The Deuce (2017) s02e02 Episode Script
There's an Art to This
1 RUDY PIPILO: There's enough in this world for all of us to keep a hand in.
We could open the Deuce up.
CHRIS ALSTON: A fresh one.
He might have gone off to troll some young hustlers.
I'm a whore, C.
C.
You made that pretty clear to everyone on set today.
Don't forget to enjoy yourself.
No fucking plexiglass.
That's fuckin' genius.
(ELECTRIC GUITAR PLAYING) Hey! HARVEY WASSERMAN: The people watching this movie, they don't wanna be in a woman's head.
- Porn.
- MAN: The only reason to put up with those goombas is for protection, what the fuck are they protecting anybody from? - ABBY PARKER: I love you, Vincent.
- Everyone loves a sucker.
(MUSIC CONCLUDES) [CHATTER.]
ANNOUNCER: Attention customers for the Albany Express Direct bus.
The bus is now loading at Gate 32.
This is a gate change.
Albany Express Direct now boarding at Gate 32.
LARRY BROWN: Looksa you, you from afar.
As I live and breathe.
- Baby, you a college girl? - Dropped out.
- I might go back, but - Nah.
Education's wasted on the youth.
Classroom's a box.
What you gonna learn in a box? Uh, I just said that to my parents last week.
Bet you did.
And now you here in the big city for a real education.
From the University of Life As Lived.
Yes.
Yeah.
I see it all in your eyes.
It's as plain as day.
[CHUCKLES.]
My name's Larry Brown.
Brenda Peterson.
Hey, you.
Go.
Get your ass outta my seat.
ANNOUNCER: keep your personal belongings with you at all times.
- You got a crib? - A what? A coop.
Place to stay.
Oh.
My mom has this cousin I've never met.
I'll see how it goes.
I'm gonna ask you a question, and I'm gonna answer that question for you.
OK.
What's your dream? What is it about the big city that brought you here? - Well, I - Shut.
Said I was gonna answer it for you.
You wanna be an actress.
You wanna see yourself in movies.
OK, now you're scaring me.
Oh, it's your lucky day, Brenda Peterson.
With my industry connections, and of course, after we get to know each other a little better, I can most definitely offer you the proper assistance and direction.
That's what I need.
Directions.
[CHUCKLES.]
Oh, we gonna get along right fine, you and me.
How do I get to this address? I'm supposed to meet a guy at 3:00, and I really don't want to blow it.
ANNOUNCER: Now boarding at Gate 7, Trailways Uh, it's cool.
I'll find it.
You know they're gonna exploit you, right? You gonna get yourself exploited! [MUSIC PLAYING.]
See her picture in a thousand places 'Cause she's this year's girl You think you all own Little pieces of this year's girl Forget your fancy manners Forget your English grammar 'Cause you don't really give a damn About this year's girl Ahh-ee-ahh Still you're hopin' that she's well-spoken 'Cause she's this year's girl You want her broken with her mouth wide open 'Cause she's this year's girl Those disco synthesizers Those daily tranquilizers Those body-building prizes Those bedroom alibis All this But no surprises For this year's girl All this But no surprises For this year's girl Hey! Ahh-ee-ahh [DRILL WHIRS.]
- Ta-da! - Irene, what the fuck? Hey, look.
Let me ask you this, alright? Which one of ya's doesn't want to triple their daily takeaway? Now let me see hands.
Alright.
- Watch this.
- [COINS JINGLE.]
Take that, take this Props Here we go.
Where the fuck's he goin'? FRANKIE: Alright.
Irene, put the thing in the thing.
OK.
Oh, this ain't gonna be pretty.
[COINS JINGLE.]
Alright, window goes up, this is you.
[SNAPS FINGERS.]
Bom bom-bom Alright.
Oh! Thank you.
Ya keep dancin' Ooh! Ah! Another one? Thank you! Look at that! I got tipped twice for one pat on the ass.
That's nice work if ya can get it.
Know what I mean? What happens the third time? I don't know.
You play fuckin' patty-cakes.
I signed up for a show.
No touch.
SHAY: Hey, don't knock it.
The girls at at that joint over on 49th Street, they are makin' money hand over fist.
FRANKIE: That's right.
OK? Now: rules.
Rule number one, alright? You gotta make sure the mook ain't a cop.
Second rule.
You make sure he don't touch you anywhere that you don't guide him first.
What, like internally? Tsk.
Nah.
Fuck this.
- What? Dee.
Come back.
- Dee! You ask me, we'll make a shitload more in tips than if they're just stickin' money in the slot.
That's right.
Very wise.
OK.
Third rule.
You make sure his hand goes through the partition to you, alright? You don't put any part of yourself onto his side.
And if you do, make sure it's something you can live without.
Hmm? [MAKES POPPING NOISE.]
[CHUCKLES.]
I was just jokin'.
I was kiddin' there.
Alright? Look, don't worry, alright? Anything happens, there's a button on the side of the window, you press that and if that don't work, then BOOTH DANCER: Then what? - Yell.
- Yell.
OK.
This is a good thing! For all of us.
This is progress! FRANKIE: Tell 'em.
- [DOOR SHUTS.]
- Yeah.
No such thing as free money.
[MUSIC PLAYING ON JUKEBOX.]
Good set last night, right? Great set.
I like where you're goin' with it.
- More personal.
- Finally, right? 'Cause honestly, all that "Rimbaud is my spirit animal" bullshit was starting to give me hemorrhoids.
Him, Baudelaire, Apollinaire, Frigidaire and all those other bad-boy poseurs.
Rimbaud wasn't a poseur.
"I am a beast, a nigger, but I could be saved.
You are sham niggers.
" No offense, bro.
"I enter the true kingdom of the children of Ham.
" Ham and a side of hash browns.
SEAN: Exactement.
You wanna make honest art? Look to where you been.
Sign it for me? Why don't you come back down again tonight? I'll have a real gift for you.
If I can get in for free.
[VINCENT CLEARS THROAT.]
[LOW CHATTER.]
MAN: Hey, where's my light meter? Where's that fucking wimple? It's on your head.
[LAUGHS.]
I love that word.
- Joss, can you get Harvey for me? - Yeah.
[SING-SONGY.]
"Wimple.
" Candy says What? What does she want? [SNIFFS.]
Where are they? They? No.
Come on.
It's just a couple of fries.
Harvey, just stop.
You know I'm right.
Candy needs to talk to you.
- Candy.
- Harvey.
I'm not doin' this anymore.
- Doing what? - Doing this.
Priests, nuns rabbis.
[SCOFFS.]
You're religious now? No, it just offends me.
I stayed up all night writing this scene.
- Ask Joss.
- Harvey, this whole script is shit.
Hey.
Hey, I'm trying to say something about organized religion in this movie, it's a statement piece.
Saying what, exactly? Did you hear the one about the blind guy at the Seder? They hand him a piece of matzah, he says, "Who wrote this shit?" You gotta get rid of Melinda.
She's fucked up even when she's not fucked up.
No problem.
Anything else? Yeah.
I'm not doing any more Daddy Knows Best scenes.
That's a fantasy.
That's not my fantasy.
That's someone's fantasy.
Hey, you want me to keep bangin' out films for you, you gotta give me some better shit to work with.
And you have gotta let me start drawing some lines for myself.
- Otherwise - Alright.
Absolutely.
I've also been thinkin' about something else.
I want 20, 25 tables and a small stage.
So, live music? Yeah, but mellow.
American songbook.
Like at the Carlyle.
So that means a dance floor.
Maybe a little one.
Nothing anybody'd go crazy on.
There's enough discos downtown already.
This is more one of those Nick and Nora Charles nightclubs from the movies, you know? Some wit and class to it.
More conversation, less cock.
- [PAUL LAUGHS.]
- Something like that.
Been to your other club a few times.
Did you have fun? [CHUCKLES.]
I did.
Good.
Be that as it may, I'll need 20,000 up front.
Like I told Kenneth, 15 as a deposit, five for two months' rent in advance.
We have to talk to some people.
Can we get a little time on this? Whatever you need.
This isn't it.
[SIGHS.]
The movies that stick in a theater for more than a month, they cost more, and they're better than ours.
So how about getting the fuck out of this shoebox and making something really special? Because this crap that we're doing now, I mean, I would be amazed if the guys sittin' in the theater stay to the end of the movie after they squeeze one out.
- [LAUGHS.]
- And the best flicks, they make you think a little, they make you laugh for real.
Because they give you story.
- We give story.
- No.
The real moneymakers? Alice in Wonderland? Right? It's fuckin' based on Alice in Wonderland.
- Misty Beethoven's based on My Fair Lady.
- Shaw's Pygmalion, actually.
Devil in Miss Jones is based on a French play.
- That would be Sartre's No Exit.
- Will you stop, please? But it's a bit of a stretch.
Don't do this smart-ass film buff thing of yours.
I'm just trying to talk to you.
I'm just trying to talk to you.
I'm listening to you.
And I'm not going to those fucking spaghetti-benders I have to deal with for more money.
- Neither are you.
- Takes money to make money.
- What? - You heard me.
Et tu, Mrs.
Brute? OK.
- I'll raise it on my own.
- Yeah? Good luck with that.
- [LOUD CHEERING.]
- HARVEY: What now? [CHEERS, APPLAUSE.]
- WOMAN: Fuckin' awesome! - MAN: Nice job, Lori.
- What happened? - I got nominated! - For what? - Best Supporting Actress.
That's fantastic! Which movie? Family Head.
I'm dreaming, right? - That's amazing.
- Taught her everything she knows.
Oh, please.
I got off that bus with skills, and you know it.
Too true, Lor, too true.
- Whose side are you on? - Harvey.
Best Director.
- Get the fuck out.
- Let me see this.
- [CANDY LAUGHING.]
- Oh, my - [VENDING MACHINE CLANKS.]
- Come on.
Nobody's saying nothin' about it.
Any of your friends out there been acting any different than usual? Like how? You mean like paranoid? Yeah.
Everybody.
Every day.
You would be too if you was one of us.
Who ain't been around since then? Dunno.
There's this one kid, kind of like a joker, always crackin' everybody up.
That's why I'm thinking about him.
He kinda disappeared.
But I don't know his name.
Maybe Skeef? Skaff? White, black, or Puerto Rican? There's something you need to know about me.
Mm-hmm? I do what I gotta do, but I got a girlfriend, too.
Mm-hmm.
FLANAGAN: You knew the Doomsday Defense was gonna show up, but Jesus, eight turnovers? It's embarrassing.
Morton got his ass handed to him.
So much for vindication.
How's your case goin'? You know, zeroing in, zeroing out.
You don't have to feel guilty anymore about not taking me under your roof.
I wasn't feelin' guilty about it.
I'm back with the wife.
Is that a good thing? My new philosophy: Every choice you can make in life sucks.
Given that, best thing you can do is choose the thing that sucks the least.
[DISTORTED P.
A.
ANNOUNCEMENT.]
- [WOMAN MOANS.]
- Over there.
[MOANING CONTINUES.]
- ACTRESS: Unhh! - Taylor Tyler.
Raise her hips up about six inches.
Otherwise I can't see the insert.
He does that, he's gonna be bangin' on my eggs.
- I don't want to hurt her.
- Shana, Fuckin' da Vinci had to lay on his back for ten years with paint dripping in his eyes.
But guess what? It's called the Sistine Chapel.
Sacrifice for your art, OK? - Randall, a word, please.
- RANDALL: Cut.
Find me another fuckin' angle that works, please.
I know you think you're an artiste, but this is not a church.
- The woman just said she's not comfortable - Alright, alright.
I hear you.
So, what was so important you couldn't make today's call? She's here now.
What? And she was over at Harvey's shop this morning.
Word gets around, Lori.
You double-booked yourself.
- She's in demand.
- It's my fault.
I told you both that I could, and I didn't realize.
I'm sorry.
I'm sorry.
Go suit up, Miss In Demand.
Who are you? The agency sent me.
I audition today.
OK.
We'll use you in the orgy.
Go talk to her, with the clipboard.
She'll run you through hair and wardrobe.
Come on.
Lori.
Yeah.
Don't be apologizin' for who you are.
See, girl, we just keep moving up.
- And with this award - It's just a nomination, C.
C.
Mm-hmm.
You gonna win, girl.
[MUSIC PLAYING ON JUKEBOX.]
- ABBY: Miss me already, huh? - GUYS: Hey, Abby.
So why was I summoned? - Uh - What's the deal? BIG MIKE: You're throwin' away sevens! Hey, Mike.
You're in charge tonight.
- What? - Whoa, whoa, whoa.
Vince.
Him? Come on.
Did I say Mike was in charge? Yeah, I think I did.
- What the fuck? - ABBY: Where are we going? Road trip.
Tonight only.
- What about the Hi-Hat? - Yeah, what about the Hi-Hat? I called Annette.
She's gonna come in and cover for you.
Boss man, I don't think I was angling for any kind of promotion.
Beside the fact that you're crossin' lines here.
I mean, I'm fuckin' blood, right? Mike, you're gonna be fine.
You know why? 'Cause I trust you.
Fuck this! Fuck this fuckin' game! My grandma plays gin! Let's go.
I got a rental outside, you bring your camera, you want.
Mike, it'll be fucking great.
[WHISPERS.]
Good luck.
[CHATTER.]
ADAM: Can I ask you something? Sure.
There's this girl, Frances Matarazzo, in my homeroom.
I really like her, and I think she really likes me.
OK.
But my best friend Stan, he really likes her.
So I want to ask her to go to the movies, but I don't want to make Stan feel crappy.
And I don't want him to get pissed off at me and not be my friend anymore.
Yeah, sounds like a problem.
I mean, Mom, Frances doesn't even like him.
If you were me, what would you do? [LAUGHS SOFTLY.]
I don't know.
Girls are gonna come and go.
Mom, I really, really like her.
Then I would ask myself which was more important to me the friendship or the movie date.
So you're goin' out with girls now? Just a few.
As opposed to every girl in the world? Stop, OK? You know, I've been doing pretty good at work lately.
What do you think about me looking around for a two-bedroom? - OK.
- Like, for us.
Not a good idea? - We can look together.
- Yeah.
I don't mean right away, but soon.
- How soon? - Soon.
Here we are.
Wow.
Come on.
Yeah, it don't look like much now, but you shoulda seen it when I was a kid.
- Jesus.
- What? Condom graveyard down there.
The Coney Island whitefish.
Yeah, summertime there'd be couples down there doing everything from makin' out to straight fuckin'.
My friends and I would be up here peering down, we'd see a couple people humpin' away, we'd pour water on 'em through the slats and then run like hell.
Pure class.
Lots of babies being made.
Lots of kids running around Brooklyn with the name Sandy.
Did you ever take any girls down there? Once.
Marie Amalfitano.
But we were in like sixth grade, so it was mostly kissing.
For me it was always the boathouse.
My parents' club.
Well, welcome to the great state of Un-Connecticut.
I think I would have had a lot more fun here.
Yeah, I heard she's a dental hygienist now.
- Who? - Marie.
Amalfitano.
[GULLS CALLING.]
Saw you also got one of the AFAA nominations.
You too? What was yours for? Best Actress.
Whoa.
Just Supporting, me.
- It's all cake, right? - Mm-hmm.
- You see me on TV last night? - Unh-unh.
Midnight Blue.
That Channel J show.
With the Screw guy.
Al.
Oh, that Channel 35 show? Yeah, I've seen that.
Uh-huh.
He interviews you just like Johnny Carson, except he's asking you, like, about fuckin' and suckin'.
You should go on with him.
Millions of guys watch, and you don't have to do much.
- He just asked you to on it? - Nope.
Kiki set it up.
She's your manager? Manager, agent, whatever she wants to call herself.
Do you want to meet her? Uh, maybe another time.
So anyway, after we taped the show, the guy Al, he invites me back to his office, and I'm thinkin', "OK, here it comes.
Now I gotta blow him or whatever for the spot.
" But really he just asks if he can go down on me.
Just asks it like I have to give permission.
- What? - [BOTH LAUGH.]
And afterwards he gives me half of his sandwich and we talk about how he can't get his favorite deli to deliver below 23rd Street.
I mean, whatever, right? - What the hell? - Alright, stand aside.
Look, there's an art to his, alright? [EXHALES.]
Oh! Just 'cause it looks easy don't mean that it is.
- Oh.
- Yeah.
- Right? - Uh-huh.
Alright.
Here's the secret.
You gotta bank it.
Watch.
Huh? OK? No, sorry, it says "no bank shots.
" Yeah.
Exactly.
Hmm? Come on.
- Here we go.
Here we go.
- Alright.
- Yay! - Oh! Stick with me, kid, I'll show you the world, huh? - [MUFFLED THUDDING.]
- MAN: Gimme my hand back! ELISE: Fuck you! - [BANGING.]
- MAN: Let me go! ANNOUNCER: Just a dollar minimum is all it takes to smell it, touch it, taste it Right now! - [BANGING ON WALL.]
- MAN: Damnit! ELISE: Fuck you! Gimme my goddamn hand back! - Fuck you, asshole! - Hey, you alright? - Get me out of here! - Elise, lift it up! - Fuck you too, Frankie! - FRANKIE: Alright.
- Alright, relax.
Relax.
- Where you goin'?! Whoa, sorry.
ANNOUNCER: The best pussy in New York City, right here! Hey, Elise.
Hey.
The button.
Push the button! See what he fuckin' did to me?! Alright, he's got long fingernails.
What, you gonna chop his fuckin' arm off? You fuckin' serious, Frankie? Push the fuckin' button! - Fuckin' asshole! - Push the button! Push the Push the fuckin' button! - Push it! - I am! It's fuckin' broken! Fuck.
Alright, sir, just, uh, wait there.
MAN: Ah, you bitch! Alright, relax.
Will you get me out of here?! Relax! Relax! - Alright, easy.
- Get it open! - Ahh! - There you go.
Look what she did to me! Oh, my My watch! Where's my wa - What? Elise! - She took my watch! FRANKIE: The watch! - Ah, fuck! - There it is.
ANNOUNCER: Girl, girls, girls! I'm goin' to the cops! - Right now! - Coulda been worse.
She coulda taken the wedding ring.
Fuck you.
[CHUCKLING.]
Alright.
Elise, you OK in there? ELISE: Fuck you, Frankie.
You alright, baby? [DANCE MUSIC PLAYING.]
Ahh.
No, I will not be paying my tab.
PAUL: Did I say anything? But if things go good Thursday, I might be.
- What's Thursday? - A legit call-back.
Fantastic! For what? A revival of Zoo Story.
It's in New Hope, Pennsylvania, but right now I'll go anywhere.
I thought you were busy.
Just some porn.
I'm trying not to do so much of that.
[EXHALES.]
Three years Juilliard, two years La MaMa, and it's like I got a brand on my forehead from that shit.
Every casting agent in town is whispering something about the size of my dick before I walk in for any read.
Well, as long as they say nice things.
To New Hope.
To any hope at all.
- Welcome to Neponsit.
- Whose house is this? My Aunt Celeste.
She's upstate visiting her daughter.
- Mmm! - [LAUGHS.]
- Yeah.
- Wow.
Where is Miss Havisham's wedding cake? What do you mean? Still hungry? [LAUGHS.]
What? Yeah.
Big family.
Hmm.
You were so adorable as a little kid.
Yeah, I think you're lookin' at Frankie there.
No, I'm not.
Oh, shit, you're right.
It is me.
[LAUGHS.]
[DANCE MUSIC PLAYING.]
Gene, you need anything? I'm fine, Paul.
Can I have one more? Same thing.
Let me get you a real drink.
OK.
- MAN: Hey, settle down.
- [POLICE RADIO CHATTER.]
- TOD: He's the one that hit me first.
- MAN: I never touched you.
- COP: Step back! - MAN 2: Faggot! [LAUGHS.]
- You OK? - I'm fine.
- You fucking cowards.
- COP: What'd he hit you with? I don't know.
I was coming out of the bar and I got hit from behind.
- So he hit you with his fist? - Officer, it's dark in there.
Maybe he was trying to fit a big black cock in his mouth and he missed! - COP 1: No one's talking to you! - COP 2: Lean back, guys.
How do you know it was him if he hit you from behind? - I know because - THUG 2: You know why? 'Cause maricóns like it from behind.
COP 1: You want to file a complaint? Or can we just take you to the ER and call it a night? [THUGS CHATTERING.]
Dee, do up the top button.
Yeah, I think it's hotter like that if you slowly take 'em off.
Let's do the talking again.
I hate to evict you.
Nice and slow.
You're in charge.
DEE: Maybe we can work something out.
How? Mmm.
Let's think, see what pops up.
- He owes you money.
Enjoy your power.
- [MAN GRUNTS.]
[LAUGHS.]
Yeah.
That's a week's rent paid up right there.
OK, Terry, give me a little resistance.
This is a strange situation.
- Why would I resist? - Because you're not in charge here.
Like I'm kind of the girl here? Don't look at me.
Look at her.
Yeah, Terry, you kind of are.
Candy, how much rent does he owe me? I'm not loving the color of that sofa.
Oh, fuck me! Guys? Fuck! Cut.
Cut.
OK, I'm sorry.
I know everybody's tired, but we have gotta get these scenes by the morning, alright? We're already a day overdue on the camera.
Can we reset? Let's get to the fucking! - [BABY FUSSING.]
- [ICE CUBES CLINKING.]
[BABY CRYING.]
[SIGHS.]
Jesus Christ.
Look who's home, Jeremy.
It's your fucking dada.
- Can I just breathe here? - Here, breathe with him.
[SIGHS.]
He's been crying all day, I'm exhausted.
Did you take him to the pediatrician? This morning.
He wants to test him for allergies.
- What allergies? - All.
[BABY FUSSES.]
I'm gonna go back to bed.
Don't fall asleep on me, OK? Too late.
- [BABY FUSSING.]
- You OK there, buddy? [BABY SPITS UP.]
[CRYING.]
Candy.
I want to rap to you about something.
Hey, baby.
Just give us a second, alright? Thanks, Dee.
Look, I been coming down here a while to see what you do, how you do.
And I gotta say the males you use, they don't look like real men.
They don't even fuck like real men.
Yeah, no kidding.
How come you hardly use any brothers? Where we goin' with this, Larry? - Are you serious? - Why not? I mean, a pimp is a performer, right? I perform every day.
And depending who I gotta deal with, it's a different role.
Hoes, cops, other pimps.
I am who I need to be to control the situation.
Yeah, but that's the thing.
Guys like you, it's all about control.
That shit don't play here.
You gotta give all that up.
Show your ass, do what you're told.
Think you could do that, Larry? I can do whatever I put my mind to.
Can't bitch-slap a camera.
[CHATTER.]
Ohh.
Long day's night.
Thank you.
Hey, who was that lady you were talking to today? You mean Genevieve Furie? No.
The fuck! Harvey, you don't give me a heads-up? I didn't want to make you nervous.
Oh, for Christ's sake.
Ohh Did she say anything? You want to meet her? Don't let Your well run dry Don't stop it now Don't give me no reasons why Don't stop me now You know who that is, right? I know he need to get a new wig.
[LAUGHING.]
Yo, yo, yo! Listen up! Turn the music down for this.
Turn it down! [MUSIC VOLUME DROPS.]
It's 4:00 a.
m.
, and all y'all know this the moment where my man Vincent kick this party up a notch by making sure everybody have a free drink in their hand.
- [ALL CHEER.]
- That's right, 4:00 a.
m.
, and y'all sippin' on a new one.
[LAUGHTER.]
But I ain't Vincent.
Do I even look I-talian? In fact, I don't look anything like a motherfucker who needs to give a free drink to anyone, ever.
- [LAUGHTER.]
- So if y'all want to keep this party happenin', y'all gonna get to the bar, put down some cash money on some alcohol, or I'm gonna bounce your ass into the cold light of the early morn.
- [LAUGHTER.]
- VINCENT: Mike, you're honorary Italian! Hey, fuggedaboutit! Paisans, let's drink! [ALL CHEERING.]
[MUSIC RESUMES.]
That girl today on set? Uh-huh? She just sashays in, says she wants to make a movie with us.
And she's like some college girl from, like wherever.
And that's the thing.
They're all like that now.
Like everybody that I work with, all the girls, never whored, never will.
It's like they just decided that they want to make porn flicks.
Like they sat down with their guidance counselors and made a plan.
Thing is everything and everybody, it's just, it's getting I don't know, it's it's changed, C.
C.
, you know? It's not like how it was when we started.
It's It's different.
The The directors and the actors, and it's just it's like a free world.
A free world.
Yeah.
You know, the awards, they say that all the nominees are going out to L.
A.
for the award show.
No kidding.
Like on a plane? Yeah.
Yeah, they say it's like a thing, like like a Like an important thing for the business.
They say everybody's gonna be there.
I don't know, maybe we should go.
[DOG BARKS IN DISTANCE.]
[GRUNTS.]
[SIGHS.]
- Mmm.
- Hey.
Mmm.
You goin' out for the AFAA awards? I hope so.
I never been to L.
A.
before.
It's a chance to meet-and-greet the whole industry, both coasts.
Like who? De Renzy, Damiano, Spinelli, Arthur Morowitz, the Mitchells.
You want, I can arrange sit-downs.
Absolutely.
Then you gotta hire me as your agent.
I get ten percent of everything, no more, no less, no strings.
- Why me? - Because when I watch you in a flick, I see a woman who genuinely looks like she's enjoying herself.
Sometimes I do, but sometimes I'm not saying what you think I'm saying.
I'm saying you're an actor.
- [LAUGHS.]
- Do you know what a gift that is, to be able to sell it onscreen? I've never really thought about it, I just Like I was telling Shana, this whole thing is new for porn, agents actually representing the talent New on this coast, at least.
Here, the only thing agents did was find fresh bodies for directors.
We worked for them.
But out west, girls are starting to get repped.
You let me guide your career, we're both gonna make a lot of money.
That's what C.
C.
always says.
The other day on set, what were you talking to the director about? About treating my client with respect, professional respect.
Look, C.
C.
is a pimp who's in way over his head, and the only thing he's gonna do is drag you down.
VINCENT: In the summers, my Aunt Celeste, she'd send all the rug-rat cousins out here to the beach.
She'd sit on the porch with her sisters and play canasta, talk about shit you wouldn't believe.
Like, "If you can't marry Italian, what's the next best choice?" And me and Frank, we'd come up from the beach, too much sand in our shorts, and our other aunt, Carmen, she'd give us a taste of her wine in a paper cup, and then we'd run back to the house, to the backyard, and my Uncle Ernie would be back there with all the husbands, he'd give us a taste, and if he was winnin', let us play a hand for him.
All day, back and forth, back and forth like that.
So what is the next best choice? - For a husband? - Mm-hmm.
Aunt Celeste, she liked the Jews.
Jews, they make better money and generally don't hit the wives or beat on the kids.
I love this.
Yeah.
It's the best.
This is us.
- Oh, shit, we gotta get back.
- What's the rush? - Fuck! I almost forgot the baby shower.
- What baby shower? [CHATTER.]
GENEVIEVE: I want D-80, half a load.
- You have the blood knife? - MAN: Right, yeah.
I want to see the incision, you know? That's good.
Use the air cannon for the splatter on the wall.
- You know what to do.
- Great.
Oren, I think we're gonna start with a wide two-shot, then you dolly in from there and stay on her face.
I'll do him.
Janet, when you're stabbing him for the first time, I want to see rage in your eyes.
Rage, OK? You're doing great.
First position, everybody.
Nobody fuck it up.
I want to get it in one.
I'm going handheld on this.
OK, Oren, are you ready? - OREN: Yeah.
- GENEVIEVE: OK.
Raise it higher.
That's good, but lift your chin a little.
OK? You look great.
Alright - Where the hell were you? - Don't start, OK? You were supposed to take Patrick to the dentist two hours ago! There was a pile-up on the bridge.
Nothing I could do about it.
He's gonna wind up with more holes than teeth.
- Here.
Take him.
- Not now, Fran.
- I'm supposed to go - I said not now! Bobby! CANDY: Miss Furie, I have gotta tell you GENEVIEVE: Agneiszka.
"Genevieve Furie" is just for show.
Agneiszka, I have learned so much watching the films you directed.
And I have seen all of 'em, 'cause I know you started in skin flicks like me.
- And now - And now they, you know, let me do the trash and the slash and the horror and It's still porn.
But different.
Well, it's more than fuck films.
Yeah.
So why did you come to our set? Harvey asked me.
He likes you.
And we share some history.
Me, I don't like women, you know? They talking too much, they slow things down, they can't lift track, they can't move camera, they.
.
CANDY: Thank you.
If I was your teacher, from what I see yesterday, I give you a "C.
" First of all, your camera guy, he think he's your co-director.
Put him in his place, or fire him and shoot it yourself.
Second of all, your crew is shit.
There's plenty of legitimate pros out there who'd be happy to moonlight for extra dollars.
Just put the word out and they find you.
Third of all, anyone can fuck on film, but hardly anyone can act.
- Yeah.
- To me, I'd rather use real actor - with normal-sized prick.
- Yeah.
Because what happen when they actually have to stop fucking? When they have to open their mouth and sell a character? - Right? - Yeah.
Four, stop using whores.
They're dead around the eyes.
- [HORN HONKS.]
- [ENGINE REVS.]
Got some bubbly for the ladies! - [WOMEN CHEERING.]
- Thank you! Ahh.
[LADIES CHATTERING.]
- You're sure it's a girl, right? - Yeah.
- [CORK POPS.]
- WOMAN: Ooh! In case the damn doctor's wrong.
- Pfft.
- [CHATTER.]
- [BANGING ON DOOR.]
- JULITO: Yo, come on! You got customers out here freezin' our nuts off! - C.
C.
: Come on! - VINCENT: Big bad wolf.
Alright.
Raise a glass for Adam or Eve.
Oh ho ho! We ain't here for no al fresco shit.
Guys, it's a baby shower.
A girl thing.
Let 'em have their party.
DARLENE: Hey, Daddy.
What's goin' on in there? I just said.
Bought a motherfuckin' present for the bitch.
Oh, that's sweet.
If it's so girly-girly, why the fuck Vince in there? [CHATTER.]
Do me a favor.
There's a tribe of Slap-A-Ho's out there.
Can you go babysit them before they break the door down? MAN: Hey, yo, see that bodega on 9th burned down? MAN 2: That why they call it Hell's Kitchen? - Hey, I got cigars.
- My man.
You know what they're doing inside, right? What do you think they're doin'? - Connivin' against our asses.
- Yeah.
Scratch a bitch, uncover a conspiracy.
LORETTA: OK, a cucumber won't knock you up.
A cucumber won't beat your ass.
Or say, "It ain't mine.
" Oh, a cucumber won't give you the syph.
- Or hate on your kids.
- NADINE: Or take your money.
- Or beat your ass.
- LORETTA: You said that already! - I'm saying it again.
- [LAUGHTER.]
Did somebody say soft? It won't go soft? ALL: Yeah.
Wait, which one? LARRY BROWN: Sorry I got you kicked out of there.
VINCENT: Yeah, they didn't want me in there anyway.
Gettin' cold.
[HORNS HONKING.]
COP: It's all about Roger Staubach and his Doomsday Defense Droppin' off or pickin' up? What do you care? Question withdrawn.
Fuck you.
People have to eat.
So how goes your tourist carving? I keep hearing about this one hustler kid who disappeared right after.
Uh, Skeef.
Skiff You mean Skeets.
- Skeets? - Angel Arroyo.
If he's vanished, he didn't vanish far.
His mother lives up in the Bronx.
This here is called gettin' some work out of me.
COP: Cowboys gonna do it again next year.
Just wait.
[PRINTER BUZZING.]
[BUZZING CONTINUES.]
Fuck me.
Listen to this.
Listen.
"He could be seen from afar among the trees putting his arm 'round her waist and walking, half-bending over, ruffling the chemisette of her bodice with his head.
" There's four fucking chapters, that's the closest anybody's got to fucking! [BLOWS AIR.]
Agneiszka said look to the classics.
Fuck.
- "Moby Dick"? - You gonna make a joke about a sperm whale? - "The Iceman Cometh.
" - The what? "Crotch-22"? "The Adventures of Fuckleberry Finn"? Stop.
It's not a fucking party game.
What about fairy tales? Most of them are about sex, anyway.
Hmm.
For example? "Snow White.
" You gotta cast dwarfs.
"Cinderella"? No, no.
- Keep goin'.
- Ah "Goldilocks.
" "Somebody's been sleepin' in my bed.
" Uh, "Sleeping Beauty.
" Hey there Little Red Riding Hood You sure are lookin' good BOTH: You're everything That a big bad wolf could want [BOTH HOWL.]
Ow! Owww! [CHATTER, LAUGHTER.]
[DOOR OPENS.]
How ya doin'? You run this shithole? I, uh yep.
Gimme a Dewar's rocks.
Same for Frick and Frack over here.
Heard about that mess the other night.
Do you know who I am? - The Horse.
- That's right.
I got places on either end of Christopher, and one around the corner.
Nobody fucks with them, do they? Mister lanniello, we already have an understanding with Mr.
Pipilo.
Oh, Mr.
Pipilo.
Shit.
I didn't know you were with Rudy.
How the fuck am I supposed to know that you're with a guy when your customers are getting the shit beat out of them every time they go in and out of your joint? I came here to help you.
Far be it from me to interject into the business affairs of Rudy Pipilo.
But if I were you, I'd ask out of that arrangement, and possibly get into a new one where you're actually getting the protection you're paying for.
But that's up to you, not me.
[PUTS GLASS DOWN.]
[INHALES, EXHALES.]
Yo! Hit us again.
He had you backed against the passenger door.
[SIGHS.]
Let me hear you say it.
Backed against the door, yeah.
So you had no way to escape him? No.
And he was angry? How much do you weigh? He weighs nothing.
Look at him.
Can I tell you how much the other man weighed? Two hundred and forty pounds.
Dios mio.
So would you say you were in fear for your life? Yeah.
Good.
So where were you? He had me backed up against the passenger door.
There was nothing else I could do.
- MAN 1: You got it? - MAN 2: Yeah.
That's good.
- Alright.
Watch your head.
- Yup.
- [DUGGAN, INDISTINCT.]
- BOBBY: Duggan.
Big Bobby Dwyer.
Holy shit.
I haven't seen you since the Navy Yard job.
What was that, six, seven years ago? What the fuck's goin' on here? What's it look like? And why do you care? [CHATTER.]
Detective Alston? So you solved it.
You heard quick.
I usually do.
So? Robbery? Was he robbed? He was down on the Deuce trolling for some young trade, and he backed the wrong kid into doing something he didn't want to do.
And here you are lookin' to protect the tourists from New York.
Turns out New York needs to protect itself from the tourists.
Wrong case for you.
Sorry.
Do you have any idea what's coming down the pike, Detective? What? A new Knapp Commission? A new broom? You know who benefits? Cats like you get all the ink.
You know who gets it in the neck? Cops who get suckered in.
Next thing they know, they get shot, nobody lifts a finger.
Two years later, everybody's still stealin' like nothing ever happened.
That's not what this is about.
Do you know what are the two greatest crime-fighters we have in this city? Sheetrock and cranes.
[JAZZ MUSIC PLAYING.]
Fuckin' Christ.
What's the problem? See what's happening around the corner on Dyer? Guys are cartin' shit off a truck, I go see what's what.
It's Hodas again, opening another parlor.
This one right between two of ours.
That motherfucker! Vin? It's me.
Guess what? Another fuckin' Hodas joint's goin' up.
Right down the street! Right between us and the Geisha House.
Alright, I'll get with Rudy then.
Bye.
- Hey, Vince.
- VINCE: Yeah.
Gotta get with Tommy Longo, man.
Maybe Rudy, too.
I'm kinda freakin' out.
Look, I got somewhere to be tonight.
Why don't you just go talk to him yourself? [TELEPHONE RINGS.]
- Alone? - Yeah.
You're payin' him too, right? - Yeah.
- Yeah.
VINCE: Babe, come on, we gotta go.
Kitchen's gonna close.
They stay open late, but come on.
- Now? - Yeah, now.
Now or never.
Come on, I thought you wanted to grab a bite.
OK, just, um Abby.
You.
Abby.
ABBY: Hello? Oh, my God.
Hey.
Sure Sure.
Where? Abby.
I'm coming right now.
OK.
Vin, somethin' came up.
I'm sorry.
What do you mean somethin' came up? What? What about dinner? [ELECTRIC JAZZ MUSIC PLAYING.]
That negligee's too long for you.
You're gonna trip, break your neck in here.
Borrowed it from my sister who's a giant.
How about this.
Everybody says when it comes to women's wear I have excellent taste.
If you trust me, I'll pick you up a few nice things and bring 'em in tomorrow.
It's how I am with my friends.
- Man's a hopeless romantic.
- [WOMAN CHUCKLES.]
[CHATTER.]
WOMAN: Whatever you want to do [WOMEN'S VOICES IN DISTANCE.]
WOMAN: And one strategy I was thinking about is focusing on the massage parlors, the peeps, a group of us standing outside with cameras and shooting the johns going in.
WOMAN 2: [LAUGHS.]
Shooting the johns.
WOMAN 3: I don't like it.
You're talking about public shaming.
It could come back on us in a bad way.
It's not about the johns.
It's about whoever's making money off these women.
Hold on a sec.
The reality is the pimps are always gonna pimp, and johns are always gonna spend, and the higher-ups will always find a way to cash in.
So why do anything? Is that what you're saying? No, that's not what I'm saying.
I'm saying what do the women need in order to get out? And if they're not ready to get out, then what do they need in order to survive? Look, the bigger issues are the bigger issues Political, criminal, public awareness, whatever.
[MUSIC PLAYING.]
Bring back that gold for us.
You know I will, Daddy.
(FUNK MUSIC PLAYS) Red-light district, they want it gone.
Somebody in public morals got morals? PETER MCDONAGH: It's not morals.
It's money.
Those white girls are getting 50 dollars more per day.
PRODUCER: I already told your man here, you're the wrong part of the Oreo.
(MUSIC CONTINUES) We're going out West.
It's happening, right here.
(PEOPLE CHEERING) You wanna do a literary adaptation? - Of Little Red Riding Hood.
- That's not bad.
Yeah, you could practically bring the whole family.
We could open the Deuce up.
CHRIS ALSTON: A fresh one.
He might have gone off to troll some young hustlers.
I'm a whore, C.
C.
You made that pretty clear to everyone on set today.
Don't forget to enjoy yourself.
No fucking plexiglass.
That's fuckin' genius.
(ELECTRIC GUITAR PLAYING) Hey! HARVEY WASSERMAN: The people watching this movie, they don't wanna be in a woman's head.
- Porn.
- MAN: The only reason to put up with those goombas is for protection, what the fuck are they protecting anybody from? - ABBY PARKER: I love you, Vincent.
- Everyone loves a sucker.
(MUSIC CONCLUDES) [CHATTER.]
ANNOUNCER: Attention customers for the Albany Express Direct bus.
The bus is now loading at Gate 32.
This is a gate change.
Albany Express Direct now boarding at Gate 32.
LARRY BROWN: Looksa you, you from afar.
As I live and breathe.
- Baby, you a college girl? - Dropped out.
- I might go back, but - Nah.
Education's wasted on the youth.
Classroom's a box.
What you gonna learn in a box? Uh, I just said that to my parents last week.
Bet you did.
And now you here in the big city for a real education.
From the University of Life As Lived.
Yes.
Yeah.
I see it all in your eyes.
It's as plain as day.
[CHUCKLES.]
My name's Larry Brown.
Brenda Peterson.
Hey, you.
Go.
Get your ass outta my seat.
ANNOUNCER: keep your personal belongings with you at all times.
- You got a crib? - A what? A coop.
Place to stay.
Oh.
My mom has this cousin I've never met.
I'll see how it goes.
I'm gonna ask you a question, and I'm gonna answer that question for you.
OK.
What's your dream? What is it about the big city that brought you here? - Well, I - Shut.
Said I was gonna answer it for you.
You wanna be an actress.
You wanna see yourself in movies.
OK, now you're scaring me.
Oh, it's your lucky day, Brenda Peterson.
With my industry connections, and of course, after we get to know each other a little better, I can most definitely offer you the proper assistance and direction.
That's what I need.
Directions.
[CHUCKLES.]
Oh, we gonna get along right fine, you and me.
How do I get to this address? I'm supposed to meet a guy at 3:00, and I really don't want to blow it.
ANNOUNCER: Now boarding at Gate 7, Trailways Uh, it's cool.
I'll find it.
You know they're gonna exploit you, right? You gonna get yourself exploited! [MUSIC PLAYING.]
See her picture in a thousand places 'Cause she's this year's girl You think you all own Little pieces of this year's girl Forget your fancy manners Forget your English grammar 'Cause you don't really give a damn About this year's girl Ahh-ee-ahh Still you're hopin' that she's well-spoken 'Cause she's this year's girl You want her broken with her mouth wide open 'Cause she's this year's girl Those disco synthesizers Those daily tranquilizers Those body-building prizes Those bedroom alibis All this But no surprises For this year's girl All this But no surprises For this year's girl Hey! Ahh-ee-ahh [DRILL WHIRS.]
- Ta-da! - Irene, what the fuck? Hey, look.
Let me ask you this, alright? Which one of ya's doesn't want to triple their daily takeaway? Now let me see hands.
Alright.
- Watch this.
- [COINS JINGLE.]
Take that, take this Props Here we go.
Where the fuck's he goin'? FRANKIE: Alright.
Irene, put the thing in the thing.
OK.
Oh, this ain't gonna be pretty.
[COINS JINGLE.]
Alright, window goes up, this is you.
[SNAPS FINGERS.]
Bom bom-bom Alright.
Oh! Thank you.
Ya keep dancin' Ooh! Ah! Another one? Thank you! Look at that! I got tipped twice for one pat on the ass.
That's nice work if ya can get it.
Know what I mean? What happens the third time? I don't know.
You play fuckin' patty-cakes.
I signed up for a show.
No touch.
SHAY: Hey, don't knock it.
The girls at at that joint over on 49th Street, they are makin' money hand over fist.
FRANKIE: That's right.
OK? Now: rules.
Rule number one, alright? You gotta make sure the mook ain't a cop.
Second rule.
You make sure he don't touch you anywhere that you don't guide him first.
What, like internally? Tsk.
Nah.
Fuck this.
- What? Dee.
Come back.
- Dee! You ask me, we'll make a shitload more in tips than if they're just stickin' money in the slot.
That's right.
Very wise.
OK.
Third rule.
You make sure his hand goes through the partition to you, alright? You don't put any part of yourself onto his side.
And if you do, make sure it's something you can live without.
Hmm? [MAKES POPPING NOISE.]
[CHUCKLES.]
I was just jokin'.
I was kiddin' there.
Alright? Look, don't worry, alright? Anything happens, there's a button on the side of the window, you press that and if that don't work, then BOOTH DANCER: Then what? - Yell.
- Yell.
OK.
This is a good thing! For all of us.
This is progress! FRANKIE: Tell 'em.
- [DOOR SHUTS.]
- Yeah.
No such thing as free money.
[MUSIC PLAYING ON JUKEBOX.]
Good set last night, right? Great set.
I like where you're goin' with it.
- More personal.
- Finally, right? 'Cause honestly, all that "Rimbaud is my spirit animal" bullshit was starting to give me hemorrhoids.
Him, Baudelaire, Apollinaire, Frigidaire and all those other bad-boy poseurs.
Rimbaud wasn't a poseur.
"I am a beast, a nigger, but I could be saved.
You are sham niggers.
" No offense, bro.
"I enter the true kingdom of the children of Ham.
" Ham and a side of hash browns.
SEAN: Exactement.
You wanna make honest art? Look to where you been.
Sign it for me? Why don't you come back down again tonight? I'll have a real gift for you.
If I can get in for free.
[VINCENT CLEARS THROAT.]
[LOW CHATTER.]
MAN: Hey, where's my light meter? Where's that fucking wimple? It's on your head.
[LAUGHS.]
I love that word.
- Joss, can you get Harvey for me? - Yeah.
[SING-SONGY.]
"Wimple.
" Candy says What? What does she want? [SNIFFS.]
Where are they? They? No.
Come on.
It's just a couple of fries.
Harvey, just stop.
You know I'm right.
Candy needs to talk to you.
- Candy.
- Harvey.
I'm not doin' this anymore.
- Doing what? - Doing this.
Priests, nuns rabbis.
[SCOFFS.]
You're religious now? No, it just offends me.
I stayed up all night writing this scene.
- Ask Joss.
- Harvey, this whole script is shit.
Hey.
Hey, I'm trying to say something about organized religion in this movie, it's a statement piece.
Saying what, exactly? Did you hear the one about the blind guy at the Seder? They hand him a piece of matzah, he says, "Who wrote this shit?" You gotta get rid of Melinda.
She's fucked up even when she's not fucked up.
No problem.
Anything else? Yeah.
I'm not doing any more Daddy Knows Best scenes.
That's a fantasy.
That's not my fantasy.
That's someone's fantasy.
Hey, you want me to keep bangin' out films for you, you gotta give me some better shit to work with.
And you have gotta let me start drawing some lines for myself.
- Otherwise - Alright.
Absolutely.
I've also been thinkin' about something else.
I want 20, 25 tables and a small stage.
So, live music? Yeah, but mellow.
American songbook.
Like at the Carlyle.
So that means a dance floor.
Maybe a little one.
Nothing anybody'd go crazy on.
There's enough discos downtown already.
This is more one of those Nick and Nora Charles nightclubs from the movies, you know? Some wit and class to it.
More conversation, less cock.
- [PAUL LAUGHS.]
- Something like that.
Been to your other club a few times.
Did you have fun? [CHUCKLES.]
I did.
Good.
Be that as it may, I'll need 20,000 up front.
Like I told Kenneth, 15 as a deposit, five for two months' rent in advance.
We have to talk to some people.
Can we get a little time on this? Whatever you need.
This isn't it.
[SIGHS.]
The movies that stick in a theater for more than a month, they cost more, and they're better than ours.
So how about getting the fuck out of this shoebox and making something really special? Because this crap that we're doing now, I mean, I would be amazed if the guys sittin' in the theater stay to the end of the movie after they squeeze one out.
- [LAUGHS.]
- And the best flicks, they make you think a little, they make you laugh for real.
Because they give you story.
- We give story.
- No.
The real moneymakers? Alice in Wonderland? Right? It's fuckin' based on Alice in Wonderland.
- Misty Beethoven's based on My Fair Lady.
- Shaw's Pygmalion, actually.
Devil in Miss Jones is based on a French play.
- That would be Sartre's No Exit.
- Will you stop, please? But it's a bit of a stretch.
Don't do this smart-ass film buff thing of yours.
I'm just trying to talk to you.
I'm just trying to talk to you.
I'm listening to you.
And I'm not going to those fucking spaghetti-benders I have to deal with for more money.
- Neither are you.
- Takes money to make money.
- What? - You heard me.
Et tu, Mrs.
Brute? OK.
- I'll raise it on my own.
- Yeah? Good luck with that.
- [LOUD CHEERING.]
- HARVEY: What now? [CHEERS, APPLAUSE.]
- WOMAN: Fuckin' awesome! - MAN: Nice job, Lori.
- What happened? - I got nominated! - For what? - Best Supporting Actress.
That's fantastic! Which movie? Family Head.
I'm dreaming, right? - That's amazing.
- Taught her everything she knows.
Oh, please.
I got off that bus with skills, and you know it.
Too true, Lor, too true.
- Whose side are you on? - Harvey.
Best Director.
- Get the fuck out.
- Let me see this.
- [CANDY LAUGHING.]
- Oh, my - [VENDING MACHINE CLANKS.]
- Come on.
Nobody's saying nothin' about it.
Any of your friends out there been acting any different than usual? Like how? You mean like paranoid? Yeah.
Everybody.
Every day.
You would be too if you was one of us.
Who ain't been around since then? Dunno.
There's this one kid, kind of like a joker, always crackin' everybody up.
That's why I'm thinking about him.
He kinda disappeared.
But I don't know his name.
Maybe Skeef? Skaff? White, black, or Puerto Rican? There's something you need to know about me.
Mm-hmm? I do what I gotta do, but I got a girlfriend, too.
Mm-hmm.
FLANAGAN: You knew the Doomsday Defense was gonna show up, but Jesus, eight turnovers? It's embarrassing.
Morton got his ass handed to him.
So much for vindication.
How's your case goin'? You know, zeroing in, zeroing out.
You don't have to feel guilty anymore about not taking me under your roof.
I wasn't feelin' guilty about it.
I'm back with the wife.
Is that a good thing? My new philosophy: Every choice you can make in life sucks.
Given that, best thing you can do is choose the thing that sucks the least.
[DISTORTED P.
A.
ANNOUNCEMENT.]
- [WOMAN MOANS.]
- Over there.
[MOANING CONTINUES.]
- ACTRESS: Unhh! - Taylor Tyler.
Raise her hips up about six inches.
Otherwise I can't see the insert.
He does that, he's gonna be bangin' on my eggs.
- I don't want to hurt her.
- Shana, Fuckin' da Vinci had to lay on his back for ten years with paint dripping in his eyes.
But guess what? It's called the Sistine Chapel.
Sacrifice for your art, OK? - Randall, a word, please.
- RANDALL: Cut.
Find me another fuckin' angle that works, please.
I know you think you're an artiste, but this is not a church.
- The woman just said she's not comfortable - Alright, alright.
I hear you.
So, what was so important you couldn't make today's call? She's here now.
What? And she was over at Harvey's shop this morning.
Word gets around, Lori.
You double-booked yourself.
- She's in demand.
- It's my fault.
I told you both that I could, and I didn't realize.
I'm sorry.
I'm sorry.
Go suit up, Miss In Demand.
Who are you? The agency sent me.
I audition today.
OK.
We'll use you in the orgy.
Go talk to her, with the clipboard.
She'll run you through hair and wardrobe.
Come on.
Lori.
Yeah.
Don't be apologizin' for who you are.
See, girl, we just keep moving up.
- And with this award - It's just a nomination, C.
C.
Mm-hmm.
You gonna win, girl.
[MUSIC PLAYING ON JUKEBOX.]
- ABBY: Miss me already, huh? - GUYS: Hey, Abby.
So why was I summoned? - Uh - What's the deal? BIG MIKE: You're throwin' away sevens! Hey, Mike.
You're in charge tonight.
- What? - Whoa, whoa, whoa.
Vince.
Him? Come on.
Did I say Mike was in charge? Yeah, I think I did.
- What the fuck? - ABBY: Where are we going? Road trip.
Tonight only.
- What about the Hi-Hat? - Yeah, what about the Hi-Hat? I called Annette.
She's gonna come in and cover for you.
Boss man, I don't think I was angling for any kind of promotion.
Beside the fact that you're crossin' lines here.
I mean, I'm fuckin' blood, right? Mike, you're gonna be fine.
You know why? 'Cause I trust you.
Fuck this! Fuck this fuckin' game! My grandma plays gin! Let's go.
I got a rental outside, you bring your camera, you want.
Mike, it'll be fucking great.
[WHISPERS.]
Good luck.
[CHATTER.]
ADAM: Can I ask you something? Sure.
There's this girl, Frances Matarazzo, in my homeroom.
I really like her, and I think she really likes me.
OK.
But my best friend Stan, he really likes her.
So I want to ask her to go to the movies, but I don't want to make Stan feel crappy.
And I don't want him to get pissed off at me and not be my friend anymore.
Yeah, sounds like a problem.
I mean, Mom, Frances doesn't even like him.
If you were me, what would you do? [LAUGHS SOFTLY.]
I don't know.
Girls are gonna come and go.
Mom, I really, really like her.
Then I would ask myself which was more important to me the friendship or the movie date.
So you're goin' out with girls now? Just a few.
As opposed to every girl in the world? Stop, OK? You know, I've been doing pretty good at work lately.
What do you think about me looking around for a two-bedroom? - OK.
- Like, for us.
Not a good idea? - We can look together.
- Yeah.
I don't mean right away, but soon.
- How soon? - Soon.
Here we are.
Wow.
Come on.
Yeah, it don't look like much now, but you shoulda seen it when I was a kid.
- Jesus.
- What? Condom graveyard down there.
The Coney Island whitefish.
Yeah, summertime there'd be couples down there doing everything from makin' out to straight fuckin'.
My friends and I would be up here peering down, we'd see a couple people humpin' away, we'd pour water on 'em through the slats and then run like hell.
Pure class.
Lots of babies being made.
Lots of kids running around Brooklyn with the name Sandy.
Did you ever take any girls down there? Once.
Marie Amalfitano.
But we were in like sixth grade, so it was mostly kissing.
For me it was always the boathouse.
My parents' club.
Well, welcome to the great state of Un-Connecticut.
I think I would have had a lot more fun here.
Yeah, I heard she's a dental hygienist now.
- Who? - Marie.
Amalfitano.
[GULLS CALLING.]
Saw you also got one of the AFAA nominations.
You too? What was yours for? Best Actress.
Whoa.
Just Supporting, me.
- It's all cake, right? - Mm-hmm.
- You see me on TV last night? - Unh-unh.
Midnight Blue.
That Channel J show.
With the Screw guy.
Al.
Oh, that Channel 35 show? Yeah, I've seen that.
Uh-huh.
He interviews you just like Johnny Carson, except he's asking you, like, about fuckin' and suckin'.
You should go on with him.
Millions of guys watch, and you don't have to do much.
- He just asked you to on it? - Nope.
Kiki set it up.
She's your manager? Manager, agent, whatever she wants to call herself.
Do you want to meet her? Uh, maybe another time.
So anyway, after we taped the show, the guy Al, he invites me back to his office, and I'm thinkin', "OK, here it comes.
Now I gotta blow him or whatever for the spot.
" But really he just asks if he can go down on me.
Just asks it like I have to give permission.
- What? - [BOTH LAUGH.]
And afterwards he gives me half of his sandwich and we talk about how he can't get his favorite deli to deliver below 23rd Street.
I mean, whatever, right? - What the hell? - Alright, stand aside.
Look, there's an art to his, alright? [EXHALES.]
Oh! Just 'cause it looks easy don't mean that it is.
- Oh.
- Yeah.
- Right? - Uh-huh.
Alright.
Here's the secret.
You gotta bank it.
Watch.
Huh? OK? No, sorry, it says "no bank shots.
" Yeah.
Exactly.
Hmm? Come on.
- Here we go.
Here we go.
- Alright.
- Yay! - Oh! Stick with me, kid, I'll show you the world, huh? - [MUFFLED THUDDING.]
- MAN: Gimme my hand back! ELISE: Fuck you! - [BANGING.]
- MAN: Let me go! ANNOUNCER: Just a dollar minimum is all it takes to smell it, touch it, taste it Right now! - [BANGING ON WALL.]
- MAN: Damnit! ELISE: Fuck you! Gimme my goddamn hand back! - Fuck you, asshole! - Hey, you alright? - Get me out of here! - Elise, lift it up! - Fuck you too, Frankie! - FRANKIE: Alright.
- Alright, relax.
Relax.
- Where you goin'?! Whoa, sorry.
ANNOUNCER: The best pussy in New York City, right here! Hey, Elise.
Hey.
The button.
Push the button! See what he fuckin' did to me?! Alright, he's got long fingernails.
What, you gonna chop his fuckin' arm off? You fuckin' serious, Frankie? Push the fuckin' button! - Fuckin' asshole! - Push the button! Push the Push the fuckin' button! - Push it! - I am! It's fuckin' broken! Fuck.
Alright, sir, just, uh, wait there.
MAN: Ah, you bitch! Alright, relax.
Will you get me out of here?! Relax! Relax! - Alright, easy.
- Get it open! - Ahh! - There you go.
Look what she did to me! Oh, my My watch! Where's my wa - What? Elise! - She took my watch! FRANKIE: The watch! - Ah, fuck! - There it is.
ANNOUNCER: Girl, girls, girls! I'm goin' to the cops! - Right now! - Coulda been worse.
She coulda taken the wedding ring.
Fuck you.
[CHUCKLING.]
Alright.
Elise, you OK in there? ELISE: Fuck you, Frankie.
You alright, baby? [DANCE MUSIC PLAYING.]
Ahh.
No, I will not be paying my tab.
PAUL: Did I say anything? But if things go good Thursday, I might be.
- What's Thursday? - A legit call-back.
Fantastic! For what? A revival of Zoo Story.
It's in New Hope, Pennsylvania, but right now I'll go anywhere.
I thought you were busy.
Just some porn.
I'm trying not to do so much of that.
[EXHALES.]
Three years Juilliard, two years La MaMa, and it's like I got a brand on my forehead from that shit.
Every casting agent in town is whispering something about the size of my dick before I walk in for any read.
Well, as long as they say nice things.
To New Hope.
To any hope at all.
- Welcome to Neponsit.
- Whose house is this? My Aunt Celeste.
She's upstate visiting her daughter.
- Mmm! - [LAUGHS.]
- Yeah.
- Wow.
Where is Miss Havisham's wedding cake? What do you mean? Still hungry? [LAUGHS.]
What? Yeah.
Big family.
Hmm.
You were so adorable as a little kid.
Yeah, I think you're lookin' at Frankie there.
No, I'm not.
Oh, shit, you're right.
It is me.
[LAUGHS.]
[DANCE MUSIC PLAYING.]
Gene, you need anything? I'm fine, Paul.
Can I have one more? Same thing.
Let me get you a real drink.
OK.
- MAN: Hey, settle down.
- [POLICE RADIO CHATTER.]
- TOD: He's the one that hit me first.
- MAN: I never touched you.
- COP: Step back! - MAN 2: Faggot! [LAUGHS.]
- You OK? - I'm fine.
- You fucking cowards.
- COP: What'd he hit you with? I don't know.
I was coming out of the bar and I got hit from behind.
- So he hit you with his fist? - Officer, it's dark in there.
Maybe he was trying to fit a big black cock in his mouth and he missed! - COP 1: No one's talking to you! - COP 2: Lean back, guys.
How do you know it was him if he hit you from behind? - I know because - THUG 2: You know why? 'Cause maricóns like it from behind.
COP 1: You want to file a complaint? Or can we just take you to the ER and call it a night? [THUGS CHATTERING.]
Dee, do up the top button.
Yeah, I think it's hotter like that if you slowly take 'em off.
Let's do the talking again.
I hate to evict you.
Nice and slow.
You're in charge.
DEE: Maybe we can work something out.
How? Mmm.
Let's think, see what pops up.
- He owes you money.
Enjoy your power.
- [MAN GRUNTS.]
[LAUGHS.]
Yeah.
That's a week's rent paid up right there.
OK, Terry, give me a little resistance.
This is a strange situation.
- Why would I resist? - Because you're not in charge here.
Like I'm kind of the girl here? Don't look at me.
Look at her.
Yeah, Terry, you kind of are.
Candy, how much rent does he owe me? I'm not loving the color of that sofa.
Oh, fuck me! Guys? Fuck! Cut.
Cut.
OK, I'm sorry.
I know everybody's tired, but we have gotta get these scenes by the morning, alright? We're already a day overdue on the camera.
Can we reset? Let's get to the fucking! - [BABY FUSSING.]
- [ICE CUBES CLINKING.]
[BABY CRYING.]
[SIGHS.]
Jesus Christ.
Look who's home, Jeremy.
It's your fucking dada.
- Can I just breathe here? - Here, breathe with him.
[SIGHS.]
He's been crying all day, I'm exhausted.
Did you take him to the pediatrician? This morning.
He wants to test him for allergies.
- What allergies? - All.
[BABY FUSSES.]
I'm gonna go back to bed.
Don't fall asleep on me, OK? Too late.
- [BABY FUSSING.]
- You OK there, buddy? [BABY SPITS UP.]
[CRYING.]
Candy.
I want to rap to you about something.
Hey, baby.
Just give us a second, alright? Thanks, Dee.
Look, I been coming down here a while to see what you do, how you do.
And I gotta say the males you use, they don't look like real men.
They don't even fuck like real men.
Yeah, no kidding.
How come you hardly use any brothers? Where we goin' with this, Larry? - Are you serious? - Why not? I mean, a pimp is a performer, right? I perform every day.
And depending who I gotta deal with, it's a different role.
Hoes, cops, other pimps.
I am who I need to be to control the situation.
Yeah, but that's the thing.
Guys like you, it's all about control.
That shit don't play here.
You gotta give all that up.
Show your ass, do what you're told.
Think you could do that, Larry? I can do whatever I put my mind to.
Can't bitch-slap a camera.
[CHATTER.]
Ohh.
Long day's night.
Thank you.
Hey, who was that lady you were talking to today? You mean Genevieve Furie? No.
The fuck! Harvey, you don't give me a heads-up? I didn't want to make you nervous.
Oh, for Christ's sake.
Ohh Did she say anything? You want to meet her? Don't let Your well run dry Don't stop it now Don't give me no reasons why Don't stop me now You know who that is, right? I know he need to get a new wig.
[LAUGHING.]
Yo, yo, yo! Listen up! Turn the music down for this.
Turn it down! [MUSIC VOLUME DROPS.]
It's 4:00 a.
m.
, and all y'all know this the moment where my man Vincent kick this party up a notch by making sure everybody have a free drink in their hand.
- [ALL CHEER.]
- That's right, 4:00 a.
m.
, and y'all sippin' on a new one.
[LAUGHTER.]
But I ain't Vincent.
Do I even look I-talian? In fact, I don't look anything like a motherfucker who needs to give a free drink to anyone, ever.
- [LAUGHTER.]
- So if y'all want to keep this party happenin', y'all gonna get to the bar, put down some cash money on some alcohol, or I'm gonna bounce your ass into the cold light of the early morn.
- [LAUGHTER.]
- VINCENT: Mike, you're honorary Italian! Hey, fuggedaboutit! Paisans, let's drink! [ALL CHEERING.]
[MUSIC RESUMES.]
That girl today on set? Uh-huh? She just sashays in, says she wants to make a movie with us.
And she's like some college girl from, like wherever.
And that's the thing.
They're all like that now.
Like everybody that I work with, all the girls, never whored, never will.
It's like they just decided that they want to make porn flicks.
Like they sat down with their guidance counselors and made a plan.
Thing is everything and everybody, it's just, it's getting I don't know, it's it's changed, C.
C.
, you know? It's not like how it was when we started.
It's It's different.
The The directors and the actors, and it's just it's like a free world.
A free world.
Yeah.
You know, the awards, they say that all the nominees are going out to L.
A.
for the award show.
No kidding.
Like on a plane? Yeah.
Yeah, they say it's like a thing, like like a Like an important thing for the business.
They say everybody's gonna be there.
I don't know, maybe we should go.
[DOG BARKS IN DISTANCE.]
[GRUNTS.]
[SIGHS.]
- Mmm.
- Hey.
Mmm.
You goin' out for the AFAA awards? I hope so.
I never been to L.
A.
before.
It's a chance to meet-and-greet the whole industry, both coasts.
Like who? De Renzy, Damiano, Spinelli, Arthur Morowitz, the Mitchells.
You want, I can arrange sit-downs.
Absolutely.
Then you gotta hire me as your agent.
I get ten percent of everything, no more, no less, no strings.
- Why me? - Because when I watch you in a flick, I see a woman who genuinely looks like she's enjoying herself.
Sometimes I do, but sometimes I'm not saying what you think I'm saying.
I'm saying you're an actor.
- [LAUGHS.]
- Do you know what a gift that is, to be able to sell it onscreen? I've never really thought about it, I just Like I was telling Shana, this whole thing is new for porn, agents actually representing the talent New on this coast, at least.
Here, the only thing agents did was find fresh bodies for directors.
We worked for them.
But out west, girls are starting to get repped.
You let me guide your career, we're both gonna make a lot of money.
That's what C.
C.
always says.
The other day on set, what were you talking to the director about? About treating my client with respect, professional respect.
Look, C.
C.
is a pimp who's in way over his head, and the only thing he's gonna do is drag you down.
VINCENT: In the summers, my Aunt Celeste, she'd send all the rug-rat cousins out here to the beach.
She'd sit on the porch with her sisters and play canasta, talk about shit you wouldn't believe.
Like, "If you can't marry Italian, what's the next best choice?" And me and Frank, we'd come up from the beach, too much sand in our shorts, and our other aunt, Carmen, she'd give us a taste of her wine in a paper cup, and then we'd run back to the house, to the backyard, and my Uncle Ernie would be back there with all the husbands, he'd give us a taste, and if he was winnin', let us play a hand for him.
All day, back and forth, back and forth like that.
So what is the next best choice? - For a husband? - Mm-hmm.
Aunt Celeste, she liked the Jews.
Jews, they make better money and generally don't hit the wives or beat on the kids.
I love this.
Yeah.
It's the best.
This is us.
- Oh, shit, we gotta get back.
- What's the rush? - Fuck! I almost forgot the baby shower.
- What baby shower? [CHATTER.]
GENEVIEVE: I want D-80, half a load.
- You have the blood knife? - MAN: Right, yeah.
I want to see the incision, you know? That's good.
Use the air cannon for the splatter on the wall.
- You know what to do.
- Great.
Oren, I think we're gonna start with a wide two-shot, then you dolly in from there and stay on her face.
I'll do him.
Janet, when you're stabbing him for the first time, I want to see rage in your eyes.
Rage, OK? You're doing great.
First position, everybody.
Nobody fuck it up.
I want to get it in one.
I'm going handheld on this.
OK, Oren, are you ready? - OREN: Yeah.
- GENEVIEVE: OK.
Raise it higher.
That's good, but lift your chin a little.
OK? You look great.
Alright - Where the hell were you? - Don't start, OK? You were supposed to take Patrick to the dentist two hours ago! There was a pile-up on the bridge.
Nothing I could do about it.
He's gonna wind up with more holes than teeth.
- Here.
Take him.
- Not now, Fran.
- I'm supposed to go - I said not now! Bobby! CANDY: Miss Furie, I have gotta tell you GENEVIEVE: Agneiszka.
"Genevieve Furie" is just for show.
Agneiszka, I have learned so much watching the films you directed.
And I have seen all of 'em, 'cause I know you started in skin flicks like me.
- And now - And now they, you know, let me do the trash and the slash and the horror and It's still porn.
But different.
Well, it's more than fuck films.
Yeah.
So why did you come to our set? Harvey asked me.
He likes you.
And we share some history.
Me, I don't like women, you know? They talking too much, they slow things down, they can't lift track, they can't move camera, they.
.
CANDY: Thank you.
If I was your teacher, from what I see yesterday, I give you a "C.
" First of all, your camera guy, he think he's your co-director.
Put him in his place, or fire him and shoot it yourself.
Second of all, your crew is shit.
There's plenty of legitimate pros out there who'd be happy to moonlight for extra dollars.
Just put the word out and they find you.
Third of all, anyone can fuck on film, but hardly anyone can act.
- Yeah.
- To me, I'd rather use real actor - with normal-sized prick.
- Yeah.
Because what happen when they actually have to stop fucking? When they have to open their mouth and sell a character? - Right? - Yeah.
Four, stop using whores.
They're dead around the eyes.
- [HORN HONKS.]
- [ENGINE REVS.]
Got some bubbly for the ladies! - [WOMEN CHEERING.]
- Thank you! Ahh.
[LADIES CHATTERING.]
- You're sure it's a girl, right? - Yeah.
- [CORK POPS.]
- WOMAN: Ooh! In case the damn doctor's wrong.
- Pfft.
- [CHATTER.]
- [BANGING ON DOOR.]
- JULITO: Yo, come on! You got customers out here freezin' our nuts off! - C.
C.
: Come on! - VINCENT: Big bad wolf.
Alright.
Raise a glass for Adam or Eve.
Oh ho ho! We ain't here for no al fresco shit.
Guys, it's a baby shower.
A girl thing.
Let 'em have their party.
DARLENE: Hey, Daddy.
What's goin' on in there? I just said.
Bought a motherfuckin' present for the bitch.
Oh, that's sweet.
If it's so girly-girly, why the fuck Vince in there? [CHATTER.]
Do me a favor.
There's a tribe of Slap-A-Ho's out there.
Can you go babysit them before they break the door down? MAN: Hey, yo, see that bodega on 9th burned down? MAN 2: That why they call it Hell's Kitchen? - Hey, I got cigars.
- My man.
You know what they're doing inside, right? What do you think they're doin'? - Connivin' against our asses.
- Yeah.
Scratch a bitch, uncover a conspiracy.
LORETTA: OK, a cucumber won't knock you up.
A cucumber won't beat your ass.
Or say, "It ain't mine.
" Oh, a cucumber won't give you the syph.
- Or hate on your kids.
- NADINE: Or take your money.
- Or beat your ass.
- LORETTA: You said that already! - I'm saying it again.
- [LAUGHTER.]
Did somebody say soft? It won't go soft? ALL: Yeah.
Wait, which one? LARRY BROWN: Sorry I got you kicked out of there.
VINCENT: Yeah, they didn't want me in there anyway.
Gettin' cold.
[HORNS HONKING.]
COP: It's all about Roger Staubach and his Doomsday Defense Droppin' off or pickin' up? What do you care? Question withdrawn.
Fuck you.
People have to eat.
So how goes your tourist carving? I keep hearing about this one hustler kid who disappeared right after.
Uh, Skeef.
Skiff You mean Skeets.
- Skeets? - Angel Arroyo.
If he's vanished, he didn't vanish far.
His mother lives up in the Bronx.
This here is called gettin' some work out of me.
COP: Cowboys gonna do it again next year.
Just wait.
[PRINTER BUZZING.]
[BUZZING CONTINUES.]
Fuck me.
Listen to this.
Listen.
"He could be seen from afar among the trees putting his arm 'round her waist and walking, half-bending over, ruffling the chemisette of her bodice with his head.
" There's four fucking chapters, that's the closest anybody's got to fucking! [BLOWS AIR.]
Agneiszka said look to the classics.
Fuck.
- "Moby Dick"? - You gonna make a joke about a sperm whale? - "The Iceman Cometh.
" - The what? "Crotch-22"? "The Adventures of Fuckleberry Finn"? Stop.
It's not a fucking party game.
What about fairy tales? Most of them are about sex, anyway.
Hmm.
For example? "Snow White.
" You gotta cast dwarfs.
"Cinderella"? No, no.
- Keep goin'.
- Ah "Goldilocks.
" "Somebody's been sleepin' in my bed.
" Uh, "Sleeping Beauty.
" Hey there Little Red Riding Hood You sure are lookin' good BOTH: You're everything That a big bad wolf could want [BOTH HOWL.]
Ow! Owww! [CHATTER, LAUGHTER.]
[DOOR OPENS.]
How ya doin'? You run this shithole? I, uh yep.
Gimme a Dewar's rocks.
Same for Frick and Frack over here.
Heard about that mess the other night.
Do you know who I am? - The Horse.
- That's right.
I got places on either end of Christopher, and one around the corner.
Nobody fucks with them, do they? Mister lanniello, we already have an understanding with Mr.
Pipilo.
Oh, Mr.
Pipilo.
Shit.
I didn't know you were with Rudy.
How the fuck am I supposed to know that you're with a guy when your customers are getting the shit beat out of them every time they go in and out of your joint? I came here to help you.
Far be it from me to interject into the business affairs of Rudy Pipilo.
But if I were you, I'd ask out of that arrangement, and possibly get into a new one where you're actually getting the protection you're paying for.
But that's up to you, not me.
[PUTS GLASS DOWN.]
[INHALES, EXHALES.]
Yo! Hit us again.
He had you backed against the passenger door.
[SIGHS.]
Let me hear you say it.
Backed against the door, yeah.
So you had no way to escape him? No.
And he was angry? How much do you weigh? He weighs nothing.
Look at him.
Can I tell you how much the other man weighed? Two hundred and forty pounds.
Dios mio.
So would you say you were in fear for your life? Yeah.
Good.
So where were you? He had me backed up against the passenger door.
There was nothing else I could do.
- MAN 1: You got it? - MAN 2: Yeah.
That's good.
- Alright.
Watch your head.
- Yup.
- [DUGGAN, INDISTINCT.]
- BOBBY: Duggan.
Big Bobby Dwyer.
Holy shit.
I haven't seen you since the Navy Yard job.
What was that, six, seven years ago? What the fuck's goin' on here? What's it look like? And why do you care? [CHATTER.]
Detective Alston? So you solved it.
You heard quick.
I usually do.
So? Robbery? Was he robbed? He was down on the Deuce trolling for some young trade, and he backed the wrong kid into doing something he didn't want to do.
And here you are lookin' to protect the tourists from New York.
Turns out New York needs to protect itself from the tourists.
Wrong case for you.
Sorry.
Do you have any idea what's coming down the pike, Detective? What? A new Knapp Commission? A new broom? You know who benefits? Cats like you get all the ink.
You know who gets it in the neck? Cops who get suckered in.
Next thing they know, they get shot, nobody lifts a finger.
Two years later, everybody's still stealin' like nothing ever happened.
That's not what this is about.
Do you know what are the two greatest crime-fighters we have in this city? Sheetrock and cranes.
[JAZZ MUSIC PLAYING.]
Fuckin' Christ.
What's the problem? See what's happening around the corner on Dyer? Guys are cartin' shit off a truck, I go see what's what.
It's Hodas again, opening another parlor.
This one right between two of ours.
That motherfucker! Vin? It's me.
Guess what? Another fuckin' Hodas joint's goin' up.
Right down the street! Right between us and the Geisha House.
Alright, I'll get with Rudy then.
Bye.
- Hey, Vince.
- VINCE: Yeah.
Gotta get with Tommy Longo, man.
Maybe Rudy, too.
I'm kinda freakin' out.
Look, I got somewhere to be tonight.
Why don't you just go talk to him yourself? [TELEPHONE RINGS.]
- Alone? - Yeah.
You're payin' him too, right? - Yeah.
- Yeah.
VINCE: Babe, come on, we gotta go.
Kitchen's gonna close.
They stay open late, but come on.
- Now? - Yeah, now.
Now or never.
Come on, I thought you wanted to grab a bite.
OK, just, um Abby.
You.
Abby.
ABBY: Hello? Oh, my God.
Hey.
Sure Sure.
Where? Abby.
I'm coming right now.
OK.
Vin, somethin' came up.
I'm sorry.
What do you mean somethin' came up? What? What about dinner? [ELECTRIC JAZZ MUSIC PLAYING.]
That negligee's too long for you.
You're gonna trip, break your neck in here.
Borrowed it from my sister who's a giant.
How about this.
Everybody says when it comes to women's wear I have excellent taste.
If you trust me, I'll pick you up a few nice things and bring 'em in tomorrow.
It's how I am with my friends.
- Man's a hopeless romantic.
- [WOMAN CHUCKLES.]
[CHATTER.]
WOMAN: Whatever you want to do [WOMEN'S VOICES IN DISTANCE.]
WOMAN: And one strategy I was thinking about is focusing on the massage parlors, the peeps, a group of us standing outside with cameras and shooting the johns going in.
WOMAN 2: [LAUGHS.]
Shooting the johns.
WOMAN 3: I don't like it.
You're talking about public shaming.
It could come back on us in a bad way.
It's not about the johns.
It's about whoever's making money off these women.
Hold on a sec.
The reality is the pimps are always gonna pimp, and johns are always gonna spend, and the higher-ups will always find a way to cash in.
So why do anything? Is that what you're saying? No, that's not what I'm saying.
I'm saying what do the women need in order to get out? And if they're not ready to get out, then what do they need in order to survive? Look, the bigger issues are the bigger issues Political, criminal, public awareness, whatever.
[MUSIC PLAYING.]
Bring back that gold for us.
You know I will, Daddy.
(FUNK MUSIC PLAYS) Red-light district, they want it gone.
Somebody in public morals got morals? PETER MCDONAGH: It's not morals.
It's money.
Those white girls are getting 50 dollars more per day.
PRODUCER: I already told your man here, you're the wrong part of the Oreo.
(MUSIC CONTINUES) We're going out West.
It's happening, right here.
(PEOPLE CHEERING) You wanna do a literary adaptation? - Of Little Red Riding Hood.
- That's not bad.
Yeah, you could practically bring the whole family.