* I BET WE'VE BEEN TOGETHER * FOR A MILLION YEARS * AND I BET WE'LL BE TOGETHER * FOR A MILLION MORE * OH, IT'S LIKEI STARTED BREATHING * * ON THE NIGHT WE KISSED * AND I CAN'T REMEMBER * WHAT I EVER DID BEFORE * WHAT WOULD WE DO, BABY * WITHOUT US * WHAT WOULD WE DO, BABY * WITHOUT US * AND THERE AIN'T NO NOTHING * WE CAN'T LOVEEACH OTHER THROUGH * * WHAT WOULD WE DO, BABY * WITHOUT US * SHA LA LA LA SORRY TO SAY THAT PETER WAS NOTWELL DURING THE EVENING. "HIS MOTHERPUT HIM TO BED, "AND MADE SOMECHAMOMILE TEA, "AND SHE GAVE A DOSEOF IT TO PETER. SEE RIGHT THERE. "ONE TABLESPOONFUL TO BE TAKEN AT BEDTIME. "BUT FLOPSY, MOPSY,AND COTTON-TAIL, "WHO WEREGOOD LITTLE BUNNIES, HAD BREAD AND MILKAND BLACKBERRIESFOR SUPPER." READ IT AGAIN, MOMMY. GIVE HERA BREAK, ALEX. YOU HEARD ITTHREE TIMES. THAT'S RIGHT.I READ ITTHREE TIMES. AND THAT MEANS IT'S TIME FOR YOUTO GO TO BED. ALL RIGHT, LET HIMHEAR IT ONE MORE TIME. NOPE, NO MORE STORIES.IT'S TIME FOR BED. COME ON, I DON'T WANT ANY MORETROUBLE ABOUT IT. AW COME ONE MOM, LET HIM STAYUP. WHAT'S THE BIG DEAL? HONEY, HE DOESN'T GET ENOUGHSLEEP, AND THEN HE'S CRABBYIN THE MORNING. HE'S A NIGHT PERSON. OKAY, LOOK. MOM, REMEMBERMALLORY WHEN SHE WAS A KID? REMEMBER, PERFECT KIDGOT A LOT OF SLEEP? LOOK WHAT HAPPENED. SHE NEVER FULLYWOKE UP. COME ON HONEY, WE'REGOING TO BED. I WANT ALEXTO TAKE ME UP. OKAY, ALEX CAN TAKE YOU UP. ALL RIGHT. LET'S GO, RABBIT. TAKE HIME STRAIGHT TO BEDTHOUGH. HE STRETCHES THESEBEDTIMES OUT LONGERAND LONGER. WANT TO PLAY MONOPOLY? NO, NO, NO, NO, NO.YOU HEARD WHATTHE BOSS LADY SAID. STRAIGHT TO BED. WE CAN USEREAL MONEY. ONE QUICK GAME. OH HI, MOM. HI GUYS. HOW WASTHE MOVIE? OH IT WAS OK. JEN AND I LIKEDIT. NICK DIDN'T. IT'S JUST THAT I LIKE A LITTLEMORE ACTION IN MY FILM. THAT'SALL. WHAT DIDYOU SEE? COMMANDO, WITHARNOLD SCHWARZENEGGER. THAT IS THE LASTART FILM THAT I GO TO. WHAT ARE YOUWORKING ON MRS. KEATON? I'M REMODELINGTHE LOBBYOF THE WKS BUILDING WHERE MR. KEATONWORKS. DOES MR. KEATONKNOW ABOUT THIS? HE HIRED HER, NICK. OH. HEY, HEY, HEY... THIS IS A PRETTY GOODIDEA HERE. I LIKE THIS ATRIUMWITH THE WATERFALL CASCADE. YOU REALLYLIKE THAT? THANKS. YOU KNOW, IF IT WAS ME, I WOULD USE MAHOGANYON THIS WALL OVER HERE AND MAYBE PICK IT UP AGAIN OVERHERE IN THIS AREA. THAT'S EXACTLYWHAT I WAS PLANNING. WE THINK ALIKE,DON'T WE, MRS. KEATON? YEAH. THAT'SREALLY, UH... SCARY, HUH? HEY, ANDY HEARD YOU GUYS COMEIN. HE WANTS YOUTO GO UP AND SAY GOOD NIGHT TOHIM. ALL RIGHT...OKAY. YOU BETTER GO ONE AT A TIME. WELL YOU KNOW, HE LIKESTO DRAG IT OUT. I--I'LL GO FIRST. DON'T READ TO HIM,PLEASE NICK. I DON'T THINKTHERE'S MUCH DANGEROF THAT, MOM. HEY, GANG! SORRY I'M LATE, BUT THE BUDGET MEETINGRAN OVER. HOW'D IT GO? GREAT. THE FULL BUDGETFOR YOUR RENOVATIONHAS BEEN APPROVED. WHOA! CONGRATULATIONS. AND YOU KNOW HOW YOU'VE TALKINGABOUT HIRING AN ARTIST TO DO A SCULPTUREFOR THE LOBBY. WELL, MR. WERTZ SUGGESTEDWE GET THE BEST ARTISTS IN THEAREA TO SUBMIT THEIR WORK. THEN WE'LL HAVEA COMPETITION TO DECIDE WHICH ONEWE'LL USE FOR THE LOBBY. THAT'S A GREAT IDEA. AND THERE'S $2,500IN THE BUDGET FOR THE WINNING SCULPTURE. YOU KNOW, UH,I'VE DONE A BITOF SCULPTING MYSELF. I DIDN'T KNOW THAT. OH, YEAH. YEAH, I HAVEN'T REALLYMENTIONED IT TO YOU, BUT UH, WELL, FOR $2,500I COULD GET THE OLD CHISEL OUT. OK, ALEX. SO, UH, DO YOU HAVEANYONE SPECIAL IN MIND? WHAT ABOUT NICK? SO, DO YOU HAVEANYONE SPECIAL IN MIND? COME ON, I'M SERIOUS.NICK WOULD BE PERFECT TO DESIGNTHAT SCULPTURE. HONEY, THIS CONTESTIS FOR SERIOUS ARTISTS, YOU KNOW, PEOPLE WHO HAVEA STANDING IN THE ART WORLD, PEOPLE WHO ARE ESTABLISHED. YOU KNOW, POP, I STILL THINKI'M THE BEST GUY FOR THIS JOB. NOW, $2,500 IS A LITTLE LESSTHAN MY NORMAL PRICE, BUT FOR FAMILY... ALEX. MOM LISTEN, NICK HASA REAL FEEL FOR THIS PROJECT. I MEAN HE KNOWS EXACTLYWHAT YOU'RE AFTER. YOU SAW HIM. HE REALLY DID HAVE A GOOD GRASPOF WHAT I WAS TRYING TO DO. ATLEAST TALK TO HIM, MOM.GET HIS IDEAS. IT CAN'T HURT, AND YOU DON'T HAVE ANYONE ELSEIN MIND. YOU SAID SO YOURSELF. WHOA, HEY, MOM. IT'S JUST NICKWHO'S COMING OVER. YOU DON'T NEEDCOFFEE CAKE. YOU NEEDBEEF JERKY,SOME KETCHUP. NICK MIGHT JUST SURPRISE YOU,ALEX. I BET HE'S GOING TO COME UPWITH THE PERFECT SCULPTURE FORTHIS PROJECT. REMEMBER THATMASTERPIECE HE GAVE MALFOR HER BIRTHDAY? IT WAS UH...A RUNNINGLAWNMOWER ENGINE ENCASED IN A GIANTTACO SHELL. ALEX HAS A POINT. I--I DON'T THINK ART SHOULDHAVE TO BE REFRIGERATED. OH COME ON, STEVEN,ALL WE AGREED TO DOWAS TO INTERVIEW NICK. I DON'T KNOW, ELYSE.I GOT A BAD FEELINGABOUT THIS. LAST NIGHT,I HAD A DREAM... THAT NICK CREATEDA SCULPTURESO MONSTROUS, THAT I GOT FIRED,AND THEY TOOK AWAY YOUR ARCHITECTURELICENSE. WE COULDN'TAFFORD TO SUPPORTOUR CHILDREN, SO MALLORY RAN OFFTO MARRY NICK. THEY--THEY-- THEY RAN OFF TO LIVE IN A REMOTE PARTOF MEXICO CALLEDTACO GRANDE... WHERE NICK COULDFIND TACO SHELLS BIG ENOUGHFOR HIS SCULPTURES. BUT THEY CAMETO VISIT USON HOLIDAYS. MALLORY AND NICKON A MOTORCYCLE, OUR GRANDCHILDREN INA SIDECAR YELLING, "HEY GRANDPA, ¿COMO ESTA?" THEY DID GO BACKTO MEXICO, RIGHT? HI. HEY, THE ARTISTHAS ARRIVED. AW, COME ON, JEN. YOU'REEMBARRASSING ME IN FRONT OF YOURFAMILY. OH NICK YOU SHOULDN'TBE EMBARRASSED ABOUT YOURTALENT. I MEAN THIS PROJECT THAT HE'SWORKING ON NOW IS BRILLIANT IN ITS USE OF COLORAND TEXTURE. HOW MANY MILES DOES IT GETTO THE GALLON? WHY DON'T WE SIT DOWNAND GET STARTED. I CAN'T BELIEVE IT.I MEAN THIS IS GREAT. MY PARENTS AND MY BOYFRIEND SITTING IN HARMONYAROUND THE KITCHEN TABLE. JEN, HELP ME FINDTHE CAMERA. BEFORE WE START,I JUST WANT YOU TO KNOW THAT I'VE BEEN GIVING THISA LOT OF THOUGHT. I REALIZE THISIS A VERY SPECIAL PROJECT, AND THAT IF I BECOME ONE OF THECONTESTANTS, I AM NOT GOING TO WORK WITH ANYOF THE MATERIALS THAT I'VE WORKED WITH IN THE PAST. AW JEEZ, NICK,THAT'S TOO BAD. NO, WE WERE HOPING FOR SOMETHINGIN A BURRITO THIS TIME. UM... ALL RIGHT, NICK.I JUST HAVE TO ASK YOUA FEW QUESTIONS HERE. PURELY...PURELY ROUTINE. SHOOT. HOW LONG HAVE YOUBEEN AN ARTIST? I'VE WORKED PROFESSIONALLYFOR ABOUT FOUR YEARS NOW. HOW WOULD YOUCHARACTERIZEYOUR STYLE? UH...MODERN. WHY DO YOU FEELIT'S NECESSARY TO GO OUTWITH OUR DAUGHTER? STEVEN, PLEASE. I'M JUST TRYING TO GETA FULL SENSE OF THE MANAND HIS WORK, AND WHY I'MUP NIGHTS WORRYING ABOUT HIM. LET ME ASK YOUSEA COUPLE OF QUESTIONS. I MEAN, WHAT KIND OF FEELINGDO YOU WANT FOR THIS SCULPTURE? WHAT WOULD FIT BESTINTO THE LOBBY THAT YOU AREDESIGNING? LET ME SHOW YOUSOME PHOTOS OF MY WORKOVER THE YEARS. THAT'LL GIVE YOU AN IDEAOF MY STYLE. KIND OF WHAT I'MGOING FOR. HERE THERE'S A PROJECTI DID UP IN BERKELEY IN '68. HEY, YOU LOOK PRETTYGOOD THERE, MR. KEATON. LOOK HOW LONGYOUR HAIR IS. I LIKE THOSE BEADS TOO. IT'S FUNNYLOOKING AT US HERE WITH THE TIE-DYEDSHIRTS, AND RIPPED JEANS,AND THOSE HEADBANDS. YOU KNOW KNOW YOU LOOKEDA LOT BETTER THEN. WHY, THANKS, NICK. YOU ALWAYS KNOWJUST WHAT TO SAY. I LIKETHIS SCULPTURE HERE TOO, THIS COPPERPEACE SYMBOL. OH, REMEMBER HOW CONTROVERSIALTHAT WAS BACK IN '68? LOT OF PEOPLETHOUGHT THAT MADE TOO STRONGA POLITICAL STATEMENT. HERE, UH...HERE WE GO. HERE'S A PICTUREOF THE PEOPLE PICKETINGTHE SCULPTURE AFTER IT WAS UNVEILED. DOESN'T ALEXLOOK CUTE THERE? HE'D JUST TURNED 3. HE COULD BARELY HOLD UP THAT "AMERICA--LOVE ITOR LEAVE IT" SIGN. WHO WAS THE ARTISTWHO DID THAT SCULPTURE? THAT'S ROGER LAMBEER. I DIDN'T KNOW YOU WERE FAMILIARWITH THAT PERIOD? WELL, YEAH, I LIKE ALL THEMARTISTS FROM THE SIXTIES-- ANDY WARHOL,PETER MAX... SONNY AND CHER. * I GOT YOU, BABE * I GOT YOU, BABE * AND WHEN I'M SAD * YOU'RE A CLOWN * AND WHEN I GET SCARED * YOU'RE ALWAYS AROUND * SO LET 'EM SAYYOUR HAIR'S TOO LONG * I DON'T CARE * WITH YOU, I... LET'S GET BACKTO WORK, NICK. YOU KNOW I--I REALLY WISHI WAS BROUGHT UP IN THE SIXTIES. SOMETIMES I JUSTDON'T FEEL LIKEI BELONG HERE. THAT'S NOTA CRAZY THOUGHT. BOY, THOSEMUST HAVE BEENEXCITING TIMES, HUH? OH, THEY WERE GREAT TIMES. WE WEREN'T SO CONCERNEDWITH MAKING MONEY THEN, FOLLOWING RULES, OR LIVINGBY ANYONE ELSE'S STANDARDS. WE JUST WANTEDTO BE WHO WE WERE, NO MATTER WHATANYBODY THOUGHT. THAT KIND OF SOUNDSLIKE HOW I LIVE. OH, MY GOD,HE'S RIGHT. YOU SEE, IT'S JUST THAT THEEIGHTIES ARE TOO UPTIGHTFOR ME. YOU KNOW ACTUALLY THE SEVENTIESWERE TOO UPTIGHT FOR ME, TOO. I HOPE THE RESTOF THE CENTURYLOOSENS UP. LET'S LOOK AT THE LAYOUTFOR THE NEW LOBBY HERE. OK, BABE. HERE WE GO. HEY. HEY, HEY, HEY,I LIKE THIS. I GOT AN IDEA. HOW ABOUTA SCULPTURE THAT WOULD USESOME OF THOSE OLD SIXTIESFEELINGS, BUT BLENDED WITHTHE LOOK OF THE EIGHTIES. YOU KNOW I COULD USE OLD METAL,POUNDED AND POLISHED, BUT THE TEXTURESAND SHAPES WOULD BE MORE SLEEK,MORE ANGLED. THAT'S EXACTLY THE RIGHT FEELFOR THE ROOM. RIGHT, STEVEN? I HAVE TO ADMIT, THAT'S NOT BAD. THIS IS GREAT. YOU KNOW, I FEEL CLOSERTO BOTH OF YOU THAN EVER BEFORE. WELL NICK, WE'VE HADA NICE LITTLE DISCUSSION HERE. LET'S NOT BLOW ITOUT OF PROPORTION. NICK I HAVE TO TELL YOU, I WASSKEPTICAL AT FIRST, BUT AFTER LISTENINGTO A FEW OF YOUR IDEAS, I SEE NO REASON YOUSHOULDN'T ENTER THE COMPETITION. ALL RIGHT! CONGRATULATIONS, HONEY. OK, NICK,YOU'RE IN. HOLD ON. THIS ISA COLLECTOR'S ITEM. AND THEN WOOFY SAID, "I'M HUNGRY. MAYBE IF I'M A GOOD DOG, "MY MASTER, MR. JOHNSON, WILL GIVE ME A BONE. "SO HE WENT OVERTO HIS MASTER TO GET SOME FOOD. "MR. JOHNSON WAS ASLEEP. "WOOFY WAS VERY UNHAPPY. "WHAT WILL I DO?, SAID WOOFY. "THEN WOOFYGOT AN IDEA. I KNOW WHAT I'LL DO." I'LL EAT MR. JOHNSON. ALEX DO YOU MIND? I'M TRYINGTO READ ANDY A STORY. YEAH WELL MAL, YOU SHOULDN'TREAD TO HIM FROM YOUR TEXTBOOKS. THIS HAPPENS TO BEFROM THE WOOFY THE DOG SERIES. ANDY LOVES IT,DON'T YOU, ANDY? IT PASSES TIME. COME ON MAL, LOOK, ANDREW'S WAYPAST THIS LEVEL OF MATERIAL. ANDY, WHY DON'T YOU TELL MALLORYWHAT WE READ TOGETHER THISMORNING. NEW YORK TIMES. AND? WALL STREET JOURNAL. AND FOR FUN? THE CONGRESSIONAL RECORD. ALEX, LOOK, ANDY IS JUST BEINGPOLITE. I'M SURE HE'D MUCH RATHER LISTENTO ME READ ABOUT WOOFY THAN GO THROUGHYOUR BORING NEWSPAPERS. ALRIGHT, OK, WHY DON'T WEJUST ASK ANDY? ANDY, WHAT DO YOULIKE BETTER, WALL STREET JOURNAL, OR WOOFY THE IDIOT DOG? I'LL GET BACK TO YOU. ALEX, I'M NOT SUREABOUT SOMETHING. OH WELL YOU SEE, WOOFY'S A DOG,AND HE'S SEEMS TO BE PRETTYEXCITED ABOUT GETTING HIS BONE-- NO. NO. DO YOU THINK NICKHAS A CHANCE TONIGHT? I DO. I MEAN YOU KNOW, MOM AND DADARE WILLING TO LET HIM ENTER THECOMPETION. I'D SAY HE'S GOT A SHOT. HE'S REALLY EXCITED. I MEAN CAN YOU IMAGINE WHAT ITWOULD BE LIKE IF NICK WON $2,500? YEAH. MAL, CAN I ASK YOUA QUESTION? NOW LET'S SAYNICK DOES WIN THE, UH... $2,500. DOES HE HAVE ANY IDEA WHAT HE'S GOING TO DOWITH THAT MONEY? I MEAN IN LIGHT OFTHE NEW TAX LAWS. IS NICK AWAREOF THE NEW TAX LAWS? IS NICK AWARE THATWE HAVE A GOVERNMENT? HEY, YOU GUYS LOOK GREAT. WHERE'S NICK?WE'RE SUPPOSE TO BE DOWN AT THESTATION IN A FEW MINUTES. DON'T WORRY MOM HE WON'T BELATE. I NEAN THIS IS THE BIGGEST THINGTHAT'S HAPPEND IN HIS LIFE. WELL HE HAS BEEN WORKING HARD,I'LL SAY THAT FOR HIM. WE HARDLY SEE HIM AROUND HEREANYMORE. WE SHOULD GET HIMIN MORE CONTESTS. I WANT YOU GUYS TO KNOW THAT HE'S NOT JUSTWORKING HARD FOR HIMSELF. HE'S DOING IT TO REPAY THE TRUSTYOU'VE PLACED IN HIM. I MEAN HE PROBABLY WON'T BE ABLETO EXPRESS IT THAT WAY, EVEN THOUGH THAT'S HOW HE REALLYFEELS. IF HE TRIED TO TELL YOU HOW MUCHIT MEANT TO HIM, AND HOW MUCH YOU MEAN TO HIM ALL THAT WOULDCOME OUT IS... "HEY." HEY. THAT'S BEAUTIFUL, NICK. GOOD LUCK TONIGHT, NICK. WE KNOW HOW HARDYOU'VE WORKED. HEY. NOW DON'T START. HEY. NICK, THERE'S SOME PEOPLEWOULD LIKE TO MEET YOU. HEY. THIS IS WALTER LUSKIN, OUR DIRECTOR OFPROGRAMMING HERE AT WKS, AND CHARLES WERTZ,OUR REGIONAL MANAGER. HEY! HEY. THEY'RE GOING TO BE JUDGINGTHE COMPETITION ALONG WITH ME. THANK YOU NICK.NICE PIECE OF WORK. NICE, NICK. OH, WOW. I KNEW IT.THEY HATE IT. NICK, HE SAID IT WAS A NICEPIECE OF WORK. IN THE ART WORLD, MAL,THAT MEANS THEY HATE IT. I SUPPOSE YOU'RE WONDERINGWHAT I'M THINKING OF THESCULPTURE. OH NO, NOT AT ALL. WERE YOU LOOKINGAT THE SCULPTURE? NOT ONLY LOOKING AT IT, I'MGOING TO VOTE FOR THIS. WALTER,YOU'RE KIDDING ME. I MEAN YOU'RE NOT JUST SAYINGTHAT BECAUSE NICK'S MY BOYFRIEND, ARE YOU? NO. IN FACT, I'MVOTING AGAINST HIMAS YOUR BOYFRIEND, BUT IT'S NICE WORK.GOOD WORK. WALTER, THIS IS GREAT. I MEAN THIS MEANS NICK'S REALLYGOT A SHOT. WELL, HE'S GOT MY VOTE. UNFORTUNATELY,MR. WERTZ, THE BOZO,LIKES THAT SCULPTURE. WALTER! YES, SIR? I GUESS YOU'RE DAD'SA DECIDING VOTE. I HOPE ITWORKS OUT OK. NICK, YOU DID IT. THEY CHOSEYOUR SCULPTURE. AND I MISSED IT? NO, IT'S NOTOFFICIAL YET. BUT WALTER ISVOTING FOR YOURS. MR. WERTZIS VOTING FOR THAT OVER THERE. MY DAD ISTHE DECIDING VOTE.YOU'RE IN. YOUR ATTENTION,IF I MAY. YOUR ATTENTION. THANK YOU. THANK YOU VERY MUCH.YOU'RE TOO KIND. IT SEEMS LIKEONLY YESTERDAY THAT PUBLIC BROADCASTINGBECAME A REALITY IN OHIO, BUT IN FACT, IT WASJULY 26, 1954. SINCE THEN, PUBLIC BROADCASTINGAND I HAVE BOTH AGED A LITTLE. WE'VE LOST SOME HAIRAND PUT ON A COUPLE OF POUNDS. BUT IF I MUST SAY SO, WE'RE LOOKINGPRETTY DARN GOOD, ALTHOUGH WE BOTH MAYBE IN NEED OF A LITTLE RENOVATION. TO ANNOUNCETHE WINNING SCULPTURE, THE ARCHITECTOF THIS PROJECT AND A MEMBEROF THE WKS FAMILY... ELYSE KEATON. YAY, MOM! HEY! THANK YOU. THANK YOU. IF THE JUDGES HAVE REACHEDA DECISION... WE HAVE. THE WINNER IS PHOENIX ARISEN BY SANDY McCANN. I CANNOT BELIEVE YOU DIDN'T PICKNICK'S SCULPTURE. HEY, MAL, IT'S ALL RIGHT.FAIR IS FAIR. LET'S GO OVER AND CONGRATULATEMISS McCANN. NO NICK, IT IS NOT FAIR. I MEAN EVERYBODY KNOWS THIS ISTHE BEST SCULPTURE. AND HERE, MY FATHER DIDN'TVOTE FOR IT BECAUSE IT'S YOURS. MALLORY, THAT ISJUST NOT TRUE. YOU HAD NEVER ANY INTENTIONOF VOTING FOR NICK'SSCULPTURE. I MEAN, YOU PROBABLY JUST LETHIM IN THE COMPETITION SO YOUCOULD HUMILIATE HIM-- RAISE HIS HOPES AND THEN DRAGHIM DOWN, ADMIT IT. MALLORY, THIS ISN'TTHE TIME OR THE PLACE FOR THIS. YOU KNOW, YOU CAN'T LIKE THAT. BECAUSE IF YOU DID IT WOULD MEANYOU'RE ACCEPTING NICK. AND YOU JUST WILLNEVER ACCEPT HIM,WILL YOU? EXCUSE ME, OK?EXCUSE ME. ANDY, WHATARE YOU DOING UP? IT'S AFTER 11. SHH! HOW LONGHAS HE BEEN ASLEEP? I TRIED TO CARRY HIMUPSTAIRS, BUT HE WEIGHS A TON. WHAT TIME IS IT? 11:15. ANDREW, YOUWERE SUPPOSED TO WAKE ME UPAT 11:00. WHAT HAPPENED? I DON'T KNOW HOW TO TELL TIME. I FORGOT. HOW DIDTHE COMPETITION GO, HUH? NICK WIN? WELL, HE CAMEIN SECOND. TOO BAD. I CAST THE DECIDINGVOTE AGAINST HIM. WELL, YOU DIDWHAT YOU THOUGHTWAS BEST, RIGHT? YEAH. ALL RIGHT, PAL,LET'S GO. COME ON. WHAT A GYP. IT'SNOT EVEN MIDNIGHT. HEY I THOUGHT YOU COULDN'T TELLTIME. I'M WORKING ON IT. GOOD NIGHT. GOOD NIGHT. GOOD NIGHT,DADDY. GOOD NIGHT. GOOD NIGHT,EVERYBODY. WANT SOME TEA? PLEASE. YOU ALL RIGHT? YEAH. JUST THINKING. ABOUT WHAT? WELL, IF THERE'S ANY TRUTH INWHAT MALLORY SAID TONIGHT. THAT I REJECTEDTHAT SCULPTURE BECAUSE TO ACCEPT IT WOULD HAVEMEANT ACCEPTING NICK. THERE ARE SO MANY LEGITIMATEREASONS NOT TO ACCEPT NICK. YOU WOULDN'T THINK I'DHAVE TO MAKE ONE UP. HE HANDLED THE DISAPPOINTMENTAWFULLY WELL, THOUGH, DON'T YOUTHINK? I MEAN, CONSIDERINGALL THE WORK HE DID. I HAVE TO ADMIT, HE WASAWFULLY GRACIOUS. SOMETIMES, HE'SAN AWFULLY SWEET BOY YOU KNOW. I GUESS. HE REALLY CARESABOUT MALLORY. I GUESS. SOMETIMES HE REMINDS ME A LITTLE BIT OF YOUAT THAT AGE. I GUESS. WHAT ARE YOUTALKING ABOUT? NO. I'M SERIOUS. NICK HAS REALPASSION, YOU KNOW? LIKE YOU DO. UNFORTUNATELY, ONE OF HISPASSIONS IS OUR DAUGHTER. YOU KNOW IT'S FUNNY. IF WE WEREIN COLLEGE RIGHT NOW, WE'D BE MORE LIKELY TO BE FRIENDS WITHNICK THAN WITH ALEX. WELL, WE'D NEVER GET TO MEETSOMEONE LIKE ALEX, UNLESS WE WEREWORKING FOR HIM. WE LAUGH AT NICK'S ARTTHE WAY OUR PARENTS USED TO LAUGH AT OURMUSIC AND OUR CLOTHES. YEAH, BUT WE'RE RIGHT, AND THEYWERE WRONG. OR MAYBE WE'VE JUST GOTTENSTAID, YOU KNOW? A LITTLE INFLEXIBLE. A LITTLE OLDER. MAYBE YOU HAVE. HI. HEY. I'M SORRY. I WANT TO APOLOGIZEFOR MAKING A SCENE TONIGHT. I SHOULDN'T HAVESAID WHAT I SAID. I MEAN, IT ISN'T TRUE, YOUWOULDN'T HURT NICK ON PURPOSE. I JUST WANT TO SAY THANK YOUFOR THE OPPORTUNITY. I REALLY ENJOYEDWORKING ON THE PIECE AND GETTINGTO KNOW YOUSE BETTER. WELL, WE HAVEGOTTEN TO KNOW EACH OTHERA LITTLE BETTER. THAT'S NOT BAD. I'M SORRY I FORCED YOU ALLTO WORK TOGETHER. I MEAN, I JUST WANTED YOUTO GET ALONG. YOU KNOW, I LOVE YOU,AND I LOVE YOU, AND I WANTED YOUTO LOVE EACH OTHER. HEY, THAT'SSWEET, BABE. VERY SWEET, BABE. * SO PUT YOUR LITTLE HANDIN MINE * * THERE AIN'T NO HILLOR MOUNTAIN WE CAN'T CLIMB * * BABE * I GOT YOU, BABE * I GOT YOU, BABE * THEY SAYOUR LOVE * * WON'T PAY THE RENT* BEFORE IT'S EARNEDOUR MONEY'S ALL BEEN SPENT * * BABE * I GOT YOU, BABE