Stunt Lady

Georgia discovers a new career as Hollywood’s first female stunt driver.

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Episode Transcript

Speaker 1 (00:00):
Teleforce Productions and I Heart Radio presents wheel Woman, Confessions
of a Getaway Driver, Volcano a live Commaro fiery new

(00:23):
creation from Chevallet Commaro. A new car that's something else,
something you've never seen before in a driving machine. This
is the SS three fifty with rally sport equipment WI
a black grill and of fuselizes that oats around a
three eight engine shape for action all the way back

(00:48):
to its sporting rear deck. Gummarl Lean move coummer. If

(01:11):
your Chevrolet dealers not, what was it like when you

(02:23):
first landed in Los Angeles? At first? I barely registered
where I was. I was in survival mode. You know.
It wasn't like I exactly planned to move to l A.
I just kept driving far away from Rochester as I
could get to a city big enough that I could
finally disappear from Joe, from the mob, from the Feds.
Thank god Jim took Tony and me in. I don't

(02:45):
know what we would have done. When we entered his
little bungalow, only one room with a small kitchen, I
finally breathed a sigh of relief. Jim had left modeling behind.
But was still working in commercials and had made a
nice new life for himself. It was a cozy, peaceful
little haven, exactly the type of environment I needed for
my state of mind. Tony immediately curled up on the

(03:07):
couch and fell asleep, and eventually I did too. All
I wanted was a place of our own, but I
had less than ten dollars to my name. Thankfully, I
remembered a friend, Fred Reid, who I did a few
free commercials for years back. They were a big success
and he had been able to open up a chain
of stores. Time to call in a debt. I didn't

(03:28):
even get through asking before he offered me double what
I needed. He wired it to me immediately and said
I didn't need to pay him back, but I wanted to.
Although it took me almost a year. I needed to
be completely independent for my own peace of mind. I
drove around for a few days looking for a place
and finally found an affordable apartment on Olympic Boilvard near
Las Aiannaga. Jim managed to find me a mattress in

(03:50):
an old TV set, and I bought a few plates
and utensils at a garage sail and we set up house.
I was amazed at how happy I could be with
so little. Ironically, Tony remembers those days is the happiest
times of our childhood. Back home, headline shouted out death,
but our life was finally getting a little brighter. I
was moving forward, but I needed to find a way

(04:13):
to make money fast. Did you ever consider going back
to modeling. I hoped that eventually I could, but I
knew I couldn't risk someone recognizing me. I was on
the run from one too many people and they would
be looking. But I had no idea where to begin.
I sort of fell into every other job I had,
and then one day it hit me. I was at

(04:34):
home watching TV and a Chevy commercial came on the air.
I've been in plenty of car commercials, but I never
quite realized that there was always someone else driving the cars,
and they never showed their face. It was perfect. So
you decided to become a stunt driver? Yes, but I
didn't know that's exactly what it was. At first. All

(04:54):
I could think was it combined everything I loved and
new driving cameras and danger. The only problem was I
didn't know where to start. I tried showing up on sets,
hoping they'd see my interests and throw me behind the wheel.

(05:15):
I'd been kicked out of more shoots than I could
count until one day at Rally Studios, I got lucky.
I had snuck onto a sound stage and was watching
as a vehicle got rigged with a sophisticated hydraulic system
allowing the car to appear to be floating in space,
when I heard a voice behind me. Hi, I'm Jim Harkas.

(05:37):
I'm Georgia Duranti. It's nice to meet you. You too.
What's your job here? Jim own Two's company. We do
all the rigging for car shoots and prep the vehicles
for camera. Oh, i'd love to learn more about that. Really,
I've modeled for dozens of car commercials, but never gave
too much thought about what went on with the car.

(05:58):
But I'd really love to get behind the wheel. Well,
we only let sun drivers do that. Well, I'm sure
I can do whatever it is they do. I could
tell he was put off by my looks. He didn't
realize how serious I was. I assure you, I have
a lot of driving experience. So how do I get involved?
You're actually serious as suggesting enroll in the BonDurant School

(06:21):
of High Performance Driving, and if I do that, will
you hire me? If you do that, call me a
twose company and we'll talk. Where there's a will, there's
a way. I enrolled right away and quickly learned that
my biggest problem breaking into this business would be my face.

(06:41):
Not much credence was given to a woman in that world,
especially to one who looked like me. How did you
get past that? At the end of the day, only
a certain type of person was cut out for this
type of work, one who understood the art of driving
on the edge and surviving it. And I was more
than qualified. After I graduated from school, Wally Crowder, who

(07:02):
owned Motion Research driving team, took me on. At first,
he gave me the typical run around, but then when
he finally saw me drive, he thought he had hit
a home run. Another pretty face he could flaunt before
his clients. But this time I could drive, and I
quickly learned I loved it. I didn't realize how much
I missed working with the team and being on set,

(07:25):
And honestly, the drives I did were sometimes more dangerous
than with the mob. No one was chasing me. But
if I messed up. Death was still the consequence. The

(07:51):
first job while he booked me on was for Chrysler.
We shot at the Laguna Second Raceway near Carmel, and
I quickly realized that school had not prepared fa set,
and neither did Wally. I didn't have the slightest idea
how to use the walkie talkie, and the lingo was
like a foreign language. I tried to fake it as
best I could, real sound, real camera action. I was

(08:25):
doing a congo line. Six cars drove in a line
about three inches apart from one another's sum First, all
my focus was on the car in front of me, Georgia,

(08:48):
are you wearing white pants? Yes I am. We'll get
about becausing we're flection in the windshield. Oh well, I
didn't do it fast. We're losing a light. Everyone's safely shooed.
Would stop. I was so embarrassed. Nobody told me to

(09:20):
wear black, so I shimmied out of my pants as
quickly as I could. Let's go again. Little did I

(09:40):
know they already had the shot in the can, and
the next time around, the camera car drove alongside me,
filming my crotch. I realized many jokes would be at
my expense, but they needed me. There weren't many women
in the business from which to choose, so most directors
were patient with me while I messed up when I
was learning. With every job, I learned more and more.

(10:17):
When I was asked to jump a car, I pretended
that I'd done it a thousand times and did it
as if I had. I never lacked confidence behind the wheel.
In this arena. I had control, and I knew my
choices in the driver's seat had to be the right ones.
There was no room for mistakes, and with time I
was doing stunts, very few other drivers would even consider.

(10:40):
Once I was doing a cheap commercial in Colorado and
the set designer had built these giant letters spelling out
the words Wagon, Ear, and Cherokee, the names of the
vehicles we were featuring. But the letters were made mostly
from chicken wire covered with this material that looked amazingly
like rock, standing twenty ft high and seventy feet in length.
The action was to drive over the top of the letters,

(11:01):
but the surface wasn't flat. Instead, it was indented with
the natural curve of the letters and topped with various
sizes of gravel, which created a serious sliding hazard. I
had gone over the specks with the designer before the
sets were built and explained my requirements, but he made
a mistake in his calculations and left me with only
two inches of solid ground on each side of the tires.

(11:22):
It left zero room for error. Most people would have
walked not to mention there was a ramp. I had
to fly off and then land perfectly on the next name.
I could only pray that I was on my mark,
and to top it off, my vision was restricted because
the camera was mounted on the hood of the jeep
and the windshield was covered with this translucent material to

(11:43):
help protect the camera from the glare. But I never
doubted I could pull it off. It wasn't long before
I was highly in demand, partly because of my skills,
partly because I was the one who pulled the production together,
and probably partly due to my looks. They liked having
me around. As I grew more successful, Wally became less reliable.

(12:04):
All he wanted to do was be a part of
the celebration after the rap and none of the work.
I grew increasingly frustrated with him, and after Jim and
I did a job together, he noticed. What's the deal
with you and Wally? Oh? He never listens to anything
I say. He doesn't seem to get the request I
make for everyone's safety, not my own vanity. Yeah, Wally

(12:24):
only once? What's good for Wally? Do you know what
I found out? Last week? I ran into a producer
from Detroit. He said he called me for a job,
and Wally told him I was booked. So Wally sent
him this girl that he just started dating. She'd never
driven for camera in her life. If she hadn't ended
up crashing the car, I probably never would have found
out about it. I wonder how many clients I've lost

(12:45):
because of Wally's little games plenty. I think it's up
for you to move on. What do you mean, Why
don't you leave Motion Research? What you don't need? Wally
crowder Christ. Most of the clients you have you've gotten
on your own anyway, If you left, it'll follow you,
you really think so? Hell, Yes, you've got a good

(13:05):
reputation in the business. They know when they called Georgia
Duranti for the job, it's going to get done professionally.
They never know when they call Wally what kind of
bimbo they'll end up with. It astonishes me how he
stays in business with all the crap he's bowled. Yeah. Well,
I have been thinking I'd love to start an all

(13:25):
women driving team. That's actually a great idea, right, There's
a need for good women drivers, and I think it
could be really unique. If I did some research and
came up with six or seven dynamite looking girls who
could drive the hell out of a car and train
them in precision driving. I think it could be a winner.
I think so too. If you need an office, you

(13:47):
can have a space in my building. You know what,
that's not actually a bad idea. If you moved into
my building, we could be a full service company. We
could be separate entities, but we could use each other
services when we needed to. This could be very interesting.
Let me think about it. Your clients and my clients
are the same. If you're there, you'll see everyone coming

(14:08):
in and out of the building on different projects. But
more important, they'll see you. You'll have the opportunity to
land a job before a production company even starts the
bidding process. Good point. If you're really serious about this,
I say, let's do it. I am okay, me too.
I'll start moving on it right away. I'll call Tony

(14:30):
tonight and let him know. Tony Santaro was Wally's partner.
When I told him I was leaving. He told me
he was fed up with Wally's bullshit also and asked
to join. I was set on creating the first all
female driving team, so we settled on separate divisions, a
male team led by him a female team led by me.

(14:53):
I agreed to partner up and got to work. First
things first, we settled on a name, Performance Too. I
immediately set out to design a logo, order the stationary,
business cards, and so on. While we started assembling the team,
we told a few select clients we were setting out
on our own. A few weeks later, Tony and I
left for Moab, Utah on a six million dollar project

(15:14):
for Chevrolet. We worked well together. We looked good together too.
Tony was a man's man, but women were certainly taken
by his unique charisma. After Moab, we continued the shoot
in Pike's Peak, Colorado. Tony and I were flown down
a day ahead of the rest of the crew so
we could test out the road before we started filming.
When we got there, we saw an Audie commercial was
also filming, and their driver was Bobby Unser Sr. Three

(15:37):
time in the five hundred winner. When he sat down
near me at dinner, my business sense, which I wasn't
even aware that I had, took over, but I knew
that a name like Unser, which had been associated with
racing for years, would make the industry take note of
performance to write from the start. Tony watched impressed as
I told Bobby a few of my ideas. To my amazement,

(15:58):
he was immediately intrigued and invited me to fly to
the Phoenix Raceway following the shoot, where he was going
to be a commentator for an indie race so he
could hear more about my ideas. He picked me up

(16:19):
at the airport and we drove to the track. Us

(16:40):
in all the years of being in the stunt business,
I had never had a ride quite like that. I
was in the hands of one of the best drivers
in the world, but this was real traffic. There were
no cops holding vehicles allowing us to go beyond the
limits of safety, and I wasn't being paid to put
my life on the line. Okay. When we got to

(17:25):
the track, he introduced me to his son Bobby on
Sir Jr. Hi, Georgia. I'm Bobby Jr. Great to meet you.
My father told me all about performance too. When I'm
very interested. It sounds like something I'd like to do well.
It is an interesting business, for sure. There's a lot
of people who like to do it, but there's not
many who qualify. Do I qualify? If you drive as

(17:48):
well as your father does on the track you do,
but precision driving Dick's practice. Bobby, It's a different kind
of driving from what you used to takes a lot
of discipline as well as concentration, which I'm sure would
come now trually to you once you get the hang
of it. I'd expect you to fly into Los Angeles
once a month to practice with the rest of the team. Okay,
I'll fly am. To be clear, just because your last

(18:11):
name is Answer, you will not be treated any differently
from the rest of the drivers. It's gonna take a
lot of work on the part of all drivers to
achieve the kind of team I'm striving for. I assure
you I'll do whatever needs to be done. Okay. Bobby Jr.

(18:31):
Drove me back to the Phoenix Airport and the experience
was almost as bad as it had been with his father.
I chopped it up to his age, but then that
didn't give his father much of an excuse. I'll give
you a call in a week or so to let
you know when to come in for your first practice.

(18:51):
You'll need to rent a car at the airport, and
don't forget to take out insurance. Oh that may be
a problem. What do you mean they won't rent call. Well,
I can't say I'm surprised. We'll work it out. Mission accomplished.

(19:28):
I returned to Los Angeles with an answer on the
driving team. Then I managed to schedule a meeting with
the world's greatest stuntman, Darr Robinson. He signed up on
the spot. I studied automobile magazines in contacted the best
looking female race car drivers with good performance records. Each
one loved the idea of an all female team and
joined us immediately. Now all we had to do was

(19:50):
train everyone to work together to form the best driving
team in the country. In August, Performance two, Inc. Was
officially born with sixteen trained drivers, half men, half women,
and for a while after we announced, we didn't think
we would have enough drivers to meet the demand. So
it was immediately a success, immediately if you're ignoring the

(20:13):
years of work I did building my own career and
the year it took to get Performance Too up and running.
But yes, we were well respected and well liked. But
Wally hated my success and he was determined to put
me out of business, and my other competitors were doing
their part to chip away at me too. I was
a woman in a man's world, fighting alone to keep

(20:34):
the space I had carved out in it. How did
they attempt to shut you down? At first? It was
just typical petty things, trying to sign my drivers away,
lying about my track record. But when none of that worked,
they resorted to attacking me the only way they could
on a personal level. They said that I was getting
the work by sleeping with the clients. It's nothing new.

(20:55):
Women are always vulnerable to this kind of warfare. I
had heard enough of it for a lifetime and didn't
let it bother me. Instead, I pressed on and the
work spoke for itself. Were you worried your new success
withdraw unwanted attention from your past? Enough time had passed,
I thought it would be okay. I had a feeling
I still shouldn't show my face too publicly. But things

(21:18):
were calm enough. I really thought I had put it
all behind me. And then one night I got a call. Hello, Georgia,
you recognize the voice Salvatoria. Helly, how's it going. It's

(21:43):
going great. How's your business going? It's doing well good.
I always knew that it would be your ticket. You
are pretty good behind the wheel for a woman still
a chauvinist. I see so. Not really, I'm calling because
I need your driving expertise. Oh yeah, I need you

(22:05):
to transport something from Vegas to New York for me.
There's fifty grand in it for you. Really, I stopped
transporting bodies in the sixties. No, it's nothing like that.
What else could be worth fifty grand? I'm sending you
a ticket maybe in Vegas next Tuesday. The name of
the hotel will be with the ticket, and you know

(22:26):
what name all be registered under. I can't just pick
up and go. I have a job next week. On
the page, fifty grand be there. I knew I had
to go. Resolving something like that over the phone was
out of the question, but I was hoping I could

(22:48):
convince sal in person that I wasn't the right fit
for the job, whatever it was. I arrived in Vegas
the next week to meet Sal at the designated place.
Who's there, It's me, Georgia Jerry Pizzatello, who I knew

(23:13):
from my old New York days. Opened the door crack
and looked both ways down the hall. He opened the
door just enough for me to squeeze inside. Come in,
hurry up. He was armed with an oozy and dressed
in clothes that looked like they've been slept in. He
had dark circles under his eyes and his face was unshaven.
The years have not hurt you one bit. You're looking

(23:35):
pretty damn good. You look like shit. Thanks Jesus, Jerry.
What are you guarding in here? Fort Knox seals in
the other room, he's been waiting for you. I couldn't
believe my eyes. Four point five million in stacks three

(23:57):
ft high covered two queen sized beds. The hundred dollar
bills were bound with rubber bands and ten thousand dollar bundles.
Sal stood next to the bed, immaculately dressed as usual,
enjoying the expression of awe on my face. Where did
all this money come from? I knew I broke one

(24:17):
of the rules. But I wasn't a kid anymore, and
I wanted out at the very least if I was
forced to go through with it. I wanted to know
what I was getting myself into. We rented a car
for you tomorrow. You wait a minute, Sal, First, tell
me what the deal is with this money. It's clean,
that's all you need to know. How clean can it
be if you're paying me fifty thousand to transport it?

(24:39):
Come on, Sal, okay, the money's mine. I need you
to transport it because I can't take the risk of
getting stopped the r S. You know the dance, Yeah,
but where's the risk sell for fifty grand I know
there has to be one. You may have a problem
getting through the check in points of the Texas border,
but with your face, who'd ever suspect We've already checked

(25:02):
it out. At midnight, they've a shift change. The guards
are busy checking in and out, and they wave all
the cars through. The timing has got to be exact.
But if you should have a problem, well that's where
your driving ability comes in. Sal was not your regular
kind of wise guy. He was voted Man of the
Year for Queen's County in night, and had served as

(25:25):
a campaign manager for Geraldine Ferraro when she ran for
Vice President of the United States. He had his hands
in the pockets of many New York politicians, from the
Governor's office on down. He possessed a smart business sense
and had invested his money well over the years. It
wasn't inconceivable that this money really was his, But I
smelled more to the story than he wanted to reveal.

(25:47):
It was true that the less I knew, the better
off I was. But this was not the old days.
I was wiser. Now this isn't chicken feed. You know
we're trusting you, Georgia. I realized that, cell. But there
is a risk, and I can't take that risk right now.
Sal's face turned hard, sending a chill up my spine.

(26:09):
He could be extremely treacherous if you crossed him. I'd
made the mistake of calling on him a few times
for a favor in the past. Wrong thing to do
with a guy like Sal. He was now calling in
the debt and expected me to pay up. Georgia, come on, Sal,
give me a break. I'm out of the game and
I'm all tony has I can't afford to take that

(26:32):
risk anymore, my company will fall apart if anything gets out.
I'm sorry, savoteur, I just can't take that chance right now.
I'm really not happy about this. Georgia. Shit, Okay, you're

(26:53):
off the hook, but god damn it, you better remember
you owe me one I know, so thank you. I
took a flight back to l A a few hours later, Relievedoria,

(27:16):
but then the phone rang the following night, around three
in the morning, waking me from a deep sleep. Hello, Georgia,
I got a serious problem ship. What happened? They got
us at the Sierra Blanca checkpoint? Harold Passo, Oh my god. Yes,

(27:38):
we were a little early for the midnight shift chained,
so we stopped for coffee about twenty minutes from the checkpoint,
and we pulled back on the highway. I opened the
window cracked to let out the smoke. That's when I
heard the helicopter, but it didn't register. As we approached
the checkpoint, the border patrol stepped out in front of
the car. It was pitch black out there, but my
head lights illuminated his face. He stood to pley in

(28:00):
front of the car, who looked down at my plate
and his eyes slowly rose up over the hood, look
at me square in the eye. I know who We're dead.
My fucking stomach fell right out. God, I know how
you must have No, you don't anyway, I was thinking
about squashing them went out of nowhere. Telephone, d e
A and customs agents carrying shotguns and wearing bulletproof ESTs

(28:20):
surrounded the car. They already knew our names. Now, how
do you suppose they knew that? Georgia? What are you saying,
sal You think I blew you in? I hope not
for your sake, But only three people knew about this
besides me, you and Jerry. I do trust you, but

(28:42):
right now you're highly suspicious. Maybe it was bad phones.
I don't know, but I can't take the chance to
make it contact right now. So until we see how
this thing washes, watch your back. Where are you now?
So at a gas station about twenty miles down the
road from the checkpoint. Where's the money? They got it
in a wooden shack back there by the checkpoint. Guy

(29:04):
by the name of John Hopkins, some big shot with
the d A, give me his card and told me
to call him in a few days. He said they
need to talk to count that I'll be there a
fucking week. Were lucky they didn't take us in. Wait, Sal,
this isn't making sense. They didn't cuff you, they let
you go. Yeah, this is beginning to scare me. I

(29:27):
have a feeling if you head down that road another
ten miles, there's going to be a roadblock, and you
know what, You're not going to make it out of
there alive. They're gonna say you try to run. That's
four point five million you left back there. Now that
they have their hands on it, you really think you're
ever gonna see it again. I don't know what's cloud
in your brain, but you better get your ass back
there prompto. Jesus Christ, you're not too dumb for abroad.

(29:53):
I think you hit it right. I'll call you back.
I did not hear from Sal for another week. I
felt exceedingly grateful that I had been able to get
out of doing the job, but I was fearful for
Sal and Jerry, and scared to death that I wouldn't

(30:15):
have the chance to be proven innocent. I wanted to run,
but if I took off now, I'd only look guilty.
Then the story broke out over the news and in
the papers the headline read, Gaddy's pal Sal picked up
with three point eight million. Three point eight million a mistake,
I didn't think so. The scale to which this corruption

(30:36):
existed never ceased to amaze me. But all I could
think was, how could I allow myself to believe this
chapter of my life could ever be over? Were you
tempted at all when Sal approached you? Did you miss it?
My developed common sense outweighed any allure it might have had.
Plus I no longer needed the thrilled I got that

(30:58):
from my stunt career. I was grateful to be driving
and doing what I love legally, and while keeping a
low profile. I wasn't going to give that up. Performance
to continued to grow until Tony realized he enjoyed being
hired more than he enjoyed the work of running a company.
I became Performance one and had more success alone than
I could ever have imagined. What was your favorite job?

(31:23):
Mm hmm. One of my favorite commercials would have to
be The Double O seven Spot because it was a
really tricky one. I never stopped loving a challenge. We
filmed in Hawaii and I doubled as Roger Moore's daughter.
The helicopter work was intense, two inches off my bumper
for eight white knuckled days. My speed had to be
extremely precise, or the chopper would have been in my

(31:45):
trunk and my head fifty feet away from the scene.
We had every stunt the writers could conjure up, motorcycles,
crashing explosions, biplanes passing overhead within feet of the vehicle,
expelling smoke and obstructing my vision. It was a fun time. God,
you wouldn't know it, but you've seen me doubling for
Cindy Crawford and her Pepsi commercials. Are doubling for Priscilla

(32:07):
Pressley for Oldsmobile, driving in and out of the surf
on the beach. Her daughter Lisa Marie was my petrified passenger.
I even worked my way up into film. In Casper,
I doubled for the lead actress and crashed a car
into a tree, making a highfall. It was only forty ft,
but with the blue screen it looked to be two
d oh. On Love to Kill, I crashed a pickup

(32:27):
truck through a glass hilarium and did most of the
car chase scenes in the film. I worked on melrose
Place and Dynasty. I could go on and on. You
don't need my resume, but there are literally hundreds of
films and commercials I've worked on where I do the
action and the actress gets the glory. But you know what,
I never cared. I had my day in the limelight.

(32:48):
I loved every minute of it, and I would have
kept doing it forever. But like all good things, it
had to come to an end. Are those thewhere? What else?
Thank you? If you watch television anytime during the early

(33:18):
you saw the commercial. There was the good looking honk
and a jeep headed north along the rugged Pacific Coast Highway.
The raven haired beauty and a red vintage Dino Ferrari
convertible who accelerates to eight five, pulls up even with
the cheap on a spectacular hairpin turn, and inquires about
the maker of the hunk's pants. When she gets the

(33:38):
answer she wanted, she abruptly breaks, executes a perfect hundred
eighty degree turn, and heads back to wherever beautiful women
in exotic sports cars go when their thirty seconds are over,
which in this case was wheels up on a steep
bluff about a hundred feet off the highway, But in reality,
the raven haired beauty herself was safely drinking a diet
soda and gossiping with the crew while I was behind

(34:00):
the wheel in a wig Georgia, Are you set, all
set and action? I drove off the Ferrari end of

(34:25):
the turn. I had too much speed. I geared down,
but I was still going too fast. As I entered
the curve, the rear wheels caught the soft shoulders, spinning
me out of control. I tried to correct, but with
no power steering and no shoulder harness, it was impossible.

(34:52):
The Ferrari took flight while the car was still airborne.
Before the first point of impact, I pulled myself sideways
into the passenger seat, folding up in the cubbyhole of
space beneath the glove compartment. I went off the cliff

(35:29):
and came down hard. I flipped over once twice three
times before coming to rest upside down on a steep bluff.
It was pitch dark in that little coffin. I was
trapped covered in shards of windshield glass, and I heard
a hissing sound and smelled leaking gas. I found the
walkie talkie and screamed into it, get me the funk

(35:49):
out of here. We're coming, Georgia, We're coming, We got
We're coming. Sitside grab the virus thing? Sure, come on,
are you okay? Talk to me or to talk to me?
Helps on the way, don't even ask what went wrong?

(36:17):
Too much speed at the turn, a split second miscalculation,
the director's faults, the car prep cruise fault, my fault.
Who knows stuff happens? All I know is my lights
should have been snuffed out for good. Should have been
a wrap. And all I could think about while I
was trapped underneath the twisted metal was oh shit, I

(36:39):
smashed up a two and fifty dollar car. I did
more damage than that. I broke my neck, ending my
driving career altogether. The incident itself turned out to be
a legend in the stunt driving business. To this day,
people will tell me this story about an upside down
Dino Ferrari and how nobody could believe that the stunt

(37:02):
driver got out of it alive, and believe it or not,
they still managed to finish the spot. The crew tracked
down in identical n Dino Ferrari in Los Angeles and
got the shot down the next day. And that's the
big lesson I took away from it. There's always another Ferrari.
In a way, it was the real lesson of my life.

(37:26):
Wheel Woman is written by Lars Jacobson and Sabrina Jaglin
and directed by Sabrina Jagulin. Produced by Lars Jacobson and
Sabrina Jagulin, Executive produced by Georgia Darante and Noel Brown
for I Heart Radio. Wheel Woman stars Lilia Symington as Georgia,
with additional performances by Tanner Beard, Zachary Webber, Simon Jagulin,

(37:48):
Chase Mullins, Nick Williams, Gabe Greenspan, Dylan McCullum, Garrett Bear,
Nora Garrett, Duncan Kaladein, Victoria Foyt, Max Georgie, Mariah Bass,
and Max Jacobe. Edited by Chris Childs, with sound design
and theme music by Chris Child's. Adapted from the book
The Company She Keeps by Georgia Duranty. Wheelwoman Confessions of

(38:11):
a Getaway Driver is an I Heart Radio production. For
more podcasts from I Heart Radio, visit the I heart
Radio app, Apple Podcasts, or wherever you get your podcasts.