So because the story sort of starts off in disaster and ends at basically disaster,
I mean it's not, we haven't seen the person unfold or unravel.
And I think what some of the workshop is reporting to
Sam is that we've like come to an exciting conclusion for
a person who has not convincingly been portrayed to us yet.
And part of the way of doing that would be showing us, instead of treating this as
the A term in the sequence, treating this as the Z term in the sequence and
then showing us other things that have preceded it.
>> Yeah.
>> You were going to say a second ago.
>> I was going to say, the only time we get a kind of scene of Beau and Marsh
at home is on page seven and this was like one of the most striking paragraphs.
I just didn't know what to make with it, so Marsha had once brought home Wendy's
and he had laughed and said honey mustard was the Madonna of the condiment world.
[LAUGH] He threw out the chicken nuggets and
made a carbonara while she went into the other even read.
[SOUND] like that's really, there's a lot going on there.
And I thought that a scene like that,
I would like to see more of it because first of all, it's so specific.
I'm going to remember that about honey mustard and
Madonna now next time I go to Wendy's.
And it would've been great to have more scenes like that where you don't have to,
and it's so short, but it says a lot and I don't.
>> Madonna.
>> i was thinking, is it the Virgin Mary?
>> Yeah, exactly, I was confused.
>> Because the singer is also fabulous.
>> I thought he was saying, it's the Holy Mother,
it's the most thing of fast food but no one's using.
It's the cheap.
>> I thought it was a- >> But he likes hot dogs, so
I didn't buy didn't like honey mustard.
>> Jesus.
>> [LAUGH] >> [CROSSTALK] What does that mean it's
I don't understand.
>> She makes intense and so many people love her.
>> [CROSSTALK] >> We've just
gotten scrambled for too many people.
>> Yes, and because we don't get any more of it I don't know what to make of this.
>> Kylie Mnough like someone who doesn't.
>> Okay, but also on the subject of scrambling,
if he's making a carbonara, I thought he's going to replace their meal.
>> With something better.
>> Yes, so why is she going into the bedroom a carbonara takes.
>> She's offended.
>> Takes two minutes, she should stand there and she should watch him and
she should go through.
>> Chicken nuggets from Wendy's, mistake number one.
>> Well, if you're going to make a carbonara sauce,
there's nothing to dip the sauce into since you threw out the chicken nuggets.
>> But it's not [CROSSTALK] >> Yeah, I just didn't buy that he likes
New York hot dog and didn't like the Wendy's chicken nuggets.
>> Everything that is about food with this guy the more
the more convincing everything else gets, yeah.
>> I was also thinking there's a little bit of a weird thing about New York in
here because we are getting all of these different places all over.
A lot of section headings are about him being abroad.
But there's a few different times where he, I feel,
he doesn't quite commit to this idea, but I can't find it now.
But In, it's literally right there.
Okay, so Egypt was hot,
New York was nice because there was always shade somewhere and then the hot dogs.
So he a few different times he kind of brings things back to home and
I thought that was really interesting.
Okay, yeah, so and then Rome.
Rome was riddled with tourist, New York had more but
it was easy to get away from them.
So he clearly wants to be at home and what I kind of wondered there was
he's talking about the city and not Marsha, who is in the city I think.
I assume? Maybe he's in LA?
But he wants something at home, while he's abroad and I don't really know if that's
like a place or that's like a different lifestyle or if it's her?
>> Yeah, or if he's-.
>> Is he a native?
That's important to me?
>> Or if he possibly unable to admit to himself that it's her that he wants and
instead tells himself that it's the.
>> Well, she's a shell why would he care about
being with her apartment [INAUDIBLE] from the fact that she's pretty and stuff.
I don't see why he likes her it's not like she's brilliant and
they read the same weird books.
>> That is a glowing absence in this story.
>> [INAUDIBLE] I don't care.
>> She Marsha, Marsha, Marsha she needs to be I
think backstory's not the way to do this.
I don't want, this story wants to go top speed forward.
It's possible for her to just walk onstage and speak to us in a way that's
distinctive and singular and makes compelled to love her.
We're about out of time, unfortunately, I'm sorry, but
we've got a minute to ask, you if you have any questions for us.
Thank you for subjecting yourself to our.
>> Of course, of course.