[ THEME SONG PLAYS ] * I BET WE'VE BEEN TOGETHERFOR A MILLION YEARS * * AND I'LL BET WE'LL BE TOGETHERFOR A MILLION MORE * * OH, IT'S LIKEI STARTED BREATHING * * ON THE NIGHT WE KISSED * AND I CAN'T REMEMBERWHAT I EVER DID BEFORE * * WHAT WOULD WE DO, BABY * WITHOUT US? * WHAT WOULD WE DO, BABY * WITHOUT US? * AND THEREAIN'T NO NOTHIN' * * WE CAN'T LOVEEACH OTHER THROUGH * * OOH-HOO * WHAT WOULD WE DO, BABY * WITHOUT US? * SHA-LA-LA-LA -MOM, CAN I TALK TO YOU?-IN A MINUTE, HONEY. I GOTTA FINISH MY RéSUMé, ANDTHEN I'M OFF TO THE INTERVIEW. UH, WHY DON'T YOU TALKTO YOUR FATHER? HE CAN'T HELP ME.IT'S ABOUT BOYS. YEAH, HOW WOULD I KNOWABOUT THEM? YOU KNOW MY PHILOSOPHY,MALLORY. IF A BOY MAKES YOU STARTASKING QUESTIONS, CUT HIM LOOSE. HEY, HOW'S THE RéSUMé COMING,MOM? FINISHED. I FUDGED A LITTLE BIT,BUT BASICALLY IT'S ME. DID YOU, UH, -PUT IN THOSE THINGS I TOLD YOU?-SOME. I LEFT OUT THE PART ABOUT MEDESIGNING THE EIFFEL TOWER. COME ON, MA,THEY NEVER CHECK THAT STUFF. YEAH, WELL, I HOPE NOT. I DID TAKE SOME OF YOUR ADVICE,AND I PUT ALL MY ATTRIBUTES ON PAGE ONE, RIGHT AT THE TOPAND THE CENTER. AND THEN I HID THE FACT THAT I HAVEN'T WORKEDIN AN OFFICE FOR 12 YEARS ON PAGE TWO,UNDER THE STAPLE. I ALSO CHANGED 12 YEARSTO 144 MONTHS. I DON'T KNOW WHY I'M GOINGON THIS INTERVIEW ANYWAY. THEY PROBABLY DON'T WANT ME. THEY PROBABLY WANT SOMEONEMORE UP TO DATE, SOMEONE YOUNGER. ELYSE, GRANDMA MOSESDIDN'T START PAINTING UNTIL SHE WAS 80. YEAH. THAT STILL GIVES YOUA COUPLE YEARS. JUST TRYING TO RELAX YOU. MOM, ALL YOU'VE BEEN TALKINGABOUT THE PAST TWO WEEKS IS HOW MUCHYOU WANT THIS JOB. YEAH. I THOUGHT YOU WANTEDTO EXPAND YOUR HORIZONS. I THOUGHT YOU WANTEDMORE CHALLENGING WORK. I THOUGHT YOU WANTEDTO MAKE MORE MONEY. I DO WANT ALL THOSE THINGS,BUT I'M SCARED. YOU'VE GOTFIRST-DAY JITTERS, MOM. I GET THE SAME THING EVERY FALLWHEN I GO BACK TO SCHOOL. REALLY? I WORRY ABOUTMY NEW TEACHER, MY NEW CLASSROOM,NEW KIDS -- EVERYTHING. BUT THE FIRST DAYALWAYS WORKS OUT FOR ME. AND IT WILL FOR YOU, TOO. THANK YOU, JENNIFER. OF COURSE, SOMETIMESI THROW UP AROUND LUNCHTIME. WHA-- WHAT ARE YOUWORRYING ABOUT? YOU'RE A TERRIFIC CATCHFOR ANY ARCHITECTURAL FIRM. YOU KNOW WHAT YOU'RE DOING,YOU'RE EXPERIENCED, YOU'RE RELIABLE. YEAH, MOM, LET'S GO OVER YOUR ASSETSAND YOUR LIABILITIES. CAN'T WE JUST GO OVERMY ASSETS? MAY I? OKAY.ELYSE KEATON. NOW, THAT'S A NICE NAME.THAT SHOULD COUNT AS AN ASSET. OH, IT'S A FINE NAME, MOM,BUT, UH, LET'S FACE IT. IT'S NOT GONNA GET YOUTHE JOB. YOUR, UH, REFERENCESSEEM TO BE IN ORDER. ALEX, ENOUGH. WE DON'T HAVE TO ADD UPYOUR ASSETS AND LIABILITIES. WHEN THEY MEET YOUAND READ THIS RéSUMé, THEY'RE GONNA BEVERY IMPRESSED. THANK YOU.YOU'VE ALL BEEN VERY SUPPORTIVE. I DON'T WANT TO BE LATE.ANY LAST-MINUTE ADVICE? ASK ABOUT VACATION. FIND OUT IF THERE'SA GUM BALL MACHINE. BE YOURSELF. DON'T TELL 'EMYOU'RE A WOMAN. * DON'T CHANGE A HAIRFOR ME * SORRY. I-I'M-- I'M WAITING HEREFOR KAREN BANKS. YOU'RE LOOKIN' AT HER. JUST KIDDING.ACTUALLY, I'M KAREN DUGAN. KIDDING AGAIN. BILL CHANNING. REALLY? WOULD I KID YOU? [ LAUGHS ] ELYSE KEATON. SO YOU'RE HEREFOR THE NEW JOB, HUH? UH-HUH. I'M AN ARCHITECT MYSELF. YOU ARE? YOU ARE. ELYSE, I'M KAREN BANKS. OH, HI. NO KIDDING.SHE IS. I'M SORRY WE HAVE TO MEETHERE IN BILL'S OFFICE. THE CONFERENCE ROOMIS TIED UP. BILL, I WOULD LIKE TO CONDUCTAN INTERVIEW IN HERE. OKAY, I GOT A COUPLEEXTRA MINUTES. WHAT WOULD YOU LIKETO KNOW? I WOULD LIKE TO KNOWWHEN YOU'RE LEAVING. OUT OF HERE. BYE. HE IS ACTUALLYA VERY FINE ARCHITECT. I COULD TELL. MAY I SEE YOUR RéSUMé,PLEASE? AH, YES.UH, I HAVE NOTHING TO HIDE. WELL, I SEE YOU HAVEN'T WORKEDIN AN OFFICE FOR 12 YEARS. HAS IT BEEN THAT LONG? IT DIDN'T SEEM MORETHAN 144 MONTHS. A-ANYTHING ELSETHAT NEEDS CLARIFICATION? EVERYTHING SEEMS TO BE IN ORDER. AH, NO ONE REALLY CHECKS UPON THOSE RéSUMéS ANYWAY, HUH? WE DO. TELL ME WHY YOU WOULD LIKETO TAKE A FULL-TIME JOB AGAIN. WELL, UH, I, UM -- I AM AN ARCHITECT. AND... ...NOW THAT MY, UH, KIDSCAN TAKE CARE OF THEMSELVES, I-I THOUGHT I'D GO BACK TO,UH, TO WORK, UH, FOR WHAT I'M TRAINED TO DO,IN A -- -IN A MORE MEANINGFUL WAY.-I SEE. UH, BUT MORE THAN ANYTHING,I'M TIRED OF WORKING OUT OF MY KITCHEN. DO YOU KNOW HOW HARD IT ISWORKING WHEN -- WHEN YOU KNOW THAT YOU'RE JUSTINCHES AWAY FROM FUDGE BROWNIES? [ LAUGHS ] WELL, YOU WON'T HAVETHAT PROBLEM HERE. THERE'S ONE QUESTION I'VE BEENASKING ALL THE APPLICANTS. YEAH. WHAT DO YOU FEELSHOULD BE THE ROLE OF THE ARCHITECTIN THE 1980s? AND WHAT DID THEY SAY? I THINK, UH... I-I THINK WE SHOULD TAKEADVANTAGE OF THE NEW TECHNOLOGY, BUT, UH, TO BUILDAND NOT DESTROY. UH, TAKE FOR EXAMPLETHE OLD MORGAN HOUSE. IT WAS BEAUTIFUL. 200 YEARS OLD,AND THEY TORE IT DOWN AND PUT UP A PARKING LOT. NOW, THAT'S THE KIND OF THINGTHAT MAKES ME CRAZY. THAT WAS ONE OF OUR JOBS. ARE YOU SURE THIS DRESSIS GONNA BE READY -FOR CHRISSY'S PARTY?-POSITIVE. -IT'S A VERY SIMPLE PATTERN.-YOU'LL SEE, JENNIFER. I'M GONNA PICK UP THISSEWING STUFF REALLY QUICKLY. UH, REMEMBER, MALLORY, THE THREAD GOESTHROUGH THE NEEDLE. YOU'LL BE SURPRISED, ALEX. I KNOW HOW IMPORTANT IT ISFOR A WOMAN TO LEARN HOW TO SEW. MALLORY, YOU'RE A REAL WOMANOF THE '80s. THANKS. SO HOW DID THE INTERVIEW GO? HI. NOT VERY WELL.SHE DIDN'T LIKE ME. SHE WAS VERY, VERY COLD. NOW, IT'S NOT THAT I EXPECTEDA BIG BANNER SAYING, "WELCOME BACK TO ARCHITECTURE,ELYSE KEATON." BUT I THOUGHT, WELL,AT LEAST, YOU KNOW, A CAKE. [ CHUCKLES ] I'M SURE YOU MADEA GOOD FIRST IMPRESSION, ELYSE. YOU ALWAYS DO. FROM THE MOMENTI LAID EYES ON YOU, I KNEW YOU WERETHE ONLY ARCHITECT FOR ME. MAYBE I'M BETTER OFFIF I DON'T GET THE JOB. I MEAN,WHAT DO I NEED A JOB FOR? T-THE COMMUTING,HAVING A BOSS. I MEAN, I-I'M DOING OKAYWORKING HERE AT HOME. I KNOW EXACTLYWHAT YOU MEAN, MOM. I MEAN, I COULD TAKE GEOMETRYNEXT SEMESTER. THERE'S A CHANCEI COULD HANDLE IT, BUT THEN THERE'S A CHANCEI COULDN'T HANDLE IT. SO WHY BOTHER, RIGHT? I-I DON'T THINKIT'S THE SAME THING, MALLORY. ELYSE, IT'S OKAY TO ADMITYOU'RE SCARED ABOUT A NEW JOB. I'M NOT SCARED.[ TELEPHONE RINGS ] DON'T ANSWER THAT! M-MAYBE I'M A LITTLE SCARED. HELLO. YES, SHE IS.ONE MOMENT, PLEASE. MOM. HELLO? HI. YES.SPEAKING. HI, KAREN. UH-HUH. UH-HUH. WELL, THANKSFOR LETTING ME KNOW. I'M SORRY. I GOT THE JOB! -OH!-[ SQUEALS ] THEY LIKED THE FACT THAT --THAT I WAS OLDER. AND THAT I-I HADMORE EXPERIENCE, AND THEY APPRECIATEDMY HONESTY AT THE INTERVIEW. -[ SQUEALS ]-GO FIGURE. -HI, BILL.-OH, HI, ROOMIE. HEY, CONGRATULATIONSON GETTING THE JOB. -THANKS.-WHOA. THAT'S MY TABLE. UH, WHERE'S MINE? RIGHT HERE. JUST BREAKING IT INFOR YOU. [ CHUCKLES ] WELL, NICE TO SEE YOU.HOW'S EVERYTHING? [ SIGHS ] ACTUALLY, I'M HAVINGKIND OF A ROUGH WEEK. I CAN'T GET MY GIRLFRIEND TO GIVE MEHER NEW PHONE NUMBER. OH, WHY DON'T YOUJUST LOOK IT UP IN THE BOOK? YOU KNOW HER LAST NAME? ENOUGH ABOUT ME. YOU KNOW, I THINK YOU'REREALLY GONNA LIKE IT HERE. WHY DON'T YOU LET MEINTRODUCE YOU TO THE MACHINES. YO, MACHINES, COME ON OVER HEREAND MEET ELYSE. ALL RIGHT,HAVE IT YOUR OWN WAY. WE'VE GOT THE RUNNYMEDE 1800KWORD PROCESSOR, THE MERRIWELLC.A.D. SYSTEM. BOY, THESE MACHINESARE UNBELIEVABLE. YES, THEY ARE. -WELL, ELYSE, I SEEYOU'RE MAKING YOURSELF AT HOME.-YES. -WE WERE JUST TALKING ABOUTTHE MACHINES.-AH. I ASSUMEYOU'RE FAMILIAR WITH THE MERRIWELL COMPUTER-AIDEDDESIGN AND DRAFTING SYSTEM. WELL, I-I'VE NEVER ACTUALLYUSED THE MERRIWELL, BUT, UH, HOW DIFFERENT CAN IT BEFROM ANY OTHER APPLIANCE? RIGHT. WELL, IT COULD BE HELPFUL WITH THE MANHATTAN CORPORATIONPROJECT. WE'RE BIDDING ON A COMBINATIONOFFICE BUILDING/HEALTH CLUB. BILL IS DESIGNING THE OFFICEBUILDING PART OF THE PROJECT. -YOU'LL BE WORKING ONTHE HEALTH CLUB.-OH, SOUNDS EXCITING. WE HAVETENTATIVELY SCHEDULED A PRESENTATIONWITH MR. HALIFAX -- HE'S HEAD OF MANHATTAN --FOR TWO WEEKS FROM TOMORROW. TWO WEEKS? [ EXHALES SHARPLY ]ISN'T THAT ENOUGH TIME? I-IT'S MORE THAN ENOUGH. OKAY. GOOD.HERE YOU GO. SITE PLAN. BUDGET.SPECIFICATIONS. GOOD LUCK. THANK YOU.THANKS FOR EVERYTHING. SO LET'S GET TO KNOWEACH OTHER. TELL ME A LITTLE BITABOUT YOURSELF. FAMILY? KIDS? -I -- BUT I---I DON'T HAVE ANY MYSELF. THOUGH I WASMARRIED ONCE. WELL, TWICEIF YOU COUNT MY COUSIN. SO, WHAT KIND OF STUFFYOU BEEN WORKING ON LATELY? OH, WELL,THE LAST THING -- YOU KNOW,FOR MY SENIOR PROJECT, I WORKED ON AN ENTIRE CITYOF THE FUTURE. LARGE ENOUGH FOR A HALFA MILLION PEOPLE. IT WAS QUITE A CHALLENGE. MAXIMIZINGGEOMETRIC AESTHETICS WHILE MAINTAININGA RESTRAINED FUNCTIONALISM. WHAT DID YOU SAYYOU DID LAST? I-I JUST FINISHED A REMODELON THE WILSONS' RANCH HOUSE. WE -- WE TOTALLY REDIDTHE KITCHEN, WHICH INVOLVED PUTTING UPA NEW BEAM TO SUPPORT THE ROOF. WOW. A BEAM. SO, GUESS YOU'RE PRETTY ANXIOUS TO GET YOUR HANDSON THOSE LITTLE BABIES, HUH? NO, I-I CAN WAIT MY TURN. BILL, I NEED TO GO OVERTHESE DESIGN PLANS WITH YOU. THERE IS NOTHING HERETHAT I WANTED. IT'S THE OPPOSITEOF WHAT WE DISCUSSED. SHE WANTS ME. CAN'T BE MUCH DIFFERENTTHAN A TYPEWRITER. "THE QUICK BROWN FOX." OH. BING. [ WHIRS, BELLS RINGING ] UH-OH. UH, STOP. STOP! STOP! [ YELPS ] STOP! [ SHRIEKING ] [ SIGHS ] ELYSE, I CAN'T BELIEVEYOU'RE STILL WORKING. WHY DON'T YOU TAKE A BREAK? THE PRESENTATIONIS TOMORROW. -I'LL TAKE A BREAKTHE DAY AFTER.-[ SIGHS ] WHAT DO YOU THINK? IT'S VERY FLATTERING. HAVE YOU ALERTED WOMEN'S WEAR DAILY? MOM, YOU'VE GOT TOSHOW MALLORY HOW TO DOTHE OTHER SLEEVE. HONEY, I'M SORRY.I FORGOT WE WERE SEWING TONIGHT. I THINK I DID A PRETTY GOOD JOB.DON'T YOU? SHE'LL GROW INTO IT. I WON'T GROW INTO ITBY SATURDAY. MOM, I NEED TO WEAR ITFOR CHRISSY'S PARTY. HONEY, I'M SORRY.I CAN'T HELP YOU TONIGHT. THAT'S WHAT YOU'VE SAIDFOR THE PAST FIVE NIGHTS. OKAY, LOOK,I'LL TELL YOU WHAT. A-AFTER YOU KIDS GO TO BED,I'LL FINISH IT. BUT THE WHOLE IDEA WAS FOR METO LEARN HOW TO DO IT. WELL, HONEY, YOU CAN'T HAVEEVERYTHING. I AM DOINGTHE BEST I CAN! GIRLS, GIRLS, YOUR MOTHER'SREALLY BUSY. I THINK WE SHOULDLET HER WORK, HUH? WELL,IF YOU'RE TOO BUSY FOR US... MOM, I SYMPATHIZEWITH WHAT YOU'RE GOING THROUGH. I MEAN, TODAY'S WOMAN IS INA VERY DIFFICULT POSITION. TRADITION AND CERTAINLY BIOLOGYHAVE PUT HER IN THE HOME. NOW THERE ARE THESE RIDICULOUSNEW FEMINIST PRESSURES FOR HER TO DO THINGSOUTSIDE THE HOME, LIKE DEVELOPING A CAREER. YOUR ANXIETY IS NATURAL,MOM. YOU CAN'T FOOLWITH MOTHER NATURE. SAY GOOD NIGHT, ALEX. GOOD NIGHT, ALEX. ELYSE, UM...[ CLEARS THROAT ] I'VE DONE A LOTOF PRESENTATIONS. SOMETIMES A LITTLE JOKE CANGET YOU OFF ON THE RIGHT FOOT. MAYBE, UH --MAYBE SOMETHING LIKE THIS -- UM... A GUY AND HIS, UH, DOGGO INTO A BAR. STEVEN, THAT'S RIDICULOUS. I-I'M JUST TRYING TO HELP. A-AREN'T YOU SUPPOSED TO COME UPWITH JUST ONE DESIGN, JUST ONE HEALTH CLUB? THANK YOU, STEVEN.I THINK I KNOW WHAT I'M DOING. LOOK, ONCE I'VE LAID OUTALL THE OPTIONS, I-I'M GOING TOSYNTHESIZE THEM INTO A SINGLE,COHERENT PROPOSAL. ELYSE -- I CAN HANDLE IT!I CAN HANDLE IT! LOOK, ELYSE,IT'S AFTER 10:00. YOU PROMISED TO SEWJENNIFER'S DRESS. YOU'RE GONNA BE UPALL NIGHT. YOU'RE OBVIOUSLYOVERWORKED. NOW, WHY DON'T YOU TALKTO KAREN ABOUT THAT? I CAN'T! I CAN'T -- I CAN'T LET HER KNOWI'M HAVING PROBLEMS ALREADY. BUT YOU ARE. YOU'RE PRETENDING YOU KNOWHOW TO USE THE COMPUTER. YOU'RE WORKING AT A PACETHAT'S MUCH FASTER THAN WHAT YOU'RE USED TO. YOU'RE NOT USED TOTHEIR SYSTEM THERE, AND YOU'RE AFRAIDTO ASK QUESTIONS. WHY DON'T YOU JUST SAYI'M FAILING ON THE JOB? ALL -- ALL I'M SAYING IS THATMAYBE YOU SHOULD ASK FOR A LITTLE HELPAT WORK. YEAH, WELL, I COULD USEA LITTLE HELP AROUND HERE, TOO. WELL, I'LL BE GLADTO HELP. THAT IS EXACTLY WHAT I DON'T WANT! WHAT ARE YOU TALKING ABOUT? YOU KNOW WHAT I'M TALKING ABOUT. FOR THE PAST TWO WEEKS, YOU'VE BEEN DOING MORE COOKINGTHAN USUAL. YOU'VE BEEN SPENDING MORE TIMEWITH THE KIDS. YOU HAVE BEEN SWEETER, KINDER,MORE UNDERSTANDING THAN YOU HAVE EVER BEEN INYOUR LIFE, AND I AM SICK OF IT! I AM TRYINGTO BE SUPPORTIVE. I'M TRYING TO HELP. WELL, STEVEN,ALL SORTS OF WOMEN HAVE FAMILIES AND FULL-TIME JOBSWITHOUT YOUR HELP. THAT'S BECAUSE I'M NOTMARRIED TO THEM. BUT YOU'RE TELLING MEYOU'D LIKE IT IF YOU WERE? LOOK, ELYSE... [ CHUCKLES ] I KNOW YOU'RE UNDERA LOT OF PRESSURE RIGHT NOW. EVIDENTLY YOU'VE GOT TO LET OFFA LITTLE STEAM, SO GO AHEAD. NOTHING YOU CAN SAYWILL MAKE ME MAD. AND YOU CALL YOURSELFSUPPORTIVE! SO IN CONCLUSION,MR. HALIFAX, MY GOAL HERE WASTO DESIGN AN OFFICE THAT WAS MORE IMPRESSIVETHAN THE OFFICES OF THE HEADS OF GENERAL MOTORS,IBM, AT&T, FOR, IN MY OPINION, YOU ARE A MORE IMPRESSIVEEXECUTIVE THAN ANY OF THOSE MEN. I UNDERSTAND. [ CLEARS THROAT ] WELL, THAT'S THE, UH,THAT'S THE OFFICE IN A NUTSHELL. UH, IT WAS A PLEASURETO DESIGN. AND IF I MAY BE SO BOLDAS TO SAY, YOU WERE AN INSPIRATION. THANK YOU. THANK YOU, BILL.THAT WAS VERY GOOD. UH, WHAT DO YOU THINK,MR. HALIFAX? IT'S NOT WHAT I HAD IN MINDAT ALL. I DIDN'T THINK SO, AND THAT'S WHY I'D BE MORE THANWILLING TO WORK ON THIS UNTIL I GET ITEXACTLY RIGHT. IT'S NOT WHAT I HAD IN MIND,BUT I THOUGHT IT WAS BRILLIANT. WELL, YOU HAVE A KEEN EYE.[ CHUCKLES ] SURE YOU NEVER STUDIEDARCHITECTURE YOURSELF? POSITIVE.NEVER BEEN TO COLLEGE. SELF-MADE MAN. I DIDN'T WANT TO GO TO COLLEGEEITHER. MY PARENTS MADE ME. WELL, MR. HALIFAX,I'M GLAD YOU'RE SO PLEASED WITH THE OFFICE BUILDING. NOW ELYSE WILL SHOW US WHAT THE HEALTH CLUB'SGOING TO BE LIKE. WARMED HIM UP FOR YOU, ELYSE.GO GET HIM. I'M REAL EXCITED ABOUTTHIS PROJECT, MR. HALIFAX, AS I'M SURE YOU ARE, TOO. BEFORE I STARTTHE PRESENTATION, I'M REMINDEDOF A LITTLE STORY. THIS MAN AND HIS DOGGO INTO A BAR -- ELYSE. OH, DON'T STOP HER.THIS SOUNDS GOOD. WHAT KIND OF A DOG WAS IT? BILL.ELYSE, PLEASE CONTINUE. AND THE BARTENDER SAYS, "HEY -- ELYSE. THE PRESENTATION. OKAY.UM, HERE IS THE ONE-STORY PLAN. HERE ISTHE MULTI-STORY PLAN. AND HERE WE HAVEA SPECIAL ONE -- THE UNDERGROUNDGYMNASIUM PLAN. NOW, UH, WITHIN EACH PLANTHERE ARE SEVERAL SUBPLANS, AND WE CAN GO OVERTHE ASPECTS OF EACH, AND YOU CAN DECIDEWHICH YOU LIKE BEST. YOU'RE BEING CUTE,RIGHT? YOU REALLY JUST HAVEONE PROPOSAL. I MEAN, YOU DID DESIGNA HEALTH CLUB, DIDN'T YOU? I REALLY DIDN'T GET A CHANCETO NARROW IT DOWN TO JUST ONE. BELIEVE ME -- I WANTED TO, BUT I RAN OUT OF TIMELAST NIGHT. HAD TO MAKE ALL THOSE LUNCHESBEFORE I WENT TO BED, THEN I LOST THE SLEEVEON JENNIFER'S DRESS. LET'S START WITHTHE UNDERGROUND GYMNASIUM PLAN. NOW, THAT WILL GIVE YOUTHE BEST OF ALL POSSIBLE WORLDS. AND WHO DESERVES THATMORE THAN YOU, HUH, MR. H? KAREN, I'M A BUSY MAN. I DON'T HAVE TIME TO LOOKTHROUGH ALL THESE THINGS. NOW, I'M PAYINGTHIS ARCHITECTURAL FIRM TO DESIGN MY BUILDING. IF I WANTED TO DESIGN IT MYSELF,I WOULD HAVE DONE SO. AND I BET YOU'D HAVE DONEA HECK OF A JOB, MR. H. I HAVE AN IDEA. WHY DON'T YOU PUT SOMEOF THESE PLANS ON THE COMPUTER, AND WE CAN SEEWHICH YOU LIKE BEST. RIGHT.THE COMPUTER. WELL, WHY DON'T I JUSTDRAW IT UP ON PENCIL AND PAPER. THE COMPUTER'S SO IMPERSONAL. THAT'S WHY I LIKE IT.LET'S GO. UH, WELL... FORGET IT.I-I CAN'T USE THE COMPUTER. WHY NOT? I-I SIMPLY DON'T KNOWHOW TO USE THE MACHINE. I'VE BEEN FAKING IT. KAREN,WHAT'S GOING ON HERE? IS THIS SOME KINDOF AFFIRMATIVE-ACTION THING? DID YOU HAVE TO HIRETHAT PERSON? NOW, SEE HERE,MR. HALIFAX -- WHAT IS IT? SEE HERE... I DIDN'T HEAR YOUTHAT WELL. SEE? MR. HALIFAX, I-I APOLOGIZEFOR WASTING YOUR TIME. KAREN, I'M -- I'M -- I'M SORRY.I'M TIRED OF PRETENDING. PRETENDINGTHAT I KNOW EVERYTHING ABOUT ARCHITECTURE TODAY. PRETENDING THAT --THAT HAVING A JOB AND -- AND THREE KIDSIS A PIECE OF CAKE. THE -- THE TRUTH OF THE MATTERIS IT'S -- IT'S HARD TO DESIGN A BUILDINGUNDER THIS KIND OF PRESSURE. IT'S -- IT'S HARD USING MACHINES YOU'VE NEVER EVENHEARD OF BEFORE! AND IT IS DAMN HARDCOMING BACK TO WORK AFTER ALL THESE YEARS. WELL, THAT SEEMED TO GOPRETTY WELL. OH, STEVEN, I MADE SUCH A FOOLOUT OF MYSELF. WHAT EVER MADE ME THINKI COULD HANDLE A JOB LIKE THAT? ELYSE, JUST BECAUSE THIS ONEPRESENTATION DIDN'T WORK OUT DOESN'T MEAN YOU'RE NOTQUALIFIED FOR THE JOB. [ GROANS ] HOW DID THE JOKE GO OVER? DID YOU GO --[BARKING] LIKE I TOLD YOU? [ DOORBELL RINGS ] UH, YEAH. OH, UH, STEVEN,I-IT'S KAREN AND BILL -FROM THE OFFICE.-OH, OF COURSE. COME ON IN. HI, STEVEN. BOY, I'VE HEARDA LOT ABOUT YOU, BIG GUY. I THINK YOU'LL BEATTHAT MORALS CHARGE. ELYSE, ¿QUé PASA? OH, LEFT YOUR PURSEAT THE OFFICE. THANK YOU. YOU GOT A LOT OF INTERESTINGTHINGS IN THERE. UH, I'M SURETHE THREE OF YOU HAVE A LOTTO TALK ABOUT. YOU'RE OUT OF HERE. YOU HAVE A WAYWITH WORDS, BILL. COME AND SIT DOWN. ELYSE, WHY DIDN'T YOU JUST TELLME YOU WERE HAVING PROBLEMS? WE ALL HAVE PROBLEMSAT WORK, AND WE ALL ASKEACH OTHER FOR HELP. I-I GUESS I WANTED YOUTO THINK I COULD DO THE JOB. WELL, THAT'S EXACTLYWHAT I DO THINK. ELYSE, YOU HAVE YEARSOF EXPERIENCE. YOU'RE PRACTICAL, AND YET YOU'REONE OF THE MOST CREATIVE PEOPLE I'VE EVER MET. THANK YOU. I-I AM REALLY EMBARRASSED. I-I'VE BEEN TRYING TO DOEVERYTHING, AND, UH, I CAN'T DO IT. OH, I T-THOUGHT THAT WASWHAT YOU EXPECTED OF ME, AND ALL THE ANGERAND FRUSTRATION BUILT UP AND JUST, WELL, CAME OUT. I-I'M SORRY. ACTUALLY, IT WAS SOMETHINGTO SEE. YOU'RE QUITE BEAUTIFULWHEN YOU'RE ANGRY. [ SIGHS ] WE SIFTED THROUGH YOUR IDEASAT THE OFFICE. YOU CAME UPWITH SOME GOOD THINGS. WHAT I THINK WE SHOULD DOIS TALK ABOUT THEM TOGETHER. YOU -- YOU STILL WANT METO WORK ON THE PROJECT? YES, I DO. WE'LL TALKABOUT IT IN THE MORNING. OH, THANK YOUFOR THE SECOND CHANCE. I-I WAS READYTO COME OVER TOMORROW AND CLEAN OUT MY DESK. WELL, YOU CAN CLEAN OUT MINE.I'LL GIVE YOU A BLOWTORCH. [ CHUCKLES ] WE HAVE TO BE GOING. WE'RE MEETING MR. HALIFAXFOR DINNER. [ SIGHS ] OH, I SURE HOPE ITGOES BETTER THAN THE LAST TIME. HE WOULDN'T LET ME EATUNTIL HE WAS FINISHED. THANK YOU.I'LL SEE YOU TOMORROW. I REALLY APPRECIATE IT. BYE. ONE OF YOUR BEAMS? STEVEN! KIDS! YEAH? WHAT IS IT, HON? I'M STILLA WORKING WOMAN. OH, GREAT![ ALL CHEERING ] I THINK I OWE EVERYONEAN APOLOGY. I THINK THAT'SA VERY NOBLE GESTURE. WHAT DID YOU DO? EVER SINCEI STARTED WORKING, I WAS TAKING ALL MY IRRITABILITYAND NERVOUSNESS OUT ON YOU. I'M SORRY. I WAS TRYING TO BETHE PERFECT WORKING WOMAN, THE PERFECT MOTHER,THE PERFECT WIFE, AND, UH, THAT'S CRAZY,'CAUSE I'M NOT PERFECT. AH, MOM,PERFECTION'S OVERRATED. I KNOW.I'VE BEEN THERE. IT HASN'T BEEN ALL YOUR FAULT,ELYSE. IF YOU'RE GOING TO WORK, WE'VE GOT TO MAKESOME ADJUSTMENTS, TOO. AS A FUTURE WORKING WOMAN,I'M WITH YOU 100%. THAT GOES DOUBLE FOR ME. NOT THE BIT ABOUT WORKING. I THINK WHAT WE'RETRYING TO SAY, MOM, IS WE'RE WILLINGTO HELP OUT MORE. THANK YOU. SO, MOM...WHAT'S FOR DINNER? UH, WHAT I MEAN IS, WHAT WOULD YOU LIKE USTO MAKE YOU FOR DINNER?