We fade back to the cathedral, where everyone is reciting a prayer together. The organ plays Mozart's "Requiem" (or so the closed captioning claims; I'm really not a fan of Mozart), and the processional starts. Toby, Sam, two guys we don't know, Josh, and Charlie are the pallbearers. They approach the casket, lift it, and follow the clergyman down the aisle.
Back to young Dolores still firing numbers at Jed, who's still fooling around with his engine. Jed points out that Mrs. Chadwick is a married woman with no dependents and Mr. Hopkins has a family of four to support. Dolores counters, "If we paid people according to how many children they had to support, then Malcolm Bundy, the groundskeeper, would get triple what the Headmaster gets." Jed: "Mrs. Landingham..." Dolores: "You know I'm right." He tries again; she insists: "You know I'm right. You've known it since I brought it up. You've known it since before that." He wants to know what she wants him to do about it. She wants him to bring it up with his father.
Jed: I'm not a woman and I don't work here.
Dolores: The women who do are afraid for their jobs. If they bring it up, they're afraid for their jobs. What is it you're afraid of?
Jed: Why do you talk to me like this?
Dolores: Because you never had a big sister and you need one. Look at you. You're a boy king. You're a foot smarter than the smartest kids in the class. You're blessed with inspiration. You must know this by now; you must have sensed it. Look, if you think we're wrong, if you think Mr. Hopkins should honestly get paid more than Mrs. Chadwick, then I respect that. But if you think we're right, and you won't speak up 'cause you can't be bothered, then, God, Jed, I don't even want to know you. Come inside. I'll call Triple-A.
Dolores walks toward the building as Jed sticks his hands in his pockets and muses, "Miss Mueller gets half as much to teach music as Mr. Ryan does to coach crew?" He kind of smiles to himself. She looks at him and says, "You're gonna do it." He replies, "Oh, I didn't say that." She confidently crosses her arms and says, "Yes, you did." He wonders when. She says, "Just then. You stuck your hands in your pockets, you looked away, and you smiled." He reflexively removes his hands from his pockets. She claims that the pockets/look/smile sequence of gestures means that he made up his mind; he denies that it means anything, and claims he just stuck his hands in his pockets. She adds, "And looked away, and smiled." She's beaming. She says, as she walks away, "We're in." Jed heaves the car hood closed.