♪ somber music ♪
[Ray] Previously
on Ray Donovan...
[phone rings]
- Bridge.
- I know you poisoned him.
You poisoned him
so Mom could have his spot.
[Bridget]
And now he's gonna die.
That surgery was brutal,
wasn't it?
I never got the surgery.
You're in remission.
- Yeah.
- So it worked.
- I k*lled her.
- No, you didn't.
- She would've lived.
- You don't know that.
She didn't want the surgery.
We got a little problem
with Avi Rudin.
- We?
- Yeah, we.
You were supposed to
take care of things.
I'm not k*lling Avi, Frank.
Wallet, cell phone,
and your f*ckin' bag.
You guys--oh!
Uh!
You had $1 million
in your daughter's diaper bag?
I know it sounds unusual,
but look,
[Bunchy] I was going to a big
real estate transaction, okay?
I don't know what arrangements
you made with my son,
but my services are included.
- So what do I owe you?
- I've been getting
some excellent feedback
on this little film
that I wrote.
Mr. Donovan, this is not
how things work.
- You, let's go.
- f*ck are you talking about?
You're coming with me.
Hey, Frank,
you made your point.
- Let's--let's talk this over.
- What's going on?
Come on, let's go.
He threatened me with four
consecutive life sentences.
I'm taking care of it.
♪ edgy music ♪
[grunts]
- [siren wailing]
- [Avi] What is that?
- [agent] DEA agent!
- [agent] DEA! Step away from--
- [g*nf*re]
- [indistinct shouting]
[man] Watch your six!
[g*nf*re]
[man] We've gotta
get the dough!
[g*nf*re continues]
[engine turns]
♪♪♪
[car engine revving]
[tires screech]
[panting]
Ay, dios mio.
[tires screeching]
[horn blaring]
[tires screeching]
[brakes squeal]
[engine stops]
Ay! [mutters] Oh!
- [tire iron clangs]
- [coughing]
Ahh!
[screams]
Hey! [muffled yelling]
[pounding on trunk,
muffled yelling]
[muffled yelling]
♪ tense music ♪
♪♪♪
[continues pounding,
yelling indistinctly]
♪♪♪
[muffled yelling continues]
♪♪♪
♪ edgy music ♪
♪♪♪
[wood slides, thuds]
I've--I've had a few, Father.
Is that all right?
[priest] It won't be
the first time
someone's been drunk
in confession.
I didn't say I was drunk.
I said I had a few.
Unburden yourself, my son.
[sighs]
In the name of the Father,
the Son,
and the Holy Spirit.
My last confession
was, uh, four months ago.
Tell me your sins.
My--
my brother's wife--
Yes?
The thoughts I had...
and the things I done...
- My son?
- Well, I didn't think
that I needed to confess,
'cause I got sh*t
and I nearly d*ed.
But my sister-in-law...
her name was Abby.
And she got cancer.
And those--those thoughts,
they came back.
And the cancer got so bad...
that she wanted to k*ll herself.
Your sister-in-law Abby,
did she take her own life?
You always hurt
the ones you love.
And the ones you love...
they always hurt you.
Are you worried about her soul?
[Terry chuckles]
Abby's in heaven, Father.
I know she is.
God does forgive.
It's my own soul
I'm worried about.
♪ somber music ♪
♪ ♪
[door creaks open]
I gotta tell your father
what I done.
If Landry comes by, call me.
- And if he doesn't?
- What?
Come by.
Can I still call you?
Come on, let me make you
that dinner later
I never got around to.
[Gustavo] Natalie, darling.
Hm. Missed you.
I was only gone a couple days.
- Couple days too many.
- [chuckles]
We're going to turn you
into a phoenix,
a beautiful phoenix.
- [laughs] Hello, handsome.
- Hey, Gustavo.
Do you two know each other?
I know everyone.
Now, come with me.
I'm gonna get you
ready to be dead
so that you can
rise from the ashes.
- [Natalie] How are you?
- [woman] Good, how are you?
- [Gustavo] Move, move.
- [woman] I'll see you
- over there.
- [Natalie] Okay.
[Gustavo] Hold on.
We have enough black superheroes
already, man.
No, that was the easy part.
Black superheroes
are every day.
This is what I'm thinking.
Gay black superhero.
Hear me out.
Yeah, I know you like it.
You wanna know how I know?
'Cause I spoke to Landry
already about it
and he told you to like it.
What I wanna know--
is he gonna make the sh*t?
Okay. Yeah.
Feel you.
We'll talk.
- [beep]
- [chuckles]
Easy peasy.
Daryll Donovan. Right?
Yeah, man. What's good?
Hey. Antoine A'Shawn Anderson.
Jay's really excited
about the project.
- What?
- Yeah, I like it, too.
It's good. Bank robbing.
Family. Love of a dying child.
It's good sh*t,
it's good sh*t.
- Four Leaf?
- Mm-hmm.
Thing is...
Jay can't play
a bank robber from Southie.
Ehh...why not?
It's been done
a million times.
Yeah, we've seen
that movie before, haven't we?
Yeah, I--I mean, I guess,
right?
Yeah, but don't you worry.
Jay is very sensitive
to your father's creative thing
and his intention.
Antoine, Mr. Donovan,
Jay is ready for you now.
Come on.
[Antoine] All right,
get you some bu--
Let a n*gga butter that.
Let a--
[hinges squeaking]
[soft thud]
[exhales deeply]
You have breakfast?
- No.
- [Jay] How 'bout
- a butter coffee?
- [Antoine] Oh, yes, please.
[Daryll] A what?
Maia, three butter coffees,
please.
Of course.
[door opens, closes]
Mm, hm.
- You two met?
- Yeah, outside.
Antoine gave you
the lowdown?
- No.
- [Antoine] I was actually
just about to do that.
[chuckles]
Harlem, 1970s.
Jay plays Michael Abdul Rahim.
Down on his luck
father of four.
Just back from Nam.
Turns to bank robbing
when his son gets in debt
with a white mob boss.
But...instead of
paying off the mob
with the white man's money,
he murders them,
one by one by one.
Keeps the cash.
Uses it...
to open
a veteran hospital in Harlem.
[laughs] Wow. I mean--
[laughs]
It definitely sounds dope.
- Oh, it's dope.
- But, uh, you know,
- that's not my father's story.
- Oh, Mickey gets
- a "story by" credit.
- A what?
Shared with Antoine.
Antoine writes it.
I'ma write that sh*t.
Look, Jay, uh,
Mickey's not gonna go for it.
That's why we need a smart
producer like yourself, Daryll.
Keep your father in line.
Make sure he's not a problem.
- A producer.
- There's always room
in the boat for a man
who can massage a problem.
Look, you tell your old man
that's where it's at.
We'll put your name
above the line.
And pay you...accordingly.
- Huh.
- [laughs]
Antoine, give me a sec
with my man, please.
Yeah, sure!
[chuckles]
- Um, Mickey--
- That r*cist piece of sh*t.
He wrote the worst f*ckin'
script in history.
Now, my man Triple A cleaned it
up, made it a Jay White picture.
We'll sh**t it fast.
And your father's gonna
give me those tapes,
and we can all be on our way.
- Hey, look, Jay--
- Hey, you make him
see the light,
then we can all get out of this
a little bit better
than we was before.
You feel me?
- You all right?
- Yeah. Your father's here.
- What's he want?
- He didn't say.
What's up, Mick?
They got Bunchy.
Who got Bunchy?
Frank Barnes arrested him
for that sh*t in Primm.
Ray, he came to me--Barnes.
He came to me, asked me
to--to k*ll Avi.
What are you talking about?
I tried to change his mind,
I tried to--
Why would Barnes
wanna k*ll Avi?
The DEA, I think.
They got into business together,
Avi and Barnes.
You stupid m*therf*cker.
- [sighs]
- Barnes arrested Bunchy.
To force my hand, Ray.
To force my hand
into k*lling him.
Where's Avi?
I lost him.
There was a mix-up,
and I lost him.
Every time, Mick.
Every f*ckin' time.
I never meant to get Bunchy
into nothing.
[sighs]
♪ somber music ♪
♪♪♪
[sighs]
Frank Barnes, please.
I need to talk.
Yeah.
All right.
I can meet you there.
I'll come with you.
No, you won't.
Stay right where
you f*ckin' are.
I wish it were me
that was gone.
I wish I could trade
myself for all of them.
Everyone I hurt.
What?
♪ edgy music ♪
♪♪♪
[indistinct chatter]
[man] I know, but
break these guys up, all right?
[indistinct chatter continues]
f*ck you want?
My money.
I ain't never seen your ugly ass
in my entire blessed life.
Railhead Subs.
Yeah? Hm.
I prefer Hungry Harry's.
I'm not f*cking around here.
No?
You oughta try
the Club Supreme.
I want...my money
from the robbery.
Robbery, huh?
Hm. Sorry, chief. I'm in here
for stealing copper wire.
You do not wanna f*ck with me.
Why don't you step back,
ginger?
I don't know you or what
the f*ck you talking about.
- Stand up.
- [laughs]
You big orangutan m*therf*cker.
- Now!
- [guard] Hey!
Knock it off.
Oh, sorry, Deputy.
Just had a little accident.
[guard]
You, move to a different table.
Now!
You heard the man.
[guard]
You, pick that up.
♪ tense music ♪
f*ckin' monkey boy.
♪♪♪
[exhales]
[mutters under breath]
Pop.
The hell happened to you?
Nothin'.
I been calling, I been textin'.
You might wanna
get a shower, man.
You look like crap.
I had a long night.
I...have some good news.
Oh, yeah?
Oh, yeah.
Our boy, Jay White,
loves Four Leaf.
- Oh, yeah?
- Oh, yeah.
[chuckling]
Oh, yeah, he's bringing in
a top-notch writer
to help spruce it up.
- Spruce it up?
- You know,
make it
a Jay White picture.
See, that right there
is just a concept
to, uh, you know,
help suit our guy.
Harlem? In the 1970s.
Mobsters, Nam vets, afros.
Says here Michael's black.
What'd you expect?
"Story by Mickey Donovan
and Antoine A'Shawn Anderson."
Yeah.
That guy right there's
a real deal.
One of Hollywood's top writers.
[sighs]
- Antoine A'Shawn.
- Mm-hmm.
f*ck him.
Jay White ain't making Michael
into a black veteran in Harlem.
He's a Southie bank robber
for f*ck's sake.
Pop, what are you talking about?
This could be huge!
This is it.
Take me home, Daryll.
I gotta get some sleep.
Pop, we just landed Jay White!
[old-timey music playing
on stereo]
♪♪♪
- So Mickey came crying to you
to fix his problems, huh?
Sit down, Frank.
[sighs]
You should've come to me first.
You're soft on Avi.
You let my brother out,
I'll take care of him.
I need Avi dead.
You're a piece of sh*t, Frank.
You know that?
Avi was the one who stole the
dr*gs in the first place, Ray.
Stole.
You two been in business
for months.
Yeah, yeah. Either way,
Avi's become a problem.
Last night,
he m*rder*d a DEA agent.
[softly] Yeah.
They catch him,
it's just a matter of time
before they connect him with me.
And I can't promise you that
they won't connect me to you.
♪ dramatic tone ♪
♪♪♪
♪ old-timey music continues ♪
♪♪♪
I k*ll Avi...
You let Bunchy out.
That's the deal.
I want you to put
my father away.
[whispers]
What?
I k*ll Avi...
you put Mickey away for Primm.
That's the deal.
♪ dark music ♪
♪♪♪
Where is he?
Wanna tell me what's going on?
Where's Avi, Lena?
Why?
Barnes wants him dead.
That's why.
He went to Mickey,
but Mickey couldn't do it.
So he put Bunchy in prison.
Ah, f*ck!
Did you know he k*lled
a DEA agent?
- I gotta find him.
- Just f*cking k*ll Frank, Ray!
- I can't k*ll Frank.
- Then I can do it.
He's the head of
the f*cking FBI
in Los Angeles.
[sighs]
If Barnes doesn't take Avi out,
the DEA will.
Bunchy's in prison, Lena.
He could be for the rest
of his life.
This gets any worse,
if Barnes goes down,
we're all going down with him.
I just--
I think there are
other ways to get this done.
He's already gone.
[sighs]
Just tell me how to find him.
I need an address.
♪ dark music ♪
♪♪♪
Mickey, I'm telling you, okay,
this could be one of
the biggest things
that can ever happen
to you...all right?
A movie that you wrote
starring Jay White.
I mean, okay,
he moves it to Harlem.
All right, it's not
the end of the world.
- It ain't set in Harlem.
- Pop, what's the difference?
It's getting your film made,
okay?
By one of the biggest
stars on the planet.
He ain't Michael, okay?
Hell, I never did
any business in Harlem.
And you never had a kid
who needed
a heart transplant, either.
It's fiction, Pop.
Harlem makes it different.
Yeah, well...
I bet ya if Michael
was a drug dealer,
you'd let Jay play him.
Right, 'cause that makes
more sense.
The blacks,
that was their trade.
A-are you f*cking kidding me?
The blacks sold the dr*gs,
the guineas did the gambling
and the p*rn,
the guys
from Southie robbed banks.
You were a coke dealer.
I'm not saying
there weren't exceptions.
No, but it does sound like
you're saying
a black man can't rob a bank.
Ah. [exhales]
You're twistin' my words.
[scoffs]
You know, you're my father,
but you are a f*ckin' r*cist.
That's a joke.
Every woman
I ever loved was black.
No, every p*ssy you ever
wanted to f*ck was black.
Right. Same thing.
Who wants to be with a person
you can't get hard for?
You never saw my mother
as an equal to Mary, did you?
You had a real marriage,
three real sons.
Huh?
If I didn't go to jail,
your mother wouldn't have
had to marry that assh*le.
[softly] Yeah.
At this point in time, Pop,
I don't even give a sh*t.
What--
Get outta my car.
- Daryll--
- No.
You either respect me
or you get the f*ck out.
Bunchy's in jail.
What?
He's in jail and it's my
f*ckin' fault.
I put him there.
[softly]
God damn it, Mick.
I didn't do right by you.
By any of you kids.
I f*cked it up.
But I got four sons, Daryll.
Four.
[hip-hop music playing
on stereo]
♪♪♪
- Hey, Pie.
- Oh, you're back, Terrence.
- Yep.
- Ha. we weren't expecting ya.
- Don't worry about it.
- Uh, I was just
doin' the books here.
You're betting on the ponies.
So f*ckin' what?
Can you give me a minute?
Uh, yeah, yeah. Sure.
♪ hip-hop continues
in background ♪
♪♪♪
[phone rings]
[sighs]
- [ringing continues]
- [beep]
- Hey, Ter.
- I'm back from New York.
- [Ray] Yeah?
- We need to talk.
- It's not a good time.
- When?
I don't know, Terry.
- I'll try ya later.
- [phone beeps]
[phone beeps]
[boxing sounds in background]
♪ light dramatic music ♪
♪♪♪
♪ lightly suspenseful music ♪
♪♪♪
[both grunting]
[both grunting]
[Ray groaning]
[both grunting]
- [Ray] Huh!
- [Avi] Uhh!
Ohh! Oh...
- Uh!
- What'd you do?
What'd you f*ckin' do?
Ohh! Oh!
[sobbing]
Ray...
[crying]
I was in so much pain.
I got hooked. The dr*gs...
[breathing hard]
And I wasn't there for you
when you needed me,
when you needed me most.
I wasn't there.
No, I know, I know.
My mother--
[panting]
The locker with the money.
Please,
take care of my mother.
Get up.
What?
Get the f*ck up.
♪ dark music ♪
♪♪♪
[whispering]
Ray's gonna k*ll Avi?
Barnes is holding
all the cards.
Jesus Christ, Pop.
Ah--f*ck.
So even if he lets Bunchy out,
I mean, he's still got you
over a barrel.
Yeah.
So what? You're okay with that?
[sighs]
No, no.
We gotta make sure
Barnes gives you
what he's got, then.
He's gotta let Bunchy out.
This is crazy, Mickey.
- Mick.
- [sighs]
Mickey, you really think
Ray would do that to Avi?
Barnes lets Bunchy out,
we go pay that m*therf*cker
a visit.
I done enough damage, Daryll.
Can't keep hurting people.
You damn right you did damage.
But it's time
to double down now, Pop.
Have you actually seen
Pulsar 3?
No, I'm serious.
Have you seen it?
Yes, I've seen it.
If you would, you would know
that the Kraavex,
nay, all of the inhabitants
of Coruleen 5,
occupy a carbon-less
atmosphere.
Ergo, their hemolymph--their
quote, unquote, blood--is white.
- Not red.
- Of course, Gustavo.
So now I have to ask you now,
Fernanda,
are you learning disabled?
It's okay if you are.
Just tell me.
My sister's learning disabled.
No, I'm not.
- [phone rings]
- G--
[exhales]
[phone beeps]
Ray. Twice in one day.
[chuckles]
[Ray] I need a favor.
What is it?
It's wonderful.
Very Michael Mann.
What is our mise en scène?
- What?
- What story are we telling?
- Story?
- Yeah.
Guy gets sh*t in the head
and he dies.
[Mickey] There he is.
♪ light dramatic music ♪
♪♪♪
Here he comes.
♪♪♪
- [engine starts]
- Let's go.
[Mickey] Keep your distance.
Right. Now, this is
the blank g*n.
You take this g*n.
Pull the trigger
when I tell you.
- Hey, Gustavo.
- Hello, lovely.
We are working, you interrupt.
So, uh, you will sh**t.
You will get sh*t first...
in the stomach.
And there, you will
take a step back.
And then, you will
get sh*t in the chest
and you will fall
against this wall, here,
with your eyes wide open,
looking at this spot.
And you will look there
with your eyes wide.
You'll say something like,
"Please, God, spare me."
Or, um, "You can k*ll me,
but you can never take my soul."
Whatever else feels right.
And then at this moment, Ray,
you'll sh**t him in the head,
and his brains
will explode everywhere.
There'll be blood
and brain matter.
All right. We got it.
And if you want, I can make
one of his eyes
pop out of his head.
No, I--I think we're good
with the--the brain matter.
Okay. All right, very good.
We gotta run this back here.
That's your frame.
- Whenever you're ready.
- I'm ready.
Three, two--
Oh! Ah! Uh.
[thud]
[indistinct chatter]
Armed robbery, kidnapping and
as*ault with a deadly w*apon.
So?
So I'll f*ckin' ID you.
And all those people
back at that Railhead
will back me up.
[chuckles]
All right. Officer.
Whoa, whoa, whoa, whoa.
Wait, wait.
Hey, we're cool, we're cool.
We're cool, we're cool.
sh*t, bro. f*ckin' relax.
I want my f*ckin' money back.
If I remember correctly,
you never gave up your PIN.
You made me get violent,
which I hate to do.
Not my ATM, the diaper bag.
f*cking diaper bag?
What diaper bag?
The one you f*ckin' stole.
f*ckin' Freddy.
Who?
- How much was in there?
- [bell rings]
[guard] Back to your cells.
♪ dramatic music ♪
♪♪♪
[Lena] Avi.
Leave the car in Tijuana.
When you get to Mexico City,
use that second passport
to fly to Bogota.
Once you're in Colombia,
you're on your own.
Avi.
I know.
♪ somber music ♪
♪♪♪
I know.
I know.
These passports that we make,
[chuckles]
they're just, uh,
they're like death certificates.
No one that we ever sent away
ever lived to get there.
Don't ever come back, Avi.
I love you, Ray.
You're my brother.
I need you to know
that I love you.
I know you love me, too.
♪♪♪
♪ somber music continues ♪
♪♪♪
[g*nshots]
Jesus...f*ck!
Where is he?
Trunk of my car.
Okay.
I want Bunchy out by midnight.
My father's parked
across the street
in a black Cadillac--
don't f*ckin' look, you moron.
He's with my brother Daryll.
I don't give a sh*t
what you do to Mick.
But Daryll walks.
Are we clear?
You sure you wanna do this?
'Cause once I charge him,
there's no turning back,
you understand.
Let him rot.
♪ light dramatic music ♪
♪♪♪
[phone ringing]
[phone beeps]
- Hey, Frank.
- I'm letting your kid out.
Yeah, well, thank God for that.
No, thank Ray.
You gonna give me my evidence
from Nevada back?
Meet me near Chinatown, at the
corner of College and Spring.
And Mick, come alone
or you ain't gettin' sh*t.
Avi's dead.
Jesus.
Ray k*lled him.
sh*t.
Let me drive.
I gotta meet up
with that cocksucker
and get my evidence back.
Damn, Avi.
There's only one way
to destroy these demons...
and that's to bring them
from your dreams
and into my own.
It's a transference
and requires perfect timing.
Both of us asleep.
If a demon crosses over,
if it escapes
from the dream world and into--
What's this about?
Let's just say, no one
is gonna get very much sleep.
Psychiatrist.
Goes into people's dreams,
fights their demons.
Hmm.
So it's paramount
that you tell me
everything you can remember.
[man] I don't wanna remember.
You want your money back,
you don't wanna ID me.
You gonna f*ckin' help me?
Freddy, my partner,
he handled the bags.
m*therf*cker probably
called in my warrant, too.
How do I find him?
That diaper bag,
how much was really in there?
Enough.
Enough like a few grand?
Or like a fuckload more?
[sighs]
[movie continues in background]
What's your name?
You ain't a f*g, are you?
Married.
Yeah, didn't think so.
Dime-bag.
What?
Dime-bag.
'Cause nobody can pronounce
Duquesne Baker.
You?
People call me...El Trebol.
What are you in for?
Quadruple homicide.
Holy f*ck.
El Trebol.
I like you.
Call you E.T. for short.
- [guard] Brendan Donovan.
- Yeah?
You're out.
What?
Let's go.
That's a hell of a lawyer.
- Duquesne. How do you spell it?
- Huh?
Your name.
D-U-Q-U-E-S-N-E.
Let's go.
- [man] I can't.
- [woman] You can.
You have to.
James, lives depend on this.
[keys clatter]
[groans]
[sighs]
♪ soft dramatic music ♪
♪♪♪
First time I jumped--
for the first waterfall--
I was terrified.
Then I started to wanna do it.
There's something about
being in the movies.
It takes all the fear away.
Things you...wouldn't do
in real life,
you do it for the camera.
I would never take that jump.
But my character,
she wants to.
And since she wants to,
so do I.
♪♪♪
I never said thank you
for helping me.
♪♪♪
♪ music swells ♪
♪♪♪
Oh.
[both breathing heavily]
Oh!
Ahh.
♪♪♪
[phone rings]
Hey, Ter.
I'm at the bar.
[Ray] What's up?
I need to talk. Now.
- It can't wait?
- No.
What I've got to tell you
cannot wait.
♪ tense music ♪
♪♪♪
[phone rings]
- Hello?
- Bunch, it's me. Are you out?
Where's Mick?
Home, I think.
Yeah, I'm fine.
I was worried.
Uh, you got what you need?
I'll talk to you later,
Daryll.
Bunch, just want you to know
I'm here for you, okay?
[phone beeps]
Prisoner's name is?
Duquesne.
D-U-Q-U-E-S-N-E.
Baker.
- He's out.
- Yeah.
[softly] He's out.
Get down. Get the f*ck down.
Down.
He sees you, I'm f*cked.
Hey, Frank.
So you got what
you asked for, huh?
I did.
I'm gonna need those files
from Nevada. Everything.
Yeah. They're in my trunk.
Had some bad luck with trunks.
[Frank chuckles]
I'm gonna need you to put your
hands behind your back, Mick.
- What the f*ck?
- Put your hands
- behind your back.
- What are you doing, Frank?
You have the right
to remain silent.
- This wasn't the deal.
- Anything you say...
- No, this wasn't the deal.
- ...Can and will be used
against you in a court of law.
You have the right
- to an attorney.
- Frank, use your f*ckin' head.
I could sing,
I could f*ckin' sing.
Sing, you f*ck!
- Sing this, fucker!
- [indistinct] assh*le--
[g*nsh*t]
♪ dark music ♪
♪♪♪
Hoo. [exhales]
You k*lled him.
[breathlessly]
Yeah...
He's the head of the FBI.
♪♪♪
In New York, I, uh,
I--I met Bridget's
new boyfriend, Smitty.
Yeah?
Yeah, he's...
he's sick like...
like Abby was.
So?
Ahh.
He introduced me to
this woman called
Emily Chu.
Emily Chu had...
the surgery.
She had the surgery
that Abby needed.
So what?
Well, you were right, Ray.
Emily lived.
She's still f*ckin' alive.
♪ somber music ♪
♪♪♪
[whispers] Yeah.
♪♪♪
[sighs]
[sighs]
You can't blame Bridget no more.
I gave Abby the dr*gs.
What?
When Abby d*ed,
it was me that
gave her the dr*gs.
The f*ck you talking about?
I was in the room...
helping her do it.
It was me.
[exhales sharply]
♪♪♪
♪ dark, heavy chords ♪
♪♪♪
[exhales, breathes hard]
♪ Camper Van Beethoven's
"Pictures of Matchstick Men" ♪
♪♪♪
[exhales]
♪♪♪
♪ When I look up to the sky ♪
♪ I see your eyes,
a funny kind of yellow ♪
♪ Rush home to bed,
I soak my head ♪
♪ I see your face
underneath my pillow ♪
♪ I wake next morning,
tired, still yawning ♪
♪ See your face looking
through my window ♪
♪♪♪
♪ Pictures of matchstick men
and you ♪
♪ Images of matchstick men
and you ♪
♪ All's I ever see
is them and you ♪
♪♪♪
05x07 - If I Should Fall from Grace with God
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Ray Donovan works for the powerful law firm Goldman & Drexler, representing the rich and famous. Donavon is a professional "fixer" for the rich and famous in LA, who can make anyone's problems disappear except those created by his own family.
Ray Donovan works for the powerful law firm Goldman & Drexler, representing the rich and famous. Donavon is a professional "fixer" for the rich and famous in LA, who can make anyone's problems disappear except those created by his own family.