Any Day Now (2025) Movie Script
1
[CHATTER]
[DOOR BUZZING]
[CLUNKING]
The fuck you want?
TRAFT: Hello, Marty.
DELONG: A little over here.
Did you bake me a cake
with a little file in it?
TRAFT: It's about the robbery.
Well, you have to
be more specific.
I've robbed a lot of places.
TRAFT: Did you have
anything to do with it?
[RUMBLING, HONKING]
Sadly, no.
And it's one of the
great regrets of my life
that you assholes put me in
here before I had the chance.
[RUMBLING, HONKING]
[DISTANT SIREN WAILING]
DELONG: What's your
relationship with Steve Baker?
Him.
[RUMBLING]
[DISTANT SIREN WAILING]
[DISTANT UPBEAT MUSIC]
[CHUCKLES]
Well, he-- he broke my heart.
[WHIRRING]
[BANG]
[CREAKING]
[THWACK]
Where's my fucking money?
I've got it.
Well, well, yeah,
I mean, no, I--
I don't have it,
but I will have it.
I'm just waiting on,
like, a tuition check.
Are you fucking
kidding me right now?
STEVE: No.
[THWACK]
Ow, fuck!
Two days.
[DISTANT SIREN WAILING]
STEVE: OK.
Now, get the fuck out of
here before I bleed you.
Yeah.
[DRAMATIC MUSIC]
STEVE: John Singer Copley.
John Singer Copley, the shark--
Watson and the Shark.
Watson and the Shark, John
Singer Copley, painted in 17--
shit.
Oh, 1777.
Oh, John Singleton Copley.
Fucking idiot.
So how are things?
[CLEARS THROAT] How-- how are
thing-- how-- how are things?
Things-- how-- how--
how are things?
IAN (ON RADIO): You
want to give it a shot?
Copy that.
IAN (ON RADIO): 5 bucks.
STEVE: Make it $10.
[SMOOTH MUSIC]
[GROAN]
[POP MUSIC]
The days are running slow
And the nights are
going fast here
I just kind of hope
That this thing
don't last, yeah
But I know I'll get to you
Your love is coming fast
I just got to
reach out to you
Reach out to you
Like reflections
in the glass
Reflections in the glass
[ALARM BLARING]
IAN (ON RADIO):
Sensor just picked you
up in the Rembrandt room, man.
- Shit.
IAN (ON RADIO):
That's a $10 spot.
You owe me.
Smoke alarm in five.
Yeah.
[CRICKETS CHIRPING]
[SOOTHING JAZZ MUSIC]
[CLUNKING]
[RUSTLING]
[SMOOTH MUSIC]
[CLUNKING]
[SMOOTH MUSIC]
[RUSTLING]
[DISTANT STREET NOISES]
[WIND BLOWING]
[RUSTLING]
[CLUNK]
[CLINKING]
[SIGH]
[UPBEAT MUSIC]
[BLUES MUSIC]
You know that
nothing can survive
These days
So let the soul
WAITRESS: You can't
eat that in here.
Excuse me?
You can't bring
your own food.
STEVE: Yeah, but, I mean,
like, no one in here.
It's policy.
I just bought
the milk from you.
I don't think you can,
like, let it slide?
Sorry, man.
You gotta go.
[UPBEAT MUSIC]
MARTY: You some kind of poet.
You know, Dante, Keats,
Ferlinghetti, Ted Hughes?
Oh.
No, they're-- they're
just lyrics to a song.
MARTY: I'm partial to
Bukowski myself, patron
saint of the degenerate.
So you're in a band?
[SLURPING]
Sort of, yeah.
Er, I'm sorry, do I know you?
MARTY: You don't
have to be sorry.
We're just talking, aren't we?
Yeah.
MARTY: Hey, I'm right here.
Yeah.
MARTY: Are you confused?
A little.
Yeah, have-- have we met?
[CLUNK]
MARTY: So you like to party?
STEVE: No.
Mm?
STEVE: Mm-mm.
You don't smoke
a little weed?
- No.
- Sacred herb?
Are you a police officer?
Because if you are, then--
You don't have
to worry about me.
But what you do have to worry
about is, how, on a night guard
salary, right, are
you going to pay
for all that product
you put up your nose
and give to your friends?
Where are you going to
get the cash, Steve?
I will.
I will get it to you.
I promise.
I just-- I need--
What do I look
like, a piece-of-shit
drug dealer to you?
[SCOFFS] Now, here's the thing.
That piece-of-shit
drug dealer that you do
owe all that money to,
he doesn't know where
you work or live, but I do.
And all it takes is one
phone call, and he does.
But today's your lucky day.
You do me a favor, I'll
take care of your debt.
Let's take a ride.
Where?
Cicero said,
"Live as brave men.
And if fortune be averse, face
its blows with brave hearts."
You and I, we're going
to be good friends.
[LOCK CLICKS]
[DOOR CREAKS]
[DOOR SLAMS]
[RUMBLING]
[UPBEAT MUSIC]
STEVE: So are you,
like, a gangster?
MARTY: Gangster?
No.
Gangsters are like sheep.
They have to answer up
for everything they do.
I want to do
something, I do it.
But to operate in the world of
gangsters, you-- you got to--
you got to make them think
you're a little bit crazy.
[BANGING]
You don't want to cross them.
Stealing from the mob,
that's a death sentence.
[BANGING]
There's not someone
in the trunk, is there?
Don't worry about that.
So how'd you get
into so much debt?
Uh, well, I've been
looking out for my friends.
And they're not
paying you back?
STEVE: No.
[BANGING]
Shut the fuck up, Albert!
I swear to God, I--
I'll hit every pothole
between here and Billerica.
Who's back there?
Your drug dealer.
He's just a kid.
Are you in school?
I just got kicked out.
MARTY: For selling
drugs to your friends?
Yeah.
You know, that's
not being a friend.
That's being a doormat.
Don't try to be friends with
people you aspire to be.
Be friends with people who
see you for who you are.
[RUMBLING]
Wait here.
[ROCK MUSIC]
Feel myself near you
And I can see you want to--
ALBERT: No, no, no, don't go.
I can see you through
a little hole.
Hey, what's he going
to do to me, man?
I don't know.
ALBERT: Please, let me out.
I gotta piss like a racehorse.
I'm scared, man.
But I can't.
ALBERT: Why not?
Because if I let
you out, he might take
me and throw me in the trunk.
ALBERT: No, you're wrong.
We can run away together.
I'll hide you.
I-- I'm a human being, man!
No, I know you are.
ALBERT: Hey, do I know you?
[UPBEAT MUSIC]
What's happening?
What are you doing?
I'm freaking out up here.
STEVE: No, it's OK.
Relax.
ALBERT: Get out slowly.
Come around to the
back of the car.
Pop the trunk.
And this will all be over.
Oh, god, here he comes.
Oh, he's going to
kill me, isn't he?
Oh, I'm a dead man.
STEVE: Just shut
the fuck up, man!
ALBERT: I'm fucking dead!
Bring me down
Feel like coming too
I got you one.
[SEAGULLS SQUAWKING]
ALBERT: I know you.
Hey, don't worry about him.
Focus on me.
I'm going to tell you who
I am and why you're here.
And there's good
news and bad news.
The bad news is I'm a cop.
The good news is
I'm a dirty cop.
So as soon as you
get me $30,000,
I'm going to let you go.
Man, I don't have $30,000.
Well, you better
find it quick.
I'm in a cash business.
I buy the shit.
I sell the shit.
I'm living week to week.
I don't have any savings.
He owes me $5,000.
Get it from him.
I told you, don't
worry about him.
This is between you and me.
[SIGHS] I just don't
have $30,000, man.
MARTY: Well, call a friend.
I'm a drug dealer, man.
I-- I don't have any friends.
If I had $30,000, man, I'd
leave this shit, and I'd go
make some fucking friends.
MARTY: Well, have you
considered activities that
are outside your workplace?
You know, learn
pick-up hockey league?
Pick-up hockey?
MARTY: With teammates?
ALBERT: Hey, who
are you calling?
Who's he calling?
[SUSPENSEFUL MUSIC]
[SOBBING]
You can do it.
You can do it.
Come on.
If you're going to say
something, now's the time.
Trust me.
[SEAGULLS SQUAWKING]
I used to have a dog, and
I'd ride it like a horse.
It was a big German Shepherd.
And I was just a boy,
maybe seven or eight.
And one day, the movers
came to bring a rug
into my mom's living room.
It was really a lovely rug.
And my job was to hold the
dog while the door was open.
But the dog was
too strong for me.
It pulled out of my
hands and just ran away.
It was winter, so I put
on my hat and my gloves,
and I followed the
tracks in the snow
all the way down to
the end of the road
onto a golf course,
where I looked
down and saw hundreds
of dog tracks
crisscrossing everywhere.
People had been there
walking their dogs.
And my dog, well, my
dog, he was just gone.
Why the fuck did
you just tell me that?
BOB RA: I don't know.
It's just sad.
ALBERT: No!
No!
No.
Please, please,
make-- make him stop.
MARTY: I can't.
ALBERT: No, no!
No, no, no, no, no, no, no, no!
[GUNSHOT]
No!
Holy fuck!
MARTY: Oh, my god.
Bob Ra, I think you
shot your balls off.
Oh, my god!
BOB RA: How do I look?
Not good!
[GUN THUDS]
We gotta get him to a hospital.
[DOG BARKING]
[CRICKETS CHIRPING]
I blame you for this, Albert.
See what happens
when you bring chaos.
Just get me my $30,000.
[ENGINE STARTS]
[REVVING]
[SOOTHING GUITAR MUSIC]
[GROAN]
- (SINGING)
She's coming over
We'll go out walking
Make a call on the way
She's in the
phone booth, yeah
Looking in
There comes a
smile on her face
I really need you to kick in
the rent and everything else
you owe me.
Dude, stop being weird.
SARA: Is there coffee?
Yeah, I made some
last night, but I--
I wouldn't trust it.
DANNY: We got into
a fight last night.
I think she's going to leave.
Yeah, yeah, I've
heard that before.
Last night was--
SARA: Did I throw
something at you?
DANNY: Yeah, what was that?
SARA: What did
you do last night?
You missed a pretty epic
blowout, didn't he, babe?
DANNY: Sure did.
Maybe Stevie can settle
our little dispute.
What do you think?
DANNY: I didn't do it.
Do you think
he's a lying fuck?
Honestly?
I'm not saying I'm a saint.
I just want him to say it.
My record is clean, Officer.
SARA: Is that true?
Have you ever seen
anything, Stevie,
maybe you shouldn't have?
Go ahead.
You can tell her.
[SIGH]
No, I haven't.
It was an ashtray.
DANNY: An ashtray?
- Mm-hmm.
DANNY: An ashtray,
where I had duck out
of the way of your ashtray.
Thank you for that.
SARA: Good.
There's someone down there.
[BIRDS CHIRPING]
You banging her?
No.
MARTY: Why not?
A friend.
She's dating my roommate.
MARTY: Oh, what are we
going to do with you?
Here, put this on.
Wait, where are we going?
MARTY: To become
a fully realized,
self-actualized person,
conscious and aware,
you must live a life
unencumbered, free
of possessions.
You following me?
STEVE: Yeah.
MARTY: You have no fucking
idea what I'm talking about.
Come, let's get this over with.
[CHATTER]
[PHONE RINGING]
Come here.
Come here.
Come here.
Come here.
Let's straighten you out here.
Yeah.
OK.
Try not to be nervous.
Just tell the truth.
OK?
Put your game face on.
Let's do this.
[LOCK CLICKS]
STEVE: What is this?
ELEANOR: How long have
you known Mr. Lyons?
And be specific.
Uh-- Well, uh, Mr.
Lyons and I have--
have been friends
for a long time.
ELEANOR: And how did you meet?
Mr. Lyons came to
the museum one day.
And--
ELEANOR: Can you
speak up, please?
STEVE: Sorry.
Er, we started to
talk about, um, art.
He's very interested in art.
The parole board
is well aware of Mr.
Lyons' interest in art.
MARTY: Yeah.
Can I-- can I
have a sip of water?
[CLINKING]
[SIPS]
You're fucking this up.
Don't worry.
If this doesn't
work out, there's
a couple of guys across
the street with machine
guns ready to bust in here.
Over the course of your
relationship with Mr. Lyons,
have you seen a change in him?
Um.
Yeah.
[POP]
MAN: Party time!
Just like Paris.
Come on.
Come on.
Steve.
Hey, how'd you make
out last night?
I was up $1,200.
MOOCH: Yeah, but
he lost it all.
But it wasn't his fault.
OK, here.
Have some champagne.
Oh, I got you some
scratch tickets.
BEAK: Oh, boy.
MARTY: Here you go.
Hahaha.
Hope this makes you well.
Guaran-- swaying-- tee.
[CHUCKLES] Steve, come here.
Bob Ra.
- Hey, boss.
How you feeling?
Like I got my
balls blown off.
They give you meds?
- Yeah.
- OK.
Well, here, in
case you run low.
And try-- and try a
couple of those with this.
It's as good as a cocktail.
There you go.
BOB RA: Thanks, boss.
You bet.
Mooch, got you one of
these Jane Fonda's.
Whoa!
I have no idea how to use it.
Fuck, yes!
Yeah, well, I suggest you
don't try it while drinking.
MOOCH: Whoa.
[LAUGHS]
OK, bring it in.
Everybody, bring it in.
So this-- this is Steve.
Now, Steve, he almost fucked
up today, but he didn't.
To freedom.
And Bob Ra's balls.
May they rest in peace.
[LAUGHTER]
To freedom and balls.
[DISTANT TRAIN]
[METAL SCRAPING]
We're going to
rob the museum,
and we're going
to need your help.
[SCOFFS] Yeah, what?
No, I-- I thought
we were even now.
No.
But you do this for me,
and your debt will be paid.
Yeah, no.
Yeah, I-- I-- I--
I don't know.
MOOCH: He's scared.
MARTY: Of course, he's scared.
It's OK to be scared.
Scared is good.
It means you're on the edge of
your unknown, open and curious.
It's where all
great things happen.
So do you want to
be great, or are you
happy with the way things are?
Take some time to think
about it, but not too much.
[UPBEAT MUSIC]
[CHATTER]
STEVE: Danny, hey.
Um, sorry.
Could I talk to
you for a second?
One second.
I'm sorry.
I owe like a lot of money.
DANNY: Mm-hmm.
For all this partying.
DANNY: Sure, sure, yeah.
Mm-hmm.
And I could use
your help with--
Hey.
Come here.
Wait, come here.
--what you owe me.
Look at this, huh.
This is a great party.
- Yeah.
DANNY: Right?
You did this.
You're the man.
Yeah?
Here, take a deep breath, huh.
Breathe in.
Breathe out.
Breathe in.
Breathe out.
Now, repeat after me.
It's all going to be cool.
It's all going to be cool.
DANNY: Good.
Hey, did you get a call from
a record label or something?
DANNY: Uh, yeah.
But, like, it was
just some bullshit.
Some bullshit?
Well, may-- maybe
you could-- maybe
you could call them
back, like, invite
them to the gig or something.
- All right, yeah.
STEVE: Yeah?
DANNY: Now, chill, man.
Party.
Try and have some fun, buddy.
It's OK.
And can you keep an
eye on Sara for me?
She seems a little, like--
you know?
Yeah.
[UPBEAT MUSIC]
[CHATTER]
[SMOOTH MUSIC]
Uh, how are things?
[SNIFFLES]
Should I be honest?
Yeah, let's be honest.
[SLURPING]
If we're being
honest, about as
shitty as I could
possibly be right now.
Mm.
I can't sleep.
Danny and I have broken
up so many times,
I can't even keep track.
Whoa, whoa, no, Sara,
you-- um, you-- you
can't sit on the furniture.
- But it's furniture.
It's meant to be sat on.
I know.
We're just not
supposed to do that.
SARA: But, I mean,
what the fuck, right?
Yeah.
Yeah.
Let me ask you a question.
OK.
Do you think he's a bad guy?
Danny?
SARA: Mm.
Well, I mean, he stole band
equipment to pay for drugs.
And he hasn't paid me
rent in, like, six months.
But, no, I don't
think he's a bad guy.
I don't get that.
Why do you always
stand up for him?
STEVE: Because I've known
him since I was a kid.
And I wouldn't have a band
if it weren't for him.
I-- I just think,
like, deep down, he's--
you know.
I mean, you know, he--
he's, like, Danny.
You're such a nice guy.
You are so lucky to work
around all this art.
STEVE: Yeah.
SARA: You have a favorite?
Yeah.
SARA: The Manet is mine.
He kind of reminds me of you,
like, the way he's looking out
at everybody, taking notes,
sort of like he has a secret,
but he's not telling.
Yeah, douard
Manet, um, 1875.
He used to sit in cafes
and try to paint people,
but he never finished any
because they would get up.
And then one day, he saw
a reflection of himself,
and he painted it.
He says that in that
moment, he realized
that he could be an
artist because he
couldn't recognize himself.
The painting showed him who he
truly was, you're something.
SARA: Wow.
Hey.
I'm going to help you
get money from Danny.
Thanks.
[CHATTER]
What's wrong?
Nothing.
What?
I-- I just ordered
one without onions.
So get another sandwich.
It's fine.
MARTY: No.
No, no, you should get
the sandwich you want.
Really, it's fine.
What's your problem, then?
I just don't
want to bother her.
She's on the night shift.
[UPBEAT MUSIC]
Oh.
My father was a Boston cop.
He played by the
rules, everything
on the straight and narrow.
He went to mass
almost every day.
You know, he moonlighted
as a security guard
at the Forbes Museum, you
know, the one in Quincy.
Mm.
One day, a bunch of
antique guns were stolen.
So who do they blame?
The Irish Catholic
cop from South Boston.
You know, they didn't know him.
He wouldn't have
stole a Tic Tac.
I mean, they had no proof, but
they had enough pull to get
him kicked off the force.
So I went over there,
and I took everything.
I cleaned those
motherfuckers out.
I mean, a few days later,
I brought it all back,
left it out in the lawn.
So go ahead and play by
the rules, but, believe me,
the game is not on the level.
Come on, let's get out of here.
Leave it.
What about--
No, come on, come on.
Marty Lyons as I
live and breathe.
How long have you been out?
- Long enough.
- Ha.
Now, who are you?
MARTY: He's my new driver.
That's funny because when
I saw you pull in here,
you were driving.
Oh, yeah?
Are you following me?
No.
Paranoid?
So how are you doing?
I mean, are you working on
your learner's permit or what?
[LAUGHS] Kevin McDonald.
Nice to meet you.
I'm Steve.
Steve.
So, Steve, what
are your interests?
What do you like to do
when you're not driving?
Um, well, I like
to play guitar.
I'm just fucking with you.
I don't give a shit.
[LAUGHS] This guy is crazy, but
you can learn a lot from him.
Come on, let's go.
Hey, good to meet you.
Yeah.
And don't let that bitch
put onions in your sandwich.
OK.
JACK (ON RADIO):
Come to my office.
Uh, me?
Yeah?
[SIGH]
Is that how you
talk to your superior?
Yeah.
Now, I can't tell
whether it's you
or your dunderhead partner
who's been stealing,
but it's going to
stop here and now.
Millions of dollars'
worth of art.
Yet, they tell me there's no
budget for security, fine,
but I will have
discipline on my watch.
Paid for that out
of my own pocket.
STEVE: OK.
Not another candy bar.
[BELL RINGS]
[ROCK MUSIC]
Before I reach
for my revolver
What's up, handsome?
STEVE: How's it going?
Going's good.
So we got that gig tonight.
DANNY: Yep.
Cool.
I'm just going to guess
you didn't call the label.
DANNY: Good guess.
I'm going to need you to pay
what you owe, or, I don't know,
we're going to have to
figure something out.
DANNY: She didn't tell you?
STEVE: Tell me what?
I gave her your money.
You're such a fucking liar.
I have a joy in
that, but that girl
is not who you think she is.
I just feel sorry for
you, man, that you'd
choose her word over a friend.
But I get it.
You know, she's hot.
You're insecure.
You fucking kidding me?
A friend with-- a record
label comes along,
like, a fucking record label.
But you know what that
would mean to me or to us,
to the band, and you don't
even bother to call him back?
The record label isn't
interested in the rest
of the band.
They just want me.
That's why I didn't
call them back.
You're-- stop
fucking lying to me.
I'm sure Sara just forgot
to mention the money, yeah?
She's got you wrapped
around her finger, man.
[REVVING]
SARA: No, no.
Oh, that's good.
Hi.
Hey.
Come on in.
Have a seat.
- What are you doing here?
- I was in the neighborhood.
I thought I'd stop by.
I'm getting to know your
lovely roommate, Sara, here.
This guy's so rad.
[SCOFFS] I'm just a
middle-aged guy with a job.
You, however, both
of you, you got
the whole future ahead of you.
Not a care in the world.
Number four, fuckin' Bobby Orr.
How about you?
Are you two
romantically involved?
Um, no.
[LAUGHS] I have a boyfriend.
Hmm.
[SIGHS] That is some
delicious lemonade.
SARA: Do you want some more?
KEVIN: Not too much trouble?
SARA: Yeah, not at all.
KEVIN: Let me help you.
SARA: No, no, no, I got it.
You guys stay and chat.
Do you want anything?
No.
Lovely.
What did you say to her?
She thinks I'm charming, but
that's a problem, isn't it?
By the time you get to my
age, you've figured out
how to talk to
women, but it doesn't
matter because they'll go
with you just for the money.
So the sex is just--
makes me feel more lonely.
Yeah, well, I don't really--
[LEATHER CREAKING]
[CLINKING]
This-- this is my
best friend's tongue.
I keep it to remind
me what happens
when you break your word.
Now, I'm going to
need your word.
We know that Marty's going to
rob the museum, and we want in.
You need to consider this very
seriously because if you don't,
the people that I work for
will not hesitate to harm
you or anyone you care about.
SARA: Lemonade for
the mystery man.
KEVIN: Mm.
[CLINKING]
Awesome.
I'm going to go.
To your future.
[FOOTSTEPS RECEDING]
[LOCK CLICKS]
[DOOR SLAMS]
Did he just take the glass?
Hey, have you had any
luck with the money?
SARA: What money?
From Danny.
Sorry.
You know how he is.
He's useless.
1, 2, 3, 4, 5, 6.
(SINGING) # Run,
run, run, run
We're going faster
miles an hour
Want to ride past
the Stop & Shop
With the radio on
I'm in love with
Massachusetts
And the neon when
it's cold outside
And the highway when
it's late at night
Got the radio on
All right, rolling on
Well, all right.
Welcome to the
spirit of 1956
Racing in the
bushes next to 57
The highway is
your girlfriend
As you go by quick suburban
streets and square feet
And it smells like heaven
I see a roadrunner, one
Roadrunner twice
I'm in love with
rock and roll
And I'll be out all
night, rolling up
On the road when
I'm grown up
Going faster miles an hour
Want to ride past
the Stop & # Shop
With the radio on
I'm in love with Massachusetts
And the neon when
it's cold outside
And the highway when
it's late at night
I've got the radio on
Just rolling on
Well, all right
Woo, woo, woo
[UPBEAT MUSIC]
[CHATTER]
MAN: Hey!
Hey.
- (SINGING) # I found my
love by the gasworks croft
Dreamed a dream
by the old canal
Kissed a girl by
a factory wall
Dirty old town
Dirty old town
I'm going to tell you a story.
[SMOOTH HARMONICA MUSIC]
[UPBEAT MUSIC]
(SINGING) # Yeah,
down by the river
Down by the banks
of the River John
That's where you find me
Along with lovers,
muggers, and thieves
Oh, but they're cool people
And I love that dirty water
Oh, Boston, you're my home
Yeah, yeah, yeah, yeah
Love that dirty water
Come on, Steve.
(SINGING) # I love
that dirty water
Steve Baker.
I love that dirty water
I love that dirty water
I love that dirty water
I love that dirty water
I love that dirty water
'Cause I love
that dirty water
Oh, Boston, you're my home
[CHEERING, APPLAUSE]
That was fucking awesome!
Yeah, rock and roll.
So what's it going
to be, Steve?
You're either in, or you're
out because tomorrow's today.
You mean--
MARTY: Yeah.
SARA: Are you kidding me?
That was incredible.
MARTY: Oh, yeah.
- Yeah.
- Do I know you?
No, but I know you.
SARA: Do you?
Yeah, I've known girls
like you all my life.
Oh, girls like me?
MARTY: Oh, yeah, yeah.
I even married a few.
Always the same-- same problem.
Oh.
MARTY: Yeah.
And what's that?
You take no responsibility
for your life.
Well, wait a minute.
I mean, you can't--
MARTY: I mean,
who can blame you?
You're beautiful.
So you can roll with
that for a while.
And you think you're
out of his league?
Well, you are.
STEVE: What?
But check back
in about six years,
when you're stuck
with all the choices
you were afraid to make.
We'll see what's what.
Fuck you, old man.
Sara.
Why'd you have to say that?
Because you
needed to hear it.
[CHATTER]
Don't listen to him, OK?
He-- he doesn't know
what he's talking about.
No, he's right.
I'm exactly the
person he described,
and I fucking hate it.
No, you're not.
You're not at all.
I mean, you-- you have
everything going for you.
You know that?
You're-- you're smart.
You're talented.
You're beautiful.
Er, no.
I took the money, Steve.
I was going to pay you
back, but honestly, I
probably wouldn't have.
Why?
Um.
I was going to go out
West or something.
You should cut it.
You don't want anything
to do with this.
Sara, you can, uh,
you can keep the money,
but only if you use it for you.
[DISTANT TRAFFIC]
[CHATTER]
[DISTANT SIREN WAILING]
Fuck.
[UPBEAT MUSIC]
You ruined my life.
[CHATTER]
Well, I got news for you.
It was already ruined.
I just opened your eyes.
But if it makes you feel any
better, you never had a choice.
Mm.
Come on, let's get out
of here, have some fun.
[UPBEAT MUSIC]
[PSYCHEDELIC MUSIC]
Watching Sons of Harmony
Seeking grounds
of gentle hope
Finding peace in
a # reluctant dream
Cleansed by blue
She's using you.
You don't know anything
about her, so just
don't talk about her, OK?
MARTY: All right.
[RUMBLING]
Jesus Christ!
This is a Muramasa blade,
15th century Japanese
Samurai blade, very rare.
Now, the first quality you look
for in a blade is the hamon.
You see that frosted
part right there?
You see it?
- Mm.
That's the hamon.
The second part you
look for is the grain.
You see how it looks
like a mountain range?
Yeah, that particular
grain is called gunomi.
So Muramasa had a student named
Masumoto, also very talented.
And a dispute arose as
to whether the Masumoto
blade was superior
to the Muramasa,
so they did an experiment.
They put the Masumoto
blade in a stream.
And a leaf came by,
like, a maple leaf.
And the Masumoto
blade cut it in half.
And then they put this
blade, the Muramasa
blade, and the leaf came by
and went around the blade.
And to think that it
was just laying there
in the basement of the Met.
Nobody gave two shits about it.
It shows you what they know.
Grab the flowers.
[DOOR CLOSES]
Hey, Celia.
Hey.
How are you, honey?
How are you?
Feeling OK?
Aunt Celia is the only one
in the family that supported
me through thick and thin.
And she gave me a
great life lesson.
She told me, always
keep dancing.
So I'm dancing as
far as I can, Celia.
Sit down.
Sit down.
Sit down.
I got you some--
some milk, and some
fruit, and some chicken
salad that you like.
And-- and I-- and I
got you an avocado.
Try it.
You might like it.
Here's a little-- here, here's
a little pin money, honey.
OK.
Where are the cameras?
Uh.
I mean, don't worry.
She's going to forget
everything in five minutes.
Are they just on the outside
or on the inside, too?
Huh?
Uh, er, the outside.
MARTY: So just on the outside.
And the sensors
are on the inside?
Just sensors, right?
- Mm-hmm.
And the alarm button
is under the desk?
Mm-hmm.
MARTY: Is that a yes?
Yeah.
Steve here, he's
in love with a girl,
but they're just friends.
I mean, do you want to break
it to him, or should I?
I don't know what to tell him.
[LAUGHS] Honey, we
got to go, though.
I love you.
I'm going to see
you on Thursday,
and I'll bring you
some Chinese food.
Let's go.
Oh, uh, nice to meet you.
Don't let that girl lead
you around by your dick.
[CREAKING]
[DOOR CLOSES]
She doesn't know
it, but sometimes I
stash paintings under her bed.
Rembrandt's only seascape,
bang for your buck,
this is the jewel
of the collection.
How does it make you feel?
Yeah?
I-- I don't know.
Well, you better have
an opinion because it's
about to be yours.
[SIGHS] I mean, to me, it says,
life is a series of problems,
and you're always a cunt hair
away from falling into the sea.
[WAVES RUSHING]
[RUMBLING]
Take this one,
definitely this one.
But not that.
That's a lesser work.
Not bad, Ra.
Thank you.
Your form is good.
BOB RA: Thanks.
BEAK: $20 I can
hit one further.
You don't have $20.
Because you know I'm right.
Man, you still owe
me $20 from the time
of Anne Marie Haskell.
You said that she blew you in
the back of your dad's LeBaron.
That was 10 years ago.
Doesn't matter.
A lie's a lie.
It doesn't have any
expiration date.
Did it happen, Beak?
You weren't there.
Neither were you.
BEAK: Fuck you!
Fuck you.
Remember, this is
a gentleman's game.
BEAK: 20 bucks.
I can't take your money.
BEAK: Then the other thing.
Oh, the other thing.
Oh, not the other thing.
BOB RA: Oh, the other thing.
No, Beak, don't do it.
STEVE: What's the other thing?
It's the other thing.
You got the honor, Mooch.
Let's go already.
That's in the fairway.
BEAK: Fuck!
New guy, come fluff my
ball for me, will you?
Me?
Go ahead.
Well, where--
where do you want?
Uh, I prefer it a
little to the left.
Uh, there?
Little back to the right now.
Come on, come on, come on.
OK.
Uh, there?
MOOCH: Come on, let's go!
- There you go.
MARTY: Take your time.
BEAK: Keep your
eye on it, guys.
This one's going downtown.
Oh, Billy, Billy, Billy.
MOOCH: Whoa!
BEAK: Fuck yeah!
Fuck, fuck, fuck, fuck,
fuck, fuck, fuck, yeah, Beak!
Beak, Beak, Beak,
Beak, Beak, Beak, Beak.
[LAUGHING] Buck, buck,
buck, buck, Beak.
STEVE: So what's the bet?
Don't touch me.
You're like a mentally
challenged Jack Nicklaus.
Fucking shot of
your life, asshole.
BEAK: Let's take a peek.
Ooh, it looks wet.
It's so nice.
Ready?
Up you go.
[MORPHINE, "THURSDAY"]
Night swim.
[LAUGHTER]
MORPHINE: (SINGING) # We used
to go to a motel, a motel,
a motel across the street
And the name of the
motel was a Wagon Wheel
[DOGS BARKING]
[CLAMOURING]
Better go get his clothes.
What?
Go get his fucking
clothes, man.
No.
Go get his fucking clothes!
MAN: Fuck you!
[BARKING]
MORPHINE: (SINGING)
A violent man,
a very violent
and jealous man
Now I have to
leave this town.
[GROANING]
[MORPHINE, "THURSDAY"]
Woo!
Come on, get in!
[LAUGHTER]
Woo!
Fuck, yeah, Steve.
BEAK: Let's go.
Here we go.
Woo!
[LAUGHS]
BEAK: Woo-hoo!
Go, Mooch!
Go!
Yeah!
[REVVING]
Fuck yeah!
Go, Mooch!
[CRICKETS CHIRPING]
[RUMBLING]
[DOG BARKS]
DELONG: So we understand that
you've been spending a lot
of time with Marty Lyons.
Well, I mean, we're
just, like, friends.
[SCOFF]
Yeah, I don't know
what he told you,
but that man is
not your friend.
He shot a cop.
Did he-- did he mention that?
He's a very
dangerous man, Steve.
You don't know what you've
gotten yourself into.
See, this is what he does.
He's setting you up.
He identifies an inside
man, he brings you in,
and then he leaves
you to take the fall.
That's right.
You're a patsy, Steve.
DELONG: Do you want to talk
to some of those inside men?
We can make a call.
It's just the main
line at Devens.
Is that what you want, Steve?
To go to Devens
Correctional Facility?
No.
[CLEARS THROAT] No.
DELONG: Tell him
about Henry Ziegland.
Mm.
Let me tell you about a
man named Henry Ziegland.
You see, around 1900, a
man named Henry Ziegland
breaks up with his fiance.
Now, she's so distraught that
she goes and she kills herself.
Now, her brother tracks
Ziegland down, shoots him,
then kills himself.
Right, but the thing is,
is that he misses Ziegland.
He just kind of
grazes his temple,
and the bullet lodges
in a nearby tree.
20 years later, Ziegland
goes to cut this tree down,
only the wood is too, um--
what's the word?
Dense.
So he decides to blast the
tree with dynamite, which
dislodges the bullet, striking
Ziegland in the temple,
killing him instantly.
[BLAST]
[THUD]
Fate's a bitch, my man,
and it's coming for you.
You see, Stevie, what we're
offering you is a way out.
Now, if you don't
help us, we're
going to arrest you and
all your little drug
buddies, including the little
hottie you got eyes for.
Oh, she is so far
out of your league.
I'm just-- I'm saying.
TRAFT: This is the part
where you save yourself.
[DOOR BUZZES]
[CRICKETS CHIRPING]
SARA: Peace offering.
Ah.
I'm sorry.
STEVE: I know.
[SUSPENSEFUL MUSIC]
1 hour 20 minutes, and we're
out of there, 8-0 minutes,
not a minute more.
We focus on the Rembrandt room.
We unscrew the
paintings from the frame
and only take
what's on the list.
MOOCH: Let's just fucking
cut them out of the frame.
BOB RA: No, it--
it ruins the value.
100% right.
And if the alarm
goes, which it fucking
won't, drop everything and run.
What about him?
We tie him up.
We tape him up.
We leave him overnight.
Hey, are you all right?
Come here.
Yeah.
Because you're
sweating bricks.
Yeah.
I mean, that-- that's just
because I'm, you know, nervous.
What do you mean, nervous?
What do you got to
be nervous about?
I-- I swear to God,
I just want to do
this and get it over with.
What are you
talking about God?
MOOCH: Oh, shit.
I'm going to speak plainly.
You fuck me, and I will
burn you to the ground.
Are you sure I can take this?
STEVE: I'll buy a new one.
SARA: OK.
[LOCK CLUNKING]
STEVE: Yeah, it's just-- it's
too depressing to show up
in a new city without a bed.
What if I'm the
same fucked-up
person when I get there?
STEVE: You should get going.
Of course, he didn't show.
Asshole.
STEVE: Asshole.
Don't worry.
I'll take care of him.
Yeah, he's like
a plant, you know?
So give him water.
Feed him once a day.
Hey, when that guy asked if
we were dating and I laughed,
it didn't mean anything.
Yeah?
Mass Pike is going
to be a nightmare.
Promise you'll visit?
STEVE: Yeah.
- Promise?
STEVE: I promise.
OK.
I'm sad.
I know.
[SIGHS] OK.
[ENGINE SPURTS, STARTS]
[ENGINE RUMBLING]
[DINOSAUR JR, "GARDEN"]
[REVVING]
Sometimes we sway
Couldn't have
it any other way
Now it happened
nobody's happy with it
Everybody's
living through it
Must admit I get into it
So don't make it harder
Hand me your hand
No time to wait
There is a garden
And when do we move
I love how you move with me
Takes time
It takes time living
on a razor blade
To know the way
So don't make it harder
Hand me your hand
No time to wait
Where is the garden
And when can we # move
Love how you move
[PHONE RINGING]
Ah.
[PHONE CLUNKING]
Hello?
MARTY (ON PHONE):
How you doing, kid?
What time is it?
MARTY (ON PHONE) It's time.
Are you ready?
I don't know, I guess.
MARTY (ON PHONE): Listen,
I'm sorry about the girl.
I've never been any good at
matters of the heart, you know?
You know, it's--
it's a puzzle I
have never been able to solve.
Yeah.
MARTY (ON PHONE):
So we're good?
We're good.
Are you scared?
STEVE (ON PHONE): Yeah.
Well, of course,
you're fucking scared.
But no more mystical advice
from me, except this.
There's is only one known
cure for loneliness.
Get a dog.
OK, Marty.
MARTY (ON PHONE): Yeah, OK.
I'll see you over at the place.
[PHONE CLUNKING, RINGING]
[GROAN]
[SIGH]
[ROCK MUSIC]
Been down the road before
Under the wheel
And wanting more
Of what I feel
Thanks.
Been down the road before
Under the wheel
And wanting more
MOOCH: Bob Ra, you
got five fucking cars.
What are you doing?
I'm playing five cards.
MOOCH: We're playing two card--
where the fuck is he?
- I'll put three down.
I don't know.
[KNOCKING]
[LOCK CLUNKING]
I swear.
May-- maybe he's late.
What do you mean, he's late?
He's never fucking late, Beak.
[POLICE RADIO CHATTER]
That is a parole
violation, Marty.
KEVIN: Hello, ladies.
[CHAIR SCRAPING]
I've got two pieces of news.
The first is that Marty
was arrested this morning.
The second is that the robbery
will go ahead as planned,
but now you work for me.
And, you, don't try to rat
your way out of this one
because the people that I work
for do not take kindly to rats.
So [CLAPS] what's the plan?
[TICKING]
[DOOR BUZZES]
BEAK: Boston Police.
Open up.
[TICKING]
Open the fucking door!
[DOOR BUZZING]
[FOOTSTEPS APPROACHING]
Call the other one.
Uh, Ian, you-- you
better get down here.
IAN (ON RADIO): What is it?
Uh, the police are here,
and they want to talk to us.
IAN (ON RADIO): OK.
All right.
MOOCH: Get the fuck up.
[GROANING]
Oh!
Shit!
You little piece of shit!
[DRAMATIC MUSIC]
[TAPE TEARING]
IAN: What's happening?
BEAK: Let me see your ID.
Ah!
Dude, what the fuck?
KEVIN: You're being robbed.
Do what we say, and you
get to see the sunrise.
Take them to the basement.
[DRAMATIC MUSIC]
Hey, you shouldn't
do that, Beak.
[CANVAS TEARING]
[MUFFLED SPEECH]
What you did to
Marty was awful.
You know, in my
line of work, you
get to see people as they
really are, not the face
they put on for
the world, but who
they are at home, in repose.
[BANG]
Fear takes off the mask.
STEVE: No, no, no, no, don't.
No.
Please, please, please.
KEVIN: You are a piece of shit.
[TICKING]
[HUMMING]
POLICE OFFICER: Found
one in the basement.
[MUFFLED SPEECH]
Who did this,
you little shit?
[DISTANT SIREN WAILING]
You better start talking.
I want a lawyer.
[SUSPENSEFUL MUSIC]
REPORTER (ON TV): Thieves
made off late last night
with 11 works of art
from Boston's Isabella
Stewart Gardner Museum.
Among the rare masterpieces by
Rembrandt, Degas, and Manet,
gone is the only seascape
Rembrandt ever painted,
The Storm on the
Sea of Galilee.
Also stolen, a
self-portrait by Manet.
Boston Police say they
believe the thieves were
highly skilled professionals
who knew exactly
what they were looking for.
[MUSIC PLAYING]
[DOOR SQUEAKS]
[GROANING]
Fuck, oh.
[BANGING]
[GROANING]
KEVIN: Where is the Manet?
Please don't hurt me.
Where the fuck is it?
I don't know what
you're talking about!
May-- maybe it got
lost in the shuffle.
KEVIN: What?
The shuffle?
[GROAN]
You cannot be
this fucking stupid!
I'm not stupid!
I'm-- I'm just
scared and confused.
I don't know what
you're talking about.
KEVIN: Open up.
- [PANTING]
Open up.
If you are lying to me, I
swear I will have your tongue.
[PANTING]
We will be watching you
for the rest of your life.
[FOOTSTEPS RECEDING]
[LOCK CLICKING]
[DOOR SLAMS]
[DEEP INHALE]
[PHONE RINGING]
[PHONE CLUNKING]
JACK WIGGINS (ON PHONE): Steve?
Yeah.
JACK WIGGINS (ON
PHONE): This is
Jack Wiggins from the museum.
It's my distinct pleasure to
inform you that you're fired.
[SIGH]
[BUZZING]
Here's your watch.
MARTY: All right.
And your bracelet.
GUARD: Hey, too bad you missed
out on that museum job, huh?
Yeah.
Well, thanks to you assholes,
I had a rock-solid alibi.
Hey, give me that.
Give me that.
GUARD: Oh, you going
to be a priest now?
I am a priest Hey, wait.
Where-- where--
OK, there it is.
There it is.
I got it.
All right, fuck it.
OK, fuck you.
Sucks to be you, huh.
Open the fucking door.
See you next time, Marty.
Fuck you.
[LOCK CLICKING]
[DOOR BUZZING]
Fuck, yeah.
Yeah.
STEVE: I thought they,
like, took the tapes.
TRAFT: They did.
That's one of the
things that bothers me.
How did they know to do that?
So I went back, and
I checked the tapes
from the previous night.
See there?
You left the side door
open for six minutes.
Why?
I'd rather not say.
DELONG: Well, we'd
rather you did.
TRAFT: You have to.
Will I get in trouble if
it doesn't have anything
to do with the robbery?
TRAFT: You'll be in a lot
more trouble if you don't.
OK.
Um.
See the smoke in
the top right there?
Sometimes I like
to, you know, like--
but you guys don't have,
like, evidence of that, right?
Get the fuck out of here.
[DOOR OPENS]
Hey, we're not
through with you.
Yeah.
[DOOR CREAKING]
Have you heard from Sara?
[CHATTER]
Couldn't even say
goodbye to her?
OK.
[UPBEAT MUSIC]
What the fuck's
wrong with you, bro?
Look, man, you know I'm not
good at that kind of stuff,
all right?
- Yeah, I know.
It's the same reason you
never called the record label.
It's never because you
were protecting me.
You didn't call because
you were scared.
Oh, yeah?
Yeah.
It's why you don't
show up to gigs, why
you can't commit to anything.
It's honestly why
you lost Sara.
Are you high right now?
Yeah.
Yeah, that's not the point.
What is the point?
You can't sing.
You can't play guitar.
But you have a quality that
not a lot of people have.
I'm not going to
let you waste it.
What the fuck is this?
These are the
guys from the label.
Take care of him.
He tends to wander
from his vocal range.
[DISTANT TRAFFIC]
[DOOR OPENS]
[SQUEAKING]
[DOOR CLOSES]
How's Aunt Celia?
She's still dancing.
[SCOFF]
MARTY: Go ahead.
You earned it.
How much of what you
said to me was real?
And how much of it was just
an act to get what you wanted?
Don't worry about it.
Mm.
MARTY: Count it.
I trust you.
Mm.
You shouldn't trust
me about money.
Want to tell me
about the Manet?
[SUSPENSEFUL MUSIC]
Look, Marty, you can
do whatever you want,
but I did everything
you asked me to.
So either way, you
still owe me this money.
Whoever took it must have
had an awfully good reason.
STEVE: They must have.
MARTY: They've
taken a lot of risk.
Sure did.
Go ahead, take it,
before I change my mind.
STEVE: Hey, Marty.
MARTY: Hmm?
I'm going to need a favor.
Yeah?
STEVE: I need to
borrow your car.
MARTY: Oh, yeah?
Yeah.
[SCOFF]
Sure, OK.
Yeah, hey, sure.
Here you go.
[CHUCKLES] Hot damn.
[BRIGHT MUSIC]
Oh, no.
Not you guys.
STEVE: It's just me.
You want an egg roll?
No.
Now we're even.
[WHIRRING]
You want to count it?
Man, get the fuck out of
here before I shoot you.
And myself.
[SEBADOH, "SKULL"]
There is history
in this place
There are dragons
to be chased
And though I
don't know you are
An easy flow with a
strong, a strong heart
And the charm in
the way you hide
You gently take my
skull for a ride
And I don't
know who you are
But I know what I
would like you to be
A one-night stand
under stoned persuasion
But the joy that
I can't hide
You gently take my
skull for a ride
You gently take my
skull for a ride
We can never,
ever go too far
The pain you can't
escape at least will wait
So let's go chasing
dragons through the snow
Life can be a
nonstop movie show
You gently take my
skull for a ride
You can now take my arm
And give me all you have
You gently take my
skull for a ride
You gently take my
skull for a ride
[LAZARUS, "I'LL GET TO YOU"]
The days are running slow
And the nights are
going fast, yeah
I just kind of hope that
this thing don't last, yeah
But I know I'll get to you
Your love is coming fast
I just got to
reach out to you
Reach out to you like
reflections in the past
Reflections in the past
I can't seem to find a way
to get across to you, girl
But I'm sure you'll see
in time before the day is
through, girl
That I can't
help loving you
Don't blame me if I try
I've just got to
reach out to you
Reach out to you
until the day I die
'Til the day that I die
'Til the day
that I die, yeah
I'm going to be
dying someday
Don't want to leave
'til I got your loving
Don't want to
[SLOW MUSIC]
Go out walking
Make a call on the way
She's in the
phone booth now
I'm looking
There comes a
smile on her face
And as before, the same
stuff we had yesterday
Still singing some all the
same stuff we had yesterday
I'm too much with myself
I want to be someone else
I'm too much with myself
I want to be someone else
I'm too much with myself
I want to be someone else
I'm too much with myself
I want to be someone else
[SOOTHING GUITAR MUSIC]
[CHATTER]
[DOOR BUZZING]
[CLUNKING]
The fuck you want?
TRAFT: Hello, Marty.
DELONG: A little over here.
Did you bake me a cake
with a little file in it?
TRAFT: It's about the robbery.
Well, you have to
be more specific.
I've robbed a lot of places.
TRAFT: Did you have
anything to do with it?
[RUMBLING, HONKING]
Sadly, no.
And it's one of the
great regrets of my life
that you assholes put me in
here before I had the chance.
[RUMBLING, HONKING]
[DISTANT SIREN WAILING]
DELONG: What's your
relationship with Steve Baker?
Him.
[RUMBLING]
[DISTANT SIREN WAILING]
[DISTANT UPBEAT MUSIC]
[CHUCKLES]
Well, he-- he broke my heart.
[WHIRRING]
[BANG]
[CREAKING]
[THWACK]
Where's my fucking money?
I've got it.
Well, well, yeah,
I mean, no, I--
I don't have it,
but I will have it.
I'm just waiting on,
like, a tuition check.
Are you fucking
kidding me right now?
STEVE: No.
[THWACK]
Ow, fuck!
Two days.
[DISTANT SIREN WAILING]
STEVE: OK.
Now, get the fuck out of
here before I bleed you.
Yeah.
[DRAMATIC MUSIC]
STEVE: John Singer Copley.
John Singer Copley, the shark--
Watson and the Shark.
Watson and the Shark, John
Singer Copley, painted in 17--
shit.
Oh, 1777.
Oh, John Singleton Copley.
Fucking idiot.
So how are things?
[CLEARS THROAT] How-- how are
thing-- how-- how are things?
Things-- how-- how--
how are things?
IAN (ON RADIO): You
want to give it a shot?
Copy that.
IAN (ON RADIO): 5 bucks.
STEVE: Make it $10.
[SMOOTH MUSIC]
[GROAN]
[POP MUSIC]
The days are running slow
And the nights are
going fast here
I just kind of hope
That this thing
don't last, yeah
But I know I'll get to you
Your love is coming fast
I just got to
reach out to you
Reach out to you
Like reflections
in the glass
Reflections in the glass
[ALARM BLARING]
IAN (ON RADIO):
Sensor just picked you
up in the Rembrandt room, man.
- Shit.
IAN (ON RADIO):
That's a $10 spot.
You owe me.
Smoke alarm in five.
Yeah.
[CRICKETS CHIRPING]
[SOOTHING JAZZ MUSIC]
[CLUNKING]
[RUSTLING]
[SMOOTH MUSIC]
[CLUNKING]
[SMOOTH MUSIC]
[RUSTLING]
[DISTANT STREET NOISES]
[WIND BLOWING]
[RUSTLING]
[CLUNK]
[CLINKING]
[SIGH]
[UPBEAT MUSIC]
[BLUES MUSIC]
You know that
nothing can survive
These days
So let the soul
WAITRESS: You can't
eat that in here.
Excuse me?
You can't bring
your own food.
STEVE: Yeah, but, I mean,
like, no one in here.
It's policy.
I just bought
the milk from you.
I don't think you can,
like, let it slide?
Sorry, man.
You gotta go.
[UPBEAT MUSIC]
MARTY: You some kind of poet.
You know, Dante, Keats,
Ferlinghetti, Ted Hughes?
Oh.
No, they're-- they're
just lyrics to a song.
MARTY: I'm partial to
Bukowski myself, patron
saint of the degenerate.
So you're in a band?
[SLURPING]
Sort of, yeah.
Er, I'm sorry, do I know you?
MARTY: You don't
have to be sorry.
We're just talking, aren't we?
Yeah.
MARTY: Hey, I'm right here.
Yeah.
MARTY: Are you confused?
A little.
Yeah, have-- have we met?
[CLUNK]
MARTY: So you like to party?
STEVE: No.
Mm?
STEVE: Mm-mm.
You don't smoke
a little weed?
- No.
- Sacred herb?
Are you a police officer?
Because if you are, then--
You don't have
to worry about me.
But what you do have to worry
about is, how, on a night guard
salary, right, are
you going to pay
for all that product
you put up your nose
and give to your friends?
Where are you going to
get the cash, Steve?
I will.
I will get it to you.
I promise.
I just-- I need--
What do I look
like, a piece-of-shit
drug dealer to you?
[SCOFFS] Now, here's the thing.
That piece-of-shit
drug dealer that you do
owe all that money to,
he doesn't know where
you work or live, but I do.
And all it takes is one
phone call, and he does.
But today's your lucky day.
You do me a favor, I'll
take care of your debt.
Let's take a ride.
Where?
Cicero said,
"Live as brave men.
And if fortune be averse, face
its blows with brave hearts."
You and I, we're going
to be good friends.
[LOCK CLICKS]
[DOOR CREAKS]
[DOOR SLAMS]
[RUMBLING]
[UPBEAT MUSIC]
STEVE: So are you,
like, a gangster?
MARTY: Gangster?
No.
Gangsters are like sheep.
They have to answer up
for everything they do.
I want to do
something, I do it.
But to operate in the world of
gangsters, you-- you got to--
you got to make them think
you're a little bit crazy.
[BANGING]
You don't want to cross them.
Stealing from the mob,
that's a death sentence.
[BANGING]
There's not someone
in the trunk, is there?
Don't worry about that.
So how'd you get
into so much debt?
Uh, well, I've been
looking out for my friends.
And they're not
paying you back?
STEVE: No.
[BANGING]
Shut the fuck up, Albert!
I swear to God, I--
I'll hit every pothole
between here and Billerica.
Who's back there?
Your drug dealer.
He's just a kid.
Are you in school?
I just got kicked out.
MARTY: For selling
drugs to your friends?
Yeah.
You know, that's
not being a friend.
That's being a doormat.
Don't try to be friends with
people you aspire to be.
Be friends with people who
see you for who you are.
[RUMBLING]
Wait here.
[ROCK MUSIC]
Feel myself near you
And I can see you want to--
ALBERT: No, no, no, don't go.
I can see you through
a little hole.
Hey, what's he going
to do to me, man?
I don't know.
ALBERT: Please, let me out.
I gotta piss like a racehorse.
I'm scared, man.
But I can't.
ALBERT: Why not?
Because if I let
you out, he might take
me and throw me in the trunk.
ALBERT: No, you're wrong.
We can run away together.
I'll hide you.
I-- I'm a human being, man!
No, I know you are.
ALBERT: Hey, do I know you?
[UPBEAT MUSIC]
What's happening?
What are you doing?
I'm freaking out up here.
STEVE: No, it's OK.
Relax.
ALBERT: Get out slowly.
Come around to the
back of the car.
Pop the trunk.
And this will all be over.
Oh, god, here he comes.
Oh, he's going to
kill me, isn't he?
Oh, I'm a dead man.
STEVE: Just shut
the fuck up, man!
ALBERT: I'm fucking dead!
Bring me down
Feel like coming too
I got you one.
[SEAGULLS SQUAWKING]
ALBERT: I know you.
Hey, don't worry about him.
Focus on me.
I'm going to tell you who
I am and why you're here.
And there's good
news and bad news.
The bad news is I'm a cop.
The good news is
I'm a dirty cop.
So as soon as you
get me $30,000,
I'm going to let you go.
Man, I don't have $30,000.
Well, you better
find it quick.
I'm in a cash business.
I buy the shit.
I sell the shit.
I'm living week to week.
I don't have any savings.
He owes me $5,000.
Get it from him.
I told you, don't
worry about him.
This is between you and me.
[SIGHS] I just don't
have $30,000, man.
MARTY: Well, call a friend.
I'm a drug dealer, man.
I-- I don't have any friends.
If I had $30,000, man, I'd
leave this shit, and I'd go
make some fucking friends.
MARTY: Well, have you
considered activities that
are outside your workplace?
You know, learn
pick-up hockey league?
Pick-up hockey?
MARTY: With teammates?
ALBERT: Hey, who
are you calling?
Who's he calling?
[SUSPENSEFUL MUSIC]
[SOBBING]
You can do it.
You can do it.
Come on.
If you're going to say
something, now's the time.
Trust me.
[SEAGULLS SQUAWKING]
I used to have a dog, and
I'd ride it like a horse.
It was a big German Shepherd.
And I was just a boy,
maybe seven or eight.
And one day, the movers
came to bring a rug
into my mom's living room.
It was really a lovely rug.
And my job was to hold the
dog while the door was open.
But the dog was
too strong for me.
It pulled out of my
hands and just ran away.
It was winter, so I put
on my hat and my gloves,
and I followed the
tracks in the snow
all the way down to
the end of the road
onto a golf course,
where I looked
down and saw hundreds
of dog tracks
crisscrossing everywhere.
People had been there
walking their dogs.
And my dog, well, my
dog, he was just gone.
Why the fuck did
you just tell me that?
BOB RA: I don't know.
It's just sad.
ALBERT: No!
No!
No.
Please, please,
make-- make him stop.
MARTY: I can't.
ALBERT: No, no!
No, no, no, no, no, no, no, no!
[GUNSHOT]
No!
Holy fuck!
MARTY: Oh, my god.
Bob Ra, I think you
shot your balls off.
Oh, my god!
BOB RA: How do I look?
Not good!
[GUN THUDS]
We gotta get him to a hospital.
[DOG BARKING]
[CRICKETS CHIRPING]
I blame you for this, Albert.
See what happens
when you bring chaos.
Just get me my $30,000.
[ENGINE STARTS]
[REVVING]
[SOOTHING GUITAR MUSIC]
[GROAN]
- (SINGING)
She's coming over
We'll go out walking
Make a call on the way
She's in the
phone booth, yeah
Looking in
There comes a
smile on her face
I really need you to kick in
the rent and everything else
you owe me.
Dude, stop being weird.
SARA: Is there coffee?
Yeah, I made some
last night, but I--
I wouldn't trust it.
DANNY: We got into
a fight last night.
I think she's going to leave.
Yeah, yeah, I've
heard that before.
Last night was--
SARA: Did I throw
something at you?
DANNY: Yeah, what was that?
SARA: What did
you do last night?
You missed a pretty epic
blowout, didn't he, babe?
DANNY: Sure did.
Maybe Stevie can settle
our little dispute.
What do you think?
DANNY: I didn't do it.
Do you think
he's a lying fuck?
Honestly?
I'm not saying I'm a saint.
I just want him to say it.
My record is clean, Officer.
SARA: Is that true?
Have you ever seen
anything, Stevie,
maybe you shouldn't have?
Go ahead.
You can tell her.
[SIGH]
No, I haven't.
It was an ashtray.
DANNY: An ashtray?
- Mm-hmm.
DANNY: An ashtray,
where I had duck out
of the way of your ashtray.
Thank you for that.
SARA: Good.
There's someone down there.
[BIRDS CHIRPING]
You banging her?
No.
MARTY: Why not?
A friend.
She's dating my roommate.
MARTY: Oh, what are we
going to do with you?
Here, put this on.
Wait, where are we going?
MARTY: To become
a fully realized,
self-actualized person,
conscious and aware,
you must live a life
unencumbered, free
of possessions.
You following me?
STEVE: Yeah.
MARTY: You have no fucking
idea what I'm talking about.
Come, let's get this over with.
[CHATTER]
[PHONE RINGING]
Come here.
Come here.
Come here.
Come here.
Let's straighten you out here.
Yeah.
OK.
Try not to be nervous.
Just tell the truth.
OK?
Put your game face on.
Let's do this.
[LOCK CLICKS]
STEVE: What is this?
ELEANOR: How long have
you known Mr. Lyons?
And be specific.
Uh-- Well, uh, Mr.
Lyons and I have--
have been friends
for a long time.
ELEANOR: And how did you meet?
Mr. Lyons came to
the museum one day.
And--
ELEANOR: Can you
speak up, please?
STEVE: Sorry.
Er, we started to
talk about, um, art.
He's very interested in art.
The parole board
is well aware of Mr.
Lyons' interest in art.
MARTY: Yeah.
Can I-- can I
have a sip of water?
[CLINKING]
[SIPS]
You're fucking this up.
Don't worry.
If this doesn't
work out, there's
a couple of guys across
the street with machine
guns ready to bust in here.
Over the course of your
relationship with Mr. Lyons,
have you seen a change in him?
Um.
Yeah.
[POP]
MAN: Party time!
Just like Paris.
Come on.
Come on.
Steve.
Hey, how'd you make
out last night?
I was up $1,200.
MOOCH: Yeah, but
he lost it all.
But it wasn't his fault.
OK, here.
Have some champagne.
Oh, I got you some
scratch tickets.
BEAK: Oh, boy.
MARTY: Here you go.
Hahaha.
Hope this makes you well.
Guaran-- swaying-- tee.
[CHUCKLES] Steve, come here.
Bob Ra.
- Hey, boss.
How you feeling?
Like I got my
balls blown off.
They give you meds?
- Yeah.
- OK.
Well, here, in
case you run low.
And try-- and try a
couple of those with this.
It's as good as a cocktail.
There you go.
BOB RA: Thanks, boss.
You bet.
Mooch, got you one of
these Jane Fonda's.
Whoa!
I have no idea how to use it.
Fuck, yes!
Yeah, well, I suggest you
don't try it while drinking.
MOOCH: Whoa.
[LAUGHS]
OK, bring it in.
Everybody, bring it in.
So this-- this is Steve.
Now, Steve, he almost fucked
up today, but he didn't.
To freedom.
And Bob Ra's balls.
May they rest in peace.
[LAUGHTER]
To freedom and balls.
[DISTANT TRAIN]
[METAL SCRAPING]
We're going to
rob the museum,
and we're going
to need your help.
[SCOFFS] Yeah, what?
No, I-- I thought
we were even now.
No.
But you do this for me,
and your debt will be paid.
Yeah, no.
Yeah, I-- I-- I--
I don't know.
MOOCH: He's scared.
MARTY: Of course, he's scared.
It's OK to be scared.
Scared is good.
It means you're on the edge of
your unknown, open and curious.
It's where all
great things happen.
So do you want to
be great, or are you
happy with the way things are?
Take some time to think
about it, but not too much.
[UPBEAT MUSIC]
[CHATTER]
STEVE: Danny, hey.
Um, sorry.
Could I talk to
you for a second?
One second.
I'm sorry.
I owe like a lot of money.
DANNY: Mm-hmm.
For all this partying.
DANNY: Sure, sure, yeah.
Mm-hmm.
And I could use
your help with--
Hey.
Come here.
Wait, come here.
--what you owe me.
Look at this, huh.
This is a great party.
- Yeah.
DANNY: Right?
You did this.
You're the man.
Yeah?
Here, take a deep breath, huh.
Breathe in.
Breathe out.
Breathe in.
Breathe out.
Now, repeat after me.
It's all going to be cool.
It's all going to be cool.
DANNY: Good.
Hey, did you get a call from
a record label or something?
DANNY: Uh, yeah.
But, like, it was
just some bullshit.
Some bullshit?
Well, may-- maybe
you could-- maybe
you could call them
back, like, invite
them to the gig or something.
- All right, yeah.
STEVE: Yeah?
DANNY: Now, chill, man.
Party.
Try and have some fun, buddy.
It's OK.
And can you keep an
eye on Sara for me?
She seems a little, like--
you know?
Yeah.
[UPBEAT MUSIC]
[CHATTER]
[SMOOTH MUSIC]
Uh, how are things?
[SNIFFLES]
Should I be honest?
Yeah, let's be honest.
[SLURPING]
If we're being
honest, about as
shitty as I could
possibly be right now.
Mm.
I can't sleep.
Danny and I have broken
up so many times,
I can't even keep track.
Whoa, whoa, no, Sara,
you-- um, you-- you
can't sit on the furniture.
- But it's furniture.
It's meant to be sat on.
I know.
We're just not
supposed to do that.
SARA: But, I mean,
what the fuck, right?
Yeah.
Yeah.
Let me ask you a question.
OK.
Do you think he's a bad guy?
Danny?
SARA: Mm.
Well, I mean, he stole band
equipment to pay for drugs.
And he hasn't paid me
rent in, like, six months.
But, no, I don't
think he's a bad guy.
I don't get that.
Why do you always
stand up for him?
STEVE: Because I've known
him since I was a kid.
And I wouldn't have a band
if it weren't for him.
I-- I just think,
like, deep down, he's--
you know.
I mean, you know, he--
he's, like, Danny.
You're such a nice guy.
You are so lucky to work
around all this art.
STEVE: Yeah.
SARA: You have a favorite?
Yeah.
SARA: The Manet is mine.
He kind of reminds me of you,
like, the way he's looking out
at everybody, taking notes,
sort of like he has a secret,
but he's not telling.
Yeah, douard
Manet, um, 1875.
He used to sit in cafes
and try to paint people,
but he never finished any
because they would get up.
And then one day, he saw
a reflection of himself,
and he painted it.
He says that in that
moment, he realized
that he could be an
artist because he
couldn't recognize himself.
The painting showed him who he
truly was, you're something.
SARA: Wow.
Hey.
I'm going to help you
get money from Danny.
Thanks.
[CHATTER]
What's wrong?
Nothing.
What?
I-- I just ordered
one without onions.
So get another sandwich.
It's fine.
MARTY: No.
No, no, you should get
the sandwich you want.
Really, it's fine.
What's your problem, then?
I just don't
want to bother her.
She's on the night shift.
[UPBEAT MUSIC]
Oh.
My father was a Boston cop.
He played by the
rules, everything
on the straight and narrow.
He went to mass
almost every day.
You know, he moonlighted
as a security guard
at the Forbes Museum, you
know, the one in Quincy.
Mm.
One day, a bunch of
antique guns were stolen.
So who do they blame?
The Irish Catholic
cop from South Boston.
You know, they didn't know him.
He wouldn't have
stole a Tic Tac.
I mean, they had no proof, but
they had enough pull to get
him kicked off the force.
So I went over there,
and I took everything.
I cleaned those
motherfuckers out.
I mean, a few days later,
I brought it all back,
left it out in the lawn.
So go ahead and play by
the rules, but, believe me,
the game is not on the level.
Come on, let's get out of here.
Leave it.
What about--
No, come on, come on.
Marty Lyons as I
live and breathe.
How long have you been out?
- Long enough.
- Ha.
Now, who are you?
MARTY: He's my new driver.
That's funny because when
I saw you pull in here,
you were driving.
Oh, yeah?
Are you following me?
No.
Paranoid?
So how are you doing?
I mean, are you working on
your learner's permit or what?
[LAUGHS] Kevin McDonald.
Nice to meet you.
I'm Steve.
Steve.
So, Steve, what
are your interests?
What do you like to do
when you're not driving?
Um, well, I like
to play guitar.
I'm just fucking with you.
I don't give a shit.
[LAUGHS] This guy is crazy, but
you can learn a lot from him.
Come on, let's go.
Hey, good to meet you.
Yeah.
And don't let that bitch
put onions in your sandwich.
OK.
JACK (ON RADIO):
Come to my office.
Uh, me?
Yeah?
[SIGH]
Is that how you
talk to your superior?
Yeah.
Now, I can't tell
whether it's you
or your dunderhead partner
who's been stealing,
but it's going to
stop here and now.
Millions of dollars'
worth of art.
Yet, they tell me there's no
budget for security, fine,
but I will have
discipline on my watch.
Paid for that out
of my own pocket.
STEVE: OK.
Not another candy bar.
[BELL RINGS]
[ROCK MUSIC]
Before I reach
for my revolver
What's up, handsome?
STEVE: How's it going?
Going's good.
So we got that gig tonight.
DANNY: Yep.
Cool.
I'm just going to guess
you didn't call the label.
DANNY: Good guess.
I'm going to need you to pay
what you owe, or, I don't know,
we're going to have to
figure something out.
DANNY: She didn't tell you?
STEVE: Tell me what?
I gave her your money.
You're such a fucking liar.
I have a joy in
that, but that girl
is not who you think she is.
I just feel sorry for
you, man, that you'd
choose her word over a friend.
But I get it.
You know, she's hot.
You're insecure.
You fucking kidding me?
A friend with-- a record
label comes along,
like, a fucking record label.
But you know what that
would mean to me or to us,
to the band, and you don't
even bother to call him back?
The record label isn't
interested in the rest
of the band.
They just want me.
That's why I didn't
call them back.
You're-- stop
fucking lying to me.
I'm sure Sara just forgot
to mention the money, yeah?
She's got you wrapped
around her finger, man.
[REVVING]
SARA: No, no.
Oh, that's good.
Hi.
Hey.
Come on in.
Have a seat.
- What are you doing here?
- I was in the neighborhood.
I thought I'd stop by.
I'm getting to know your
lovely roommate, Sara, here.
This guy's so rad.
[SCOFFS] I'm just a
middle-aged guy with a job.
You, however, both
of you, you got
the whole future ahead of you.
Not a care in the world.
Number four, fuckin' Bobby Orr.
How about you?
Are you two
romantically involved?
Um, no.
[LAUGHS] I have a boyfriend.
Hmm.
[SIGHS] That is some
delicious lemonade.
SARA: Do you want some more?
KEVIN: Not too much trouble?
SARA: Yeah, not at all.
KEVIN: Let me help you.
SARA: No, no, no, I got it.
You guys stay and chat.
Do you want anything?
No.
Lovely.
What did you say to her?
She thinks I'm charming, but
that's a problem, isn't it?
By the time you get to my
age, you've figured out
how to talk to
women, but it doesn't
matter because they'll go
with you just for the money.
So the sex is just--
makes me feel more lonely.
Yeah, well, I don't really--
[LEATHER CREAKING]
[CLINKING]
This-- this is my
best friend's tongue.
I keep it to remind
me what happens
when you break your word.
Now, I'm going to
need your word.
We know that Marty's going to
rob the museum, and we want in.
You need to consider this very
seriously because if you don't,
the people that I work for
will not hesitate to harm
you or anyone you care about.
SARA: Lemonade for
the mystery man.
KEVIN: Mm.
[CLINKING]
Awesome.
I'm going to go.
To your future.
[FOOTSTEPS RECEDING]
[LOCK CLICKS]
[DOOR SLAMS]
Did he just take the glass?
Hey, have you had any
luck with the money?
SARA: What money?
From Danny.
Sorry.
You know how he is.
He's useless.
1, 2, 3, 4, 5, 6.
(SINGING) # Run,
run, run, run
We're going faster
miles an hour
Want to ride past
the Stop & Shop
With the radio on
I'm in love with
Massachusetts
And the neon when
it's cold outside
And the highway when
it's late at night
Got the radio on
All right, rolling on
Well, all right.
Welcome to the
spirit of 1956
Racing in the
bushes next to 57
The highway is
your girlfriend
As you go by quick suburban
streets and square feet
And it smells like heaven
I see a roadrunner, one
Roadrunner twice
I'm in love with
rock and roll
And I'll be out all
night, rolling up
On the road when
I'm grown up
Going faster miles an hour
Want to ride past
the Stop & # Shop
With the radio on
I'm in love with Massachusetts
And the neon when
it's cold outside
And the highway when
it's late at night
I've got the radio on
Just rolling on
Well, all right
Woo, woo, woo
[UPBEAT MUSIC]
[CHATTER]
MAN: Hey!
Hey.
- (SINGING) # I found my
love by the gasworks croft
Dreamed a dream
by the old canal
Kissed a girl by
a factory wall
Dirty old town
Dirty old town
I'm going to tell you a story.
[SMOOTH HARMONICA MUSIC]
[UPBEAT MUSIC]
(SINGING) # Yeah,
down by the river
Down by the banks
of the River John
That's where you find me
Along with lovers,
muggers, and thieves
Oh, but they're cool people
And I love that dirty water
Oh, Boston, you're my home
Yeah, yeah, yeah, yeah
Love that dirty water
Come on, Steve.
(SINGING) # I love
that dirty water
Steve Baker.
I love that dirty water
I love that dirty water
I love that dirty water
I love that dirty water
I love that dirty water
'Cause I love
that dirty water
Oh, Boston, you're my home
[CHEERING, APPLAUSE]
That was fucking awesome!
Yeah, rock and roll.
So what's it going
to be, Steve?
You're either in, or you're
out because tomorrow's today.
You mean--
MARTY: Yeah.
SARA: Are you kidding me?
That was incredible.
MARTY: Oh, yeah.
- Yeah.
- Do I know you?
No, but I know you.
SARA: Do you?
Yeah, I've known girls
like you all my life.
Oh, girls like me?
MARTY: Oh, yeah, yeah.
I even married a few.
Always the same-- same problem.
Oh.
MARTY: Yeah.
And what's that?
You take no responsibility
for your life.
Well, wait a minute.
I mean, you can't--
MARTY: I mean,
who can blame you?
You're beautiful.
So you can roll with
that for a while.
And you think you're
out of his league?
Well, you are.
STEVE: What?
But check back
in about six years,
when you're stuck
with all the choices
you were afraid to make.
We'll see what's what.
Fuck you, old man.
Sara.
Why'd you have to say that?
Because you
needed to hear it.
[CHATTER]
Don't listen to him, OK?
He-- he doesn't know
what he's talking about.
No, he's right.
I'm exactly the
person he described,
and I fucking hate it.
No, you're not.
You're not at all.
I mean, you-- you have
everything going for you.
You know that?
You're-- you're smart.
You're talented.
You're beautiful.
Er, no.
I took the money, Steve.
I was going to pay you
back, but honestly, I
probably wouldn't have.
Why?
Um.
I was going to go out
West or something.
You should cut it.
You don't want anything
to do with this.
Sara, you can, uh,
you can keep the money,
but only if you use it for you.
[DISTANT TRAFFIC]
[CHATTER]
[DISTANT SIREN WAILING]
Fuck.
[UPBEAT MUSIC]
You ruined my life.
[CHATTER]
Well, I got news for you.
It was already ruined.
I just opened your eyes.
But if it makes you feel any
better, you never had a choice.
Mm.
Come on, let's get out
of here, have some fun.
[UPBEAT MUSIC]
[PSYCHEDELIC MUSIC]
Watching Sons of Harmony
Seeking grounds
of gentle hope
Finding peace in
a # reluctant dream
Cleansed by blue
She's using you.
You don't know anything
about her, so just
don't talk about her, OK?
MARTY: All right.
[RUMBLING]
Jesus Christ!
This is a Muramasa blade,
15th century Japanese
Samurai blade, very rare.
Now, the first quality you look
for in a blade is the hamon.
You see that frosted
part right there?
You see it?
- Mm.
That's the hamon.
The second part you
look for is the grain.
You see how it looks
like a mountain range?
Yeah, that particular
grain is called gunomi.
So Muramasa had a student named
Masumoto, also very talented.
And a dispute arose as
to whether the Masumoto
blade was superior
to the Muramasa,
so they did an experiment.
They put the Masumoto
blade in a stream.
And a leaf came by,
like, a maple leaf.
And the Masumoto
blade cut it in half.
And then they put this
blade, the Muramasa
blade, and the leaf came by
and went around the blade.
And to think that it
was just laying there
in the basement of the Met.
Nobody gave two shits about it.
It shows you what they know.
Grab the flowers.
[DOOR CLOSES]
Hey, Celia.
Hey.
How are you, honey?
How are you?
Feeling OK?
Aunt Celia is the only one
in the family that supported
me through thick and thin.
And she gave me a
great life lesson.
She told me, always
keep dancing.
So I'm dancing as
far as I can, Celia.
Sit down.
Sit down.
Sit down.
I got you some--
some milk, and some
fruit, and some chicken
salad that you like.
And-- and I-- and I
got you an avocado.
Try it.
You might like it.
Here's a little-- here, here's
a little pin money, honey.
OK.
Where are the cameras?
Uh.
I mean, don't worry.
She's going to forget
everything in five minutes.
Are they just on the outside
or on the inside, too?
Huh?
Uh, er, the outside.
MARTY: So just on the outside.
And the sensors
are on the inside?
Just sensors, right?
- Mm-hmm.
And the alarm button
is under the desk?
Mm-hmm.
MARTY: Is that a yes?
Yeah.
Steve here, he's
in love with a girl,
but they're just friends.
I mean, do you want to break
it to him, or should I?
I don't know what to tell him.
[LAUGHS] Honey, we
got to go, though.
I love you.
I'm going to see
you on Thursday,
and I'll bring you
some Chinese food.
Let's go.
Oh, uh, nice to meet you.
Don't let that girl lead
you around by your dick.
[CREAKING]
[DOOR CLOSES]
She doesn't know
it, but sometimes I
stash paintings under her bed.
Rembrandt's only seascape,
bang for your buck,
this is the jewel
of the collection.
How does it make you feel?
Yeah?
I-- I don't know.
Well, you better have
an opinion because it's
about to be yours.
[SIGHS] I mean, to me, it says,
life is a series of problems,
and you're always a cunt hair
away from falling into the sea.
[WAVES RUSHING]
[RUMBLING]
Take this one,
definitely this one.
But not that.
That's a lesser work.
Not bad, Ra.
Thank you.
Your form is good.
BOB RA: Thanks.
BEAK: $20 I can
hit one further.
You don't have $20.
Because you know I'm right.
Man, you still owe
me $20 from the time
of Anne Marie Haskell.
You said that she blew you in
the back of your dad's LeBaron.
That was 10 years ago.
Doesn't matter.
A lie's a lie.
It doesn't have any
expiration date.
Did it happen, Beak?
You weren't there.
Neither were you.
BEAK: Fuck you!
Fuck you.
Remember, this is
a gentleman's game.
BEAK: 20 bucks.
I can't take your money.
BEAK: Then the other thing.
Oh, the other thing.
Oh, not the other thing.
BOB RA: Oh, the other thing.
No, Beak, don't do it.
STEVE: What's the other thing?
It's the other thing.
You got the honor, Mooch.
Let's go already.
That's in the fairway.
BEAK: Fuck!
New guy, come fluff my
ball for me, will you?
Me?
Go ahead.
Well, where--
where do you want?
Uh, I prefer it a
little to the left.
Uh, there?
Little back to the right now.
Come on, come on, come on.
OK.
Uh, there?
MOOCH: Come on, let's go!
- There you go.
MARTY: Take your time.
BEAK: Keep your
eye on it, guys.
This one's going downtown.
Oh, Billy, Billy, Billy.
MOOCH: Whoa!
BEAK: Fuck yeah!
Fuck, fuck, fuck, fuck,
fuck, fuck, fuck, yeah, Beak!
Beak, Beak, Beak,
Beak, Beak, Beak, Beak.
[LAUGHING] Buck, buck,
buck, buck, Beak.
STEVE: So what's the bet?
Don't touch me.
You're like a mentally
challenged Jack Nicklaus.
Fucking shot of
your life, asshole.
BEAK: Let's take a peek.
Ooh, it looks wet.
It's so nice.
Ready?
Up you go.
[MORPHINE, "THURSDAY"]
Night swim.
[LAUGHTER]
MORPHINE: (SINGING) # We used
to go to a motel, a motel,
a motel across the street
And the name of the
motel was a Wagon Wheel
[DOGS BARKING]
[CLAMOURING]
Better go get his clothes.
What?
Go get his fucking
clothes, man.
No.
Go get his fucking clothes!
MAN: Fuck you!
[BARKING]
MORPHINE: (SINGING)
A violent man,
a very violent
and jealous man
Now I have to
leave this town.
[GROANING]
[MORPHINE, "THURSDAY"]
Woo!
Come on, get in!
[LAUGHTER]
Woo!
Fuck, yeah, Steve.
BEAK: Let's go.
Here we go.
Woo!
[LAUGHS]
BEAK: Woo-hoo!
Go, Mooch!
Go!
Yeah!
[REVVING]
Fuck yeah!
Go, Mooch!
[CRICKETS CHIRPING]
[RUMBLING]
[DOG BARKS]
DELONG: So we understand that
you've been spending a lot
of time with Marty Lyons.
Well, I mean, we're
just, like, friends.
[SCOFF]
Yeah, I don't know
what he told you,
but that man is
not your friend.
He shot a cop.
Did he-- did he mention that?
He's a very
dangerous man, Steve.
You don't know what you've
gotten yourself into.
See, this is what he does.
He's setting you up.
He identifies an inside
man, he brings you in,
and then he leaves
you to take the fall.
That's right.
You're a patsy, Steve.
DELONG: Do you want to talk
to some of those inside men?
We can make a call.
It's just the main
line at Devens.
Is that what you want, Steve?
To go to Devens
Correctional Facility?
No.
[CLEARS THROAT] No.
DELONG: Tell him
about Henry Ziegland.
Mm.
Let me tell you about a
man named Henry Ziegland.
You see, around 1900, a
man named Henry Ziegland
breaks up with his fiance.
Now, she's so distraught that
she goes and she kills herself.
Now, her brother tracks
Ziegland down, shoots him,
then kills himself.
Right, but the thing is,
is that he misses Ziegland.
He just kind of
grazes his temple,
and the bullet lodges
in a nearby tree.
20 years later, Ziegland
goes to cut this tree down,
only the wood is too, um--
what's the word?
Dense.
So he decides to blast the
tree with dynamite, which
dislodges the bullet, striking
Ziegland in the temple,
killing him instantly.
[BLAST]
[THUD]
Fate's a bitch, my man,
and it's coming for you.
You see, Stevie, what we're
offering you is a way out.
Now, if you don't
help us, we're
going to arrest you and
all your little drug
buddies, including the little
hottie you got eyes for.
Oh, she is so far
out of your league.
I'm just-- I'm saying.
TRAFT: This is the part
where you save yourself.
[DOOR BUZZES]
[CRICKETS CHIRPING]
SARA: Peace offering.
Ah.
I'm sorry.
STEVE: I know.
[SUSPENSEFUL MUSIC]
1 hour 20 minutes, and we're
out of there, 8-0 minutes,
not a minute more.
We focus on the Rembrandt room.
We unscrew the
paintings from the frame
and only take
what's on the list.
MOOCH: Let's just fucking
cut them out of the frame.
BOB RA: No, it--
it ruins the value.
100% right.
And if the alarm
goes, which it fucking
won't, drop everything and run.
What about him?
We tie him up.
We tape him up.
We leave him overnight.
Hey, are you all right?
Come here.
Yeah.
Because you're
sweating bricks.
Yeah.
I mean, that-- that's just
because I'm, you know, nervous.
What do you mean, nervous?
What do you got to
be nervous about?
I-- I swear to God,
I just want to do
this and get it over with.
What are you
talking about God?
MOOCH: Oh, shit.
I'm going to speak plainly.
You fuck me, and I will
burn you to the ground.
Are you sure I can take this?
STEVE: I'll buy a new one.
SARA: OK.
[LOCK CLUNKING]
STEVE: Yeah, it's just-- it's
too depressing to show up
in a new city without a bed.
What if I'm the
same fucked-up
person when I get there?
STEVE: You should get going.
Of course, he didn't show.
Asshole.
STEVE: Asshole.
Don't worry.
I'll take care of him.
Yeah, he's like
a plant, you know?
So give him water.
Feed him once a day.
Hey, when that guy asked if
we were dating and I laughed,
it didn't mean anything.
Yeah?
Mass Pike is going
to be a nightmare.
Promise you'll visit?
STEVE: Yeah.
- Promise?
STEVE: I promise.
OK.
I'm sad.
I know.
[SIGHS] OK.
[ENGINE SPURTS, STARTS]
[ENGINE RUMBLING]
[DINOSAUR JR, "GARDEN"]
[REVVING]
Sometimes we sway
Couldn't have
it any other way
Now it happened
nobody's happy with it
Everybody's
living through it
Must admit I get into it
So don't make it harder
Hand me your hand
No time to wait
There is a garden
And when do we move
I love how you move with me
Takes time
It takes time living
on a razor blade
To know the way
So don't make it harder
Hand me your hand
No time to wait
Where is the garden
And when can we # move
Love how you move
[PHONE RINGING]
Ah.
[PHONE CLUNKING]
Hello?
MARTY (ON PHONE):
How you doing, kid?
What time is it?
MARTY (ON PHONE) It's time.
Are you ready?
I don't know, I guess.
MARTY (ON PHONE): Listen,
I'm sorry about the girl.
I've never been any good at
matters of the heart, you know?
You know, it's--
it's a puzzle I
have never been able to solve.
Yeah.
MARTY (ON PHONE):
So we're good?
We're good.
Are you scared?
STEVE (ON PHONE): Yeah.
Well, of course,
you're fucking scared.
But no more mystical advice
from me, except this.
There's is only one known
cure for loneliness.
Get a dog.
OK, Marty.
MARTY (ON PHONE): Yeah, OK.
I'll see you over at the place.
[PHONE CLUNKING, RINGING]
[GROAN]
[SIGH]
[ROCK MUSIC]
Been down the road before
Under the wheel
And wanting more
Of what I feel
Thanks.
Been down the road before
Under the wheel
And wanting more
MOOCH: Bob Ra, you
got five fucking cars.
What are you doing?
I'm playing five cards.
MOOCH: We're playing two card--
where the fuck is he?
- I'll put three down.
I don't know.
[KNOCKING]
[LOCK CLUNKING]
I swear.
May-- maybe he's late.
What do you mean, he's late?
He's never fucking late, Beak.
[POLICE RADIO CHATTER]
That is a parole
violation, Marty.
KEVIN: Hello, ladies.
[CHAIR SCRAPING]
I've got two pieces of news.
The first is that Marty
was arrested this morning.
The second is that the robbery
will go ahead as planned,
but now you work for me.
And, you, don't try to rat
your way out of this one
because the people that I work
for do not take kindly to rats.
So [CLAPS] what's the plan?
[TICKING]
[DOOR BUZZES]
BEAK: Boston Police.
Open up.
[TICKING]
Open the fucking door!
[DOOR BUZZING]
[FOOTSTEPS APPROACHING]
Call the other one.
Uh, Ian, you-- you
better get down here.
IAN (ON RADIO): What is it?
Uh, the police are here,
and they want to talk to us.
IAN (ON RADIO): OK.
All right.
MOOCH: Get the fuck up.
[GROANING]
Oh!
Shit!
You little piece of shit!
[DRAMATIC MUSIC]
[TAPE TEARING]
IAN: What's happening?
BEAK: Let me see your ID.
Ah!
Dude, what the fuck?
KEVIN: You're being robbed.
Do what we say, and you
get to see the sunrise.
Take them to the basement.
[DRAMATIC MUSIC]
Hey, you shouldn't
do that, Beak.
[CANVAS TEARING]
[MUFFLED SPEECH]
What you did to
Marty was awful.
You know, in my
line of work, you
get to see people as they
really are, not the face
they put on for
the world, but who
they are at home, in repose.
[BANG]
Fear takes off the mask.
STEVE: No, no, no, no, don't.
No.
Please, please, please.
KEVIN: You are a piece of shit.
[TICKING]
[HUMMING]
POLICE OFFICER: Found
one in the basement.
[MUFFLED SPEECH]
Who did this,
you little shit?
[DISTANT SIREN WAILING]
You better start talking.
I want a lawyer.
[SUSPENSEFUL MUSIC]
REPORTER (ON TV): Thieves
made off late last night
with 11 works of art
from Boston's Isabella
Stewart Gardner Museum.
Among the rare masterpieces by
Rembrandt, Degas, and Manet,
gone is the only seascape
Rembrandt ever painted,
The Storm on the
Sea of Galilee.
Also stolen, a
self-portrait by Manet.
Boston Police say they
believe the thieves were
highly skilled professionals
who knew exactly
what they were looking for.
[MUSIC PLAYING]
[DOOR SQUEAKS]
[GROANING]
Fuck, oh.
[BANGING]
[GROANING]
KEVIN: Where is the Manet?
Please don't hurt me.
Where the fuck is it?
I don't know what
you're talking about!
May-- maybe it got
lost in the shuffle.
KEVIN: What?
The shuffle?
[GROAN]
You cannot be
this fucking stupid!
I'm not stupid!
I'm-- I'm just
scared and confused.
I don't know what
you're talking about.
KEVIN: Open up.
- [PANTING]
Open up.
If you are lying to me, I
swear I will have your tongue.
[PANTING]
We will be watching you
for the rest of your life.
[FOOTSTEPS RECEDING]
[LOCK CLICKING]
[DOOR SLAMS]
[DEEP INHALE]
[PHONE RINGING]
[PHONE CLUNKING]
JACK WIGGINS (ON PHONE): Steve?
Yeah.
JACK WIGGINS (ON
PHONE): This is
Jack Wiggins from the museum.
It's my distinct pleasure to
inform you that you're fired.
[SIGH]
[BUZZING]
Here's your watch.
MARTY: All right.
And your bracelet.
GUARD: Hey, too bad you missed
out on that museum job, huh?
Yeah.
Well, thanks to you assholes,
I had a rock-solid alibi.
Hey, give me that.
Give me that.
GUARD: Oh, you going
to be a priest now?
I am a priest Hey, wait.
Where-- where--
OK, there it is.
There it is.
I got it.
All right, fuck it.
OK, fuck you.
Sucks to be you, huh.
Open the fucking door.
See you next time, Marty.
Fuck you.
[LOCK CLICKING]
[DOOR BUZZING]
Fuck, yeah.
Yeah.
STEVE: I thought they,
like, took the tapes.
TRAFT: They did.
That's one of the
things that bothers me.
How did they know to do that?
So I went back, and
I checked the tapes
from the previous night.
See there?
You left the side door
open for six minutes.
Why?
I'd rather not say.
DELONG: Well, we'd
rather you did.
TRAFT: You have to.
Will I get in trouble if
it doesn't have anything
to do with the robbery?
TRAFT: You'll be in a lot
more trouble if you don't.
OK.
Um.
See the smoke in
the top right there?
Sometimes I like
to, you know, like--
but you guys don't have,
like, evidence of that, right?
Get the fuck out of here.
[DOOR OPENS]
Hey, we're not
through with you.
Yeah.
[DOOR CREAKING]
Have you heard from Sara?
[CHATTER]
Couldn't even say
goodbye to her?
OK.
[UPBEAT MUSIC]
What the fuck's
wrong with you, bro?
Look, man, you know I'm not
good at that kind of stuff,
all right?
- Yeah, I know.
It's the same reason you
never called the record label.
It's never because you
were protecting me.
You didn't call because
you were scared.
Oh, yeah?
Yeah.
It's why you don't
show up to gigs, why
you can't commit to anything.
It's honestly why
you lost Sara.
Are you high right now?
Yeah.
Yeah, that's not the point.
What is the point?
You can't sing.
You can't play guitar.
But you have a quality that
not a lot of people have.
I'm not going to
let you waste it.
What the fuck is this?
These are the
guys from the label.
Take care of him.
He tends to wander
from his vocal range.
[DISTANT TRAFFIC]
[DOOR OPENS]
[SQUEAKING]
[DOOR CLOSES]
How's Aunt Celia?
She's still dancing.
[SCOFF]
MARTY: Go ahead.
You earned it.
How much of what you
said to me was real?
And how much of it was just
an act to get what you wanted?
Don't worry about it.
Mm.
MARTY: Count it.
I trust you.
Mm.
You shouldn't trust
me about money.
Want to tell me
about the Manet?
[SUSPENSEFUL MUSIC]
Look, Marty, you can
do whatever you want,
but I did everything
you asked me to.
So either way, you
still owe me this money.
Whoever took it must have
had an awfully good reason.
STEVE: They must have.
MARTY: They've
taken a lot of risk.
Sure did.
Go ahead, take it,
before I change my mind.
STEVE: Hey, Marty.
MARTY: Hmm?
I'm going to need a favor.
Yeah?
STEVE: I need to
borrow your car.
MARTY: Oh, yeah?
Yeah.
[SCOFF]
Sure, OK.
Yeah, hey, sure.
Here you go.
[CHUCKLES] Hot damn.
[BRIGHT MUSIC]
Oh, no.
Not you guys.
STEVE: It's just me.
You want an egg roll?
No.
Now we're even.
[WHIRRING]
You want to count it?
Man, get the fuck out of
here before I shoot you.
And myself.
[SEBADOH, "SKULL"]
There is history
in this place
There are dragons
to be chased
And though I
don't know you are
An easy flow with a
strong, a strong heart
And the charm in
the way you hide
You gently take my
skull for a ride
And I don't
know who you are
But I know what I
would like you to be
A one-night stand
under stoned persuasion
But the joy that
I can't hide
You gently take my
skull for a ride
You gently take my
skull for a ride
We can never,
ever go too far
The pain you can't
escape at least will wait
So let's go chasing
dragons through the snow
Life can be a
nonstop movie show
You gently take my
skull for a ride
You can now take my arm
And give me all you have
You gently take my
skull for a ride
You gently take my
skull for a ride
[LAZARUS, "I'LL GET TO YOU"]
The days are running slow
And the nights are
going fast, yeah
I just kind of hope that
this thing don't last, yeah
But I know I'll get to you
Your love is coming fast
I just got to
reach out to you
Reach out to you like
reflections in the past
Reflections in the past
I can't seem to find a way
to get across to you, girl
But I'm sure you'll see
in time before the day is
through, girl
That I can't
help loving you
Don't blame me if I try
I've just got to
reach out to you
Reach out to you
until the day I die
'Til the day that I die
'Til the day
that I die, yeah
I'm going to be
dying someday
Don't want to leave
'til I got your loving
Don't want to
[SLOW MUSIC]
Go out walking
Make a call on the way
She's in the
phone booth now
I'm looking
There comes a
smile on her face
And as before, the same
stuff we had yesterday
Still singing some all the
same stuff we had yesterday
I'm too much with myself
I want to be someone else
I'm too much with myself
I want to be someone else
I'm too much with myself
I want to be someone else
I'm too much with myself
I want to be someone else
[SOOTHING GUITAR MUSIC]