Suspense. Radio's outstanding theatre of thrills brings you an hour, a full 60 minutes of suspense. Unite our stars, Miss Helen Walker and Mr. John Beale. Our story, Deadline at Dawn by William Irish. A suspense play produced and directed by Anton M. Leeder. If you've ever been alone in a strange big city, you know the haunting loneliness of it. And you know how the sight of a familiar face, the sound of a familiar voice, can lift your spirit high. Even a stranger who comes from your hometown becomes a long lost friend, because he brings with him a breath of home, a flood of memories. That was the emotion that drew Brickie Coleman and Quinn Williams together. But their meeting wasn't the joyful happy kind, for it was the beginning of longing and fear and danger. And now, with the performances of Helen Walker as Brickie Coleman and John Beale as Quinn Williams, and with William Irish's great story, Deadline at Dawn, we again hope to keep you in. Suspense. Until I met him, men were just pink dance tickets to me. They were just two and a half cents worth of commission on the dime. Here's a feat that kept crowding mine all over the map, all over the floor, all over the night. They were blank faces that could steer me any way they wanted until their five minutes were up. Because I was a New York taxi dancer until I met him. A girl from a small town caught and held fast in the big city, with all her dreams forgotten and all her hopes gone. And not caring anymore, not caring at all, until I met him. They always dimmed the lights for the last dance, just to make the customers feel sentimental about it all. At one in the morning, I was through again for the day. I put on my coat, go out the side door, walked past the sad sacks that thought they were wolves and loitered on the sidewalk. And then I'd begin the 20 blocks to home. Home was a filthy old brownstone down near the river. The long smelly hallway and a room to the back the size of a closet. A room with a battered valise and old army cot. That was home. But at least it was a place where I could get out of my shoes and make some coffee and sleep to forget. I'd get home about 1.30. You left your door open? So I'd left my door open? Did you think that was an invitation to walk in? You'd better close it now. Hey, listen here. Close it. Please.  You won't find anything. The rats got here first. I am a burglar. Well, then you're not a very smart one. What are you looking for? Coffee grounds? I wasn't looking for anything. Then why don't you go, please? Find a nice rich old lady to rob. Look, I needed a place to stay for a while. I thought maybe you would let me... What? Stay here? I don't hand out favors. You're nothing to me. I know. It was just a hunch I had. The way you were looking at me, I thought I could come here for help. The way I was looking? I've never seen you before in my life. Well, you were looking straight at me at the dance hall about an hour ago. You mean you were at the Cinderella Ballroom tonight? Don't you remember me? No. Well, that's funny. It's not funny at all. You all look the same to me. Namely, horrible. I guess it's my mistake. I was sure. You seemed so... so nice. Did I? Yeah. That's because I was thinking of home. I always do that on the job. Makes the night go faster. I guess I know what you mean. What you do? Follow me? No. The man at the door gave me your address for a dollar. Oh, he did, did he? I wanted to get off the streets. This time of night, the cops are curious. I thought I saw one of them following me, so I beat it down this hall to hide. That's when I found your door open. You picked a good place for hiding. Nobody ever comes here but the landlady wants a month. Please let me stay a while. Please. What's your name? Quinn Williams. Quinn? Yeah. It used to be my mother's before she got married. I see. What do you say? You want some coffee, Quinn? Oh, thanks. Thanks. But get this straight. One cup of coffee and nothing more. No sugar goes with it. You give me one blink too many... Just coffee, I understand. A man can tell by looking at a girl whether she means one thing or another. I'd be surprised how many of them ought to have an optician. I know. Give me a match for the oven. Here you are. I got the oven lit and reached down some cups and sauces and watched him. Not that I was worried. I wouldn't have closed the door if I hadn't thought I could handle him. It was only that he was so young and his face was so tight and strained. He'd been beat by the city. Must have been like taking candy away from a baby. He trusted me because I'd smiled at him while I was dancing. And he thought that smile was for him. I wished it was all of a sudden because he was different. Coffee won't be long. That's all right. I'm in no hurry. You're pretty young for a burglar, aren't you? It doesn't take much training. Where'd you come from? And how did it happen? I come from a little town. It's nothing much, but I like it. I'm going to hit myself. My place is Glen Falls, Iowa. What's yours? What's the matter? Nothing. I thought I said something wrong. No, you said something right. It's crazy, a crazy coincidence, but I come from Glen Falls, too. Honest. That's amazing. I know it is. What street did you live on? Pine Street. The second house down between Pine and Old. When we're neighbors? I live just across the street from you. How was it we never met? I don't know. I came here five years ago. I've been here a year. You must have come to New York before we moved in. Sure. Wait a minute. Have you got a brother with a lot of freckles? Yeah, Johnny. He's just a kid about 18. My sister's been writing to me about her new boyfriend, a boy named Williams.  That's Johnny. Oh, so you're the boy next door. Well, we'd probably have known each other very well if you'd stayed home. I know. I wish you had stayed. I do, too. What's your name? Ruth Coleman. Everybody at home calls me Bricky. They started it because I... I don't know. Because of your hair, huh? I don't know why. Do you ever feel that you want to go back? Every day. There's a bus leaves New York every morning at six. I know I've been quiet. I've got the fare sewed up in my mattress. Why haven't you gone? Because my mother thinks I'm dancing in a Broadway show because I'd be too ashamed because it's so hard to go back. Yeah, but you ought to go, Bricky. This morning at six o'clock... I'd go back. Hard going back alone. If someone could come with me, would you come home too, Quinn? No, I'm Bricky. You want to escape from the city, don't you? Just like me, you want to go back? Yeah, sure I do. If it's the fare you're worried about, I've got enough for both of us, including a good dinner in Chicago. Anything for the boy next door, Quinn. Thanks, Bricky, but it's too late. The police will be looking for me around eight o'clock this morning. How long have you been a burglar? About three hours. Three hours? I did it tonight for the first time. So you see, Bricky, it's a little too late for me to go back. I've missed the bus. About three hours. Coffee's ready, Quinn. Huh? Good. Cream and sugar? No, thanks. Black. Was it easy? Very easy. Why'd you do it? You'll do anything when you've gone for four days without eating. But it's funny. After I'd done it, I went straight to the best restaurant in town. I looked at the menu and got ready to order everything on it. Two helpings of everything. But I couldn't eat. So I got up and walked out. That's when I began to think cops were trailing me. I'm not used to being a robber. So you still got it all with you? $2,500 in cash. Divided up into small rolls in all my pockets. You want to see it? No. Neither do I. But it's there. I can feel it. Against my skin all over my body. Where did you get it, Quinn? I was working for an electrician about four months ago. One day I got a call to go to a big house on 71st Street and put a fixture in the bathroom wall.  While I was doing that, I ran into a wooden... a wooden box in the wall. I did my work just beside it. And that box? That box was the back of a safe. Oh. Put into the wall of a study in the next room. The front of the safe was good heavy steel. When they built it, nobody thought it could be broken into from the other side through the bathroom. And nobody ever would have either until an electrician ran into it one day by mistake. But all this happened four months ago. Yeah. You see, I'd brought more tools with me than I needed that day and I left some of them in my bag downstairs on a little table near the front door. When I got back to the shop, I found a key in the bag. I must have brushed it in while I was putting the tools back after finishing the job. It turned out to be a key to the front door. You didn't return it. I didn't. Oh, I meant to, but right then, I forgot all about it. And when I did remember that I had the key, I was out of work and hungry and wanting money badly, so I went back there tonight. I opened that hole again, pulled the back of the safe out. I didn't bother with any of the papers or securities. I just took the cash. The house was empty. The man who lives there, a society fella but the name of Graves was probably out on the town. I just walked out the front door. It seems like ten years ago, it was only three hours. So this Graves man will see the hole in the morning when he goes in to take a shower and then he'll call the police. It'll be a quick trial and a short one. But the sentence won't be so short. The boy next door.  The grinning boy next door, friendly as a puppy. Go back, Bricky. It's where you belong. It's the only kind of life for you. Come with me, Quinn. I've told you, I can't. They've got a long arm, they'll find me. And I'd rather have them find me here in the city. Have you still got the key? The key you went in with? Yeah. Why? Well, if you can get back in before he comes home, just in and out long enough to put the money back, they won't come all the way to Iowa for you just for chopping a hole in the wall if nothing's been taken. But, Bricky, the problem... Don't you want to go home at six o'clock this morning? Yes, Bricky. If he's out on the town, he won't be home yet. At least that's what we'll pray for. We? We'll go together now. I'll wait outside for you and then we'll go down to the terminal and buy our tickets and wait for the bus. We'll wait for Don together, Quinn. You mean you'd do this for me? For the boy next door. Any time. Anything. There was no time to lose. Graves might be coming home any minute. I ripped the money out of my mattress and we ran out into the cold, empty streets. Just as a cab cruise by. We piled into it and told him to take us to 71st Street and to take us fast. Everybody's always in a hurry. What's your hurry? The night's young yet. Never mind the conversation, Joe. Drive. The customer's always right. I just remembered. What? I can't pay for this cab unless I use some of our capital. I don't care what you use, pal, just so it's money. Don't worry about it. You'll get paid. I'll pay him. We don't want to use any of our capital, not a single penny. It's all got to go back. Ricky, when we get out of this, when we get back home, I'll thank you then. I'll find a way to thank you. 71st Street. Any special number? No, just let us out here on the corner. That's, uh, 90 cents. And I can break a 50 if I have to. Here's 90 cents. And here's a dime. Have fun. Cross the street and up a little. You wait here. All right. Don't come any closer than this. I'll be back in no time. Don't be frightened, Ricky. Don't take any chances, Quinn. If you see any lights, if it looks as if he's gotten back already, don't go all the way in. Just drop the money inside the door. All right, Ricky. I waited for him there in the chilly night on the dark, empty street. Why? I knew better. New York had taught me one thing, and that was never to be a sucker for a man. But then this was no man. This was the boy who lived across from the on Anderson Street in Glen Falls, Iowa.  Instead he was hiding in the dark, sneaking along the streets, helpless. The boy next door. Then I suddenly crouched back into a doorway. A patrolman was coming on his tour of duty. He stopped near me, not ten yards away. But his back was to me, and his hand was opening a call box. Garson reporting in. 2.35 a.m. How's the rummy game going? Another thing, Sid. Quiet as church. He finished his call, closed the box, and went on down the street. Then he turned a corner and disappeared. And I breathed again. He'd been right, though. It was quiet as a church. And that was wrong. Because Quinn should have been back long ago. Ricky. What's the matter? Ricky. Tell me, Quinn, what is it? What is it? What are you frightened about? What happened in there? He's been killed. What? He's dead. He's lying in there. I'm afraid. You, Quinn, did you do it the first time you were in there tonight? I swear I didn't, Ricky. I only took the money. He wasn't even there. He must have come back since. I knew you didn't, Quinn. I knew even though I asked. Go down to the terminal. Get your ticket and climb on that bus and forget we ever met. Go on, Ricky. Beat it before they find out. Not without you. But don't you see now it's murder they'll charge me with? They'll find the bathroom, they'll stamp it with the tracer to the electrician and me and they'll naturally think, oh, don't you see, it's too late, Ricky. It's never too late. Don't you know that? Not until the last second of the last minute of the last hour. What do you mean? We'll go back in there and see if we can figure it out. It's our only hope. We're fighting for our lives, Quinn, for our lives. And we have until six o'clock this morning to win our fight. All right, champ. Come on. And so, very slowly, we went together into the place where death was. The door closed on our backs and we felt our way down a long and narrow hallway. He's upstairs. I don't want any lights on down here. Just hang on to my sleeve. I'll lead the way. All right. We went forward in a sort of swimming darkness that was almost liquid. It was so dense. I could feel the muscles in his arms shivering. But he was brave, not afraid. He was going into it, not running away from it. There's a step here. The stair creaked under our weight. I wondered if there were anyone else in the house. Anyone still alive. Suppose someone had slept through the murder or be awakened any moment by us. I'll turn to the right. Okay. We're on the second floor now. I smell the aroma of leather and woodwork. I smell the last lingering trace of a cigar. I smelled powder. A harsh, deadly powder. And then I thought I saw... I thought I smelled something sweet. Something very sweet. Yeah, Brickie. All right. They say you can't smell a recent death. But I could smell a stillness and a presence in it that was more than just emptiness. Get your eyes ready. You go with the lights. The dead man lay in the middle of the study and his face was all out of focus. The lines that had been laugh lines were creases now. The mouth that had been either strong or weak was just a gap now, a place where the face was open. The eyes that had been either kindly or cruel were just glossy, lifeless insects now. This was the dead man. And we'd come for his secret. This is it, Brickie. This is it. What do we do? Shouldn't we close his... They seem to be watching us. No, don't touch him. I don't know how to anyway. He's still in his tuxedo. He couldn't have been home very long. No. Can you tell what it was done with? No, I'll have to unbutton his jacket. Go ahead. There it is. Must have been a gun. Yeah, a bullet. It's round and frazzled. A knife would have made it slit. I'm not sure no one else was in the house or they would have heard it go off. And the killer must have taken the gun away. There's no sign of one lying around. So he didn't do it himself. It can't be suicide. That's right. No. Now what? We'd better look in his pockets. Yes. I'll do it. You look the things over as a hand them to you. All right, Quinn. I'll start up here in the breast pocket. That's the highest pocket in anybody's suit. His hand, could you? Look, Quinn. The bullet went through this. The way it folded it just made one little hole. But when you open it up, it makes three separate holes. Like when you cut papers and make them into patterns. The one on the left side's empty. The right hand pocket, empty too. Try inside the jacket. Yeah. Take out everything no matter what it is. Cigarette case, silver, Tiffany's. Three cigarettes in it. The wallet. Two fives in a single. Two ticket stubs from tonight's show at the Balaskos. C 112 and 114. So we know where he was from 8.30 to 11. Anything else? Business cards. Stafford, Holmes, Inglesby, whoever they are. Oh, and a snapshot. Girl in riding, Targs. I see that. Yeah. It's the same ones in the silver frame over there on the desk. To Stephen with love from Barbara. Then she didn't do it. If she had, she wouldn't be there on his desk anymore. The frame maybe, but not her anymore. That's common sense. All right, let's go on. I'll have to lift him a little. Go ahead. Left rear in the trousers. Nothing. Right rear. Spare handkerchief. Left side. Nothing. Right side. Match folder. Some loose change. Bricky. That's it. Not much help. Do we know what we're doing, Bricky? Oh, I don't know. Quinn. What? A man who's a cigarette smoker, and we found that case in his pocket. Would he go in for cigars too? Maybe. Some people smoke both. But would he smoke two cigars alone by himself? Look, Quinn, two butts in this tray. Yeah. And the trays between two chairs facing each other. One cigar and one notch of the tray. The other one around on the other side from it. Two people, Quinn. Two men. And they were having an argument. One of them was worked up about something.  And look at this one. Chewed to ribbons. Chewed to a fringe. That tells it. But, witch is witch. Who was calm and who was steamed up? And who was the other man with graves? Oh, Quinn. Wait a minute. Here's something. What? I must have fallen out of his pocket. He's sitting on it. Fine. Another book of matches. That's just it. Another one. Graves had some on him. So this is the other man. And did he leave his name on it? No, but he was excited. Look how many matches he used up. Just on that one cigar. A folder could have been half used up before he began. Maybe, but you take this. What does it tell you? It tells me to chew Dawson's gum. Not that cover. Inside. I don't know. What are you driving at? No, wait. Here. Take my matches. Now tear one off. And strike. All right. Okay. Blow it out. You see what you did? No. You tore the match from the right-hand side, didn't you? Yeah. That's what everybody does. They start on the outside, on the right, and work their way over to the left. But this folder was worked in reverse. Now do you see? The man sitting in this chair, facing graves, was left-handed. I see. We're making progress. Are we, Quinn? Of course we are. We know this man was rattled about something. That he whittled away 15 matches to one cigar, and then mangled it to ribbons between his teeth. That he was probably on bad terms with graves, and that he's left-handed. Fine. Only you've missed something. What? The matches belong to a woman. A woman? A woman chopped that cigar into pieces? Smell the folder. What do you get? Solve for the way matches always smell. One minute to clear away. That's the stronger of the two. It tops the other. Now. Okay. Perfume, isn't it? Yeah. It's been carried around all day in a handbag. A handbag that stinks of perfume. I noticed it in the dark when we were coming in. There's been a woman in this room tonight. Well, that gives us two of them. A man and a woman. And they weren't here together. There are only two chairs, one for graves, and the other one for each of his visitors. Who was the last to go? The man or the woman? I don't know, but we're started. Look what we've dug up in half an hour. Two unidentified people in the biggest city in the world. Oh, you're right. It's no use. Oh, even so, we can't give up. It's no use. And what's more, I'm yellow, Bricky. Let's give it up. You're not yellow, Quinn. Or I wouldn't be up here in this room with you. I'd better tell you this while I can, Bricky. What? I love you. Three o'clock, Quinn, and we have till six. Three hours. Bricky. Save it, Quinn. Save it for the bus when we're on our way home. All right. But I don't know what to do next to you. No. I don't. What's that? In tonight's full hour of suspense, Helen Walker and John Beale co-star in Deadline at Dawn by William Irish. Tonight's study in suspense. Just a moment, we will return with act two of suspense. This is CBS, the Columbia Broadcasting System. And now, back to our Hollywood soundstage and act two of Deadline at Dawn, co-starring Ms. Helen Walker as Bricky Coleman and Mr. John Beale as Quinn Williams in radio's outstanding theater of thrill, Suspense. All the emotions of a lifetime have been crowded into one night for Bricky Coleman and Quinn Williams. And Dawn is a fast approaching deadline which they must meet. The bus which will take them to home and safety seems remote and unattainable as they stand now over the body of a dead man in the quiet apartment, knowing that they must find his murderer or stand incriminated for the crime themselves. And suddenly, a terrifying sound comes to them. What is it, Bricky? It sounds like a burglar alarm. Well, the front doorbell, baby. Wait a minute, there's a box over there against the wall. Telephone, follow the cord. It's in his desk. In the drawer. What should we do? Well, I answered. Well, be careful, you'll have the police here. They'll know it's not his voice. Well, talk low. I'll pretend I'm him. Say a prayer, Bricky. Hello? Darling, have you ever been angry like this before? I know. Maybe if we hadn't gone there it wouldn't have happened. No, I don't know.  Did you?  A woman come by to see you afterward. Is that why you wanted to get rid of me? No, Barbara. Poor connection. I'm sorry. What's going on? She's catching on, I'm sunk. Take your hand away from the mouthpiece and turn it my way. Sugar, come on. I'm getting tired of waiting. How much longer are you going to stand there talking? I'm sorry, Stephen. Forgive me. You can hang up now. I feel like a heel. Well, stop it. We don't have time. Parakey. That's a nightclub, isn't it? Yes, on 54th Street. A woman slipped him a note, Quinn. Our woman. Could be. Do you think he tore it up? Maybe not. Maybe he wanted to have a good look at it when he got home alone. Let's look again. I went through those pockets pretty carefully. I'm sure it's not there. You might have missed something, Quinn. Turn him over again. All right. Nothing. Nothing at all. Shall we go through the desk? Wait a minute. What? Run your eyes over him again. I don't see a thing. He's very well dressed. And yet, isn't that a hole in the heel of his sock? There, just showing over the shoe? Well, that's funny. Take his shoe off, Quinn. Okay. The note. Of course. He didn't want Barbara to see it. So he hid it here until he could be alone. And he never was alone. Just a scroll. Go on. Mr. Graves, I'd like to speak to you in private after you've taken the young lady home. And I don't mean some other time I mean tonight. I wouldn't want to be disappointed. And so, it isn't signed. A woman of the matches. Sounds like a shakedown. You mean blackmail? That's right. He'd have to pay attention to a note like this. Then we're going nightclubbing, my boy. We'll visit the parakeet. It'll be closing by now. She must have been seen there. A tall redhead in a light green dress. We'll check with the people who work there. They'll still be around. Waiters, check room girl, washroom attendant. We'll find her. We will, Brady. How trace her if I have to go over the hairbrushes in the dressing room one by one for stray red hairs. Let me kill the lights. I'll be right with you. Hey, don't forget the switch. The one over the sink in the bathroom. I won't. Come on, Quinn. Time's running out. In a minute. Is anything wrong? I don't know. Look what I found. What? It's a check. Yeah. Made out to Stephen Graves for $12,000 signed by Arthur Holmes. And look how it stamped. Returned. No funds. Where'd you find it? In the dry bottom of the tub. How did it ever get there? Just one way. When I came here tonight, the first time, I did it. How? Well, don't you see when I pulled the cash box out and opened it, the check must have slipped out into the tub without my noticing it. Ah. And then this fellow Holmes came, our jittery cigar smoker, maybe to ask Graves not to prosecute on a bad check to stall for time. Graves went to find the check and he couldn't because it was on the other side of the wall in his bathtub and Holmes thought he was trying to put something over on him. And you think Holmes shot him, killed him for $12,000? It's been done before. And what about our redhead? Bricky, it's the man. It's gotta be. I think it's the woman. We'll have to split up. No, let's do it together. The way we started. It's too late. We can't follow them one at a time. The red lines at dawn, Quinn. And we've got less than three hours. Well, that bust to Glenn falls. The last bust. Remember that. It's the last bust for you. And for me too. Then we'll be saying goodbye, Bricky. Yes, Quinn. Goodbye till dawn. We went down into the empty streets without talking to each other again. And I went one way and Quinn went the other. In ten minutes we were blocks apart. Maybe miles. But it seemed to me that I was still at his side, still with him, as he finally found an all-night drugstore and went back into a booth. I knew he'd dial all the Arthur Holmes' in the book and talk to a lot of angry, sleepy people. And then he'd find the right one, the Arthur Holmes we wanted. What would Quinn do then? What would he say? What would happen? Hello? Yes. Is this Mr. Arthur Holmes? Who is this? Well, Mr. Holmes, you don't know me. Who is this? The name isn't known to you, Mr. Holmes. I have a check here that belongs to Mr. Holmes. Will you let me talk to him? It's made out to Stephen Graves and I have it right here in my hand. I found it on the seat of a taxi. It must have slipped out of someone's wallet. Who was with you when you found it? No one. Just me, by myself. No one? No one, I swear. That's right. Shall I hang up, Mr. Holmes? Quinn Williams. No, I'm single. I live by myself. Not even a roommate? Nobody. Strictly lone wolf. I'd like to see you. Fair enough. There's a little bar called Owens down on 51st. Do you know it? I know where it is. It'll do. It's just fine, Mr. Holmes. I'll see.  Good evening, Mr. Holmes. Good evening. Sit down, won't you? Yeah, I will. You're right on time. Sure. So are you. There's a drink for you. I had to order a head so I'd be allowed to stay in here. It's past closing time. Thanks. What's the matter, son? Nothing. It'd just be funny, that's all. Funny and kind of corny. If you'd slipped a little something into this. Take mine then. I haven't put it to my mouth yet. I think I will. Bottoms up. Bottoms up. My car's around the corner. Would you rather talk about it there? Yeah, I would. I think we ought to be alone. That's easy, son. We can be alone. That's enough driving. Pull up. I just thought we'd coast a bit. We can't sit talking at the curb at this hour. We'll have a cop down on us sticking his nose into the car. What's wrong with that? I don't know. Do you? I was asking you. However, if you want to pull up... The East River.  You're pretty close to the edge, aren't you? The wheels are blocked. You're not nervous, are you? No, I'm not. Now, about that check. I didn't find that check in a cab, Mr. Holmes. I found it in Stephen Graves' house. Where he's lying right now on the floor. Dead. Stephen, dead. And your cigar is still in the room with him. Chewed to a pop. A corona, like the one you're smoking right now. You should have taken it with you, Mr. Holmes. After you'd killed him. You seem to know a good deal about this. A little. Just enough to know who the killer is. I feel a little sorry for you. I didn't know you were as young as you are over the phone. What have I... What have I got to do with it? You're having a lot of trouble with your eyes, aren't you? Lights on the dashboard have got rings around them, haven't they? Like, big soap bubbles. What are you talking about? Say, you talked too much. You've talked yourself into the grave. I would have believed you about finding that check in a taxi.  But you'd have had a $10 bill in your pocket, too. Sugarcoat, the experience. The head weighs too much, doesn't it, too heavy for your neck? My head. You should have stuck to your own drink, son. You were suspicious, but not suspicious enough. You took the wrong glass. Me, I'm a chess player. You know what chess is? It's figuring out your opponent's move before he makes it. That's a funny thing. I weigh my head. I got solid rock. You're going to sleep here in the car. Then you're going into the river without a mark on you. But I'll take the check before I dump you. It's probably in your shoe. It's about where your type of youngster would think was a clever hiding place for it. Just clear my head, and then kick it. Trying to kick out the glass, son? You haven't the strength of a kick left in you. No, it's all over. That's water in front of us. That even black line, you see? Right over the hubcap. You can't even move, can you?  That's about all you're able to do. In a minute, you won't even be able to do that.  Down, down, down. You won't get away with this, mister. Bricky knows there are two of us, not just one. And so I walked away from Quinn, and I was alone again. I'd met him only a few hours before, and with him I'd met my past and my home, and everything I loved and wanted, and now I was alone again. Somewhere in this sleeping city, Quinn was after his man, and I was after my woman, my redhead, my long-stemmed American beauty. The nightclub parakeet was dead, dead but not quite cold, just in the process of giving up the ghost. Every other minute a solitary figure would come out and walk away, someone who earned a living inside. This was the five o'clock in the afternoon of the nightclub workers, whose clock goes in the opposite direction to that of the rest of the world. And what did I have to go on? A redhead blackmailer who had quickly scribbled a note to a man. And that kind of woman doesn't ordinarily carry around pencil and paper and a purse. She sends messages with her eyes and her hips. If she wants a pencil, she's got to borrow it from the help. Excuse me. Huh? What's the matter? You work here, don't you? I'm in the check room. Till something better turns up. Why? Well, I wondered, did my friend in a light green dress, a redhead, did she borrow a pencil from you tonight? It works the other way around, honey. The men take out their pencils and give me names and addresses and telephone numbers. I got a fistful. But didn't a woman... It's no dice, honey. I don't even see any women in my store. Oh. My feet swell up all the time. You want to try up some salts. Water is hot as you can stand. Excuse me. Well, my name's Jerry. But don't let the names stand in your way. I'm looking for my friend, a redhead in a light green dress. Did she borrow a pencil from you tonight? Not at my end of the bar. How about it, Frank? Sure. Joan Bassett. About midnight. She's always borrowing something and forgetting to give it back. How that girl forgets. That's the way Joni is. Do you know where I can find her? Well, try to concord. That was the last address. But she's probably moved by now. Can I do anything for you? Another time, Jerry. Okay, that's a promise. Another time. What can I do for you? Don't be friendly, Pop. Say hello. You know. That's better. What do you want? A room? We're full up. What room's my girlfriend got? I want her up and tell her something. You know, Joni. Joan Bassett? Yeah, Joan Bassett. Only we don't have to be so formal. She's in 409 sugar. Wait a minute. I'll try it. I'll skip that. She don't have to put on no ears with me. Who's she kidding? She's got no legs behind, no rent. All right. If you know that, well, go on up. What do you want? You. I want to talk to you. Yeah? Just stand out there a minute and tell me what about? We got a friend in common, you and I. It's possible. Go on. This friend's name is Steven Graves.  I'll hear what's on your mind. Sure. I thought that might do it. Do you have to lock the door? Yeah, I think I do. Whatever you think best. Begin with your name. You can put me down as Carolyn Miller. All right, Carolyn Miller. Now about Steven Graves. What makes you think I know him? Stop being polite. You know him. Did he mention me to you? No. He wasn't doing any mentioning of anybody. He wasn't doing anything. You've been over to see him lately? Very lately. I just came from there now. How did you find him? I found him dead. I see. Uh, that tap in the kitchen is loose again. Excuse me a minute while I tighten it. I'd known we weren't alone the moment I came into that room. And I knew that faucet in the kitchen was a signal for a quick conference. It was my chance. Maybe I had a minute, maybe only 30 seconds. There was only time for one thing, the open handbag on the dresser. Nothing there. Lipstick. Powder. Usual junk. And then an unpaid hotel bill for $17.89 from this place that conquered. No good. Worthless. And my time was up. Yet something screamed at me to hold on to it. To slip it inside my stocking high up and to get back into my chair. Where were we? With Steven Graves. Oh, yeah. Did you go up there alone or did you have somebody with you? Alone. I don't take my grandmother with me when I'm visiting. Somebody stop you at the door and tell you that how you found out? Cops and people hanging around, lots of excitement. No one knows it. I found him alone. I had a key to the house that he'd given me. I went up and there he was. Dead. What'd you do?  I got out of there fast and quiet. I don't want to be mixed up in it. Smart girl. And all this happened just a little while ago, huh? Yeah. Nobody knows yet but you? Me and you. Did you come here alone? All alone. Everything I do, I do alone. I guess I've hit the jackpot. Yeah, you sure have, baby. You've hit it hard. Make it tight, Briff. So she can't make any noise. It's tight. Don't worry about that. Well, Miss Carol and Miller, you're in trouble now. You tell her.  You wanted the details. All right, you can have them. He seemed to have known him pretty well.  Did he tell you about his kid brother who married a tavern hostess back in Boston? Did he tell you what that did to the fine old family name when this girl began asking for money? When she came to New York and began asking Steven for money? Did he tell you that he paid and paid and finally decided to stop paying? So this girl and her friend had to pay him a little visit tonight to try to persuade him? Did he tell you that? Did he tell you what happened when he couldn't be persuaded? No. No, he didn't tell you that. Because he wasn't talking by then. By then he was dead. That's enough. You want to spend the night at it? All right. Well, what's the play now? Don't you figure we ought to... No, not here in the room. That's begging for it. You don't understand. I don't mean chop-chop, that kind of stuff.  That ought to be enough. Three of us get to drinking up here. She goes over to the window to try to open it for a little air and jams. Oh, there's always a follow-up. It's a little messy. Let me take care of it.  When I told you just to throw a scare into him, so he'd come across. Well, some scare you threw at him, Griff. Yeah, he scared him right out of his skin, right out of his hide. I don't want you to be so impulsive this time. Well, then let's blow. We'll stuff her in the closet, backs up against the dead wall, so she'll never be hurt. It'll be days before they get around to bustin' the door down. Yeah, we'll be far away by then. Yeah, far away. Okay, I can pack in ten minutes. Yes, I'll give you a hand. Hey, wait. Wait a minute. I'm missing that hotel bill. It must've fallen somewhere on the floor. Don't worry about that. He can make up a new one for you down at the desk. Oh, yeah, sure, that's right. Well, shall we get her out of the way first? Yeah. Hang Carolyn Miller in the closet. See you, Daisy. Make her comfortable, Griff. Sure. We want to be extra nice to her because there's a little fresh air in there. Yeah, I'll only be a minute. Griff. Yeah, what's the matter now? Put her down. What do you mean? Oh, I ought to have my head examined. You mean you slipped on something? Yeah, I forgot. We both clean forgot. What was it that kept her off to me? She didn't pull my name and address out of a hat? Yeah. Take that gag off her. You try to scream and I'll dent you. I won't scream. Now talk. How'd you know I knew him? How'd you know where to find me? I'm gonna lift you, have it, and I'm gonna keep letting you have it until the answer. You dropped your hotel bill over there. I found it lying in the room with him. I ought to slap you down to the source of your feature. I left your calling card. That's what you did. No, she's lying. I swear I sought my handbag after I got back. Did you take it out to show him? My hands are made, did you? Sure. While you were waiting downstairs, it was part of the buildup to show him how bad I needed money, but I know I put it back again. You think you know. But I... Oh, I'm almost positive. It fell out. It was for $17.89. It had past you stamped on it in purple ink. It even had your room number on it. How many did you do with it? Did you bring it with you? I left it where it was. I was afraid to touch anything. We'll have to go back and get it. All right, we will. We'll take her with us. Fix it and look like she did it to him. What you want to do in the first place, Griff, when you do it over there, give him a double header to figure out. Oh, it's the only way. What about this detour by finishing her off where she started from? All right. Come on, Carolyn Miller. We're going for a little ride. And so I went back into Stephen Graves' house for the second time that night. They pushed me ahead of them in the darkness, whispering to each other not to use any lights yet. Just as Quinn and I had done a few hours before, all was it a few years before. Then we were in the study, and the lights were snapped on, and the dead man was still on the floor. And nobody stepped forward to say, Bricky, is that you? No, he wasn't there. Quinn wasn't there waiting to help me, to save me.  No, not yet. There's something else first. Well, you... Where is it? Where's that hotel bill? Where'd you say you saw it? Over there by him is where I said, and you believed me. And you didn't... You lied. I lied. Where is it? Where have you got it? That's your little problem. Let me have the gun. I'll do it. Here it is, Griff. Get away from him. Move over. Stand still, Carolyn. I want to come real close. I want them to worry about whether it's suicide. Yes, Griff. I'll stand still. Good girl, Carolyn. Good girl. It didn't hurt. It didn't hurt at all. And I opened my eyes to find out why.  Then Quinn went down, all lopsided, and Quinn was on top, punching at him again and again, and John was racing across the room with an ender and raising a hand. I never played football as a little girl, but on this night I decided it was time to try. Ricky, darling, are you all right? Somebody's ringing church bells in my head. Oh, you knocked yourself out with that flying tackle. Quinn, Quinn, what happened, nothing? Oh, yeah, they're both asleep, Ricky. Their sounds can be. I see you've wrapped them up nicely. Yeah, I had to tear up a few good sheets to do it, but I don't think Mr. Graves would have minded. I'd given up, Quinn. I thought I'd beat you back here, and I... I'd given up. Oh, Ricky. I saw them coming in with you outside on the street. I was watching from one of the front windows, and something about the way you were walking between them sort of stiff told me they had a gun on you. So I backed up into the bathroom and laid low. They're the ones, Quinn. They did it. I know. And we can go now. It's a quarter to six. We can catch that bus for home. Well, there's one more thing to be done, Ricky. It'll only take a minute. And then you and I aren't going to have any more to worry about. Is this a police? I want to report a murder. Stephen Graves in his home on East 71st Street. There are two people tied up in the same room with the body, and they're the killers. You'll find a special delivery letter in the desk from Graves' younger brother, and that'll tell you the reason for the killing. What? No, this isn't any rib. I wish it was. Me? Well, just a guy who happened to be passing by. We can take their car. He left his keys in it. Come on, Quinn, hurry. We'll make it. Don't you worry, Ricky. I'm not worried. I know we will. What happened to you tonight? Did you find Holmes? Yeah. And? And he tried to kill me. Quinn! It was your name that saved me, Ricky. I called out your name, and told him you were in on this with me, and he changed his mind in a hurry. Then we saved each other. That's right. What about the check? How did it figure? Well, Holmes was caught short when he wrote that check, and Graves got sore when the bank returned it. They talked it over tonight, and it ended up with Graves giving him another day to raise the money. The reason Holmes was so jittery was that the check seemed to have disappeared. He didn't know what Graves might be pulling, and of course Graves wasn't pulling anything, the check lying in the bottom of his bathtub. You told Holmes how it got there? Yeah. And look what I've got. $200, Quinn! No, I didn't steal it. After he decided he wouldn't kill me, Holmes and I got very chummy. He said we'd both made a mistake in the same night. Me breaking into a safe and him with his bad check. He'd slipped me a pill earlier in the evening, and now he was walking me around to sober me up. That's when he gave me the money. A nest egg for me, he said. I could send it back to him a little at a time later on. We'll send it back, Quinn. We, Bricky. We're in this together, aren't we? Yes, Bricky, we are. Oh, look, Quinn, we made it. We're in time. The bus is still there. Come on, Bricky. Let's go on home. Helen Walker and John Beale for your truly wonderful performances as Bricky and Quinn. And to Lillian Byer, Frye Billsbury, Edith Tachner, Buddy Gray and Bill Johnstone, thanks for your splendid support. With this performance, Suspense leaves the air for a short vacation period. We will return on Thursday at 9 p.m. Eastern Daylight Saving Time, starting Thursday, July 8th, with an outstanding series of gripping suspense stories featuring the acting of your favorite stars of the screen. Watch for the new suspense series starting Thursday, July 8th. Ms. Helen Walker may soon be seen in My Dear Secretary, and Mr. John Beale will soon be seen in Paramount's Abigail Dearheart. Deadline at Dawn by William Irish was adapted for radio by Irving Ravitch and was produced and directed by Anton M. Lieder. Ludd Glusskin is our musical director and conductor. Lucian Morrowick composes the original scores. Be sure to watch for the new half-hour series of radio's outstanding theater of thrills, Suspense. This is CBS The Columbia Broadcasting System.


Still looks good on obstacles off the nose, we've got a tree just around, we've got a clearance right now at the 11 o'clock. Swim is just below the aircraft. Easy right, easy right, easy right and hold there. Everybody's a pickup signal. Swim X5 is coming up.


Hello, and welcome back to the craft box. My name is Brent and today we are on episode 49 nearly half a century of videos Today we are crafting the Raincloud toga as always everything you need is on screen And as the last like five videos there, it's an aquila here by callos from callos not by him So yeah, let's head home and craft this bad boy up real fast. Hopefully I have everything I did try and get everything. We will see soon It'd be very embarrassing if I did not get everything But yeah adepts rain cloud toga one Senators rain cloud toga which I again as always recommend just farming the first boss and Mount Olympus to get six Four trident he sees not six four which you can get from either bizarre or I just went to fit soon He sells most of them Crystal vials just any reagent vendors black pearls from black lotus Blood moss from pink dandelions or from dragon spire water lilies from cat tails and springs from the bizarre I guess I don't really know. I don't even know how I have so many springs, but yeah Anyway, create that boom easy peasy This gives some stuff and things it is It is storm level 30 plus no auction as always it gives a hundred and seventy max health for 4% power pip chance 10% fire resist 5% ice resist 5% incoming heal boost 3% outgoing heal boost 5% storm accuracy and 14% damage as always they others The Zeus robe is on screen so you can compare To what what this one is and see which one's better or worse and you can make your decision then But otherwise, thank you for watching and next episode We will be crafting the one of the last two things left an aquila for this season of aquila crafting a friend I hope you enjoyed. Thank you for watching. Remember to leave a like and subscribe refer to subscribe Press the little bell so you know exactly when I post another video. I Love this not too much and remember to craft outside the box


with primary care and for that matter, other social services in the community like housing and the V&A's and all those other agencies, I don't think we're gonna increase costs and we're gonna decrease quality and certainly coordination of care if we don't do those things. So I don't think there's any risks by partnering more closely with those organizations. I can't stress enough data that data to build programs that match patient needs is vital. We are early in the adoption of, you know, what some would consider big data and sharing that with our care providers in the community. But certainly there needs to be significant investment of time and resources and money to get data in the hands of the right individuals. And they're not finance individuals, by the way, they're clinicians to help us develop those programs that are valuable and needed in the community. Okay, other members of the public? At this point, I wanna thank Claudio and Judy for an excellent presentation.


Climate change is a morally urgent matter because it is inseparably linked to our love of our global neighbors. Climate change is an urgent spiritual matter because it is inseparably linked to our love of our Creator. On this Earth Day, I am filled with hope because of the increasing amount of Canadians that are dedicated to Earth care. We commit ourselves to advocate boldly for climate justice, for the love of all creation.


Okay, we are streaming. Great. Thanks. Hello, member bound Gartner. If you'd go ahead and check your audio and visual, please. Thank you. And member pointers, if you would go ahead and check your audio and visual for us, please. Member pointers, if you would go ahead and just test your audio for us and your visual, if possible. Yes. Hi. Great. Thank you. I just needed, I have, my camera's not, it's not hooking up, it'll just take me a second. Oh, no worries. Thank you. Member sayers, if you would go ahead and test your audio and visual for us, please. Member sayers, if you would go ahead and, oh, there we go. If you can just test that for us. Yeah, I'm good. Wonderful. I'm choking for you. Do have a quorum at this point. Great. Thanks, Eileen. All right. With the intent of being timely with our today's meeting, I will now bring the October 3, 2022 meeting of the Art and Public Places Committee in discussion. Pursuant to government code section 54953E and recommendation of the health officer of the county of Sonoma. Art and Public Places Committee members will be participating in this meeting via Zoom webinar. Members of the public can participate in the Zoom in the meeting by visiting the link or by dialing in. Eileen, will you let our public know any other announcements about today's meeting? Yes. Members of the public wishing to speak during item 3, public comment or during items listed on the agenda will be able to do so by utilizing the raised hand feature in Zoom or by pressing star 9 on their phone. They will then be given the ability to address the committee. Thank you. Great. Thank you. Next, I would like to do roll call. Apologies. Member Puentes. I see a yes. Thank you. Member Baumgartner. Present. Member Sayers. Present. Wonderful. Chair Kiefer. Present. Let the record reflect that all members of the board are present with the exceptions of Vice Chair Jones Carter, Member Nathanson, and Member Esderian. Oh, and I let me amend that. Member Esderian has just joined. Moving on to item number 3, public comments. This is the time where any person may address matters not listed on the agenda but are within the subject matter of the jurisdiction. The public may comment on agenda items when the item is called. Each speaker is allowed three minutes. Eileen, do we have any general public comments for today? We do not have any written or comments or any voicemails for this meeting. Okay. Moving on to approval of minutes, item 4, we have two meeting minutes to approve today. First, we have the August 1st, 2022 regular meeting of the Art and Public Places Committee. And then we also have the special meeting minutes from our meeting on September 13th, 2022. Can I get a motion to approve or do any members have any recommendations or amendments to make? Member Plice, you're muted. My apologies. I would like to make a motion to approve as submitted. Can we get a second? And you're muted. I was not there. I'll second it. Thank you. All right, and then we'll move to a vote. So I'm a member of our bomb gardener. Which meeting were you not in attendance for? August 1st or whatever, the first one in August. Okay. Eileen, a bit of housekeeping. Can we vote twice on these then? We will need to vote twice. Good. Okay. So for the August 1st meeting, Member Puentes. Yes. Member Sayers. Yes. Member Baumgartner, you've already indicated that you were not present and need to abstain. And Chair Kiefer. Yes. And Member Asderian. Yes. The meeting to approve the August 1st meeting minutes approved as submitted has passed. Great. Thank you. The vote for the next meeting, which is the September 13th meeting, is I'll go ahead and take that. Member Puentes. Hi. Member Sayers. Yes. Member Asderian. Yes. Member Baumgartner. Yes. Member Kiefer. I'm sorry, Chair Kiefer. Apologies. Eileen, hold on a second. We need to change Member Sayers' vote to abstain since he was absent, I believe, on the 13th of September. Okay. Sorry. That's okay. Don't worry. No worries. That acknowledged the meeting minutes for September 13th have been approved as submitted. Great. Thanks for that bit of housekeeping. Moving on now to item five, our scheduled items. First item 5.1, Art Surround. The Art and Public Places Program, sorry, the Public Art Program, is participating as an advocate and funder for the Creative Sonoma Grant Program, Art Surround. Staff will present the projects located in Santa Rosa that are being supported by grants from the City of Santa Rosa, as well as present two projects proposed for City Hall, which are recommended for approval. I will hand over to Tara for the presentation. Thank you. Great. Thank you. Hi, everyone. Jessica and I will be presenting today, so I'll start off and just hold on one minute while I share my screen and get the presentation going. Okay. Is that visible to everyone? Great. Well, interrupt me with questions as we go through this. Don't feel like you have to wait. This is a presentation to show the committee the Art Surround projects which are being funded by the Public Art Program and to ask for approval for two of the projects which will be cited at City Hall. This is a program, Art Surround, is a program that was created by Creative Sonoma, and the Public Art Program has been participating as an advocate in the program, along with other government agencies, businesses, tourism agencies as advocates, meaning that we either can fund projects or house or site projects on our property. I'll also shout out to Nathan as an advocate for his site, Escalar. So that really kind of gives you a sense of the different types of advocates that have been participating in this program. So before we jump into the presentation, I just wanted to remind the committee that the funding from the Public Art Program for these Art Surround projects was allocated in last year's annual plan. We thought that this program would be up and running and we would have started working on this earlier, but such as it is, here we are in fall starting to launch it. So last year's annual plan had a line item for $50,000 towards grants for artists. And so the opportunity was presented to us to partner with Creative Sonoma on this program, Art Surround and to be an advocate and to use that funding towards grants through this program. I'll also make a distinction that we are issuing grants to these artists to do a project that they came up with through the Art Surround program. We did not commission these pieces. So the process, the selection process and the process by which the committee is hearing about these and taking action on them is slightly different from when the Public Art Program commissions a project. So if there's any questions about that, I'm happy to go into more detail, but I wanted to call that out as we start out. So I will start off here with a little bit of background about Art Surround and the focus on community engagement through the arts and community arts engagement as a primary goal of the Creative Sonoma program. Sorry, was there a question? No, okay. So the Arts Surround goals that were generated through Creative Sonoma's kind of program development were really to focus on kind of two strategies, supporting artists and engaging businesses and then looking at how to support the kind of interface between those two things. So one of the goals was to engage businesses and public agencies that have a goal already of enhancing community livability through the arts, but bringing to specific attention how you can do that through working with artists. And then the other main goal was really to support artists with grants and training to do projects here in Sonoma County. So there were two different cohorts or groups for this program, an artist cohort and an advocate cohort, and they were kind of brought along parallel but separate tracks to increase community arts engagement across Sonoma County. And because this is a Creative Sonoma program, this is a countywide program and the Public Art Program is just participating as an advocate in the way that we are funding projects in Santa Rosa, but it's countywide. There are I think 25 participating artists and something like 27 actual projects. There was a couple artist teams and or maybe it's 27 and 20. Anyway, it's there's a couple artist teams and there's around 27 projects being funded all throughout Sonoma County. The ones that are in Santa Rosa are seven projects in Santa Rosa. So for the advocate cohort, like I said earlier, this included staff from cities, towns, arts organizations and businesses with a goal to engage artists to incorporate their work into public spaces. And the Public Art Program is participating as a part of the advocate cohort as a partner and funder. This is a shot of our final day of training with the combined group of the cohorts of the artist and the advocate. Springboard for the arts was brought in by Creative Sonoma to lead a two day, well two and a half day, two days with just the artist and a half day with the artist and the advocates in person customized training that really focused on creative place making and community arts engagement as a kind of a method of working in the community. Artists who completed the training were able to work on proposing a public art project and then paired with an advocate to host and or pay for their project. I'll turn it over to Jessica now. Sorry, I'll turn it over to Jessica now just so she can go over the projects that are being funded by the Public Art Program. Thanks Tara. Yeah, so these are the projects or the artists that the Public Art Program has been paired with. You'll see there's seven artists or artist teams, they're all at different places. These are these are the project titles and where they're at and then these start dates are somewhere a little bit aspirational at this point. We're still trying to pin down when exactly each project is going to get started and in a few slides from now I'm going to go I'm going to give a little overview of each project individually. Tara, where are you? We kind of talked a little bit about this. So these first five are the artists or artist teams that are just being funded as a grant through the Public Art Program and then you'll see in the slides when we get to the last two the two that are being that we are seeking an APPC approval on are both at City Hall. So this first project here is Adam Sharon. He's doing or he's proposing to do light sculptures in the courtyard of Miracle Plum. He he did light sculptures for open and out so it's they're similar to that project and he's hoping to get started in the fall. His grant is for 7000 and I believe Miracle Plum has agreed to keep the light sculptures up sort of at their discretion after the first couple months that they've agreed to have them there. The next project we've got is Jessica before moving on. Yeah could you remind everyone where Miracle Plum is? Yeah yeah thanks. It's under the freeway intersection of where Third Street and the freeway entrance are. Does everyone know where that is? Kind of near Whistle Stop and there's a bank there on the corner to end up in Railroad Square, Santa Rosa. Yeah their address is on Davis Street but there's this little tiny cute white building tucked in between the the higher rise bank buildings right on Davis Street as you approach Third Street. Thanks and yeah please jump in if you have any questions about the projects as I go along. This next project by Danny Burleson is one of the ones that's going to be at Escalar. She's doing a pretty comprehensive literary project that's going to be working around themes of ancestors, migration, belonging, and she's compiling a chat book of different people from Santa Rosa telling their stories and then she's going to have them translated into the languages that those people speak at home or that their ancestors speak. She's also going to do a writing workshop around the same themes and a sort of a launch celebration at Escalar when she puts the chat book out. And we just newly moved this one to the spring so that one will get started next spring and her grant amount is four or five thousand excuse me. Kristen Troupe is proposing to do a sort of large-scale walking trail and she's going to do artist renditions onto like weatherproof decals that will make up the walking trail and each decal will feature a person from Santa Rosa history, probably some of the lesser known histories of Santa Rosa. She's doing a lot of research with the library and each decal will have the person and then also a QR code and that QR code will lead to an audio description of the history of that person in Santa Rosa and also where they can find the rest of the decals to complete the walking trail. Kristen had hoped to do it this fall and winter and and we'll see if we're still on track for that and her grant is for ten thousand. This one is you'll recognize these names MJ Linda Lawyer, Joshua Lawyer and Maria Kijos. They are each proposing to do one mural in Santa Rosa. This is sort of a continuation of the mural project and they've secured one location so far which they hope to get started on either this month or next and the next the other two locations we're still hoping to we're still tracking down the best location for that and this grant amount is 30,000. You'll see a little asterisk there that we're using ARPA funds for that so that so we could manage this one along with the rest of them at the 50,000 amount. What building is this on? Oh this is just an example of their past work so this is not a sketch for a new one. And then the one building that they did secure are you able to announce that or? Yes oh gosh I have it in my notes and I can I can follow up with that. Okay I forget where it was now I'm sorry. And then it is in Rosalind though and then I'll have to be in Rosalind. Okay okay wonderful and then sorry just to go back the Kristen one that is going to be how big are those decals or those with the QR codes and stuff how large are they and are they're just going to be placed on the cement or the ground and how many different locations and where are they're just a certain area or they're just going to be spread throughout Santa Rosa? Yeah good questions I can't remember I think they were either 18 or 20 inches and she's going to she's having it go kind of like downtown JC again I can give you the actual location I can follow up with that. But they're all planned for roughly like downtown JC area and she's going to do a lot of work with with people's you know houses who sidewalk they're in front of to make sure that people are okay with that and I think it's 12 12 decals make up the trail if I'm not mistaken and she'll go pretty in depth with with each story for each one so it's comprehensive in that way and that she's telling a lot of detailed history of Santa Rosens of the past. Is there any question that I missed? No no no thank you. Sure yeah okay and this is the other one that is at Escalar this is Nicole Jones um she's doing a project called the California Native Food Garden where um she is creating it planting a whole garden at Escalar that will focus on indigenous food plants and medicine plants and um she in the end will this will be open to the public and she'll be sharing those plants that are grown there with uh with her elders and her community. She's also going to do a like a workshop nature sketchbook workshop where she'll um provide the participants with journals and they'll they'll do that kind of journaling um you'll see there there's a little mock-up of a of a plant sign too she's she's doing little burned burned into wood plant signs for what the plants are and if I'm not mistaken she's going to have the have them in their native language also on the on the plant signs again this one is for the fall and they're they're getting going on this ASAP because they're trying to stick to a planting schedule and this project is um the grant is for 8600 and where is this located I know you said the garden at Escalar but what's the street and um yeah good I don't know where the street where Escalar is located I have yet to make it out there um I'm sure Tara or Nathan could jump in and it's on Dennis it's on Dennis Lane at the northern very northern part of San Rosa the northern part of the copy part neighborhood in your kind of open space thank you and Jessica will you have information on when uh the workshop is available for public to attend yeah absolutely we'll have we'll be sharing all the information um with you all at the APPC about all of the projects and the dates um everything else should also go out through creative Sonoma and we're going to use our out there Santa Rosa channels to promote all of the events associated with the projects a lot of the dates are still being pinned down at this point okay and as a reminder these last two are the two that are that staff is seeking an APPC approval on and while these all are grants they somewhat resemble commissions in that um sorry I got distracted by the chat um I think that I can step in Jessica the the difference is that because these there are two projects that are being cited on city property and for that reason the APPC needs to give approval this one is temporary um a couple months is what's expected for the installation and then the second one you'll see that cited at City Hall is a little bit more permanent but that's the reason they that they are cited on city property so APPC is required to approve these differently than they would just be informed of the grants that are being given out for the others thank you Tara um okay yeah so this one is Barbie Watts water for art from air she's proposing to put up three water collecting sculptures like do collecting sculptures for roughly three months this is out front in a city hall where there's already a drought tolerant sort of demo garden and her idea is that she would like to these are movable sculptures and so she'd like to move them uh what weekly and see what the optimal like a optimal arrangement is for due collection and she'll be posting about that as she goes and this one is she's going to get started in the spring and this would be for 4,990 oh Jessica um what's the scale on these size yeah um um what I they're like I'm gonna say like roughly human size okay good yeah and they're made out of materials that uh she said plastic metal nets and acrylics apparently these types of sculptures are made all over the world and those are some of the traditional materials used for for the water collection great thank you yeah okay and finally we have um Julian Bellotti and Anna was Yardé they are guilders and they are proposing to do a botanical line drawing in in gold on on either side of the two towers that are in the center of city halls um the courtyard there they would like to also plant a native rose garden at the base of the towers and they would like to do a big community event um where they would talk about the native rows and also hand out cuttings for it and celebrate with music and stuff uh this one they would like to get started in the spring of 2023 and this grant proposal is for 17,827 Tara did you want to do the last two slides here all right my turn again thanks Jessica um so to review uh the public art program is participating in creative Sonoma's countywide grant program art surround as an advocate and funder the public art fund is supporting seven public art projects in Santa Rosa we are seeking approval from the committee today for the two projects proposed for city hall because they're on a city property and again those are the ones you just saw Barbie Watts water collectors and the gilded rose drawing at city hall so our recommendation today uh is that the committee approve both of these projects proposed for city hall as a part of the art surround program that's the that's the end of our presentation today we are happy to answer any questions and go back and look at any slides if needed so let me know what would be helpful great thank you Tara just some housekeeping and um for how this meeting will go first we will do some clarifying questions uh any questions to Tara and Jessica uh then we'll go to public comment we'll have a motion a discussion and then a voting so first up we have clarifying questions and you have your hand raised um yeah I just uh just curious did um Tara and Jessica did did the city ask for projects in this space did you like put that into the or did the people artists choose this space yeah good question um most of the artists had some idea in mind for a variety of spaces to be honest um the very one of the very unique things about this program and what's been really exciting to be a participant in offering grants rather than commissions is that we were able to essentially fund whatever the artist wanted to do they didn't have to conform to a proposal of what we were asking them to do so uh what what was the common conversation that Jessica and I had once we knew which artists were essentially being assigned to us to fund because of the fact that they were in Santa Rosa um we met with the artists and some of them had a very clear idea I this is exactly what I want to do I know exactly how I'm going to do it and we were like great go for it we love it you know proceed um others had like five ideas six ideas and they were trying to pair them down to what would be feasible and they had questions about what kind of contracts we use and how much insurance they might need and you know they needed a little bit of help these are artists participating in this program that range from people who have haven't done any kind of public projects ever before to folks who maybe have wanted to but never really got a chance to folks who have done it um a few times or regularly and feel like this is kind of their normal way of doing their art practice so quite a range and some of the conversations were like okay the artist had an idea but they didn't really know where to put it so um Jessica and I kind of helped in that conversation by offering suggestions of city sites that we would be able to you know offer up or make use of and so um I think that we did help with citing a couple of them but to be honest most of them completely knew what they wanted to do and where they wanted to do it great thanks interesting we see you behind Grace yes I have a question too yeah um actually Tara did answer a lot of the questions I did have previously but so when these artists were thinking of these ideas and stuff the applications that they had were completely they were reviewed by both creative Sonoma and you and Jessica yeah correct so um again this is a unique program that we haven't really done something quite like this before because usually when we do a program or a project that we issue a call for artists for it's a very set process of doing a call for artists setting up a selection process all the kind of things that you've participated in that you've seen this is very much outside of that process so the actually the only application process that existed is when the artist first applied to be a part of the artist cohort as a part of the art surround program and there was very kind of general criteria um to participate one you had to be a Sonoma County artist um and you know I think that it was encouraged oh and and you had to agree to do the springboard for the arts training so you had to agree to participate in the training in person for three days two and a half days and then it was encouraged through that training and through the rest of the process to not come in with preset ideas on what your project should be the um focus of the training was about how to collaborate how to develop ideas with community and with an advocate or with someone who is either offering a site to you or is funding your project and so some of the artists still had an idea and they kind of carried it through the training and to the end of the process others had an idea and then completely let that go and changed their idea after receiving the training and some didn't have an idea at all coming in and just really was they were open to developing ideas within the process of the the cohort um so the once the training was complete the artist had I think it was about two a two month period about eight weeks to develop a proposal um but they it was a back and forth it was like okay well who's your advocate how do we decide what um site considerations there might be knowing that if you're going to be paired with an advocate you might need to know something from that person or that agency before you start developing your proposal so essentially creative Sonoma went through a matchmaking process first to pair artists with sites and funders so um and really it was really more of a matchmaking related to a site and then the funding came either from Creative Sonoma or Sonoma County Tourism was another funder the Chamber of Commerce was a funder and then the City of Santa Rosa Public Art Program was a funder so once that matchmaking was complete Creative Sonoma essentially let us know who we were paired with and then we started having those meetings with artists to help the process of their proposal being developed. Ah got it that answers a lot of questions um I have one more and it's regarding um the centers of the Rose um the native Rose I don't recall anything ever being painted on any of the walls in the City Hall has there been ever? Not to my knowledge okay so I've been there yeah I'm really trying to visualize that because you know I've been there I've stared at it and the walls can be pretty drab but it's and it's not flat surface completely flat surface there is some texture there so I'm just I'm trying to visualize it and if anyone can help me out here and you know bring some light you know I haven't been there for a while so would be appreciated well I think that the thing that the artist offered up in their kind of conversation about their planning process was that first firstly it's not actually paint it's it's gold leaf essentially and so not that that changes exactly what you're asking because they think they're probably similar questions or considerations about how you apply that material to a variety of surfaces such as like very porous cement in this case but it's also like a ridged finish right it's got grooves and so they took that into consideration I think they have a plan to present it with that in mind and to make sure that the image reads well they are considering putting a shadow behind so painting a shadow of the gilded surface of the gilded line drawing to help reinforce what the image is so that is one of their considerations I think they're leaning towards that the last time we talked to them but that is that that's exactly the type of thing they are trying to make sure they're addressing so that the image reads correctly I would add to that a couple other things one thing that they're really interested in in doing this project is that those towers peek over the building of city hall so you can actually see it from Santa Rosa Avenue and that that was appealing to them because they can sort of like it's like this little you know it in live in city hall and for many it pass or by and then the other thing that I want to add is that the material is gold leaf which is traditionally used outside like on domes and signage and stuff so it's actually meant to be outside and to weather really beautifully over time okay and how long is this supposed to last that one's pretty permanent okay okay but it will definitely give character to city hall that character that it once hasn't had yeah yeah and I okay um this is just my personal opinion but I think it's a bit elegant too okay yeah okay great thank you thanks Jessica thanks Tyler so Lisa um context for location I believe looking at the photos these are the two towers that you see when you are like in that courtyard right below where the council chambers are so if you walk up the stairs to the council chamber is you're looking at the the towers on the side is that correct sorry um yeah generally I mean they like Jessica said they do extend they're the tallest part of city hall so you really can see the tops of these towers for lack of a better word from the parking lot from D street from Sonoma Avenue from Santa Rosa Avenue all the surrounding surface streets they are visible but yes if you were in the center of city hall in the middle of the courtyard below the stairs that go up to the council chambers you would be right next to them and you would be right next to the um the planting area where they will be planting the actual plants of the native roses oh my questions were answered but thank you Tara could you let our group know a little bit more about um when ARPA funds are being used for the murals in Roseland how that process is a little different yeah we we came across the opportunity to kind of leverage another series of funding to be able to fund fully all the projects that were assigned to us or paired with us the projects in Roseland are also uh fitting under the use of the ARPA funds that were assigned to economic development to develop a small business support program and we are in the middle of um preparing to launch an application for small businesses to apply for a facade improvement grant that can be used towards um facade improvements on their business it can also be used to um fund creative elements of permanent parklets and to offset the first cost first year design costs of permanent parklet um and then a kind of sister element to the funding for the facade improvements is to pair businesses who want to have a mural on their building with an artist who will create a mural for that site and so because that is a part of that program already we were able to um essentially um have a separate funding source for this one project within the art surround program so it's still part of the art surround program it's still they those artists still all participated in the training they're part of the artist cohort um they're still receiving support from the city of Santa Rosa to do the project um we're just lucky that we have another source of funding to help supplement what the public art program has for this project great thank you that helps paint a picture of how these funds can be flexible in to allow multiple types of projects and uh whether it's a facade improvement or um fitting in under the art surround grant program that gives our our team a bit of flexibility yeah great Lisa did you have another question yeah I have another question I'm sorry um so I know it's the $50,000 from the previous um year that we had set aside or we've allocated for this but the additional funds that you're saying that you're applying have those been secured and they've been secured and that was an additional what was that like 26,000 or the additional yeah the additional funds for that are being allocated to um MJ, Joshua, and Mario's murals in Roseland uh it's $30,000 which are come which is coming from um the um the ARPA funds okay so all of the funding for theirs is coming from that yes correct okay then that makes sense yeah I'm wondering why it wasn't okay wasn't that enough yeah well and I believe that if you actually did the math you would see that all the other projects are slightly they all equal a little bit over $50,000 but that's because they include contingencies and we don't expect all of the projects to use their contingencies and so um we're being hopeful that will we'll come in on budget okay if no one uses their contingencies we're just under $50,000 my like $50 or something okay Jeff go ahead yeah hi um sorry everybody I was a few minutes late but for some reason couldn't be elevated to a panelist so I'm glad to actually be here Tara I might have missed a detail on this um forgive me if I did but I uh can you talk a little bit more about the facade improvement um project uh which I know is um separate from arcs around but sort of parallel and just um and you and I talked the other day about a wall that we identified um that I'd love to see something happen on so just maybe a little bit more about that program please yeah I don't we I want to be careful of not um violating the brown act by talking about something that's not on the agenda so I would love to bring back a full presentation on what we're planning it's not launched yet so what we're at is just we've been gathering information we've done a lot of research we've surveyed businesses in the eligibility areas that we've identified to see what would be most helpful and we'll be launching the program really soon but I'd rather not go into more detail today just to make sure we have the item agendized got it thank you one other um small detail that I just wanted to mention in case no one's asked but in case anyone has any concerns um Nathan is escalar it's his site right it's his um kind of creative space with the art studio and gardens and everything else that they're on the property um he he's participating as an advocate in arts around um but not a fund funder or not receiving funds so while he's offering his site to the artists who have been paired with him um there's not a conflict of interest with him participating in today's vote because he's not receiving any funds just want to make sure that's clear thanks I was curious I know I'm sure you were the one that would ask right thanks these were some great questions so far uh would like to move to uh public comment Eileen have you received any public comments for this item we have no public comment and there are no hands raised at this time okay going forward um I would like to see if anyone would like to put a motion on the table uh we can start with the recommended motion and go from there but would like to open that up before we move on to any discussion I'll make a motion that we uh accept the recommended projects for the city of Santa Rosa and fund those um as put out to us today exactly okay just to clarify Anne I think the motion needs to include the language that um you are approving the two projects um uh on city hall property okay great I've met that so yes should I restate that or is just you saying that does that I think we got it as long as Eileen's okay with that yes yes we're fine thank you thank you great and then Jeff did you second that yes I second the motion great thank you now we can move to a discussion so is everyone clear on the differentiation between fund allocation for the arts around grant program and then the need to approve these two projects on city hall property as is the purview of appc sounds like everyone's okay took me a minute of talking through to understand but um I'm very excited to see a more flexible opportunity being presented before us today as a way to kind of kick start more more art projects in our community and really meet that creative Sonoma has created this opportunity for artists and advocates to join together um in many different forms whether they are funders or like Nathan providing a location for artwork to be experienced um so I was very happy to see this brought to our committee today thank you staff for doing the work thanks Kristen I also want to just make sure that you all um if you hadn't I haven't looked at it yet um take a look if you're interested at the press release that jessica forwarded to you from creative Sonoma because it outlines all of the projects throughout Sonoma County um and talks a little bit more about the overall goals and the process and um kind of the farther reaching aspects of the program rather than just what we are concerned with which is with within the city of Santa Rosa so it's got um it's got some great additional information in there and project descriptions well I think these are great launching points uh are great locations for this this round of activity this program that creative Sonoma has put together I hope that I hope that these projects really enliven our community and provide opportunities for a different thought about what is achievable in in non-traditional spaces or spaces where it hadn't been thought about before for public art so I'm I'm very pleased to see this happy happening does anyone else have any comments before we vote mine was for the water catchment and um that to work basically that is a bog is required correct sorry did you say a bog fog fog um I I think you know part of her her art project is experimenting and seeing just what we can get um it might not be like as much water as we hope for but my understanding is that that there is more moisture in the air than we then we know about and and hopefully these sculptures will back that up okay yeah and sometimes I think in what she kind of researched and what she's interested in um collecting data on is um kind of the changes in temperature that happen overnight versus during the day that can cause condensation and that these materials in the shapes various shapes that are used in different parts of the world actually um can kind of facilitate water generation from from condensation so I am not a scientist I may have totally just gotten that all wrong but that's what my understanding is from from how she talked to us about it and what she was interested in experimenting with so okay okay great thank you and in this proposal from Barbie uh she notes that she will be visiting or will be relocating these elements possibly weekly or um but uh I guess my question is does she expect that she'll be checking on them daily or will they be catching rainwater in or sorry will they be catching do in the designs themselves is that part of the I'm just very curious to see how this works so yeah so they won't really be relocated their positions will just be changed on the pole that they're on and so she is planning on having like have you ever seen those rainwater catchments that show you how much so one of those um something like that will be underneath and I I think she is checking daily but posting weekly it's very neat great okay well if there are no more comments or discussion items um I would like to move to a vote Eileen can you coordinate a roll call vote absolutely member sayers yes member pointus I member nathanson I member bound Gartner yes thank you member esterian hi cheer keifer I let the record reflect that the motion has passed great thank you everyone great I'm excited to see these projects and live in our community next we have item 5.2 program and project overview staff will present updates on current projects I will hand it over to Tara and Jessica thank you thank you yeah we'll just do our project updates and program updates um on things that are have been ongoing or in the work so Jessica if you want to get started with your list and then I'll chime in after you okay perfect um okay so we've got we've got Unum and Tara and I are continuing to work with the artist and the fabricator um to accommodate the ADA requirements for the base of the sculpture and we're we're still the timeline is still hopeful for the end of the year for our rotating exhibits we've got two new exhibits up they just went up this last week at the Finley Center and the person senior wing they are both free and open to the public um and they're going to be on view through the end of November at the Finley Center we've got the artist workshop of Sonoma County and that's uh over 40 different artists professional artists and at the person senior wing we have the POMO project um which is featuring mostly POMO artists and they're actually having a reception this Thursday you're all welcome to come it's going to be from five to seven again at the person senior wing and Tara and I have also been working on the citywide art audit we're um at the beginning stages and we're working with other city departments and we're beginning to meet with the APPC task forces individually um once we've met with every all the task forces and we're a little farther along we'll present that at an upcoming meeting um also we have been Tara and I have been invited to present at an upcoming career day for Rosalind College Prep and we're going to go for it we're very excited to talk to the teenagers about careers in the art field and lastly the public art program is participating in the Bay Area Urban Manufacturing Week which is put on by SF Made that's next week so we have coordinated with some artists to to highlight artists as manufacturers um so we coordinated two tours and demos uh with Santa Rosa artists and I'll send a follow-up uh I'll send a follow-up to all of our project updates with a recap of everything and that will include links to those Bay Area Manufacturing Week demos thanks great thanks Jessica um I'll add on our update on conservation and maintenance uh the peanuts bronze in Depot Park of Snoopy and Charlie Brown um has been fully cleaned and treated and the fence surrounding it repainted um that's been needed for quite some time the Schultz Family Foundation had been taking care of the bronzes that are a part of our collection and this year we have transitioned over to having our conservators do the work but the Schultz Family Foundation is still contributing to the cost of maintaining them so the other two pieces the Marcy Bench on 4th Street near the library and the Lucy and Schroeder piece in the Fountain at Finley will be treated soon as well as part of our um comprehensive plan for all those pieces um recently Wellspring and Coffee Park was also repaired it was a little bit unexpected to need repairs so soon it's a relatively new piece but it turns out that one of the filler materials used in the seating elements was faulty and didn't hold up as expected so the fabricator came on site for three days did all of the cleaning and repairs and replaced the filler with a stronger material the artist also came on site and did a repair of the mosaic on the cement pad which was missing a few pieces tile pieces so it's looking should be looking great now that was completed back in August the Asawa art panels I also will mention that while it's still slow going with getting the engineering and design drawings finalized they are due to be given to the fountain contractor as soon as possible we're hoping within the next couple weeks so that the fountain proposal can move forward with getting its permitting through the city and and constructed and then we'll move forward with the artwork's foundry process of casting the panels into bronze um no new updates on the artist in the general plan project um although we're still moving forward with it but nothing nothing new to report there and I believe that's it for today but happy to both just can I can answer any questions about all of those updates sorry I had a question about the Asawa fountain so you said I'm assuming she's going to come back did she freeze for everyone else too and contractor will get the panels hi sorry you froze for a second um please ask your question again I didn't get it oh thanks sorry I was wondering if you could give a sorry just rewind on your recap on the Asawa fountain I'm okay my internet connection is unstable so thank you oh got it okay no worries I just stated that it's slow going getting the final engineering and design drawings completed um but we are working on them with artwork's foundry and with their engineer and they will be provided to the fountain contractor as soon as possible so that they can proceed with getting the review and approval from the city to start construction thank you did anyone else have any questions about our updates for our projects and programs seeing none thank you guys for giving us an update move on to item six our committee member reports uh item 6.1 ad hoc task force reports and discussion first off we have diversity equity inclusion and access do we have an update from that group at this time and or I do not have an update unless you want to speak for you and yeah we're we're uh we have not been coordinating together so we're going to get together and come up with absolutely no don't need no no shame no no one needs to feel bad it's okay it's okay um and you you can say that you are you had you you did a little bit of work because um you were able to attend the presentation by kimson creative back in September and that was work toward the work yeah so hey you got you got one thing okay good yes I got my badge from that we did do that I love it yeah that was great that's that's wonderful so I'm going to be missing the next one that's coming up is that set in stone or is this a place I can ask that which is because it's diversity training that we're all going through yeah so the next one is scheduled for October 13th at noon I believe and I think that I know you had said you couldn't attend and I think it was very problematic to look for another date given all the schedules they're trying to coordinate so it will be recorded you can watch it you know unfortunately you won't be able to participate in you know live but it will be recorded okay is there a series of those I wasn't quite sure on the whole scope of it maybe it was brought up in the August meeting I missed yeah there will be a series of four so this will be the second one out of four um and then in addition to those workshops they're doing for the entire committee there will also be mentoring sessions with with an Ecos team with the task forces so that that will be we set them up directly for engagement task force and the DEIA task force and what I'd like to suggest is that the project development task force members join whichever one they want so that you can receive that training as well very good I the dates just didn't come to me ahead of time so I was totally I did not ever have that second date on and I don't have the the rate the later dates so if those have been scheduled could we get nothing yeah nothing else has been scheduled except October 13th okay perfect thanks yeah so it was that October 13th you said yeah I'll have Kevin um Sara send out a reminder and make sure that we can still get the majority of our group to be there um because I know that that schedules get crazy as we go along and if it's not like already on your calendar then I'll have them check in with everyone okay great thank you okay next uh is there an update or discussion from the community engagement task force um yeah just briefly we we helped to coordinate the dedication event for the fifth street mural in the parking garage and it was well attended and really just felt great to be out there with um you know dedication refreshments and and the pop-up with the logo um that was all great so and I really was glad that we were able to participate and do that and thank you to uh to staff and everybody who pitched in really appreciate it great thanks uh I'll speak for project development uh we got a little preview of the citywide art audit sorry citywide art audit map and uh believe that uh was a great conversation with Jessica and Tara and um looking forward to more um conversation with the other task forces and then our group as larger conversation with our group thank you um my update for project development we're excited to see that next going to item seven we have department reports oh sorry Jeff I have to add one thing I really want to um add to my report on community engagement I have to credit Melanie because I did very little and she did all the work and she so anyway um she's not here so I will sing her praises in her absence great thanks Melanie okay moving on to item seven department reports this is time reserved for city staff to provide a briefing on issues of interest no action will be taken on these matters except to possibly place on a future agenda for consideration I don't believe I have anything to add today under department reports um at some point I will bring back a presentation on our progress without their Santa Rosa um but um don't have that prepared for uh today so none for me thanks mean me neither today thanks right thanks guys uh item eight future agenda items time reserved for discussion about whether to place matters on the future on a future agenda for possible action do we have any other conversation items um Jeff I know you brought something up that we'll have to schedule for another time but um I we can go ahead and add that to the list for sure okay we can put down facade improvement grants and out there Santa Rosa update um and we can plan on doing that at the next meeting if if the agenda allows great thank you next I'll move to adjournment thanks for everyone participating in today's meeting uh our next regular meeting will be on Monday November 7th and we will look forward to email from Miko about October 13th training so um and the other announcements we will look to our emails great thank you everyone thank you everyone