The Deuce (2017–…): Season 3, Episode 7 - That's a Wrap - full transcript

Every woman's got a price tag
hangin' on her ass.

You ready?

♪ (TENSE MUSIC PLAYS) ♪

GREG TAYLOR: You need to get
back on the horse and ride,

show people
what they haven't seen before.

What the fuck
haven't they seen before?

Where are all the girls?

Why do you need a gun?

Your brother is shot to death.
Nobody knows why.

You have a fucking gun.
You expect me to calm down?!

Abby.



You didn't know anything
about what Longo was up to?

RUDY PIPILO: I didn't know.

But if you're right...

TOMMY LONGO: O‐‐ Oh!

VINCENT MARTINO: I get it.
He's protected.

‐(GUNSHOT)
‐♪ (MUSIC STOPS) ♪

(INDISTINCT ANNOUNCEMENT
OVER PA)

(ANNOUNCEMENTS CONTINUE)

Hey. Do you know the gentleman's
club near the university?

‐The Skylar?
‐Yeah.

‐Is it still open this late?
‐As far as I know.

♪ (HARD ROCK MUSIC PLAYS) ♪

Lori, you were great.
We loved having you here.

But this week, we're booked
solid through till Sunday.



I got Amber Lynn headlining.

So, let me do a set or two
before Amber.

Lori, she's headlining for me.

If I put you up on that stage
in front of her

to scarf up the tip money,
she'll kill me for it.

You gotta book in advance.

Who the hell's managing you?

No one right now.

Look, I left LA
with not enough cash,

and I've managed to make it
this far with enough gigs,

but I just‐‐ I'm...

I'm running low, you know.

I'm riding the fucking Hound,
you know?

Look, if you just loan me
enough now for...

the bus to Chicago
and maybe a hotel,

next time I'm here,
I'll make it even.

Okay?

(LORI MADISON SNIFFS)

(TAXI DRIVERS CHATTING
OVER RADIO)

(SNIFFS)

(LORI CLEARS THROAT)

Hey, is this Phalen Park?

DRIVER: Yeah.

Could you take a left on Forest
and then right on Maryland?

DRIVER: Okay.

LORI: Up here. On the right.

(SIREN BLARING IN DISTANCE)

(RADIO CHATTER CONTINUES)

DRIVER: Where to now?

Is there a hotel
near the bus station?

DRIVER: Sure.

♪ ("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 ♪

♪ Ooh, dreaming is free ♪

(MACHINE WHIRRING)

TOMMY LONGO: Vincent!

Come on, get in the car.

Hey! Hey! Vincent where the‐‐
the fuck you going?

Hey! Vincent!

(CAR HORN BLARES)

MAN: Hey, asshole!
What the fuck?

Hey! The fuck's wrong with you?

‐Hey!
‐(HORN BLARES)

FORREST TUCKER: (ON TV)
I don't got time.

Like I told you,
I'm in kind of a hurry.

MELISSA: I did not know
that you like Westerns. (LAUGHS)

Shit, I'll watch anything
with Forrest Tucker.

The man was legendary.
Him and John Ireland.

TUCKER: Maybe my language
isn't strong enough.

Girl, stop cleaning everything
and get over here!

Acting like you're Hazel.

I am just trying to be helpful.

Well, don't be auditioning.
You moved in.

It's your home. I will figure
out a way to pay my share.

REGGIE "REG" WINHORN:
I'm not worried about that.

TUCKER: Start walking. If you
don't remember by the time

you reach that tree, you can
just forget everything, huh?

REG: Hey, look here.

So, the studio movie
starts shooting tomorrow.

U.P.M. called me about
a set costumer thing.

MELISSA: Mm‐hm.

Fish‐out‐of‐water story with...

some Australian man who moves
to the Big Apple

and schools us all.

So I put you up for the job.

'Cause I knew you can handle it.

Thank you.

Yeah, well, I gotta look out
for my little partner.

(BOTH CHUCKLE)

I'm the one that's supposed to
be taking care of you.

Well, you are. We're family.

(SIREN WAILS IN DISTANCE)

(PANTS)

(PANTING)

(DOG BARKING IN DISTANCE)

(SIGHS) I'm out of money.

HARVEY WASSERMAN: Right.
What do you still owe?

Scene to scene?

I mean, half the fucking movie.

Harvey, almost all
of my exteriors.

I don't know what to tell you.

You were gonna peel off
20 for me from

‐your straight‐to‐video stuff.
‐I did!

‐What are you talking about?
‐Well, so‐‐ so what?
‐Hey, even though you only

matched it with ten, I still
gave you the 20. What the fuck
you think you've been shooting

‐on the last six weeks?
‐That's all gone?

All of it. Yes.

All of it.

(SIGHS) Fuck!

I don't wanna lose these actors.

I don't blame you. You know.
I've...

I've seen some of your dailies.

Look, if I could steal more
for myself to get you there,

I would, but I can't.

We're broke. Maybe I could look
in my wallet

and find you enough to finish

what you have on the schedule
this week,

but that's it.
Afterwards, you know,

you're gonna have to
suspend production.

You know, at least
for the time being.

(CANDY SIGHS)

(INHALES, EXHALES)

What would you do
if you were me?

I'd cast a legend.

Oh, okay.

Well... (SCOFFS)

You're not gonna get any
fresh backing

without any names on this.

You know, there's not a single
porn star in the bunch.

‐Okay? There's not one single...
‐No, Harvey. They're actors.

‐...name for the one‐sheet.
‐I need them to act.
Fuck porn stars.

Excuse me. You want money,
right?

So, go through your Rolodex,
find someone with fans

who wants a chance to act
in something real,

and then use them in a way
that doesn't ruin

any of the scenes
you really need,

and then make them take
their clothes off and fuck.

Once.

Twice.

A big enough name's gonna
get you that fresh backing.

So, compromise, Eileen.
You know?

It can't all be art.

(COUGHING)

Brought supplies.

‐No milk?
‐(EXHALES)

Who mixes milk with mash?

Ah. So just the essentials.

(VINCENT CHUCKLES)

So...

What do you think
of this place?

It's pretty much
what I pictured.

Thank you, Vince.

Yeah. Thank the owner.

What's the man's name?

Jerome.

He used to... drink his lunch
in the Hi‐Hat, noon to one?

Yeah. I remember.

Good dude.

He said to enjoy it
in good health.

(COUGHS)

Well, that's out of my hands.

Is there anything
I can do for you?

You could finish
splitting that wood.

(CHUCKLES)

All right. (CLEARS THROAT)

(LAUGHS)

Man, you know
what you're doin'?

Please.
It's like riding a bike.

‐Just sit back and relax.
‐All right.

‐I'm out of the business.
‐♪ (PIANO MUSIC PLAYS) ♪

I appreciate you reachin' out.

‐But I can't.
‐EILEEN "CANDY" MERRELL: Okay,

but there's barely
any fucking to be done.

I mean it's‐‐ it's really just

so I can put your name
on the poster

and get some fresh money
behind me.

And what we're doing...

is different...

‐Mm‐hm.
‐...than anything
you or I have ever done.

And you could do some acting.

"Acting." (CHUCKLES)

Who are you bullshitting?

No one ever paid me to act.

(CANDY CHUCKLES)

I knew what I was there to do.

Shit, Shana.

If you knew you weren't gonna
take this part,

why'd you agree to meet me?

I'm bored.

I wanted to go to a restaurant
with an old friend,

and... catch up.

Uh‐huh.

‐Oh, honey.
‐(CANDY LAUGHS)

I got married.

‐Damn.
‐Yeah. (LAUGHS)

To one of the richest
real estate developers

in New York.

Aaron Rivers used to show up
at my movie premieres

in the city and just...

stand in the lobby
and stare at me.

Two dates later he proposed.

He moved me into a 12‐bedroom
Tudor revival mansion

in Tuxedo Park

and gave me
an unlimited allowance.

So?

The caveat was
I had to quit the business.

You know where I came from.

I was a star.

And what I had, I earned.

(SIGHS) God.

I loved the attention.

‐Yeah.
‐I can admit that.

The goddamn attention
was what I loved about it.

Even more than the money.

Now I'm just another woman
living in a gilded cage.

I made a mistake.

What can I say?

Let us have another. Hm?

(CHUCKLES)

♪ (LOUNGE MUSIC PLAYS) ♪

TOMMY:
So, what the fuck we doin'?

About the girls?

No, about the situation
in Lebanon.

I don't know, Tom.

How you gonna keep 'em down
on the farm

when they've seen the lobby
of every hotel in town?

You make an example.

(SIGHS) Well...
it's warm enough now.

Yeah, I'll go into the village.
Get some firewood delivered.

Enough to last me.

‐Got any heating here?
‐Not much.

What'll you do in the winter?

Winter's not gonna touch me,
man.

(SNIFFS)

Rudy's gone.

What do you mean?

He's dead.

His people did him.

The way they do, you know.

How?

In his car.

Up on 49th, at the river.

Shot in the head.

Why'd they do him like that?

So, now it's just Tommy.

The new capo.

Tommy ain't right in the head.

You know, he...

thinks something and...
his trigger finger reacts.

You think he did Rudy?

I don't know.

But I've seen him do people,
so I know he will.

Whatever Rudy had
is now his.

(MIKE COUGHS)

Look, you, uh... You want me
to get you some, uh...

medicine or somethin'?
I don't know. (EXHALES)

No.

I'm good.

Wish they had a phone
in here.

We could at least talk.

I can call you from town...
time to time.

(SIGHS)

I will come back up here
next month.

Sure thing.

We had fun, man.

(LAUGHS)

Yeah, we did.

(COUGHS)

Yeah.

My father used to say...

"Never let anything
walk by you."

I took his advice.

I don't believe I left
one stone unturned.

(CHUCKLES)

(MIKE SIGHS)

(CUP CLINKS)

You remember Honey?

Of course.

Honey was somethin'.

All of 'em.

The whole parade, man.

They were rich.

I ain't got no regrets.

I drink from the cup.

Mike...

What?

(SIGHS)

Shit.

This is hard for me.

‐I‐‐
‐Shh.

Let's enjoy this fire.

(KEYS JINGLE)

AMY GOLDMAN: Michael's
saying goodbye to some friends

before he leaves for school.

That's great.

(KEYS JINGLE)

It's quiet in this house.

It is. (CLEARS THROAT)

This isn't fair to me.

I understand.

I understand.

I'm sorry I hurt you...

but I don't regret
the time we had together...

(SNIFFS)

...or the family that we made.

I'll, uh...

I'll start looking for
a place of my own.

(SIREN WAILS IN DISTANCE)

(INDISTINCT CHATTER ON TV)

(DOOR OPENS)

(KEYS JINGLE)

ABIGAIL "ABBY" PARKER
You could've brought breakfast.

Yeah, well‐‐ (CLEARS THROAT)
I went to see Mike.

(SIGHS)

(VINCENT SOBS)

‐I'm so sorry.
‐(SNIFFS, SIGHS)

I feel like this is, like,
a real estate agent sweater.

‐No.
‐"Donate me." (LAUGHS)

I don't want to see her
in anymore sweaters, I think.

‐SECRETARY: Eileen?
‐Yeah?

There's a Lori on the phone
asking for Candy.

Lori Madison?

She's calling collect.
Do I accept?

‐I‐‐
‐I'm gonna transfer her.

Okay.

‐Lori?
‐OPERATOR: Accept charges?

Oh, yeah. Yeah.
Yeah, I'll accept.

OPERATOR: Go ahead.

Lori!

Hey, Candy.

Hey. Where the fuck are you?
California?

Uh... No. Um... Youngstown.

You're in Ohio?

Yeah. I didn't know who else
to call at this point.

Um... I'm out of money,

and I'm trying to get
to New York.

I had to leave LA
in kind of a rush, and...

I didn't really plan so good,
and, um...

If you have any work,

anything that you could
lend me now,

I could, um...
I could pay you back.

‐Um...
‐Uh... Yeah.

Wh‐‐ Um... Where do you want me
to send it?

Uh... I'm act‐‐
I'm at the place right now.

Uh... I can just‐‐

I just need to go in
and get the information.

Oh, my G‐‐
Thank you so much.

So much.

I'll be right back.

Hey, Harvey!

How about Lori fucking Madison
on my one‐sheet?

Does that get me a little cash
in a hurry?

(HARVEY CHUCKLES)

GENE GOLDMAN: And finally,

adult entertainment is no longer
a growth industry in Midtown.

We are expanding enforcement

in response to concerns about
the infiltration

of sex establishments,
loiterers and criminals

into areas north and west

of the designated condemnation
sites.

If you observe any
of these elements on your block,

give us a call
and we will be there for you.

But don't be mistaken,

if you're supporting any of
these undesirable elements,

we will also be there
for you.

COMMUNITY BOARD CHAIR:
Thank you, Gene.

May we open this up
to questions?

We'll take questions
one at a time.

No interrupting.

Miss Parker.

Hi. (SIGHS) I'm Abby Parker.

For almost 15 years,

I've run a bar
over on 45th Street.

Anyone who comes into my bar,
they're my customer.

In this neighborhood,
that's meant getting to know

more than a few prostitutes,
pimps,

dealers, addicts,
homeless people...

All the undesirables
you allude to

in your rallying cry.

Those are my customers,
and many have become friends.

And, Gene, you're misleading
everyone coming here

to tell us that this new phase
of redevelopment

is gonna save my neighborhood
from itself,

that the city is looking
out for us.

Sure.

There's billions of dollars
at play...

but it's private money.

Seems your role in this

is to make the remapping
of Times Square

a bit more palatable

by pretending
it's a public project.

But, Gene, you know I mean this
with love in my heart.

You can go fuck yourself

if you expect us
to do your bidding.

All due respect,
but my office has been working

to make Midtown
more hospitable

since before redevelopment.

Hospitable for whom?

Mm? I'm sure there's economic
development and jobs coming in,

but the people I know
won't see any of that.

No. You're gonna rebuild
and re‐gild Times Square,

and anyone who's not up
to corporate standards

of respectability
gets kicked down the road.

I run a bar where job one

is to treat the damned
and the damnable alike,

with a little dignity.

I‐‐ I might not have done much
in the last 14 years...

but I've served an honest drink.

And I'm not gonna stop.

(APPLAUSE)

(SIREN WAILS IN DISTANCE)

(CAR APPROACHES)

(DOOR OPENS)

Fuck is your problem?

Sorry I couldn't deal
the other day,

I just had something
on my mind.

Yeah? What?

Rudy fucked your head up.

Sure.

It just fucks me up that
it's like Rudy never existed.

For weeks now,
I get the envelopes,

I pass it on to you.

‐It's like nothing changes.
‐What should change?

Look.

I loved Rudy.

I feel real bad about
what happened to him.

Know who killed him?

Could be anyone.

Yeah, could be.

Listen.

Vincent.

Here's a little secret:

I don't know who did Rudy.

But I know it may have happened
because when push came to shove,

he didn't give you up.

Did you know that?

He took your weight
for killing Cacace.

He paid your debt that way.

So, now Cacace's people,

they're not looking for you
anymore

because Rudy was
an eye for an eye.

Yeah.

Well, I told him about
you and Frankie.

About the drug thing.

I thought he might've been
in that.

No shit.

These past weeks,
you've been duckin' me

as if I'm gonna drop you
if you so much as

blink in front of me.

Look, Rudy hated the drug thing.

So do a lot of the older guys,

so they say.

But the reality is
that if we stay out that game,

only the tutsoon's
gonna be making any money.

Rudy was wrong about that.

And he was wrong
not to take you out...

when the word came down
for him to do that.

In our business,
when you're wrong,

you‐‐ you don't get to retire.

How about me?

What about you, Vincent?

The fact is, me and you
know things about each other,

so as long as we keep those
to ourselves, we're good.

(CHUCKLES)

Just keep doing
what you're doing.

Bobby too, Irene,
everyone else in your crew.

It'll be all right.

I'm already workin'
on a new spot for you.

Well, I don't know...

I don't know if I wanna go back
to that life. I'm...

finally sleeping normal hours
again.

We'll find you a new spot,
and it'll be like it was.

Only difference is now
the envelopes go to me.

Gonna put you in
a real nice club.

You'll like it.

(INHALES, EXHALES)

(ENGINE STARTS)

(GLOVE COMPARTMENT OPENS)

♪ ("GOTTA TELL ME WHY"
BY THE SLICKEE BOYS PLAYS) ♪

PILAR: Abby!

♪ You showed
I knew it was you ♪

♪ You said
"Is that what you do?" ♪

‐Hey.
‐Hey.

Doesn't look like you're gonna
be able to slip out tonight.

We're in the weeds,
and I'm closing tonight.

You've been closing a lot
lately.

What can I say? I'm busy.

Hey, bartender.

Can I get another beer?

I‐‐ I gotta go.

Come to my show tomorrow night.

I'll try.

It's important to me, Abby.

I'll be there.

♪ One heading for circumstance
One heading for Mars ♪

♪ No Casanova here... ♪

(SIREN WAILS IN DISTANCE)

(PORN ACTRESS MOANING ON TV)

LORI: I owe you.

Mm.

I'm good for the work.

(CHUCKLES) Well, for the work,
you know,

you're going
in the wrong direction.

All the work's in LA,
you know that.

Not for me. Not anymore.

I left my man. And then me
and Kiki split up, too. So...

that was like a month ago.

Went back on the dance circuit,

I've just been doing some
low‐end places for tips,

you know, sold a few Polaroids.

Yeah, I get it.

But... tonight, for the first
time in a long while,

I got off the Greyhound
in the Apple,

walked through Port Authority,

and not a single pimp
looked at me, so...

‐(LAUGHS)
‐(GROANS)

I must've gotten old
or something.

(INHALES)
Nah, girl, you still got it.

(INHALES) Well, look, uh...
I'm directing something new.

The schedule's haphazard,
I shoot when I've got money,

but I do have a couple of scenes
coming up.

I could write a part
in for you.

I mean, it's‐‐ it's not gonna
keep you afloat, but...

‐it's something.
‐Yeah, anything.

Here's my home number.
Call me and, uh,

I'll let you know when
you can pick up your pages.

‐Where are you staying?
‐Uh... Just a hotel to start.

Well, you know, unless you're
gonna stay at an SRO...

you're gonna need a credit card.

Don't kill me on this, okay?

Some place clean, but not
the Waldorf Astoria, all right?

LORI: Yeah.

Welcome back.

No palm trees, no sunshine,
no fucking avocados.

Thank you, Candy.
Bye.

Abby!

Abby!

(SIGHS)

(SIGHS)

(SIGHS)

(GROANS)

Xiomara said what again?

She said that she and the girls
weren't coming back
to the French Parlor.

Or any other parlors.
Said those days were done.

Where's her loyalty?

Yeah, I was the one that put her
on the party circuit

in the first place.

She didn't care about what you

or your father
thought about her.

‐She named y'all specifically.
‐That girl got fire.

Whose side are you on?

Oh, come on, you gotta
at least give her that.

You know, it's what Tommy says,
shoulda made an example of her.

And then what happens?
Because I fuck up Xiomara,

all other girls are gonna come
running out of the hotel bars,

and toss their damn beepers
in the street?

They gonna close shop
and come running back
to these parlors?

BERNICE: Mm.
Never gonna happen.

Well, what am I supposed to tell
Tommy Longo when he comes by?

Tell him you made a decision.
Man can respect that.

When I was in Rikers...

there was this one guy who
went by "Spanish Joe"

who marked me
as soon as I came in.

I don't know why, certain guys
just be angry like that.

They gotta look down on someone.

He told me straight up:
"I'm about to murder yo' ass."

That was his big mistake.

Some guys just run their gums
too long. Like my man Tuco said,

"When you have to shoot, shoot,
don't talk."

Spanish Joe
gave me time to think,

so I made a decision.
Got friendly with the guard,

he passed me one of those
machinist screwdrivers

with the long shaft.

One morning, I caught up with
Spanish Joe in the showers.

Wanna get a man when he's
most vulnerable?

You hit him while he's naked.

Got him in a headlock

and drove that screwdriver
through his eye,

all the way to the handle.

Just buried the motherfucker
in his brain.

See, he thought it was gonna go
a certain way,

but it was me who wrote
the end of his story.

I'm confused.
You're saying what?

That we should kill Xiomara?

You're missing my point
entirely.

I had a problem and I solved it.

Let me ask again. What am I
supposed to tell Tommy Longo?

Motherfucker, tell him you can't
fight the future.

Those girls are gone.

Look that dago motherfucker
in the eye

and tell him we
gotta do something else.

Baby, can I get some duck sauce?

Who the fuck's Tuco?

LARRY: (OVER PHONE)
So, I read the pages,

and no offence, guys,
this is dry stuff.

I mean, I took a woman's
studies course pass‐fail

my last year in college,
and it was way more dramatic.

Hey, Larry, what was
a degenerate like you

doing in
a woman's studies class?

LARRY: To score pussy, Candy.

Oh, yeah, and... and did you?

LARRY: I did. Some of
the angriest pussy imaginable.

But my point is: why would
Lori Madison give you

two scenes of talk
and a quick fuck‐and‐suck

for an art‐house project

that is gonna have
no back‐end?

Well, she's in New York, Larry;
she wants to work.

LARRY: That's her problem.

She's under exclusive contract
to Vibrance.

She works for us only.

Well, she's not gonna make
any money for you

sitting on her ass.

LARRY: Come on, Candy!

Who are you kidding?

You're throwing her
just enough work

so you can put her on the poster

and raise some dollars
behind it.

And you're trying to do it at
a discount.

Truth be told,
there's no price you can name

that's gonna get me to give up
my rights to Lori Madison.

She works with me,
or she doesn't work.

(MOUTHS)

Uh... It's Harvey. Uh...

2,000 to Lori, in cash,
in her hand

on the day of the shoot,
2,000 to you...

Larry, in a cashier's check
I send in the mail today.

LARRY: 3,000 to me, Harvey.

Uh... Sold.

LARRY: But, Candy, baby...

Yeah, Larry.

(WHISPERS)
The fuck are you doing?

If you're so hungry to raise
money for this film project,

why play small stakes?

Lori Madison cameo is only
gonna raise you so much money.

CANDY: What you got in mind,
Larry?

‐(WHISPERS INDISTINCTLY)
‐(CLICKS FINGERS)

A feature. One of mine.
A return to the golden age.

Booked in theaters,
an actual three‐act story,

great production values,
and stars.

Like a Green Door
or a Misty Beethoven.

CANDY: Well, you know, it's all
about the script, Larry,

so, um...

I gotta read it before I can
make any kind of a decision.

I can get you your pages.

(SCOFFS) What are you
talking pages?

You want me to direct
this thing, right?

LARRY: We want you to fuck,
Candy.

You and two or three
other legends

that still present on film.

‐(LAUGHS)
‐The return of Candy Renée.

You know, I'm not in front of
the camera anymore.

Not for a long time, Larry.

LARRY:
Yeah, you're still hot as lava.

Be that as it may.

LARRY: Two days of work.

Straight on‐camera fucking,
tastefully done!

No anal, no gape‐shots,
nothing like that.

10,000 dollars, no strings.

(WHISPERS) No gape shots.

LARRY: Ten large can buy you
a couple weeks of production

at New York prices,
I'm guessing.

Twenty.

Half when I sign...

LARRY: You're kidding, right?

Yes or no?

Fifteen. And... I'll throw back
our piece on Lori.

'Cause I'm a giver!

BOBBY: Game's changed.

Three girls will pool money
and get a furnished apartment

over near one of the tunnels,

put and ad in The Voice,
and boom, instant trick‐pad.

We're not getting a piece of
any of that stuff?

♪ (LOUNGE MUSIC PLAYS) ♪

Fuck that! Uh‐uh.

No.

The girls do not walk.
They don't do that.

If we, uh... bruise up
that... Xiomara,

the other girls'll come back.

(SIGHS) They're not coming back.

And roughing up one mouthy broad
won't help.

Beepers made 'em bold.

They figured out they don't need
pimps or whore houses.

Some of them, anyway.

And you know what, Tommy?
They're right.

It's a free country.

Tommy, a few more months
of all this,

all our parlors
are gonna be empty.

Yeah, okay. Okay.

Okay.

(GLASS CLINKS HEAVILY)

It's like, uh...
It's an economics problem.

It's like management. (EXHALES)

I'd rather shoot a motherfucker.

(KNOCKING ON DOOR)

(DOOR UNLOCKS)

Hey, girl.

CANDY: Hm.

‐You want a drink?
‐Sure.

Uh... Your pages
are on the table.

Just go ahead and sit down.

This is really nice,
when did you move?

Uh... Well, a couple years ago,

when my erotica films were
more popular. (CHUCKLES)

I was spending a lot of nights
at Harvey's editing suite,

so I figured it'd be good to get
something a little closer.

So, you gonna move back?

I guess so. (CLEARS THROAT)
You seem to be doing okay here.

Nah, the business is really
drying up in New York.

I'm one of the last holdouts.

I'll make it work.

Thanks for the part.

Sure.

I was in town earlier this year.

Oh, yeah?

I came in to audition for a role
for, um... a straight movie...

‐a slasher thing.
‐Ah. (CHUCKLES)

It's pretty stupid, all of it.
I didn't even get a call‐back.

Well, that happens all the time.

Mm. Actors learn how to take it.
It doesn't mean anything.

You don't think so?

You don't think it had anything
to do

with me being Lori Madison,
porn star?

You think that doesn't matter,
I think that's all that matters.

Listen, Lori,

it hasn't been easy for me,
either, making changes.

Now that the movies are on tape,

there's no such thing as
an ex‐pornstar.

I mean, that shit's around
forever, but...

you know, so what?
Just shake it off and move on.

So, you're telling me that I can
never really escape the life?

You don't need to escape it.
(EXHALES)

You shouldn't wanna escape it;
you're Lori Madison,

people love Lori Madison.

I mean, Lori Madison won four
fucking Eroticas.

Lori Madison is money.

She helped me make a movie
I'm proud of.

You know, you're Lori Madison,
goddammit! (CHUCKLES)

But... you know,
if you're saying

that's not all you are,
I do get that.

You gotta save something
for yourself,

you can't be just her.

How do you know? You've only
ever known me like this.

(CHUCKLES) I know.

I mean, I'm Candy Renée...
to most of the world.

But I'm also...

Eileen Merrell.

I'm a mother, I'm a daughter...

I'm somebody's lover.

I'm both people, you know?
We live two lives.

That's how we do.

I don't have a kid.

I don't have a man anymore.

I don't have a family.

Shit. I drove past my old house
in Minnesota

on the way here
and it was boarded up.

‐(SCOFFS)
‐Mm.

This is all I am.

(SIREN BLARES IN DISTANCE)

It's not.

(LORI INHALES, EXHALES)

(CLICKS TONGUE)

What time's my call tomorrow?

Um... We start at 9:00 tomorrow.
(EXHALES)

Now we got some money on‐hand,
so we can probably get through

your sequence by the end
of next week,

if we can find some locations.

Mm‐kay. (INHALES)
I hate to do this again,

but do you have
a few dollars for a taxi?

Mm‐hm.

You know what? Just take 40.

I'll get it back
when we wrap you out and pay.

Okay.

Hey, Lori.

What's your real name?

(SCOFFS LIGHTLY)

Hey!

What's your real name?

Land O'Lakes Girl.
Remember?

I'll see you tomorrow.

(DOOR OPENS, CLOSES)

Joey, you got a girlfriend?

‐No one special.
‐That means no one.

What, you think there's
something wrong with me?

(BOBBY CLEARS THROAT)

Even Hitler had a girlfriend.
(LAUGHS)

Stop it, Bobby!

You two want some coffee?

Yeah.

I mean, yes, please.

None for me.

So, how'd it go today
with Tommy?

He gonna set the girls
straight?

No. No one is setting
anyone straight.

Well, shit, Dad.
I handed you this money maker,

and now
we're just pissing it away.

I ain't beating on women
so you can get paid!

I got more character than that,
and you do, too!

All right. All right.
Doesn't matter 'cause...

I got a better opportunity
for you, anyway.

A sure thing.

(SCOFFS) Ain't no such thing
as a sure thing.

(SIGHS, CLEARS THROAT)

See, my friend at work
has a cousin at the FDA.

There's this drug, it treats
irregular heartbeats.

It's for guys like you,
so you don't stroke out.

The pharmaceutical company's
stock has been going up.

Everyone thinks the drug
is gonna get approved.

So?

My friend's cousin says it's
not gonna get approved

on account of all the bad
side effects.

Like, zero chance.

So, a guy who shorts the stock
is gonna make a mint.

What's that mean,
"short the stock"?

Instead of betting that
the stock's gonna go up,

you bet that it's gonna go down.

‐That's un‐American!
‐(LAUGHS)

Come on, Dad.

You give me 20 Gs,
I'll do all the work,

I'll get us set up, you and me
split the profits.

‐Twenty Gs?
‐Yeah.

Fuck you!

(SIGHS)

How much could we make?

(HORN HONKING)

LORI: Hey. Need a light?

Who's holding?

Cops.

Fuck you, bitch!

I used to own this stroll
from here up to 47th Street.

Who the fuck is holding?

‐Coke or dope?
‐Coke.

See my man in the suede?

‐Hey!
‐(SIREN WAILS IN DISTANCE)

PILAR: Thanks a lot.
Have a good night.

WOMAN: You too.

I had a feeling
you'd turn up eventually.

(SIGHS) I'm sorry I'm late.

Been hard to pin down lately.

(SIGHS)
I'm sorry about that, too.

(INHALES) A woman I haven't
seen in a while wanted to

talk to me about a job
before I left.

Doesn't matter anymore.

Can we still get in?

They locked the gate.

It's too late.

It's not just your friend
tonight.

What are you saying?

When I realized
this wasn't working,

I knew you'd never be
the one to end it.

So... I'm gonna do it for you.

Maybe you just haven't met
the right person yet.

Or maybe you did,

and you haven't given them
enough of a chance.

(CAR ALARM BLARES)

(SIGHS)

You'll be okay?

(CHUCKLES LIGHTLY) Always have.

‐(CAR HORN BLARES)
‐(INDISTINCT CHATTER)

Hey, baby.

♪ (MUSIC PLAYS FROM CAR) ♪

Hey, baby.
You dating?

Yeah, how much?

Fifty takes you
around the world.

God, you're a steal!

‐Twenty for the room.
‐Of course.

AUTOMATED VOICE:
A door is ajar.

What's your name, baby?

Sarah.

Better than when
we were married.

(CHUCKLES)
How about that?

It isn't always there for us.
Maybe that's why it's good.

Yeah, well... (EXHALES)

I mean... we're older now.

Older is better?

(CHUCKLES) More like smarter.

You know. I mean, maybe if...

maybe if we'd been what we are
now back then...

things would have
played out differently.

Just something to think about.

I guess.

But now it is what it is, Vin.

VINCENT: Hm.

Why, you don't think we could,
though?

I think it's like...

we took what we had,

and we dropped it
on the floor...

like it was some old teacup
or something.

VINCENT: Hm.

And... now... with the kids
grown and the years gone,

we could sit there on the floor
with the glue and...

put it all back together again,

every piece
where it needs to go.

And then, at the end,
after all that work...

you'd still see all the cracks
and the missing pieces.

‐You and Abby?
‐(GROANS)

(VINCENT INHALES, EXHALES)

Nobody wants to be anybody's
second choice, Vin.

That never works.

Easier to just...

buy a new teacup?

Yeah.

Easier.

(PANTING)

(MAN GRUNTING)

(MAN SIGHS)

MAN: Mm.

(MAN SIGHS)

♪ (MUSIC PLAYS) ♪

(EXHALES)

(GROANS)

‐(FOOTSTEPS RETREATING)
‐(DOOR CLOSES)

(SIREN WAILS IN DISTANCE)

(SIGHS)

(EXHALES)

(GUNSHOT)

(KEYS JINGLE)

(EXHALES)

(DOOR CLOSES)

(KEYS JINGLE)

Abby?

(EXHALES)

(MUTTERS) Shit.

(EXHALES)

(SIGHS)

(INDISTINCT CHATTER)

JOCELYN: What do you wanna
call this one?

Uh... "Apple 30."

We should shoot.

What are we supposed to shoot
without Lori?

She hasn't even phoned.

Hey, Deb. Did, uh...
Did Lori call Harvey's office?

No idea.

She's always been flakey.

(SIGHS) I...

She really wanted this role.

We can call the other actors,
maybe shoot a different scene?

‐No.
‐What do you mean "No"?

You've got all the equipment
rented, everyone's here.

I don't wanna shoot today.

All right, everyone.

That's a wrap.

(INDISTINCT CHATTER)

♪ (MUSIC PLAYS) ♪

♪ (SYNTH MUSIC PLAYS) ♪

BRYAN:
I didn't imagine it like this.

What'd you think
was gonna happen?

EILEEN MERRELL:
It's a tragedy.

There's not a lot of tragedy
in porn.

VINCENT MARTINO: All those years
I was just pushin' and pushin'.

They just went by so fast.

EILEEN:
I'd just been inside it so long,

I don't know what it is anymore.

HARVEY WASSERMAN:
I know pornography.

You are telling another story.

♪ (MUSIC STOPS) ♪

And you need to finish it.

♪ (MUSIC CONTINUES, CONCLUDES) ♪

♪ (MUSIC PLAYS) ♪

What am I supposed to tell
Tommy Longo?

Tell him you can't fight
the future,

those girls are gone.

BOBBY DWYER: Tonight,
while you're out in the field,

all communication is by beeper.

CHRIS BAUER:
The message business
is running real dry

for a couple reasons.
The biggest one is beepers.

Once the girls found out
there was this thing

that they could have
for ten bucks a month,

or whatever it was,
they can work for themselves.

I have a question,
what do you do?

People were using
the massage parlors less

because of the AIDS fear.

The hotels make it a little bit,
on the surface,

a little bit safer, cleaner,
etc.

You still got our pager, I see.

(INDISTINCT CHATTER)

Finders keepers.

CHRIS BAUER:
It's kind of an exciting version

of industry, unto itself.

DWYER: The game's changed.
Three girls will pool money

and get a furnished apartment
over near one of the tunnels,

put an ad in the Voice,
and boom, instant trick pad.

We're not getting a piece
of any of that stuff?

All of the array
of infrastructure

required to get you laid,

all of the middlemen,
all of the places where

people could lay in the cut
and take some of the money,

places for the mob to live,
it's all ruined

when it's some woman
with her own phone number,

and an ad in the back
of the Village Voice.

DWYER: Beepers made 'em bold.
They figured out,

they don't need pimps
or whorehouses.

And you know what, Tommy?
They're right.

It's a free country.

It's an economics problem.

And there's nothing they can do
to stop 'em.

ALEX HALL:
I think the biggest challenge

that we had in this episode

was depicting the end
of Lori's story.

I left my man, and me
and Kiki split up too. So...

The key to Lori's character
is a line,

and you gotta go back
to the first season.

Me, I need pimpin',
otherwise I tend to get lazy.

She desperately wants someone
to come and save her

and that just keeps
not happening.

I don't have a man anymore.
I don't have a family.

HALL: And in that moment,
Lori realizes

that she doesn't have anything

other than
her porn star persona.

This is all I am.

And she doesn't know
how to go on.

EMILY MEADE:
There was a big debate,
in leading up to this

of like, when does she decide
to kill herself?

And, what is the trigger?

Hey, baby.

And so, for me, I feel like,
Lori's sort of always

had that in the back
of her mind,

at least for a long time.

And I think the choices
she's made have always

had a lack of respect
for her life underneath it.

What's your real name?

Land O' Lakes girl.

MAGGIE GYLLENHAAL:
It's complicated.

I mean, Lori comes to her
at the end

and is in terrible shape.

And, Candy doesn't say,
"You know what?

Spend the night on my sofa.

The last thing you need to be
doing right now

is fucking on film."

We really wanted the audience
to have to,

sort of examine their own role
in all of this.

I think in that moment of Lori
deciding to kill herself,

we didn't want to let
anybody off the hook,

ourselves or the audience.

‐(GUNSHOT)
‐♪ (MUSIC CONCLUDES) ♪