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| Aldo ahumada Chu han |
EXT. STREET - CHICAGO
JIMMY: Works every I'm telling you, every time. Do it, try it.
STEVIE: What? Right now? All right, all right.
Stevie begins to howl.
JIMMY: Kind of Kind of that. Got to work on it, bro.
STEVIE: All right, man.
JIMMY: Seriously.
STEVIE: All right, bro, I'll work on it. But just, like, when when do you know?
JIMMY: Right before the cork pops, you know? Timing's important, but...
STEVIE: But you don't do it, like in her ear.
JIMMY: No, you don't do it in her ear.
STEVIE: Because yeah.
JIMMY: It's a given you don't do it in her ear. But this is, like, scientifically proven, okay?
JIMMY: Works every I'm telling you, every time. Do it, try it.
STEVIE: What? Right now? All right, all right.
Stevie begins to howl.
JIMMY: Kind of Kind of that. Got to work on it, bro.
STEVIE: All right, man.
JIMMY: Seriously.
STEVIE: All right, bro, I'll work on it. But just, like, when when do you know?
JIMMY: Right before the cork pops, you know? Timing's important, but...
STEVIE: But you don't do it, like in her ear.
JIMMY: No, you don't do it in her ear.
STEVIE: Because yeah.
JIMMY: It's a given you don't do it in her ear. But this is, like, scientifically proven, okay?
STEVIE: Really?
JIMMY: This is, like, prehistoric stuff. It's like the medulla, the wolf brain.
STEVIE: The what?
JIMMY: It's primitive stuff
STEVIE: All right, let me try it again.
Stevie begins to howl again.
STEVIE: Yeah! Yeah? That's the wolf brain.
JIMMY: Nice.
Both Jimmy and Stevie laugh.
STEVIE: Man, this town sucks! I'm sorry, bro. I know it's yours and everything, but it's not even 2:00.
JIMMY: Yeah, it does kind of suck. Hey, I know this after-hours place over A couple blocks off Cermak. You want to hit it?
STEVIE: Hells yeah! Let's do it.
JIMMY: That's what I'm talking about.
EXT. ALLEY - NIGHT
Both Jimmy and Stevie howl and make their way down an alley.
JIMMY: Not in her ear, right?
STEVIE: Not in her ear, not in her ear. Hey Bro, I never did catch your name.
JIMMY: Saul.
Jimmy clears his throat
STEVIE: Saul?
JIMMY: S'all good, man. Get it?
STEVIE: I do All right, Saul.
Stevie finds a wallet on the ground.
STEVIE: Hey, hey, brother, whoa. Check it out. What is that?
Stevie picks up the wallet and looks inside.
STEVIE: Holy shit. There's got to be at least a thousand bucks in here, man.
JIMMY: Oh, my God, look at that. Whose is it?
STEVIE: Mine. Hey, possession's like 4/10ths of the What did you call it, bro?
JIMMY: Like, is there an ID or?
STEVIE: Yeah. I don't know. Some fat guy.
Stevie taps Jimmy on the shoulder and points out a man lying on the floor.
STEVIE: I'm thinking that one.
Jimmy and Stevie make their way over to the man.
STEVIE: Jesus.
JIMMY: Is he, uh... Is he, uh...
STEVIE: I don't know.
Jimmy grabs a stick and pokes the man.
JIMMY: Hey. Hey, fella. You all right?
The man starts humming the tune of "Smoke On The Water"
JIMMY: Hey, buddy. Hey, would you answer me?
MARCO: Hey, answer this, you butthole.
Marco puts his middlefinger up, still humming tune of "Smoke On The Water"
STEVIE: Hey, uh Hey, bro. Be nice, all right? This guy right here is trying to help you.
MARCO: Help yourself to some of this, you butthole.
JIMMY: Hey, we're not butt-holes, all right? So stop saying that.
Marco puts his middlefinger up again, and starts repeating butthole.
MARCO: Butt, butthole, butt, butt, butt-hole.
JIMMY: Hey, man, what's your problem?
MARCO: My problem is I'm standing here talking to a couple butt-holes.
STEVIE: Actually, you're not standing, you fat bastard. You're laying on your fat ass.
MARCO: Hey, I'll roundhouse-kick you right in your head. And if you think I won't, I'll come to the McDonald's, where you work and I'll buy the whole damn place and then I'll fire you. I'll say, drop your mops, you butt-holes, 'cause you're fired. And then I'll roundhouse-kick you right in your stupid heads. Then I'll go "John"-Claude Van Damme on you S-s-s (Snoring) You butthole.
STEVIE: I'm keeping the money. Here you go, fatty.
JIMMY: I got dibs on that watch, man.
Jimmy starts to remove the watch off Marco's wrist.
STEVIE: Let me see that. What kind is it?
JIMMY: I don't know. It's just a watch.
JIMMY: We got to get out of here, man.
STEVIE: Whoa, whoa, whoa. What kind of watch is it?
JIMMY: It's I don't know. It's...
STEVIE: Well, then, let me look at it. It's a damn Rolex.
JIMMY: Oh. I don't know.
STEVIE: Not cool to be greedy, bro. Not cool.
JIMMY: Uh, I didn't know what...
STEVIE: So, how do you want to split this up? I'll tell you what you keep the cash. I'll just keep the watch.
JIMMY: But it's worth like 3 grand, man. $3,000 easy.
STEVIE: No.
JIMMY: Yeah.
Stevie attempts to run off with the watch
JIMMY: Hey, hey, hey. Come on, let's figure this out. We gotta get out of here.
STEVIE: All right, yeah. You know what? I sweeten the pot. I got, uh, $5, $20, $40, $60, $80 580 bucks. Add that to the $1,000 It's more than half.
JIMMY: What do you know about that thing? I mean, is it worth more than $3,000?
STEVIE: No, I don't I don't know. But we're good, right? Yeah? We good?
JIMMY: Yeah.
Stevie runs off down the alley, laughing,
STEVIE: Later, sucker!
Marcao rises from the ground, and shakes Jimmy's hand. We can now hear Stevie howling in the distance
INT. MARCO’S HOUSE
Marcao closes a draw filled with the Rolex watches.
MARCO: Six left.
JIMMY: Can we get more?
MARCO: God, I hope so. It's like a license to print money. A thing of beauty.
JIMMY: Hey, what was that, uh, crazy stuff about roundhouse kicks? Where the hell did you get that?
MARCO: I don't know, man. Just something in my brain, you know? It just came out. Too much?
JIMMY: No. I loved it. It was, like, deep or something.
MARCO: You want to talk about brilliant? I mean we You're the man, me I'm just I love watching you work, man.
Jimmy takes a hit from a bong.
JIMMY: It's good for making beer money. That's about all.
TITLE SEQUENCE
EXT. FOREST
A bag filled with money drops to the ground.
BETSY: Please, okay? No one has to know. I mean, you could just pretend you didn't find us. We would never tell anyone, would we, Craig?
CRAIG: No, absolutely not.
JIMMY: I already called your lawyer. Besides, this little family outing of yours It's put an innocent man in jail. The cops are investigating this as a kidnapping. They already rounded up some poor suspect. A working-class guy. Father I think. But anyway, you two you almost ruined someone's life. Potentially several someones.
CRAIG: We had no idea.
BETSY: Could this have been the person in the van? What if the man they arrested Is the one we were warned about? Yeah, maybe he's not so innocent, hmm?
JIMMY: Warned? Warned how?
BETSY: Well, we had a phone call. Someone disguising their voice. Yeah, they said someone was coming for us.
CRAIG: And there was a van outside the house As if whoever was inside was watching us. And, uh, once that drove off, we did what we did - For the kids.
JIMMY: I wouldn't know about any of that. I can assure you that you and your family are safe. I mean, the police are all over this thing, so...
BETSY: It it doesn't matter. Uh, we can't just go back. I mean, it's our case. They'll crucify Craig. Can't you just call Ms. Wexler again? You know, tell her you didn't see us after all.
CRAIG: If they think I ran away, it will look like I did something wrong.
BETSY: We can't risk losing everything just because of some teensy mistake. I mean, it's...
JIMMY: Can I ask you something? What what were you hoping would happen? I mean, before I found you, what were you planning to do?
CRAIG: We were in the process of, you know, working that out.
BETSY: We were working that out. Yeah.
JIMMY: All right, well, uh You still got a little bit of maneuverability, all right? You you're outdoorsy, right? So you went on an impromptu camping trip. I don't know. It's something people do, apparently. Uh, you left the house a mess, and you kicked in your own front door because it's a free country. Kim Wexler is very good. She'll make it work.
BETSY: What what about the money? Uh, well, if she knows about it, she'll tell, right? She'll have to tell.
JIMMY: Well, like they say in Silicon Valley, "it's not a bug it's a feature!" Did you ever hear of a bargaining chip? What we have right here is the mother of all bargaining chips.
BETSY: Um, as in you expect us to give this back? We are not giving this back. Uh, we are not guilty. This money belongs to us. We well, I mean, Craig earned it.
CRAIG: I worked very hard You know, weekends, holiday
BETSY: Yep, all unpaid, always. And, really, just because you're salaried, doesn't mean you don't deserve overtime. I think that's only fair
CRAIG: I mean, really, that's what this is about, right? Fairness.
BETSY: Fairness, right. I mean, not just what's legal. If you want to talk about legal, slavery That used to be legal. Human slavery.
JIMMY: Yeah, this is right up there with that.
Betsy takes $30,000 out of the bag and offers it to Jimmy.
BETSY: Please, just don't tell anyone about the money.
JIMMY: I can't take a bribe.
BETSY: Who would know?
CRAIG: We won't tell anyone.
BETSY: Yeah, take it.
JIMMY: I can't take it.
CRAIG: Please, didn't you say that you wanted to help us?
BETSY: So just pretend you never saw the money. How hard is that? Take it. Take it.
JIMMY: I can't... I can't take a bribe. But you know what? I can take a retainer
BETSY: A retainer?
JIMMY: Yeah, for my services as your lawyer?
CRAIG: You're not our lawyer.
JIMMY: Well, not yet. Look I know that HHM is shiny and it's slick. It's chock-full of lawyers and, compared to them, I'm like a a kiddy lemonade stand trying to compete with Wal-Mart. But here's the thing. What are you gonna get from me that you're not gonna get from those other guys? Passion, commitment. Ask yourself this who found you? I don't see Howard Hamlin ruining his $300 Gucci loafers out here. If you're with me, you're my number-one client. Morning, noon, or night, you call me I'm there. I would be singularly devoted to you.
Betsy and Craig both shake their heads.
JIMMY: But why not?
BETSY: I'm sorry. You're just
JIMMY: Just I'm what?
BETSY: You're the kind of lawyer guilty people hire.
Betsy offers Jimmy the money again.
EXT. TOLL BOOTH
Jimmy pulls up to the toll booth.
JIMMY: Did it make the paper?
MIKE: What?
JIMMY: Did it make the paper?
MIKE: Did what make the paper?
JIMMY: Okay, well, probably missed the deadline, but check it out tomorrow morning front page. The Kettlemans, all four of them Safe and sound. Looks like you called it.
MIKE: Yeah.
JIMMY: Camping you know, pretty much right in their own backyard. Well Five miles above it. Jesus, the night I had. I got pine nuts in my shoes. But, I mean, can you believe it? I guess you can. It's just, you know You assume that criminals are gonna be smarter than they are. I don't know. It kind of breaks my heart a little.
Slience
JIMMY: Not the loquacious sort, are you?
MIKE: We can't all be as blessed as you.
JIMMY: Well, thanks for your help.
MIKE: Don't mention it.
JIMMY: And, uh, if you ever need any assistance...
Mike closes the toll booth window. Jimmy drives into the parking lot.
INT. ALBUQUERQUE POLICE STATION
Jimmy stands with his hand on the wall, waiting. Nacho comes through the door in handcuffs with a detective.
JIMMY: Whoa, whoa. Why is my client in handcuffs? This man is innocent. He's a victim. why why on earth would he be cuffed? Just go go ahead. Take them off. There you go. Free at last! Hey, did he tell you the good news? Never even kidnapped how about that? A family can't go on a little vacation without the whole city going on lockdown? By the way, where is your partner? What? Did you lose the coin toss? Because we expect an apology from him, as well as you.
DETECTIVE: You really don't want to push your luck with me, scumbag. (to Nacho) We got eyes on you, asshole. One little slip just one.
JIMMY: Yeah, well, you're you're both very pretty, so...
The detective leaves.
JIMMY: Well, I believe I did more than what you asked of me, so, uh, that would make us square, yes? Great. You need a ride?
NACHO: Camping? You expect me to believe that shit?
JIMMY: Yeah, I know it. The things people do, huh?
NACHO: They decide to go camping right after I run my little offer by you?
JIMMY: Could be argued that all of life is one great coincidence.
NACHO: Somebody told those people to, um, go camping. Somebody warned them.
JIMMY: They're very woodsy. And between you and me, They're pretty rash when it comes to the decision-making. I mean, they're not really the plan-ahead types.
NACHO: Yeah, I'd cut the cute attitude right about now If I were you. You ratted on me. There will be consequences.
Nacho looks Jimmy in the eyes before turning and starting to walk off.
JIMMY: Hey, if somebody warned the Kettlemans, it was probably somebody who was worried about those kids.
Nacho turns around and walks back towards Jimmy.
NACHO: You know how much trouble you caused me?
JIMMY: You didn't need any help getting caught, okay? The neighbor ID'd you. You were sloppy. Any trouble you might have that's on you. Not to mention the blood in your van. Here's a thought Ajax, formula 409! You have no idea the tap-dance I had to give those cops To get you out of here. You gave them probable cause out the wazoo. Now, and whoever the somebody is who may have warned the Kettlemans got them out of there before you did anything even more stupid. You should be thanking this good Samaritan. Because whoever he is, he did you a favor.
EXT. NAIL SALON - NIGHT
We watch from outside the salon as Jimmy makes his way into his office, turning off the lights
INT. JIMMY’S OFFICE
Jimmy sits at his desk and pours himself a drink before pulling $30,000 towards him, and taking out his [?]
JIMMY: Okay, um, I'm thinking hourly here. There were some special circumstances, so our elite-tier pricing would be $950 an hour. Round it off to 20 hours. $19,000 Plus $1,000 for travel expenses. Consulting fees $1,500. And, uh, research Five for filing fees. I ate on the road. And storage fees. Miscellaneous expenses. Upon this rock, I will build my church.
INT. CLOTHING STORE
Jimmy is being measured by the Tailor
TAILOR: Double-breasted or single, sir?
JIMMY: Single. Now, I want you to cut the armholes high, okay?
TAILOR: Of course.
JIMMY: And trim through the middle. Trim.
TAILOR: Cloth?
JIMMY: Uh, oh, well, uh, wool. Yeah. Uh "Super 170 Tasmanian wool.
TAILOR: Beautiful choice, sir.
JIMMY: Thanks. Uh, navy, all right?
TAILOR: Yeah.
JIMMY: Uh Mm-hmm. Oh, that's it. Perfect. Pinstripe.
TAILOR: Shall we discuss shirts?
JIMMY: Okay, I'm gonna need your finest sea island cotton with a white club collar and french cuffs.
TAILOR: I have the very thing. And I'm assuming you want to see some ties?
JIMMY: Yeah, I was, you know, picturing something in a light-blue knit. Oh, and, uh, could you make sure those are real mother-of-pearl buttons on the shirts, okay? None of this fake plastic crap.
TAILOR: Of course. I'll be right back. Some coffee, David, for the gentleman?
The Tailor heads into the back room. Jimmy looks at some shirts and ties.
TAILOR: Ah, here we are. Shall we?
JIMMY: Yeah, let's go.
INT. NAIL SALON
Mrs. Nguyen hands Jimmy a book.
JIMMY: So, um, what do you think? "Strawberry Fields Forever"?
MRS. NGUYEN: Mm.
JIMMY: No. Are you crazy? It's not even close.
MRS. NGUYEN: Yes, it is. Look.
JIMMY: No, no. It's way more "Sassafras Glow". Way more.
MRS. NGUYEN: Use your eyes Strawberry Fields Forever.
JIMMY: Ladies, back me up. Hey. Is it Sassafras Glow. Am I right?
WOMAN: No.
JIMMY: Maybe "Rhapsody in Blonde," but Yeah, see? They agree with me. Whatever happened to "the customer is always right"? Sassafras Glow mix it up, all right?
MRS. NGUYEN: You're wrong. You'll see.
JIMMY: Big deal. I'll wash it out in the morning. No biggie. Geez.
MRS. NGUYEN: It's bleach. It doesn't wash out.
JIMMY: What? It's permanent? We'll Photoshop the color, okay? Change of plan, ladies. I want to go with a simple curling-iron job, okay? Uh, give me, like, ringlets you know, on top, like Tony Curtis in "Spartacus." Yeah, like the bath scene in "Spartacus."
The Woman are speaking in Vietnamese.
JIMMY: Stop talking about it! Make me beautiful, already.
INT. HHM - KIM'S OFFICE
Kim picks up her cell phone and dials Jimmy.
(British accent) Hello. You've reached the law offices of James M. McGill, esquire, A lawyer you can trust. Kindly leave your information at the tone, and Mr. McGill will phone you promptly.
KIM (on phone): Hey. Uh It's me. Hi. Anyway, uh, "The Thing" is playing downtown on Saturday. Thought you might be up for some Kurt Russell action. I owe you one, so why don't we just grab some dinner first? My treat. And Uh, you know, if not, can you give me a call anyway? I really want to talk to you. Okay. Uh, bye.
Kim hangs up the phone. Howard knocks on the door of her office.
KIM: Come in.
HOWARD: Hey.
KIM: Hey. Hey.
HOWARD: How goes it?
KIM: Uh, tricky, for sure. Craig and Betsy really put us in a corner with the police. Not to mention the press. But this camping story of theirs. They've been keeping it consistent, at least. If it's okay with you, I think I should try to talk them into hiring a PR firm. Certainly for the next couple of weeks.
HOWARD: Mm-hmm.
KIM: So, okay on the PR firm?
HOWARD: Do you have a minute?
KIM: Yeah, of course. What's up?
HOWARD: Take a ride with me.
KIM: Uh, okay. Uh Where are we going?
Howard and Kim make their way out of the office.
EXT. ALBUQUERQUE - STREET
A black car pulls into a parking lot. The engine shuts off, and Howard and Kim climb out
KIM: Whoa.
HOWARD: Yeah.
KIM: Shit.
HOWARD: Yep. That's I mean, that's my suit, right? Am I crazy here?
KIM: No, you're not crazy.
The camera turns to face a billboard that imitates HHM and Howard.
HOWARD: Look at the logo. That's our logo. He's just straight-up copying us. I mean, what the hell is he thinking with this?
KIM: I really h-h-he's, you know, a free spirit.
HOWARD: Yeah, that's one way to put it. You two are still friends, right?
KIM: I wouldn't exactly...
HOWARD: You talk, though.
KIM: Not really.
HOWARD: Still, you're the one he called when he found the Kettlemans camped halfway up the Sandias.
KIM: He was just looking out for his own client that's all.
HOWARD: This isn't the third degree, Kim. I really don't care one way or the other. I just... he's really forcing my hand here.
INT. NAIL SALON
Jimmy is relaxing in a chair in the salon. Knock! Knock! Jimmy gets up and removes the cucumber from his eyes, making his over to the door.
JIMMY: Hey!
KIM: Hey. Am I interrupting?
JIMMY: Not at all. Perfect timing. Come on. Sit. Have a massage, free of charge.
KIM: Okay.
JIMMY: Got to try the foot bath, too. Oh, yeah. Ah, give the old dogs a rest.
Kim sits down in the chair next to Jimmy.
JIMMY: And go for the deep-tissue setting. Otherwise--
KIM: Is that the small fist?
JIMMY: Use the three arrows.
KIM: I did. I pressed it.
JIMMY: Just yeah. Now you feel it? Good. Ah, now relax, okay?
KIM: Okay.
JIMMY: You deserve a break today.
KIM: It's very nice.
JIMMY: Told you. I get this free every night. Just one of the perks of salon living.
KIM: The others being?
JIMMY: Free cucumber water, obviously.
KIM: Obviously. Free mani-pedis?
JIMMY: Uh, deep discount mani-pedis. Because the ladies still got to eat, you know?
KIM: Well, it's still a deal.
JIMMY: Yeah.
KIM: Living like a king, then.
JIMMY: Mm-hmm.
Kim reaches into her bag and grabs a letter, handing it over to Jimmy.
JIMMY: What's this? Is this a cease and desist?
KIM: Yeah.
JIMMY: How pissed was he?
KIM: Well, his head didn't actually explode, but, you know, pretty damn pissed, like "this won't end well for you" pissed.
JIMMY: Yeah. How about that.
KIM: Jimmy. This is serious.
JIMMY: I know.
KIM: Do you? I mean.
JIMMY: Yeah.
KIM: What the hell is with that billboard? I know you have a problem with Hamlin, but I I just don't get your angle here. Aren't you trying to build your own law practice? Instead, you're spending god knows how much money turning yourself into a little Hamlin clone. I mean why are you making this personal?
JIMMY: It's not personal.
KIM: It is so personal. It is completely and totally personal.
JIMMY: No, no, no. It's not.
KIM: Yes. Yes, it is. Stop trying to pretend.
JIMMY: I can advertise, can't I? What, do I have to clear everything past the great and powerful Howard?
KIM: Yes, you can advertise, Jimmy, all you want. That billboard is not advertising. That is a declaration of war.
JIMMY: Declaration of war?
KIM: It's right at Hamlin's exit. You know he drives by it every day.
JIMMY: It's business. I'm building a brand.
KIM: You're ripping off a brand. There is nothing original in that ad. It certainly doesn't represent Jimmy McGill.
JIMMY: Hey, all right, now, he fired the first shot, okay? Trying to keep me from using my name, my own name, Kim?
KIM: I get that. But this... you're better than this.
JIMMY: I'm better than this?
KIM: Yeah.
JIMMY: I'm better than this?
KIM: You are.
JIMMY: Well, you're better than that schmuck Hamlin!
KIM: Oh, come on, Jimmy.
JIMMY: You could work anywhere. You could be somewhere where they appreciate you. You know, where they see how valuable you are, where, I don't know, maybe they care about you?
Silence
JIMMY: Forget it, okay? If Hamlin wants to come after me, he knows where I am. I'll be ready, guns blazing.
KIM: The cease and desist is just the beginning. The next step is an injunction. You can't win this fight.
Kim picks up her bag and leaves the Salon
INT. JUDGE'S OFFICE
JIMMY: Your honor, I'm a humble solo practitioner, merely trying to ply my trade In an aggressive and evolving marketplace.
HOWARD: As I've argued repeatedly, this is trademark infringement. Mr. McGill's new logo is an absolute copy of ours.
JIMMY: I think it falls firmly under fair use.
HOWARD: Fair use? You're clearly profiting, so fair use doesn't apply.
JIMMY: There are only so many fonts out there. Does Mr. Hamlin outright own them all?
HOWARD: No, but we've been using this particular font for 12 years now, and it, in concert with our tri-rectangle graphic
and Hamlindigo Blue, constitutes a trademarked brand identifier.
JIMMY: Whoa, whoa. Back up. Hamlindigo blue?
HOWARD: Yes. That is our trademarked name.
JIMMY: Holy crap. You seriously named a color "Hamlindigo"? That is yikes.
HOWARD: "Yikes"? From the man dressed exactly like me. Your honor, I feel like I'm in the mirror routine with Groucho Marx, like we should be standing, waving our arms at each other.
JIMMY: Really? I don't see it.
HOWARD: In addition, the name McGill appears in both logos, which, I believe, Mr. McGill is hoping to further confuse potential clients.
JIMMY: So I can't advertise under my own name now? I'm to be penalized 'cause I happen to share a name with one of HHM's partners? You can't take my name from me.
JUDGE: The name is not the problem here, Mr. McGill.
JIMMY: Hamlin certainly seems to think so. I mean, he wants me to change my name 'cause he claims that what, it's some kind of threat to his business?
HOWARD: Your honor.
JIMMY: This is restraint of trade, okay? Whatever happened to the free market, huh? No, Hamlin here wants you to tell
JUDGE: Okay, okay, I've enough. Mr. McGill, I've heard enough. All right, yes, you are within your rights to advertise using your own name. However, in my estimation, the billboard clearly and intentionally duplicates elements of the Hamlin, Hamlin, McGill logo. You're actively copying their established brand for your own gain. I don't see any other reasonable explanation.
JIMMY: Your honor.
JUDGE: Jimmy, Jimmy. Wise up. The billboard must come down within 48 hours.
INT. COURTHOUSE
Jimmy walks through the hallway on the phone
JIMMY (over phone): This is a classic David vs. Goliath story. I mean, you got your gigantic law firm stomping all over the little guy. Yeah, but it's investigative journalism at its best. It's right up your alley. Uh-huh. Yeah, o-okay, well, let me give you my cell just in case. Uh yeah. Thank you.
Jimmy hangs up his cell phone and crosses off a name in his notepad. Howard walks past and glaces over at Jimmy, who starts calling other people listed on his notepad.
JIMMY (over phone): Can I get the news desk, please? I got a hot tip.
JIMMY (over phone): Don't you want to be the station that brought down big law? You could be like the reporters that brought down big tobacco.
JIMMY (over phone): Look, I'm talking Woodward and Bernstein here.
JIMMY (over phone): Hey, your exposa on predatory ATM fees that was... wow!
JIMMY (over phone): Well, it's a miscarriage of justice, And I think your viewers would be very, very interested And, uh, grateful to you for exposing this injustice.
JIMMY (over phone): I wouldn't characterize this as a community health risk, but it's definitely in the community interest.
JIMMY (over phone): No, yes, HHM is a pillar of the community, yes--
JIMMY (over phone): No, the war is an important story, as well.
JIMMY (over phone): That's why this action is so egregious.
JIMMY (over phone): Sure. Okay.
Jimmy looks down to his notepad and crosses off a second name
JIMMY (over phone): Well, at least consider the human-interest angle here. Are you kidding? It's lawyer pulls himself up by his bootstraps, Only to be ground under the heel of the old-money megafirm? That's hearts and minds! hello?
Jimmy looks down to his notepad again and crosses off another name
JIMMY (over phone): Yeah, I have your number, too, so Yeah, I see. Okay.
Jimmy crosses off the final name in his notepad. The elevator bell rings and a woman wearing a UNM shirt walks past. Jimmy takes a good look and pulls out his cell phone, dialing another number.
EXT. ALBUQUERQUE - PARKING LOT
A billboard worker starts to remove Jimmy's billboard. We then see Jimmy in the parking lot, with a student camera crew.
Jimmy goes to touch the camera.
CAMERA GUY: Oh, no, no, no, no, no, no, man. Can't touch the goods. I signed the form only I can touch the camera.
JIMMY: Fine, may I suggest you widen the frame to include-- the billboard is the story, okay? No, I'm also the story, so got to get me in there.
CAMERA GUY: Okay, so, get on your mark.
JIMMY: You know, uh, no offense to your minutes of experience, But I'd like to see what we got before we do this, okay? Other guy.
Jimmy points to the sound guy
JIMMY: Other guy! Only other guy that's here, go stand where I was standing.
Sound guy walks over to where Jimmy was standing
JIMMY: Uh Shrink down. Shrink down. You know, scrunch. Yeah. Okay, widen the frame. Get the billboard. Okay, now get me. Me, me, me, me, me.
Camera guy turns the camera to Jimmy.
JIMMY: No. Not me get him. He's me. Yeah, like that. Got it?
CAMERA GUY: Yeah.
JIMMY: Good.
Jimmy walks back over to his mark.
JIMMY: Okay. Is he in the shot?
CAMERA GUY: No. Dude, just go.
JIMMY: How do I look?
CAMERA GUY: Great.
JIMMY: I'll, uh no, this is my good side. Is, uh is the billboard in?
CAMERA GUY: Yes! Jesus, just you said $100 for one hour, not freaking 3.
JIMMY: You clearly have a journalistic impulse. You're a real go-getter, you know that?
CAMERA GUY: Go get this.
JIMMY: All right, count me down. In 5, 4, 3 Gravitas.
Jimmy looks down at the ground and then up at the billboard and then back to the camera, taking a deep breath.
JIMMY: I'm James McGill. Like most Americans, I'm a self-made man. I put myself through law school. Working in the courts as a public defender, I represented those with nowhere else to turn. I believe in service. It's what I've built my career on. But I've also had a dream, a dream that many of us have a dream to own my own business.
Jimmy looks up to billboard, which is being removed.
JIMMY: Well, I-i scrimped and I saved, and finally, I was able to buy one billboard. A tiny foray into advertising for my fledgling law firm. I've always been told that America is the land of opportunity, and I believed it until today. Not 24 hours after my billboard went up, a large law firm came after me. They said that I was hurting their business. They're rich. They're powerful. I'm just one man. So, who do you think the courts sided with? So now my little billboard comes down. Let me tell you something If they want a fight, they're gonna get a fight, because I'm not giving up, not...
The worker who is removing the billboard slips and falls, held on only by his harness.
CAMERA GUY: Holy shit! Dude, the dude! The worker guy!
BILLBOARD WORKER: Help! Help!
SOUND GUY: Holy shit.
BILLBOARD WORKER: Please! Aah! Get me down!
JIMMY: Yeah, okay, call 911!
CAMERA GUY: You got a cell?
SOUND GUY: Yeah, yeah.
Jimmy takes off his jacket and rushes up the ladder to help the worker.
CAMERA GUY: Hey, man, I don't think that's very safe! You need to be, like, licensed for that!
The camera guy continues to capture the action.
JIMMY: Not looking down. One rung at a time. Not looking down.
People from nearby start to watch what's happening
BILLBOARD WORKER: Hurry up! Come get me! Help!
Jimmy reaches the top of the ladder, and carefully makes his was across to the worker.
JIMMY: Sir, I'm right here!
BILLBOARD WORKER: Please! Please! Pull me up!
JIMMY: Here, grab my hand!
BILLBOARD WORKER: Pull me up! Pull me up!
Jimmy pulls the worker to safety while the public watches.
JIMMY: You okay?
BILLBOARD WORKER: Took you long enough.
Jimmy and the worker shake hands.
INT. HHM CONFERENCE ROOM
JIMMY (On TV): I was scared, yes. I mean, I'm not really a big fan of heights Let me tell you. But, you know, something inside me said, "you have to do this." I'm sure our city's first responders would have been here momentarily.
HOWARD: Can you believe this guy? This whole thing was a publicity stunt. It's got to be.
JIMMY (On TV): I think that's kind of all anybody wants when they're in trouble. Of course I didn't think--
HOWARD: (to Kim) You don't think anyone's gonna actually buy this?
KIM: It's hard to say. People love a hero.
JIMMY (On TV): You take it as it comes, right? The universe put me in that spot at that moment. Who am I to say no? You know, as a lawyer, while I help people every day--
HOWARD: Whole thing's a damn stunt.
JIMMY (On TV): But I think my clients know that when they're in trouble, I'm there. I was just a guy who was in the right.
INT. JIMMY'S OFFICE
Jimmy checks his phone and finds that he has some new messages.
FEMALE VOICE: You have seven new messages. To listen to your messages, press 1.
Jimmy presses 1.
FEMALE VOICE: First message, received at 5:40
EXT. CHUCK'S HOUSE
Jimmy's car pulls up outside Chuck's house. He climbs out and picks up the newspaper finding his name on the front page.
JIMMY: It's just showmanship, Chuck. (Clears throat) Yeah, right.
Jimmy's opens the cars trunk, putting the new newspaper in it, and taking out a few bags. He puts his electronic devices in the mailbox and heads inside.
INT. CHUCK'S HOUSE
CHUCK: You're early. Did you...
JIMMY: Yeah, I grounded myself. Hey, big day. My phone's ringing off the hook. I have three consults before lunchtime three.
CHUCK: That's great, Jimmy.
JIMMY: Yep. The worm has turned.
CHUCK: That's really great. So, to what do you credit this sudden change?
JIMMY: Well, I got to admit you were right. How so? Well, you told me to keep plugging and, uh, you know do good work, and the clients will come. You know, I'll admit. I almost lost faith a couple times, but the worm has turned.
CHUCK: So, uh, what you've been getting referrals from your PD clients?
JIMMY: Uh, yeah. You know, you work hard, show you got half a brain, and people come knocking, like you said. I just needed to get my face out there.
CHUCK: Oh. So, prosecutors, then referring clients?
JIMMY: Yeah. Yep. Exactly.
CHUCK: Was it Bergeron? When I was starting out, she sent me a couple good ones.
JIMMY: Yeah, uh, it was It was someone on her team. You know? I mean, hey, just took some elbow grease and clean living. People noticed.
CHUCK: I knew you had it in you.
Chuck starts looking through the items Jimmy brought inside.
CHUCK: I don't see the journal here.
Jimmy walks over and picks out the journal
JIMMY: Right. Here you go.
CHUCK: No, no, no. Uh, Albuquerque Journal it's not here.
JIMMY: Oh, yeah. I didn't see it outside.
CHUCK: Wasn't out there? It's always out there.
JIMMY: I didn't see it. Maybe they forgot to deliver it. Maybe some kids grabbed it.
CHUCK: Because if there's one thing kids love, it's local print journalism.
JIMMY: I don't know what to tell you. You got a ton of reading material there. Look, hey. Financial Times. You know, I know Albuquerque is a hub of global intrigue, but you think that'll tide you over?
CHUCK: All right, fine. But if it's not here tomorrow, I'm gonna need you to call the subscription office for me.
JIMMY: Yeah, will do. Look, I got to go. I don't want to be late.
CHUCK: Hey, good luck today!
JIMMY: Thanks.
CHUCK: Keep it up. Hard work looks good on you.
Jimmy leaves the house and drives off. Chuck heads over to the door and peeks outside, looking around at the other newspapers on the ground. He goes back to get his space blanket and $5. He wraps his blanket around him and opens the door, running across the road to pick up a newspaper, replacing it with $5.
We cut to an old woman's POV of Chuck running back across the road.
Once Chuck is back inside, he opens the newspaper to find Jimmy on the front cover.
END EPISODE
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