 difficulty, and shit, and my self in my pocket. So we are going to paper. Remember one week they forgot to bring paper? Now they bring like a ton of paper. We are foreign. Are we foreign? Are you foreign? Did you guys study with Matthew McGuire? He's awesome. He's awesome. He's fantastic. He's very foreign. Oh, is that like, is that, does that mean he had to learn a lot in this class? I didn't actually ever take the blackout. He's brilliant. He's amazing. He just gave him a great, you know... Do you know Moritz on Shippo Nagel? No, but I said... You did hand to God? Oh, oh, you did? What's his name? What's his name again? Moritz. Moritz? Moritz? Moritz? M-R-I-T-E-Z? Yup, not German. He's not German. He's a Canadian with no accent. Where's he from? Where are his people from? I assume his father might have been from Germany, but he spoke with no accent. My husband is German, so we have a lot of German out there. Come to Germany? So would you. You're from? Yeah. It's awesome, so this is Watch Your Work, does anybody not know what we do in Watch Your Work? I mean if you guys aren't here for Watch Your Work, you don't have to leave or anything. You don't know what we do? What's your name? My name's Jose. You may not remember me. You look familiar, that's why I thought you've been here a long time. I was in the graduate school program. Oh, you were an actor? We're a fabulous actor. And now that you're an actor, you're a fabulous writer. Well, I'm here to watch you do it. You taught that class with Oscar at NYU. Yeah, I still do. We show up every fall, and we do it. You're in class, and you're ready. It's tricky, you'll see. You know, when you teach a lot, it is a strange thing that begins to happen. It's like when a waiter comes up to you and says, remember me? I waved at you three years ago, and you're like, whoa, all right, hi. But, you know, it's a little tricky. It's tricky. So hello, I'm glad to see you again. How are you? How is it in the big world? Oh man, it's tough out in the streets. No, it's good. It's nice to be out there. Out of the cocoon or the grad screen. Yeah, that's good. Because you can't do everything. Unless you do, and then that's sad. Yeah. Okay, so we're not sad. And I didn't watch the Oscars, but I had it in my apron which did a reenactment for, which I think should have won. It was fucking brilliant. He's big, very buff dude doing this thing. So, to tell you what we do for this show, because as you see, it's a play, because the Velvets never tell you that. So this is a play, and we do it in two parts. First we do the action of the play, which is we all write for 20 minutes, and I time it, and my overhead helps me time it. So we time it together, okay? And then we do the dialogue of the play, which is us talking about you guys' creative process. So the title is kind of like, it's not like by Hamilton you know what you're getting, right? Watch Me Work, it's a little tricky, because of me and the title is You. So Watch Me Work means that I'm here, basically, pretty much every week in the lobby of the public theater, and I'm repeating it because we also live streamed the HowlRound, and I'm here, and for free, we invite you guys to come, and I want to talk to you about your work and your creative process. So I don't talk about my work or my creative process, and if one should ask me a question about my work or my creative process, I turn it into a question about you. So it's a chance for you to talk about what's going on with your work, okay? And it doesn't have to necessarily be writing, it can be any kind of creative endeavor. She asked you, have you ever, don't have an interview? Ms. Parks also, in about two minutes, asked herself if she could make it. She's hallucinating, she has some hallucinogens, legal hallucinogens. That's why she was in the class. You know, that's one thing, the two things I don't really dig on stage, you know, gratuitous bad stuff, and gratuitous nakedness. I've never really done that at home, sure. I came home, my son was with the babysitter and he was naked, and I'm like, why? He's like, I don't know, I said, okay, I'm going to put your clothes on. Anyway, we're going to write for 20 minutes, okay? And those of us who, those of you guys who are watching, are you going to come up and tell them? Tell them now so they can prepare. And then you tell them again, we take questions. You know, they'll have more than one chair. Do you have all that confidence? Yeah, this is great because you're like in the closet. Okay. Look at that, that's cute. Thank you. That's very little purple sparkles. In addition to our live streaming, we also take tweet questions on our Twitter account, which is at Wash Me Work SLP. So if you tweet in with the hashtag HowlRound, we will ask SLP your questions and then respond. You got your, you're going to use your phone? Yes, I have it. I brought my timer today. We're going to do it to 20 minutes, and then I'm going to do some talking, okay? I'm not going to start until I put my... This takes like actually like two minutes to do. Anybody else know this is a typewriter? It's been a long time. Click, click. Okay, ready? Well, I'm going to move my sandwich out of the way. There. You're having trouble you can use? This time, you know, this sort of like, this thing with me is your animal. Can I have your animal? Almost. You know, sometimes you have to remind ourselves what we're really doing. So does anybody have any questions about their work and their career process and their shit? Yes, yes. Remind me of your name. James. James. And you're from Scotland. I am. Yeah, okay, I remember. Hi, James. And when you're... I have a piece. It's Edinburgh Hairstyle. Yes. Do you have a policy for rewriting? How long... I'll let you let yourself do it. You're in... You are in rehearsal, right? And we had our first rehearsal last Tuesday and I'm directing a piece. And I keep hearing stuff I want to change. Sure. And I can't tell when... I'm just wondering what your cutoff is. Sure, sure, sure, sure. Well, usually the production... I mean, depending on the production, but usually, did everybody hear James' question if you're in a show, when do you stop rewriting? Right? So usually a production will freeze, they'll say, James will freeze in the show. So a producer will come out and she'll say, James, we're freezing your show tomorrow. And that's when you stop. So you keep rewriting for a preview? If it needs it. If it needs it. This is another time. So you can keep writing up to the time that it's frozen. Okay? If it needs it, I suggest do it. Don't stand up like, Well, I will. No first draft, best draft. That'll be right, because that's the show. Okay. And you can keep cutting also. Changing that should cut that. Okay. Also, you can rewrite. A lot of people do, I tend not to, but people do it after the show is over, you know, after you've had your production, and then you re-visit it later. A lot of people keep writing, and even if it's published several times, people keep rewriting. I don't. I let it go. Everything... I mean, it used to be... The Wizard of Oz used to be the big... The Wizard of Oz, the movie. Used to be the... Everything you need to know, you can learn from watching it as a boss. Or I'm not your neighbor, but you've got James Bond. Put those two together, you know everything. But now, we also have to add to the mix frozen. I've never seen it, but that song. No. There we go. Right, so, anyway. The third time you can stop rewriting, is when you see the actors do that. Okay? So you go, you press a note, and they're like, when they start to their eyes begin to roll back into their heads, you stop rewriting. You've given them more than they can handle, they can't take it anymore, and you need to realize that you're working collaboratively, and you can't be handed them shit, because then they'll just start fucking you up. That was more what I meant, I suppose rewriting, giving it to the actors, how late do you do that? Yeah, yeah, yeah. Is that because you're previews still? Sure. Yeah, yeah, yeah, yeah. Oh, sure. Yeah, but when they're like throwing up, and done, and hate, and they can't do what you've already written well, because you feel they need to, then you're not serving yourself to the best of your ability. So you have to be just aware, you know? All the way up to, all the way up to one of the reasons you can, sure, go for it, if you want, but be aware, you know? No, because you're always fucking right after. Hey, I really had a question. I need to ask you. No, I can't ask you now. No, it's not even about a question. Okay. It's like, I know what you're going to say to me, so you're just going to say, just do the work. Oh, just do the work. Yeah. So I did the work. There you go. How's it going? It got very interesting. I think I was just trying to do the whole thing in one day, and you just said, why don't I just talk to one character and let's see where that goes instead of getting on my own nerves. So this one character has much to say, and it's almost like, I've been waiting for you. Just listen to me. And here's your pen. Write down everything I'm saying. So it's, yeah, and it, but it's kind of, I'm finding that it's like pages and pages and pages, but I'm going back and I'm circling like this, which is new for me. Usually I'm like, no, I have to write everything beginning to end and it has to end. Now it's, okay, here's this little thought and that's going to go there. So I've got a wall of scenes that I just like, I'm like, okay, there's something here. And so I'm just trying to be brave. Let it go. That's what I'm trying to do. Let it go. See? See? So, yeah, I want to get to find myself feeling like I'm in the middle of, in the middle and I'm trying to figure out where the end is. So I'm like, should I just hang out in the, I just do it and see what happens? I think just keep putting the time. I mean, what else? I mean, that's the thing. You know, you've worked on something for a long time and you've worked on this for a while. You just have to keep putting the time and keep getting the pages down. Yeah. You know? And you say, you know, a couple weeks ago that you needed feedback from some new people. Yes. So are you, how's that going? I haven't cut out one person. They're becoming very entertaining, but that's not helping. I'm entertained, but it's not, it's not there. So you need some news. I'm just, yeah, but I want to be organized. You just have to keep putting the time. Really, it's like, sometimes it's like that. Yeah. And then it's, it's like compounded interest. You know, does anybody have a bank account or something like that? You know, you put, you know, you put a savings account or you just put a little in, you know what I mean? So you don't have to put like a million dollars in. You have to be regular with your savings. You just put a little bit in on a regular basis. It's kind of the same as writing. It's like, sometimes you just walk like this. Which is fine. How are you moving? So, for example, today. Right, today. I showed up and I had no idea. I was like, well, I've been getting the emails for a while and I was like, you know what, I'm going to check it out. Right. I didn't know that I was going to be writing today. Oh. So I thought, oh, that's kind of interesting. So we'll see. Let's just write, you know, a journal, everything. So I figured what's going to happen. But when you're feeling that kind of, oh gosh, I don't want to introduce this word into our lexicon now, but like this block or whatever. Right. Now I have to like do this thing. Right. What do you, I mean, there's something in the, just putting the money in the bank. But how do you just move past that? Block. Yeah. Right. We can say block, block, block. That's great. I mean, it's a thing that happens, right? I mean, it's not like you're going to like, ooh, shit, you just take a shit on the floor and I have to clean it up, you know? It's not like I didn't do that. I'm talking about something like, ooh, Trump, Trump, Trump. Guess what? He's really here. Oh shit, I'm not feeling it. It's okay. I'm not afraid. It's an opportunity. It's an opportunity to rise to the occasion. It's an opportunity to show the world that yes, you are a ninja. I don't know if I'm black for nothing. This is like my ninja. You know what I'm saying? So difficulty is an opportunity. Right. So that's how we look at it. So that's all it is. It's just an opportunity. It's just basically your spirit saying, what you got? What you got? Oh, you want to do this? Come on. Let's see. It's that cool move where you're like, oh, shit. Okay. Well, because you look like if it was just like a flat, you know, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da. It's a fucking worry. It's a little interesting because you come to contact with yourself, shit, and you're a cobra and a snake chopper. What are you going to do? You know that kind of thing. It gets very exciting. So you pull out your tools. Like sometimes it's a phone call to a good friend who's going to give you a pep talk. That's a tool in your toolbook, right? Sometimes it's going online maybe and looking up like famous quotations from famous artists. Like Chuck Close, the painter, has a great quote called, he says, inspiration is for amateurs. Yeah! Meaning don't amateurs wait for inspiration, but the pros do the work consistently, right? Or you go see a film, another plug, I am not your Negro. That film is brilliant. It's brilliant. And if you haven't seen it, go see it. Or wait for it to come out on one end or another. So whatever it comes out of, it's brilliant. So you get inspired, right? That's a part of your toolkit too. Where you just sit down and you get a timer. And I have a lot of these. I don't use my phone because your phone is crack. I feel that all the time. Your phone is crack. This kind of time, not this kind, but just a digital egg timer is great because it only is going to count down or up the top, right? You sit down and do the work. So a block, when it happens, is an opportunity to get strong, right? Do you go to the gym or anything like that? A run or whatever, right? So what do you do when you go to the gym? Great! So you know what it's like to go to the gym and you don't feel like running. You don't feel like lifting weight. You don't feel like, what kind of martial arts do you do? Dujutsu. Okay, so sometimes you don't feel like the form. Do you guys have forms in martial arts? Do you like the kata? No, but I did have one. Okay, so you know what it's like. Sometimes you don't feel like it. What do you do? You put on your uniform. You stand there, you bow. And you just do one move, right? You get on, you know what I mean? Same with this. Same with that. It's cool, you know? It's cool. It's like, yeah, okay. So I don't feel like it today, good. You know? And then after your 20 minutes of working, when you started out not feeling like it, and you've worked anyway, then you can walk around like this for the rest of the day. That's why I do it. Because I did fight it. It's my fit. I'm glad you can't do that. Yeah, this is good. Remind me of your name. Nancy. And you've been here. Yeah, it's been a while. Yeah, but hi. It's good to see you. Thank you. Something that you said earlier, helping me articulate my question a little better. You mentioned to remember that you're working collaboratively. And I guess that's what's being a little bit difficult for me, because I'm actually a fiction writer. So a lot of my work is solo. But throughout, through a series of really weird circumstances, now I'm writing for the stage and I'm performing. So I know suddenly I have this project. I have a series of strongly connected monologues. And I have the idea on how to develop them into a one person show. However, the transitions between each of the monologues, I have ideas on how I would do it if they were chapters on the page. But for the stage, this is all really new to me, because I'm assuming that I can use things like dance, music, lighting. And is that where collaboration could be helpful? Sure. Sure. That is exactly where collaboration can be held. Did you hear Nancy's question? She's writing this cool series of monologues. Collaboration can totally help. You can invite in... I mean, it's going to be your play conceived and written by you. And then you invite in a director and she or he can offer you an idea. Hey, we can do a piece of music here. We can invite in a musician to play some music, some live music here as a way of bridging the pieces, for example. We could show some video elements, some visual elements. They can give you ideas. And then you guys can create the show collaboratively. So that's a great opportunity. Or you can go and watch a lot of shows that are kind of like yours and see what they do and then script it into your series of monologues. You can get some ideas and just write them in. Because so far, I guess, part of what I've been trying to do is I've been performing each monologue individually and then kind of revising each one. And that's what I would do with chapters or short stories or essays. But this is still like, I'm doing this in front of people. It's out loud. It's weird. I mean, no, it's weird, exciting, but it's suddenly like, this is live. So the whole idea of, well, I know how to do this on the page and I'm always alone. If you work with an editor, after you finish writing a novel, for example, you didn't work with an editor, do you? I do, but I tend to get published pretty much as an editor. So I've never had a lot of intervention. Right. What about the book art? What about the cover art? I mean, who does that? I guess I've always just sort of given the artist a lot of free range. And it's usually... They might check back with you. Well, that's cool. What you do is you find a place in your more experienced artistic expression where you can see parallels. You see what I mean? So what you could do, since you work really well on your own, you can generate a lot of the connected bits on your own and then join up with the director when you've done kind of the whole thing and have her look at it and help make it more amazing. Do you see what I mean? Yeah, totally. Yeah, totally. But you do work well with others. You work with an editor, but they don't have to intervene. And then you work with an artist through the cover art. Someone that you know that's important. So maybe find a director that you know that could be helpful. You know, if you do know some directors that you like. That all makes so much sense and it seems so obvious. Yeah. Well, it's hard. You know, when you're like standing, sometimes it's hard to see when you're standing right in front of it. Yeah, it's my job. Oh, this is a snake. I love snakes. Oh, I'm doing it for some guests. So Melania and I came out of Argentina. Melania. Melania. From Argentina, AKA Trump Tower. Melania. Well, how can we help you Melania? Sorry. She lives with her husband and three daughters of my family. Oh, yeah. Hi. Sorry, I'm sorry. I'm sorry. I apologize. She says, when I write, I feel that my idea and character is that once seems great, get lost in a structure that I cannot find. I do not know what to do when something that seems so great, such a piece of history. That's really good. So, and Melania, I don't know how you go about, you know, first you have the idea and then you write it. So I don't know what's in between those steps. But I would suggest, if you don't do already, another bad word that I love. Outline. Outline. Outline. Okay? I have gotten a lot out of, outlining where you basically take just one piece of paper and you jot down the beats of your story. Right? So you have this wonderful idea, this awesome idea, you go, I really want to write it. And often we just go in and write it. Yeah! It's like dating. And you have three kids. You know, you know, you know about this. You can't just rush into the arms of that person. You know what I mean? I mean, you could. But it probably might be a mess. And it probably wouldn't be as great as you think it's going to be. If you just dive into bed with them or whatever. So you have to kind of do a little bit of, you know, take some steps. And outlining is the way writers take steps. So I would say outline it. Tell yourself the story beat by beat by beat by beat. And then you can see it. Almost as if you would be telling a story to one of your kids or a friend. You know? This is what, once upon a time this is what happened and this is what happened and this is what happened and this is what happened. Everything you can imagine is going to happen in your story. And you have an outline. It doesn't have any dialogue. Right? It doesn't have any big stage directions or anything. Right? It just has the beats of the story. And then you write it from there. And that helps you just take some, that's like taking many dates before you take the preliminary show. By the rings or whatever. You look at it like a crazy. I know I've been a little bit. No, not at all. No worries. I've been a lot of dates. I'm not. No, I've been more writing than dating. But, you know, I'm a better around date, you know? Is that helpful? Thank you for tweeting in. Right on. Yeah, you're right. Yeah, hi. So what's your name, you know? So that raises the question for me. How do you still allow for moments of discovery if you've outlined the beats of the story? I know. It doesn't sound like that. Solana? Solana. Solana says, that's a great question. How do you allow for moments of discovery if you've outlined the whole fucking thing? Because now you're not even having fun because you're like, you're a straight jacket. You've outlined it and you have to do exactly what you do. That's the weird thing about outlining. And I... Have you ever tried outlining? I guess. And so you feel like, you feel like you're straight jacket? I feel straight. So, have you ever been in love? These two things are connected. Are you serious? I'm serious. Okay, these two things are connected. This is weird. Because it's like that. You get into a committed relationship with somebody or something and it feels like, oh my God, now we have to do everything and we're in the same clothes and like wake up at the same time and do everything. We have to walk together all the time like this. Right? You think, right? But actually, there's an incredible freedom that happens when you commit yourself to something. It doesn't sound like it would make sense. Forget love. We're talking about outlining. Okay? So when you outline, I want you to, are your outlines wrong or are they short? They're really pretty short. Like one page. One page. Because you don't want to like, and then you feel like, when you sit down to write, you feel like, what do you feel? What does it feel like? And then you don't write it? I mean I write it, but I'm not excited about it. You're not excited about it? And you think you'd be more excited if you didn't outline? Right? So if you were going to take a trip to the Santa Monica Pier. Have you ever been to the Santa Monica Pier? Okay. Has anyone ever been to the Santa Monica Pier? We've always been. It's great. Okay. It's cool. It's a cool place in Santa Monica. Okay. So if I were to say, we're going to get a car, and we're going to just, we don't need a map or anything. We're going to just drive. Right? We might not get there. Right? But, we'll say, you know what we'll stop in, I don't know where, Chicago, and then we'll go across the Badlands, and then we'll go down, you know what I'm saying? Will that make the trip less exciting? But it would give us, I know, I'm going to go here, and then I'm going to go here, and then I'm going to go over here. Freedom is a very funny concept. We think when we don't outline, we can be free. And if we're free, then we can be excited. Right? People want their candidate to be excited. They didn't want to vote for those women who was good to the job. They wanted to have excitement for having wanted excitement now, because we don't know what the fuck he's doing. It's exciting. I don't have much freedom, though, because with freedom comes responsibility. Okay? I would just say, maybe tell yourself, this is a roadmap. It's just doing the pinpoints of where I'm going. This is going to allow me to relax behind the wheel and check out the fabulous scenery. That's what an outline does. You're behind the wheel. Okay? Do you drive? Okay. No, not everybody. Not everybody. And that's cool. Or you sit in the passenger seat, whatever you want. And you're looking and enjoying the scenery. You don't have to be like, where are we going tonight? You don't have to do that. You just, I'm on my way to Chicago. Wow. Allow yourself to look at the scenery in your mind. So if you say, the first thing is, you know, the guys playing cards. And then, by the end of the scene, the girlfriend walks in. Is that boring? Well, I don't know. What's she wearing? Who are they playing cards? Is she playing cards with another woman? Right? What are they drinking? They're not, because he said he wasn't going to drink. These are the details of the landscape that you're going to allow yourself to look at because you've given yourself an outline. What's great about your outlines is they're not too detailed. Okay? You're just doing the tent poles, as we say, right? Okay? And you're going to walk from one to the other. And you're going to look at the scenery all around as you walk. But that's, wow. And you know, try love, because it's kind of the same thing. It's like a tent pole. Being in love. It's like, in a good relationship. It's like a tent pole. Like, I'm going to glide out of bed tonight. God willing, he's going to be there. It's great. I don't have to think about that. Shit! Who's going to lie in my bed? You know what I mean? I know he's there. He's right here. It's nice. I can look at the scenery. See? Maybe that was too much for me. It's hard to tell sometimes. Maybe I'll tell a question. You just... Yeah, go ahead. So, earlier you answered a question about when you stopped writing. And I loved, you know, you were like, well, you know, once it premieres, I let it go. You don't want to keep writing. So, my question is to do with how precious you keep a thing. Like, at what point do you start sharing it with someone? Right. Right. And at what point and how do you flex that muscle to not be so precious about the whole thing? Like, well, if this sucks, this sucks. Right. And just sharing it with people or being available to change. Right. Such a huge question. Such a huge question. How do you... I mean, how do you develop flexibility? Yeah. You know, it's, yeah, it's a muscle and it's... I mean, sometimes you have to... Like, I just finished a plan on Friday. I would fear my agent, the guy who enacted the Oscars for me this morning. But, he said, I gotta read, you gotta read, you just gotta read too. Like that. And he never says that. So, I was like, okay, I'm gonna give it a try. Just gonna finish it and send it to him. Who are really, who really care about you. Right. We're not, I'm not sharing it with somebody because I'm trying to impress them or anything. It's a friendship thing. So, share it. You have a first draft and you have a good friend who's a good reader, a smart person, right, and cares about you deeply and gives good feedback. Maybe he's giving good feedback on your acting work or stuff, you know, and you have a relationship with him. Then share it with him. Sure. I was my husband, I share, you know, I read a scene and I'll be like, I think, can I read it to you? He's like, of course. And it's not even, you know, it's not even, well, it's not ink anymore, but it's, you know, the ink isn't even dry. Right. I share it with him. How do we not be precious with our work? It's more a function of your personality. I tend to think, I keep working. There's more that came from catching movies. You know, I mean, just, the spirit will give it to you. You do your thing with it and pass it on. That's how I work. It's not everybody works that way. It's a personal thing. If you are more precious with your work than I am, or than Carol, or the lens, and such, you know, it's okay. You know, it's not like, we're not going to be sitting there going, you're so precious with it. It's your thing. It's what you learn when you're comfortable with it. Outline. You know, Carol's an outline. Yeah. But I guess I'm sort of doing it as I go. Right. And then along the way, I sort of think I have this, I think I've finished the play. Right. But I really have it. Right. That's really my outline. Right. Oh, cool. You know, like I've written this, written it out. I know it's not going to be the permanent part. Right. Right. But inside me, I know that I want it where I'm headed. Right. Because it won't map it away. But now then, as you have taught us to do, put it aside. Right. Like a pie, pouring. Right. It's such a, a good thing that you're taught. And, um, and so I put aside for a month or so. Right. And then, when I read back, I'm really not happy with what I have. Right. Right. So I have to re-move it. That's the stage I'm at now. Right. I thought it was much better than it was. Uh-huh. Right. And so I spent today just reading. Just reading what I had. Good. I know it's not long enough, it's not deep enough. I'm just thinking about how do I feel about this? Right. Play now. I'm jotting down. That's very great. You know. That's a perfect recipe for how to do it. Different, different ideas. Right. So that I can now think about that. Right. And when I'm ready, dive in to the cold water. Right. Right. Right. The water is probably not as cold as you want it to be. You go down the side and you re-read it and you're like, hey, it's cold. At least a lot of work. Maybe it needs more work than I thought. OK? Right. But you re-read it. You're taking notes and then you go back to it. And I think that's really great. I did the same thing. That's all you got. Sometimes you write something that's not as good as you thought. You think about it. Sometimes you write something that you think is not very good. It's better than it is what you thought. You know what I mean? It doesn't matter. All you have to do is show us to work. Take up an honest look at it or show to a friend. The first reaction is for something else. Right. Right. And then I think, you know, that's not the right thing to do. The challenge is to go back and now realize that this is not deep enough to make it good. Right. Right. Exactly. I mean, some people love, I mean, who loves writing more than do writing? Right? Who loves writing more than you write? People are writing more than you write. Oh, you shouldn't be writing. See? And who loves rewriting more than writing? And I'm a rewriter. I'm more than a rewriter than a writer. You have to be braiding either way. You have to be super braiding too. And it's just a different kind of bravery. But it's true. We're out of time. We're out of time. We've got to go away and come back next week. We'll be back next week. Yeah. We'll be back next week. Okay. So thanks for coming and we'll see you in the week. Bye.