All language subtitles for The.Deuce.S03E03.WEB.H264-STARZ+720p.STARZ.HI.C

DETECTIVE: Half these
buildings are in turn-around.

You can spit from here
to the new Marriott.

You need this block bad, huh?

This thing doesn't last
forever, say "yes" to everything.

The neighbors called the pigs.

Fuck.

PAUL HENDRICKSON: We have
to be smart with our bodies.

Shit is finally cracking
open for me, I'm gonna...

I'm gonna say "no" to something.

You have this actual glow,
you know that about yourself?

I got this bachelor party.

I wanted to get some girls up there.

Money, money, money.

This could be a whole
new line of business.

You should've brought your
amateur thing to me first.

You should've cut me in when
I proved I was an earner.

- What's up with you and Rudy?
- Fuck Rudy fucking Pipilo.

Synced and corrected by VitoSilans
www.Addic7ed.com

(ROCK MUSIC PLAYING)

♪ She's a devil ♪
♪ Got a heart of stone ♪

♪ She's a devil ♪
♪ Leaves me all alone ♪

♪ She's a devil ♪
♪ Won't you be ♪

♪ My girl? ♪

♪ She's a devil ♪

♪ She's a devil ♪

REX MICHAELS: Slower on the dolly.

- GRIP: Watch the cables!
- ♪ She's a devil ♪

♪ Won't you be ♪
♪ My girl? ♪

♪ She's so young ♪

Whoo!

♪ But I like her ♪

(CHEERING AND APPLAUSE)

REX: Oh, man, you can
go to jail for that!

(WHOOPING AND WHISTLING)

REX: Cut, very nice.

Guys, head to wardrobe.
Girls, you're wrapped.

- Lori, you can take 20.
- 'Kay.

GUITARIST: Hey.

You were amazing.

Thank you.

MAN: Put on the red gel.

(PEOPLE CHATTING INDISTINCTLY)

PA: Celery and carrots?

Who do I have to fuck to
get a roast beef sandwich?

PA: Miss Madison wants
a roast beef sandwich.

Did I deliver or what?

I could get used to this.

You sure about the roast beef?

You have an anal tomorrow. Early call.

Enemas are a girl's best friend.

I got a system, Kiki.

("DREAMING" BY BLONDIE PLAYS)

♪ I don't want to live on charity ♪

♪ Pleasure's real or is it fantasy? ♪

♪ Reel to reel is living verite ♪

♪ People stop and stare at me ♪

♪ We just walk on by ♪

♪ We just keep on dreaming ♪

♪ Dream, dream ♪
♪ Even for a little while ♪

♪ Dream, dream ♪
♪ Filling up an idle hour ♪

♪ Fade away ♪

♪ Radiate ♪

♪ I sit by ♪
♪ And watch the river flow ♪

♪ I sit by ♪
♪ And watch the traffic go ♪

♪ Imagine something ♪
♪ Of your very own ♪

♪ Something you can have and hold ♪

♪ I'd build a road in gold ♪

♪ Just to have some dreaming ♪

♪ Dreaming is free ♪

- ♪ Dreaming ♪
- ♪ Dreaming ♪

♪ Dreaming is free ♪

Fuck, I get illegal possession,

but come on! Four counts
of attempted murder?

He popped a kid in the back

- in front of witnesses.
- LIEUTENANT HADDIX: Exactly.

Only we can pop a kid
in front of witnesses.

(LAUGHTER)

Thank you, Officer Paglia,
for allowing me to look

- at your interesting magazine.
- OFFICER: Captain, sir!

I appreciate it.

OFFICER PAGLIA: Fuck you, Tony.

This gentleman is from Minnesota.

Michigan.

He has a problem.

And I thought some general advice

from the Public Morals Task
Force might be in order.

As you are the ranking
supervisor, Lieutenant.

WOMEN OVER PA: Detective Nardi, you
have a complainant in the 124 room.

So, Mr., uh...?

Rouse. Matthew Rouse.

HADDIX: What brings you to
New York City, Mr. Rouse?

- Take a seat.
- Thank you.

I'm...

I'm... I'm trying to find someone. Um...

I wanna find this girl.

Oh, that's nice, but, uh...

you're supposed to just look
at the tape, not fall in love.

- (OFFICERS CHUCKLE)
- (MATTHEW ROUSE SIGHS)

It's my daughter.

Hey, guys... (GRUNTS)

(SIGHING)

On the box,

it says it's a New
York production company,

but there's no address.

I called the operator,
but there's no listing.

Your daughter, she, uh... she underage?

No. She'd be in her
30s. 33, now, actually.

Well, being as she's of age and...

there's no indication
that she was, uh...

performing without giving her consent,

I don't think this
could be a police matter.

Yeah, I know that, I just...
I just need some help. I...

I wanna find her.

When was the last time you saw her?

April 1966. She was 14.

(SIGHS) I get it. I get
it. I got... I got kids.

(SIGHS)

Look, Mr. Rouse,

I can give you some names and numbers,

but no one's gonna talk
to you about your daughter.

Trust me.

Some people come to Times Square,

they don't wanna be
found, and they never are.

That's just how it works.

But. I've been... (SIGHS)
...working vice here

for two decades and longer, and I...

I know if I wanna find someone,

and if I wanna pay
the right people, or...

beat on the wrong people,
go places you can't go, I...

just... might be able to
catch up to your daughter.

Problem is I can't do
that on company time.

Well, what if I hire you?

As a private investigator.

Just tell me what you need.

Two hundred a day. Minimum of five days.

Plus expenses.

Yeah.

- Lift your thumb.
- Oh, sorry, I didn't mean to...

Oh, hey. No, no, you play?

No.

Well, we can fix that.

Here.

Now?

Yeah. Look.

One hand on the neck.

One hand on the soundboard.

- Good, yeah. (CHUCKLES)
- Yeah.

No. Hold these two fingers down.

That's right.

And then with the
fingers on the other hand,

strum across all six strings.

(GUITAR TWANGS)

- Wow. (CHUCKLES)
- That's pretty cool, huh?

Yeah.

Hey, Kit's sick. I'm Betsey.
I'll be doing your makeup today.

- What's that for?
- I need to wash your face.

- I have on foundation.
- I know. I need to start clean.

This is the only foundation I can wear.

- I'm allergic to everything.
- Everything we have

- is hypoallergenic.
- Please. You don't understand.

I got him. I've got Tod.

- You take Jessica.
- But I always cover Kit's actors

- when he calls out.
- Change of plans.

(LORENZO SIGHS)

Sorry I didn't get here earlier.

The trains are messed up.

Kit told me all about your allergies.

Don't worry. I understand.

My friend's going
through the same thing.

Thank you.

Yeah, you're gonna need a bigger bag.

Hey. Her.

Mooney.

Enjoy yourself.

Mooney, come on. Her.

What's her name? Do you know
where she's living nowadays?

Me? No. But that's one of
Martino's tapes. Call him.

- Frankie? No, you call him.
- Me? Why me?

Because you've got a
fucking phone right there.

Come on, time is
money, Mooney. Let's go.

(SIREN WAILING IN DISTANCE)

FAT MOONEY: (MUTTERING) Time is
money, and I'm paying for the call.

MAN: I'll get that for you.

(FOOTSTEPS APPROACHING)

VINCENT MARTINO: What do you think?

I mean, it needs some work,
but the guy's motivated to sell.

BIG MIKE: It's huge.

VINCENT: Wait till you see upstairs.

Dance floor's as big as this one.

Y'know, a little paint.
Upgrade the sound system.

Why's he selling?

Eh, he doesn't know how
to run a club. (EXHALES)

Couldn't keep the wolves
away from the door, you know?

So...?

If we do take it...

I was thinking, uh...

You know, maybe we call it "Mike's."

(CHUCKLES)

VINCENT: I'm serious.

You're ready.

You ain't got to call it Mike's.

I mean, no need to sweeten the pie.

I've got your back regardless, Vince.

Call it whatever you want. But...

I'd take a piece, Rudy
would take a piece,

but it would be yours. If you want it.

Just think about it.

(HORNS BLARING OUTSIDE)

Uh...

This isn't easy for me.

DR. STEINER: I find with new patients,

the best thing for a
first session is to just...

tell me about yourself.

I'm a cop. Over in Midtown.

How long have you been a police officer?

(SIGHS) Too long, I think.

- All the stress...
- I can imagine.

I meet a lot of assholes.
Pardon my French.

Like, there's this guy.

He owns a hotel over in Midtown.

One of those old SROs. A
real Times Square shit hole.

You familiar with the area?

Midtown? I avoid it, if possible.

Officer Alston, tell me
what's on your mind, exactly.

Okay. I'm, uh... What's
the word you guys use?

...agitated about what
goes on in that building.

Pimps, hookers, shooting galleries.

The whole nine.

Thing is, there's an investment group

offering to buy the
property. Clean that block up.

Start a project that could
actually turn the area around.

But this fuckhole,

pardon my German,

won't sell.

Mind you, they offered him
well above market value.

Perhaps this fuckhole of yours sees

that the area might turn around.

He'd like to hold on to his property

and wait to share in that opportunity.

(INHALES) But see, he's not
doing anything to help that.

He's just sitting on
his piece of the problem

waiting for everybody
else to do the work.

And then, when it's
all done, at the end,

he wants to get paid
more than he deserves.

- And that troubles you?
- CHRIS ALSTON: Yeah.

I'm troubled.

(EXHALES DEEPLY)

But not like this
guy's gonna be troubled.

He's over here on Park and 74th
with his psychiatry practice

and his brownstone up on East 85th

and his beach house in Amagansett

and his nicely arranged life.

And it would be a shame
if somebody dragged his ass

through the Post
and the Daily News

until he was begging to sell.

I mean, Doc, that would be... biblical.

(CHUCKLES SOFTLY)

Officer Alston, would you
like my professional opinion?

It's what I came for.

DR. STEINER: Based on our conversation,

I'd say your condition is chronic.

In fact, I'd say there's no cure.

Right.

(IRISH MUSIC PLAYING)

(INDISTINCT CHATTER)

Hey.

HADDIX: You don't wanna know the garbage

I had to wade through.

Between you and me, there's a guy...

MATTHEW: Yeah. Did you find her?

I have an address. But...

- But what?
- She didn't wanna be found.

So I had to pay some people,
and they had to pay some people.

- MATTHEW: How much?
- It's 400.

(SIGHS)

Um, I'm...

I might have to go to one
of those bank machines.

Sure, hey.

- Family over money, right?
- Yeah.

- You want a drink?
- No. Thank you, I'll be back.

- C'mon, three more bites.
- (GRUNTS DISMISSIVELY)

Look, it's, uh... it's a
baby grape and a mama grape.

Remember all those games
you used to play with me

to try to get me to eat my peas?

- This is me getting back at you.
- (JOAN MERRELL CHUCKLES)

Come on, look.

Oh, look, the airplane's
got nowhere to go.

She's so sad. Open it! Open it, Ma!

- Eat it. Eat it. (CHUCKLES)
- (LAUGHS) No!

(COUGHS)

There you go.

(JOAN BREATHES HEAVILY)

It's okay, it's okay.

(JOAN SHUDDERS, SOBS)

(GRUNTS)

I think you must be the
worst patient in the world.

So what?

- (SIGHS)
- What's the point? (SIGHS)

Don't say that.

It's true.

- I've lived enough.
- Ma.

- And what about Adam?
- (CAR DOOR OPENS, CLOSES)

You heard anything? Where is he?

No, no, he's got to work
this stuff out on his own.

And he's gonna call us when he's ready.

(DOOR SLAMS)

- Your father's home.
- Yeah.

(INHALES, SIGHS)

Go ahead. You and your
father are talking again.

Yeah, we're doing as good as we can.

It's right to forgive. It's necessary.

Yeah?

You only get one family, Eileen.

You make of that whatever you can

or you're alone in this damn world.

- (PEOPLE TALKING INDISTINCTLY)
- (ROCK MUSIC PLAYING)

MAEVE: Abby? Maeve.

- Wow. Uh... It's been forever.
- (CHUCKLES)

Uh... Meet my friend, Pilar.

- Hey.
- Hi.

It's been, what? 16,17 years?

- Since camp, senior year?
- You camped? No way.

We were, uh, counselors
at a country club.

Glorified babysitters, really.

Right? So, tell me everything, Abby.

- Is it still Abby Parker?
- Yeah.

Uh... Where do we leave our donations?

There's a box on the table over there.

MAEVE: That is so nice of you to donate.

My firm is working on
the Michael Stewart case.

I remember your dad
practiced corporate law.

MAEVE: Well, I halfway
followed his lead.

I'm a civil rights attorney,

when I'm not chasing a
six- and four-year-old

around the house. (CHUCKLES)

What have you been up to?

I manage a bar.

- Where?
- Midtown.

- MAEVE: Cool.
- Wait.

You have the Hi-Hat.

- I manage it, yeah.
- I've seen you there.

Knew you looked familiar.

I saw the "Women of the
Night" photography exhibit.

It's really cool you
showcase local artists.

You put up art at your bar?

Pilar's an artist.

Street. Street artist.

My work's meant to be interacted
with by people outdoors,

not nailed to a wall in a gallery.

(SCOFFS) Only you could say
that and not sound like a snob.

You should take Abby to Avenue A.

- What's on Avenue A?
- You have to come and see.

Go now, before the speeches start.

(STUTTERS) I gotta
get back to work. Um...

Rain check?

Yeah, I'll give you
my number. But, uh...

you have to promise to use it.

DONALD MERRELL: He called.

- When?
- DONALD: Last night.

2:00 a.m.

Thank God for painkillers,

or your mother might have heard him.

EILEEN "CANDY" MERELL: What did he say?

Said he wanted 800 dollars.

He calls again, tell him come to me.

- (SIRENS WAIL)
- (INDISTINCT SHOUTING)

(EXHALES SHARPLY)

(DISHES CLINK)

Margaret?

Uh, it's me. It's Dad.

Margaret? I'd like to talk.

(WATER RUNNING)

Can we talk? Please?

I haven't had a drink
in almost two years.

(WATER RUNNING)

(SIGHS)

(INHALES, SHUDDERS)

(SIGHS)

- (PHONES RINGING)
- (PEOPLE TALKING INDISTINCTLY)

JOEY DWYER: Hey.

What's a clerk do, exactly?

Uh, I gather information
off the, uh, ticker tape,

so that the brokers can
make informed trades.

- (BROKER YELLING INDISTINCTLY)
- Dwyer. Great catch today.

Uh, thanks. Jimmy, uh, this is my dad.

Oh, welcome to the office, Mr. Dwyer.

- You a clerk too?
- No, sir. I'm a broker.

How long before you're a broker?

Well, I'd have to undergo

a New York Stock Exchange review.

And then, I'd either buy or
lease a seat on the Exchange.

It's how you become a member.

Buy? What's it cost?

Almost 200-grand now.

(SCOFFS) 200-grand for a seat?

(CHUCKLES) Well, it
comes with a membership.

It's all about the bathrooms.

(BOTH CHUCKLE)

Members, they... have
their own bathrooms.

What, you gotta piss on the street?

- Dad.
- (SCOFFS)

BOBBY DWYER: What? I'm asking.

Non-members have their own bathrooms,

down below the trading floor.

Like they did with colored guys?

- BROKER: I need 200-thousand...
- (JOEY CLEARS THROAT)

Uh, Jimmy's father is my boss.

I need to talk to my dad
before he leaves for Sag Harbor,

- so...
- I'll walk with you. Yeah.

Wait here.

- Nice to meet you, Mr. Dwyer.
- Okay.

BROKER: Two bumps at
lunch maybe? (CHUCKLES)

- (KNOCKING ON DOOR)
- REGGIE "REG" WINHORN: It's me.

- Hey, did you see anyone?
- No, and I checked the lobby.

Okay.

Hey, if you're this creeped out,

- maybe you should call the cops.
- No.

I think he's just a random guy.
I don't think he's coming back.

But you said he knew your name.

Oh, uh, did I? I... I
don't know. (CHUCKLES)

Maybe I just thought he did.

I'm starving, I haven't eaten all day.

Let's just go binge on something fatty.

Mm-mm. It's salad day, girlfriend.

I'm watching my figure.
Believe it or not.

- This takes actual work.
- (LAUGHS)

(MELISSA SIGHS DEEPLY)

REG: Wait, where do you
want to go get it from?

What are you...?

What are you doing?
That's not my office.

Checking out the view.

Oh, checking out the view.

What's with your voice?

You sounded funny around that guy.

(SIGHS) Nothing.

Jimmy's cool, huh? Bachelor
party's for his cousin.

- Why didn't he say anything?
- He likes to be discreet.

- Discreet?
- Yeah, careful.

I know what discreet means.

Look, Dad. The guys in here...

they're not like the guys
who come to the parlor.

Guys who go into the parlor paid
for the house you grew up in.

(SIGHS) You know what I mean.

What, you're gonna be his
clerk for the rest of your life?

No, I'm trying to save
enough money to lease a seat

from Jimmy's father.

A seat comes with an invitation
to his house in Sag Harbor?

What are you talking about?

Joey.

These guys ain't inviting you anywhere

unless you're bringing girls and blow.

You know, I'm trying to help you here.

This place is full of future
clientele for the outcalls.

It's like shooting fish in a barrel.

If I got a barrel of fish, I
ain't shootin', I'm fishin'.

- It's a metaphoric, Dad.
- Oh, excuse me, professor.

Don't get ahead of yourself.

CANDY: So, I'm curious.

When you were married,

did you and your wife
ever think about kids?

- We did. She couldn't.
- CANDY: How about adoption?

We talked about it, uh, but...

BARTENDER: You guys want another round?

...soon enough we
started having problems,

and then, I guess we stopped talking.

BARTENDER: What are you having?

- I have a kid.
- Yeah?

Yeah. Adam. He's 20. He's a good kid.

He's not doing so good right now.

BARTENDER: I... I got it covered, man.

He's a little bit wild.

Some drugs, you know?

I think he doesn't know what he wants.

Does he live with you?

No, he lived with my folks in Queens.

Until he didn't.

Right now, actually, I
don't know where he is.

He's kinda written me off.

- Why?
- (LAUGHS)

Uh...

You know, I... I
really don't give a shit

what people say or what they think.

I mean, let the bastards talk.

I'm not proud of everything

that I've been through in my life,

but I am proud of how
I've gone through it.

And I really don't give a shit

what someone else thinks is moral.

You know, there's too many people

who are weighed down by...

how other people see them. Like,
how they look to other people.

- Not you. (CHUCKLES)
- No. (LAUGHS)

No, look, I'm fucked up in
all sort of ways, I promise.

But not that.

I mean, I'm not gonna live my life

through someone else's
idea of what's normal.

There is no normal. I
always say that. Fuck normal.

Normal is a lie.

BARTENDER: How you doin'?

And I can live that way. I do.

But I think, um, I kinda
forced Adam to do the same,

even if he wasn't always up for it.

He didn't have a choice.

(ROCK MUSIC PLAYING)

Walk with me?

Where?

(SIRENS WAILING)

- You Frankie?
- Yeah.

Pasquale. Get in.

SPORTSCASTER: Let's not get
ahead of ourselves.

FAN ON RADIO: Come on, look at
his numbers across the board.

Fifty-seven strikeouts to 18 walks?

- Sixty-one innings pitched through eight games?
- SPORTSCASTER: Ted. Ted!

(VINCENT GROANS)

SPORTSCASTER: I get it. I'm excited, too.

He looks great. But this is
a 20-year-old in his first...

(INHALES) Don't worry, it's
right. Weighed it myself.

Tommy said you only
wanted an eighth of a key.

Yeah, a big eight.

I test drive every
supplier before I go large.

(FRANKIE SIGHS)

Well... Your clients are
going to be very happy.

- My shit's butter.
- Butter?

I don't deal with the fucking
stugats in the Izod shirts.

You know what I mean.

Just let Tommy know
when you wanna go again.

Yeah, we'll see.

(TV PLAYING)

(KNOCKING ON DOOR)

MATTHEW: Margaret. It's me.

(LAUGHTER ON TV)

- MATTHEW: Margaret?
- (KNOCKING ON DOOR)

Please?

All right. I'll come back tomorrow.

(FOOTSTEPS APPROACHING)

(FOOTSTEPS FADING AWAY)

Candy.

- GUY: You remember Mark?
- FRIEND: The Mohawk Mark?

GUY: Yeah, that guy.
He's back in the city.

- FRIEND: Fuck.
- GUY: I know.

GUY: Yo, Kojak. You got a light?

Thanks.

(LOUD MUSIC COMING FROM CAR)

Okay, let's go.

MAN: Tell her you're on the list.

SECRETARY OVER PHONE:
Our lawyer's on line one.

How is that for a headline?

Oh.

I'll pay the money a visit.

See if they're suitably impressed.

I donated to the legal
fund of the family

of the graffiti artist.

The one the cops murdered.

Yeah, I read about it.

What's up with you, Vince?

Just 'cause I'm quiet
doesn't mean anything's wrong.

If you could do one
thing, what would it be?

Huh?

You know, if you were
living just for yourself.

(SIGHS) I don't want to
live for myself. I have you.

(CHUCKLES) But if I wasn't...

around, if all this didn't exist.

(BREATHES DEEPLY)

(SCOFFS)

I don't know why this
popped in my head, but...

my dad used to have this photo
of this big house tacked on

the wall of his shed
where he kept his tools.

Trees and kids and bikes in the yard.

You know, real normal
Rockwell-type shit.

My mom called it his second home...

where he would go when
he wasn't at home with us.

I don't remember when I learned that...

(SIGHS) ...it wasn't real.

He just tore it out of a magazine.

(EXHALES) Sorry, I didn't really
answer your question, did I?

Kind of did.

- DEVELOPER 1: Up.
- GENE GOLDMAN: What?

His price went up. By almost 60 percent,

he's bumped his asking, which
was already unreasonable.

Son of a bitch.

Who knew a psychiatrist had
those kind of balls on him?

Look, we're running out of time.

Have you all thought
about moving forward

with the half block that you've secured?

DEVELOPER 1: The specifications
require a larger footprint.

But look, if the city can't
wrangle the real estate,

then maybe this isn't the project

- we need to be delivering now.
- GOLDMAN: I hear you,

but give us a few days to recalibrate,

and come back to you with a plan.

We're all after the
greater good here, right?

(LORI MADISON AND LOU MOANING)

- LOU: I'm ready.
- ARTHUR DODGE: Okay, Lou.

- Let it go.
- (LORI MOANS)

(LOU GROANING)

Cut.

All right, moving on, kids. Next scene.

We're not done here, are we?

I got everything I need.

LORI: If the camera's not on my face,

how are they supposed to know it's me?

ARTHUR: They'll know it's you,

I got a full-on of your
face in another shot.

LORI: Okay, I wanna talk
about the next scene.

I'm a teacher. How come I don't know

that George Washington
was the first president?

'Cause you're so horny... you're dizzy.

You can't think straight.

My client wants to change her line.

She can know who George Washington was

and still fuck.

Also... I want him to wear a condom.

No fucking way. I have a
no-condom rule on my sets.

It's easy to make that rule

when you're not the one getting fucked.

- That guy's gay-for-pay.
- So are half the studs I shoot.

Hey, it's my body,

so I get to decide what
I want to do with it.

(CHUCKLES) That's not happening.

Not happening!

It's my brand. My movie.

I will see what I can do.

ARTHUR: Fuck it! Go to Chez Nous!

CLERK: In Toluca Lake? Okay,
that's gonna take a while.

ARTHUR: I don't give a fuck!

Frisée fucking lardon.
Please, for the love of shit,

it's a lunch order! Not a
goddamn space shuttle launch!

LORI: What happened?

We shot something and
it got out of hand.

I hope I don't get a bruise.

Please don't tell Arthur.

I don't want him to think I'm soft.

Yeah, no, okay, I won't.

ALSTON: How'd it go?

GOLDMAN: I think we shit the bed.

ALSTON: What happened?

GOLDMAN: We're treading water here.

The motherfucker still won't sell.

ALSTON: Well, you've tried the carrot

and you've tried the stick. What's left?

A bigger stick.

Go get me one.

I want you to know that I'm just...

I'm just relieved to
know that you're alive.

That you're still out here in
this world. I didn't think...

I mean, I...

I had no way of knowing.

So anyway, um...

news from home...

is your brother, he had his second kid

a couple of years ago.

He married Cherise from school, and...

he's working at the coal
company and yeah, you're an aunt.

They have, uh...

They have Sharon, who's six,

and, uh, Sandy...

who will be two.

(SIGHS) And they are beautiful.

Both of them.

Yeah, you would love
the kids. You would.

Yeah, children...

Children forgive.

They believe in you.

They need to believe in you, I guess.

Christ.

(CLICKS TONGUE, SIGHS)

I know you're not just
angry, Margaret. You're sad.

You know how I know?

Because I feel the same goddamn way.

I'm sorry.

I can't leave here.

I tried, yesterday, but...

I got as far as the tunnel.

I really...

really need to see your face.

I need some help...

selectively enforcing the shit
out of the 45th Street area.

How selective?

There's this one
motherfucker in particular.

I'd like to make his life hell.

(SNIFFS) You're the guy...

trying to move that
shrink out of his building.

You think I don't read the Post

The only reason why you
want to bounce that guy

is because of money.

Not because you actually fuckin' care.

- Hold on a second...
- For Christ's sakes,

why do people get so offended
when they hear the truth?

- (DRAWER RATTLES)
- Huh?

ANNOYED MAN: Five fucking
dollars? That's it?

How about I give him five bucks and...

(SIGHS) Okay. I was thinking, uh...

(JACK MAPLE GARGLING)

...the female undercover I
saw on your transit detail,

she might... be a good fit
for what I have in mind.

Officer Preston?

- Is that her name? Yeah.
- Yeah, yeah.

The same Officer Preston you took out

for night breakfast.

My people tell me everything.

It wasn't like that, uh, Jack,

- I was, um...
- Just busting your balls.

I'm not surprised you
want her. She's top shelf.

Is that a yes?

(SNORTS)

You are on the comeback. You
can't disappear to rehab again.

Yeah, I've got it under control
this time. Greg's helping me.

Arthur said the guy will
wear a condom for the anal,

but you still have to
say the stupid line.

(SNIFFS) Okay. But did
you see Brandy today?

I don't talk to people I don't rep.

What... What are you talking about?

Well, this actor guy, Tommy, I think,

jammed his cock into
the back of her throat,

and he slapped her so
hard he gave her a bruise.

- Fuck that.
- Lori.

Is this your business? Is it mine?

I've enough on my plate

making sure you get
what you need on set.

I... I don't get a
percentage of Brandy. Do you?

Now, let's get our work
done for Arthur, okay?

- Okay?
- (SOFTLY) Okay.

Thank you.

The preliminary results...

- (SIRENS WAILING)
- (SIGHS)

PAUL HENDRICKSON: Indicated.

The preliminary results indicated...

That? (CHUCKLES)

Fuck, I am exhausted.

It's okay, you're doing
great, you'll get it.

Maybe we should take a break.
We've been at it over an hour.

Shooting all these pages, every day.

It was hard enough
when I was 100 percent.

I'm proud of you, baby.
You're doing great.

TOD: I'm dizzy all the time, now.

(INHALES, SIGHS)

I'm gonna make some tea.

I almost passed out during a take.

PAUL: Chamomile or black?

Are you not hearing me?

Yeah.

Look, you wanted this kind
of exposure. For a long time.

This soap... is a huge break for you.

(SIGHS)

I'm thinking maybe I need to quit.

PAUL: Tod...

It's not about the exposure anymore.

The clock is ticking. I'm dying, Paul.

Anyway, nobody's going
to remember my role

in a soap opera.

I need to focus on work that matters.

So, what do you need from me?

Your support.

- And a cup of tea.
- Chamomile or black?

Such an asshole.

- (CARS HONK)
- PASQUALE: Hey, Tommy.

- Pasquale.
- You got a minute?

Not really.

Hey, don't bullshit
me, I know you can talk,

- Rudy's still inside.
- What do you need?

Already getting complaints
about the blow Frankie sold me.

It's no good?

Well, good, bad, that's
not the point. You know?

I did a couple of lines
myself, and right away,

I almost shit my pants.

I know that some guys step on it
with that kid laxative they got.

All right, all right. I'll talk
to Frankie. I'll see what's up.

Keep this between me and you.

- All right?
- Yeah, Tommy, sure.

Rudy gets the same
percentage on the outcalls?

(SNIFFS) Yeah.

Put it in a separate envelope
so he knows what's what.

BERNICE: (GROANS) Excuse me.

Tell the girls five-five-five
means call the parlor.

How much is this costin' me?

You got three new girls.

Gotta spend money to make money.

Like I need financial advice from a guy

who lives in a fuckin' van.

I got a crib.

- I've never been there.
- (DOOR OPENS)

Yo. We've been outside
waiting for, like, 15 minutes.

- I'll be right there.
- Close the door.

This is a meeting for management only.

Sí, mi general.

What's her fucking problem?

- (CANDY GIGGLES)
- (BOTH MOANING)

(BREATHING HEAVILY)

(BOTH GROANING)

(BREATHING RELAXES)

Next.

(BOTH LAUGH)

Sorry. (LAUGHS)

Very close, my friend.

- Very close.
- MAN: Son of a bitch.

(SNICKERS) What can I say?

MAN: Yeah, you got a horse
shoe up your ass tonight.

FRANKIE MARTINO: Excuse
me for one moment. (SIGHS)

CARD PLAYER: Screw it.
Gotta take a piss anyway.

- I'm on fire.
- Yeah, never mind that.

Frankie, after you get
the product from George,

how many times are you stepping on it?

- Once, why?
- 'Cause people are complaining.

- Who is?
- Pasquale.

Who, the cugine
with the attitude? Fuck him.

His customers got the coke shits.

All right, so I step on
it with a little Mannitol,

like everyone. So what?

Hey, listen.

We're already doubling our money.

So there's really no
need to get cute now.

Like I just told you,

what I sold him was straight.

Now, are you gonna believe
that motherfucker's word

- over mine?
- Pasquale's father is someone.

Right? The kid's minor
league, but he's in my world.

The last thing I need is him unhappy.

All right, all right, all right.

Just... tell him the
next batch will be better.

But you might want to mention,
nobody else complained.

Going home. Long fucking day.

FRANKIE: Couple more years,

we'll be sipping
champagne in Boca Raton.

(CHUCKLES)

Come on, who's feeling lucky?

- (CANDY GIGGLES)
- What are we doing tomorrow?

(LAUGHING)

I gotta face my fuckin' typewriter.

(GIGGLES, MOANS) I
gotta settle on a story

so I can pitch it to investors.

I can't get any one to pay for my movie

unless I have a script.

How much money?

It depends. What the fuck?

Depends on what? (SNIFFS)

Depends, well...

(SIGHS) You know, if I
can raise 50K, it's 50K.

If I can raise 100K, it's 100K.

Whatever I can make, you know.

Whatever I can pull together,

that's what this movie's gonna cost.

But how much do you need?

(SIGHS) For 150K...

I can have a decent lighting package,

and I could have a truck to put it in.

Pay a good crew.

I'm in.

(LAUGHS)

- What?
- A hundred and fifty

doesn't exactly break
the bank for me, Eileen.

Yeah, I'm not asking you,
and you're not giving me.

- HANK: Why not?
- No.

I can't take your money.

Don't you think that
I've risked more on less?

You're gonna make a great
movie. I know it. I believe it.

(GIGGLES) You're not listening to me.

I can't take your money.

It's just money.

(SIGHS)

It's just money, yeah.

Who are you to me?

(GROANS)

Who are you? To me?

I'm your man.

Yeah. (SIGHS)

So I can't put my hand out...

and take your fucking money. (SIGHS)

Doesn't matter if it
takes me twice as long

to get what I need. I mean...

(CHUCKLES) Doesn't
matter if I never get it.

- I can't take your money.
- All I was saying is, I'm here.

CANDY: Yeah.

Can you promise me you won't
offer me money ever again?

If that's what you want, yeah.

Yeah, that's what I want.

- (MEN TALKING INDISTINCTLY)
- We'll have a girl over there,

a girl dancing. She'll be here...

Oh. Turn it down.

("I WANNA ROCK" BY TWISTED
SISTER PLAYS SOFTLY)

Come in, come in.

This is looking like a gang bang here.

Are we getting paid for
all these extra bodies?

Are we?

Yeah, it's taken care of.

You need me, I'll be outside the door.

Don't fuck us, man.

(SIGHS)

- ♪ I wanna rock! ♪
- ♪ Rock! ♪

YUPPIE: What's up, ladies?

- (MEN CHEER)
- What you pretty motherfuckers

standing around for?

I thought you boys liked
to party? (CHUCKLES)

(CHEERING AND WHISTLING)

JOEY: Hey, turn the music back on.

(MUSIC INCREASES)

♪ There's a feelin' that
I get from nothin' else ♪

♪ And there ain't nothin' in ♪
♪ The world that makes me go! ♪

- ♪ Go! ♪
- ♪ Go go, go go, go! ♪

Well?

Look, I didn't know Jimmy
was gonna bring ten guys.

It was supposed to be five.

"Supposed to" don't pay their bills.

They'd make more than
this straight trickin'.

(MEN LAUGHING, HOOTING)

Jimmy coughed up an extra thousand.

I'm gonna split it three ways.

Me, my dad and you.

What about the girls?

They get what they were gonna get.

So you about to pinch 'em.

Look. This thing exists because of me.

And I deserve to be compensated.

And they get tips.

You think they share that with us?

I'm going back in.

(LORI SNORTS)

They called me difficult?

Fuck that. Somebody needs to teach

these new girls how to say no.

When they say no, they mean yes.

Joking. (SIGHS)

So, I've been talking
with the guys from Vibrance

about renting office space,
for when your contract ends.

- For real?
- Mm.

We'll form our own company.

That's our next move.

So we decide what
kind of movies we make,

and you decide who and how you fuck.

- I'm all about that.
- Mm.

I figured it'll take
15 grand to get started.

Two grand a month to keep things moving.

Can we afford that?

You just keep doing what you're doing.

Let me handle the financial details.

ALSTON: So, what do you think?

("DO IT TIL YOU'RE SATISFIED"
BY B.T. EXPRESS PLAYS ON JUKEBOX)

Y'all need some cream?

We're okay. My friend here
takes it black, two sugars.

LEON: All right, food's
coming up shortly.

Thank you.

You remembered.

Worked homicide. I
got an eye for detail.

(SCOFFS) Jack tells me what you're doing

is worth a look.

You want 45th to take
a turn for the worse.

If possible.

JENNIFER PRESTON: And flipping
paper's not gonna get it.

If my team plays, you're
gonna get the best.

No doubt.

(CLEARS THROAT)

Mm! (CHUCKLES)

B.T. Express. That's
a bad jam right there.

(GIGGLES) "Bad jam"?

My father used to say that.

- (CHUCKLES) I know, I'm old.
- (JENNIFER GIGGLES)

- LEON: Pick up: biscuit and gravy...
- You're not so old.

...two fried eggs with bacon,
three scrambled eggs with salt.

If it's a day or two, I
can look at the schedule.

It's not going to get better.

- I may have to recast your part.
- I know.

(PHONE RINGS)

(CAR HONKS LOUDLY)

How did it go?

How does dinner and dancing sound?

Really?

- You feel up for it?
- Definitely.

Okay.

(SIGHS HEAVILY)

- You want that?
- Uh-huh.

(WOMAN SINGING "THE
WILD ROVER," MUFFLED)

♪ And it's no, nay, never ♪

♪ No, nay, never, no more ♪

♪ Will I play... ♪

MATTHEW: (OUTSIDE DOOR) Your mother.

She took the worst of it.

Jesus, I nearly killed that woman.

No, I did kill her.

I killed her spirit.

And if you hadn't run, I
would have killed yours too.

And I...

REG: ...damn clothes if she wants.

BOYFRIEND: You're a bitch, too. (LAUGHS)

BOYFRIEND: Hey, you're so bad!

REG: Can't be running around doing
laundry for all these divas...

MATTHEW: I think if I
could see your face...

just once.

I think if I could...

see you as you are...

I would have the strength to go.

(FOOTSTEPS CLIMBING STAIRS IN DISTANCE)

(SIGHS)

(LATCH CLICKS, RATTLING)

(RATTLING, LOCK CLICKS)

(DOOR CREAKS)

(SNIFFS)

(MAN YELLING IN SPANISH)

ABBY: I wish I could do what you do.

Art belongs out here
where everyone can see it.

I'm meeting some friends
at Paradise Garage.

Can you dance?

- Shit yeah.
- Come with me.

(MAN YELLS IN SPANISH, LAUGHS)

I was 50-50 you'd pull away.

(BOTH CHUCKLE)

(CLEARS THROAT)

(WOMAN YELLING IN SPANISH)

("#5 GO BANG!" BY DINOSAUR
L FRANCOIS K MIX PLAYS)

♪ Bang, bang, bang, go bang go ♪

♪ Bang bang, go bang bang ♪

♪ Bang, bang, bang, go bang go ♪

(EASY LISTENING MUSIC PLAYS)

BERNICE: Hey.

Yeah, it's cost per head.

Yep.

This all from last night?

Yup. What did I tell you?

BERNICE: Yeah, you too. Have a good one.

Maybe we got something here.

Another guy asking if we
could send a few more girls

over to the island.

We need to hire more drivers.

I ain't paying for nobody's gas.

WOMAN: (SINGING) ♪ Don't
wanna tell you no stories ♪

♪ Don't wanna tell you no lies ♪

♪ I saw your man ♪
♪ About an hour ago ♪

- ♪ With a girl named Nellie Bly ♪
- What's her name?

Beats me. It's an open mic.
Wanna put your name down?

Me? No.

♪ But he's doing you wrong ♪

♪ Frankie went to her hotel room ♪

♪ And drew out her big 44 ♪

♪ Shot her man three times in the back ♪

♪ Through a great big Hardwood door ♪

♪ And he was her man ♪

("ONE STEP UP, TWO STEPS
BACK" BY BETTY WRIGHT PLAYS)

♪ Two steps back to you ♪

♪ Try to leave but I... ♪

Wow, this is... amazing.

Do we dance?

- First time here?
- I... I've never been to a club

like this.

This place isn't just a club.

♪ And love's smoldering ashes ♪

♪ Spark a burning fire ♪

- Hey!
- PAUL: Hey!

TOD: Hey!

I'm so glad you made it.

I brought a friend.

- Hi, friend.
- Hello, friend!

- Hi. Pilar.
- Paul.

Hi, Paul.

("MAKE ME A BELIEVER"
BY LUTHER VANDROSS PLAYS)

Michael.

- How is it going?
- Hey, Mr. Pipilo.

- Haven't seen you in a while.
- Frankie still here?

V.I.P.

And Vincent?

He's in the back. Want me to get him?

Nah, we're good. 'Night, Michael.

All right.

I heard you had a good night.

(SCOFFS) Look, Rudy.

RUDY PIPILO: "Look, Rudy"?

(INHALES) It's not how it looks.

What's it look like, Frankie?

I'm just saying...

Yeah, you're always fucking saying.

This is how I blow off steam.

- I got a right to have fun.
- Yeah, do ya?

Come on, have a drink.

No, Frankie.

Sit.

- You brain-dead piece of shit.
- Ooh!

All right. That's enough.

You don't know shit about enough.

GAMBLER: The fuck you
know about psychology?

Okay, all right, fine.

You know what?

Take your money. It's five Gs.

No.

Come on. I want you to have it.

- No.
- C'mon, Rudy.

Make me say no one more time.

(SIGHS)

(SNIFFLES)

Dad... What do you want from me?

Nothing.

(SCOFFS) How did you even find me?

- The movies.
- (MELISSA SCOFFS)

One of the guys at work
saw one of the movies

and didn't have sense
enough not to tell me.

Fuck him!

MATTHEW: Oh, I don't
care about the movies.

And I don't care about
any of it. I just...

I just knew that you were alive.

And I wanted to see you. That's all.

(INHALES) Well, now you've seen me.

(WEAKLY) Yeah.

(DOG BARKING)

(SIGHS)

REG: Liss, open up, baby.

Come on, now.

(MELISSA SIGHS)

- One more dance.
- No, I'm sitting this one out.

Come on!

- Abby, you guys go. We'll watch.
- Paul, you love this song. Go!

("ANGEL IN MY POCKET" BY CHANGE PLAYING)

All right, one dance, but then home.

(CHUCKLES) Yeah.

♪ There's an angel in my pocket ♪

♪ I keep movin' on ♪

♪ There's an angel in my pocket ♪

♪ Keeping me on my toes ♪

♪ There's an angel in my pocket ♪

♪ There's someone that cares for me ♪

♪ There's an angel in my pocket... ♪

(MUSIC PLAYING)

Synced and corrected by VitoSilans
www.Addic7ed.com

VINCENT MARTINO: I've been in
Times Square a long time.

Whatever happened,

whatever's already been
said and done, just...

let it be.

(MUSIC PLAYS)

EILEEN MERRELL: What I'm
after is the wildest shit.

It's already in all our heads.

Something's really happenin',
and you're not with us.

Do you even know what you want?

GENE GOLDMAN: Everything is one
step forward, two steps back.

(GUNSHOTS)

Make a wish.

(MUSIC CONCLUDES)

(MUSIC PLAYS)

There is no normal. I always say that.

Fuck normal. Normal is a lie.

I have to credit the fuck normal
moment to... to a cousin of mine

who said it maybe 25 years ago.

Normal is this great lie

by which we play with characterization.

- CANDY: Hey.
- Candy.

DAVID SIMON: But human
sexuality is a wild card.

MAGGIE GYLLENHAAL: I think Candy
is the least judgmental person

I have ever come across.

That was one of the
most incredible lessons

I've gotten from Candy.

Too cliché for you probably.

I don't think anything's
cliché if it's true.

SIMON: It's been used to
enforce certain cruelties,

so I gave that to Candy,

the idea of "You
cannot make me ashamed."

I wanna find this girl.

LIEUTENANT HADDIX: Well,
that's nice, but uh...

supposed to just look at
the tape, not fall in love.

It's my daughter.

ITURRI SOSA: It was a
true story about a woman,

her father actually
showed up at her door

on, I believe, it was
three separate occasions.

There's a back story that I imagined

that is not sort of obvious in the story,

that the mother committed suicide

so she's harbored this
anger, this resentment,

and this sort of deep sadness.

OLIVIA LUCCARDI: For
someone like Melissa,

she has spent so much time
becoming this new person.

To have something from your past
come back, it's... it's scary.

I really need to see your face.

TANYA HAMILTON: David Morris is flawless.

- I'm sorry.
- All you wanna do is watch him

'cause he's so real and
authentic and honest.

OLIVIA: He gave an amazing performance,

which did help, even through a doorknob,

being able to see him. I just felt it.

(MONEY THUDS)

Make me say no one more time.

SIMON: You were headed to December of 85

to the assassination of Paul Castellano

and the changing of the
guard in the Gambino family

with the rise of Gotti and
the guys from Ozone Park.

There was volatility.

JAMES FRANCO: These
younger guys are coming up,

and are starting to sort
of question, you know,

the kind of traditional
ways of doing things.

SIMON: A lot of people
in the New York families

tried to rigorously claim
that they were gonna have

nothing to do with narcotics.

Keep this between me and you. All right?

Yeah, Tommy, sure.

SIMON: But cocaine sort
of broke that down.

DANIEL SAULI: If we're taught
that money is the thing,

and it's just a new racket.

Longo is a purely transactional person.

For him, this is another way to earn.

There's a lot of money in
drugs and they like money,

so people might... you know,

they started doing a
little bit here and there,

but they wouldn't talk
about it officially.

'Cause you like having
that money coming in.

And if you didn't do it,
somebody else is gonna do it.

GEORGE PELECANOS: Tommy
Longo, he gets into selling

a little bit of drugs with Frankie.

It sets into motion a lot of things

that'll decide the fate
of all of our characters.