My Lady's Song - Act 1

0:00The Bleacher Report app is your destination for sports. Right now, the NBA is heating up, March Manus is here, and MLB is almost back. Every day there's a new headline, a new highlight, a new moment you've got to see for yourself. That's why I stay locked in with the Bleacher Report app. For me, it's about staying connected to my sports. I could follow the teams I care about, get real-time scores, breaking news, and highlights all in one place. Delo the Bleacher Report app today so you never miss a moment. There go one, two, three, take a look at me, my lady's song. All right, bro. All right, take a seat. Right. All right, we're going to go on this. Sam's out. I'm going to be on the… My lady's song by Dan Loria and Frank Megna, based on a story by Dan Loria. Interior Black Limo Knight. As credits roll, we hear Peggy Lee singing fever. Camera slowly pans over a smooth, dull, black, leathery background.

1:03Suddenly, a cleaning rag travels across, leaving it shiny. The first in a parade of images, an ash tray 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 limo opens. First third of credits ends. Interior, La Salle limo service garage, Knight. Uncle Charlie, late 60s, the heavy set manager of La Salle limo service speaks to Sal Marino, the driver who is off camera. Hey, Sal. Yeah. Everything going okay? Great. Nice old man. Extra 50. I'm on the wrong end of this shit. What are you going to do? Get my blow job? Sal, a tough ex-con in his mid-50s wears the hard years on his face. He backs out of his side and looks at Charlie across the top of the black limo.

2:07Standing behind Charlie is Leo, a goon in his late 20s. Next to him is a mean dog on a short leash. I'll leave that to a little Leo here. Leo's face tightens the dog growls. Easy boy. Everybody knows he's your sex slave. That'll be the date. As long as he makes you happy, Charlie. Yeah, keep pushing. More growling. Shit. I'll ride you, too. Just knock it off. Sal, you're going back out tonight. Tonight, it's almost midnight. Vence is here. Vence? He wants to see you with the club. When? About 10 minutes ago? Charlie and Leo head for the office door as the limo pulls away. Wash the whole bastard. His day, Sal, the barber would have any of you young punks for lunch. Sal, the barber. Salda, nothing. You know, Sal's right. You were starting to look a little like this dog. They enter the office and close the door. Loud disco music jumps out at us. Exterior New York City Street night.

3:09The sound of loud New York City streets has returned on to 42nd and 8th Avenue and hear nothing but loud mechanized disco. Interior, front seat of Sal's black limo night. Second third of credits roll as Billy Holiday sings Loverman. Sal drives down 8th Avenue. The city is shut out from Sal's inner world. He turns on to 45th Street. End of the second third of credits. Exterior private eye club night. The limo drives past the front of the strip club. Live new girls flashes in neon. A large poster on the front wall reads, tonight, porn stars, horror reams, and lot of menace. The limo parks across the street under a sign that reads, don't even think of parking here. Sal exits the 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.

4:10Interior, private eye club night. The packed club pulsates with ear piercing disco music. Men with cigars and drinks, talk it up, and cheer, Hara and Lada, two beautiful young ladies. One in her 20s, the other slightly older are on stage in the beginning stages of their dance act and are very elaborately dressed. Obviously, their 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? What can I get you? Yeah, good, Frank, good. And Vince here? He's waiting for you in the office. What? The office. Thanks. Hey, wanna drink first? What? Drink. Yeah. Sal heads for the back office. He passes the stage. Lada has one breast exposed as Hara dances behind her. Hara reaches around and caresses Lada's exposed breast. Hara spots Sal and Winks. Sal just smiles and keeps walking.

5:11Interior, back office, private eye club, late night. Vincent Delora, a rugged mid-50s, 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 silenters. Sally, boy, how are you? Good, Vince, I'm good. When did you get in? Yesterday, I got in yesterday. Long time. Almost two years. That family business outweighs, Lala 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 doing all right. I'm man's a man, you know. She get the roses for her birthday. She loved them, thanks. Hey, the least I can do. What was it, 778? She'll be 80 this year. 80! Camilla's 80! We should live so long. We got to do something special for my girlfriend. We'll do something special for my girlfriend this year.

6:13You hear me? That'd be good. Remind me, that's an order. You got it. And you, you okay? I'm good. I like driving. Watching them shoot those movies. Maybe we should change places. All I do is drive. You get tired of it. You let me know. I will. I'm going to take care of my favorite soldier. Soldier? Those days are long gone. Wow, what are you, an old man or what? Yeah, I am. Vincent pours himself a parier with lime. Give you a million bucks. You show me somebody getting younger. Have a drink, movie. What do you want? I got everything here. Diet Pepsi's good. Look at this, we diet Pepsi in sparkling water. That's what it comes down to. Next thing you know, we'll be playing Pee Knuckle. We used to be bulls. Remember Sally, bulls? Can sell his drink. That was then. Now? Now, forget it. The old days. We had to be hard. We had to be mean.

7:16Now it's all legal. Booves, gambling, porn, 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 to 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,

8:18the decadence of late night eighth avenue is seen. And credits, as the white limo pulls up to the club's stage entrance. Sal exits and goes to the passenger rear door and opens it. He waits like a soldier at his post. Cut. Thought it was a lovely sound, just lovely. Now, when the girls come out, they will get into the limo and you will shut the door and get into it as full way. 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 lab from across the street. They start laying some track. What do I do now? Go back to Vincent'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 eye club late night. We hear a news broadcast on TV.

9:21After three weeks of a strike, the hotel workers union and the hotel owners have agreed to come back to the table with sinister backs remediating. I'm looking forward to sitting with both sides and ending the strike. Park. Vincent Delora, rugged mid-50s, 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. Saly boy. Interior private eye club back office night. Hey, how's the porn star? Some star. They're limos like driving a bus. I've never seen one that big. Two TVs, two bars, two stereos. Two cameras here. Vincent tosses Sal and envelope. Must have set you back a few. Over a hundred grand. It's a lot of car. Sal is shocked by the amount of money inside the envelope. Porn's big business, Sal. Big power. There's got to be two Gs here. Movies pay big two.

10:22Two Gs for driving up and opening the door. What's up, Vince? 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. OK, then what? Then you're going to take the girls to pick up our favorite John. They're going to be in a back seat doing their thing while you tour the city. When they're done, you drop Mr. 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.

11:22What do you think? For old time's sake. Besides, the girls ask for you. Sal starts to say something. And? 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. OK? Why not? Thanks. I 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. Atlas Sal. Don't clean up anything. Don't touch the video equipment. 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. Hera and Lada exit the club and approach Sal standing by the open door. Evening Sal? Sal bows at the waist.

12:24Good evening, my lady. Cops. What the hell was that? What? Sal with a bowing. Just open the door, close it when the girls get in. Well, I thought, you know, a way to show you. Don't think and don't show. But I got to say this, then your day. You don't have to show nothing. You don't got to say nothing. You're a limo driver in a porn movie, and it's have to midnight. That's all you've got to know. Everybody back to one. And here we go. Here we go, once again. The girls head back to position one. As they pass Sal, close-up on Sal. I'd like to kick his ass. Believe me, he'd enjoy it. Exterior New York City Street night, traveling. We hear at a 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.

13:24Say, uh, Sal. You're going to do a fuck scene with us in this movie? Sal nervously laughs and turns red. Yes, Sal. Vince's going to have the right to scene for the three of us. I'm afraid not, ladies. You have a head to it one time, Sally. I never had that pleasure. Even when you was a big time guy. I was never that big. Never too late. I'll stop it a lot of your 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 7K. K, like in King. Exterior Eastside apartment building night. Sal enters the building. Lada exits the limo and lights a cigarette. Hera joins her. What's the matter? Nothing. Look, kid, I got to do this. This is the big box. I ain't getting any younger. If Vince finds out. Vince ain't going to find out shit. This is between me and the senator. I've been riding that pony for years. It's about time that horse paid off.

14:25All you got to 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 set 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. Sal gets into the limo and lowers his window. He plays the rest of at last. Who's that singing? Eddie James, one of the best. Hmm. Can almost feel the pain. You play her while we do our thing, OK? Sure, kid. I'll just do that. He's in the lobby. Lada opens the rear passenger's side door. You know, Sal, my mama would never let me listen to music like that. She said only St. 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. Here he comes.

15:25Hiya, sugar. A well-dressed man in his mid-50s 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 Eddie 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. Grants Tomb. Sunrise at the 79th Street boat basin. Exterior East Side Department 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.

16:26The John enters the apartment building. Interior, big white limo continuous. Sal opens the inside window. We're two ladies. I'm out here, sir. I live in Queens. Brooklyn. Me too. So I'll drop a lot off first. Hey, stop at a good sign on Queens 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. Suit yourself. Window closes as a lot of pulls connecting wires from her pocket book. And during the following dialogue, she connects one TV VCR to the other TV. She removes two blank tapes from her purse. She then removes a tape from one of the VCRs and puts it in the blank. OK, whatever you do, don't let him open that window. I know, I know. When we get to the restaurant, tell my fellow sleep. I don't care if you have to fuck the old bastard. Don't learn 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 a copy? Who knows? Too complete that game. Allie, can you read that line?

17:28And instead of saying DVD, can you say tape? Yep. OK, because they actually didn't have DVD. Oh, right. What about cutting old bastard? Have you seen this face? Just say, just. I remember when Joe had that face. I think that's a long one. I guess I know my new age range, here we go. She then removes a tape from one of the VCRs and puts it 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 my fellow sleep. 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 tape and nothing flat. Why does Vince want a copy? Who knows? But too complete this game. Hera exits interior big white limo continuous. Hera sits in the front seat and Sal heads for Queens. Hera puts her head back on a big leather seat and closes her eyes. Her knee covers the record light. Queens, my good man. Music, please. You got it. Sal presses play and dino Washington sings,

18:30what a difference a day makes. She sounds great. Yeah. Smooth. I saw that guy who looks at Hera, who's asleep. Tough night at the office. Sal smiles and pulls away. Exterior, long white limo early morning. The limo heads for the Queensborough Bridge as dino Washington sings and Hera sleeps. New York City at dawn, nothing like it. Exterior, empire, diner, Queensborough of art, continuous. We see the Queensborough Bridge. The big white limo maneuvers in the diner parking lot. Interior, front of big white limo, continuous. Sal is about to wake Hera when he stops and stares at her for a moment. He brushes some hair covering her face. Flash, Hera, 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?

19:32I'll get your partner. Sal moves to lower the window. Hera 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, Queensborough of art, continuous. Sal heads for the diner entrance. Hera goes to the limo's rear door. Interior, big white limo, continuous. Hera opens the door to find Lada 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. Hera 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? Lada looks at the VCR counter. It's an hour tape. Hi, Dev. How much longer? Couple of minutes. You copied both tapes? I'll start the other one while we eat. By the time he gets me home, we'll have both. Had this at my place, I could have made a dozen tapes by this time.

20:33Look, order me sausage and eggs and just eat slow. OK. 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 Queens morning. Sal sits in a booth. Hera joins him. She's getting herself together. She wants eggs. Your wish is my command. What do you warm buffet? 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. Well, I don't care what you made and stopped the crap. We both know that was no regular porno film. What are you talking about? Vince didn't pay me too 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, would 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 buying breakfast. I don't want to know.

21:33The waitress approaches. Lada stands behind her. Can I take your order? Mm. Eggs over with Italian sausage, right? Toast on juice and coffee. Make that, too. And you, sir? Old meal, grapefruit juice, coffee. You got it. Lada sits next to Hera facing Sal. Old meal? Sam smiles then looks to Hera who smiles back. Hold on, Sal smiles. I don't know who Sam is, but he didn't come into the cell. Sal, sorry. What did I say? I'm so weird, OK, guys. Thank you. GlobalGamingLeague.com, everybody games.

22:34Sal smiles then looks to Hera who smiles back. Exterior, Sal's home, Bensonhurst, Brooklyn, late morning. Sal pulls the white limo into the long narrow driveway alongside his three-story house in Bensonhurst, 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 VCRs. Two of everything? Camera's two. Yeah, where? Are there in the monitors that TV screens? One in each TV. They even have an automatic zoom on a timer. What's up, me? Hey, in and out for close-ups, does it automatically? One goes in, the other goes out.

23:34That type of thing. For an edit, it's like having four cameras. Say, Anthony, you know about all this tech stuff, right? Yeah, sure, Uncle Sal. What do you need? Could you take a tape out of one of these VCRs, 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 lab or something? Sure. Why not? How about I have to do that at home? Son of a bitch. What's the matter? This is easy. Anthony, look at me. Not that's easy. What's on the tape? You shouldn't have asked questions. Then you should know that I will see what's on the tape when I recorded. Also, you should know that there are two camera setups here. You want to copy of both tapes to 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 what I am. You're right. What's the words there? If we have time, let's get both. But no one can know that you know about the two women

24:36and the man having sex on this tape. Kabish? 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 in a limo with cameras? Some kind of kinky thing or what? No, well, yeah, maybe it's 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 with the girls. They're with a turn on. Plus they have a bodyguard, me. Kabish? Kabish? Now get going. Anthony exits the limo, slamming the door. Interior kitchen bends in Hearst Brooklyn late morning. Sal walks into his typical Brooklyn Italian kitchen

25:39and goes to the sink to wash up. His mother, Carmella, calls out. Sal? That you? Yeah, my, it's me. You home? Yeah, I'm home. Carmella, a feisty 80-year-old, is the typical Italian mother who lives for only two things, family and cooking. You must be hungry. I'm too tidy, ma. You got to have something. I had a bowl of oatmeal. Oatmeal? That's for kids. How about some nice peppers and eggs? Nah, nothing. You like peppers and eggs? I'm going to call and hit the sack. South finishes washing and goes to the wall phone. Carmella starts making peppers and eggs. Two minutes. I may have to go back to Manhattan. You got to be here for dinner. Your sister is coming all the way over. All the way from across the street? Don't be fresh. Sal's on the phone. He gets the answering machine of La Sal limo service. We hear a beep. Hello, Charlie.

26:40It's about 920. I just got in. I'm at home. How about I bring the limo back after I get some sleep? I'm dead. Give me coffee and 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, manja. What's this? You wanted peppers and eggs. You're a person, ma. Sit, relax. Drink the juice. I'll drink the juice. Carmella puts the eggs in a dish and brings the fry pan to the sink while looking out the window. Jesus, Mary and Joseph, what's that in the driveway of bus? That's a triple limo. You drive that in the street? That doesn't fly. Vince spent over 100 grand that. 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 him to come over to eat with us or the phone rings.

27:45You eat. She grabs the phone. Hello. Who's this? Vince? Yeah. If you're my boyfriend, you come and eat today. Come. I got fuzzili and chicken cutlet. I got melon with lean prosciutto from Pazzi. Nice prosciutto. Yeah. Oh. 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 us. Look, if you want, I'll bring back the limo. And then I'll drive you out here for the best meal you have had. You sure? OK. You sure you don't want me to clean up the limo? OK. OK, yeah, yeah, yeah. I see you around three good months. Yeah, three is good. She says, yeah, I'll see you then. Sal hangs up the phone. He thinks for a moment.

28:47What's the matter? Huh? Oh, nothing. You got to go back to the city now? No, Uncle Charlie will drive him out when the Charlie of a person on a meal. Sal starts eating while Carmella looks out the window. Exterior, Sal's home, Bensonhurst Brooklyn late morning. We see Anthony getting into the back of the long white limo. He carries cables and two blank tapes. Interior, kitchen, Bensonhurst Brooklyn late morning. Looks like that crazy Anthony getting in the bus. I'm going to break his feet. That's OK, Ma. I gave the kid a couple of bucks to clean up. But don't say word defense. You don't want anyone in that car about me. It's like it's a baby. Me? I don't say nothing. Sal 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.

29:50Everyone is there. Vince, Uncle Charlie, Anthony, Sal's sister Donna, Sal's niece, and Carmella. Wine flows, pasta flows. Everyone drinks. Everyone eats too much. Vince takes a bite of brishol. Throws a kiss to heaven, then kisses Carmella. Carmella 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's 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 20 pounds. Charlie must have gained 100. Sal, I got a special job for you. You get away for a couple of weeks. Couple of weeks. You drive the girls from last night to LA.

30:51Well, I don't take two weeks. I want you to take two weeks until a union negotiations are over. You get paid around the clock 24-7. 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.

31:53You 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 poor tons of what? Hey, hey, maybe we should bring them home for your mother to meet them. Sal makes the sign of the cross. God forbid. She's still trying to set me up with your sister. You know that, right? Don has been widowed long enough. Charlie approaches with the tapes. Everything is OK. Of course, everything is OK. So what do you say, soldier? We 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'd be my guest. Just as long as you keep an eye on the girl, now you want to job or what? Yeah, sure, why not?

32:54Charlie. All the credit cards you need, Sal, are in the glove compartment of the town car in your driveway. There's a 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 Laudice 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 Camilla brings out more food. It was great. The best decision I've ever made. Vince and Charlie walk to the white limo. I never saw anyone eat like you. It was good. Yeah, it was good. But take a breath once in a while. What are you talking? Eating like that could kill you. I'll buy for that food. You would? Oh, yeah. I don't want to go know when I left food like that behind. Not on. Sal's front door shuts. Scream to black as Ruth Eding sings 10 Sense of Dance. Interior Sal's bedroom, Bensonhurst Brooklyn, night.

33:54Sal and T-shirt and shorts, towel around his neck, enters his modest bedroom. A couple of tapes lie on his small desk. He sits at the desk looking at the tapes. Flash, Lada and Hera having sex in the back of the limo with the John. Sal puts duct 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, cue gardens, queens, brownstone, early morning. Hera's outside Lada'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 Eding song ends as Sal gets out and starts putting Hera's bags in the trunk. Where's Lada? Lada's not coming, Sal. Vince, know about this? Sure. I'll sit up front. Interior front seat of Lincoln town car, early morning.

34:54Sal gets behind the wheel. He reaches for the car phone. Who are you calling? Uncle Charlie, I'm calling into you. I told you Vince, know is 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 Lada's not here. That I can't do. He starts dialing. She'll call me and I'll have her fly to wherever you want. Well, you have to do that anyway. Hera puts her hand on Sal's inner thigh. Sal, you help her and we'll both make it work. Hey, get your hand off me. We're all slice it off. I don't play the patsy for anyone. Speaker phone picks up at the other end. Yeah. Interior, La 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've got the girls? Interior front seat of Lincoln town car, continuous. I got Hera.

35:55Lada's a no-show. What do you mean a no-show? The fuck is this? You'll tell Hera. Tell yourself you're on the speaker phone. Hera gives Sal a mean look, then switches gears to talk to Uncle Charlie. Hello, Charlie. How's my cutie doing? What's going on? Lada got a message on her machine. They want her for a photo layout and club magazine. It was good money, so she figured she can meet up with us in Pittsburgh in a couple of days. Interior, La Sal limo service office, continuous. Hera, you tell her to call me. I will. If she's not there in two days, she's not, the shit fuck me. If she's not there in two days, if she's not there in two days, she's going to not be anywhere in two days. Leo will see 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 go. You call me in two days.

36:56A lot of better be there. Charlie hangs up. We hear a dial tone as Hera glairs at Sal. Sal hangs up. Hera exits the front seat and gets in the back of the town car slamming the door. It's going to be a fun trip. We see the town car pull away as we hear Bessie Smith sing, I'm going to love that man. Interior, Lada'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, Barizano Bridge to Staten Island day. Montage of Images. Barizano Bridge onto Staten Island Express to Gothel's Bridge, New Jersey Turnpike. A series of exit signs along New Jersey Turnpike, I-95. Sign, 100 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.

37:59I 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 her at the limo. Sal throws a look to the heavens, then proceeds to the limo. I saw you fuck two guys at once and leave him wasted in that. I was like, ah, I gave it to 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? Shit, I ain't married. I can't believe that. Pretty uppity for a slut. Her afflicts her cigarette at him as Sal steps in. Any trouble here? And nothing she can't handle. Hey fellas, why don't we leave the lady alone?

39:01Lady. Who the hell are you? I'm a driver. Now, why 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 throw. 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 we getting the car? Take it easy, mister. 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 it, he says, man. Biker number two steps away. How are we get behind the wheel and start the car? The keys are in my pocket. Harrod takes the keys from Sal's jacket pocket. She gets in the passenger's side and slides behind the wheel. Sal backs up to the passenger's side. He sits down and grabs the biker's pant belt from behind. The other biker moves towards the car. Sal quickly puts the razor between biker number one's leg.

40:04He moves and you sing the high notes. Now bend off. Bend. It's the way he says. Interior front seat of Lincoln Town Car, continuous. Hit it. Hit it hard. Exterior, Vince Lombardi's service station, continuous. The two bikers rush out to the car but can only punch at Sal's window as Harrod peels out of the parking lot. Interior front seat of the Lincoln Town Car, continuous. Harrod is high on the emotion of the fight. Sal looks at the side view mirror to see if they're being followed. That was great. Woo-hoo! You made those bastards squirm. You should have cut it off that guy. Pull over, let me be behind the wheel. I'll try for a while. I said pull over. They may follow it. Those punks. I said pull over. She pulls over but doesn't get out. Exterior New Jersey Turnpike I-95 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.

41:05Interior front seat of Lincoln Town Car a little later. Why are you so hot? You did great. Just shot up. Why the hell are you yelling at me? For letting this happen. I was having a smoke. I'm having a smoke and dress like a fucking slut. Hara reacts angrily. You son of a bitch. Well what did you expect? Pull over. I said pull over before I scratch your fucking eyes out. Hara grabs the wheel and the car swerves. Jesus Christ. Pull over. Pull over now. Okay, okay. Exterior New Jersey Turnpike I-95 early afternoon. Sal pulls the town car over. Hara 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 the fuck? Where are you going? Get back here. Now. Hey. Go fuck yourself. I hope they come after us and this time you could handle it yourself. I hope they come back and cut off that wriggled old raisin of yours. Not that you need it.

42:06You know what? Remind me next time not to save you sweet ass. Herod turns and walks back to Sal. That'll be the day I need a band 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. Hara gets in Sal's face. You cheap husband. 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, it wouldn't be a- Sal stops himself from saying slut. Hara stares at him. Too hurt to cry. She's heard it before, but now it's different. A moment before. Hara smacks Sal across the face. You son of a bitch. I'm sorry, I owe you. I didn't know. Hara smacks him again. They stare at each other for an intense moment.

43:09Please get back in the car. Hara 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. That was a very nice day. Yeah.