That better? There we go. So I work on AppArmor for Canonical. Just going to go through what happened this year. Last year, I said nothing new until we upstreamed the patch sets, because there's been a long development cycle on this updated AppArmor 3 stuff. And unfortunately, it didn't happen. There actually hasn't been a lot done, besides working on those patch sets and revising them. But we'll cover what was done besides those for a minute. We hit a lot of documentation updates for some reason, users like that. Christian's been doing a lot of work on user space util cleanups and making them better. He's the SUSE maintainer for AppArmor. We have sped up our compile again a little bit by going and finally getting some parallel compile going. We're getting not bad compile times out of it now, certainly better than it was in the past. We've started moving the user space to get, unfortunately, most of the developers at this time don't know get. And so we're kind of doing it slow. We moved the policy over to get first, get a feel for the BZR conversion, because we used to be in BZR. What we lose, what we don't lose, what we need to do. And give the developers some time to get used to get before we make the full transition. We did some prototyping of a group change profile set for all threads in a process. So right now, when you do set-con-chain profile, whatever you want to call it, that's limited to the current task or TID, whatever. So you do it on a single-threaded process. Unfortunately, we've run into situations where people want to do this on a thread group. The specific case that led to this one was due to the launcher, a launcher that the phone people wanted to use. What they do is the phone, most of the stuff uses QML for the Ubuntu phone. And QML maps tons of libraries and does all kinds of resource set-up. It's really slow. So they wanted to do a sort of a zygote process type thing like Android has done in the past. And we put a whole bunch of restrictions on them so they wouldn't run into the memory mapping problems and everything else. But anyways, what they ran into was they couldn't do it because they have multiple threads. And when you try to set the context, it's a mess, right? So we prototyped out some stuff for this. We're not using it right now. What it does is it basically does you do one call to set the task before it launches any threads that it wants to be doing this group tracking that it's going to change. It sets up a special cred for that. And all its threads will inherit that. And then when you do that call, we use our underlying capability to change the, update the profile on tasks that are live. There was some work on updating the user-based permission checking and caching because there's a whole bunch of user-based game and stuff that's doing that stuff now. We released the 2.10 and user space and we're into the 2.11 betas. Most of what's happened over the last year, though, is bug fixing and revisions of the code, the development code base. So of what we were talking about last year, I briefly mentioned G settings. There's actually not a ton of work in this. This isn't anything fabulous or very different from what has been done in the past for the X server or D bus. It's just a user space daemon that's trusted in its domain that's been integrated into policy. Allison Lordy and some other people in GNOME have been working on a daemon. So what happens is, I don't know if you know how G settings decomps works. They go in and they map the files that they want to access into their address space of the process. And then they have access to all the settings and it's nice and fast and what is very insecure. And unfortunately, we're trying to confine some desktop stuff with Snappy and with the phone and whatever. And so how we did this is just to prove that right. You set up a daemon, update the library or use LD preload to get a new library, whatever, or new symbols anyways. And so instead of the regular G settings, what happens, it checks, finds out that, hey, I'm confined now. So I'm going to run out to the daemon and let it manage and do the permission checking and it'll send stuff back to me. Of course, they want it to be really fast. So they need to cache a whole bunch of stuff. So instead of mem mapping the whole file, they're caching everything in the application and start up basically. So it does a whole bunch of communication to D-Bus. And I think they're over D-Bus right now. Or maybe they've moved to a private socket, I can't remember. It was on D-Bus at one point. And so none of this is app armor specific except for the policy integration itself. It could be leveraged with any other LSM or any other project when this actually lands. But that was some of the work that was done. So the big app armor development cycle has been all around the labeling updates, the policy namespaces, the stacking. So it's yet another namespace, right? We've heard tons of different namespaces. This one is specifically for app armor policy. We have no real desire necessarily to see an LSM namespace. I don't know that it makes sense for other LSMs. And we're fine just keeping it where it is within our system. At least for now, app armor namespaces are hierarchical. Each namespace contains you can have a separate set of policy. It's a way of grouping policy. You have they control what can be loaded. So if this task is in that namespace, then it might be able to load to it.  So anything that would be in, like, say, namespace 3 is not going to have any access to the system namespace. They also control visibility so you can virtualize and hide things. So if you're in namespace 3, it can see its children, namespace 4 and 5, but it can't see the system. It can't see namespace 2. It can't see namespace 1. Pretty simple. Most interfaces have been virtualized to the namespaces. We do have a few leaks around audit, obviously. And the policy directory right now hasn't been virtualized. There needs to be some updates we need to do to the LSM file system, Security FS, to be able to do that. So we will land those after the fact. We have uses besides containers for these user defined policy. So one of the goals is that users will be able to get opened up eventually. It won't be at first. So that users can actually load their own policy for their own applications if the system decides that they're going to allow them to do that. And Snappy wants to use it for logical grouping so it can manage its policy off in its own little space so we don't have to worry about it. Pardon me? Yes? It is fully independent of other namespaces. You can have namespaces, an app armor namespace, and stick one set of tasks in the app armor namespace. And it shares the other namespaces with the rest of the system. So while it's fully independent right now, there is discussions about whether we should require user namespaces to always get a new app armor namespace. We don't do that right now partly because the hooks aren't there for it. So for our initial implementation right now, we'll talk about that in a little bit with the LXD stuff. It's all manual right now. But do you have something, Mimi? We could have a generic one if it makes sense. It does not have to be specific to app armor. I mean, obviously app armor will leverage it and it certainly has its own set of features towards it. But we're more than willing to work towards a generic one as well. So that's interesting. I hadn't heard of that. I know Casey with SMAC and SE Linux aren't too thrilled with namespacing their policy.  You're quiet on the subject, yes. So yeah, anything else in there? So stacking is the other really big part with this labeling stuff. We've iterated on this a lot and fixed a lot of bugs. And it's pretty stable. Ubuntu's been running it for a couple of years now through the iterations and making our users suffer through some of this. Basically, tasks can be confined by more than one profile. If you think about it, it's the intersection of the different dynamic intersection of these to find the actual type or the enforcement or confinement. So there's the concept with this because the stacking can cross namespaces. So you can have a task with just a single profile on it. But you could actually have a task with, and this is the LXD case, you have a profile for the system level of the container itself around the whole container. And then all the tasks in the container have their own profiles being applied. So we're crossing a namespace boundary there. And so there's the concept for each task, what its current namespace is. And this is part of how we determine where tasks can load policy. The child can't see the parent namespace. It just thinks it's the current namespace, whatever, or the root. And that's where they can manipulate if they have sufficient permissions. We use CAPMAC admin in the container as well or in the namespace. So if you're in a user namespace, you have to have the proper permissions. We spend a lot of time fuzzing our interfaces and hardening them against possible attacks. I'm not saying everything is fixed. We hope it is. When you do the permission checks, inter-task permission checks anyways, it's between the labeling within a namespace. So when you have a stack with multiple namespaces on it, you're only checking between the tasks labelings within that namespace set. You treat them almost completely independently at the policy level. You don't have to worry about it. The system takes care of it. So for LXD, LXC, we've been working to integrate this. And it's been very good and helpful to flush out the bugs, flush them out, whatever. So we spent some time poking at the patches that were floated last fall for smack namespaces. And they're good. We've played with them. But they weren't completely sufficient for what we need or would like to have for our policy. So when we get around to it, we will have to post out some more patches. Things like Unshare, we don't have any control over Unshare right now. And there is a pivot root cook right now for permissions. And again, what we would like is we'd like a secondary hook that allows us to do some updating of creds seamlessly. You can't really do that in the permission hooks, because obviously other LSMs or whatever might be denying things in the permission hook. But we're not going to do any of those until we get the base code up. The big push is just get this base code up. So an example of what we're doing with LXD. LXD, like I said, has to do a manual setup. You have your system. There's tasks on the system that are outside of the container. It sets up a container. And the container has an LXD profile around it. And then within the container, the container is loading its own policy. And then the tasks within that container get that policy. So they're a stack across the name space, or app armor name space, of the two profiles that's a composition of them. We have some really tight restrictions on how this can be used right now, where there has to be a one-to-one mapping between the user name space and the app armor name space. They have to be at the exact same level, which removes alternate use cases. You can't use user policy-type stuff with them right now or anything like that. Or even LXD, a snappy grouping, which hasn't landed yet either. And they obviously need to cap Mac admin within the user name space as well to manage their own policy within it. It's interesting kicking around. I broke my demo, so I'm not going to bother with that. So what's the backlog? Really, it's upstreaming. I mean, this is it. Hopefully, within the next month, we'll put an RFC up so people can look at this. And we're shooting for 4.10, 4.11 time frame, depending on feedback. And it's not going to hit 4.9. We do have other backlog. This is a list that's way too long to even fit. We could go on for pages and pages. There's always so much to do. I don't know. Lots of virtualization stuff for the namespace stacking and integration and tools cleanup and whatever. Any other questions? All right, thank you. Thank you.


I think we are ready to begin. So hello and welcome everyone to today's EGU webinar which is called What the Media Wants to Hear from You. I'm Jillian D'Souza and I lead media relations at the European Geosciences Union. This webinar will run for about 45 minutes to an hour and will include time for questions at the end. I will now proceed to read a brief discussion or a description of today's talk. So in today's EGU webinar we will explore the kinds of science stories that journalists want to cover, the support and preparation that they need from scientists to tell a compelling story and how to have an effective two-way dialogue to share your science with the wider public. The webinar will also explore the many ways that a researcher might encounter a journalist either through their institution's press office or through someone reading a preprint or maybe while presenting or attending a conference. It will also offer tips on how to best prepare for these media interactions. We are joined today by our guest speaker Anonyo Bhattacharya. Welcome Anonyo. Hi, thank you. So Anonyo is a science writer based in London. During a 15-year career in journalism, he has worked at publications including Nature, The Economist and Chemistry World, covering everything from science policy and bibliometrics to genetics and particle physics. Before journalism, he was a medical researcher at the Burnham Institute in San Diego, California. He holds a degree in physics from the University of Oxford and a PhD in protein crystallography from Imperial College London. His first book, The Man from the Future, The Visionary Ideas of John von Neumann, was published in 2021 and was a Financial Times and TLS book of the year. So very exciting a session ahead, clearly. But before we begin, I'd like to share with all of you just a little bit about why we're doing this webinar in the first place. This is one of EGU's many recent attempts to bridge the gap between scientists and journalists. If you're wondering what this gap is and why it exists, I would just like to briefly show you some background information for context. So I will now share my screen. So just about why this communication gap even exists and what it's about, studies have shown that many scientists perceive dealing with the media as a delicate task that can lead to improper quotations or misrepresentations of research results. And in a recently concluded media survey that was conducted and organized by EGU, we learned from journalists both in Europe and beyond that they have experienced during the interactions with scientists that scientists, even though they are eager and willing to talk to the media, they often do not follow through on media requests. The reasons could be varied. And scientists have often cited a lack of time. Other commitments, they do not consider themselves a subject matter expert, or they are unwilling or unable to discuss findings before they are published. Probably you might find yourself being familiar with some or all of these reasons. Now, one of the reasons why there's this gap is and also because of why there's so much of, you know, so many instances of misrepresentation or maybe quotes that have gone wrong is because of this increasing pressure on scientists to provide newsworthy or controversial or surprising stories. And there's also similar pressure on journalists to provide more scientific stories in a less or a short amount of time. So as a result, there are sometimes inaccuracies that occur in scientific reporting, although these are maybe far in between moderate and unintentional. They can be frequently found and even renowned media outlets. And, you know, there's a lot of published research on this as well. Now, sure, all of this might sound intimidating, but EGU would like to encourage you to still persist in your efforts to communicate with and to talk to the media. Why is this? At a 2020 panel discussion, which was held at Oregon State University, Claire Couch was a PhD student at the time, had some very interesting thoughts and insights to share about this. And Claire said that scientists need to be bilingual. That is, they need to be able to speak the language of science and of laypeople. What Claire said is that many researchers have incredibly important messages to share with the public, but often lack the skills and resources to make their communication efforts successful. But all scientists have a responsibility to make their science relevant, understandable and memorable for the public and for decision makers. So without further ado, I think a good place to start for all of us would be to understand what the media even wants to hear from us as scientists and how we can help them in this in this endeavor to collaborate better. So that's your cue Ananya to begin your talk. Feel free to share your slides and then of course we'll have a question and answer session towards the end. So over to you. Right. Thank you very much, Shilin. So this is all the problem. Thanks. And so yes, so my talk is going to be about what the media wants and doesn't want to hear from you scientists. So a little bit about me first. I'm on a note. Yeah, I did my undergraduate degree in physics and I have a PhD in biophysics, which if it means anything to anybody out there was in protein crystallography. And I even did a postdoc in medical research at the Burnham Institute in La Jolla. And for three years, I was wedded to research. And then we got an amicable divorce. I went on to do a master's in science communication at Imperial College. And I spent about 15 years in science journalism, working at various publications. But I suppose the ones that are most relevant to our audience is that I was news editor, and then chief online editor at Nature. And I was also a science correspondent at the Economist, which had a science section and still has a science section that many scientists admired. And indeed, I did too, when I was a PhD student. I finally left the Economist in January 2019 to write The Man from the Future, which was published in October 2021, and is available in all good bookshops, please buy it. And I'm, how did that get there? There we are. I am currently a self-employed writer. Now, I said the talk would be about begin with what the media don't want. And believe it or not, what they don't want is this, which is hype. Now, why do I say that? Well, back in 2011, I wrote an article for The Guardian that was entitled, scientists should not be allowed to copy check stories about their work. This didn't go down very well with scientists. My argument was that science journalism was, in essence, no different from any other area of journalism. Now, can you imagine asking a political reporter to share their story with a source? Right. Yes, Mr. Johnson. Of course, you can see what I'm going to write about the parties that you had in number 10. It just, it just wouldn't happen. So why would scientists expect to be treated any differently? And that's cool. So that was the first point. And then I explored the idea as to whether sharing a story is actually conducive to good journalism and whether stories that have been passed, you know, the scientists that actually who did the work, which we reported on, whether that actually made the story more readable or more accurate. So scientists thought that I was trolling them. And one of them, who was a neuroscientist called Chris Chambers, he responded with an article arguing that scientists should be allowed to check stories. And this kicked off quite dramatically and ended up leading to a debate at the Royal Institution. Now Chris's article, which was about twice as long as mine, I should, I should add, argued obviously that scientists should be able to check a journalist copy. And his argument was that that is because science is fundamentally different from other areas that journalists cover, like politics or sport. And his argument ran something like this. First peer review is special. Science has peer review, politicians don't get peer reviewed. And the whole process of peer review allows all mistakes and exaggerations to be spotted early on. Journalists aren't themselves qualified to spot those mistakes anyway. And it also acts as a sort of break on scientists so that they don't hype up their own results. His second point was the data in a paper and the paper itself, which is, after all, supposed to be the source material, that's open to scrutiny by anyone. And this should also work as a curb for any wild claims that a scientist might be tempted to make. They know that there's a research paper that anybody can access. And so therefore, that should keep them in line. And then lastly, he made the point that he didn't think scientists had anything to gain from press coverage. I mean, after all, we depend on citations and grants. And neither of those really depend on getting our story covered in the Daily Telegraph. So overall, what Chris argued was that scientists don't have any incentive to exaggerate or distort their own stories. So the inaccuracies that are in these stories must be down to journalists. Now these were, or at least they felt like extremely convincing reasons. The problem was that it turned out that they were not true. So Chris's article didn't go down well with journalists, just as my article didn't go down very well with scientists. But as he met more of us, he realized that actually maybe, just maybe journalists weren't the problem. Newspapers were understaffed and they still are. And reporters on some of the dailies, they were expected to write five or six stories a day. And they didn't have time to make stuff up. And so he thought, is there a bigger problem here that we need to address? What if journalists were in fact acting as mouthpieces for scientists already? Now, you know, how does that make sense? Well, he said, well, what if what journalists are actually doing is just churning out copy that's not based on the paper or even any conversation they might have with researchers, because often they just simply didn't have time to phone anybody up. But they were simply regurgitating what they read in the press release for the research. Could it be? Well, you know, could it be? He asked that the hype that got scientists in a tears was already in the press release. Now, he did something to his credit that any good scientist should should do. He went and got himself a big grant. And then he studied the problem. And he had a road to Damascus moment. And his research, which was published his first paper, which published almost a decade ago, confirmed exactly this, that in almost all cases or in the large majority of cases anyway, when news stories made claims beyond those that were made in the peer reviewed journal article, those exaggerations were nearly always present in the university press release. And the correlation was really very striking. And then in a later study, he found that the same pattern repeated itself in press releases that were issued by journals. And then one of those rare, rare things happened a couple of years afterwards, which is that there was an independent replication of Chris's results. Now, how did that happen? How did that happen? Well, a Dutch study had looked at science coverage in the Netherlands and it found the same thing. So now we're really building this strong case that Chris's suspicion that essentially science journalists were parroting university press releases and repeating the mistakes are in the rather than adding to mistakes. That was really firming up. Now, who was responsible for this hype that was appearing in these press releases? Well, what Chris found was that when scientists were not involved, they were exaggerated claims in about 60% of the press releases that were going out. And when scientists did get involved, I mean, that did drop, that went down to about 40%. Okay, 40% of press releases when scientists were on hand and worked with the press office. 40% still contained hype. But the remarkable thing is that when scientists wrote the press release, about 30% still contained hype. And he also, you know, so, you know, he also asked scientists, well, who do you blame for bad coverage of your of your work? And guess what? 100% of scientists blamed journalists for the coverage. They blame the newspaper. Now, you know, a third of scientists, you know, took some of the blame themselves. And as you can see, the university press office and the journal press office also are labeled as culpable. Now, a couple of years later, when Chris had done some more work on this, he produced a very long thread on Twitter. This is now back in 2018. So he really followed this up. And he came up with some advice for scientists. And I'm, I'm going to go through that because by and large, I agree with a lot of it. First, he says, if you insist on checking journalist copy before they publish, get used to never talking with the good ones. It makes you sound pedantic and untrusting. And you are only ensuring that your work is either never covered or is only covered by journals who lack confidence. Second, sometimes journalists check their copy or sections of it to be sure that they've got a particular fact correct. It happens to me, he says, maybe 5% of the time. And that's fine if it's their choice, but never impose that as a condition of engagement. Now, on his third point, he says, don't ask to check quotes. And here, Chris is actually much more hard line than most journalists, I think. I think it's fine to ask to check your, you know, if they're going to quote you in a piece, I think it's actually fine to ask a journalist to see those quotes before what we're talking about really here is asking to see the entire story that they've written about you when they're under immense, usually deadline pressure. He says, don't ask to check quotes. Instead, if you have prior concerns, tell them you are recording the interview at your end for your records. If they misquote you, tell them to correct it. Yeah, especially as a lot of news is online anyway. That's fair enough. If they won't publish the transcripts, tell their editor and never talk to them again. Well, if you have, you know, if you have the time to do that, then feel free, I think nowadays you probably get just as much joy by just emailing the journalists you spoke to, and correcting the record yourself on Twitter or something like that. But, yeah, I mean, tread carefully, but be firm. I think it's actually pretty rare for most of the reputable newspapers and magazines to misquote people anyway. I don't think that's a huge problem. Fourth, Chris says, if you really want accurate science news, avoid exaggeration in your own press releases and anticipate likely misunderstandings by including a section. What this study does not show. If you allow hype in your PR, then you share culpability for misreporting. And finally, he says, accept that you're not special to journalism and neither is science. Independence is key to journalism. Sometimes journalists will screw up and sometimes you will do it all by yourself. Get media trained, find the good journals and trust them and basically get over yourself. Yes, all good advice, good advice for everybody. Now, what to do if you encounter a journalist in the wild? Well, if you think your research might get press attention, then talk to your press office nice and early and get any training that they offer beforehand. Be confident, you know, you know your research best. You certainly know it better than any of us. So just try and make sure that you can explain the work clearly to a dunce and practice with a dunce. That is with a friend who can ask stupid questions because that's what journalists do for a living.  The next point seems kind of obvious, right? It says don't say anything that isn't true. But what I mean by that is I've run into this has caused me more grief than almost anything else with sources who do not have, say, a number, a stat to hand. And so they say something fairly confidently. And you go away, you might quote them. And then it turns out that they got it wrong. So instead of just saying, actually, I don't know that, but I'll email you with it, which is perfectly acceptable as long as you do then email them with it, or text them with it.  And then that turns out not to be true. And that can introduce errors, because many of the dailies, most of them do not have fact checkers on hand. They don't have time to fact check who will take a look at your paper, go through it and compare that to, to what you said or to what another scientist said. Now, you know, I know for a fact, the economist does have brilliant fact checking. And so does nature. So does nature. And I don't know too much about sciences processes, but there are a few places that run a very detailed fact checking operation. But the thing is, you know, the economist is a weekly. And, you know, if nature can't have a good fact checking unit, then who can, right? So don't say anything that isn't true. Have a couple of pithy quotes ready. Not too cheesy. And now I have encountered researchers who have clearly been drilled in this element to, to have their quotes ready. And then they repeat them ad infinitum during the interview. And it sounds very wooden. And the quotes aren't that great. Anyway, so what do I mean by pithy? Well, something that kind of summarizes what you think are kind of the take home messages of the research in some nice quotable way. And the rest of the time, you'll probably end up just running through your, you know, your results and methodology anyway, which that will come pretty easily. Now, it is okay to talk to a journalist about a preprint. But just when, if this does happen, and if you are approached by a journalist, you know, somebody phones you up or emails you saying, saw that paper on archive, and I'd like to chat to you about it, I'd like to do a story on it.  And that is an essential caveat for them to include. Now, if they have taken the step of searching through archive, looking for stories on their patch anyway, they probably are aware of this, but it's, you know, it can't do any harm to remind them of that. You won't get into any trouble for that. And if they're if they're a journalist from a reputable newspaper or a magazine like Nature, what we tend to do is we go out and find a kind of independent scientific sources, ask them to read the paper, and see what they think. And I have been told by several scientists that when we do that, and when we get back to them with questions, it's like, it's kind of like a mini peer review process. So good science journalism can feel a bit like you're going through peer review early. Sorry. Conference presentation, a conference presentation is fair game. If you are at a conference, you present some exciting work, and then a journalist approaches you afterwards. This is okay. They are doing their job. If you think this might happen, contact the conference organizers beforehand and say, are they going to be journalists about? And if so, have that chat with that press office and be prepared. Now, bear in mind that if you just walk off in a half or say, oh, I don't want those results reported, the likelihood is that they will report them anyway, because you've given a presentation, right? So they can write that up and they will write that up without your participation, which will not necessarily be good for the story.  So bear that in mind. Now, there is a big, big caveat and which is do not promote unpeer reviewed preprint or unpeer reviewed work to the press yourself, right? Don't push your press office to do so. And this is because of something known as the ingle finger rule, which you may have heard of. And essentially, what this says is that if a journal feels that you have published your work in some way, and that could include a newspaper review, you know, you pushed for some sort of coverage of that work, then they may decline to accept it. And this has happened.  So we're not going to take that work anymore. Okay. So don't do that. It would be a shame to miss out on an age of pay, wouldn't it? Or because, because, you know, you sent out a press release and stay calm. Just bear in mind that if a journalist has time to go to a conference and report on it, then they're probably one of the better ones, because frankly, many of the ones at dailies just don't do that. Okay. Right. Well, thank you very much for listening. And thank you so much, Ananya. That was really helpful. I'm sure our participants agreed. And now we can officially open the floor for any questions that our attendees have. So feel free to either type them in the chat. And then I can address them one by one. But maybe until some of the questions come, I had a question, Ananya. That's okay. So over the years, I've spoken to a lot of scientists as well. And many of them have expressed to me or confided in me that they believe that their research isn't really relevant enough, or their findings are not significant enough to share with the media. And interestingly, some have even said this to me after journalists have approached them for comments or interviews. So certainly there is interest. But then maybe they feel that if they comment, maybe their colleagues might have something to say about it, or there's something that's still holding them back. So what advice do you have for scientists to just sort of keep an open mind about this? Yeah, that's interesting, isn't it? And there is a, I can't not seeing the wood for the trees, I think, thing going on there. And of course, you know, as researchers, researchers live in fear of the condemnation and judgment of their peers. And it is, of course, extremely important in science. Nobody's saying it's not. What I would say is that when you produce a piece of work, you're not necessarily the best qualified to say how interesting it is. I mean, I get the other side quite a bit, which is that, you know, researchers absolutely are absolutely convinced that their latest paper is of massive public interest. But then there's a prize when journalists are remotely interested in in covering it.  And, you know, it that this is partly what the press office is there for, you know, you go to the press office, you go, Okay, I've been approached to talk about this. But I just don't think it's newsworthy. And, you know, and talk it through with them. I think it seems what what is likely here is that they're possibly afraid that their findings will be exaggerated, perhaps, in which case, the answer is probably just to kind of kind of down things, you know, just when you talk to the journalist, do talk to the journalist and then, you know, just stick to what you think are the main points. And then, you know, if they don't then after that, they don't think it's, you know, it's a story, they're not interested in producing a story that won't be read. I mean, one thing that journalists are quite good at is finding stories that are of interest to their readership. So, and something that might be of huge interest to say, readers of nature, well, you know, might not be of any interest at all to readers of, I don't know, the daily mail or the Guardian or the telegraph, and so on. The other thing is, you know, bear in mind that if a journalist is really interested in a piece of work that you've produced that's been published or is otherwise in the public domain, then they can just go ahead and cover that. And I, you know, I've done that once or twice because the researchers just said, I'm not going to talk to you about this, in which case, you go off, you read the paper, you send the paper to other people in the field who you say, would you mind reading this and talking to me about it? And then you write that story without the contribution of the person who produced the work. Now, and which is which is less than ideal. But, you know, you know, that if a piece of work is sufficiently interesting, and you found it, then it's quite likely that another journalist, maybe one that isn't as good as you, will also find it and make a, make a worse job of reporting it. So, if you want to... I'm sorry to cut you off, but I mean, every journalist has a different way of being inspired or maybe looks for different books from the same research. So, you never know what might actually be someone's interest. So, to that end, it's just important to just try to be available and try to be accessible to journalists because they might have a story that maybe you did not see coming at all from your book. Yeah, quite. And it could be that your research is sort of part of a bigger puzzle. It might be part of a feature, for example, or something like that. So, you know, try not to, you know, to pre-judge. I mean, I would say obviously there are some newspapers, you know, if you hear from one of our name names and if you hear from them, then you're probably right to be cautious. But everybody knows which ones they are. So, you know, again, take advice from the press office and decide. But just bear in mind that, you know, if you don't talk in these situations, then, you know, they've got the press release and the story will be based on the press release.  You don't want to engage any further. I think sometimes it can kind of really lift a story if the scientist is involved.  So, but we, you know, we know who they are.  And if you build up a good relationship with a journalist, you know, that's always good. If you are repeatedly producing work that is of public interest, if you're in an area, an exciting area, then, you know, that's, that, that can work very well for both of you. And the important thing is to just start with building those relationships really and hopefully take it from there. It's a lifelong process really. We have another question that's come in. What key advice would you give a press officer to help scientists feel more comfortable talking about their work? I have never worked as a press officer. So that's an interesting question.    You know, they might have a few notes in front of them or whatever, some talking points, you know, those, those pithy quotes. If a press officer is able to do that, then I think that will diffuse a lot of the, a lot of the nerves. And of course, do you work with the scientist when you are preparing that press release?  They, you know, they may not see the most exciting or interesting part of their research from a, you know, from the point of view of the general public, if you like, they might be, they might have latched on to what they think is important as a scientist, but they might not see, you know, but other than that. And clearly it's the press officer's job to, to kind of bring that out and do, do, do the hand holding and make sure that, you know, that they don't get overexcited and start generating their own results as well, which apparently has been known to happen. I hope that's, was that helpful? I sure hope so. And that's actually a good segue into our next question, which is coming in from Yasmin, who asks, how would you communicate existing uncertainty in climate science or indeed any other scientific field to a journalist in a way that this uncertainty is propagated to the general public without rendering the entire story unimportant? Wow. Yeah, that's, that's a very big question. I mean, I personally have edited climate science, but I haven't covered very much of it myself. But I think in some ways, the problems are not so different with areas of medical research, for example, where, you know, you will have a finding in say rats. And it's, it's reported as if, you know, tomorrow there's going to be some treatment for humans off the basis of this work. It's about kind of bringing in the caveats, I guess, without totally ruining the story. I mean, if you have to put so many caveats into the work that actually it's so tenuous that you can barely say anything that is of wider interest without 100 caveats, then you have to wonder, is that work ready to be shared more widely? But if, you know, what you mean is, you know, these are projections of likely, but not certain outcomes, then I think you say something along those lines, you give, well, how likely do we think, you know, this is this, this will come about, and you give some indication of that, which is, I know, difficult, but I think that's really what you've got to do. You've got to come up with some way of communicating that uncertainty by. Is there, is there, you know, it's more likely than not or whatever of, yeah, of saying that, or point, you know, to, if you can, to how past predictions have fared and say, well, you know, this is, this is what was said, and this is what happened, and there are, you know, that's, that as a layperson myself in this area, that that would be interesting to me. Yeah, and distinguish what is truly an absolute, you know, strong consensus in the field from, you know, the, what are more tenuous findings, and, you know, and, and distinguish between them as, as, as you're talking.  And so, you know, as Chris said, that section in your press release, which says this is not saying this, I think that could be very handy for a contentious area like climate science, for example, and you can always say, you know, why did you say that in the story? It clearly said, this isn't what the research showed for sure.  And your chances of actually getting those caveats into the story are much higher than if you count on them, that talking to you, which they may or may not do. But, you know, if they have that right there on the press release, then there's no excuse, right? No matter what deadline pressure they're under, you've already put those uncertainties, if you like, and express them in a palatable way for them to then stick in their new story. Thank you. Before we proceed to the next question, maybe Ananya, if you could stop sharing your screen so that we have a chance to see you in full screen, that would be really interesting. Yeah, sorry. Yeah, there we are. Okay, great. So our next question is from Mateo, who says, is there any point approaching specific journalists once the press release is out, assuming the release has been ignored? Oh, is there any?  You know, why haven't you done it? But, you know, there are a lot of press releases that go out. And if your paper isn't appearing in one of the really big journals in your field, you know, or, you know, like Nature or Science or Proceedings of the National Academy of Sciences, all of these journals that have very organized press release routine. So, so for example, Nature, for example, will release a early embargoed press releases of all of the papers that they identify as being newsworthy, and they do a brilliant job. Journalists will get those early several days early, and often they will have the meeting a couple of days earlier. It's one of the things that make science journalists lazy is the embargoed press release, because you do get that from time to time in other areas, in, you know, whatever, in political reporting, you might get a report under embargo from a committee or something like that. But in science this happens a lot, because, you know, the journals are very dominant on that. Now, if your paper isn't in one of the big journals with a very organized press office, which journalists check as a matter of routine, and if it's just gone out as a press release from just your university, then sure, it might be, and you're convinced that this is a big story, then sure, it is worthwhile sending out a couple of emails. What journalists really like, I should say, is an exclusive. So if you have some sort of, if you have a favorite journalist, or if you have a couple of people that you've worked with before, then I would say kind of send it to them, write a, you know, a very brief summary of why you think it's newsworthy, and say, as far as I know, this research hasn't been picked up yet.  And the journalist might go, aha, well, you know, this is, this will be a bit of an exclusive for me. So I might, I might go for it. And that's happened to me as well. So it's, you know, I can't, I can't say that definitely shouldn't do it. But the chance, if, if your paper is coming out or has come out in one of the big journals, the chances are that somebody will have looked at that, and, and discussed whether to, whether to cover it. Now, if, again, if, like, if it's a nature paper that's just coming out, and the nature press officers decided that it's not newsworthy, then they, and you think, well, that's just, that's outrageous. I really think it is. Again, it might be worth doing it. Now, the thing not to do is break the journal embargo. You can contact a journalist, but don't share the paper with them and explain to them that the paper is under embargo.  Now, the thing is, this is a, you know, this is a very, it's a, it's very sort of grey area because by telling them about the research before the embargo lifts, you're also sort of breaking the embargo. If they then go ahead and publish their story before the embargo lifts, you know, then, then they're, then you're, you're both kind of in trouble. But most journalists, most science journalists, specialist science journalists are all signed up to the embargo, so they will not do that. The other thing not to do is if it's been weeks, your papers come out weeks ago, then, you know, the opportunity is probably passed. So if you're going to approach a journalist, then, you know, send that email, you know, on the day that the paper's coming out. If you, if you think it's, if it's been missed, or as close to it as possible. And we have just one more question, I believe. And to some degree, you've already answered some of this. What are some things that scientists should avoid saying or doing when talking to a journalist? Well, this is a tricky one. But don't get lost in the weeds. Don't go into technical, deep into technical details that won't appear. But if, if you feel that the journalist has sort of misunderstood some vital aspects of the paper, and it really is important, then of course, you know, you should say, actually, that's not quite right. Let me do that. But don't get lost in the weeds. Don't expect, you know, this to, you know, the journal article is already the thing of record, right? That's the thing, the records of your research. And you can't expect a news article to produce every kind of key point on that. It's going to, it's going to, it's a big picture thing. It's going to say, this is what it's about. This is roughly what, you know, if you're lucky, they'll say, this is roughly what they, this is what they do. And isn't it cool? And here's, here's what other scientists thought of it. And that's, that's how it's going to go. So, so there's, there's that. Respond in a timely way. That's important. If they've got more questions and the email your questions, do try and don't, don't disappear off into meetings or super visions for the rest of the day. And if you are, then just check about phone from time to time, in case there's a panic stricken question on the day. And that's, you know, the turnaround will usually be within about 24 hours. So it's only the weekly magazines that are going to have more time than that. And even then they don't necessarily have that much more time. But if your paper is coming out like later that day or in the afternoon, you pretty much have to be available throughout that time. So no matter where you are, don't ignore your phone or, you know, don't, don't do that. Because that can, that short window can lead to more errors than anything else. Because if the journalist doesn't know the answer to something, you know, they're either going to pull the story, the editors are going to pull the story, or they're going to just run with what they think is the right answer. So that's really important. So be available in that time.  And yeah, and don't, you know, as I said, don't, don't exaggerate the claims. You don't have the confidence of your work, but no more. Yeah, so stay away from, you know, too, too, too many unnecessary technical details that, you know, don't confuse the board journalist. Be available. So those sorts of things, I think. Probably the most important. We've run, we've run through so many of the down don't say, you know, I demand to see the story before you publish it. That is not going to be a good approach because you'll instantly sour them. And that, that's probably not a good outcome for either of you. But yeah, I mean, I think the best stories tend to get, you know, written when the researchers are pretty enthusiastic about their work. And, you know, reasonably happy to engage and, you know, the press release has kind of your rules of engagement as it were. It was the, you know, this, this isn't what it's saying. This is what it's saying. And if you stick to that, then it's fine. Do, you know, just, you know, do try and make sure you don't say anything.  And then you say something that you regret, and then you're going to try and contact the journalist when they've written the story and go, no, no, no, I said that, but I didn't mean it.   The stories filed in 20 minutes, and then they're on to the next one. So, yeah. Okay, thank you. So it doesn't look like we have any more questions. And we've got a whole lot of important takeaways from you when you're talking on your, if you would like to leave us with any last few words or a take home message. Otherwise, we are ready to conclude our webinar for today. Okay, no, just thank you very much for having me. It was fun. I hope, I hope everybody learned something and also found it fun as well. Thank you. Thank you so much. My only takeaway message to everyone is if you don't know who your press officer is or who's in charge of your institution's media relations, maybe that is a good place to start now. Because that could really get the ball rolling for any sort of media communication that you want to do in the future. So all the best to everyone. And we are now ready to conclude our webinar. So thank you, everyone, again, and I wish you a good day ahead.


Lux presents Hollywood, the Lux Radio Theatre brings you Humphrey Bogart and Virginia Bruce in Moontide. Ladies and gentlemen, your guest producer, Mr. Mark Hellinger. Greetings from Hollywood, ladies and gentlemen. It is no rare thing in the history of entertainment for an author to adapt his story to the stage or a playwright to accommodate his drama to the screen, but rare or not it is certainly a privilege for a Hollywood producer to present his motion picture on the air. Techniques differ. Changing sights to sound presents new unexpected problems, and when I was making Moontide at the studios of 20th Century Fox, I hardly expected I'd be personally presenting Moontide at this theater. But that's the way the breaks fall, never quite as you'd expect. I remember some years ago meeting a youthful actor who had just started his career as a tousal head and laughing-eyed comedian on Broadway. His one ambition was to become the funniest man in America. Years later, he scored his most significant success as the tight-lipped gangster in the Broadway hit The Petrified Forest. Yes, that tousal head and laughing-eyed comedian was Humphrey Bogart. He appears in our play tonight as Bobo, the impetuous wanderer of the west coast borderfront. Co-starred with Humphrey Bogart is the blonde and beautiful Virginia Bruce, as the young girl whom he meets so strangely at the brink of death. Their story is one of love in the shadow of an eerie danger of suspense and violence in an atmosphere of lonely tide and haunting fog.  When not actually in production, you'll find Humphrey any day around the harbor in a yetting cap and dungarees, puttering around the boat, drying sails or scrubbing decks, doing his own cooking and washing. And speaking of washing, yes, you've guessed it, in the galley is that familiar package of Lux Flakes. After all, the tradition of seafarers is that everything aboard be stick and span, and sailors as well as housewives seem to fail that calls for Lux Flakes. Time now for our curtain and the first act of tonight's play, Moon Tide, starring Humphrey Bogart as Bobo and Virginia Bruce as Anna. The home port of 100 fishing boats at Sail Pacific Waters is the little town of San Felipe, California. It's a dreary place. Even the charitable light of early evening can't disguise the ugly cannery near the walls, the collection of ramshackle stores, and the oversupply of cheap saloons. Along the beach, squatting in the bay between the breakwater and the shore, our half a dozen bait barters. A motorboat has just tied up to one of them. Out of it, step two Chinese, a father and his son. You see all that? Man's still here. Yeah, he's still asleep. Hey, who's the dog? Man's dog. Follow him every place last night. Big dog? Mean looking. It's okay. Dog's tied up good. Better wake him up. I wake him. Why should he want to sleep on day? What's wrong with inside? Last night, he don't care where he sleep. Valley delights man. Mr. Wake up. Shake him, Pop. I shake. Mr. Wake up. Hello. Hello. Hey, don't roll over. Fall in the water. Water? Oh, I see what you mean. How you feel, Mr. Pat? I felt better. Your big delinca? Yes. Yeah. Is your barge? My barge. You like it? It stinks. Two or three days here, just like a blot of flesh air. Except I'm not staying two three days. I was feeling better. I might like to know how I got here, but I'm not feeling better. No likey job? What job? No remember last night? Why never early? Oh, this my boy Albert. Last night? I meet you top three house. We link all but all I find. You say you work for me, remember? Hey, Pat, look. Oh, yes. Police boat. Hey, any news yet? Not yet. Police boat. Very good, police one. They catch him, maybe. Catch who? You know Pop Kelly? Somebody killed him last night. Mother. Yes. Whoever did it, didn't do much. Pop was in awful grouch and a lot of trouble when he started drinking. Still there. Choking old man like that. Pretty dirty business. He was, he was choked to death? Yeah. You work for me, Mr. $50 a day, but well I find. And they don't know who did it? No. Who'd want to kill a man by choking him to death? Pop Kelly might know, but I don't.  You said you brought me here. You were with me all the time? Sometimes. When you get here, you just go to sleep. You take jobs? $2 every day, but otherwise fine. And could you let me have a couple of bucks in advance? Sure. Okay. You good man. Nice job. See, just sell bait. Bait and tank there. Small bucket, $1, big bucket, $2. Understand? I get it. I go out in boat every night, catch bait. Blink here. Come on, dad. We got three more barges this year. Ice up, ice up tomorrow. Good business. Everything okay? Yeah. Sure. Everything's okay. Hey, you, Gus. That's too bad you can't talk. You were with me last night. The old man was choked. Now, now maybe it's good you can't talk. Come on, Gus. You and me is going to find tiny. Hey, how about some service? Yeah. My friend ate in his room. You know where he went? How would I know? This is a room in house. Not an information. You see him go out? Where's the shower room? Down the basement. Sure, pal. Will you take the towel? I said you could take it. Take the towel. I said you could take it. You've got no right to hit me. I'm not a young man. I can't defend myself. Hello, tiny. Hiya, Bobo. Just giving my friend here a little rub down.  I said lay off him. Okay, okay. My friend here didn't want to let me loan him and borrow his towel. That's no way to act, is it, Bobo? Tiny, did you, uh, did you leave me? Leave you. Yeah. What do you mean? I mean last night. I, uh, kind of hung on, huh? Yeah. I liked everybody, tiny. Everybody was good friends. Sure, sure, sure. Now listen, Bobo, let's blow out of this towel. A week here is plenty.  And that chop suey joint. Everybody had a good time together? Sure, I guess so. Uh, don't you remember anything? I don't remember anything. Listen, you big lugger, we grabbing that truck or not. Sure, why not? Up north you'll get a good job, Bobo. Frisco, Portland, you'll get a good doc job. It's always good for you when I, when I get a good job, huh, tiny? I don't know what you mean. Ain't I right, mister? I'm sorry I wasn't with you. What are you talking to him for? Sometimes I get tired of talking to you. That crack you made. Don't I work? Sure you work, tiny. You stand in line for hours. For hours, mister, but the job he stands in line for it ain't for him. Job's always for me, huh, tiny? That truck leaves at 10 tonight, Bobo, from right in front of here. I'll be there. I don't know whether you're kidding me or not, Bobo. You're the craziest guy I ever met. But don't you forget this.  Every time... Every time I couldn't make a move without my pal, tiny. Yeah. I'm going to my room. Oh, uh, Bobo, you seen newspaper today? No. Why? Oh, nothing. That's wondered. I want to thank you for making him stop these four. I forget it. I can't forget a good turn. And what do you want me to do? Take a bow? Sorry. I've seen a lot of this world and the people in it and it's my opinion that when people do a good thing, maybe it'd be better if they took a bow for it every time. And what's your name? Around here they call me Nutsie. I'm a night watchman. Nutsie, huh? Where you going? To work. I start my rounds down at the beach. I like to look at the water. Me too. I'll go with you. I'd be much obliged for your company. Okay, let's go. Oh, wait, I gotta get my dog first. He's tied up outside. Where you want man or nature or the all night heat, but it's here and it can't be denied. And you figured that out for yourself, Nutsie? No, man named Plato figured that out. Oh, well, keep talking. I don't understand it, but I like to hear you talk. You got ideas. I could talk all night, Bobo, but don't you have a rendezvous with tiny at 10 o'clock? Ah, that's plenty of time. What do you say we have a beer? That's an excellent thought, but I had better. Nutsie, come here quick. What's the matter? Quick, down there by the breakwater. Well, what's at the breakwater? Someday, Nutsie, I seen her going into the water. She just walked right into the water. Downing yourself? Is that what you wanted, trying to say? I don't know, Nutsie. I yelled to her, but she just kept walking in, right over her head. You better run for it, Bobo. Now, why would a dame pull a stunt like that? Should I get the cops, Nutsie? No, it's first, or she went in. Bobo, I hope you can swim my camp. You mean I'm supposed... When I step on a kid, I got a truck to catch at 10 o'clock. She opened her eyes. She's coming too. Will she be all right, Officer? Will she...  How's she doing? Oh, you. Okay, if I can get her to hold on to a little of this brandy. But here, give me the bottle. Okay, sister, come on, take it. Take it. Hey, listen, you caused enough trouble for one night. Come on, kid. I'll leave you alone, will you? Take it, I said. No, it's a slug. All you can stand. Okay, you. What's your name? Anna. What's your last name? All right, don't talk. Maybe you'll feel more like talking to Station House. Are you taking her in? Certainly. Not for. What for? For attempted suicide in California, that's against the law. Oh, what kind of a screwy law do you call that? So, it's screwy, but it's still a law. How about it, lady? Make it the car? I suppose I tell you she don't have to make it. No. What do you bet?  No, no. Do you know so much about it? Because I was in the water. Where were you? You ain't asking the questions, buddy, I am. So, what were you doing out in the water? Waiting? She was. Me and Nancy here was having a drink. She was waiting, and she just waited out too far. Asked that boy there. Then right, kid? Why, of course that's right. Is your name, kid? I guess that's what happened, all right. Who are you? What do you do? Who, me? Yeah, you. See that bait barge down the beach? I run her for that Chinese guy, Henry. What makes you think you know so much about this? No, why shouldn't I? She's my girl. All right, Annie, you're okay, see? And now I'm beginning to get sore. Yeah, good and sore. You just had to go waiting. You had to go waiting. Well, you see what you've done, don't you? Just got the cops down here in half the town.  Why ought to beat your ears off?  They got the dame, and come on. Come on, where? To the car. I'll run you on home. Huh? The bait barge is closer, Bobo. Oh, oh yeah, yeah, the bait barge. Maybe she better rest there for a while. Well, I ain't got all night. Come on. Oh, you still here, Nazi? Now, it's a patient. Not very grateful. You'd be surprised, Bobo, how often most men say that about most women. In fact, almost as often as most women say it about most men.  Maybe the station house would have been better. It's not so bad, Bobo, at least not out here.  A view of the ocean. And a whiff of the cannery. That room in there is still worse. There's a place to sleep and a stove to cook on. What more do you want? Me? I don't want a thing. I'm leaving at 10 o'clock for Frisco. Five minutes after 10 now, Bobo. Oh. What about your friends? Oh, tiny's a big boy now. He can take care of himself. I'll drop by in the morning. I gotta try some doors. Doors? I'm a night watchman, remember? Oh, I know. Work all night and sleep all day, huh? Sleep. I never sleep, Bobo. Well, I haven't been asleep since 1936 or was it 1937? Good night, Bobo. Yeah. Now, sit down, Gus. Sit down and sell some bait. Hey, you. What do you want? I still say a drink of this rice wine would do you good. You need your strength. Well, I couldn't remind you your own business. Oh, you feel like talking. My own business, huh? I thought I was helping you out. Leave me alone. Now, listen, sister. I've known all kinds of women all over the world, but you're brand new. And I don't mean that for a compliment. I didn't expect you to say thank you, but a guy can expect a name to feel thank you. I don't know you anything, see? And I don't want anything. Not from you or from anyone else in the world. So that's how you feel. That's just how I feel. Okay then, sister, I won't bother you. I'm going to sleep out there on the deck, see? Whenever you feel like drowning yourself, there's the whole Pacific Ocean. All I ask is one thing.   Good night. In just a moment, we'll be back with the second act of Moon Tide, starring Humphrey Bogart and Virginia Bruce. Did you ever have somebody tell you something and think, oh, that's just what she said? Well, one of our listeners had this experience. I've often heard you tell how using luxe plates for dishes gets rid of dishpan redness, but I thought, oh, just changing to luxe couldn't make my hands look better. Then one day, my friend Mildred brought over her sewing. I was complaining how my rough hands caught on the satin I was hemming, and she said... Mine used to do that, too, until I found out it was a strong soap I'd been using for dishes that made my hands so rough. But a while ago, I changed to luxe plates, and my hands are ever so much smoother now, and not a bit red anymore either. But honestly, I was so dumb, I didn't even take that hint. I just thought, oh, well, it may work for her, but I have to watch the pennies. So my hands kept getting redder and rougher. Then one night, I was helping clean up after a supper at the church. One of the ladies said she'd rather drive and wash the dishes because they didn't have any luxe. She didn't want to get her hands all rough and red. Of course we teased her, but she did have the nicest hands there, and yet I know she has to counter pennies closer than I do. So that set me thinking, if she can manage it on her budget, I guess I can, too. So I got a box of luxe, and was amazed how much further it went in my regular dishwashing soap. And best of all, my hands have lost all that redness and roughness. Yes, changing from strong soaps to luxe does make hands soft and smooth again. Luxe is so mild and gentle, your hands begin to look lovelier in as little as two to seven days.  Tests show luxe actually does up to twice as many dishes, ounce for ounce, as any of ten other leading soaps. For lovelier hands, use luxe for your dishes. It's thrifty. Here's Mark Hellinger and our stars. The curtain rises on act two of Moonside, starring Humphrey Bogart as Bobo and Virginia Bruce as Anna. It's six o'clock the following morning in the fishing town of San Felice. In his shack near the beach, nutty the night watchman contemplates his morning coffee. At the police station, a tired sergeant tells the county newspaper there's nothing new on the murder of old Pop Kelly. And out on the streets in a sort of semi-panic, tiny vainly searches for his friend Bobo. But Bobo is still sleeping on the deck of the little bait barge. While in the cabin, Anna stares at the ocean through a grimy window pane. Suddenly, she hears Bobo's dog growling, a small yacht is following up to the barge. Good morning. Having a little engine trouble? Is there someone here who could look it over? He's asleep. I'll pay him all right. Look, I don't even know if he knows anything about engines. Hey, what's the matter? What goes? The man boats. Huh? It's the engine. Runs a few minutes and then conks out. I'll take it easy, guys. Know anything about marine engines? I don't. Take a look. Well, thanks a lot. Over this way. Hey, this here's a good engine, Mr. It's a honey. Yeah, it was until this morning. Speed it up a little. Okay. Uh, yeah, I think the fuel line's blocked. Can you fix it? Maybe. I'll be glad to pay you. You show me the tools and you better relax. It might take me a little time. Hey, sounds swell now. You still need a new fuel line. You better stay inside the harbour to get one. Well, there goes my fishing for the day. Oh, uh, why do I owe you? Well, I'll take a buck. Here's five. Okay, I can use it. By the way, my name's Brothers. Dr. Brothers. What's your blithe, Doc? Thanks again. So long. Anna. I'm in here. How do you feel? I'm all right. Hey, hey, what happened? This room, it's all cleaned up. Oh, yeah. And that's my duffel bag. How'd it get here? During the night, he was asleep. He brought it. That's it. You want some breakfast? Why not? That's he bringing these eggs, too. Oh, I'd trade it for the eggs. Somebody wanted bait and I'd trade it. Is that all right? Well, I'd sooner eat eggs for breakfast and bait. I know. I found the coffee on the shelf. It's ready to go. Put it on a stove and it'll stop shaking. You give me the jitters. All right. I sold six dollars worth of bait. Well, maybe Henry'll can me and let you take over.  Okay, sunny side up. Hey, where'd you get the pants? They were here. My bed is no good anymore. You look funny. Yeah, I know it. Call me when you're ready. You want some more coffee? Ah. Look, it's none of my business, but I never saw a dump look more like a dump from this barge. I mean, neither. As long as you live here, you think you'd fix it up and clean it so it looks decent. Like, like that barge there at the pool. Yeah, that one looks kind of nice, huh? Curtain, paint. Looks good. But like a home. You feel better today, don't you? Good sleep and full of breakfast. Everything looks different. That's the way it happens. You know all about it, I guess. I know about bad breaks. They pile up. And all of a sudden, you get full of coffee and eggs and it's all different. That's enough for you, huh? Coffee and eggs. Sometimes I have to have a hunk of ham on the side. Very funny. Ah, you take it too serious, sister, believe me. Yeah. Yeah, well, I'm going to tell you a few things. Then maybe you'll understand what I did last night, or I feel like I do. Yeah. I don't want to know anything about you. I don't care. Okay. I brought you here. You cook breakfast. And if you smiled once in a while, you wouldn't be a bad looking tomato. That's all. That's not all. There's a lot more. You don't have to sell me. I'm on your side. What does that mean? That means the next time you feel like drowning, I won't try to be a boy scout. Thanks. If I see you doing it, I'll just squirt a hose on you. Is that what you want? Wipe down, Gus. Oh, oh, we've got company. That's my pal. That's tiny. I'll go inside and do the dishes. I'm down here, sweetheart. Come on aboard.  I don't think Gus likes you, Tony. Dog like that ought to be poison. Next to you is my best friend. Be a hero last night, weren't you? Sure. One night you get blind plastered, and the next night you've got to show off holding a no-good day in the water. Every time, every day I see she's no good to you. That's a funny thing, Tony. Listen, are we blowing out of here or not? Yeah, well, I haven't made up my mind.  Well, I found out all about her. She used to work in a hash house. I wasn't thinking about the dame. Are you kidding? Why should I kid you? I got a great job here. Two bucks a day and a bottle of rice wine. Yeah, we could have been in Frisco by now. Good dough. We could even... Well, what do you want? I just wanted to tell him I'm leaving now. Okay. And I'm obliged for everything. What are you going to do? Oh, find a job somewhere. Okay. Okay. Good luck, sunny side. Thanks. Hey, hey, do you wash the dishes? Yeah, everything's fixed. Okay. He's got nothing to do with it, eh? So long, tiny. Hey, what are you trying to tell me? That you're going to hang around here hooked by that hash register? I said so long, huh, tiny? Hey, now, wait a minute, Bobo.  Maybe you won't be so quick to brush me off. Say that again, tiny. Say this much. I'm tired of being the one to take the order, see? One word from me to the cops. You'll never say that, I'll word. I think you'll never say that word. Bobo, your hand. Nobody tells me what to do. Nobody. Bobo, please. Well, maybe you know what I mean. You keep losing your temper like that. You keep losing your temper like that. Someday you'll get in the way. Get out of here, tiny. Get out and stay out. Are you home, Bobo? Hey.  That's okay, Gus. Come five minutes later and you'd have missed me. You're going away? Yeah. Gus here don't care for the baked barge. I see. Yeah, but if you want the truth, I think maybe Gus and I both could get used to it. And I don't think I'd like that. The answer may be that you've finally found a home. What? That's right. That's the path you're smart. You know a lot of things, but when you speak about a home to me, you don't know me. All of my life, everybody hangs out of me. See, like tiny, like the dog here. But I don't hang on to anybody or any place. I come and I go and I like it that way. I'm only pointing out why I think you really hate to leave here. Okay. Why? Well, anything might have done it.   Anna, of course.  I know I did. She's here, Bobo. Look. Hello. Hello. Is it all right? Sure, it's all right. It's nice to see you again, Anna. Thanks. Hey, you want a chair? I'll get you a chair. You changed the whole atmosphere of this place, Anna. You cheer it up. Yeah, I'll bet. I mean it. Here. Gee, sir, it's, huh? Well, I got some doors to try. Good night. Good night. So long, Natty. Uh, that's your bag, huh? Yeah. Where's the music coming from? The radio, that barge down there. Sounds nice, don't it? Why'd you come back here? Because why did you look at me the way you did when I left this morning? How did I look at you, sister? I don't know. I wanted you to tell me. You want me to go? I'm the one that's going. Bobo, what is it? Did I do something wrong? Oh, you didn't do anything. I like your luck. Maybe you're crazy, but so am I. And it's time for me to go, that's all. Oh, why? Because staying in one place don't agree with me. Can I ask where you're going? Sure. To the first saloon I can find. Come on, gush, we're moving. So long, Anna. I thought you left town or something, Bobo. Where you been? Nowhere. Drink up, baby. I sure missed you, Bobo. Yeah, I bet you cried your eyes out. But I did. I've been thinking about you lots of times. What happened to the boyfriend? Went out with a boat yesterday. If I never see him again, that'll be soon enough. That's what I like about a dame, loyally. Huh? Skip it. I should have given him the brush long ago.  That's what I always tell him. A girl wouldn't have any trouble really falling for a guy like you. Did you hear what I said, Bobo? No. Well, what I said was a girl. It's good to keep. Say, what's the matter with you? Get out of my way. I'm getting out of here. What's the matter? I just thought of something. You can't ditch me like this. I just remembered I got a job, honey, two bucks a day in a bottle of Chinese moon, and I got to get to work. This is the one. Go ahead. Look around. I did before. I know just what I'd like. Well, the guy's waiting on somebody else. Bobo. What? When did you come back to the barge? About midnight, I guess. He slept out on the deck again? Yeah, I slept good. Why did you come back? All the time questions I came back. Now you got me in a store buying curtains. Certain, sir, this way, please. Oh, we just want material. We like this material here. How much you got there? Oh, 26 yards? Wrap it up. Oh, but 15 yards would be plenty. Paint. You got any paint? What colors, sir? Blue and white, maybe. That'll go fine. Blue and white. Blue paint and white paint? No, blue and white. One paint, one color. I, uh, I don't understand. That was a joke, Anna. It's over his head. Yeah, it is in mine, too. That's OK. I feel good. The paint's down this aisle, sir. For a boat or a home? Huh? Oh, uh, for both, I guess. They look swell.  I feel like I never felt before in my life, and I, I can't understand it. You mean it's like you said to the man in the stars? You mean this is, this is home, Bobo? I guess you know, huh? No, what? You and me, we'll get married. You want to? I mean, honestly. Don't you? You gotta know this, Bobo. You don't have to. I wouldn't hold you up or anything like that. Don't say that. Don't you ever say that. I didn't mean anything. OK. Now, what I got in mine is a license and a minister. Oh, Bobo. I've known lots of girls, Anna. This time it's going to be different. This time I'm getting married. I don't know if I'm going to laugh or if I'm going to cry. Cry? What for? What for? Because for once in my life, I want everything right. You're crazy, Bobo. You're plain crazy.  Bad against the run-up. Kissing's OK. Yeah. You're not here. Yeah. I'm sorry. Uh, here. Four dollars. Two bottle lifelines. All right? Yeah. But I, I got a partner now. Anna, this is Henry. Hello, lady. Listen, Henry. From now on, instead of a bottle every day, how about another dollar? Three dollar a day. OK. I'll sell up a bit, that's all. You do good business. Here's your money, Henry. Thank you, lady. Goodbye. Hey, where you going? That's more big. You need any help? Always need help. I'll go with you. OK, Anna. Is that what you want? Can I, uh, can I kiss you again? Sure. I will do all right, Anna. Sure, Bobo. Riding groom. Riding groom. Alba, say, hurry up. I love you, Bobo. I really love you. Alba, say, when you make up your mind. OK, OK, OK. I'm supposed to believe that Bobo's out fishing for bait, huh? I don't care what you believe. Hey, how about running that dog out of here? You run him. You know Gus better than I do.  Look, why don't you blow? Why don't you leave town? Sure, sure. You will visit? Anything you say, Tony. Anytime a guy comes along, I don't know him from Adam. But anything he says, I'd do it, of course. Oh, well, they're smart games, huh? What's the matter, Tony? Am I in your way? Yes, you're in my way and in Bobo's way. Oh. Oh, a big ol', a capital ol', like a rope around Bobo's neck. Did you ever hear of a guy named Pop Kelly? Kelly? Yeah. He was murdered the other night. Choked to death. Yeah, I remember. So what are you going to tell me? Bobo did it. I didn't say that. But I know a guy who could have done it. For a long time, this guy and me were buddies. He was a very expert dock worker. And up north in Frisco or Portland, he could make a lot of dough. You listen to him? I'm listening. Well, it wouldn't be so good if someone picked this guy up for murder, would it? If you're trying to scare me, I'll... Maybe he did it, maybe he didn't. Who knows? Outside of me. He knows. Oh, no, no. Just me. That's the way he drinks. He don't remember a thing. And that's why I say you're the one to beat it and leave my buddy and my put out of here. Yeah, yeah, I'll tell him. Yeah, maybe you'll have to because maybe he don't know about it yet himself. Go ahead. Tell him. Good luck, Bobo. Thank you. Yeah, we'll do it again. Goodnight. Bobo. What do we do? Wake up? Yeah, I just didn't have a thinking. You all right? Mm-hmm. Just wasn't sleepy that long. Thinking about a wedding? Yeah, yeah, that's it. I'll get the license in the morning. Say, uh, we got anything to eat? Eggs. Well, if I can keep awake that long. Bobo. Yeah? Who's Tony? What's he to you? Has Tony been here? Has he? Oh, no, I was just curious, that's all. You're sure that's all? Bobo, I... I said I wanted everything right between you and me, didn't I? Listen, Anna, I'm a pretty strong guy, see? Even when I was a kid, I was strong. My hands, my hands, they... They made me a lot of dough working on the docks on boats. They made me a lot of trouble, too. Because when I get a few drinks inside of me, I can't remember what I do. You mean like fighting? Now, let me finish. Two years ago, Tony and I, in Norfolk it was, I started drinking. I got into a fight. This other guy came out with a knife. I got my hands on him. It all mixed up in my mind. All I know, Tiny got me away. Maybe now you understand, I have to know where Tiny is all the time because Tiny's no good. And I can't trust him. And that's all? Now he wants me to go up north. That's the way it always is. I got a job and slipped him a few bucks to keep his mouth shut about the guy in Norfolk. Just enough so he don't have to work. And that's all, Bobo? Yeah, that's all. And I'll talk to him. I'll tell him about you and about us. We could still give him money, not much maybe. Oh, don't worry, I'll fix it. Tiny don't mean to be a heel. Well, I'll go inside and fix you something to eat. No, I've changed my mind. I'll see if I can find Tiny now. You'll be okay here. I'll leave Gus with you. Sure, everything will be all right, Bobo. We'll fix it. A bride and groom, huh? They'll fix everything. I mean it, Bogart. Sure, kid. Good night. Good night, darling. Before the acquisition of identification, this is CBS, the Columbia Broadcasting System. Mark Hellinger and our stars Humphrey Bogart and Virginia Bruce will be back with Act 3 of Moontide in a moment. What's so interesting in that paper, Libby? It says here that a large department store found it had a few silk slips over five years old and you should have seen the rush to buy them. We women certainly are funny. How this time? Well, silk is mighty nice to have, but you can get lovely rounds at half the price. And lingerie designers are doing wonderful things with rayon these days, cutting it cleverly and adding pretty lace and delicate handwork. Is rayon easy to care for? Yes, indeed. Simply treat it the way you would silk. Wash it the luxe way and you get grand results. Some women think rayon can be treated any old way. Washed in hot water with a strong soap and handled roughly. But if they just lucked at the way they would silk, those very same rayons would stay color-fresh and lovely three times as long. That's a pretty big promise, Libby. Maybe you'd better explain how we know lucked on these stay lovely three times longer. Well, a famous laboratory proved it. Slips in 90s that were washed the wrong way look faded and drab ever so quickly. In some cases, shoulder straps were frayed too and seams burst out. Yet identical slips. Wash the gentle luxe way with mild luxe flakes and lukewarm water. Look lovely even after 30 washings. The colors as fresh and attractive as ever. So if you want to be thrifty and have pretty undies too, just give your rayon safe, gentle luxe care. We return you to Mark Hellinger. Having been longtime friends with Humphrey Bogart and Virginia Bruce, I'd like to introduce them to you, as they are in real life, when our curtain falls. Now, here's Act 3 of Moontide, with Bobo played by Humphrey Bogart and Anna by Virginia Bruce. It's long past midnight in the town of San Feliz. Through deserted streets, Bobo makes his way back to the date bind. His search for tiny unsuccessful and curling up on the deck next to Gus, he's soon asleep. But in town, a light still burns in the Red Dot saloon. Charlie the bartender, Henry the Chinese, and Noxy the Night Watchman, are listening to the radio. Don San Feliz's way, the murder of Pop Kelly, is still unsolved. Police have a number of clues, but as yet have made no arrests. The strangler remains at large. Commercial fishermen report fair catches of barracuda. Turn it off, Charlie. Would the monster work? Yeah. Police have a number of clues. Do go Bobo, go home. We have good time if Bobo stay here. I don't know, don't even say hello. Just comes in, looks around and goes out again. I think he's looking for somebody. You think his girl leaving? Leave him. They're getting married tomorrow afternoon. Tomorrow is now the day. Look at the clock.  Toast? Toast, he says, by all means. I'm going to the wedding, yes. Yes, me too. Myself, I'm to be best man. How do you like that? Best man and everything. Sorry, miss, I'm just about to close up. Well, that's okay. So they're health, gentlemen. They're health and happiness. Oh, very good. Well, come on, miss, what's yours? I'm going to close. Well, I want to think it over. You want? Hey, hey, that's right. He's a buddy of yours, isn't he? Who is? Bobo. We were just talking about Bobo. Why, Charlie, where are the pretzels? You good friend of Bobo? You don't know why? Charlie, let's listen to the radio again. Listen, funny look. And are you trying to change the subject? Me? What's this about Bobo? What's he fixing to do? Well, he's just getting married, that's all. Married? Him and that hash hustler? Yes. And the best of luck to them both. Sure. Sure. Only Bobo ain't married yet. And he's a mighty changeable guy. Especially if a friend whispers a word or two in his ear. Yes, sir. Mighty changeable guy. Nutsie? Why, yes, Bobo. What's the idea of staring out here? There's a party going on. I, uh, I thought I'd wait for the minister. Yeah, it's about time he showed up. How's Aaron? Yes, he's kind of excited, I guess. He, he looks swell. Bobo, did you ever think about that breakwater out there in the Bay? Huh? I was just looking at it. And now I know why they call you Nutsie. Look, I'm getting married.  On the far side, the ocean side. The sea grumbles and roars and beats its fists against the rocks. But on this side, there's serenity and peace. And there's salt moss on the rocks. That's what you mean to that girl, Bobo. Well, all inside, huh? How'd you squeeze them all in there? Now, I know how, how those sardines feel, having that cannery. And how do you feel? I don't know. Good, I guess. And why do we have to have all those people? They're your friends, Bobo. Besides, they brought presents and brides like presents. Hey, look. Huh? Well, that's Dr. Brothers' cruiser, isn't it? Yeah, listen to that engine. I know what he wants, but I'm not going to do it. Hey, I've done it again. Fuel line? I got my eye up here. Sure, if you want to. Run so well, I got careless. I'll have to ask you to help me out again. I'm sorry, Doc, but I'm not working today. Oh, party going on, eh? Kinda. I'm getting married in a few minutes. Well, congratulations. The young lady the other day, Anna? Yeah. Well, I hope you'll be very happy. Thanks, Doc. I'm really embarrassed. I'm afraid I can't very well get out of here now. Do you mind an uninvited guest if I behave myself? Ah, come on in. Bobo, here he is, the minister. He's coming down the footbridge. We're all ready, Mr. Wilson. All right. Everybody, quiet. Here comes the minister. Well, well, well, this is the groom. Yeah. Five more minutes, and he just won't. Then I'll put him out of his misery at once. Anna? Yes, Po Po? You ready? I'm ready. Well, I guess we can get married then. And send it together in holy wedlock, and have witnessed the same before God in this company. I pronounce that they are man and wife. May the Lord mercifully look upon you. Amen. Oh, my love, I love you as well. Grandma. Hey, Doc, Doc! Wonderful party, Bobo, wonderful. Hey, look, I've changed my mind, Doc. I'm a married man. I can use a few bucks. You take that boat of yours out right now and fix it.  I won't take any longer. She wants me to do it. Anna says it's OK. All right then, let's go. A little after eight? Crazy. Where's Bobo? The job took a little longer than he expected. That's all. You'll be long, President. You're not scared. Of what? That's what I mean. I'm perfectly safe here. Bobo's dog won't let anyone get near me. By the way, where is Gus? He's not on deck? No. Bobo thought he might take a piece out of one of the wedding guests. He tied him up somewhere. That's still all right. Besides, Bobo will be back soon, like you said. Sure. Well, good night, Anna. I've got some doors to try. I wish you to all the happiness in the world. Thank you, Nancy. Thank you for everything. You're smiling. You're beautiful. Every time I come here, he's gone. Where is he? Bobo? What are you? Drunk? What do you want, Tiny? Want? Where's Bobo's wedding, is it? Nobody asked me. His best friend, that's all. Well, I'm here anyway, so how about breaking out a drink? Help yourself. Where's the dog? Why? I said, where's the dog? I don't know. Tiny, I've got something I want to talk to you about. Yeah, we got married today, Bobo and me. And we want to stay here. We want to have a home, see? Who don't? Bobo's always helped you out, hasn't he? I mean, well, money. Go on. So if that's what you wanted, wouldn't make any difference where Bobo was, just as long as you got it, would it?  So much a week, money. Maybe not a lot, but then you wouldn't have to stay around here, would you?  Well, I know you're not, Tiny. That's what Bobo said. Bobo ain't so dumb.  Dear Tiny, listen to me. You've got to understand. You're going to be smarter not. Oh, Tiny, don't! Don't! Hard to get, huh? Wait till Bobo hears about you, Tiny. Get fresh. And who's going to tell him? Answer me that. Who's going to tell him? I'll tell him. Oh, did you forget already? We've got a secret about Bobo, a big secret. Get out of here. Would you want to break that secret? No, no, no. Please, Tiny.  Bobo killed Pop Kelly. I know it. And now you know it, right? I don't know. You know it all right because I just told you. Wait a minute. You know so much about what Bobo did. Where was his dog? Where was Gus? Where was his dog when? When Pop Kelly got killed. That dog never leaves him. If Bobo fights, the dog fights. He told me, the dog fights for Bobo. So why wasn't he bitten, that old man? Why didn't the paper say he had dog bites on him? You know so much. Because Bobo didn't kill him. Because Bobo wasn't even there. He wasn't there and the dog wasn't there. You're crazy. You don't know nothing about it.  You know so much. Well, now I know why you do. Because you were the man who killed Pop Kelly.    You killed him. All right, I did. And now what do you think I'm going to do? What do you think I've got to do? Do you think I can let you tell that to the cops? Do you? It's too bad, baby. It's just too bad. I'll drift into the bar, Bobo. You can just jump over. All right, you've got to have a drink. One drink is my wedding. All right, then. One drink. But then I go. You bet you do. Give me the line. I'll tie her up. And why don't you leave a light on? Anna, it's kind of late, Bobo. She might have dozed off. Bobo, here. And I want you to take it. It's $50. Part of it's a wedding present. Well, now, wait a minute. $50. But don't argue. And if you still want me to have that one drink, well, I'll take it right now. Wait, wait a minute. Hey, what's that? What's what? There. Buy on the deck. Forget... Anna. It's Anna. Good Lord. Anna. Anna. Get a light. Hurry up. I got the flashlight. Doc. Doc, it's blood. Get in the boat and start that engine. Doc, is she dead? And she... No, Bobo. But we've got to get her to a hospital right away. You better take... Make better time by water, Santa Cruz. I left her here. I left her here alone.  So back, Bobo. I've got to be very careful. Stop that engine. Dr. Brothers said you can come in now. Thanks. Are you the nurse that... I'm sorry. I just came on duty. Oh. This door? Yes. Come in, Bobo. Doc. She's still unconscious. She's... Can't you tell me anything? I know nothing for certain. I... I've sent for a specialist. Oh, thanks. Before she went under the anesthetic, she tried to say something. I couldn't quite get it. Tiny... Tiny something. Tiny? Yeah, it sounded like that. Does tiny mean anything to you? No. No. You're tired out, Bobo. There's a room here. You can read. There's something I got to do. It may take me a little while. I'll be back later. Bobo. I'll be back later. Hey, would you look who's here? The pride room. Hey, Bobo. Tiny here. You seen Tiny? No, but... Hey, hey, Bobo. Where you going? What's the matter, Bobo? Hey, Henry. Bobo. Come in, Bobo. Come in. Henry, you seen Tiny tonight? No, see Tiny. Something wrong, Bobo? I gotta find him. I got to find him. A few minutes ago, Bobo, sitting on the rocks in the breakwater. He's pretty drunk. Thanks. Wait a minute. Why aren't you at the bar?  Understand? Yes, Bobo. I understand. Bobo. Come here, Tiny. Bobo. Bobo, it was an accident, Bobo. She felt you. Come here, Tiny. I didn't do it. Won't you listen to me? Won't you believe me, Bobo? I'm coming, Tiny. No, Bobo. No! You'll get nowhere running, Tiny. You've got no place to run to. There's only the rocks and the ocean and me. I didn't do it, Bobo. I didn't do it. And what are you running for? Bobo, no, no, no. That's as far as you can go. Which is it, Tiny? Me or the ocean? No, Bobo. I can't swim. You know I can't swim. Me or the ocean, Tiny? Bobo! No! Bobo! There's the sea's wild on this side, Bobo, and very deep. Yeah. Let's hope it can cleanse his soul. Where have you been? How is she? Better, I think. Specialist. Please, can I see her? Please. Go in, Bobo. Only a moment. Anna. Bobo, Don. What happened? Come on, I don't talk, honey. You're going to be all right. I hurt you. Don't leave me, Anna. Please don't leave me. I'll never leave you, Bobo. Bobo, she's in no condition to talk to you. Okay. You've got to rest now, Anna. But I'll be here. I'll be here. Nurse. Yes, doctor. The specialist was here while you were gone, Bobo. She's going to live. Doc, you understand it may take weeks. Months, maybe. What? Oh, she's going to live. She's... Oh, God, I... You don't think it works to pray, Bobo? Only a heart. And I think you've got that. Welcome home. Come aboard. Oh, nothing. Bobo, look. Oh, God, it's all different. Sure, that blue and white paint. Bobo, let me walk. Please put me down. I want to walk to it. I said you've got to take it easy. And flowers. Flowers in pots. Oh, that's Nazi there. I draw the line of geraniums in pots. I kind of worked on the curtain some too. You see, I have lots of spare time, Anna. Bobo, if I could only walk. Next week, he said. Maybe you could try next week, he said. Well, you're home, Anna. Here, this chair, it's your special. He got it for you all the way from Prisco. Well... Well, goodbye, you two. I've got to try some doors. See, Nazi, it's just 10 o'clock in the morning. Well, I've got to make sure they're all open. You happy, Anna? I'm so happy I could cross. Tomorrow I'll show you everything. Where you sit on the deck and taking the money and where you run the whole business. Bobo. Yeah? In a way, I'm glad I couldn't walk because you carried me over the threshold into our home. That's good, huh? That's wonderful. Oh, bride and groom, that's us. Forever, darling. Yeah. Forever. Our stars return for their technicals in a moment. Now, maybe I shouldn't tell you, but I know a lady who has eight pairs of nylon stockings. She comes from Memphis, Tennessee, and she writes... This month will mark the third anniversary of my last purchase of hoes. Two pairs of nylon. Prior to that, I'd bought six pairs, and those eight pairs, representing all the stockings I own, have been in constant service for three to four and a half years, and are still in good condition. My friends have been so astonished by this remarkable record that I thought you might be interested too. For here's a secret of the whole thing. From the very first day I got them, I have carefully washed each pair in mild and luck suds immediately after wearing. By always sticking to that routine, I have saved a considerable amount of money, and am also the envy of many friends. Friends who probably wish they'd lucked their nylons while they still had them. Actual strain tests prove how much longer stockings last with lucks. Silk, nylon, cotton, and rayon stockings were subjected to rigid tests, and those tests proved that stockings washed with a strong soap or rubbed with cake soap went into runs quickly. With lucks flakes lasted ever so much longer.  Our stars return for their curtain calls with Mark Helinger. Our thanks to Huffry Bogart and Virginia Bruce for delivering such great performances in moon time. Thanks, Mark. But with John O'Hara's fine screenplay, how could we lose? Well, I'm glad to hear you say that, Virginia. Shakespeare was right. The play is the thing. Don't you agree, Bogie? Now, you go argue with Shakespeare. By the way, Mark, picture you're producing for Warner Brothers now with Bogie as one of your stars. That was a famous play, wasn't it? Yes. The Two Mrs. Carols. A psychological murder story. How's the script? Well, it's not for me to say. You read it, Bogie. What do you think? Well, I was scared. It saves me right for asking. You know, Bogie's pee, Virginia. I've just yanked him off his boat right to work. And when Boss brings Bogie from boat, Bogot begins booting. Maybe he thinks you're working too hard. Working too hard? Why, when he leaves here tonight, he has nothing to do until 7 o'clock tomorrow morning. Yeah, how can we kill a few hours? Say, Bogie, what's the name of your boat? Sluggy. Sluggy? That doesn't seem right for a boat. Sounds more like boxing. So what? Did you ever hear of boxing the compass? Oh, Bogie, boy, Bogie. Reef your sails, my boy. I'm afraid Virginia isn't very, shall we say, nautical. Oh, I don't know. I have my moment.  Do you know how to tell the starboard from the port? Sure. Read the labels on the bottle. Virginia, I think you'd better stick to horses. I understand you have your own riding paddock down in Santa Monica. Yes, I love to ride, Mark. But why don't you make a deal with Bogie? He'll take you sailing. You take him riding. No riding for me. I'll stick to my boat. Oh, but Bogie, you can't get seasick on a horse. I might get seasick on my boat, but at least the next day I can sit down. Bogie, Mark told us before that you used to do comedy in the early days. Were you a good comedian? Well, that's not for me to say. You saw me, Mark. What do you think? I was scared. If you really want to know how I was as a comedian, Virginia, I laid an egg. Hard boiled. Hard boiled is right, Virginia, and that's the way he stayed with no complaints from anyone. Well, I see now that our time is nearly up, and I want to tell you what we have for next week. Good. Let's have it, Mark. Our play is Paramount's intriguing story, Sing You Sinners, and our stars, James Dunn, Joan Caulfield, and Bing Crosby. I don't blame you. We all feel the same way about Bing. Sing You Sinners is a play that Bing himself is eager to bring you. Only because the music is his kind of music, but because the play itself is one you'll love. The story of a happy-go-lucky family whose knack of getting into trouble creates plenty of laughter, excitement, and suspense. I'll take anything with Crosby in it, Mark. Good night. Good night, Mark. Good night, and thanks to both of you. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Bing Crosby, Joan Caulfield, and James Dunn in Sing You Sinners. This is Mark Hellinger saying good night. I'm Hollywood. Any one vital shortage of supplies can postpone victory in cost-American lives, and today there's a dangerous shortage of waste, fats, and greases. Save every drop that comes from your kitchen, no matter how burned or blackened. Strain them into a clean can, rush them to your butcher. He'll give you two red ration points plus four cents for each pound. Moon Tide from the novel by Willard Robertson was presented through the courtesy of 20th Century Fox, producers of the 30th anniversary Technicolor picture, Billy Rose's Diamond Horseshoe. Humphrey Bogart can currently be seen and worn about his production of To Have and Have Not. Virginia Bruce will soon appear in the Republic picture, Love, Honor, and Goodbye. Heard in tonight's cast were Sy Kendall as tiny, Norman Field as nutsie. Our music was directed by Louis Silvers. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. And this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Sing You Sinners with Bing Crosby, James Dunn, and Joan Caulfield. It's strawberry time. Now treat your family to luscious strawberry chiffon pie. Tender, delicate shortcake made the spry way. Clip sugar-saving recipes from Spry's Ed and Leading Women's Magazines for May. And remember that big word for baking and frying success? Sprite. That's right. Pure, all-vegetable shortening at its creamy best. S-P-R-Y. Be sure to listen in next Monday night to the Lux Radio Theatre presentation of Sing You Sinners with Bing Crosby, Joan Caulfield, and James Dunn. This is CBS, the Columbia Broadcasting System.