Why do I speak about community marketing versus community management? Because I see from various companies, where I worked for like last seven, eight, nine years since I'm in the workplace community, that this is completely misunderstood. What is community marketing and what is community management? Because these two things, you cannot even put verses behind. They're on completely different side of the spectrum. For each thing you can grab on about community marketing, it's on opposite side from community management. So those two people are driving cars on two parallel highways, which are never crossing each other. And most of the time those highways are like getting away one from another, and those two persons don't like each other. Why is that so? It's because community marketing is there to use people for the benefit of the company, and community management is to help people on behalf of the company. So to use company to help community. And that is why they're on the opposite side. So community management is spending money to help people. Community marketing is spending money to take more money from people. And that's the biggest difference. Where have I started and why I have the credibility to talk about this? I was construction site supervisor, and my formal education is architecture. So zero coding, zero programming, zero everything. And then what happened, it's world economic crisis. We all know everything about world economic crisis because countries, especially countries from kind of Eastern Europe, like from where I'm coming, felt that really hard. And where you feel the most economic crisis is construction industry. You can see that no one is building anything when there is financial crisis.  And of course community is responsible for where I am now at this very moment. How that happened actually, I started to manage WP. I finished some WordPress course or so. And there was IT Connect one conference in Belgrade. And there was one guy, Milan Ivanovich, he's hiding behind. He was, let's say, introducing WordPress community. It was about like, there was a representative for each IT community. Serbia was in that conference, and he was representing WordPress community. And I was no one back then, like literally just finished the course, no one knew who am I.  What does he talk about? What community? What is the community? Like when you're a construction site supervisor for a decade plus, there is no community. There are people working on the construction site, and that's it. There is no community of construction site supervisors. They're not meeting anywhere except in a cafe to get drunk after work. And that's it. There is no community at all. My first job I got at Managed WP through the community because I attended one meetup in Belgrade where a couple of people now in Automatic and other companies actually I talked to them and then I applied and got the job. The second job, GoDaddy, actually GoDaddy acquired us. Then the third job in RTL, I was asked to join an RTL during my talk, actually Q&A during my talk in Athens, in word competence. So I just transferred, like, sorry, but WordPress TV is recording. My boss will watch this, so I cannot accept your offer now, but let's talk later. And yes, I really will have the company and join an RTL. From an RTL, I joined Cloudways later. It was all again about the community. Daverix, the company from Bulgaria, wrote the article, I think, 10 WordPress thoughtful leaders to follow, and I was on that list. And at the same time, of course, because it's good for SEO, those articles are good for SEO, Cloudways decided to make a list of 100 WordPress influencers to follow, and I was on that list. And when they opened a couple of positions, I just asked their HR, they want to hire a person who is on your blog post, top 100 people to follow in WordPress community, and yes, of course, they hired me. Make WordPress, of course, for like six or seven years there in the community team. And I was mentoring this conference. Here, they were really cool. We had zero meetings and zero questions, so quite experienced crew. And now I'm in Indistec, again hired through the community. I know the guy right is from Visual Composer and WP Bakery. They founded the new product Indistec, and that is how I've been hired. So I did my community management really good, and my personal branding and community marketing really good. And that is what is giving me credibility to talk about this today. There is only one thing where community marketing and community management has touching points, and that is engagement. You cannot buy engagement, you have to build it. When I joined WordPress org, in Slack, we had around 6,000 people. At the moment, it's over 50,000 people. That engagement, you cannot buy that. You need to build that, you need to invest time, you need to invest resources, you need to make people interested in what you're doing. But on the other side, community marketers would say something different. It's not like just doing that, like nurturing community etc etc. They will say that if you stop advertising to save money, it would be like stopping the watch to save time. So community marketing will always be there to spend money. Community management will always be there to nurture relationship between people inside of your community. So what is community marketing? This is the definition of community marketing. And this, let's say, definition is the only thing you need to know about community marketing itself. Everything else is built on top of this definition. So it's a strategic approach from the business side. So it's always the business behind this. Where the company uses community to make money. Easy as that. So we built community. That community is promoting us to other people. The community is getting bigger. They are building our community by making money out of that. Like through affiliate programs etc etc. They're bringing more people into the community and you're making bigger community etc etc. And at the moment when that community is big enough, you have the problem because no one is managing that community and you have a problem. For community marketing, what is important? Building a community, the only touching point, engagement for community marketing and community management. Community marketing is sharing content. This is really important to remember this for the two slides from here. Feedback and communication to collect feedback and to communicate what's important for the company. So community marketing is only communicating what's important for the company and to reach the company goals. And advocacy, but you will see another advocacy in community management but this one is completely different. As I said, it's always on the different side of the spectrum. This advocacy is using your community members as your advocates in online communities, in social media etc etc. So this advocacy is using your users as your advocates, as people who are representing you. On the other side, community management is this. This is also, let's say, the definition which is the foundation for everything you're building on top of this. It's the process of seeing and overseeing and nurturing needs of your community online and offline and to make sure that it operates smoothly. I will explain later what does this actually mean and to serve its intended person. For example, our WordPress community has one purpose. To have something which is free, will be free and stay free forever. And Matt Malewick said that that is how WordPress started. Do you know the sentence? What actually Matt Malewick posted on Caffe Lock and how WordPress actually started? Who knows that conversation between Mike Little and Matt Malewick? You know, the conversation was like this. They were using B2 Caffe Lock. It was blogging software, but it was not maintained for some period of time. And Matt Malewick had the whole blog there. And he said, I'm afraid that something happened to Valdiriji. Michael, wait, Valdiriji, yes, who was founder of. Back to Caffe Lock, he said, maybe I will lose everything I have here because he's not maintaining the product. It would be so cool to make a product which will be always free and if something happens to me, someone else can continue maintaining it. And so it serves the purpose even if I don't exist. And Mike Little responded the other co-founder of WordPress. As WordPress said, well, I have a couple of friends and me as developers, we could help building something like that. And that is how WordPress started. It was not Matt, it was actually Mike Little, the guy who later left the community. He was always there, but let's say he left the community as active developer and contributor. What is important for community management, as I said, on completely opposite side, moderation, you need to take care of the community and to moderate the conversations because it's quite easy for the big community for the things to go down the slippery slope. Number two, engagement, the only thing which is the same between those two. As you remember, I said sharing content for community marketing. So they're just sharing content. Content curation is actually community management is deciding what content should be written and shared with the community because they're interested to read something like that and that is what they want to read and learn more about it. And community marketing at the same time is sharing only what's valuable for them to convert and sell. So again, completely different sides of the spectrum. Conflict resolution, of course, there are all these conflicts in every community.  Here at this room, we are all different. We are not same and equal. Whoever says that has like biggest misconception and not a misunderstanding of the entire planet because my background is architecture and I was the single child in the family and my parents were in architecture and construction industry. But for example, your parents are maybe musicians and your parents are programmers and your parent is a teacher and your family was like 10 kids and parents. We all have different backgrounds. We are not equal and we cannot be equal because our starting point is completely different for each one of us.  We are not the same. We are not equal and we cannot be equal. And embracing that we are all different and there is no equality, but we are all different is what is making one community great and good. Not having a problem that someone is different from you is the most important thing. And number five, advocacy. Again, we had that advocacy if you remember with community marketing but this is completely different. This is where community manager is advocate of community in front of the company. So when community wants something, community manager is actually going to the right place in the company and says like our community wants this feature to be implemented by the end of the year. And community marketing is using in an opposite way community to use community as advocates to sell their products. To completely different people and I have to say the community manager is a better person. You can see that like community marketers are lying, community marketers are just trying to sell and to reach goals and community manager is there to understand community and to be the part of that community and best representative of the community in front of the company. And you will see that actually understand that in the next couple of slides. Focus of community marketing revolves around leveraging their community or a network like 90 individuals to promote and enhance a brand product or service and it emphasize using the community as a marketing channel. So there are people who are actually abusing you. You can see that in all communities for like you can check Facebook groups of all plugins teams, premium plugins team, et cetera, they're always using marketers or always using the group to upsell something to their members to offer some affiliate scheme or whatever. And that is fine of course, because all of us need money to do things. But community manager is always like a nicer person in that story because it centers on overseeing and maintaining the community itself. How? By creating positive engagement and well-structured environment there, where community members can connect, interact and support each other. That is why rules are important. In the WordPress community, rules are extremely important even though very often you think there are no rules. But the moment when you try to break those rules, the entire community will see you as a person who does not belong to that community. And that happens very often. No one has to tell you like, don't do that. You will understand that you did something wrong even if you never read the code of conduct or anything else. It happens occasionally that people do things like unintentionally. We had situation in WordCamp Vienna. There was a guy in a t-shirt which was like quite inappropriate for any woman who see the text on. And when we asked him like, bro, you cannot wear the t-shirt. Because I was not aware that I'm wearing this t-shirt. I just pulled it out of the wardrobe. And he took of course the t-shirt of the conference, put it on and said, sorry, I never meant to insult anyone. It was just a joke t-shirt. And I was not even aware of that. And that is happening and it's fine. We are not perfect. Who is perfect can throw the first stone. Like that's something. If you're perfect, then you have zero sins throw the first stone. Goal of community marketing is of course to abuse you. The primary goal of community marketing is to boost brand awareness, reach and loyalty through the engagement of community members, which involves always like treating you well for being good. 10. I'm nailing it, you see? I'm literally around that number. Yeah, he's a time keeper and they're showing us like how many minutes we have until the end. Very, very important role in both games because we can talk for hours, to be honest. What they want you to think community marketers that you are important and then they're like rewarding you for being good, for behaving nicely, for representing the brand. And you think they're doing that because you're good but they're doing that because they want you to do more. That is why they're rewarding you. At the same time, community management's goal, primary goal, is to ensure that it operates smoothly, remains respectful and serve its intended persons. It's like, as I said, resolving conflicts, fostering a sense of belonging. And this is the place where we community managers are kind of, sorry, breaching code of conduct assholes. This is where we are assholes because we are fostering a sense of belonging. So we want you to feel that you belong to something but you cannot belong to my company because we are not paying you. You're just our user. But I want you to think that you're part of the family. You know, when you say something and I say, kudos, good job. I like what you just said, thanks for your contribution. Sometimes I really think that but sometimes I'm like, I don't care what you just said but you're active in the group. I see you're very active. And very often you're giving some meaningful answers to other members of Facebook group, for example.  So I will say like kudos for that but it's not what I think. But you will have that sense of belonging because for every time you post something, you comment something, someone from that community, some manager from the company will tell you how cool you are and you will feel better and you will feel that you belong to that group of people and we all like to belong to something.  What to do the reaction? How many of you would say, yes, we agree? How many of you? Zero. WordPress is better than Drupal. How many? Everyone, yeah. Imagine that I did this in DrupalCon. What will happen? Completely opposite direction. Because you like where you belong. You feel here that is safe, et cetera, et cetera. But also Drupal people feel really safe and I see DrupalCon. More, activities. Community marketing, the most of their activities is pulling more money out of the community and growing the revenue and reaching the goals and breaking the revenue from the previous month, next month, year on year, year on month, month on month. That are the only numbers they understand and they read and they want to read.  You are $27,000 more in revenue this month. Community, through community channels, 17% out of that was through community channels. That is who you are for community marketer. You are the number in reaching the goal. For community manager, you are not that. For community manager, you are someone who is there to help building a better product because from really useful people who, especially those who are from the very beginning there like early adopters, you had the best feedback. Like, guys, this button is a bit on a weird place because every time I'm thinking where should I click to learn something because it's kind of hidden. Why not putting that button on the other place? And then you have really useful feedback and thousands and thousands of people will be happy with that. Because when one person complains about something in your product, there are 28 people not complaining but thinking the same. And that is like one of the stats I very often share even though stats are there just to support my opinion even though very often they are not correct. Okay, things to take home. How many minutes? Nailing it. Things, take this home. Number one, go for the community marketing. Offer incentives for advocate and start-ups for early adopters. Offer them something. Marketing is doing that. Offer them something to make the money for themselves so they will make money for you as well. Affiliate programs, referral programs, lower prices for them, the LTD licenses.  When you say lifetime deal, there was a communication couple of days ago with Brizzy on Brizzy Group, a page builder with Brizzy. The guy was complaining because they can see that on Paddle dashboard where they're paying for the lifetime deal, expiration date is set to 2035. And he was like, why is 2035? I mean, it's lifetime deal. I was like, bro, it's a lifetime deal of the product, a lifetime of the product, not your lifetime. Because tomorrow company can say, okay, we are not supporting this product anymore. And that's it. That's the end of the life cycle of the product. A lifetime deal is not your life. It's life of the product itself. But lifetime deals and that kind of stuff that is how you actually promote the product at early stages. And that is when you use advocates and early adopters to promote your product. Take this home as well. Take care of lunatics joining the community. And clear of users there everywhere. So it's like in church, we have a priest in our local church. He says like, in church, you're either completely crazy or normal. There is nothing in the middle. And that's the same with the community. We have even one person in our community who thinks that he is God of WordPress. And if you check his Twitter account, you will see his name and God of WordPress. So they're like really different kind of people coming into your community with again different backgrounds, but also some with delusions that there's something there, but more to take home. Reward the active people and listen to their feedback, learn and improve. Learn and improve is something that if you're not doing regularly, learn and improve, your company is prone to die.  But your customers are actually looking at the whole forest and they see better with you. More to take home, maybe only the bigger box to take all of this home.  Every time stand your ground and someone is accusing you for something, you know they're not right. Because when you say like, well, Boeing is a crappy airplane. I crashed it on the runway. Well, you don't know how to fly Boeing.   That is when you're standing your ground. You have to say like, we understand your frustration but it's just because of the lack of knowledge not because our product sucks but only when you're right. But the rude is not equal to sincere and you need to remember this. Rude is not equal to sincere. Very often people are justifying their rudeness by saying, yeah, but I was just sincere. I was just honest. And if that hurts, it's not my problem. It is because being rude is a fake representation of the power of weak people. Weak people think when they're rude that they're actually in power but they're actually weak. And it's not something you ever do in your community. More to take home. Maybe you will need a van in this case. Watch out. There is a lot of toxicity in every community. One toxic person or one rotten apple will destroy all apples in the basket. One toxic people will poison dozens of people. More to take home. You will need a evaco truck. I used evaco because it's from Italy, of course. There are different people and I will take one minute from questions and answers because these three are extremely important things to remember. Assume misunderstanding. Don't play like Italians on the first ball, like on the volley. When the ball is dropping, you take the volley and hit the ball. Let it touch the ground. Stop on the ball, think about it and then react. Why? Because there are language barriers. You're Italians. You speak English in one way. Serbs are speaking English in another way. Americans in a third way. The same sentence pronounced by me, you or American can have a different meaning and that is why you need to have that. Understand those language barriers can be a problem. If you tell to American, can you click the green button? They will be like, cool, I will click the green button, cool bro, thanks. If you say the same thing to a British person, can you click the green button? They will understand that as imperative as you're forcing them to do something. So you need to use could you or something like that. It's even in the same language and imagine the difference with different backgrounds. And cultural differences. What is normal for me from patriarchal country, Serbia? And what's normal for you in Italy and what's normal for someone from Pakistan? Those are three completely different normal things. So you need to take into account our backgrounds and our cultural differences. And if you do all this wisely, your community should be fine as our group is community is fine. And we grew from 7,000 to 50,000 people only on Slack in the last six or seven years there. So we did a great job as well with that community. And Grazie Tutti, I'm WP Alex Aleksandr Salković. Thanks for being here today.


Every year at this time, we proudly commemorate the brave sailors of our service's naval construction battalions, naval civil engineer corps, and naval facilities engineering systems command. Since your inception, the fighting CBs and Marines have courageously fought, bled, and made the ultimate sacrifice together in the defense of this great nation. The CB-Marine relationship is a legendary one, forged in the fires of island-hopping campaigns across the Pacific during World War II, solidified on the battlefields of Iraq and Afghanistan during the global war on terror, and renewed now, here where it all started 79 years ago on the Pacific as the CBs returned to the roots of working alongside Marines in support of fleet maneuver. Here in the 7th Fleet, CBs are postured and distributed as task-organized details, as the ideals stand in engineering force to gain entry and establish infrastructure on key maritime terrain. Just like during World War II, this littoral infrastructure is critical to enabling persistent fleet maneuver within contested space. Our can-do attitude, grit, and ingenuity have served as an inspiration for the past 79 years, as you have worked with Marines around the globe and across the range of military operations. Whether on the battlefield or in conducting humanitarian operations, CBs have always lived up to the motto, we build, we fight. It is that ethos, united with our fight-now mission that makes the CB-Marine team the most formidable in the Indo-Pacific to this day. It is with that special bond in mind that we thank you for your dedication to duty and honor you today on the anniversary of your founding. Happy birthday CBs and Semper Fidelis.


Moving to other parts of Africa, now police and security chiefs in South Africa have called on the population to stop riots after more than 100 people were arrested on Tuesday in connection to the looting of a mall. Police charged against people taking part in riots in the Johannesburg township of Davinton. In recent days, the imprisonment of former President Jacob Zuma has led to unrest, living 72 people dead and 1,200 others arrested in poor areas of two regions. South Africa's police minister, Becky Sellers, said security forces wouldn't allow mockery of a democratic state and will double efforts to stop the violence. The military has deployed 2,500 troopers in support of the police. Current situation on the ground is under strong surveillance and we will ensure that it does not deteriorate any further. We cannot allow anyone to make a mockery of our democratic state and we have instructed the law enforcement agencies to double their efforts to stop the violence and to increase deployment on the ground. A lot of things could have happened but they were averted by the fact that we did supply this information and the police did act on this information. What we are seeing now is what we are seeing now but what we did not see is because the work of state security agency and the police, the machinery was working on overdrive.


Everybody forest here. I'm ripping a box of 21 22 select basketball hobby for Michael S. Here we go Michael. Good luck, man Obviously open for some big rookie color here big that color maybe but See some nice rookies. Oh nice a light blue concourse rookie Moses moody Good first pack number 265 out of 299 have been mobility concourse 75 years Kevin Durant's concourse red Chris Paul Numbered 175 out of 199 Trey Murphy the third rookie premier level God Gordon Hayward on the jersey card Silver concourse rookie Jaden Springer try color concourse rookie Isaiah Jackson and what way Lane? It's like prospecting Bones Trey man LeBron James premiere level maroon 36 of 175 Silver concourse Deontay Murray Zaire Williams courtside Nicola Yolkic 53 of 149 silver auto Awesome hit Michael sweet Yolkic unstoppable Davis giddy base Premier level try color Anthony Davis, so it is Bowman then it's been it's the same thing Premier level silver rookie Zaire Williams Trey Murphy the third Try color concourse Darius Garland Sunmu Alex English now double nuggets autos. This one's the 299 scope concourse rookie Evan Mobley Mobley premier level Scotty Barnes concourse Silver concourse rookie Jonathan Kaminga And that is gonna do it Miles Turner courtside on the back appreciate the order Michael. We'll get these out to you


Suspense. Radio's outstanding theatre of thrills brings you an hour, a full 60 minutes of suspense. Tonight, Crossfire. Our stars, Robert Young, Robert Mitchum, Robert Ryan and Sam Levine with George Cooper and William Phipps all playing their original roles from the current RKO radio picture in an adaptation for suspense produced and directed by Anton M. Lieder. Crossfire. Robert Young stars as Captain Finley, Robert Mitchum as Keely, Robert Ryan as Monty, Sam Levine as Samuels and Marlo Dwyer as Ginny. With these performances and with Crossfire, we again hope to keep you in suspense. My name is Finley, Captain of Detectives, Homicide, Washington, D.C. I was the cop on the case. The call came in at 9.45, a girl. I told her to stay there and we went up. It was an apartment on E Street, the third floor, number 307. The girl was still there and let us in. The place didn't look too bad, considering there was a chair knocked over and a lamp and a little liquor slopped around, but aside from that, not bad, except there was a man lying in the middle of the floor, a man named Joseph Samuels, and he was dead, beaten to death. No, no, no, take it easy, Miss Lewis. I'm all right. Was Samuels drunk when you left him in this bar, Miss Lewis? No. Had he been drinking? Yes, but he was all right. What was he arguing with his soldier about? They weren't arguing, they were just talking. I sent Sammy over to talk to the soldier myself. The kid seemed so upset about something. Here's a man's wallet, Captain. Found it behind the cushions on the sofa. Well, let's have it. Corporal Warth and Mitchell. What rank was the soldier, Miss Lewis? I didn't notice. I left them. Where did you go? I went up to my room. It was the bar in my hotel. I had a change, so I told Sammy I'd meet him here in his apartment. We had a date for dinner. I rested a while and then I fell asleep. When I woke up, I phoned the apartment to say I'd be a little late, but there wasn't any answer. I came over as soon as I could find a cab. Then I called you. Do I have to stay here any longer? No, I'll get somebody to drive you home. Oh, Hera. Yes, sir. Take Miss Lewis home and check in the bar at her hotel. I will do. Come on, Miss Lewis. Oh, wait a minute. Take this wallet to the Provo Marshall's office and see if they can locate this man. Sure. What do you want? Oh, I'm sorry. I must have the wrong place. What place are you looking for? Well, I thought it was this apartment. I was looking for a buddy of mine. Your cops? Yeah, we're cops. Has something happened? Tell us about your buddy. Yes, sir. Well, we was here. He left before we did. He wasn't feeling good. He said he'd be right back. Who was we? Me and another buddy of mine. Who did you come here with? What's these two buddies of mine and this fellow? What fellow? This fellow, we met in a bar. And Miss Lewis? Yes. Soldier, do you recognize this young lady? Come on, did you see this young lady in the bar? Yes, sir. Miss Lewis, is this the man who was with Samuels when you left? No, it was another. What's it all about? Come in, soldier, and give a look. Geez, that's tough. Yeah, isn't it? Somebody killed him. Could you identify him? Same fellow you met in the bar? Yeah, that's him. What's your name? Montgomery, sir.  Well, I had a couple, but I can handle that. How long have you been out of the service? Two weeks about. Live here? No, sir. What are you doing in Washington? I just came back to see some of my buddies. Where are you staying? At the Stuart Hotel. That's where I used to be stationed. I'm sponging a free bug from one of my buddies. What's your buddy's name, this one who was sick, the one who was coming back? Mitchell. Mitch, we call him. Oh, hand me that wallet. Here you are, sir. Corporal Arthur Mitchell. Yeah, that's him. Ever see this wallet, soldier? Where did you find it? In the sofa. It must have dropped out of his pocket, but believe me, Mitch couldn't. What's his outfit? Same as mine was. What were you in? Signal card attachment. Stuart Hotel. Oh, Harold, let's clean it up. Get the coroner up here and give me a full report. Okay, boss. Let's go, Montgomery. Sure, but where are we going? The headquarters. See what I mean? Routine, just routine. I put a man on to finding this Mitchell, the one who belonged to the wallet, and I talked some more to Montgomery. Nothing. The cooperative type, but nothing. Pretty soon, my man came back. He couldn't find Mitchell, but he had his roommate, a guy named Keely, the, um, uncooperative type. There he is, Captain. Oh, thanks. You, uh, Keely, Sergeant Keely? Yeah, I'm Keely. I'm sorry to break up your Saturday night game, Sergeant. You want to see me about something, Captain? Yes, I want to see you about Mitchell. What about Mitchell? About Mitchell killing a guy. Killing a guy? You know Mitchell, don't you? Yeah, but who's he supposed to have killed? Sit down, Sergeant. We'll talk about it. When, uh, did you see Mitchell last? It was afternoon, two o'clock. Where was he going? Crawling. Where? Nowhere. Soldiers don't have anywhere to go, unless you tell them where to go. When they're off duty, they go crawling. Or they go crazy. What, uh, did you do before you got in the Army? What's that got to do with it? It might help me understand your answers. I worked on newspapers. Oh. What, uh, sort of a job are you doing now? Ink job. Great job. Purple ink. Instead of the purple heart, we get purple ink. Mitchell too? He's an artist. He used to do cows eating grass. He's branched out now. He does signs. Keep this washroom clean.  You're crazy. Why? He's not the type. Everybody's the type. He couldn't kill anybody. Could you? I have. Where? Where you get medals for it. I see. This, uh, Mitchell boy couldn't do that either? No. Uh, tell me about this afternoon when, uh, Mitchell left. There isn't anything to tell. He left. What did you talk to Mrs. Mitchell about? Why, I just... Here it is. Here, what is? Uh, according to the hotel charge slip, you call Chicago at 2.30 and talk to Mrs. Mitchell. His mother? His wife. It was personal. It wouldn't interest you. What did you call Mrs. Mitchell about? She called me first. Last week she was worried about him. He hadn't written. Why? I don't know. Then guess. He's homesick. Anyway, he's got snakes.  How was he this afternoon? Well, he was trying to act like a soldier. I think he went out to look for a girl. What's your name, anyway? Finley.  I haven't seen my wife for two years. When I do, maybe we'll pick right up again. Maybe we won't. But I don't worry about it now. Mitchell's not like that. He's not tough. He needs his wife.  Here's her wire. She's on her way. She'll be here tonight. That's good. I still don't know what this is all about. Why don't you pick me up? You're Mitchell's closest friend, aren't you? I don't advertise it. Well, Mitchell's other friend told us about you. His other friend? Who's that? Hello? Oh, Harold. Let's have Montgomery back. Right away. Where does Montgomery come in? He was with Mitchell and a boy named Floyd Bowers this afternoon in a bar. They met up Mr. Samuel's there and went up to his apartment. Mitchell left first, but he told Montgomery to be back. We were looking at Samuel's body when Montgomery came back looking for Mitchell. You were taking money's word for all this? Not entirely. You ever see this? That's Mitchell's wallet. How'd you get it? We found it in Samuel's apartment down behind the sofa cushions. Where's Bowers? Did you ask Monty? Ask him yourself. Hiya, Kiwi. Did you hear all this? They're trying to pin on Mitch? Part of it. Well, this is serious, sir. Crucifying the kid. You know, Mitch, he won't have a chance. What do you mean by that? Well, Captain, I just mean that Mitchell's not the kind of guy who knows the scoop on things like this. He's an artist. He's sensitive. And you know all about things like this. Well, sure, like I told you. I've been a cop myself in St. Louis. Four years in the jungle on the east side, I know the score. Well, then you can understand my problem, why I need your help. I'm not helping anybody stick my pal in trouble. I'm not asking you to. I'm just asking for facts. How did all this get started in the bar with Samuel's? Like always, a bunch of people in a bar. Something happens and first thing you know, you're talking to somebody. What happened? Leroy knocked a drink all over this... What'd you say her name was? Miss Lewis. You didn't tell me about Leroy.  He's a friend of Floyd's. He'd come in with Floyd, but he didn't stay long. Go on, tell me about it. Well, like I said, we was talking. Me and Floyd and Mitch. Only Mitch was getting high and clamming up. I was worried about Mitch. What's eating you, Mitch? Nothing's eating me. Come on, man, let's go. Sit still, Floyd. You don't get to meet people going in and out of one bar after another. Hey, look out. Leroy, that tray. I'm sorry, lady. I didn't mean to steal.  Why don't you watch what you're doing? That's all right. It was an accident. A lady with you? Yeah. I'm sure sorry about my buddy. Oh, that's all right. Here, honey, here. Here's an apple. Waiter, give me that towel. Here, miss. Thanks. You'll have to forgive Leroy here. Leroy's from Tennessee. He just started wearing shoes. Apologize to the lady, Leroy. I said I'm sorry. It was just an accident, soldier. Leroy's all right. He's just dumb. We won the war with him by not letting him go across. The crowds had caught him. Hey, Leroy, where you going? I'll see you, Floyd. Well, now, look there. I heard Leroy's feelings. I'd better change. I'll meet you up at your place, Sammy. Sure. Sure. Take your time. Hey, soldier. Yeah? Buy a drink? Sure. Why not? Let's go over here and sit down. Well, Captain, this Samuel's and Mitch went off to the other end of the bar. Me and Floyd was just sitting there talking. I don't know how long. This Floyd can really talk when he gets started. Man, what I couldn't do with a thousand bucks. What would you do with a thousand bucks? A man with a thousand bucks, I'd go to Mexico. I'd fish and live on the beach and eat and just live on that beach. I've been to Mexico.  Yeah, not my thousand bucks they wouldn't. I'd steal me an air-cooled machine gun and I'd just... Hey, hey, Floyd. Floyd, look, they're leaving. Who? Mitch and his pal. Come on, let's go. Oh, why do we have to go? If the Jew boy is setting up the drinks someplace. Who? The Jew boy. The Jew boy. Well, Captain, we followed them to Sammy's place and just walked in. We all had a couple of drinks. Next thing I knew, Mitch was getting a little green and pretty soon he left. Floyd was getting kind of stinko, too. So after a while I got him out of there and started walking him back to the Stuart Hotel. But then I got worried about Mitch. So I put Floyd in a cab and went back to look some more for Mitch. And that's when I met you, Captain. And you came up to Samuel's apartment even though you saw the police cars outside? Well, how did I know they had anything to do with Samuels?  You'll never pin anything on Mitch. Not in a hundred years. I'm sorry, I'm just worried sick about Mitch. Did you have any sort of an argument with Samuels? Well, what was her to argue about? Well, what was her to argue about? Liquor was good. Everything was okay. Had you ever seen him before? No, I told you. I just met him in the bar. I never seen him before. You're sure? Sure, I'm sure. Of course, I've seen a lot of guys like him. Meaning what? You know, guys that played it safe during the war, scrounged around keeping their selves in civvies. They got swell apartments, swell dames. You know the kind. No, I'm not sure that I do. Just what kind? You know, some of them are named Samuels. Some of them got funnier names. You'll be at the Stuart? Sure, I got nowhere else to go. I'm just sponging a blank from one of the boys. You coming, Keely? There are one or two more questions I want to ask Sergeant Keely. Well, so long, Captain. If there's anything else, just call on me. You should look at a casualty list sometime. There are a lot of funny names there, too. I said Monty's a literate. I said he ought to read more. I was just philosophizing. I'm not interested in philosophy. I'm trying to solve a murder. Pardon me.  You'd admit that. He left Samuels a partner intending to come back. We arrive and find Samuels beaten to death. We find Mitchell's wallet and a sofa. I say Mitchell did come back. Some sort of an argument developed. I say nuts. Why?   You still don't know where he is? No, I don't. I didn't know when I came in here and I haven't suddenly gotten any brighter. You don't believe you did it yourself? He could have. He was there. So were Monty and Floyd. But they left. Mitchell said he was coming back. According to Monty. According to Monty.  What makes you believe his story? It just happens to be the only story I've got. Then why did you let him go? Did I? You don't really think you'll lead you to Floyd Bowers, do you? I don't know. Is that all for me? Yeah, I guess so for now. Okay. You know where to find me. I'm Keely. You've heard from me already. I was Mitch's friend. And brother when I walked out of that smart cop's office I knew if I didn't find him before the fuzz and after me was a dead pigeon. When I got back to the hotel the lobby was so full of cops and MPs they were dancing with each other so I rounded up a couple of my scouts told them Mitch was up to his ears in trouble and I I stationed them around the lobby to keep out on keep an eye out for him. I also told him to keep on the lookout for Floyd Bowers. He might know something. And I waited at the counter of the coffee shop where I could see the street from the window. Sure enough about half an hour I saw Mitch cutting across the street for the hotel entrance. I managed to get outside and put the snatch on him before the cops knew what I was up to and ten minutes later we were sitting in the balcony of an all night movie house with nobody around with a few drunks and bums. And I gave him the pitch. Keely, I couldn't have killed him. But that's not the point. You've got to have a story for the cops. The reason it sounds pretty, but not for you. I want you to tell me everything you did tonight. How drunk were you? I don't know. Pretty drunk, I guess. How long were you with this girl? Well, I think... Oh, you ought to know. Was it one hour, two hours, three hours? I can't remember. My head hurts. I can't remember anything very well. So it hurts, you've got to remember. You ran into Monty and Leroy and Floyd, didn't you? Yes. And you went in the bar with them? That's right. Okay, now take it from the bar.  Well, we were there quite a while, I guess. I got restless and I wanted to show.  I wanted to be somewhere else. So I drifted off to the other end of the bar and his fellow sandals came over and he sat next to me and began to talk. First, I didn't pay much attention. I was feeling so low myself. My girl is worried about you. She says you're not drinking but you're getting drunk anyway. Anybody who can do that has got a problem. So what? It's a funny thing, isn't it, how it gets worse at night? I think maybe it's suddenly not having a lot of enemies to hate anymore. The war is over. And now we don't know what we're supposed to do. We don't know what's supposed to happen. We're too used to fighting. So we don't know just what to fight. Know what I mean? I guess so. You can feel the tension in the air right here in this bar. A lot of fight and hate that doesn't know where to go. A guy like you may start hating himself. One of these days maybe we'll all stop hating and start liking things again, huh? What sort of an artist are you? I did a mural once for the WPA. Oh, a lot of fine artists came for me. He seemed like a nice fellow this Samuel's. A real nice fellow. I think he must have been on a newspaper or something. We talked a while. Then we decided to go up to his place. He was going to meet his girl there. Monty and Floyd must have followed us because after we got to the apartment they walked in. I guess I must have been getting pretty tight because I don't remember exactly what we talked about up there or how long it was before Monty and Floyd came. All I remember is that the radio was on playing some nice music. Debussy, I think. Monty was jamming away doing most of the talking. You're doing all right, Floyd. You're doing all right, Mitch Kidd. Sammy, let me tell you something. Not many civilians will take a soldier into his house like this required talk. Is that right, Floyd? That's right, Monty. Well, let me tell you something. A guy's afraid to take a soldier into his house. He stinks. He ought to have the screws put to him. Am I right or am I right? Sergeant, don't you think that you... I asked you a question, Sammy. What was that? You know what was that. Am I right or am I right? You're right, Sergeant. You can say that again. You're all right, Sammy. Boy, you're okay. Mitch, are you all right? I'm all right. I just need a little air. Can I get you anything? No, I'm all right. I'll be right back. I'm all right. He's all right. You heard him say he's all right. Let's have another round. I'm afraid there isn't time, Sergeant. What kind of a brush is this? What's the matter, Jew boy? Afraid we'll drink up all your sweet things? You know how I am, Keely. I hate to hear anybody yelling at anybody. So I decided not to go back when I got out. The air felt good. I must have started to walk. I don't remember how far and in what direction. But the next thing I knew, I was in a joint called the Red Dragon. I was talking to this girl named Ginny and buying her drinks. Do I have to tell you my name again? Well, it's Ginny because I'm from Virginia. Oh, yeah? Oh, yeah. Oh, this joint stinks. I sure get tired of it here. What do you work here for, then? For laughs, dear, for laughs. Every night? Every night.  Here's to nothing. You work here until when? Until we close. Then what? Then I sleep. Me and myself and my great big bed we sleep. You know, I could have killed my roommate the other morning. You got that in quick, didn't you? Drink up and be nice. You know what I'd like to do? Yeah, yeah, I know. I'd like to take you dancing. Well, that's what that music's for. I work here. I mean really take you dancing. Eating somewhere, eating something, talking about ourselves.  I'm serious. Sure, sure, I know. I remind you of your sister. You remind me of my wife. Look, be nice. Order some more drinks. Then we'll dance. I've had enough to drink. Well, too low. Wait, Ginny, don't go. I've got some things to do. I was looking all over for you, Ginny. What did you leave for? You didn't want a drink. All you wanted to do was yep. I don't make money on that. You're not getting so rich out here in the terrace all by yourself. Well, it's nicer out here on the terrace all by myself. What's wrong with me anyway? You're corny. Well, what did I say? We were just talking. Is that what that was? You know what I'd like to do? I'd like to take you dancing. You remind me of my wife. What's the idea of saying a thing like that? Well, I'm sorry. I didn't mean to insult you. You know something? I haven't really been dancing for almost two years. Why not? Because I haven't. Why? Because I've been working for a living. What do you do when you're not working for a living? I live. How much would you charge to dance with me here? A lot.  You're not so bad yourself. It's nice out here. Yeah. Yeah, you know, this used to be a spaghetti restaurant with tables out here. They don't use the terrace anymore. Say. Say, how would you like me to make you some spaghetti? You mean here? No, silly. Look, I live at the Regal Apartments on Southern Street. You could wait for me. Well, I won't be there for a couple of hours, but you could sleep or something. Here's the key.  Nice. Look, I'll try to get away early, but if you don't want to wait for me, you can just lock the door and put the key in the mailbox. I'll wait. I guess it was a crazy thing to do, Keely, but it made sense at the time. Besides, I thought I could use a little shut-eye. So I walked around some more, and then I went up to Ginny's apartment. I must have fallen asleep because the next thing I remember, somebody was knocking on the door. How about some light? Uh, sure. Has she come home yet? I don't know. I don't think so. You mean Ginny, don't you? What do you mean? I guess I mean Ginny. Do you belong here or something? Or something. How long have you been waiting? I don't know. That's great. Have a second, Rhett. Thanks. I just woke up. I don't even know what time it is. I've got a key here somewhere. I know. I saw you with her at the journey. Oh? Who are you? I'm a man who's waiting for her. Is that all right? Sure. Want some coffee? Sure. I'm a husband. I'm Ginny's husband. Oh, yeah? I was a soldier, too, but I conked up. I guess you're wondering about this setup, aren't you? I guess I am. Well, ask her about it, then. She was a tramp when I married her. I didn't know it at first, but I knew it before we were married. It's one of the reasons I enlisted to get away from her. But I couldn't wait to get out and come back to her when I thought she didn't want me. Funny, ain't it? But I still want her. I still love her. How's that coffee doing? We'll be ready in a minute. You know what I just told you? What's a lie? I see. I'm not her husband.  I can't keep away from her. I want to marry her if she won't have me. I see. You believe that? Well, that's a lie, too. I don't love her. I don't want to marry her. She makes good money there. Got any money on you? While this screwball goes on with this double talk, I suddenly remember you, Keely, about having to meet you at the hotel at midnight. So I decided to get out of there.  I don't like all night movie houses any more than you do. But you're in a jam. Now, how long was it from the time you left Sam until the time you met this Jenny? I don't know. That's a help. How long were we going to apartment altogether? Well, I think... You ought to be kept in a cage. Keely, what's happened? Is everything subtly crazy? I don't mean this. I mean everything. Or is it just me? No, it's not just you. The snakes are loose. Anybody can get them. I got them. But they're friends, aren't they? I think Samuel's understood it. Maybe he did it that.  I guess I am. She's still in love with you? That's a screwy thing to ask. Maybe it is, but she's here now. She should be. I've got to figure out how much of this to tell her. Mary? Here? Well, what's she... She doesn't know anything yet. She was coming anyway. Why? To see you. I talked to her this afternoon. Maybe she's here now. She was supposed to be on a plane. You sit tight. I'll go see if I can find her. Keely? I couldn't have killed this guy, could I? Hey, there's Leroy. I wonder what he wants. Keely, listen. I found Floyd. Floyd? Where? In a room in a place down on Maryland Street, where he's hiding out. He just phoned me and tried to raise some dope or something. He sounded awful scared. You got the address? I don't want to have nothing to do with this. I shouldn't have told you. I don't want to get in trouble, Keely. You won't get in trouble? All you have to do is tell us where Floyd is. Then you can go back to the hotel and stay there and forget it. All right, you just keep right on watching the picture and don't move. Don't even move to another seat. Do you want Leroy to bring you a sandwich or something? No. But Keely, where are you going? I'm going to see Floyd Bowers. I didn't have any trouble finding Floyd. He was just where Leroy said he was. Crummy little room on the second floor. And he was scared, scared to death and wanting to get rid of me the worst way. Why? I didn't know then. I talked to him for quite a while, but I couldn't get a thing out of him. Well, I didn't have all night to waste either, so after 15 or 20 minutes, I got up to leave. Well, thanks for dropping around, Keely. It's okay. You sure you haven't got anything on your mind? No. No. Not a thing, Keely. Well, I'll be seeing you. Sure. Sure. So long, Keely. Night, Floyd. I went on out and down the stairs. I couldn't figure it out. Of course I couldn't. Because what I didn't know was that all the time I'd been in that room, Monty had been there too. After I left, he was still there. It's okay, Monty. He's gone now. I know he's gone. Monty, I didn't call Keely up here. No. Oh, Monty, don't. Told you not to go out anywhere, Floyd. You went out, Floyd. You didn't do like I said. You went out and got in touch with Keely. You shouldn't have done that. No, I didn't, Monty. I didn't get in touch with Keely. I called Leroy. Leroy must have told him. Try him any money. All I did was try to get some dough. Now look, you got plenty of dough, Monty. Give me some dough. I had everything figured out. Just what we was going to do. I told you to stay here. You went out and phoned. You spoiled everything. I didn't, Monty. I didn't spoil nothing. I told Keely I hadn't seen you. You heard me say that. Nobody can pin anything on you. That's right, Floyd. Nobody can pin anything on me. Oh, now look, Monty. I'll go to Mexico. I'll never come back. I didn't have nothing to do with it. I don't want to get mixed up in it, Monty. Crime in it, Monty.  Samuels didn't do nothing to you. You went crazy. I didn't do nothing to Samuels either. Except I flicked you. Like that. Not that hard, maybe. More like that. Or that. Or that. Not hard enough to hurt anybody. Stop it, Monty. Monty, stop it. You went nuts. I forget nothing against any Jews. I just don't.  Tonight's full hour of suspense. Our stars are Robert Young as Captain Findlay, Robert Mitchum, Robert Ryan, and Sam Levine in Crossfire. Tonight's study in Suspense. In just a moment, we will return with Act Two of Suspense. This is CBS, the Columbia Broadcasting System. And now, back to our Hollywood soundstage, and Act Two of Crossfire. Starring Robert Young, Robert Mitchum, Robert Ryan, and Sam Levine, with George Cooper, William Phipps, and Marlode Wire. In a narrative well calculated to keep you in suspense. I said before, I'm just a cop. By this time, I was a tired cop, dog tire. I'd been doing a lot of work for the last six hours, most of it leading nowhere. Because still, no Mitchell. But by this time, I had Mrs. Mitchell right in my office. Figuring maybe she might be anxious to see her husband, too. I asked O'Hara to locate that helpful character, Keely. Okay. And bring him in. All right. Sergeant Keely, Captain, come on in, Sergeant. Captain Findlay was just sending me out to find you. I've been waiting to see him. Hello, Keely. Mary. What are you doing here? We picked up Mrs. Mitchell at the airport. Oh. Well, what do you want me for? Floyd Bowers is dead, Sergeant. Dead? He was alive a couple of hours ago. I just saw him. Well, when I saw him about 20 minutes ago, he was good and dead, strung up by the necktie. I just came here, Captain, to tell you I'd talked to Floyd. If you'd come here right away, Sergeant, as soon as you found out where Floyd was, I could have talked to him myself, and he'd still be alive. You win, Captain. Now, don't you think you'd better tell me where Mitchell is, Sergeant? Why? I don't want anybody else killed if I can help it. You might as well work with me now if you want to help Mitchell, because you're in custody in case you didn't know it. I'll listen to anything constructive you have to say, but I won't stand for any more interference. You've got a mind like a dog catcher. Okay, I'm in custody. Everybody's in custody. What does that prove? Except that you've got a big jail. If you want Mitchell so bad, you can go out and find him. All right. I was just hoping there was an easier way. I talked to Mitchell a little while ago. Where is he? I said I talked to Mitchell, Captain. He couldn't have killed Samuels. He didn't go back to Samuels' apartment after he went out for some air. He went straight to a... He went straight to a joint where he met a girl. Oh, Kelly. Take it easy, Mary. Mitch was in this girl's apartment for the next couple of hours. What does that prove? It proves he went to a joint and he met a girl. Would a man who's just killed somebody do a thing like that? I'm sorry, Mary. And it proves where he was for two hours. Which two hours? He doesn't remember. But all you have to do is ask the girl. Who is she? She's a girl. She calls herself Ginny. Who knows where she lives? When did he tell you all of this? Just before I went to see Floyd. Did he know where you were going? Yeah. Then he could have killed Floyd himself. He didn't know the address. He could have followed you. Captain Finley, if... If Keely tells you where Mitch is, will you let him go? And will you promise to let me see Mitch first, by myself? No, I won't let Keely go. Well, I'll let you talk to your husband alone. I'll be waiting outside wherever he is. Please tell him, Keely. Please. He's in the balcony of an all-night movie. The Regent. I bought four blocks from the hotel. I took Mrs. Mitchell to the Regent Theatre and waited downstairs by the popcorn machine while she had her private talk with her husband. I don't know what they said to each other, but it wasn't hard to imagine. A guy and his wife separated for four years and then socked off this deal. But you could tell from the way they looked at each other when they came out that whatever came between them from now on it wasn't going to be that other girl. I put Mitchell in the squad car with O'Hara and then Mrs. Mitchell and I went on to pay our call. Mitchell had given his wife the address, Regal Apartment Southern Street, the name Ginny. Captain Finley. Yes, Mrs. Mitchell. Can I go in and talk to Ginny first? I mean, go in alone. Why? Well, she might tell me more than she'd tell you. All right, I see the transom's open. I guess I won't miss anything. Ginny? I'm Mrs. Mitchell. Great. How's Mr. Mitchell? My husband is so... Look, what do you want anyway? It's late. I'm sorry. I wanted to talk to a girl named Ginny. My husband's a soldier who was here tonight. Well, there aren't any soldiers here now. Just me. I don't have anything to do with soldiers. Sorry. Good night. Please wait, please. I've got to talk to you. It's terribly important. I know it's late, but you've got to help me. Can't I come in for just a minute? Please. Oh, all right. My husband's in trouble. Look, I don't know anything about your husband.  Maybe, maybe he's waiting for you. He's in jail. They say he killed a man, but he didn't. Okay. Then there isn't any problem. What do you want from me, anyway? A character reference? All I want you to do is to say that he was with you tonight. Tonight's a long time ago. I wouldn't be able to remember. You'd remember, Mitch. Why? Does he have two heads or something? You danced with him.   Told you that he was up here with me tonight? Yes, he... Well, he lied to you. If he was here, I didn't know about it. And I don't know where you got my name and address. I can't tell you anything else. You better go now. Hello, Jenny. Who are you? What do you want? I want to talk to you. What's your name? Are you a cop or something? What's your name? I don't like cops. Nobody likes cops. What's your name? Virginia Tremaine. Why? Where are you from? From here. Before, you were from here. Pennsylvania. Wilkesbury. So what? What do you do? I work. Where? The Red Dragon. Well, what's wrong about working there? Does that make me a criminal or something? Does that give you the right to bust into my house and start asking a lot of questions? Where you met Mitchell at the Red Dragon? That's where I meet a lot of people. I never heard of this, Mitchell. You live here alone? Sure. Is there something wrong in that? Jenny, Jenny, the police won't hurt you. He promised me. All we want you to do is to tell the truth. Sit down, Virginia. Now, about Mrs. Mitchell's husband. He's in pretty deep for Virginia. Looks like he killed a man, maybe two. Mrs. Mitchell doesn't think he did, of course, but that's only natural. Jenny, don't you see? I know he was here. He told me. But that doesn't matter anymore. Never mind me. You've got to think of him. Oh, brother. Listen to that. Never mind me. You've got to think of him. Oh, now, isn't that sweet? Isn't that just too... He wasn't here with me, see? He could have been, but he wasn't. He could have come up. I could have cooked him something and we could have talked. And what would have been wrong with that? What's the matter with me being with her precious husband? Does he break or something? Where was she? Okay. Where were you when he needed you? Maybe you were some place having beautiful thoughts. Well, I wasn't. I was in a stinking gin mill where all he had to do to see me was walk in, sit down at a table and buy me a drink. And that's all I know about it. I didn't ask him if he killed anybody. Virginia, listen. You're not involved in this murder, so nothing's going to happen to you. That's the first point. Got it? You bet I got it. Okay, now, when was... I mean, what time? What time was Mitchell with you at the Red Dragon? I don't know. We found the body of this man. This Samuel's about 10. He'd only been dead about a half hour. So if Mitchell was with you from, say, 9 to 10, he's all right. Tell me the truth. No. Oh, no. I gave him my key. I don't know. Maybe 8.30. I liked him. I felt sorry for him.  I was going to ditch early, only I couldn't. I didn't get home until 1. Well, maybe 2. He wasn't here. He had been here, and he'd gone. He left the key. But I don't know what time. Ginny, is that the truth? I said it's the truth. What do you want me to do? Light up like a Christmas tree? We're wasting our time, Mrs. Mitchell. This isn't going to help your husband. Let's go. By the time I got to my office, it was dawn. Gray and dirty, which is how I felt. Plus disgusted. Mitchell and I were going around in circles. I didn't murder anybody. Why would I murder him? What motive would I have? Maybe you didn't like him. Maybe you hated him. Hate's a good motive.  I hardly knew him. I only talked to him for a couple of hours. He seemed like a nice guy. You know he was a Jew? No. You mean to say you didn't know he was Jewish? No. I didn't think about it. What would that have to do with it? I've got Montgomery for you. All right. I'll see him in a minute. I'm through here with Mitchell, but I want to talk to Keely again. Okay, boy. That door, Mitchell, over there. Okay. Here are the papers you wanted from the water department on Samuels. Oh, yeah. It was hit on Okanawa. Got a medical discharge last summer. Let's give a look. Samuels, Joseph, ASN 392-32880, Army of the United States. Joseph Samuels was discharged 28 August 1945 upon recommendation of a medical board because of disability from wounds received at Okanawa. So that's our stinking civilian. All right, O'Hara, let's have money. Okay. Come on in, Money. Okay. You want to see me, Captain? I figured it must be important. I want to help all I can. Yeah, sit down. Yes, sir. Sergeant, how did you know Samuels hadn't been in the Army? Huh? When I talked to you earlier this evening, you were sure that Samuels had never been in uniform. How did you know that? Well, like I said, you could tell. You could see. Those kind of guys got ways of keeping themselves from getting dirty. Why do you ask that, Captain? I was just curious. You know who killed him yet? Yes, I think I do. Was that all, Captain? Didn't you want to ask me something else? No, that's all. I can go now? Yes. Okay, then, Captain. Oh, Montgomery. Yes, sir. You haven't seen anything of this friend of yours that Floyd Bowers, have you? No, sir, I haven't. I can't figure out what... Well, let me know when you do, will you? Yes, sir. So long, sir. Oh, Harry, send Keely in. You look all in, Keely. Thanks for the concern. Sunday morning. Mrs. Finley is just about leaving for early mass. Now that I know that, can I go back to bed? Well, what's the matter? It's like you're going to have this all solved by now. I'm in a cage. I'm not doing anything except breathing. You've got Mitchell. You've got your little fairy tale over it. Trunk, trouble at home. Can't tell a clear story. Come and shut. What's holding you back? Is that all? That's all. All right. Do you really want to help me wind this up? But you didn't like me. You talk too much sometimes. Well, you're appealing to my better side. Yes. Making me some sort of a proposition? Yes. I'd like to sleep on it. You can sleep all day when we're finished. Okay, then.  Yeah, I guess. Do you have to know him well enough to be in love with his wife or well enough to know he has some money? Samuels didn't have any money. He didn't even have a wife. So what? So this. None of these men knew that or anything else about Samuels. They hadn't known him well enough or long enough to have an ordinary motive for killing him. Mitchell talked to him for maybe an hour or the others less. So it had to be something else, a motive inside the killer himself. Come on. The killer had to be someone who could hate Samuels without knowing him, who could hate him enough to kill him under the right circumstances, not for any real reason, but mistakenly and ignorantly. You interest me, can't you? Well, once I figured that out, the rest wasn't too hard. I looked around at my suspects. I thought back over the answers I'd had tonight, some of them fit. I knew who killed Samuels. You booked him? No, not yet. I'm taking the chance that you're smart enough to know what I'm talking about. You don't have to draw me pictures. I know what you're getting at. I think you're right. What do you want me to do? Yes, I have nothing on Montgomery. Nothing at all. I might never get anything. I want to take a long chance on nailing him quick. How well do you know him? Well, I've tried to like him, but he's not my type. Does he have many close friends? He had one, Bowers. I think he killed him. So do I. What about that southern boy, Leroy? No, I don't think so. He was in Monty's platoon. Just how do you think he feels about Monty? You're getting ahead of me. Well, I was hoping he didn't like Monty. I think he's scared to death of him.  Well, he's pretty young. He doesn't always know which ends up.  What if Leroy told Monty a fantastic story? Would Monty believe him? He might. I'll risk it. How? Yes, sir. Keeley's on his way out. I don't want to see anything in the papers about Floyd Bowers' killing. Not a word. As far as we know, he's still alive. We've never heard of him. We'll do, Chief. Keeley, I want you to get Leroy out of the Stuart Hotel without being seen and bring him here. Can you do it? If I have to sandbag him. In an hour on the nose, Keeley was back at headquarters with Leroy. But it wasn't going to be easy. Leroy was suspicious and he was scared. It isn't a lot. I don't want to help, Captain. It's... Well, I don't... Well, I've never been around with Monty and Floyd much. Monty never wanted me around.  I guess I am.  We don't. That's what we want you to help us prove. Keeley, I told you I didn't want to get in any trouble. You're not going to get in any trouble and stop worrying about Monty. Captain Fiddler won't let anything happen to you. Maybe you're right, sir. But I can't think you'd do a thing like that. Without no reason. He thought he had a reason. You know the way Monty feels. You've heard the things he says. Well, yes, I... I guess I heard him say a couple of times about Jewish people living off the fat of the land while he was out there. And you say that's all lies. And I guess it is. I don't know, but... Look, maybe Monty roughed this guy up a little, and that was all. That was all he started out to do, yes. He didn't have a plan or anything like that. This business of hating Jews comes in a lot of different sizes. There's the, you can't join our country club kind.  Yes, you can't work here kind. Because we stand for all of these, we get Monty's kind. He's just one guy, we don't get him very often, but he grows out of all the rest. Look, Leroy, you know we have a law against carrying a gun. Sure. We have that law because a gun is dangerous. Well, hate. Monty's kind of hate is like a gun.  It killed Samuels last night. Monty was in my outfit. It killed Floyd.  And I hate to see Monty get away with anything. But look, I'm getting out soon. I might get in trouble. And I don't see this as any of my business anyway. Has Monty ever made fun of your accent? Well, sure, lots of times. Why? I don't know. He calls you a hillbilly, doesn't he? He says you're dumb. He laughs at you because you're from Tennessee. He's never even been in Tennessee. Ignorant men are afraid of things they don't understand. They end up hating them. You get me all mixed up. How do I know what you're trying to do? How do I know you want a Jewish person yourself or something? You don't. But would it make any difference? I guess not. Well, all right, Leroy. But just one more thing then you can go if you want to. About a hundred years ago in Ireland, the potato crop failed. A lot of Irish immigrants came over here. Their talk was different, like yours, Leroy. There were Catholics, most of them. One of my knew about stayed in Boston. He thought of himself as just another American until suddenly one day he looked around and saw that something had happened. It frightened him. Fear and hatred of all Irish Catholics had developed and spread like a terrible disease. He saw he wasn't an American anymore. He was a dirty Irish mick. He didn't understand. He didn't know what to do. But one day when a bunch of men attacked his parish priest on the street, he waited in to help him. That night on the way home from work, he stopped off for a beer. When he left the bar, two men followed him carrying empty whiskey bottles. They didn't mean to kill him. They were just going to rough him up a little. They just started out hating the way Monty started out. But 20 minutes later, my grandfather was dead. Your grandfather? That's history, Leroy. They don't teach it in school, but it's real American history, just the same. Thomas Finley was killed in 1848 just because he was an Irishman and a Catholic. And last night, Joseph Samuel was killed just because he was a Jew. Do you see any difference, Leroy? Hating is always the same, always senseless. One day it kills Irish Catholics, the next day Jews. It's hard to stop. It can end up killing men who wear striped neckties. Or people from Tennessee. Will you tell me exactly what to say? Yep, I'll tell you exactly what to say. If it would work at all, I knew it would be just the same as if I'd been listening in on them. I already knew what Leroy was going to say, and I thought I'd sized up Montgomery well enough by this time to figure him out too. Leroy cornered him in the hotel washroom while he was shaving. Hiya, Monty. Hiya. You heard about everything that happened, Monty? Uh-huh. I heard they got Keely and Mitchell and they're holding them. I guess it's a good thing I left the bar when I did, or I'd be mixed up in it too. Floyd didn't have anything to do with it, did he, Monty? Knock it off. What's the matter, Monty? Monty, no kidding. Floyd couldn't have done it, could he? Floyd wouldn't bump anybody off, would he? I don't know. He sure acted funny when I saw him last night. When did you see him? I saw him after. After what? After all that happened. He wants to see you, Monty. He asked me to tell you he wanted to see you. He did? Honest, Monty. I didn't know whether I ought to tell you or not. You don't want to get mixed up in anything anymore in your heart, but he was acting crazy, Monty. He gave me a crazy thing to tell you. He said, tell Monty the necktie wasn't any good. What do you mean by that, Monty? What was this you saw, Floyd, Leroy? How did you happen to see him? He called me and asked me to come over to where he was. Where was he? Some old place down on Maryland Street on the second floor. Let's see. I wrote down the address. What'd I do with it? It was on a little piece of paper. Must be in my other pocket. Gosh, Monty, Floyd was really acting crazy. He said you shouldn't come today. He said to come tonight before 10. Well, here it is, 404 Maryland Avenue. Let's see it. Huh? Will you go see Floyd, Monty? Will you give him some money? I wouldn't say anything about this if I was you, Leroy. Understand? I wouldn't say a word to anyone. It was a long shot, but what else could I do? Well, Harron and I went down to the Maryland Avenue and waited. We'd been waiting about 20 minutes when we heard steps on the stairs. They stopped on the landing, then started shuffling along the hall. They stopped again outside the door. Somebody was fumbling at the door now. Then the door opened. It was Montgomery. I, uh... Hello, Montgomery. Well, I was looking for Floyd Bowers' room. Somebody said he was here. Well, that's too bad, Sergeant. Floyd was here, but he isn't anymore. What's wrong? Has something happened, Captain? Bowers is dead. Dead? He was killed today. You know who killed him? Not yet. How, uh, did you know he was here? When I talked to you last night, you didn't know where he was. Well, I didn't, then. I didn't know then where he was. I fell back at the hotel. He told me Floyd was here, and Floyd was scared, and he wanted to see me about something. I just couldn't. I didn't even know which room it was. I was looking for the right room. He was knocked off in this room. Uh-huh. The same guy who knocked off Samuels, maybe. Well, it could be. I like Floyd, Captain. I like Floyd a lot. I naturally came to help him. This fella said he needed some dough for something. No, you should have come right away. Well, this fella said, Floyd said not to, not till tonight. I figured if Floyd said that, he must have got a reason. Oh, see. Well, it looks like somebody was stringing you along. Yeah. What was this fella's name, the one who told you Floyd wanted to see him? Look, Captain, I don't want to be a pigeon, this guy. What was his name? Leroy, something. He was a friend of Floyd's. Maybe you remember me mentioning him. Yeah, yeah. You, uh, never been to this house before? No, no, no. I never been here before. I never even been in this part of town. I didn't know which room it was, except it was on the second floor. Like Leroy said, I was looking for the right door. Seems like you have a lot of trouble with doors, Sergeant. First time we met, you were looking for the right door. That's right, sir. But you knew the address. You knew which house to come to. Sure. Leroy, give me the address. Was it written down on a piece of paper? Yeah. Do you still have this piece of paper? Yeah, I guess so. Uh, here it is. Let me see it. Okay. I'll have to arrest you, Montgomery. Why would you arrest me, Captain? What would you arrest me for? For the murder of Samuels and Bowers. You're kidding, Captain. I never even been here before. You didn't look at this paper carefully. This is the address of the house next door. I wrote it down myself. You made a mistake, Sergeant. You came to the right house anyway. Gee, Captain, you got this all wrong. Just let me explain. You see? The next thing I knew, I was on the floor and O'Hara on top of me.  Then O'Hara was up going down the stairs after him, and I was over at the window and it was time to see him come out under the street. I tried to get the window up, but it wouldn't budge.  Montgomery, stop! Montgomery! That was all. By the time I got down to the street, Montgomery was dead. The crowd was gathering, and Keely was standing there looking down at what lay in the street, sort of shaking his head. Break it up now. Break it up. I'm afraid he was a bad boy. Maybe. Ignorant. Fed with it. Fed to the teeth with it from the day he was born. Yeah. All right, O'Hara. Clean it up. Okay, Captain. How's Mitch? With his wife. Want to see him? I guess not. Can I drop you anywhere? No, thanks. Well, good night, Captain. Good night, Sergeant. And good luck. Our sincere thanks to a wonderful cast. To Robert Young, who was Captain Finley, to Robert Mitchum in the role of Keely, Robert Ryan, who played Monty, and to Sam Levine as Samuels, to George Cooper as Mitchell, and William Phipps as Leroy, to Marlowe Dwyer as Ginny, Julie Bennett as Mary, Bill Johnstone as O'Hara, Bill Lally as Floyd, and Louis Van Rooten as the man. Our thanks for your superb performances and this suspense adaptation of Crossfire. Robert Young may currently be seen in Relentless. Robert Mitchum will soon be seen in the RKO Radio Picture, Rachel and the Stranger. Robert Ryan will soon appear in Berlin Express and George Cooper in Blood on the Moon, both RKO Radio Productions. Sam Levine's next picture is the Babe Ruth story. Crossfire, based on the original novel, The Brick Foxhole by Richard Brooks, was adapted for suspense by Robert L. Richards and Henriette Martin, and was produced and directed by Anton M. Lieder. Ludglosken is our musical director and conductor, and Lucien Marowak composes the original scores for Radio's outstanding Theatre of Thrill's One Hour of Suspense. This is CBS, the Columbia Broadcasting System.


In this video, we're going to present the solution to question number 12 for the practice exam number three for math 2270 We are given a three by three matrix a and we're told that Lambda equals two is an eigenvalue of a with this information in this matrix We need to compute a basis for the eigen space of a corresponding to lambda equals two now the The the eigen space of a corresponding to lambda equals two that means the null space of a minus two times the identity or if you prefer you could take the null space of Two times the identity minus a it doesn't matter if you take a minus lambda the identity or Lambda identity minus a because these matrices only differ by a negative one which will not affect the eigenvalues the characteristic polynomial The eigen space any of it so you can do either one. It doesn't really matter So if I take two I minus a what that means is I'm going to take two times the identity So you get two zero zero zero two zero zero two and you subtract from it a Four four negative two one four negative one Three six negative one what you get is the following you're gonna get two minus four Which is a negative two you're gonna get zero minus four which is a negative four you're gonna get zero plus two For the first row for the second row you get zero minus one you get two minus four and you're gonna get zero plus one For the last row you're going to get zero minus three You're gonna get zero minus six and then you're gonna get two plus one which is three like so In which case now we need to row reduce this matrix We wouldn't we need to find a basis for the null space of this matrix right here now because Lambda equals two is an eigenvalue We can guarantee that there's gonna be a row of zeros in this situation And how we want to proceed, you know, there's a lot of things we could do The first thing I'm gonna do is I'm gonna grab the first row and Move it to the top because I want a one there. I'm also gonna times it by negative one I'm gonna times the first row by negative one there. So what that then gives us is A new matrix we're gonna get one two negative one We're gonna get negative two negative four and two and we're gonna get negative three negative six and three like so And so now they're having a one in my pivot position. I can notice below The second and third rows are the scalar multiples of the first row. I'm gonna take row two here I just take row two because the second row is just the first row times negative two So I'm gonna take row two. I'm gonna add to it two times for a one that's gonna cancel out to give me a row of zeros I'm gonna do the same thing for row three, but this time I'm gonna take three times row one For which that's just gonna cancel out these rows and then we find the ref of this matrix to i minus a will be one Two negative one zero zero zero zero zero zero like so For which case We could revert this matrix back to the corresponding Homogeneous system of equations and solve for it That is you could solve for the dependent variables with respect to the free variables There's gonna be two free variables here x two and x three are gonna be free variables x one will then to be dependent upon that For which you could rewrite this as simply just x one is equal to negative two x two plus x three Right because this equation was x one plus two x two Minus x three is equal to zero you could go from there and start unpeeling things from there But when you have the ref you need to find a basis for the null space You can rip it apart really quickly from what you see right here So what we in fact see is that the null space of two i minus a is going to equal the span Of the following two vectors You're going to get two vectors because they coincide with the free variables And so filling out the chart here We have a free variable in the second position and in the third position So we're just kind of like a blank right here For the x one which we'll come back to in just a second So you get one zero and zero one And then filling in that blank We're just going to look at this row right here because this corresponds with the first pivot and we just switch the signs So we're going to get a negative two and a positive one So a basis for the eigen space here is going to be negative two one zero one zero one We need to find a basis for two i minus a Right and then once to do that you find the ref which we did right here And then you can read the basis of the null space from the ref


I just wanted to give you a brief update on some of the activities we have at the USDA lab in East Grand Forks. First of all, the storage campaign from the 2020 crop, those results will be published in the September issue of the Valley Potato Grower. This year we have about 40 russet processing clones and 50 chip processing clones growing up here in the Laramore Research Pivot representing 11 public breeding programs. So we'll be evaluating those throughout storage again through July of 2022. Couple things, obviously we're gearing up for the storage and harvest campaigns so we are busy doing pre-harvest sampling. We're really gearing up doing some of the sugars and fry tests for some of the processors. Those that haven't utilized our lab come talk to me, we can get some scheduling completed if you have some pre-harvest sugars you want us to do for you. One thing that I always fail to acknowledge is some of my staff, we have a couple of my staff here. So Tyler Teske and Stacy Lean, if you can raise your hands, one of them was hired during COVID so this is her first opportunity in person, I'm grateful for their contributions in getting the lab running smooth. As far as some other studies that we have going on in Laramore, we are doing a replicated yield trial with a couple of processing varieties from Europe. This is with Charlie Higgins of Potatoes USA. That data will be released here as it's compiled. And then just following up on some other research, we are working with Andy and Susie and evaluating some bruising. Our pressure studies are ongoing on some of the new varieties. We also have some several variety specific management trials that are ongoing with NDSU and several of the processors. So it's busy. And then the other ARS colleague that couldn't be here today, Dr. Munevra Dogramassi, she's out of the country. I would like to introduce her postdoc, Dr. Sagar Dutier, there he is down in front. He will be, he's stationed in Fargo and again their lab. They're looking at the physiological, several physiological studies. One I think that Sagar is working on is dormancy, but she's working closely with Susie on some skin set issues as well. So I just wanted to take the time to acknowledge and know who never regrets that her schedule, she wasn't able to see you guys in person. It's great to have her working in the ARS or the potato team as well. Thank you.