Original subtitles

J' showtime fanfare j'

J' wolf parade's "you are a runner and I am my father's son" j'

j'j'j'

ray ray.

J'j'j'

J' I got a number on me r

j' I got a numberj'

I won't make it through the high noon sun I

j'j'j'

I well, I am my father's son I

I and I am my father's son I

j' his bed is made j'

j'j'j'

I but I was a hero I

j'j'j'

I early in the morning I ain't no hero I

I in the night I

III

I I am my father's son I

III

I and I'll build a house inside of you I

I I'll go in through the mouth I

I I'll draw three figures on your heart I

III

I one of them will be me as a boy I

I and one of them will be me I

I and one of them will be me watching you run I

I watching you run I

I into the high noon sun I

I watching you run I

I farther than guns will go I

I you are a runner I

III

I with a stolen voice I

I and you are a runner I

III

I and I am my father's son I

III

I I am my father's son I

III

I I am my father's son I

III

[Phone line ringing]

[Amiot on phone] Hello?

Who is this?

[Ray] I gotta ask you something.

[Amiot] Ray?

[Ray chuckles]

I tell you something I did...

Something bad...

You gotta tell the cops?

I soft tense music I

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[Amiot] Ray, where are you?

[Ray] Doesn't matter.

[Breathing heavily]

III

[Ray] I did it.

[Amiot] What did you do?

[Ray breathing heavily]

I killed my father.

I dramatic music I

[Ray] Shit runs downhill.

III

[ray] Father to son.

Father to daughter.

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what do you need, sweetheart?

To not be awake.

Please just leave me alone.

[Sliding door creaking]

[Sighs] You all right?

I'm not gonna be able to do it, ray.

Do what?

You and I both know I won't make it in prison.

It's taken care of.

[Chuckles] What is?

You're leaving tonight.

- Where? - La, for now.

Lena will meet you at the gate with another ticket and a passport.

Okay, so where the fuck am I going?

Maybe it's better if you don't know for now.

[Door opens]

Be not inhospitable to strangers,

lest they be angels in disguise.

- To smitty. - [All] To smitty.

III

[Indistinct chatter]

III

[Distant bell tolling]

You got old, huh?

You owe me 80 bucks.

What for?

- [Matty] My cutlass. - [Mickey] What?

You double-parked my cutlass in front of the stop & shop.

I don't recall, Matty.

I didn't, neither,

till I got pulled over two years later.

$20 ticket times four.

Oh. Okay, yeah.

Here.

Here's 53. You know I'm good for the 27.

I know what you're good for, Mick, and it ain't money.

That's where you're wrong, Matty.

Look here.

The fuck is that?

Something for your ex-wives to fight over.

How much you looking for here?

Jim's son Kevin was gonna give me 20 mil.

- We were right in the middle of the draw. - Yeah?

And then we hit that little snag.

And what was that?

I think you must've heard, Matty.

[Matty] Heard what?

Declan got shot.

So who shot Declan?

Your son?

Yeah.

[Matty] Which one?

Daryll.

The black one?

Right.

Why the fuck would he do that?

Crime of passion, Matty.

Declan killed his girl.

You can't hold a man accountable forgetting vengeance over love.

[Matty] Well, Jim Sullivan won't see it that way.

You wanna move those papers,

you're gonna have to go through Declan's people to do it.

I got no problem with that. Do you?

You don't think they'd be loyal to Declan?

I'm thinking it's paper worth 20 mil.

At that number, no one's fucking loyal.

III

[Terry] Grandpa Michael wasn't a mobster.

- Sure he was. - [Terry] No, he was just a mean

son of a bitch.

Oh, come on. He was in the mob.

- He wasn't. - He was.

He wasn't. Sorry, bunch.

He used to work the door at Rose's hotel.

Mmhmm.

Wow.

I remember that fucking place.

No, you don't. You was too young.

Yeah, actually I do.

Mom, she used to drop me and bridge off there

when she had shit to do.

And we'd sit at the bar

and drink cokes with the cocktail waitresses.

Waitresses?

Oh, and they fucking played gin all daylong.

I mean, they taught us.

[Chuckles] I remember there was... There was...

There were two black ones,

and there were two white ones and they were obese.

[Laughter]

But fuck it. They were nice cocktail waitresses.

They weren't cocktail waitresses, bunch.

- Yeah, and that hotel, it wasn't no hotel. - [Ray] No.

- [Chuckles] - It was a fuckin' whorehouse?

[Laughter]

Proud descendants of whoremongers on your grandmother's side.

Did you know that, daryll?

You're two generations away from being a pimp.

Two? One.

Yeah, he was a pimp.

It all makes sense, though, when you think about it.

What?

I mean, raised in a whorehouse?

Beat every day?

It's probably the reason Mickey is the way that he is.

Dancing.

- What? - That's what he should've done.

Mick should've been an instructor at Arthur Murray.

Ballroom shit? He'd be good at that.

With the leather pants and a disco ball buckle on it?

[Laughter]

Cheatin' old ladies outta their husbands' money.

Yeah. Hey, hey.

[Laughter]

Don't worry, darling. 'Cause it's all in the hips.

[Laughter]

Oh, you fucking call that hips? Give me a break.

Oh, hey, hey, it's electric.

[Laughter] [Ray] No, it's not.

- It's fucking pornographic. - [Laughter]

- Take it back! - [Laughter]

- Oh! - [All grunt]

- And up! - [All] Oh!

[Overlapping chatter]

Bring it back now.

[Terry] Take it back, take it back, take it back. Ohl

and hey!

[Laughter]

You're up.

What are you doing?

Nothing. We were just...

No, I know. I'm sorry. I know what you're doing.

I'm just, um, trying to figure out why.

- Bridge. - We didn't mean anything by it, bridge.

Why is it so easy for you to forget?

Forget what, sweetheart?

Someone's life.

To just...

Drink it all away as if someone's life

is just another bullshit story to tell.

Another notch in Mickey's belt.

Along with... with all the other stories,

all the...

Whores and killers and thieves that you're so fucking proud of.

That is what Mickey did to you.

All of you.

That's what makes you so alike.

He taught you how to forget.

I soft dramatic music I

III

[Birds chirping]

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[Phone ringing]

[Beeps]

Hey.

[Molly] Were there many people at the funeral?

Just us.

We're postponing Declan's till we find my father.

Ray, you there?

[Ray] You home?

Yeah.

I'll be right over.

[Cell phone beeps]

III

[elevator bell dings]

Everything is such a mess.

There's something I gotta tell you.

What?

About your father.

What is it, ray?

III

He's gone, isn't he?

My father's gone.

III

we did everything Mickey said.

We gave him everything that he wanted.

I'll get you the papers back.

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I don't... I don't care about the fucking money, ray.

III

Are you coming?

III

[ray] She would've been better off if she never met me.

[Amiot] What does that mean, ray?

[Ray sighs] I got what I had coming.

[Amiot] What did you have coming?

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I poignant music I

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ray ray.

III

[Mickey] Fish gotta swim, birds gotta fly.

III

[Mickey] Everybody's looking at you.

They're thinking you ain't got balls.

That what you want 'em to think?

III

[Mickey] Ray ray, trust me, all right? I'll catch ya.

Come on, kid. Trust me.

III

I tense music I

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I dramatic music I

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[Sighs]

[Priest] There is a time for everything.

A time to be born.

A time to die. A time to plant.

And a time to pluck up the thing that has been planted.

Body of Christ.

Body of Christ.

[Priest] Body of Christ.

Amen

[Priest] Body of Christ.

I soft tense music I

III

[Doorbell chimes]

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Who the fuck are you?

My name's ray Donovan.

[Matty] Mick's son?

Yeah.

The one who moved out west?

To become an agent or something?

Someone told me you were banging that broad from the movies.

The one from the cult show.

What's her name with the big...

You heard from my father?

[Matty] Mick?

[Chuckles]

Not in 15 years.

Why, did you lose him or something?

What's that for?

If you see him.

[Car door opens]

[Engine turns over]

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[Church bells tolling]

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[Priest] Stay strong, stay strong.

We all loved her, Raymond.

[Inhales sharply] I've been transferred to another diocese in Pennsylvania.

I'm so sorry to be leaving.

I'm gonna miss you and the boys.

You have been an angel to this family, Raymond.

I hope you know that.

To all of us.

- You're fucking late. - [Mickey] For what?

That shitshow? [Scoffs]

You think I'm gonna sit in there and watch that cocksucker

desecrate my daughter's body?

At least he was there.

I soft dramatic music I

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she was my baby, Raymond.

That fucking fairy's got no business going anywhere near my babies.

III

never seemed to bother you before.

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[ray] You're a piece of shit, Mick. You always have been.

[People gasping]

[Indistinct chattering]

I'll kill you!

[Mickey] What do you want, boy? Huh?

III

[ray] I should've killed him then.

[Amiot] And then what?

I don't know.

Maybe none of this would've happened.

[Amiot] You're probably right. None of it would have happened.

No wife,

no kids,

no life.

Probably better for everyone if I had.

[Amiot] That's some sacrifice, ray.

You'd be willing to give up all those years...

All that life...

Just for him?

III

[Engine turns over]

III

I rock music playing I

[bartender] What can I get you?

Whiskey, please. Neat.

Was that Matty gleeson who just walked out of here?

[Chuckles] What? Am I fucking Facebook all of a sudden?

[Chuckles]

Am I asking the wrong guy?

Was my makeup running or something?

No. Sorry.

I'm evelynne. What's your name?

Ray.

Well, you look like you had a rough day, ray.

Yeah?

You mind?

Sure.

My day was a fuckin' doozy. Pfft.

A real four-star shitshow.

- Yeah? - [Scoffs]

Work over at the gap. Manager now, you know?

It's all right.

The benefits don't suck. Keeps the rent paid.

And I get 40 percent off the clothes, which, you know.

But today, it was like the fucking running of the bulls.

This whole busload full of Japanese tourists.

You'd think they'd never seen a pair of flat-front khakis before.

I mean, what the hell do you think we are?

What did you say your name was?

I didn't.

Well, whoever you are, finish your drink.

We're closing.

For the bottle.

- Nice to meet you, evelynne. - Yeah.

I coulda sworn we had it all worked out I

I Bryan Adams' "cuts like a knife" I

I you had this boy believin' I

I way beyond the shadow of a doubt I

III

I yeah I

I we”, I heard it on the street I

I I heard you might've found somebody new I

come on, dance with me.

Dance with your girlfriend.

Come on, ray.

I we”, who is he, baby? I

I who is he and tell me what he means to you I

III

I oh, yeah I

I took it all for granted I

I but how was I to know that you'd be letting go I

[Colleen] Hey. Ray.

Ray? Come on. Look at me.

Look at me, baby.

- Look at me. - I but it feels so right I

you all right?

- Yeah. - I it cuts like a knife I

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I oh, but it feels so right I

[indistinct chatter]

III

I'll be right back.

I'm gonna use the girls' room.

I ooh, yeah I

I so wait a minute, darlin' I

I can't you see we did the best we could I

I ooh, yeah I

I this wouldn't be the first time I

I things have gone astray I

[woman] Hey, how you guys doing?

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[Ray sighs]

III

Bridget was good people.

Wore her heart on her sleeve. Never a bad word about anyone.

Never

she loved you.

She was proud of you.

Hey.

She was.

Slainte.

Slainte.

You look like shit, by the way.

- Can I ask you something? - Sure.

Coheen?

What about her?

[Abby] Why?

Why?

She's a whore.

A fucking coke fiend and a half-wit.

So why?

Seriously. Why?

I don't know, Abby.

- You don't know? - I don't know.

It's honest, at least. It's honest.

You know what happens if my father finds out

he's dealing coke in the bathroom, right?

III

I oh, cuts like a knife I

[Colleen laughs]

III

I mean, he's a romantic, your father.

- Yeah? - [Abby] Yeah.

[Mickey] Come on, let's get the fuck out of here.

He may be a cocksucker, ray, but he sure loves being alive.

Do you?

[Amiot] "Do you?"

That's what she said?

I soft tense music I

yeah.

What do you think she meant by that?

III

I don't know.

She let him in.

Let who in?

[Sighs]

Calabasas.

I thought that if we could get away, we'd be all right. But...

She let the wolf in.

Opened the fucking door for him.

Who's the wolf, ray?

III

[Distant knocking on door]

- [Phone line trilling] - [Exhales deeply]

[Cell phone buzzing]

Ray?

[Ray] How is she?

How's who?

Bddge.

[Bunchy] She's asleep.

She okay?

Yeah, she's okay.

- [Ray] Good. - Where are you?

Boston.

[Bunchy] Fuck you doing in Boston?

Don't worry about it. Go back to sleep, bunch.

[Man 1] Look at this fucking guy.

[Man 2] Come on, arty. [Indistinct chatter]

[Man 3] These fucking twinkletoes. Look at him.

[Chuckles] Hey, all right, fellas. Hey, it's nice to see you.

[Man 3 grunts]

- All right, all right. - [Man 2] Let's go.

[Mickey] All right, I'm coming, I'm coming. Jesus.

Oh, fuck.

Paint the street fuckin' red.

Hey, what the fuck is this about?

I was just coming to see you.

You've been a busy fucking boy, Mick.

What the fuck you talking about?

I'm talking about the 50 French blenders you stole

from the back of Sam's truck.

Oh, the cuisinarts?

- Yes, the fucking cuisinarts. - [Sighs]

When you gonna get it through your thick fucking skull

these guys are not to mess with, huh?

[Mickey] Oh, Jesus Christ.

That's what you're upset about? [Clears throat]

[Grunts]

[Groans]

- [Man 3 murmuring] - Hey, Jim.

Jim, I need you to, uh, just do me a favor.

Broaden your fuckin' horizons for a minute.

[Clears throat] [Grunts]

- [Coughs] - What?

[Mickey] All right. All right.

I need to talk to you for a second, Jim.

Oh, fuck.

[Wincing and panting]

Hey, ray ray. How are the boys? [Sniffs]

Jim, sit down. Jesus. [Clears throat]

All right.

So the other day, um,

I'm sitting there in the taco grande

and minding my own business

eating my Chimichanga in the corner.

And who do you think walks in the front door?

What the fuck are you talking about?

- Ezra Goldman. - [Jim] Who?

Ezra fucking... I don't know.

Some Hollywood Jew. It's not important.

What is important

is that they are shooting a movie right here in southie.

[Jim] 80?

So... [chuckles] What the fuck do they know about southie?

I'm talking to this guy for ten minutes and already he hires me on

as Sean Walker's personal technical consultant.

Who?

- Sean Walker. - Yeah.

- The movie star Sean Walker. - Movie star Sean Walker.

Supposed to be some kind of vigilante priest or something.

Yeah. Black mass, they're calling it.

Huh? And I'm telling you, these guys are loaded, Jimmy.

A major motion picture here.

Trucks up and down e street loaded with expensive equipment

-and no fucking security. [Jim chuckles]

Oh, come on. Camera, lights, you know, trailers,

these guys even carry their own fucking kitchens around.

You wanna make a play for a hit on 'em, huh?

Well, I talk to this Ezra guy,

he, uh, brings the security contracts to you.

Boom shakalaka, you catch my drift?

And, uh, what do you think, Jim?

Ray here would make a hell of a bodyguard.

Might even put in a word with Sean Walker himself.

Ray, you know anything about these movie trucks coming in?

I saw a couple of trucks over on e street.

How many trucks we talking about?

I soft dramatic music I

III

Oh, come on Teresa. Don't do that.

III

I just want to talk to my daughter, all right?

[Sobs] Please.

[Bunchy] I'm not drunk.

[Bunchy] I'm lonely, and I miss her.

When my mother died, my aunt Rose told us

we had to stay up all night watching the body.

And when I asked her why, she said,

"well, that's what wakes are for.

To watch the body.

To make sure they don't wake up."

We were terrified that she'd start twitching at any moment.

But also half hoping that she would wake up again.

Rose went downstairs and started cooking stew.

Oh, the smell.

The whole neighborhood must have smelled that stew

because by four in the morning, we had a full house.

And everyone brought something.

Booze, a bag, box of something.

Cakes, cookies.

I came downstairs and everyone was there

sharing stories about my mom.

I never knew I had so much family.

But you were right, what you said about us.

That we forget.

There's a difference between drinking to forget

and remembering someone the way they ought to be remembered.

I poignant music I

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ray.

Ray... Raymond.

[Bunchy] He's not here.

Where'd he go?

[Bunchy] Boston.

What?

He went to Boston.

[Terry] When?

I don't know. Last night.

He called me, that's where he told me he was.

[Phone line trilling]

Raymond, it's your brother.

What the fuck are you doing in Boston?

Mickey.

[Terry] What?

Mickey's in Boston. He's got those fucking papers.

That's probably why ray went up there.

No, he's not going up there for that.

Do you know how much those things are fucking worth?

No. He's not going up there for the money, bunch.

He's gonna kill Mickey.

[Terry] You gotta go up there. Right fucking now.

[Bunchy] Oh, let me just call. [Terry] No, he's not answering.

[Terry] You don't go, then I gotta go.

[Bunchy] All right, all right, calm down.

My dad's in Boston? Why?

We don't know, bridge. Bunch is going up there to find out.

III

I'm going with you.

No, bridge, that's not a good idea.

I'm coming.

No, sweetheart. It's not safe.

III

I don't care.

III

[Engines turn over]

III

III

III

III

[man] Hurry up.

III

III

[Grunts and groans]

Where the fuck you going?

[Pete] Get up, you piece of shit.

Ray?

Get in the fucking car!

Get in the fucking car!

- Come on! - I'm getting in.

- Get in! - I'm in. I'm in.

[Pete] Stand him up.

Hey!

Move! Move! Get out of the fucking way!

[Pete groans] Fuck!

[Both straining]

I tense music I

[gunshofl

Matty, you fuck.

[Tires squealing]

[Groaning]

[Pete] Fuck.

- Hey. - [Pete] Fuck.

[Ray grunts] [Tires squealing]

[Engine revving]

[Mickey] Raymond.

Oh, shit.

[Tires squealing] [Engine revving]

[Mickey] Son of a bitch. [Tires squealing]

- No, no! - [Gunshofl

[engine accelerates]

[Ray grunts]

[Gunshots]

- [Trigger clicks] - ! 9aspsi

[Distant sirens wailing]

[Groaning]

You want some gum or something?

Oh, hey, you can hook my phone up to the Bluetooth.

Is this Mickey?

It's his briefcase.

What's in his briefcase?

Papers.

What papers?

Stocks he wants to trade for money.

If he hasn't traded it already for coke and whores, you know.

Do you think some people are just bad?

Yeah, I do.

Coke and whores.

[Phone line trilling]

[Kevin] What do you want?

Hey kev, it's Mick.

Yeah, that was some kind of fuckup we got caught in, huh? [Chuckles]

[Mickey] You know, it had nothing to do with you and me.

[Kevin scoffs] No?

I mean, Daryl! Was out for blood.

Shit between him and your brother.

We just got caught, wrong place wrong time, right?

[Kevin] Fuck you.

Still want those papers?

[Kevin] You're out of your mind.

I'm having a fire sale, if you're interested.

75 percent off, today only.

[Kevin] Where are you?

Boston.

Was that Mickey Donovan?

What does he want?

He wants to sell us our money back.

[Engine turns over]

I soft dramatic music I

[tires squealing]

III

[car horn honking]

III

[Sighs]

[Groaning]

[Groans] Fuck.

[Sighs]

[Cell phone buzzing]

- Dad? - Bddge?

[Bridget] Where are you?

Boston. I need to talk to bunch.

Are you okay?

I'm fine, sweetheart. Where's bunch?

Did you do it?

[Ray] Did I do what?

Kill Mickey.

Tell bunch to call me, all right?

Tell him I need him to come get me.

[Phone beeping]

[Engine revs]

[Groans]

[Sighs]

[Indistinct chatter]

[Crew member] Hold traffic!

Pictures up!

We're rolling, guys.

[Crew member] Roll sound!

[Director] Action!

This is... this is bullshit.

Cut!

Cut! Cut!

So you just want me to walk up to him,

shoot him in the back, and then walk away?

Yes, Sean, yes.

You reach into your robe like so.

Just as you approach, you shoot him in the back.

Then you put the gun back into your robe

and you simply continue down the street

as if nothing at all had transpired.

That ain't how it works.

No?

[Mickey] Shoot a guy in the back?

That's, uh, a warning. [Clears throat]

You wanna make him dead, you gotta put two in the head.

That's what I thought.

[Mickey] Not even a stupid fucking priest

is just gonna walk down the street

and pull out a gun where anyone can see.

Sean, we have worked this out

and it will be best if the blocking...

I want to hear what he has to say.

Show me.

[Sucks teeth] All right.

- Hey. - Don't worry. You'll get it back.

Come on, give me the gun.

Jesus. [Chuckles]

It's rubber!

Fuck. It looks real. [Clears throat]

I'll be you.

Come on. You know what to do.

[Exhales deeply]

All right. Great.

Action.

[Glass shatters] [Car alarm blaring]

Pow! Pow!

Second one in the head.

Everybody's looking at the car.

No one's the wiser.

That's what I was talking about.

[Car alarm continues blaring]

[Cell phone ringing]

[Ringing continues]

Hello?

Bridget took my car, my phone,

and my gun.

What?

[Bunchy] We were on our way to come get you.

What for?

To keep you out of prison, that's what for.

[Ray] Why the fuck would you bring bridge?

She didn't really give me a fucking option, ray, all right?

Look, we're both worried about you.

What was... what was I gonna say?

All right. All right.

Where are you?

[Bunchy] Boston. [Thunder rumbles]

I need you to get my car. It's at south station.

Keys in the console. And come to the gardner motel, room 46, all right?

I brooding music I

[Ray] People who forget. Who just wipe their heads clean.

What do you call that?

[Amiot] Repressed memory?

[Ray] Yeah, repressed.

What are you thinking about?

[Ray] Something my daughter said.

What? What did she say?

[Ray] That I was taught to forget.

Taught?

You didn't have much of a choice, ray.

Trauma's a thief.

The younger you are when it starts

and the longer it went on...

The more memory it will take from you.

[Knocking on door]

[Groans] [Knocking on door]

Jesus, ray. What the fuck happened?

It's not important.

Yeah, but did you find Mick?

What about bridge?

Nothing.

[Sighs] [Cell phone rings]

Is that her?

Yeah?

- [Molly] Your father called. - When?

[Molly] He's selling the papers back to me.

I told him to meet me at our house in Wellesley.

I thought you'd wanna know.

- I gotta go. - Whoa, wait, what's going on?

[Ray] Give me the keys. I gotta go.

[Bunchy] No, I'm coming with you.

No. You stay here. Keep trying bridge.

I tense music I

III

Lena. Hey.

Passport, social security papers, and birth certificate.

This is your access code to your bancaribe account.

I want you to memorize it and throw the paper away.

Bancaribe. Okay.

Now, I already checked you in and made sure your passport cleared,

but they're gonna check it again at the gate.

- Caracas? - They don't extradite.

- Okay. - All right.

What I want you to do is go through security

and stop for nothing, not even the fucking bathroom.

You're gonna get to the gate, you're gonna go on the plane

and pretend you're asleep.

- Okay. - Mmhmm.

So when... when can I come back?

What? I... I can't come back?

Not unless you wanna spend the rest of your life in prison.

Daryll, don't fuck around.

Just get through security and lay low until your flight.

- Okay? - Okay.

I soft dramatic music I

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[Cell phone ringing]

Hello?

[Bunchy] Hey.

I'm in Boston.

So?

[Bunchy] So I'm...

I'm standing on the porch of the house where I grew up.

And I... I don't know, I got to thinking...

What if I could get a do-over?

You know, what if! Bought the house back, hmm?

What if I tried again?

I really think we could make some beautiful family memories here.

Brendan, you know it doesn't work that way.

- You know that. - Well, what if it did?

[Teresa] If it did, we'd all go back to the shithole we grew up in

and live happily ever after,

every single one of us.

You wanna come out here and visit? Come out here.

I ain't making no promises, but come out here

and you get a job,

and get some help.

Maybe I get some help.

Maybe.

I soft dramatic music I

maybe.

Best I can do.

III

[phone beeping]

I soft jazz music I

III

[Grunts]

[Exhales sharply]

[Crossing signal dinging]

[Train horn blaring]

[Indistinct chattering]

Might not be a good time, Mr. Goldman.

Call me Ezra, please.

Might not be a good time, Ezra.

I'm sorry, I don't remember your name.

Ray.

Of course. Ray.

Mickey was just teaching me how to talk southie.

Let's go to the packies for some jimmies

so I can bang the wicked hot cashier at dunkies.

[Mickey laughs]

You ready?

What?

I thought we'd have some dinner over at nona's,

maybe take in the town a little?

Sorry, Ezra. Not tonight.

- No? - [Sean] I'm working. You know that.

I'm doing the whole method thing, and Mickey, he's...

Of course.

Do your thing, bubala. I love you. Have fun.

You can take the rest of the night off, too, ray.

- [Clears throat] - Thanks for everything.

Yeah, just take the rest of the night off, ray.

[Indistinct chattering]

Do me a favor.

Keep an eye on that one, and call me if anything comes up.

I'll take care of it, Mr. Goldman.

Ray.

You know what chutzpah is?

No, sir.

Well, you've got it.

Don't worry, it's a good thing.

[Engine turns over]

I soft dramatic music I

III

[Colleen giggling]

[Sean] Oh, you're bad. [Colleen laughs]

[Sean] You're gonna get me in trouble. [Colleen laughing]

[Indistinct chattering]

[Both laughing]

[Colleen laughing] [Sean] Whoo!

[Indistinct chattering]

[Mickey] Oh, I got fucking stories.

True ones!

None of the priests I know are fucking...

Ray!

Vigilantes.

Hi, baby.

They're too busy putting their dicks where they don't belong.

What?

I rock music playing I

[bartender] You gotta help me out here, ray.

They had enough fucking coke to last them till fucking new year's.

- I gotta close. - They're all corrupt.

Yeah, all right.

It's why you need guys like me

to keep the scorecard even, you know?

Ted wants to close up.

Oh, not unless he's out of fucking whiskey, he's not.

[Laughs]

[In Boston accent] Not unless he's out of fucking whiskey, he's not.

[Colleen and Sean giggles]

Time to go.

[Groans]

Um, hey, oh, how do... what do you say...

Southie slang for cash?

Cash.

[Chuckles]

Uh, I will give you, my good sir, a grand of cash,

if you let us stay another hour.

Ray, lock up.

[Colleen] Come on, ray.

When are we ever gonna party with a movie star again?

Yeah, ray, when are we ever gonna get to party with a movie star again?

[Sniffles]

Sure.

[Crossing signal dinging]

I soft tense music I

III

Where's Mick?

He's gone.

He told me it was yours.

- What? - [Molly] The money.

He told me it was yours.

He didn't take it?

[Molly] No.

It is yours, isn't it, ray?

What?

It's what you've been after all along, isn't it?

You wanted the money and you helped him.

Just say it.

I soft dramatic music I

III

look, Molly.

Ray, where is he? I'm so tired.

I just... I just want you to tell me what you've done to my father.

III

I'm sorry.

III

[Molly] Ray.

[Gunshofl

III

[Ray] Oh.

III

[groaning]

[Engine turns over]

[Molly] Ray, where is he?

III

I just want you to tell me what you've done to my father.

[Abby] Do you?

Do you?

[Abby] What did you do, ray?

III

what did you do, Raymond?

What did you do?

[Crashing] [Car horn blaring]

[Sean] What? I banged it back like you said.

Yeah, but you're still drinking it.

I yeah, she'll tell you she's an orphan I

you oughta open your mouth

and throw the whiskey back in there

like you're trying to splash the back of your throat.

I the black crowes' "she talks to angels" I

III

[Colleen laughs]

You dance good, Mick.

Even if it doesn't really match the song.

[Laughs]

Oh!

[Colleen laughing] [Mickey] Oh, shit.

[Laughter]

[Laughing]

- Sorry. - You all right?

Sorry, sweetheart.

- Take a seat, Mickey. - [Mickey] Gotta sit this one out.

I she paints her eyes as black as night now I

[Colleen clears throat] Mm, I need a cigarette.

Who's got a cigarette?

[Colleen] Okay.

I yeah, she gives a smile when the pain come I

[sniffs deeply]

I pain gonna make everything all right I

[Sean] Your father's a fucking character.

You know, I'm basing my whole performance on him.

Yeah?

His tough-but-heart-of—gold stuff, you know? [Chuckles]

I oh, yeah, she talks to angels I

he's got him good, ray.

Oh, my god, that's perfect.

Don't do that.

[Boston accent] You shoot a guy in the back,

that's a warning.

You wanna make him dead, pop him in the head.

- Put the gun down. - It rhymes, you know?

Two in the head, make 'em dead. Two in the head, make 'em dead.

- Two in the head, make 'em... - [Gunshofl

[loud thud]

Oh, my god.

Oh, fuck. Fuck. Fuck.

[Sean] I killed her.

Oh, my fucking god.

My life.

My fucking life. Oh, my god.

Ray, ray, what am I gonna do, ray?

[Sean] What am I gonna do?

I didn't mean to. I swear to god, ray.

Jesus Christ. [Sniffles]

I'm going to prison.

I'm going to fucking prison. I'm going to prison.

[Sean sobbing]

Give me the gun.

Give it to me.

[Gun rattles]

You were in your trailer.

You had a few too many with Mick and you slept there.

- What? - Say it.

[Breathing heavily]

I got drunk in my trailer with Mickey

and I... I slept there.

[Coin rattles]

[Keypad beeping]

[Line ringing]

- [Ezra] Hello? - Mr. Goldman.

You better meet Sean in his trailer.

Now.

I'll call you later with a place we can talk.

I says they call her out by her name I

I oh, yeah I

I angels I

I call her out by her name I

[door opens]

I oh, angels I

I call her out by her name I

iohl

I she talks to angels I

I they call her out I

I yeah I

I call her out I

I don't you know that they call her out I

I by her name I

[car horn blaring]

[Mickey] Ray ray.

- [Blaring stops] - Ray ray.

Ray.

You okay?

Ray. [Knocks on car window]

You all right? Unlock the door.

Unlock it.

You okay? Huh?

I gotta call Ezra.

Come on. I'll help ya, I'll help ya.

Here, here.

[Groans]

Here.

- Here. - [Ray groans]

Here. [Grunts]

- [Ray groans] - Just lie down. Just lie...

Let me see what you got, ray.

Let me see it.

[Ray] Here.

[Mickey] This is bad, ray ray.

[Ray] I gotta find bridge.

Listen to me, ray ray. This is bad.

We gotta get you to a hospital.

No hospitals, Mick.

[Mickey] Put pressure on this.

I'm gonna get some towels.

I soft dramatic music I

[Breathing heavily]

III

Come on, trust me.

You're a good boy.

Don't let no one tell you something different.

[Sniffs]

You were an angel.

Mick.

[Mickey] What, son?

I know...

I know you tried.

- [Mickey] You get that money, huh? - No.

I didn't take it.

It was yours. You deserve it.

[Ray] No, I don't.

Yes, you do.

You deserve the whole world.

- What I did... - [Mickey] What you did?

You looked after, ray.

You looked after us.

[Ray] No. What I did to you.

I want you to know...

[Voice shaking] You didn't deserve that.

[Mickey] What?

Fish gotta swim.

[Sobs] Yeah.

You remember, fish gotta swim, birds gotta fly.

I got to love one man till I die.

Stay with me, ray. Stay with me. Stay with me.

I can't help loving that man of mine I

[both chuckle]

I tell me he's lazy, tell me he's slow I

I tell me I'm crazy, maybe I know I

-I can't help loving that man of mine I [Ray laughing]

When he goes away.

When he goes away, that's a rainy day.

But when he comes back, the day is fine.

The sun will shine.

[Gunshofl

[body thuds]

What did you do?

I soft dramatic music I

It had to stop.

It had to end.

[Sobs]

[Ray] It's all right.

It's all right.

[Sobbing loudly] [Ray] It's all right.

It's all right.

Hey, hey. I'm gonna be all right.

[Crying]

Get her outta here, bunch. Please.

You hear me?

Get her outta here.

Dad.

You're gonna be all right.

- Go. - [Exhales, sniffles]

III

[Grunting]

III

[Grunts and groans]

[Amiot] Ray, are you there?

[Ray] I know you tried to help me.

Please keep talking to me.

I... I didn't tell him.

[Amiot] You didn't tell him what?

I didn't tell him...

That I love him.

And I'm sorry.

I'm sorry for what I did to him. I...

What did you do to him?

I put him away.

He didn't deserve that.

Wasn't his fault, but I...

I did it.

[Sighs]

Even if I didn't shoot him, I ended his life 30 years ago.

What do you mean, "even if you didn't shoot him"?

- Room 46... - [Amiot] Ray.

Gardner motel, Boston.

[Amiot] No. No, wait. Listen... [Phone clatters]

I somber music I

III

I the rolling stones' "shine a light" I

I saw you stretched out I

I in room 1009 I

I with a smile on your face I

I and a tear right in your eye I

iohl

I couldn't seem to get a line on you I

I my sweet I

[officer 1] Hands, hands! Let me see your hands!

[Officer 2] Gun! He's got a gun!

I berber jewelry jangling down the street I

I making bloodshot eyes I

I at every woman that you meet I

I could not seem to get a high on you I

- [siren wailing] - I my, my sweet honey love I

[door thuds] [Officer] Freeze!

I may the good lord shine a light on you I

I make every song your favorite tune I

I may the good lord shine a light on you I

I warm like the evening sun I

I when you're drunk in the alley, baby I

I with your clothes all torn I

I when your late night friends leave you I

I in the cold, gray dawn I

I whoa I

I just seemed too many flies on you I

I I just can't brush them off I

I the angels beating I

I all their wings in time I

I smiles on their faces I

I and a gleam right in their eyes I

I whoa, thought I heard one I

I sigh for you I

I come on up now, come on up now I

I come on up now I

I may the good lord shine a light on you I

I yeah, make every song you sing I

I your favorite tune I

I may the good lord shine a light on you I

I yeah, warm like the evening sun I

I ah-nah-nah-nah-yeah I

I come on up now, come on up now I

I come on up now, come on up I

I may the good lord shine a light on you I

I make every song you sing I

I your favorite tune I

I may the good lord shine a light on you I

I warm like the evening sun I

I ah-nah-nah-nah-nah yeah I

I yeah I

III

[Music ends]

I soft dramatic music I

III

III

III

[Music ends]