Makes characters seem to think they are famous or occasionally "off screen" (187). There is an intertwined concept that they live on a movie set incorporating famous people and luxurious ways of living into their conversation. For example, when the narrator says "Let's call this place Marcus Welby Hospital", Marcus Welby was a popular TV show in the 1960s and 1970s, it is essentially a "Hollywood hospital", something not real, just entertainment (187 ). Fantasy leans more on the narrator as an escape from something, perhaps reality. He continues with the conceit that they live in “California,” a famous state where the entertainment capital is located (192). Hollywood is all about glamour. It brings us back to the idea of ​​denial that the characters discuss, the reluctance to accept reality for what it is. This other sentence might be true, but it's not clear: “I had a convertible in the parking lot. Once out of the room, I drove… along the coastal highway through crab-smelling air. A drop in Malibu for sangria” (194). The same idea is proposed as a possible imaginary world that emerges regularly throughout the text. The fuse in Hempel's fugitive language incorporates a well-blended union in his work, which makes it so readable and sympathetic to