 We're giving us a space to do it in. We're usually in the lobby of the public theater. We've been there for 11 years sitting in the lobby. And about three years ago, maybe four years ago, HowlRound came on and offered us the ability to live stream. And so we're saying thank you now to the public theater and to HowlRound, because together they are helping us create this beautiful community. What we do is we work for 20 minutes together. And then you ask me questions about your work and your creative process. That's all. It's just that simple. And if you want to ask a question, Audrey is going to tell you how to get in touch. Go, Audrey. Thanks, SOP. If you want to ask a question and you're inside of the Zoom, all you need to do is click on the Participant tab, likely at the bottom of your screen on a laptop or the top. If you're on an iPad or a tablet, inside of the Participant tab, there's a little button that says Raise Your Hand. Just give it a click. A little blue hand will appear. And I'll call on you if we've got time. If you're watching on HowlRound.tv, you can tweet at us at atwatchmeworkslpu with the hashtag HowlRound, H-O-W-L-R-O-U-N-D. Or you can tweet at the Public Theater's Twitter, which is at Public Theater NY, or right to the Public Theater's Instagram. And that's it. OK, so here we go. Here we go, here we go. On my phone. I don't think of what to turn off. OK, so here we are, ready to take your questions about your work and your creative process. All right, let's do it. Melania, you are up first. Hey, Melania. Hello, this is Alori. Hey, sweetheart, how are you? Fine, fine, I'm fine. I am here. You remember that I told you about this singer and puppeteer that told about she's interested in knowing about some of my ideas. So I am trying to structure the email that I want to send her with ideas. What is happening to me is that when I wrote the ideas that she read about and she said, OK, I would like to hear more from you, I was playing and I wasn't thinking about anything. And now that she said that, something like, OK. So yes, so what I would like to know is how can I approach this in a respectful way to her? So not over one hair with. I don't want to send a philometric email. But at the same time to honor myself and what I am feeling and at the same time enjoying what is happening to me because it's a wonderful opportunity to connect with her and see what happens. So I would like to know, what do you think about this? A couple of things. One might not be a fun thing to hear, but I would suggest that anything you send her, you first put in a document and either find some way to copyright it or something. Ideas go around. And you never know. And you don't want five years down the road to be like, gee, that was my idea. And she kind of took it without me. I mean, I'm sure she's a wonderful person would never do that, but you never know. So just do that. And that's a way to honor yourself. You're going to value your ideas and find some way to, I don't know, it's just like a little sketch for a story or a play. I don't know what it is. Just to somehow make it clear that it's your idea that you were sharing with her and create at least a virtual paper trail. OK. Somehow. Or just slap it, make a little play out of it, and then send it to the copyrights office. I don't know. But do something substantial with it before you just send it to her. I think it's a great and wonderful opportunity. I think you should just take a week. I mean, also value yourself. I know you don't have to answer right away. You can spend a week or two, maybe just a week, hopping around, thinking about ideas, getting in that fun frame of mind again. I was talking to her about this and this and this. So having a good time with it. And then, like I said, create some of these actual documents to share with her. Make it very clear in the email that these are maybe you could use these are treatments or these are synopses from things that you've written. OK. These are synopses from some short plays that I've written. And make it like it's something already. Remember who you are. You're someone with a lot of great ideas. And you'd be a fun person to collaborate with. Do you know what I mean? So instead of it looking like this, you know, she's up here and you're down here. She's way up here and you're down here. Create a letter that makes it look like, even though she's awesome and famous and everything, don't sell yourself short. Value yourself, OK? Yes. You know? Yeah, yeah, yeah. So these are some, this is a synopsis from a short play that I've written. Here it is. Here's another synopsis from another short play. Or here's another synopsis from another play. Don't call them short plays. Here's another synopsis from another play. And if she says, hey, send me the whole play, guess what? Keep coming to this class. We'll get you to write it. OK. OK. All right. Does that make sense? That makes a lot of sense. Thank you very much. Good, good. Great question. Great question. Oh, thank you. Great answer. Thank you. Thanks for that. Thanks. All right, next we've got Bob. You ready, Bob? There. I am. Hello. Hey, Bob, how you doing? I'm OK. How are you? OK, hanging in there. Me too. I have a question. I've started researching a historical person for something I want to basically a bio pick, bio something on this person. And he's not famous. You know, most people haven't heard of him, in his world of basically sort of science in the 1870s to 1930s. He was, you know, in his little circle, kind of special and wonderful. And I guess I'm sort of wondering, before I really dig in too far into biography and to researching, if you have any thoughts about how, and there are things about him I do relate to, certainly. I mean, he lived 100 years ago, but there are elements of him I'm drawn to. And I'm wondering if you, when you've written things based on people, I know you just wrote the Billie Holiday film and how you researched what you looked for and if you ever sort of found yourself, your voice in her, and if that's OK, and just any thoughts you had in having just sort of really worked on someone, both respectfully, but also wanting to kind of keep it personal so the fire is there as a writer. That's a great question. That's a great question, Bob. I think one of the great advantages to your project is that person is no longer living, nor does that person probably have any, there's nobody living who remembers that person. Good, good, because you're not wrestling with that, you know? So you're just wrestling with the historical record of this person and what you're bringing to it, which will hopefully be like this. Of course they've got things in common with you else. You wouldn't be attracted to them, you know? You're attracted to them because something in them resonates with something in you. And I would exploit that. Actually, that's the coolest thing to exploit, you know? And it can be anything. It might be the way their mind works or the way they have relationships or the way that they wear colorful clothing. I mean, whatever, I'm just making up stuff, you know? But what you do is you find the points of intersection between, you know, your life meets the life of the person that you're writing about. And you circle, you sort of focus on those points, you know? And it's different from work to work, you know? You know what I mean? It's very different from work to work. I mean, I did the, for some reason, I'm doing a lot of things about musicians now. Billie Holiday, United States versus Billie Holiday. Genius, Aretha Franklin. The harder they come, the play, you know? It's like a lot of, like a lot of musicians and stuff. But with each piece, it's gonna be different. And so you have to find that thing in them that resonates with you. And it doesn't have to be necessarily exactly historically accurate. You know that. You can invent, yeah. Yeah, I'd like to do research, but again, you don't wanna do too much because then you research for five years and then write it, you know? Research, and then when you feel yourself kind of going, I'd like to try, you know? That's when you're gonna take the leap, like the bird out of the nest, you know? Maybe, I can see it, yay! You know what I mean? Okay. Thank you. Sounds like fun, man. Sounds like fun. Thank you. Thanks, Bob. All right, Laura, you are up next. Laura, Laura. Oh, there you go. Hello. Hey, Laura. Hey, how's the stand up, Laura? Hey, I did it incredible yesterday, last night. We did a virtual. But thank you so much for encouraging me like this whole time I've been writing that I had a 10 day block because I was so unhappy with the piece. You know, I write about race in my stand up. So I had something and I thought, okay, I had to meet with my advisor and it was like, oh my God. So 10 days, I couldn't even write or anything. And you guys were on break. So I was like, oh shit, you know? But I did it, I did something stupid yesterday. I edit during the day and then performed it. And it was like, oh gosh, but I did it. So thank you. I'm over here just saying thank you to you. So thank you. And when the video comes, I'll let you see it. Okay, everybody. I'm so pleased. I'm so pleased Laura, that's really great. That's really great. Thank you so much. But you did it online, you did it virtual online. I'm in Richfield, Connecticut now. So the Playhouse, Richfield Playhouse we usually perform on stage. But the Playhouse is not doing anything. So the hosts was at the Playhouse and all of us were in our own houses. Oh cool. And it was, virtual was so weird because you can't really hear the audience laughter so much. You know, but, but it was just, thank you, thank you. I'm here religiously now. So thank you. Thanks. Thanks Laura, I'm glad it's working. Thank you. Thank you. All right, up next we've got Michael. Oh, hold on. There we go. Michael, oh, there you are. Okay, Michael, over there you are. Hi, SOP, thank you so much for doing this every day with us. My pleasure. So, so I'm writing a play and the central conceit of that play is one that I have since come to learn has already been done in what is a fairly popular play, I guess, that I wasn't familiar with. So I'm wondering in your experience, is it worth continuing with it or am I sort of setting myself up to hear a lot of, oh, we already know that, that sounds just like this other play. Right. Hmm, hmm, hmm. It depends on how you do it, Michael. I mean, you know, like, there's a lot of plays or like a lot of plays, you know what I'm saying? Young man comes home to find things different from what they were like when he left, you know? Woman finally decides to leave difficult marriage. I mean, there are a lot of, you know, there are a lot of plays that are like other plays. Oedipus is a lot like Hamlet in a lot of ways and it's not, you know? So I don't know, I would, I mean, I would say write it because the worst thing that can happen is you have a play that's already like another play. But what you, you know, that's the worst, that's the worst thing that's gonna happen. I mean, what might happen is that you, along the way, you realize that there's something going on in this play that you didn't know before. Do you, have you made yourself familiar now with that other play written already? No, I haven't because I didn't want it to influence what I'm doing. Fair enough, fair enough. Okay, okay, so I would say write your play, you know? And then worst thing that happens is someone goes, oh, it's just like such and such. That's fine, I mean, you will have noticed the use of my next word, spent, I didn't say wasted. You will have spent, you would have spent time writing. And the rule, what's the rule? The rule from the Bhagavad Gita, no effort is ever wasted. So those of us who write movies and teleplays and plays that never see the light of day, I have many of them. I had not wasted time. I've spent time writing, which helps me improve my skill and my craft. But I would say write it, because you don't know how it's gonna turn out. And it might turn out differently. There might be maybe another, a new character is gonna walk in the door in the middle of a scene and go, oh my gosh. You know, okay? I know, I know, I know, that's a direct bummer. It's like meh, you know? Well, I'm hoping that mine is different. I mean, at least it's in my voice, right? There you go, exactly. I do know, as far as having looked into the other one, I know that I'm setting it in a different time period that that one is. There you go, okay. Maybe that makes it different enough. Okay, okay. And maybe there's a character in yours that isn't in the other one, you know? Does it end the same? Sorry, does it? Does it have the same ending? I don't know that. Okay, it's weird, it's weird. That's a very tricky situation because, well, why don't you write your play, right? Finish it, get to the end. And then maybe you wanna go and at least check out this other play, at least read a synopsis online or something, if it's a famous play, then read a synopsis, you know? Okay? So you can at least like kind of know what they're talking about when they say your play's a lot like that other play. Right. You know, I mean, sure, you know what? Okay? Okay. All right, thank you, SLP. You're welcome, good question. Thanks, Michael. Up next we've got Cameron. Cameron, are you there? Hey, SLP, hope you're doing well. Hey, Cameron. So I am in the third act of a feature that I'm writing. And I've come to the part where I have to do something to a character that's very dear hearted to me and that I've grown very fond of, but I know for the purpose of the story, I have to do this to this character. What's your advice to getting over that? You know, not wanting to do it, but knowing that it's needed for the story? Like, like you have to like, they have to die or something? Yeah, they have to pass away. They have to pass away. Yeah, well, you know, I was watching just yesterday, I was watching Mean Streets with Harvey Keitel and Robert De Niro. And you know, Harvey Keitel goes to the whole movie and they tell him, man, you shouldn't be hanging out with Robert De Niro, whatever his name is, Johnny. Cause you know, and you watch that whole movie going, Harvey Keitel is gonna have to do something to Robert De Niro cause even though we love him, he's gonna have to do something if he wants to move up in the ranks, you know, do it. Go ahead and do it Cameron. Go ahead and do it because, you know, this is where you make your bones, you know what I'm saying? You know, and if you feel pain and sadness, that's good. That's good. Hopefully the audience will feel, will have invested in the character like you have. You will have set up those beats. So we're actually feeling things when that thing happens to the character. I appreciate that. Yeah. Okay. Go ahead and kill your characters. No, I mean, I'm not, yeah. Not in real life, of course. Yeah. Yeah. Thanks Cameron. We actually don't have a question at the moment and I have already practiced my posture today, but. Well. Well, practicing your posture is not a once a day kind of thing. I mean, it's like I practiced it already. Well, then don't, I'll just slump over like that. And when you're a hundred today, well, I'll tell you attention today, the 23rd of July, 2020 is my Aunt Frieda's 100th birthday. She is 100 years old. We are going to Zoom call her. We have Zoom called her. We've sent her 100 birthday cards and lots of flowers and she's in Chicago and we were going to throw our big party, but we can't. Of course. So we're just, we've been calling her all day and all that stuff, but, you know, practice your posture because when you're a hundred, Audrey, you're going to need it. Yeah, you're right. I will practice. Okay. It also helps. And happy birthday to your aunt. Yeah, happy birthday to Aunt Frieda. Yeah, right? Okay, that too. And we have some questions. There you go. See, napping always works. Lynn, we're going to go to you. Yeah. Oh, there you go. Hi, Lynn. Hi. First of all, thank you. I don't know whether you'll remember, but I went to Staples and I got all those folders. And I'm full of folders. They're really nice, different colors. Yeah, they're nice, aren't they? Yeah, yeah, yeah. And I also have found that I write every day for an hour now, you know, whatever. Awesome. Right. Because I want to be a better writer. And I found that I started writing, you know, I'm working on this play, but I started writing in stories, you know, in prose about each of the different characters, their story, their journey through life and kill this point. And it's kind of, I've never felt so as if I disappear, you know, and the writing takes over their story, you know. So I guess my question is it has, it's kind of, I wanted to thank you because I love you. I always meditate before I write because I like to be not writing. Do you understand? I don't want to be the writer. I want it just to, does that make any sense? Is this really weird? I'd like to ask your question. I'm just trying to be quiet over here. Well, is this, you know, I might have an idea or, you know, something I want to write about, but after I meditate, something else comes out. So my question is, should I focus on what my intention of writing, what I want to write or did you just let it go with what comes up when I meditate? You always ask the most interesting questions, Len. Yeah, I know. For me, it would depend on what the goal is. Do you know what I mean? So if you have a goal of, you know, you have your play or whatever and you want to finish it by, you know, the first of August and every time you meditate, you find yourself continually getting off track. I would suggest, you know, think, either rethink your goal, you know, maybe you really don't want to finish your play or can't finish it right now, you know? And if you're drawn to things that aren't sort of on your to-do list, I would say generally that's fine. It's just if you continually month after month, find yourself not making the goals that you set for yourself, feeling yucky about that. You know, one might feel down that one can't seem to finish anything, not you necessarily, but anybody, any of us. I would say stick to your goal because that then is the practice. You know what I mean? Yeah. Meditation, the kind of meditation I do anyway, when the mind wanders, you bring it back. Yeah, my mind doesn't actually wander in the sense, but when I get up, it's a different, I can't explain it, you know, it's just, I start writing and it's not necessarily, I mean, I finish stories, which is a great thing. Maybe my intention is just to finish, you know, rather than to write a play and finish. Maybe my intention is just to finish. Or just to show up, be able to, you know, center yourself enough so that you show up at your writing practice every day. Yes, yes. And that's okay. So it doesn't matter, in a way it wouldn't matter what you write, it's that your intention is, your goal, if you will, is to show up every day your writing practice and to do your beautiful practice. I think my goal is to be a better writer. I think that's my goal. Okay, well, I would say, you know, be mindful because part of being a better writer is to be able to say, or let's say part of being a pro, not necessarily money, but a pro is part of it is saying, I have a task to do and I'm going to do it. And I'm not gonna let myself get sidetracked. Great. Because it's hard, you meet that point, you know, you're climbing the mountain and suddenly it's a little hard. And gee, you know, running through the periwinkle over there might be a lot more fun, but if you're really gonna do it, you gotta keep walking and that's, you know, that's something to consider also. So I want you to enjoy your practice, but I also want you to, if you want to improve, if you want to improve, you're gonna have to increase the incline a little bit, right? Mm-hmm, mm-hmm. And you run it for 20 minutes and nail him up to an hour, which is great. There you go. Exactly, exactly. So there you got an hour every day. Yeah. It might be your finishing projects, that's awesome. And so far, so good, sounds to me. So sounds like you're on the road. Thank you, thank you. Thanks. Thanks, Lynn. Thank you. All right, we've got about 12 minutes and we're gonna go to Karla. I mean. Hi, everyone. Hi, SLP, hi, Audrey. How are you feeling, Karla? I'm good, thankfully. I don't know if I should have just, I had a mass in one of my organs, so they were able to take it out and save my organs. Everything went well. And so I'm good now, I'm not even on pain medication, so I'm so happy for you. So much better. So happy for you, we're so happy for you. Yeah, so I'm doing good. All right, that's great. And I'm moving, so I'm still like, there's a lot going on, I'm gonna have boxes next to me and stuff, but I'm still trying to inch along in terms of writing, so I'm only doing 20 minutes, either before this or a little bit after. But I'm finding myself, even in those 20 minutes, I love it. I only get like, I really like my one page, but sometimes I find myself trying to edit other stuff. I'm writing a novel, and so I'm finding like, I should edit that before I write this. And I keep kind of jumping back and forth. And a part of me is like, no, I should finish the whole story just so then I can go back in and kind of put it all together. But I'm like, I don't know if I should follow that instinct to kind of edit when I'm just trying to inch along and I go crazy about it or like just pull on, try and write it. I've outlined like 12 chapters, but I'm not completely done with it. So I'm like, ah, it's like, I guess it's in the middle of that mesh process. Yeah. Great question. Would it help Carla to, so everything you're talking about right now has to do with one project, correct? Right. Yes. Okay, okay, I just wanted to make sure. Just a one. Okay, so it's not a couple of projects just switching back and forth. So would it help to finish outlining or doing a beat sheet of the novel? Would that help at all? Just so you know where you're going, you have the confidence that you know where you're going. I think in my, I first did the first 10 chapters just because I had a goal. I was like, I'll do 10 chapters, just the first draft and then I'll leave it. But then I added it, the last chapter I think, and then now I have like a new outline from like 10 to 12, just because I think last time I talked about, I was thinking about my character and I couldn't figure it out. So I was like, I'm gonna be focused on the plot and I will hopefully then figure everything else out. But I just don't wanna do that again because I feel like then I'll just keep editing my own outline and then I won't do the actual thing. I'm like, no, no, no, I don't wanna, it's like the one step forward, one step back. I wanna keep going through it. Yeah. So would it help to just finish the outline of the project? Like, I think at the end of the outline. Yeah, I think it might, I'm just, I guess I have to like be very mindful with myself that I won't edit it or then if I do, I should like really think about it, I don't know. Well, the thing is if you do a beat sheet or an outline, right? From chap, you know, and these are very small, snippets of photographs of the chapters, not an elaborate thing, just this is what happens in chapter one, this is what happens in chapter two, this is what happens in chapter three, with this character, this character and this character. Then this character, like that, it's a beat sheet, just the beats, just the beats, right? If you do this all the way through, this happens to me all the time, then I'm following, not on paper anymore, but I'm following the outline as I'm writing. And then I come to an idea and I'm like, oh, no, no, I want to do something different with that. And I just write. And you just keep going. Okay. Okay, great. Oh, no, no, she's actually gonna buy a green dress because green is the color of, you know, the grass and that makes you remember France. And great, okay, not, it's not about Spain, it's about France. You just keep going. Okay. It doesn't have to be a big deal, but I think you do need to get, finish your outline. Right, yeah. That could sort of bring a certain calm. Yeah, I have them in here. So I have all the chapters on these, but like, so I like keep looking at them so they're in front of me and try to like, okay, make sure I stick to it. So you have all, I'm sorry, I keep asking the same question because that's not clear. You have all the chapters outlined then. No, not all of them now. Okay, yeah. So what I'm suggesting is continue what you're doing. Yeah. With the chapters, right? Get to the end of your outline, and then write forward and know that if you have to change your outline, it's okay, but just keep moving forward. You see what I'm saying? Right? Yeah, yeah, yeah. So I don't know. I know, I'm so sorry. Okay, it's so funny. I know, yeah. Washington Heights. Washington Heights, yeah, yeah, yeah. But I, yeah, that makes sense. I guess it's just in my brain, I'm not separating the two. I'm not separating the outline from the act of me sitting down and writing the thing. So I have to like... Outlining is part of writing the thing. Yeah. Like dating is part of a relationship. That's true, that's true. Right, so you got to date, you got to go a few more dates, and then you'll know, you'll just have a roadmap. That's all. I just got to take this out. The ice cream truck in my ears is... It's a lot. Sorry, I muted you, Carla, for now. Okay, does that make sense? Outline and see if that helps. It's outlining as part of writing, and then go back into the writing phase with confidence. It'll give you confidence, and it'll calm your mind down. Because you'll have a map to the treasure. Yeah. Okay, thanks Carla, thanks SLP. All right, Sarah, you're up next. Go for it, Sarah. Hi, thanks so much for doing this. This is my first time. It looks like people have been here a lot this week. I actually had an easier question. I've been writing a piece that's given me like a year of trouble. It was outlined, and now I'm two pages from the end, and I've written myself into an insane corner, like no ending works at all. I can normally write myself out of a corner about halfway through, but since I'm ending here, I have no idea how to proceed. So has this ever happened to you? Also, and how do you handle it? It happens all the time. Cool. But you know what? Just write the ending that doesn't work. Go ahead, write it. Go ahead, write it. You know what? Sometimes things don't work. Some marriages end in divorce. Not everybody lives happily. You know what? Write the ending that doesn't work. Oh, well, fuck, right? The worst thing that's going to happen is that you're going to have an ending that doesn't work for a little while. Yeah. Write it. You print it out. If you've got a printer, you put it down. You put it in a folder. You put it aside. Let it figure itself out. Come back to it in a week or so. Read the whole thing through. Maybe there'll be a solution there for you, probably. Yeah, all right. That sounds good. Just go ahead. Just finish it. Hey, what can you do? Right? Yeah. Because your alternative is to go all the way back to the beginning and try to figure out what went wrong. You know what? Just write the wrong ending. It's okay. How many times do we write the wrong thing? It's going to give you an opportunity to rewrite, which you're going to need to do anyway, right? Correct? Yeah. Yeah, sure. We will rewrite a lot. And it's okay if you don't get it right the first time or if it doesn't make any sense or it feels awful. I mean, you can even write at the end. This ending is bullshit. I know it doesn't work. Play, could you please figure yourself out while I put you in a folder and put you away for a couple of weeks? And then go outside. On the first tree, you confine and say, Spirit, please help me figure out my play because I'm a hard worker and I am dedicated to my craft. All right, that sounds good. You know what I mean? I'm just saying, let it go for a little bit. It's okay. It's okay. You'll figure it out. Yeah. Okay. Thank you so much. It's synopsis by walking up and down the steps or whatever he did. Shit. So, hey. Okay, you're going to figure it out, Sarah. Thank you. Thank you so much. You're welcome. Thanks, Sarah. All right. We actually don't have any questions at the moment. I've got about three minutes left. Time for pause. Oh no, two more. Yes, two more questions. Oh, oh, oh, oh, oh, oh, oh. Here we go. We're up next. Hi, this is, thank you again for this. This is just like so wonderful to have a place to go every day. And I borrowed a, I'm in my friend's empty house, which makes it even better. So I got to sneak over here and just be alone and escape my family, which was like incredible. I have been really, really struggling on the outlining, but I've been taking your advice and going, like I have, I'm working on a long project for the first time. I've worked only on short stories before or academic writing, but I'm actually trying to write a novel. So I am writing a novel, excuse me. And I have found it extremely helpful what you said about the signposts and not just thinking like, where are you going? And then fill in a few beats in between and all of that. And so I've gotten, before the person before, I was gonna tell you that it's been really great because I've outlined the whole beginning and then the whole first half of the middle. And then the second half of the middle is kind of messy, but, and so it's less filled in, but there's like tent poles. And then the conclusion is kind of the same. It's like much looser, but I really finished the first two parts, I guess. So I gave myself, I meant to have a whole draft of the whole thing done by my birthday, which I did not do, but I gave myself the treat of starting to write a little bit going back and just trying to organize the things that I already had because I have maybe like a hundred pages. And I was like, okay, this goes here, this goes here, and it was so kind of great to do that. And then having like an assignment based on my outline, I can see what you were saying about the confidence of having that and being able to do that. But I think I know the answer to what I'm gonna ask you based on what you told the last person, do I have to outline it in more detail the rest of it? Or can I just keep working on my, with my nuggets and things and allow myself to write a little bit? Allow yourself to, you know, allow yourself to write a little bit. You've done a lot of outlining, it sounds like you've had up most of it. You've gotten yourself to an ending. Now you're gonna put the boat in the water and see if it floats, and if it doesn't, you'll figure it out along the way how to make it work. Yeah. You know what I mean? No worries, you've done really well. Just remember your outline is really gonna help you. It doesn't give you all the answers, it won't give you all the sights along the way if you're driving from, say, New York to California. It's not gonna tell you everything that's gonna happen, but you kind of know where you're starting, you know the people in the car, you know where you're going. They're driving to Texas. Okay, well, they even, even better. Wear your mask, put your mask on. I know. As a Texan, I say that to you, yeah. Okay? Yes, thank you, thank you. Thank you. Thanks Erica. Well, it's six o'clock. Okay. And it's Thursday, I think I keep thinking it's Wednesday, but it is Thursday. Yeah, okay, if you say so, I have no idea. It is Thursday, it is Thursday, okay. So we'll see you all next week. Our links for next week will be released tomorrow on the Public Theater's website and on Hal Brown's website, and we will see you Monday to Thursday, 5 p.m. Eastern next week. Okay, we love you. Have a good weekend. Okay, bye. Bye.