First, let me suggest using a different second step instead of the one Chris used. After setting the (luminosity) white point using the out-of-focus ceiling light, I would recommend setting a mid-tone white balance using the middle white balance eyedropper (in the curves dialog box) on the whites of the subject's eyes.
This is an old trick that photographers have been using almost since Photoshop first came into existence whenever they realized that they had forgotten to take a calibration shot in the light that's actually hitting the face using a
MacBeth color reference card . Obviously, this technique doesn't work on people with highly blood-shot, jaundiced, or baby-blue eyes, but for a surprisingly large segment of the population, it works exceedingly well.
The reason that it is necessary to have some way to estimate the color of the light that is actually on the subject's face is that her face is obviously being illuminated not only by (a) the ceiling lights, but also by (b) the photographer's lights (see the two catchlights in each pupil), as well as (c) a very warm diffuse light that has bounced off the walls and ceiling of the room. The color of the last two sources has absolutely nothing to do with the color of the overhead lights, and so won't be corrected by setting a color balance based on the ceiling lights. The ceiling lights certainly are useful for setting the maximum brightness areas in the image, but not for the color.
Following the procedure I suggested, I obtained the attached image. It may not have the golden skin glow that many photographers strive for, but I bet it's a lot closer to what the subject looks like in real life.
Second, as a photographer, I feel compelled to point out that while I read in your "Hello PSG" thread that your primary interest is not in photography, I feel obliged to comment that spending a bit of time learning good lighting technique could save years of your life sitting in front of a computer trying to correct lighting problems after-the-fact using PS. For example, if you moved your two lights considerably closer to the subject, and gelled them to match the color temp of the ceiling lights, lots of the problems we're trying to correct in PS would simply disappear because not only are sources (a) and (b) now color-matched, but also, the fraction of spill light hitting the walls would be reduced considerably. As another example, if you ( or your hubby) had used a hair light when taking this image, the hair wouldn't look like an undifferentiated, low contrast, featureless blob of blackness, but actually show structure. I tried to suggest this in the image I posted by using PS's "shadow/highlights" tool plus a curves adjustment on the hair to illustrate that it's nice to have detail in the hair.
HTH,
Tom M
PS - I'm back from my weekend backpacking trip, tired, but safe and sound, LOL.
so apart from my introductory post, this is my first before & after post so please be gentle 
I do know I need to learn a lot (and tone down the brightness of things ie: teeth haha) hence why I have joined here 
