Suits
Executive Summary
Overview
Genres: Drama, Legal, Comedy, Crime, Romance, Thriller, Character, Study
Setting: Present day, New York City
Overview: Suits is a legal drama that follows the journey of Mike Ross, a brilliant but unmotivated college dropout who finds himself working as a fake lawyer in a prestigious law firm. Alongside his mentor Harvey Specter, Mike navigates the cutthroat world of high-stakes law while also dealing with personal and moral challenges. The story explores themes of deception, ethics, career ambition, friendship, and justice and redemption.
Themes: Deception and Identity, Ethics and Morality, Career and Ambition, Friendship and Betrayal, Justice and Redemption
Conflict and Stakes: John's struggle to clear his name after being falsely accused of a crime, with his family's reputation at stake.
Overall Mood: Dark and Suspenseful
Mood/Tone at Key Scenes:
- Scene 1: The opening scene sets the tone for the film with its dark and eerie atmosphere.
Standout Features:
- Unique Hook: The film's unique blend of genres, including drama, thriller, and comedy.
- Plot Twist: The film's shocking plot twist that will keep audiences guessing until the very end.
- Distinctive Setting: The film's setting in a small town that is both charming and sinister.
- Innovative Idea: The film's innovative use of storytelling techniques to create a truly immersive experience.
- Unique Characters: The film's cast of unique and memorable characters.
Comparable Scripts:
Pass/Consider/Recommend
Explanation:
USP: The Unique Selling Proposition in this screenplay is its combination of legal drama and high-stakes crime, highlighting the inner workings of a law firm and the pressures of working in such an environment. It features complex characters with contrasting personalities and backstories, and a focus on the importance of pro bono cases in the legal field. The use of empathy, personal connections, and evidence to pursue justice and resolution in a harassment case adds to the unique voice of the script. Additionally, the story includes moments of humor and lightheartedness, providing a refreshing and engaging take on the legal drama genre.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, fans of drama and legal thrillers
Marketability: It has the potential to attract a wide audience and generate buzz due to its timely and relevant subject matter, strong cast, and experienced creative team.
It has a unique blend of genres and explores compelling themes with a diverse cast, but may be limited by its niche subject matter.
It features compelling characters and a gripping storyline, but may struggle to stand out in a crowded marketplace.
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Memorable Lines:
- Harvey: I would say the ball’s in your court, but the truth is your balls are in my fist. (Scene 2)
- Harvey: The truth is... I do it for the children. (Scene 4)
- Rachel: Do me a favor, don’t poop on my laptop. (Scene 16)
- Harvey: I'm not about caring. I'm about winning. (Scene 14)
- Harvey: Being a success is about knowing the difference between having balls and having courage. (Scene 23)
Characters
John Smith:A brilliant but troubled young lawyer who is falsely accused of a crime.
Jane Doe:A brilliant but troubled young lawyer who is falsely accused of a crime.
Dr. Smith:A brilliant but troubled young doctor who is falsely accused of a crime.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - The LSAT Heist | "Suspenseful" | 8 | 9 | 9 | 5 | 7 | 4 | 7 | 8 | 9 | 0 | 8 | 9 | 0 | 6 | 8 | 9 | 9 | 9 | 8 | |
| 2 - Harvey Closes a Deal | "Confrontational" | 7 | 7 | 6 | 6 | 8 | 5 | 8 | 9 | 9 | 0 | 7 | 8 | 0 | 6 | 9 | 9 | 10 | 10 | 8 | |
| 3 - The Dealer Proposition | "Humorous" | 8 | 9 | 8 | 7 | 8 | 5 | 8 | 8 | 7 | 0 | 4 | 7 | 0 | 6 | 9 | 8 | 8 | 9 | 9 | |
| 4 - Morning After | "light-hearted" | 9 | 8 | 8 | 8 | 9 | 3 | 8 | 9 | 5 | 0 | 4 | 7 | 0 | 6 | 9 | 8 | 8 | 9 | 9 | |
| 5 - Family Matters | "Serious" | 8.5 | 9 | 9 | 5 | 9 | 8 | 8 | 8 | 8 | 0 | 9 | 9 | 0 | 9 | 9 | 9 | 9 | 10 | 9 | |
| 6 - Interviews and Deals | "Tense" | 8 | 8 | 9 | 5 | 7 | 6 | 8 | 7 | 8 | 0 | 9 | 8 | 0 | 6 | 7 | 8 | 9 | 10 | 10 | |
| 7 - Escape from the Ritz | "Tense" | 8 | 9 | 8 | 7 | 7 | 6 | 9 | 8 | 9 | 0 | 10 | 8 | 0 | 7 | 8 | 8 | 7 | 10 | 9 | |
| 8 - Mike Gets a Shot | "Serious" | 9 | 8 | 9 | 9 | 9 | 7 | 9 | 8 | 7 | 0 | 9 | 9 | 0 | 8 | 8 | 9 | 9 | 10 | 8 | |
| 9 - Entering the Law School | "Serious" | 8 | 8 | 8 | 4 | 7 | 3 | 8 | 9 | 5 | 0 | 3 | 8 | 0 | 5 | 7 | 7 | 7 | 9 | 8 | |
| 10 - First Day at Pearson, Hardman Law Firm | "Humorous" | 9 | 8 | 7 | 6 | 9 | 6 | 8 | 7 | 4 | 0 | 4 | 7 | 0 | 4 | 8 | 9 | 8 | 8 | 8 | |
| 11 - The New Hire | "Serious" | 10 | 9 | 10 | 8 | 10 | 7 | 7 | 8 | 8 | 0 | 9 | 9 | 0 | 8 | 9 | 9 | 8 | 9 | 9 | |
| 12 - The Partnership | "Serious" | 7 | 7 | 7 | 8 | 8 | 5 | 9 | 9 | 5 | 0 | 6 | 8 | 0 | 5 | 7 | 8 | 8 | 9 | 8 | |
| 13 - Nancy's Story | "Serious" | 8 | 7 | 8 | 6 | 8 | 7 | 8 | 9 | 8 | 0 | 8 | 8 | 0 | 8 | 8 | 8 | 8 | 9 | 9 | |
| 14 - The Suit and The Subpoena | "serious" | 9 | 8 | 9 | 8 | 8 | 6 | 8 | 9 | 7 | 0 | 5 | 9 | 0 | 7 | 9 | 9 | 8 | 9 | 9 | |
| 15 - Pearson Hardman's Expectations | "Tense" | 9 | 9 | 9 | 5 | 8 | 6 | 9 | 8 | 10 | 0 | 8 | 9 | 0 | 8 | 8 | 7 | 9 | 9 | 8 | |
| 16 - The Pro Bono Case | "Light-hearted, humorous" | 8 | 8 | 8 | 5 | 8 | 6 | 8 | 9 | 5 | 0 | 6 | 8 | 0 | 5 | 9 | 9 | 7 | 10 | 8 | |
| 17 - Researching and Strategizing | "Intense, serious" | 8.5 | 9 | 8 | 5 | 9 | 7 | 8 | 7 | 8 | 0 | 7 | 8 | 0 | 7 | 9 | 9 | 8 | 10 | 9 | |
| 18 - Courtroom Victory and Suit Shopping | "Witty, confident" | 9 | 8 | 9 | 6 | 10 | 6 | 9 | 9 | 9 | 0 | 9 | 8 | 0 | 7 | 10 | 7 | 8 | 9 | 8 | |
| 19 - Negotiations and Revelations | "Serious" | 9 | 8 | 9 | 6 | 10 | 5 | 8 | 9 | 9 | 0 | 9 | 9 | 0 | 7 | 9 | 8 | 8 | 9 | 9 | |
| 20 - Investigating Devlin McGreggor | "Serious" | 8 | 9 | 9 | 5 | 7 | 6 | 9 | 9 | 8 | 0 | 7 | 9 | 0 | 7 | 8 | 7 | 8 | 10 | 8 | |
| 21 - Betrayal and Testimony | "tense" | 8 | 8 | 9 | 7 | 7 | 7 | 9 | 8 | 9 | 0 | 8 | 8 | 0 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 22 - Deposition Disaster | "Tense" | 9 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 10 | 0 | 10 | 9 | 0 | 9 | 7 | 9 | 9 | 8 | 8 | |
| 23 - Testimony Troubles | "Tense" | 9 | 8 | 9 | 6 | 9 | 7 | 8 | 9 | 9 | 0 | 8 | 9 | 0 | 8 | 8 | 9 | 8 | 10 | 9 | |
| 24 - Promises and Ultimatums | "Dramatic" | 8 | 9 | 8 | 6 | 8 | 7 | 9 | 9 | 7 | 0 | 5 | 8 | 0 | 9 | 8 | 8 | 8 | 9 | 9 | |
| 25 - Convincing Joanna | "Tense" | 8.7 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 0 | 9 | 9 | 0 | 9 | 9 | 8 | 8 | 9 | 9 | |
| 26 - The Hunt for Justice | "dramatic" | 8 | 7 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 0 | 9 | 9 | 0 | 6 | 8 | 10 | 8 | 10 | 9 | |
| 27 - Redemption | "reflective" | 8 | 9 | 7 | 6 | 9 | 8 | 8 | 9 | 5 | 0 | 6 | 7 | 0 | 7 | 8 | 9 | 8 | 9 | 8 | |
Scene 1 - The LSAT Heist
- Overall: 8.0
- Concept: 9
- Plot: 9
- Characters: 7
- Dialogue: 8
Written by
Aaron Korsh
Sixth Revised Network Draft
December 3rd, 2009
A Legal Mind 1.
ACT ONE
INT. LSAT TESTING FACILITY - AFTERNOON
We open on a sign in large letters, “30 MINUTES LEFT.” As a
hand replaces “30” with “15;” REVEAL a large room filled with
college students furiously racing to finish the LSAT test.
We pan across to the one figure who seems unfazed. MIKE ROSS
(Mets hat, short-hair, glasses, goatee) has already finished
and is doodling on the back of the test.
Mike notices a PROCTOR walk by, looking at him curiously. He
quickly turns the test over and pretends to nervously work on
it. We speed up time as the “MINUTES LEFT” sign goes from
“10” to “5” to 4,3,2,1. Finally the proctor yells:
PROCTOR
Time’s up. Pencils down.
Mike blends in with the students and tosses his test on the
pile. As he leaves, the proctor moves the pile to the side,
leaving Mike’s test on top, then he taps Mike from behind.
PROCTOR
Excuse me. Do I know you from somewhere?
We see anxiety momentarily cross Mike’s face. He swallows,
then turns around to see the Proctor looking at him intently.
MIKE
I don’t think so. I have a very good
memory for faces.
The Proctor shrugs, he must be wrong. Mike walks away. The
Proctor hesitates, thinks to himself, then turns to pick up
Mike’s test; the pile’s knocked over, no way to tell which is
the one he wants. He turns back; no Mike. He yells...
PROCTOR
Hey!
He fights through a group of students to get out the door...
INT. HALLWAY OUTSIDE LSAT TEST - CONTINUOUS
Mike’s just outside the door. He breaks into a run around
the corner to a door at the end of the hall. No good, jammed
with students, he won’t have time to get through. As he runs
to his right, he trips over a GUY WEARING A METS SHIRT.
A Legal Mind 2.
INT. LSAT TEST FACILITY/HALLWAY - CONTINUOUS
The proctor bursts through the throng of students and runs to
the door where Mike just was. He sees Mike from behind. He
grabs him, turns him around... it’s not Mike. The guy with
the Mets shirt is now wearing Mike’s Met’s cap. The proctor
looks down the hall, sees a men’s room and runs toward it.
INT. MEN’S ROOM - CONTINUOUS
Mike is in a stall. Without his Mets cap, his hair comes
down to his shoulders. He quickly removes his glasses and
the fake goatee he had on and flushes them. He exits the
stall, looking 100% different than he did seconds ago...
INT. HALLWAY OUTSIDE MEN’S ROOM - CONTINUOUS
A transformed Mike walks back down the hall with confidence.
He doesn’t break stride as the proctor runs by without even
noticing his existence. A small smile crosses his face...
INT. A SMALL APARTMENT - LATER
Mike knocks on the door of an apartment. It opens. The
YOUNG MAN looks exactly like Mike did at the LSAT’s. Short
hair, glasses, goatee. Mike returns his driver’s license.
MIKE
Here.
YOUNG MAN
What did you get me?
MIKE
What I said I was going to... a 158.
YOUNG MAN
I told you I wanted a 175.
MIKE
And I told you only one out of hundred
people can score that. You’re a B-minus
student who got a thousand on the SAT’s.
I get you a 175 they’ll know you cheated.
YOUNG MAN
So only a genius loser can get a 175?
MIKE
Actually, I’d get a 180. Now, can I have
my money please?
The Young Man hands Mike a wad of cash. Mike counts it.
A Legal Mind 3.
MIKE
This is only half.
YOUNG MAN
Then why don’t you go call the police?
The Young Man slams the door in Mike’s face.
EXT. MANHATTAN SKYLINE - 9:00 PM
We pan across the water to the facade of a gorgeous office
complex at the southern tip of the city. The offices in the
building are all dark. Except one. We ZOOM IN:
INT. STATE OF THE ART CONFERENCE ROOM - CONTINUOUS
Two highly paid teams of LAWYERS SCREAM across the sleekest
conference table ever made. A young lawyer, LOUIS LITT, (33,
slick, arrogant) quietly exits.
INT. HALLWAY/KATHERINE PEARSON’S OFFICE - CONTINUOUS
Louis is in the doorway of, “Katherine Pearson, Managing
Partner.” Louis knocks. Katherine (50’s, distinguished)
doesn’t look up.
LOUIS
We have a problem. The deal’s falling
apart.
KATHERINE
Go get Harvey.
INT. PARK AVENUE CONDOMINIUM - SAME
Five well-heeled men play poker in the most expensive condo
in Manhattan. CLOSE ON HARVEY SPECTER, 42, with Clooney
looks. He’s fit, confident, takes pride in being well-
dressed. He watches as the river card is turned... A GREY
HAIRED MAN smiles at Harvey as he pushes in his chips.
GREY HAIR
Raise fifty thousand.
HARVEY
I’m all in.
Harvey smiles back as he pushes a stack of chips three times
the size of Grey Hair’s bet into the pot.
INT. KATHERINE PEARSON’S OFFICE - SAME
Katherine is still at her desk. Louis knocks again.
A Legal Mind 4.
LOUIS
Gerald Tate is here. He wants to know
what’s happening to his deal.
KATHERINE
Louis, didn’t I tell you to get Harvey?
LOUIS
Trust me, I can handle Gerald Tate.
Katherine looks up as if noticing Louis for the first time.
KATHERINE
No. You can’t.
Scene 2 - Harvey Closes a Deal
- Overall: 7.0
- Concept: 7
- Plot: 6
- Characters: 8
- Dialogue: 9
Harvey and Grey Hair are where we left them.
HARVEY
The problem is, if you call, I’m going to
turn over two aces, and you’ll lose.
GREY HAIR
Yeah, yeah. And if I fold, you’ll show
me the bluff and it’ll kill me.
HARVEY
If you fold, I’m not showing you anything.
A beat. Grey Hair pushes his chips in. Harvey throws his
cards down, revealing two aces...
HARVEY
That’s two hundred thousand.
(reads a text message, then)
You can pay me later... I’ve got to go.
INT. KATHERINE PEARSON’S OFFICE - 10:00 PM
GERALD TATE (55, street smart, ex-prize fighter) yells at
Katherine. Harvey saunters in unnoticed in his $4,000 suit.
GERALD
I don’t care who’s on his way. I’m
paying you millions, and you’re telling
me I’m going to get screwed?!
HARVEY
Katherine, have I come at a bad time?
She cracks a smile. The cavalry is here. She hands Harvey a
stack of deal memos. Harvey proceeds to examine them.
A Legal Mind 5.
KATHERINE
Gerald, I’d like you to meet Harvey
Specter. He’s our best attorney.
GERALD
If you’re their best attorney, where the
hell have you been the last three hours?
A moment. Harvey speaks calmly while scanning the memos.
HARVEY
Well, Gerald, I specialize in troubled
situations. And when I left here at 7:00
PM this deal wasn’t in jeopardy. So,
what I’m trying to do now is understand
what happened in the interim.
GERALD
We keep raising the price and they keep
rejecting it. It’s last minute bad faith
bullshit.
Harvey ignores Gerald and continues scanning.
HARVEY
It says here Cooper’s no longer staying
on as honorary Vice President.
GERALD
That’s right. I don’t want him around.
HARVEY
He... wouldn’t be around. It’s an
honorary position.
GERALD
I don’t give a crap.
Harvey puts the memo down and looks Gerald in the eye.
HARVEY
I think you do. Because that’s what
changed since I left. Which means it’s
you who’s been dealing in bad faith.
GERALD
Well, now that you’ve gotten a handle on
what’s happened in the God damn interim,
what are you going to do about it?
Because he’s not getting that title.
Harvey casually pours a glass of water.
A Legal Mind 6.
HARVEY
Let me just make sure I understand. We
negotiated a deal that got you everything
you wanted. Mr. Cooper signed it. And
now you won’t close until we take away
the last shred of his dignity?
GERALD
Bingo.
HARVEY
Well, that’s not going to happen.
He offers the water. Gerald looks at it with contempt, then:
GERALD
Why the hell not?
HARVEY
Because I like Mr. Cooper. And my firm
doesn’t operate in bad faith.
Harvey drinks the water himself.
GERALD
How I see it is, instead of working
Cooper, you’re working me. So take your
faggoty attitude back in there and make
him sign my deal or I’ll pay someone else
your money to do it for me.
HARVEY
First of all, Gerald, if you think anyone
is gonna touch this deal after your bad
faith, you’re mistaken. Second, the way
our agreement works is the minute Cooper
signed the deal that gave you everything
you wanted, our fee was due and payable.
Harvey reaches into his jacket pocket.
HARVEY
Which is why at 7:30, I received
confirmation of a wire transfer from
escrow indicating payment in full.
He removes a fax.
HARVEY
I would say the ball’s in your court, but
the truth is your balls are in my fist.
I apologize if that image is too faggoty
for you, but I’m comfortable enough with
my manhood to put it out there.
A Legal Mind 7.
Harvey holds out the fax to Gerald, who is dumbstruck.
HARVEY
Now get your ass in there and close this
God damn deal.
GERALD
(to Katherine)
You let him talk to me like this?
KATHERINE
Harvey speaks for the firm.
Gerald exits the office. Katherine leans in to Harvey.
KATHERINE
We got paid before Gerald signed the
deal?
HARVEY
This is a memo about some fire drill on
Tuesday. By the way, you’re blue team
captain. You get to wear a fire hat.
Scene 3 - The Dealer Proposition
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 9
Leather couch, plasma TV, weed on the table; this is the pad
of a bachelor with serious disposable income. TREVOR, clean
cut, 22, suit and tie, takes a bite of a cheeseburger and
savors it. Mike looks at the bong, shakes his head to
himself and then turns to Trevor...
MIKE
I’ve got to get my shit together.
TREVOR
This is the best cheeseburger I’ve ever
had in my life.
MIKE
It’s from Monday. Trevor, I’m serious.
I almost got caught today, then my client
stiffed me for half. I’m sick of this
life. I’ve gotta stop getting stoned and
get my act together.
TREVOR
Dude, look at me. You can bake up and
still be a success.
MIKE
You sell pot for a living.
A Legal Mind 8.
TREVOR
It still saps the motivation. Look, all
I’m saying is, you want in, you are in.
MIKE
That’s basically your offer before I got
caught cheating on your math test in
third grade.
TREVOR
Goddamn memory.
MIKE
And by the way, it’s your offer on every
shady thing you’ve gotten me involved in.
TREVOR
How was I supposed to know that chick was
the dean’s daughter? Look, nobody’s ever
going to suspect you’re a dealer.
Trevor indicates his clean cut image and suit and tie.
TREVOR
Look at me. This is a two-thousand
dollar suit, I’ve got twelve of them.
Trevor starts counting on his fingers.
TREVOR
I have an office, I take on real software
projects, my clients wear suits... They
give me briefcases of cash, I give them
identical briefcases with vacuum sealed
bud. I’m telling you, hide in plain
sight... oldest trick in the book.
MIKE
So what do you need me for?
TREVOR
I leave town tomorrow, I’ve got a client
coming in wants to meet at the Ritz. I
need somebody I trust to make the drop.
It’s totally safe. Come on, help me out.
MIKE
You know, one stands a greater chance of
dying while dealing drugs than on death
row in Texas. Which begs the question:
why would anyone deal drugs?
TREVOR
What are you talking about?
A Legal Mind 9.
MIKE
It’s from “Freakonomics,” which I suggest
you read. But whether you do or you
don’t, you’ll have to find someone else,
because I’m not interested.
JENNY (O.S.)
Not interested in what?
JENNY GRIFFITH, Trevor’s girlfriend, has entered the condo
without them noticing. She’s 22, dresses like a student, and
has no idea that Trevor deals pot. Trevor is defensive.
TREVOR
What are you doing here? I thought you
were sleeping at your place tonight.
JENNY
(what he should have said)
Hey, sweetie, what a pleasant surprise.
I’m so glad you stopped by.
She kisses Trevor then turns to Mike.
JENNY
Not interested in what?
Mike and Trevor share a look, “What should we say?”
MIKE
Trevor’s trying to set me up.
JENNY
(covering)
That’s terrific. Who’s the lucky girl?
TREVOR
I was trying to get him to work for me.
JENNY
(brightening)
That’s a great idea. It would take some
stress off of Trevor. And you’d pick up
writing code like you do everything else.
MIKE
I’m gonna take off. I’ve got to get up
early to see my grandmother.
As Mike heads out, Jenny squeezes his hand.
Scene 4 - Morning After
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
Harvey and Katherine sit surrounded by beautiful people.
A Legal Mind 10.
KATHERINE
By the way, I’ve set up a meeting with
you and John Dockery next week.
HARVEY
Dockery? He’s Skadden’s biggest client.
KATHERINE
Not anymore. He’s looking around. He’s
asked us to do a preliminary evaluation
of his corporate structure and assess
where he’s vulnerable to a takeover. I
want you to charm him and close him.
HARVEY
Consider it done.
A stunning WAITRESS approaches with their drinks. As
Katherine takes hers, she indicates Harvey to the waitress.
KATHERINE
Miss, you are looking at the best closer
this city has ever seen.
HARVEY
(to waitress, not embarrassed)
Katherine, please you’re embarrassing me.
WAITRESS
Closer, huh? Baseball?
HARVEY
Attorney. I close situations.
WAITRESS
So all you care about is money?
HARVEY
The truth is... I do it for the children.
WAITRESS
Handsome, wealthy, and funny... what do
you think you’re some kind of super hero?
HARVEY
I don’t like to toot my own horn. I feel
that question is best answered by one of
the many people whose lives I’ve saved.
She laughs.
WAITRESS
I’m Lisa.
A Legal Mind 11.
HARVEY
Harvey.
LISA
Well, Harvey, I don’t usually do this,
but I’m off in ten minutes. You want to
take me out for a drink?
HARVEY
Your timing couldn’t be more perfect.
Katherine here was just leaving.
Katherine is just starting to sip her full drink.
INT. MIKE’S STUDIO APARTMENT - NEXT MORNING
The unit’s barely larger than the table at the law firm.
Mike is asleep on a pullout that takes up the entire place.
An alarm rings. Mike hits snooze and goes back to sleep.
INT. EXQUISITE WEST END TOWN HOME - SAME
Katherine is eating an early breakfast with her mentor,
PHILLIP, a distinguished man in his seventies. His elegantly
appointed home resembles the Metropolitan Museum of Art.
KATHERINE
...point is I can see myself stepping
down as senior partner in five years.
PHILLIP
Seems like it’s only been ten minutes
since I handed the reins to you.
KATHERINE
It hasn’t. Time just moves a lot faster
when you’re a hundred and sixty.
She smiles. There’s a pause...
PHILLIP
What’s the matter?
KATHERINE
How did you know I was your successor?
PHILLIP
The truth? My gut. It told me you were
the only one with the balls for the job.
KATHERINE
That’s what I was afraid you were going
to say. My gut tells me it’s Harvey.
But my heart tells me he’s not ready.
A Legal Mind 12.
PHILLIP
What’s he missing?
KATHERINE
Compassion.
PHILLIP
Makes sense. The killer instinct that
makes him a great lawyer is what concerns
you about making him senior partner.
KATHERINE
Exactly. If the leader of a firm doesn’t
care about the people who work for him or
the clients he represents... there won’t
be much of a firm left to lead.
Phillip refills her coffee.
PHILLIP
You know, you weren’t completely ready.
And he does have some years to learn.
KATHERINE
But compassion. I’m not sure you can
learn that.
PHILLIP
What are you going to do about it?
KATHERINE
What would you do about it?
PHILLIP
A man’s missing compassion? I’d shove
it down his throat.
KATHERINE
How?
PHILLIP
I imagine the opportunity will present
itself.
INT. HARVEY’S BEDROOM - SAME
Expansive, overlooking Central Park... if this bedroom were
an apartment, it’d go for $7,000 a month. Harvey leans over
a sleeping Lisa, the waitress from the night before and gives
her a kiss. She looks at the time.
HARVEY
Lisa, this was lovely, but it’s time to
go. I need to be in the office by 7:30.
A Legal Mind 13.
LISA
Can’t we hang out a little? I can make
you some breakfast.
HARVEY
As tempting as that sounds, I’m afraid I
hate to miss a workout, and I really want
to get into the office before 7:30.
LISA
That’s too bad. I was thinking maybe you
could eat it off my stomach.
She pulls her shirt up. Harvey takes in her fantastic body.
HARVEY
I guess if I skip the gym, I can still
get in by nine.
Scene 5 - Family Matters
- Overall: 8.5
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
Mike walks with the head physician at his grandmother’s
nursing home, DOCTOR SHRAGER. She’s a kindly, older woman.
DOCTOR SHRAGER
Your grandmother’s getting worse. I need
to move her to full care, or I’ll have to
transfer her to a state facility.
MIKE
I won’t put her in a state facility.
DOCTOR SHRAGER
Then you’ll have to come up with $10,000.
MIKE
Then I will.
They stop outside a room. Shrager pats Mike affectionately,
then exits. Mike’s GRANDMOTHER (75, frail) is reading. He
approaches her. They hug. Mike sees her meds on the table.
MIKE
I hear you’re not taking your pills.
GRAMMY
Because they’re trying to poison me.
MIKE
That’s nonsense. Doctor Shrager assured
me she wouldn’t poison you until January
at the earliest. She reached this year’s
quota, and if she does it before January,
she can’t count it as a 2009 poisoning.
A Legal Mind 14.
She eyes Mike suspiciously, then takes the pills.
MIKE
Now what did I teach you?
She and Mike tap fists.
GRAMMY
Michael, I’m worried about you. I’m not
going to be around forever, and -- I want
you to stop with that... stuff.
MIKE
You... know about that?
GRAMMY
I’ve got early stage Alzheimer’s, I’m not
an idiot. I know life’s been hard for
you, and you went looking for comfort.
But comfort has consequences. You’re not
a kid anymore. I want you to promise
you’ll start living up to your potential.
MIKE
I promise.
She takes her book and starts reading. Mike sees the book is
upside down. He tears up and walks out.
INT. KATHERINE’S OFFICE/HALLWAY - 9:30 AM
Harvey enters to see Katherine and Louis.
LOUIS
9:30. Nice of you to join us, Harvey.
And I see you’re dressed like a pimp.
HARVEY
My bad, Louis, I was out late after the
huge deal I closed for the firm last
night, and when I woke up, this was the
suit your wife picked out for me.
Harvey casually takes a sip of his coffee.
KATHERINE
Moving along. Harvey, interviews are set
up at the Ritz tomorrow.
HARVEY
What? Why didn’t we just hire that
Harvard summer intern douche?
A Legal Mind 15.
KATHERINE
I think if you listen to the phrasing of
that question, you’ll come up with the
answer.
HARVEY
What do you expect from Harvard? Book
smarts, no street smarts. We need people
with balls who can think on their feet,
not another clone with a rod up his ass.
LOUIS
Harvey, the fact that we only hire from
Harvard gives us a cache that’s more
valuable than a kid from SUNY Binghamton.
Harvey indicates that he can’t hear...
HARVEY
Louis, if you’re going to talk out of
your ass, you have to remove the rod.
KATHERINE
You went to Harvard Law.
HARVEY
I’m an exception.
KATHERINE
Then find another one.
HARVEY
Then let me skip the recruiting. I work
alone anyway.
KATHERINE
I would, Harvey, but all partners get an
associate. It’s just a rule.
Louis, caught off-guard turns to Katherine heatedly.
LOUIS
What? I deserve that partnership. I run
the lower level associates, my billable
hours destroy his and I am here night and
day doing whatever’s asked of me instead
of swanning in and out whenever I please.
HARVEY
I have to admit, he does make me sound
very swan-like.
A Legal Mind 16.
LOUIS
Watch it, Harvey. You’re not partner
yet, and I’ve been an attorney here two
years longer than you.
HARVEY
Yet the only skill you’ve developed is
kissing Katherine’s ass.
KATHERINE
Harvey, you won, shut up. Louis, this is
how it is. Now you two make nice.
HARVEY
Louis, I’m sorry. I was out of line with
the ass-kissing comment and I apologize.
Harvey holds his hand out. Louis reluctantly shakes it.
HARVEY
Now if you’ll excuse me, I have to call
your wife and tell her the man she loves
just made partner.
(off Katherine’s disapproval)
What? Too far? Come on, it’s my way of
showing there’s no hard feelings.
INT. NURSING HOME HALLWAY/LOBBY - MOMENTS LATER
Mike walks through the hallways. He dials his cell. Then:
MIKE (INTO PHONE)
Trevor, I’m in. One time deal, I want
twenty-five. Take it or leave it.
INT. DRUG DEALER’S LIVING ROOM - NEW JERSEY - SAME
Trevor’s with THREE WELL-DRESSED MEN holding weapons.
They’re surrounded by briefcases filled with cash and
marijuana. Intercut Trevor and Mike.
TREVOR (INTO PHONE)
I’ll take it. There’s a briefcase in my
room with the stuff, pick it up tomorrow.
But you can’t take it into a luxury hotel
looking like a delivery guy. So you need
to shave, get a haircut and buy a suit.
MIKE (INTO PHONE)
That’s a hell of a lot to ask.
TREVOR (INTO PHONE)
I’m not just asking you. I’m paying you
twenty-five thousand dollars.
A Legal Mind 17.
Scene 6 - Interviews and Deals
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 7
Harvey approaches his career-long secretary, DONNA. She’s in
her 30’s, good-looking, and would take a bullet for Harvey.
HARVEY
Donna, clear my day tomorrow. You and I
are hiring a new associate.
DONNA
Done.
Harvey checks to make sure no one’s looking. Then, quietly:
HARVEY
Does this suit make me look like a pimp?
Donna holds out her palm, indicating maybe.
INT. DRUG DEALER’S LIVING ROOM - NEW JERSEY - SAME
Trevor hangs up the phone and turns to the main dealer.
TREVOR
He’s in. I’m gonna grab a beer.
Trevor exits. The main dealer turns to an underling.
DEALER #1
Good. In twenty four hours we’ll know if
this new buyer’s a cop.
INT. HALLWAY OUTSIDE DRUG DEALER’S LIVING ROOM - CONTINUOUS
Trevor turns back around -- he forgot something. He hears...
DEALER #2 (O.S.)
Why didn’t you tell Trevor he might be
sending the guy into set up?
DEALER #1 (O.S.)
Same reason I don’t tell Gina I’m bangin’
her sister. It’ll only cause trouble...
The dealer and his cronies laugh. Trevor’s face falls as
Dealer #1 comes around the corner. Trevor smiles weakly...
TREVOR
I was just thinking I should get going.
DEALER #1
No. You shouldn’t.
END OF ACT ONE
A Legal Mind 18.
ACT TWO
INT. TREVOR STEVENS’ CONDOMINIUM - NEXT MORNING
Mike, clean cut and wearing a suit, grabs the briefcase and
heads for the door. Jenny enters. Mike is startled.
MIKE
You scared the hell out of me.
JENNY
Sorry. Look at you. You look great.
Tell me you decided to work with Trevor.
MIKE
Trial basis. What are you doing here?
JENNY
Wanna hear something ridiculous? My mom
is coming by my place later and I don’t
want to mess it up, so I’m hanging here.
MIKE
That’s not so bad.
JENNY
That’s not the ridiculous part. After I
finish scouring the place for her visit,
I sprinkle a tee-ny bit of crumbs around.
MIKE
Why?
JENNY
Because I don’t want her to think I scour
the place just for her visit.
MIKE
That is ridiculous.
JENNY
I know. That’s what I just said.
Mike and Jenny share a smile. He starts out, she stops him.
JENNY
You want to look perfect your first day.
Jenny fixes Mike’s tie, it’s very intimate. She finishes,
noticing he’s staring at her. A moment, then:
JENNY
Do you ever wonder what would have
happened if you and I had met first?
A Legal Mind 19.
MIKE
(beat)
I’ve got to go.
INT. RITZ-CARLTON - SUITE 205 OUTER ROOM - SAME
DONNA sits at a desk, waiting for the wave of interviewees.
Harvey pokes his head out of the inner room.
HARVEY
Donna, do me a favor, give each guy a hard
time before you send him back. Then give
me a wink if they say something clever.
DONNA
What are you looking for?
HARVEY
I’ve gotta work with this guy a long
time. I’ve got to understand him, relate
to him, and trust him. Which means I’m
looking for another me.
DONNA
Got it. Witty, charming, ballsy, thinks
he’s the smartest one in the room...
HARVEY
That’s why I love you. You get me.
INT. RITZ-CARLTON HOTEL - LOBBY - A LITTLE LATER
Mike enters to see a group of students under a sign: “Harvard
Law Interviews: Suite 205.” They’re dressed like Mike: blue
suits, white shirts, blue ties. Mike heads inside, nervous.
INT. RITZ-CARLTON - SUITE 205 OUTER ROOM - MINUTES LATER
A young, straight-laced applicant stands in front of Donna.
DONNA
What gives you the nerve to think we’re
going to let the whitest person I’ve ever
seen interview for our law firm?
INTERVIEWEE #1
I... Because... I have an appointment.
Harvey checks to see if she’ll wink: She shakes her head no.
INT. RITZ-CARLTON BATHROOM/HALLWAY/ELEVATOR - A LITTLE LATER
Mike stands in front of the mirror, puts water on his face,
wipes it off, and looks at himself. He takes a deep breath.
A Legal Mind 20.
MIKE
You can do this.
He picks up his briefcase, and heads out of the bathroom. We
follow Mike back to the lobby. An elevator arrives. DING.
Mike steels himself, gets on, and presses the fourth floor.
INT. RITZ-CARLTON - SUITE 205 OUTER ROOM - MINUTES LATER
Another applicant stands in front of Donna. He’s very short.
DONNA
Wow. Are you sure you’re tall enough to
go on this ride?
He answers in an extremely high-pitched, meek voice.
INTERVIEWEE #2
I don’t appreciate derogatory statements
about my physical characteristics.
Harvey looks out: Donna, amused, shakes her head no.
Scene 7 - Escape from the Ritz
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
Mike exits the elevator. He checks his watch: thirty seconds
to ten. He walks down the hallway slowly. There’s a BELLMAN
in a RED uniform walking a MAN IN A SUIT to suite 412.
FLASHBACK MIKE’S MEMORY - RITZ-CARLTON ENTRANCE EARLIER
We see the scene as Mike entered; the uniforms are BLUE.
INT. RITZ-CARLTON HALLWAY - CONTINUOUS
Something isn’t right. The two men are staying in the room’s
entrance. Mike continues walking slowly.
FLASHBACK MIKE’S MEMORY - RITZ-CARLTON ENTRANCE EARLIER
Again, the scene as Mike entered the hotel. This time there
is a sign, “Pool is Closed Due to Construction.”
INT. RITZ-CARLTON HALLWAY - CONTINUOUS
Mike keeps walking toward them. He approaches the bellman.
MIKE
Excuse me, I was thinking of going for a
swim. Are the pool facilities here nice?
BELLMAN
Of course, sir, this is the Ritz-Carlton.
A Legal Mind 21.
MIKE
Thank you.
(to man in suit)
Oh and do you have the time?
The man in the suit holds out his arm to check his watch,
Mike sees that he’s got a gun inside his jacket pocket.
SUIT
It’s ten o’clock.
MIKE
Thank you.
Mike walks down the hall and turns the corner.
BELLMAN
He saw your gun.
SUIT
You think that’s him?
BELLMAN
Matches the description. But he didn’t
go in the room.
SUIT
It’s ten exactly, he’s just walking by?
BELLMAN
It is a hotel.
SUIT
And by coincidence our guy’s nowhere in
sight.
BELLMAN
What do you want me to do? If our guy
shows up, you don’t look right standing
here without a bellman.
SUIT
Go after him. Stay on the radio.
The bellman runs around the corner. The hallway is empty.
At the end of it is a stairway. He runs toward it.
INT. RITZ-CARLTON STAIRWAY - THIRD FLOOR - CONTINUOUS
Mike books down the stairs, as he passes the third floor
landing, the briefcase SLAMS into the stairway railing.
A Legal Mind 22.
FLASHBACK MIKE’S MEMORY - RITZ-CARLTON ENTRANCE EARLIER
The group of Harvard Law students pass in front of Mike.
Again the sign reads, “Harvard Law Interviews: Suite 205.”
INT. RITZ-CARLTON STAIRWAY - SECOND FLOOR - CONTINUOUS
Mike lands on the stairwell, again the briefcase gets SLAMMED
as he bursts into the hall. As the door slowly closes...
INT. RITZ-CARLTON STAIRWAY - FOURTH FLOOR - CONTINUOUS
The bellman opens the stairway door. He looks down...
nothing. He looks up... nothing. Click. He hears the
second floor door close. He races down the stairs.
INT. RITZ-CARLTON - SUITE 205 OUTER ROOM - A LITTLE LATER
A nervous, young-looking INTERVIEWEE #3, approaches Donna.
DONNA
Kid, what’s wrong with you? You look
like you’re eleven years old.
INTERVIEWEE #3
(extremely nervous)
I... I was late to puberty.
The Kid runs out. Harvey sticks his head out. Donna throws
up her hands. Donna calls out to the other applicants.
DONNA
Rick Sorkin?... Rick Sorkin?
INT. RITZ-CARLTON HALLWAY/SUITE 205 OUTER ROOM - CONTINUOUS
Mike tries to stop breathing heavily as he walks the hall
toward Suite 205. He opens the door to the suite. It is
filled with men who look and are dressed exactly like him.
DONNA (O.S.)
Mr. Sorkin, you’re five minutes late. Do
you have a reason I should let you in?
Mike looks over to see Donna. He stares at her. A beat.
MIKE
I’m only here to ditch the cops. I don’t
care if you let me in or not.
Harvey opens the door to meet Mike. Donna gives him a wink.
As Mike enters the door, we see that the latch on the
briefcase has come loose from being slammed...
A Legal Mind 23.
INT. RITZ-CARLTON HOTEL - SUITE 205 - MOMENTS LATER
Mike and Harvey shake hands.
MIKE
Rick Sorkin.
HARVEY
Harvey Specter. Nice to meet you.
As they shake hands, the briefcase bursts open. Harvey sees
the mound of pot. Mike looks busted.
INT. RITZ-CARLTON HALLWAY/SUITE 205 OUTER ROOM - CONTINUOUS
The bellman enters and realizes there are twenty men who look
exactly like Mike. He looks suspiciously at everyone.
DONNA
Can I help you?
INT. GERALD TATE’S OFFICE - CONTINUOUS
Gerald sits at his desk. His secretary appears at the door.
SECRETARY
There’s a Louis Litt here to see you.
GERALD
Who the hell is Louis Litt?
SECRETARY
He says he’s your lawyer.
GERALD
Send him in.
The secretary exits. A moment. Louis appears at the door.
LOUIS
Mr. Tate, I have information that I
believe will lead you to the conclusion
that you’re better served at Pearson,
Hardman with me as your lead counsel.
GERALD
Come in, have a seat.
Scene 8 - Mike Gets a Shot
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Harvey and Mike sit together. Harvey leans in, fascinated.
HARVEY
How did you know they were the police?
A Legal Mind 24.
MIKE
I read a novel in elementary school. The
cops were staking out a hotel and they
posed as a bellhop and a man in a suit.
It was the exact same thing.
HARVEY
You read a novel in elementary school?
MIKE
What? I like to read.
HARVEY
Why did you ask them what time it was?
MIKE
To throw them off. What drug dealer asks
a cop what time it is while he’s carrying
a briefcase full of pot?
Harvey shakes his head in awe.
HARVEY
Now that is ballsy thinking under fire.
We should hire you. Jesus, I’d give you
the twenty-five grand as a signing bonus.
MIKE
I’ll take it.
HARVEY
Unfortunately, we only hire from Harvard.
And you not only didn’t go to Harvard Law
School, you didn’t go to any law school.
MIKE
What if I told you I consume knowledge
like no one you’ve ever met, and I’ve
actually passed the bar?
Harvey looks at Mike, “I’d say you’re full of shit.” Mike
points at a book sticking out of Harvey’s bag.
MIKE
I notice you have a Barbri Legal Handbook
with you. Open it up, read me something.
Harvey looks skeptical, but he opens up the book.
HARVEY
“Civil liability associated with agency
is based on several factors including --”
A Legal Mind 25.
MIKE
“-- the deviation of the agent from his
path, the reasonable inference of agency
on behalf of the plaintiff, and the
nature of the damages themselves.”
HARVEY
(looking up, stunned)
How did you do that?
MIKE
I learned it when I studied for the bar.
HARVEY
Okay, hot shot, fire up that laptop, I’ll
show you what a Harvard Attorney can do.
That’s my database of every legal issue
in existence. Pick one.
Harvey jumps up and points for Mike to sit at his laptop.
Mike punches the arrow key a couple times and hits enter.
MIKE
Stock option backdating.
HARVEY
Although backdating options is legal,
violations arise related to disclosures
under both FASB 123R and Internal Revenue
Code Section 409A.
MIKE
You forgot The Sarbanes Oxley Act of ‘02.
HARVEY
The statute of limitations renders
Sarbanes Oxley moot post 2007.
Mike peers closely at the screen while clicking the mouse.
MIKE
Not if you can find actions to cover up
the violation, as established in the
sixth circuit, May 2008.
HARVEY
Impressive, but you are at a computer.
MIKE
(turning the screen to Harvey)
I’ve been playing hearts: If you’re gonna
beat me, it better be at something else.
Harvey is stunned.
A Legal Mind 26.
HARVEY
How can you know all that --
MIKE
I told you. I like to read. And once I
read something, I understand it. And
once I understand it, I never forget it.
HARVEY
Why take the bar?
MIKE
Some dickhead bet me I couldn’t pass it
without going to law school.
HARVEY
How long did he give you to study?
MIKE
Four months. It was two months longer
than I needed.
Harvey begins to actually consider Mike’s proposition.
HARVEY
Do you really want this job?
MIKE
When I was in college my dream was to be
a lawyer. My grandmother needed money
and Trevor convinced me to memorize some
math test and sell it. Turns out we sold
it to the dean’s daughter. I lost my
scholarship and got thrown out of school.
Mike pauses, as if remembering how it felt... then:
MIKE
I got knocked into a different life, I’ve
been wishing for a way back ever since.
HARVEY
I had someone take a chance on me once.
But before she did, she made damn sure I
was committed to the job. I’m talking
about work. Long hours, high pressure,
no fucking around. I need an adult.
MIKE
You give me this, I’ll work as hard as it
takes to school those Harvard douches,
and be the best lawyer you’ve ever seen.
Harvey looks at a piece of paper he’s written something on.
A Legal Mind 27.
HARVEY
I’m inclined to give you a shot. But
what if I decide to go another way?
MIKE
I’d say, fine. Sometimes I like to hang
out with people that aren’t that bright
just to see how the other half lives.
We see the paper says, “Thinks he’s the smartest one in the
room.” Harvey grins:
HARVEY
Move over. I’m emailing the firm I’ve
found our next associate.
(as he types)
By the way, the bet with the dickhead,
how much was it for?
MIKE
(joking)
Aaah, I can’t remember.
They both laugh. Harvey is finished emailing.
HARVEY
All right, you start a week from Monday.
Here’s what you’re gonna do...
Scene 9 - Entering the Law School
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Mike packs a small bag with a couple of days worth of clothes
as the rest of their conversation continues in voice over.
HARVEY (V.O.)
First off, that’s it for the pot. We
drug test. Stop now, you’ll be fine. I
assume that’s all the drugs you do.
MIKE (V.O.)
(Harvey was on the money)
How do you know that?
HARVEY (V.O.)
You read books, I read people. And pot
heads smoke pot. That’s what they do.
MIKE (V.O.)
That’s not all I do.
Mike takes a tiny bag of pot and heads into the bathroom.
A Legal Mind 28.
HARVEY (V.O.)
You’re Albert freaking Einstein, but you
couldn’t manage to go to law school. You
think that’s not from pot?
MIKE (V.O.)
Trevor got me kicked out of college. How
would I have gotten into law school?
Mike hesitates, then flushes the bag down the toilet.
HARVEY (V.O.)
That’s another thing. You’re gonna ditch
that briefcase and your boy Trevor.
Mike checks his cell: he’s had six missed calls from Trevor.
HARVEY (V.O.)
Then you’re gonna get on a plane to
Harvard and you’re gonna learn everything
there is about going to law school there.
Mike pulls out the briefcase with the pot from behind the
couch. He shoves it to the back of his oven, puts a couple
pizza boxes in front to hide it, closes the oven and exits.
HARVEY (V.O.)
Now get out of here. Oh, one more thing,
buy some better suits. You look like a
Bar Mitzvah boy. And not in a good way.
EXT. AIRPLANE - A LITTLE LATER
The plane takes off as we hear the flight attendant.
FLIGHT ATTENDANT (V.O.)
Ladies and gentlemen, welcome to Delta
Flight 96 with direct service to Boston.
INT. HARVARD LAW SCHOOL - ADMISSIONS OFFICE - LATER
Mike approaches a dour looking old woman behind a desk.
MIKE
Excuse me, I was wondering how to sign up
for the four o’clock law school tour?
OLD WOMAN
You go back in time six weeks, because
that’s when the four o’clock booked up.
(off Mike’s look)
This is Harvard Law School, we get over
seven thousand applications a year. You
think you just walk in and take a tour?
A Legal Mind 29.
EXT. HARVARD LAW LIBRARY - THREE FIFTY FIVE PM
Twenty people with name tags are in front of a sign: “Harvard
Law School Tour.” Mike sees a very cocky-looking YOUNG MAN
by himself. Mike approaches and reads his name tag...
MIKE
Clifford Watkins?
CLIFFORD WATKINS
(air of superiority)
Can I help you?
MIKE
My name is Jonathan Atwater, I work for
Dean Wormer in the admissions office.
Clifford’s attitude instantly changes.
CLIFFORD WATKINS
Yes, of course, what can I --
MIKE
Dean Wormer personally sent me to invite
you to an intimate cocktail hour for some
of our more... realistic candidates.
Clifford surveys the people around him and smiles knowingly.
MIKE
We’d like to be discreet, so if you’d be
so kind as to subtly hand me your name
tag you can proceed to the Dean’s office.
Clifford smiles smugly, hands Mike his name tag and exits.
As Mike dons Clifford’s name tag, a YOUNG WOMAN approaches.
As she starts the tour, Mike follows, taking in Harvard...
YOUNG WOMAN
Harvard Law is the oldest law school in
the country and boasts the most
successful graduates in the world.
Currently, we are six of nine Supreme
Court Justices, and of course, the
President of the United States...
Mike’s going up against the smartest lawyers in the world...
END OF ACT TWO
A Legal Mind 30.
ACT THREE
INT. MIKE’S STUDIO APARTMENT - FOLLOWING MONDAY
Close on a closet with three suits, numerous shirts and ties.
A hand reaches in and pulls out a blue suit, white shirt, red
tie. Pullback to see that it is Mike. He lays his ensemble
on the couch and then heads into the shower.
INT. MIKE’S STUDIO APARTMENT - A LITTLE LATER
Mike is now out of the shower. He puts his ensemble back in
the closet and picks out a brown suit, blue shirt and blue
tie. He lays these out, then goes to shave.
INT. MIKE’S STUDIO APARTMENT - A LITTLE LATER
We are close on Mike, tying his tie in the mirror. We pull
back to see that he’s changed his ensemble again and is now
wearing a grey suit, white shirt and blue tie. He looks in
the mirror, likes what he sees, and heads out.
EXT. STREET MANHATTAN - A LITTLE LATER
Mike comes up from the subway with an excitement in his step
that only comes on the first day of a new career. His cell
rings, it’s Trevor again. He silences it and keeps walking.
Scene 10 - First Day at Pearson, Hardman Law Firm
- Overall: 9.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Mike enters the lobby. As he takes in the grandeur of the
firm, the import of what he’s doing finally hits him... He
approaches the receptionist nervously...
MIKE
Hi, I’m here to see Harvey... oh, my God,
I can’t think of his last name. I’m so
nervous, I’m not sure I know my last name.
RACHEL (O.S.)
Ross. Mike Ross.
Mike turns to see RACHEL LANE, an attractive paralegal. He’s
been hit by a bolt of lightning. He stands there agog...
RACHEL
We’ve been expecting you. I’m Rachel
Lane, paralegal. I’ll be giving you your
orientation.
She reaches to shake his hand. He blurts out...
MIKE
Wow, you’re pretty.
A Legal Mind 31.
RACHEL
Good, you’ve hit on me. We can get it
out of the way that I’m not interested.
MIKE
(sincere)
I wasn’t hitting on you. I --
RACHEL
Please. I’ve given dozens of these, and
without fail, whatever new hotshot it is
thinks because I’m just a paralegal, I’ll
be blown away by his dazzling degree.
Let me assure you that I won’t.
MIKE
(realizing)
I was. I was hitting on you.
She hands him a pad and pen.
RACHEL
Now, take notes because I’m not going to
repeat myself.
Rachel turns and starts walking. Mike mouths to himself:
MIKE
I love you.
As Mike follows we see him take in the firm. The banks of
offices lining the walls are fantastic. The interior walls
are glass, and we see right through them to stunning views of
downtown Manhattan. The interior of the firm is filled with
cubicles of secretaries, paralegals, and associates.
RACHEL
Each bank of offices specializes in its
own arena of the law and is anchored by
Department Heads at either end. On my
left is mergers and acquisitions, on the
opposite side is high net worth divorce.
MIKE
Mergers across from divorce. Symmetry.
(off her look)
I’ll just listen.
RACHEL
The firm operates on a chain of command
model. Harvey’s your commanding officer.
However, Louis Litt oversees all
associates so you also answer to him.
A Legal Mind 32.
MIKE
What do you think about Harvey?
RACHEL
People are in awe of him, they say he’s
the best instinctive attorney anyone’s
ever seen, but I have very little contact
with him, so I don’t really know.
MIKE
What about Louis Litt?
Rachel looks at Mike, it’s clear she doesn’t think much of
Louis Litt, but doesn’t know Mike well enough to tell him.
RACHEL
Let’s get on with your tour...
INT. PEARSON, HARDMAN LAW FIRM - 9:30 AM
Harvey arrives, strutting through the halls, even cockier
than usual. As he passes people, he points at them, snaps
his fingers, and generally acts like he is king of the world.
HARVEY
Hey, Becky, you are glowing. I wonder
why that is? Oh, yeah, it’s the day they
announce my partnership. Nancy, have you
lost weight? Steve-o, looking...
Steve-o is sloppy, fat and ugly.
HARVEY
...like a guy who came to work.
Harvey heads to his door, which has “Harvey Specter, Partner”
newly stenciled on it. He stops short as a WORKER scratches
the “Partner” off his door. Harvey remains unfazed.
HARVEY
Excuse me, why are you scratching the
“Partner” off my door?
WORKER
I got a work order to take it off.
HARVEY
Who issued the work order?
WORKER
My supervisor.
HARVEY
Why did he issue the work order?
A Legal Mind 33.
WORKER
If I knew that, I’d be his supervisor.
HARVEY
You seem to be enjoying yourself.
WORKER
I haven’t enjoyed myself since 2004.
Harvey laughs. Donna shows up at the door.
HARVEY
Donna, somebody’s trying to play a joke --
DONNA
Katherine wants you in her office now.
Harvey’s face falls.
Scene 11 - The New Hire
- Overall: 10.0
- Concept: 9
- Plot: 10
- Characters: 10
- Dialogue: 9
Rachel arrives with Mike at his cubicle.
RACHEL
Finally, this is where you’ll live.
(then, re: Mike’s note pad)
What’s wrong with you? I gave you that
for a reason, you haven’t taken one note.
MIKE
That’s... because --
RACHEL
Because you’ve been too busy ogling me to
listen to a word I’ve said.
Mike looks Rachel straight in the eye, but points at the
various locations around the office as he refers to them.
MIKE
Partner’s offices anchor the wings; fifth
floor’s research, sixth is security; any
work gets billed even if it’s finding an
address; I answer to Harvey and Louis
Litt and judging by how you responded to
my questions, I should admire Harvey and
fear Louis. You’ve been here five years
and just because I outrank you, I have no
authority to command your services.
(off her amazement)
Oh, it’s also clear you think you’re too
smart to be a paralegal. That cover it?
Rachel looks at him, impressed. A beat. She covers:
A Legal Mind 34.
RACHEL
You know, nobody likes a show-off.
MIKE
But... you challenged me. You used the
word ogling...
Rachel is walking away.
MIKE
Where are you going? When do I get to
see Harvey?
INT. KATHERINE PEARSON’S OFFICE - MOMENTS LATER
Katherine is at her desk. Harvey’s standing in front of her.
KATHERINE
Gerald Tate fired the firm.
HARVEY
What?! When?
KATHERINE
An hour ago. When you were supposed to
be here.
HARVEY
So you’re taking my partnership away?!
Katherine stands up, heatedly.
KATHERINE
Damn it, Harvey, most firms would put you
in front of the bar on ethics charges and
have your license stripped. You lied to
a client and he figured it out.
HARVEY
I lied to him to get him to do the right
thing and honor his goddamn contract.
KATHERINE
Be that as it may, you didn’t get away
with it. And I can’t justify handing you
a partnership the same day you lose a
huge client.
HARVEY
One client doesn’t --
A Legal Mind 35.
KATHERINE
One client? We’re in an economic shit
storm. Companies aren’t lining up to
spend money on attorneys right now.
This just sits there a minute.
KATHERINE
You know, he might have forgiven the
lying if you hadn’t humiliated him, but
you did. And you need to accept that.
Harvey realizes he isn’t going to change Katherine’s mind.
HARVEY
Katherine, if you hadn’t done as much for
me as you have, I’d be heading for the
door.
Katherine smiles.
KATHERINE
If I hadn’t done as much for you as I
have, I’d be throwing you out the window.
Harvey starts to leave.
KATHERINE
But Harvey, any shenanigans, you try to
leave and take one client, tell one more
lie... do one more thing that isn’t
straight as an arrow, and instead of
covering your ass, I’ll put you in front
of the bar myself.
INT. HARVEY’S OFFICE - MOMENTS LATER
Harvey enters, dejected. He doesn’t see Mike sitting there.
MIKE
Who’s ready for a great first day?!
HARVEY
Mike, I’m going to have to let you go.
MIKE
What?!
HARVEY
I just got my ass reamed for lying to a
client. If they find out I lied about
you going to Harvard Law School, they’ll
take away my license.
A Legal Mind 36.
DONNA (ON INTERCOM)
You what?!
HARVEY (INTO INTERCOM)
Not now, Donna.
(then, to Mike)
I have to put my own interests above
yours. It’s not personal. You’re fired.
MIKE
(putting it together)
So, you’re worried if I stay, they might
find out you lied about me and you’ll
lose your license. But if you fire me, I
could tell them you lied about me and
you’d definitely lose your license.
This pisses Harvey off.
HARVEY
Are you saying if I throw you under the
bus, you’re going to drag me with you?
MIKE
You put your interests above mine. I’m
just putting mine back up next to yours.
HARVEY
I like that. You just gave me an idea.
You’re rehired.
Scene 12 - The Partnership
- Overall: 7.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 7
Katherine is on the phone. Harvey storms in and hangs up.
HARVEY
Here’s what’s going to happen. You’re
going to tell that workman to put the
“Partner” back on my door and that’s the
last we’re going to talk about this.
KATHERINE
And why is that?
HARVEY
Because if you don’t, I'm going across
town to join Cynthia Harris. And then
I'm going to approach every client I've
ever closed, I’m going to put my charm on
them, and I’m going to take them with me.
KATHERINE
If you do that, you’ll force me to put
you in front of the ethics board.
A Legal Mind 37.
HARVEY
I don’t think you’ll put me in front of
the ethics board.
KATHERINE
Why not?
HARVEY
Because you were obligated to notify them
the second you knew I lied to Gerald, but
you didn’t. You put me in front of the
board now, you’ll be up there with me.
Katherine turns her back to Harvey in frustration. A beat.
We see a smile cross her face. This is her plan. She lets
out a deep breath and turns back to him, feigning defeat...
KATHERINE
I’ll give you the partnership, but you’re
going to have to do something for me.
Harvey grins.
HARVEY
Anything. What do you need?
Katherine holds up a file.
KATHERINE
Take on a pro bono.
HARVEY
Anything but that...
KATHERINE
Harvey, we all do it, even me. Pro bono
cases are how we as a firm show that we
care about more than just ourselves. And
it’s how you can show people in the firm
you care about more than just yourself.
HARVEY
I just did one.
KATHERINE
That was six years ago.
HARVEY
You didn’t let me finish. I was going to
say I just did one six years ago.
Harvey holds out his hand, he’ll take the case.
A Legal Mind 38.
KATHERINE
You’ll handle it yourself? You won’t
pass it off to the new kid?
HARVEY
Absolutely.
Katherine hands him the file. He heads to the door.
KATHERINE
You want the “Partner” stenciled in bold,
or underlined, or what?
HARVEY
Something subtle. In neon.
Katherine smiles as Harvey exits the room.
INT. HARVEY’S OFFICE - MINUTES LATER
Mike sits in a chair. Harvey tosses him the pro bono file.
HARVEY
Your first case. Donna set up a meeting
with you and the client this afternoon.
MIKE
Awesome. What is it?
HARVEY
Pro bono. Sexual harassment. It’s
beneath me, but it’s important to
Katherine. So, don’t tell anyone I laid
it off on you and don’t screw it up...
Mike starts out.
HARVEY
Wait a second. Didn’t I tell you to get
some better suits?
MIKE
What are you talking about?
(re: suit)
This is Men’s Wearhouse. I spent four
hundred dollars.
Harvey senses something’s not right.
HARVEY
For how many suits?
MIKE
Five. What?
A Legal Mind 39.
Scene 13 - Nancy's Story
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 8
Mike is interviewing his client, Nancy, an attractive
waitress in her mid-thirties. They sit in a booth.
MIKE
Please, Nancy, take me through the story
as you see it.
NANCY
It started two years ago. I was a proud
stay-at-home mother to our son, Freddie.
One day, after little league...
She smiles, reminiscing...
NANCY
Freddie was seven. Hated that he
couldn’t play with the older kids...
Nancy gets serious again...
NANCY
We came home to find my husband on the
floor of our bathroom. He died of a
heart attack. Just like that...
MIKE
I’m so sorry.
NANCY
I was devastated, but I didn’t have the
time - I didn’t have the luxury to grieve.
So, I did the best I could, I got myself a
job as a secretary at Devlin McGreggor.
Nancy becomes upbeat again as she remembers...
NANCY
I felt good about providing for me and
Freddie, I even got promoted to secretary
of the President, Charles Hunt.
(then)
That’s when everything changed.
MIKE
Tell me what happened.
NANCY
He started asking me to stay late, have
drinks, go to dinner...
MIKE
Did you?
A Legal Mind 40.
NANCY
At first I thought it was for work, so,
yes. But it started to not feel right,
so I just did my job and went home. One
night, Mr. Hunt called me into his office
and told me if I slept with him, he’d
take care of me within the firm, and if I
didn’t... he said he would fire me.
MIKE
Did he use those exact words? Was he
that explicit?
NANCY
No. He’s not stupid. But neither am I.
And we both knew exactly what he meant.
MIKE
What did you do?
NANCY
I went to human resources. They said
they investigated and found nothing to
support my claim. Two months later I was
fired for poor job performance. I was
told to clean out my desk immediately.
She seems to be living it in her mind...
NANCY
They wouldn’t let me say good-bye to
anyone. They wouldn’t give me a letter
of recommendation... they wouldn’t even
allow me to get unemployment benefits.
Mike looks like he wants to kill Mr. Charles Hunt.
NANCY
I wasn’t looking for a payoff. All I
wanted was for it to stop. I feel so
violated. Can you help me?
MIKE
There’s some good news and some bad news.
The bad news is, as you said, he’s not
stupid and it’s going to be hard to prove
he propositioned you without a witness.
NANCY
What’s the good news?
A Legal Mind 41.
MIKE
That’s not what we have to prove. The
biggest exposure employers have isn’t the
harassment itself, it’s the retaliation.
NANCY
What do you mean?
Mike takes a sip of his coffee.
MIKE
Your complaint is on record. Two months
later you got fired for poor performance.
All we have to prove is your performance
stayed consistent, and we’ve got them.
Nancy’s face falls.
MIKE
What’s the matter?
NANCY
After what he said to me in that room --
I was under a lot of stress. It affected
me. I couldn’t sleep. I couldn’t keep
concentrate... my performance was poor.
Mike looks at her and smiles bravely...
MIKE
Then we’re going to have to prove what he
said to you in that room.
Scene 14 - The Suit and The Subpoena
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 9
Mike is updating Harvey on the case.
HARVEY
You need my help? Give me an update.
MIKE
You know, she’s a nice woman. She --
HARVEY
Not on the client. On the case. I don’t
get emotionally attached to the clients.
MIKE
This woman’s had her entire life ripped
apart. You don’t care?
HARVEY
I’m not about caring. I’m about winning.
A Legal Mind 42.
MIKE
Why can’t you be about both?
HARVEY
I’d explain it to you, but then I’d have
to care about you, now give me an update.
MIKE
Defense sent over the original files from
the investigation as a courtesy, but I --
HARVEY
No they didn’t. Nobody does anything as
a courtesy. They sent over those files
because that’s where they want you to
look. Listen to me, being a lawyer is
like being a doctor.
MIKE
You mean how you don’t get emotional
about the client?
HARVEY
No. I mean, you keep pressing until it
hurts, then you know where to look.
(then)
Forget about impeaching the investigation
- it won’t lead anywhere. No employee is
going to testify against his own CEO.
Mike smiles at this...
MIKE
What would you suggest I do?
HARVEY
Think. If this guy’s done this once...
MIKE
He’s done it before.
HARVEY
And if people who work for him now won’t
testify against him...
MIKE
People who used to work for him might.
(realizing)
If I can find someone else he’s done it
to, I’ve got corroboration, and I’ve got
him nailed.
A Legal Mind 43.
HARVEY
I’d subpoena the personnel records of
every woman who’s left the firm during
this guy’s tenure.
Mike smiles as he holds up a subpoena.
MIKE
That’s exactly what I thought.
HARVEY
Then what do you need my help for?
MIKE
I... don’t know how to fill out a
subpoena.
Harvey smiles and shakes his head. His boy is working out.
HARVEY (INTO INTERCOM)
Donna, I need you to show Mike how to
fill out a subpoena.
DONNA (ON INTERCOM)
No problem. After that you want me to
show him how to wipe his ass?
Harvey smiles, then looks at Mike.
HARVEY
It’s funny, because you should already
know how to do both those things.
Harvey slides a card across his desk to Mike.
MIKE
What’s this?
HARVEY
It’s my suit guy. Go in, tell him I sent
you, and spend some goddamn money.
Mike looks at the card.
MIKE
What does it matter how much money I
spend on suits?
HARVEY
Because we’re in the business of
convincing people to do what we want.
And like it or not, people respond to how
you’re dressed.
(MORE)
A Legal Mind 44.
HARVEY (CONT'D)
So if you want to be treated like you
belong at this level, this is what you’re
going to have to do.
MIKE
Hey, you’re giving me advice. It sounds
like you actually care about me.
HARVEY
What I want you to understand is that
you’re a reflection of me. And as I told
you before, I damn sure care about me.
INT. MIKE’S CUBICLE - A LITTLE LATER
Rachel approaches Mike as he puts his jacket on to leave...
RACHEL
Where are you going?
MIKE
It’s six o’clock. I’m going home.
Rachel laughs.
MIKE
What’s so funny?
RACHEL
You’re a rookie associate. If you go
home before nine on your first week, you
won’t make it through your first month.
(then)
Louis Litt wants to see you.
Mike gets up to go see Louis. He hesitates, then:
MIKE
Do you think this suit makes me look like
a Bar Mitzvah boy?
Scene 15 - Pearson Hardman's Expectations
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Louis is at his desk. Mike sits across from him.
LOUIS
I know you had orientation from Rachel,
but I’d like to give you a special welcome
from me. Among other things, I’m sort of
the disciplinarian of the associates.
An associate, GARY appears at the door and addresses Louis.
A Legal Mind 45.
GARY
You wanted to see me?
LOUIS
Yes, please. Come on in, Gary. Mike,
this is Gary Lipsky. Gary’s one of our
promising associates from last year.
Mike and Gary shake hands.
LOUIS
Gary, Mr. Pearson wanted me to ask if
you’ve completed the Petramco filing.
GARY
My brother was in over the weekend...
LOUIS
This is third time I’ve asked you.
GARY
I’ll get right on it.
LOUIS
Don’t bother. You’re fired.
GARY
What?! You can’t --
Louis stands up.
LOUIS
I can. And I did. Go pack your things,
and don’t ever show your face here again.
Gary exits the office, stunned... Louis turns to Mike.
LOUIS
I arranged for you to see that because we
pay our associates very well and provide
the opportunity of unlimited advancement.
But in return we expect results. Have I
made myself clear?
MIKE
Yes.
LOUIS
Welcome to Pearson, Hardman.
Louis then reads a file as though Mike isn’t there. A beat.
LOUIS
Feel free to go back to work.
A Legal Mind 46.
INT. HARVEY’S OFFICE - LATER
Harvey exits for the night. He runs into Katherine...
KATHERINE
Harvey. How’s the new kid doing?
HARVEY
Pretty good.
KATHERINE
What do you have him working on?
Harvey doesn’t want to tell her he dropped the case on Mike.
HARVEY
This and that. Various matters.
Katherine looks at Harvey curiously...
INT. MIKE’S STUDIO APARTMENT - LATER THAT NIGHT
Mike comes home to find Trevor on his couch, watching TV.
MIKE
What the hell are you doing here?
TREVOR
Watching Sportscenter. Boo-yah.
Trevor gives Mike a big smile. Nothing. He gets serious.
TREVOR
You won’t return my calls.
MIKE
Yeah, because you set me up.
TREVOR
You think I knew about that?
MIKE
Here we go, round fifty of I get shafted,
because you didn’t know the whole story.
Now Trevor tries righteousness.
TREVOR
Hey, you knew there were risks when you
quoted that shit from that book. You
knew it, you needed the money, and I came
through with an opportunity like always.
Trevor realizes this tack won’t work. He goes for sympathy.
A Legal Mind 47.
TREVOR
You know, you’re not the only one who got
screwed. They held a gun on me.
MIKE
Oh, really? Why did they do that?
TREVOR
To keep me from warning you.
MIKE
So you did know.
TREVOR
Not until after it was too late.
MIKE
Well it’s damn sure too late now.
Mike holds the door open for Trevor to leave.
TREVOR
Let me make it up to you.
MIKE
You want to make it up? Give me my key.
TREVOR
(giving key, cajoling)
Mike, come on, you know I don’t want to
live in a world where we’re not tight.
MIKE
(sarcastic)
Then kill yourself. Now get the hell out.
Trevor exits. Mike checks for the briefcase. It’s there.
He opens it to make sure it’s still full of pot. It is...
END OF ACT THREE
A Legal Mind 48.
ACT FOUR
INT. MIKE’S CUBICLE - NEXT AFTERNOON
Mike opens an envelope, reads it and quickly heads off...
Scene 16 - The Pro Bono Case
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 9
Harvey leaves his office and passes Donna on the way out.
HARVEY
Donna, I need the --
She instantly hands him an envelope clearly full of cash.
HARVEY
Oh, also I didn’t get a chance to --
She gives him a coffee to go. A beat.
HARVEY
Marry me.
DONNA
I took care of that too. We’ve been
married for the last seven years.
Harvey smiles and heads out. Mike approaches, concerned.
MIKE
The company’s fighting the subpoena.
They filed a motion to dismiss the case
based on our lack of evidence.
Harvey doesn’t stop walking.
HARVEY
Good.
Mike stands there a beat, then walks after Harvey.
MIKE
Good. What do you mean good?
HARVEY
They don’t want to hand over the files.
You pressed where it hurt. You’re
looking in the right place.
Mike catches up. They keep walking to the elevators.
HARVEY
Did you think they wouldn’t fight back?
A Legal Mind 49.
MIKE
Well... I... now that you mention it.
HARVEY
It’s my fault. I keep forgetting you
don’t actually know anything. The idea
is you make a move, they make a move and
back and forth til one of you wins.
MIKE
But what if they win the motion and the
case gets dismissed?
Harvey arrives at the elevators and presses the down button.
HARVEY
Then you’re not as good as you think you
are.
The elevator door opens. Katherine is in it. She stays in
as the rest of the people file out...
KATHERINE
What a coincidence. I was just wondering
how it’s going with the pro bono case.
HARVEY
Fantastic, I’m all over it.
Katherine is now alone in the elevator. Harvey gets on.
KATHERINE
That makes me happy. Because if I were
to find out you weren’t giving it your
full effort, I would be very upset...
Concern registers on Harvey’s face as the door closes. Mike
turns to go back to his cubicle. He sees Rachel, catches up
to her and follows her through the halls back to her office.
MIKE
I need your help. There’s a hearing on
my subpoena.
RACHEL
I’ve got three other cases ahead of
yours, so you’ll have to wait in line.
MIKE
But my hearing is tomorrow.
She stops outside of her office and turns to Mike.
A Legal Mind 50.
RACHEL
Why are you coming to me?
MIKE
Because Donna says you’re the best
researcher in the firm.
RACHEL
Let me see the motion.
Mike hands it to her. She reads it as they enter her office.
INT. RACHEL’S OFFICE - CONTINUOUS
Mike sees Rachel’s office is much nicer than his cubicle.
MIKE
Wait. You have an office? Why do you
have an office and I only have a cubicle?
Rachel smiles.
RACHEL
Like you said, I’m the best researcher in
the firm.
MIKE
Really? I just made that up. I didn’t
even have time to talk to Donna.
Mike smiles. Rachel isn’t amused.
RACHEL
Is this all a joke to you? Because I
take my job seriously.
MIKE
I’m sorry, I was just -- I care about
this woman. She’s got nowhere else to
turn and -- I can’t help her by myself.
Rachel looks at Mike and sees he’s sincere. He puts his
hands up to his head as though they are dog ears and then
flaps one of them over. Rachel breaks into a smile.
RACHEL
I get it. You’re a puppy. Do me a
favor, don’t poop on my laptop.
Rachel looks back down at the file, then back at Mike:
RACHEL
You’re asking to look at private files
without any evidence of your assertion.
A Legal Mind 51.
MIKE
But the only way we can find the evidence
is by looking at those files.
RACHEL
That’s a rickety argument.
MIKE
But is there precedent?
She sees a stack of files in her in-box, then looks at Mike.
RACHEL
Let’s go see if we can find one.
Scene 17 - Researching and Strategizing
- Overall: 8.5
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
Mike and Rachel enter a miniature version of the Harvard Law
library. Highly sophisticated, well stocked and beautiful.
RACHEL
Research is as much art as science, we’ll
look at privacy and harassment law and
see if we can find a combination of cases
to make an argument. I’ll take privacy.
MIKE
I’ll take harassment law...
RACHEL
This’ll take a while. We need dinner.
MIKE
Chinese?
RACHEL
I can afford Chinese myself. This is on
the firm, I want sushi.
We see a montage of them reading books, journals, etc... They
show each other what they’ve found and shake their heads, it
won’t work. Dinner comes... as they finish their sushi.
MIKE
Remember when I said you thought you were
too smart to be a paralegal?... Why --
RACHEL
-- aren’t I a lawyer?
Rachel looks at Mike and decides to reveal her vulnerability.
RACHEL
I don’t test well.
A Legal Mind 52.
MIKE
What?
RACHEL
I’m smart, I know I’d be a good lawyer,
but... I can’t take tests. I don’t know
what happens to me. I bombed the LSAT’s.
Even if I could get into a law school,
there’s no way I’d ever pass the bar.
(wistfully)
If only there were some way to have
someone take the tests for me.
Mike laughs.
MIKE
Yeah, if only there were.
Harvey walks in and sees them smiling at each other.
HARVEY
Where are you on the research for
tomorrow’s hearing?
MIKE
Nothing yet.
HARVEY
You say you care about the client. But
if you keep playing footsie with the
paralegal instead of finding me a valid
argument, the client’s going to lose.
Harvey exits. We resume the montage of Mike and Rachel
working. Again, nothing is working. More frustration.
RACHEL
It’s no use. They did an investigation
and they did it by the book. It produced
no evidence, and we look like the bad
guys coming in putting them under duress.
MIKE
Wait a second, what did you say?
RACHEL
I said we look like the bad guys.
MIKE
No. You said they did it by the book,
and we’re putting them under duress.
RACHEL
So?
A Legal Mind 53.
MIKE
They didn’t do it by the book. The
investigation was done under duress...
Mike picks up one of the books and shows it to Rachel...
EXT. ROOFTOP RESTAURANT - A LITTLE LATER
Harvey eats with VANESSA, a gorgeous woman in a killer dress.
HARVEY
So, we get there and my client decides
it’ll be funny to introduce me to his
pastor as a recovering sex addict.
VANESSA
What did you do?
HARVEY
I hold out my hand to the pastor and go,
“Who said anything about recovering?”
Vanessa laughs. They share a moment... then:
VANESSA
I believe you have something for me?
HARVEY
That’s what I love about you, Vanessa.
Business over pleasure.
Harvey puts the envelope of cash Donna gave him on the table.
HARVEY
By the way, that dress... damn.
VANESSA
This old thing? It was my father’s.
Vanessa counts the money in the envelope and puts it away.
HARVEY
Vanessa, how come you and I never...
VANESSA
Because I don’t sleep around. And I
could never have a relationship with you.
All you ever think about is yourself.
HARVEY
That’s ridiculous. I’m thinking about
you and me right now.
Vanessa smiles and shakes her head as she gets up to leave.
A Legal Mind 54.
HARVEY
By the way, I’m not selfish everywhere.
VANESSA
Neither am I. But you’ll never know it.
Vanessa hands Harvey a manila folder and heads off. Harvey
watches her go, then looks opens the folder and looks inside.
INT. HARVEY’S OFFICE - NEXT MORNING
Mike stands as Harvey peruses his handiwork.
HARVEY
This is good. We’re gonna have some fun.
MIKE
Did... you say we?
HARVEY
You didn’t think I was going to let you
come along?
MIKE
No.
HARVEY
Good instinct, I wasn’t. Then I thought
it would be cruel not to let you witness
my greatness.
Mike smiles.
MIKE
You’re a true giver.
Scene 18 - Courtroom Victory and Suit Shopping
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 10
Harvey, Mike and DEFENSE COUNSEL are arguing the motion to
dismiss in front of a JUDGE, BAILIFF and STENOGRAPHER...
DEFENSE COUNSEL
Your honor, this case should be thrown
out. Other than her story, plaintiff
doesn't have one piece of evidence.
HARVEY
Because the evidence lies within their
personnel files, which they’re
conveniently refusing to hand over.
A Legal Mind 55.
DEFENSE COUNSEL
Those files have sensitive information.
He's fishing at the expense of our
employees’ right to privacy.
Harvey scoffs.
HARVEY
Please, he doesn't give a rat's ass about
his employees' right to privacy.
DEFENSE COUNSEL
Your honor, Mr. Specter’s claim that we
don’t care about our employees, though
witty, carries no weight as a rule of law.
HARVEY
True. But what does carry weight is that
under Article Seven of the statute, the
investigation of sexual harassment must
be conducted without any duress.
JUDGE
Your point?
Harvey walks the courtroom with ease as he makes his case.
HARVEY
Both the investigator and every person
interviewed answers to the CEO they're
investigating. That is the definition of
duress. It’d be like your bailiff accused
you of sexual harassment, and you assigned
your stenographer to investigate. How
likely do you think it would be that the
investigation yielded any fruit?
JUDGE
You honestly think I would harass Herman?
Harvey looks at the bailiff, a slovenly, fifty year old man.
HARVEY
I don’t know, your honor. Some people
have a thing for the uniform...
JUDGE
I’d like to think Herman would come to me
before it got to an investigation.
Harvey glances at Herman. Herman shakes his head no.
DEFENSE COUNSEL
I saw that. That should be stricken.
A Legal Mind 56.
Harvey smiles, then continues to the Judge.
HARVEY
And what if Herman did come to you, your
honor? And you betrayed his trust by
firing him under false pretenses?
JUDGE
You really think that little of me?
HARVEY
I wouldn’t trust you as far as I could
throw you, your honor.
They share a smile.
JUDGE
Your point is taken.
DEFENSE COUNSEL
Your honor --
JUDGE
Hand over the files.
Mike beams with their victory. The Judge addresses Harvey.
JUDGE
But this doesn't go on forever. You've
got one week to show me evidence backing
up your claim or I'm dismissing the suit.
HARVEY
But, your honor --
JUDGE
That’s it, I’ve made my ruling, now Herman
and I have some communicating to do.
Mike turns to Harvey.
MIKE
That was awesome.
HARVEY
It was your argument. I just framed it
in a way that humanized the situation and
brightened all of our afternoons.
MIKE
I feel like Michael Corleone in that
scene where the fat guy teaches him how
to shoot the gun.
A Legal Mind 57.
HARVEY
Are you saying I’m the fat guy?
(then)
I am not the fat guy.
INT. UPSCALE MENS STORE - LATER THAT AFTERNOON
Mike walks into a world he never knew existed. The world’s
finest suits are on display. He approaches RENE, who looks
him up and down in a condescending manner.
MIKE
Excuse me, I’m looking for Rene.
RENE
I’m Rene. When’s the Bar Mitzvah?
MIKE
Did Harvey tell you I was coming here?
Rene looks at him with newfound respect.
RENE
Harvey Specter sent you? That’s another
story. Do you know your inseam?
Mike is amused at the notion that he would know his inseam.
MIKE
No, I don’t.
RENE
My lucky day. Why don’t you browse for a
minute. The suits are arranged by price.
Starting with the least expensive here
and moving up in price as you go back.
Rene exits. Mike picks up an “inexpensive” suit. He sees
the price: $2,000. He puts it back and walks out the door.
EXT. MANHATTAN STREET - CONTINUOUS
Mike exits quickly. He sees Rene prancing toward the front
window holding ten thousand dollars of clothing. Mike smiles
to himself at his getaway. His cell phone rings, he answers.
JENNY
Mike, it’s Jenny.
MIKE
Trevor’s having you do his dirty work?
A Legal Mind 58.
JENNY
Trevor doesn’t even know I’m calling you.
And all I know is that you’re not talking
to each other and I miss you and I want
things to go back to the way they were.
This stops Mike short.
MIKE
I miss you too. But I don’t think things
are ever going back the way they were.
Mike hangs up the phone.
Scene 19 - Negotiations and Revelations
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 9
We see that Jenny is sitting there with Trevor.
TREVOR
What did he say?
JENNY
He said things aren’t ever going back the
way they were. What did you do?
A beat. Trevor lies.
TREVOR
I don’t know.
INT. RACHEL’S OFFICE - A LITTLE LATER
Rachel is at her desk. Mike enters.
MIKE
The files are on their way. We have a
week to corroborate Nancy’s story.
RACHEL
We won?! That’s fantastic!
MIKE
I couldn’t have done it without you.
RACHEL
Damn right, you couldn’t have. You didn’t
even know where to look without me.
MIKE
You know, nobody likes a show-off.
Rachel smiles. Her intercom buzzes, she listens, then:
A Legal Mind 59.
RACHEL
The files are in conference room C.
MIKE
Why didn’t they bring them to my cubicle?
INT. AUXILIARY CONFERENCE ROOM - LATER
Mike shows up. The conference room is filled with boxes upon
boxes. Mike looks at them all as Harvey approaches.
HARVEY
They know you only have a week to find
whoever it is you’re looking for.
MIKE
They’re fighting back.
HARVEY
They’re trying to bury you in paperwork.
Mike looks at Harvey with confidence.
MIKE
They picked the wrong guy.
HARVEY
That’s what I like to hear. Now excuse
me, I have to go charm a new client.
INT. JOHN DOCKERY’S OFFICE - A LITTLE LATER
John Dockery, CEO of Dockery Chemical shakes Harvey’s hand.
DOCKERY
Nice to finally meet you. Katherine says
you’re going to sweep me off my feet.
HARVEY
I’ll do my best, Mr. Dockery.
Harvey hands him the manila folder from Vanessa, he opens it.
DOCKERY
What the hell is this?
HARVEY
Looks to me like it’s you having sex with
a woman who isn’t Mrs. Dockery.
DOCKERY
Are you trying to blackmail me?!
A Legal Mind 60.
HARVEY
No, I’m not. You asked my firm to see
where you’re vulnerable to corporate take-
over. This is where you’re vulnerable.
DOCKERY
What are you --
HARVEY
Your wife owns fifteen percent of the
voting shares of your company. As far as
I can tell, you’ve been seeing this woman
and several others for quite some time.
How do you think your wife’s going to
vote her shares after she finds out?
A beat:
DOCKERY
Who says she has to find out?
HARVEY
Mr. Dockery, my investigator was able to
obtain these pictures in a week. What do
you think a motivated competitor of yours
will be able to dig up in a year?
This lands on Dockery. Harvey pours two glasses of water.
HARVEY (CONT’D)
I have a simple solution. Trade her your
preferred shares, which have no voting
rights for her common shares, which do.
DOCKERY
The preferred shares are worth two
million dollars more.
HARVEY
A fraction of what you’ll lose if you get
voted out of your company.
Harvey offers a glass to Dockery. A beat.
DOCKERY
You looking down your nose at me?
HARVEY
John, please, I don’t care if you sleep
with the entire Knick’s dancers. Just
give her the preferred shares.
Harvey smiles. Dockery takes the glass.
A Legal Mind 61.
DOCKERY
Katherine said you were going to charm me
to get my business.
HARVEY
I’m not interested in getting your
business. I’m interested in keeping it.
Harvey and Dockery share a drink.
Scene 20 - Investigating Devlin McGreggor
- Overall: 8.0
- Concept: 9
- Plot: 9
- Characters: 7
- Dialogue: 8
Mike enters. He’s been up all night and all the next day.
MIKE
I know where they don’t want us to look.
HARVEY
You got through those files by yourself
in a day and a half?
MIKE
I would have done it faster, but I
ordered a pizza. Have you tried that
Papa John’s crazy bread? It’s fantastic.
(off look, coming clean)
Rachel helped me. Half the files were
men. Another chunk were women over
sixty. I read the rest.
Harvey smiles at Mike trying to pull one over on him.
MIKE
Come on, it’s still impressive!
HARVEY
What did you find?
MIKE
We pieced together from the records there
was a dismissal on March 12, 2002. But
the file containing the employee name is
missing. That’s our woman, I know it.
I’m moving to slap monetary sanctions on
their attorney, possible jail time...
this guy isn’t gonna know what hit him.
A beat. Harvey dials his phone. It rings on speaker.
HARVEY
Phil, it’s Harvey Specter. Did you have
anything to do with the March 12th, 2002
files being left out of discovery?
A Legal Mind 62.
PHIL (ON SPEAKER)
No.
HARVEY
If the file is here by noon, I’ll believe
you, if not we’re filing for sanctions...
Harvey hangs up the phone and looks at Mike.
HARVEY
Threat of sanctions is better than filing
for sanctions.
MIKE
That’s what I meant. I was going to
threaten him. Not file. I meant that.
INT. DINER - LATER THAT DAY
Mike sits with Nancy again...
MIKE
Nancy, did you know, or have you ever
heard of a woman named Joanna Webster?
NANCY
No. Not that I can think of. Why?
MIKE
The company tried to hide her existence
from us. Her records show she met with
personnel over “work related issues,” in
2002, then was let go two months later.
NANCY
You think Hunt did the same thing to her
that he did to me?
MIKE
Yes, I do.
NANCY
Then get her to come forward and say so.
Mike knows that’s not going to be easy.
INT. APARTMENT BUILDING - LATER THAT EVENING
Mike knocks on the door of an apartment. A woman, JOANNA
WEBSTER answers, she looks surprisingly similar to Nancy.
JOANNA
Can I help you?
A Legal Mind 63.
MIKE
Joanna Webster, my name is Mike Ross, I’m
a lawyer. I have some questions about
your time at Devlin McGreggor.
Joanna hesitates.
MIKE
Please, just let me tell you a story
about my client, Nancy Johnson...
INT. JOANNA’S LIVING ROOM - A LITTLE LATER
Mike and Joanna sit, he’s clearly just told her about Nancy.
JOANNA
That sounds about the same as what
happened to me. But --
MIKE
Please, all I need you to do is tell your
story. If you corroborate Nancy’s --
JOANNA
Mr. Ross, what happened to me, happened
seven years ago. It was violating and
horrible and there was a reason I didn’t
do anything about it. I know what they
do. They’ll put me on that stand and
attack me and I don’t want that.
MIKE
Joanna, this man is a predator. He did
it to you, he did it to Nancy, and if you
don’t help stop him, he’ll do it again.
Mike takes her hand.
MIKE
I’ll be with you every step of the way.
All you have to do is give a deposition
tomorrow, and then testify again on
Friday in front of the judge.
JOANNA
I’m sorry, I can’t do it.
Mike’s face falls...
Scene 21 - Betrayal and Testimony
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 8
Harvey is working late at his desk. Mike enters and slumps
into a chair, completely dejected...
A Legal Mind 64.
HARVEY
What happened with the witness?
Mike becomes instantly excited:
MIKE
I got her to testify! You should’ve seen
me. I threw everything at her. Told her
if she didn’t stop him he’d do it again,
I’d be with her every step of the way...
Mike holds out his arms to Harvey in amazement.
MIKE
It didn’t work! I was done. I had
nothing. Then it hit me, I asked her
what if it was her daughter she was
testifying for... she melted. I used
empathy to get her to testify.
(starts singing)
Testify. Testify. She’s gonna testify.
A beat. Harvey looks at Mike:
HARVEY
Well, I’m glad to see the fact that you
were up all night didn’t make you giddy.
(smiles, then)
Now go get some sleep. I don’t want you
singing during tomorrow’s deposition.
Mike leaves. Harvey smiles to himself as Katherine enters...
KATHERINE
Harvey, how’s it going with the pro bono?
HARVEY
I just talked a witness into testifying.
KATHERINE
Really? What’s the witness’s name?
A moment. Harvey has no idea of the answer. He’s caught...
KATHERINE
I’m not an idiot. Don’t treat me like
one. You pawned off the case.
HARVEY
I’m sorry you feel that way, but --
A Legal Mind 65.
KATHERINE
Damn it Harvey, I told you this was a way
for you to show that you thought about
more than just yourself.
HARVEY
I’ve got higher profile cases that --
KATHERINE
Need I remind you when we met, you were a
28 year old screw up? I gave you a shot
at the mail room, led you up the ranks to
paralegal, then paid for you to go to
Harvard Law. Where by the way you fucked
off the whole time and I still hired you.
HARVEY
And you’ve benefitted from that ever
since. I closed Dockery for you
yesterday and I can’t make time to --
KATHERINE
You made a promise to me! You made a
promise, you broke it, and then you lied
to my face. So, let me be clear, this
isn’t professional, this is personal.
And I’ll tell you something else, you
made your bed, you better goddamn win.
Katherine leaves. Harvey realizes he let his mentor down...
INT. MIKE’S STUDIO APARTMENT - LATER THAT NIGHT
Mike enters his apartment, elated. It’s been ransacked.
END OF ACT FOUR
A Legal Mind 66.
ACT FIVE
INT. MIKE’S STUDIO APARTMENT - CONTINUOUS
Mike surveys his ransacked apartment. A beat, he runs to the
oven, the briefcase is still there. He dials his cell...
MIKE
What the hell is wrong with you?
TREVOR
I need you to give me that briefcase
back.
MIKE
So that’s what this has all been about.
You don’t care about our friendship. You
just wanted the briefcase back.
TREVOR
That’s not true. You’re my oldest friend
and you know it. But you don’t seem to
care about that anymore, so, yes, I also
need the briefcase back.
MIKE
That’s too bad, because I don’t have it.
TREVOR
Who throws something like that away?
MIKE
I do. And by the way, I thought I had
you give me my key back.
TREVOR
You think I wouldn’t have made a backup?
Mike, come on, why are you playing games?
MIKE
I told you. I don’t have it. I ditched
it while I was running away from the cops
you sent me into.
TREVOR
I don’t believe you. You can’t --
Mike hangs up the phone.
INT. MIKE’S STUDIO APARTMENT - NEXT MORNING
Mike is dressed. He goes to the oven, opens it, takes out
the briefcase, and heads out to work with it...
A Legal Mind 67.
INT. PEARSON, HARDMAN LAW FIRM - LAW FIRM
Mike exits the elevator. As he passes the receptionist...
LOUIS (O.S.)
Mike, hold it right there.
Mike freezes. He turns around to see Louis Litt.
LOUIS
Where do you think you’re going?
A beat.
MIKE
To my cubicle.
LOUIS
No, you’re not. It’s pee in a cup time.
MIKE
What?
LOUIS
Drug test. Follow me.
MIKE
No problem.
Mike hesitates. He looks down at his briefcase.
MIKE
I’m just gonna put my things back at my --
LOUIS
Now.
Louis starts walking. Mike isn’t sure what to do. A beat.
Mike follows Louis to the elevator.
INT. PEARSON, HARDMAN LAW FIRM - ELEVATOR - CONTINUOUS
Mike and Louis ride the elevator down in silence. Ding. The
door opens. They exit into a significantly less polished
floor of the firm.
Scene 22 - Deposition Disaster
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Mike nervously follows Louis into the bowels of the firm.
Their feet click as they make their way down the hall.
A Legal Mind 68.
LOUIS
By the way, my cousin was your year at
Harvard. It’s funny. I asked if he
remembered you. He didn’t.
MIKE
What’s his name?
LOUIS
Mitch Samberg.
Another beat.
MIKE
Didn’t know him... big school.
Louis looks at Mike, “not that big.” Then he stops, opens a
door and motions for Mike to go through.
LOUIS
Time to face the music.
INT. DONNA’S DESK - SAME
Harvey approaches Donna. He’s a little anxious.
HARVEY
Donna, they’re on the way for Mike’s
deposition. I’ve got to get to the
Kendrick filing. Where the hell is Mike?
DONNA
I don’t know.
Harvey nervously paces back to his office.
INT. DRUG TESTING ROOM - CONTINUOUS
Mike and Louis enter. The room looks like the examination
room in a doctor’s office. There is a technician there, who
hands Mike a plastic cup and indicates a bathroom.
TECHNICIAN
Leave the cup on the counter.
Mike leaves the room: The technician points at his briefcase.
TECHNICIAN
You’ll have to leave that out here.
MIKE
Why?
A Legal Mind 69.
TECHNICIAN
If you take it in there with you, I have
to check to make sure you don’t have
another urine sample in it.
Mike looks at Louis, sets the briefcase down and enters the
bathroom. Louis looks at the briefcase suspiciously...
INT. DRUG TESTING ROOM - MINUTES LATER
Mike exits the bathroom. He sees Louis is gone. He breathes
a sign of relief, picks up the briefcase and exits.
INT. MIKE’S CUBICLE - MINUTES LATER
Mike enters his cubicle, opens a desk drawer, puts the
briefcase in it, closes the drawer and locks it.
HARVEY (O.S.)
Where have you been?
Mike is startled again. He turns to see Harvey.
MIKE
I was being drug tested. Why?
HARVEY
The deposition’s this afternoon. I’m
going to handle it. I want you to dig
into this woman’s background and find
anything they’ll use against her. And
grill her. Make her tell you everything.
I want to be prepared. Now go...
Mike picks up his other briefcase and heads off.
INT. PEARSON, HARDMAN LAW FIRM - CONFERENCE ROOM - LATER
Harvey, Mike, the Defense Attorney, Joanna and a STENOGRAPHER
are all there. Joanna takes a deep breath.
JOANNA
I’d been working for Mr. Hunt six months
when he started asking me to work late,
order dinner... One night, late, he...
tried to sleep with me. The next day, I
went to HR to request a change of
assignment. And two months later I was
fired for having a bad attitude.
Defense Counsel starts in...
A Legal Mind 70.
DEFENSE COUNSEL
Ms. Webster, after working for Devlin
McGreggor, you went on to waitress at
Hooters, did you not?
JOANNA
Yes, I did.
DEFENSE COUNSEL
A place that advertises the sexuality of
its waitresses to get business?
JOANNA
You’ll have to ask them that.
DEFENSE COUNSEL
I’m asking you.
HARVEY
And she’s not answering. It has no
relevance. Let’s move on.
Mike looks at Joanna reassuringly.
DEFENSE COUNSEL
Ms. Webster, are you a truthful person?
JOANNA
Yes.
DEFENSE COUNSEL
When you said earlier that you’d never
been arrested for a crime, were you
telling the truth then?
JOANNA
Yes.
Defense counsel holds up a folder.
DEFENSE COUNSEL
In 1999 you weren’t arrested for stealing
a thousand dollars worth of jewelry from
the Willow Grove mall in Pennsylvania?
Joanna’s face falls. Mike looks at Harvey, “Oh, shit.”
JOANNA
I was seventeen. It was one mistake.
Those records were supposed to be sealed.
A Legal Mind 71.
DEFENSE COUNSEL
So, when you say those records were
sealed, what you mean is that you thought
you could get away with a lie?
JOANNA
No, that’s not it. I knew you would
twist it around and make it seem
different that it is.
DEFENSE COUNSEL
You’ve been arrested in your past. Then
you lied about it under oath. Is that
making it seem different than what it is?
Joanna looks at Mike and Harvey. They can’t help her.
DEFENSE COUNSEL
No answer? Then I ask this, since you
lied here once, what’s to make us believe
you’re not lying about Mr. Hunt?
Joanna runs out of the room. Mike looks at Harvey.
HARVEY
Fix it.
Mike runs out after Joanna.
Scene 23 - Testimony Troubles
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Mike runs up to Joanna, who keeps walking...
MIKE
Joanna, wait...
JOANNA
This is why I didn’t want to testify.
They twist some thing from a hundred
years ago and make me look like a liar.
She turns to Mike.
JOANNA
They make it sound like what he did to me
didn’t happen.
MIKE
Look, I know it was hard. But it doesn’t
matter what happened in there. I need
you to have the courage to give testimony
to the Judge on Friday to keep this case
alive. I don’t have time to find someone
else between now and then...
A Legal Mind 72.
She looks at him, then starts walking again...
MIKE
Wait --
JOANNA
No. I’m not waiting. You promised me
this wouldn’t happen and it did.
MIKE
You never told me you were arrested.
JOANNA
Please don’t contact me again.
Mike watches as his chance to win walks away.
INT. MIKE’S CUBICLE - LATER
Mike sits with his head in hands. Harvey approaches him.
HARVEY
What happened?
MIKE
I couldn’t convince her to stand her
ground and tell the truth anyway.
HARVEY
How the hell did you miss that arrest?
MIKE
I don’t know. I went to Rachel, we did
every background check we have.
HARVEY
Did you grill her like I told you to?
MIKE
It was a sealed record!
HARVEY
Goddamn it, I knew it! You didn’t grill
her because you were afraid to make her
uncomfortable. That’s why I don’t get
emotionally involved. So I can ask the
tough questions that you won’t.
Mike starts packing up his things.
HARVEY
So, you’re going to quit?
A Legal Mind 73.
MIKE
It’s either that or wait for Louis to
fire me.
HARVEY
What are you talking about?
MIKE
My first day, Louis fired Gary Lipsky for
screwing up a case. He said if I did the
same thing I’d be gone as fast as Gary.
HARVEY
Then go to your witness’ house and try to
get her to testify again.
MIKE
I’m telling you, I was there today.
There’s no way.
HARVEY
There’s always a way.
MIKE
Then why don’t you go over there and
convince her.
HARVEY
Because you screwed it up.
MIKE
And you don’t give a damn about the
client.
HARVEY
That’s not my job.
MIKE
Does your job include giving a damn about
me? Because the least you could do is
offer to stand up to Louis Litt for me.
This pisses Harvey off.
HARVEY
Stand up for you?! I put my ass on the
line for you, and the first roadblock you
stumble into you want to quit. Being a
success is about knowing the difference
between having balls and having courage.
MIKE
And what is that?
A Legal Mind 74.
HARVEY
You had the balls to get this job, but
you don’t have the courage to stick it
out when it gets tough.
MIKE
That’s not true.
HARVEY
Isn’t it? You’ve had one foot out the
door since you got here.
MIKE
What are you talking about?
HARVEY
I’m talking about that second briefcase
locked in your desk.
(off Mike’s look)
Yeah, I saw it. And I know what it is.
It’s a backup plan in case this doesn’t
work out. You can make some quick cash
and go right back to the life you told me
you didn’t want to lead.
This hits Mike hard.
HARVEY
So, if you want to quit, go ahead. But
it isn’t because of Louis Litt, it isn’t
because of me and isn’t because of your
witness. It’s because you’re afraid you
might fail and then you’ll have to look
yourself in the mirror and admit you’re
not as smart as you think you are.
A beat.
HARVEY
Now go home and think about that. If
you’re here in the morning, I’ll know I
still have an associate.
Harvey turns and walks away. Mike throws a stack of papers
against the wall in frustration.
INT. SUBWAY - A LITTLE LATER
Mike is riding the subway with his box of things and one of
his briefcases at his feet. The subway stops. He gets off.
A Legal Mind 75.
INT. MIKE’S STUDIO APARTMENT - LATER
Mike enters and flops on the couch. He sits, not knowing
what to do. He reaches under the couch and pulls out his old
bong. He takes some pot out, puts it in the bong and lights
a match. Before he takes the hit, he blows out the match and
puts it all down in disgust. He gets up and leaves.
Scene 24 - Promises and Ultimatums
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 8
Mike enters Grammy’s room. She’s asleep. He sits down next
to her and holds her hand. She wakes and sees him in a suit.
GRAMMY
Michael, look at you... I’m so proud.
MIKE
Grammy, I made good on my promise, but...
I want to quit. I can’t take it.
GRAMMY
Why?
MIKE
Because I can’t do the things I’m
supposed to do.
GRAMMY
Michael, when your parents died, I lost
my son and my daughter-in-law. I was
scared, alone and too old to raise you.
She looks him in the eye and smiles.
GRAMMY
But I had no choice. I had to make do...
because who else was going to care for my
grandson? I wasn’t going to give you up
unless they ripped you from my arms.
Grammy takes a deep breath.
GRAMMY
You made me a promise before. You’re in
the door. Promise me now the only way
you’ll leave is if they rip you out.
MIKE
I promise.
Mike hugs her and exits. As before, he mumbles to himself...
MIKE
I just have to do one thing first.
A Legal Mind 76.
INT. LOUIS’S OFFICE - LATER THAT NIGHT
Louis is working late. Harvey storms in.
HARVEY
Louis, I get that you were upset because
I was promoted before you. But if you
ever threaten to fire an associate of
mine again, I’m gonna kick your ass.
LOUIS
What are you talking about?
HARVEY
Don’t play dumb with me. You fired Gary
Lipsky in front of Mike Ross.
Louis smirks.
HARVEY
What’s so funny?
LOUIS
Gary Lipsky works in the mail room.
HARVEY
What?
LOUIS
He was a plant. I didn’t fire anybody.
It was just my way of letting Mike know
what’s expected of him.
HARVEY
What’s wrong with you? You planted a
fake an employee to manipulate Mike and --
A light bulb goes off in Harvey’s mind.
HARVEY
That’s it.
(then, to Louis)
You make me sick.
Louis seethes as Harvey runs out.
INT. TREVOR STEVENS’ CONDOMINIUM - A LITTLE LATER
Mike, holding the briefcase, uses his key to let himself into
Trevor’s. Trevor and Jenny are immediately happy to see him.
TREVOR/JENNY
Mike!/Thank god.
A Legal Mind 77.
MIKE
I’m not giving this back because you want
it, I’m giving it back because I don’t
need it.
Mike puts the briefcase in front of Trevor. Jenny looks at
Trevor, he’s going to have some explaining to do...
MIKE
I don’t know if I’m ever going to forgive
you or not, but I know this: We’re even.
Mike throws the key to Trevor’s place back to Trevor.
MIKE
Wait a second...
Mike heads into Trevor’s bedroom. He comes back out holding
all of Trevor’s two thousand dollars suits. As he exits...
MIKE
Now we’re even.
EXT. PHILLIP’S TOWN HOME - LATER THAT NIGHT
Katherine rings Phillip’s doorbell. He answers.
INT. PHILLIP’S TOWN HOME - LIVING ROOM - MOMENTS LATER
Phillip pours them each a drink. He hands her the glass...
PHILLIP
Katherine, did you think he was going to
change overnight?
KATHERINE
I’m worried he isn’t going to change at
all. I’ll lose the best attorney I’ve
got.
PHILLIP
If you care about Harvey, putting him
through the ringer is his only chance.
Katherine takes a drink of her whiskey.
KATHERINE
Remember when I was coming up, it was a
different time. Women weren’t welcome --
I took a lot of cheap shots you never
knew about.
Phillip looks at Katherine, “Didn’t I?”
A Legal Mind 78.
PHILLIP
Those cheap shots forged you into the
woman you are today.
KATHERINE
My point is most men get hazed and think,
“I went through it, I’m gonna stick it to
the next guy.” I always felt, “I hated
that. Why put someone else through it?”
Phillip drinks his whiskey and smiles at the irony.
PHILLIP
Then you need to learn to be harder, so
Harvey can learn to be softer.
Scene 25 - Convincing Joanna
- Overall: 8.7
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
Harvey knocks on Joanna Webster’s front door. She opens it.
JOANNA
Who are you? What do you want?
HARVEY
I work with Mike Ross.
JOANNA
Well, you can save your breath, because I
told Mike there’s no way I’m going
testify at that hearing tomorrow.
She closes the door. Harvey stops it.
HARVEY
That’s not why I’m here. I know what you
did.
JOANNA
What are you talking about?
Harvey enters her place as she slowly backs away.
HARVEY
You’re a plant. A fake employee. You
never worked at Devlin McGreggor, and you
were never harassed by Mr. Hunt.
JOANNA
That’s not --
HARVEY
I could tell you I’ve got the canceled
check, or the wire transfer, or whatever
smoking gun that exists, but I don’t.
A Legal Mind 79.
Harvey looks her dead in the eye.
HARVEY
But I will. And when I do, you’ll be
going to jail. Unless you tell me what
happened right now.
Joanna Webster doesn’t know what to do.
HARVEY
I’m the guy you tell.
A moment.
JOANNA
All I had to do was waste your time until
the hearing tomorrow. Please, I needed
the money, I don’t want to go to jail...
HARVEY
Here’s what you’re going to do...
INT. HARVEY’S OFFICE - NEXT MORNING
Harvey’s at his desk. Mike enters, sheepishly. Harvey
smiles.
HARVEY
I see you came to work today. Nice suit.
MIKE
It was a barter transaction. I got
twelve of them for one little briefcase.
Harvey smiles. He’s proud of Mike. Mike gets serious.
MIKE
Listen, I’m sorry and --
HARVEY
Forget it. When I started, Katherine
rode me so hard, I quit once a month. I
just told you what you needed to hear.
Mike still needs to say what he was going to say...
MIKE
That’s just it. When I was ten my mom
and dad died in a car accident. After a
thing like that, you don’t trust anything
or anyone. Except my Grammy. She raised
me, she did the best she could...
Mike takes a deep breath and gets emotional.
A Legal Mind 80.
MIKE
She always told me what I needed to hear.
Mike looks at Harvey.
MIKE
I guess it’s time I trusted someone else.
A moment. Harvey is moved. He tosses Mike a file.
HARVEY
Merry Christmas.
Mike looks through the file, absorbs it contents, then:
MIKE
What would you have done with this if I
hadn’t come in today?
HARVEY
I’d have used it myself.
Harvey lets it sink in that if Mike hadn’t come in today,
Harvey wouldn’t have tracked him down. Then:
HARVEY
You know what to do?
MIKE
Yeah. Press until it hurts.
Scene 26 - The Hunt for Justice
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 8
Mike slaps down a piece of paper. SLAM!
MIKE
Wire transfer from your account in the
amount of five thousand dollars.
We reveal that Mike is standing in front of Mr. Hunt and his
defense counsel. Harvey sits quietly at the table along with
Nancy. Mike slaps down another piece of paper. SLAM!
MIKE
Phone records proving multiple contacts
with Joanna Webster prior to her testimony.
Another document. SLAM!
MIKE
An affidavit stating you paid Ms. Webster
to falsely testify.
(MORE)
A Legal Mind 81.
MIKE (CONT'D)
Mr. Hunt, harassment is a civil
violation, for which you were being sued.
Witness tampering is a crime, for which
you will go to prison.
Mike gathers up the pieces of paper.
MIKE
And I guarantee you’re going to learn
more about the act of unwanted sexual
advances than you ever thought possible.
MR. HUNT
You think this is gonna intimidate me?!
Even if this evidence was credible, who
are you going to get to prosecute me for
some piss-ant witness tampering charge?
Mike turns to Harvey.
MIKE
Harvey, didn’t you graduate law school
with New York’s current U.S. Attorney?
HARVEY
In fact I did. I think he might be
interested in pursuing a case like this.
MIKE
Are you two close?
HARVEY
I was the best man at his wedding.
MR. HUNT
No you weren’t. You’re bluffing.
Harvey nods to Mike, who puts pictures in front of Mr. Hunt.
HARVEY
Here’s us at graduation. He’s sad ‘cause
he just found out I outranked him.
(then)
Here’s one with the District Attorney. I
wouldn’t show him this case, though.
He’d push for the death penalty.
(then)
Here’s one of us at a bachelor party. It
was lame, no strippers. But he can’t put
guys like you away for sexual harassment
then go to strip clubs now, can he?
DEFENSE COUNSEL
What do you want?
A Legal Mind 82.
Mike looks at Nancy, then addresses Mr. Hunt.
MIKE
A statement admitting what you did, your
resignation, and a guarantee you will
obtain treatment before working again.
Mr. Hunt nods his head yes.
MIKE
And Nancy gets reinstated with back pay,
a raise, and damages in the amount of
four years tuition for her son at the
most expensive university in the country.
DEFENSE COUNSEL
Are we done?
MIKE
Yes, we’re done.
Defense counsel and Mr. Hunt exit. Nancy turns to Mike.
NANCY
This is everything I wanted. My job
back, my dignity, a future for Freddie...
Harvey smiles as Nancy hugs Mike...
NANCY
I can’t thank you enough.
MIKE
It was my pleasure.
Nancy shakes Harvey’s hand. Harvey and Mike exit the room...
EXT. STREET OUTSIDE COURTHOUSE - A LITTLE LATER
Harvey and Mike walk out of the courthouse.
MIKE
Okay, I just have one question, why did
you go to Joanna Webster’s house?
HARVEY
Because I figured it out.
MIKE
I think you did it because you cared
about me.
HARVEY
I did it because it’s my job.
A Legal Mind 83.
MIKE
Admit it, you cared. I saw the smile on
your face when I showed up this morning.
HARVEY
I didn’t smile.
MIKE
Say what you want. You know it, and I
know it, you smiled.
A beat.
HARVEY
I was thinking of a funny joke.
Scene 27 - Redemption
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 9
- Dialogue: 8
Harvey enters, contrite.
HARVEY
You know we won.
KATHERINE
Frankly, Harvey, I don’t care.
A moment. This lands on Harvey. He’s probably never said:
HARVEY
I broke a promise to you. I’m sorry.
KATHERINE
(steely)
Make it up to me.
She tosses him a file. He reads it.
HARVEY
This is a criminal case. I don’t --
KATHERINE
The man’s innocent. He’s got a family.
He needs a winner.
HARVEY
(putting it together)
You took my partnership away, folded
instantly when I threatened you, then
asked me to take a pro bono. Now you’re
asking me to do this?
KATHERINE
I’m not saying you can’t still do the fun
stuff. And this is a paying case...
A Legal Mind 84.
HARVEY
What I’m wondering is, have you just been
manipulating me this whole time into some
kind of... personal growth?
KATHERINE
Am I smart enough to do that?
Harvey holds up the file.
HARVEY
Is this the last one?
KATHERINE
I don’t make promises I can’t keep.
INT. MIKE’S CUBICLE - LATER THAT NIGHT
Mike heads out, Harvey joins him and hands him the file...
HARVEY
We start on this tomorrow.
MIKE
Does this mean we’re officially a team?
HARVEY
I wouldn’t move your things into Wayne
Manor just yet.
MIKE
So, now you’re Batman?
HARVEY
Closer to him than the fat Godfather guy.
They approach the elevator as the door opens...
MIKE
George Clooney?
HARVEY
Christian Bale.
Mike shakes his head no as the elevator the door closes.
MIKE (O.S.)
Did you really quit when you were first
here?
HARVEY (O.S.)
Of course not. I’m not a wuss.
END OF SHOW
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| Mike Ross | Mike starts off as a bright but unmotivated young man with a checkered past. Through his association with Harvey, he discovers his untapped potential and decides to study law. He eventually becomes a successful lawyer, fighting for what's right despite the obstacles that come his way. Along the way, he learns to trust others and open up about his own fears and vulnerabilities. He also learns to take responsibility for his actions and make amends for past mistakes. Through his journey, he becomes a better, more rounded person who is dedicated to making a difference. | The character arc is well-structured and provides a clear arc for Mike Ross. However, it seems a bit formulaic and lacks some depth. The story could benefit from more exploration of Mike's motivations, fears, and personal growth. Additionally, the final resolution feels a bit rushed and could use more time for emotional resolution. | To improve the character arc, it might be helpful to add more scenes that show Mike struggling with his inner demons. This could help make his personal growth more meaningful and add depth to his character. Additionally, the final resolution could benefit from more time for emotional closure and reflection on the journey. This could help provide a satisfying conclusion to the character's arc and leave a lasting impact on the audience. |
| Harvey Specter | Harvey's character arc begins as an ambitious and confident attorney who is disappointed when he is not made partner. He realizes that his career is at a standstill, and he needs to make a change. As he takes on more cases with Mike, he discovers a new sense of purpose and acquires a more empathetic and compassionate outlook. He learns to become more introspective and opens up to those around him. Through his relationship with Mike, he develops a more human side and realizes the importance of trust and loyalty. Ultimately, he realizes that being a good attorney is not just about winning cases but also about helping people in need. He becomes more selfless and learns to place the needs of others above his own. | The character arc is well-constructed, but it could benefit from more depth and complexity. The transformation from a cocky attorney to a more empathetic and compassionate one is predictable and could be enhanced by adding more nuanced facets to Harvey's character. Additionally, the character arc could benefit from more external conflicts that challenge Harvey's beliefs and values. This would make the transformation more credible and compelling. | To improve the character arc, consider adding more layers to Harvey's character. Explore his backstory and personal life to reveal hidden struggles and insecurities that shape his behavior. Introduce more external conflicts that test his values and beliefs. Additionally, consider incorporating more meaningful relationships into the story that force Harvey to confront his weaknesses and grow as a person. |
| Mike | Mike's character arc begins with him working as a LSAT taker and drug dealer. He is disillusioned with his life of crime and realizes he needs to get his act together. He takes a chance to enter the world of law, albeit hesitantly. As he becomes a lawyer-in-training, Mike navigates professional and personal hurdles that challenge his integrity and morals. He begins to doubt himself and his abilities, but ultimately finds strength in the support of his colleagues, particularly Harvey. He is driven by his desire to make a difference and help his clients, which ultimately leads him to success as a lawyer. In the end, Mike learns important lessons about integrity, honesty, and the consequences of his actions. | The character arc is well-developed and highlights the key themes of the movie. However, there are moments where Mike's character development could have been more nuanced and realistic. For instance, his transition from a life of crime to a successful lawyer-in-training seems too smooth and idealistic. There is also a lack of exploration of his relationship with his grandmother, which seems like a missed opportunity to add emotional depth to the character. | To improve Mike's character arc, the screenplay could add more realistic challenges for him to overcome on his journey to success. This could include showing the difficult and sometimes ugly reality of the law profession, as well as exploring the emotional toll of his grandmother's illness and disapproval of his actions. Additionally, the relationship with his former friend could be developed further to add more complexity to his character. Overall, the screenplay does a good job of developing Mike's character, but there is room for improvement. |
| Trevor | Trevor starts off as a successful drug dealer who tries to convince Mike to join his business. As the story progresses, his ambition and greed become more apparent, and he becomes more manipulative and dangerous. He tries to make amends with Mike, but when that fails, he becomes confrontational and ultimately gets what's coming to him. | The character arc for Trevor is a bit predictable, as it follows the typical trajectory of a villain in a crime drama. It would be more interesting to see him develop a deeper motivation for his actions, or to have him change in a more unexpected way. | To improve Trevor's character arc, consider giving him a backstory that explains why he became involved in drug dealing, and how it relates to his desire for money and power. You could also have him change in a more unexpected way, such as turning on his accomplices for a greater cause, or developing a genuine friendship with Mike that complicates their relationship. |
| Harvey | At the beginning of the movie, Harvey is a highly successful and confident lawyer, but struggles with balancing his personal and professional life. Throughout the film, Harvey encounters various internal office conflicts and faces mentor troubles and personal struggles. As the movie progresses, Harvey learns to prioritize his clients and colleagues over his own interests, and becomes less arrogant and self-centered. He also recognizes the importance of emotions and relationships in his work and personal life. By the end of the movie, Harvey has grown both personally and professionally, becoming a more sympathetic and compassionate person. | The character arc for Harvey is well-developed and provides a clear trajectory for the character. However, it would benefit from more specific examples of moments where Harvey learns to prioritize others, and how he grows emotionally. Additionally, some of Harvey's actions contradict his newfound compassion later in the film, and could be better resolved. | To improve the character arc for Harvey, the film could include more scenes or moments where Harvey specifically prioritizes others over himself. Additionally, some of Harvey's past actions could be addressed and resolved more effectively to provide a clearer character arc. Overall, the arc could benefit from more nuanced emotional growth for the character. |
| Katherine | Katherine starts as a demanding but supportive mentor to Harvey, but as the movie progresses, she becomes more concerned about the ethical side of her work and the people she works with, including Harvey. She begins to doubt Harvey's ability to lead the firm and considers making Mike her successor instead. Eventually, she realizes that she can still have a successful career while also valuing the people in her life, and she ultimately chooses both Harvey and Mike as her successors. | The character arc is well-developed and shows Katherine's growth and realization of the importance of ethics and compassion in her work. However, it could benefit from adding more specific examples of how Katherine's behavior changes throughout the movie. | To improve the character arc, consider adding specific scenes or dialogue that show Katherine's growth and realization. For example, showing her taking a stand for what she believes in or making a difficult decision to prioritize ethics over results. |
| Rachel | At the beginning of the movie, Rachel is impressed by Mike's legal knowledge, but put off by his arrogance. However, as she works with him and sees how capable he is, she begins to develop a respect for him. Throughout the movie, Rachel is instrumental in helping Mike win the case against Devlin and grows increasingly invested in the outcome. However, when Mike's lie is exposed, Rachel feels betrayed and angry. She confronts him about his deception, but ultimately forgives him and helps him salvage his career. By the end of the movie, Rachel has developed a close working relationship with Mike and has grown as a person, learning to trust her own instincts and speak up for what she believes in. | The character arc is well crafted and follows a logical progression. However, while Rachel is an interesting character, she sometimes feels like a tool to advance Mike's storyline rather than having her own story arc. It would be beneficial to flesh out her character more and give her more agency in the plot. Additionally, while Rachel is shown to be highly intelligent and resourceful, her vulnerabilities and weaknesses are not explored in depth. This could be an opportunity to add more depth to her character and make her more relatable to the audience. | To improve the character arc, it would be beneficial to give Rachel more agency and explore her vulnerabilities and weaknesses in more depth. This could involve giving her more scenes where she is actively pursuing her own goals or making decisions that affect the plot. Additionally, it could be interesting to explore her past and how it has shaped the person she is today. This could add more depth to her character and make her more relatable to the audience. Overall, Rachel is an interesting character with a lot of potential, and with some minor tweaks, could become even more compelling. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Emotional Impact vs. Conflict | This score shows that scenes with higher emotional impact tend to have higher conflict scores as well. This could suggest that the emotional stakes contribute to the conflict in the scene. |
| Character Changes vs. Overall Grade | There is a positive correlation between the character changes score and the overall grade of the scene. This indicates that scenes with more significant character changes tend to receive higher overall grades. |
| Dialogue vs. Plot | There is a slightly negative correlation between the dialogue score and the plot score. Scenes with more dialogue tend to have slightly lower plot scores, which may suggest that the dialogue is not always driving the plot forward effectively. |
| Tone vs. Move Story Forward | There is a positive correlation between scenes with a tense or serious tone and a score for moving the story forward effectively. This indicates that tense or serious scenes tend to drive the story forward more effectively than other types of scenes. |
| High Stakes vs. Emotional Impact | There is a positive correlation between the score for high stakes and emotional impact, indicating that scenes with higher stakes tend to have a stronger emotional impact on the audience. This suggests that it may be beneficial to focus on creating high stakes in scenes to increase their impact. |
| Concept vs. Plot | There is a positive correlation between the scores for concept and plot, suggesting that a strong concept can lead to a more compelling plot. |
| Character Changes vs. Conflict | There is a positive correlation between character changes and conflict scores. This may indicate that character changes often arise from conflicts within the story. |
| Humorous Tone vs. Emotional Impact | Scenes with a humorous tone tend to have slightly lower emotional impact scores, suggesting that humor may somewhat weaken the emotional impact of a scene. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| Suits | The TV show Suits shares many similarities with this screenplay. Both involve a smart and talented individual (Mike Ross) who uses their knowledge to navigate the legal world, often getting themselves into trouble. The dynamic between the characters, the legal cases they tackle, and the conflicts they face align with the themes and structure of this screenplay. |
| Catch Me If You Can | Catch Me If You Can is similar to this screenplay in terms of its premise. Both stories center around a character who engages in deception and runs from authorities to achieve their goals. The themes of identity, quick thinking, and outsmarting opponents are common in both narratives. |
| The Firm | The Firm is a movie that resembles this screenplay due to its focus on a young lawyer who finds themselves caught up in a dangerous legal situation. Both stories explore the corruption and moral dilemmas within the legal world, highlighting the protagonist's struggle to maintain their integrity. |
| Limitless | Limitless shares similarities with this screenplay in terms of its main character's extraordinary abilities and their involvement in illicit activities. Both stories explore the consequences and ethical dilemmas that arise when individuals gain access to enhanced intelligence or skills. |
| Breaking Bad | Breaking Bad is reminiscent of this screenplay due to its exploration of a character entering the world of illegal activities. Both stories delve into the moral complexities and personal consequences of engaging in criminal behavior, while also highlighting the protagonist's skills and determination. |
| White Collar | White Collar, a TV show, shares similarities with this screenplay in terms of its premise and main character. Both involve a clever and resourceful individual who uses their skills to navigate the world of crime and deception. The tone, themes of identity, and the dynamics between characters align with this screenplay. |
| The Lincoln Lawyer | The Lincoln Lawyer, a movie, is similar to this screenplay in terms of its focus on the legal profession and a lawyer with a morally complex background. Both stories explore the gray areas of the law and moral ambiguity within the legal system. |
| Good Will Hunting | Good Will Hunting is similar to this screenplay in terms of the main character's intelligence and their brush with a potentially successful career that comes with moral and personal complications. Both stories tackle themes of self-discovery, choices, and personal growth. |
| American Hustle | American Hustle shares similarities with this screenplay in terms of its focus on deception, con artists, and complex relationships within the criminal world. Both stories explore the consequences of lies and the blurred lines between truth and fiction. |
| The Social Network | The Social Network is similar to this screenplay in terms of its focus on a brilliant but morally ambiguous protagonist who finds themselves involved in legal disputes. Both stories delve into themes of ambition, ethics, and the repercussions of one's actions. |
| Theme | Theme Details | Themee Explanation |
|---|---|---|
| Deception and Identity | The screenplay explores the theme of deception and identity through Mike's double life as a fake lawyer and drug dealer, as well as Harvey's confrontation with Joanna, who turns out to be a fake employee. | Deception and identity play a significant role in the character development and plot twists in the screenplay. The theme highlights the consequences of living a double life and the importance of authenticity. |
| Ethics and Morality | The screenplay touches on the theme of ethics and morality through Harvey's decision to take on a pro bono case and Mike's struggle to balance his illegal activities with his desire to do the right thing. | Ethics and morality are explored to showcase the characters' growth and development. The theme raises questions about the line between right and wrong and the choices individuals make when faced with moral dilemmas. |
| Career and Ambition | The screenplay explores the theme of career and ambition through the characters' pursuit of success in the legal profession, showcased through Mike's journey from a lowly drug dealer to a lawyer and Harvey's desire to become a senior partner. | Career and ambition serve as driving forces for the characters' actions and decisions. The theme explores the sacrifices individuals make to achieve their goals and the challenges they face along the way. |
| Friendship and Betrayal | The screenplay touches on the theme of friendship and betrayal through Mike's strained relationship with Trevor, who tries to involve him in the drug business, as well as Harvey's confrontation with Louis and his mentor. | Friendship and betrayal are explored to showcase the complexities of human relationships. The theme delves into the consequences of trust and the impact of betrayal on the characters' personal and professional lives. |
| Justice and Redemption | The screenplay explores the theme of justice and redemption through Mike and Harvey's pursuit of justice for their clients and their own personal growth and redemption arcs. | Justice and redemption serve as motivators for the characters' actions and decisions. The theme examines the struggle for justice in a morally complex world and the potential for redemption and growth even in the face of adversity. |
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Originality
- Overall originality score: 7
- Overall originality explanation: The screenplay showcases moderate originality in its approach to familiar legal drama tropes. The dialogue and character actions feel authentic and fresh, with unique twists and situations that keep the audience engaged.
- Most unique situations: The most unique situations in the screenplay are the scene where Mike Ross must evade the proctor after cheating on the LSATs, the scene where Harvey takes advantage of a bad faith deal to close a negotiation, and the scene where Mike pretends to be someone else to gain entry to a Harvard Law School tour.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to prove himself as a competent lawyer and succeed in his job |
| External Goals | The protagonist's external goal is to succeed in his job and navigate various legal cases |
| Philosophical Conflict | The overarching philosophical conflict in the screenplay is the tension between personal morals and professional ethics |
Character Development Contribution: The goals and conflicts contribute to the development of the characters by challenging their beliefs, values, and personal growth
Narrative Structure Contribution: The goals and conflicts provide a driving force for the narrative, creating tension and conflict that propel the story forward
Thematic Depth Contribution: The goals and conflicts explore deeper themes such as morality, justice, success, and personal identity, adding depth and complexity to the screenplay
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The world depicted in the script includes various physical environments such as testing facilities, law offices, high-end condominium buildings, upscale bars, hotel suites, nursing homes, diners, and courtrooms. Each environment is described with specific details to create a unique atmosphere and setting for the characters.
- Culture: The cultural elements present in the script include drug culture, legal profession culture, elite and high-class culture, and the culture of harassment and struggle to prove it. These cultural elements shape the characters' experiences and actions, as they navigate through their respective worlds and face the challenges and conflicts that arise.
- Society: The societal structures depicted in the script include the hierarchical structure of law firms, the competitive and cutthroat nature of the legal profession, the societal expectations and pressure to succeed, and the power dynamics within various social and professional settings. These societal structures greatly influence the characters' behaviors, decisions, and interactions with one another.
- Technology: The technological elements present in the script include modern communication devices such as cell phones and text messaging. Technology is not heavily emphasized, but it is subtly incorporated to reflect the contemporary setting and to enhance the characters' experiences and interactions.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions in several ways. The tense and busy atmosphere of the LSAT testing facility influences Mike's decision to take a test for another student, leading to a series of events that change the course of his life. The cutthroat and competitive nature of the law offices in Manhattan shape Harvey's confrontational approach and his pursuit of success. The drug culture and need for trust influence Mike's skepticism towards Trevor's business dealings. The high-stakes and luxurious environments in Manhattan and upscale bars contribute to the characters' motivations, desires, and conflicts. The societal structures and power dynamics within the law firms and legal settings shape the characters' behaviors, decisions, and interactions. The modern technology, though not central to the story, reflects the contemporary setting and enhances the characters' communication and interactions.
- Narrative contribution: These world elements contribute to the narrative of the screenplay by establishing a sense of time, place, and atmosphere, which immerse the audience in the story and create a believable and engaging world for the characters to navigate. The physical environments, cultural elements, societal structures, and technology serve as backdrops and contextualize the characters' experiences and actions. They also contribute to the plot developments, conflicts, and resolutions, as the characters interact within these worlds and face the challenges and obstacles presented by their environments.
- Thematic depth contribution: The world elements in the script also contribute to the thematic depth of the screenplay. The physical environments reflect the different social, professional, and personal realms that the characters inhabit, highlighting themes such as ambition, success, power, and personal growth. The cultural elements emphasize themes of trust, loyalty, integrity, and the struggle against injustice. The societal structures and power dynamics explore themes of hierarchy, competition, and the ethical dilemmas faced by the characters. The technology, though subtle, reflects the modern world and raises questions about its impact on communication, relationships, and ethics. Overall, these world elements deepen the narrative and explore complex themes within the context of the characters' experiences and actions.
Screenplay Rating:
Consider
Executive Summary
The 'Suits' screenplay demonstrates strong character development, particularly in the relationship between Mike Ross and Harvey Specter. The plot is engaging, with compelling legal storylines and intriguing personal/professional dynamics. While there are a few areas that could use further refinement, the overall screenplay shows promise and would likely appeal to a broad audience interested in legal dramas with complex, well-drawn characters.
Strengths
- The screenplay demonstrates strong storytelling and character development in the scene where Mike navigates the Ritz-Carlton hallway, using his observation skills and quick thinking to avoid the police sting. This sequence showcases Mike's intelligence, resourcefulness, and ability to think on his feet under pressure. high ( Scene 6 (INT. RITZ-CARLTON HALLWAY) )
- The exchange between Harvey and Mike in Harvey's office is a standout, as it delves into their growing relationship and Harvey's unconventional mentorship of Mike. The dialogue is sharp, and the scene highlights the complex dynamics between the two characters. high ( Scene 14 (INT. HARVEY'S OFFICE) )
- The scene where Mike visits his grandmother is a poignant and emotionally resonant moment that provides deeper insight into Mike's background and motivations. The dialogue between Mike and his grandmother is well-written and effectively conveys the importance of their relationship. medium ( Scene 24 (INT. NURSING HOME - MIKE'S GRANDMOTHER'S ROOM) )
Areas of Improvement
- The drug testing scene feels a bit forced and contrived, as it seems to be primarily used as a plot device to raise tension and suspense rather than being an organic part of the story. The execution could be improved to make it feel more natural and integral to the narrative. medium ( Scene 22 (INT. DRUG TESTING ROOM) )
- The confrontation between Mike and Joanna Webster outside the firm feels a bit rushed and underdeveloped. More time could be spent exploring Joanna's motivations and the emotional weight of her decision to not testify, which would add depth to this crucial plot point. medium ( Scene 23 (EXT. STREET OUTSIDE OF PEARSON, HARDMAN) )
MissingElements
- The screenplay could benefit from further exploration of Katherine Pearson's character and her relationship with Harvey. The scene where she confronts Harvey about the pro bono case suggests a deeper dynamic, but it is not fully developed. Delving into Katherine's motivations and her history with Harvey would add complexity to the narrative. medium ( Scene 11 (INT. KATHERINE PEARSON'S OFFICE) )
NotablePoints
- The introduction of Rachel Lane, the paralegal, and her interactions with Mike provide an engaging secondary storyline that adds depth and complexity to the script. The potential romantic tension between the two characters is an intriguing element that could be further explored. medium ( Scene 10 (INT. PEARSON, HARDMAN LAW FIRM - RECEPTION) )
- The dynamic between Mike and his friend Trevor is well-established, providing insights into Mike's past and the temptations he faces. Trevor's character serves as an effective foil to Mike's aspirations, highlighting the challenges Mike must overcome to pursue his legal ambitions. medium ( Scene 3 (INT. TREVOR STEVENS' CONDOMINIUM) )
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 2 | Harvey: I would say the ball’s in your court, but the truth is your balls are in my fist. |
| 4 | Harvey: The truth is... I do it for the children. |
| 16 | Rachel: Do me a favor, don’t poop on my laptop. |
| 14 | Harvey: I'm not about caring. I'm about winning. |
| 23 | Harvey: Being a success is about knowing the difference between having balls and having courage. |