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'd you do with my bat?
I took it. CARY: Blake Calamar.
When he wasn't protecting Bond & Associate interests,
he was out protecting Baltimore's biggest meth gang.
If I were you, I'd be careful.
VIOLA WALSH: 76 degrees.
DIANE: How nice for you.
Here, it's a balmy ten degrees,
but it's going to get chilly tonight.
So, anyway, I was supposed
to fly in today for these depositions,
but O'Hare is 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.
$4.2 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.
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?
Mm, $3.2 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 Rosco case last year.
But that's why she thought of us.
We were the ones who got the closest.
Who was the associate on the Rosco case?
Cary.
Alicia, too, I think.
I'll get her on it and we'll talk later.
Mm-hmm.
By the way,
I'm thinking of bringing him back.
Cary. Really, how's that work?
He's burned a few too many bridges, hasn't he?
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.
No, no. I completely forgot.
Uh, it's just a week. I'll be back Monday.
Was there something you needed?
Uh, nothing, some defamation suit--
same as the Duke Rosco case last year.
Don't worry, I got it.
Have fun. Where are you again?
Well, right now Oregon, but it's not for fun.
Hey.
I'm helping my brother move to Chicago,
so if you need anything, I...
Hello?
(phone beeps) 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, first state. You know,
you're getting less and less subtle changing your subjects.
I think we should take a minute
and talk about this Will some more.
You going to miss Kevin?
Nope.
I like new beginnings.
(sighs)
But I did like Oregon.
Why is it that all your music is gospel?
(turns up volume)
* Victory is mine
* Victory is mine *
Come on. * Victory today is mine...
(soulfully): Come on!
* I told Satan...
(typing)
MAN: Mr. Edelstein?
Mr. Edelstein, are you with us?
Yes. Sorry. What was the question?
You were in the midst of discussing damages.
WILL: Actually, I think he was in the midst
of discussing the emotional toll.
EDELSTEIN: Yes, this movie-- it shows me creating
my Web site 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 have been one thing if I was
a politician or a celebrity.
Then people have other portrayals and articles
to compare it 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?
PATRIC: Look, I know the legal point here.
If I'm not a public figure, then my lawyers
only need to prove negligence, not malice.
Ah. I've been reading the law.
It 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 want to 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 have made up a name.
They shouldn't have used mine.
You're good.
Thanks.
When do you want me back?
Actually, that's it, we're done.
No, the rest
of the depositions. WILL: Mr. Edelstein,
these depositions are pretty boring
and they'll take the whole week.
You know, my mom got a call last week
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 2:00.
(elevator doors close)
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 about him.
It's too bad.
I like him.
Cary, what's up?
Ms. Sharma.
Ms. Sharma, thanks for coming by.
I'm 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,
a Wisconsin psychiatrist who was testifying
in a Lockhart/Gardner trial last year.
Do 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.
I understand that, that you were there
the morning of the beating.
That's how your fingerprints wound up on the glass
on his desk. That's 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 what did you ask him?
I mean, when you went to see Dr. Booth, what did you ask him?
(baby crying) I asked him if he stood
by his testimony and then I asked him details
to see if his testimony held up.
See, just one last thing.
(crying continues) Sorry.
It's the nanny's day off, isn't it?
(crying)
(clears throat) Just, um,
one last, uh, thing.
It's a bit odd.
Your fingerprints were on this glass,
but, uh, th-they weren't anywhere else.
I mean, they weren't on the doorknobs,
they weren't on the chair arms or the desktop,
but just on this glass.
Mm. That is odd.
I wonder how that might've happened--
me leaving my fingerprints on just one place.
Well, thank you for coming in, Ms. Sharma.
We'll phone you if we have anything else.
Actually, 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?
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?
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, she's not a suspect.
The more you try and help her, the more she is.
Mr. Calamar.
Hey. Andrew Wiley. Hi.
You want to come with me?
Yeah, sure.
Legally, there was no reckless disregard for the truth.
WILL: 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... "loner joke."
But isn't it true that there was no such break-up because
there was no such 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.
So you would claim
that 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, don't yell, Mister,
uh, Mister...
Gardner.
Why don't you go ahead and keep that
for the next time you need to ask?
Oh, look, Mr. Gardner,
we're here, we're in Chicago in seven-degree weather.
We understand the need
for some hazing, but is the shouting really necessary?
It isn't. Ah.
But it makes it fun for us.
Very well done.
Thank you.
Do you need something?
I want to 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 going to 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.
(chuckles)
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.
(phone beeps on)
Alicia, sorry to do this to you, but I need everything you have
on the Duke Rosco defamation suit.
How quickly can you get to a land line?
(gospel music plays over speakers) Um... soon.
'Cause we're gonna win this.
We're gonna win this big.
Captioning sponsored by CBS
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: 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? WILL: 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 Rosco.
Played his ego.
Great. Get me the notes from the Rosco deposition.
Oh, I'll need to find Wi-Fi.
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.
(horn toots)
KALINDA: 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?
Good-bye.
* Oh, happy day
* Oh, happy day... *
ALICIA: I need to find Wi-Fi.
Yeah, yeah, there's Starbucks on every corner here, so,
sultry Will is Mr. Georgetown?
Am I right?
I found my journal in the backseat.
You kept writing about Mr. Georgetown.
Is-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. Look up there.
Yeah. They're both password-protected.
Which one has stronger signal strength?
Rotterbear2.
Type, "go to
rotterbear2."
That'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.
(laughing): 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?
* Oh, happy day...
Alicia?
I don't know, okay?
What am I doing?
I like work.
I don't want to screw up work.
Are you... are you sleeping with him?
No.
But you want to?
* Oh, happy day...
(sighs)
I want to...
not think about it, okay?
Okay.
Look.
Free Wi-Fi.
(siren blaring)
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?
No, no, 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.
Now, 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.
MAN: No, you...
you know what I find funny?
That you're suing me, Mr. Edelstein.
I mean, why not the director?
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.
Let's get everything in the record.
I'm Rand Blaylock. I'm the writer.
I had chicken salad for lunch.
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-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 am 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?
The story of the Internet, this age we're in.
Where people just criticize each other anonymously.
Where all these tiny little loners
in their tiny little rooms order out for pizza
and just flame at each other all the time.
Or when those same loners blog about your drug use?
Yes, I'm guilty, lawyer-man.
You found it. Malice.
This whole movie-- it was just my attempt
at getting back at the Internet.
Take that, Internet!
WILL: 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.
Oh, 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.
Ah, shall we all take a little break?
No, 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: Diane and I have decided to change the strategy
and go after something winnable.
Right of publicity?
Yeah, we've 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.
Oh, hello, Owen.
Sorry to take your sister away.
Oh, don't worry.
I don't think she minds being taken away.
OWEN (laughing): 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.
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 8:00.
Okay.
There were other people on that call, you know?
OWEN: I know. I was trying to embarrass you.
(Owen coughing, Alicia sniffs)
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 want to bail you out of jail.
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
and breaking rules that you never broke
in high school. Come on.
I am having wine, and I am very happy.
Thank you.
Search warrant?
Nice paintings.
Thanks.
You want to 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.
Guys, don't forget the bedroom.
You see, I don't mind this--
random searches, hostile questions--
but I have friends and they won't like this.
(chuckling): 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.
(baby fusses)
You've seen our search warrant?
Uh... I have,
but, uh, you didn't need one.
I would have welcomed you in.
We found an e-mail on your computer
to Lemond Bishop, discussing "ten 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 have 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?
I don't know.
My phone gobbles things.
It doesn't gobble things.
What are, what are you, like, four?
No, I-- the pictures I sent Mom... (splutters)
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.
Always talking about
(goofy voice): three-pointer this and three-pointer that.
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,
'cause you're looking a little rough around the edges.
You comb your hair, and you put on something nice--
but businesslike, 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.
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.
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?
DIANE: 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
till after lunch. Thank you.
That was fun.
The last thing they'll want to do is open their books.
Thank you. Both of you.
You're, uh, making this an entertaining ride.
Trying to give you your money's worth.
Oh, no.
How dare you.
What's wrong, Viola?
Sit down.
You're stealing him!
You are 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, Viola.
Oh, no!
Don't, 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.
Ms. 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.
(laughs)
And you work in their product integration department?
ABAIRE: Yes.
DIANE: And 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"?
Uh, meaning there had to be at least one mention
of the automobile's features.
For example, our voice-activated onboard navigation system.
And how was this movie sold to you?
Uh... well, I... 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, uh, 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.
$35 million.
And an apology.
We're sorry.
(laughing)
* Elevator straight into my skull... *
KALINDA: Thought you had a home.
I do. Lake Forest.
When I work past 11:00, the government is required
to pay for in-town accommodations .
How nice. 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.
I'm taking off my shoe.
See?
I can see.
* Farewell my black balloon...
I'm stretching out my foot.
Are you all right with that?
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.
* Has anybody ever told you it's not coming true... *
The firm is in danger.
Come work for me.
* Farewell my black balloon...
We've had this conversation.
I... I like it where I am.
* Farewell my black balloon...
Why do you like men?
Why do I like men?
Yes. Sex with men.
Why do you like it?
I don't distinguish.
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.
(phone ringing)
I have to get that.
Then you're going to 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.
(gasping)
Why? Need more access?
TSA. You know the drill.
You wrote that e-mail to Bishop.
And you planted it in my apartment
for your boyfriend to find.
The ASA? Cary?
You didn't come to Lockhart/Gardner
as an investigator.
Come on. Honesty.
You wearing a wire?
I'm a fixer.
Bond wants something to happen,
doesn't want to know how it happened, that's me.
I didn't plant anything in your apartment.
You should look elsewhere.
And 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?
(scoffs) 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.
Depends.
Where's my baseball bat?
It's in my bag.
I want it back.
So you'll lay off?
Lay off what?
Everything.
Yeah.
Why do you care about Leela?
I don't.
Then... what do you care about?
(grunts)
(coughs, sniffles)
(groans, gasps)
It's all right. You'll have trouble
breathing for a minute.
(gasping weakly)
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...
(coughs)
Yeah.
You keep going with that.
Leela, I...
Why don't you try taking a breath, hmm?
I phoned...
I phoned... your husband...
ALICIA: You want to come in?
No, I better get moved in.
So... Oh, 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?
Oh...
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.
Yes, we lost the 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. (chuckles)
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.
(broadcast continues in background) 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.
Well, 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.
Captioning sponsored by CBS
Captioned by Media Access Group at WGBH access.wgbh.org