too hurt to cry. She's hurt it before, but now
• 41:51
  Speaker 2: it's different. A moment before, Haarah smacks Sal across the face.
• 41:57
  Speaker 10: You son of a bitch.
• 42:00
  Speaker 1: I'm sorry, I you I didn't not.
• 42:03
  Speaker 2: Haarrah smacks him again. They stare at each other for
• 42:06
  Speaker 2: an intense moment.
• 42:09
  Speaker 1: Please get back in the car.
• 42:11
  Speaker 2: Harah gets in the back of the town car. Sal
• 42:14
  Speaker 2: goes to the driver's side and looks back down the highway.
• 42:17
  Speaker 2: They're not coming. Sal gets behind the wheel and the
• 42:21
  Speaker 2: town car pulls away. End of Act one.