Original subtitles

[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, Édouard 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]