Thirtysomething (1987) s03e11 Episode Script

[theme.]
Hi, Michael.
I'll be there in two minutes.
Michael? Hi.
Nobody saw it coming.
Nobody.
And then when it started, nobody could believe it.
- I mean, it was like - A dam bursting.
It was like the Johnstown flood.
And this was in front of everybody? [Michael.]
Yeah, Elliot and me, Mark Harriton, Wasserman and Amato, Tyler and Duncan, and the media people Draconis and the dragon lady.
- [Hope.]
Who? - [Michael.]
Paige.
That's Draconis' personal assistant.
[Nancy.]
And so it was going well? Man, it was going great.
This whole idea of retrosnacking, working on it, we kept coming up with more ideas and better ideas.
We're on a serious roll.
The stuff that Angel and Hollis were kicking in - Sorry about that.
- Thanks a lot.
It was great.
I mean, they're very smart.
Anyway, so Miles he We laid the thing out.
He stands up.
No, I swear to God, honest.
- He doesn't stand up, right? - [Nancy laughs.]
He unfolds himself out of the chair and goes to the window.
High drama.
I mean, high drama.
I have never seen such a well considered and executed preliminary presentation.
Uh, it's the core concept.
The rest suggested itself.
Seminal ideas will do that.
And this is a seminal idea.
All we have to do is sand off the edges and be more specific about the images.
I believe it's time we started to spend some money.
What is spending some money? Well, we'll do a TV campaign, right? And produce a spot.
Then we'll see how it flies with a focus group.
This is stuff Elliot and I could never do before.
But then wait a minute something happened.
Thank you.
Thank you.
Let Elliot and I do the work.
We can wrest it today, then you guys go over it.
Karl.
Karl.
You were against this, weren't you? Against it? This idea, the concept of retrosnacking and this approach, I understand, you thought it was nonviable.
Well, the, uh, team is able to make it viable, so Yes.
The team's done very well for itself, but I want to know if you tried to sink this idea before it reached the team.
Could we have this discussion in private? No.
Why? It was a judgment call.
Steadman and Weston were getting a little too far ahead of the data, and, uh, I thought it was a little too early to start working on possible approaches.
It's never too early for a good idea.
That's true.
What changed your mind about the campaign? When did you decide it was a good idea? I had a discussion with Steadman.
He convinced you that it was a viable approach? We had a discussion.
Miles, I don't see what all this Monday morning quarterbacking is getting us.
I just want to make sure that my interpretation of events is accurate.
What is your interpretation? That you made a mistake.
That if it weren't for Steadman's tenacity, I never would have seen this approach.
Well, it's very easy to make those kind of judgments in hindsight.
I simply wish to express my concern.
So noted.
And I wonder how many other brilliant ideas you've managed to smother.
[Michael.]
He just let that last sentence hang there.
It was like an anvil hanging from a thread.
And the way he talked about me, I felt like I accomplished You know, all I was interested in was getting my idea Elliot and my idea into play.
I never thought of Karl Draconis as an adversary.
He's just an obstacle, you know? He's not going to be an obstacle anymore.
- Why not? - Because he's off the account.
He's history.
I mean, Miles is Is there any more of this cake? [phone rings, chatter.]
Hi, Michael.
Hey, hey, hey, hey.
Ahem.
"After six fertile and imaginative years with DAA, "Karl Draconis is leaving the agency to pursue other interests.
" What? "I know you join with me "in wishing him the best of luck "in thanking him for his incalculable "and ingenious contribution to this organization.
Miles Drentell.
" One day you're the creative director, the next you're pursuing other interests? What other interests? Therapy and job counseling.
Oh, man, I got to talk to him.
- Draconis? - Yeah.
Mikey, it's too late.
It says effective immediately.
What, he's gone? He's physically gone? He turned in his uniform.
They cleaned out his locker.
[knock on door.]
In many primitive tribes, the victorious warrior is presented with the head of his defeated enemy as a trophy.
We couldn't manage that, so we brought you his tape dispenser instead.
- [giggling.]
- Don't! What was the name of the little girl who kept falling out of the boat? - Joyce.
- Joyce.
I don't think she's been in a raft since.
Ron went along with us on a rafting trip last year.
We were trying to save the Nashua River.
Thank you.
Did you succeed? Well, we managed to get the paper mills and the chemical plants to stop dumping all their waste there.
It's no fun rafting in water that's teeming in pollutants.
No, it's no fun at all.
You know, Ron, it's your record as a naturalist which has led us here.
Mrs.
Biana and Ms.
Murdoch have come to us at the Environmental Resources Congress for help in resisting what seems to be the poorly considered push for the Fairfield Creek incinerator.
I'm aware of the project.
Then you're aware that every outside study has shown problems with both the project and its location.
Well, Mrs.
Murdoch, most outside studies are notoriously gifted at finding problems.
What the community needs is recycling, not incineration.
Well, I agree.
That's why I helped co-sponsor an amendment that would allocate funds for recycling education.
That's why we've come to you, Ron.
We need your help in killing this incinerator project.
Sorry.
I can't help you there, John.
- Oh, you can't? - No.
Why can't you? Mrs.
Murdoch, based on everything that I've seen and read not outside studies with axes to grind, but inside information that covers every angle and the economic and social benefits from that incinerator far outweigh the drawbacks.
Now, it may not be the complete solution to the solid waste crisis, but I think it is a major step in the right direction.
The community doesn't want the incinerator.
Well, I believe what you're telling me is "not in my backyard.
" That's not what I'm saying at all.
You know what, Hope? I really admire what you're doing.
I mean, our generation has seen so much promise just squandered, and it's really terrific that you're out there fighting.
I mean, people really need to get out there and participate.
Does that mean you'll rethink your position? No, I'm just glad you're out there fighting for yours.
Congressman, what we really need - Well, Congressman - is someone who can I think we gave it our best shot.
Thanks very much for your time, Ron.
John.
Good to see you.
If you should change your mind, - you know where to find us.
- I do.
- Hope, it's a pleasure.
- Thank you, Congressman.
- Mrs.
Bianca.
- Mm-hmm.
It starts when they're kids you know, flashback, black and white.
- Done to death, Elliot.
- Okay, how about this? What about this? You got two guys.
One of them's got the SnapHappys, the other guy's giving him a hard time.
- For real? - No.
They're sparring around.
They're just goofing off.
Okay, where are they? Home, office, store? Office.
Let's not be coy about this.
We know who these guys are.
[Elliot.]
What are you talking about? Don't be modest.
You're the demographic.
Your generation has sprung to life.
Look at you.
You're the spokesmen for the late '80s.
- Oh, my God.
- Miles.
They're the commercial.
Just hire better-looking guys.
And let's save some bucks.
We'll shoot it here.
You want to do it here? Yes.
No, I'll call him in ten minutes.
Tell him to stay at his desk.
Michael.
Stay a moment.
I'll catch up to you.
Yeah, okay.
I'll see you.
I wanted to talk to you before this, but the morning slipped away.
About Karl.
- Yeah? - His departure presents me with a slight problem in terms of chain of command, and it presents you with an opportunity.
It does? I talked to Minnesota this morning.
They have no problem with your being in charge.
In charge of what? I want you to serve as creative director on the SnapHappy account.
I'd like to see how you'd manage, and our friends in Minnesota were quite taken by the idea.
They like you.
Miles, I'm not exactly sure what it is you're offering me.
As far as the rest of the office is concerned, I'm giving you some temporary authority on this one account.
But they're pretty smart people.
It won't take them long to figure out I plan to offer you Karl Draconis' job permanently.
And do you? Yes, I do, dependant on your willingness to take it and your performance on this project.
Salary and perks to be discussed later.
Miles, I wasn't looking for this.
What I did, I wasn't I wasn't trying to knock Draconis out of the box.
I know that.
So does Karl.
Otherwise, why would he have suggested you as his replacement.
Ah.
I'm sure you two know each other.
Paige will be assisting you with your new responsibilities.
You're going to find her invaluable.
I look forward to working with you.
Me, too.
[chattering.]
Hey.
hi, hi, hi, hi, hi.
Hi.
So? So.
So what gives? Well, it's like this.
Miles Drentell just named me the temporary creative director of DAA.
- All right, Mikey! - Michael Steadman! [cheering.]
[Elliot.]
Unbelievable! I can't Mikey, that's great! So should we go out this weekend and celebrate? - Celebrate? - Your promotion.
How can I celebrate my promotion? I can't even deal with my promotion.
Well, you're right.
There's nothing to celebrate.
Friday night, we'll get a babysitter and leave Janey with her.
We'll put on ugly clothes.
We'll go to a bowling alley and have dinner.
Yeah, you think about something like this.
You dream about it.
But you never think it's actually going to happen.
Then it happens.
It's like, oh, man.
- You should be excited.
- I am, I am.
It's just that, you know, my mind is racing.
It's like It's just It's too fast.
it's just too great.
Oh, Michael, this is what you wanted.
- I mean, it's great.
- [Michael gargling.]
Maybe it is too fast, but I think you should enjoy it.
Yeah.
I don't really think you have anything to worry about.
Miles will probably fire you next week, just like he fired Karl Draconis.
Yeah.
Oh! Oh, oh, oh, oh.
Okay, okay.
Here we go, here we go, here we go.
Uh, it's late at night, okay? And the guys are alone in the office.
Yeah, they're working on a deadline.
- Right, right.
- Ooh! No.
One guy's there alone.
He sent his partner out for supplies.
Great, great, great, great, great.
- Okay, okay, okay.
- All right, Okay.
Okay.
The guy comes in.
- What did you bring? - SnapHappys! But I sent you out for treats.
Treats.
What are you talking about? - Treats.
No, that's bad.
- Would you say treats? - What are treats? - I would say, um, food.
- You'd say food.
- I sent you out for food.
- Food is better.
- Good, good, good.
Great.
So your guy, he whines about it, about how much work they got to do No, no, no, no.
I don't whine.
- Anyway, your guy is there - Right, right, right.
- Your guy mellows out - Right, right.
Okay? And, uh, there they are, sitting in this office, happy as oysters.
- Clams.
- Same difference.
Anyway, they meet the deadline.
Your guy gets a promotion, becomes creative director.
My guy ends up with an expense account and a company car.
It's a happy ending.
I like that, huh? Uh-huh.
I'm acting creative director.
Today, today, Mikey, you're acting director.
- I didn't ask for this.
- I know.
I was there.
God.
- You were there.
- Mm-hmm.
Yeah.
Do you remember that? A year ago, we're sitting in our office.
We're worried about Motherland, and now now I know.
It starts out bad, ends up good.
Is that supposed to make sense? I mean, does it all work out that way? [Paige.]
Excuse me.
I have Karl's personal things out of the office, and I was wondering if you needed any assistance.
Doing what? - Moving.
- Moving? Into your office.
I, uh, I wasn't planning on changing offices.
Wait, wait, wait, wait.
Listen, so will you get his office? I mean, that's a great office.
You got a window.
Two windows.
Uh, no.
I don't want to.
Look, I don't need that.
Take it, take it.
Savor the irony.
No, no, Elliot.
This is where we work.
- We both share an office.
- Take it, take it.
Okay.
But I'm not moving my stuff.
Paige, I'll use the office, but let's not worry about moving any of my files right now.
All right.
Plenty of time for that later.
High heels like that.
You'd think they'd make more noise, wouldn't you? What about this guy? - For your guy or my guy? - My guy.
Too good-looking.
What do you mean, too good-looking? Elliot, you're not going to be satisfied unless Paul Newman plays your guy.
Newman's too short.
- Oh.
- [laughing.]
So, Mr.
Creative Director, who are you going to get to direct this spot? I don't know yet.
You got any suggestions? - Me.
- You.
I know what these guys are supposed to sound like.
If I do it, we'll get it perfect.
- You could that that.
- I think I could, Mikey.
On those Motherland, those two commercials - [phone beeps.]
- I did a lot of the directing in those things.
- Hello.
- I know I can do it.
Uh, sure.
Mm-hmm.
Miles wants to see me in his office.
Oh.
- Will you do me a favor? - Yeah.
Can you get these down to a manageable group so we could start auditioning them in pairs? Sure, I could do that.
- Hey, listen, Mikey.
- Yeah.
If you get a chance when you're with Miles, see how the idea of my directing floats with him, okay? - Okay.
- Great.
- I can do that.
- Cool.
Okay.
Okay.
[Man.]
This is the Maori River - in Australia.
- [Announcer.]
Distance - We're up high on bluffs.
- Tour [Miles.]
Did you superimpose the planes? - Motion - Yeah.
We're using a 1,000 mil lens for that.
Travel is a process.
The plane went up to a thousand feet.
[Miles.]
Hmm.
Michael, glad you could join us.
I wanted you to meet someone.
Tony, this is Michael Steadman.
Michael, Tony Gilchrest.
Michael's in overall control of the Minnesota Brands project.
- Michael.
- We were looking at Tony's reel, and it dawned on me you should be in on this.
I saw Tony's work in London.
Sit down.
We'll take it back to the top.
- All right.
- Yeah, I've been exclusively Australia and Europe, and I haven't found anyone here I wanted to work with till now.
I'd like Tony's first American work to be with us, on your retro snacking spot.
Let's take a look at this from the top.
There's some great smoky, moody interiors in here, too.
Yeah, I'm using, like, a 5245.
[chattering.]
They might.
Come on.
Okay, everybody, remember, be pleasant.
Smile.
Not too much, or they'll think we're going to sell them The Watchtower.
- [laughter.]
- [Hope.]
I got it.
[doorbell rings.]
- Hi.
- Hi.
I can't sign anything.
You don't have to sign anything.
My husband would go through the roof if I signed anything.
Nicky, please, get back to bed.
I don't want you to sign anything.
I just want you to be aware of the plans for the incinerator and what you can do to stop it.
- I can't stop it.
- Oh, yes, you can.
- I can't stop it.
- Oh, yes, you can, really.
Oh, my Nicky, please get back to bed.
I'm sorry.
I got to go.
He's sick.
But really, you [dog barking.]
[Hope.]
Hello.
[dog barking.]
What's the point? The point is a lot of people are concerned about what we're doing to the environment.
What, you want to shut down the factories? I bet you don't even drive an American car.
Sir, what we're really trying to do Look, if you got a problem with the trash, you get an incinerator, you burn it up.
Case closed.
That's not the answer.
That's not the answer.
I saw his reel, okay? he's very good.
Um, he's got a sense of humor, which is important, and, uh, there's a nice edge to his look, so I you know, I think you'll be pleased.
Look, hey, Mike, I understand.
I mean, the directing, you know? It was just an idea, that's all.
I thought with you and me but, you know, I'm with you on this.
- It's a good call.
- Hmm.
But generally, how did the idea sit with Miles? - Was it Did it go over? - He likes the idea.
He's always liked the idea.
Not about the spot.
About me directing.
How'd that go? Uh, look, I wanted to tell him.
Wait a minute.
You didn't tell him? Tony Gilchrest was right there.
that would have been very weird.
Yeah? Well Elliot, I'm going to talk to Miles.
He'll be totally open to it.
I just You know, I mean, of course you should do this.
You'll be very good at it.
But this one, this is just You know, there's just too much baggage attached to it.
I mean, for your first commercial, we've got to make sure that it's the right one, right? Sure.
Yeah, sure.
Okay.
I mean like girls in leather pouting, a lot of smoke, like the next one.
Michael, Miles is taking Tony up to the gym.
He asked if you could join them.
Okay.
Tell him I'll be right up.
I wish she'd make more noise when she moves.
I hate the way she sneaks around, don't you? Yeah.
Maybe we should get her a bell like a cat.
Then you could hear her, then.
All right, I'll see you.
It's rough on the feet, huh? Yeah, it's rougher on the ego.
What did you expect? I don't know.
Interest.
Commitment.
Maybe even politeness.
What is wrong with these people? They would open their door to a Girl Scout.
Maybe that's what we should do get a bunch of smart 10-year-olds and dress them up in uniforms.
We could try that indoctrinate some youth.
Yeah.
Thanks.
At least kids aren't afraid to participate, - like grownups.
- Yeah.
Save the world, buy a cookie.
Girl Scout, huh? You were a Girl Scout.
Hi.
Whatcha doing? Programming this for Michael.
They replaced those bulky day minders.
Oh, liquid crystal display.
Cool.
It'll hold an entire Rolodex.
And a date book and a memo pad.
Karl found his invaluable.
Hey, you feel funny about all this? About what? You know, Draconis leaving, Michael getting this new temporary promotion.
Temporary? No, I don't feel funny about it.
Do you? Me? No.
I was just You know.
I know Michael's style, and it's different than what you're used to with Draconis, that's all I'm saying.
The job remains the same.
The duties, responsibilities, they don't change.
My experience is that the man adjusts to the office, not the other way around.
You know, that's my Rolodex, too.
A lot of those numbers are mine.
No problem.
I'll teach Michael how to delete the things he doesn't need.
[no audio.]
[Nancy.]
You can turn on the sound, you know.
- It won't bother me.
- Ah, it's okay.
Looking for something in particular? No.
Just looking.
Keeping my eyes busy.
Hey.
What's the matter? Nothing.
Nothing I can explain, really.
Try.
You remember a few years ago, that guy Breslow was after me to jump the Michael and Elliot Company and Michael was being so weird.
Weird's a bit of an understatement, isn't it? - He broke your finger.
- He didn't mean to.
it was an accident.
We were just playing around.
It's just I'm now starting to understand what he was feeling for the first time, you know? Because he's going to be made creative director? It's not the same thing.
I know it's not.
We'll still be there working together.
It's just I don't know.
I don't know.
Why do I feel Damn it, I don't know what I feel, you know? You're afraid he might not need you anymore.
[door closes.]
[Hope.]
Hi.
Hi.
Sorry.
Have you eaten? Say yes.
No.
Oh, damn.
Are you hungry? No.
I'm having too much fun not being able to put this together.
Janey might be able to do it.
Want me to wake her up? I think the instructions are in Japanese.
Oh, I'm sorry, sweetie.
- [Michael.]
Hi, pumpkin.
- I woke you up.
I'm sorry we're late.
Things just That's all right.
It's okay.
Hey, well, let me just put her down.
I'll be up in a minute.
[sigh.]
[overlapping chatter.]
[no audible dialogue.]
- [Man.]
Hey, David.
- Yeah.
[Man.]
Excuse me.
Act busy.
[Woman.]
Background! [Man.]
Get the smoke in here! [Elliot.]
It's important here that you guys are honest, you know what I mean? You guys are friends.
You guys are good friends, co-workers.
Just don't be afraid to let it tumble.
- Hi.
Excuse me.
- Oh.
Michael Steadman, Phil Sloane, Casey Bennington.
- Hi.
Nice to see you.
- Nice to meet you.
- I got to - Oh, yeah.
Go, go, go, go.
- I'll see you later.
- All right, yeah.
- Okay.
Good.
- Michael.
- Hey.
Hi.
How's it going? - Good, good.
- Paige.
- Hello.
- Can I speak to you alone? - Uh, yeah, absolutely.
- Excuse me.
- I'm glad you could come by.
- Is there a problem? - No, no.
It's going great.
Uh, just in order for me to do the job you want, I have to be in control, right? Okay.
I can't have actors getting mixed signals.
Uh-huh.
So could you kindly get your assistant out of my way? [Elliot.]
No, no, no.
You guys are great.
What do you mean? Paige? No, not Paige.
Weston.
Come here.
Elliot is not my assistant.
He co-wrote the script.
Michael, he's distracting the actors.
[Elliot.]
I wrote the spot.
I know, I know.
Okay.
All right, I'll take care of it.
Just trust me, trust me.
- Yeah.
- We'll get it.
Excuse me.
Elliot, I need to talk to you.
- Sure, yeah, one sec.
- Uh Yeah.
Okay.
Excuse me.
I'll be back.
[Actors.]
Sure.
- Hey, this is cool, man.
- Yeah.
Uh, we got a problem.
Oh, no.
What's the problem? Well, Tony thinks that you're distracting the actors.
I'm not distracting the actors.
I'm helping them get the characters right.
- He's the director.
- And? And? And he's done it before, and he's got his own way of working.
What are you asking me, Mike? I'm asking you to just take a couple of steps back.
Come on, man, this is my project.
I know that, and he's working for us, you know, so he does what he wants now, he directs, he goes back to Sydney, and then it's back to us.
It's ours again.
Elliot, I need you to stroke this guy.
Come on, you know what's riding on this.
Okay, all right, okay.
Okay.
[Man.]
Keep that door back there closed, please.
- I got to go.
- Sure.
Sure.
I'll see you.
[Man.]
All right, let's go go 1, everybody, Go to [door closes.]
[Michael.]
Hope? Hope? [tape rewinding.]
[Hope.]
Hi, Michael.
If I'm not home when you get there, don't worry.
There's chicken salad in the fridge, but smell it first to make sure it didn't go bad.
Bye.
[beep.]
[Michael.]
She asleep? Yep.
One pass at Runaway Bunny did it.
What is it, Michael? [muttering.]
Michael.
I don't know.
It's just work and It's strange.
I mean, is it always going to be like this? What? I'm working.
You're working now.
You don't like my working? No, I love your working.
It's just I'm not here to make dinner.
No.
Well, what is it? You're just not here to talk to me.
What do you want to talk to me about? Everything.
And work.
Things are happening at work, aren't they? Yeah.
I'm sorry.
I am here.
But you don't need me to talk to about work.
You have Elliot.
I can't talk about it to Elliot.
I can't.
[Elliot.]
Okay, let's look at these one more time, okay? [Tony.]
Get that bloody microphone out of the way! Okay, here's the first master.
[Tony.]
Okay, lots of energy.
Action.
- Dolly in.
- [Elliot laughs.]
[whistling.]
There you go.
What is this? This is not food.
- This is food.
You asked - No.
This is not food.
- These are snacks.
- Oh, come on.
- These are not just snacks.
- Oh, no.
I can't believe you said that.
- This is history.
- No.
This is history.
Trust me on this, pal.
I know what I'm talking about.
Are you out of your mind? We got to finish this.
- Come on, come on.
- Our jobs are on the line.
Come on, take one bite.
Just one bite.
Okay, okay, okay.
Huh? What did I tell you? When did they start making these again? They never stopped making them.
We stopped eating them.
Why? I guess we grew up.
That's a mistake we won't make again, huh? [Tony.]
Cut! Okay.
Um [Man.]
That's 5.
[Elliot.]
Okay, okay, here's the second one.
What's the matter with you, huh? You're supposed to bring back food.
This is food.
No.
These are snacks.
Not just snacks.
This is history.
Trust me on this one, pal.
Are you out of your mind? We got to finish this.
Our jobs are on the line.
Come on.
Take a bite.
One bite.
Huh? Huh? What did I tell you? When did they start making these again? They never stopped making them.
We stopped eating them.
Why? I guess we grew up.
That's a mistake we're not going to make again.
Okay.
I think it's the first one, right? - Really? - What, you don't think so? It doesn't feel too, uh What? Mm, cool? Yeah, I think it's really cool.
No, I mean emotionally cool, Elliot.
The second versions feels much warmer to me.
I don't know.
The second one seems too pushed, too acty to me.
I know, but it's crisp, it pops.
- It seems fake.
It's fake.
- Clear.
I mean, I think your version feel almost improvisational.
It's like they're improvising everything.
You can't figure out what's more important, the characters or the product.
The guy walks out of frame.
They overlap.
It's very hard to understand what they're talking about.
No, that's real.
That's the way people really talk.
Elliot, I'm not interested in the way we talk.
I'm interested in selling candy bars, and so is Minnesota Brands.
Oh.
You know, that's what this is about, Elliot, right? Yeah.
Okay, let's move on.
No.
Wait.
You're talking about picking a master which is going to set the tone for the whole piece.
We're on a deadline.
I don't think we can afford the luxury of debating.
Okay, let's don't debate it.
Let's do two versions.
We'll do the softer version, the smarter version, and we'll look at them side by side.
We barely have time to do one version.
We certainly don't have time to do two.
What is it? You say we have to make a decision, then you say we don't have time to make a decision.
What takes time is debating it.
So what's it going to be? The warmer version.
The second version.
That's my decision.
[scoff.]
Your decision.
What happened to this being our project, Mike? - Our project.
- It's our project, Elliot.
I have to decide what I think will work the best.
You're picking the wrong one.
I can make just as strong a case as you can.
It's a deadlock.
Which you decide by picking your way.
I have to go with what I think works.
- That's my job.
- Your job? What is I was wondering when we'd get around to that.
- Get around to what? - You and your job.
Don't you Wouldn't you agree, Michael, that your objectivity, your perspective, has been whacked by this job? - What do you mean whacked? - I mean whacked! I mean out of proportion, distorted.
Look, look, Elliot, I'm sorry that you don't agree with me about the spot.
But this is not personal.
This has nothing to do with us.
- It doesn't? - No.
No, you keep digging for some hidden meaning in everything that I'm doing.
This is a business decision.
That's it.
Sometimes business is personal, Michael.
It's very, very personal! Did you call your muscle in here to throw me out? - I didn't call you.
- The intercom.
- I did not call you.
- Mike, forget it, forget it! Mike, your commercial, it's great.
No, it's great.
It is.
It's Chekhov.
[whistling.]
What is this? You were supposed to bring back food.
- This is food.
- No.
These are snacks.
It's not just snacks.
This is history.
It's a SnapHappy.
Trust me on this one, pal.
Are you out of your mind? We have to finish this.
Our jobs are on the line.
Come on, come on.
Just take a bite.
Mm? - Mm.
- What did I tell you? When did they start making these again? They never stopped making them.
- We stopped eating them.
- Why? I guesswe grew up.
That's a mistake we're not going to make again.
Okay, here's where we lay in the voiceover "We kept on making them because we knew you'd come back.
" And then I'm going to change the super title.
I don't like that.
[Miles.]
Hmm.
Mm-hmm.
Very amusing.
I like it.
Mark, let's show this to some civilians.
See what we've got.
I've already got some time blocked out.
Good.
Very nice job.
Very nice indeed.
Thanks, Miles.
Where's Elliot? In his office.
[knock knock.]
Miles liked it.
Good.
Good.
Why weren't you there? You had it under control.
We're scheduling the focus group, and I really think you should be in on that.
I don't think so.
I need you for this.
Well, you didn't need me before.
Elliot, I know that this is weird, and I'm sorry about all this, how it turned out.
Yeah.
And I would really like you to be in on that focus group.
Is that an order? It's just people in a room watching commercials? It's supposed to be a valid sample statistically.
They can be pretty accurate.
How does Elliot feel about it? He feels, uh He feels like he doesn't want to be involved.
Why not? Because he thinks I railroaded him on it.
Did you? Yeah.
Michael.
because I had to, you know? I have this bumped-up title.
I had to make a decision.
Michael, he's your friend.
Yeah, I know.
That's what makes it so hard.
I mean, I've been with this guy for - [phone rings.]
- I'll get it.
I've been with this guy for how many years? He's my best friend.
All of a sudden, I'm in an office Hello.
John.
What? No.
No.
They're moving the hearing up.
- Oh.
- They can't do that.
Huh.
They can do that.
We're not ready.
3:00 on Wednesday? How are we going to get any kind of turnout at 3:00 on a Wednesday afternoon? Yeah, okay, okay.
All right.
I'll call Ricky, and she can call everybody else.
No, I Yeah, I have the list, but I I don't know.
How can they do this? All the material's printed up.
[laughing.]
I know I'm in the way, but it's just so silly to me.
Exactly.
Exactly.
I know.
[Man.]
Tax revenues and other direct and indirect economic benefits will begin boosting the community long before this state-of-the-art, environmentally balanced incinerator becomes operational.
So that for months, maybe even as much as a year, before the plant is actually opened, you people can look forward to a rise in prosperity - Any word about John? - Yeah.
He called.
He got rear-ended.
- Congressman? - Thank you, Mr.
Carlucci.
Well, I think we've, uh, established that this incinerator project could help solve the solid waste crisis in addition to providing potential energy source and economic benefits for the entire community.
Does anyone have any questions for Mr.
Carlucci or would like him to amplify any of his statement? [whispering.]
We just need John.
Come on, Hope, Morgan, somebody.
[murmuring, coughing.]
Well, maybe we'll be able to beat the rush hour.
[chatter.]
Uh, excuse me.
I have a question.
Uh, excuse me.
Sorry.
Excuse me.
Mrs.
Murdoch.
Congressman, uh, everyone here seems to be talking about all these benefits, and, um, and I think that an issue that we have completely sidestepped is well, I don't want to have dioxin in my breast milk.
- Mrs.
Murdoch.
- No, it's true.
The new incinerators are capable of substantially controlling dioxin emissions.
[Man.]
That's right.
I don't think that's an issue.
Well, how much is substantially? Dioxin is a poison, and there's toxic bottom and fly ash containing lead and mercury and cadmium.
And we have ways of disposing of all of them.
Well, how, by shipping it somewhere else? Your solutions lead to more problems.
We have to think about the entire planet.
These incinerators are not the solution to our waste crisis.
[Man.]
Uh-huh.
I mean, the answer is the answer is not to release more carbon dioxide into the atmosphere.
We need to make less trash.
If we could spend half as much recycling as we're going to spend on this incinerator, well, we wouldn't well, we wouldn't need an incinerator.
- [applause.]
- We rule against you.
[Man.]
Let's leave the kids purified from the pool of emissions.
[applause continues.]
All right, we've just seen the new ad campaign for SnapHappys, and we want to know what your impressions are, your feelings, thoughts, and don't be afraid to be candid.
I don't get it.
Why are they whining, you know? I mean, men should act like men.
That touchy-feely male bonding crap makes my skin crawl.
It made me just want to scream "Get some real problems.
" This whining yuppie thing is Drink your French water and shut up.
[laughter.]
Any positive reaction to this spot at all? - Um - [Man.]
It was short.
- Yeah.
- It was short.
All right.
I I enjoyed it.
- I enjoyed hating it.
- [laughter.]
Well not what we were expecting.
I thought this would work.
I'm surprised.
Maybe another focus group? Keep skewing the sample till we get the results we want? Is that what we should do, Michael? No.
But I'm not ready to give up the concept of selling to adults yet.
Neither am I.
It's the approach that went astray somehow.
You gentlemen are just going to have to come up with something else.
Ecch! Ecch! Ecch! That was very, very horrible.
All right, it's 4:00.
Make whatever calls you have to make.
I'll tell Paige to order us some dinner.
We're going to stay till we get a new approach.
Let's pull Wasserman and Amato into this.
Be in my office in half an hour.
Sure.
I love eating whatever I want.
It's my favorite part of being pregnant.
- Mm.
- Mm.
Take my fries.
Thanks.
You were pretty good, you know.
Really? Yeah.
You came off as angry and passionate - and smart.
- Hmm.
- I felt like throwing up.
- Ha ha.
It'll be easier next time.
Next time? Like I said, you're smart.
You believe what you're saying.
The fact that you're attractive and pregnant doesn't hurt.
I really have to do this again? Don't you want to? I don't know.
I think you liked it a little bit.
I did not.
Yes, you did.
- I did not.
- Did, too.
What do you know anyway? Nothing.
[chatter.]
[door opens.]
You were awfully quiet in there.
You know what I think.
Spot would have worked better if we'd done it my way.
Do you really think that? Do you really think that it would have made a difference if we'd done it your way? No.
The point is The point is you shut me out.
- I made a decision.
- The wrong decision.
Is this how it's going to be? If I agree with you, I'm right? If I disagree with you, I'm wrong? What kind of work is going to come out of that? We work together as a team, Elliot.
- We came here as a team.
- No, no.
No, no.
- You're the boss now.
- Elliot You're the boss now, and I have to accept the decisions that you make.
Yeah, I got to get used to that.
But if you want me to be comfortable with you as the boss, then you got to be comfortable being the boss.
Look at you.
You can't even sit in his chair.
Okay.
Okay.
Things are different.
But different can be good and important and powerful.
You want to direct.
I can help you with that.
Everything changes, whether we like it or not.
And if we don't like it? I'll see you in half an hour.
Half an hour.
Your office.
You should go home.
No, I'm just trying to work up the energy.
Do you need me to do anything before I leave? Um, nope.
There's nothing.
You've been a big help.
Thank you.
Did you accomplish much tonight? I don't know.
Maybe.
It's all new.
What is? I don't know.
Being in this office, you know? They were all very happy for me.
Now they're just trying to figure out a way to talk to me.
Of course, after today's screw-up, I may not have to worry about being here much longer.
- So - Miles believes in you.
He expects failure now and then.
At least you put yourself out there, and that's what happened to Karl Draconis he stopped taking chances.
- I'll see you tomorrow.
- Okay.
[door closes.]
Closed-Captioned By J.
R.
Media Services, Inc.
Burbank, CA And dance by the light of the moon