Y&R Transcript Thursday 4/24/03--Canada; Friday 4/25/03--USA

Provided By Eric

Jack: I'm not sureI heard you right.

 Nick: I think you did, and I'm serious.

 Jack: You want to leave newman and come work for jabot?

 Nick: Yeah. You got something for me?

 Jack: I realize you have issues with your father I understand that, but--

 Nick: You still don't get it.

 Jack: No, I get it. You're looking for a way to get back at your father.

 Nick: This is a than me just wanting to get even with my dad. This is about me wanting to be someplace where I'm a part of things,my opinion is respected.

 Jack: It's not that easy to just switch sides. It takes a long time to build trust.

 Nick: I can handle that. I just need to know if you got something for me. So do you?

 Victor: Have them be in o office first thing in the morning. All right. Thank you. Everyone here we're expecting?

 Victoria: Uh, nicholas was invited, but I don't think he'll show.

 Victor: You're well aware, of course, that your brother disagrees with the acquisition of satine. He thinks it's a foolhardy decision.

 Victoria: Well, I think he'll change his tune once we get a little bit further down the road.

 Victor: Phyllis, your report?

 Phyllis: Uh, yeah, my report. Okay, well, I told you before about the hyperlink so we can be in contact with all our retail stores directly. Um, I'm moving into a promotion and marketing plan. It's a daily internet program called "girl talk." It's basically a chat room, a discussion group, what have you. It'll give our consumers a chance to exchange cosmetic ideas, and we can, we can get, uh, a product reaction right away. I'm also thinking of bringing in some of satine's experts-- cosmetologists, stylists, what have you-- so that they can answer, um, the group's problems right away. Anyway, it's-it's going great. I'm getting great reaction from this so far. Um, we have a big cloud on the horizon. Um, it's-it's a pretty dark one.

 Lynne: You two aren't saying anything. What, am I breaking up your little victory celebration?

 Isabella: What victory? What are you talking about?

 Lynne: Don't play dumb, isabella.

 Isabella: I don't play dumb, lynne.

 Michael: Isabella and i have nothing to say to you, lynne.

 Lynne: Fine. I have plenty to say, and I intend to say it.

 Michael: Do I have to call security?

 Lynne: Go ahead, michael. I'm not afraid of you. You're nothing but a scheming, conniving coward, who deserves every bad thing that's gonna happen to him.

 Michael: Oh, my god, you need to get a grip.

 Lynne: No, what I need is a little more proof to blow the two of you out of the water.

 Isabella: What proof? What is it you think you know, lynne?

 Michael: She doesn't know anything, isabella. There's nothing to know. She's lost it, some form of delusional paranoia.

 Lynne: Deluded? No, that's you, thinking there's any remote chance that you might get away with this sick conspiracy.

 Michael: Okay, conspiracy. What conspiracy is that, lynne?

 Lynne: Michael, you know damn well what I'm talking about. You couldn't win chris fair and square, could you? You couldn't make her fall in love with you, so you plotted with this bimbo to break up her marriage.

 Jill: Oh, that woman.

 John: Well, did it go well?

 Jill: What, my day or my life?

 John: When I left you, you were visiting your birth mother.

 Jill: Yes, I was. Yes, I was, and it was so meaningful. I mean, for the very first time, we were about to sit down and delve into some important issues, when katherine comes flying in on her broomstick and scares the poor woman away.

 John: What do you mean?

 Jill: I mean she was in a rage. What else is new? And then when I looked up,charlotte was just gone. I'm sure she was terrified.

 John: You're telling me that charlotte left without even saying good-bye?

 Jill: Well, what polite human being could've gotten a word in?

 John: Well, what on earth was katherine in a rage about?

 Jill: Oh, does it matter? It was ugly, and it was loud. I'm telling you, john, I coulda killed her.

 Kay: Bloody woman thinks she can talk to my granddaughter any way she pleases? I have put up with her garbage mouth, but by god, she'll not talk to mackenzie like that. She doesn't have to put up with it as I have for-- brock.

 Brock: Don't let me interrupt you, duchess. You were saying?

 Kay: Jill, who else?

 Brock: Mother, I try to keep things as harmonious as possible with jill, but at the end of the day, I'm still your son. I'm on your side.

 Kay: I sense a "however" coming.

 Brock: However, a young william abbott came to me, asking for my daughter's hand in marriage. When I said I couldn't give my consent or approval, he said that there would be a marriage with or without my say-so, or yours or jill's or john'S. What, you're already aware of this?

 Kay: Oh, yes.

 Brock: Well, you can't blame jill for reacting the way she has. Now me, I'm not yelling and screaming, but, mother, believe me, this-this idea of my daughter getting married in her first year of college, it worries me terribly. You're-you're taking this rather well.

 Kay: Well, yes, of course I am. I've given billy and mackenzie, uh, my blessing.

 Brock: What? Mother... oh, mother, tell me-- tell me I didn't hear you right.

 (Doorbell rings)

 Chris: Oh, this day just keeps getting better and better.

 Mary: Well, I suppose you've already heard.

 Chris: Heard what, mary?

 Mary: About my son, this absurd idea he's come up with.

 Chris: Moving to los angeles, you mean.

 Mary: Oh, christine, you must see that this is all wrong for paul.

 Chris: Mary, please, and drag me into this.

 Mary: Christine, please, please, I've-- you've got to help me with this. You've got to help paul.

 Chris: I can understand why you're upset.

 Mary: Upset? I'm frantic. I've tried to get paul to listen to reason, but he's just acting on impulse. He's not thinking this through. His friends are here, his family is here. What-what about his business?

 Chris: Well, andy richards is taking over, and there are private investigorors in los angeles.

 Mary: All his contacts are here. Christine, he spent his whole adult life building up that business. 'S been a labor of love. He knows half the police force in genoa city. 'L'll have to go start from scratch in los angeles.

 Chris: Paul's a grown man. I'm sure he's given this move a lot of thought.

 Mary: Oh, christine, I'm begging you, if this move happens, I'll never have a relationship with my little grandson. I'll be left alone. Now if that sounds selfish, I'm sorry, but I think it'll be a tragedy for paul, too.

 Chris: Look, I'm sorry. I-I can't get involved.

 Mary: You're still angry with me, all the times I tried to get you to help me get paul away from isabella.

 Chris: No, mary, I'm not angry with you. Believe me, I understand your devastation, but if this is what paul has decided to do, then I can only support his decision.

 Mary: Oh, christine, you can't mean that. This isn't best for paul. It's the worst thing he could do. Please, christine, please, as his friend, help me stop him.

 Paul: All right, so, uh, all the cases I have going right now are in pretty good shape, and if you have any questions, you can always ask lynne or marissa, and most of these boxes here, uh, contain personal stuff, so I'll have 'em outta here in the next couple of days.

 Andy: You're kinda wanting me to mind the store, right?

 Paul: Well, no one can accuse you of being grandiose.

 Andy: I don't follow.

 Paul: And I'm offering you the business. I'd like you to buy it from me.

 Andy: (Chuckles) you're kidding?

 Paul: I'm moving across-country. Why would I be kidding?

 Andy: Okay, this seems kinda permanent here.

 Paul: That's the whole idea.

 Andy: Okay, paul, you're kinda catching me off guard here.

 Paul: Well, I don't know why. We used to be partners, you know the operation. I've asked lynne and marissa to stay on in their present capacity so they can help out, but if that's not what you want, it's your call, certainly. I mean, you are planning to stay here permanently in town, right?

 Andy: I'm here, it's just owning this firm.

 Paul: Oh, well, you know what? Let's worry about the price later. You know, in the meantime, it's yours. You can pay me month to month or, uh, you know, when we work out the details, or whatever you're comfortable with.

 Andy: Why don't we own it jointly, okay? I can buy in.

 Paul: Andy, I am not coming back here.

 Andy: Okay, paul, you need to listen to me, okay? We're talking about your life's work right here, and you do not have to just walk away 'cause you're changing addresses. I mean, why don't you think about-- franchise this place, come on.

 Paul: Andy, I I am kinda surprised you're not jumping at this opportunity.

 Andy: Because I'm a little concerned.

 Paul: Look, if it's the cash--

 Andy: It is not the cash. I'm concerned about you.

 Paul: Why? I'm fine.

 Andy: Yeah, I know that.

 Paul: Well, then what's the problem?

 Andy: What are you planning to do when you get to L.A.? Hmm?

 Paul: What do you mean?

 Andy: Are you gonna get relicensed out there, hang out a new shingle, I don't know, do something different altogether? 'Cause whatever one you choose, it-it ain't gonna be easy, okay? Have you even thought about any of this stuff?

 Paul: Look, my main focus is getting out there and relocating my family.

 Andy: Uh-huh, and just to heck with your livelihood?

 Paul: Well, I'm not exactly destitute.

 Andy: That's not my point.

 Paul: What is your point?

 Andy: I understand. I-I truly understand why you're doing this, and I'd like to be supportive.

 Paul: And you have been. So what's the matter, now all of a sudden you can't be?

 Andy: Okay, come on, stop.

 Paul: What, you think I'm making a mistake?

 Andy: Don't get defensive.

 Paul: If you're gonna try and talk me out of this, it's not, it's-- I' m made my decision. It's final.

 Andy: Okay. It's your life, it's gonna be your decision, but I'm sitting here trying to make sure you do not make this in haste.

 Isabella: What? I have never, in a million years--

 Michael: Oh, please, isabella, isabella, it's not worth a response.

 Lynne: Because there's nothing you can say. I know the truth.

 Michael: You have a cranium full of half-baked theories. Now if you want to call that the truth...

 Lynne: You know, I suspected for months there was some connection, some way you two knew each other before you came to genoa city, and guess what. I was right. You were in trouble with the law a few years back, something messy. Michael defended you and got you off, so you owed him big time.

 Isabella: Where did you hear this?

 Lynne: From your very own father. Marissa and I paid him a visit, and he confirmed you two go way back.

 Michael: Which proves what?

 Lynne: Well, you're capable of lying at the very least, but you see, once that piece fell into place, all the rest did, too-- why isabella showed up here at the exact moment paul was set to go to hong kong to reconcile with chris, why you weren't the least bit rattled when you found out your ex-husband might make parole. Because james was never a threat at all. You brought her here, michael, to latch onto paul so that he wouldn't make that trip to see his wife, and this isn't theory, counsel, this is fact, cold, hard fact, and when I get the evidence to prove it, you two will wish you were never born. 

 Brad: I've reworked the numbers, and depending on when we actually launch the line, there's gonna be significant cost differential, more than we expected, look.

 Ashley: Hmm. So I see. What--

 Dru: Hello, are you ready to be dazzled? Where is everybody?

 Ashley: It's just gonna be the three of us.

 Dru: Oh, I was under the impression that I was giving a progress report to the entire board.

 Brad: You were, but they're tied up.

 Dru: Eded up?

 Ashley: Do you have a problem with that, dru?

 Dru: Well, you tell me. This is the second time that most of the board was unavailable for my presentation. A girl could develop a complex.

 Ashley: It's not essential that everyone be here. After all, brad is the head of the line.

 Dru: Well, I'm glad that you could be here, brad.

 Brad: Where do you want to begin, dru?

 Dru: Well, I thought we'd--

 Ashley: I'll tell you where I'd like to begin.

 Dru: Oh, our first tuvia ad, isn't it fierce? What do you think?

 Ashley: What the hell were you thinking?

 Neil: So what time this afternoon? Oh, that's fine. That'll work. Thank you. Bye-bye. Victoria, we can look at that facility later if that works for you.

 Victoria: Yeah, that's good.

 Neil: All right, good.

 Victor: Sorry about the interruption.

 Neil: That's all right. You got that crisis handled, victor?

 Victor: I think so. Now, phyllis, you were talking about a dark cloud on the horizon. What do you mean by that?

 Phyllis: Uh, okay, well, here's a problem-- some of our most important retailers don't want to talk to us about satine. It's like they've closed the door.

 Victor: Why would they do that?

 Victoria: Well, we think they're being pressured by jabot.

 Victor: How so?

 Neil: We feel there's a threat, at least implicit, that jabot will pull its product line if these stores go with satine.

 Victor: Really?

 Phyllis: Yeah, we can't prove that. I mean, none of my contacts have mentioned anything to--

 Victoria: But it's very suspicious.

 Victor: There's only one person over there that would employ strong-arm tactics like that-- jack abbott.

 Phyllis: (Clears throat) why are you looking at me?

 Victor: You're married to the man, and he's out to destroy us.

 Phyllis: We're returning the favor.

 Victor: I don't like to put you into a compromising position.

 Phyllis: Um, victor, I knew that situation when I signed on, or, rather, when I decided to stay here at newman instead of succumbing to my husband's pressure to drop your company and go with jabot. I felt like I earned your trust then, or am I always going to be treated like a second-class citizen here?

 Jack: No, don't put it off, handle it today. Thanks, pat. Sorry about that.

 Nick: Problems?

 Jack: Nothing we can't handle. Listen, I realize right now the grass may be greener outside of newman, but you gotta take a longer view, nick. You're a newman. You are the heir apparent to a huge, multi-national corporation. You don't walk away from that.

 Nick: I can't deal with victor newman, not anymore.

 Jack: Don't mistake your personal life for your business life.

 Nick: When you work for my father, everything's personal.

 Jack: I realize you're angry. I realize you're hurt. Don't do anything you can't undo. This is not the way to retaliate.

 Nick: It's more than what he has done to me and my life. He questions my business judgment, I'm not consulted when major decisions are made, and I want out.

 Jack: What have you done about that? Assert yourself. Don't walk away with your tail between your legs. happening out there for warmer weather.

 Claire: Wóe

 Michael: You see, isabella, our dear miss lynne bassett loves to hurl empty, and I repeat,

empty threats around.

 Lynne: Empty? Well, here's a promise. I'm not letting this go. I will keep on digging, as long as it takes, till paul and chris are rid of you.

 Isabella: Have you gone to my husband with this? Have you, lynne?

 Michael: Of course she has. Chris, too, I imagine. Hmm? But no one's listening, are they, lynne? 'Cause they all know a crock when they hear it.

 Lynne: The minute I find that smoking gun--

 Michael: You go ahead. You keep looking, or you could get a life. Whatever propels you out of here quicker.

 Lynne: You have no idea how happy I'll be to never see either one of your faces, but first, I want the pleasure of taking you down.

 Michael: You go on fantasizing, lynne. Whatever keeps you warm at night.

 Lynne: You go to hell.

 Isabella: Michael.

 Michael: Shh.

 Isabella: Michael, what are we gonna do?

 Michael: Don't! Do not--do not panic because that is the worst thing we could do now.

 Paul: You know, when I told you I decided this the other day, you said you understood about severing the ties.

 Andy: There is a difference between that and running away.

 Paul: Oh, I see, and that's what you think I'm doing?

 Andy: You tell me. If you're just putting a lot of real estate between you and your problems right here--

 Paul: Ah, damn it, andy, I can't stay here anymore! I have tried. It's no good.

 Andy: I know you feel that way.

 Paul: And you're talking all ouound it, and you won't even mention her name.

 Andy: I am not gonna mention her name.

 Paul: Okay, well, then I will. You think I'm running away from chris? Maybe I am. You act like that's a mistake, like it's wrong. Maybe it isn'T.

 Andy: Okay, this-- if this is what you need to do to get on with your life, then go.

 Paul: You know what? Chris and I are finished, so I'm outta here. It's as simple as that. She can make her mistakes, and I can make mine. At least mine will be out in california and not here.

 Chris: Mary, even for friends, there are limits.

 Mary: But paul would listen to you. You know he would.

 Chris: If he wanted my advice, he would have asked for it.

 Mary: So what you're saying is that you think he'lbebe perfectly happy living in a strange city and being part of isabella's family, and, uh, while those of us back here get occasional postcards?

 Chris: Look, I know this is hard for you. You're used to having paul nearby, but los angeles is only a few hours away by plane.

 Mary: It won't be the same.

 Chris: No, of course it won't, but people go through this all the time. Young people move out, old people retire, families scatter.

 Mary: Maybe I could accept that if I could believe for one second that paul made this decision of his own free will.

 Chris: You think isabella's holding a gun to his head?

 Mary: Oh, she might as well be. She's probablybeen pressuring him for ages. She would do anything to get him away from me, and you, too, for that matter.

 Chris: Don't even start with that.

 Mary: It's true, christine. I even asked paul about it, if your return to genoa city had anything to do with his wanting to move away.

 Chris: He admitted it?

 Mary: No. He didn't deny it, either. Now that just proves to me that he still has feelings for you. Even though he has a new wife, deep down, he still--

 Chris: No, just stop, stop. I-I can't get mixed up in paul's life anymore. Besides, my focus is somewhere else now.

 Mary: I don't understand.

 Chris: Well, I have my own life. What you don't know, mary, is my engagement to michael is back on. We're gonna get married very soon.

 Mary: Oh, dear god!

 Chris: So you see, paul and are both moving on in very different directions, which is even more reason to stay out of this.

>>Arary: So that's your final answer?

 Chris: I'm sorry.

 Mary: You know, christine, there was a time with all your heart... but as you said, you have your own life now. Maybe you don't care about him at all anymore because if you did, you'd never be able to stay neutral while he's ruining his life. 

 Jill: Katherine doesn't give a damn about anybody else. As if we needed any more examples of that.

 John: Katherine and charlotte-- did the two of them meet?

 Jill: No, but I'm telling you, the timing couldn't have been worse. I mean, my mother and i were finally, finally starting to get somewhere, and then she comes in here like some rampaging warthog, calling names and making accusations.

 John: Sorry to hear that.

 Jill: My god, I am so upset. I don't have a phone number on her. I don't have an address on her. I have nothing.

 John: I take it she left fofore you could do that.

 Jill: So I just have to sit here, you know? I can't get in touch with her. I can't apologize for katherine's outrageous behavior.

 John: So katherine did not see her at any point?

 Jill: No, that's the one tiny bit of consolation in this whole disaster.

 John: But did you two get a chance to visit together? Did you learn more about her?

 Jill: Not nearly enough.

 John: Well, I thought maybe her age or when she graduated?

 Jill: What?

 John: She told us she went to high school here.

 Jill: Oh, no, we mostly talked about me. Charlotte has this habit of diverting attention away from herself.

 John: Did she mention anything about her family, some of the ramseys? Any one of 'em still living here in genoa city?

 Jill: What is with all these questions?

 John: Jl,l, I thought that was the point, for you to get to know her better.

 Jill: Yes, but we kept getting sidetracked. I mean, when you came in with the coffee, I had just gotten around to asking her for a number where I could reach her. Then katherine comes in and derails the entire meeting. Stupid woman.

 John: So you and charlotte didn't make any plans to get together again?

 Jill: Oh, my god, what if it's weeks? What if it-- what if it's never? I mean, what if katherine and her acid tongue frightened my poor little mother so badly, that she stays awafofor good?

 Kay: You and jill and anyone else can take whatever stand they want on billy and mackenzie getting married. I, for one, will not be told how I shou f feel about it.

 Brock: Mother--

 Kay: I have watched and stened to those two wonderful young people, and I have decided not to even try to interfere with it.

 Brock: Don't you think that, you know, as parents, we should at least let them know that they're--

 Kay: I'm a grandparent. I'm a grandparent. I don't have to give advice.

 Brock: Well, well, well, you're really making it very easy on yourself.

 Kay: All right, let's try this. Billy and mac are going to go through with this, as you said, with or without our approval. Now down the line, they may regret it, or they could live happily until their 100th wedding anniversary.

 Brock: That's true. That's true, but--

 Kay: We don't know. What we do know is that this wedding is a time for joy and hope for those two young people, and don't we love them? Don't we love them? Or won't we want to take part in that?

 Brock: Yes, of course.

 Kay: Yes, of course. So why are you holding back your approval?

 Brock: They're so young.

 Kay: Well, you get not-so-young damn quick. You can take that from me. Those two young people are very much in love, and, by god, let them enjoy it.

 Brock: How about you and jill?

 Kay: What about us?

 Brock: Is it going to help them to enjoy it, having you and jill at each other's necks every time you're in the same room together?

 Kay: She is the one. She is impossible. I try.

 Brock: Do you, mother? Where did you just come from?

 Kay: From jill's office.

 Brock: Uh-huh, and you were there to...?

 Kay: If you could have seen the way mackenzie reacted after jill laid into her, you're daughter--

 Brock: All right, I-I will talk to jill. I'll try to get her to see reason, but I will not try anand rip her head off, which is what I'm sure you did.

 Kay: Brock, don't you understand? That has always been the way it has been between us.

 Brock: It has...

 Kay: Yes.

 Brock: But you and jill soon will be related by marriage.

 Kay: Oh, please, I may vomit.

 Brock: And if you don't learn to get along together, billy and mac are gonna suffer.

 Kay: I don't know. I really don't know. I really don't know. It sounds good, but it's never going to work. She enjoys pushing my buttons far too much, and I've just never been able to stand jill abbott. I--it'll never work. I'm telling you right now, it's impossible. It's been impossible in the beginning, it'll be impossible for as long as we live. It will be impossible.

 Ashley: What were you thinking, running that ad?

 Dru: I was thinking promotion. Have you looked at the ad, ashley? This is going to cause such buzz around the tuvia line.

 Ashley: Assuming, for the sake of argument, that that's true--

 Dru: Assuming? Are you saying you don't like ad?

 Ashley: I can't seem to get past the way you completely ignored proper procedure.

 Dru: Okay, what is she talking about?

 Ashley: (Sighs)

 Brad: It's a great ad, dru. No question it's effective, and I appreciate your energy, we all do, but the fact is, part of your job description is not approvi p print ads.

 Dru: Brad, my job description does cover a wide array of promotional activities.

 Brad: True, and you certainly have input in those areas, however, you can't arbitrarily--

 Dru: I don't have final say.

 Brad: No, you don'T.

 Dru: Okay, point well taken. I'm sorry if I overstepped. It'll never happen again. I do understand protocol, and chain of command is very important. Okay, well, now that that's settled, and you seem to like the ad, I figure you want to continue with the campaign. We have some momentum going. I brought along some sketches so let's--

 Ashley: Would you just stop?!

 Dru: Now what?

 Ashley: We are not ready to be running an ad of any kind, not yet.

 Dru: Why not?

 Ashley: Help me, please.

 Brad: We're not far enough along in development, dru.

 Dru: Brad, with all due respect, you have a product that's just about ready to be launched.

 Brad: Only the cosmetics that ash has been working on for years. There is not a full line. The rest of it has to go through home placement tests, focus group work, regional test markets--

 Ashley: We have a lot to do before we expand this line nationally.

 Dru: Okay, whatever happened to creating anticipation?

 Ashley: You know, you're not getting this, okay? It's too early. We haven't even decided on packaging yet, which means that this "anticipation" you keep talking about could be for a product that doesn't look anything like that!

 Dru: Pray tell, when will the full line be ready?

 Ashley: We were just discussing that before you barged in.

 Dru: I did not barge in.

 Ashley: You did.

 Brad: All right, all right, all right, all right. We will let you know.

 Dru: Evidently, I misjudged the situation. See, I thought we were in for the fight of our lives here at jabot, but somebody put out the fire and forgot to tell me. Oops. Guess what, kids. Time is still of the essence.

 Ashley: Yes, it is, but we cant t afford to make a stupid mistake. The reputation of this company, my family's company, is on the line. Now if you've got a problem comprehending that, then maybe we better rethink this entire arrangement.

 Neil: You know what I think? I think you're overreacting, phyllis.

 Phyllis: Oh, do you?

 Victoria: Look, you're in a very difficult position. We all realize that.

 Phyllis: I think I've made my loyalties pretty clear.

 Victor: For the record, phyllis, I'm not questioning.

 Phyllis: Thank you.

 Neil: Victor, there's something else you should know. Jabot is already started running product ad.

 Victor: How can they be doing that?

 Neil: Take a look, third page in.

 Victor: "Tuvia--coming soon. From jabot cosmetics." How can they do this when they don't have product?

 Victoria: Well, we think th they're a little bit further down the pike than what we thought. Maybe ashley's been dabbling in this area for awhile.

 Victor: But jabot wanted satine. They wanted what we own. Why would they want that if they had their own product?

 Victoria: I don't know. I mean, why would they be running ads, full-page no less, if they didn't have a product?

 Victor: Phyllis, do you have an explanation?

 Phyllis: No, my husband and i don't discuss business. I told you that-- but why don't you ask neil, because his live-in girlfriend is a big hotshot at jabot. Neil?

 Neil: Phyisis, just like you and jack, dru and I have promised to keep all business off-limits.

 Victor: One thing we know for certain--they're pulling out all the stops. They may be closer than we think. But with satine, we have the advantage.

 Victoria: Well, not necessarily, dad, if they can curtail our distribution.

 Neil: It could be jack's biggest weapon--implying that he'll pull jabot product if satine gets major retail shelf space.

 Victor: If we don't get into the mainstream, we'll fail with this. Am I right? Obviously, jack abbott is applying pressure to keep us away from the main retailers.

 Neil: So how do we deal with it?

 Victor: We stop him.

 Victoria: Can we?

 Victor: We have weapons of our own. If jack abbott wants a war, he'll have war.

 Nick: I am not walking away with my tail between my legs. If you can't tell the difference between that and wanting the respect that I have earned, then I've misjudged you.

 Jack: Nicholas, I'm just trying to get you to think about what is in your best interests.

 Nick: Let me tell you a story. A few years back, my dad comes to me, wants to put me on the newman board of directors, which I deserved. Sends out some press releases, never happens.

 Jack: Why?

 Nick: Because he demanded that I sell this place. In the eyes of victor newman this coffeehouse idea was stupid. You know me. I'm not backing down from that. So I refused, he takes away the board seat, still hasn't happened to this day.

 Jack: Have you confronted him on this? Have you gone to him?

 Nick: You think it's gonna make him change his mind? No, it's N..

 Jack: Nicholas, he's not gonna hold the coffeehouse over your head forever, particularly now that you've made a great success of it. You and I both know he wants you at the helm of newman down the road-- you and your sister.

 Nick: My sister maybe. Jack, they're making huge decisions without so much as asking my opinion.

 Jack: Come on, nicholas. For weekyoyou've had a child in crisis.

 Nick: Still no reason to keep me out of the op.

 Jack: I think your father and your sister have tried to be sensitive to your situation.

 Nick: Okay, so they go behind my back and spend millions of dollars for this damn cosmetics company.

 Jack: What, now you're talking about satine?

 Nick: Yh, I'm talking about satine. Why? Are there others I don't know about?

 Jack: When satine was purchased, the last place your mind needed to be was business. You had a daughter in intensive care.

 Nick: He still should've mentioned it.

 Jack: I think you should cut your father some slack.

 Nick: Look, the acquisition doesn't make sense for newman enterprises. We can't compete against a full-scale cosmetics company like jabot. We're doomed to failure.

 Jack: It's why your father bought the company, nick. He's trying to level the playing field.

 Nick: It'll never happen. Meanwhile, we're out $25 mil, and for what? Nothing. I think you and jabot will run us into the ground.

 Jack: Well, for what it's worth, I happen to agree with that sentiment, and I appreciate the confidence.

 Nick: You know, something-- something's been really nagging at me, though.

 Jack: Go ahead. What?

 Nick: My old man, he just doesn't make bad business decisions like this. He's up to something else.

 Jack: What do you mean? Like what?

 Nick: I don't know. It's just a feeling I got.

 Jack: Listen, your father's ego is the stuff of legends. He saw something he wanted, he thought he could have it, he went for it. It's really that simple.

 Nick: Maybe.

 Jack: Probably. Oh, jeez, I've got to get out of here. What do I owe you?

 Nick: Don't worry about it. Look, I want you to seriously consider what I'm asking-- about me working at jabot. I'm good at what I do.

 Jack: I want you to give this me more thought. Nicholas, we're talking about your whole future here. I don't take that lightly. I don't think you should either.

Jen, did you wear my black blouse last night?

 Brad: All right, let's move along, shall we? Dru, let's hear the rest of your suggestions for the rollout.

 Dru: Yes, I was trying to make that point earlier. Okay, we need to create a buzz around the product. Yeah? We have a great name, a strong name-- tuvia, swahili for "fire." Now jabot has a known name in the cosmetics world, but it's after a brand-new consumer base--women of color. And I have been focusing on ways to garner these new potential buyers--

 Ashley: And you came up with?

 Dru: All right, I have a great pitch, okay? Hold on. Don't want to make any stupid mistakes. All right, here's my pitch. We bring in the new consumer-- african-american women. We give them sample makeup, we encourage them to wear it in, you know, specified marketing areas such as the workplace, restaanants, theater--

 Brad: Wherever they come in contact with other women.

 Dru: You've got it, brad. Okay? And then when the women say, "pardon me, where did you get that fabulous color?" We hit them with product and give them a list of the local stores selling the entire line. What do you think?

 Brad: Not a bad idea.

 Ashley: I like it.

 Dru: I thought you would. I went to marketing, had them work up numbers. You have all the information in your packets.

 Brad: All right, I'm gonna have to look at this a little more closely. I'll get back to you. I hate to cut this short, but I have another meeting to get to.

 Ashley: Bye, sweetie.

 Brad: Good work, dru.

 Dru: Thank you, brad.

 Dru: Well, I think I should be going as well.

 Ashley: Uh, no, I need to speak with you.

 Dru: I have a really long day ahead of me, ashley--

 Ashley: I'm sure you do, but I'm not done.

 Isabella: "Don't panic?" That's your advice? Lynne just nailed us, and we're not supposed to be freaking out?

 Michael: "A," she has no proof, "b"--because there is no proof, and "c"--if we lose it, given "a" and "b," it would look bad, isabella. It would look very bad.

 Isabella: So you don't think she can hurt us with this?

 Michael: She hasn't yet.

 Isabella: Oh, that's reassuring. Thank you, michael.

 Michael: Look, cry, scream, throw things against the wall, do whatever it takes to get this out of your system. But once you calm down, you walk out of this office, you call the movers and you get the hell out of dodge as quick as possible.

 Isabella: And you-- you marry christine as soon as you can.

 Michael: That is definitely the plan, sweetheart. (Door open

 Chris: Hello? Lynne, are you here?

 Paul: Oh, I'm sorry. I didn't hear you come in.

 Chris: Wow. Between these boxes and that L.A. Magazine, you're already gone, huh?

 Paul: Yeah, well, that's me. California dreamin'.

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