and so it was done in berlin in german on a double bill with beckett's krapp's last tape. and i think that fact, which got picked up by the new york times, you know-- "young american playwright has to go to germany to have his first work done, and not even in english"-- i think that instantly made the play producible in new york city, because six months later, it was done off-broadway in english on the same double bill and ran for four years. so i quit my job delivering telegrams for western union-- [laughter] and settled in to be a playwright. now, do you speak or write german? no. no. it's a very strange language. do you speak it? no. no. you know, the verbs are at the ends of the sentences, so you can go along, you know, for a page and a half, not knowing what anybody is talking about, and then, all of a sudden, bang, at the end, there's a verb. but you had this-- this added advantage of sitting there the first time you watched it and not being able to say-- or disadvantage-- not being able to say, "you're butchering my dialogue." you didn't have a clue, did you? well,