Sneaky Pete (2015) s03e04 Episode Script

1 You're still angry with me.
Well, you never apologized.
What apologize for what? What you-you set me up.
I mean, I, you know, I-I would and I would never - do that to you.
- (LAUGHS): Oh.
I was trying to avoid prison so I could raise my kids.
What was your excuse again? - Yeah, I'm the Devil, all right? - Okay.
You're Miss Goody Two-shoes, all right? Yeah.
Yeah, that's what I was trying to say.
And you're welcome for getting you out of jail.
- All right? - Huh? What? You set me up like that.
I can't believe it.
VIGNETTI: Come on in.
Take a chair.
Mr.
Kilbane, I'd like you to meet Julia Bowman - and Marius Josipovic.
- Huh.
So you're the Marius Josipovic Vignetti's been searching for.
I imagined you taller.
So did I.
Well, Marius, Sy Rubinek violated me.
He took my love of art and beauty and he exploited it for his own grubby ends, and, uh, I don't just want to take him down, I want to destroy the bastard.
So, walk me through, uh, what happened An associate of Rubinek offered to sell me The Storm on the Sea of Galilee for ten million.
And you knew that was one of the stolen paintings from the Gardner Museum? How do you think I talked him down to four? Come on, that's a pretty good deal for a hundred million dollar painting.
But I-I was wary from the start, so I insisted that the painting be scientifically authenticated by an expert before money changed hands.
And Sy paid that expert.
VIGNETTI: No.
- It was the real painting.
- Somewhere between the authentication and the exchange, Rubinek swapped the real Rembrandt for the forgery.
And I didn't notice that the paintings had been swapped until much later.
Classic Heidelberg Hustle.
It's technically a Viennese Victim.
- No, no, in the Viennese Victim - Okay.
Wh-Whatever you guys are doing, stop.
MARIUS: Okay, so did you tell anybody the Rembrandt was fake? - No, I've kept that quiet.
- Good.
We contact Rubinek, and we tell him that you want to buy another one of the stolen Gardner paintings.
(LAUGHS) That would make me look like a fool.
Right, that's the bait.
We give Sy the once in a lifetime opportunity to pull the same con on the same mark twice.
But this time, when he does the exchange, we grab him.
- And Rubinek goes to prison? - Sure.
And I get the honor of returning the real paintings to the Gardner? You'll be a hero.
What do you think? Can I, uh, can I trust Mr.
Josipovic here? No.
Not remotely.
But that's why you have me, to watch him like a hawk.
("HARDER OUT HERE" BY THE BRIGHT LIGHT SOCIAL HOUR PLAYING) It's gettin' harder out here I keep tryin' to just make my way It's not lyin' I'm only tryin' Just trust in me Trust in me Just trust in me Trust in me Just trust in me.
(DOOR OPENS, CLOSES) Where's the captain? Captain don't want to see you.
I don't want to see you.
Hell, I'm surprised you even want to see you.
I made a mistake.
Raiding a drug den off-duty, with no warrant? Losing your badge in the middle of some so-called raid? It wasn't a raid, - I was - Then you get dragged all over Bridgeport on the side of a yegg's car, screaming like a little bitch? That's three mistakes.
Each one stupider than the last.
My grandfather asked me to do him a favor.
- I was just - Oh, so it's his fault? No.
It's no one's fault.
When there's a fuckup this bad, it's always someone's fault.
Take two weeks.
Let your face heal.
My face is fine.
Look the yegg's already lawyered up.
This is your third complaint.
Take two weeks and think about what you want to do.
There's nothing to think about.
Not everyone's cut out to be a police.
Best you make the decision to move on yourself, before someone makes it for you.
(SIGHS) (SIREN WAILING IN DISTANCE) - Lorraine.
- Oh, hey.
Hi.
(STAMMERS) Is something wrong? No, no, I just What happened to your face? - It's fine.
- It doesn't look fine.
How's Natalie? N-Not great.
Um, there's a rehab facility in Chatham.
- I'm gonna take her tonight.
- She agreed to go? Not giving her a choice.
Um, listen, Taylor, when I asked Otto for help, for your help, - I shouldn't have.
- Yeah, you were just worried about your kid.
I know, but what Natalie told you about me and Otto.
- Yeah.
- I wasn't trying to keep anything from you.
It's ancient history.
Just don't blame Otto.
It was a long time ago.
I just got out of a bad marriage, and he was kind.
It's none of my business.
Thank you for going above and beyond.
I'm just I was happy to help.
Really.
JULIA: What's the "X" for? It's a dead drop.
The, uh, "X" lets Rubinek know that there's a message for him.
Seems a little Scooby-Doo, don't you think? Look, there's a reason why the guy's never been caught.
He's got 18 known aliases.
He's cautious to the extreme.
So if we're gonna pull this off, we got to play by his rules.
- So, what was in the message? - Come on.
Uh, it's a tease, letting him know that-that, uh, an old mark wants to buy another painting from him.
It's it's a dare, basically saying that he can pull the same con on the same mark twice.
- JULIA: So what do we do now? - We wait.
You think I'm a terrible person.
But, really, I'm just honest about human nature.
No, you're a terrible person.
Okay, well, if we're gonna do this together, you're gonna have to sink down to my level.
Oh, no, no, no.
I'm just the babysitter.
- You're the con man.
- I didn't have to choose you.
I got Vignetti to pair us up because I thought we would work well together.
Ch-Choose me? I was jammed down your throat.
Oh, really? Is that what you think? That's really cute.
Julia, what is it you think I do? Lie to people, pretend to be their cousin, steal their money.
No, I'm a confidence man.
I earn people's trust and then I exploit that trust to get whatever I want.
- So you're a thief.
- No, no, no.
I'm not a thief.
I don't reach into people's pockets and steal things.
(WHISPERS): Okay, sometimes I reach into people's pockets and I, and I steal things, but that's beside the point.
- When is he contacting us? - I don't know.
It could be five minutes, it could be five hours.
Listen, I get people to give me what I want by making them think that they want to give it to me.
And if I do my job right, they walk away feeling good because they've decided that they wanted to do it.
So you're a saint.
Oh God.
What is - MARIUS: Oh, my - (SHUDDERS): Ew.
MARIUS: Oh, wait a minute, wait a minute, wait a minute.
(QUIETLY): No, I think that's him.
Rubinek.
I'm so disgusted that was in my coffee.
"Get Hickey"? Hickey is the forger who painted the fake Rembrandt.
So we get Hickey.
Hickey doesn't do forgeries anymore.
Not since prison.
I'm guessing we can't find another forger? There is no other forger.
If Sy wants Hickey, we have to get Hickey, but we have to do it in person.
You need to call Lance about the kids.
- Why? - Because Hickey lives in Vermont.
- Come on.
- Well - Just leave the ten dollars.
- Oh, okay.
(PHONE RINGS) - Bernhardt Bail Bonds.
- AUDREY: Otto, it's me.
- Hey.
- Listen, I'm just calling to tell you that I asked Taylor to stop by, give you a hand.
I do not need Taylor.
We have to get the business back on its feet.
I-It's, it is on its feet.
It's dancing a jig - oh, shit.
- Is that him? - Yes.
- Good, I'll call you later.
What can I do to help? No, I'm good.
What the hell happened to your face? Work.
Whatever.
Is the coffee fresh? Made it myself.
(CLATTERS) When are you due back at the station? (SCOFFS) I'm taking a couple of days off.
What the hell is this? I just had a cup.
It's fine.
Tastes like shit.
I don't know how you can drink this.
Yeah, well, no one's making you drink it.
The only reason I only drank it is 'cause you told me - it was coffee.
- Oh You got something to say? When my grandfather tells me something is coffee, I'm gonna assume it actually is coffee, and not some other whatever.
I didn't do anything wrong.
Then why couldn't you tell me who Lorraine really is? Hmm? Before I stuck my neck out for her? She was trying to help her kid.
It didn't matter! Yeah, you tell that to Grandma.
You-you don't like my coffee, huh? I-I'm gonna get you some, uh, I'm gonna get you some nice coffee.
Some real coffee.
I am gonna get you a nice big fat latte.
Huh? Grandpa.
I didn't come here to fight.
You could've fooled me.
(QUIETLY): Shit.
("NOTHING HAS TO BE TRUE" BY FIRST AID KIT PLAYING) Each and every breath we take A step towards death And the moon is pale And we might have seen something But we ain't seen nothing yet And I may have dreamt it Or it may have happened When I stood right here Waiting for a sign For me to walk away But I give in so easy And I give up instantly TEX: Hello, darling.
Welcome to Hopkins Cars.
I'm Tex Hopkins.
And what can I put you in today? A minivan for the family? Uh, I-I got a great deal on a, on a '12 Hello, Dad.
Audrey.
Where's my granddaughter? Looks like it's been sprayed.
They do that to cover up rust damage.
Thought you wouldn't be here till tomorrow.
Yeah, I took the first flight after you called.
I'm really happy you're here.
Didn't have much choice.
I know how nuts it all sounds, and but Grandpa Tex says he's seen her.
Well, I know that's what he says, but I was there when the police knocked on my door.
I was there when we picked up her ashes.
What if they weren't her ashes? Carly.
TEX: Find the one you want, sweetheart? Ah, you're giving her a car? Yeah, he said I could pick any one on the lot.
(CHUCKLES) Unbelievable.
She doesn't even have a license.
No, I have my permit.
- We're going home.
- No.
No, I came here to find my mother.
This is not a discussion.
She was here.
I mean, tell her.
I-I-I-It's true.
Lila stayed with me, you know, more than once.
So let's call her.
You two have been in such close contact, you must have her cell phone number.
I did, but it don't work now.
Uh-huh.
We're going home.
- No.
- TEX: I'm not making this up.
Lila bought a car from me.
Eight years ago it was a Buick LeSabre.
I offered to give it to her, but she insisted on paying.
I-I've got the bill of sale in the office to prove it.
Listen to him.
Show me.
Bridgeport's going with you? Well, we need $400,000.
It's all part of the play.
That's why you took your little trip to the farm? What are you talking about? Pete told me how fond you are of his family.
How they adopted you.
They didn't "adopt" me.
I conned them.
They still think you're Pete, though.
Well, there's no reason to tell them.
JULIA: How much longer? I don't want to hit traffic, and there's nowhere to sit - that doesn't have a stain.
- Give me one second.
All right.
(CHUCKLES) Okay.
Look, everything I'm doing is for us, all right? Nobody else.
I hope so, because if you try to screw me over, the next time you see me, I'll make sure you don't want to see me.
Have fun with Bridgeport.
TEX: I saw you looking at that car.
Uh, you want to go take it for a spin? - A bill of sale can be faked.
- What? - A bill of sale can be faked.
- Fake, nothing.
Why can't you just be open to the possibility? Because I'm thinking with my head, not my heart.
Okay, so Tex, who had no idea that I was coming, he quickly made a counterfeit, and-and he forged my mom's signature to what? To-to prank me? Carly, it's time for us to go home.
I'm sorry you came out here for nothing.
- Have a nice trip.
- Carly.
I was really hoping we could do this together.
The-the only way you're gonna get her home is kicking and screaming through the airport.
Now, wh-why don't you come and have a nice dinner? You know, talk things through.
Please tell me you're not giving me parenting advice.
("C'EST LA DANSE" BY AFRICAN CONNEXION PLAYING ON RADIO) Your kids are gonna be okay.
It's only for a couple days.
So you're reading me now? Oh, so it's not about your kids? Yeah, of course it's about my kids.
Lance has Trish looking after them okay, Trish, who buys them whatever they want, is just so eager to co-parent.
You're always gonna be their mother, all right? Not if I go to prison.
All right, let's talk about Hickey.
The story is that you're my girlfriend and we're on a romantic getaway.
Gross.
And it you know, it's October, we'll see the leaves change.
Fine.
So what's my name? Your name's Julia, and you're a you're a kindergarten teacher.
Why am I a kindergarten teacher? Because it's something you know about.
Oh, oh, you mean, because I'm a mom? - No.
- My kids are my whole identity? What's wrong with that? No, I'm not gon I don't want to be a kindergarten I want to be something else.
I want to be a-a-a a chef.
- Where'd you train? - I, uh You're a kindergarten teacher.
Fine.
Anybody who says "co-parent" has no idea what it is to be a Mom.
Are you saying that to be nice? Or because you want me to think you're nice? I want you to think I'm nice.
I mean, I do.
Don't you want me to think you're nice? I think you're nice.
Kwanza, Kwanza Kwanza (MUSIC STOPS) (WHISPERING): Wait here.
- Afraid you made a wrong turn.
- Mr.
Hickey, hi.
- Hi.
- Hi.
We come in peace.
WOMAN: Who's out there? MAN: It's just some people who don't belong.
Marius? Hi, Hickey.
I would've called, but, uh, you don't, you don't have a working phone, so I'm not sure the greeting would have been any different.
No, no, I'm not here on business.
Mm, better not be, or I will have Chet shoot you.
(LAUGHTER) Uh, this is, this is my girlfriend, this is uh-uh We-We're-we're on our way up north to see the leaves change.
- Uh, this is Julia.
- Hi.
(CHUCKLES) Yeah, it's been too long.
It's been a long time.
- So if we're intruding - Don't do that.
Make like you're apologizing so I'll have no choice but to invite you in.
Come on inside.
JULIA: Thank you.
(CHUCKLES) MARIUS: Go ahead, Chet.
This is beautiful.
Wow.
Well, this is us.
Chet.
- Do you mind getting dinner? - Uh, you guys good with vegan? Oh, a-are we gonna should we, uh? Yeah.
(STAMMERS) Do, uh, do we have a choice? Well, you can borrow the gun and find a rabbit.
- Vegan it is.
- (BOTH LAUGH) MARIUS: I can't, I can't believe how settled you are.
That's a compliment.
(GRUNTS) Chet owned this house before we met.
He set up a studio for me.
Can we see? I'm just excited to see what you've been painting.
Unless you haven't been painting.
Wait, are you not painting? 'Cause it would break my heart if you're not painting.
You see the trick? All you have to do is stand in one place, and he'll run himself around in a circle until he's right back where he started.
Come on.
JULIA: Wow.
These are gorgeous! Your work should hang in museums.
Some of my work still does.
But I gave that up after prison.
It's originals only now.
Well, I would definitely put one on my wall.
See, Marius? That's how you give an honest compliment.
Now go help Chet get dinner, while I, uh, sketch your, your girl here.
Me? (LAUGHING): Why? I don't know yet.
Something in your eyes? I'll sit quietly in the corner.
HICKEY: Marius, give us a little while.
All right, well, holler if you need me.
I'm gonna go help Chet find some pants.
- Chet! - I've never posed before.
What-what do I do? You sit very still.
So how long have you and Marius been dating? Well, actually, uh we just met a few weeks ago.
Mm-hmm.
Hmm But it seems longer.
I mean, you know Marius.
(BOTH LAUGH) Yes, I do.
So, when did Marius tell you about his line of work? That he's a con man? Third date.
I had to drag it out of him.
It didn't bother you? Keep your eyes on me.
Uh, well, yeah, well, yeah, it did, it did, actually.
But, uh we all do things to survive we aren't proud of, right? Hmm.
What about you? Why did you start doing what you did? I was a woman with dreams.
(CHUCKLES) Only my dreams and the art world marketplace failed to overlap.
I don't know the art world, but your talent Turn your head to the right.
I loved form and beauty and light.
No one was interested in that kind of work from someone like me.
I'm sorry.
There it is.
That thing in your eyes.
Probably just yesterday's mascara.
Mm-mm.
Ambivalence.
(FLY BUZZES) (PHONE RINGING) Hello.
LORRAINE: Last thing I wanted to do was call.
It's about Natalie.
I told her about the rehab, and she starts going completely crazy.
She's trying to leave, and I don't know if I can keep her here.
Okay, all right, just stay there, all right? I'll be right over.
Where did you hide - my goddamn keys? - I didn't hide them.
Natalie - Liar! - I'm not lying! Natalie! - (TIRES SCREECH) - No.
Stop it.
- Give it to me! Let go! - TAYLOR: Natalie, stop! - Oh, fuck me.
Captain America.
- Stop, stop.
(SCREAMS) Ow! (TAYLOR GRUNTS, NATALIE SCREAMS) I just want to talk to you.
Just listen to me.
Listen to me.
Ow, fuck! Ah, ah, ah, okay! All right.
Okay, all right.
Look, I know you think you can't change (GROANS) You don't know me.
You're right, I don't.
I don't know what you've been through.
But I-I know that you're hurting.
And I-I know you got a mom who loves you very much.
And I do know th-that if you keep using, it's only going one way.
TEX: This is special, isn't it? An old-fashioned family dinner.
It's nice that you stayed, Audrey.
Isn't it nice she stayed, Carly? Would you, um, pass the salt, Grandpa Tex? Don't call him that.
Uh, Grandpa Tex, what was Audrey like as a girl? Smart.
Couldn't put anything over on that one.
The fact that I'm sitting here next to a half sister and nephew that I just met an hour ago suggests otherwise.
Fajitas are delicious, Dotti.
DOTTI: Oh, they're my mother's recipe.
You know, may she rest in peace.
The secret is to really butter up the tortillas.
- TEX: Audrey was a very special person.
- (LAUGHS SOFTLY) If Carly wants a better picture of my childhood, why don't you tell her about my eighth birthday party? The pony party? Yeah.
I never got a pony party.
- You don't like horses.
- TEX: You never saw a bigger smile on your grandma's face than that day.
- (CHUCKLES) - AUDREY: That's the way you remember it? Because I remember you leaving as soon as the pony arrived to go someplace, and me falling asleep, waiting for you to come home to open the presents.
Well, I came home.
Three days later.
- (LAUGHS) - MARIUS: So, Hickey, who's been painting for two days straight, - uh, with no sleep - No, don't tell this part.
- Tell the that part.
- She says to me, she says, - "Tintoretto?" - Uh-huh.
"I thought I was painting a Rubens.
" - No.
- (LAUGHTER) - You No.
- She was doing the wrong painting.
- Oh, my God.
Oh, my God.
- No, I swear to God.
What did you do? I went two more days with no sleep and I painted the Tintoretto.
And I found a buyer for the Rubens.
Yeah.
- You guys made quite the team.
- HICKEY: Mm-hmm.
- Mm.
That was the past.
- MARIUS: Hey.
- To the past.
- JULIA: Mm.
No, I'm not toasting.
Oh, come on.
It was fun.
That past cost me two years and one daughter.
You guys always had a stormy relationship.
And now there's no storm.
Just silence.
Nice to see all that money for braces didn't go to waste.
Those are some straight teeth marks.
You think I got through to her? Well, she hasn't left yet.
Having a mom like you makes all the difference.
Oh, yeah, I'm a real difference maker.
You are.
I've worked with a lot of addicts.
It matters.
(KNOCKING ON DOOR) Sorry.
OTTO: Hey.
(CHUCKLES) I just thought I-I'd check in to see how you and Natalie were doing.
Um, Otto.
Did-did Taylor call you? U-Uh (LAUGHS) Hey, Grandpa.
You didn't have to bother Taylor.
You could've called me.
(CHUCKLES) Don't volunteer so quickly.
You should've seen how Natalie bit Taylor.
She bit you? Yeah, took a chunk out of my hand.
How do you take your coffee? However you want to make it.
OTTO: No, no, no, no, no.
Be careful.
He's very particular about his coffee.
Oh, you want sugar, right? No.
I had to give it up.
Thanks.
I-I'm gonna go check on Natalie.
Grandpa, I'd be happy to give you a ride home.
Oh, since when did I become an invalid? I can smell the bar.
No, no, no.
No.
I'm 100% sober.
But if you got to go, you just go.
There's no need for me to rush home to an empty house.
No, I'll stay.
Hey.
It's up to you.
Lila convinced me I had to balance my carbon footprint, so we take a look at the, you know, the landscape I mean, the actual landscape and before I know it, she's got me buying this huge acreage so we can start a wind farm.
I-I'll take you there tomorrow.
Now, here you go, Audrey.
I never made one of these for you.
Uh Well, I thought, uh, you know, Lila would stay around, uh, you know, help, uh, get the wind farm started, but, uh, she headed south.
South? Where south, exactly? Well, I-I don't know what she was thinking.
Uh, you know, uh, Lila was never one to really tell people what she's up to - or where she was going.
- S-See what he did there, Carly? How he sticks to generalities? For God's sakes, what do I have to do to convince you of my good intentions? Actually have some.
This is not how your mama raised you.
Do not mention my mother again.
Carly, go help Dotti in the kitchen.
Go.
What are you really up to? Why do this to Carly? Look! Look at this! Lila left it.
It's hers.
Look it: sweatpants, th-the beer koozie, self-help book How cold does your blood have to run to try-try to convince that girl that her mother's still alive? She's your daughter.
Don't you want to see your daughter? I th-there's nothing in this for me.
Except maybe the chance to meet my great-granddaughter.
Carly! Carly, let's go.
Forgiveness is a powerful thing.
Hey, what's going on? Where are you going? Oh, we're going to the motel.
- We're flying home tomorrow.
- No, I'm not.
Oh, we'll fight about it at the motel.
I'm not fighting with you.
I'm-I'm, and I'm not leaving with you.
I'm I'm done.
(SIGHS) Y-You ought to stay, too, Audrey.
You're 50 years too late.
(DOOR OPENS, CLOSES) (SIGHS) All these years, to think I was jealous of you.
You got out, away from him.
This is all I've ever known.
I don't want his money.
Just so you know.
But if I killed him, would you take half to keep quiet? You're growing on me, Dotti.
(CHUCKLES) (RADIO PLAYING FAINTLY) When are you gonna stop hanging onto that hole card? I didn't know we were playing poker.
You don't do romantic getaways.
So either you're running away or you're running a con.
Hickey I need you to do a painting for me.
Come on.
You know why I'm here.
You're just picking up where you left off.
You're miserable here.
You're hiding out.
You loved the life.
It took more from me than it ever gave.
I am done with it.
Just I'm done with it.
- (PHONE RINGING) - Shit.
What? How's family time with your cousin? You know, it's going.
I'm trying to push it up the hill.
Anything I can do to speed things along? MARIUS: No.
LIZZIE: You sound like you need help.
MARIUS: Uh no, really, I really, I you don't need to do anything.
I'm telling you.
LIZZIE: Okay, tell me the problem.
I'll help you find an angle.
It's a process.
You need to be patient.
I don't do patient.
Never have.
Well, maybe you should try it, 'cause I think you'd like it.
Oh, I got to go.
Bye.
How's it going? It's not.
Thanks for asking.
(LINE RINGING) - AUDREY: Otto? - How's California? AUDREY: Oh, um, it's gonna take a lot longer than I thought.
Tex cooked up some cockamamy story about selling Lila a car, and Carly is so eager to believe it's true.
I've just got my work cut out for me.
Audrey I mm Do you love me? - What? - (SIGHS) Why are you asking me this? I hey, I don't know.
If you're thinking of doing something desperate again, please don't.
What kind of answer is that to that question? I called my wife in the middle of the night to ask her if she loved me.
And you go right to my killing myself? (AUDREY SIGHS) Otto, I just don't have it in me right now to have this fight, so let's talk tomorrow.
Okay? Fine.
Tomorrow.
(CLATTERING) Oh, boy.
- Oh, sorry.
- Oh, no.
Did the noise wake you? No.
Couldn't sleep.
You don't teach kindergarten.
No.
(LAUGHS SOFTLY) I work at a crappy corporate Irish bar.
I make Razzmatazzberries and Cran This Be Loves.
(LAUGHS) - They taste any good? - They're fucking delicious.
(BOTH LAUGH) I'm sorry about your daughter not talking to you.
You ever been to prison? No.
Not yet, at least.
That doesn't sound good.
I know.
Just can't stand the thought of being away from my kids.
(CHUCKLES WEAKLY) How old? - Two and ten.
- (HICKEY GASPS) Yours? Older than that.
When I went away, we already had problems.
She couldn't understand how hard it is, being ignored.
All this work no one'll ever see it.
I'm here.
I see it.
I mean, I'm not a critic, but I love your paintings.
I love the forgeries, too.
That Rembrandt was spectacular.
My work, someone else's genius.
You want people to see your paintings, right? You want people to-to-to love your paintings.
(STAMMERING): And I get it.
I get it.
I get wanting acknowledgement, and you deserve it, and it sucks that you're not getting it, but people love your forgeries.
To them, they're not forgeries they're art, they are art.
People look at them and they feel things.
That's amazing.
So why not just go ahead and I'm talking way too much.
It's not anything I haven't thought myself.
(CHUCKLES SOFTLY) Girl with the ambivalent eyes.
What'd she say? I heard you talking to her.
It's done; she said she's gonna make the painting.
Good.
Yeah.
Imagine giant turbines, far as the eye can see.
In one year, one of those suckers could power 1,500 homes.
My mom came up with all this? She dreams big.
Same as me and I'm thinking, same as you.
(VEHICLE APPROACHING) Oh, shit.
(VEHICLE STOPS) Chuck.
Good to see you.
Went to the dealership.
Said you were out here.
We need to talk.
Um, uh Chuck's one of the investors in the wind farm.
Why don't you go over and wait in the car until Chuck and I are done talking, okay? - (STAMMERS) - I got it.
(CHUCKLES LIGHTLY) - CHUCK: How you doing, Tex? - Oh, I can't complain.
Still looking pretty good out there, then, huh? (MUFFLED CONVERSATION) (CAR STOPS) (CAR DOORS OPEN, CLOSE) Grandma.
TEX: I'm glad you're back.
Come on in, I'll have Dotti make some lemonade.
I need to speak to Carly alone.
What do you want? I want you to come with me.
I'm not going back to Bridgeport.
I'm not here to take you home.
Where do you want to take me? Fresno.
How far is that? Just far enough.
Just so I don't pull an all-nighter this time, exactly what painting am I doing? Vermeer, The Concert.
So this is a Sy Rubinek deal? Yeah, is that okay? Sure but my price just went up.
I want $75,000 on delivery and a 25% share of the final haul.
Well, it's good to see that prison didn't soften your negotiating skills.
Take it or leave it.
All right.
Hey I'd hang on to her if I were you.
So we got Hickey, that's good.
You did good.
You don't have to feel guilty.
I don't.
What are we looking for? We're looking for a house.
That house, right there.
That's the house I grew up in.
But I thought you grew up in Bakersfield.
Dotti grew up in Bakersfield; I grew up here.
I need you to know who Tex Hopkins is.
All right.
Dad I loved him.
But when I was 16 my mother dropped dead and I couldn't find my dad anywhere.
Finally tracked him down in Bakersfield.
That's when I found out the truth.
He had another life there.
Another wife.
Another daughter.
That's uh, crazy.
(LAUGHS) But I still loved him.
Still needed him; I was just a kid.
But he didn't want me; he left me to fend for myself.
Had to invent a whole new life.
I'm sorry.
This is the first time I've seen him since then.
But you lost your mother.
I mean, so so you know what it's like.
If there's a chance Okay, I know, a tiny, tiny chance that my mom is alive, I mean Why don't you get that I have to try and find her? Please.
(VOICE BREAKING): I'll stay with you.
We'll stay in California to see this through.
Thank you.
("NOTHING HAS TO BE TRUE" BY FIRST AID KIT PLAYING) And I may have dreamt it Or it may have happened When I stood right here Waiting for a sign For me to walk away But I give in so easy And I give up instantly I chase what is gone And my friends are getting tired Of the shit that I pull They say: Why do you love those That turn you into a fool? Why do you let them get to you? You should have been running When you chose to stay Now I feel so far away From the person I once was I thought love was enough You can tell yourself so many things And nothing has to be true Did you wake up last night Drenched in your own sweat and tears? No, it's not always easy You get lost counting the years Since you last felt like you were home Since you last felt like you were home Since you last felt like you were home Oh, I thought you were home.