Where are they?
-I mean, where could they have gone? -JULIA: I don't know.
-I don't know. I don't know, I can't see. -Wait. Shh, shh.
-Wait, quiet. -(tires squealing)
(crash)
(sustained horn honking)
Shit. Go, go, go, go.
Go.
(honking stops)
-(horn honking) -Hey!
Aw, shit.
-JULIA: That's her car. -MARIUS: Don't get too close.
CARLY: What if Mom's hurt?
JULIA: It's gonna be okay, Carly.
MARIUS: Wait.
-Stay here. Stay here. Julia. -What? No.
-Stay here. -JULIA: Why?
Check the glove compartment for the registration.
-It'll have her address. -(siren wailing)
-Go. Go. Julia. Julia. -What? No, you didn't...
you didn't search the car.
Julia, do you really want to deal with the cops right now?
Carly, get in, please.
("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. ♪
Ah, the bastard was too fast.
I-I'm sorry.
Why did you honk?
You scared her away.
No, no, I-I saw Chuck's men,
so I-I honked the horn
-to warn her. -I'm supposed to believe that?
(vehicle approaches)
♪ ♪
Where you guys been?
CARLY: It all happened so fast, I don't even know
what kind of car she was driving.
I-I think it was a Ford?
Was it blue? Dark blue?
AUDREY: Oh, it doesn't matter. It-it...
CARLY: Well, I thought it was... I thought it...
-No, it doesn't matter. -I thought it was green.
-The license plate had a four and a "W." -I-I'd say a Taurus.
A '09 or '10.
How many '09 Tauruses are there in California? 50,000? 60?
I mean, we can't even agree on the color,
-so it doesn't matter. -CARLY: Right, okay, but the plate...
The "W" and the four
w-were on the gray car, which was, uh,
-Chuck's guys. -CARLY: Why wouldn't the car have plates?
AUDREY: She probably suspected
that someone might show up with Randy,
and she didn't want the car traced back to her.
Are you okay?
AUDREY: That's why Lila took off...
She's alive?
Maybe.
(water running)
AUDREY: Oh, hey.
Hey. I need you to make a call back east.
Get one of your cop friends
to pull whatever they can find on Chuck.
Last name's Johnson.
He lives in Santa Barbara or Montecito.
Y-You want me to look for a last...
a guy with the last name of J-Johnson
somewhere in Southern California?
The men who chased your mother work for him,
so yeah, that's exactly what I want.
We know that he's a member of the Montecito Coastal Polo Club
and that he put money into Tex's wind farm.
And Tex also said he was involved in drug smuggling,
so get your guy to check with the DEA
and the FBI and...
Are you... are you getting this?
-Yeah. Sorry. -Wow.
-Grandma, is she really...? -Not now.
Hey.
-Where'd you go? -Oh, no, I was just...
I was just, uh, giving the family a l-little space.
How you doing?
-You're family. -Yeah,
but she's not my mother, so I, you know... Yeah.
You really helped me, so thank you.
How you doing? You okay?
Yeah, I have no idea.
No, but we-we found her once,
so, um, I don't know, we can find her again,
-right? -Yeah.
How much more family are you bringing?
Because I'm running out of room.
(chuckles)
Tex is hiding something from me.
I need to know what it is and why.
You're gonna have to be more specific than that.
Well, I don't think he wants me to find Lila.
I-I mean, he-he says he does,
but his actions tell a different story.
(exhales)
I would help if I could.
-But you know what I know. -You were here
when Lila was, and so was your son.
Tell me. Tell me the truth.
Well, the truth is Tex is a bastard.
(chuckles): And always has been.
What is he hiding from me?
I don't know anything. I'm sorry.
TAYLOR: What'd she look like?
She didn't get out of the car.
She didn't say anything?
And we don't have any idea where she went?
Or why she's here.
Or why she thought it was okay to...
(exhales)
(phone ringing)
I have to go deal with this...
this thing I'm doing with Pete.
Ask him if he knows where Lizzie is.
What do you mean, "where Lizzie is"?
His ex.
Grandpa bonded her out for $250,000,
and she skipped.
Said she was coming out here to look for him.
I'll ask.
(sighs)
(door slides closed)
VIGNETTI: Are you a woman of your word?
JULIA (over phone): Everything is going according to plan.
That's not what I asked.
I'm a woman of my word, yes.
-Then where are you? -Bakersfield.
-Look... -I think it's time to bring this matter
-to a close. Don't you? -Sooner the better.
It's time to swoop in and smash him on the head
with a sledgehammer. Metaphorically.
Tell Marius if the authentication
doesn't happen tonight,
Mr. Kilbane will pull his offer,
-Sy will get nothing. -You think he'll go for that?
He will if you convince him.
Tonight. Or all bets are off.
-I have no idea. (chuckles) -Hey, Pete.
You're coming with me.
What? Why? Is it something about Mom?
No, no, no, it's, um, this insurance case
we're working. There's this urgent thing
in L.A. It just can't wait.
But I'll be back as soon as I can, though.
-I promise. -Okay, and I'll-I'll call
if anything, um, you know, happens here.
-Okay. -Uh...
-What, y-you want to hug me? -Yeah.
Don't be weird, just...
All right. Good. See you. Bye.
What's so urgent?
The authentication's tonight.
Kilbane's getting antsy.
Vignetti's worried he's gonna back out.
So you want to do this or stay here
and comfort your pretend family some more?
(scoffs) Come on.
(engine starts)
Hey, there. We weren't properly introduced.
I-I want to thank you
for looking after my girl
all those years.
Audrey's a tough one,
and sometimes she's got to have the last word.
Uh, you want my advice?
Strong women are hard to get along with, you know?
Sometimes you got to just simply put the...
I met Audrey when she was living
in that car you gave her
after she ran out of the guilt money
that you shoved in her 16-year-old fist.
She was just a kid.
You abandoned her.
How about a piece of advice from me.
Get the fuck out of my face. Get the fuck out of my face.
It's a pretty delicate operation to pull off in ten hours.
What would you need?
I need time to run a few errands by myself.
My only job is to stay with you.
Yeah, but you hate that part of your job.
-(pump dings) -So...
say you get to run your errands. Then what?
Well, we replay events for Kilbane
exactly the way they were done eight years ago.
Right, we pick up him and the authenticator,
we drive them around until they don't know where they are.
-Right? -Why is Kilbane gonna get into a van
-without knowing where he's headed? -Well, he did
the same thing eight years ago for a painting.
If he wants to catch Sy, he's gonna have to play along.
Right? So, at the location,
we show them the real Vermeer,
the authenticator takes a sample,
we wait 48 hours until the final exchange.
Then we switch it out with the fake
-and then blame Sy for skipping off with the money. -Yeah.
Get some Zingers.
You got this?
Uh, sure.
-I just have one quick question. -Hmm?
Where's Lizzie?
Lizzie's not gonna be an issue.
I have 250,000 reasons to disagree.
Your family's not gonna be out $250,000.
Really? How?
Because, when we take $4 million off of Kilbane,
I'm gonna take $250,000 of my share
and give it to your family.
As long as we can pull off both rounds of the con.
So if we fail, my family goes bankrupt?
Yeah, but if we don't do the con,
your family definitely goes bankrupt.
I need to know that I can count on you.
Sure. I'm a woman of my word.
Hey, Taylor.
Taylor?
(grunts)
Um, my guy in,
in Bridgeport said he might not have anything on Chuck
-for a couple of days. -(sighs)
-I'm sorry. -OTTO: Hey.
You want to get out of here?
Where?
Anywhere you want, babe.
I'll get my purse.
Look after Carly.
(music playing in distance)
Jesus.
Your father is...
such an asshole.
Oh, yeah.
(chuckling): Oh, yeah.
Oh, man.
Why...
Why didn't you tell me?
-Tell you what? -All of it.
Lila. Tex. Tex giving Lila
the-the money from the wind farm
to get her away from Chuck who was abusing her.
I-I thought I did, I mean, I-- really, I've been
so caught up in-- till this morning,
I didn't know what was happening.
(exhales)
Well, uh, y-you should've, you should've called me,
'cause I-I could've come out here sooner.
Why did you come?
You drove two and a half days across country to get here. Why?
Just want to be here for you.
What about the shop?
The shop's fine. Everything's fine.
(sighs)
-Otto, what's going on? -Oh, shit.
I bonded someone out. Friend of Pete's.
Turned out she was a little bit crazy.
She found out that Pete was out here in L.A.
and she decided that she wanted to see him.
She skipped.
How much?
250,000.
We're going to L.A.
Why?
That's where Pete and Julia went.
That's where we'll find her.
-What about Lila? -We don't know where she is,
and Taylor won't know anything for a couple of days,
and I need something to do or I'll start yelling.
I'll drive.
I'll drive. You call Julia.
Find out what hotel they're in.
(door opening)
About time.
You seem mad.
It's because you're a fucking child.
You know, if you would've just stayed in New York.
I was worried about you, I thought you had a disease.
You know, you didn't have to stick them...
It's called the Bernhardt Syndrome.
-...with a $250,000 bond. -See, symptom number one
-is a sudden onset of caring. -Th-They have nothing
to do with this. They have nothing to...
-And symptom number two... -What do you want from me?
-...is denial. -Huh?
Do you think you're contagious?
What do I want?
How about a fucking cellar? Or the plan
-to sell our fake wine? -I have a cellar. I have a plan.
What's the catch?
I need you to help... with the art con. And Julia.
(scoffs)
We need the art con money
in order to pay for the wine con.
Right? I think it's in your best interest.
Or it's some bullshit to get me to...
No, no. No, no, no. Look. Look.
It's...
WineAficionado.net.
There's 40,000 bottles in that cellar.
I have access to it tonight only.
"Bottles are stored in a state-of-the-art cellar
underneath the mansion in Bel-Air, California."
When Alexandre sees that,
it's gonna bring him to his knees.
Fine.
My part of the con just went up. 55-45.
Come on. Really? You're just fucking...
You failed to mention your new state of mind
when I slotted you in this.
At least I have a fucking state of mind.
-That's a five percent nondisclosure penalty. -All right. Fine.
(chuckling): Fine.
What time are we on?
8:00.
Another Huckleberry Jones?
No, it's a Sadie Jones. His little sister.
You got the specs?
Yeah, I've been looking at it all morning. Look.
That's Kilbane's house.
LIZZIE: That's good.
You really like the pool, huh?
Sitting by the water lowers depression, anxiety,
contributes to clarity of thought.
Where's Marius?
Running errands.
By himself?
If I'm leading him into a trap,
I should act like I trust him, right?
When does he meet Mr. Kilbane?
7:00. Back entrance of the hotel.
That's convenient.
Once we get him and the real Vermeer in the same room,
my man Uri drops in
with his crew and picks him up.
I thought we were calling the police, FBI?
After we drop the net.
Uri and his team are ex-Mossad.
They'll give Mr. Kilbane
all the satisfaction that he needs.
Here.
Put this in your pocket.
It'll help him track you.
-Isn't he following us? -Yeah, but if he loses us,
all I have to do is say the code word,
-and he pounces in. -Code word?
Panda.
I like things in black and white.
One more thing.
Marius has an old partner in town.
-Lizzie something. -Lizzie DeLaurentis?
-She's in L.A.? -You know her?
Yeah. She counterfeited the Sinaloa Cartel
out of hundreds of thousands of dollars,
and a week later was engaged to a British viscount.
(water splashing)
I think Marius might use her in the authentication,
so I need you to sweep her up when you grab him.
Mary Elizabeth DeLaurentis is not on my list of priorities.
And Mr. Kilbane is already so nervous about tonight,
that I can't tell him that Marius is Sy.
I fear it will blow the entire deal.
Well, my family has a $250,000 bond on Lizzie.
So either you grab her, or I won't play.
You think that'll make Mr. Kilbane
more or less anxious?
You're taking lessons from Marius Josipovic.
Trying to manipulate me with no leverage.
All right, fine. If she's there, we'll pick her up.
Until then, I recommend sitting by the pool
to reduce your anxiety and depression.
(indistinct chatter nearby)
Taylor.
(grunts)
Mm.
-What is going on with you? -I drove across the country
in 48 hours, give me a break.
Mom is out there.
And somebody must know where she is.
-Taylor. -(exhales)
Fine.
(grunts)
(exhales sharply)
Where do we start?
♪ ♪
(chuckles softly)
You're supposed to be at yoga.
I pulled a muscle yesterday. What do you think you're doing?
-This is not what you think. -I think it has something
to do with my mother.
Okay, so it is what you think.
-But let me... (clears throat) -What?
You're not a con man?
That woman you came in with,
she actually is your wife?
Listen...
Y-Your mother had nothing to do with this. This was my idea.
She just happened to tell you
about the fake Vermeer hanging on my wall?
That's not a fake.
Who told you that fairy tale?
Your mother and I used to work together.
Uh... Before she went to prison,
she wanted to give you the most valuable thing she had.
That's the real Vermeer?
So she lied.
She used me to hide that?
No. No, your mother loves you.
Take it.
Burn it.
Do whatever you want.
I'm sorry, I-I don't... I'm sorry.
I hung that painting because it was a piece of my mother.
A reminder that we all have our flaws,
that no one is entirely what they seem.
Take it.
I don't want it anymore.
And if I ever see you again?
I'm calling the police.
And if your client likes the property,
I know a very good mortgage broker.
No, no. If Misha's interested, he'll be paying all cash.
He has a large sum of money tucked away
in Cyprus he's looking to invest here.
There's a banking crisis on the island.
I see. Well, rest assured,
this is the finest jewel in Bel-Air's Billionaire Row.
How many spaces in the garage?
That's a good question. Why don't we take a look?
Everything all right, Mr. Kilbane?
Yes! Everything will be fine in a couple of hours
if everybody just does what they're supposed to.
Okay. I'll be home late.
(clears throat)
(indistinct chatter)
All right. You have a good day.
Thank you. You, too. Take care.
(vehicle approaching)
♪ Knock on the door and the door knocks back ♪
♪ The joke never go no further than that ♪
♪ Fire goes back inside the match ♪
♪ Back down the stack ♪
♪ And we hustle and cuss, lick on the dust ♪
♪ Hustle and cuss, lick on the dust ♪
♪ And hustle and cuss ♪
♪ Hustle and cuss and lick on the dust ♪
♪ Hustle and cuss ♪
♪ Hustle and cuss and lick on the dust ♪
♪ You muscle and fuss? ♪
♪ Muscle and fuss and lick on the dust ♪
♪ Hustle and cuss ♪
♪ Hustle and cuss and lick on the dust... ♪
Yeah, this is it.
(children shouting in distance)
Who is this guy again?
He's the one who texted Mom,
who got her to come to the parking lot.
Well, he could have called Chuck's guys and set her up.
Or he was afraid of Chuck's guys, and that's why he ran off.
If he was running away,
he wouldn't come to his own fuckin' house.
-Do you even want to find Mom? -Sure.
Yeah, that was super convincing.
Look, it was a long drive, okay?
What the fuck happened in Bridgeport?
Girl stuff. Job stuff.
Girl stuff? Who?
Nobody.
Can we go? Hmm?
Carly, if this guy's stupid enough to come to his own house,
he's not gonna be able to help us, okay?
Let's go.
Is this window open?
Carly! Let's go!
And-and what? And what? He's the only one
who would know where Mom would be.
Who has her cell phone number, who's talked to her.
I mean, what if, what if Chuck's guys have her,
and he knows where they are?
Or-or... or what if she's already dead,
and he knows where they would bury her?
What? So, what, we're just supposed to say, "Oh, well.
The end"?
No. (scoffs)
Carly.
Carly, come on.
We're not gonna break and enter, okay?
We can come back another time.
-Okay? -Okay.
-Look at me, okay? -Okay.
-Okay, come on. -Okay.
Carly!
Carly! Carly!
Carly, this is fucking insane! Come on out!
Get out of there, Carly! Now!
(screaming)
Carly! Carly!
(grunting)
He's...
Is he...?
(Carly panting)
What do we do? Do we...?
Do we search his pockets, and do we... do we take...?
-Call the police, Carly. -Take his phone?
But no. We should...
-Carly. -We should just... we should check...
-Call the police. -We should check...
Well, we should... we should search around.
(panting)
Hey. Hey.
-(Carly crying) -Okay. It's okay.
It's okay. I got you.
-(crying) -I got you.
(indistinct chatter)
OTTO: We needed the money.
She was turning herself in, which makes her responsible.
She gave me collateral... Audrey.
What do you want me to say?
I don't know.
You not saying anything is hostile enough.
-Okay, thank you, sir. -(indistinct chatter)
KILBANE: All right.
Tonight's been a long time coming.
I cannot wait to see Sy's face when we spring this trap.
I'm excited to see that myself.
Well, let's not get ahead of ourselves.
(van beeping)
Mr. Kilbane. Mr. Vignetti.
-Big night. -Yes, it is.
Where's the authenticator?
I'll be playing the authenticator.
Well, from what I know, you're not an art scholar.
Sy Rubinek doesn't know that.
Since he and I have never met,
it shouldn't be hard selling him on the idea.
All right, well, hop in.
We're heading to an undisclosed location
to meet Sy and the paintings. Phones, please.
No GPS, outgoing calls or Sy bails.
There's Pete.
Where?
Let's follow him.
Wherever he goes, Lizzie is bound to show up.
Are you sure it's him?
Will you just listen to me for once?
(engine starts)
(buzzer sounds)
MAN: There's no mold in this home.
Well, the work order is signed by a Stephan Kilbane.
That's the owner, right?
Mr. Kilbane would have told me. He would answer his phone.
You know how many times the staff
isn't informed? Rich people. Listen,
your boss called my boss, said black mold, so...
You know about black mold, right?
-It's mold. -No, it's deadlier.
Black mold spores fry your brain, shut down your organs,
blow out your immune system.
It's fun stuff. And it's in your wine cellar.
(chuckles) I doubt that.
Fine, you want your boss to go into anaphylactic shock
while sipping his imported whatever-whatever?
No problem, man. Geez.
Take your truck to the service entrance.
You the one called it in?
I'm a police officer... back in Connecticut.
Taylor Bowman.
Connecticut? What are you doing in California?
-Family stuff. -Yeah, well, how about you tell me how
you came to find the body of the deceased?
We were looking for my mother.
What were you looking here for?
It's complicated.
-Was talking to her, not you. -Well, she's a minor
who just saw a dead body, so if you want answers
to your questions, you ask me.
(chuckling): All right.
(sighs)
Temperature is set to 55,
and humidity is set to, what, 68, 70%?
-69. -Best conditions for black mold.
Which way... thermostat?
-It's this way. -All right, you set that to 50,
and humidity to 35.
And stay with it until it reaches optimum levels.
(spraying)
(beeping)
(clicking, spraying)
Oh, no, it doesn't look good.
It's coming out of the seam in the drywall.
Smell that? That paint smell?
It's a chemical I used to neutralize the mold.
-Just bought us time to get out. -I'll get the staff out.
Yeah, you do that.
DETECTIVE: So what was the nature
of your mom's relationship with the deceased?
(helicopter blades whirring)
I don't have any firsthand knowledge of their relationship.
Oh, you're gonna be like that, huh? Hmm?
I'm just trying to be clear.
Hey, listen, you already said the deceased conned your mother
into coming to a meeting in Reseda last night.
Maybe she was angry about it, huh?
I understand the dots that you're trying to connect,
but you didn't know my mother.
She could never hurt anybody.
When was the last time your saw her?
(car engine starts)
12 years ago. She died.
Then, a couple of days ago, we found out that maybe she didn't.
Sometime between back then and now,
she got involved in something.
That's why we broke into the house.
See if Randy could tell us anything else.
And then he ends up being dead.
And now my sister's over there, sitting in that car,
wondering if her mother might end up being dead, too,
before we get to her.
(chuckling): So you... you can ask me
all the questions that you want to, because...
...I don't know anything about my mother.
Maybe I never did.
(vehicle approaching)
(indistinct radio chatter)
(tires squeak)
(indistinct radio chatter)
(tapping keyboard)
LIZZIE: Welcome.
-You're not Sy Rubinek. -I'm Sy's representative.
-Glad you're here. -No.
No, I was promised a meeting with Sy!
A few ground rules.
All the doors are locked.
Mr. Rubinek has positioned cameras inside
and outside this room,
so if anybody feels tempted to explore,
Mr. Rubinek will disappear and you'll never see him again.
When will he be here?
He's en route. But before that,
I need a moment alone with Mr. Josipovic.
Me? Uh, why?
-Yeah, why? -Yeah, why?
Sy's orders. The rest of you turn around and face the wall.
-What? Seriously, why? -Just do it.
The sooner we make Sy happy, the sooner he'll be here.
-Go. -Okay.
(garage door opening)
(Kilbane sighs)
What about the painting?
LIZZIE (calls): It's in the front seat of the van.
Wait, what?
(Kilbane grunting quietly)
(quietly): Okay.
Gentle, gentle.
Okay, over here.
LIZZIE: How long you think we can keep them in there?
Kilbane's getting itchy. 20 minutes, tops.
When does our Sadie Jones arrive?
-(phone rings) -Whew.
He's right here.
Alexandre.
No. Let me come greet you at the gate.
Great.
(Kilbane exhales)
Wow.
KILBANE: Oh...
What do we do now?
We authenticate the painting
and wait for our friends.
How much do you think the houses in this neighborhood go for?
AUDREY: I bet the down payment's more than we've made
in our entire lives.
Yeah. Maybe we should start playing the lottery.
Maybe we could win $250,000.
Aw, Jesus.
OTTO: Wait a second. That's Lizzie.
You sure? 'Cause Pete went in this house.
I'm just as sure as I was that that was Pete driving that van.
Come on.
You better hope the owner doesn't have Dobermans.
Shh.
(whispers): Let's go.
Hey. How much longer?
It pays to be thorough.
And with Sy watching, we should be extra careful.
(exhales)
We all want what you want.
As soon as it can happen, it's gonna happen.
(over earwig): As soon as it can happen, it's gonna happen.
Our friends in the garage are getting happy feet.
We got to get a move on.
Just be graceful about it.
You can see why it's such a pain
to move all this wine around, yeah?
Honestly, I'm...
-I'm stunned. I... -Thank you.
I thought I'd be assessing a mishmash
of random bottles, but this-- oh, the depth,
the breadth...
This is the work of a true collector.
To honor your visit, may I offer a 1981 Lafite?
An underrated vintage.
But the experts know better.
-Ah, lovely. -Mm.
Half the pleasure of my job is rooting around and...
discovering the old treasures.
Like that.
Is that a 1787 Margaux?
Yeah.
ALEXANDRE: Ah.
To be in the presence of...
May I...
please...
-touch it? -We will do you one better.
-You can have it. -Oh, don't tease.
LIZZIE: Mm-mm.
Well, maybe after the auction.
If you want to see something really fun,
there's a rack of '34s right around the corner
that my great uncle liberated from a Nazi general in Leipzig.
-Right there. -You're serious!
-Right around the corner. Right there. Yeah. -You're serious!
(sighs)
ALEXANDRE: Oh, the wine auction of the century.
Misha, your picture will be emblazoned
on the cover of the catalog. Ah.
I will e-mail you the inventory list tomorrow.
-I'll look it over. And we can debate... -MARIUS: Sorry. Sorry.
...the contents of the, uh, first auction.
-Glad to be in business. -Mm?
-Okay. -As long as we'll be toasting with that 1787.
Thank you for the souvenir!
(chuckles): Yeah, okay.
(sighs): That was fun.
Yeah. It was fun.
Part two.
(sighs, chuckles)
Want to know what I think?
I'm thinking this whole thing is just some elaborate game.
The painting is authentic,
as far as I can tell without chemical analysis.
-So it could still be fake? -JULIA: At this point,
the safest thing is just to play this out.
VIGNETTI: In just a few moments,
Sy'll be in the room with the painting.
This is what we've been working for.
I am not...
gonna be made a fool of.
Kilbane's on the brink. We got to hurry.
(whispers): Shit.
Stay here.
(panting): Oh. Hi. Hi, hi.
-Are you guys looking for Lizzie? -Yeah.
-I just saw her. -You saw her?
I was interviewing the neighbor next door.
I saw her on the grounds. I think she's stalking me.
-Well... What? -There she is.
-All right, I'm gonna go around back.
You guys meet her in the front, all right? Lizzie!
AUDREY: Here we are, running around in some stranger's yard.
Really good job.
Hey, we followed her here together.
All of it. From beginning to end.
-You screwed up everything. -Audrey! Listen!
-All right? -(woman sneezes in house)
(whispers): She's in there.
Are you sure you saw her?
Well, do you see anyone?
Lizzie?
Lizzie, come on out before things get worse.
(door closes)
It's gonna get worse.
-What? -She locked us in.
(sighs) Audrey, stop, stop.
You're gonna hurt yourself.
You lock them in?
Yeah. Let's finish this thing and get out of here.
Okay, that's it!
If Sy doesn't show his face here in the next two minutes,
I swear to God I'm gonna find a way out of this place.
-You hear me? Huh? Deal's off! -JULIA: Whoa, whoa, whoa.
You can't do that. Sy gave us the rules.
If you go, there's no Sy.
There's no Sy now!
What's with the faces? You're not happy to see us?
Panda.
Who the fuck are you two?
-Who-who the fuck are you? -Mouth shut. Hands up.
♪ The joke never go no further than that ♪
♪ Fire goes back inside the match ♪
♪ Back down the stack ♪
♪ And we hustle and cuss ♪
♪ Lick on the dust, hustle and cuss ♪
♪ Lick on the dust ♪
♪ Hustle and cuss ♪
♪ Lick on the dust ♪
♪ ♪
♪ Mm, hustle and cuss ♪
♪ Hustle and cuss, lick on the dust ♪
♪ Hustle and cuss ♪
♪ Hustle and cuss, lick on the dust ♪
♪ Must you muscle and fuss? ♪
♪ You muscle and fuss and lick on the dust ♪
♪ Hustle and cuss ♪
♪ Hustle and cuss, lick on the dust ♪
♪ ♪
♪ When we were young, a different kind of fun ♪
♪ Playing in the mud, it meant something else ♪
♪ Hustle and cuss ♪
♪ You hustle and cuss ♪
♪ ♪
♪ Mm, hustle and cuss ♪
♪ Hustle and cuss and lick on the dust ♪
♪ Hustle and cuss ♪
♪ Hustle and cuss and lick on the dust ♪
♪ Must you muscle and fuss? ♪
♪ You muscle and fuss and lick on the dust ♪
♪ Hustle and cuss ♪
♪ Hustle and cuss and lick on the dust ♪
♪ ♪
♪ And you hustle and cuss ♪
♪ Hustle and cuss, lick on the dust ♪