Speaker 1: Oh bot, it's show tied. People say, good money to
Speaker 1: see this movie.
Speaker 2: When they go out to a theater, they want clod sodas,
Speaker 2: hot popcorn, and no monsters.
Speaker 3: In the Protection Booth.
Speaker 1: Everyone pretend podcasting isn't boring.
Speaker 4: Cut it off. It was an ordinary flight turned extraordinary
Speaker 4: when a man in black registered as DBE Cooper made
Speaker 4: a bomb.
Speaker 5: Right, can you hear me on the headphone? Oh yeah,
Speaker 5: okay good. It was the dB Cooper case that changed
Speaker 5: my life. I thought, that's the way to do a score.
Speaker 5: If don't panic, do what I say and follow my instructions.
Speaker 5: I don't know that they've got five sharpshooters by me.
Speaker 5: I went through my mind, we can jump in. I
Speaker 5: didn't feel the air going through my fingers, and I
Speaker 5: was thinking, boy, this is balls. That car took off
Speaker 5: for that airplane, and it was very very clear to
Speaker 5: all of us there it's going to crash into that planet.
Speaker 4: Martin McNally meets another skyjacker, Characrat.
Speaker 5: Nowos evil cut Let's get to hell out of here.
Speaker 4: Hey, folks, welcome to a special episode of the Projection Booth.
Speaker 4: I'm your host, Mike White. On this episode, I'm talking
Speaker 4: with Eli Chorus. He is the co writer and co
Speaker 4: director of the new documentary American Skyjacker, and we are
Speaker 4: also joined by Martin mack McNally, who is the subject
Speaker 4: of the film. Pretty interesting talking with the actual subject
Speaker 4: of the documentary, and he's a hometown boy who grew
Speaker 4: up in the same area of Michigan that I did
Speaker 4: as well. Thanks so much for listening, and I hope
Speaker 4: you enjoyed the interview. Eli, Can you tell me a
Speaker 4: little bit about yourself and how you got into filmmaking.
Speaker 3: I was born and raised in Austin, Texas. My father
Speaker 3: was a director cinematographer base out of Austin originally, but
Speaker 3: would come out to LA and work. He did mainly
Speaker 3: commercials and music videos for Willie Nelson and Stevie ray
Speaker 3: On in the seventies and eighties, but was also the
Speaker 3: DP on Texas Chainsaw Mascer two with Toby Hooper and
Speaker 3: worked on a number of other fun, little cult films
Speaker 3: for about twenty or thirty years when he was doing that,
Speaker 3: and so I grew up on set, so it was
Speaker 3: always in my blood. I started writing pretty young age,
Speaker 3: went to school in Boston for writing and publishing, but
Speaker 3: always knowing how it was going to come out here
Speaker 3: and do filmmaking, and then started in Los Angeles in
Speaker 3: two thousand and four working at some studios Fox Television students,
Speaker 3: originally learning how to pitch, and then it was friends
Speaker 3: with Josh Schaeffer from college. He was my roommate and
Speaker 3: we started writing together. Quickly moved out she can't write
Speaker 3: together and live together. And sold our first script in
Speaker 3: twenty ten, sold a script a year between twenty ten
Speaker 3: and twenty sixteen, all television dramas. For the most part,
Speaker 3: we're doing some rewrites on things, and then twenty seventeen
Speaker 3: we'd sold a bunch of scripts, none of them been made,
Speaker 3: and we decided that we wanted to start our own
Speaker 3: production company and had some capital to do it. We
Speaker 3: actually wanted to make some of these things as opposed
Speaker 3: to just sell stacks of paper to about five thousand
Speaker 3: industry professionals.
Speaker 1: Started doing that.
Speaker 3: The first thing we made was a short version of
Speaker 3: a feature that we'd written called Nothing Man, and we
Speaker 3: cast a up and coming actor named Coleman Domingo in it,
Speaker 3: and he starred in the short that set up the
Speaker 3: whole film that we're hoping to get made in the
Speaker 3: next few years, honestly, but that was a great sort
Speaker 3: of first foray into filmmaking, the first thing we directed,
Speaker 3: and then we produced a handful of other projects. And
Speaker 3: then in twenty nineteen, while we were looking to adapt
Speaker 3: articles into screenplays that we could sell and then make ourselves,
Speaker 3: we came across Danny Wisontowski's Riverfront Times article the Final
Speaker 3: Flight of Martin McNally, which began this very long and
Speaker 3: amazing process. As we started to adapt that article into
Speaker 3: a script, which is obviously a very long process that
Speaker 3: sometimes doesn't even come to fruition, he said to us,
Speaker 3: you should go talk to Mac. He is alive and
Speaker 3: well in Saint Louis, And just for posterity's sake, I
Speaker 3: was like, we shoul just go get this guy on tape.
Speaker 3: We should shoot this, And we went there for four
Speaker 3: days and shot much of the interview in the film
Speaker 3: while we were there, and suddenly realized we had a documentary.
Speaker 1: On our hands.
Speaker 3: Were trying to sell it as a documentary, and we
Speaker 3: walked into the Imperative Entertainment offices and they said, we're
Speaker 3: starting a podcast division. The idea being we make a podcast,
Speaker 3: we build an audience and then we go out and
Speaker 3: we do a version of that podcast. We've created our
Speaker 3: own IP at that point, plus they were willing to
Speaker 3: give us a budget and let us go, which was
Speaker 3: music to our ears as a creator. There's not a
Speaker 3: lot of hoops to jump through to go out and
Speaker 3: tell a story. It was amazing. So we did that
Speaker 3: in twenty nineteen into twenty twenty, pretty much finished it
Speaker 3: about three days before the pandemic hit, and then suddenly
Speaker 3: found out that we were making podcasts.
Speaker 1: Now, when I say podcasts.
Speaker 3: Too, it was more we lean more rate play than
Speaker 3: conversational podcast that most podcasts are. So we're doing high
Speaker 3: end sound design and production and archive and very fine
Speaker 3: tuned editing everything about the visuals basically to put the
Speaker 3: listener in the story itself. And so we've now done
Speaker 3: four or five of those, and American Skyjackers our first feature,
Speaker 3: and there's a lot more to come.
Speaker 4: You go all the way back to eBaum's World. Did
Speaker 4: I read that right?
Speaker 1: You did read that right? You've done your research. I
Speaker 1: like it e Bomb's World. So the story about Ebom's World.
Speaker 3: It was my first job was on a think tank
Speaker 3: at Fox Television Studios, it's a really unique job. Where
Speaker 3: After I did an internship, I met a executive who
Speaker 3: worked at Foxtelligence Studies.
Speaker 1: So I'm putting a think tank together.
Speaker 3: I'm putting a bunch of young twenty year olds into
Speaker 3: a room and give you five hundred bucks a week
Speaker 3: or something like that, and you come in. You get
Speaker 3: access to the lot, but we own all your ideas.
Speaker 3: So everything you pitch us we own, unless we pass
Speaker 3: on them then you get them back.
Speaker 1: Sounds great, and so I.
Speaker 3: Started doing that for a while, basically just mining young
Speaker 3: minds for it was all unscripted content too. You go
Speaker 3: into a room once a week and you would pitch
Speaker 3: various ideas you'd come up with, and they would tell
Speaker 3: you you were an idiot basically for the most part,
Speaker 3: and it was great. It was like boot camp for pitching.
Speaker 3: They'd be like, that's terrible, that would never work, and
Speaker 3: they'll tell you why it wouldn't work. It completely shaped
Speaker 3: my whole sort of way to tell a story and
Speaker 3: to put everything together, not in a negative way either.
Speaker 1: It was very helpful.
Speaker 3: I pitched an idea in two thousand and five where
Speaker 3: I said, hey, listen, there's a site called Ebomb's World.
Speaker 3: What if we did a show around this where we
Speaker 3: featured short videos that people made on the internet. And
Speaker 3: the response I got was nobody's gold be watching short
Speaker 3: videos on the internet in the future. That's never gonna happen.
Speaker 3: So they passed on it, and I'd called the guy's
Speaker 3: to the e Bomb's World to like, say, can we
Speaker 3: align on this?
Speaker 1: Go we partner up. Sure, if you get a studio
Speaker 1: on board, we're good. Let's go.
Speaker 3: So I called him, I said, they weren't interested, but
Speaker 3: I still love to work with you. A month later,
Speaker 3: they called me back and I said, we're being in
Speaker 3: all these calls from these other studios. Would you like
Speaker 3: to still do this? Would you bring it back to
Speaker 3: the studio?
Speaker 1: And I said yeah.
Speaker 3: I walked back in. I said, listen, guys, I quit
Speaker 3: un let's be going and buy this. They bought it
Speaker 3: and we sold it to USA for one episode, and
Speaker 3: that's a.
Speaker 1: Whole other story of that time. Therefore, here.
Speaker 4: Now, miss mcdally, I am so excited to talk with
Speaker 4: you because I grew up in Riverview, Michigan. So when
Speaker 4: it flashed that you were from Trenton and that your
Speaker 4: dad owns the shoe store. Where's Allen Park Ray. It
Speaker 4: was amazing. I was so excited to just see hometown
Speaker 4: boy made good as it.
Speaker 5: Were, Yes, thank you very much. I grew up in
Speaker 5: Wyandott went to Saint Patrick's School, Catholic School. I was
Speaker 5: there until the eleventh grade. First day of the eleventh grade.
Speaker 4: Well, how many times have you been approached to tell
Speaker 4: your story? Was this the first time?
Speaker 5: Oh no, this wasn't the first time I've been approached.
Speaker 5: In the nineties, in the twenties, I had a lot
Speaker 5: of producers coming in wanting to get the rights to
Speaker 5: my story. All of them, one hundred percent, were willing
Speaker 5: to put cash on the table and I rejected all
Speaker 5: of them, every one of them. I rejected them. And
Speaker 5: it wasn't until I got out of prison in twenty ten.
Speaker 5: And in twenty fourteen, Danny responded to something that happened
Speaker 5: in Canada with the prison systems up there, and I
Speaker 5: responded to his response that he gave those people and
Speaker 5: I said, I know all about security in the United
Speaker 5: States federal prison system, and he said, I'd like to
Speaker 5: talk to you about this. He came to my apartment
Speaker 5: and he was there for about a half an hour
Speaker 5: forty five minutes. In the first fifteen minutes, I got
Speaker 5: his credentials, education, what he was doing in Saint Louis,
Speaker 5: and what he wanted to do with my story. I
Speaker 5: told him that how much money can you put on
Speaker 5: a table to get the rights to my story? He said, Mac,
Speaker 5: I can't give you anything. I'm broke. And at that
Speaker 5: point there I said, that's a decent answer. I think
Speaker 5: I may be able to change that situation for you.
Speaker 5: One thing that I have to have is nothing can
Speaker 5: be published until I'm dead, a book or whatever movie.
Speaker 5: You can do nothing until I'm dead. Do you agree?
Speaker 5: You said yes. I said you got the rights with
Speaker 5: no money up front and so forth. Well, that was
Speaker 5: in twenty fourteen. In twenty sixteen, Gangland Warrior in Kansas
Speaker 5: contacted me Jenkins runs It and he said he would
Speaker 5: like to talk to me about my case. I said, okay.
Speaker 5: So he came from Kansas to Saint Louis with his
Speaker 5: partner that he worked with, and we talked for about
Speaker 5: eight or nine hours from ten o'clock in the morning
Speaker 5: until about six or seven o'clock at night. When he
Speaker 5: first got there, he said, can I film this I'd
Speaker 5: like to record it and everything. I said, sure, So
Speaker 5: I went onto the car pulling all this equipment. He
Speaker 5: had four cameras set up to record everything. I got
Speaker 5: an agreement from him that he wouldn't do a movie
Speaker 5: on this, he wouldn't write a book about this, but
Speaker 5: he could post the verbal stuff on his site. He
Speaker 5: agreed to that, so he did that. Then a couple
Speaker 5: of weeks later, Danny came into my apartment he was living.
Speaker 5: I could see he libt. He was mad, and he
Speaker 5: got the wind of ganglen Wire and told him, right, Danny,
Speaker 5: it's not like that. I'm not kicking you to the curb.
Speaker 5: You got the rights to my story. Those guys that
Speaker 5: are not going to do a bulk or a mobile
Speaker 5: or any of that stuff there, so relax. So he relaxed.
Speaker 5: But that's it. Producers wanted the story, nobody got it,
Speaker 5: and Danny was broke. He said, that's okay. I'm not
Speaker 5: taking any money from anything about my life story. I
Speaker 5: had opportunities fifty grand, twenty five grand, one hundred grand. No,
Speaker 5: I'm not taking anything. And I told Danny that anything
Speaker 5: that arises from what he does through remunerations, he can
Speaker 5: keep it all, He gets it all. He said, you
Speaker 5: don't have to do that, Mac. I said, that's the
Speaker 5: way I want it. And I'm taking nothing of the credibility.
Speaker 5: I'm not doing my life story like this. And I
Speaker 5: got on his to rehabilitate Barbara and her daughter, Barbara Rosser.
Speaker 4: So what was it like when Eli and Josh appartshoot.
Speaker 5: Danny approached me and he says, Mac, I would like
Speaker 5: you to work with Eli in Los Angeles. Producers they
Speaker 5: want to work on your story. And I says, Danny,
Speaker 5: do you trust them? He said yes, I trust them.
Speaker 5: I says, are you sure? He says, yes, I trust them.
Speaker 5: This is a big deal, Danny. He says yes. I said, okay,
Speaker 5: I'll work with him. So I've been working with Eli.
Speaker 5: They got the story, they got everything. They can write,
Speaker 5: do the story, TV series, they can do books, whatever
Speaker 5: they want to do. That's it.
Speaker 4: Eli. It's so fascinating that you do this as a
Speaker 4: podcast for then a movie. How are you approaching the
Speaker 4: podcast and the narrative storytelling of that versus transforming this
Speaker 4: into a documentary?
Speaker 6: Fill what's really interesting about podcasts that we learned, at
Speaker 6: least the way we were telling it was that you
Speaker 6: can go off on these tangential storylines that are incredibly fascinating,
Speaker 6: go down these verbial rabbit holes.
Speaker 3: And people will still stay engaged. Because when you're listening
Speaker 3: to a storyteller, you're just you're locked into it. When
Speaker 3: you're watching something you're cutting constantly, it's easy to become
Speaker 3: disengaged for some reason. And I don't know the physical
Speaker 3: reasons for that, but that's just something we all experience
Speaker 3: and know. So the first thing we knew when we
Speaker 3: were making the adaptation was we had to keep this
Speaker 3: really tight because it's six and a half hours of
Speaker 3: podcast over ten episodes, and I'm biased, but I personally
Speaker 3: find it all engaging. I think a lot of other
Speaker 3: people do too. That's obviously not going to fly as
Speaker 3: a documentary. Our initial cut was over two hours, and
Speaker 3: so we had to obviously pair all that down significantly
Speaker 3: as well. So thing I left out was that when
Speaker 3: we after we shot Max's initial interview and we shot
Speaker 3: a few other interviews, when we sold the podcast project,
Speaker 3: we continued to shoot interviews, so there was a lot
Speaker 3: of interviews that were already shot and banked, so we're
Speaker 3: just building things around that, and then it was taking
Speaker 3: kind of the highlights of the story as we saw it,
Speaker 3: the way that's really tell Max's story and keep the
Speaker 3: film moving. That we focused on more than anything in
Speaker 3: the recreations. We've been calling it and maybe we're making
Speaker 3: this up here, maybe it's not really a thing, maybe
Speaker 3: it doesn't stick, but we've been calling it an action documentary,
Speaker 3: which is two genres that haven't ever been slapped together before.
Speaker 3: And I can't really think of another one, but this
Speaker 3: feels like one because of how much it moves and
Speaker 3: because of how much happens in it. And unfortunately there's
Speaker 3: little things that had to hit the cutting room floor
Speaker 3: that kind of slowed down that pace. But the goal
Speaker 3: was really just to tell Max's incredible story with all
Speaker 3: the twists and turns, take the audience on a ride,
Speaker 3: but focus on him and see it through his eyes,
Speaker 3: and end up with him in the third act where
Speaker 3: he was when we began telling the story and where
Speaker 3: he is now.
Speaker 4: The use of the recreations I find fascinating And what
Speaker 4: was kind of the thinking behind that, and how is
Speaker 4: the casting of that as well?
Speaker 3: The casting took a long time, and a lot of
Speaker 3: that had to do with the decision to break a rule.
Speaker 3: There's a number of rules broken in this the first
Speaker 3: one being Mac looking down the barrel of the camera,
Speaker 3: which I was inspired by the film The Chameleon, which
Speaker 3: was made in i think twenty twelve twenty thirteen, about
Speaker 3: the guy who pretended to be the boy from San
Speaker 3: Antonio who had been kidnapped and everything like that.
Speaker 1: But when they did that, they had him.
Speaker 3: Look right down the barrel of the camera, and it
Speaker 3: was really impactful, at least for me as a viewer,
Speaker 3: because he was speaking directly to the audience, just speaking
Speaker 3: directly to you, and so everything that is said means
Speaker 3: a lot more to you. So that was the first
Speaker 3: division we made with Mac. The next rule we broke
Speaker 3: was we're going to show face this because you can
Speaker 3: only do rack focus the hands and things so many times,
Speaker 3: and we break that in the second shot of the
Speaker 3: film where we see the recree actor playing Mac. So
Speaker 3: we knew we had to make them, at least especially
Speaker 3: with Mac, very similar.
Speaker 1: So casting took a long time.
Speaker 3: It took four or five months, went through a lot
Speaker 3: of people on incredible casting agents.
Speaker 1: Spark like stuck with.
Speaker 3: Us, but just because their friends still they're still friends.
Speaker 1: Shockingly after this, they were like, during let's do it again. Okay,
Speaker 1: but I think it.
Speaker 3: Was worth at the end of the day, because we
Speaker 3: didn't want people to be taken out of the scene
Speaker 3: by preactors who'd looked nothing like the people.
Speaker 4: Mac, I'm curious for you, how was it for you
Speaker 4: seeing yourself being portrayed by another person?
Speaker 5: When I met Logan who played my part in the movie, Yeah,
Speaker 5: he looked a lot like me, so that was good.
Speaker 5: He was a little taller than me, but that was okay.
Speaker 5: But I enjoyed watching him do the work. I gave
Speaker 5: him some pointers on what actually was said between me
Speaker 5: and my partner Walter Helakowski, and he took that hard
Speaker 5: and he played that dialogue when he did these scenes.
Speaker 5: But he did very well. It was interesting to see
Speaker 5: him with the other prisoners during the helicopter escape attempt
Speaker 5: and Mary. That was nice. Yeah, watching that helicopter come
Speaker 5: in and he was there going waving his hands. That's
Speaker 5: what we did, waving our hands at the prison at Marion,
Speaker 5: and nothing came in. The helicopter stopped in front of
Speaker 5: the prison. Yeah we didn't get out.
Speaker 4: Yeah, that's quite a scene. Eli, How was that to shoot.
Speaker 1: That was a definitely unique one.
Speaker 3: We actually did the helicopter somewhere else, and then we
Speaker 3: used archive for the helicopter above the prison. The actual
Speaker 3: prison was a prison that had been it wasn't being used.
Speaker 3: They gave us the whole prison for the day. Ironically,
Speaker 3: the chief this location in the entire film was the
Speaker 3: entire prison we had for the whole day, which I
Speaker 3: was shocked by because I was like, how am I
Speaker 3: gonna do this?
Speaker 1: Especially for the budget.
Speaker 3: There is a lot of structure in this where this
Speaker 3: story is incredible, like there are things that happen in
Speaker 3: it and they're like, this can't be real. I can't
Speaker 3: believe this is actually happening, And we recognize that audience
Speaker 3: members might tune out because of that. So there's a
Speaker 3: structure here where we would go from the recrease storytelling
Speaker 3: and MAC telling it, which is sort of the hybrid
Speaker 3: recreate slash documentary, and then we would anchor it all
Speaker 3: in actual archives. So when you see these ridiculous things
Speaker 3: and then you see the picture of the ap of
Speaker 3: the car that crashed into the plane, or you hear
Speaker 3: Walter Cronkite talking about it, it suddenly weighted in reality,
Speaker 3: and that's.
Speaker 1: Something we sort of strove to do throughout the entire film.
Speaker 4: Air travel has changed so much, and I was so
Speaker 4: glad Eli that you brought in the person to talk
Speaker 4: about skyjacking, and just like where the airlines and especially
Speaker 4: around the whole thing of security and where we were
Speaker 4: with that. Things have changed so much, especially after nine
Speaker 4: to eleven. But even just the idea of you Max
Speaker 4: sitting on a plane and a flight attendant coming over
Speaker 4: and saying, what's your final destination? That is so foreign
Speaker 4: to me, such a strange thing to see. And it's
Speaker 4: weird that it's probably such a minor footnote to your story,
Speaker 4: but for me, it's just like they asked you where
Speaker 4: you were going? You don't have that on your ticket.
Speaker 4: Is there more than one destination that you can go to?
Speaker 4: Is this like a bus?
Speaker 5: As the stewardess was coming down the aisle asking everybody,
Speaker 5: she was two aisles up, two seats up, and I'm
Speaker 5: telling you, my mind was a blank, an absolute blank.
Speaker 5: Where am I going? Oh my god, I don't know
Speaker 5: where I'm going. This is going to be embarrassing, and
Speaker 5: this is not good because I had a case. They're
Speaker 5: filled with weapons and everything else. And when she finally
Speaker 5: got to my seat, I snapped on that, paulsa I'm
Speaker 5: going to Tulsa. Yeah, but now with a blank for
Speaker 5: just a minute and everything. As far as the security goes,
Speaker 5: there wasn't any security back in those days. And when
Speaker 5: I pulled my case in June, within sixty days, the
Speaker 5: FAA ordered the airlines to install metal detectors. They flipped
Speaker 5: out in Washington at that time. I'm getting on a plane.
Speaker 5: They said it was a machine gun. I had a pistol,
Speaker 5: I had a smoke bomb and a JK is a
Speaker 5: wig and they just flipped out. And that was a
Speaker 5: pivotal point for these metal detectors. You gotta install metal
Speaker 5: detectors in all the airlines. So that's it. Mac.
Speaker 4: What is it like for you the first time that
Speaker 4: you see this movie with an audience.
Speaker 5: I saw the movie at my house with the family
Speaker 5: and I was shot. This is so surreal. It's actual
Speaker 5: stuff that I was involved in. And I hate to
Speaker 5: say this, but my sister was shot too. Claire, she's
Speaker 5: in the movie. She's a star. But she got a
Speaker 5: little drunk that day and I think she fell asleep.
Speaker 5: But yeah, That was the first show, and then I
Speaker 5: saw it again within a couple of hours and I
Speaker 5: really enjoyed it then. And I saw it again up
Speaker 5: north in the Indian River that's about two hundred miles
Speaker 5: north of here, with a couple of friends, and I
Speaker 5: enjoyed it every time. Everybody who saw this movie, the
Speaker 5: family and up north, they loved it. I loved it,
Speaker 5: and I'm going to watch this movie again and again.
Speaker 5: It's a fantastic movie in it. I really like it.
Speaker 5: I love the podcasts too. As a matter of fact,
Speaker 5: on the podcast I like to listen to that quite frequently.
Speaker 5: But one time I told Eli, I said, Eli, the
Speaker 5: only thing I don't like about this is his damn advertisements.
Speaker 5: Kill him.
Speaker 1: He said, I want to say one thing off of
Speaker 1: that too.
Speaker 3: Matt came to set for two days and we were
Speaker 3: honestly nervous about it because this is his life being
Speaker 3: remade in front of him, and he was just phenomenal.
Speaker 3: I haven't seen so much joy on his face throughout
Speaker 3: this process that he had while he was sitting there
Speaker 3: watching the monitor walk it on set tell everybody that
Speaker 3: they were doing a great job. The department heads were
Speaker 3: all site, they were just like, this is great, redamn it.
Speaker 1: It was really wonderful.
Speaker 4: You know, what's the future for American Skyjacker. Where can
Speaker 4: people see it?
Speaker 3: It's on Apple TV as of this week on November seventeenth,
Speaker 3: and it's North America, South America, and Europe, and then
Speaker 3: we're going to be on Amazon, We'll be on YouTube
Speaker 3: TV and Fandango at home all to purchase. And then
Speaker 3: you can also go to our own site and check
Speaker 3: it out there. If you want to give money directly
Speaker 3: to independent filmmakers, just watch do Americanskyjacker dot com. You
Speaker 3: can rent or buy it. It's just through Vimeo, so
Speaker 3: everything's safe. We're not taking your.
Speaker 4: Infl Thank you gentlemen so much. This was such a
Speaker 4: pleasure talking with you today.
Speaker 1: Thank you Mike. It was great.
Speaker 5: Thank you Mike. It was good talking to you too. Dude.
Speaker 5: Take care of yourself. Okay, goodbye.
Speaker 2: Dat joy were round robles.
Speaker 6: I know that as I have.
Speaker 3: Shot not that back.
Speaker 1: My back.
Speaker 2: Mother show. Yeah, I had a yes, some people