Hello, Yukon 28209. Yes, this is Candy Mattson. Eat that baby on the tree. Uh, fix those dolly tracks. And look out without cable, it's hot! Mallard, what in the name of the San Francisco Police Department are you doing up here on Telegraph Hill? Working candy in the name of the San Francisco Police Department. Here? Were these people who were making the movie? Yeah. How about that? Me, a lieutenant in homicide, and I'm assigned to riding herd on these Hollywood characters. Oh, it's better than murder. I'll take murder any day. What are you doing around here? I did some shopping at speedies this morning while I was pinching the avocados. They told me that there was a Hollywood gang over by Coyt Tower shooting some scenes for a movie with the San Francisco background. They might just as well have stayed in the studio. They brought their own lawns, prop trees, fake bushes, the works. If it ever snowed up here on Telegraph Hill, they'd have brought some of that along too. You've never worked in Hollywood, Mallard. Only God can make a tree, but Hollywood presumes to improve on them. What are they doing now? Just getting ready to shoot a scene, I think. They've been rehearsing it all morning. What's it all about, you know? As far as I can figure, it's a story about San Francisco right after the gold rush. Look at all the costumes. Very authentic. Looks like they'd been shipped around the horn. By the way, Mallard, do you know who's in the picture? Some lush tomato named Cherry Dana and the Colorad boy Buff Arnold. Arnold? Did you say Buff Arnold? That's right. Why? Oh, forgive me, Mallard, dear. I knew Buff Arnold when he didn't have a place to house him. He professed to carry a very warm torch for me. Ah-ha. So that's why you so casually dropped by. An old flame, huh?  I didn't even know the guy was here, let alone stealing pictures. A likely story. All right. Quiet, please. Let's have quiet. Quiet. This is a take. Oh, set, Mr. Dix. We're ready. Good. Okay, Cherry. We'll roll this one. Take a chance on it. Just remember to keep up against those trees. We don't want any shots of those modern buildings below the hill. I'll remember. Where is my old pal Buff Arnold, Mallard, dear? By me. Judging by what's been going on, he's not in this particular scene. All right. Stand by. Roll him. Scene .7, take 10. Wait a minute. Wait a minute. Cut! Cut! Oh, where's that coming from? Come out on the bay, Mr. Dix. Find thing a present-day steamer whistle in an 1850 picture. Hold it. Ames. Yes. Let me know when the fool ship is tied up. We won't shoot the scene until it's docked. Yes, sir. Darn it. I was hoping I'd see some action. I'll give you some action. Come on. Walk around with me, can't he? I'll show you all the sights. Sites like what, for instance, Mallard? Oh, all the lights they brought up here. I must have a thousand of them. Undoubtedly to wash out the wrinkles on the leading lady's face. And talk about props? They must have taken a whole freight train to get them up here. Oh, they have to have them. For instance, look, right up there. Where, Mallard? Up there, above, in that tree, hanging by their necks. Oh, Mallard! Don't jump like that cupcake. There are only dummies hanging from those ropes. Three of them. They look so realistic. I must admit they really do. I understand they use them in a scene where they recreate a lynching in Portsmouth Square. Recreate, did you say? Yeah. Maybe you're right. Take another look, honey, by a good look at the one in the middle. What are you trying to... Fry me, for lord. That one in the middle is no dummy. You're no dummy either, boy. Mind how many times have you looked up there? Just a couple of times. But the last time I looked, the one in the middle wasn't an ex-human being. With that, I tossed the whole thing in your lap, Mallard. I promote you back to homicide. Oh, why didn't these characters stay in Hollywood? It's a bit of a shame, isn't it? Cluttering up our lovely Telegraph Hill trees with gently swaying corpses. Come on, Mallard. Let's give the director a slight touch of apoplexy. The National Broadcasting Company presents Candy Mattson, Yukon 2, 8209.  Well, that's the way it happened to me. I'd just finished a deal. It took me three weeks to crack. I made some good money out of it, banked it, and sat back to relax. When I heard about the movie company on location on the other side of the hill, my curiosity got the better of me. As of that moment, my contemplated relaxation was at an end. Period? Paragraph. I literally walked right into trouble because there was Mallard and cut down. Okay, Mr. Dix, have a good look at him. Do you recognize the gentleman? I recognize him, yes, but I don't know him. He was one of the extras we used at a scene yesterday. Did he come up from Hollywood with you? I'm pretty sure he didn't. I think he was hired here locally. Wait a minute. Who's this young lady? I don't want any outsiders in on this.  Ah, excuse me, I didn't know. That's all right. No need to apologize. Some of my best friends are movie directors. Uh, who would keep the roster on your personnel? My assistant, Bill Ames. Is he around? Well, I'm right here, Lieutenant. Oh, good. Can you give us any dope on this, fellow? Oh, golly, uh, I'm afraid not. I've seen him, but I wouldn't know his name from Adam. How about the payroll? When do you pay off the extras? Ah, that's a thought. Will you pay off at five o'clock tonight? Why don't we come back then, Mallard? We can check off the names against the pay vouchers. There's one thing extras like to do, and that's get paid. The name that doesn't show up is our friend, the corpse. Okay, well, let it go like that. What do you pay off? Room 873, Montfair Hotel. Make sure everybody's there unless they want a little trouble thrown at them. Uh, I'm sorry, Mr. Dix, you can go on with your shooting now. Oh, no, no more today. It's too unnerving. Ames, knock it off. Call will be for eight o'clock tomorrow morning sharp. Right, Chief. Uh, break it up, everybody. Eight o'clock tomorrow morning in costumes, and that means eight o'clock. Understand? Not morning. You mind waiting here for Mama Catty? I want to put in a call to the coroner's office for a wagon. Sure, that's all right. Go ahead. I'll only be a few minutes. Uh, Mr. Dix, pardon me. Yes? Can you tell me where Buff Arnold is staying? What, uh, what do you want with Buff Arnold, young lady? I used to know him when he was playing bit parts in Hollywood. Oh, did you, uh, work in Hollywood? I did a little time down there, sitting around in agents' offices.  Say, all of a sudden I've got an idea. I'll bet. No, no, no. On the level, believe me. I have a small part coming up that would fit you to a tee. Good-looking gal, wise, supposed to work in her father's store, selling supplies to the miners. Can you, uh, act at all? I used to shoot a fairly sharp mess of dialogue. Do you live close by? Right over there. One block. Penthouse on the top. Hmm, all the better. As soon as your policeman friend removes the deceased there, uh, why don't we go over to your place and, uh, look at the script? You know something, I've got an idea. That's the idea you had the idea about. Okay, I'll look at the script. But for your information, Mr. Dix, I'm interested only in playing a part in your picture. Mallard came back and I told him what had developed with Dix. He shot me a look that had more question marks in it than a government income tax form. I assured him I could handle the situation, and he left with the body still clad in its 49er prospectors outfit. Dix issued some final orders, took me by the arm, and we strolled over to my place. Ah, charming, but positively charming. Thank you. What a gorgeous view. How long have you lived here, miss? Oh, now isn't that silly. I don't even know your name. Madsen. Candy Madsen. Candy Madsen. Never have I heard a name match a personality so completely. I'm Reginald Dix. Just call me Reg.  Oh, squinted, soda highball. I think I can scrape one together. This is absolutely enchanting. I'm going to ask to make all my pictures in San Francisco from now on. I don't think you'd go wrong. Of course it'd be a little rough if you were making a picture with an Indian background and needed shots of the Taj Mahal and the Himalayas. Oh, simple. I'd change it to the Ferry Building in Twin Peaks. Very good. Are you all right? Thank you. I can use this after that messy discovery up there on a tree. Well, here's to crime. That's a charming toast. Now then, about this part you were speaking of, I don't even belong to the Screen Actors Guild anymore. Oh, mere detail. I'll call the studio tonight and have them arrange your membership. As simple as that. I think if some of your bright boys got together, you could win the war in Korea without half-trying. Ah, let's not be snide, my dear. Excuse me a moment, someone at the door. Certainly. Whoever it is, though, send them away. Yes, Master. Hi. Hi. Now that we've established our highs, is there something I can do for you? I'm Cherry Dana. Is Mr. Dick's here? Oh, well, yes. Would you wait here, please? I'll not wait here. I want in. Now just a minute. There you are, Ed. You have a short memory, haven't you? Cherry, what are you doing here? I'm having a conference. So I see. I hate to mention it, but this happens to be a private home, Miss Dana. I'll have to ask you to leave. Don't be boring. You lured my director up here, and I'm going to see that some little local wench doesn't put the squeeze play on him. Why, you pamper brat. Get out of here right now, or I'll show you how a local wench can back up words with action. Oh, now hold on here, both of you. Cherry, I resent this intrusion just as much as Miss Madsen does, I'm sure. Oh, Bet, what about me? You said you were going to drive me back to the hotel. Oh, very well. It slipped my mind. I'm sorry, Candy. I dislike scenes of this sort. We'll discuss our business later. Good. I find now that I'm extremely interested. Good afternoon, Miss Dana. I'll see you later. I was so mad I was boiling. If I'd been a thermometer, Quicksilver would have been streaming out of my ears. I did the most natural thing, took a shower, and little by little I simmered down. Actors and actresses are like anybody else. Most of them are darn nice people just trying to make a living, but one ham, like Cherry Dana, can ruin the picture. Just as I was getting dressed, the fairy-building siren blew its top, indicating 4.30. I had to step on it if I was going to be at the Montferrat 5 in time for the payroll sequence with the extras. So I stepped on it and found myself in a minor mob scene outside room 873 at the Montferrat Hotel. Mallard spotted me, grabbed me by the arm, and took me inside the room. I really didn't expect to see you, Candy. Hmm? Why not? I thought perhaps you were discussing contract terms with Dex by now. Big Hollywood star and all that. Oh, Mallard, cut it out. All right, ladies and gentlemen, as I call out your names, step up fast and sign the voucher. Anderson, Robert, Apperson, Lou, Bennett, Burt, Beverly. I studied the faces as they stepped by the cashier's table set up in the room. They were all types. Anyone could have been a villain, a dancehall girl, a hero, an angel, who were just plain extra. The roll call droned on in the background. The whole thing took about 10 minutes. And suddenly we were alone. Ames, the assistant director, the girl who had done the actual pain, Mallard and myself. Well, that's it. Who's missing, Ames? You're in for a bit of a shock. How do you mean? Nobody's missing. Everybody listed on our payroll, checked in and was paid off. What? That's right. Did you recognize every person who had been paid off? I'm pretty sure I did. Well, this is a fine kettle of nothing. We have an extra who's working in the picture, and yet he isn't. So he ends up hanging by his neck from a tree on Telegraph Hill. Who was the Joker? The Joker, the one you can play wild. Are you sure they're all paid? Well, positive. Double-check with their guild cards and signatures. Isn't this cute. Oh, excuse me, please. Hello? Yes, this is Ames. Oh, oh, yes, Jerry. What? He's what? Great, Scott. The matter, Ames. What is it? Why does his sheet? Dicks. He's just been found shot to death in his room. From San Francisco, the national broadcasting company is presenting Candy Mattson, Yukon 2-8209. Reginald Dicks, well-known Hollywood director, shot dead in his hotel room. We were looking for developments, and we got them, but not the kind we expected. Mallard led the way up to the suite that Dicks had been occupying on the top floor. There was a mob around the door, and my boy Mallard soon dispersed them and instituted some semblance of order. Dicks was sprawled out on the balcony in a bay and an ever-widening pool of blood showed that he'd been hit in the chest. Cherry Dana was pacing the room, smoking a cigarette. Ames stood in the middle with his jaw flapping. And who should be in the room, too, but my old pal from my days in Hollywood? Buff Arnie. Candy. Candy Mattson.  Yes, isn't it? How are you, Buff? Ill. Terribly ill. If I have to step into the other room, I hope you'll understand. Reg is a great friend of mine. Sure. Sure, let's go in the bedroom. You look sort of green. Besides, I have a few questions I'd like to ask you, Buff. It's a deal. Anything to get out of here, let's go. Wait a minute, Candy. Who is this guy? Buff Arnold, Mallard, the fellow I was speaking about. Where are we going? In there, he doesn't feel too good. The closest he's ever been to blood is a bottle of ketchup and color. Okay. Well, let him out of your sight. I have a flock of questions and need a flock of answers. As you say, Mallard here. Don't get carried away yourself. This the bedroom? Yeah. Buff, you seem to be doing all right. A lot different than what I knew in Hollywood, Candy. You look swell, Buff. Too darn swell. What do you mean?  You look mighty good yourself, Candy.  You're downright pretty, gal. In the good old days, I'd have jumped through hoops to hear you say that. Got any hoops, Candy? I'll say it again. No soap. Maybe we could revive some of those memories, Candy. Not a chance, Buff, boy. Things have changed. Hollywood and everyone in it, including you, were a part of a dim, sad past. And instead of just plain Buff, that's a re-Buff. Very cute. I haven't heard the gag poll since yesterday. Mm-hmm. Tell me, did you hear about the body that was found on Telegraph Hill this morning? I sure did. Now poor Reg. I told him this picture had a jinx on it before we left the studio. Little things had happened right from the start. Like what? Well, in the first place, I wasn't even supposed to be in the picture. They were going to give it to some new kid as a build-up. A week before the first day of shooting, he haven't disappeared. He hasn't been heard from since. Then he shoved me into the breach. Then the assistant director tripped and fell off a catwalk, broke both legs. He had to be replaced. Anything else, Buff? Yeah. About that time, Cherry Dana whipped herself in a batch of temperament and walked off the lot. Held up production a week. Then the luggage for San Francisco was re-routed somewhere else. Never has caught up with this. Now the body this morning and... dicks just now. Certainly sounds like a jinx. By the way, how do you and the great Cherry get along, Buff? Fine, fine. I try not to see her except on the set. Come here, Candy. Just let me hold you in my arms once, just once. I want to feel someone who's truly genuine.  Okay, Arnold, I'd like to... Well... pardon me. I hate to break this up. But I want to talk to you, Mr. Arnold. That was a fine time, Mallard picked to walk in. And then I got to thinking, maybe it was a fine time. It was due to have a little fire set under him. As I walked out into the other room, the boys and blue had arrived, and they were swarming all over the place. Ames was no longer present, neither was Cherry Dana. I wasn't going to give Mallard the satisfaction of an explanation, so I eased out the door and went down to the lobby. I asked where Ames was staying, and went back up to his room, 6.72, a knock on the door produced results. Just a moment. Oh, Miss Matson, something you wanted? Yes, may I come in? Yes, I was just lying down. This thing about Reg has knocked me for complete loop. It seems to be quite a shock to everybody. You've been with Reginald Dix for a long time, haven't you, Ames? Off and on, yes. A good number of years. How about La Dana? Cherry? Well, I've known her extremely well, even before she became a top flight star. Can you give me any idea who might have had it in for Dix? If you can, you better spill. The truth will come out sooner or later, Ames. Oh, it doesn't, things of this sort. I've only one little thing I can tell. I've already told it to your lieutenant friend. Oh, and what's that? As I got back from Telegraph Hill, I dropped by Reg's suite. I wanted to talk about tomorrow's shooting. As I drew near his door, I heard loud arguing. Arguing? Who were the opponents? Reg and Cherry Dana. Mm-hmm. And what were they arguing about, Ames? You? So that's it. Tell me, is Cherry the kind of woman who would turn killer on an impulse? It's hard to say. She has a terrible temper. Mm-hmm. Does Buff Arnold fit into the picture in any way? I don't know. He's a sly one that Arnold. He places cards in strictly a commercial manner. May fit into the picture? He and Reg were never too friendly. I see. Oh, thanks, Ames. He'll leave now. You'd better lock your door. The way things are going, you might wake up to find yourself dead. I went up to Cherry Dana's suite, but I drew a blank there, no answer. So I went back to the scene of the murder, Dick's rooms on the top floor. Mallard was just leaving. He shot me a look that would have knocked out a North Korean tank at a thousand yards and started to brush on by me, but I would have none of it. Now, just a moment, boy blue. I'm going to be one level. Just because Buff had his arms around me is no sign we were playing a scene from Romeo and Juliet. I don't think I've seen that close a grip even in professional wrestling. Oh, cut it out. Would you turn up in there anything at all? No, not a thing. Can't even find the murder weapon. Got any ideas? Lots of them. We've already taken Miss Dana into custody. I had a hunch it was leading in that direction. Incidentally, did you ever hear of a Christopher Sema? He's been a bookie around town here for several years. Christopher Sema? No. Can't say I have one. He was the boy who was hanging from the tree. According to our files, he dabbled in everything from gambling to blackmail. Sema. Sema, that name rings bells somehow, Mallard. One other thing. This isn't personal, you understand? Yeah. But stay away from Buff Arnold. We've got our eye on him, too. Little things were suddenly clicking back in my mind, awfully vague, but the old processes from years before were coming to life, ever so slowly. Mallard had work to do, plenty of it down at the Hall of Justice, work in which I was included out. I went outside on California Street, watched him get into a squad car with two of his men, and I waved him a goodbye. That was when I had another idea. Vicks is sweet. Cops were through with it. The body had been removed. But I had a hunch that was the key to the situation. Knowing the manager of the Montfair, I had trouble at all to get a key to Reg's suite, and that's where I headed, up to the top floor. I let myself into the darkened room, closed the door behind me, with the lights of the city way below, seeping through the balcony window. I found a place in back of the setee and sat down to wait and think. The balcony window being opened, the roar of the city traffic underneath came gently through and helped my thinking. That's when it hit me. Sema. Several years before I had served there was an actress named Vivian Sema. The same face as that of Cherry Dana. Now the clouds were beginning to lift, and at the same time the door opened in the suite and the silhouetted figure of a man entered the room. Okay, buff. Relax. What? This is Candy. Come on over here by the setee. Hurry. I'm expecting company. What are you doing here, Candy? You've got the wrong page of the script. That's my line. What are you doing here, buff? Honestly, you've got to believe me. I let my lighter here this afternoon. I was afraid the police would find it. Naturally, I can't afford any bad publicity. Ruling my career. I believe you, buff. You always were fine with that career, weren't you? Don't answer. Just keep quiet. What's up? A guy named Sema, if I'm right. Who's this? Reginald Dixon Wycombe. Wait a minute. I think I hear someone coming along the hall. The door slowly opened. And closed again. The dim light from the hall showed the form of another man. Then the dark figure moved slowly but surely across the room. It stopped for a second or two. I felt listening for something. Then moved again to the balcony, out onto the balcony, and whoever it was grabbed the ledge above, hoisted his feet up onto the iron grill work and hung on the city. That's when I acted. Okay, Aimee. Stay right where you are. In that position. What? You think I'm a fool? I was just around the outside on that ledge. Quick, buff.  Cut him off. Okay. Where are you going to do it? Go out on that ledge after him. Better come back, Aimee. You're cut off at both ends. Oh, no, I'm not. Not with this gun I've got. That's the same gun you killed Dix with, isn't it? Very clever hiding it up on this ledge out here. No wonder Mallard and his boys didn't find it. Look out there on the city, Aimee.  Think it over. You better come back. Not on your life. I'm coming after you. I'm down the other end, Candy. Good. Now we've got him. Yes. Yes, you have. Obviously, this is the end. Perhaps you don't know what it is to love. Perhaps you don't know what it is to be scorned. I do. Painfully so. This is the end. But I'm not going to go alone. You're going with me, Miss Matson, like this. No. No, the recoil. It'll knock you right out of there. Oh, it was just a matter of jealousy. The same thing you developed when you walked in on Buff Arnold and me. Okay. Okay. So I was burned up. Tell me more. Was the name Seema that did it, Mallard? Do you know what that is? All right. I'll play quizzes with you. What's the name Seema? Seema is Ames spelled backwards. You see, that was Ames' real name. At one time, he had married Cherry Dana under the name of Seema. When she began to be big in picture, she divorced him, but he carried the eternal torch. Was it worth it? Of course not. Because she collected men. Reginald Dix, not because she loved him, but because she was fading in pictures and because Dix was the only one who could keep her in front of the public. Logical. But what about the Seema hung up in the tree on Telegraph Hill? There we have the plot. The Seema up in the tree was Ames' brother, a ne'er-do-well. The night that Ames arrived in town here, he looked up his brother, got a bit tight and told him what he'd done, caused the original leading man to disappear, a platform breaking his legs. In general, he did everything he could to sabotage the picture. Then he pulled the strings to get himself named as assistant director, so he could be near Cherry. Love and jealousy. Now learn, I'll get to that in time. Cherry had vaguely promised that she'd remarry Ames. When he saw his own brother was going to blackmail him, he went crazy. That's when he strung him up with the dummies in the trees. From there, it was just a step to knock off Reginald Dix and have a clear track for himself. I'll go back to what I said to begin with. Why did these characters from Hollywood have to come up here to San Francisco and louse up our scenery, as well as our police department?  That's the last time I'm going to climb around a ledge hundreds of feet in the air. Not so strange. Buff Arnold was out on that ledge, too, wasn't he? Oh, Mallard, sometimes you make me... That reminds me. I have a date tomorrow night. Sure, with Buff Arnold. No, no, that's tomorrow morning. I'm driving him down to the railroad station. Date for tomorrow night? With you, Mallard, dear. We're going to see a Roy Acuff movie. Oh, candy. Roy Acuff. Monarch of all the cowboys. Yeah, Monarch of all the cowboys. I'll see him with you. And if that isn't love, I don't know what is. Listen again next week at this same time. For excitement and adventure, just dial... Candy Metzen, Yukon 208-209. Heard tonight were Hal Burdick as Reginald Dix. John Grover as Ames the assistant director. Mary Milford as Cherry Dana. Kurt Martell as Buff Arnold. And included in the cast was Ken Langley. Henry Leff plays the part of Lieutenant Ray Mallard. The program stars Natalie Masters as Candy and is written and directed by Marty Masters. Sound effects are created by Bill Brownell and Eloise Rowan is heard at the organ. The characters in tonight's play were entirely fictitious and it resemblance to actual people is purely coincidental. Tonight's engineer was Clarence Stevens. The program came to you from San Francisco. Dudley Manlove speaking. This is NBC, the National Broadcasting Company.


A fiery horse for the speed of light, a cloud of dust in a hearty high old silver, the Lone Ranger. When the early settlers in the western United States became discouraged by the hardships they faced, the lawlessness in the new territory was the mask right of the planes who brought back their confidence in the future. He fought crime to the length and breadth of seven states and blazed the trail for progress. It was he more than any other man who made possible the willing of the West. Return with us now to those thrilling days of yesteryear. From out of the past, from the thundering hoof beech of the Great Horse Silver, the Lone Ranger rides again. Come on, we're heading for the range country. Hurry up! All Sam Catlett stood helplessly by while his brother-in-law sat at Sam's desk and began going through his papers. Hattie, Sam's wife, gazed upon her brother with approval. I just know you'll find Sam's got everything in a terrible mess, Homer. Uh-huh. I guess it's lucky I came to visit. Dog gone at Homer, you look here. I'm glad you come. You're welcome to stay with us just as long as you please.  Thirty years I have done it, but I'm not gonna... There you go. I'm ashamed of you. Apologize to Homer this minute. Oh, Hattie! Didn't you hear me? Apologize this very minute. Homer, I didn't just mean that I... Oh, that's all right, Sam. We'll get along together all right just as soon as we're used to each other. And now let me see. According to this here receipt, Sam, you sold some two-year-olds last month for just under five dollars ahead. Uh-huh. Sold them to some grovers. They only wanted to pay four, but I made them eat my price. You should have got six. Huh? You lost almost a thousand dollars in that deal right there. Now, here I see where you... Hey, now hold on a second. How was I to hold out for six when two-year-olds ain't getting a price like that anywhere in Texas? I could have got it for you. Like blazer, you could. You'd have spoiled the whole sale.  But Hattie, don't you...  Blast it all. What's the matter with the way I've been running it? I'd say almost everything. Yeah? Well, I've made the place pay ain't I? What'd you do with your place? Huh, lost everything you own. Well, that's beside the point. Poor Homer just had bad luck. All right, maybe he did. But why ain't Tonka should his having bad luck make him know more about how to run my ranch than I do? Well, that's the way you feel, Sam.  He'll be grateful afterwards. Well... Just sit down again and go through the rest of the papers. Please, Homer. Very well. As long as you ask me, Hattie. Thank you. There, Sam, you see what you nearly did. You nearly kept home with him helping me. Oh! And that's him being kind enough to come all the way here to visit us. Tink costing nothing, is it? And after losing his place, where else could he come but here? That's enough. I have to digest about all I'm going to from you. Oh! Well, of all things. Huh? Homer, what is it? Sam, did you pay out good cash for this junk? Did I pay out? Hey, careful of that. That's my land script. Land script? Tink worth of papers printed on. Oh, Sam, I've never seen these before. You've been hiding things from me. Homer, what are they? Land certificates. The state government issues them. For each one you hold, you're entitled to claim a section of state-owned land. There's 640 acres in each section. Sam, how much was you local enough to pay for these things? I got most of them for 3 cents on the acre, and I ain't local. I'm not sure I understand, Homer. How can this be? Well, it's this way, Addy. Over half of Texas still ain't settled. When it joined the union, it kept title all that vacant land. So they printed these certificates to hand out to fellas crazy enough to take them in place of cash. If Sam paid 3 cents an acre for them, he got cheated. Can't you get the land with him? Oh, it's easy enough to claim the land. All you gotta do is have a survey and record it. That ain't the point. 3 cents an acre is just 3 cents more, and it's worth it. That's where you're crazy. Ask anybody, Addy. Or ask Sam why he hid this script instead of showing it to you. Tim, what have you got to say? Why do I have to say anything? I bought that script because I figured it was worth it. Ben, why didn't you tell me about it? Well, I... Addy, he knew if it ever got out, he'd be the laughingstock of the county. You mean nobody else would buy this print? Not one fellow in a thousand. How many of them certificates you find there? I ain't counting them, but I'll bet there's three or four hundred. How much would that come to? Land or cash. Cash. Well, I'd have to figure it first to tell you exactly. Anyhow, this must cost Sam... $6,000 or $7,000. $6,000 or $7,000? No, I haven't. So that's how you've been thrown our money away.  I got that land cheap. Someday it's gonna be worth plenty. That their land script is gonna make us rich. That settles it. Huh? It's a wonder to me we've got a roof over our heads. Homer, I'd never get through thanking Providence that you came when you did. I just hope you won't take offense at anything Sam says and I'll stay on to help us in our need. Well, things are pretty bad, Hattie, but I'll do the best I can. Ain't I got nothing to say about this? No. But why is that? We had less to say in the past, we'd be better off today. Better off? We got cash enough in the bank to last till we'd die. We got the finest ranch in the district and you talk about being better off. You did that well without knowing anything about business and Homer could do twice as good. But Doug got it all, Hattie, come here. We're all through talking about it. And you're disturbing Homer. You're better leave. You bet I will. And you can both think I was local for buying that script if you're on mine too. But you mark my words, that they'll come when folks will buy Texas line at 10 cents an acre and be glad to get it. Poor Sam, 10 cents an acre. Where'd he get such notions? Homer, these certificates. Think he could sell them and get that cash back? Not from anybody in his right mind, Hattie. But I'll try. Oh, gone things I've heard. Tell them I'm coming in my house running high hand like that, taking my stuff and running all... Oh, of course.  What's the matter? Pete, let me tell you something. If you ever get hitched, you pick out a female that ain't got a family. Hey, I said he had a run-in with Homer. He's inside there going through my papers. Figures to run my ranch. Your wife's saver? Yes, so. Why don't you stand up to her? Huh? Stand up to Hattie? Gosh, I wouldn't dare. A week later, Homer was standing at the bar of the cafe in Wellington. A well-dressed printer elbowed his way in beside him. One side in, Jim. Thanks. Howdy, Mr. Hattie. Howdy, Mr. Hattie. Hi. Ain't you Homer Larkins? Uh-huh, that's me. My handle's like Slater. I'll buy you a drink. Oh, thanks, but I reckon I've had enough. Well, I ain't anxious for any either. Uh, hey, tell me you've got some land script you'd like to sell. I've got some belongs to my brother-in-law. That's what you mean. Why? You want to buy it? Do I look that simple? Then why'd you mention it? When I seen you here, I thought I might be able to do you a favor. What? A favor? How about stepping down to that end of the bar? There ain't so many around. I'm sure. Why not? Now, what's this about doing me a favor? Well, what I meant was, maybe I could do us both a favor. Yeah? You ain't had much luck finding buyers for that script, have you? I can't find anybody local enough to buy. So I heard. In that being the case, I guess if a fella come along and could tell you where you could sell that script, it'd be worth something to you, hmm? Just what do you mean? I'll tell you. For part of what you get, I'll put you onto the fella's spine and all he can lay hands on. Yeah? Who? Well, that's what you find out if we make a deal. How much will he pay? How much you've got? A script for 400 sections. 400, eh? Hmm. Well, like you know and I know, that script ain't worth a red cent. But I'll just about guarantee this fella to pay a couple thousand for what you've got. Promise to give me 500 of that after you've made the sale. Now, I'll lead you to him. 500 out of 2,000? Well, that'd only leave 1,500. Which is that much more than you're likely to get any place else, ain't it? Well, I... I can't get the idea I'm trying to persuade you to anything you'd rather not. Nothing like that at all.  Do I have to decide right now? Can't you? Well, I'd rather talk it over with my sister first if he could wait. She wants to sell, won't she? Oh, sure, yeah. How soon could you let me know? At the same time tomorrow? Well... All right, tomorrow then. But this ain't my home range. After that, maybe I won't be around. Slater, wait till I talk to Harry and I can almost promise it'll be a deal. Homer returned to the ranch, reported to Harry, and then brother and sister demanded that Sam accept the offer. Harry, you and Homer can't do this to me. I paid for that script and that's mine. I won't sell for 2,000. I won't sell for 4,000. I won't sell for twice that much. Sam, hush up. You say you'll have to give this man Slater 500 and he won't tell you who wants to buy it. Well, that's it, Harry. Is it worth it? Well, I didn't let him to Slater. But if he hadn't mentioned less and had been up to me, I'd have offered twice as much just to get rid of the stuff. Yeah, you don't have to pay him anything before you make the sale, do you? Not a pity. Well, it's a shame that we can't get more in 1,500 for what cost over 7,000, but that's Sam's fault, not on. You ought to be grateful to get anything back at all. Doggone, didn't you hear me when I said I wouldn't sell? But you say don't count. Homer, tell Slater we'll do business with him. Right.  Come in. Howdy, ma'am. Afternoon, Mr. Larkin. Hey, boss, could you come here a second? Huh? Step outside here. What for? The fella wants to see you. He sent me after you. Come along. Who is he? I couldn't tell you for sure, boss, but I got a doggone good idea. Where in Tunkert you've taken me to? Just the other side of the cookhouse there. But why are you taking me out?  Tell me what? Well, like I said, I got a good notion who he is. If I'm right, he can be trusted.  So don't let his mask set you against him. What's that? This fella's mask? But what in the world you've got? He's right around the corner here. Pete, if you're up to something you shouldn't be, I'm not... You've got, Sam. By Sunday are a mask. Forget my mask. But what are you doing here? Listen to what I tell you. Don't sell your land script to Ike Slater. You had Pete fetch me out here to tell me that? In part. Then you had him get the wrong party. Stranger, you're looking at a fella that owns a ranch, but ain't allowed the right to run it. Your man here said something about that. Nevertheless, that script can't be sold without your permission. Small comfort that yet. That's not my entire reason for talking to you. No. A friend of mine was in the cafe when Slater spoke to your brother-in-law. He recognized him. He knew him to be a well-known confidence man and followed him afterwards. Oh, what about it? When Slater left the cafe, he joined a fellow he's worked with before. A fellow as crooked as he is. Yeah. This man is calling himself Owens. His real name is Link Mead. I want to know how to overheard Mead and Owens are buying this script together. And I think I know why they want it. Yeah. It's been rumored that Coke will be elected governor. And that's true. It means the end of the reconstruction government in the state. If that's true, Texas will see the greatest boom in its history. It won't belong until Land is worth 10 and 20 times what it is today. You sure of that? No one can be sure until the vote is announced. But I think it's almost certain.  He is, though I can't tell you whether or not he's wanted by the law. I knew there was a hitch in it. Oh.  And that's up to you. At least you know the facts. Here's over. Doggone, I... I reckon there never was a critter as spineless as me. I've heard about you, Sam.  It's about time you asserted yourself. To Harry? Strangerest plain to see you never met my wife. Well, I've told you all I can. The rest is up to you. Adios. Let's strangle this. Pete, I forgot to ask. Who do you figure that ombre is? Ha, ha, ha. Hey, I bet you wouldn't believe me if I told you. No, but I bet my bottom dollar that's the Lone Ranger. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. Now to continue our story. Living old Sam Catlett, the Lone Ranger returned to the well-hidden camp he shared with his faithful Indian companion, Tonto. Oh, oh, that's over. Oh, boy, oh. Tonto settled, Scout. Here's Tonto. You see, Fummer? I did, Kimosabi. And I'm not certain it'll do any good. Not bad. He's given in to his wife too many years. I'm afraid it'll be too late for him to change. So if he can't protect himself, it's up to us to do it for him. What we do? Slater and me, they're usually clever enough to sidestep the law. But you can't go crooked without making a mistake sometime, somewhere. That's right. And I doubt that Slater and me are exceptions. Perhaps they about run their mistakes, but I'll wager they exist. Steady, Fummer. Steady. That's why, Tonto, you and I are going to do a little back trailing. What do you mean? We know Slater and me were in the panhandle for several months before they came here. We'll see what they were up to there. If we find nothing, we'll trace them back to the place before that. And good idea. Somewhere along the line, they must have got on the wrong side of the law. And if they have, we'll teach them you can outrun mistakes for a while, but not for always. Ready, Tonto? No, me ready. Then come.  Come on, Silver. Come on. The following day, Homer and Hattie had just made Sam's land certificates into a neat package when Sam himself entered the room. What have you got there? What do you suppose? You got my land script in this here package? I have. What do you think you're going to do with it? Sell it, of course. Go on, Homer. You said you'd meet that man. He won't want to be kept waiting. Show him how much we got. Find out who wants to buy it, then bring them both back out here. Very well, sister. Hey, not so fast. What? You come back here. Sam, don't be interfering. Homer's got an appointment. He's got to keep. To sell what's mine. You don't have to tell me. Well, he ain't going to do it. Sam, if you'll just listen to me. I ain't in the mood for listening. Put them certificates back.  I ain't. We're just trying to save some of the cash you threw away, Sam. That's all. You're trying to give my script away to a couple of crooks for almost nothing. Cook. Sam, what in thunder are you talking about? Guess this. Slater's a crook. The fellow he's going to have you meet is a crook. And the two of them want that script because they know before long it's going to be worth plenty. But they ain't going to get it. Ridiculous. Would you be willing to say that to Mr. Slater, to his face? Sure, why not? Then you got proof of it. Sure, I got proof. Well, hey, well, no, not exactly. This is a thought. Sam, you're just making yourself small.  Just because I can't show proof don't mean it ain't so. Homer, go on. I will, sister. No, you don't. If you meet Slater and tell him you got authority to sell them certificates, you'll be wasting your time. But, Sam, I...  And you still can't make no sale without I put my name to it. So what are you going to do about that? Sam. Well? If you just dare to meddle now, I'll never speak to you again as long as I live. Then don't. I ain't so sure that wouldn't be a good thing. Sam, come here. You come back here right now. If you want me, you know where to find me.  I got work to do. Did you go through with it, boss? Did you? Pete, I did. Hooray! I don't know how I got the nerve, but I sure told him. Then, Doggone, you hold to it. I don't know, Pete. You have to. Well, I'll try. But if something don't happen soon to prove I was right, I'm afraid I'm a goner. This didn't settle nothing. They'll just keep on pestering me. Then tell them to go to Blazers. Show them who's boss. Taint me, and I don't know how long I can keep them from finding it out. Mead. It's Ike's later. You there? Get in here. I thought I told you to stay away from the hotel. You're supposed to be putting Larkin into a fellow that don't know anybody and to buy landstrip. If it gets out that we're friendly, he'll begin suspicious. But I had to see you. It's him I come about. You ready to sell? He can't. But I thought you said... Sure, I said Larkin's was brother to Catlett's wife. And she gives the old man his orders. But something's gone wrong. What has? The old fella's got stubborn. And the deal's fell through. I don't know. Larkin says not. What do you mean? Well, something's made old Catlett stop the sale. But Larkin says it can't last. He and his sister will keep after him. He says if we'll wait one of these days, Catlett will have to give in. How'd he sound? Like immunity? Seemed to. I thought we couldn't do ourselves any good. They'd clear out. They would be foolish, too. Yeah? Every body in the county knows how old Catlett's wife bosses him. I'd lay odd. She'll get her own way yet. Maybe. There ain't no place else where we'll get scripts so cheap. I know. Then the syndicates in the north are grabbed as fast and as quiet as they can. If this fellow coke gets elected to governor, maybe even the Texans will wake up to what they've been missing. Then we won't be able to buy a script at any price. Well, I suppose we'd better stay. There's nothing else to do. But Slater. Yeah? Keep in touch with Larkins. Keep pressing him. Let him think the bar you spoke of is losing interest. Convince him he'd better see to it that sale is made quick or that chance he'll be gone for good. You leave it to me. Convince him and he'll convince his sister. And if she don't make life miserable for that old coochie mad, then all we've heard about her must have been lies. Mead, I've seen her. Old Catlett wish he'd never been born. The prophecy made by Slater and Mead came true. Day after day, week after week, Hattie condemned the error of her husband's ways. Can't you leave me be Hattie? I don't want a sale. You won't. Just leave me be, that's all I ask. Just leave me be. Sell. I won't. You will. No, I won't. I won't. I won't. Three weeks. For three weeks I ain't had one minute apiece. I can't stand it.  All right, all right, I will. Have it your own way. I've listened for as long as I'm going to. If I heard just one more word, I'd go crazy. About time you came to your senses. Just leave me alone, won't you? If Mr. Slater brings that man here, you'll sell. Ain't that right? I'll sell. I'll sell. I'll sell. I'll sell. I'll sell. Ain't that what I said? I just wanted to make sure. Did you hear him, Homer? I did, Hattie. Then get to town. Fine, Mr. Slater. Tell him to get that by and bring him here. Sure. Sam, I know how you're feeling, but wait. One of these days you'll be thanking us on your bended knees. Will I? Will I doubt it? Nobody's convinced me I wasn't right. I only give in because if I hadn't, I'd have gone local. You've been there for some time. Oh! Don't just stand there, Homer. Saddle up and get to town. Slater. Oh, howdy, Larkins. What's up? He'll sell. He said he'd sell. He will. Uh-huh. Now where's the fellow wants to buy? I'll take you and him out to the house. And if he pays 2,000, I'm still to get my 500? Of course. You wait right here. I'll have him here in a jiffy. Me, grab your coat and hat. We'll put it over. Yes. The cabinet will sell, and Larkins is waiting at the cafe to take us out to its place. I like this happen just about in time.  Don't go further this morning, just keep in the capital. Legislatures count the vote and coax away in the lead. Once the word gets around, things will hub. And come on, if all Larkins hears it. Homer Larkins escorted Slater and Meade to Sam Catlett's ranch house, where they received a warm welcome from Hattie, but none at all from Sam. Well, I'm pleased to meet you. Won't you men sit down? Sam, stand up at Homer, have your chair. Oh! There's no need for anybody to get up. This won't take as long. You've got the certificates already, ain't you? They're right here. Well, that's fine. You said you'd pay 2,000 for them, didn't you, Mr. Owens? I will. You've got the cash with you? I'll turn it over just as soon as I've looked at the script. Go ahead, Mr. Owens. Don't bother. What the? Mash, sweetie. Who's Williams? Davis, Williams, go ahead in. You too, Sheriff. Hey, let me out of here. Come on first. Follow those punners. Fighters follow Russians. Get his gun. I got it. That's the way you are, Mead. Or you'll get the same. Don't shoot. Don't. Come here. You don't need them guns. I gave up. Did you call this fella Mead? He told us his name was Owen.  He's linked Mead. The masked fella told me all about him. Yeah, and about his partner here, too. They're both of them crooks, and I'm here, and now I'm putting them under arrest. You can't arrest us. We're not crooks. Davis and Williams will swear otherwise, Mead. I brought them here from the Panhandle. Do you recognize them, or have you forgotten already? I've never seen anyone before. That's a blasted lie. You're the two fellas that got me drinking, and then tricked me into signing my name to a check for $5,000. And you sold me a gold mine you never had title to raise. I begged on the fight. You'd gone too far at some time, rather. And you had. You'd pay for it now. No, wait.  Listen, you too. Save your talking for your trial. They ought to be hung for what they did to me. They will hang if I don't have any say about it. I've got news for you, too, Sam. Yeah? Hook was elected. The Reconstruction Government is out. Texas is free. And if I'm any judge, the boom is on its way. Yippee! You hear that, Homer? You hear it, Hattie?  I was right all the time. But I thought, well, I was sure that... What you thought was that you'd find yourself a soft snap running my ranch and living at my expense.  But this one, you ain't. Oh, wait. For what? I've just been hoping I'd be proved right so as I could do what I've been hankering to do ever since you got here. Huh? Order you out. Now get.  That's telling them, boss. And if you don't want to go well, I'll toss him out for you. You've insulted me. I wouldn't stay here anyhow. Goodbye. And don't never come back. Same. All right. What you got to say. You can't order Homer out of my house. Your house? Well, when it's about time you learn this is my house and my ranch and that I'm boss of both. You took your turn at Boston and come close to losing me a fortune by it. All right. Keep still. But I... I said keep still. Yes, Sam. And don't never question my judgment again. No, Sam. And get out in the kitchen and fix me something special good to eat. I ain't had nothing but leftover since your fool brother come here and I'm tired of it. Sam. Go on.    Yeah, I reckon I would. I'm the boss again thanks to the mask man. I'm the boss and I know I'm the boss. And it sure feels good. The story you have just heard is a copyrighted feature of the Lone Ranger Incorporated.


tradition that every president leaves a message or a little gift of some kind in the desk here in the Oval Office. And I wondered if you'd given any thought to what you might leave behind for George Bush. A gift in the Oval Office? Or a note or something. Oh, I had thought maybe that I'd leave a little note in the desk to our foreman. And what might it say? I hadn't completely worked that out. Just ideas going through my mind and I'll have to wait and see when I write down. I wanted to ask you about one of the problems that you've thought a lot about over the last eight years in the problem of hostages. You'll probably be in a position of leaving offices leaving office with nine Americans still being held hostage in Lebanon. How much does that bother you and do you wish in retrospect you might have pursued a slightly different strategy, maybe a more high profile strategy for getting them released? I don't know what more we could have done. No, we didn't. In fact, we kept very quiet about it because we thought there was a better chance with all the various things that we explored in trying. Yes, it prays very heavily on me and has from the time that they were taken hostage. I think it's one of the cruelest, most cowardly, barbaric things that any group of people can do. And to those who have taken them, I feel that way. I hope and pray if it can't be us that it can soon be the next administration that will see them come home. Did you wish though that maybe you had made it a more high profile issue? No, it's a very touchy and ticklish thing. It's a case of if you try to explore the idea of rescue, you don't know where and you don't know what you could cause the execution of them by attempting any such thing. Mr. President, I wonder if you could reveal your private thoughts on one subject now that you're just a few days from leaving. If the Constitution hadn't prohibited it, would you have run for a third term or have you had enough? I haven't really thought about that because from the very first you knew that it was impossible, so it didn't enter my mind. And I can't put myself in that position now, but I can tell you what I feel about that amendment. Now that no one could accuse me of thinking this for myself or my own benefit, I feel that that never mind the individual who was holding the presidency at the time. That is an infringement on the democratic rights of the American people. This is the only office that is chosen by all the people. And I think they have a right to vote for whoever they want to vote for and for as long. You have people 30 and 40 years sitting up in the legislature. What is so different that says to the people how, no, you can't do that for this office? Mr. President, I know just to follow that up briefly if I could, it was Roosevelt of course who broke the pattern of the two term limit. Have you consciously in many ways emulated or copied his presidency? I mean you've sometimes been compared with him in terms of optimism and that sort of thing. Have you patterned yourself after him in any way? No. Over the years and long before I ever thought of public life, but when I was out there on, as I've called it, the mashed potato circuit and speaking on the things that I believed in, I came here with a pretty set program in my mind of what government should be and what it was intended to be by the founding fathers and where it had violated those precepts and my determination to change it. Now on the other hand, having voted for Franklin Delano Roosevelt four times because I was a Democrat, my first voted age 21 was cast for him. There is a similarity. There's been some great changes not in people but in parties. Franklin Roosevelt, when I voted for him, had a platform of reducing federal spending by 25 percent, returning to states and local governments and to the people authority and autonomy that had been unjustly seized by the federal government and the elimination of useless boards and commissions. Well now which side today is at home with that type of program? Ours, not the party that he was representing at that time. And I've called attention to that a few times. Mr. President, when you and I were growing up, the situation in America concerning immigrants was quite different. We had a different kind of immigrant coming into this country. Now we have an explosion of immigrants from countries like Mexico. We have immigrants from Central America and they bring a different set of problems. They fit into the American society differently. I'd like for you to talk about your view of America with these new immigrants and their role in shaping America into the future. Well, I think what maybe you've brought up is a subject that immigrants, to me I've always believed that the Lord put this great continent here for those people wherever they may be in the world who had a special love for freedom and the courage to uproot themselves, leave family and friends and come to this country to start a new life. And I still believe that this country should offer that. But what has caused this kind of new immigrant, as you call them, are their refugees in the search for democracy that's going on in the world and the development. These are people that are fleeing from threats to their lives, to their freedom and so forth, in these various other countries. And I know that this can bring about a problem in which you can say can't any one country. We've always offered a refuge. We've always had and set quotas of refugees that we were willing to take. But do we come to a point in which we just plain can't handle them? Which doesn't that then say that what we should be doing is even more in trying to replace totalitarianism and persecution with democracy in these other countries to where they won't have to be refugees? What steps as you leave office do you recommend to your successor in either making sure they don't leave some of those countries or inhaling them in places like Miami now in the event they do reach this country? Well again as I say we must we must do everything we can to offer humane treatment to these people who are legitimate refugees from persecution. And yet at the same time as I say I think that we must step up our efforts to reduce the need that the refugees have by in those countries to do everything we can to continue the spread of democracy. It was a good for them to be here in this country. Do you welcome them with open arms? Should they be here? Are they doing good things for America? Well I think not only should we welcome them but I think there is an area where we should also collaborate with our allies and other democracies to make sure that everybody is doing their bit in this that maybe we're going to have to redirect refugees to other countries that are also willing willing to take them. Which countries? Well as I say all the democracies should recognize a responsibility in this but the real responsibility is to eliminate the things that make them. For example I have talked to the leader of one country where persecution is based on on a religious factor and the and yet there is a reluctance to let them go of all manner of things that they can't afford the loss of the manpower or anything of this kind and I once said well isn't the real answer to your problem then not the keeping by force of people are trying to go but to allow those people the religious freedom in which they won't need to be refugees they won't be seeking exit from your country I didn't get an answer but which country which leader well since I may be still asking that question no I won't name the country in the leader. Mr. President I have two questions about Central America. What can the Bush administration do and what should it do to redeem your pledge to keep the countries alive as a fighting force against Marxism and aren't they doomed now to live in an exile as sort of on American care packages. Well we've haven't changed our mind about the need to help those people and I'm quite sure that I can't speak for the vice president but I know that he's been a part of all these things that we've been doing here but again we come down to the problem of the division here in our own government of a Congress that refuses to acknowledge that need for those freedom fighters and thus in a way is on the side of of the Sandinistas in Central America and who are who have a totalitarian state and I've never been able to understand it there's no question but that the Sandinistas have mounted over several years a very potent disinformation program for example one day they arrived on my desk a slick paper magazine a beautifully produced magazine produced in Berkeley, California and it was a program it was a magazine of straight propaganda by the Sandinistas and when you came in there to that card that is in every magazine about how you can subscribe the card in that magazine said to whichever reader was reading it said here are the instructions as to how you can get this magazine in the hands of your congressman or senator and urging them to subscribe for congressmen and senators but there's division right now up there in the hill not only just on the contrast but within the other party which has whose leadership has opposed us on this contra aid from the very beginning there are members of that party people in the Congress who have journeyed down in Nicaragua to see for themselves and who have avoided the Potemkin village policy of the Sandinistas and have come back having seen for themselves the persecution of the people and so that they are immune to this well let me give you an example just personal experience I read a story in the press about a bishop in this country who had gone down there and who in his story told them about he had led a group of refugees up across the Honduran border who were fleeing the Nicaraguan government and the story said that on the way they were attacked by the Contras and rescued by the Sandinistas well I made it a point of tracking down by phone where he had returned to this country that's how the story came out to track him down in the phone and told him I'd read the story and what he had said about this attack and evidently he hadn't read the story because he said to me no that's just the opposite we were attacked by the Sandinistas and rescued by the Contras the second question was should the United States abide by the treaty with Panama that requires us to turn the canal over to them in ten years time if as long as general Noriega remains in power well I know that that is a subject that I think we should be treating with and of course it's too late for me now to be treating with it but I think it is something definitely to look at because our attempts to to oust him I think we're in line with the thinking of a great many people in Panama and there's no question about his totalitarianism and also I don't think there's any way to escape the fact that he's a part of the the drug fraternity so it's going to be I'm let me just say that based on whatever the situation is I think that's something that should be taken into consideration by whoever is in charge at that time president you said in a recent television interview that there have been times in this office when I've wondered how you could do the job if you hadn't been an actor I I'd like if you could to explain what you meant by that and just and if you could give us an example of of a time or two where where being an actor was especially beneficial to you as president well what I had in mind when I said that is not that you learn something in the acting profession that could be helpful to sitting at that desk what I was what I really meant was there's a kind of a comparison back in the golden days of Hollywood when there were the major studios and the stars were under contracted studios and salaries and so forth the publicity about Hollywood was such that there was a kind of looking down as if we were not quite good citizens and so forth and there was public portrayals and so forth were quite critical that was one thing that's similar to what happens here and the second thing was and incidentally that was wasn't deserved because back in that era this is part of what I started making speeches about when I was president of the screen actors guild divorce that we were supposed to be just people out there that were marrying and divorcing in a whole scale manner you know that the divorce rate for Hollywood was lower than the national average but there were a few people who were guilty of this multiple marriage concept and the portrayal then and the public acceptance and even the media treatment didn't look up the fact but just gave that general impression and then there was the other thing the in that day of so many fan magazines more than there are today and of the press major press having movie reviewers to review pictures we put up with an awful lot of critical reviews that I think were unjustified I was in a picture that I think is the best picture I've ever been in than many times has been listed as one of the 10 best movies and that movie was King's Row out of the 53 movies I did that one probably received the worst treatment from the movie critics of any picture that I was ever in they just I can remember one term that was used that it was a picture about people you wouldn't want to know and things of that kind so this is what I meant that it didn't come as a shock to me to read columns or editorials or hear criticisms of and this same kind of thing I'd lived with that for more than a quarter of a century in Hollywood. If I could follow up I remember when you first ran for governor of California the the you had to answer a lot of questions about whether you were just an actor who had memorized your lines or whether you could you could you could handle the job of being governor of California do you think that this is kind of a two-part question do you think you were underestimated because you were an actor and do and is there some way in which being an actor really did beyond this business that you you were you had had been criticized and you knew what that was like was there some way that it helped you in in your work in your in your in campaigning or in in or in any way well it's what made me think of that thing that I've just been discussing about saying once in the job looking back and saying could I have done it if I hadn't already been subjected to this and was able to tolerate and live with it the as I say I don't think I know I'd be taking up your time here with something but many years ago something happened an actor did something and the media it was out of line and the media jumped on it but not only on the individual the attack was widespread that on all the people of that profession and said that the entertainers the performers that were they were childish in their ways complete children in their attitudes and doing childish things as a result of this one misdeed by somebody and it remained for one journalist Irving S. Cobb to write a column rebuking his colleagues on this and I thought he did it rather well he said about this being childish he sent children he said if this be true and if it also be true that when we approach the final curtain that all men must bear in their arms that which they have given in life the people of show business will march in the procession carrying in their arms the pure pearl of tears the gold of laughter and the diamonds of stardust they spread on what might otherwise have been a rather dreary world and when they reach the final stage door the keeper will say open let my children in I kind of like Cobb for that Mr. President in the eight years you've been president there's been a remarkable change in the relationship between the United States and the Soviet Union much of which some people say is attributable to you and being tough in the beginning and then being willing to meet with Mr. Gorbachev can you retrospectively look back and see from your personal standpoint what it is you think inside you that changed or what changed in Mr. Gorbachev and what advice would you give Mr. Bush in terms of his future dealing with the Soviet Union and secondly looking at some of the criticism you've still received for having brought us to this point say from George Will who's a conservative or Bill Sapphire who say just recently that you will not go into the the halls of the great presidents chiefly because you embrace Mr. Gorbachev too quickly have I embraced him too quickly what harm has been done he's reduced his forces we have the first treaty that the Soviets have ever signed in which they agreed to destroy weapons they already had no I came here with a belief that some of the previous efforts to meet with the Soviets who had we must recall the previous Soviet leaders had an expansionist philosophy every one until the present one had at some time or other reiterated before the great Soviet Congress and so forth that their duty must be a one-world communist state that this must be the goal to not just be communist where they were but to spread it throughout the world and in many of the attempts in the so-called detente and so forth of previous efforts I thought it was the wrong track and I believed and I thought that I was something of a student of this because in Hollywood we faced our own international crisis right after World War two when a number of our unions had actually been invaded and taken over by communists and there was a great effort by virtue of a jurisdictional strike to gain economic control of the picture business for propaganda purposes and that was at a time when 75 percent of the playing time of all the theaters of the world was taken up by Hollywood made motion pictures and having had that experience and studied enough to know that I was speaking fact when I said that the Soviet Union that the leaders had openly expressed to their people the right to lie and cheat and steal if it proved if it furthered socialism and I came with a belief that peace could only come about through strength you still have total faith in SDI the Star Wars as a as a practical and achievable method before you go to that could you go on and whether let me finish with this and I will let me just just say that I came here with that belief now under the previous administration our allies had asked for help because they became aware that the Soviets had targeted all the major cities of Europe with the intermediate range nuclear weapon and they asked for help from this country well time ran out on the previous administration although and it fell to us and we evolved the plan of putting in the Pershings and the cruise missiles in other words intermediate range weapons on our side as a deterrent to them using theirs against Europe and in the negotiations that had been going on in the talks between our two countries the Soviets oh they were wild in their objections about us putting those weapons into Europe and this was when I proposed then we'll all write 0 0 you take yours away and we'll take ours away and we won't put any more in we won't complete what we're we've started and they walked out of the meetings in protest this was in Geneva they just walked out and we proceeded to put in the the Pershings and the and the cruise missiles as a deterrent and quite some time later they contacted us said they wanted to talk about this situation and they used our own term they wanted to discuss 0 0 on intermediate range weapons so you felt vindicated at that point and then you would leave office now feeling that not only was the right thing to do but you would advise Mr. Bush it was the right thing to do the there wasn't any question but that that's why they came back once they were targeted themselves with intermediate range weapons they came back and we're willing to talk and the talk resulted in a treaty in which we have eliminated those weapons but the one thing that I must say about no change in me and even though I've found Gorbachev to be apparently quite different than the three leaders who were here for before he came during my term they kept dying on me and there wasn't very much chance to talk to them although I did I had had meetings with some of them and talk but they were still addicted to that expansionist philosophy then when it turned and and they came back and in this treaty and we then opened up the Star Treaty which was on another type which is still going on another type of weapon but this was not suddenly me saying oh everything is fine that's why I used that one Russian expression that I kept using in all the negotiations with Mr. Gorbachev Dover Yae no Prova Yae which means trust but verify and this in previous attempts at treaties had always been the great problem was to get agreement on their side to allow verification of terms well does it hurt you the conservatives have criticized you for saying that you embrace Gorbachev too quickly and therefore diminishes your place in greatness and history they're wrong because I am not and even to this day I am I'm motivated by deeds not just words and the deeds have been there we have the verification to an extent that I don't think anyone had ever dreamed would have been possible we've got literally hundreds of officers the military personnel in their country in positions to to verify they have the same here now without us you expect them to have such deep to do to do something about the San Adistas or about Cuba do you do you expect this this new attitude that you see in Mr. Gorbachev to be translated into the Soviet Union taking any kind of a different position in terms of arming its countries or the countries that it's alive within this hemisphere well the on that we do the same thing some other countries where we're helping to spread democracy to but we are still negotiating we haven't everything isn't a hundred percent as yet but I must say the progress that we've made the and particularly in human rights which has been at the base of most of our our dealings with him the change there is is beyond anything they've ever done before I know he's telling me that we're out of time no I think that would look like trying to cash in on this honorable position no I don't think what oh no I'll see what's out there in the market I don't even know what but your question SDI yes we have to go forward with SDI I think that I believe in that this is I believe and I have actually heard words himself a nuclear war cannot be one and it's never before nuclear war is contrary to all the rules of warfare that we always subscribe to the World War one and so forth with regard to the safety of civilians nuclear war the target is civilian the wiping out of cities and so on and so I think my idea very very beginning when I first came at a meeting with the Joint Chiefs asked if they believe it was possible to conceive of a defensive weapon there's always been a defensive weapon for every other weapon in bed that could start eliminating these weapons if they were ever used as they came out of their silence and they asked for a few days they came back in a few days and said yes they believe that such a thing couldn't be and I said we'll start you're gonna have your work cut out for you I'm just gerrymandering when you go back on the mashed potato circuit in California gerrymandering district line Supreme Court said the California case was okay correct everybody you see it's gerrymandering yes that's gonna be part of my that I'm going to be happy because this has been going on for half a century whether the Supreme Court said yesterday hey the California redistricting was fine no problem


we're going to create a block style business letter. Now I have the business letter already typed out so that we don't have to worry about typing. We're just worrying about formatting and using Microsoft Word. This is Microsoft Word 2010. It's with the using ribbons. So if you have 2007 or 2010, it'll look the same up here on the screen. I don't have my screen fully extended as large as possible because it's better for the video to have it slightly smaller. So yours may look slightly different. You may see more options than I'm showing right here, but everything that that is in the word processing program is here. So let's start. This letter is, well it should be the default. We can see here is the Microsoft default, which is Calibri 11 point and it's a normal style. This is not what we need for a business letter. So let me turn on the show hide. This button right here, the show hide button is so important. It's going to show us all of the non printing characters. So I'm going to turn it on.  So you can see every time I hit the space bar, I get a little dot and it shows me that that is the space bar was hit. Every time I hit the enter key, the paragraph mark shows up. So I've hit James and company enter 123 Elliott Street, Northwest Enter. Now when I turn this off, there's too much space between the word James and company and the address for that. So this is a letter without letterhead. So the return address of the person who is sending it, their personal address is right here. And I don't want all of this space between it. So I'm not going to use the Microsoft Calibri 11 point normal as my default for writing business letters. For business letters, I want Times New Roman 12 point no spacing. And I'll add the spacing by using blank lines where I want it to be. So the first thing I'm going to do is I'm going to put on my show hide so I can see my non printing characters. And I'm going to select the whole document. And there's a lot of different ways to do this. I can click and drag all the way down. In this area right here, it's called the selection bar area. If I triple click 123, the whole document gets selected. So I'll do that. And I'm going to change make the changes that I need for a proper business letter. Block style business letter. Block style means everything is left aligned and we can see it is it's left aligned there. Here's center. Here's right. And here's fully justified. So it's all left aligned. That's fine. We want it to be Times New Roman. So you can see that I use Times New Roman a lot personally. So it's in my recently used fonts. If I didn't have it right there, I could just start to type. You can see that Calibri is selected. If I start to type Times New Roman automatically pops up. So I'm going to choose Times New Roman. And I want it to be 12 point font. So I choose 12 point. I can also use this grow font, but I tend to use this box. And I want it to be no spacing. Now when I use no spacing, now it looks horrible because it's all squished together. But I need to choose where the spacings are. So here's my return address. I'm going to hit the enter key to separate it from the date. And the date needs to be separated from the inside address, which is who the letter is going to. And it needs to be separated by two or three blank spaces. I tend to use two. Some people use three. Here is the inside address and it ends after the zip code. So I hit the enter key. I have one blank space. Dear Miss Reynolds, I need a blank space. I need a comma here or a or a colon. Some offices prefer colon. Some offices comma. I'll use commas. Okay, so I have one enter. Here's my first paragraph. I know this is the end of the paragraph because I see the paragraph mark. So I need to hit the enter key. It says, in addition to the lunches we discussed, we will need the following items. All right. So there are three items. So those do not need a blank space between them. And I'm going to hit the enter key. I will enclose a spec list. Okay, there's the end of a paragraph. I hit the enter key. I go to this paragraph. I hit the enter key. Here is sincerely. Now this is the closing. And after the closing I need space for a signature. And some people's signature is very big. So we always leave three blank spaces for someone to handwrite their signature. And then here is the name of the person because often signatures can't be read. So there's the name typed out. Here's the title of that. David Johnson is the HR manager. And then there's a blank space. And then the typist's initials go right here. So I'm going to type my initials. And I see up here I will enclose a spec list. So there's one other document that's going to be inside this letter. So I need to have the word enclosure. But watch what happens. I've said my initials, CW. And now I'm going to hit the enter key so I can type enclosure. And you see that the C has been capitalized. So I'm going to type the word enclosure and then I'll go back and fix that. So what happened is there's a feature turned on inside this Microsoft Word program that says the beginning of every new sentence needs to be capitalized. Well, it thinks that this is a new sentence. But in fact, it's not. Typist's initials are always lowercase. So I just backspace it out and hit a lowercase C. So let's talk about this for a minute. Backspace versus delete. On your keyboard, you'll have both the backspace key. And I'm going to click right in the middle of sincerely here. And when I use the backspace key, it goes back towards the left. When I sincerely, when I hit the delete key, it goes to the right or forward. So you can use the backspace key or the delete key depending on which direction you want to go. Now, I really don't want to get rid of the word sincerely. So I can use the undo or the clear to put back that word that I did. So let me, I'm just going to continue to undo here. And it's going to eventually bring back. I went too far because now it's a capital C. So I'm going to redo the typing. So remember our quick access toolbar, we turned features on and off. And I always have my undo and redo turned on because I use those often. You can see how far I can go back. I can undo 18 actions. Well, I don't want to, but I could. All right. So I have a red squiggly underline, the red squiggly underline often not 100% of the time, but often it means there's some kind of spelling error. Well, I know this isn't true. CWR my initials. So I just leave it. I ignore it. I know that Mrs. Reynolds name is spelled correctly here. If I right click, it'll give me a different spelling that it wants to use. And it says that I should be spelling it like this. But in fact, this person spells her name without the Y. So I'm going to leave it. I can ignore ignore all or I can add it to the dictionary. If this was someone I regularly mailed letters to, I would add her name to my dictionary, but I don't want to do that. So I'm going to ignore all. All right. Let's turn off our show hide here for a minute. And we have the return address, the date, the inside address, the greeting or salutation. We have the body of the letter. We have the closing. We have the name, the title, the typist initials and the word enclosure. So this letter is complete as a block style business letter. Now I want to show one other thing in this video. We used the no spacing style here. And let me turn this back to the Microsoft normal for a minute. So what this is is every time the enter key was hit, the normal style puts a blank space here. Now our blank spaces, if I look down here, are Times New Roman 12 point. Times New Roman 12 point because that's what we said they were. We don't know what this blank space is because there's no paragraph marker for us to look. So to be able to see what this blank space is right here in the paragraph grouping, we have a little arrow and that arrow opens up a bigger dialog box for us. So if I click on that dialog box, it shows me that the spacing after this line is actually 10 point and it says that the line spacing is multiple. It's not single. So when I use no spacing, it means single space with zero before and zero after. But this default that Microsoft has is 10 point after and it's... Oh no, this is 1.15, I think they have it at. This is the Microsoft default. So I don't want that. But I could change it right here. I could say zero and single. It's kind of the long way to do it and I could do the same thing here. Zero and single. Okay. And so now you see it looks like I've used the no spacing. Oh, I still have it on this one because I have that extra space right here. Or I could highlight all three of them, hit the paragraph marker and say zero and single. And they're all back to the no spacing style. It says normal because in reality I didn't change the style. I changed the paragraph information. So I'm going to hit no spacing. All right. So now the whole document is no spacing. And that's your standard block style business format. Everything is left aligned. We do not hit the tab key or hit the enter key how many times before the beginning of a paragraph. We don't need to. What this blank space says is new paragraph, new paragraph, new paragraph. When you put the use the tab key or space in at the beginning of a paragraph, what you're saying is new paragraph. But we already have the blank line that shows the new paragraph. So we don't need that. This is the block style. Everything is left aligned. So open your word processing program. Open a document. It'll have a blank document when you open it. It'll look like this.  If you have the font grow or font smaller. I'm investigate left, center and right aligned. So I'm going to type my name here and it's right aligned. It's center aligned. It's left aligned, fully justified as more for long reports where you want something to be to start exactly on the left margin and end exactly on the right margin. Pardon me. And look at your paragraph dialogue box. And see what your default is and then play around with the styles, spacing and no spacing. So on your word processing program, all of these things should be here. Have fun. All right. So we have our finished business letter. Now let's make sure that we remember how to save it. You can see I haven't named it. So I'm going to hit save or save as. So I'm going to hit save or save as. It doesn't matter. It will bring me up to the save as dialogue box. I can put it either in my flash drive that I have plugged in. I can put it in my docs in the computer. I can put it on the desktop, which is often what I do if I'm just practicing and playing around. So I'm going to call this document practice this letter. And I'm just going to save it to the desktop. So I hit the desktop there. I can see that's where it's being saved in. And I'm going to hit save. Now if I wanted to print it, if we remember, I would go to file and go to print. And here's my backstage view. I have one page and I would just hit print. Or I could go up to my quick print toolbar and hit print. And it's printing. All right. Give it a try.


Imagine what might be possible if we could plug our brains directly into our smartphones. The whole world would be at our neurological fingertips, from speed of thought social media and Google searches to super fast gaming. We might even be able to supercharge ourselves as we merge our minds with intelligent machines. And of course, this would be a game changer for how we treat brain injuries and diseases. But amazing as all of this sounds, what are the potential downsides and how do we navigate around them? As brain machine interface technologies become ever more sophisticated, this is becoming an increasingly important question. Underlining this, Elon Musk's company Neuralink is already well on the way to developing cutting edge brain interfaces that wirelessly connect to your phone. Musk even talks about this tech as a fit bit in your skull, albeit one that can literally rewrite how you think, act and behave. Of course, we're still a long way from walking brain implant surgery becoming a reality, but the closer we get, the more important it is that we understand what the challenges are and how to navigate these. To help come to grips with some of the more complex ethical risks that advanced brain machine interfaces present, here are five things we should probably be thinking about now.  Fortunately, there's a lot of attention being paid to the security of brain machine interfaces at the moment. But as soon as we have wireless devices that are able to write to your brain as well as read from it, we're opening the door to a hacker's paradise. Two, who owns your thoughts? These days, data is money.  The question is, who is going to have control over how this is used or even abused? Three, who owns your brain? Of course, you do. But if a brain machine interface changes how you think or how you perceive the world around you or even how you behave, what happens when it needs an upgrade or a service? If we're not careful, you may still own your brain in the future, but you're relinquished control over how you use it in a service contract you cannot afford to break. Four, similarly, who owns your identity? Imagine we get to the point where you can alter how you feel through an iPhone app or where someone else can alter how you feel as part of, say, an online multiplayer brain machine gaming setup. Or more worrying still, what if the police or your doctor or even your employer gets to determine how you feel through that seemingly harmless Fitbit in your brain? These are all rather speculative possibilities, but if the technology has this capacity, you can bet your bottom dollar that someone's going to try and use it to benefit themselves at your expense. And finally, five, who gets to have a supercharged brain and who does not? It's one thing if performance enhancing brain machine interfaces are accessible to most people, but if only the rich and the privileged get to use the tech and they then use it to become even more rich and even more privileged, we have a problem. Of course, there are incredible potential benefits that could come from advanced brain machine interfaces if they're developed responsibly. Just imagine, for instance, being able to get rid of brain fog at the flick of a switch or control your mood with the swipe of an iPhone app. Or what if you had a device that could help you recall memories with ease or Google anything with a single thought? Yet this is a technology that is potentially so transformative that it places us on a knife edge between a future full of wonder and promise and one that could echo our worst nightmares if we're not careful, which is why even though advanced brain machine interfaces are still some way over the horizon, it's not too early to start thinking about what sort of future we want and how we're going to get there. For more information, please do check out the links in the blurb below and as always, stay safe.


Cellular senescence is a state of stable cell cycle arrest that occurs in response to damage or stress, and is associated with aging. It is characterized by the expression of specific genetic markers, which can be detected in various tissues and organs throughout life. Senescent cells accumulate in multiple organs during aging, contributing to tissue dysfunction and giving rise to pathological manifestations such as cancer. Recent studies have shown that targeting senescent cells could be beneficial in treating diseases related to aging, such as cancer and neurodegenerative diseases. Additionally, in vivo, identification of senescent cells has significant potential for early diagnosis of multiple pathologies. This article was authored by Marta Pois-Ribs, Estella Gonzalez-Gwalder, Gary J. Doherty, and others.


Check this out guys, we just arrived at the Shot Show range day for Shot Show 2024, look at this. We're on the desert, beautiful, beautiful view and we're just gonna go around to see what people have for us, maybe shoot some guns. I got my Media Badge here, we're gonna go around and make some cool videos and shorts so let's get to it. It was getting loud that I had to use, I had to put on my phones and I mounted my GoPro on myself.  Check this out, we're on top of this hill here, the range goes, the mountains are behind me, I mean it's just beautiful view over here, I love it. Alright, check this out guys, I got an upgrade, my badge here, it's a little plastic Velcro case which is pretty sweet, so pretty much the entire idea for the range day at Shot Show is so that exhibitors and media people like me, creators can come out and shoot different guns, test out different gear and then these exhibitors who will also purchase them in the future can get it like hands-on on the product before they purchase and then they can figure out how much they want to purchase and all that stuff so I'm here as a media so it's more like I'm just creating content like this video and I'm going around shooting guns and testing out cool gear. So far it's been pretty fun. What's going on man? Good man, I'm Johnny. Jake. Jake, great to meet you man. Nice to meet you man. This new backstrap? Yes sir. Oh that feels real good. Yeah man, feel free to rip the cobble through. Man, that feels really good, that backstrap? Yeah, it's nice. It's aggressive but it's not like digging into your hands too much. Oh I like that a lot, yeah. Oh man, that feels really good man. Dovetail cut where the magwell interacts with the backstrap and then it's just got a loaded plunger in there that holds everything in place. Can I hurt one more here? Yeah, absolutely man. That's real cool. I like that backstrap a lot, real cool. This one's got the port of wind, the winded slide is not the port of barrels, that's going to be your best bet. It's got backup irons on it so they just have to use it. So it's got the short barrel for a quarter but we got the big one. Oh we got our Savage 1911 9mm. Sweet, can I try a couple? Absolutely, absolutely. Oh let me get you loaded up here. Yeah, no for sure. So last year we released our 45, this year we got a 9mm. Okay, I have a full stainless steel model as well as a two tone so black slide stainless steel frame on the other model. That feels really good. Yeah. That's sweet. 49. Okay, it's the slide of the 47 of the 17 on the frame of the 19. Back banks, there you go. Appreciate it. You bet, take care man. Sweet. It's awesome. In the desert shooting guns, having fun. Heck yeah dude, this is a blast. Look at this. Look at this. Crazy. You hear those sounds? Those pew pew sounds? Those are the best sounds. God, I love it so much. So far, really good range day. A little pumped about it for them so got to meet some really cool people. They'll be good. So the way these boots work is that these brands will have their guns and rifles and shotguns set up and then us the people will line up and wait their turn to shoot the rifle, the shotgun, the pistol. Well you guys, that is range day at Shot Show 2024. It's Monday, which means tomorrow Tuesday through Friday will be the entire show open to the public. And what is crazy is that that Shot Show is about 14 miles long and it has over 2,500 exhibitors at this convention center which is going to be just wild. So I'm already pretty tired because my legs are tired from walking up against the sand here and the rocks and dirt and mountains. And so I just can't imagine how many miles I'm going to be walking this entire week. So I appreciate you guys for watching. I'm not going to do that. I'm going to go on to the bus, go back to the hotel, get some food, rest up and I'll see you guys in the next Johnny Q video. Thanks for watching. Peace.