WEBVTT

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Oh yes, it's show tie.
People say good money to see this movie.

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When they go out to a theater, they want cold sodas, hot

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popcorn, and no monsters in the
Protection booth. Everyone pretend podcasting isn't boring.

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Got off? Hello, ho,
Hi, this will be a weekend

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of light and love and where you
guys are here there? Okay? It's

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had her reservations about coming, and
I just said to them, we are

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going to a cabin in the mountain, said this weekend. If it kills

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us all, why would it?
Why would it kill us all? So?

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Where are the others? Thank you? God? Yeah, you guys.

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I'm definitely not following this. I'll
explain what I know. Hey,

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folks, welcome to a special episode
of The Projection Booth. I'm your host

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Mike White. On this episode,
I'm talking with Nick Roth. He is

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the writer and co director of the
new film Hanky Panky. It is a

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film about a sentient napkin and absolute
blast talking with Nick. Thank you so

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much for listening, and I hope
you enjoyed the interview. I want to

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know more about you. Were you
always faded to go into show business?

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Destined? Had to tried to run
away. Both my parents were in the

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film industry. My dad's primarily a
TV but also a film director, and

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my mom worked in distribution. And
so I did grow up in LA and

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my wife and who is also the
co director of Hanky Panky, Lindsey On,

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also grew up in LA as a
child actor, and so our whole

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group of friends did. And I
think that shows because that's who made Hanky

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Panky was us and all of our
like just local. When you grow up

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in LA pretty much everybody you know
is in and around the film industry,

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where at least we were. And
so I did try to go and become

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an English professor for a little while
and then realized that was a reallysn't even

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that it was a bad idea.
It was that I was running away from

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a lot of things, and so
I moved back to LA tried to bike

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movies. And this is the one
that got made. You have been in

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movies and you've written a bunch of
stuff that seems like it got made.

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How did you make that transition from
former English professor to now screenwriter? That's

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really a long sokka. Actually that
involves me going to China for a long

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time, which was really crazy.
Was basically I was working on my PhD

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dissertation and my dad, who had
directed. He'd been a director on the

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American television show prison Break. I
don't know if you're familiar with it,

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but it was a success, but
it was a huge success in China.

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And so back in twenty thirteen,
he got invited to China to pitch on

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some movie ideas and was like,
do you want to come with me?

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Because I don't know what I'm doing
in China. I was like, oh

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my god, I love Chinese.
Like I happened to be watching like an

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old Chinese Kung fu soap opera called
Legend of the Condor Heroes at the time

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that I was obsessed with, and
I was like, oh yeah, like

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I'm your guy. And so we
ended up living in Beijing for a few

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months and working on some Chinese things
that one way or another mostly fell apart.

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But then at that point I was
like, this is a lot more

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fun than my PhD dissertation. I
need to just keep making movies. We

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were working on Chinese Indiana Jones.
It was a huge rating, epic movie.

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We eventually got kicked off of the
movie by the Communist Party for not

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being materialist enough. But the movies
on Netflix now it's terrible. They should

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have used scrap if they didn't anyway, So that's how I made the transition

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from English want to be English professor's
a screenwriter, nihes no I listen,

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I tried to. I got good
enough at Chinese while I was living there

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to give a drunken toast in Chinese
at a banquet, which was essential and

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was a good survival mechanism there.
But that's about as far as it didn't

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stick when we put it that way. Now, from what I under say,

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you were born in eighty five,
you've got acting credits all the way

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back to ninety five, so you're
a child actor as well. Not really.

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None of them are big or good
or impressive, and almost all of

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them are just like me working with
my dad on stuff that he was working

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on, especially in comparison to Lindsay, who was like a working child actor

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at the time. She was supporting
her extended family by the time she was

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like, I don't know, seven
or eight doing all of these commercials.

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She estimates she has no there's no
record of how many commercials she did as

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a little kid. Because no one. There was no and there still isn't

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like a there's no IMDb for commercials
you've been in. So she thinks maybe

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fifty to one hundred a few of
them survived. She was in like some

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Barbie commercials and stuff that were that
exist on YouTube, but not me,

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like I was. I don't know, I was not taking it seriously from

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what I understand too, Hanky Panky
is based on an earlier short that you

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worked on. A lot of the
core that would form the people who came

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together for Hanky Panky, Like we
did a lot of shorts together, music

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videos Hanky Panky. The original short
that we made was like for one of

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those forty eight hour film projects where
it was like you have a weekend to

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make a movie and you pull like
a prop and a character and a line

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of dialogue out of a hat unrelated
hat, and we pulled like napkin as

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our prop, and we're like,
what if we you only had We were

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like, we gotta write it Friday
night. We got to write and prep

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Friday night, shoot the thing Saturday, edit the thing Sunday. And so

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I don't remember who pitched it to
take credit for it, but somebody pitched

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like we should make let's just make
the prop. Let's make the napkin a

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talking napkin, And then we wrote
this like very charming, little like sweet,

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not horror based rom com that was
like a couple trying to set up

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their other friends who are very awkward
and their opposites, but they would go

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well together. This became the basis
for the Sam and Diana thanky panky and

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it's a very awkward double date.
But then we go underneath the table and

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see that their napkins are having a
conversation that's much more crass and much more

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like this. We're getting to the
id beneath the pretense above the table.

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And so years later when we were
like, okay, we got to do

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a feature, what feature should we
make? And I was just like,

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we could do a we could do
a feature version of that of the talking

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Napkin movie, but make it a
horror movie. Well, okay, let's

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try that. So how does this
project come together? They just go out,

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buy a camera, turn it on
in your all set. No,

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we didn't even have to buy the
camera because we want a camera cow so

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we couldn't afford a camera. We
never bought a k We didn't buy anything

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for this movie except the food that
we ate, which in some horrific instances

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was the prop food from what you
can see in the movie. No,

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we were just determined tell her high
water to make a feature, because anyone

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who has made a number of shorts, music videos, that kind of thing

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will tell you that at a certain
point you hit a wall where you can

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do great with them. But we
were never gonna win an Oscar for Best

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Short Film, or maybe I don't
know, I don't that wasn't what we

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were trying to do with our shorts. Hanky Panky certainly wasn't going to.

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So we were but you can you
make a feature, you can actually people

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might watch more people watch feature films. I don't watch shorts. I don't

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ever turn on my streaming service and
be like, I wonder what new recent

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art house short films there are by
young, up and coming filmmakers. So

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we were like, let's make a
short, let's make a feature, just

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whatever feature we can. And so
we had access to that cabin, that's

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Lindsay's dad's cabin, and we had
won this weird camera at slam Dance Film

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Festival with a different short film that
we had made, and so we had

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this like cool, funky camera and
then the camera company was like, here,

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you can have lenses. And then
someone else was like, hey,

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if you shoot this in the dead
of winter, when we're not shooting anything

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else, you can borrow these lights. And so everything flowed from that.

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We were like, if we have
a camera and all of our friends are

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actors and we have a cabin,
we have lights, and I know we

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can make a talking napkin movie.
Let's just do that. The rest of

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it really just writes itself, like
at that point, like I'm taking the

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screenwritting credit, but come on,
cabin Napkin, A bunch of people got

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to die, all right, let's
just go do it. When did you

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actually shoot this? Okay, So
the dirty dark secret of Hanky Panky is

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that we actually shot this many years
ago. In some ways, we were

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like, we should just tell people
we did this in the pandemic. It

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looks then everything will be excused.
But we actually shot it in twenty sixteen,

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and it just took a really long
time to edit it, so we

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didn't Lindsay and I edited it together. By the end, it was basically

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just me years into an editing process
trying to make the perfect masterpiece film out

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of the hours and hours of absolute
craziness that we shot in a blizzard.

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And that's why I took a long
time, that and me not knowing what

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I was doing, and so it
took it. Just something that's really nice

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about not having any money or being
or owing anybody anything on a project is

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that you just you can walk away
from it for a few months and come

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back to it. And there was
times that I walked away from it for

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a year and would come back to
it with totally fresh eyes and be like,

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now I think I know what this
movie is and re edit it and

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be like Nope, that wasn't it. And then go walk away for another

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six months and come back and be
like, now I know what the movie

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is and re edit it. And
we really were able to find the final

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like what this is a movie about, only because we just had infinite time

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to abandon it income back to it
over and over again. How did it

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change during that evolution? A lot
of earlier cuts were more focused on the

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hanky in Hanky Panky, where Woody
was really a central character. And I

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love Woody, I love him as
a character. He's an interventional alien trapped

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in the or not of his own
volition, in the body of a handkerchief.

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And that's Toby who puppeted the handkerchief
and also is the voice of the

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handkerchief as well as playing Norm in
the movie and work and puppeteeria, doing

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a lot doing everything. Toby was
all over this movie. I fell so

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in love with his performance. I
think it's so good and it's so like.

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That voice and that persona on that
napkin just became so real for me

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that I think I spent too long
trying to make this movie about the relationship

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between Sam and Woody. And it
wasn't until the pretty late in the game

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that we were like, this is
really no. We need to edit the

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whole movie around it being a love
story between Sam and Diane, these two

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soul mens. Now it seems so
obvious they are these soulmates who come together,

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then they get split apart, but
at the end they're gonna unlikely find

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each other and come back together whatever. And that wasn't the initial It was

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more of a It's always been an
ensemble piece. There's a lot of Woody

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on the cutting room floor being a
body horny napkin that was that is funny,

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But I think that's probably the biggest
shift was to make it try to

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make it as much more about This
emphasizes the romance that's in this look.

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It's a Christmas sci fi horror,
cabin thriller, screwball absurdist comedy, but

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also there's a bit of rom com
in there, and that really had to

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be drawn out in the edit.
Where did the Cheers influence come from?

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Who decided we're going to name all
these characters after Cheers characters and even do

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our logo in that style right off
the bat. That was in the short

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because we didn't have time to name
the characters, and so I think it

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was probably me who was just like, okay, they're Sam, Diane,

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Norm, Woody, Cliff, Rebecca
go. And then when you don't have

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time sometimes you just it works.
And then we didn't really think about a

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lot of people watch the movie and
never catch that because it's it's buried,

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especially if you're not, like a
if a Cheers fan. But we wanted

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to make sure that we owned that
we did that, which is why the

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Cheers logo on Hanky Panky was put
in there. We want to make it

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clear, so we're not like trying
to steal the cast names of Cheers.

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It's just we just ended up using
it. As soon as I saw Harry

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the Hat, I was like,
oh, okay, we're going for this.

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Yeah. So someone asked me at
our at our film festival premiere,

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someone said, what if there wasn't
a character named Harry the Hat on Cheers?

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And I was like, well,
then we wouldn't have made the movie.

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Hell came out of that. I
don't know where that. I don't

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know whose idea of the hat was
or why there's a hat. I can't

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remember where that came from. It's
good, it's good for the big final

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fight though. It's great. You
need it. You need an antagonist,

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and what better than a killer top
hat. I don't remember. I should

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figure this out so I can give
credit to which member of our team was

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the one who was like, what
if there was a killer top hat named

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Harry the Hat? But was our
chilon? It's the best hanky hat fight

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I've ever seen. Put the celluloid, thank you, thank you? Okay,

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So this is the This remains one
of our hot button controversies. Some

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people and I don't want to name
names, but one of those. One

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of those names is definitely Seth Green
thinks that the hat fighting napkin and Seth

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and I have thought about this openly
too long. I think perfect length could

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be longer. What do you think
it goes on for a really long time?

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But I thought that was part of
the joke. Yeah, I think

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I think so that's that's a good
sport in just giving me a fun,

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hard, fun hard time about putting
a four and a half minute handkerchief hat

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fight scene into a movie with the
string is just clearly visible. Yeah,

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we just assumed that we could remove
them like in the matrix, and then

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we got into the editing room and
it was just me trying to get rid

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of them. There's a couple scenes
where I was able to remove some of

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the wires. But did you have
to teach yourself editing to do all this?

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I had edited and Lindsay had edited
too, a lot of shorter,

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simpler stuff we had taking on feature. I didn't realize that it wasn't just

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like doing a bunch of shorts like
it was. It really is its own

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thing and keeping a story and a
pacing, and we let these actors improv.

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We let they were going to improv, and we got a lot of

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improf which was great, and a
ton of this movie is made up as

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it goes, and a lot of
people found some of the funniest bits,

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like just live. But we also
only could shoot with one camera, so

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it's when you're shooting one camera with
improv, it's just it's a challenge,

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and it gives you a tremendous amount
to work within the editing room, but

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not the easiest stuff to work with. It's a lot different to keep the

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whole thing working together in your head
because you can't just do it bit by

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bit, which I didn't know found
out. So it was a teach yourself

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as you gorus. I learned more
about screenwriting from editing this movie than I

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ever did in taking classes or I
wrote on a TV show. I learned

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a lot there, but not as
much as in writing in editing. Hanky

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pank, Well, not to get
too nerdy, but what was your shooting

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ratio? How much had you shot
versus what? We came up with a

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good question, and please we can
get as nerdy as you'd like. Home.

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Third, I'd have to go back
because It's been a while since I've

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messed around with this, but I
feel like we shot like twenty five hours,

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which like it's not even that it's
that crazy or it's that much that

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we shot twelve to one or whatever, but we really were very diligent also

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about not letting that camera run because
we had limited storage space and stuff.

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So it's not like we were just
freely that twenty five hours could have been

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easily forty or fifty hours of a
different kind of shoot. So it felt

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like we shot alone. And the
first cut of the movie was like three

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hours long, which was a sort
of intact version of the film that was

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just a monster lots are running around
in the snow and whole storylines that got

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cut. You've already told me some
of your challenges, but what else was

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challenging about the shoot. The shoot
itself was we were all staying in a

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two bedroom cabin. It is very
cold, it was we were at over

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eight thousand feet of elevation, so
there was like altitude to deal with,

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and there were days where it was
below zero and we were really dependent on

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and we had no crew. Effectively, we were the crew. The cast

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and crew was all there was like
ten of us at any given time staying

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in a cabin and that was and
everyone who was there was who was there.

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So it's like there are a lot
of scenes where actors who are when

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the camera facing the other way,
they're holding the boom for the actor that

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they're acting in the scene with.
It was that kind of thing. Not

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a lot of light in northern Utah
and in the dead of winter. That

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was a really big challenge just production
wise, and so we were always battling

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daylight and weather because if it was
if we were getting good snow outside and

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it was cloudy, we were like, we got to get out there.

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That's what it's going to look the
best, so abandon whatever. The shooting

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schedule was run into the blizzard and
try to shoot in the blizzard. Nobody

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got badly hurt, which is great. At Ashley did get a little hypothermia,

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and my buddy Nick Richard you get
a little altitude sickness and had an

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asthma attack, but other than that
we were pretty safe. How was it

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working with your significant other directing this? We worked a lot together, never

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as co directors, but we just
worked together as writer producer or actor,

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writer, actor director, we worked
pretty well. You'll notice that doctor Cran

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and Rebecca are never in a scene
together in this film. That the only

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two characters I think who never interact
because we were like, well, they

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can't because one of us needs to
direct the scene if the other one is

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in it. So we cleverly Doctor
Crane literally randomly walks out of the room

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like right before she walks in the
one time they're technically in a scene together,

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and then he and then a spoiler
Illert doctor Grinn's immediately killed after that

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important because I was like, I
gotta die, well, I'll just die

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first so that I can direct the
rest of the movie. Lindsey was really

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much more the director on this in
terms of working on performance with the actors

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and working with the DPS on designing
shots, and I was the sort of

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I was more of a director in
the ad or produce oriial capacity of I

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was scheduling the days and figuring out
what order to shoot things in, how

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long it would take, and doing
a lot of the sort of more technical

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stuff and then working as the kind
of like a writer directory show runnery working

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with actors on the script and like
making things make sense of as much as

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they could, and pitching alts and
jokes constantly during We got a lot of

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great cutting room floor runs of just
stupid stuff that I was shouting out for

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people to say, we weren't doing
the same exact job. We had split

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up the jobs. Yes, and
then she was also like really working on

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the aesthetic and the design and focused
on costumes and wardrobe, while I was

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mostly just like trying to make the
script as funny as possible at any given

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moment. It's good. Sounds like
a good division of labor. Yeah,

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we just stumbled into it, honestly, out of everything was built out of

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necessity. Nothing about this movie was
it was designed or what would be perfect

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if we did that. Everything was
just like, here's what we got.

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Let's do our best. Go right. So, once you find the movie

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through the editing process, and that
long process, it sounds, do you

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then show it to the rest of
the folks and get notes on that or

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what's your process afterwards? You only
ever get to see something for the first

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time once, right, and so
we were very judicious throughout the process the

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years of editing it of being like, okay, let's show it to Christina.

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Now let's show it to Jacob.
Now, let's show it to And

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so it was really pretty much one
at a time with different cuts that we

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figured where to bring people in.
Nobody saw it before it was like cut

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down to well under two hours,
but after that it was there was like

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there was one hundred and eleven minute
cut that was we showed that to some

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movie. I showed Seth and Claire
at some point, and everybody had really

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helpful feedback in notes at various stages. And then you try to not show

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it to them again for a while
so that they can get fresh eyes because

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getting that, like when you're editing
something, just watching it with a new

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person sitting over your shoulder watching it
will make you fully revisit how you are

296
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watching the movie and you really see
it through their eyes and how it plays

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for them. And you can only
do that once per person, and we

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didn't want to show a lot of
people, especially early cuts, so it

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was a very careful, lengthy selection
of one at a time showing people So

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when is the first time and where
do you see it with an audience?

301
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Okay, so I'm also an adjunct
professor at California State University, Northridge.

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Shout out to seasun and the first
time we watched it with a big audience,

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as I showed I was teaching was
this would have been in the last

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fall I was teaching a which one
I think it was History of American Cinema

305
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with the first class that I showed
it to, which was great because that

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was it's mostly seniors. It's all
cinema majors basically, and it was pretty

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nerve wracking. I invited the cast
and crew, a lot of them came

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out, and that was the first
time we showed it to a room full

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of strangers because that was October,
and it played really well, like we

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got laughs out loud start to finish, which is all you're hoping for when

311
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you make a comedy, because there
is nothing worse than like just sitting in

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silence, and then you just feel
so oppressive. So we were just like,

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please let people laugh, Please let
people laugh, Please let them laugh.

314
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They got it and they laughed,
and that was a huge boon of

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confidence for us because yes, they're
my students, but they do not They

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had nothing to prove to me,
you know what I mean, Like nobody

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those kids are hard to please.
It is not like they're gonna just laugh

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because they're like, let's make our
professor feel good. They don't give a

319
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shit. So I was I feel
like we earned those laughs, and that

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felt really good. That's great.
And then what happens after that. We

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were at some sort of small and
local film festivals and had a couple good

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screenings at those, and somewhere along
the way, like a sales agent approached

323
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me. That's John Lepper at Saiphuno
Ventures. Shout out to John, who

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then got us an offer from a
distributor who signed the movie, and that's

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Desktop Entertainment. And so now the
film, like miraculously, it feels like,

326
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will be on Apple and Google and
Amazon on April nineteenth, which is

327
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barreling down on us very quickly.
And it feels surreal only because I've been

328
00:24:03.359 --> 00:24:08.400
loudly telling everybody this is a real
movie. We're gonna get this movie made

329
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the whole time. But I don't
know if I meant it. I was

330
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just saying that it was my job, as I'm the guy who believes in

331
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the project, and to try to
carry it over the finish line. By

332
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the end of it, like I
said, I was the only one working

333
00:24:22.839 --> 00:24:26.079
on it. Still in twenty twenty
three or whatever where it was. I

334
00:24:26.119 --> 00:24:30.000
was like doing color and sound by
itself. But the whole time I had

335
00:24:30.000 --> 00:24:30.359
been the one and being like,
oh, yeah, guys, this is

336
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gonna be a big movie. We're
gonna get this and we're gonna get it

337
00:24:33.119 --> 00:24:36.440
released, and everyone was like okay, sure, And literally, at one

338
00:24:36.440 --> 00:24:41.079
point one of our we had three
dp's because I couldn't get it depeated give

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00:24:41.160 --> 00:24:44.039
us a month of their time.
So I was like, I do I

340
00:24:44.079 --> 00:24:47.240
can get three different dps to do
a week each. That's how we got

341
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the movie shot. One of them. I sent a thing to inviting him

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00:24:51.920 --> 00:24:53.400
to the screening and it was the
first time I talked to him in a

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couple of years, and he thought
I was joking and I was like,

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oh no, this is a real
Oh I finished the movie. He was

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like, what it's been years.
I assumed that we just that was fun

346
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to do, and then it never
got and I was like, no,

347
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it's done. We edited it.
It's a movie now. So is the

348
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name of the movie hanky Panky the
movie or just hanky Panky. It's just

349
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hanky Panky. We specify the movie
a lot because look, it turns out

350
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that there is. This makes sense. There's a rather large underwear company called

351
00:25:21.200 --> 00:25:25.000
Hanky Panky, and so we don't
want there to be any confusion. We're

352
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not underpants, We're a movie.
They're under They should be called Hanky Panky

353
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the underpants, and we could be
called Hanky Panky the Movie. So what

354
00:25:33.319 --> 00:25:37.319
are you working on now, you
mean besides Hanky Panky two? Yes,

355
00:25:38.240 --> 00:25:42.079
just teaching and writing a lot of
different stuff. But honestly, I said

356
00:25:42.079 --> 00:25:45.519
that facetiously, but honestly, Hanky
Panky two has It's very hard for me

357
00:25:47.359 --> 00:25:51.559
not to I did write an entire
outline and I can't stop thinking about it.

358
00:25:51.599 --> 00:25:53.519
And now I want this movie to
do really good, mostly just so

359
00:25:53.640 --> 00:25:59.480
that somebody might help us raise actual
money to make a sequel. That would

360
00:25:59.480 --> 00:26:03.160
be really excited. And also I
want to do a Hanaka horror movie called

361
00:26:03.240 --> 00:26:07.119
dreddel So I'm writing that in my
spare time. Oh that sounds amazing.

362
00:26:07.240 --> 00:26:11.680
Will the murder weapon be made out
of clay? Everything's got to be made

363
00:26:11.680 --> 00:26:15.559
out of clay. I haven't really
cracked that one yet. I'm trying to.

364
00:26:15.599 --> 00:26:17.759
I just I got the title and
that's about it. But I feel

365
00:26:17.839 --> 00:26:21.240
like I can get like the rest
of it, Dreddel. Once you have

366
00:26:21.319 --> 00:26:23.160
that, what else do you need? Oh, you get a poster made

367
00:26:23.240 --> 00:26:26.839
up and there's the Dradel with some
blood coming off of it. You're all

368
00:26:26.920 --> 00:26:30.799
set. Yeah, get Eric Roberts
a star in it. You're good to

369
00:26:30.839 --> 00:26:37.839
go. Blood coming off the dradl
My thoughts exactly. Yeah, Okay,

370
00:26:38.240 --> 00:26:41.759
we'll make an offer to him first, it's been in a talking cat.

371
00:26:41.480 --> 00:26:45.920
He'll be an easy get. I'm
sure. Nick. I have to tell

372
00:26:45.960 --> 00:26:48.160
you, I really enjoyed the movie, had a great time with it,

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00:26:48.200 --> 00:26:51.160
and I could just tell that you
guys were having a great time making it.

374
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That was a big part of our
hope is that we would put ourselves

375
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in this kind of ridiculous situation of
just all being stuck in this cabin together

376
00:26:59.759 --> 00:27:07.000
and hope that some of the intense
zaniness of our experience would make its way

377
00:27:07.039 --> 00:27:11.480
onto screen. Do you have a
social media presence or a website or anyplace

378
00:27:11.480 --> 00:27:14.480
where people can keep up with the
movie and you so for right now,

379
00:27:14.519 --> 00:27:18.200
I've just yes, like at Hanky
pankydmovie dot com and Hanky at Hanky Panky

380
00:27:18.240 --> 00:27:22.640
movie at everywhere else there is.
We have all of those things, they're

381
00:27:22.680 --> 00:27:27.319
small right now. Hopefully we're going
to start launching some like a proper media

382
00:27:27.400 --> 00:27:32.920
campaign in a few days actually for
April Fool's where we'll be releasing some good

383
00:27:32.920 --> 00:27:37.880
stuff and then hopefully those things start
to grow a little bit and take off

384
00:27:37.880 --> 00:27:40.480
after that. But yeah, we're
on Instagram, tick to. I made

385
00:27:40.480 --> 00:27:45.920
a LinkedIn page where everywhere you're very
serious about this. LinkedIn is great,

386
00:27:45.119 --> 00:27:48.480
guys. Shout out to our not
our sponsors, but maybe they'll hear this

387
00:27:48.519 --> 00:27:52.240
and give me another month free of
premium or whatever. If you're trying to

388
00:27:52.279 --> 00:27:59.599
reach film critics or distributors or whatever, they're all those people are on LinkedIn.

389
00:27:59.640 --> 00:28:03.279
They're all there. I use LinkedIn
more than any other writer I know.

390
00:28:03.880 --> 00:28:06.279
Nick Roth, thank you so much
for your time, and thank you

391
00:28:06.319 --> 00:28:10.640
so much for making Hanky Panky.
I appreciate it so much. Thank you

392
00:28:10.720 --> 00:28:15.400
for giving me any outlet to continually
talk about this movie. I've seen it

393
00:28:15.440 --> 00:28:18.720
so many times, I had to
watch it a million times. I'm done

394
00:28:18.799 --> 00:28:22.400
watching it, but I can now
just talk about it endlessly. I appreciate

395
00:28:22.440 --> 00:28:48.000
that so much. My baby does
the hangy panch mob. My baby does

396
00:28:48.039 --> 00:29:12.079
the hangy panky thing. I saw
walking on down the line. You know,

397
00:29:14.480 --> 00:29:26.559
Babs really fasted in beating, and
I think e's a I S lesson.

398
00:29:26.799 --> 00:29:34.920
So my babe, it does I
hang it, babe, fell my

399
00:29:36.240 --> 00:30:17.839
by does expage. My baby doesn't
anything ibbe think my babe, I start

400
00:30:18.160 --> 00:30:26.000
walking on down the line. He
knows something very presented, a really bad

401
00:30:27.880 --> 00:30:45.559
maybe you know he might be It
does a hag than he'll mappy. It

402
00:30:45.759 --> 00:31:14.279
does a explain lady doesn't think that's
not gonna one time. Stop stop sh