And now, tonight's presentation from radio's outstanding theatre of thrills... Suspense. Tonight, the story of a man who lost his shoes, and when you're suspected of murder and you've got to run for your life, and the temperature is in the 90s, why then you're correct in saying it's too hot to live. What? We don't sell tickets on this street. That was empty. I didn't think anybody had mine. We're slowing down for a crossing. I don't want to find you when I come back. Where are we? Half mile from Marcus Junction. Thanks. Forget the thanks. Just beat it before somebody inquisitive starts asking questions. Yeah, don't they always? He rolls by slowly and the crossing bell warns that death is here. I don't recognize it though. I walk towards Marcus Junction. Towards death. The sun is 11 o'clock high and starting to pucker the tar road. I'm heading in. Sweat is beginning to streak through the old suntan uniform and my shoes are sucking tar every time I lift them. The sole of one boot busts loose and starts flapping against the road. That's bad. A drifter needs a good pair of shoes and I'm on the drift. Marcus Junction is no different than any thousand others like it. About a mile square of small buildings all pasted together. I walk a couple of blocks without finding a shoemaker. The town is almost empty this Saturday morning and then a door opens ahead of me and a big man steps out. Really big, both ways. Big high and big wide.  Good morning, son. My name's Benjamin. Benjamin Martin. Good morning, Mr. Martin. Could you tell me... Benjamin, son. Call me Benjamin. That's the handle that shakes this pump. What's yours, boy? Jeff Casey. Jeffrey or Jefferson? Jefferson. Jefferson. That's a good name. Now, don't think I'm changing the subject but where could I get this fixed, Benjamin? Well, pretty socks. They are at that. But who will take care of this shoe? Yeah. I'm going down to Stacey's for a coke. Shoe fixer's right next door. Come along, Jefferson. As we turn, I see his left side. Gun holstered high up on his hip and the gold star with the word sheriff glinting in the sunlight. Still wearing your old army clothes. Hey, those duds wear like iron. They just throw them away when they start to rust. Now, uniforms wear forever. At least you've seen their last war. Well, what were you in, boy? Air Corps. Captain. Pretty uniform, sweet pay, and lots of respect. Hey, you miss it, Jefferson? Maybe I do. What are you looking for now? I'm not looking for anything. Just living, more or less. Man, how to find more to do this life than that? It's all the same to me. I could die today and it wouldn't make any difference to me or anyone else. You've got a bad taste in your mouth, but you'll spit it out someday. Yeah, I like this weather. If it gets any warmer, it'll be almost too hot to live. In a manner of speaking, you understand. Yeah, I understand. Well, here's a shoe repair. I'll be next door. Leave your shoes and waddle in on them pretty socks here. I'll buy you a drink. Coke or coffee. The shoemaker tells me that my shoes will take a couple of hours so I start next door to join Benjamin. I don't know, maybe I'm feeling pretty good, but I pull an old schoolboy trick of mine. I take off my socks, roll them up, and throw them on a counter with my shoes. Then I walk outside to feel a cool shaded cement and roll up through the bottom of my bare feet. Through the store window next door, I see the four people in the restaurant. Benjamin weighs for me to come in. Inside the entrance, a blond old sliver of a man who's showing about three inches of wrist and shin bone below the edges of his clothes. The squat moonface grill man has his Popeyes focused intently on the argument. His flabby hands, purple-red from too much hot, soapy water and frying grease make fluttering passes at a fly. I go in, brushing past the argument, walk over to Benjamin and sit on the next stool. Hi, Jefferson. Hi, Benjamin, came for the coffee. In a minute, Rachel's about finished. The girl plays rough. Well, that's just Rachel's way, Jefferson. I see you leaned the bare feet. What's your friend having, Buster? Benjamin, Rachel. Benjamin. Maybe smart to tack nicknames on people, but my folks figured me for a Benjamin and I like it that way. Sure, Buster. What'll it be, soldier?  And don't let the uniform throw you. I'm no soldier anymore. The Hollywood line of her mouth twists up into a lopsided kind of inviting grin as she turns to get the coffee. I watch the dark shadows that follow the rippling lines of her uniform when she moves. Rachel is quite a woman. All women. Coffee barefoot. Like you, soldier. Hey, your friend's real pretty, Buster. Yeah, you think everybody's pretty. Oh, but he's a doll. You be around long, soldier? Long enough to get my shoes fixed, Rachel. Rachel. That name doesn't go with you. It's a name. Too bad you're moving on so soon. New faces are scarce around here. Especially one like yours. Well... I got some law to enforce. Will I see you for your go, Jefferson? I'll find you, Benjamin. Do that, boy. I'm afraid to face that heat out there. Now, you behave yourself, Rachel. Yeah, yeah, yes, well... You like playing it tough? Under it all beats a heart of gold. Tell me what it's like in the world outside, soldier.  Tandy, your bacon lover, I got company. Your boyfriend? Lover boy there? No, that's Kenny. He's keeping company with a hot grill. You ought to talk about me like that, Rachel. It's not right. Well, then don't bother me while I'm with my friends. Hey, soldier, I'm off by now. Let you and me go out to Carnival for a couple hours, huh? You let her alone. Don't go with her. You hear? Yeah, I hear, Kenny. I'd like to, Rachel, but how do I go barefoot? Oh, forgot. Got any other ideas? Yeah, matter of fact. I live upstairs over this greasy spool. Let's go up and mix ourselves something cool. While we wait for your shoes. You can't do that. It isn't nice. It don't look right. Don't it? Let's go, Rachel. Don't. You can't. I'll stop you. I go hash some potatoes, lover. My arm, soldier? No. No, Rachel. I'll get someone to tend to tend to here. I'll come right up. You doing a barbecue on your own grill. We go out and my feet scruff over the shaded pavement as we pass through the doorway on the left. I follow her up a flight of stairs and into a small box-like apartment. Living room, bedroom, kitchen, and bathroom. Be it ever so humble, this is home. Let's kick out a wall or something. The windows don't help much, but the drinks will. Why do you have to lean into the kitchen? Why not just walk in? Fresh varnish on the floor. The heat don't let it dry. It's a long reach for a long drink. It's a long day. There you go, soldier. Don't you believe in mixing anything with your liquor? Well, for the cubes will melt. Now, what do we drink to, soldier? The heat. Cool job, don't it? It burns its way down my stomach and explodes. That's good, ain't it, soldier? My pores open and the perspiration oozes down. Here, let's have another. Don't let it wear off. She's still talking, but I'm going numb. Let's drink to my passion. Heat. No food. I shouldn't be drinking. Who cares? I'm getting foggy. She's drifting closer. I don't know who kisses who first. Bitter tears. Tears of loneliness and regret. Everything is moving around like feathers in a high wind. And sometimes one drifts in through the fog. We're drinking. How many? I don't know. Breathing, sucking down scorching air. Hot, damp waves of heat, suffocating. She's close. Can smell perfume. Cheap like tin earrings. Black rolling in. Black velvet. And the shimmering heat. Wavering like plucking a taut string. Wavering. Wavering.  I tear my eyelids apart in a flash of ceiling whirls by. A purple red mass is coming toward my face and when it hits... There's a sound in the ceiling moving the other way. Frozen kind of pain is seeping through to my brain and I can make out a voice now.  My hand comes away wet and sticky and red.  Awake now? Swell, I got something for you. Over there, in the corner of the kitchen. See how she's lying there?  That's how I found her.  What's the matter with my hands? Sticky, wet. That's varnish and blood, your blood. Is it a knife in her hand? I'll stop you. You killed her. You killed Rachel. He doesn't make any kind of sense. The bathroom door is open and I stagger towards it. Stepping on broken glass. Pain, stinging, remembering bare feet. The open shower waiting for me. I turn the handle of the cold water and half throw myself into the shock of the cold stream. I'm coming alive. I see a reaction setting in. Fright. He said I'd killed her. Hey Sheriff, Benjamin, hey Benjamin, come up here. I got a dirty killer for you.  Come and get him. Kenny's shouting out the window in the other room to Benjamin. I gotta get away, gotta think. What happened, what? I get through the bathroom window, out into the glare of the sun and my feet hit the scalding car, the marquee. Scramble across it, drop to the street. A narrow alley and I'm running down it toward the fence that blocks off the far end. A garbage can near the fence and a woman putting something into it. I jump, reaching for the fence. What do you think you're doing? Let me go, let go. Pick up that garbage, you crazy. Let's go, I didn't do it. What do you mean? I saw you kick it over. I'm not gonna clean up that mess.    Why would you kill? All right, Jefferson.  You are listening to Mr. Sam Edwards in Sam Rolf's story, Too Hot to Live. Tonight's presentation in Radio's Outstanding Theater of Thrill's Suspense. Bachelor would be completely safe was on a stag line. Usually, of course, there's no more secure terrain. But a couple of slick swindlers figure out a new wrinkle in crime and the stag line becomes the focal point for a neat, ruthless racket. Hear the complete story of the stag line swindlers tomorrow night when CBS Radio presents the FBI in peace and war on most of these same stations. And now we bring back to our Hollywood soundstage Mr. Sam Edwards in Elliott Lewis' production of Too Hot to Live. A tale well calculated to keep you in suspense. Benjamin is leading me out into the sweltering street again. The sun burns into my flesh, accusing as if to cause the murder to flow out of my open pores. And Benjamin walks beside me again, not holding me, just talking, asking questions which I can't answer. Why'd you do it, son?  I don't remember, but I... You don't sound sure, Jefferson. Don't you know? We were drinking. I blacked out. Drunk unconscious. You could still move around. Could do what was done in that apartment. But I couldn't. Why would I want to do a thing like that? Maybe you played it too rough.  Why'd you run away? I was scared. Kenny said my hands were around her throat. Blood, varnish, heat. Remember anything? Rachel, sprawling a gummy floor. I don't remember. Well, I'll have to lock you up, and then I'll go back and have a good look around. Maybe I'll find something. And if you don't... Rachel's dead, Jefferson. Wasn't premeditated, but that don't excuse it. She's still dead. They'll try to hang me. Why can't I remember what happened? What led to this? The sweats rolling down Benjamin's forehead, collecting along the top of his glasses, sliding into his eyes. They smart and snap shut. He has to stop. Try to rub the sting away. I slap at the glasses, knocking off his face and grab for his gun.  I run, hobbling up and down, lopsided, trying to get away from Benjamin from the burning and torn feet under me. Come back. You can't get far. I'll get you anyway. I'm running again down the burning streets, out to the end of town, to the railroad, now off the searing pavement, but jagged rocks and sharp brush tear at the numb pain that is my feet. I run till my legs slide away from under me, then crawl, dragging a body that has no feeling, a dead weight that robs my arms of their strength. And finally, steel rails glisten ahead as I lay sprawled out. Heart and lungs going crazy in my body. Something starts down in my chest, spreads up to my throat, spilling out of my mouth. I run out! An hour has passed, and the sun is moving away towards the west. No trains have passed, but it's all right. I know what I have to do now. Find Kenny, and one way or another force him to tell the truth, for he must be lying.  Stepping gently, I make my way up the back streets to the restaurant.  There's a stranger behind the counter. Well, howdy. Hi. Where's everybody in this town? Most are out at the carnival. Some are looking for a killer roaming around. Heard about him. Heard he was picked up a couple of miles out. They got him. Good deal. You know, Rachel worked here. Yeah, I know. Say, uh, where's Kenny? Well, he's out at the Clovis Place. He wanted to be the one to tell Rachel's folks about, uh, you know.  I don't know the place too well. How do I get there? Oh, just follow this road down. About a half mile out of town, right off, can't miss the mailbox. Thanks. Say, if you miss him, who'll I say was asking? Uh, just tell him his cousin Jim was here. Well, pleased to have met...  You, you're the one. You're the killer. Run, run, run again. Another alley, blistering pavement, cement ripping, and the jagged rocks again. Time is running to running out. Benjamin will know where I'm going. Out to the main highway, pants pulled low and thumb up in the air. Here comes my ride. He's got to stop. Got to stop. Please. That's it. Thanks, mister. Thanks a lot. You're welcome, but I'm not going far. Uh, I'm just going out to the Clovis Farm. That's about... I know the place. Why are you going there now? I'm a cousin of Kenny's. I'm going to meet him out there. Oh, I don't place here. I'm visiting from back east. You're not wearing shoes. Yeah. That's a silly thing. I lost my shoes while waiting barefoot in a stream. It didn't help my feet any. What stream is that for? You know the one. I don't know the name of it. It's out there in the woods. Yeah. I think I know the one. This is the dirt road you want. House is over the rise. Thanks again. See ya. I limp up the rising dirt path. At the top I turn for a look at my ride. He's swinging around towards town. Benjamin will get to me, and soon. An old, two-storied farmhouse rises out of the cleared fields around me. A big gray barn stands off near the house and two old cars are sitting empty behind it. Kenny's got to come to one of them. I'll wait. Time still running out and away from me. Little shimmering waves of heat rise off the ten hoods of the cars. Here he comes. Now or never. Quieter! I'll break your back! I want the truth, Kenny. The truth if I have to kill you for it.  You did. I didn't. You killed her. You were crazy jealous. No! You came to check up, you found us drunk and you got wild. I didn't. I can prove it. Prove it? There wasn't three minutes between the time I left the restaurant and the time I called Benjamin.  I can prove it. That's all the time. You did it. You have cut hands from her knife. Those hands were still around her throat when I came in. You killed Rachel.  The horror of this afternoon had been for nothing.  Instead I'd proven myself guilty to tide the rope finally and for all time around my neck. Shoot him. Don't just stand there. Shoot.  He stands there watching the gaunt sliver of a man with shins and freshly scarred wrists exposed below the edges of his clothing. Double barrel shotgun is cradled in his arms but he just looks at me.  Shoot him. He killed your daughter. He killed Rachel. So you're her father. I thought it was a nickname. She was no daughter of mine. She was born to me and I named her Rachel from the Bible. But she was the daughter of Satan. I'm sorry, Mr. Clovis. Rachel is dead. She turned away from me but within me the voice was strong. I followed her begging reading to her from the book to the place where she lived where she worked but she turned me away with curses. I'm sorry. I was drunk. Crazy. In that apartment the stench of drink like an evil cloud. Lying there, drunk with a devil's fever. You...  She took a knife to drive me out. These scars on my wrist. Vile words attacked me and it came to me like a voice from on high. I knew what I must do. You killed her. It wasn't me. It was you.  You knew he did it, Kenny. You tried to make me believe that I'd been the one. Why? You.  Always keeping her from me. Coming along every time. I couldn't know this, Kenny. You didn't care. You laughed at me, made Rachel laugh at me. I passed the old man when I went up. I knew as soon as I walked into the room. And you tried to blame it on me. Why not? It wasn't a crazy old go-to killer. It was you and men like you. She would have married me. But you and your kind came along.   And you'll die for it. Give me the gun, old man. Oh, no, Kenny. Not now. Turn around, soldier. Turn around and see it when it happens. Whatever your gun, Kenneth. No. No! I'll go home now. The sun is moving down low in the skies and a cool light breeze has come up from somewhere. I'm leaning back on the front seat besides Benjamin. Breathing deeply, evenly. Feeling the goodness of just living seep through.  Not even aware of the blanket-wrapped body of Kenny lying on the floor at his feet. The bigger the run, I could have saved your feet a lot of wear. I knew you weren't a murderer, son. You knew? Sure, I went back to the apartment. The old story's there in the varnish on the kitchen floor. No marks of bare feet around the body, but lots of hobnail boot prints.  You bled. And his eye was running. Yes. For a man who don't care whether he lives or dies, you sure got lots of jackrabbit in your legs.  It's been quite a day, Benjamin. Sure has been a scorcher, ain't it? Glad to see the sun going down. You know, on a day like this it's almost too hot to live. Don't say that, Benjamin. It never gets that hot. Suspense in which Sam Edwards was starred in Too Hot to Live Next week the story of a woman who had a strange visitor a man who wanted to spend a day with her just waiting until her husband got home from work so that he could kill him. It's called The Tip. That's next week on Suspense. Suspense is produced and directed by Elliot Lewis with music composed by Lucian Morrowick and directed by Lud Glaskin. Too Hot to Live was written for suspense by Sam Rolf. In tonight's story, Sam Edwards was heard as Jefferson and Paul Freese as Benjamin. Featured on the cast were Mary Jane Croft, Lee Millar, Junius Matthews, Charles Calvert, Herb Butterfield and Gene Wood. And remember, next week, Carly Abrams play The Tip.  Police of the 21st Precinct track down the boy's identity through his sweater marked Red Tigers. Before they're through, even case-hardened cops have to swallow hard to keep back tears. Don't miss 21st Precinct tomorrow night on most of these same stations. He really clicks against criminals crime photographer on the CBS Radio Network.


What should be the start of sex education? Okay, so if I was teaching sex ed, I would begin with teaching about emotions. Sex is not just about two body parts fitting together. It all begins over here. It's all about the emotions. And it's also not as straightforward as saying, I feel aroused, hence I will have sex. It is a mess of emotions. You'll be excited, you'll be scared, you'll want to stay, you'll want to run away. And it's all going to happen at the same time. So the first thing to understand is what is going on in your head, what are the emotions that you feel because that is going to drive your actions. And I'll let you into a little secret.  Whatever you feel over here will define your pleasure or the lack of it.


I've been having dreams about that summer. Persistent dreams. I can't fall asleep without seeing my dad's face. It's why I started seeing a therapist in the first place because of those dreams.  They always start when I first saw the theme park or in his office. I must have been sad because he claps me on the back and says there's no reason to cry. No reason at all. His voice scratches at my ears that I remember. There's little I do remember of my father. Lee says that has something to do with trauma, but I don't think so. He was quiet when I was young and absent when I was older. That did more to cover him up than anything he did, but he did a lot of things. My dad owned the theme park. He built it. He bought some old farmer's property and built a roller coaster on it. I don't know whether it was the divorce that caused it or it caused the divorce. It's not like I can ask. He wasn't even planning on even selling tickets to the place at first. My dad was never particularly stable. My mom got full custody for the first few years after the divorce and he moved halfway across the country as soon as the papers were filed. That's where he built it. They negotiated terms when I was about 11. I would stay with him during the summers, but I stayed at my old school. That always made sense to me. Summer was peak season. He built the roller coaster first. I remember that.  That thing broke down three times a week, I swear to God. I can't believe they even let us keep it running. That thing was a death trap. Then came the carnival games, those types of things with water guns and two small hoops. He hired a couple townies to do that, to man the stands, too. It's been a while, a long while. I'm sorry if I don't get everything right. It all blew up from there. We had more attractions when I was 17. There were bumper cars themed like a circus with elephants and clowns and chipped paint. Those were always popular. His favorite was the tunnel of love. I don't think we ever got more than six people to ride that on a day. I guess I should say why I said we. My dad, even though he was very well off, was cheap, or maybe he was trying to get closer to me. I don't know. I don't know a lot about my dad looking back. Whatever it was, he made me work there through the summer. He never left that park. I swear he would just hand me the keys to his place and then say he'd get back when he could. He always came home at one in the morning and left at five. He always went back to the park, setting everything up, doing paperwork. I was 17 when it happened. I had already decided by then, by the time I left that place and turned 18, I would never look back. I hated that theme park. I hated it so much. It was all he could talk about, too. He always said this place had a history, even though he built it 10 years before. That summer, I was mainly running the bumper cars in the coaster, as my dad squirreled himself in an office at the edge of the property. I know everyone who worked there that summer. There weren't ever more than 20 in the best years, but that year we had 13. I was the only one from out of town. Everyone else was from the surrounding area, townies, my dad called them, as if he hadn't been a history professor 11 years earlier. There were about five of us that always hung out and messed around. There was Chuck, who went to the college nearby and needed extra cash. There was Landon, a year older than me, who was always the odd man out, with his black dyed hair and metal t-shirts, and who we knew nothing about. We always joked with increasingly unconvincing tales about his family life. There was Sarah, who worked there since I did, but legally, minors were almost certainly not allowed to be doing the stuff I was doing around the park. So she was 22, at least. Then there was Lucy. This was her first year at the park, and I was crushing on her hard. I could barely get a sentence finished around her. It was almost sad, really, how much I fell for this girl within the first week. Chuck and Sarah teased me mercilessly. I can't remember her voice. It's crazy what you forget. It's like a silent movie when I think about her. But I know she had a pretty voice. God, I don't know what she's doing now. I hope she's alright. I know we never talked after that summer. How could we, really? How could anyone? I'm getting ahead of myself again. Every time I try to tell this story, I just jump to the end. What else am I supposed to jump to? I shouldn't. I know. Lee says that doesn't help with the sessions. It just makes me relive the trauma without contextualizing it.  I remember that summer a lot when I actually tried to think about it. I can remember the way the paint peeled off of the sign. I can remember the way that one bumper car, red three, kept breaking down because a couple of kids always managed to slam it against the wall at full force. I can remember the day the first kid disappeared. It was bright and sunny. The place was overrun with locals. I was leaning against the control panel for the coaster as some guy barfed up his cotton candy a couple feet left of me. She came up to me, crying, God, she was crying. She wasn't worried or angry or scared. She was already distraught. Did she know somehow? Did she figure it out? She ran up to me and screamed about some lost kid. I call it in on my walkie talkie. Chuck made some joke about it, which he heard and started crying louder about. Not here, he says. I checked with Andrew, who's manning the customer relations desk, which is our bullshit name for a help kiosk. Not here, he says. I checked with Sarah on the bumper car. Maybe if they have any kids running around there, not here, she says. I check around concessions, not there. I check around walkie talkies for another five minutes before we do a search. It takes an hour before we call the cops. My dad shut down the park early that day. To help the investigation, he said, I can remember how he said it and I can smell the whiskey on his breath. The police search for three hours in the park and the woods around as this mother's wailing the whole time. I can remember how that sounds. It's stuck in my head. I don't think I'll ever forget it. They called off the search at midnight. I heard they say they'll fully search the woods in the morning. My dad came home on time that night. He slept soundly. The police do it again in the morning with less effort, but they don't find him. Nobody ever saw that kid again. It's a sad thing, sure, but that's happened before. Sometimes people disappear. It's sad, but you keep on going. The next three weeks pass in a flash. I remember the energy of the place afterward. All of us were shaken up by it, but Lucy was definitely the worst off of all of us. She'd never really done that sort of stuff before, and all this missing kid stuff messed with her bad. I remember Chuck making a joke about it, and then she left in a huff. Must have been 30 out. We were closing up for the night. It was the first time we really talked. We had made jokes or whatever, but that's when we actually started to trust each other. We started dating a week later. I don't remember how it started, but I knew I was happy. For a brief moment, I had a normal summer. The second kid disappeared not long after that. It was a dad this time, a single father worried out of his mind. Thomas Earhart. I remember seeing the kid getting caught in candy and then running around. I saw a lot of kids around there, but I remember him. Red hair, glasses, teeth missing from his mouth. I don't know why I remember that kid. Memories a strange thing, and sometimes it picks up only the least important stuff. That time, it caught him. I was watching him. I know that. Nothing about him struck me. I guess it's a sort of intuition. He vanished into that crowd. Thomas Earhart. I remember his name even now. I remember the picture the cop showed me. That same kid smiling happy with a family. There were two sisters, two parents. They were so happy.  He was never seen again. He vanished into that crowd, screaming, laughing, and then we never saw him again. It was the same routine. We searched for an hour and then the police were called and then nothing. They took our statements and then found nothing. They always said, I had the problem of not seeing it sooner, but the cops had the same information I did. They knew what I knew. They did nothing. I'm getting out of order. I jumped to the end, but I know I don't want to go there. Not yet. After Thomas disappeared, I was reassigned. I'd been working on bumper cars for the past two weeks, but I got reassigned. My dad put Chuck on the bumper cars because he caught me smoking outside the back of the park. He always hated me smoking, called it morally abhorrent that it would tear up my lungs. They were his cigarettes. He reassigned me to the tunnel of love because he knew I hated it. I was overjoyed. Lucy was working just next door. Every second I wasn't watching the tunnel, I would let the controls go on autopilot and then flirt with her. Of course, when it didn't break down. That thing broke down every day, even when it couldn't have had more than a dozen people going on it. I guess I should explain the ride just a little bit. It was a dark ride, a slow meandering trot through the world of love.  There was this disgusting river of water below the boats as the boat moved from room to room. So you could admire the scenery. It was never my thing. I don't think it was anyone's thing. It just was. My dad had to have put a lot of money into it. There were the dioramas, the little paintings on the walls and a second track to put the boats on for maintenance.  And then there were the animatronics. I hated those animatronics. Big cartoon animals, pink with hearts everywhere. There were teddy bears and chickens and all these animals with eyes that were too big. They gave kids nightmares whenever they went on it and couples who were the only consistent group to go on it never came back after they saw those things. I told my dad to take them out so many times just let it be a dark ride. But he couldn't let that happen. My dad was a mess at home and in his office, but he obsessed over the tunnel. He couldn't do anything but think about that thing. That's why it reeked of cleaning supplies. He was cleaning it every single day, whenever it was closed, even as people dipped from one room of the ride to another. This was his small world and he wasn't going to let me ruin that. It was something compulsive. We knew that. He'd been like that around certain rooms of the house before the divorce. I worked on that ride for the rest of the summer. It was supposed to be completely normal even after those kids disappeared. Well, we'd had something bad like that before, but never together. The police kept looking, but an officer on the premises wasn't a common sight anymore. They told us that they believed it was just a random chance that these two got lost at the same time. They told us to keep a lookout. That was supposed to be it. I began thinking of getting out of there again. I told myself I'd work another year, maybe move out of here, even though I hated the place because Lucy and I were starting to seem somewhat serious, even though it had only been a month and a half. We were kids. Everything seemed like it would last forever. The third kid disappeared at the end of June. A girl. Her name was Charlotte. I remember all of their names. The police swarmed the place and we had to shut it down. My dad hated that. He was cheap and losing a whole day. Even to this seemed like the loss of the century. That was the first time I saw Detective Green. I'll call him that because his name was kind of like that. Big guy, big bald guy, probably around 300 pounds, six foot three. My dad was dwarfed by him. Detective Green told us that there was an active investigation. Landon, the weirdo, had a cousin on the force. He was the one who told me they thought it was somebody who did it. Three kids disappearing within two months wasn't a coincidence. That made my stomach sink. Even though I hated the place, I still felt a little for my dad. He put his whole life in this place and if they shut it down, a week with the low overheads could kill the place. I know that probably wasn't what I should have first thought of. Those were kids. They vanished, disappeared. I still think of Thomas first, red hair, glasses disappearing into the crowd. He seemed invincible running around and I couldn't imagine someone wanting to hurt that kid. I couldn't comprehend it that any of these people wandering throughout the park could have done it hundreds of strangers, hundreds of suspects. The whole thing scared me, even though I wouldn't have admitted it. We were all pretty messed up about it, Lucy especially. Everyone except Landon. Landon had always been weird, loved true crime, horror movies, anything scary. He was a year or two older than me, went to the university nearby, I think. We barely talked to him, I'll be honest, because Landon always creeped us out.  We were kids. I feel awful about how we treated him. We knew better, at least we should have. Landon was never weirded out by all these disappearances, even as much as we were. I'll never forget what he told me when talking about it one day. It was bound to happen sometime. I never liked talking to Landon. They swarmed the place after they shut it down. We still work there, some days, but they shut it down to any public presence. They didn't want to contaminate the evidence, or whatever, but they had no proof that the kids were anywhere on the property. The woods outside the park were just short of being a state park. The Rangers were looking for those kids day and night and having an officer in the park wouldn't have done anything. I wonder if Detective Green did that for a reason. I have no real clue what went on in that guy's head, not even now. All I know is that he weirded me out. A lot of things weirded me out. Maybe it was just the circumstances, but Green would always look at me like I was a monster. We worked on the park, just checking on rides, making sure that everything was functional. That was the only concession my dad could ring out of the cops. If the park rides broke down while closed and we didn't get to them until reopening, we'd be screwed. That I was alright with. I needed that check. Moving out of my mom's house was never going to be cheap. That's funny. I was always focused on the future those days. And now I can't stop thinking about the past. They promised they'd reopen the park after two weeks if they didn't find anything. They checked that place from head to toe, the roller coaster, the bumper cars, the backshed, the offices, even taking a glance through the tunnel of love. But they didn't find a thing. Not a shred. The police department shifted towards combing through the forest, but everyone in town knew they had screwed up. If they had focused on the forest in the first place, then those kids wouldn't have had more time to fall into the caverns or vanish into the woods. Three kids disappearing around the same time in a theme park is a horrific coincidence, we said. We were trying to rationalize it because we couldn't believe that someone could have taken those kids.  It was the hottest August night I can remember. My dad would have either been asleep or at work by then. Either way, he wouldn't have noticed I was gone.  I remember that. We thought the world was going to be ours and that seemed so realistic. I thought I was going to make something of myself. That summer killed a lot of things in me. Lucy always made me feel like everything was going to be all right. That's why I liked her at first. She kept me at ease. We were smoking in the parking lot and talking about how the police mess this up. Three kids, three kids missing. I don't remember who said it, but someone got the idea we should go into the theme park. Do some detective work ourselves. Maybe it was just because we were stoned out of our minds, but it seemed like a good idea. At least two half of us.  That left Chuck, me and Lucy, but she barely wanted to go. The place looked so much worse. In the day it was charming and a bit rickety, but at night all the wrong things stood out. The shadows of the coaster were silhouetted black against the dark blue sky. The only thing lit was the do not enter sign, a little hint of brightness among the night. The whole thing gave me the creeps. I didn't let myself show it.  We should have followed him away. I fished a flashlight from my glove compartment, flicked it on, and bathed the fence in the flickering light. I remember that, too. I remember the way the light glittered off of the fence, shining in the night. We tried to push the gate open, but my dad had locked it with a chain. He didn't want anyone to get in. I navigated around the fence, searching for a hole in the place. Lucy told me to give it up, but I kept urging her forward. Whoever's doing this is too scared to get anyone besides kids.  It took me about 15 minutes before we found a hole in the mesh. I could barely fit through, even though I wasn't the tallest. Lucy followed in after me, clutching in my arm. She was shivering in the heat. We took to the bumper cars first. Their shadows were massive with the flashlight, drenching the walls in dark. All the magic, the bare hint of it my father had managed to accumulate, vanished in the harsh shadows and light of the night. My teeth began to chatter when I remembered the girl, Charlotte. She had vanished around the bumper cars. We continued walking, but I stopped talking. Lucy was right about this, I realized then. I never should have gone there. We went to the darts next, then the concessions. Lucy saw a rat by the cotton candy and screamed to high heaven. We went to the roller coaster, but that had been shut down for repairs a week earlier. Everything was always breaking down, everything. I don't think my dad spent more than a penny on that place looking back, it's like he wanted it all to end with an accident. We wandered throughout the whole park, ducking under cobwebs and searching into the corners my dad wouldn't want us to go. We looked through his office, this short fat building that could see the rest of the park hidden next to the log flume. The door was locked, but if you jiggle the window just right, you could get it open. I'd done that a dozen times to steal rum from his cabinet. It was covered with papers, head to toe, it looked like the place had been ripped apart. If the police really had been investigating thoroughly, maybe that was their work. Steve Green had probably read every single document in here. The place looked like a tornado had gone through. We got out of there. Quick, I didn't want to linger and leave a trace. My dad was methodical. My stomach twisted up as soon as we got back outside and as soon as I noticed it. Do you smell that? She had said, and I can still see her there standing in the night. The wind was blowing from the north end of the park bleach. I started walking towards the tunnel of love, not even thinking about what I was doing. Everything goes in slow motion as I look back on it. It feels like it took an eternity to walk from my dad's office to the tunnel. I told myself that there was nothing to fear, nothing had gone wrong. It didn't stop my stomach from twisting up further. I was never that good of a liar, not even to myself. In the day it had been kitschy, maybe a bit rickety, but it looked haunted in the middle of the night. The smell of bleach overtook me. It couldn't have been that long since it was sprayed, minutes even. It could have been minutes since my father put another spray of disinfectant in there and I still think of that all these years later. What if he'd seen me? What would he say? What would he do? We stalked inside, moving as slowly as we could. We were afraid because it hit us, then it made us realize what truly could have been happening. The place was horrifically dark and it felt like my flashlight was barely peeking through it. I fumbled for the power switch right under the main console. It was a great big lever and I yanked it down, making the whole place a light. We were supposed to be stealthy of course, but I didn't even think of it as I turned the switch on. We rarely pulled the full lights on in the tunnel, usually we'd do a lesser rig, a couple lights to instill a romantic atmosphere. The place would be lit in purples and pinks, bright valentine's colors.  The place was drenched in that hideous light as soon as I pulled the lever. I had never seen it like this for long. The wallpaper was old and faded, ripped apart at the edges. All of it covered in hearts and mold, cupid looked rotten. The carts began moving through the unclean sludge of the water, filled with sick and stale water missing its weekly cleaning, turning brownish in the fluorescence. The river smelled terrible. Something else smelled like bleach, the walls, the floor, the air, everything. We had to cough to get through the stench. She asked me to head back then to turn the lights off. She didn't want to venture any further, but I didn't let her. We have to find out, I had said, but I don't think I really knew then what I could have found out. I don't think I ever had a chance. I got in one of the boats, careful not to get any of the water on me. Lucy followed, more out of duty than any want. The boats began to move sluggishly through the muck. You could hear it creak, no cute music to hide it. I could hear Lucy start to breathe heavier as the boat moved further and further along the track, the scent growing ever stronger. I don't think my hair was even on end. I wasn't brave. I just didn't understand what was happening. I hadn't figured out what the smell under the bleach under the piss was. It was some mystery scent, something I couldn't quite place deep and slightly fruity. I know it now. I know it like the back of my hand. Everything seemed a lot clearer with fluorescence on full blast. The hearts and the cupids were scattered around the ceiling. I could see now that the cupids were little baby dolls he had attached cardboard wings to. We moved further. The music started up then, which I know made both of us jump. The smell of bleach got stronger as we moved further and further. I clutched the flashlight. She was talking to me then, telling me we should turn back or something. I wasn't paying attention. All I did was stare forward as the boat moved slowly ever onwards. I wasn't thinking. I couldn't figure out what was going on. Even now it's hard to put it all together. The images flash and swap and all I know is that we're getting closer. As I write this, I can see us there trapped in that damn boat waiting for all of it to end because I know where it ends. I know what happens next. I've been having this nightmare for months, years, maybe. I always dreamt about this moment sitting in the boat knowing what happens next. Sometimes Lucy's there, sometimes not. Sometimes it's my dad sitting in the seat next to me and no matter how loud I yell, he can never hear me. I always wake up before we get there. It feels like a century before we finally make it to the animatronics. I say that, but they didn't move. They were big dolls standing still as preset music began to play. They seem so different in the normal light than they did in the pink one. Their cartoony faces seem close to plastic. Their heads are plastic and the bodies are some sort of plush suit. I'd never really looked at them closely. My dad had always said that it was too dangerous to step near them to let the professionals have it. What if I had looked early enough? What if I had seen what he had done? They were plastic and fluff, but they reeked of the bleach and the scent beneath. I wanted to run, really. I wanted to get out of there as soon as possible because every bit of me told me that this was wrong. But instead I stepped off the boat and onto the side of the ride where the animatronics, the mannequins stood so still. I wanted to vomit as I edged closer. Lucy was yelling now, telling me to get back in the boat, but I didn't listen.  The real one beneath almost came off with it. The face had rotted like a pumpkin, melting and graying as the innards came pouring out. I could barely tell that it was a human face, but I could make out the barest pieces. The red hair, the glasses, I could make out Thomas, the boy I had seen on the posters and in the park and who had vanished into the crowd, and then I vomited. The next few hours are a blur. I have no memory of leaving the tunnel, going through the park or calling the police. It took them a day to arrest my dad, a month for them to try him. I went home to live with my mom after that, and I never came back to that town. I never came back to that amusement park. I don't think I ever could have. All I can think about when I look up at that place or read about it or think about it is what those families could have had. What those families could have had if my father hadn't taken it away from them. Every time I think of it, in the end, I get out of sync. I get back to the beginning of the dream back when I was 11 years old, when my dad first took me to the park. But it wasn't sad, no, I wasn't. How could I be with my father owning a theme park? I was so happy. Everything stained with it now. I can't think of my dad without thinking of what he did. But I was so happy then. He took me across the park and there's this one sentence that stuck with me then. There's no reason to cry. No reason at all. He clapped me on the back, looked over the park, still halfway in construction, and smiled. I realize now he wasn't talking to me. He was looking dead on, right out the window of his office. Right at the tunnel of love.


So we have an excellent team performance against a side heavily tipped to be amongst the commotion contenders at the end of the season, you must be delighted with the performance. Yeah very pleased, first thing I've got to say that I thought the energy levels of the team tonight was outstanding, I don't think you'd have known that we'd have had a game two days before on a massive pitch and when you're the home team in that second game in two days the onus is on you to play in that positive fashion, closing down a real energetic performance and I thought the lads did that so well tonight and that's a credit to to the players for the way they're training, the way they'll catch themselves. Nick Allenby has got to take credit for that for his meticulous preparation for the lads because you know that's important for us tonight, you know set the lads out of time how do you feel and they feel great, you know every one of them felt great I said well come on and let's go and take the game to them again and really step on some all over the pitch and you know we made a couple of subs towards the end but you know Billy and I were still running strong you know and I was so pleased with that aspect of the game and obviously going to go down against the run of play after what happened to Saturday I think a lesser group of players may have started feeling sorry for themselves but we didn't and you know we deservedly got the win. As you touched on level zero and one change from the game on Saturday against the you know a good MK'd onside finished the first half strongly probably dominated the whole of the second half really as you say was such an energetic performance considering that we'd put such a great effort in on on the Saturday as well. Yeah we put Billy Clark in we just felt we needed a spark something a little bit different dropped Billy not back into central midfield and I thought Billy got better as a game we're on obviously started a little bit slow which you know we've got to give him that because he hasn't had any you know football hasn't a great deal of football of late but he got stronger and stronger as the game went on and deservedly got his goal which I'm pleased for him. So yeah Andy Halladay very unlucky not to start because he's been excellent for us but we just felt you know we mean Steve had a chat tonight when when I got in and we just felt that you know we needed just to shake it up slightly and it worked with Billy


Well, and Susan will introduce him, but first I just want to explain a few things about the lecture series and about the discussion that follows.  And if you want notes, receive notes, just put your name in the dress. I've been a little remiss. I have not yet sent out the notes from the last lecture. They will be coming to you next week. And if you want some of those notes and did not make a request last time or did not attend the lecture, you might want to make a special note on this list, also requesting the notes from Carol Padden's talk. As most of you know, we've been putting this ASL lecture series on so that we can bring to you current thinking and research on American Sign Language. And we want people to come away with new ideas, ask questions of the researchers, and basically continue on in their, I think there's a lot of excitement about American Sign Language. And we want people to continue feeling excited and curious and really understanding the full implications of this language. The coordinators of this series are Keith Cagle, who's sitting here in the blue sweater. And Susan Fisher, who's here in her rusty red blouse. And I. And in black. And Aaron Brace is interpreting for me. Susan will explain all the reverse interpreting and so on. We've set it up so that everyone can benefit from interpreters, both hearing and deaf members of the audience. Let's see what else. I have extra brochures if you want them. This is going to be basically two lectures today. The first will be given in English and the second in American Sign Language. And we're trying this for the first time this year. So when we send out the evaluation forms, be honest about what you think of that. It was a suggestion, actually many people last year suggested that and that's why we're doing it this year. After the second lecture, starting about 3.15 probably, we're going to be going to room 3120. And if you don't know where it is, stick with me or Susan or Keith. And there'll be tea and coffee and cookies and a discussion with Scott, which can be just sort of relaxed. I think it'll be far ranging and relaxed and doesn't have to be very serious. So come along and we'll talk about his ideas or any other questions you might have. Susan, would you like to introduce Scott? Okay. No, you have no choice. You want to interpret for me? Sure. Okay. Really? It is my very great pleasure to introduce Scott Liddell to you. Scott, Meg, Scott, Erin. Scott comes here immediately from Gallaudet College, which I found out at lunch today is this is the first time in his life he's lived on the East Coast. I hope he enjoys it and will continue doing so so that he will be close to where we are. Scott got his PhD in Linguistics from UC San Diego, where he did very important and groundbreaking work on American Sign Language syntax. Worked on relative clauses and on generally non-manual markers for syntax. In the last few years, however, he has been concentrating on ASL phonology, the sublexical structure of ASL, and has developed an important new tool for linguists, researchers, and I hope sign language users that can give us insights into ASL that maybe other systems cannot. And it's precisely about that that he is going to talk to us today, among other things. So please welcome Scott. Thank you. I don't know how many months ago it was that Susan called me. She'd like me to talk about something here. And we talked for a while about what, and eventually settled on this topic, which is what is the relationship between transcription systems and analysis and or theory. And so, since that's a topic I've been struggling with for about the last five years, it seemed like a good one to talk about. It's not an easy one, but it's kind of fun, and especially these days it's real exciting. So what I'd like to do is talk about the way transcription systems have evolved, what kind of transcription system I'm using right now and maybe get some feedback from you or bounce some ideas off you as to how that affects the way you analyze signs. First, let me just talk a little bit about why anybody would want to analyze American Sign Language. There are lots of people in linguistics who will analyze any language, just because it's an interesting thing to do. It's a real challenge, and it builds up a storehouse of knowledge about what people know about languages of the world. But in the case of American Sign Language, it's had some more practical benefits. For example, when I first started working on American Sign Language, which was about 1974, people were waiting for an announcement to come from somebody that American Sign Language was really a language. I remember people would be writing letters to the lab saying, when is an announcement going to be made that American Sign Language really is a language? Fortunately, we've come past those days, but there's been a real nice effect from that, and that is the demonstration by linguists that American Sign Language functions, has the structural properties of spoken languages. It's a demonstration that deaf people who know American Sign Language already have a language, and that if they learn English, that's a second language, in addition to the first language. So it causes educators to rethink their ideas about what deaf people know and the use of language in the classroom and so on. Another reason people are interested in sign languages is they want to know what are the universals about sign language. And as long as only spoken languages were studied, universals were universals of spoken languages, but as soon as sign languages were brought into the picture, then it's able to, one of the goals is to be able to separate out what things are universal to language as opposed to byproducts of using the vocal tract or byproducts of using the hands and body to produce a language. So anyway, this effort at describing signs has led to the problem of how do you write them down? You can't take pictures of all of them. When you talk about a sign, you can't just hold it up and say this one. It has to be some way of writing that down. And the first person to do that was Bill Stokey, and a book he published in 1960 called Sign Language Structure. And in that book he developed a notation system, and really it's more than a notation system, it's a theory of sign structure. And in that system he talks about all signs having three parts. And he called them tab, des, and sig, and interpreted into English that means location, handshape, and movement. Okay, so he divided every sign into a location, a handshape, and a movement, and with no segmental structure. And what I mean by segmental structure are in spoken languages words are put together through combinations of consonants and vowels, and each individual consonant or vowel is a segment. And you put three segments together like C, A, T in English, those three segments in that order produce the English word cat. And Bill Stokey's model of sign structure did not have any segments in it. It had three parts, but the parts were not segmentally organized, they were organized simultaneously. So every sign had simply a bundle of three parts. And that's one on the handout. I guess I can also put it on the overhead to find out how to turn it on. Each sign has a tab, which is a location, a des, which is a handshape, and a sig. I translated that into the box on the right here to show that another way of writing that is just put all that stuff in a box and say every sign has location, handshape, and movement. The fact that they're written one after the other here is of no importance at all. This is the convention of writing one for a second and third, but there's no ordering there. Okay, so let's go right straight to number two on the handout then, where I transcribed the sign to A. And that U shaped symbol is Stokey's symbol for the chin. So what he says is the location for that sign is the chin. This part that I'll underline here, I'll point to it right there. This part is a B hand with the palm facing towards the bottom. And then this last symbol right up here means move away from the bottom. So if you put that all together, you've got chin as the location, hand all the way down including the elbow as the thing that is going to act. And then moving away from the chin, you get the sign good. So that's how he transcribed the sign good. Okay, and it consisted of those three parts. And the chin doesn't come first and the hand comes last. All those three parts are organized together. The only thing that he designated as part of his system is this symbol right there that looks like a T. It puts the palm towards the chin. But it does not distinguish between this and that system. It could be either one of those or anything in between. But basically what it does distinguish is between that and that. So anyway, that's a real quick description of how his system describes signs. He had a specific list of locations. He said these are the locations at which a sign can be made. A specific list of hand shapes. These are the hand shapes that can be used in the production of a sign. And a specific list of movements. And all signs then in that system are a combination of one item on that list of locations, an item from the hand shape, item from the movement. That's not exactly true, but I mean that's what the theory says. There are some exceptional ways that that's actually done in practice. So anyway, that is the basis for how the system works. And what I'd like to do is go through some basically three issues and talk about how those issues can be dealt with using Stokey's model of sign structure. Then introduce a segmental model of sign structure and talk about the same issues are dealt with in that in a phonetic description system. And then finally introduce a morphonemic description system. Talk about how the same three issues are dealt with in that system of transcription. And you get very different results depending on how you transcribe the signs. Okay, the three issues that I've decided to talk about are first of all, what is a sign? It's a fairly basic issue if you're talking about a sign language. You have to be able to tell signs from non-signs. What sort of process produces compound signs? In other words, ASL makes compound signs like, for example, we'll get to it on number two on the handout, but you have the sign good like this, the sign night, and the compound good night. And one issue I want to talk about is what sort of process produces compounds from those separate signs. And the third issue I want to talk about is may not even seem like an issue, but it will become an issue I think as we go along, and that is what sort of process produces this sign? 300. You may not have thought about a question like that before, but that's the kind of thing that I enjoy. That's why I brought it here today. So those are the three issues. What is a sign? How are compounds formed? And where does 300 come from? Okay. First, let me say some things in general about Stokey's system of sign representation. It was actually published in 1960, developed something prior to that. And for more than 20 years had basically universal acceptance. I think it's fair to say that it was adopted all over the world. People interested in sign language, they might have to modify it, they might have to add new symbols and so on, but the basic conception of signs being organized that way was not disputed. And what's interesting to me is that in spite of that, in spite of the fact of how universally it was accepted, when you looked at people's research, who were working on like, for example, problems in morphology or problems in phonology, and you looked at that research and see to what extent the notation system was made you saw, you find that it was almost totally ignored. It was extremely difficult to find any of that notation in any papers dealing, for example, with ASL morphology. And the reason, I'll get to a reason, but it seemed to me that the reason is that although it was easy to find those three parts for each signs, the system was not particularly helpful at describing grammatical processes. The way signs change, the way signs get formed and so on. In fact, if you look at the Clima and Balooji's book on the signs of language, which has extensive descriptions of compounding, all kinds of inflectional processes, verb agreement and so on, I've looked through the entire book trying to find a single Stoke notation. And I don't believe, unless I miss something, I don't believe there is even a single sign notated in this notation system in the whole book. And so, you know, on the one hand it was very easy to learn and easy to describe signs using this system, but on the other hand, when it got down to describing grammatical processes, the system didn't lend itself to being able to describe those kind of processes. Okay, so let's get down to those three questions. The first one, what is a sign? Well, in the Stoke model, a sign is anything that has those three parts. If something is going to be a sign, it has to consist of one of those movements, one of those hand shapes, and one of those locations on those lists. Okay, so there are lots of things I would like to call signs, and I think most everybody else would like to call signs that couldn't be called signs in that Stoke system. For example, the number three. If somebody says, how many things are there, or the answer is three, and I do that, to answer the question three, then following the Stoke system of notation, I did not produce a sign. And the reason I did not produce a sign is because there was no movement. Okay, there was a hand shape, which is one of his hand shapes, and the hand shape was at a place, but it didn't do anything. And the fact that it didn't do anything made it be treated as a non-sign. Okay, so basically the signs one through nine, since they don't do anything all the way up to nine, were not signs. And then ASL incorporated a sign ten, because it does something.  And you have a similar situation with finger spelling. A through I were not signs because they didn't do anything. J was a sign because it moved. K through Y were not signs, but Z was a sign because it moved. Okay, now let me take your question. Curious, the way some people sign six, seven, eight, nine, they move their fingers. Now that would be a sign. If it moved, it would be a sign. If it didn't move, it wouldn't be a sign. And that is according to Stoke's conception of what a sign is. According to common sense, everyone would agree that all of those are signs, but the system imposed that restriction and said if it doesn't move, it's not a sign. So there were things that I would like to call signs, like the manual alphabet. I'd like to call every one of those a sign. I'd like to call A a sign, B a sign, C a sign, D. And all the numbers. I'd like to call all of those signs too, in spite of the fact that they don't move. Okay. But the system says no, you can't do that. It doesn't move. Okay. The next question is a question of compounds. And that's what you've seen as number two on the handout or number two on the overhead. I've transcribed. We've gone through the transcription of good. The transcription of light shows two B hands. There was the first B hand, the second B hand, and then that X there means contact. They have two B hands and then a contact makes it. Now, let me make the two signs separately for you and then the compound and see if all of Stoke's parts are still there. Okay. So the sign good looks like this. The sign night like that. Now, good night looks like that. And all the parts are still there. Still a B hand at the chin that moves away. There's still another B hand there that this other hand moves towards and makes contact. All the parts are still there in this system. So in Stoke's description of how compounds are formed, it's a lot like the way English compounds are formed. You just put two words together and pronounce them as one. But all of Stoke's parts are still there so there's nothing missing. It comes out looking like the way English compounds are formed where you have one word and another word and just put them together. That forms an English compound. But if you look for the sign good, in other words, let me sign good night and when I do that you try to find the sign good. I don't think any of you saw the sign good in there. The way your hand moved, your wrist moved when you signed good night. Okay. But I didn't do this. Good night. I went straight from the chin to the other hand. Okay. But the notation system, here's Stoke's transcription of the compound of good night over here. You have to write down everything because it's all there. The B hand is still there, the chin is still there. All the parts are still there. So you have to write it down as if those two parts were just the same what side by side. But when you look at a compound as opposed to the individual signs, you notice there's a big difference between those signs. And again, let me talk a little bit about clean and belugies work on compounds because they did a lot of work on compounding and they noticed all those kind of changes. I just showed you in this sign like good night. But since they had adopted Stoke's notation system, there was no way to describe those differences using the notation system. So basically what they had to say without using any notation at all was say, well, these signs change. They shorten. They get smoother. And describe it in terms like that. But unable using that notation system to talk about any difference in the structure of the compound as opposed to the structure of the signs as they exist outside of that compound. Okay. So anyway, in Stoke's system, compounding is simply putting two signs together. And that's the way the transcription system treats it. It's the way the transcription system has to treat it. Okay. The third problem is the third question is 300. And that one is not easy to deal with in Stoke's system because as you see the note I put under 3A here, 3 wasn't even a sign in Stoke's system. So presumably 300 comes from the sign 3 on something else, but when you don't even have a sign 3, it's hard to talk about how you produce the sign 300 when you don't have anything to produce it from. So it's problematic dealing with this kind of a system notation when by definition, one of the parts you're trying to make a sign out of is not even a sign. So I will deal with 300 as I get into these others. Okay. Which is what it's time to do now. Let me talk briefly now about a segmental system of sign notation. This started in the idea that signs were segmented is something I first talked about in 82 at a linguistic site of America meeting. And that is the idea that signs can be broken up into segments just the same way that spoken words can be broken up into segments. And the basic idea is that the segmentation is done on the basis of the way the hand moves or does not move. So the two basic units, the two basic kinds of segments that signs are broken into are movements and holds. So going back and talking about a sign like, like a sign like think, the sign think first moves towards the forehead and then once it gets to the forehead it stops.  So the sign think then consists of a movement and a hold. Similar to the sign know consists of a movement followed by a hold. And initially there was some discussion about well if it didn't stop it would go right through the skull. Of course it has to stop. It has nothing to do with segmentation. It has to stop because there's a barrier there. But you can make signs without touching the body. In fact you can make the sign know without touching the body. And when you do that it moves and it stops. Just like this. So even if it doesn't touch the body it still moves and then it holds. So the idea is that signs move and stop because that's part of their structure. And that those sequenced things, those segments are what build signs. So some more examples. A sign like power is hold movement hold. Initially here then a movement and then a hold. A sign like tie is movement hold movement hold. So it moves, holds, moves, holds. I think a little more of a pause between your description and your demonstration. So the sign tie moves, holds, moves, holds. And an even longer sign in terms of segments is a sign jump. Which is hold, movement, hold, movement, hold. So there's a hold here. Then a movement, hold, movement, hold. And now the big difference now between Stokey's description and this phonetic segmental model of sign structure is that each segment consists of parts like Stokey was talking about. Each segment has a hand shape. Each segment has a location. Each segment has some kind of movement or hold. Each segment orients the hand in a particular way. So it's not like brand new parts were created. It's more of a reorganization of the parts that Stokey developed in talking about structure of sign. But that particular, when I first introduced the idea of segments, the segments were all one bundle of features. And that idea simply won't work. And let me explain with a quick example why that won't work. And again, I'll use another compound to talk about why that idea won't work. The sign sleep, if you're going to talk about the sign sleep, I would describe it as a movement hold like this. First the hand moves, then it holds. Now the hand shape that it begins with looks like this. And the hand shape that it ends with looks like that. So if you were saying that all those features belonged in either one segment or the other, then you'd have to say that that hand shape belonged in the first segment, that hand shape belonged in the second segment. Now the interesting thing about that is that this sign becomes part of a compound in oversleep. And that hold, the final hold in sleep disappears. It does not do this. The hold disappears. But that hand shape and that location and that configuration don't disappear. They're still part of that compound. The hand still comes to that configuration at that place. In spite of the fact that there is no hold there. So this required a change in the way of describing the signs. Because you can't delete a segment and have part of it stay there. If you're going to delete something, it's gone. Okay, well what this required was the borrowing from spoken language, the theory of auto-segmental phenology. And let me go into example four here, which is an example from a spoken language. This is Thai to talk about a similar kind of phenomenon and how that is treated in auto-segmental phenology. Okay, Thai has five tones. Low, mid, high, rising and falling. Okay, if there are no marks on the word, then it's a mid-tone. So this is mid-tone, high-tone, mid-tone. And this is the way you ask the question, are you going or not? You would say, by the young, by the young. So by is a mid-tone, high-tone, young, mid-tone, by the young. Okay, now what's interesting about this is, you can eliminate that word for. In rapid conversation, the word or can be totally lost. And what you say instead is by young. Okay, and the interesting thing about that example is, that this, even though the word or is lost, the rising tone isn't. So instead of saying with a mid-tone on both by young, you say by young. The voice inflection rises during this word, even though normally it's produced with a mid-tone. So what's happened is the word, the segmental part of the word is gone, completely gone, but the tone isn't. The tone stays behind. And so the idea is that you have segments, and then you have things that attach to segments. And even though you delete the segment, the things that were attached to that segment stay behind. Okay, so in this case, you delete the two segments here, but the thing that was attached to those segments stays behind. And that's a similar situation of what happens in oversleep. You delete the whole segment, but the hand shape, the location, the placement of the hand is not deleted. That stays behind even in spite of the fact that the segment was deleted. So if you look at example number five, that gives you an example of, these are the segments in the sign good, old movement hold. And then all the information about the hand shape, where the hand is, how it's oriented and so on, is in a separate bundle of features. So this is where the hand is at the beginning of the sign. The hand shape, where it is, how it's oriented at the end of the sign. And another set of bundles for facial expressions. If you have a difference between facial expression or non-manual signals at the beginning of the sign versus the end of the sign, those features would go down there. Okay, that's a real quick introduction to that. That may be something we can talk about later if it's still not clear. Okay, let's get to those three problems. So now what about what is a sign? Can you include numbers now? The answer is yes, you can include numbers because it's just a hold with a set of features like hand shape, orientation, location. So it fits the model. The model says, yeah, it's all right to have that set of features to be a sign. What about fingerspelling or letters of the alphabet which do not move? No problem, again, they're just a whole segment, a single hold segment with a particular hand shape at a particular location. And so it allows more things to be included into what is a sign. Are there still problematical things? Yes. A problematical sign would be something like, it's a sign Wayne Smith showed me in Taiwan Sign Language, which if I remember right means watermelon. And the sign is made something like this, where the hands don't do anything at all, but the head is performing some action with respect to the hands. The old piece of it. Yeah, I remember that. And the question is, if it's a sign, how do you write it down? What is its structure? What is the structure of that sign if you're going to call it a sign? And it's kind of problematic in this kind of a model because the hands are doing a single hold. And yet you don't want to say there isn't any motion there because there clearly is motion of the head in that sign. There's no real easy way to talk about how you account for the fact that the head is doing something in spite of the fact that the hands aren't doing anything. So in this particular view, there's still problem areas in terms of what can be included as a legitimate sign and what things that you're just not able to transcribe. Okay, I think it's time for the next one here. Okay, the next question is, what sort of process produces a compound? Okay, and here, the notation system makes a huge difference when you're talking about what sort of process produces a compound. Because as you can see from number seven here, the sign, good, has three segments, hold, movement, hold. So what it looks like happens in the compounding process is that segments are lost. So this movement and that hold are simply lost in the compound formation process. The initial hold is kept, but those other segments are lost. And one of the repetitions of night is lost. And so what the result is, you begin the sign with the initial hold of good and then you do the movement hold of night and that makes the compound. So the way the analysis goes is tremendously affected by the kind of notation system that you're using. And in this particular case it shows that it's not simply putting two signs together, the way it has to be treated in Stoke's model. There are some changes that occur to those signs, some segmental changes, and you can describe those segmental changes in terms of deletions. Okay, so that's a fairly major difference there in the analysis depending on whether you're talking about a simultaneous representation or a segmental representation. The third question was, what about the sign 300? And that one's still a killer for this phonetic system because presumably the sign 300 is something that's built from the sign 3. The A there just represents all the set of features that puts the hand in that place with that configuration. And it's just a shorthand for saying a three-hand shape at that location, palm facing out, base of the hand facing down. I just used a symbol A. I could have used any other symbol, but it's just an abbreviation. Okay, the problem is 300 has a hold movement hold, but that set of features that produces this is very much like the set of features that produces this. The difference is that the fingers are bent and the thumb is bent. But you can't just simply have some set of features B for all of these because otherwise, 500 would look like this. If the B was the same, 500 would look like that. But 500 doesn't look like that. 500 looks like that. So all the features that go into making up this 100 here have to be different for 100, for 200, for 300, for 400, and for 500. There's a difference in every single one of those because the final hand shape is different. The final hand shape in 100 is this one. The final hand shape in 200 is that, 300, 400, 500. So since all those final hand shapes are different, that means you need five different things here to make 100 out of 100, 200, 300, 400, 500. And that's kind of a messy way to treat this process. Okay, so that, what has happened is now a further change in this model has taken place. And it has, what has happened to all those features that used to be in one bundle, and I'll put my, I'll just talk about them right here. All those features that used to be in one bundle are now in separate bundles. So everything that used to, here is, these are two fingers extended. This says that the two fingers are straight. The thumb is opposed. The thumb is straight. Whoops, this is a mistake here. That should say extended. The base of the hand is at this place. The back of the hand is facing towards the body. The base of the hand is facing down. So basically all these features now in separate tiers. And then you say, all right, now if that separation is made, how do you describe 300? And now the answer is consistent. It's the same thing for 100, 200, 300, 400, 500. And that is what it says is, there's a movement and a hole. On this tier, on the level that describes the shape of the fingers, the fingers have to be bent. And on this tier that describes the shape of the thumb, the thumb has to be bent. And so all together, just interpreting this diagram for you, it says the sign begins with this set of features on the left. And the thing after it, it stays that way throughout the sign. So the fact that there are two fingers extended does not change. There are two fingers extended throughout the whole sign. The fact that the thumb is opposed to those fingers as opposed to back here does not change throughout the sign. The fact that the hand is oriented in a certain way does not change throughout the sign. So all those things stay the same except for these features that change the configuration of the fingers and the configuration of the thumb. So by taking those same features and reorganizing them, then what happens is what causes the sign, what produces the sign 300, then becomes a simple question. And that is, it's a suffix. This is just a suffix. ASL is not supposed to have suffixes other than this one. But the answer turns out to be it's a suffix using this particular model of sign structure. In Stoke's model, you'd have to say it's a movement change because the hand shape is there, the location is there, what happens is you change the movement. But when you put it into a segmental model you get a completely different analysis of what kind of grammatical process it is. Here in this process you say there is this thing right here is a suffix, and its suffix is on two numbers. One, two, three, four, five. So the point I'm trying to get at is here it makes a fairly major difference in terms of the analysis depending on how it is you transcribe a sign and how you think signs are structured. Okay, so I've just taken these three examples. There are lots more examples we could talk about later if you want to but those three examples taken for a start show that it makes a real big difference in analysis depending on how it is that you think a sign is structured, whether you think it's structured in terms of a simultaneous unit or whether you think it's structured in terms of segments. So for just a real quick summary here the Stoke model of sign is some simultaneous bundle of features in a segmental model is some combinations of holds and movements and depending on which segmental model it's either a single segment, a segment broken into a couple of parts or a segment broken into a whole bunch of parts and whichever one of those you pick has a large outcome in terms of the way your analysis finally ends up in terms of what kind of grammatical process is responsible for that. All this has come basically during the last five years or so and it's been real interesting and exciting times working on this and it's hardly over. I think it's fair to say that there's not a consensus in terms of the way that signs ought to be treated and I expect over the next several years there's going to be a lot other kinds of models and a lot of different proposals about exactly how signs really should be structured but this will at least give you an idea of the kind of things that are happening with people who are working on sign structure and representation of signs and that it's not just a notational issue that these things really do bear on the way problems get analyzed. So why don't we stop here and see what kind of questions you have. I understand what you're saying about what a sign is. I'd be curious about the phenomenon of gesture. Sometimes I have a hard time deciding the exact difference between a gesture and a sign. Some of the students have asked me that one to know and I'm not sure you know how to explain it to people especially from the hearing world. That is a loaded question particularly when you said that is only a gesture. All signs are gestures in that they're produced by moving your hands and body in certain ways but when somebody says when they say but that's only a gesture How could you separate those two perhaps into two classifications? But when somebody says that's only a gesture of what they're saying is that it's not a sign and in the case of spoken languages that's fairly easy distinction to make because when you move your arms and body nobody would ever accuse you of speaking. But in the case of a sign language the division between gesture and sign is much more difficult and I can't tell you exactly I wish I knew the answer to that question it's something that comes up often with the students at Gallaudet. I thought perhaps we could answer that in terms of sign language is something taken from the sign language that deaf people use a gesture might be taken from a broader population gestures you'd frequently see from spoken languages used in combination with spoken languages. That will work in a lot of cases in other words simply making a division that way will work in lots and lots of cases but there are hard cases in the case of ASL where the things that deaf people do you're not sure if you want to call it a sign or not there's something I don't do very well but in response if someone asks a question and the response is yes I think you know what I'm talking about and you want to just use your face to answer yes yes with expression and there's a little twitch right here alongside the nose I don't know how you decide if that's a sign or a gesture it's never used as part of any sentences that I know of it's only used as a response but it's something that deaf people do in regular ASL conversations so it's a tough question and I admit and I don't know the answer to that one that's the gesture but I think you'd have to say that in Japanese sign language could I raise another question? Could you talk just a little bit if you don't have a whole lot of time about generalization to make about grammatical processes in your system that you can't make in other kinds of literature? Let me try to do this in a couple of minutes it's not easy but I know what you're getting at the typical thing that happens with grammatical processes especially with respect to verbs let me give you some examples of what happens and then talk about the way a segmental treatment of that would look signs like the difference between weight and this form of weight or look and this form of look basically what happens is all of this information from here on down stays the same, same handshape same locations involved, same orientations all those things stay the same what happens is this part up here the movement part is different so grammatically what happens is something that in spoken language is almost unheard of there may be some examples of spoken language but if there are it's extremely rare and that is to take the segmental information and replace it with new segmental information you keep the things that's not part of the segment take the actual segments replace them in other words instead of having a straight outward movement you have a circular movement like this but everything else stays the same the handshape stays the same the location stays the same all those things here stay the same what happens out of segment the segments are replaced basically what that is is a real unusual sort of grammatical process that takes the original segments and replaces them with another set of segments so that's a very unusual kind of grammatical process for a spoken language but it seems to be one of the major ways that particularly ASL verbs are inflected there are particular movement patterns associated with each inflection and those would be what the inflection would do would be take what the verb came with remove the segments and remove them add in whatever the correct segments are for that particular inflection so it's a very unusual sort of process but that's the way it has to come out of this analysis it seems like it's still focused very much on hands and shapes and movements of hands the problem with the Thai watermelon before in comparison it seems to be existing in other places in American Sign Language like a relative motion someone's got poles going by the poles are going by and the person might still be looking inside is that a really small problem? I'm not sure it's a problem anymore let me tell you why the reason it had to have been a problem in the model in which all of these were a single bundle was that you'd have to repeat everything all over again in spite of the fact that the hands weren't doing anything but now with all of these things separate all you need to do is non-manually put the non-manual features down here and those are enough to account for a movement so having all of those features separate and not having a movement depending on two sets of handshapes and two sets of locations or whatever now having a movement simply dependent on two anything getting from A to B any way whether it's non-manually or manually that doesn't seem to be a problem anymore so I forgot to mention that I was ready to do that but it slipped the I don't think that's really a significant problem anymore because now what defines a movement in this system is having two sets of features attached to it in this case there are two features here that attach to that movement two features there that attach to that movement so it's a movement and if there's only one of everything then it's something then it's a whole and the problem is that thing it seems like it ought to be a movement right? but it can be now not because there are two sets of handshake features involved but two sets of non-manual features yeah thank you I'm curious about your choices over the suffix I assume you'd call forth and try to describe that also similarly in the suffix think about those not necessarily not necessarily we're getting into a whole other thing but there is a class of signs that simply replace handshake like one week, two weeks, three weeks four weeks, five weeks where it's not built from the sign one it's built from the sign week and you put the correct handshake in that sign and this might be one of those four fifths where it is they're an established thing meaning place first place, second place or first, second, third and what you do is you don't take the sign one and change it what you do is you take that configuration and put a handshake into it and so my guess is that on that particular example it's the kind of thing that you put a handshake into rather than that you built from a number there are a whole bunch of those this year my students are telling me that first place is first place, second place, third place now two years ago they were telling me it's first place, second place, third place so that's one that seems to be changing but the point is that that is not and from my opinion that's not built from the sign one it's built from a movement from one place to another in a certain configuration what you do is you put in the right handshake so I think for your particular example that's one that where everything is there except the handshake and you simply add the handshake into that sign