Reading the In-House: Pilot (1x01)
Pilot (1x01)
Air Date: 22 September 2009
NB: Phrases in double quotes that aren’t dialogue are from the scripts. This post will be significantly longer than the others, both because it's the pilot and because I happen to have read two versions of the script for comparison.
For a title that more or less hit rock bottom with the focus groups, The Good Wife is remarkably apt. (For the record, it was the original working title and had the support of Julianna Margulies, among others.) The pilot in particular establishes Alicia Florrick as a character, first the eponymous Good Wife (irony included), then so much more: mother and daughter-in-law; lawyer, adversary, and colleague; old friend and new. As any good pilot should, the episode also establishes the central relationships of the show, especially those that involve the main character. Like most everything else on The Good Wife, we as viewers experience those relationships from the point of view of Alicia herself.
With that in mind, it comes as no surprise that Kalinda Sharma doesn’t really make an entrance in the pilot. Rather, the camera follows a harried Alicia as she enters her office on her first day at work only to find someone else sitting at her barren desk, looking about as at home as one can in another's empty office and reading a file to boot:
From the script: “She pushes her door open and finds… a woman sitting in her chair, flipping through a file. Sexy. Casual clothes … Alicia offers a hand. KALINDA SHARMA (25) barely shakes it. An East Indian stunner. Bollywood Erin Brokovich [sic]. No-nonsense, independent, a cool temperament, nonchalantly bisexual.”
It’s a good thing Alicia isn’t the possessive type, because Kalinda doesn’t just gain the upper hand in the situation - she’s had it since before Alicia backed into the room, arms full, and became aware of her existence. Alicia’s first instinct is to admit fault (“Oops.”) and check the name tag on the wall outside the door. For the moment Kalinda keeps her eyes on the file in front of her and acknowledges Alicia only verbally (“Don’t worry, it’s yours.”). When she gets up from the desk and introduces herself (“Kalinda Sharma. I’m the in-house.”), she gives the distinct impression that she operates very much at her own pace, and that will prove only one part of how she controls her interaction with others. Her expression is carefully guarded as Alicia translates “in-house” as “investigator”; Kalinda parries with “You’re Peter Florrick’s wife.” Aside from a few notable exceptions (e.g. Will), Alicia is primarily identified as Mrs. Florrick vel sim. throughout this episode. Kalinda’s words follow a trend, then, and she proceeds to reinforce the notion that she sees Alicia simply as Peter’s wife by revealing both that she worked with Peter at the S.A.’s office for three years and that he fired her. Alicia’s internal reaction (per the script): “This is getting old.” She apologizes, having “nothing else to say.” For the record, Kalinda stares as much in the stage directions as she does on screen. Alicia’s internal reaction to her staring here and elsewhere: “Okay.” Like Alicia, we aren't quite sure what to make of her yet.
According to the original script, Alicia offered Kalinda Peter’s number if she wanted to complain. I can see why that was taken out if the writers had any inkling of the Revelation to come, but oh, the irony!
They quickly move on to the case file. Kalinda asks Alicia what she knows and proceeds to correct her as she attempts to answer, nearly talking over her at points. (This is one of the many ways in which Alicia is made to seem continually one step behind throughout the episode.) One quick expression from Kalinda practically screams “amateur” - good thing Alicia wasn’t looking. Several scenes follow in quick succession, tied together by Kalinda explaining the particulars of the case to Alicia. It’s immediately clear that she knows this case inside and out, and that she’s there to make sure Alicia does, too. Her physical position vis-à-vis Alicia as they descend the stairs is a nice visual reinforcement of their respective positions: Kalinda, though shorter, ends up slightly ahead of Alicia, and she’s more confident navigating the stairs, whereas Alicia’s still finding her footing. Grace’s call in the elevator adds to the funny collection of ring-tones we hear from Alicia’s cell phone (“Hey, Mom! Pick up the phone!”), but it also leads to Kalinda’s first sidelong glance at the Good Wife. In this case it is most definitely evaluative: Kalinda is trying to figure Alicia out, and we can almost see the gears turning as she fits Grace’s ring-tone into that assessment. Kalinda’s neutral or perhaps slightly negative reaction to the situation could be due to any of several possible reasons: she doesn’t like kids; she doesn’t want to think of Alicia as a mother; or maybe she’s just irritated that their conversation was interrupted, as she clearly is when the phone call leads to Alicia lagging behind even more in the hallway of the courthouse. At this point Kalinda has expressed very little emotion, and of the subtle reactions she has shown, none has been positive. On the other hand, we don’t really have much to measure against, since for the first three minutes of her time on air she has interacted almost exclusively with Alicia.
Kalinda’s biting wit makes its first appearance when Alicia pauses before the courtroom doors and notes that it’s been 13 years since she’s been in court. Kalinda’s dry response: “Wow. I was twelve.” Finally, Alicia reacts to Kalinda’s subtle hostility, shaking her head and muttering sarcastic thanks before following the investigator into the room. An earlier version of the script had Alicia reply: “Is that supposed to boost my confidence?” As shot, she seems appropriately less assertive.
In the courtroom, Alicia has a ton of papers on her desk, but she’s clearly overwhelmed by the pace of the hearing from the very start - trials in Chicago being “more contact sport than debate societies,” according to the script - and when Matan gets the jump on her from the get-go and pointedly refers to her as “Mrs. Florrick” in speaking to the judge, who considers the name “as if a dirty word,” the camera cuts to Kalinda pursing her lips with a shake of her head. Again, to everyone in the episode - Kalinda right now is no exception - Alicia is simply “Mrs. Florrick” or “Peter’s wife,” and she’s allowing herself to be trod on repeatedly because she can’t or won’t prove herself worthy of standing on her own. Kalinda does, however, crack a tiny smile when the judge says a few words to Alicia about her husband, tells her not to talk, and then promptly turns on Matan for thinking that her status as Peter’s wife would prejudice him. Kalinda’s smile, small and smothered though it may be, is probably the first indication that Alicia has the potential to emerge from Peter’s shadow; it’s certainly the first time Kalinda has reacted at all positively on Alicia’s behalf, even if it’s not a reaction to Alicia herself. Alicia might feel something of the same after the judge delivers his verdict without a peep from her and she sits alone among the exiting crowd, but her primary reaction is: “not sure what hit [me].”
Alicia and Kalinda are sitting side by side as they hear their client’s side of the story in a conference room, both focused intently. Between two flashbacks [12:48-49] the camera focuses on Jennifer (the client) wringing her hands in distress and then cuts immediately to Kalinda’s glance at the same, a pointed sequence of shots that tells us nothing escapes this woman. When Jennifer pauses in describing her husband’s face after he’d been shot, Alicia flicks her eyes over to Kalinda; the camera follows to reveal the same impassivity we’ve seen all along. Kalinda stares at the client as if she could force her to continue by willpower alone - and perhaps she could have, if only Alicia hadn't chosen that moment to fold and ask the client if she needed to take a break. In response, Kalinda “shoots an irritated look toward Alicia” - clearly, she doesn’t share Alicia’s deep empathy. At this point, Alicia steps out of the room to procure some water at Jennifer’s request. When she returns, Kalinda is quite matter-of-factly pointing out how the prosecution made it look like the client had lied, which is why she’s facing a retrial instead of an acquittal. Kalinda doesn’t have kid gloves on, true, but the script describes the scene as “more confrontational” in Alicia’s eyes, whereas I didn’t find anything overtly hostile about Kalinda’s attitude. However, when Alicia takes her seat - on the opposite side of the table from Kalinda, this time - and tries to rephrase Kalinda’s words in such a way as to comfort the client, she makes Kalinda seem like the bad cop to her good cop.
Amusing stage directions, apparently cut: “Kalinda rolls her eyes, backs away: too much estrogen for her, as Alicia approaches, sees Jennifer has a small worn photo” of her daughter, Lilly.
The client certainly looks pitiable to Alicia, who tries to go for emotional support by instructing her in what to do (go home, dress up, read fiction, don’t turn on the TV, etc.). Cue another serious glance from Kalinda: Alicia is revealing more of herself in this moment than we’ve seen so far, showing both authoritative expertise and an adeptness at making a genuine human connection, and Kalinda isn’t missing a thing. Alicia has lived this, and Kalinda recognizes that. At the same time, however, she shows no hint of approval (yet).
As the client leaves in the elevator, spirits raised, Kalinda and Alicia lean against the receptionist’s desk and watch her go. They both display individual tics: Kalinda has her hands in the pockets of the jacket she wears like a shield, while Alicia plays with her ring. But their relaxed poses, each turned slightly towards the other, suggest the bare beginnings of an Odd Couple-like team, even if they aren’t close to acknowledging it themselves. When Kalinda looks over at Alicia, there’s something new in her eyes, not just the continuous assessment but a regard that says Alicia isn’t what Kalinda had assumed. (In Kalinda’s book, to warrant further study must be high praise indeed.) When Alicia calls her on the look, Kalinda glances away and proclaims with just a touch of haughtiness that if she identifies with too many clients, she’ll burn out. It feels that Kalinda is rather reluctant to let go of her initial impression of Alicia, and that even if she sees someone more in her than “Mrs. Florrick,” she doesn’t want Alicia to know it. Kalinda’s apparent arrogance (does Alicia suspect yet that it’s a form of covering up her true thoughts with advice disguised as criticism?) prompts Alicia to give her - and us - a first real glimpse of her backbone (“Why don’t you tell me when I do something right, okay?”). In response Kalinda graces her with an obviously fake smile, adding insult to injury, then tells Alicia to interview the jurors and announces that she herself will go “figure out how a surveillance camera can lie.” It’s clearly designed to bait Alicia, who rolls her eyes and stalks away; she might have avoided taking the bait, barely, but Kalinda is still cleverly adept at getting under her skin.
A few deleted scenes:
An early version of the script jumped right from Alicia calling Kalinda on the staring to a deflection on Kalinda’s part: “Nothing. You go interview the jurors; I’ll try to figure out how a surveillance camera can lie…” The changes make Kalinda seem slightly more sarcastic and confrontational but simultaneously less dismissive: When she doesn’t want to give up information, her style isn’t to deny so much as to deflect and distract.
Another scene that went missing from this point in the script: Lauren Yost, an “elegant Highland Park mom” doing “some estate planning” - a woman with whom Alicia spent time before Peter fell from grace - chats her up, discovers she works at the firm, and promises to call, noting “it’s been too long.” When she leaves, Kalinda smiles and says: “Let me guess. ‘Too long’ means right after your husband’s press conference?” When Alicia nods, Kalinda “chuckles knowingly” and remarks: “My job would be a hell of a lot harder if people weren’t so predictable.” While Kalinda is slightly too sympathetic towards Alicia in this scene for this point in the episode, the last line certainly says a lot about how she views people and her own job, and in my opinion it’s consistent with her mental attitude, even if she wouldn’t necessarily say it aloud. This Highland Park mom, who reappears later in the same early version of the pilot script but never in the episode as shot, does make an appearance in a later episode that focuses more on Alicia’s changed relationships with her former high society “friends” (1x03).
There's definitely some intertextuality going on with the original outcome of Jennifer's trial and Twelve Angry Men. To wit: “If it hadn’t been for juror number nine, we would have convicted. She didn’t convince us; she exhausted us.” In the commentary for this episode, Robert King also notes that Alicia goes to the holdout juror expecting Henry Fonda and ends up with Cat Lady instead. A quick set-up was shown in another deleted scene: a “worried” Alicia calls Kalinda immediately after the explanation of juror number nine, explaining that she’s going to “check her out now” since “she’s the only reason Jennifer isn’t facing 30 to life.” Kalinda replies: “Get her details: age, employment, college level. We can gear jury selection to her type.” In a later version, cut from the pilot but available on the DVD, it’s now 45 years, and Kalinda asks only for her employment and college level. I can see why they cut this scene: We already have other examples of Kalinda guiding Alicia through the process and instructing her on what to do. It does give us a brief look into jury selection, which will crop up again a few episodes down the road, but it isn’t really necessary.
Following Alicia’s visit to Peter in prison, we find the Good Wife riding shotgun with Kalinda. She’s changed as a result of her prison visit: “A new side to her. Passion. Arguing with Kalinda.” Alicia gets the investigator’s attention by pointing out the shadow of a staple and the distinct lack of a second page of the relevant police report. But then she comes out with: “I think either [the police kept the second page out of the report because there was something incriminating], or it would be helpful to imply that they did” (original emphasis). This is the start of everything: “Kalinda eyes Alicia. A new Alicia. Liking this version.” It's the first conversation Kalinda has had with Alicia that isn’t tinged with some degree of prejudice and a hint of disdain, and the first time Kalinda cracks the barest hint of a smile at her (though she’d say the rain on the car window was obstructing my view, I’m sure). This scene plays as if Alicia and Kalinda were two rusty gear wheels stuck together by the teeth, and Alicia’s suggestion about the police report were oil or grease; at first the gears stick and protest, but soon they give way and operate increasingly more smoothly as time goes on. More firsts: Kalinda considers Alicia’s suggestion about a mismarked surveillance tape “interesting”; then she bites her lip, undoes a couple of buttons on her blouse, and cracks a joke, claiming that the new revealed bits of her anatomy are more effective than subpoenas. Ironically, but appropriately, it’s also the first time we see Alicia at all discomforted by the lengths to which Kalinda is willing to go as an investigator - and Kalinda expressly considers this part of her job (“preparing,” read the stage directions). When she first asks Kalinda what she’s doing (undressing, of course), Alicia looks unsettled by Kalinda’s blatant use of her sexuality, but in the end she can’t resist smiling, perhaps as much at the fact that they’re getting on as at Kalinda's joke. Inside the building, we again find Alicia hurrying to catch up to Kalinda, ever the picture of perfect confidence. “Impressed,” Alicia wonders why Peter fired her. And now we get to see more of this new side to Kalinda, who suggestively confirms that Peter was right to suspect her of working “two jobs” and then proceeds to play the security guard like a violin. Alicia seems content (for now) to stand by and watch Kalinda do her thing, but their shared glance when it seems that the investigation has reached a sudden dead end is another sign that they're finally coalescing as a team. Now that they’ve really started working together (not just working together, if that makes sense), it’s important for the show to establish their dynamic. Halfway through the pilot episode, we have in Kalinda an enigmatic, independent investigator who clearly enjoys the various facets of her work and considers sexual attraction a viable tool for that work. Alicia may be older, but she's much more sheltered and naïve, a wife who has lived in the shadow of her husband through better and worse and who has recently chosen to establish her independence in a world she left half a lifetime ago (at least half of Kalinda’s lifetime). An odd couple, indeed.
In their methods, too, they are day and night. Kalinda is by turns suggestive (the revealing clothing, her tone regarding “working two jobs”) and coy (her “innocent” questions and requests of the security guard). She knows exactly how to manipulate without letting the object of said manipulation feel manipulated. The security guard, for example, “looks at Kalinda and her breasts, trying not to look at Kalinda and her breasts.” Alicia sees that her methods work and even tacitly approves: “Alicia glances at Kalinda. She’s good. Turning it on.” (Turning him on, too.) While Alicia sees that Kalinda’s methods can work, however, she consciously chooses a different MO, seeking out the sorely abused secretary and handing her a can of Diet Coke she actually bought but which she pretends the machine vended by accident. She gleans some very important information simply by commiserating with her regarding the guard’s attitude and by remarking positively on pictures of her children and grandchildren. This is consistent with Alicia’s earlier attitude towards Jennifer in the conference room and quite distinct from the bitterness we see in her when she vents about Peter to her mother-in-law.
Another short deleted scene was originally set after Alicia discovered the mall cop was lying, then moved immediately after the scene with Peter’s mother-in-law. From an earlier version of the script: “Kalinda rushes toward court, passing a herd of lawyers. LAWYER: How’s Mrs. D.A. doing? Kalinda offers a shrug as she pushes into…court.” A later version has the lawyer say: “How’s Peter’s little wife doing?” The version as shot (available under “Deleted Scenes” on the DVD): “How’s Florrick’s little wife doing?”, to which Kalinda says, “Screw you.” Again, I see why this was cut. We’ve seen enough of Alicia being called “Mrs. Florrick” or “Peter’s wife,” and “Mrs. D.A.”/“Peter’s little wife”/“Florrick’s little wife” is just a bit too shovel-meet-head. We’ve also seen enough of Kalinda’s closed off and/or hostile demeanor, though this is probably the first time it would have been in Alicia’s defense instead of her own. However, it also would have spoiled the minor reveal that Kalinda is present during the note scene. So while I see why it was cut, for time if nothing else, I also like knowing it was written (and actually shot).
Alicia first true performance in court is a bit of a nightmare. She hesitates when asked for grounds for her first objection, which the judge overrules, and then she can’t figure out a way to ask even one question of the plaintiff without multiple objections from opposing counsel, all of which are sustained. (I’m not a lawyer, but I think these are all on the grounds of leading the witness - regardless, the script is crystal clear that Alicia doesn’t know what she’s doing wrong, which is why she keeps making mistakes.) The judge doesn’t seem to be allowing his dislike of Peter Florrick to influence him, but his patronizing attitude (“Nice try, Mrs. Florrick.”) and another instance of the dreaded salutation only add to her shame. The camera is so focused on Alicia and the trial proceedings that we don’t even realize Kalinda is sitting in the courtroom until several minutes into the scene, and even then you need to be looking for her at the very edge of the shot. In fact, if you’re not looking for Kalinda, the first indication she’s there is the note passed to Alicia when she takes her seat after the failed questioning of the plaintiff. Two words on a scrap of ruled notebook paper (probably Moleskine, by the looks of the ruling and the curved right-hand corner): CALM | DOWN. In my opinion, the handwriting screams female but is certainly not girly or even very feminine. Apparently it screams “Kalinda!” to Alicia, because as soon as she reads it she spins around and finds the in-house seated directly behind her. (The paper was passed across Kalinda’s bench to the edge of the room and up to the bailiff, so I think we should assume Alicia knew Kalinda was there and figured she would be the only one sending her short but sweet messages). This is the first time the camera has focused on Kalinda, so it is the first time the average viewer will notice she’s present. While she’s certainly no guardian angel, she’s definitely looking out for Alicia here, the first time of many to come. Some measure of understanding passes between them when they make eye contact (the script says “nod,” but I prefer the steady stare in the scene as we have it), and when Alicia turns back around to face the court she’s holding back a smile. It’s also worth mentioning that immediately after A.S.A. Sandra Pai turns Detective Briggs over to Alicia for questioning, the stage directions have her taking Kalinda’s advice: “[Alicia] calms herself.”
Kalinda stays through the ensuing testimony from the police detective, who wins over a few jurors with a good point about carjackers not usually punching holes in the tires of prospective victims’ cars with nails. Between shots of Alicia reassuring the defendant, we get a glimpse of Kalinda’s slightly worried reaction to the balance of favor, which seems to weigh heavily against Alicia despite her brave words and stoic façade. But from the moment Alicia stands up to question the detective it’s like she whacked the scales out of their unfavorable balance with two words: “the pit.” (We were supposed to see Kalinda nod here, but that seems to have been ditched for her worried look above.) Like Alicia earlier, Matan Brody stumbles in providing grounds for his objection, which is overruled, and Detective Briggs stumbles in testifying about said pit. Cue an explosive scene in chambers, where the A.S.A.s shout over each other in an attempt to sway the judge, while Alicia remains mostly unperturbed. From there we move on to Brody accusing Alicia of being fed information by her husband. The judge promptly tells him to “shut up” and surrender what was pitted, then turns on Alicia and warns her against taking insider information from her husband. When she returns to SLG, she gets in hot water with Diane for overreaching by changing her defense strategy; Will naturally sticks up for her, almost like a father would speak to an angry mother, but apparently to no avail.
Another deleted scene: Kalinda at the crime lab in a further illustration of her MO. She “smiles flirtatiously” with the 32-year-old lab tech and is “dressed to accentuate everything that needs to be accentuated.” The conversation reveals that Kalinda still has “friends” at the S.A.’s office and that she likes to lean on people - in the arm-twisting sort of way. We will see similar scenes in later episodes, so I get that the editors wanted to save something for later. We are told the (very) relevant information originally revealed here when Kalinda relates it all to Alicia after the following scene. (Essentially, this deleted scene was mostly duplicated by the later conversation.) The primary effect is that more emphasis is placed on Alicia and Kalinda’s growing relationship, and their dynamic shifts again slightly towards what it will be for the next two seasons: Kalinda does the research and feeds it to Alicia, who runs with it.
After struggling to transfer a phone call to her office so that Jennifer can speak to her child, Alicia is hailed by Kalinda, who sounds a little friendlier after the ice-breaker investigation scene. Alicia herself looks almost pleased to see the investigator, who suggests in a nearly inaudible whisper: “Let’s talk later.” [In a later but not final version of the script, Kalinda approaches Alicia as she watches Jennifer; says simply, “it’s dog hair”; spots Diane consulting with Cary; and then urges Alicia to accompany her outside.] Cut to “later.” In a walking conversation on the streets of Vancouver Chicago Kalinda explains the new case-related information she found out from the crime lab tech. When Alicia indicates a number in Kalinda’s notebook and asks if it’s the “chemical number,” Kalinda replies that it’s the lab tech’s phone number and admits that she agreed to drinks, quirking a smile and giving a slight eye roll: ah, the price of doing business. Stage directions: “Alicia looks up, smiles. (NB: She actually laughs in the episode as shot.) Starting to love Kalinda.” Kalinda quickly turns serious, however, remarking that she’s heard Alicia’s being bumped to second chair. Turns out Will didn’t do a whole lot of good against Diane’s wrath. Alicia is clearly surprised - this is news to her. The way the line is written and delivered suggests Kalinda knew the information was credible, despite being presented as a rumor, and has no qualms about informing Alicia when the opportunity arises. In fact, while Kalinda seems more than a little concerned about the news itself, she doesn’t really come across as reluctant to reveal it. The fact that Kalinda is willing to share such information indicates exactly how much progress they have made over the past half-hour of air time (less than two days of dramatic time, if I’m counting right), while her follow-up explanation tells us that although she began with the phrase “I hear” she knows exactly what’s going to happen and is willing to give Alicia a heads up. The scene reinforces Kalinda’s position as Alicia’s primary source of information, not just for casework but for her career with SLG as well.
As shot, this scene ends with Alicia’s soft “wow” in response to Kalinda’s information. As originally written, however, Alicia “considers” Kalinda’s news and says: “Then that leaves today.” Stage directions: “Kalinda nods. A moment between them. KALINDA: So go kill him.” With the last bit of dialogue cut out, their dynamic is slightly subtler. Kalinda’s support - earned, never given - is still made abundantly clear by the two sets of information she relays. And let’s face it: if anyone is killing anyone else, it will be Kalinda, not Alicia, doing the killing (see the tequila scene). A later (but still not final) version of the script reads: “Alicia pauses, disappointed. A second. Silence. KALINDA (CONT’D): You still have today. Alicia looks up at her. A moment between them. The closest Kalinda has ever given to a pep talk.” This version, to me, is much more appropriate for Kalinda later on in the first season. I’m glad they ended up letting Kalinda’s divulgence of crucial information stand for itself instead of having her go too far towards the violent or peppy end of the spectrum.
Kalinda is back in court to stalk watch Alicia, this time with Will sitting immediately behind her in the gallery. Neither betrays a knowledge of what Alicia’s doing with the extra monitors, but they don’t look terribly confused, so maybe Will has as good a poker face as we’ve come to expect from Kalinda. When Will notes that S.A. Childs has stepped into the courtroom, Kalinda smirks and tells him that they suspect Peter is feeding Alicia information. It seems Will, too, relies on Kalinda for information, case-related and otherwise. Meanwhile, the in-house barely glances away from Alicia as she talks, and for good reason: For the first time, Alicia has complete control of the courtroom, and she smiles effortlessly even as she grabs the security guard by the balls and slowly squeezes, leaving him “destroyed.” The script focuses only on Will’s pleased reaction (and Childs’ unhappy one), but because of her position in front of Will, we also get to see Kalinda’s: She’s never particularly expressive, but she bites her lower lip just a bit in the first shot and gives Alicia a genuine smile in the second. (Apparently Will’s not the only one who enjoys seeing Alicia in action.) It’s nicely ambiguous whose reaction Alicia focuses on when she turns around, but I’d place money I don’t have on her smile being for Kalinda in return. (NB: The script has her “offering a quick smile back” at Will, but he isn’t really smiling in the scene as shot. I’m wondering if they transferred the smile to Kalinda instead, especially since Alicia gets a scene with Will immediately afterwards.)
Yet another deleted scene: Towards the end of her conversation with Will, we find Alicia on the phone with Kalinda, asking about the victim’s enemies with the goal in mind of finding a suspect to finger. Will exits, saying “Sounds like a late night. Let’s do dinner tomorrow.” She watches him leave.
On their way to court, Kalinda and Alicia “hurriedly walk and talk their way through documents.” As always, Kalinda is impeccably prepared, and she’s in the middle of suggesting to Alicia a strategy to “string together a series of implications” with the information from the documents at hand when Childs hails “Mrs. Florrick” from the stairs. The way they both look up and slow to a stop visually reinforces just how ‘in step’ they are. Childs asks, “Do you have a moment?” He clearly wishes to speak with Alicia alone. The stage directions here are essential: “Alicia nods to a reluctant Kalinda: go ahead. Kalinda knits her brow: you sure? Alicia nods. Kalinda continues off.” Of course, the script misses Kalinda’s death-glare at Childs, but the colloquialism in their internal thoughts - and the fact that they’re having an unspoken conversation this easily this early - says a lot on its own. It’s also worth noting the way Kalinda clams up as soon as someone else, especially someone like Childs, joins the party. By this point Kalinda is more than willing - even eager - to defend Alicia, but Alicia’s got this, and she knows it (To wit: “You’re worried about my husband, Mr. Childs. You’ve obviously never made a woman angry before.” She also has baring-her-teeth-while-making-it-look-like-a-smile down pat.)
Alicia gets cut off by several objections again in court, but this time she handles it much better. That doesn’t stop Kalinda from biting her lip, this time in concern. As Alicia makes her points through Brody’s standing objection (“implying,” as the stage directions note and as Kalinda had suggested earlier, that the plaintiff’s brother had committed the murder), Kalinda’s concern morphs into smothered satisfaction. Which brings us to the infamous “tequila tradition” scene.
The original scene from the script (no tequila, sorry!): “Alicia and Kalinda sitting in her office, feet up.” Alicia questions Kalinda about the jury, more precisely what the verdict would be if they came back that day. Kalinda informs her that “guilty verdicts come fast. Not guilty verdicts come slow.” Alicia replies that she’ll “be optimistic, and take a nap.” They’re expressly relaxed, both with their feet on the desk. Kalinda sees a screen saver with photos, one of which is of Peter in a swimsuit - “a happier time.” Some familiar dialogue: “KALINDA: You know what I don’t get. (Alicia looks over at her) Why you stood by him. I would’ve stuck a knife in his heart. Alicia. She studies her. It’s sort of not rude from Kalinda. ALICIA: I always thought I would too. When I heard about those other scandals, those other wives, I thought - how can you allow yourself to be used that way? And then it happened. And I was… (looks for the right word) …unprepared. The two women look at each other. A moment.” Then Sonia interrupts with a summons for Alicia from the judge.
The infamous tequila scene as shot: They’re obviously close enough to joke about Kalinda’s newly minted “tradition” of tequila shots after one’s first jury trial at SLG, which is the most positive sign for their relationship yet. Points to Alicia for guessing that it’s made up, but not for believing Kalinda that it isn’t. As many firsts as we’ve seen so far this episode, this takes the cake: “Kalinda smiles-the first genuine smile from her.” (She's cracked something resembling a smile before, but these stage directions should tell us just how rarely she does so genuinely.) Some of the dialogue has changed from the earlier script. Instead of the whole business about a guilty verdict being fast and a not guilty one slow (see the cut above), Kalinda says, “I stopped guessing about juries a while ago. How long were they out with your husband?” Script: “Alicia studies her. A ballsy question. Not rude from Kalinda.” It takes a certain person (and a certain relationship between two people) to make a rather personal question “not rude.” Then follows the bit about sticking knives in cheating hearts, unchanged from the previous version. While Kalinda “considers” Alicia’s response, Alicia’s phone rings. Kalinda stares at her rather intently, guessing the jury is back (in which case they’ll probably need a few more shots). The whole scene as finally shot shows both Kalinda’s mischievous side (the great cat-that-ate-the-canary grin that literally spreads across her face as Alicia takes the tequila shot) as well as her violent side (of which we’ll see quite a bit more later on). I, for one, don’t doubt Kalinda when she says she would have skewered him, and we’ll find ample evidence to support her confrontational tendencies as the show continues. I think part of her is also wishing, even at this point, that Alicia would open her eyes and drop Peter like a hot potato - Kalinda’s opinion that he isn’t good enough for Alicia makes its first appearance here, though we won’t realize the full import of this conversation until the end of the second season. For now it comes across as genuine curiosity infused with some sort of intense, serious emotion (concern? sorrow?) that she expresses so well with a single meaningful look. She isn’t given to pity - perhaps she’s not even capable of it - but she’s feeling something as she watches Alicia explain her point of view, and she almost looks pained now that she’s an Alicia convert, so to speak. Against her better judgment, Kalinda has done nearly a complete 180 with respect to Alicia, and this scene tells us not only that they will have a profound impact on each other as the show progresses, but also that we’re going to end up learning the most important things about these two central characters from their shared interactions. (Alicia's "...unprepared" is perhaps the single most revealing word - and pause - in the whole episode, and it's delivered before no one except Kalinda.)
The last scene, a.k.a. In Which the Client Is Reunited With Her Daughter But No One Cares: Kalinda’s interaction with Alicia here is nearly the opposite of the heavy emotion of the bar scene. (For the record, Kalinda wasn’t originally in this scene at all and was apparently added rather late.) Alicia descends the stairs to join Kalinda, who’s waiting for her a few steps from the bottom, and they share a smile that lasts until they spy Childs walking past them. Neither says a word as they move past the reunited family, and that’s how it should be: They say so much without them.
Air Date: 22 September 2009
NB: Phrases in double quotes that aren’t dialogue are from the scripts. This post will be significantly longer than the others, both because it's the pilot and because I happen to have read two versions of the script for comparison.
For a title that more or less hit rock bottom with the focus groups, The Good Wife is remarkably apt. (For the record, it was the original working title and had the support of Julianna Margulies, among others.) The pilot in particular establishes Alicia Florrick as a character, first the eponymous Good Wife (irony included), then so much more: mother and daughter-in-law; lawyer, adversary, and colleague; old friend and new. As any good pilot should, the episode also establishes the central relationships of the show, especially those that involve the main character. Like most everything else on The Good Wife, we as viewers experience those relationships from the point of view of Alicia herself.
With that in mind, it comes as no surprise that Kalinda Sharma doesn’t really make an entrance in the pilot. Rather, the camera follows a harried Alicia as she enters her office on her first day at work only to find someone else sitting at her barren desk, looking about as at home as one can in another's empty office and reading a file to boot:
From the script: “She pushes her door open and finds… a woman sitting in her chair, flipping through a file. Sexy. Casual clothes … Alicia offers a hand. KALINDA SHARMA (25) barely shakes it. An East Indian stunner. Bollywood Erin Brokovich [sic]. No-nonsense, independent, a cool temperament, nonchalantly bisexual.”
It’s a good thing Alicia isn’t the possessive type, because Kalinda doesn’t just gain the upper hand in the situation - she’s had it since before Alicia backed into the room, arms full, and became aware of her existence. Alicia’s first instinct is to admit fault (“Oops.”) and check the name tag on the wall outside the door. For the moment Kalinda keeps her eyes on the file in front of her and acknowledges Alicia only verbally (“Don’t worry, it’s yours.”). When she gets up from the desk and introduces herself (“Kalinda Sharma. I’m the in-house.”), she gives the distinct impression that she operates very much at her own pace, and that will prove only one part of how she controls her interaction with others. Her expression is carefully guarded as Alicia translates “in-house” as “investigator”; Kalinda parries with “You’re Peter Florrick’s wife.” Aside from a few notable exceptions (e.g. Will), Alicia is primarily identified as Mrs. Florrick vel sim. throughout this episode. Kalinda’s words follow a trend, then, and she proceeds to reinforce the notion that she sees Alicia simply as Peter’s wife by revealing both that she worked with Peter at the S.A.’s office for three years and that he fired her. Alicia’s internal reaction (per the script): “This is getting old.” She apologizes, having “nothing else to say.” For the record, Kalinda stares as much in the stage directions as she does on screen. Alicia’s internal reaction to her staring here and elsewhere: “Okay.” Like Alicia, we aren't quite sure what to make of her yet.
According to the original script, Alicia offered Kalinda Peter’s number if she wanted to complain. I can see why that was taken out if the writers had any inkling of the Revelation to come, but oh, the irony!
They quickly move on to the case file. Kalinda asks Alicia what she knows and proceeds to correct her as she attempts to answer, nearly talking over her at points. (This is one of the many ways in which Alicia is made to seem continually one step behind throughout the episode.) One quick expression from Kalinda practically screams “amateur” - good thing Alicia wasn’t looking. Several scenes follow in quick succession, tied together by Kalinda explaining the particulars of the case to Alicia. It’s immediately clear that she knows this case inside and out, and that she’s there to make sure Alicia does, too. Her physical position vis-à-vis Alicia as they descend the stairs is a nice visual reinforcement of their respective positions: Kalinda, though shorter, ends up slightly ahead of Alicia, and she’s more confident navigating the stairs, whereas Alicia’s still finding her footing. Grace’s call in the elevator adds to the funny collection of ring-tones we hear from Alicia’s cell phone (“Hey, Mom! Pick up the phone!”), but it also leads to Kalinda’s first sidelong glance at the Good Wife. In this case it is most definitely evaluative: Kalinda is trying to figure Alicia out, and we can almost see the gears turning as she fits Grace’s ring-tone into that assessment. Kalinda’s neutral or perhaps slightly negative reaction to the situation could be due to any of several possible reasons: she doesn’t like kids; she doesn’t want to think of Alicia as a mother; or maybe she’s just irritated that their conversation was interrupted, as she clearly is when the phone call leads to Alicia lagging behind even more in the hallway of the courthouse. At this point Kalinda has expressed very little emotion, and of the subtle reactions she has shown, none has been positive. On the other hand, we don’t really have much to measure against, since for the first three minutes of her time on air she has interacted almost exclusively with Alicia.
Kalinda’s biting wit makes its first appearance when Alicia pauses before the courtroom doors and notes that it’s been 13 years since she’s been in court. Kalinda’s dry response: “Wow. I was twelve.” Finally, Alicia reacts to Kalinda’s subtle hostility, shaking her head and muttering sarcastic thanks before following the investigator into the room. An earlier version of the script had Alicia reply: “Is that supposed to boost my confidence?” As shot, she seems appropriately less assertive.
In the courtroom, Alicia has a ton of papers on her desk, but she’s clearly overwhelmed by the pace of the hearing from the very start - trials in Chicago being “more contact sport than debate societies,” according to the script - and when Matan gets the jump on her from the get-go and pointedly refers to her as “Mrs. Florrick” in speaking to the judge, who considers the name “as if a dirty word,” the camera cuts to Kalinda pursing her lips with a shake of her head. Again, to everyone in the episode - Kalinda right now is no exception - Alicia is simply “Mrs. Florrick” or “Peter’s wife,” and she’s allowing herself to be trod on repeatedly because she can’t or won’t prove herself worthy of standing on her own. Kalinda does, however, crack a tiny smile when the judge says a few words to Alicia about her husband, tells her not to talk, and then promptly turns on Matan for thinking that her status as Peter’s wife would prejudice him. Kalinda’s smile, small and smothered though it may be, is probably the first indication that Alicia has the potential to emerge from Peter’s shadow; it’s certainly the first time Kalinda has reacted at all positively on Alicia’s behalf, even if it’s not a reaction to Alicia herself. Alicia might feel something of the same after the judge delivers his verdict without a peep from her and she sits alone among the exiting crowd, but her primary reaction is: “not sure what hit [me].”
Alicia and Kalinda are sitting side by side as they hear their client’s side of the story in a conference room, both focused intently. Between two flashbacks [12:48-49] the camera focuses on Jennifer (the client) wringing her hands in distress and then cuts immediately to Kalinda’s glance at the same, a pointed sequence of shots that tells us nothing escapes this woman. When Jennifer pauses in describing her husband’s face after he’d been shot, Alicia flicks her eyes over to Kalinda; the camera follows to reveal the same impassivity we’ve seen all along. Kalinda stares at the client as if she could force her to continue by willpower alone - and perhaps she could have, if only Alicia hadn't chosen that moment to fold and ask the client if she needed to take a break. In response, Kalinda “shoots an irritated look toward Alicia” - clearly, she doesn’t share Alicia’s deep empathy. At this point, Alicia steps out of the room to procure some water at Jennifer’s request. When she returns, Kalinda is quite matter-of-factly pointing out how the prosecution made it look like the client had lied, which is why she’s facing a retrial instead of an acquittal. Kalinda doesn’t have kid gloves on, true, but the script describes the scene as “more confrontational” in Alicia’s eyes, whereas I didn’t find anything overtly hostile about Kalinda’s attitude. However, when Alicia takes her seat - on the opposite side of the table from Kalinda, this time - and tries to rephrase Kalinda’s words in such a way as to comfort the client, she makes Kalinda seem like the bad cop to her good cop.
Amusing stage directions, apparently cut: “Kalinda rolls her eyes, backs away: too much estrogen for her, as Alicia approaches, sees Jennifer has a small worn photo” of her daughter, Lilly.
The client certainly looks pitiable to Alicia, who tries to go for emotional support by instructing her in what to do (go home, dress up, read fiction, don’t turn on the TV, etc.). Cue another serious glance from Kalinda: Alicia is revealing more of herself in this moment than we’ve seen so far, showing both authoritative expertise and an adeptness at making a genuine human connection, and Kalinda isn’t missing a thing. Alicia has lived this, and Kalinda recognizes that. At the same time, however, she shows no hint of approval (yet).
As the client leaves in the elevator, spirits raised, Kalinda and Alicia lean against the receptionist’s desk and watch her go. They both display individual tics: Kalinda has her hands in the pockets of the jacket she wears like a shield, while Alicia plays with her ring. But their relaxed poses, each turned slightly towards the other, suggest the bare beginnings of an Odd Couple-like team, even if they aren’t close to acknowledging it themselves. When Kalinda looks over at Alicia, there’s something new in her eyes, not just the continuous assessment but a regard that says Alicia isn’t what Kalinda had assumed. (In Kalinda’s book, to warrant further study must be high praise indeed.) When Alicia calls her on the look, Kalinda glances away and proclaims with just a touch of haughtiness that if she identifies with too many clients, she’ll burn out. It feels that Kalinda is rather reluctant to let go of her initial impression of Alicia, and that even if she sees someone more in her than “Mrs. Florrick,” she doesn’t want Alicia to know it. Kalinda’s apparent arrogance (does Alicia suspect yet that it’s a form of covering up her true thoughts with advice disguised as criticism?) prompts Alicia to give her - and us - a first real glimpse of her backbone (“Why don’t you tell me when I do something right, okay?”). In response Kalinda graces her with an obviously fake smile, adding insult to injury, then tells Alicia to interview the jurors and announces that she herself will go “figure out how a surveillance camera can lie.” It’s clearly designed to bait Alicia, who rolls her eyes and stalks away; she might have avoided taking the bait, barely, but Kalinda is still cleverly adept at getting under her skin.
A few deleted scenes:
An early version of the script jumped right from Alicia calling Kalinda on the staring to a deflection on Kalinda’s part: “Nothing. You go interview the jurors; I’ll try to figure out how a surveillance camera can lie…” The changes make Kalinda seem slightly more sarcastic and confrontational but simultaneously less dismissive: When she doesn’t want to give up information, her style isn’t to deny so much as to deflect and distract.
Another scene that went missing from this point in the script: Lauren Yost, an “elegant Highland Park mom” doing “some estate planning” - a woman with whom Alicia spent time before Peter fell from grace - chats her up, discovers she works at the firm, and promises to call, noting “it’s been too long.” When she leaves, Kalinda smiles and says: “Let me guess. ‘Too long’ means right after your husband’s press conference?” When Alicia nods, Kalinda “chuckles knowingly” and remarks: “My job would be a hell of a lot harder if people weren’t so predictable.” While Kalinda is slightly too sympathetic towards Alicia in this scene for this point in the episode, the last line certainly says a lot about how she views people and her own job, and in my opinion it’s consistent with her mental attitude, even if she wouldn’t necessarily say it aloud. This Highland Park mom, who reappears later in the same early version of the pilot script but never in the episode as shot, does make an appearance in a later episode that focuses more on Alicia’s changed relationships with her former high society “friends” (1x03).
There's definitely some intertextuality going on with the original outcome of Jennifer's trial and Twelve Angry Men. To wit: “If it hadn’t been for juror number nine, we would have convicted. She didn’t convince us; she exhausted us.” In the commentary for this episode, Robert King also notes that Alicia goes to the holdout juror expecting Henry Fonda and ends up with Cat Lady instead. A quick set-up was shown in another deleted scene: a “worried” Alicia calls Kalinda immediately after the explanation of juror number nine, explaining that she’s going to “check her out now” since “she’s the only reason Jennifer isn’t facing 30 to life.” Kalinda replies: “Get her details: age, employment, college level. We can gear jury selection to her type.” In a later version, cut from the pilot but available on the DVD, it’s now 45 years, and Kalinda asks only for her employment and college level. I can see why they cut this scene: We already have other examples of Kalinda guiding Alicia through the process and instructing her on what to do. It does give us a brief look into jury selection, which will crop up again a few episodes down the road, but it isn’t really necessary.
Following Alicia’s visit to Peter in prison, we find the Good Wife riding shotgun with Kalinda. She’s changed as a result of her prison visit: “A new side to her. Passion. Arguing with Kalinda.” Alicia gets the investigator’s attention by pointing out the shadow of a staple and the distinct lack of a second page of the relevant police report. But then she comes out with: “I think either [the police kept the second page out of the report because there was something incriminating], or it would be helpful to imply that they did” (original emphasis). This is the start of everything: “Kalinda eyes Alicia. A new Alicia. Liking this version.” It's the first conversation Kalinda has had with Alicia that isn’t tinged with some degree of prejudice and a hint of disdain, and the first time Kalinda cracks the barest hint of a smile at her (though she’d say the rain on the car window was obstructing my view, I’m sure). This scene plays as if Alicia and Kalinda were two rusty gear wheels stuck together by the teeth, and Alicia’s suggestion about the police report were oil or grease; at first the gears stick and protest, but soon they give way and operate increasingly more smoothly as time goes on. More firsts: Kalinda considers Alicia’s suggestion about a mismarked surveillance tape “interesting”; then she bites her lip, undoes a couple of buttons on her blouse, and cracks a joke, claiming that the new revealed bits of her anatomy are more effective than subpoenas. Ironically, but appropriately, it’s also the first time we see Alicia at all discomforted by the lengths to which Kalinda is willing to go as an investigator - and Kalinda expressly considers this part of her job (“preparing,” read the stage directions). When she first asks Kalinda what she’s doing (undressing, of course), Alicia looks unsettled by Kalinda’s blatant use of her sexuality, but in the end she can’t resist smiling, perhaps as much at the fact that they’re getting on as at Kalinda's joke. Inside the building, we again find Alicia hurrying to catch up to Kalinda, ever the picture of perfect confidence. “Impressed,” Alicia wonders why Peter fired her. And now we get to see more of this new side to Kalinda, who suggestively confirms that Peter was right to suspect her of working “two jobs” and then proceeds to play the security guard like a violin. Alicia seems content (for now) to stand by and watch Kalinda do her thing, but their shared glance when it seems that the investigation has reached a sudden dead end is another sign that they're finally coalescing as a team. Now that they’ve really started working together (not just working together, if that makes sense), it’s important for the show to establish their dynamic. Halfway through the pilot episode, we have in Kalinda an enigmatic, independent investigator who clearly enjoys the various facets of her work and considers sexual attraction a viable tool for that work. Alicia may be older, but she's much more sheltered and naïve, a wife who has lived in the shadow of her husband through better and worse and who has recently chosen to establish her independence in a world she left half a lifetime ago (at least half of Kalinda’s lifetime). An odd couple, indeed.
In their methods, too, they are day and night. Kalinda is by turns suggestive (the revealing clothing, her tone regarding “working two jobs”) and coy (her “innocent” questions and requests of the security guard). She knows exactly how to manipulate without letting the object of said manipulation feel manipulated. The security guard, for example, “looks at Kalinda and her breasts, trying not to look at Kalinda and her breasts.” Alicia sees that her methods work and even tacitly approves: “Alicia glances at Kalinda. She’s good. Turning it on.” (Turning him on, too.) While Alicia sees that Kalinda’s methods can work, however, she consciously chooses a different MO, seeking out the sorely abused secretary and handing her a can of Diet Coke she actually bought but which she pretends the machine vended by accident. She gleans some very important information simply by commiserating with her regarding the guard’s attitude and by remarking positively on pictures of her children and grandchildren. This is consistent with Alicia’s earlier attitude towards Jennifer in the conference room and quite distinct from the bitterness we see in her when she vents about Peter to her mother-in-law.
Another short deleted scene was originally set after Alicia discovered the mall cop was lying, then moved immediately after the scene with Peter’s mother-in-law. From an earlier version of the script: “Kalinda rushes toward court, passing a herd of lawyers. LAWYER: How’s Mrs. D.A. doing? Kalinda offers a shrug as she pushes into…court.” A later version has the lawyer say: “How’s Peter’s little wife doing?” The version as shot (available under “Deleted Scenes” on the DVD): “How’s Florrick’s little wife doing?”, to which Kalinda says, “Screw you.” Again, I see why this was cut. We’ve seen enough of Alicia being called “Mrs. Florrick” or “Peter’s wife,” and “Mrs. D.A.”/“Peter’s little wife”/“Florrick’s little wife” is just a bit too shovel-meet-head. We’ve also seen enough of Kalinda’s closed off and/or hostile demeanor, though this is probably the first time it would have been in Alicia’s defense instead of her own. However, it also would have spoiled the minor reveal that Kalinda is present during the note scene. So while I see why it was cut, for time if nothing else, I also like knowing it was written (and actually shot).
Alicia first true performance in court is a bit of a nightmare. She hesitates when asked for grounds for her first objection, which the judge overrules, and then she can’t figure out a way to ask even one question of the plaintiff without multiple objections from opposing counsel, all of which are sustained. (I’m not a lawyer, but I think these are all on the grounds of leading the witness - regardless, the script is crystal clear that Alicia doesn’t know what she’s doing wrong, which is why she keeps making mistakes.) The judge doesn’t seem to be allowing his dislike of Peter Florrick to influence him, but his patronizing attitude (“Nice try, Mrs. Florrick.”) and another instance of the dreaded salutation only add to her shame. The camera is so focused on Alicia and the trial proceedings that we don’t even realize Kalinda is sitting in the courtroom until several minutes into the scene, and even then you need to be looking for her at the very edge of the shot. In fact, if you’re not looking for Kalinda, the first indication she’s there is the note passed to Alicia when she takes her seat after the failed questioning of the plaintiff. Two words on a scrap of ruled notebook paper (probably Moleskine, by the looks of the ruling and the curved right-hand corner): CALM | DOWN. In my opinion, the handwriting screams female but is certainly not girly or even very feminine. Apparently it screams “Kalinda!” to Alicia, because as soon as she reads it she spins around and finds the in-house seated directly behind her. (The paper was passed across Kalinda’s bench to the edge of the room and up to the bailiff, so I think we should assume Alicia knew Kalinda was there and figured she would be the only one sending her short but sweet messages). This is the first time the camera has focused on Kalinda, so it is the first time the average viewer will notice she’s present. While she’s certainly no guardian angel, she’s definitely looking out for Alicia here, the first time of many to come. Some measure of understanding passes between them when they make eye contact (the script says “nod,” but I prefer the steady stare in the scene as we have it), and when Alicia turns back around to face the court she’s holding back a smile. It’s also worth mentioning that immediately after A.S.A. Sandra Pai turns Detective Briggs over to Alicia for questioning, the stage directions have her taking Kalinda’s advice: “[Alicia] calms herself.”
Kalinda stays through the ensuing testimony from the police detective, who wins over a few jurors with a good point about carjackers not usually punching holes in the tires of prospective victims’ cars with nails. Between shots of Alicia reassuring the defendant, we get a glimpse of Kalinda’s slightly worried reaction to the balance of favor, which seems to weigh heavily against Alicia despite her brave words and stoic façade. But from the moment Alicia stands up to question the detective it’s like she whacked the scales out of their unfavorable balance with two words: “the pit.” (We were supposed to see Kalinda nod here, but that seems to have been ditched for her worried look above.) Like Alicia earlier, Matan Brody stumbles in providing grounds for his objection, which is overruled, and Detective Briggs stumbles in testifying about said pit. Cue an explosive scene in chambers, where the A.S.A.s shout over each other in an attempt to sway the judge, while Alicia remains mostly unperturbed. From there we move on to Brody accusing Alicia of being fed information by her husband. The judge promptly tells him to “shut up” and surrender what was pitted, then turns on Alicia and warns her against taking insider information from her husband. When she returns to SLG, she gets in hot water with Diane for overreaching by changing her defense strategy; Will naturally sticks up for her, almost like a father would speak to an angry mother, but apparently to no avail.
Another deleted scene: Kalinda at the crime lab in a further illustration of her MO. She “smiles flirtatiously” with the 32-year-old lab tech and is “dressed to accentuate everything that needs to be accentuated.” The conversation reveals that Kalinda still has “friends” at the S.A.’s office and that she likes to lean on people - in the arm-twisting sort of way. We will see similar scenes in later episodes, so I get that the editors wanted to save something for later. We are told the (very) relevant information originally revealed here when Kalinda relates it all to Alicia after the following scene. (Essentially, this deleted scene was mostly duplicated by the later conversation.) The primary effect is that more emphasis is placed on Alicia and Kalinda’s growing relationship, and their dynamic shifts again slightly towards what it will be for the next two seasons: Kalinda does the research and feeds it to Alicia, who runs with it.
After struggling to transfer a phone call to her office so that Jennifer can speak to her child, Alicia is hailed by Kalinda, who sounds a little friendlier after the ice-breaker investigation scene. Alicia herself looks almost pleased to see the investigator, who suggests in a nearly inaudible whisper: “Let’s talk later.” [In a later but not final version of the script, Kalinda approaches Alicia as she watches Jennifer; says simply, “it’s dog hair”; spots Diane consulting with Cary; and then urges Alicia to accompany her outside.] Cut to “later.” In a walking conversation on the streets of Vancouver Chicago Kalinda explains the new case-related information she found out from the crime lab tech. When Alicia indicates a number in Kalinda’s notebook and asks if it’s the “chemical number,” Kalinda replies that it’s the lab tech’s phone number and admits that she agreed to drinks, quirking a smile and giving a slight eye roll: ah, the price of doing business. Stage directions: “Alicia looks up, smiles. (NB: She actually laughs in the episode as shot.) Starting to love Kalinda.” Kalinda quickly turns serious, however, remarking that she’s heard Alicia’s being bumped to second chair. Turns out Will didn’t do a whole lot of good against Diane’s wrath. Alicia is clearly surprised - this is news to her. The way the line is written and delivered suggests Kalinda knew the information was credible, despite being presented as a rumor, and has no qualms about informing Alicia when the opportunity arises. In fact, while Kalinda seems more than a little concerned about the news itself, she doesn’t really come across as reluctant to reveal it. The fact that Kalinda is willing to share such information indicates exactly how much progress they have made over the past half-hour of air time (less than two days of dramatic time, if I’m counting right), while her follow-up explanation tells us that although she began with the phrase “I hear” she knows exactly what’s going to happen and is willing to give Alicia a heads up. The scene reinforces Kalinda’s position as Alicia’s primary source of information, not just for casework but for her career with SLG as well.
As shot, this scene ends with Alicia’s soft “wow” in response to Kalinda’s information. As originally written, however, Alicia “considers” Kalinda’s news and says: “Then that leaves today.” Stage directions: “Kalinda nods. A moment between them. KALINDA: So go kill him.” With the last bit of dialogue cut out, their dynamic is slightly subtler. Kalinda’s support - earned, never given - is still made abundantly clear by the two sets of information she relays. And let’s face it: if anyone is killing anyone else, it will be Kalinda, not Alicia, doing the killing (see the tequila scene). A later (but still not final) version of the script reads: “Alicia pauses, disappointed. A second. Silence. KALINDA (CONT’D): You still have today. Alicia looks up at her. A moment between them. The closest Kalinda has ever given to a pep talk.” This version, to me, is much more appropriate for Kalinda later on in the first season. I’m glad they ended up letting Kalinda’s divulgence of crucial information stand for itself instead of having her go too far towards the violent or peppy end of the spectrum.
Kalinda is back in court to stalk watch Alicia, this time with Will sitting immediately behind her in the gallery. Neither betrays a knowledge of what Alicia’s doing with the extra monitors, but they don’t look terribly confused, so maybe Will has as good a poker face as we’ve come to expect from Kalinda. When Will notes that S.A. Childs has stepped into the courtroom, Kalinda smirks and tells him that they suspect Peter is feeding Alicia information. It seems Will, too, relies on Kalinda for information, case-related and otherwise. Meanwhile, the in-house barely glances away from Alicia as she talks, and for good reason: For the first time, Alicia has complete control of the courtroom, and she smiles effortlessly even as she grabs the security guard by the balls and slowly squeezes, leaving him “destroyed.” The script focuses only on Will’s pleased reaction (and Childs’ unhappy one), but because of her position in front of Will, we also get to see Kalinda’s: She’s never particularly expressive, but she bites her lower lip just a bit in the first shot and gives Alicia a genuine smile in the second. (Apparently Will’s not the only one who enjoys seeing Alicia in action.) It’s nicely ambiguous whose reaction Alicia focuses on when she turns around, but I’d place money I don’t have on her smile being for Kalinda in return. (NB: The script has her “offering a quick smile back” at Will, but he isn’t really smiling in the scene as shot. I’m wondering if they transferred the smile to Kalinda instead, especially since Alicia gets a scene with Will immediately afterwards.)
Yet another deleted scene: Towards the end of her conversation with Will, we find Alicia on the phone with Kalinda, asking about the victim’s enemies with the goal in mind of finding a suspect to finger. Will exits, saying “Sounds like a late night. Let’s do dinner tomorrow.” She watches him leave.
On their way to court, Kalinda and Alicia “hurriedly walk and talk their way through documents.” As always, Kalinda is impeccably prepared, and she’s in the middle of suggesting to Alicia a strategy to “string together a series of implications” with the information from the documents at hand when Childs hails “Mrs. Florrick” from the stairs. The way they both look up and slow to a stop visually reinforces just how ‘in step’ they are. Childs asks, “Do you have a moment?” He clearly wishes to speak with Alicia alone. The stage directions here are essential: “Alicia nods to a reluctant Kalinda: go ahead. Kalinda knits her brow: you sure? Alicia nods. Kalinda continues off.” Of course, the script misses Kalinda’s death-glare at Childs, but the colloquialism in their internal thoughts - and the fact that they’re having an unspoken conversation this easily this early - says a lot on its own. It’s also worth noting the way Kalinda clams up as soon as someone else, especially someone like Childs, joins the party. By this point Kalinda is more than willing - even eager - to defend Alicia, but Alicia’s got this, and she knows it (To wit: “You’re worried about my husband, Mr. Childs. You’ve obviously never made a woman angry before.” She also has baring-her-teeth-while-making-it-look-like-a-smile down pat.)
Alicia gets cut off by several objections again in court, but this time she handles it much better. That doesn’t stop Kalinda from biting her lip, this time in concern. As Alicia makes her points through Brody’s standing objection (“implying,” as the stage directions note and as Kalinda had suggested earlier, that the plaintiff’s brother had committed the murder), Kalinda’s concern morphs into smothered satisfaction. Which brings us to the infamous “tequila tradition” scene.
The original scene from the script (no tequila, sorry!): “Alicia and Kalinda sitting in her office, feet up.” Alicia questions Kalinda about the jury, more precisely what the verdict would be if they came back that day. Kalinda informs her that “guilty verdicts come fast. Not guilty verdicts come slow.” Alicia replies that she’ll “be optimistic, and take a nap.” They’re expressly relaxed, both with their feet on the desk. Kalinda sees a screen saver with photos, one of which is of Peter in a swimsuit - “a happier time.” Some familiar dialogue: “KALINDA: You know what I don’t get. (Alicia looks over at her) Why you stood by him. I would’ve stuck a knife in his heart. Alicia. She studies her. It’s sort of not rude from Kalinda. ALICIA: I always thought I would too. When I heard about those other scandals, those other wives, I thought - how can you allow yourself to be used that way? And then it happened. And I was… (looks for the right word) …unprepared. The two women look at each other. A moment.” Then Sonia interrupts with a summons for Alicia from the judge.
The infamous tequila scene as shot: They’re obviously close enough to joke about Kalinda’s newly minted “tradition” of tequila shots after one’s first jury trial at SLG, which is the most positive sign for their relationship yet. Points to Alicia for guessing that it’s made up, but not for believing Kalinda that it isn’t. As many firsts as we’ve seen so far this episode, this takes the cake: “Kalinda smiles-the first genuine smile from her.” (She's cracked something resembling a smile before, but these stage directions should tell us just how rarely she does so genuinely.) Some of the dialogue has changed from the earlier script. Instead of the whole business about a guilty verdict being fast and a not guilty one slow (see the cut above), Kalinda says, “I stopped guessing about juries a while ago. How long were they out with your husband?” Script: “Alicia studies her. A ballsy question. Not rude from Kalinda.” It takes a certain person (and a certain relationship between two people) to make a rather personal question “not rude.” Then follows the bit about sticking knives in cheating hearts, unchanged from the previous version. While Kalinda “considers” Alicia’s response, Alicia’s phone rings. Kalinda stares at her rather intently, guessing the jury is back (in which case they’ll probably need a few more shots). The whole scene as finally shot shows both Kalinda’s mischievous side (the great cat-that-ate-the-canary grin that literally spreads across her face as Alicia takes the tequila shot) as well as her violent side (of which we’ll see quite a bit more later on). I, for one, don’t doubt Kalinda when she says she would have skewered him, and we’ll find ample evidence to support her confrontational tendencies as the show continues. I think part of her is also wishing, even at this point, that Alicia would open her eyes and drop Peter like a hot potato - Kalinda’s opinion that he isn’t good enough for Alicia makes its first appearance here, though we won’t realize the full import of this conversation until the end of the second season. For now it comes across as genuine curiosity infused with some sort of intense, serious emotion (concern? sorrow?) that she expresses so well with a single meaningful look. She isn’t given to pity - perhaps she’s not even capable of it - but she’s feeling something as she watches Alicia explain her point of view, and she almost looks pained now that she’s an Alicia convert, so to speak. Against her better judgment, Kalinda has done nearly a complete 180 with respect to Alicia, and this scene tells us not only that they will have a profound impact on each other as the show progresses, but also that we’re going to end up learning the most important things about these two central characters from their shared interactions. (Alicia's "...unprepared" is perhaps the single most revealing word - and pause - in the whole episode, and it's delivered before no one except Kalinda.)
The last scene, a.k.a. In Which the Client Is Reunited With Her Daughter But No One Cares: Kalinda’s interaction with Alicia here is nearly the opposite of the heavy emotion of the bar scene. (For the record, Kalinda wasn’t originally in this scene at all and was apparently added rather late.) Alicia descends the stairs to join Kalinda, who’s waiting for her a few steps from the bottom, and they share a smile that lasts until they spy Childs walking past them. Neither says a word as they move past the reunited family, and that’s how it should be: They say so much without them.