And the Johnny dollar. Earl Foreman, Johnny. Oh, hi, Earl. Our thing's down in sunny Florida. I don't know. You what? I'm calling from Green Mountain Falls, Colorado. What under the sunny are you doing out there? Fishing trip? Hardly. Because if it is, I'll join you. I want you to join me all right, but no fishing. I've got a problem, Johnny. One of my important clients is this pier. Ah, I see. OK, Earl. I'll grab the next plane. $5,000 in the exciting adventures of the man with the action backed expense account. America's fabulous freelance insurance investigator. Yours truly, Johnny Dollar.  Expense account submitted by special investigator Johnny Dollar to the Tri-State Life and Casualty Insurance Company attention, Earl Foreman. Following is the account of expenses incurred during my investigation of the three sisters matter. Expense account item one, $151.80, transportation to New York, and airfare and incidentals to Colorado Springs. Earl met me at Peterson Field, the municipal airport. I'm glad to see you, Johnny. Hi. Toss in your bags and toss in. OK, sure. And where is this Green Mountain Falls you call from? A little place about 12, 13 miles east of here. I'm staying at the Lucky Four Ranch. One of the last places Rolanoff was seen. Rolanoff? Amisha Rolanoff, the concert pianist. Rolanoff. Oh, sure. Yeah, I've heard of him. He has a little place up on the mountain just back in the Lucky Four where he and his daughters live when he's not on concert. Daughters? How many? Olga, Maria, Ada. No, here's what happened. Rolanoff and the girls. Well, they really stepped on it, by the way. Oh, where's the mother?  Well, anyhow, they arrived up here about 10 days ago right after his last concert swing over in Europe. Oh, what does he do when he's up here? Even the girl's just low. Oh, he has a piano in his cottage to keep him practice, if that's all. And now you say he's disappeared. You see, Johnny, he was fond of taking long walks. This is a pretty good hiking country. Oh, I can see that all right if your part mountain goes. Yeah. Well, anyhow, three days ago, right after breakfast, he started out on his usual morning walk. He stopped in for a second cup of coffee with Ray Schmitzney and his wife. Who were they? Ray and Glee had run the lucky four. Oh, yeah. Well, go on. Well, that's all. That was the last time Rolanoff was seen. Was any kind of a search been made? Yes, and that's not easy to rain to search. There's been quite a bit of snow, too, enough to cover up any tracks he might have made. All right. Do you know of any reason he might have wanted to disappear? No, I don't think so. I knew him very well, Johnny. I've known him for years. Of course, he occasionally got set up with having three girls around his neck all the time. Oh, so many men. Well, actually, it wouldn't, but he was, I'm sure. Especially Aida, the youngest. She's a brilliant girl. Aira, tell me, how did the girls feel about him? Really feel about him. Oh, not just a minute, Johnny. Well, you said yourself they had his own blood. Well, just wait till you meet them and decide for yourself. Yeah. I will. The lucky four was on a level spot on the side of a mountain. It consisted of half a dozen leaps, modern, and comfortable cottages. And from the front window of the one we shared was a beautiful view of Pike's Peak. Oh, come in, Ray. Come in. You see us come up the drive? I want you to meet the man I've been telling you about. Ray's Missionary. This is Johnny Dollar. Hi, Ray. Johnny? Only I'm afraid he got here too late, Earl. Oh? Well, what do you mean? Well, just a few minutes ago before you got back here in a gully up on the West Meadow way up where I dumped the trash. You know what I mean? Yes. Remember the bear cave I pointed out to you one day when you went up there with me in the jeep? You mean that bear got Rollin' Off? No, but that's where I found it. Rollin' Off? Yeah, Earl. Yeah.  Act two of yours truly, Johnny Dollar, in a moment. Act two of yours truly, Johnny Dollar. Question. Was Misha Rollin' Off the eminence of Constantinus' murder? Or was he shot accidentally up near the bear cave on the mountain back of the Lucky Four Ranch at Green Mountain Falls, Colorado? We went up there and raised jeep. A careful inspection of the body and the gully in which he found it revealed nothing by way of clues to the river. One thing, Johnny. Yeah, what's that, Ray? Like I told Earl here, I was planning to shoot that bear myself. Yeah.  So what? What's that? He used to come down every day. Regular his clockwork and tip over the pales and gorges and stuff. Well, what are you trying to say? It's been over a week now since I've seen him. Well, I don't see what you're getting at, Ray. Well, it could mean only one thing, Earl. Somebody else got to that bear before I could. And it must have been some time before Rollin' Off disappeared. That's right. So his being killed here couldn't have been accidental by somebody gunning for that bear. Look here, Johnny. It's the cartridge case I picked up. Oh, let's see. Yeah. 257 Roberts. Where'd you find it? Behind that tree there down the slope. Do you know anybody around here who shoots a 257 Roberts? All the hunters in these parts use a 30 odd stakes or a 270 or a 30-30. Only 257, I think. Well, what's the matter, Ray? You look sick. Yeah. There's a 257 up in the Rollin' Off cottage. One of the girls, she's a pretty good shot. Ray, do you know what you're saying? Which one, Ray? All good. Maria? Ada? No, I won't do it, Johnny. I won't accuse Laura. Laura, this is no guessing game. This is murder. No, Johnny, I can't believe it. Not one of them. Besides, look, I got to drive into Colorado Springs, notify the coroner and the police. But if you know something, it'll help us. No, no, Johnny, because if I was wrong, I'd never forgive myself.  Laura. Vera, do you know the way up to the Rollin' Off place? Yes, John. I rode all right to my car, Ray. Yeah. Yeah, it's so quick. Now, let's go. Hey, take it easy, girl. This road is much wider than the car. I know it. Rollin' Off cottage is right up in that clearing, in the middle of that big meadow. You know those daughters. They're daughters. You figure which one of them might have wanted to kill Rollin' Off? Oh, no, Johnny. No. Who's the benefit theory of this problem? Well, it's a very unusual policy. Now, what do you mean unusual? There's no beneficiary specifically named. What's the beneficiary? Or beneficiaries are to be the same as the heirs, but are specified in Rollin' Off's will. Well, who? Nobody knows. Well, where is his will? Same answer. Well, I look here. It's always made it very clear that his will would show up at the proper time. I assume, of course, his step-daughters will be his heirs. Oh, but if they're not. Oh, this is the Rollin' Off cottage. Well, quite a lot of cottage. And just as nice on the inside as it is on the outside. Rollin' Off used to complain now and then about some of the feminine trippery all around him, but, well, he liked it. And you're sure they all got along well together? Well, of course. Every family has a little spat once in a while. Oh, Johnny, Johnny, I'll listen to me. Oh, we shall see what we shall see. I know that after what Ray said, the evidence kind of seems to point to one or all of them, but, well, yes. Oh, hello. To say the girl who stepped through that door was beautiful would be the understatement of the week. Fall and striking dress and something that looked like sceparelli or Christian Dior. As though she'd just stepped out of Charles of the Ritz. And if her two sisters were anything like this, hmm. Johnny, I said this is the older sister of Rollin' Off. Johnny, hmm. Oh, oh, I'm sorry. Hi, Johnny. Hi. Hey, do you mean? Hey, I guess so. You're the investigator, Earl, told us about. Come in, won't you? Sure, thanks. Have you found out anything about Daddy? Oh, girls, that's what we have. No, no, Earl, we haven't. Oh, dear, it's such a terrible thing. Oh, wait a minute, Johnny. You wait. Ada, we have guests. Oh, hello, Earl. Oh, hello, Ada. And this good-looking man is Johnny Dollar. Hi. Hello. Oh, that's a nice warm welcome.  You look a fright. That plain old house there, really. What's that you're playing, Ada? It's the last thing Daddy wrote. He wrote it practically the morning he was almost as though he knew something was going to happen to him. Oh, come now. And then he had to write it before it did happen. Oh. Where were you, Ada, the morning he left? Right here, Johnny, playing this for the first time. Ever since he disappeared, I've been trying to figure that I had some special news. Oh, Ada, that's such a silly idea. Is it? What did you mean by that, Olga? Oh, it's really. Well, it's like a lot of other silly ideas she gets over her music. Yeah, like what? A lot of things. As though she should be the concert artist in the family instead of Daddy.  I'll be greater than he ever was. Oh, sure. And I'll do it in memory of you. You'll do it for your own self-slorification. I'm sorry, son. It's all right. It's literally where were you that morning, Olga? In Colorado Springs. I went shopping right after breakfast, or rather window shopping. Oh. I need some music so badly. Well, you know, I have to keep up with the styles or I'd look like our poor little artist here. Oh, yeah. Oh, where was your other sister, Maria? I don't know. Oh, Ada, stop that. When I left the house, she and Ada were doing the dishes. Well, you weren't helping. I told you, Johnny. I had to go into the spring. Oh, where is she now? Oh, Maria's probably out in the hills somewhere, camping. Maria's right here, Olga. Hello, Earl. Well? Oh, come in, dear. This is Johnny Dollar. The investigator, Earl, said that you were getting married. So I see. Well, investigator? I saw two. And I didn't like what I saw. Maria was dressed in tacky shirt, britches, and honeyhoes. And hanging in the crook of her arm was a high-powered hunting rifle. Act three of yours truly, Johnny Dollar, in a moment.  How about aiming that rifle the other way, Maria? Oh, sure. I'll set it down the corner. Is empty, needless to say. Um, better let me see it, huh? Oh, I told you, is empty. Are you a hunter, too, Johnny? Talk as if you were, dear. I am, Maria. You do a lot of shooting? Shooting, yes. Killing. Samping around these mountains, blazing away at anything that moves just for the sake of... How about that, Maria? Give me something to do. Kind of a release. What else is there to do in this godforsaken place? Any other guns? A little .22 that I used for flinking. We all use it. Fine. I want to see that one you put in the corner, Maria. Sure. And please don't start waving it around the way you did. Here you are. Why are you so interested in it? Well, I... Hmm, really ought sick. That's right. Johnny. And your only other one is a .22. That's right. But why? That's no .22 up there, ultimately. That's daddy's gun. I don't think it's a gun. Oh. Get it down for me, Maria. Why? And why all these questions, Johnny? Better tell them, Johnny. Yeah, I guess. Tell us what? We... We found your father's body. Johnny, you can't do that. I'm sorry. He was shot by a high-powered rifle. Where? Where is he? What happened? This is terrible, Johnny. Tell me. Are you crying for Olga? I suppose you're glad, Maria. Because now you can do what you please. No more of those boring concepts all over the world. No more of this God-spot taking place as you call it. I suppose you're glad because now you'll have money. Fancy clothes, Europe, the Riviera, South America, men, men. Stop! Stop talking like that. Why? Because it's terrible. No, because it's... It doesn't even make sense to stop saying that thing over and over and over. What are you trying to do? Drive us out of our minds? No, I'm trying to find out why daddy wrote it. What compulsion made him feel he had to write it before he left that morning? Hey, wait a minute. Well, all I have to say... Wait, I said. What is it, Johnny? Hey, to get back to the piano. What? Sit down. Play that thing again. Now play it. Slowly. Stop. Johnny, what under the sun are you doing? Listen, Earl. The notes on a piano run from A to G like this. Don't you see? The first three notes of that thing she's been playing are A-D-A. Listen. A-D-A. A-D-A. A-D-A. Yes. What is it? A message to me? Oh, now, wait a minute. The rest of it now, quickly. D-E-F-A-C-E. To face. E-H-E-K-G. To face. D-E-F-A-C-E. To face. E-H-E-K-G. To face. To face. D-E-B-E-T. A-da. To face. S-H-A-G. S-H-A-G. To canary cage. Right. And it's exactly what I'm going to do. Tear out the base of that cage! Let's go and hurt the little bird. Will somebody please tell me what this is all about? Hey. Look here. Look. It has a false bottom. Yes. Look, what's in it? Hidden there. Yeah. The last will and testament of Misha Romano. Johnny... What does it say, Johnny? That note with it? It looks like Rolinoff put the finger on his killer. Johnny, what does it say? And my reason for deliberately omitting her from my will. Omitting home from his will? What are you talking about? Read on, Johnny. It's not only because of the self-centered life she's always led. Not only because of her constant completely selfish extravagance. I'm afraid that could apply to Oliver. An extravagance which finally led her to forging my name on checks. Oh, Johnny. Then when I discovered that she was sneaking out and practicing with the old rifle, it's kept over the map. The 250 cents. It was kept over the map. Don't move. Oh, enough! What have you done? All right. So he cut me out of his will. But if I can't have what I wanted, you won't have it either. Now look here, Olga. It's gone hold five shots. I know because I reloaded after I killed him. Olga. And now you all know that I killed him. All right. One shot is for you, Maria. One is for Ada. One is for you, Earl, and one for Johnny. Olga, listen. That leaves one for me. So that when I finish, no one will ever know. Olga, you're out of your mind. Maybe so. But what difference does that make now? Because now there's no other way out for me. There's nothing else I can't stand still. It's all over. Not for you, Olga. Somebody emptied the bullets out of that gun. Ada and I, we didn't want to believe it. We tried not to, but I guess we knew that when Daddy disappeared, she must have somehow... somehow had something like this might happen. And she did kill him. And she did. Oh, Johnny! Kind of a wine. You'd be so twisted. Extensive count total including fare back to Hartford 351-20. Remarked? None. Yours truly, Johnny Duff. Our star will return in just a moment to tell you about next week's story. Star to tell you about next week's story. Next week? A beautiful girl. A model, in fact. And unfortunately, a model crime to go with her. Join us, won't you?


Hello and welcome to these minimal tutorials on Godot. Let's go ahead and create a 2d scene. I'm gonna call this Key move because we're gonna use a key on the keyboard to move a sprite Let's go ahead and drag our sprite in here. We're gonna attach a script to that. I'll just call it key move Not GD and now we're gonna have it check over and over again If a key is being pressed so what we're gonna do here is we're gonna say input Dot is and we have a few different options here We're gonna say action pressed is action pressed Make sure you don't select is action just pressed or is action just released We want to constantly check over and over again is an action pressed So we're gonna do that and it gives us a list here to choose from I'm gonna choose UI right Then I'm gonna say colon and we're gonna start this off with if I forgot to say that hope that doesn't confuse you So we're saying if this is true do whatever is on the next couple lines that are indented and we're going to Change the position of our sprite or player on the X plus equals one We'll hit F6. We'll save this scene And when it opens you see our sprite there and when I hit the right arrow He starts moving of course we can make him move faster or slower by changing that number the up down left right arrows Don't do anything Well, we can change that we can say if we can just copy this whole statement If input action so an input can be mouse keyboard joystick, but we're gonna change this to be left So you I underscore left and we want to go the other way So we're gonna say negative one F6 to run that left moves left right moves right I can close that window. We can do the same thing again. Let's go ahead and copy both of these and we're gonna say here Up actually, let's make that down and this one up and As we talked about in a previous video why is up and down so now we will F6 to run this and I can go Right I can go left and go up. I can go down and I can hit two keys right and Right and down left and up So we can move our sprite all around with a couple key presses. We'll talk about customizing those key presses in the next video Thanks for watching this minimal tutorial, and I hope that you have a great day Please visit films by Chris comm there's a link in description as well as a link to my get lab page for this project Where you can download all the source code and assets have a great day


From VOA Learning English, this is the Economics Report. The Ethiopian Government and the United Nations Development Program, or UNDP, have launched a three-year program. They plan to train more than 200,000 entrepreneurs. Government and UNDP officials say the businesses set up by these men and women could create more than one million jobs in Ethiopia. The country's Minister of Urban Development and Construction, Micuria Hylay, says Ethiopians need to change their way of thinking. He says that instead of looking for jobs, people need to become social and economic entrepreneurs who create jobs. The Ethiopian Government and the UNDP are interested in people wanting to set up small and medium-sized companies. The development program is expected to cost $26 million. So far, the UNDP has supplied $6 million. The program is based on four main ideas – institutional development, entrepreneurship training, business development services, and partnerships. Eugene Awusu works in Ethiopia for the UNDP. He says more needs to be done to reduce bureaucratic rules and increase access to credit in the country. Ethiopia has one of the world's fastest growing economies, but it is 174th on the UNDP's Human Development Index. Human development has improved in Ethiopia during the past 20 years, but almost one-third of the people live in poverty. And the need for jobs and economic growth is urgent. In Africa, Ethiopia's population is second only to Nigeria. And Prime Minister Hale Mariam DeSalem says a majority of the country is under the age of 25. For VOA Learning English, I'm Carolyn Presuti.


Hello everybody and welcome back to Investor Intel. I'm Peter Clausy. We're back with our old friend Brendan Grunemwald who's living in Belgium and today can go for a beer out of lockdown. Hi Brendan. Hey Peter, nice to speak to you again. Movely Media has long been one of our favorites. You and I met at PDAC 2020 when we stress tested your software and it passed with flying colors. Since then your technology has just blown up. You've expanded in so many areas. You've incorporated Google and Instagram and Excel and Mailchip, all in APIs in your software. Your focus on technology has been brilliant. So how are sales coming? Well, you know, one of the things we said as part of our growth strategy and one of the reasons we raised, wanted to raise the money is to acquire customers. You know, you need to, one, you need to go and market yourself and your products and your services out directly. But another way to do that is to basically integrate with third-party platforms. One, it adds value to my platform and to my product offering so that I have a more competitive offering when I go out and compete for business. Two, um, those customers and those company's customers are looking, are always looking for tools that are compatible that are going to save them time and money in terms of in terms of operability. So we, by doing this, we don't want to make our product more competitive, but we increase the chance that those integration partners, customers are going to start using us versus anybody else when they come to us. You call it stickiness. Well, it's stickiness, it's attractiveness and stickiness. So you've got to attract them and then you've got to stick them. And so, you know, that certainly works as well. And of course, the third one is strategic because, you know, the more we're integrated, the more value our platform has, you know, as an entity and as an asset, eventually, you know, should somebody ever want to buy the company. Um, you recently did a very successful financing around three and a half million dollars and you've now expanded your team. You've put more salespeople out in front and these aren't onesie-toosie salespeople. You're selling to large multinational corporations.  We've known from customers, large corporations, and you can check our website for those testimonials that have said, look, we think you've got the best product in the market, but we were certainly not the best known. And as we all know, best technology isn't always winner in the market because you need to be known to be purchased. So we've been saying for a while now, we want to raise some decent money. Now that we have money in the bank, you know, we also need to expand the number of people we have so that we can expand our business. So yes, we've added teams, people to our, particularly our sales and marketing. We've added, you know, an engineer to our engineering team, just also primarily help us with the accelerate these integrations. But most of our additions have been in the sales and marketing side. You know, we've got a dedicated team now on corporate sales to the large multinational enterprises. We've got dedicated people now also into our business development partnerships because what we're also seeing is that we're seeing an increase from people who want to actually resell and partner with us. And that's again, a great way for us to be able to cost effectively acquire customers because acquiring customers through advertising on Facebook and Google is expensive and makes them rich. But doesn't always give us the return that we want. Whereas if we have other people who are basically going to spend their sales and marketing dollars to sell our product on a commission, you know, we go from having a cost of acquisition to a cost of sale. And so by doing that, we're actually hope, you know, that's our strategy to accelerate and grow our business. So with these additional teams, you know, and what's really encouraging is we're seeing people coming from, you know, top tier companies that don't want to mention any names, but that, you know, top tier companies in the space, you know, we're able to hire people from those sorts of companies. And in fact, we just hired one from a customer of ours who, you know, so who's been one of our biggest accounts in the past.  We've got to, you know, we're not on a skeleton crew anymore. And, you know, we have, I think every chance at being able to execute the strategy that we've had in the draw. It's now out of the draw and, you know, the troops are now marching. So I'm imagining this isn't like going to the grocery store and buying a sack of potatoes. You have a longer sales cycle, but once you have your hooks in the business, you're integrated for a very, very long time. Well, yes. And we see, you know, there are three legs to our growth strategy. The e-commerce sort of small, medium business individual user. That's credit card primarily based business. There are advertising spend, you know, grew significantly in the last 12 months. And, you know, that is a more of a short term sales cycle. The long cycle cycles, sales cycles, as you say, are on the multinational corporations because they typically do a far more diligent assessment of the market and the players. And it's a more competitive environment. There's certainly an impulse buying from the enterprise clients. But we're winning some of that business and that's what we really are seeing. But, you know, it does take, you know, I don't know, between 90 and 120 days to close that kind of business. And also our partner business is, you know, it takes a little while because the contracts to be signed are not just credit cards to be taken. But both, you know, a lot of those deals have been closed. Unfortunately, you know, the nature of the business of being a small company is that not all of those big household names, you know, want to have their names associated with us quite here. Now some of them have in the past, but before they allow us to put out a press release or make an announcement that we've won their business, they want a few months of experience to make sure that, you know, they made the right choice. Even though they may have done so, you know, there is a level of credibility and comfort we need to achieve with those players post-signing them, you know, before they'll allow us to use their names. Right. Your quarterly financials are due soon, right? That's correct. So our March figures should come out in the next couple of weeks.   So yeah, our financials will come out in the next couple of weeks.  Okay, great.  Hope you have a great day. Enjoy that beer when you get to go out again. Yeah, I know. Hopefully you guys get to enjoy a beer on the terrace soon too. Movely Media. Traits under the symbol. M-V-Y. Have a wonderful safe day, everybody. Signing out from Investor Intel. I'm Peter Closy.


forget me not, a wonderful movie that George Casey and I are going to review here today on the movie show in Think Decoy. So I'm looking forward to this discussion because I think this movie is really special. Not everybody feels that way. Rotten Tomatoes gave it a lousy rating. Maybe they just don't know how to review a movie anymore. But George and I both like this one and I'm going to let him start off by describing it. It's Forget Me Not. It's an English movie in recent years and it stars, what was her name? Genevieve O'Reilly as Eve Fisher and Tobias Menzies, both English actors, as Will Fletcher. And you get to know them down to their boots in this movie. But George, what is the movie about? It's basically a 24-hour time frame with these two, Eve and Will, their interaction, getting to know each other. And it starts off, she's working as a barmaid in a bar and he's like an occasional musician that plays there. And you can see initially she sort of likes, you know, his music, it likes his looks. So just like usually women were the ones who made the decision not to bet who they want, you know.  So she calls him, you know, that you left your thing here and I'm going to keep it safe, keep it free. So meantime they segue in, he's back home and starts off really interesting. He's there in his bathroom sink, he's got a razor blade and a pills, you know. So you're wondering, what is this guy going to commit suicide?  So then he's looking out his window, you know, in the bathroom, except the window. And he sees Eve walking with his guitar, right, in front of the street.  So he runs outside and punches the drunk, right, and saves her, right. And then he says, you know, it's not safe on these streets, because the drunk runs away. So I want to accompany you home. And she said, no, no, at first he said, no, I think it better be safe. So eventually, you know, they get, they start walking around London, you know, that that's what happens for like 24 hours overnight. And they start to get to know each other a little better, right. And it's like, like I was telling my, it's a cat and mouse, just like most relationships that it women, it's like the birds, you know, when there is a mating dance, right. He says something she says, she doesn't understand where he's coming from. He doesn't stare what she's coming from initially. And then little by little, like you like, if pieces start to fall into place, she tells him a little bit about her background, her parents, he tells her eventually about his parents. But the punchline is not until the end. Don't tell it yet. We have to set the stage before you do that. And the next morning he goes with Eve to visit her grandmother, raised her, right. And her mother, it seems extensively had left her father and married this prominent wealthy man, you know, so, and then sort of abandoned Eve, right. So she was raised by her grandmother, you know, alone, right, her mother's mother, right. And then you hear about Will's thing. Will's father was in Iraq somewhere, you know, in the war that Gulf War and he died, he got ambushed by ISIS, right, or something. And then he eventually lets her know that his mother, first he tells her that his mother died of a broken heart. But that was what he told her initially.   So, you know, he accompanies her because her own safety. Later he tells her if he didn't really, they want to go with her. He really didn't want to be with her. So her feminine feeling is like, what do you mean you don't want to be with, she didn't understand him. I mean, unless you understand what's happened at the end, he will not understand his actions. He will understand more her actions because she's reacting like a typical female, you know, but she does something she thinks she's being rejected. But you don't understand who... I don't think she's a typical female. Well, you know, for me... Go ahead, we can discuss this. His reaction, the way she reacted to what he was doing was she thought she was being rejected.   He didn't want to have sex with her. So she reacted very angrily.  And then he's, you know, playing hard to get and then not doing it.   And there's a doctor there, African-American, very smart. Asking the grandmother questions to determine the level of her Alzheimer's, right? But this, you don't understand the whole thing about how that plays in.  You don't really understand how that plays into it. I don't, maybe you understand that. So I'll let you segue into the punchline. Well, let me begin and sort of take another look at the, you know, the storyline as you described it. You knew from the outset that he was a little old to be playing guitar and gigs in bars. There was something funny about it, you know? And he was, he had a nice look about him, but you can't say he was handsome. And he, you know, he didn't dress or behave himself in a, in an ordinary way for a man of what, 35 or 40. And she was, she was a pretty woman. But what was she doing with the bar? And what was he, you know, why was she attracted to this, this gig worker guitar player who really didn't seem to have any substance? And it's just, he brought them together, as you said, on the street with the drunk, and he saved her at some risk to himself. Runk was going to attack him.  And then they ran into all these London nightlife street scenes. And each one of these things, you know, taught them about each other, which was very interesting. And so the conversation is brilliant. I mean, the screenplay is very good. And they, it's not a lot of words, but it's carefully chosen words. And he's kind of quiet. And she is interested in him. But he is, he is giving her these monosyllabic answers and dropping little breadcrumbs about who he really is. And you have to listen to it carefully to see who he really is and who she really is and why she's interested in this fellow is so vague and hard to find. And it's like you have to see the movie twice. You do. You have to see the movie twice to watch the breadcrumbs. Because as we have already mentioned, you know, the end of the story is a kind of a mindblower. And you never expect it coming at you.  You would see all those breadcrumbs and many little hints that come out, which you don't catch the first time. I thought we learned a lot about London, what it's like to walk around London in the middle of the night. Nobody was there in those streets. They didn't feel threatened except by that drunk, but he was somebody that she knew and who know her. Otherwise, there was nobody who threatened them in any way. In fact, people were pretty friendly. And there was a lot of, what do you want to say, joy in engaging with people. London is in the middle of the night a happy place and a place where people can talk to each other, chat each other up. You know, in Hawaii, we don't really have that experience, do we? We have, you know, in big cities and particularly in Europe, you can talk to a stranger and there's some gratification in that. And that's what was happening because he had his guitar with him the whole time. He would play songs. At first, I didn't realize how important the songs were in this movie. But apparently, George, he had the ability, although he had limitations, which we will find out about, he had this ability to make up a song on the fly, you know, to make the words of the song and the music of the song on the fly.  And it wasn't bad. And she had a voice too. And he sang with him once or twice in the movie. And he said to her, you got a pretty good voice too. And it just brought them together. His music, his music brought them together. So as they walk, and it's slowly, it's in these, you know, these interesting places along the river, if you will, in the Thames, I guess, in London, they begin to know each other, learn each other. And the viewer is so interested in seeing, well, are they going to, you know, find each other? Are they going to have a romantic? Because it's not, it's not sure that they are. But as they reveal themselves, it's terribly, the dialogue, terribly honest, terribly, terribly honest, except he keeps throwing bread crumbs as to a problem that he has. I had two, you know, two particular moments that I really liked in the movie. One is when he sang a song as the sun came up at the top of a ferris wheel affair. And it was really interesting that he could, he said, make me a song about the morning light. And he immediately made her a song about the morning light. And it was, it was good. It was perfect. It was poetic. All the songs he sang were poetic. He had a talent in that regard. And the other thing that I thought was very interesting was the dance hall. I don't know if you remember, I was really wondering why there was no soundtrack on the dance hall. You realize what was going on, George? They were, all these people in the dance hall were dancing to cell phone music. Each one had his or her own music with it with a headset from their cell phone. So everybody would be dancing to a different tune. Is that symbolic? We all dance to a different tune. I thought, you know, maybe they actually do this in Europe or in London. That's a great idea.  And you and your partner in the dance, you share a headset, you know, one earplug to me and one earplug to her. And we dance. And all these people, I mean, there was really what's going on here. That was so interesting. And it's a statement, I suppose, of it's an allegorical statement about dancing to your own tune. But it's also a look into the London nightlife.  As you said, it's a 24 hour thing. It's actually, it's not even 24 hours because it, oh, I guess it is. It's from the evening time when the bar is closing until what late in the day, the next day.  Little by little, you realize that they're both flawed, they're both needy. And he's got some kind of major problem that would motivate him to commit suicide at the outset, which he never reveals to her. And then there's the, the scene where it is all revealed. So carefully, George, carefully tell us about that scene. He reveals to her that, and there's all on his wall in his house, he's got all these little stickers, right? To remind himself of things just like I have in my notebook, remind myself so I don't remember what to buy at the grocery. She's got all these little stickers that she sees that doesn't quite understand. He has a rare disease where early in life, frontal something, I forgot the medical term, right? Where you lose, it's like Alzheimer's, just like her grandmother is, it's got early Alzheimer's. He's got early Alzheimer's, right? And he's only in his 30s. And all he can, it's going to get worse where he's going to be mindless, you know, at a very young age. And he doesn't want to live like that. So that's why he sees no future for himself on this earth. So he's very philosophical about where we go, you know, of course, both his parents are gone, passed away. So he's very, you know, realistic from his own perspective, it's, he's got to do something he doesn't want to get to that point. And there's no cure for this disease just progresses. So that's, that's when I think she starts to understand. I mean, I may be forgetting some of the particulars, but that's when she starts to understand why he acted the way he did when she was very upset, right? Because he's a very honorable guy. He doesn't want to get her emotionally tied with those.  And doesn't want to have sex with her, because maybe she can pray and then, and then the kid has no father, or she'll get more emotionally connected with him and doesn't want. So that's basically what she understands about really honorable guy. Does it not selfish, totally concerned about her needs as opposed to his own feelings? Yeah, if you, if you watch the dialogue as, as they continue walking and exchanging, you know, statements of, you know, love and commitment, which happens, it's very subtle, but it happens. The dialogue is really well written.   And so is he. She's, he's very, what's the word I'm looking for, understanding and emotive. She's very, she cares about people, people person. And he, as you say, he's an honorable, caring person also, but he's got this problem. And I would go a step further. I would say he's already got the frontal, the frontal deterioration problem, low, low-bectomy or low lobotomy, something word like that. And he's, he's got it already. He knows about it while he has all these hundreds, hundreds of stickers around his house. He said, you know, he forgets facts. He can't hold back to his mind. And one great line in the movie is something like, what are we but our memories? We have to remember all these things that he's losing, these things. He's already in the disease process. He's already in the, the degradation.  He's capable of music and poetic songs. He's capable of caring, but he's losing it right now. And he knows he's losing it. And that, you know, that's the saddest part. And she doesn't know she likes him for what he presents to be. But when he tells her this, she's got to make a choice as to whether she will commit to him or not. And she's inclined to do that. So she's really touched. She's really, it's, it's a hard moment for her because she realized he's telling her the truth. They will never have a long-term relationship, not possible. He says to him, for example, what can they do for you? And he doesn't answer because they can't do anything for him. There is no medical science that can help him. And so at the end, you have this kind of un- spoken agreement that we will stay together, care for each other as long as we can. That's our commitment. It's not like an ordinary romantic relationship at all. It's beyond that, beyond that. It's not till death do we part. It's till dementia do we part. And she's willing. She understands and she's willing. And he can give her everything that he has, but he's already declined. It's just, I mean usually it's death the hardest part, but he's going to be, even if he lives, he's going to be in this mindless state. And one of the interesting, when they have that doctor talking to the grandmother, it's interesting that that scene is really tied to his condition. So there's a play in there. And when you said about his music, when he met those bunch of women in those costumes, he was really good about, as you said, bringing up the lyrics to the music right on the spot. So, you know, he's good at this. Parts of his brain are deteriorated, but parts are still good. So just like any kind of brain injury or brain disease, it impacts one part of the brain. So there's still enough emotion for him to be, you know, there with her. But he didn't want to tell them what she was studying for, until way, way into the movie. And I recall that what she was studying for, she wanted to be a nurse, wasn't it? And there's a kind of, you know, a magic about that, because he was going to need a nurse.  But it goes beyond that, because she could help him as he further declined. You know, the other thing you wondered about is he had a pretty nice apartment. He was trying so hard to keep everything organized and do the right thing. You know, you mentioned the stickies on the wall. There were hundreds of them. He was trying to build a life for himself, knowing that he couldn't remember things. And so the whole wall was pasted with these, you know, yellow stickies from an office. And the apartment was impressive. I mean, it was a nice apartment. And you wondered how he could live economically. But I guess his parents left him some money. He was obviously not earning a lot of money from playing guitar in a bar. But it was enough to allow him to, you know, organize himself. And even his attempt at suicide in the first five minutes of the movie was very systematic. Let me think. I do this. I do that because I, you know, I can't do this anymore. I know what's going to happen to me and I don't want to be a burden on anyone. So I'll just cut it right here. And it was suicide with a plan. It was a suicide where he systematically went through the options and set himself up. And it wasn't the ordinary attempt at suicide Luckily, the call that she made to him about the guitar he had left behind interrupted him. And all of that flowed into this relationship they had walking streets of London. So why does this fit, you know, George, in your view of moviedom these days, this was a movie I made a few years ago within what five years or so maybe before COVID. And what is this fit in your appreciation of, you know, European movies, English movies, movies about illness, movies about romance, movies about personal, personal evolution, personal dynamics of people who are thrown into a situation that changes their lives. Both of them, their lives changed. And he failed the need. He really, really loved him in that one day period. And he was completely committed and they were both willing to say it to each other. Now that is, you know, they both surrendered to each other in less than 24 hours. But where does it fit, George, in your view, your taste for movies of that nature? These movies are the other type of movies you mentioned. It makes you think. It makes you think about your own life issues. It's not one of these action movies with a lot of violence and, you know, cutting up and shooting and stuff. I think these type of movies would be much better for the young people of today, Generation X and whatever the language. Because for my generation, this is a really profound, these movies are, this movie was very profound. The subtle issues that were in play, right? So I like this movie. I like this movie for the lesson it gives us, right? As opposed to all these other movies that I don't want to see, I don't want to see violence and stuff, you know, shooting and killing and all that. So the movies you did pretty much, you've been picking, are very good movies about issues, you know, in our society, whether it's personal issues, world issues. I mean, in 2014, Ukraine, the Armenian genocide, how it plays into this Ukrainian situation. And then all the ones that the two lovers, what was that? We watched the two movies that Julia Roberts' movie and the other one with Shaleen Woodley or whatever, you know, played it. So I mean, all of this, I like all these, you know, as I'm glad, except for a few that had some violence, you're not choosing those kind of movies.   And then everything's emotional at that age. So I like this. I like this movie. I like these other movies. I hope that answers your question. Well, in part, because I want to ask you to compare this movie. I don't know if you saw the Anthony Hopkins movie was also about Alzheimer's. It was a real winner. It played maybe a year ago, a year or so ago. That was the father. The father, yeah. Do you remember that movie? It's worth mentioning that movie in this context. That movie was not a happy movie. That the relationships were deteriorated. He was getting worse every time you look. It was a tragic movie. And there wasn't really, I must say, not a lot of caring. It was also an English movie. So how do you compare that? A, which one do you like better? And why? Well, you know, as much as I like this one, I like the other one better because it actually showed his inner, you know, the protagonist's inner view of what you see. You didn't really see Will Fletcher, you know, except those stickers, you know, you didn't see that. I don't think his disease had got to the point yet, where it was really, it was getting more serious. But, you know, it went with down from there. So I like the father better, sort of for the realism. And even though this plus is on this one too, the plus is here on the relationship that he had with Eve. But I like that other one. But there were more players involved in one of the things. And the whole family, it wasn't just two people. This was a, you know, sort of microscopic look at two people and their relationship.  I mean, although deterioration was involved. But I want to dwell on one of the points you made a minute ago. Movies are more than these days, the art, because movies have an effect on you, just like the violence, vengeance, and hate movies that we don't like too much. You know, because they had, we know they have an effect on us.  The effect is a bad effect. The effect makes you think that violence is okay. And it justifies then, you know, if you hate and you need vengeance, then the violence is justified. This is a terrible message. And this is what we're getting. Every movie has a lesson. Every movie has a takeaway. All of art has a movie and a takeaway. Okay. And we always compare it with our own lives. We always learn whether we realize it or not from the movie. So if I compare these to the father, okay, and forget me not, I come out ahead on forget me not. And I'll tell you why, because of that effect, the learning effect. You learn from forget me not that you can love somebody, really love them, at least for a while, even while they're degenerating. And it touches you. It enriches your life. Eve's life was enriched by riding it down with will. In the case of the Anthony Hopkins, the father movie, you learned a lot about Alzheimer's. You learned about the dark side of Alzheimer's. You learned about the ship is shoving off. And he's going into oblivion. But that's not a happy lesson. And there's not too much positive to learn from that movie. You'll learn that it's a really bad experience, which it is. But if I'm talking to 300 million Americans, I'd rather tell them about the love part. I'd rather leave them with that takeaway than the takeaway is that people with Alzheimer's are a real problem. Yeah, I understand your point too. Anyway, so what rating, I don't remember what we rated the father at, but what rating would you give forget me not? Pretty high. I have a few issues, so give it a nine. Some of the reviewers also, self-division issues, but I'll give it a nine. I mean, you see London only smogging, London, some of those scenes just depressed me, but that Ferris wheel thing, that scene was really nice, that he sings the song to. I'll give it a nine. You're probably going to give it a 10, but I'll give it a nine. I will give it a 10. I'll give it a 10 because I think it's a movie that you learn from, a movie that touches you, it certainly touched me, and a movie that is filled with the symbolism and breadcrumbs about what's really going on here, a movie that you have to watch twice to pick up on to get the whole message. I realize now that, as is the case in so many good movies, that the filmmaker is trying to tell you stuff in subtle fashion. There's another dimension to it. I like movies with more than one dimension. This movie had more than one dimension. So, George, I'm really enjoying this movie review process with you. We'll do another one in a couple of weeks. We'll try to avoid any mentions of violence, if you don't mind, and as I will suggest the movies to you in the next few days. Thank you so much for watching Think Tech Hawaii. If you like what we do, please like us and click the subscribe button on YouTube and the follow button on Vimeo. You can also follow us on Facebook, Instagram, Twitter, and LinkedIn, and donate to us at ThinkTechHawaii.com. Mahalo.