The violet or the flower of Ayo in Greek mythology is the flower of love, symbol of sensibility, modesty, and humility. A violet flower in early Spanish ballads was sometimes used as a love token. As its color, violet is the color of love. It represents a deep and true everlasting love. This was the name given to the young orphan warrior maiden and future auto-memories doll by the major Gilbert Bougainvillea, a name that violet evergarden spends the entire series trying to grow into. Live and be free. Major Gilbert sent violet off with these words, these orders. Living can often be the hardest thing in the world. Living under the weight and the burden of all the emotions we carry inside us every day. It's unimaginable sometimes. And each day you live to try and reach the epitome of human emotion, joy, happiness. More than that, bliss. That feeling where nothing can bring you back down to earth, where time and space are lost. Happiness is the most universally understood and yet unattainable goal. Some days you might even ask yourself if you deserve it.  Do you deserve the right to live? The right to soak in life's greatest pleasures. Violet Evergarden is a series that approaches the wide range of human emotion with care and with love. It looks at the many forms of love, deals with guilt, forgiveness, empathy, and to me it's a story that begins with loss and guilt and ends with atonement and love, in that order. But the magic lies in the path that violet takes to get there. The overarching story of Violet Evergarden, which is for violet to understand emotion, is set up to reach a very specific breaking point, when violet has to learn and eventually come to terms with the fact that major Gilbert is dead. Before she can come to terms with this loss, she needs to first have the emotional intelligence to come to terms with it. The first nine episodes teach her this. It begins with her own desire displayed at the end of the first episode, when she firmly states that she wants to learn what I love you means. It's followed by empathy shown in her first letter for Leculia, courage and heartbreak with Iris, love and adventure with Princess Charlotte and Leon, and finally grief alongside the playwright Oscar and his daughter Olive, where Violet cried for the first time, tears that felt like a victory. Each of these experiences were vital and were set up for us to reach the core of the person that is Violet Evergarden, and that core is the orphan who was never seen as anything more than a tool until she met the major, who would teach her how to read and write and who treated her as more than a warrior maiden. Major Gilbert encouraged her to one day embrace life for all that it is, but Violet never knew anything other than war. Life in the military came with a strict set of rules and orders, its reports, not letters. Objective, not subjective. Being a soldier has a very clear role and purpose, to receive orders, to fight, to kill, there's no room for anything else. That's the world Violet grew up in, and the one she came to know. Violet probably killed hundreds, but her not being burdened by emotions left her free from that burning sensation that Hodgins eventually warned her about. Of course this all changed when the major was killed in that final battle, where his orders were of course for Violet to live and to be free, whatever that meant. As we reach the 9th episode, we come to the breaking point. Here Violet was experiencing the most agonizing of human emotions, loss, guilt, grief and regret, but it goes further than that, as this revelation goes against her very nature. This is a loss of her very identity, she feels betrayed even. The major died and he ordered her to live. But how could Violet live without the one person who allowed her to experience life? When Cataleia tells Hodgins that Violet has lost everything, she's absolutely right. Gilbert was her everything, the only person to treat her with humanity, with kindness. He gave her a name, a purpose. The only person to give her a chance, Violet lived because of him, she adored him. When she was confronted with the thought of living without the major, she said that she'd die. Before Violet could understand what the word beautiful meant, she attached it to the major's eyes. She saw that his eyes sparkled with generosity and kindness, with warmth, with love. That to her is beauty. That's what she's reminded of every time she looks at her brooch. How could she live without the person who gave her a chance to know beauty, to know life? From her point of view, that's just not possible. In addition to her grieving for the major, there is this guilt that is eating her up inside. Violet was remembering the war in the episode prior, and in the one before that, Violet recognized that she prevented others from their own promises, to their loved ones. This soldier aspect of Violet sort of felt like an afterthought up until this point. Because she had left that life behind. Violet as Hodgins tells her, the things you have done can never be undone. We have come to know her as the girl, the doll who was learning about human emotions. But everyone else knew her as the major's killing machine. This episode reminded us of that fact. And not only was she feeling guilt over the lives that she took, she was also feeling survivor's guilt. Violet couldn't save Major Gilbert.  To add all of this onto the fact that this is her first time experiencing all of these emotions, and all at once, is a part of the reason why her reaction is so volatile, as she tried to take her own life. Violet wants nothing more than to erase the pain that she feels. And she doesn't feel like she's earned the right to live anymore. Her body was burning, and she wanted nothing more than to douse the flames. Violet then asks Hodgins if she deserves to live, if she has the right to. Living as difficult as it may be, is still a luxury that only the living have. One that the dead wish they could regain. Hodgins never tells her outright that she is or isn't deserving of life. I think he too is also wondering that himself, as he is also burning. Hodgins the willing participant and lieutenant in the war, but is also the same man who turned around to create this business that does nothing more than to bring people together. So in many ways, Hodgins was the perfect person to answer Violet's question. He left her alone with that decision, and instead he tells her that yes, she cannot change the past, but the work that she's done as an auto-memory doll will never change either. And Violet begins to forgive herself, the first step coming at the end of that episode. She's recognized the harm that she's done, and next is having the ability to keep going, to atone. The episode that follows in what is one of the standouts of this series, Violet meets Anne and her dying mother, and writes 50 letters for the girl's future in which her mother won't be there. And at the end she states how hard it was for her to hold it all in. Violet consoled the young girl, gave her a hug, her first hug. Violet showed a great amount of empathy and sensitivity as she wept for the girl's future. Violet is beginning to grow into her name, and has finally forgiven herself. Loss is one of the most profound, shared human experiences. We all experience loss at one point in our lives. But what Violet comes to understand is that we carry these people in our hearts, and we have a duty to honor them. In order to do that, we have to live our lives to the fullest, to cherish the luxury that only the living have. Violet has learned what it means to live, and whether she deserves it or not, she is alive, and is under strict orders to be free. To preserve Gilbert's memory. She knows loss first hand, and Luculia, Oscar, Maria, and the family of Aiden Field. Violet needs to live so that she may experience a love similar to the princess, so that she may travel the world like Leon. Live to one day find the happiness that Major Gilbert can't have anymore. And for Violet's own conscience, live to a tone. Letters are products of intimacy. They are personal and from the heart. Found Mexican painter Frida Kahlo sent intense, passionate, and personal love letters, or she would write to Diego that only one mountain can know the core of another mountain. Beethoven once wrote an unsent 10 page letter to his immortal beloved, one of tragedy and deep longing. About a year ago I wrote an unsent letter to a friend. I wanted to express the gratitude and love I had for this friend. The process of writing gave me time to reflect on some of our fondest memories, and had me appreciating them so much more. In Violet Evergarden, letters do all of these things, but most commonly they help individuals grieve and let go. This series demonstrates that a letter is a message that can exist beyond the constraints of time, age, or distance, whether it be to those who've passed, to friends, to lovers, or even to the past itself. Letters are tools of clarity. Sometimes it's so difficult to choose the perfect words, but in a letter there's time to decipher our jumbled brains, pass the barriers and the blocks to say what we truly feel, what we sometimes lack the courage to say, or what we are finally strong enough to say. Violet's writing style, one that is direct, succinct, poignant, but eventually develops to become wildly empathetic, these letters became her tools of atonement. As Hodgins told her, the work that she does won't go away, and because she knows regret and guilt, she searches for this atonement, almost with reckless abandon, and slowly her title shifts from The Warrior Maiden to Violet the Doll. I said that the hands that she looks at and puts to use every day are a reminder of her failure. They are the embodiment of her new life, her new beginning. When Deed Freed first sees her after the war, he says that with the same hands that she took lives with, are the very same hands she brings people together. But these aren't the same hands. Violet's human hands were tools for war. This was a life that she had no say in. Her and by extension her hands were tools made to kill. The one time her prosthetic hands were bloodied were because of her guilt. Her post-traumatic stress, her depression, was causing her to have illusions. Violet's human hands are symbolically shown so many times soaked in blood, but when they got destroyed it was a new beginning for Violet. She got new prosthetic arms and hands, now made for her to atone for what she had done. Metal hands to bring hearts together, to learn how to truly be human. During episode 9 when Violet tries to take her own life and the shot focuses on her hands, first around her neck and then by her side after her failed attempt, it reminded me of full metal alchemist. Particularly when Winry is debating on whether she should kill Scar and Edward intervenes telling her that her hands weren't made to kill. That made me think of Violet. Her new hands weren't made to kill, not anyone. They were made to bring people together. In episode 11 Violet writes a letter for the dying Aidenfield and as he's losing blood he asks to hold her hand and Violet doesn't hesitate. And you can hear the clinks in her hand as she moves it towards his, but there was also no doubt that in his dying moments Aidenfield felt the warmth of a human's touch one final time. Violet's new hands are a reflection of her humanity, and this moment was an illustration of her newfound empathy, of her love. It's easy for us to downplay the importance of community when solitude has become a new normal, especially considering the past year. But we are made to create bonds, companions, friends, made to desire love in all of its forms, platonic, romantic, or familial. The playwright Oscar and his daughter, as well as Anne and her mother, really highlighted strong familial bonds, as did Deed Freed and Gilbert. Princess Charlotte and Prince Damien showed the sheer joy and passion that is romantic love, and Violet's community supported her through everything. There was no greater act of love than what each of them gave to Violet during her depression. Hodgins who of course gave her a job and found her brooch, provided her with much needed support when she was grieving, being someone who had experienced much of the same things that she had. Hodgins told her exactly what she needed to hear in order to begin healing, Cadalea checking in on her and cooking for her, and it was through Erika and Iris's letter that taught Violet the joy of receiving a letter, and it was the delivery man who helped her find her purpose through their delivery. When Iris and Erika's letter, they wrote that they were worried for her, and awaited her return. We want to be needed, to be loved.  She gave Violet the okay to finally let go. Violet's friends, their love, the love of her community, saved her life.  From cold and emotionless in her beginning, to someone who is empathetic by the end, Violet is a mosaic of all of these people and their emotions. They've all formed Violet Evergarden. Violet is the byproduct of their love, a word that Violet spent each and every episode trying to learn the meaning of. I love you is a phrase, a feeling, a moment of courage. In romantic relationships it's often a milestone. You always hear about the one who said it first. It's a phrase that carries so much weight and sometimes is thrown around, but that's okay if the person on the other end understands it, and they reciprocate it. If they don't it can feel earth shattering, much like Iris felt. That's the weight of this phrase, it's a declaration of vulnerability and gratitude, the one phrase that can mean something completely different to every single person. These were the final words uttered by Gilbert to Violet, before pushing her out of the way of a falling pillar, saving her life. And I think that act, that final act, is the meaning of I love you. I've always said that love is more than just a feeling, it's the action. And so many times love is said as putting another person before the needs of your own. In his dying moments Gilbert did just that. He put Violet's healing, her childhood that she was robbed of, her life ahead of his own. That's the meaning of I love you. To pair this love with the love she's felt given by her community and all of those she's met, Violet in the final episode of the anime comes to appreciate this. All of it. You can understand the meaning of those words, and in that final episode, you can see that Violet Evergarden has finally and fully grown into the name given to her by the major. She is sensible, modest, humble, and her work echoes the love that she's felt. She has embodied that flower. The major giving Violet a name that represents a deep, true and everlasting love is the meaning of I love you. To close, I want to appreciate Violet Evergarden on a technical level. I'm no expert on animation or music, but it doesn't take one to tell that this adaptation, this aesthetic that Kyoto Animation has created, is simply beautiful. It's so pretty. The colors are so vivid and warm. The details are so, for a lack of better term, detailed. I can confidently say that Violet Evergarden is the most beautiful show I've ever watched in that department. Even the backgrounds are incredibly stunning. There's this one shot of the flower shop that always takes my breath away. There's no other word than beautiful to describe this dreamlike show. And when I think about the soundtrack, it's breathtaking. Again, one of the most beautiful soundtracks I've ever heard, as it blends daily life with a sense of magic and other worldliness. This soundtrack alone romanticizes life. An interview with its composer Evan Kahl revealed that Kyoto Animation hired a 50 piece orchestra for this adaptation, and it makes so much sense. It's why the soundtrack is so full and rich. It's just a touching and perfect backdrop to such an endearing anime. I can only say that Violet Evergarden is a beautiful, beautiful piece of work, evidently made with so much care and love. One that we should be thankful for to all of those who were involved, and especially the staff of Kyoto Animation who will always be remembered.


Sleepy Waves Chichou, I read some of the Nassim's books thanks to you and he says that each bubble creates an even more drastic crash Yeah So based on your prediction of two years, does that mean that most of these bubbles like crypto housing in urban areas? I don't think the housing in Suburban, it's not urban but suburban. Suburban areas is gonna pop anytime soon I think that's just at the beginning stages of the uptick and stocks will crash again And then the US government will pump then again. Is this how the cycle works? Pretty much that's the way it's been working. Yeah, but this time what they're doing is They're adding a few extra Elements in their game, right? They're trying to eliminate cash.   So they're putting in more restrictions for general draw below and they're gonna eliminate another 20% of the middle class In Canada United States anyway, so they're eliminating a chunk of the middle class and putting in more restrictions for Me and you while they give themselves trillions more


Mr. District Attorney, starring David Bryan. Mr. District Attorney, champion of the people, defender of truth, guardian of our fundamental rights to life, liberty and the pursuit of happiness. And it shall be my duty as District Attorney, not only to prosecute to the limit of the law all persons accused of crimes perpetrated within this county, but to defend with equal vigor the rights and privileges of all its citizens. This is David Bryan. In a moment we'll bring you another case from the files of Mr. District Attorney. The first a word from our sponsor. Now here is our star, David Bryan as Paul Garrett, Mr. District Attorney. The welfare of a city or county is not jeopardized by criminals alone. Nature itself is capable of sudden and unexpected violence that can lead to terror and death. This case started as part of a natural calamity. A gasoline truck skidded on a wet street hitting a power pole near the city gas works. Sparks exploded the truck and like a chain reaction the storage tanks. In a matter of seconds the entire section was rocked with explosions as flames swept a quarter mile area of warehouses and tenements. Seventy-two hours later the combined fire departments of several cities were still struggling to get the flames under control. The death toll and damages were appalling. Look, just look at that smoke. Did you get the latest edition of the paper? Yeah, 300 dead so far, more than 100 still missing, lots of bodies unidentified. What are the names of that? The list of dead. Right there in page one, only about 20 identified so far. What? Ralph's name? No, he's probably alright. A working square like him would be alright. But he had a job washing dishes in that diner right by the gas station. The explosion started there. Stop blubbering, do you want to draw attention to me? No, but he has my brother. I've got to worry about him too, don't I? He's probably dead. Yeah, he probably is. Your brother Ralph is probably one of the unidentified dead. Oh man. You'll have to go to the emergency headquarters. If Ralph is dead, you have to identify him. If he is there, in with the ones they don't know, there's nothing you can do to help him. But you can help me, Lil. What do you mean? If you find him there, baby, what harm can it do if you identify the body but tell the police it's me? Don't you see, baby, it's a chance for me to get in the clear. He'll stop looking for me if they think I'm dead. I'll leave town right now. I'll let you know where to meet me. Maybe at that resort place we pass near Lake Bluewater, we'll be free, baby. You and me, free from there on. But, good man, how? What do we do for money? There's a safe in Landstone. I've been itching to get out for a long time. One last safe job, baby, and enough to see is through. From then on, we'll be riding the gravy train. Nobody ever arrests a dead man. Now, get going. All right, then. Good girl, go on. There are many of the other places where bodies are being held in the city more. I don't know. Only the identified ones are there. Are you a teacher at the school here? A detective or what? No, ma'am, my name is Garrett. I'm the district attorney. Keep your hopes up, but don't hope too much for a while. I'll be all right, then. These are pretty bad cases. I understand. Does this one seem familiar in any way? No. I know it isn't easy, but try to get a grip. I'm all right, ma'am. You'd better give me his name for the identification tag. His name? His name is Vance. My husband, Vance Young. Vance Young? I'm afraid I'll have to ask you a few more questions, Mrs. Young. Would you mind stepping over here into the alcove? I know this is most unpleasant for you at a time like this, Mrs. Young. It's unpleasant for me, too, but I have to ask you. It may be just a similarity of names, but did your husband have a criminal record? Yes. Yes, he did. Did you know he was wanted in several states for burglary, safe-cracking? Does that matter? No, he's dead, isn't he? Yes. I'm sorry I had to do this, Mrs. Young. You will find several men at desks outside that door at the back of the gym. They'll help you with the funeral arrangements. All right. Thank you. Young. Oh, hello, honey. The mayor and the head of the disaster committee want to see you. Where are they? Riverside Garage. They're converting it into a temporary emergency hospital. Regular hospitals overflowing. You'll be ready for a hospital yourself soon. You'll look tired. I'm all right. I'll be glad when this is over, though. I hope we never see anything like it again. Yeah. What's the worst of it? Up with five today. You stand there with somebody once their lives fall apart. It's possible a freak accident. That woman I just saw you with, did she find somebody? Yes, her husband. Harrington, the man she identified was Vance Young. Vance Young? The safe-cracker? Yes. Was he hiding out in a tenement district? No. She said he had gone to visit a friend at a diner near the gasworks just about a half hour before the explosion. I guess the explosion closed our files on him for good. When you check back to the office tonight, have Miss Miller put out a bulletin to all law enforcement agencies. Take Vance Young off the wanted list. There's no point in looking for a dead man. Sorry, fellas. That's all the breadcrumbs for today. See you for lunch tomorrow. I thought I'd find you up here on the roof. Oh, hello, Miss Miller. I was just feeding the pigeon this. Elevator boy told me Harrington called from the basement garage he wanted to speak to. He's on his way up. Oh, there he is now. Hello, Harrington. You busy? No, what's the matter? Well, I had to stop in at the county sheriff's office a few minutes ago. While I was there, his deputy called in from Landstone. Something he thought we might look into. What? A safe at the Landstone Mercantile Company was burglarized last night. He's knocked out, but he's been treated and he's OK now if you want to go out there and question him. Well, we'd better go right away. The elevator. Howling. Was it Harrington a safe cracking? Yeah, yeah. Well, at least there's one safe specialist we can eliminate right from scratch on this one. Who? Vance Young. Oh, yes. I almost forgotten about him. Dead men don't rob safe, do they? Here's the all ready now. Well, this is the layout chief according to the deputy's report. These back rooms are used for storage. He came in through the back, went through that door over there to the general office. That's where the safe is. You want to see it? There it is. Out over there beside the firing cabinets in the corner. Look, it's herculean. New model too. Steel and wrought iron plates and more alarm wires and a police switchboard. Yes, but a good safe cracker could divert the alarm circuit without tripping it. And the box is a cinch because he's got the wire holes to start working on. Take a look. All right. Back plate is blown clear off. Doesn't even look like he used a drill. No, small nitro charges in the wire holes and it was as good as having a combination. I'll give you help with the watchman. Yeah, sure. Hey. Hey, you from the sheriff's office. Yeah, yeah, you. Send that watchman in here, will you? Yeah, I'm carrying it. Neat hookup. Well, that crew take a complete set of photos and they always do. Here comes the watchman. You found it hard to see me and the watchman. Yes, what's your name? Edwin Winkler. Everybody calls me Winking. I understand you were knocked out. How's your head? Aspen ain't got to help it any other day. I think you're going to get that fellow that did it. We'll be able to answer that better when all the fingerprints are checked. Fingerprints? He didn't leave none, I tell you. He's wearing gloves. Looks like our best bet is going to be an M.O. check, Harrington. Yeah? M.O. check. What's that? Motor stop or andy. All people have definite work habits. Even criminals. They repeat the same procedure on each job they do. It forms a pattern. Yeah, we've got a pattern here, all right, chief? This is work we've seen before. Yeah, yeah. Let's see this. It's a bit lockin', but he's still doing time at the Folsom for the job he pulled on the coast. Yes, and the other two are Jack Fontaine and Vance Young. Yeah, but Young is there. That just leaves us Fontaine. You mean you know who did it with nothing to tell you? M.O. can be almost as good as fingerprints on a signature. Well, I'll be damned. Maybe that fellow paid for slugging me after all and for hurt my arm when they grabbed me in the alley out there. You said he grabbed you? Yeah, with my arm up behind me and jabbed his thumb up behind me. It hurt like crazy. I got a good jolo, chief. That's still Fontaine. And Vance Young, too. When did the burglar slug you, Winky? After he made me open the back door and let him in. Sneaked up on you before you could draw your gun, huh? Sneaked dozen. Well, I didn't suspicion him at first. He came walking up the alley whistling like somebody taking a shortcut through. I didn't see the mask he was wearing until I let him out. He asked for a light. Then he grabbed me. He got me in here and then beat on me and kicked me. That doesn't sound like Fontaine, chief. It wasn't Fontaine. He always wears sneakers, comes up on a watchman from behind without a sound. That trick of asking for a match is Vance Young's. Gets the watchman's hands high and away from his gun. But, but chief, Vance Young is dead. Maybe yes, maybe no, but I know one thing. We're going to find out. This is David Bryan. Before we continue with Mr. District Attorney in the case of the living dead man, here is an important message from our sponsor. Back to David Bryan, starring as Paul Garrett. Mr. District Attorney. Explosions and fire in a natural disaster had destroyed a section of the city, killing more than 300 people. One of the dead had been identified by his wife, who admitted him to be a notorious safecracker wanted by the police. But now suddenly we were faced with a crime having all the earmarks of being committed by the man we thought to be dead. I went back to the office and started to check through the records. Here's the information you wanted on Young's wife, Mr. Garrett. Oh, thanks. The woman is Lillian Young when she arranged burial with the Disaster Committee. Did she give an address? Yes, 1310 Morton Avenue. There's something the police made an notation on though. What? That ring she said she identified the body by? Yes. Well, the undertaker turned it into the property claims division, but she's never showed up to claim it. I don't understand it. I swear to you, Miss Miller, that woman was not putting on a night. She was hurt, very deeply hurt, and she made that identification. Come in. What did you find, Hayden? Well, I checked on the tag number on the body, Young's body, or whoever it was. Fight-apartment code showed that it was found in the vicinity of that diner by the gas wicks. All right. That's where the wish was came from, the heart of that first explosion. All right, here's what we do. Mrs. Young didn't claim the ring she used in identification. Get it from the property section, I'll give you an order. Yeah. Lots of workers who escaped the blast, truckers and people like that, might have eaten at that diner. See if any one of them can remember seeing that ring before. See if they can tell you who owned it. Right. Meanwhile, Miss Miller, I want you to check the Hall of Records. Find out when and where Young and that woman were married. I want her maiden name, where she came from, everything we can get on her. Yes, sir. Where would you be, Chief, when I get finished? I'm going to try the home address Mrs. Young gave. You can follow me out there if you get anything. This was the room, mister. If there was anything they did, I didn't know about it. My wife and I run a respectable place here. I do, mister Johnson. I just want to look around. Well, as I said, they didn't leave a thing. They only lived here five, six weeks or so. You get to know the husband very well? To tell the truth, I hardly ever saw him. Come to think of it, I haven't seen him in more than a week since the big fire. He went out one night while that was going on and never did come back. But you say his wife left only yesterday. Yeah, right after the morning mail come. She gave him the keys to the room and packed up and left. After the mail. You know if she got a letter from anybody? Yeah, but I didn't see who from or where from. She waited for the postman most every morning. I got a house to take care of. Maybe Charlie can tell you where she went. Charlie? Yeah, a cab driver has the hack stand right up in the corner. She called him when she got packed. Well, there's Charlie's cab now. You can see through the window. He just pulled up. Thanks. I'll talk to him. So long. Yes, sir. Where to? What makes you think I want a cab? The way I've seen you coming to me. I can spot a fare a mile out where to. And that's up to you here on the police station. Oh, God. What I do forget to answer the ticket. I'll ask the questions. You pick up a fare yesterday at 1310. The rooming house up the street. Yes, sir. Now, let me think. Think faster. The landlord said you did. A woman named Lillian Young. You know which bus she took? No, I don't. But whatever it was, it left 11-5. You're sure of that? I ought to be sure. Almost got a ticket for speeding to get to it. We'd had plenty of time and she'd made me come dash him back here the first time after we was almost halfway to the depot. Dash him back where? Back to the rooming house? No, back to the laundry at the street there. I guess she had some stuff in there. Although she didn't bring a bundle of water. It's up the street, huh? That's right. Oh, thanks, but there's a friend of mine I can ride with. Hello, Herrington. Come on, hop in. I was just heading for the rooming house when I spotted you talking to the Kelly. What's up? Young's been missing since the fire. Mrs. Young checked out yesterday after getting the morning mail. He bought an 11-05 bus. 11-05? Yeah, that's a northbound, I think. Upstate the mountain areas. We can check it later. You got anything on the ring? The gas was when they blew. He used to eat at that diner. Said the ring belonged to a counterman named Ralph Brenner. He must have been our dead man. Mrs. Young must have known him to cry the way she did. Oh, she knew him all right. Miss Miller checked on her. Her maiden name was Lillian Brenner. The guy in the diner was her brother. And that's why she was so broken up. And what's her move? The bus depot? No, along the upper street. Why? The bus depot. Yeah, she was real upset because the things wasn't ready. Do you know how things was? We're five days behind on our regular work because of the fire. Funny thing, the only one who complained about the laundry being late was Mrs. Young. Maybe that was the only cause she had to leave town. She had taken the stuff where they're finished or not. Hadn't been in the tubs. Oh, why did she leave? Oh, just shirts. Her husband's, I guess. Real good shirts, though. My old man wouldn't be found dead by some of them. She says he'd be back to pick up the shirts? No, she wanted them sent to her C.O.D. Since she needed the money she had on her for traveling. Shirts like that she'd think her and her man was rolling in money. We understand, but did she give you a farting address? Yeah, I got it right here in this book. Here it is, here it is. See, she wrote it down herself. Let me see, general, only general delivery chief. Lake Bluewater. She's ready now. They're there on that there shelf up there. I'm going to wrap them and mail them out tonight. We'll save you the trouble. Just wrap them and we'll deliver them for you. Young's laundry isn't going to get there until we do. Here's the road sign now, chief. Blue water. 25 miles speed limit. Better slow down. Yeah, not if there's any need to. That's mostly for summer. Season's over now. Regular residents turning early. Yeah. Looks like you're right, though. Main Street's practically deserted. Looks like everything's closed up for the night already, except for the movie, the drug store. Hey, we better find the hotel and turn in. No, I think we better drive out of town and find the motel someplace on the highway. Motel's up here, aren't much. Mostly cabins with kitchens along the shore in the lake when we get past town. No, here's the end of town now. Now I can let her out here a little. No, I won't mind spending the night beside the lake. The air is crisp and fresh. By midnight it'll be crisp and frozen. Here's the lake shore turnoff. I hope we find a place open. We will. Some of the owners must stay on to postseason repairs. You know, chief, it's funny thing about Young's wife remembering his shades even when she was getting ready to run. I guess it's for some habit for a woman, huh? Strong thing, habit. Young's safe-cracking habits tipped us that he was still alive. Maybe his wife's habits are going to make him wish he were dead again. I think, stop the car hiring him, huh? What is it? What's the matter? I just saw something. Back up, about 50 feet. What was it? That's the flash of something through the trees. Back up. Let's pick it up as we came past. Little roll goes down there, that's all. Wouldn't sign on that tree. Forsters' cabins. Oh, yeah. See the backs of the cabins down there? It's all dark, though. I see something else, don't you? Put the bright lights on again. Yeah. Wash hanging on the line behind one of the cabins. Look at the two men's shirts on the end of the line. Looks like a couple of rainbows even in this light. Hey, hey. Those steam vents young goes in for. The shirts we have in the laundry bundle are just like those. You better put out the lights. Don't slam the car door getting out. Let's walk down and have a look at those shirts. Right. You know the laundry mark on the ones we picked up? Here's four numerals, 1310. Same as the address of the rooming house they lived in. All right, man. Got your flashlight handy? Yeah. As much as you can. Marks will be inside the collar. There it is. 1310. Vance? Is that you? Who are you? What do you want? Come on, Harrington. Come on, Mrs. Young. I won't tell you any good. Grab her. Vance, it's a police. Where is he? Harry, he went into town. Down there, Harrington. Oh, where? The boat docked by the lake. I saw a shadow moving. Another go. We'll pick her up later. There. There he is, chief. Hurry. He's getting ours out of the boat house. I'm going to jump through. I got her, Harrington. They are. You're just real. Here, Harrington. I'll give you a hand. Grab him. Grab him. He's starting to come too. I got him. Heave. I told you I couldn't swim. Well, where you're going, Mr. It won't matter. Vance. Good. Vance, look at him. That water's freezing cold. Don't just stand here with him. Well, he's no worse than I am, lady. No, he isn't, Harrington. As a matter of fact, he's much better off than you are. What's that supposed to mean? You'll see when we get back to our car. At least we have a nice, dry shirt waiting for you. Come on. Come on. Get over. This is David Bryan again. I hope you've enjoyed this case from the file of Mr. District Attorney. I'll be back in just a moment after this message from our sponsor. Mr. District Attorney, David Bryan, with a word about the program you have just heard. Having been convicted three times previously for felonies, Vance Young, on this fourth conviction for burglary and assault, was sentenced to life imprisonment as an incorrigible criminal. His wife, Lillian Young, having no previous criminal record, was sentenced to five years in the woman's penitentiary for aiding a criminal, obstructing justice, and willfully giving false information to law enforcement authorities. Now this is David Bryan inviting you to join us when we present our next case based on the facts of crime from the file of Mr. District Attorney. Mr. District Attorney was originated by Philip S. Slore.


Hello, I hope I haven't kept you waiting. Yes, this is the crime club. I'm the librarian. Death never doubles. Yes, we have that story for you. Come right over. Take the easy chair by the window. Comfortable? The manuscript is on this shelf. Here it is. Death never doubles. The very exciting story of a past present that had no future. Let's look at it under the reading lamp. It was early evening, and Peter Woods, a young lawyer, was in his apartment getting dressed for his appointment with Hilda Ryan, his fiance. He was not expecting a phone call, but when it came, he answered it as if it meant nothing at all. Then, five minutes and countless palpitations later. Oh, sure, Mr. Jackson. Don't worry, Mr. Jackson, I'll be there. Yes, I know, not later than a quarter date. Yes, I've got the address. 1052 West 52nd Street. All right, Mr. Jackson, thanks very much. Bye. Wow. Hello? Hilda, honey. Yes? Oh, my sugar-coated Cupid. Guess what? You're going to be late again. You're drunk. I'm delirious. I just fell into a pot of gold. Did you say gold? Uh-huh. Mr. Jackson just phoned me. Steve Jackson. Who's he? I don't know, but he's going to do a big operation and he needs a lawyer. He promised me $5,000. $5,000? Who recommended him to you? Nobody. Just picked my name right out of the phone book. Uh-huh. What's the matter? Oh, nothing. I don't know. I've gotten several clients that way. Did they pay you $5,000 fees? Oh, Hilda, now look, I know it's a lot, but it isn't fantastic. After all. Yes, honey. After all, he may be a nut with a bolt loose. He sounded perfectly all right to me. So do you, when you're not listening. What time will you pick me up? What? Uh... Well, honey, I'm afraid I can't make it tonight. Mr. Jackson? Yeah, quarter to eight. And I've got to be on time. Of course. Would he mind if you brought your secretary along? Now, what's the idea, Hilda? You know I haven't got one. I have darling and a menu in sis from now on who's going to keep an eye on her man. Well, Pete. Don't say it, Hilda. I couldn't stand it. Are you sure Mr. Jackson said 1052 West 52nd Street? Yes. It wasn't West 57th Street? No. I repeated the address to him. This is the place. But there's no building here. Just a hole in the ground. I don't get it. Why should anybody ask me? Wait a minute. Why? They're excavating here. That hole in the ground is where they're going to put a foundation of a building. So anybody can see that. All right. Now, suppose Steve Jackson is the guy. You know, the builder. He'd have an office, Pete. I'm going to find out. Come on. Darling, can't we forget the whole thing? There's a bedroom on the second floor of this building next to the light. Pete, I'd rather have dinner and go to the movies. We'll go upstairs and we'll ask about Steve Jackson. Somebody ought to know him. I'm not going. Well, what are you afraid of? Trouble. Nothing. The sooner we get away. Hey, you're blocking the doorway. Huh? Oh, I'm sorry. We didn't see you. I walk like a cat. Now, if you don't mind, I'll just go inside. Duke. Duke Masters. What? Pete, is he talking to you? Gee, Duke, I didn't recognize you in this pair of light. He wasn't expecting to see you for six months. No, look, listen. When do they let you out? I'm Peter Woods and I'm looking for Steve Jackson. And no moniker, eh? Culture, too. Why, you're even talking like Park Erin. Okay, maybe it's a good idea. We can all start from scratch. I'll change wine for Marty Green. Pete, shall we go now? Wait a minute, sister. What's the rush? Marty. Sister's name happens to be Hilda Ryan. I'm tickled. Hey, Duke, what are you going to say to Trixie about this dog? Trixie? Yeah, she's still... Hey, what goes here? Just a couple of the wrong people. Come on, Hilda. Did you know I was waking all night and that dump upstairs or did you come here by accident? Marty, now it's you who's blocking the doorway. We ain't taking no trouble for us, Duke. We've been having hard times for the last year and a half. Oh, that's too bad. What do you want me to do about it? Okay, so you took the rap for all of us. Me, Flip Morgan and the rest of them out. You got two to five years in Leavenworth and we didn't. But you got caught and we didn't. Now listen, Marty... No, you listen. You got 200 greens soaked away some place that's going to be split.  Marty, when was the last time you were pushed through a wall? Yeah. Okay, pal. But I'm telling Flip Morgan and Trixie I've seen you. Yeah, I do that little thing. And brother, if you've got any real ideas about spending that dough yourself, I'm going to give a big chunk of it to some undertaker. Stop flipping that coin. You're driving me crazy. Well, what are you so nervous about, Trixie? I'm not nervous. All right. Will you stop it? Sure. You want me to go home to my mother?  It's just that I'm... Oh, yeah, sure. I know. You'd like to see something green for a change. Flip. Well, it's my sickness, too. Duke, the wise guy. He don't trust nobody. 200 grand stacked away and we got a scratch that gets out of stir. What's going to happen when he gets out? What's that? He's got only six months to go and leave it to Duke. He's behaving. Won't be two to five for him. He'll get the diploma at the end of two. Well, what's wrong with that? I can't help it if I'm scared, Flip. He's not going to do anything to you. I promised I'd wait for him. So what? You changed your mind. He'll kill me. You're crazy. I know what I'm talking about. When Duke finds out, somebody hasn't tipped him off already. Relax. Duke's a dying duck. Huh? Only he don't know it yet. Nobody's going to tell him. What do you mean? You learned how to do arithmetic, didn't you? Flip. Uh-huh. The more numbers you got to divide by, the less everybody gets.  First, he brings the dough out of hiding. I got a brain that gives me 24-hour service. But, Flip, suppose... What for? The day Duke steps out of Leavenwood, he's going to have an escort with them all the way to New York. And by the time we swing up Broadway, he's going to be all talked out. Oh, oh. And then we bury him. I'll get it, Trixie. Yep. Hello, Flip. Yep. This is Marty. The Duke sound. What? Yeah, yeah, Duke masters. I've seen him. Hey, now listen, Marty, if this is a guy...  I talked to him. And you should hear him, Flip. Like he went to college instead of Leavenwoods. Just a minute. Trixie. Yeah? Marty just saw the Duke in town. What? What? Yeah, what a break. Six months ahead of time. What are we going to do? Same thing. All right, Marty. What else? We're getting a double-cross. Hey. The Duke says he ate the Duke. He says he's a guy by the name of Peter Woods. Go on. And he's got some fancy dame with him. Hilda Ryan. A real cookie. Peter Woods and Hilda Ryan, hey? Where are they now? In the Beechoo Club on 49th Street. Spending our dough. Okay, Marty. Keep an eye on them. But I've got to go to work. Keep an eye on them and your working days will be over. I didn't expect it, Flip. I never figured on time off for good behavior. Get me the phone book, Trixie. What are we going to do? The phone book, baby. I'm going to take a look at the odds. I've got an idea. They're going to favor a quick killing. I can't help it, Pete. I've got to say I told you so. Yeah. Going haywire because somebody picked your name out of the phone book and offered you $5,000.  Can I help it if I look like Duke Masters?  You're supposed to be smart. Hilda, you see any gangsters, right? That name, Steve Jackson. That sure sounds like a phony. And now... Oh, well, I'm going to the powder room. All right. And then you're going to take me to the movies. All right. I'll be back in a minute. I missed you, Duke. Huh? Why didn't you let me know you were coming home? No, no, listen, miss, whatever your name is, I want you and your gang to get one thing straight. I'm not Duke Masters. So I heard. Is it on account of that girl? No, I'm warning you. If you don't leave me alone... What'll you do? Scream? Huh? Yeah. It shoots. The restaurant's full of people. There's nothing safer than a crowd. You ought to know that, Duke. Yeah.  Didn't keep you from getting the money, did it? Oh, now, listen, you got me all wrong. It won't keep me from pulling the trigger. I've got my identification card. Look, if you give me until tomorrow, I'll get to my birth certificate. Why the double-cross, Duke? What's the use? Is it because you heard some stories about me and Flip Morgan? I never even heard of you. They're not true. I said I'd wait for you and I've been waiting. I don't care what anybody's been telling you, I've been on the level with you. Sure, I believe everything you say. Oh, Duke. Duke? But let's keep it strictly impersonal. Okay, I can wait until we're alone. Listen, Duke, I got an idea. That 200 grand. If you don't want to split it with the gang... My tricksy. By the way, that's your name, isn't it? You'd rather be a clown, huh? Maybe we better go now. Where to? Your apartment. The one I never saw.  You don't hear me laughing, do you? But I can't leave now. Hilda wouldn't understand. Duke, did you ever see such a cute little gun? A few minutes ago. It disappears in the palm of my hand, see? Tricksy. Are you ready? No, and I'm not willing either. I'll overlook it, Duke. As long as you're able. All right, Duke. Stop fumbling and open the door. I can't help it, tricksy. I'm thinking of Hilda. When she finds me, go on. That door, sweetheart. Careful how you poke that gun in my bag. Get in there, Duke. All right, all right. At this age, you don't have to be so impatient. What's happened to my apartment? We gave it a thorough cleaning, pal. Huh? Who are you? Come in, Duke. Come in and stop kidding. Now, look. You've made a mistake. Give me a chance, will you? Yeah. You have to coax him much, tricksy. A little. He was pretty unreasonable, flick. It's too bad. What's the matter, Duke? Don't you want to meet your old friends again? I never saw you before in my life. I've never been to prison, and I've never been in any holdup. His memory's still bad, tricksy. It's awful. We might have to give him a treatment, huh? Remember the boys, Duke? Good grief. What can I do to make you understand? That's Tom, and that's Knuckles, and that's the bruiser. Yeah. They're all waiting to put their hands on you. I'm not Duke Masters. You're not sure. I know. You're Peter Wood. You even listed in the phone book. Nice going, Duke. You took the safap and hid the dough, then you took the wrap, but not for us. Now, where is it? I give up. 200 grand is in one of these rooms.  You searched, haven't you? You didn't find any money. Well, maybe we're not as smart as you are. You pull the place apart. You're next, pal. What can I do just because I happen to look like some guy who's double-crossing? I'll give you a break. Tell us where you stacked the dough, and we'll catch you in. We'll let bygones be bygones. You can't let something be that never existed. I, uh... Hmm? Ah. You've become a philosopher, too, huh? I do great things at Leavenworth these days. Sit down, Duke. What for? We're going to give you something to think about. Come on, Trixie. The boys want to be left alone. Listen, Flep, don't you think... There's nothing to worry about, sweetheart. They're going to see how many times they can bounce the punching bag off the wall. Before the egg is out of it. Don't move, honey. Don't move, she says. Yes, if I could. Oh, if I could only get my hands on the men who did this to you. It's no use. Hilda, I'll have to leave town. Oh, Pete, how could they have beaten you up like this? Your face. Sorry about that, lady. Huh? I'm not Duke Masters. No, no, Mr. Woods. I am. You... Why? Yeah, yeah, I know how you feel. It's tough. You got born with the wrong face. But it's not only the face. You're not human, Duke. Okay.  What? You're going to... After all you've done to me already? I promised you 5,000 bucks tonight. What? Hilda! I know, Pete. That's Steve Jackson. Yeah. I, uh, hope you'll excuse the masquerade. It had to be done that way.  I don't want you to consider me a bad guy, lady. When I got expelled from Leavenwick last week, I never thought my luck was going to change, but it did. So did mine. A couple of days ago, I spotted Marty Green going into a pool room on West 52nd Street. I found out he works there. It was always a second story, Mark. You ought to know your friends, Duke. Yeah, I know them. Well, yesterday was my big day. I was walking along Madison Avenue, when who should I see coming out of an office building? You, Pete. So I followed you all day. My head spinning with ideas. It's too bad it didn't spin right off.  I'm not your lawyer, Duke. Don't kid yourself.  Well, that doesn't give me much choice, does it? It doesn't give you any. Would you like to know how I got your name? I'm sure you're going to tell me. The doorman of this house gave it to me. I walked in and he says, good afternoon, Mr. Woods. What was I going to do? Well, I did it. I went right to a phone book and looked up Mr. Woods at this address until I found one with a Peter in front. That was you, pal. Duke, you're almost as smart as the devil. Smarter cookie. I get what I go after. But what do you want? You got $200,000. No, Pete. What? I had it. Saw it away in a little cabana. I owned it at the beach. My own private getaway from it all place. Nobody knew. Not even Trixie. Well, you're planning to keep it all for yourself? I wasn't telling them where to find it, not until I got out of the stir. I was taking no chances. Look at you. Looked much I wasn't. What do you mean? A couple of months ago, Trixie wrote me about tough times. What was I going to do? Let her go hungry? So I told her to take a few grand and keep a trap shut about the rest. But she took the pile. And she never wrote again. Naturally. She's been too busy flipping with Morgan. I'm a cross in him, too. All right, all right. You don't have to get mad at me. I wasn't sure of it until tonight. Flip Morgan hasn't seen a dime of that $200,000. How do you know? Take a look at your face in the mirror. Oh, you mean... You get the idea. I see. Well, Duke, as your lawyer, my advice to you is to go to...  Look, Duke, I was only kidding. Get him up, ladies. He's got a lot of work to do. Not for you, he hasn't.  Are we going to have an argument? There's no shortage of guns, is there? We're going over to Trixie's apartment. She lives in a rooming house on West 49th Street. What are we going to do there? Not we, Cookie. Him. He's going to persuade Trixie to part with $200,000. Oh, no. I've had enough of that woman to last me for a lifetime. Oh, no, Pete, Pete, don't irritate me. You'll lose a good client. You don't say.  For sure. All right, here's the key, Pete. Don't we knock first? You'll never get the first base with Trixie being formal. What suppose she is? That's her tough luck. Go ahead. All right. But tell that gun to be gentle and move that spine. I got to live with it.  You're not afraid of Trixie, are you? Not if she's alone, chicken. Oh, so Pete's going to find out. Back in Leavenworth, we used to call that strategy. Pete. It's no use, Hildon. Well, here I come again, fellas. Trixie. Trixie. Pete. Duke, we can't let her. Put on your old brass knuckles with the corkscrew buckles and then we'll have a little smoke. Duke, Hildon. What's the matter, Pete? Flip Morgan. Is he dead? Nobody could look like that and be alive. He was shot. Say, Duke, did you know about this when you... Hey, don't lock us in here. Well, what do you know? He did. I'm sorry, Hildon.  Oh, dear. Of all the windows to be stuck, it has to be the fire escape window. What are we going to do? I don't know. Those guys knock me senseless. But I do. We can stick our heads out of the other window and yell. Honey, have you gone berserk? We've got to get out of here. Sure, but don't call for help. There's a dead body in this room. How are we going to explain it? There's no law against telling the truth, Pete. Who's going to believe us? Pete. Shh. There may be Duke coming back. What are you going to do with that chair? Come on, quick. Behind that door. Hey, you two. Trixie. Put on that chair, Duke. No, while you're still behind the door. Okay, you can close it now. But how did you know we were... Look over there. Well, I guess it's nothing like a well-placed mirror, is it? But, Pete, darling, there certainly is. What? Hello, what are you talking about? A well-placed bullet. Have you forgotten? You know, in that corner. Flip. Never again, Trixie. Flip has flopped.  You and the dame. No, wait a minute. Let her rave, Pete. You sent me a phony telegram to get me out of here. Said you had something to talk to me about. I thought you wanted to make up. How did you get around Flip? He didn't see the wire. I read it in the hall. I told him I had... Hey, since when do I have to answer your questions? Where's the telegram, Trixie? I threw it away. I wasn't going to keep any messages from you to me. Uh-huh. I thought it was on the level, Duke. I was ready to go back to you any time you wanted me. But you don't want me.  We thought you were Duke. He was here. Sure, sure. You're still Peter Woods. You'll kill us one at a time, and then you've got 200 grand and no partners. Well, it's not working, Duke. Not this trip. Duke says you have the money. Did you hear what I said? I'm not even listening. What are you going to do? I'm calling the cops. You're through, Duke. All right. Call them. Let's sit down, Helen. I don't mind. It'll be a pleasure to see a blue uniform. No. No, never mind, operator. What's the matter, Trixie? Cold feet? Duke, how was Flip Morgan killed? He was shot right through the heart. You know, Trixie. Don't you dare. And you were going to let me... You didn't even try to... Hey, I'm getting out of here. Wait a minute, Trixie. No. No. No. I guess she means no, Pete. Yes. Well, let's call the police. They always like to be told when murder has been committed. Moneyball inside pocket. Marty. Hi, Trixie. I hear they gave Duke a facial. Did he come through? I've got to talk to you, Marty. Let's go someplace. Sure. How about the office here? It's built solid. All right. Hey, how come you're here alone? Where's Flip? In my apartment. The Duke too? No. Who figured Duke would turn out to be a rat? The most honest guy in the mob. The guy that took the rap for all of us. He's dead, Marty. What's that? Who's dead? Flip. Oh, you're kidding, Trixie. Then go see for yourself. Flip's in my apartment with a bullet in his chest. So that's how Duke's going to hold on today? He would've killed me too, but I wasn't there. Listen, Marty, we made a big mistake tonight. That man we thought was Duke Masters. What do you mean, sword? He isn't. Why? Now, don't tell me, Trixie. I see him with my own eyes. You saw. I saw. But we were wrong. Duke's around somewhere watching us. Well, what's the deal, Trixie? The what? The deal. The deal. You got any special reason for wanting us to think double?  I'm telling you we haven't seen Duke yet. Flip saw him and he's dead. Would I tip you off if I was working with Duke? Yeah. You wouldn't, wouldn't you? What makes you so sure about the other guy? When I came back to my apartment, he was there with his girlfriend. Then I saw Flip and I started to call the cops. Marty, he told me to go ahead. He didn't try to stop me. Hiya. Duke. Yeah. Tonight at Trixie, aren't you glad to see me? Yes. Sure, Duke. Well, you might show it. Take a walk, Marty. Well, anything you say, Duke. It's good to see you again. Don't go too far. I'll be here all night, Duke. That's the kind of a job I get. And don't send for any help. The boys are all downtown being questioned by the police about Flip Morgan. All right. But, Duke, I wasn't going to do nothing like that. Yeah. It's amazing what protection a nickel will get you. Go on, beat it. Well, Trixie. Duke, what are you going to do? Oh, no. Don't rush me, Cookie. I got a lot of looking to do first.  Oh, Duke. I've been waiting for you. You don't know what it was like, not knowing whether you'd be locked up for two years or five years, though at nights I couldn't sleep. I'll bet. I never dreamed you'd be out in a year and a half. Oh, Duke, darling. Hold me close. Like this? Closer. I want you to hurt me. Said how Flip used to do it. Flip, what's the idea, Duke? You tell me and the guy wants to know. You're crazy. Stir crazy.  Oh, I said nothing about other men. Chicken, I only named one. Well, I suppose I did let him buy me a few meals. Did you leave me any money to live on? Didn't even answer my letter a couple of months ago. Didn't I? I begged you to let me know where you'd hidden the 200 grand. I promised I wouldn't take any more than I needed. Why didn't you answer my letter? That, uh, that cabana at the beach, Trixie. Nice place, huh? Cabana? What are you talking about? You must have thought it was beautiful when you found the dough there. Dude. I answered your letter, baby. I told you where to look.  Find his keepers. Why do a split when you can dance on a dime? Duke, I didn't know. You never told me about a cabana. I took the wrap and kept my mouth shut, but you were going to close it for good. You knew what the marba doof. I didn't come up with the dough, so you waited and played dumb. I didn't have long to live, did I? Duke, listen to me.  Fein clear. Nobody knows. Okay, Trixie, I know. Where's the dough? I never saw it. I never got your letter. I'm not asking for comedy lines, Trixie. But I tell you, what are you trying to do? How do I know you wrote a letter? Because you say so? Well, I say I never got one. Okay. Okay. From now on, the proceedings will settle down to a nice, quiet, roundtable discussion. Let me see your palm, Trixie. What for? I want to read it. I'll find out if you have a future. Okay, buddy. You take Table Six. Table Six, ready? Hello, Marty. Remember us? Huh? Sure. Gee, Mr. Woods, I'm sorry we topped your fiscal and bones, but you know an honest mistake. That's quite all right now, Marty. As long as Pete can be himself again.  But what brings you here? Want to shoot some pool? We're looking for Trixie. Oh, you're out of luck. Isn't she here? I left her in a duke in the office about an hour ago. You know, a long time now, we see. Are they still in there? What do you think? Come on, Hilda. Hey, wait a minute. You'd better leave him alone, Mr. Woods. The duke gets awful mad. He won't hit me, Marty. He'll be almost like hitting himself. Now, take my advice and be smart. Now, don't... I'll try to stop him, Duke, but they... Save your breath, Marty. You're talking into a vacuum. Pete! Yeah. Strangle with a piece of cord. Holy smoke. Close that door, Marty. Sure, sure. We don't want no riot. Marty, you said the duke was in here, too. Well, I didn't see him go out. If he had gone out, would you have seen him? Well, sure. I was out front all the time near the door where the counter is. Well, then, how did he get out of here? How? That's an open window, ain't it? Wide open. You mean Duke jumped out of there? He didn't have to jump, lady. This is the second floor. He could have dropped down. It's only about 12 feet. Is it? No, I can drop down from that window myself. You work here nights, don't you? Yeah, so what? Take a look out that window. Something's been happening next door. Next door is an open lot. There was, Marty. Now there's a great big hole in it. About 30 feet. What? For the foundation of a new building. 30 feet? Mm-hmm. Steam shovels work during the day. You see Duke's body down there? Oh, I didn't see nothing. It's too dark. If Duke went out that window, he should still be down there. Want to take a trip? Not with you, mister. Hey! Don't be alarmed, Hilton. I've been facing guns all night. How's it feel to be rich, Marty? Great. And I'm going to stay rich, see? That 200 grand is mine. I worked for it. One hold up and two meters. So what? Duke's going to take the rat? It's no secret he used to be nuts about Trixie. It's no secret she was double-crossing him with Flip. Marty, how'd you get the money? I watched the males at Trixie's house. I don't trust nobody. You watched the males? For almost a year and a half. Trixie lived in a Roman house. The male used to be left on the table in the front hall. And then one day a couple of months ago? Yeah. The pay-off. I let it at all where Duke hid the dough. And it said, don't tell a mob. I was in. You're smart, Marty. Yeah, but who are you going to tell it to? Marty, hasn't anybody told you that shooting makes a lot of noise? I've got that figured out, too. Turn on that radio, pal. It's different now, Marty. You're just learning one thing. Never take your eyes off the moving target. Drop that gun. Drop it or I'll twist your arm on a shape. Now, you weasel. Why, Pete, you knocked him out with one punch. Let me catch my breath.  You took an awful chance screaming that way. I had to, darling. It was now or never. And I figured if it had to be never, why not now? Oh, no, don't think now. Hilda, I need you. Hilda. Hilda. And so closes tonight's crime club story. Death never doubles. Steadman Coles wrote the radio script. Roger Bauer produced and directed. Tonight's cast include a Chet Stratton as Peter Woods. Larry Haynes as Duke Masters. Julie Stevens was Trixie. Arthur Vinton played Flip Morgan. Phil Cramer was Marty. And Charlotte Lawrence was heard as Hilda Ryan. Oh, I beg your pardon. Hello. I hope I haven't kept you waiting. Yes, this is the crime club. I am the librarian. Yes, come over a week from tonight. Good. We have the very unusual story of a flight into fancy that took off from murder. It's called Death at 7.10 by H.F.S. Moore. In the meantime? Well, in the meantime, there is a new crime club book available this week and every week at bookstores everywhere. Yes, it's available now. Fine. And we'll look for you next week. This program came from New York. This is the world's largest network, the Mutual Broadcasting System.


What's up guys, my name is Glassfoot, and today I want to do the history of a character that I personally love and think is one of the best comic book characters of all time. That character is Casey Jones, the badass hockey mask wearing vigilante from the Ninja Turtles franchise. And yeah, I'm just gonna keep wearing this on my head for the rest of the review. I may intermittently switch between actually being on my face and that. But Casey Jones is a character from the Teenage Mutant Ninja Turtles franchise.  I don't know if they were given a gang affiliation specifically in that issue, but I'll get to that later. Anyway, Casey has always been a violent vigilante type character.  Okay, the mask has to come off. I don't like how it's distorting my voice. Anyway, he's always been this just crazy vigilante type character. He was originally written as a parody of vigilante type characters. I'm presuming characters like The Punisher because it's a little unhinged, especially in his Illumeraage comic runs. But yeah, I just want to today go over the evolution of Casey Jones, because he is one of my favorite characters, if not my favorite character from the Ninja Turtles franchise.  And I know that other channels potentially have done this. I don't actually know if other channels have. I'm not trying to rip them off if they have. This is just my personal take because he's my favorite character from this franchise. Anyway, without further ado, let's jump into the evolution of Casey Jones. Casey Jones was first introduced in Raphael Me, Myself and I, a story where Raph, obviously, runs away from the rest of the Turtles because he's in one of his angry and brooding moods. Raphael and Casey meet up and obviously fight because they are going to. I'm pretty sure that Casey actually kind of kicks Raph's butt. This then prompts Raph to try and reach out to him and befriend him, somewhat on some level, and they fight a few more times, eventually meeting up, taking out a number of gang members before Casey eventually finally becomes friends with the Turtles. This iteration of the character is much more violent and edgy than almost every other iteration of him that has ever existed. If you are about my age, you know Casey has this fun-loving, goofy character. This character is violent, alcoholic. His critical thinking skills have kind of eroded over time because he just kind of sat around watching bad cop shows on three TVs that he ran simultaneously. Also, his original intention of his backstory in the mirage version of his character was that he just watched too many bad cop shows. I'm not kidding, and I love that his origin is just that he watched too many bad cop shows and thought, you know what, I can do that.  He accidentally killed someone, became a drunk, moved out west, met and married someone. They had a daughter. She died. He kept the kid and went back to New York and raised his kid who he named Shadow with April. Like I said, this version of Casey is extremely unhinged. He's a much more violent version. He is very inclined to homicidal tendencies and very, very quick to anger in the original. He's actually not that much of a recurring character in the original mirage comics. He was a recurring character, but it wasn't very common and he was much more rare. Next version is from the 80s cartoon series. I actually don't like that show, but that's another kind of worms all together. With that show, I think Casey showed up about six times total in the original 80s run of the cartoon. And much like the rest of the Turtles, he was a much more goofy iteration of the character, not nearly as violent or prone to anger and rape. We then got the version from the 1990 movie. This one is very goofy and much more of a jokester than really a violent unhinged maniac. And personally, I like that change. That's how I know Casey. I know him as a bit of a jokester. Next major iteration of the character that we got was from the 2003 Ninja Turtles TV series, which is where I personally know Casey the best from. This version of Casey is very quick to anger, especially when the gang the Purple Dragons are involved.  I believe it's also implied that Casey's father actually was killed by Hun after he went to the police with this, but it's never out and out stated. This version of Casey is much more of a joking and jovial type character. And personally, my favorite version of the character. He views the Turtles much like little brothers that he didn't have, with his best friend on the team being Raphael. Not only this, he will go to bat for you pretty much instantly if it comes down to that. And I personally find that absolutely hilarious. He also had much more time to grow as a character in the 2003 version because he was there pretty much from the beginning of the show. Again, this is my favorite version of the character, because I just like his more jovial and joking attitude within the 2003 series. I'm also going to touch on Cody Jones for just a second. Cody Jones is the great grandson of Casey and April. And the heir to O'Neill Tech, which is a company that Casey and April started back in their time. Now I'm only touching on Cody really quick, because he has a thing called the Battle Shell, which resembles Casey's hockey mask. And he effectively functions as both a Casey and an April stand-in in the fast forward season of the show. Now the next two, I don't know which came out first, but I'm going to talk about the IDW comics first, because I want to. So in the IDW comics run of the series, Casey Jones is a college student who is on a scholarship to play hockey for New York Tech. Now he much prefers playing hockey to actually studying, but that's neither here nor there. In this version, Casey's father is an extreme alcoholic, and he became more so after his mother died of cancer. Casey met Raphael while Raph was living as a vaguer on the street, and Raph saved him from a beating from his death. Casey and Raph became good friends after that, and then Casey later became friends with the rest of the turtles after Raph found the rest of them. And personally, I like this version of the character a lot. I like the dynamic of him and Raph knowing each other prior to the rest of the turtles to the point where didn't even know the turtles when he met Casey. And Casey being a little bit younger, at least in my eyes, to where he's of college age makes him a little more relatable to me because that's about the age I am currently.  He is not a super human, he is not a mutant. The fact that he's just willing to go up against people is really cool. And now this brings me to the 2012 version of the show where Casey is re-imagined as a high schooler who has been held back a couple of grades and so he's being tutored by April so he can keep his place on this hockey team. Casey, of his own volition, decided to take on mutants and other baddies on the streets after him and April ended up in a fight with Mutagen Man.  I actually don't know if this is also considered a goalie mask but the design of the 2012 version is a different one than this. But that version of the mask, he's actually also painted to look more like a skull. He also wears face paint under that to resemble a skull as well. His weapons are a little more high tech. He wears a goalie glove with a built-in homemade taser in it. He has spikes and nails inside of his glove and he actually built for himself shoes that function as both shoes and rollerblades that he can kick the rollerblades out onto. Personally, I like that addition making Casey a little more tech-savvy on that end and when it comes to the mechanical building of stuff as opposed to just making him a bit of a meathead. Now, yes, Casey is pretty technically savvy. He's able to help the turtles work on things like the turtle van and their motorcycles and whatnot. But it's still nice to see that he was able to come with something like this before meeting the turtles at all. I just thought it was a nice addition. Plus, this version of Casey is a little more reckless but also it's actually really cool to see him because the way he doesn't carry a traditional golf bag. He just has his weapons strapped to his back so it's like hockey stick, cricket bat, and then goalie stick. It's actually kind of cool. There's also the version of Teenage Mutant Ninja Turtles out of the shadows played by Steven Amell. This version of Casey feels very not Casey. And out of the shadows, they made Casey a top which I don't think is a bad addition because I think it is a kind of interesting take on the character to see him in law enforcement but it doesn't really fit what we typically think of Casey as. Personally, I think it's one of my less favorite versions of Casey but it's still an interesting take on the character even if the movie that it's from isn't all that good. Also, we actually have seen Casey as a police officer before in Batman and Ninja Turtles 3, I believe. He actually appears as a comp working for Commissioner Gordon on New Prime Earth but that's either here or there and I'm not getting into side stories and all that right now. And the final version of Casey Jones is Cassandra Jones from Rise of the Teenage Mutant Ninja Turtles. Cassandra irritates me to a level that she probably shouldn't and here's why. Cassandra feels like a comp out to put Casey in the show without actually putting Casey in the show. Cassandra is shown as a psychotic, unhinged, crazy person who wants to be a member of the Foot Clan following the leader and all of his orders to a letter.  She doesn't exhibit any qualities that we've ever seen from a version of Casey before because they cranked up his more crazy tendencies from other iterations to 11 and then took away everything else that makes Casey Casey. But here's the kicker. Here's what makes me really hate the fact that this character is Casey in Rise because she is only revealed to have the name Casey Jones in the final episode of the freaking show. In the series finale, she breaks away from Shredder because she realizes Shredder is bad which is a can of worms that I'm gonna get into in another episode because how they handle Shredder in Rise gets on my nerves so much but she says, my name is Cassandra Jones. My friends call me Casey while bending a Naginata and then hitting a rock like a hockey puck at him.  Right. I do not even have a problem with the fact that this iteration of Casey is a girl. I have a problem that you took Casey and made him the opposite of what he is. Casey is not a stooge. Casey cannot stand taking orders from people other than himself. Casey hates all forms of organized criminal activity because they hurt his family in a lot of iterations of his story. Casey is not a stooge of the foot and that's what bothers me about her character. The fact that he feels so phenomenally mishandled to make her Casey and on top of the fact that it feels mishandled it feels like they purposefully did that to the character just to be able to say, Hey, Casey Jones was in Rise of the Teenage Mutant Ninja Turtles even though it doesn't actually feel like the character at all. Now, if it had been something like Casey was willingly going undercover into the foot clan as like his own personal undercover mission to put an end to them and that had been revealed at some point throughout the show then I'd probably feel a bit differently but the fact that that doesn't happen we don't see any evidence of that. The character doesn't feel like Casey at any point in the series is all it makes me say that Cassandra Jones is the worst possible iteration of Casey and yeah, but that's the evolution of the character. I hope they all enjoyed this. This is not the normal type of content that I would make. Anyway, I hope that you all enjoyed this. I had a lot of fun making it. Casey again is my favorite character in all of the Ninja Turtles but yeah, I hope they all enjoyed this.  Peace out.


So I'm Michael Hoffman. I am the co-founder CEO at Gather Voices and We're all about making video impactful for social good organizations This is a world that I've been in for a very long time So I've been working with non-profit leaders on engaging strategies for over 20 years I'll tell you about Gather Voices in a minute before Gather Voices I ran a digital marketing agency C3 communications, which just works with nonprofits social good organizations On these kinds of strategies C3 still around doing great work I started something called the do-gooder video award So early on in the world of YouTube and all of that we were recognizing the best non-profit videos there And that's something to help others really see what's powerful and what they can do And so you know organizations struggle to create enough video because videos really driving engagement today So if you want to connect to your community to your donor You need more video content and video traditionally and I did this at an agency is slow and hard You know it is time-consuming. It is geographically Limited all of that it complicates and if you you know you see what's going out in the world in the consumer world You see how much video is driving engagement So you need more of it and you just can't do it the old way And that's why all of us are here and why all this great new technologies come around To help you do that and what we do at gather voices is we make videos simple So we're subscription software that makes it easy to create and manage and publish videos made on these incredible devices Incredibly powerful cameras that we have that everybody has in their pockets that everybody has in their webcams. It's absolutely something Amazing. So here's how it works. There's three things related in gather voices gather Which is telling people guiding people through the process of making the video that you want So not just saying, you know make a video but saying here's where you put your head And we're going to check your lighting and sound remotely and give you prompts. We're going to tell you what to say We're going to enforce a time limit So really guiding people through that process to make it really easy and then you can review your video and One-click send so making it just super easy for people to be able to do it And then these video requests can be embedded into existing workflows So what what you can do is you can send a link to someone but you can also embed that And what our clients are doing, which is really cool is they are In taking these video requests and putting them into the existing workflows. They're doing so for example Somebody makes a donation or signs up for an event. You ask them. Hey, tell us what you're most excited about Tell us why you donated why you care about this and and so you can be passively collecting video all the time Not just through like campaigns and things that take extra effort As I know from working with nonprofits not a lot of extra time there in terms of doing things And so that's that's what we do. We also have the gather voices video kiosk Which is hardware to make it easy to collect videos in person at events And so our clients can collect, you know 50 fantastic videos in a single day to use On social media online all the time In our platform, then we make it super easy for non video people to add automatically add captions Multilingual captions add branding at cost to action create montage to do all that with just a few clicks So the whole idea here is that you can automate things But you can also do things manually, but it's video for non video people video editing is super complicated And we make it easy to take that raw video Put it into some fantastically branded experience and then and then easily share it So let me go to the next slide and then so sharing it so built-in to gather voices There are all kinds of publishing capabilities So you can push videos to facebook youtube twitter linked in video you name it We have links into sales force and and illuminate blackboard products and other things you might use for fundraising To make it really easy to share that video content You can also share that directly on gather voices So we give you an animated gif. We'll give you a qr code for every video We make it really easy to share that content You can also build video galleries like this right from gather voices and embed those galleries into your web pages So we're really an enterprise tool for the nonprofit world To make it to make it easy So lots more information on the gather voice website happy to talk to you all more and really excited to be here with all these other Amazing folks. So thank you very much


Welcome, please to the next speaker and go about the pitch. Thank you. Good morning everyone. So now everybody already saw about the workflow, how a developer can start and then able to create a container, create a container image, then deploy it in different platforms. In this particular talk, what we are going to talk about is like how many of you used OpenShift? Oh, nice. So there are a lot of people who used OpenShift. And how many of you heard about something called OpenShift Local? How many of you heard about code-ready containers? So code-ready containers, it was the old name, we have something called OpenShift Local now. So as name suggests, you can create a cluster locally on your system. And it's a platform independent. So you can create the cluster on Mac, Windows or Linux. And then you can play around with the OpenShift. And once you are ready with your applications, you see like, okay, everything is working fine for me. I can now deploy it on kind of products and kind of cluster. You can just change the context of OpenShift and then you can deploy your application. So as per agenda, we are just going to I think everybody knows what OpenShift is. So yeah, in the heart, we are still the Kubernetes. Everything is the Kubernetes and then we have top of some add-ons which makes the developers life easy, admins life easy, right? And so this is very, very kind of a top view overview about the Kubernetes. There's just some, there's components of the Kubernetes which makes the Kubernetes what we do. We have API, we have CLI, we have some applications, then we have Ingress to create the routes and everything. But if you see about OpenShift, we have everything what the Kubernetes have and then we have the add-ons like as I said to make the developers life easy. So we have Dev console, we have templates, we have build config, as to why then everything on top of it. So now what's the OpenShift local? This is the definition what we provide, we have in the readme. But the basic line is that you should run, you should able to run the OpenShift like it is running in somewhere in the cloud or somewhere remotely, directly on your system and able to play around with it. So this is your laptop, whatever the host operating system it is running, we try to consume the native hypervisor and then the CRC is the CLI to interact with that virtualization and then create the cluster, start the cluster and then you can use the cluster. So on the top we have like three simple commands. We say OK CRC setup and then OK start and then start using it. So it's as simple as possible. On much more overlay like there are different components in the OpenShift locals, we have something called VM driver, we create everything in a bundle which have OpenShift client binary, we have VM images and if you go on the top again, you will see what the each command actually doing. So set up actually set up the, kind of set the prerequisites for the host and then you start, it will start the VM trying to connect everything together and using the OC ENV you can just start using the OC client binary with that particular cluster. Installation it's very simple so you go this particular page, you can just say which operating system I want to download it, download the OpenShift local with the pulse you create, run it and that's it. You are able to run it and the link is already in the slide which we will share. So now everything around the theory is completed, we can start with the demo demo. So demo we have very basic application so we have a database which is Postgres database, then there is a to-do application which is trying to connect to this database and then we try to expose that particular to-do list locally and try to see if everything is working as our expected way. So as I said, so I have the CRC running so the first thing I usually do is getting the status of the machine and it will actually provide me the status of the VM, it will also provide me the status of the OpenShift which is there, which version of the OpenShift it is running, what is the use, RAM and CPU is used by the VM and how much cash it used for storing all those kind of things. So I am using the 4.11.7, everything is running, so that's great. The next command is OCENV, what it do is that if you don't have the OC which is OpenShift client binary install in your local system, what you can do is that you can use this command, it will put that particular path on your system variable path and then you have the OC directly working without downloading to the internet. So I have that also, so now check which server I am connected to, so if you see here I am connected locally, if you can see there is already a domain name which is there for interacting with the CRC VM, this is the API which is used to use with and OC is connected to that particular API, check the different context, so I am right now using this particular context but I have some CRC developer context and admin context which I can use or I can create a new user because everything is running locally in my system. So about the application now, about the app which we want to deploy on this particular system or this particular cluster, so let's increase the phone, is it visible? So I put this particular app already on the GitHub, we will put it in the slides like how to get it but the idea of this particular app is it is a go application, so the interesting thing like what we actually have here, like it is a go application which tries to run this to-do list and it is supposed to connect in these environment variables if we have the database, if it is getting from the environment variable, get from the environment variable otherwise use the local host same as the port, user, password and database name. And then what you usually do, what you usually developer do, once they code it, they have this kind of repository and then the first thing they do I have everything there, now the first thing to put it in any cloud or any Kubernetes resource I have to first create the image. So with CRC we also expose the portman socket, so if you don't have the portman install on your system, so what you can do is CRC, portman env. What it do is that it will also expose the portman socket, add it to your local system, add, make sure that the portman client binary is associated with your path and you can run the portman on top of it. So in the last session like you saw, you can interact with the portman you can create the image and everything. So I have a very basic container file which is like multi-stage build. So what I'm doing is like, okay, I am going to get this go tool set base image because our application is in Golang and then I'll build it first and then I'll try to use a very minimal go UBI image from Relate and yes, and then I'll, so in my first build whatever the artifact I created which is a binary which is called to do I'll put that to the second stage of the build and then I'll just add the entry point of that particular to do binary. So, okay, I created my container files and everything. Now, the way you're supposed to create the build is portman build, right? No cache. I don't want to have any cache in between of those images. I want to tag my image to my name space and then to do list and this is the container file. Right? Now it is safe. Cannot connect to the portman because this, so what I have to do is let's see if I have the portman socket enabled. Right to Relate. See if I can get the image. Yes. Now it is connected. Let's build it. So now it's start building. I have this base image and everything already in cache because everything is running locally. It is very fast. I can create it very fast, create the container image and then everything is created. After that what we usually do, after creating the container image, we push it to the respective container registry. So here I use the query.io. This is the registry which I have. So I use simple, right? So once I push that, it goes to this particular my name space with the to do with the latest tag. I already have that so I'm not going to use that state. So now everything is in place. So now I have the image and I already pushed it to the registry. The next step what we usually do after that, we create the container sorry, we create the Kubernetes resources which is like we create the ports, we create the deployment config, we create the service and all those kind of things, right? And then try to, you know, put those resources, use oc create or kubectl create and then specify those file names whatever we created. So here I have all those resources as part of this open directory. So what I did is that everything from the starting from the name space till the service, everything is in this file. So if we just take a quick look of this particular file, what we see is here, okay? This is the first thing, the first resource we are creating, okay? As soon as I deploy it, I want to deploy it in a name space called damnation and then once I deploy it, I have a secret which actually contains all the details about my DB names, DB passwords, and DB users, right? And once I deploy the secret, then I have a deployment. So this deployment, so I suppose to have two deployments, one is for the database and one for my application so that it can able to connect, right? So here I have the first deployment which is for the Postgres and then I have the second deployment after that. So first I will create a deployment, create a service and then create the second, okay? No. Anyway, it's a lot of so we have like, okay, these many lines but the thing is that in the next session you will also learn like you don't need to create those resources. Right now what we are going through a typical developer journey where initially the user has to do all those kind of things, right? Writing the YAML and trying it out, trying to see if that is going to work to change the YAML and it's very difficult to find these kind of small issues. So in the next session we are going to use something called Audio and in that you will understand like, okay, I don't need to create those YAMLs also. I can directly use that image and I can directly create with two, three commands, I can create my application. But for this session, I wanted to go like from very, very basic of the Kubernetes resources, how to deploy it and all those kind of things. So now we have the deploy deployment scripts or resources and everything is in this YAML. So what we have to do, we just say, okay, let's see. Right? We don't care about the warnings. Let's have it there. But you see there are a lot of things are already existed. It's already existed because everything was there before. But let's see which project we are in. We are already, okay, we are in the default project. So we delete the project called dev nation right? And let's try it again from the stretch it says it's already, okay, the dev nation is already here. It's been clear it yet. Yes. So now it took some time to the cube to, you know, remove all those kind of things which we created before. But now everything is created from beginning. So now if you see I suppose to go in this namespace, so I'll in OpenShift I can see, okay, project. So I'm in this project now Now I want to see all the resources which is part of there. Everything is already running, right? And till now everything is the way we did. It's not only the OpenShift specific, but as I said in the beginning, in the heart we are still the Kubernetes. So you can use the same step of any Kubernetes cluster either on the locally or on a remote cluster. You can use all the things. It will source something like that only, right? But now the thing which we will do is like we want so right now everything is running, but how do I see my application, right? How do I access my application? And in the OpenShift we have something called route for to do that. So this is what we are going to create. So we are going to expose the service. And the service which we have is called to psql xjumpl. And as soon as I expose that particular service, it's create automatically a route. So a route is created. So now I have a route resource. And if I go, I will hit this endpoint. My application is there, right? So now I have an application and let's add something to that. So this is a very basic application. So we are adding the things to the DB. And the way we use the DB, so we use something called the empty directory as a mounted on the DB. So as soon as the port crashes, everything is removed. So it's only for the demo purpose, but usually what you use to do is that you add a PV and then attach to the PV to the DB so that your things are there even the ports are restarted. So everything is working. I can delete when the things are done. I can edit the list or whatsoever. So right now what we did is that we usually created a route and we accessed the route to access our application. But in case of the Kubernetes, right now where there is no resource called route, you can't use it. So there are different applications to have your ingress. Using the ingress, you can create the route and then you can use that. If you don't want to create a route, so what you can do on the Kubernetes is you can actually expose a particular port and that port which you expose is directly exposed from the container and that container port also you can access as we access for the route. So let's try to do that also. So I say the ports which we have, we have two different ports. One is the post-grace, another one is the studio app and then let's try to export it. Port export and what we want to do is that we want to do this one and we say I want to export this one second. Everything doesn't work on the first time in the demo. It's not port export, it's called port forward. So it's good to have some kind of history. So now what we did is that from the port directly, so in our port, this particular port is what our application is exposed and now it is exposed directly to our local system. So if I hit this particular thing here, I suppose to see the same. Still there, everything is working and let's add something like hello and see right now I'm exported ports but I can also access it from the route which I created which is like and if you see here if I add the data here it should have the same data because it's using the same DB in the background, it's the same thing, nothing changed here. So now everything is done. I have deployed the things in the open shift locally and I'm very happy about this particular application. Everything is working in my application. I can do whatever this particular application tries to do and now I want to push that particular application to some remote cluster or some production cluster. So to do that, like in the previous session we used something called Dev Sandbox so you can create a cluster on the Dev Sandbox and what you only have to do is you just try to do this OC create and this particular deploy dot eml. So let's see if I have a phone fix set. So I also have a Dev Sandbox cluster which I already logged in just before the demo. So I try to use that context so that now my open shift cluster to point to this particular so now I switch to that particular cluster so if I see or see who am I. So now it's my cluster is the Dev Sandbox cluster. The only thing is that the Dev Sandbox we have only one single namespace so I can't create a different namespace there so I have to change a little bit of in my script which is the deploy one. What I'll do is I know that my namespace on the Dev Sandbox is so if I do now what I did is only I change the context I actually logged into a different cluster and now everything again I able to deploy everything there. Because I already deployed it it says like this configuration is not changed this configuration is not changed but the thing is that on this cluster now I have the same application which is running and I can use that application. So back to our slides just so this is the demo which I had and then there are free resources which you can try it out after that and then all the demo links and everything we'll put it in the presentation and we'll share it to you guys. So yeah, thank you. Hey Praveen, question I mean open shift, local and mini shift is there anything related? So when we created the mini shift it was mostly the open shift 3.x and the way open shift now 4.x actually starts over also configured is completely different it used to be for the 3.x so we have to we can't use the same kind of logics and everything which you use in the mini shift for open shift 4 so now for open shift 4 we have this open shift local and then all the things are changed