NARRATOR: Previously on The Good Wife:
I need something on a Dr. Randall Booth.
We need to kneecap him.
- He was beaten with a baseball bat. - What?
And your fingerprints were found at the scene.
KALINDA: So, what did you do with my bat?
I took it.
CARY: Blake Calamar.
When he wasn't protecting Bond and Associate interests,
he was out protecting Baltimore's biggest meth gang.
If I were you, I'd be careful.
VIOLA: Seventy-six degrees.
DIANE [ON PHONE]: How nice for you.
Here it's a balmy ten degrees, but it's gonna get chilly tonight.
So anyway, I was supposed to fly in today for these depositions,
but O'Hare's all messed up.
I just need you to carry the ball.
All routine depositions. Nothing contentious.
Sure. What's the case?
Patric Edelstein.
Get Will.
You know, Sleuthway. com?
Uh, yes, I do. Kid's a billionaire.
A Mark Zuckerberg in the making.
Four-point-two billion in assets.
Have you been following what's going on with this movie?
The one about him?
Yes. He says it's untrue.
It is untrue. And defamatory. And he wants to sue.
Uh, he knows how hard it is to prove defamation?
He does. He's suing because he wants the world to know he's suing.
So, what, it's a crusade?
Hmm, three-point-two million in billable hours, a very lucrative one.
This is a new side of you.
You used to be into Guantanamo detainees.
Yeah, that was before alimony.
[DIANE LAUGHS]
- Patric Edelstein? - Yes.
But she only wants to rent us for the week.
So I don't get it.
He's in Silicon Valley, the studio's in L.A. and the depos are here?
Viola is forum shopping.
- Illinois is friendlier to defamation. - It's not friendly enough.
We lost the Duke Roscoe case last year.
That's why she thought of us. We were the ones who got the closest.
Who was the associate on the Roscoe case?
- Cary. - Alicia too, I think.
- I'll get her on it. We'll talk later? - Mm-hm.
Oh, by the way, I'm thinking of bringing him back.
- Cary. - Really? How's that work?
- He's burned a few too many bridges. - Repairable bridges, I would think.
Some bridges aren't so easily repaired.
- Let's not fight, dear. - Let me think about it.
Alicia, hey.
Uh, sorry to bother you at lunch, but something pretty big came up.
Can you come by my office when you get back?
Um, Will, I'm not at lunch.
Someone's in trouble.
I'm so sorry. You're gone.
- I completely forgot. - No, no.
Um, it's just a week. I'll be back Monday. Something you needed?
Uh, nothing. Some defamation suit.
Same as the Duke Roscoe case last year.
Don't worry. I got it. Have fun. Where are you?
Well, right now Oregon, but it's not for fun.
Hey.
I'm helping my brother move to Chicago, so if you need anything, l...
[LINE DISCONNECTS]
Hello?
What do you mean, it is not for fun?
I was talking to work.
Will? Will Gardner? That name again.
Like a guilty little computer churning out the same name.
Will, Will, Will.
- He's my boss. - Oh, I know.
The sultry-eyed Will.
He does not have sultry eyes. What are sultry eyes anyway?
Oh, that's it. You caught him exactly.
Hey, look, the first state.
You're getting less and less subtle at changing your subjects.
I think we should take a minute and talk about this Will some more.
You gonna miss Kevin?
Nope.
I like new beginnings.
Oh, but I did like Oregon.
Why is it that all your music is gospel?
["VICTORY IS MINE" PLAYING ON RADIO]
- Ha, ha. - Come on.
Come on.
PRESTON: Mr. Edelstein?
Mr. Edelstein, are you with us?
Yes, sorry. What was the question?
You were in the midst of discussing damages.
Actually, I think he was in the midst of discussing the emotional toll.
Yes, this movie. It shows me creating my website so that I could pick up girls
despite the fact that I was engaged to be married
and had no interest in picking up girls.
It shows several of my friends referring to me as a creep and a jerk
despite the fact these friends were inventions.
And what's worse, it shows me being a creep and a jerk.
It would've been one thing if I was a politician or a celebrity.
Then people have other portrayals and articles to compare to, but they don't.
They have this movie and they think it's true.
Are you saying that you are not a public figure, Mr. Edelstein?
- I think that's exactly... - Shall we let Mr. Edelstein answer?
I know the legal point here. If I'm not a public figure,
then my lawyers only need to prove negligence, not malice.
I've been reading law. Doesn't make as much sense as code, but I get it.
I'm a 25-year-old computer programmer.
I've never sought the spotlight.
I don't want anything but to do my job.
I'm not a public figure and, uh, I don't wanna be one.
I sympathize, Mr. Edelstein. I do.
But this is a movie.
It doesn't pretend to be a documentary.
It is an imaginative recreation of events.
Well, then they should've made up a name.
They shouldn't have used mine.
You're good.
Thanks. When do you want me back?
Well, actually, that's it. We're done.
No, the rest of the depositions.
Mr. Edelstein, these depositions are pretty boring,
and they'll take the whole week.
My mom got a call from my eighth grade teacher.
I loved my eighth grade teacher, Mrs. Hart.
She said she just saw the movie
and was worried that money was turning me into a jerk.
I don't get those calls. My mom does.
[ELEVATOR BELL DINGS]
I'll be here this whole week because this matters to me.
DIANE: Be back at 2.
It won't work to argue that he's a private figure, will it?
No. It doesn't matter that he didn't pursue the public eye.
The public eye pursued him, so he's a public figure.
They can pretty much write anything they want.
It's too bad. I like him.
Cary, what's up?
Miss Sharma.
Miss Sharma, thanks for coming by. Andrew Wiley.
I've been put in charge of the investigation.
I just have a few questions for you.
Uh, what investigation?
The beating of Dr. Booth, the Wisconsin therapist
who was testifying in the Lockhart Gardner trial last year.
You have a moment?
Sure. I have several moments.
Good. Dr. Booth woke from his coma.
Unfortunately, the person who beat him wore a mask,
so Dr. Booth couldn't identify him.
Or her. Uh, I understand that you were there the morning of the beating.
That's how your fingerprints wound up
- on the glass on his desk. - Right.
Yeah, see, the odd thing is Dr. Booth has no memory of your being there.
Right, we thought that might be from his coma.
So, uh, what did you ask him?
When you went to see Dr. Booth, what did you ask him?
I asked him if he stood by his testimony.
[BABY CRIES]
And then I asked him details to see if his testimony held up.
So just one last thing... Sorry.
[BABY CONTINUES CRYING]
It's the nanny's day off, isn't it?
[CLEARS THROAT]
ANDREW: One last, uh, thing. It's a bit odd.
Uh, your fingerprints were on this glass, but, uh, they weren't anywhere else.
I mean, they weren't on the doorknobs,
they weren't on the chair arms or the desktop.
They're just on this glass.
Hmm, that is odd.
I wonder how that might have happened,
me leaving my fingerprints on just one place.
Well, thank you for coming in.
We'll phone you if we have anything else.
Actually, uh, just one last thing.
That's two last things.
Yeah, one last thing after the first last thing.
Uh, did you bring the glass with you?
- Did I bring it with me? - Yeah, to the doctor's office.
Uh, see, Dr. Booth owned a set, but not this one.
This is a Riedel H2O Long Drink Glass.
Dr. Booth didn't own any of those.
But I checked with the Lockhart Gardner Bond purchasing invoices,
and they did.
That is odd.
Any more last things?
Thank you for coming by.
My pleasure.
Cary.
Why didn't you tell me about the glass?
Look, Cary, thank you for this job.
I'm enjoying it. I am enjoying getting out of the house.
Don't you ever do that again.
Yeah, but she's not a suspect.
The more you try and help her, the more she is.
ANDREW: Mr. Calamar.
- Uh, Andrew Wiley. - Hi.
- You wanna come with me? - Yeah, sure.
Legally, there was no reckless disregard for the truth.
Yes, you said that five times.
Now, your studio's movie had a scene
where Mr. Edelstein's girlfriend broke up with him,
calling him a "Ioner joke."
But isn't it true that there was no such breakup
- because there was no girlfriend? - I haven't the foggiest.
Well, as the lead studio lawyer, wasn't it your job to get the foggiest?
No, it was my job to determine if there was a reckless disregard for the truth.
WILL: So you would claim Mr. Edelstein was not engaged to be married?
No, I would consider the question irrelevant.
The truth is irrelevant?
No, the facts of Mr. Edelstein's life were irrelevant.
What was relevant is whether the filmmakers
- showed a reckless disregard... WILL: For the truth!
You do understand these words have to mean something?
- Please, don't yell, Mr, uh... - Gardner.
Keep that for the next time you need to ask.
Now, look, Mr. Gardner, we're here.
We're in Chicago in seven-degree weather.
Now, we understand the need for some hazing.
But is the shouting really necessary?
It isn't.
But it makes it fun for us.
- Very well done. - Thank you.
Do you need something?
- I wanna be your friend. - You...
I have a lot of friends.
You can't win this.
It's defamation. You have to prove malice. You can't.
Even Mr. Edelstein knows he's gonna lose.
He wants the publicity of the fight, that's all.
Why don't you do what we're all doing?
Chalking up a staggering amount of billable hours.
Come on. Let's be friends.
Okay.
How do you get a tan like that?
Ah, Princeville, Kauai.
I have a beautiful spread.
Three acres. If you're ever out that way.
Thank you. I'll see you tomorrow.
Alicia, sorry to do this to you,
but I need everything you have on the Duke Roscoe defamation suit.
How quickly can you get to a landline?
[GOSPEL MUSIC PLAYING OVER RADIO
- Um, soon. - Because we're gonna win this.
We're gonna win this big.
We need to prove the studio not only knew the movie was untrue,
but they were reckless about the possibility of its falsehood.
And they'll never admit to that.
ALICIA [OVER SPEAKER]: We have to prove he was a private figure.
We already tried that. Edelstein's been written about too much.
Where are you? The reception's better.
I found a high spot.
Here's the question: What does Edelstein want?
He's too rich to want money.
My guess is he wants an apology, but the studio won't apologize.
Wait.
I don't need the studio to admit reckless disregard.
- You don't? - No.
I need the screenwriter to.
Why would the screenwriter admit to reckless disregard?
Because he wants to. My guess is the writer wants to say it's his story,
not Edelstein's. I think he's pissed he can't.
That's right. That's what we did with Duke Roscoe.
- Played his ego. - Great.
Get me the notes from the Roscoe deposition.
Oh, I'll need to find Wi-Fi.
As soon as you can. Thanks.
This is a pretty spot.
OWEN: Yeah.
I've been admiring it for a while now out here in the cold.
[LAUGHS]
[CAR HORN HONKS]
Cary. What's up?
Hey, uh, I can't. I'm sorry.
What do you mean? What's Blake saying?
Kalinda, they're beginning to suspect you because we're talking.
- Suspect? - Kalinda, please.
I'm not protecting myself, I'm protecting you, okay? Goodbye.
[GOSPEL MUSIC PLAYING OVER RADIO
ALICIA: I need to find Wi-Fi.
There's Starbucks on every corner.
So sultry Will is Mr. Georgetown?
Am I right? Found my journal in the backseat.
You kept writing about Mr. Georgetown.
Is that him?
Owen, please, I need to get Wi-Fi.
Oh, talk to me. I'll get you Wi-Fi.
- Get me Wi-Fi and I'll talk. - All right. Uh, click up there.
ALICIA: Yeah, they're both password protected.
- Which has stronger signal strength? - "Rotterbear2."
Type "go to rotterbear2."
It's what tech support gives novice computer users
- so they don't forget their password. - I can't do that.
- It's someone else's Wi-Fi. - Right, and you're borrowing it.
It's like you're throwing your soda can in someone's trash.
[LAUGHS] It is not.
You are so prim and proper. We're in the middle of nowhere.
Rotterbear2 is probably some Unabomber
who uses the Internet to surf porn all day.
Well, it's gone anyway.
You know what I've noticed about you?
[SIGHS]
You're willing to do naughty things if I give you a little encouragement.
Look, there's more cabins coming up here. Keep looking.
- Now, what is the deal with Will? - He's my boss.
Yeah, but I've seen the way you two guys talk to each other.
That is a telling pause.
I like Will. He likes me. We work well together.
Making sweet music?
- Alicia? - I don't know, okay?
What am I doing?
I like work. I don't wanna screw up work.
Are you...? Are you sleeping with him?
No.
But you want to.
I want to not think about it, okay?
Right. Okay.
Look, free Wi-Fi.
KALINDA: Hey, big-time FBI lady.
- I'll meet you at the car. - All right.
Kalinda, I've missed you. How are you?
Good.
Have you missed me?
At times.
Look, um, I need something.
Of course you do.
Do you know Blake Calamar? He used to work for MS-13.
I don't know that name, but I do know MS-13.
And?
Oh, no, no, no.
What happened to the preliminaries, Kalinda?
A girl likes to be wined and dined first.
How's work?
Okay. MS-13 is growing.
A meth gang is like a shark. It has to keep moving or it dies.
And from what I hear, it's moving to Chicago,
joining forces with a local gang, a entrepreneur that you might know.
- Who? - Lemond Bishop.
Look, maybe we can help each other.
What are you doing for dinner this Friday?
Eating with you.
No, you know what I find funny?
That you're suing me, Mr. Edelstein.
I mean, why not the director?
Ah, oh, yes, that's when you know a "Film by" credit is a lie.
When there is a lawsuit.
- Do you want that on the record? - Sure. Get everything in the record.
I'm Rand Blaylock. I'm the writer.
I had chicken salad for lunch.
And what research materials did you use
for the scene of my client breaking up with his girlfriend, Mr. Blaylock?
What research materials? These.
- Your imagination? - Yes, if that's not a dirty word here.
Far from it. So you made it up?
Yes, I did what writers have done since Aristophanes.
I made up a scene in which Mr. Edelstein breaks up with his girlfriend
because I felt that it conveyed the truth of a character.
"Truth of a character." What do you mean by that?
I think he is speaking artistically.
I know they're trying to use my artistic words against me.
Don't worry. I will be circumspect.
"Truth of a character" means more than just factual truth.
It means, "Who is this person? How do they fit into a narrative?"
WILL: What do you mean, narrative? - I mean, that I'm trying to tell a story,
and I need a character to help me tell that story.
And what was the story you were trying to tell here?
BLAYLOCK: The story of the Internet.
This age we're in where people just criticize each other anonymously.
Where all these tiny little Ioners in their tiny little rooms
order out for pizza and just flame at each other all the time.
Or when those same Ioners blog about your drug use?
Yes, I'm guilty, lawyer-man.
You found it. Malice.
This whole movie was just my attempt at getting back at the Internet.
Take that, Internet.
You wanted Mr. Edelstein's character in the movie
to show that the Internet was alienating people.
Not just that, but, yes, that.
So it didn't really matter what Mr. Edelstein's real character was?
- He didn't say that. - Nor do I think that.
I have a legal obligation, counselor.
But, yes, there's nothing wrong with having a character express theme.
The First Amendment protects me from your stupid dumb-ass questions.
Should we all take a little break?
I know what he wants me to say, Burl. Here, I'm gonna say it.
I don't give a rat's ass about facts.
I give more than a rat's ass, in fact, every breath I breathe, about truth.
Shakespeare's truth. Tolstoy's truth.
Not this legal mumbo jumbo.
That's just the graffiti on a Roman temple, forgotten in a year.
But there was no malice, right?
There was no malice. None.
You wanted to get back at bloggers
who anonymously criticized you for your drug use
by ascribing those supposed characteristics
of those same bloggers to Mr. Edelstein,
but there was no malice?
That's right. And you know what? God bless America. I'm free to do that.
And you know what else, Mr. Atticus Finch?
You do the same thing.
You write your own movie, making fun of me, my drug use,
and then go get Mr. Edelstein to finance it.
- What? - Nothing further.
What? Are you gonna go finance your own movie?
We've been going after the wrong thing.
- Defamation? - Yes. It's unwinnable.
So why are we going after something that's unwinnable?
What's winnable?
WILL [OVER SPEAKER]: Diane and I decided to change the strategy
- and go after something winnable. - Right of publicity?
Been going after the wrong thing.
We can't win defamation. That's about intent.
We don't need intent to prove the studio infringed
- on Edelstein's right of publicity. - Why is that?
- Sorry, that's Owen. WILL: Oh, hello, Owen.
Sorry to take your sister away.
Oh, don't worry. I don't think she minds being taken away.
Ha, ha, I'm going now.
Um, you know, right of publicity sounds good to me.
And Blaylock, in his deposition,
said Edelstein had a right to make his own movie,
and that's the point.
The studio used him to make money and now they owe him that money.
DIANE: Sam Moore v. the Weinsteins.
They're arguing the movie Soul Men prevents them
from being the ultimate beneficiaries of their trademarks.
The only problem is the studio can argue it's a transformative work of art.
ALICIA: Unless you start to chip away at it.
- How? - Look into their product placement.
Okay, everybody read and we'll get together tomorrow. Be ready at 8.
Okay.
There were other people on that call, you know?
OWEN: I know. I was trying to embarrass you.
[OWEN SNIFFS THEN COUGHS]
Oh, come on. This isn't high school.
What? This is medical marijuana.
It is not. Owen, put it out.
It is. I have bad joints.
This isn't Oregon. Put it out, Owen, or I'm...
I'll call Mom.
I'm dialing.
This is Mom and Dad's fault, you know.
I had a difficult childhood. This is how I cope.
I don't wanna bail you out of jail.
[EXHALES]
You never did it?
- Never. - With Will?
Will's gonna be your go-to from now on, isn't it?
No, I just... I like the thought of you trying things,
breaking rules that you never broke in high school. Come on.
I am having wine.
And I'm very happy, thank you.
Search warrant?
Nice paintings.
Thanks.
- You wanna buy one? - They're yours?
- You're hurting your girlfriend. - My girlfriend?
Kalinda. You're hurting her by doing her bidding.
Oh, buddy, I don't do anything except for me.
We got a lot in common, then.
CARY: Guys, don't forget the bedroom. MAN: You got it.
You see, I don't mind this. Random searches, hostile questions.
But I have friends and they won't like this.
[LAUGHS] Oh.
Scary.
Yeah, it's funny.
I'm always intimidated by threats until I search people's homes.
Then I see what books they own
and it's hard to take their threats seriously after that.
I like this one.
Don't you? It's just... It's so raw.
You've seen our search warrant?
Uh, I have.
But, uh, you didn't need one. I would've welcomed you in.
We found an e-mail on your computer to Lemond Bishop
discussing 10 pounds of office supplies. Here's a copy.
- It's not my e-mail. - Really?
This was on your server.
- Yeah, hacked, most probably. - So you don't know Lemond Bishop?
No, in my workday, I've had dealings with Mr. Bishop,
but they're all legal and all licensed.
And that is not my e-mail.
What, someone broke into your place to type an e-mail on your computer?
- Yeah. - Yeah.
Sure. That could happen.
I like this one.
Will phoned me to tell me something, but I never got the message.
- What? - Will phoned me
to tell me something passionate, and I never heard it.
How did you never hear it?
Well, I don't know. My phone gobbles things.
It doesn't gobble things. What are you, like, 4?
Like the pictures I sent Mom? Pfft!
Look, that is because you didn't include it as an attachment.
Please, can we not talk about my technological ineptness?
Yeah, but how do you know he phoned if you didn't get the message?
I can't tell you. It's confidential.
Your love life is confidential?
Do I talk to him? That's the question.
Do I ask him what he said?
Do you ask Will what he said to you?
Yes. But he's in love with somebody.
I mean, not in love, in something.
And she's nice. I really like her.
And they like sports together.
They're always talking about
[IN HIGH VOICE] three-pointer-this and three-pointer-that.
[IN NORMAL VOICE] I know I just made fun of her voice,
but I do think
that it would really be a mistake to ask him.
Oh, wow.
- I'm conflicted. - You're in love.
I can't be.
Happens to the best of us.
What do I do?
What do I want you to do or what will you do?
Which one will I like more?
We get home.
You clean up a little, because you're looking a little rough around the edges.
You comb your hair and you put on something nice.
But business-like. You know, not too slutty.
And you go to him and you say, "Will, I need a moment of your time."
And he'll be like, "Okay."
Like that, kind of manly-like.
- And then you say... - What?
- "I've been watching you for 15 years." - Heh.
"I'm tired of shoving love to the side and serving other people.
I can't think of anything more important in my life right now
than the feeling of your breath on my neck,
your hands on my breasts."
I can't do that.
It's Alicia time.
ALICIA: Shut up.
Good to have you back, ma'am.
Did you try to buy the rights to Mr. Edelstein's story?
Yes, among others.
- And why did he turn you down? - Well, I imagine he can tell you that.
But he said he didn't want his story told.
Do you know what this is?
That's a T-shirt with a likeness of the actor
who plays the part of Patric Edelstein.
That's right.
I purchased it downstairs not a half-hour ago for 23.99.
Was it licensed by your studio, ma'am?
I don't think Mr. Preston has the answer to that.
Yes, it was licensed by our studio.
And you're also selling a book about the making of, is that right?
PRESTON: Excuse me, Ms. Lockhart.
We would argue that our movie's a transformative work of art
and therefore impervious to any right-of-publicity claim by Mr. Edelstein.
Meaning it's a work of art and not a work of commerce?
That's correct. The Supreme Court has shown great bias
- for free non-commercial expression. - Thank you for that clarification.
You're welcome. Anything to save us some time here.
So, ma'am, talk to me about the product placement in the movie.
Objection. That's irrelevant to this deposition.
Shall we let the court determine what's what, Mr. Preston?
Ma'am, could you tell me how many companies
placed their products in your movie?
Twenty-three.
My goodness. That's a lot of artistic expression to divvy up.
And how many products did these 23 companies place in the movie?
I'd like to call a halt to these proceedings
until after lunch. Thank you.
That was fun.
The last thing they'll wanna do is open their books.
Thank you, both of you. You're, uh, making this an entertaining ride.
And trying to give you your money's worth.
Oh, no.
How dare you?
What's wrong, Viola?
Sit down.
You're stealing him. You're trying to steal Edelstein.
What are you talking about?
I told you it was a loser.
I shared the wealth. I could've shared it with anybody in Chicago.
We're trying to win a case for your client.
Oh, no. Don't try to turn it noble. You are showing off for him.
And what's worse, I have to hear it from Preston.
I have to hear it from the opposition!
You heard it from our opposition because he's afraid we're beating him.
Just go to hell.
It's no wonder that they call you an ice queen behind your back.
Where is this coming from, Viola?
I've been nothing but straightforward with you.
You've been nothing but a conniving bitch.
And another thing. You're fired.
Miss Walsh.
You're fired.
Thank you for coming in, Mr. Abaire.
And you've worked for your automotive company for how long?
Ten happy years, our tin anniversary.
[CHUCKLES]
And you work in their Product Integration Department?
SIMON: Yes. DIANE: You negotiated with the studio
to have your automobiles placed in their movie?
Yes, the 2011 LaHavre.
Uh, two passive placements and one integrated placement.
"Passive" meaning beauty shots, and "integrated"?
Meaning there had to be at least one mention of the automobile's features.
For example, our voice-activated on-board navigation system.
And how was this movie sold to you?
Uh, well, I don't understand.
Was Mr. Edelstein's name used
in trying to convince you to place your cars in the movie?
Oh, yeah, of course.
It was between this movie and Social Network.
Would you have agreed to pay the studio
if the movie had been not about Mr. Edelstein?
For example, if it had been about a fictional computer programmer?
Oh, ha, ha, no. Of course not.
I think we can call a halt to this.
Really? I think we have a few more questions.
You won. Take "yes" for an answer.
Thirty-five million dollars.
And an apology.
We're sorry.
[ALL LAUGH]
KALINDA: I thought you had a home.
I do. Lake Forest.
When I work past 11, the government is required to pay
for in-town accommodations.
How nice, huh. My tax dollars at work.
So, Blake Calamar, huh? That's a new name to us.
Really? I'm surprised.
We've been juggling a lot of balls at the FBI.
But I guess you have too.
LANA: I'm taking off my shoe.
See?
I can see.
LANA: I'm stretching out my foot.
Are you all right with that?
Oh, you have to stretch, you have to stretch.
I have an offer for you.
Come work for me.
It's not good at Lockhart Gardner.
And it won't be good for quite some time.
And why is that?
Your firm is representing Bishop, the drug dealer.
Yeah, his legitimate interests.
He has no legitimate interests.
The firm is in danger.
Come work for me.
We've had this conversation.
I... I like it where I am.
Why do you like men?
Why do I like men?
Yes, sex with men. Why do you like it?
I don't distinguish.
LANA: You don't have a preference?
[SIGHS]
You were saying?
I was saying...
Italian, Mexican, Thai.
Why does one choose one food over the other?
Because sex is not food.
- Because of love. - Or intimacy.
Don't you want intimacy?
No.
[CELL PHONE RINGING]
I have to get that.
Then you're gonna need your foot back.
- You following me? - We need to talk.
Sure, let's talk. Let's all talk.
What do you need?
You talking to the feds?
I was having dinner with a fed. One fed.
Why? Jealous?
Kalinda, the kids have all gone to bed, okay?
It's just me and you, the adults.
It's time to be honest.
You start.
Are you armed?
You missed a spot.
You unclasp it at the top.
- My turn. - Unh.
What, you need more access?
TSA. You know the drill.
You wrote that e-mail to Bishop.
You planted it in my apartment for your boyfriend to find.
The ASA, heh, Cary.
You didn't come to Lockhart Gardner as an investigator.
Come on, honest.
You wearing a wire?
I'm a fixer.
Bond wants something to happen,
doesn't wanna know how it happened, that's me.
I didn't plant anything in your apartment.
You should look elsewhere.
What about your meeting with the feds?
She wants me to leave Lockhart Gardner, join her.
She knows that MS-13 is joining forces with Bishop.
What does Bond want you to fix?
He wanted me to investigate everyone at the firm,
see who was a threat to a takeover and who was an asset.
Your connection to Will?
What is it?
Heh, I did, uh...
I did some work for him at his first firm in Baltimore.
Illegal work?
He owes me.
You know, Donna thinks that you like women more than men.
Sometimes.
[WHISPERS]: Depends.
[IN NORMAL VOICE] Where's my baseball bat?
Unh.
It's in my bag.
I want it back.
[GRUNTS]
So you'll lay off?
Lay off what?
Everything.
[GRUNTS]
Yeah.
- Why do you care about Leela? - I don't.
Heh, then what do you care about?
[BLAKE GROANS]
[BLAKE COUGHS]
[BLAKE SNIFFS THEN GROANS]
It's all right. You'll have trouble breathing for a minute.
Hi, uh...
My boyfriend's had an accident and he's injured his chest.
He's having problems breathing.
Could you send someone up, please?
Thank you.
- Wait. - I'm going now, Blake.
- You trying to say something? - Leela.
Yeah, you keep going with that.
Leela, l...
Why don't you try and take a deep breath?
I phoned...
Phoned your husband.
ALICIA: You wanna come in?
OWEN: No, I better get moved in.
- So, uh, thanks. - Sure.
What did you mean, what I will do?
- What? - About Will.
You said, "What you want me to do and what I will do."
What will I do?
Um...
You're a good person, Alicia.
You're pretending that you're not,
that this recent unpleasantness has changed you, but it hasn't.
You are who you are.
You can't cheat.
It's not in your makeup.
Thanks for the company.
- I'll see you soon. - Okay.
Well, uh, according to the lawyers, I have to say this:
My Patric Edelstein is not the real Patric Edelstein,
to which I have my own legal one-word retort: duh.
Ha, ha, I mean, yes, we lost a lawsuit.
Yes, there is fiction in every fact.
- But you know what I hate? - I think I know what he hates.
Our litigious society.
And a world where lawyers find cleverer and cleverer ways
to make end-runs around the First Amendment.
- Hey, he called us clever. - Ha, ha.
What happens to writers and to satirists
if every time they offend someone,
they're sued based on right of publicity?
- He's not wrong. - Of course he's not wrong.
The last refuge of the loser is to not be wrong.
Hey. How was, uh, everywhere?
It was good. Good.
Well, good job on the road.
The studio apologized.
And we did pretty well.
Will, I need a moment of your time.
Okay.
I never got the second message to my cell phone.
- I don't know why. - The second?
No, you got everything.
When you phoned Peter's press conference, you left two messages,
but I didn't get the second. I only got the first.
I hate missed connections and that stuff,
so can I ask,
what did you say?
In my second message?
Yes.
You don't have to say.
No, I will.
I said I think you made the right decision with Peter,
and I didn't want us to be uncomfortable at work.
Okay.
Good.
And we're not.
Okay.
I should get back to work.
It's good to have you back.
It's good to be back, heh.