r even illogically) from the first. Things are made even murkier by the use of the with embittered young executive; the use of the indicates that the listener is familiar with a particular young executive or expects him to be there.
Nothing in there was a great quantity of tuna in the kitchen, however, establishes or implies the existence of anyone at all, never mind a young executive in particular. Because the story follows no script, the storyteller cannot assume any knowledge or expectations on the part of his listeners, and he or she cannot, therefore, "skip dots," or leave out crucial information. Neither is it possible to simply, suddenly talk about characters or objects in the story; they must be properly introduced.
Brief though these examples are, they make clear how important scripts are to everyday discourse. Much of what people communicate to one another is in fact unsaid, since scripts, these codified common assumptions and expectations, allow conversations to focus on novel or important facts and information. Script-theory, then, is not so mu
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