In tonight's bedtime story for kids, we go on an adventure with Frida and her paintersaurus, travelling through time and space to meet another Frida - Frida Kahlo, a famous artist who has plenty of inspiration to offer. Let's see what our little painter learns. Relax, get sleepy, and let’s begin!
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Narrator 🎙 Abbe Opher
Author ✍️ Jane Thomas
See omnystudio.com/listener for privacy information.
See omnystudio.com/listener for privacy information.
00:00:10
Speaker 1: Hello, and welcome back to Koala Moon, your podcast of
00:00:14
Speaker 1: original children's bedtime stories and meditations designed to make bedtime
00:00:20
Speaker 1: a dream. I can't wait to start tonight's story, but
00:00:24
Speaker 1: before I do, I must give a huge shout out
00:00:27
Speaker 1: of thanks to our lovely Coco clubbers who've joined us
00:00:30
Speaker 1: from all over the world recently. Thank you Dorothy Bell
00:00:33
Speaker 1: from Austin, Texas, Emmy from Gloucestershire that's the UK, Alex
00:00:39
Speaker 1: Harper and Margo from Cambridge, Massachusetts, whot cocoa when it's
00:00:44
Speaker 1: time to put the pod on, And Julia and Cypress
00:00:47
Speaker 1: from Elgin, Illinois. Now do you remember the story about
00:00:52
Speaker 1: Freda and the magical painter Saurus suggested by a listener
00:00:56
Speaker 1: a few months back. Well, tonight, I'm delighted to say
00:00:59
Speaker 1: that we're me up with Frieda and her painter Saurus again,
00:01:02
Speaker 1: because she is challenged by a teacher to travel back
00:01:05
Speaker 1: through time in search of some inspiration. Inspiration it can
00:01:12
Speaker 1: be a tough thing to find on demand, and especially
00:01:15
Speaker 1: if you look too hard. Sometimes you just need to
00:01:20
Speaker 1: stop and notice what's right in front of you. See
00:01:24
Speaker 1: the light bouncing off a water droplet, or feel the
00:01:28
Speaker 1: texture of a back of a leaf, or listen for
00:01:31
Speaker 1: all the different sounds around you. Inspiration can also come
00:01:36
Speaker 1: from others, and how they choose to show up in
00:01:39
Speaker 1: the world can be inspiring. Well, our little Freda soon
00:01:44
Speaker 1: finds some inspiration in the shape of another artist, also
00:01:48
Speaker 1: named Freda, and for the record, I find her paintings
00:01:52
Speaker 1: in use of color very inspiring. Too. Soon we're going
00:01:56
Speaker 1: to get started on this arty adventure of discovery. But first,
00:02:01
Speaker 1: jump into bed and get yourself ready for relaxing and listening.
00:02:07
Speaker 1: Make your body loose and limp supported fully by your mattress,
00:02:12
Speaker 1: and then close your eyes gently as we take five
00:02:15
Speaker 1: lovely breaths together, in and out, in and out, in
00:02:26
Speaker 1: and out, in and out, in and out. Perfect. It's
00:02:39
Speaker 1: time to start. When Frieda met Frieda by Jane Thomas, Frieda,
00:02:51
Speaker 1: the little girl who lived near the village of Lost
00:02:54
Speaker 1: and attended the School of Magic, had become infinitely happier
00:02:58
Speaker 1: since the toad had passed a magic paintbrush last summer.
00:03:02
Speaker 1: Almost daily Frieda found excuses to paint a picture of
00:03:06
Speaker 1: her pure white pony Bella and transform her into a
00:03:10
Speaker 1: green tailed, red spiked, blue footed, pink dotted painter. Saurus
00:03:14
Speaker 1: who could fly anywhere Freda fancied. Freda's mother had to
00:03:19
Speaker 1: step in sometimes and ask Freda to put down the paintbrush.
00:03:23
Speaker 1: It's very easy to become lazy, you see, when all
00:03:27
Speaker 1: you need to do is paint a picture of something,
00:03:29
Speaker 1: and there it is, right in front of your eyes.
00:03:33
Speaker 1: Instead of cycling the hour towards lost and its teeny
00:03:37
Speaker 1: tiny shot to pick up flour or eggs or tomatoes
00:03:41
Speaker 1: or whatever it was her mother was missing that day,
00:03:44
Speaker 1: Frieda had taken to painting it instead, and instead of
00:03:48
Speaker 1: plodding along the lanes on Bella spending time chatting with
00:03:52
Speaker 1: the spiders and butterflies that hung out in the hedgerows,
00:03:56
Speaker 1: Frieda would create the painter saurus and light school in
00:04:01
Speaker 1: a fraction of the time. She had started leaving homework
00:04:05
Speaker 1: until quite literally the last second, and would rather paint
00:04:10
Speaker 1: a picture of her bed neatly made than actually stand
00:04:13
Speaker 1: up and shake the blankets and plump the pillows and
00:04:17
Speaker 1: put them back in their rightful spots. Freda's mother wasn't
00:04:21
Speaker 1: particularly keen on this laziness the paintbrush was creating in
00:04:25
Speaker 1: her daughter, and she officially banned its use except for
00:04:30
Speaker 1: very important things. The fact is, these very important things
00:04:38
Speaker 1: sometimes included a mountain of carefully ironed washing or a
00:04:42
Speaker 1: late night snack when going all the way to the
00:04:44
Speaker 1: shop was out of the question. But Frida did at
00:04:48
Speaker 1: least cut down her use of the magic paintbrush. One day,
00:04:52
Speaker 1: Freda's teacher, Miss Pennyfeather, invited Frida's mother to the school
00:04:57
Speaker 1: for a chat. Is it about Frida's paint brush? Her
00:05:03
Speaker 1: mother sighed down the phone. Miss Pennifeather admitted it was,
00:05:08
Speaker 1: and it was with some reluctance that Frida's mother went
00:05:11
Speaker 1: to the meeting. She had become quite used to the
00:05:14
Speaker 1: convenience of the paint brush in her life. After all,
00:05:19
Speaker 1: I think Freda needs to do something new with her
00:05:24
Speaker 1: paint brush, explained Miss Pennifeather. The painter's saurus is, of
00:05:29
Speaker 1: course wonderful. The new playground she's created for the school
00:05:34
Speaker 1: is simply marvelous, and I very much appreciate these gorgeous
00:05:39
Speaker 1: shoes she made for me the other day. Miss Pennifeather
00:05:43
Speaker 1: crossed her legs and looked pointedly at the bright red
00:05:46
Speaker 1: and blue shoes that fitted her feet absolutely perfectly. They
00:05:51
Speaker 1: had a very satisfying click, as she walked along the
00:05:54
Speaker 1: corridors too. Oh, yes, lovely shoes, said Frida's mother, still
00:06:02
Speaker 1: wondering where this conversation was going, but rather glad it
00:06:05
Speaker 1: hadn't started with the idea that the paint brush must
00:06:08
Speaker 1: be banished altogether. It's all very well creating things, but
00:06:15
Speaker 1: she's sort of limited by her imagination. Do you see
00:06:19
Speaker 1: what I mean? Frida's mother didn't. She'd always thought Frida
00:06:23
Speaker 1: had an alarmingly good imagination, too much of an imagination. Even.
00:06:30
Speaker 1: I just think she could use the paintbrush to learn
00:06:34
Speaker 1: from others, That's all I wonder. Do you think she
00:06:38
Speaker 1: could use it to go back in time? Miss Pennyfeather
00:06:43
Speaker 1: left the question floating in the air. The second hand
00:06:47
Speaker 1: ticked loudly in the background. Frida's mother finally broke the silence.
00:06:54
Speaker 1: Why on earth should she go back in time? Even
00:06:58
Speaker 1: if she could, which I very much doubt. Oh, I
00:07:02
Speaker 1: just think we can learn a lot from the past,
00:07:05
Speaker 1: from the people who've lived before. And wouldn't it be
00:07:08
Speaker 1: amazing if Frida could go and meet somebody. Freda's mother
00:07:13
Speaker 1: wasn't quite sure what Miss Pennyfeather meant, but she promised
00:07:17
Speaker 1: to have a chat with Frida so that evening. As
00:07:20
Speaker 1: she sat on the edge of Frida's bed, waiting while
00:07:23
Speaker 1: Frieda quickly painted into life a hot water bottle that
00:07:27
Speaker 1: she'd forgotten to bring up from the kitchen, she asked who,
00:07:30
Speaker 1: if anyone, Freeda might like to meet if she could
00:07:33
Speaker 1: go back in time. Freda had never really been interested
00:07:38
Speaker 1: in history, if truth be told, and she rushed around
00:07:41
Speaker 1: in her mind, trying to remember any names at all
00:07:44
Speaker 1: that they'd learned in school. But all she could remember
00:07:47
Speaker 1: were the names of people who had started wars and
00:07:50
Speaker 1: that sort of thing. And she wasn't really interested in
00:07:53
Speaker 1: meeting anyone as unpleasant as that. What about the other Freda,
00:08:00
Speaker 1: she said, at last, the other Frida. Yea, there, weren't
00:08:05
Speaker 1: you named me after you said years ago that you'd
00:08:10
Speaker 1: named me after some lady called Frida, an artist she
00:08:14
Speaker 1: lived in Mexico. Frida's mother clapped her hands. An excellent idea. Yes,
00:08:23
Speaker 1: of course, Frida Carlo, I have a postcard somewhere, let
00:08:27
Speaker 1: me just her mother shot out of the room and
00:08:30
Speaker 1: down to her study, rummaging through piles of paper in
00:08:34
Speaker 1: her desk before emerging triumphantly with the correct one. Here
00:08:40
Speaker 1: a self portrait by Freda Carlo. Frida looked at the
00:08:46
Speaker 1: other Frida. The lady looked serious, with dark eyes looking
00:08:51
Speaker 1: out over high cheek bones, her bright red lips. She
00:08:56
Speaker 1: had dark hair piled on top of her head and
00:09:00
Speaker 1: filled with colorful flowers. But perhaps the most striking feature,
00:09:07
Speaker 1: at least the one Frida was sure she wouldn't forget,
00:09:11
Speaker 1: was a thick pair of black eyebrows that marched across
00:09:15
Speaker 1: her forehead and met in the middle. She looked strong,
00:09:20
Speaker 1: as if nobody could tell her what to do. Frida
00:09:23
Speaker 1: liked that. Do you think that's really what she looked like?
00:09:29
Speaker 1: Frida asked her mother, well, why don't you use that
00:09:35
Speaker 1: paint brush of yours to find out. Frida fell asleep
00:09:40
Speaker 1: with the rather wonderful thought of being under the Mexican
00:09:44
Speaker 1: sun flowing through her mind, and the next morning she
00:09:49
Speaker 1: set about the task of working out how she could
00:09:52
Speaker 1: go back in time with her paint brush. While she
00:09:56
Speaker 1: was working out just what it was she'd have to paint,
00:09:59
Speaker 1: her father poked his head around the door. Of course,
00:10:02
Speaker 1: you know, my dear, he said, if you do go
00:10:06
Speaker 1: back in time, you won't be able to talk to anyone.
00:10:11
Speaker 1: You can only watch. It was his great grandmother who
00:10:16
Speaker 1: had done the terribly magic thing in the era of
00:10:18
Speaker 1: forever ago. That had meant Freda could go to the
00:10:21
Speaker 1: school of magic in the first place. So if anyone
00:10:24
Speaker 1: in the family were to know about such things, then
00:10:27
Speaker 1: it would be him. Why, asked Frida. Because you can't
00:10:35
Speaker 1: change a single thing, he said, Just imagine how much
00:10:40
Speaker 1: would be changed by one little thing being different. Take
00:10:44
Speaker 1: the evening I met your mother, for instance, If one
00:10:49
Speaker 1: other person had been in that dance hall, perhaps I
00:10:54
Speaker 1: would have talked to them instead and never had a
00:10:56
Speaker 1: chance to meet your mother. Or perhaps if the food
00:11:01
Speaker 1: had been terrible, I'd have left early. Or if somebody
00:11:06
Speaker 1: had left a banana skin on the floor, I might
00:11:09
Speaker 1: have skidded while dancing with her, and she might have
00:11:12
Speaker 1: thought me a complete embarrassment and left. And if any
00:11:16
Speaker 1: of those things had happened, perhaps we would never have
00:11:21
Speaker 1: had another chance to meet. And then you wouldn't be here,
00:11:26
Speaker 1: would you. When Frida stopped giggling at the idea of
00:11:30
Speaker 1: her father flying across the room on a banana skin,
00:11:34
Speaker 1: she saw that he was right. Teeny tiny moments can
00:11:39
Speaker 1: change everything. Of course, you couldn't change anything in the past.
00:11:45
Speaker 1: It was obvious, really, if he thought about it. What
00:11:50
Speaker 1: wasn't so obvious was how she would get back to
00:11:53
Speaker 1: Mexico in the nineteen thirties. It also wasn't obvious how
00:11:58
Speaker 1: time worked in the past. If she stayed and looked
00:12:02
Speaker 1: at everything that happened in her lifetime, would she be
00:12:06
Speaker 1: terribly old when she came back to the present day?
00:12:10
Speaker 1: Could she even come back to the same day? Every
00:12:15
Speaker 1: time she flew on her painter saurus, time passed exactly
00:12:18
Speaker 1: the same way. She headed to the school library and
00:12:23
Speaker 1: went straight to the time travel section. She stuck a
00:12:27
Speaker 1: boiled sweet in her mouth and sucked away at it
00:12:30
Speaker 1: while she read, occasionally saying ah or ah or oh
00:12:41
Speaker 1: as she went. She didn't see the glances and glares
00:12:45
Speaker 1: from the librarian each time she made a noise, for
00:12:49
Speaker 1: she was so wrapped up in the books. It turned
00:12:52
Speaker 1: out it was all very simple, really. She would combine
00:12:57
Speaker 1: the techniques and spells required for ones toothbrushes and match
00:13:01
Speaker 1: sticks to go back into the past, since these were
00:13:05
Speaker 1: the closest things she could find to a magic paintbrush,
00:13:08
Speaker 1: and hopefully it would all work out. She could travel
00:13:12
Speaker 1: on the painter Saurus in a special fast flight mode
00:13:16
Speaker 1: and paint in the dates and places she wanted to visit.
00:13:20
Speaker 1: She could also, it turned out, take her paintbrush with
00:13:24
Speaker 1: her and add new dates and places as she found
00:13:27
Speaker 1: out about them, and the whole thing could be done
00:13:31
Speaker 1: in a special magic mode with time. So if she
00:13:35
Speaker 1: painted the picture and set off just before bed, then
00:13:39
Speaker 1: she would end up back in her bed in a
00:13:41
Speaker 1: deep sleep before the next day started. That was perfect,
00:13:48
Speaker 1: And so it was Frieda and the painter Saurus found
00:13:52
Speaker 1: themselves heading to a little town in Mexico in nineteen
00:13:55
Speaker 1: twenty nine. In fact, they went right into the room
00:14:00
Speaker 1: where the other Frida was painting. Carlo sat in bed,
00:14:05
Speaker 1: propped up by pillows and surrounded by vases overflowing with flowers,
00:14:11
Speaker 1: and by her side was another woman, sitting perfectly still.
00:14:16
Speaker 1: Frida walked over to peer at the painting Carlo was
00:14:19
Speaker 1: creating and saw that it was this woman. They talked
00:14:24
Speaker 1: about geography and history teachers and laughed as they exchanged memories,
00:14:30
Speaker 1: and Frida saw they were once school of friends. Frida
00:14:35
Speaker 1: looked at Carlo and compared her with the postcard her
00:14:39
Speaker 1: mother had shown her. She was even more beautiful so delicate,
00:14:45
Speaker 1: her face pale against the jet black hair. Frida wondered
00:14:51
Speaker 1: how you could look so strong and gentle all at
00:14:54
Speaker 1: the same time. The red shawl around her shoulders was
00:14:59
Speaker 1: the right co for her, Frieda thought, because it seemed
00:15:03
Speaker 1: to be her character too. Red was for love and
00:15:08
Speaker 1: power and strength and beauty, and Carlo was all of
00:15:15
Speaker 1: those things wrapped up in this delicate frame. Sitting in
00:15:19
Speaker 1: a bed. Do you ever wish you'd become a doctor?
00:15:24
Speaker 1: Frida heard the friend on the chair, asked, Carlo shrugged.
00:15:30
Speaker 1: The accident was the world's way of telling me I
00:15:33
Speaker 1: needed to paint, I suppose. Frieda thought of her father's
00:15:38
Speaker 1: words to her, how such simple moments can change everything.
00:15:44
Speaker 1: If Carlo hadn't had this accident, whatever it was, and
00:15:48
Speaker 1: whenever it was, perhaps she would never have painted and
00:15:53
Speaker 1: the world would never have known her. She climbed aboard
00:15:58
Speaker 1: the painter saurus and was so suddenly whisked to a
00:16:01
Speaker 1: gallery in New York. The year was nineteen thirty eight,
00:16:06
Speaker 1: and bare trees outside told Frida it was winter. The
00:16:11
Speaker 1: paintings were all Carlos By Now Frieda could recognize that
00:16:17
Speaker 1: unmistakable style with bright splashes of color and the calm,
00:16:22
Speaker 1: serious faces of her friends, her sisters, herself. Carlo walked
00:16:29
Speaker 1: into the room wearing beautifully created traditional Mexican clothes. The
00:16:36
Speaker 1: colors were bold and bright against the drab grays and
00:16:40
Speaker 1: browns and sensible blues that everyone else in the room wore.
00:16:46
Speaker 1: Carlo's clothes were the colors of hummingbirds and parrots, of
00:16:51
Speaker 1: tropical flowers, and the brightest winding vines. Gold and silver
00:16:59
Speaker 1: threads dance across the long flowing skirts. A scarf that
00:17:04
Speaker 1: was a vivid pink hung loosely around Carlo's neck, a
00:17:09
Speaker 1: pink so sharp and clear and matching perfectly the same
00:17:14
Speaker 1: bold pink spots that Frieda painted carefully onto her paintersaurus
00:17:19
Speaker 1: each time. Noticing that, Frieda looked at the green she
00:17:25
Speaker 1: had chosen for the painter saurus's tail and saw that
00:17:29
Speaker 1: it was the same as on Carlo's dress, the bright,
00:17:33
Speaker 1: bright green of a rice paddy after the rain. The
00:17:37
Speaker 1: blue she used for the feet was the same blue
00:17:41
Speaker 1: on the skirts, a color that blended the seas and
00:17:44
Speaker 1: skies with feathers of parrots. The red of the paintersaurus
00:17:50
Speaker 1: spikes was there too, on Carlo's lips that were painted
00:17:55
Speaker 1: to perfection and poured out generous smiles and laughter. A
00:18:02
Speaker 1: man in a suit kept dashing towards the paintings and
00:18:06
Speaker 1: putting little red dots underneath them. As Frida watched, she
00:18:11
Speaker 1: learned that this meant someone had bought the picture. And
00:18:15
Speaker 1: before the day was done, as the final visitor left
00:18:19
Speaker 1: the gallery, as Carlo sat into a chair in the corner,
00:18:24
Speaker 1: half the paintings had little red dots beneath them. The painter,
00:18:30
Speaker 1: Saurus and Frida were suddenly on board a boat heading
00:18:34
Speaker 1: into a gray harbor, and everyone around them spoke French.
00:18:39
Speaker 1: A newspaper showed it was January nineteen thirty nine, and
00:18:44
Speaker 1: Frida bounced rapidly through three months in France. There was
00:18:49
Speaker 1: to be an exhibition, and then there wasn't, and then
00:18:53
Speaker 1: paintings didn't arrive, and then they weren't allowed to be
00:18:57
Speaker 1: shown because their brightness and colors and the images might,
00:19:01
Speaker 1: it was said, shock the audience. And so in the end,
00:19:06
Speaker 1: when the day of the gallery opening finally came, there
00:19:10
Speaker 1: were only two paintings of Carlos to be found there.
00:19:14
Speaker 1: Carlo looked angry, waving her hand at the cheap painted
00:19:19
Speaker 1: pieces of wood and trinkets that had been brought from
00:19:22
Speaker 1: Mexican markets and were displayed alongside her work at the
00:19:28
Speaker 1: end of the day. One of the pieces had a
00:19:31
Speaker 1: little red dot beneath it. The painting was a self
00:19:35
Speaker 1: portrait Carlo wearing a mass of yellow flowers in her
00:19:40
Speaker 1: hair this time, and the image surrounded by bright pink
00:19:44
Speaker 1: and red flowers. Front and center stood two parrots looking
00:19:50
Speaker 1: towards each other. Before Frida had a chance to take
00:19:55
Speaker 1: it all in, before she could see anything of Paris
00:19:58
Speaker 1: beyond the gallery in which she stood, she and the
00:20:02
Speaker 1: painter Saurus were suddenly back in Mexico, and it was
00:20:06
Speaker 1: nineteen fifty three. Once more, she stood in a gallery,
00:20:12
Speaker 1: and this time it was filled with Carlo's unmistakable paintings.
00:20:17
Speaker 1: Many showed tree roots coming from the feet of people,
00:20:21
Speaker 1: and Frida listened as two visitors discussed this. The roots
00:20:27
Speaker 1: show said the first, that Carlo is connected to Mexico,
00:20:33
Speaker 1: that it's in her blood in everything she does. Ah.
00:20:40
Speaker 1: But the roots also show, said the second, that Carlo
00:20:45
Speaker 1: is tied to the past and you cannot escape it.
00:20:50
Speaker 1: Frida looked at the pictures and saw both sides in
00:20:54
Speaker 1: everything Carlo did Mexico was there in the colors, and
00:21:00
Speaker 1: the monkeys and the parrots, and the leaves that decorated
00:21:04
Speaker 1: the backgrounds and the edges of her paintings. Her friends
00:21:08
Speaker 1: and family appeared in the portraits. And as she had
00:21:13
Speaker 1: this thought, she turned as she heard a commotion on
00:21:17
Speaker 1: the far side of the gallery. Frieda was being wheeled
00:21:21
Speaker 1: in on a bed, pushed up a slope to be
00:21:24
Speaker 1: allowed into the gallery. And there Carlo stayed greeting her
00:21:29
Speaker 1: friends and admirers, chatting and laughing and sharing her thoughts
00:21:35
Speaker 1: and ideas and hopes for her paintings. The red dots
00:21:40
Speaker 1: appeared beneath the paintings, more and more of them being
00:21:45
Speaker 1: bought by those who wanted this much love and life
00:21:48
Speaker 1: in their homes. The painter, Saurus and Frieda were whisked
00:21:55
Speaker 1: away to fly high above a square in the heart
00:21:58
Speaker 1: of Mexico in July of nineteen fifty four. Carlo was
00:22:03
Speaker 1: there along with her husband. Carlo was in her wheelchair,
00:22:09
Speaker 1: but she was there demonstrating for the freedom of Mexico,
00:22:15
Speaker 1: the Mexico she loved with every stroke of her brush,
00:22:19
Speaker 1: with all the colors she poured into her paintings, with
00:22:23
Speaker 1: all the symbols she shared. Carlo stood with her bright
00:22:29
Speaker 1: red dress and her piled high black hair, as fierce
00:22:33
Speaker 1: and beautiful as ever. Frida wondered what it must be
00:22:38
Speaker 1: like to believe in something with everything you have. She
00:22:43
Speaker 1: wondered how it must feel to paint as if your
00:22:47
Speaker 1: life and that of your country depended on it. She
00:22:52
Speaker 1: found herself briefly flying through a gallery somewhere in London
00:22:57
Speaker 1: in nineteen eighty two, surrounded by Carlo's paintings, in a
00:23:02
Speaker 1: room packed with people praising Carlo and talking of her
00:23:06
Speaker 1: as a genius, a unique, one of a kind, a
00:23:11
Speaker 1: once in a lifetime. The gallery was far busier than
00:23:15
Speaker 1: the ones Frida had seen in New York and Paris
00:23:18
Speaker 1: and Mexico, and this time there were no red dots,
00:23:23
Speaker 1: but instead someone stood at the front of the room
00:23:26
Speaker 1: and talked about the paintings, and people shouted out bigger
00:23:31
Speaker 1: and bigger numbers, and held up little paddles and fought
00:23:36
Speaker 1: with each other to have the right to own one
00:23:38
Speaker 1: of these brightly colored pictures, filled with flowers and doves
00:23:43
Speaker 1: and monkeys and magic millions. The numbers went up into
00:23:49
Speaker 1: the millions, and then Frieda was whisked through the years,
00:23:55
Speaker 1: and suddenly she was back in her bed, and the
00:23:59
Speaker 1: painters had once more become Bella, and the paintbrush took
00:24:06
Speaker 1: up its rightful place in the pot on the desk.
00:24:11
Speaker 1: Frida stirred a little in her sleep, shifting from one
00:24:16
Speaker 1: dream to another, and snuggled down deeper beneath the warm blankets.
00:24:24
Speaker 1: She mumbled to herself that next time she painted Bella
00:24:29
Speaker 1: and turned her into the painter Saurus, she would add
00:24:33
Speaker 1: a mass of colored flowers to the little pony's hair,
00:24:38
Speaker 1: just the way Carlo did in her paintings. That night,
00:24:44
Speaker 1: her dreams were filled with the sights and colors and
00:24:49
Speaker 1: music of Mexico, with the laughter and the smiles of
00:24:55
Speaker 1: friends and family thronging in galleries decorated with beautiful pat
00:25:00
Speaker 1: intact and with the soft, firm smile of frie de Carlo,
00:25:07
Speaker 1: looking out at the world with strength and beauty and love.