Thirtysomething (1987) s03e24 Episode Script

1 [theme.]
Next project Drentell Ashley Arthur Advertising, located in Philadelphia.
A high-profile talent-driven agency just now becoming attractive and vulnerable to acquisition.
It began as Ashley & Arthur in 1947, went public in 1979, and became DAA in 1984.
It is very closely held.
15% of the stock are on the open market.
The remaining 85% is held by three individuals.
Miles Drentell holds 30%, the single largest holding.
This plurality was achieved in 1987 when Duncan Arthur died of a heart attack, and Jack Ashley took an early retirement following a medical leave.
Arthur's widow and Ashley each hold 27 1/2% Drentell held them up? Well, they needed him, and they knew it, so they kicked in stock from what were three equal shares.
I assume Drentell will respond by trying to take the company private.
- What are his chances? - Intelligence is spotty, but we do have one advantage.
Michael Steadman, creative director at DAA.
He's close to Drentell, and he's agreed to feed us what information he can.
Questions? If Drentell gets a hold of either Arthur or Ashley's holdings He'll have 57.
5% of the issue, yes.
[Man.]
Probability of successful acquisition? As of now, it's a coin toss.
This could get unpleasant.
What? Trying to work in here while they install your euphemism.
Sheetrock and patching compound? It's just like home.
- Use mine.
- Bathroom? - Office.
- Where would you go? I'd be where I always am.
No, this isn't so bad.
I'd like you to take a ride with me to Gladwin tomorrow.
- What's out there? - Mrs.
Arthur, Duncan Arthur's widow.
I want to know if anybody from the greater Minneapolis-St.
Paul area has contacted her.
You still think they're gonna try to buy, even though you told them to take a hike? I do.
Why? Because it's what I do.
Well, not everybody thinks like you, Miles.
Imagine the world if they did.
Let me know if you change your mind about sharing my office.
I will.
[knock at door.]
You the guy getting the toilet? [Michael.]
He wants to take Mrs.
Arthur's temperature.
He'll probably go after Ashley, too.
You gonna be there when he talks to the widow Arthur? - Right there.
- Just like a real spy.
- Yeah.
- Night, Elliot.
Night, Hope.
You really don't think this is gonna work, do you? - The takeover? - Yeah.
Nah.
It's pretty implausible.
- Yeah.
- Yeah.
Then again, have you seen any pictures of the Berlin Wall lately? To dream the impossible dream To fight the unbeatable foe - [crash.]
- [yells.]
How about bed? Uh, I'll wait here.
You get the derrick.
You know, you have something very close to a look on your face.
No, I don't.
Yes, you do.
[sighs.]
Okay.
This, um, hostile takeover and your, um, relationship with Minnesota Brands while you're still at the agency.
Don't you think it's kind of, um, unethical? - Maybe.
- Just maybe? Well, if I say the ends justify the means, then you're gonna throw that book at me.
That's what I'm thinking.
If the takeover works and Miles leaves and it's Elliot and me running the place, any ethical tap dancing I do is worth that.
You really hate him, don't you? Miles? I hate what he's doing to the company.
What? I just don't want you to turn into Miles, that's all.
It won't happen.
There was a time when it might have, but we're passed that now.
- Hello.
- Hello.
I'm Michael Steadman.
Carol Arthur.
I'm sorry Miles isn't here to greet you.
I'm sure you'll do just fine.
Can I get you something? How about the obligatory mineral water? Oh, we must have gotten our wires crossed.
I was under the impression that Miles and I were coming out to see you.
Yes, that's what Miles said when he called.
Why the switch? Because Miles Drentell crosses that particular threshold over my dead body.
Carol? Miles.
We where just about to drive out to see you.
Well, my board meeting at the museum ran long, so I decided to drop by and save you the trip.
[door closes.]
It has been a true slice of heaven, Miles, getting together like this, talking about old times.
I've enjoyed it no end.
I'm just wondering why we did it.
Oh, now, Carol, do I need a motive to call an old friend? It wouldn't have anything to do with a certain midwestern corporation looking to expand its holdings, would it? It was worth stopping by just to see that look.
Bye, boys.
Wait here.
Carol, I apologize for my lack of candor.
[no audible dialogue.]
That could have gone better.
Am I late? No, I'm early.
I forgot what this meeting is supposed to be about.
I need you okay to sub out part of Flex Athletics.
Oh, I thought we never subbed out work.
We're slightly understaffed at the moment.
Uh, fine, okay, I'll sign off on it.
Fine.
Yes.
Is this a bad time? It'll only take a second.
But if it's a bad time, I can do it later.
No, it's fine, Jennifer.
Come on in.
You talk to him much? Who? Oh, yeah, I talk to him.
It's tough.
Yeah, it's tough.
This is kind of awkward.
[Jennifer hums.]
But nobody blames you.
Firing Elliot.
Everybody knows the dynamics that were.
They do? [Jennifer.]
Through the sycamores, the candle lights Miles probably won't hire anybody right away.
- Leave the office empty.
- [Jennifer.]
On the banks - A warning to the rest of us.
- Of the Wabash Kind of like a head on a pike.
Far away Mark, do you have any plans this evening? That's my thinking, Gus.
Two men on the inside are better than one man, right? [Gus.]
Right, the feeling here is that Miles will look for a white knight, somebody compatible who can put together the financing to defeat our bid.
It'd be good if you can stay close to Miles.
Keep an eye on who he's seeing, changes in his schedule, anything that will indicate he's courting a particular knight.
Sure, and that's going to be easier with Mark.
[Gus.]
Michael, does Mark understand what's at stake here? He's as anxious as we are to see this work.
Michael, there is the possibility of failure.
It's only a matter of time before Miles finds out about your relationship with us.
Firing Elliot helped, but eventually you'll be compromised.
You mean I might get fired? [Gus.]
It could go further than that.
Further? [Gus.]
Based on Drentell's reputation and past performance and the atmosphere in the industry right now, if the takeover fails, well, to put it bluntly, as far as advertising goes, your career would be over.
I think in all fairness, you should explain this to Mark so he can make an informed decision.
Michael, you still there? Yeah, I'm here.
Where else would I be? Do I come over to your house and fix your drippy faucets? Well, indulge me.
It's this new thing that I have developed.
Drips annoy me.
They're so tentative.
There.
What do I owe you? Uh, 58.
50 and a slice of strudel.
So is this a natural interest in pipes to throwback to your affair with Mr.
Good Wrench? I talked to him a few days ago.
Matt? You didn't.
Yeah, just as friends.
We're gonna have lunch next week.
As friends? Yes, as friends.
I told him there was something he should know.
Oh.
[sighs.]
So just counting the hours? Oh, not yet.
Soon.
Soon.
So how are you guys doing? Okay.
I'm fighting the reflex with Elliot.
You know, not looking for a job while this takeover thing runs its course.
You know, I think they might be on to something.
I mean, I see it in Michael's eyes when he talks about this.
He always wants to be old Fezziwig from A Christmas Carol.
The boss everybody remembers and wants to be like.
It means a lot to him.
I think he's willing to do a lot to get that.
[knocking at door.]
Hello.
Oh, hello.
I thought he was in here.
I thought he was, too.
That's why I came in.
I would have if I didn't think he was in here.
- Morning, Michael.
- Uh, hi, Miles.
Get Gabe Rivera for me.
His on the personal rolodex.
Right away.
How are you this morning, Michael? Fine, yourself? Glutinous with self-approbation.
Is that good or bad? Good.
I must admit I allowed Mrs.
Arthur's visit to level something of a chill on my outlook, - but that has passed.
-[phone beeps.]
Yes.
[Secretary.]
Gabe Rivera on 4.
Thank you.
A moment.
[key tones beep.]
Gabriel, how are you? Yes, way too long.
Well, enough of this gay banter.
I need to discuss business.
You made a prediction that has come to pass and in a most inopportune moment.
I'd like to see you today.
I have to deal with this quickly.
There's a clock running.
Good.
I'll explain when I see you.
Thank you, Gabriel, I appreciate this.
See you at your office.
Who's Gabe Rivera? Gabe Rivera? All right, Miles is seeing someone named Gabe Rivera.
Now, does the name mean anything to you? Gabe Rivera? Yeah, yes, his lawyer? His broker? - Something like that.
- No, it's no other man.
Mmm, all right, he made an appointment.
Um, somebody talked to about going private.
That was obvious.
Who you're calling? I'm gonna call Gus Hennesy.
If this Rivera guy is a money man, they'll know about it in Minnesota Brands.
[dialing.]
[ring tone.]
[Operator.]
Minnesota Brands.
May I help you? Uh, yeah, hi.
Gus Hennesy's office, please.
[Operator.]
Just a moment.
He's leaving.
Ah, damn.
[Secretary.]
Mr.
Hennesy's office Yeah, Mr.
Hennesy, please.
This is Michael Steadman.
Just a moment, please.
Mr.
Drentell, he said it's urgent.
- Where is he going? - I don't know.
He's going to go meet this Rivera guy.
Whoever that is.
- [Secretary.]
Mr.
Steadman? - Yeah.
Mr.
Hennesy is wondering, are you at home or at your office? What? Are you at home or at your office? I'm at my office.
Just a moment, please.
I'll follow him.
Can't do that.
How else are we going to find where he's going? - Mr.
Steadman.
- Yeah.
Mr.
Hennesy is sorry, but he can't take your call from the office.
He's sorry? Perhaps you can try him later in the day.
Yeah, all right.
I'm Inspector John.
This Detective Lieutenant Lawrence.
[phone rings.]
How do you do? I hope I'm happy to know you.
You put up the bail for your brother? Yes.
Hello.
7 Penn Plaza.
Okay, I'll play.
The Palmer House, Chicago.
You have to go there.
Chicago? [Michael.]
No, that address.
Miles is meeting somebody named Gabe Rivera.
That's his office.
Wait, this is about the thing.
Yes.
What am I supposed to do? Go to the address.
Don't let Miles see you.
Now, Mark was following him, so you might see him there.
Mark's following Miles? Yes.
Oh, cool.
See if you can find out who this guy Rivera is.
See if he's the white knight.
Yeah, all right, I got it.
I'm gone.
How we doing? Fine.
- Hi, Mark.
- What are you doing here? Same as you.
Michael gave me this address.
Is Miles here? - He went upstairs.
- Let's check it out.
Check out what? See if this guy Rivera is the white knight.
How do you purpose we do that? Oh, we'll look in his office.
If he's got one receptionist, no problem.
He's got two receptionists, he's a serious contender.
If he's got three receptionists, we start looking for jobs that use the phrase "Do you want fries with that?" Wait a second.
What if Miles is in the reception room? Try to look like someone else.
[drill buzzes.]
His what? [footsteps approach.]
Tough day? Miles went to the dentist.
That's nice.
Was it a painful procedure? Was for me.
Sneaking around.
Following people.
Trying to decipher Miles' button-down Sphinx of a face.
This is no way to transact commerce.
It's tough playing James Bond in an Abbott and Costello world, isn't it? You know, I could lose my job if this thing falls through.
Worst of that, I'll get the reputation of a moll somebody who spies on their employer.
And now I think I'm out of the loop with Minnesota Brands.
You know I kept trying to get Gus on the phone.
I know he was ducking my calls.
He sent you a package.
See, it's right there on the dresser.
Oh, great, more free candy bars.
You know, we may end up living off this stuff if I'm not careful.
You know what Elliot thought would be a good idea? Code names.
He wants us all to have code names.
I think his was going to be Night Train.
Oh, man.
So what is it? Snap Happies or Oh My! Pies.
A cellular phone.
Why did they send you a telephone? "Because of the possibility "your office phone is being monitored, "please use the enclosed "for all further communications.
"It's scrambled.
"Sorry I couldn't take your calls, "but I'm sure you understand.
Gus.
" He's kidding, right? He's not kidding? Have a Snap Happy.
You're in early.
Sorry.
You don't mind do you? I put down a piece of plastic.
No, no, listen, I'll just read my mail in the bathroom.
- [phone beeps.]
- Should I get it? No, that's all right.
Hello.
Yes, Miles.
Michael, say hello to Stan Turpin, Wiseman, Turpin, and Purdue.
- Michael Steadman.
- A pleasure.
Stan is going to be helping us through this difficult period.
Well, I'm going to do my best.
Wiseman, Turpin, and Purdue? Security.
Securities? No, a security.
Ever seen one up close before? Uh, no.
Good for you.
I'm not sure It's a polygraph.
You mean a lie detector? That's a dismissive colloquial term for a very sophisticate piece of equipment.
Mark, could I ask you to step into my office? Thank you.
Miles.
[polygraph hums.]
Miles, you can't be serious.
Someone is attempting to pilfer this company.
If I'm going to be attacked from without, I don't want to be concerned about my back.
You know, loyalty oaths went out a long time age.
Yes, and look where its gotten us.
So you're going to arbitrarily question people to find out if somebody is planning the violent overthrow of Miles Drentell? The questions will be couched in much more delicate terms.
Yeah, and the first candidate for interrogation the first person that you decide to question is a black man.
I didn't pick him because he was black.
I picked him because he's smart.
Oh, appearances, Miles.
Appearances are much more important than the truth.
What do you purpose? You can't start with Mark or Wassermann or any of the women, for that matter.
The first person who should have his loyalty checked is me.
You? Yes, either you start with me, the creative director, or you don't do it all.
You can't appear to be a weak king, and that's how this little exercise in paranoia will paint you.
But what if there is a moll? Well, then, this is a great way to find out, but what's it gonna cost you? You're gonna appear weak, vindictive, distrustful, afraid.
What makes you think I'm all that concerned about how I appear? [tapping at window.]
Mr.
Harriton.
Just a moment.
Stanley, what if we reevaluate the scheduling of these interviews? Let me call you on Monday.
Do you compose at the keyboard? Do I what? Can you write on the typewriter or the computer? Yeah, more lately.
I've never managed it.
Writing requires paper and a pen and the sound of the pen on the paper.
The machines render me mute.
I learned that from Jack Ashley when I started here.
Of course, the business has changed a great deal since then.
I don't believe I actually said that.
Nobody around here can tell me very much about Ashley.
Because no one here knew him.
He gave up the Eastern Corridor once and for all when he retired and moved to Malibu.
What sort of a man was he? I don't think he liked me.
He would refer to me in front of other people as the mortician.
I don't think either of them liked me, Ashley or Arthur.
They knew I was smart.
That I could see around corners they didn't perceive as corners.
They needed me, but they didn't like me.
Of course, I'm not an especially warm person.
Perhaps I should be warmer.
What do you think? I think you should be whatever temperature you feel most comfortable being.
I should send you to California.
Why? To talk to Jack Ashley.
You'd have more success gaining his confidence than I would.
I would? He'd listen to you.
You and Ashley would relate the way I saw you relate to Bob Spano.
Ashley is very meat and potatoes.
Very real.
Very warm.
Yes, maybe you should go.
I'll think about it over the weekend.
See you Monday morning.
Have a nice weekend.
You, too.
And, Michael, thank you for your insight this morning.
You're welcome.
[dialing.]
You know, I'm beginning to hate those bags.
I'll back Sunday.
Well, that's fine, but why you going? Because Bob Spano and Gus Hennesy are convinced that I'm the one to talk to Jack Ashley.
Talk him into going with Minnesota Brands.
You're breaking cover.
Yeah, that's fine with me.
This isn't what I thought it was going to be like, you know? I mean all this sneaking around, concealing things.
Lying? Oh, I thought I could justify it, but it's just too damn murky.
Imagine my disappointment.
So Elliot and I go out there bringing the good word to Mr.
Ashley.
We tell him who we are.
We tell what we're about.
We do it simply, clearly, honestly, and after that It'll be okay.
I mean whatever happens it'll be okay.
[girls chatter.]
- Ah, California.
- Oh, Mikey.
So what did he say when you called from the airport? He said he heard from Minnesota that we were coming and he was looking forward to meeting us.
- How'd he sound? - How did he sound? Yeah, on the phone, you know? What did Ashley sound like? He talked like Louis Armstrong.
What kind of question is that? He sounded like a guy.
Like a retired rich guy.
Did you mention Miles? And when you did, did he like spit or make choking noises or anything? Uh, I didn't so he didn't.
Would you calm down? We have to be very stable, very straightforward.
According to Miles, this guy is strictly meat and potatoes.
This is my kind of meat and potatoes.
Look at this, Mikey.
This is unbelievable.
What do you suppose a place like this is worth? Like 1 million? 2 million? 3 million bucks.
Look at this.
Gentlemen.
Sorry I wasn't here to greet you.
Is Myoki getting you something to drink? Well, she offered, but we're okay.
Good.
Well, I'm the man you came all this way to see.
- Jack Ashley.
- Elliot Weston.
- Michael Steadman, hi.
- Hi.
Oh, thank you.
Are you sure I can't get you? Oh, we're fine, thank you.
We really appreciate you're taking the time to see us, Mr.
Ashley.
Make it Jack.
I don't know how much Mr.
Spano told you over the phone Uh, excuse me, Michael.
I lived in this house five years without having a word about business spoken under its roof.
So unless you're prepared to buy me a new house, I suggest we have this conversation outside.
Very interested in getting involved with communications area a lot of different facets.
They've promised me that we would retain creative control of the agency.
You'd be in charge? Elliot and would be, yes.
Um, we had our own small shop.
It wasn't that small.
It was medium.
So we know how to motivate creative people.
We believe we can get the company back on track, and so does Minnesota Brands.
Force him out? Miles? [both.]
Yeah.
- Take over? - Yep.
Michael, Elliot, what about the roof? The roof? Yes, the roof.
What holds down the roof at DAA? I thought you're supposed to hold roofs up instead of down.
No, not at DAA.
Not a place like that.
Yeah, you have pressures, collective human pressures.
They build up.
The way the sound build up at a movie theater when they close the doors.
All the music and dialogue and people watching the movies.
You know, it builds up.
Yeah, haven't you noticed how your ears start to pop when you're sitting in a movie theater? No, I No? Well, usually, we rent videos.
That's why - I mean it's been a long time.
- About DAA.
The same thing.
That's why I'm not surprised when you say there's trouble there.
Way too much pressure.
You don't feel any of that out here do you? Don't feel any pressure, right? And that's because there's no roof.
I told Miles, and I'll tell you.
The way to save the agency take off the roof.
Oh, you mean What he means is don't limit people.
That's Right.
Don't put them under too much pressure.
We agree.
For a second there I thought I mean it's gonna sound crazy, but I thought you were suggesting that we literally take the roof off the building.
You are suggesting that we take the actual roof off the building, aren't you? Outside.
I'm telling you, by the end of the decade, we're all going to be outside.
Jack, it's time for your medication.
Excuse me a moment.
You'll stay for the sunset, won't you? Excuse me.
Excuse me, hi.
Um, has he been like this the whole time you worked for him? I don't work for Jack.
He's my husband.
[phone rings.]
Oh.
What the hell is going on, Mike? It's a setup.
- What? - Miles set us up.
Mr.
Steadman, it's for you.
Oh.
Hello.
[Miles.]
Hello, Michael.
Hello, Miles.
I'm glad I caught you.
I wanted to give you the good news.
Mrs.
Arthur and I have come to an understanding.
You have? Yes, and you know what that means, don't you? It means you control over 50%.
There won't be a takeover.
There can't be.
I thought you should be the first to know.
I think we'll all sleep better now.
Thanks for telling me.
Oh, Michael, stop by my office Monday morning, will you? Yeah.
My best to Jack.
Miles got Mrs.
Arthur's stock.
You said she hated him.
Just because you hate somebody doesn't mean you can't do business with them.
- Mike, you said - He outflanked us, El.
It's over.
It's all over.
[groans.]
Pretty.
Very pretty.
How many Ks in flunky.
Write down slave.
It sounds more abject.
Here we go again.
Back to the old job market.
Sadder but wiser, I hope.
Worried? I should be, but I'm not.
Nothing like a little fear to make you feel alive.
You said it.
Anyways, it's harder on Michael.
Why is that? Oh, he's got to go in there and deal with Miles tomorrow.
I'm already in the outside.
What will Miles try to torture him publicly? He'll try.
What will Michael do? Stand there and take it like a man.
Maybe he'll throw Miles out the window.
I don't think so.
The windows at the office only open 6 inches.
[Michael.]
Across the aisle from me on the plane back, there was this family.
There's a mother, father, and two kids.
One was maybe three and the other was a baby.
I mean, it's not even a year.
The baby was asleep on the aisle.
She was sleeping, and she rolled over right past the edge of the seat, and she fell off.
Just like a doll.
All sleeping limbs like a rag doll.
Bang.
Nobody caught her? No, it wasn't time.
So she hit the deck, and she started to cry.
And the father reached over, scooped her up, and she was asleep again in a couple of minutes.
I saw that, and I couldn't wait to get home.
I saw that, and I thought I'm a father, too.
I can do that.
I can pick a baby up and make everything all right.
I'm really good at that.
So what else matters, really? You have a few other skills as well.
Oh, thank you, dear.
You seem to be taking this all rather well.
Actually, no.
I'm so bitter, my eyes hurt.
But I'm also in deep, deep denial.
So what happens next? [Man.]
Mr.
Steadman? Over here, Mr.
Steadman.
I'm sorry about the way this played out.
So am I.
It was a gamble.
We all knew that intellectually, but it's still a disappointment and a shock when you lose.
So it just ends like that, huh? With one phone call? Oh, there were probably lots of phone calls.
You were just on the wrong end of the last one.
Yeah, but Weren't we supposed to win? Aren't we the good guys? There weren't any good guys in this, or bad guys, for that matter.
But Miles Is a businessman.
And a very good one.
But you wouldn't do business the way he does business.
You won't pull the tricks and double switches that I've seen him pull.
Michael, I asked you to spy on him for me.
Well, that That was different.
What we wanted was different.
If we had taken over DAA, there would have been changes, yes.
I wouldn't have run it the way Miles runs it.
But I didn't want the company so that I could fight for the greater good.
I wanted DAA because it was smart for business.
And business is business.
Michael, the good that we do comes out of how we do business.
Not the business of doing good.
Minnesota Brands is a big company and there's a place for you and Elliot with us.
That's very kind of you.
It's neither kindness nor charity.
It's good business.
Jennifer? Oh, hi, how are you? Fine.
Well, got to go.
See you.
No hard feelings, I hope.
She's the plumber.
I have no problem with that.
She's been negotiating in good faith.
We don't need to appear unappreciative.
Yes.
Yes, by close of business tomorrow.
I want to put this all behind us.
Thank you.
Congratulations yourself.
Goodbye.
Good morning.
Morning.
How was your weekend? I think you know.
I can guess.
You won.
Yes, I won.
I thought she didn't like you.
Mrs.
Arthur? Her distaste for me was balanced by her affection for money.
She could have sold to Minnesota Brands.
Carol Arthur was born in Topeka, Kansas.
She spent her entire life putting distance between herself and her midwestern past.
There's no way she was going to make a deal with them.
You want some coffee? No, thanks.
Michael, I don't know if I can adequately express the meaning of the past few days.
But the bulk of the revelations are quite palpable by now.
You've surprised me, Michael.
Surprised me most profoundly.
Miles, do us both a favor, cut to the chase.
If you want to step outside and do it front of the whole staff? Fine, let's do that because it really doesn't make any difference.
I'm not going to apologize or beg for my job or give you one molecule of satisfaction over this.
Are you under the impression that I'm going to fire you? Yes, Miles, I'm under that impression.
It's erroneous.
What is? Your impression.
It was a bold move going out to California.
Very impressive.
But the thing I'm truly in awe of is your response to my lie detector gambit "test me or test no one.
" I knew you'd be inventive, but I never imagined you'd exhibit such unblinking bravado.
I'm ashamed to ever having underestimated you.
You've been playing some kind of full size chess game.
Now, you're moving me all over the board.
Hardly a game, Michael.
The stakes were quite real.
If Minnesota Brands had been a little more clever, a little less conservative, you and I would be having an altogether different conversation right now.
If you're not going to fire me, just what are we talking about? The future.
What good would it do me to fire you and Harriton? You're the smartest, most highly motivated people I've got.
If you weren't you wouldn't have tried to take over.
And who's to say you won't take over next time? You're already thinking how you'd have done things differently.
God.
Where would you go if you left? Where would you find these people, these resources? You've done your best work here with me.
You like this place.
You're just not too crazy about how I run it.
And who knows? You may have a point.
In any event, the smartest, safest thing to do is to keep you here.
Keep your friends close.
Keep your enemies closer.
You're not my enemy, Michael.
We both know that.
Our relationship is much more sophisticated than that.
This is not what I was expecting to hear today.
What would you like to hear? I'm hurt that you helped someone try to take this company from me? Yes, I'm hurt, but I understand.
I understand and I admire the courage.
I'm wounded, but no so deeply that I'd do something out of revenge to destroy the company that I want to save.
How can I stay? Because you want to.
Because I need you.
Ally ally oxen free.
We go on as if it had never happened.
No, it happened.
We both know that it happened.
Yes, you're right.
My mistake.
Something else.
Yes? Elliot comes back.
Salary and perks to be determined later.
Explain this to me one more time.
I'm not fired.
You get your job back.
You're not fired.
I get my job back.
- Right.
- Right.
Excuse me, but didn't we screw up? I thought so.
He must be planning something really awful, Michael.
Why would he want us back? He needs us.
Miles Drentell doesn't need anybody.
He's self-contained, like a thing that's that's that's self-contained.
Maybe he needs us.
Something is going on, and he needs us.
Something is changing.
Maybe we should have felt that, but we were just too distracted by our own stuff.
Well, there's been enough to go around.
So, I guess we're stuck with each other.
Looks like.
Must be fake.
Yeah, that or inertia.
- Oh, almost though.
- Yeah, almost.
I mean I told you from the beginning that it wouldn't work.
Well, listen, I agreed with you completely.
No, we never should have tried it.
The whole affair had disaster written all over it in big neon letters.
Totally folly.
Suicide.
Painful public suicide.
But imagine if it would have worked.
I yi yi.
Closed-Captioned By J.
R.
Media Services, Inc.
Burbank, CA And dance by the light of the moon