My Lady's Song - Act 1

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