MY LADY'S SONG - Act 3

Summary

Table Read Podcast

Episode: MY LADY'S SONG – Act 3

Date: April 7, 2026

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Episode Overview

The third and final act of My Lady’s Song is a gripping, cinematic audio experience that thrusts listeners straight into the heart of a mob drama’s bloody, emotional denouement. Performed by a stellar Hollywood cast, the script’s tension explodes as Sal—a mobster torn by conflicting loyalties—makes fatal choices to protect Hera (aka Lillian Scott), defy his old friend Vince, and face the cost of betraying "family." Themes of loyalty, redemption, trauma, and the longing for an ordinary life run through this high-stakes episode, which delivers both raw violence and poignant human moments, all set to an evocative jazz and blues soundtrack.

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Key Discussion Points & Story Beats

1. Aftermath of Betrayal: Sal and Hera on the Run

• The episode opens with Sal battered, desperate, and seeking safety for Hera (“We gotta get outta here.” – Sal, [01:27]).
• Their dialogue is tense, laced with exhaustion and the ever-present threat of Vince’s retribution.
• Notable Quote:
  “If I could raise my hand right now, I'd slap your face.” — Sal, chastising Hera’s survival plan ([04:14]).

2. Through the Underworld: Sin City and Sid

• Sal seeks new identity papers for Hera from the sleazy but resourceful Sid at Sin City.
• The club’s decadent and depraved atmosphere highlights the cost of life on the run.
• Sid, an old associate, is reluctant but does Sal a favor—with strings attached.
• Notable Quotes:
  “Don't play Sir Lancelot. It doesn't fit a next con like you.” — Sid, warning Sal ([18:43]).
  “Sid enjoys life and death.” — Narrator, regarding Sid’s self-serving morality ([17:40]).

3. Family Ties and Old Wounds

• Hera visits her mother in a psychiatric hospital; their interaction is fraught with denial, buried trauma, and bitterness.
• A revelation of abuse by Hera’s stepfather emerges, establishing Hera’s scarred past.
• Notable Quote:
  “You can't count on me no more. You understand, Mama?” — Hera/Lillian confronting her mother ([12:59]).
  “I'm Lillian. I'm your only.” – Hera, amid her mother’s confusion about her children ([14:17]).

4. Betrayal and Revenge: The Circle Closes

• Uncle Charlie, Vince’s lieutenant, attempts to ambush Sal. In a tense shootout, Sal kills Charlie—escalating the stakes.
• In retaliation, Vince murders Sal’s mother in a chilling, calculated act—punctuated by an eerily calm conversation.
• Notable Quotes:
  “You talk about rules, you go against family, we kill. You killed family? We killed family.” — Vince, stating the mob’s brutal code ([25:53]).
  “Vince, don't.” — Sal, as Vince murders his mother ([26:03]).
  “Now he's gonna make you come to him.” — Uncle Charlie, warning Sal about Vince’s next move ([21:41]).

5. Breaking Point: Sal and Hera’s Emotional Collision

• On the road, Sal’s paranoia and anger erupt at Hera for inadvertently exposing themselves.
• He throws her out of the car but returns to comfort her, showing his conflicted devotion.
• Their tenderness surfaces in a West Virginia diner, imagining a normal life.
• Notable Quotes:
  “I'd give anything to have had a life like that.” — Sal (reflecting on a lost ‘normal’ future, [33:46]).
  “That's how he looked at me. Like he… just thought you were a good looking girl. The kind of girl… he'd want to marry and raise a family with.” — Sal, to Hera ([32:59–33:32]).

6. Final Confrontations: Sal Faces Vince

• Sal arranges for Hera to have a "normal" life, leaving her with instructions not to wait for him.
• He returns to Brooklyn: a montage shows him suiting up for the final showdown.
• At the limo garage, Sal and Vince’s personal, bloody duel plays out amidst threats, gunfire, and bitter recriminations.
• Vince releases a savage dog; both men are wounded, but in a last-moment twist, Sal uses his hidden razor to kill Vince.
• Notable Quotes:
  “You killed family. You know the rules.” — Vince ([42:39]).
  “Fuck your rules. You killed her and I'm gonna kill you. Vince.” — Sal ([42:41]).
  “You stupid fuck. You could have had anything you wanted. You had to go play knight in shining armor for a piece of ass.” — Vince ([45:51]).
  “It wasn’t about that then.” — Sal ([46:00]).

7. Aftermath: Bittersweet Hope and Closing Lines

• Anthony, Sal’s nephew, survives and informs Hera of Sal’s fate, granting her a shot at a new life.
• Hera, now “Betty Ann,” takes up her cover identity, working at the diner and choosing to live on.
• Notable Quotes:
  “My friend Sal, his nephew called to tell me… to have a wonderful life.” — Hera/Betty Ann ([48:14–48:17]).

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Notable Quotes & Memorable Moments (with Timestamps)

• “We gotta get outta here.” — Sal to Hera ([01:27])
• “Passport, Social Security, driver's license, the whole show.” — Sal to Sid, listing what Hera needs ([08:44])
• “Mama, Roy ain't coming back.” — Hera, breaking through her mother’s delusions ([13:26])
• “You left me no choice, Leo. We could have worked out, but Charlie.” — Vince to Sal, as he prepares to murder Sal’s mother ([25:37])
• “Take this job. If you don't hear from me or my nephew Anthony in two days, run for it. Sal. P.S. You love me too.” — Sal’s note to Hera at the diner ([34:29])
• “Tell the senator I want to see him. As you can see, he’s very busy.” — Sal’s tense negotiation for political protection ([37:38])
• “She’s right here. … Here’s the address and phone number of the diner she’s working at. Her new name, Social Security number, everything you need.” — Sal, appearing to betray Hera ([40:33–40:42])
• “You and me? Is that it, Sal? The two best.” — Vince, squaring off for the final showdown ([42:24])
• “It wasn’t about that then.” — Sal, dying, rebuffing Vince’s crude assertion ([46:00])
• “Tonight I watch two old ghosts.” — Epilogue voiceover, reflecting on the violence between Sal and Vince ([46:38])
• “To have a wonderful life.” — Last line relayed to Hera ([48:17])

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Important Timestamps

• [01:27] — Sal’s urgent flight with Hera
• [08:44] — Hera’s new identity arranged at Sin City
• [11:52–14:41] — Hera’s troubled visit to her mother
• [21:19–22:05] — Uncle Charlie’s death and Sal’s vow
• [25:32–26:18] — Vince murders Sal’s mother over the phone; Sal’s scream of anguish
• [29:00–29:41] — Sal’s emotional outburst, throws Hera out of the car
• [33:32] — Sal and Hera imagine a “normal” life together
• [37:38] — Sal negotiates with the senator before facing Vince
• [39:54–46:38] — The climactic shootout and deaths of Vince and Sal
• [47:32–48:36] — Hera learns of Sal’s death and chooses life under her new identity

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Tone & Style

• Raw, gritty language: True to noir and mob drama traditions, the cast delivers dialogue with streetwise edge, dark humor, heavy with regret and fatalism.
• Immersive audio: Period music (Eartha Kitt, Ella Fitzgerald, Billie Holiday, Peggy Lee) and evocative sound design weave continuous atmosphere and emotional cues.
• Live energy: Occasional in-studio banter (“Give us the pants, Joe!”) reminds listeners of the live, collaborative aspect of the Table Read format, blending performance with production insights.

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Summary

My Lady’s Song – Act 3 delivers on the promise of “cinema for your ears,” bringing the mob drama to a grim but poignant close. Listener immersion is total, carried by top-notch vocal performances, rich sound design, and a script that doesn’t shy from violence but finds real humanity beneath the criminal codes. Through Sal’s doomed attempts to protect Hera and reclaim a sliver of ordinary life, the episode meditates on redemption, the scars of the past, and the cost of defying fate. The closing musical refrain—Peggy Lee’s “Is That All There Is?”—leaves the story hanging between melancholy and hope, the perfect grace note to a classic noir tragedy.

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Perfect for fans of immersive audio drama, noir, and high-stakes emotional storytelling.

Transcript

[A]

Act 3. Sal has broken the code of la familia and has killed family in order to save Hera. Vince forces Sal to bring Hera back by putting Sal's family in danger. Does Sal bring Hera back to meet her fate with Vince? Or do Sal and Vince meet and have the inevitable final showdown? Interior, Sal's hotel room. Continuous.

[B]

Right where you belong.

[A]

Interior, Harrah's hotel room. Chicago night. Hara has just come out of the shower. She's in the hotel bathrobe, her hair done up in a towel. There's a faint knock at the door. She cautiously goes to the door.

[C]

Who is it?

[B]

Sal.

[A]

Hara opens the door to see Sal, his face beaten to a pulp. Sal is holding his jacket and overnight bag, Leo's pistol in his belt.

[C]

Oh, my God.

[B]

We gotta get out of here. Can you give me a little more exhausted? We gotta get out of here. Reading the line above me.

[A]

Just give me your two lines.

[B]

You see Sal and you know. A little more out of breath. He's out of breath straight off the fight. I just had lasagna. I don't know. Eddie Cannoli. All right, here we go.

[C]

Who is it?

[B]

It's Sal.

[A]

Hara opens the door to see Sal, his face beaten to a pulp. Sal is holding his jacket and overnight bag, Leo's pistol in his belt.

[C]

Oh, my God.

[B]

We gotta get outta here.

[A]

Sal falls through the doorway and onto the floor. Interior, black Lincoln Town Car, Night. Harrah drives. Sal is in the front seat, leaning against the passenger door, reeking of pain. His left arm cradles his broken ribs and his right hand holds a Ziploc baggie of ice to his face. The Nancy Wilson song ends.

[C]

We gotta get you to a hospital.

[A]

He drops the ice bag.

[B]

No, no. No hospital. I gotta call Vince.

[C]

He just tried to kill you.

[B]

No, no, he would never do that unless he had to.

[A]

Interior, lasalle Limo service office. Late night. Uncle Charlie and Vince play gin, waiting for Leo's call. The phone rings. Vince puts the call on speaker. Intercut between front seat of town car and office.

[D]

Yeah, Vince. Sal, my man. Leo get there?

[B]

Yeah, yeah, Leo got here, all right. Said you sent him to the girl and me.

[D]

Oh, you know that ain't true. I'll kill that rat bastard with my bare hands.

[E]

Sal, Leo wanted a piece of your

[D]

ass from day one, you know that.

[E]

I swear we didn't send him for you, Charlie.

[B]

Relax. I know you never sent a punk like that for me, Sal.

[E]

But you didn't try to protect that girl, did you?

[B]

I didn't have time to do shit. That stupid fuck came at me with those big ham hocks of his.

[D]

No weapon. Where is he now?

[B]

His body's laying on a garbage dumpster behind the hotel.

[A]

Vince and Uncle Charlie laugh.

[D]

Sal the Barber, you're a rock. A fucking Stone Age rock. A petrified rock. That kid even be scratched?

[B]

What are you, a philosopher now? You scratched me good. I'm not gonna be able to head back for a few days. They bust you up bad? I think I got a couple of broken ribs.

[D]

Hey, you're getting old, Sal.

[B]

Yeah, no shit. If he wasn't such an amateur, you'd be talking into a dead phone. He had the blood in the mouth. He talked when he should have just took a shot.

[D]

What about the girl?

[B]

Are you kidding? After seeing my face? And Leo in the alley with his brains pulling out of his ear, she took off. I ain't in any shape to go after.

[D]

I'll take care of her. You just get back here as soon as you can.

[B]

I just need a day or two.

[D]

You need anything, you call Charlie.

[B]

Vince, next time you try to kill me, don't insult me. Send a pro. Sal hangs up, his brain's pouring out his ear.

[A]

Interior, black Lincoln Town Car. Night traveling, moving along i55 from Chicago to St. Louis.

[C]

He bought it.

[B]

For now.

[C]

I'll get off at a train station and you'll never see me again. I promise.

[B]

Harry, you don't know these people. You need a new identity, passport, new Social Security number, not to mention money. Even then, it's a 5050 chance Vince will find you.

[C]

Don't worry about me. I'll get by.

[B]

How?

[C]

As long as I got what men want.

[B]

If I could raise my hand right now, I'd slap your face.

[C]

I'm trying to get you out of this.

[B]

If you care anything about yourself or me, you'll do as I tell you.

[C]

Sal, why? Why are you doing this for me?

[B]

I don't know. Maybe because no one ever just. Just drive.

[C]

Where are we going?

[B]

St. Louis, to see Sid.

[C]

That old junkie? He works for Vince.

[B]

We did eight years together. He owes me. And he's the only one I know who can get you your papers fast.

[C]

He's scum. A pervert.

[B]

We gotta take a shot. Now just shut up and drive. Put on some music.

[A]

Hera presses play Eartha Kitt sings St. Louis Woman exterior, black Lincoln Town Car. Early morning. We drive down I55 to St Louis as Eartha sings. Night turns to morning as we hear

[B]

in voiceover one of those stupid questions What? What's your real name?

[C]

Lillian Scott from Kansas.

[B]

Lily. Like the flower. Lily's always reminded me of the old phonograph horn on the RCA ads. You know, with the dog. Nah, you're too young. Of course, the air horn wasn't white, but I used to think that God spoke to the world through the Lily horn. We was all just too damn busy to listen. You look pretty with the sun coming up behind you, Lily.

[C]

Leo must have hit you good. Go back to sleep.

[F]

Rest.

[A]

Exterior, Sid. Sin City. Early afternoon. Sid, Sin City is the largest perversion oasis in the Midwest. Not only is it a club twice or three times the size of the private I Club, it's a triple X rated video center, an exotic lingerie boutique and a sex toy shop that's second to none. There also happens to be a motel right next door. The black Lincoln Town Car pulls in. Interior, Sid. Sin City Club continuous. The lunch crowd is small but vocal as they cheer on a young girl who's obviously new to the striptease.

[E]

Hold on.

[B]

Hey, G, what was it like for you, hearing your dad?

[C]

All right, page 90. Everybody moving along.

[A]

Hera, still dressed in her navy blue conservative suit, and Sal still hurting. Come up to the bar. Some mindless disco shit is playing as the bartender says.

[D]

What do you have?

[B]

How about some real music?

[D]

What?

[B]

Tell Sid that Sal Marino from New York is here to see him. He'll be out in a second. You can tell him yourself. You want a drink or a raw

[D]

steak for that map of yours?

[B]

Very funny. Diet Pepsi for me. How about you?

[C]

Kettle, one and tonic.

[A]

Sal gives her a look.

[C]

On second thought, how about a ginger ale? Not too much ice, couple of high rollers. This girl could use some pointers.

[B]

Don't get any ideas. Ms. Lillian Scott.

[A]

As the song ends, the young girl on stage finishes her feeble attempt. Sid parts the curtains and walks onto the stage. Sid is an old timer dressed in a very stylish outfit. Armani suit, Gucci shoes and a black T shirt.

[E]

Hey, hey. How about a big hand for the young ladies? First try. You got the makings, darling. Believe me, Sid knows you. Come to Sid's private office and Sid will give you a few pointers. Hey, hey, fellas. You're not gonna believe this, but yesterday a mushroom walks into Sid's bar. Yeah. No, no, no, no, no. I mean it. And I said I'm sorry, we don't serve mushrooms here. The mushroom says, why not? I'm a fungi. Fungi?

[B]

Whoa.

[A]

Laughs and boos from the crowd. Sid is about to tell Another. When he spots Sal at the bar, Sal waves.

[E]

Hey, all right, boys. Sid will give you a break. No more jokes for a while. Now let's get on with the Amethyst show.

[B]

Next.

[E]

Here is a young lady to try her hand and all other parts at the Art of the Strip. That's Jack. Hit it.

[A]

Sid leaves the stage and goes right over to Sal. As the next girl comes on stage, Sid looks in Sal's eyes and then hugs him.

[E]

What the fuck happened to you?

[B]

I need your help.

[A]

Interior, cid Sin City Club office, late afternoon. Harris stands against a light colored wall as a flashbulb goes off. Sid has just taken her photo.

[B]

She's gonna need everything. Passport, Social Security, driver's license, the whole show.

[E]

Okay, what was her real. Never mind. I don't want to know her real name or where she comes from.

[C]

What do you want to know?

[E]

I only want to know what my friend needs. Okay. Here's a key to cabin nine next door. It's the last room on the bottom floor.

[C]

I'll wait for Sal.

[B]

It's okay. I can make it by myself. Just bring in the bags.

[E]

It's okay. I'll help Sal over. Don't you worry at all. Sid has got it all under control here. You are very lovely to look at my child.

[B]

Go ahead, I'll be right there.

[A]

Hera exits. Sid removes his jacket and throws it across his desk, then enters a back room. Interior, Sid's Sin City Back lounge, early evening. Sid's private lounge is like a chic, sexual playroom. Dark red curtains hang from everywhere. A large fluffy bed takes up most of the room. A nude young girl is passed out on the bed. Two young boys, no more than 15 years old, are there. One of the boys is freebasing, the other draws on a bong. The young girl who was on the stage is filling a needle with juice. Sid puts on a smoking jacket.

[E]

I would offer you something, but in your present condition, maybe next trip. You know, that's a nice piece of ass you got there. Is that your private stock?

[B]

It's not what you think.

[E]

Then when you will, I'll get you a piece that'll make that look like yesterday's lunch.

[B]

Sure, Sid, but right now I just want new papers for her. How long?

[E]

Tomorrow night. Maybe next morning.

[B]

Sid, this is between you and me. No one else. Not even Vince. You can't do that. I'll be out of here tonight.

[E]

Sal. Sal, how could you?

[B]

I figured you owe me one.

[E]

Sid, this isn't like you. Look, let Sid talk to Vince. See what I can.

[B]

No. Vince tried to have me killed.

[E]

That's not so.

[B]

He'd be lying in a prison morgue if it wasn't for me.

[E]

Sure, Sally. Yeah, sure, for you. But then, Sid has always had a soft heart.

[A]

Interior, Sid's Sin City motel room. Early morning. Ella Fitzgerald sings Come Rain or Come Shine. Sal is sleeping on the bed. Hera sits on the bed and applies a cold, wet towel to his still swollen face. Sal. Sal barely moves. Hera gets up, goes to the dresser and takes the car keys and exits the room. Exterior, Black Lincoln Town Car. Early morning. Hera drives west along I44. Ella Fitzgerald continues singing Come Rain or Come Shine. Signpost reads St. Cloud, Missouri. Another sign reading State Psychiatric Hospital. The Town car turns in. Exterior, psychiatric lawn, St. Cloud, Missouri. Afternoon. Hera pushes an old woman in a wheelchair towards a gazebo next to a beautiful pond. At a closer glance, we can see that the woman isn't as old as she appears. However, the woman is obviously in a world of her own. Ella stops singing.

[C]

The nurses say you like to come out here. I can see why. It's beautiful.

[F]

The nurses. The nurses steal from me.

[C]

They do not.

[F]

They do. Oh, they do. The nurses steal my makeup when I'm sleeping.

[C]

Now, why would they do that?

[F]

Because when I look good, their boyfriends notice me. They watch me and the nurses get jealous.

[C]

I'll bet they do, Mama. I'll just bet they do that when

[F]

I dress up, my hair is done just right like Rita Hayworth. My Lord knows I'm the definitive source of beauty and style.

[D]

Oh,

[F]

yes, I am. Do you have some makeup that I could use? I'll be sparing of it.

[C]

Sure.

[A]

Hera takes a small makeup kit with mirror and lipstick out of her pocketbook and gives it to her mother. Mama opens the kit as Hera turns and looks out over the pond.

[E]

Oh.

[D]

Mm.

[F]

My. This will do nicely.

[C]

Mama, I sent you a check to this hospital. Almost all the money I had. That should last for a while. A year, year and a half. But that's it, Mama. No more. You can't count on me no more. You understand, Mama?

[F]

Oh, why, yes. Don't you go worrying about me. Roy will be here anytime I am.

[C]

Now, Roy.

[F]

I want to look nice for when Roy comes back for me.

[C]

Mama, Roy ain't coming back.

[F]

Yes, he will. You just see. He knows where his bread is buttered.

[C]

Mama, Roy was a drunken bum.

[F]

Hush, child. Not ladylike of you to talk about your daddy that way.

[C]

My stepdaddy was a pig.

[F]

He was My husband. My husband. He provided for us,

[C]

Mama. He had me every time you left me.

[F]

That is not true.

[C]

Every time you left the house. No, every time. And you knew it.

[F]

That is not true. You are confusing me.

[C]

God, I wish it wasn't true.

[F]

Roy had problems with your sister. That slut in her lying ways.

[C]

My sister.

[F]

That slut. Slut Lily, who took my Roy away from me. My own blood.

[C]

Mama. I'm Lillian. I'm your only.

[F]

Yes, yes, yes, you are. You are my Lillian who loves her mama. And your sister Lily is the one who stole my husband with her cheap and sinful ways. But Roy is coming back because he don't like that trampy type. Now how do I look? How do I look? Now ain't I just the prettiest thing?

[A]

Hera stares at Mama's face, covered with makeup that looks more suited to a circus clown than a Southern woman of beauty and style. Judy Garland sings Summertime Exterior, Sid's Sin City, late afternoon. Judy sings as a light blue Lincoln Town Car pimp mobile pulls into the parking lot. A bandaged Sal gets out of the passenger side front door and goes into the club. The car pulls away and parks by room nine. Interior, Sid. Sin City private lounge, late afternoon. The young girl who was shooting up after her striptease is now on Sid's bed, totally nude and totally strung out. Throughout the following scene, Sid sits up on the bed, back up against enormous pillows. Sid rubs the young lady's body with his right hand while a nude young boy sits on the floor at Sid's left hand. A second young girl, partially dressed, is at Sid's dresser working on the fixings for a needle. And song ends.

[E]

Sal. So what did the good doctor say?

[B]

A couple of busted ribs, A butterfly for my eye. I'll live. Thanks for the car.

[E]

You're moving better now. How about a little recreation now? My friend Joy there can be gentle when she wants.

[A]

Sid indicates the girl fixing the needle. She smiles at Sal. She looks as gentle as a lioness.

[B]

The back brace helps, but I don't think I could handle anything as lovely as young Joy. Lily come back?

[E]

Do you really expect her to?

[B]

She needs her papers. They ready?

[E]

Oh. Oh, they were done in an hour. All I needed was Lillian's photo.

[B]

Why didn't you?

[A]

During the following dialogue, the young girl takes the needle to Cid, who opens a ring on his index finger. The girl carefully fills the ring with the liquid. Cid closes the ring top and turns it palm down. He touches the ring to his tongue and enjoys the jolt it gives him.

[E]

You see, a lovely young girl by the name of Betty Ann McCormick dies suddenly in New York City. Natural causes, they tell Sid. Uncle Charlie sends Sid her papers. Best to do these things right away. I believe you knew Miss Betty Ann.

[B]

No, I didn't know her.

[E]

Oh, one of Sid's discoveries. Lotta menace. Her professional name.

[B]

Cut the crap, Sid. You know who Lily is. So what's that to do to the odds?

[E]

Sid never forgets a nice piece of ass. Anyway, Vince put out the word about Harold before you ever got here. Sal, Sid has lived too long for it. It's too late in the game for me to start crossing a man like Vince. Uncle Charlie's waiting in your room.

[B]

You're enjoying this, aren't you?

[A]

Sid smacks the nude girl's ass with the palm of his hand and she reacts with a smile.

[E]

Sid enjoys life and death.

[B]

I should kill you right now.

[E]

Why? I told Uncle Charlie that you came here all beat up with Lillian. I mean, Hara. It's not Betty Ann yet. Listen, you've got a way out. I did that for my friend. All you have to do is get in one of Sid's cars and go back to New York City.

[B]

Uncle Charlie will never buy that.

[E]

He might when he sees your face.

[B]

He'd kill me when he sees my face.

[E]

Don't be a fool. You can't run. Vince even knows about her mother at the nuthouse. The stupid bitch sent her a check. Long as Vince is alive, they'll find her no matter what you do. You can't cross a man like Vince.

[B]

Now tell me something I don't know.

[E]

Interesting. So how far does loyalty go with men like us? It's your call, Sal.

[B]

Thanks for nothing.

[E]

Yes, it tries to. Please. Just let her go to your room and Uncle Charlie will. You'll be off the hook. Maybe.

[B]

I want Lillian's photo on those papers. And I want a pink slip for one of your cars. And I want it now.

[E]

They're on the table, Sal. Don't play Sir Lancelot. It doesn't fit a next con like you. Take it from Sid. He's a wise old bastard.

[A]

You know what they say. Early bird gets the ultimate vacation home. Book early and save over $120 with VRBO.

[C]

Because early gets you closer to the action.

[A]

Whether it's waves lapping at the shore

[C]

or snoozing in a hammock that overlooks

[A]

well, whatever you want it to so you can all enjoy the payoff. Come summer, with VRBO's early booking, deals rise and shine. Average savings $141. Select homes only. Sal takes the papers.

[B]

SID if you crossed me, Sid.

[E]

Never. Now run.

[A]

Billie Holiday sings stormy blues Exterior, Sid's Sin City Motel Twilight. As Billy sings, we see Sal come up to the light blue Lincoln Town Car. He looks at his hotel room door. He gets into the light blue limo and pulls away. Billie Holiday continues singing as twilight turns to night and the black Lincoln Town Car pulls into the motel parking lot. Harrah gets out of the car and walks toward her hotel room door. The last room on the bottom floor. Hera's about to insert card key when a hand covers her mouth and pulls her away. It's Sal. Billy stops singing.

[B]

Don't scream. Uncle Charlie's inside. Give me a minute, then put the card key in the lock and push open the door. And then hit the deck. One minute.

[A]

Sal goes to the back of the motel room. There's a public garbage can just to the side of the French doors. Sal takes the COVID off the garbage can and stands to the side of the French doors. Sal peeks inside and sees a sleeping Uncle Charlie with his arm resting on the arm of a large cushioned. After a moment, Hera puts the card key in the door and kicks the door and it flies open. Uncle Charlie jumps to his feet and fires at the door. Sal slams the garbage can cover onto the French window, breaking the glass. Charlie turns and fires toward the French doors. Sal fires back, putting three rounds into Charlie's chest, spinning him around. Uncle Charlie sinks back into the cushioned chair. The pistol falls from his hand. Paris stands in the doorway as Sal comes face to face with the dying Uncle Charlie.

[E]

Hey, hey.

[B]

I always said he was the best. I had a great teacher. Yeah, but I taught Vince too. Vince comes after me or her, he's gonna get the same thing. Vince. Vince won't come after you. He'll make you come to him. You're probably right.

[E]

Oh, Jesus, this hurts.

[B]

Sid says that you're doing all of this for a piece of ass.

[E]

Well, I taught you better than that.

[B]

It's not about that, Charlie. What do you mean? You ain't doing this, girl. No. Oh.

[E]

Oh. Well, now I'm really fucking confused.

[A]

Uncle Charlie slumps over dead. Judy Garland sings Somewhere over the Rainbow.

[B]

Get our bags ready. Put them in the light blue Lincoln around back.

[A]

Sal tosses the keys and exits. We follow Sal across the parking lot and through the strip club. Disco is playing, but we only hear Judy singing Somewhere over the rainbow. Interior Cid's Sin City Back lounge Late Evening. The song continues as the young ladies from before are both nude and rubbing up to Sid. The young boy is at the dresser snorting cocaine. Sid is about to receive an oral sexual favor from one of the young girls when the door flies open. Sal fires one shot into Cid's forehead. The girls scream and look towards Sal in sheer fright. Sal looks around, then walks out. The two girls and the boy look at Sid and then run to the drugs which they try to carry off. Exterior Route 70 east. Night into day. Judy continues singing as we see the blue Lincoln Town Car traveling east towards Indianapolis. The song ends as we hear in voiceover say, why do they call him Uncle?

[C]

He ain't nobody's uncle.

[B]

You're wrong there. Vince's aunt on his mother's side was married to Charlie for over 30 years. Two amateurs tried to take Charlie out and got her. Charlie got them.

[C]

No shit.

[B]

Believe me, you don't want to know what Uncle Charlie did to the guy who ordered that hit. He had blood in the mouth ever since.

[C]

Blood in the mouth.

[B]

It was always business with Charlie. Now he enjoys it. Did enjoy it.

[C]

I bet Vince has a little blood in his mouth. Gallons worth.

[B]

No, no, no. Vince don't care. He'll do whatever he has to do, but he don't care. That makes him even more dangerous.

[A]

Interior, light blue Town Car. Night traveling.

[C]

Why are we heading east right now?

[B]

I'm not sure where you're heading, but I'll have to head east sooner or later.

[C]

Why?

[B]

We'll try to make Columbus by tonight. They'll put you on a plane or train or something in the morning.

[A]

Exterior, light blue Lincoln Town Car. Twilight tonight. The day now passes. Tonight, as we approach Columbus, Ohio, Keely Smith sings that Old Black Magic. Interior, hotel room in Columbus, Ohio. Early evening. Sal sits at the desk looking at a train schedule from Columbus to points anywhere. He then picks up the hotel phone and dials.

[B]

Hello, Ma.

[A]

Interior, Sal's kitchen, Bensonhurst, Brooklyn. Evening intercut phone conversation between locations.

[B]

Sal, where are you? I'm in a hotel.

[F]

Oh, you should be here tonight.

[A]

We got everything you like.

[B]

I wish I could be. Mom.

[A]

Carmela is standing at the phone. She walks to the stove with the cordless phone to stir her boiling sauce. We say a prayer for you.

[B]

I could use it.

[D]

We all could.

[B]

Who's that? My boyfriend is here. Vince is there.

[A]

Vince is sitting at the table cutting vegetables for salad with a large chopping knife.

[D]

Hello, my friend.

[B]

Ma, what's he doing?

[D]

I'm making salad.

[A]

He took me for a ride in the big white bus.

[F]

You know, the one you had here before you went away.

[D]

Sal, she loved the TVs.

[A]

Oh, what a big car. No wonder you had Anthony help you clean up. It's bigger than a bedroom.

[B]

Please, Vince. I'll do anything.

[D]

You left me no choice, Leo. We could have worked out, but Charlie.

[A]

What are you two talking about?

[B]

Vince, don't do this.

[D]

What I gotta do. You knew the rules.

[B]

What rules?

[F]

What.

[A]

What for?

[D]

You talk about rules, you go against family, we kill. You killed family? We killed family.

[F]

Well, killing. I don't like this talk.

[B]

Vince, don't.

[A]

We don't see Vincent walk up to Carmela at the stove and shove the large chopping knife into her chest. He does it again and again. We hear Carmela fall to the floor and the pots from the stove fall with her.

[C]

No.

[B]

No. I'll kill you, you son of a bitch. I'll kill you.

[D]

You hear her die.

[B]

I'm gonna kill you, Vince.

[A]

Vincent sits at the table and speaks calmly.

[D]

That's right. You're going to come back and try to kill me. Only you're going to bring that slut with you.

[B]

Forget the girl. This is between you and me.

[D]

No more lies, Sally. No more lies. You bring her back or I'm gonna play a little game with your lying nephew in a welding torch. Don't make me do that.

[A]

Vince slowly walks away. In the background, we see Carmela on the floor, back up against the stove with the knife in her heart and covered with the sauce from the stove. Vince's feet cross the camera as Etta James sings Someone to Watch Over Me. Interior, Sal's hotel room. Continuous. Etta James continues singing as Sal bangs the phone down over and over again, then throws it across the room. He rips the hotel phone out of the wall. He falls to his knees and cries. Exterior Route 70 east to Wheeling, West Virginia. Day to night traveling. The light blue Lincoln Town Car drives through Ohio to the West Virginia border. Etta James finishes her song. Then we hear in voiceover Sal, when

[C]

do I get off this merry go round? I got papers.

[B]

Now you get off one, I say.

[C]

I was just wondering.

[B]

Well, don't. I'll make the moves.

[C]

Why are you acting this way?

[A]

Interior, light blue Lincoln Town Car. Afternoon. During the following two scenes, images of Lada and Hera having sex in the back of Sal's limo keep flashing through Sal's mind.

[B]

Why? Why? Because you don't listen, Sal.

[C]

That's not true. I listen to everything.

[A]

Oh yeah, Flash.

[C]

When did I not listen to you?

[B]

I Told you. No phone calls, no letters, no nothing to the outside.

[C]

I didn't.

[B]

You mailed a check to your crazy mother in the nut house.

[C]

How did they find out about that?

[B]

I told you. They know everything.

[E]

Everything.

[A]

Flash.

[C]

Sal, she's just a crazy old lady who doesn't even know me.

[B]

Well, that's the last you see of her because they already traced the check.

[C]

They wouldn't hurt her. She can't tell them anything about me.

[B]

They will use whatever they can to get what they want. That was a stupid thing to do. Stupid.

[C]

Why are you talking to me like this?

[B]

Because I had enough.

[A]

Flash.

[C]

I want to go to the train station.

[B]

Why? You don't trust me anymore? I. Huh?

[C]

I didn't say that.

[B]

I served my purpose. Now fuck Sal, right? Am I right? Answer me. You don't trust me? Then get the fuck out. Now.

[A]

The light blue Lincoln pulls over to the shoulder. Sal gets out from behind the wheel, goes around to the passenger side and opens the door.

[C]

Sal. Sal, what are you doing?

[B]

Get out. Get the fuck out, bitch.

[A]

Hera doesn't get out. Sal starts pulling her out of the car. Hera is scared out of her mind.

[C]

Stop this, Sal, please. You're scaring me. Why? Why are you doing that?

[B]

You question me? You fucking question me? After what I've done to save your worthless life?

[C]

I'm not worthless.

[B]

Worthless piece of shit.

[A]

Flash.

[C]

I'm. I'm not worthless.

[A]

Sal reaches into the backseat and throws out two pieces of Hera's luggage.

[B]

Save your own fucking ass. You wouldn't even last a day without me. Now go find yourself a ride someplace.

[C]

Sal, I need you.

[B]

You're on your own. Please let go of me, Flash.

[A]

Sal pushes her away, gets in the car and takes off. Hera looks at the passing cars. Julie London sings Cry Me a River Hera doesn't know where to go or what to do. She picks up her suitcases and starts walking. Then drops the suitcases. She sits on one and cries. Afternoon becomes twilight and Hera is still sitting there when the light blue Lincoln pulls into view. Sal gets out and goes to her. Hera throws her arms around Sal's neck and hugs him for dear life. Interior, Pioneer Diner, McMetchin, West Virginia. Early evening. From the inside of the diner, we see the light blue Town Car pull up. Sal and Hera get out and walk into the diner and Sal sit at a booth. The light blue Town Car is in the background and so is a Help wanted sign in the booth window right next to a jukebox. Hera Sits as Sal heads for a bathroom. The Julie London song ends.

[B]

I'll be right back.

[A]

Hera looks at a menu when she notices a nice looking young man at the counter looking at her. The young man tips his baseball cap. Hara just smiles and looks away. The young man comes over to the booth.

[B]

Excuse me. My name is Jeff Tyler.

[C]

Good for you.

[B]

You just come in from Missouri?

[C]

How did you know that?

[B]

I just saw your license plate. I didn't mean to pry. I went to school in Jefferson City.

[C]

Learn anything?

[B]

Excuse me.

[A]

Sal comes up behind Jeff. During the following conversation, Sal just stares at Jeff up and down.

[C]

This is Jeff Tyler.

[B]

Jeff Tyler. I went to school in Jefferson City, Missouri and I was just. Well, I saw your plates and I didn't. You didn't what? Nothing, sir. Didn't mean to interrupt your dinner with your daughter. If you'll excuse me.

[A]

Jeff goes back to his dinner at the counter as Sal gets into the booth.

[C]

He thought I was your daughter?

[B]

I don't think that's so funny.

[C]

I thought it was nice. I didn't think they made hicks like him anymore. You scared the shit out of him.

[A]

The waitress comes over.

[B]

Hello.

[F]

Welcome to the Pioneer. What can I get you?

[B]

How's the stew here?

[F]

I wouldn't serve it to my cat.

[B]

My kind of place. Tell me, sugar, what do you recommend?

[F]

Not a bad steak and we have the best burger he ever ate. Comes with fries.

[B]

Burger and a beer for me. Betty Ann.

[C]

I'll have a turkey burger and water.

[F]

All right. I'll be right back with those drinks.

[C]

Probably hasn't got a dime.

[B]

Who?

[C]

Jeff Tyler.

[B]

Most likely the son and Grant's own. Coal miners. That's what this area used to be known for.

[C]

What do you think he does now?

[B]

I don't know. High school gym teacher, coaches baseball.

[C]

Yeah, he looks the type I thought he recognized me from.

[B]

Yeah, you know, Keep yourself looking like you are now and no one will ever suspect. You look fine. I'm proud to be seen with you.

[C]

Thanks, Sal. That's how he looked at me.

[B]

Like he, you know, like he just thought you were a good looking girl. The kind of girl he'd like to take to a nice dinner and maybe a movie. The kind of girl that after two, three, four dates he'd like to make love to in his own bed instead of a cheap sex in the backseat of a car. The kind of girl he'd like to take home to meet his family. The coal miners. The kind of girl that if things go well, he may want to marry and raise a Family with the kind of girl that he wants to go through a dull, boring, more normal than normal life with. That kind of girl.

[C]

Can you see me in a life like that?

[A]

Sal takes hold of her hand.

[B]

Yeah, I can.

[C]

Ah, it's too late.

[B]

You got a new life handed to you.

[C]

Could you live that life?

[B]

I'd give anything to have had a life like that.

[C]

Sal, what's wrong?

[B]

Look, about what happened back there on the road, I. I'm kind of in

[C]

a. Sal, I'm in for the whole ride. I'm with you. Even if it means going back to New York to face Vince. I know you love me. And I. I mean. I don't mean like shit. I have to go to the john. Just play some music, will ya?

[A]

Sal watches Hera as she exits. He puts a coin in the jukebox and presses a couple of buttons. He takes the Help wanted sign out of the window and a pen out from his inside suit jacket pocket. Sarah Vaughn sings Motherless Child. Child. Sal writes a note to Hera that

[B]

reads, Take this job if you don't hear from me or my nephew Anthony in two days. Run for it. Sal. P. S. You love me too.

[A]

Sal folds the note and takes it with him. We listen to Sarah sing. We see Sal and Jeff going to the light blue Lincoln Town Car. Sal pulls Hara's luggage out of the back seat. He gives Jeff some money. Jeff doesn't want it, but Sal insists Sal gives him the note. Sal gets into the car and we see the back of Hera at the booth. Hera comes running out after Sal, but the car has pulled away. Jeff hands Sarah the note and carries her luggage to the diner. Hara stands there looking after the light blue Lincoln. Exterior light blue Lincoln Town Car. Twilight to night. Traveling. Sal drives east on Route 7076 to Harrisburg. Then Route 8178 north to Allentown. Twilight and we see the first signs for the Verrazano Bridge to Brooklyn, the fourth largest city in the US of A. Sarah Vaughan finishes her song. Interior, Sal's kitchen, Bensonhurst, Brooklyn. Dusk. Sal's sister Donna sits at the kitchen table with a coffee cup in her hand. Sal enters. Mama's dead.

[B]

I know.

[C]

That animal has my son.

[B]

I know.

[A]

You know everything. You know your best friend killed my mother. You know he's gonna kill my son. You know that. You and your dirty, filthy world killed everything I loved.

[F]

Donna.

[B]

I'll make him pay. I promise.

[A]

Pay. Donna gets up and starts smacking Sal's face.

[C]

Hey. Is that all you can think of

[A]

making someone pay for your sins.

[C]

You brought that world into this house.

[D]

You.

[C]

No one else.

[F]

You.

[A]

Sal grabs her arms and holds her close to his chest.

[C]

He's got my Anthony. Please, Sal, don't let my son die.

[B]

Shh. I won't. Anton will be back in the morning. I promise.

[A]

We hear Billie Holiday singing God Bless the Child. Interior, Sal's bedroom in Brooklyn. Night. Sal takes a new black suit out of his closet. He lays it on his bed. A montage of images. A freshly starched clean white shirt being laid on the bed. Sal polishing a pair of black shoes. Sal in the shower. Sal strapping a holster to his ankle. Sal putting on pants, black socks and shoes. Sal putting on the leather harness that holds his razor in his sleeve. He tests it out. It works fine. Sal taking a suitcase out from under his bed. He removes a bulletproof vest. Sal buttons his shirt and puts on the jacket. He sits at the desk and writes a note. Sal exits as the doorbell rings. Interior, 7K. Senator Baxter's suite. Night. The senator's aide opens the door as the sounds of a large political party are heard in the background. The Billy Holiday song plays until it ends.

[B]

May I help you? Tell the senator I want to see him. As you can see, he's very busy. Listen, slick, you go tell the senator that s the driver of the limo he those porno stars in is here.

[A]

The aid is in shock. He tries to say something to s then turns and goes to the senator, who's in the middle of a conversation. The aide whispers in his ear. The senator looks at Sal. Sal excuses himself and walks over.

[B]

What? No porn stars?

[E]

Listen to me.

[B]

No, you listen to me, because I'm gonna do you a favor.

[E]

And what might that be?

[B]

After tonight, you won't have to worry about Vince. Did you hear me? I'm listening. But I still have a copy of you Hara and the missing Lada. What would you want for this?

[C]

That?

[B]

Not a thing. That's very generous of you.

[E]

Well, that was easy.

[B]

Hey, nothing's easy. If a certain party like har r even gets a cold, whether I'm still around or not, your naked ass will be all over the nightly news.

[E]

You got my word.

[B]

Now I'm worried. Call Vince and tell him I'm coming to the garage.

[A]

Sal exits and slams the door behind him. Exterior La Salle Limo Service Garage Late night. It starts to drizzle as Sal drives up to the enormous garage door of the La Salle Limo service. The ambient New York City night light makes the outside of the garage look as much like an old gothic horror movie as the inside. Sal gets out of the light blue Lincoln and the enormous steel gray garage door opens as if welcoming Sal to the inevitable. Sal walks into the garage and the huge door closes as if locking him in hell. Interior LA Salle Limo Service Garage continuous. Sal walks over to the light switch next to the office door. He flicks it on, but no good. He looks toward the grease pit and sees Anthony hanging off the car lift by his bound hands in the same manner as Lotte, only this time the dog is not in the grease pit below. The dog is chained to the same steel ring as before but is on ground level. The dog barks at Sal.

[B]

Uncle Sal, Uncle Sal, please.

[A]

A few moments of excruciating silence before we hear Vince's voice over the PA system.

[D]

Sally boy, my old friend.

[A]

Sal is trying to find out where Vince's voice is coming from. A series of shots. Long row of limos, tool rack, the office window. Anthony hanging close up of Sal.

[B]

I could remember a time when you weren't afraid to talk to me face to face.

[D]

And I can remember a time when you knew how to do what you were told. When you knew what family meant. You disappointed me, Sally. The girl.

[A]

Sal pats his breast pocket.

[B]

She's right here.

[D]

You know I'll kill the kid if I have to. Now no games. Where's the girl?

[A]

Sal holds up a piece of paper.

[B]

No game, Vince. Here's the address and phone number of the diner she's working at. Her new name, Social Security number, everything you need.

[D]

You were supposed to bring her this way.

[B]

You can pick her off anytime you want. Charlie always said revenge is a dish best served cold.

[D]

That's very obliging of you. Uncle Charlie would be proud of you if he were still alive.

[B]

Release the kid.

[D]

How do I know what's on that paper?

[B]

I give you my word.

[D]

Your word means nothing since you've been fucking that Bhutan.

[B]

Let the kid go, Vince. This is between you and me now.

[A]

There's a long pause and finally the lift goes down and Anthony is able to release his arms from the rung of the lift. He runs to Sal who unties him.

[B]

Uncle Sal, I. He killed the. I know, I know. Get out of here. It'll be easier with the two of us. Nothing's easy, kid. Now get lost before you get us both killed. There's a letter on grandma's table telling you what to do next.

[A]

Anthony slowly backs away and exits through the normal door. Within the enormous steel gray garage door, however, we see Anthony peeking in through the door's mail slot.

[D]

I'm glad I didn't have to kill him. He's a good kid. After I kill you, maybe I'll get him a job of some kind. Now you lay that piece of paper down on the hood of the first limo.

[A]

Sal puts the piece of paper back in his breast pocket and starts walking around the garage looking for Vince.

[B]

No, Vince, I. I think I'll let you come and take it from me.

[D]

You and me? Is that it, Sal? You and me. The two best.

[B]

How could you do that to Carmella?

[D]

That was your fault, you prick. You killed Charlie.

[B]

That was different. Charlie would have killed me. My mother knew her.

[D]

You killed family. You know the rules.

[B]

Fuck your rules. You killed her and I'm gonna kill you. Vince.

[A]

Sal notices a cable running under the office door, across the workbench and into the third limo. Sal pulls out his pistol with his right hand and grabs the cable with his left. Sal yanks the cable and the microphone is pulled out of Vince's hands. Sal fires two shots into the tinted windshield of the third limo. Sal ducks behind the first limo. Vince is now out of the limo in the open and no longer on the PA speaker.

[D]

You are becoming a very hard man to have a nice conversation with, Sal.

[B]

Vince, you cheap fuck. You should have invested in wireless. You're behind the times.

[D]

After I kill you, I'll call up Anthony and hire him to put in a new system. I mean, since he knows so much about all this new tech shit.

[B]

Yeah, he's good at that. Too bad you won't be around to see some of the tapes he got.

[A]

Sal lies on the floor looking under the limos for Vince's feet. The dog barks like crazy. Vince moves up closer to Sal. Sal notices Vince's feet moving around a limo and fires the shot. Seth misses but causes Vince to run. Sal jumps up and fires and hits Vince in his back shoulder. Vince goes down, scrambling behind a tire.

[D]

You hit me, you prick.

[B]

You're gonna die.

[D]

No, no, I don't think so. You'll have to do better than that, Sal.

[A]

Vince works his way to a chain that's locked in a vise on the workbench. Sal starts working his way towards Vince.

[B]

I figured you wouldn't be that easy to kill.

[D]

Glad you hit me, Sal. It's just what I needed. I'm getting a real high from this. This is how it should be for men like us. The last two real warriors left.

[B]

Warriors? What warriors? Two old mean fucks trying to kill each Other because of a girl. Just two dinosaurs with nothing left to do.

[D]

Maybe you have nothing. Here's a little surprise for you, Sally.

[A]

Vince jumps up and fires in Sal's direction, causing him to duck. Vince runs for the vice on the workbench. Sal fires and misses. Vince releases the vise grip with the butt of his pistol, causing the chain to run out and freeing the dog. The dog attacks Sal, causing the pistol to fall from his hand. Sal tries to fight off the dog and reach for his second pistol on his leg. Sal is being torn alive by the dog, but manages to to get the pistol and fire two quick shots bigger.

[B]

Yeah, you're being torn alive. It says it's torn alive. Yeah, I'm gonna bite you.

[A]

The dog screams, cries, moans, then staggers away, falling dead. Sal tries to get to his feet only to see Vince walking at him. Vince smiles and fires, hitting Sal in the belly below the vest. Sal fires and hits Vince in the side, but Vince puts three more rounds into Sal's chest, pinning him to the floor. One of the rounds catches Sal in the neck. The pistol drops from Sal's hand. Sal lies there dying. Vince stands over him. Blood is pouring out of his shoulder.

[D]

You stupid fuck. You could have had anything you wanted. You had to go play knight in shining armor for a piece of ass.

[B]

It wasn't about that then.

[D]

You're a bigger asshole than I thought. I'll take that note now.

[A]

Sal tries to pull the note out of his breast pocket but falls back face down.

[D]

Stupid bastard.

[A]

Peggy Lee sings. Is that all there is? Vince reaches down and turns Sal's face up. Sal whips his right arm and the razor comes from nowhere and slices Vince's knife neck. Vince staggers back, clutching his throat and gasping for air. He looks towards s in his last seconds of life and almost seems to smile, then falls to the ground dead.

[C]

Tonight I watch two old ghosts.

[E]

Nice, amazing. And he shits his pants at the end.

[B]

Can you give us the pants, Joe? We took that line. We took no narration.

[D]

See, at Joe's age, that's what it's all about.

[A]

Anthony comes running up to his uncle and opens his shirt, trying to remove the bulletproof vest that has at least four shots in it. However, when Anthony spots the neck wound, he stops. Sal motions for Anthony to come closer as he whispers into his ear. Peggy Lee continues singing as we hear the sound of a phone ringing. Interior, Pioneer Diner, McGetchin, West Virginia. Early early morning. Peggy Lee is still singing Hera now wearing a name tag that says Betty Ann is working as a waitress. She's running her buns off, trying to work the breakfast crowd. The waitress from before calls out to

[F]

her Betty Ann phone. Make it fast, hon.

[A]

Betty Ann McCormick picks up the phone by the cash register. She can't hear who's at the other end.

[C]

Hold it.

[A]

She reaches behind the register, turns a dial, and the Peggy Lee song fades out.

[C]

Yes, this is Betty Ann who? Yes, yes, I understand.

[A]

Betty Ann McCormick hangs up the phone and stands there, motionless. The salty waitress carrying four plates of ham and eggs comes up to her.

[F]

What's the matter, Kate?

[C]

My friend Sal, his. His nephew called to tell me.

[F]

Tell you what?

[C]

To have a wonderful life.

[F]

Oh, yeah? Well, how about making my life wonderful and start passing out those eggs? Okay, one more time.

[B]

No, we like possing out.

[A]

Yeah, pass the eggs.

[B]

Yeah, pass the eggs.

[F]

Now how about making my life wonderful and start passing out those eggs?

[C]

Sure, Anything you say.

[A]

Betty Ann McCormick reaches behind the counter and turns up the sound. Peggy Lee sings. Is that all there is? We see Betty Ann doing her job. We even see her serve coffee to young Jeff, who can't keep his eyes off her. Slow fade to black. The end.

[F]

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[A]

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[F]

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[A]

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