Errors & Omissions

Summary

Sidebar: A Suits Watch Podcast – Episode Summary: "Errors & Omissions"

Episode Information:

• Title: Errors & Omissions
• Release Date: October 15, 2024
• Original Air Date of Episode Discussed: June 30, 2011
• Hosts: Patrick J. Adams (Mike Ross) and Sarah Rafferty (Donna Paulsen)

---

Introduction

In the "Errors & Omissions" episode of Sidebar: A Suits Watch Podcast, hosts Patrick J. Adams and Sarah Rafferty delve into the intricacies of the second episode of the acclaimed TV series Suits. Patrick and Sarah, who portray Mike Ross and Donna Paulsen respectively, offer a blend of on-set anecdotes, character analyses, and behind-the-scenes insights, all while navigating their own first-time viewing of the show.

---

Setting the Stage

Patrick Adams [05:14]:
“I wanted to bring that up because that was the context through which I was watching this episode. It was sort of just as the fever and the bug was subsiding that I got to sit down and really dig into the episode we're here to talk about today.”

Having recently recovered from an illness, Patrick approaches the episode with fresh eyes, ready to unpack its depth beyond the script.

---

Episode Overview

"Errors & Omissions" revolves around Harvey Specter's challenge against a judge who erroneously believes Harvey had an affair with his wife. Concurrently, Mike faces pressure from Louis Litt to secure a high-profile client, leading to pivotal character growth.

Sarah Rafferty [07:05]:
“While working on a patent case, Harvey discovers the judge thinks he had an affair with his wife... causing Mike to learn to stand up for himself.”

---

Key Scenes and Discussions

1. Introduction of Wyatt:

   • Eric Layton's Audio Clip [13:37]:
     “I remember vividly how loose and comfortable you guys felt at such an early stage in the process... you and Gabe Patrick had just such a great chemistry.”
   • Patrick reminisces about Wyatt's character, highlighting his real-life friendship with co-star Eric Layton.

2. Harvey's Hair Conundrum:

   • Sarah Rafferty [15:56]:
     “...Gabriel Mockt looks extraordinarily handsome and suave. He looks great, but his hair... like Jude Law from AI Vibes.”
   • The hosts discuss the challenges of maintaining Harvey's iconic hairstyle, adding a touch of humor to the technical aspects of filming.

3. Patent Case Dynamics:

   • Patrick Adams [27:21]:
     “...Mike has relied on Rachel to solve problems for him. This scene establishes that I am not going to be the solution to all of your problems at this office.”
   • The conversation emphasizes Mike's evolving role and his journey towards independence within the firm.

4. Courtroom Challenges:

   • Sarah Rafferty [41:02]:
     “This was a really great dynamic... how much more Donna we're gonna get.”
   • They reflect on the emotional weight of courtroom scenes and Harvey's nuanced performance, particularly his interaction with Judge Pearl.

5. Captivating Interactions:

   • Patrick Adams [37:47]:
     “This is a good example of points of focus. It was a genius bit, really.”
   • The hosts analyze pivotal interactions, such as the tension between Mike and Louis, showcasing the show's blend of drama and subtle comedy.

---

Notable Quotes

• Sarah Rafferty [57:17]:
  “She really relishes the opportunity to say no.”

• Patrick Adams [73:24]:
  “Mike then reveals that the new client, Tom Keller, will be brought in under Harvey instead of Louis. Louis has lost again.”

• Sarah Rafferty [38:51]:
  “There’s like a weird power dynamic thing that like is getting leaned into in a funny way.”

---

Behind-the-Scenes Insights

• Production Challenges:
  Patrick recounts the difficulties of shooting courtroom scenes in the first season due to the lack of a dedicated courtroom set, often extending filming into Saturday mornings.

• Character Development:
  The hosts highlight how early episodes were crucial in establishing character traits and relationships, setting the foundation for the series' long-term success.

• Set Design Appreciation:
  Patrick Adams [24:12]:
  “I was just blown away by the set. It really felt like we were on the 65th floor of a building.”

---

Listener Engagement

Throughout the episode, Patrick and Sarah interact with listener questions, such as Sasha's inquiry about a painting in Harvey's office. They provide detailed backstories and even share personal connections to the art, enhancing the episode's depth.

Sasha's Question [62:21]:
“Was it already determined that this painting had such value when it was placed here in season one on episode two?”

Response [63:17]:
Dave Bartus explains the origin of the painting, linking it to set design decisions and subsequent character storylines.

---

Conclusion

"Errors & Omissions" serves as a compelling episode of the Sidebar: A Suits Watch Podcast, offering fans and newcomers alike a comprehensive exploration of Suits' second episode. Through insightful discussions, memorable quotes, and heartfelt anecdotes, Patrick J. Adams and Sarah Rafferty illuminate the artistry behind the scenes, celebrating the show's enduring legacy.

---

Noteworthy Moments

• Tennis Dream Ballet [53:34]:
  The hosts fondly refer to a comedic tennis sequence, showcasing their chemistry and ability to find humor in character interactions.

• Harvey's Integrity:
  Patrick praises Gabriel Macht's portrayal of Harvey, emphasizing the character's moral code and depth.

• Donna's Evolution:
  Sarah highlights Donna's growing influence within the firm, setting the stage for her pivotal role in future episodes.

---

Final Thoughts

Patrick and Sarah conclude the episode by inviting listeners to engage with them, fostering a community of Suits enthusiasts eager to dive deeper into each episode's nuances. Their genuine enthusiasm and insider perspectives make "Errors & Omissions" a must-listen for anyone passionate about the intricacies of Suits.

---

Notable Quotes with Timestamps:

• Patrick Adams [27:21]:
  “I am not going to be the solution to all of your problems at this office.”

• Sarah Rafferty [15:56]:
  “It looks like Jude Law from AI Vibes.”

• Sasha's Question [62:21]:
  “Was it already determined that this painting had such value when it was placed here in season one on episode two?”

---

This comprehensive summary captures the essence of the "Errors & Omissions" episode of Sidebar: A Suits Watch Podcast, providing listeners with an engaging and informative overview that highlights key discussions, memorable quotes, and behind-the-scenes stories.

Transcript

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[Sarah Rafferty]

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[Patrick Adams]

Are we recording? Should we dive in?

[Sarah Rafferty]

No, I'm doing my warmup. I'm sorry.

[Patrick Adams]

I'm doing my warmup.

[Sarah Rafferty]

Unique New York Is your New York unique or is it just mine?

[Patrick Adams]

All right, let's get started. Hi there, I'm Patrick Adams. You may know me as Mike Ross on the TV series Suits, and I.

[Sarah Rafferty]

Am Sarah Rafferty, and you may know me as Donna Paulson on Suits.

[Patrick Adams]

You are listening to Sidebar A Suits Rewatch podcast. Actually, a Suits Watch podcast because Sarah and I have never actually watched the show that we made.

[Sarah Rafferty]

You know, each week we're going to talk through an episode of this TV show and we're going to do our best to remember stories from in front and behind the camera. We're going to compare notes, some memories. We hope to answer some listener questions and talk about the music and talk about the clothes and talk about dazzling performances.

[Patrick Adams]

We're going to talk about it all.

[Sarah Rafferty]

Yes, I can't wait.

[Patrick Adams]

But first I just want to say hi, because this is a very special episode of our podcast. Because we are not in the same room for the first time.

[Sarah Rafferty]

We are magically remote. Tell us where you are, Patrick.

[Patrick Adams]

Right now, I'm in Glasgow, Scotland. Been here for a little over a month now.

[Sarah Rafferty]

The people want to know, did you eat any haggis?

[Patrick Adams]

I have. I had haggis just two nights ago.

[Sarah Rafferty]

What's it like?

[Patrick Adams]

I've had two. I'll tell you this, I've had two haggis experiences, okay? The first one wasn't great. And then the other night, I went down to an amazing restaurant here in Glasgow down the street. I'll brutalize the name, but I think it's boti bossy. And we ordered the haggis, and it was phenomenal.

[Sarah Rafferty]

What's it taste like? Don't tell me. It tastes like chicken.

[Patrick Adams]

You want to know the truth? I don't know what haggis is. I have purposefully avoided.

[Sarah Rafferty]

Oh, yeah, no. Okay.

[Patrick Adams]

You know what I mean? It's one of these meats that I'm.

[Sarah Rafferty]

Not going to tell you. I'm not going to be that friend.

[Patrick Adams]

I think it's one of these things that you mix with a bunch of other ingredients. So I don't even know how much you're actually tasting the thing itself.

[Sarah Rafferty]

So it's not like a pretty little sack of something like, on your plate.

[Patrick Adams]

It looks mostly like. It's like. Looks like a tar.

[Sarah Rafferty]

Oh, really?

[Patrick Adams]

Do you know what I mean? That's kind of. It's almost like a thicker tartar.

[Sarah Rafferty]

I'm out. Oh, God, no, please.

[Patrick Adams]

Are you a pate person?

[Sarah Rafferty]

Oh, God, no.

[Patrick Adams]

Me neither. Me neither. How are you? How have you been doing? I haven't seen you in so long.

[Sarah Rafferty]

I'm good. I'm really good. This weekend, I had the great honor of being an emcee at a gala in Northern California for an organization called Part the Cloud, which works with the Alzheimer's Association. So I put on my big girl panties and I was an emcee and talked about our family's experience with it. And then I got to fangirl because Jon Baptiste performed.

[Patrick Adams]

Oh, wow. He's amazing.

[Sarah Rafferty]

He is a magical being who uplifts spirits. He conjures spirits.

[Patrick Adams]

What a perfect person to have at an event like that. That's incredible.

[Sarah Rafferty]

Yeah, it was really amazing.

[Patrick Adams]

That's amazing. Good for you for doing that. I think I saw a picture of you looking like $1 trillion on Instagram @ this event. Right. You posted a picture.

[Sarah Rafferty]

You're so nice to me. Thank you. I can't wait to get you back in the studio so I can look at you in the flesh and tell you how handsome you are.

[Patrick Adams]

I've also been incredibly sick this week. Incredibly sick. But I'm feeling a thousand times better.

[Sarah Rafferty]

So did you eat haggis after you had a stomach bug? After. Like, were you, like.

[Patrick Adams]

And now I'm going to go get a good question. I did.

[Sarah Rafferty]

Oh, God. I did.

[Patrick Adams]

I know. Can you believe it?

[Sarah Rafferty]

Oh, no. Oh, my God.

[Patrick Adams]

I wanted to bring that up because that was the context through which I was watching this episode. It was sort of just as the fever and the bug was subsiding that I got to sit down and really dig into the episode we're here to talk about today.

[Sarah Rafferty]

I hesitate to say this, and I know it's going to get edited out, but there's a couple of places that I found pretty sexy in this upcoming episode, and if I say that too many times and people start to get really uncomfortable, we can just edit it. So I'm gonna say it each time, but I expect it to potentially go away. But there was some sexy bits.

[Patrick Adams]

I can't wait to find out which, because I'm racking my brain to try and figure out what the sexy bits are.

[Sarah Rafferty]

And spoiler alert. Patrick, I don't know if you noticed.

[Patrick Adams]

What?

[Sarah Rafferty]

This show is delightful.

[Patrick Adams]

It's good.

[Sarah Rafferty]

I'm really having a really good time.

[Patrick Adams]

It turns out the show that ran nine seasons is good.

[Sarah Rafferty]

I am not surprised, but I'm just delighted.

[Patrick Adams]

Especially we're so early in the process. But I'm like this show for the second episode of a show, which I believe. And we'll get into this more as we get into the episode. But this was actually, I think, the third episode we shot, and they reversed the airing of it, but in a.

[Sarah Rafferty]

Way, it was the fifth episode we shot.

[Patrick Adams]

No.

[Sarah Rafferty]

And it was written as the third episode, and they moved it up to the second episode. And that's a lot of really hard math for me, but I know it's a fact. I have it written down. I spoke to Aaron Korsh yesterday.

[Patrick Adams]

It was the fifth episode we shot.

[Sarah Rafferty]

It was the fifth episode, and it was so good that it got bumped to be our second episode. And it totally, absolutely makes 100% sense.

[Patrick Adams]

Brilliant. I didn't know that. Well, it makes sense, right? Because you want such another strong episode out of the gate. So it'll be interesting now when we get into 3, 4 to see what those are.

[Sarah Rafferty]

Yes. Let's talk about this episode.

[Patrick Adams]

Let's get into it. This episode is called Errors and Omissions. Original Air Date June 30, 2011 here's the brief. While working on a patent case, Harvey discovers the judge thinks he had an affair with his wife, despite Harvey's best efforts to keep his personal life and his work life separate. Meanwhile, Lewis blackmails Mike into snagging a high profile, cool client, causing Mike to learn to stand up for himself. The episode was directed by John Scott. A lot of love for John Scott. He shot, I think, five episodes of the show total.

[Sarah Rafferty]

John Scott absolutely crushed it. And what a gentleman he is.

[Patrick Adams]

And I think he had a lot to do in those early seasons of establishing the vibe of the show. You know, it's a different thing. And this was a big thing I went into watching this episode because it's a different thing to shoot a pilot. You know, big creative adventure, you have more time, you kind of have, I think, more money, you know, slightly more breathing room to kind of figure out things and what the vibe's going to be. And then you go away for months. Do you know how much time went before we came back to Toronto?

[Sarah Rafferty]

So I know that we shot the pilot and not October in New York. And then when we got back to Toronto, I believe it was as it always was, April.

[Patrick Adams]

It is a long break between, hey, we shot a pilot, is it going to get picked up? And if it does, then get picked up. When are we starting to shoot and where. Right. We didn't even know it was going to be in Toronto at first.

[Sarah Rafferty]

I didn't know anything because remember, I wasn't contract in the pilot, so I remember Gabriel told me it got picked up. I think when we were in a grocery store with like our kids and spouses, I was like, what? Where are you going?

[Patrick Adams]

And you guys were just like out having a shop together. And he told you?

[Sarah Rafferty]

I think, yeah, like our kids were having a playdate. I think we needed to go to the grocery store and we were going up and down the aisles and I know it's so random.

[Patrick Adams]

Oh my God, that's fascinating.

[Sarah Rafferty]

Anyway, back to the episode.

[Patrick Adams]

Yeah, so I'm interested in kind of all these first episodes because it's. I mean, I had shot pilots before we talked about it. I had never been on a, on a series though, before. So now we're in Toronto and we're learning how to like kind of crank this thing out at a completely different speed. So it was interesting for me to watch this episode and I'm. I'm curious to keep an eye out in the next two of the ways in which the show is sort of becoming its new version rather than what sort of almost felt like a film in that pilot episode.

[Sarah Rafferty]

Yeah. And when I was watching this episode, I think the thing that struck me is the tone of this show, which we went through many iterations over nine years of the tone shifting from time to time. Like, we had eras like Taylor Swift and this. I'm struck with the lightness of the tone of this episode. And when I spoke to Aaron about it, he was like, one of the reasons that this moved forward, there were many reasons that it moved up in the lineup, but was how it established Rick's character comedically. The iconic Lewis Litt.

[Patrick Adams]

Right.

[Sarah Rafferty]

Did you guys. When you either when you were doing a pilot or when you transitioned to beginning the season, were there a lot of conversations between you guys about tone? Because everybody got in the same world very quickly, which I don't think is always necessarily a given that that's successful on a show. Obviously, we have script to tell us. We always have the script to tell us what the tone of something is, but people interpret scripts differently. So do you remember that?

[Patrick Adams]

Yeah. What we also had was Kevin Bray, who was our producing director for this entire first season. So, like, for me and Kevin, as one of my favorite people on the planet, but I think he was also, you know, if Aaron was the father of this thing, then Big Daddy Kevin was mother or the other father.

[Sarah Rafferty]

I like that he's giving mother.

[Patrick Adams]

Kevin was, you know, equal parts involved with creating the vibe of the show, the look of the show, while Aaron was not with us the whole first season in Toronto, which was another big transition. Right. We were used to having Aaron on set, and if we could make Aaron laugh, we knew it worked and we could move on. But now our, you know, the guy in charge is in another room in Los Angeles. But Kevin Bray was with us in Toronto, and he was able to. And I think he did an excellent job of doing everything. He could sort of port the vibe of the pilot and what made that so special and make sure that that thread ran sort of seamlessly throughout this first season.

[Sarah Rafferty]

Yeah, let's.

[Patrick Adams]

Let's. Before we dive in too, let's talk a little bit about Sean Jablonski. He was the writer of this episode. He wasn't just a writer. He held this interesting position as sort of co showrunner. You know, Aaron was in charge of this show. It was his creation. He came out of his head. But the role of showrunner is a really complicated thing without getting too into the weeds. You know, you're not just writing scripts. You're in charge of you know, overseeing some of the editing of the episodes as they're coming in, you're outlining other scripts. You're basically like the master and commander of the whole thing. And you have to have, you know, fingers and multiple different pies doing different things at all times. It's. It's a crazy, crazy job to do. And because of that, if memory serves, Aaron was not allowed. I don't know if that's the right word. He's not allowed to be a showrunner. The first year, and that's not uncommon, is like, if you've never done it before, they don't just let you become a showrunner. They pair you up with somebody who's had a lot of experience. So Sean Jablonski had had a lot of experience. I'm thinking nip tuck.

[Sarah Rafferty]

And I think it just speaks to like how much fairy dust was sprinkled to kind of create the alchemy for this long running show that all these people came together. I watched showrunners, the documentary showrunners, which I heartily recommend to anybody working in this business, because it really gives you such a great example of what, how many hats the showrunner is wearing. And I think it makes you a better actor, director, writer, producer, to just have an understanding of what the process is and what is going on with people. And in many ways it made me, like afraid to ask Aaron anything because I never wanted to bother him. Anyway. I digress, which I do all the time. Let's talk about how this show opens. We have the cold open. We open on an air hockey game between Mike and Wyatt and then Harvey enters. But tell us about Wyatt.

[Patrick Adams]

Let's talk about Wyatt. Let's talk about Eric Layton. I have a audio recording from Eric Layton right now. I have no idea what it says and hopefully there's nothing inappropriate in it, but I'm just going to play it.

[Sarah Rafferty]

I hope it's super inappropriate.

[Eric Layton]

Hey, Patrick. Hey, Sarah. First of all, this is so cool. I'm so happy for you guys. As far as my time on suits, here's what I remember. I remember vividly how loose and comfortable you guys felt at such an early stage in the process. And I remember that being something that stood out because you and Gabe Patrick had just such a great chemistry. And I remember saying to myself, man, this is early for that, for them to feel so comfortable in these characters, you know, having been somebody that's been a part of series and knowing as you guys both do that, you know, many times it can be this, this kind of like Slow build into that, because everybody's kind of trying to figure out what they're doing with their own character at that point. So I remember that not being the case and having a great time with you guys. As far as my character, I remember them calling and saying, hey, you know, episode of Suits. He's kind of like a Mark Cuban, like a young billionaire, and he invents this phone. But honestly, that's as far as my memory of the character itself goes. I remember my hair was, like, straight up, and I looked crazy. Anyway, I hope that helps. Really pumped for you guys. Patrick, couldn't be happier for you and all your success. And Sarah, I can't wait to listen to the podcast and take care. Good luck with it. All right, bye.

[Sarah Rafferty]

What a mensch.

[Patrick Adams]

What a sweetheart.

[Sarah Rafferty]

Wow.

[Patrick Adams]

What a gym.

[Sarah Rafferty]

Love him.

[Patrick Adams]

He plays Wyatt, the billionaire. As he said in this episode, we know each other. Actually, we went to school. That's partly why we're so familiar. We went to USC together, and then we also shot the Right Stuff for Disney. Plus many moons later after I left Suits. So it's very cool to see him up front. You know, he's the kind of guy who's just out there crushing it all the time. So we were, I think, very lucky to have him so early on.

[Sarah Rafferty]

I love that you keep, like, orbiting each other. There's something, something there.

[Patrick Adams]

It's meant to be. It's a love story for the ages. I do have a thing that right off the bat from this episode, and I don't know if you were feeling it and it's not a critical note, but it is just a not is Harvey's hair. Do you notice anything going on?

[Sarah Rafferty]

I don't know. I think, first of all, as always, Gabriel Mockt looks extraordinarily handsome and suave. He looks great, but his hair. So this is not me throwing a stone because I got some hair issues, but it seems a little snap on Lego here.

[Patrick Adams]

It looks to me I was getting, like, Jude Law from AI Vibes.

[Sarah Rafferty]

Okay. Yes. Remember that movie, See Handsome but style?

[Patrick Adams]

Insanely beautiful. But yeah, it's, like, so structured, and I didn't spend a ton of my time keeping track of Gabriel's relationship with his hair at the time. But I do remember him feeling like for some reason, we couldn't figure out the hair. So hopefully when we get Gabriel on the show, we'll be able to talk to him about his hair journey on Suits a little bit. Cause I remember there was, like, a time where it was like, it looked really Great and natural and easy in the pilot. And then I think there was like a growing pains section here in the first season. And for some reason that became. That just looked really clear to me in this cold open at the beginning when he came in.

[Sarah Rafferty]

That kind of stuff has to do with, like, notes, sessions going on, I think always, like studio. Somebody at network, somebody called this. And then they call in the hair department, and then the head of the hair department has a thing.

[Patrick Adams]

Oh, yeah. And then you've got like 15 people talking about your hair.

[Sarah Rafferty]

And it's. It's telephone and it's. Nobody understands what that actually means because you've got somebody who's talking about hair who doesn't do hair. And then it just turns into a thing. I can't believe I'm going down a rabbit hole on this right now. I'm going to stop myself.

[Patrick Adams]

There's nothing. And they wonder why actors are crazy. Because you have to sit there and watch like 15 people talk about your hair and send notes back and forth to a different city. And it's just.

[Sarah Rafferty]

It's a good tool to transform, but sometimes it transforms you in a direction that maybe is just imposed, superimposed. Like Gabriel's AI Superimposed hair. He did it. Did. I kind of liked it, though, I gotta say. I kind of liked it also.

[Patrick Adams]

I have to call out. I think you and I both noticed we've dec. We started doing something on this, which I'm really into, which is we just start screen grabbing from the episode. Like funny screen grabs. And one thing we both screen grabbed, I believe, was this very strange phone prototype. It goes by in a flash. He takes it out of a pocket. Harvey kind of like wags it in the air and then it disappears. And you can tell no one wanted to put a camera close up on it.

[Sarah Rafferty]

There is not a special on that.

[Patrick Adams]

Thing because I don't know what it is. It's like a folded piece of cardboard that looks laminated, you know. And this is not to call out any props people or whatever. Sometimes you just got to make a thing work. But I did have lots of questions about what this phone prototype was.

[Sarah Rafferty]

So what happens is we learn that Wyatt is a computer engineer who invented a very valuable prototype that a big company wants to buy. But I want to say that we open. So we open on the air hockey table. And within the first few seconds, I am so super into how little of what is going on that I need to actually understand to be totally all in on this episode. Because all I know right away is that there's a dude who works in, like, a questionably professional work environment. Like, it looks like skyzone. Like, he actually works at Sky Zone, but he's a billionaire.

[Patrick Adams]

Yeah.

[Sarah Rafferty]

He loves air hockey, which. Yes, please. I wish I had air hockey. So he has this weird prop. It's a satellite phone that fits in your pocket. But hang on a second. What year are we in? I mean, how old are we? We're talking about a satellite phone that fits in your pocket. Isn't that.

[Patrick Adams]

No, that's not that crazy.

[Sarah Rafferty]

What, don't we use satellites now on our phones? Like, don't things ping?

[Patrick Adams]

No. Okay, you want me to break this down? Do you want to go tech support? You want to go tech support?

[Sarah Rafferty]

I want to go Genius Bar. Is the Genius Bar open? Patrick?

[Patrick Adams]

The only. The most recent iPhone had an actual satellite communication protocol on it, which is really just used in, like, emergency situation. So if you got lost, like, in the middle of Death Valley or something, and your phone didn't have any reception, you could actually send a signal to a satellite to send it to an emergency responder to find you.

[Indiana Jones Advertiser]

I gotcha.

[Patrick Adams]

That's, like, brand new. That's just happened.

[Sarah Rafferty]

Well, all I know is the scene is played with high stakes, and I'm in. I just know how I'm supposed to feel, and nothing matters except I'm in.

[Patrick Adams]

I hear billions, millions of dollars. I see suits walking around.

[Sarah Rafferty]

I'm charmed by three lovely men.

[Patrick Adams]

Harvey's there. This is important.

[Sarah Rafferty]

Yeah.

[Patrick Adams]

Important stuff is happening. We're playing air hockey. Things are happening.

[Sarah Rafferty]

Okay? And then we. So then we have this walk and talk to a conference room, and Harvey's not gonna let Mike into the meeting because Harvey wants Mike to go and file a patent. And there is a great line there, Patrick, that I think you really like.

[Patrick Adams]

Into the room with the people. I just love that version of Mike. I love. I don't. What do we call that? I think it's still that Michael J. Fox we talked about last time. It's that little, like, little bit of Michael J. Fox. Like, I'm going into the room with the people.

[Sarah Rafferty]

Okay? So that moment fairly quickly segues into a line. Isn't this our time, Mr. Hand? I had to look up. It's from Fast Times at Ridgemont High.

[Patrick Adams]

But you had to look it up?

[Sarah Rafferty]

Yes.

[Patrick Adams]

Did you have to look it up?

[Sarah Rafferty]

Yes.

[Patrick Adams]

I'll tell you the same thing. When I had to say it when we were shooting it. Cause it doesn't say in the script. This is from Fast Times the Ridgemont High. Right away I was like, I don't understand this. I'm gonna have to do an impression. I'm gonna have to do a movie quote. I don't even know what this is. And I'd seen Fast Times, but it just. It hadn't, like, lodged in my head the way that other movie quotes do.

[Sarah Rafferty]

Okay, well, I went and looked it up on YouTube, and it's slightly different, too, but.

[Patrick Adams]

Oh, really?

[Sarah Rafferty]

Is it just, like, a little bit different?

[Patrick Adams]

You know, I've been thinking about this, Mr. Hand. If I'm here and you're here, doesn't that make it our time? But isn't this our time, Mr. Hand?

[Sarah Rafferty]

Let me ask you.

[Patrick Adams]

My performance is better. My performance is better.

[Sarah Rafferty]

Your performance better than Sean Penn's? Oh, my God.

[Patrick Adams]

Yeah. Yeah, for sure.

[Sarah Rafferty]

A million. But let me ask you this, please. If you don't know that that's a reference, as we both did not know two Fast Times at Ridgemont High. Don't you think the audience is left feeling pretty weird for a couple of seconds when Mike says, but isn't this our time, Mr. Hand?

[Patrick Adams]

I mean, yeah, that's how I felt when I was like. When I was doing it. I was like, aaron, is this as. No, because I feel like I'm pretty good with movie quotes. I was like, is this me? Am I missing this? Or is this, like, as well known a quote? You seem to think it's really well known. And I was worried no matter how I do this, I don't know if it's going to land. But, you know, the fun part is you never know.

[Sarah Rafferty]

Yeah. Yeah. You never know.

[Patrick Adams]

We want to hear from you, fans. Did you know the first time you watched this that. That it was from Fast Times? Or did you just wonder if Mike was having a stroke?

[Sarah Rafferty]

No, I knew. I was like, I think that's obviously, like, a quote from a movie. I don't. I'm not placing it, but I know I feel weird, and I know I like feeling weird. And I tip my hat to the team who decided, like, yeah, there's gonna be a minute here when people don't know what that is. And that's awesome.

[Patrick Adams]

Is this one of those sexy bits you were talking about? Hashtag sexy bits?

[Sarah Rafferty]

You know what? Yes. I felt like I was in a moment that I maybe shouldn't have been in.

[Patrick Adams]

Ladies and gentlemen, she's taking her jacket off while she's talking right now. She's getting hot. It's getting hot.

[Sarah Rafferty]

I felt.

[Patrick Adams]

I felt she's getting Flushed.

[Sarah Rafferty]

I felt like, okay, what? What? I just feel awkward. My friend just said a thing to my other friend about Mr. Hand, and I feel like I shouldn't be here.

[Patrick Adams]

Yeah, it's a great little scene. We're into the. You know, we know we're heading into the, like, meat of this episode and what they're doing, and Mike's not invited to the big kid table. And I think that that's. I don't know. It's just a great setup. More kind of away at the races here.

[Sarah Rafferty]

So then we transition, and we have a shot of taxis in New York buildings.

[Patrick Adams]

And I just want to talk about transition music here. I call it kind of like a funk light transition we're doing. It became something that grew on me over time, but I find it tough. And I also laugh because I think I heard Kevin Bray once refer to it as James Brown learning to surf in that way that Kevin. It's like James Brown learning to surf or something.

[Sarah Rafferty]

Yeah. I'm going to bounce out into the next scene, which is over at the office.

[Patrick Adams]

We're in Pearson Hardman for the first time. It was so cool to drop into this, only because for me, I immediately went to what we talked about before, which is like, we're now on the set, right? We were in the building in New York. We were shooting in a real building, going up to the actual whatever, 65th floor to shoot all that stuff. And this is the first shot in the series that we're seeing, the incredible set that was built for us in Downs View, Toronto, Ontario, Canada. And I felt like this was a good time to call out our production designer on Season one, Tamara Deverell. She wasn't on the show for very long, but she was phenomenal and she did an incredible job. I think we were so lucky to have her to see these sets in person. I was just blown away.

[Sarah Rafferty]

Yeah, I thought I was always really taken with the view that we always just that you felt like you were however many stories up and, you know, you could look out the window and see something new in that shower curtain that we had. That was essentially the view. I did get a little bit of heat, funny heat, from fans of the show when I did, like, a set tour where I showed the curtain in press. I think it might have been on something like Entertainment Tonight or something like that. And people were like, you blew it for me. Like, why did you show me that.

[Patrick Adams]

I would get into trouble when I'd post all the photos? Honestly, to me, it was such a celebration of these People, these, like, artists, these incredible artists that come in and just do this work because it's so transformational, and it makes our job so much easier because we step onto that set and we are on the 65th floor of a building. Yeah, right. Like, it just. It doesn't matter that I knew that that was a backdrop. And what Sarah's talking about, listener, is there's a huge scrim that goes around the entire office building. So when you're looking out the window, no matter what direction you're looking, you're seeing all those buildings. That's honestly just a giant photograph that's sort of been stitched together. And it's, you know, 45, 50ft tall, attached to the ceiling, goes around the whole set. I just think they did an amazing, amazing job. And it's, you know, the set that we spent many, many years shooting on.

[Sarah Rafferty]

So we're there, and we go right into Rachel's office where Mike tries to ask Rachel for help in filing the patent. And this is a tiny little scene, and I loved it. Couple reasons. First of all, Mike barges in, and Rachel is clearly very, very, very, very busy. And she shushes him with one finger in the air while she continues on with her work. But what I think is amazing is that Mike takes it in, notices, pauses, and then barrels ahead and just starts to talk. And she gets up and ushers him out wordlessly. And I think it really sets up Rachel as a total baller. I loved it. I also loved that we very rarely did things wordlessly. It didn't really become part of the show because the show became very, very verbal. It became a very verbal show. So to have these moments that were played without words are really a nice kind of fun counterpoint because it's something different. But I wanted to ask you, like, why Mike didn't really read the room.

[Patrick Adams]

You're right. I love that in the pilot, Mike has relied on Rachel to solve problems for him. And so there's this assumption that he's coming in and. And she's got. I got a new problem that I don't. I don't know how to file a patent. So you're going to need to teach me how to do that. And this scene establishes very clearly I am not going to be the solution to all of your problems at this office. Like, I actually have my own job.

[Sarah Rafferty]

I think I'm available to you at all times, at all moments, but let me just very clearly and gracefully establish the boundary. And it's this door.

[Patrick Adams]

So from there we go into the break room and we meet Gregory Boone, a very talented John Boyd who says he might be able to help. I seem to have a memory that they were trying to find one guy that could be a sort of foil for Mike the whole first season. And I don't know if it was a scheduling thing.

[Sarah Rafferty]

Okay.

[Patrick Adams]

Like they maybe they couldn't get one person to do multiple. So I think I remember now and it'll be interesting to watch all these episodes, but I think that's sort of the reason there are multiple good looking young guys in that bullpen who are sort of messing with Mike and trying to outdo him. So then Rachel gives him the print room card and says that Greg has called him a sucker. And we walk into the room and we see multiple printers printing thousands of pages that now Mike is going to have to do his mic brilliant brain thing. And that's the end of our cold open. A good place for us to take a break. When we get back, we're going to talk about seeing our opening credits for the first time. We'll get to talk about Curry Graham, who does a great job in this episode. And Sarah, I think we're coming up.

[Sarah Rafferty]

On one of my favorite scenes. I can't wait to talk about it.

[Patrick Adams]

Can't wait. All right, we'll be right back. This show is sponsored by Better help Sarah. You know, we're going into the holidays and there's no more important time to talk about gratitude.

[Sarah Rafferty]

Look, I was so grateful last week when I was struggling with being away. We were both away on set and we had a nice phone call and you helped me get reconnected with my gratitude.

[Patrick Adams]

Yeah. I think it's so important in my life to practice gratitude as much as possible because sometimes life can get pretty heavy and it's the quickest way out of that slump. That's why we're so happy that the show is sponsored by BetterHelp. You know, this month is all about gratitude. And you know, what I want to say to you, Sarah, is thank you. It's been such a pleasure getting to do this with you. And I know we've talked a lot about mental health, but it's really helpful with us both away shooting away from our families to have someone to talk to through it. So I want to say thank you.

[Sarah Rafferty]

Oh, thank you, Patrick. I'm so grateful for you too, as you know.

[Patrick Adams]

But there is one other person that we don't thank enough, and that is ourselves. Sometimes it's hard to remind ourselves that we're trying our best to make sense out of everything. And in this crazy world, well, that's just not that easy. So here's a reminder to all of you to send some thanks to the people in your life, including yourself. And if you're thinking of starting therapy, please give BetterHelp a try. It's entirely online, designed to be convenient, flexible, and suited to your schedule. Just fill out a brief questionnaire to get matched with a licensed therapist and switch therapists anytime for no additional charge.

[Sarah Rafferty]

Let the gratitude flow with BetterHelp. Visit betterhelp.comsidebarshow today to get 10% off your first month. That's BetterHelp. H E L P.com Sidebarshow uncover one.

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[Patrick Adams]

All right, we're back from our break. This is a big act.

[Sarah Rafferty]

Yeah, I'm very excited to talk about this.

[Patrick Adams]

This is. There's a lot of powerhouse in what we're about to get into. But the thing that's most important is this is our first experience of the opening credits of Suits and with that, the song that was definitely written before Suits, but dare I say, timeless Greenback Boogie by Alex Ebert. Alex Ebert's been a. I'm a big fan of Alex Ebert. He's been a member of a number of different bands. I believe Greenback Boogie was a song by I'm a Robot. He went on to, of course, be in Edward Sharpe and the Magnetic Zeros.

[Sarah Rafferty]

How many times have you heard Greenback Boogie? But it always feels exciting. It's like, oh, now Here we are. It's literally the perfect choice. And so, of course, I went back to the pilot and was like, is it in there? Like, did we see it here the first time? It is not in there. It is here at the second episode.

[Patrick Adams]

And actually, in fact, you know what? We have a question from a listener about Greenback Boogie.

[Sarah Rafferty]

Yes. Yes, we do. Niels from Germany asks, I was wondering when the first time you heard the intro song was. Was it on set or while watching the episode when they were all finished?

[Patrick Adams]

I think you could have done that in an accent for extra points, but I'll ignore it. I think the first time I heard the song was when Kevin Bray, our fearless leader, a director of the pilot, and he was our producing director, he pulled me aside when we were doing, like, test shoots, camera tests, when we first got to Toronto, and he played it for me then because he was a friend of his. He's like, I guess, or I guess Kevin's friends with everybody. But he knew Alex Ebert. And I don't know how he had gotten it hooked up, but someone had sent him that song.

[Sarah Rafferty]

And what did you think when you heard it?

[Patrick Adams]

I think I knew instantly. I was like, instantly. That's so cool. I just. It's cool. I mean, Alex Ebert is an incredible musician. It felt like the show. I don't know, we didn't know what the show was at that point, but it felt like whatever it was, I wanted to be on that show.

[Sarah Rafferty]

So I love that you have that memory.

[Patrick Adams]

It's such an important part of the show. Obviously, sets us up. We want to have a sort of weekly Greenback Boogie award for best needle drop. And I think we know that, especially for this episode, that is the winner, bar none.

[Sarah Rafferty]

Okay, so when we come back, we're outside the law office. We're actually at the coffee cart, and Harvey asks Mike about the patent filing. And he tells Mike if it's not done and on his desk, he's going to feed him to Louis. And I was tickled to see you guys know that you're on Bay street, right? I mean, you're out outside of 777 Bay.

[Patrick Adams]

Yep. That's our building. Yeah. Was that wild to see that? Because that, yet again, this is how I felt seeing us on the set. Now we're on, like, our outside set where we spent just countless hours down there on Bay Street. The corner of Bay and Adelaide.

[Sarah Rafferty]

Yep.

[Patrick Adams]

In Toronto. And do you remember the experience of what it was like to shoot the show early on?

[Sarah Rafferty]

Yeah.

[Patrick Adams]

And to be down There. And everyone just hated us. Like, everyone was just, you know, when you're shooting a show and nobody knows what your show is, it's just like, get out of my way. What are you guys doing?

[Sarah Rafferty]

It's such an inconvenience. Yeah.

[Patrick Adams]

And everyone hates you and people are yelling at you and honking their horns when you're trying to shoot a scene and you're just in the way.

[Sarah Rafferty]

Think about the ads and the PAs who have to say, sorry, sir, can you wait? Or can you cross the street and cross over there? All that they have to do.

[Patrick Adams]

Yeah. And you're just like, no, this is where I work. Like, get out of my way.

[Sarah Rafferty]

It's like being a telemarketer. Like, it's a terrible job. Like, nobody's happy to hear from you.

[Patrick Adams]

So season one, we go from being just hated in this corner because we take it over, you know, two or three times a week. Cut to, you know, when I left season seven. I mean, you can share your memories of it, but if we set up to shoot a scene down there, every time we'd have a crowd of 2, 300 people who, you know, the minute they saw us setting up, they were like, suits is shooting, suits is shooting. And we would have just like a crowd of fans there to watch the show. And it never got old.

[Sarah Rafferty]

It was always a delight and pinch me moment.

[Patrick Adams]

Yeah, yeah.

[Sarah Rafferty]

I mean, I have one particular memory of, you know, crossing the street and meeting a young woman and her mother and she was studying to go to law school and having the most beautiful conversation with them. And I just want to say, like, if anybody is listening to this, who showed up to just give us a wave or a what's up? It really meant a lot. Like I'm feeling kind of emotional talking about it because it was really such a highlight of being in Toronto. Being in Toronto was a huge part of this experience. Being like Raptors fans and J's fans and composting and all the great things about that city were really, really mostly.

[Patrick Adams]

Guys, mostly the compost.

[Sarah Rafferty]

Like the bike lanes. Like, it's a very special place where I was born. Yeah. So the next little montage that happens, I'm going to affectionately refer to that montage as the ASMR montage. If you give it a listen.

[Patrick Adams]

The first of many.

[Sarah Rafferty]

I don't know, did we? Like, it was literally like the sound of a post it note coming off. There was like the click of the.

[Patrick Adams]

Highlighter cap and it's so weird. I don't have a lot of memories of the first of this. You know, this was a while ago, but I have such a clear memory of shooting this montage. I remember being like, I love this. I live for this. I was like, this is. I, like, I want to be on the show or I get to be the guy, like, scratching that and putting the post it on there and putting the pen in my mouth while I have to do the thing. And I just was like, I was so into this montage.

[Sarah Rafferty]

So then you, Patrick, are caught as Mike with that highlighter cap in your mouth when Lewis finds Mike doing Greg's work in the storage room. Loved this scene. And I loved how Rick slithers in there as Lewis to be like, besties and approachable and relatable. And immediately as a viewer, you're, like, on edge. Like, oh, God, I can't wait to see how this goes wrong.

[Patrick Adams]

It's so good.

[Sarah Rafferty]

It's insane.

[Patrick Adams]

I mean, I'm going to say it a hundred million times, a million times while we do this.

[Sarah Rafferty]

This is actually. We have a fan club. Our T shirts should be Louis lit fan club T shirts.

[Patrick Adams]

It's like. It makes me angry how talented he is.

[Sarah Rafferty]

It's a talent crush.

[Patrick Adams]

I just don't know. I don't know how he does it. And I love seeing Mike, you know, again. It's funny to think how much we loved that scene with Mike and Lewis from the pilot and realizing, like, I also just love Mike and Lewis.

[Sarah Rafferty]

Yes, it's a great dynamic.

[Patrick Adams]

Like, I. Oh. Like, oh, here they are together again. And I love. I just love this dynamic of Mike, who has no real power here. And he sort of has to answer to this guy, but he also doesn't because he's got a fan of Harvey. It's just a really interesting dynamic that I'm already loving watching. And so then Mike finds Donna at her desk in hopes that she's gonna lie about when he delivered the patent. It turns out she will not. I love this scene. I love your ability to tell me so much with so little in these early episodes. You know, it's not a long scene. We don't get a long time with you. We don't get to do much with Donna. But I learned so much in this sequence.

[Sarah Rafferty]

I think we just really learn in this scene that Donna really likes to say no.

[Patrick Adams]

She does.

[Sarah Rafferty]

She really relishes the opportunity to say no. But I wanna ask you one question. Like, forgive me, but why was this moment between Donna and Mike strangely sexy?

[Patrick Adams]

Confused. I mean, look, we had to talk about it eventually. There's just a strange sexual tension between Mike and Donna.

[Sarah Rafferty]

There's like a weird power dynamic thing that like is getting leaned into in a funny way.

[Patrick Adams]

Maybe it's because he's like a young Harvey, you know, he's like baby Harvey.

[Sarah Rafferty]

And she's saying yes and then she's saying no. But they like lean in. It's like a. Come here, come here, come here, come here. Get away, get away, get away. Move away. Come here, come here. No, stop, stop, stop, stop. Terrible. Anyway, the hair is really hard to deal with. Let's move on.

[Patrick Adams]

Anyway, we cut to Lewis's office. Lewis tells Mike that he's always looking for the next young attorney to invest in one of my all time. It might probably has to be my favorite line of the episode.

[Sarah Rafferty]

Let's take a listen about you.

[Patrick Adams]

It's amazing. I mean, I really, really seriously appreciate that. Hey, thank you, Louis. That's nice. You know that I pick a pony out of the herd every year, don't you? A pony? Oh, yeah. Someone who shows potential.

[Sasha]

Stamped my own little brand on him.

[Patrick Adams]

Are you that pony, Mike?

[Sarah Rafferty]

Oh, my God, I rewound that so many times.

[Patrick Adams]

What am I learning as an actor? You know, what I'm realizing is watching this is going to be also an acting class for me. But what am I learning from Rick Hoffman is just how quiet you can be. I mean, Rick can be the biggest actor in the world. He can go so big and then he can just play it so small.

[Sarah Rafferty]

And the key to that is like the groundedness is that it's still truth telling. Like you can get as big as you want as long as you're telling the truth, you know, and he always was.

[Patrick Adams]

And he knows when a line is funnier. It's funniest version if you just whisper.

[Sarah Rafferty]

It during this scene. This was the first time that I started really wondering what happened to Lewis as a child. So then where do we go?

[Patrick Adams]

Well, Harvey tells Mike the patent was denied because someone else filed before they did. They go to the court. But the judge. Amazing performance by Curry Graham is unreasonably tough on Harvey. First of all, before we even get into that scene again, for me, this brought back some very painful long nights. Because before in this first season, we didn't have our own courtroom. And so as soon as I saw these characters walk through into the court, I got this weird feeling in my body, like sense memory of how horrible it was to shoot courtroom scenes in the first season because we didn't have a courtroom. And so we could only shoot after 6pm on a Friday. So if we had a big courtroom scene, that meant we were not even getting to work until 6 or 7pm on a Friday night. And we were shooting until the sun came up on Saturday. We were there all night, which we did all the time in the first season. We were constantly shooting until Saturday morning all the time.

[Sarah Rafferty]

So we cut to the court, and I realized, like, I'm out. I'm out. I'm, like, completely out. I don't know anything about what's happening, but I am so into what's happening. What I realize is that I'm just invested in these guys. So after Harvey gets fined, he looks at the opposing council like he's gonna giggle. And I love this. I love this way, this lightness that Gabriel is playing Harvey with. And then we cut to this thing that I refer to as the lazzi of the looks where everybody's flummoxed.

[Patrick Adams]

The lazzi of the looks?

[Sarah Rafferty]

Yeah, like, the lazzi, like, a lot.

[Patrick Adams]

What is the lazzi?

[Sarah Rafferty]

A lazzi is, like, in commedia dell'arte. It's like the funny. It's a funny bit.

[Patrick Adams]

Whoa.

[Sarah Rafferty]

A lazzi is a funny bit. Oh, do I sound like an a hole?

[Patrick Adams]

Oh, we're going del arte right now. Okay, no, no, no.

[Sarah Rafferty]

Go, go, go.

[Patrick Adams]

I got it.

[Sarah Rafferty]

You know what?

[Patrick Adams]

We're gon. I needed a refresher. I know. We are cutting this. I don't want people to know. We are not. There's no way we're cutting this. You just used lotsy. Like, it was like. Like just a known thing. You're just throwing it out there.

[Sarah Rafferty]

Shut up, Genius bar. Shut up, AirPod guy.

[Patrick Adams]

I'm going to just go do a quick poll of the people at Plaza. How many of you are lotsy?

[Sarah Rafferty]

You knew about satellite phones.

[Patrick Adams]

I got to Google.

[Sarah Rafferty]

Okay, so we have different nerdery.

[Patrick Adams]

Okay.

[Sarah Rafferty]

The last few of the looks.

[Patrick Adams]

I see what you mean.

[Sarah Rafferty]

It's a comedic bit.

[Patrick Adams]

I get it.

[Sarah Rafferty]

So everybody's flummoxed. Nobody knows what's going on, but something's going on, and Harvey is amused by it. And it's just a bunch of looks. Like, they literally cut 10 times between when the judge rules and when we get to the end of the scene. The scene's basically over. But there's 10 cuts to everybody's looks, and it's really funny and brilliantly done.

[Patrick Adams]

You're absolutely right. I also think it works, too, because we don't see Harvey get talked to like this.

[Sarah Rafferty]

No.

[Patrick Adams]

So it's fun for us. Because we're like, whoa.

[Sarah Rafferty]

Okay, so I do want to give a quick shout out to our firm's best researcher, Kristen, who. Everybody knows Kristen. She worked on suits for a number of years. I really appreciate that. She found this fun, fast fact that Velocity Data Solutions, who we found out in this scene, was the party that filed the patent. Well, Kristen found out that Velocity Data Solution comes back around in season six.

[Patrick Adams]

Is it the same actor? Do we get the same people? Or is it just the same company? He.

[Sarah Rafferty]

Well, to be discovered. Let's not spoil that. Let's get there.

[Patrick Adams]

So then Harvey, we get this great scene where he goes into Judge Pearl's chambers. The judge believes Harvey had an affair with his wife. You know, I had one of these moments that people have when they watch shows like this where I was like, oh, no. What? Like I did you clutch your pearls on the show? I've read the scripts. I acted in this show, and I had the moment of like, no.

[Sarah Rafferty]

Oh, no, he did not.

[Patrick Adams]

I was, like, so upset with Harvey for a moment because I was like, he could have. Harvey is the kind of guy who might do that. I don't like that.

[Sarah Rafferty]

We don't know yet.

[Patrick Adams]

I know. I was very upset in the moment, though.

[Sarah Rafferty]

So we are outside of the courthouse, and then Harvey tells Mike to file a patent interference claim.

[Patrick Adams]

We come out of a Toronto courthouse, but we're on the steps of the. The big courthouse in New York. We went down to New York, I think, for two or three days in the season to grab a couple of random scenes. So this scene was shot weeks, if not months, after we shot the rest of the episode. Also coming down these stairs. Great. Harvey whistle. Oh, fantastic. It does. I mean, you know, one of these.

[Sarah Rafferty]

Yeah, yeah.

[Patrick Adams]

One of those badass taxi whistle.

[Sarah Rafferty]

And that whistle. That whistle gets Harvey to his destination, the art gallery. And Harvey speaks to Lauren, the judge's wife, and she is played by the wonderful Nazanin Bunyadi. And Harvey asks Lauren to tell the truth, that they did not have an affair. But Lauren refuses.

[Patrick Adams]

Has there ever been a more beautiful name than Nazanin Banyati?

[Sarah Rafferty]

I don't think so.

[Patrick Adams]

Whoa. That rolls off the tongue.

[Sarah Rafferty]

It should be in a poem.

[Patrick Adams]

Yeah, it sounds like a paid list.

[Sarah Rafferty]

It is a poem on its own.

[Patrick Adams]

It is a poem of a name.

[Sarah Rafferty]

I gotta say, it's the best outfit in the episode. It's the one that tells us, gives us the most information, I would say.

[Patrick Adams]

Oh, interesting.

[Sarah Rafferty]

It's really cool. It's backless. So we're not in an office. And she's got a very artsy necklace over this black dress that has a little bit of a swish in the skirt. And she looks beautiful.

[Patrick Adams]

She's stunning.

[Sarah Rafferty]

I mean, first and foremost, like, her work in this scene is so lovely. But also, we have to shout out her work as a human rights activist. Listeners may be familiar with her recent activism as part of the Woman Life Freedom movement. And last year she won the Sydney Peace Prize. Hats off. And she's an actress. But I will say that this about this scene, I love this scene because there's a revelation of Harvey's heart and his empathy. And I have so much respect for how Gabriel played this character right out of the gate. He played Harvey with so much nuance because there's traps in Harvey. There could be traps in Harvey to play the tropes of who a guy like Harvey is in the world. And he plays against that in so beautifully in so many well chosen moments. So, for example, in this scene, when he says, I'm sorry you felt humiliated, he says that really beautifully. He could have. Another Harvey could have been exasperated or sarcastic or, God forbid, just like, a little annoyed with it. He really felt something for her. And I actually talked to Aaron about this yesterday. I was just talking about this scene in Gabriel's work and. And Aaron agreed. And he said that Gabriel brought. And I'm quoting him, he brought a lovableness to a character that just might not have been lovable. And I just. I really feel like this scene is a very early, iconic moment of that and great snapshot of that.

[Patrick Adams]

But you also learn he has a code. Like, up until this moment, we're not sure if it's true or not that he had this affair. And then you get in there and you're like, oh, this guy's a player. And he doesn't mind doing all sorts of, sort of nefarious, potentially sketchy things, but, like. Like, he has a code. There are certain lines he will not cross. And he's not going to sleep with somebody else's wife. That's like, now we know that. And that's good to know. Like, I like to know when people who live on the edge, push the envelope, can be dangerous, can do things that might be a little morally questionable, but like, oh, you won't do this. And that's good to know. And that actually makes me realize that you're actually more principled than maybe I would have known before this happened. Happened.

[Sarah Rafferty]

Yeah.

[Patrick Adams]

So we're back at the office after that. Mike is working Hard to file the patent interference claim. But Lewis interrupts him. He wants to go play tennis.

[Sarah Rafferty]

Okay, this is an amazing scene and it's an amazing dynamic. And I could watch this over and over. And I think that your USC professors should use this in a masterclass about points of focus. Okay, so there Lazi that.

[Patrick Adams]

Points of focus.

[Sarah Rafferty]

Points of focus, Lazi that one.

[Patrick Adams]

Put that on the lotsy list.

[Sarah Rafferty]

How hard was it for you to prep for that scene? Because you're doing business on the desk, you are talking to somebody on the phone. You are under the urgent need to get the person to do the thing quickly. Lewis slithers up, pulls your focus. There's other people in the room listening to you, and you gotta get stuff done.

[Patrick Adams]

Well, also, I don't know if you know this about me, the thing I hate most as an actor, like the thing that when I read it in a script, I'm like, oh, I will have panic attacks about it. It are scenes where I have to be on the phone with somebody. It's like the weirdest thing. It's like my kryptonite.

[Sarah Rafferty]

Yeah.

[Patrick Adams]

I get so in my head about it and it's gotten worse over the years. So it's actually fun to watch this because I watched it, I was like, oh, you're doing great. Like, I was really impressed with my ability to. You know, you're active listening to somebody who's not actually talking to you. You're trying to take the exact right amount of time, but not too much time that it seems theatrical. You know, it's just like a lot. It's all you. You're not actually getting to play off of somebody. You're having to kind of have this two sided conversation with just yourself. And it's fun to watch me do it here as a younger man because I feel like I'm a little bit more confident as I get older. These scenes, I just struggle with them. I also love the moment of the scene, the Lewis snap, focus, pull to Gregory. I thought that was great. You know, as soon as Lewis snaps, it just focuses to Gregory. He turns his face like a little puppy. This guy who's been very kind of too cool for school. Suddenly, like, yes, sir. Runs up to him and like. And Lewis just hands him the thing Again, like, learn so much about power in the firm. Like, oh, this guy can make anybody do anything at any moment. And even though we have judgments about the kind of guy Lewis is like, everyone, especially in this bullpen, as we'll come to learn, will answer to him immediately. And do whatever he says. So fun to see him use that power.

[Sarah Rafferty]

I totally agree.

[Patrick Adams]

This is a good time for us to take another break. That's the end of an act. When we get back, we're going to talk about what might be one of the greatest sequences in suits history all time. Definitely one of my favorite scenes. So come right back.

[Sarah Rafferty]

The tennis Dream Ballet.

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[Patrick Adams]

Good burger. Hi, welcome back. Diving into the next act.

[Sarah Rafferty]

Yes. And in it is some of our favorite bits and bobs for sure.

[Patrick Adams]

And hashtag sexy bits. You know, really we start off very strong here because we land on this tennis court with a. Just fire. Fire. Needle drop black pistol fire suffocation blues. Perfect music. Lewis. Just rocking it. Is it slow Mo? I don't even remember in my mind.

[Sarah Rafferty]

There's. It's slow mo.

[Patrick Adams]

It is slow mo.

[Sarah Rafferty]

It's slow mo. There's a headband. There's so much.

[Patrick Adams]

He's just working it. He's just working it. But my favorite part, because my memory of this was I'm playing with him and getting hit by the balls and having to kind of look silly. What I forgot was the initial opening is him playing and then it cutting to the wide. And he's not even playing me. He's just playing against. It's the machine.

[Sarah Rafferty]

And Mike says, who's winning?

[Patrick Adams]

Yeah, I just like. It's so funny how I forgot that. And it's just so much to me that's almost funnier than anything else that happens.

[Sarah Rafferty]

So this Cut. Will never not be funny. This is like a smash cut to a slow mo moment of his face while he's playing. And I'm going to always affectionately refer to this as the tennis dream ballet. The tennis ballet of my dreams.

[Patrick Adams]

What a lotsy.

[Sarah Rafferty]

It's a lot se. Okay, we're definitely cutting that part.

[Patrick Adams]

We are not. I literally will die on that seat. We are not cutting lotsy.

[Sarah Rafferty]

We're cutting that.

[Patrick Adams]

Oh, my God. Not cutting it.

[Sarah Rafferty]

So, of course, I spoke to Rick about his tennis prowess. He did. As a junior. He did play tennis, so he was good. And he even remembers being, like, 15 and playing in a tournament in Flushing Meadows, and he got. He says that he got so riled up like a mid John McEnroe that he threw his racket and his dad came on the court and removed him. And I don't know if he played any more tournaments. I don't know. I'll have to follow up and find out. I'll let you know.

[Patrick Adams]

We need. Let's put it on the list for Rick. Questions.

[Sarah Rafferty]

But the point is, he was good at tennis.

[Patrick Adams]

No doubt. Look, he clearly beat me.

[Sarah Rafferty]

Exactly. So, like, Carol Burnett was actually a good singer, but she sang like a comedian on her show. Rick was a good tennis player who played tennis. Like a funny person who couldn't play tennis. So talk to me about your tennis and you having a pratfall in the middle of this thing.

[Patrick Adams]

Yeah, I mean, I'm not a great tennis player. I'm not this bad. I kind of dig how Mike's terrible at tennis, but he's also not too hard on himself.

[Sarah Rafferty]

Yeah, he doesn't care.

[Patrick Adams]

He's just like, yeah, man, let's keep going. I like, at the end, when he's like, are we doing it again? Like, you really. You want to do it again? That was pretty bad.

[Sarah Rafferty]

Oh, my God, it was so great.

[Patrick Adams]

Yeah. This was a fun secret. I think you're right, too. I think basically from the beginning of this act all the way through, these next couple of scenes in the locker room are just priceless.

[Sarah Rafferty]

And, you know, when you're on television, most of your, like, work is kind of chest up. Like, that's where you're acting from. So it's so great to have an opportunity to, like, have physical comedy.

[Patrick Adams]

Yeah. And also just to get us on a tennis court. You know, like, it was really fun to see these people in a totally different environment.

[Sarah Rafferty]

Absolutely.

[Patrick Adams]

And also then just Rick's interaction with Tom as he goes by. So good.

[Sarah Rafferty]

And Tom gave some Bjorn Borg vibes as he was walking by us.

[Patrick Adams]

Serious Bjorn Borg vibes. Yeah, for sure. So then we're back in the locker room of the tennis club. Lewis tries to. Did I interrupt you? Sorry. Do you have more?

[Sarah Rafferty]

No, sorry. I'm so sorry. I'm just getting. I'm just bracing myself by trying for this discussion. I'm holding. I'm clutching my heart.

[Patrick Adams]

So we're back in the locker room of the tennis club. Lewis tries to talk to Tom Keller again. This whole scene is just genius. And it's so long. It feels like two or three scenes in a row. We have the interaction between Mike and Lewis, which is sort of manipulative and heartbreaking. And we see Mike have to deal with the fact that he failed the drug test and the disappointment of that, and then the coercion to go against Tom, and then the awkwardness of Lewis's nudity. But I just thought on the whole, this probably has my vote for favorite scene of the.

[Sarah Rafferty]

Of the season. Of the season.

[Patrick Adams]

Of the episode. I think I have. It's a tie for me. This is one of them, though.

[Sarah Rafferty]

Let the record show, Patrick, that at this point in the episode, I realized I liked this episode better than the pilot.

[Patrick Adams]

Really controversial.

[Sarah Rafferty]

I loved this scene. You must have so many memories of this. Including many memories around the moment where Lewis whips off his underpants. But the moment where Mike does not know where to put his eyeballs really tickled me. Like, literally, you're like, I don't know where to face the. Like, again, the dog analogy. Like, I'm gonna put my eyes over here, and I'm gonna put my eyes over.

[Patrick Adams]

Okay, I'm up here, and now we're over here.

[Sarah Rafferty]

And you know what? It was a little bit sexy. I'm sorry. It was just a little bit sexy, the whole thing.

[Patrick Adams]

This is one of your hashtag sexy bits.

[Sarah Rafferty]

It's a hashtag sexy comedy bits. Wow. Sexy. Okay, it was sexy. Two guys in a locker room being funny. Come on.

[Patrick Adams]

Pieces of man meat in a little sweaty locker room.

[Sarah Rafferty]

The record show. I said it.

[Patrick Adams]

Showing each other their sexy bits.

[Sarah Rafferty]

I hope that everybody who's listening understands that I am completely talking about my. No, this is about to make it worse. Brothers.

[Patrick Adams]

Your brothers.

[Sarah Rafferty]

That just made it worse. That just made it more awkward.

[Patrick Adams]

Hashtag siblingsexybits.

[Sarah Rafferty]

There's no way around this. How do I change it? No, I just need a new word for it.

[Patrick Adams]

It makes me realize that when you work with a great actor, you are made better. I wouldn't have to Prepare for a scene with Rick. You just show up and go, like, I'll just go along for the ride here. I'm going to have some ideas maybe about what I'm looking to do or what my character is trying to kind of accomplish. But mostly I'm just going to kind of, like, get on the bucking bronco and react to it. And it's just. And it will be great. You know, you're in such good hands when you're with him.

[Sarah Rafferty]

There's a really great line in the scene. Do you have a favorite one?

[Patrick Adams]

Oh, I mean, you know, so I treat my body like a temple. Does that make me uncool?

[Sarah Rafferty]

Brilliant.

[Patrick Adams]

I mean, I don't know how he didn't get nominated for an Emmy for this.

[Sarah Rafferty]

It's a crime. It's actually a crime.

[Patrick Adams]

Doesn't make sense. Anyway, the whole scene's great. I love this scene. I get to know these people so much and. Oh, and I also really love watching Mike move into cool guy mode.

[Sarah Rafferty]

Yeah.

[Patrick Adams]

You know, you see Lewis fail so spectacularly at connecting with Tom over and over and over again. And then to see Mike, like, kind of effortlessly do it, like, just kind of. He reads the guy. He knows who he is. He runs the sports betting. Okay. I know how to talk to this guy. And he just does it like he knows how to hook him. And I think it's fun to see Mike's kind of superpower. That's not his memory and his ability to, you know, remember every book he's ever read, but it's really his ability to, like, read a person and connect with them. There's a bit of Harvey in there. You know, I think we see that thing about him. Him. So Mike then, you know, impresses Tom with his memory. It's fantasy football skill. They bond. Then Tom wants to get high with Mike, and then we flash forward a few hours and we find Mike standing there at an elevator, hitting the button over and over again. Again, like, right from that amazing scene into this, like, really wild, cool sequence of Mike being high again, it's not something we would normally see in suits. I mean, I get. I haven't watched the show, but from my memory, this was not a thing that we'd often do. It felt a little surreal, like, you know, a bit silly in a way that maybe I'm not used to the show being silly. I don't. I never. Certainly never felt like I shot a sequence like this ever again.

[Sarah Rafferty]

No. And do you remember at all, like, how much was in the script? How Much of the bits about being high, like the being really taken with the elevator button or being thirsty or being super paranoid about Jessica, like all the bits where they written in there in a montage type of thing, to my memory, we.

[Patrick Adams]

There was probably a lot of it scripted, but I think we made a lot of it up. And I seem to remember Kevin Bray, like, being really helpful in the sequence too. You know, Again, Kevin Bray was our producing director. And for those of you that don't know, a producing director's job is to sort of oversee all the directors and kind of make sure that the vibe of the show stays consistent. I have some memory of Kevin being on set for a portion of this.

[Sarah Rafferty]

Were you stressed about playing Hyde? Like in the way that sometimes we get stressed about playing drunk on screen?

[Patrick Adams]

I don't remember it, but I'm sure I was. I mean, I'm basically stressed all day anyway about everything that I have to do as soon as I leave the door, but. So I imagine this was probably a little nerve wracking. I think it was probably also a little freeing and getting to be silly. You know, it was like being on the tennis court and flopping around. You know, there's something fun in the physical comedy of it that I was enjoying. I love, love, love the sequence in the elevator with Jessica.

[Sarah Rafferty]

With Jessica, yes.

[Patrick Adams]

What does she say? How's it going with Harvey? Oh, it's good. I'm learning. Lots of. Lots of learning, you know, it's great. It's. I found it really, really funny. Also, I want to do a special shout out in the elevator is Keith. The man standing to my right in the elevator. Special shout out to that gentleman. He was my stand in until my very last down suits. He's a wonderful guy. It was very cool to just see him on the screen. I forgot that he was in that sc, so.

[Sarah Rafferty]

He's so lovely.

[Patrick Adams]

Much love.

[Sarah Rafferty]

And there was one line in this sequence that is one of my favorite lines in the episode, and it is, which one? You smell papery when I. You smell papery. So Mike barges into Harvey's office announcing the patent interference claim has been filed. And Harvey notices that Mike is high and catches Mike lying to him that he's not. So he tells Mike to get out.

[Patrick Adams]

The scene was pretty heartbreaking. It was a real buzzkill. We go from a very funny, silly sequence to tragedy.

[Sarah Rafferty]

Yeah. And again, beautiful moment when your back is against the window and Harvey looks you in the eye and you see how crestfallen he is, how he's hurt personally. Hurt by it. And it was just a beautiful moment. And we actually have. We have a question about this from Sasha, who says, okay, when Mike is in Harvey's office and Harvey realizes that he's high, you can see a painting in the background. We don't bring any attention to this painting or know of its relevance until way later on in the show. Was it already determined that this painting had such value when it was placed here in season one on episode two? This blows me away. Thank you for this question, Sasha. And I reached out to Aaron and Aaron was happy to answer it.

[Sasha]

All right, Sasha, I'm going to tell you the story of where that painting. Well, sort of how it came from. I mean, the thing is, we didn't know that early. We definitely did not know. And I don't exactly remember who picked that painting for Harvey. Might have been Kevin Bray, pilot director. And it might have been Dave Bartus, one of the producers. But I believe. And I might be mixing up whose opinion was what. But I believe Kevin or Dave picked it. And I'm pretty sure Gene Klein, one of the other producers, he didn't like it. And he also picked thought, why would a guy like Harvey have a painting like that in his office? It's weird. And he used to mention it all the time. It just always bugged him. And eventually the writers were just like, why would Harvey have a painting like that in his office? So we decided to come up with a story that obviously you eventually learn. I don't remember whose idea it was for the specific idea for the. What the painting was, or, you know, what we actually did with it, But a lot of times your best ideas come from people just. I mean, he was just bitching and moaning about that painting. And we were like, you know what? Why don't we make a story out of it? So I hope that helps.

[Patrick Adams]

I gotta say, I was on the same side as Gene for a long time. You were? Oh, yeah. I never. I was like, what on earth is. What is so weird? I mean, I loved it's weird. I love anything we do weird. But I just could not, like, wrap my head around what it was. So I was happy when we addressed it. Now, funny enough, like, it's been so many years, I actually don't even remember the story. Like, I'm excited to get to that. Cause I don't actually remember how we explained where the painting come from.

[Sarah Rafferty]

So I think in season three, you are in a blooper reel sitting in front of it, and you turn around, you're like, and what is this? You're playing a very serious scene, and you kind of turn around. What is this thing? What is this thing?

[Patrick Adams]

Oh, I do that in a blooper. Oh, that's good.

[Sarah Rafferty]

You do. And I do remember having a conversation with you about it once when we were on set. So obviously, I reached out to Dave Bard.

[Patrick Adams]

Oh, we get the real. Wow. You did some investigative journalism here. Let's go.

[Sarah Rafferty]

Because I did happen to know that, and it's a longer story, but that Dave Bartus is the proud owner of that painting.

[Patrick Adams]

Oh, he currently has it.

[Sarah Rafferty]

It does hang on the wall in his office. Yes. And I found that out, actually, when we were about to wrap, because I contacted the artist, Heather Millar, and I ended up asking her if she would paint smaller versions of the painting, and she did.

[Patrick Adams]

So wait, why did you want. Why did you want a smaller version of the painting?

[Sarah Rafferty]

Because I wanted to get it as a wrap gift for Gabriel.

[Patrick Adams]

And you did do that.

[Sarah Rafferty]

Yeah. So she painted two paintings, and they're really cool. She's changed the perspective of it, and she's made them smaller. And I gave one to Gabriel and I gave one to my husband, Santu.

[Patrick Adams]

So that whole moment three minutes ago where I said I never liked that painting is just, like, really humiliating now that I know the name of this person.

[Sarah Rafferty]

No, I'm just rethinking who I should give the one that I had painted to.

[Patrick Adams]

Just want to say I'm sorry to. I want to say my opinion changed.

[Sarah Rafferty]

I'm wondering, Kristen, do you want a painting? Because. So anyway, here's what Dave Bardas has to say.

[Dave Bartus]

So the question is, where did the painting in Harvey's office come from that everybody thought was so weird? So it's a long time ago, but I do remember when we were designing the set and talking to Lester Cohen, our production designer, we thought it'd be fun if Harvey had art on his walls that looked like it was from sort of up and coming artists. And Lester had a son who was at RISD at the time and had friends who were artists and painters and showed us some artwork. Lester brought. I believe he brought a picture of that painting in, and we said, yeah, that's a great choice. I did. I thought it was fun and weird and funny, and it ended up in the wall.

[Sarah Rafferty]

And I definitely. I came to really love that painting. I really loved all of Heather Millar's.

[Patrick Adams]

Work, and I loved that they made a strange choice. I think what Aaron said is cool. You know, you do a thing, and it sits there for a while, and then you realize, like, oh, there's an opportunity here to, like, to explore these characters because of this strange choice we made at some point.

[Sarah Rafferty]

Yeah.

[Patrick Adams]

It's the fun of making a show and having it go on for so long.

[Sarah Rafferty]

Yeah. So thank you so much to Aaron and Dave. We look forward to talking to you a lot more throughout this. It's really so great that everybody's so game to be available to us in this way, and we're excited. So then Harvey confronts Lewis about trying to poach mutton. And then Donna comes in and says she's got outside counsel on the line. And then I just want to point out, in that scene, there's a totally bizarre look between Donna and Lewis. Did you clock that, like, at the end of that scene?

[Patrick Adams]

Yeah. Donna comes into Lewis office, and she's like, I've got counsel on the line. And he goes. And then you kind of look at him and smile a little bit, and.

[Sarah Rafferty]

Then he smiles back. And I honestly, because we shot this later, we had found by that point a Donna and Lewis mess with each other vibe. So we were just. Rick and I were just messing around, and I don't think we ever dreamed that that moment would stay.

[Patrick Adams]

But it did stay. So what does it mean exactly?

[Sarah Rafferty]

I'm wondering if it just stays so that you're like, huh, what's going on? If we thought it was gonna be episode five or three or wherever we were in shooting it, we thought it was calling back to something from a previous episode, but now this thing's two. So it's not calling back to anything from a previous episode. Somebody decided to leave it in, Is it?

[Patrick Adams]

You just sort of looking at him and being like, you're up to your old tricks, you old so and so maybe. And him being like, yeah, that's just me, kid. That's my dialogue for these characters. How weird is that? Oh, boy, it's getting late here in Glasgow.

[Sarah Rafferty]

Yeah, sorry. Okay, so then Rachel encourages Mike to try again with Harvey. Mike approaches Harvey's office, and Donna lets Mike through when she recognizes that he's going to stand up to Harvey. And. And I just want to say, I'm wearing a Prada dress. That's the first time I'm wearing a fancy dress. I remember that dress.

[Patrick Adams]

Hold on, let me write that down. How do you spell Prada?

[Sarah Rafferty]

That is a Prada dress that was so tight and had no flexibility in the silk that I was standing because I was supposed to be sitting at my desk.

[Patrick Adams]

I hate it when my silk Isn't flexible.

[Sarah Rafferty]

That was some inflexible. No, but I remember that dress so well because I remember that it was the first fancy thing I got to.

[Patrick Adams]

Well, here's what I remember about this scene, which is. I mean, it's like four or five lines of dialogue. It's nothing. But I learn so much about who you are from this scene. You know, I learn. And again, that's great working. That's great acting because you're injecting it with more than I think is even inherent on the page, which is like, oh, she's got Harvey's back in a really spectacular way. But she's already starting to put Mike into the equation. That is Mike and Har. Harvey. And, like, you just get it with such a small interaction. So I loved this little sequence. I think it's also because, you know, I know how much more Donna we're gonna get. So I'm so hungry for her when we get her in these early episodes, you know? But I think as I'm seeing what we do get of you, it's, like, so obvious why all the powers that be were like, what are we doing? Like, she needs to be front and center of this thing. Like, we need to give her a lot more to do. So it's cool to see, you know, for myself, just how obvious that is from these scenes.

[Sarah Rafferty]

That's so nice.

[Patrick Adams]

So then Mike gets into Harvey's office, and I think, this is my favorite scene. I said, I had one before. It was a tiebreaker. I loved the silliness and the fun of the other sequence. But to me, this scene with Harvey in this just takes what's been a really fun, kind of silly, in a good way, all over the place episode and just grounds it. It's funny because I remember shooting this scene. Like, I remember being in the room for this whole thing. I remember figuring it out. I remember feeling that it was important. I remember feeling that it was slightly different than everything that we were doing. And I remember feeling like, oh, you know, this isn't the whole show. This can't be the whole show. But it's so cool that the show and enough of the silliness and the fun and all this stuff makes room for a scene like this. And to really see these two guys who really care about each other deeply care about each other, fight it out and figure it out.

[Sarah Rafferty]

And these were scenes that we really looked forward to because of also the length of them. Like, they had the beginning and the middle and the end and something happened. You walked out of the scene different than you came into the scene.

[Patrick Adams]

Yeah.

[Sarah Rafferty]

And we would always be like, ooh, it's three pages. It's four pages. Right. Cuz it's tv. It was TV in the time commercial breaks. Like things needed to be tight. So when a scene like this was written, it was really fulfilling. So we cut to Jessica's office, and she's impressed that Mike brought Tom in. And then Tom walks in and insists that Mike be his point man. And I love this because Mike bagged a whale and we're cheering for Mike. I want to arm pull as a fan.

[Patrick Adams]

Yeah.

[Sarah Rafferty]

He got a client, so that was really exciting. Okay, so back to the case. Harvey advises Wyatt to turn down the $20 million deal and instead threaten to release his designs for free on his website, which would deem the patent worthless. Checkmate. Also, Gabriel had a kind of an impossible sentence here. Hats off to him. He said this. What he said. Wyatt, they know we're stalled in our injunction. Okay, I'm already lost. Injunction. I'm out. I'm out. I'm asleep. Wyatt, they know we're stalled in our injunction, which means to them they're giving you a fair price as an insurance policy against the risk of possibly losing the insurance claim. Did you. Can you memorize that? Did you memorize it? Can you say it back to me?

[Patrick Adams]

A good catch. Wyatt, they know we're stalled in our injunction, which means to them, they're giving you a fair price as an insurance policy against the risk of possibly losing the insurance.

[Sarah Rafferty]

Okay, now close your eyes and try again.

[Patrick Adams]

Well, no, I'm not. I can't memorize it. That fat. I don't have a photographic memory, but.

[Sarah Rafferty]

That is a Katie Heigl does.

[Patrick Adams]

That is a beast of the line.

[Sarah Rafferty]

I know. And he did it.

[Patrick Adams]

And that. Does that just put chills through my body? Because I remember having to deliver lines like that and just being like, I don't know. I don't know how to.

[Sarah Rafferty]

Gabriel did a very good job.

[Patrick Adams]

Very good work.

[Sarah Rafferty]

So then Harvey then confronts Judge Pearl outside the courthouse. And remember, he hands him an envelope. We don't know what's inside, but it is the judicial courthouse codes, which everybody.

[Patrick Adams]

Knows off by heart.

[Sarah Rafferty]

And he confesses that he never had the affair, but that he is having the judge investigated for blackmail. Baller move.

[Patrick Adams]

Let's not forget. And that he is now going to start sleeping with his wife, which he is at divorce.

[Sarah Rafferty]

I really hope so. I really hope that Harvey and Lauren date.

[Patrick Adams]

Wait, he says that?

[Sarah Rafferty]

Well, because he says because she. Pleases me. She can do whatever she pleases, and she pleases me.

[Patrick Adams]

Times up. I don't know.

[Sarah Rafferty]

What? What?

[Patrick Adams]

Yes. No, I think. But no, you didn't do anything wrong. I'm. I'm saying that that whole sequence, I was like. Again, like, he. He's got his code, but just the fact that he's like, I'm having you investigated for blackmail. You're getting a divorce from your wife now. I'll be sleeping with her, thank you very much. I was like, oh, Harvey, you couldn't help yourself. Like, you didn't have to say that part. Part.

[Sarah Rafferty]

Well, I think he just said, she pleases me. Like, she's lovely and we're gonna date.

[Patrick Adams]

But he's saying, I'm gonna date her.

[Sarah Rafferty]

But he's divorcing her. That's fine. Is that bad? Yeah, but I want Harvey to date Lauren. I'm on this one side of this argument. I want Harvey.

[Patrick Adams]

You are. You just. You just. We can cut all this out, but let's just have this real talk. Don't you feel a bit of a vibe where it's like, I don't know, just like, now she's mine.

[Sarah Rafferty]

Oh, I didn't get that vibe. Vibe. I didn't get that vibe. It's like the time in Pretty Woman when Julia Roberts walks in and says, a big mistake. Like, do you work on commission? Big mistake. I feel like he's saying to the guy, like, you're divorcing her. Big mistake, because she's awesome.

[Patrick Adams]

But isn't it inherent in Harvey dating someone? Is that he's not. Because Harvey doesn't have relationships.

[Sarah Rafferty]

Oh, do we know yet? I know. Do we know? I don't know if that's established yet.

[Patrick Adams]

Well, he doesn't have. He doesn't have relationships.

[Sarah Rafferty]

But do we know that?

[Patrick Adams]

Yeah, we have that information. You don't feel like by this episode, we've learned that Harvey's not a guy who.

[Sarah Rafferty]

People change. I think somebody like Lauren could waltz into Harvey's life and be the one, but, I mean. Okay, so real life example is actually kind of good. Clooney was known as a playboy, and then he met Amal. Isn't it just about the right person coming around? I don't know.

[Patrick Adams]

I. What I'm finding interesting is that you find it sweet.

[Sarah Rafferty]

Look, I'm a suitor. I'm a suits fan, so I'm in on this one.

[Patrick Adams]

Harvey can do no wrong for you.

[Sarah Rafferty]

I don't know. I'm still learning about Harvey. Right? I'm only on Episode two. So I'm like, she wants to date him, he wants to date her. Yay. That guy's a jerk. Get him out of the way, he's gonna pay for it. I'm rooting for love and the possibility of love and that Harvey will change. We don't know. We have to watch for nine seasons and see if Harvey will change. I mean, I will say for the record that I wouldn't want my daughter to date Harvey, but in the context of this moment in the show, I am rooting for Pym and her, and I'm rooting for love. I'm going on the ride with this. I don't like ride. I don't like the term ride in this context.

[Patrick Adams]

You're going for the ride, are you?

[Sarah Rafferty]

I would like to go back and change the verb. Anyway, whatever. We can move on.

[Patrick Adams]

And so then we transition into a New York skyline. We resolve the episode with Mike and Harvey finally on good terms. What?

[Sarah Rafferty]

Are we still friends, you and me? Yeah.

[Patrick Adams]

I'm not fighting with you. No, this is good. I like these talks. We resolve the episode with Mike and Harvey on good terms. Mike confronting Louis about the drug tests. Louis tells him to relax, that everybody's won in this situation, trying to take the upper hand. Louis tells Mike to take another drug test, which we know will now be positive as leverage. Mike points out that no one can be forced to test multiple times in a three month period because our guy Mike knows the bylaws. He's read the books, he's off book on the literature. Mike then reveals that the new client, Tom Keller, will be brought in under Harvey instead of Louis. Louis has lost again. Our poor Lewis, our poor Shakespearean character. He can't win. Love this scene. And I really love Mike standing up to him. I think that's fun. It sets a new precedent. It goes, oh, you know, Mike is getting a bit of a backbone as far as Lewis goes. And this thing that Harvey and Mike have gone through is giving Mike some more confidence to stand up to people that were kind of scaring him before, which is fun to watch.

[Sarah Rafferty]

Yeah, it was a great episode. It was a great episode of character development. And I look forward to watching them develop further. And I'm all in. I'm watching the next one.

[Patrick Adams]

All in. Well, that's a long haul. That's a good chat.

[Sarah Rafferty]

Wait, wait, wait. We don't know how many goddamns.

[Patrick Adams]

Oh, my God.

[Sarah Rafferty]

I didn't hear one single goddamn in this episode.

[Patrick Adams]

There was one. There's only one. Oh, you know, it's interesting. Sean Jablonski wrote the episode, not Aaron. That's very interesting. So what is our master goddamn count?

[Sarah Rafferty]

We're at eight.

[Patrick Adams]

Eight total. I can't wait to see this number climb.

[Sasha]

God damn it.

[Patrick Adams]

All right, well, thank you to our firm's best researcher, Kristen, for this week's goddamn count. Okay, before we end, just a reminder that we want to hear from you. So please send us your questions and thoughts to sidebar [e-mail] we just love to hear from our listeners and if you send us a voice memo, you may even hear yourself on the pod. We're really looking forward to seeing your guys reaction to this. This is a living thing, this podcast. It's growing, it's changing. We're going to figure out how it works and what we want to do and we want you to be a big part of that. So please, please, please reach out and we do ask if you have any specific questions to specific episodes to just put the name of the episode in the subject line. All right, well, that's it for another great episode. Thank you so much, Sarah.

[Sarah Rafferty]

Thank you, Patrick.

[Patrick Adams]

It's such a pleasure to be with you. I love you. Can't wait to do this again. Please join us next week when we're going to talk about episode 103 of Suits Inside Track. Bye Bye.

[Sarah Rafferty]

Bye Bye. Sidebar is produced by Sarah Rafferty, Patrick J. Adams and Sirius XM Media. Our senior producer is Kimmy Gregory, our producer and researcher is Christian Schrader, our sound engineer is Alex Gonzalez, and our audio mix is by Eduardo Perez. Our music is by Brendan Burns and our executive producers are Cody Fisher and Colin Anderson.

[Patrick Adams]

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