Tired of the everyday routine? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you escape! Escape, designed for you from the four walls of today for a half hour of high adventure. Tonight, you are swimming for your life in the dangerous waters off the Florida Gulf Coast.  An unsure 500 yards away, the police are waiting to arrest you for murder. And there can be no escape. All right, buddy. This the end of the line. Thanks for the ride. Don't mention it. Compliments to Miami Police. Now, you see that sign? Yeah, I see it. Read it. It's a matter, don't they teach you cops to read? I said, read it. Miami, city limits. Good. See that you stay on the other side of that sign. We don't take kindly the bums down here.  I came down here to take a job. Sure, sure. You guys always have jobs. That's why you come down and sleep in our city parks as soon as it gets cold up north. Well, now get going. And keep going. Don't come back. Don't come back, he says. Fat chance.   Every step I took was away from that place, and that was all right, too. They could have their sunshine and their orange juice. All I wanted was a ride north. Anywhere north. But one after another, cars passed me up until my thumb got tired. I walked almost all the way to Fort Lauderdale. I got a ride into Pompano, then I hoofed it again. It was getting hot. Took off my jacket and carried it. It was near Delray Beach that the big new Nash sedan swooped down around the curve from the opposite direction, and suddenly it blew a tire. The car swerved, careened across the white line and was coming straight at me. It jumped out of the way and ran my heart pounding like crazy. And then the car stopped miraculously right side up with some driving. I walked back to it. There was a red-headed girl in the driver's seat and a man beside her. The man's face was cut. Darling, you're bleeding. You're barred. That's nothing. I just hit the windshield. Can I help? Yes. You can change the tire. If you do it fast, there's five bucks in there for you. You all right? That's just a cut. It's nothing. Look, we're in an awful hurry. Oh, sure. Where do you keep the tools? Here. Here's the key. I'm sorry. I scared you. I couldn't help it. The car got out of control. You sure know how to drive. Oh, look at that tire. It's a mess. Will it take long to change it? No, not very. Oh, it's certainly lucky for us that you were right here to help us. Where are you going? I was trying to hitchhike. The only ride I got was on the back of a fish truck. Where are you hiking to? Any place but Miami. What's wrong with Miami? Oh, nothing. It's a great town. But the cops don't like you if you don't have a job.  Seems to me that... Hey, sir! I'm coming. A good-looking man like me. It's funny, she should say a thing like that. And that was what I was thinking about her. She was beautiful. She was the most alive person I'd ever seen. And yet, she was controlled like a member. As I worked on the car putting on the spare that cost more than the suit I had on my back, I got the wishing that I could afford a car like that. And a girl like that. And I wondered about the guy it all belonged to. He was used to being waited on, you could see that. He sat in the front seat and the girl sat close to him. Every now and then she'd look back at me and smile. Couldn't hear what they were talking about. And I was glad. Because I suddenly didn't want to know what he said to her. Ah!  How are you coming? Oh, I'm through. What's your name? It's Joe, Joe Mazurka. Would you like to go to Miami with us, Joe? I can't go to Miami, not without a job. That's what I mean. You want a job, don't you? Well, fixing tires? No. I've been talking to Mr. Rez. If you really want a job, he has one for you. Are you kidding? He has a job for me in Miami? Would you like that? Oh, boy, would I. Then put the tools away. Come on, let's go. Wait a minute, wait a minute. There's something I want you to know. I had a job. I came down here to take the job as swimming instructor at the Bay Club. But I was a day late and the job was gone. Oh, so that's how you got those shoulders. Hmm? Swimming. Well, I just wanted you to know that I'm not a bum. Of course you're not a bum, Joe. Whatever made you think I thought you were. And we haven't got all day. Come on, he's getting impatient. Yeah, but the job, what kind of a job is it? Mr. Rez will tell you about it on the way in. But I... You want to go to Miami with us, don't you? Yeah, I sure do. Then come on, let's go. It's this way. I'm a writer. Oh, sure, Rez. William Rez. You're the guy who wrote Break It Open. Did you read it? No. No, I've been on the go and I don't have much chance. But you've heard it. Oh, everybody can read English. It's her to you. Your name's in every bookstore window. Yes, my name, but not my face. And that's the job. I don't understand. We see, if they find out that Bill, Mr. Rez, is in Miami, they'll hound him to death. That's the way it is when a writer is successful. The public thinks they own him. They expect him to be clever at cocktail parties and he's invited everywhere. He hasn't... Well, what's wrong with it? Well, nothing, but it doesn't leave him any time to write.  All this social claptrap. I want to be left alone so I can work. I still don't see how I fit in. Well, you'll be me. That's how you'll fit in. You'll be Bill Rez. I'll be you? All right. Let's put it this way. You'll be my alter ego. There'll be two of me. You'll handle the social end while I lock myself in someplace and write.  What's the difference? Nobody knows me down here. Yeah, but... Look, do you want the job or don't you? I don't know. It's a pretty crazy job. It pays a hundred a week in expenses. A hundred a week? It wouldn't be hard, Joe. Not with me helping you. Yeah, that's right. And that could help you. I could see you from time to time. Well, I can tell you what to say. I'll act. You would? You'll take it, won't you, Joe? That's a crazy job, all right, but I'm a crazy guy. Sure, sure. I'll take it. They coached me all the way into Miami. I memorized facts about him. Where he went to college, what he ate for breakfast, how he felt politically. But there was one thing he didn't tell me, and it was the one thing I couldn't ask. What was his relationship with the girl? That's what I wanted to know more than anything else. We passed the city limits sign, went on into Miami on Biscayne Boulevard, and pulled the car up near a cab stand.  I think so. All right, hand them. Give them some money. Oh, yes. Here, Joe. Thank you. $500. Yes. I want you to buy some good clothes and a couple of good traveling bags.  You've got to look good. And check in at a good hotel. The Rony Plaza. Yes, that'll be fine. Rony Plaza. Aren't you coming with me? Oh, you'll want to get settled first, Joe.  I'll see you tonight. But what if I should have to get in touch with you before that? Why? Why would you want to get in touch with her? Oh, well, you know. Ask some questions about you in case something comes up all of a sudden. All right. If you need me sooner, you can call me. 99730. Give me your pen, Bill. But don't bother us unless you have to. No, I won't. And, Joe, you'd better pick up a copy of Mr. S's book. It might be rather embarrassing if you didn't know what it was all about.  I didn't even know what her last name was. Well, that'd be time for that. I did like they told me. I bought some clothes in the suitcase. I got a haircut and manicure, and I bought the book. Funny. A few hours before, I'd been a vagrant. No job and no money. Now I was set up in the swankiest hotel in Miami. Mr. Res? Oh, yes, yes. I'm George Cole. I'm the public relations man for the hotel. This is Walter's, our photographer. Glad to meet you, Mr. Res. How are you? Well, come on in. Oh, thank you. Well, we're certainly excited to have you here at the Rooney Plaza. Well, thank you. We were, frankly, pretty surprised when you checked in. Is that so? We knew you were in Miami. You know how those things get around. Miami's really just a small town.  Well, you know how... Governor, if you'd let us release a little publicity on you. Well, uh... Oh, we'd like to take some pictures. Well... All right, sure, sure. Go right ahead. Take all you want. Now, let me see. How about, um... How about over here by the window? This be all right? Oh, yeah, that's swell. I'll hold it a minute, will you? Oh, it's certainly nice of you to be so cooperative. I'm glad to. Ah, got it. Now then, over this way, please. Oh, Walter's, I think it would be good to get one of him autographing his book. I took the liberty, Mr. Res, of breaking up a few copies. Would you autograph them for some of our guests? Yeah, all right. Have you got a pen? Oh, certainly, here. There, now, that's just fine. Hold it. Oh, thank you very much. Would you autograph this one to Herman and Betty? To Herman and Betty. Yeah. Oh, shall I get it for you? Oh, no, nothing. I'll answer it. Are you Bill Res? That's right. I'm Arnold Springman. What can I do for you? Do for me. That's funny. I beg your pardon? So you don't even remember my name. Springman. Arnold Springman. Think hard. What do you want?  It's all it meant to you, isn't it? Sensationalism. Muckraki. What do you care if you break a man so long as your book sells? You've got the wrong idea. I guess we better be going, Mr. Res. Come on along, Walters. No. No, you wait. I want witnesses. I want the world to know that I'm the one who got rid of Bill Res. Now, wait a minute.  Kill? Oh, no. Put that gun away. Don't shoot. Don't.  Oh, yes, I'm all right. Oh, my, oh, my. It took a lot of courage wrenching that gun away from him like that.  When you get the house detective and get this guy out of here. Oh, yes, sir. And you get out, too. Oh, yes, yes. Don't send anybody up to my room again. Understand? Yes, nobody. No, sir, I'll come along. You. Operator. Operator. This is the operator. This is just... This is Bill Res in 416. Get me, uh... Let me see, uh... 99730. Yes, sir. Thank you. Busy. Now, call me back when you get it, please. As I waited for the operator to get hand on the line, I leafed through Bill Res's book. The name Arnold Springman hadn't meant anything to me, but on page 5, it began to mean a lot. He was a small-time political campaign manager. Crooked his a broken finger, and Res's book had exposed it. That's what the book was, an expose of dozens of politicians, large and small, and every one of them had plenty of reason to get rid of Bill Res. Dozens of potential killers. I realized the spot I was in, I was the clay pigeon for a political muckriper. Hello. 9730, for you now. Oh, thank you. Hello. That's your Res? Oh? This is Louis. Well, let's hand it there. You got the wrong number. This is Louis. Operator. Operator. Yes, sir. That was the wrong number. Dial it again, please. 99730. Right away, sir. Oh, hold it for me. Is this 99730? Yeah, this is 99730. Is Bill Res there? Never heard of him. Are you sure there isn't a girl there by the name of Henda? Tall, slender, red hair? Look, buddy, the dames have invaded for... But she gave me this number. Buddy, for my... I couldn't believe it. But why not? If I was sucker enough to hope I had a chance with her, I deserved the mess I was in. Well, no law said that I had to stay in it. Even for a hundred a week, would I stand still and let Bill Res' enemies take potshots at me? I grabbed my hat, my new $15 hat, and I walked out of the room, took the stairs to the lobby, and went out the side door of the hotel. It was at the corner I heard the news board. Dead. Paper, Mr. Latest Edition just hit the street all about the rest murder. Yes, yes. Give it back. Hey, y'all, thank you.  Bill Res, dead. In just a moment, we will return you to the second act of escape. But first, suppose Junior has got the telephone wire with your pet jackknife or kitchen shears. That's no reason for not listening to sing it again. Of course, if your phone is okay and Dan Seymour does put in one of the big calls to you, there's the chance that you'll win $51,000 in prizes and cash. But sing it again is more than prizes. It's a solid hour of tuneful, riddle songs and hit music, highly entertaining in themselves, with Alan Dale, Bob Howard and Eugenie Baird. And it's heard on most of these same CBS stations. So be listening this Saturday, won't you? And now for the second act of escape. I stood there holding the newspaper that said the man I was impersonating had been murdered. I was on the spot and I knew I had to do something fast. But suddenly it was done for me. Joe! Joe! Over here, Joe! Hender! Hurry up, get in. I'm blocking traffic. I tried to get you that number you gave me, 99730. That's a pool room. 99730? Joe, no, it's 99703. Well, anyway, he's dead. The news boy's yelling that he's been murdered. I didn't dream it would work out like this. Who killed him? I don't know. A lot of people hated him. I know that. One of them took a shot at me. At you? Did you tell anyone you were Bill Ress? Did I tell them? Of course I told them. I signed the register. I autographed some books. They took my picture. Oh, that's terrible. But you told me to. I know, I know. Well, what does it mean? I'm all mixed up. Well, they don't think you did it. You can't go back to the hotel. Where are we going? Mata Cumbi. They won't find you there. Mata Cumbi, what is that? It's an island, one of the keys. Wouldn't it be better if I went to the police? I haven't done anything wrong. You impersonated another man. You signed his name. And now he's dead, murdered. How will that look for you? Yeah, but that was my job. You were there. You heard him hire me. You can tell him that. Well, can't you? No, Joe. That's just the trouble. I can't tell him anything. I don't get it. Why not? Bill was married. No, he was going to get a divorce, but he was still technically married. Who's going to marry you? Yes. But nobody knew about me. I never met any of his friends. Nobody ever saw us together. As far as the world is concerned, I don't even know Bill Ress. You see, Joe, I wouldn't be a very good alibi for you. I've got to keep out of this mess, too. I see. I was still mixed up as we drove south on the overseas highway across the twisted chain of islands that is the Florida Keys. The air was fresh and sharp off the sea. The sun was just setting. Riding there besides this gorgeous girl, I couldn't honestly say that I was sorry Ress was dead. In a cock-eyed sort of way, I was glad. It was at an isolated spot on one of the islands that she pulled off the highway into a deserted lane that ended in a dock. There was a corrugated sheet metal shack at the end of the lane. She pulled the car into a shed. This is lower Matacumbi. Doesn't look like much. And there's the yacht out there. Yacht? Well, didn't I tell you we're going out in the yacht? But you said we were going to stay at Matacumbi. This is still Florida, all the way down to Key West. You'll be safer on the yacht. It belongs to a friend of mine, Ernie Christiel. He'll take good care of us. Yeah, but where is it going? Oh, it isn't going anywhere. Ernie gets seasick, so he just keeps it at anchor all season. Oh. And how are we going to get out to it? That's strange. The speedboat was supposed to be waiting here for me. Well, come on, let's go into the saloon. I'll phone them. The sheet metal shack was an honest to goodness saloon. Sawdust on the floor, pictures of boxers over the mirror-chip beer mugs. The only actual modern note was the radio, and that was an all-at-water kent. The saloon was presided over by a talkative Cuban. Sir Ves, you want another glass, maybe? No, no, thank you. I'm just waiting for the lady to make a phone call. Then better you have, Sir Ves, when a lady goes into a phone booth, goodbye, you wait. I like radio music. I like fish fishing. What do you like? Well, I... Amberjack, they call me. Amberjack is good guy, good fish. But the born fish, I like best. News bulletin. The police... The born fish is a top-medical... ...built young man of about 26 or 28 who has been posing publicly as the author. He was last seen at the Romney Plaza Hotel where he was wearing a great flannel suit and a dark red tie. He is about six feet tall, muscular with light-wavy hair and dark eyes. The police are watching every avenue of escape out of Florida. If you have any information leading to his whereabouts, please notify your local police. Yeah, the police all the time look for somebody. Gray suit, dark tie. Could be anybody. Could be you. Yeah. I like to be police. All the time ride the motorcycle, go fast like anything. Joe. Yeah, yeah, I'll be seeing you. Come again, young fellas. Always got plenty of service. Joe, come on, the motorboat's here. Henda, I'm gonna go to the police. Joe, you can't do that. Why, Henda, why? Did you kill him? Did I? Of course I didn't. Why do you ask that? Well, then you've got to come with me. You've got to make him believe me. But I can't. Oh, here comes the man Ernie sending him with the speedboat. Come on. Oh, no, Henda, you've got to help me. Are you ready to go, Henda? Yes, Chuck, we're ready. No, when I've gone back to the boat. I don't take orders from you. I'll get lost. Don't be stubborn, Joe. He came to get us, and we're going with him. Well, maybe you are, but I'm going back to Miami. Oh, no, you're not. What? What do you mean, Chuck? Sure, glad to. Feel better, Joe? Oh. Would you like me to get you a drink? No. Come on, relax. Don't get up so fast. It'll make you dizzy. You can quit being charming. You made your point. We're on the yacht. Now, isn't this better than going to the police? It's so quiet out here. So peaceful. So you'll kill him. No, I killed him. What? I said I killed him. Well, I must be losing my mind. You're supposed to be dead rest. Not rest. My name is Cristillo, Ernie Cristillo. Cristillo? But you're the guy that hired me to double for rest. That's right. Maybe I better straighten you out. I killed Bill Rest this morning at Delray Beach. Reason? He was writing a new book exposing the narcotics syndicate. Matter of fact, it was to be my biography. Delray Beach, of course. That's where the news boy said he was killed. That's where you were coming from when you picked me up this morning. Right again. I killed Rest and I disposed of his longhand notes on the new book. Why'd you drag me into it? Why'd you bring me here? Very simple. To give the police a definite suspect. Rest is impersonate, are you? Hendo was to pick you up later tonight, but they found Rest's body soon we counted on. She just made it in the nick of time, don't you think? So I was your red herring, huh? We got the idea while you were changing the tire. It worked fine. Oh, sure, it worked fine. Why'd you have to pick on me? Who is he anyway, a joker on the road, a guy without a job of ag, huh? You're getting emotional, Joe. You think you can hold me? You're crazy. Are we? By now some smart newspaper man has his byline on a story explaining why you did it. Well, suppose you tell me why I did it. Maybe you've been impersonating Rest for a long time.   What about that book of his? It's full of names of people who'll be happy to see him dead. That's true, but you've run away, Joe. That's the most damaging fact of all. You've run away and the police will keep looking for him. And they won't find you. There had been just the three of us on deck and now I was conscious of others. Two or three men, including the one who had slugged me, they were securing the motor launch to the deck. Even as they worked, I could feel them concentrating on me. It was like waiting for someone to give a signal. What's that, what's that noise? The anchor. The anchor? Was sailing? Right out to sea. Now last voyage, Joe, way, way out to sea. The engine started up and the yacht began to move nosing into the Atlantic. I looked back at Matacumbi Key at the overseas highway silhouetted against the dusky scy. A little fishing boat innocently anchored near the reefs. Only a couple of hundred yards away. That's all there were, a couple of hundred yards. There was one wild crazy chance I took it. Stop him! Get him! He's dead! Diving overboard! Hold it on! Jump on after him! There was one thing I knew how to do. It swim. I could just get to the reefs before they could get that boat in the water and come after me. I was less than fifty yards off the reefs now. Fifty yards from the little fishing boat. I looked back. Just as that motor launch hit the water, the rest was in it. And he came right at me. He was going to cut me in two. I swam faster. A few more strokes I'd be at the fishing boat. I could already see the guy in it. I looked at that motor boat. Get away, get away from it! I grabbed a hold of the fishing boat's gun, and I swore to avoid collision.   Hey, look at that. He's out of control. He's heading for the rocks. Crazy nut. He'll crack up. What a mess. Give me a hand up, will you?  You all right? Oh, I'm great. Just get me to the police. Here he is, Lieutenant. What a mess. Look, I tell you, I didn't do it.  I was hired by Ress. I mean Cristilio. Cristilio and that girl. They picked me up on the highway. They were both in her. Relax. Take it easy. Quiet.  Oh, did she tell you? Sure. She talked. They always talk. Oh, I was afraid you wouldn't believe me. Well, when they booked you, we thought you could have done it.  But when we checked the blotter, we knew you couldn't have killed Bill Ress at all. Oh, you know? Well, sure. Well, when are you guys going to learn to come to the police when you get into trouble? When you all along, you couldn't have killed him because the murder was committed between 6 and 8 a.m. You were right here in the Miami jail until after 8.30. Oh, then... Then I'm free? Well, sure. Like a bird. Thanks. Regan? Yes, sir? Okay. He's all yours. Uh, what do you mean? Come on, buddy. Let's go. Oh, no. Hey, wait. Come on, I said. Okay, buddy. See that sign? Yes. I see the sign. It says Miami City Limits. That's right. Now... Now, wait a minute. I know. You want me to stay on the other side of that sign. Is that it? Yeah, that's it. Now, get going. Keep going. And don't come back, yeah? Of course, the next time, you'll probably get yourself in some real trouble. Escape is produced and directed by William M. Robeson. Tonight, we have presented Danger at Matakumbe by John and Gwen Bagney. Featured in the cast were Frank Lovejoy as Joe, Marie Windsor as Henda, and Ted DeCorsi as Russ. Also heard were Rick Vallon, Robert Clark, Harry Bartell, D Tatum, Jerry Hausner, and Larry Dobkin. Special music was composed and conducted by Del Castillo. Next week...  Three from the land of one. You're being driven like an animal toward the giant spaceship from which you know there can be no escape. Next week, we escape to the forbidding valley of the Infernal River high in the Peruvian Andes, a valley from which no traveler has ever returned as T.S. Stribbling tells it in his science fiction classic, Green Splotches. Goodbye then, until the same time next week when, once again, we offer you... Escape! Whether your hair is long or whether it's short, musically speaking, that is, you'll get a kick out of that hour of music with Vaughn Monroe and Gene Autry heard on most of these same CBS stations every Saturday night. Vaughn is here with the five top tunes of the week as chosen by Variety Magazine, and Gene Autry comes riding with the best in western music and song. CBS Cordially invites you to join Vaughn Monroe and Gene Autry every Saturday night. This is CBS, the Columbia Broadcasting System.


What's up everybody just here for jazby's case breaks calm another st. Nick promo break 1920 plus 2021 mosaic basketball Two-box mix break random teams number two just sold out and again guys 30 total spots where we get to random team break number two This break includes a 1920 hobby box and a 2021 hobby box chase some lamella ball and Zion Wilmson So again here is the dice roll here's a customer name. So again all the customer names in here We'll be put into a separate randomizer here For at the end of the break we'll randomize the 30 customer names and the top two We'll get a spot in the st. Nick promo Here we go dice roll it boom. You got ourselves a four and a two six times. Good luck one two three four five and six boom six times Peter down to Kenneth six times one two three four five and six Six times six times Sacramento Kings down to the San Antonio Spurs All right, so Peter you have the Sacramento Kings John the Pacers James Connell the nuggets Brian Yeah, the pelicans bringing with the Celtics Brett Roger the he brody with the Warriors and bulls Matthew the Lakers Nathan with the Hawks Rick with the Raptors Matthew and with the thunder bring you have the Knicks and the Grizzlies Nathan with the Tewels Roger with the Mavericks Harry with the Piston 76ers Brian with the Wizards Harry with the magic Brandy with the Clippers Austin with the Nets James with the Milwaukee Bucks Carlos with the Suns Canada the Trailblazers Brody with the Rockets Carl with the Cavs Stephen Kendrick with the Hornets Brittany with the Jazz and Kenneth with the San Antonio Spurs All right, so let's switch her alphabetize I should say Anybody wants to trade I'll give you guys a quick minute Chris just bought the Green Bay Packers straight up in the next impeccable guys You can get a piece of them. They're like a $200 plus team In the R&B for much less at 140 and you get a piece of all the other teams Don't sleep on that R&B guys. It's really really good I'd hate to leave tonight and not get that done. We're done a six left guys remember the Bucks are like 800 7800 dollars. I believe let me double check Believe Tampa Bay was very expensive Cowboys 250 Packers Eagles 250 Lions like 70 Washington football team 70 Let's try to get that impeccable done guys That's another promo break that we can sell out so that way tomorrow. We can just focus on impeccable four Five and six as a as impeccable number four is already down to nine left Thank you, Aaron. I seen that brother. Good luck We're halfway through that spectra. So I mean we can Technically we can do it tonight But if not like I said tomorrow, but like I said, I think I think we should definitely get that impeccable done guys We could definitely get that done tonight. All right Tray one of closing guys. I know All right T. Will's just beating up the Lakers All right, there you go best. There's everybody in the break.  I know he was injured But you do have the Warriors, which of course James Wiseman, Steph Curry Jordan pools 1920 pretty big That's right. Yeah, I know we nick this text me saying I'm gonna Discount the filler by eight dollars a spot. It's like 15% off And it's still sat there for quite some time until I announced it. No one even noticed it No one even noticed it basically two hundred and forty dollars off is what we're giving away and Terry just grabbed a spot an impeccable R&B. Hell, yeah Five left an impeccable LeBron Prichard Williams Jalen Smith, Isaiah Joe Jalen Brown Center stage Ben Simmons and Al Horford Thunder Edition Okay, see it's going to Matthew Lamello Bradley Beale Reggie Perry and a Tyrese Halliburne NBA debut sacrament of Kings Peter with that one Swagger Lulu Anthony Edwards Emanuel quickly Whoa, Allen Iverson autograph. Look at that. Harry Got randomized the Sixers big Philly guy. I'm sure he's gonna love this Allen Iverson. Hell yeah, Halliburne blue chips Killian Ace You know, Lakers are gonna squeeze into the plows barely I don't I don't trust the Lakers at all this year I mean, it's still a lot of time to To mashing and get better, but I don't know. I'd be nervous if I was a Lakers fan Westbrook Gary Tran Jr Devin Bay and Emanuel quickly NBA debut Silver Let's go. Let's keep it going I don't mind staying late and breaking doing inception and and impeccable But like I said, it's really up to you guys Do you guys want to break it tonight or do you guys want to wait till tomorrow? You know Put up the filler Nick discounted the break You know Kind of up to you guys Allen Iverson autograph right there 19-20 now So again, we're halfway through Halfway through that impeccable guys Five left and then impeccable r&b That's right. You're gonna be smoking out the window When you have to tell when you have to tell your wife if you're with her that you're not gonna go to the concert that you need to Watch some breaks at jasper's tonight That's what's gonna happen Four left in the impeccable r&b now. Whoo Let's get that impeccable done. My willings for the boston Celtics go to britney Is the autograph Overdrive luka donchich Cam johnson count red is jordan pool Isiah roby red Josh Richardson to 99 center stage dame dolly dame tally era matisse diable talon horn tucker for the lakers And a very nice dunk in robinson little color match white for the heats Brett rogers with that one 21 out of 25 In it to win it little cj McCullum John moran nmba debut rookie cam reddish or cam johnson i should say coby white rookie Silver kai bowman Dirk There you go All righty guys Some nice colors there autograph grand williams won't quickly topple this but that was a break guys So unfortunately, you know like staying glass for any of the boxes Alan irison autograph was pretty strong in the first one then we got a rookie autograph over here at grand williams Super super crazy But again now you guys have an opportunity of course to uh Win those spots in the st. Nick promo. There you go Switch scenes And like I said, let's give away those promo spots now So Here we go. Here was the original customer names. I got in top two Get a spot in the st. Nick promo roll it Two and a five seven times. Good luck top two get in two and a five one two three four five six And Seventh and final time guys two and a five bow All right, so thank you all for getting in. I know it's gonna be sad times from people at three down to kenneth at 30 But congratulations to britney at number two last spot mojo And terry at number one.  Congrats terry and britney You guys won spots in the st. Nick promo jazby's case breaks.com


So I'm here today to talk about two things. I'm going to talk about Tag Network and give you a little bit of intro to us, what we do in the group. And I'm also going to talk a little bit about the Service Mesh working group that exists under Tag Network as well. So what does Tag Network do? What do we hear for? And the answer is that we're here really to enable widespread and successful development deployment operations of cloud native networks. And there's a few different things that the tag does to help facilitate that. Part of our mission is to clarify and inform. So keep folks up to date both in the community as well as maintainers in specific projects of rest of what's happening across the rest of the community. We're there to collaborate and to help interrelate. It turns out that a lot of us have very similar problem sets. A lot of us are striving towards very similar solutions for those problems. And it helps to have a space where you can go talk to people with that set of problems and help build those shared solutions together rather than doing it alone. And part of our goal is to help facilitate that. We also want to assist projects that are there and attract new projects that are coming into being. I'll give an overview of the Tag Network portfolio of projects that we help with in the CNCF. But our goal there is to kind of help. So if you've got a project that is in the networking space and is doing networking things, please talk to us so that we can help you find your right space in the CNCF, get the right resources, talk to the right folks who may be doing similar things. And finally, we're here to help steward those projects as needed. And of course, in an impartial way, that's a big point of the CNCF in general and these tags specifically. So just to give an overview of who's there, I'm the only one here today right now. Nick is also here at KubeCon, although not physically here today yet. He'll be around as well as Zanghu, who is also here with us. We will all be hanging out at the booth as well. Tag Network has a booth. We'll be hanging out there. Please come talk to us. And of course, we were sadly couldn't make it as well. But these are the folks that help run tag networking. And then just to give an idea of what is the portfolio of things that are in tag networking. So if you squint and see something you recognize up there, that's good. And if you're working on something that's similar to any of these, please come talk to us. We'd love to help you however we can. Alrighty. And with that, I'm going to pivot just a little bit and we're going to dig into the service mesh working group. That's something that's near and dear to my heart personally. And I guess, before I do that, let me just make a general solicitation. We're looking for more folks to get involved in tag networking. So if you have an interest in this area, we would love to get more folks here involved in helping do some of those things that I just talked about for the larger cloud native community.  I was one of the original Istio engineers. And so the service mesh working group is something that is personally important to me and some of the other co-chairs and is a big area of interest in the networking space in cloud native land. And I just want to give you a real quick kind of tour there. That is an area that's a lot more nascent where newer projects are coming in. Obviously, the service meshes are there. But we have kind of a variety of things in the peripheral that are coming around that as well, which I'm just going to give you a very quick overview. That includes things like the service mesh patterns. So I mentioned one of the goals being repeatable patterns for these repeated problems that we all keep encountering. This is one place where, at the service mesh level, you can go and see some of those patterns. There's also a variety of catalogs for things like wasm extensions for design patterns leveraging the mesh for things like EBPF and OPA policies that are coming soon, not there yet. But these are the kinds of things that we are trying to help facilitate across the community so that we can hopefully solve some problems one time in a reusable way rather than everybody doing it themselves. There's also things like distributed performance analysis, which is being driven by some of the folks in the service mesh group.  And hopefully do that maybe before we hit prod. And even things like the total cost of ownership of that as well. So all kind of things around trying to help folks understand how they're using some of these cloud-native technologies, how it's impacting their infrastructure that they're building. And the biggest thing that I want to say here is just call for participation. So tag networking meets on the first and third Thursdays. I would love to see more folks there getting involved. And anybody that this is a special interest area, that networking is something that you get excited about, please come talk to us. Of course, all the meeting minutes are open. Come see us in the tag network Slack channel as well. And there's a variety of mailing lists, both for tag networking as well as for the service mesh working group that you can hop in if any of this was interesting. And with that, thank you, everybody.


Welcome, this is the Jenkins documentation office hours. Let's look at our agenda for today and off we go Okay, so we've got Indies so October 14th October fest review is one topic for my list progress on the Jenkins IOP requests and Vlad if you're okay with it. I'd like to talk about the Docker image Changes to use The official image because I think this would be a good time for us to talk through that and Identify what we can do with et cetera. Yeah Great anything else we should put on the agenda. I'm not sure if this is related to the last subject, but Just proposal. I was thinking about including inside Tutorials Chapter or book or section on Jenkins.io Catacord interactive tutorials something that Kubernetes does on their side. They include Kubernetes Interactive tutorials in that tutorial section and I have the link which I can point It is related to Docker what I found and it is kind of interesting Right would and would you be willing to show us a demonstration? Is there that I would I would love to see that I would love to know more about it. So If we do that then we would have to but the can we fund catacorda to or or in our sites to run those web those demos See, I assume so topic has been added Vlad fair enough and we'll get there because I think I think what Vlad Suggesting may be something that catacorda is willing to fund themselves. They're doing it for Kubernetes if they're doing it for Kubernetes They're probably doing it for in some way for open source programs, right? Which would make sense. How lovely? Maybe I'm not understanding the topic of discussion, but what I found is Kubernetes is including Caracorda interactive tutorials in that tutorials of Kubernetes and I'm not sure who prepared those interactive tutorials. I found interactive tutorial for Jenkins and Docker on catacorda side, I think on catacorda and so my proposal is about Including those tutorial interactive tutorial, which is kind of nice. It shows how things can be done in our Tutorial section I'm not sure if section is the right term here on Jenkins.io side. We have tutorials So you tell you make interesting materials Right using exist well first of all expanding our Jenkins.io documentation and Maybe we'll need to modify or add. This is about Docker and Jenkins. Maybe we can do similar about Jenkins and Kubernetes And so or whatever. Yeah, whatever the topic will be Very good. All right. I like that great topic So I think that's that's very interesting. Yes, okay any other topics we need to put on the agenda Okay, then let's let's go ahead So we're going to start through the topic. So hacktoberfest webinar. We had approximately 20 attendees Attendees at the webinar well done glad well done Jonathan both on great material good presentations or presenters and Good topics. I've reused a Subset of the topics Reused one of the topics For a separate post It was the thing about migrating plug-in and We've got an interest from Xenob of a car in the Building Jenkins.io But she wants it on Windows with WSL one And That's because she can't apparently she can't get WSL to on her Windows computer And she's been actively developing but would like to be able to run the site so that you can see how it looks By the way mark just just to add to our morning session I confirmed that on my Windows box. It is WSL to installed Good very good. That's and that's what I've got. So but I'm confident I've got Mark has one at least one over computer That may still have WSL one needs for a test in terms of any any Feedback you want to offer there any observations Vlad on things that we should do better or differently Oh Overbid not I think it is there Thank you very much for preparing the slides and wonderful kind of Navigation point what needs to be done? Thank you. Well, and I thought that the demo transition the transition to your demo worked smoothly and well We didn't have any screen sharing failures or problems that way Excellent okay So we take the next topic progress on the pull requests right now. We've got let's take a look at what we've actually got We've got a hundred and thirty open issues and thirty five open pull requests. We had an outage today With the CI dot Jenkins dot IO Build processes were broken as a result of a change that was made earlier today in an image definition So I've had to work around that but I think things are reasonably stable there and we're making progress if we look at closed good first issues See how we're doing there Okay, good first issue Instead of closed that is not what I expected Sorry, yes, you are you are in pull requests not in issues. Oh Thank you. That's the problem. Thank you very much. That's Yeah, I would have had to look for a different thing there. So let's look at the label. Good first issues Good first issue. We've got 31 open and 44 closed You know that that Good first issue PRs 44 closed and I think that's a net improvement from our last time Yeah, we're down 30 we're down five issues last and that's good. Excellent We've certainly got quite a number yet to review And They'll just need some time for us to review them Any comments or concerns on progress on Jenkins IO pull requests Are you finding that the quality is generally good? Well, we made that's a good question. How is the quality of the pull requests? It's been mixed But easy to handle Mixed quality, but easy to handle Low quality items that for instance of the the st. Petersburg Jenkins area meetup had an online session On saturday and spent six or eight hours with about 10 people working together on it And we got it. We received several good pull requests from that we've received pull requests from other contributors And it hasn't been nearly the quality of pull requests has not been nearly the issue for us that apparently was for some other projects Have the benefit that we did an awful lot of work to prepare good first issues All they had to do is read our directions Follow them and and they could produce a useful pull request right And is there any metrics to measure the quality of pull requests? Well, that's a good question. There is not but we could certainly metrics to identify a rejected pull requests And that's a good when I don't I don't have that although I could have labeled them And that would have made it, you know, it was I think we've had maybe four or five That we rejected in total So for a month's worth of work, it's it's hardly worth Even flagging them as an issue because we get we get one or two a month Whether when we're not even in a hacktoberfest, right? There will be people who will demonstrate something to a friend who look here's how you do a pull request and it's complete junk So right now metrics I guess is not uh is not numeral, but it is kind of merged Admitted kind of rejected Right. Yeah, so we and we we should be able to gather should be able to collect metrics on at least approximations on hacktoberfest Commits that we're merged ours merged I'm not sure that I will trust them as entirely accurate, but but we'll have to look and see It's a good one that as we preparing a blog post Blog post for for the end of hacktoberfest We'll want some data and I haven't done much to gather that data. So that'd be a good thing to be Watching for D letter D on my keyboard is not working Anything else on on jenkins.io pull requests Okay, let's get to the next one. This is the one that I'm most interested in Oops So docker changes to use the official image So vlad has done marvelous work on getting us ready We're in progress. Whoops In progress with the change now Right some of the some changes have already been made made and then we had a comment from we had Insights from matt sicker On the technique he used But if I understand correctly what he did was he was using command line docker inside Inside the image But it was calling a docker in docker Image rather than Calling a docker in docker demon rather than calling The docker demon on the host operating system. I think he was doing is he created this sacrificial Um docker image that's used to allow it to run docker in docker and our current image Uses runs as root And does not use The docker in docker demon Did I get that about right vlad? I think you got it right, but I need to Like Arrange all this knowledge. I'm trying to do this through different links I created my personal Site on github where I'm referencing all Well topics discussions and everything related to Using Jenkins and docker Um And how to properly use declarative pipelines Including discussions that you had on github mark. I point into that including our previous conversations So maybe at some point of time we can sum it up But I guess you stated it correctly My understanding that what Uh We want to do is to use a docker demon, which is already installed on the host machine when calling declarative pipelines, but again, let's um Just I want to make sure that uh my statement is correct. Uh, so um Yeah, so I think so and again, this is me not being sure but I I think right now because we're running as root. We use the docker in docker the docker demon on the host And what matt was saying is that he recommends using the docker in Instead of using the docker demon on the host We create a separate separate docker image that's running And it uses it provides the docker demon for the for the The actual image and use But that's great that you're working on the issue and investigating and that's wonderful Do you want to share with us the link to your github repository? Uh link to my github repository Oh to Uh, uh, something that I was doing like to provide the references to all this. Yes. It is this woman Uh Google sees no dogs g s o d Uh, yeah, that's it. It is at the time when I was preparing Excellent. So it's this and it is just before I think And and you're just you're capturing your your notes into that that repository super Right, I was starting capturing this but sometime when I was preparing for this Excellent. All right So I think The Mark's guess Is that the Exists that the old that the previous technique From matt sicker Will work without requiring blue ocean The blue ocean image blue ocean docker image if we use flats Technique to install Install blue ocean in a custom image By the built by the reader built by the the student Mm-hmm It worked for me at least I haven't worked through every demonstration yet though to prove it But I think that would give us the best of both worlds we could use We could have the safety of not having to run as rude And have the the benefit of still being docker and docker and being able to run docker images With with all the convenience that we want Grand Java with maven Tutorial I didn't run the python or the npm or the lab view tutorial And python and npm are the two that I think are most interesting here because they They do something slightly different in each case to meet the needs of their particular tutorial Mark and I Just briefly tried running not as rude and I was not successful in this So I would be glad to grab your experience in that and extending that our document Great. Yeah, and I wonder Well, yeah, so let's we if we get to the end of our agenda time today vlad you and I may take some time Well, we may want to just go through that and let's do the experiment together We can just basically pair program on my computer and try it to see. Hey, can we make this work? Because it's If your time allows mark, I would be glad to do that. Great Anything else on docker changes for the official image a katakota interactive tutorial. So this one Can you share that link either in the chat or in getter? I shared in the chart mark. Oh, you did very good. Okay, so let me go find it chat And it's here So building docker images using So this is already hosted by them They've already got something that shows how to do a very useful thing that we do. That's great. Vlad. Thank you And I assume there's no charge to run that to run that environment It just I think so great look at that They there so they're willing to host the the system Well, you need to create account and I guess I I did create account there I haven't run this tutorial yet, but just And my idea was doing it similar. I posted another link in the chat room um over this session Similar to what kubernetes doing uh with their tutorial And they're doing exactly like this. So for instance, if you click I guess interactive tutorial or starts in my area They open the similar window That's fascinating. Okay Blacklight. Oh, so they've got a banner that makes my life harder to deal with that. Okay. That's great Oh, that's amazing. So here I just And I guess you don't need to type you just click on this Minicub version, for instance, it will type for you in this terminal window Well, that's that's lovely. Yes. So if If if they they would be willing to host such a thing From something we offer that's great Well, I guess we need to run uh to write scenarios. So to write these tutorials create the content for this right And docker is just one of the topics that can be anything Kubernetes or github if you wish or how to sync up repositories for instance and so It is more related to tutorials to teaching people how to do proper things So you said if I just click that it will type that for me That's wonderful That's great And I can go full screen That that's exceptional. Okay So then yeah on github. Yeah, so it is open source So the calicota tutorials are available Or at least the the kubernetes ones are are available on github as source code Uh Well, no this side kubernetes site is on github And I guess this thing is part of this github site Oh, I see. Yes. I see what you're saying, right? I wasn't even thinking about it I now I look at it. I see up here the url is actually kubernetes.io. It's not calicota.com I guess you can click edit this page It will tell you exactly right takes me to a to exactly their repository Which is inside their website It's somehow embedded Right so so that embedding would probably require us to negotiate something with With calicota to allow us to host it And allow allow them to host it and us to place it inside our page. Okay, so that that's good to know likely need negotiation agreement That would be a very interesting Project Thank you. So success I guess it will help us bring in more More like people and we can claim that it is not very hard to understand and to push yourself Junctions Yeah, absolutely So is this something that you're you're planning to continue investigating glad? Uh, yes, I can I would be good to Do this Hopefully there will be some usual benefit But I would love to learn more That Catacoda is a fascinating piece of technology. That's great. So it's really the communities.io site Question where shall we link to the to existing Jenkins and docker tutorial So that would be existing tutorial was actually on the catacola catacola site, wasn't it? It was you had linked to I linked to catacola. So yeah, I was Today like looking around and searching for docker because I was interested how well What people other people are saying about using Jenkins and docker and starting and I found this tutorial And uh, that is why I mentioned. Well, maybe it's related to our previous topic in this discussion And well, I found I didn't run this tutorial yet by my Myself, but I found well they are Using the same approach starting docker image as root And I want to know how they're doing so it would be interesting for me also to explore it further and Understand it Yeah Very interesting. Okay So it's like example of how exploring one topic brings us to the next topic and how we can Continuously improve CI some people I call it Continuously improvement I like that That's excellent. Thank you. Anything else you'd like to share on the catacola interactive tutorials no I guess I have uh somewhere on my github account somewhere repository exploring catacola tutorials, but Oh Yeah, I need to look further and in case if there will be something available I can share that Super Over the topics that we had on the initial agenda If you'd like we could try switching switching to look at Exploring docker further to see if we can find a way to to still do The tutorials but not run as root by using the technique combining your technique and matt's technique Yeah, I would be good Okay, great. Let's try that Well, I'm going to go ahead and just turn off the recording for now glad so that the We don't have to worry about my being recorded as I make mistakes Okay recording


The First Lady of the United States, the President of the United States. Thank you very much. Thank you. Thank you. Thank you. I once learned that you're never supposed to open any remarks with an apology, but I must because I am the reason for being delayed a little bit. It was late coming here and I have to explain the reason I was late. I was getting connected to Yugoslavia so that I could congratulate, on behalf of all Americans, Scott Hamilton for winning the gold. Now about that introduction and that line that was used in introducing me the other night by Mrs. Reagan, I had always heard that an emcee was to be so dull in introducing those to follow that they would appear brilliant by contrast.  But I'm delighted to welcome you here and it's good to see so many friends and to have a chance to make some new ones. I want to thank all of you for what you're doing to advance the goals and ideals that unite us. It's you, the office holders in state capitals and communities all across America who are putting our beliefs into practice. And I believe that America is moving forward again and it's not because of any magic in Washington. The only magicians are on the other end of Pennsylvania Avenue. Slight of hand artists who have a way of taking your tax dollars and making them disappear. But it's your drive, energy and determination that make the difference. That's why America's future is looking better every day. My spirits are high for another reason as well. I'm able to share these few moments with two of the most important women in my life, Nancy and Maureen. And you know, I only work a few hundred feet from here but I rarely get home for lunch. Maureen did a little research for me and I know that even before women had the right to vote, our party became the first to elect a woman to the United States Congress. That's the Republican Party tradition and I'm determined to build on it. The only women in the Senate, Nancy Cassabon and Paula Hawkins are Republicans. Not to mention our nine outstanding Republican Congresswomen. Now, don't you think it's about time we gave them some more company? We're calling on the talents and leadership of women in a big way. For the first time in history, three women are in the cabinet at the same time. Ambassador Jean Kirkpatrick, Secretary of Health and Human Services Margaret Heckler and Secretary of Transportation Elizabeth Doe. Ambassador Faith Whittlesey has brought her talent to our White House staff. And all told, more than a thousand women hold policymaking posts in our administration. And one of my proudest days was when Sandra Day O'Connor became the first woman justice in the history of Supreme Court. And counting the votes sometimes and some of the issues in these last three years, I've had reason to cheer her being there. But just as important, thousands of able Republican women like you are serving on the front lines in public offices all across America. We want to see the number of Republican women office holders growing here in Washington and in every American town and city and state. Someday, a woman's going to have my job. Let's make sure it's a Republican woman. When historians write about these years, they're going to find that very skilled and talented women played a key role in putting America back on her feet. Challenges are still before us and together we Republicans can turn them into opportunities. Three weeks ago in my State of the Union address, I talked about how far we've come since those days in 1980 when we were hearing sorry excuses about some sort of malaise that the American people suffered. Well, I won't belabor the point, but if you figured out why our critics are going around the country moaning and groaning, maybe we should speak a little louder about the one big program that is helping every man, woman, and child in America. It's called economic recovery. By turning the economy around, we've helped everyone, and particularly women. The majority of elderly Americans are women. Double digit inflation in 1979 and 1980 was destroying their purchasing power. Now inflation is only 3.2%. Thousands of women who wanted to start their own businesses saw 21% prime interest rates slam shut the doors of opportunity. Well, those interest rates have been cut nearly in half, and if Congress will cooperate, we can do even better. Personal income tax rates have been reduced, and in indexing begins next year, meaning that government can no longer profit at the taxpayer's expense. We reduced the marriage tax penalty and almost doubled the maximum child care credit. We increased the limits for IRA and KIO contributions, and we've eliminated estate taxes on family farms and businesses for surviving spouses. For solid growth in housing, new housing starts in January, we're at their highest since 1978, to new frontiers in high technology, and from a healthy recovery in real wages to the sharpest drop in unemployment in nearly 33 years. We have good reason to be proud of what's been accomplished. For 13 months, we have been putting an average of 300,000 people a month back into jobs and off the unemployment rolls. Believe me, if we didn't control one House of the Congress, none of that could ever have been done. There's still so much to do, more to do in insuring women's rights, providing for equitable treatment in pension benefits and IRAs, facilitating child and dependent care, and enforcing delinquent parent support payments. And we've introduced legislation in all these areas to accomplish these goals. Unemployment is now down to 7.9%. The unemployment rate among adult women has dropped from 9.1% to 7.1%, and today more women have jobs than ever before in our nation's history. But I won't be satisfied until every American who wants a job can find a job. We need basic budget and tax reforms like the line item veto, a constitutional amendment mandating a balanced budget, and tax simplification so that we can make sure the progress we're enjoying will continue for generations to come. And I believe we must also move boldly to develop the enormous potential of space while preserving our resources here on earth, our land, water, and air. And let us preserve our other resources, which are just as precious. Our values of faith, family, work, neighborhood, peace, and freedom, the values that have made us a good and a loving people. Just as we're turning the economy around, there's a new sense of purpose and direction to America's foreign policy. Back in 1981, we had an uncomfortable feeling that we lost respect overseas. Some questioned whether we had the will to defend peace and freedom. Well, three years later, the world knows once more what America stands for, freedom, dignity, and peace for everywhere, for people from Asia to Central and South America. And that brings me to two final points. The first has to do with the Soviet Union. For the first time in years, we're on the way to restoring a constructive dialogue, one that builds stability and is so essential for peace. Time and again, in public statements and in private communications to the Soviet leadership, I've stressed our commitment to a serious and intensive dialogue, one aimed at building a more constructive relationship. Avoiding war and reducing arms is the starting point. But I want to accomplish much more. And all that's needed is a good faith effort on both sides. That's the message that Vice President Bush carried to Moscow earlier this week. And the Vice President emphasized once again America's desire for greater mutual understanding and genuine cooperation between our two countries. America has always been ready to meet the Soviets halfway, to find solutions to the many problems that divide us, and to reach fair arms reduction agreements. If the new Soviet leadership decides to join us in a good faith effort, we can accomplish much good together. And there's no better time to start than right now. Finally, let me say a few words about recent events in the Middle East. We all know the peace process has been painfully slow. But we must continue to search for peace and stability as long as there's a chance to bring it about. For the past 35 years, the United States has been working to build peace and stability in that troubled region. Most of that effort has been focused on resolving the conflict between Israel and her Arab neighbors. Lebanon's troubles are just part of the overall problem in the Middle East, and her internal strife has only made it worse. The most recent outbreak of violence reaffirms the importance of redoubling our efforts to find a peaceful solution to the fundamental problems of the region. And we're trying to do just that. Earlier this week, I met with King Hussein of Jordan and President Mubarak of Egypt. We discussed our September 1982 Middle East peace plan and ways to move the peace process forward, both of them in complete agreement, that this should be done and they want to be of help. We're pursuing every avenue in the search for peace and stability. Now, I've gone on long enough. When you get back home, tell people what we stand for, what we've done, and how far together we can still go. We can make our dreams come true. The Republican Party needs you, and so does America. So temporarily, I'll say good luck, and God bless you, and we'll have dessert. Ladies and gentlemen, keep on with your dessert and with your coffee and all. And we've just got a few minutes before we're going to have an opportunity for us to meet individually in the next rooms and have our pictures taken and all, but just thought that there might be a question or two before we got around to all of it. All right. Mr. President, I'm Helen English, the representative from Michigan, and we appreciate your tax cut because it came right after we raised taxes in Michigan. We were able to take control of the Senate because of your tax cut. But one of the questions I have is, is your administration, Reagan Bush administration, in the next four years going to be committed to not increasing taxes because I'm going to pay taxes too? I am one who has believed that the whole problem and the problem of our deficits, which must be dealt with, it must be dealt with by redoing of our whole government structure with regard to spending, that the government is taking too big a percentage from the private sector and this has been responsible for our economic downturns and our problems. And we've had a history of tax increases due to the other party and back over these last 40 years and through all the years we have had consistent deficit spending as a part of the federal government policy in spite of all the tax increases did was just open the doors for more spending. And it's amazing now they've discovered deficits, which they say are ours. But no, I'm opposed to it. Mr. President, I'm Kathleen Wolche from Illinois and I'd just like to share something with you. I was one of those small business women that you spoke about earlier and I did lose my business because of the high rate of inflation and I only want to thank you now for what you've done with the rate of interest and for making our country strong today. Thank you. Thank you very much. Some questions are easier than others. You deserve to be challenged with a tough question because you're so good at them. According to some information we received in our packets this morning from the U.S. Department of Labor, most women work the majority of them because of economic need. Two-thirds of these women are single through the force or widow or whatever you have. Of these women, three out of five, I just got these figures, three out of five in the labor force have completed four years of college and yet of these women, men who have completed only one to three years of high school have the same income. Women that are high school grads are making about the same as men who haven't even completed elementary school. My question finally is why then is the administration resisting the frontier of comfortable work which seeks to restore some equity in only in government, not in the private sector? Well, I know that in all of you you will think that this is a stall or something when I say we're looking and we're trying to study the idea of government stepping into the free marketplace to establish we're all agreed on equal pay for equal work but to let government try and determine whether a job of this type should be equal to a job of this one over here instead of letting the free market determine that is something that I think is fraught with great potential for harm. It is true that the marketplace supply and demand determines many pay scales and then the free choice of people to take those jobs but we want to look very carefully at that because as I say, I think that government has proven over the years that it is not a very good fine tuner of the economy and that most of the time it messes things up and we would want to study a long time before we gave government that power. Mr. President, I'm Diana Nelson from Illinois and I'm a congressional candidate. I think that there is an issue that we were talking about at this table that is a good issue for Republicans and women and it's the issue of the college industries. There are a number of women out there who work at home either with a loom or a word processor or something like that because they choose to. Republicans have always stood for the individual entrepreneur for the person who chooses and we wish to maintain that position and I think that this is a good issue for Republicans because it will bring us the women that I travel in circles and I know that the issue of comparable worth has a great deal of just simply there is the feel out there in feminist circles that that is the next great issue and I would caution you against coming out against it in public at least before the election. All right. Let me just say I disagree with organized labor too on its opposition to the cottage type industry. I know they're trying to point out that this is some way going back to the sweatshops or something. I don't think it is at all and I think that's been a proud tradition in our country and I'm in support of it keeping it. Thank you Mr. President. Oh, I just pointed to someone. I'll overrule my daughter just once. Mr. President, I'm State Representative Marie Tansy from Ohio and on a voluntary basis would you consider a check off on our federal income tax forms to reduce the federal budget? Some of us are very concerned about it. Would that be very willing on a voluntary basis to make those contributions? Well, I must say I've never thought about it and we've never talked about putting it on the income tax or something but there is a fund in the Treasury Department which people can contribute for reducing the debt and we've got to get the word around to more people but that is true. I have to tell you something with all the criticism and I've been guilty of much of it about education and the failures in recent years or the decline in the quality and all is one school that I have to think must have some pretty remarkable teachers. In the fifth grade class a little girl wrote me a letter and sent a check for a couple of hundred dollars that the girls and boys in the fifth grade of her school had gone out and raised and worked and put together and sent it to contribute for payment on the national debt and I have to say when I was in fifth grade I wouldn't know what a national debt was at that time. I think, I take, no, Maureen was right on our time limit because we're going in the next rooms and then you're all going to have, we're going to have an opportunity to meet you and shake hands with you and have our pictures taken so if we're going to do that I won't be able to take any more questions. God bless you all and thank you.


As someone said once, the best part of writing is timing for people. So, there's so much that's corrupting and all that's changed. This is Lauren Park, this is watching a work in the lobby of the public theater for those of you who are hanging out with us online today. Courtesy of power out. And for those of you who didn't know, it's so good to see you guys twice a Monday. Or at least you, Chris Marlowe. The fact that Chris Marlowe has done this. And so now we're really happy. You guys come in the jambors, I think? Yes. You see it? Yes. You have that glow. Oh. You have that, I just, or I just got... I didn't want to ask that. They're like your children watching. Anyway, you're glowing. So Watch The Work is a... It's a play, and this is the action that we're going to use to dialogue a little later. And it's also for you writing class, in which we talk about your writing process or your work process. It doesn't necessarily have to be writing. So what we're going to do is, well first of all, Caroline's going to tell us if you're online and you want to tweet us a question about your work or about your writing process. Caroline will tell us how to do that. You can tweet at us to the handle at Watch Me Work, SLP, with the hashtag PowerRound or hashtag NewPlan. That's different. They changed it. We've got another hashtag. Oh, we've got two hashtags. Okay. No, we've got two hashtags. I don't know what that means. Yeah. Okay. And so what we're going to do first is we're going to do the action part first, which means we're going to write those of you who are writing, those of you who are doing your woodworking projects at home again, those of you who are writing, we're going to write for 20 minutes and then we're going to do the dialogue which is talking about your work and your creative process. Okay, so. Do we have our, Caroline, do you have your timer? Yeah, no lunch. We're just going to do 20 minutes. Okay. Okay. Do 20 minutes and we'll chat a little bit and we'll be done. All right. So, yeah, hold on. Let's synchronize our, or synchronize our phone. I don't know. I don't know. Synchronize our phone. Okay, good. So Bruce. What are you writing? Jasper. Jasper. Oh, what are you writing? Ah, see. Oh, yeah. Are you, have you ever been at home? No. Where are you from? California. Where are you from? Berkeley. Look at Jasper. Sorry. We didn't get excited about the Berkeley part. Are you excited about it? Where are you from in California, Jasper? San Francisco. What's going on? Yeah. Are you visiting? No. Are you living in a new house? Yeah. You're welcome. What's your name? Jillian. Jillian? I was a pretty person. We'll see that the, um… Yeah. The title of this show is intentionally misleading because for me and the title is You, so actually, we talk about your work and your creative process. I won't put you on the spot right now. Okay. But if someone were to say, like, what are you writing, then I would make them say, what are you writing? Smart.  Because, you know, this is the time for you guys to answer my question. Yes? Oh, I have so much to question, but I sort of discovery. I think, basically, like what you said earlier is kind of true. I sort of get more work done when I'm with other people. I think maybe because there's kind of a performance aspect to it, possibly, if everyone else around me is working, then it's harder for me to sort of slack off and appear as if I'm not getting anything done. It might also be something like the combined effort of everyone makes me feel more focused. But I certainly get a lot more work done when I'm with other people. Same applies for studying. I study a lot better in the library when there's lots of other people at the table studying with me. I would, I mean, I agree. I think it's, I mean, I would, because you can always fake it. Yes, we do have the passage of one, I guess. You know, we know we can always fake it, right? So I think the second half of what you said is really true. It's a combined energy of people, which is why, you know, there are thoughts, I suppose, of arriving groups. Here we go. You know, it's that energy for the, yeah, I'm sure even the elite runners get energy from the combined energy of everybody. So we are social creatures and our best. It's interesting. Your reading is on? Thursday. Thursday, so I'm going to have to make a whoop with my bathroom. Wednesday, it's on Thursday at 3 o'clock? 3 p.m. and 7 p.m. Okay, okay, we won't have Jesse. No, it's me. Thank you. As far as the reading, do you want to advertise it? What's the name of the play? It's called Separate and Equal. Separate, oh, I love it. We like that title. Separate and Equal. Yeah. Yeah, all right. I just got a reading of it this coming Thursday. Yeah, yeah. Where's the venue? I'm at the Sheen Center, just down the street. So you may go down the street and make a lot of room here. Down the street and make a lot of room here. What is it? 18 leakers street. Oh, thank you. Thank you. 18 leakers street. Separate. Anybody else have an email? And I'll switch to the show, sorry. One thing which isn't dependent on others. Now, I mean, we might work really well or at our best when surrounded by others. But also, just to, it occurred to me as I sat here, how important it is to put the time now. Really, it's like, it's the one thing that I believe will always pay off cancelling or beautifully, just putting the time in. So if we find again and again, if I say I'm having trouble working on such and such, I really look back in my week or in my day or whatever and ask myself, have I put some time in? And again, we're not talking about a five or 10 hour writing day. I'm not talking about anything like that. Just a daily, steady chunk of time, an hour or 20 minutes or whatever, whatever I can manage. Am I putting the time in? And often I'm having so much trouble, often because I'm not putting the time in. I'm kind of thinking about doing it or wanting to do it, but I'm not putting the time in. So over and over again, I'm reminded about, wow, it's so important just to sit down and remember the time, remember it for me. Because the less I have to go over and over and over again. It's not gonna write itself. Oh yes, Karne. Actually, if you have a question, what's something coming up that's kind of, you know, the script isn't done, right? Okay.  It's still in process. Right. But the draft's going to be written. Okay. You talk a lot about how, you know, those types of things have to keep you from writing the manifest ways in which they do that. Right. And I'm now, the people I'm dealing with, the voices in my head that keep me, help me to keep pressing and keep changing and make it better, make it better. And you know, and I'm trying to figure out how to negotiate the point where I need to walk away so I don't go crazy. Uh-huh. About it, Sam? Also, to like, take care of myself. And I don't know what that balance is yet right now. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. Well, because it's not finished and you're having to draft red, so it's not that you're having to draft, you know, it's not that you're having your opening night on Thursday at three p.m., your opening afternoon. And that's also it to the evening. But what are you saying when you're rewriting? What are we talking about? We're talking about brand new chunks of huge, generous, paid chunks of wood, what are we talking about? What are we talking about? Significant alterations to see and just like, taking out like half the scene and convincing it. Right, I understand. And then cutting things that I'm not sure I want to cut, like, just to streamline it. Uh-huh, yeah. So it's, yeah, okay. Okay, yeah, I know I understand. Okay, so you're having to, I ask, you're having to read it, just to stop it. So part of it's having to read it, which means you can change close to the time that the curtain goes up. But since you're changing big chunks, you want the actors to feel solid. And you're going to be rehearsing how often before the- It's just once, four hours before. Okay, once, four hours. Okay, okay, no, no, so once, four hours before. So it's not like you're gonna be handing the actors, throwing the, you can do things that the actors write before they go on stage. You wouldn't want to do that. No, no, no, no, no. Okay. I don't want you to be writing in the room. That's one of my pulses. I'd love that, like, to be able to do that. But that's not this version, you know what I mean? Yeah, yeah, yeah, okay. Also, I would suggest to start making a list of every time you want to change something, instead of jumping into the play. Right, writing down on piece of paper. Like that's not the play. You see what I mean? So you have a nice notebook or something? Like a, or maybe you could buy one for this occasion. That's always fun. You know, you have a nice notebook, right? Every, it's just dedicated to this project.  It's just for this project. And every time you want to change something, write it down in the notebook and sleep on it. It's like, think of it as like, every time you want to tell your partner, like, write it down. And put some space in between you and the act, right? Okay. And then the next day, it seems like a good idea, right? Then maybe go for it. You only got a couple of days, which is good. See, so the things you want to change, write it down in your notebook, okay? And then sleep on it and wake up and look and see, okay, I want to change those things, great. And then it will be Tuesday night, right? Okay, and then if you want to change more things, write them down, then it'll be Wednesday, then it'll be Thursday, then you'll, so you'll limit, you'll kind of put a control light. That's what you can do. Or just write them down in a notebook and don't do any readouts.  I'm gonna just rewrite that scene. You see, just slow down the process because I think you're probably getting what we all get, jitters, you know. I have to fix it, I have to make it great, you know. I'm running out of time. So just slow down the process. Get yourself a notebook for this process. That's really important. Know that it has its own. Please walk through. Here in the city there, that's your business. It's going probably some real fancy to me. Um, anyway, right, so it might, it will be really nice to get a notebook for this project, just for this project, the rewriting process of this project. It'll make it feel good and like it has somewhere to go specifically. And I definitely want to be there on Thursday. So that's what it's gonna be like. See you tomorrow. I'll bring my cheerleaders and pop-ups. Wow, that's awesome. My cheers are better than that, Jesse. Yeah, I know, that was the best week. Yeah. They're good. That stomps, too, and all this kind of stuff. It gets kind of louder. I don't want to see anybody else. No, no. Yes. Remind me of your name. Rob. Rob, Rob. So, obviously like this is set up to write and sit down, kind of clear distraction on some level. Do you find that you write generally in places that are the same place, the same time kind of thing? Or do you try to go out and have different environments and kind of influence how you're writing? And what kind of situations do you put yourself in while you're writing? Yeah. What do you do? I try to go to a lot of different environments. You go to, Rob, go to different environments, at different times of day? Yeah, different times of day, like get on the train or go out to, you know, go far out on the track.  Right. Mm-hmm, that sounds like fun.  Whatever works.  So I tend to write, you know, same place around the same time. But I would totally, you know, experiment. That's a really fun thing to go, especially on the train, you know, on the train in the subway, you know, or the Metro North or, you know, it's really fun to write on the train or the bus, really fun to write on the bus. But I wouldn't say that it works for you, but I wouldn't say, like, try doing these things, you know, try doing these writing gymnastics because actually, I mean, that requires, you know, getting out of the house, going to the vet. You can actually get the same, you can actually get really good work done just by being consistent in terms of, I'm gonna sit at my desk, I'm gonna sit at my desk saying around the same time every day because then the views will know where to find you. You know what I mean? So if that works for you, great, go for it. And if you don't have the kind of time that's flexible like that, or you have some space you can call your own, like at a desk or an office or an apartment that's free during the day or during the night when your roommates are all over, I would suggest just finding the time and being consistent so that you can be used to finding the fifth kids that had to be at, you know, they're gonna let you know, you gotta kind of work around them.  Some people go and sit in their parked cars and write in their garages, you know, it's kind of whatever works really. But I think the most important thing is to work it.  Make an anecdote. Yes, okay. Which is that someone told me once that Marcel Proust would only write in a room lined with corks. Yes, yes, yes, remember when something's passed, yeah, Proust, yeah, that was his room at home.  I was waiting to go out to the shop right here and like change the kids' diaper. He was chilling in his cork lined room, right? And remember it's a things pass, which is a great book. Yeah, that's how he wrote. Right, right, it wouldn't suggest like, that's what we're gonna do, we're gonna get a cork lined room. Or I can't write because I don't have a cork lined room. Right, you know, so, yeah. But then it was true, I mean, that's what I actually understand because I don't know, it might be a lie, you know, her, I'd be on the beach, but. I'm writing a piece, I've been writing it for a long time and I've been in kind of the same way, kind of talking myself out of ideas. Right. That I loved it first. Right. I thought it was in my heart, it was an original piece, but now it's time it's gone by. I realize that it's kind of a combination of some classic tales that I have kind of modernized. I wonder, should I turn away from that and realizing that I've done that? I mean, it's a combination of Alice in Wonderland tale and kind of like the alchemist now and it's not really what I intended. Right. But I'm seeing it now. Right, right. And so I wonder, is that something to turn away from since I've seen it in my writing, even though it wasn't intended in that way? Well, this, oh, this is great. So it's, what's your name? Jahi. Jahi? Yes. So Jahi has another version, that's it. So we all have versions of what you're talking about and basically the version of stop, don't write, write, you're on the wrong path. Yeah. Your version is, it sounds like you're working with Alice in Wonderland and the alchemist. I don't know. I don't know what you're talking about. Right? Okay. Someone else last week had something about their, would their mom like when they wrote that? I don't know, would your mom like it? I don't know what your mom didn't think. It's the same, it's a version of stop, don't do it, turn around, quit. Right? Do you understand what you're saying? Yours is just a parent to you in this form. You're on a path and you're goblin for about the, is a parent to you in this form, in the form of, I don't know if you should be doing that because you're doing it wrong or are you sure you want to do anything like that? Right? You, do you like what you're writing? It looks like you like it a lot. Then I would say keep going as your little, the little flying fairy over here. She's goblin. You see what I'm saying? I would say keep going. And it's okay that it's Alice in Wonderland means the alchemist. I'm sure like nobody would really know unless you told us in the minor notes in the program or whatever, or you talked about it in the interviews that you had leading up to the opening of the project. You know what I mean? It's okay. I mean everything is born of everything. We're all related and that's a good thing. You see what I mean? I mean I don't, when I say, oh wow, I'm writing something that sounds like, something, I mean everything I write sounds like something. Oh, look at that. You know sometimes I intentionally go, yes I'm writing something that looks like something's under it. But sometimes not. But the story, for example, the story of a man coming home from war, that's specific to my family. There's also specific, millions of other families and millions of other tales and literature. So it begins to lean or stand on the shoulders of the great works of literature. That's not a bad thing. Just, are you at the end yet? Have you reached the end of your draft? No, the first act is so completely different from the second act that I've stopped myself beginning in the, almost the middle of the second act. Right, right. So two things. One, tell yourself the story of your musical, right? I mean it's a musical. It's a musical. Tell yourself the story of your musical. Like just in turn, once upon a time, you know, tell your story. Once upon a time, there was this thing, this happened, and this happened, and this happened, and this happened, and this happened, and this happened. And then again, this happened. Just tell yourself the story in that way, once upon a time, okay? As you would tell like a three-year-old, right? Okay? And so that's none of this, I'm like, confused. And just talk to yourself, because you've got, you've got to move your lips, right, okay? But just, when you're walking down the street. But I do. Okay, that's fine. That's fine. And now it's not winter, so we're in trouble, because we can't wear our scarf. Right, right. So everyone see that? Right. So tell yourself the story of your musical. A really simple kind of bullet points of how to flash card phrases, okay? Even maybe right now on flash cards, you know, eight flash cards. Boom, once upon a time, this happened, and this happened, and this happened, and this happened, and in the end, what would happen, right? That's number one, you got to do that. So you can walk around and tell yourself the story easily. You can get it when you're on the train, like Rob does, you're telling yourself the story. You're constantly telling and retelling yourself the story. You get the big chunks down. And right to the end, starting for where you are right now.  Ha, ha, yeah, anything, anything, anything. I know, that's, I know what you're laughing at. You're not allowed to go in there. So you start, you continue from where you are right now, and back to where it's totally different.  Kansas, Oz, they look different, right? What was she like? Yo, I mean, I'm just right now, don't forget this. We're not going any further. It looks totally different from where I was a minute ago. Yeah. Wonderland. You said it was like awesome, Wonderland. You were just like, I'm quitting because it looks different from my current career. And she started going. Okay.  So those two things, all right? And just like, put your teeth, teal yourself, put in the time. You're gonna listen to that person on your past one. Keep on keeping on, okay? Thanks for asking. That's a great question. Anybody else? Somebody, oh wait for my new jersey. For the Bronx. Oh, for the Bronx, wow. Okay, so you gave me whom I wanted. You told me, while I told you my conflict was that the second draft was different from the first draft. And it looked like two different plays. And you gave me the assignment to integrate and then to also put them together. So I haven't gotten to the integration part because I've been working on putting them together. And you were right. It seems like two things that kind of stand alone. But my conflict, well, a lot of conflict. One of them is that I feel like, I don't know how to explain it. Okay, like one is, I want them to, I want it all.  But I don't know if the arcs, you know, the way I had it was that, I totally what it was about. But you know, one was like fluffy. Yes, right. And it seems fluffy, but the other one is not fluffy. And I was able to work out like a scene in the middle or a sec apart in the middle of when the actual event happened. So it kind of looks like, almost like a last five years kind of thing where it kind of turns around. But I don't know if it works. I don't know what I'm doing. And I don't know, I think mostly, I don't know if it's redundant. If the arc is not, is a plateau as opposed to kind of overwriting, because you know, he likes this thing and the thing that connects them is the event. But I don't know if even, I guess maybe on both, both particular plays together, if the arcs are parallel in each step. Right, because it's the same action type. Yeah, I think so. Yeah. It's the same thing that happens except it happens in a different way. Or they parallel each other, but they're different. Actually that totally makes sense to me. It could completely, I mean, it could be all one play. First time you see it, it happens one way. Then something in the middle happens. Second time you see it, it happens in complete. The same thing happens when it's in a completely different tone. That makes sense to me.  Yeah, he wants to marry her. Right, right, okay. But they haven't seen each other in like a million years. Right, right, right. And then you see events just kind of flash back. Right. And then you see it happen again. Again, in a very different way. Yeah, I mean similar beginnings, but in a different way. And I guess maybe what I was looking for was maybe you know, again, the beginning is so fluffy. Right. I think I say, I think it's fluffy and the second is so heavy, but there's still a sense of humor. And maybe I was trying to go for like black, white, like this is just tragic with maybe some hope, but this is like hope, and then maybe not so much. You know. Right. Right. And the event, the crown hex event happens in the middle. In the middle, but in time, in real time, in chronological time, in historical time, it happened before he broke into your house. Yes, like maybe 15 years before. Right. So could you rearrange those events? Really? And it seems like it makes sense to me.  Well, you know, maybe I'm writing off too.   You know what I mean?  And they're like, well, what are you doing? You're stuck with somebody for two, three days, you haven't seen in a while, like, you know, what do I do to keep it interesting other than chit chat? Okay, right. Okay, and that's a separate question. Focus, well, no, no, no, so focus on how, it's okay, focus on what the characters want. It's that, I mean, you might have done that already, but refocus on what the characters want. What do my characters want? And what are they doing to get it? You see what I'm saying? And do what we suggest that the judge can do. Tell yourself the story, put the drafts aside, and say, okay, Crystal, I'm gonna tell you a story. Once upon a time, there was, and then this happened, and then this happened, and he wanted this more than anything, and she wanted that more than anything, and that happened, and that happened, and that happened, and that happened, and then in the end, that happened. So put your drafts aside, and just tell yourself the story. You see what I'm saying? Simply, maybe put them on flash cards. Sounds like you ride the train a lot, I know. So go ahead and ride the train.  Just tell yourself the story simply, because it sounds like you've got a lot of stuff in there, it's all twisted together, twisted up together. Just tell yourself the story, very, very simply, you see? And maybe you'll have to throw out some of the stuff and just keep one. Tell the story as simply as you can. Uh-huh, see if that works. Okay. Tell yourself the story over and over and over and over. Okay? He wants this more than anything, she wants that more than anything. This is the story of this. This is what happens, this is what they're doing to get what they want. Right? Do you mind if I do? This isn't a question, but. I should go ahead, you can say here. Um, we're talking about rewrites a lot. Yeah. And like, I'm in a position right there where I have a full length that I've written two and a half complete drafts of two complete drafts that were said, this is a draft. Right. And now I'm at a point where I kind of hate a lot of that and I've started writing a lot of new material and it's not a play that needs to get longer by any means. So I'm struggling with this thing of when you have the shape, so when the shape feels so, like this is the shape of it. Right. And then you have all these new bits that you feel like I like these more, but this is the shape. Right. How do I get out of this, like, how do I break the shape and if I break the shape I'm gonna break the play and I'm gonna hate myself for doing that. My guess is that you're, because I know Chris, but I see his writing often on the weekly basis. My guess is, I guess, I don't know, but my guess is that you're hearing, first you heard this level and then not hearing this level and now you're hearing this level. So I would say keep this shape and just write to that lower level. So if you can exchange the bits that you like for the bits that you don't like, but keep the shape, because you're probably writing deeper and deeper and deeper into the heart of the story. So keep the shape and just trade out the bits. That's what I would suggest. Because you're not gonna lose the shape, you know what I mean? And the bits, oh, I like that bit better, so switch it back. But I would say take the bits that you love and put them in there. Because it's probably, you're probably closer to the rhythm we talked about, the rhythm today, deep, ground, water, underground river of the story. You're probably deeper, closer to that, than your first or second take. So I would suggest that. And you still have the old draft. You have the old draft. It's not like it's running in the midway. Replace, basically. Replace the bits. Keep the shape.  That's my guess, knowing that you're writing.  That makes sense? Yeah, yeah. So you can have your cake and eat it.  Anybody else? Or eat your cake and have it too, or what? I don't know. Yeah, yeah, so it, so, so, you know, what do we have? Like, a king laner, king laner. So there was this old guy, and he, you know, one day he wanted to give away his whole kingdom to his daughters. And so he does that, and then he's out on his ass, and he wants to hang out with them, but nobody wants to hang out with them, except the one that didn't get nothing.  And then, so he wanders to the countryside, things fall apart, and then he dies. His school dies. His daughter dies. Okay, that's the end. That's the shape. Two versions. But the bits, the switch-out bits are like, you know, out file jelly. Oh, no, man, I don't want out file jelly.   I like the tongue better than the eye. Or first with a finger, now it's gonna be an eye, you know? Maybe first draft she was only cutting off the finger. But he cut out the tongue, and he's like, yo, that's like, when does that play where he cuts off that girl's tongue? Tied his hands off?  I did that already. I'm gonna shake up for another play. I'm gonna cut off the eye. I mean, I don't know. So I'm gonna keep the big story arc thing, because it's probably solid if you've done a couple drafts. So you keep the big story arc thing, but you're trying to find that tongue in there, the inner bits, okay? And you're trying to find out the end. Do you have any questions you can always find? From all of the perfect elements. I've worked mostly as an actor and a director, but I want to be writing. Uh-huh. I keep writing every day, but I haven't found a play yet. I'm just wondering if you have thoughts about just starting, getting to see things and fanning the play. Yeah, yeah, yeah, yeah. So you're putting it in at the time every day, and you're putting it in at the time? Yeah, I'm writing more brain-grain, random observation sort of stuff. That's okay. But I'm not. Yeah, I haven't written enough. That's okay. That's cool, but what's important, you're putting the time. So you have a writing practice. Like you have the habit, it's like going to the gym. You have a habit of sitting down or whatever and writing wherever you want, whatever you're having more on a daily basis, great.   You can't be good.   And then you're like, actually one of them is kind of pretty good. And then maybe you picked out. You know what I mean? Like, oh, well, that might be fun. And then do it again. Do it like what you told Jenny.  Okay, so if she lives in the subway, and this happens, and this happens, and she wants more than anything, this and in the end, that happens. Write yourself a story over and over and over. See it. It's a little pink by now, but it's fun to do it to look at that one, you know? Okay, so that's kind of how you can start just choosing something. And then your daily writing can sort of go toward that one.  They can't be good at this. Not wrong. If you were given a, if somebody gave you a topic to write about, and they just said, but you really would never have thought about it before. Right. But it's like, it could happen where you could then write a play and get it produced because this person said, if you write it, it'll happen. But you have no connection to it. You know what I mean? Like you have no connection to it. Right. How do you begin that process? Right. If you choose to do it. Sure. This is what works for buyers, right? Right. So you find a connection. Hmm. You find your connection. So it will do you no good to sit, I mean, not that you're in this at all, but if you do want no good to sit around and say, I have nothing, I have no connection with these people. You know what I'm saying? That's how I'm gonna help you, right? You say, what skin do I have in that skin? Where am I? Because we can't define ourselves as just, of course it's not true. We're so much more than just this, right? There's so much more going on. Otherwise, again, going back to my favorite record, Mr. Wadoosh, he never went to Rick, and he was a King Lear Aang bitch in the second and he was in the third, you know, right?  Right? Just like we have a lot more people inside of us than just this thing right here, right? So you say, where is my connection to that material? And it might come to you in a surprising way, you know? Maybe there's one of the characters in minor care, it's no one care.  I see myself there. Or I love the music. Or this time period is really exciting. Or the costumes are being killed, man. I know I can do this, but I love the way it looks. Can you find your way in? Absolutely. Okay. We're doing the microphone.