SIDEBAR: Even if Tara decides to pack up the boys and move to Portland, presumably to hop on the Providence payroll and (one hopes) make a full recovery, isn't a condition of Jax's release that he's not allowed to leave the state? So what's he going to do, hang out in Klamath and just drive over the border occasionally? This whole "I'm getting out of Charming after one last job!" plan has more holes than a pair of fishnets. Even if it does provide Jax with lots of flouncy little exit lines for the various pains in the ass he handles.
Clay slouches through the halls of St. Turn It Over To The Bikers Already, and dismisses Filthy Phil with "Go grab a snack -- you look famished." (I have to say: the actor playing Filthy Phil is quite possibly descended from the Titans of myth and legend. He makes Ron Perlman -- who is not a small-boned man -- look daintier than Johnny Weir. Have we seen him next to Opie? Or does that not happen because if you stand the two side-by-side, the sun is blocked out and the Earth descends into another ice age?) Anyway, Clay informs Phil he'll stay with Tara. He heads into her hospital room, then closes and locks the door. Tara, who is sleeping, looks especially vulnerable to the man standing in the shadows.
Meanwhile, Gemma is trying to raise Opie on his mobile. He, however, is not taking calls because it would get in the way of him staring at Donna's tombstone. She's got one of those fancy picture ones, and I can only assume that whomever selected the photo was mad with grief, because in it, Donna looks like she's just eaten a lemon. (Also, I am reminded that one of the things I never fully bought about Season One was Donna as a working-class mom; Sprague Grayden has the kind of bone structure that suggests a woman who was enrolled in Smith in utero, not one born to a lumber prole in a California flyspeck town.) We get a beautiful shot of Opie standing perfectly still, regret written all over his face as he stares at Donna's stern face.
Back at the hospital, Gemma stomps off after not being able to raise Opie, and runs straight into Filthy Phil. "Where you going?" she demands, and Phil laconically answers, "Grab a soda. Clay's with Tara." "He's alone with her?" Gemma says, alarmed, and Phil nods. Gemma flies down the hall.
Tara comes awake to the sight of Clay staring down at her. Unsurprisingly, she gasps and jumps, then asks where Jax is. Clay -- who looks as if he's enjoying scaring the hell out of Tara -- mentions that Jax is otherwise occupied, but he wanted Clay to come by and check up on her. Tara neutrally thanks him. With barbs in every line, Clay says, "Sure. We gotta get you better, ready to go. You and Jax got yourself a plan, put all this violence behind. It's a smart move. I'd hate to see something get in the way of that ... I could make sure that this plan happens. Push some doors wide open, see that nobody gets in your way." Tara is sitting up on full alert now, and she neutrally asks, "Even Gemma." Clay promises, "I'll stop her. Make sure she won't run at you." Tara replies, "Yeah, I saw how you slowed her down," and the thing I love about Maggie Siff's line readings is how she can imbue even the most innocuous of lines with dry scorn. Clay rolls his eyes, then gets down to business: "There's only one thing that could get in the way of that escape dream. Those letters." Tara's honestly surprised Clay knows about them, and quickly figures out that Gemma told him. Clay almost looks sincere as he says, "She thought you were going to show them to Jax, create a shitstorm. But you're a smart girl, Tara. You know what happens if Jax reads those letters. It's the reason why he doesn't have them already. Complicates your departure."