afternoon everybody gives me great pleasure today to welcome Sharon Donnery of the Central Bank on a very auspicious day International Women's Day what could be more appropriate and a few housekeeping rules before I introduce Sharon and I would ask you if you have not done so ready to either switch your phones to silent but you are encouraged to tweet which is a new one actually on me and I should say that the initial address here which Sharon is about to give will be on the record however the Q&A afterwards as is usual in this house is under Chatham House rules and in case there's anybody out there who doesn't understand what that means it means that participants are free to use the information you'd lean during that Q&A but neither the identity nor the affiliation nor indeed the location may be revealed to any other person all right and and I come back to that in a moment after I perhaps do the rest introduction and in a way Sharon Donnery leads little introduction here because she has featured prominently in the media in Ireland for in recent times and so I will just content myself saying that she was appointed as deputy governor of the Central Bank in 2016 she is an ex officio member of the Central Bank Commission and the governor's alternate on the governing council of the European Central Bank ECB another organization which a number of Irish Central Bankers have been linked in recent times and Ms. Donnery also represents the Central Bank at the European Systemic Risk Board and was chair of the ECB Budget Committee appointed in December 2016 she'd been with the Central Bank since 1996 and worked as an economist in the monetary policy division and she has a BA in economics and politics and an MA in economics from University College Dublin. Sharon I would ask you to take podium and recalling the title of your speech which is a very interesting one is a tale of two tales risks and resilience in uncertain terms. Time, sorry. Thank you very much for the kind words of introduction Pat. I think I'll try not to tweet during my own speech so good afternoon everyone it's a real pleasure to address the Institute and lovely to be here with you today. So the ebbs and flows of countries economic and financial fortunes are not always predictable and in Ireland I think this is even less so. So while sometimes there are patterns or regularities for such events they're not always a perfect predictor of what's to come and uncertainty always accompanies the predictions and when Sheamus Heaney died in 2013 the Economist magazine published an obituary remembering him with the byline a shy soul and they noted that during his years studying to be a school teacher in the 1960s he had used the pen name pardon my latin now insertus meaning uncertain yet they said there is little that is hesitant in his poems. Now there are plenty people who may think there's no poetry in economics but economics I think like Anni Field can learn from the greats in others so a central theme of my remarks today is uncertainty. Put simply Ireland today faces considerable uncertainty. The Irish macro financial environment could change significantly over both the short and medium term and the EU leaving the UK leaving the EU is not the only risk. The international economic environment has also deteriorated yet the domestic economy is currently robust. So we find ourselves in the interesting position of assessing a potential slowdown in the external international environment the UK departing from the EU while also worrying about potential overheating from a domestic perspective and plotting a course through such an environment with the potential for a very wide range of future future outcomes is indeed challenging. And while we can say with certainty that we have greatly expanded and strengthened our toolkit to do with various risks I think it's important that we maintain a sense of humility about what we can forecast and more to the point what we can control. Yet like Heaney despite the uncertainty that we face we cannot be shy or hesitant or complacent in our words not least in our actions or our policies. So today I'd like to discuss the economic outlook both for Ireland and the international environment then I'll elaborate a little bit on some of the risks I think that Ireland faces and I will finish by giving you some thoughts on what policy can do when we are facing these very different risks. Now given that I have the opportunity to speak at the IEA today and the timeliness of my remarks following the announcement from yesterday's monetary policy measures I'll begin by just focusing very briefly on the euro area and the global economic outlook. So as Pat mentioned I'm the governor's alternate at the governing council and yesterday the governor and I returned from a meeting of the governing council of the ECB and I think a key concern of the council at that meeting was uncertainty. Specifically the persistence of uncertainties related to geopolitical factors and the threat of protectionism which appear to be leaving marks on economic sentiment and on account of this the risks surrounding euro area growth and its outlook are still tilted to the downside. Incoming data have continued to be weak in particular in the manufacturing sector reflecting the slowdown in external demand compounded by some country and some sector specific factors. The impact of these factors is turning out to be somewhat longer lasting which suggests that the near term growth outlook will be weaker than had previously been anticipated. This assessment is broadly reflected in the March 2019 ECB staff macroeconomic projections for the euro zone which foresee real annual GDP increasing by 1.1% in 2019, 1.6% in 2020 and 1.5% in 2021. But compared with the December 2018 euro system staff projections the outlook for real GDP growth has been revised substantially down for 2019 and slightly down for 2020. Turning to Ireland our trade and financial openness is a fundamental structural characteristic of our economy. This is most evident from the familiar multinational brand's headquartered here and as we all know the Irish economy is highly integrated with the international economy both in terms of trade and with global financial markets particularly regarding cross-border capital flows. Over recent decades we've benefited very positively from developments in the global economy and the move towards high value, low volume trade and this has provided many benefits in terms of both revenue and employment. So for example multinationals are estimated to account for about 22% of total employment now. However this also means that structural shocks emanating from abroad can have an important bearing on the performance of our economy. These can include changes in global trade or international taxation regimes and indeed the structure of our economy means that it can even be affected by idiosyncratic shocks facing an individual sector or firm which is operating here. So while providing many positives this openness also increases the propensity and sensitivity of the Irish economy to global shocks be they structural ones like those I just described or cyclical ones driven by the global economic cycle or by developments in global financing conditions. This is evident in the data and the Irish macro financial environment has been more volatile than its European peers in the past. If you look at cross-country volatility of a range of macro financial variables since the 1980s including house prices, GDP, household income, employment and credit for example they all illustrate this. So in summary there are big benefits for Ireland being a highly globalised economy but those benefits also bring risks and those risks need to be managed appropriately. So turning to home a range of the indicators that we monitor and analyse show that the economy grew robustly in 2018. The strength of activity has been supported by strong growth and employment and that in turn has stimulated incomes and supported consumer spending. We've also seen an acceleration of investment in the economy for example particularly in building and construction. Taking a slightly longer term perspective the strong recovery since 2013 has yielded several important benefits. One of the most clearly tangible places where we can see this is in the number of people at work. So nearly 420,000 additional people have found employment since the low point which we experienced in 2012 and nearly 2.3 million people are currently in employment exceeding the peak of 2007. Crucially growth in employment has been broad based across different sectors of the economy so for example construction employment which accounted for one in nine jobs in 2007 today makes up just one in 16 and the improvement in labour market conditions has also been felt across different regions. We've also seen the overall size of the labour force grow so more people, particularly older people, are participating in the workforce and net inward migration has also resumed. So in the year to April 2018 it amounted to 34,000 people which is equivalent to 1.4% of the labour force. I think these are clear signals of the strength of domestic economic activity. Now looking ahead the bank's central forecast assumed that the UK Parliament will ratify a withdrawal agreement and that a transition period will come into effect until the end of 2020. So based on this key assumption the outlook for the Irish economy over the coming years remains broadly positive. However we do expect that a tightening of conditions in the labour market and bottlenecks in the housing market will contribute to a moderation in growth and that moderation also reflects the less favourable international economic environment I discussed earlier with the prospects for growth in our main trading partners less than previously anticipated. So in the bank's most recent published forecast we now expect GDP growth this year of 4.4% and a more moderate 3.6% next year. Underline domestic demand which is a measure that gives a more accurate picture of economic activity is forecast at 4.1% this year, moderating to 3.3% in 2020. We also expect further growth in employment in 2019 and 2020 of the order of 2.2% this year and 1.7% next. So given these forecasts for labour force growth it implies that the unemployment rate will drop to around 4.9% this year and 4.7% next year. So I'd say overall our central forecasts indicate that the current economic prospects for the economy are quite robust. Risks however are prevalent from both inside and out. However it's important that we're not complacent either in thinking that the UK's departure from the EU is the only risk to the economic outlook. The international outlook is uncertain and should we avoid a disorderly UK exit and the dent to Irish economic growth that would come with it a continued fast growing economy is only desirable as long as that growth is sustainable. Events could result in outcomes which are well beyond what we expect from our current central forecasts. In current circumstances much of that uncertainty arises from the lack of clarity regarding our future relationship with the UK and from the spectrum of potential outcomes a no-deal disorderly departure clearly represents a worst case scenario for us. The abrupt ending of cooperation agreements would have a material and immediate economic effect. In our latest quarterly bulletin for example using our economic modeling tools we assessed the possible macroeconomic implications of a sudden disorderly Brexit. Now given the unprecedented nature of such a no-deal scenario quantification is in itself highly uncertain and the exercise represents more of a scenario analysis than a forecast but it considers what could happen under certain assumptions though not necessarily what is most likely to happen. With a disorderly departure significant additional frictions and costs would arise and these results not just from the introduction of new trading arrangements but also for the breakdown of some arrangements that make cross-border trade possible. So for example issues we've heard debated publicly around regulatory and customs issues, border infrastructure issues and of course legal uncertainties and people are likely to feel this in their everyday lives. There would likely be immediate damaging consequences for trade and for supply chains for production, distribution and retailing. Now models and forecasting tools can be used to estimate the impact of long-run changes to trade arrangements however they're a lot less suited to predicting the short-run effects and the potential disruption that would arise from a breakdown in those arrangements. The scale of disruption would also be influenced by the ability of firms and retailers to respond and adjust and policy responses or mitigating actions would also help to ameliorate the situation. Nevertheless it's clear that a no deal scenario would have very severe and immediate disruptive effects and would permeate all areas of economic activity. Certain sectors as we've discussed before would be disproportionately affected particularly agriculture and food and border regions for example would also be heavily affected. So we calculate that a disorderly Brexit could reduce growth in the Irish economy by four percentage points in the first year albeit that as I said this figure itself is subject to much uncertainty. However as a result of domestic demand and the strong non-UK multinational sector our assessment is that there would still be some positive growth and output over the coming years even under a no deal scenario. This would be materially lower than the central forecasts I outlined earlier and will be closer to around one percent growth in both years. Now a fast growing economy is desirable as long as that growth is sustainable. However sometimes the economy can also grow too fast and overheat and this happens when an economy reaches the limits of its capacity to meet demand from individuals firms and the government. And one element of this concept is full employment which occurs when almost everyone who wants to work has a job. So when this happens there's very little available slack so in other words the amount of unused resources or spare capacity in the economy becomes very limited or non-existent. Of course one of the key problems with overheating is that it tends to result in a harmful downturn. Temporary surges create dynamics that are difficult to reverse. So for example wages wages can rise quickly to unsustainable levels. Overheating can also make households and firms overly optimistic about their future income prospects and lead them to take on too much debt. So that if this future income fails to materialize readjusting to a sustainable growth path can be painful. And the result can be bankruptcies, job losses, wage reductions and cuts to public services. Now as I mentioned earlier our central forecast suggests some moderation in growth over the coming years. However despite this we still see labour market conditions tightening further. Surveying a range of indicators reveals mixed evidence as to the extent of current overheating pressures. Investment in the real economy remains well below its previous peak. Overall credit growth is subdued as households continue to reduce their debts. The modified current account of the balance of payments an important indicator of imbalances recorded a small surplus in the most recent data. So while these measures are not indicative of significant overheating pressures currently past episodes demonstrate that the position can change very quickly. As the economy moves closer to full employment there is a need to guard against the risk that economic conditions give rise to overheating dynamics. Now to date the tightening of the labour market has not been accompanied by significant evidence of strong wage or price pressures. However further increases in aggregate demand may lead to an overheating economy. So we find ourselves in the interesting position of considering a potential slowdown in the international environment and the UK leaving the EU. And at the same time also worrying about potential overheating from a domestic perspective. The potential for a wide range of future outcomes and the associated uncertainty is indeed challenging. And to guard against these risks we need to build resilience. Resilience in households, resilience in businesses, resilience in the public finances and resilience in the financial system. This is important to withstand future downturns and if buffers are built up during the good times then policy can react during a downturn. So counter cyclical policy therefore offers a way to moderate the effects of downturns supporting demand in the economy when it's necessary. However the ability to implement that counter cyclical policy relies crucially on taking advantage of positive growth periods to build up those buffers. So given our continued strong growth right now reducing Ireland's high debt to safer levels for example should remain a priority both in order to protect the public finances in the face of those risks and also to lay the foundations for sustainable future growth. Ireland's debt to GNI star ratio remains elevated and above 100 percent and reducing that debt burden is vital to future proofing the economy to weather possible shocks. The unpredictability of corporate tax revenues in recent years also points to the danger of relying on what might prove to be partly transit resurgent revenues to fund lasting spending commitments. In recent years the public finances have benefited from an exceptional growth in corporation tax revenue and they've also benefited from savings on national debt interest payments due to the low interest rate environment internationally. Since 2015 revenue from corporation tax for example has consistently outperformed the Department of Finance's forecasts by average of about 1.4 billion per annum. Saving rather than spending such windfalls would help to mitigate against potential overheating and allow the build up of buffers which can be used in the event of future downturns. So just as fiscal buffers can be used to absorb shocks to the economy the financial system itself also needs to have such buffers because without these the financial system may react in a way that also deepens the economic stress faced by households and firms in a downturn by curtailing the supply of credit for example. Indeed the cost to the financial system of having insufficient buffers to absorb shocks became painfully obvious during the crisis. Now the central bank's mission is to serve the public interest by safeguarding monetary and financial stability and by working to ensure the financial system operates in the best interests of consumers and the wider economy and an essential outcome of our mission is strengthening the resilience of the financial system and in fact it is one of our five strategic priorities set out in our new recently published strategic plan. Our aim is to ensure that we at the central bank can and do play our part in strengthening the resilience of the system as a whole building on what has already been achieved since the financial crisis. So what has changed for the domestically relevant banking system since the crisis in terms of its resilience to deal with negative shocks? I think at a headline level three things come to mind. First its capital position relative to risk weighted assets has improved almost threefold relative to 2007. Reliance on short term wholesale funding from international capital markets has reduced such that the share of customer deposit funding has increased from less than half to around four-fifths and funding costs have fallen and despite recent market volatility have remained contained which suggests that counterparty's view of the creditworthiness of Irish banks has not changed which I think in itself is a reflection of the resilience of the core of the banking system. And then what of the role of policy generally and the central bank in particular to promoting resilience and safeguarding stability? Changes in the international regulatory and supervisory architecture have played a part in restoring confidence and promoting resilience in the system and we've also done much work in preparing the financial system for the UK's departure from the EU. I spoke on Tuesday to central bank colleagues at an internal event who were visiting the bank and I highlighted there some of the contingency planning we have undertaken in the context of the UK's departure. In particular I explained how the Irish market is unique in the area of security settlement so as many of you may know in simple terms when shares in a stock or other securities like government bonds and so on are bought and sold they're settled at a central securities depository or CSD. Security settlements provide the institutional and technical infrastructure that allows that to happen. Now due to the fact that Ireland has no domestic infrastructure here we utilise a number of settlement systems located across Europe but following the UK's departure from the EU the current arrangement will not be sustainable. So the bank in conjunction with the Department of Finance has engaged extensively with European counterparts to mitigate the potential disruption from this immediate cliff edge risk and I'm happy to report the issue has been largely mitigated notably by the European Commission's decision to grant temporary equivalents to the UK's legal and supervisory arrangement for central security depositories until March 2021. The bank and the Department of Finance will continue to liaise with the relevant stakeholders to ensure that the new long-term solution to this issue is implemented on time. Now I'm happy to talk a bit more about Brexit in the Q&A but for the remainder of my remarks let me briefly pay attention to how our macro-predential framework aims at strengthening the resilience to withstand adverse macroeconomic shocks. Now as I mentioned earlier Ireland has a small open economy is exposed to risks from within but also from the external environment and it's vital that as a small highly globalised economy we're proactive in using our macro-predential policy to mitigate systemic risk and build resilience. So at the bank our macro-predential framework and toolkit builds resilience in the system against different types of risk factors and complements the firm specific resilience that's the focus of micro-predential regulation and supervision. So to date the bank has already activated a number of tools which to a greater or lesser extent aim to enhance the resilience of the system. The other systemically important institutions buffer or the so-called OC buffer looks to build additional resilience in the system for institutions whose failure would have a bigger impact on the economy and the financial system and this framework was introduced in Ireland in 2015 when two institutions were identified by the central bank as being systemically important with a buffer rate of 1.5 percent to be phased in between July 2019 and July 2021. Our latest review of this part of the framework has identified six Irish authorised institutions as other systemically important institutions. Promoting resilience for the banking sector is also the primary rationale underlying our policy stance for the counter cyclical capital buffer the CCYB which you may be aware we announced last year. Now we introduced this buffer because a number of indicators suggested a sustained trajectory towards a gradual build-up of cyclical systemic risk. Our aim is to mitigate against the negative reaction of bank lending to the real economy in any future downturn or period of stress and many of you already heard me talk previously about the bank's mortgage measures and in that case increasing bank and borrower resilience so they're more able to withstand the impact of negative shocks is a central objective of those measures. So each of the individual macro-predential policy interventions that we have taken have the objective of protecting financial stability by targeting different elements of systemic risks so the individual tools have different objectives they operate through different transmission channels and they look to address different sources of risk. I began my remarks by discussing how the economy is very integrated with the international economy both in terms of trade and global financial markets and by highlighting the vulnerability that this entails. It's important that banks hold structural as well as cyclical buffers to guard against the higher level of macroeconomic risk that Ireland faces. Having buffers means capital depletion does not lead to instability in financial markets and that in turn makes the tightening of credit conditions less likely. Resilience in the banking system should be locked in through the more active use of capital buffers and this is important I think particularly given the higher levels of risk intrinsic to small highly globalised economies. It also allows the system to withstand both unexpected negative developments and the ebb and flow of financing conditions. So to conclude I think the wide range of possible future paths means building resilience is not only desirable but necessary. Insurtey uncertainty will always be a feature of the system and therefore we need to be humble about the extent to which we can forecast and predict while being aggressive in building defences against potential risks. The government firms households and the financial sector participants should be cognisant of the range of potential outcomes and the risks contained therein. The central bank has particular powers and we will use them to safeguard monetary and financial stability and to ensure the system operates in the best interests of consumers and the wider economy. That is how we best serve the public interest. Thank you very much again for the invitation and for your time and I look forward to the questions and answers.


From Hollywood, California, the Lux Radio Theatre presents Deanna Durbin, Herbert Marshall, Gail Patrick, and William Froley in Mad About Music. Lux presents Hollywood. Our play, the sentimental comedy of a young girl hungry for the love of her father and what happens when circumstance forces her to adopt one. We are always glad, ladies and gentlemen, to hear how you like our program. We enjoy hearing from you and when you tell us of your purchases of Lux toilet soap as an indication of your appreciation, we're delighted. It's your enthusiasm for our products that makes this program possible. Tonight, we bring you Deanna Durbin, her charm and beautiful voice, Herbert Marshall, Gail Patrick, and William Froley in Mad About Music. Our special guest is Mrs. Callitheen Morrison of the Los Angeles Public School, giving us some interesting side lights on the training of movie children. Lewis Silvers conducts the orchestra. We had expected that Mr. DeMille, our regular producer, would be back with us tonight, but his doctors advised that he defer his return for one more week. Taking his place this week as guest producer, we are fortunate in having that famous and much loved Broadway and Hollywood personality, Walter Houston. You all know him, you all admire him. We've had him here before in the Lux Radio Theatre in such famous plays as Doddsworth. This week, he shows us another side of his versatile personality as guest producer of the Lux Radio Theatre. I am happy indeed to bring back one of our best friends, ladies and gentlemen, Walter Houston. Thank you Mr. Rurick and good evening everyone. You know when a man has spent 35 years or so in a business or a profession, I used to think he was entitled to, well, to form some definite ideas about his work. I know I did about acting, ideas that I cherished for years and years up until last week. In fact, when Mrs. Houston and I happened to go to the movies and see Matt about music, I used to believe that it required many years before an actor could really accomplish things. And when youngsters would come and ask me what I could tell them about going on the stage or screen, that's what I told them. Hard work, experience. An intense desire for the job. Then along comes a pretty little girl of 15 called Deanna Durbin who knocked the spot out of all this sort of thing completely. Ms. Durbin didn't want to be an actor. She wanted to be a not-for-singer. She had no experience. She lived in Los Angeles after coming here from Canada where she was born. But she paid no attention to the big studios that were her neighbors. She didn't collect autographs or stand in front of premieres or even visit a studio. Not only that, but she's at what I always thought was a girl's awkward age when she's no longer a child and not yet a woman. But here she is, one of the biggest stars in the motion pictures and one of the few I've ever heard of to make three smash hits in a row. How do I explain it? Hmm, I don't. I only shake my head in wonder at her artistry. But I do know that Ms. Durbin must have more than a great natural talent. She must have a tremendous innate honesty to be able to turn in the natural convincing performances that still distinguish her. Since meeting her this past week, I've learned a few things more about her that a good meal to Ms. Durbin means a sirloin steak with chocolate caramel for dessert. She likes riding on horses and bicycles, has a pet spaniel named Tippi, and is something of a tease. She has brown hair, blue eyes, and weighs 105 pounds. And perhaps there is some clue to the secret of her splendid acting and a bit of advice given to her by Adolf Monju. The honor he told her, it takes just as much effort to make a bad picture as it takes to make a good one. She's never forgotten. We hear Ms. Durbin tonight as Gloria Hawkinson, and with her come the same three stars in the picture. Herbert Marshall, who had just begun his new film, Anime Territory, at MGM, is Richard Todd. Yale Patrick is Ms. Gwen Taylor, and William Crawley is Dusty Turner. Also from the original cast are Jackie Moran, Kristen Robb, Helen Parrish, and Marsha May Jones. As the Lux Radio Theater presents, Mad About Music, an opening at the Chinese Theater in Hollywood. The picture has just ended, and the crowd built us into the floodlighted patio eager to exchange opinions, eager to announce the birth of a new star. It's Gwen Taylor makes it. Gwen Taylor is right, she's doing it. They should have started long ago. She's marvelous. An hour later, the whole town anxious to toast her name, new star sits alone in her room. There's a letter in her hand, and as she reads, her lips slowly frame the cherished words. Her manager knocks at the door. Can I come in? Come in. Say, there's a lot of people waiting for you to start a party. Let me finish this letter, Dusty. Oh, sorry. I forgot it's Tuesday. Well, what does she want now? Just an elephant tusk. Elephant tusk. Last month it was a tiger skin. The month before that, an African voodoo mask. Now an elephant tusk. Well, we're lucky it isn't the whole elephant, I guess. All those funny presents. What kind of a girl is she, Dusty, the daughter of mine? She's just a kid. All kids collect stuff. Dolls, pictures, elephant tusks. But this is different. I don't know anything about her. What she really likes, what's happening. Nothing's happening to her. Why, she's in the best school in Switzerland. But she should be here. She can't be here. You won't even let me write to her. It's too dangerous, Gwen. Now, we've been over this thing a million times. You're doing a great job as a mother. You never got married again after a father died. You never stopped working. And now the kid has everything. Everything but a mother. Dusty, I'm going to send for her. Now wait. Look, Gwen, to the whole world, you're Gwen Taylor, a glamour girl. That's the role that made you a star.  All right, I'll start over.   A kind of a bankroll so that you and the kid will never have to worry again as long as you live. Then you can go to Switzerland, climb up on the highest doubt they've got over there, and tell the whole world that you're not Gwen Taylor, that you're Mrs. Sarah Harkinson, that you've got a daughter named Gloria, and that she's 14 years old. And if they don't like it, they can... Well, then they don't like it. Come on now, what do you say? All right, Dusty. Good girl. But see what you can do about that elephant, Tusk. Must not stick nails in other young ladies' bicycle tires. You may write that on the blackboard, Gloria. But, mademoiselle, I didn't do it. Write it 200 times, please, Gloria. But I didn't do it. I didn't stick nails in anyone's tires. Then who did? Well, it was... It wasn't I, mademoiselle. I'm sorry, Gloria. When you finish, you may join the other young ladies at their game. Young ladies must not stick nails in other young... Hello. Oh, hello. Mind if I watch, Gloria? Young ladies must not stick nails in other young ladies' bicycle tires. You're the one who did it, aren't you, Felice? How many times do you have to write it? I knew it was you. 100 or 200? I know. You're angry because I was the leader today. Why do you dislike me, Felice? What makes you think I dislike you? Don't you? No. I don't dislike you.  Goodbye, Gloria. Young ladies must not stick... Gloria. Olga. You better get away from that window if Miss Fuse not sees you. She won't. Felice was just here, wasn't she? What did she say? Nothing. She's starting up trouble again. You know what she said today? It was about your father. What did she say about my father? She said she didn't believe he wasn't an explorer, and she didn't believe he sent you the voodoo mask and the tiger skin and all those trophies and things. Oh, who pays me attention to what she says? Nobody, but she said she was going to prove it. But how can she? What about all those letters he writes to me? Well, she says he doesn't. She says you write them yourself. How did you... How did she happen to say that? It's the most awful lie. I tried to stop her. Oh, who cares? You better go now. All right. I wish you could come. Oh, Olga. If you see old Pierre around, will you tell him I want to see him? He's not here. He took the carriage into town to get garden tools. Oh. Well, I'll see him tonight. Come in. Good evening, Pierre. Hello, Gloria. How was that? Pretty good? Very good, Pierre. Sit down. Sit down. You want another stamp from my album, yeah? Well, yes. Where is the papa now? He's in Africa. We'll see where in Africa. Ah, the Gold Coast. Say, say, that's a 10 franc stamp. Give me the letter. I didn't write the letter. What? I didn't write the letter yet. But don't you write yourself a letter from your papa every Saturday? Yes. But this Saturday you've got to write it. Me? Please. Mm-mm. That's forgery. No, it isn't. Not if I tell you what to write. No. Let me think it over a few days and, uh, and when I think it over, I... I don't think I'll do it. Oh, but I can't wait. I have to get it when the elephant test comes. It's a matter of life and death. That's a good idea. We send the caber and say he got killed. Oh, no, we can't do that. I need him. All the other girls talk about their father. What about your mother? Doesn't she do something? Oh, no, no, and I can't talk about her. Oh, please, Pierre. But I can't write so good, ma'am. My hands shake. I'll say my father has a fever. Please. But when you do it, it's you writing a dream. But when I do it, it's me writing a lie. You can cross your fingers like this. That means you don't mean it. Please, Pierre. Why do you always make me do something when I don't want to do it? Well, go ahead. I'll write it. My dear darling daughter, I am far in the deep jungle tonight working toward denial. But how I wish I was my little brother and please, young ladies, and no talking on the way to church. If you please. It's raining, Miss Duzanotte. I can see that, child. Umbrellas, open. Ready, march. One, two, one, two. Gloria, you may go to the organ loss. Directly, we reach the church. Lead the opening hymn, please. Yes, mademoiselle. Gloria, look. The voice from the military academy. There's the one who pumps the organ. You watch as you're singing all the time. Oh, Gloria, stop it. Don't look at them. Which one do you mean? Well, you told me not to look. Well, look a little bit, but don't let them see you. Oh, hello. Hello. God bless you. Thank you. It's the dust up here. Yes, it is dusty. Very dusty, I guess. That's because there's so much... much dust. Yes. Yes. Well, I'm to pump the organ today. Oh, pump the organ? That's very nice. Yes, it is nice. Yes. Well, I've got to go now. Yes, of course. Yes. Goodbye. Goodbye. No, there's something else first. What? What's about me and you, too? Would you like to talk with me at the confectioners sometime? Say, Monday, when I have a three-hour off-time for winning an essay contest about Napoleon? Oh, Monday? That's tomorrow. Your school goes to the festival. My name's Tommy Gray, and I'm from the United States. California, the southern part near Mexico. From California? Near Hollywood? Yes. San Diego. I'm sorry. Sorry? I shouldn't have asked you to meet me at the confectioners. Oh, but I'd love to hear about California, especially Hollywood and the people in the movie. Well, I know all about them. I get fan magazines from America. All right. Monday. Honest, three o'clock. All right. Well, I've got to sing now. Goodbye. Goodbye. Hey, stop the pumping. When the charge was over, three elephants were in our pen. And the one that charged me was dead. I'm sending in his task. Good night, my dear daughter. And remember that I'm always thinking about you. And hope to see you soon. Your loving father. Now, aren't you sorry you said what you said, please? That was wonderful about the elephant. Where are you going to put the task? I think up next to the leopard he shot an Indochina. Gloria, is this your father's picture? It was hanging on the wall. Yes, that's my daddy's picture. I suppose that's one of the elephants he killed? Yes. Why, Felice? It's a very interesting picture. Especially the back. Give me that. Oh, not until everybody sees it. Look at the back of it, girl. It's an ad for a cheese company. Gloria, look at her father. My father captured the elephants of that company. He always sells the ones he brings back alive. So we hunt for a cheese company. What's his name, Ronald or Rookford? And I'll bet your name is Miss Lemberger. Gloria Lemberger. It sounds good, but to you. Please, give me that photograph. Oh, what do you want with it? I'll show you what. Give it to me. Oh, there you go. Young ladies must not make other young ladies eat photographs. Olga, come in. I can't. No one will see you. Where are you going? I'm going to the exposition. Oh, you don't want to go to the exposition, do you? But everybody's going. Listen, would you do me a great, great big favor? Would you stay here and write the rest of these for me? Oh, no, I couldn't do that. Oh, I know, but it's a matter of life and death. It really is. You see, I've got to meet him at three o'clock, and, well, it's almost three now, and... He? Well, it's, um... Well, it's my father. Your father? In Elferberg? Well, yes. He's coming here? Yes, but just for an hour, I don't know what to say. Oh, Olga, thank you. Your papa is coming, huh? Is he bringing an elephant with him? Nobody's coming. You know that, Pierre. Sure, I know it, but do you know it? You tell Olga, Olga tells the whole school.  Just drive by the station, and then the confectionary store, and I'll wait in there, and nobody'll know the difference. All right. But in the next letter, instead of your papa shooting the lion, it's your papa. Hey, look at the girls. They're waiting at the station. Oh, Pierre. They come to see papa, too, yeah? Oh, what am I going to do? Pierre, what am I going to do? Peter, find yourself a papa pretty quick. Yes. Wait here, Pierre. But where are you going? I'm going to find a papa. A nine. Got all the baggage off-tip? Yes, a nine pieces, Mr. Potter. Well? I said hello. Oh, hello. Welcome to Switzerland. Here, take these flowers. But I don't want any. Take them, please. There. Clips, what do you say on occasion like this? Just, uh, thank you, little girl. Thank you, little girl. Well, this is an old Swiss custom. We welcome the most distinguished looking visitor on every train. And I have a carriage waiting for you to show you some of the village and take you wherever you're going. A carriage? How nice. Read horses, I suppose. Yes, one horse and a driver, but they'll get you there. I think you'd rather bother my child. Oh, no, no. You don't know what a great pleasure it is to welcome you. Did you say the Grand Hotel? Yes, the Grand Hotel. Oh, it's a lovely place. Oh, uh, would you wait for those girls? They want to welcome you, too. Yes, of course. Hello. Uh, are you Swiss? No, no, I'm an American. How odd. You're an American carrying out a native Swiss custom to welcome me an Englishman. Oh, are you English? That's nice. When I've been in America, a good deal in my home is in Paris. Mine is in New York, but I've been here in school for the last five years. What's your name? Gloria Harkinson. Well, I'm Richard Todd. I'm pleased to meet you. How long are you going to stay here? Five days. Five days? Oh, that's awful. Awful?  Nice. Not so bad, really. I thought you were just passing through and maybe you were going to Interlochen. Interlochen is very nice. It's only 20 miles more. Do you always welcome people who come to Eppelberg by telling them how nice it is in Interlochen? I like Interlochen. It's lovely. You'd love it. Well, I'm not planning on doing any sightseeing. I came here to rest. I'm a very tired man. I think you look almost as tired as an explorer back from a long trip, don't you? Whoa! Well, I hope not. I'm a composer. Rancourt Hill. Well, it's been very nice now. What are you looking back for? What?  I wanted if they were going to follow us.  Well, they don't seem to have. No, no, they don't. Well, thank you very much. Oh, thank you. Goodbye. Goodbye. Goodbye. Goodbye. So, if Papa is a composer now, just like the daughter who composes the letter. Oh, Pierre, I think I got out of it very well, don't you?  Gloria! Gloria, wait! Olga. Olga, why did you tell everybody about my father? Oh, I couldn't help it, Gloria. I was so excited. Everybody's excited. Even Miss Fusenot. What? And yes, what do you think, Gloria? Miss Fusenot says we don't have to attend any classes tomorrow. Why? Because your father's here. They're going to invite him for lunch. There comes the curtain on the first act of tonight's production, mad about music, starring Deanna Durbin and Herbert Marshall with Gail, Patrick and William Frawley. We decided that during our intermission tonight we ought to talk a little bit about Easter. Easter? Yes, Mr. Jones. What's the matter with that? Well, it is Easter Monday, but it's still the Lux Radio Theatre, and I honestly can't see any special connection between Easter and Lux toilet soap. Well, I can. Have you forgotten the thousands of beautiful ladies who sauntered up and down Fifth Avenues and Main Streets all over the country yesterday morning, displaying their new Easter clothes? I have not. I was intrigued by the shoes with all the holes in the toes, and I'm still wondering whether chin straps are meant to hold the ladies' hats down or their chins up. Even so, I can't see where Lux soap comes into it. Well, think of all the really attractive women you saw in the Easter parade. Didn't they all have clear, smooth complexion? Oh, I began to follow you, Mr. Rui, and you're absolutely right.  That's right. It loses a lot of its charm if the ladies' complexion isn't well all it might be. That's exactly what I mean, Mr. Jones. Without a smooth, lovely skin, no other charm counts. And right there, Lux toilet soap comes in. Lovely ladies everywhere find it guards against unattractive cosmetic skin. It gives complexions the kind of beauty care they ought to have. It guards some beautiful complexions right here in Hollywood. The figures are that actually 9 out of 10 Hollywood screen stars use Lux toilet soap regularly. And, of course, that's very significant because screen stars must have the best. And when they overwhelmingly favor Lux toilet soap and have consistently for years, why, that's something. And now let me remind the ladies in our audience that it's Lux toilet soap's active lather that guards against the choked pores that cause dullness, tiny blemishes, and enlarged pores. Cosmetic skin. This active lather removes stale cosmetics, dust and dirt thoroughly, preserves the fresh soft smoothness that never fails to win admiration, romance. And now, our guest producer, Walter Houston. Once again, a mad about music starring Diana Durvin and Herbert Marshall with Gail Patrick and William Crawley. It's the following day and the whole school is feverish with excitement because glorious father, the adventurer, the hunter, the famous explorer is coming to lunch. Up the road from the gates glides Mr. Todd and his shoulders set, sticks swinging with grim resolution. Glorious spies in from the window and rushes to meet him. How do you do? I thought you'd be here. Oh, wait, please.  Before I go in there, I want to tell you that I've been invited for lunch. It seems I have a daughter at this school. Yes, I know. I mean... Oh, I'm sorry at hand, but then I can explain the whole thing. Wait. I'm sorry it happened too, but I'll do the explaining and it won't wait. Well, please listen. I'm not interested. But you've got to be interested.  You had to what?  You see, I have no father and I can't talk about my mother and I just made up a father and you just happened to come along and then you were it. I was it. Well, young lady, I don't like to be it. Well, you don't have to be. You can go away. Please go away. Not until I've straightened this out. Well, please don't go in there. It's a matter of life and death. I'm sorry. But they'll know all the stories about my father weren't true. Well, you should have thought of that before you told them. Well, you've got to help me. Straight, I can't.  Well, that doesn't mean that I have to be your father. Oh, I know. I know. But if you don't go in there, you don't have to be anybody. Please. Oh, welcome to our little institute, Mr. Harkinson. I wish you wouldn't call me Mr. Harkinson. Oh, I'm sorry. Gloria said you were incognito. Come in, please. Girls, girls, quiet, please. Now, girls, I want to present you to Gloria's father. How do you do, Mr. Harkinson? Oh, dear. Wait. Before you go any further, I think there's something you want to know. Oh, please wait. When you do me all this honor, you rather embarrass me. Oh, no, please, please don't. Until I realize that you're really paying honor to my daughter. Oh. I hope the food is satisfactory, Mr. Harkinson. Mr. Harkinson will do. I'm not incognito here. Yes, the lunch is excellent. Well, we didn't know exactly what explorers are accustomed to eating. Oh, penguin and seal steaks. Polar bears. In Africa, you have seal steaks and polar bears? No, please. That's when he's in the North Pole, isn't it, Daddy? Yes, the North Pole. There are no polar bears in Africa, young lady. Everybody knows that. In Africa, you have lion meat, don't you, Daddy? Sometimes, but lions generally are a bit tough. Now, giraffes are quite delicious, especially the neck. Really? Yes, they're quite the thing for dinner parties. Twenty people can sit down to just one giraffe's neck. Oh, Mr. Harkinson, what about the elephant who's captured for the cheese company? Oh, the elephant for the cheese company, you mean? What about it? They put it on the package. Oh, well, you wanted to know about the elephant for the cheese factory. Yeah, quite a package. So that means it was a big elephant. That's the way hunters talk. For big elephants, they say package. I think it's kind of cute, don't you, Felice? It also means very wild and tameable. He seemed pretty tame in the photograph when you were sitting on his neck. Uh, yeah, well, when I was sitting on his neck. Well, that's easy to explain. I have a peculiar effect on elephants. I just looked them in the eye. And only one eye? Yeah, yes. You see, it's rather a job to look an elephant in two eyes. One's over here, and the trunk comes in between, and the other one's over there. But how did you capture him? Single-handed, didn't you, Daddy? Oh, yes, yes. You'd track him for days. Days and days up hill and down dale. Then one morning I met him face to face, fixed my stare on one eye, then in most decided fashion I said, elephant, I'm your master. He came toward me, running. Stop, I said. His steps grew slower, slower. Then he grabbed around the waist with his trunk and lifted me high. I thought he was going to dash me into the bottomless chasm. Slowly I felt his trunk slip from my waist and I fell. Yes, I fell in the back of his neck where he wanted me. He looked up at me and smiled. Then he galloped off with me into the jungles and brought me to the throne of the beautiful white princess. The white princess? Well, you never told me about her before. Didn't I? I must have slipped my mind. But now let me see. Before I forget you, didn't you say you wanted to hear me sing? Well, spend it, of course I do. I'll play it for you. What can you sing? Whatever you can play. Do you know Chapel Bells? If you can play it, I can sing it. I thought of myself. But you told your friends from very tall tales. But I kept my fingers crossed. When you do that, it means you don't mean it. Did I send you that elephant tooth? Tusk. I mean tusk. Where did I get it? Africa. Africa. I get around a good deal, don't I? Wherever Pierre has a stamp from. Well, I'm quite a chap. Hunter, explorer, family man. Oh, by the way, sit down a second. Yes, sir. This is a bit awkward. But yesterday when I came to Switzerland, I was a bachelor. I had no wife and I had no children. Today, of course, I have a daughter and somewhere in the world a wife. Oh, please don't ask me about my mother. Only what she looks like and where she lives. Those questions come up, it seems. Well, I'll show you a picture of it. I keep it locked in the drawer. Well, I've never let anybody else see this, but I guess it's all right to show it to you. Certainly I'm a sort of relative now. That was my father. He was a Navy flyer. He died when I was a baby. Oh, I'm sorry. Is this your mother? Yes, and that's me when I was a baby. You've grown some since then. Yes, I have. And you do look like her. Oh, thank you. What's her name? Harkinson. Oh, it's the same as mine. Well, that's customary. Well, young man. How do you do, Mr. Harkinson? I'm not Mr. Harkinson. Mr. Todd is Mr. Harkinson. I mean, Mr. Harkinson is Mr. Todd. Oh, well, I'm his secretary. Oh. What is it you wish, please? Well, it's kind of a family matter, I guess. Family matter. Oh. This way, please. Mr. Todd. What do you want? It's very important, sir. What's important? Your son, sir. What? What's he talking about? He got it all wrong, sir. I'm not your son. I'm Tommy Gray. How do you do? How do you do? And I came to see you about your daughter. My daughter? Oh, well, now I'm beginning to see daylight. Sit down. Thank you, sir. Uh, I, uh, that is we, Gloria and I. I talked to you yesterday to Dennis again. We were having our teeth cleaned. We met there. I, uh, I was... Yes, go on. I don't suppose you smoke, do you? Oh, no, I don't smoke. Uh-huh. Well, could I, could I get you something to drink? Maybe a glass of milk or something? No. No thanks. I don't like milk. But I'm very fond of your daughter going. We're very good friends. And that's what I came up to talk to you about. Whoa, here, not so fast. You and Gloria are good friends. Yes. That is, I'm a good friend of hers. And I'm going away. But I'll be back. That's what I came to talk to you about when I come back. Pardon me. You, um, don't mind if I have a drink, do you? This is a very trying time for a father. Now, I think I get the idea. Well, personally, young man, I think Gloria is a little bit too young to be talking about marriage. Oh, I want to marry her. You don't. This sounds very serious. Just what do you want? Well, when I get back, you'll be gone away. Yes. And when you might get killed. What? Well, a rhinoceros might go. You were lying much up in your back, or even a tiger. Oh, yes. It's nice of you to think of that for me. Oh, you're welcome. And I just want to tell you that if you do get killed, I'll be here. And I want you to tell Gloria that she can turn to me. Now, that's a very comforting thought. And I'll remember it, too, when I'm lying in the jungle with a rhinoceros kneeling on my back. Thank you. Oh, you're welcome. Any little thing I can do to make life pleasant for you, I'm glad to do. I'll tell you that if I get killed, well, that you're to be a father to her. Oh, thanks very much. Thank you. You're welcome. Goodbye. It's wonderful, Mr. Harkinson. It isn't often the young ladies have a party. They do enjoy its own. No more than I do. Yes. We're all children at heart, aren't we? Aren't we? Telegram for you, sir. Telegram? Oh, excuse me, please. Oh, of course, Mr. Harkinson. Well, Gloria, you come here a minute? Yes, Daddy. I have to leave for Paris tonight. Tonight? Oh, I'm sorry. I have to. It's business. I think you better tell the girls. Yes, I better. What are you going to tell them? Well, my fingers across. My daddy just received a cable. Yes, he has to go to the off to get a boat. And from off, he's going to the North Pole for polar bears. They're already in. Tired of packing? No, it's fun. Fun? Oh, I didn't mean that it was fun packing for you or going away. I mean, I never packed for my father before, and it's fun. Yes, it is rather. I better see how Tips is coming along with the trunk. What comes next here? Goodbye? No. Goodbye comes later. Socks come next. They're in the top door. Do you want to take the morning paper with you? I can get a new one at the station. Oh. What's the matter? Oh, nothing. I just... Can you see there? Gwen Taylor in Paris, is that it? Who opened American Wing of French Exposition. Gwen Taylor, motion picture actress, isn't she? Yes, I think so. Are you a fan of her? Oh, no, I've never seen her. But some of the girls talk about her at school. Oh. What about those socks? I'll put them in. And then run back to school and get permission to come to the train. Oh, may I? Well, don't you wonder? Well, yes, of course. But, well, maybe I'd better not. Maybe we ought to say goodbye right now. You see, I don't like to say goodbyes, and, well, you've been so nice to me, and I don't like to see you go, and... Oh, well, you know. Yes, I know. Goodbye, Gloria. It's been fun being your father. Thank you. It's been fun being your daughter. Goodbye, Daddy. For station identification, this is the Columbia Broadcasting System. Everything concluded, the second act of mad about music starring Diana Durbin and Herbert Marshall. We take a little intermission now and we're going into act three, and here about another phase of Hollywood. About the education of motion-pictured children. Our guest is Mrs. Teletine Morrison. Mrs. Morrison has been a teacher of movie youngsters for about 10 years. Her pupils have included Judy Garland, Betty Janes, Anita Granville, Virginia Wilder, Jackie Cooper, Spanky, and Al Falfa of our gang fame, and tonight's star, Diana Durbin. Mrs. Morrison is former dean of women at Dakota Wesleyan University. A western state college in Colorado. She's done considerable lecturing and writing and is now with the adult education division of the Los Angeles Public School. Mrs. Morrison, a lot of people have the idea that famous movie children lead anything but normal lives and that they don't go to school like other kids do. What have you to say about that? We realize one thing, Mr. Houston, that a contract child can't go to public school and be in the movies at the same time. So we've found a way of combining both. In music work, the children, in the movie work, the children get individual instruction directed at giving them a sound, general education, and we think it is more important that we teach them to lead happy, normal lives. After all, that's what really counts. But aren't there certain specific rules that must be followed to obey the law? Now, I've seen many directors call a halt on a scene and tell the children involved in the picture that it's time to go to school. Yes. There are many different legal regulations concerning the education of movie children. For instance, every boy or girl under 18 who has not been graduated from high school must have at least three hours of study every school day and one hour of recreation. If the boy or girl is a high school graduate and is still under 18, the teacher becomes a welfare worker. And what does welfare work consist of? Has it anything to do with the progress of the child in pictures? Yes. In that, we see that he has not overworked, that he gets plenty of rest, that he isn't exposed to conditions that might impair his health and, in general, that he has well cared for. And let me add right here that every major picture studio, without exception, extends to the board of education the most complete and sincere cooperation. Every studio has its own school. And when a child is not in a picture, he attends this school and is taught by teachers who must have exactly the same qualifications as other public school teachers. When the child is working in a picture, then his books, his equipment, and teacher follow him just the same to the set or on location. And I often wonder how they do it. I have enough trouble memorizing my lines without going to school. I suppose that's why you went to New York with Miss Durbin on her recent visit there. Exactly. And that trip gave Deanna a chance to see firsthand many of the things that she has studied, the geography of the country and the government of the country, too, because we went to Washington and saw Congress in session. And I might tell you that we brought luck soap with us on the train and use it wherever we happen to be in the East, just as we do back home. It certainly looks as if Miss Durbin is going to follow in the footsteps of the grown-up star, doesn't it? But tell me, between us two now, just what kind of a student is Miss Durbin? Between us two, Mr. Houston, she is as willing, as delightful, and as intelligent a pupil as a teacher could wish for. She is happy, and happy pupils learn best. What's she studying these days? United States history, civil government, English, music, and French. She's greatly interested in drama, and in New York she read quite a bit of Kenneth Roberts' book, The Northwest Passage, but I still think her favorite book is Bambi. Naturally, I'm pleased to see her making such fine progress with her lessons, but what pleases me most is to know that here is a girl at the top of a glamorous profession who has enough common sense to keep both feet squarely on the ground. Like any other girl, she's fond of clothes, but Deanna prefers simple clothes. She doesn't attempt to act beyond her years. She's just a fine, wholesome young girl, and we never can have too many of her kind. Thank you, Mrs. Morrison. Deanna Durbin, Herbert Marshall, Gail Patrick, and William Fawley in Mad About Music. Gloria didn't meet Mr. Richard Todd at the station for an excellent reason. She had decided to meet him on the train. The train gains momentum. Richard walks through the passageway of his compartment. What are you doing here?  I couldn't meet you outside because I was waiting in here and you didn't come and the train started to move and, well, here I am. Gloria, is that the truth? Why, no. Well? Oh, Mr. Todd, I found out my mother was in Paris and I just had to see her. Can't she come to Switzerland? No, she can't come to Switzerland at all. She's a... Well, she just can't. That's why I had to come on the train. It's a matter of life and death. Well, but this time it really is. You won't be coming back to see me anymore. I might. No, no, it would be too dangerous. I think you're going to disappear at the North Pole. Get lost. Really? I'm sorry to do it, but it seems the best way. Of course, I'll miss you a lot. Gloria. Yes? Where did your mother live? Oh, it's the Lafayette Hotel. I live near there. If I give you my address, will you bring her over to see me? Well, it's awfully nice of you, but... Fine, I'll be expecting you. Lafayette Hotel. Where's the little girl who called me? Here I am. Oh, sure, there you are. Well, come over here, Gloria. I'm Dusty Turner. Yes, I remember you, Mr. Turner. How do you do? I'm fine, thanks. How are you? Very well, thank you. Well, that's fine.  I came on the train. Well, how did you get away from the school? Oh, I just... Well, it wasn't hard. Well, I'm afraid that's bad business. You should have told me about your plan. Oh, I know, but... Well, I was so lonely, and then I saw that my mother... Gwen. Yes, Gwen was here, and I came. Oh, I just want to see her a minute to say hello and talk, and then I'll go right back. Well, I don't know about that. Gee, but you've grown a lot. I guess I have. Well, I should say so. How's the school? Oh, please, I don't want to talk about me or the school. I want to see my... Gwen. Yeah, I know you do. But that's not going to be as easy as you think. You're not going to let me see her? No, I'm not going to stop you. They are. Who? Those people out there in the lobby. Her fans. Why, they're waiting for her now. Oh, I can wait until they go. I don't mind. But that's not it. You see, she sort of belongs to them. But I belong to her. She's my mother. Well, you know. Sure, I know. It's tough on you and tough on Gwen. And me, too, for that matter. But you see, everything a big star does. Everything about her makes people talk. The guests and gossip and watch every move she makes. Everything she does. So she's got to be different. Why, she's almost like a princess in a fairy tale. I see. And a princess in a fairy tale can't have a daughter. As big as I am. Can she? Oh, but next year, she's going to be with you all the time. Goodbye. Isn't there anything you want, Gloria, anything that I can do? No. No, thank you. Goodbye. My big pardon, sir. You have a visitor. Yes, who? Your daughter, sir. Gloria, how are you? I'm sorry to bother you so much. Bother? It's a very pleasant surprise. Did you find your mother all right? Yes, I saw her.  You have a nice time? Oh, yes. I had a very nice time, thank you.  Oh, yes. That is it. First she was. Is this the song you were playing just now? Yes, that's it. How long is your mother's life? Would you mind if I sang this? Well, right now? I'd like to try it. All right. Bring out yourself, you know. Could you send me back tomorrow? Send you back? Tomorrow?  He gave me the money to go, but I lost my handbag. Did you tell her you'd lost it? I didn't think I ought to. She's very poor and... Poor? And stop you at the left for yet. Oh, but she's poor in a very rich way. Oh, the new poor. You had a good time. Yes, we had a lovely time. Tell me all about it. I met her at the Lafayette. And she was so glad to see me that she hugged me till she almost took the breath out of me. Just because she was so glad to see me. And then she stood back and just looked at me. And then she started to cry. And I cried just because we were both so happy.  And then she laughed. She laughed and I laughed and everybody looked. She's so beautiful. And then we just talked.  She told everybody else to go away and we just stayed there alone together. And then... Go on. And then she had to go to a party and I told her I'd better get back to school and she said I was right and gave me the money. And then I lost it and then I came here to ask you. I'm glad you did. You can uncross your fingers now, Grawian. What? Uncross your fingers and tell me what happened this afternoon. Oh, but I can. I mean, I can. All right, then I'll have to find out for myself. Put your coat on, Gloria. Why, what for? We're going to take a walk, you and I, around the block to the left of your hotel. Oh, no, listen. Where's my hat? No, wait, oh, please. But she must be there. Well, let me speak to Miss Fusenot. Hello, hello, Miss Fusenot. This is Gloria's mother. What? In Paris? Mr. Harkinson? Mr. Richard Todd? Oh, what? Oh, there's some mistake. I'll call you right back. Stay right there. Dusty, Dusty! Hey, Gwen, the press gang is waiting for you. Dusty, listen. Gloria's in Paris. In Paris? Yes, she's here. She left Switzerland last night with the men. He said it was her father. Call the police. Oh, wait a minute. We're not going to call anybody now. Let's take this calmly. How can you talk about taking things calmly? Gloria's in Paris. She's here. I know she's here. You know she's here. Yeah, I saw her this afternoon and she's all right. Where is she? She's on her way back to school. What? You made her leave? Certainly not. She didn't want to talk to you. She just wanted to see you. She didn't want to talk to me? Oh, now don't take it that way. I told her what it would mean if it got out that you had a daughter her age and... You... You did that to that baby? She wouldn't have been in this room five minutes before all Paris would have known it. Bell, boys and maids would have been fighting to get to the phone first to tip off the new space. You could have managed it. You managed everything else. What did you want me to do? Present her to the press? Yes. Oh, the press. I forgot they were all over the hotel. Now you're making sense. Come on in and meet them. All right, Dusty.  Come on. I'll give them that big smile. And don't let them know that anything's wrong. Come on, Dusty. Come on. Wait a minute. Wait a minute. Will you take it easy? One at a time. One at a time, please. Now there she is. Ask her anything you like. Her life is an open book. Are you going to do a picture in France? Is it true you're buying a villa? Are you going back to the States? Wait, wait just a minute, boys. I know you want news and I'm going to give it to you. That's our girl, Glenn. I have a daughter and she's 14 years old. What? And she's here in Paris tonight. No, no, no, no, boys. Listen to me. That's not it. She's only a baby. She's only so big. She's 14 months. She's 14 months. I swear to small interest people. Quiet, everybody. Listen to me. Listen to me. Listen to me. Now look, boys. Wait a minute. We're going to give you a formal statement in a half an hour. Yes, meanwhile, I want you boys to find her. She's in Paris. Oh, why? She's with a man named Richard Todd. What's her name? Her name's Gloria. Richard Todd the composer? I don't know. Just find Richard Todd. I'm Richard Todd. Get a picture. What have you done with my... I'm the use of it done years ago. Come in, Gloria. That's her daughter. She looks like her. It's all right. No, no, this is all a mistake I never saw her before. It's really all a mistake. Mr. Todd is my father. Gloria, my baby. Oh, Mummy. Mummy, I didn't tell them. No, dear. I know you didn't. I told them. Oh, Mummy. Mr. Todd, are you Miss Taylor's husband? Certainly not. Miss Taylor, are you his wife? I am not. Little girl, who is this man? He's my daddy. Gloria, dear, I don't think you... You'd better not tell them that now. All right, but, Daddy, I want an explanation and I want it right now, or I'll call the police. No, Mummy. Call them. But wait, Daddy, Mummy.  No, no, no, you would. Well, all right, then, go on. No, wait. Listen, let me say something. Let me... Oh. She's faded. Gloria! Oh, my goodness. Wait. It's all right. What? She has her fingers crossed. She's a lovely party, Mr. Todd. And to have Gloria's father and mother both at once. But I still don't understand how you... Oh, it's quite all right. I will explain later, maybe. Yes, of course you will. I don't know how exactly. Oh, we'll think of something. But she's right, Richard. Gloria should have her father, you know. Yes, sir. Quite customary. Well, I don't want to nominate myself, but I've had a week of experience. Oh, but we'd have to be married, wouldn't we? Yes, that's part of the idea. Richard, are your ideas always that good? I'm mad about music. And now, for a moment or two, we'll have a chance to hear from Miss Durbin, Mr. Herbert Marshall, Miss Gail Patrick, out of character. You know, Mr. Houston, you've been so nice that I think maybe it would be a good idea if you broke down and called us by our first name. Mm-hmm. At least me. I don't feel like Miss Durbin to you. I feel like Deanna. And besides, don't forget, we were both born in Canada. Oh, yeah. Then there's one old neighbor to another. Thank you, Deanna. Ever since we've made mad about music on the screen, Deanna, people have been asking me a lot of questions. They want to know what you're planning to do if you're going to stay in Hollywood or if you're going to be an opera singer. And here's your chance to answer them all at one time. Do you mean what I'd like to do or what I'm going to do? Well, since it's pretty hard to predict the future, what you would like to do? I'd like to do three things. I'd like to sing an opera, and I'd like to keep on making pictures, and I'd like to be on the radio, as long as people want to hear me. There's one tip I can give you, Deanna. If you want to keep that lovely complexion of yours as you grow up, just keep on using luck soap. I'll bet you use it, Miss Patrick. If you mean that for a compliment, Deanna, thank you. I do use it. I think it's the best soap there is. And so do I. It makes the nicest ladder, and it smells nice, too. In fact, luck soap is the favorite with my whole family. Well, thanks, Deanna. And tell me, now that your picture's finished and our radio program is over, I suppose you'll be taking another vacation? Where are you going this time? Right back to Universal City, Mr. Houston, to make another one. It's called that certain age. That's all I know about it. No, I wonder what certain age is that certain age. I can answer that after a fashion. Deanna is going to have a bow. I am? You are? I was speaking to Mr. Rogers at Universal, and he says that what they'd like to do is to have you grow up in pictures, just as you grow up in real life. What kind of a bow does a girl have at 15, Miss Patrick? Oh, well, you'd better ask your father about that. Mr. Marshall, please. Walter, Deanna wants to know... Yeah, she has a bow, I guess, huh? Well, you know, Deanna, he carries your school books and picks flowers for you. And after that, you'll have an older bow in your next picture. First love. Well, if I can have you for a father and Miss Patrick for a mother, I guess whatever kind of a bow they give me will be perfectly all right. And now, Mr. Houston, thank you for a very nice time. Good night, Deanna. Good night. Good night. Mr. Houston brings us important news about next week's program in just a moment. Our cast tonight featured Jackie Moran as Tommy Gray, Christian Rubb as Pierre, Helen Parrish as Phyllis, Marsha May Jones as Olga, Edgar Norton as Cripps, Margaret Brayton as Miss Fusenot, Marie Hammond as Miss Louise, Jo Ann Ransom as Dorothy, Suzanne Ransom as Catherine, and Jerry Gale as Lisette. Mad about music was made at New Universal Studios. The original story was written by Marcella Burke and Frederick Conner with music by Harold Adamson and Jimmy McHugh. Gale Patrick's new Paramount film is dangerous to know, and William Frawley's Professor Beware. Lewis Silvers is from 20th Century Fox Studios, where he directed music for four men and a prayer. And now, ladies and gentlemen, just a reminder, as you know, many localities switch to daylight saving time next Sunday. If your community is one of those changing to daylight saving time, you will hear this program at the usual hour. If your community remains on standard time, tune in one hour earlier. And now, here's Walter Houston. Next Monday night, the Lux Radio Theater presents Madeleine Cowell and Don Amici in Dangerous, a great romance drama which many of you rank among your favorite motion pictures. Dangerous is the story of a girl, once a great actress, whose life suddenly becomes an endless series of bad breaks. She's a hard luck girl, bringing misfortune to all who knew her. How this chain of adversity is broken, how love and happiness finally come to her, you'll learn next Monday night when Madeleine Cowell and Don Amici enact this exciting drama on our stage. Our sponsors, the makers of Lux Toilet Soap, join me in inviting you to listen in a week from tonight, and the Lux Radio Theater presents Madeleine Cowell and Don Amici in Dangerous. Beginning next Monday night, Mr. Cecil Meadamel will be back here as usual as your host and producer.  Ladies and gentlemen, came to you with the good wishes of the makers of Lux Toilet Soap. It's hosted by nine out of ten of Hollywood's famous actresses. So join us again next Monday night. Be part of the audience that gathers each week from coast to coast to hear Hollywood stars in the finest plays of stage and screen. Until next Monday night, then, this is your announcer Mel...


Oh, like this. Which camera? Okay, there. Yeah, you can look at that one and introduce. I'll do that. Okay. Welcome. The first episode of a new series called Marriage Musings. We have two very special people here which I will introduce in a minute. But in the series Marriage Musings, we will dive deeper into the modern perspective of marriage. And we talked to couples who are also currently exploring their marriage and see what it means to them. And today we have actually three guests. One guest in the background. And then we have Ato and Jess here. Thank you so much for being here. Thank you for having us. Of course, we're very honored. And MJ is in the background. Yes, if you can hear MJ, MJ is in the background. So, yeah, we're just going to make it very simple, very easy conversation. It's not a particular topic. So, just your relationship as is. We're just looking at the modern marriage like Elaine said. And your perspective are not, basically. So, maybe a good starting point is who are you? And then how did you meet? Okay. Who's going to take that one? Well, we are the human mansos. I think the generation of four. Okay. Wow. Right? Yeah.  So, yeah. Okay. Generation three. And yeah, Ato and Jessica, Saturday meets Sunday. Yeah, Saturday meets Sunday. We, how do we meet? Okay, so funny story. Tell the story right. Funny story. Jessica happens to find herself in Ghana during one of her summer vacations. Yeah. Which was, which year? 2017. Yes, 2017. Okay. And she also has similar interests and hobbies like I do. So, she was into photography and stuff. And yeah, I'm saying it right. Thank you, MJ. And she has some equipment that she wanted to sell off. So, I happened to see an ad that was placed on a, a WhatsApp story by a school friend who happens to be her sister's now ex-husband. Yeah. So, I saw it. I'm like, hey, who's this person? Like who's selling the stuff? So, he gave me the contact and then we started talking. Yeah. You started talking about what? Business. You didn't even start talking about, oh, I've seen that you have places come around or still or something like that. He was like, oh, what's your name? Where are you from? What do you do? You know what you do in business? You need to know the person. You are asking trust. Many more questions. Yeah. You want to? No, that's what I don't agree. No, but you have to establish some relationship before you go to the business point. Hi. You're selling this camera. How much does it go for? This is business. But what's your name? Where are you from? How are you coming to be called here with somebody you don't know about? Imagine being brought up by my, shout out to my mom and my other woman. You are brought up in a particular way. You have to know the person, you know. It's like... It's like... You have to put it on still. It's 10 euros. Okay, 10 euros. I'm gonna buy it. I'm not gonna buy it. But you asked me a lot of questions that have nothing to do with the products. But don't make it seem like I didn't ask anyway. You didn't? I don't have my chats. It was a phone call anyways.  Even the texting. We didn't speak about the equipment anyway. She said, what about business? That's it. No, but... You didn't? Anyway, anyway. So that's how we met here. That's how we met and... But then how did it went from like inquiring about photography stuff to meeting? You understand where I'm coming from. Because I believe that I did ask about the equipment. But then I had other interests or other things peaked on my interests. Telling the truth. And then we... I think we were texting and talking for about a year and a half almost. Yeah. And I came back again. We actually didn't meet when I was in Ghana. The first time they... Wait, 2017 you guys didn't meet? No, no, no, no. So you met in 2019? No, 2018. 2018? For the first time? Yeah. It was her sister's wedding. And that one was even just a half senior. Like I said... But we didn't even meet at the wedding. We planned that we're going to meet before that. Yeah. Which we scheduled in three times and he canceled two times for me. Ooh. To get to work. No, but you all know the city lifestyle. It can be... You can wake up in the morning and they're like, yeah, you need to be at work. So, yeah, I couldn't make the schedule. And then... But it turned out... I think she came back that same year in December. December 2018. No, no, no. So you still met in that 2018? The first time was awkward. Don't talk about it. Wow. I mean... What was the first thing you noticed about each other when you did meet in real life? Was there anything that stood out? You were like, oh wow. Yeah, it was the first thing. Very tall and slim and was very nervous. I was nervous the first time. You had hair, right? Yeah, I had... He had some. Yeah, I had some hair. Yeah, I did. Yeah. But I mean, I met her in her element. It was her sister's wedding. She was busy. She was serving people. She came to say hi and I was like, wow. Okay, so I had an experience. You were impressed. Yeah, I was impressed with what was going on. I don't know if she was putting on the show. And I saw him looking at me like the whole time. I don't think he focused on the wedding ceremony that was going on. But each time when I turn it around, he's like staring me down. Kwame, you...    And I was like, okay. Oh, that's sweet. You're scoring some points there. That's a real gentleman. Yeah. And how did it evolve from there? So you went to get ice cream. Yeah, we got ice cream, cooled down. And then... We just got back to texting. Yeah, got back to texting. I think I met her once more before she left. Okay. And then she came back... Actually, we went to the cinema. No, that's when you came back in December, right? No, that was still that period, December. We went out once before you left? Yeah, I thought we went to... No, no, it's when you came in December. Oh, really? Yeah. It's possible. Yeah, when you came back in December, yeah. Then we went on the movie thing. We went to Pinocchio's first. More ice cream? Yeah, more ice cream. Yeah, more ice cream. More ice cream. And he ordered... What was it? Pizza Hawaii? Yeah, Hawaiian pizza. I don't know. Why do people like pizza Hawaii? The Hawaiian pizza is... It depends on your mood. What do you think? Sweets are. Sweets are. Yeah, sweets are. I've had it maybe once. I don't despise it. But it's not the thing I would go for either. It's like a constant thing when we're having pizza. He likes sweets. I like my sweet and sour. Yeah. That's me. Yeah, so we went out. And then the next year, last 2019... We actually became officially in 2019, the 10th of January, 2019. That was true. Of course, your birthday. To me? Yeah, to my birthday. That's your birthday. Now it's your birthday. 10th of what? January. Oh, January. Yeah. Oh, I don't know if you remember, there was a moment when we were at city, and then there was a whole saxophone, big impression in the morning. I don't know if you missed it, but yeah. You came for who? You? Yeah. On my birthday. I don't even remember. That was you. Yeah, that was your birthday. You sent the saxophone? The saxophone, everything. The brass band, the new saxophone. I don't think I remember. Wow. Yeah, it was. I still have the videos now. Oh, that's really nice. You can just one time it in there. Yeah, send it to Kwame then. But yeah. Ice cream versus the whole band on your birthday. Yeah, I was, you know, I was, yeah. But yeah, I think. Levels. Yeah, there was levels. There was different levels. And yeah. Yeah, she's something else. That's nice. And then it, yeah. It progressed from there. It progressed from there. And the one thing that stood out for me, and what did it for me, to be honest, was Jessica was straightforward. She was like, look.  I don't want to see where it's going. I want my next relationship to at least lead towards marriage. So if that's not what you are about, then go check out. And that's what did it for me. At that moment, I was like, no, this is someone who is like really serious. Like you can't go and joke about it. So I think that's, that's what did it for me. And then, yeah, like we said, it progressed from there. She came again that year, twice. So you did quite a bit of long distance. Yes, a lot, a lot. How long was that period in total? To, okay, let's say 20, 90, no, 2020. January. January. Yes. So that's, that's a good like, Yeah, right before Corona. Initially because it was. If you're official in 2019, then you only did long distance. I mean, I mean, we're talking the whole time from 20. Yeah, from the camera. The camera all the way. Yeah, it was still. Okay. Okay. So it was warming up. Yeah. So initially we were supposed to, he was supposed to come to the Netherlands in November, December, 2019. But he didn't get the visa. So then I was like, you know what? Oh, Charlie, I'm bouncing me. Oh, sorry.  And I was like, okay, I can come. But I, we had also planned that was going to come in January, February to also go on the heritage. The heritage cover. Yeah. So. How long have you done long distance? Is it about two, three years? Yeah, two, three years. What were your biggest lessons there? Any advice? Any advice? If you're doing long distance, right? You need to know the person you're doing long distance with. Um, Jessica. Jessica is a typical, she's a Ghanaian, but she's typical Dutch, right? So she doesn't play with her time. She likes to plan ahead. Be transparent. Yeah, transparent. She doesn't like random. I mean, random doesn't work, especially when you're two hours ahead. Yes, MJ, right? Yeah. I'm working on it. So yeah. Um, yeah, you need to, you need to prioritize. You need to plan, stick to the plan. Try as much as possible. And also, I think one of the things that we did is that make sure we had like a date night. Yeah. Even though you can't physically see each other. Like every, like two weeks on a Friday, it's either we watched the same movie. Yeah. So nice, you know. So. Aw. Yeah. Oh, we did the same thing. Yes, that's what I was saying. Yeah. It's really nice. I think that's what works. I mean, there are several times where I, I either forgot about the date night and yeah, we'll have a long discussion. You, you what? I, I, I forgot. Like we made plans. You forget the plans. Yeah. And no, I wouldn't say anything. Yeah. I would just be like, okay, see if he's going to say anything. If not the next day, I'll be like, I told you. We made plans. What happened? Yesterday, we were supposed to do something.  No, he doesn't wait till the next day. I wait till the next day because I'm like, I always feel like if it's important to you, like you should know. Yeah. You should be able to, you know, come to me or at least text me and say like, Oh, I know like today we have date night, but I have something going on. Yeah. But not to say anything. I'm like, okay, then like later I won't say anything. We'll talk about it in the next day. And then from there we will see if you will better yourself the next time. Yeah. Yeah. So yeah. We live and learn. How was communication like, I think the whole conversation is turning to how you met him long distance. I like it, but how was communication like in terms of texting and calling? Because sometimes meanings can be different depending on what's up. What's up can change the whole meaning of a conversation, especially when you misread it. Yeah. Did you have conflicts in that sense? We did. I don't think so. No, not at all. Yeah. But I also think we used to call up. We called every day. And we made sure that when he closes from work, like we had at least 30 minutes to an hour and we had like a call going through each other's day. How did it go? Yeah. Text was less during the working periods. It's more like, hey, how are you doing? How's your day going? You know, safe trip to work. Just let me know when you have lunch. Yeah. Very short. So it was more the calls that we interacted with. And it was video calls. Not just right now. Yeah. I think video calls are good. That's nice. Oh, then I too was buying credits for that. I mean, it was data. I was going to say that... I was going to say that we... I mean, data, you're both playing a lot. Yeah. And I was using some answers to the Wi-Fi. Anyway, so... What content are you having? I'm not getting that out. So I think voice notes also helped a lot. Yeah. I think we used to voice note a lot. And there was one thing that really... I can't forget it because anytime I see the word O and K, Jessica comes to mind. Even though Ossai Kwame is okay. So anytime it just says something and I text, okay. She's like, what does that mean? Not even okay. Yeah, okay. It's O and K. It's like, just tell me that you're not able to talk or anything. Be right back with something. Be right back with what Ock is like. Yeah, you see the way she put it was Ock. Yeah, it's Ock. Like it's awkward. So it's supposed to be okay. A-Y for you. Exactly. Maybe she prefers that. Okay, E, you know. But I think you replied that. But I'm assuming that you replied that because you were busy with something and you're like, let me just reply. No, but I was used to replying okay, A-Y with okay. In your mind. Okay, okay. That's what it means. But that's the thing that we also discovered with WhatsApp that you have your own interpretation of words and you're like, what are we saying this? And then you call it and you're like, oh, but I meant it like this. Yeah, that happened sometimes. But for us, I think long distance really helped us to communicate because you cannot see each other's day. So you really have to talk through your day and point out what was important. Yeah, the highlights. And so I think you also built that foundation in that sense. Very important.  Now we get home and that's the first thing. We want to know how the day was.  Yes, oh. See the way she's saying yes, oh. So I mean, first I struggled, but I think I'm better now. I'm able to describe more how I feel like things happening around me. Nice. Then I'm curious because you have been very forward about wanting to get married. So how did you get to that decision? Was it a together decision or was it always in the future for you guys? You were like, oh, that's just another step for us. What does it mean for you guys? I think I told him point of black is that we are only going to start dating if you are sure or you know that this will progress. So I think that was the first step. And then... And may I ask how soon was that when you were texting? Like how did you know each other? I think, like I said, a little after the business didn't business. It didn't flourish. I think it will take six months after that.   I think even at that moment he even told me like, I love you. Did I? Did I? I told? Yes, you did.  I don't remember. Guys don't hold me for this. He told me I love you and I was like... He said that. What? I was just waiting. Up to speed. It was a very short time.  Oh yeah. Yeah, I do remember. I do remember.   But I think we need to just get to know each other a bit more, a bit better before we get to the stage of I love you. And then you also shared your intention that if we're going, if we're proceeding then for me it has to be a long-term commitment. Yeah, exactly. And that's marriage. And I think for me, right, yes, I think I used to throw that whole I love you around a lot. So which means it wasn't heavy then? Was it? No, but you see, so maybe I didn't, I wasn't that mature then. But I grew to understand that. I think in between, hello MJ. So maybe you were not mature then, so you were throwing things like that around. But now you learned. Yeah, I learned quickly that I shouldn't just be saying that to everybody. Is it because I'm putting you on the spot? That's fine. Is it because it worked for your dealings with Ghanian girls? I would say that... No, not Ghanian girls. The Ghanian girls you have dealt with or the Ghanian women you had been with. I can't say Ghanian girls because that's generalizing. Take that back. But it's because it was working for the Ghanian girls you have dealt with. And this was a completely different experience. And so we realized that my strategies won't work here. I would say working. I would just say that's what I was used to. You also don't know these things until you find the person that you really connect with. Exactly. So maybe for Ato, he thought that was a level of where you say I love you, but then you meet somebody who you really connect with and then you get the deeper meaning of it. Exactly. And then you know how we watch movies from Europe and then they don't throw that I love you around a lot.  So that's when I was like, okay, well, man, you shouldn't be just saying I love you. So you were doing the Americanized version of it. Yeah. But I love you. Yeah, but I love you. That kind of thing. Yeah. That's what I was used to. Like you said, when you meet the right person, it just becomes a deeper meaning to it. And I always told him like, okay, maybe for me, I am very particularly like expressing myself in a certain way to certain people because I don't want people to read into it in the wrong way. If I start telling people I love you, I love you. And then for someone else, I love you, it might be like, oh, this person actually likes me. And then, you know, conversation-wise, it starts changing. And before you know, yeah, I just try to stay away from that. If you're friends, you're friends. If you are lovers, we are lovers. Yeah. To be able to differentiate. So we had a disclaimer in the beginning, like you want to move towards something long-term. But then how did you move over time? Like, how long did it take? Like, how long did it take you to... And how did it evolve?  Or what's the proposal? Or how did that... How did that happen? So, how did I get to decide? I mean, it took... We're a Christian family. So I had to pray about it. First off, to calm my inner man, or to let my inner man know that my spiritual man that, hey, but God, this is the person that I feel deeply connected with. This is the person I want to spend the rest of my life with. What do you think? If there's a sign or something, let me see it. But if there's nothing, this is someone I want to get married to in the nearest future. And I think COVID was a big blessing to us. Okay. How do you mean? So, Jessica was supposed to come in February, like she said, so that we can go on the heritage caravan. But she wanted to change her mind and come in summer. In June. Of 2020? Yeah, of 2020. And I was like, no, let's try and calm. Even if you're not going to go for the trip, we could do something else. So that was March then? Yeah, that was March. Okay. Because the reason why I actually didn't want to come anymore is because he told me that, oh, he needs to work. And then I had the Abel White play as well. Yeah, and I was like, well, he still wants me to go, but I'm like, what is the fun part about it? Like it was something that I was supposed to do together. Yeah. So she was like, well, I won't go if you're not going. But I was like, well, you still come. We'll see what we'll do about it. Yeah. And so she came and then a few weeks later, we started hearing about COVID. And then COVID happened and then... She couldn't go back or she didn't want to go? Well, I couldn't go back because the borders in the Netherlands were actually closed. Yeah. That's scary. So I was okay. I had my work laptop with me. Yeah. We used to work also from home before that. So my boss was like, hey, take your time. Yeah. You know, you have your work laptop with you. So we can still communicate. Yeah. That's nice. And he said nobody's going to work anyway. So, yeah. And I mean, going there for just planning. What was it? Two months. Yeah, two months. Two years. Almost two years. Wow. Yeah. Suddenly you had a lot of time together. Two months to almost three years. Yeah. That's pretty nice. And we had the opportunity to cohabitate, to live together. How was that for you? Well, it was different. It was different to be in our own space. Well, we started off by living at my mom's place for a bit, but you all know how the in-laws are. Yeah. But I got to say, it was because of a reason. Yeah. There was some issues happening on my side of the family that just wasn't able. So you couldn't go back home. Yeah. My mom was also not able to stay in the house herself. Yeah. So due to that, when I came, I just, I mean, we thought it was just going to be for a month or two. Yeah. And then it's much longer. Yeah. Exactly. And then, yeah, you know, when it became longer, yeah, my in-laws and I mean my parents felt like, okay, okay. It was just for a few weeks now. It's looking like forever. But yeah, then we moved out, got our own place. And the living together between the two of you, that went really smoothly or how was it? Yeah.  And the other way around. She had to learn mine as well. It's always the two way street. But it was cool. It was good. Okay. Sometimes I actually miss those early days. Funny enough. What do you miss about like, what do you mean you miss those days? I mean, we had, we had... Is it because those like, first of all, you were not married yet? And... Maybe like the thrill of it. Like, yeah, we're not married, but we're living together. And it was your first time in Cohabit. Exactly. So it was just different. And I know a lot of people experience this when they actually get married, but yeah. Yeah. Sometimes, yeah, our day and night, sometimes I can go back to some of... Yeah. Do you think you're missing it? Because also after you got married and the child came in, everything changed. Is that it? I think... I think yes. To some extent. Yeah, the dynamics has changed. You need to put more effort and time into planning these things now that you have a child. True. I think that's... Yeah, maybe that's why sometimes, most often, I miss it. Yeah. So let's just do that. Are you gonna... I wanted to ask, like, how would you describe the common ground in your marriage? What do you feel like you really connect on? Like, what are your pillars for... The principles, the values. I think the main pillar for our marriage is our relationship with God. We don't joke with that at all. It's the most... Like I said, it's the main pillar, like the biggest pillar. When we're talking, Bible discussing, we're talking Christ is different. It's different. It feels so different. And you always want to get back to it. Even on our way here on the train, she just calls asking me, because I'll be leading prayer, she was asking me, what am I gonna be praying about? And I was telling her what I was led, or what I feel like I'm led to lead people to prayer about. So yeah, I mean, that's our biggest pillar. And I think that's the fact that we have the same interests. Yeah. Like photography, gadgets. Oh, nice. We don't have that. Yeah. That helps a lot. We like similar movies. We sing. Like, yeah, she loves to paint. I love to paint. She loves to dance. I love to dance. It just works. The only thing that she has that I don't have is that she's more structured. Yeah, the structure is. MJ. Do you want to be on TV? Just give us one more minute. One more question, okay? One last question and we're gone. So I wanted to ask you a question. Just give her the biscuit, actually. Closing. Give her the biscuit. Quick, quick, quick. MJ, MJ. Okay, who's buying you? Hmm? Oh, say. Oh. Yeah. It's always like quietly playing. Yeah. Enjoy. Well, yeah, I used to do it. Like, it's really difficult to predict. It's normal. Okay. The last question. Yeah. Last question. I'm curious to hear what you're looking forward to. Like, what are you most excited about for your future? Oh, the most thing I'm excited about is for MJ to grow up, be old enough to take care of herself. And then I am my wife. Of your marriage, man. Oh, yeah. Of course. No, that would be like. Aside from your child. No, the child of the dynamic. Your personal relationship with each other. What are you excited about the most for the future? Oh, for the future. I'm really proud to have her as my wife. She's the structure to my fluidity. And I just can't wait to see gray hair on the head and gray. Well, I already have some, you know? Yeah, and gray might be, you know, grow old together. Yeah, definitely. Like I'm saying, I'm imagining MJ or our children taking care of themselves and then we can travel around. It's building the future together. Yeah, building a future together. Yeah. And just what were you looking forward to? Yeah. Like you said, growing old together, you know, I think we ourselves are at an age that we are trying to build our careers and stuff like that. Yeah. So it's really interesting to do that together. Yeah. And have that support from each other. Yeah. So yeah, I'm looking, I'm really looking forward to how we will see each other in the next 10 to 15 years. Yeah. And where we will be compared to now. Yeah. We'll be. And this might be a shameless blog, but I'm Europe's finest MC.  You can put it in. And then look forward to Jessica. She is very handy and she is into luxury gifts and gifts that actually have meaning. So yeah, look forward to Karu to you on Instagram. And of course, come now to MC on Instagram. Well, put it in the description box. Yeah. And my website is live. So you can check that out as well. Wow. Come now to MC.nl. Yes. So yeah. So I'll say this. The future. Yeah. The future is excited. Yes. I think that. But it's really nice. I can feel the excitement. So it's really nice to. Yeah. Thank you so much for being so open with us and sharing a part of your story. And I know we'll be in touch. I'm also looking forward to see how you grow and develop. And thank you so much. Thank you so much. I'm sure there's going to be a part two when. Yeah. We should. When you come back to Ghana, we'll do an update. That would be great. No, I'm not going to ask. Don't ask. You'll find out. So yeah. That's the first episode. Marrys Musings. Part one. Part one. Stay tuned for part two. Or a different couple. So yeah. Catch you in the next one. Bye. Thank you. You're welcome. It's like at the end where she got the biscuit. That's when she got quiet.