Episode Report Card Jacob Clifton: A+ | 73 USERS: A+ YOU GRADE IT One Hand Clapping
By Jacob Clifton | Season 5 | Episode 13 | Aired on 03.09.2014
Dubeck: "...Whoa."
KLUGER
Kluger: "Okay, this whole thing is just great. You guys. Listen, okay here's what we got. A quantity of cocaine found on the defendant..."
Alvarez: "Your Honor, we would dispute..."
Kluger: "And on the other hand, a witness who doesn't know what days of the month are. A prosecutor who pleads the Fifth..."
Alvarez: "Your Honor, I have already asked you to..."
Kluger: "Shh. Shh, Ms. Alvarez. I know you told me what to think, but sadly I don't think that. The court may, and does, draw an adverse inference from your performance. Warrant compromised, motion to quash granted."
So no probable cause, and Bishop goes free even though nobody really thinks he should. Good day for his fifty lawyers, bad day for justice. Good day and bad day for AUSA Asher, whose children will live another day. Real bad day for the NSA, but I'm guessing they're gonna be okay.
DARKNESS AT NOON
Marty: "You can't cross the line and then pretend you didn't cross the line!"
Cohle: "Then shoot me! Shoot me!"
Just kidding, it's a lady who is pregnant with his kid, but there weren't any female characters to put in there for the joke.
Alicia: "Why does he even want to kill her again? She crossed the line, I got that part..."
Grace: "She got pregnant from his partner and he is freaking out."
Alicia: "Maybe this will make more sense if I drink more wine. Things tend to."
But then Kluger returns Alicia's call, about rescheduling lunch, to tell her he isn't doing the book anymore. "Publishing's a mug's game, I'm learning Mandarin." And then, in Mandarin, he tells her goodnight and hangs up.
NSA Boy: "Huh."
NSA Boy: "What now?"
NSA Boy: "I just kind of feel bad for her."
NSA Boy: "Alicia Florrick? She'll be fine."
NSA Boy: "...Are you sure?"
Man, I loved that. They follow it up with "It's none of our business anyway" -- which is a nice button on the whole thing of their weird presence in her life that is invisible and impersonal, but always personal and pretty much visible -- but it's so fucking quality to use this one very specific opportunity the narrative presents, that you can have actual characters, Rosenkrantzed into/above the show by this one singular circumstance, to look directly into the camera and say to us:
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