Table Read - My Lady's Song - Act 1

Episode Date: March 24, 2026

MY LADY'S SONGA limo driver. Two porn stars. A senator with everything to lose.One night in New York that turns into leverage, betrayal, and war.ACT ONENew York. Late-night Eighth Avenue. Strip clubs, neon, and power moving quietly behind tinted glass.Sal “The Barber” Marino is a former soldier of the streets, a man who did twelve years without talking and now makes a living driving high-end clients through a city he no longer trusts.One call pulls him back in.A simple job. Easy money. Drive the girls. Pick up the client. Keep your mouth shut.But the client is a powerful senator. The ride is being recorded. And the job isn’t what it seems.What starts as routine turns into leverage. a blackmail setup that reaches into politics, unions, and the last remnants of old-school control.As the night bleeds into morning and the city gives way to the open road, Sal is locked in with Hara; young, sharp, and unpredictable. Two worlds collide. Old code versus new survival.And then it breaks.A confrontation. A line crossed. A slap that lands harder than anything that came before.That’s the moment everything changes.Act One ends when business becomes personal... and there’s no going back.🎭 CASTSAL – Ronnie Marmo CHARLIE – Sam McMurray SENATOR BAXTER / THE JOHN – Joe Mantegna VINCENT – Dan Lauria HARA – Gia Mantegna LOTTA – Ally Dunbar NARRATOR – Vanessa RichardsonDONNA – Janelle Marmo CARMELA – Patty McCormack PORN DIRECTOR – Robert Wuhl LEO – Zeke Alton ANTHONY – Alec Leonard🎬 PRODUCTIONDirected by Mark Knell & Jack LevyExecutive Produced by Shaan Sharma, Jack Levy, and Mark KnellTable Read is a Manifest Media production.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Here we go, one, two, three. Table three, my lady's song. All right, brilliant. All right, take us a diaper. Sam's out with you like, I'm done. My Ladies' Song by Dan Lauria and Frank Megna, based on a story by Dan Loria. 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 rack travels across, leaving 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 limo opens. First third of credits ends. Interior, LaSalle Limo Service Garage, Night. Uncle Charlie, late 60s, the heavy set manager of LaSalle Limo Service, speaks to Sal Marino, the driver who is off camera. Hey, Sal, Sal. Yeah. Everything go okay?

Great. Nice old man. An extra 50. I'm on the wrong end of this shit. What are you going to do? You 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.

Standing 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 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 playing. More growling. Sit. All 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 with the club. When? About ten minutes ago. Charlie and Leo head for the office door as the limo pulls away. Washed up old bastard. In his day, Sal the Barber would have any of you young punks for lunch. Sal the Barber.

Sal, of 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. The sound of loud New York City streets as we turn 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, Lover Man. 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 nude girls flashes in neon. A large poster on the front wall reads, Tonight porn stars Harrow Reams and Lada Minas. 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. Interior Private Eye Club Night. The packed club pulsates with ear-piercing disco music. Men with cigars and drinks talk it up and cheer Harrah and Lada. Two beautiful young ladies, One in her 20s, the others 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. Vince here? Hey, he's waiting for you in the office. What? The office! Thanks. Hey, you want to 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. Hera reaches around and caresses Lada's exposed breast. Hara spots Sal and winks.

Sal just smiles and keeps walking. Interior, 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 Sal enters. Sally boy! How the hell are you? Good, Vince. I'm good.

When did you get in? Yesterday. I got in yesterday. Long time. Almost two years. Had family business out west. La 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? Is she doing all right? Men's amends, you know.

She gets the roses for her birthday? She loved them, thanks. Hey, the least I can do. What was it? 77, 8? She'll be 80 this year. 80! Camilla's 80! Ah, we should live so long.

We got to do something special for my girlfriend. We'll do something special for my girlfriend this year. You 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 dry. Yeah. You get tired of it. You let me know. I will.

I've got to take care of my favorite soldier. Soldia? Those days are long gone. Wow. What, are you an old man or what? Yeah, I am. Vincent pours himself a parier with lime. I give you a million bucks you show me somebody getting younger.

Have a drink, maybe. What do you want? I got everything here. Diet Pepsi's good. Look at this. We die at Pepsi and sparkling water. That's what it comes down to. Next thing you know, we'll be playing pinnacle.

We used to be bulls. Remember Sally? Bowls! Hands sell his drink. That was then. Now? Now, forget it. The old days, we had to be hard. We had to be mean.

Now it's all legal. Booze, 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 a 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 8th Avenue is seen. End credit.

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! That was lovely, Sal, 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 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. No, 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. After three weeks of a strike, the hotel workers' union and the hotel owners have agreed to come back to the table with Sinisher Baxter-Baxter mediating.

I'm looking forward to sitting with both sides and ending this strike. Pumped. 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. Sally boy! Interior Private Eye Club back office night. Hey, how's the porn star?

Some star. That limos like driving a bus. I've never seen one that big. Two TVs, two bars, two stereos. Two cameras. Here. Vincent tosses Sal an 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. Two 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 worth two grand? You were never in the movie before. Okay.

Then what? Then you're going to take the girls to pick up our favorite John. They're going to be in the backseat doing their thing while you tour the city. When they're done, you drop Mr. Beard. 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. It's 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. Wet your beak, 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, okay? 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. 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. Hera and Lada exit the club and approach Sal standing by the open door. Evening, Sal. Sal bows at the waist. Good evening, my lady.

Caught! What the hell was that? What? Just open the door, close it when the girls get in. Well, I thought, you know, a way to show so... Don't think and don't show. But I got to say... Listen, Daniel 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 after 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 Edda James singing at last as the big white limo cruise. down city streets, interior, big white limo continuous, inside window opens between Sal and the girls. Sayah, Sal, you're going to do a fuck scene with us in this movie? Sal nervously laughs and turns red. Yes, Sal, Vince going to have them write a scene for the three of us. I'm afraid not, ladies. You ever had two at one time, Sally?

I never had that pleasure. Even when you was a big time guy? I was never that big. It was never too late. Oh, stop it, Lada. 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 7K.

K like in King. Exterior east side apartment building, Knight. Sal enters the building. Lada exits the limo and lights a cigarette. Hara joins her. What's the matter? Nothing. Look, kid, I got to do this.

This is the big bucks. I ain't getting any younger. If Vince 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 All you gotta do is keep your mouth shut

You owe me that much It's not that I always get like this when I gotta 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. 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. 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 St. Louis Trash would sing such a lot. 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. Hi, you sugar. A well-dressed man in his mid-50s

enters the limo. Sal, just keep driving around until 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 We hours as Edda 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 79th 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. 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 are two, ladies? I'm at your serve. I live in Queens. Brooklyn. Me too. So I'll drop a lot off first. Hey, stop at a good diner 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. Shoot yourself. Window closes as Lada pulls connecting wires from her pocketbook, 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. Okay, whatever you do, don't let him open that window. I know, I know. When we get to the restaurant, tell my phone. 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 a copy? Who knows? Two can play at that game. Allie, can you read that line? Instead of saying DVD, can you say tape? Yep. Okay, because they actually didn't have DVD. What about cut an old bastard? Have you seen this face? Just a second. I remember when Joe had that face. I guess I know my new age range. She then removes a 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 him I 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. If I had my equipment, I'd be able to burn off a tape and nothing flat. Why does Vince want to copy? Who knows?

But who can play at 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 the 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 Dinah Washington sings, What a difference a day makes. She sounds great. Yeah. Smooth. I saw that guy you... Sal 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 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 him. 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? I'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, Queens Boulevard, 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? A lot of looks at the VCR counter.

It's an hour tape, high deaf. 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, we'll have 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 Queens, mourning. Sal sits in a booth. Hera joins him.

She's getting herself together. She wants eggs. Your wish is my command. What are you, Warren Buffett? I did well tonight. At least I can do. Your money's no good here. What are you, Rockefeller?

We did pretty well ourselves. I don't care what you made and stopped the crap. We both know that was no regular porn 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 buying breakfast. I don't want to know.

The waitress approaches. Lata stands behind her. Can I take your order? Mmm. Eggs over with Italian sausage. Right? orange juice and coffee. Make that too. And you, sir? Oatmeal, grapefruit juice, coffee. You got it. Lada sits next to Hera facing Sal.

Oatmeal? 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... Sal, sorry, what did I say? It's so weird. Okay, guys, say thank you. Sal 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 cameras do. Yeah, where? They're in the monitors. The TV screens? One in each TV. They even have an automatic zoom on a timer. What's that mean?

In and out for close-ups. Does it automatically. One goes in, the other goes out. That 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? I bet I'd have to do that at home. 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 there are two camera setups here. You want to copy of both tapes or 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, hang on. A lot of extra 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. Kabiche? 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 go 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. Cabish? Capish. 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. You're home? Yeah, I'm home.

Carmela, 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 tired to eat, ma. You gotta have something. I had a bowl of oatmeal. Old meal, 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. Sal 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 gotta be here for dinner. Your sister is coming all the way over.

All away from across the street? Don't be fresh. Sal's on the phone. He gets the answering machine of, a Sal limo service. We hear a beep. Hello, Charlie? It's about 9.20. 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 a coffee needer 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 pisser, ma. Sit. Relax. Drink the juice. I'll drink the juice.

Carmela 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 drive-way, a bus? That's a triple limo. You drive that? In the street? That doesn't fly. Vince spent over 100 grand on. 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 prosciutto from Patsis. Nice, pejutor. You don't.

Yeah. You fresh guy. Just come over. 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 you. Look, if you want, I'll bring back the limo, and then I'll drive you out here for the best meal you ever had. You sure? Okay. You sure you don't want me to clean up the limo? Okay. Okay, yeah, yeah, yeah. Yeah.

I see around 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, not done. You got to go back to the city now? No, Uncle Charlie will drive him out. When did Charlie ever pass on a meal? Sal starts eating while Carmella looks out the window. Exterior sells 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. It's okay, ma. I gave the kid a couple of bucks to clean up. But don't say word to Vince. He 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 Mamo 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 Carmella. Wine flows.

Pasta flows. Everyone drinks. Everyone eats too much. Vince takes a bite of Breschol, 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'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. A couple of weeks? You drive the girls from last night to L.A. Well, I don't take two weeks. I want you to take two weeks until the 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. You don't have to do nothing you don't want to do. I'll send someone if things go wrong. All 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 Poutons or 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?

Donna'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 be my guest. Just as long as you keep an eye on the girls. Now, you want the job or what? Yeah, sure, why not? Charlie. All the credit cards you need, sell, 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... It's an itinerary. Here's the keys. The girls will be ready by noon tomorrow. They'll both be at loudest 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 Kamala brings out more food. It was great. The best this Irishman ever ate. Vince and Charlie walked 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. Wow, wow. What 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 no one. I left food like that behind. Not on. Sal's front door shuts. Screen to black as Ruth Edding sings 10 cents a dance.

Interior, Sal's bedroom, Bensonhurst, Brooklyn, night. Sal in 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 Hara 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, Kew 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 Edding's 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.

Sal gets behind the wheel. He reaches for the car phone. Who are you calling? Uncle Charlie, I'm calling into. 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 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. Kid, 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. Interior, LaSalle 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 him bring a boy, asshole. The dog barks. You got the girls?

Interior front seat of Lincoln Town Car, continuous. I got Hara. Lotta's a no-show. What fuck is this? You'll tell Hara. Tell her yourself, you're on the speaker phone. Hara 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 in Club magazine. It was good money, so she figured she can meet up with us in Pittsburgh in a couple of days. Interior LaSalle Limo Service Office continuous. Ara, you tell her to call me.

I will. If she's not there in two days, she's not, because she, fuck me. If she's not there in two days, if she's not there in two days, if she's not there in two days, She's not there in two days. She's going to not be anywhere in 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 go. You call me in two days. A lot of better be there. Charlie hangs up. We hear a dial tone as Hera glares at Sal. Sal hangs up. Hara exits the front seat and gets in the back of the town car slamming the door.

This is going to be a fun trip. We see the town car pull away as we hear Bessie Smith saying, 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, Verrazano Bridge to Staten Island Day. Montage of images.

Verrazano 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.

I have to go. Thanks for sharing that. You have to go, go. Maybe I'll take off. No skin off mine. If you do, you want coffee? Black with equal. May I get out in 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 Hara 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.

What was that? I gave it the office. How about taking us on? Sorry, boys. No dick's 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 believe that.

Pretty uppity for a slut. Hera flicks her cigarette at him as Sal steps in. Any trouble here? Nothing she can't handle. Hey, fellas, why don't we leave the lady alone? Lady. Who the hell are you? I'm a driver.

Now, one of 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're through. The first biker goes to push Sal who throws the hot coffee in his face and 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 arm straight out.

Get him out. Howard, get in 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 death. Blood trickles down Biker No. 1's neck. Do what he says, man.

Biker number two steps away. Hara, get behind the wheel and start the car. The keys are in my pocket. Hara 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 car.

Sal quickly puts the razor between Biker No. 1's leg. He moves and you sing the hind-Biker's leg. moves and you sing the high notes. Now bend over. Bend. It's too easy, yes! Interior front seat of Lincoln Town Car, continuous. Hit it! Hit it, hold! Exterior, Vince Lombardi service station, continuous.

The two bikers rush out to the car, but can only punch at Sal's window, as Hera peels out of the parking lot. Interior, front seat of the Lincoln Town car, continuous. Hera 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 on the wheel. I'll try for a while. I said pull over. They may follow her. 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. 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. Hera 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. Hera 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.

Hera 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... Where 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 wrinkled old roof. off that wrinkled old raisin of yours. Not that you need it. You know what, remind me next time not to save your sweet ass. Hera 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. Hera 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. 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 a...

Sal stops himself from saying slut. Harris stares at him. Too hurt to cry. She's heard it before, but now it's different. A moment before. Harris smacks Sal across the face. You son of a bitch. I'm sorry. I hate you.

Sorry, I didn't know. Hera smacks him again. They stare at each other for an intense moment. Please get back in the car. Hera 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 1.