Unexpected Opportunities: Margarita & Nick

Margarita, a former court interpreter, and Nick, a high school student interested in storytelling sit down together in this episode of From the Eyes of Wisdom. Margarita shares her experiences as an interpreter, including a tense situation where she had to interpret for a man who had given information about his drug-dealing brother. She also discusses her transition into writing and illustrating her own poetry book, which was eventually published by Scholastic. Margarita advises Nick to remain open to new ideas and not to get stuck on one path. You never know what unexpected opportunities can arise when you put your work into the world!

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Transcription:

Sherri:

Have you ever wished you could know what the future held before you got there? What if you were given the gift of knowledge before you even began your journey? Now, I’ve been thinking about that because I made a lot of stupid mistakes when I was younger and I wish I had someone to say, “Don’t go down that road; ho down this one.”

I’m Sherri and welcome to From the Eyes of Wisdom, where we are pairing an experienced elder from CRISTA Senior Living with a passionate King’s High School student ready to launch into the world. While these conversations won’t tell the future exactly, they did reveal a lot we weren’t expecting about how to live life well. Are you ready? I can’t wait for you to hear this.

Welcome to From the Eyes of Wisdom. I am Sherri Lynn. So grateful to be here, when we talk to people who have lived such rich lives and then we talk to young people who are just starting out and hopefully get some wisdom. Margarita is here with us. You have lived such a rich life. Thank you so much for being willing to talk to us-

Margarita:

It’s a pleasure.

Sherri:

… a little bit. And then Nick is here and you’re just now launching out. So you’re going to get some wisdom from Margarita and it’s going to be great.

Nick:

[inaudible 00:01:27].

Sherri:

So you want to be a storyteller?

Nick:

Yes.

Sherri:

Is that fair to say that?

Nick:

Storyteller.

Sherri:

Okay. Books, movies, whatever it is. Just want to write.

Nick:

Yes.

Sherri:

Okay. And Margarita, you’ve done a lot of stuff. We’re going to get into it. But writing is one of the things you have done. I’m going to start with a story because you’ve done a lot of stuff in life, right?

Margarita:

Mm-hmm.

Sherri:

I’m going to start with a story just so Nick, you can kind of get a picture. Let’s get a picture of your life. One of the things you’ve done, an interpreter, right?

Margarita:

Yes. A court interpreter.

Sherri:

A court interpreter. You’re in a courtroom sitting next to a suspect?

Margarita:

It was somebody that the court was trying to protect.

Sherri:

Okay. Court was trying to protect this person. So not a suspect.

Margarita:

Because he had-

Sherri:

Information.

Margarita:

… given a lot of information, and now he had to be protected from his own brother.

Sherri:

Okay. And you’re interpreting for him?

Margarita:

And I’m interpreting for him.

Sherri:

And you don’t know who he is.

Margarita:

I have no idea of anything.

Sherri:

They just call you, “Margarita, get down here; we need an interpreter.”

Margarita:

Yeah, right.

Sherri:

“Hurry up.” Okay. You get down there; you’re sitting next to guy who I’m guessing is going to go into protective custody.

Margarita:

Yes. Mm-hmm.

Sherri:

Okay. And then what happens?

Margarita:

We are sitting at a table. It was surprising that the doors for the courtroom were closed, and I mean closed with a sign “closed,” blah, blah. I thought, “This is strange.”

Sherri:

Because you’ve been doing this for a while.

Margarita:

Yes, but I had never had a situation like this-

Sherri:

Where the doors are closed.

Margarita:

… where everything… Yeah.

Sherri:

So it seemed weird to you-

Margarita:

Yeah.

Sherri:

… from the beginning.

Margarita:

Exactly. I’m sitting at the table. We are not standing in front of the judge. We are sitting at the table, and he’s right next to me, very close. And the fact that it’s very close is very important because when you’re interpreting for somebody, he has to be close to you because you have to whisper. All of this sudden, somebody opened the door and I saw the guy get under the table.

Sherri:

The guy you’re…

Margarita:

The guy I was interpreting for, he got under the table. I had no idea what was going on.

Sherri:

Nick, you getting this story?

Nick:

I am getting it.

Sherri:

So Margarita, you sitting there like this and dude next to you just drops to the ground and go under the table. Okay. All right.

Margarita:

This had never happened to me in my entire life.

Sherri:

I bet!

Margarita:

Then when they started explaining what was going on after he came back-

Sherri:

He gets up out [inaudible 00:04:17]

Margarita:

… after he back on his seat, I learned that he had given information about his brother who was one of the top narcos in Mexico.

Nick:

Wow.

Margarita:

He had brought drugs from Mexico not knowing what he was bringing or supposedly not knowing. And of course he was put in jail and all that. In order to get out of jail-

Sherri:

He gives the information.

Margarita:

… he gave all the information about his brother. So there I am caught, in the middle of all these situations. By the second time that the door opened, slowly, guess who went under the table?

Sherri:

Margarita, were you under that table?

Margarita:

I ran under the table also when I saw him get under the table the second time.

Sherri:

Come in here, sis.

Margarita:

I went under the table also.

Sherri:

I give it to you. That first time, I would’ve been like, I don’t even know Spanish, “I can’t do this job. I can’t do it.”

Margarita:

I must say it was very difficult to interpret when you’re very nervous.

Nick:

Definitely.

Sherri:

How’s that for a first scene for a story, Nick?

Nick:

That is an incredible opening scene.

Sherri:

Can you not see the rest of the story?

Nick:

I can see it. Yeah.

Sherri:

Can you see it? So let’s think about this. When you were talking about the difference between being an interpreter and being a translator because you were both-

Margarita:

I’m certified-

Sherri:

To do both.

Margarita:

… both ways. But about translation, if you are certified one way, that doesn’t mean that you’re certified the other way. If you’re certified from English to Spanish, that doesn’t mean that you’re certified from Spanish to English. That’s another-

Sherri:

That’s another certification.

Margarita:

… certification. It only goes one way.

Sherri:

So I’m wondering if ever you were in a situation where you’re the interpreter, because you said something in your pre-interview that really stuck with me. You said, “I’m in charge, almost, of bringing two people together,” because you don’t know what this person’s saying. This person doesn’t know what you’re saying. I’m in charge of making this connection. Has anyone ever said something and you’re like, “I don’t know how to tell this person that. I don’t know the word or I don’t know…”

Margarita:

I have had situations where not so much that I didn’t know the word, but because it was not explained clearly enough, so you do not know because of the situation is so strange. For example, it was a situation where the guy, he’s from Mexico and he’s talking about the fact that he has taken all the furniture from his house because he’s trying to move and he’s putting the furniture, I don’t know whether it was in the driveway or on the sidewalk or this or that. And the thing goes on and fine, easy, nothing very special. Then all of a sudden, the word for furniture in Spanish is mueble.

Sherri:

Okay. Say it again.

Margarita:

Mueble.

Sherri:

Mweblee.

Margarita:

Mueble. M-U-E-B-L-E.

Sherri:

Mweblee. Okay.

Margarita:

Many people here in the States who really don’t speak very good Spanish and they have incorporated a lot of the English, they call it furnitura, which comes from furniture. But it’s not a Spanish word.

Sherri:

That’s not the word. Right.

Margarita:

But anyway, he’s talking about bringing his furniture out and then all of a sudden, he says that el mueble, el mueble está en la calle.

Sherri:

The furniture is in the…

Margarita:

But the Mexicans call muevle to a car. A car is a muevle because it moves.

Sherri:

Oh.

Margarita:

Because the car moves, they call it muevle. But when you have been talking about-

Sherri:

Furniture.

Margarita:

… furniture and then all of a sudden you have another muevle-

Sherri:

Right. So mueble was car and furniture.

Margarita:

Yeah. That is in the street. It’s very confusing.

Sherri:

Okay. So it was both the cars in the street and the furniture’s in the street.

Margarita:

Yeah. But when it happened, I didn’t know that he was talking about one thing or the other. There was no way of knowing. It was shortly after that that it became clear. So I had to raise my hand and tell the judge, “We must clarify this.”

Sherri:

You do improv, right?

Nick:

Yes, I do.

Sherri:

Okay. Now, I’m not going to put you on the spot. I’ve done improv, too.

Nick:

I mean, that’s what I’m all about, being put on the spot.

Sherri:

Put you on a spot? Okay. We’re in the courtroom.

Nick:

In the courtroom.

Sherri:

They’re trying to explain what happened. All right?

Nick:

Yep.

Sherri:

Let’s say that this is, let’s put it in a case where it ended up in a fight, right?

Nick:

Mm-hmm.

Sherri:

Okay. So what happened was they’re explaining it was the car. How did this end up in a fight?

Nick:

There was some confusion between what was actually stolen because furniture being stolen and a car being stolen are different things entirely. So if that gets changed, everyone is suddenly shocked and like, “Wait, is this a car being stolen? This is a whole nother level.”

Margarita:

I mean, it’s harder to steal the bed.

Nick:

It is.

Sherri:

Running down the street with a couch instead of a car.

Nick:

Yeah.

Sherri:

All right. Look at what we did. We just wrote a little story together. Okay, good. That’s a good example. Tell me about… That’s what I like, is taking people’s life stories and expanding them. When you talk about wanting to write story, tell me what got you interested in story because I’m going to talk to you about… You said you got started writing late in life. But Nick is here early in life and he wants to write. Tell me what made you want to write.

Nick:

I feel like I’ve been exposed to superheroes and cool movies and whatnot all throughout my life, and then I started getting these story ideas just popping up in my head, kind of like popcorn all of a sudden, and it’s like-

Margarita:

It’s like popcorn.

Nick:

… I want to-

Margarita:

I like that.

Nick:

I want to do something with them and I want to share them so it’s more than just popcorn and it can become actual full-fledged stories, whether it’s books or movies. I don’t really care at this point. I just want them out there in a physical big thing.

Sherri:

Yeah, I love that. So that’s what I’m going to ask you. You have popcorn in your head because that’s how it starts; you start thinking. “I have ideas.” You started with ideas; you started late in life. You have ideas. How did you start thinking, “I think I want to write.” How did you get from that?

Margarita:

I didn’t think I want to, no.

Sherri:

You just started writing?

Margarita:

To begin with, writing is part of translation because translation is written. So translation is something that I did fully. I mean, you have no idea to what extent.

Sherri:

It’s important to make that distinction, too, because when you made that distinction in your pre-interview, that was very interesting, that interpretation is spoken; translation is written.

Margarita:

It’s written.

Sherri:

I’m reading something and I’m writing the translation of it. Okay. So you were writing a lot because you were translating a lot.

Margarita:

Constantly. Constantly. I did translations of all sorts of things that I wish I could remember all the things that I learned, which I have forgotten. But I did translations about dinosaurs, about roads in Peru.

Sherri:

I guess you would learn a lot, huh? And stuff that you wouldn’t have known.

Margarita:

Roads in Peru, when they established the very first train in Puerto Rico. All the translations about the construction related to trains, I did. Those were hundreds of pages. I mean, topics that I had to learn first. And at that time, it was not a matter of hitting some buttons and you get all this information.

Sherri:

Internet.

Margarita:

I had to go to the library.

Sherri:

Yeah. That’s a place with books, Nick.

Nick:

Really?

Sherri:

I’m just [inaudible 00:13:27] go ahead.

Margarita:

I had to go to the library and look at books concerning trains to learn all these special words. Or if it was about mines, what do I know about mines? So first there was a lot of research. Now you… and it comes.

Sherri:

And it’s right there. That’s right.

Margarita:

But not at that time. So I would go to the library and read about those things and make my own glossary of this and that, this and that-

Sherri:

That’s amazing, right?

Nick:

Yeah.

Margarita:

… this and that.

Nick:

That is just incredible.

Sherri:

That’s crazy.

Margarita:

And another thing that you have to keep in mind is that in translation, punctuation in Spanish is different from punctuation in English. It’s not just the word, it’s even-

Sherri:

The punctuation.

Margarita:

… when you’re-

Nick:

That sounds so difficult.

Margarita:

… translating something, you must know what the punctuation is like in one language and the other.

Sherri:

Brilliant, brilliant. You have to be brilliant to be able to do that.

Margarita:

All the details. I don’t know whether you have to be brilliant.

Sherri:

You do!

Margarita:

But you have to be-

Nick:

Yeah, you definitely do.

Margarita:

… watching for all sorts of details.

Sherri:

So you’re doing that and you’re doing a lot of that, right?

Margarita:

A lot.

Sherri:

You then have to make a transition to start doing your own thoughts, your own words because you weren’t just writing your own words like poetry and things, you were also painting. How do you transition into your own creative work? What made you want to do that?

Margarita:

I really have to go back to when I was a teenager. I did a lot of theater, children theater mostly. But what I did the most was reciting poetry. In Spanish, we don’t go with poetry reading; it’s reciting. You stand as if you were going to sing in front of an audience at a-

Sherri:

You memorize it.

Margarita:

Absolutely. Absolutely. And you sort of act out the poem.

Sherri:

But this is your own personal poetry.

Margarita:

No.

Sherri:

No? Okay.

Margarita:

No, no, no, no, no. No, no. Poetry from centuries ago, from modern poetry from this country, from that country. I knew hundreds of poems when I was just a young teenager. Hundreds. And I was very well known for reciting. So this was my-

Sherri:

That’s your background.

Margarita:

… part of my background. I never, ever, ever thought of writing and especially poetry. I guess also I was surrounded by real poets. When I say real poetry, I’m even talking about Nobel Prize, Juan Ramón Jiménez.

Sherri:

Wow.

Margarita:

Who was the Nobel Prize in literature in Spanish.

Sherri:

This is when you were younger or when you got older?

Margarita:

No, no. When I was young. So this was my background. So you’re not going to compete with… It would not even occur to me to write a poem because I was surrounded by real people that-

Sherri:

Wow.

Margarita:

… you respect and admire, and-

Sherri:

So then when you get older, you did write it. How did you do that?

Margarita:

I didn’t write poetry until I was over about 65 years old.

Sherri:

So your poetry book… Let’s show Nick that. And you illustrated that, right?

Margarita:

Yes. At first it was published by Scholastic, but I didn’t go to Scholastic. Scholastic came to me.

Sherri:

Scholastic came to you and said, “Hey, how about a book of poetry?”

Margarita:

Yeah. It sort of had wings of its own. When I make a presentation to children in school, the first thing I say to them is, “What is this?”

Sherri:

Uh-huh. Butterfly.

Margarita:

What is that?

Sherri:

Yeah.

Margarita:

It’s not a butterfly.

Sherri:

It’s not a butterfly? What is it?

Margarita:

And that’s their first lesson,

Sherri:

Ah!

Margarita:

Things are not what they look like.

Nick:

Snakes and fish.

Margarita:

They are two snakes and a fish.

Sherri:

Well…

Nick:

Look at that. Well…

Sherri:

It sure is.

Margarita:

So that’s their first lesson: Things are not what they look like. You might see somebody that looks like a gentleman and he might be the bad one, and somebody that has no shoes and is very poor and you think he must be a bad guy, and he’s-

Sherri:

And he’s the gentleman.

Margarita:

… the good one.

Sherri:

Margarita! Nick, that is a story right there.

Nick:

Yeah.

Sherri:

Tell me what you’re thinking.

Nick:

Well, I’m just thinking about the importance for me with art like this and storytelling and how whenever I’m trying to get my ideas onto paper, I often have to draw them because it just helps me get stuff out there. I feel like this is such a good example and all of these pictures are so beautifully illustrated that I just… Yeah. The poems that you’re able to tell with them, I think, are just so much more enhanced because you have that beautiful picture.

Margarita:

Yeah. Some of the poems are very short, but others are long. But they all are like fables. They all teach something.

Sherri:

I also think one really amazing point to get from your life, Margarita, when I was listening, seeing all that you did that I think is important, Nick, as a creative, speaking as a creative myself, is that when you are a creative, someone said this to me one time, and you are a perfect example of this from all of this, how do you know you’re a creative? Someone said to me. And I was like, “How?” And they said, “You create. That’s how you know you’re a creative.” So make the thing. Look, this is how you do it. It doesn’t matter. A lot of times I think young people want someone to… “Well, do I have the money to make the movie? Is someone going to publish my book? Is someone going to do this? Can someone do that?” Make the thing. Make the thing. Make the thing. If it’s in you, make the thing. Look at that. You want to have a life when you’re 80, whatever. Yeah. I think it’s important to be able to step back with a life well-lived and just have things that you made.

Nick:

Yeah.

Sherri:

You know what I mean? Things like, look, this is the stuff that I made because I’m a creative. I just think that that’s just amazing stuff. Do you have any other questions for Margarita?

Nick:

When you first wanted to start making this and putting it out there, how did you take your first step? I have an idea of the end goal, but how did you do it?

Margarita:

Well, in 1999, at the end of the year, I had never written anything-

Sherri:

Of your own.

Margarita:

… of my own other than things that I had to write when I was in college or something like that. But at the end of the year, in five days, I wrote about 112 poems.

Sherri:

Why?

Margarita:

I could not stop writing.

Sherri:

Real…

Margarita:

I would be driving the car and I would have to stop the car to write.

Sherri:

It was just coming to you.

Margarita:

It was just coming to me. It was just coming to me somewhere. Short and nonsense. That’s why my first poem here in my book is Flying Poems-

Sherri:

Will you read it for us?

Margarita:

… because I felt that they were, what I was getting were flying poems. They were coming to me.

Sherri:

They were flying to you. In fact, will you give it to him? Will you read it?

Nick:

Yeah.

Sherri:

Yeah.

Margarita:

[Spanish 00:21:57]

Sherri:

Oh!

Nick:

[inaudible 00:21:57] did this one.

Margarita:

[Spanish 00:21:59].

Poems flying up in space, looking for a landing spot. Some passed by just dripping poo, others dabs of golden spice.

So that’s how they came to me, somewhere short and no good or good or whatever. And others were long and meaningful and this. So these were just some that came-

Sherri:

That came to you.

Margarita:

So I just wrote them and left them there.

Sherri:

Ah. How do they get there to there?

Margarita:

Because my husband kept bugging me and bugging me and bugging me and bugging me: “You have to do something about those poems. You have to do something about those poems.” So to keep him quiet, I figured, “Okay, I’ll do.” But I had poems of all sorts of things. Then I figure I’ll take some of those that have to do with animals and put them here. Then I sort of dividing them in-

Sherri:

Categories.

Margarita:

Yeah. I had never translated poetry. I had done translations of all sorts of things. You mentioned them. Including 15th century literature.

Sherri:

Wow.

Margarita:

That was the most difficult job I have ever done.

Sherri:

I can’t even imagine.

Nick:

I can’t even read those things in English,

Sherri:

Let alone translate them to another language.

Margarita:

When it’s your own poetry, you can do whatever you want. So I didn’t have to go because what [inaudible 00:23:56]

Sherri:

Was your meaning, it’s your meaning.

Margarita:

What was important to me was the meaning and the feeling. So it’s more than a translation. It’s a version in English. Then I thought, “Oh, my god. Okay. It sounds pretty good, this selection and this and that. But I need an illustrator.” But to begin with, I could not pay for an illustrator. So guess who illustrated it?

Sherri:

Yes!

Margarita:

I have painted since I was a young teenager, but I had never done anything like cartoonish or even in watercolor, I had never worked in.

Sherri:

You would never know that by your illustrations.

Margarita:

No, not in water.

Nick:

Yeah. These are incredible.

Margarita:

I did oil and acrylics, but not of water. But somebody had to do it, so I did it.

Sherri:

Yeah. Again, this to me is the true definition of a creative, is that you are making it. You’re not waiting for someone to… “Well, I don’t have an illustrator. So it can’t be done.” “No, I do it.” “Well, I don’t have someone to translate it. So I guess just can’t.” “No, I’ll translate it. It’s my meaning.” It drives you when you are true creative. “Well, who’s going to read it? No one’s going to read.” “No, it doesn’t matter. I have to make it.” I think for creatives, you’re just a maker of things. I have to make it. If not one single solitary person reads it, I had to make it. That’s what the book that you and your husband wrote You had to make it. Was you a husband a creative?

Margarita:

Oh, my husband was a psychologist.

Sherri:

He was a psychologist.

Margarita:

But he was very creative.

Sherri:

He was very creative.

Margarita:

As I said, the cartoons here are his.

Sherri:

Right. And so you’re making things and it’s not always for mass consumption. It’s not always so everybody can come to the theaters or everyone, New York Times bestseller.

Margarita:

Actually, I think sometimes it works better if it’s for you.

Sherri:

Why?

Margarita:

Because you’re more demanding.

Sherri:

I love that.

Margarita:

You’re more demanding.

Sherri:

Oh, my gosh.

Margarita:

People, they could be polite and say, “Oh. That’s nice. How nice. How nice.” And this and that. But if you don’t like it, you don’t say to yourself, “That’s nice.” You say, “It’s…”

Sherri:

You are absolutely right. That is good. I’m going to tell you to give him a piece of advice to write down, but I’m going to write that down for myself. It’s better if it’s for you. All right.

Margarita:

But then you know how it went. It had wings of its own.

Sherri:

This book?

Margarita:

It had wings of its own. I finished, and I was still finishing the drawings when my husband got a phone call from a friend in Santa Fe who owns an art gallery. He was talking to my husband and then he said, “And how’s Margarita doing?” So my husband said, “Oh, she’s writing a portrait book for children, blah, blah, blah, blah, blah.” And he started… I was still finishing it and he said, “Oh, that sounds interesting. Ask her to send me a copy.” When I finished the last one, I photocopied what I had and sent it to him. A week later, he called back and he said, “I showed your book to the Children’s Museum in Santa Fe. They have never published a book but they are interested in publishing it.” So it had wings of its own.

Sherri:

I think that that happens when you just do it.

Nick:

Yeah. You just got to put that somewhere.

Sherri:

I think that you can get inside your own head and you want it to be perfect. And then when it’s not perfect, then you just don’t do it. And then when you don’t do it, then the Children’s Museum can’t call you because it’s not done. But if you just do it, it gets wings of its own.

Margarita:

But other things happened. They were interested in doing it. They started doing all the planning, blah, blah, blah, blah, blah, blah. And I was going to have a five-year contract with them for the book. Everything was done. Then the 9/11 thing-

Sherri:

Oh, wow. Okay.

Margarita:

… happened and I got a phone call from them saying, “The book cannot go out as planned. We’ll have to wait to see how things are going to go,” because it was-

Sherri:

It was a crazy time.

Margarita:

It was a very special situation. So my husband said to me, “Well, if they cannot do it, we’re not going to keep waiting. We’re going to do it ourselves.”

Sherri:

Nick, do you see what [inaudible 00:29:28].

Nick:

I did. You just got to get it done.

Margarita:

So then-

Sherri:

Yeah. You got to get it done.

Margarita:

So then my husband insisted, and we published just a limited number, mostly for friends and family. And I didn’t send it to Scholastic. Somehow somebody who got the book got in touch with somebody at Scholastic, and one day the telephone rang and they said, “This is from Scholastic and we’re interested in publishing your book.” Wings of its own.

Sherri:

Wings of its own. But you have to do it.

Margarita:

Yeah. So-

Nick:

It can’t get wings if it’s not there.

Sherri:

Yeah. It can’t get wings if it’s not done. When I come back, whenever that is, I expect to see 2020, your whole idea done through December. Even if-

Nick:

That’s a…

Sherri:

Even if it’s not perfect. Even if it’s just a treatment. Even if it’s just an outline. “Here, Sherri. Here’s the outline.” Nick, tell everyone your idea because I’m saying that from your pre-interview, and I don’t think I even said what it was. So tell everybody what your story idea was for 2020 and why.

Nick:

As I was living through 2020, it felt like every single month, something new was going horrible around the world. I just thought, “What if each of the months of 2020 was created into a supervillain that the main characters then had to go and fight and survive. The idea is there’s one supervillain for each month and they have to continually just keep building up the fights against them.

Sherri:

And those of us who lived through 2020, it did in fact feel that way. So I think it’s a fantastic idea. And I just want to see an outline from you. Me and Margarita are going to read that outline, aren’t we?

Margarita:

Oh, of course.

Sherri:

Yes. The two of us are going to read that outline. All right?

Nick:

Thank you. Thank you.

Sherri:

I’m going to give you a card

Nick:

A card?

Sherri:

I’m going to give you this. Margarita, I want you to give Nick, if you could give him one piece of advice as he’s going off into the world, he’s going to go to college; he’s going to start doing creative writing; he’s going to start doing theater; he’s going to start doing all these creative things, starting his life out, wanting to be a creative. What’s the one piece of advice you would give him as he starts on this journey?

Margarita:

I would say don’t get stuck with one idea. You don’t think, “I’m going to be a writer and I’m going to write,” or, “I’m going to be an actor,” because sometimes just being relaxed-

Sherri:

Be relaxed.

Margarita:

… then you grab things from here, from here, and it becomes something different from what you have thought.

Nick:

Yeah.

Sherri:

Perfect advice for a creative. Take that card with you and when-

Margarita:

Yeah. Always-

Sherri:

… you’re 25, 30-