MY LADY'S SONG - Act 2

Summary

---

Table Read: MY LADY'S SONG – Act 2

Podcast: Table Read (Manifest Media/TABLE READ)
Date: March 31, 2026
Episode Summary by an Expert Podcast Summarizer

---

Overview

This episode continues the stylized neo-noir crime drama “My Lady’s Song,” performed by a full ensemble of Hollywood actors with lush cinematic score and immersive sound design. Act 2 pivots around Sal, a world-worn limo driver, and Hera, a young porn actress, as they try to outmaneuver corrupt union boss Vince and his brutal enforcer, Leo, in a world where blackmail, betrayal, and survival are all that matter. As the chase carves a trail from Philly to Chicago, the episode explores themes of loyalty, regret, power, and the ultimate cost of trying to rewrite your script in life.

---

Key Discussion Points & Story Beats

1. Hotel Tensions & Sal and Hera’s Dynamic (00:08–02:51)

• Sal and Hera, laying low in a Philadelphia hotel, negotiate suspicion and uneasy trust. The staff (and especially a bellboy) are fascinated by Hera’s provocative presence, providing moments of dark humor and exposing outsider perceptions.
• Key interaction: Sal fiercely rejects insinuations about his relationship with Hera, emphasizing boundaries and sparking both embarrassment and amusement.

Sal (to hotel clerk): "She’s not my niece. She’s not my cousin, she’s not my hump for the night. She’s my...Look, I’m a driver."
(01:14)

2. The Power Play: Vince, Uncle Charlie, and Senator Baxter (03:12–06:02)

• Uncle Charlie and Vince confront Senator Baxter in a limo, unveiling the extent of their corruption partnership. Baxter demands that Lotta and Hera be silenced for good, clearly terrified of blackmail tapes.

Senator Baxter: "I want every copy. And I want those two sluts to be gone for good. That driver too."
(05:22)

• It’s clear Vince holds the real power — Baxter is ultimately a puppet.

3. Amish Country Detour – “Fish Out of Water” (06:13–10:41)

• Sal and Hera escape through Pennsylvania’s Amish country, stopping for a meal that results in culture clash comedy.
• Amid the humor, Sal reveals the true danger of Vince through a chilling story:

Sal: "Vince had him chopped up into 24 parts… Every month for two years… mailed them a different piece of this guy’s body… The last piece was his heart. There was a bite out of it." (09:53–10:33)

4. Hera’s Desperation and the Web of Betrayal (11:18–17:16)

• Hera tries to get Lotta’s help, growing increasingly desperate as Sal spells out the impossibility of escape from Vince.
• Technical paranoia: Sal is wary of traced calls and credit card records.
• They scheme to protect themselves via the blackmail tapes. The true scope is revealed: Lotta has edited tapes to fabricate a hardcore porno starring Senator Baxter, amplifying the stakes for everyone.

Hera: "We edit Baxter into the film with us fucking him. Get it? Looks like Baxter is starring in a porno flick… She even has a title. How to Get Elected. Kind of catchy, right?"
(16:25–16:52)

5. Brutality Unleashed: Lotta’s Fate (19:01–25:14)

• Lotta is captured and brutally murdered by Vince as Baxter and Leo witness — a stomach-turning, gothic horror-infused set piece. The scene is designed for maximum psychological and physical violence, reinforcing just how serious the stakes are.
• Uncle Charlie and Vince mock Baxter’s weakness even as they force him to comply.

Vince (to Baxter, after killing Lotta): "What I do to you will make this look like a Sunday picnic. Now you are going to mediate the union contract talks the way I say. Isn’t that right, Senator?"
(24:25–24:43)

6. Refuge, Regret, and Resignation — Sal and Hera’s Road West (26:07–28:32)

• Sal ensures delivery of the blackmail tapes, but warns Hera he can only protect her so far.
• Hera contemplates disappearing on a Greyhound but is talked into sticking to the plan for now.
• Their banter takes on undertones of father-daughter affection, providing rare moments of warmth amid paranoia.

Sal: "You’ll need new papers too."
Hera: "I know. I know. Where to now?"
(26:30–26:34)

7. Chicago & Sal’s Past — Personal Stakes Revealed (28:48–37:42)

• At the Ritz Carlton in Chicago, Sal reveals a deep, unresolved wound: he wants to visit the adult son he hasn’t seen in years after prison.
• Hera gets a makeover to avoid detection, and the two reach a brief moment of mutual respect.
• Watching his son’s family from afar, Sal ultimately can’t bring himself to connect — underscoring themes of loss, regret, and being a perpetual outsider.

Sal: "We come all this way for to see where I don’t belong."
(37:22)

8. Collision Course: Leo vs. Sal (39:06–43:07)

• Leo shows up to kill Hera, triggering a brutal, cinematic hotel room fight.
• Sal, channeling all his survivor’s instincts, ultimately kills Leo in self-defense with a makeshift weapon (a pen through the ear) and pushes him out the hotel window.
• This is an extended, suspense-laden set piece, full of noir violence and tension, with a sense of finality — but not relief.

Leo (taunting): "She gets sent back to Vince in a hatbox. You try to stop me, Vince says I send you back the same way."
(39:56)
Sal: "I'm gonna beat you good before I—"
(41:32)
Narrator: "Leo's eyes are wide open, but he can't see...Leo crashes into the window...We hear Leo scream all the way down to his death in the alley below."
(42:27–42:56)

---

Notable Quotes & Memorable Moments

• Dark Comedy / Social Commentary:

  • "Would thee like our country morning meal for two?" — Amish waitress to Hera, resulting in bemusement and mockery. (07:30)
  • "Foreigners." — Hera, misunderstanding the Amish lifestyle. (08:09)

• Grim Warnings and Loyalty:

  • "Sal did a 12 year stretch for us because he wouldn’t talk." — Uncle Charlie, signifying criminal loyalty. (05:40)

• Major Reveal — Blackmail Tapes:

  • "Looks like Baxter is starring in a porno flick...She even has a title. How to Get Elected." — Hera, the leverage they think they hold. (16:25–16:52)

• Violence as the Only Currency:

  • "You die easy or you die hard. Up to you." — Vince to Lotta before her murder. (21:51)

---

Key Timestamps

| Time | Segment Description | |---------|----------------------------------------------------------------------------------------| | 00:08 | Sal and Hera check in at Philly hotel. | | 03:12 | Vince, Uncle Charlie, and Senator Baxter negotiate — blackmail tapes & hit orders. | | 06:13 | Sal and Hera pass through Amish country — culture clash and exposition. | | 09:53 | Sal reveals Vince’s history of violence with the “meat locker” story. | | 16:25 | Hera explains the edited porno blackmail plot involving Baxter. | | 19:01 | Lotta’s murder scene in Vince’s grim “garage.” | | 24:25 | Vince asserts total power to Baxter — threats of further violence. | | 26:07 | Sal and Hera mail tapes, contemplate escape, and head for Chicago. | | 28:48 | Arrival at Ritz Carlton; Sal seeks reunion with estranged son. | | 37:22 | Sal refuses to see his son — sharp moment of personal loss. | | 39:06 | Leo confronts Sal in hotel room, intending to kill Hera. | | 41:32 | Sal and Leo’s brutal fight and Leo’s death. | | 42:56 | End of Act 2 — Nancy Wilson sings “Bewitched.” |

---

Tone & Style

• Dialogue: True to genre — hard-boiled, darkly funny, laced with criminal jargon and period music.
• Performances: Ensemble work shines; tension is thick, humor is dry, violence is visceral.
• Sound Design: Frequent period jazz and torch songs (Peggy Lee, Dinah Shore, Etta James) underscore mood and time shifts.

---

Final Thoughts

Act 2 escalates all the major threats: physical, emotional, and existential. Both the criminal underworld and the corrupt so-called elite are exposed as brutal and self-serving, while Sal’s stoic morality puts him on a collision course with his own past. Hera is forced into deeper self-awareness and survival mode. The bleak, stylish world is rendered with sharp performances, chilling violence, and moments of surprisingly genuine warmth — all leading to an uncertain, dangerous finale.

---

For anyone who missed the episode, this summary provides both the full narrative arc and the nuanced interplay of power, violence, and fleeting human connection that define “My Lady’s Song.”

Transcript

[Narrator]

Act 2. Sal and the young porn star have become friends and Sal feels obliged to protect her from Vince, who now wants her dead because he knows Hera betrayed him. Vince is stuck between the code of the past and a morality he never had to face again. Interior, William Penn Hotel lobby, Philly. Early evening. Sal is at the check in desk with the third assistant manager as a young bellboy stands behind Sal with three pieces of luggage on a cart. The young bellboy keeps looking at Hera who sits in a lobby chair with her legs crossed. She deliberately enjoys exciting the young bellboy Sal notices as he fills out forms.

[Sal]

We'd like adjoining rooms and put it on the company card, sir.

[Anthony]

We have a suite available with a king size.

[Sal]

Did I ask for that?

[Narrator]

The clerk winks.

[Anthony]

Uncle Charlie said to give you the best, sir. I just thought you and your. Your niece would be more in a suite, if you know what I mean.

[Sal]

Listen, asshole, she's not my niece. She's not my cousin, she's not my hump for the night. She's my. She's. Look, I'm a driver.

[Anthony]

Yes sir. Rooms 105 and 107.

[Narrator]

The clerk hands the bellboy two room key cards while Sal waits for the credit card to go through. Harrow walks by the young bellboy on the way to the elevator. She takes her key and calls out to Sal.

[Hera]

Oh, driver, have this boy bring my luggage up. I'll tip him upstairs.

[Narrator]

The elevator closes and the bellboy moves toward the luggage cart. Sal stops him and places a couple of bucks in his jacket pocket. Sal grabs the key card and luggage cart.

[Sal]

Come back in about five years.

[Narrator]

Keely Smith sings I can't believe you're in love with me. Interior, Sal's hotel room. Evening. Sal comes out of his bathroom. He wears a T shirt and has a towel around his neck. He wipes his face. He looks at the adjoining door and knocks. No answer. He knocks again, then lowers the radio.

[Sal]

You want dinner? Everything's on Vince. The restaurant room serves anything you want. Just sign your name and your room number. Hara. You don't answer me, I gotta assume you're gone. And if you're gone, I gotta call Uncle Charlie. I know you don't want that.

[Narrator]

Sal tries the door and it's locked.

[Sal]

Harra. Hara, do you hear me?

[Hera]

I hear you.

[Narrator]

Sal sits in a chair.

[Sal]

We'll leave For Pittsburgh at 9am I'll meet you in the lobby. I hope a lot of shows. I mean, that's. Sweet dreams Flash.

[Narrator]

Lotta and Hera making love to the John in the back of Sal's limo. Sal turns up the radio and we hear Keely Smith singing. Interior, big white limo. Night. Uncle Charlie sits in the long white limo used for the night out. He sits back with a scotch and soda. Charlie looks across at the John from the other night. Senator Baxter.

[Uncle Charlie]

You want a blast, Senator?

[Senator Baxter]

No thanks.

[Uncle Charlie]

Come on, we can celebrate your latest starring role. Your copy, Senator.

[Narrator]

Uncle Charlie hands Baxter a VHS cassette.

[Senator Baxter]

What do you want, Charlie? Did I forget to say thanks? Well thanks for letting me fuck those sluts in your fancy car.

[Uncle Charlie]

What crawled up your ass?

[Senator Baxter]

I want this over.

[Uncle Charlie]

Watch what you wish for. You might just get it.

[Narrator]

Charlie laughs as the door to limo opens and Vince steps inside.

[Vince]

Wow. Good evening, Senator. I hope Uncle Charlie here has been good company in my absence.

[Senator Baxter]

He's a great conversationalist.

[Vince]

He tell you about my first hit? I was just a kid and Uncle Charlie here. Let's get to the point. Right to the point. I like that. All right, let's get to the point, Senator. I told you to never never to call me while we're in the. Who wrote. Right to the point. I like that. All right, let's get to the point, Senator. I told you never never to call me while we're mediating the negotiations between my union and the city. I gave you an order and you didn't listen. That's the point.

[Senator Baxter]

You're good at giving orders. Let's knock off the cops and wops bullshit.

[Vince]

What's the matter? Didn't you like the movie Uncle Charlie gave you?

[Senator Baxter]

I already got a copy from one of your sluts. That's right. In other words, she is trying to fuck us both. She says I don't pay. She's got a real surprise for me.

[Narrator]

Baxter throws the cassette at Vince.

[Vince]

Charlie.

[Uncle Charlie]

This must be why Lotta didn't leave with Sal and the other one.

[Vince]

I already have a ton of film on you and every other big shot in this city. I didn't have to make a new one.

[Senator Baxter]

I didn't think you knew. That's why I'm here. This is too cheap even for you. Chump change. It's the matter, Vince. Can't control your own people?

[Vince]

You just do your job at those negotiations. We'll take care of this.

[Senator Baxter]

No Vince. This time you're gonna listen to me.

[Vince]

Yeah? And why should I do that?

[Senator Baxter]

Because I'm the only one in a position to help you and your union. So you are going to do as I say this time. I want to know what this surprise is. I want every Copy. And I want those two sluts to be gone for good. That driver too.

[Vince]

The driver is my man.

[Uncle Charlie]

Sal did a 12 year stretch for us because he wouldn't talk.

[Senator Baxter]

All right. But I want the tapes and proof those girls being dead.

[Vince]

You got it. Now get out.

[Narrator]

As Baxter starts to exit the limo.

[Senator Baxter]

This kind of thing should be easy for you, Vince. It'll feel like the old days when all you needed was a little muscle and no brains.

[Narrator]

Baxter exits.

[Vince]

I want lotta found. Baxter wants proof she's dead. And I wanna give it to him myself. Punk.

[Narrator]

Interior, front seat of Lincoln Town car. Late morning. Sal drives through Amish country. Lena Horne sings Stormy Weather Para sits in the back as the beautiful countryside streams by her window. Silence. Sal pulls over at the Amish country eatery, promising a real Amish country breakfast. Exterior Amish Country Eatery, I76, late morning, off Route I76 near Somerset. There's a vegetable stand attached to the eatery. Amish people as well as nicely dressed tourists mingle. Sal gets out and his black suit, white shirt and black tie help him blend into this stoic environment. Sal opens the back door of the town car. Hara gets out looking more trashy than ever. Tight leather pants, stiletto heels and a see through top. She heads for the eatery as Sal looks to heaven, then closes the door. An elderly Amish couple exit the eatery and can't help but stare at Hera. Hera stares back. Sal tips his chauffeur's hat then throws it through the driver's side. Open window. Interior, Amish country eatery. Continuous. Sal and Hara sit in a wooden carved booth. An Amish waitress dressed in simple black and white comes over.

[Hera]

Would thee like our country morning meal for two?

[Sal]

I'll just have some of the Irish oatmeal, coffee and juice for thee.

[Hera]

What's this thee shit?

[Sal]

I'm sorry, she's from New York.

[Hera]

Uh, I want the thick sliced French toast sausage with juice and coffee. Honey, you got a phone here? Sorry, we don't believe in them. What are you, a wise ass?

[Sal]

Just get our breakfast and I'll explain it to her.

[Narrator]

The waitress is obviously flustered as she goes to the other waitresses at the register and they whisper among themselves as the order is placed.

[Hera]

What's the matter with these people?

[Sal]

They're Amish.

[Hera]

Foreigners.

[Sal]

Not exactly. It's their religion. They don't believe in modern things, computers and stuff. If it ain't in the Bible, they don't use it.

[Hera]

Really? No shit. I'll bet you a Grand. Their men have seen me before.

[Sal]

I doubt it. No movies. With or without sex?

[Hera]

No movies. Well, guess they ain't missing much.

[Sal]

Very self sufficient. Want nothing from the outside world.

[Hera]

How do you know about this stuff?

[Sal]

Limo drivers had a lot of time to read. We know a lot of things.

[Hera]

Yeah? Like what?

[Sal]

Like. Like I know that was no actor the other night. I also know Lotta made a copy of the tapes.

[Hera]

How the hell do you know that?

[Narrator]

Sal smiles. Hera knows she's just confirmed his suspicions. Coffee and juice comes. The waitress stares at Hara, who looks back.

[Hera]

You see something you want?

[Narrator]

The waitress starts to say something, thinks better, leaves.

[Hera]

Lotta didn't make no tape.

[Sal]

Fine. It's your funeral.

[Hera]

You gonna let me call Lotta from a payphone? Why a payphone?

[Sal]

So it can't be traced to the car. Not from the hotel either. You go to the bathroom next time we stop and I can't tell what you're doing.

[Hera]

Thanks.

[Sal]

Are you gonna tell me what's going on?

[Hera]

Why should I? You already showed me which bed you'd rather lie in.

[Narrator]

Another waitress arrives with Hera's big breakfast and a large bowl of Irish oatmeal and syrup for Sal. She also stares at Hera. Boo. The new waitress runs away. They eat their breakfast.

[Sal]

It's not gonna be that easy to scare Vince away.

[Hera]

I can take care of myself.

[Sal]

What do you know about Vince?

[Hera]

I know he was a sleazy hood and now he's a sleazy porno producer.

[Sal]

Years ago, Vince was instrumental in setting up a citywide union in New York. That's his real power base. The union labor leader that Vince put into his office got too big for his own good. Vince had him chopped up into 24 parts and he had his parts kept fresh by storing them in a meat locker. Every month for two years, when the union had their monthly meeting, Vince mailed them a different piece of this guy's body just so they shouldn't forget.

[Hera]

You should stay here with these people. You've been watching too much tv.

[Narrator]

Hera goes back to eating her breakfast.

[Sal]

The last piece Vince had shipped was his heart. There was a bite out of it.

[Narrator]

Hera swallows hard.

[Hera]

That way you learn how to use that razor. Cutting up dead people?

[Sal]

No, a chainsaw.

[Narrator]

Hera drops her fork, realizing the seriousness of her situation. Exterior I 76. Entering Pittsburgh. Early evening. Teresa Brewer sings After you're Gone With Count Basie conducting, we see what's left of the old steel mills. Old Pittsburgh. We travel around the new city now geared for Insurance and services. We see the Lincoln town Car enter the airport northwest of the city. Interior, front seat of Lincoln town car. Continuous. Sal is parked outside of American Airlines. He's alone. Hara rushes up and jumps into the car.

[Hera]

She's not on the flight.

[Sal]

Then I'd say you're in deep shift.

[Hera]

Sal, help me, please.

[Sal]

Look, kid, you don't cross a guy like Vince. I couldn't do much even if I wanted to, Sal.

[Hera]

Maybe I could just keep going. I can get on a plane right now and go to Europe or something without a passport.

[Sal]

Call Lotta again at her New York number.

[Narrator]

Hera grabs the car phone.

[Sal]

Not this phone and not your cell phone. Vince will have Lotta's phone tap, so be careful. Only cash at payphones. And no using your own credit cards either, for anything.

[Narrator]

Sal pulls out his cell phone.

[Hera]

He can't check into my credit cards.

[Sal]

Don't bet your life on that.

[Hera]

Who you calling?

[Sal]

My mother. I'm buying you one more day, Sal.

[Hera]

Thanks. I mean it.

[Sal]

Don't thank me. No skin off my nose. Probably won't do any good.

[Narrator]

Hara exits the car.

[Sal]

Hello, Ma? Yeah, it's me. No, that's right. I'm on the car phone. Ma, I have to talk to Tony. Put me on hold and you could.

[Narrator]

Interior, Sal's kitchen, Bensonhurst, Brooklyn. Continuous. Carmela is on the phone with Sal. Donna is at the table having a cup of coffee. I don't have to put nothing on hold. Your nephew is right here. Yeah, I'll put him on. Anthony, it's your uncle Sal. Anthony comes to the phone, a pipe wrench in his hand.

[Anthony]

Hey, uncle Sal, what's up? I'm fixing grandma's garbage disposal.

[Narrator]

Interior, front seat of Lincoln Town car. Continuous.

[Sal]

I want you to get to Queens and call me. Not on the car phone, from a payphone. I'll explain when you call.

[Narrator]

Interior, Sal's kitchen, Bensonhurst, Brooklyn. Continuous.

[Hera]

What's up with your uncle?

[Anthony]

Nothing, Ma. He just wants me to rewire the stereo speakers in his room.

[Hera]

He's so cheap, my brother.

[Narrator]

Hey, he knows what you should learn about a dollar. Interior, front seat, Lincoln Town car. Continuous. Sal turns up the volume and Ella Fitzgerald sings, I'm just a lucky so and so.

[Hera]

Thanks.

[Sal]

Look, kid, I didn't do anything but get you one more day. Don't count on me. I'm not putting my head on the block for anyone.

[Hera]

Yeah, sure, I understand.

[Sal]

One question. Why aren't these big shots worried about you having something over them?

[Hera]

Did Al Capone rob banks? I don't Know Capone didn't rob banks because he would have been robbing his own money. Why kill the golden goose? You have any idea what they pay Vince to be with a porn star? Next time you look at a corporation's annual report, notice the limo service account. Believe me, that's not for driving people to the airport or catering. Check any senator's catering account on my tax dollars. Got it. Word gets out of a double cross and it all ends.

[Sal]

These bums are bigger crooks than I.

[Hera]

Last year when we almost had that garbage strike, the two sides were so far apart, Vince arranged a little party with the city controller and the union negotiators. Me and Lotta were there and a couple other girls. By the time the night was over, everyone was on the same page. The city should give me a medal.

[Sal]

Well, on behalf of the city of New York, I thank you.

[Hera]

I'm a fucking patriot.

[Narrator]

Interior, hotel room in Irwin Pennsight. Hera is alone, looking out the window at the small suburban town. Hera thinks about what her life might have been. We hear Ella Fitzgerald singing when Sal enters with a brown paper bag. Hera turns off the radio.

[Hera]

Where you been all night?

[Sal]

Drugstore. Look, I'm mailing these blank tapes back to my nephew. He's gonna remove them very carefully and replace them with copies from the limo.

[Hera]

Where are you gonna get the copies?

[Sal]

I did what you should have done. I covered my ass. Who was that John, anyway?

[Hera]

Senator Baxter.

[Sal]

Shit. Lotta left you out to dry.

[Hera]

We can use your copy. Tell Vince if anything happens to me, those tapes will get out.

[Sal]

Are you kidding? Vince won't stand for that. He'd kill you for laughs. Besides, these tapes don't hurt him directly.

[Hera]

Why don't your nephew just drop him off, then? It'll be faster.

[Sal]

I don't want it to be faster. I also want them to see the postmark. I'll wrap this. So easy to open one end. Jesus, I see the words there, but they're not there. Okay, here we go. I don't want it to be faster. I also want to see the postmark. I'll wrap this so it's easy to open from one end. I even made it look like Lotta called you. But first things first.

[Narrator]

Sal picks up the phone.

[Sal]

I'm asking you for the last time. Do you have a copy of the limo tapes?

[Hera]

I don't.

[Sal]

Don't lie to me.

[Hera]

I mean it, Sal. I don't.

[Narrator]

Sal starts to dial. It's just that I. Sal hangs up.

[Sal]

Arrah, if I call Charlie and Find out something. I don't know. If you hold anything back, anything that puts me in a wrong. I'm gonna kill you myself and throw your body across Vince's desk.

[Hera]

It's more than just a tape of us. Lotta's a whiz at this computer, editing digital shit. She had it in college.

[Sal]

College?

[Hera]

Don't look surprised. Half the girls in porn started in college gotta pay off those college loans. Nothing for nothing. Me, I can't even stop the time from flashing on the vcr. You know what I mean?

[Sal]

Go on.

[Hera]

Lotta had a lot of footage of Baxter, you know, from tv. She even got some of her own stuff. Baxter talking to these young exec types. Well, some of those young guys were in the porn biz. Baxter didn't even know he was filmed. I mean, how could he with all the real cameras around? We film us fucking the porn guys. And we edit Baxter into the film with us fucking him. Get it? Looks like Baxter is starring in a porno flick.

[Sal]

You're kidding me.

[Hera]

No. She even has a title. How to Get Elected. Kind of catchy, right? I'm sure she hasn't had time to finish editing it, but that's the plan.

[Sal]

Jesus Christ. Why would she do that? Wasn't the limo enough?

[Hera]

Now who's being naive? He's a single guy. In politics, sex with young girls would probably work for him. But a porn movie, that's.

[Sal]

Well, that's as low as you can go.

[Hera]

Yeah? Yeah. That's the way you feel. Then why bother? I'll just walk out of your life and take my chances. I wouldn't want you to get dirty.

[Narrator]

Hera goes to walk out as soon as Sal starts dialing.

[Sal]

Sit down.

[Hera]

Why should I?

[Sal]

If you want to stay alive, just sit down and shut your mouth. Keep it shut no matter what you hear me say to Charlie. You got that? You understand?

[Hera]

I understand.

[Sal]

Charlie, it's me. The other broad never showed. Look, Charlie, there's more going on here than Vince may know. They made copies.

[Uncle Charlie]

Tell me something we don't know.

[Sal]

What you don't know is that.

[Narrator]

Interior, La Salle Limo Service Garage, Continuous. Uncle Charlie's on the speakerphone.

[Uncle Charlie]

A film.

[Sal]

The broad I'm driving, Harry. She told me she got scared shit when Lotta didn't show. The whole thing was Lotta's idea. This one's the bad seat.

[Uncle Charlie]

I didn't believe her.

[Narrator]

Interior, hotel room in Irwin, Pennsylvania. Continuous.

[Sal]

I don't know. I mean, she gave me her copy of the tapes from the limo. I'm gonna send them back to you. Overnight mail. I think she's too dumb to lie.

[Narrator]

Hera gives Sal a dirty look. Interior lasalle Limo Service OFFICE CONTINUOUS oh hey.

[Uncle Charlie]

How smart they gotta be to do what they do.

[Sal]

Yeah, right. You got a lead on Lotta?

[Uncle Charlie]

We're on it. Look, after you mail the tape, you go on to Chicago. The Ritz Carlton on Pearson. You stay there until you hear from me. I want those tapes in Vince's hands.

[Sal]

You got it.

[Narrator]

Charlie hangs up, then looks over to his desk where Vince is sitting. Vince goes to the window showing a view of the huge garage at night. The long dark garage with shafts of city light coming through the high small windows above gives the impression of a gothic horror chamber.

[Uncle Charlie]

You heard?

[Vince]

I heard. I think Sal's got the other end taken care of. Right now I want to entertain our friend, the Senator.

[Narrator]

Vince grabs an old fashioned microphone off of Uncle Charlie's desk. He speaks into the microphone, his voice echoing through the garage.

[Vince]

We'll be right with you, Senator.

[Narrator]

Camera pans the window to reveal Lada hanging by her bound hands from a lift over a grease pit used to work on the underbellies of the limos. Her feet barely touch the edge as she leans out on a 45 degree angle over the pit. Leo's mean looking dog chained to a steel ring at the other end of the pit is jumping towards her. The Senator is seated a few feet away, Leo standing over him. INTERIOR HOTEL room in Erwin, pa. Night. Sal stares at the phone.

[Hera]

Well, say something.

[Sal]

You got a couple of days, but your friend's gonna be real dead real soon.

[Narrator]

Flash in Sal's limo. Lotta goes down on Baxter as Hera kisses him. INTERIOR lasalle Limo Service GARAGE LATE night Vince and Uncle Charlie come out of the office and walk towards Senator Baxter as Lotta begs for her life.

[Lotta]

Please Vince, please. I'll do anything. I'll do anything you want.

[Narrator]

Vince stops by Lotta and takes an air hose from the rack.

[Vince]

LOTTA don't bother to say anything, please. How's our Senator doing?

[Leo]

Just fine.

[Vince]

You like my place? Top of the line. Strictly legal.

[Senator Baxter]

All right, Vince, let's cut the Edgar Allen Poe. I see you got her. Now send her away with Leo here and let me get back to what we were gonna.

[Narrator]

Baxter tries to stand. Leo pulls him down.

[Uncle Charlie]

Get out.

[Narrator]

What the hell are you?

[Vince]

You wanted proof, Senator. Now she's gonna be dead.

[Lotta]

Please, Vince.

[Uncle Charlie]

Please.

[Narrator]

Vince smacks Lana's face with the arrows.

[Vince]

You shut your mouth. You dare to cross me, you worthless piece of shit.

[Lotta]

I was gonna Cut you in. I was gonna give you the tapes.

[Vince]

Oh you were, huh? You were gonna give me a copy of the movie you was gonna edit, huh? Huh? Bitch.

[Narrator]

Then smacks her again. Lotta screams, the dog barks and the senator sweats as Uncle Charlie laughs.

[Uncle Charlie]

That was a big surprise. An X rated movie starring you.

[Senator Baxter]

Vince, do you have to?

[Uncle Charlie]

What's the matter, Senator? Well, you don't want to get your hands dirty. Vince, the Senator wants you to stop.

[Vince]

Stop? Well, that's up to Lotta here. Lotta, I want you to know that you are going to die.

[Lotta]

No. No.

[Vince]

You cross.

[Uncle Charlie]

Please.

[Vince]

I have no choice now. You die easy or you die hard. Up to you. Did you give a copy of the tapes to Harrah? Yes or no?

[Lotta]

No. No, Vince. Only the one I sent back, sir. I didn't make any more copies. I didn't have any time to do the editing I wanted, I swear.

[Vince]

No, Charlie.

[Narrator]

Vince goes to a workbench and gets a matte knife used for cutting engine hoses. Charlie directs his comments to Lotta and the stage.

[Uncle Charlie]

Senator Sal got the copies from Hara. He's mailing them back to her.

[Lotta]

That is not true. I didn't.

[Narrator]

Vince moves behind Lotta. He pulls down her pants, exposing her stomach.

[Vince]

Senator, you know how long a person's intestines are?

[Hera]

Huh?

[Lotta]

What are you doing?

[Uncle Charlie]

He asked you a question.

[Senator Baxter]

I don't know, 20, 25ft, something like that.

[Vince]

Hey, that's about right. About as long as this air hose. You're a very smart guy. Isn't he a smart guy?

[Uncle Charlie]

Oh, he's very smart.

[Lotta]

What are you gonna do? Vince?

[Vince]

Vince Mr. Smart Guy. You wanna give one of my whores her last thrill?

[Lotta]

Anything you want. Anything.

[Narrator]

Charlie hits the Senator.

[Uncle Charlie]

Answer him.

[Senator Baxter]

No, Vince, no.

[Vince]

As you wish.

[Narrator]

Vince reaches around her and makes a horizontal cut across Lotta's lower stomach. He then reaches into her stomach and swinging slowly pulls out her intestines. Lada stops screaming and hangs there in shock, looking at her intestines slowly falling out into the pit. The dog chained at the other end of the pit goes wild. Vince tosses the knife, then walks to the Senator. Lada's blood on his hands.

[Senator Baxter]

Vince, how could you?

[Vince]

What's the matter, Mr. Smart Guy? You wanted her dead. You gave me orders. It'll take hours this way. I thought it would give you a kick like your other hobby. Fucking porno stone.

[Hera]

Oh my God. Help me, please.

[Senator Baxter]

Vince, stop this.

[Narrator]

Charlie smiles.

[Uncle Charlie]

I think he's gonna throw up.

[Vince]

All right, Senator, I'll end it quicker. Just for you, Leo.

[Narrator]

Leo goes to the end of the grease pit where the dog is and unfastens the chain holding back the dog. The dog runs to the intestines and starts eating them.

[Lotta]

No.

[Narrator]

Vince stands face to face with the senator during the following dialogue. Lotta is in the background screaming at the top of her lungs. As we hear the sound of the chewing.

[Lotta]

Oh, my God.

[Vince]

You ever talk to me again like that. You ever talk to me again like you did the other night. And what I do to you will make this look like a Sunday picnic. Now you are going to mediate the union contract talks the way I say. Isn't that right, Senator?

[Lotta]

There was no tape. My God.

[Uncle Charlie]

Answer.

[Leo]

Yes.

[Narrator]

Yes. Lotta's screaming stops.

[Vince]

If you don't, I'll skin you alive. Right, Uncle Charlie?

[Uncle Charlie]

Yes, he will. And then he'll have me get shoes made out of your skin.

[Vince]

So with each step I take, I'll be crushing you like the nothing you are. Charlie. Let the smart man enjoy the rest of the show. Then you drive him home while Leo cleans up.

[Uncle Charlie]

You got it.

[Narrator]

Vince grabs the senator's face with the bloody hand.

[Vince]

I almost hope you fuck up again.

[Narrator]

We hear Dinah Shore singing Sentimental Journey as Vince slowly walks away. We see Senator Baxter's face with Lada's blood on it. We see Lotta suspended from the lift and the dog jumping up, trying to reach the rest of her intestines. Hanging. Exterior Post office, Irwin, Pennsylvania. Early morning. Dinah Shore sings as Hera drops a letter into a mailbox outside the post office. She runs back to the car, leans against it and lights a cigarette. She looks across the street to see a Greyhound bus pull up to a station. Sal comes out of the post office, gets in the car and shuts the radio. Just as Dinah finishes her song, Hera gets in.

[Sal]

They'll have it by tomorrow morning at 10. Noon the latest.

[Hera]

Then what?

[Sal]

They buy it. You'll be okay if they don't. I can't do anymore.

[Hera]

I wonder where that bus is going. What if I got on and didn't get off till it stopped?

[Sal]

Before you do, you better cut your hair, dye it and change those clothes.

[Hera]

You really gotta hang up about my appearance, don't you?

[Sal]

You'll need new papers too.

[Hera]

I know. I know. Where to now?

[Sal]

We go to Chicago, just like they want. They won't do anything until they have those tapes. Then they'll give me the word what to do next.

[Hera]

What if they want me dead?

[Sal]

Vince won't ask me to do that. He'll send somebody Then? Then you sneak out of your room. I wake up, you're gone, I don't know where. Ask the night clerk to call you a cab to the airport to cover my ass. You take another cab from the airport to Greyhound to cover your ass. Either way, I'm out of after this.

[Hera]

If Vince buys what you said, that I know nothing.

[Sal]

Then I take you to LA so you can be a big star in your chosen profession.

[Hera]

It's a job.

[Sal]

Some job.

[Hera]

Look, it's what I do.

[Sal]

It's what you do. It's your life.

[Narrator]

Flash Hera looking straight at camera while astride the Senator. She throws a seductive kiss to camera. Exterior, I 76 to I 80, 90 pit to Chicago. Day to night. Peggy Lee sings the lady is a Tramp over the following silent scene. Hera sitting in the front alongside Sal and considering the situation. They have an animated conversation. We see Hera laughing. Indiana goes by in the background. Sal points out things to Hera. Twilight, then darkness as we enter the Windy City. The Ritz Carlton on Pearson. As they enter Chicago, we hear in voiceover.

[Sal]

Did you really think you could blackmail Vince?

[Hera]

Latta wasn't going to blackmail Vince. She was going to set Vince up and get a nice reward from the Senator.

[Sal]

You're kidding.

[Hera]

She was going to tell the senator that the movie was bad, Vince's idea that Vince was gonna blackmail him, and then she was gonna give him the tape of the porn flick. The Senator gets rid of Vince and she gets a reward.

[Sal]

Two big problems with that. One, Vince always plays by the rules. Everyone knows that.

[Hera]

A real man of honor in his world.

[Sal]

Yes. And two, Vince is not the Senator's boy. The Senator is Vince's boy. Whenever there's a problem, the Senator comes to him, not the other way around.

[Hera]

Now you tell me.

[Narrator]

Peggy Lee continues singing the lady is a Tramp. Interior hallway Room Ritz Carlton Hotel Night. The bellboy puts the bags down in front of a hotel room door. He's about to open it when Sal stops him with a tip. Peggy Lee stops singing.

[Sal]

Thanks. I'll take her from here.

[Vince]

Thank you, sir.

[Narrator]

He smiles broadly.

[Leo]

Pleasure to meet you, Ms. Reams.

[Hera]

Yeah, the same.

[Narrator]

The bellboy exits.

[Sal]

You take my room, I'll take yours.

[Lotta]

Why?

[Hera]

I don't want you.

[Sal]

Just do as I say. I'll get your bags.

[Narrator]

Sal and Hera enter the hotel room. Sal puts down the bags and sits by the desk as Hera lays down on the bed.

[Sal]

Now, tomorrow morning I have to go someplace alone. You just stay here. Why can't I go with you, it's a personal thing.

[Hera]

You're setting me up, aren't you?

[Sal]

It's not that at all.

[Hera]

This is where they told you to leave me.

[Sal]

How could you say that after I put my ass on the line for you?

[Hera]

All right, you insult me, I insult you. Now tell me what's going on.

[Sal]

I have a son.

[Uncle Charlie]

What?

[Sal]

I have a son who lives just outside the city here. I'd like to see him. Just be for a couple hours. You'll be safe.

[Hera]

Safe? They know I'm here.

[Sal]

How about I bring you to a nice restaurant in the morning?

[Hera]

How about you bring me with you?

[Sal]

That wouldn't be a good idea.

[Hera]

Oh, I guess it wouldn't look good, huh? Your son seeing you with someone like me.

[Sal]

That ain't it.

[Hera]

Fine. I owe you one. So just dump me off somewhere. Anywhere.

[Sal]

You got it wrong.

[Hera]

Don't bother, kid.

[Sal]

Listen, it's not you, it's me. When they set me up, my wife left me. Not that I blame her. I haven't seen my son since he was 12 years old. He's older than you now. I tried to write him while I was in prison. He never answered. I wrote him when I got out, but nothing ever came back. He's married now and I'd like to give it one last shot. I'd like to know what it's like to talk with my son again.

[Hera]

On the level. You ain't bullshitting.

[Sal]

I wouldn't know how to do that.

[Hera]

Just drop me wherever you want,

[Sal]

okay? How about you come, you wait in the car.

[Hera]

Whatever you say.

[Sal]

I'll knock on the door at 9.

[Narrator]

Sal rises to leave and Hera leans into his arms.

[Hera]

Thanks, Sal. Thanks for everything.

[Narrator]

Sal hugs her back, then lets go and exits. Hera turns on the radio and we hear strip club. Disco. Interior, private. I Club late morning. Uncle Charlie and Leo sit at the bar as a young girl is in the middle of her audition as a stripper. Anthony, carrying the mailed tapes, walks in. He has a hard time taking his eyes off the young girl.

[Uncle Charlie]

Well. Anthony, what are you doing here?

[Anthony]

Hi, Uncle Charlie. Uncle Sal sent these to me. I'm supposed to hand them to Vince.

[Leo]

Mr. DeLora, why did he send them to you?

[Anthony]

I don't know.

[Narrator]

Vince walks in behind Anthony.

[Vince]

Because he's smart.

[Anthony]

Hi, Mr. DeLora. My uncle Sal says to give these to you.

[Narrator]

Vince looks at the postmark and slides it to Charlie as Anthony keeps looking at the stripper.

[Vince]

It's from Pittsburgh. You know what's in this package?

[Anthony]

To quote my uncle Sal, I don't know and I don't want to know.

[Narrator]

Vince and Charlie laugh. Vince puts an arm around Anthony.

[Uncle Charlie]

That's the right answer, kid.

[Vince]

How would you like to know her?

[Anthony]

How would I like to her? I'd love to, but Uncle Sal would kill me.

[Narrator]

Vince peels off a bill and puts it in Anthony's pocket.

[Vince]

When you graduate college, you come see me. I got a great graduation gift for you.

[Narrator]

Vince nods towards the girl.

[Vince]

Huh?

[Anthony]

Thanks, Mr. DeLora. You'll be seeing me. Yes, sir.

[Narrator]

He leaves.

[Uncle Charlie]

Good kid. So what about the girl?

[Vince]

Send Leo.

[Uncle Charlie]

Sal thinks she's clean.

[Vince]

I want to send another message to our smart senator.

[Leo]

What if Sal tries to stop me?

[Uncle Charlie]

He won't.

[Leo]

But what if he does?

[Vince]

Sal would never be that stupid.

[Leo]

He treats these like they was his own. What if he tries?

[Vince]

If Sal tries, he will.

[Leo]

Yeah, I wouldn't bet on that.

[Vince]

A little respect would do you some good. Trust me on this.

[Uncle Charlie]

And Sal's not one of these stumble bumps. Who knocked out? I mean, he knows more ways to put your way than anyone I ever met. And I should know because I taught him that.

[Vince]

So look, if Sal tries to stop you, you have my permission to try and kill him.

[Uncle Charlie]

Yeah, you try. You want to bring an extra set of boxing gloves?

[Leo]

You think too much of this bum.

[Vince]

But only if. If he tries to protect the girl. Which he won't.

[Narrator]

Interior hallway, Ritz Carlton Hotel, Chicago, 9am Sal knocks on Harrah's door. The door opens and Hara stands there. Her hair is dyed back to its natural color. She wears a very conservative navy blue pantsuit with a basic white blouse. For the first time, she wears no makeup. She's the daughter anyone would be proud of. The child Sal never got to know.

[Sal]

You look. You look very nice.

[Hera]

Suits from the hotel boutique.

[Sal]

You look special.

[Hera]

Don't get any ideas. I just did this in case I have to run for my life. This has nothing to do with seeing your kid or anything like that.

[Narrator]

Hera exits and Sal smiles and follows her. Etta James sings A Sunday Kind of Love Exterior, black Lincoln Town Car. Late morning traveling. Etta sings as Sal drives the Town Car along the Great Lake towards Glencoe, Illinois. As we get to the instrumental portion of the song, we hear the following voiceover.

[Hera]

Sal, what'd you go to prison for?

[Sal]

Running hot diamonds.

[Hera]

Diamonds? Really?

[Sal]

I'd pick up a truckload of fish packed in ice and bring them to St. Louis. We'd let the ice melt and there were the diamonds.

[Hera]

That's funny. Hot ice on ice.

[Sal]

They Must have wondered why we were still using ice inside a refrigerator truck. They got me on the fence. You know him? Sid Holtz. Vince set him up.

[Hera]

In your business, that old pervert was a big time fence.

[Narrator]

Interior, front seat of Lincoln Town Car, continuous. Harrah sits in the back, but the window between them is open. They talk like father and daughter out for a Sunday drive.

[Sal]

One of the best.

[Hera]

Oh, I know him. All Vince's girls know him. Most of us started there. Runs that big club in St. Lou.

[Sal]

Vince owns it.

[Hera]

Sick old dude.

[Sal]

Yeah, well, we took a 12 rap because he wouldn't turn over who he was working for.

[Hera]

12 years, served eight still. That why they owe you? Cause you stood up?

[Sal]

Not much choice really. I rat and I'm dead. I had too much family to accept any witness protection shit.

[Hera]

You could be a fucking orphan and you'd have stood up. Don't bullshit me, kid.

[Sal]

Do me a favor. Don't curse.

[Hera]

What? Why?

[Sal]

You look far too pretty to have that kind of talk coming out of your mouth.

[Narrator]

Harrah's taken aback by the honest compliment. Exterior, black Lincoln Town Car. Late night. Etta sings as we see the Town Car drive through a very nice suburb north of Chicago. The car parks along a beautiful street. Park Avenue, Glencoe, Illinois. We hear the following conversation in voiceover.

[Sal]

This it cross the street.

[Hera]

He must do pretty good.

[Sal]

Your son some kind of finance or accountant?

[Narrator]

Interior, backseat Lincoln Town Car, continuous from the back seat.

[Hera]

Kids?

[Sal]

Two, I think. Yeah, two. Grandpa, I got a question. Why did you and Lotta ask me to drive?

[Hera]

You always treated us right. Never asked us those stupid sex questions.

[Sal]

I'm supposed to ask sex questions?

[Hera]

No, not how to, but like do I enjoy it when we shoot? What's my favorite position? When did I start? You know, that kind of stuff.

[Sal]

Hey, that's your business, not mine.

[Hera]

Well, that's what we figured about you. We figured we were safe with you.

[Narrator]

Hera notices something through the window.

[Hera]

Oh, here comes somebody.

[Narrator]

The black minivan turns into the driveway. A couple in their late 20s exit the front seat. A young boy of about 66 jumps out of the back seat. The mother takes a two year old out of a child seat in the back. The mother and two children head for the front door and immediately enter the house as the father removes some packages.

[Sal]

Must have went to church.

[Lotta]

Church?

[Hera]

You gotta be shitting me. Hey, sorry.

[Sal]

Right out of Norman Rockwell.

[Hera]

Who?

[Sal]

Never mind.

[Hera]

Well, do it.

[Narrator]

Sal just sits there watching his son and his family go into their nice and upper middle class home.

[Hera]

Ain't you going to go talk to your son? What the hell we come all this

[Sal]

way for to see where I don't belong?

[Hera]

That's crazy. I mean. Oh yeah, I get you, Styles. Anything I can do?

[Sal]

Yeah. When I get up tomorrow, you'll be long gone. Understand?

[Hera]

Understood. Sal, you want me to drive?

[Sal]

No, I'm the driver.

[Narrator]

Lone pause before Sal starts the music. Etta James continues singing. The window goes up, the car pulls away and we see Sal's son looking out the front bay window. A little boy comes up to him. Exterior, black Lincoln Town Car. Late afternoon. Etta James sings A Sunday Kind of Love. The Town Car drives along the lake like before, only in the other direction. Late afternoon turns to twilight and then finally the big city lights of Chicago at night fill the background. Interior, Sal's hotel room. Chicago evening. We hear Sal open his hotel room door. He enters and throws his jacket on the bed, goes to the dresser and throws down his keys, places his wallet, chains. Sorry. Chains. Sorry.

[Sal]

That's another story.

[Narrator]

No, I'm sorry. He enters. He enters and throws his jacket on the bed, goes to the dresser and throws down his keys, places his wallet, change, smokes, handkerchief and combs on the dresser. He stares into the mirror as the song ends. It looks like he's about to put punch the mirror when Leo's face comes up behind him. Sal turns.

[Sal]

Jesus Christ.

[Leo]

Relax, old man. Don't have a heart attack. They told me this was Harrah's rule. Now why would they do that?

[Sal]

Now don't tax that pea brain of yours. They just got the rooms mixed up. She's across the hall.

[Leo]

I helped myself to a drink. I really don't give a shit, if you mind.

[Sal]

What are you doing here?

[Narrator]

Sal pours himself a scotch and hangs onto the bottle.

[Leo]

What am I doing here? I came to Chicago for the win. What am I doing here? I came to do the girl. I mean, since you don't have the stomach for that kind of stuff anymore. They're waiting on my call.

[Sal]

Yeah, I told Vince she had nothing to do with this.

[Leo]

I don't know. From what you said. I only know what Vince said.

[Sal]

It was the other one. Lotta.

[Leo]

I don't care.

[Sal]

Hara's a good kid. She's a slut and you're an asshole.

[Leo]

Look, I don't care if she was a fucking nun. She gets sent back to Vince in a hatbox. You try to stop me, Vince says I send you back the same way.

[Sal]

Vince would never say that.

[Leo]

The great Sal Dababa. Wise up. You're useless to him now.

[Sal]

Don't fuck with me, little man. I'm not in the mood right now. Ah.

[Leo]

What's the matter? She stopped giving you head? You're pissing me off, Leo, and I'm really fucking scared.

[Sal]

You should be.

[Leo]

How does that sweet thing taste, huh?

[Vince]

Hmm.

[Leo]

Maybe I'll just. Maybe I'll try a little before I carve her up.

[Sal]

Don't even.

[Leo]

Why? You gonna try and stop me?

[Sal]

Maybe I'll do just that.

[Narrator]

Sal takes the scotch bottle and smacks Leo across the face. His razor comes out of his sleeve and he swipes at Leo's face, but Leo blocks the razor with his arm and we see his jacket rip. Leo grabs Sal's arm with one hand and punches him with the other, sending Sal over the couch and sending the razor flying. Leo, with his bloodied face, looks at Sal.

[Sal]

Oh, I'm gonna enjoy this.

[Narrator]

Leo rushes towards Sal, who takes a swing and Leo blocks it like the professional fighter he once was and gives two hard ones to Sal's stomach. Sal buckles over Leo straightens him up and gives him one more to the face, knocking Sal onto the bed. Leo stands over Sal and takes out his pistol, putting it in Sal's face.

[Sal]

What are you waiting for?

[Leo]

This is way too easy.

[Narrator]

Leo tosses the pistol on the couch and pulls Sal up by the collar and hits him in the face, hits him again.

[Sal]

I'm gonna beat you good before I

[Leo]

put a round through that big fucking mouth of yours.

[Sal]

Fuck you.

[Narrator]

Leo pulls Sal again. This time, Sal comes up with the phone that was on the nightstand next to the bed and slams Leo's face. Sal hits Leo again before Leo wrestles the phone away. Sal falls back and grabs the pen that was next to the phone. Leo, in rage, picks up Sal in a bear hug, crushing Sal near to death. The two bloody faces are now face to face. Sal reaches around Leo's head with his left arm, holding Leo's head still. Sal takes the pen in his right hand and rams it into Leo's left ear. Leo drops Sal and staggers like a drunk, his equilibrium gone. Leo's eyes are wide open, but he can't see.

[Leo]

I can't see.

[Sal]

I can't see. I'm right here, you blind fuck.

[Narrator]

Leo, in complete rage, runs at Sal, who steps aside and Leo crashes into the window. Sal lifts Leo's feet and helps him out the rest of the way. We hear Leo scream all the way down to his death in the alley below. EXTERIOR ALLEY OUTSIDE CHICAGO HOTEL CONTINUOUS light over the back door leading to the kitchen allows us to see Leo's body on the dumpster below. Blood pours from Leo's ear. Nancy Wilson sings Bewitched, end of Act 2.

[Hera]

Right.

[Sal]

Got warm.