Speaker 1: Oh he is books. It's showtime.
Speaker 2: People say, good money to see this movie.
Speaker 1: When they go out to a theater, they want clothed sodas,
Speaker 1: hot popcorn, and no monsters in the protection booth.
Speaker 2: Everyone pretend podcasting isn't boring.
Speaker 3: Un it off. Sometimes in life you hit a turning point. Really, oh,
Speaker 3: you gotta be more careful girl.
Speaker 2: And that was it for me. How long have you
Speaker 2: worked there? Just shy of twenty years.
Speaker 1: I don't understand why you stayed at first.
Speaker 3: It was just shenanigans. I've got a schoolboy nonsense. Really,
Speaker 3: if you.
Speaker 2: Can find me some habitants, I need substantiation to build
Speaker 2: you a case. Well, here we go.
Speaker 3: You sure you're up for this? What time you will leave? Now?
Speaker 2: Your income, if you include overtime, it is half of
Speaker 2: what the men are making. She was bossy.
Speaker 3: I thought she was better than everybody else.
Speaker 2: John wants me to smile.
Speaker 1: Don't you dare smile?
Speaker 2: These are powerful groups. We knew that they could go
Speaker 2: either way.
Speaker 3: You think they should get away with how they treated me?
Speaker 2: No, the partners and I would like to take this
Speaker 2: to the Supreme Court.
Speaker 3: That company took advantage of me like so many companies
Speaker 3: are taking advantage of their workers. She wins. Women all
Speaker 3: over the country are going to use this as an
Speaker 3: excuse to sue. I'm so damn proud of you.
Speaker 1: Bet.
Speaker 3: Miss Ledbetter was consigned to a career as a second
Speaker 3: class employee only because she is a woman.
Speaker 2: That cannot be the law and it Isn't you knew
Speaker 2: you were being paid less than your male counterparts.
Speaker 3: You waited to retire before sue? You really believe I
Speaker 3: chose to work twenty years know when I was being
Speaker 3: cheated and discriminated against, just so I could wait to sue.
Speaker 3: Does that make any sense? Going on one of them?
Speaker 3: And you never will be. You're a country girl who
Speaker 3: grew up Swimen and Doc Brewster's fat, right, so I
Speaker 3: know how to burn off a leech.
Speaker 2: Hey, folks, welcome to a special episode of the Projection Booth.
Speaker 2: I'm your host Mike White. On this episode, I'm talking
Speaker 2: with Rachel Feldman. She is the director and co writer
Speaker 2: of the new film Lily. It is all about activist
Speaker 2: Lily Ledbetter, starring Patricia Clarkson. Fantastic film, really eye opening,
Speaker 2: and I had a great time talking with miss Feldman
Speaker 2: to find out more about her. Visit Rachel Feldman dot com.
Speaker 2: Check your local listings for Lily and I hope you
Speaker 2: enjoy the interview. Do you might tell me a little
Speaker 2: bit about how you got involved in filmmaking.
Speaker 3: I'm one of these people just always known what I
Speaker 3: wanted to do, even though I didn't know exactly what
Speaker 3: it was that I wanted to do. I was a
Speaker 3: kid with a very big imagination. I was always drawing,
Speaker 3: I was always in make believe. You know, I come
Speaker 3: from a dysfunctional home. I'm sure that my imagination was
Speaker 3: a very good company for me during difficult times. I
Speaker 3: loved playing with dolls. I could turn any inanimate object
Speaker 3: into a character. I just had that ability. I could
Speaker 3: go into a playground as a child and immediately envision
Speaker 3: the house and the geography of the set. And then
Speaker 3: I was a child actor. I started working when I
Speaker 3: was five. I was a model for a little while.
Speaker 3: I didn't really like modeling, and then I started doing
Speaker 3: television commercials. And by the time I was twelve, I
Speaker 3: think I had done over three hundred commercials, and I
Speaker 3: was an on camera accist for many years, and I
Speaker 3: liked it. I liked working. I lived, I lived in
Speaker 3: the Bronx near Manhattan, so it was an easy schlep.
Speaker 3: Loved it. She was backstage mom and we had a
Speaker 3: great time going together. She was frustrated singer herself, so
Speaker 3: it was fun for her. And I just loved being
Speaker 3: on set. I loved hitting my mark and finding my
Speaker 3: key light and knowing my lines. And I loved that
Speaker 3: they all thought that I was I don't know that
Speaker 3: I was a very good actor, but I was competent,
Speaker 3: and for a child actor, that's a beautiful thing. I
Speaker 3: think we're two a lot of child actors. So from there,
Speaker 3: I became a voiceover actor. I no longer wanted to
Speaker 3: be on camera when I was like twelve thirteen, adolescens
Speaker 3: hit and I just don't look at me. But I
Speaker 3: loved performing, and I loved making goofy voices. I've always
Speaker 3: made goofy voices. I sang, I did jingles, and so
Speaker 3: I became Lucy and Peanuts and I became the girl
Speaker 3: in the Tricks Rabbit commercials, and I just do a
Speaker 3: lot of voices for other children. I would then Adr
Speaker 3: and Loup. I was good at looping and by being
Speaker 3: in the studio, like with you with heads phones behind
Speaker 3: the glass and communicate with technicians. I developed a sense
Speaker 3: of myself very early in my life as a technician.
Speaker 3: And during those years of my teens and twenties, I
Speaker 3: was drawing, I was painting, I was sculpting, I was acting,
Speaker 3: I was dancing, shooting, I was doing photography, and I
Speaker 3: was also writing stories. And so it didn't really coalesce
Speaker 3: for me that, oh, I want to be a filmmaker.
Speaker 3: But it was all there all along. And then when
Speaker 3: I graduated from college, never thought about being a director,
Speaker 3: even though I've been on a set my entire life,
Speaker 3: because I've never seen a woman director. And I read
Speaker 3: an article in the New York Times about Anyes Varda
Speaker 3: and Lina Vertmuller and all of these international European women,
Speaker 3: who of course had decades in experience because their government
Speaker 3: supported the arts. And I thought, Oh, a director, that's
Speaker 3: what I want to be. And so I applied to
Speaker 3: NYU Graduate Film School and I got a master's and
Speaker 3: I made a bunch of short films that started winning awards.
Speaker 3: But I didn't understand gender discrimination at the time, and
Speaker 3: so it took fifteen years for me to get my
Speaker 3: first job.
Speaker 2: Yeah, that's what I was going to ask you as
Speaker 2: far as the gender discrimination and just what the industry
Speaker 2: was like for you at that time, coming up and
Speaker 2: trying to be a female director in the industry that
Speaker 2: at that time was predominantly male.
Speaker 3: The statistics will prove that in those years, less than
Speaker 3: one percent of the top two hundred and fifty films
Speaker 3: and television shows were directed by women. So now I
Speaker 3: think in feature films where somewhere between eight and nine percent,
Speaker 3: we'd have to find the statistics at the moment, and
Speaker 3: in television we're better. We're at like thirty percent. Within
Speaker 3: the course of my own lifetime, I've seen tremendous change.
Speaker 3: I don't rough one to eight is tremendous change, but
Speaker 3: in television, where there were mandates for the studios, that's
Speaker 3: tremendous change. It was rough, It was really rough. No
Speaker 3: one in film school ever mentioned the word gender discrimination.
Speaker 3: It never occur to me, Never could any of us
Speaker 3: and the class at that time with the past fifty
Speaker 3: percent female, So no one really explained that diverse filmmakers
Speaker 3: were going to have a hard time. And it really
Speaker 3: didn't hit us, and I say us, me and the
Speaker 3: other women until we were in the workplace. We were
Speaker 3: trying to be in the workplace, and we saw the
Speaker 3: guys who hadn't even come to class, the guys who'd
Speaker 3: never finished their films, the guys who were nasty start
Speaker 3: to have major careers, and none of us could get
Speaker 3: it going. So it finally it dawned on us that
Speaker 3: maybe it wasn't a personal problem, maybe it was a
Speaker 3: global problem. And that's really when I became an activist.
Speaker 2: Would there any particular incidents or things that happened that
Speaker 2: helped move that needle and helped up that percentage, that
Speaker 2: small little bit it managed to move up over the years.
Speaker 3: Well before me, the women of the generation right before
Speaker 3: me actually had lawsuit and that did change things in
Speaker 3: Hollywood for a little while, and then it slid back,
Speaker 3: but really not a hill. Times Up Me Too. I
Speaker 3: was co chair of the Women's Steering Committee of the
Speaker 3: Director's Guild of America where I personally tried to activate
Speaker 3: my guilt. And this is in twenty twelve, in twenty thirteen,
Speaker 3: so bring me too and times up, and the Guild
Speaker 3: didn't believe there was a problem. It's very recent and
Speaker 3: it really was times up in me too, when everybody
Speaker 3: was compelled, forced to acknowledge that we were not making
Speaker 3: things up, and things did change. Now we're in a
Speaker 3: very different time. I don't know what's going to happen now.
Speaker 2: But how did you hear about Lily led Better and
Speaker 2: decide to make this movie about her?
Speaker 3: So I'm a little embarrassed to say that until I
Speaker 3: saw her speak on television at the Democratic National Convention.
Speaker 3: Like everybody else, I didn't know who Lily was. I
Speaker 3: should have, but I didn't. And I saw her, and
Speaker 3: I swear like I had a physiological response. I got goosebumps,
Speaker 3: the hair on my body stood up. I grabbed my
Speaker 3: husband's shoulder. And I'm not a story person because I'm
Speaker 3: also a screenwriter, ashi as a director, I'm not usually
Speaker 3: attracted to biopics. I liked them. I love seeing them.
Speaker 3: I like thrillers, I like crazy characters. I like dark
Speaker 3: psychological material. But of course I love Aaron Rokovich, and
Speaker 3: I loved Burma Ray and I loved How Green was
Speaker 3: My Valley in the movie of my Mother's Generations. That
Speaker 3: were those social justice north Stars, And I said, this
Speaker 3: is it. This is a great story. And I don't
Speaker 3: remember how I got it but I got her phone
Speaker 3: number the very next day and I reached after her
Speaker 3: and I spoke to her, and she said, I have
Speaker 3: a lot of people traducing me. A lot of people
Speaker 3: are interested in my story. You have to talk to
Speaker 3: my lawyer. Okay, who's your lawyer? Her lawyer was John
Speaker 3: Goldbarb And so I called John, who you met in movie?
Speaker 3: And I've called John whit just hit it off. And
Speaker 3: the thing about John is not only is he a
Speaker 3: brilliant civil rights attorney, but he had gone to film school.
Speaker 3: And so while there were studios and exact excutives and
Speaker 3: producers who are chasing the rights to her story, there
Speaker 3: were no other filmmakers. And he was an editor, and
Speaker 3: he just liked to talk about making film. And I
Speaker 3: don't know whether it was because he's a Jewish kid
Speaker 3: from Birmingham, Alabama, and I'm a Jewish kid from the Bronx.
Speaker 3: We just immediately had a common language. And he said, look,
Speaker 3: Lily and Lanier I are in the process of writing
Speaker 3: a beautiful memoir right now, and they have high hopes
Speaker 3: for the book. They're not going to option to anybody
Speaker 3: right now. Let them finish the book. Let us get
Speaker 3: the book out into the marketplace and come back in
Speaker 3: two or three years. So I came back three years
Speaker 3: later and it was the same thing. People were chasing
Speaker 3: the rights. The book is gorgeous and it made me
Speaker 3: want to make the movie even more because Lanier really
Speaker 3: delved into Lily's childhood. That gave the backstory to understand
Speaker 3: what made this woman tick. And it just came alive
Speaker 3: from me and I really wanted it. And I said,
Speaker 3: John or Lily, look, I don't have the cloud, I
Speaker 3: don't have the power, I don't have the agents, I
Speaker 3: don't have the money, but I have the willpower and
Speaker 3: I have the determination. Please and Lily just I think
Speaker 3: saw a little bit of herself in me. And she
Speaker 3: warned me, she's a raightchel this is going to take
Speaker 3: a long time. This has got It took me ten years,
Speaker 3: He's going to take you ten years. And it did.
Speaker 3: She was right. It's great. Working with her was a
Speaker 3: wonderful experience. She was a remarkable woman.
Speaker 2: How do you even approach the story? How do you say, Okay,
Speaker 2: this is where we're going to start, this is where
Speaker 2: we're gonna be in the middle, and this is how
Speaker 2: we finish this story. Up because obviously the story continues,
Speaker 2: but you have to pick that point in time, which
Speaker 2: you picked the most perfect one.
Speaker 3: I think, thank you. Look in a memoir, you can
Speaker 3: do a cradle to graves. Even though she was still lying.
Speaker 3: She wrote the book a breakdown of seventy five years.
Speaker 3: But in a movie, you have an hour and a
Speaker 3: half two hours to tell a storage. So we chose
Speaker 3: the ten years from the point at which she discovered
Speaker 3: the note to the point at which the law was signed,
Speaker 3: which was about a ten year pocket. And yes, I
Speaker 3: feathered in some backstory. I wanted a feather in a
Speaker 3: lot more, but we didn't have the time and money
Speaker 3: to do that. So I looked for a co writer
Speaker 3: in the beginning because I was intimidated. Quite honestly, I'm
Speaker 3: a person with a big imagination, and this is a
Speaker 3: true story, and I'd never written a true story before,
Speaker 3: and I really wanted to. I had to adhere to
Speaker 3: what year did it happen in, how old was she?
Speaker 3: What were the details of the law the transcript? These
Speaker 3: are kinds of details that I'm really not that interested in.
Speaker 3: What is the basis of the law, How does the
Speaker 3: law read? I'm a fiction person, I'm not a nonfiction person.
Speaker 3: My co writer, Adam Prince, and I really broke the
Speaker 3: story down and structured, knowing the architecture of a screenplay
Speaker 3: that we needed our first act, we needed act to A,
Speaker 3: act to B and then our third act. How was
Speaker 3: this ten year period going a breakdown into that? And
Speaker 3: like any screenwriter, once you hone in on what that
Speaker 3: story is and there are so many just organic ups
Speaker 3: and downs in her life that laid out so perfectly
Speaker 3: into screenplay for so I was lucky about that.
Speaker 2: Tell me a little bit more about Adam Prince, your
Speaker 2: co screenwriter.
Speaker 3: Adam lives on my street and was running. We have
Speaker 3: a park two blocks away, pant Pacific Park, and he
Speaker 3: would run with his dog every morning when I did
Speaker 3: by power walk for many years and we would just
Speaker 3: circle one another, Hey, hey, hey, you know. And then
Speaker 3: one day he ran next to me huffing and puffing,
Speaker 3: and turned out that he had gone to USC School
Speaker 3: of Cinematic Arts and gotten his MFA there when I
Speaker 3: was currently teaching directing there at the same time. And
Speaker 3: he asked me if I would read a couple of
Speaker 3: his scripts. And I read a couple of his scripts,
Speaker 3: and I thought, Wow, this guy's a really good writer.
Speaker 3: Now he was writing graphic like graphic novels and animation
Speaker 3: and action thrillers. Not at all in my vein. But
Speaker 3: I'm really the kind of person that rebels against niche casting.
Speaker 3: I don't like when I go into a job and
Speaker 3: they said to me, oh, you've only darn drama and
Speaker 3: we have a comedy. Like I'm a director, I can
Speaker 3: put on any apps, and so I didn't want to
Speaker 3: Nicheifi him and he had a big brain. He'd gone
Speaker 3: to Yale. He was good with facts and figures, and
Speaker 3: I said, look, you want to help me break this
Speaker 3: story down? And he said sure. Actually first he said no,
Speaker 3: and then he came back the next day and we
Speaker 3: were doing loops again. He said, my wife said I
Speaker 3: should say yes. So that's how that happened.
Speaker 2: And then, of course the casting for this movie is
Speaker 2: just critical, especially Lily herself. Can you tell me about
Speaker 2: the casting process for this.
Speaker 3: I'm the luckiest filmmaker in the world for Patricia Clarkson too.
Speaker 3: I said yes to a filmmaker that was known as
Speaker 3: a television director. As your readers probably know, in our industry,
Speaker 3: we're very nicheified. And it's not like I'm a famous
Speaker 3: pilot director. I'm a journey woman television director, and so
Speaker 3: this is my first feature And even though I've directed
Speaker 3: seventy five hours of television and several television movies, as
Speaker 3: a feature film, it's my first feature of film. And
Speaker 3: for her agents at CAAA to first of all just
Speaker 3: vet the screenplay and give it to her is a
Speaker 3: testament to them. And that's Chris Andrews and Kevin Huvain
Speaker 3: who did me a tremendous favor, and I'm grateful to
Speaker 3: them they gave it to Patty, and so grateful to Patty,
Speaker 3: who's the kind of filmmaker who has worked with first
Speaker 3: time directors throughout her career. If she likes the material
Speaker 3: and she likes you, she doesn't need that celebrity polish
Speaker 3: that a lot of other actors need to feel comfortable
Speaker 3: saying yes. So it was remarkable that she said yes.
Speaker 3: She of course knew who Lily ledbetter was she herself
Speaker 3: comes through a political family. Her mother, Jackie Clarkson, was
Speaker 3: a prominent councilwoman in New Orleans who worked for women
Speaker 3: and families for most of her career. Patty's one of
Speaker 3: five girls, and so they grew up in this strong
Speaker 3: feminist household, and so she wanted to play Lily Ledbetter
Speaker 3: and she says to this day that it's her proudest
Speaker 3: moment as an actor to play Lily Ledbetter. So working
Speaker 3: with her was a joy. She's a dream and just
Speaker 3: couldn't be happier.
Speaker 2: The thing that with me was that this is so
Speaker 2: modern and that you're dealing with these problems in the
Speaker 2: early two thousands, when I was under the impression that
Speaker 2: this was a thing, We're long past. This just the
Speaker 2: presentation that you give of all of these kind of
Speaker 2: like shady back room deals and all of the guys
Speaker 2: who were having these conversations behind closed doors. I imagine
Speaker 2: that all that is still going on to day, if
Speaker 2: not worse now than ever.
Speaker 3: You know, fair pay is a problem. Today women only
Speaker 3: make seventy eight cents and even worse for women of color.
Speaker 3: So it's an ongoing issue. It probably won't be solved
Speaker 3: for another fifty years, if ever. And the message that
Speaker 3: Lily wanted to give was to young women that they
Speaker 3: really need to think about these things from the very beginning,
Speaker 3: from their first job, because often when we're young women
Speaker 3: we're young people. We get that first job, and we're
Speaker 3: just so grateful to have the job. We're willing to
Speaker 3: take less. We're willing to look away, we're willing to
Speaker 3: not ask all the questions. And asking the questions is
Speaker 3: really part of educating yourself to stand up for yourself,
Speaker 3: because you need to know what other people are earning.
Speaker 3: And now you can know. In the days when Lily
Speaker 3: was working, you were not allowed to ask, but now
Speaker 3: the laws have changed. You can't be fired for asking.
Speaker 3: And so it's really important that young women negotiate for
Speaker 3: themselves very well at the very beginning, as she says,
Speaker 3: that's going to affect your four oh one K and
Speaker 3: your social security long after you're thinking about this at
Speaker 3: your first job.
Speaker 2: How great is it for you as a filmmaker to
Speaker 2: have Ruth Vader Ginberg almost narrating your story for you.
Speaker 3: I have to say archival footage was not in my
Speaker 3: original plan, certainly was not in my screenplay, and it
Speaker 3: was my editor's idea when we started cutting the film.
Speaker 3: Toward the end of the film, when Congress is making
Speaker 3: the vote, we needed that urgency, that sense of time,
Speaker 3: are we getting the vote? I hadn't bake that into
Speaker 3: the screenplay. So we thought, okay, let's get archival footage.
Speaker 3: We'll actually see the tally being accounted for and that'll
Speaker 3: give us some urgency. And then we put in the
Speaker 3: piece of Kennedy and the piece of Reolkowski and the
Speaker 3: piece of Clinton and Obama. So we had that at
Speaker 3: the very end, and then the editor suggested that we
Speaker 3: add some of this beta Ginsburg footage. At first I said, no,
Speaker 3: absolutely not. I'm not a documentarian. I'm a fiction person.
Speaker 3: I'm a drama person. I really thought it would hurt
Speaker 3: the film, I said, but truck it. Let's see, And
Speaker 3: she and her assistant were fantastic and found these pieces
Speaker 3: and laid demand and I saw them, and I changed
Speaker 3: my mind. I thought it was undeniable to have this
Speaker 3: juxtaposition of a woman that we respect more than anyone
Speaker 3: else in the country ever to be speaking about the
Speaker 3: very thing that just happened. And yeah, I think it's
Speaker 3: very additive. And the audience just seemed to love it.
Speaker 3: So I'm glad you did two.
Speaker 2: Tell me about the audience reaction. I know this comes
Speaker 2: out wide release May ninth, twenty twenty five, but where
Speaker 2: have you seen it? Where has it played before this?
Speaker 3: It's so interesting because this is my first feature film.
Speaker 3: As a television director, you have your four days with
Speaker 3: your editor and the editors are fantastic, and you do
Speaker 3: your cut and you leave and the next time you
Speaker 3: see it's on television, you go, oh, that looks so good.
Speaker 3: I'm so proud of it. Or why did they take
Speaker 3: that shot out? Or we cut it that way, why
Speaker 3: they cut it this way? Whatever. I designed the shot
Speaker 3: to be the opening, and now they're using it the
Speaker 3: closet whatever. Usually it's a joy because they're top professionals
Speaker 3: and they know their show and it turns out well.
Speaker 3: But when it's your movie, you're in a dark room
Speaker 3: for a really long time and nobody sees the film
Speaker 3: except the same couple of people, and you look at
Speaker 3: it over and over and over again. You really don't
Speaker 3: know what you have until you show it. And we
Speaker 3: showed it to a couple of people points of confusion
Speaker 3: and time periods. But our world premiere was at the
Speaker 3: Hampton's International Film Festival in October I think it was
Speaker 3: October tenth. We were in a very large, beautiful cinema.
Speaker 3: I think it was almost five hundred people. Patricia, like
Speaker 3: most actors, doesn't like to watch the movie, so she
Speaker 3: had gone out to dinner, and most of the producers
Speaker 3: had gone out to dinner to be with the actors,
Speaker 3: and they couldn't believe that I didn't want to go
Speaker 3: out to dinner with them. I'm like, are you this
Speaker 3: is the first time I'm going to get to see
Speaker 3: if the movie in an audio, and so five hundred people,
Speaker 3: I'm not going out to dinner. So I sat in
Speaker 3: the cinema and from the very beginning of the movie,
Speaker 3: people were laughing, people were crying, people were cheering, and
Speaker 3: at the end of the movie they all did up.
Speaker 3: And so at this point I leave the theater and
Speaker 3: I'm backstage waiting to go on for the Q and A,
Speaker 3: and the moderator comes back. She's also been in the cinema,
Speaker 3: so she's excited like I am. And then Patty comes
Speaker 3: in from the back door Lottie dog, and she hears
Speaker 3: this roar. She's right good going up, and that's Hetty.
Speaker 3: I did, And tears are streaming down my face and
Speaker 3: tears streaming down her face, and we're like little girls,
Speaker 3: jumping up and down, hugging each other, and her mother
Speaker 3: had just recently passed away, and I'm thinking of my mother,
Speaker 3: and I said, I'm thinking of my mother, and we
Speaker 3: were just it was just one of those beautiful moments
Speaker 3: and we have quickly dry our eyes and walk on
Speaker 3: stage and the audience cares a standing ovation for I
Speaker 3: don't know how long, and it was glorious, what can
Speaker 3: I say? And I've been to I don't know, twenty
Speaker 3: film festivals, fifteen twenty film festivals, and they have almost
Speaker 3: two the one been that kind experience, so I don't know. Clearly,
Speaker 3: people come to film festivals with a certain kind of attitude.
Speaker 3: They know they want to see a movie about Lily Ledbetter,
Speaker 3: they know what it is, even though I hope it's
Speaker 3: a surprise, because it's a love story for God's sakes,
Speaker 3: and so I have been thrilled, and I really hope
Speaker 3: that audiences around the country will have that same reaction.
Speaker 3: This is an entertaining movie. This is a popcorn movie,
Speaker 3: This is a love story, this is a family story.
Speaker 3: This is a great movie for Mother's Day. And it's
Speaker 3: not a political film. It's a film about an ordinary
Speaker 3: woman who did an extraordinary thing. And I hope that
Speaker 3: it's a movie that inspires us right now, in this
Speaker 3: moment in time.
Speaker 2: I can't say that I stood and cheered because I
Speaker 2: was in my living room, but I can totally understand
Speaker 2: audiences doing that because it's such a wonderful film. And
Speaker 2: Ms Feldman, thank you so much for your time today.
Speaker 3: Oh thank you.
Speaker 4: You asked great questions, and you asked them in a
Speaker 4: great way.
Speaker 1: You don't live in. Fall On stands in and there
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Speaker 3: Head, the sill, it's look at me, spread, the.
Speaker 1: Three hus They want to do somebody's slip. Husband, when did.
Speaker 3: He a moment by simn.
Speaker 1: Stay and come up? The happy mother sat prompt different