Previously: Bert, Bert, Bert. He's not dirty. Is he dirty? He's not dirty. Jennifer has family issues. Lisa drinks a lot.
Open on a limo pulling up a long driveway. Said driveway is attached to Malloy Manor, and just a week after I asked for an exterior shot! Thanks, guys. The place is pretty posh, too. Anyway, Roy watches as the Malloys greet an affluent-looking Asian couple and head inside.
Split-screen to a bar, where Lisa smokes as she drinks. The bartender -- a cute guy in dreads who looks vaguely like Hootie, of Blowfish fame -- comes over. "Thought you were gonna quit," he grins. Lisa shrugs. "Takes the guesswork outta dying," she says, and asks him to hit her again. He does, and disappears, and she stares at the guy across the bar from her. "Do I know you?" she asks. "I don't know. Would you like to?" he responds. I think they're talking Biblically, people.
And I guess the answer is yes, because the thing you know, we're at Lisa's house and she's unbuckling Bar Guy's belt. She and the stranger proceed to have sex. This scene is pretty hot for network television, up to and including: the implication that Lisa's blowing him (the recapper said delicately); Leslie Hope in her skivvies; tons of rolling around; and the stranger tying Lisa to the bedpost. Mid-tie, Lisa thinks to ask the guy's name. "Jack McCall," he tells her. "There's a condom in the drawer, Jack McCall," she responds, teaching all the kids in the audience that it's okay to take a stranger home and let him tie you up as long as you practice safe sex and cross your fingers that he's not a serial killer. Not that I have anything against one-night stands, or anything. I mean, if that's your bag. I'm not saying it is my personal bag. Although I'm not saying that it's not my...you know what? I'm going to shut up now.
Split-screen to Malloy's house, where Mr. And Mrs. Affluent Asian Couple are eating with the Malloys. They drink to "a healthy relationship," and Janet starts yapping about New York and maybe she can visit them and then they can shop and blah blah blah, and instead of throwing a dinner roll at his wife to shut her up, Malloy forces Janet to show "Kim" the greenhouse so that Malloy can show Mr. Affluent Asian Couple the dead body of one of Mr. AAC's deep, dark enemies. "I can't believe you found this asshole," Mr. AAC spits, and I find it interesting that you can say "asshole" on ABC now, especially since, this summer, I was working on an ABC show and we were specifically told we could not use the word "asshole," and had to, in fact, bleep it out, which led to a meeting wherein we were forced to decide which was funnier: "bleephole" or "assbleep." (We agreed on "bleephole.") And then ABC told us that we also had to blur out the mouths of anyone saying "bleephole," so no clever lip-reading audience member would be offended. Although I guess the argument would be that this is Hard-Hitting Gritty Drama Like The Sopranos And If We Can't Say "Fuck," We Need to Get "Asshole." Standards And Practices fascinate me, and I don't mean that sarcastically. It's interesting. Anyway. Where was I? "I told you I would," Malloy says. Behind him, Blair and Donovan look proud. "I believe I owe you a million dollars," Mr. AAC says. Malloy looks pleased. Ah, doing the dirty work for other, scarier mobsters? This I can buy from Malloy. A low-level Mafioso, offing people for a fee, and to curry favor? Way more believable than anything else we've seen him do so far.
One-Night Stand Manor, and I don't mean that in a judgmental way. Lisa wakes up, rolls over, and lights a cigeratte. I am pleased to report that she is not sleeping in her bra, but simply has the sheet wrapped around her breasts in the style of naked ladies on TV since time began.
Meanwhile, Jennifer is dropping off her kids at school, tricking Hunter into kissing her as she does it. "Mom!" he squeaks. "Be good, hot shot," she says, as he runs off. She's getting ready to head to the office when she notices that Hunter has forgotten his lunch. "Of course," she groans and gets out and takes it into the elementary-school grounds...
...where she surprises Hunter as he beats up another small boy. Jennifer runs over and breaks up the fight, asking about the other little boy's well-being as Hunter yelps something to the effect that this kid is a tattletale or some shit. "Hunter, tell him you're sorry," Jennifer says. "But he's a faggot," Hunter retorts. "Hunter Sampson," Jennifer hisses. "He is!" Hunter says. Jennifer gives him the look of death, but instead of, say, asking Hunter if he knows what that word means, just tells The Other Kid to go ahead and punch her son. As hard as he can. Well, that's an interesting parental choice, and probably not one I would have made, but we learned in the pilot that Jennifer tends to go for brute force to solve problems. In a well-meaning way, really, but it's not always the best idea she ever had. "If this is how you're gonna act, you need to know what it feels like," Jennifer tells the aghast Hunter. The Other Kid is all, "What the hell?" and slugs wee homophobe Hunter (although, honestly, I think that -- unfortunately -- "faggot" is a word some younger boys tend to throw around with abandon, having heard it and knowing it's an insult, but not knowing exactly what it means. That was certainly true when I was in elementary school, anyway, although I wonder if it's true now. There was a period of at least a couple of years when I knew that word was insulting, but I literally thought it meant, basically, "jerk." Anyway. I'm saying that Hunter needs a little lesson in pejoratives and why they are bad, but that he isn't necessarily a homophobe in the making. Yes. Now, where was I? Oh, right). The Other Kid runs off, and Hunter sighs, humiliated and sure he's about to get it from Mom. Jennifer, though, just tells him she'll talk to him that evening, and they trudge their separate ways.
FBI. Wow, I sure have typed those three little letters a lot, in my history as a recapper for this esteemed site. Not that I am complaining. I am interested in the FBI, especially when it is staffed by fictional, hot people. So, Lisa introduces us to "Chief Brustin" of the Richmond PD, who's going to update her crew on the latest activities of their "joint narcotics task force." Chief Brustin is better known to me as Gary from thirtysomething and shall be called thus, although his hair is all short and he's clean-shaven and also not dead. Stay off your bike, Gary! Man, I loved thirtysomething. I was too young to watch it when it was on the first time, but Bravo had it in syndication when I was unemployed and I saw the entire thing. People would call me and I would be like, "Yeah, I can't talk to you right now. Nancy has cancer." Sadly, that was before I had TiVo. Wow, I am having a hell of a time staying on track with this recap, aren't I? Anyhoo, Gary thanks Lisa and tells the assembled that they're working on nailing a crack cocaine ring being run out of local nail salons. As he starts yammering about his division and what they're doing as far as manicures go and blah blah blah, Jennifer sneaks in late to the meeting. Amiel gives her a "where have you been?"-type look. Meanwhile, Lisa leans against the wall and looks thoughtful. Maybe she's thinking about how she just got laid.
Split-screen to Malloy, meeting with an Italian Mobster Dude, who we learn is named Frank. Malloy tells Frank that one of his enemies, the guy who turned on his uncle, is in Witness Protection. And Malloy can off him for a million bucks. "I want the tongue cut out of his mouth," Frank says. "We can provide that," Malloy responds. And they have a deal. Malloy utters a non-catch non-phrase that shall be unrecapped (part of my New Year's resolutions) as Roy ambles in. Malloy tells Donovan and Blair that they're going to Los Angeles, and walks off. Roy noses around, but Donovan won't give him any info about their little trip to my fair city.
FBI. Gary and Lisa head into her office to chitchat about Hope and Michael while Jennifer starts complaining to Amiel about Hunter. Amiel dismisses Hunter's behavior as "boy stuff," and tells her to "let him figure it out." He then tells her they had better get to work. Clearly, Amiel is not interested in Jennifer's personal life. And, as much as I like her as a character, I kind of feel him. Julie Ann Emery is doing a good job, but I don't really care about her kids. I'm not watching this show for family drama, really. I mean, I'm really watching it because I signed a contract, but you know what I mean. Anyway, Jennifer makes a concerned face, but follows his across the office to get some work done.
Lisa. Gary. She announces that she might have really screwed up. "I met this guy at a bar last night and took him home," she begins. Gary winces. "Are you okay with this?" Lisa asks. "Let's see," Gary responds in measured tones. Lisa explains that this guy she slept with left a matchbook from somewhere in Miami on her bedstand, and something about his name clicked and yada yada yada, she thinks she might have fucked a serial rapist. Whoops. I think I saw that on the Dynasty reruns on SoapNET this week. Actually, it was just that Kirby finally told Jeff that his ex-brother-in-law and co-worker Adam raped her in Alexis's apartment and that she's pregnant with his baby -- Adam's baby, I mean, not Jeff's, even though she's married to Jeff even though he's still in love with Fallon -- and then Jeff and Adam wrestled on top of a skyscraper and Jeff almost threw Adam off until Adam admitted that he didn't know it was his baby but the thing is that Adam practically is a serial rapist what with how he abuses prostitutes and all, but you have to remember that he's crazy because he took too many drugs when he was in Wyoming and before he knew he was Blake Carrington's son, and so the crazy made him into a rapist, as well as into a man who tried to kill Jeff by painting his office with poison paint, and, now it turns out that Jeff and Kirby are getting divorced because she thinks he's still in love with Adam's sister and she's going to marry Adam even though he's a crazy rapist and, really, Dynasty is such a good show. So, anyway, Gary is all, "You slept with a who?" Lisa isn't sure if it's the same guy as this serial rapist, but it might be. Gary is not at all thrilled about this. "You don't get to judge me," Lisa tells him tightly. "What do you want from me?" Gary asks. I suspect that she wants you to love her the way you did once, Gary, but that is, at this point in the episode, unconfirmed. Lisa says she needs Gary's help. He tells her not to tell anyone else about this. "I can't do that, and you can't do that either," Lisa says. Gary finally agrees to put out an alert on the rapist, but adds that they need to find out if the guy she slept with actually is this rapist. Gary is silent for a long time, and eventually wonders if she ran prints on the matchbook. She did, and found nothing. Gary asks if she used a condom. "I don't know, probably," Lisa says. Gary points out that this convicted serial rapist's DNA is on record. Lisa looks at him, like, "Ew," and he tells her he'll have his guys test the condom if she brings it to him. She just looks at him. "You bring me the condom," he tells her again, and there's nothing hotter than having to bring your old boyfriend a condom full of some other man's semen so he can figure out if you just fucked a psychopath.
And then we cut to a scene of Lisa at home, going through her trash. And then we go to commercial. So, I guess we can assume she gave Gary the condom? Because we're not going to revisit this plotline for, like, forty more minutes.
Wood of Secretive Meetings Between Undercover Agents And The Bosses Who Might Love Them. Roy meets with Lisa and Amiel. Well, Lisa and Amiel try to meet with Roy, but Roy freaks the hell out when he sees Amiel and refuses to talk to him. Roy is such an eighth-grade girl. Seriously. I half expect him to be scribbling in a SLAM book when Lisa shows up. Apparently, Roy is mad because Amiel tripped the day Poor Dead Fed Bert Summers was killed, and so Roy blames Amiel's inner ear problems -- or whatever -- for Bert going to the big station house in the sky. Lisa points out that Amiel is their best organized-crime guy, and Roy is still yelling that it's all Amiel's fault that Bert is dead, and Lisa tells Roy to "shut it," -- literally, she says the words "shut it" -- and Amiel is all, "Take a shot, Roy," gesturing toward his chin, and if I were Jennifer, I would not take Amiel's advice on raising her kid because, like Roy, Amiel appears to have the emotional age of a middle-schooler. Finally, Lisa corrals the boys, both of whom pout and stomp around in a snit, and finally Roy tells Lisa that Malloy's having these kooky meeting with various mobsters and then he sent Blair and Donovan to Los Angeles. That's all he knows. Lisa sends him back to get more information and then tells Amiel to go back to the office and try to figure out whether these new mobsters are connected to one another, and Roy is all, "That's right! Keep him at a desk, so nobody can get hurt," and Amiel is all, "Any time, man! Any time!" and Lisa is all, "Jesus, boys are dumb."
Over at the FBI, Paige and Todd try to talk to Jennifer about busting the Cocaine Nail Salons, but she's all distracted by thoughts of her kids and, in fact, gets a call to go back to the school for an emergency meeting with the principal. And, yes, those three lines that Todd had about a nail salon are it for him this week. Three lines. About manicures. Jeffrey D. Sams, I love you, and I think you need to call your agent about it. Paige tells Jennifer to go take care of business: she and Todd can handle the salons. Jennifer goes, but looks concerned.
Adolescent Woods. Lisa tells Amiel that she needs him to keep his head on straight as far as Roy is concerned. "It's not my fault Bert got killed," Amiel whines, and Lisa says that she knows that. "Bert was his best friend. He's pissed. What do you expect?" she asks. And Amiel keeps whinging and whinging, and finally Lisa cuts him off with a curt "Amiel? Not about you." If Lisa gets tired of working for the Feds, I think we might have a desk for her at TWoP Towers. And we won't even get all up in her grill about the drinking and the smoking and the promiscuous sex. Amiel complains that it is about him if she's putting him in the position to work with Roy, and Lisa is all, "It is our job to watch his back," but Amiel wants "the same consideration." Lisa rolls her eyes. "Meaning what?" she snaps. Amiel whines that he's laying his life on the line, too. "Okay. Anything else?" Lisa asks, shortly. "No." Amiel says. And Lisa gives him this, "Whatever, drama queen" look, and suggests that they go back to the office.
Okay, here's the thing. I don't really care about Jennifer's personal problems even though, you know, I like her. So it's really hard for me to invest in recapping these scenes. The acting is good in them and all, but I sort of want to get back to the action, you know? Like, can someone shoot someone? Anyway. Jennifer heads into the principal's office, where her husband, Emasculated Carl, and The Other Kid's Dad are waiting. The Other Kid's Dad is pissed that Jennifer taught his son to deal with his issues using violence. Especially since she was wearing a gun at the time. Emasculated Carl says nothing as Jennifer just sputters that no one seems to recall that she's in the FBI, and the principal is all, "Lady, I don't care where you work; don't make people hit each other on my school grounds." Emasculated Carl basically just whistles and stares up at the ceiling and lets his wife hang out to dry.
"I could just strangle you," Violent, Violent Jennifer says as she and Emasculated Carl stamp down the school steps. Emasculated Carl makes some whiny noises about how he doesn't understand how he's the bad guy in this situation, and Jennifer lays into him for not coming to her defense -- or, you know, saying anything during their meeting with Principal Flutie -- and he's all, "Maybe they had a point," and she's all, "Whatever," and he's all, "Hunter needed his mother on the playground today, not an FBI agent," and Jennifer actually responds to this by saying, "I have to go to work," and she hops in her car and drives away and Emasculated Carl is all, "DID YOU JUST HEAR WHAT I SAID?" except he just screams that inside his own head.
Back at the FBI, Amiel's had a big breakthrough, figuring out that Malloy has somehow gotten access to the witness protection list. He runs right in to tell Lisa, and if this were cable, this is the point where she would use the F-word.
Meanwhile, in Los Angeles, Blair and Donovan pull up in front of a posh-looking house. Blair is wearing a brightly printed Hawaiian shirt, because even hitmen have to take a vacation sometimes, and if it's a working one, so be it. They go into the house -- the alarm isn't even set, like, how dumb is this guy? -- and look for their mark. This scene basically consists of a lot of shots of Donovan and then Blair wandering around a lovely Spanish-style house with their guns drawn. File, their mark -- wearing a satin robe and drinking beer from a can -- surprises Blair in the living room and throws his beer can at him and takes off running. Blair goes after him and then there's all this tiresome chasing -- tiresome to recap, I mean, because how many synonyms for "run" are there? -- and finally Blair chases the guy out to the pool, where Donovan plugs him. Without a silencer. Yeah, because no one's going to the gunshots, or anything. ["Well, it is L.A. Maybe it's just that no one will care." -- Wing Chun] Blair and Donovan stare at the body floating then in the pool, and Blair takes one of the pool tools and starts pushing their mark under the water. "What are you doing?" Donovan asks. "Just making sure," Blair responds.
Over at the FBI, everyone is in a tizzy over the leak of the names in the Witness Protection Program, especially the Assistant Director, who's making all kinds of grand statements along the lines of, "This is the worst thing that's ever happened to us," and "This could spell the end of the Witness Protection Program forever," and "We'll never be able to flip a guy again," and "You guys are all so totally fired." After all his histrionics, though, he and Lisa sort of manage to sketch out a plan to start moving the protected witnesses around, splitting the work between the Bureau and the U.S. Marshals. The Assistant Director is really in full-on drama-queen mode, though, and ends the meeting by telling the assembled that they're "bleeding," and that he wants someone -- anyone! -- to come up with a way to "hit the SOB that cut us."
Split-screen to said SOB. Malloy is, natch, watching sports in the Mob Bar. (The MoBar?) Roy is acting as protection for Malloy while Blair and Donovan are away, and therefore gets to eavesdrop as this really weaselly-acting guy tells Malloy that he wants to get more money "per name." Roy's ears perk up. Weasel and Malloy agree on $100,000. Roy pretends to read the paper but makes interested faces instead. He's not very subtle, really. Weasel then tells Malloy that he'll meet Donovan to hand over the name tonight. "Donovan is indisposed. I'll have to meet you myself," Malloy says. Roy puts down the paper and offers to meet Weasel. Everyone looks at him. Weasel is all, "Do I know you?" Roy nonchalantly wonders if they were in the joint together. "Not likely," Weasel sniffs. He looks over at Malloy. "It's done. Roy will meet you tonight," Malloy says, and considering that Malloy surely knows that Weasel is himself a U.S. Marshal -- whoops, did I give that away? -- the fact that he seems totally unconcerned about how Weasel knows Roy only confirms to me that Malloy is very dumb. Weasel gives Roy -- who is so not-subtly hiding his face behind his hand -- a long look and goes....
...back to his office, where he is identified as Tim Jackson, U.S. Marshal. What did I tell you?
Meanwhile, over at the FBI, Assistant Director Hysterical is marching into Lisa's office and demanding to know how they got so screwed when they've got agents in Malloy's organization. Lisa's like, "Roy just got there!" "Malloy compartmentalizes things. He's very smart," she offers weakly. "And it's our job to be smarter! DAMMIT!" AD Hysterical yelps. Yeah, and how hard can that be? My cat is smarter than Malloy. And I don't even own a cat. AD Hysterical picks a piece of scenery from between his molars with a fingernail and adds that he's already got Congress on his back over this whole stupid terrorism thing, and he really doesn't have time for domestic shenanigans to boot. Lisa sort of winces, and tells him that she gets it and she's doing her best. "PEOPLE ARE DYING, COHEN. THAT MAY NOT BE GOOD ENOUGH!" AD Hysterical shrieks dramatically, and then sweeps out of the office like Joan Collins. Lisa makes this face that's like, "Yeah, I just slept with a serial rapist. I have enough problems."
Elsewhere, Paige works quietly. Enter Jennifer. Paige wonders innocently enough what's going on around there -- everyone is running around looking freaked out. Jennifer says she doesn't know, and Paige pushes just a wee bit and Jennifer sort of snaps that she seriously doesn't know because she doesn't have clearance and also, she's distracted because she's a terrible mother and her husband is a total shit. Paige apologizes, and Jennifer apologizes and says she's having personal issues. Paige waves this away, and then Jennifer spills her guts about Hunter's little "faggot" incident. "Wow," Paige says carefully. "Yeah," Jennifer responds. She tells Paige that her mother once told her that she would come to a crossroads with her children eventually: "When I would look at my messed-up kid and say, 'That's my fault. I turned him into that. I did. Nobody else. It's my fault.' And when I came to that crossroads, how I behaved? That would determine my character." That's kind of...weird advice. I mean, a lot of things determine your character, and how you raise your children is certainly part and parcel of that, but I also think that your character has been somewhat determined before the time your kids start acting out. Anyway, suffice it to say, Jennifer is at a loss. Paige takes a breath and gets up and says that maybe Hunter is at a crossroads too, and that it seem to her that Jennifer just has to show him the way. Jennifer scoffs that it's not that simple. Paige looks irritated and snaps that Jennifer has already totally showed HER the way of the FBI. She doesn't mention that her own magical powers have also helped her grasp the ways of the Feds. Paige adds, "And if you can do that for me, then you sure as hell can show a little boy that assault is wrong and that it's reprehensible to be a homophobe. And if you can't do that, then you've got bigger problems than that and you've got to get home, because he needs you more than we do." Paige sits, and there's this long beat where Jennifer sort of takes this in, stunned, and Leslie Bibb makes this hilarious "Holy shit, did I just say that to her?" face. After a long moment of silence, Jennifer starts asking about their case, and Paige apologizes for her outburst. "It's okay," Jennifer tells her. Paige explains that she just knows Jennifer can do this: "We both know you can do this." Yawn.
Malloy Manor. Malloy is making the final arrangements with Roy with regard to picking up the name. And can someone explain to me how they don't have enough dirt to nail Malloy yet? How are his phones not bugged? Jesus. Anyway, this whole Name Exchange thing is basically an exchange of envelopes. "This is a good thing for you, Roy," Malloy tells him. Roy pretends to be a little nervous until Malloy leaves.
Lisa gets a call on her cell; Roy, walking through a parking lot and chatting on his own cell, tells her that they "got him." He gives her the info about the buy, and she says she'll assemble the team. "This is good, Roy. This is really, really good," Lisa says, and she hangs up and tells Amiel that they've got to get "the team" together, because Roy's got a name from the Witness Protection List. Amiel makes a noncommittal sound, and we go to commercial.
After the break, Roy is getting all wired up and Lisa is operating from, like, a command center of some sort, and people are running around in blue FBI-branded polo shirts and looking nervous and excited, and George the Tech Guy is showing Lisa all kinds of monitors and they're throwing around technical jargon, and we get it: they're getting ready to bust Malloy.
But then, a wrench is thrown into the works: Roy runs down the stairs of his apartment and runs into Marshal Weasel in the hallway. Marshal Weasel's got his gun drawn and cocked. "You little son of a bitch," Weasel says.
thing you know, Roy is driving the two of them around at gunpoint and Marshal Weasel is explaining that he knew he recognized Roy and it only took him a little while to realize that Roy used to be Bert Summers's partner. "Too bad about Bert. Your partner was my partner, pal," Marshal Weasel announces. Roy is all, "What?" And Weasel, in the traditional way of television villains, explains the whole thing, saying that he could get addresses and Bert could get names. And they sold them to Malloy. And then he hands Roy his cell phone and instructs him to call Malloy and say that the Marshal wants to meet at the alternate location. Roy obediently obliges.
Back at Control Central, meanwhile, Lisa wonders where the hell Roy is.
Actually, Roy is still driving. Finally, Marshal Weasel has Roy pull over in an alley and forces him out of the car. Roy yammers that all they want is Malloy, and Weasel can cut a deal. "So I get thirty instead of life? I don't think so," Weasel says, and he's about to shoot Roy when we hear "FBI! Drop the gun!" and then Amiel plugs Weasel and saves Roy's life! See how nicely that patched up their differences? And all it took was shooting a guy in the chest. Amiel explains that Lisa had him tail Roy, to make sure Roy didn't get totally screwed. The boys take the name from Weasel, and Roy undoes his wire. "Bert was dirty. They were in it together," Roy tells Amiel. Amiel is shocked and appalled. "Lisa was right all along," he says, but Roy says they can't tell Lisa, because of Bert's kids. Yeah, like she's not going to find out. And then you're really going to be screwed, Roy. Amiel thinks about this, then shakes his head. "It's over. It's over," he finally says. Except, is it? Because it sounds like Weasel needed someone in the Bureau to get him names, if all he had access to were addresses, which means he had to get someone new after Bert bought the farm, which means they still have a mole...right? Whatever. Roy then tells Amiel to get the hell out of there, and proceeds to bash his head against a giant metal pole conveniently located in the alley. Roy, could you be more dramatic? You could have just had Amiel punch you. But...as I said, whatever. Amiel kind of makes this surprised look and leaves....
...to call a very concerned Lisa. She's fine with his shooting the Weasel, she says, but then hisses that they can't protect Roy under these circumstances. "What's he going to tell Malloy?" she wonders.
Malloy arrives at the scene of the crime, where he finds Roy all bloody. "He was setting you up for the FBI," Roy says, nodding at the Weasel, and adds that he shot the Weasel and found a wire on him. With this, he hands Malloy his own wire. "You're telling me this waste of humanity was actually going to double-deal on me?" Malloy wonders. Malloy, you moron. You KNEW he was a Fed. Are you so surprised that maybe he was a triple agent? I mean, I know he actually wasn't, but it sure sounds plausible to me, anyway. Malloy has no imagination, which is, I think, what gets him into trouble. Or it ought to. Anyway, Roy's all, "Yeah," and Malloy tells Roy that he did well. Smart. Fast on his feet. Blah blah. And then Malloy goes over the body and plugs it full of bullets because, you know, he crazy.
After the ads, Roy heads over to see Mrs. Dead Fed Bert Summers, Estelle, whom I hate, in case you didn't know. That hideous shirt she wore last week just worked my last nerve. Anyway, she acts all surprised to see him and wonders where he was, and he says nothing, but man, is he pissed. "Where's the money?" he asks. Estelle plays dumb, but Roy will have none of it. "The money, Estelle. The cash that Bert left for you. Where is it?" She continues to play dumb, and finally Roy yells at her to cut it the hell out and stop insulting his intelligence and she finally just folds. "The note said not to spend it. Not right away," she snuffles. But Roy is fully on his drama-queen horse and screams at Estelle that Bert was "selling men's lives! The very lives we promised to protect!" Estelle just pouts. "Now, four men are dead. That's four new widows, just like you," Roy announces. Estelle swears she had no idea what Bert was up to. "JUST STOP," Roy screams, and Estelle has the gall to look hurt, and asks what happens now. Roy says he promised Bert, That Asshole, that he'd look after Bert's kids. But if he sees Estelle spend one dime on anything other than said kids, he will bust her himself. Then he storms out, and Estelle makes a sad, spoiled face. I can't believe that Estelle didn't know the money was dirty somehow. Just like I can't believe Roy is going to get away with concealing this information from Lisa.
Lisa's office. Enter Gary. Guess what? She didn't sleep with a serial rapist. Phew! Gary is still somewhat disapproving. "I don't need a lecture," Lisa tells him, but Gary thinks she does, and tells her that she's drinking too much. "You're out of control. You need some help. And that's the truth," he says. "The truth is, I miss you," Lisa tells him. "Nothing we can do about that," Gary says, kindly, and a little sadly. "I know," she says. "How's your family?" she asks. Gary assures her that they're fine, and Lisa pretends she's happy that his marriage isn't falling apart and thanks him for his concern, but reminds him that it's not his job to look after her any more. They stare at each other. Gary looks sad. "You should go," she tells him. After much more staring, he finally does.
At Jennifer's, Hunter is sort of asleep, so she wakes him up to talk about the events of the day. "Hunter, I do not like what you did today. I don't like what I did today, either. So, you and me, we're gonna start fresh, okay?" she says, and Hunter agrees. Jennifer tells him that she wants all kinds of things for him, but most of all, she wants him to try his very best at everything. "I love you. Are you listening to me? You. And I'm going keep on loving you, whatever kind of person you want to be. You understand? For the rest of your life. All that I need from you? I need you to be decent. Can you do that?" she asks. And Hunter says he can. Jennifer tells him it's her job to help him: "Deal?" Hunter agrees, and they hug. "I love you so much, sweetie," she says. "I love you, too, Mom," Hunter tells her. That was a very nice scene, and quite very well acted by both of them, but I sort of think that Jennifer should have told Hunter never to use the word "faggot" again. But maybe that's just me.
So, musical-montage time. At least this week it's instrumental.
Montage, Part I: Roy goes home and looks sad and alone. And bloody.
Montage, Part II: Malloy brings Frank the Mafioso the tongue of his latest victim.
Montage, Part III: Lisa drinks and smokes at the local bar because She Has Issues, for which I am sure she will be punished eventually.
And, week, it looks like Malloy gets naked. If that's true, I quit.