My Lady's Song - Act 1

Summary

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Table Read – “My Lady’s Song” (Act 1)

Podcast: Table Read (Manifest Media)
Date: March 24, 2026
Writers: Dan Lauria & Frank Megna
Performed by: Top Hollywood talent
Episode Summary by [your name]

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Episode Overview

“My Lady’s Song” delivers immersive, cinematic audio drama set against the gritty underbelly of late-1970s New York City. The first act introduces Sal Marino, a tough former mob soldier-turned-limo driver. Through richly drawn dialogue, layered sound design, and a cast of memorable characters, listeners are drawn into a world of organized crime, porn industry politics, and complicated loyalty. The act teems with tension, nostalgic reflection, dark humor, and the ever-present threat of violence simmering beneath the surface.

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Key Discussion Points & Narrative Breakdown

1. Sal Marino’s World: The Limo Service and the Strip Club

• [01:43-05:55] The gritty atmosphere is expertly set through Sal’s nightly routine: cleaning the limo, engaging in gritty banter with Uncle Charlie (the limo manager) and Leo (his muscle), and navigating a world that’s as much about memory as it is about survival.
  • Sal’s faded glory as “Sal the Barber” is repeatedly referenced; he’s respected but reminded constantly that his prime has passed.
  • Quote (Uncle Charlie): “Sal the Barber would have any of you young punks for lunch.” (03:50)
  • The strip club, with its neon-lit decadence, serves as the crossroads for mob business and pornography.

2. Reunion with Vince: Old Bonds, New Hustles

• [06:28-08:32] Sal meets with his old friend and boss, Vincent Dilora, now back from the West Coast and running things with a more “legal” flavor.
  • Themes of family, loyalty, and generational divides are explored.
  • Quote (Vincent): “My father wouldn’t understand. Different world.” (06:47)
  • The legal veneer over vice industries—porn, gambling, prostitution—serves as a commentary on the shifting underworld.
• [08:32-09:04] Nostalgic for their past but keenly aware of the present, Vince puts Sal on a job: acting as a limo driver in a porn shoot.
  • Quote (Vincent): “You get tired of it, you let me know... Gotta take care of my favorite soldier.” (07:28-07:34)

3. The Porn Movie “Job”: Money, Secrecy, and Suspicion

• [09:33-14:09] Sal’s interactions with the director and the porn stars (Hera and Lada) are layered with uncomfortable humor and underlying tension.
  • The “job” isn’t as simple as opening a door. Huge sums are involved, raising Sal’s suspicions.
  • Quote (Sal): “Nothing’s easy, Sal.” (11:27)
  • Hera and Lada tease Sal about being in a scene with them, blurring lines of professionalism and intimacy.
    • Quote (Lada): “You ever had two at one time, Sally?” (14:37)
• The porn scene is recorded in the limo, and Lotta secretly copies the footage to tapes for unknown reasons.
  • Themes of trust, blackmail, and double-cross pervade.

4. The Morning After: Tapes, Breakfast, and Old Codes

• [21:43-23:00] At breakfast with the two women, Sal asserts he knows more than he lets on, but both agree not to say more than necessary.
  • Quote (Sal): “We both know that was no regular porno film.” (22:04)
  • The performance is peppered with noir wit and a sense of threat barely concealed under banter.

5. Family Life: Loyalty, Secrets, and Italian Food

• [24:34-32:38] The action shifts to Sal’s Bensonhurst home:
  • His relationship with his mother, Carmela, is loving and humorously overbearing.
  • Carmela embodies the traditional Italian matriarch, feeding everyone and demanding family loyalty.
  • The tape-copying subplot with Sal’s nephew, Anthony, drives home the story's themes of trust and generational difference.
    • Quote (Sal, to Anthony): “Learn something here, college boy. Dying for the real thing ain’t too bright. Dying for a piece of tape is just stupid.” (26:43)
  • A warm, food-laden family dinner reminds us these violent men are also sons and brothers.

6. Setting Up the Next Big Job: “Babysitting” the Girls

• [32:38-35:13] Vince gives Sal a special assignment: drive the girls out west and keep them “on ice” while union negotiations unfold.
  • The implication is that the girls’ secrets (and possibly the tape) could become weapons.
  • Quote (Vince): “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.” (33:27)
  • The scene is suffused with mutual respect and a sense that the past is never too far behind for these guys.

7. The Road Trip Begins: Alliance with Hera, Rising Tension

• [36:44-39:10] The next morning, only Hera is present; Lada’s absence triggers suspicion. Sal and Hera’s rapport is uneasy, sometimes flirtatious, mostly combative.
  • Hera tries to charm Sal, but he rebuffs her:
    • Quote (Sal): “Kid, get your hand off me or I’ll slice it off.” (37:25)
  • Uncle Charlie sets the rules: if Lada doesn’t show up in two days, there will be consequences.
    • Quote (Charlie): “…If she’s not there in two days, she’s not gonna be anywhere in two days.” (38:32)

8. Violence and Vulnerability: The Gas Station Incident

• [40:18-44:00] At a rest stop, Hera is harassed by two bikers. Sal, reverting to his old ways, defuses the conflict with a mix of violence and intimidation, underscored by real danger.
  • Quote (Sal): “If you don’t move from that car, there’ll only be one of you…” (41:34)
• Afterwards, conflict between Sal and Hera boils over into a physical and emotional confrontation on the highway.
  • Hera declares her independence and wounds; Sal shows a rare moment of remorse.
  • Memorable Exchange:
    • Hera: “Nobody tells me how to dress. Nobody tells me what to do… No one ever, ever will.” (44:24)
    • Sal: “Well, maybe it’s time… maybe if someone had…” (44:41)
    • Hera violently slaps Sal in response, ending the scene on a charged, unresolved note.

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Memorable Quotes & Moments

• On the past and loyalty:
  • “We understood what family meant. The bond, loyalty. It’s like a dirty word today.”
    (Vincent, 08:39)
• On changing times:
  • “Now it’s all legal… All legal and all disgustingly weak.”
    (Vincent, 08:24)
• On survival:
  • "Nothing’s easy, Sal."
    (Vincent, 11:27)
• Hera’s assertion:
  • "Nobody tells me what to look like. Nobody tells me what to do. No one. No one ever has. No one ever, ever will."
    (Hera, 44:24)
• Sal’s dark wisdom:
  • “Learn something here, college boy. Dying for the real thing ain’t too bright. Dying for a piece of tape is just stupid.”
    (Sal, 26:43)

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Notable Segment Timestamps

• [01:43] — Main story begins: cleaning the limo, setting the atmosphere
• [06:28] — Sal and Vince reunite, establish themes of family and generational divide
• [09:33] — Sal gets the job: inside the world of porn filmmaking and city vice
• [13:21] — Hera and Lada enter; Sal’s uncomfortable interaction with the actresses
• [17:13] — The illicit tape subplot starts
• [21:51] — Tense breakfast at the diner: hints of blackmail, secrets
• [24:34 & 27:44] — Scenes at Sal’s home: family interactions, tape-copying
• [32:38] — Big family dinner, Vince gives Sal the “babysitting” assignment
• [36:44] — Hera ditches Lada, road trip begins
• [40:18] — Gas station harassment & Sal’s violent intervention
• [44:24-45:11] — Sal and Hera’s intense emotional clash

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Tone and Style

The dialogue is gritty, witty, and colloquial, dripping with nostalgia and regret but always anchored in the tough, transactional language of streetwise New Yorkers. The sound design and music (Peggy Lee, Billy Holiday, Etta James, Dinah Washington, Rosemary Clooney) augment the atmosphere of danger, longing, and loss.

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Conclusion (End of Act 1)

Act 1 closes with Sal and Hera on the open road, their partnership—tense and unresolved—poised for further danger. The mystery around the tape lingers, and the threat of mob violence is ever-present. With its rich emotional palette, sharp dialogue, and authentic sense of time and place, “My Lady’s Song” draws the listener deep into its noir world.

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For listeners:
This act sets up a potent mix of character-driven drama and criminal intrigue, introducing major players and the moral complexity of their choices. The episode is as much about family and faded dreams as it is about crime and survival.

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Transcript

[Vincent Dilora]

Neighborhood.

[Narrator]

And Doug, there's nowhere I wouldn't go to help someone customize and save on car insurance with Liberty Mutual. Even if it means sitting front row at a comedy show.

[Liberty Mutual Spokesperson]

Hey, everyone, check out this guy and his bird.

[Narrator]

What is this, your first date?

[Anthony]

Oh, no.

[Narrator]

We help people customize and save on car insurance with Liberty Mutual together. We're married. Me to a human, him to a bird.

[Carmela]

Yeah, the bird looks out of your league.

[Narrator]

Anyways, only pay for what you [e-mail] Liberty.

[Sal]

Liberty. Liberty. Liberty.

[Mira Potassan]

Hi, my name is Mira Potassan. I'm an author and I'm an activist. And GoFundMe is my go to platform for fundraising. The first GoFundMe I did was to raise money for a chat book or a collection of poetry and essays and short stories. So we started a GoFundMe and our goal was 7,000. What I've learned is so special about GoFundMe is that it's a whole collection of people offering anything from like $4 to $400. And each time you get a ping that someone donated, even if it is just $4, it's so exciting. So if you have a goal and you get there, you can keep making it bigger and bigger and bigger. We did go past our goal. It was amazing.

[Hera]

GoFundMe is the world's number one fundraising platform, trusted by over 200 million people. Start your GoFundMe today at gofundme.com that's gofundme.com gofundme.com There we go.

[Narrator]

1, 2, 3. Table read my Lady's Song.

[Sal]

All right.

[Narrator]

Brilliant.

[Vincent Dilora]

All right, take him to the diaphragm. Sam's outdone.

[Narrator]

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 sm the dull black leathery background. Suddenly, a cleaning rag 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, La Salle Limo Service Garage Night. Uncle Charlie, late 60s. The heavyset manager of La Salle Limo Service speaks to Sal Marino, the driver, who is off camera.

[Uncle Charlie]

Hey, Sal.

[Sal]

Yeah?

[Uncle Charlie]

Everything go okay?

[Sal]

Great. Nice old man. An extra 50.

[Uncle Charlie]

Jeez, I'm on the wrong end of this shit. What do you gotta do? You get my blowjob.

[Narrator]

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.

[Sal]

I'll leave that to little Leo here.

[Narrator]

Leo's face tightens. The dog growls.

[Vincent Dilora]

Easy boy.

[Sal]

Everybody knows he's your sex slave.

[Vincent Dilora]

That'll be the date.

[Sal]

As long as he makes you happy.

[Vincent Dilora]

Charlie yeah, keep pushing.

[Narrator]

More growling.

[Uncle Charlie]

Sit. All right you two, just knock it off. Sal, you're going back out tonight.

[Sal]

Tonight? It's almost midnight.

[Uncle Charlie]

Vince is here.

[Sal]

Vince?

[Uncle Charlie]

He wants to see you at the club.

[Sal]

When?

[Uncle Charlie]

About 10 minutes ago.

[Narrator]

Charlie and Leo head for the office door as the limo pulls away.

[Vincent Dilora]

Washed up old bastard in his day,

[Uncle Charlie]

Sal the Barber would have any of you young punks for lunch.

[Vincent Dilora]

Sal the barber, Sal the nothing.

[Uncle Charlie]

You know, Sal's right. You were starting to look a little like this dog.

[Narrator]

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 onto 42nd and 8th Avenue and hear nothing but loud mechanized disco. Interior Front seat of Sal's black limo. Night 2nd 3rd of credits roll as Billie Holiday sings Lover man. Sal drives down 8th Avenue. The city is shut out from Sal's inner world. He turns onto 45th Street. End of the second third of credits. Exterior Private I 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 Hara Reames and Lada Menas. 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 I CLUB NIGHT the packed club pulsates with ear piercing disco music. Men with cigars and drinks talk it up and cheer. Hara and Mada, two beautiful young ladies, one in her twenties, the other slightly older, are on stage in the beginning stages of their dance act and are very elaborately dressed. Obviously their act is a lesbian dance number meant to excite heterosexual males. Sal moves through the crowd to the bar where Frank the bartender greets him.

[Vincent Dilora]

Sally boy, how's it hanging? What can I get You?

[Sal]

Yeah. Good, Frank, good. Vince here?

[Vincent Dilora]

He's waiting for you in the office.

[Sal]

What?

[Vincent Dilora]

The office?

[Sal]

Thanks.

[Vincent Dilora]

Hey, you want a drink first?

[Sal]

What?

[Uncle Charlie]

Drink?

[Sal]

Yeah.

[Narrator]

Sal heads for the back office. He passes the stage. Lotta has one breast exposed as Hera dances behind her. Hera reaches around and caresses Lotta's exposed breast. Hera spots Sal and winks. Sal just smiles and keeps walking. Interior, back office, private eye club, late night. Vincent Dilora, a rugged mid-50s, sits behind a large oak desk that dominates a style stylish office. He's going over some books when there's a knock at the door. The door opens and Sal enters.

[Vincent Dilora]

Sally boy, how the hell are you?

[Sal]

Good, Vince. I'm good. When'd you get in?

[Vincent Dilora]

Yesterday. I got in yesterday.

[Sal]

Long time.

[Vincent Dilora]

Almost two years. Had family business out west. La la land. All legal, all respect. Well, legal anyway.

[Sal]

We doing good?

[Vincent Dilora]

We're doing good.

[Sal]

Your father would be proud.

[Vincent Dilora]

My father wouldn't understand. Different world. How's your mom? She doing all right?

[Sal]

Men's amends, you know?

[Vincent Dilora]

She get the roses for her birthday?

[Sal]

She loved them. Thanks.

[Vincent Dilora]

Hey, the least I can do. What was it, 77? Eight?

[Sal]

She'll be 80 this year.

[Vincent Dilora]

Eighty? Gee, Carmela is 80. Ah, we should live so long. We gotta do something special for my girlfriend, huh? We'll do something special for my girlfriend this year. You hear me?

[Sal]

That'd be good.

[Vincent Dilora]

Remind me, that's an order.

[Sal]

You got it.

[Vincent Dilora]

And you? You okay?

[Sal]

I'm good. I like driving.

[Vincent Dilora]

Watching them shoot those movies. Maybe we should change places.

[Sal]

All I do is drive.

[Vincent Dilora]

Yeah. You get tired of it, you let me know.

[Sal]

I will.

[Vincent Dilora]

Gotta take care of my favorite soldier.

[Sal]

Soldier. Those days are long gone.

[Vincent Dilora]

Wow. What are you, an old man or what?

[Sal]

Yeah, I am.

[Narrator]

Vincent pours himself a Perrier with lime.

[Vincent Dilora]

I give you a million bucks, you show me somebody getting younger. Have a drink, Mary. What do you want? I got everything here.

[Sal]

Diet Pepsi's good.

[Vincent Dilora]

Look at this, will you? Diet Pepsi and sparkling water. That's what it comes down to. Next thing you know, we'll be playing pinochle. We used to be bones, remember? Sally?

[Narrator]

Bulls hand sell his drink.

[Sal]

That was then.

[Vincent Dilora]

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.

[Narrator]

Vince starts dreaming of the old days.

[Vincent Dilora]

Remember when we started working for my father? Running numbers in Brooklyn?

[Sal]

I Mean?

[Vincent Dilora]

We understood what family meant. The bond, loyalty. It's like a dirty word today.

[Sal]

We were kids.

[Vincent Dilora]

Yeah, but with the balls the size of Uncle Charlie taking us on our first hit. You got me through that.

[Sal]

Uncle Charlie said you wanted to see me about something.

[Vincent Dilora]

Yeah. Yeah. How would you like to be in a porn movie?

[Narrator]

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 credits as the white limo pulls up to the club stage entrance, Sal exits and goes to the passenger rear door and opens it. He waits like a soldier at his post.

[Sal]

Cut.

[Director]

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.

[Sal]

And that's it.

[Director]

That's all I need. Jose, let's get that camera set up for when the girls shut the exit the club.

[Narrator]

Three men acting like a film crew move a lamp from across the street. They start laying some track.

[Sal]

What do I do now?

[Director]

Go back to Vince's office. I'll call you when the girls are ready.

[Narrator]

Sal leaves.

[Director]

What are we waiting? Oh, 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.

[Narrator]

Interior. Back office. Private iClub. Late night. We hear a news broadcast on TV.

[Uncle Charlie]

After three weeks of a strike, the Hotel Workers union and the hotel owners have agreed to come back to the table. With sinister Baxter mediating. I'm looking forward to sitting with both sides and ending this strike.

[Narrator]

Punk 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. Vincent shuts off the TV as Sal enters.

[Vincent Dilora]

Sally boy.

[Narrator]

Interior private iClub. Back office. Night.

[Vincent Dilora]

Hey, how's the porn star?

[Sal]

Some star. That limo's like driving a bus. I've never seen one that big. Two TVs, two bars, two stereo, two cameras here.

[Narrator]

Vincent tosses Sal an envelope.

[Sal]

Must have set you back a few.

[Vincent Dilora]

Over 100 grand.

[Sal]

It's a lot of cost.

[Narrator]

Sal is shocked by the amount of money inside the envelope.

[Vincent Dilora]

Porn's big business, Sal. Big power.

[Sal]

There's gotta be two GS here.

[Vincent Dilora]

Movies pay big too.

[Sal]

Two GS for driving up and opening the door. What's up, Vince?

[Vincent Dilora]

It's easy Money.

[Sal]

Nothing's easy, Sal.

[Vincent Dilora]

You got one more shot to do. You opened the door for the girls

[Sal]

and that's worth two grand.

[Vincent Dilora]

You were never in the movie before.

[Sal]

Okay, then what?

[Vincent Dilora]

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 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.

[Narrator]

Sal gets a soda.

[Vincent Dilora]

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. Wet your beak for old times sakes. Besides, the girls asked for you.

[Narrator]

Sal starts to say something.

[Hera]

And?

[Vincent Dilora]

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.

[Sal]

Why not? Thanks. I better get back. I have to prepare for my close up.

[Narrator]

The two old friends laugh. Sal turns to leave.

[Vincent Dilora]

Sal, one more thing. Tomorrow you bring that boat back to me at La Salle. Don't clean up anything. Don't touch the video equipment. You understand?

[Sal]

Yeah, huh? I understand.

[Narrator]

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.

[Hera]

Evening, Sal.

[Narrator]

Sal bows at the waist.

[Sal]

Good evening, my lady.

[Director]

Caught what?

[Carmela]

What the hell was that?

[Sal]

What?

[Director]

That with the bowing. Just open the door. Close it when the girls get in.

[Sal]

Well, I thought, you know, a way to show some.

[Director]

D d d d d d Don't think and don't show.

[Sal]

But I gotta say, listen, Daniel Day,

[Director]

you don't have to show nothing. You don't gotta 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.

[Narrator]

And here we go. Here we go. Once again, the girls head back to position one. As they pass Sal close up on Sal.

[Sal]

I'd like to kick his ass.

[Lada]

Believe me, he'd enjoy it.

[Narrator]

Exterior, New York City. Street. Night. Traveling. We hear Etta 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, Sal,

[Lada]

you gonna do a fuck scene with us in this movie?

[Narrator]

Sal nervously laughs and turns red.

[Hera]

Yes, Sal. Vince gonna have them write a scene for the three of us?

[Sal]

I'm afraid not, ladies.

[Lada]

You ever had two at one time? Sally?

[Sal]

I never had that pleasure.

[Hera]

Even when you was a big time guy?

[Sal]

I was never that big.

[Lada]

It was never too late.

[Hera]

Oh, stop it, Lotta. You're embarrassing the poor guy. Sal, you know where to go?

[Sal]

Yeah, I got the address.

[Hera]

You ask the night clerk to call up to apartment 7k. K, like in King.

[Narrator]

Exterior, east side apartment building. Night. Sal enters the building. Lotta exits the limo and lights a cigarette. Hera joins her.

[Lada]

What's the matter?

[Hera]

Nothing.

[Lada]

Look, kid, I gotta do this. This is the big bucks. I ain't getting any younger.

[Hera]

If Vince finds out.

[Lada]

Vince ain't gonna find out shit. Look, 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.

[Hera]

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.

[Lada]

Remember, it's not a dick, it's money.

[Narrator]

Sal exits the building.

[Sal]

He'll be right down.

[Lada]

You get in, Sal, we'll get the door.

[Hera]

Put on some of that old shit you listen to.

[Narrator]

Sal gets into the limo and lowers his window. He plays the rest of At Last.

[Hera]

Who's that singing?

[Sal]

Etta James. One of the best.

[Hera]

Can almost feel the pain. You play her while we do our thing, okay?

[Sal]

Sure, kid. I'll just do that.

[Lada]

He's in the lobby.

[Narrator]

Lada opens the rear passenger.

[Hera]

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.

[Sal]

Is that where you're from? St. Louis?

[Hera]

I'm from wherever they want. What the hell is their dime, right?

[Sal]

If you say so.

[Lada]

Here he comes. Hiya, sugar.

[Narrator]

A well dressed man in his mid-50s enters the limo.

[Hera]

Sal, just keep driving around till we tell you to head back. Don't open the window.

[Narrator]

The two girls jump in.

[Sal]

You got it.

[Narrator]

Exterior, New York City Street Night continuous. The city in the wee hours as Etta 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 of 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.

[Vincent Dilora]

I was told you're a man who knows how to keep his mouth shut.

[Sal]

That's what they say.

[Vincent Dilora]

Let's keep it that way.

[Narrator]

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.

[Sal]

Where to, ladies? I'm at your serve.

[Lada]

I live in Queens.

[Hera]

Brooklyn.

[Sal]

Me too. So I'll drop Lot off first.

[Lada]

Hey, stop at a good diner on Queens Boulevard.

[Sal]

Whatever you say, but I'm buying.

[Narrator]

Sal starts to close the window.

[Hera]

Sal, I want to come up front with you. She's going to start smoking like a chimney back here.

[Sal]

Suit yourself.

[Narrator]

Window closes as Lotta 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.

[Lada]

Okay, whatever you do, don't let him open that window.

[Hera]

I know, I know.

[Lada]

When we get to the restaurant, tell him I fell asleep. I don't care if you have to fuck the old bastard, don't let him back here.

[Hera]

Don't worry about it.

[Lada]

If I had my equipment, I'd be able to burn off a DVD and nothing flat.

[Hera]

But why does Vince want a copy?

[Lada]

Who knows? Two can play at that game.

[Vincent Dilora]

Ally, can you read that line? Instead of saying dvd, can you say tape?

[Carmela]

Yep.

[Vincent Dilora]

Okay, because they actually didn't have dvd.

[Sal]

What about cutting old bastard? Have you seen this face? Just say just.

[Vincent Dilora]

I remember when Joe had that face.

[Sal]

I guess I know my New age range. Here we go.

[Narrator]

She then removes a tape from one of the VCRs and puts in the blank.

[Lada]

Look, whatever you do, don't let him open that window.

[Hera]

I know, I know.

[Lada]

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.

[Hera]

Don't worry about it.

[Lada]

If I had my equipment, I'd be able to burn off a tape. And nothing flat.

[Hera]

Why does Vince want to copy?

[Lada]

Who knows, but two can play at this game.

[Narrator]

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.

[Hera]

Queens. My good man. Music, please.

[Sal]

You got it.

[Narrator]

Sal presses play and Dinah Washington sings. What a difference a day makes.

[Hera]

She sounds great. Yeah, smooth.

[Sal]

I saw that guy.

[Narrator]

Sal looks at Hera.

[Vincent Dilora]

Who?

[Sal]

Tough night at the office.

[Narrator]

Sal smiles and pulls away. Exterior, long white limo, early morning. The limo heads for the Queensborough Bridge as Dinah Washington sings and Hera sleeps. New York City at dawn. Nothing like it. Exterior, Empire Diner, Queens Boulevard. Continuous. We see the Queensborough Bridge. The big white limo maneuvers in the 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.

[Sal]

Hey. Hey. We're here. Hey, kid, get up.

[Narrator]

What?

[Sal]

We're here.

[Lada]

Where?

[Sal]

I'll get your partner.

[Narrator]

Sal moves to lower the window. Hera grabs his hand.

[Hera]

I'll get her. She's probably out like a light too. We'll be right in.

[Narrator]

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 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. Hera wakes Lada.

[Hera]

What the hell are you doing?

[Lada]

What?

[Hera]

You're supposed to be taping this, not sleeping.

[Lada]

It's taping. It's taping. Don't have a kitten. What, I'm supposed to watch us fuck? Give me a break.

[Hera]

Is it done?

[Narrator]

Lada looks at the VCR counter.

[Lada]

It's an hour tape. Hi, Def.

[Hera]

How much longer?

[Lada]

Couple of minutes.

[Hera]

You copied both tapes?

[Lada]

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?

[Carmela]

Hurry up.

[Lada]

It's a tape.

[Hera]

Well, hurry anyway. I'll entertain what's his face. I want no part of this.

[Narrator]

Interior, Empire Diner in Queens. Morning. Sal sits in a booth. Hera joins him.

[Hera]

She's getting herself together. She wants eggs.

[Sal]

Your wish is my command.

[Hera]

What are you, Warren Buffett?

[Sal]

I did well tonight. Least I can do.

[Hera]

Your money's no good here.

[Sal]

What are you, Roc? A fella?

[Hera]

We did pretty well ourselves.

[Sal]

I don't care what you made and stop the crap. We both know that was no regular porno film.

[Hera]

What are you talking about?

[Sal]

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.

[Hera]

He must have fell on your head.

[Sal]

All right, forget I said anything.

[Hera]

Sal, what you think you know, you don't know. And you don't want to know.

[Sal]

That's right, I don't. But I'm still buying breakfast.

[Hera]

I don't want to know.

[Narrator]

The waitress approaches. Lotta stands behind her.

[Hera]

Can I take your order?

[Lada]

Mmm. Eggs over with Italian sausage, rye toast, orange juice and coffee.

[Hera]

Make that, too. And you, sir?

[Sal]

Oatmeal, grapefruit juice, coffee.

[Hera]

You got it.

[Narrator]

Lada sits next to Hera, facing Sal.

[Lada]

Oatmeal.

[Narrator]

Sam smiles, then looks to Hera, who smiles back. Hold on. Sal smiles.

[Anthony]

I don't know who Sam is, but he didn't come into the.

[Narrator]

Sal. Sorry. What did I say?

[Anthony]

It's so weird.

[Narrator]

Okay, guys, thank you.

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[Narrator]

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.

[Anthony]

Hey, Uncle Sal, where'd you get the mobile home?

[Sal]

You believe this?

[Narrator]

Interior, big white limo, continuous. The door opens and Anthony steps inside. Sal watches him. Anthony can't believe his eyes.

[Anthony]

This is unbelievable. Even I could get late in here. Hey, sorry. Smells like perfume.

[Narrator]

Anthony looks around the car.

[Sal]

Don't touch the VCRs.

[Anthony]

Two of everything cameras do?

[Vincent Dilora]

Yeah.

[Anthony]

Where they're in the monitors, the TV screens, one in each tv. They even have an automatic zoom on a timer.

[Sal]

What's that mean?

[Anthony]

In and out for close ups. Does it automatically? One goes in, the other goes out? That type of thing for an editor, it's like having four cameras.

[Sal]

Say, Anthony, you know about all this tech stuff, right?

[Anthony]

Yeah, sure, Uncle Sal. What do you need?

[Sal]

Could you take a tape out of one of these VCRs, copy and then put it back so no one could tell it was nothing to it?

[Anthony]

I have blank tapes and connectors at home. I could do it right in here.

[Sal]

You mean you can copy one of these tapes right in this car without going to a lab or something?

[Anthony]

Sure, why not? But I'd have to do that at home.

[Sal]

Son of a bitch.

[Anthony]

What's the matter? This is easy.

[Sal]

Anthony, look at me. Nothing's easy.

[Anthony]

What's on the tape?

[Sal]

You shouldn't ask questions.

[Anthony]

Then you should know that I will see what's on the tape when I record it. Also, you should know that there are two camera setups here. You want a copy of both tapes or just one?

[Sal]

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.

[Anthony]

Really?

[Sal]

I mean it, Anthony.

[Anthony]

Sure.

[Sal]

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.

[Anthony]

I understand, Uncle Sal.

[Narrator]

Sal gives him a hard look.

[Anthony]

For my education. Why would anyone have sex in a limo with cameras? Some kind of kinky thing or what?

[Sal]

No. 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 with the girls. They're with a turn on. Plus they have a bodyguard. Me, capiche?

[Anthony]

Capiche.

[Sal]

Now get going.

[Narrator]

Anthony exits the limo, slamming the door. Interior, Kitchen. Bensonhurst, Brooklyn. Late morning. Sal walks into his typical Brooklyn Italian kitchen and goes to the sink to wash up his mother. Carmela calls out.

[Carmela]

Sal, that you?

[Sal]

Yeah Ma, it's me.

[Carmela]

You home?

[Sal]

Yeah, I'm home.

[Narrator]

Carmela, a feisty 80 year old, is the typical Italian mother who lives for only two things, family and cooking.

[Carmela]

You must be hungry.

[Sal]

I'm too tired to eat, Ma.

[Carmela]

You gotta have something.

[Sal]

I had a bowl of oatmeal.

[Carmela]

Oatmeal? That's for kids. How about some nice peppers and eggs?

[Sal]

Nah, nothing.

[Carmela]

You like peppers and eggs?

[Sal]

I'm gonna call and hit the sack.

[Narrator]

Sal finishes washing and goes to the wall phone. Carmela starts making peppers and eggs.

[Lada]

Two minutes.

[Sal]

I may have to go back to Manhattan.

[Carmela]

You gotta be here for dinner. Your sister is coming all the way over.

[Sal]

All the way from across the street.

[Carmela]

Don't be fresh.

[Narrator]

Sal's on the phone. He gets the answering machine of La Salle limo service. We hear a beep.

[Sal]

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 coffee and eat it right away.

[Narrator]

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 on the table.

[Carmela]

Sit, Manja.

[Sal]

What's this?

[Carmela]

You wanted peppers and eggs.

[Sal]

You're a piss of mom.

[Carmela]

Sit, relax. Drink the juice.

[Sal]

I'll drink the juice.

[Narrator]

Carmela puts the eggs in a dish and brings the fry pan to the sink while looking out the window.

[Carmela]

Jesus, Mary and Joseph. What's that in the driveway? A bus.

[Sal]

That's a triple limo.

[Carmela]

You drive that in the street?

[Sal]

That doesn't fly. Vince spent over 100 grand on it.

[Carmela]

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.

[Sal]

Vince is in town.

[Carmela]

My boyfriend's here. Well, tell him to come over to

[Narrator]

eat with us or the phone rings.

[Carmela]

You eat.

[Narrator]

She grabs the phone.

[Carmela]

Hello? Who's this? Vince?

[Hera]

Yeah.

[Carmela]

If you're my boyfriend, you come and eat today.

[Bleacher Report Spokesperson]

Come.

[Carmela]

I got fuzzilli and chicken cutlet. I got melon with lean prosciutto from Patsy's. Nice prosciutto?

[Lada]

Yeah.

[Carmela]

Oh, you Fresh guy just come over. Yeah, yeah, yeah, he's right here.

[Narrator]

She passes the phone.

[Carmela]

It's Vince.

[Sal]

Vince. Now, you're dead meat if you don't come see her. 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 you around three. Good, Ma?

[Carmela]

Yeah, yeah, three is good, she says.

[Sal]

Yeah, I'll see you then.

[Narrator]

Sal hangs up the phone. He thinks for a moment.

[Carmela]

What's the matter?

[Sal]

Huh? Oh, nothing.

[Carmela]

You gotta go back to the city now.

[Sal]

No, Uncle Charlie will drive him out. When did Charlie ever pass on a meal?

[Narrator]

Sal starts eating while Carmela 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.

[Carmela]

Looks like that crazy Anthony getting in the bus. I'm going to break his feet.

[Sal]

That's okay, Ma. I gave the kid a couple of bucks to clean up. But don't say a word to Vince. He don't want anyone in that car but me. It's like it's a baby.

[Carmela]

Me, I don't say nothing.

[Narrator]

Sal eats his peppers and eggs as Rosemary Clooney sings her Italian song. Mambo Italiano. 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 brisiol, 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 doorway, 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.

[Vincent Dilora]

I must have gained 20 pounds.

[Sal]

Charlie must have gained 100.

[Vincent Dilora]

Sal, I got a special job for you. You gotta wait for a couple of weeks.

[Sal]

Couple of weeks?

[Vincent Dilora]

You drive the girls from last night to la.

[Sal]

Well, that won't take two weeks.

[Vincent Dilora]

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.

[Sal]

Nothing's easy. Why do you want these girls on ice?

[Vincent Dilora]

That's none of your business.

[Sal]

If I'm driving, it's my business.

[Narrator]

They stare at each other, and for the first time, we realize what hard men they really are. Finally, Vince smiles.

[Vincent Dilora]

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.

[Sal]

What if things go wrong?

[Vincent Dilora]

They won't go wrong.

[Sal]

I don't want any more trouble.

[Vincent Dilora]

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, maybe we should bring them home for your mother to meet them.

[Narrator]

Sal makes the sign of the cross.

[Sal]

God forbid.

[Vincent Dilora]

She's still trying to set me up with your sister. You know that, right?

[Sal]

Donna's been widowed long enough.

[Narrator]

Charlie approaches with the tapes.

[Uncle Charlie]

Everything is okay.

[Vincent Dilora]

Of course everything is okay. So what do you say, soldier?

[Sal]

We going anywhere near Chicago?

[Uncle Charlie]

Already on the tour.

[Vincent Dilora]

Why?

[Sal]

Someone I haven't seen in a long time.

[Vincent Dilora]

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?

[Sal]

Yeah, sure. Why not?

[Vincent Dilora]

Charlie.

[Uncle Charlie]

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 Larda's place. You know where?

[Sal]

I know where everything is.

[Vincent Dilora]

Good.

[Uncle Charlie]

It's good.

[Vincent Dilora]

Have a safe trip. Now let's get out of here before Carmela brings out more food. It was great.

[Uncle Charlie]

The best this Irishman ever ate.

[Narrator]

Vince and Charlie walked to the white limo.

[Vincent Dilora]

I never saw anyone eat like you.

[Director]

It was good.

[Vincent Dilora]

Yeah, it was. But take a breath once in a while.

[Uncle Charlie]

What are you talking.

[Vincent Dilora]

Eating like that could kill you.

[Uncle Charlie]

I'll die for that food.

[Vincent Dilora]

You would?

[Uncle Charlie]

Oh, yeah. I don't want to go nowhere. And I left food like that behind.

[Vincent Dilora]

Maron.

[Narrator]

Sal's front door shuts, screen to black as Ruth Edding sings Ten Cents a Dance. Interior, Sal's bedroom. Bensonhurst, Brooklyn NIGHT Sal, in T shirt and shorts, a 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 Kew Gardens, Queens. Brownstone. Early morning. Hera's outside Lotte's apartment with a couple of suitcases. She's dressed in tight pants, black shoes with 4 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.

[Sal]

Where's Lada?

[Hera]

Lotta's not coming soon.

[Sal]

Vince know about this?

[Hera]

Sure. I'll sit up front.

[Narrator]

Interior Front seat of Lincoln Town Car. Early morning. Sal gets behind the wheel. He reaches for the car phone.

[Hera]

Who you calling?

[Sal]

Uncle Charlie. I'm calling in to.

[Hera]

I told you Vince knows about Lotta.

[Sal]

I don't care if he knows or not. I have to call in.

[Hera]

Please, Sal, don't call in today.

[Sal]

If I don't, they'll just call me.

[Hera]

Then don't tell them Lotta's not here.

[Sal]

That I can't do.

[Narrator]

He starts dialing.

[Hera]

She'll call me and I'll have her fly to wherever you want.

[Sal]

Well, you have to do that anyway.

[Narrator]

Hera puts her hand on Sal's inner thigh.

[Hera]

Sal, you help her and we'll both make it worth it.

[Sal]

Kid, get your hand off me or I'll slice it off. I don't play the patsy for anyone.

[Narrator]

Speakerphone picks up at the other end.

[Uncle Charlie]

Yeah.

[Narrator]

Interior, La Salle Limo Service Office Continuous. Uncle Charlie stands at his desk. Leo sits on the couch, the junkyard dog on the floor beside him.

[Sal]

Hope I didn't break anything up between you and lover boy.

[Narrator]

The dog barks.

[Uncle Charlie]

You got the girls?

[Narrator]

Interior, Front seat of Lincoln Town Car. Continuous.

[Sal]

I got Hara Lot as a no show.

[Uncle Charlie]

What do you mean, a no show? The is this you? Tell her.

[Sal]

Tell her yourself. You're on the speakerphone.

[Narrator]

Hera gives Sal a mean look, then switches gears to talk to Uncle Charlie.

[Hera]

Hello, Charlie. How's my cutie doing?

[Uncle Charlie]

What's going on?

[Hera]

Lotta 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.

[Narrator]

Interior, lasalle Limo service office continuous.

[Uncle Charlie]

Ira, you tell her to call me.

[Hera]

I will.

[Uncle Charlie]

If she's not there in two days, she's not.

[Director]

She.

[Uncle Charlie]

Fuck me. If she's not there in two. If she's not there in two days, she's gonna not be anywhere in two days. Leah will see to that. You understand me? You understand me?

[Narrator]

Interior Front seat of Lincoln Town Car continuous.

[Hera]

Sure, Charlie, I understand. Don't worry about anything.

[Sal]

So do I go or do I stay?

[Uncle Charlie]

You go. You call me in two days, lotta better be there.

[Narrator]

Charlie hangs up. We hear a dial tone as Hera glares at Sal. Sal hangs up. Hera exits the front seat and gets in the back of the Town Car, slamming the door.

[Sal]

This is going to be a fun trip.

[Narrator]

We see the Town car pull away as we hear Bessie Smith sing. I'm going to love that man. Interior, Lotta's bedroom Early afternoon. Lotta 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 Gothelsbridge, New Jersey Turnpike A series of exit signs along New Jersey Turnpike I95 sign 100 miles to Philly sign Vince Lombardi service Station Exterior, Vince Lombardi service station Late morning Sal Post. He pulls the Town car into the service station. He parks and opens the window and stops the tape of Bessie Smith.

[Sal]

I have to go.

[Hera]

Thanks for sharing that.

[Sal]

You have to go. Go.

[Hera]

Maybe I'll take off no skin off

[Sal]

my nose if you do. You want coffee?

[Hera]

Black with equal. May I get out and smoke?

[Sal]

I don't care if you burn. I'm not your father. Thank God.

[Narrator]

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.

[Vincent Dilora]

I saw you fuck two guys at once and leave them wasted in that. What was that? I gave it the office.

[Anthony]

How about taking us on?

[Hera]

Sorry boys, no dicks under 4 inches. It's a union rule.

[Anthony]

I got more than you can handle.

[Hera]

Why don't you boys go back to your wives, count your blessings.

[Vincent Dilora]

Shit, I ain't married.

[Hera]

I can believe that.

[Anthony]

Pretty uppity for a slut.

[Narrator]

Hera flicks her cigarette at him as Sal steps in.

[Sal]

Any trouble here?

[Vincent Dilora]

Nothing she can't handle.

[Sal]

Hey fellas, why don't we leave the lady alone?

[Vincent Dilora]

Lady?

[Anthony]

Who the hell are you?

[Sal]

I'm a driver. Now why don't you two get lost before someone gets hurt.

[Anthony]

Hey, old man, I think you better go back and have another cup of coffee.

[Vincent Dilora]

Yeah, we'll call you when we're through.

[Narrator]

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.

[Sal]

Stick your arm straight out. Get him out. Howard, get in the car.

[Vincent Dilora]

Take it easy, mister.

[Narrator]

Biker number two blocks the car door.

[Anthony]

You can't take both of us.

[Sal]

If you don't move from that car, there'll only be one of you to.

[Narrator]

Blood trickles down biker number one's neck.

[Vincent Dilora]

Do as he says, man.

[Narrator]

Biker number two steps away.

[Sal]

Hara, get behind the wheel and start the car. The keys are in my pocket.

[Narrator]

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 number one's leg.

[Sal]

He moves and you sing the high notes. Now bend over, Ben.

[Vincent Dilora]

Let's do as he says.

[Narrator]

Interior, front seat of Lincoln Town Car continuous.

[Vincent Dilora]

Hit it.

[Sal]

Hit it hard.

[Narrator]

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.

[Hera]

That was great.

[Narrator]

Woo hoo.

[Hera]

You made those bastards squirm. You should have cut it off that guy.

[Sal]

Pull over. Let me behind the wheel.

[Hera]

I'll drive for a while.

[Sal]

I said pull over. They may follow us.

[Hera]

Those punks.

[Sal]

I said pull over.

[Narrator]

She pulls over but doesn't get out. Exterior, NJ Turnpike I95, late morning. Sal gets out and runs around to the other side and looks back down the highway.

[Hera]

You're an old stud when you have to be, aren't you?

[Sal]

Get the hell on the other side.

[Hera]

Sure.

[Narrator]

Interior, front seat of Lincoln Town Car a little later.

[Hera]

Why are you so hot? You did great.

[Sal]

Just shut up.

[Hera]

Why the hell are you yelling at

[Sal]

me for letting this happen?

[Hera]

I was having a smoke.

[Sal]

Having a smoke and dressed like a fucking slut.

[Narrator]

Hera reacts angrily.

[Hera]

You son of a bitch.

[Sal]

Well, what did you expect? Pull over.

[Hera]

I said pull over before I scratch your fucking eyes out.

[Narrator]

Hera grabs the wheel and the car swerves.

[Sal]

Jesus Christ.

[Carmela]

Pull over.

[Mira Potassan]

Pull over now.

[Sal]

Okay, okay.

[Narrator]

Exterior New Jersey Turnpike I95, early afternoon. Sal pulls the Town Car over Harrah 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.

[Sal]

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.

[Katie Duke]

I hope they come back and cut

[Hera]

off that wrinkled old raisin of yours.

[Lada]

Not that you need it.

[Sal]

You know what? Remind me next time not to save your sweet ass.

[Narrator]

Herod turns and walks back to Sal.

[Hera]

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.

[Sal]

Yeah, I suppose you could have handled back there without me.

[Narrator]

Hera gets in Sal's face.

[Hera]

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, ever will.

[Sal]

Well, maybe it's time. Maybe if someone had, you wouldn't be

[Narrator]

a. Sal stops himself from saying. Harris stares at him, too hurt to cry. She's heard it before, but now it's different. A moment before, Hera smacks Sal across the face.

[Hera]

You son of a.

[Sal]

I'm sorry.

[Director]

I.

[Hera]

You.

[Sal]

I didn't know.

[Narrator]

Hera smacks him again. They stare at each other for an intense moment.

[Sal]

Please get back in the car.

[Narrator]

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 one.

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