Like most movies based on a true story, Killers of the Flower Moon, which opens in theaters today, ends with a summary of everything that happens next to the real-life people who inspired the film. But thanks to an effective Martin Scorsese cameo and a recreated radio play, Killers of the Flower Moon offers a fresh, creative, and brilliant take on the often-trite practice of end credits title cards.

Based on David Grann’s 2017 non-fiction book of the same name, with a script co-written by Scorsese and Eric Roth, Killers of the Flower Moon stars Leonardo DiCaprio as Ernest Burkhart, a white man who married a Native American woman named Mollie (played by Lily Gladstone), at the behest of his greed-driven, morally bankrupt uncle, William Hale (played by Robert De Niro). The Osage people, who had been forced onto to presumably worthless land in Oklahoma, became some of the wealthiest people in the country after discovering oil on the land. The wealth attracted white men like Hale and Burkhart, who conspired to marry into the native families and steal the money for themselves. From 1921 to 1923, Hale and his nephew hired people to kill off Mollie’s sisters and cousins, as well as other Osage folks who may have inherited Mollie’s wealth.

Unlike the book, which takes readers all the way up to the current generation of the Osage people, the film ends after Burkhart testifies against his uncle in court in 1926. Rather than boring text-on-screen to sum up what happened next, Scorsese treats viewers to a recreation of a 1920s Vaudville-esque radio show, complete with foley work and Lucky’s Strikes product placement. An old-timey radio news anchor, played by J.C. MacKenzie, reads off what happened to Ernest Burkhart and William Hale. (Both men served prison time, but were eventually paroled, and lived out the rest of their days into old age.)

But it’s Mollie’s future that we know the least about, and the one given the most import. How? By having director Martin Scorsese himself step up to the microphone, and read out Mollie Burkhart’s short obituary. She died in 1937 at the age of 50, without a clear report on her cause of death. As Scorsese informs audiences, there was no mention of the Osage murders in her obituary.

This is not the first time Scorsese has appeared on screen in one of his films. In fact, he almost always makes a cameo in his films, as everything from a passenger in 1976’s Taxi Driver to a photographer in 2011’s Hugo. But this cameo feels particularly significant. It’s a smart way to add weight to the real Mollie Burkhart’s ending, even though we don’t have nearly as many facts about her as we have about the white men involved in the murders of her family. And, in a world where it feels every movie is based on a true story and comes with a “Where are they now?” title card at the end, it’s a refreshing breath of fresh air. Scorsese may be 80 years old, but he’s still out there changing the game.