All language subtitles for Queen.of.the.South.S04E12.WEBRip.x264-ION10

POTE: Previously,
on Queen of the South...

You were driving the car

tied to the murder
of my nephew René.

It was not his fault!
He didn't do it.

-LAFAYETTE: Who's "he"?
-EMILIA: My boyfriend.

LAFAYETTE:
Your boyfriend happen

to work with Teresa Mendoza?

What are you
talking about, man?

I blew her car up.

She wasn't in the car, asshole.

She's alive.

Kill Teresa Mendoza,

or I'll kill you.

Nobody ever suspects
the nurse.

(suspenseful synth music)

*

(yelps)

*

Luis!

(uneasy music)

I still have every intention
of taking out Teresa.

He tried to kill me
and my godson.

You have to make your choice.

I'm gonna kill El Gordo.

*

RANDALL:
Someone was definitely trying

to send a message here.

(gunfire)

Get an ID on these two?

COP:
Got a long rap sheet

for narcotic trafficking
out of Miami.

Elias hit the truck.

CHICHO: The shipment's gone.

We're going to kill them all.

*

(energetic drum music)

(woman chanting)

*

(mournful music)

*

Thank you.

*

(synth music)

*

Gracias.

*

POTE:
Okay, we'll be in touch.

*

George already landed
in Miami.

He's waiting on your word
to retaliate.

We need to be sure
it was Elias.

When you were in the hospital,

Elias attacked
one of our shipments.

It was for Oksana.

Taking a shipment
is one thing.

Killing Tony
and trying to kill me

is completely different.

Then who else
could it have been?

Elias know
that we killed El Gordo.

Oksana was involved
in his death.

He didn't attack her.

Not yet.

I want the people
who killed Tony.

We need proof
of who is responsible.

If it was Elias,

we're gonna kill him.

Orale.

Let's get the proof, then.

Victor and his swamp rat
have scattered in the wind.

He knew we would be
after him.

How hard can it be

to kill
one little Mexican woman?

Unfortunately, Mendoza's men
grabbed the woman

that Victor sent
to finish the job.

There's a good chance
she'll know where he's hiding.

If Mendoza gets to him
before you,

she'll know
who ordered that bomb.

Then I best find Victor.

Hang on a second.

Maybe we can kill two birds
with one stone here.

If Miss Mendoza
wants vengeance,

we'll help her get it.

(thunder claps)

(ominous music)

*

(speaking Spanish)

BOAZ: (speaking Spanish)

And out of respect for you
and the way you run

your business,

I haven't used all my tools.

*

I'm only gonna ask you once.

Who sent you to kill Teresa?

*

What are you gonna do,
shoot me?

(gunshots)

*

No, I will.

*

.

They're Cajun mercenaries.

They have their own militia.

(speaking Spanish)

She said she doesn't know
who hired them.

Ah.

At least she gave us
the location

where Victor is hiding.

He's the one
who planted the bomb.

He has a stronghold
in Deadman's Bayou.

Not even law enforcement
will go in there.

I'm coming with you.

(cell phone buzzes)

-Yes?
-KELLY ANNE: You need

to come home.

What's wrong?

We have company.

(ominous music)

(gasps)

Hurry home now, and bring
Miss Mendoza with you.

It's not polite
to keep company waiting.

*

Out of my way, cabrón.

Don't make me ask again.

You'd best call off your dog,
Miss Mendoza.

Why would I do that?

*

This is not over.

*

You know, uh, this, uh--
this pozole

is not half bad.

Call me old-fashioned,

but I still like
a woman who can cook.

I didn't cook it.
He did.

*

LAFAYETTE:
Ooh.

Well, now, that's surprising.

What do you want?

(clears throat)

I know you're--
you're going after the people

who killed your godson.

And?

You're entitled
to your vengeance,

but around here,
people don't take too kindly

to decapitated heads

and bodies hanging
from bridges.

That's not my plan.

Well, maybe not, but, uh,

those Cajuns you're hunting--

they're a nasty bunch.

How do you know
who they are?

LAFAYETTE:
I saw the--the security footage

at the hospital.

A couple of your boys
dragging out at gunpoint

a girlfriend
of a certain bomb-maker.

So you know
who I'm looking for.

Oh, I do,

and that's why I'm going
to insist that Randall

and his men
accompany you

on your little
hunting expedition.

I don't need your help.

It's not a request.

*

You see,
I have a vested interest

in your safety,
Miss Mendoza.

*

After all, we're partners.

*

(engine turns over)

Neither Victor nor Mendoza

make it out of the bayou alive.
Understood?

We'll get it done.

*

We found the house, patrona,
but we can't tell

how many people
are in there.

RANDALL:
They got security,

at least two of them.

Armed.

We should split up,

box them in.

We'll come from the west.

Your people
should come from the south.

I want Victor alive.

We can take out the guards,

then fire a warning shot,

order Victor to come out.

We'll wait for nightfall.

Then we hit them.

(uneasy music)

*

*

(automatic gunfire)

(speaking Spanish)

*

(groans)

*

(groans)

(yells)

*

(cries out)

*

(suspenseful music)

POTE:
Teresa, no!

(cries out)

*

.

(suspenseful music)

*

I'm not here
to hurt you.

Just tell me
who hired you.

*

(gunshot)

POTE:
Teresa!

Got here just in time.

I said I wanted him alive.

I had no choice.

He was gonna kill you.

You jumped the gun, cabrón.

You almost got Teresa killed.

Well, swamp rats fired first.

(speaks Spanish)
That's bullshit.

Hey, I'm the one
that just saved your boss!

I suggest you watch
your tone.

Or what, cabrón, huh?
What?

Let's go.

(line trilling)

Good news, I hope.

RANDALL:
Not exactly.

Victor's dead.

Shot him before he could talk,

but Teresa got away.

How the hell
did that happen?

RANDALL:
Her men were everywhere.

Couldn't get a shot
without showing our hand.

You said it had to be clean.

Don't quote me
to cover your failure, boy.

I give you one simple task
to complete,

and you blew it.

Now how the hell
you gonna fix it?

Got an idea.

I'll call you back.

You better.

(device beeps)

Time for your pill.

(ambient music)

I hope you're feeling better.

*

A day or two more,

you'll be right as rain,
as my mother

used to say.

You gave us
quite a scare, son.

*

All that talk of

a damsel in distress

and murder on the bayou.

Amazing, how the mind
can play tricks on us.

*

Your mother always said

the...the nightmares
were the worst part

of the disease.

Pity you inherited
her weakness.

*

You know, you just--
you just rest now.

You'll be up and about
in no time.

*

POTE:
This is him.

(uneasy music)

*

Thank you.

I'll make some arrangements.

*

It was the coroner's office.

*

Tony's remains
are ready for pickup.

*

He was a good boy.

*

Our relationship
was complicated,

but I loved him
like he was my own.

*

And I failed him.

*

We both did.

JAVIER:
Patrona.

Randall is here.

*

(cries out)

*

What is this?

Tell her
what you told me.

*

Spit it out.

*

The men who hired Victor
to plant the bombs

were from Miami.

*

Cubans.

*

Get him out of here.

*

Uh, if I told them that,
you said you'd let me go.

*

You said you'd let me go!

I'll take care of him.

*

Call George.

*

Tell him we're going
to Miami.

.

(upbeat synth music)

GEORGE:
(laughs)

Well, aren't you a sight
for sore eyes?

Welcome to Miami,
principessa.

-George.
-(kisses)

Thank you for being here.
I appreciate it.

Sorry about Tony.

Thank you.

(laughs)

(laughs) Oh!

*

Look at
the Justice League here!

We got Chewy, Javi...

Even the Wild Man
from Sinaloa.

JAVIER: (speaks Spanish)
cabrón.

BOAZ: Oh,
cabrón.

GEORGE:
What's up, guapo?

(laughs)
How's it going, George?

GEORGE:
Hey.

You ready for this?

*

We're family.

*

Let's do it.

*

Just got word
that Mendoza and her men

are in Miami.

(serene classical music
playing)

Tying the attack
on her shipment

to the bomb

was a stroke of genius.

If Mendoza thinks her enemies
are in Miami,

she'll follow that trail
right off the cliff.

Ah, that's the hope, anyway.

Hope's got nothing
to do with it.

*

Revenge is like blinders
on a horse.

Keeps all the other avenues
hidden from view.

*

Still, Mendoza's a fighter.

I wouldn't bet against her
in Miami.

(ominous music)

Well, then, maybe we need

to hedge our bet.

*

(suspenseful music)

POTE: So this
is where it all happens?

A tanning salon?

TERESA:
It's a cash business.

It's a good cover.

GEORGE:
Elias got a string

of these places
where he washes dirty money.

This here's a headquarters.

He's got a back room

where he processes
the coke.

That's where we'll find
our stolen product.

And if we're lucky, Elias.

(speaks Spanish)

GEORGE:
That's one of his drug mules.

No one
ever suspects 'em.

Beauty makes
for a great cover

and distraction.

And that's
the third distraction

since we've been here.

I'm liking this town
a lot more.

Javier?

Patrona.

(speaking Spanish)

Eh?

We're not gonna hurt you.

I just need to know
how it works.

(pensive music)

*

I'm sorry.
Can I have your cell phone?

I need to call
my boyfriend.

*

DAVIS:
Damn it.

Oh, my God.

The police?

*

(cell phone beeps)

*

(door clatters)

(Latin pop music playing)

Hola.

How can I help you?

We'd like to have
a session, please.

Separate rooms.

(laughs)

$60.

*

Okay, rooms four
and five.

*

Straight down that hall.

Gracias.

*

(key clatters)

*

(speaks Spanish)

*

(line trilling)

(cell phone buzzes)

Yeah.

POTE:
We're in position.

*

Down the hall.
Make a left.

The blue door.

(door squeaks)

Hola.

How can I help you?

I'm here
for the South Beach Special.

*

Thank you.

*

(door squeaks)

Hey, hey.

Hola.

You, uh, here for a tan?

Let me ask you a question.

Are the Speedos optional?

*

Bikini lines ruin
the aesthetics of my frame.

See, I prefer to tan
au naturel,

if you know what I mean.

*

-(attendant laughs)
-(cell phone buzzes)

*

Hands up, darling.
No, no.

Don't touch
that panic button.

(ominous music)

*

-(silenced gunshot)
-(groans)

(woman screams)

*

(women quavering)

*

(gunshots)

*

(magazine clicking)

He's reloading!

*

(quavers)

Don't--don't shoot!

-Elias! Elias!
-I'm Nacho! I'm--

-No!
-Shut up!

(Nacho gasping)

I don't know who you are,

but do you know
who you're messing with?

My name is Teresa Mendoza.

I'm the one who killed
El Gordo,

and that is my cocaine
you're processing.

*

What do you want from me?

Tell me where Elias is.

*

Don't worry.
He found you.

*

.

(automatic gunfire)

(shotgun firing)

(dramatic music)

*

Where's the back door?

I don't--

(sputters and yells)

(distant gunfire)

Chewy!

We got company!

*

(automatic gunfire)

(speaking Spanish)

(speaking Spanish)
No, no, no, no, no.

(gunfire continues)

*

GEORGE:
Come on, Javi.

JAVIER:
Entra, Teresa.

*

Heads up, George!
George!

(energetic synth music)

*

(engine sputters)

(engine turns over)

-(distant sirens wail)
-JAVIER: Entra, entra!

*

(sirens wailing)

*

Been a while since you, um...

paid us a visit here.

The affairs of our city
keep my dance card pretty full.

I'm sure you understand.

I remember the night
you opened this place, hmm?

Ah, you put the town
on notice.

There--there was a new boss
in the quarter.

It was a memorable night.

To see you grow
from that little teenaged boy

selling dime bags
on the corner

to the powerful man
you've become--

I like to think I had
a little something

to do with that.

(laughs)

You rounded off some corners.

(laughs)

We had a good run, Marcel.

Been through a lot together.

I suspect this, uh, stroll
down Memory Lane

is leading to a point.

Teresa Mendoza--

she's becoming a problem.

Her people have bought
nothing but chaos

and bloodshed.

And a very sizeable source
of revenue.

True, at a cost.

But who am I telling?

You know that
more than anyone

after Bobby's murder.

-We buried that hatchet.
-LAFAYETTE: Mm.

Well, I want you
to unbury it.

All due respect, Judge,

I think that may be
a bit short-sighted.

Mm.

Mendoza has enemies.

You protect her,
those enemies become yours.

You mean you.

I-I didn't think this would be

such a challenge
for you, Marcel.

After all, you people
have a history

of killing each other.

(dark music)

When that levee breaks,

I need to know
I can count on you.

*

Yeah.

*

(whispering in Spanish)

Patrona, Boaz isn't
picking up.

Pilot says he's ready.

We shouldn't stay here
any longer, Teresita.

Chewy's right.
We should call back to NOLA,

regroup, come back
with an army,

and finish this.

We could take Nacho
with us.

We're not leaving

until we find Elias.

(tires squealing)

JAVIER: (speaking Spanish)
cabrón?

I barely made it out.

The others?

They weren't so lucky.

(dark music)

*

*

Tell us where Elias is,

or they will make you talk
the Sinaloa way.

*

(heavy modern music playing)

(tense music)

*

Do it.

*

(line trilling)

(cell phone buzzes)

Nacho.

NACHO: They tried to grab me,
but I got away.

I got one of them
in my trunk.

Whoa, whoa, whoa.
Slow down.

What did you say?

NACHO:
He's--he's in my trunk.

He's alive?

He's talking.

ELIAS:
What did he say?

He said
that they're hiding out

in the old factory
off the interstate.

*

How many?

NACHO:
Five, including her.

*

I'm sending Indio.

Get your ass
to the house.

Bring him to me.

(scoffs)
I'm on my way.

*

They're at the factory
off the interstate.

Take everyone.

I want that puta
and her people dead.

Dead!

(dramatic music)

.

(suspenseful music)

*

(line trilling)

TERESA:
Elias' men are on their way.

We'll be ready.

*

They're coming.

Well, we'll be ready
for them.

Let's give them hell.

(cocks gun)

(dance music playing)

*

(keypad beeping)

*

*

(dramatic music)

-Go!
-BOAZ: Go, go!

(gunfire)

(dramatic music)

*

(groans)

*

Whew.

(laughs)

(speaks Spanish)

*

(silenced gunshots)

*

*

(silenced gunshot)

*

(men yelling)

*

GEORGE:
Vamos.

(men yelling)

*

Adios, amigos.

(explosion)

*

(car alarms blaring)

(laughs)

BOTH: Whoo!

-GEORGE: Come on, now!
-BOAZ: Let's go, come on.

(cell phone buzzes)

Speak.

POTE:
Your men are dead, cabrón.

(laughs)

Hear me, pendejo.

I'm gonna find you.

You know what I'ma do?
Mm?

POTE:
Turn around.

(tense music)

*

You killed my godson.

*

You got it wrong.

I didn't kill him.

But you killed my uncle.

*

I don't believe you.

*

(laughs) You're gonna kill me
either way, right?

*

So you know what?

I didn't kill him...

*

But now I wish I had.

He would've suffered.

It wouldn't be quick, either.

(gunshot)

*

POTE:
It's done.

*

(doorbell rings)

(gentle jazz music playing)

*

(laughs)

You starting early, I see.

Boy, at my age, you never know
how long you got.

(laughs)

*

Good to see you, Marcel.

Lucien.

Thanks for seeing me.

Have a seat.

*

He takes it neat.

*

That looks good.

*

So I know you didn't come
out here

just to sample
my fine whiskey.

*

Judge paid me a visit.

*

Who is it?

*

It's Mendoza.

*

What you gonna do?

I'm weighing my options.

Options?

We've been living
under the thumb of that man

and his family

for generations.

There's a reason why.

I know.

This woman is a major player.

I'm telling you--

You ain't telling me nothing.

*

You think you special
all of a sudden?

After all these years,

you're just gonna topple
the judge?

I know I can't do it
by myself, Lucien!

Together, with her,

we got a shot.

*

I thought I taught you
better than that, boy.

You forgot what you are?

Judge Lafayette and his kind
always win.

Shit, it's been like this
since time immemorial.

Ain't nothing
ever gonna change, ever,

so get that shit
out of your head.

*

Listen, son,
I understand the desire.

When I was in your shoes,
I wanted to make a move.

Shit, I could've burned
this whole town down.

*

But you know what saved me?

I remembered where I was.

*

You'd do well
to do the same.

*

Hello?

(melancholy music)

*

*

Emilia's not here,

but I know where to find her.

*

It's done.

Got your vengeance.

Tony can rest in peace.

Not yet.

Elias didn't kill Tony.

What are you talking about?

I looked into his eyes.

He was telling the truth.

*

Well, if not Elias, then who?

*

I don't know.

But I'm gonna find out.

Speaking of vengeance,

I never got to ask you
about Birdie.

*

I don't need details.

I just need to know
that she was properly avenged.

(door opens)

(footsteps approaching)

*

They're all here.

*

Thank you all for coming.

*

As you know,
Elias is dead.

Anyone who bought from him

can now buy from me.

There are plenty of suppliers
in Miami.

Why should we buy from you?

El Gordo stepped
on the product he sold you.

His profits went up,

but the quality went down.

Now that he's gone,

no more middleman.

If you buy from me,
you'll get pure cocaine

at wholesale prices.
Everyone wins.

Generous deal.
What's the catch?

No catch,

but if you walk away,

you will not be a customer.

You will be a competitor.

(synth music)

You hold up your end,
we'll hold up ours.

*

I look forward
to working with you all.

*

JAVIER:
Patrona.

*

(tense crescendo music)

*

Would you like a job?

You start tomorrow.

Gracias.

How do you feel
about Miami?

Weather, women...
what's not to like?

Good.

I'd like you to run it.

You won't regret it, jefa.

(dance music)

*

POTE: Are you sure
you want to give Boaz

the keys to all this?

TERESA:
People don't know us here.

If anyone steps out of line,

he'll send the right message.

*

You trust him now?

No, but here,
we can keep an eye on him,

and send someone else
to Sinaloa.

*

(cell phone buzzes)

Marcel.

Judge came by my--

my office today.

He's making a move
against you.

I just paid him $30 million.

Why would he make a move
against me?

DUMAS:
I don't know, but listen.

Teresa, he wants you dead.

Okay?
In the ground.

(ominous music)

I just want you to know.

*

I'm all in.

*

Thank you.

Yeah.
You get back safe.

I'll be here.

*

Lafayette killed Tony.

*

Puta madre.

*

We pay him a lot of money.
Why would he do that?

It must be personal.

He's coming for us.

How you want to handle this?

He owns New Orleans,
Teresita.

If we kill him,

they'll come after us

with everything.

Police, locals.

We cannot come back
from that.

I know.

Orale, then.
Pues we burn it all.

*

This is my town.

*

(projector clicking)

(keys clacking, bell dings)

(high clear music)