conv01_43_towards.wav : between "towards" and "the bottom"

ANS (initial):
¥ candidate for 1m 
Discussion used to arrive at this:
¥Do you hear a boundary-related tone? Not sure: clearly a fall in F0 195 to 168 in vowel + /r/
¥duration a bit long for a 1, certainly abrupt for a 3
¥following "the" looks like there is reset, but doesn't sound that way.(Doesn't look like smooth interpolation between pitch accent on "towards" and following !H* on "bottom"
¥downstep of following H* on "bottom" theoretically inconsistent with 3 after "towards"
¥listened to in isolation, "towards" sounds 3-like, but abrupt
¥If a 3 or 3-, is it L- or !H-?: Could anyone on this planet produce this contrast here?
¥query: could the fall be segmental effect from /r/
RESPONDENT A #1: F0 is a bit weird on ÔtowardsÕ but I donÕt hear any boundary after ÔtowardsÕ. I would just label Ô1Õ.
ANS #2: We share your intuition that the F0 fall on ÒtowardsÓ is not a phrase tone, but why isnÕt it? Would it have to be a sharper fall to be an L-?
RESPONDENT A #2: Yes, if it's L-, f0 would be falling sharper (in the track and auditorily).  The f0 fall at the end of 'towards' in Praat is due to exaggerated microprosody. When I opened it in PitchWorks which uses cepstral analysis (not autocorrelation), f0 at the end of 'towards' (175Hz) is still higher than the beginning of 'bottom' (166Hz). You can hear the falling pitch across these two syllables if you block the '-wards' and 'bot-' part and play the chunk.  So, if there is indeed a phrase accent on 'towards', it would be !H-, not L-. But since this f0 can be from the interpolation between H* and !H*, I say we just leave it as no phrase accent.
RESPONDENT B #1: We think the F0 fall on ÒtowardsÓ is most likely a segmental effect from /r/, though itÕs a bigger drop than we would expect. Also, the boundary on ÒtheÓ extends into the ÒbÓ of ÒbottomÓ, and once itÕs shifted to the left, you can see that the F0 does have a smooth trajectory from the H* of ÒtowardsÓ to the !H* of ÒbottomÓ--- subtracting away the F0 lowering effects of the voiced obstruents along the way. One possibility is a weak 3 boundary (3-) between ÒtowardsÓ and ÒtheÓ, with ÒtheÓ as a floater that attaches leftwards. Then there is a small reset at ÒbottomÓ, which begins a new phrase. A tricky example. 
RESPONDENT C #1: I would label this as H* !H* with BI 1 on ÒtowardsÓ. I donÕt see/hear any evidence for a phrase tone, even a weak one. I do agree that ÒtowardsÓ seems a bit lengthened though, but I guess not enough to make me want to put a larger break with tone there. I think the contour is consistent with a single-phrase analysis, after subtracting out the segmental effects.