Hello, hi, welcome back to my channel. Welcome to another video. We are finally getting around to filming my second year uni house tour. I will preface this with, it's not quite finished. You will see. It's also not the most luxurious house you've ever seen in your life, but I'm a uni student, so I don't really know what else. You were expecting, but yeah, there's some bits that aren't finished, but we've been in here for a month now, so I couldn't really put it off much longer, to be honest. I don't know where to start this video. I'm going to start it outside, but I'm a bit scared about going out there, because a lot of uni students live around here, and if someone sees me filming this, I'm going to be really embarrassed. So we're just going to start at the front door. So yeah, it's a four bedroom house, but there is only three of us living here. You will see why when you see the fourth bedroom, because it's not lovable. We pay £1,400 rent a month, not including bills. Obviously in other places of the country, you could definitely get a house for that price a lot nicer, but technically this is a uni of London, even though we're definitely not in London. And also we're really close to Virginia Water, which is one of the most expensive places in the country, so that's why it's pretty expensive for what it is. But anyway, I will show you. So you walk in. This is our corridor, what do you call it? Hallway? It's dirty because our hoover doesn't work. And this is the first door on the right, and it's just a little downstairs toilet. Really tiny. These pipes are so attractive.  It's really weird. Anyway, walking through the corridor and you walk into our kitchen, it's pretty good size to be honest. I mean, there's like a lot of counter space. This is very random. So we have a mini fridge here and a mini fridge here. And then in the lounge is a big fridge. Doesn't really make much sense, but that's how it's laid out and it's quite good. Like there's so much fridge space.  Anyways, stove, obviously oven. This is my favorite thing in the house. My Nespresso machine microwave. That's my iced coffee from earlier that I haven't washed up yet. The washing machine is in the kitchen. And then this little storage space. And then obviously storage space downstairs. Nope, not downstairs down here. And this looks out into our garden. And if you can tell that is our back gate that is really well attached and hanging off its hinges. So anyone want to walk in, feel free and we'll show you the kitchen. I'll show you the garden a little bit better out of these doors. But this is how the lounge like attaches to the kitchen. So it's pretty open floor. Obviously got this little like walkway here and then the wall there. So it's like half and half. I mean, it's basically the same room. This is what the lounge looks like. Obviously bins there. L shaped sofa, which is really nice. A little coffee table. It's not actually a coffee table. It's like a, I mean, it's I don't know, cabinet thing, but we use it as a coffee table. Very interesting wallpaper, which is very badly applied, but whatever. Dining table and four chairs, obviously. Beautiful curtains that probably nick from your land's house. And then these are the back doors into the garden. So a little patio area. Obviously we don't have any outdoor furniture because we throw the old stuff away. Grass shed that has no door on it. And then that goes outside. A mirror. Hey, there's some laundry hanging up and uni stuff. Yeah, that's pretty much the whole lounge. There she is in all her glory. I mean, to be fair, like considering there's only three of us living here, like it's a pretty, it's a pretty good space. Like the kitchen's big enough for all three of us to be cooking at the same time. Although one of the rings on the hob doesn't work, which is really annoying. But there's a common theme in this house of things not really working. But yeah, like it's a good size sofa, obviously dining table, which not all uni houses have. I've come to learn. Table's also broken, but whatever. Anyway, back down the hallway. So my bedroom is downstairs, which is a bit weird, I will be honest, but whatever. I'll show you it. So yeah, this is the downstairs bedroom, which is mine. So this is obviously my bed. The blankets, I know I thought it would be cool like throwing them across the bed, but it looks a bit weird. That's my cat Ferrari, because I miss my little Porsche at home. But yeah, this is a very strange bed. Like you can see how low to the ground it is. And it's shaped, like we always call it a racing car bed, because it's really weird. But I don't know, it works. Some pin boards. This is from a club in London. But I actually need to like put some photos and stuff on these. I don't really know what I'm going to put on there, but we'll figure it out. Bedside table. My little gray lamp is from Tesco's. And this little picture of me and my friends at prom that I had in my old uni room. And it works. Can you tell my favorite color scheme? Maybe? Bedside table, obviously IKEA. My handbag. This suitcase is normally upstairs. You'll see where we keep all of our suitcases and stuff. But I've just been home for the weekend. So that's why she's still there. And then this ruins my aesthetic. This is my wardrobe. So it's right like behind the door. If you know me, you'll know I acquire quite a large collection of clothes, like I have quite a lot. And this is a very small wardrobe compared to what I'm used to. Not complaining. Just I've had to like cut down my clothes a lot. So obviously most of this, these are like hoodies and then crop jumpers and then obviously dresses. At the bottom of this, I need to explain because this is not always going to be here. Basically, I didn't have a desk when I moved in. And then after a month of asking my landlord, this is what he came up with.  So I think what I'm going to do is try and get a chest of drawers, like a white chest of drawers that matches the exact same height of the desk. So I can kind of just use it as storage because at the moment it's holding all of my makeup and everything, which is fine for now. But like, I'm going to start uni soon. And this stuff is all like actual uni stuff on a PLT package that needs to like go in my desk storage, but I just don't have any. So it's sitting in there for now. And then on top, we've got three storage bins. I always get loads of questions about where these are from. They're just from Amazon. Behind the door is my ring light. Back of the door, we've got my dressing gown.  Anyway, then next to the door is this massive chest of drawers. Obviously Ikea again, where all my clothes are. And on top, this is like a starry thing. It looks really cool when it's on, except I can't use that plug because that is very dangerous. And also I've lost the remote for it. So I can't change the color. Just really annoying. So if anyone has any ideas, let me know. Loads of toiletries, kind of fake tan, hairspray, moisturizer stuff up here. Draws. So the top drawer, we've got underwear, obviously. I don't know if I should be showing that, but there it is. Second drawer is all of my tops, kind of organized. So these are like little vest tops, you know, the Zara things. These are more like clubbing tops, long sleeves, summery things, corsets, and then like even more inappropriate corsets. Then we have jeans, which barely fit in.   Shorts and loads of skirts piled up. And then in the final one, again, really full pyjamas, tracksuits. One of them doesn't fit, so she gets laid down there. And then like normal trousers. Then I have this massive window, which looks out onto the road. I mean, I like the natural light that gets to come into the room. I don't quite like the fact that it literally looks out onto a public street. And then this is my pathetic excuse for a desk, which is just a vanity at the moment. And then this is the drawer. Obviously all my makeup, these storage dividers are also from Amazon. And then next to my desk, I have this big full-length mirror from IKEA. Obviously it's going to go on the wall there, but again, command strip issue. I need to buy some rubbing alcohol to put on the wall first. And then a little shoe rack right down there that has just some trainers that I don't usually wear and boots. And then this thing, which I haven't quite finished decorating, but I want to make it a look a bit prettier than that. But obviously it's got like handbags and perfume and sunglasses and heels. Okay, and then we go up the stairs. And this is the bathroom shower room. So there's the shower. It's one of those really nice ones. These are very helpful if you need shower storage, because they just suction onto the wall. IKEA, very good. Hey, can you tell that girls live here? I mean, this isn't even half of it, to be honest. But this is the bathroom toilet and then our little extra storage of stuff here. I don't think there's anything else to say about this room. Okay, then this is the second bedroom. So this is Sophie's room. Obviously they've given me permission to film. She's again got a really nice big window, little pinboard up there, her desk, much by the size, although her chair is just as bad. And this is her bed, obviously. He knew we were coming to live here clearly. She's got this massive shelving unit on her wall. Again, chest of drawers with all her stuff in it. Won't show you that, don't know if she wants you to see. And then this is her wardrobe in a cupboard. But it's an all right size to be fair. It's just annoying that she can't really hang stuff up there. And I think that's what I've got to show you about it. And then finally, the master bedroom, which is Sophie's. So that's her desk, massive. And then she's got a massive, that same chest of drawers that Sophie has. Again, massive windows. She's a bit more organized and has a shrine to her boyfriend. We won't look at that. She's a planner, clearly. But can we just have a look at this? Because what, how unfair is this? Look how big this girl's wardrobe is. And then this little bedside table and her bed. You might be able to notice that her duvet looks a bit small because the girl has been using a single duvet on a double bed for two years now. So I don't really know what she's doing. Okay. And finally on this lovely tour is the reason that we do not have a fourth person living here. Wait till you see this lovely bedroom. Obviously it's very tiny and it smells like so grim in here. Probably because of this mattress. Looks like it's been rotting as does the wall. The whole thing is like musty and horrible. This looks like it was like made in the 18th century or something. I don't know what that is. Honestly we just keep like our suitcases obviously and ironing board, iron, drying rack stuff in here. And this massive animal that show for one at Thorpe Park. I mean why did she bring that back? I don't know. But seriously for like where this house is and how expensive it is, I would not be paying anywhere near the rent we're paying to live in this room. So when we got the house we just knew we would use it as like storage and it works well for that because where else are our suitcases gonna go you know.  But anyway that is our house. I think that's the end of it. If you guys have got any questions let me know and I will try and help. I don't really know. But anyway we're pretty happy with it. Obviously there was some very big issues at the beginning most of which have been sorted now and yeah that's it. If you guys enjoyed this video please give it a thumbs up and subscribe if you aren't already and there'll be more uni content coming your way soon.


Lux presents Hollywood. The Lux Radio Theatre brings you Frenchotone, Miriam Hopkins and Baxter and Chester Morris in The Hard Way. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Ambition can be a wonderful thing and a terrifying thing. It drives men and women to magnificent achievement and to frightful destruction. That's the stuff good drama is made of. And tonight we have it in the Warner Brothers picture, The Hard Way. This week the names of four artists blazed brilliantly on the marquee of the Lux Radio Theatre. Reading from left to right, those names are Frenchotone, Miriam Hopkins and Baxter and Chester Morris. The Hard Way is a drama of tempestuous emotion. We'll go backstage into the life of the theatre behind the scenes of glamour to discover what one woman's ambition can do to those she loves. There's always a fascination for me in the story of the theatre. All my life has been spent there from the time I was six or seven years old and hung around backstage watching my father and David Bellasco at the business of staging plays until these latter days when Lux Toiletsope has made it possible for fine radio drama to reach an audience father and Bellasco never even dreamed of. There's no greater thrill than watching young people climb the heights and the thrill that comes when a new actress makes a dark, cold theatre vibrate with life or when a screen test reveals some radiant new personality. Even the novice seems to know how much of that radiance depends on a lovely complexion and like millions of you finds the solution in three little words, Lux Toiletsope and three other words curtain going up launches the first act of the Hard Way starring Miriam Hopkins as Helen, Frenchotone as Paul Collins and Baxter as Catherine and Chester Morris as Albert Runkel. What do you say, Doctor? Is she going to live? I can't tell yet. Are you sure she jumped in the river? Sure. We've got a couple of witnesses. Why should a good-looking, well-dressed woman jump off a bridge? If I knew how to figure names, Doc, I wouldn't be a cop. Did you get anything on her? Only that her name is Helen Chernan and she's from Green Hill, Pennsylvania. Well, I'll stop in a little later and I'll let you know what happens. Why should she do a thing like this? Why? Why did Helen Chernan leap from a bridge into the black waters of a New York City river? Well, the answer starts ten long years back in a coal mining town called Green Hill, Pennsylvania. It was the time of the Great Depression, but girls were still graduating from high school and graduation meant a new dress, something very special, lovely and white. Don't you understand, Sam?  I do understand, but I just haven't got the money. Look, I know Catherine's my sister. I know she shouldn't be your worry, but I'm the only one the kid's got. We ain't even got eight bucks for the things we really need. Oh, look, Sam, she's beautiful. She's alive. And when something is that beautiful, Sam, you've got to take care of it. I tell you, I just can't do it. Ah, you're tired, man.  Well, I'm not personally responsible for the depression. And it ain't so easy to change things. You ought to know that. You walked out of me once, didn't you? But you came back. Now, all I want is...  Don't throw it up to me again. At least I try. Okay, okay. Go on. Try it again. All right. Maybe I will. I wish I was dead.  So you didn't have a white dress, but you graduated just the same, didn't you? Oh, look, baby, I'm going to get you away from all this. Yes, you're going to be ryeing high.  If it's the last thing I do, I'll get you out of here. Yeah? How? Well, maybe I don't know just now, but the chance will come. Katie, you've got to promise me one thing, that you'll handle yourself right. Oh, don't get taken in like I was. I'd promise anything to get out of here. That's it, honey. Say, you've got a date tonight, haven't you? Yeah. Johnny Gilkin. Where are you going? Helen, if you couldn't fix things for yourself, what makes you think you can for me? Well, baby, you've got something I never had. What? You've got me to guide you. And you've got natural resources. That's better. Cheer up. You'll have a swell time tonight. What's yours, Katie? Oh, banana split. Banana split. I know, Johnny. Hey, there's Katie. Hiya, Katie. Hey, Katie, come on back here and join us. Come on, Johnny. You were just talking about what we're going to do now that we're through with that tripping high school. Yeah, what about you, Katie? What are you going to be? I don't exactly know. I may go on the stage. On the stage? We just come from the Orpheum, so now she's got to go on the stage. Well, it just happens, I think the stage is wonderful. And it just happens that I can act as good as they do. Just listen. Presenting Runkle and Collins, a pair of sophisticates. Who's a pair of sophisticates? A couple of ham actors we saw tonight. Runkle and Collins. Am I blue? Am I blue? Hey, Paul, I think I'll have a chocolate ball with these apples. Well, will you listen to that? Yeah. Say, she's kind of cute, ain't she? Kind of fresh, too. She sure seems to know our number. How do you like that? She said that kid's got something. Well, let her keep it. Say, she must have seen us at the Orpheum, huh?  Want to mean you? No, no, I kind of lost my appetite. Get them all. You're going to need your strength. Till today, now he's gone and we're through. Am I blue? These are the guys, Katie. The guys from the Orpheum. I know it. Well, thanks, but I think I've done enough. No, no, go on, do the second court. Oh, you're very nice, but I... Well, now, wait a minute. Why not sit down over at our table? Well, I'd like to... We need to think out the time, Katie. I got to catch that last trolley. Well, goodbye then, Johnny. Oh, now. Oh, gee, Katie. Well, dog gone at goodbye. Goodbye. He's very young and foolish. And besides, you've got real talent. It hits you just like a... Well, like a sledgehammer. Am I right, Paul? Like a sledgehammer. Tell me, Miss... Blaine, Catherine Blaine. Do you dance, too, Miss Blaine? Oh, sure. Say, I bet you do imitation. How'd you know? W.C. Fields, Hazoo Pits, Maywest. Oh, yes. No limit to this girl's talent. I'll tell you what, let's go back to the theater. Sure, you can have the whole stage here and had your malted milk. Well, boy, what do you have? What do you say, Miss Blaine? Do we stay here or go to the theater? Let's go, quick, before I change my mind. What about you, Mr.... Me? Hey, wait a minute. What are you doing tonight? Oh, now, listen. You're the nicest girl I've met since I left Nebraska. He's just kidding, Miss Blaine. Oh. I'm just kidding. Well, shall we go? Sure. Come on, Paul. That's Paul for you, Miss Blaine. Always kidding, but what if... Oh, what if... That was wonderful, Miss Blaine. It was swell. Oh, sensational.  You say you saw me tonight. And what did I do? I sold them, see? Now, look. Hi, folks. Hello, folks. I didn't get the teeth, you see? I'll tell you how are the folks. How are you, see? Oh. Sure, sure. Sell them all the time. That's me. Now, uh... Now, suppose you take the entrance over again and just remember you gotta sell them. Well, if the working girl arrives on schedule, Mr. Collins. Okay, let's go. Hey, don't you ever get tired? Miss Blaine? We're not gonna wait around to find out. Say, what's your name, baby? Say, that was swell, Katie. Just a little more training.  I know. It's three o'clock. But if you just let me explain... Explain what? You let some fella pick you up, didn't you?  That's not so. Something wonderful happens and everybody tries to... You don't know what you're talking about. Nothing nice has happened to you. You're only making a lot of trouble for yourself. Tonight's been the best night I've had in my whole life. I danced on a real stage. I sang. He said I was wonderful. Who? Who said that? The guy I just told all? Yes, and his partner, too. Ruckle and Collins. They're real professionals. The one who brought me home is Albert. Albert Ruckle. He looks like a farmer. Well, he's a very important man. He says I got more talent and stuff than any of them. Katie, what? You think he really likes you? Well, he said he's been missing something for the last ten years. Since the night he found out what it was. It was me. And you? What about you? Do you like him? What do you think? I see. How long is he going to be here? Three days. He said he couldn't bear the thought of leaving me. He wants to see me tomorrow night, too, if... If what? If I can get out. But after the way you spoke to him, it probably hates me. I don't think so, honey. And don't worry. You'll get out. Oh, Helen. Yeah, don't worry. Good night, Katie. So, you see, I just didn't know who you were last night, Mr. Unkle. And naturally, the impression I got wasn't very favorable. Oh, yeah, naturally.  What do you want? Well, can I speak to you alone, Mr. Unkle? Somewhere where it's quiet. Yeah. Yeah, sure. I'll look for it. Would you mind if... Okay, I'll beat it. But remember, Farmer, I warned you. Stay away from the natives. Go on. Beat it. He's always kidding. Great guy. Now, about last night, Mr. Unkle, do you think you were quite fair? Fair?  But I do, Mrs. Chernan. I meant every word of it. Mr. Unkle.  She cried. Oh, no. Imagine that. Crying because of me. Look, Mrs. Chernan, can I see her again? Can I see her tonight? They're asking something very difficult. Frankly, I don't think you're very serious. Oh, listen, Mrs. Chernan, every word I said, I meant it. I'm going to tell you something. This may sound kind of funny after seeing Catherine only once, but it's the truth. Mrs. Chernan, I'd lay down on the railroad tracks for her. Do you believe me? Yes. Yes, I believe you. Oh, thanks. And then tonight after the show? Well, all right. After the show then. Oh. Oh, gosh. Thanks, Mrs. Chernan. Thanks. Well, the train's ready to leave.  Oh, Paul, let's talk about us, honey. Boy, will I be glad to get Ronkel out of this town. Love has smitten him like a 10-ton truck. Paul, where'll I write you? Oh, Detroit. But last night, I thought you said Louisville. Did I? Well, I leave from town to town like a train flea. And from girl to girl, I suppose. Hey, Paul, we're here. Paul, wait. What do you mean, we? Step on it. Yeah, well, we'll kiss her, Paul.  Hello, Paul. Right. Sure, it just happened. I convinced her at the last moment. Well, congratulations. Aren't you going to congratulate me, too, Mr. Collins? After all, I gave the bride away. Oh, excuse me. Congratulations, Mrs. Chernan. Well, come on, honey. Let's go, Paul. Tell you all about it on the train. Well, goodbye, Mrs. Chernan. Nice work. Not goodbye. I'm going with you.  I should have known. Oh, goodbye, Paul. Goodbye. So long, honey. You mean right for me and Louisville? Yeah, I will. What? All alone, Albert? Yeah. Yeah, Katie and Paul went out for a sandwich. Yeah. Albert, I've been doing a lot of thinking. You and I just got to do something for Katie. Yeah, what's the matter with her? I'm talking about the act. She's been with you and Paul now for six months. Well, nothing's happened for her. Oh, gee, Helen, she's out of Green Hill. She's married and she's in the act. It seems to me that's a lot for six months' time. I'm trying to tell you, Albert, the act just isn't any good. You've got to put in something to attract people. Oh, now please, Helen. Albert, you've got to have more Catherine in the act. No. No, it wouldn't mean practically all brand new routines. And I'm against it and I don't think Paul would like it either. Well, why are you worrying about Paul? Well, I just don't think he'd like it, that's all. Talking this way behind his back. Well, who's more important to you? Your own wife or Paul, Carl. Now, Helen, that's no basis and you know it. After all, he's my partner. We've worked together for five years. I've got to take his feelings into consideration. Listen to me. Do you think he gives a hoot about the act? I know him better than you do. The act's beneath Mr. Collins. He keeps talking about wanting to lead an orc. He said that for years. And as for the rest, I just don't believe it. Someday he'll pat you on the shoulder and say, So long, pal, it was fun. You'll see. That's not true. Oh, well, but why don't you be smart? If you had any sense, you'd get rid of him first. After all, you don't need him. Well, I just dropped in to borrow a couple of bucks, Albert. Hey, what's up? I distinctly smell something. Come on, Helen, who's getting it now, my dear?  Don't go on it, Paul. That's no way of talking. You know it. Every time you see Helen, you start those wisecracks. Gee, you're no privileged character around here, you know. Well, what's good into you? Well, it's not because she's my sister-in-law. It's just that I'm sick and tired of all this friction. All the cheap, nasty remarks. Well, let's change the subject then. Okay. Where's Katie? Well, she's shopping. She thinks she needs a new dress. Now, you see? That's just what I mean. Now, cut it out. It's just too easy going.  Well, I've stood enough. Now, don't go on it. What does everybody want of me anyway? Well, all I want is a couple of bucks. I got a date with a lady tonight, a genuine lady. That's a novelty. Well, here. Thanks, Ron.  Now, what do you want to do a thing like that for? What does it mean, huh? Well, all right, don't talk then. I'm going to go for a walk. Well, Helen, what started it this time? Oh, I'm trying to get some life into the act. If you and Albert will only give Catherine a chance, like giving us song to do. So long? Sure. All she does is walk through. That's not enough, Paul.  But where's the time coming from? You know the act only runs 12 minutes. Well, if there's no other way, we could cut out on Albert's stuff. Well, it's for the good of the act, isn't it, Paul? We're not really doing him any harm. No, I suppose not. You've got to think of the men in the audience. They want to see a pretty face, a young girl. That's what the act needs a little... You know, Paul. Yeah. Say, I got an idea. Yeah? Maybe we can work it out tonight. Oh, that's wonderful. You know where Albert finishes his first routine and goes to the wings for his quick change? Yeah. Well, you'll be waiting in the wings for him, and just as he takes his coat off... Well? ...take a knife and stick it right in his back. So long, Helen. Let me know when you get some more good ideas. In a few moments, Mr. DeMille presents Miriam Hopkins, Franchotone, Anne Baxter, and Chester Morris in act two of The Hard Way. And now, two young men in blue are discussing something important. Hey, Joe, do you realize this is the last port before we get home where we can do some shopping? I want to get a present for my girl. Got anything in mind? Well, I don't know yet, but it's got to be something pretty special for Mary. Come on, let's go. Joe, I see it. I see it. Say, let me look at those pearl things there, will you? Ear clips, aren't they? Gee, those are swell, Bill. Nice color. You bet. Just right. They make me think of peaches and cream, just like Mary's complexion. Boy, they look wonderful on her. Lovely luxe complexions do get compliments like that. There's something about creamy, smooth, luminous skin that always makes heart beat faster. Screen stars know this, and they're extra careful to give their delicate complexions the right kind of daily care. Here's what Loretta Young, famous for her exquisite skin, says. A luxe girl? Yes, indeed I am. I depend on active-latter facials. They really make skin lovelier. Here's what I do. Cover my face generously with a rich luxe soap lather, and work it in thoroughly. I rinse with warm water, splash with cold, and then pat with a soft towel to dry. Simple, but it works. Yes, recent tests proved that regular beauty facials with luxe toilet soap improved actually three out of four complexions. Why not ask for this gentle white soap nine out of ten screen stars used tomorrow? If you find your dealer is temporarily out of stock, due to wartime conditions, he's sure to have more soon. Remember, Hollywood beauty soap is worth waiting for. Now our producer, Mr. DeMille. Act two of the hard way, starring Miriam Hopkins as Helen, Franchotone as Paul, Anne Baxter as Catherine, and Chester Morris as Albert. It's a long time now since there was a Waterville team called Runkle and Collins. It ceased to exist one day when Paul Collins simply left town and disappeared. Waterville disappeared too, but Helen Cernan was prepared. She fights all the harder to bring Stardom to her sister, and out of her struggle comes an engagement for Katie and Albert in a New York nightclub. In the dressing room after their first appearance, they find an old friend waiting for them. Paul, Paul Golly is good to see you. Oh, Paul, gosh, I'm so happy. I don't know what to say. Yeah, it's been a long time, kid. We kept looking through Variety and Billboard, Paul, but we just couldn't see the location. Strictly small time, baby, that's me. How do you like this dressing room, huh? Well, Runk, well, Katie, you sure killed the people tonight. Thanks. You know, Paul, I got a feeling we were kind of cold tonight. You know, the first time in a nightclub. Oh, it takes time, Runk. How's Helen, Katie? Oh, fine, Paul. She's fine. Oh, you gotta hand it to her, Paul. She's worked her head off for us. And just wait a little more a night, baby. I'm gonna tear the place apart. Come in. Oh, hello, Mr. Wade. Runk, I, um, I happen to hear what you just said. Well, there won't be any tomorrow. Sorry I haven't got time to be selling, but I can't use you. Hey, what is this?  We got a three-way guarantee. You got it. Who told you that? Oh, Paul, hello. Hello, Helen. Hey, Helen, what's this guy talking about? He's right. Tonight was just a tryout. A tryout? I'm leaving. Sorry. Well, boy, you fixed us great. Please, Helen, at least explain it to Albert. Katie, Katie, you mean you knew about this? Of course not. Honest. I did it to help you, Albert. You'd be satisfied to hang around smelly little theaters all your life. Well, I'd tell a lie any lie to pull you out of that. Oh, 11 years in show business and I got an audition. You're not the reason why you're what they do. John Shagrew was out in front tonight. Did you hear that? Shagrew. What, the Broadway producer? You mean he caught us? That's right. Well, for crying out loud, why didn't you say so? He wants you for a part, Katie. Oh, did you hear that, baby? Shagrew liked the act. Albert, Mr. Shagrew wants Katie. Katie? Yes. Well, uh, what about me? There's no part for you, Albert. I couldn't do anything without Albert. I just couldn't. Oh, well, sure you could, baby. It's got nothing to do with what's between you and me. This is strictly business, you see. There's no hard feelings. No hard feelings at all. I'm not going to let you go. I'm not. Oh, now you're worrying about me and I am going to let you. Well, I can always go back with Paul if I want to. Not Paul? Why not? For five years we were a sensation. Albert, look at that.  Katie, I'm glad for you. I think it's great. I... I wish you all the luck in the world. I'll see you later. Hey, wait a minute, Uncle. Now look, that grandstand stuff is silly. You'll keep out of this. You leave that kid with Helen. You'll never see her again. Nothing doing. I've still got my pride.  She needs me. I know she needs me. She'll come back. You'll see. And now would you let me alone, Paul? Would you please let me alone? Oh, Helen, where's Katie? She's dressing. Having a good cry, too, maybe. She'll get over it.  And after you've done something particularly nasty, I'd like to take you in my arms and kiss you.  You're marvelous. A regular machine. No heart, no blood, no feelings. Still, you did have a husband once, didn't you? No. I bet you never were in love in all your life. You're smart. You're very smart. But you're wrong, Paul. You don't know. Oh, Paul.  Oh, Paul. I do know, darling. I've known all along. You can't. I know what you think of me. There's so many things. Oh, there's so many things I've wanted to try to explain to you. I'll tell you what, sweetheart. What, Paul? Right me, honey. Right me and Louisville. Okay, kids, we break. Be back at 8.30. Miss Emery's number. Miss Lily Emery on stage. The number's beginning to look good, Katie. Yeah. I've never on the stage with less than a dozen people. I might as well be carrying a spear. Never mind, baby. Your time will come. Yeah. Well, let's go. I'm hungry. Why don't you run on ahead? I want to hear Emery. Okay. Ready, Miss Emery? Any time. Okay, Joe. What's the matter? Lily, would you please sing a little louder? Whatever you say. Let's take it again. Those men deliberately hammering. Hold it. I'm tired, John. I've been hanging around this theater now for seven hours. You've got to have a little consideration. Sorry, Lily. If you don't mind now, just once more, eh? Well, it's a shame, Miss Emery. An artist like you having to put up with such disrespect. Charlie, Miss Emery will have another martini. Hey, I can't get back to rehearsal. Well, not even. Mr. Chagru seems to have any consideration. My pound of hammers, when I try to rehearse, one smelly little number. It's like using a racehorse to pull a plow. Hey, that's beautiful. Beautiful. That's what I am. A beautiful thoroughbred racehorse pulling a stinking plow. Just so terrible to see it happen to a woman with your reputation, your talent. My talent? What have they done to it? I was a pure blazing light. That's what they call me, my critic. Now they say, tell me the truth, Helen. What are they saying now? Oh, well, Lily, it isn't anything you should take seriously. Go on, tell me. Ten years ago, the men were lined up waiting for me at the stage door like it was feeding time at the zoo. Just ten years ago. Hey, where is it? What, dear? Like cupping. I was a pure blazing light. Helen, right here in my purse. Here are my cuppings that's stolen from me. Everybody's stealing things from me. Oh, well, I'm sure you'll find it, Lily, and then you must show it to me. But now I think we'd better get back to rehearsal, huh? Yeah. It was in the Sunday theater section, and three pictures of me. I think we've had enough for tonight. I saw you shaking your head. Oh, don't just say it, just sorry for me. Nobody said anything of the kind, Lily. Don't tell me.  I do just one job like this, and I wind up in burlesque. And stop that hammering. Nobody's hammering now, Miss Emery. I think she's drunk, Mr. Shiklun. I'm not drunk. I'm not. Ten years ago, the managers filled my dressing room with flowers every day.   Well, I'm through, John.  I'm through. All right, Katie, go on up there. Ask Mr. Shiklun to give you a chance. You know the song backwards. Gee, Helen, don't you think I should wait just a little bit? No, now's the time. Hurry, Katie. Helen, I can. It just doesn't seem right. Then I'll see myself, but you get ready. Ready for what? To take Emery's place in the show. Look, Katie, ten times better than nearly every other dreamer's dream. Thanks. Thanks. The telephone for you, Miss Lane. It's a long distance. Oh, I'll be right there. Albert, you never heard so much applause in your life. Oh, shoot. I will call you Albert, except we're still backstage, and everything's so... Oh, crazy, gee. Hello, honey. I'll come. Gee, Albert, that'll be swell. Who's that? Albert. He's in Philadelphia. Just a second, Albert. Oh, forget it. Well, you have to get dressed. Shabu's giving a party, especially for you. You don't want to miss a minute out of this. Oh, Albert? Oh, gee, I'd like to see you, but I don't even know where I'm going to be in two hours. First, it's so much excitement. Sure, I know how it is. I'll bet you were great. But I was just thinking, honey, that... Yeah. Sure, well, I'll be seeing you, Albert. I sure wish you were here. Well, goodbye. Katie. Katie. Yeah. Well, goodbye, honey. What do you have to say, Runk? Oh, oh, great. They're still important. Isn't that marvelous? They're marvelous. Hey, Albert, I just looked up the cast of a show on the variety, and there ain't a Catherine Ronco in it nowhere. Well, of course not, Catherine Blaine. You... Well, you can't expect her to use a comedy name like Ronco, can you? Look, if you're going to New York, you better get moving. I ain't going.   I said I'm not going. Can't you? See what they're doing to you? Runk, please, wake up. Cut it out, Paul. You leave that girl with Helen another two weeks. She's going to end up a first-rate farmer. What's the big idea, Albert? Slugging your best friend. They're poor sap. Never should have left a farm. I'm looking for Catherine Runkle or Catherine Blaine. They told me at the theater I'd find her here. Well, yes, sir. You just wait until you're here. Albert. I'm looking for Catherine Runkle or Catherine Blaine. They told me at the theater I'd find her here. Well, yes, sir. Wait until you're here. Albert. Albert, what are you doing here? Where's Katie?  And you can see her in the morning. My wife's here, and I'm going to talk to her. She can't talk to you now. Be sensible. You stop trying to tell us what to do. I'm going in there and find my wife. Well, you think it over, Catherine. I'm sure, my dear, you will find her. Think what over? Albert. Who's this guy? What's he talking about? Oh, nothing, Albert.  Who is this big bully? Oh, he's just an old friend, Mr. Winston. I'm not anybody's old friend. I'm her husband. Won't you please stop shouting? Oh, please do be quiet. Katie. Katie, I got to talk to you. Then go into another room and get him out of here, Catherine. Maybe we better go inside, Albert. All I want to do is to talk to you alone. Please let me apologize, Mr. Winston. I should be kind of understanding. I... I'm sorry, baby. I guess I just lost my head. Well, what is it? What do you want? Well, I... I thought up a lot of things to say on the way down here, but... when I look at you, you... you're just so beautiful I can't say any of them. All I know is that I love you. Of course you love me, Albert. Is that what you wanted to say? Katie, I... I just can't go on like this anymore. I'm not ashamed to say so I can't work or can't do anything.  Albert, I'm in a show. They tell me I'm a big hit. What can I do? Well, you could quit, Katie. Oh, please. Let's try and make some sort of life for ourselves. How can I give up everything now? It's not even right. I'm not asking you because it's right. I'm asking because I need you. Everything's so wonderful for me now. I'm living in like a bath of champagne. We'll be together, Albert. Later on, there's plenty of time. Katie, I got a feeling if you don't come back to me now, tonight, you never will. Why do you say a thing like that? That's terrible. Because Helen won't let you. Don't you dare say anything against Helen. Day by day, she's making a different person out of you. She's just no good. Everything she ever did, she did for me. Everything. Yeah? Well, I just can't think straight. Then come to New York. I'm making enough money to take care of this boat. Now, what kind of a heal do you think I am? And what more can I do?  If you think I'm going to do that, you're crazy. Katie. Albert. Albert, forgive me. I didn't mean that. It's all right, baby. I'm sorry. Well, I'll get along. Good night. All those speeches I rehearsed. Say, Mr. Runkel, is your partner back yet? Something on your mind? Well, it's like this. Personally, I think you boys are great. But the customers... Yes, it's okay. So, where through? Fine. I got a great idea, Mr. Runkel.  She's a great artist, Mr. Flores. Sure. And if we advertise it right, that you're Catherine Blaine's husband, well, you'll go over great. Oh. Well, I... I couldn't do that, Mr. Flores. I know. That's no disgrace. It's good business. Thanks, but... I guess we'd better call it quits after Saturday night. I'll tell Paul. First, talk it over with him, huh? Will you do that? I'd appreciate it if you leave me alone. Okay, Mr. Runkel. Sensitive. Everybody can be sensitive but me. Well, boss, what did he say? Nothing doing. Can you beat that? He could be living in the lap of luxury, and all he does is sit around like a dope, playing his wife's records. I... Frenchy. Boss. Oh, no. You wouldn't do a thing like that. Runkel! Mr. Runkel! Quick, find his partner. Get Mr. Collins here. Quick. Oh, please. Please, darling, you've got to stop crying. Yeah, that's only his grave.  Gatlin, Kansas. Funny about Runkel, he was the kind of guy who should have lived in a big house and had 10 kids to eat Thanksgiving dinner with him. He invented something sweet and loving. Called it his catman, his katie. At night, we used to walk around the dreary little towns we were in. He'd read your letters under the street lamps. The nicest girl he met since he left Nebraska. Letter alone, Paul. People get hurt. To nobody's fault, they just live and get hurt, that's all. Sure.  Come on, darling. Well, be careful, katie. For Albert's sake, he wouldn't want you to get hurt. It's my fault. Just like I killed him. It's nobody's fault, katie. Albert was weak.  And you can never blame yourself for that. Never. We pause now for station identification. This is CBS, the Columbia Broadcasting System. After a brief intermission, Mr. DeMille returns with Franchotone, Miriam Hopkins, Anne Baxter, and Chester Morris in act three of The Hard Way. And now, we have a gentleman here of a romantic turn of mind. And he has a question for us. As a matter of fact, he insists on singing it to us. Right, Bob? Well, I've got a reason for putting it musically, John. Here goes. Isn't it true Luxe girls win hearts? Isn't it true Luxe girls win hearts? Well, there's only one answer to that question, of course. Well, that's just the point, John. You can make a whole song out of that question. And the answer is always yes. Now, Bob, that takes a little explaining. Well, each time you sing it, you drop off a word at the end of the question. Here's what I mean. Isn't it true Luxe girls win hearts? Isn't it true Luxe girls win? Isn't it true Luxe girls? Isn't it true Luxe? Isn't it true, isn't it? You've got something there. The answer is yes every time. Isn't it true? A girl with a lovely soft complexion, a Luxe complexion, can't help but win admiration and hearts wherever she goes. So doesn't it make sense for a girl to give her skin the best of care every single day? Well, here's what a famous Hollywood star, Rosalind Russell says. I never neglect my daily Luxe soap beauty facials. They really make skin lovelier. Yes, recent tests proved that actually three out of four complexions grew softer, smoother, more appealing, with this regular Luxe toilet soap care. Why don't you see what this gentle soap can do for your skin? Every cake of Luxe toilet soap is so white and satiny smooth, you can tell right away it's a real beauty soap. Luxe toilet soap is hard milled to last, too. That makes it thrifty as well as luxurious. It's patriotic not to waste soap these days, you know. So always be sure to put your beauty soap in a dry soap dish. And now, Mr. DeMille returns to the microphone. We'll have a few personal questions for our stars after the play. But now here's the third act of the hard wave. Starring Franchotone, Miriam Hopkins, Anne Baxter, and Chester Morris. The years that followed Albert's death have been kind. Paul Collins has an orchestra now, one of the country's finest. But Helen Chernan's conquest in managing her sister has been far more sensational. For Katie is the brightest star on Broadway, though badly shaken by Albert's passing. She has done her utmost to forget him. Sometimes by working to exhaustion, and sometimes by drifting home in the middle of the morning after a night bubbling with gaiety and alcohol. Hello, Helen. It's a lovely day. I've been at the telephone for hours trying to find you. We've got a head full of Red Heart rivets.  I've got a right to have a little fun, haven't I? Oh, get inside. Anderson's been here since 8 o'clock. I hate it. A massage and a cold shower, and you'll look like a human being again. John Chagru and Laura Britton will be here any minute. Today? Yes, darling, today, now. Oh, Helen, I forgot.  I'd break my neck to get Laura Britton to write a play for you. And now you say you forgot. I can't help it. I'm sick. So am I. Sick of batting my brains out for the kind of things I'm getting. Anderson. Yeah? She's here. The homes I go into, the things I have to see. You're well paid. Get to work.  Oh, you'll be OK, honey. A few showers, hot and cold.   And to the door, Essie. Yes. Anderson. Hello? For heaven's sakes, make her look good. Do you hear? Yes. Is that you, Helen? Good morning. Laura, darling, come in. Hello, John. Good to see you, Helen. Well, where's our little girl? Oh, she'll be right out. But to tell the truth, I was thinking we might go ahead without her. But we have to know what she thinks of the part. Well, of course, darling. Well, what difference does it make? I'll tell her about it. Well, frankly, Helen, I'm worried. The part needs somebody charming, fresh, and alive. Well, Katie certainly fits that. Let me go. Let me go. I don't think she's going to scold me. I won't take my clothes off. Oh. Oh, John. Oh, it's written. Anderson, get her in the bedroom. No. The average woman lives to be 62. Well, ladies, I guess we'll have the reading another time. Oh, but, John, that doesn't mean a thing. Katie's just been off on a little tear. Helen, let's face it. I'm crazy about Katie. But I've got a play to produce. And I just can't do it with her in the lead. Wait a minute. You promised us that play. I'm sorry. You're running out on us just when we need you. You're thinking about yourself and no one else. As far as I'm concerned, you've turned out to be a first-class heel. Coming, Laura? Well, really, John.  Oh, well. I'll call you later, Helen. Thank you. Goodbye, Helen. Goodbye. Well, Katie. Well, it's for anything. Oh, no. She crewed just as hard as he didn't want you at Laura's play. That's all. Well, now what? You don't think I'm lit, do you? I want that play, and I want you in it, even if I have to produce it myself. But Laura's selling it to John. Is she? I don't know it, but Laura's selling it to me. Anderson? Yeah? Keep working on her. She and I are going to have an appointment this afternoon at the Embassy Club with Miss Laura Britton. Oh, there you are. My, my, but don't you look nice. Thank you. And would you certainly stink all this morning? Laura, darling, I'm going to tell you frankly why we're here. You just might give me Anderson's number. She's too pretty. Yes. Now, what I was about to... Well, well, a too famous lady. Oh, Paul Collins. Hello, Paul. Hello, Katie. Oh, Miss Laura Britton, I believe. How do you do? Well, here we are again after all these years. Yes, here we are. You're doing rather well for yourself, aren't you? I hear you're banned all the time on the radio. Puscanini's resting easy. He's still got a big lead.  Helen and Katie. Katie and Helen. Well, that's fine, Paul. Like every other woman seemed terribly dull and uninteresting. Really? I wonder why. Well, I'm sure Miss Britton understands. You know that feeling when you're on a tall building that desire for self-destruction? Well, these two lovely ladies represent my deepest desire to cut my own throat. Goodness. Oh, Paul, do you mind Miss Britton and I want to discuss business? Oh. Katie, take him away. Have a drink at the bar. Come on, Paul, let's go. Goodbye, Miss Britton. Farewell, Lady Macbeth. Hmm. Very attractive guy. A little eccentric. Helen, that man means something to you, doesn't he? Don't be silly, Laura. Now, darling, about the play. What? I believe you're in love with him. Why haven't we seen you before, Paul? You could have fallen. I don't know. I think about you every day. Tell me, having a good time? I guess so. I just don't seem to care about anything. But I do where I go. Yeah, I know. Same old story. The big star, but so sad, so lonely. Paul, be nice to me, please. I'm sorry. Would you like to know the truth, Katie? If it's a nice truth. Remember the first time I saw you? In the ice cream parlor at Green Hill? Yes. I thought you were wonderful, then. I'd like to go off somewhere and try to get back to that girl in the ice cream parlor. Ah, you're with Helen in Broadway for keeps. You can't break away. Forget it. We met. We had a few sentimental words, and that's that. Well, I got to catch a train. Where are you going? Saratoga Spring. I booked at a resort near there for a month. I can't tell you how much I enjoyed seeing you, Paul. Thanks. Well, Katie, I better take you back to Helen. No. What? Oh, nothing. Yes, I guess they want to talk to me. Hello? Hello, Paul, is that you? Yes. Is this Katie? Yes, where I am. Well, where? In your hotel. I just had to come, Paul. I'm calling from my room. Yeah? She's in New York. What'd you do, chloroformer? What about the new play? I'm trying to tell you, Paul. I want to see you, see you with you. I don't want to talk about theaters or plays or anything. Paul, you're not angry.  Oh, Katie, hang up and come on down. This is wonderful. Wonderful. That's the first word you've spoken for ten whole minutes.  I'm a minor league deep thinker. You've been here two weeks, Katie. Has it occurred to you yet? What? To marry me? Yes. But I didn't think it would ever occur to you. Katie, let's take a chance. Paul, do you really think it could be? The way we'd want it to be. Well, if we don't try, we'll never know. I'll take a chance. Thanks, Katie.  Hey, wait a minute.  There are a lot of things I haven't told you. A fine thing, and you haven't kissed me, have you? Oh, excuse me. Yes? There are two ladies looking for you, Miss Blaine. I'm a spreading on your sister. Oh, thank you. Surprise, Katie. We decided to come very suddenly. I'm glad you're here, Helen. Where's Laura? Unpacking. I have so much to tell you. A good start would be to tell me about Paul. Why didn't you say he was playing here? You wrote as if you didn't know a soul. That's the same as lying, Katie. Well, I guess I wanted something just for myself. Meaning I'd be in the way. That's not so. I didn't care if it was somebody else. But Paul. Oh, you make yourself so cheap. Please, Helen. The truth. A different girl every week. That's the way he's always been. This just happens to be your week. I wish you hadn't said that, Helen. We're going to get married. Married? Doesn't it mean anything to you that I'm happy for the first time in years? Of course it does. Only I... Well, I don't want you to make a mistake. I'm not making a mistake. Katie, don't you think you ought to wait? Even if it's only... Katie, I just had a wonderful idea. Oh, hello, Helen. Hello, Paul. I just told her about us. Yeah, I can see how delighted she is. If she wants to marry you, Paul, there's no way I can prevent it. That's clever of you. Only I just think she should wait for a little while, just to be sure. And that's still more clever of you. Besides, there's the play. This is the crucial point of her career. Nothing should interfere. Katie, we may as well get it straight. You won't be able to do the play. You don't seem to realize every cent we have is tied up in the play. Why don't you want us to do it? What have you against the theatre? Nothing. It's great for people who care for it. To you is just a cheap gain. Katie, Katie, listen to me. You've sweated and slayed for years to get ahead to be somebody. And now he's asking you to throw it all away for a lot of sentimental promises. You don't believe him, do you? All of a sudden, Paul Collins is full of ideals. House in the country. Kids. That's right. That's what I think Katie wants. Of course that's what I want. Then you've got to break away from Helen. Now. At last, you admit it. You want to take her away from me. Katie, he'll do anything to hurt me. He hates me. No, but I'm not going to let you destroy Katie. You don't believe that, do you? You can't leave me now, Katie. I'll lose everything. All I'm asking is that you and Paul wait till the play closes. Is that so much? Paul, you see how much it means to her. We can wait a little while, can't we? There'll be nothing to wait for, Katie. I just can't walk out on her now, Paul. She's counting on me. Well, I'm sorry about those kids, Katie. Every one of them. In ten minutes. Curtain in ten minutes. How are you feeling, Don Ho? All right. Oh, you're going to be wonderful. The house is sold out, is it? Katie, are you still worrying about Paul? I can only see him for one minute, just to talk. But darling, he hasn't even written. I can't blame him. He gave me a chance and I threw it away. Stop worrying, baby. Now you have a performance to give. Miss Chirin, you want it on stage. I'll be right there. I can't even think. I don't even know my line. That's nonsense. Just remember the change in your first entrance. You come down the stairs. I know, I know. And be careful of the steps. They're steep. But I'm sure Miss Blaine will see me. Won't you tell her it's Paul Collins? Well, I'm sorry, sir. I can't let anyone in the stage door. Oh, there's her sister. Miss Chirin. Yes? Oh. What are you doing here, Paul? I'd like to see Katie. I'm afraid that's impossible. The curtain's about to go up and anything might throw her off. She's very nervous. Oh. Well, tell her I'll be in there cheering, will you? Paul, we settle this once, please. Let's leave it that way. Yeah, this is your night, Helen. I don't want her to do anything to interfere. It isn't my night. It's Katie's. Don't kid me. I hope you enjoy it. But remember, one of these days, it's all going to catch up. Thanks for the warning. I told Miss Blaine that Mr. Collins was here. Mr. Collins is left. Where is he? Where's Paul? He's gone, Katie. I sent him away. Helen, how could you do that? Paul! Paul! Katie, get hold of yourself. Call me. I don't you admit it. Tell the truth for once. You wanted it for yourself. No, that's not true. Don't lie to me. All right. All right, I was in love with him once. But I gave him up because he would have been in the way. Your way, our way. And I won't let anyone do that. You still love him. You couldn't have him so you didn't want me to have him.  Katie, this is the most important night of our lives. This is what we've worked so hard for all these years. It's what you've worked for, not me. I'm sick and tired of it. Fighting, cheating, lying. I'm the one who's done the fighting, not you. You've had it easy. I've made it easy for you. By stepping on everyone who got in your way. You've got to fight. You've got to scheme and cheat to get ahead in this business. I'd like to go in and tell that to the audience. Then tell them everything. Tell them what you had when you left Green Hill and tell them what you've got today. Oh, darling, I don't mean it. Forget what I said, baby. Please, let's not argue anymore. Come on. We've got to go in. Mr. Chinan, Mr. Chinan. They finished the overture. What do you want me to do? Oh, look at it, and she'll be right there. I can't. I can't go through. Baby, you've got to. Let's go out there and show them. How long? What on earth's the matter? Nothing's the matter. Everything's all right. I don't know what to say. I don't remember my first lie.  Edward says I'm afraid I'll have to go without seeing Lisa. You'll come down the stairs. Oh, stop it, Laura. Katie, darling, you're going to be positively wonder- The wire, please. Crittings up. We have to stay right here, darling. Just behind the door. Good luck. We can't. We can't. Go on. Oh, without seeing Lisa. She's all right. She's all right. She's all right. I think I can go home now. She's all right, Laura. Must have been pretty terrible. I was out in the lobby as the people left. They were laughing. Everybody knows that you two had a fight in the alley. You might as well have had it in the middle of Times Square. Please, Laura. Well, Helen, you've broken another record. The shortest drama play you ever had. Exactly. Twenty seconds. Oh, Katie. There isn't much left, is there? I'm sorry. No. Don't be sorry, baby. It was my fault. I saw something in you I wanted to make great. I did it the only way I knew how. I guess if I had it to do all over again, I'd do it the same way. But we came so far. We nearly made it.  Helen, I never wanted to see you again. May I come in? Paul. Oh, Paul. Goodbye, Katie. Goodbye, Helen. Katie, if you have to fall down again, please let me be there to catch you. You better be, darling. Well, Doc, anything new on that dame we've fished out of the river? Yes. She came too for a minute. She said she had a debt to pay. There's only one way to do it, to stop living. Didn't make much sense to me. Probably irrational. And she died. Yeah. She couldn't take it. And that's a trouble with them rich dames. They have it too easy all their lives. Well, good night, Doc. Good night. That applause is the seal of approval on tonight's play. The fine performances of the four players who return now to this microphone. Miriam Hopkins, Franchotone, Anne Baxter, and Chester Morris. Thank you, Mr. DeMille. It's nice to be back. You have a distinctive place here, Miriam, because you starred in the very first Lux Radio Theatre play almost 10 years ago. That's right, Mr. DeMille. When the Lux Radio Theatre is only a baby, I help pin it up. Well, I think we should bring ourselves up to date on a few offstage activities tonight. For instance, there's Franchotone's green thumb. Well, he should see a doctor. That just means he has a magic touch with growing things, Justice. Oh. Did I notice a slight stiffness in your muscles when you came in today, Franchotone? It could be, Anne. I spent a pleasant weekend with a spade in the hole. They say it's very good for you. Yeah, who says? The ones that never did it. And then there's the Chester Morris variety of magic. Yes, C.B., you must come with me sometime to one of our little parties. You know, fellas like Orson Welles and Edgar Bergen, they're all interested in magic. Very cozy little affairs. Anne, you can come, too. We'll need a lady. Why? We always saw a lady in a hat. You'll love it. I don't think so. But I do know a little magic myself. It's called luck soap. That's a wonderful thing for a girl's complexion. I quite agree with that, Anne. I used luck soap for years, and I really couldn't get along without it. You see, Chester, that's all you need to know. The magic word, luck. Well, what's the word on next week's play, C.B.? Now, the word is suspense, French roll. Because our play is the universal success, Phantom Lady. And our stars will be Brianna Hearn, Ella Reigns, and Alan Curtis. It's the story of a man accused of murder, but he has a perfect alibi. A beautiful girl who has vanished completely. What happens during the search for this Phantom Lady is a triumph of the mystery art. It sounds very exciting, Mr. DeMille. Good night. Good night. Good night, C.B. Good night. Good night. This was really a forced hour evening. Ladies and gentlemen, once there was nothing so trivial as a pile of waste paper, but now the match that lights that pile is the match of sabotage. America needs every scrap of your waste paper. Need it for a hundred things like shell containers, field ration cartons, parachute flares, and even for the bomb pins that guide destruction down on the heads of the enemy. You can sell the paper to a junk dealer or give it to a charitable organization.  Our sponsors, the makers of Lux toilet soap, joined me in inviting you to be with us again next Monday night when the Lux Radio Theatre presents Brianna Hearn, Ella Reigns, and Alan Curtis in The Phantom Lady. This is C.B. DeMille saying good night to you from Hollywood. Rancho Tone is currently starring in the Universal Picture of Phantom Lady and will soon be seen in the Paramount Picture the hour before the dawn. Anne Baxter appeared through the courtesy of 20th Century Fox and will soon be seen in that studio's production, The Eve of St. Mark's. She is now making the Hunt-Stromberg Picture guest in the house. Chester Morris is currently seen in the Paramount Picture, Gambler's Choice. Heard in tonight's play Charles Seal, Norman Field, Leo Cleary, Ann Stone, Bob Haines, Jack Morrison, Peter Rankin, Truda Marson, Griff Barnett, Jane Ovello, Eddie Marr, Theodore Van Elks, Marion Martin, and Ellen Campbell. This program is broadcast to our fighting forces overseas through cooperation with the Armed Forces Radio Service. Our music was directed by Louis Silvers and this is your announcer, John M. Kennedy, reminding you to tune in again next Monday night to hear Brianna Hearn, Ella Reigns, and Alan Curtis in Phantom Lady. Mothers, now give your family extra vitamins and minerals free. Get free VIMS. Yes, mothers, get VIMS free.  Free when you buy the large economy-sized VIMS, a $2.25 value for $169. VIMS give you all the vitamins by doctors as necessary in the diet. Also essential minerals. And the free VIMS offer there's 100% money back guaranteed. Hurry to the drugstore for your free VIMS. This is CBS, the Columbia Broadcasting System.


Who are you? I'm Anton Overton, co-founder of N-Labs. And what are you showing here? Where is this? So this is taking a self-sufficient and connected camera, which sends the pictures on data to a web app in order to edit and share amazing timelapses with a professional quality result. So you can put it on top of the mountain right here? Yes, like this. And then the product just has to press on better. So why is timelapse so difficult to make? Because today, if you want to do amazing timelapses during several days, you need to have a lot of batteries, a lot of memory sticks, and also to be weatherproof. And this is Taiki who made... do the three very well. Right now, through the timelapse, some of us switched the barrier right now. Yes, exactly. Because the camera is longer this thing. So in Taiki, you have a smart energy management which takes care of the energy, and it is very well for timelapse. So it's web-based, you can go online, you can check what's on the status. You can select the timelapse you want to do, you can edit and share with your community, with your friends, your timelapses. And kickstarter. Well now on kickstarter, so we can get a very good... and the product will be delivered this summer. How much is it on kickstarter? On kickstarter, around 400 euros, and the retail price will be 600. Alright. So what kind of hardware are we looking at? What's the camera resolution? Would you have some... So we have two PXMore sensors with fisheye lenses. So after stitching, you get 25 megapixel pictures. Yes, so you get a panoramic image, thanks to the two camera sensors. Not yet. Perhaps it will be... It's 220. And you can set for how often it should take the picture. So on the web apps, you can remotely set up your device. So if you want to capture sunrise, you can do it from your coach. And if you want to follow the seasons on the landscape, you can do it also. So in the future it will be a ton of timelapses made with your all kinds of places. And what's going to be the availability in the middle of this year? This summer, yes. You will get the first product that will be delivered this summer. We are not talking... It's mainly based on the ARM devices, but we're not communicating... Yes, you have a modem inside. 3G, and you have also a Wi-Fi connection on Bluetooth with a short range. Yes, remote control through Bluetooth, Wi-Fi or 3G.


Welcome, I welcome you all to this lecture in the course Sandhi in Paninian grammar. So far in this course we have studied At Sandhi, Hal Sandhi, we also studied Visarga Sandhi. Now after having studied these three important parts of Sandhi, in this lecture we shall start studying the next important part of the Sandhi which is Swadhi Sandhi. What is a Swadhi Sandhi? Swadhi Sandhi is a Sandhi which substitutes the Swadhi suffixes in the specific environment of deriving a Pada and this Pada is embedded in the derivation of a sentence or Baakya. So to put it in the form of an equation we can say that if we have this particular string which consists of a big bracket left hand side over here and the right hand side bracket over here indicating that this is a sentence and this has got three internal square brackets indicating that they are Padas the constituents of the sentence and as the definition of sentence goes there should be at least one thing and thing is a Pratyaya attached to a particular type of Prakriti namely Dhatu. So this is Dhatu plus thing this is one Pada and the remaining Padas will contain Sup as the Pratyaya. So there are these two Sups and the Prakriti for Sup is a Pratipatika. So therefore we have Pratipatika plus Sup, one Pada Pratipatika plus Sup, second Pada and Dhatu plus thing as the third Pada making this one complete sentence. Now in this particular structure this is a Prakriti this is a Pratyaya, this is Pratipatika, this is Sup. Now at the end of this Sup there appears a particular sound and at the beginning of this second Pada where there is a Pratipatika at the beginning of this there is one more element and then this element at the end of the first Pada which is part of Sup is substituted by a particular element. Similarly in between these two Padas this is a Subanta, this is a Sup and this is a Tinganta at the beginning of which appears a verbal root Adhatu. So now this Sup has got a particular element at the end and this Dhatu has got another particular element at the beginning and then in this environment this particular verbal element gets substituted by another verbal element. So this is a substitute in place of a Sup, this is a substitute in place of another Sup in the sentence. This particular Sandhi is called Swadi Sandhi. As you see this Swadi Sandhi is part of the derivation of a Pada which is embedded in the derivation of a complete sentence. So when we derive a sentence this is how the sentence gets derived all the elements namely Pratipadika plus Sup plus Pratipadika plus Sup plus Dhatu plus Ting they are all placed side by side and the derivation of each Pada starts simultaneously and keeps on moving until it reaches a particular stage where internal derivation is completed and then finally this external derivation of the Padas namely the internal derivation of the sentence happens. So when two Padas come into close contact there happens a substitution in place of this Sup and this is primarily what is referred to as Swadi Sandhi. What is a Swadi? Swadi is popularly called and technically also called Vibhakti defined by 14104 in the Ashtadhyayi. This 14104 terms both Sup as well as Ting as Vibhakti, Sup is a set of 21 suffixes added after a nominal root also known as Pratipadika. These 21 suffixes are stated in 412 in the Ashtadhyayi, Ting are the 18 suffixes which are added after a verbal root stated in 3478 in the Ashtadhyayi and they both are called Vibhakti. In addition there are some more suffixes which are stated in 53127. They are for example, Tral, Da, Danim, Thal, etc. These Tral, Da, Danim and Thal they are also termed as Vibhakti. Here Le, Me and Le they are marked in different colors only to indicate that they are the markers these Le are the markers and Me is not the marker otherwise these colors do not play any role any function over here. What is important is to know what is a Swadi? So Swadi stands for these 21 suffixes stated in 412 and Swadi Sandhi is the Sandhi that takes place of these suffixes when they come into the contact of the other Pada. So Swadi Sandhi primarily refers to the external Sandhi which happens between two Padas mainly between a Subanta and the next Pada. We eat a Subanta or a Tinganta. Here are the 21 Sups for you. So Aau, Us, Am, Aau, Us, Abhyam, Vhis, Abhyam, Vhis, Us, Bhhyam, Vhis, Us, Os, Am and Eos Supt. Now in these 21 suffixes as we note the consonant that comes at the end and which here goes the Sandhi operation is Sir in 11, 13, 23, 33, 43, 51 and 53, 61 and 62 and 72. Sir appears at the end of all these suffixes. So when these Sups come into close proximity with the other Subantas at the beginning of which appears a Pratipadika or a Tinganta at the beginning of which appears a verbal root then this is modified in a particular manner. This is what is known as Swadi Sandhi. Along with the sub, we also have the Subanta forms listed for you namely Ramaha, Ramau, Ramaha, Ramam, Ramau, Raman, Ramena, Ramabhyam, Ramehi, Ramaya, Ramabhyam, Ramebhyaha, Ramat, Ramabhyam, Ramebhyaha, Ramasya, Ramayoh, Ramanaam and Rame, Ramayoh, Rameshu. So in these cases where there is Ramaha, Ramaha, Ramaihi, Ramebhyaha, Ramebhyaha, Ramayoh and Ramayoh. In these cases there is Visarga substitution that has already happened and then when this substitution comes into close contact in close proximity with another Subanta or another Tinganta, this Visarga, Visi gets modified by some other verbal elements. This is what is called Swadi Sandhi. Ma occurring at the end of these padas and also elsewhere over here and over here undergoes the general Hull Sandhi operation namely if it is followed by a Hull then this Ma is substituted by an Anusvara, by the Sutra Monusvara. So this is not treated in the section of Swadi Sandhi and these are the things, tiptas, jhi, etc. So we note that in Ting also there are these suffixes that end in sir, tasthas, was and must, thas which end in sir. So even in their case the Swadi Sandhi applies. These are the forms. So we have Nayati, Nayataha, Nayanti, Nayasi, Nayataha, Nayathha, Nayami, Nayavaha, Nayamaha and Nayate, Nayate, Nayante, Nayase, Nayate, Nayadvay, Nayayavahe, Nayamahe. So in case of Nayataha, Nayataha, Nayavaha and Nayamaha the Sandhi has already taken place and some other Sandhis can also take place of sir coming at the end in a given specific environment. This is also studied under Swadi Sandhi and that is why this peculiar chapter in the Panchay Sandhi prakarana. So if we take a recap of what we discussed of this question, what is a Swadi Sandhi, we can now pinpointedly state what that Swadi Sandhi is by giving specific examples. Earlier we saw template examples. So if we have Ramas followed by Gramam, followed by Nayati, these are the three padas. They make one big sentence, Ramas, Gramam and Nayati. These are the derived finished padas. Now they come into contact with each other and this sir in the environment of this guh which follows, which comes into close proximity is substituted to some element, notably Roo first then it is substituted in U and then U plus U becomes O and so you have Ramo, Gramam, Nayati as the finally derived form of the sentence. As you note this M is substituted by an Anaswara because there is a Hal that follows. So Gramam, Gramam, Nayati this consists of this Sandhi which is called the Swadi Sandhi. This Sandhi is not pertinent only to the Swadhis, it is a general Sandhi and that is why it is not categorized under Swadi Sandhis. Similarly if you have Ramena, Gramas, Gamma, Nayati the passive voice then the output is Ramena, Gramo, Gamma, Nayati.  This is the finally derived sentence. So these are the concrete specific examples of Swadi Sandhi. Let us study the Sutras that we shall study while studying the Swadi Sandhi. First Sasaju Shoruhu, 8266, Ato Rohra Plutada Plute, 6113, Hashicha, 6114, Bhobhago Agho, Apurvasya Yoshi, 8317, Hali Sarvesham, 8322, Rho Supi, 8269, Rho Rhee, 8314, Dralope, Purvasya Dirkona, 63111, Etattadho Sulopo Akoranai Samashe, Hali, 61132, Sochilope Chet Padapuranam, 61134, Prathamayok Purvasavarna, 61102 and Nadici, 61104. Ask them, let us start studying the Sutra, Sasaju Shoruhu, this is 8266. This Sutra consists of two padas, Sasaju Shaha and Ruhu. Sasaju Shaha is 6 slash 1 of Sasaju Sh. Sasaju Sh is made up of two components, sir, which refers to the sound sir and sagyush. So Sasaju Shaha means in place of sir and in place of the word sagyush. Ruhu is 1 slash 1 of Ruhu referring to Ruhu and so Ruhu stands for substitute in the form of Ruhu. So sir and sagyush, they are the substituents, Ruhu is the substitute. The other word continued is padasya, 6 slash 1 of padha. In this case, this padasya means which is part of a padha. So the meaning is this 6 slash 1 and this 6 slash 1, they match and so this becomes the qualifier of this 6 slash 1 and so we get the meaning in place of sir that comes at the end of the padha and in place of the word sagyush substitute Ruhu. So we have Ramas which is 1 slash 1 and this sir comes at the end of the padha. So this sir is substituted by Ruhu by 8266. So we get Ramru as the output and then this Ramru is substituted by Ramru and finally this Ruh is substituted by the Visarga. So finally we get the form Ramaha which is 1 slash 1. Similarly sagyush is then substituted by sagyuru then this Ruh is substituted by Ruh and then because of this Ruh, this short vowel gets lengthened because of the sutras that apply and so finally we get the form sagyuhu which is the 1 slash 1 of sagyush. So this is how sagyushuru applies. It substitutes Ruh in place of sir. This is the requirement, this is the base for the Swadi Sandhi to happen because the Swadi Sandhi is going to state the substitutes in place of Ruh. We should note one unwritten rule which is Ashiraha in Sanskrit. So Ashi stands for 7 slash 1 of Ash which means all vowels plus her plus semi vowels plus consonants 5, 4 and 3. So Ashi means immediately before Ruh is 1 slash 1 of Ruh sound Ruh and so this is the substitute. What this sutra means is the following immediately before Ash in place of Ruh substitute Ruh. So we have Ruh plus Ash as the input in this way and the output is Ruh slash Ruh. There is no other modification or substitution that takes place. So it is stated that this grammar is Ashiraha. Here are the examples Prathar plus Atra. In this case this is a part of Ash. So this Ruh is not substituted by any other modification. So it remains as Ruh and so we have Prathar Atra. Similarly Prathar Iha, Ruh is substituted by Ruh only. Similarly Prathar Asha, Ruh has no other substitution. Prathar Hasati, this is part of Ash, Prathar Gacchati. Once again this is part of Ash and so Ruh is substituted by Ruh only. Punar Milamaha, Punar Janma in all these cases Ruh coming at the end of the padha is not substituted by any other element because there is Ash that follows. However, this is a more general rule if we specify the left hand side environment then there is scope for some more change in place of Ruh. One more thing to note over here is that this Ruh is not part of any soup. So we can say that there are Ruh which we see at the end of the padhas which can be classified into two. Ruh which is part of the undirived like seems like Prathar and Punar. So we have Prathar plus Ash and we get the substitute Prathar only there is no other substitution. Similarly Prathar plus Khar plus Avasana and Prathar becomes Prathaha. However, if you have Ruh which is part of Ruh then the substitutes are U and year. How we shall study this now? So in Swadhisandhi we primarily study this second part of second type of Ruh which is the substitution in place of S and then this Ruh or Ruh gets substituted by either U or by year or by deletion. This is what is Swadhisandhi and this is what we are going to study now. First let us study Atororaplutadaplute. This sutra has got four padhas Ataha, Ruh, Aplutad and Aplute. Ataha is five slash one of At referring to short R so Ataha means immediately after Ruh is six slash one of Ruh which means in place of Ruh. Aplutad is five slash one of Aplute meaning not Aplute and Aplute means seven slash one of Aplute meaning not Aplute and immediately before this Aplute. So Aplutad qualifies Ataha and the other two words continued in the sutra are Uth which is one slash one of Uth which means short U and this short U is the substitute and Ati which is seven slash one of At referring to short U so Ati means immediately before overall the sutra means in place of Ruh which comes immediately after a short U and which is not Aplutad and which is followed by a short U which is also not Aplutad substitute U. Once again in place of Ruh substitute U what are the other conditions in place of Ruh which comes immediately after a short U and this U should not be Aplutad and this U is followed by a short U which is also not Aplutad then this Ruh is substituted by U. This can be put in the form of an equation in the following manner. So if you have this paddha and there is a towards the end of this paddha followed by Ruh plus a then this Ruh gets substituted by U.  Here are the examples Shiva's plus Archaha so we have Sir getting substituted by Ruh Shiva Ruh plus Archaha then we have Shiva plus Archaha where U is marked as ith and is deleted. Now this Ruh appears at the end of the paddha before that there appears a short U this is obviously not a plutha after this Ruh appears a short U which is obviously not a plutha now in this case this Ruh is substituted by U so we have Shiva U plus Archaha. Now this Ruh plus U is further substituted by the Gunasandhi by Atgunahan and so we have Shiva plus Archaha and then once again there is this poor Varupa Sandhi Enga Padantadati which applies and substitutes one O that is poor Varupa in place of two O plus Ruh and so we have finally Shiva Archaha as the finally derived form. As you see there are two paddhas over here Shiva's and Archaha and this Sir is coming into the contact of the next paddha and then this gets modified into U and finally there is a Sandhi and there is a form Shivur Chah that is derived. So two paddhas losing their boundaries and both of them getting merged into each other this is what is the function of this particular Sandhi this is the sentential boundary. Similarly we have Rakshas plus Atra Sir coming at the end of the paddha so Sasaji Shoru who applies and so we have Raksharu plus Atra so Rakshar plus Atra then this Ruh is preceded by short a which is not a pletha and then this Ruh is followed by short a which is also not a pletha then in place of this Ruh U is substituted so we have Raksha U Atra Raksho Atra by the Sutra Atgunahan finally Enga Padantadati applies and we get the form Vrkshotra. Similarly we have another Sutra called Hashi Chah 61114. Hashi Chah has got two paddhas Hashi and Chah Hashi is 7 slash 1 of Hashi. Hashi stands for her plus semi-vowels plus consonants 5 4 and 3. Hashi means immediately before Hashi. Words continued are Atah of 5 1 of Atth. Atth stands for short a that is immediately after. Ruh is 6 slash 1 of Ruh. Aplutath is 5 slash 1 of aplutath. Uth is 1 slash 1 of Uth. So Ruh is the substitute and Uth is the substitute. So the meaning of the Sutra is the following. In place of Ruh which comes immediately after a short a which is not aplutath and which is followed by a Hashi substitute U. I repeat in place of Ruh which comes immediately after a short a and which is not aplutath and which is followed by a Hashi substitute U. So this is the equation form of this particular statement. If we have a plus Ruh followed by a Hashi then this Ruh is substituted to U first and then a plus U is substituted to O plus Hashi.  So this is Adgunahan that plays an important role over here. Here are the examples. Here we have Shivas plus Khasati first in which Sir comes at the end of the first Pada followed by her which is part of the verbal root Hashi and this Pada Khasati is a Tinganta. So Shivas plus Khasati is part of a sentence. So 1 Subanta and 1 Tinganta are in close proximity. Now Sir is substituted by Ruh by Sasaju Shoruhu. So we have Shiva Ruh plus Khasati. Then this U at the end is substituted by 0. So we have Shiva plus Khasati. Now this Ruh which is preceded by short a which is not Plutth and which is followed by her which is Hashi and therefore this Ruh is substituted by U.     Then we have Shivas plus Labhaha and Shiva Ruh plus Labhaha, then this Ruh is substituted by U. So we have Shiva U Labhaha and then Adgunahan Shivo Labhaha. Similarly, Shivas plus Yungue, Yungue begins with year so it is part of Hush and so Shivas plus Yungue will give us Shivo Yungue as the finally derived output. Similarly, Shivas Mannyate being the input and we get the final output in the form of Shivo Mannyate where Ruh is substituted by U and then Adgunahan takes place and U and U are both substituted by O which is a Guna substitute. So we get Shivo Mannyate. Similarly, we have Shivas plus Navate as the input where Sir appears at the end of the Pada and so Sasaji Shoruhu applies and then this Ruh is substituted by U. Then finally Adgunahan applies and we get Shivo Navate as the output. Similarly, Shivas plus Nakaraha and the output generated is Shivo Nakaraha. Similarly, Shivo Naha is the output generated from the input Shivas plus Naha in the same fashion. Also we have Shivas plus Jashaha being the input and the output generated is Shivo Jashaha and finally, Shivo Bharaha is the output that is generated from Shivas plus Bharaha. Then we have Shivas plus Gagati as the input and the derivation process happens and we get Shivo Gagati which consists of the Guna between U and U. Then we have Shivas plus Dhaukate and finally we get Shivo Dhaukate. Then we have Shivas plus Dharaha and finally derived form is Shivo Dharaha. Then Shivas plus Jayaha as the input and the finally derived form is Shivo Jayaha. Then we have Shivas plus Bandhaha as the input and Shivo Bandhaha as the output. Shivas plus Gagati is the next example. The same derivation process happens and we get Shivo Gagati as the finally derived output of the sentence. Then Shivas plus Damaruhu and we get Shivo Damaruhu as the output and finally, Shivas plus Deshaha and the output generated is Shivo Deshaha. In all these examples, the Sutra Hashicha plays an important role. One thing we should note over here and it is this that this Sandhi and the Sutra that we have studied so far give us an exception to the Asiddha principle in the Ashtadhyay. What is the Asiddha principle? Generally, the output of the Sutra in the Asiddha section that is from 8 to 1 up to 8, 468 does not become the input for any previous Sutra. This is Asiddha principle. But in this case, we see that the output of 8 to 666 that is Ruh in place of Sir becomes the input for 61113 and 114. This is clearly an exception to the Asiddha principle stated in the Sutra Purvatrasiddham that is 8 to 1. There is one more example of this kind that we shall study when we study the Prakriti Bhava that we shall do later on in the course. To summarize, Swadi Sandhi is a peculiar type of Sandhi that occurs in a specific environment. The environment is direct part of the sentence derivation at its final stage. This Swadi Sandhi requires paddhas as the input and returns the sentential combinations as output. In this lecture, we studied the who substitution that substitutes Ruh at the end of this paddha. Now, let us study the year substitution in the next lecture. Thank you for your patience.


When it comes to sustainability, I really believe that we environmentalists have to walk the walk whenever possible. So in my case, that means raising my own organic chickens, driving a plug-in hybrid that uses my own batteries, installing 11 and a half kilowatts of PV on the roof, installing geothermal heating and cooling. What's happened recently in renewable energy is quite remarkable. The levelized cost of electricity from wind and solar have both dropped so dramatically that both are nearly competitive with fossil fuel generation now. The problem, of course, is that these renewable sources are intermittent and we can't count on them. We especially can't count on them as the penetration of renewables grows in the years to come to first 30% and then 50% and then beyond. I'm a material scientist and we started with a material science innovation from my lab at MIT. From that starting point, 24M developed a new form of battery electrode. We call it the semi-solid electrode that has enabled a complete reinvention of the preferred form of energy storage today which is the lithium-ion battery. Using semi-solid electrodes, 24M has developed a simpler, more efficient manufacturing that will reduce the cost of storage by 50% and can be produced in compact modular plants. These plants will be to conventional factories what the desktop printer was to the printing press. Energy storage is the next great exponential market growing to $100 billion by 2020. Affordable energy storage unlocks the full power of utility-scale renewables, electric buses, and all the way down to microgrids in the developing world. To get an idea of the full impact, you can take a solar panel and three of these batteries and power fully a single family home in East Africa. 24M's mission is to provide our customers with everything they love about lithium-ion batteries but at a price that they can also love. By doing so, we believe we will provide the missing piece for a truly sustainable future and if we do that, we satisfy a much broader obligation which is to ourselves and to the planet.


My name is Padre Gautuma. I'm from Ireland and I'm a poet and a conflict mediator. Formerly I led the Coromila community, which is Ireland's oldest peace and reconciliation organization. I work with on being now in poetry and I'm associated with Columbia University Centre for Cooperation and Conflict as well. So often language is the thing that can seem flimsy when we're in situations of war, when we're in situations of conflict the predictability of the escalated violence of language can really be tracked very clearly. And poetry is one of the arts that reminds us what language is capable of doing when it takes a pause, when it uses some moment of surprise to undo and even more than undo to create. One of the ways that I've used poetry was with the Coromila community. I would be present at dialogues between people who had been bereaved by murder and really the polarization that had happened after those murders was enormous and it had undone years and years and years of coming towards each other that had all been eroded and shattered really. So I was part of a reparative process and my job was to listen and to facilitate and then during the week in between the sessions to write a poem about what I'd heard and then to come back and submit that poem to the people in the room. And what was fascinating is in looking at how a community of people who had lived through terror could shape or reshape or find echo and shelter in a poem. It meant then that there was an ownership of the poem. All those poems then went into publications and exhibitions and everybody brought along 10 or 15 people from their own networks and there was a way especially within an Irish culture where poetry has been so much of the lifeblood of being able to explain, that's me in this poem. And as you look at a piece of art, the piece of art looks back and so there's a dynamism created with a text that can be quite different really to what a settled negotiation can mean. I think it can be easy to feel in despair about what is happening in the world about climate change, about the possibility of change in terms of political dynamics about polarization, about the escalation of lying and the abuse of language in public. What I see over and over again is that there are people who are amplifying the possibility of the language of integrity in public. It's artists, it's people who are calling out for integrity it's people who are calling for reparations, it's people who are calling for change. I see evidence in so many places of people who are saying look we might not be able to get all 10 steps about what we want but we're able to get 7. Let's try with those 7 and see what happens.