Original subtitles

[ Man Narrating ] IT WAS THE LATE '70s, AND EVERYBODY WAS IN THE MIDDLE OF IT--

OF THE RECESSION, THE MILE-LONG LINES AT THE STATION, THE HOSTAGE CRISIS IN IRAN.

WHEN I LOOK BACK AT IT NOW, IT'S AMAZING I CAN REMEMBER ANY OF IT.

IT FEELS LIKE SNAPSHOTS FROM SOMEONE ELSE'S LIFE, ALL CONNECTED BY ONE MAN.

A GUY NAMED STEVE RUBELL HAD A DREAM--

TO THROW THE BEST DAMN PARTY THE WORLD HAD EVER SEEN,

AND THEN MAKE IT LAST FOREVER.

HE BUILT A WORLD WHERE FANTASY WAS OFFERED UP AS REALITY,

WHERE AN 80-YEAR-OLD DISCO QUEEN COULD PLAY TILL DAWN,

WHERE MODELS MINGLED WITH MECHANICS, PLUMBERS DANCED WITH PRINCES.

IT WAS A PLACE WHERE ALL LABELS WERE LEFT BEHIND,

A PLACE WHERE THERE WERE NO RULES.

♪ BABY, MY HEART IS FULL OF LOVE ♪

♪ AND DESIRE FOR YOU ♪

♪ NOW COME ON DOWN AND DO WHAT YOU GOT TO DO ♪

♪ IT'S STARTED THIS FIRE DOWN IN MY SOUL ♪♪

[ Man ] IN 1979, I WAS 19 YEARS OLD AND I HAD NOTHING.

NOW, MY DAD WOULD SAY I HAD MORE THAN HE DID AT MY AGE, BUT YOU KNOW WHAT ?

TO ME, FILLIN' GAS TANKS AT A JERSEY CITY STATION,

GOIN' TO THE SAME DINGY BAR WITH THE SAME GUYS,

TRYIN' TO PICK UP ON THE SAME CHICKS WAS NOT TONS OF FUN.

[ Groaning ]

I CAN'T BELIEVE YOU CAME ALREADY. SORRY.

I'M SORRY.

IT'S JUST THAT-- LOOK AT YOU, YOU'RE SO--

Y-YOU WANT TO GO OUT TOMORROW ? I KNOW THIS PLACE WHERE THE PIZZA'S DYNAMITE--

[ Zipper Zipping ]

WHAT ? I'M FROM MONTCLAIR, RIGHT ?

AND YOU'RE FROM JERSEY CITY. YEAH

SO, I DON'T GO OUT WITH GUYS FROM JERSEY CITY.

OH.

I KNEW THE REAL ESCAPE WAS RIGHT ACROSS THE RIVER.

BUT I DIDN'T EVEN HAVE A CAR.

EVEN THOUGH NEW YORK WAS THREE MILES AWAY, IT SEEMED LIKE ANOTHER WORLD.

I'D BEEN THERE BEFORE WITH MY MOM.

SHE DID MAKEUP FOR THIS TELEVISION SHOW AND TOOK ME TO WORK WITH HER A FEW TIMES.

IT WAS INCREDIBLE. EVERYONE WANTED TO BE AROUND THE STARS.

MY MOTHER ALWAYS TOLD ME I COULD BE ANYTHING I WANTED TO BE,

AND I BELIEVED HER.

MOM DIED WHEN I WAS 12.

THIS WAS DAD. HIS IDEA OF THE GOOD LIFE...

WAS A CAN OF SCHLITZ AND A JACK BENNY SPECIAL ON THE TUBE.

I HAD TO BREAK OUT.

I KNEW I HAD TO MAKE A CHANGE.

ALL RIGHT, ALL RIGHT, ALL RIGHT !

MOVE OVER. [ Scoffs ]

WHAT ? WHAT YOU LAUGHIN' AT ?

WHAT'S WITH THE HAIR ? WHAT DO YOU GOT, THE NEW LOOK ?

LOOK AT THIS GUY ! LOOK AT THIS GUY ! WHERE'S MY HAIR ?

WHAT ARE YOU TALKIN' ABOUT ? [ Laughs ] YOU LOOK LIKE VIDAL SASSOON.

IF YOU DON'T LOOK GOOD-- [ Together ] WE DON'T LOOK GOOD.

♪♪ [ Disco ]

SHIT. I SHOULD HAVE BROUGHT ALONG MY BROTHER'S PLATFORMS.

DO I LOOK SHORT ? NO, YOU LOOK ALL RIGHT. FIX YOUR COLLAR.

I DON'T KNOW, MAN.

YOU BETTER HAVE PUT ON NEW UNDERWEAR. GET THE FUCK OUTTA HERE !

HEY, YOU GUYS, YOU GUYS, YOU GUYS.

BEFORE WE GO IN, CHECK IT OUT.

OH, TAKE ME HOME BA-- WHO ARE THEY ?

THAT ONE'S JULIE BLACK FROM ALL MY CHILDREN. SHE'S MY FUCKIN' DREAM GIRL.

JULIE BLACK. SHE'S FROM ALPINE. MY AUNT DOES HER MA'S HAIR.

SAW HER ONCE, TOO, HANGIN' OUT AT THE ALPINE INN.

ALPINE INN ? WE SHOULD STAKE HER OUT.

[ Scoffs ] WHERE WAS THIS TAKEN, ANYWAY ?

54.

YOU KNOW, STUDIO 54. AIN'T YOU NEVER HEARD OF IT ?

THAT PLACE IS FULL OF FREAKS. AND GIRLS.

AND FAGS. COME ON, YOU GUYS.

LISTEN, YOU KNOW WHO WAS THERE LAST NIGHT ? JACQUELINE BISSET.

YOU KNOW WHO SHE IS ? YEAH, I FUCKED HER.

[ Laughs ] [ Laughs ]

ALL RIGHT, YOU TURKEYS CAN STAY HERE AND ROT, FOR ALL I CARE,

BUT I'M GONNA GO SEE IF I CAN GET A LOOK AT OLIVIA.

[ Together ] OLIVIA NEWTON-JOHN ?

OW-OOOH ! WE AIN'T THERE YET ?

♪ B-B-B-BABY, YOU JUST AIN'T SEEN NOTHIN' YET ♪ FUCK YOU, JERSEY !

♪ HERE'S SOMETHIN' THAT YOU'RE NEVER GONNA FORGET ♪

♪ B-B-B-B-BABY, YOU JUST AIN'T SEEN N-N-NOTHIN' YET ♪ [ Horns Honking ]

♪ LISTEN YOU AIN'T BEEN AROUND ♪ SHIT.

WE'LL SAVE YOU A PLACE IN LINE. HEY, WAIT !

YOU M-- YOU GONNA LEAVE ME HERE WITH THESE FREAKS ?

[ Horns Honking ] [ Chattering ]

[ Crowd Clamoring ] ♪ B-B-B-B-BABY, YOU JUST AIN'T SEEN N-N-NOTHIN' YET ♪

♪ HERE'S SOMETHIN' YOU'RE NEVER GONNA FORGET ♪ STEP BACK.

♪ YOU JUST AIN'T SEEN NOTHIN' YET ♪♪ [ Together ] HEY !

[ Shane Narrating ] A LOT OF PEOPLE THOUGHT THE DOOR WAS A BETTER SHOW THAN INSIDE.

PEOPLE WOULD TRY ANYTHING TO GET IN.

MARK WAS THE DOORMAN, BUT IT WAS STEVE RUBELL'S CLUB AND HIS DOOR.

I CAN'T LET YOU IN HERE. YOU'RE WEARING AN ASCOT. YOU LOOK LIKE AN ASSHOLE.

[ Both Laugh ] [ Shane ] HE WAS OUT IN FRONT EVERY NIGHT...

MAKING SURE ONLY THE RIGHT PEOPLE GOT IN.

NO. GO HOME. SORRY. NO.

HEY, COME ON ! [ Steve ] OVER THERE.

EXCUSE ME. HE JUST POINTED AT US.

EXCUSE ME. WHOOO !

OKAY, JUST YOU. WHAT ? SAY WHAT ?

JUST YOU, NOT HIM.

LADIES-- HEY, MAN, HE'S MY FRIEND. YOU CAN'T--

GIRLS, PLEASE, STAND BACK, PLEASE. STEP BACK, PLEASE.

STEP BACK.

OH, MY GOD. DON'T BE A SPAZ, MAN. GO FOR IT.

ALL RIGHT, BUT DON'T WAIT FOR ME. I'LL FIND MY WAY HOME.

OKAY, YOU GUYS, COME ON. [ Whispers ] GO IN, GO IN.

PLEASE. HEY ! GET YOUR FUCKIN' HANDS OFF ME, YOU JIVE-ASS TURKEY !

FUCKIN' GORILLA ! FUCK YOU ! SORRY, GUY.

[ Woman ] STEVE ! HEY, STEVE ! WHAT ?

NOT WITH THAT SHIRT. [ Scoffs ]

HEY !

I SAID, NOT WITH THAT SHIRT.

[ Man In Crowd ] THAT'S YOUR TICKET IN, MAN.

[ Crowd Cheering ]

[ Woman In Crowd ] YOU'RE HOT !

[ Man In Crowd ] THAT'S HOW YOU GET IN. WELCOME TO MY PARTY, HANDSOME.

[ Friend ] GO FOR IT, SHANE !

[ Shane ] HE CHOSE ME. I'D NEVER BEEN CHOSEN FOR ANYTHING BEFORE.

♪♪ [ Music Playing In Distance ]

YOU WANNA CHECK THAT BOD, SUGAR ?

[ Giggles ]

♪♪ [ Disco ]

[ Moaning ]

♪ OOH AAH ♪

[ Moaning ]

♪ OOH AAH ♪ ♪ KEEP ME DANCIN' ♪

♪ FUNKY, FUNKY, FUNKY MUSIC MY BODY, MAKE IT FUNKY ♪

♪ GOTTA FEELIN' LIKE I WANT TO FLY ♪

[ Moaning Continues ]

[ Thunder Crashes, Music Stops ] MIRROR, MIRROR ON THE WALL.

WHO'S THE FAIREST OF THEM ALL ?

TRUMAN ? TRUMAN CAPOTE, WHERE ARE YOU ?

HERE, SUGAR ! [ Laughs ] THERE YOU ARE.

IN HONOR OF THE FANTASTIC NEW FACE LIFT,

I THOUGHT I'D GET YOU A COUPLE OF THINGS. [ Chuckles ]

[ Steve Chuckles ] [ Audience Laughing ]

[ Chuckles ]

AND-- AND TO MAKE SURE THAT THE LIFT STICKS,

I THOUGHT WE SHOULD ALL "KNOCK ON WOOD."

[ Explosion ] ♪♪ [ "Knock On Wood" ]

♪ AHH ♪

♪ OOH-OOH ♪

♪ MMMMM ♪

♪ OH, YEAH, OH, YEAH ♪

♪ OH ♪

♪ I DON'T WANT TO LOSE ♪

♪ THIS GOOD THING THAT I GOT ♪

♪ 'CAUSE IF I DO ♪

♪ I WOULD SURELY ♪

♪ SURELY LOSE A LOT ♪

♪ 'CAUSE YOUR LOVE IS BETTER ♪

♪ THAN ANYTHING I KNOW ♪

♪ IT'S LIKE THUNDER LIGHTNING ♪

♪ THE WAY YOU LOVE ME IS FRIGHTENING ♪

♪ I BETTER KNOCK ON WOOD ♪

♪ SAID I BETTER KNOCK, KNOCK, KNOCK ON ♪

♪ OH, BABY ♪

♪ I BELIEVE I WILL ♪

♪ I BELIEVE I WILL ♪

♪ THINK I BETTER KNOCK KNOCK, KNOCK ON WOOD ♪

♪ IT'S LIKE THUNDER LIGHTNING ♪

♪ THE WAY YOU LOVE ME IS FRIGHTENING ♪ WHOOO !

♪ YOU BETTER KNOCK, KNOCK KNOCK, KNOCK ♪

♪ ON WOOD, YEAH, BABY ♪

♪ OH, YEAH ♪

♪ I BETTER KNOCK ON WOOD BABE ♪

♪ I BELIEVE I WILL I BELIEVE I WILL ♪

♪ KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ I BETTER KNOCK, KNOCK KNOCK ON WOOD ♪♪

WELL, THE THING ABOUT STARS IS, THEY'RE SHORT.

YOU TALK TO ANY OF 'EM ? KIND OF.

LIKE WHO ? WHO ?

LIKE-- I DON'T KNOW, BUT YOU SHOULD HAVE SEEN ALL THE PHOTOGRAPHERS.

I BET YOU I EVEN GOT IN ONE OF THEIR PICTURES.

THINK FARRAH EVER GOES THERE ? MAYBE.

AND LEE MAJORS ? PROBABLY.

- WHAT ABOUT PRINCESS GRACE ? - SURE, I BET SHE GOES ALL THE TIME.

REALLY ? MAYBE WE CAN TOUCH HER WHEN SHE GOES BY.

AND WE'LL TELL HER THAT MOM NAMED US AFTER HER. [ Man ] HEY, KIDS !

HEY, DAD.

- WHAT ? - HEY, DAD, CAN I BORROW THE KEYS TONIGHT ?

WHAT FOR ? SHANE WAS IN THE CITY LAST NIGHT AND HE WANTS TO GO BACK.

THE CITY ? YEAH, SHANE WAS JUST TELLING US...

HOW HE WENT TO STUDIO 54 LAST NIGHT.

STUDIO 54 ? THAT'S THAT BIG DISCO EVERYBODY'S TALKING ABOUT.

WHERE ALL THE STARS GO. YEAH, DAD, YOU SHOULDA SEEN IT.

HEY, I SAW A STAR ONCE-- BOB HOPE.

DID YOU SEE HIM THERE ? [ Laughs ]

THANKS FOR THE MEMORIES, DAD, BUT IT WASN'T A KOREAN WAR SHOW.

YEAH.

- WHAT ELSE, SHANE ? - WELL, I WENT UP INTO THE BALCONY.

IT WAS PRETTY--

IT WAS PRETTY... DARK.

[ Shouting ]

[ Snoring ]

THE GIRL WHO CUT MY HAIR HAD THIS BOYFRIEND WHOSE SISTER DID THE BOOKS FOR STEVE RUBELL...

AND GOT ME AN INTERVIEW.

STEVE RUBELL, A REGULAR BROOKLYN KID WHO GOT HIS START BY RUNNING A FEW STEAK HOUSES,

WAS NOW ON TOP OF THE WORLD.

HE'S RIGHT OUT THERE IN THE HALLWAY IF YOU WANT TO SEE HIM FOR YOURSELF.

HE'S GORGEOUS ? HE'S GORGEOUS. LOOK FOR YOURSELF.

[ Shane ] I WAS WARNED THAT STEVE DIDN'T HIRE ANY DUMMIES,

AND I SHOULD BE ON MY TOES BECAUSE HE COULD ASK SOME REALLY TRICKY QUESTIONS.

WHAT'S TWO PLUS TWO ? HUH ?

YOU'LL BE FINE. YOU'RE RIGHT, HE'S GORGEOUS.

COME ON IN.

WHERE DO BAD LITTLE BARTENDERS GO IF THEY DON'T GO TO HELL FIRST ?

[ All ] XENON. RIGHT. A FATE WORSE THAN DEATH.

SO, AS OF TONIGHT, THE NEW BARTENDER WILL BE...

RHETT. CHOICE.

OH, AND WE GOT A NEW BUSBOY. HIS NAME IS SHANE.

SHANE ! SHANE, COME HERE, COME HERE.

[ Group Laughs ] [ Steve Chuckles ]

COULDN'T FIND THE RIGHT SIZE.

AND REMEMBER, IT'S YOU BOYS WHO ARE TRULY...

NEW YORK'S FINEST.

ONE CHABLIS. HEY, KID !

- CHABLIS. - SO, UH, WHAT'LL IT BE ?

WHAT'LL IT BE ? [ Chuckles ]

WHERE DID THEY GET YOU, ROCKY ? PHILADELPHIA ?

NO TALKIN' TO THE ANIMALS, BUSBOY.

HANG IN THERE, BABY.

GREG, MAN, CAN YOU HELP ME PLEASE ?

THIS IS HOW IT WORKS.

KEEP THE BOTTLES AND THE GLASSES OFF THE DANCE FLOOR.

NOW, REMEMBER, KEEP THE CHAMPAGNE COLD, AND KEEP IT FLOWING.

YOU GOTTA PAY ATTENTION TO THE V.I.P. AREA. STEVE DOESN'T WANT 'EM...

EVER TO HAVE TO POUR CHAMPAGNE THEMSELVES.

NOW, LISTEN UP.

AFTER EVERYBODY'S ALL GONE, YOU CHECK THE BANQUETTES.

WE USUALLY FIND SOME PRETTY GOOD STUFF.

IS THAT JULIE BLACK ?

THINK SO. READY ? YEAH.

[ Shane ] THERE SHE WAS-- JULIE BLACK.

MAN, SHE LOOKED EVEN BETTER IN PERSON THAN ON TV.

SHE WAS FROM JERSEY, TOO, AND SHE'D MADE IT.

YOU KNOW, I REALLY GOTTA GET OUTTA HERE AND GET SOME SLEEP.

STEVIE KNEW THAT WE HAVE NO ROYALTY IN THIS COUNTRY-- WE HAVE CELEBRITY.

IF HE COULD PROVIDE THE OPPORTUNITY FOR REGULAR PEOPLE TO DANCE WITH THE FAMOUS,

STUDIO WOULD BE ONE OF A KIND.

AND I WAS SUCH A DUMB KID. I MEAN, ALL THESE FAMOUS PEOPLE,

AND I DIDN'T KNOW WHO ANY OF THEM WERE, AND THEY'D ALL GO,

"TRUMAN, OH, TRUMAN," AND I'D BE THINKIN', "WHO THE FUCK IS TRUMAN ?"

HEY, FIORUCCI ! HOW ARE YOU ?

YOU KNOW, I'M SUCH A BIG FAN OF YOURS. YOUR WINDOWS ARE GREAT.

GRAZIE. THANK YOU. GREAT.

[ Speaks In Italian ]

YOU'RE SO ITALIAN AND ADORABLE, I WANNA EAT YOU WITH A SPOON.

COME WITH ME.

♪ OH ♪

[ Moans ]

YOU KNOW, I'D SAY IT WAS THIS BIG.

OH, STOP. NO, AT LEAST.

DID YOU GET HIS NUMBER ? IT AIN'T THE SIZE OF THE SHIP, IT'S THE MOTION OF THE OCEAN.

DID YOUR MOTHER TEACH YOU THAT ? HIS FATHER.

[ Group Laughs ] HE SOUNDS KINDA DEFENSIVE TO ME.

HEY, I THINK WE'RE FREAKING THE NEW KID OUT.

HEY, HOW'D YOU DO TONIGHT ? GOOD. I MADE QUITE A BIT, I THINK.

HE DOESN'T MEAN THE TIPS. YOU WENT UP TO THE BALCONY WITH PATTI, HMM ?

WORD GETS AROUND FAST, I GUESS.

SO, DID SHE DO THE ACCENT ? UM, SO HOW WAS SHE ?

REALLY GREAT, YOU KNOW. SHE'S A MODEL.

REALLY ? HAVE WE SEEN HER IN ANYTHING ?

- YEAH, VOGUE. FRENCH VOGUE. - [ Group Laughs ]

YEAH, SHE TOLD ME COSMO.

SHE TOLD ME WOMEN'S WEAR DAILY. HEY, LISTEN,

I DON'T CARE IF IT WAS SEARS AND ROEBUCK. IT WAS HOT.

SHE TOLD YOU WOMEN'S WEAR DAILY ? STOP !

OOH, I FEEL A FIGHT COMIN' ON.

[ Greg ] NO, NO WAY, SISTER.

- AND THE EXTRA PLATE. - [ Group ] YEAH.

ALL RIGHT, COUGH IT UP. THERE WE GO.

[ Greg ] HEY, DON'T TAKE ANYTHING UNTIL EVERYBODY PUTS THEIR STUFF DOWN.

- DIDN'T YOU GET ANYTHING ? - OH, WAIT.

- [ Group Murmurs ] - HELLO, FRIEND.

[ Group Laughs ]

[ Shane ] SOMETIMES YOU MEET PEOPLE, AND RIGHT AWAY THEY FEEL LIKE FAMILY.

[ Shane ] YOU'RE KIDDIN' ME. NO.

[ Shane ] THAT'S HOW IT WAS WITH GREG AND ANITA.

SHE WANTED TO BE THE NEXT DONNA SUMMER.

GREG WANTED TO GET AHEAD BUT WASN'T SURE HOW.

OH, LOOKS LIKE YOUR WEDDING WAS DYNAMITE !

♪♪ [ Soft ] OH, PUT THIS AWAY.

THIS IS ANITA'S STUDIO. FAR OUT.

- WHAT'S THIS ? - [ Anita ] OH, THESE ARE JUST FOR MOTIVATION,

LIKE WHEN YOU PUT A PICTURE OF A FAT PERSON ON THE FRIDGE.

SO PLAY ME SOMETHING. YEAH, SHE'S SO UNBELIEVABLE.

HONEY, PLAY SOMETHING FOR HIM. OH, NO, NO, I'M REALLY TIRED.

I'M REALLY, REALLY TIRED. I MEAN, I'VE BEEN SCREAMING ALL NIGHT.

OKAY, I'LL PLAY SOMETHING SIMPLE.

♪♪ [ Latin Beat ]

♪♪ [ Sings In Spanish ]

♪♪ [ Stops ] I CAN'T DO THIS.

THAT WAS EXCELLENT.

NO, IT WASN'T.

SHANE, FOLLOW ME.

- THIS PLACE IS BAD, MAN. - YOU CAN JUST STAY AS LONG AS YOU WANT.

- REALLY ? - MI CASA ES TU CASA.

AND IN MI CASA, THERE ARE THREE BASIC FOOD GROUPS--

SOLIDS, LIQUIDS AND HOT SMOKE.

♪ OOH, YEAH ♪

♪ I'M JUST A LOVE MACHINE ♪

♪ AND I WON'T WORK FOR NOBODY BUT YOU ♪

WHAT WILL IT BE ? WHAT WILL IT BE ? ♪ I'M JUST A LOVE MACHINE ♪♪

CAN I HELP YOU ?

YEAH. CAN I HELP YOU ?

I AM LOOKING FOR AMERICAN FOXES...

FOR THEIR BIG AMERICAN BREASTS.

[ Shane ] I COULDN'T BELIEVE ALL THE SHIT GREG TOLD ME WAS GOING ON AT THE CLUB.

BARTENDERS, THEY HAD IT MADE. DRUGS, SEX, CONNECTIONS, MONEY.

THERE WAS AN ENDLESS SUPPLY COMING ACROSS THE BAR.

GREG TOLD ME THAT HALFWAY THROUGH THE NIGHT,

STEVE HAD THE BARTENDERS DUMP THE CASH, SEND IT DOWNSTAIRS...

AND CHANGE THE TAPE IN THE REGISTERS.

IT WAS A SKIM JOB STRAIGHT OUT OF A VEGAS CASINO,

AND STEVE RUBELL WAS MAKING A FORTUNE OFF OF IT.

GREG WAS ON GARBAGE DETAIL. ANTHONY !

HE'D TAKE IT OUT THE BACK DOOR AND GIVE IT TO THIS GUY ANTHONY HE CALLED THE GARBAGE MAN.

[ Man ] HEY, PAISANO !

HOW YOU DOIN' ? [ Laughs ] I REALLY SCORED TONIGHT, DIDN'T I ?

[ Shane ] GREG TOLD ME EVERYTHING. ALL RIGHT, COWGIRL.

PUT THAT ON THERE. EASY, EASY.

WHOA ! [ Laughs ]

IS IT ALL THERE ? YEAH, COUNT IT.

OH ! HOW MUCH THEY PAY YOU TO WAIT AROUND FOR ME ?

ENOUGH. YEAH ? YOU'RE ITALIAN, RIGHT ?

RIGHT ON. YEAH ?

YOU EVER NEED TO INCREASE YOUR PAYCHECK, YOU COME TO ME.

I GOT THE BEST PARTY FAVORS IN THE PLACE.

ALL RIGHT ? YEAH.

[ Grunts ] YEAH ! OOH !

YOU, UH-- GREG.

TAKE IT. UH, BUT I HAVE TO--

GIVE IT TO HIM.

COME ON ! YOU'VE-- YOU'VE...

NEVER SEEN MY PALACE. [ Chuckles ]

[ Mumbles Incoherently ]

EMPTY IT.

GO AHEAD, GO AHEAD.

MMM.

[ Sighs ]

RHETT, THE BRAND NEW BARTENDER, QUIT.

THINKS HE'S GONNA MODEL.

REALLY ? YEAH.

HE, UH, MET SCAVULLO,

AND HE THINKS HE'S GOT IT MADE. [ Chuckles ]

YOU'RE A HANDSOME GUY.

BET YOU COULD MODEL IF YOU WERE A LITTLE TALLER.

AHH. [ Mumbles ]

[ Whispers ] NO. [ Exhales ]

[ Steve ] IT'S A NEW WORLD OUT THERE.

OLD LABELS AND PREJUDICES DON'T APPLY ANYMORE.

RIGHT. RIGHT.

YOU DO A SPECIAL JOB FOR US. IMPORTANT.

BEFORE YOU I ONLY LET BARTENDERS DEAL WITH ANTHONY,

BUT VIV TRUSTS YOU.

IT'S A GOOD JOB. I TAKE IT SERIOUSLY. YEAH.

SHE ALSO SAYS THAT YOU'RE MARRIED TO ANITA. YEAH.

AND THAT YOU NEVER GO WITH THE OTHER BOYS.

YEAH. I MEAN NO, I DON'T, UH-- I'M NOT GAY.

- LABELS. - I'M SORRY, I FORGOT, MR. RUBELL.

"MISTER." OH, I'M "MISTER," I'M "MISTER."

[ Laughs ] I'M "MISTER."

OH, THAT'S GOOD.

WELL, YOU KNOW WHAT ? I'M NOT GAY EITHER.

[ Sighs ]

I WANT TO SUCK YOUR COCK.

I'M MARRIED.

NO ONE GETS MARRIED AT YOUR AGE,

UNLESS THEY'RE TRYING TO PROVE SOMETHING.

I HAVE TO GO. SORRY. OKAY ?

BARTENDERS MAKE A LOT OF THIS.

- I KNOW. - COME HERE.

[ Whispers ] COME HERE.

[ Chuckles ]

I-- I CAN'T. I'M MARRIED, AND SHE'S WAITING.

- YOU REALLY ARE THAT STRAIGHT. - I'M SORRY.

NO, NO, NO, NO. I--

I RESPECT THAT.

LET ME APOLOGIZE TO YOU.

[ Vomits ]

[ TV: Faint ]

BYE, DAD.

BYE.

[ Door Closes ]

[ Car Engine Starts ]

LISTEN, GRACIE, I'M SORRY ABOUT LEAVIN' YOU AND KELLY LIKE THIS,

BUT I SHOULD HAVE BEEN OUT OF THE HOUSE TWO YEARS AGO.

NO SHIT, SHANE.

♪ JUST MOVE ON UP ♪ ♪ MOVE ON UP ♪

♪ TOWARDS YOUR DESTINATION ♪ ♪ MOVE ON UP ♪

[ Singing Along With Radio ] ♪ THOUGH YOU MAY FIND FROM TIME TO TIME ♪

♪ A COMPLICATION ♪♪

YES, WE WANT VARIETY. YES, YOU GOTTA TOSS THE SALAD.

BUT NO, THAT DOESN'T MEAN LETTING WHORES AND YIDS IN LIKE LAST NIGHT.

THEY WERE YOUR COUSINS, STEVIE. I DON'T CARE...

IF IT WAS MY MOTHER AND MY FATHER, THEY LOOKED LIKE SHIT.

OKAY, STEVIE. NO, NO, NO "OKAY, STEVIE," NO "COOL ITS," COME ON.

FAMILY, MY ASS. LET'S GO.

THESE FUCKERS ARE HOT. WHAT DO YOU THINK ?

FABULOUS, LOVE. NOW GET OUTTA HERE.

GET OUTTA HERE ! LET'S GO !

HEY, CAN I TALK TO YOU ABOUT MAYBE PUTTIN' SOMEBODY ON THE LIST ?

NO, MAN, YOU HAVE TO TALK TO STEVE,

AND HE'S BEEN WORKING 72 HOURS STRAIGHT, SO YOU TREAD LIGHTLY.

[ Steve ] THE I.R.S. ? OH, PLEASE.

EVEN THOUGH YOU PAY ME LIKE A CASHIER, I'M THE ACCOUNTANT IN THIS PLACE,

AND IT'S ME WHO'S GOING TO GO DOWN WITH YOU IF YOU GET IT...

BY BLABBING YOUR BIG MOUTH ALL OVER THE PLACE.

DO ME A FAVOR. THROW OUT THAT NASTY WEED OF YOURS, BECAUSE PARANOIA'S SETTING IN.

[ Sighs ]

- HI. - HI.

HOW'S THE NEW KID ? YOU NEED A LITTLE SOMETHING FOR THE NIGHT ?

BUCK TELLS ME YOU'VE BEEN DOING A GOOD JOB.

WHAT SIGN ARE YOU ?

UH, CANCER. CANCER. GOOD PEOPLE, CANCERS.

WHAT DO YOU THINK, VIV ?

CRABS. [ Chuckles ]

STEVE, UM-- I WANTED TO TALK TO YOU ABOUT, UH--

I GOT SOME FRIENDS, AND, UM...

I WANTED TO FIND OUT ABOUT MAYBE PUTTING THEM ON THE LIST.

DO THEY LOOK LIKE YOU ?

- ONE'S MY COUSIN. - OKAY, LET ME EXPLAIN SOMETHING, KID, OKAY ?

OKAY, ONCE A MONTH, THE NEPHEW OF THE KING OF SAUDI ARABIA...

FLIES 7,000 MILES TO DANCE HERE FOR ONE NIGHT, ALL NIGHT,

THEN GETS BACK ON HIS PLANE AT SUNRISE.

HE TELLS ME IT'S THE ONLY PLACE ON EARTH THAT HE FEELS TOTALLY FREE.

SO, NATURALLY, I-- WE...

HAVE A RESPONSIBILITY.

SO, I REPEAT, DO THEY LOOK LIKE YOU ?

THEY'RE MY FRIENDS.

FINE. I'LL PUT THEM ON THE LIST.

BUT THEY BETTER LOOK LIKE YOU.

[ Sighs ]

THANKS.

[ Sighs ]

♪ FLY, ROBIN, FLY ♪ [ Laughs ]

♪ FLY, ROBIN, FLY ♪

JULIE. ♪ FLY, ROBIN, FLY ♪

YOU'RE A MESS. COME HERE. ♪ UP, UP TO THE SKY ♪♪

I'M GONNA FIX YOU UP.

HEY, DID YOU SLEEP WITH SOMEBODY TO GET YOUR JOB ? [ Scoffs ]

MY JOB ? PLEASE.

HERE WE GO.

LISTEN, SHANE, YOU BETTER WATCH HOW MUCH YOU PARTY, OR YOU COULD GET FIRED.

HERE.

AH, I DON'T DO THAT CRUD. NOTHIN' UP THE NOSE.

COME ON, YOU NEED A LITTLE EQUALIZER. [ Mumbles ]

COME ON, YOU LOOK LIKE STEVIE.

[ Sniffs ] THERE YOU GO.

[ Crowd Clamoring ] [ Shane ] STEVE COULD BE A RAT BASTARD, NO QUESTION ABOUT IT.

HE TOOK MY FRIENDS OFF THE LIST AS SOON AS I LEFT HIS OFFICE.

LOOK AGAIN, MAN.

SHANE INVITED US. SHANE O'SHEA, HE WORKS HERE.

I TOLD THEM LATER THAT STEVE WAS ALWAYS PLAYING LITTLE GAMES LIKE THAT.

JUST CRUEL. I NEVER FIGURED OUT WHY.

I MEAN, WITH THE KIND OF POWER HE HAD, WHY PLAY GAMES ?

EXCUSE ME. GET THE FUCK OUTTA MY WAY, PLEASE.

HE WAS WEIRD THAT WAY. LIKE, SOME NIGHTS, HE'D KEEP THE CLUB ALMOST EMPTY.

THERE COULD BE A THOUSAND PEOPLE OUT ON THE STREET, AND ONLY A HUNDRED INSIDE DANCING.

SHANE, LOOK. IT'S BILLIE AUSTIN.

BILLIE ? WHAT'S HER DEAL ?

SHE KNOWS EVERYBODY. ESPECIALLY EVERYBODY IN THE MUSIC INDUSTRY.

HELP ME OUT. SHE'S INTO COKE. YOU WANNA MEET HER ?

♪ YOU CAN GET IT GET IT, GIRL ♪

♪ ANYTIME ♪

♪ TONIGHT IS FINE ♪

♪ YOU GOTTA PUSH IT TO ME, BABY ♪ ♪ PUSH IT TO ME, BABY ♪♪

[ Sniffs ]

OH, THANKS. DIANA HELPED HERSELF TO THE LAST OF MY SNOW.

UGH ! RECORDING ARTISTS.

UH, YOU KNOW, ANITA'S A RECORDING ARTIST TOO. OH.

WONDERFUL. WHAT LABEL ?

WELL, I DON'T REALLY HAVE ONE YET.

[ Sniffs ] OH. OH.

WELL, SEND ME A TAPE. I'D LOVE TO HEAR IT.

OH, THANK YOU ! THANK YOU, THANK YOU, THANK YOU !

AS A MATTER OF FACT, I THINK I HAVE A TAPE HERE WITH ME.

YEAH, YEAH. HERE.

THE RECORDING ISN'T THAT GREAT, YOU KNOW.

THIS DOOBIE'S EXCELLENT.

I JUST MADE IT WITH, LIKE, HOME EQUIPMENT, AND SO--

BYE.

[ Screams ] ♪ I'M JUST A LOVE MACHINE ♪

♪ I WON'T WORK FOR NOBODY BUT YOU ♪♪

THEY'RE CUTE.

I JUST LOVE DISCOVERING...

NEW TALENT.

YOU HAVE THE BODY OF DAVID...

AND THE FACE OF A BOTTICELLI.

BOTTLE OF WHAT ?

JUST SAY THANKS, DARLING.

THANKS.

[ Sighs ] IT'S REALLY FUNKY, BUT I DON'T KNOW IF IT'S ME.

DARLING, I DON'T THINK YOU REALIZE WHAT IS YOU.

I JUST WANT TO LOOK COOL WHEN I'M OUT, LIKE I'M A NEW YORKER.

WHAT YOU ARE IS PART OF BILLIE'S BIG BANG THEORY.

[ Shane ] BILLIE TAUGHT ME HOW THE WORLD WORKED.

THAT I HAD THE POWER TO GET WHATEVER IT WAS I WANTED.

[ Billie ] YES. OH, YES.

[ Moans ]

[ Shane ] RHETT-- WHEN DID HE QUIT ?

TONIGHT. [ Moans ]

I'M CRUSHED. HE WAS INCREDIBLE.

[ Sighs ]

WHOA ! COWBOY, EASY. EASY !

THERE... TRY THIS.

[ Moans ] OHHH--

OOH, YOU LEARN FAST.

[ Gasps ] I BET I COULD DO THAT JOB.

SHOULD I TALK TO STEVIE FOR YOU ?

[ Panting ] I DON'T KNOW.

MY FRIEND'S BEEN WAITING FOR THAT JOB.

DO YOU WANT IT ?

YEAH, I WANT IT.

WHAT WOULD YOU DO TO GET IT ?

[ Gasps, Moans ]

[ Whispers ] HEY.

WHO IS IT ?

THAT OUGHTA BE ILLEGAL.

MAY I HELP YOU ?

RHETT QUIT...

THE JOB, AND I... YOU KNOW.

LET ME GET THIS STRAIGHT. YOU WANT A JOB.

SHOULDN'T I BE TAKIN' MY PANTS OFF ?

[ Laughs ]

[ Chuckles ]

OF COURSE, EVERYONE KNOWS THAT RHETT IS HISTORY,

AND SHANE WILL TAKE HIS PLACE.

[ Shane ] LATER ON I LEARNED THAT BILLIE HAD SPOKEN TO STEVIE ABOUT MY PROMOTION.

I HAVE TO ADMIT I FELT BAD FOR GREG.

I NAME THEE "SHANE 54" ! [ Crowd ] WHOO-HOO !

[ Chuckles ]

[ Group ] WHOO !

WE WERE BOTH RIGHT. HMM ?

I'M TOO SHORT AND I DON'T SUCK COCK.

WELL, THERE'S NOTHING YOU CAN DO ABOUT BEING SHORT.

RIGHT.

[ Laughs ]

I'M GONNA MAKE US SOME REAL MONEY.

I GOT OTHER IDEAS.

HOW ABOUT THE BEST FUCK OF YOUR LIFETIME ?

[ Chuckles ]

♪ I'VE GOT TO SAY I WANNA TAKE YOU ♪

♪ BUT LIKE A THIEF IN THE NIGHT ♪♪

[ Shane ] SO I MADE IT. BARTENDING WAS THE BEST JOB IN THE WORLD.

BUT FOR ME THE BIG THING WAS, WHEN YOU WERE A BARTENDER AT 54,

EVERYBODY KNEW YOUR NAME.

YOU WERE FAMOUS.

COME ON, I WANT TO INTRODUCE YOU TO HIM.

HE DOESN'T WANT TO BE PHOTOGRAPHED TONIGHT.

HE DOESN'T WANT TO BE PHOTOGRAPHED, OKAY ? OKAY. THANK YOU.

STEVE DIDN'T DRAW A LINE BETWEEN CUSTOMERS AND EMPLOYEES.

BEFORE 54, MOST CLUBS WOULD HIDE THEIR HELP.

NOT STEVE. HE FLAUNTED HIS.

PEOPLE MADE SUCH A BIG DEAL ABOUT GETTING INTO 54, BUT THEY DIDN'T KNOW.

BECAUSE ONCE YOU GOT INTO THE DOOR, YOU WANTED TO GET INTO THE DEEJAY'S BOOTH,

OR THE OFFICE, WHERE THE BEST COKE WAS.

COME ON. OR THE BALCONY, WHERE THE PEOPLE WERE GETTING LAID,

OR THE BASEMENT, WHERE THE BIGGEST NAMES HUNG OUT.

STEVE WAS SO FUCKING SMART.

I MEAN, YOU'D HAVE TO BE SOME KIND OF A GENIUS TO TAKE A DIRTY, WET BASEMENT...

AND TURN IT INTO A V.I.P. ROOM CELEBRITIES WOULD KILL TO GET INTO.

THERE WAS ALWAYS ANOTHER DOOR.

SHANE, DARLING, I GUESS YOU'VE FINALLY ARRIVED.

HI, ANDY. HI, STEVE, HOW ARE YOU ?

SHANE, SHANE, THIS IS ANDY. OH, HI.

ANDY LOVES IT DOWN HERE, DON'T YOU ? DON'T YOU, ANDY ?

OH, YEAH. IT'S GREAT.

IT'S REALLY BROWN. [ Chuckles ] [ Chuckles ]

♪♪ [ Continues ]

♪ LET'S MAKE LOVE TO MY HEART ♪ ♪ DO IT, DO IT ♪

♪ WHEN WE DO IT'S REALLY HARD TO PART ♪ ♪ LET'S DO IT ♪

♪ COMBINE OUR MINDS THIS TIME ♪ ♪ LET'S DO IT ♪

♪ QUITE SURE OUR LOVE WON'T GO BAD ♪

♪ OOH-OOH-OOH-OOH ♪

♪ STAY ♪ ♪ LET'S GET TO IT, DO IT ♪

♪ OH, HOW YOU MAKE ME FEEL ♪ ♪ DO IT, DO IT ♪

♪ STAY ♪

♪ OH, IS IT REALLY REAL ♪ ♪ DO IT, DO IT ♪

♪ STAY ♪

♪ STAY ♪ ♪ DOO, DOO, DOO, DOO ♪

♪ STAY ♪ ♪ DO IT, DO IT, DO IT, DO IT ♪

♪ STAY ♪ ♪ DOO, DOO, DOO, DOO ♪

♪ STAY ♪ ♪ LET GET TO IT, DO IT ♪♪

EVEN OUTSIDE THE CLUB, I WAS ALWAYS WORKIN' IT.

GETTING AN ARTICLE PLACED IN INTERVIEW,

MINGLING WITH THE RIGHT PEOPLE,

RAISING MY PROFILE.

IT WAS ALL COMING TOGETHER. I COULD ALMOST TASTE IT.

BILLIE GOT ME AND ANITA AN INVITATION TO LIZ VANGELDER'S BECAUSE SHE KNEW...

THERE'D BE SOME GREAT CONTACTS FOR US.

HER DINNER PARTIES WERE A REALLY BIG DEAL.

HI. I'M SHANE. THIS IS ANITA. WE'RE BILLIE'S FRIENDS.

YES, OF COURSE. I'M LIZ VANGELDER.

WELL, THE NIGHTLIFE HERE IS AMUSING ENOUGH, I SUPPOSE,

BUT BELIEVE ME, NOTHING COMPARED WITH LONDON IN THE SWINGING '60s.

[ Laughs ] [ Liz ] COME ON. WHERE'D YOU FIND THEM ?

L'UNIVERSITE DE CINQUANTE-QUATRE.

54.

THE BARTENDER AT 54. OH, YOU SLY PUSS.

[ Liz ] BRINGING THE BARTENDER TO TABLE.

TSK. STEVE IS HOLDING AUDITIONS FOR A NEW YEAR'S ACT.

A NEW NEW YEAR'S ACT. HE SAYS HE WANTS SOMETHING FRESH.

AIN'T NOBODY AS FRESH AS ME. [ Chuckles ]

I MIGHT EVEN HAVE A TAPE WITH ME, YOU KNOW, IN MY PURSE.

REALLY ? YEAH.

GOOD. I HAVE A TAPE DECK IN MY CAR.

SO, HERE I WAS, PUTTING MY JERSEY MOVES ON PARK AVENUE.

I REALLY BELIEVED I'D COME OUT OF THERE THAT NIGHT WITH SOME GOOD CONNECTIONS.

YOU HAVE THE ESSENCE OF ERROL FLYNN. HMM ?

INSTEAD, I SAW HOW FAR I HAD TO GO.

- WHO ? - DARLING, YOU KNOW WHO ERROL FLYNN IS.

- OH, YEAH. ARROW FLINT, RIGHT. - [ Laughs ]

YOU KNOW, YOU ARE THE MOST GORGEOUS TROGLODYTE I HAVE EVER SEEN.

THANKS. [ Laughs ]

I DON'T KNOW WHO THE FUCK ARROW FLINT IS EITHER,

BUT DON'T YOU KNOW WHAT A TROGLODYTE IS ?

YEAH, IT'S LIKE A DIAMOND.

NO, SHANE. A TROGLODYTE IS LIKE A CAVEMAN.

HE CALLED YOU A CAVEMAN.

AND THAT MAKES ME A CAVEWOMAN.

[ Knock On Door ] [ Man ] ANITA, ARE YOU READY ?

YEAH, IN A MINUTE.

WHAT ARE YOU DOING ? HE'S GIVING ME A BREAK.

AND, SHANE, LAY OFF.

WHERE'S THE ARTICLE ?

[ Knock On Door ]

SEE ? IF YOU HAD LET ME BE INVOLVED IN THE PHOTO SHOOT, THIS WOULDN'T HAVE HAPPENED.

YOU SHOULD HAVE KNOWN WITH A MAGAZINE LIKE THIS.

ANITA, LAY OFF, PLEASE.

COME ON. I KNOW HOW TO CHEER YOU UP.

♪♪ [ Disco ] [ Anita ] SO WE'RE GONNA START WITH THE HIPS.

ONE, TWO, THREE, FOUR, ONE, TWO, THREE, FOUR--

[ Shane ] FOR EXTRA DOUGH, ANITA TAUGHT SUBURBANITES HOW TO DISCO DANCE.

- WELL, SHE TRIED ANYWAY. - ONE, TWO, THREE, HIP, ONE, TWO, THREE, HIP,

ONE, TWO, THREE, HIP, LET ME SEE IT !

SECOND THING WE'RE GONNA DO IS ATTITUDE.

IF YOU WANT TO MAKE IT TO STUDIO 54, THE MOST IMPORTANT THING...

IS THAT YOU HAVE TO HAVE THE RIGHT ATTITUDE, AND THE ATTITUDE IS IN THE FACE.

SO WATCH ME. THIS IS A VERY SPECIAL STEP FOR ATTITUDE.

ONE, TWO, THREE, FOUR, ONE, TWO, THREE, ATTITUDE !

ONE, TWO, THREE, ATTITUDE ! ONE, TWO, THREE--

GIVE ME SOME ATTITUDE !

WHAT KIND OF AN ATTITUDE IS THAT ? COME OVER HERE.

GIVE ME SOME ATTITUDE ! SHOW ME ! SHOW ME YOUR STUFF !

ONE, TWO, THREE, WHOO ! ONE, TWO, THREE, WHOO !

STOP, TWO, THREE, WHOO ! ONE, TWO, THREE-- WHOO !

WHOO ! WHOO ! WHOO !

THINK TRAVOLTA. COME ON !

WHOO !

KEEP GOING, KEEP GOING. I'M GONNA GO FOR SOME INSPIRATION.

PLEASE, SHANE, THIS KID NEEDS SOME INSPIRATION.

HEY ! HEY !

KEEP YOUR HANDS OFF MY WIFE. NO SMOTHERING, GREGO.

PARA USTED. OH, THANK YOU. I WAS SO HUNGRY.

ARE YOU GONNA STAY FOR THE BUS STOP ? THAT SOUNDS GREAT, BUT...

I GOT SOME BUSINESS OF MY OWN.

GOTTA GO.

HEY, SHANE, WHY DON'T YOU SHOW US HOW YOU DO YOUR SPLITS ?

I'M NOT GONNA DO THAT. MARIO, YOU DO IT.

ALL RIGHT-- OW ! [ Pants Rip ] SHANE !

I LEAVE YOU ALONE FOR ONE SECOND AND LOOK WHAT HAPPENS.

ARE YOU ALL RIGHT ? DOES IT HURT ? JUST A LITTLE.

DON'T MOVE. I'M GONNA GO GET SOME ICE. I'M SORRY !

LUDES, ANGEL DUST,

AND THIS-- THIS IS MDA.

THIS IS WHY THE STUDIO'S SUCH A GREAT PARTY. THIS MONTH, ANYHOW.

♪♪ [ Disco ]

♪ ROCKIN' DISCO MAN ♪ THANKS.

♪ HANGIN' OUT AT THE DISCOTHEQUE ♪

♪ I BELIEVE IN THE BOOGIE ♪♪

YOU CAN DO IT TOO, MAN. ♪♪ [ Continues ]

[ Laughs ] HEY, MIDGET,

I HEAR YOU'VE GOT SOME CHOICE MDA.

YEAH, 20 EACH. FOR YOU, 25.

OH, EAT ME RAW, TOM THUMB.

I NEVER PAY FOR MY DRUGS. AND I DON'T TAKE MEDICARE.

OOH ! HA, HA, HA.

SO TELL ME, HOW MUCH MONEY DOES THE CLUB PULL IN ? UM,

[ Chuckles ] I'D SAY I-- WE MAKE...

[ Whispers Inaudibly ] EVERY NIGHT.

WHEW. [ Chuckles ]

AND THAT WOULD BE BEFORE UNCLE SAM GETS HIS TEETH INTO IT.

WELL, LET ME PUT IT THIS WAY-- WHAT THE I.R.S. DOESN'T KNOW WON'T HURT THEM.

- [ Tape Rewinding ] - LET ME PUT IT THIS WAY--

WHAT THE I.R.S. DOESN'T KNOW WON'T HURT THEM.

THE SECRET IS, IS THAT I'M KIND OF A PHILOSOPHER.

CAN YOU BELIEVE THE NERVE OF THIS MAN ? [ TV: Rubell Continues ]

HE DID MERV LAST WEEK, DICK CAVETT, AND NOW THIS.

I UNDERSTAND THAT THE PATH OF EXCESS LEADS TO THE PALACE OF WISDOM.

DO YOU EVER READ BLAKE ? I HAVE.

YEAH, I LOVE BLAKE. THAT'S MY FAVORITE POET.

TIGER, TIGER, BURNING BRIGHT. WE GOTTA GET TO SOMEBODY IN THAT PLACE.

[ Chuckles ] THAT'S RIGHT. I LOVE THAT.

MAY I KISS YOUR HAND ?

YOU KNOW, I BEEN GOOD FOR A WHOLE WEEK NOW.

YEAH ? WELL, KEEP BEING GOOD AND QUIT LOOKING AT ME LIKE THAT.

I'M NOT LOOKING AT YOU.

WHO'D WANT TO LOOK AT YOU ?

[ Chuckles ]

AY.

HEY, GIMME THAT.

STOP IT ! COME ON. I WANNA HELP. YOU GUYS DO EVERYTHING.

NO ! [ Speaking Spanish ] ♪ LA-LA-LA-LA ♪

YOU TRYING TO TURN ME ON ? NO, I'M TRYING TO COOK.

SAY THAT AGAIN. WHAT ?

NO SALTY ME DAY AT THE CASINO. [ Laughs ]

COME ON. LET ME GO. [ Footsteps Approaching ]

OH, I WAS JUST AFTER THE SPOON.

THE SPOON ?

[ Crashing, Clattering ]

YOU BASTARD !

YOU JEALOUS BASTARD !

YOU JEALOUS BASTARD !

[ Screaming In Spanish ] I DIDN'T EVEN DO ANYTHING !

RIGHT ! RIGHT !

I TOLD YOU NOTHING'S GOING ON. BULLSHIT !

GREG, BABY, YOU TALKING ABOUT SHANE.

IT BE LIKE DOING IT WITH MY OWN BROTHER. HOW COULD YOU EVEN THINK ABOUT IT ?

I CAUGHT YOU ! YOU ARE A JEALOUS MANIAC AND YOU'D BETER GET OVER IT...

BECAUSE I'M NOT STICKING AROUND FOR MORE.

YOU THREATENING ME ? I TOLD YOU BEFORE WE GOT MARRIED...

THAT I WAS NOT YOUR SLAVE.

NO SMOTHERING, GREGO, RIGHT ? RIGHT ? RIGHT. RIGHT !

WE HAD A DEAL. REMEMBER ?

YOU'RE THE ONLY ONE I LOVE.

YOU'RE MY BABY. [ Whispers ] YOU'RE MY POPI.

[ Kisses Smacking ]

[ Clothing Rustling, Panting ]

[ Pleasurable Moans ]

♪♪ [ Disco ]

♪ DANCE ♪

♪ DANCE, DANCE, DANCE ♪

♪ PEOPLE DANCE, DANCE ♪

♪ DANCE DANCE, DANCE ♪

HI ! HI.

DO I-- SHANE.

NICE TO MEET YOU, SHANE. LET'S GO, JULIE.

NO TICKET, NO COAT.

JUST LOOK FOR IT.

DO YOU KNOW HOW MANY BLACK LEATHER JACKETS WITH POPPERS...

AND A COCK RING IN THE LEFT POCKET WE GOT BACK HERE ?

[ Goat Bleating ]

♪ YOWZA, YOWZA, YOWZA ♪

♪ I WANNA BOOGIE WITH YOU ♪

YOU'RE KILLING ME ! LATER.

HEY.

- OHH ! - WHAT'S WRONG ?

I STARTED TO TAKE A LEAK AND IT FELT LIKE RAZOR BLADES.

UH-OH. WHAT ?

HEY, DON'T TELL ME THAT'S YOUR FIRST.

MY FIRST WHAT ?

YOU GOT THE CLAP, MAN.

SHIT. WAKE UP.

PENICILLIN, HUH ?

WE MUST BE NEIGHBORS. I LIVE JUST--

DON'T WORRY. YOUR SECRET IS SAFE WITH ME.

SHANE O'SHEA.

THANKS.

SHIT. [ Sighs ]

THANKS, DOTTIE. IT'S MONA.

BUT THAT'S JUST BETWEEN YOU AND ME TOO, OKAY ?

OKAY.

GRANDMA, LOOK IT. OH, THAT'S BEAUTIFUL !

NOW, CAN YOU SAY HI TO SHANE ?

- HI. - HI.

SWEET MEAT, SWEET MEAT, GIVE DISCO DOTTIE HER FUNKY LITTLE TREAT.

HEY, ATLANTA, WE NEED MORE CHAMPAGNE ON THE BANQUETTE.

ANTHONY'S HAVING A COW. HE SAID WE WERE SHORT A THOUSAND THE OTHER NIGHT.

YEAH ? YEAH.

I GOT A FRIEND AT XENON WHO'LL PUT YOU TO WORK AND NOT BITCH ABOUT IT.

HEY, WHY DON'T YOU GO DANCE, OKAY ? IT'S SLOWING DOWN OUT THERE.

YEAH, THERE YOU GO.

- WHAT ? - I'M LETTING YOU GO. YOU'RE FIRED.

[ Chuckles ] YOU CAN'T FIRE ME. WHY WOULD YOU WANT TO ?

YOUR STICKY LITTLE FINGERS. DIDN'T YOU THINK ANTHONY WOULD NOTICE ?

- NOTICE WHAT ? - OH, YOU'RE EMBARRASSING YOURSELF.

HERE. YOUR SEVERANCE.

STEVIE, I'VE WORKED FOR YOU FOR TEN YEARS.

I HELPED YOU GET YOUR FIRST STEAK HOUSE.

YOU'VE BEEN HERE TOO LONG. YOUR-- YOUR--

YOUR PARANOIA IS GETTING TO ME.

IF THERE'S MONEY MISSING, LOOK SOMEPLACE ELSE.

ANTHONY'S HAVING A COW, OKAY ? AND SOMEBODY'S HEAD HAS TO ROLL.

FUCK !

♪ THROUGH THE YEARS ♪

♪ WE ALL WILL BE TOGETHER ♪

♪ IF THE FATES ALLOW ♪

♪ HANG A SHINING STAR ♪

♪ UPON THE HIGH ♪

♪ THE HIGHEST BOUGH ♪

♪ AND ♪

♪ HAVE YOURSELF ♪

♪ A MERRY LITTLE CHRISTMAS ♪

♪ NOW ♪♪

[ Applause ] LADIES AND GENTLEMEN, A CHRISTMAS PRESENT...

FROM ME TO YOU.

EVERY NIGHT I THINK ABOUT STAYING HOME, BUT THEN I COME TO MY SENSES...

AND GIVE MYSELF A GOOD KICK IN THE ASS. [ Laughs ]

♪ YOU LOOK PRETTY NEW YORK CITY GIRL ♪

♪ YOU MIGHT BREAK MY HEART, BABY ♪

♪ NEW YORK CITY GIRL ♪

♪ YOU GREW UP ON THE SUBWAYS ♪

♪ RIDING WITH PEOPLE UP IN HARLEM ♪♪

♪♪ [ Continues, Indistinct ]

MAN, LOOK AT THIS PIT.

NICOTINE BREAK.

RIGHT ON.

THANK YOU.

I THOUGHT THIS NIGHT WOULD NEVER END.

THANK GOD IT'S CHRISTMAS.

I CAN'T WAIT TO GET OUT OF HERE.

YOU GOIN' HOME TOMORROW ?

I DON'T THINK SO.

I HAVEN'T TALKED TO MY DAD IN, LIKE, FOUR MONTHS.

YOU KNOW, WHY DON'T YOU COME WITH ME AND ANITA TO HER MOTHER'S ?

BE FUN.

- THANKS. - YEAH.

LET'S CLEAN THIS PLACE UP. LET'S GET OUTTA THIS HOLE.

HEY, YOU HEAR, ROMEO'S QUITTIN' NEW YEAR'S EVE.

IF YOU THINK I'M EVER GONNA GET THAT JOB, YOU'RE DREAMIN'.

- HE'S NEVER GONNA PROMOTE ME. - HE MIGHT.

LISTEN, I'LL TALK TO HIM.

ALL RIGHT. ANYWAY, WHEN WE HAVE OUR OWN PLACE,

WE'LL DO ALL OF THE HIRING, RIGHT ?

YEAH, RIGHT.

ALL RIGHT, I'LL MEET YOU DOWNSTAIRS WHEN YOU FINISH WITH THIS STUFF.

SAY WHAT ?

STEVE DOESN'T WANT ME TO DO ANY MORE OF THE BUSSING OR ANYTHING.

ARE YOU FOR REAL ?

WHAT ?

YOU'RE GETTIN' SO CONCEITED.

IT'S LIKE I DON'T EVEN KNOW WHO I'M TALKIN' TO ANYMORE.

WHAT'S YOUR PROBLEM, MAN ?

YOU POUR DRINKS, OR YOU HANG OUT WITH SOME HIGH-CLASS ASSHOLES...

AND SUDDENLY YOU'RE SOME BIG STAR, YOU CAN'T GET YOUR HANDS DIRTY ?

OH, LOOK AT YOU. DEALIN' MORE DRUGS THAN JOHNSON & JOHNSON.

- HEY, THAT MONEY'S FOR ANITA'S STUDIO. - OH, I SEE.

YOUR HEAD'S FILLIN' UP WITH SO MUCH SHIT YOU DON'T EVEN KNOW WHAT YOU'RE TALKIN' ABOUT.

HEY, GREG, COOL IT, MAN. I'M YOUR FRIEND, ALL RIGHT ?

- YEAH-- A FRIEND WHO'S TRYIN' TO SCOPE MY WIFE. - WHAT ARE YOU TALKING ABOUT ?

SHE'S THE ONLY GIRL THIS SIDE OF FIFTH AVENUE YOU HAVEN'T BALLED.

YOU DON'T KNOW WHAT YOU'RE TALKIN' ABOUT. FUCK YOU.

SHANE 54.

♪♪ [ Disco ]

[ Man ] ♪ WE'LL HEAR THE THUNDER ROAR ♪ ♪ FEEL THE LIGHTNIN' STRIKE ♪

♪ I KNOW WE BOTH DECIDED TO MEET ♪

♪ SAME TIME TONIGHT ♪

♪ DIG ON IN THERE, BABY ♪

♪ DIG ON IN THERE, DARLIN' ♪

♪ I'M GONNA GIVE YOU MORE ♪

♪ THAN YOU'VE EVER DREAMED POSSIBLE ♪

♪ DON'T BE AFRAID, BABY ♪

♪ OH, DARLIN' ♪

COME ON. LAY OFF.

- LET'S GET OUT OF HERE. - [ Spanish ]

FUCK OFF. I'M NOT YOUR SLAVE !

♪ 'CAUSE THERE'S TRUE LOVE BETWEEN US NOW ♪

♪ OH, SO LET US TOUCH THE GROUND ♪

♪ AND LET IT ALL DISSOLVE ♪

♪ OH, YEAH, WE'RE ALMOST THERE, DARLIN' ♪

♪ WE'RE TRULY MAKING LOVE ♪

♪ HANG ON IN THERE, BABY ♪

♪ DON'T YOU LET ME DOWN ♪

♪ PLEASE DON'T DESTROY ♪

♪ THIS NEW JOY THAT WE'VE FOUND ♪♪

♪♪ [ Continues, Indistinct ]

YOU KNOW, I TOLD HIM BEFORE WE GOT MARRIED.

I TOLD HIM WHAT THE DEAL WAS. I SAID, "I LOVE YOU, BUT I NEED TO BE FREE.

I NEED TO HAVE FUN. MAYBE NOT FOREVER, BUT FOR NOW."

AND HE SAID, "IT'S OKAY, WHATEVER YOU NEED. I WANT YOU TO BE FREE."

MY ASS ! I COULD FUCKIN' KILL HIM WHEN HE GETS LIKE THAT.

WHAT'S WRONG ?

[ Panting ] OHH.

[ Moaning ] [ Grunting ]

SHANE-- SHANE, STOP. SHANE-- [ Moans ]

LET HIM WATCH. IT'S HIS BATHROOM.

[ Groans, Retches ]

[ Man On Radio ] THE DOW JONES CONTINUED ITS SLIDE TODAY, BRINGING THE DROP TO 90 POINTS.

THE NEWS FROM WASHINGTON--

HEY ! GOD, WHERE HAVE YOU BEEN ?

IT'S GREAT TO SEE YOU, GRACIE ! THOSE FOR US ?

WHOA ! TINSEL TEETH ! THANKS TO YOU.

I SHOULDN'T HAVE TOOK YOUR MONEY. LET'S GO IN. I'M FREEZING.

WHOA, NICE CAR ! IS IT YOURS ? I'M FAMOUS, YOU KNOW.

YEAH, I KNOW. WE SAW YOU IN THE PAPER, DANCIN' WITH SOME OLD LADY.

AND I READ THAT PRINCESS GRACE SHOWED UP THERE TOO.

DID YOU TELL HER ABOUT US ? I WAS OFF THAT NIGHT.

OH. COME ON. I'M STARVED.

WHY DON'T WE GO FOR A RIDE ? NO ONE'S HOME, ANYWAY. WHAT ?

THEY-- THEY WENT TO AUNT MARY'S.

RICKO'S AUNT GOT INTO THE STUDIO AND SHE TOLD DAD SHE SAW YOU PUTTING SOMETHIN' UP YOUR NOSE.

SHE'S SUCH A LIAR ! RIGHT ?

HEY, MAYBE YOU CAN COME IN AFTER I TALK 'EM INTO IT.

NO, THANKS ! BUT-- BUT, SHANE !

DON'T MAKE HIM RIGHT ABOUT YOU, SHANE.

THERE'S NOTHIN' WRONG WITH THIS STUFF, GRACIE.

HE DRINKS. IT'S THE SAME THING. GOOD.

I WANNA TRY ONE OF THESE.

[ Shane ] IN THE MORNING, I WENT TO BREAKFAST AT THE ALPINE INN,

LIKE WE USED TO THE DAY AFTER CHRISTMAS WHEN MOM WAS ALIVE.

COULD I GET A CAPPUCCINO, PLEASE ?

EXCUSE ME ? [ Woman Laughing ]

WRONG SIDE OF THE RIVER.

HEY ! SHH !

[ Whispers ] HI !

I'M SHANE. WE MET AT THE-- YEAH. I KNOW WHO YOU ARE.

UH, WOULD YOU MIND-- COULD I--

SURE.

UH, WHAT ARE YOU DOIN' OUT HERE ?

SPENDING THE WEEK WITH MY PARENTS. [ Laughing ]

YEAH. YOU LOOK LIKE YOU CRAWLED OUT FROM UNDER A ROCK.

[ Sighs ] WELL.

IT HASN'T BEEN THE GREATEST HOMECOMING.

I SEE.

HEY, WAITRESS ! TWO CUPS OF COFFEE, PLEASE.

WHEN IN ROME.

IT'S A WHOLE 'NOTHER WORLD, HUH ?

YOU'LL LEARN. TWO LANGUAGES, TWO SETS OF CLOTHES,

TWO SETS OF FRIENDS.

YOU KEPT YOUR FRIENDS OUT HERE ? WELL, NO.

ACTUALLY, THE CLOTHES WERE A LOT EASIER.

[ Sighs ] IT'S INSANE, ISN'T IT ?

I MEAN, MANHATTAN IS A WHOLE 'NOTHER PROBLEM. UP ONE MINUTE, DOWN THE NEXT.

- THE STORY OF MY LIFE, ONE THOUSAND PERCENT. - TWO THOUSAND PERCENT.

YOU KNOW, I'VE HAD SO MUCH COFFEE, I'M READY TO TAKE FLIGHT.

BIRD OF PARADISE.

HOLD ON.

SO YOU REMEMBER TODAY.

THANK YOU.

WHOA.

WHO'D HAVE THOUGHT ? HUH ?

YOU WERE SO SWEET.

TELL US WHAT WE WANT TO HEAR ABOUT HIM, OR WE'RE GONNA NAIL YOU.

WE'RE TALKING AN AUDIT THAT GOES ALL THE WAY BACK.

AND MY FRIEND, IF WE FIND SOMETHIN' WE DON'T LIKE,

AND BELIEVE ME, WE WILL,

GUESS WHAT ?

YOUR HOUSE IS GONE. YOUR CAR IS GONE.

YOU ARE SERIOUSLY GONE.

I'M TALKIN' 10 TO 20 YEARS.

YOUSE WANNA INVESTIGATE ? GO AHEAD.

MY CAR-- NOT IN MY NAME. MY HOUSE-- NOT IN MY NAME.

MY BANK ACCOUNT: AIN'T GOT ONE.

YOU KNOW WHAT I GOT ? [ Italian ]

WHAT ABOUT THE DRUGS ?

WERE THEY IN YOUR NAME ? THEY WERE IN YOUR GLOVE COMPARTMENT.

YES !

WOW.

- YOU'RE GOOD. - FOUR BROTHERS, AND I NEVER LOST A GAME.

OH, REALLY. MM-HMM.

I'VE BEEN MEANING TO TELL YOU SOMETHING. MM-HMM ?

IT'S KINDA EMBARRASSING.

YOU CAN TELL ME. WHAT ARE YOU TALKING ABOUT ?

WHEN I FIRST SAW THAT PICTURE OF YOU IN THE GOSSIP COLUMN,

IT WAS... YOU KNOW, INSPIRING.

WHAT ? I MEAN IT.

JUST TO SEE SOMEBODY ELSE FROM JERSEY WHO MADE IT.

[ Laughs ] MADE IT ?

YOU'RE KIDDING, RIGHT ? I'M ON A SOAP.

RIGHT. WRONG. SOAP WORK IS THE PITS !

WHY DO YOU THINK I'M AT 54 EVERY NIGHT ?

I DON'T KNOW. MAYBE TO MEET SOMEBODY INTERESTING. EXACTLY.

IN THIS BUSINESS IT'S ALL ABOUT WHO YOU KNOW. SINCE I'M GONNA GET A MOVIE--

OR DIE TRYING-- THERE'S NO PLACE BETTER THAN 54.

ONE BIG BENDER WITH BUSINESS CARDS.

SEE, THE THING IS, IF YOU MEET THE RIGHT PRODUCER,

LIKE ROLAND ZACKS, FOR INSTANCE, YOU'VE GOT IT MADE.

I MEAN, HE'S GOT HIS HANDS IN EVERYTHING: MUSIC, MOVIES, CLUBS, EVERYTHING.

RIGHT. BUT YOU DON'T NEED THAT.

SHANE, COME ON. YOU'RE A 54 BARTENDER. YOU KNOW HOW THINGS WORK.

YOU KNOW WHAT THIS IS ALL ABOUT. I MEAN, YOU'VE HAD TO MANEUVER.

SOMETIMES, USE YOUR CHARM. SOMETIMES, OTHER THINGS. HMM ?

OKAY, YOU GOT ME.

[ P.A. Announcer ] WHOEVER OWNS THE SMALL LABRADOR,

GET IT OUT, WITH THE 1972 EL CAMINO, RIGHT NOW.

THIS PLACE IS REALLY GREAT.

YOU CAN ACTUALLY SEE PEOPLE HERE.

[ Laughing ] YOU'RE CUTE.

STARTING THE DECADE WITH THE PERFECT KISS.

WHAT COULD BE BETTER THAN THAT ? PICKING UP THAT 7-10 SPLIT.

OH, YEAH ? I'M GONNA DO IT FIRST ! NO, YOU'RE NOT, IT'S MINE !

FORGET IT ! COME ON ! [ Giggling ]

HEY ! GIMME THAT BALL !

[ Man On Radio ] MAYOR KOCH EXPECTS THE BIGGEST THRONGS...

OF NEW YEAR'S REVELERS IN BIG APPLE HISTORY TO RING IN THE '80s.

ON THE OTHER SIDE OF THE BIG BLUE MARBLE,

IT'S DAY 58 OF THE AMERICAN HOSTAGE CRISIS IN IRAN, WITH NO END IN SIGHT.

[ Car Horn Honking ] OOPS.

[ Steve ] YEAH, OF COURSE YOU'RE ON THE LIST !

[ Steve Laughing ] OKAY.

OKAY.

WHAT'S THIS ?

THAT'S THE MISSING MONEY.

I TOOK IT.

WHAT MONEY ?

YOU KNOW, ANTHONY'S MONEY.

OHH ! THAT'S ADORABLE.

YOU KNOW, GREG'S VERY LUCKY...

TO HAVE A FRIEND LIKE YOU TO COVER FOR HIM.

YOU KNEW ? YEAH, YOU KNOW-- [ Sighs ]

I SEE EVERYTHING THAT GOES ON HERE.

YOU DON'T THINK I'M WATCHING, BUT I AM.

HE NEVER WOULD HAVE TOUCHED THAT MONEY, IF HE'D BEEN MADE A BARTENDER IN THE FIRST PLACE.

HE'S REALLY A GREAT GUY, STEVE.

HE THOUGHT HE'D BE A BUSBOY FOR THE REST OF HIS LIFE. YEAH, I'M SURE.

CAN'T YOU GIVE HIM A BREAK ?

[ Sighs ] SO.

YOU WANT ME TO MAKE HIM A BARTENDER NOW.

[ Sighs ]

YOU KNOW, I AM TOO NICE FOR MY OWN GOOD, BECAUSE PEOPLE TAKE ADVANTAGE.

THANKS, STEVE. DON'T YOU SAY ANYTHING TO HIM ABOUT IT.

OKAY. I'LL TELL HIM MYSELF.

WHY'S EVERYONE SO SENTIMENTAL THIS TIME OF YEAR ?

I HATE THE HOLIDAYS.

[ Sighs ]

[ Woman ] ♪ FOUND A CURE ♪

♪ OOH, FOR YOUR HEARTACHE ♪

♪ BEFORE YOU WAKE BEFORE YOU WAKE ♪♪ GREG ! HEY, MAN.

IT'S GREAT TO SEE YOU.

I WASN'T SURE IF YOU WERE COMIN' BACK. I COULDN'T MISS ANITA TONIGHT.

PLUS, I SHOULD MEET UP WITH MY VERY-POSSIBLY GIRLFRIEND.

GIRLFRIEND. IS THAT WHERE YOU'VE BEEN ? YEAH.

- JULIE BLACK, MAN ! - BULLSHIT !

I'M NOT JIVIN' YOU, I SWEAR. THAT'S GREAT, MAN.

♪ WHATEVER IT IS LOVE WILL FIX IT ♪ HEY, LOOK.

I GOTTA GO FIND ANTHONY. YOU NEED ANY PARTY MATERIALS ?

NO, THANKS. NOT TONIGHT. ♪ FOUND A CURE ♪

[ Horns Blowing, Crowd Talking, Shouting ]

STEVE !

COME ON. I'VE BEEN HERE EVERY HOLIDAY. IT'S NEW YEAR'S EVE.

PLEASE, I'M SO LONELY.

- GO HOME, HONEY. - THIS IS MY HOME.

PLEASE !

♪♪ [ Continues ]

♪ WHENEVER IT RAINS YOU'LL HAVE BLUE SKIES ♪

♪ FOUND A CURE ♪ ♪ I'M TELLIN' YOU ♪

♪ FOUND A CURE ♪ REMEMBER WHAT HAPPENS TOMORROW ?

IT'S A NEW DECADE, TURKEY. ♪ FOUND A ♪

♪ CURE ♪ THE NEW BARTENDER GETS ANNOUNCED.

OH, RIGHT. IT'S LOOKING GOOD FOR YOU FOR SURE, MAN.

REALLY ? [ Steve ] HEY, HEY !

YOUR FAIRY TALE WISH JUST CAME TRUE.

I'VE GOT A VERY SPECIAL JOB FOR YOU TONIGHT.

GRACE KELLY'S COMING,

AND I WANT YOU TO TAKE CARE OF HER.

NO SHIT ! YES, BUT TRY NOT TO SAY "SHIT" AROUND HER, OKAY ?

SHE IS FROM PHILLY, BUT I DON'T THINK SHE DOES THAT ANYMORE.

NO, NOT TONIGHT.

NOT TONIGHT ! NEVER, NEVER, NEVER COME TO ME LIKE THAT !

♪ FOUND A CURE ♪

♪ FOUND A CURE OOH ♪♪

ARE YOU SLEEPIN' ?

IS GRACIE THERE ?

WELL, TELL HER I'M GONNA MEET PRINCESS GRACE TONIGHT.

[ Gracie Screaming ] NO WAY !

[ Man ] YEAH ! ♪♪ [ Continues ]

I JUST WANTED TO WISH YOU GOOD LUCK TONIGHT. YOU'RE GONNA BE GREAT.

[ Cork Pops ] AAH ! HAPPY NEW YEAR !

HEY ! IT'S ERROL FLYNN ! HEY, ROLAND !

IT'S GREAT TO SEE YOU, MAN. I'VE BEEN TRYIN' TO REACH YOU-- H-H-HOLD ON.

MY DATE'S GETTING CRUSHED.

OH. HI.

HI.

[ Roland ] I'VE GOT A GREAT IDEA.

[ Whispering ]

[ Whispering ]

OH, COME ON. IT'LL BE WILD.

LISTEN, SOME OF US ARE GOING BACK TO ROLAND'S HOUSE LATER.

HE WANTS TO KNOW. YOU WANT TO COME.

ACTUALLY, IT'LL JUST BE THE THREE OF US.

THERE GOES DONALD.

EXCUSE ME.

I-I DON'T UNDERSTAND.

I THOUGHT WE, YOU KNOW, CONNECTED.

SHANE, I ALREADY EXPLAINED THIS TO YOU.

MY CAREER IS REALLY IMPORTANT TO ME RIGHT NOW.

LISTEN, SHANE. I LIKE YOU, I REALLY DO.

BUT DROP THE FANTASY, OKAY ?

I'M BUILDING SOMETHING HERE. I THOUGHT YOU WANTED TO GET AHEAD TOO.

ROLAND'S THE KIND OF GUY WHO CAN MAKE THAT HAPPEN FOR YOU. DON'T YOU WANT THAT ?

NOT THAT WAY.

[ All Shouting ] TEN. NINE. EIGHT. SEVEN. SIX.

FIVE. FOUR. THREE. TWO. ONE !

HAPPY NEW YEAR !

[ Shouting, Cheering ] [ Horns Blowing ]

[ Applause, Cheering Continues ] OKAY.

FIRST, I WANT TO TELL YOU ALL SOMETHING...

THAT MOST OF YOU ALREADY KNOW.

I LOVE YOU.

YEAH ! [ Man ] LOVE YOU TOO, STEVE !

[ Thump, Audio Feedback, Amplified Sniff ] AHH !

SECONDLY, THERE HAVE BEEN A FEW LITTLE RUMORS FLOATING AROUND...

ABOUT ME AND A CERTAIN GOVERNMENT AGENCY.

BUT REST ASSURED, THAT'S ALL TAKEN CARE OF.

JUST TRY AND TANGLE WITH ME !

[ Audience Laughing, Cheering ] RIGHT ON, STEVE !

AND NOW, I WANT TO INTRODUCE TO YOU A BRAND NEW TALENT,

A TALENT FOR THE '80s THAT I DISCOVERED...

IN THE COATROOM, BELIEVE IT OR NOT.

PLEASE WELCOME... ANITA !

[ Smattering Of Applause ]

[ Audio Feedback ]

♪ TONIGHT IS THE NIGHT I'LL FLY ♪

♪ SPREAD MY WINGS ♪

♪ AND TOUCH THE SKY ♪

♪ TONIGHT IS THE NIGHT I'LL SEE ♪

♪ EVERYTHING ♪

♪ THAT'S WAITING ♪

♪ FOR ME ♪

♪ I'M LOVIN' THIS COOL WORLD THAT I'M IN ♪

♪ YOU KNOW IT FITS ME LIKE A SECOND SKIN ♪

♪ AND THEY SAY IT COMES AND GOES SO FAST ♪

♪ BUT WE'VE GOT SOMETHIN' BUILT TO LAST ♪

♪ OH, BABY, IT'S YOUR LOVE THAT SETS ME FREE ♪

♪ OHH, OHH, OHH, OHH ♪

♪ TONIGHT IS THE NIGHT I'LL FLY ♪

♪ SPREAD MY WINGS AND TOUCH THE SKY ♪

♪ TONIGHT IS THE NIGHT I'LL SEE ♪

♪ EVERYTHING THAT'S WAITING FOR ME ♪

♪ OH, OH, YEAH OH, ALL RIGHT ♪

♪ TONIGHT I'LL FLY ♪

♪ OH, OH, YEAH OH, ALL RIGHT ♪

♪ TONIGHT IS THE NIGHT ♪

♪ I'VE GOTTA BE FREE ♪

♪ GET DOWN ♪

♪ EVERYBODY GET DOWN ♪

♪ GET DOWN EVERYBODY GET DOWN ♪ YEAH !

♪ TONIGHT'S THE NIGHT TONIGHT'S THE NIGHT I FLY ♪

♪ TONIGHT'S THE NIGHT TONIGHT'S THE NIGHT I FLY ♪

♪ TONIGHT'S THE NIGHT TONIGHT'S THE NIGHT I FLY ♪

SING IT WITH ME ! ♪ TONIGHT'S THE NIGHT ♪

♪ TONIGHT'S THE NIGHT I'LL FLY ♪ ♪ OOH, OOH ♪

♪ OOH, OOH ♪

♪ OOH, OOH ♪

♪ OOH, OOH ♪♪

♪♪ [ Stops ]

[ Woman In Crowd ] IT'S THAT OLD LADY THAT DISCOS.

[ Man In Crowd ] YOU BETTER GET SOMEONE.

[ Crowd Chattering ]

TURN ON THE LIGHTS !

[ Crowd Gasps ]

DOTTIE ?

DOTTIE.

MONA ?

[ Man ] GET AN AMBULANCE. [ Man ] GET HER UP.

[ Man ] YOU GOT HER ?

CAREFUL ! [ Woman ] LET THEM THROUGH !

LET'S CLEAR A PATH, HERE. PEOPLE, PLEASE.

♪♪ [ Disco ]

♪♪

♪ GO, GO, GO, GO, GO ♪

♪ GO, GO, GO, GO, GO ♪ HEY, HEY, HEY !

PRINCESS GRACE IS HERE, AND SHE'S THIRSTY.

WHAT ? THIS WAY. YOU'RE ON. COME ON !

SHANEY ! SHANEY, IT'S BEEN A MEAN NIGHT, OKAY ?

I'LL CRY ABOUT IT TOMORROW. I WILL.

BUT TONIGHT, THE SHOW MUST GO ON. LET'S GO.

I-I-I CAN'T TALK TO ANYBODY !

WE DID IT TO HER ! THIS PLACE DID ! HEY ! COME ON !

YOU CAN'T BLAME YOURSELF 'CAUSE SHE COULDN'T HANDLE HER DRUGS.

COME ON. LET'S GO. COME ON. COME ON.

IT'LL CALM YOU DOWN. COME ON. TAKE IT.

THIS ISN'T RIGHT. PRINCESS GRACE IS HERE.

OKAY ? PRINCESS GRACE.

WE LOST A FRIEND TONIGHT ! NO, NO, NO. I LOST A FRIEND TONIGHT.

NO OFFENSE, BUT YOU WERE JUST ANOTHER PRETTY FACE TO HER.

SHE WAS MY FRIEND. SHE WAS COMPLETELY NEARSIGHTED.

SHE COULDN'T TELL ONE OF YOU FROM THE NEXT.

NOW GET IT TOGETHER. GET DOWNSTAIRS.

HEY !

DON'T FORGET HOW REPLACEABLE YOU ARE, LITTLE LORD FAUNTLEROY.

TRY TELLIN' THEM THAT, STEVIE.

REMEMBER, I'M ONE OF NEW YORK'S FINEST. I'M SHANE 54.

[ Sighs ] OH.

LIKE THERE WASN'T A GABRIEL 54 AND A RHETT 54.

BULLSHIT. OH, NO.

DON'T TELL ME THAT'S THE FIRST TIME YOU EVER READ AN INTERVIEW MAGAZINE.

OH, NO ! [ Laughing ]

FUCK YOU !

YOU TROGLODYTE.

HEY, WHERE YOU GOIN' ? HUH ?

THE DOOR'S THAT WAY ! HE'S OUT !

[ Sirens ]

[ Man ] ♪ QUE SERA ♪

♪ MI VIDA ♪

♪♪ [ Continues ]

♪ QUE SERA ♪

♪ MI VIDA ♪♪ I LOVE YOU.

[ Woman ] ♪ WHEN I'M FEELING LONELY ♪

♪ COME ON, TELEPHONE ME ♪

♪ IT'S GETTING HARD TO PASS MY TIME ♪ [ Man ] I.R.S.

♪ TAKE ME OUT AND TRY ME WATCH ME WHILE I'M SMILING ♪

- ♪ BABY, IT'S A WASTE OF TIME ♪ - THEY'RE HERE.

♪ I NEED A MAN PERHAPS A MAN LIKE YOU ♪ SHANE.

I-I-I KNEW YOU'D COME TO YOUR SENSES. MEINE KLEINE SHANE.

I WENT DOWNSTAIRS TO GET MY KEYS, AND THEY'RE RAIDING THE OFFICE.

♪ TO MAKE MY DREAMS COME TRUE ♪

♪♪ [ Continues, Indistinct ]

EVEN FROM HERE, THOSE SUITS LOOK CHEAP.

STEVE. AREN'T YOU GONNA GET OUT OF HERE ?

WHERE WOULD I GO ?

♪ I NEED A MAN TO MAKE MY DREAMS AND ♪

♪ I NEED A MAN ♪♪ LET'S GO, SHANE.

WHAT ARE YOU GUYS DOIN' ? STEVE WANTS YOU OUT !

GET OFF OF ME ! YO, BILLY ! COME ON !

COME ON, GUYS !

GET OUTTA HERE !

I GOTTA GET MY WALLET !

GET OUTTA HERE !

[ Shouting ] HEY, THESE HANDCUFFS ARE TOO TIGHT !

THEY'LL LEAVE MARKS. WHAT AM I, PUBLIC ENEMY NUMBER ONE, FOR CHRIST'S SAKE ?

HUH ?

PUT YOUR HEAD DOWN. GET IN THERE !

THIS IS SO TACKY.

SHANE !

YOU WANT A RIDE ?

LOOK, SHANE, I'M SORRY.

I KNOW I ACTED LIKE A FOOL, BUT YOU KNOW HOW IT GETS IN THERE.

WHERE'S ROLAND ?

I LOST HIM IN THE BALCONY.

I'M SORRY. COME ON.

WHAT ABOUT YOUR CAREER ?

I THOUGHT THAT WAS YOUR BIG PRIORITY. YEAH, WELL...

I'M NOT SO SURE ANYMORE.

ME NEITHER.

SO, NOW WHAT ?

I LIKE YOU, SHANE.

LET'S FACE IT. WE'RE JERSEY.

YEAH, WE ARE.

SO--

FRIENDS ?

FRIENDS.

[ Man On Radio ] AGENTS OF THE I.R.S. AND F.B.I. RAIDED THE HIGHLY POPULAR STUDIO 54.

[ Shane ] SO THAT'S HOW MY DECADE ENDED.

IN THE YEAR AND A HALF STEVE WAS IN JAIL, THINGS CHANGED A LOT.

BIG CORPORATIONS HAD TAKEN OVER THE NEW YORK CLUB WORLD, DOING WHAT CORPORATIONS DO.

MAKING EVERYTHING SAFE AND BORING. THE FREEDOM WAS GONE.

I KEPT IN TOUCH WITH JULIE. SHE WAS DOING ALL RIGHT.

SHE MOVED TO HOLLYWOOD AND GOT A SMALL PART IN A GOOD FILM.

I HADN'T SEEN GREG AND ANITA IN A WHILE.

BROUGHT BACK TOO MANY MEMORIES. BUT THEY WERE STILL TOGETHER, DOING FINE.

ANITA RECORDED A GREAT ALBUM WITH CASABLANCA,

BUT SOME PEOPLE THOUGHT IT WAS TOO DISCO.

I'D BEEN TAKING BUSINESS CLASSES AT N.Y.U. DURING THE DAY,

AND MANAGING A RESTAURANT IN THE VILLAGE AT NIGHT.

AS FAR AS MY DAD WENT, THINGS WERE BETTER THERE TOO.

I GOT TO JERSEY TO SEE HIM AND MY SISTERS ABOUT ONCE A WEEK.

WHEN I HEARD ABOUT STEVIE'S WELCOME BACK PARTY, I COULDN'T RESIST.

♪♪ [ Disco ]

AFTER GETTING OFF WITH JUST SIX MONTHS PROBATION, GREG GAVE UP DEALING.

HE GOT A GOOD JOB IN CONSTRUCTION. HOW YOU DOIN' ?

- WHOA ! - [ Chattering ]

[ Man ] ♪ LET'S DO IT ♪

♪ LET'S DO IT ♪

♪ LET'S DO IT ♪

♪ LET'S DO IT ♪

♪ LET'S DO IT ♪ ♪ OH, BABY ♪

♪ OOH, BABY ♪ ♪ LET'S DO IT ♪

♪ TAKE YOUR TIME ♪ ♪ LET'S DO IT ♪

♪ YOU KNOW YOU OUGHT TO SLOW DOWN ♪♪

♪♪ [ Music Stops ] [ Crowd Grumbling, Murmuring ]

[ Audio Feedback ]

IT'S SO GOOD TO SEE YOU AGAIN.

IT'S GREAT TO BE BACK.

I WAS IN THE BAHAMAS, YOU KNOW, [ Crowd Laughs ]

ON A YEAR-AND-A-HALF FORCED VACATION.

DON'T YOU LOVE MY "CLUB FED" TAN ? [ Snickers ]

I WANT YOU TO KNOW,

ONLY MY FRIENDS ARE HERE TONIGHT.

BUT I DID PUT MY PAROLE OFFICER ON THE LIST.

YOU KNOW,

PRISON CAN BE SO FUCKING DULL AT NIGHT.

I GUESS I JUST WANTED TO WELCOME YOU ALL BACK TO SAY,

THIS TIME I HOPE IT DOES LAST FOREVER.

[ Cheering, Applause ]

LADIES AND GENTLEMEN, WELCOME BACK.

♪ OOH ♪

♪ OOH, BABY ♪

♪ IF YOU COULD READ MY MIND, LOVE ♪

♪ WHAT A TALE MY THOUGHTS WOULD TELL ♪

♪ JUST LIKE AN OLD-TIME MOVIE ♪

♪ 'BOUT A GHOST FROM A WISHING WELL ♪

♪ IN A CASTLE DARK OR A FORTRESS STRONG ♪

♪ WITH CHAINS UPON MY FEET ♪

♪ YOU KNOW THAT GHOST IS ME ♪

♪ I DON'T KNOW WHERE WE WENT WRONG ♪

♪ BUT THE FEELING'S GONE AND I JUST CAN'T GET IT BACK ♪

♪ IF YOU COULD READ MY MIND, YEAH ♪

♪ IF YOU COULD READ MY MIND, LOVE ♪ SHANE !

HOW YOU DOING ? ♪ WHAT A TALE MY THOUGHTS COULD TELL ♪

♪ JUST LIKE A PAPERBACK NOVEL ♪

♪ THE KIND THE DRUGSTORE SELLS ♪

♪ WHEN YOU REACH THE PART ♪

♪ WHERE THE HEARTACHE COMES ♪

♪ THE HERO WOULD BE YOU ♪

♪ BUT HEROES OFTEN FAIL ♪

♪ NEVER THOUGHT I'D FEEL THIS WAY ♪

♪ AND I'VE GOT TO SAY ♪

♪ THAT I JUST DON'T GET IT ♪

[ Shane ] YOU SEE, STEVE RUBELL HAD A DREAM,

BUT LIKE WITH ALL DREAMS, YOU WAKE UP TO REALITY.

EVEN THOUGH STEVE WAS JUST A CONSULTANT NOW,

THE NEW OWNERS GAVE HIM THIS NIGHT, THIS ONE NIGHT,

TO BRING ALL HIS FRIENDS BACK-- TO DO IT HIS WAY.

WE PRETENDED NOTHING HAD CHANGED.

BUT IN REALITY,

THE PARTY WAS OVER.

♪ IF YOU COULD IF YOU COULD ♪ ♪ MY MIND ♪

♪ IF YOU COULD READ MY MIND ♪

♪ IF YOU COULD READ MY MIND, LOVE ♪

♪ WHAT A TALE MY THOUGHTS WOULD TELL ♪

♪ JUST LIKE AN OLD-TIME MOVIE ♪

♪ 'BOUT A GHOST FROM A WISHING WELL ♪

♪ IF YOU COULD READ MY MIND, LOVE ♪

♪ WHAT A TALE MY THOUGHTS WOULD TELL ♪

♪ JUST LIKE A PAPERBACK NOVEL ♪

♪ THE KIND THE DRUGSTORE SELLS ♪

♪ WHEN YOU REACH THE PART ♪

♪ WHERE THE HEARTACHE COMES ♪

♪ THE HERO WOULD BE YOU ♪

♪ HEROES OFTEN FAIL ♪

♪ NEVER THOUGHT I'D FEEL THIS WAY ♪

♪ AND I'VE GOT TO SAY THAT I JUST DON'T GET IT ♪

♪ I DON'T KNOW WHERE WE WENT WRONG ♪

♪ BUT THE FEELING'S GONE AND I JUST CAN'T GET IT BACK ♪

♪ IF YOU COULD IF YOU COULD ♪

♪ IF YOU COULD READ MY MIND ♪

♪ IF YOU COULD IF YOU COULD ♪

♪ IF YOU COULD READ MY MIND ♪

♪ IF YOU COULD IF YOU COULD ♪♪

[ Woman ] ♪ OH ♪

♪ MMM, AAH ♪

♪ OOH ♪

♪ MMM, OH, YEAH ♪

♪ I DON'T WANT TO LOSE THIS GOOD THING ♪

♪ THAT I'VE GOT ♪

♪ 'CAUSE IF I DO I WOULD SURELY ♪

♪ SURELY LOSE A LOT ♪

♪ 'CAUSE YOUR LOVE IS BETTER ♪

♪ THAN ANYTHING I KNOW ♪

♪ IT'S LIKE THUNDER ♪

♪ LIGHTNING ♪

♪ THE WAY YOU LOVE ME IS FRIGHTENING ♪

♪ I BETTER KNOCK ♪

♪ ON WOOD YEAH, BABY ♪

♪ OH, YEAH ♪

♪ I BETTER KNOCK ON WOOD, BABY ♪

♪ I BELIEVE I WILL ♪

♪ I BELIEVE I WILL ♪

♪ OH, YEAH OH, YEAH ♪

♪ THINK I BETTER KNOCK ON WOOD ♪

♪ THINK I BETTER BABY ♪

♪ RIGHT HERE RIGHT NOW ♪

♪ I WANT YOU TO LOVE ME ♪

♪ COME ON AND TOUCH ME YEAH, YEAH ♪

♪ IT'S LIKE THUNDER ♪

♪ LIGHTNING ♪

♪ THE WAY YOU LOVE ME IS FRIGHTENING ♪

♪ YOU BETTER KNOCK KNOCK, KNOCK, KNOCK ♪

♪ ON WOOD, YEAH, BABY ♪

♪ OOH, YEAH ♪

♪ I BETTER KNOCK ON WOOD, BABE ♪

♪ I BELIEVE I WILL I BELIEVE I WILL ♪

♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪

♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪

♪ THINK YOU BETTER KNOCK ON WOOD ♪ ♪ KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ I THINK I BETTER, BABY ♪ ♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ RIGHT HERE, RIGHT NOW ♪ ♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪

♪ I WANT YOU TO LOVE ME ♪ ♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ COME ON AND TOUCH ME ♪ ♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪

♪ YEAH ♪ ♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ I THINK I BETTER COME ON, COME ON ♪ ♪ KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ COME ON, I BETTER ♪ ♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ I WANNA, YEAH, OH, YEAH ♪ ♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪

♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪ ♪ I-I-I-I-I-I ♪

♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪ ♪ BETTER KNOCK ON WOOD ♪

♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪ ♪ YEAH, KNOCK ON WOOD, BABY ♪

♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪ ♪ RIGHT HERE, RIGHT NOW ♪

♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪ ♪ DON'T WANNA LOSE YOU, NO, NO ♪

♪ THINK YOU BETTER KNOCK, KNOCK KNOCK ON WOOD ♪ ♪ DON'T WANNA LOSE YOU, BABE ♪

♪ THINK YOU BETTER KNOCK, KNOCK, KNOCK ON WOOD ♪♪

♪♪ [ Woman Vocalizing ]

♪ COME TO ME ♪

♪ WHEN THERE'S NOBODY ELSE AROUND ♪

♪ COME TO ME ♪

♪ I'M STILL WAITING OPEN-ARMED FOR YOU ♪

♪ COME TO ME ♪

♪ 'CAUSE I WILL COMFORT YOU ♪

♪ WHEN YOU'VE NO ONE TO TURN TO ♪

♪ I WILL BE HERE JUST FOR YOU ♪

♪ COME TO ME ♪

♪ WHEN YOUR WORLD IS EMPTY AND COLD ♪

♪ COME TO ME ♪

♪ WHEN YOU NEED SOMEONE YOU WANT TO HOLD ♪

♪ COME TO ME ♪

♪ IN MY ARMS I WILL KEEP YOU SAFE AND WARM ♪

♪ COME TO ME ♪

♪ I WILL SHELTER YOU FROM THE STORM ♪

♪ I'M NOT ONE TO PRETEND ♪

♪ WHY CAN'T YOU UNDERSTAND ♪

♪ THAT I LOVE YOU ♪

♪ AND I LOVE YOU ♪

♪ AND I NEED YOU ♪

♪ AND I WANT YOU ♪

♪ AND I LOVE YOU ♪

♪ AND I LOVE YOU ♪

♪ AND I NEED YOU ♪

♪ AND I WANT YOU ♪

♪ COME TO ME ♪

♪ OH, BABY ♪

♪ COME TO ME ♪

♪ WHEN YOUR WORLD IS EMPTY AND COLD ♪

♪ COME TO ME ♪

♪ WHEN YOU NEED SOMEONE YOU WANT TO HOLD ♪

♪ COME TO ME ♪

♪ IN MY ARMS I WILL KEEP YOU SAFE AND WARM ♪

♪ COME TO ME ♪

♪ I WILL SHELTER YOU FROM THE STORM ♪

♪ I'M NOT ONE TO PRETEND ♪

♪ WHY CAN'T YOU UNDERSTAND ♪

♪ THAT I LOVE YOU ♪

♪ AND I LOVE YOU ♪

♪ AND I NEED YOU ♪

♪ AND I LOVE YOU ♪

♪ COME TO ME ♪

♪ COME ON, BABY ♪

♪ I NEED YOU ♪

♪ AND I NEED YOU ♪♪