 Yeah, yeah, welcome to watch me work. We're the me and the title is you I'm Susan Lori Parks and we are celebrating Valentine's Day by working, working together and supporting each other we've been doing this show for 12 years, I think, pretty much. And basically what we do is we meet every week. Or as often as we possibly can during the pandemic in the beginning of the lockdown we were meeting, like every day for a while. Remember those days I know it was fun but it was also kind of awful. We're working together awful that we had to do anyway, we're here. We're working together. This is what we do we work together for 20 minutes, and then we, then I take questions about your creative process. And so it's all about you watch me work is all about you and your creative process. And so hopefully we'll get some work done today and we'll certainly have some exciting conversation. And if you have questions, Audrey will tell you how to get in touch Audrey. So that was Jeremy Adams is our managing director. So if you have any questions and you're inside of the zoom. All you need to do is click on the raise your hand button which is in the reactions tab which is likely at the bottom of your screen on a laptop or the top if you're on an icon for a tablet. You can also ask us questions via Twitter, which is at watch me work SLP with the hashtag how round h o w l r o u n d, or you can write to the public theaters Instagram or Twitter. And those are the ways. Those are the ways. These are the days. Enjoy the purple haze here we go. It's 20 minutes. Hello hello hello. All right. All right, all right, all right. It looks like we've got our first couple of questions. Good to go. Yeah, let's go to Carla. Go for it. Hello. I'm good. How are you, Susan? Great to see you again. Yeah, great to see you. I'm almost finally back. Sorry, it's very cold in my apartment. Oh, then you live in where you live in where where are you. I live in the Bronx. They control the control our heating and it's a little. That is very annoying, but you look very Valentine'sy with your beautiful sweater. You know, full on just. There you go. There we go. I'm sorry, Jim's weren't read. Yeah, I don't think I've ever seen Jim and ready there. So there you go. Yeah, we're all in the mood of Valentine's. I love it. So my question was more about. I've been writing this novel since the pandemic started. I've even been in here with it and all that. And I have an outline that's in front of me with post-its and gun. I even took a writing class and put it through it. And I know like I wrote a little bit today. I wrote like a page or something. But I feel like I still, my goal was last year. I wanted to end have my first draft by the end of the year. And I didn't make my goal. I feel like I keep, it's like, you know, when you're in a car and the car's starting and then it won't move. And it's like. And I feel that's how I feel right now with my writing. And I, like, this is the first time I've written on it for like 10 days. The last time I saw it was February 4th. Okay. And so I feel like I keep dealing like that with it. And I don't know if you have any advice on how to try and break that because it's not, I guess, a writer's block because I know exactly what I need to write. I know how everything ends. I have it. I just want to finish my first draft that I keep not doing it. And so I just don't know. Yeah. Yeah. Yeah. Wow. Hmm. I can guess like, like, do you really want to finish? Yeah, I know that's, that's what I'm thinking. I'm like, am I not enjoying it? Like I was so into it at first and now I'm like, Yeah. Because, because, because, because, because when you're finished, then you're not going to be in it like you were in it now. So if you don't, if you don't, if you prolong the process that you can stay in it longer, maybe you have maybe love it so much. You don't want to, you know, some, some parents don't like their children to grow up and leave home. You know, I mean, you know, so it's like, you don't. You know, you don't want it to take it to grow to the next time. You don't want it to be sad. Maybe. I don't know. There's that. That's, I mean, we're just throwing out possibilities. Yeah. So let's say like that's a possibility. We can, you can entertain, you can mull it over, you know, and see if that makes any sense to you. Do you think that there's a, there's a, there's a like a splinter in it or some kind of, I hate to use the word defect, but some kind of miss, you know, something not quite right in it that you're sort of sensing with your spidey sense and you're going, you know, do I need to repair something before it's drafted fully? I know a couple things that I know already need to be fixed, but I figured I would do that in the second draft. Okay. And I even have parts of it. Like I have it both in my computer and this notebook, but in the computer, I still have little like comments being like, okay, maybe this needs to be fixed and stuff. But I was just like, okay, just write it. It's like write that first draft. It doesn't matter if it's good or not. But then I couldn't even write it in the computer. And so that's why I bought a notebook. And I was like, I'm just going to start writing it by hand. So I just feel like doing everything right. You're doing everything completely right. Because what you're doing, what Carl is doing is she's realizing she's having a difficulty. She's trying different ways. It doesn't work on computer. I'm going to work on in a notebook. It doesn't work. You know, if I can't get there by driving, I'm going to walk. If I can't by walking, I'm going to borrow some sled, a sled or some skis or whatever to hit your ride. Great. So you're trying to examine your option. Great. Okay. So, and if you saw something, you noted something that needed to be fixed or changed, you know, you're not going to be able to do that. You're not going to be able to improve it. You're not stopping to really do those. You're kind of putting me, give yourself a note and you keep going. That's really great. Okay. So you're doing that right now so far. So good. Hold on. We're not done yet. We have a list. Let's see. Let me see. I'm, I'm reading off my imaginary cue cards here. Let's see. So great. So how much. How much. When you were writing on it, which was the fourth of February. What did you say? The first time was that I used to notebook was February fourth. And then today I wrote a small page. Okay. Okay. So, so, so, so when you were, so look back into the distant past. No, whenever that was when you were writing kind of, and you felt when was, when were you writing and felt like, okay, I'm going along. I'm writing at a steady clip. When was that? Probably when I started writing in the notebook. Okay. I was like, when you were saying like, I'm going to finish it by the end of the year. When was that? Oh, like, I want to say, like, August of last year, September. Okay. Okay. So we'll go back to the notebook. So when you picked up the notebook and you, you felt energized again and possibility. Oh, how, what was your writing schedule? And what was your writing like? What was. I, I promised myself I would do 20 minutes. Great. Okay. So I wouldn't do too little or too much because I felt like if I do an hour, I would like stare into space. Great. Smart. Everything so far. Everything's right. This is, this is fun. This is fun. Okay. I'm having fun. Okay. Okay. No, no, no, it's actually great. It's great. It's great because I think Carla, as you have your questions and you wonder, maybe other people have this similar question. So we're just doing diagnostics, right? We're running it through, you know, you're at the, you know, we run it through the diagnostics. Here we go. Here's another question. So, so you, so last time on the 4th of February, you were writing and you did 20 minutes and you, you accomplished that. Yeah. Then what happened? What was the 5th of February like? It's a good question. I might even have to look back at my calendar and be like, what did I do that day? I don't even remember. That's why I'm like, Oh my God. 5th of February. Oh my God. It was a Saturday. Okay. The 4th, the 5th of February was a Saturday. 4th of February was a Friday. Friday. I was very busy being with friends. I was meeting up with all our friends to the point that I felt like my social clock died and I just sat and watched TV and I didn't really do much on that day. Oh yeah. Television. Isn't it great? Yeah. It's like an IV. You just hook yourself up to it. And the day goes by and you wonder what the fuck just happened. Yeah. It's good drugs, baby. Yeah. So you got, you hang out with friends because of course you hadn't been doing that much probably, right? No. And you're like, I deserve to hang out with friends. And of course you do. And then you start getting like, yeah. You feel good and you come home. Interestingly enough. Yeah. Why do you do that? Why did you do that? I think it's because I remember that now that I'm looking back into it, I was like, I felt, I remember thinking, I think my social clock is like done. So I was like, I just need to like lay down and face out. Yeah. Hook up to the morphine drip. Hook up to my morphine. Exactly. And yeah. And I for, and then a few days after that, I really didn't want to see anyone. Like I was like exhausted. And I get, I remember I got even asked to go out to a dinner. And I was like, that's, and I live in the Bronx. That's in the middle of Manhattan. I don't want to take the train. I was like, we hear you. But strangely enough, none of that. I don't think has to do with your novel or maybe it does. Maybe some reason you went out, you got, you went social, then you watch TV. And then you kind of felt like, yeah. Okay. It's interesting. So, yeah. So when do you usually write? After work. After work, I finished work round four. So I tried to do afternoon. Great. So you did 20 minutes, what, when you get, you wait till you get home or you work at home? I work from home. So I try to like, you know, take a break and then come back into it. Great. Okay. So this is what we're going to, we're going to suggest. What if I said, what if I suggested right for. Two minutes a day. Okay. Is that possible? Yeah. I know. Why did you say that? Yeah. Yeah. Is it hard? Is it really hard? It's not hard. I feel like two minutes is not enough. But it's better than zero, right? Better than zero. Exactly. Okay. We love you. Yeah. Yeah. So, yeah, it's, it's, it's, we're, we're, it's, we're just lowering the bar. That's all. We're not saying you're, you're faulty or wrong or bad or lazy or anything. You're not, none of those things. We checked, we've done all the diagnostics. Yeah. You're doing everything right. And all we have to do is we just have to lower the bar. We just have to lower it to a place where great reaction you went. Two minutes. Two minutes. I know, right. Right. Great. Good. That means you can do it with no problem. Yeah. Right. And then next time I say, Hey, Carl, have you been writing every day? You'll go, yeah, I'm not going to ask you how many minutes. I'm not going to ask you how good it is. Yeah. Right. For two minutes. And that's it. That's it. Okay. And try that for. You know, at least a week. Okay. Just two minutes. That's it. And see how you feel. Check in with yourself. Yeah. Yeah. Maybe it's that I was like exhausted and I, I couldn't, because not only that, I couldn't do anything else. Right. I left my laundry. I left everything. So now that makes more sense. You know, to lower the bar, two minutes. Yeah. Just two minutes. Set the timer. You have a timer, right? I, I need to get one of yours. I need to go into Amazon. I'm using the phone. I know, I know. I would not suggest you go into Amazon for anything, but. They grow there. They grow. I don't know. Bed, bathroom, beyond maybe whatever. I mean, what, no, no, no. Get it wherever. Who the fuck cares? I mean, shit, he's going to go to Mars next. We got to pay for his next trip. Right. Oh God. We can dismantle another bridge and wherever the fuck. Yeah. Anyway, I know, right? So, so, yeah, get yourself a timer. These are great because they're not connected to my phone. So. Yeah. Two minutes. Right. And set it for like two minutes, five seconds, because the five seconds gives you time to take your hands off the timer and put them on the keyboard or on the, on the keyboard. So, you know, you can pick up the notebook and put the pin, you know, like that. So two minutes, five seconds, right? For two minutes. And that's it. That's all you do. Okay. Okay. This is, this is rehab. Yeah. I love rehab. I know Amy Winehouse. Well, bless her heart. You know, but, you know, we love rehab. Yeah. Okay. That makes sense. I feel like now I understood. I was like, Oh, okay. Yeah. Thank you. Thank you for your questions. Thank you. Thank you. Thank you. Thank you. Thank you. All right. Let's go to Emmanuel. Yay. Does that work? Oh no. Okay. Hold on. There you go. Try again. Yes. Yay. Hi. How are you? I'm good. How are you? I used to, not France. Yes. No. Yeah. Yeah. Still, I know why I remember that. That's horrible. Maybe, maybe my name. I don't know. Yeah. You know what? Yeah. Yeah. Hi, how are you? Hi, I'm good. So I didn't keep up with what you said last time and I felt very guilty. So I didn't clock in. I can't remember. What did I do? No, I basically set the bar way too high, which was very nice to have the last question because I was supposed to write a page a day for like 50 days. So, yeah. But it's fine. So basically I'm back to writing this musical that I started writing in 2019. And there are not holes in the plot, but I did kind of what you suggest to do is get to the end. And now there are, so I've had just one reading, but there are great plot holes. And there are a couple of things that I'm, I'm like, oh, that's a bit cheesy. So I'm not quite sure I've been avoiding getting back to it because it's as if it's constructed and that if I take a piece out, the whole thing will crumble because it's it's a construction, even if I don't like it. So I'm not quite sure how to tackle. I mean, it definitely needs to rewrite, but getting back to reworking like the basic plot. I'm not really quite sure. It feels very scary to do that. Do you know the game? Yes. No, no, no, please, please, please go ahead. Go ahead. No, no, it's just how to go ahead doing that. I don't know by which, like which angle to go into it because yes, I'm not quite sure how to do that. No, it's a, it's a great, it's a great question. You know the game Jenga. I was just thinking of the game Jenga. Yes, that's what it's like that. You know, right? Okay, great. So it's a, and it's a game folks, if you don't know it, you know, you pile up a bunch of blocks and you pull things out and hope that it doesn't collapse. And you in a way are putting things in and hoping it doesn't collapse, but hmm. And taking things out. I definitely need to take things. Mm hmm. Change. But if I change some fundamental things that I don't like, it just, you know, it, you, the story, if I take one scene out that I don't like, then the rest of the story can't happen. Are you sure? No. Okay, okay. Good. I haven't tried it. It just feels, it feels, it feels like it. Yeah. Okay. So, so that's the first question. Are you, yeah. So you can, you can try to take some, I mean, because if you definitely, if there's a scene that you don't like and you don't feel it works, then you've got to at least try to take it out. Right. To see what's going to happen. And you can replace it with a better scene that works. And that you like. And that's going to serve the story more. Right. Yes. Does that, does that make sense? Yeah. There's really, you know, no other way around. You can, I mean, you can leave it like it is with the holes in it that you have identified. You don't want to do that. Okay. You said that you can, you know, not change a thing. Wait a minute. That was what I just said. Okay. You don't want to do that. Okay. We're just examining all the options here. Okay. You can just keep it like it is and hope no one notices. And every night that it's playing, you're going to be going like this in the audience. That's an option. You can identify the parts that don't work. And that you don't like the holes, but you can identify the parts that don't work. You can identify the parts that don't work. You've done. And you can, you can do something about it. That's the only, I mean, what did young say to you? You know, Carl, you're the only way out is through. Right. So. Like for example, it's a, it's a scene that's a bit of a crux moment that propels the character. Forward until the end. So all of the. Consequent. So all of the scenes that are based on this one. Seeing that. That I don't like. I'm like, that's a bit. Obvious cheesy, you know, right? Great. So you, so you draw a big circle. I mean, first of all, I make a, make a list of your scenes. That would help. Right. So that takes them out of the script. You know, right. And put some distance between. They're, they're in the script. Now, now you're just looking at, like you're looking at a map. Right. So you can look at a little more objectively to create just a little bit of distance. Right. And then you circle that scene on your out on your, your map, your list, your bullet point list, if you will, and you circle that scene. And then you can write. Maybe open a new page on your laptop or in a notebook. Why that scene doesn't work. Why you don't like it. Why it's cheesy. Hmm. And maybe 10. Really cheesy things. Stupid. Stupid. And maybe 10. Really cheesy things. Stupid things that you could put. That could have happened in place of that. Like just ways that you could change it. Just that scene. Go one scene at a time. If you take apart the whole thing, sure, it's going to be hard to put back together. But if you do it piece by piece, very systematically, you know. Okay. If you want to put yourself an outline or a beat sheet or bullet. You know, whatever you want to call it outline a list of scenes. Circle the ones that don't work and then write out either long hand or in your note, you know, why they don't work to you, why they're cheesy, why you don't like them. And then what could be better. Okay. Yeah. You're really doing Jenga. You're taking something out. And you're going, there's the hole. What do I put in that place that could really accomplish all these things? Maybe it's a modest change you need to make. Maybe it's a big change. But you're preserving the structure. You're just focusing on the, the, the. The problem, if you will. Hmm. You know, yes. Yeah, it makes it less scary if it. Yeah. If they're just itemized. Yeah. I have a second question. Is that okay? Sure. Um, it's a, the main character is, um, things just keep happening to her. And I'm. Not quite sure how to develop. Again, because it's all structured around this one person. And then I feel like, again, if I change her and her personality or add. A bit more agency to her that it. Then everything else will have to change. That's. Well, so. Well, maybe everything else has to change. You know what I mean? Yeah. That's not the worst thing. I mean. You know. The power of the artist is in, you know, the rewrite, the power of the writers and the rewrites. Yes. And that's where you show your. Your shit. You know what I'm saying? That's where you show your stuff, your moxie, your, your grit, your resilience. You know, um, but again, I would suggest. Go writing an outline. Give yourself some space from the script. And write scene one. This is what she does. Or this is, no, this is what is what's done to her. Yes. You know, and how can she, it just. How could she be more active? What could she do? What does she want? You know, what does she want? So what she's got? What is she going to do to get it? Yeah. Yeah. So how can I activate her? How can I make her more active? How can I make her an active agent and what she wants? You know, I think it's because the main premise is that she is living through what she thinks. She doesn't know what she wants because things have been put on to her. And so she's going through the motions of that's what kind of the piece is about. So how to make her. Yes. Well, well, either it is that either there is a problem for you or it isn't. I mean, you just said it was a problem. She thinks we're happy to hear she didn't have enough agency. So we can do that. If you say that's what the piece is about, then, then that's what it's about. You know, it's your call. It's your work. So. If you're feeling like she's too, you know, passive, then you can change that. But if you, but if her passivity is the story, then. Okay. Yes. You know, I will brainstorm both options. Yeah. Yeah. Yeah. And again, make lists, make lists of scenes, get some space on it, get some space on it. See it from, you know, some elevation a thousand feet away. You know what I mean? Look at it as if someone else wrote it, that will help. That's a good idea. Yes. Yeah. Pretend someone else wrote it. Okay. Cause someone else did actually. When did you write the first draft of this? 2019. Yeah. That was forever. That was like a hundred years ago. Yeah. Okay. Thank you. You're welcome. Thank you. Good to see you. Yeah. Great. All right. We've got about 14 minutes left. And we're going to go to Melania. Hey Melania. Hello. How are you? Happy Valentine's Day to you. I am so happy to be here. And what I love about this opportunity, this treasure that we have is the merciful spirit. You know, that helps me a lot because I am. A couple of weeks ago we talked about, I couldn't choose what I wanted to do. So after a while you told me that maybe I could do the, the theater play that I am trying to write. So I decided and I went for it. And I began several things trying to, to get it along flashcards. I walked in my neighborhood. I talked to myself. I pray that I love to pray. I read out loud. Good. Good. Good. I dreamed about the play. I was dreaming. So suddenly I, yes, I, I found myself with myself on trying to write what I dream. You know, when I am in. Perfect. So doing all of that. I realized, I think that what I realized is that I don't know my character. It's a one woman. Play. Oh, yes. It's for a person that I love in Argentina. And she read something. We talk about the idea. She loves it. And she, I think that what happened also is that she made so many nice comments about the situation that I got a little, I don't know if the word is scared or like frozen. But what I think is happening to me is that I don't know my character yet very well. And I know that they write the character. I am creating the character. But at the same time, I feel that the character goes beyond me. If there is a person that is going beyond me. So I would like to ask you how can I meet with my character? How can I know more? Because what I am seeing is that I have situations and ideas, but it's something that they are that I know that is happening to this character that I really don't know yet. There is something there that is, and I am stuck, but I am trying to do things. So I am stuck, but I am not because I am moving. So she's even in my dreams now. So yes. So it's perfect. Any suggestions about how to know my character better? Sure. Sure. Have you tried talking to her? No. Just interviewer. Okay. You know, just like, hey, can we talk? Okay. Yeah. Talk to me. Talk to me. So that when you're, you're going on your walks, working with your flashcards, you're dreaming your, you know, all your wonderful techniques that you're employing, you're talking with her. Talk to me. Talk to me. Okay. You know, what am I not understanding about you? What am I not here? Am I getting something wrong? You know, she's your friend as if she were your friend. Okay. I like it. Yeah, you know, we're going to try everything. Yeah. And you know, and just, you know, the spirit, in my experience, the spirit just loves to watch you work. Look, a lot is trying this and trying this and trying this and try this. How exciting. How thrilling. Look at you. What resilience, what fortitude, what patience. You know what I mean? It's beautiful. Look, look, look. You know, I mean that that's, that's, that's living baby. You know what I'm saying? That's, that's, that's so, it's so beautiful. And you're not alone. And we've all been there. We've created anything. We've all been there. We've all been, what is that Christopher walk and say to Leonardo DiCaprio. In that film, catch me if you can, we've all been those mice in the cream, you know, moving our little legs so fast, you keep moving your little legs and eventually, hopefully it turns to butter and you just walk out. That's that's that movie catch me if you can, but that, you know, that idea that you just keep, you know, sometimes we're just in water. So it's not going to turn to cream anytime soon. We just have to keep paddling, but we make some, some forward progress. And you think of all the beautiful things that were discovered, all the inventions are all the, you know, the breakthroughs happen because of effort. And sometimes they come quickly and sometimes they don't come quickly, but you know that you're on the right path. This is the life. Yeah. This is the, this is the artist way right here. That's true. Yeah. So, so talk to her. I will. I promise. I will go. Okay. That helps. Thank you. You're welcome. Thanks. All right. We've got eight minutes left. We're going to go to Richard. Richard. Oh, did you get it? Oh, no. Try one more time. Yes, there I am. There you are. Okay. So that was great. Two weeks ago, you told me to go see it, do scene by scene, go through the whole thing, running commentary. And the key to the running commentary that was so amazing was that it kept on coming up with the same problems. Then I started reading it aloud and something connected cause I'm an actor and I know all this stuff. This seems like okay, but I, it's just too polite. The conflict. Yes. I know that the conflict's there, but it's really not there. And part of the problem too is kind of having this thing in my head was that, well, it's a screenplay. So these people can't talk too much, but I kind of understand dialogue is action too. Yes. So, um, so what I've been doing now is kind of trying to go back and do, do the beginning each scene. And in a way like when I wrote out the list of what's happening in the scenes, it seems very, it seems somewhat different when I'm changing it because it needs, it just needs different things. So what am I asking? I'm just saying one, it's so important for me to just read the thing aloud. I don't have, I, as an author, I know what it is, but if I don't read it aloud, I really don't understand anything about objectives and how do I get what I want? Um, so what, I just wanted to share that stuff and maybe, um, the question is about where do I go from now? Now I'm trying, I'm thinking like maybe I should just do the same thing, which is just work day one, work on this scene and then go to scene two, then go to scene three, and then I'll have maybe another running commentary. I think that's a great method, Richard. And I think that, um, you're finding like where's the conflict, you know, and you're also saying there's another voice in your head that says don't write too many words because in, in movies, you know, screenplays, they don't talk a lot, you know, but what I'm thinking is if you need to get to the conflict or find the conflict and you need a whole two page honker of a speech to get there, right? I would suggest go and write the gosh darn thing, write the two pages of speech and then cut it down, you know, it feels like you're looking for something and you, you might have trouble finding it because you're also telling yourself you're not allowed to write too many words of dialogue. But it's so amazing you said that because what was 59 pages since I started to be arriving is 66. There you go. And it's a million times better. Okay. There you go. And it's all you. It's okay to read to overwrite. If you want to call it that it's okay to write long monologues for teleplays or screenplays. And if you need to, because you're searching, right? So you're digging, you're looking, you're running through the woods, you're looking, you're digging in the hole, you're digging, you're digging, you're digging, you're going to find it, you know what I mean? But you won't find it if you don't dig. And sometimes you got to write too many words to find the right ones. That's okay. That's okay. I think sometimes we have difficulty because we writing and rewriting are two different activities. So you're rewriting, i.e. cutting words while you're trying to write them. You're just, just, just write the words. Write, write, write, write those, write that speech, write, find that conflict that you're, you're saying you're, you're missing, you know. And maybe I was thinking maybe it makes sense instead of just begin, maybe start with scenes, work on scene seven instead of going one, two, three, four, five, six, seven, because maybe scene seven will tell me, well, there's a big problem here. There you go. I think you're scene seven is talking to you because I came out of your mouth, bro. You know what I'm saying? You're like scene, scene seven is like, hey, can we, can we talk please? Can we? Yeah. So yes, I think it's a great idea. You don't have to always work in order. You've, you've written the, the whole thing you've gotten to the end. You've made notes. Just, just work on the things that you really feel working yet. Great. Right. On what I don't feel is working. Okay. That's my mantra. Yeah. And thank you. Thank you. Thanks. Thank you. Thank you. Thank you. Thank you. All right. We've got about two minutes to go. And it seems like we don't have any questions at the moment. So do you want to take us home? Take us. We're already home. We're home already. Except you. You're at work. Can you take me home? No, really. I just, you know, I mean. You know, let's not underestimate the value of kindness, you know, and you know, so often we take kindness for weakness. You know, we see people who are kind and, and caring of others is somehow defective. And it's better to be tough, you know, but we know better. We know better. And it's just, you know, I mean, I don't know. Yeah, I'm just telling you guys stuff, things you, things you already know, but it's very important. And also, you know, as you go along and grow in your artistic process, stepping on other people to get where you want to go is, it's not, it's not worth it. It's not important. Kindness is so important. And I use the word kindness instead of love. Love is a word like friend. I don't know quite know sometimes what it means anymore, but the kindness I know what that means. So to be kind to as many people as we can every day, even the people who are not important. You know what I mean? Not only kind to the people who are going to get us something and elevate us in some way, but the people who, who might not elevate us. It's just, it means so much to people. And there's so much as we know, because we feel it. There's so much despair right now in the world and our communities for many, many, many, many, many different reasons. But the kindness can go a long way to really just helping each of us through the day. We can all do that for each other. So, you know, that's why it's part of the reason why we're here. Yeah. It's a lot of kindness, lots of kindness in this, in this community right here. I'm very proud of all of you too. Because it's hard to do the work. It's hard to show up, but it makes everything else worthwhile, right? Yeah. Thanks. It's a clock. It's a clock. So, so next week, right, it's president's day. Another word that this is meaning has kind of been diminished but present state. The public theater is officially closed. And so we will not have watched me work on next week because we do not have, you know, the fabulousness of the public theater and how around to organize it for us. So we're going to be back on the, what's the 28th, February 28th, the 28th of February. Okay. So next week we'll just work on our own and enjoy it. Okay. And we'll be back on the 28th. You're the best SLP. We'll see you on the 28th. I love you guys. I use that word.