Ray Donovan s06e12 Episode Script
The Dead
1 New York, I love you But you're bringing me down [GRUNTS.]
[CHOKING.]
New York, I love you But you're bringing me down [SIRENS WAILING.]
[GRUNTS.]
Like a rat in a cage Pulling minimum wage New York, I love you But you're bringing me down [WATER RUNNING.]
New York, you're safer And you're wasting my time Our records all show You were filthy but fine But they shuttered your stores When you opened the doors You don't look so good.
To the cops who were bored Once they'd run out of crime New York, you're perfect Oh, please don't change a thing Your mild billionaire mayor's Now convinced he's a king And so the boring collect I mean all disrespect In the neighborhood bars I'd once dreamt I would drink And, oh Take me off your mailing list For kids who think it still exists Yes, for those who think it still exists Maybe I'm wrong and maybe you're right Maybe I'm wrong and maybe you're right [GUNSHOT.]
Maybe you're right Maybe I'm wrong And just maybe you're right And, oh Maybe Mother told you true And there'll always be somebody there for you And you'll never be alone But maybe she's wrong And maybe I'm right And just maybe she's wrong - Maybe she's wrong - [GUNSHOTS.]
And maybe I'm right And if so, here's this Song [MUFFLED GUNSHOT.]
[INSECTS CHIRPING.]
Oof.
You wanna pull that stopper, Sandy? I got it.
Ugh.
[DRAIN GURGLING.]
There we go.
[SIGHS.]
[TV PLAYING INDISTINCTLY.]
Hey! Gonna move your ass anytime soon? [SIGHS.]
Your, uh, uncle picked a dead raccoon off the side of the road.
To keep police dogs off the scent.
Okay, so they'll stop if they f-find the raccoon? That's what Sandy said.
[INSECTS CHIRPING.]
[DARYLL.]
Isn't this thing deep enough? [MICKEY.]
No, it's gotta go deeper.
What, you're gettin' tired? [DARYLL.]
Hell yeah.
[MICKEY.]
Huh? [LAUGHS.]
[DARYLL.]
This hole's huge.
[GRUNTS.]
[GRUNTS.]
Why don't you go help Sandy in the garage? [CHAIN SAW BUZZING.]
[CHAIN SAW REVVING.]
[RETCHING.]
Once you done a thing, son once you done a thing, it's done, so you go ahead, get it all out now, all the vomit, all the tears, 'cause then you're gonna shut your mouth about it the rest of your fucking life.
- Oh, God.
- Yo, man, why don't you grab a shovel, help us out? Well, I think I'm dehydrated.
- [BRIDGET.]
Sandwiches? - Oh, God, yes.
- Not for me yet, Bridge.
- Oh, thanks, Bridget.
Hey, Aunt Sandy, want a sandwich? Ah.
Ow.
You all right, Aunt Sandy? Fucking arthritis.
I can barely move my arm.
Hey, did you ever use a chain saw? What? Uh, no.
It's easy.
You just pull the cord and let the chain do the magic.
Oh, God, I c I can't.
- I can't.
- Okay.
I guess I'll have to go ask one of the boys.
No, I'll do it.
- Oh, Bridget, no, no.
- I'll do it.
- Oh, please, God.
- Attagirl.
[CHAIN SAW BUZZING.]
[CHAIN SAW REVVING.]
[CHAIN SAW CONTINUES BUZZING.]
[MICKEY.]
Start cleaning that bathroom.
Make yourself useful.
[CHAIN SAW BUZZING.]
[MELANCHOLY MUSIC.]
[SIRENS WAILING DISTANTLY.]
[CELL PHONE CLICKS AND BEEPS.]
[CELL PHONE RINGING.]
[CELL PHONE CLICKS.]
Is that you, Ray? [MICKEY.]
Ray? Did you love her, Mick? Who? Ma.
Did you love her? Yeah, I loved your mother with all my heart.
Why weren't you there? What are you talking about? Why'd you let her die alone? She wasn't alone, Raymond.
She had all of you.
She loved you all so much, you in particular.
She thought you were special.
She used to read to you every night: Shakespeare, uh, Russian books in English.
She thought you should be, uh, a Mr.
Straight "A"s.
Remember she said that? She did? [MICKEY.]
Sure, she did.
How was I gonna compare to a to a mom like that? I-I-I-I I didn't know nothing from books, only some story that my-my father read when he was drunk.
When I met your mother, I, uh I recited that story.
I memorized the end of it, recited it to her, and that's how I got her to go out with me.
I recited it to you sometimes too, help you fall asleep.
Help me fall asleep? [MICKEY.]
Sure.
Put you to bed.
You're lying to me, Mick.
What are you talking about? You were never there.
I was there, Raymond.
Maybe not always when I shoulda, but I w I was there.
Ray? Raymond.
[CELL PHONE CLICKS.]
[GLASSES CLINKING.]
[ENGINE TURNS OVER.]
[MOODY MUSIC.]
[FAINT INDISTINCT CHATTER.]
[FAINT SCRUBBING.]
[BIRDS CHIRPING.]
[SCRUBBING CONTINUES.]
What the fuck is going on? [SHOVEL SCRAPING.]
[GRUNTS.]
[GRUNTS.]
Fuck.
[GRUNTS.]
Who did you kill? Three cops.
Three cops? Yeah, the motherfuckers took Bridget.
Jesus Christ.
[DARYLL.]
It's all good.
We got her back.
Where is she? In the garage.
Jesus fucking Christ.
Hey, Terry.
How are you? H-hey, Aunt Sandy.
Mick.
Mick, you gotta come with me.
Why? They picked Bunchy up.
Oh [EXHALES.]
The FBI lady said that if you turn yourself in and Bunchy testifies, then she'll go easy.
Oh.
How easy, Ter? [TERRY.]
How easy? How e Fuck you.
You got him into this.
Now you get your old ass down to the federal building and you get him the fuck out.
[MICKEY.]
Terry, Ter, it don't go like that.
I go down, turn myself in, they'll take us both.
He's right, Terry.
Let's call Ray.
Mick, I already made the fucking deal.
Look, Ter, if it comes to that, I'll do it.
I'll do it, no matter what.
Okay, let me just finish all this up here so I can start thinking straight.
Daryll, toss in that raccoon.
[DESOLATE MUSIC.]
[FERATTI OVER TV.]
Look where it was printed: Sam Winslow's New York Tribune.
[REPORTER OVER TV.]
Are you saying it was a publicity stunt? [FERATTI.]
It's a total fabrication.
The idea that I would hurt Judge Scholl is a Hollywood fiction created by a Hollywood insider for her own gain.
[REPORTER.]
Judge Scholl, do you have anything to add? Get out and vote.
New York needs Ed Feratti.
- [WOMAN.]
Anita! - [REPORTER.]
Miss Novak.
Miss Novak, how are you feeling today? [ANITA.]
Um, I feel pretty good, actually.
Thank you.
[REPORTER.]
How are you feeling about your chances? - I feel positive.
- [REPORTER.]
That's wonderful.
And what do you think should happen to Ed Feratti? Well, if the allegations are true, - then he should withdraw.
- [CELL PHONE RINGS.]
[REPORTER.]
You've run such a fierce campaign - Yeah? - [RAY.]
We need to talk.
[ANITA.]
I'll be with my volunteers, where I should be.
- Where are you? - [REPORTER.]
Thank you.
Downstairs.
I'll send Vinnie.
[CELL PHONE CLICKS AND BEEPS.]
[CLEARS THROAT SOFTLY.]
Bridget comes from a very strong mother, and she's strong too.
You want to be with a woman like that, you gotta toughen up.
[DOOR SLAMS SHUT.]
[MELANCHOLY MUSIC.]
[ENGINE TURNS OVER.]
[DOOR SQUEAKS OPEN.]
[DOOR SLAMS SHUT.]
Hello, Ray.
[DOOR SQUEAKS OPEN.]
- [BUTTON CLICKS.]
- [ELEVATOR BELL DINGS.]
[CLEARS THROAT SOFTLY.]
[ELEVATOR RUMBLING.]
Supposed to snow tonight.
[BUTTON CLICKS.]
[ELEVATOR BELL DINGS.]
[SCOFFS.]
Doesn't look like you stopped by to have a drink.
I'm sorry.
I'm really sorry about the recording and what happened to your daughter.
That was a horrible thing to do.
You and I have We've done a lot of horrible things.
Haven't we, Ray? I want to trust you again, and I want you to trust me.
Do you think that's possible? Oh, you look so tired.
Everybody wants something from you, don't they? What is it you want? Tell me.
Tell me anything.
[BIRDS CHIRPING FAINTLY.]
What are you doing? I want you to wear this dress.
What? And I want you to take a shower, get all that blood off you.
Then I want you to put on this dress.
Why? 'Cause today we're going down to the justice of the peace and we're gonna get married.
Today? Just you and me.
[DRAMATIC MUSIC.]
We'll need a witness.
[LAUGHS.]
- Is that a yes? - Yes.
[BREATHING HEAVILY.]
[GROANS SOFTLY.]
[CELL PHONE CLICKS AND BEEPS.]
[CELL PHONE KEYBOARD CLACKING.]
[LINE RINGS.]
[AMIOT.]
This is Dr.
Arthur Amiot.
Please leave a detailed message, and I'll return your call as soon as possible.
[BEEP.]
[ENGINE TURNS OVER.]
[WOMAN 1 OVER TV.]
Do you have to lay out nude like that? It's indecent.
[WOMAN 2 OVER TV.]
It's private property.
I have the right to exercise my right to do what I want on my own property.
[WOMAN 1.]
Well, you have the right to do what you want, but, you know, there are people watching you.
You're outside.
[WOMAN 2.]
The beach is lower than the window, and if all Beach House in Malibu.
I used to watch this when I was in high school.
I-I don't get how Mary Jane's twin is still on the show after they murdered her.
Her-her twin came back, but it turned out she was her triplet.
[WOMAN 2.]
I'm not nude either.
Technically I have this [INDISTINCT.]
.
Or doesn't that count for anything in your little prayer hymnal? [SIGHS.]
[EXHALES HEAVILY.]
[WOMAN 1.]
Technically your body, but I have a teenage son Did they hurt you? They hit me.
[WOMEN SPEAKING INDISTINCTLY OVER TV.]
Did they do anything else? No.
[WOMEN SPEAKING INDISTINCTLY OVER TV.]
Yeah, you should be smoking pot and going to concerts, not not burying bodies on Long Island.
If your mother was here, she If my mother was here, she'd be doing exactly what I'm doing.
[FOOTSTEPS APPROACHING.]
- [BRIDGET.]
You look great.
- [LAUGHS.]
Now it's your turn.
What? My turn for what? Well, to clean up and put on a suit.
[CELL PHONE BUZZES.]
[CELL PHONE CLICKS AND BEEPS.]
Yeah? [RAY.]
Check your phone.
[LENA.]
Why? [RAY.]
There's an address.
What are you talking about? Just do it.
[CELL PHONE CLICKS AND BEEPS.]
[TRAIN HORN BLOWS DISTANTLY.]
[BIRDS CAWING.]
Your mother your mother was the love of my life.
What? [MICKEY.]
And you you, kid you wanted me to be your father.
You actually wanted me.
[CELL PHONE CLICKS.]
[CELL PHONE RINGING.]
[CELL PHONE CLICKS AND BEEPS.]
[RAY.]
Mick.
They picked up Bunchy.
Did you know that? [RAY.]
Yeah.
Ter made some deal with the feds: him for me.
Don't do anything till I call you.
[CELL PHONE CLICKS AND BEEPS.]
[DARYLL.]
Pop.
- These the last two.
- [MICKEY.]
Yeah.
All right.
- Hey.
- What? Great kids come from great fucks.
[LAUGHS.]
[BOTH.]
One two three.
[WATER SPLASHES.]
Let's get the fuck out of here.
Come on.
[ENGINE TURNS OVER.]
[SEDATE MUSIC.]
[INDISTINCT CHATTER.]
What number are we? Is it 86? Did you call Ray? No.
Well, d-d-don't you don't you think you should? No.
They're on 84.
[BREATHES DEEPLY.]
God.
Hey, do you want some water? - No.
- No? Do you want some water? No? - I'm gonna go get some water.
- Okay.
Okay.
What's wrong? Bridget? Did you know he tried to kill himself? My dad? What? [SMITTY SIGHS.]
They said it's gonna be a while.
[BREATHES DEEPLY.]
When? I don't know.
A few months ago, he he jumped off a building into the river.
That cop saved his life.
What, the one from Staten Island? [WOMAN.]
Number 86? What? Number 86? Hey.
[LAUGHS.]
That's us.
[WOMAN.]
Do you have a witness? [SMITTY.]
Yeah.
Oh, yeah, yeah.
I'm-I'm-I'm the witness.
Follow me.
[DISQUIETING MUSIC.]
[MAN.]
I got Ray Donovan down here.
Yeah, I don't like that.
Can I help you? I need to see Feratti.
[GRUNTS.]
On the floor.
Hey! Put the gun down! [MAN.]
Drop it! Drop the gun! Stop! Stop this! Ray! Jesus Christ, are you out of your fucking mind? Look, I know I fucked up.
I know that.
But I certainly had nothing to do with your daughter.
Radulovic is clearly out of his fucking mind.
You don't have to believe me, but you should.
And I certainly didn't release that tape.
That was Sam Winslow selling you out.
[SIGHS.]
You know I got a family, just like you? And I'd fucking fight and die to keep them safe.
But if you pull that trigger, what happens to them? What happens to us? You dead.
The headlines Jesus and Mary, the headlines.
Is that what you want? Is that what your daughter wants? No? No.
You got things to do, Ray.
You gotta keep your family safe, you gotta get your brother out of prison.
I'll tell you what.
You work with me, I'll work with you.
We can bring all this to bygones.
Number 111! Number 111? [CAMERA SHUTTERS CLICKING.]
[REPORTERS CLAMORING.]
[REPORTER.]
Mr.
Donovan! [MELINDA.]
Mr.
Donovan.
I'm standing here with Ray Donovan, the man who allegedly made the tape of Ed Feratti's threat toward circuit court judge Gregory Scholl.
Mr.
Donovan, how did you come to be involved - with Ed Feratti? - Fuck.
[MAN.]
Anita? [RAY OVER TV.]
I was hired by Sam Winslow to help out with Anita Novak's campaign.
[MELINDA OVER TV.]
I see.
To help with security.
No, to undermine Mayor Feratti's campaign for reelection.
[MELINDA.]
Undermine him how? Cesar Martinez was a paid plant.
The attack in Central Park was staged, and, uh, Justine Evans was paid for her participation.
As for the mayor, I never met the man, and that conversation never occurred.
[MELINDA.]
Mr.
Donovan, what about the tape? On the recording, the mayor clearly states Yeah, the mayor clearly states a lot of things every day.
That's how the tape was made.
I'm sorry.
I have no further comment.
[MELINDA.]
Mr.
Donovan? Mr.
Donovan? Cesar Martinez was a paid plant.
- The Central Park attack was staged - Ah, aluminum, right? Aluminum guy.
[LAUGHS.]
I told you, didn't I? [RAY.]
As for the mayor, I never met the man.
- Cement.
- [MELINDA.]
Mr.
Donov [CELL PHONE KEYBOARD CLACKING.]
[SENT TONE BLIPS.]
[WATER DRIPPING.]
[WIND WHISTLING SOFTLY.]
Oh.
Thank you, thank you, thank you, thank you.
[SNIFFLES.]
Oh.
[EXHALES SHARPLY.]
I never thought anyone would come up in here.
[SIGHS.]
Will you help me out with my hands? Do you know who I am? What? Do you? [CHUCKLES.]
No.
What Don't Fuck is wrong with you? Mm! [DESOLATE MUSIC.]
Oh.
You're Lena.
Right? Now, Lena [CHUCKLES.]
Lena? Lena! - [BONES CRACK.]
- [VINNIE GRUNTS.]
[ANITA OVER TV.]
We fought hard, and we fought for the right things: education, gun control, public housing.
We had a lot to say, and - [CELL PHONE RINGS.]
- You know what? - [CELL PHONE CLICKS AND BEEPS.]
- We were heard.
Yeah.
Ms.
Novak just conceded.
[ANITA.]
We may not have won the popular vote [FERATTI.]
Mr.
Donovan, you there? - [ANITA.]
But the establishment - Turn this down.
[ANITA.]
heard our cry, and that is what's most I've been thinking I need someone like you.
A good man to show people the light when simple reason won't do.
[ANITA.]
I want to thank each and every one of you for believing in me.
There's nothing good about me.
[FERATTI.]
Don't sell yourself short, Ray.
You're not a thug.
You should work for someone who doesn't think of you as one.
[ANITA.]
And carry on, 'cause that's what New York has always done.
[RAY SIGHS.]
[ANITA.]
Keep up the fight, New York.
[LAUGHTER.]
[TERRY.]
Ah, one thing's for sure.
You won't forget your fucking anniversary.
[MELANCHOLY MUSIC.]
[INDISTINCT CHATTER.]
[DOOR BUZZES.]
[DOOR CLICKS OPEN.]
Why did the golfer change his pants? Why? He had a hole in one! [LAUGHTER.]
How do you make holy water? You boil the hell out of it.
[LAUGHS.]
Two cannibals are sitting around, eating a clown, and one says to the other, "Does this taste funny?" [LAUGHTER.]
Sandy, ladies and gentlemen.
In Dublin's fair city Where the girls are so pretty I first laid my eyes On sweet Molly Malone As she wheeled her wheelbarrow Through the streets broad and narrow Singing, "Cockles and mussels Alive, alive, oh Alive, alive, oh - Alive, alive, oh" - [LAUGHTER.]
Singing, "Cockles and mussels Alive, alive, oh" [CHEERS AND APPLAUSE.]
Still got it, man.
[LAUGHS.]
I put food on the table, didn't I? What are you talking about, Mick? [MICKEY.]
When your mother got sick.
Children think their father can protect them from anything, stop anything from hurting them, but cancer? Some things you can't stop.
Jesus Christ, you're drunk.
I was there.
I was there enough.
This is the first day of my life I'm glad I didn't die before I met you And now I don't care I could go anywhere with you And I'd probably be happy So if you want to be with me These days, there's no telling We just have to wait and see But I'd rather be working for a paycheck Than waiting to win The lottery-y-y-y-y-y Who knows, maybe this time is different I mean, I really think You like me-e-e-e-e Yours is the first face that I saw I swear I was blind before I met you I don't know where I am I don't know where I've been But I know where I want to go Did Mick ever read to us? Mick? What? Did he when we were kids, you know He ever read to you in bed? Why the fuck you asking me that? I don't know.
Did he? I don't know.
Fuck, if he did, I just Well I don't remember much about being a kid.
[INSECTS CHIRPING.]
[CAR APPROACHING.]
Well at least you look better than the last time I saw you.
All right.
Go right in.
We'll be there.
Come on.
You stick around, I'll stick around.
What? Next time you feel like doing yourself in, you call the person who fucking loves you more than anything else in the world.
Remember that.
[LAUGHTER.]
[MICKEY SCATTING.]
- [LAUGHS.]
- Yeah, Bunch! He did it! He got us out! [SMOOCHES.]
Thinking about you, huh? He couldn't get us both out.
Ah.
I'm sorry.
Yeah.
[SIGHS.]
Yeah.
It was James Joyce! What? James Joyce, The Dead, the story I used to tell you when you were you were kids.
Used to know it by heart.
What are you talking about, Mick? Raymond said that I never was there when your mother was putting you all to bed.
I was there.
I was fucking there.
[TERRY.]
Hey.
Hey, remember Andy O'Shea's daughter, Andrea? Really? Andi with an I.
- Jesus fuck.
- [SANDY.]
I remember her.
Andy jumped the gun when he named her.
[LAUGHS.]
He wanted a junior.
He ended up with five boys after that.
[LAUGHS.]
Yeah, so Andi O'Shea with an I she's over the house, 'cause Bunchy finally screwed up the nerve to ask her out.
You're really gonna do this? [TERRY.]
She's waiting in the living room, but Bunchy's not there, right, 'cause Bunchy's over at the mall, and he's stealing Air Supply's Greatest Hits on cassette, 'cause he heard it was good make-out music, right? And while he's out stealing Air Supply, Ray comes home, and he takes Andrea up to his room.
What are you talking about? You took Andi upstairs, not me.
No, no, it was you.
I never touched her, Ter.
No if you say so.
It was you, Terry.
[BUNCHY SCOFFS.]
Don't blame Ray.
Fucking asshole.
Maybe you're right.
No, you're right! [LAUGHS.]
[LAUGHTER.]
"Newspapers were right.
The newspapers were right.
Snow was general all over Ireland.
It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen, and farther westward, softly falling into the dark, mutinous Shannon waves.
" [MELANCHOLY MUSIC.]
"It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried.
It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns.
" "His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling like the descent of their last end upon all the living and the dead.
" I was there.
I was fucking there.
[CELL PHONE CLICKS.]
[CELL PHONE KEYBOARD CLACKING.]
[CELL PHONE RINGING.]
Hello.
[AMIOT.]
Are you there? Yeah.
[AMIOT.]
Is this Mr.
Donovan? Yeah.
[AMIOT.]
You called me several times, didn't you? How've you been? All right.
[AMIOT.]
Uh-huh.
Any more episodes? I don't know.
[AMIOT.]
You don't know? I don't know where to start.
How about tonight? How about we just start with the fact that you called me? That was brave, Ray.
Y-you know, that took a lot of courage.
Why don't we just sit with that? You there? Yeah, I'm still here.
So what's next? [AMIOT.]
Next, I'd like it if we could talk together again, in person, but that's up to you.
What do you think? Are you willing to do that? - All right.
- [AMIOT.]
Good.
How about how about Monday at three o'clock? Sure.
[AMIOT.]
Okay.
Good night, Ray.
[TRAMPLED BY TURTLES' "GHOSTS" PLAYING.]
We never could shake it Like there's nothing to lose - [CROWD CHEERING.]
- [CHUCKLES.]
All right.
All the hearts that were breaking We pretended we knew There's blood on the hillside The roots hold the landslide Through pain and in young skies I waited for you Ooh There were ghosts in the forest And they're calling to you Never brighting by daylight Never frighting by dark night If I just keep it inside I swear that it's true Through breakers at low tide Rough places and long rides I'm constantly shaking With the echoes of love Ooh Ooh [SOMBER MUSIC.]
[CHOKING.]
New York, I love you But you're bringing me down [SIRENS WAILING.]
[GRUNTS.]
Like a rat in a cage Pulling minimum wage New York, I love you But you're bringing me down [WATER RUNNING.]
New York, you're safer And you're wasting my time Our records all show You were filthy but fine But they shuttered your stores When you opened the doors You don't look so good.
To the cops who were bored Once they'd run out of crime New York, you're perfect Oh, please don't change a thing Your mild billionaire mayor's Now convinced he's a king And so the boring collect I mean all disrespect In the neighborhood bars I'd once dreamt I would drink And, oh Take me off your mailing list For kids who think it still exists Yes, for those who think it still exists Maybe I'm wrong and maybe you're right Maybe I'm wrong and maybe you're right [GUNSHOT.]
Maybe you're right Maybe I'm wrong And just maybe you're right And, oh Maybe Mother told you true And there'll always be somebody there for you And you'll never be alone But maybe she's wrong And maybe I'm right And just maybe she's wrong - Maybe she's wrong - [GUNSHOTS.]
And maybe I'm right And if so, here's this Song [MUFFLED GUNSHOT.]
[INSECTS CHIRPING.]
Oof.
You wanna pull that stopper, Sandy? I got it.
Ugh.
[DRAIN GURGLING.]
There we go.
[SIGHS.]
[TV PLAYING INDISTINCTLY.]
Hey! Gonna move your ass anytime soon? [SIGHS.]
Your, uh, uncle picked a dead raccoon off the side of the road.
To keep police dogs off the scent.
Okay, so they'll stop if they f-find the raccoon? That's what Sandy said.
[INSECTS CHIRPING.]
[DARYLL.]
Isn't this thing deep enough? [MICKEY.]
No, it's gotta go deeper.
What, you're gettin' tired? [DARYLL.]
Hell yeah.
[MICKEY.]
Huh? [LAUGHS.]
[DARYLL.]
This hole's huge.
[GRUNTS.]
[GRUNTS.]
Why don't you go help Sandy in the garage? [CHAIN SAW BUZZING.]
[CHAIN SAW REVVING.]
[RETCHING.]
Once you done a thing, son once you done a thing, it's done, so you go ahead, get it all out now, all the vomit, all the tears, 'cause then you're gonna shut your mouth about it the rest of your fucking life.
- Oh, God.
- Yo, man, why don't you grab a shovel, help us out? Well, I think I'm dehydrated.
- [BRIDGET.]
Sandwiches? - Oh, God, yes.
- Not for me yet, Bridge.
- Oh, thanks, Bridget.
Hey, Aunt Sandy, want a sandwich? Ah.
Ow.
You all right, Aunt Sandy? Fucking arthritis.
I can barely move my arm.
Hey, did you ever use a chain saw? What? Uh, no.
It's easy.
You just pull the cord and let the chain do the magic.
Oh, God, I c I can't.
- I can't.
- Okay.
I guess I'll have to go ask one of the boys.
No, I'll do it.
- Oh, Bridget, no, no.
- I'll do it.
- Oh, please, God.
- Attagirl.
[CHAIN SAW BUZZING.]
[CHAIN SAW REVVING.]
[CHAIN SAW CONTINUES BUZZING.]
[MICKEY.]
Start cleaning that bathroom.
Make yourself useful.
[CHAIN SAW BUZZING.]
[MELANCHOLY MUSIC.]
[SIRENS WAILING DISTANTLY.]
[CELL PHONE CLICKS AND BEEPS.]
[CELL PHONE RINGING.]
[CELL PHONE CLICKS.]
Is that you, Ray? [MICKEY.]
Ray? Did you love her, Mick? Who? Ma.
Did you love her? Yeah, I loved your mother with all my heart.
Why weren't you there? What are you talking about? Why'd you let her die alone? She wasn't alone, Raymond.
She had all of you.
She loved you all so much, you in particular.
She thought you were special.
She used to read to you every night: Shakespeare, uh, Russian books in English.
She thought you should be, uh, a Mr.
Straight "A"s.
Remember she said that? She did? [MICKEY.]
Sure, she did.
How was I gonna compare to a to a mom like that? I-I-I-I I didn't know nothing from books, only some story that my-my father read when he was drunk.
When I met your mother, I, uh I recited that story.
I memorized the end of it, recited it to her, and that's how I got her to go out with me.
I recited it to you sometimes too, help you fall asleep.
Help me fall asleep? [MICKEY.]
Sure.
Put you to bed.
You're lying to me, Mick.
What are you talking about? You were never there.
I was there, Raymond.
Maybe not always when I shoulda, but I w I was there.
Ray? Raymond.
[CELL PHONE CLICKS.]
[GLASSES CLINKING.]
[ENGINE TURNS OVER.]
[MOODY MUSIC.]
[FAINT INDISTINCT CHATTER.]
[FAINT SCRUBBING.]
[BIRDS CHIRPING.]
[SCRUBBING CONTINUES.]
What the fuck is going on? [SHOVEL SCRAPING.]
[GRUNTS.]
[GRUNTS.]
Fuck.
[GRUNTS.]
Who did you kill? Three cops.
Three cops? Yeah, the motherfuckers took Bridget.
Jesus Christ.
[DARYLL.]
It's all good.
We got her back.
Where is she? In the garage.
Jesus fucking Christ.
Hey, Terry.
How are you? H-hey, Aunt Sandy.
Mick.
Mick, you gotta come with me.
Why? They picked Bunchy up.
Oh [EXHALES.]
The FBI lady said that if you turn yourself in and Bunchy testifies, then she'll go easy.
Oh.
How easy, Ter? [TERRY.]
How easy? How e Fuck you.
You got him into this.
Now you get your old ass down to the federal building and you get him the fuck out.
[MICKEY.]
Terry, Ter, it don't go like that.
I go down, turn myself in, they'll take us both.
He's right, Terry.
Let's call Ray.
Mick, I already made the fucking deal.
Look, Ter, if it comes to that, I'll do it.
I'll do it, no matter what.
Okay, let me just finish all this up here so I can start thinking straight.
Daryll, toss in that raccoon.
[DESOLATE MUSIC.]
[FERATTI OVER TV.]
Look where it was printed: Sam Winslow's New York Tribune.
[REPORTER OVER TV.]
Are you saying it was a publicity stunt? [FERATTI.]
It's a total fabrication.
The idea that I would hurt Judge Scholl is a Hollywood fiction created by a Hollywood insider for her own gain.
[REPORTER.]
Judge Scholl, do you have anything to add? Get out and vote.
New York needs Ed Feratti.
- [WOMAN.]
Anita! - [REPORTER.]
Miss Novak.
Miss Novak, how are you feeling today? [ANITA.]
Um, I feel pretty good, actually.
Thank you.
[REPORTER.]
How are you feeling about your chances? - I feel positive.
- [REPORTER.]
That's wonderful.
And what do you think should happen to Ed Feratti? Well, if the allegations are true, - then he should withdraw.
- [CELL PHONE RINGS.]
[REPORTER.]
You've run such a fierce campaign - Yeah? - [RAY.]
We need to talk.
[ANITA.]
I'll be with my volunteers, where I should be.
- Where are you? - [REPORTER.]
Thank you.
Downstairs.
I'll send Vinnie.
[CELL PHONE CLICKS AND BEEPS.]
[CLEARS THROAT SOFTLY.]
Bridget comes from a very strong mother, and she's strong too.
You want to be with a woman like that, you gotta toughen up.
[DOOR SLAMS SHUT.]
[MELANCHOLY MUSIC.]
[ENGINE TURNS OVER.]
[DOOR SQUEAKS OPEN.]
[DOOR SLAMS SHUT.]
Hello, Ray.
[DOOR SQUEAKS OPEN.]
- [BUTTON CLICKS.]
- [ELEVATOR BELL DINGS.]
[CLEARS THROAT SOFTLY.]
[ELEVATOR RUMBLING.]
Supposed to snow tonight.
[BUTTON CLICKS.]
[ELEVATOR BELL DINGS.]
[SCOFFS.]
Doesn't look like you stopped by to have a drink.
I'm sorry.
I'm really sorry about the recording and what happened to your daughter.
That was a horrible thing to do.
You and I have We've done a lot of horrible things.
Haven't we, Ray? I want to trust you again, and I want you to trust me.
Do you think that's possible? Oh, you look so tired.
Everybody wants something from you, don't they? What is it you want? Tell me.
Tell me anything.
[BIRDS CHIRPING FAINTLY.]
What are you doing? I want you to wear this dress.
What? And I want you to take a shower, get all that blood off you.
Then I want you to put on this dress.
Why? 'Cause today we're going down to the justice of the peace and we're gonna get married.
Today? Just you and me.
[DRAMATIC MUSIC.]
We'll need a witness.
[LAUGHS.]
- Is that a yes? - Yes.
[BREATHING HEAVILY.]
[GROANS SOFTLY.]
[CELL PHONE CLICKS AND BEEPS.]
[CELL PHONE KEYBOARD CLACKING.]
[LINE RINGS.]
[AMIOT.]
This is Dr.
Arthur Amiot.
Please leave a detailed message, and I'll return your call as soon as possible.
[BEEP.]
[ENGINE TURNS OVER.]
[WOMAN 1 OVER TV.]
Do you have to lay out nude like that? It's indecent.
[WOMAN 2 OVER TV.]
It's private property.
I have the right to exercise my right to do what I want on my own property.
[WOMAN 1.]
Well, you have the right to do what you want, but, you know, there are people watching you.
You're outside.
[WOMAN 2.]
The beach is lower than the window, and if all Beach House in Malibu.
I used to watch this when I was in high school.
I-I don't get how Mary Jane's twin is still on the show after they murdered her.
Her-her twin came back, but it turned out she was her triplet.
[WOMAN 2.]
I'm not nude either.
Technically I have this [INDISTINCT.]
.
Or doesn't that count for anything in your little prayer hymnal? [SIGHS.]
[EXHALES HEAVILY.]
[WOMAN 1.]
Technically your body, but I have a teenage son Did they hurt you? They hit me.
[WOMEN SPEAKING INDISTINCTLY OVER TV.]
Did they do anything else? No.
[WOMEN SPEAKING INDISTINCTLY OVER TV.]
Yeah, you should be smoking pot and going to concerts, not not burying bodies on Long Island.
If your mother was here, she If my mother was here, she'd be doing exactly what I'm doing.
[FOOTSTEPS APPROACHING.]
- [BRIDGET.]
You look great.
- [LAUGHS.]
Now it's your turn.
What? My turn for what? Well, to clean up and put on a suit.
[CELL PHONE BUZZES.]
[CELL PHONE CLICKS AND BEEPS.]
Yeah? [RAY.]
Check your phone.
[LENA.]
Why? [RAY.]
There's an address.
What are you talking about? Just do it.
[CELL PHONE CLICKS AND BEEPS.]
[TRAIN HORN BLOWS DISTANTLY.]
[BIRDS CAWING.]
Your mother your mother was the love of my life.
What? [MICKEY.]
And you you, kid you wanted me to be your father.
You actually wanted me.
[CELL PHONE CLICKS.]
[CELL PHONE RINGING.]
[CELL PHONE CLICKS AND BEEPS.]
[RAY.]
Mick.
They picked up Bunchy.
Did you know that? [RAY.]
Yeah.
Ter made some deal with the feds: him for me.
Don't do anything till I call you.
[CELL PHONE CLICKS AND BEEPS.]
[DARYLL.]
Pop.
- These the last two.
- [MICKEY.]
Yeah.
All right.
- Hey.
- What? Great kids come from great fucks.
[LAUGHS.]
[BOTH.]
One two three.
[WATER SPLASHES.]
Let's get the fuck out of here.
Come on.
[ENGINE TURNS OVER.]
[SEDATE MUSIC.]
[INDISTINCT CHATTER.]
What number are we? Is it 86? Did you call Ray? No.
Well, d-d-don't you don't you think you should? No.
They're on 84.
[BREATHES DEEPLY.]
God.
Hey, do you want some water? - No.
- No? Do you want some water? No? - I'm gonna go get some water.
- Okay.
Okay.
What's wrong? Bridget? Did you know he tried to kill himself? My dad? What? [SMITTY SIGHS.]
They said it's gonna be a while.
[BREATHES DEEPLY.]
When? I don't know.
A few months ago, he he jumped off a building into the river.
That cop saved his life.
What, the one from Staten Island? [WOMAN.]
Number 86? What? Number 86? Hey.
[LAUGHS.]
That's us.
[WOMAN.]
Do you have a witness? [SMITTY.]
Yeah.
Oh, yeah, yeah.
I'm-I'm-I'm the witness.
Follow me.
[DISQUIETING MUSIC.]
[MAN.]
I got Ray Donovan down here.
Yeah, I don't like that.
Can I help you? I need to see Feratti.
[GRUNTS.]
On the floor.
Hey! Put the gun down! [MAN.]
Drop it! Drop the gun! Stop! Stop this! Ray! Jesus Christ, are you out of your fucking mind? Look, I know I fucked up.
I know that.
But I certainly had nothing to do with your daughter.
Radulovic is clearly out of his fucking mind.
You don't have to believe me, but you should.
And I certainly didn't release that tape.
That was Sam Winslow selling you out.
[SIGHS.]
You know I got a family, just like you? And I'd fucking fight and die to keep them safe.
But if you pull that trigger, what happens to them? What happens to us? You dead.
The headlines Jesus and Mary, the headlines.
Is that what you want? Is that what your daughter wants? No? No.
You got things to do, Ray.
You gotta keep your family safe, you gotta get your brother out of prison.
I'll tell you what.
You work with me, I'll work with you.
We can bring all this to bygones.
Number 111! Number 111? [CAMERA SHUTTERS CLICKING.]
[REPORTERS CLAMORING.]
[REPORTER.]
Mr.
Donovan! [MELINDA.]
Mr.
Donovan.
I'm standing here with Ray Donovan, the man who allegedly made the tape of Ed Feratti's threat toward circuit court judge Gregory Scholl.
Mr.
Donovan, how did you come to be involved - with Ed Feratti? - Fuck.
[MAN.]
Anita? [RAY OVER TV.]
I was hired by Sam Winslow to help out with Anita Novak's campaign.
[MELINDA OVER TV.]
I see.
To help with security.
No, to undermine Mayor Feratti's campaign for reelection.
[MELINDA.]
Undermine him how? Cesar Martinez was a paid plant.
The attack in Central Park was staged, and, uh, Justine Evans was paid for her participation.
As for the mayor, I never met the man, and that conversation never occurred.
[MELINDA.]
Mr.
Donovan, what about the tape? On the recording, the mayor clearly states Yeah, the mayor clearly states a lot of things every day.
That's how the tape was made.
I'm sorry.
I have no further comment.
[MELINDA.]
Mr.
Donovan? Mr.
Donovan? Cesar Martinez was a paid plant.
- The Central Park attack was staged - Ah, aluminum, right? Aluminum guy.
[LAUGHS.]
I told you, didn't I? [RAY.]
As for the mayor, I never met the man.
- Cement.
- [MELINDA.]
Mr.
Donov [CELL PHONE KEYBOARD CLACKING.]
[SENT TONE BLIPS.]
[WATER DRIPPING.]
[WIND WHISTLING SOFTLY.]
Oh.
Thank you, thank you, thank you, thank you.
[SNIFFLES.]
Oh.
[EXHALES SHARPLY.]
I never thought anyone would come up in here.
[SIGHS.]
Will you help me out with my hands? Do you know who I am? What? Do you? [CHUCKLES.]
No.
What Don't Fuck is wrong with you? Mm! [DESOLATE MUSIC.]
Oh.
You're Lena.
Right? Now, Lena [CHUCKLES.]
Lena? Lena! - [BONES CRACK.]
- [VINNIE GRUNTS.]
[ANITA OVER TV.]
We fought hard, and we fought for the right things: education, gun control, public housing.
We had a lot to say, and - [CELL PHONE RINGS.]
- You know what? - [CELL PHONE CLICKS AND BEEPS.]
- We were heard.
Yeah.
Ms.
Novak just conceded.
[ANITA.]
We may not have won the popular vote [FERATTI.]
Mr.
Donovan, you there? - [ANITA.]
But the establishment - Turn this down.
[ANITA.]
heard our cry, and that is what's most I've been thinking I need someone like you.
A good man to show people the light when simple reason won't do.
[ANITA.]
I want to thank each and every one of you for believing in me.
There's nothing good about me.
[FERATTI.]
Don't sell yourself short, Ray.
You're not a thug.
You should work for someone who doesn't think of you as one.
[ANITA.]
And carry on, 'cause that's what New York has always done.
[RAY SIGHS.]
[ANITA.]
Keep up the fight, New York.
[LAUGHTER.]
[TERRY.]
Ah, one thing's for sure.
You won't forget your fucking anniversary.
[MELANCHOLY MUSIC.]
[INDISTINCT CHATTER.]
[DOOR BUZZES.]
[DOOR CLICKS OPEN.]
Why did the golfer change his pants? Why? He had a hole in one! [LAUGHTER.]
How do you make holy water? You boil the hell out of it.
[LAUGHS.]
Two cannibals are sitting around, eating a clown, and one says to the other, "Does this taste funny?" [LAUGHTER.]
Sandy, ladies and gentlemen.
In Dublin's fair city Where the girls are so pretty I first laid my eyes On sweet Molly Malone As she wheeled her wheelbarrow Through the streets broad and narrow Singing, "Cockles and mussels Alive, alive, oh Alive, alive, oh - Alive, alive, oh" - [LAUGHTER.]
Singing, "Cockles and mussels Alive, alive, oh" [CHEERS AND APPLAUSE.]
Still got it, man.
[LAUGHS.]
I put food on the table, didn't I? What are you talking about, Mick? [MICKEY.]
When your mother got sick.
Children think their father can protect them from anything, stop anything from hurting them, but cancer? Some things you can't stop.
Jesus Christ, you're drunk.
I was there.
I was there enough.
This is the first day of my life I'm glad I didn't die before I met you And now I don't care I could go anywhere with you And I'd probably be happy So if you want to be with me These days, there's no telling We just have to wait and see But I'd rather be working for a paycheck Than waiting to win The lottery-y-y-y-y-y Who knows, maybe this time is different I mean, I really think You like me-e-e-e-e Yours is the first face that I saw I swear I was blind before I met you I don't know where I am I don't know where I've been But I know where I want to go Did Mick ever read to us? Mick? What? Did he when we were kids, you know He ever read to you in bed? Why the fuck you asking me that? I don't know.
Did he? I don't know.
Fuck, if he did, I just Well I don't remember much about being a kid.
[INSECTS CHIRPING.]
[CAR APPROACHING.]
Well at least you look better than the last time I saw you.
All right.
Go right in.
We'll be there.
Come on.
You stick around, I'll stick around.
What? Next time you feel like doing yourself in, you call the person who fucking loves you more than anything else in the world.
Remember that.
[LAUGHTER.]
[MICKEY SCATTING.]
- [LAUGHS.]
- Yeah, Bunch! He did it! He got us out! [SMOOCHES.]
Thinking about you, huh? He couldn't get us both out.
Ah.
I'm sorry.
Yeah.
[SIGHS.]
Yeah.
It was James Joyce! What? James Joyce, The Dead, the story I used to tell you when you were you were kids.
Used to know it by heart.
What are you talking about, Mick? Raymond said that I never was there when your mother was putting you all to bed.
I was there.
I was fucking there.
[TERRY.]
Hey.
Hey, remember Andy O'Shea's daughter, Andrea? Really? Andi with an I.
- Jesus fuck.
- [SANDY.]
I remember her.
Andy jumped the gun when he named her.
[LAUGHS.]
He wanted a junior.
He ended up with five boys after that.
[LAUGHS.]
Yeah, so Andi O'Shea with an I she's over the house, 'cause Bunchy finally screwed up the nerve to ask her out.
You're really gonna do this? [TERRY.]
She's waiting in the living room, but Bunchy's not there, right, 'cause Bunchy's over at the mall, and he's stealing Air Supply's Greatest Hits on cassette, 'cause he heard it was good make-out music, right? And while he's out stealing Air Supply, Ray comes home, and he takes Andrea up to his room.
What are you talking about? You took Andi upstairs, not me.
No, no, it was you.
I never touched her, Ter.
No if you say so.
It was you, Terry.
[BUNCHY SCOFFS.]
Don't blame Ray.
Fucking asshole.
Maybe you're right.
No, you're right! [LAUGHS.]
[LAUGHTER.]
"Newspapers were right.
The newspapers were right.
Snow was general all over Ireland.
It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen, and farther westward, softly falling into the dark, mutinous Shannon waves.
" [MELANCHOLY MUSIC.]
"It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried.
It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns.
" "His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling like the descent of their last end upon all the living and the dead.
" I was there.
I was fucking there.
[CELL PHONE CLICKS.]
[CELL PHONE KEYBOARD CLACKING.]
[CELL PHONE RINGING.]
Hello.
[AMIOT.]
Are you there? Yeah.
[AMIOT.]
Is this Mr.
Donovan? Yeah.
[AMIOT.]
You called me several times, didn't you? How've you been? All right.
[AMIOT.]
Uh-huh.
Any more episodes? I don't know.
[AMIOT.]
You don't know? I don't know where to start.
How about tonight? How about we just start with the fact that you called me? That was brave, Ray.
Y-you know, that took a lot of courage.
Why don't we just sit with that? You there? Yeah, I'm still here.
So what's next? [AMIOT.]
Next, I'd like it if we could talk together again, in person, but that's up to you.
What do you think? Are you willing to do that? - All right.
- [AMIOT.]
Good.
How about how about Monday at three o'clock? Sure.
[AMIOT.]
Okay.
Good night, Ray.
[TRAMPLED BY TURTLES' "GHOSTS" PLAYING.]
We never could shake it Like there's nothing to lose - [CROWD CHEERING.]
- [CHUCKLES.]
All right.
All the hearts that were breaking We pretended we knew There's blood on the hillside The roots hold the landslide Through pain and in young skies I waited for you Ooh There were ghosts in the forest And they're calling to you Never brighting by daylight Never frighting by dark night If I just keep it inside I swear that it's true Through breakers at low tide Rough places and long rides I'm constantly shaking With the echoes of love Ooh Ooh [SOMBER MUSIC.]