Lux presents Hollywood, starring Clipton Webb and Lucille Ball in The Man Who Came to Dinner. Ladies and gentlemen, your producer, Mr. William Keely. Ladies and gentlemen, some time ago the famous team of George S. Kaufman and Moss Hart decided to write a comedy about a certain individual they called Sheridan Whiteside. So they began supposing. Suppose this eccentric character were to visit someone's home for dinner. And suppose he fell down the steps and, well, there you are, they had the so-called gimmick for their plot. The playborn that day, they named The Man Who Came to Dinner. It had a long run on Broadway, and later I had the pleasure of directing the screen success. In casting the part of Sheridan Whiteside, the problem is to find an actor who can at once be charming and detestable. In short, a genius like Clipton Webb, who played the part for two years on the stage. And co-starling with him is the vivacious young lady who has quite a flair for comedy herself, Miss Lucille Ball. When a man brings guests to dinner, the average housewife is sure to think of those extra dishes to wash. But with Lux Flakes as a permanent member of the household, well, it isn't quite so discouraging. Unexpected guests are far more popular when Lux does the work. And now here's the man who came to dinner, starring Clipton Webb as Sheridan Whiteside and Lucille Ball as Maggie. Two weeks ago, an event of international impact occurred in Missalia, Ohio. Sheridan Whiteside, celebrated critic, lecturer, radio orator, intimate friend of the great and near great, slipped on a piece of ice and fractured his hip. Result? The idol of the airwaves rests until further notice in the home of Mr. and Mrs. Ernest Stanley. Oh, isn't it wonderful, Ernest? At last he's coming out of his room in a wheelchair. It's about time he decided to see some member of this family. Oh, you can't blame the poor man for being cross with us, dear. You know, he just never goes to dinner anywhere, and then he finally agreed to come here, and this had to happen. Here's the canvas for Jenny who wanted Mrs. Stanley. Oh, thank you, Sarah. Just a little something to cheer him up, Ernest. You know who phoned this time, mother? George Bernard Shaw. And look, we're all over time magazine. Yes, dear. I saw it. Wendy, you're supposed he's going to leave here. Phone going like mad day and night, messenger boys running in and out. Pardon me, Mrs. Stanley. Oh, yes, Mrs. Cutler. You mean he's coming out? No, he is indeed. You may wheel our little patient out, Miss Preen. No, Mr. Fightside. I, uh, hope you're feeling better. I am suing you for $150,000. How's that? You're what? I said I am suing you for $150,000. Oh, dear, my calves foot jelly. Made from your own foot, no doubt. Mr. Stanley, since this village quack who calls himself Dr. Bradley, tells me that I should be confined in this moldy mortuary for at least another 10 days, due entirely to your stupidity and negligence. I shall require exclusive use of this living room, as well as that drafty sewer you call the library. I want no one to come in or out while I am in this room. Oh, but, Mr. Fightside, we have to go up the stairs to get to our room. Isn't there a back entrance? Well, yes, of course. Please use that. I shall also require room for my secretary here, Miss Cutler. I shall have a great many calls, so please do not use the telephone. I sleep until noon and require absolute quiet throughout the house until that hour. Now then, where's your cook? Mr. Fightside, if I may interrupt for just a moment. You may not, sir. And now, will you all leave quietly, please, or must I ask Miss Cutler to pass among you with a baseball bat? Now see here, Fightside. Please discuss, sir. Considering the damage I have suffered at your clammy hands, I am asking for very little, a good day. I'll call you from the office, Stacy. And not on this phone, please. Here is the luncheon menu, Mrs. Stanley. Oh, but I've already ordered lunch. It'll be sent to you on a tray. Miss Pring, get your fish off, books off my wheelchair. I happen to be a registered nurse, Mr. Fightside, and I... Go and read the Life of Clara Barton and learn how unfitted you are for your chosen profession. Mr. Fightside, shall I look in again this afternoon? If you do, Dr. Bradley, I shall spit right in your eye.  Oh, by the way, I... I've been doing a little writing myself. I just happened to have a copy with me. It's called Forty Years in Ohio Doctor. And I shall lose no time in reading it, if you know what I mean. Much obliged, Mr. Fightside. Now don't forget our little pills. Well, Sherry, I must say you've behaved with all your accustomed grace and charm. Listen, repulsive. I did not wish to cost this cheerless threshold. I was hounded and badgered into it. I now find myself, after two weeks of wracking pain, accused of being without charm. What would you have me do? Kiss them? You know, when I finally give up this job, I too may write a book. A cavalcade of insult or through the years with Prince Charming. Good morning! Oh, no. Stanley, Mr. Fightside. I saw this Harley framed green against the pine trees. It was the nicest... What was that? Mr. Stanley's sister. I've talked to her a few times. She's quite strange. Strange? She's right out of a hound of the Baskervilles. You know, I've seen that face before somewhere. No nonsense. You couldn't have. Oh, well. Maggie, take a telegram. This is Columbia Broadcasting. You may schedule my Christmas Eve broadcast from Stanley residents in Missalia as I shall be unable to proceed to Hollywood Stop. For special New Year's Eve broadcast, we'll have as my guests Yosha Heifetz, Catherine Cornel, Skapperere, The Lunts, and Albert Einstein, with Hailey Selassie on short way from Ethiopia. Oh, Fightside. Sherry, are you sure you'll be able to leave after Christmas? Of course I will. Send the cable to the Dalai Lama, Lassar, Tibet. Dear Boo Boo, the schedule unchanged. Can you meet me in Calcutta, July 12th, dinner 8.30, Fightside. Wire Arturo Toscanini. Accounting on you January 4th, Metropolitan Opera House, my annual benefit for paroled murderers. Will you have quiet supper with me and Ethel Barrymore afterwards, Fightside? Hello? Who? Mrs. Stanley is too drunk to talk. Well, what's this? A cable from that dear friend of yours, Lorraine Sheldon. Well, can't you read? Sherry, my poor sweet lamb, have been in Scotland on shooting party with Lord Bottomley and only just heard of your poor hip, sailing Wednesday, Queen Mehde.  In the words of the master, I may throw up. Be bitter, Puss, just because Lorraine is more glamorous than you are. Yeah, give me the rest of those cables. Lorraine Sheldon, Lord Bottomley, my Aunt Fanny. Ah, here's one from Destiny's Top. Oh yes, England's little rover boy, Beverly Carlton. He's leaving Honolulu, bein' Hollywood next week. Hollywood next week, eh? Hope I can stop here in his way out to New York. A sender cable, a Beverly Carlton, Royal Hawaiian Hotel, Hono... If these people intend to have their friends use the front door... Well, what do you want them to use, a rope ladder? I will not have a lot of mildewed grave robbers rushing in and out of this house. Good morning, Sarah. There's nobody home. The Stanley's have been arrested for dope peddling. Go away. Good morning, Mr. Whiteside. Maggie, get rid of him. I'm Jefferson of the Missalia Journal. Sherry, I told you about Mr. Jefferson. He wants to interview you.  What do you do, Mr. Jefferson? Sit in a balcony playing footsies with her? Well, I warned you about him, Bert. Pass me that box of goodies, will you please? You know, Mr. Whiteside, you're the biggest news of Missalia since the end of the war. He can, but are not fudge. Robert Houston. Time for you pills, Mr. Whiteside.  It's very bad for you. Miss Preen, my great Aunt Jennifer ate a whole box of candy every day of her life. She lived to be 102. And when she had been dead for three days, she looked better than you do now. What are you saying, old fellow? Well, I can at least report to my readers that chivalry is not yet dead. Missalia, how long are you going to be here, Mr. Whiteside? A, Missalia is a town of irresistible charm. B, I cannot wait to get out of it, and C, I... Jerry, Jerry, look who's here. Oh, bless. It's Mets, Professor Mets. Mets, you incredible beetle hound. Jefferson, behold, one of the great men of our time, Professor Adolf Mets, the world's leading authority on insect life. Mets, stop looking at me adoringly and tell me why you're here. You are sick, Sherry, so I come to cheer you. He doesn't deserve it, Professor. Would you believe it, Jefferson? He's written eight volumes on the matey instinct of the female white ant. Live two years in a cave with nothing but plant lice. Didn't you, my little hookworm? You embarrass me, Sherry. Look, a little present for you. Open it up. What is it? All for you. Here in this box are 10,000 cockroaches. Incredible. Oh, dear, thoughtful, incredible Mets. Look, my friends, they play, they make love, they die. See, they even bury their own dead. Well, I'm glad of that, or I'd have to do it. And with these earphones, Sherry, you listen to the mating call. Here, you listen. Hmm. How long has this been going on? Family 10,000 of them. They're mine. Everyone mine. Mr. White Sine, I will not stand here and allow you to have...   A stay for lunch, Jefferson. Maggie, tell the cook there'll be two more. And close the door. I don't want a lot of prying people prying on their bethers. I want to talk to you. I am busy, Mr. Stanley. I'm listening to my cockroaches. Now, Ernest, Ernest, don't lose your temper.  Indeed. I have just received a bill from the telephone company. Long distance calls, $984. Mr. White Sine, I realize you're a distinguished man of letters. Oh, yes, of course. We both do. Please. But ever since you came here, we have not been able to call our souls our own. I have to tiptoe out of the house in the morning. Now, Ernest... And I come home to find a man putting cockroaches in the kitchen. Oh, no. They just escaped here. He was looking for them. Have you quite finished? No. I go down to the cellar this morning and trip over an octopus that William Beebe sent you. And stop pawing me, Daisy. Mr. White Sine, my husband didn't mean that. Yes, I did. I meant every word of it. You have one point at which I see some slight justice. I do not expect you to pay for my telephone calls. How good of you, Mr. White Sine. I shall instruct my lawyers to deduct it from the $150,000 I'm suing you for. Oh, this is the end, Daisy. Simply the end. And I'll thank you not to trip over that octopus which once belonged to Chauncey M. de Pugh. Oh, well, have you two come to scold me, too? Gee, Dad, sure mad, isn't he, Mr. White Sine? Good evening, Mr. White Sine. Now, look here. I am, by nature, a gracious and charming person. If I err at all, it is on the side of kindness and amiability. Well, we just didn't want to bother you, Mr. White Sine. Well, been out ice skating, I see. That's right, Mr. White Sine. Ah, me. I used to cut figure eights myself. Arm and arm with Betsy Ross waving the flag behind us. Oh, it was wonderful on the ice today. Ms. Cutler and Mr. Jefferson were there, too. Maggie, skating, and I got a swell picture of her. You see, I'm kind of an amateur photographer, Mr. White Sine. That he is, Sherry. That he is. Well, have a nice nap while I was gone. Come on, June. We better get ready for dinner. Okay. Well, Cat got your tongue, Sherry. Don't look at me with those great cow eyes. Where have you been all afternoon? Necky with Bert Jefferson? I have news for you, Sherry. We have a genius in town. Yes, I know. I'm talking about Bert, and I'm serious. He's written a play. It's great, Sherry. And here it is. I want you to read it tonight. Any further orders, Miss? It just cries out for Catherine Cornell. Sherry, if you like it, will you send it to her? And please, you will read it tonight? Not tonight or any other time. And you might ask Mr. Jefferson if you'd like to pay your salary now that he's taking up all of your time. Oh, come now, Sherry. It isn't as bad as that. You flea-bitten Cleopatra. Sneaking out like some love-sick high school girl, you're out of your mind. Yes. Yes, I think I am a little. Anyway, I'm in love. While Mr. Jefferson doesn't know it yet, I'm going to try my darnedest to marry him. Is that all? Yes, except that, well, I suppose this is what may be called my notice. It's incredible, incredible. Sweep off your feet in seven days by a second-rate, small-town newspaper man. I can't explain it, Sherry. I can only tell you it's so. But it's no cynic behaving like true story magazine and liking it. What can I do about it, darling? We're leaving tomorrow. Hip or no hip, we're leaving here tomorrow. I'll pull you out of this mistardust if I have to... No good, Sherry. I'd be back on the next plane.  He's gentle. He's unassuming. I'm completely unconvinced.  Now, listen to me, White Side.  I've seen you do it to other people, but don't you dare do it to me. Don't drug yourself into the idea that all you're thinking about is my happiness. You're thinking of yourself a little bit, too, and all those months of breaking in a new secretary. I've seen you in a passion before when your life has been disrupted and you couldn't dine in Calcutta on July 12th with Boo Boo. Well, I'm going to marry Bert if you'll have me, and if you'll have your tricks, I'm under every one of them, so lay off. And that's my message to you, Lord Fontmaroy. Hmm. Well, I have a message, too. Hello, long distance. I want to place a transatlantic call, please. Miss Lorraine Sheldon aboard the steamship Queen Mary. Sheldon. S-H-E-L-G-O. Oh, good evening, Mr. White Side. Come back and offer a day, Dr. Bradley. Now, what would be the best news I could possibly bring you? You've been stricken with hydrophobia. Mr. White Side, you are a well man. You can leave here tomorrow. Well, sir, I looked at those little X-rays again this afternoon, and guess what? All this time, I've been looking at the wrong X-rays. You what? Yes, sir. All this time, I've been looking at old Mrs. Moffitt's X-rays. Lower your voice, will you? Aren't you pleased? But your news comes at a very curious moment. Oh? Oh, Dr. Bradley. I've been reading your book. 40 years, something you'd rather I believe. Yes, Mr. White Side, yes. I consider it one of the great literary contributions of our time. Mr. White Side. It has its little rough spots, but of course, if I was hoping I could stay here in Missalia and work with you. Mr. White Side. But you see, if my lecture bureau learns that I am well, they'll insist that I fulfill my engagements. Therefore, Dr. Bradley, we must not tell a soul, not even my secretary, Miss Cutler.  Not even my own wife, sir. Fine, fine. We can start work tonight. I've got one patient that's dying, and then I'll be perfectly free. I think tomorrow morning it'd be better. Oh, this is a private call, doctor. You'll forgive me. Tomorrow morning it is. Yes. Oh, you've made me very proud. I'm so glad, yes, yes, yes. I'm so glad, yes, yes, yes. Proud, sir. And humble. Yes. Hello. Good, good. Put her on. Hello? Is this my blossom girl? How are you, my lovely? Now listen closely, my pet. I've discovered a wonderful play for you. Cornell, we give her eye teeth to do it, but I think I can get it for you.  The office is a newspaper man here in Missalia. No, he's young and just your dish, my dear. Now, it may take a little doing, but you're the girl who can do it. Isn't that exciting, my pet? Yes, yes, that's right. Now, look, look. Don't send any messages. Just get here. Yes, that's right. Goodbye, my blossom. Well, Miss Geraldine Preen. My, but you look radiant this evening. What? Oh, Mr. White Side, at times I... Well, I simply don't understand you. May I see you a moment, Sherry? Of course, Maggie, dear. We're just taking our little pills. Sherry, I'm sorry for what I said before. We all lose our tempers now and then. I promised to have dinner with Burton. Go to a movie, but we'll come back and play cribbage with you instead. Fine, fine. Then we'll see you soon, Sherry, dear. No hurry, pet, no hurry. I just say it's a rabbit in the sunshine. I just say it's a rabbit in the rain. Before our stars return with act two of The Man Who Came to Dinner, here's Libby Collins, our Hollywood reporter. With a poser for you, John. What famous star wears fuchsia stockings with fuchsia and charters' shoes in her latest picture? A dancer? You're warm. She starred with victimature and Phil Harris in a 20th century fox production. And her lovely legs are famous. Oh, Betty Grable, of course, in Wabash Avenue. Right. Oh, her costumes are ravishing in technicolor. She had dozens of nylons and exquisite shades made especially for the role. They cost $9 a pair. Wow, I guess Victor and Phil are glad they didn't put the bill. Or did I steal a pun from Phil? Oh, the studio saw to it that Betty's nylons were handled with loving luxe care. A good idea for nylons at any price. You're right. Of course, Betty's a Luxe Flakes fan from way back. All her own lovely nylons are washed with wonderful luxe. It makes them last ever so much longer. Dancing practice for Wabash Avenue must have been hard on Betty's stockings. Indeed it was. But Betty gets wonderful wear even from sheer nylons. After all, scientific strain tests show that nylons last twice as long with Luxe Flakes care. It's amazing how stockings go into runs much sooner. When they're washed with strong soaps or rub with cake soap, Luxe stockings last twice as long. And colors stay truer. Well, I'm sure the smartest nylons in the Easter parade will have that lovely Luxe look. Now, here's our producer, Mr. William Keely. Act two of the man who came to dinner, starring Clifton Webb as Sheridan Whiteside and Lucille Ball as Maggie. Well, Maggie's in love. But Sheridan Whiteside hasn't the slightest intention of losing her very valuable secretary. He's counting on a real expert to break up the romance. Lorraine Sheldon, due in Misselia today, the day before Christmas. Just look at these Christmas presents, Miss Cutler, all for Mr. Whiteside. Well, sir, you see, Christmas is Mr. Whiteside's personal property. He invented it and it belongs to him. My land from Shirley Temple, Mr. Belvedere, gorgeous George. And Mr. Whiteside's tree is so beautiful, too. Mr. and Mrs. Stanley had to put their Christmas tree in their bedroom, you know. They can hardly undress at night. What's this one, Miss Cutler? That's from his sponsor, Sarah, a full-year supply of cream of mush. And he'll give it right back to them over the air. The things he finds time to do. Yes, he certainly sticks his nose into everything. Miss Cutler, you haven't seen the family, have you? Aren't they upstairs? Well, I mean the young ones. Nobody seems to know where they went after Mr. Whiteside talked to them. Oh, Christmas shopping, probably. Well, if I'm going downtown, I'd better let him know. Sherry, may I come in? Come in, Elsie Dinsmore.  What did they want? Good sound advice, Madam Butterfly. And they came to the right place for it. You know, June thinks she's in love with some fellow in her father's factory. He's a labor agitator, Sherry. She admits it.  Really? Sherry, you didn't agree with... Oh, well. Since you don't need me, I'm going downtown to meet Burke. You're free to go as come as you please, dear. The radio men may get here before I'm back. Better start cutting the script, Sherry. What time does Beverly Carlton arrive? Shortly, I hope. Staying over? No, no. He has to go on to New York. I won't be long, Sherry. Another package for you, Mr. Whiteside. Only it's a crate, Mr. Whiteside, with an expressman. Come in, my good man. A crate, eh? Some kind of animal, Mr. Whiteside. The label says it's from... from Admiral Richard E. Byrd. Why, they're penguins. Oh, look at them in there, Sarah. Directions for feeding are right on top. It says to be fed only whale-blubber eels and cracked lobster. They got seven up this morning and liked it. Just look at the little fellas. How are you, my prettys? Uh, Sarah, you better order a couple of dozen lobsters. I don't suppose there's any whale-blubber in Miss Alia. Well, well, Merry Christmas. Oh, yes, there is. It's great, Sarah, and open those slats a little. They seem so crowded in there. You bet, Mr. Whiteside. Mr. Whiteside, it's been a full week now. My book. When are we going to start on my book? Mr. Whiteside, they're getting out of the crate. Doctor, will you go in there and capture them, please? Cockroaches again. You know, penguins for them. Oh, and try to amuse them, please, until I come in. Who is this, Sarah? Who's at the door? My blossom girl. Oh, God. Look at that poor, sweet tortured face. Let me kiss it how drawn you are. Sherry, my sweet, I could cry. All right, all right. You've made a very nice entrance, dear. Now just relax. But Sherry, darling, I've been so worried and seeing you in this wheelchair. It happens to be the most comfortable chair in the house. Now, take off that skunk and tell me everything.  I just dashed through New York.  I want to know all about you and that splendid bit of English mutton lord bottom lay. Have you hooked him? Sherry, dear, you're dreadful. By the way, has he had his teeth fixed yet? Sherry, really. Cedric may not be brilliant, but he's rather sweet, poor lamb. He's very fond of me. He does represent a kind of English way of living that I like. So don't be surprised if I am Lady Bottom Lay before very long. Lady Bottom Lay. Won't Kansas City be surprised? I should be a flower girl and give the groom an iron toothpick as a wedding present. Mr. Whiteside. What? No, no, go away. I'm busy. Oh, who's there? He's fixing the plumbing. This play, darling. After all, I came all the way here on Christmas Eve. Well, the office a young fellow named Bert Jefferson. He brought the play to me with the understanding that I'd send it to Kit Cornell. It's a magnificent part and I feel terribly disloyal to Kit, but there you are. Darling, how can I ever thank you that he know I was coming, Mr. Jefferson? No, no, no, you're just out here busy me. Just get him to take you to dinner and work around to the play. Lord, I don't have to tell you how to do these things. How'd you get all your other parts? Sherry! Now run back to your hotel and get into your working clothes. By the way, who do you think's paying me a flying visit? None other than your old friend, Beverly Carlton. Beverly? Oh, really? Come, come, my dear, mustn't be bitter just because he got better notices than you did. Oh, to be silly, Sherry, I simply would not care to act with him again, that's all. Sherry! Just gave me the most beautiful... Oh, Maggie, darling. Santa's been at work, my pet. Lawson Girl just got in out of the blue and surprised us. Hello, Lorraine. Oh, is that you, Bert? Lorraine, this is Mr. Bert Jefferson. Mr. Lorraine Sheldon. How do you do, Miss Sheldon? I didn't catch the name, Jefferson. Oh, that's right, pet. Mr. Jefferson, you don't look like a newspaper man at all. I... I don't? Oh, I should have said you were a pilot and explorer or something dashing. I'm simply enchanted with your talent, Mr. Jefferson. Tell me, have you lived here all your life? Well, practically, Miss Sheldon. If you wish to hear the story of his life, Blossom Girl, kind of do so on your own time. He's the world's rudest man. Isn't he? Can I drop you, Mr. Jefferson? I have a taxi. Well, my car's out there. Supposed I drop you. Well, that'd be lovely. Bye, Sherry. Bye, Maggie, dear. Sherry. Sherry, I want to talk to you. Oh, yes, yes, the broadcast. Four minutes to cut you, said? Quite a surprise, wasn't it? Her dropping in. Yes, yes, it was. Now come on, Maggie. Come on, get to work. How long is she going to stay? Oh, I don't know. A few days. Now look here, Maggie. Just because a friend of mine happens to come out to spend Christmas with me. Your company, Mr. Wideside, he's a foreigner. Sherry, my dear, and a magpie. Beverly! Come in here, you picket-a-dally pen pusher and gaze upon a soul in agony. Don't tell me how you are, Sherry, dear. I want none of the past and details. I have only a little time, so the conversation will be entirely about me and I shall love it. Maggie, dear, say something beautiful to me. Hi. As for you, Sherry, without going into mountains of self-pity, how are you? I'm fine. You presumptuous cockney. Now tell me, how was your trip? Fabulous. By the way, did I glimpse Lorraine Sheldon in a motor car just now? You did indeed. She's paying us a Christmas visit. Dear girl. They do say she set fire to her mother, but I don't believe a word of it. Sherry, my evil one, not only have I written the finest comedy since Molière, but also the best of you since my last one and an operator that frightens me. It's so good. I shall play for eight weeks in London. That's all. No matinees. Magpie, why don't you desert this cannonball of fluff and come with me? Be careful, Beverly. You're catching me at a good moment. Tell me, Beverly, did you have a good time in Hollywood? Three unbelievable days. I saw everyone from Adrian to Zanuck. They came poor dears as to a shrine. What about Banjo? Did you see my wonderful Banjo? He gave a dinner for me. I arrived in White Tire and Tales to be met at the door by two bewigged flunkies who quietly proceeded to take my trousers off. Dear incomparable Banjo. Now, Mr. White Tire. No, no, no, just go away. Kidnapped somebody, Sherry? Yes, that was Charlie Ross. Of course you know about Lorraine and Lord Bottomley. Know about it, dear fellow. Practically no one's betting on the Derby this year. They're all making book on Lorraine. Have you ever met Lord Bottomley, Magpie? Not a very good shooting today, blast it, only six partages for Faw Grouse and the Duke of Sutherland. Ha, ha, ha! Good Lord, that's Bottomley to the very bottom. A ripping debate in the house today. Old Basil spoke for four hours, dropped it at a dead at the end of it, ripping.  No one sounds like that. It's so good it's uncanny. Tell you darling, I must run. I can only tell you that my love for you is so great that I changed trains at Chicago just to wish you a Merry Christmas. If that's the radio people, Maggie, get rid of them. Hello. Oh, hello Bert. Oh, well hold on, Beverly, would you talk to a newspaper man for just a minute? I sort of promised him. Won't have time, Magpie, unless he goes to meet me at the station. Oh, thanks. Go to the station and wait for him, Bert. He's leaving now. Bye, dear. Broadcasting tonight, eh, Sherry? Fortunately, I shan't have to hear you. Au revoir, Sherry. Merry Christmas, Magpie. I'll go to the door with you and start cutting that script, Sherry. What's the matter, Magpie? I'm in love, Beverly. I can't tell you about it. There isn't time, but Sherry in his own scene-dish way is doing everything he can to break it up. Why, the old flounder? What's he doing? Lorraine. He brought Lorraine here. I know he did. Oh, it's somebody here in town. Yes, the newspaper man you're going to see at the station. He's written a play and Sherry's using it as bait. And you know Lorraine. She'll eat him up alive. What do you want me to do, Magpie? Oh, get Lorraine out of here. The farther away the better. But how? I'm leaving. Well, I know it may sound silly, but if you were to phone Lorraine from the station, that imitation you do of Lord Bottomley... Magpie, but I'd love it. I'd absolutely love it. Tell her you can't go on without her that she must return to England immediately. I can't wait. It's pure heaven. Well, it probably won't work, Beverly. But if she should fall for it, maybe I'd get a chance at her. Inside, he goes on the air in a few minutes. That's quite a gown, Lorraine. Going anywhere? This? Oh, I just threw on anything at all. Who does your hair, Maggie? A little French woman named Maggie Cutler comes in every morning. You know, your hair could be so lovely. I always want to get my hands on it. I've always wanted to get mine on yours, Lorraine. What? Oh, by the way, what time does Beverly get here? He's been and gone. Really? Well, I'm very glad. You know, I was a perfect wreck by the time I played Closed. All during that tender love scene, you kept dropping peanut shells down my dress. I wouldn't act with him again if I was solving. Excuse me. Hello? Hello? Miss Lorraine Sheldon. Yes, she's here. For me? The operator's getting your party. Transatlantic London. Transatlantic here? How in the world? Ah, it's better. Just like you were just around the corner. Oh, my sweet. Oh, my darling. See, dearest, would you wait just a moment, Maggie? Would you mind? It's Lord Bottom, the very personal call. No, not at all, Lorraine. Not at all. Yes, my dearest. Well, I'm married. Oh, yes. Yes. A thousand times, yes. Darling, darling, you're stuttering again. The least you could do, Sherry, is to congratulate her. Lord Bottomley has just asked Lorraine to become Lady Bottomley. Isn't it simply ecstatic? Naturally, I shall have to leave at once. Am I to understand from your girlish squeals that you're about to toss your career into the ash can? Isn't it strange, Sherry, who'd have thought an hour ago that Lorraine would be on her way back to London?  I'm a violent headache. Hello, everybody. It's snowing outside.  Why don't you telephone your scoop to the New York Times? Miss Sheldon has to leave town very suddenly. Isn't that a shame? Oh, no bad news, I hope. Oh, wonderful enchanting news, Mr. Jefferson. Anybody admired my Christmas present yet, Maggie? Oh, dear, I forgot. Look, everybody, to me from Jeff. Maggie, what a charming bracelet. Isn't it sweet, Sherry? Will this drivel never stop? My head is bursting. Why don't you make us a drink, Bert? We'll celebrate Lorraine's good news. Fine, fine. Oh, by the way, I had a two-minute interview with Beverly Carlton. He's quite a guy, Mr. Whiteside. Just run along, Bert, and fix the drink. I was lucky to even get two minutes. He was in a phone booth most of the time. Phone booth? You'll find the liquor in the pantry, Bert, down that way. Couldn't hear a word he was saying, Mr. Whiteside, but from the faces he was making, it looked like a scene from one of his plays. So Mr. Carlton was in a telephone booth for station. I didn't think he'd ever come out. Bert, will you please? Ah, yes. And to make mine a double, will you, Jefferson? My headache seems to have suddenly disappeared. Come along, Maggie. That has shown me where the pantry is. Good old Bert. He couldn't hear what he was saying, but from the faces he was making. Oh, Sherry, what is this? What's going on here? Blossom girl, you have just played the greatest love scene of your career with your old chum, Beverly Carlton. That's not true. I was talking to Cedric. What do you mean? I mean, that was Beverly. You poured your girlish heart out to, not Lord Bottomley. You've heard him do Lord Bottomley before, haven't you, dear? Can't do such a thing. This is one of the most... Oh, no. No, the care, the absolute unutterable care. The dirty rotten wiles. Why, I'll take... Steady Blossoms, steady. If I face an England again, I'll... Getting to understand everything. Yes, Maggie, that's a very charming base that Mr. Jefferson gave you, isn't it, dear? Has something upset you, dear? And to think that I nearly went back to... Wild horses couldn't drag me out of here now, Maggie. We're almost ready, Mr. Whiteside. I'm near in two minutes. Who is he? Just what on the radio, man Blossom. Here comes the Jefferson special. Have we time? Oh, I'm sure we have, Mr. Jefferson. I'm not leaving after all my plans are changed. Oh, it's fine. And I hear you've written a simply marvelous play, Mr. Jefferson. I want you to read it to me tonight. We'll go back to the hotel right after dinner. Why, I'd be delighted. Maggie!  Well, it's the finest Christmas presents you could give me. Yes, I thought you'd like it. Oh, it's no use. I'm getting out of here. Is he in there? Is Whiteside in there? Not now, Mr. Starley. I'm about to go in the air. Whiteside. My son has just run off on a freighter. He says he's going around the world to take photographs. And my daughter's alope with an anarchist. I know he is, and they both say that you... that you told them to do it. Quiet, please.  This is the most outrageous thing I've ever... Oh, I see you're still busy.  Heaven's sake, quiet! Oh, thanks, Harry. Quiet, please. Good evening, everybody. Cream of Marsh brings you... Sheridan Whiteside. This is Whiteside speaking. Unbeceive of eaves. When my own heart is overflowing with love I think it is most fitting to tell you once again the story of that still and lustrous night. Before we continue with act three of the man who came to dinner, I'd like to introduce English-born Joan Miller, who comes to the screen by way of the stage and her own radio program. How does it feel to be a guest instead of an emcee, Joan? Wonderful, Mr. Keely. Fortunately, I don't get mic fright or stage fright either. Not like the drama student played by Jane Wyman in the Warner Brothers picture stage fright, huh? Well, I nearly had it during my first movie role. However, a wonderful director talked me out of it. Not Alfred Hitchcock. Although I'd give anything to work under his direction. I see all his pictures three or four times. Stage fright is Hitchcock at his best. Mystery and suspense in the light-handed manner for which he is famous. A splendid cast too. Jane Wyman, Marlene Dietrich, Richard Todd. After the filming, I saw some of the original costumes in the wardrobe department at Warner Brothers. They're fabulous. I was amazed how many had been washed with Lux Flakes. Of course, I'm a Lux fan myself. I saw Lux Flakes in many a screen star's home too, Joan. Oh, I'm sure of that, Mr. Kennedy. One day in Jane Wyman's dressing room, I complimented her on her lovely new negligee. You know, then Jane can confess that it had been Lux many times. She insists on Lux Flakes for all her lingerie. That's not surprising. In test after test, slips and nighties that were washed with Lux Flakes looked lovely. Yes, really lovely. Three times as long as those washed the wrong way. You've seen, I'm sure, how careless washing can make lingerie disappointingly drab. It's no wonder thousands of girls follow the stars. Give all their nice things gentle Lux Flakes care for that lovely Lux look. Thank you for coming tonight, Joan Miller. We pause now for station identification. This is CBS, the Columbia Broadcasting System. The curtain rises on Act 3 of The Man Who Came to Dinner, starting clipped in web as Sheridan Whiteside and Lucille Ball as Maggie. It is now some 15 hours later, Christmas morning in the Stanley household, and a very quiet morning it has been until now. Ms. Preen. Yes, sir, yes, sir, I'm coming. Where do you disappear to all the time, my Lady Norsia? Mr. Whiteside, I can only be in one place at a time. That is very fortunate for this community. Now, where is Ms. Cutler? She hasn't gone. I'm sure I don't know. Not yet, but she's just about to. I'm taking the one o'clock train, Sherry. I'm leaving. You're doing nothing of the kind. Honestly, Maggie, sometimes you can be very annoying.  You're annoyed. I wish there was a laugh left in me.  I think you are a selfish, petty egomaniac who would see his mother burned at the stake if that was the only way he could light a cigarette. I think you are incapable of any human emotion that goes higher than your stomach, and I was the fool of the world for ever thinking I could trust you. Well, as long as I live, I shall never do anyone a good turn again. I won't ask you to apologize, Maggie, but... Hello, hello, hello, hello! Is everybody? I suppose I'm a little drunk, Maggie, but I can explain everything. Mr. Whiteside shake hands with a successful playwright. Ms. Sheldon thinks my play is wonderful. Isn't that wonderful? Yes, that's just wonderful, Bernie. There's more. Ms. Sheldon says the play needs a little bit of fixin' so she's gonna take me to a little place she's got in Lake Placid. We'll work on the play together. Isn't that wonderful? Look, Bert, I suggest you tell us all about this later. Now, why don't you... I thought if I came early, Mr. Whiteside, we could... Oh, excuse me. Dr. Bradley, I think Mr. Jefferson would like some black coffee and a little breakfast. Will you take care of him, please? But you never had champagne for breakfast, did you, Doc? Well, today's the day you're gonna... Now there, Maggie, I'm willing to forgive your tawdry outburst and, uh, talk about this thing calmly. Oh, Sherry, why did you do it? Why did you do it? Merry Christmas, Ms. Harriet. Dear Ms. Harriet, Merry Christmas. I'm afraid I shouldn't be seen talking to you, Mr. Whiteside. My brother is terribly angry at you sending off the children like you did. But I just couldn't resist asking you, did you like my Christmas present? Forgive me, I haven't opened it. Oh, but it's right here, Mr. Whiteside. Wouldn't you like to open it now? Of course. A photograph. Why, it's lovely, Ms. Harriet. I was 22 when that was taken. Well, I... I should be late for church. Goodbye. Goodbye. Goodbye. Man, Joe, put that woman down.  I know I open half an hour, girl. You bring some rye bread. I'm here to spend Christmas with you. Give me a kiss.  How did you get here? Darrell's attic loaned me his reindeer. I'm on my way to Nova Scotia and where's Maggie? Now, where are those wonderful brothers of yours and how are they? Sapo and Wacko. And what are you going to Nova Scotia for?  There's a dam in New York I don't want to see, so I figured I'd go to Nova Scotia and get some good salmon. Man, Joe, I'm very glad you're here. As for Maggie, I'm very annoyed with her daddy. She's turning me like a viper. Repaying my affection by behaving like a fishwife. I never believed for a moment she was really in love with him. In love with who? I just got here, remember? Great Scott, I'm telling you. A young newspaper man here in town. Well, well, you know, what kind of a guy is he?  Well? Well, Lorraine Sheldon happened to come out here and visit me. Lorraine here? He's written a play at this young fellow. You can guess the rest. He's going away with Lorraine this afternoon to rewrite. So there you are. Maggie's inside there, crying her eyes out. Wait a minute. I smell a rat, Sherry. All right, all right. But I did it all for Maggie's own good. Oh, sure. You haven't thought of yourself in years. Well, I got Lorraine out here and I've got to get her away. But how? Better be good, Sherry. That Lorraine's no dope. The trouble is, there's so little time. There must be some way out. There must be. I'm too hungry to think. Excuse me when I look for the kitchen. Tell Sarah I said you're mad, but quite harmless, and hurry back. That's my bags. I'm leaving. I'm through. You realize, Miss Preen, that this is completely unprofessional? I do indeed. I am not only walking out on this case, Mr. Whiteside. I am leaving the nursing profession. I became a nurse because all my life I was filled with the idea of serving suffering humanity. After one month with you, Mr. Whiteside, I am now going to work making hydrogen bombs. And what if Florence Nightingale had... If Florence Nightingale had ever nursed you, Mr. Whiteside, she would have married Jaff the Ripper instead of finding a red cross. Okay? Mr. Whiteside, we've just found June. Oh, thank heaven. Thank heaven. June, my little baby, you're not married, are you? No, Mother, I'm not, and we don't be his carrot. Oh, June, that awful boy, working for your father and trying to blow up the factory. Yes, Mr. Whiteside, your plans for my daughter have gone a trifle of rhyme. As for my son, he's been apprehended in Toledo, and will be returned here within the hour. Not having your gift for invective, I cannot tell you what I think of your obnoxious interference in my affairs, but I have now arranged that you will interfere no longer. You may come in, Sheriff.  These two men have a warrant by which I am able to put you out of this house, and I need hardly add that it will be the greatest moment of my life. And that means bag, baggage, wheelchair, penguins, octopus, and cockroaches. Now I'm going upstairs to smash our radio so that not even by accident shall I ever hear your voice again. I'm sure you don't want my autograph, old fellow. You have just 15 minutes, Mr. Whiteside. Well, Whiteside, I got a pretty fair omelet in the kitchen, but no ideas. It's no use, Banjo. My host has sworn out a warrant. Baby's rosy little body is being tossed out into the snow in 15 in 14 minutes. What would he do a thing like that for? The point is the master is growing a little desperate. Hey, if I knew where Lorraine was, I could get a car and run her over. It wouldn't hurt very much. Banjo. Banjo for heaven's sake. Wait a minute. Is that a taxi outside? Yeah. Yeah, it's Lorraine. What would happen if I just went out there and slugged her? Get out of here, Banjo. Go and talk to Maggie for a minute, and don't let her leave here. Darling, I was just swept off my feet by the play, and you know quite a part of anything else, but he's really a very attractive man. Makes it rather a pleasure squaring accounts with little Mrs. Vitry. That is not Banjo, but don't tell me he's here. Sweetie, but how are you? Very well, thank you, and you, Banjo. Oh, fine, my buddy, you're fine. So you feel fine, don't you, Lorraine? Yes, of course I do. Excuse me, Sherry, I've been getting your papers in order. Here's the list of all your engagements through March. I'm looking forward to the late Placid, Banjo. Birch the kind of man who do all winter sports beautifully. But will he get time? Expressman here, Mr. Whiteside, another present for you. What heavens, what is that thing? First it was Penguin's lady, and now it's this. It's a mummy case from Cairo, Egypt. If there's one thing I need right now, it's an Egyptian mummy case. What's the tag say? Merry Christmas from the Khadib of Egypt. What did you send him, Grant's tomb? Six minutes, Mr. Whiteside, including that. And who was that man? He announces the time every few minutes. I pay him a small sum. Oh, Mr. Whiteside, are you visiting? Oh, no. I've written a new chapter on the left kidney, and I owe pardon me, I didn't know you had that. I think this mummy case is rather beautiful. Just think, Sherry, this mummy case. Here was a woman like myself, a woman who once lived and loved full of the same passions, fears, jealousies, hates, and what remains of it now? Just this nothing more. Going somewhere, Holly? I want to stand inside. Look at me, Sherry. A span of 4,000 years.  I want a crown. Whiteside, I think I've got an idea. Yes, all right. Don't move, don't move, my dear. Don't even talk. Just stand there, my blossom. There's something about your expression as you stand in that case like, like a halo. Why, Sherry, how sweet. Lorraine, dear, in this single moment you approach the epitome of your art, you have given me the greatest Christmas gift of all, the memory of you standing here in this mummy case. Why, darling, I'm all chumped. Make sure it's locked, Banjo. You think she'll be all right in there? Sure, she can breathe easy. I'll let her out as soon as we get on the plane. What are we going to do now? How do we get this out of here? Careful, here's Maggie. What about all these letters, Sherry? What about this photograph? Oh, Miss Harriet gave that to me. Throw everything else away. I'll see you before I leave, Banjo. Oh, what happened to Lorraine? She just stepped out for a moment, dear. Banjo. This photograph. Look at this photograph. I've got it. It came to me just like that. What came to you? I knew I'd seen that face before. Harriet Stanley, eh? Well, now I know how to get this mummy case out of here. Sorry, Mr. Whiteside, your 15 minutes are up. Ah, yes, Mr. Stanley. But just one favor before I go. I would like you to summon your two policemen and ask them to help this gentleman out to the airport with this mummy case. Would you be good enough to do that, Mr. Stanley? I will do nothing of the kind. Oh, I think you will, Mr. Stanley. Or shall I inform my radio audience next week that your sweet old sister, Harriet Stanley, is none other than the famous Harriet Stanley, who murdered her mother and father with an ax 25 years ago in Gloucester, Massachusetts. Mr. Whiteside. How did that little jingle go now? Oh, yes. Harriet Stanley took an ax and gave her mother 40 whacks. And when the job was nicely done, she gave her father 41. Officers, will you come in, please? Mr. Stanley would like you to help him with this mummy case. Right, Mr. Stanley? Yes, yes. Man, Joe, my love, you're wonderful. I may write a book about you. Don't bother. I can't read. Goodbye, Maggie. Hey, don't drop the case, boys. It contains an FG. Sherry, what do you mean? She is indeed. The field is clear and you have my blessing. Oh, Sherry. Sherry, you old reprobate. I hadn't coped, Maggie. Oh, and I'll take your railroad tickets. I'm leaving for New York. You're leaving? Don't argue, rat girl. Do as you're told. Yes, Mr. Whiteside. Are you very busy, Mr. Whiteside? Yes, Dr. Bradley, very busy. But if you ever get to New York, doctor, try and find me. Goodbye, Maggie, my lamb. Oh, Sherry, you're wonderful. Yes, aren't I? Oh, Jefferson, my boy. I've decided to take your play to Catherine Cornell after all. You'll never know the trouble you've caused. Merry Christmas, everybody. Merry Christmas, Mr. Whiteside. Oh, look at him, Bert. There goes the most... Yes, dear, there he goes, right on his celebrated ear. Mr. Whiteside! Mr. Whiteside! He fell down again. Poor Mr. Whiteside. Slipped on the ice again. Bert! Preen, I want Miss Preen! Miss Preen! As for you, Mr. Stanley, I am now suing you for $350,000. I know you're eager to meet our stars in person and here they are, Miss Lucille Ball and the man who came to dinner himself, Clifton Webb. Clifton, do you suppose Sherry and Whiteside really stayed on in that house for another month? Well, I have it in good authority that he left almost immediately. Oh, then his leg wasn't broken after all. Oh, yes it was. Those horrible people ran out of Lux Flakes.  Well, to make sure that doesn't happen to either of you, there's a supply of Lux Flakes and the wings to take home. A dozen boxes, I presume. And why a dozen? Mr. Zannick would like it. My new picture with Jean Crane, you know, cheaper by the dozen. Oh, is it true, Clifton, that in cheaper by the dozen, 20th Century Fox has cast you as the father of 12 children? You the father of 12 children? Yes, a healthy change of pace, don't you think? Well, in that case, I suppose you're writing a book for children now, Clifton. Not at all. I've already done that. You may recall it. Mother Goose? Clifton, you wrote Mother Goose. Why not? But Mother Goose was written more than 300 years ago. My dear girl, did I ask your age? Well, let's change the subject. Bill, you said your show next week was going to be something special. Yes, Lucille, it is. A very beautiful and moving story come to the stable. We'll have the same star you saw in the 20th Century Fox picture, that lovely and talented artist, Loretta Young. And in his original role, you, Marlowe, making his first appearance on this stage. I know you'll enjoy them in this bright and tender drama. That will be a wonderful radio play, Bill. Good night. Good night, Lucille, Clifton. Good night. Are you going to be impressed that I'm leaving? Yes, Clifton, good night. And please be very careful going down the stairs. Lovely screen star, Hedy Lamar, recommends a simple, easy complexion care. She says, I never skip my beauty facials with luxe toilet soap, not for a single day. Here's all I do. I smooth the creamy lather in well, rinse, then pat with a soft towel to dry. Wonderful how soft and smooth my skin feels afterwards. Try Hedy Lamar's Luxe soap beauty care. It really works. Recent tests by skin specialists show that in actually three out of four cases, complexions improved in a short time with daily luxe soap care. Next time you shop, be sure to get Hollywood's fragrant white beauty soap. Use it regularly. Discover for yourself why nine out of ten screen stars use luxe toilet soap. Tonight the Luxe Radio Theater is honored in bringing you a special guest. Ladies and gentlemen, may I present the President of the American National Red Cross speaking from Washington, General George C. Marshall. I have just finished an extensive tour of the country, some 30,000 miles, and I was tremendously impressed by the leadership and work of our 3,700 Red Cross chapters, and by the large numbers of public-spirited men and women who have volunteered their services as campaign workers. The American people believe in the Red Cross. They judge the Red Cross by its works. Year in and year out, they have seen it mobilize its resources to aid the victims of disaster with a both emergency relief and long-range rehabilitation. Last year it helped in 3,330 disasters, the greatest number in a single year. And here's an interesting point. April is the month of greatest disaster frequency. So we must anticipate more Red Cross assistance in the next 30 days. In recent weeks, we have had thousands of volunteer Red Cross workers in the field on flood relief. And we were caring for, that is feeding, showering, and sometimes clothing, as many as 23,000 families. Nearly two millions of Red Cross funds were or are involved. The Red Cross goes right on, day in and day out, serving the men and women in the armed forces, a million and a half of them in this country and overseas. Our workers daily bring comfort to those in military and veterans' hospitals. The National Blood Program supplies blood to hundreds of thousands of sick and injured, and our volunteers stand trained and ready to assist in these and other Red Cross services. To do the things that the American people expect, the Red Cross is appealing this year for $67 million. Last year, the public subscribed over $68 million. 438 of our 3,700 chapters have reached their quotas. To meet our minimum needs, the other chapters must reach their goals. I urge our campaign workers to increase their efforts. I am confident that the people will respond to this appeal if it is properly presented to them. In these days of misunderstandings and misgivings, the beneficent arms of the Red Cross reach out to recreate that feeling of good faith and good will, which is essential to the world if we are to have peace. Eva Brothers Company, the makers of Lux Flakes, join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Loretta Young in Come to the Stable with you, Marlon. This is William Keely saying good night to you from Hollywood.  The play was adapted by SH Barnett and our music was directed by Louis Silvers. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Come to the Stable, starring Loretta Young with Hugh Marlowe. Stay tuned for my friend Irma, which follows over these same stations. This is CBS, the Columbia Broadcasting System.


Hello from Hollywood ladies and gentlemen. This is C.P. McGregor speaking and welcoming you to another performance of proudly We hail a program presented by your War Department Through the courtesy of the Hollywood Coordinating Committee We present Mr. Zachary Scott as the star of our play a good deal written by Tom Petty with music by Eddie Skravanik The man coming down the flagstone walk is Jeff Carter the novelist Home to sell his rundown Virginia State Something's been going on around here. Hello. I have an idea your Jeff Carter Well, I've always thought so myself, but I am beginning to doubt it. Well, what a funny thing to say I'm Sally Randolph. Mr. Carter You know the last time I visited Green Oaks the caretaker was an elderly colored man named Sam Winston Am I how old Sam has changed Sam hasn't changed a hair.  You'll telegraphed us to meet you at Green Oaks You only had a few hours in which to make arrangements. Oh, so you are Miss Randolph sales and development agency incorporated I'm the whole company now that my father's passed on. I've been gone a long time But I recall the name of Randolph didn't your father used to live Time you're waking up Jeff Carter That cottage across the roads where he lived and I still live there I remember you you were a little tyke in pigtails when I left here ten years ago. Well, come on inside and let's get this settled Are you sure you want to sell Green Oaks Jeff Carter, of course Say The windows open everything is spotless and no covers on the furniture Wait a minute. When did I put this place on the market two years ago next month? Oh Sam never kept this place like it is today is someone already living here. Of course not Why don't you stay here for a week before you sell the place? That's impossible and leasing a new apartment in New York and I have a date with the decorator tomorrow night You do have a buyer, don't you? Yes, I have a buyer Jeff Why don't you stay at Green Oaks just for one night? You could fly back I'm beginning to remember too many things in the few minutes I've been here. You're right Maybe it would help you to remember All of those things one of those things I'm remembering is that you were a very insistent little girl Remember how you want to ride my pony? Yes, and I got to ride him too Won't you stay just one night before you sell Green Oaks? Maybe if there were enough members that strange talk from a real estate agent and you want to make a commission not on Green Oaks Not unless I'm sure sure what Sally sure that you want to sell it Come on. I'll show you the grounds. I'll bet it's been ten years since you were here It's been seven and there are a lot of things. I don't understand the last time I saw Green Oaks the place had grown up in grass and weeds House was run down and and now everything is spotless the flowers blooming the grass cut edges trim Where's old Sam? We'll go find Say those rose hedges in you and not two years old They'll be two years old this winter and the barns are freshly whitewash. I don't tell me Sam did that on his own Oh Sam's a better worker than you think Jeff Maybe Green Oaks means more to old Sam than it does to you. Look Sally. I'm a writer not a sentimentalist I know the carters have owned Green Oaks for a hundred years. Now. I'm the only car to left Rattle around in a place like this And I've got that off my chest. Let's find this caretaker of mine. I Think you'll find him up by the summer house fixing the steps I don't think it'll be necessary for me to go along. I'll stop at the office I'd rather you stayed with me Sally. There's something I want to look into and I'll need your help All right, if that's the way you want it Oh, hello, Sam. Howdy, Mr. Jeff. Miss Sally told me you was coming home today. Sam you old rascal. What's gotten into you? You've been working. Mr. Jeff. I worked so hard since your pa was alive I feel like I've almost been working in my sleep. Well, you've done a remarkable job But I still don't understand it. Shucks, Mr. Jeff. It ain't hard to understand when you know Miss Sally She's a driving lady Anyhow, Miss Sally work hard and me to keep this place looking nice now Sam. I've been suspecting as much I'm going to have a word with you young lady. Thanks, Sam. We'll have our talk later. Yes, sir Now Sally, what's it all about? I? Love green Oaks Jeff. I guess I've always loved it When you turned it over to me to sell Well, I didn't want to sell it. I wanted to fix it up Well, I helped Sam fix it up You aren't angry are you Jeff?  Sally to find out what it is that bothers me We pause briefly from our story a good deal starring Zachary Scott as Jeff Carter to bring you an important message from your war department I have a message for all veterans you men who are wearing that gold discharge button in your lapel Many of you are finding that civilian life is not everything you expected it to be Everyday former servicemen are re-enlisting in the army and here's why They know that few jobs in private industry can offer such a high starting wage Few civilian positions can pay in addition to free food clothing lodging medical expenses $75 a month, which is the starting pay for a private in the army an Ambitious veteran knows that opportunity for advancement in the army is good He knows that in addition to his pay he can get dependency allowances low-cost insurance the use of army PX's Commissaries and amusement facilities at reduced rates He knows that after 20 or up to 30 years of service. He may retire on a substantial income at no cost to himself He knows that the army is a team of scientifically trained skilled men who every day contribute to the advancement of culture and human progress Is it any wonder that so many veterans are taking advantage of the opportunities that the new regular army can give them Veterans compare these benefits with those available to you in civilian life then go to your nearest army recruiting station and enlist It's our good bet in any man's league And now act two of our story a good deal starring Zachary Scott as Jeff Carter a Week has passed and Sam is serving breakfast to the master of Green Oaks, and the master is still Jeff Carter Morning miss Sally. Good morning, Sam Sally come on in have a cup of coffee.  I haven't decided one important thing. Oh, what's that?  Why Sally does my going mean that much to you I thought I might arrange to keep the house open and come back for short visits from time to time I don't believe you'd ever find anyone to look after Green Oaks Not like Sam and I have cared for what's wrong with you and Sam and possibly a housekeeper continuing to look after the place No Now you'll have to count me out this time and you were just fixing it up to sell it you are disappointed about losing the sale Listen Jeff. I never did want Green Oaks sold and I don't want it sold now Come out on the terrace. Maybe I can explain why come on Do you know Sally you are a very very puzzling young lady, please Jeff You've treated me like a little girl long enough after all you're only five years older than me But I can't help it Sally.  Come on start explaining I'm sorry. I've changed my mind about explaining things You'll have to figure it out yourself. You see what I mean.  I'm returning to New York tomorrow We'll settle everything Dinner at seven. It's a deal Sure as nice to be served dinner out here makes me feel like old times the Sally you sure look scrumptious Bring me coffee up to somehow Sam.  Jeff.  I've been working dreadfully hard at grown up for a long time Now here we are. Let's sit here where we can look down at the house Sally I'm going to tell you why you didn't want me to sell green oaks And you found out Jeff, you know, yes, I found out I Found out a lot of things in the last week The first thing I found out is that you don't find it easy to part with things you love and I do love green oaks Possibly not as much as you do, but I love it. Then why don't you stay here? Maybe I will it all depends You see green oaks doesn't mean much unless you around I Don't believe you found out anything.  Is that such a difficult thing to admit darling? Yes, it is Especially when you don't think enough of me to I've found out one other thing the most important of all Sally Randolph I Found out that I love you Well, I love you even more than you love green oaks took you a million years to find it out I think I knew it ten years ago when you really were a little girl in pigtail Jeff I've dreamed of this all my life In as hard as it would have been on the terrace Sam I want you to be the first to know You're serving the new mistress of green oaks Shucks you ain't telling me no news mr. Jeff me and miss Sally knowing about it more than two years What do you think we've been fixing up for? This is CP McGregor speaking. I hope you've enjoyed our proudly we hail story starring Zachary Scott Before leaving you down Forbes has an important message from your ward apartment for all of us Recently the army has been undertaking the job of converting from a wartime to a peacetime army Many people think this means demobilization Retaining only a skeleton token armed force in uniform. No impression could be more erroneous by July 1947 we will need an army of one million seventy thousand trained soldiers to execute the various tasks that fall to a victorious nation At present we have nearly a million volunteers in the uniform of the regular army But there are still men in the army with a commendable record of long and arduous service Who will be deservingly released in the months to come? Today our army is continuing its ever-increasing program of scientific research and development Every day army technicians are making new discoveries in the utilization of radar to forecast weather The development of automatically controlled aircraft and others which benefit not only the scientific advancement But the progress of the world Now is it just man? We want in the army any man emphatically not We want intelligent ones men of vision who are willing to learn and be trained in the technical skill or trade Who want to have a productive career for themselves in this age of electronics get propulsion and medical advancement? We cannot afford to fall behind in scientific development the army and the trained technicians in it are Unceasingly working experimenting studying to keep up with and a step ahead of scientific progress That is the type of man we want one who is anxious to be a member of a forward organization such as this I Need not go too deeply into the advantages to the individual men of a regular army enlistment The new unprecedented pay scale is above average even to the man who is just starting his training How many men can start out in their profession at a salary of three thousand dollars per year? Taking into consideration food clothing lodging medical care and other expenses the new regular army soldier Starts at an overall pay as high as that and three thousand dollars is just a starting figure If you are interested in a well-paying career and want more information about the advantages offered go to your local army recruiting station today Thank You Zachary Scott for appearing on this program Proudly we hail will come to you again over this station next week listen in


All right, I'm here in my office. Before anyone gets here, I've been here since probably 715 or so. I'm doing my Spanish homework before my Spanish class today. And I was thinking about something. When I was looking through this book, it got me thinking about something. This is a used book that we bought online. I don't know why we bought a used book, but we did. So that's what you get, you get what you get, right? So in this book, literally, some of these pages were already done. Now I've erased them and started doing them myself. But as you can see, that's my homework. These pages are already done. But look at the next page. They did to here and they stopped. It's a used book because people quit. 92% of insurance agents fell out of this business because they do what? Because they quit. Most people are quitters. We quit too easy. I made a decision a couple of years ago that when I start something, I'm going to finish it. No matter what, I will finish it.  Like it's a vivid image, right? It doesn't matter. What the obstacle is, I will not quit. I'm not a quitter. I'm not gonna fell. I did a recent disc assessment. I had a 99 on the D portion, which is about being driven, determined, a self-starter. And dude, I'm driven. I'm the most driven person in the insurance industry, bar none, not even close. And guess what? Spanish is hard for me. I don't know how to speak Spanish yet. Very little, right? I'm writing out nouns and verbs and sentences. Guess what? I'm not gonna quit because a couple of reasons. I made a decision a couple of years ago that I'll never quit. I'm gonna do three reasons. That's the first reason. The second reason is this person quit.  And I hope they end up watching this video, right? And the third reason is I'm an example for you and every other insurance agent that quits all the time, that quitting is not okay. So that's my message.  When you get obstacles in your way, how will you respond? You're not a quitter.


Welcome everyone. Thank you very much for joining us today. My name is Lidia Uzil, I'm the Associate University Librarian for Research Resources and Scholarly Communication at University of California, Santa Barbara. I'm also the Chair of the Board of Stewards of the Open Book Collective. I'm here today with my colleague, Livy Snyder. Livy is the Outreach Associate for the Open Book Collective and she is also the Associate Director of Community and Library Outreach and Booktube Books. We are delighted to be here today and we want to thank CNI for giving us the opportunity to present on a very exciting project, Open Book Collective. We hope that this project will have a significant impact on the open access landscape and the publishing ecosystem for open access monographs in the future. So the team of our presentation today is Open Book Collective. Collective paths towards an open and sustainable monograph future. Looking at the current state of the publishing ecosystem, we see that the open access publishing movement has been at our library doorstep for a couple of decades. It has been accelerated by the recent proliferation of open access policy mandates nationally and internationally and by recent developments in infrastructure support for open access publishing. These are very important milestones in advancing open access. However, as we all know, monographs continue to lag behind journals in terms of open access publishing, infrastructure and distribution. Journals continue to be at the forefront of the open access transition and manual funded university presses and also commercial presses are actively experimenting with open book models. However, looking at the publishing landscape as a whole, there is a very long tail of small non-profit scholar-led presses that are not so well funded and that are often left out and unable to participate in the open access movements. There are of course various reasons why these presses are excluded from the open access transformation, including obviously cultural barriers, lack of funding, issue related to tenure and promotion. And most importantly, lack of necessary expertise and often infrastructure allowing them to flip their publishing model to open access. But this presentation is not about analyzing the root of this problem. Our goal is to present some forward looking solutions to this important challenge. To successfully create a new path towards an open and sustainable monograph future, especially in humanities and social science content, and particularly for the long tail of small non-profit scholar-led and not so well funded publishers, especially in humanities and social science, the global community of publishers, infrastructure providers and libraries must develop new open access publishing and funding models supported by fully open and sustainable infrastructures. This is precisely the issue that the Open Book Collective has been working and we are currently working on, and on which we will reflect today in our presentation. But before we present the Open Book Collective in detail, let me take a step back and give you a brief history of the Open Book Collection formation. The Open Book Collective is an output of the COPIM project. Community-led open publication infrastructures for monographs launched in 2019 and founded at 3.6 million of British pounds by the Arcadia and Research England Development Fund. COPIM was a three-year project that ended in 2022 and that developed a variety of open infrastructures for open book publishing. It included TOT, which is an open metadata management system and also dissemination platform that enables open access presses to create rich metadata following existing library standards. TOT also automates the metadata dissemination into library integrated system and other platforms. Opening the Future is the second output of the COPIM project. It is a subscribe to open type of revenue and business model that enable open access, non-open access presses to use their revenue basically to flip their content to open access. Currently, Opening the Future is used by Central European University Press and also Liverpool University Press, but this model can be used by presses internationally. COPIM developed a toolkit and also standard agreements that are currently in use with GISC and RIRASIS. Finally, the third output, the Community Governance Model for the Open Book Collective and the Open Book Collective itself. It is an international partnership of open access publishers, open access infrastructure providers and also libraries and other non-profit organizations. The University of California, Santa Barbara, was a founding partner of the COPIM project and I've been serving as the COPII on this project focusing primarily on developing COPIM governance procedures and also organizational structure for the coordination and administrative support of COPIM's community-owned infrastructures. The UCSB library is very strongly supporting open access monographs and other initiatives, especially with non-profit and scholar-led presses. In addition to supporting the existing UC system-wide open access agreements and other initiatives with commercial and non-commercial publishers, our goal is to support an open, inclusive, diverse and sustainable publishing ecosystem in which all knowledge producers are equally empowered to publish and disseminate their research without barriers. To accomplish this goal, we decided to support COPIM and now to support Open Book Collective. That's basically the history of the Open Book Collective regarding the future. In March 2022, the Arcadia and the Research England Development Fund awarded 5.8 million of British pounds for the Open Book Future project, which is designed to support the Open Book Collective and also to expand and accelerate COPIM's open access infrastructures. And we will discuss the Open Book Future project at the end of this presentation. So what's the Open Book Collective and what are our main goals and objectives? Established in the UK as a charitable and non-profit organization, the Open Book Collective is a partnership and also a collective of open access publishers, infrastructure providers and also libraries. Our mission is to support an ecosystem for open access books that can counter the existing commercial model, which is as we all know is often elitist and exclusionary when it comes to publishing, distribution and readership, especially when looking at the global publishing landscape and the long tail of small non-profit and scholar-led presses. We want to counter the ecosystem that is reliant on infrastructure and also that is often compromised by unsustainable publishing and funding models. The project mission is to support a new open access book publishing ecosystem that is equitable, community governed and built on sustainable business models and community-owned and fully open infrastructures. Basically the OBC provides support for small presses, scholar-led presses who need collective aid because they don't have the expertise, they don't have the infrastructure, they don't have the finances to support their open access transition on their own and we want to support them because we want to continue, we want them to continue to thrive. At the present moment we have three different types of members in our collective. We have born open access publishers that are fully open access. We also have transitional open access publishers that have closed or partially closed catalog but they want to move to be 75% or 100% open access and finally we have open publishing service and infrastructure providers. For example, open monograph press, a platform that was developed by the Public Knowledge Project or DOAB and OAPEN, a global repository of open access books are already members of the collective. The open book collective is rooted in the powerful idea of the scaling small. We strongly believe that small independent and non-profit publishers and scholar-led presses can be very successful in their open access transformation when they work together, when they work in collaboration with each other and when they are supported by libraries and also open infrastructures. Small presses do not have to grow exponentially in order to survive if they can establish a supportive network of mutual reliance and the open community-led infrastructures developed by the COPIN project and also that are currently part of the open book collective are practical expression of how the idea of scaling small can work in practice and I will now pass to Livy who will give you some more details on the open book collective. The ethos of collaboration permeates the entire governance of the OBC. The governance of the OBC is membership-shaped, community-led, democratically representative, equitable and transparent and it models a true globality that doesn't prioritize the global north. Our board members come from the US, UK, Europe, Africa and South America. The OBC has adopted an association organizational model. The existing structure empowers all members to directly participate in the OBC's governance and related decision-making processes. The OBC's trustees serve as stewards as they are partly selected from the members of the OBC and represent the main stakeholder groups called caucuses. As a result, the OBC organization and its governance are made up of three bodies, the General Assembly of Custodians, the Board of Stewards and the Membership Committee. Ultimately, the governance of OBC has been designed to empower a unique collaborative community of OA creators, researchers, libraries and other funders with vested interests in growing the landscape of non-propriety OA initiatives and OA experts and scholarly communications and open access. The OBC is thus not just a financial intermediary between OA initiatives and funders but instead is an independent and mutually reliant community of experts and organization all with vested interests in the transformation of academic book publishing, working together to move the needle toward a fully open public commons and away from the enclosure of knowledge of traditional proprietary publishing. At the heart of the OBC's work is a community-owned online platform designed to support new relationships between libraries and OA publishers. For OA publishers and infrastructure providers, the OBC's platform provides a venue to promote their OA programs and manage the funding they receive from supporting libraries and other knowledge providers. For libraries interested in supporting OA book initiatives, the platform provides a centralized discovery of various OA membership programs and related offers tied to publisher collectives, individual publishers and publishing service or infrastructure providers. Through the platform, libraries can find, assess, bundle and commit to financially support OA membership packages and initiatives offered by the collective. Our shared catalog, which you can see on the right, just an assortment of our all the publishers books, it's integrated into the OBC website through the open metadata management system that Lydia mentioned previously called TOTE. Any publisher who joins the OBC will have their books in this catalog, which currently comprises the works of Punkton Books, Open Book Publishers, Mason Press with books from Mattering Press, African Minds, White Horse Press, and Media Studies Press, Dot Press. This catalog will grow each time a publisher joins. The OBC supports S2O and non-BPC based open access funding and business models that incorporate infrastructural innovations and cost reductions through streamlined operating processes, production workflows, and economic efficiencies. We don't have much time to discuss all the relevant details, so please visit our site to learn more. With the OBC, the funding scheme is fairly straightforward while also being noteworthy for its distributive costs. I want to highlight that around 90% of the OBC's income goes directly to publishers and service provider members, with the rest covering and the operating costs and contributing to something called the Collective Development Fund intended to help small open access publishers or infrastructure providers sustain or expand their capabilities and operations. Still in the early stages of development, the fund's primary goal is to support global biodiversity by enabling innovation for new OA book initiatives through small grants designed to support small, not-for-profit publishers to be more sustainable in the future and to better align with the technical and editorial standards of the larger open knowledge community. The Collective Development Fund will also be used to create toolkits and learning modules and webinars for presses and infrastructure providers to learn how to run a press, including setting up its business management, how to manage workflows, how to manage metadata and analytics, how to disseminate and aggregate OA content and data, how to create ebook preservation protocols, or how to meet international open data standards. So in practice there are several benefits for libraries supporting the OBC aggregation. It's an aggregation and discovery platform. Our web platform, which I just previously discussed, features a shared catalog including all the books of all the presses in our Collective, including individual publishers as well as member packages for groups and publishers, infrastructure providers, and organization. Relevance of the content. When you go to our web platform you see richly detailed information for each membership initiative, what their missions and values are, their business models, their costs of production, output of books per year, tools under development, subject areas, and their ongoing progress. We conduct due diligence for presses and infrastructure providers. We have a membership committee that evaluates all initiative offerings and their offerings. So there are criteria for joining the OBC to ensure that peer review practices, pricing models, governance structure, and performed are all performed in accordance with our membership criteria. Lastly, workflow. Our platform streamlines the subscription process. So rather than managing dozens of subscriptions with individual presses, the OBC provides a single place to manage them all in one organization. There's an important economy of scale by consolidating and the licensing and invoicing and including support from third-party partners such as Lyrisis for processing payments. So the OBC is part of a larger holistic vision for the OA book ecosystem supported by the Arcadia and Research England Development Fund who have together committed up to 5.8 million pounds to continue the work of the pioneering COPEN project including the financial support of the OBC. So it's scheduled to run through April 2026. The OBF is a new project that builds on the achievements of the COPEN project with expanded and a more global team including the Continental Platform, University of Cape Town, CLO, Books DOAB, the Curtin Open Knowledge Initiative Co-Key, among others. The OBC and OBF will partner on expanding critical infrastructures for OA book publishing including the OBC's platform enhancements such as multilingual capabilities, dynamic currency conversion, and usability improvements. Expanding the OBC's information hub, sometimes we just called the info hub, containing practical and advocacy resources for libraries, publishers, and academics including expert advice informed by the collaboration with the Palomera project on removing barriers for libraries to support the OBC's funding models particularly in research funder policies and mandates. Toolkits for smaller and scholar-led open access publishers with a pilot project already in development we have literally just sent it off last week for peer review it will showcase experimental books and publishing workflows used by partnering presses. In addition the OBF deepens and further accelerates the output of the COPEN project including developing the TOAT archiving network which identifies and examines the critical challenges associated with archiving and preserving open access monographs particularly those published by independent small and scholar-led presses. So the future of the OBC is entirely driven by the ethos of seeking, promoting, and supporting Biblio diversity in the open monograph publishing system. The OBC and OBF collaborate closely on amplifying Biblio diverse and equitable community-led approaches to OA book publishing. In addition to strengthening the existing network in the UK and North America our strategy for the next three years is to seek strategic partnerships with publishers, universities, and infrastructure providers in diverse national and linguistic contexts particularly in Africa, Australasia, and Latin America to support the small presses and humanities and social science particularly the long tail of small nonprofit and scholar-led publishers. We will invite them to join the OBC and provide them with the necessary infrastructural support to fully embrace the OA transformation. So how will this be done in practice? Well for the first half of 2024 we will be running a series of events with operas and represent and OA scholarly publishers across the EU. We will be adding a multi-lingual capability to our platforms so that it displays in German, French, and Spanish to start. We will also be expanding our membership. It's actually already diversifying so early next year we have Luven University Press joining the OBC along with two other university presses which is really exciting. Lastly we are running a workshop in South Africa in Cape Town in February which will bring together publishers from diverse Southern African context together to explore how the OBC can build capacity to enable them to become OBC members. You can find a full description and submission information by following the QR code on the slide so I really encourage you to submit. We would love to have you there. So that's it from me. I'm going to hand it back over to Lydia. Thank you so much. And to conclude when developing the Open Book Collective we consulted extensively with open access book publishers, infrastructure providers, librarians, scholarly communication librarians, open access experts across the European Union in US and internationally. We did it in a series of workshops during the last three years during the COPIM project and we believe that we created a community and that is highly unique and also singular in the current open access publishing landscape and is more than worthy of investments. The landscape of the open access monograph is still in flux but we believe is open for innovation by pioneering new community-owned open access business models including new funding and publishing models as well as new collaborative platform that is governed by and for the benefit of the community it serves. Platform that is currently very generously supported by the Arcadia and Research England Development Fund but that will be fully financially independent in three years from now. The Open Book Collective is charting a new collective path towards an open and sustainable monograph future. Presses, publishing initiatives and infrastructure providers can join the OBC based on adherence with the specific membership criteria. So thank you everyone for your attention and if you want to learn more please visit our website, our information hub, talk to us after this presentation or reach out to us by email or and also we'll be happy to answer any questions that you might have right now. Thank you. Hi I'd like to know more about how you're doing advocacy for the publishers that are part of the collective especially to authors so we do change where people are publishing. That's a really great question so we have a part of our part of the OBC is to conduct outreach on behalf of each publisher and so we've actually been trying to get in touch with more and more authors putting together information that they can use to advocate for OAA. We've put together a lot of panels at conferences and meetings like these where we actually invite authors and publishers to be a part of the community because they really do feel like they're actually overlooked. We use TOTE to identify the authors and their institutions and try to work with them to grow their knowledge about how OAA is on their campus. We visit a lot of universities and just are we make ourselves available to whatever to do whatever they need and we also as part of the information hub early next year will have sort of like a campaign and info sheet that authors can use. So we're you know we have a couple different strategies and I think that's a really good question. Thank you so much. Did you have anything to add Lydia? No I think it's good. Hi my name is Pascal Calarco I'm from University of Windsor in Canada and as a university library we use OMP and press books to publish faculty monographs. My question is if you could characterize the type of faculty who are interested in publishing this way we've found success in approaching senior scholars in the humanities who the rights have come back to them after publishing say a book with University of Toronto Press after 10 years they have the rights again and in some cases they're interested in doing a second edition of that work as kind of a capstone for their careers and so they don't really care about trying to establish themselves there's none of that concern about research impact and all that kind of thing it's it's more just finishing off their careers and I'm wondering if you could comment on that. Well it depends on context I think in the UK for instance the landscape is quite different so more people are familiar with open access many of the people working on the coping project actually were introduced to open access because they were graduating with a PhD and were required to publish to open access. As far as the US and Canada it looks a little differently just because of you know tenure and that recognition as you're speaking to I have done a lot of research on this and it's quite interesting I would say the majority of our authors are really at different stages in their career you know we just had a meeting with a university last week and I noticed that there were a lot of early graduate students that we had like those were the affiliations with the university that were publishing away so I can't say that I'm noticing a trend if they're either later career or earlier career but it is a consistent topic of concern in the US and Canada about will this be recognized. I have questions about this so you know we're happy to provide support I have actually a couple really great links to share with you where other people have done case studies looking at the impact of OA content for tenure and I'm sure Lydia can say something as to you know working at her university about what it's like working with scholars interested in publishing OA. Yes absolutely I think there is different strategy looking internationally at different national context as Levi said in Europe there is a lot of open access mandates and that's an important driver for the open access publishing in the US as we know and in Canada it's a different landscape however open book collective is still a very new initiative we are growing this is just the first year so we've been focusing on supporting open access infrastructure allowing presses to transition to open access basically their content when it comes to the advocacy at scale that's something that we will be working during the next few years as well. Hi Lisa Janaki Hinschliff at the University of Illinois at Urbana-Champaign very interesting to see the developments and the investment that your funders are making in catalyzing these projects one of the things I'm hearing from a number of open access publishers particularly and when they have models that are membership models or subscribe to open or anything that's not a transactional kind of we pay you to publish is that increasingly libraries are asking for evidence of who is reading the content so that they know that the investment they're making in the particular open access book collective not just capital letters but generally is is sort of delivering for their own institution I know that some of your members punkdom for example have made pretty strong statements about how readers should not be surveilled and that kind of data so I'm wondering if you can talk about as a collective at this level where you're providing services to publishers but then asking also members like how you are managing that and if you are actually looking at this question of how you will provide evidence back to your members you know libraries that might join or whatever or to the publishers themselves like are they getting readers on this content and who are those readers so like kind of in a nutshell how are you surveilling readers right now and what do you anticipate the pressures are going to be on your platform to do so this is a really fantastic question thank you so much and I think this is all the open access publishers we've been thinking about that is that important issue how to collect the usage data and the OAB and OAPN they are currently working on the infrastructure in that area to provide data on open access ebooks globally including different institutional data in different country different languages at regional level so we are working on it I don't think that we have clear answer how to do it at the present moment right now but this is something that should be addressed in from my point of view as a community we should be working together with infrastructure providers as a whole to address this specific issue and Livia I don't know if you want to add yeah no I think this is a really great question of course you know we this has been something we've been grappling with because we have you know as librarians are starting to be approached by many different OA initiatives the question is yeah we need to support these but in the end the landscape is becoming very crowded so as librarians and institutions start to support OA they're going to start assessing them differently based on yeah local relevance usage statistics I do also work for punctum and we have only had two librarians actually ask us ever for usage statistics we gather them through JSTOR project to Muse we're also part of the OA book usage data trust project so we're always trying to figure out this idea of you know what is important with these usage statistics in addition to something like local relevance which is again why I also appreciated the author question because it's about looking at this very you know like we're looking at the full context and I'm really looking forward to the next couple years as we think more about usage data and what is going to be important to librarians and again this is why they're so essential to the open book collective because they will always be a part of the conversation and letting us know what they need in order to make this happen and we also want to think holistically about that question it's not only about the usage data but also publishing data institutional affiliation all of that is part of the data that some of that taught the open meta data management system that we've been developing will be able to provide as well other questions so we are at the time thank you everyone for joining us and please talk to us at the break or during the lunchtime if you have any additional questions thank you


Hey guys, welcome back to Come Again TV, the only place on YouTube where all geek culture collides. I'm Shannon and today on the show we're taking a look at the pop movies. Number 996. What about Bob? Bob Wiley, Walmart exclusive. All right guys, so today, like I said today, we're taking a look at Bob Wiley, the Walmart exclusive from pop movies. And I may be in the minority here, but what about Bob has always been one of my least favorite Bill Murray movies. I just, I never really cared for Bill Murray's character in the film.  There he is on the side on the dock on Richard Dreyfus's lake. I forget Richard Dreyfus's character in the movie. He's the psychiatrist. Then on the back you have Bob Wiley local Bob and Bob Wiley, Bob with book. And as you can see the top is torn. I did accidentally do that when I bought it. I think it got caught on one of the wires in the card or something. I'm not sure exactly, but it was the only one they had. So I was kind of forced to get it and I couldn't really put it back in and exchange it for another one. So, but let's go ahead and open him up and take a look at Bob Wiley. So just like with John Winger, we have the clamshell with the clips on the top and the bottom. I don't know if this is something that Funko is moving towards in all their pops, but I do prefer the clipped clamshells. And here you have Bob Wiley in his swimming lesson attire. He's got the rope wrapped around his waist so that he doesn't fall in. He can kind of lean over the dock and to get used to the water. And this isn't exact, that isn't exactly a technique in psychiatry. At least not a widely used technique. It was for comedic relief in the movie, which I'm sure most of you know. And as you can see, he's got the longer Bill Murray hair and he does really look like the character. Let's go ahead and compare him to John Winger from Stripes, if I can get him out of the box.  So there we have three Bill Murray pops. And I'm pretty sure Bill Murray holds the record for the most pops made of himself in different character forms. I've seen Peter Venkman, Bob, John Winger, I've seen Steve Zizow, several of his characters. The only one I really haven't seen, I don't believe, is his character from Scrooge, which I'm sure will be on the way eventually. I think I've even seen him a Space Jam version of him as well. I could be wrong, but I want to say I have. And you know, each of these really gets his hairline perfectly, except for John Winger, because you can't really see his hairline due to the hat. But Peter Venkman and Bob, his hairline is perfect. So anyway guys, I hope you enjoyed this video, and we'll see you next time. Take care. If you enjoyed that video, make sure you hit the subscribe button right there, so you stay up to date on All Thanks Geek Culture. Also, go ahead and check out one of these two playlists on the side for more videos just like the one you just watched. I'm Shannon from Comic NTV, the only place on YouTube where all geek culture collides. Take care Geeks.


It was a strong moment. We had a family celebration when the minute of silence happened. We heard all the bells throughout the Prague. It was very powerful how all the bells started every 20 seconds. Another bell started, the sound of the bells started. So it was a strong moment for me. It was a very strong feeling because me and my friend, we were at the cathedral with the president with all the main presence. So it was one of the strongest moments because I never felt like that before because I never had one minute of silence in this occasion. I never had it. Completely different because I'm the student of this faculty. So I spent half my day in the building where everything was done. And it will be hard to go back after Christmas and New Year. I'm very shocked. I don't feel really safe as much as before in a public place, especially in public transportation. When there is a quick movement, I'm a bit nervous. And it's always stressful.