07x07 - The Transfer Agent

Episode transcripts for the 2013 TV show "Ray Donovan". Season 4 premiere June 26, 2016. Renewed for a fifth season.
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.
Post Reply

07x07 - The Transfer Agent

Post by bunniefuu »

[Ray] Previously,
on Ray Donovan...

♪ heavy music ♪


Look familiar?

There, yeah.
You had enough?


- Who the f*ck was it?
- It was Ma--

O'Malley. O'Malley.


- [electric sizzle]
- Aah!

Jesus, Pop,
will you stop?

I taped every f*ck' thing
Jimmy ever said to me.

♪ uneasy music ♪


[Mickey] The shit on this
tape is unbelievable.

Jimmy Sullivan'll give us
anything we want.


Here to pick up
a credit card.


Me, O'Malley, and Doyle,
we did this job, uh,

back in '77.

[Mickey] You know who else
was on that job?

Your father.

- [emcee] Mickey?
- [Mickey] Hey, baby.

- [emcee] Oh, my God!
- [Mickey] How are you?

- It's so good to see you!
- [Mickey] Good to see you too.

- Muah! Take care of yourself!
- [Mickey] All right, baby.



♪ dark music ♪





[woman] Ray...



I'm here, Mom.

[shaky breaths]

It hurts.

I know.


[breathing hard]

Hold me.


[footsteps approaching]


[inhales, exhales]

[small laugh]


[ring clacking on counter]


[Ray] Mick,
what're you doin'?

- [can clatters]
- f*ck--

[breathing hard]

What you doin' up?

Mom wet herself.

Well, uh...I'll come up.

No, you won't.
Why are you taking her money?

It's an investment
opportunity, Ray-Ray.

[bills rustling]

Don't worry about it.

[can clattering]

Oh, come on.

Looking so serious, huh?

Go back to bed.

[small laugh]

[softly] It's gonna be
fine, Ray-Ray.

[sink dripping]

[indistinct conversation]

...booted off the f*cking rail
in the fifth round,

was what happened,
and he came back...

[Jimmy] Mick.

That's what he's supposed
to do.

[indistinct arguing]

[Mickey] Hey, Jimmy.
I gotcha--

Get me a beer first, will ya?

- Sure.
- Yeah, one for, uh,

Mark and Arty too.

[sucks teeth]


Ah. Hey, Teddy.

- Three Miller Lites.
- Yeah.


Oh, hey,

I have that 500
I owe you tomorrow.

Sure you will, Mick.

Ted, you callin' me a liar?

Thank you.
Put it on my tab, huh?


All right!

- [Mickey] Here ya go.
- [Jimmy] Okay, okay, f*ck off

you two, come on.



Count it.

Jesus, f*ck.
Just tell me.

A grand.

You owe me five.

I know.

One out of five.
Those are, um...

those are Denny Doyle numbers.

- What?
- See, Denny Doyle,

he's battin' 200.

Now, you think he's gonna
start again next year

- for the Sox?
- I don't f*ck' know.

Well, I got a f*ck'
crystal ball.

You see, Denny Doyle's not only
not suitin' up next year

for the Sox,
he's not suitin' up

for any f*ck' MLB
team next year.

Do you know why?

- No.
- Well, because, like you,

he's a one out of five guy.

Been a one out of five guy
for nearly ten years.

After a while, you know,

they start losin' hope,
you know?

Denny Doyle's
always gonna hit 200.

And the management, well...
[clears throat]

We don't like
those kinda numbers.

Why don't you, uh, gimme
your coke money.

Uh...what are you
talkin' about?

Jesus Christ,

you f*ck' c**t.

Gimme that money
you took in today

from that bullshit f*ck' coke
you sell those poor girls.

- [scoffs]
- I swear to God,

you're better off
deliverin' it to the Laundromat

and washin' your--
your delicates with it.


All right.



Gimme your g*n.

- What?
- Your g*n.

Otherwise, look...
[whispers] I don't wanna do it,

but you see Mark
and Arty over there?

Well, they're probably
gonna come to your house

later tonight.

[whispers] They might
break a few ribs.

Maybe your fingers too.



[both chuckling]

Mark my words, Mick,

Denny Doyle will be sellin'
used cars by Christmas.

Boys, let's go.

- [Mickey] Jimmy, listen--
- f*ck off.

[Mickey] Sorry.

[mellow funk music
over speakers]


[door slams]

♪ dark music ♪


[man] Mister?

Maybe just check.

[man] Hey. Hey, you okay?




[man] Let me help you,

You sure?


[Jimmy] Yeah.

Jimmy f*ck' Sullivan.

Who's this?

Just an old friend
from the neighborhood, Jimmy.

An old friend who's thinkin'

maybe you wanna...
buy some tapes.


Fine, f*ck.
Tell me where to meet you.


[phone rings]



- Ray?
- I need to find your father.

He's not pickin' up his phone.

- What's going on?
- It's important, Molly.


[stammers] Well, his driver
always knows where he is.

Hold on.

You can go home now,

You sure, Mr. Sullivan?


Yeah, I'm sure.

[background chatter]

[vehicle approaches]

A couple weeks ago,

Doyle here comes whinin' to me

that he's got a job all the way
down to the Philly mint.

But I think...

"A f*ck' mint!"

So pay a few jokers off.

Turns out, they got these, uh,

f*ck' gold coins they minted
for the Bicentennial.

Each worth near
a thousand dollars

they're just gonna...
melt down.

[breathless laugh]
So I tell Doyle here

he's about to have the biggest
f*ck' score of his life

three feet from his assh*le!


And me and my partner,
we drive 'em down next week.

Now, if a couple of guys
were to blow out our tires,

take us unawares...

- Who's in the truck with you?
- Colin Rooney.

Colin Rooney.
He ain't in on it.

We gotta take care of him

maybe, uh, what,
sh**t him in the leg?

I don't know,
somethin' like that.

No, no, he's one of these,
you know, hemo-philiactics.

- The f*ck is that?
- Well, he'll bleed to death.

You know, just give him
a good beatin', and me too.

Oh, it'd be my pleasure.

Hey, hey, hey.

[whispers] It's gotta be
the real shit, though.

All right?

Broken bones.

And then, before the cops
and the ambulances arrive,

me and the truck, well...

we're in the f*ck' wind.

Oh, sure.

[door opens]

I got some good news.

What is it, Mick?

Come 'ere.

Okay, so,

you and me

and little Daryll...

we're gonna be rich.

- [laughs]
- Does that sound all right?

I mean,
is it okay with you?

What--what about you,
little man?

Is that okay with you?

I mean, I tell you

It is okay with me.

Yeah, it is.

Come here, little Daryll.

♪ Alice Cooper's
"You and Me" plays ♪

- Come here.
- ♪ I wanna take you ♪

♪ And squeeze you ♪

♪ Till the passion
starts to rise ♪


♪ I wanna take you
to heaven...♪

Hey, cocksucker.

- You got the boys ready?
- Shh, shh, listen.


[singing along]
♪ You and me ♪

♪ Ain't no movie star ♪

♪ What we are ♪

- ♪ Is what we are ♪
- O'Malley, it's a f*g song.

[scoffs] Do you even know
what you're listenin' to?

- Yeah, it's Alice Cooper.
- Not the f*ck' singer.

The system.

That's a f*ck'
Absis 1.0 tonearm.

A Sumiko Amethyst

The plinth
is f*cking custom-made.

Come here, sit.

Between the Tannoy Ardens.

Come on.

♪ And I tell you, babe ♪

♪ Well, that's enough
for me... ♪

Dual concentric
15-inch pulp woofers,

f*ck' aluminum-magnesium

That's what you're
listenin' to, huh?

[knock on door]



- [Doyle] Hey, O'Malley.
- [Jim] Boys.

- [Jim] What'd he say?
- [Doyle] All f*ck' set.

- [Larry] When?
- [Doyle] Tuesday.

[Jim] All right, Mickey's not
suspicious or anything, is he?

Mickey f*ck' Donovan
got his head so far up his ass

- he ain't suspicious of shit.
- [Jim, chuckling] Good.

We need anything else?

No, we got the van all ready.

Get a couple g*n,
couple of sidearms.

Bring a crowbar along
for the Rooney character.

Then, uh, the stuff
to stop the truck

I can make at
the hardware store,

nothing you need to
worry about.

- [Jim] Perfect.
- [Bernie] Yeah.

- Should be an easy day.
- [Jim] Good.

♪ dark music ♪


- [Mickey] Okay, Mickey.
- [Bernie] You good?


Always good.


[Mickey] Hey!

Get out of the truck!

- [Mickey] Come on, now. Hey.
- [Rooney] Take it easy.

- Take it easy.
- [Mickey] There we go.

- Keys for the back, please.
- Okay.

- [blow falls]
- Ooh--

Here are the keys.

Will you look at
that beautiful face.

Aw, come on, man.


[exhales sharply]

♪ suspenseful music ♪


All right, f*ck.

Ohh...there you are.

[breathing hard]

- [tires screeching]
- What the f*ck?

- [sirens blaring]
- What the f*ck?

Hands up!

[Larry] Drop the w*apon!

- [panting]
- [man] Open f*re!

[man] You dumb son of a bitch!


Oh, f*ck.

[g*n continues]

Go f*ck yourself, Mickey!

[man] Last time--
drop the g*n!

[man] Drop it!

- Now!
- Drop the g*n!

- [g*n]
- [grunts, groans]

[man] Move in!

[man] I got you covered,

f*ck you, O'Malley.


[Jim] You look pretty good
for a man who b*rned to death.

You look like shit
for a rich f*ck.

Well, that's 'cause
I didn't have the benefit

of havin' my face moisturized

by convicts comin' on it
day and night.



You're the spittin' image of
your grandfather.

f*ck you, Jim.

Who do we have over here?

Aw, jeez.

It's your half-breed, right?

It's Claudette's kid.

All grown up.

Stupid f*ck.

Always told you to keep
your pecker in your pants,

and you never listen.

And now, look what
you got over there.

What's that supposed
to mean?

Means I want you
to come over here

and shine my f*ck' shoes.

This guy.

You always had the knack

of saying the nastiest
f*ck' things.

[Jim] Mick, I'm not--
I'm not as patient

as I was when we were kids,

so spare me all the f*ck'
Donovan gobshite.

What you're doin' now, Jimmy,

is laborin' under
a misapprehension.

- Oh, is that right?
- [Mickey] Yeah.

You think you're talkin'
to the person I was.

But that man is d*ad.

He didn't die easy, Jim.

Came in parts.

But it all started
with the heist,

when the heist went bad
and you set me up for prison.

You were a pain in the ass,
all right?

You were always
f*ck' up jobs.

I did everybody a favor

gettin' your, uh, loser ass
off the street.

When I come back home,

my poor wife is d*ad,
my boy hates me.

My sweet little girl
jumped to her death.

All my dreams f*cked.

But that pain did to me

what flame does to wood--

everything unnecessary
b*rned away.

And what's left, Jimmy,

is hardened.


What are you doin' here?

Did he tell you
who he's meetin' with?


Did he take anybody in
with him?

- No.
- [softly] Shit.

[car door closes]

[Molly] What's going on?

My father's back.

[background chatter]

[Leo Sayer's
"When I Need You" playing]

♪ I just close my eyes
and I'm with you ♪

♪ And all that I so
want to give you ♪

♪ It's only
a heartbeat away ♪

Where's Mickey?

Whoa, whoa, whoa.

- Who are you?
- [sighs] Ray Donovan.

Do you know where
my father is?

- Your mother lookin' for him?
- No, I am.

Okay, kid.



♪ Keeping me warm
night and day ♪

It's, uh, Mickey Donovan's
kid down there.

♪ Miles and miles
of empty space in between us ♪


♪ Telephone
can't take the place ♪

♪ Of your smile ♪

- You know me?
- Yeah, you're Jim Sullivan.

Mick's your father,

That, uh,
that knife for him?

♪ Hold out and do
like I do...♪

Come, sit down.
Why don't you give him a Pepsi?

Come on.
[clears throat]

Up at the bar
with the men.

So why you wanna
k*ll your father?

W-what'd he do,
he b*at your mom?

You hungry?
Hey, Ted, why don't you

- give him a hot dog?
- Yeah.

What'd you say
your name was again?




Take this, Ray.

Look, I know.

I know about your mother.

And about that f*ck' monkey
your father goes with.

Listen, kid.

No boy should k*ll
his own father.


♪ When I need love ♪

[Molly] Ray.

Did your father
k*ll those people?

I think so.

I'm calling the police.

- You can't do that, Molly.
- Three people

- have been m*rder.
- I know.

Why did you say
your father was d*ad?

- Molly--
- You f*cking lied.

Molly, please. Wait.

- It's not what you think.
- I'm calling the police.

If you do that, your father
will be d*ad by the morning.

I'm sorry I lied to you.

But if you wanna get
your father back,

you gotta trust me.

♪ tense music ♪


You--you were in there
a long time.



What did she ask you?

About those cops.

She was all about those cops.

What--what'd you tell her?

Just told her the same
f*ck' thing,

that we were at the
Jonathan Walker Hanson concert

and, you know, the next day
we went and got married.

Did--did you tell her

that I was with you
at the marriage bureau?



I hope she contacts me.

[Mickey] Tell you how
this is gonna work.

Sandy's gonna sit
with the tapes,

and you're gonna get 'em back
soon as we come to terms.

Terms? f*ck you, Mick.

You're gonna make it
right, Jimmy.

I-I don't know about you,
you know,

but I-I only travel
forward in time.

If I'd gotten my fair share,

I'd be the billionaire now.

I didn't take that gold,
plant it in the ground,

grow a g*dd*mn tree
that grew apples made of money.

I worked.
I worked my ass off every day

to build what I built.

You don't know the man I'd be
if you hadn't f*cked me over.

Sandy, take off.

You don't hear from me
in two hours,

call the Globe
and send 'em the tapes.

Actually, I hope
I don't hear from you.

- Go f*ck yourselves.
- [door slams shut]

Why'd you do it, Jimmy?
For what?

Was it jealousy?

That sounds right.

What the f*ck are
you talkin' about?

You tried to steal
from me, Mick.

Do a job with my men.

Rip off, uh, trucks
that I had a deal with?

Huh? And then not cut me in
on f*ck' anything?

You got exactly what
you had comin' to you,

you f*ck' deluded f*ck.

But I'll...

I'll give you a million.

I'll give you a million bucks
in cash tonight.

- A million?
- What'd you say--a million?

- Yeah, that's right.
- f*ck you.

No, no, no,
wait a minute, Pop.

Stay out of this, son.

One out of what, a billion?

The gold itself is worth...

near 20.

And that was
40 f*ck' years ago.

And what with compounded
interest on--

on that a-f*ck'-lone...

Compounded interest.

[scoffs] Compounded interest
on stolen gold?

Mick, have you ever even
read a Wall Street Journal?

Look it up.
Look it up on the internets.

How much would
$20 million compounded

be worth in 40 years?

For like a home loan?


Jeez. f*ck' idiots.

[Daryll] Okay, four percent
over 40 years...

$20 million...
would be $100 million, Pop.

You owe me $100 million.

f*ck you!


I could k*ll you
and walk away.

I'm a ghost.

He survived the expl*si*n.


And then what, just...

put his thumb up
and hitchhiked away?

Way he tells it,
he ran into the woods,

stole some clothes and a car,
and drove back to the city.

Can I get you
anything else?

The check.

So what does he want
with my dad?


With Mick,
it's usually about money.

How much?

How much has he got?

Well, if he wants
more than $50,000,

he's gonna have to
go through Gerald.

Who's that?

He's my dad's
transfer agent.

Yeah, this is Sandy Patrick.

Card number 5477, 2781,

5200, 6529.


Can you text me
purchase alerts, please?

No, the number you have
on file is fine.

[line beeps]

We good?

Do me a favor.

Buy a round for everyone
in the place

and add a hundred bucks
for yourself.

Thanks, pal.

[rap playing on radio]


[phone chimes]


You f*cking kidding me?

Just tell me a f*ck' number

so I can figure out

whether I'd rather die
or pay it.

My number...

My number's half
of everything you f*ck' got.

That's my number.

We were playin' poker
this time at O'Neil's.

You'll remember this.

Mick had a good run,
then the heat left him.

He got himself dealt out
and he walked away.

That was before
he lost it all, you know?

He had promised his wife
money to pay the bills.

I don't remember that.

[Jim] You don't remember
payin' the bills, Mick,

'cause, um, before you left,

you hired two black hookers
who fed you some sob story

and you gave them the money
you'd promised your wife.

[Mickey] Well, that was stupid.

And maybe I...I always was
a little too soft at it.

[Jim] There it is--
you're the guy

who would f*ck over
the people he loves the most

and call it soft-hearted.

At least someone cruel
lets you know where you stand.

But a piece of shit...

who's righteous,
thinks he's good?

f*ck me.

♪ dark music ♪


maybe you should wait
out in the car.


Five percent.


Ten. Tops.

♪ uneasy music ♪



You even know
how much that is?

Twenty f*ck' percent.

[phone rings]




Yes, Mr. Sullivan.

- Yes...
- [Mickey] I'm d*ad.

So I gotta put it
in my son Terry's name.

Terence Donovan.

You say Terry?

He's the eldest.

- Terry, Pop?
- Trust me, Daryll.

I'm gonna take care of
all my boys.

You'll each
get your share.

Are you done?

Terence Donovan.

Terence Donovan.

[Jim] Terence.

[phone rings]




[Ray] I need you to go
stake out Sandy's house.

Aunt Sandy?


- Yeah, now.
- [phone rings]


[Bunchy] What for?

Mick kidnapped Jim Sullivan.

[Bunchy] Oh, Jesus Christ.

Slow down, lady.

I gotta go, Bunch.

Gimme the phone.

Gimme the phone.

What are you doing, Sandy?

- Ray?
- Where's Mick?

f*ck you!

You know how this ends.

Do I?

Just tell me where he is.

[rap music on radio]

I'm not gonna
ask you again, Sandy.

You don't scare me, Ray.

[phone beeps]

f*ck yourself!

Where can I find your father's
transfer agent?

♪ suspenseful music ♪


Should I go inside?

Not yet.

[phone rings]

Hey, Ter.

Hey, uh...

S-Smitty got picked up
by the black lady cop.


A f-few hours ago.

- He still there?
- No, no, I--

I picked him up,
took him home.

How's he doin'?

Uh, he seems fine.

All right.

Oh, I-I got your car.

Can you bring it to me?
I'll text you an address.

All right.

♪ suspenseful music ♪


Hey, that's him.
That's him.

- What are you doing?
- I've known him my whole life.

I can talk to him.



Hey, Mr. Moskovitz.

Miss Sullivan.

Has my father
called you?

You know I can't disclose that.

[Molly] Is that his ransom
in that briefcase?

- I can't disclose that.
- Please listen to me.

These people are m*rder,

It doesn't matter if you
give them what they want.

They'll still k*ll him.

- Let's take you home now.
- No, please!

[Molly] Stop it!
Hey, stop it!

Get your f*cking hands
off me.


Get in the car.


- Ahh!
- Oh, God.

[both grunt]


[bodyguard groans]

[g*n clicks]

[Molly] No, no, no, no, no!

No, no!

[Terry] What the f*ck, Ray?

Where are you going?



Terry'll drive you


She's not here.

What the f*ck
happened to you?

Long story.

What's that for?

Call the f*re department.

♪ dark music ♪


- [rap music playing]
- [phone rings]

- What?
- [man] Is this Sandra Patrick?

Who the f*ck is this?

[man] Ms. Patrick, this is
the Medford f*re Department

calling to report
an incident at your house.

[stammers] What did you say?


Um...are you the, uh--

I'm the transfer agent.


Your boy's got the papers.


[indistinct chatter]


Oh, no.


[Ray] Where is he, Sandy?

You torched
my f*ck' house?

Where is he?

You son of a bitch!

What'd he promise you?

Half the take?
f*ck' condo in Boca?

f*ck you, Raymond.

How do you think that's gonna
work out for ya, huh?

Have any of Mick's
f*ck' harebrained schemes

ever paid out the way
he promised they would?

He was doin' this for you.

He was...

leaving you and your brothers
a legacy.



Mick's already left us
his f*ck' legacy.


You were there.

My mother's funeral.
My sister Bridget.

Father O'Connor, Cormac.

That's Mick's f*ck'

Trail of bodies
and broken f*ck' lives.

You wanna be
a part a that?

[door opens]

[door closes]


Y-you okay?

That cop questioned me.


She questioned me for hours.
She showed me photos.

She knows a lot.

Well, what did you
tell her?

I told her
the f*cking story

that we were at your
boyfriend's f*cking concert

with his f*cking boy band.

Why did you do it?

I don't know.

That's bullshit.

I don't.

- That's bullshit.
- I don't, I...

I'm so afraid
I'm like my father.

Oh, so you act like him?

You don't get to
use that as an excuse.

No, it's not an excuse.

I promise you,
I had it worse than you,

but I would never use
my f*ck' childhood

as an excuse to hurt you.

[shaky breaths]

f*ck this.

[engine revs]

[phone rings]

Daryll, answer
the f*ck' phone.

It's your father.

[phone beeps]

[line rings]

[Sandy] Leave a message.


What the f*ck did you do?


What the f*ck
did you do?

I-I don't know what the f*ck
you're talkin' about, Mick.

You f*cked me all over again?

Hey, hey,
I'm just sittin' here.

I'm not a f*ck' magician.

♪ tense music ♪


I'll k*ll him, Ray.

I'll f*ck' k*ll him.
You know I will.

Get away from the door.

Now, move over there.

I'm gonna make it right
before I go.

You're gonna believe in me
again, son.

It's me!


Oh, I'm back!

Out early
for good behavior.

You should have k*lled him.

He would have sh*t you.

I'm not talkin' about tonight.

I'm talkin' about
when you came in that bar

carrying a kitchen knife

longer than your
skinny little arm.


I could see it then.

You actually had it in ya.

And with a knife, no less.

So f*ck' personal.



I wonder, Ray, if you still
got it in you now.

[Mickey] Aren't you gonna say
hello to your father, Ray-Ray?


Aren't ya?

♪ intense percussive music ♪

Post Reply