Hello and welcome to our panel from the InnerSource Special Interest Group here at FinNOS. We're delighted to be with you here today, though unfortunately not in person, but some of our colleagues are today. So us three, unfortunately, can't be there. But we are delighted to be here virtually to actually share some of our experiences. So to give a brief introduction, my name is Claire Dyn. I work with InnerSource Commons, and I'm the Secretary of the InnerSource Cigats at FinNOS. I'm here joined today with Gil Yehuda from US Bank, who is Head of Open Source Engineering Technology at US Bank, and Arthur Molson, who is a distinguished engineer at Capital One. And we are all members of the FinNOS InnerSource Special Interest Group, and we're here to share some stories. So Gil, I'm going to start with you. Perhaps you can tell us a little bit about how US Bank has come to InnerSource and where you are on your journey. Thank you, Claire, and thank you all for showing up and being here. We're on a large and sort of enterprise-wide journey around technology modernization holistically, really looking at the way we use technology, leverage technology, purchase technology, and most importantly, build technology. And the building technology is the newer part of this. So as we're looking at modernization, we're looking at cloud computing, we're looking at open source, which brought me into the picture as really an open source practitioner, but InnerSource is a very close, I call it the first cousin of open source. They're so close. And we run into InnerSource challenges in the organization as well. The organization was largely designed around a software development model that was fairly traditional. InnerSource challenges that and says, wait, there are opportunities to do things better. And we're looking at those opportunities internally. And in particular, we're looking at those projects that lend themselves most naturally to InnerSource. So there's a collection of those that are sort of typical in organizations like shared libraries, UI components, build scripts, you know, patterns that you would use maybe for your microservices where you don't want multiple teams to use the same thing. And if multiple teams can't see the same code, it's very hard for them to do the same thing. And then just saying, well, why can't I see your code? That brings the InnerSource question that raises it and that brought us together internally to form an initiative to answer that question. What do you mean you can't see that code? Let's figure out how to make that work and then deal with all of the follow-up challenges that organizations face when they go about doing this. That's brilliant. Thank you, Gil. And Arthur, I'm going to come to you next because Gil has been describing this great organizational-wide effort. I know in Capital One, the journey started to maybe look slight different. And you yourself have a good story about where you came to InnerSource as well in Capital One. And perhaps you can share that with us. Yeah, for sure. So I guess Gil is coming at it from like an organizational level. And from my perspective, how I've experienced it is really from the bottom where we built a very successful InnerSource project within Capital One. And that really helped put the spotlight on the value and importance of InnerSource within Capital One in general. I think that I was a bit lucky I joined a bit later, but I believe when Capital One moved to using GitHub Enterprise, there's probably a very explicit decision made to keep repositories open by default. So I think that kind of helped foster this community, but there wasn't maybe as much as an intention focusing on InnerSource as happened after several successful projects and platforms took off within the organization. And then there's a focus now on how can we foster more InnerSource and more contributions. So in our area, and I think this is maybe an important point that we could touch on, a great opportunity for organizations to start fostering InnerSource is by focusing on the cross lines of business horizontal tech, which is often DevOps and how do we build our apps? How do we get them deployed into Gil's point, to the cloud or within the data center? Those are often fertile grounds for building InnerSource communities. And that's actually where I come from as well is that DevOps community. But at this point, Capital One's quite mature in its InnerSource process where there's lots of organizations within the company that are sharing code, building some of our largest platforms together with cross-binder business contributions. That's brilliant. Thank you so much, Arthur. Now, we're here at an InnerSource panel and you'd expect maybe that we might delve a little bit more into the kind of benefits but we thought it might be nice to actually go directly to some of the biggest challenges that we faced in your implementations of InnerSource because that gives people a realistic view of what this journey might involve. And we know some of those might be structural and some of those might be psychological. So I'm gonna come to you now and ask you what has been like some of those blockers and challenges you faced as you're thinking about adopting InnerSource within your organization? Again, Gil, maybe I'll start with you. Sure, sure. Thank you. Yeah, the challenge is real. Humans have this amazing dichotomy. We are very adaptable to change and yet we resist change. Which is odd because we're actually quite good at it. We just don't like doing it. And InnerSource, at least in our organization and I think many traditional organizations is a change. It's a change of behavior from a sort of a traditional model where you swim in your lane and information is provided to you on a need-to-know basis and there's this separation of concerns and all of these catchwords that evoke a certain sense of, you see what you see and you don't see what you don't and that's actually beneficial to the organization. There's a different modality of thinking about sharing information in general and specifically source code, which takes a different approach. It's share what should be shared, leverage the opportunity, hide obviously protected things that should be hidden but source code shouldn't contain that many things that are hidden. Source code isn't particularly good for secrets. So the notion that well, what if there's a secret there? Well, no, there shouldn't have been a secret there. Fix that problem first and then you'll see that the majority of the source code is shareable. So some of the challenges that we have have to do with, first of all, understanding just how deep sharing happens in source code management. For some people, inner source sounded like a buzzword. It's like, we're going to do agile, we're going to do inner source and it's like something you do, right? And the something you do is something you sort of deflect. It's like you do because somebody told you to and you sort of salute to the flag that we do it this way but you don't really understand it. We're trying to get past that surface understanding of inner source and not talk about it like we're doing inner source but speak very practically about where is the source code that I depend upon and how do I make the change to it? And what we find is that the vast majority of our technology is based on thousands of libraries of open source libraries that are available in public and on top of that, hundreds of internal libraries or a smaller number. So you have this vast, vast platform of thousands of open source available libraries of code and then a smaller layer of internal and then somebody at the top responsible for something saying, well, I don't want to share my code because people will see what I do and they'll just change this whole support model. And I'm thinking like the entirety of your project is dependent upon thousands of code, thousands of projects that you don't control that are already publicly available. Like most of that I can make changes to fundamentally by just going out to GitHub and internally that thin veneer that's all dependent on there.  You don't, it has these deep dependencies in this entire network that we all leverage. And if we could wrap our model, our development model around a healthier view of this being a shared, a common pool asset and as a common pool asset, much like I don't litter in the park because we all use the park, as a common pool asset, we all benefit from these platforms, some of them open source, some of them internally developed and then if there's something that truly private, sure of that, but that's gonna be a thin veneer relative to everything. Getting that notion across has been the challenge for us, but we're getting there. Very good, excellent. And I love the whole idea. I mean, first of all, I think we can all agree that that common's approach in terms of us all collaborating gets us to innovation faster and all the rest of it. But I love as well that sometimes the inner source really kind of relies on you doing the good thing anyway, like for example, not putting secrets in your source code assuming that no one will see them if you don't have to or like things like documentation which we should all be doing anyway. So it kind of nudges you in the way of doing software development in a better way anyway, which is really, really great. Arthur, what about you? What have been the big challenges from your perspective? Yeah, I think to Gil's point, you don't litter in the park, it really comes to a shared understanding of how it works, right? And I think that's where within Capital One, probably the bigger blockers or the challenges are really arising and scaling it, right? So I think that even if you're bought in as an organization, how do I make an inner source project one that scales, that can easily accept the contributions from across the organization that has all of those to Claire's point, the foundational pieces that make it a good inner source project are actually very similar to the foundations of what makes it a good open source project, right? Clear documentation, instructions on how to contribute, good pipelines and high test coverage, right? Making it easy to create code changes, contribute them, and then what's the contribution and review process look like, right? And making sure that that's standardized and clear for people across the organization for anybody who wants to contribute to your platform. And I think that's where Capital One and probably many organizations could benefit from learning from large open source organizations, how they run their projects and how can we share that knowledge specifically? Cause I think for many of those projects, they've built that up organically, right? Like, hey, issue triage, this is really like, we have a thousand issues, how do we triage this into ones that actually make sense that aren't an issue anymore, et cetera, right? How do we prioritize them? And I think many open source projects have kind of stumbled into good ways of managing it. I think that we can really benefit from how can we talk about this more explicitly and then make those tools, make those processes well known in the inner source community as well so that they can scale large inner source projects. Thanks, Arthur. And you know, can I say as well, I mean, you know, the whole inner source set of principles, as you say, you know, it's about learning about how open source methods and practices and learning from that place. But I'll also say it's been just wonderful over the last few months to actually see how even sharing together that we've been able to discuss in the special interest group in the inner source special interest group how we can take those practices and what makes sense in a regulated environment. I'm looking at Gil's little sign behind his head there. But you know, which bits make most sense in that regulated environment and indeed which, you know, how the different financial institutions might be implementing those and to learn from each other in that respect because that has been an incredibly valuable piece of this thing's work. So thanks for that. Yeah, I think that's been brilliant. Can I touch as well now because I know when we were doing some prep around this, we were talking not just about this kind of like the organizational approach and thinking about the processes and how we scale them and things like that. But we were also talking about some of the kind of psychology behind the things that make things different from an individual perspective and the idea of this idea of excessive ownership culture kind of came up, right? And I just love this because it really, as Gil said earlier, it's about how even though we're good at this, it's hard for all of us. And these little things, always these niggly things kind of rear their heads in so many ways. So Gil, maybe I'll ask you to comment on that as well because it's an interesting one. Sure, I'll touch upon this. We use terms in strange ways. We talk about ownership, we talk about things that are mine. Fibonacci doesn't own those numbers, right? They call the Fibonacci numbers, but he doesn't own them, right? Ownership is a weird word. We think about property ownership as being that, which I can exclude you from. So if I own my car, I can tell you whether you can get into it or not because it's mine. Code algorithms that define things operate differently with respect to ownership structure and we try to apply physical ownership. What we often mean is like responsibility. We say I'm responsible for this and I'm responsible for this is different than own. Like I'm responsible for my children. Does that mean I don't own them? Like I can't sell them on the marketplace. I have a certain responsibility, at least I shouldn't be able to. So I have a certain responsibility to ensure the code quality. And if I provide some code for somebody else, I certainly want to make sure that nobody ruins that code. And when we have these conversations internally and say, well, I'm not sure I should be able to accept code from a random employee, that might ruin my code. I have to support it. And I say, well, remember, your code is based on this open source project and they've addressed that internal, they've addressed that as well. I mean, there are tens of thousands of developers out there who want to get their code into that project, to put something on the resume. And yet they use all types of systems, automation, tests, in order to ensure that what gets into the code is actually good. Maybe rather than having you with a gruff appearance and a strongly worded policy, let's have some really good test cases. Let's throw some automation and use that to moderate what gets into our code because that's going to scale better. And having those conversations, they end up being a technical thing, like let's have a good pipeline, but they start off as a, but this is mine and what bad things might happen if I let other people into it. It's like, okay, let's address, actually you address what bad things might happen. And then let's talk about what good things might happen and then optimize for the good things. Yeah, I think that fear of what could go wrong as well can be a big part of that. Arthur, any experiences from that perspective? Yeah, I think that that's one of those areas that as an engineer, as you become more senior and you mature, you start to recognize, because like earlier on in our careers, we have this kind of attachments to the code that we wrote, right? It represents us and your kind of self-worth almost is attached to the way that you write your own code. But I think that as you mature as an engineer through your career, you start to recognize that actually code is really a means to an end, right? We're trying to solve a business problem and the business problems that are solved the best are the ones that are solved with people from different perspectives and different ideas. And so by making your project inner source and open to those ideas, the value of the code is how well it solves the problem and problems are solved best with more people, with more eyes, with more ideas. And so that's really why I think you do need to get past that excessive ownership culture. And again, it's not easy to do, right? I think to your point, Gil. And even within Capital One as a mature organization, we have areas where they aren't open for contribution. And again, I think that some of that fear is around, hey, I have the code structured in a specific way. Sometimes it's around support, as you mentioned as well. So how do I support these major changes? And again, I think this is where to reiterate we can learn from the open source community and how they handle those changes, as you were saying as well, to try to change that culture. But culture always takes longer to change, right? And I think the best way that I've seen it is to start small, start in specific areas, and see experiments, and then start to roll that out. And honestly, the really good ideas start to spread on their own organically within an organization. I love that. I love that approach. Thank you so much, Arthur. Well, we're coming to the end of our part, our virtual part. That was quick, wasn't it? Time flies when you're having fun. But we're sad to be leaving you and we're sad not to be there in person with you in London. But we'll hand you over to our very capable colleagues to take this conversation from here and to have more discussions on the topic of inner source. But before we leave, I just wanna say a big thank you to Gil Yehuda and Arthur Moulton. Thank you so much for joining us here again today. And a big call out to everyone in the audience to come join us in the Inner Source Special Interest Group because we would love to see you there. But with that, we'll say goodbye and hand you back to those in person over in London. Goodbye, Nairn. Bye. Good job, Claire. I already saw that once, but I thought it was pretty good. So it wasn't hard to listen to it again. I'm Denise Cooper and I'm the chair of the Inner Source Commons Foundation InnerSourceCommons.org is where you find us if you were wondering. Claire, who was leading the last session is stuck in Ireland, she can't leave right now. She's the executive director. And everybody else that's talking today is somebody that's a member of the Special Interest Group that we founded at Phoenix because James, who's in the audience here, came and told us that he thought there was enough interest based on our contributions to the Open Source Readiness work that you guys have heard a lot about in the last couple hours. So we were doing Inner Source, not Open Source every other month, was it? Yeah, and we were getting a lot of audience and he said, I think you could be a Special Interest Group. So we pulled that together very quickly and we've already done our first piece of work. So you guys have heard a lot about the maturity model that's coming out of the Open Source Readiness but we have one as well for Inner Source that's been pretty much done for a while now. And that's worth having a look at. And we're working on our next piece of work within the Inner Source SIG to try to better tool for fintech companies that have regulatory frameworks they have to work within. So that's a little update on where we're at with Inner Source Commons. The one other thing I wanna say before we get into the conversation is we have a summit of our own coming up in November. Up until last year we did several summits a year and last year we did one with Asia, our first with Asia and got so many more people than we've ever seen in one of these before. And simul translation into Mandarin which was really interesting as well. But we're seeing governments are coming to us saying we need to learn about Open Source and we understand this is the way to do that. Also, so it's sort of burgeoning. So anyway, that summit will include fintech panels and specific sort of special interest group related content. So if you have the CFP just closed but if you have something you'd love to see discussed it's worth sending a note to Claire to make sure that we get it in. Okay, so I'd like to introduce the people that are on this part of the panel. Here's Richard, Richard say what you do. Hi Richard, I'm Richard. I work at Code Think as a consultant and I have a background in cybersecurity and my general experience is with the business owners. So it's like managers and that sort of thing and it's how it's a lot of it is at least from my job at the moment with security and safety as my areas. A lot of it is fundamentally how do you get an organization to Open Source to the point where they're contributing in the open or consuming in the open. And what I've found is in the source is a path to do that. And that's why I was interested in the in the source group. It's because fundamentally what you're doing is you're doing Open Source behind a firewall. You're doing it within your own organization. And once you are at that point where you've decided you want to do this, the steps that you need to take, which is the policy and the procedures and the structures around in a source, you can apply those same structures and systems to an Open Source. And it makes fundamentally the main conversations of having a with security teams where they don't want to know, they don't want to engage, they don't want to listen to anything that you have to say from that perspective. But if you, in terms of putting content out into the world or bringing it in, but fundamentally you are, they're way more open to the conversation if you're having a conversation along the lines of, well, I've got these two teams and there's code that I can share across both of them because fundamentally it's the same function or the same problem that they're trying to solve. So breaking barriers within an organization I've always felt is a very good step in that direction. Yeah, thank you so much. And Graham? Sure, I'm Graham. I'm Innovation Director at Scott Logic. We're also a consultancy. So I've spent about 15 years working with financial services organizations. And I joined the group because a lot of my career has been in UX design, in UI design, and the idea of a common look and feel on applications is always desirable in financial services. Everyone wants that, but then it's always interesting to understand, well, how do we technically achieve that rather than just decide these are the three colors you'll use on everything? And a lot of the work I've done where we've created those common look and feel pieces has been typically siloed to a particular business unit in an organization. And I want to understand from the group, well, okay, how do you get beyond that? How does this become an organizational thing rather than the business unit? I found particularly in financial services the business units are more siloed than I've seen anywhere else in any other sector. And so the challenges of moving beyond those boundaries are interesting. And I guess the question I've repeatedly posed to the group is, well, how do we define these different degrees of openness? Because we talk about open source and we talk about inner source, and inner source even as a term is relatively new to quite a lot of organizations. But then what's the difference between inner source within a business unit versus an organization? And we just lack some of that lexicon that's needed to talk about, to talk across the organization for what are the degrees of openness that we want to support and explore? We don't have an answer yet, do we? Yeah, no, we don't have an answer yet, but we do have the maturity model which sort of starts to talk about different levels that normal companies go through. Written mostly by sort of mega-corps who have the will and the ability to do that. So I'm not sure that it's perfectly applicable to smaller organizations or individual business units, but we're gonna find out as we try to apply it, right? So what would you two say were the thing that is most contributing to siloing in the companies that you're seeing since you're from outside them technically? What does it look like to you? It's an element of how the finances run in these organizations, right? The way the budgets and the reward and everything, it's exceptionally hierarchical, it's very tree-based, and a lot of it boils down to individual contribution rather than collective contribution, and I think that has created a culture whereby, well, back to the ownership piece, it's like, well, that's mine, and therefore anything associated with that is me. And a lot of good open-source-inter-source practices around collaboration, and you can't just point the finger at an individual and say, well, that was you, and that was you, it is something more collective. So to me, that cultural element is the biggest problem. Yeah, in a lot of companies that's called matrixed management where every penny is tied to a cost center, and cost centers are per employee usually. Yeah, it's an interesting, I mean, to my eyes, that looks like the accountant's getting too far into the management of the company. I mean, it's banks, so that makes sense that the accountant would have a leg up there, but I think that a really strong case could be made that at this point they're causing more harm in terms of lack of innovation than they are providing service by making the accounting super clean, right? Absolutely, I mean, it feels in the organizations like they want to get away from that. They just don't. Yeah, I think everybody except the accountant wants to get away from that. That's right. Yeah, anything to add to that, Richard? Yeah, for me, I think the security is a huge issue in terms of, I mean, siloing individual business units off is a major thing, and they're like, well, this is the code within this business unit, and I refuse to give that. So the two pillars there, I think, are business ownership and why would a security team take that risk of exposing my code to more people than the organization? Yeah, you know, I've told this story a few times, but I'm gonna tell it again. I ran into, our code is the secret sauce of the company situation in the last fintech that I worked for, and I happened to work for the chief architect. So I asked him to do an audit of the code because he has the right to look at anybody's code, and he came back and said, that code's crap. That's what they're actually hiding. So, right? That's, I think, much more prevalent in those you can't see my stuff groups, and I suspect that there will eventually be kind of a rising tide of CTOs needing to know instead of just taking their word for it. And I think from a cultural perspective, it was mentioned on the video, the whole idea of ownership and that control. I think a lot of that isn't really, I wanna own this code as my code. I think a lot of that is my ego is tied to this code, and now I'm publishing it to the entire organization or huge parts of it. So, I mean, but you have to, I guess, convince engineers to let that go in the perspective of this is a work in progress. This works right now. Let me put it out there. It was always the hardest thing to teach, released early and release often. It's very hard to teach even to open source developers. And it's a human thing.  I better make it really good. What they don't realize is it's just as effective to write real comments that say things like, yeah, I know this bit's a bit crafty. I'm working on it now, but I wanted to get it out for comment or whatever. It's a different way to work. I think there's a huge history there as well because when organizations like Microsoft in the very early days, you had the CEO, you would get a personal email from Bill Gates. Yeah, that happened. The quality of your code. And imagine if you're that engineer and you're risking that type of feedback from literally anybody in the entire organization. And so I think that's a huge hurdle to get over. And you have to, I think from the very beginning, you have to encourage your engineers to go, it's everybody's, this is a shared asset. Right, that you think is yours. Yeah. It's an interesting switch. I'm interested in a conversation with you guys because it's a drag to sit and listen to people talk to each other. So if somebody has a question, a burning question about any of these topics, we're here to talk to you.  Yeah, James. So I'm involved in UX and design. Do you think in a source can say, engage design teams who are non-technical, but might be repeating themselves by providing design patterns, time and time again? That's a great idea. You need to restate the question. Yeah, so this was a question about whether design teams could be involved in a source. And I think it's a critical part of it. I think it's actually creates this positive feedback cycle. I mean, there's a few organizations outside financial services who create tools that hook straight back into the design tools and actually render the React components back in as design units in Big More Sketch or whatever. Creating that cycle, getting design and development and test and all the disciplines around technology closer together, working on the same thing is critical. I have a constant argument, and Tamar here, he's actually the next team at Schologic. Well, I always say that it doesn't matter what our design document says. It's what's in the code. It's what's deployed. That is the design. And so our work should be getting as close as possible to that and creating design libraries. And design libraries not in a design document, but in a living, breathing code base is far more valuable to the organization and all these teams. It's far more impactful in terms of defining a shared look and feel than anything else. But a lot of organizations are managing to do it at the most atomic level. Some colors, some fonts, some really basic stuff. But what about deeper, almost design philosophies and design approaches? That's not the domain of a designer. Actually, these are things that anyone devising or shaping a product can pick up on. And there are patterns there that good designers start to explain and share with the organization. So it is no longer just a code concern. There's a thought process concern that's actually part of Inner Source. And that's, to me, again, is why it's interesting. Inner Source talks nominally just about the code and the code being shared, but it's not. There's so much more in there. You haven't been around for the bus schedule conversation. One of the things that we did to try to make Inner Source real across the whole company was, you know, in Silicon Valley, people get bused from San Francisco because people don't want to live in Silicon Valley. The cool kids don't anyway. And so they run these buses and then they take you back in the evening, right? And everybody hates the buses in San Francisco, but they're a feature of our lives now. And the bus schedule that was published by the company that I'm talking about was unintelligible if you actually were trying to use the bus because it was being run by admins who never left Silicon Valley and had never been to San Francisco and didn't really understand what they were describing. So there was a lot of frustration. We just Inner Source the bus schedules and the people who actually used the buses could make changes that were meaningful and everybody was happy. So you can use Inner Source to collectively build anything. And it's actually, in my opinion, a good idea to find a few non-technical ways to tie people in because they're more likely to not be nervous about those check-ins, right? So that they can see how it all works before they put their jewels in. Yes, right? So this thing like egos is gonna be difficult across a larger organization. So you Inner Source the component, but how do you make sure that the government's around, hey, I wanna have this feature get in, I suppose, again, and bought into another product that gets bought this and then bought? How do you affect you feel if that one has a $20,000 build? Yeah, so the rules of Inner Source that I talk about are based on the Apache way because I've been Apache member a long time. And I feel like they solved a lot of these problems of collective development, right? Especially across competing concerns. So they have this concept of trusted committer and we talk about that at Inner Source Commons a lot. That's your gatekeeper and your mentor for any new contribution that's coming from some other group.  So give them a rolling responsibility so it's only a couple weeks at a time or a week at a time that they review other people's code rather than write their own, right? But usually they're also the people who are kind of the pseudo architects of how things are put together. And part of our experience was we had a lot of monolithic code and a lot of interest in microservices but lack of understanding which part of the baby they were gonna cut off to make that microservice. Like it really felt that way. But after they had explained it to somebody who was relatively new, they could suddenly see where those divisions ought to be if only to create more security for localized changes in just one little module, right? But having that person, those people who are doing trusted committership, at least initially, be pretty senior people in the overall scheme of things, again on a rolling basis, and have it be their job to mentor, and this is the switch, get them to realize that while they're sitting in that chair, they're measured on how effective they are at getting code in, not keeping it away, but actually getting it in, not rewriting it, but actually helping that engineer understand what to do to get it to be mergeable. And if you can make that intrinsic reward of the project, then pretty soon they understand that the ego shift is about how good you are at teaching the code, how good you are at mentoring the code. And it's not easy, it's not for everybody. You can figure out really fast who doesn't belong doing that. But the people that take the time find it very rewarding. And sometimes even if you have the wizard problem, like all of our developers are wizards and they don't like to give away their secrets, right? Sometimes you can appeal to them and it's usually on an individual basis, especially if they're towards the end of their career, like what do you want your legacy to be? Don't you want somebody to know this code well enough to carry on when you aren't doing it anymore? You know, right? And you can often get them to pair or effectively mentor people and they're often surprised. They usually come in with a bias about their capabilities versus everybody else's and they're often quite surprised and they start saying things like, we should hire that guy because they picked it up so quickly, you know? So that all of that is great for leveling away that excessive ego stuff. And some of them are never gonna get there because it was fed for so long that way. I guess it's that notion of your lines of business like a business is computing to this thing and then there's lots of code but if there's a competing architectural decision there, then who gets to manage and govern that to make sure that that's possible? Yeah, this is why we suggest that you have an ESPO or a part of your ESPO dedicated to Inner Source to resolve those conflicts. And it almost becomes like you're the team psychologist. Right? And it doesn't have to be... John, you're next. It doesn't have to be a big team. It can be a very small team managing the Inner Source, like collectively managing Inner Source within your organization. I think in the early days, I think Microsoft had 2,500 people or something like that and they had I think a team of four for the Inner Source to manage the Inner Source. Yeah, there's a team of one in IBM that's got 7,000 engineers effectively doing Inner Source. So it doesn't have to be because it's really the trust of committers doing the work. The person in the office is just resolving conflicts and greasing the skids. So John, you get the next question, I think. Is everybody liking the question format? Yeah, I'll get you after if we get time. Go. Do you think it's better to say... I do. I think that you should start with a small proof that it works. And I think if you don't capture the value that that experiment created and sell that upstream, you're missing a trick. You have to do that over and over again. Run the little experiment. And the last chapter of adopting Inner Source talks about how to do this. Create a hypothesis, run the experiment, do an honest evaluation at the end of whether the hypothesis was correct, figure out what value you just created, rinse and repeat, find somebody else to do it with. And ideally your first couple should be the host and guest sides of the transaction or the owner and the Inner Source person should both be motivated to have that work. If you can find that, that's ideal. I mean, I've certainly noticed often these things are happening anyway. So it's a case of identifying where it's already happening and attaching those experiments to them because good development practices usually ask for some of these kind of behaviors to be part of it. Yeah. Sooner or later, your CEO is gonna notice or your CTO and they're gonna want you to do it for the whole company. So the other piece of advice I have is as you're doing the little experiments, hire somebody that knows how to message. It's usually not something that we're good at as engineers. And get them to start building the case right then so that when you get to scale, you already know how to blast out that message. Oh, thank you very much. We didn't get any time stuff. We'll go outside if there's somebody that had a burning question that they didn't get to. Thank you very much, Don. Thank you. Good job. Thank you. Thanks everybody. Thank you.


Oh, she's ready to try this. You're ready to try this. This is the big time. I'm ready. Let's go Let's go stop talking about it. No, yeah, I'm gonna watch you I want to put let's do it in gear and let's go and go right in between the grass and out Really? Yeah drive over the grass. Yeah, well now cut wide. Remember you got a cut wide Watch that car coming up wide. I wish I knew what that meant That means you go bigger than you would think So there we go We're gonna wait for this car and then we're gonna go to that exit right there 25 south, right job one Look at that. This is the first time she's drove this big beast. It's a beast. It's a beast Awesome. Look at that. Don't you feel so proud of her now? We're not even Three hours out of Denver and she's already driving. I'm impressed. I'm really impressed Okay, Robin. How is it? I love it. I love it. I love it. I love it It's better than the tip and tiffin you guys. I can't even tell you the difference in how this drives Unreal It's great. It's great. I love it. And how fast you going? How fast you going Robin too fast? Usually I'm a 10 under. Yeah a 10 or a 15 under cuz My last rakes were not fun to drive You're saying that you're quite happy with your new house and it's like driving a car. I know I don't even feel it back there It's great Okay, I'm driving mama. She's driving mama. She's driving mama. I love it Don't tell her how fast you're going right on the road. We are past Ritone, New Mexico. We are What a couple hours from Albuquerque. Yeah, it's gorgeous out here.  Okay I am going right now. I'm going 70 right now. I don't even feel it. I don't even It's my mom. I don't even feel it. It's like driving the truck. It's so easy Really? I can't even tell you. It's delightful So do you have any idea where you're gonna stop or not? Probably I'm thinking Somewhere around Gallup or something. Yeah, we don't need the Albuquerque That's a long way. Yeah, neither one of us like to drive at night, but I'm I'm amped up right now Yeah, she won't sleep for hours It's so great. I'm gonna make you do it. It's great. All right, mama. Just one hour Yeah, right. All right, sweetheart Thank you. Tell Badge again. Tell Badge again how much we appreciate his help I know Hey Badge, my mom really appreciates your help. I know I know How is it Robin?  This is what you go being Throwing into the fire Here we are. We're outside the petrified forest And guess who's driving? Choking look at this. Look at this. That guy was in my lane. Look at this gas fifth wheel. We're getting blowing snow It's a little bit slim. It's slippery So I think she almost passed her driver's test. Yeah, wouldn't you say Wouldn't you say I would say I gotta watch the ropes Okay, Robin, what are you getting all covered up for? I've been driving 17 hours. Please You just drove. What do we drive? 17 hours 900 kilometers or miles 17 hours one minute and you managed to drive almost three quarters of it Yeah, snow wind so and uh, yeah through snow and wind and I think it's very successful All we basically have to do is uh Show you how to back it up on hook or hook it back up and I'm gonna back that thing up and then I'm gonna grab it like it's hot I know So, yeah, so we're back in uh, where are we in california now? So it's all good. Yeah Really happy that we've got like 10 more minutes There you go. All right Congratulations kid. You did an awesome job. Thanks professor Driving the fifth wheel for the first time was no big deal. I have to tell you guys after driving two 25 foot classes Driving a trek and pulling a 35 foot fifth wheel didn't feel like anything It was a much easier drive. I drove on dirt roads and rain on ice and snow Not a big deal at all. I went into a few gas stations. Nice big wide gas stations. Thanks to badge Um, he held me in for the first couple of times, which was great The biggest thing that blew my mind about my first drive out Was that we were getting into albuquerque and it was nighttime And I started to feel the back end wiggle a little bit And the wind in my last two rigs was crazy bad and I started to get nervous like oh my god Is this one going to be just the same? Is it going to be terrible? I barely felt it We stopped and all night long we were rocking like we were in a storm in a boat And it turns out that it was 27 miles an hour when I was driving and it felt like it would have felt at about 12 miles an hour In my last rigs So that is a total win now This is just the beginning you guys because after this Badge and I are going to have the hitch up showdown partner Where he's going to put me through a hitching up obstacle course And then after that it's girl back that thing up where i'm going to take you guys with me While I learn how to back up the rig, which is the thing that I have to learn the most So stay tuned. Thanks for coming with me on my very first fifth wheel driving experience I hope to see you on the road soon or just doing something that you love Until then everybody have happy travels And be free


Lux presents Hollywood. The Lux Radio Theatre brings you Gene Arthur and Fred McMurray with Bula Bondi in Remember the Night, and special guests Bob Hope and Rita Hayward. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. This is Christmas week, and our holiday present to you is the play called Remember the Night. It's all tied up in a glittering glamourous package, and the gayest decorations of all are those two bright stars, Gene Arthur and Fred McMurray. Christmas is a time when all wanderers think of home, a time when we appreciate most the warmth and the gladness of home. And remember the night adapted from the Paramount screen hit is the story of what home meant to one man and one girl at Christmas time. The man is a prosecuting attorney, and he's trying to send the girl to prison. But Christmas calls a strange truce in their conflict and throws a magic spell over them both. You'll hear Fred McMurray as the prosecutor. He played that part in the picture, and Gene Arthur will be the girl on trial. Their story has more spirit of Christmas in it than almost any modern play I've read. It's told in a new way and a sure way to our hearts.  This national theater we're proud to say is part of that life. And so is the product that keeps this theater going, Lux Flakes, which also helps to keep your household going year in and year out. With the weatherman off the air, you may not know if you're going to have real snow for Christmas or not, but you can outdo the weatherman by whipping up an indoor blizzard for your Christmas tree with these speedy little flakes. Anyway, winter or summer, you'll find Lux Flakes breaking the speed limit to make the American way of life a little smoother. Now the spotlight turns to the center of the stage as the curtain goes up for the first act of Remember the Night, starring Gene Arthur as Lillianda and Fred McMurray as Jack Sargent with Bula Bondi as Jack's mother. A jewelry store on New York's Fifth Avenue. In the glittering showcases a thousand precious stones sparkle in their brilliant settings. Although it's just a few weeks before Christmas, this afternoon there's only one customer in the store, a pretty girl in costly furs. On her wrist is a diamond bracelet placed there by the enthusiastic clerk. He smiles happily sensing that the sale is practically complete. Glorious madame, isn't it? One of our most beautiful bracelets really. Yes, it is beautiful. You won't regret taking it madame. I'm sure I won't. What's the price please? Only five thousand dollars. Five thousand? That's reasonable. I think I'd like to see one or two more before I make up my mind. That one in the lower tray please. Let me see there. Of course madame. Personally, I prefer the one you're wearing, but this one's quite beautiful too. The emeralds set the diamonds off very nicely. Now if you'll just place this one on your madame. Madame, where? She's gone. Mr. Meyer, police! Don't, what is it? That girl, she went out the door while my back was turned. She went out for the five thousand dollar bracelet. Calling car number 17. Pick up girl, 23 years, dark complexion, silver fox furs. Search for diamond bracelets stolen from Meyer and company. That is all. Officer Cassidy reporting to headquarters. We picked up that girl. Yeah, caught her cold with the goods in the hawk shop over on third avenue. I'll bring her in now. District attorney's office. Just a moment. Who is it? Commissioner's office. It's about that acquittal yesterday in the shooting case. Oh, tell him I'm busy. Hello, can the district attorney call you back? Thank you. At all they have to do beef about acquittals. Let's get going, Tom. Okay boss, what's the first case today? That's a cinch. Day by the day, Malini and a cop's a bracelet out of Meyer and company and hawks it on third avenue. Open and shut. First offense. Now she's got a record. This is a third offense. Oh, that's good. That's good. First offender at Christmas time is tougher than tiger meat. Let's look at that shot. Conviction's only seventy eight percent. It's against eighty two percent last year. Hey, boss, can I handle this case? I'll get your conviction. Nothing doing, Tom.  We'll get sergeant on this one. Sergeant? What's his face got that mine hasn't got? Oh, whatever it is. He never lost the case from me yet. Yeah, but he's gone home for Christmas. Ohio or Oklahoma or someplace like that. Now listen, I could get you a conviction so quickly. Take it easy. Take it easy. Oh, Miss Day, get me John Sgt. on the phone. Yes, sir. Mr. Sgt. The telephone's ringing. Well, answer whether I'm trying to get packed up in here. Okay, I'll answer. Hello? Hey, wait a minute, Rufus. Listen. Huh? If that's the office, tell him I've already left. Okay. Hello? Yaza? Yaza? Well, if this is the office, he's already left. Oh, you blockhead. Give me that phone. Well, I only said what you told me.  Good morning. Who all wants to speak to Master Sergeant, please? Oh, hello, Sergeant. Who do you think you're kidding? All right. Never mind. Who is this? This is your boss. It's a good thing you didn't take her back thing for a living. Yeah? Well, what do you want? We've got a couple of fifteen minutes. Now, wait a minute. I supposed to be going home for Christmas. Oh, sure, sure, sure. You can leave this afternoon. Yeah, but I got seven hundred and thirty miles to drive.  Oh, look, Jack, don't... Oh, I was afraid of this. Who's defending? Oh, Larry. That windbag, he'll give us the Gettysburg address, the Declaration of Independence. No, no, we won't. I'll have Tom meet you in court and you'll be out of there by noon. But listen, boss, hello, hello.  When you leaving, Mr. Sergeant.  Yes, sir. Quiet, please. Proceed with your summation, Mr. O'Larry. Thank you, Your Honor. Ladies and gentlemen of the jury, you've heard the prosecuting attorney, Mr. Sergeant, attempt to prove that a valuable bracelet was stolen from the premises of Meyer and Company by the defendant. All of this has been a waste of time, ladies and gentlemen, time we could spend to better advantage in last minute Christmas shopping. I know that's what I'd like to be doing. May it please the court, we object, Your Honor. The jury's Christmas shopping has nothing to do with the case. Objection sustained. I withdraw the illusion, Your Honor. Ladies and gentlemen, the state has gone to great lengths to prove that Anna Rose Malone, sometimes known as Lee Leander, and sometimes known as a lot of other things, did on the afternoon of December 3rd, walk out upon Fifth Avenue with a bracelet which was still the property of Meyer and Company, to prove something she freely admits, as if the proof of this fact constituted a proof of guilt. Ladies and gentlemen, we must not be hoodwinked by circumstantial evidence. The contents of a whiskey... Hey, Jack, I don't like the smile on that jury's pan. All juries get soft-hearted at Christmas, Tommy. Yeah. If you ever get a case to prosecute and you see that peace on Earth, good willed men look come in their eyes, get a continuance, even if you have to fall down until a judge ate the green apples. It's necessarily an evildoer. How flimsy is this argument, how unfair. But on it and because of it, you have been asked to take away the liberty of a fellow human being. The truth is simple. The bracelet was removed during a temporary loss of will and consciousness, now known as schizophrenia, but formally known as hypnotism. Holy mackerel, that's a sweet one, hypnotism.  You mean you're not going to object?  He's just postponed the case till after Christmas. How do you figure that? Hypnotism. Yes, I said hypnotism and that is exactly what I meant. Ladies and gentlemen of the jury, this girl, this poor unfortunate creature, went into that jewelry store not to buy, not to steal, but only to look. A salesman showed her the bracelet, begged her to examine it under a more powerful light, and then excused himself. The young girl stares at the bracelet. Closer, closer. The great central stone flashes blindingly in her eyes. Blue, green, purple, orange. Suddenly the colors are gone. Everything is dark. A breath of cold air brings her to her senses. But what's this? Where is the jewelry store? What is she doing on Fifth Avenue blocks away from Myron Company? She doesn't know. Her mind is a blank. And why this girl, this poor unfortunate creature, was a victim, an unwilling victim of hypnosis? Your honor, the defense rests. All right, now, Tommy, watch. Your honor. Yes? Your honor, the hypothesis of hypnotism is a very interesting one. But unfortunately, I am no Svangali, nor are you ladies and gentlemen of the jury. The people of the state of New York will require the expert testimony of Dr. Kahn, Mr. Psychiatrist. For this purpose, the people request that a continuance be granted till after the Christmas holiday. We object, your honor. The defense is already summed up. Objection overruled. The defendant will remain in custody, subject to giving a $5,000 bond. And all jurors, parties and witnesses, are instructed to return to the court January 2. Court adjourned and a very merry Christmas to you all. Just a minute, sergeant.  It means another day in court and I don't get paid for the state. I have to earn my money. No more sense of humor than a gravestone. Well, merry Christmas, Francis. I'll take it easy, Mr. Andrew. Let me go. I want to speak to my lawyer. Mr. O'Leary, this guard says I have to have a bond to stay in jail. That's right. Is it right? You ought to know, Mr. District Attorney. I'm afraid it is. Well, how can I get a bond? I haven't got any more money. I don't want to spend Christmas in jail. Please don't let him do that. What do you mean you haven't got any more money? What have I been talking for to hear my own voice? If you hadn't talked so much, I'd be out of here right now. Hypnotism. That gag so old has got whiskers. Oh, please. Don't let him keep me here over Christmas. What's the difference? What could you do if you haven't got any money? I could walk around, couldn't I? Come on, miss. It ain't as bad as you think.  Never mind the build-up. Let's go. I hope you have a merry Christmas, Mr. Sergeant.  Fat Mike the Bondsman? If you know any other Fat Mike, you can send them to. Okay. Hey, Mike. Eh? Mr. Sergeant wants to see you right away. Yes, sir. Coming. Hello, Mr. Sergeant. You want to see me? Yeah. What do you charge for 5,000 bail from not until January 3rd? Did they pin something on your pal? Get in from me. It's for the young woman who was just here. Ah, I see. How much? Preferend to yours, nothing. Not a red smelker. I didn't ask you for any favors. Favors? It's a privilege. You're still living at the same place? Yeah. Why?  Right away. Okay. She's out. Thanks. So long. I got those other grips packed. Rovers? Yeah, I am, boss. What's the matter with you? She's here, boss. Who's here? I don't know. Well, then how do you know she's here? I just let in the living room. You let who in? The lady. What lady? I told you I wasn't home to anyone. Yes, I told him that. But he shoved the door open any high and pushed the lady in with his compliments. Who did?  Fat Ike? Yes.  Yes, sir. He's showing thin, Mike. Well, what did he bring her here for? I don't know. I guess I'll have to go and speak to her. I guess you will. Well, hello. Hello. What are you doing here? I don't know yet. I got a rough idea. Well, anyway, I'm glad you're out. Sure. Now, what do I have to do for it? Well, for one thing, you could say thank you, but if that doesn't fit in with your plan, just skip it. My motive's in this matter. Here you are, boss. Here's the drink. What drinks? I didn't tell you to bring it. Scotch and soda, miss. Thanks. Drink, boss? Get out of here. Yes, sir. Yes, sir. I know.  And some girl's going to drop dead from surprise. What are you talking about? I suppose you do this with all the ladies. Oh, yes. My life is just one long round of whoopie. You're in a good spot for it. Wonderful. I have only to wave a finger and I can satisfy my slightest whim. And I suppose if anybody says no, you put them right back in the cooler. Sure. Now, look, when court reconvenes, I'm going to try to put you in jail for a good long time. That's my business. But you haven't been convicted yet, so I don't see why you shouldn't enjoy Christmas like the rest of us. That's why I told Mike to get you out. And bring me up here. I did not tell him to bring you up here. Then why did that gorilla bring me up here? Because he's got a mind like a sewer. You mean I don't have to stay here if I don't want to? You most certainly do not. Then I'll stay. I just don't want to be forced. Now wait a minute. You know, there's nothing as dangerous as a square shooter. If all men were like you, there wouldn't be any nice girls left. Yes. Well, all this is leading into a very interesting subject that I have time to pursue at the moment. I'm going away on a little trip and it's quite a drive. Oh, you mean you want me to go? Well, yes. Where? Where what? I mean I was on my way to a nice comfortable jail, three meals a day, turkey for Christmas and now, well... Well, don't you live someplace? No. Well, where have you been living, in a tree? I had a room in a hotel, but they locked me out. Oh. Well, how much do you owe this hotel? $126.40. Oh. That doesn't solve any problems. Why don't you just put me back in the clink? That solves a lot of problems. Well, for one thing, I'm not sure I can. Well, that wasn't the idea.  Not yet. Come on, then I'll buy you that Christmas dinner and we'll figure something out. Rufus! Yes, you have, boss. Going out, huh? Yes, I am. I don't, but don't forget, you gotta go see your ma.  No, I was thinking I might lend you my apartment while I'm away. That sounds like a play, doesn't it? Yeah. Sounds like a flop. Don't worry about me. I can always chisel a hotel for a week or two. That's a nice cheesy idea. Well, I'm not going to sleep in the subway. As far as the holiday's concerned, I guess I'll get plenty of that when you get through with me.  I understand. Your business is your business. Of course, some people wouldn't care for that kind of business. Somebody has to do the dirty work. Thanks. Just too bad it has to be somebody as nice as you. How long have you been swiping things? Long time. Have you been caught before? Just twice. Did you take things you didn't need? Sure. In the presence of beautiful things, did you feel a sudden irresistible urge to take them in your hands and hurry away with them?   No, they tried that.  I don't understand it. I don't think you ever could understand, because while your mind is different, rights and wrongs aren't the same for everybody. They should be, but they just aren't. Oh, that's ridiculous. Is it? Try it like this. Suppose you were starving to death. Yes. And you didn't have any food, and you didn't have any money.  Would you swipe one? You bet I would. Well, that's because you're honest. You see, I'd have a six-course dinner at the restaurant across the street. Then I'd say I'd forgotten my purse. You get the difference? Yeah. I think you're way smarter. Oh, sure. Sure, we're smart. We're very smart. Well, for all finished, way to check, please. Right away, sir. Well, Miss Leander, I've got a couple of bucks extra. I don't need enough for a room, anyway, and a couple of breakfasts. Thanks. Thanks a lot.  Here you are. Oh, uh, would you ask the band to play my Indiana home? Yes, sir. Why do you want them to play that? Because that's where I'm going. No. Are you a Hoosier? Yeah, Wabash, Indiana. That is a farm just outside of Wabash. Wabash, Indiana. No wonder I liked you. I'm from Eltonville. No. Why, that's only about 50 miles. Yes, sir. Well, I'll be done, and we had to come here and meet like this. Funny, isn't it? Yeah. So you're going back home, huh? Yeah. Yeah, I go home every Christmas. You do, huh? Gee, that's great. My mother still runs a farm. She does all right, too. Raises partridge, wine dots, Poland, China. Oh, we never had anything that swell. We never did either, too, lately. How long since you've been home? Never. Why? I ran away. Oh. Well, I don't know what the circumstances were, of course. Not so hard. Well, time takes care of those things. Did they write to you? I, uh, I got a letter from my mother when my father died. Oh, your mother's alive, then. I hope so. That song, it's awful, pretty, isn't it? Kinda does things to you. Say, uh, look, how would you like to go home for Christmas? What? I mean it.  Home? Oh, gee, I don't know. Come on, it'll do you good. What do you say? Well, all right, unless, aren't you afraid? Afraid of what? How it might look, rising young district attorney and me. I didn't think of it. Say, you never think of anything wrong, do you?  Our stars, Gene Arthur and Fred McMurray, will be back in just a moment for act two of Remember the Night. Now, listen a minute with Sally and me. Do you remember how, to the strains of that well-loved music, familiar things came alive on Christmas Eve? How the wooden soldiers marched in the toy shop, sugar plum fairy danced? If things only could come alive at Christmas time, it might solve a lot of problems. For girls like Anne, for instance. Anne's pretty. You'd think she'd be popular. But here it's two days before Christmas and she's crying herself to sleep because she hasn't a date for New Year's Eve. And she's not been asked to as many holiday parties as the other girls. Now, if only the lacy pink silk slip across the back of the chair in Anne's room could talk like this. Anne, we're what's wrong. We under thing. People notice if we're not always fresh and dainty, you mustn't take chances. We need to be luxe every night. Then you'd really be just as sweet and pretty and dainty as you look. It's so foolish to take chances with a thing as important as daintyness. Well, girls who do are apt to find themselves left out of things and missing out on romance. But luxe girls know what fun the holiday world can be. You're wonderful. Where have you been all my life? Same old line, but isn't it fun to hear it? Luxe girls do. And it's easy to be a luxe girl, easy to avoid offending, by luxing under things every night. Dresses, blouses and sweaters often. New quick luxe gives you suds so fast. Rich, gentle suds that just float away perspiration, yet keep fabrics and colors new looking longer. Luxe is safe for anything, safe in water alone. And it's so thrifty, a little goes so far. Get the generous big box of new quick luxe first thing tomorrow morning. It comes in the same familiar package, it costs you no more. And one big box of luxe flakes will do under things every night for weeks and weeks. Now, our producer, Mr. DeMille. Act two of Remember the Night, starring Gene Arthur as Leigh Leander and Fred McMurray as Jack Sargent, with Bula Bundy as Jack's mother. Westwood along the snowbanked highways from New York, more than 20 hours of steady driving have brought Leigh Leander and Jack Sargent to Eltonville, Indiana, and the front gate of Leigh's former home. A bright moon softens the outline of the ramshackle house that stands cold and dark on the outskirts of town. From within the house comes the warning wail of a dog as Jack swings the car up to the sagging front porch. This is it, huh? Yeah. Well, fall out, end of the line.    Sure, I'll go in with you. Come on, I've got your bag. You see that tree? Yeah. I fell out of it when I was 12. See from that branch right up there? I landed on my head too. That's a better gag than hypnotism. Your lawyer should have used that. Come on, I'll smile. Here we are. I didn't mean to knock so loud. Oh, that sounds like Mickey barking. Oh, no, but it couldn't be. Here's somebody coming. Yeah. Now, look, I'll pick you up on New Year's Day in the afternoon. Don't forget. No, gee, you've been sweet.  Yes. Oh, I'm terribly sorry. Doesn't Mrs. Malone live here? Oh, I guess you want my wife. Oh, I didn't know. Who is it, Henry? Somebody want me? Mama. Hello, Mama. Merry Christmas. Well, well, don't you know me? Come in. This is, this is Mr.... Sergeant, how do you do? Sit down. Oh, you're, you're looking fine, Mama. What'd you come here for? What do you want? I don't want anything. It was just Christmas, and Mr. Sargent happened to be driving past here. You see, I live in Wabash. I knew you'd be glad if you... Glad? Why should I be glad? Good riddance to bad rubbish, I said the day she left. Oh, Mama, please, Mr. Sargent. Just like her father, she was. Always laughing at serious things. Never doing what she's told till she winds up stealing. Stealing my mission money. Money I'd put by with a sweat of my brow, that's what. I didn't steal it. I told you a thousand times I only borrowed it. I was going to pay you back. But you didn't pay me back, did you? And you never paid me back. How could I? After you called me a thief in front of the whole town, nobody'd give me a job. And you left here. The great lady. We weren't good enough for you. A decent home, a hardworking mother, and a crook for a daughter. Oh, Mama. Look, Lee, I don't want to tell you what's going on. Look, Lee, I don't want to tear you away, but we still have 50 miles to go. Oh. Are you ready? Oh, yes. It's been very interesting to meet you, Mrs.... A name doesn't concern you. It most certainly does not. Come on, kid. I... I'd forgotten how much that woman hates me.  It's a terrible thing to say, isn't it? No. But ever since I was little, she was always so right. And I was always so wrong. Thanks for forgetting me out. I'll stay anywhere. Any old place will do. If I'm far enough away from her... No, take it easy. I wish I'd broken my neck when I fell out of that tree. It's a little too late to think about that now, isn't it? You won't make me stay in Eltonville, will you? You'll find me a room somewhere else. Sure. Any old dump will do. That's just what you're going to get. It's got only one window and the mattress is stuffed with rocks and it's got a painting of the cross-eyed as old guy you ever saw in your life. How do you know? How do I know what? That my grandfather was cross-eyed? You mean you're taking me home with you? Why not? Oh, now for a guy's sake, come on, stop it. Stop it. Hello, Mother. Oh, my boy, my boy. Oh, guys, Mother, it's good to see you. Oh, my dear, I can't believe you're here at last. Well, John Sergeant... Hello, enemy. How about a kiss? Oh, I do declare I'm glad you're here. If only to stop your mother from taking leave of her senses. Boy, I'll say, hello, John. Welcome home. How are you, Willie? The girl's still chasing you? What made you so late, dear? We thought you'd be here by six at least. Hey, who's that in the front seat, John? Oh, I'm sorry. Mother, this is Miss Leigh Leander. She's come to spend Christmas with us. How do you do? Well, how nice. I'm glad to know you, my dear. This is my enemy. She knows more about flannel cakes than the guy who invented them. Hello. I'm right. Pleased to meet you, Miss Leander. And this is Willie Sims, a hired boy. He's crazy about the girls, and the girls have... Well, this is Willie Sims. Oh, please. I'm pleased to meet you. Hello. I hope I won't be too much trouble, Mrs. Sergeant. Trouble? Why, bless your child. It's a joy to have you here. No trouble at all. Sure, I... Come along, child. You must be near freezing to death, and here we are, cackling like Emmy. Huh? Did you leave those cookies in the oven? Oh, cheapest creepers! Everyone, this way, Miss Leander. Oh, boy, John. Huh? Ain't she a peach, a renal? Who? Oh! Hot dog! Come on, grab a grip, Willie. I want a thaw out in the hurry. Go on, John. Don't stop. Play that other piece you used to do so good. No, I can't remember it, Mother. Well, try, dear. Don't you think he plays nice, Miss Leander? You don't have to answer that. I had $14 worth of piano lessons one time, and they've never forgotten it. Willie, hand me that popcorn. We've got to have it all strung for the treat tomorrow night. Here you are. Here, you can help me. You ain't done a thing all evening. Didn't I help Miss Leander with the dinner dishes? You should have done those yourself, Willie. Miss Leander's a guest. Oh, I like doing the Mrs. Sergeant. I've lived in hotels and places so long I haven't been around a house as much as I'd like. Your folks dead. Willie, be quiet. Oh, I don't mind. My father's dead. My mother's remarried. Well, that's too bad, dear. I always say it's so hard on the children. It just isn't the same with a new parent. John, just one more piece. No, that's all to the next year, Annie. Oh, dear. Uh, I'll play a piece if you want. Well, that'd be fine. Can you play? Well, I used to play a little. What would you all like? It doesn't make any difference. I can sing Silent Night. Now, Willie. Well, I can. Silent Night, I think I remember it. Well, let's all sing it.  The rest went up long ago. Mother, wait. There's one thing you must be curious about. What, dear? Miss Leander. Yes? I... I don't know whether to tell you this or not, but I don't like to bring somebody under your roof without you knowing exactly who she is. Oh, John. I think I can guess. Huh? Oh, no. No, not at all. This young woman isn't even a friend of mine. Well, she certainly should be. I think she's charming. She is charming, Mother. She reminds me of your father's cousin, Winifred. I was saying to Amy tonight... Wait a minute, Mother. The girl's a crook. I'm going to put her in jail when we get back to New York. What? But in the meanwhile, she had no place to go for Christmas. Why the poor lamb. You'll do no such thing, John Sergeant. Why, that girl's as honest as all outdoors. I can tell by just looking at her face. If she did take some little thing. Well, I'm sure it was entirely by mistake. She's probably a...a hypochondriac. She might be at that, Mother. She hasn't really taken things now, has she, dear?  No, Mother. And I'm afraid this isn't even her first offense. But that doesn't mean she wasn't unhappy and lonely and a human being like the rest of us. Well, the poor thing probably didn't get enough love as a child. Do you remember how bad you were? Well, you weren't really bad, but do you remember the time you took my egg money? I was going to get a new dress with. And then how hard you worked to pay it back when you understood? You made me understand. No, dear. It was love that made you understand. Well, I do hope she enjoys her stay here. Do you think we ought to lock up the silver? No, I don't think it's necessary. Good night, son. Good night, Mother. Oh, look at all that presents. Beautifully, look at this present. My dear, I've never seen so many presents in all my life. Here's another one for you, Mother. For me? We always open our presents on Christmas Eve, Miss Leander, ever since John grew up. Oh, John, another bottle of perfume. Ecstasy, too. Well, I haven't even started on that bottle of ecstasy you gave me last year. Lucy. What? Well, gee, we've got all our stuff open, and, well, I'm sorry about the present situation, Miss Leander, if we'd only known sooner. Well, John, there's some presents for Miss Leander over there on the sofa. Huh? Of course, Jack. You must have forgotten. Oh, well, I guess you can always trust Santa Claus. Three packages, Miss Leander. Merry Christmas. Oh, no. Oh, you shouldn't have gone to all that trouble. Open them up now, dear. Oh, what a lovely pincushion. Oh, it's so pretty. Nothing at all. Just scraps and things I've been collecting for years. Here's the next one, a very merry Christmas to Miss Leander from Jack's and Emma. Wow. Stalkings. Oh, thank you so much. Uh, bed socks. Not so fancy, but wonderful on a cold night for a spinster, lady. Oh, it's awfully sweet of you all. Here's another, Miss Leander. Not really. Uh, who's that from, Willie?  Can't you remember anything? Well, boy, I need you. Riches' sakes, Jack. Keep quiet. Perfume. Oh, thank you. Oh, it's nothing. Just a bottle of perfume. An ecstasy, too. That's right. Oh, you're all much too kind. I don't think I've ever met anyone so thoughtful. Oh, nonsense. Child, we're so happy to have you and so anxious for you to enjoy your stay. Of course, there isn't much to do here, except tonight we're having a caroling party, and Thursday's the charity bazaar, and we have a treasure hunt on Friday, and then we start resting up for New Year's Eve. See, that's all there is.  They die of heart failure. Claire, this is the best caroling we've ever had. Yes. They look nice together, don't they? Who? Jack and Miss Leander. Like they were made for each other. Now, if you're hinting that John's in love with her, well, he isn't, Emmy. Fiddlesticks, Lucy. Fiddlesticks. She's in love with him, too. I tell you they're not. You don't know anything about these things, Emmy. They're not in love. They just can't be. Are you tired, Leigh? Oh, no, it's wonderful. Just the same. We'd better get along home. We've got a long week ahead. Long? I imagine it's going to seem pretty short. Almost over, isn't it? Yeah, it's almost over. Second will be one day nearer. The second? Oh, you mean that second? When my case comes up again. Oh, yeah. I hadn't thought of it. I have. But you've all been so sweet.  I'll have some wonderful memories. So will I. I wish you all.  Well, at this time. I know it. Well, what am I waiting for? I don't know. Sergeant. I'm sorry to disturb you, Miss Leander, but you'll be in such a rush in the morning. Oh, you're not disturbing me. Come in. Thank you.  Oh, you'll never know how much. And then, well, I want you to know how sorry I am. You're in trouble. And how much I hope it'll all come out all right. I didn't know you knew about that.  You can be sure I never would have mentioned it now only. Well, has Jack ever told you anything about his childhood? No. Why? We were very poor after my husband died. In fact, we had nothing. Jack had to do the chores before school and after, and then after the chores he studied in the evening so he could go to college. And then he had to work his way through college and through law school. Oh, I don't mean there's anything unusual about it. I'm only trying to tell you that he worked very hard to get where he is. Very, very hard. And he's my son. And I wouldn't want anything or anyone to spoil it for him now. I see. But I don't see why anything should spoil it for him, do you? He's in love with you. Oh, but he isn't in love with me. He's never had any more interest in me than some panhandler he'd buy a meal for. Are you sure? Of course I'm sure. He kissed you tonight? Well, well, I'm not ugly. Oh, he might have had a little fever for me, but it isn't going any further. It hasn't been any place either. I see.  Even if he was, I wouldn't hurt him. Or you, or Aunt Emmy, or even Willie. Thank you, my dear. And good night. But you do love him, don't you? I, uh, I'm afraid so. I knew you did. Good night, my dear. With the Columbia Broadcasting System. After a brief intermission, Mr. DeMille presents Act 3 of Remember the Night, starring Jean Arthur and Fred McMurray. But now, let's look ahead to that magic moment on Christmas Eve. When the Christmas tree stands fragrant in the corner, the star gleams at the top. Now, John, let's turn on the tree lights. Oh! Oh, not like a tree in the fairy story! Cover with snow that doesn't ever melt! Yes, a fairy tale tree with frosty snow on its branches. Snow that will stay white and lovely right in your living room for the whole holiday season, because it's made from the same pure white lux flakes that you use for washing all your pretty things. It's so easy to make this lux snow. Here's what you do. Put a large box of lux flakes into a big bowl. Gradually, add to it two cups of warm water, beating the mixture with an egg beater until it looks like rich whipped cream. Then you pick it right up in your hands and spread it along the branches with your fingers, so it looks just like real snow. If you like, you can sprinkle some shiny artificial snow on top of the lux snow while it's still damp, so it will catch the light. We put some of the lux snow on the reeds in our windows, too. And I made a stunning centerpiece for our table. Pine branches covered with lux snow in a low vase and hung with tiny ornaments we hadn't used on the tree. It makes our dining room look so Christmassy. Oh, Mommy, let's put some snow branches on the table in the front hall. I think that would be lovely. Particularly lovely if they're in front of a mirror so you can see their reflection, too. Now, remember, to make lux snow for your tree or table decorations, use two cups of warm water to each large box of lux flakes. Beat the mixture with an egg beater until it looks like thick whipped cream. Then, spread it with your fingers along the branches. Be sure to get the large-sized box of lux flakes and ask your dealer for printed directions for making lux snow. Now, Mr. DeMille returns to the microphone. The curtain rises on the third act of Remember the Night. The holidays are over and Jack's sergeant is taking Lee back to New York to stand trial for robbery. The road takes them across the border to Canada. There, Jack brings the car to a sudden stop. What's the idea of stopping? Lee, do you know where we are? Of course, we're in Canada. No, you don't get it. Look, this is Canada. Over there's the United States. Stay here. Don't go back. Stop talking nonsense. It isn't nonsense. I'm not a policeman. I can't make you go. Is your conscience gnawing at you? What do you think it was when I got bail for you? Oh, that seems like 80 years ago. I didn't even know you were against me. All I knew you were supposed to be trying to put me in jail, but you were so gentle about it. Yeah, that's part of the technique. If you don't treat a woman with kid gloves, every man in the jury wants to punch you on the nose. And you have to handle the jury with kid gloves, too. You'll get it right in the verdict. You know, it's very hard to put a woman in jail, no matter what she's done. I'm supposed to be kind of a specialist at it. Oh, no, you're not. Sure I am.  Look, are you going to stay in Canada? A fine district attorney you are telling me to jump bail. You know I love you, don't you? Don't say that. And you love me? No. I suppose that's why you've looked at me the way you have and kissed me the way you did. And why your hand has always found mine and mine has always found yours when they were anywhere near each other.  You've got to remember how hard you've worked to get where you are. You've got to think of the hours and the days and the years you've spent getting through college. Your mother's been talking to you. Why shouldn't she? She's got everything to be proud of and you've got to be proud and think about it too instead of telling people to jump bail and falling for the first pair of pretty eyes. Please, I love you. Oh, Jack. I love you. Darling, it'll be awful hard to lose you. You know what I wish. What? I wish the case was over and you'd been acquitted. Then you shouldn't have had it postponed. Oh, that's true. If I hadn't, I'd never have met you. That's true. So the case is dismissed and you've been acquitted. Knockwood. And I pull out a marriage license. Oh, gee. And we march right into the judges' chambers and have him marry us. You know you're talking like a madman, don't you? Yeah. Yeah, sure. Come on, let's go. Jack, the courtroom's less than a block away. Or don't you care if the jury and the rest of them see you with me?  You don't love me anymore? I never loved you. Ah-ha. Were you just toying with me then?  You'll have to develop more courtesy and respect for your future husband, or I shall fall back in strong measures. A woman, a dog, a hickory tree, the better you beat him, the better they be. Oh, I'll quit, will you? I can't argue with you. Imagine being married to a man who argues for a living. But you know all this isn't right. Can't you see the papers? District attorney marries girl crook. I'd only hurt you, Jack. Yeah, but you won't be a crook. You'll be acquitted. How do you know? Well, I don't know, but I think you've got a good chance. You wouldn't do anything to make them acquit me, would you? What could I do? I don't know, but you could throw the case if you would. Well, listen, you're being charged by a judge and a jury. You're being tried by a judge and a jury. They know the facts and they speak for themselves. There's nothing I can do about it. Not a thing. Well, I hope there isn't. It'd be a fine thing, wouldn't it? Now, don't worry. So long, darling. I'll see you in court. You may proceed, Mr. Sergeant. Thank you, Your Honor. I will, if this jury will let me, they've been mumbling to themselves all morning. I'll take care of the jury, Mr. Sergeant. Thank you. Now, Miss Leander, I believe you have testified that you were hypnotized at the time you left the jewelry store and walked up Fifth Avenue. Didn't you? I... I... Did you or didn't you? Answer the question, Miss Leander. Well, my lawyer said so. Oh, your lawyer said so? Are we to understand then that you and your lawyer do not agree as to exactly what happened? Don't answer that question. Object, Your Honor. The question's entirely improper and I ask it to be stricken from the record. Sustained. The jury will disregard the question. I was only trying to... Your Honor, those jurors are at it again. If they'd listened to the testimony rather than whispering among themselves... Proceed with the case, please. Well, you can't hear yourself think. Well, Miss Leander, were you hypnotized or weren't you? I... I suppose I... We don't want your suppositions. We wanted to know whether or not you were hypnotized. Yes. Yes what? I... I guess I was hypnotized. You guess you were hypnotized. First, you suppose you were hypnotized. Now, you guess you were. Kindly remember you're under... under oath. Do you know the penalty for perjury? Object, Your Honor. Sustained. Tell me, Miss Leander, just how many times have you been hypnotized by beautiful jewelry? I... I guess quite a lot of times. Did you hear by any chance Dr. Kyneman's opinion concerning hypnotism? Well... I... I'm trying to think. I... Kid Gloves, every man on the jury wants to punch you on the nose. Oh... Will the witness please answer my question? And will the jury please stop mumbling? Jack, you... It's all right. It's all right, Miss Leander. Just take all the time you want. He's worked so hard. I wouldn't want anything to spoil it for him now. Well, Miss Leander? Well, Miss Leander, what is it? What is it? Your Honor, I object to the tactics being pursued by the district attorney. He's harrying the defendant. No, no, wait. Wait. I want to plead guilty. Your Honor, I don't believe this young woman as well. I... I request a five-minute reset. I want to plead guilty. Your Honor, it must be perfectly... Your Honor, a few minutes' recess, please. She's obviously not responsible for what she's saying. Why do you wish to plead guilty? Because I am guilty. You see, when you work hard for something and promises are made, you just can't toss it away no matter what. Your Honor, it must be perfectly clear now that this is not normal behavior. Perfectly clear, of course. And the state has no desire to take advantage of a temporary operation. There isn't anything temporary about this. Your Honor, you can see I'm in my right mind. I plead guilty.  The court at this time will fix January 7th at 10 a.m. as the day for passing sentence. The prisoner is remanded to the city jail. The jury is dismissed. Mr. Sargent, see you, Miss Lander. All right. This way, Mr. Sargent. 10 minutes. Thanks. Hello. Do you know what you've done? Yes. Do you know it can't be undone? Yes. You understand. There's no appeal. Nothing but jail. How long will I get? How do I know? Maybe not very long, but if you'd kept your trap shut, you wouldn't be in here at all. There wasn't anything else to do. You're so strong, and you argue so well, and I love you so much. Yeah, you certainly proved that. I'd always do what you wanted, even if it wasn't good for you. I'd never have a chance against you. You'd never have a chance with me like just now, when you were trying to lose the case. Aren't you ashamed? Stop it. Oh, I know what you were trying to do. Save little Jackie's career from the bad, bad woman. Don't you think I'm the best judge of what's good for me and what I want most in this world? No. And while you were making your big gesture, did you stop to think how much you'd be hurting me?  I'm not much better. Well, you were good enough for me. Will you come and see me? Come and see you. I'm going to send for the judge and marry you right this minute. Oh, no. Thanks. But... But if you still wanted me afterwards, it'd be a sucker if you did. But if you did, it wouldn't be the same. I'd be all square and... and you'd have plenty of time to think things over. I don't have to think, Lee. I'll be waiting for you. No matter how long it is, I'll be waiting. Jack, will you stand beside me and hold my hand when I'm sentenced? You know I will. Then I won't be afraid. It'll be kind of like a marriage at that, won't it? You see, the other part won't be so bad or so long with your voice always in my ear, your smile always before my eyes and the feel of your hand always in mine. Lee. I love you so. We'll bring our stars back to the microphone in just a moment for their curtain calls. And now it's nearly time to trim the trees, to light the Christmas candles and hang the Christmas stocking by the chimney with care. Well, here's hoping Santa tucks into them the very things that you want the most. We've learned that one of the things most of you ladies want the most to find tucked in your Christmas stocking is stockings. And if you're lucky and Christmas brings you some precious silks and nylons, you'll treasure them, I know. That means giving them the care over 90% of the makers of stockings recommend. Lux Flakes. Nightly luxing saves the elasticity that keeps filmy stockings from breaking into runs so easily. Helps them fit better too. You know it's downright extravagant to risk cake soap rubbing or soaps with harmful alkali. These weaken elasticity and runs pop sooner. And now for this Christmas, lots of luck to you. And for your precious stockings, lots of lux. Now, here's Mr. DeMille with Our Stars. Our stars are in the spotlight again as they take a curtain call. And those special guests we told you about, Bob Hope and Rita Hayworth will join us in a moment. But right now, we give our best grade A salute to Jean Arthur and Fred McMurray. Thank you, Mr. DeMille. And may I be the first to wish you and your audience a merry Christmas. I'll second that wish, CB. The same to you. And I know I speak for our audience. There's something else that goes with this season of the year that I hope no one will forget. I mean the Red Cross. American women have always been generous with their time in helping the Red Cross, but there's a special job for the men now, CB. That five-letter word, money. That'll stand repeating, Fred. The Red Cross needs money. $50 million to be exact for a special war relief fund. We all know the need is great, but it must be impressed on us that the time is short. So I hope that everyone will give as much and as soon as they can. America has never failed the Red Cross yet, Jean. It won't fail them now. But besides money, from what Mrs. DeMille tells me, every local chapter needs help from every woman. Yes, there's a mountain of work to be done. And the place to volunteer for it is at your local Red Cross headquarters. Well, I guess everybody is wondering what happened to Bob Hope and Rita Hayworth. Where are they, CB? Right over there, standing on the wings. Come on out, Bob and Rita. Hello, everybody. Hello, knit two, purl two, knit two, purl two. What goes on here, Bob? Well, I've been listening to Jean Arthur talk about the Red Cross, so I'm knitting a sock. One sock? What for? That's where W.C. feels he wants something to wear over his nose during blackouts.  Thank you, Rita. And we have a very pleasant assignment ahead of us right now. Suppose you explain it, Mr. DeMille. Gladly. The Hollywood news photographers have asked us to give Bob and Rita an award on their behalf. Photographers? Oh, that must be a beauty contest. Yes. Rita is lovely, lovely, and I presume they finally saw me in Technicolor. Technicolor. Yes. Your new picture, Louisiana Purchase, is in Technicolor, isn't it? Well, I guess Paramount figured they had to do something. But... But Columbia didn't have to worry about Rita Hayworth. No, this is not an award for your beauty, Bob. Believe it or not. The truth is, Bob, that Hollywood news reporters have picked you and Rita as the most photo-generous people of the year in Hollywood. And they've sent over these silver trophies and asked Jean and Fred and me to present them to you tonight. Naturally, we feel very proud of that. We all know that Hollywood news photographers have helped many young players along the road to Stardom. And so an award from them is a coveted honor.  Thank you very much, Mr. DeMille. It's not lovely. It's so pretty and bright. It's a coincidence, yeah. Bob, remember where you are. Okay, okay, Rita. You can use a little lux on it, too. Don't... don't soft-soap me, Bob. Don't soft-soap me just because we're expecting great things from you next week. You see, ladies and gentlemen, next Monday night, the stars of the Lux Radio Theater will be Bob Hope and Hedy Lamar. The bride came COD, Jean. It's... it's adapted from the Warner Brothers picture. The story of an aviator who kidnaps an heiress. That's Bob Hope kidnapping Hedy Lamar.  Let me dream. Well, we'll see you next week. Sounds like a great comedy, CV. Good night. Good night. Gee, this award makes me feel so good. I want to invite all of you to come with me as my guest for the evening. No, no, thanks, Bob. Good night. Good night. Remember the night made with the night to remember. On this Monday night, every year, we've brought you the Christmas greetings of this theater and the sincere good wishes of our sponsor. We do so again this year. For although these are serious times, that doesn't mean that America won't celebrate Christmas. The very first meaning of this sacred season is a promise of new hope and a new day to come. And so on this 22nd night of December in 1941, America looks with confidence to the day when right shall triumph and peace on earth shall reign again. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Hedy Lamar and Bob Hope in the Bridecame COD. This is Cecil B. DeMille saying good night to you from Hollywood. Fred McMurray is currently seen in the Paramount Picture in New York Town. The picture, Remember the Night, was based on an original screenplay by Preston Sturges, who recently wrote and directed Sullivan's Travels. Bob Hope's new Paramount Picture is Louisiana Purchase. Rita Hayworth is currently starring with Fred Astaire in You'll Never Get Rich and is working in the 20th Century Fox Picture, My Gal Cell. Bula Bondi is now appearing in the Warner Brothers Picture, One Foot in Heaven. Heard in tonight's play were Verna Felton as Aunt Emma, Felix Valley as Willie, Arthur Q. Bryan as O'Leary, Griff Barnett as Judge, Buck Woods as Rufus, and Warren Ash, B. Benedaret, Edward Maher, Edward Max, Lee Millar, Charles Seal, Bernard Zambal and Audrey Reynolds. Tune in next Monday night where Bob Hope and Hedy Lamar in The Bride came COD. Our music was directed by Lois Silvers and your announcer has been Melville Roick. This is the Columbia Drug Casting System.