Original subtitles

You guys are doing great work there.

Fuck yourself, Frankie.

Oh, shit.

(SIGHS) I guess we should've packed that first.

REGGIE "REG" WINHORN: Oh.

No, there's no room really.

-MELISSA: Reg, you want it? -REG: No.

Well, hell. Just leave it on the street for anyone, I guess.

FRANKIE MARTINO: Come here.

-MELISSA: Thank you. -FRANKIE: Yeah.

Turns out you weren't the worst boss I ever had.

-(FRANKIE LAUGHS) -Boss?

Yeah, I'm a filmmaker.

(WOMAN SPEAKS SPANISH IN DISTANCE)

MATTHEW ROUSE: Right.

FRANKIE: Fuck.

-Mr. Rouse, you got a minute? -MELISSA: Reg!

REG: I'm so proud of you, baby girl.

-Look... I get it. -MELISSA: I'm scared!

You're her father. She's been through a few things,

and this can't be easy.

What, a few things?

Whatever happened in your past and hers,

whatever's already been said and done,

just... let it be.

Don't talk about it, don't pick it up,

don't look at it, don't pick off no scabs,

just let it be.

Can you do that?

Could you?

All these years I thought that...

I thought she might be dead.

And now I know the world was just...

using her as a... whore.

Taking advantage.

Of her.

Of me.

(MELISSA AND REG CHATTING INDISTINCTLY)

I've-- I've been in Times Square a long time.

I've known a lot of whores.

Some are actually decent people.

MELISSA: Thanks, Reg.

-REG: Shit. (CHUCKLES) -(MELISSA LAUGHS)

-My time in New York is done. -MATTHEW: Margaret?

-You ready? -Yeah.

Thanks, guys.

FRANKIE: See ya. (SIGHS)

(ENGINE STARTS)

(EXHALES)

Man, that's great. She's going home.

(SCOFFS)

What?

What, you stupid?

They can never go home.

♪ ("DREAMING" BY BLONDIE PLAYS) ♪

♪ I don't want to live On charity ♪

♪ Pleasure's real Or is it fantasy? ♪

♪ Reel to reel Is living verité ♪

♪ 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 build a road in gold ♪

♪ Just to have some dreaming ♪

♪ Dreaming is free ♪

-♪ Dreaming ♪ -♪ Dreaming ♪

♪ Dreaming is free ♪

♪ (GUITARS STRUM) ♪

-Oh, shit, I-- -It goes to the A there.

Oh, yeah. The A. Okay, um...

-This? -All on the same fret.

-Right here. -(PLAYS CHORD)

GREG TAYLOR: (CLICKS FINGERS) Lori, taxi's here. We gotta go.

-Okay. -Come on.

Sorry, I guess I gotta go. (SIGHS)

So, how am I doing?

GUITARIST: You're getting there.

Cool, thanks.

Yeah, I'm gonna take it with me to New York,

so I can practice there.

You know, and then I-- I just wanna get to a point

where I can play along with you while I sing.

Cool. See you when you get back.

Cool. Thanks. Bye.

GREG: Lori, come on!

Jacket, purse, bag, let's go!

-Come on. -Okay. Jesus fucking...

GREG: Let's go.

-♪ (MUSIC PLAYS IN BACKGROUND) ♪ -MC: 24 hours a day,

all you can handle, all right here.

Frankie, don't it seem a little bit reasonable to you

to give Rudy just a taste of the movie thing,

seein' as we've been taking a taste

of the peeps the whole time?

Look, he expects the skim.

As long as we don't take too much, we're good.

But he's pissed about the movies.

Why not give him just a small piece?

MC: Coming to the stage, Heavenly Heather...

Well, if he stops bitchin' about it all the time,

-maybe I will. -Come on, Frankie.

Just a taste, so I don't have to stress.

All right. A taste. For you.

-TOMMY LONGO: Hey. -Hey. Hey.

(MC CONTINUES ANNOUNCING)

Here you go.

(EXHALES)

Anything else for Rudy?

You know, from your movies?

What, he's still bitching about that?

MC: Live, live pussy,

-Twenty-four hours a day. -Well, if he's still bitching about it,

then fuck him.

♪ (MUSIC CONTINUES PLAYING IN BACKGROUND) ♪

MC: Hot, wet ladies are here to make your day...

WOMAN: (OVER PA) ...824 to New York JFK, now boarding at Gate 32.

...824 to New York JFK, now boarding at Gate 32.

Oh, shit, I forgot to bring my guitar!

Lori, let go. They just called our flight! Come on!

WOMAN: (OVER PA) American Airlines flight 27...

BRYAN: Cecil!

Petey?

Alone?

A hundred years

-have I watched. -CANDY: (WHISPERING) Do your thing.

-Your flashlight on the tree. -Every living creature

who wanders this way

-bemoans their lonely existence. -(HENRY AND CANDY GIGGLING)

And yet, I stand witness.

-Proof they are not alone. -(INDISTINCT WHISPERING)

-(BOTH GIGGLING) -Who...

-HENRY "HANK" JAFFE: Am I doing it wrong? -...is...

-CANDY: Yes! -...lonelier?

-BRYAN: Woe is me. -It's a deer in the headlights.

I get it. -CANDY: Shh.

Abandoned by kin.

-(MUFFLED LAUGHTER) -MAN: Shut up.

-HANK: Shh. -BRYAN: Assaulted by the very...

-♪ (SOUL MUSIC PLAYS) ♪ -I need some time off.

No problem. When?

Don't exactly know yet.

Let me know when you do.

It's to go down to Washington for those porn hearings.

-I'm gonna testify. -(ABIGAIL "ABBY" PARKER SIGHS)

-(ABBY SIGHS) -They're looking for ex-hookers

and porn people to tell their stories, and...

shit, I got a story, don't I?

I didn't even ask. Why tell me?

'Cause you should come with me.

Stop.

You were one of the people who started the movement.

Now something's really happenin' and you're not with us.

-We want the same things! -Not really.

How can you say that?

How can I say that? How can you?

You-- You're about to take

something that was supposed to be

a campaign about awareness and consciousness-raising

and-- and hand it over to Reagan, and Meese, and...

Phyllis Schlafly.

You're being used by extremists.

How is it extreme?

We got that law passed in Indiana.

We got another one almost passed in Minnesota.

-(JULIE SIGHS) -And who got hurt?

Nobody but some fucking pornographers,

and now, there a chance for a federal law

to do it everywhere.

Dworkin and the others are playing with fire.

-Yeah! -ABBY: Yeah.

You tie the anti-pornography movement

to censorship and you lose.

You piss away any good

that Women Against Pornography ever did.

You take all the time you need.

Sometimes that's what you gotta look for.

The ones that can make the stupid shit

-sound smart. That's an actor. -(INDISTINCT CHATTER)

So, the-- the deer, but not the tree.

-(DOOR CREAKS OPEN) -Nah. I didn't believe that leafy bitch for one second.

-(HANK CHUCKLES) -Blitzen!

-Huh. 'Scuse me? -You were fucking great!

You were! You were the best part of that mess.

(CHUCKLES)

I got some good news and some bad news.

Which one you want first?

I'm an actor, so give me the bad news.

I got a great part for you, but it's in an X-rated movie.

-Nah. (SIGHS) -Hang on.

I'm gonna match the SAG rate,

but to get it you gotta show your ass,

you gotta fuck a little on film.

The good news?

The good news is no fucking antlers!

Come on. Let me buy you a cup of coffee.

There's a place around the corner.

-Yeah, all right. -(CANDY LAUGHS)

FLORENCIA: Hey, Papi, wanna warm up?

Just a little bit?

JENNIFER PRESTON: Hey, Daddy. You wanna date?

If I break an ankle in these stilts,

-I get workman's comp, right? -(CHUCKLES)

RALPH: Hey. Lemme help you out.

-Gracias. -You look cold.

You gonna give me your jacket, Papi?

(CHUCKLES) No, but I can help you warm up.

-I got a room inside. -How much?

Fifty'll get ya 30 minutes in heaven with Florencia.

RALPH: Half and half, right?

(SIREN CHIRPS)

Rob, company's comin'.

ROB: (OVER RADIO) Copy that.

PIMP: Bitch, everything I say, you hear backwards.

-MAN: It's bullshit, man. -MAN 2: I know, I know. That's what I said.

RALPH: Oh, let's get this goin'. All right.

Mama's so fucking hot.

I cannot wait to fuck you.

-Yeah, it's gonna be so good. -So fucking good, baby.

-Yeah, let's get-- -Ah, ah, ah, lover boy!

Money first.

-(KEYS CLATTER) -You a cop?

Honey, do I look like a cop?

No, you do not look like a cop. (CHUCKLES)

Thank you!

Thank you.

-Knock, knock! -What the fuck?

-Oh, shit! -Shit. You set me up?

You got cops hiding in your room and I set you up?

-You set me up! -Oh, fuck me!

-Sorry. That's pretty much off the table now. -RALPH: Fuck you, bitch!

-FLORENCIA: Puta madre. -ROB: Out the door. Come on.

-(RALPH MUTTERING) -ROB: Down the hall, to the right.

POLICE OFFICER: (OVER RADIO) The wagon's around the corner. ETA 30 seconds

(ABBY AND PILAR BREATHING HEAVILY, GIGGLING)

(BOTH MOANING)

(MOANING CONTINUES)

(BOTH PANTING)

(CLEARS THROAT) Hey.

(BREATHES HEAVILY) Hey.

I'm, uh...

Vince.

Pilar.

Nice to meet you, Pilar.

(GROANS, SIGHS)

Didn't I leave the thing on?

Uh... Yeah you did, but-- but it's cool.

I-- I'm just beat. I was gonna crash on the sofa.

I'll just grab an extra blanket.

Look, I gotta-- I gotta crash. It was a long night at the club.

Of course, if, uh...

you two ladies need a spare part or two, I'm...

nothing if not a giver.

Uh... I mean, I--

I like women too, so...

we already got that in common.

Vin.

Okay. (CHUCKLES)

-(BOTH LAUGHING) -Fuck.

(SIGHS) Ah, minga.

-(SNIFFS) -(KNOCKING ON DOOR)

-GREG: Baby, you're up. -Yeah?

-Oh, okay. Sorry. One sec. -(KNOCKING CONTINUES)

(TOILET FLUSHING)

-She's just-- -(INDISTINCT CHATTER)

Come on.

-GREG: You ready? -LORI MADISON: Yeah.

-GREG: You feel good? Right. -LORI: Yeah.

-Make sure you say hi to Stevie for me, okay? -Mm. Mm-hm.

-I've known him a long time. -Okay.

Oh, baby. Hold on one second. One sec-- One second.

-Okay. Right. Good. -(CHUCKLES)

-Go for it. Okay. -Thank you, sweetie. Okay. Yeah.

All right. Good luck! (CHUCKLES)

-LORI: Thank you. -Break a leg.

Hi. I'm Lori Madison, and I'm 120 pounds,

-give or take. -SELMA: And your height?

Oh, um... 5'5" and three-and-a-half quarters.

Excuse me. Do you work here?

I'm sorry. One sec. (CHUCKLES)

Um...

Yes, sir. How can I help you?

I'm looking for something to buy my wife.

Oh, I see.

What's her style?

Can't you just tell me what scarf you'd want?

If that's what you'd like, but I'm not your wife.

Could we run it one more time from the top?

Mm-hm.

And, uh, this time, give us seductive.

Oh, okay. That...

What you really wanna do is get him to screw you

in a dressing room.

Um... Can I just ask...

what, uh, is the story?

Like, beyond the scene.

He's a serial killer.

He doesn't actually have a wife; he's lying about that.

SELMA: His mother worked in a department store.

She stole a scarf from work, lost her job.

And that forced her to turn to a life of prostitution

in order to survive.

Okay.

And now he goes around murdering young women

who remind him of his mother.

In the next scene, he's gonna actually strangle you

with a scarf you picked out.

Ready?

SAM: 'Scuse me, do you work here?

(CLEARS THROAT)

Yes, sir.

How can I help you?

CHRIS ALSTON: Everything we can do to the guy, we're doing it.

You've got six prostitution stings

in the last three weeks,

all with convictions on the premises.

I've had the fire marshal through there twice this month.

Building inspectors, health inspectors.

How much longer are we talking?

We only need two convictions, one more case in the pipeline,

and you've got enough to padlock.

I understand how the padlock law works, Constable.

What I'm asking is how long?

Gene. These cases should hold up,

but we can't speed the process all that much.

The fact is the property owner has the right to appeal

our use of this case under the nuisance statute.

Even with a TRO,

the judge could deny us conjunctive relief

if they mount a coherent appeal.

The rights of property owners are baked into the system.

-It's how it works. -(SHOUTS) Fuck all!

And thanks to this shit-stain of a hotel,

we have lost a 30 million dollar business complex.

Is that what I'm hearing?

The money won't wait?

Not a month more. It will go elsewhere.

What the fuck is it about the center of this fucking town?

Everything is one step forward, two steps back.

Hey, Lor. Check it out.

Everywhere we go, there you are.

So, how'd it go?

-Okay, I guess. -Yeah? What did Stevie say?

Stevie wasn't there.

Why not?

Okay. Well, I'll call him when we get back to the hotel.

It's no problem.

Christ.

Which way is the hotel?

This whole goddamn city smells like piss, you know that?

(CAR HORNS HONKING)

ALSTON: No complaints, Jack. Everything ran like clockwork.

Your people gave me everything I asked for.

♪ (MUSIC PLAYS IN BACKGROUND) ♪

You don't look happy.

Oh, the case work is fine.

By the time it leads us to a padlock on the place,

the money will have walked away, so my boss is telling me.

So, what?

You're not a realtor, you're a fucking cop, right?

(CHUCKLES)

The last I checked.

But I'm good taking my people back?

I mean, everyone comes home,

I get to put 'em back down in the hole?

Everybody goes home, Jack.

Even Jennifer?

-Fuck you, Jack. -Fuck you, Jack!

-(LAUGHS) -He's right though.

You, I'd prefer to keep.

Well, if you have more work for me, then you can.

Well, I wouldn't call it work.

-You flatter yourself. -(LAUGHS)

Girl, you got a mouth on you.

(CHUCKLES)

JACK: Drink up, motherfuckers!

-ALL: Yeah! -JACK: Good work.

Angela, I forgot your birthday.

-ANGELA: Mm-hm. -TONY: Oh my--

-How could I have done that? -(PHONE RINGING)

-(PHONE CLATTERS) -GREG: (MUTTERS) Shit.

Yeah. Hello-- Hello.

Stevie, hey! (CHUCKLES)

Yeah, not bad, buddy. Not bad.

Uh... So-- So listen, how did, um...

-(INDISTINCT CHATTER ON TV) -Uh-huh. Uh-huh. Uh...

Okay. Well, how about this? How about she comes back in,

and reads against your guy, and we--

(INDISTINCT CHATTER ON TV)

Come on, man, seriously.

We came all this way because you said we'd--

Right. Yeah. (CHUCKLES) Right. Right.

Right, well, thanks for nothing.

-(PHONE SLAMS) -Fuck!

(INDISTINCT CHATTER ON TV CONTINUES)

Where are you going?

To go talk to him. He's making a big mistake.

LORI: Let it go, Greg!

Nah, he owes me. We have history.

If I'm not good enough for the part,

then I shouldn't have the part.

Baby, you were good enough.

How the fuck do you know? You weren't even in the room.

Yeah, neither was he. And that's the problem.

Greg!

He's got to see it for himself, okay?

It was his idea to have you audition.

His. I didn't even ask him, Lori. He came to me.

I don't want the part!

Then what the fuck are we even doing in this shithole?

I swear to Christ on the motherfucking cross,

do you even know what you want? Huh?

You don't wanna do fuck films anymore,

-you don't wanna do real films-- -I do wanna do real films!

How can you say that when you're turning your back on a job?

It's not a job, they don't want me!

They want you! They just don't know it yet.

-(DOOR SLAMS) -(LAUGHTER ON TV)

ABBY: Thirty-fucking-thousand dollars.

(INDISTINCT CHATTER)

PILAR: Hey, that's a steal. (LAUGHS)

How long have you known that artist?

-Marco? Uh... -Mm.

...about ten years. We were at RISD together.

I know he's your friend and all, but...

doesn't it burn you up? He gets a solo show to...

papier-mâché fucking cowboy.

Yeah, it does.

But who cares what I think?

Wall Streeters think they've found the next Basquiat,

so he can name his price.

And he has.

Stay with me tonight.

That was the plan.

I mean all night. Don't go back up town.

-I'm afraid we rattled him. -(CHUCKLES)

I'm gonna have to call,

so at least he's not expecting me.

SERVER: Slice of cheese. Enjoy, man.

(HORNS HONKING)

MAN: Hey, look at her. Look at her!

-Lori? Lori? -LORI: Hey.

-Hey, Lori. -LORI: Mike.

Oh, my God. Hi. (INHALES SHARPLY)

(SIGHS)

Hi.

(SIREN WAILS)

I'm tellin' ya, this is no different

than anything else you and me are gonna do.

-ABBY: We'll get some breakfast. -No. N-- Abby.

-The problem-- -Abb-- Abby. Abby.

WORKER: Ready, Roy?

You have fun. Okay?

Hey. Look who I found.

Holy hell. Lori Madison.

Shit, you're not even open yet.

(SIGHS) What, are you kiddin'? You're royalty.

What are you drinkin'?

Uh... Vodka cranberry.

VINCENT MARTINO: You got it. Have a seat.

Tell me everything.

There's nothing to tell.

I'm still a whore, I just got famous for it.

Ah! Come on.

I'm not gonna lie to you, Vincent.

Look...

Even when you were a whore...

you weren't a whore.

Not ever.

What does that even mean?

It means... welcome home.

(WORKERS CHATTING INDISTINCTLY)

Oh. Hey, fellas.

What the fuck is going on here?

Interviewin'.

Interviewin'?

I'm holdin' onto a lot of tension,

so I need Maya to do that thing she does.

Shit!

(SIGHS) Rudy, I'm sorry. Maya's on an outcall tonight.

Had I known...

All right, who's available then?

Right now, um...

Star. She should be coming off her break soon.

Which one is Star? The redhead with the...

No gingers. Freckles fuck me up. It's too Irish.

All right, so, what about, uh, one of these?

I could ask, but officially they're not hired yet.

Uh...

The big one... is the outcall envelope.

All my girls are practically living in Midtown hotels.

-We're making a killin'. -RUDY: That's great,

but who am I supposed to fuck now?

I'm sorry for the inconvenience, Rudy.

You can come back in an hour or two.

You're telling me that business is so good,

I can't even get laid in my own goddamn whorehouse?

(WOMEN CHATTING INDISTINCTLY)

I'll call over to the Alhambra

and see if Jackie can send over some girls for you.

Thank you, sweetheart.

Orientals if they got 'em.

VINCENT: There you go. (SIGHS)

Is he taking requests?

He is now.

Do you have "No Easy Way Down" by Dusty Springfield?

Dusty in Memphis.

Got it right here.

Excuse me.

♪ ("NO EASY WAY DOWN" BY DUSTY SPRINGFIELD PLAYS) ♪

(MOANING)

(PANTS) You're my first lieutenant.

-That a fact? -(CHUCKLES)

I don't like guys who make rank.

-(MOANS, GASPS) -Me neither.

♪ ("NO EASY WAY DOWN" BY DUSTY SPRINGFIELD PLAYS) ♪

♪ (SONG ENDS) ♪

Can you play that again?

♪ ("NO EASY WAY DOWN" BY DUSTY SPRINGFIELD PLAYS) ♪

Hey.

♪ Your toy balloon has sailed ♪

♪ In the sky, love ♪

♪ But now it must fall ♪

♪ To the ground ♪

♪ Now your sad eyes reveal ♪

♪ Just how badly you feel ♪

♪ 'Cause there is no ♪

♪ Easy way down ♪

-Manuel! -MANUEL: Yeah, Vince?

You and Jay, you go, uh, have a dinner on me.

It's gonna be a long night.

-Now, boss? -Yeah, now.

-I'll finish up here. -MANUEL: Jay,

Vamos a comer.

(JAY AND MANUEL CHATTING INDISTINCTLY)

-Jerome! -JEROME: Yeah? What's up?

-BIG MIKE: Let's take a walk. -All right, man.

♪ Now you're stranded alone ♪

♪ And the past is unknown ♪

♪ And there is no ♪

♪ Easy way down ♪

♪ No, it isn't very easy ♪

♪ When you're left On your own ♪

♪ No, it isn't very easy ♪

♪ When each road you take ♪

♪ Is one more mistake ♪

♪ There's no one to break Your fall ♪

♪ And lead you back home, Yeah ♪

-TAXI DRIVER: Delancey and what? -Uh... Delancey and Essex.

(MOANING)

Actually, go to the FDR and take us

halfway around the island, okay?

(MOANING)

(TAXI RADIO CHATTER)

(BOTH PANTING)

♪ (SONG ENDS) ♪

W-- Wait, wait. Hold on. (PANTS)

♪ ("I CAN'T MAKE IT ALONE" BY DUSTY SPRINGFIELD PLAYS) ♪

Wha-- For a blowjob?

Just for safety.

For safety?

(STUTTERS) You haven't been in New York.

It's going around. It's everywhere.

Hmm.

Once a whore, always a whore.

No, no, no, no. It's-- It--

It's not like that.

You can fuck me, but you can't use a cover.

Jesus, Lori.

I guess there are worse things I could be, right, Vincent?

Some of the best people I've known have been whores.

♪ I've tried and I know I can't make it alone ♪

What's the last thing you remember?

I was driving.

There was a bright light and then... I woke up here.

Is it weird to be proud of this?

Not at all. You did great.

-You think? -Shh.

-WOMAN: (ON TV) How long have I been in the hospital? -TOD: (ON TV) A week.

WOMAN: Oh, my God. A week?

-TOD: (ON TV) You've been in a coma. -(BOTH CHUCKLING)

Don't worry. Everything's going to be all right now.

You're in good hands.

Bravo.

And so fucking handsome.

-I don't know. -What's wrong?

I'm a little run down.

WOMAN: (ON TV) What do you mean you don't know?

-Aren't you a doctor? -You...

don't have to do anything.

Just relax.

Nurse Paul is here.

(IN SOUTHERN ACCENT) I do declare, my big, handsome man.

(BOTH LAUGHING)

PAUL: Don't worry, Dr. Mackie.

You're in good hands.

-WOMAN: You saved me. -I was only doing my job.

I'm sorry. I'll make it up to you.

It's not your fault.

♪ (MUSIC PLAYS IN BACKGROUND) ♪

-(INDISTINCT CHATTER) -Thank you.

-Hey. -Hey.

-Thanks for stopping by. -Yeah. What's up?

I want you to come talk to some people...

about what you do.

-What I do? -Your films.

Okay. Who am I talking to?

Woman Against Pornography.

(LAUGHS) Why the fuck would I do that?

No, I've seen those ladies

parading out in front of the peeps.

Sad housewives, pissed-off lesbians...

-and Loretta! -Who, me?

Not all. Not all.

Some of them are movers and shakers.

Dworkin, a few others. They're thinkers.

And they believe they can get a federal law on the books...

to ban pornography.

Why do they wanna talk to me? I make dirty movies.

They're feminists.

So are you.

(SCOFFS) Oh, I am?

-Yeah! You are. -I mean...

Isn't that what your movies are saying?

Think about it.

I'm just making my movies for me.

My movies say what I want 'em to say.

Okay then. Tell 'em that.

Candy, these women are about to take something

that was meant to be a campaign

-about the objectification of women... -CANDY: Mm-hm.

and hand it to Ronnie Reagan, so he can use feminism

to beat down open speech.

Just... go with me.

And tell them you're a woman, and you shoot fuck films,

because they say exactly what you wanna say.

Make them tell you you're wrong.

Because you're not wrong.

(INDISTINCT CHATTER)

(WINDOW WINDS DOWN)

DOORMAN: Hey!

You can't park here.

-I'm not staying. -DOORMAN: I know you're not.

That's my cab lane you're blocking.

All right, girls. You got my beeper number.

I'll stay close.

LEON: Pick up: chili and a hot dog.

We got an order of...

(GRUNTS) Apple pie with a slice of melty yellow cheese.

You want some?

I'm trying to lose a few.

Well, you could take that rug off.

There's a couple right there.

That's not funny.

-(LAUGHS) Wait, that-- -Fuck you.

Hey, don't you, uh...

Don't you gotta be going through the, uh...

parlors about now? It's your-- It's your busy time.

There's no busy time anymore.

Not as many are coming in with that virus scaring everybody.

Those that do wrap themselves in plastic,

just to get their dicks nibbled.

Pathetic.

Glad I'm married.

Me too.

I'll tell ya, the real money now is the outcall.

Parties especially.

Half the guys don't wanna fuck.

They just want the girls to dance

or eat each other's pussy.

Or maybe take 'em in the back room for a blow,

but they still tip like it's straight fucking.

Easy money for the girls.

All it costs me is gas money and some car rentals.

You know, I remember when sex was sex.

(SIGHS) Yeah.

Speaking of which,

Rudy came in last night for some trim.

And he was crying about you not giving him

-no piece of your movies. -What the fuck?

His feelings are hurt.

-Throw him a little somethin'. -All right!

But keep the peace.

All right, I said! Jesus Christ!

Fucking guy. Left, right, and fucking center!

Fucking sawed-off guinea.

-Just wears you down. -LEON: Order up. Two pork chops

-with mashed potatoes... -Goddamn.

LEON: ...chicken and waffles, thighs only,

two scrambled eggs

-with pancakes. -Have some fucking pie, why don't ya?

Fine.

-It'll cost ya one wig. -Hey!

-Don't fucking touch that thing. -(LAUGHS)

(BEEPING)

Shit.

(PHONE RINGS)

(ELEVATOR DINGS)

Excuse me. Excuse me! Hey! Hey! Hey!

Hey, hey!

(ELEVATOR DINGS)

XIOMARA: Frankie. Come on. Please, please.

Go. Quick!

-Okay, do something. -What happened?

He-- He wanted to be fed lobster while getting blown.

Why didn't you call security?

You said, for trouble to call you!

Fuck.

-I told you to call 911. -What the fuck?

-I told you. -What the fuck is happening?

What the fuck is happening right now?

(GRUNTS) Fuck.

Do the thing. Do the mouth thing.

It's not working.

-It's not working! -Fuck!

Get a pen.

Get a fucking pen!

(SOBS) Okay. Okay.

-I can't find one an-- -Come on.

What are you do-- What the-- What the fuck?

-What the fuck? -(SOBS)

-(BOTH SHRIEK) -Hush now.

BAMBI: Oh, no. This is your fault. I told you--

-XIOMARA: Shut the fuck up! -(KNOCKING ON DOOR)

SECURITY GUARD: Security. Open up!

(BLOWING)

Motherfucker!

(CLAMORING)

What are you doing? They're breaking--

Hey, he's saving him!

(INDISTINCT SHOUTING)

-(CANDY LAUGHS) -HANK: Bermuda.

-For the fucking weekend? -Yeah.

No, no, no. No, there's a, um...

There's an opening at La MaMa

that I wanna see on Friday night.

There's one actor in particular...

(SIGHS) What's he playing? A rock?

Or maybe he's Death himself with a scythe and a dildo. (CHUCKLES)

I think I've seen everything that off-off Broadway

has to offer. Come on.

-Oh, thanks. -Bermuda.

I... Oh, I can't go away this weekend.

Is he better looking than me?

I bet he's got a full head of hair.

(LAUGHS) No.

I gotta cast my movie.

I don't-- I don't get the point of finding everybody now.

You're talking about shooting it piecemeal

between paying jobs, right?

-Mm-hm. -So...

what's the point in finding everybody now

if you're just gonna wait for months to use some of them?

So, what? Start with the scenes based on which actors

I can find first? That's not a bad idea.

You're welcome. So, we're going this weekend?

RONALD REAGAN: (ON TV) ...thank you for sharing your time with me tonight.

The subject I wanna discuss with you,

peace and national security, is both timely and important.

Timely, because I have reached a decision,

which offers a new hope for our children...

When shall we three meet again?

In thunder,

-lightning... -Ah, the Scottish play.

-...or in rain? -No, no. It's Macbeth.

ACTOR: When the hurly-burly's done, when the battle's lost and won.

-(INDISTINCT CHATTER) -(SIREN WAILS)

(SIGHS)

(GRUNTS)

(SIGHS)

Stay.

(SIGHS)

ABBY: Close your eyes.

What?

ABBY: Close your eyes, Vincent.

'Kay. They're closed.

Open your eyes.

(CHUCKLES)

Make a wish.

(SIGHS)

I hope it comes true.

You sure about that?

Come here.

HADDIX: So, what, is it like a-- like a pus?

-(PHONE RINGING) -A pus. Well, take a look.

Just get a mirror, like a bathroom pocket-book mirror,

and hold it underneath.

And if it's you, Sammy, no one's gonna believe

it's a hooker anyway, right?

Uh... Hold that thought. A suit just walked into my office.

I gotta go. All right.

-(PHONE RINGING) -(HADDIX SIGHS)

Hey, guys. Give us a minute, all right?

POLICE OFFICER: Sure thing, Mike.

Back in five.

WOMAN: (OVER PA) Officer Dugan, move your car.

You're blocking someone trying to go home.

A suit?

You ain't that?

I remember when you were in the bag, Alston.

-I remember you-- -Yeah,

we were all in the bag once.

I need some help with somethin'.

Something I don't know how to do.

How to do it.

Who I would ask. How it happens.

I don't got a clue.

And I do?

What happened to your new messiah, Jack Maple?

It's not police work.

POLICE OFFICER: Uh... The file's back on my desk.

-(PHONES RINGING) -Sounds fucked up.

WOMAN: (OVER PA) Whoever's got the voucher log, bring it back to the desk,

-please! -That bad?

When it's that bad and that fucked up,

there's usually a hell of a price tag.

♪ (HORROR MUSIC PLAYS ON TV) ♪

-(GROWLING) -(OWL HOOTS)

-(WOLF HOWLING) -Enough.

No. Hey, we're just getting to the good part.

-The money shot, as it were? -No, there's no money shot

in this one. The wolf's gonna get his.

The point we're trying to make,

the reason I asked Eileen to come to speak to us tonight--

-Us? -CELINE: Come on, Abby,

you haven't stood with us in a long time now.

Still standing in the same place.

And we've moved on, yes.

Andrea, putting me aside for a moment,

the reason it's so dangerous to think that

there's a one-size-fits-all answer to...

pornography, or, uh, obscenity, or prostitution--

Yes, it's because...

um...

what you wanna say about men and women and fucking

is probably not the same thing I wanna say, right?

So, we're all intelligent people here.

We have to find some way to be okay with that difference.

You're doing fine. You're on the other side of the camera now.

I'm sorry, I forgot your name.

Andrea.

Andrea. Uh... I was fine with it when I was fucking on film.

Yeah, I was fine with it when I was fucking in the street.

-Those were choices I made. -And you've done well by them.

Well, I've done what I've done.

That makes sense to me, maybe not to you.

And this makes sense to me.

Not to you, okay.

But if we're...

gonna stand together on this as women--

I mean, look, you're not gonna wanna tell me who I can fuck, right?

You don't wanna do that. You don't wanna tell me...

what should turn me on.

It's just the same with what I film.

It's the same goddamn thing,

because I'm not trying to clean shit up.

When I'm filming people fucking,

what I'm after is the truest, wildest shit

that's already in all our heads.

I mean, that's the truth I'm after.

I'm sorry, who are you? (LAUGHS)

To come in here and pretend that your outcome, right,

your personal achievements

in a multi-million dollar industry

that feeds off and fuels American sexual oppression

are representative of what awaits other women.

Are they becoming auteurs?

Are they gonna get paid for their vision?

You think I was born with a camera in my hand?

N-- (SIGHS) No.

Do you know where I've been?

You know how hard it was for me to get here?

-This is pointless. -CANDY: Why?

-I know. -ABBY: Andrea,

-this is a woman that-- -ANDREA DWORKIN: No. No, no, no.

The anecdotal does not help us here, Abby.

The anecdotal is the problem, because the fact remains that

for every prostitute who thinks

that she can manage her own commodification,

there are two dozen who can't.

Okay. They're brutalized by the process.

For every porn actress who thinks she can stand

in the light, there are two dozen who are

-used up and tossed aside. -Okay.

You are the strong one.

That's very good for you, Candy. Or...

Arlene, or whatever your name is.

But how many women do you know who've done what you've done,

whose outcome was not yours? Where are they now?

And how many are better because of this brave new world,

and how many are worse? And, remember,

for every playful little scene of some self-actualized

Red Riding Hood, vanquishing her fears and inhibitions,

there are a dozen videotapes up on Eighth Avenue of women

being gang-banged or tortured, or made to fuck everything.

What about those women?

Are you speaking for them?

Uh...

(SCOFFS) I-- I don't know.

But I'm speaking.

So are we, okay? And we are doing so for every woman

who now has to be seen and considered...

and subordinated in light of what you have made your work.

For every woman who is raped or tortured,

if not because of what you thought to film,

then for all the help that you gave them

making that thinkable for some pornographer

to put up on screen.

Excuse me.

-(SCOFFS) -(DOOR OPENS, CLOSES)

(DOOR OPENS, CLOSES)

Are you a fucking moron?

Come on. Get out. Let's go. Go!

(CAN CLATTERS)

Really?

What? It's just in case.

-Yeah, go ahead. It's sulfate. -Yes.

Look, Candy, I'm sorry.

-That was vicious. -Yeah.

Yeah, they were assholes.

Fuck it!

Maybe I needed to hear some of that shit.

Uh... Maybe I should just sing and you should play.

Whatever you want.

Okay, thanks.

♪ (PLAYS BLUES PROGRESSION) ♪

Shouldn't even charge for this.

(COUGHS)

♪ Happy birthday to you ♪

♪ Happy birthday to you ♪

♪ Happy birthday Dear... ♪ (ALL MUMBLING)

♪ Happy birthday to you ♪

One, two, three.

(CHEERING, APPLAUSE)

FRANKIE: Ah!

Officially, we're late.

-It's after midnight. -Boo!

My brother could ruin a wet dream.

(ALL LAUGHING, CLAMORING)

(LAUGHTER)

One more trip around the sun for the Martino brothers!

(ALL CHEERING)

VINCENT: Thank you!

♪ ("HAPPY BIRTHDAY" BY ALTERED IMAGES PLAYS) ♪

♪ Happy, happy birthday In a hot bath ♪

Hey! Some champagne.

♪ I remember always, always ♪

Hey babe, will you grab me some bubbly?

-I'll be right back. Okay? -You got it.

-♪ Seeing them In my dark cupboard ♪ -Yes.

♪ With my great big cake ♪

All right. Let's go.

♪ If they were me If they were me ♪

♪ And I was you And I was you ♪

What the fuck is it now?

You know what now. You keep steppin' on my shit.

Oh, did I? Well, you know what?

You're the only one who complains.

Am I right, George?

Everybody else is getting their head up on our shit.

Except you.

You're the only one who keeps running back to Tommy Longo

to get your fucking discount.

Well, you know what? I'm done with your bullshit.

This ain't right.

♪ I got such a fright ♪

♪ Seeing them In my dark cupboard ♪

-Goddamn it! -(PHONE HANGS UP)

Vince.

I gotta go.

-What's the problem? -Black Frankie is at Rikers.

What the hell happened?

Something went wrong at a hotel.

They fucked up one of the outcall johns.

How bad?

Attempted murder.

I gotta go find a lawyer and a bondsman.

Tell Fran I had an emergency.

Make sure you walk her to the car.

Yeah, all right.

♪ ("EVERYBODY WANTS TO RULE THE WORLD" BY TEARS FOR FEARS PLAYS) ♪

FRANKIE: All right, first birthday dance goes to you, Miss Fuego.

CHRISTINA: Who, me? (LAUGHS)

FRANKIE: Oh! Oh, oh, oh, oh.

Uh-oh.

You wanna dance?

♪ Welcome to your life ♪

-♪ There's no turning back ♪ -(LAUGHS)

♪ Even while we sleep ♪

♪ We will find you acting on Your best behavior... ♪

(SINGING) ♪ I come home, sad and lonely ♪

♪ Feel like I wanna cry ♪

♪ I want a man to hold me Not some fool to ask me why ♪

♪ And I need someone To love me ♪

♪ And darling I know you can ♪

-♪ (GUITAR STRUMS) ♪ -(INDISTINCT CHATTER)

♪ Don't you put yourself Above me ♪

♪ Just love me like a man ♪

♪ (GUITAR STRUMMING ENDS) ♪

(CHEERING AND SCATTERED APPLAUSE)

(INDISTINCT CHATTER)

Thank you.

-You're Lori Madison, right? -No.

You sounded great, babe.

(PERFORMER SPEAKS INDISTINCTLY)

Whatever you want me to do, I'll do.

You want me to fuck, I'll fuck. You want me to suck, I'll suck.

You wanna shove a fucking broom up my ass...

I can sweep up the set floor while I do everything else.

-Lori... -LORI: Okay?

You win. I can't do anything else. You happy?

♪ (MAN PLAYING "HOUSE OF THE RISING SUN") ♪

-ALSTON: Who called it in? -FIRE INVESTIGATOR: Anonymous.

-ALSTON: What d'you find? -Oh, a set fire definitely.

Accelerant's petroleum-based.

Pour pattern evident on the floor.

Whole shit-pile would have gone up

if the guy had checked the air vent in that room.

It was shut.

-Thank you. -Yeah.

(INDISTINCT CHATTER OVER POLICE RADIO)

When you speak of me, speak well.

Frankie, this is gonna hurt.

♪ ("FEVER" BY SYLVESTER PLAYS) ♪

MAN: Kings full of tens!

Fuck you.

You bring a full boat to my straight on my birthday!

That's not how friends treat friends.

You want me to fold with a full house

because your mother dropped you one day and not the next.

No, malaka.

-(LAUGHS) -Frankie, Georgie raped you.

You all are fucking degenerates.

I'm actually going to bed.

Kalinixta.

Hey!

Happy birthday, you little shit!

What, you givin' up? The shake of the evening.

Don't hurt yourself.

(GUNSHOT, GLASS SHATTERING)

(GUNSHOTS)

MAN: Holy shit!

(GUNSHOTS RICOCHET)

-Open the door! -♪ (MUSIC PLAYS LOUDLY) ♪

-Open the fucking door! -(DOOR BUZZING)

-BOUNCER: What happened? -Motherfucker!

I thought you left.

I did, th-- There's some fucking asshole out there

shooting up the fucking block.

MAN: Oh shit!

WOMAN: Come on! Let's get out of here.

Frankie. Shit.

-Fuck. Go get Vince! -(FRANKIE GROANS)

-Shit. Fuck, Frankie! -BOUNCER: Vince! Vince!

Yo! Come quick!

Fuck!

BOUNCER: Vince, come on!

Shit!

Shit!

VINCENT: Frankie.

What happened?

-BOUNCER: Call a fucking ambulance. -Hey.

BOUNCER: Hey, yo, cut the fucking music!

-♪ (MUSIC STOPS) ♪ -Little brother.

Don't. Don't. Don't.

(CONFUSED CHATTER)

-The rule. -BOUNCER: Back the fuck up!

What rule?

Infield fly...

What?

BOUNCER: Back it up!

You never got it.

-It's simple. -Frankie.

Two men on base.

Jesus Christ.

One out...

Frankie.

Don't. Frankie!

Simple.

Bet that.

Frankie!

(SOBS)

(CONTINUES SOBBING)

BOUNCER: Jesus Christ! Where's the fucking ambulance?

(SOBS)

♪ (MUSIC PLAYS) ♪