The Practice
The Thin Line

Episode Report Card
Ragdoll: C | 1 USERS: A+
The Not-So-Long Road Home

The Fearsome Four are having lunch in a side room at the courthouse. There is a lovely can of Coke waiting for me to reach in and grab it. Well, maybe if I liked Coke. Maybe if I even liked pop, for that matter. Hell, if it would mean I'd crackle the tape so this episode was forever ruined, I'd drink anything anyone asked me too. Okay, maybe not anything, but certainly lots of things. Moving on. Ellenor doesn't know why they called Mike. Ditto. Rod interjects that it was because they need to throw some credibility toward Neal. Smart on the DA's part. A cop is usually pretty darn credible. Maguire made the jury predisposed to believe Neal. Lindsay pipes up, freed of her usual bondage of ever-present tears: "And he's next, right?" Eugene agrees. The slimiest of all slimeballs slithers into the witness box after lunch. Make sure you've all got your airsick bags handy. You might need them.

The Firm. A very aptly placed Sky Tel pager buzzes next to Lucy's head. Rebecca notices Lucy looking toward the pager but not moving and asks, "Aren't you going to get that?" Little Lucy looks positively stunned. "That's my rape center pager." Well, it seems you have a call. She grabs the pager and just stares at the number in disbelief.

La Hospital. Lucy is standing in the middle of what appears to be a busy emergency room. Perhaps they've used the leftover Chicago Hope set for this scene. A nurse named Caroline walks up and calls, "Lucy Hatcher?" Little Lucy answers, "From the Rape Crisis Center." Caroline explains that the victim is in room three, and her name is Maddie Warner. She's twenty-two years old. Lucy asks whether or not the police brought her in to the hospital. The two start walking down the hallway. After stating she does think that the police brought her in, Caroline explains that Maddie has trauma to her face and neck, and defensive wounds on her hands. As she points down the hall, she lets Lucy know the victim is "in there." Lucy hovers in the hallway for a while before she walks toward the exam room.

Once Little Lucy is inside, she says quietly, "Hi Maddie." She walks deeper into the room and introduces herself by saying that she's from the rape crisis center. The young woman is cowering on the hospital bed. She's curled up in the fetal position, and she's shaking. Lucy explains that she's going to help her through this: "Is there anybody that you'd like me to call? A friend or a family member?" Maddie shivers and nods her head. The "counseling" part of Lucy's job continues as she explains what's going to happen next. The procedures the doctor will follow are explained, but Lucy looks, and sounds, extremely uneasy. Maddie is still shaking on the table. Little Lucy moves forward toward the side of the bed where Maddie is curled up. The young woman's face is beaten to a pulp. Honestly, most of her face is the colour of the inside of a blood orange. It is a deep, scary kind of red. One of her eyes is swollen shut like she's George Foreman after the Rumble in the Jungle. Lucy swallows and gasps for air; she hopes the Symphony of the Seriously Injured will hold her up. Maddie's lip is painfully split. Lucy tries to explain that the young woman doesn't have to do the rape kit if she doesn't want to, but that it'll help if she ever wants to prosecute. Maddie is still shaking. Lucy whispers, "Can I get you anything?" A violin masquerading as a siren wallows in the background, begging to be put out of its misery. Again, Lucy asks if she can get Maddie anything, a blanket maybe? As Little Lucy reaches for a blue hospital blanket, she gestures toward Maddie as if to offer up its warmth. Maddie screams and says, "No!" Then she screams some more. And then she screams some more, clutching her hands in front of her face. Poor girl. If DEK weren't so damn heavy-handed, this might actually be a good scene. Sigh -- but serious subject matter always ends up sinking to the bottom of DEK's creative ocean like the Titanic. Lucy apologies. Maddie wails. Then Lucy runs out of the room sobbing and we fade into commercials.

We're back in court to hear Alan Neal's testimony. He tells everyone that he'd been a client at The Firm for about ten years or so, but then says, "Not lately though, because I've been law-abiding." Toome asks when Bobby last defended him, and Neal responds that it's been about eight years. They go through the litany of Alan's previous charges. Then Toome wants to know about their "relationship." Blah dee blah they were mostly lawyer/client, blah dee blah but when you "allegedly" kill someone, blah dee blah dude gives you back your freedom, blah dee flipping blah you owe him your life. Well, maybe if he's Tony Freaking Soprano. Oddly, getting people off (so to speak) is Bobby's JOB. Back on topic, Alan moves on to answering questions about the meeting between himself and the Emperor. Toome wants to know what happened. In his oh-so-eloquent manner, Neal says, "Well, he told me he just got married and that he's having a little problem. I figured he just wanted me to kill his wife." This prompts Lindsay to roll her eyes all the way to the North Pole, back down to the South Pole, and rest them somewhere in Fiji on the way back. Neal states that Bobby told him a "psycho was threatening her, that he could harm her, and he wanted me to take care of it." The DA wants to know how Neal interpreted Rod's plea. Neal answers, "Kill him." Did they discuss a price? $50,000. Did he pay you? Not yet. But Neal figured "he was good for it." Jackass. When did he want you to kill him? Immediately. There is fire surging out of the Emperor's nostrils. With his hands securely fixed underneath the defense's table, his anger needs somewhere to go, and Rod is having a hard time concealing his disgust for Alan "Hannibal Faker" Neal. Next, Neal states point-blank that he got the address for Hinks from Bobby, went over to William's house, and waited patiently for him to come home, then cut his head off and conveniently placed it in the freezer for safe-keeping. The gallery is miserably silent. Bobby shakes his head, and the fire comes out of his ears this time. Lindsay "Fourth and Whine" Dole's tear ducts fill with the immeasurable sadness she feels. Toome plays the tape. Oh, the tape, blah repeatedly blah angry man, blah repetitively blah jokes from Hinks, blah dee over and over again blah it's payback you little weasel, blah dee blah the police are on their way, blah dee again and again blah Hinks has cooties, blah dee please make it stop blah the soon-to-be-decapitated dead man quips, groan, bang, whack, glass crashes, the tape comes to a merciful end. I wish I could say the same for the Waltz of William Hinks. Toome pushes the stop button: "Does this tape represent an accurate account of the events as they happened that night?" Alan nods. Bobby seethes. Ragdoll snores.

Previous 1 2 3 4 5 6 7 8 9 10Next

The Practice




Get the most of your experience.
Share the Snark!

See content relevant to you based on what your friends are reading and watching.

Share your activity with your friends to Facebook's News Feed, Timeline and Ticker.

Stay in Control: Delete any item from your activity that you choose not to share.

The Latest Activity On TwOP