We're not singing yet.
And we're singing.
Because we're not singing yet.
And I put my hand on Daniel's hand.
And Daniel can't not to cry.
Look at that bird.
He calls sometimes.
And I cry.
Look at this.
And you sing.
No.
No, I'm here.
Oops.
That's to run everything.
Yeah, she needs brakes.
And probably what it is, it's warning scrapers on the brakes.
No.
I know what that sounds like.
It wasn't that.
It was a high pitched rattle.
It was a...
That's warning scrapers on the brakes.
No.
We got a lot of marbles.
Look at that camera you got there.
We got two of them.
Look.
Black and white.
Oh, yeah.
There was an order one year.
The kids were looking.
And the thing quit.
So I took it into zealots.
And they said,
oh, you don't want that camera fixed.
Why don't you buy one of these camcorders?
And I said, what's that?
Never heard of them.
Well, it was so nice that I thought, boy,
I think it was 1800, but with taxis,
everything time I got to film and everything
was supposed to go.
Yeah.
Well, hey, never get going.
Joanna didn't even know where I'm at.
I just said I was going to take a ride.
Are you going to get Chris right?
You can say, I wrote an MGA, 1960.
Yeah, that's an MGA.
Hey, you don't see my nose.
I don't even have my driver's license.
A young cowboy named Billy Joe grew restless on the farm.
And his mother cried as he walked out.
Don't take your guns to town, son.
Leave your guns at home, Bill.
Don't take your guns to town.
He laughed and kissed his mom and said,
you're Billy Joe's a man.
I can shoot as quick and straight as anybody can.
But I wouldn't shoot without a cause.
I'd gun nobody down.
But she cried again as he rolled away.
Don't take your guns to town, son.
Leave your guns at home, Bill.
Don't take your guns to town.
