Speaker 1: At three, Sal has broken the code of La Familia
Speaker 1: and has killed family in order to save Hara. Vince
Speaker 1: forces Sal to bring Hara back by putting Sal's family
Speaker 1: in danger. Does Sal bring Hara back to meet her
Speaker 1: fate with Vince? Or do Sal and Vince meet and
Speaker 1: have the inevitable Vinyl showdown? Interior Sal's Hotel Room, Continuous,
Speaker 1: Right way you belong? Interior Harrah's Hotel Room, Chicago night.
Speaker 1: Harah has just come out of the shower. She's in
Speaker 1: the hotel bathrobe, her hair done up in a towel.
Speaker 1: There's a faint knock at the door. She cautiously goes
Speaker 1: to the door.
Speaker 2: Who is it, Sah?
Speaker 1: Harah opens the door to see Sal, his face beaten
Speaker 1: to a pulp. Sal is holding his jacket, an overnight bag,
Speaker 1: Leo's pistol in his belt.
Speaker 2: Oh my god, we gotta get out of here.
Speaker 3: Can you give me a little more?
Speaker 4: Exhausted?
Speaker 5: We got and he's out of breath, straight off the fight.
Speaker 2: I just had lasagnas.
Speaker 3: All right?
Speaker 2: Here we go? Who is it?
Speaker 3: Sal?
Speaker 1: Parah opens the door to see Sal, his face beaten
Speaker 1: to a pulp. Sala is holding his jacket, an overnight bag,
Speaker 1: Leo's pistol in his belt.
Speaker 2: Oh my god, we gotta get at you.
Speaker 1: Sal falls through the doorway and onto the floor. Interior
Speaker 1: black Lincoln town car night Parah drives. Salah is in
Speaker 1: the front seat, leaning against the passenger door, reeking of pain.
Speaker 1: His left arm cradles his broken ribs, and his right
Speaker 1: hand holds a zip lock baggy of ice to his face.
Speaker 1: The Nancy Wilson song.
Speaker 6: Ends, we gotta get you to a hospital.
Speaker 1: He drops the ice bag.
Speaker 2: Oh, no, hospital, I got a call fence. He just
Speaker 2: tried to kill you. No, no, he would never do
Speaker 2: that unless he had to.
Speaker 1: Le sal Limo Service Office late night. Uncle Charlie and
Speaker 1: Vince played gin waiting for Leo's call. The phone rings.
Speaker 1: Vince puts the call on speaker. Intercut between front seat
Speaker 1: of town car and office.
Speaker 4: Yeah, Vince, sal my man, Leo get that.
Speaker 2: Yeah, Yeah, Leo got here all right. Said you sent
Speaker 2: them to the girl and me.
Speaker 7: Oh you know that ain't true. I'll kill that rep
Speaker 7: bested with my bare hands.
Speaker 4: Sal Leo wanted a piece of your ass from day one.
Speaker 4: You know that. I swear we didn't send them for you.
Speaker 2: Charlie, relax, I know you never said a punk like
Speaker 2: that for me.
Speaker 4: Sal You didn't try to protect that girl, did you.
Speaker 2: I didn't have time to do shit.
Speaker 5: That stupid fuck came at me with those big hamhockses
Speaker 5: no weapon.
Speaker 4: Where is he now?
Speaker 2: His body's laying on a garbage dumpster behind all hotel.
Speaker 1: Vince and Uncle Charlie laughed.
Speaker 7: Sala, Barbo, You're a rock, a fucking stone age rock,
Speaker 7: a petrified rock that can't even be scratched.
Speaker 2: What are you a full? He scratched me good. I'm
Speaker 2: not gonna be able to head back for a few days.
Speaker 4: They bust you up bed.
Speaker 2: I think I got a couple of broken ribs.
Speaker 4: Ah, you're getting old South, Yeah.
Speaker 2: I no shit.
Speaker 5: If he wasn't such an amateur, you'd be talking into
Speaker 5: a dead phone.
Speaker 2: He had to blood in the mouth, he talked when
Speaker 2: he should have just took a shot.
Speaker 4: What about the girl?
Speaker 2: Are you kidding? Have to see my face in lee
Speaker 2: in the alley with his brains pouring out of his ears.
Speaker 2: She took off. I ain't any shape to go.
Speaker 7: After I'll take care of her. You just get back
Speaker 7: here as soon as you can.
Speaker 2: I just need a day or two.
Speaker 4: You need anything, You call Charlie.
Speaker 2: Vince next time you try to kill me, don't it
Speaker 2: sold me? Send the prop Sal hangs up.
Speaker 4: His brain's pouring out.
Speaker 2: Is he.
Speaker 1: Interior? Black Lincoln Town car night traveling moving along I
Speaker 1: fifty five from Chicago to Saint Louis.
Speaker 2: He bought it for now.
Speaker 6: I'll get off at a train station and you'll never
Speaker 6: see me again, I promise.
Speaker 2: How are you don't know these people?
Speaker 5: You need a new identity passport and new Social Security number,
Speaker 5: not to mention money. Even then, it's a fifty to
Speaker 5: fifty chance Vince will find you.
Speaker 2: Don't worry about me.
Speaker 1: I'll get by.
Speaker 2: How as long as I got what men want. If
Speaker 2: I could raise my hand right now, I'd slap your face.
Speaker 6: I'm trying to get you out of this.
Speaker 5: If you care anything about yourself or me, you'll do
Speaker 5: as I tell you.
Speaker 6: So why why are you doing this for me?
Speaker 2: I don't know.
Speaker 5: Maybe because no one ever Just drive?
Speaker 2: Where are we going Saint Louis?
Speaker 5: This?
Speaker 2: He said? That old junkie he works for Vince. We
Speaker 2: did eight years together.
Speaker 5: He owes me, and he's the only one I know
Speaker 5: who can get you your papers fast.
Speaker 2: He's gom a pervert. We gotta take a shot now,
Speaker 2: just shut up and drive. Put on some music.
Speaker 1: Harah Press's play. Eartha Kid sings Saint Louis Woman exterior,
Speaker 1: black Lincoln Town Car early morning. We drive down I
Speaker 1: fifty five to Saint Louis. As Eartha sings Night turns
Speaker 1: to mourning.
Speaker 2: We hear in voiceover one of those stupid questions, what
Speaker 2: what's your real name?
Speaker 6: Lily and Scott from Kansas.
Speaker 2: Lily like the flower.
Speaker 5: Lily's always reminded me of the old phonograph horn on
Speaker 5: the RCADS.
Speaker 2: You know what the dog now you're too young. Of
Speaker 2: course the head horn wasn't white, but I used to
Speaker 2: think that God spoke to the world through the Lily horn.
Speaker 2: It was all just too damn busy to listen. You
Speaker 2: look pretty with the song coming up behind you.
Speaker 6: Lily, Leo must to hit you good.
Speaker 2: Go back to sleep, brust.
Speaker 1: Exterior, sid Sin City, early afternoons. Sid Sin City is
Speaker 1: the largest perversion oasis in the Midwest. Not only is
Speaker 1: it a club twice or three times the size of
Speaker 1: the Private Eye Club, it's a triple X rated video center,
Speaker 1: an exotic lingerie boutique, and a sex toy shop that's
Speaker 1: second to none. There also happens to be a motel
Speaker 1: right next door. The black Lincoln town car pulls in
Speaker 1: interior sid Sin City Club continuous. The lunch crowd is
Speaker 1: small but vocal as they cheer on a young girl
Speaker 1: who's obviously new to the strip. Tease, hold on, et,
Speaker 1: what was it like for you here in your day?
Speaker 4: All right, page ninety, everybody.
Speaker 2: Move it along.
Speaker 1: Haarrah, still dressed in her navy blue conservative suit, and
Speaker 1: Sal still hurting. Come up to the bar. Some mindless
Speaker 1: disco shit is playing, as the bartender says, what.
Speaker 5: Do you have about some real music? What tell Sid
Speaker 5: that sal Ma Reno from New York is here to
Speaker 5: see you.
Speaker 4: He'll be out in the second. You can tell him yourself.
Speaker 4: You want to drink or ross steak for that map yours?
Speaker 2: I have very funny Dievebepsi for me?
Speaker 4: How about you?
Speaker 1: Kettle one and tonic Sal gives her a look.
Speaker 6: On second thought, how about it ginger Ale?
Speaker 4: Not too much ice? Huh, couple of high rollers.
Speaker 2: This girl could use some pointers.
Speaker 5: Don't get any ideas, miss Lily and Scott.
Speaker 1: As the song ends, the young girl on stage finishes
Speaker 1: her feeble attempt. Sid parts the curtains and walks onto
Speaker 1: the stage. Sid is an old timer dressed in a
Speaker 1: very stylish outfit Armani suit, Gucci shoes, and a black
Speaker 1: T shirt.
Speaker 3: Hey, how about a big hand for the young ladies.
Speaker 2: First try?
Speaker 3: You got the makings, darling. Believe me, Sid knows you.
Speaker 8: Come to Sid's private office and Sid I'll give you
Speaker 8: a few pointers.
Speaker 2: Ah.
Speaker 8: Hey, hey, Felis, You're not gonna believe this, But yesterday
Speaker 8: a mushroom walks into Sid's barn.
Speaker 3: Yeah no, no, no, no, no, no, I mean it,
Speaker 3: And I said, I'm sorry, we do not served mushrooms here.
Speaker 3: The mushroom says, why not. I'm a fun guy.
Speaker 4: Fun guy.
Speaker 1: Laughs and booze from the crowd. Sid is about to
Speaker 1: tell another when he spots Sal at the bar.
Speaker 8: Sal waves, Hey, all right, boys, Sid'll give you a break.
Speaker 8: No more jokes for a while. Now, let's get on
Speaker 8: with the amateurs show. Next, here is a young lady
Speaker 8: to try her hand and all other parts at the
Speaker 8: art of the strip death Jack.
Speaker 1: Sid leaves the stage and goes right over to Sal.
Speaker 1: As the next girl comes on stage, Sid looks in
Speaker 1: Sal's eyes and then hugs him.
Speaker 3: What the fuck happened to you?
Speaker 2: I need your help.
Speaker 1: Interior Sid Sin City Club office, late afternoon. Harris stands
Speaker 1: against a light colored wall as a flashbulb goes off.
Speaker 1: Sid has just taken her photo.
Speaker 5: She's going to need everything passporard, social security, drive, his license,
Speaker 5: the whole show.
Speaker 3: Okay, where was her? Never mind? I don't want to
Speaker 3: know her real name and where she comes from.
Speaker 2: What do you want to know?
Speaker 8: I only want to know what my friend needs. Okay,
Speaker 8: here's a key to Cavin nine next door. It's the
Speaker 8: last room on the bottom floor.
Speaker 2: I'll wait for salth It's okay. I can make it
Speaker 2: by myself. Just bring in the bags.
Speaker 8: It's okay, I'll help show over. Don't you worry at all.
Speaker 8: Sid has got it all under control here. You are
Speaker 8: very lovely to look at my child.
Speaker 2: Go ahead, I'll be right there.
Speaker 1: Para exits, Sid removes his jacket and throws it across
Speaker 1: his desk, then enters a back room. Interior Sid's Sin
Speaker 1: City back Lounge, early evening. Sid's private lounge is like
Speaker 1: a chik's sexual playroom. Dark red curtains hang from everywhere.
Speaker 1: A large fluffy bed takes up most of the room.
Speaker 1: A nude young girl is passed out on the bed.
Speaker 1: Two young boys no more than fifteen years older there.
Speaker 1: One of the boys is freebasing, the other draws on
Speaker 1: a bong. The young girl, who was on the stage
Speaker 1: is filling a needle with juice. Sid puts on a
Speaker 1: smoking jacket.
Speaker 8: I would offer you something, but present can this and
Speaker 8: maybe next trip. You know, that's a nice piece of
Speaker 8: ash you got there. That's your private stock.
Speaker 2: It's now what you think.
Speaker 8: Then when you're well, I'll get you a piece that'll
Speaker 8: make that look like yesterday's lunch.
Speaker 3: Sure, I said, but.
Speaker 2: Right now I just want new papers for her?
Speaker 3: How long tomorrow night? Maybe next morning?
Speaker 2: Sid.
Speaker 5: This is between you and me, no one else, not
Speaker 5: even Vince. You can't do that. I'll be out of
Speaker 5: here tonight.
Speaker 3: So sah, how could you?
Speaker 2: I figured you owe me one.
Speaker 3: Sid. This isn't like you.
Speaker 2: Fuck.
Speaker 3: Let's Sid talk to Vince. See what I can.
Speaker 2: Vince tried to have me killed.
Speaker 3: That's not so you'd.
Speaker 2: Be lying in a prison Morgan. If it wasn't for me, sure, Sally, yeah,
Speaker 2: sure for you.
Speaker 3: But then Sid has always had a soft heart.
Speaker 1: Interior Sid's sin City motel room. Early morning. Ella Fitzgerald sings,
Speaker 1: Come rain or Come shine. Salas sleeping on the bed.
Speaker 1: Haah sits on the bed and applies a cold, wet
Speaker 1: towel to his still swollen face. Sal barely moves. Harah
Speaker 1: gets up, goes to the dresser and takes the car
Speaker 1: keys and exits the room. Exterior black Lincoln town car
Speaker 1: early morning. Hara drives west along I forty four. Ella
Speaker 1: Fitzgerald continues singing, Come Rain or Come Shine. Signpost reads
Speaker 1: Saint Cloud, Missouri, another sign reading State Psychiatric Hospital. The
Speaker 1: town car turns in exterior Psychiatric Lawn, Saint Cloud, Missouri. Afternoon,
Speaker 1: Harah pushes an old woman in a wheelchair towards a
Speaker 1: gazebo next to a beautiful pond. At a closer glance,
Speaker 1: we can see that the woman isn't as old as
Speaker 1: she appears. However, the woman is obviously in a world
Speaker 1: of her own. Ella stops singing.
Speaker 6: The nurses say you like to come out here? I
Speaker 6: can see why it's beautiful.
Speaker 9: The nurses A nurses stee they do not they do?
Speaker 2: Oh?
Speaker 10: They do? The nurses steal my makeup when I'm sleeping.
Speaker 2: Why would they do that?
Speaker 10: Because when I look good, their boyfriends notice me. They
Speaker 10: watch me and the.
Speaker 9: Nurse's skitchell us.
Speaker 6: I bet they do, Mama. I'll just bet they do that.
Speaker 10: When I dress up, my hair is done just right
Speaker 10: mm hmm, like Rita Hayworth. My Lord knows I'm the
Speaker 10: definitive source of beauty and style. Oh yes, I am.
Speaker 9: Do you have some makeup that I could use? I'll
Speaker 9: be sparing of it.
Speaker 1: Sure. Harah takes a small makeup kid with mirror and
Speaker 1: lipstick out of her pocketbook and gives it to her mother.
Speaker 1: Mama opens the kid as Hara turns and looks out
Speaker 1: over the pond.
Speaker 9: Oh mmm, my, this will do nice. Sleep.
Speaker 6: I sent you a check to this hospital, almost all
Speaker 6: the money I had. It shall last for a while year,
Speaker 6: year and a half. But that's it, Mama.
Speaker 2: No more. You can't count on me.
Speaker 6: No more, you understand, Mama.
Speaker 9: Oh why yes, don't you go worrying about me.
Speaker 2: Roy will be here anytime now, Roy.
Speaker 9: I want to look nice for when Roy comes.
Speaker 2: Back from me. Mamma.
Speaker 6: Roy ain't coming.
Speaker 9: Back, Yes he will. You just see. He knows where
Speaker 9: his bread is buttered.
Speaker 6: Mamma, Roy was a drunken bum hush child.
Speaker 9: That lady like of you to talk about your daddy
Speaker 9: that way.
Speaker 6: My stepdaddy was a pig.
Speaker 9: He was my husband, my husband, he provided for.
Speaker 6: Us, Mama, He had me every time you left me.
Speaker 9: That is not true.
Speaker 6: Every time you left the house. No, every time, and
Speaker 6: you knew it.
Speaker 10: That is not true. You are confusing me.
Speaker 1: God, I wish it wasn't true.
Speaker 10: Roy had problems with your sister. That's slut her lying
Speaker 10: way my sister. That's slut Lily who took my Roy
Speaker 10: away from me.
Speaker 1: My own blood.
Speaker 2: Mama.
Speaker 9: I'm Lilian, I'm your only Yes, yes you are.
Speaker 10: You are my Lilian who loves her Mama. And your
Speaker 10: sister Lily is the one who stole my husband with
Speaker 10: her cheap and sinful ways. But Roy is coming back
Speaker 10: because he don't like that trumpet type.
Speaker 2: How do I look? How do I look?
Speaker 3: Now?
Speaker 9: Ain't not just the prettiest thing?
Speaker 1: Harah stares at Mama's face covered with makeup that looks
Speaker 1: more suited to a circus clown than a Southern woman
Speaker 1: of beauty and style. Judy Garland sings summertime exterior sid
Speaker 1: Sin City, late afternoon, Judy sings as a light blue
Speaker 1: Lincoln town car mobile pulls into the parking lot. A
Speaker 1: bandaged Sal gets out of the passenger side front door
Speaker 1: and goes into the club. The car pulls away and
Speaker 1: parks by Room nine Interior Sid SID City Private Lounge,
Speaker 1: late afternoon. The young girl who was shooting up after
Speaker 1: her strip tease is now on Sid's bed, totally nude
Speaker 1: and totally strung out. Throughout the following scene, Sid sits
Speaker 1: up on the bed, back up against enormous pillows. Sid
Speaker 1: rubs the young lady's body with his right hand, while
Speaker 1: a nude young boy sits on the floor at Sid's
Speaker 1: left hand. A second young girl, partially dressed, is at
Speaker 1: Sid's dresser, working on the fixings for a needle.
Speaker 3: Song ends, soal so, what did the good doctor say?
Speaker 2: A couple of busted ribs, A butterfly from my eye.
Speaker 2: I'll lift. Thanks for the car.
Speaker 3: You're moving better.
Speaker 11: Now, how about a little recreation now, my friend Joy,
Speaker 11: there can be gentle when she wants.
Speaker 1: Sid indicates the girl fixing the needle. She smiles at Sal.
Speaker 1: She looks as gentle as a lioness.
Speaker 5: The back brace helps, but I don't think I could
Speaker 5: handle anything as lovely as young joy Lily come back?
Speaker 3: Do you really expect her to?
Speaker 2: She needs her papers?
Speaker 3: They ready? Oh oh they were done in an hour.
Speaker 3: All I needed was Lilian's photo.
Speaker 2: Why didn't you?
Speaker 1: During the following dialogue, the young girl takes the needle
Speaker 1: to Sid, who opens a ring on his index finger.
Speaker 1: The girl carefully fills the ring with the liquid. Sid
Speaker 1: closes the ringtop and turns it palm down. He touches
Speaker 1: the ring to his tongue and enjoys the jolt it
Speaker 1: gives him.
Speaker 11: You see you A lovely young girl by the name
Speaker 11: of Betty and McCormick die suddenly in New York City.
Speaker 11: Natural causes Day tells Sid Uncle Charlie sends Sid her papers.
Speaker 11: Best to do these things right away. I believe you
Speaker 11: knew missus Betty.
Speaker 2: N No, I didn't know her.
Speaker 8: Oh one of Sid's discoveries a lot of menace.
Speaker 3: Her professional name.
Speaker 5: Cut the crap, said, you know who Lily is? So
Speaker 5: what's that to do with the odds?
Speaker 8: Sid never forgets a nice piece of ass anyway. Vince
Speaker 8: put out the word about Harra before you ever got here.
Speaker 8: Soal Cid has lived too long for It's too late
Speaker 8: in the game for me to start crossing a man
Speaker 8: like Vince. Uncle Charlie's waiting in your room.
Speaker 2: You're enjoying this, aren't you.
Speaker 1: Sid smacks the nude girl's ass with the palm of
Speaker 1: his hand, and she reacts with a smile.
Speaker 3: Sid enjoys life and death.
Speaker 2: I should kill you right now.
Speaker 8: Why I told Uncle Charlie that you came here or
Speaker 8: beat up with Lillian?
Speaker 3: I mean, Sarah.
Speaker 8: It's not Betty yan yet. Listen, you've got a way out.
Speaker 8: I did that for my friend. All you have to
Speaker 8: do is get in one of Sid's cars and go
Speaker 8: back to New York City.
Speaker 2: Uncle Charlie will never buy that.
Speaker 3: He might when he sees your face.
Speaker 2: He killed me when he sees my face.
Speaker 3: But don't be a fool. You can't run.
Speaker 8: Vince even knows about her mother at the nuthouse, the
Speaker 8: stupid bitch center at check.
Speaker 3: Long as Vince is alive, they'll find her. No matter
Speaker 3: what you do. You can't cross her man like Vince.
Speaker 2: Now tell me something I don't know interesting.
Speaker 3: So how far does loyalty go with men like us?
Speaker 3: It's your call.
Speaker 2: Sal Thanks for nothing, he Sid.
Speaker 8: Tries to please just let her go to your room,
Speaker 8: and Uncle Charlie will live. I mean no, no, you'll
Speaker 8: be off the hook.
Speaker 5: Maybe I want Lilian's photo on those papers, and I
Speaker 5: want a pink slip for one of your cars, and
Speaker 5: I want it now.
Speaker 8: They're on the table. So don't place, sir Lance a lot.
Speaker 8: It doesn't fit in next con like you take it
Speaker 8: from Sid. He's a wise old bestard.
Speaker 1: Sal takes the papers Sid.
Speaker 2: If you crossed me, Sid, never now run.
Speaker 1: Billy Holiday sings stormy blues storm exterior Sid's sin City
Speaker 1: Motel twilight. As Billy sings, we see Sal come up
Speaker 1: to the light blue Lincoln town car. He looks at
Speaker 1: his hotel room door. He gets into the light blue
Speaker 1: limo and pulls away. Billy Holiday continues singing as twilight
Speaker 1: turns to night and the black Lincoln town car pulls
Speaker 1: into the motel parking lot. Harah gets out of the
Speaker 1: car and walks toward her hotel room door, the last
Speaker 1: room on the bottom floor. Harrah's about to insert card
Speaker 1: key when a hand covers her mouth and pulls her away.
Speaker 1: It's Sal. Billy stops singing.
Speaker 5: Woo, don't scream, Uncle, Charlie's inside, give me a minute,
Speaker 5: then put the card key in the lock and push
Speaker 5: her open the door and then hit the deck.
Speaker 2: One minute.
Speaker 1: Sal goes to the back of the motel room. There's
Speaker 1: a public garbage can just to the side of the
Speaker 1: French doors. Sal takes the cover off the garbage can
Speaker 1: and stands to the side of the French doors. Sal
Speaker 1: peeks inside and sees a sleeping Uncle Charlie with his
Speaker 1: arm resting on the arm of a large cushioned chair.
Speaker 1: After a moment, Parah puts the card key in the
Speaker 1: door and kicks the door and it flies open. Uncle
Speaker 1: Charlie jumps to his feet and fires at the door.
Speaker 1: Sal slams the garbage can cover onto the French windows,
Speaker 1: breaking the glass. Charlie turns and fires toward the French doors.
Speaker 1: Sal fire's back, putting three bounds into Charlie's chest, spinning
Speaker 1: him around. Uncle Charlie sinks back into the cushioned chair.
Speaker 1: The pistol falls from his hand. Parah stands in the
Speaker 1: doorway as Sal comes face to face with the dying
Speaker 1: Uncle Charlie.
Speaker 2: Yeah, he.
Speaker 9: Per see, hey, hey, hey he oh we.
Speaker 2: Said he was the best I had a great teacher here.
Speaker 4: But I taught Vince too.
Speaker 2: Vince comes after me, or Harry's going to get the
Speaker 2: same thing Vince.
Speaker 4: Vince won't crumb after you. He'll make you come to him.
Speaker 2: You're probably right.
Speaker 4: Oh Jesus, this hurts.
Speaker 2: Says that you're doing all of this for a piece
Speaker 2: of assh I taught you better than that. It's not
Speaker 2: about that, Charlie.
Speaker 4: Ohy, you mean you ain't doing this?
Speaker 2: Girl? No?
Speaker 8: Oh oh well nah hem really fucking confuse.
Speaker 1: Uncle Charlie slumps over dead. Judy Garland sings somewhere over
Speaker 1: the rainbow.
Speaker 2: Get our bags ready, put them in the light blue
Speaker 2: Lincoln around back.
Speaker 1: Sal tosses the keys and exits. We follow Sal across
Speaker 1: the parking lot and through the strip club. Disco is playing,
Speaker 1: but we only hear Judy singing somewhere over the rainbow.
Speaker 1: Interior Sid sin City back Lounge, late evening. The song
Speaker 1: continues as the young ladies from before are both nude
Speaker 1: and rubbing up to Sid. The young boy is at
Speaker 1: the dresser snorting cocaine. Sid is about to receive an
Speaker 1: oral sexual favor from one of the young girls. When
Speaker 1: the door flies open, Sal fires one shot into Sid's forehead.
Speaker 1: The girls scream and look towards Saal in sheer fright.
Speaker 1: Sal looks around, then walks out. The two girls and
Speaker 1: the boy look at Sid and then run to the drugs,
Speaker 1: which they try to carry off. Exterior Route seventy East,
Speaker 1: night into day. Judy continues singing as we see the
Speaker 1: blue Lincoln town Car traveling east towards Indianapolis. The song
Speaker 1: ends as we hear in voiceover.
Speaker 2: Say, why did they call him uncle?
Speaker 6: He ain't nobody's uncle.
Speaker 2: You're wrong there.
Speaker 5: Vince's Anne on his mother's side, was married to Charlie
Speaker 5: for over thirty years. Two amateurs tried to take Charlie
Speaker 5: out and got her. Charlie got them no shit. Believe me,
Speaker 5: you don't want to know what Uncle Charlie did to
Speaker 5: the guy who ordered that hit. He had blood in
Speaker 5: the mouth.
Speaker 2: Ever since, blood in the mouth, it.
Speaker 5: Was always business with Charlie. Now he enjoys it, did
Speaker 5: enjoy it.
Speaker 6: I bet Vince has a little blood in his mouth. Gallinsworth.
Speaker 5: No, no, no, Vince don't care. He'll do whatever he has
Speaker 5: to do, but he don't care.
Speaker 2: That makes him even more dangerous.
Speaker 1: Interior light blue town car night traveling.
Speaker 6: Why are we heading.
Speaker 2: Nie right now?
Speaker 5: I'm not sure where you're heading, but I'll have to
Speaker 5: head east sooner or later. Why we'll try to make
Speaker 5: Columbus by tonight. They'll put you on a plane, in
Speaker 5: our train or something in the morning.
Speaker 1: Exterior light blue Lincoln town car twilight tonight. The day
Speaker 1: now passes tonight. As we approach Columbus, Ohio, Keeley Smith
Speaker 1: sings that old black magic Interior Hotel room in Columbus, Ohio.
Speaker 1: Early evening, Sal sits at the desk looking at a
Speaker 1: train schedule from Columbus to points anywhere. He then picks
Speaker 1: up the hotel phone and dials Hello, Ma Interior. Sal's kitchen,
Speaker 1: benson Hurst, Brooklyn. Evening intercut phone conversation between locations.
Speaker 9: Sal, where are you?
Speaker 2: I'm in a hotel?
Speaker 9: Oh, you should be here tonight.
Speaker 11: We got everything you like.
Speaker 2: I wish I could be Mom.
Speaker 1: Carmela is standing at the phone. She walks to the
Speaker 1: stove with the cordless phone to stir her boiling sauce.
Speaker 1: We say a prayer for you.
Speaker 4: I could use it, we all could.
Speaker 1: Who's that my boyfriend this year?
Speaker 2: Vince is there?
Speaker 1: Vince is sitting at the table, cutting vegetables for salad
Speaker 1: with a large chopping knife.
Speaker 4: Hello, my friend Ma, what's he doing? I'm making salad.
Speaker 1: He took me for a ride in the big white bus,
Speaker 1: you know the one you had here before you went.
Speaker 4: Away, sALS. She loved the TVs.
Speaker 2: Oh what a big call.
Speaker 9: No wonder you had Anthony help you clean up.
Speaker 2: It's bigger than a bedroom. Please, Vince, I'll do anything.
Speaker 4: You left me no choice, Leo. We could have worked out.
Speaker 1: But Charlie, what are you two talking about?
Speaker 2: Vince, don't do this?
Speaker 4: What I gotta do? You knew the rules?
Speaker 2: What rules? What for you talk about rules?
Speaker 4: You go against family? We kill you killed family? We
Speaker 4: killed family, well killing.
Speaker 9: I don't like this talk.
Speaker 1: We don't see Vincent walk up to Carmela at the
Speaker 1: stove and shove the large chopping knife into her chest.
Speaker 2: Ah.
Speaker 1: He does it again and again. We hear Carmela fall
Speaker 1: to the floor and the plots from the stove fall
Speaker 1: with her. No, no, kill.
Speaker 2: You, I'll kill you.
Speaker 4: You hear her die, I'm gonna kill you.
Speaker 1: Vin Vincent sits at the table and speaks calmly, that's right.
Speaker 7: You are going to come back and try to kill me.
Speaker 7: Only you're going to bring that slut with you.
Speaker 2: Forget the girl. This is between you and me.
Speaker 4: No more lies, Sy, no more lies.
Speaker 7: You bring her back, or I'm gonna play a little
Speaker 7: game with your lying nephew in a welding torch.
Speaker 4: Don't make me do that.
Speaker 1: Vince slowly walks away. In the background, we see Carmela
Speaker 1: on the floor, back up against the stove with the
Speaker 1: knife in her heart and covered with the sauce from
Speaker 1: the stove. Vince's feet crossed the camera as Eda James
Speaker 1: sings someone to watch over me. Interior Sal's hotel room continuous.
Speaker 1: Eda James continues singing as Sal bangs the phone down
Speaker 1: over and over again, then throws it across the room.
Speaker 1: He rips the hotel phone out of the wall. He
Speaker 1: falls to his knees and cries. Exterior Root seventy east
Speaker 1: to Wheeling, West Virginia, day to night. Traveling the light
Speaker 1: blue Lincoln Town Car drives through Ohio to the West
Speaker 1: Virginia border. Edna James finishes her song, then we hear
Speaker 1: in voiceover.
Speaker 6: Saal, when do I get off this merry go Round?
Speaker 1: I got papers?
Speaker 2: Now you get off one? I say.
Speaker 6: I was just wondering, Well.
Speaker 2: Don't, I'll make the moves. Why are you acting this way?
Speaker 1: Interior light blue Lincoln town car afternoon. During the following
Speaker 1: two scenes, images of Lada and Harra having sex in
Speaker 1: the back of Sal's limo keep flashing through Sal's mind.
Speaker 2: Why why? Because you don't listen.
Speaker 6: That's not true.
Speaker 2: I listened to everything.
Speaker 6: Oh yeah, Flash, When did I not listen to you?
Speaker 5: I told you no phone calls, no letters, no nothing
Speaker 5: to the outside. I didn't you mailed a check to
Speaker 5: your crazy mother in the nuthouse.
Speaker 6: How did they find out about that?
Speaker 2: I told you? They know everything everything.
Speaker 1: Flash, sALS.
Speaker 6: She's just a crazy old lady who doesn't even know me.
Speaker 5: Well that's the last you see of her because they
Speaker 5: already traced the check.
Speaker 6: They wouldn't hurt her. She can't tell them anything about me.
Speaker 2: They will use whatever can to get what they want.
Speaker 2: That was a stupid thing to do. Stupid. Why are
Speaker 2: you talking to me like this? Because I added knot Flash, I.
Speaker 6: Want to go to the train station.
Speaker 2: Why you don't trust me anymore? I I didn't say that.
Speaker 2: I serve my purpose now? Fuck Sal? Right? Am I right?
Speaker 2: Answer me? You don't trust me to get the fuck
Speaker 2: out now.
Speaker 1: The light blue Lincoln pulls over to the shoulder. Sal
Speaker 1: gets out the behind the wheel, goes around to the
Speaker 1: passenger side and opens the door.
Speaker 2: Sal, Sal, what are you doing out? Get the fuck out, bitch.
Speaker 1: Harah doesn't get out. Sal starts pulling her out of
Speaker 1: the car. Harrah is scared out of her mind.
Speaker 6: Stop this, Sal, Please, you're scaring me.
Speaker 5: Why why are you doing this?
Speaker 2: Question me?
Speaker 5: You fucking question me after what I've done to save.
Speaker 2: Your worthless life. I'm not worthless, worthless piece of shit.
Speaker 6: Flash, I'm not worthless.
Speaker 1: Sal reaches into the backseat and throws out two pieces
Speaker 1: of Harah's luggage.
Speaker 5: Save your own fucking ass. You would even last a
Speaker 5: day without me. Now go fuck yourself a ride someplace, Sal.
Speaker 2: I thank you, you're on your own. Please like me slash.
Speaker 1: Sal pushes her away, gets in the car and takes off.
Speaker 1: Harah looks at the passing cars. Julie London sings crime
Speaker 1: your River. Haarah doesn't know where to go or what
Speaker 1: to do. She picks up her suitcases and starts walking,
Speaker 1: then drops the suitcases. She sits on one and cries
Speaker 1: afternoon becomes twilight, and Harah is still sitting there when
Speaker 1: the light blue Lincoln pulls into view. Sal gets out
Speaker 1: and goes to her. Haarah throws her arms around Sal's
Speaker 1: neck and hugs him for dear life. Interior Pioneer Diner Mcmetchen,
Speaker 1: West Virginia, early evening. From the inside of the diner,
Speaker 1: we see the light blue town car pull up. Sal
Speaker 1: and Harrah get out and walk into the diner and
Speaker 1: sit at a booth. Light blue town car is in
Speaker 1: the background, and so is a help wanted sign in
Speaker 1: the booth window right next to a jukebox. Haah sits
Speaker 1: as Sal heads for a bathroom. The Julie London song ends.
Speaker 2: I'll be right back.
Speaker 1: Haraah looks at a menu when she notices a nice
Speaker 1: looking young man at the counter looking at her. The
Speaker 1: young man tips his baseball cap. Haarah just smiles and
Speaker 1: looks away. The young man comes over to the booth.
Speaker 2: Excuse me, my name is Jeff Tyler.
Speaker 1: Good for you. You just come in from Missouri.
Speaker 6: How did you know that?
Speaker 2: I just saw your license plate?
Speaker 3: I didn't mean to pray.
Speaker 2: I went to school in Jefferson City.
Speaker 6: Learn anything.
Speaker 2: Excuse me?
Speaker 1: Sal comes up behind Jeff. During the following conversation, Sal
Speaker 1: just stares at Jeff up and down.
Speaker 2: This is Jeff Tyler. Jeff Tyler.
Speaker 3: I went to school in Jefferson City, Missouri, and I
Speaker 3: was just well, I saw your plates, and I didn't
Speaker 3: You didn't want.
Speaker 4: Nothing, sir.
Speaker 2: Didn'mian to interrupt your dinner with your daughter, if you
Speaker 2: excuse me.
Speaker 1: Jeff goes back to his dinner at the counter as
Speaker 1: Sal gets into the booth. You thought I was your daughter.
Speaker 2: I don't think that's so funny.
Speaker 1: I thought it was nice.
Speaker 6: I didn't think they made hecks like him anymore.
Speaker 1: Scared the shit out of him. The waitress comes over, Hello,
Speaker 1: welcome to the Pioneer.
Speaker 9: What can I get you?
Speaker 2: How's the stew here?
Speaker 9: I wouldn't serve it to my cat in.
Speaker 2: My kind of place. Tell me, sugar, what do you recommend?
Speaker 10: Not a bad steak, and we have the best burger
Speaker 10: you ever.
Speaker 9: Ate comes with fries, burger.
Speaker 2: And a beer for me, Betty Anne, I'll have a
Speaker 2: turkey burger and water.
Speaker 10: Right, I'll be right back with those drinks.
Speaker 6: Probably hasn't got a dime.
Speaker 5: Who Jeff Tyler, most likely the son and grandson, coal miners.
Speaker 2: That's what this area used to be known for.
Speaker 6: What do you think he does now?
Speaker 2: I don't know. High school gym teacher, coaches baseball.
Speaker 6: Yeah, he looks the type I thought he recognized me
Speaker 6: from them.
Speaker 5: Yeah, you know, keep yourself looking like you are now
Speaker 5: a normal will.
Speaker 2: Ever suspect you look fine? I'm proud to be seen
Speaker 2: with you.
Speaker 6: Think so that's how he looked at me, like he
Speaker 6: like you.
Speaker 5: Just thought you were a good looking girl. The kind
Speaker 5: of girl he'd like to take to a nice dinner
Speaker 5: and maybe a movie. The kind of girl that, after two,
Speaker 5: three four dates, he'd like to make love to in
Speaker 5: his own bed instead of a cheap sex in the
Speaker 5: backseat of a car. The kind of girl he'd like
Speaker 5: to take home to meet his family the coal miners.
Speaker 2: The kind of girl that.
Speaker 5: If things go well, he may want to marry and
Speaker 5: raise a family with the kind of girl that he
Speaker 5: wants to go through a dull, boring, more normal than
Speaker 5: normal life with a girl.
Speaker 6: M can you see me in a life like that?
Speaker 1: Sal takes hold of her hand.
Speaker 2: Yeah I can't.
Speaker 6: It's too late.
Speaker 2: You got a new life handed to you.
Speaker 6: Could you live that life?
Speaker 2: I'd give anything to have had a life like that.
Speaker 6: Sal, what's wrong?
Speaker 2: Look about what happened back there on the road. I
Speaker 2: am I'm kind of in a Sal, I'm in for
Speaker 2: the whole ride.
Speaker 6: I'm with you, even if it means going back to
Speaker 6: New York to face Vince. I know you love me,
Speaker 6: and I I mean, I don't.
Speaker 9: Mean like shit.
Speaker 6: I have to go to the john. Just play some music,
Speaker 6: will you.
Speaker 1: Sal watches Harrah as she exits. He puts a coin
Speaker 1: in the jukebox and presses a couple of buttons. He
Speaker 1: takes the help wanted sign out of the window and
Speaker 1: a pen out from his inside suit jacket pocket. Sarah
Speaker 1: Vaughan sings, Motherless Child. Sl writes a note to Harah
Speaker 1: that reads.
Speaker 2: Take this job. If you don't hear from me or
Speaker 2: my nephew Anthony in two days, run for it. Sah ps,
Speaker 2: you love me too.
Speaker 1: Sal folds the note and takes it with him. We
Speaker 1: listened to Sarah sing. We see Sal and Jeff going
Speaker 1: to the light blue Lincoln town car. Sal pulls Harrah's
Speaker 1: luggage out of the back seat. He gives Jeff some money.
Speaker 1: Jeff doesn't want it, but Sal insists, Sal gives him
Speaker 1: the note. Sal gets into the car and we see
Speaker 1: the back of Harah at the booth. Harah comes running
Speaker 1: out after Sal, but the car has pulled away. Jeff
Speaker 1: hands Sarah the note and carries her luggage to the diner.
Speaker 1: Harrah stands there looking after the light blue Lincoln exterior
Speaker 1: light blue Lincoln town car. Twilight to night traveling. Sal
Speaker 1: drives east on Route seventy seventy six to Harrisburg, then
Speaker 1: Route eighty one seventy eight north to Allentown twilight, and
Speaker 1: we see the first sign for the Verrizanto Bridge to Brooklyn,
Speaker 1: the fourth largest city in the US of A. Sarah
Speaker 1: Vaughan finishes her song interior Sal's kitchen, Bensonhurst, Brooklyn, dusk.
Speaker 1: Sal's sister, Donna sits at the kitchen table with a
Speaker 1: coffee cup in her hand. Sal enters, Mama's dead.
Speaker 2: I know.
Speaker 12: That animal has my son. I know, hey, you know everything.
Speaker 12: You know your best friend killed my mother. You know
Speaker 12: he's gonna kill my son. You know that you and
Speaker 12: your dirty, filthy world killed everything I loved.
Speaker 2: I'll make them pay, Promise pay.
Speaker 1: Donna gets up and starts smacking Sal's face.
Speaker 2: Hey, is that all you can think of? Making someone pay.
Speaker 4: For your sins?
Speaker 2: You brought that world into this house. You no one
Speaker 2: else you.
Speaker 1: Sal grabs her arms and holds her close to his chest.
Speaker 2: He's got my head, please said, I won't. Anthon will
Speaker 2: be back in the morning. Promise.
Speaker 1: We hear Billie Holiday singing, God Bless the child. Interior
Speaker 1: Sal's bedroom in Brooklyn Night. Sal takes a new black
Speaker 1: suit out of his closet. He lays it on his bed.
Speaker 1: A montage of images a freshly starched, clean white shirt
Speaker 1: being laid on the bed, Sal polishing a pair of
Speaker 1: black shoes. Sal in the shower, Sal strapping a holster
Speaker 1: to his ankle, Sal putting on pants, black socks and shoes.
Speaker 1: Sal putting on the leather harness that holds his razor
Speaker 1: in his sleeve. He tests it out. It works fine.
Speaker 1: Sal taking a suitcase out from under his bed. He
Speaker 1: removes a bullet proof vest. Sal buttons his shirt and
Speaker 1: puts on the jacket. He sits at the desk and
Speaker 1: writes a note. Sal exits as the doorbell rings. Interior
Speaker 1: seven K Senator Baxter's suite. Knight opens the door as
Speaker 1: the sounds of a large political party are heard. In
Speaker 1: the background. The Billie Holiday song plays until it ends.
Speaker 2: May I help you tell the Senator I want to
Speaker 2: see him? As you can see, he's very busy.
Speaker 5: Listen, Slick, you go tell the Senator that Sal, the
Speaker 5: driver of the limo he fucked those pornos stars in
Speaker 5: is here.
Speaker 1: The aid is in shock. He tries to say something
Speaker 1: to Sal, then turns and goes to the Senator, who's
Speaker 1: in the middle of a conversation. The Aid whispers in
Speaker 1: his ear. The Senator looks at Sal, excuses himself and walks.
Speaker 2: Over what No pawnstars listen to me? No, you listen
Speaker 2: to me because I'm going to do you a favor.
Speaker 3: And what might that be?
Speaker 2: After tonight you won't have to worry about Vince?
Speaker 3: Did you hear me? I'm listening, but.
Speaker 2: I still have a copy of you. Howrah? And the
Speaker 2: missing Lada?
Speaker 4: What would you want for that?
Speaker 2: Not a fucking thing?
Speaker 4: That's very generous of you.
Speaker 2: Well that was easy, hey, asshole. Nothing's easy.
Speaker 5: If a certain party like Hawer Reems even gets a cold,
Speaker 5: whether I'm still around or not, your naked.
Speaker 2: Ass will be all over the nightly news. You got
Speaker 2: my word. Now I'm worried. Call Vance and tell him
Speaker 2: I'm coming to the garage.
Speaker 1: Sal exits and slams the door behind him. Exterior La
Speaker 1: Sallemo Service Garage, late night. It starts to drizzle as
Speaker 1: Sal drives up to the enormous garage door of the
Speaker 1: lasal Limo Service. The ambient New York City night light
Speaker 1: makes the outside of the garage look as much like
Speaker 1: an old Gothic horror movie as the inside. Sal gets
Speaker 1: out of the light blue Lincoln and the enormous steel
Speaker 1: gray garage door opens as if welcoming Sal to the inevitable.
Speaker 1: Sal walks into the garage and the huge door closes
Speaker 1: as if locking him in hell. Interior La Sallemo Service Garage, continuous.
Speaker 1: Sal walks over to the light switch next to the
Speaker 1: office door. He flicks it on, but no good. He
Speaker 1: looks toward the grease pit and sees Anthony hanging off
Speaker 1: the car lift by his bound hands in the same
Speaker 1: manner as Lada, only this time the dog is not
Speaker 1: in the grease pit below. The dog is chained to
Speaker 1: the same steel ring as before, but is on ground level.
Speaker 1: The dog barks at Sal, Uncle, Sel, Uncle, Sal, Please
Speaker 1: a few moments of excruciating silence before we hear Vince's
Speaker 1: voice over the PA system.
Speaker 4: Sally boy, my old friend.
Speaker 1: Sal is trying to find out where Vince's voice is
Speaker 1: coming from a series of shots, long row of Limos,
Speaker 1: tool rack, the office window, Anthony hanging close up of Sal.
Speaker 2: I could remember a time when you weren't afraid to
Speaker 2: talk to me face to face.
Speaker 7: And I can remember a time when you knew how
Speaker 7: to do what you were told, when you knew what
Speaker 7: family meant.
Speaker 4: You disappointed me, Sally.
Speaker 1: The girl, Sal pats his breast pocket.
Speaker 2: She's right here.
Speaker 4: You know, I'll kill the kid if I have to. Now,
Speaker 4: No games, where's the girl?
Speaker 1: Sal holds up a piece of paper.
Speaker 2: No game, Vince.
Speaker 5: Here's the address and phone number of the diners she's
Speaker 5: working at, her new name, social security number, everything you need.
Speaker 4: You were supposed to bring her this way.
Speaker 2: You can pick her off anytime you want.
Speaker 5: Charlie always said revenge is a dish best served, Cole.
Speaker 4: That's very obliging of you. Uncle Charlie would be proud
Speaker 4: of you if he was still alive.
Speaker 2: Release the kid.
Speaker 4: How do I know what's on that paper?
Speaker 2: I give you my word.
Speaker 7: Your word means nothing since you've been fucking that tu Tom.
Speaker 2: Let the kid go, Vince. This is between you and me. Now.
Speaker 1: There's a long pause, and finally the lift goes down
Speaker 1: and Anthony's able to release his arms from the rung
Speaker 1: of the lift. He runs to out who unties him.
Speaker 2: Uncle Sale, he killed? I know, I know, I get
Speaker 2: out here. It'll be easier with the two of us.
Speaker 5: Nothing's easy, kid, Now get lost before you get us
Speaker 5: both killed. There's a letter on Grandma's table telling you
Speaker 5: what to do next.
Speaker 1: Anthony slowly backs away and exits through the normal door
Speaker 1: within the enormous steel gray garage door. However, we see
Speaker 1: Anthony peeking in through the door's mail slot.
Speaker 4: I'm glad I didn't have to kill him. He's a
Speaker 4: good kid.
Speaker 7: After I kill you, maybe I'll get him a job
Speaker 7: of some kind. Now, you lay that piece of paper
Speaker 7: down on the hood or the first limmo.
Speaker 1: Sal puts the piece of paper back in his breast
Speaker 1: pocket and starts walking around the garage looking for Vince.
Speaker 2: Not Vince. I think I'll let you come and take
Speaker 2: it from me.
Speaker 4: You and me? Is that it salth you and me?
Speaker 4: The too bad?
Speaker 2: How could you do that to Carmela?
Speaker 4: That was your fault, your prick. You killed Charlie.
Speaker 2: That was different. Charlie would have killed me. My mother,
Speaker 2: now killed family.
Speaker 4: You know the rules?
Speaker 2: Fuck your rules. You killed her, and I'm gonna kill you. Vince.
Speaker 1: Sal notices a cable running under the office door, across
Speaker 1: the workbench and into the third limo. Sal pulls out
Speaker 1: his pistol with his right hand and grabs the cable
Speaker 1: with his left. Sal yanks the cable and the microphone
Speaker 1: is pulled out of Vince's hands. Sal fires two shots
Speaker 1: into the tinted windshield of the third limo. Sal ducks
Speaker 1: behind the first limo. Vince is now out of the limo,
Speaker 1: in the open and no longer on the PA speaker.
Speaker 7: You are becoming a very hard man to have a
Speaker 7: nice conversation with zal.
Speaker 2: Vince, your chief. Fuck. You should have invested in wireless.
Speaker 2: You're behind the times.
Speaker 7: After I kill you, I'll call up Anthony and hire
Speaker 7: him to put in a new system I'm in since
Speaker 7: he knows so much about all this new text.
Speaker 2: Yeah, he's good at that.
Speaker 5: Too bad you won't be around to see some of
Speaker 5: the tapes he got.
Speaker 1: Sal lies on the floor, looking under the limbos for
Speaker 1: Vince's feet. The dog barks like crazy. Vince moves up
Speaker 1: closer to Sal. Sall loises Vince's feet moving around a
Speaker 1: limo and fires to shot, misses but causes Vince to run.
Speaker 1: Sal jumps up and fires and hits Vince in his
Speaker 1: back shoulder. Vince goes down, scrambling behind a tire.
Speaker 2: You hit me, prick, You're gonna die.
Speaker 4: No, no, I don't think so. You'll have to do
Speaker 4: better than that, Sath.
Speaker 1: Vince works his way to a chain that's locked in
Speaker 1: a vice on the workbench. Sal starts working his way
Speaker 1: towards Vince.
Speaker 2: I figured you wouldn't be that easy to kill.
Speaker 4: I'm glad you hit me, Saal. It's just what I needed.
Speaker 4: I'm getting a real.
Speaker 2: High from this.
Speaker 7: This is how it should be for men like des
Speaker 7: last two real warriors, left.
Speaker 2: Warriors, what warriors? Too old?
Speaker 5: Mean fox trying to each other because of a girl.
Speaker 5: Just two dinosaurs with nothing left to do.
Speaker 7: Maybe you have nothing. It's a little surprised for you, Sally.
Speaker 1: Vince jumps up and fires in Sal's direction, causing him
Speaker 1: to duck. Vince runs for the vice, on the workbench.
Speaker 1: Sal fires and misses. Vince releases the vice grip with
Speaker 1: the butt of his pistol, causing the chain to run
Speaker 1: out and freeing the dog. The dog attacks Sal, causing
Speaker 1: a pistol to fall from his hand. Sal tries to
Speaker 1: fight off the dog and reach for his second pistol
Speaker 1: on his leg. Sal is being torn alive by the dog,
Speaker 1: but manages to get the pistol and fires two quick shots.
Speaker 2: You're torn alive, it says, torn alive.
Speaker 1: The dog screams, flies, moans, then staggers away. Falling dead,
Speaker 1: Sal tries to get to his feet only to see
Speaker 1: Vince walking at him. Vince smiles and fire. He's getting
Speaker 1: Sal in the belly below the vest. Sal fires and
Speaker 1: hits Vince in the side, but Vince puts three more
Speaker 1: rounds into Sal's chest, pinning him to the floor. One
Speaker 1: of the rounds catches Sal in the next the pistol
Speaker 1: drops from Sal's hand. Sal lies there dying. Vince stands
Speaker 1: over him. Blood is pouring out of his shoulder.
Speaker 7: You stupid fuck, You could have had anything you wanted.
Speaker 7: You had to go play Knight in shining armor for
Speaker 7: a piece of ass.
Speaker 2: It wasn't about that.
Speaker 7: Then you're a bigger asshole than I thought. I'll take
Speaker 7: that note now.
Speaker 1: Sal tries to pull the note out of his breast pocket,
Speaker 1: but falls back.
Speaker 4: Face down, stupid basted.
Speaker 1: Peggy Lee sings, is that all there is? Vince reaches
Speaker 1: down and turns Sal's face up. Sal whips his right
Speaker 1: arm and the razor comes from nowhere and slices Vince's neck.
Speaker 1: Vince staggers back, clutching his throat and gasping for air.
Speaker 1: He looks towards sallin his last seconds of life and
Speaker 1: almost seems to smile, then falls to the ground, dead ghost.
Speaker 2: And ss his pants at the pants.
Speaker 4: We took that line, Joe's age, that's what it sounds.
Speaker 1: Anthony comes running up to his uncle and opens his shirt,
Speaker 1: trying to remove the bulletproof vest that has at least
Speaker 1: four shots in it. However, when Anthony spots the neck wound,
Speaker 1: he stops. Sal motions for Anthony to come closer as
Speaker 1: he whispers into his ear. Peggy Lee continues singing as
Speaker 1: we hear the sound of a phone ringing Interior Pioneer
Speaker 1: diner mcmetch in West Virginia early morning. Peggy Lee is
Speaker 1: still singing Parrah, now wearing a name tag that says
Speaker 1: Betty Ann is working as a waitress. She's running her
Speaker 1: buns off, trying to work the breakfast crowd. The waitress
Speaker 1: from before calls out to.
Speaker 10: Her, Betty Anne, phone, make it fast time.
Speaker 1: Betty and McCormick picks up the phone by the cash register.
Speaker 1: She can't hear who's at the other end he called it.
Speaker 1: She reaches behind the register, turns a dial, and the
Speaker 1: Peggy Lee song fades out.
Speaker 6: Yes, this is Betty Anne. Who Yes, Yes, I understand.
Speaker 1: Betty and McCormick hangs up the phone and stands there motionless.
Speaker 1: The salty waitress carrying four plates of ham and eggs
Speaker 1: comes up to her.
Speaker 6: What's the matter, Kay, my friend sal is uh his
Speaker 6: nephew called to tell me, tell you what to have
Speaker 6: a wonderful life.
Speaker 10: Oh yeah, well, how about making my life wonderphone? Start
Speaker 10: passing out those eggs. Okay, one more time.
Speaker 4: Pass the eggs.
Speaker 3: Eggs.
Speaker 10: Now, how about making my life wonderful and start passing
Speaker 10: out those eggs?
Speaker 1: Sure, anything, you say, Betty and McCormick reaches behind the
Speaker 1: counter and turns up the sound. Peggy Lee sings, Is
Speaker 1: that all there is? We see Betty Ann doing her job.
Speaker 1: We even see her serve coffee to young Jeff who
Speaker 1: can't keep his eyes off her. Slow fade to black,
Speaker 1: the
Speaker 9: End, If that's all there is,