Jax asks Nero if there's any good reason why he shouldn't sell Reynaldo and the rest of his pals the hardware, and Nero protests that if this two-bit crew gets guns, then they'll get pushy and ambitious and next thing you know, it's... well, any episode of the Sons of Anarchy with the gang violence. Jax and Bobby are like, "Look, we sell them guns once, this is all over." Nero reluctantly agrees and sets up a sale to take place in an hour.
Clay pulls up to TM and sees Chucky hustling file boxes for Gemma; she's got a bee in her bonnet over paperwork as pertaining to Thomas or so Chucky says. As Clay heads over to Gemma's work area, Juice discreetly heads off to Clay's.
As Chuckie drops some boxes, Gemma directs him to put more in the shed. "Indeed, indeed, I do the deed/he said, she said/ with buoyant speed," Chuckie replies. Hooray! This show needed a character who added a touch of Seussian whimsy to the dialogue. I look forward to Chuckie giving Hop on Pop a spin sometime. Anyway, the point to this scene: Gemma is trying her feminine wiles on Clay to get him to help her "find" the paperwork for Thomas, on account of how it's his birthday in two weeks, and perhaps there's a copy in the T-M files? Clay says gently, "Hey, we can call the county. We can get copies." Gemma hams it up as she says, "It's not the same as the original." Clay gives Gemma a piercing look, one that lasts just long enough for the audience to wonder if he's twigged to her ruse, then takes a call that requires him to leave. As he rolls out the door, he calls to Gemma, "I hope you find it." Gemma is left stewing in irritation over how poorly that went. I do think it's kind of hilarious in light of the whole "Baby, let's never lie to one another again!" scene that Gemma and Clay immediately went back to lying to one another. I expected it from Gemma -- she's with Clay on false pretenses, after all -- but that Clay reflexively covers his ass with Gemma suggests that Jax's plan to use his mom was either a bonehead move or an extraordinarily subtle and cruel punishment for her driving his kids while stoned.
Unser's getting chemo at the local hospital and all I can say here is that at least there are no clowns on the ward. (A friend of mine once had the misfortune to take her chemo at a cancer center that led a clown run amok through the chemo bay. Forget flesh eating bacteria and medical mistakes: Clowns are the real menace of any hospital stay.) Tara comes by. She ran into Rat in the hall -- and it's sweet that Gemma made Rat stay, because you know that's what happened -- and thought she'd come check on Unser. He's touched by the thought, but would like to get the hell out of this Muzak-filled room of sick people. (A well thought out, if depressing, detail: the kid in the recliner next to him. Whoever composed this scene has an eye for compressing despair into a handful of details.) Tara leans in and says, "I was just on my way to feed the boys. You want to join me?" "Yeah. That'd be nice," Unser says. By the way, Dayton Callie is knocking it out of the park in this scene; he's really channeling the weariness and vulnerability that go along with being so sick.