[ 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 [ SIGHS ]I DON'T KNOW, GUS. MAYBEWE SHOULD HAVE STARTED THE "GIANTSOF THE WHITE HOUSE" SERIES WITH A MORE COLORFULPERSON. I TOLD YOU THATBEFORE WE STARTED, STEVE. I KNOW, BUT I'VE ALWAYSLIKED CALVIN COOLIDGE. BUT THE WAYYOU'VE CUT IT TOGETHER HERE, YOU MAKE HIM SEEMSO UNEXCITING. GOD DID THAT, STEVE. JUST WHO DO YOU THINK'S GONNAWATCH A SHOW LIKE THIS, ANYWAY? I DON'T KNOW, UH,RELATIVES, SHUT-INS, PEOPLE WHO AREHEAVILY SEDATED. PROGRAM NOTES AREON YOUR DESK, STEVEN. OH, THANKS, STACE. LISTEN, I JUST THOUGHTIT MIGHT BE INTERESTING TO LEARN MOREABOUT COOLIDGE THE MAN. IT'S THE 50th ANNIVERSARYOF HIS DEATH THIS YEAR, I WANTED TO DOSOMETHING SPECIAL. THAT'S ALL. SEND A CARD.Stacey: COME ON. I THINK YOUR IDEA'S GREAT,STEVEN. AND IDEALLY IT COULD BETHE BEST OF ALL POSSIBLE WORLDS, ENTERTAINING,EDUCATIONAL, CONTROVERSIAL. AND A WINNER IN THE RATINGS. REMIND METO GIVE YOU A RAISE. WE'LL TAKE ITOUT OF GUS' SALARY. OH, YOU KNOW ME -- I THINKALL YOUR IDEAS ARE BRILLIANT. HEY, TAKE IT EASY,STACEY. I HAVE A WIFE AND KIDSTO SUPPORT. OH, SORRY. I DIDN'T MEANTO GET CARRIED AWAY. IT'S JUST, WELL,I THINK STEVEN IS GREAT. THAT'S ALL. KID'S GOT A HEADON HER SHOULDERS. WHAT SHE'S GOT ISA BIG CRUSH ON YOU. OH, DON'T BE RIDICULOUS. SHE WAS IN HEREA MINUTE AND A HALF, AND SHE TOUCHED YOUSEVEN TIMES. I COUNTED. THAT'S THE WAYYOUNG PEOPLE ARE TODAY, GUS. THEY'RE DEMONSTRATIVE.THEY TOUCH. THAT'S A TOUCHEVERY 13 SECONDS. WHOO! THAT'S TOUGHEVEN FOR AN OCTOPUS. IT WAS NOTHING MORETHAN A SHOW OF RESPECT. UH, NO, NO, NO, STEVEN. THIS IS RESPECT --"GOOD JOB, STEVE. WAY TO GOON THAT COOLIDGE IDEA. HANG IN THERE, PAL." MM-HMM.NOW, THIS IS WHAT SHE DID. GUS, PLEASE! THIS IS, UH,A PLACE OF BUSINESS. I'M TELLING YOU, STEVE, I RECOGNIZE THAT LOOKIN HER EYE. ENOUGH, OKAY?OKAY, OKAY. ONE. AM IINTERRUPTING ANYTHING? UH, NO, NO, NOT AT ALL.DON'T BE SILLY. NO, NO, WE WERE JUST TALKINGABOUT MEN, WOMEN... SEX. WAIT A MINUTE.LET ME PULL UP A CHAIR. TWO, THREE,FOUR AND A HALF. WHAT?UH, NOTHING, NOTHING. JUST, UH,PRACTICING COUNTING. OH. SO, WHAT'D I MISS? WELL, WE WERE DISCUSSINGTHE KIND OF MEN THAT WOMENFIND ATTRACTIVE. OH, GOOD SUBJECT. UM, I DON'T THINK A MAN CAN BEREALLY, REALLY ATTRACTIVE UNTIL HE'S,OH, ABOUT, UH, 40. HOW OLD ARE YOU, STEVE? I'LL BE, UH,40 THIS YEAR. WELL, THERE'SA PERFECT EXAMPLE. STEVEN IS PROBABLYTHE MOST APPEALING GUY I KNOW. Man over P.A.: STACEY HUGHES. GOT TO GO. MWAH. GUS? SIX TOUCHES,ONE MINUTE FLAT. COULD BEA NEW WORLD RECORD. UH-HUH. UH-HUH.[ EXHALES SHARPLY ] WOW. WELL, WHAT WASSHE WEARING BEFORE SHE CHANGEDINTO THAT OUTFIT? MALLORY,I NEED THE PHONE. I CAN'T BELIEVE IT.WHERE DOES SHE SHOP? WHO CARES WHERE SHE SHOPS?! IT'S HER OWN BUSINESS. MAYBE I SHOULD READTHIS NOTE TO YOU GUYS AGAIN. "PLEASE GET DINNER READY.MOM." SEE, THERE'S AN "S"ON THE END OF "KIDS." HEY, YOU GUYS, HELP! UH-HUH. WELL, I'LL BE WEARING SHORTSAND LEG WARMERS. WHOA. WHOA! UH-HUH. HOW 'BOUT YOU? YEAH, BEIGE OR BLUE.THAT'S -- DON'T BOTHER GETTING OFFTHE PHONE, MALLORY. THE FIRE PROBABLY WON'T SPREADTO THE REST OF THE HOUSE. AAH!IT WASALEX'S FAULT. Both: IT WASMALLORY'S FAULT. LOOK, ALL RIGHT, IT DOESN'TMATTER WHOSE FAULT IT IS. JUST CLEAN IT UP!AND SEND OUT FOR PIZZA. [ SIGHS ] TOUGH DAYAT THE OFFICE, MOM? IT'S A LITTLE FRUSTRATING,THAT'S ALL. WANT TO TALK ABOUT IT? WELL, IT'S JUST A MATTER OFGETTING USED TO THINGS, I GUESS. UH, BEING BACKIN AN OFFICE SITUATION, THERE'S BOUNDTO BE SOME PRESSURES, SOME ADJUSTMENTS. HOW DOESTHAT MAKE YOU FEEL? A LITTLE DEPRESSED. GO ON. GO ON.GO WITH THAT THOUGHT. YOU KNOW, WHEN I WAS A TEENAGER,ABOUT 14, 15 YEARS OLD... WHY AM I TELLING YOU THIS? ALEX, WILL YOU STOP FAKINGINTEREST IN MOM'S FEELINGS AND HELP USCLEAN UP HERE? JENNIFER. JENNIFER,I'M HER ELDEST CHILD. I'M HER FIRST-BORN. I'M HER SON. THERE IS A BONDBETWEEN US... THAT THE TWO OF YOUCOULD NEVER BREAK. [ SIGHS ] ALEX, HELP YOUR SISTERSCLEAN UP OR YOU'RE GROUNDEDFOR A WEEK. SEE, THE BOND STRETCHES,BUT IT NEVER BREAKS. HELLO! HEY, DAD.HI. TAKE IT EASY,TAKE IT EASY. SAVE A LITTLE SOMETHINGFOR FATHER'S DAY. HOW WAS WORK? WHAT DO YOU MEAN,"HOW WAS WORK?" I MEAN,HOW WAS WORK? WHY DO YOU ASK? I ALWAYS ASK. I LIKE TO KNOWHOW YOUR DAY WENT. WENT FINE. FINE. NOTHING EXCITING? NO, NOT AT ALL,NOT EVEN CLOSE. I DIDN'T FLIRTWITH ANYONE, IF THAT'SWHAT YOU'RE GETTING AT. I DIDN'T MENTION ANYTHINGABOUT FLIRTING. IT WAS IMPLIED. NO, IT WASN'T.LOOK, FIRST, I COME HOME, YOU DON'T EVEN NOTICE ME. THEN YOU GIVE METHE THIRD DEGREE ABOUT HOW I SPENTMY DAY. I THINK I'VE HAD ENOUGH.THANKS. WANT TO TALK ABOUT IT? STEVE.[ GASPS ] BEEN GIVING A LOT OF THOUGHTTO YOUR CALVIN COOLIDGE PROJECT. I THINK I'VE COME UPWITH A WAY TO MAKE THIS TURKEY SEEM ALIVE,VIBRANT, EXCITING. OH, WELL, GREAT.WHAT IS IT? WE DO THE WHOLE THINGAS A CARTOON. THANKS A LOT, GUS. [ SNIFFING ] SOMEBODY SPILLA CASE OF BEER IN HERE? I DON'T SMELL ANYTHING. [ SNIFFING ] IT'S YOU. COLOGNE. HEY, THAT'S MACHO MIST,ISN'T IT? [ SNIFFING ] I MAY HAVE DABBED ONA DROP OR TWO OF COLOGNE. [ CLEARS THROAT ] THERE'S SOMETHING DIFFERENTABOUT YOU, STEVE. AH, YOU'RE DRESSED. I DRESS EVERY DAY, GUS. IT'S AN OLD HABITI PICKED UP AS A KID. NOW, YOU KNOW WHAT I MEAN.YOU HAVE ON THINGS THAT MATCH. THAT IS AN ENSEMBLE. YOU'VE NEVER WORNAN ENSEMBLE BEFORE. KNOCK IT OFF, GUS. AH, AND YOUR HAIRIS DIFFERENT TOO. OH, BOY, STEVE,YOU LOOK GREAT. [ CHUCKLES ] HEY, CAN I BUY YOUA DRINK AFTER WORK? GUS! AH, IT'S STACEY, RIGHT? THIS IS ALL FOR HER,ISN'T IT? GUS, JUST BECAUSEA MAN'S SWEATER AND SLACKS AND SOCKSHAPPEN TO MATCH... DOESN'T MEAN HE'S ABOUT TO LEAVEHIS WIFE AND THREE CHILDREN. WHATEVER YOU SAY,STEVE. MORNING!OH. OH, HI, STACE. GOOD MORNING. MWAH.[ CHUCKLES ] SAY, DON'T YOU LOOK TERRIFIC?WHAT A GREAT ENSEMBLE. OH, WHAT?THIS OLD THING? OH, NO, IT'S A GREAT COLORFOR YOU. WELL, I JUST GRABBED THE FIRST THING IN THE CLOSET,REALLY. WELL, YOU DON'T MAKE ITANY EASIER FOR SOMEONE TO KEEP THEIR MINDON THEIR WORK, I CAN TELL YOU. WELL, IT'S A BURDENWE ALL HAVE TO BEAR, STACE. UH, WHAT HAVE YOUGOT THERE? LAST NIGHT, I --A POOR SINGLE GIRL WITH NO SOCIAL LIFETO SPEAK OF -- STAYED HEREAND PUT TOGETHER THIS LITTLE FILMABOUT CALVIN COOLIDGE. AND I HOPE YOU LIKE IT,STEVEN. [ FANFARE PLAYING OVER TV ] STACEY, THAT'S WONDERFUL.OH, THANK YOU. THAT'S TERRIFIC.YOU'RE WELCOME. [ CLEARS THROAT ] UH, WHERE'D YOU DIG UPTHE FOOTAGE, STACEY? UM, FILES, NEWSREELS. UH, THE LAST CROWD WAS ACTUALLYCHEERING FOR FRANK SINATRA. I THINKIT'S JUST GREAT. WHY DON'T YOU TAKE OVERTHIS PROJECT? OH, NO, GUS,DON'T BE SILLY. WELL,IT'S REALLY NOT FOR ME. I MEAN, BASICALLY,I'M A MONARCHIST. IF YOU REALLY DON'TWANT TO DO IT, GUS... UH, NO, I DON'T. I'LL -- I'LL GO GETTHE FILES, OKAY? THAT'S GREAT! I MEAN, THAT --THAT'S GREAT. [ CHUCKLES ] [ DOOR CLOSES ] SO...[ CHUCKLES ] WELL, CONGRATULATIONS. UH, YOU'RE A FILMMAKER. YEAH. MM. WHOA, WHOA. I CAN'T HELP IT.I'M IN LOVE WITH YOU. NO. NO, YOU'RE NOT. YOU -- YOU CAN'T BE.YOU JUST THINK YOU ARE. NO.YES. IT'S, UH, VERY COMMON. [ STAMMERING ] MY -- MY -- MY --MY POSITION, MY AGE. MY SOCKS. [ LAUGHS ] YOU'RE REALLY FUNNY. YOU KNOW, THAT'S ONEOF THE THINGS I LOVE MOST ABOUT YOU. UH, STACEY.MM-HMM? THIS IS ALL WRONG.I'M A MARRIED MAN. I HAVE THREE CHILDREN. I KNOW. YOU'RE A VERY SENSITIVE,CARING FATHER AND HUSBAND. MAKES ME WANT YOUEVEN MORE. I SEE. DON'T YOU THINK -- I DON'T WANT TO THINK.I JUST WANT YOU. I'LL BE WORKING HEREALONE TONIGHT, STEVEN. IT CAN BEANY WAY YOU WANT IT. NO STRINGS. NO GUILT. NO PRESERVATIVES. [ GIGGLES ] HEY, HEY, DON'T LET MY NECKGET IN THE WAY. ORANGE AND RED? NO ONE IN THEIR RIGHT MIND WOULD PUTTHOSE TWO COLORS TOGETHER. UH-OH. MOM, BETTER CALLTHE POLICE. I THINKSOMEONE'S OUTFIT CLASHED. MOM, MAKE HIM STOP IT,PLEASE. ALEX, STOP BOTHERINGYOUR SISTER. MALLORY, THE TELEPHONE ISAN INSTRUMENT OF COMMUNICATION. ON BEHALFOF ALEXANDER GRAHAM BELL AND THE ENTIRE BELL FAMILY, I AM PERSONALLY OFFENDED BY THE LEVELOF YOUR CONVERSATION. DID YOU HEAR THAT? OH, HONEY, UH, UH,I WAS THINKING INSTEAD OF MY GOING BACKTO THE STATION, WHY DON'T WE GO OUTTO DINNER AND A MOVIE? UH, NO.WHY NOT? WELL, FOR ONE THING,WE'VE ALREADY HAD DINNER. OH, OKAY.JUST A MOVIE, THEN? THIS ISN'T REALLYA GOOD NIGHT FOR ME, HONEY. I'VE GOT TO GETTO BED EARLY TONIGHT, SO I'LL BE IN TOP FORM FORTHAT MEETING TOMORROW MORNING. YEAH -- HEY, ALEX,CAN I INTEREST YOU IN A MOVIE? OH, I DON'T KNOW, DAD.MAY -- MAYBE. UH, LET'S SEEWHAT'S PLAYING. AH, DOUBLE BILLAT THE NORTH TOWN. "LOVE WITHTHE PROPER STRANGER" AND "BETRAYAL." I DON'T THINK SO, DAD. ANYWAY, I THOUGHTYOU WERE GOING BACK DOWNTO THE STATION TONIGHT. WELL, I DON'T HAVE TO. I-I MIGHT IF THERE'S NOTHINGELSE TO DO. HEY, JEN, WANT TODO SOMETHING TONIGHT? THE REDS ARE PLAYINGTHE EXPOS ON TV, DAD. WANT TO GO THE GAME? THEY'RE PLAYING IN MONTREAL. I CAN'T TONIGHT, DAD. I'VE GOT A LOT OFIMPORTANT PHONE CALLS TO MAKE. YOU DON'T EVEN KNOWWHAT I WAS GONNA ASK YOU. WELL, YOU'VE GOT THAT "LET'S DOFATHER-DAUGHTER STUFF" LOOK. I APOLOGIZE FOR BEINGSUCH A BURDEN ON EVERYBODY. AH, DON'T WORRYABOUT IT, DAD. SORRY, STEVEN,DIDN'T REALIZE IT WAS SO IMPORTANT FOR YOUTO GO OUT TONIGHT. IT'S NOT. IT'S NOT. IN FACT, I REALLY SHOULD GOBACK DOWN TO THE STATION. OH, WELL, WHAT'S GOING ONDOWN THERE? WELL, UH, WE'RE WORKINGON THAT, UH, DOCUMENTARY -- "SILENT CAL OPENS UP." I-I THOUGHTGUS WAS DOING THAT. UH, HE WAS, BUT --BUT WE TURNED IT OVER TO THAT PRODUCTION ASSISTANT,STACEY, UH... UH, HUGHES.OH. Y-YOU'VE MET HER,HAVEN'T YOU? YEAH, WELL, SHE --SHE SEEMED VERY BRIGHT. SHE IS. WELL, SHE -- YEAH, SHE IS. EH, ANYWAY, SHE'S WORKINGON THIS ON HER OWN, SO I THOUGHT THE LEAST I COULDDO IS, UH, GO DOWN THERE. WELL, SOUNDSLIKE YOU SHOULD. YEAH, YEAH, SO, UH, I'LL GODOWN THERE NOW AND HELP HER. I'M ON MY WAY. HERE I GO. I'LL MISS YOU. YEAH, ME TOO. BYE, MALLORY. TAKE CAREOF YOUR LITTLE SISTER. JENNIFER, JENNIFER, DON'T LET SPORTSINTERFERE WITH YOUR SCHOOLWORK. ALEX... YOU'RE THE MAN OF THE HOUSEWHILE I'M GONE. WAS DAD JUST DRAFTED? HI. HI. IT WAS GETTING LATE. I DIDN'T KNOWIF YOU WERE COMING. I WASN'T SURE EITHER,BUT I FIGURED, YOU KNOW, THE DOCUMENTARY AND EVERYTHING,SO I... GOT IN MY CAR... DROVE AROUND THE NEIGHBORHOODFOR TWO HOURS, AND HERE I AM. WELL, STEVEN, WE CANGO THROUGH THE CHARADE OF WORKING ON THE FILM, OR WE COULD JUST STAND AROUNDHERE AWKWARDLY SOME MORE, OR... WE COULD GO RIGHT BACKTO MY PLACE AND MAKE LOVE. C-COULD YOU RUN DOWNTHOSE OPTIONS ONE... STEVEN,ARE YOU ATTRACTED TO ME? VERY MUCH. WELL,THEN COME HOME WITH ME. WE'LL FORGET ABOUT EVERYTHINGAND EVERYBODY ELSE IN THE WORLD, JUST FOR A FEW HOURS. YOU AND I WILL BETHE ONLY TWO PEOPLE. NOBODY EVER HAS TO KNOW. COME HOME WITH ME,STEVEN. I HAVE A HOME, STACEY.IT MEANS A LOT TO ME. I DON'T WANT TO RISKLOSING IT. I PROMISE YOUWE WON'T GET CAUGHT. I'M NOT WORRIED -- I'M NOTWORRIED ABOUT GETTING CAUGHT. I'M WORRIED ABOUT VIOLATINGTHE CORE OF LOVE AND TRUST I'VE BUILT MY LIFE AROUND. G-GETTING CAUGHT'SNOT GOOD, EITHER. STEVEN, ALL I WANT TO DOIS SHARE A MOMENT WITH YOU. A BEAUTIFUL MOMENT, ONE THAT WE CAN BOTHFILE AWAY AND KEEP FOREVER. IT'S GOT A NICE RINGTO IT. JUST THINK OF ITTHIS WAY -- WE WORK TOGETHER,LAUGH TOGETHER, SHARE A LOT. IF WE SHARE OUR BED, TOO,WHY IS THAT SO DIFFERENT? FOR ONE THING,WE'LL BE LYING DOWN. WELL, NOT NECESSARILY. [ SIGHS ] IS IT GETTING HOTIN HERE? WE COULD OPEN A WINDOWOR KNOCK DOWN A WALL. STEVEN. STACEY,I'LL BE HONEST WITH YOU. THE IDEA OF GOING BACKTO YOUR APARTMENT WITH YOU RIGHT NOW IS VERY, VERY... UH, THOUGHT-PROVOKINGTO SAY THE LEAST. YOU'RE A WONDERFUL PERSON.I'M VERY ATTRACTED TO YOU. BUT -- BUT -- STEVEN, I UNDERSTAND YOURFEELINGS, AND I RESPECT THEM. BUT IF YOUR FEELINGSFOR YOUR WIFE AND YOUR FAMILY ARE AS STRONGAS YOU SAY THEY ARE, THEN HOW CAN ANYTHING WE DOTHREATEN THEM? BECAUSE I CAN'T VIEWMY LIFE AS A SERIESOF UNRELATED EPISODES. EVERYTHING I DOAFFECTS EVERY PART OF ME. WE WOULD BE SO GOOD TOGETHER,STEVEN. I KNOW. IT CAN'T HAPPEN, STACEY. WELL, THE APARTMENT'SA MESS, ANYWAY. I'M SORRY. IT'S ALL RIGHT.THE MAID COMES TOMORROW. THAT'S -- THAT'S NOTWHAT I MEANT. I --OH. [ EXHALES SHARPLY ] WELL... WHAT DO WE DO NOW? HOW 'BOUT A HUG? HMM? YEAH. OH. [ SIGHS ] THE IRONY IS BEAUTIFUL,ISN'T IT? THE THINGTHAT I LOVE MOST ABOUT YOU IS THE THINGTHAT'S KEEPING US APART. YOU ARE SO DAMN HONORABLE. I'LL WALK YOU TO YOUR CAR. YOU'RE NOT GONNATRY ANYTHING, ARE YOU? STACE, I... LET'S GO. OKAY, NOW,IT'S VERY SIMPLE. SEE, EACH OF US HASA 60-MINUTE PERIOD IN WHICH HE OR SHECAN USE THE TELEPHONE. THAT WAY NO ONE CAN MONOPOLIZEIT FOR THE WHOLE EVENING. ALL RIGHT, NOW, THIS CHARTMAPS OUT EVERYONE'S TIME PERIOD. I JUST HAVE ONE SMALL PROBLEMWITH THIS. WHAT IS IT? MY PHONE TIME IS AN HOURPAST MY BEDTIME. THIS CHART IS BUSINESS,JENNIFER, YOUR BEDTIMEIS A PERSONAL MATTER. ALEX, I'M TIREDOF YOUR CHARTS. I'M TIRED OF YOUBOSSING ME AROUND. I'M TIREDOF YOU TELLING ME WHEN I CANAND CAN'T USE THE PHONE. AND I'M TIRED OF YOU,ALEX. JUST WHAT ARE YOUTRYING TO SAY, MALLORY? OH, HI, KIDS. WHERE'S YOUR MOTHER? OH, SHE WENTTO BED EARLY. SPEAKING OF BED, JENNIFER,SHOULDN'T YOU BE IN ONE? IT'S 10:00. I, UH, UM, DIDN'T WANTTO GO TO BED WITHOUT SAYINGGOOD NIGHT TO YOU, DAD. GOOD NIGHT.MWAH. I'M GLAD YOU'RE HOME. SO AM I. MAYBE YOU CAN SETTLEA LITTLE DISPUTE FOR US, DAD. I WILL NOT HAVEMY COMMUNICATION GOVERNED BY ONEOF YOUR SILLY CHARTS. A 45-MINUTE DISCUSSIONABOUT SOMEBODY'S LEG WARMERS. YOU CALL THAT COMMUNICATION? WHO ASKED YOU TO LISTEN TOMY PHONE CONVERSATIONS, ANYWAY? MALLORY, THE HUMAN EARDRUM ISDESIGNED TO PICK UP ANY SOUND WITHIN A CERTAIN RADIUS, NO MATTER HOW INANETHAT SOUND MAY BE. MALLORY, ALEX! YEAH, DAD? I LOVE YOU BOTH VERY MUCH. YOU FEELING OKAY, DAD? I FEEL GREAT.JUST GREAT. WELL, GOOD NIGHT. YEAH, GOOD NIGHT.SLEEP WELL. I'M TELLING YOU,MALLORY... [ INDISTINCT ARGUING ] I LOVE THIS HOUSE. WHAT A GREAT KITCHEN. LOVE THESE PLATES. YOU REALLY CAN SEEYOUR FACE IN HERE. SO THIS IS WHAT YOU DOAFTER I GO TO SLEEP AT NIGHT. OH...ELYSE! I THOUGHTI HEARD VOICES. I-I DIDN'T REALIZEIT WAS JUST YOU AND A PLATE. UH, I'M GLADYOU'RE AWAKE. I WANT TO TALK TO YOU. WHAT ABOUT?YOU KNOW WHAT I WAS DOING WHILE I DROVE HOMEFROM THE STATION? WATCHING THE ROAD, I HOPE. COUNTING --COUNTING ALL THE TIMES YOU AND I HAVE STAYED UPALL NIGHT NURSING ONEOF THE KID'S FEVERS. GUESS HOW MANY.[ SIGHS ] COULDN'T BEGIN TO. WELL, GO AHEAD, TRY. [ SIGHS ] 17. THAT'S RIGHT. HOW'D YOU KNOW? I DON'T KNOW. I GUESS AFTER ALL OUR YEARSTOGETHER, I-I CAN READ YOUR MIND. GUESS YOU CAN.[ CHUCKLES ] WHAT AM I THINKING NOW?[ SIGHS ] YOU'RE THINKINGTHERE'S NO PLACE LIKE HOME? YOU'RE VERY GOOD AT THIS,YOU KNOW? SET UP A BOOTHON THE BOARDWALK. AND YOU'RE THINKINGABOUT OUR LIFE TOGETHER AND -- AND EVERYTHINGWE'VE BEEN THROUGH. AND HOW HARD IT WOULD BETO TURN YOUR BACK ON THAT, HOWEVER TEMPTINGIT MIGHT BE. HAS IT BEEN THAT OBVIOUS? THE WORDS "OPEN BOOK"MEAN ANYTHING TO YOU? SORRY, ELYSE, I'VE BEEN ACTINGLIKE A REAL CHILD. NO. NO, YOU HAVEN'T. YOU -- YOU'VE BEEN ACTING LIKEA GROWN MAN FACING MIDLIFE. I-I'LL PROBABLY ACT THE SAME WAYWHEN I GET TO BE YOUR AGE. WHY DIDN'T YOU STOP ME,ELYSE? WHAT WOULD I HAVE GAINEDBY THAT? I -- I MEAN, OUR --OUR ENTIRE RELATIONSHIP IS BASED ON TRUST. IF WE DON'TGIVE EACH OTHER THAT, WHAT ARE WE HOLDING ON TO? THERE'S SOMETHINGI WANT YOU TO KNOW, ELYSE. WHAT? I LOVE YOU MOREEVERY DAY. I LOVE YOU, TOO, STEVEN. I WANT US TO DOMORE THINGS TOGETHER. JUST THE TWO OF US. I LIKE THAT IDEA. IF YOU HAVE ANYTHINGPARTICULAR IN MIND... LET'S GO CAMPING. THE TENT'S AT THE CLEANERS. ANY OTHER IDEAS? JUST ONE.