Lux presents Hollywood. Leverbrothers Company, the makers of Lux Toilets Hope, bring you the Lux Radio Theatre, starring Lucille Ball and Mark Stevens in The Dark Corner. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. The other day at the studio, Fred Colmar, a prominent 20th century Fox producer, was telling me how a few years ago, when he was a young film executive, he chanced to see a Titian-haired young model whom he thought had great screen possibilities, Lucille Ball. Little did he dream that some years later he'd be starring that same Titian-haired beauty in his production and our play tonight, The Dark Corner, thereby vindicating his judgment. Co-starred with Miss Ball is another player who's risen rapidly to well-deserved eminence on the screen. Mark Stevens. Both superbly cast, I think you'll agree, in a hard-hitting melodrama of murder, mystery and romance. And that reminds me of another mystery story, one concerning Lux Toilets Hope. It's from Mrs. Vivian Gardner of Santa Barbara, who discovered that for some weeks, Lux Hope was mysteriously disappearing from her cupboard. After a competent detective work, she finally traced it to her teenage daughter. That young lady said, Why, mother, I thought you knew. I just took the soap to put in my bureau as sachets because I just love the Lux Toilets soap fragrance. Well, I'm sure Mrs. Gardner needed out to her daughter no more punishment than a compliment for her ingenuity and good taste. It's playtime and star time. And here they are. A little ball as Kathleen and Mark Stevens as Bradford Galt in Act One of the Dark Corner. York City, a sultry summer afternoon. In an old-fashioned office building, Detective Lieutenant Reeves is making a routine visit. Good afternoon. It says on the door Bradford Galt private investigator. You're his secretary? Yes, may I help you? Lieutenant Reeves Police Department. Yes, you can help me. If you know anything I want to know. Well, I wouldn't know anything you couldn't find out by asking Mr. Galt. He'll be back in a minute. Nice quality, loyalty. How long have you been working for Galt? Several weeks. What do you know about him? I like him. Does he keep you busy? I sharpen pencils, do the typing, answer the phone and mine my own business. Well, look who's here. Hello, Reeves. Hello, Galt. How have you been these days? My income tax, why? Nothing special. Last time I called on you, you were on 6th Avenue. Why didn't you tell me you were moving your office over here? Why should I? I notified the commissioner of licenses. But you didn't notify me. I like to know these things, too. I've taken a professional and personal interest in you. I promised my friends in San Francisco to see that you didn't get into mischief.  Look, I got a fair shuffle out west. I'm asking you a fair chance to work up a legitimate business. I'm playing this by the book, and I won't even trip over a comma. I hope not. Okay, Galt. I'll see you around, I guess. It's nearly six o'clock, Mr. Galt. I'll leave, too, if there's nothing else. There is something else. Oh? Would you mind having dinner with me? Is this part of the job? It is tonight. Working conditions are certainly looking up around here. And party a nose, honey, and let's go. Oh, dinner was lovely, Mr. Galt. Thank you. You're welcome. Say, how'd you like to go dancing? We've got some great playgrounds up around 52nd Street. Among them, your apartment? Oh, well, that's just a coincidence. I haven't worked for you very long, but I know when you're pitching a curve at me, and I always carry a catcher's mitt. No offense. You guys got a try, doesn't it? Not in my league, Mr. Galt. In my league, we play for keeps, said she with a smile. Oh. Or maybe out of fire, you then. You do, I ought to tell you something. We're being followed. I know. Guy in a white suit, about 5'10", brown hair, sports shoes. I, uh... I've never been followed before. Hey, that's a terrible reflection on American manhood. It's been tailing us since we left the office. Why? I don't know.  Do we just keep walking? No. There's a cab at the corner. Take it, go around the block, then park the cross from our office. Wait there till he comes out. And you? I'll invite the white suit up to the office for choir practice. After he sings, you follow him. Let me know where he goes. Okay, but what have you been doing lately? What do you think I've been doing? Well, I think you could have been doing a lot of things, because you're stubborn and impulsive and you think you're tough. You've got some blind spots, too. Yeah? Name one. Sentiment about women, for instance. You're afraid of emotion. You keep your heart in a steel safe. I, uh, suppose you're the blowtorch type. I can be warm. Well, good. Here's the cab. Be careful, Brad. I'll see you later. All right, Buster. Huh? Let's take a walk. Why? Because there's a gun in my pocket that says you're better. Come on. My office is just around the block. I don't like this, mister. I don't like this at all. Just stay in the chair. You travel like, don't you? Nothing in your pockets but a roll of nickels, some keys and your wallet. That a roll of nickels will do for brass knuckles any day. Brass knuck's ain't legal. I just carry my change the hard way. What's in the wallet? Five berks. Oh, no, no. More than that, Buster. An identification card. Fred Fars, huh? Seven, 2080s, 23rd Street. All right, Freddie, let's play 20 questions. You give me the right answers. Maybe I won't knock your teeth out. What's your racket? Same as yours, Private Dick. That's the wrong answer. We don't go on a job without a license. Where's yours? I left it home. Okay. Let me coax you. I can do it the hard way, too. How long you been shagging me? Two days. I was climbing in your pocket all the time. Who pays the fare? A client. You know I can't tell you his name. It ain't ethical. Yeah, sure. You and me both. We're up to our ears in ethics. Hey, they offer me... What's his name? Who's paying you? What do you have to slug me for? All right, all right, take it easy. His name's Jardine. Come again. Anthony Jardine. Tall guy, fancy dresser, thinks he's class. Where do you live? You saw my address, 23rd Street, with my brother-in-law. What's his phone number? Chelsea 0-435-10. There, go on. Phone him. See if I'm lying. Just stand where you are, Foss. What's the matter? No answer. Hello? Fred Foss there. He ain't here. Only be back. I don't know. You want to tell me something? No message. All right. Take your keys and your nickels. And if I get you tailing me again, I'll ram that roll right down your throat. Oh, oh. Oh, now look what you're done. Knock my ink over. Yeah. Well, maybe I'm nervous or something. All over your nice white suit. Here's your five bucks. Get it cleaned. Jardine's fussy about neatness. What you doing with my wallet? This I keep. I got a poor memory for names and addresses. I may want to look you up again sometime. All right, Buster, blow. Well? This time you will fire me. You lost him. Uh-huh. That's fine. He got in another cab. I followed him. Except when the other cab stopped, he wasn't in it. How'd you know? He told me that's what he'd do. I'm sorry, Brad. It doesn't matter to me. Who was he? Just hired Muscle. Who hired him? Forget it. You'll be better off. Come on, open up that steel safe. I want to know and I want to help. That's all for good talk, baby. But why? Because I happen to be very fond of my boss, even if he is stubborn. Look, get going while the door's still open.  Maybe me. I like those odds. I'll take them and I'm staying. I like your style, too. Thanks. Having said my piece, I think it's time for me to go home now. I'll see you in the morning. Sure, okay. Good night, Brad. Good night. Jardine. Jardine again. Jardine. Beat it. Can't you see I'm phoning? It's dark in the hall. I'll turn on the light. Thanks.  Yeah, yeah, yeah. Here, here's a nickel.  Thank you. You got ink all over your suit. Wicked residents. Let me talk to Mr. Wicked. Who's calling, please? Tell him it's the man from San Francisco. Yes, sir. I told you to go to bed. Good night, Mr. Wicked. Yes. I'm back at my room and house. Well, it worked just like you said. Gal took me up to his office, pushed some muscle at me. I played softy. You mentioned the name? Jardine, yeah. And when he heard it, it hit him right where he lived. I just thought I'd let you know. Well, I'll be in touch with you. Is that all? I said I'd be in touch with you. I'm entertaining guests. I'm very busy now. Good night. Well, looking for me, Jardine? That's a matter of fact for your wife. Where is she? Wasting a charm on those dullards in there. Shall we go in? I think it's a wonderful party. But then you don't give any other kind, do you, Ralph? Ah, there's Marie now. The woman who brightens my declining years. I heard that, darling. Aren't you exaggerating? This is only our third anniversary. You're not the crap-a-jet, old boy. Then why do I detect a rather tactless emphasis on that old boy? Yes, Marie and I, I rather think we present the perfect picture of beauty and the beast. You can be a beast at times, Mr. Wicked. But as long as I'm amusing Mrs. Kingsley, you'll forgive me. Sinality, though, is unforgivable.  Oh, I adore you. I hope so. Well, Miss Wilding? I need advice, legal advice. I was wondering if I might borrow Mr. Jardine for a moment. Oh, of course, Miss Wilding. Shall we go out on the terrace? I think we'd better. It's really very confidential. What's Jardine trying to do, drum up business at my party? Isn't that what you're doing, celebrating your anniversary? And at the same time, entertaining some very likely customers for your art gallery? I never confuse business with sentiment, unless it's extremely profitable, of course. But there is an exhibition at the gallery tomorrow. Now that happens to be a coincidence. I took great pains to arrange, Mrs. Kingsley. And if you come, I may have that Turner landscape. The landscape? Oh, how wonderful. I give anything for that painting. Well, you'll give plenty if you buy it through me. Excuse me. Oh, I must tell my husband the good news. Ralph, what would that Miss Wilding want of Tony Jardine? What's the matter, darling? You jealous? You know you don't mean that. No. I'm the jealous one, Mary. You're beautiful. I never want you to grow one day older. You should remain ageless like a Madonna who lives and breathes and smiles and belongs to me. That's very sweet, Ralph. But you haven't answered my question. I haven't the slightest idea what Miss Wilding wants of Jardine. Come along. It's beautiful on the terrace, isn't it, Lucy? Oh, stop it, Tony. Did you receive my painting? I sent it to your apartment. Good afternoon. I would have preferred cash, but if you're short, the painting will have to do. I imagine I can always dispose of it. Now, may I have my letters, please? Certainly. They're all in this envelope. Oh, I'm a heel, Lucy, but I'm not greedy. I promise not to trouble you anymore. Who's next on your list, Tony? Wicked or perhaps Mrs. Wicked? That's a dangerous remark to make. Yes, isn't it? You know something, Brad? I've just decided I don't like this restaurant. What's the matter with it? It does things to you.  It couldn't be the company, so it must be the restaurant. I'm sorry, baby. Still worried about the man in white? Yeah, in a way. That was two nights ago. And I don't know any more about it now, than I did then.  Oh, very politely, of course, but, Brad, what is it? Please tell me. I got a feeling something's closing in. I don't know what it is. Maybe it's only me. It's very so jumpy, just about you. Oh, yes, you would. Because I'm playing for keeps, remember? I thought you were sharp. I am sharp. Then you got out fast. Stay with me and you'll wind up in a corner. Nothing but a lot of grief. I'm serious, Kathleen. Get out now.  Even I... Look, look who just walked in. Detective Lieutenant Reeves. Yeah. Excuse me. I think I'll have a word with Lieutenant Reeves. Go right ahead. I'll be back in a minute. I'd be smart if you're not here. I was gonna look you up in the morning. Fine. What have you got? Not much. I shiced a lawyer in town with a swank office, but no clients. I shiced his name as Anthony Jardine. He put a tail on me. I think he wants to finish where he left off. I figured after San Francisco he'd leave you alone. I'll see that he does. Don't play too close, Gordon. I won't. I'm still working by the book. Jardine is definitely not the bookish type. Yeah. I know. I just thought I'd keep you posted. Why? You barraged the maternal instinct in me. I want to look out for you.  Who? The man who hired White Suit. He makes hating easy. Brad, what has he got on you? Nothing. Nobody has. Nobody's going to. Come on, I'll take you home. I don't want to go home. I may have to work tonight. I can help you. No. Stop looking at me like that. Like what? As if I belong in a test tube. Look, a guy named Jardine's afraid of me. He put a tail on me. Tonight he tried to kill me. You what?  A car came around the corner. I would miss hitting me. I don't know. Anyway, it did.  Are you satisfied? No. I want to know why. Okay. I had a private agency in San Francisco. This guy, Jardine, was my partner. A lawyer, swift cookie with a woman. Worked his charm. Then he worked little blackmail on the side. I called him on it. We were driving out to his house. Somewhere along the road he slugged me. Put me down with a bottle of scotch. Set me behind the wheel for a take-off. I hit a truck and killed the driver. Brad, I... Manslaughter. Two years in prison. Jardine had a fixed alibi. It wouldn't break and it wouldn't bend. It's the last I heard of him until a white suit showed up two nights ago. Then the business tonight with a car. Why didn't you tell me before?   That's not the real reason. Come on, say it. You're not so tough, Brad.  I've cracked you wide open and you know it. Yeah, I know it. You still have to work tonight? That car almost clipped me. A fellow runs a newsstand on your corner side. You got a description, part of the license number. Is that what you told Lieutenant Reeves? I didn't tell Reeves anything. You got other contacts on the police force. There's a sergeant downtown who's checking the license plate for me. Tell me to call him at nine o'clock. That still leaves 30 minutes. Okay, baby. You win. Come on. Let's have that. Thanks. Come in, darling. It seems ages since you've kissed me. It is ages. Murray, aren't you taking quite a chance of me coming to my apartment this time of night? You don't have to worry about Ralph. He's gone to Scarsdale. Scarsdale? He sold Mrs. Kingsley that Turner landscape. He's got to settle the deal with the man who owned it. At least that's what he said. You don't doubt him. Of course not, darling. Anyway, I don't care anymore. I'm glad. I do want to talk to you. So strange, Tony. Ralph Wicked. He loves me. He gives me everything I could wish for. But still, it isn't enough. I know, dearest. I know. For three years I've tried to stick it out with him, but I just keep sitting, listening to his paintings crack with age. I want you to take me away, Tony. Tony, please. Look, Mary, Ralph Wicked can afford you. I can't. I love you, but I have no money. It doesn't matter. I've already borrowed money from you. Do you think I want to go through life just... Darling, we have my jewels. They're yours. You'll take them for me for my sake. Just tell me when we can go away. Yeah. Yeah, it'll be soon, Mary. I promise you. Well, Brad, what about the license number? Jardine's car, all right. I've got his address. I'm taking you home now. And then? Then I'm dropping by Jardine's apartment. I've got something to settle with him once and for all. In a moment, we'll return with Act Two of the Dark Corner. Meanwhile, here's Libby Collins, our Hollywood reporter. What's new and exciting, Libby? I saw a picture today, Mr. Keely, that brought back a thrilling experience I had not long ago. Universal International invited me to see Walter Wayne's new production, The Lost Moment. Oh, yes. Starring Robert Cummings and Susan Hayward. You know that terrific fire scene in The Lost Moment, Mr. Keely? Yeah. Well, I was on the set at the time it was filmed. How exciting. Weren't you a little nervous, Libby? I certainly was.  The entire studio fire department was standing by in case it got out of control. That's where Robert Cummings does his thrilling rescue scene. While the flames got so high, he had to rush in before his scheduled entrance. And then the fireman went into action. I was watching the scene with Susan Hayward, and we had to move fast to avoid being drenched. Well, I hope you succeeded, Libby. Yes, but you should have seen us. Our faces were smudged with soot. And Mr. Kennedy, you'll be interested in this. Susan Hayward asked me to come back to her dressing room with her to freshen up. Ah, Lux's toilet soap to the rescue this time. Right you are, John. After an active lather facial, both of us looked and felt much better. Lux's soap care never fails, Libby, even in an emergency. And for regular day-to-day care, there's nothing finer. Susan Hayward certainly thinks so. She's so lovely with her gorgeous red hair and flower-fresh skin. Nine out of ten famous stars use Lux's toilet soap for million-dollar complexions. That's quite a recommendation, Libby. Well, it's a beauty care that really works. Skin specialists made tests that proved it. For three out of four women... Skin actually became lovelier in a short time. No wonder fragrant white Lux's toilet soap is Hollywood's own complexion soap. Now, isn't that a beauty tip for women everywhere, Libby? Yes. Here's all you do. Smooth the fragrant lather in thoroughly, rinse, and pat dry. Screen stars find these Lux soap facials give skin fresh new loveliness. Why not try this gentle care and see? Back now to our producer, William Keely. Our theater lights are lowered once again, and here's the second act of the Dark Corner, starring Lucille Ball as Kathleen and Mark Stevens as Galt. An hour ago, a Marie Wicket, beautiful young wife of a rich and celebrated art dealer, entered the apartment of Anthony Jardine. But now at Jardine's door is a second visitor, Bradford Galt. What's the idea, Galt? What do you want here? Take it easy, Tony, and keep away from that desk drawer. There might be a gun in there. I said what do you want? We'll get to that. Who else is here? No one. Whoever it is, I like her perfume. Surprise to see me? Certainly I'm surprised to see her. I had an idea you were in New York, but... And I intend to stay in New York. Alive. I got a message to deliver. From me to you. Just two words.  I don't know what you're talking about. The guy in the white suit. Keep that mug away from me. The next time you loaned me a car, tell him he'd better use phony license plates. Loan who, my car? When? I'm getting mad, Tony. He tried to flatten me with your car late this afternoon. Nobody had my car? It was in the parking lot all day. Yeah, sure. But just remember, I spent two years in Hock with nothing to think about but that pretty face of yours. And if you're not sharp, you're not going to have that pretty face. You're not going to have any face at all. Now you listen. I don't know any mugs and I haven't been after you. I didn't even know for sure you were in New York. And that's on the level. You on the level? Why, for six bits, you'd push your own mother out the window. I'm glad you swung on me, Tony. Even the cops would say I had a right to defend myself. Oh, darling, are you all right? I'm all right. But who was here? Who came here to fight with you? Just forget about it, Murray. He won't bother me anymore. Well, I had to let him hit me. If I fought back, the neighbors might have heard. Murray, you better go now. Just tell me one thing. Can we leave tomorrow night? Can we, darling? Yeah, yes, Murray. We're expected at Mrs. Kingsley's, you know. We'll invent some sort of excuse. Wait for me here, Tony. I'll come tomorrow night as soon as I can. Hello, boss. Kathleen, what are you doing here? Waiting for you. We should speak to your landlord. What this corridor needs is a nice, comfortable chair. Oh, you've been worried about me, huh? I'm deeply touched. From the looks of you, I'm not the only one who's touched you. You should see Jardine. Well, come on in. Thanks. What happened? We talked. One thing led to another, and he led with his right. After that, he stopped talking. Here I am. And where did all that get you? Nowhere, but I feel a lot better. Come on over here, baby, where you belong. No, thank you. If you're feeling that much better, I think I'll go home. Hey, wait a minute. What about that maternal instinct you talked about? That doesn't work after sundown. Brad, what about Jardine? You didn't find out anything about him, what he's doing? Yeah, he's a lawyer.  I heard him talking to someone when I got to his apartment. Who? A girl. Didn't see her. She must have used the back door. What does it all add up to, Brad? As far as I'm concerned, nothing. But I'm pretty sure Jardine's got to lay off me for a while. Oh, good morning, Mr. Wicked. Oh, good morning, Mr. Stewart. Any messages? Nothing special, sir. Mr. Barstow will be in at noon about the Raphael portrait. And those people confirmed their appointment to see the Donatello statue this afternoon. Oh, thank you. Oh, Mrs. Kingsley should call. Tell her Mrs. Wicked and I look forward to seeing her this evening. I've been in my office for a while, and I wish to be disturbed. Yes. Greatness. Oh. I must say you make a neater appearance without the white suit. No one saw you come in. I came through the side door as per instructions. Good. Well, what happened last night? Ah, it didn't work. No, Crustow. What? A flop, a flop. Oh, I borrowed Jardine's car, all right, and brushed off. Well, certainly Galt must have suspected Jardine. Oh, he suspected fine. He went over to Jardine's place last night and pushed him around some, but that's all. Jardine is very much alive. Yes, I know. Now, look, if you want my opinion, I think you're wasting your time.  He ain't going to let himself get shoved into a noose. You know he saw a Jardine. He needed him to knock Jardine off, but nothing happens. You have a better idea? Yeah. Let me take care of Jardine. Get Galt on the telephone. Try his office. Now? Yes. Yes.  That's a genuine cash add. Oh. Now tell Galt you're through with Jardine. Sell him a bill of goods. Tell him that you're going to... Hello. Let me speak to Galt. Who's calling, please? Tell him the name's Foss. Fred Foss. Yes, Mr. Foss, just a moment. Brad, the suit's on the phone. The man in the white suit. Hello. Maybe. What are you selling? I'm selling Jardine short. He's slow-pay and I like to keep moving. Well, you want to know what he's up to, don't you? For how much? I need 200 bucks to get out of town. Suppose we talk it over here in my office. Nothing to it. My apartment then? What time? 8 o'clock. I'll be tied up until 8. 904 West 52nd. Apartment 307. Eighth tonight.  If I can't show. Alone, Galt. Just you and me. Well, that's that. Is it? How are you going to get Jardine to go to Galt's apartment?  For one thing, he won't know it's a Galt apartment. I'll tell him it's a legal matter. I want him to handle for me. How do you know he ain't busy tonight? I've been very kind to Mr. Jardine. I've asked him to do me a favor. He'll do it. But you'll have to find some way of getting into Galt's apartment. That won't be tough. Have Jardine there by 7.30. I got a date with Galt at 8. Jardine will be there. You call me in the morning. This meal show starts in five minutes. Brad, I don't want to see a newsreel. Look, honey, the show takes an hour. It's half past 7. I'll be right here waiting for you at half past 8. I want to go home with you. I know this farce guy. He won't talk if anyone else is around. Please? No. All right, but you'll be sorry. I'll look for you here at 8.30. Right. And I'll tell you all about it then. Brad, open the door. Go away. What's happened, Brad? Why didn't you meet me at the theater like you said you would? Brad, what's the matter? Nothing. Nothing. Go home, please. I'll see you later at your place. I won't go home. I'm going to stay right here until you open this door. Brad. All right. Come in. What's happened? Come in. Take a look. They're in front of the fireplace. Meet my ex-partner. Meet Tony Jardine when he's dead. Oh, no. Don't start crowding me. I haven't got the answers. The police will find them. They're laid out like road markers running right up my alley. You've called them? The police? No. What could I tell them? Whatever you know. Brad, you... you didn't do this. No, honey. I didn't do it. So I called the cops. Should I tell them the truth? I left you at a newsreel theater and came straight here. And when I opened the door, somebody was waiting for me. Who? I don't know.  Ether? Yeah, ether. And it sounds as screwy to you as it does to me. What do you suppose the cops will think? That's what happened. I woke up a few minutes ago and there was Jardine dead. Shot? No, the poker from the fireplace. And it was in my hand. Should I tell that to the homicide squad? They'll still be laughing when they strap me into the chair. I'll get out of here. But, Brad, you can't handle anything like this by yourself. Look, don't give me that law and justice routine. The cops operate on facts. The facts are phony from here to the death cell. I'll get out of here. Let me try to dope this out. Brad, all I meant was that I wanted to help you. I know you do. Thanks, baby. But you can't. Now beat it, please. I've got to stall for time. I've got to start thinking. Brad, listen. This may sound silly, but... I think the man in the white suit wanted you to spot him that very first night. Yeah, of course he did. No guy in his right mind wears a white suit on a shag jar. Why'd that car almost hit me? No, Jardine wasn't out to get me. I should have known that from the start. But somebody is out to get me. Somebody who knew about Jardine and me back in Frisco. Somebody who wanted me to think that Jardine was after me. However that is, he's the one who killed Jardine. And he's pinning it right on me. But who, Brad? Who? I don't know. There isn't a thing to latch on to. Well, think, Brad. Think back. I have, and I'm clean as a peeled egg. No debts, no payoffs, no angry husbands, nothing. But people just don't go around committing murder and frame-ups for the fun of it. All right, so it doesn't add up. What do you want me to do? Well, for one thing, find white suit. You've got his address, maybe you can get a lead. Yeah. Yeah, I thought of that. It's the only thing I can do. Wait, what about him, Jardine? He stays where he is. Look, go on downstairs. Find the janitor. Tell him you've been ringing my bell, he'll say if I'm not here, he doesn't know where I am. It may help me frame an alibi. Where'll I meet you? Go straight to your apartment. I'll find Foss and meet you there later. Come in, Brad. Oh, you don't have to say it, I can tell by your face. No dice. Oh, I found him all right. Only Fred Foss wasn't the man in the white suit. But you had his wallet. I had a wallet. A man by the name of Fred Foss lost it a week ago. He was very grateful to me for bringing it back. Let me get you a drink. I get standard drink. That was my last lead, baby. I'm all dead inside. I'm backed up in a dark corner and I don't know who's hitting me. Hello? Yes, this is Wicked. Well, no one saw you leave Galt's apartment. You're sure? Oh, that's good. We'll get in touch with me tomorrow. Same place, same time. It's I, darling. Well, Maury, have you forgotten we're expected at the Kingsley's tonight? I simply can't go real. Well, I've such a headache. Oh, well, I'm sorry, my dear. I'm going straight to bed. You run along without me. Well, I wouldn't think of it, darling. But Mrs. Kingsley will be so upset. Oh, yes. And I did promise to meet Tony Jardine there. I had a rather delicate matter to discuss with him. Well, well, hadn't you better go then? I imagine it can wait. It's a problem that Jardine is eminently qualified to handle, a man of his experience with the law and all its tawdry aspects. You make it sound very mysterious. No, it's the oldest situation in the world. One of my friends, who deluded himself that his was the ideal marriage, has recently discovered there's another man. Well, Tony doesn't handle divorce cases, does he? Well, the husband doesn't want a divorce. You mean he wants her back? Yes. And as the lost and found ad say, he offers a suitable reward for her return. You mean the other man would take money and just go away? When an impoverished character, unendowed with any appreciable virtues, it comes to a rich man's wife. It must be suspected that his interest is less passionate than pecuniary. But how could she be taken in by such a man? Well, take Tony, for instance. Now, I never imagined him to be interested in Lucy Wilding, but he is. It's not true. He couldn't... I mean, she's too old for him. Love is not the exclusive province of adolescence, my dear. It's an ailment that strikes all age groups. Like my love for you. My love for you is the only malady I've contracted since the usual childhood diseases. And it's incurable. Ralph, about the Kingsley's... And leave you alone? Oh, no, Mary. I wouldn't think of such a thing. We'll both remain at home tonight. Who is it, Kathleen? At the door. Someone was just at the door. The milkman. Milkman? What... What time is it? Seven. I told you to wake me. All I needed was a little nap. You needed a night's sleep, even more than your suit needs a pressing. And what could you've done last night that you can't do now? If I only knew who was after me, it wouldn't be so bad. But how can you fight back when you don't know who you're fighting? You're licked before you start. No, I know you, Brad. You're not letting anybody get away with this. Oh, don't be too sure. I could be framed easier than Whistler's mother. All right. Then we'll just sit down and feel sorry for you. Okay, okay, but don't give me that polyanoroutine either. But how everything's gonna be fine? I'm no miracle man. When that cleaning woman comes to my apartment and hits bingo, I'm as good as cooked. Here, you'll feel better after some coffee. Thanks. Look at me. Tower of strength, nerves of steel. I'm sorry, baby, I just... Don't worry about the tablecloth. The stain will come out. What'd you say? I said the stain will come out. The stain. The ink, baby. The ink. He spilled ink on his white suit that night at my office. What of it? He'd have to have the suit cleaned, wouldn't he? The cleaners would have his address, wouldn't they? Well, cleaning places grow on every street like mushrooms. Yeah, I know. But most of them don't do their own cleaning. They farm it out at the big cleaning and dyeing plants. Where's the classified phone book? Right in back of you. There can't be too many of them. What if he didn't have the suit cleaned? He wouldn't run around town in an ink stain suit, I hope. That's a pretty long list, Brad. Yeah, I know, but the odds are even longer. But give me a better idea. Okay, where do we start? Just grab your coat, baby. We'll start up now. A white suit, I have one that's very early in the season for white suits. If we have one, we'll find it all right. There's a five spot in a four if you do. Get moving. Sorry, lady, we've got three white suits, but none of them with ink spots. You sure are positive, thanks all the same. A linen suit, Mr. Seersucker? We got a sort of white Seersucker, but now that's got fruit stain. You can always tell the difference. Sorry, no white suits. Yeah, we had one, but the guy picked it up yesterday. Not a white suit in the plant. Why don't you try Gordonson's, as for a guy named Elle? He knows it was anyone. I want to speak to Mr. Wicket. Who's calling, please? Uh, Mr. Smith from San Francisco. One moment. Oh, you here again? Go on, kid, beat it.  My mama's out. She don't want me. Hello? When am I going to see you? A protest is not a word about it in any of them. I told you the deal went through. Can I help it if they ain't found the shipment yet? I don't believe you. What do you want me to do? Take out an ad? Listen, Wicket, we better get this deal settled or I'm coming down to the galleries and right through the front door. All right, all right. Don't get excited. I have a dental appointment at three o'clock in the grand building. You meet me there. Grand building? What floor? That 31st floor. I'll be waiting at the fire escape. Okay. What you mad about, mister? Me? I ain't mad at nothing, sister. All of a sudden, I feel kind of good. Yeah, here. Here's a nickel. Buy yourself a phone call. Well, Brad, where's that list of the cleaning plants? Which one do we go to next? As far as I'm concerned, the one we just walked out of is the last. It's no use, Kathleen. We've been to a million places I can't even think anymore. Let's get in the car. We can go to the park. Maybe when we've cooled off a little bit. Hey, lady. Lady. What is it? I made a mistake. Yeah, suit dye. No, no. I mean about that suit. We do have a white suit. All over ink. I don't guarantee we removed the stain. But get the stain. You know, left the suit. Suddenly, the name and address. Here's ten bucks, mister. Just give me that address. In the orbits, come. I'll show you. This is it, baby. A rooming house. Now, if the landlady's only home. Ring the bell, Brad. Ring it. We, uh, we're looking for a man named Starfer. Our Starfer's sort of a heavy-set fella. He lives here? No, he don't. But we did live here. He left half an hour ago. Bags and all. Where'd he go? You police or something? No, please, lady. Where'd he go? It's important. If Katie's rent, why should I ask him where he went? I know, mama. You keep quiet. Don't mind her, mister. She don't know nothing. But I do. I do. I heard him on the telephone. Well, tell him then. Where, honey? Where did Mr. Starfer go? I heard him on the telephone. He went to a building. What building? Same as the president. The one with the tomb on Riverside Drive. Grant building. Uh-huh. And he said he was going to get his ticket at the gallery. Can he get tickets at a gallery? I... I don't know, honey. Here. Here's a quarter. Thanks. Everybody gives me money. Good thing I'm so friendly. Brad, Brad, it doesn't make sense. Where are we going? The grand building. We'll try to figure out the rest of it when we get there. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll return with Act 3 of the Dark Corner. Our guest tonight, Miss Betty Ann Lynn, began her training for Hollywood in a rather unusual school. Did you ever think, Betty Ann, while you were entertaining the GIs in far off Burma, that one day you'd be a starlet at 20th Century Fox? Well, I'd always dreamed of being in pictures, Mr. Keely, but now that I am, I find I have much to learn. My USO experience helped me, but picture technique is quite different. You have excellent inspiration in the stars at 20th Century Fox. It's a great privilege to be able to watch our finest stars at work on the sets. I saw the filming of Darrell F. Zanuck's Gentleman's Agreement, and what a grand piece of casting that is. Yes, with Gregory Peck and Dorothy Maguire as the stars of that very unusual picture. You know their interpretation of a serious, modern problem is both sensitive and honest. Yes, and Mr. Keely, I love to watch the filming of a costume picture, too. The sets for the Foxes of Hell were simply gorgeous, romantic old New Orleans. I've seldom seen more lavish costumes than Rex Harrison and Marino Harroware. Twenty-six beautiful period costumes were made especially for Marino Harrow, and she's just the one to wear them, too, with her flame-colored hair and lovely complexion, and I happen to know it's a luxe complexion, Mr. Kennedy. Well, you're not surprised at that, are you, Betty? No, indeed. So many famous and beautiful stars are luxe girls. Actually, nine out of ten Hollywood stars have made luxe toilets hope their regular complexion care. As well as hundreds of ambitious starlets like me. You know, Mr. Kennedy, when I was overseas, I used to hoard my supply of luxe toilet soap. I didn't want to skip my beauty care a single day. With Hollywood in mind, that was wise. Soft, smooth complexions certainly help in a screen test. I think any girl would be wise in using luxe toilet soap regularly, Mr. Kennedy. It's a complexion care that really works. Thank you, Miss Betty Ann Lynn. You've just given women everywhere a very practical beauty tip. Here's what tests by skin specialists showed. Daily care with fragrant white luxe toilet soap improved three out of four complexions in a short time. Why not let Hollywood's own beauty soap help your skin to be lovelier, too? Here's Mr. Keely at the microphone. We conclude our play with a final act of the dark corner, starring Lucille Ball as Kathleen and Mark Stevens as Brad Galt. It's three o'clock. Armed with the knowledge that the man they're looking for has gone to the grant building, Kathleen and Brad Galt are rushing up town. Meanwhile, high up in the grant building, unobserved on the platform of a fire escape, Ralph Wicked is about to settle an account for services rendered. Hello, Mr. Wicked. Oh, well, I haven't much time. I told you I have a dental appointment and he's waiting for me. You don't need much time. Say, why'd you pick the fire escape? Do you think I want to be seen with you? I'm a rather well-known figure. Well, don't the heith bother you none? We're sure a long ways up from the street. Not in the least, but something else does. If Jardine is dead, why is it such a profound secret?  Well, when I do a job, I do a job. Here, here, I bought a late newspaper. Well, look at it. Anthony Jardine found murdered. Well, well, that's different. The body of Anthony Jardine, handsome, young... Yeah, yeah, yeah, yeah, you can read it later. See, I got a cab downstairs waiting for me. So, where's my dough? Oh, yes, of course. It's here in this envelope. I came directly from the bank. I didn't have a chance to count it. Let's see now, there's one hundred, two... Oh, I'm sorry. Throwing your money away, huh? It's okay, I'll pick it up. Hey, what are you trying to do? Let go of me! Sorry, Mr. Stoffer, but after all, it's only justice.  All right, everybody, stand back, please, stand back. He jumped out of the grand building.  Keep moving, stand back there. What do you think this is? Keep that traffic moving. Brad, it couldn't be. It isn't... It's him, Kathleen. It's Stoffer all right. No, don't look. Where's that cab driver? Right here. Here I am, officer. Are you sure he came here in your cab? Yeah, sure, that's the guy all right. That's my cab right over there. He seemed okay. He asked me to wait for him. I still got his bags there on my hack. Kathleen, come on. What are you going to do? Never mind what I'm going to do. Hey, hey, my cab, he's stealing my cab.   I steal a cab, drive five miles with the cops chasing me for what? Two bags, full of clothes. Not a letter, not a card, nothing. What do you care, Brad? They'll find it in the park. Now the trail stops cold on a Fifth Avenue sidewalk. You'll never even be identified. But you've got to keep pitching. You'll get a break. What more break can I ask for? Cleaner found the suit, gave a staff his name and address. The kid tells us the staff has gone to the grand building. Look, I may be stupid, but I know when I'm licked. Well, I'm not licked. Nobody asked you to be.  Think hard. What else did that child tell us? Nothing. Nothing that made sense. Well, what was it? Oh, something about tickets at the galleries. Okay, figure that one. Tickets at the galleries. Tickets for what? For a train? Maybe. He really was leaving town. What would that have to do with galleries? You tell me, baby. I give up. Tickets for a show? Tickets, tickets. Gall-Galleries. Brad, art galleries. I've got it. I've seen their ads in the newspapers. Fifth Avenue, the Wicked Galleries. Wicked Galleries. What would a mug-like staffer be doing in an art gallery? Maybe that's the point. He wouldn't. Unless there was some connection. Hey, wait a minute. Up in Jardine's apartment, I... I remember now there was a painting. Just unwrapped. I wondered why... What's the matter? Look, out the window. Lieutenant Reeves. Brad. I'll get down the back way, hide stuff as bags. Where do you think you can hide? Who's hiding? I'll be absorbing culture at the ticket galleries.  Good afternoon, sir. Oh, good afternoon. You got a lot of nice paintings here. Is there anything in particular you'd like to see? No, not especially. Just looking around. Well, it's almost closing time. I just thought if I could be of any assistance... Well, maybe you can. I'd like to ask you some questions. Of course. I was wondering if Mr. Johnson had been in lately. Johnson? Yeah, he works for an insurance company. You know, they specialize in ensuring works of art. Things like that. I don't believe I know him. A big beefy fella. Broken nose. Where's the white suit even though it's early in the season? You sure you haven't seen him? I'm afraid I haven't. Now about these paintings. If you step down this quarter, there are several watercolors that may interest you. Come in. Yes, what is it, Drummond? Should I close the vault, Mr. Wicked? Everyone gone? Just one customer, sir. Miss Stewart's with him now. All right, you can leave, Drummond. I'll go down and lock the vault myself. Good night. Good night, Mr. Wicked. Now, there's something I like. This, uh, c-picture. That's an Alex Barrow. One of his finest. How much is it? $1,500. Okay, I'll take it. By the way, who owns this place? Mr. Ralph Wicked. Ian? Yes, I believe he's still here. And I realize this small sale doesn't entitle me to any special consideration, but, uh, I'd like to see him. Oh, certainly. If you'll wait here just a moment, please. Mr. Wicked? Yes? There's a gentleman who wishes to purchase the Barrow's seascape. Well? I believe he wants to take it with him. Who is he? I don't know. He said he'd like to talk to you. I'm just closing the vault. I'll be up in a moment. You can go, Miss Stewart. Or lock the front door on your way out. I'll take care of the gentleman. There's the vault, sir. He'll be with you right away. Oh, thanks. Well, if you'll excuse me then, I'll run along. Sure, go right ahead. Good night. What? Uh, Mr. Wicked's downstairs. Oh, I'm terribly sorry. I thought you were my husband. I just came in the side door and I... Mrs. Wicked? Well, I, uh... I believe we have a mutual acquaintance. Yes? Anthony Jardine. Oh. Oh, he's a friend of my husband's. Have you seen him lately? No. Not for several days. But who are you? Why do you ask me that? It's obvious you haven't seen the afternoon papers. Jardine's dead. He's been murdered. Murdered? Oh, no. That's what I came to see your husband about, you see. He killed him. Oh. Oh. Hey, Mr. Wicked. Oh, I'd like a light. Okay, sister, suppose you just... Bench... Out here on this bench.   Oh, Wicked, huh? It's good to see you out in the open at last. Cut you down to size. Way down. I don't think you've ever met me, but you've certainly been using me. My name's Galt. Strange, Mr. Galt, but seeing you here causes me to revise my opinion of you. It's gone up. I suppose your hands go up, too. You heard me, Mr. Galt. That's better. Now shall we go downstairs? What for? For our little chat. I prefer privacy. Murray will be all right, I'm sure. You came to see me, Mr. Galt, about a seascape, Mr. Stewart said, and Alex borrows. Well, actually, I'm more interested in a piece of modern art. A Tony Jardine? I never handled anything as worthless as a Jardine. I know, you mishandled it. Did I? It was found in your apartment. Perhaps it was delivered to the wrong collector. You sure you can't claim it? Positive. Actually, this Jardine really belongs to you. You commissioned an artist to have it done. Did I, Mr. Galt? Somebody had to pay that muscle artist to kill him. Or didn't you ever pay off? Maybe you just launched staffer off the fire escape so he'd get what was coming to him. An imagination like yours should be confined. Get in there, Mr. Galt. Get in the vault. You sure you know what you're doing?  I've apprehended you. What about your wife?  Do you think she's gonna keep quiet? What my wife thinks or does is no concern of yours. Leave her out of it. Jardine's body was found in your apartment, and that ends it. Oh, no, it doesn't. It nowhere near ends it. You pin the evidence on me, but when the police finish digging, they'll find you had a much better motive. Now, that's the only sensible thing you've said. Brought to trial, our respective motives would make an interesting case, but, unfortunately, you won't be around to hear the decision. Ralph. Murray. Murray, put down that gun. Are you insane?   Murray, darling, you don't know what you're doing. Evil.  You should die. Murray! The district attorney's on the phone, Lieutenant Reeves. Thanks. Hello, Miss Reeves, sir. Well, we're about finished at the art gallery. Cleary and Anderson just left with Mrs. Wicked. They'll take her right to your office. What? I think we can. Yes, sir. Well? You know the facts, galt? Okay, but you're not holding Kathleen. She didn't have any part in any of this. I wouldn't say that. She's the one who tipped me off to get down here. Brad, I had to.  I can take care of myself. No, you were doing fine, just fine. You knew Wicked's wife would show up, of course. Okay, Reeves, are you booking me or not? Sure, I'm booking you. But you told me that you... You can't go around New York stealing taxi cabs. Well, maybe I can square that rap. Thanks, Reeves. You better drop around my office in the morning, though. Both of you, say nine o'clock. Could you make it a little later, Lieutenant? Brad and I have a date in the morning at the city hall. We have? See, he hasn't asked me yet, Lieutenant. But I told him from the beginning I was playing for keeps. Well, Reeves, they have it. And I promised my friends in San Francisco I'd keep you out of trouble. Go on home. As the curtain falls on Act 3, we bring our stars out from the dark corner where they have quitted themselves so brilliantly and invite them to the footlice for a curtain call. Lucille Ball and Mark Stevens. Lucille, while I have the chance, I congratulate you on the wonderful reviews that you received for your recent stage success back east. Well, thank you, Bill. I've always been crazy about the theater, and I love my part in Dream Girl. I hear you're doing that play in San Francisco pretty soon, Lucille. That's right, Mark. I'm leaving right after tonight's performance to start rehearsals for the opening next Monday. That shaving engagement's rather close. I'll say. And tell me something, Lucille, as the wife of a popular orchestra conductor. Yes. Do you have any time to spend together? You arrange to play the same towns at the same time. Desi will be playing in San Francisco all the time I'm there. That's a very smart arrangement. And I'm sure that when you put in an appearance, Lucille, theatergoers will be properly envious of that lovely luxe complexion. Thank you, Bill. I hope so, because luxe soap and I spend plenty of time together. I wouldn't be a day without it. Seems to me I've heard a lot of screen stars say that same thing. Mark, I understand you're going to be an FBI man Yes, and as you probably know, Bill here is doing the directing. I've heard a lot of interesting things about the picture. Well, we have great hopes for it, since it's being made at the suggestion of the FBI and with their full cooperation. Hey, speaking of screenplays, Bill, what are you doing next week in this theater? Next Monday night from Warner Brothers, we present that violent and romantic drama so many of our listeners have thrilled to on the screen. Nobody lives forever. And our stars are Jane Wyman and Ronald Reagan. It's the tense, suspenseful story of a man who falls in love with a girl he planned to victimize, and thereby involves them both in a perilous and mounting crisis. Nobody lives forever was a thrilling picture, Bill. And it ought to make a great play, Bill. Good night. Good night and sincere thanks. Leave a brother's company, the makers of luxe toilet soap. Join me in inviting you to be with us again this Monday evening when the Lux Radio Theatre presents Ronald Reagan and Jane Wyman in Nobody Lives Forever. This is William Keely saying good night to you from Hollywood. Here's news for thrifty housewives. Dealers now pay much more for used kitchen fats. So save and turn in every pound you can. You'll help yourself, you'll help your country, too. Here's what government officials say.  Yes, the worldwide supply of fats and oils is still critically short. Your salvaged kitchen fats are needed to make thousands of essential articles we use in our daily lives. So keep on saving. Remember, your butcher now pays you more for every pound you turn in. Mark Stevens appeared by arrangement with 20th Century Fox, producers of Forever Amber. Heard in our cast tonight were Joseph Kearns as Wicket, Wally Mayer as Foss, Dan O'Hurley as Jardine, Faye Baker as Mari, and Bill Johnstone, Truda Marson, Janet Scott, Lois Corbett, Norma Jean Nielsen, Noreen Gamil, Eddie Maher, Stan McFarrar, Herbert Butterfield and Cliff Clark. Our music was directed by Louis Silvers. This program is rebroadcast to our men and women overseas through the worldwide facilities of the Armed Forces Radio Service. Our Lux Radio Theatre production of The Dark Corner has come to you with the good wishes of the makers of Lux Toilet soap, Hollywood's own beauty soap, the complexion care used regularly by 9 out of 10 lovely screen stars. They depend on this fine white soap for the gentle, beautifying care million-dollar complexions must have. This is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Nobody Lives Forever with Jane Wyman and Ronald Reagan. Yes, with families who made comparison tests, Pepsidon won by three to one. Be sure to listen next Monday night to the Lux Radio Theatre presentation of Nobody Lives Forever with Ronald Reagan and Jane Wyman. Stay tuned for my friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.


Hey guys, today it's just me, because today we're gonna be talking about something that you guys always wanted me to talk about. My morning skincare routine. Before you start any skincare routine, it's very important to know what kind of skin you actually have. And it could be tricky for women because sometimes it changes throughout the years. Right now, I have a mixture of dry and oily skin. I know it's weird. In the summer, it gets really oily. Of course, in the winter, that's when it gets a little bit dry. And I actually have a little bit of eczema. My facialist, Shani Darden, who I absolutely love. She's the one who discovered it. Growing up, I just thought they were just like, you know, weird dry areas. She was like, to Marin, you actually have eczema. So it's really important that you start taking care of that. If you know me, you know that I love just trying different products. Throughout my life, I have tried so many different things and it's okay to try because your skin will tell you if it likes it or not. First thing I use is the Is Clinical or IS Clinical facial wash.  As you guys know, I do movies. I'm also in the daytime talk show, The Real. So I can wear a lot of makeup. It's really important that you get all of that stuff off. However, I wanted to keep on a little bit of my mascara that I have on my eyes because I know you guys have gone through this as well where you're tired at night.  So I discovered that coconut oil is the best thing for that after you've washed your face with the Is Clinical. So you just do this, right? It's so soft and smooth. I can't see. And then just kind of like in one swipe, it gets away the extra residue of the eye makeup. And I like using coconut oil because you know it's organic, it's clean. So make sure you buy an organic and clean one. Well, I think organic and clean are kind of like, buy organic, then it's gonna be clean. Speaking of coconut oil, tell me in the comments below how you use your coconut oil. Look how easy that was.  I do go back and forth between some products. Shawnee Darden, as I mentioned, is my facialist. I love her. I love you, Shawnee. Please. She's killing it in the facialist game, the facial game, as I say. She has her own line. It's called Shawnee Darden. And I use some of her products. One product is the Daily Cleansing Serum. This feels like batah when you put it on your face. It's awesome. And it gets rid of a lot of makeup as well. Next is the Is Clinical, IS Clinical Vitamin C Serum. It's the ProHeal Serum Advance. This is my secret. And I'm telling you guys this, okay? That's how much I love you. I am in love. Like, this thing is my boyfriend. There are tons of vitamin C serums out there, and they are great because they help give your skin that extra glow, and at the same time, they help get rid of fine lines and wrinkles, like my neck. This is 41 people. And I feel like if I start now, by the time I'm 60, people will be like, how old are you? And I'll be like, me, 20. So all you have to do is just put one or two drops in your palm. I'll just put three. Because they always like to look supple, glowy, and dewy. You can also concentrate it underneath your eyes. This is great for puffy under eyes or dark circles under the eyes. And kind of like just naturally massage it in there. Oh, this was so good. And we can't forget about the neck. Oh, Lord. Yes, the neck. All right, you see how glowy and dewy that looks? Next, we're gonna use the Dr. Nigma Serum One. I feel like you can never use enough serums because they always give you that glowy, dewy look. This one in particular helps plump your skin and hydrates your skin. So it never really looks dry. And as you can see, I'm going light to heavy with my products. This serum is just a little bit heavier than the Vitamin C serum. And this serum, you can also use day and night. Now just wanna give you guys a heads up. This one is a huge splurge for me. I think sometimes it's okay to treat yourself before you wreck yourself. This one is a lot different than the Vitamin C one because it has plant stem cells. So it's gonna keep your skin very plump and hydrated. You use one or two drops of these because it's so expansive. I'm just gonna use one or two. We wanna keep this for a long time. This one smells so yummy. Look at that skin. Look at that. I don't even need foundation. And that's what a lot of people say. I'm like, Tamara, do you have makeup on? And I'm like, nope. As you guys know, this product has plant cells in it. Are there any of the products that you guys use that have special ingredients that has helped your skin? I wanna know, just comment below. Next is a moisturizer. This is Shadi's Daily Oil-Free Moisturizer. As I stated before, my skin sometimes can feel a little bit too oily.   So you want it to be light. And Shawnee Darden's Moisturizer is oil-free, which I absolutely love. So you're not gonna get these extra blemishes. This product right here is very, very, very important. I'm just gonna put it out there. When I was growing up, I thought because I was a woman of color, I didn't have to use sunblock because I thought I'm not gonna burn. The sun loves me. As you get older, it doesn't matter how dark you are, you still can get those little sunspots and you can still damage your skin from the sun. So it's really, really, really important that you use sunscreen. It doesn't matter how young you start. My daughter is wearing sunscreen right now. So realize if you start with the best skincare when you're younger, just imagine how you're gonna look when you're older. You don't have to wait until you are 40, 50, 60 to start an amazing skincare routine. Start now and wear your sunblock, please. This is Super Goop Play. The SPF is 50. My dermatologist does not play around with sunscreen. It's important to wear this every single day. This one is an oil-free sunscreen. They have those. It depends on how much moisture you have in your skin. You can buy that accordingly. So just make sure that you look on the labels. This has sunflower extract in it and I like it because it's light. It's not heavy. Well, it's heavier than all of these products, but it's a very light sunscreen. It doesn't clog my pores. I'd plug. That is clogged in pores together. Okay, I made a new word. It doesn't clog my pores. So it feels great. So even if you wanted to add makeup on top of this, it's gonna be fine.  Now, I just learned something from Miss Jeannie Mai, one of my co-hosts of The Real. You guys, I forgot for years to put sunscreen on my neck. She told me that it's very, very important. Don't forget about this area, ladies.  I've neglected my neck. So now my husband, he always plays with me.  Like this. Because once you hit a certain age, everything starts to like, even your tazas. Okay, we've talked about what I do on the outside for my daily skincare morning routine. I do think it's important to talk about what we put on our inside that can affect our skin. I know y'all are not gonna wanna hear this, but it's diet, diet, diet, diet. I'll say it one more time. Diet, it's huge. I learned this the hard way. When I eat burgers, fries, lots of sugar, lots of ice cream, tons of dairy, it all shows up on my face. It's like, boop, boop, boop, boop, boop, boop, boop, boop. Alcohol, alcohol, alcohol. And you guys know I love wine.  Plant-based diets are huge for your skin. You will slowly but surely start to find your skin just naturally clearing up and growing. I feel like foods are natural medicine for our bodies and we have to listen to that. I'm not purely vegetarian, as you guys know, but I think it's important to try to eat more plants. So add that a little bit more on your plates. The last one I think we've heard from the time you are liking kindergarten.  Water, water, water. It's important that we hydrate. If you find yourself drinking less water, you will feel dehydrated, right? Well, guess what?  When you're dry, that's when you start to crack. Like, you've seen like dry paint, like crack. That's what happens to your face. I'm a visual learner, so I just had to give you guys that. So it's really, really, really important that you guys drink a lot of water. And how you know how much water you're supposed to drink? Weigh yourself, yes. Weigh yourself just once. I'm not telling you to do it every day.  Lean over, see it, accept it. And then divide that by two. That's how many ounces you're supposed to be drinking a day. I like to drink a gallon every day. I said I like. I'm trying. But I know for a fact that I at least drink 68 to like 74 ounces a day of water. And that's the reason why I have this glove. Let me know, please, what you guys use. And that works for you because I believe sharing is caring. My daughter knows how to say that now. Let me know in the comments below and make sure you subscribe to The Housely Life. I wanna do more, so please, let me know what you would like to see more of.


Hello. Yay. Okay, goodbye. Thank you. Hi, guys. My name is Jason Schleifer. I am a huge fan of coffee, and I'm one of the co-founders of a company called Nimble Collective. I'm going to talk to you today about what we're up to, what we're doing with Blender, and what our huge plans are to help all of you, hopefully create content. Our mission as a company is basically creator success. What we want to do is help you and your friends create animated content, get out in the world, and do it super easy with nothing more than a web browser and an internet connection, which basically means we're building a cloud-based streaming collaborative platform, so you can just create content really, really fast. We're going to handle all the backend stuff, so you don't have to worry about file management, all of that. We stream the applications to you, so you don't have to worry about installing anything, and you just create. And usually when I talk about that, people are like, they don't really believe that you can stream applications over the internet, and it works. It's going to be really quick. You guys might remember this, or recognize this. This is the sci-fi armor concept by Andy, and this is Blender streaming in a web browser. You can see the little things up on top there. This is the type of interaction we get as we're working with Blender and animating. It's really fast, very, very clear graphics. It all looks good. You can see I can tear things off and resize the web browser and everything like that. All the video I'm showing you today is captured streaming stuff, so none of this is fake, it's all real. This is how we're doing films right now, which is pretty awesome. I am a total Blender newbie. I've been using Blender all of a year and a half, so most of you know it way, way, way better than me, and I'm super excited to be here to actually learn from all of you. This is my first Blender conference, and I saw there was a lot of you who was there first as well, so yeah, very cool. I know enough about Blender though to get myself into serious trouble, as I'm sure a lot of you do, but I'm really old in the animation industry. I've been in it professionally for about 22 years. This is a video of Maya, version 1.0. I worked for Alias Wayfront when Maya was first coming out. That's me in 1998. That's a cowboy. And that's the timeline. So this is a video from when we first released Maya. So I've been using Maya since very, very early on. After working at Alias Wayfront, I went to New Zealand and I worked on the Lord of the Rings trilogy, first as a character TD, then as an animator, working on Shilab and the Witch King and of course Gollum. After that, I went to DreamWorks Animation for 12 years, where I animated on a whole bunch of these movies. It was a supervising animator on Madagascar 2, and then head of character animation on Megamind and on Peabody and Sherman. And over all that time, I've done a lot of presentations, taught a lot of classes, tried to help as many people as possible learn about animation, and I've worn a lot of stupid costumes. This is me dressed up as a Renaissance guy doing a press junket for Peabody and Sherman, showing how we prototyped using multiple limbs and stuff on the characters to see if the director would like it. So what I've seen over the years, as I've worked through all these studios and talked to different people, is that studios spend a lot of time and money and a lot of energy making sure that their tools are set up for the artists, so that the artists can stay completely focused on doing what they do best, which is creating. And the reason they do this is they want conversations like this, where somebody says, hey, Amy, I've updated the latest animation to help the audience connect, and she says, cool, thanks, John. I've got it, and I've already tweaked the eye highlights. That's the level of communication and conversation we want artists to have at studios. It's focusing on the craft and focusing on just getting the best connection and the best talent or the best work done. This is what we usually see, though, is, hey, Amy, I updated the latest animation to help the audience connect. She's like, sweet, that's awesome. Where is it? Oh, it's the latest version. Cool, what's that? Is it Anim Final One or Anim Latest 27? Hold on, let me check. It's Anim Latest 27. Oh, wait, no, I need to fix something. It's number 28. Okay, loaded that, but some of the animation's missing. Oh, I think you need to relink it. Okay, where's the new rig? Hey, Andy. Yeah? Did you save out a new rig? Yeah. Okay, where'd you put it? Oh, hey, Amy, it's Rig Newest. Why'd you move it? Because it's newer than the old one. Oh, okay. Cool. Oh, wait, there's a new group in there. Oh, yeah, I added a new group, but you don't need to worry about it. Don't worry about it. Okay, cool, it's working. Hey, guys, yeah? I just did another pass. Can you add? Grab. Anim Final 62. So that's the conversation I'm sure you've all had before. And whether a studio is building a full animation pipeline or working on an asset pipeline, they really want to try and keep the conversation around here. Because this is where you get really great stuff and it makes the artist super, super happy. Because they get to focus on what they want to do, which is creating great things. To show an example of this, I'm going to use, can we bring down the lights just a little bit so we can see it? So this is a scene from How to Train Your Dragon. Have you guys all seen this film? Yeah. Yes. Okay, I did not work on this film, but I love this movie. And I want to use it as an example to talk about how the artists were able to really focus on their craft to deliver a great performance. This is a scene called Forbidden Friendship. It was supervised by an animator named Gabe Portos. And the entire sequence is all without any dialogue, but it shows the connection that forms and the bond that forms between toothless and hiccup. So I'm just going to show a piece of that. There should be audio with this one. So this is a beautiful scene, and there's this one shot in particular. You can keep the lights down while I talk about this one. Thank you. This one shot in particular for me embodies exactly what I'm talking about when we talk about keeping the artist focused. Every single thing about this is considered the staging of how toothless is coming up and covering a third of the screen on the right hand, on the left hand side, how he's leaning in and pointing directly down hiccup's arm and how he is, like, quiet and small in the space and the super, super subtle movement of toothless leaning in and pulling back and then releasing and agreeing that he's going to become hiccup's friend. It's just stunning. And the reason why Gabe and the team were able to do this was because they were only focused on the performance. They spent all of their time thinking about what's the best way to tell the story, not where do I save the file, is the rig the latest thing, is lighting getting the latest stuff. They were completely focused. So that's great for studios, it's awesome. They can spend a lot of money setting up that pipeline but what about small teams of two to five people, people who really want to create films, they work at smaller places, they don't have the infrastructure. What usually happens is they have to build their own pipelines, they have to find artists, they've got to manage all their own files and data and I'm sure most of you have had to do this.  It's really frustrating no matter how determined you are to get something done, you're just tearing your hair out because you can't achieve what you want. So that's what we're trying to solve at Nimble. We're trying to make it really, really easy for all of the artists to stay focused on creating art and not focused on building a pipeline. And the reason why we're doing this and why we're doing it now is that we think that creation and the way people create has been evolving over the past few years and now is the perfect time for us to do it. There's a huge pool of talent all around the world that is getting so freaking good, it's unbelievable. With the internet being able to collaborate super, super quickly with sites like ArtStation where you're seeing talent every single day that just blows you away with online schools, just the ability to collaborate and learn and get better and better and better is accelerating ridiculously. And when I come here and I see what you guys are all doing the distribution models are changing all the time.  But now you've got YouTube where you can self-distribute your stuff, you've got Vimeo where you can charge people for your work if you want. You've got Netflix and HBO buying animated content. So there's a lot of stuff that's changing all the time and people are trying to figure it out. It's ridiculous with Microsoft just the other day announcing that VR is going to be built in to Windows 10. The projections for what this market is going to be for animation is gigantic. It's in the hundreds of millions of dollars in the next few years. And everybody that we talk to about VR is trying to figure out how to do it. What's the best way to tell narrative content in VR? Nobody's figured it out yet. So it's totally up to all of us to figure it out and everyone knows animation is going to be a huge part of it. It's an opportunity for us. It's really exciting. And everybody who's trying to solve these things, they're all looking to the cloud to figure out how to do it, how to work together globally, how to solve things for VR, how to release stuff. Everyone's looking in the cloud and sharing data. And we were looking at that as well. We were thinking, well, okay, cool, we could set up, if we want to help people, we could set up databases and stuff so that people can download data, work really easily, resubmit it. The more we thought about it, the more we were like, well, what can we do that's really different? What can we do that really changes the experience that we're going to have in the future? What can we do that really changes the experience that we're going to have in the future? How can we make creating animated content more of like a transcendent experience where you're just really, really focused? And we thought, well, what if this was your experience when you were creating? What if you were sitting at home and you're watching your favorite TV show and you suddenly get an email from your friend and she says, I'm working on an animated film and I need you to light a shot for me. Could you do it? And it's got all of your assets. It's got all the textures. It's got everything you need. The cameras are set up. The animation's all there.  You submit the render and you close. And that's it. You don't worry about where anything is. You don't worry about where you sent it. You don't worry about telling anybody you did anything with it. It's all done for you. And you're sitting on your couch with a $250 Chromebook in a chicken soup because we all have great personal lives and so we do. That would be amazing. So about two years ago we got together and we decided to prototype this concept and so we looked at virtualizing the desktop and we worked with a company called Citrix to try this out and we basically said, okay, we're going to do a short film called Animal Facts 271. It's available on our website if you go check it out. And we did it with Maya and Arnold for rendering. And we basically streamed the desktop so it was kind of like working locally except you weren't because you were looking at a virtual desktop. And what we found was it was really compelling. It was very cool to be able to be working at work on one computer. You go home. You're doing the exact same work, same files, same everything. You're not carrying your computer back and forth. You're not doing anything. You're just basically using your computer as a thin client to look at another machine. And we loved what we were doing so much. We went and presented it in front of 6,000 of our closest friends at the Citrix Synergy Conference which was terrifying because the room was, like, imagine this room by 20,000. It was just like huge. And we're like, oh my God, look at all these people. But the response to it was really compelling. We got a lot of feedback from a lot of artists who were like, I want this. And so we said, okay, we're going to start building a product. We're going to work to do this. Then we went to SeaGraph and we saw this film which was mind boggling. We were like, what? You can do this with Blender?  This is exciting. So we started looking more into it. And then we heard about this and we were like, what? We can make Blender work in a pipeline? This is awesome. So then we started meeting everyone in the community and we were like, oh my God. These people are so cool. Like, everyone was so passionate and excited and there was conflict and resolution and art and talent. And it was so exciting that we were like, all right, that's it. We have to work with these guys. So like Tom mentioned, we're really excited to be supporting the development of Blender especially with 2.8. It's super thrilling. I love it. And as we were starting to realize that we wanted to work with you guys, we thought, well, we should probably learn it because it's great to be like, yes, we have Blender on the platform and someone goes, how do you use it? And I go, I don't know. Go online. Look at Andrew's tutorials. So we decided to start learning it and of course the best way to learn anything is to do some production. So we decided to do another short film. Awesome. It's very exciting for us. We're like, yeah. And I'm going to show you something super embarrassing which is the previs for it which I drew in Blender using grease pencil. And this is an early version of grease pencil and it's my drawings so I apologize. But this is the previs for the short film of what we're going to do. So a little bit of trivia. 4039 Productions is 4039 is the street number that our first building was in for Nimble Collective. So we just thought, ah, 4039 Productions. So immediately I knew I needed a good designer because that was not going to work for a design. So I went on to Behance and I just started looking around at all these different designers and stuff and I saw this woman, Irina Korsak, who's Polish and I looked at her designs and I thought they were absolutely stunning. Just very, very graphic, really bright, very cool looking and she happened to have a whole bunch of roosters and I was like those are fantastic. I would love to actually make something that looks just like that. Not make something that looks like a CG but actually looks like a 2D design but do it all in 3D. So I thought I would reach out to her but before I did I wanted to make sure I was going to pay homage to her work and not destroy it as we turned it into computer animated stuff. So I went into Blender and I modeled my first character which was this rooster basically taking her art, trying to figure out one of our in-house artists. Haley did all the texturing and surfacing based off of Irina's work and after we saw this we were like okay cool first of all I can model in Blender so that's exciting and second of all we can get it to look really, really close to what Irina had and we asked her to redesign one of the roosters as a hen so she did shrunk the neck, changed the tail, perfect. It was awesome. And then she started working on some of the backgrounds for us and then she started working it in and then the final result and this is what it looked like in Blender. So we wanted to keep everything as close as possible and actually if you look at the final film we pulled out some of the sheep and then basically did projection maps and then did shape key animation on their heads to make it look like they were eating and the windmill moves as well.  While we were doing all the stuff and learning about how to use Blender we wanted to share everything that we were discovering and first of all to do a project and then second of all to try and teach someone else how to do stuff that you're doing. So we started releasing a whole bunch of tutorials and material on our site about how we're using Blender how we're customizing it, how we're working with it and just trying to help people learn as much as possible and what we were excited about was that people were really responding to it so we've had over 50,000 views which is not a ton, but since that's not our main business of what we're trying to do this means a lot to us when we've been reaching out but what really means a lot is that we have a lot of people who have not had experience with Blender before. So this is a quote from Aaron Smith who's a CG supervisor. He's been in the industry over 20 years as well and he's been at DreamWorks and Sony at a bunch of places. He saw the tutorials and then sent me this which basically he said, I've taken a closer look at Blender I've been absolutely giddy with the possibilities it offers the cycles renderer handles beautifully lighting with the tool is a pleasure. So that to me is like okay that's awesome we're really helping people grow but we kept thinking back to that transcendent experience that we wanted to have we wanted people to really experience working in a way that was totally unconventional and totally focused on being an artist and also lowers the barriers of cost because every time you buy an expensive computer that's another 3,500 euros or whatever it is to buy a nice computer to work want to see what we can do to bring that down so I went on to Amazon.com and I purchased a Toshiba Chromebook 2 with 4 gigs of RAM and a 16 gigabyte hard drive for those of you who don't know a Chromebook does not run any operating system that can install anything except web apps it runs Chrome OS so literally there's nothing I could do to create animated content on this thing but I purchased it, I opened it up I logged in and I started rigging my chicken and blender it was that quick and that fast to get started and that easy this is an over the shoulder shot of one of our co-founders Scott Lafleur showing how you can use the chicken rig and animate it, move it around show what blender looks like on a Chromebook we couldn't do a screen capture of this one because there's no good screen capture tools for the Chromebook so we had to do over the shoulder but you can see basically scrubbing working fine so most of the actually all the animation, most of the rigging all of the nonlinear editing was done on the Chromebook and the rendering was done using cycles we used Nuke for compositing we could have used blender's compositor if we wanted but a good pipeline uses multiple tools so we wanted to make sure we could do that and we basically did the short pretty quickly this is the first animation test of the chicken so again my first rigging challenge in blender I was trying to figure out how to do it one of the challenges I had here was that because of the stylistic design the feathers go straight down over the part where the arm inserts into the body so I had to figure out what would happen to detach them and stick them back on top within the animation luckily he doesn't do that in the short so you never see it but that's what he does and we also decided that motion blur wouldn't work for this after seeing this test we were like ok we'll render it without motion blur not because we couldn't we just figured it looks better without it so I'm going to show you the short right now and if we could bring the lights down that would be awesome stick around because there's something right after the short that you should see like I said stupid costumes for presentations this is how much I'm excited to love you guys I will do this one of the great stories that came out this is really warm by the way sorry make sure there we go so one of the great things that came out of this production that was really exciting for us is one night while I was doing the final edit of the film I realized that shot three which is the farm shot which has all this dust in the air and it's a compositing shot I had updated the animation and I needed a new version of it in order to get the final thing done so I emailed Haley who was doing all the compositing I said can you rerun the composite for me so I can finish the edit she was at her mom's house and she didn't have her computer but she had her mom's ipad so she grabbed her mom's ipad she logged in the website ran nuke updated the composite and shot everything back out for us which was just like holy crap that's so cool like she could do all of her work without having to worry about what machine she had or anything like that it was really really exciting for us so that was great for what we're doing but our company is not really about us creating shorts and creating films it's really about trying to empower you guys to be able to create stuff this is what we really care about our dream is that every single one of you can create a film super super quick super easy and get it out there and share it with the world so when we announced what we were doing at synergy back a year or so ago we got a lot of interest from a whole bunch of creators people who had never made animated films before had always wanted to make animated films but didn't know how to do it some of them had been in the industry but not in a director role in like a different role and they all said you know I would love to use your platform to create tools that are to create films and of course the platform wasn't ready yet but we decided we really wanted to help these people so we started a pilot program where as we were building up the platform we could help them make their films helping their artists helping them out creatively mentoring them teaching them what it means to be a good director which is definitely a challenge and really helping them achieve their goals with their films and as the platform came up we would be moving them onto the platform definitely for all the rendering for a lot of the infrastructure and stuff like that so I'm going to show you a sizzle reel of some of the work that's been going on while we've been helping these people out Hi my name is DeCosta concept designer, artist, illustrator in Vancouver Canada and I'm putting out a new concept called Sunny and Gert Hi, my name is Captain McNeil and I am the director of Roadside Assistus I'm an artist and a writer living in Los Angeles and I am working with Nimble Collective on a show called Disrupted Hi, my name is Nick Arioli I'm the director of Coin Operated I'm so excited to be working with Nimble on a tremendous team and I think they can do great things so it's been awesome to work with each of these artists and help them build their dream and tell their stories we got a quote from Mac Bo Ross who's been working on a couple of the projects he's an amazing animator he uses Blender primarily and he sent us this quote the picture was totally unprompted but he said Nimble allows me to do what I love while being close to the people I love and that is exactly what we want we've seen too many people have to move their homes, move to various places in order to be able to actually create their art and this allows people to live where they want to live with their families, creating the films that they want to make and so that speaks exactly to our message along with the message about helping people we want to hold a contest so we've gotten great response from the chicken short and what we'd like to do is really see you guys do something with the chicken what we're doing is we're putting together a little contest here and basically we're going to give you the chicken and the environment and you can do whatever you want with it you have until November 28th and whoever makes the best film or the best short or the best anything with it, voted on by you and your friends you get a one hour one on one project review with me where I'll Skype with you or do a zoom link with you we'll talk about whatever you want, whether it's the project itself or whatever you're doing elsewhere you have a one year subscription to CG Cookie for donating that $50 gift card to the blender market so thank you to the blender market and then also a nimble t-shirt like this second and third place we'll get a month subscription to CG Cookie a $25 gift card to the blender market and a nimble collective t-shirt fourth gets a $15 gift card to the blender market and a nimble collective t-shirt and then fifth gets the best prize the nimble collective t-shirt I have with me, you can come and meet me up afterwards I have these cards that I would love to hand out to you if you're interested, you grab this app called Augment and then you can scan the QR code and secretly if you scan the little graphic there you get the chicken in AR with a little background which is kind of cool and you can make them bigger so if you're interested in trying out for the contest, go ahead and grab a card scan it, fill out your form, you'll get the rig and you can do whatever you want with it if you're interested in getting a bigger rig that would be awesome too, we could share that lastly I believe this is something that nobody has seen before so I said we've been working on the product working on the platform building it up you guys are the first ones to actually see the pre-beta version of what we're working on so it's a little teaser of what we've been doing with our product super excited to show it to you and I hope you guys like it take a look at what we've done to create and whether you're painting, animating or giving feedback your best work comes when collaborating with others with the Nimble Collective platform we've strived to make it easy for teams to come together and create using nothing more than an internet connection and a browser starting with storyboarding and design artists can quickly navigate their project and get bright to creating without having to download or install anything and because of Nimble's cloud infrastructure assets that are created for one task can very easily flow into the next bringing design straight into modeling all the way through surfacing and into animation feedback is simple and direct and artists can easily inspire and help each other for greater results with integrated rendering you can tweak your final images using high-end compositing tools or even use your assets for other things like AR and VR with Nimble Collective's streaming collaborative platform it no longer matters where your artists live or what hardware they have on their desk they now have the immense power of a professional animation studio available through an internet connection and accessible through anything with a web browser even $149 Chromebook Nimble Collective be your own studio thank you guys very much come and see me if you have any questions or thoughts I'd love to chat with each of you and have a great rest of the conference


What's up everybody, Jason here for jazbyzcasebrakes.com. This is our last filler we needed to do to sell black gold football We're giving away the last 10 spots here with this 2018 community prestige football one fat pack break Around on teams number ninety eighty nine. Sorry. So again first we do the break minimize customer names and teams And we're no veteran common ship from here And then at the end of the break we'll randomize all 32 customer names and the top 10 get a spot in the break Which will be coming up next so let's do the break itself roll it and it is a four to five nine times one two three four five six seven eight nine Steve Wright done a James nine times one two three four five six seven eight And ninth and final time Bill's down to the Patriots All right, again, so stick to what you got guys bow bow quick little pack filler and here we go Jay Jai Ryan Izzo Sonya Michelle You got John Kelly bulls guard while hard and key and current All right, so there you go guys switch scenes And again top 10 get in guys. Good luck Roll it Five and a one six times. Good luck One two three four five six times top 10 Anthony Steve birds Steve birds charles Steve right Brian Steve right shad brian and brian there you go After six times top 10 get in congratulations guys Coming up next is to break it off