Table Read - MY LADY'S SONG - Act 3

Episode Date: April 7, 2026

A mother is murdered. A tape destroys everything. And a driver who kept his mouth shut for twelve years finally decides to speak — with blood.ACT THREEThe blackmail worked.That’s the problem.Because once the truth is out, there’s nothing left to negotiate.Only what it costs.Sal is done driving.He’s done surviving.And for the first time since he walked out of prison, he’s not trying to stay clean... he’s trying to settle accounts.Hara finally reveals what Lotta really built, not a hustle, not a side game, but a system designed to take down men who thought they were untouchable. Vincent moves to contain it. Charlie gets caught in the fallout. And Carmela... the only innocent in a guilty world, pays for all of it.That’s the moment the story breaks.Not when the tape surfaces.When the family does.Act Three is not about power.It’s about what power does when it slips.Doors close. Phones stop ringing. Old friends don’t answer.And the men who used to run everything start hiding from one man who has nothing left to lose.Sal isn’t looking for a way out.He’s looking for the last word.And it’s waiting in a garage... one hostage, one voice over the intercom, and one decision that decides who walks and who gets carried out.My Lady’s Song was never about blackmail.It was about what happens after.This is the part nobody survives.🎭 CASTSAL – Ronnie MarmoCHARLIE – Sam McMurraySENATOR BAXTER / THE JOHN – Joe MantegnaVINCENT – Dan LauriaHARA – Gia MantegnaLOTTA – Ally DunbarDONNA – Janelle MarmoCARMELA – Patty McCormackPORN DIRECTOR – Robert WuhlLEO – Zeke AltonANTHONY – Alec LeonardNARRATOR – Vanessa RichardsonWith additional performances from:Janelle Marmo, Ally Dunbar, Gia Mantegna, Zeke Alton, Alec Leonard🎬 PRODUCTIONDirected by Jack Levy & Mark Knell Executive Produced by Shaan Sharma, Mark Knell, and Jack LevyTable Read is a Manifest Media production.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Act three. Sal has broken the code of La Familia and has killed family in order to save Hara. Vince forces Sal to bring Hara back by putting Sal's family in danger. Does Sal bring Hara 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. Right where you belong. Interior, Hera's hotel room, Chicago, night. Hera 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. Who is it? Sal. Hera 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.

Oh, my God. We've got to get out of here. Can you give me a little more example? We got to get out of here, read. The line above, you just give you your two-mind-views and, you know, he's out of breath. He's out of breath. Straight off the fight.

I just had lasagna. I don't know who guys know. And it can't know. All right, here we go. Who is it? Sal. 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. Oh, my God. We got to get out of here. Sal falls through the doorway and onto the floor. Interior, Black Lincoln Town Car night. Hara 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 baggy of ice to his face. The Nancy Wilson song ends. We gotta get you to a hospital. He drops the ice bag. No, no hospital. I gotta call Vince. He just tried to kill you.

No, no, he would never do that. Unless he had to. 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. Yeah.

Vince. Sal, my man, Leo got there. Yeah, yeah, Leo got here all right. Said you sent him to do the girl and me. Oh, you know that ain't true. I'll kill that rap bastard with my bare hands. Sal, Leo wanted a piece of your ass from Daywood. You know that. I swear. We didn't send them for you.

Charlie, relax. I know. You never sent a punk like that for me. Sal, but you didn't try to protect that girl, did you? I didn't have time to do shit. That stupid fuck came at me with those big ham hawks of his. No weapon? Where is he now? His body's laying on a garbage dumpster behind the hotel. Benson, Uncle Charlie laughed. Sal, the Barber, you're a rock, a fucking Stone Age rock, a petroprite rock that can't even be scratched.

What are you, a philosopher now? He's scratching me good. I'm not going to be able to head back for a few days. He bust you up, bed? I think I got a couple of broken ribs. Yeah, you're getting old, Sal. 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. What about the girl? Are you kidding? After seeing my face in Leo in the alley, with his brains pouring out of his ears, she took off. I ain't any shape to go after her. I'll take care of her.

You just get back here as soon as you can. I just need a day or two. You need anything you call Charlie. 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. Interior, black Lincoln town car night, traveling, moving along I-55 from Chicago to St. Louis.

He bought it? For now. I'll get off at a train station and you'll never see me again, I promise. 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 50-50 chance. Vince will find you. Don't worry about me. I'll get by.

How? As long as I got what men want. If I could raise my hand right now, I'd slap your face. I'm trying to get you out of this. If you care anything about yourself or me, you'll do as I tell you. Sal, why? Why are you doing this for me? I don't know. Maybe because no one ever

Just drive Where are we going? St. Louis, the C-Sid That old junkie, he works for Vince? We did eight years together. He owes me And he's the only one I know who can get you your papers fast. He's scum, a pervert. We got to take a shot.

Now just shut up and drive. Put on some music. Hera presses play. Eartha Kit sings St. Louis Woman. Exterior, Black Lincoln Town Car early morning. We drive down I-Fee. 55 to St. Louis as Eartha sings. Night turns to morning as we hear in voiceover.

One of those stupid questions. What? What's your real name? Lily and Scott. From Kansas. Lily. Like the flower. Lily's always reminded me of the old phonograph horn on the RC ads.

You know with the dog? Nah, you're too young. Of course, the ad horn wasn't white, but I used to think that God's spoke to the world through the Lilly Horn. We was all just too damn busy to listen. You look pretty with the sun coming up behind you, Lily. Leo must have hit you good.

Go back to sleep. Rest. 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 eye club, it's a triple X-rated video center, an exotic lingerie boutique. 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 striptees. Hold on, hey, gee, what was it like for you hearing your dad make you? All right, page 90. Everybody, move it along. 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, What do you have? How about some real music? What?

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 steak for that map of yours? Very funny. Diet Pepsi for me. How about you? Kettle 1 and tonic.

Sal gives her a look On second thought How about it, ginger ale? Not too much ice. Couple of high rollers. This girl could use some pointers. Don't get any ideas, Miss Lily and Scott. 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. Hey, hey, how about a big hand for the young, ladies first try. Hey, ha, ha. You got the makins, 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 going to believe this. But yesterday, a mushroom walks into Sid's bar. Yeah, no, 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.

laughs and booze from the crowd. Sid is about to tell another when he spots Sal at the bar. Sal waves. Hey, hey, all right, boys. Sid'll give you a break. No more jokes. For a while. Now, let's get on with the Amidus Show.

Next, here is a young lady to try her hand and all other parts at the art of the strip dance. Jack, hit it! 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. What the fuck happened to you? I need your help.

Interior, Sid Sin City Club office late afternoon. Hera stands against a light-colored wall as a flashbulb goes off. Sid has just taken her photo. She's going to need everything. Passports, Social Security, driver's license, the whole show. Okay, what was her... Never mind. I don't want to know her real name or where she comes from. What do you want to know?

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. I'll wait for Sal. It's okay. I can make it by myself. Just bring on the bags. 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. Go ahead. I'll be right there. Hera exits. Sid removes his jacket and throws it across his desk,

then enters a backer. 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 know more than 15 years older there. One of the boys is freebasing. The other draws on a bong. The young girl who is on the stage is filling a needle with juice. Sid puts on a smoking jack. 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.

That's your private stock? It's not what you think. Then when you're well, I'll get you a piece that'll make that look like yesterday's lunch. Sure, Sid, but right now I just want new papers for her. How long? Tomorrow night, maybe next morning. 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. Sal, Sal, how could you? I figured you owe me one, Sid. This isn't like you. Look, let Sid talk to Vince.

See what I can... No, Vince tried to have me killed. That's not so. You'd be lying in a prison morgue if it wasn't for me. Sure, Sally. Yeah, sure. For you. But then Sid has always had a soft heart.

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 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. Hara drives west along I-44. 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 lawns 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. The nurses say you like to come out here. I can see why. It's beautiful.

The nurses. The nurses steal from me. They do not. They do. Oh, they do. The nurses steal my makeup when I'm sleeping. Now why would they do that? Because when I look good, their boyfriends notice me. They watch me.

And the nurses get jealous. I bet they do, Mama. I'll just bet they do that. When I dress up, my hair is done just. right? Like Rita Hayworth. My lord knows I'm the definitive source of beauty and style. Oh. Yes, I am. I have some makeup that I could use. I'll be sparing of it. Sure.

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. Oh. Oh my This will do nicely Mama I sent you a check To this hospital

Almost all the money I had That shall 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? Oh

My yes Don't you go worrying about me Roy will be here Anytime now Roy? I want to look nice for when Roy comes back for me. Mama Roy ain't coming back.

Yes, he will. You just see. He knows where his bread is buttered. Mama, Roy was a drunken bum. Shh, child. That ladylike of you to talk about your daddy that way. My stepdaddy was a pig. He was my husband.

My husband. He provided for us. Mama, he had me every. Every time you left me. That is not true. Every time you left the house. No. Every time and you knew it.

That is not true. You are confusing me. God. I wish it wasn't true. Roy had problems with your sister. That slut in her lying waves. My sister? That slut Lily who took my Roy away from me, my own blood.

Mama, I'm Lillian. I'm your only... 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. How do I look now? Ain't I just the prettiest thing?

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 Sin City late afternoon. He sings as a light blue Lincoln town car, Pimpmobile, 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. Song ends. Sal, so what did the good doctor say?

A couple of busted ribs of butterfly from my eye. I'll lift. Thanks for the car. You're moving better. Now, how about a little recreation? Now, my friend Joy there can be gentle. when she wants. Sid indicates the girl fixing the needle.

She smiles at Sal. She looks as gentle as a lioness. The back brace helps, but I don't think I could handle anything as lovely as young joy. Did Lily come back? Do you really expect her to? She needs her papers. They ready? Oh, oh, they were done in an hour.

All I needed was Lilian's photo. Why didn't you... During the following dialogue, the young girl takes the needle to Sid, who opens a ring on his index finger. The girl carefully fills the ring with the liquid. Sid closes the ring top and turns it palm down. He touches the ring to his tongue and enjoys the jolt it gives him. You see, a lovely young girl by the name of Betty and McCormick dies suddenly in New York City.

Natural causes date tells Sid. Uncle Charlie sends Sid her papers. Best to do these things right away. I believe you knew Ms. Betty N? No, I didn't know her. Oh, one of Sid's discoveries. A lot of menace, her professional name. Cut the crap, Sid.

You know who Lily is. So what's that to do to the odds? Sid never forgets a nice piece of ass. Anyway, Vince put out the word about Howard before you ever got here. Sal, Sid has lived too long, for it's too late in the game for me to start crossing a man like Vince. Uncle Charlie's waiting in your room. You're enjoying this, aren't you? Sid smacks the nude girl's ass with the palm of his hand,

and she reacts with a smile. Sid enjoys life, and death. I should kill you right now. 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 getting one of Sid's cars and go back to New York City. Uncle Charlie will never buy that. He might when he sees your face. He'd kill me when he sees my face. But don't be a fool. You can't run. Vince even knows about her mother at the nut house.

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. Tell me something I don't know. Interesting. So how far does loyalty go with men like us? It's your call, Sal. Thanks for nothing.

Yes, it tries to please. Just let her go to your room, and Uncle Charlie will... I mean, you'll be off the hook. Maybe. I want Lillian's photo on those papers, and I want a pink slip for one of your cars. And I want it now. They're on the table. Sal, don't play Sir Lance a lot.

It doesn't fit an ex-con like you. Take it from Sid. He's a wise old bastard. Sal takes the papers. Sid, if you crossed me. Sid? Never. Now, run.

Billy Holiday sings Stormy Blues. Exterior, SIDS 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. Billy Holiday continues singing as Twilight turns to night, and the Black Lincoln Town Car pulls into the motel parking lot. Hera 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. 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. 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 cover 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 chair. 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. Harris stands in the doorway as Sal comes face to face with the dying Uncle Charlie. I see.

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

Oh, Jesus, this hurts. Says that you're doing all of this for a piece of ass. Well, I taught you better than that. It's not about that, Charlie. What, you mean you ain't doing this, girl? No. Oh, oh, well, now, um, you're... Really fucking confused.

Uncle Charlie slumps over, dead. Judy Garland sings somewhere over the rainbow. Get our bags ready. Put them in the light blue lincoln around back. 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, Sid Sin City Back Lounge, late evening.

The song continues as the young lady. 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 Sid'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 did they call him uncle? He ain't nobody's uncle. You're wrong there. Vince's Anne 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. No shit. Believe me, you don't want to know what Uncle Charlie did to the guy who ordered that head. He had blood in the mouth ever since. Blood in the mouth? It was always business with Charlie. Now he enjoys it. Did enjoy it.

I bet Vince has a little blood in his mouth. Gallonsworth. 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. Interior, light blue town car night, traveling. Why are we heading east? Right now I'm not sure where you're heading,

but I'll have to head to you sooner or later. Why? We'll try to make Columbus by tonight. They'll put you on a plane or train or something in the morning. Exterior, light blue Lincoln town car, twilight tonight. The day now passes tonight as we approach Columbus, Ohio. Keeley 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. Hello, Ma? Interior, Sal's kitchen Bensonhurst, Brooklyn, evening. Intercut phone conversation between locations. Sal, where are you? I'm in a hotel. Oh, you should be here tonight.

We got everything you like. I wish I could be, Mom. 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. I could use it. We all could. Who's that?

My boyfriend is here. Vince is there? Vince is sitting at the table cutting vegetables for salad with a large chopping knife. Hello, my friend. Ma, what's he doing? I'm making salad. He took me for a ride in the big white bus.

You know the one you had here before you went away? Sal, she loved the T-Bs. Oh, what a big car. No wonder you had Anthony help you clean up. It's bigger than a bedroom. Please, Vince, I'll do anything. You left me no choice. Leo, we could have worked out.

But Charlie... What are you two talking about? Vince, don't do this. What I got to do? You knew the rules. What rules? What for you talk about rules? You go against family, we kill you.

Killed family, we kill. killed family. Well, I'm killing. I don't like this talk. Vince, don't! 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. You hear her die? I'm going to kill you, Vince. Vincent sits at the table and speaks calmly. That's right. You're going to come back and try to kill me. Only you're going to to bring that slut with you. Forget the girl. This is between

you and me. No more lies, Sally. No more lies. You bring her back, or I'm going to play a little game with your lying nephew and a welding torch. Don't make me do that. 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 crossed the camera as Edda James. sings, Someone to Watch Over Me. Interior, Sal's hotel room continuous. Edda 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, Edda James finishes her song, then we hear in voiceover. Sal, when do I get off this merry-go-round? I got papers now.

You get off when I say. I was just wondering. Well, don't. I'll make the moves. Why are you acting this way? Interior, light blue Lincoln town car afternoon. During the following two scenes, images of Lada and Hara having sex in the back of Sal's limo

keep flashing through Sal's mind. Why? Why? Because you don't listen. Sal, that's not true. I listen to everything. Oh, yeah? Flash. When did I not listen to you? I told you. No phone calls, no letters, no nothing to the outside.

I didn't. You mailed a check to your crazy mother in the nut house. How did they find out about that? I told you they know everything. Everything. Flash. Sal, she's just a crazy old lady who doesn't even know me. Well, that's the last you see of her because they already traced the check. They wouldn't hurt her. She can't tell them anything about me.

They will use whatever they can to get what they want. That was a stupid thing to do. Stupid. Why are you talking to me like this? Because I had enough. Flash. I want to go to the train station. You know why?

You don't trust me anymore, huh? I didn't say that. I served my purpose. Now, fuck, Sal. Right? Am I right? Answer me. You don't trust me?

To get the fuck out. Now! 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. Sal, Sal, what are you doing? Get out! Get the fuck out, bitch!

Hara doesn't get out. Sal starts pulling her out of the car. Hara is scared out of her mind. Stop this, Sal, please. You're scaring me. Why? Why are you doing this? You question me? You fucking question me after what I've done to save your worthless life? I'm not worthless.

Worthless? Piece of shit. Flash. I'm not worthless. Sal reaches into the backseat and throws out two pieces of Hara's luggage. And save your own fucking ass. You wouldn't even last the day without me. Now go fuck yourself a ride someplace.

Satt you. You're on your own. Please. Let go of me. Lash. Sal pushes her away, gets in the car, and takes off. Hara 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 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. I'll be right back. 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. Hera just smiles and looks away. The young man comes over to the booth. Excuse me. My name is Jeff Tyler. Good for you. You just come in from Missouri? How did you know that?

I just saw your license plate. I didn't mean to pry. I went to school in Jefferson City. Learn anything? Excuse me? Sal comes up behind Jeff. During the following conversation, Sal just stares at Jeff up and down. This is Jeff.

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

Jeff goes back to his dinner at the counter as Sal gets into the booth. He thought I was your daughter? I don't think that's so funny. Hmm. I thought it was nice. I didn't think they made Hicks like him anymore. He scared the shit out of him. The waitress comes over. Hello, welcome to the pioneer.

What can I get you? How's the stew here? I wouldn't serve it to my cat. My kind of place. Tell me, sugar, what do you recommend? Not a bad steak, and we have the best burger you ever ate. It comes with fries. Burger and a beer for me.

Betty Ann? I'll have a turkey burger and water. All right, I'll be right back with those drinks. Probably hasn't got a dime. Who? Jeff Tyler. Most likely the son and grants of him, coal miners. That's what this area used to be known for.

What do you think he does now? I don't know. High school gym teacher, coach is baseball. Yeah, he looks the type. I thought he recognized me from, 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.

Thanks, Sal. That's how he looked at me, like he, you know. Like you 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 can you see me in a life like that sal takes hold of her hand yeah i can't that's too late you got a new life handed to you could you live that life i'd give anything to have had a life like that sal what's wrong look uh about what happened back there on the road i um i'm kind of in a uh sal i'm in for the whole i'm in for the whole i'm in for the whole 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 oh shit. I have to go to the John just play some music will you? 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. Sal writes a note to Hera that reads, Take this job. If you don't hear for me or my nephew Anthony in two days, run for it. Sal. P.S., you love me too. Sal folds the note and takes it with him. We listen to Sarah Singh.

We see Sal and Jeff going to the light blue Lincoln town car. Sal pulls Hera'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.

Hera 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 81-78 north to Allentown. Twilight. see the first signs for the Verrazano Bridge to Brooklyn, the fourth largest city in the U.S. of A. Sarah Vaughn 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. I know. That animal has my son. I know.

You know everything. You know your best friend killed my mother. You know. Your best friend killed my mother. You know he's going to kill my son. You know that you and your dirty, filthy world killed everything I loved. Donna, I'll make him pay. I promise. Donna gets up and starts smacking Sal's face. Pay? Is that all you can think of?

Making someone pay for your sins? Sal grabs her arms and holds her close to his chest. He's... I won't. Anthony will be back in the morning. I promise. We hear Billy 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, Knight. 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. May I help you? 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 Sal, the driver of the limo he fucked those porno stars in, is here. The aide is in shock. He tries to say something to Sal, 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, excuses himself, and walks over. What? No porn stars. Listen to me.

No. You listen to me because I'm going to do you a favor. And what might that be? 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 lotter. What would you want for that?

Not a fucking thing. That's very generous of you. Well, that was easy. Hey, asshole, nothing's easy. If a certain party like Harare Reams even gets a cold whether I'm still around or not, your naked ass will be all over the nightly news. You got my word. Now I'm worried.

Call Vince and tell him I'm coming to the garage. Sal exits and slams the door behind him. Exterior LaSalle Limo Service garage late night. It starts to drizzle as Sal drives up to the enormous garage door of the LaSalle Limo Service. The ambient New York City nightlight 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, LaSalle 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 Lada. 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. Uncle Sal, please. A few moments of excruciating silence before we hear Vince's voice over the PA system. Sally, boy, my old friend.

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. I could remember a time when you weren't afraid to talk to me face to face. 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. Sal pats his breast pocket. She's right here.

You know I'll kill the kid if I have to. Now, no games, where's the girl? Sal holds up a piece of paper. 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. You were supposed to bring her. This way you can pick her off any time you want.

Charlie always said, Revenge is a dispest served cold. That's very obliging of you. Uncle Charlie would be proud of you if he were still alive. Release the kid. How do I know what's on that paper? I give you my word. Your word means nothing since you've been fucking that putan.

Let the kid go, Vince. This is between you and me now. There's a long pause, and finally the lift goes down, and Anthony's able to release his arms from the rung of the lift. He runs to Sal, who unties him. Uncle Sal, he killed the... I know, I know. Now, 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. 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. 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 purse limo. Sal puts the piece of paper back in his breast pocket and starts walking around the garage looking for Vince. No, Vince. I think I'll let you come and take it from me. You and me. Is that it, Sal? You and me, the two best. How could you do that to Carmella? That was your fault. You prick. You killed Charlie.

That was different. Charlie would have killed me. My mother never heard. You killed family. You know the rules. Fuck your rules. You killed her and I'm going to kill you, Vince. 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. You are becoming a very hard man to have a nice conversation with Sal. Vince, you cheap fuck. You should have invested in wireless. You're behind the times. After I kill you, I'll call up Anthony and hire him to put in a new system. I'm in since he knows so much about all this new tax. Yeah, he's good at that.

Too bad, you won't be around to see some of the tapes he got. 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 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.

You hit me, you prick? You're going to die? No, no, I don't think so. You'll have to do better than that, Sal. Vince works his way to a chain that's locked in a vice on the workbench. Sal starts working his way towards Vince. I figured you wouldn't be that easy to kill. Glad you hit me, Sal.

It's just what I needed. I'm getting a real hive from this. This is how it should be for men like us. The last two real warriors left. Warriors? What warriors? Two old mean fuckers. trying to kill each other because of a girl.

Just two dinosaurs with nothing left to do. Maybe you have nothing. Here's a little surprise for you, Sally. 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 vice 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 get the pistol and fire two quick shots. Bigger. Yeah, you're being torn alive, it says. He's torn alive. Yeah.

I'm going to fight you? 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. You stupid fuck, you could have had anything you wanted. You had to go play night and shine. armor for a piece of ass. It wasn't about that.

Then you're a bigger asshole than I thought. I'll take that note now. Sal tries to pull the note out of his breast pocket but falls back, face down. Stupid bastard. 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 neck. Vince staggers back. clutching his throat and gasping for air. He looks towards Salon his last seconds of life and almost seems to smile, then falls to the ground, dead. Amazing.

And he shits his pants at the end. Did you give us shit the pants? Joe, we took that line. We took that in there. See, at Joe's age, that's what it sounds like. Anthony comes running up to his uncle and opens his shirt, 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, McMetchin, West Virginia 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 her.

Betty Ann, phone. Make it fast, hon. Betty Ann McCormick picks up the phone by the cash register. She can't hear who's at the other end. Hold it. She reaches behind the register, turns a dial, and the Peggy Lee song fades out. Yes, this is Betty Ann. Who? Yes. Yes, I understand.

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 What's the matter, Kate? My friend Sal, his nephew called to tell me

Tell you what? To have a wonderful life. Oh, yeah, well, how about making my life wonderful and start passing out those eggs? Okay, one more time. You're like pausing up. Yeah, pausing. Pass the eggs.

Yeah, posse the eggs. Now, how about making my life wonderful and start passing out those eggs? Sure. Anything you say. 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. If that's all there is.