So thank you very much, Eliott, for this nice introduction. Yes, I must say I'm really happy to be here. It took a bit of time because actually, I was here visiting professor a few years ago, but then it was during the pandemic, so I couldn't come. Now a bit of delay for the typhoon, but finally I'm here. So I'm really fascinated by this wonderful institution and the whole region here around. So it's really a pleasure. And yes, I will be talking about the team films and a particular review of some results. I was told to give an overview for a general audience. So in particular, I'm talking about the crystal growth of a material, the film material, or on top of another material, the substrate. This can be done in different ways. In our setting, we are considering these two materials, the film and the substrate, and in particular, considering the fact that they can have a different reference lattice at their freestanding equilibrium. And so we have the situation of a vapor that is considered as a reservoir of atoms that are depositing on this substrate. And so we have the substrate vapor interface. And the more atoms are deposited, we can see the film vapor interface. And the substrate vapor interface is covered by the film substrate interface. So this is like the setting. But as I was saying, this will be a review of results from a mathematical point of view. So not numerics, not experimental results, but the objective will be the derivation of variational models that can be treated in the mathematical framework, in the framework of continuum mechanics. And also the justification of those models starting from a microscopic point of view, starting from atomistic models. And so what is called the discrete continuum passage. And then I will have a look of the results about the film geometry, regularity. And at the end, if I have just a reference to the evolution results and some extension to a broader family of problems. So I'm going to say these are some results that, in fact, I include some setting for my PhD thesis as I started working on these exactly at Carnegie Mellon. And with these collaborators, Elisa Davoli in Vienna, Igor Vecic in Zagreb, and then Shokolmatov, Leonhard Kreuz and Francesco Sapia that were through the years hostdocs in my group. And Randy Jurena, that is currently a PhD of mine. So OK, so let's make a step back in the theory, starting from as we are looking for the optimal shape of a crystalline material on top of another, let's look back on the theory about the optimal shape of crystals. So this states back to over a century ago when Gibbs postulated that the surface energy of a crystal would like to have its surface energy minimized. So as the atom is on the surface, means the bonds, you would like those to be in the less amount, the less number. So in a way, this means that surface energy is minimized. And then is a wolf that conjectured that this will be achieved when the distances of the faces of the crystal, this is a picture from his paper, are from a proportional, the distance from one fixed point are proportional to what we would call now surface energy. So this was then proved by Von Lauer, and herring among the sets that were considered by Wolf, so convex polyhedra, and then extended more to the general sets, first by Taylor for boundary sets, and then for the existence, for the uniqueness. So extension to general set, meaning set of, I will refer to this later on, set of finite perimeter that basically we can say set for which the depth boundary that is measurable and with a finite measure. So in the modern terminology, we can rephrase the problem by considering a surface energy defined for these sets that I consider in RD, where this is the dimension, because some results would be, obviously the physical relevant measure is the tree, but some results will be available for two dimensions. And therefore, mathematical point of view, we also consider all dimension in certain case. So I let it be three, d bigger than one, and the energy basically lives on this boundary that is called the reduced boundary is the corresponding notion of the topological boundary in the framework of geometric measure theory. And what does it means? It means that we are considering those points on the boundary for which we can define the uniquely the normal to the set in that point. And then we have the surface tension gamma that depends on the orientation of this normal. And so the integral is of with respect to this, that represent the measure d minus 1, since we are on the boundary of the set. So this has comes from the postulate of Gibbs. We want to minimize the surface energy. So this has a variational nature. This problem has a variational nature. In fact, it is basically the anisotropic version of the isoparametric problem that is considered the beginning of the calculus of variation. So anisotropic version, because we have this density that depends on the orientation. So what is your isoparametric problem is the problem that is known also as Dido's problem. It can be formulated as the Dido's problem. So the problem that was encountered by following the legend told by Virgil by the Queen Dido when she was asking for a land to then create the city that was then founded there, the city of Cartage, when she was asking to the local leader, she just asked for the land covered by the hide of a bull. And so she got the land, but then she was smart enough to cut the hide of the bull in stripes. And then she faced the problem of finding the biggest area that is covered and that is encircled by the stripe. And so this is another formulation of the isoparametric problem. In her case is the circle. In our case, since we have this density that depends on the orientation, is actually the wolf shape. So the theorem by Forsenker and Forsenker-Muller, in this more general terminology, then says that that surface energy attains a minimum among those set with finite perimeter and the fixed volume V that is a dilation by a certain parameter lambda that is chosen to adjust to the volume constraint of the wolf set. And the wolf set is the one conjectured by wolf that depends on the orientation of the surface tension. And this is actually the unique minimizer. OK, so this is about the optimal shape of crystals in general. But what about in the situation that we are concerned, in which we have also a substrate? So how does this change in the presence of the substrate? So then it was in the bottom that did the following his experiment, did a phenomenological construction in which he was not only considering the film in isotope, but also the substrate with stability. So the capacity of the film to cover to adhere to the substrate. And so in this situation, there is also the possibility for the film to spread on the substrate and to cover it. And this will be then when there is a film layer covering the substrate, the wetting regime, if the substrate is totally wet by the film. So in this setting, let's define the substrate as enough plane. And again, we consider set of finite perimeter that now are contained outside the substrate, the volume constraint. And then we consider the surface tension and isotropic for the film vapor interface gamma F. And then gamma S and gamma Fs for the surface tension of the substrate vapor and the film substrate interfaces, respectively, that we consider here isotropic. So in the energy considered by winter bottom is this one, in which we have the previous energy as before. But then now it's living on the reduced boundary when it's not in that is the portion not intersecting the surface of the substrate. And on the surface of the substrate, we have another weight that is given by this substrate with ability parameter. And so the minimizer constructing is the winter bottom set. So it's a deletion to adjust to the volume constraint of the winter bottom set that is the wolf set with respect now to this gamma F surface tension cut it at a certain level that depends of this parameter. So something that look like in this picture. And in the paper from winter bottom, these are the different regimes that one can have from non-weighting at all in which we have the wolf shape and then cutting more and more to arrive to the extreme situation of total wetting in which we have an infinitesimal layer of atoms. So is this the end of the story? Now we have this optimal shape. Well, there is something we still didn't consider that I said at the very beginning that is the influence of these lattice mismatch between the of the two materials. So it's true that on one side, this surface energy induces this shape would privilege this winter bottom shape. But on the other side, the presence of the lattice mismatch between the optimal equilibrium lattices of the two materials instead creates a large stresses in the film. So the atoms of the film move from their equilibrium to release this elastic energy. And there is a formation of corrugation and isolated islands on the profile of the films. So the possibility are much more. We can have islands on top of the subset that is exposed, islands on top of the wetting layer, or a growth layer by layer. So there is a competition between these two mechanisms, between the surface energy effect and the bulk elastic energy. That is actually the feature of a broad class of problem that we refer sometimes as stress-driven rearrangement in stability, S-T-R-I. OK, but actually it's actually very important, it's very good, because through these multiple possibilities, actually we find that's why team films found so many applications through the years in different fields from optoelectronics, semiconductor devices, photovoltaic devices. And in all, the important thing is to be able to predetermine the shape of the film. So the questions that we would like to answer are what is the determination to have a wetting layer or not, when the subset is, in other words, exposed, covered or not. And this in the literature is related to the angle. So the contact angle formed by the profile of the film when touching the substrate, here denoted by alpha. So another question is to understand how big and what determines really this contact angle. From the literature, this is related to the Young-Dupre low that tells us that the cosine of this angle is given by this ratio, gamma s minus gamma fs, divided by gamma f, this Young-Dupre low. But this was actually introduced in the context of sysile liquid drops, so in the context of fluid mechanics. And it's a question, it's applicability in the context of film crystalline films. So how much the stresses that can be developed in these corners that can be also very, very sharp impacts these angles. From the experimental point of view, as far as I know, this is very difficult to see as these were some methods from a collaborator of mine in Vienna, Rick Debold, in which she had all the tools. But in the end, she had to do some approximation of this angle. So actually, instead, we would like to do this from a mathematical point of view. So using some theoretically, and so from using some variational models. OK, so in the context of this SDRE theory, in the context of these stress-reminar arrangement and stability, we find this model by Spencer Treshev, Spencer, for the tar variation, and there are two types. The sharp interface model, F0, in which there is this continuous transition between the properties of the film and the property of the substrate. And then the transition layer model in which a layer of thickness, small thickness delta is introduced at the interface between the film and the substrate to regularize these properties between the film and the substrate. So how is the mathematical model? So we have pairs of configuration, first of all. So U and H. So H is the height function that represents the height of the film. So here we are assuming that the profile of the film is parametrizable as the graph of the function. Then omega H represents the region occupied by the substrate and the in light blue, the region occupied by the film that is omega H plus, where that is subject to the volume constraint that we have that I considered before. And then we work in the context of in the theory of small deformation. So we have the U, the variable related to elasticity, so the displacement with respect to the elastic equilibrium of the material. And enough regular even in a weak way so that we can talk about the gradient of U. And so considering the symmetric part of the gradient that in this theory represents the strain to which the film is that is related to the film. And then to represent the fact that we have a mismatch between the lattice mismatch between the two materials, we introduce a mismatch strain is 0, that is 0 in the substrate. So the substrate is at equilibrium. And instead it depends on the parameter is 0 related to the lattice mismatch in the film to represent the fact that the film is strained. So this is 0, in fact, appears in this elastic energy. So in principle, it would be the minimum of the U that it's able to be such that E of U is equal to E0 would be the minimum of this elastic energy. But this is not really possible because being H1 log means that U might need to be also continuous through this interface. So OK. And then so this is the elastic energy that depends on E0. And this W0 is elastic density defined with a spectra tensor that is discontinuous in the film, takes different values in the film and in the substrate. And then we have the surface energy that actually is the same as the one that I introduced at the beginning, the Witter bottom energy up to adding a constant. And we know that finding the minimum with respect to a function with plus or minus a constant is the same. So this is exactly S of omega plus H that I introduced before. OK. So this is for the sharp interface model. So we have a clear discontinuity at the interface between the film and the substrate, both for the surface tension and for the elasticity tensor. Then there is a transition layer model that we don't enter in too much in the definition. It's basically the same energy in which we replace 50C0 and E0 with the other quantity depending on delta. And thanks to an auxiliary function that is interpolating between the quantities of the film and the substrate in this layer depending in the extra variable. But so it has this form. OK. So we have a model. We would like, first of all, to as a mathematician to see if there exists a minimizer. OK. And I will talk here in general to the true model for delta bigger than 0, the transition layer model, and for equal to 0, the sharp interface model. So as I said, this has a variation in nature. So it calls directly for applying calculus variation, and in particular, the direct method of calculus variation. What is this method? Well, it's a method based on four steps. The first is a direct consequence of the definition of infimum and the fact that our space here, x-slip, is non-empty. So we can find a minimizing sequence. What does it mean? A sequence in x-slip whose images approximate the infimum of the energy. And then we have two steps, step two and step three, then somehow are competing one against the other. So solving one can create difficulty in solving the other. Why? Because another way to see the direct method of calculus variation is to the problem of finding a proper topology for which we have both step two and step three that works. What does it mean? For step two, we need a very weak topology. And for step three, we need a strong topology. So we need to find the compromise between these two needs. Why? Because in step two, the step two consists in proving that the space in which we are applying the method is pre-compact. So there exists, we can find a subsequence of our minimizing sequence that is actually converging to some h-bar, u-bar configuration in the space x-slip. So we would like to have a topology that is weak enough so that there are a lot of convergent sequences in the space. And then instead in step three, step three consists in proving that f-delta is lower semi-continuous with respect to the same topology. So here, if we have a lot of convergent sequences, we need to prove this inequality for all of them. So it's easier if we have less of those. So the lower semi-continuous means that f-delta on the limit is less or equal than the limit of the f-delta, the function applied on each element of the sequence. But if we are able to find this topology, then step two and step three are done. And we arrive to the conclusion, basically putting together the other, what we obtained. So we have that the image of the limiting point, h-bar, u-bar, we apply lower semi-continuity by step three. So we have that is less required than the limit. Then this was actually a minimizing sequence. So by uniqueness of the limit is equal to the limit of f-delta. And then since by definition in step one, since it's a minimizing sequence, this limit will be equal to the infimum. It is obviously less than the value on any point that we consider in x-slip. That's why we need that this limit is in x-slip. So given this, then by the squeeze theorem, we have the existence of minimizers. This is basically the proof that it's the same idea of the bias stress theorem. So there is a problem though, in the space that we are considering, actually step two failed, we cannot really prove that it's pre-compact with respect to the topology. So we cannot conclude in the end that we have directly this minimizer. And this is because by the compactness, by the bounds that we have with our functional, we can have some leap sheets profile. I don't know, there can be some corners, but in particular we can have some situation like this, also very smooth, but with some like ballet like this. And then this ballet in the sequence could actually shrink. And in the limit, what we are going to get is for example, something like this, like a cut. And this is not anymore a leap sheets profile. So that's just without entering in all the discussion here, the actually the basis of the effect that we cannot always get a limit in the x-slip. But actually by applying this theorem and this observation, we can prove that we have convergence of up to extracting a subsequence to a configuration that has the same required regularity for the U variable, but for the H is a bit less regular than leap sheets. It's a function lower than continuous and of bounded variation. So function for which these cuts are possible, okay? And so those function are actually of these types. So the profile now can have portion that are continuous like this gamma graph portion of jumps in yellow and cuts in red. This actually is consistent with the observation which you can have in the experiment, those heels that are shrinking and informed this location at the bottom at the interface with the subset and I believe to, I think to go up and sometimes to the surface. So it's not actually a surprise if we need to extend our space to these big larger class X, but then we have as this is a something happens often in the calculus variation and then you have another problem. Our in both functionals of Delta are actually living on the space X leap. So how that now I find a weak formulation of F that is defined also on these broader class, these larger class X, but it's the same as the previous function on X or as the same, the lowest in the continuity property in this space X. So actually this is F, these functional week formulation has been found. This is the first result that I would like to present and the point is that this is found and it's the same both for starting from the sharp interface model and from the transition layer model. How does it look? So the elastic energy is the same as the sharp interface model. And for the surface energy, we have an energy in which here we don't, we had already gamma F, but here instead of gamma S, we have gamma F, the minimum between gamma F and gamma S minus gamma F S that is the weight ability. And then we have this extra term for the cut part that it's two gamma F and this is not really a surprise because here this portion was counted the gamma F and this portion is also counted gamma F. So when we approximate in this way, the cuts in the end would have the contribution for both sides. And so this is the reason of these two appearing here. Okay, so I was saying that F is found as a weak formulation in two ways. As a relaxation from the sharp interface model, what does it mean? It means to find the largest functional below F zero that satisfy basically step three in the previous procedure. So the largest functional below F zero that is lower semi-continuous so that the diagram method can be then applied. And then as by doing a convergence of the functional F delta where as this layer of thickness delta goes to zero. So in a particular way that is called this gamma convergence. So what is gamma convergence? It's a notion that was introduced by Enio de Giorgi and that commonly cognized as the way of making a convergence between models. So like here in models in which we have these layers to a model in which there is no layer. So the layer disappear. So and why this is considered the conversion to use is because it has a very good property. It assures that the accumulation points of a sequence of minimizers. So let's suppose that U delta bar H delta bar is a minimizer of F delta for each delta. Then if these as an accumulation point or it converges to something then this something will be a minimizer of the other function, the limiting gamma limit F. So it's not only a convergence of energies it's also convergence of minimizers. So when you can find when you have the compactness it's really approximate for delta small you can say that the model F delta approximates the model F and vice versa. Okay, so in both these ways we always get to know the same functional that is here described. And then there was another way we deduce the same functional that is in this other paper that is those with the different settings starting from discrete models. So and here it's again by gamma convergence but not applied to the transition layer but to another quantity. So here we start from atomistic models that depends on the reference lattice that is here taking the triangular lattice with an epsilon parameter between the that is the distance between each side in the reference lattice. And so we perform the gamma convergence by sending epsilon to zero. Okay, so by letting the ender scaling the energy. So by letting the epsilon the atoms the distance between the atoms go to zero and notice here that we don't have these locations. So it's a regular homogeneous lattice between the film and the sub is right. This is the reference because then after we will see. Okay, so let me just give a key feature of these other procedure. So we have these reference lattice and epsilon on these we define an energy. Okay, again, this energy will depends on two on a pair of two variables. One H that is the deposition height but in the discrete these counts basically the pi the number of points in these columns. And then we identify it with the lower semi-continuous piecewise constant interpolation of these columns. And then we have the elastic variable this discrete orientation preserving the formation. Actually this orientation preserving assumption for this in the discrete is questionable. There are possibility of some papers in which they avoid these in other settings. So this could be a way to try by considering not only nearest interaction but also next to nearest interact atomic interaction. So, and anyhow, this variable is also identified with the affine interpolation in the triangles in the lattice. And through these we have these other energy that it's a discrete energy depending on the lattice that is given by the sum of two big contribution. The contribution of the atomic interaction between substrate atoms, okay, that depends on a potential Vs. And in green is that the interaction between the film atoms here that depends on a potential Vf epsilon. So what are these potentials? We consider like Lena Jones type potential cut at a certain level. So there is a well that in which we have a minimum value gamma S for the substrate interaction and gamma F for the film interaction that is reached at a different distance that bond the optimal bond distance for the substrate here normalized that one and for the substrate for the film at lambda epsilon. So lambda epsilon minus one is the lattice mismatch between the film and represent the lattice mismatch between the film and the substrate. So the reference lattice is the same is homogeneous but the substrate atoms are happy to be there while the film atoms would like to actually be at another different distance lambda epsilon. And this is seen in the energy. Okay, then by proving the gamma convergence we can prove for epsilon that goes to zero that these functional actually converge exactly to this F functional that is so further justification of these functional. And in particular E zero this mismatch strain can be seen as a convergence of here of these, it takes this form. So in which it's zero in the substrate and the Eta for a certain rotation in the film where Eta is the limit with this parameter depending on epsilon on of the discrete lattice mismatch. So to prove this, we need that this limit converts to a real number. So actually as an hypothesis of this conversion from the discrete to the continuum we have that we need to be in a situation of small lattices, lattice mismatch. So under this hypothesis we have this convergence we have this mismatch strain and we get the convergence of the atomistic model to the continuum model. There is the general setting which is for large lattice mismatch in which it is believed that not only the formation happens but there are other ways of stress relief for the atoms. And so the appearance of dislocation between the lattices. But here we didn't have this. Okay, so since we didn't allow that it makes sense that we got as a condition that we have like this is for short for not large mismatch strain. So obviously the goal will be also to address this setting and we started by considering in these two papers a parallel situation, the opposite situation of case the regime A. So in regime A we have the formation but no dislocations. Here we have the opposite. We don't have the formation but we have dislocations. Okay, so in the attempt to reach then to put together everything. And actually this is a bit of the regression because the limiting functional here wouldn't be the energy for team films but the winter bottom energy since we don't have the formation so we get just the surface energy but I would give just an idea of this because actually this is what I did also in that period in which I was formerly even though not present here but I was visiting OISD. So we expect to get in the limit the winter bottom energy. So let me very briefly see what we do in this case with these locations. So first of all here then we have two lattices LF and LS for the film and the substrate and there are then multiple positioning of these lattices and the first observation is that we can reduce to two settings M0 and M1 and we can see that all other positioning are equivalent to these ones. Okay, and I will just refer to M0 for simplicity now but all the results obtained from M0 are with different constants available for M1 and so for all positioning of the lattices if they are not interpenetrating. Okay, so here in particular there are these constant EFS that are presented distance between the two lattices. ES is the optimal distance of the substrate lattice atoms that are it's all filled by atoms, the substrate and then EF is the distance we do in the film lattice and here instead we have a certain configurations of atoms, so yes, that are called like DN, okay. And so also here we consider a discrete energy VN that again is given by two big contributions. So the contribution between film atoms and the contribution between film and substrate atoms. So and here since we are not considering the formation we just consider stickiness potential. So they are, they don't have a well but they are plus infinity then minus, they reach a minimum in minus CF or CS at a certain distance that we saw is EFF or EFS, okay. So this is the situation in this setting with this location and again also here we have a problem with step two. So we have a lack of compactness and in particular we have this problem with respect to two issues. One is the factor of the possibility of having a wetting layer. So a possibility that actually we don't get the winter bottom shape because we get just a line of atoms. So in a set we don't fool the big measure. And the other is the possibility of that we get a cluster of atoms that escape at infinity when the number of atoms tends to infinity. So for the first problem we need to define the wetting threshold under which we get the winter bottom shape. And for the second we need to establish a certain mass conservation in the limit. So this is the result with respect to the first problem. So we find this condition that is necessary and sufficient for having as minimizer configuration that are on the first, that are just on this first layer of atoms, okay? So as a confirmation of the, so they tend to the wetting layer. And so we need to put ourselves in this other, the opposite, so the wetting situation that as a note we observe that is less restrictive from what we would get just using the condition that you get from continuum problems. So there is more complexity in the discrete level. Okay, so under this condition, and here I will jump. So the topology that we are considering is actually the weak start convergence with respect to other measures. So we see an equivalence of our problem with respect to these atom position, but instead we state these with respect to measures, but let's keep these and we can prove that we have mass conservation and gamma convergence. So mass conservation meaning in this way. So if we consider a sequence of minimizers and we take for each of them the component, a component with the largest cardinality, then these components we converge to, we take all the mass in the limit. So we have a sequence, the sequence of the components with largest cardinality is converging to it takes all the mass in the limit. And so these replace the lack of compactness that otherwise we have. And then through that topology that I described, we see the convergence to this energy that as you see is exactly as the initial energy that I introduced with the fact that these constant are now characterized with respect to the minimum in the interaction, the atomic interaction. So with respect to CF and CS and Q is the parameter of how the lattice are positioned and here CF. Okay, so this was a digression with respect to what I did in that period I was here at OISD. So, but now I would come back to actually this functional F that has both that energy but also these elastic energy. And since now with the direct method of the calcule variation we have a minimizer, we would like to understand how this minimizer is. So to find some properties of this minimizer. So the first property is this one. So we could prove the internal ball condition. What does it mean that we can follow the profile of the fin with the ball that touches the boundary and as a radius small, but non-zero, so fixed. So this is what implies. It implies that since I need to be able to follow these cuts cannot accumulate. And so the cast points, so this one and the cuts cannot be accumulated. So they are only at most finite number in a interval. And apart from those finite points, we can prove that the profile is locally leapshift. So to sum up, we started from the models from Spencer, Spencer-Tashev, in which the profiles were considered the leapshifts. We couldn't find a minimizer in that setting. So we had to enlarge to function that has also cuts. And then here we recover a bit of regularity by saying, okay, but up to taking away a finite number of points, this is actually locally leapshifts. Okay, so this is a natural processing calculus variation. You enlarge to prove the existence and then you try to recover regularity of your profiles. And then thanks to this and reduce passing to the situation of isotopic material with lamecoeficients that are discontinuous in the film and with respect to the substrate and assuming this condition between the lamecoeficients of the film and the substrate that basically it's classical in transmission problem. So it means that it should mean that the subset is more rigid than the film and this I think could make sense with respect to team films. We can prove that actually the young to pray angle apart from those cast and cut is respected. So the angle with which the profile touches the substrate is the young to pray angle. So it's the cosine of these and it can be zero when gamma f is less than the weight in this when gamma f is less than the weight ability or otherwise is a positive angle. And these are both in the valleys that here are denoted by the family points of valleys VH and in the island border. And in particular, we can also say that there are no valley when sigma is less than one. So this means that valley in valleys the point the angles is always zero and that jumps that touch the substrate are appearing only when the young to pray ideal angle given by the surface tension is 90 degrees. In the cast and cuts, we didn't prove the same but we proved before that these are only in a finite number of them. Okay, this is the proof I will skip and then we can arrive to further regularity by doing a bootstrap argument passing to the Euler Lagrange equation apart from those points where we have cast and cuts the finite number and the contact angle that are different than zero. And then one few minutes just to conclude to make a reference instead to how much time do I have? Yes, I think I should conclude. So about the evolution results. So notice that if formally we consider these reduced energy that depends only on the profile H. So in which you is actually the equilibrium elastic equilibrium depending on omega H then formally we can consider this gradient flow with respect to a certain metric D and with respect to the choice of the metric we can, this actually represent the surface diffusion process so of the automated surface of the film or the evaporation condensation process. More specifically, if we consider the H minus one metric then we have the surface diffusion process and the L2 metric we have the evaporation condensation process. In this regard, it was achieved analogous results in the true setting. So by Fonseca Fusculani-Morini, first in 2D and then in 3D and this was actually part of my thesis and now we in two dimension and now we did the three dimension. In both setting, we prove short time existence of a regular evolution and the stability of Lyapunov or asymptotic type of the flat configuration. So if we start with the initial configuration close to the flat configuration then in this model we could prove that we remain close to that flat configuration. Though these both were done under a curvature higher perturbation. So there is an extra term added here in the energy that basically penalized corners on the profile. So I don't have time to go more in details for this. And then there is a direction of work on extending these results to the general family of SDRE. So to take out, so we took out actually the graph this assumption on the boundary that is a graph or other boundary constraint first in 2D and now recently in 3D. So I mean in any dimension actually it is in any dimension in which so we don't have graph like a boundary constraint. We have an isotropic surface tension for both material and we have the delamination. We have the possibility of delamination between the film and the substance. Actually this is an extension, but those need a need because otherwise we don't have lower semi-continuous as we could have a component of the film that is falling on the substrate and there this could create problem in the lower semi-continuity. So this then becomes a very general model that can include a different application not only team films, but crystal cavity, calpillarity drop, delamination and cracker setting. In the situation with down the mismatch strain but with a Dirichlet condition and only in the wetting regime there is also this result by Chris Malle and Friedrich. And very recently we're about to complete these work on which we actually let free the substrate profile. So it's not anymore like a fixed set but it's a free graph. So the film is a set of five perimeter and the subset is a free boundary that is parameterized as the graph. And so these are the works that in a way I try to summarize and to put together for these presentations and with these I thank you for the attention. Thank you very much for a highly informative very a lot of information. Clearly done, great deal of work. Are there any questions? Ah, yes. No, actually there is no restriction about the scene so it's for film. So there is not a restriction with respect to the film it's free, yeah. Are there any other questions? Do you have anything? Is in this L, in this setting here for the subset is meant to be longer, bigger than like this other dimension but in this way one could consider that it's thin if you. You mentioned orientation preserving deformations. Yeah. I was wondering, I did not understand fully like the importance of it and if you let go of that. No, no, this is a technical requirement that now, yes, this one that I mean it can be considered a non-interpretation condition but so for discrete material for atoms it's not so good. So actually I was saying that this is a technical needed hypothesis that could be avoided by using some of these techniques here and the difference with respect to this work and these other work that are different setting though so is that here we are considered only first neighbor interaction of atoms but by allowing also for not only the next atom interaction with the next atom but the next two nearest neighbors. So not just the one in the reference lattice that are bonded but also the next one, this one for example for this one, then one could think to avoid this hypothesis but it's something we should try to do. It's not, it's just an idea of what we could do to avoid this hypothesis. Other questions? Yeah, there is a reference lattice in this way but so the fact that here we have a well and the energy is depends on the difference with respect to the displacement with respect to the site. So the reference lattice is I and J, so it's fixed and then we have a displacement Y from those reference and the interaction that we are paying is like with respect to this well, with respect to the formed. So with the displacement from that, but yeah. Maybe I would add to that, I think the underlying idea is that there is a separation of time scales so that the time scales associated with the vibrations of the atoms about their lattice sites is much faster than the time scale associated with, let's say the deposition process or the growth of the film. And also you have no inertia. Yeah, no, it's a simplified setting for sure. And yeah, it goes, it's a... Questions from the, yes, go ahead, please. Could you explain a little bit more about the curvature, higher order resolution? Yes. My understanding is that curvature is second order. So what do you mean by higher order? Yes, it's basically we add to the functional, the integral of the square of the curvature. So this gives a contribution and the four, so because for the L2, this becomes of the fourth order, the equation. And this then with the curvature regularization is of the sixth order, okay? And yeah. Wouldn't that go back to the idea of next nearest neighbor interaction? Oh, in this, for evolution, yeah, we are not considering from the discrete to the continuous, so. But in essence, when you have the gradient to energy, what you are accounting for, let's say from a discrete perspective is the presence of next nearest neighbor interaction. I see, okay, okay, interesting. This goes back to Fermi-Pasto-Ruzan and many others. Okay, okay. That's it. No Zoom questions. Thank you very much. Paolo, thank you for an excellent and as I said, very informative talk. And please, how many more days will you be here? Yes, I will next week also. Next week. So I encourage people to meet in person with Paolo. Thank you. I would be very glad to have an interaction. Thank you.


The overarching theme of this book, Climate and New Story, that I wrote is really the living planet view of the world. From that place, the priorities of an environmentalist become a little bit different than they are in the dominant narrative. And in the book, I listed something like 17 or 20 different priorities, actions that we can collectively take to serve the emergence of a more beautiful world, of a healed world. And I can kind of boil them down to four things, actually, four priorities, and maybe one more. Yeah, so I'll do four and one more. Top priority is to protect any pristine ecosystems that still remain on this planet. Especially the Amazon and the Congo, and many other places, too. But these places that are still intact, these are the reservoirs of biodiversity. These are where Gaia's deep memory of health still resides. And if we have these, then there will always be hope for help to radiate back out from these oases, from these, what's the word? There's a word that I wanted to use, readouts, but that's not a very common word. It's like a base camp of health. So that's the top priority. Whatever still exists in relative health, pristine forests in wetlands, old growth forests, those things, those are much more important than we could possibly imagine through a carbon reductionist lens. That's top priority. Second priority, nearly as important, is to regenerate and restore and heal all that has been damaged, particularly soil and water and forests. So this is the regenerative agriculture. This is the watershed restoration. This is the caring for forests, the deep ecology work, to bring health back to where it has been damaged. So first priority, conservation, preservation, protection. Second priority, restoration, regeneration. Third priority is, so the first two are kind of on the organ level. The third priority is more on the tissue level. It's to stop dumping poison into the world. I haven't really talked that much about this. These issues have kind of taken second seat to emissions right now. But the pollution through toxic waste, pharmaceutical waste, agricultural runoff, pesticides, insecticides, fungicides, herbicides, et cetera, et cetera. These are poisoning the planet in ways that we can barely even imagine. You know, sunscreen, washing off our bodies and getting into the coral reefs. Estrogen mimicking chemicals from, or estrogens from birth control pills, antibiotics that are passing through our urine into the water, into the ecosystem. These things have unimaginable effects. Fourth priority is to cut fossil fuel use. I haven't emphasized that because it is very well emphasized elsewhere. But a planet that has lost so much of its resiliency, has sustained so much damage to its organs and tissues, is not resilient to the rapid rise of greenhouse gases. Can't handle these challenges very well. So I think that is important too, and not as important as the other three, but important. But you know what? It is a side effect of the other three. There's no way that we can protect ecosystems and regenerate land and continue to mine and drill and frack and pipeline and do all those things. It's impossible and to risk oil spills and to... So really the fourth priority emerges from the other three. And I want to say one more thing that is also often kept in a separate silo from environmental issues, and that is peace. As long as humans are at war with each other, not only are we consuming vast resources, maintaining a war machine, and vast human capital, creativity, scientific work, all going toward killing each other, but also our psychic energy of conflict that radiates out into the world and maybe beyond. It's part and parcel of the war on nature. The whole idea of evil originated as a war on nature and overcoming of the wild. So the template of war is part of ecocide. And as long as our... In a war, your top priority that trumps everything else is to defeat the enemy. When we're bombing Iraq or bombing whatever, we don't worry about the ecological effect of the bombs. Because first priority is defeating the enemy. So generalize that. The war economy, the war machine is based on a different priority than the healing of the world is. Where do we put our priorities? If we hold conflicting agendas as an individual, we create conflicting results. We have to decide what are we serving here. Practically speaking, as long as we're incinerating so much of our energy fighting each other, distrusting each other, judging each other, hating each other, we're never going to come into the coherence necessary to, I'm not going to say save the world, but to serve the world. Because we're in service to something else. Part of the transition, part of the initiation is into service to life. We have to come together. We have to come together as a species. We need to unify. This is obvious. One of the good things that's come from the climate narrative is that it is uniting people around the world toward something that we all hold in common. And that's a positive step. I don't think that's really happened before on Earth. It's a new stage in the curriculum of interbeing, which is the new story, the new and ancient story of who we are. That we are a relationship. We are interconnected, interdependent and inter-existent. What we do to the world, we do to ourselves. What we do to the other, we do to ourselves. We enact violence in another country and we suffer domestic violence at home. All these things intimately connected. We're beginning to understand that. That's what we're being initiated into. So that would be, we can't even list it as a priority. Without that, without peace, there will be no healing. So my gratitude to the peace workers trying to stop war and to the peace workers on a more subtle level. And to the peace work that maybe you're doing. Every time you put down a grudge or let go of a judgment or stop seeing someone as the enemy and really try to understand them and ask, what does it like to be you? Then you're waging peace. You're changing the field, the morphic field. And you know that any outbreak of peace anywhere contributes to the field of peace. The question, what is it like to be you? Why did you do this thing? What are the conditions that brought you to this? What are the conditions that brought you to drive that SUV, to fly in that airplane, to build that oil well? Instead of just making you into an enemy. That so often happens in the environmental discourse. Those bad people. How could they? But to ask why? What system are you lodged in? What pressures are you under? What story do you live in? That's called peace, asking that sincerely. And maybe you still fight with a lawsuit, with a direct action. Maybe your understanding of that person does not lead you to be able to change the situation, to change those conditions. But at least the possibility is there. At least you're not addicted to fighting. Not defaulting to the fight as the only way to solve the problem. That's part of the same mentality as finding the cause. What's the thing to go to war on? And this is what I've been talking about. Understanding the interconnections of all things. Ending the war on nature. So without, I'll say it again, without peace there will be no healing. Any act of peace is an act of healing. All the way to the ecological level. So again, maybe one more thing. The peace needs to extend to ourselves too. If you are in condemnation of yourself. That's not peace. But maybe have some compassion for yourself. What brought you to do the things that are harming life? In what ways do you feel helpless, powerless, in pain, hungry for something you don't even know what it is? I'm not going to answer those questions. I can't answer those questions. Maybe you can't answer them right away either. But they are loving questions. They're based on there must be something. Because who I really am is somebody who loves the world so much. Who loves life so much that so desperately desires to serve life, to be part of this magnificent emergence. That's what I really want. I know that of myself. And what if you try knowing that of all the people you condemn, not just yourself? That's called holding a story that invites people into it. Holding a story of peace. Holding a story of a healed world. That includes the story of who people are. It's not to ignore, to dismiss the things that are causing harm that people are doing. But it's to believe that's not really who you are. And to hold that, not as an ideology. Not as a delusion. But to try to see it. And maybe sometimes you don't see it. But you can look for it. That's peace to look for it. And so here we can see just the relatedness of every level of suffering in this world and every level of healing. As I said near the beginning, I think I said, global climate and the social climate and the psychic climate and the internal climate. All of these are related. The war on nature. The war on the self. The war on each other. All related. So thank you for accompanying me through all of these thoughts and stories for joining me as a peace worker. A love servant. A servant of life. Imperfect, though we all may be. I can feel, I mean what sustains me in it is the service of others. That reminds me that I'm not crazy. That inspires me too. Like yeah, I can do it too. That's what I think when I see a brave person. I'm like thank you for showing me what's possible. For showing me what a human being can be. Maybe I can do it too. Even if I never see you. I can feel you. You can all feel each other. That's how we build the field. So thank you.


Have you heard from Secretary Schultz? Have you heard from Secretary Schultz? What did he say? Germans on the extradition of Mr. Hamadi. That sounds like yes. You want to discuss the issue? He says to say hello. He's outside. He's outside? Yes. They wouldn't let him in? No. Thank you. Thank you. Thank you. Thank you. Mike, here we go. Mike. I build the fence. Here we go. Mrs. Reagan, what did you think of the wall? You want to turn down? I'll turn. Has the president had any jet lag on this trap? Or have you had any? Do you have any special plan for cupping with jet lag on the other end of the trip? Let's take one more time. Let's have it. I'll get you two.


signal gasoline let every traffic signal remind you you do go farther with signal yes you do go farther with signal the signal oil company and your neighborhood signal dealer bring you another curious story by the whistler tonight the dead man laughs and I know many things for I walked by night I know many strange tales hidden in the hearts of men and women who stepped into the shadows yes I know the nameless terror of which they dare not speak that a man should laugh is not strange that Henry Baker laughs and under the circumstances was very strange or so the reporters seem to think but then they didn't know they had no idea of why Henry laughs and so they didn't see the humor of the situation but suppose we start back at the beginning and perhaps it will be clear in the beginning there was Charles Finch Charles Finch aging gray growing bald with a pronounced bulls at the girth a man respected and admired in the community president of a large construction company successful or so it seems but it all started the day Charles Finch sat across the desk when his partner Malcolm Guthrie big love and hard and Charles said you can't do this to me you can't and is a word you taught me never to use Finch and I learned the lesson well I not only can I'm doing it in fact I've done I am now sole owner of the Finch and Guthrie construction company and you're out completely Malcolm how can you do a thing like that you know what this company means to me I started it I built it made it successful it's my whole life I've sacrificed everything for it marriage a home happiness everything you can't know what you're doing to me oh Finch you're a fool a fool yes a fool if you gave up everything for this a fool if you let it mean so much to you a fool if you didn't protect yourself anybody than you did well I'm not a sentimentalist thing I'm a hard-headed businessman I saw my chance to feather my own nest and I took it you'd have done the same if you've been smart enough that you weren't no so I won and you're finished you cold-blooded swindler get out Finch all right all right you don't have to throw me out I'll go but you haven't heard the last of me yet Guthrie I'll pay you back if it's the last thing I ever do yeah I'm scared to death well you do kill me I suppose and might not be a bad idea yeah well you'd better make it good Finch you'd better figure all the angles many of people know how you feel about me and if they found me plugged you'd try for it and you know it so you better figure something practically perfect if you can okay maybe I'll do that I'm not worried you haven't got the guts of the brains go on pinch beat it beat it get out of here and I don't want to see you around here anymore don't worry you'll see me again only once more and it'll be the last look you'll ever have of me or anyone you're as good as dead now so long cut with the prologue of tonight's story the dead man laughed the signal oil company brings you another of the strange tales of the whistler now before the story continues the signal oil company wants to pass along the war production board warning to drivers about increasingly serious shortage of tires due to stepped up military needs the already low quota of new civilian tires for the first quarter of this year has been cut over 30% what's plain to see what this is going to mean with so few new tires available the only way to be sure your car will have tires is to keep your present tires in sound condition so they can be successfully recap little injuries to the outer walls must be promptly repaired before they can spread and weaken the important inner carcass of the tire and retreading must be done before the present thread is worn too thin this requires two things one frequent inspection by the man with the experience and know how of your signal gasoline dealer and two the finer quality workmanship and materials that the name signal stands for yes and there's a third point your cooperation in not putting off this service until you have a flat and your tire is damaged beyond retreading the tire shortage is now your tires need signals go farther service now and the place to get it is your neighborhood signal gasoline dealer and now back to the whistler old French Malcolm Guthrie has only himself to blame for what is coming doesn't he he gave you not only the motive for murder by swindling you out of your share of the company he gave you also the idea for murder his murder which you promised to carry out but how Charles how you haven't figured that out yet have you and as Guthrie said it has got to be good very good because you don't want to die for it do you and so you rack your brain for the perfect crime and you're lost in thought as you walk home along your usual path through the park lost in thoughts until huh I'm gonna bite you all day oh sure I I say haven't I seen you around here before well maybe I sort of stay here in the park sometimes I haven't got a home to go to yes yes well here here's a quarter see thanks mr. thanks that's all right now what's on your mind Charles why are you standing there staring after the shabby tramp as he shuffles off through the hash joint on the corner what's that look in your eye and what did you mean by it's all right yes that's it of course what could be more perfect yes perfect isn't it Charles the very idea you needed and what makes it so funny is that Guthrie furnished this for you too it was he's one day as the two of you walk through this park pointed out the tramp yes the very same tramp and what was it Guthrie called him dead ringer dead ringer for me yes yes Charles a dead ringer same age same size same graying balding head same punch it was a funny coincidence at the time now it's funny but in a different way because that shabby old tramp has started the ideas going around in your head and you follow him don't you Charles watching him go into the hash joint order some food and sit down you pace up and down in front of the door watching him eat and by his manner you realize something that's almost too good to be true you go in and slip into the chair beside him you mind if I sit down here huh oh no I guess not you know I'm surprised you're able to eat sandwich is so well with your false teeth I never can oh I get along all right say that was swell of you to stake me for this I maybe I can pay you back sometime oh forget it forget it you you haven't got a job have you just who are you mister hop hop certainly not what's your racket no racket I assure you this is strictly legal strictly on the up and up yeah well I've been plenty careful so far I never been pulled in by the bulls and I don't want to begin now I assure you what I have to offer will get you in no trouble with the police well you haven't done oh oh haman eggs please okay I'm listening well it's this way I want you to help win a bet for me tonight yes I have a friend of mine that well I bet him that I could pick up the hobo off the street clean and dress him up and pass him off as a polished businessman I think you're the man I need just about my side so my clothes will fit you and you can have them to keep after and what else goes with them oh yes yes a hundred dollars I might even throw in a bottle of scotch which is more valuable these days for one nice work you got a lot of dough for just a joke well I I'm not financially strapped exactly I guess you're not but you're sure this is legal all right you know I can't afford to take no chances absolutely no here's my car it has my address I'll expect you there tonight hey hey this is a long walk way out here here's five dollars that should get you there and don't spend it on liquor I'll have plenty of that and good stuff when you get there okay don't worry when I rest of this lettuce I'll be there with bells down oh we can do without the bells as a matter of fact since this is to be a surprise be sure to keep it a secret better come in through the side door from the side street and don't let anybody see you come in huh well he he might come early I wouldn't want the joke spoiled just by his seeing you go in taking chances oh yeah okay I'll get an alright about eight then yeah fine don't worry you'll see it'll be a great joke in fact it'll kill him yes it will won't it Charles you've figured the perfect way to kill Malcolm Guthrie and this tramp is going to be a big help a big help you'll never get another chance like this one never maybe that's why you're so nervous as you paste the floor of your home waiting for him to come supposing he doesn't suppose he got drunk with that five dollars suppose he's lying in some gutter somewhere right now you'd never find another perfect double like that even to this false teeth you were a fool to trust the hobo Charles he's probably taking your five and headed out of town but no there he is right on the dot of eight and you breathe a sigh of relief as you open the door hi mr. well hello hello I mean you're right on time as you could come some way out she got here hey you weren't kidding when you said she was well healed oh it'll do and it won't be long before you fit right into the surroundings as if it were yours well I don't know about that I kind of feel like a fish out of water but if you think so you were careful about coming in nobody saw you oh no no I'm sure nobody saw me wasn't nobody in sight good good if you just step into the bathroom over here you'll find everything you need saving things take a good clothes shave a hot shower then put on the clothes I have hanging there Christmas look at that a real monkey suit and brothers so come the way yes put it all on don't leave off a thing everything will fit you I'm sure hey this is almost like a dream I never thought I'd be picked out of a monkey suit like this until I was laid out for me home funeral a monkey suit for his funeral he doesn't know how right he is does he Charles and Guthrie if he only knew what plans are unfolding you wait impatiently for the trap to complete his change it's very important that it be complete that he resemble you closely will he did you figure it right well you know in a moment the door opens and you're clenched your fist oh how's this I wouldn't have believed it not bad huh perfect hey how's about a slug at that stuff you promised me oh yes yes certainly certainly the Scott here I'll pour you a glass yeah you know I did just like you said I didn't have a drink all day hey that looks like good stuff don't see much of that anymore yeah try this yeah yeah thanks hey that it's the spot yeah you know you know I think I'm gonna like this kind of life here have another help yourself to the bottle no fallen well thanks hey when when do we get the pay off in this joke oh any minute now by the way what's your name Baker Henry Baker Baker that one tastes just like another hey you know this is the life funny thing I almost didn't come up here no why not oh I don't know seems sort of fishy money guy like you picking me up to do a job for real letters and I figured there must be some catch to it somewhere but all I got to say now is it hey hey what's up what's the big idea look what's what what's the gun for you you ain't gonna hey mr. cut it out no don't don't shoot that's it Baker in joke first step or should I call you Henry Baker who answers the description of Charles French lying dead on the floor is face this figure just enough now it's a simple matter to take out his bald teeth exchange them with yours put on the clothes of the tramp and then quickly sprinkle kerosene over the body the room and set a match to it in five minutes the fire is spread to the drapes the furniture and now it's time to get out fast not too fast Charles no one in sight but don't hurry now at the corner pause look around not a soul in sight you're clear Charles French pardon me Henry Baker Charles Prince lies dead in his home doesn't he the flames licking away any telltale identification and completing your job and you're on your way to pay a debt it's slowly Charles tomorrow Thursday will be Guthrie chauffeur's day off he'll drive home tomorrow night by himself and you'll be waiting beside the garage until then you take a room in a cheap hotel your Henry Baker hobo now the next day you stop in and see about the ticket you ordered for Mexico it'll be ready Friday afternoon the day after you got Guthrie just right perfect everything's all set all you have to do is wait for tonight and how would Henry Baker do that why sit in the park of course yeah sure there you are how's it gone okay same as usual I guess ain't it the truth it's getting tough to be on the street these days well I like it's not a guy'll just come up and off your job right on the street say yeah that's your paper there yeah and if I take a look don't go nice wealthy clubman murdered see is that in this town yeah Germany somebody's always bumping somebody else off yeah it seems so and this guy was burnt up couldn't hardly identify him it says here yeah except his dentist identified his false teeth I read it yeah probably some dame sounds like a dame playing with fire hey what am I laughing about only means trouble to me trouble sure them dumb cops when they can't find the right guy in one of them things they come down here and run us all in you mean a rest your us bums sure just a routine roundup you know like they're always doing keep us there a couple of days just so they can tell the newspapers they got some suspects and I hope they get that guy real quick otherwise me and you better hit the road for a while yeah I'm not worried that's just what I plan to do hit the road I got a couple of things to attend at first yeah just a couple yes Charles another 24 hours and you'll be on your way to Mexico free and revenge but now it's time to get started at 11 you're waiting in the shadows by Guthrie's garage he's always arrived home from the club about this time everything is perfect for the climb back up with your hands but what is it sit back in the garage and you will find out okay okay all right keep your hands up it's money you want my wallet I'm not interested in your money right turn around you'll see what I mean but I still don't get it maybe if I stepped into the shaft the moonlight pinch yes are you surprised but the papers paper said you were dead murdered yes I know you thought I was dead and so did the police it's just what I wanted them to think now when they find you they'll never dream Charles Finch could have done it will after all a dead man can't kill can he look pinch you don't know what you're doing you can't do that I you told me that once before said I didn't have brains but that's enough but now you see a mistake I did have guts enough I've always already killed a man I did have brains enough because the police think that man was Charles Finch so I'm free I'll never be caught for this look pinch pinch let's keep your hands out let's talk this over keep your hands up all right all right I'll pay you anything give you the business I've got enough to take me to Mexico start over after I take care of you pinch give me a chance for God's sake I'll do anything you say that's right get down on your knees crawl that's the way I wanted to see you I'll confess everything confess it all give you back everything do anything as a pinch don't go well Charles your revenge is complete and back in your shabby hotel room you sleep soundly there's no qualm of conscience no ache of remorse as you walk through the park next morning you did what you had to do and you're satisfied all it needs to be done now is to go to the ticket office and get your passage to freedom it's all so simple isn't it hey both me yeah you come on get going what's the matter cops cops come on don't waste time come on like I told you yesterday around up only I didn't expect it so soon come on get moving if we throw out the other end of the park they may miss us it's not a back there and oh okay you too wait a minute what's the matter copper I ain't done nothing never mind get over there and get in the wagon you too bum but officer you have no right to do that so I said get over there and get in the wagon but I've done nothing I'll add to the show up crowd come on you're going in this is something you hadn't counted on isn't a child but then there's nothing to worry about is there they can't possibly connect the hobo Henry Baker with the murders and your friend the other hobo told you they'd only keep you a couple of days that means only that your trip will have to be delayed a little but what difference does that make as long as you've got away in the end your fingerprinted and photographed and stood up in the line under the lights but you're not worried not really step forward when I call your name Alonzo Allen Alonzo Allen alias Allen James vagrant 37 5 feet 10 132 dark complexion brown eyes brown hair picked up on suspicion rearrest for vacancy all right step back Henry Baker yes I'm Henry Baker any Baker vagrant 54 5 feet 8 170 gray hair blue eyes picked up on suspicion don't record something is wrong you sense that don't you Charles think that the silence lengthens you stand there straining the perspiration pops out on your forehead you listen intently waiting for that step back your eyes strain into the blackness out there but you can't make anything out not even those faces staring up at you what's wrong how could anything be wrong Henry Baker step down no no not that way out here we want to ask you some questions what did you say your name was Henry Baker what other names have you used none sure that course I'm sure my name is Henry Baker okay now take a look at those what there I guess fingerprints yes your fingerprints the ones we made a few minutes ago well take a good look notice the little worlds there very distinctive one see yes okay now take a look at these notice anything different no neither do I they're the same fingerprints they yours and it doesn't take an expert to see it so what so nothing only this second set of prints we got off of a liquor glass in the burned house of a guy who was murdered a couple of days ago guy by the name of Charles Finch that name familiar to you I never heard of him okay that's your story but we're booking you booking you for murder that's not all of tonight's story the whistler will return in just a moment with a strange ending of tonight's tale meantime here are two tips for making today's ration gasoline go farther tip number one is from Uncle Sam it's car pooling and it's saving gasoline for millions of motorists take the case of four men driving to work each in his own car by riding together three of the men can leave their cars at home gasoline tires and wear and tear are saved on three cars yes car pooling really works and now tip number two this one is from thousands of western motorists who for years have kept track of their gasoline mileage and found they do go farther with signal gasoline do I hear you saying but today's gasoline's aren't what they used to be true certain ingredient which gave gasoline but there's the important point today as always signal is producing the finest quality gasoline that can be made and signal still places the emphasis on mileage if you haven't tried signal in your car it's high time you discover that all of today's gasoline's are not the same invest your next ration coupons in the famous longer mileage gasoline signal go farther gasoline and now back to the whistler yes Charles Finch you forgot about the fingerprint you made a mistake of pouring the tramp a glass of liquor the glass was found beside the body of course later they found your prints all over what was left of the home and so they booked you for murder but then not exactly you Charles Finch they booked Henry Baker for the murder they convicted Henry Baker they sent him to the execution chamber and the reporters wondered why just before the switch was thrown you threw back your head and laughed laughed long and loudly until suddenly you could laugh no more they didn't see the humor in the situation you were the only one who saw that because you were the only one who knew you were being executed for your own murder the murder of Charles Finch you couldn't tell them who you really were without exposing yourself to another murder that of Malcolm Guthrie so you died for murdering yourself and when you laughed it was a dead man laughing the at nine o'clock the whistler will bring you another strange tale the curious story of how murder opens a gate the whistler is broadcast for your entertainment by the marketers of signal gasoline and motor oil and fine quality automotive accessories and by your neighborhood signal dealer this program directed by George W. Allen with tonight's story by Lewis Herman music by Wilbur hatch is transmitted to our troops overseas by the armed forces radio service Bob Anderson speaking and suggesting that you let every traffic signal remind you you do go farther with signal gasoline yes you do go farther with signal this is CBS the Columbia Broadcasting System