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