Hey, Ryan, I know you guys pride yourself in getting in the red zone and actually getting in the end zone there. And I know earlier on that wasn't happening. What was going on there that you had to settle for those field goals early? Oh, we didn't make some plays and they were playing good defense. I think we'll go back and look at this tape and have a lot of things to clean up. I know I have some things to clean up. But yeah, we get down there, we move the ball effectively pretty much the whole game, but we stalled out multiple times, either in the fringe or down the red zone. And, you know, moving forward, we're going to have to convert those things to touchdowns. We talk about it every week. It's important to us to score touchdowns when we get down in the red zone. And today we didn't do it and we're fortunate enough to come out here with the win, you know, not being able to score touchdowns. So definitely be an emphasis for us moving forward. TD. Yeah, Ryan, when you look at playing in the dome without fans, like how does that affect you, especially in the huddle? Do you find yourself in a change your pitch or anything like that, you know, to make sure you're not too loud with the plays? Yeah, we kind of figure that out through, you know, not just in the dome, but no fan spirit, you know, too loud. You know, it's even deaf in here. So definitely have to keep that in consideration when we're huddling and we're tightening the huddle up and down a little bit and make sure we're not talking to you. John Glennon.   It's almost like fun for you guys to do this at the end of games. You know, can you take us through that another game winning drive there and, you know, what was going on with you and with the offense during that drive? Yeah, we have a lot of confidence, obviously, even in that situation three weeks in a row. So, you know, we've got a lot of reps at it, you know, in practice and now in games as well. So there's a lot of confidence there. Obviously, we'd like to be able to put a lot more points up earlier in the game and not have to be in that situation. But proud of our guys and our focus, our attention and detail in those in those tight moments that, you know, we believe in each other. So we stick together and just kind of keep fighting and found a way to get ourselves a full range there. And obviously, Steven, with the big kicker, won it. Kyle. Kyle. Yeah, Ryan, what what did what did you see over the the time period from the end of the Denver game until last week, even even through this week in terms of the way Steven went about his business? I don't know if he'd ever experienced very few thick kickers ever have experienced the way he started that Denver game. Certainly not a guy like him. Just curious how you how you what you witnessed and how he handled it. I say professional. He's been doing it a long time. I don't think he's had a run like that. But especially he's really strong. Kickers have to be in order to be in this week. You have to be really strong and be able to bounce back to get what just happened and find a way to just make one kick at a time. And, you know, I feel like obviously he's kicking, kicking very well. Right now, he's got a lot of confidence. We never lost confidence in him when we made the game with him to get to that Denver game and he's just been steady ever since. So I know every time he steps on that field that I have a lot of confidence is going to make it here. Jim. Right. I'm sorry. I switched over late, but I guess how do you keep from getting frustrated when you guys weren't able to close some drives off early and how good it feel to be able to get it done once again when it mattered most? Yeah, it's definitely frustrating. I mean, we pride ourselves on being able to, you know, finish drives on the end zone and talk about it all the time. It's an emphasis for us. And today we weren't executing well enough to do that. We got to get credit for defense, but I feel like we have a lot of things that we can clean up offensively. So we'll go back with this tape and really key on several things that we can clean up in order to finish those drives in the red zone.  And then at the end, you know, part of our guys, we just kept out, even though things aren't going well, even though we're settling for field goals, we just kept chipping away, chipping away, believing in each other.  And, you know, there was no, no hesitation by anyone that had a lot of confidence that we were going to get it done and we did exactly that. And you put the ball where it needed to be, but Khalif twice got open deep. How good of a job did he do to get open and how big were those two plays? Yeah, they're huge. Obviously the first one early in the game, double move out on the outside, ends up getting behind the corner and made a huge play for us. And I kind of got us going early in the game, got us on the board. And then when it really needed something to get going there in the second half, I think we were down maybe two scores at the time or I'd got it back to one score. But the college number again, he was able to win over the top and come up, came up big for us just like he has multiple times in this time here. We still have a lot of questions left, so we're going to try and run through these gentry. Yeah, Ryan, as you look back over the first three weeks and the plays you guys have been able to make in crunch time, how much of this has come down to having a lot of guys back offensively? A lot of continuity with Arthur, with everyone on offense, you know, especially with the way the preseason went. Yeah, it definitely helps to have continuity. Like you said, a lot of guys back on offense, there's a lot of bank reps throughout the last year, really, you know, of course the last season and then this year, a lot of continuity, like you said, and familiarity with what we're doing, what we're trying to accomplish, and the guys doing it. So it all helps it all stacks together. And like you said, we're able to have a lot of confidence each other and go out in that place. Joe. Ryan, I know three knows the bottom line, but just in terms of how this team has played overall, I mean, how close to or far from the way you guys want to play are you right now? You know, I think we have a lot of things to clean up. We flashed at times, we played really well at times, but it hasn't made consistent enough. But we're finding ways to win game at the end of the day. That's what comes down to the NFL is finding ways to win game stack wins together. But obviously, a lot of things that we can clean up to see you growing and moving the needle, you're in the right direction. I'm proud of the way our guys battle. There's no hesitation. There's no folding from our guys and leaving each other. And we'll have a lot of confidence that we'll find a way to win. Three more, Corey. Hey, Ryan, I wanted to ask you about when you were down 24 to 12, it seemed like you guys really got back to pounding 22. Mike called it your bread and butter. Did that settle everything down? Yeah, it made some big plays there. You know, I think we started moving, we're kind of wearing off throughout the game out front. Kept going back to Ron and just like Lachi, sometimes Brian don't seem that the game goes on. So, you know, in that second half, we started hitting some more efficient runs, some bigger runs, getting first downs on the ground. And that was huge for us. That really got things moving for us. And we were hit some passes over the top off of it. Terry. Ryan, what was the mindset like, especially when you're down 12, and not a lot of things had gone right up to that point before you guys either offensively or defensively? I just make one playoff. I mean, I think we have a lot of confidence. You know, things aren't going well, we're not executing well, but we had a lot of confidence in each other that make it one play at a time. You know, when we execute and focus on one play at a time, we stack those good plays together and bounce out of this thing and we did exactly that. Last one, Luke. Ryan, you've talked so much about the confidence you have, and you know, you guys are always going to find a way, and you certainly have for the first three weeks. What is it about the character and the makeup of this team or really any team that lends you in that direction to being able to close it out when it matters? I think we believe in each other, and we have that kind of undying belief that we're going to stick together and fight through it, and somebody's going to make a play. So we step in that huddle, and they can look every man in the eye and see the confidence that we have together. That gives you a lot of confidence that the line of scrimmage knowing that, you know, no matter where the defense dictates the ball should go, I have a lot of confidence to run it to them and you guys are making plays.


This is like finishing a line from Happy Birthday. It's escaping my mind and I know I know it. I don't know, skip. Thrill the fight. Great! Don't tell me that, don't tell me patience, don't tell me... Pass. Pain? Yes, good, okay. Great. Get out of my dreams, get into my... Oh, I'm not sure. My car. Oh, great, okay. Billy Ocean. Uh, we're halfway there, huh? We're halfway there. Living on a prayer. Oh, okay, doesn't it repeat itself before it gets there? I was starving till I tasted you. No, I can't... Oh my god, what is it? I was working as a waitress in a cocktail bar when I met you. Oh! In a small town? World. In a lonely world. It's just a midnight train going anywhere. Shoot, the midnight train going anywhere. It's a great song. Lonely, oh my god. You can tell when I grew up, I think, to talk about things. Because he's drunk and alone. Nights? Oonana. Ah, okay, once again, it's probably new. Kamakameleon, Nika-mango. Ah, there, there, there. Oh, come on, come on, come on, come on, Kamakameleon. Yeah, okay, got it, uh-huh. I just dated myself. Huge! There's a rhyme here, isn't there? Uh, my time is now. There was a moment where I was driving the car, driving Bumblebee. I actually, myself, physically wasn't driving. There was a special rig in which a man on top of the car was in control of it. So, very weird feeling being in the driver's side of a car and not having control over it. We were coming downhill into a turn at a rather fast speed. And we come to find John Cena's character and his sort of fleet. We came very close to hitting that man and he did not budge. Meanwhile, I let out a sound that I've never heard from myself ever because I was so entirely fearful in that moment, but he didn't move, so I found that quite impressive. We would have hit John, and had that happened, the car probably would have been damaged. You would have never guessed that it, yeah, yeah. Watching a Volkswagen bug come at full velocity towards my body and thinking, well, if this out ends, it's been a pretty good run. And they, this far, and I told myself, whatever happens, don't move. And I didn't move. I knew the driver. We had shared some conversation. I also had a chance to drive with the driver and knew that he would be able to push the limits and still be safe. And I'm glad we developed that sense of trust because otherwise I would have needed a new set of pants. The magic of the deleted scene is on Charlie and George's face. That's Haley and Memo reversed because they really thought, like, they can't control it. And imagine thinking, like, no, stop, stop, but they couldn't. I never once broke, and they looked like they needed a new set of pants. So that's the deleted scene that you need to see. The very first day that we shot on location, you know, having worked in animation before for 20 years, you know, it's a very controlled environment. We shot the first three weeks on a set on a stage, which is very much like what I'm used to in animation. Everything's controlled, the climate, the lights, everything. And then we had a travel day where we went up to the Bay Area of, you know, near San Francisco. And when we scattered it, perfect weather, beautiful weather is exactly what you wanted. And we got there and it was miserable and cold and windy and gray and wet. And it was like nothing we'd anticipated. And I was grabbing my head and I'm saying, this is going to be a disaster. Having never done it before, I was like, this is how it's going to be shooting on location. And everyone was just cold and miserable. And yet you'll never know when you watch the movie because everyone's a professional and they do a great job. So Haley's given this beautiful performance to then cut and then someone runs with a big parka and a space heater to warm her up in between the takes. But you know, she gives a beautiful performance you would never know she was freezing. John's a trip because, you know, I knew him before as a great comedic actor. And so this role calls for something different. It's a little bit different from what John's done before. But we definitely want to take advantage of that aspect of his ability. And so essentially we would get at the end of every scene, you know, we would shoot the scene straight and then we'd always leave a little bit of time for John to just, John to be John and do his thing and to play around. And some of those moments actually wind their way into the movie because he's just so naturally funny and charming.  She's always singing on set. And it's like you have this beautiful music in the corner and there she is, you know, creating a new song. So it was just, it was fun to be around that level of creativity. You know, I have a tendency to sing, I guess when I don't really realize I'm doing it, so that was probably a thing in between takes. It wasn't really ever a everybody join in type moment, I don't think. But apparently I was singing on set, so great. He let me throw away a lot of takes and that's where you kind of see Agent Burns drop and this peculiar individual takes some time for himself and to just fire off some insults. I hope some of those make it. There's a ton of deleted scenes.   You know, we have scenes with the robots, we have other scenes with Charlie and her work life and her family life, some really funny scenes, some exciting action scenes. In the end, you've got to craft it and if the pace lags, you've got to find ways to tighten it up. But we have, you know, we have many, many, many scenes that are going to be in the deleted scenes on DVD and home video that I think people will get a greater sense of the texture than to mention in this movie. There's this one scene where Bumblebee, where he goes into Charlie's house for the first time and, you know, Madcap, Antics and Sue, he's a stranger in a strange land, this giant, this bull in a china shop trying to figure out how these things work and he does something in the house that causes things to go completely awry and a bunch of mad things happen. It was kind of like Sorcerer's Apprentice from the old Mickey Mouse thing. Just the entire thing just goes bizarre and haywire in ways you wouldn't expect and ultimately it slowed the movie down so we took it out, but it's tons of fun. I think people would really get a trip out of it when they see it on DVD. There's a few in that, in the big board room, in the big conference room where we're talking about giving transformers access to our technology. And there was a lot of dialogue in there. They probably have an entire movie. Bumblebee isn't really there. It's a 14-foot eye line, which is a stick and a tennis ball. So to see that and then see that, that's really cool. Sometimes it was a tennis ball on a stick, which we joked about putting a face on for a while because it's literally just a tennis ball. And then another version of Bumblebee was this sort of bust-like figure of him that I was able to use when I needed to hug him or use him in that sense. So it was interesting because it was obviously very hard going from working with being in a scene with people then being in a scene with something, you know, that's obviously so crucial to the film that's not there in real life. But it was a challenge and it was fun. I tried to drive off with The Beatles multiple times. My moped as well that I ride in the movie didn't get to take anything though, but I'm still working on it. Emails are still being exchanged. Haley had most of the interactions with Bumblebee, so I was never lucky enough to get even the bust and or the head. It was just always a stick and a tennis ball. But needless to say, it was fun to perform with a stick and tennis ball, and it was even more fun to see the universe that was created. It took home a tennis ball. If you ask Paramount, I didn't. I didn't take that tennis ball, but I did. So I have a tennis ball. I can't prove in any way, shape, or form that it was from the movie. I bought a sleeve of tennis balls threw the other two away, and I have one and I claim that it's from the movie. Yeah, I think the obvious answer is Optimus Prime. I mean, he's essentially the main one. But I always had a soft spot for Wheeljack. When you watch the cartoon, the very first transformers you see are Wheeljack and Bumblebee. I thought he was so cool, and so I made sure that he's in this movie. Blinken, you'll miss him, but he's in the very beginning of the movie just like he was in the original animated series. I mean, she genuinely is a different person at the end of this film than where we meet her at the beginning. So I do feel like she has a lot to say and a long way to go. I'd be interested myself to see where that is. Honestly, I'm not being biased, but Bumblebee is my favorite transformer. So I'm very excited I get to be a part of his story. There's hints of exploring more of the transformer world. I think once we tell the basis of one character, people are going to want to see the heavies go at it. So I would like to see why the Decepticons feel the way they feel. So maybe diving deeper into what got them so jaded, I think is a cool story to tell. I wish no, no, that was done sort of post the post production, but he's wonderful and really happy to have him a part of the film. Dylan, he has a relatively small part in the film because Bumblebee loses his voice relatively early. As an animator, you're always listening to people's voices the way they speak because that's one part of the performance. The other part is the physical performance that the animator brings to life. And so if we were going to have Bumblebee speak in this movie and to see how he lost his voice, I wanted us to really have a sense of something meaningful and beautiful was lost when that voice is taken away from him. And so I was thinking about young actors with incredible voices and Dylan was at the top of that list and he came into the recording studio and he came in with such fervent energy that it was... I remember kicking myself, I was like, ah, it's a sham. I wish this was in the movie more, but because of the story we were telling, he occupies this small but very important part of the film. I was involved in one instance where I could hear that voice. But what I did hear was a man speak behind a stick and a tennis ball. Absolutely. In fact, I remember when I first saw my character, Gwen Stacy, the animated version brought to life and my immediate thought was it's such a shame this isn't live action because I would get to wear that outfit and have that hair and look so great and so cool. So if that is ever turned into a live action film. Oh my goodness, of course. Yeah, I would absolutely love any sort of opportunity that presents itself in that space.


Oh, uh, waiter. Yes, sir? I'll have cold leg of lamb with mint jelly, baked potato, I think, and a bottle of cold papst blue ribbon. Yes, sir. Finest beer served anywhere. From Hollywood, Papst Blue Ribbon. Finest beer served anywhere. Proudly present. Directors Playhouse, Production, Jezebel, Director, William Weiler, Star, Betty Davis. Directors present a portrait in Scarlet. Jezebel, starring Betty Davis, and introducing the director of the film, William Weiler. In introducing our guest screen director tonight, we refer you to your own most vivid motion picture memories. There you'll find the films he has created, among them such award-winning dramas as The Best Years of Our Lives, Mrs. Miniver, and Wuthering Heights. Ladies and gentlemen, the director of tonight's story, Jezebel, Mr. William Weiler. Thank you. As a motion picture or as a radio play, Jezebel is a powerful portrait of a willful woman, woman vain and arrogant and desirable. For the director her character in her story opens some fascinating dramatic doors. And for the actress, she presents a challenge worthy of the talents of Betty Davis, who now recreates her Academy Award-winning role of Jezebel. Team cars. Railroads. Preposterous. But, gentlemen, it's 1850. And unless we're willing to compete with the energy and enterprise of the North, the South is doomed. We need railroads. What's the Southern gentleman keep a carriage for? What if Yellow Fever hits New Orleans again? Thank you, Dr. Livingston. Mr. Lacour, gentlemen, what indeed if we suffer another epidemic of Yellow Jack? Railroads fight disease, too, gentlemen. Railroads bring supplies, medical assistance, remove the strick and carry the... Preston. Julie. Press us in Cato for you. Yes, Julie, but I... Uh, gentlemen, will you excuse me for a moment? Of course. All right, go right ahead. Good day, gentlemen. Julie, why do you... why do you do these things? You know my work here at the bank is important. I suppose it isn't important that we're going to be married. Well, certainly it is, but I... I suppose it isn't important that for a month now I've been having a dress made for the limper's ball tomorrow night and that you promise to come today to see it fitted. I suppose it's even important to you what I wear at the limper's ball. Julie, right now I'm having the fight of my life trying to bring some progress to New Orleans. Right now I have a fit in Madame Poulard's. Mr. Dillard. Give me another half hour, darling, perhaps... You didn't trouble yourself. I'll go with Ampere. Women, Zell, you look so beautiful I could cry. Oh, Julie, it's perfectly lovely. I don't like the neckline, Ampere. But it's adorable, Julie, the dress is always lovely and white. Has it? Madame Poulard, let me see the dress on that phone there. La bar? Julie. Oh, no, no, it's red. Gorgeously red. If it fits me, I'm going to wear it to the limper's ball. Oh, no, ma'am, ma'am, no, absolutely no more. Why not? You must be mad. Why? No decent girl wears red. This is 1850, dumpling, 1850, not the dark ages. Girls don't have to simp around in white anymore just because they're not married. But... Well, think of press. That's just what I am thinking of, press. Good evening, Kato. Evening, Mr. Press. Is Julie ready for the ball? Yes, sir. She's waiting for you in the parlor. Julie, I... Good evening, Press. Isn't it lovely? You can't wear red to the limper's ball. And why not? Why not? What's the matter? Are you afraid I'll be taking those girls from Gallatin Street? Julie. Oh, I forgot. I'm not supposed to know about such things. I'm just supposed to simp around in white. For heaven's sake, be reasonable. Were you reasonable yesterday at the bank? So that's it. You're nursing your spite. I wouldn't say that. Well, I would, and I do. And for once you're going to do as I say, we're going to the ball, Julie. I'm ready. But not until you're properly dressed. I'm sure Buck Cantrell would take me in this dress. Julie, we're not going to the ball this way. You're afraid someone will insult me, and you'll find it necessary to defend me? If you're quite ready, Julie, we'll go to the ball. Wrap, my dear, before we go in and join the dancing. Press is a little cool. Yeah, I think you'll find it's much warmer inside. You'll wrap, Julie. Evening, Mr. Martin. Aren't you forgetting the lady? Good evening. Evening, Dr. Livingston. Evening. Evening, Buck. Pleasant evening, Buck. I don't find it cool. Do you, Julie? Well, no, I don't... We don't find it cool, Buck. No, I reckon not. Now you mention it, I reckon it's just right. Press, take me home. We haven't danced. Oh, press, everyone's staring at us. Isn't that what you wanted, despite me? But they won't play for us just one couple. They'll play. Orchestra? Press! Why don't you play? Play! Now, Julie, my beloved, dance. Press! I said dance. Take me home, press! Take me home! Goodbye, Julie. Is that all you've got to say to me? There's nothing to say. Even if I was wrong? You couldn't be wrong. You're Julie Marsden. Am I to get down on my knees to you? That would be interesting, but useless.  No, Julie. You've made up my mind. Well then, good night, press. Goodbye, Julie. Good night, press. Yes, Aunt Belle. What happened? I couldn't help overhearing something just now. I sent press away. Julie, don't let him go. Go after him. Me? After him? You love him, Julie.  He'll come back. Oh, not him. Not Preston Dillard. He'll come back tonight, I think. Never. When he does say, I've retired. Tell him I'm sleeping late in the morning.  Tell him not to come around until tomorrow afternoon.  Tell him! Tell him! You are listening to Screen Directors Playhouse production of Jezebel, starring Betty Davis as Julie Marsden, with Gerald Moore as Preston Dillard, and introduced by the director of the film, William Weiler. Our in Pittsburgh. Steel mills are going full blast. You, muscles tired, and face scorched from the glare of those fiery furnaces, shuffle homework from your day's work. Right now, you'd give your wilted shirt for a... Say, wait a minute. What's that little blue sign in the tavern window? Oh, brother, perhaps blue ribbon. Finest beer served. Anywhere. Yes, during these hot August days, you're just one of millions of men all over America, to whom that perhaps blue ribbon sign means welcome relief. Or perhaps blue ribbon does something more than quench your thirst? It gives you taste. Blue ribbon taste. The kind of taste you can't get anywhere else in the world, except in that perhaps blue ribbon bottle.  Yes, you hear it everywhere, in Pittsburgh and Providence and Pawtucket and Pensacola. Perhaps blue ribbon. Finest beer served. Anywhere. Your taste will tell you why. Back to Screen Director's Playhouse Production of Jezebel, starring Betty Davis. A year has passed since Preston Dillard left New Orleans without again seeing Julie. A year in which Yellow Fever has come to New Orleans. A year of remorse in which Julie has withdrawn from the gay life of the city. Wonderful news. Julie? Yes, Aunt Belle? Oh, Julie, Prest has come and back to New Orleans. Prest back from the north. Dr. Livingston told me.  It's the Yellow Fever, Dr. Livingston said. Prest always had his own ideas what to do about the fever, so he's come back. I knew he would. He had to come to me. He wouldn't know how to fight as hard as I have to keep from going to him. We'll be married. Oh, Julie, my dear. I beg his forgiveness. I'll humble myself before him. All that ever stood between us will be gone when he takes me in his arms. They're not sure. We will open up this house again to everybody. We'll have a party here at Halcyon. It'll be like old times. We'll have a party here. Preston, his brother Ted, Buck and Trell, everybody. Kato, Kato! Miss Julie? Here, Aunt Belle, carriage coming. It's Prest. Be calm, dear. I'd better go welcome him. Tell him I'll be in the drawing room waiting for him. Oh, Prest, I can't believe you're here. I've dreamed it so long. I put on this white dress to help me tell you how humbly I ask your forgiveness. Prest, I'm kneeling to you. Julie, don't. I want to. But you mustn't kneel to me, Julie. As I love you. As I've always loved you. Julie, let me help you up. Listen to me. Things have changed. Come in, Amy. Amy? Julie, this is Amy. My wife. Your wife? And you, may I say, are cousin Julie? Your wife? Pressure? Joking? No, Julie. My... My felicitations. Welcome to Helsen, Ms. Dillard. Thank you, Julie. I'll show you to your room, Mrs. Dillard. Yours and Press's. I'm so sorry, Julie.  I don't want to be wept over. I've got to think to plan. They're married, Julie. You can't fight them. Married to that little washed-out Yankee. Press is mine. No, dear. He loves me. Don't make him want me. Julie, you mustn't. You'll see. It's lovely out here on the veranda, isn't it, Press? I do wish you had involved me and Buck Cantrell in that pointless North-South discussion. I'm sorry, Press. It is beautiful out here. Press, why did you do it? I love Amy. But you had my love. And lost it. Oh, I ought to have come to you. But you came to me because you belong here, Press. Nothing can ever change that. Listen. Hear the night noises, Press. Do you see the moon in the cypresses? It's all part of you. The mockingbird in the magnolias, the blue haze on a spring morning when the air's so soft. It presses on you like a kiss. It's the land you love, Press. It's a red flower over a gray wall. It's the river rolling down and down through the country you were born to. The land you know and trust. Oh, Julie, listen. Oh, it is untame and easy like the North. It's quick and dangerous, but you trust it. Remember how the fever miss-smells in the bottom rank and rotten, but you trust that too because it's part of you, just as I'm part of you. Kiss me, Press. Julie. As I'm part of you and will never, never... Julie, darling. Never, never let you go. Julie, you. You? Nobody ever made me cry, but you. Nobody but you ever slept. Forgive me. Forgive me. Sorry, Press. Excuse me, Buck. What's bothering him, Julie? Nothing, Buck. It's something. Perhaps his stay up north made him forget his manners. If Press offered you any insults, Julie... Take me inside, Buck, to my guests. Isn't anybody going to play the piano? Amy. I'm not really very good, Julie. Well, I could sing. Heaven forbid I've heard you tell. I think your brother-in-law sings pretty good, Mr. Sammy. Sure. Serenade the girl's arm in arm, Buck and me. What's that? Cannon. Why? The army fires cannon in the city to fight the plague. What good can that do? Everybody knows in the south it starts air currents that carry away the fever. They do better to drain the swamps and clean up the city. Maybe they do that in Yankee land. Yes, Buck, they do. Understand Yankees eat horse beans, too. Everybody to his own taste, I say.   Mr. Press. Yes, Cato? Dr. Lemonson to see you, sir. I'm sorry to break things up like this, but, Preston, you better go with me back to New Orleans. What's the matter? La Cour is down with the yellow fever. He's dying. He's asking for you. Come on, doctor. Be careful, Press. Don't worry, dear. You'll look after Amy, won't you, Ted? Sure will. I do hope he'll be all right.  But I suppose his bank comes before his chivalry. What an unkind thing to say. Seems to me you'd know Press better than that, Julie.  How Julie's been using you all evening. Ted, be quiet. I'd keep Miss Marsden's name out of your conversation, boy. All right, Buck.  Ted! Very well, Mr. Dillard, sir. Happy to do you the honor, you young jackass. Ted, you'll apologize to Buck, of course. If he will to me. Young jackass. I'll apologize in the morning with lead. Good morning, Amy. It's a lovely morning, isn't it? Is it, Miss Marsden? Where are the gentlemen? You know very well where they are and what they're doing. Of course. I envy them, Amy, to face what you hate. To kill or be killed. We women can't do that, can we? You savage! Amy. Ted, Ted, are you... I'm all right. Buck's dead. Julie, I never saw a man die before. He was my best friend and now I've killed him. Julie, do you know what you are? What am I? I'm thinking of a woman called Jezebel. Ted! A woman called Jezebel. Who did evil in the sight of God. Get out. Evil. Ted, that's enough. Jezebel! Jezebel! Jezebel!   Miss Julie? Miss Julie? In here, Kato. Miss Julie, I just read in from New Orleans. Dr. Livingston sent me back from Miss Amy. What's the matter? What's wrong? Oh, Mr. Pritz got the fever bad. The fever? Oh, no. Yes, I'm here at Miss Julie's house in the city. Y'all better get there quick before they take him to that leper place. Leper place? Elizabeth Island, where they send fever victims to die. Oh, no, they can't. I'll get the carry, Gina. I'll go with you. You better hurry. Kato. Miss Julie?  Saddle by a bear riding back to New Orleans to Mr. Press. Press. Ed. Hurts my head. It's pretty bad, Julie. Press, darling. White dress. For me. Red. Red flower over a gray wall. You shouldn't have come. Julie. The river. The river's rolling down. Press, press, darling, there. Doctor. Doctor, how can I help him? The river. Ice. Cold compressors. Doctor Livingston. Come in, Amy. Head. Julie, I rode ahead. How was he? Doctor. They're taking press away. Elizabeth Island? He reported the case. How would it look, Julie, if there was one law for the rich and another for the poor?  They all do. I'm going with him. Oh, you can't. Arrange it for me, Doctor. The place is a charnel house. Please, Doctor. You're asking a mighty terrible thing, but since you want it. Thank you. Come with me, Ted. We'll need some stretcher bearers. Amy, you can't go with him to Lazarus. He's my husband. I love him. I know, but loving him isn't enough.  What do you know of the Creole words for fever, powder, for food, for water? Do you know how to make an overworked servant fear and help you? Press his life and yours will hang on those things and you'll both surely die. Then it must be that way. Amy, it's no longer you or I. What do you mean by that? It's press now and I'll make him live because I know how to fight better than you do. I'll fight. I'll fight to the death. I know you'll fight to the death, but I'll fight death itself. Amy, if you only knew the horror of that island, they'll put press in an open shed with a hundred others. You must watch him day and night, bathe him, give him drugs. He'll have to fight for his food and his water and put your body between him and live and death. I'm not afraid. No, I think you're the bravest woman I ever knew.  Amy, help me. Let me make myself clean again. Does press still love you? It's his life that matters nothing else. Tell me. We both know that President Dillon loves his wife. Amy, thank you. God protect you both. Men, you have just heard the last act of Jezebel. In a moment, our star, Betty Davis, and screen director, William Weiler, will return to the microphone. Every so often, you see photographs and movie fan magazines of elaborate costume parties in Hollywood. What you may not know is that these glamorous affairs are staged for publicity purposes. The real Hollywood is a quiet, unassuming place where most of the stars lead normal, home-loving lives, just like you and me. Their entertaining is usually simple and unpretentious. A few good friends have a face supper of, well, perhaps sliced chicken, mixed green salad, and, you guessed it, tall welcome glasses of cold, perhaps blue-ribbon beer. Everything in perfect taste. Blue-ribbon taste. And it's that blue-ribbon taste that makes this internationally famous beer so popular here in Hollywood and all over America. Yes, you hear it everywhere, in New Jersey's beautiful shore resorts, in Kentucky's blue grass region, in Nevada's cool vacation spots. Perhaps blue-ribbon, finest beer served anywhere. Your taste will tell you why. Next week on Screen Director's Playhouse, perhaps blue-ribbon presents Love Crazy, starring William Powell. Now here again is tonight's star, Betty Davis, and Screen Director, William Wiley. Willie, it's been a long time between performances of Jezebel. Yes, about 11 years, Betty. I think we made the picture back in 38. That was the first time we worked together. The first of three under your direction. I hope we'll be making it four soon. So do I, Betty. Maybe we'll create another deathless studio expression the way we did on Jezebel. Oh, you mean Carriage Common. Wasn't it amazing the way everyone picked that line out of the script and used it for everything they wanted to say? Yes. You never knew whether Carriage Common meant hello, goodbye, or let's shoot that scene again. Well, by the look of the clock, I think right now it means good night. Carriage Common, Willie. Carriage Common, Betty. Carriage Common, everybody. And Carriage Common to you, Betty Davis, and screen director William Weiler.  Check up on your supply of Papst Blue Ribbon beer.  Two whole days to relax and take life easy. Be good to yourself. Be good to your friends. Serve Papst Blue Ribbon. Finest beer served. Anywhere. Your taste will tell you why. Jezebel was presented through the courtesy of Warner Brothers Studios, producers of the Technicolor comedy. It's a great feeling that he, Davis, will soon be seen in a Warner Brothers picture beyond the forest. And William Weiler's forthcoming production for Paramount is The Heiress, starring Olivia DeHavilland, Montgomery Clift, and Sir Ralph Richardson. Included in tonight's cast were Gerald Moore, Paul Freeze, Ralph Moody, Jack Edwards, Eleanor Audley, Margaret Brayton, Jester Hairston, Betty Moran, and Dan Riss. Jezebel was adapted for radio by Milton Geiger, and original music was composed and conducted by Henry Russell. Screen Directors Playhouse was produced by Howard Wiley with dramatic direction by Bill Karn. Listen again next week when Papst Blue Ribbon presents Screen Directors Playhouse production Love Crazy director Jack Conway star William Powell Screen Directors Playhouse is brought to you by the Papst Brewing Company of Milwaukee, Wisconsin, New York, New Jersey, and Peoria, Illinois. And set your way with the best wishes of the Papst Blue Ribbon Dealers from coast to coast. James Wallington speaking. This is NBC, the national broadcasting company.


n't get misinterpreted I'm in no way against the idea of moving forward quickly with this process and I hope you didn't misunderstand me all I was trying to say earlier was that it is important for the success of this project that public buy-in be substantial without knowing how to define that exactly that means somehow figuring out a mechanism by which the public has consistently informed one but two more importantly listened to as opposed to simply being informed too much of the too much of the dialogue between the town and the citizens is related to the town telling the citizens what is going on we need to have more in the other direction and I really hope that this process which is absolutely important and should be pursued quickly has that kind of aspect to it Janet could we just wait on this vote for two weeks and collect some more information and reflect a bit for another member who would like to wait another two weeks or so I don't so at this point if there's more questions I'll take them I think that again to echo Chris's earlier comments I think that encouraging with a vote to start the ball rolling does not in any way and Janet any work that anyone does to go here was what happened there wouldn't be helpful especially early days but I think that just I think that what Mr. Morris looking for is just the encouragement to start and with the confidence that will ultimately figure it out as we go along do the members want to take a vote or talk about this more I move the previous question okay show of hands in favor I see six no and abstain I hope that helps we're looking forward to you coming back and we'll see it zoning subcommittee sounds good thank you thank you you're critical he designed it and built it there you go so I'm going to move item B of the zoning by law update and rewrite yeah that's great is that alright Amherst media we're just going to take a four minute break okay great thank you we're going on to item four I think item B discussion of proposed draft zoning by law amendment process so we do have a proposed flow chart for zoning by law amendments in our packet with some backup information behind it on reasoning why the flow chart looks the way it is Ms. Bestrup do you have a introduction on this item I can give a quick rundown on this process here it's really not too different from the process that the planning board used when we had a town meeting form of government but we will be interacting with the CRC at various points along the way so I'll just start at the top of the page the town council starts the process that's when they receive a by law amendment from either the planning board who's been working on it or a counselor might submit something or town staff or a resident who is submitting a petition once the council receives a zoning amendment they pass it on to the planning board and to the CRC the community resources committee of the town council and then the CRC and the planning board so once the planning board receives the amendment well excuse me the town council has to pass it on to the planning board within 14 days of receiving it so that's part of the time frame it says the deadline is directory not mandatory which means that if you don't follow that direction it's not a fatal flaw but it's well recommended to have 5 days in which the planning board has to hold a public hearing so if the planning board is initiating something you wouldn't really send it to town council unless you were pretty sure you were ready to hold a public hearing on it you wanted to have it pretty solidly drafted so the town planning board receives the document and then starts the review process including whomever they think would be an appropriate body to review it with the zoning subcommittee would be the most appropriate body but presumably the zoning subcommittee has seen it already meanwhile the CRC is keeping in touch with the planning board and making sure that they know what is going on what's being proposed and try to understand it the CRC will send feedback to the planning board if they think that would be useful then the planning board once it decides it wants to hold its public hearing it needs to notice within 14 days and send that notice to cities and towns and the DHCD the department of housing and community development and the pioneer valley planning commission and all the planning boards for the surrounding towns we have to hold it within 65 days like I've initially said and then we have to publish it 14 days in advance of the public hearing and then usually about 7 days in advance of the public hearing so one unique thing about having this town council form of government is that the town council has made a decision that they think it would be a good idea if the CRC and the planning board held a joint public hearing the town council is required to hold a public hearing on zoning amendments and they're designating the CRC as their body to act in their behalf to hold a public hearing so why hold a public hearing, why have CRC hold one and the planning board hold one why don't we get together on that so that's what this middle section where the two large boxes are then the planning board does its final review and revise whatever is being considered and the planning board votes on the proposed amendment with input from CRC and submits a final report to town council now that's the same as the final report we used to submit to the town meeting and often the planning board members would take a role in doing that but often staff would also do that I'm looking at Maria because she wrote a few of these reports and then once we submit our final report to town council then it's really up to them to work through their process the CRC will vote to recommend to make a recommendation to town council and they will forward the zoning amendment to the GOL and I'm afraid I don't remember what those government organization and legislation committee and that's part of the charter that the GOL needs to review and act on this so the GOL finalizes its review and votes and the town attorney obviously reviews all of these things we want to make sure that we report with the state law then the GOL passes this on to town council for a first reading then the town council does its second reading and votes and the vote must be held within 90 days of the CRC public hearing so this process seems very complicated but it's really not we went through a process very similar except I don't think we had CRC back in the summer when we repealed the old zoning bylaw and replaced it with the zoning bylaw that we have today the zoning bylaw that we have today reflects all of the changes that were required by the town charter so we've been through this process once before we work with the town clerk and the CRC and the town council to make sure that we do everything correctly but it's not as complicated as it seems does anyone have any questions Michael before we get to the box at the top of the page if the zoning amendment originates from the planning board we've been through the zoning subcommittee and the planning board before it is before box the top box now are we we're not holding public hearings at that point the zoning subcommittee is essentially writing a new bylaw amendment and zoning bylaw amendment and the planning board is approving that without any real public hearing is that correct all zoning subcommittee meetings and all planning board meetings are public meetings I understand that but not a public hearing as it's defined there isn't any public hearing until further down the line but if the planning board feels that they want to hold a meeting that would be focused on a particular topic a particular zoning amendment they can hold a separate planning board meeting and invite the public specifically for that purpose so that might be something that you want to consider doing did we not went back in the old town meeting days did we not hold public hearings prior to submitting the on a zoning amendment prior to submitting it to town meeting so it was a little bit different back in the old days what generally happened was that things were initiated by the planning board the planning board held a public hearing and then passed it on to the select board to put it on the warrant that's not exactly the way it should have gone according to Hoyle if you will it should have gone to the select board and the select board should have passed it back to the planning board I've spoken with our town attorney about that and he said that a lot of cities and towns miss that step they don't go upstairs and then have it come back down again they just started at the planning board level the planning board holds a public hearing then it goes up to be put on the warrant so it is true that we did hold public hearings prior to submitting something to the select board in the old days but in this rendition we're not going to be doing that we're going to be holding public meetings then after it goes to the town council and comes back to you then you'll hold your public hearing I think that's much clearer because I was thinking about the old way and the fact that we did have public hearings official public hearings before we went to town meeting Mandy Joe she I think worked a lot on this and how it was described to me is there's you know two different ways but if it's created in the zoning subcommittee and then it's this planning board review it's going back and forth between like zoning subcommittee and planning board and then planning board's like oh we think this is pretty much ready to go sort of like what we used to do before town meeting we were like oh yeah this is getting close this is probably ready she was saying at that time we would send like a memo to town council at the top saying we have something that's pretty much ready to go and then that's their trigger to sort of think about are they ready to receive it right in this moment because one of the questions I had concerns is that the way it was is twice a year we had town meeting you had it in the spring and we had it in the fall and it really created a heavy rhythm for planning board but also for staff they knew we always knew when it was about a month before town meeting because Chris would kind of be like okay I gotta start focusing and getting this stuff ready for town meeting but what could happen with this is I don't think the intention is that every little bylaw either coming from people or coming from us would be inconstant cause this could be constantly going and constantly being fed to CRC and town council and have multiple ones going on at the same time at different stages which would be awful so I had just asked I don't know if there was any more discussion about it you know maybe it doesn't say this in this flow chart but maybe it will be only like three or four times a year I have no idea but so that they would collect them a little bit so we would tell them from zoning subcommittee we've got one that's ready one that's almost ready whatever and they would start to prepare how they were gonna initiate this flow chart and that it isn't just always like an open door to start like every week of the year does that did you follow any of no I've been following the CRC and I'm following it now I'm actually more confused so so so zoning subcommittee we actually have a bunch of things in the batch and so you know say we decided okay you know even though we had this other process going let's do the mixed use building and whatever and so we could say to the planning board you know vote you know like it's time for public hearing like you know talk to the planning board planning board says yeah if you're ready to go then we have to send it back to the town council and then they send it back so we can have the formal public hearing exactly because that could go on that you know because I kind of thought that the process would be the planning board would hold the public the formal public hearing send it off to the town council and they can just batch it and decide what they do with it they don't there's no time constraints on their part we could just keep on sending stuff sending it to them and they can decide okay we're going to focus on zoning in you know whatever so I'm a little confused so it seems like are the timing of the formal hearing is really triggered by the town council I hear you so part of it is if zoning subcommittee working on it and then you think oh it's ready to at least go to planning board and of course all of our meetings are public you know so it's announced it's on the agenda it comes to planning board and then planning board talks about it and says oh yeah you're right this is perfect or no what have you thought about this this and this and it goes back to zoning subcommittee and then we could take a vote just that we think it's ready to go to town council and then it would go up to town council and then then it starts this process so part of the thought of having the joint hearing is it's it twofold one it helps the public so they don't get confused and show you know like it's one meeting and it's broadly announced so people who are following CRC or town council might know about it or people who are planning planning board they might know about it and they comment it streamlined so that members of the public don't feel like they have to come to two different meetings to voice their opinion and they can just come once the other part is if you start sending if we just cook it and we're like yay it's done and we kick it off to CRC or right away if they haven't been involved enough in the process and have another meeting with other people coming and bringing things up it's just setting up that process where they're gonna have to keep sending it back to us so we're trying to reduce some of that send it back to planning board by doing it together so we're all hearing sort of the same stuff because we haven't approved it yet if you notice the red box is further down the whole joint hearing so potentially after that joint hearing it could go back to zoning subcommittee to get like a little more finessed or tweaked and then continue on again. Okay so that so I sort of get that better and so then once we have the joint hearing and the planning board we decide this is fantastic and then we send it off we've had you know we've had our formal joint hearing we think it's fantastic we send it off to the CRC and I assume at that point we sort of just have no control over it right and so the CRC could say we like most of it we want to amend it they could probably I don't know if they have the power to do the amendments and then they go to the council maybe they send it back to us so at some point we just hand it off and just shake hands and say good luck we hope it passes and then obviously be involved with the reporting and presentation presenting so but the town council has the authority to amend it and decide what the final looks like so there is a handoff. It's not too different from the way it worked in the old days after the planning board held their public hearing and they wrote their report to town meeting it would go to the warrant review committee and the warrant review committee would put it on the warrant and then the moderator would say oh there's a problem you better fix this so we would work on fixing whatever wording needed to be fixed and then sometimes when it got even farther along until it got to the final warrant it could be adjusted so you know there's always that opportunity and then even on the floor of town meeting we didn't think this was a good idea but on the floor of town meeting things changed so I'm sure that once they get to town council there's the possibility that something wrong with what's being proposed things will change so it's not like it's you know locked in or carved in stone or something so they could refer back a little but you have to remember there's taught like so this is a flow chart it's not a timeline which also shows you a different criteria that hold it in you know you have like it says in the bottom box vote must be held within 90 days of the CRC public hearing so that's yet another reason why they're trying to tag in tightly what works hearing and seeing and working on and what CRC is updated on because you know it can go back and forth to us but not that much because we're working under this built-in timeframes I also think that once it gets to town council town council can vote to agree with it and adopt it but they can vote it down where they can vote to send it back to the planning board for more work just like the town meeting used to do you know they can send it back if they don't feel like they can adopt it at that time.  I don't want to discuss this item tonight but I just want to pose the question to ask either the CRC or town council could they give us a sense of the bundling of this like do they want to see six at a time two at a time like just for us to sort of know path moving forward like for the zoning subcommittee or like how we should sort of target our sort of work ahead but I don't want to discuss it I just whoever's in cahoots with the CRC and town council. We do have some CRC here. So it'd be great to get a sense of that so we can know how to move forward. Yeah and how they would want to do it the first run like do they just want one something kind of simple do you want to test it one time and then then how to bundle it and if we are giving thought to how often like would it be quarterly or something like that because I know there could be other amendments that come from other sources to that so it's not just us. Any other questions so I'm not sure what CRC wants I wasn't going to get you involved in this but I'm not you know we're looking at it we've got a little feedback I appreciate the questions yeah do you want to come up either you can say no state you know we'll get back to you or do you want to come up okay so at this point this is all we have to do are there any other last thoughts that you want to send to them? I would like to see a series of boxes above the first box which says which recognizes the fact that many zoning amendment proposals will come from the planning board directly through the zoning subcommittee and that should come before town council receives it seems to me because I think that would make clear that the planning board and perhaps the zoning subcommittee will have to be dealing with these things these amendments on at least two occasions after we think they're finished which seems to me to be too often and unnecessary from both our point of view and from the council's point of view because I think while there may be technical changes and there may be some specific objection to proposals that come out of the planning board and the zoning subcommittee and the planning board it's the town council's responsibility to vote them down or dismiss them if they're not appropriate so rather than sending them back to us on a regular basis I understand that it might happen occasionally but rather than making that an assumed part of the process it would be I think more helpful to everybody if that were an unusual part of the process rather than the assumption I think if it's the assumption then it's simply making more work for everybody to do that I may be wrong but that's my sense Doug Chris so I just wanted to say that there's I probably didn't emphasize the right hand side of the page that much there's an opportunity for the CRC to be involved all along the way and one of their responsibilities is going to be meeting with the planning board figuring out what the planning board is doing and reporting to town council the whole time so I don't really feel like something's going to get to town council without the town council having a clue about what's being proposed or not having had some opportunity to give input through this whole process even before it gets to town council because we are going to have a CRC representative who's going to meet with the planning board one already who's meeting with us about master plan issues and then the CRC is going to designate one of their other members to come and talk to us and be aware and transmit information about zoning bylaws so there will be a lot happening before town council receives the document but I think town council will be well aware of it by the time they receive it well like I said it's just the oh sorry Doug go ahead it's getting late I know I'm like you don't want to talk no I'm kidding go ahead so what I was going to say I think was just negated by what you said Chris because I was going to disagree with Michael that we needed the process after we sent it up to town council we needed them to send it back but at that point we started to get comments from CRC and town council I mean they're they're not going to want to approve anything that they think they're all going to lose their get voted out of office for approving right I mean even if we think it's the greatest slice bread there ever was well you don't? we're not elected officials and I think earlier there was some conversation about how public is going to be able to be involved in zoning changes and well we have enough we have a process that lets enough of that come through well it'll come through during the hearing and then it'll come through in scads of emails to town councilor inboxes and so I mean if the process leading up to the top of this page doesn't include significant CRC communication then we definitely need a place for that to happen and that's what this suggests is where it happens I'm not sure I did anything but waste everybody's time with that but sorry so I think I'm just very tired but I think what Michael was saying and I see the need for is to do a flow chart about what when it starts planning board so this first thing it says town councilor sees proposal zoning bylaw from planning board whatever and I don't know if I'm just tired but it seems that it'll be sort of a different process for when we are sending things up to come back again and loop around and it's just a little hard for me to see right now it might be helpful to pull that one out on a smaller chart I think Mandy Jo did have two charts one of the charts started with the planning board and one of the charts started with others but in the end it looked like the process was exactly the same once it gets to town council so this is really something that we're sharing with CRC and town council about how the overall process is going to work how the planning board process works itself is completely up to you and it can work just the way it's always worked which is zoning subcommittee comes up with the initiative and creates the document and then presents it to the planning board and talks to the planning board and they say no it needs more work and then you go back to CSC and they work on it and then they bring it back to the planning board so there's a lot of back and forth between the CSC and the planning board before it ever gets to town council but that's not really reflected in this you might want to do a separate part that describes what the planning board process is before it goes to town council just she tried and she ran out of room but I don't know if anyone, it's not really part of the flow chart but on the bottom left above the draft box is one that says CRC aims for a collaborative process that includes information and feedback sharing on potential proposals while they work their way through the planning board process prior to the process shown on this chart so that was sort of the and again Mandy Jo has been here before she was like I'm not going to tell you how to do your business and this is the zoning subcommittee and planning board's business so that box is sort of the yep we've got to figure out how we're going to fit into their structure which is mostly mandated by various charters and law and such which is some of it is if you really want to get like stimulated on this the back three pages are just full of details so yeah go ahead I wanted to say what the back three pages are it's a book they're good stuff it's a book that Bob Richie who used to be the town attorney and then was the assistant attorney general for the state looking on with former planning director Bob Mitchell to try to make sense out of land use in Massachusetts it's called the guidebook to Massachusetts land use so this is their attempt to plot the path of zoning amendments as they make their way through a city or a town council a city council or a town process and so this is really based on state law and that's what Mandy Joe was basing her chart on to try to hit all the requirements of state law and also to hit the requirements of the charter and this chart here that Bob Richie and Bob Mitchell worked on is also annotated to show how it fits in with the charter the little red writing refers to charter sections so you have to read this with kind of an open mind and think about state law and the charter both at the same time but we have to meet both sets of requirements and that's what this is about it's very detailed but it is really good if you really want to know then get a good drink and soak it in is this enough for tonight and we'll wait for CRC to come back with more maybe they'll even tweak this I don't know alright thank you thank you for hanging out with us alright we'll move to item 5 master plan update Christine Bester planning director progress of the master plan update so I have been working on the master plan update and we'll tell you a couple of things I've done but let me get a drink of water it's dry in here so I'm starting with the land use section which is chapter 3 because that's the chapter that I know the most about and I thought I would approach it that way and try to just get as much done on the land use chapter and then I would move on to something else but immediately when I started I realized I was going to have to reach out to other people to get input from them, get information from them you know people who have information about demographics or land use or all the various topics that's covered by the master plan so I wrote a pretty what, involved email to many department heads including the school department and DPW and town manager and I don't even remember all the people I wrote to just outlining what it is we're doing and the fact that we're going to be spending 6 to 9 months on this and we will be reaching out to people for information input and help all along the way the impetus for this was that I started into one person and I realized that person has no idea what kind of a project this is, how long it's going to take how many times I'm going to go back to them for same type of information so I just sent out this email and captured what it is we're doing I think I copied Christine Gray-Mullen but I may not have so anyway that was one step that I took then I spoke with the IT department about the different ways that they can help us and they have a tremendous amount of data available through our GIS system so they're very much on board and they're going to fit in our requests to them with all of their other work but not feeling like they have to do it immediately they're going to be able to work over time we also have our new staff member who happens to be very good at GIS so I am asking him to work with IT to gather a lot of this information and particularly for land use it has to do with how much more land do we have in conservation restrictions than we had back in 2010 how much more land do we have in APR than we had in 2010 how much more land has been developed for mixed use buildings or any number of things there are all kinds of things that they can help us with so they're currently getting up to speed and working on that in mean time I've been going through the text of the land use section and just sort of putting in things that I know about that have happened and trying to assemble information about all the various plans I think we have a list that Christine Gray Mullin asked me to put together a few months ago a list of all the plans that have been done since 2010 so we're going to incorporate those so little by little I'm getting a handle on this and I'm hoping to bring you a kind of a rough draft of Chapter 3 by the 18th of March of course it will have to be before then because you'll need to have your packets for your meeting but anyway that's my goal and it's going to be rough and I'm sure that you'll have a lot of suggestions about different ways to handle it different information that needs to be put in I've received some input from Mr. Levenstein which is very helpful things that he thinks need to be talked about in the master plan and if you all have ideas about that please send them to me but I'm feeling good about it I'm feeling like I'm on my way thank you I hope the next chapter you pick is a shorter easier one did actually none of the chapters are very short except open space and recreation is 8 pages but the others are all over 10 pages and land use is 23 pages but that's what I do all the time so I figured if I can't do that I can't do the others so that's where I started thanks any questions for Chris Janet so are you thinking like the land use chapter with the implementation section like what I'm doing is I am putting in wherever we have implemented something if we have done an action that's based on that strategy I'm noting it and you know trying to bring people up to speed about what have we accomplished in the last 10 years so that's the kind of thing that I'm doing or if you know if we've done the opposite I would mention that too so you know just all the different things that I know about I've been here for 15 or 16 years now so I've seen a lot over that time period so but I'm sure that you all will want to add to it or maybe change it or whatever but that's the whole point of this process so the other I hate to ask something about 25 I struggle to find all the plans the town has done can that all be just put on the planning department web page or our web page or both because I sometimes can't remember what committee did something and I'm always kind of fishing around and then you would do the search and then you come up with these odd things so that'd be great thanks great so we look forward to seeing the first draft roll out thanks Chris we'll move to item 6 planning and zoning item a z s c report we've discussed everything but I do want to add that the zoning subcommittee meetings or joint meetings with the planning board so everyone's welcome to come in it's going to be a lot of meaty stuff coming around any public comment about the zoning no there's not okay other nothing seven old business decision signing I sent it out late this afternoon and I acknowledge that you may not have had an opportunity to read it if you don't feel comfortable signing it tonight you can read it and come in and sign it later the reason that I'm sort of rushing this is because Mr. Robleski who was here tonight has a special permit that you approved on February 5th so it's taken until now to draft this decision and he's eager to have this signed and filed with the town clerk so that he can move ahead with his project now that he's got his site plan review approval so in any event if you feel comfortable signing it tonight you could do so if not and you want to you know read it and then come in and sign it during the week you can do that if you have any big major changes to it I guess I have to bring it back to the planning board but if they're just auditorial you know typos or whatever anyway how do you feel about signing it tonight I'm happy to sign it tonight it's pretty short so do you want to just pass it down and whoever can sign it they can sign it and if you don't want to and read it come back when is the when do you want people to come back in to sign it I would like to have it signed soon because I'm going to be working on the site plan review approval now that you've approved that I would say in the next week by Wednesday by next Wednesday you can manage to do that so try to come in before Wednesday morning or something I assume I don't need to sign it that's right this is the special permit this is the one you want to sign it because it's your first we don't take them home and frame it now the special permit you voted on didn't you? we started it after you came voted on it on February 5th it was a one night it was a one night public hearing and it was just about the little addition to the back of the white house at 462 Main Street and everybody agreed that that was an okay thing to do and this is a pretty skeletal decision so great on that topics not in recently anticipated 48 hours prior to the meeting can you give a really short update to everybody about Amherst Hills because we've been pushing it off every week and every week so yes I can talk about that if I can still talk so Jim master Alexis who kind of leads the group of residents approached me with not along a five question list of questions that he had for me and for town council Joel Bard about why things weren't moving ahead faster so I sent that list to Joel Bard who happened to be out of town at the time and I offered to meet with Jim master Alexis yesterday morning with two other members of the residential group from Amherst Hills and it just so happened that Joel Bard was available to talk to me on the phone yesterday morning so I spoke with him for about a half hour and then I met with the residents and I managed to kind of keep Joel Bard on the phone while I was meeting with the residents so they had a chance to talk to one another and it was really useful because they got to understand why Joel was giving us the advice he was giving us so in the end what Joel advises is really the best form of security for a subdivision and he would recommend that the town consider reimposing the covenant that's something that the applicant or the developer is actually agreeing to but there's a question about how worthwhile the lots are that would go under the covenant there are allegations on the part of the residents that many of the lots aren't worth much at all because they have wetlands on a road that's not developed yet so what we're currently thinking and the residents whom I met with yesterday seem to more or less agree with this plan that once we get the conservation commission to tell us what the significant wetland issues are on these lots then I can reach out to a realtor or an appraiser or somebody and get a pretty good idea of what the lots are worth and then the planning board can decide if that form of security is worthwhile is what you really want Joel reminded me that a covenant doesn't allow the planning board to acquire the lots that are under covenant all it does is it gives the developer an incentive to finish the infrastructure so that he can get the lots released so he can sell them and make some money so if the lots aren't worth anything there's not much incentive but if the lots are worth something there is incentive so that's one option for the planning board to take we won't know about whether that's a worthwhile option for a few months because the conservation commission can't determine anything about vernal pools or wetlands right now probably late April and this was actually something that Jim master Alexis brought up was well maybe we're better off staying with what we have right now which is $288,000 in a three-party agreement and a strong recommendation to the building commissioner that he not release building permits on those lots which has been filed with the registry so that is something to keep the governor's feet to the fire to continue to work on the infrastructure so I think the residents are going to go back and talk among themselves about what they think about this and the planning board will need to make a decision at some point a few months down the road about which option you think is more worthwhile but it's something that you don't really need to face immediately and I'm hoping that we'll have some good information for you late spring or early summer thank you for that it's good for us now because it was kind of hanging out there and it's good to know any questions are real good okay eight new business item a discussion and potential vote to move planning board meeting to 630 so this is something our new member had suggested and I think we all went home and thought about it what are the thoughts here are people up promoting to 630 or do they want to keep it at 7 any strong preferences David well if we move to 630 we'll continue to move to 11 so I mean to keep the purpose is there a way in which we can consider this as well as putting a limit to the because they're just relevant I can't concentrate on that so the zoning board of appeals has been known to put an upper limit on their meetings sometimes they come into a meeting and the chair will say we're not meeting past 9 o'clock or whatever the hour is and they really stick to it so that's an option for you to consider if we do that then we probably ought to put a time frame on each item on the agenda if we do that then we're going to put a time frame on the agenda if we do that then we're going to put a time frame on 5 35 minutes something like that I think if I may what happens is you just don't get to the other things that are on the agenda you just postpone them to the next time so would people consider like 6 to 9 I could meet at 630 or 6 I just don't know what's going on with the board and I felt good first of all our agendas are light and a lot of them go to like 11 o'clock or later I was horrified I was like looking at brain trees and another point is in general they're 5 people but they still go long because I was thinking like I always knew we were a larger board than most towns the average is 5 and I thought oh well maybe ours go longer I don't want people to talk but that doesn't seem to be the case and when I looked at the ones that were going late they just have a lot like believe it or not think about these towns around Boston that they just have so many special permits and site plan review that they're just totally loaded and I mean we already meet twice a month sometimes we meet three times a month I will say three hours I really want to be done and three and a half I feel is a max like right now I'm feeling crispy if we moved it to 6.30 that's 6.30, 7.30, 8.30, 9.30 I mean we could and 10 maybe is a drop dead date time for us dropping dead go ahead I wonder if we could just try it once or is it still going till 10.30 just give it a test run or is that do we have to officially post it and I'm just wondering if it does make a difference or not I'm willing to meet at 6.30 if it means we can leave at 10 or earlier I'm willing to do the 6.30 just to take a little off the the truth is we haven't gone 10 that many nights like it's just recent I'm not and I think it's just because we have so many we have initiatives now along with our regular business of permits but I don't know what do you think Chris because this is your realm too well I think it would be easy to try it if you decided on a date then any public hearing that came on that date we would just have the time for starting the public hearing so you should tell us if you want to try it what date do you want to try it on I think there are three meetings in April the first the 15th and then 29th so you could choose one of those or you could choose the 18th of March I'm willing to try it right away we can do it on the 18th and we have a tree hearing scheduled for 705 but we could do our other business before the tree hearing if you want to start the meeting at 6.30 sure I mean is everyone want to just try it so what do you do like do we have to have a special announcement or just posting it's good enough even though it's always been 7 and okay I think I was going to give an update on the master plan that day so we could start on that update and then go to the public hearing at 705 and then go back to the update so on the agenda or something can you make sure you like bold the new time or maybe even put a little parenthesis like new time or something like that so that so people might notice we're going to do 6.30 on the 18th how does that agenda look so far like I knew tonight would be bad but it looks pretty light it's just so far it's the tree hearing for Trees on Leverett Road it's signing of Mr. Robleski's special site plan review if I can get that done and it's me talking about the master plan wow and an A&R that sounds like the old days okay A&R so let's start at 6.30 am I done you do need a site visit yes okay so you'll be sending stuff out on that alright so at this point we'll just change the next meeting to 6.30 and see how that feels any other topics not reasonably anticipated new business nothing okay 9 form A&R subdivision applications upcoming ZBA applications that we need to hear about okay good 11 upcoming SPP SPR SUB nothing committee reports does anyone have a committee report Michael CPAC is finalizing its recommendations to Town Council tomorrow I think in which case I will report the outcome to you all at the following meeting thank you any other committee reports nope I see none report of the chair none report of staff glad that it's nighttime and we're all going home yeah have a nice night adjournment do I hear a motion someone we're adjourning at 10.40 second thank you thank you Amherst media