Welcome back to emergency medicine video on shock. We'll finish up with cardiogenic shock and anaphylactic shock. First, cardiogenic shock. Cardiogenic shock happens when the heart is not pumping effectively. It can be caused by acute coronary syndrome, so ischemia or infarct, a valve problem, or from arrhythmias. The cardiogenic shock patient will be in cool shock. There will be tachycardic with cool extremities and pulmonary refill. There will be peripherally shut down. On top of tachycardia, they will also have a narrow pulse pressure. If the cardiogenic shock is because of ACS or MI, they might be complaining of chest pain. If it is because of arrhythmia, the patient might be complaining of palpitations. If it is a valvular problem, the patient may be complaining of shortness of breath. On examination, you might notice that the patient might have a high JVP because of poor filling. Depending on the etiology of the cardiogenic shock, our diagnosis tool differ. If we're suspicious of an ACS or MI, then diagnosis is done by sero-EKG and cardiac enzymes. If this is a valvular problem, then an ultrasound will be helpful. If this is caused from an arrhythmia, then an ECG and cardiac monitoring might be helpful. The treatment for cardiogenic shock obviously depends on the etiology. The cardiogenic shock patient needs judicious fluid since they might easily go into pulmonary edema due to poor cardiac output. These patients should be given small boluses of fluid in the range of 250 to 500 cc. And we need to watch the respiratory status very closely. Sometimes vasopressors such as dobutamine might be helpful in these cases. Other than supportive treatment, these patients need very specific treatment for their underlying etiology. For ACS, reperfusion is key. Other by stenting or thrombolysis. If it is a valve problem, sometimes urgent surgery is needed. If this is an arrhythmia, either an anti-arhythmic or defibrillating the heart might be needed. Let's switch our focus to anaphylactic shock. Anaphylactic shock, as the name suggests, comes from an allergen. An allergen that the patient is previously sensitized to. From the response of the body, the chemicals released from mast cells and basophils cause significant vasodilation in the periphery. That, in turn, causes decreased intravascular volume. That will lead to shock. The anaphylactic shock patient's skin will be warm and flush just like the septic shock patient because of the peripheral vasodilation. They might also have hives on their body or angioedema in their airway. You might be able to get an exposure to allergen history and the rapid onset of symptoms after the exposure. That will give you some clue that this could be an anaphylactic shock. In anaphylactic shock, the treatment focus on the airway since anaphylaxis or the angioedema from it can cause significant airway swelling. That makes airway management very difficult. The medication we give is epinephrine intramuscularly. We use the 1 in 1000 concentration to give either IM or in some cases of Q. If that does not decrease the swelling in the airway, we may have to give repeated doses of the 1 in 1000 epinephrine. If the patient is in shock after the 1 in 1000 epinephrine intramuscularly, we often give intravenous fluid as well. If there is still inadequate tissue perfusion, we now start to give epinephrine IV as an infusion. Remember, this dose we use a 1 in 10,000 epinephrine to use for an IV infusion.  There are other medications we also give for anaphylaxis as well. They include antihistamines and steroids. Please refer to the anaphylaxis video for further discussion. After all the ABC approach and the specific treatment for the specific kind of shock, how do we know when it is reversed? Shock is judged to be treated successfully when the vital signs have normalized and there are no signs of end-organ dysfunction. The lactate level, which is a marker of poor perfusion, should decrease as the patient is getting better. In this series on shock, we discuss the general approach to the shock patient using the ABC approach and add in IV fluids and vasopressors. We also discuss the 5 different kind of shock, septic, hypovolemic, obstructive, cardiogenic and anaphylactic. Thank you very much for watching. Thank you.


This is Dr. Gautam Kumar, a surgical gastroenterologist and liver transplant surgeon at Manipal Group of Hospitals. We are talking about the patient, Abdul Samad, who is suffering from Hyaluricolangiocarcinoma. Hyaluricolangiocarcinoma is a liver cancer which arises from the bile duct and it is a very critical junction where all the blood vessels to the liver goes through it. So whenever you have Hyaluricolangio, though it is a small tumor, it causes a lot of havoc. The tumor has already spread into one of the major vessels. So I had to reconstruct that vessel out and reconstruct it. The overall surgery was very very complicated and it took me around 8 hours to remove part of his liver which had cancer in it. Remove the entire bile duct which is the main point of cancer and I had to reconstruct all the vessels. During this time, my message is whenever you have complicated cases like this and because of the Covid people tend to delay the treatment. I would recommend them to come to the hospital and get treated as soon as possible because it is very important to identify them quickly and treat it.


We began with the thanks and the praises of Allahu Subhanahu Wa Ta'ala, proclaiming Alhamdulillah. We ask Allah Subhanahu Wa Ta'ala to bless us in this time and in this place and on this blessed day of Jum'a and we praise him and we thank him for allowing us to gather here to worship him the way that he has commanded us to worship him. In our lives we go through many trials and tribulations and there are many difficulties that we face and we see other people face. And often we ask the question, what can we do to help ourselves? What can we do to get out of certain situations? What can we do to benefit ourselves? So whether that be difficulty in school, difficulty with family, difficulty with parents or siblings, what is the way out? What is the solution to my problems? So the greatest solution that Allah Subhanahu Wa Ta'ala has given us is the solution in the life of the Prophet Muhammad SAW. So many times we are faced with trials, so many times we are faced with confusion. And so we turn to this media platform or this book or this speaker to figure out how do I figure out the solution to what I'm going through, the struggle that I'm going through. But how often is it that we turn to the example of Muhammad SAW? How often is it that we truly believe that in the example and in the way of Muhammad SAW I will find relief? I will find peace? I will find guidance? This is a question we need to ask ourselves. Because indeed the more that we learn about the Prophet SAW, the more we seek out his example and the more we implement his way, our anxiety will go away, our depression will go away, our struggles will begin to disappear and we're going to develop a love, we're going to develop a love for his way and the struggles then that we face will be nothing because we'll know the life of Muhammad SAW. What is it that we can claim to have gone through except that the Prophet SAW has gone through worse? What is it that we can claim to be struggling with except that the Prophet SAW struggled with more? The more we begin to learn about how he reacted to things, how he accepted things, how he responded to the situations that were given in his life we will develop a gratitude not only for being amongst the Ummah of the Prophet SAW but also we will develop a type of honor and a type of dignity within ourselves that I am doing the best thing possible and that is responding to this situation the way that Muhammad SAW responded to this situation. So we'll just mention a few things in today's Khutbah on how we can become more like the Prophet SAW how we can love the Prophet SAW more, not solely for the purpose of knowing these things but also so that when we know them we can learn about them and we can implement them immediately So first we recognize that the example of the Prophet SAW and his coming to us is the best thing that could have ever happened He is the greatest blessing that Allah SAW has sent to us He is the perfect example of the Qur'an Did Aisha not say about the Prophet SAW's creation? Everything in the Qur'an is embodied in the Prophet SAW So if you want to connect to the Qur'an, connect to the way of Muhammad SAW The greatest thing that we could have been given is guidance and guidance could not have reached us except through Muhammad SAW So by following the way of Muhammad SAW we are acting upon the guidance that Allah SAW wants us to act upon But unfortunately now we look to others for guidance We look to others as role models We look to others for help How many times can we invoke a situation of the Prophet SAW when we are faced with the difficulty Or is it that we look to so and so basketball player, so and so musician or so and so celebrity The trials and the tribulations that we face Yes we need to respond to them with the way and the sunnah of Muhammad SAW But the trials and tribulations that we face are also because we have lost the connection with Muhammad SAW And the more that we turn away from his path The more that we turn away from his sunnah The more that we turn away from knowing about him The more difficulty that we are going to face If we ask who is Muhammad SAW What is his name? What is just the name of the Prophet Muhammad SAW? Can we give his name?  Do we know the wives of the Prophet Muhammad SAW? Do we know those who Allah SWT told us in the Quran? They are your Ummahat, they are your mothers. Do we know our mothers? Do we know Khadija? Do we know Saudat? Do we know Aisha? Do we know Hafsa? Do we know Zaynab? Um Salama? Zaynab? Maimuna? Do we know Juaidiya? Safiyya? Um Habiba? Do we know these names? Do we know these relationships? Do we know the love between them and the Prophet SAW? What about the example with our kids? Do we know the kids of the Prophet SAW? Do we know Zaynab? Do we know Um Kulthum? Do we know Ruqayyah, Fatima, Ibrahim, Abdullah, Qasim? Do we know these children of the Prophet SAW? Do we know each of them except Fatima who he buried with his own hands? What is our relationship to the Prophet SAW? What is it that we can learn about the Prophet SAW? Do we know the titles that he was given SAW? We know that Musa SAW is called Kalimullah, the one who spoke with Allah. And what is speech other than a conveyance of meaning? Meaning is conveyed through speech, so if you can take the meaning, then speech has given you what you needed. But meaning can be conveyed in other ways as well. Meaning can be conveyed through motions and through hands and through signals, through noises. And so the meaning that you have in this world is your relationship to Kalimullah, is your conversation with Allah, you finding your meaning in this world, is you embodying Kalimullah. Because this universe is nothing other than the speech of Allah, hence, universe, one verse. What is the universe except for Allah saying kun and it was?  Or perhaps Isa SAW, his title is Ruhullah. The soul of Allah, the soul that freely lives in the heavens and can travel between the heavens and the earth, such that when it travels, you can't call it death. Yet, when it returns to this earth, it will be honored by being part of the ummah of Muhammad SAW and honor that you already possess. Or perhaps the title of Ibrahim SAW, Khalilullah, the intimate friend of Allah. And what does Allah say about us? That indeed the believers are the awliya of Allah. That you too are the intimate friend of Allah. But what is Muhammad SAW, what is his title? He encompasses Kalim, he encompasses Ruh, he encompasses Khalil, he encompasses Wali, he is Habibullah, the beloved of Allah. That is the station that we aim to attain. How do we become like Muhammad SAW, the one loved by Allah? By following the way and the example of Muhammad SAW. And how do we know the extent to which Muhammad SAW is loved by Allah? A hadith that's applicable to us all but realized in Muhammad SAW, the hadith says That when Allah loves someone, He calls Jibril and he says love so and so. So Jibril loves so and so. Then Jibril goes to everyone in the heavens and the earth and says Allah has loved so and so and I love so and so, so you love so and so. Such that this person is accepted in the heavens and the earth. That is realized in Muhammad SAW. By mutawat or narration the tree cried when the prophet SAW left him. When the SAW left the tree. Because the tree is part of the sky and the earth and the tree declared its love for Muhammad SAW. The tree declared its love for the prophet SAW by crying when the prophet SAW left. An authentic hadith in Sahih Muslim, the prophet SAW said That before even the revelation was given to the prophet SAW, there's a rock in Makkah that used to send salams on the prophet SAW. The prophet SAW said, I know this rock until today. The heavens and the earth declare their love for Muhammad SAW. At least we can be like a tree or a rock. At least let us be like a tree or a rock declaring our love for Muhammad SAW. How do we declare our love for him? Learn about his life. Go and learn one thing about Muhammad SAW every single week. Learn it on your own and implement it on your own. That is your homework. Every week I will learn one thing about Habib SAW and I will implement this one thing about him SAW. If we truly claim to love him SAW, we must learn about his way. If you truly love Allah, follow the way of Muhammad SAW and then Allah will love you. This is the way to gain the love of Allah and his messenger SAW by acting upon the sunnah of the prophet SAW. So go and learn. Just one hadith. Even if it's one hadith a week, learn the hadith and learn how to implement it. Learn an ayah of the Quran and learn how to implement it. Not for me, not for yourself, but for your love of Muhammad SAW. And increase in your salawat. Allah SAW says They send their salawat upon the prophet SAW. This is from the Quran. The Quran is pre-eternal. The meanings of the Quran are pre-eternal. They existed before time. Allah SAW was declaring his love of Muhammad SAW even before time existed. And what happens? What happens when you say salawat on him SAW? You are doing the same action and this is the only action that you can do that both Allah and the angels partake in. That you do the same action that they are doing. This is the beauty of the salawat on the prophet SAW. You partake in the action that Allah SAW and his angels are doing. And what is the reward of that action? What is the reward of that action? What does Allah say in the Quran? He says That salawat is such that when you remember the prophet SAW the act that you do is the same act as Allah and his angels. And the reward that you get is the same reward that Allah sends upon his prophet SAW. This is the power of salawat. So increase in your salawat upon the prophet SAW. Learn about his life SAW and implement the teachings that he has brought us. And this will be our alleviation. This will be our freedom from the restrictions and the difficulties of this world. This will be our path to salvation. This will be our entrance into Jannah. Do not leave this gathering just with this new information and feeling good but rather take this and act upon it. None of this is beneficial if you do not leave here and act upon it. Act upon his sunnah, act upon his sunnah, act upon his sunnah. Allah says in his holy book After I seek refuge with Allah from the accursed Satan In the name of Allah, the Most Gracious, the Most Merciful Allah and His angels pray upon the prophet O you who believe, pray upon him and submit to him May Allah pray upon our master and our master Muhammad and upon the family of our master and our master Muhammad As you prayed upon our master Ibrahim and upon the family of our master Ibrahim in the world, you are like Hamid and Majid In the name of Allah, the Most Gracious, the Most Merciful Allah commands justice and goodness and the coming of the nearness and the end of evil, evil and the rest may Allah remind you remember Allah, remember you and pray for him to respond to you and may Allah's remembrance be the highest, the highest, the greatest and the most righteous.


Welcome back to another F&A about the most common animation mistakes and this time it's part 4. I'm gonna talk about spacing All right, last week I talked about arcs and arcs and spacing kind of go hand in hand It's all about the technical aspect and keeping your animation clean But most of all taking the time to do so so it's not a specific thing of here's a trick to make the spacing better It's just a lot of attention to detail and painstaking work of going Tracking frame by frame of course again You can use all kind of tools that you want to use motion trail this dry race marker Whatever you want to use but the main thing is that you want to make sure that you don't have any random pops in your scene So this doesn't have to be about arcs It's just any type of movement that you have so if you have a person standing and kind of leaning in Have a moving hold an arc head turn whatever you have one of the most common things that I see Hence the title of the series is that students have the animation where it's pretend There's an arm movement is going to a scene. I'll show you later There's an arm movement and suddenly it just there's some moments where it the pops up and goes down or suddenly you have a move And there's a big gap and then it continues moving That's the stuff that I'm talking about and that's what you want to avoid so again It's just like with arcs you got to go in there frame by frame and you got to take the time to do so So let's take a look at one of my older scenes that I did a long time ago ten years ago So if I play this scene you can see that you have one character Moving you're gonna have the next character moving There's no sound I turn the sound off here and you can see this is not just about a beautiful art There's a bit of a tricky moment where you have a lot of movement and also camera movements Well, let's just pick out a scene for instance with a head turn, right? So right here the character looks around this scene is 10 years old I'm sure I'm gonna find all kinds of mistakes and I'm gonna know what I did here All right, so I got a couple keys here. So let's go crazy and you can already see here what I'm doing here That is what is that? Let's see. Let's play this again All right, so I try to be all Fast and it's turned and you can see here if you would check the the tip of the nose How it goes over to a right right right always only to the left so to me I will probably want to Change that a bit and smooth that out again. This is just going to be just to quickly Show you what I mean here. So it has a little bit Of a softer Turn here now specifically when it comes to spacing This is more a bit of a spacing in an arc moment Of course, sometimes you do want to have a one frame change and again The one frame direction change is going to be part of another FNA But let's say you have this turn what I see you want to ease out of that What I sometimes sees that students will have something like this and maybe this frame and then maybe that's actually It's go right here. You want to ease out of that and then this would be Way over here and then this and maybe that and maybe this one way over here and then we're back here So if you play this now You see that about Very hiccuppy Right there very very broken move. Let's take a look at what do we have here? Do we have anything with an arm swing without the camera move? Well, let's take This hand here right looks like an IK So whatever I did here. It moves back. So let's pretend I'm gonna go over here over here my key this here and let's say on this There's a move all the way up to here. I'm not gonna change the wrist and go down here to this then maybe here over here and Actually stays put that would be a good example. So now if you play this back in real time You can see that hiccuppy Factor here right there now I'm exaggerating but I do see every now and then scenes where is where there's exactly that where if you would track this here With your marker, whatever you want to do here You can see how arm goes up and the hand pops over the massively spacing pop here and then down and Then what I have here another pop here and then actually goes back the other way So that's sometimes what I see in students Shots here when I track this when I when I'm in class and I check this frame by frame and this can be Smaller things for a let's say here. So let's continue with his hand This hand is a bit of a moving hold and let's say right here. I'm gonna do this Continue on so when you play this Right there. I see this Right there. So that's that's the stuff. I'm talking about where suddenly You have those moments where you come up and then just the hand kind of pops And that's something else and if you go into the graph editor here Let's see here There you go.  What is going on? So if I open a students scene That's what I would see.  So that's usually when I look at students Curves, that's what I see So whatever you have anything where it's subtle movement like on this character on the left side We're just kind of looks around you have bigger movements on the one on screen, right or just bigger actions like right now Especially going on an arm swing if you look at this character's arm swing here That's where I would do a lot of cleanup here again This is tall excuse here 10 years old But there's a lot of work I would do on the shot especially here. I do kind of like that That lift and that settle there, but there's still if you see all Chots of yours. Oh, I can see this the mistake that I've done or the mistakes that I have done But yes, so even like it's pretend this arm here Going up here I would probably play more a bit more with that elbow and that hand because of spacing issues But I mean this would be an example where you go over here And then you pop maybe this way then he goes back down even if something like a subtle like this The arm goes up Right when I actually delay this a little bit more and you see this here now You track that right if you go up up up and it suddenly pops over and you can see how it's the same height So you have that sun pop and then staying put to the left That's what I'm talking about you want to make sure that these type of things are not in your scene And again, this can be different for different scenes Sometimes you have movements like in this one where you have a pigeon head that kind of pops around Then the pop is their own purpose You still kind of have to look at the ease ins and outs But generally spacing goes hand-in-hand with ease ins and outs generally speaking You want to make sure that you have consistent spacing within a movement So by consistent I mean spacing that gives the impression of proper speed and action based on the character and acting and the movement and the intention Everything right so what you don't want to do is just like what I showed here where an arm supposed to have an ease in And out or like in the shot where you got wing flaps and movement So when you have like pigeon head moves like this. Yes, you can have poppy moves But still kind of look at that the the momentum and the way it's not broken even in something light That pops around can't just go crazy with one frame direction changes Otherwise looks like that character whatever it is just hits a wall all the time But once the pigeon is in the air and flies around Because of the style and the physics and with the flapping of the wings Then you got to really look at the curves and the spacing so that when the characters Propelling itself in the air and has hangtime and falls you can't just have an up movement and suddenly pops down and flies over So you really have to look at the intent of the movement intent of your acting choice because again There are always exceptions where you can really pop into a move or pop out of a move But then it's just more about breakdowns and again kind of a storytelling thing But again, I'm talking generally about cleanup of spacing in terms of how does your arm move into that arc? How does your head turn around so it has that nice arc? It has that ease in it has that hold so you don't have moments where things just kind of pop around hope that makes sense And it is totally boring just like tracking your arcs checking the spacing It's totally boring you gotta go in there and loop things around you either check it in your scene Or have a movie open and loop and loop and loop and check your arc of your wrist You check the finger movements you check stuff on the head or on the chest You just kind of constantly have to double check double check double check and go frame by frame And because this is something that takes time and effort and it's tedious and it's potentially super boring It's also probably a reason why some people skip it or don't want to take that much time in order to make that work They want to get in there getting that a performance and work on on cool ideas But you still have to go in there and clean up and polish your scene And it's important that you get a grasp on of those principles because otherwise If you have moments where characters only pops around especially if it's a bigger character Then the sense of weight is gone and the overall believability of the movement of the character again the scale So for me, you just can't skip that because if you don't have those fundamentals down Then why even attempt a performance and acting piece of lip sync because all of your movements are going to be Distracting and and poppy and you don't have to even worry about going down the line for lip sync and facial performance because your base weight and that just the main mechanics and the main believability of The weight of a character the movement will be destroyed by not paying attention to your arcs or to your spacing Like that I showed here and what this topic is for this clip at the same time It's not always easy just kind of pay attention to all those little details There's so much you got to pay attention when you work on the shot So if you need help and you want me to I still laugh because I'm always pitching this at the end But but if you feel like this is helpful and you won't help and you want me to help you with your shots And make your shots even more awesome as always I have workshops workshops are open You can sign up at any time that is my pitch link in the description with all the information And of course if you like this you can hit a like if you want you can also subscribe if you want They do upload a lot So if you want to subscribe hit that bell button you won't miss any of my uploads other than that that is it If you're still watching thank you for your patience and watching till the very end other than that I will see you in my next upload


to today's class. So today before we actually start the lectures, let us see the topics which we have been covering as part of module 2 as well as those which are going to be covered in the upcoming lectures. So in front of you you see the summary of the topics that is we have covered water synthetic aperture radar and the image formation basics and also the fundamental properties of SAR imagery. As in we have seen that SAR image can be a complex number. The different types of SAR imagery, the different acquisition modes and what is the meaning of resolution, azimuth, ground range and few terminologies like the swat and nadir and then water sigma, sigma naught, SAR versus real aperture radar. So all these topics we have been covering as part of previous lectures and also we have seen what is meant by image defects. So remember the sample image I showed you from the ISRO website where you could see the layover effects clearly, is not it? So we have covered what is geometric as well as radiometric distortion as well as what is peckle that is the inherent salt and pepper noise you see in a microwave image and you know by now what is multi looking and also the different data formats. So today we will be dealing with lecture 9 of module 2. So in this part of the lecture we shall learn about some processing steps which are generally carried out for the synthetic aperture radar products using the intensity image. Now this part of the lecture is also helpful for you to understand the various preprocessing steps which should be followed before trying to classify an image. Now what is classification and what are the different algorithms with which one can do classification that will be dealt with in the upcoming lectures. But for now let us just call it that we will try to learn about how to process SAR intensity image, okay. So back to today's class. So to start with what I will do is I will give you a list of steps which are not necessarily followed in order but a series of steps and the terminologies that deals with processing of SAR intensity images. And the order in which these are carried out will be dealt with in the hands-on tutorial session. So you will know which step comes first and which comes next and so on, all right. So to start with we will deal with what is known as focusing. Now synthetic aperture radar processing it is generally a two-dimensional problem in nature, is not it? Because you are using a two-dimensional image to represent a three-dimensional terrain surface. So in raw data that is the first level data from SAR, the energy from a point target gets spread in both the directions. So what are the two directions in SAR? One is azimuth direction that is the flight direction and the other one is range direction perpendicular to the flight direction. So SAR focusing or focusing this step is carried out to collect this energy into one single pixel in the output image. And here raw data is the energy from point target which is spread in range and azimuth let me reiterate. And the aim of SAR focusing is to collect this spread energy from both the directions into one single pixel of the output image. It is done by range compression and azimuth compression. So we just touched upon these topics. We will see this in detail as part of today's lecture. So shown towards the left hand side is the field within a SAR raw data. It contains the power reflected from a ground cell. I am going to name it as R1A1 range azimuth R1A1 instead of going with XY. So what you see here in red is the field within SAR raw data which contains the power reflected from one single ground cell as an example. You consider just one single ground cell. You can see that the image the data it is spread across the range and azimuth direction and towards the center you can see that what happens to the image after it is being subjected to something known as range compression. Shown here is the schematic for image after range compression but then you know it still has information from a single azimuth spread over many pulses. As written here it is compressed in range but with information from a single azimuth spread over many pulses. So then we come to the third schematics, third diagram that is towards the right hand side this shows the final representation after both range compression as well as azimuth compression. So now you see that the field has been collected focused into one single point that is the information the power reflected from a target which was initially spread across the range and azimuth direction after synthetic aperture radar focusing you see it here in the third image that is the final representation shown here. Now as part of today's lecture what we will do is we will try to understand what is this range compression and azimuth compression quickly. Now let me try to explain it using a flow chart. See for collecting the synthetic aperture radar data a very long duration linear frequency modulation pulse is transmitted. For collecting the SAR data a very long duration linear frequency modulation pulse is transmitted and then range compression needs to be carried out on each line of the SAR data and it is carried out using FFT that is fast Fourier transform. Now without getting into the mathematical details of FFT let us try to understand how this is done. By now we have the understanding that the data set in SAR they are complex numbers which consist of a real part as well as an imaginary part and they are in the time domain. So here you see I am going to use T to represent the time domain, F to represent the frequency domain. So what you see here is the raw data in time domain, range reference function in time domain. Now what is range reference function? See a range reference function needs to be built to carry out range compression. Now remember when we discussed about chirped pulses and then I mentioned an example about you being in a traffic signal and straining to hear your own favorite song amidst the cows of the junction and because the song as such it follows a pattern you are able to follow and identify the pattern. So the original chirp that is transmitted by the antenna is represented by the range reference function. So it is going to be a series of complex numbers. So let me reiterate the original chirp that is transmitted by the antenna is represented by the range reference function. So the first step is both the raw data in the time domain as well as the range reference function in the time domain they are converted into the frequency domain using fast Fourier transform FFT and then compression is carried out in the frequency domain after which the data set is going to be converted from the frequency domain back to the time domain using inverse FFT, inverse fast Fourier transform. So this schematic is explained in a flow chart for you to easily understand what is being meant by range compression. Again I am not going to the mathematics of FFT for now. Moving on, we also discussed about azimuth compression. Now similar to the range compression what happens is the range compressed data is used through FFT that is fast Fourier transform along with the azimuth reference function in the frequency domain we carry out complex multiplication to obtain the azimuth compressed data in the frequency domain which are then converted back to the time domain using inverse FFT. So this is what happens in azimuth compression. So remember always the raw data that you get from SAR synthetic aperture radar raw data it is going to you know it is not going to make much sense because you find that the data needs to be compressed in both directions in both range and azimuth so that the information from a point target gets represented adequately. Now just a summary of the processes that can be carried out to get the intensity images. So moving on if you remember we also discussed about multi-looking briefly, isn't it? So here in front of you I am trying to show two images. Right now let me not specify the satellite or the polarization because I just want you to focus on the image that you see in the screen in front of you. So towards the left side you see the image after you download it. The image is going to look like this and this shows the area of Maharashtra Mumbai region and it looks elongated, isn't it? Looks elongated. Now what you see towards your right side is the image after it is being subjected to multi-looking. Now this image looks more or like a rectangular or square shape and now at least some features are visible, isn't it? So multi-looking as such this is the process of averaging over range and or azimuth resolution cells and here in multi-looking instead of using the full Doppler bandwidth of an azimuth beam to synthesize full aperture we are going to use a number of small sub apertures. These are synthesized using small sections of the bandwidth. Remember each of these smaller sub apertures are going to result in an image and these sub apertures are known as looks, looks, sub apertures and we now have an understanding that incoherent averaging is carried out in multi-looking. So once again what you see towards your left side is an image before multi-looking and what you see towards your right side is an image after it has been subjected to multi-looking. So what are we discussing now? We are trying to understand the different processes that can be carried out in synthetic aperture radar intensity images. We covered focusing wherein we try to understand what is range compression and azimuth compression and right now we try to understand what is multi-looking. Now remember processes like multi-looking are covered also as part of the tutorials where you will be developing python based codes to understand what is multi-looking. All right. Now I think it is the right time to cover a small numerical so that you get your concepts cleared.  Three information are given. One is pixel spacing in the azimuth that is 4 meters, pixel spacing in the range that is 8 meters and the incidence angle that is 23 degrees. Now what can we possibly calculate using these three informations? You know I really want to understand the optimum or the appropriate number of looks through this numerical. So once again three informations are given. The pixel spacing in azimuth, remember azimuth direction is the flight direction. The pixel spacing is given in range as 8 meters and range direction is perpendicular to the flight direction and the incidence angle is given as 23 degrees. Now let us try to understand what information can be possibly calculated using the three given details. For example, I can estimate the ground range resolution. Let me write it down. Ground range resolution, if you remember the portions that has been covered previously you know that it is pixel spacing in range by sign of incidence angle. So I am going to write 8 by sign 23. Remember the lecture wherein we try to differentiate between slant range resolution and ground range resolution. You will get a value close to 20.4 meters. So given these three details we are trying to calculate what additional information can we gauge using the given three details and first one was ground range resolution. Now we know it. Now second is let us try to recollect whether we can estimate the pixel spacing in azimuth. Already given? No? Assume I am going to write it as 4 into 5 which is equal to 20 meters because my ultimate aim is I want to find out the optimum the appropriate number of looks through a numerical and with the given information if I multiply by 5 I am going to get 20 meters very close to 20.4 meters which is the ground range resolution which means the recommended pixel size in a geocoded image is going to be 20 meters. Isn't it? Recommended pixel size of a geocoded image is going to be 20 meters with the given details. Now I hope that you are able to understand the concept of multi-looking better L looks. So moving forward now let us try to understand what is core registration. So remember the processes that are being explained as part of this lecture they are not in any particular order. These are just terminologies that will help you understand more about the tutorials and the upcoming lectures. So we covered focusing, we covered multi-looking and then now let us try to understand what is core registration. Now imagine that there are two or more synthetic aperture radar images say they are having the same orbit and acquisition mode and say they are going to be superimposed. That is when core registration comes into picture. Now one thing to remember is core registration is not equal to geocoding. So I do not want you to mix it up. So let me write it down. Core registration not equal to geocoding. I am going to repeat it. Now in georeferencing or geocoding we are converting each pixel from a slant range to a cartographic reference system. And core registration finds importance whenever we are having say two or more synthetic aperture radar images which has been acquired using the same orbit and acquisition mode and you want to superimpose them. Now moving forward coming on to speckle filtering. Now what you see in front of you towards your left side is LO spalsar data before speckle filtering before speckle filtering and what you see towards your right side is the same data after it has been subjected to speckle filtering using spatial convolution technique. We have already covered this as part of the lecture and in the tutorials also by now you may have developed python based codes to carry out speckle filtering in the spatial domain. Now remember that speckle as such you know it is a characteristic of all coherent sensors. All the coherent sensors is going to have speckle as an inherent characteristics and synthetic aperture radar is also a coherent sensor so it is going to have speckle. So what is speckle in layman terms? It is multiplicative noise owing to the superposition of multiple backscatter sources within one single SAR resolution element. So what happens? It is nothing but a multiplicative noise. There is scattering happening in all directions from the targets and there is superposition of multiple backscatter values and when it happens within one single synthetic aperture radar resolution element it leads to speckle and we also know that it is called as salt and pepper noise. Multi-looking and speckle filtering are means of reducing speckle. We have also covered that to reduce speckle in synthetic aperture radar imagery. You can either go with spatial convolution using these speckling filters or even multi-looking helps, isn't it? Okay, so moving on I thought it is the right time to mention a few adaptive filters which are based on multiplicative model because you know speckle as such it is a multiplicative noise and to remove it adaptive filters are also used because adaptive filters themselves they are based on a multiplicative model. You know a few names are listed down like frost filter, Lee and Kwan filter, map, multi-temporal filters etc. Now right now I am not going into the weights of these kernels but for you to understand and get familiar with these terms in multi-channel synthetic aperture radar images the Gaussian distributed scene model is popular, very popular to handle speckle and in the case of multi-temporal filters they are generally used wherein the assumption is that a single resolution cell on the ground is illuminated by a radar beam in the same manner in all images of time series. Let me repeat multi-temporal filters can also be used wherein the assumption is that one single resolution cell on the ground is illuminated by radar beam in the same manner in all images of time series and a resolution cell on ground corresponds to the same coordinates in image plane in all images of the time series. Now in the case of multi-temporal filters spatial core registration of SAR imagery in time series is highly important you know spatial core registration. So moving forward now let us come to geocoding remember geocoding or it is known by multiple names you know and if you pick up a standard textbook on digital image processing you will learn that geocoding is same as geo referencing or geometric calibration or ortho rectification it is known by many names. Aim is to convert synthetic aperture radar images which are either in the slant range or ground range geometry into a map coordinate system. Let me re-itrate the aim of geocoding is to convert synthetic aperture radar images which are originally in either the slant range or ground range geometry into a map coordinate system. Now we could use terrain geocoding which are conducted using digital elevation models or dem nominal geocoding which are conducted without ground control points GCPs and we also have precise geocoding which are conducted using GCPs. Again the reason that I am listing out these terms is because you will get familiar with these once we reach the tutorial section also. If you are trying to work with any open source image processing package you will find a lot of modules that performs the processes that we have discussed right now as part of this lecture. Now a few more you know topics need to be discussed so I will try to quickly brush through the same. The first is radiometric calibration. I know that you are already familiar with this but just to re-itrate radiometric calibration is conducted for inter comparison between radar images which are acquired with different sensors. And by now we know what is beta naught, what is sigma naught and what is gamma and radiometric calibration as such it is going to involve correcting for the scattering area, the antenna gain pattern and the range spread loss. By now again I hope that you understand what is antenna gain. Remember the video I showed you when a human ear is compared with the antenna of a radar. Moving on next is terrain correction. You know the synthetic aperture radar has a side looking geometry. It is not going to send coherent pulses down in the nadir direction but it is going to send the pulses in the sideways which can be either left side or right side but nevertheless synthetic aperture radar has a side looking geometry and this causes geometric distortions such as laver foreshortening and radar shadow. Now in order to reduce the geometric distortions we need to perform ortho rectification. So terrain correction as a process will be covered as part of the tutorial but again I want you to be familiar with this terminology terrain correction. One more term I am going to leave you with in today's class that is mosaic. Now typically when we have terrain corrected and geocoded and radiometrically calibrated data that are acquired from different satellite tracks there needs to be some mechanism by which they are mosaic to create a seamless data of high resolution. You know mosaic it is something like stitching together stitching the different satellite images together by making sure that there is some overlap between the area mosaicing. Okay terrain corrected geocoded just have a look at the terms terrain corrected geocoded radiometrically calibrated data that is acquired from different satellite tracks are usually mosaic to create a seamless data of high resolution. Okay so to summarize in today's lecture we understood about few processing steps on SAR intensity images. Synthetic aperture radar intensity images and let me hope that you could understand the same and I will meet you in the next class. Thank you.


In a world that's saturated with social media content, it seems like everyone and their mom these days has a podcast. But these days I see so many podcasts about relationships, hot takes, spicy topics, everybody has something to say. Now today I'm going to respond to three videos that revolve around the topics of waiting for a marriage and relationships in general. So as always, let's dive in. If you started dating a girl that wanted to wait till after marriage to do the business, right at this age right now, would you do it? No. No, I'm not doing it. I can't marry someone without knowing. Exactly. Oh, really?  Exactly. We're gonna have to turn it back.  You would? You would wait? Bro, it's like, sex isn't the end all be all of the relationship.  Paul, so you'd stick it out for this girl? If she was the girl you're dreaming? If she's the girl in my dreams, then the sex is not what's making me stay. Paul's a good guy.  Now I'm not married, but I have learned a lot from married couples that I know and have watched online. The idea that you need to figure out if you're sexually compatible before you get married is only relevant if you approach relationships with the mindset of what I can get.  You don't need to try before you buy. The truth is, it's really just an excuse to get in the sheets with somebody that you're not fully committed to in the covenant of marriage. To be blunt, based on what I've heard, it's awkward. Yeah, and it can be bad. Sure, yeah, but what happened to growing together? What happened to like, oh, okay, like, we'll figure this out together as opposed to like some sort of performance where you need to perfectly meet the expectations of your partner otherwise out the door on the streets for you. It's like, what is this? That's such a toxic way around sexuality and those expectations.  That should be immediate red flag because God is really clear about that like he really is. And the truth is, you really don't want somebody either that's like, oh, I guess if that's how you feel, then we can do that. Like you want somebody that has their own personal convictions about holding to what God says in his word. You don't want to be the only one that says, this is what we got to do. This is how we should go about this because this is honoring to God. You want to be on the same page in that way so you can encourage each other and not lead each other into temptation. Maybe you're thinking, well, it's just this one little thing and like we line up on pretty much everything else. Like maybe I won't find somebody else. In that context, you're being led by fear and worry and that's not a good way to approach a relationship thinking that you need to cling on to this because you feel like there's nobody else that will ever love you or will ever accept you. Like that's just a lie. Ultimately, it's not about finding a perfect person, but you want to make sure that you're on the same page of these core fundamental areas and make sure you're shirt up in this stuff too. Like where's your foundation? Are you really wanting to stick to the word of God? Is that something that God has placed on your heart to hold as a conviction or are you still kind of straining and wobbling around because it's going to be hard to go in a relationship with somebody that's also kind of wobbly on what they believe when you're not really shirt up in what you believe? The assumption very often is that you have to sort of run the gauntlet of hookup culture in order to find a partner. And one of the things that I advise in the book which I'm told is a completely crazy thing to advise is to hold off on having sex for a few months in the first few months of a relationship because it's a good way of testing whether he's serious about you. It's a good way of not being clouded by hormones if you're trying to like vet a partner. And I hear from women I'm like, what are you talking about? What kind of man is going to wait three months to have sex? A man that's actually really into you, I'd imagine. But it feels impossible. And there you have it ladies and gentlemen, we have come full circle for so long women were told that empowerment and liberation is sexual freedom. But now people are actually coming to terms with the fact that this doesn't produce the relationship that they want. Now for much of the world it's a purely pragmatic analysis. Well, I should hold off on having sex with this person because that will make our relationship stronger and ultimately, you know, give us a longer, more happy fulfilling relationship, which isn't a bad idea or want. But ultimately our goal as Christians is what does God want us to be doing in this? It's not just kind of like, how can I manipulate this relationship to make it work? But truly what has God commanded of me and what he's got desire for me. And so when we look at this idea of trying to like, okay, let's hold off for three months so then it can be a little bit better. It won't ultimately mitigate the problem of a lack of commitment or man taking responsibility or being the pursuer or being intentional or being caring even until you're in the covenant of marriage sex and sexuality will always be a detriment. It will always be a twisting of God's good gift. It will actually bring about destruction as opposed to flourishing where in marriage it is flourishing, it is fruitful. It's amazing, right? But then outside of that context, you think it will bring about closeness within the relationship. No, it brings divide. It brings shame. It brings guilt. And if you or your partner aren't right with God, you have yet to have your heart transformed, then the idea of waiting a little bit to have intimacy isn't really going to do a whole lot because you or they are still being led by their sinful desires. Quick tangent to talk about dating a non-Christian. It is much bigger than just what you're going to teach your kids. God, if she's the one, please make it clear. Bro, she's not a Christian. Yeah, I know. I'm just trying to see if it's God's will for me to date her or not. Okay, but the Bible already says we shouldn't be unequally yoked with unbelievers and that's especially true for romantic relationships. Okay, okay. I get it. I'm just trying to see if there's an exception here. Like I'm just trying to get a word from God. Man, don't try to sidestep God's word. What he's already made clear. I know it can be a tough pill to swallow sometimes, but you need to know it's ultimately for your good.  But ultimately he became a Christian and now we have a Christian family and isn't that amazing. So your idea, your belief that you shouldn't date a non-Christian doesn't recognize there is the reality of that, you know, good things can come from this and God can use this. Look, I have similar stories in my life and with people that I know. But ultimately we need to be asking ourselves a question. Does the fact that God used an unwise decision to bring about something great, justify our constant making of those unwise decisions? Like, are we in the back of our mind saying, Well, I know this isn't good or this isn't ideal or this isn't maybe even God glorifying and isn't a wise decision, but you know, God could bring something really amazing out of it. Like, yeah, but we're stepping into sin. Like God directly says, like do not step into sin, do not be unequally yoke with unbelievers. I know people are still not going to be convinced. They're going to say, no, I can convert them or, you know, I have examples in my life of it going good afterwards. And but the truth is, is like, do you really want to not only kind of rebel against God's wish for you, but also kind of enter into this situation where you are either forced at the end of the day, if they do not convert to you either compromise or to enter this relationship where they're following the ways of the flesh and you're walking walking the ways of the spirit and there is a direct divide there. Like, do you really want to enter a relationship like that? I know some people say, well, I'll break up with her if she doesn't become a Christian at the end of the day. It's like really like you want to have all that time leading up to this moment where you just have to break up with her because she didn't make that decision. I know people think it's a great opportunity to be a witness and be, you know, I can be a good example, but you don't want to bring that into a relationship. You can do that as a friend. You can be a witness as a friend. And yeah, you can help people grow within a relationship, but if they don't have that core fundamental foundation of a relationship with Jesus, it is going to be extremely challenging. And that's part of the reason why God doesn't want us to enter into those relationships. I know some of you aren't convinced. That's fine. This is my perspective is what I believe God is teaching in his word, but I would just caution you to not just say, Oh, well, God can bring something good out of this. Like you're immediately justifying the fact that you know it's not the wisest decision. Cool. It feels like if you go out there on the daisy market and you have that restriction applied, you can't compete. Well, you can't compete. You're not going to get as many dates, but the point of dating isn't to get a date. I don't know what the studies show, but I would argue that this isn't good for men either. And it doesn't make men happy either because actually men also feel discussed about hookup culture and sex. It might be like a bit of a status boost and a temporary fleeting moment of joy or whatever. But actually I don't think on the long run that makes men happy either. I totally agree. Your goal isn't just to find a date or go out with somebody. Your goal is to find someone that you could see yourself marrying, spending the rest of your life with. And obviously that's a, that's a high expectation and you don't kind of push that in on a first date. But ultimately it's like, Hey, yeah, that's the purpose. It's not just to go out with random people. It's to say, can I see myself spending my life with them and also serving God with them? I think we're often caught up in the mentality of what feels good in the moment. And we're not really so concerned with the vision of this relationship. Can you build with this person? Can you grow with this person outside of their physical characteristics? What do you admire about them? All important questions I want to know from you. What are some questions that you would add to that that you should be asking yourself as you're evaluating? Is this somebody that I want to spend my life with or even just date or go out with? Put those in the comments down below. I just want to pop in here real quick and tell you a little bit about Patreon. Patreon is a way that people support me on a monthly basis so I can continue to make content that equips people to follow Jesus daily. Thank you to everyone that's already signed up. And if you haven't and you're interested, we do video calls. We have exclusive videos. There's an exclusive discord. I'd be so grateful if you signed up and supported what I'm doing. Click the link in my description now onto the video. What do you guys think is the worst thing about being in a relationship? The worst thing? I have an answer in my head but I'm about to get canceled for this. Cancelled. Get canceled. Yeah, get canceled. I'll get canceled with you. You say what you want to say and I'll say like I agree. I mean because it's only beautiful things to be in a relationship and I'll say the bad thing is well you don't have options anymore. I don't agree with that. What do you mean you don't have options anymore? I just got to make a statement to the camera, to my wifey. I don't agree with that. I'm super happy with just one option. You know I think a lot of men and women can resonate with this sentiment but I think it's a large part due to like the Tinder movement and not necessarily online dating but that we are so connected on social media sliding into somebody's DMs. There are so many options for so many folks. I know some people you don't feel that way and maybe that's because your standards are that much more high and that's a good thing. Like take that as a badge of honor but for a lot of folks in the world it feels like hey man like there's so many people, there's so many options and then you just get into comparison mode. You're looking and you're saying well all these things line up but maybe I could find somebody just a little bit better just a little bit more attractive. I think generally in culture the idea of settling down can be seen as like a burden to those who are just really in it for themselves. They're looking out for their long-term personal pleasure and so the idea of settling down with one person, man that's a risk. What if they don't give me what I need for the rest of my life? At the end of the day it comes down to what you believe a relationship is for. Yeah it's about companionship. Yeah it's about finding that romantic connection and being with somebody that you love and like all that is great. What I personally need or my personal satisfaction or my personal fulfillment is at the core kind of primary striving or pursuit. I believe ultimately God created a relationship to image him and bring him glory so God is at the center not our own personal needs. That doesn't mean that we push what we want out of a relationship at the door. That doesn't mean we just settle or we push away our own personal preferences but it means at the core of it this is about God and so that we can be at peace. That when we've kind of been through all the stages of seeing okay is there red flags here are there yellow flags what are the issues here do that we line up on the core beliefs and lifestyle and stuff like that. Like once you've been through that then you don't need to worry about okay like what if we get into this relationship and we maybe even get married and 20 years down the way like I'm not getting what I need. You don't need to have that be a primary concern because ultimately it's not about you getting exactly what you need all the time. It's about this kind of area of sacrifice. It is a sacrifice because you're looking at the needs of somebody else not just yourself. I think in general people have been fed this lie that long-term relationships in marriage are just by nature burdensome and onerous and they get stale and dry as time goes by. Maybe you've seen examples of that kind of marriage in your own life and it scares you off from oh do I really want to be committed to this person for my whole life because maybe we'll end up like that and I've had those same thoughts too as somebody that's not married. Some of the couples that I know paint a very different picture of growing together of loving one another of of stretching one another to be more like Jesus that kind of companionship that moves beyond just the passion of the beginning but enters into this long lifetime stable and sacrificial love. That is the kind of relationship that I want to strive towards. Thanks so much for watching guys. I hope you enjoyed it and if you did subscribe because I'm putting out new videos like this all the time. God bless and I'll see you next time.


The Columbia Broadcasting System presents Yours truly, Johnny Duller. The next half hour has its baggage pack to take a trip with America's fabulous freelance insurance investigator, Johnny Duller. At insurance investigation, he is just an expert.  Expense account submitted by special investigator, Johnny Duller. Two, Home Office, American Continental Life Insurance Company, Hartford, Connecticut. The following is an accounting of my expenditures, fulfilling your assignment as a bodyguard. The body being that of your late policy holder, Robert W. Perry. Expense account item one, bear on night train, Hartford to New York, $3.80. Expense account item two, a dollar eighty, taxi to Lower Manhattan the following morning. Two offices, Perry and Van Bruten, importers, arriving as promised at exactly 9 a.m. Yeah, my name is Johnny Duller. I have an appointment with Mr. Perry for 9 o'clock. Oh, yes, from the insurance company. Well, you're right on time. Well, he told me I'd better be. Mr. Perry just came in. He's alone and waiting for you. I'll buzz him that you're here. Thanks. What was left of your policy holder, Mr. Perry, was just sliding out of his swivel chair as I hit the room. The top of his desk had erupted and splinters of mahogany pointed their sharp fingers upward through lazy circles of smoke swirling toward the ceiling. The buzzer from his secretary's desk had been rigged to a booby trap. Perry. Stay away from him. There's nothing you can do for him. He's dead. Oh, what happened? What happened? Whatever happened? Come on. Let's get back out of here. Sit down. I'll get you a drink of water. Just drink this. On the third floor, should I call him? Never mind the doctor. Call the police. And nobody gets in here until they arrive.  Feed it. Run along. And turn off that alarm. Okay, Miss. Now, just take it easy. He was all so sudden. What happened? Well, that's not too hard to figure out. Somebody wanted to give your boss, Mr. Perry, a shortcut through life. So whoever it was, figured out that his secretary would never buzz her boss unless he was at his desk. They rigged up a bomb somewhere in his desk. It would go off when you buzzed him. But then I killed him. Now, wait a minute. Wait a minute. Don't get hysterical on me. There's excitement enough around here, and there'll be plenty more when the police get here. Keep cool. But I did it. You saw me do it. Look, the way you put it, I killed him by coming in here and giving you my name so you'd buzz him. Drop it, will you? What about yesterday? Was he here? Yes, all day. What time was it when you last used the buzzer? Wait. Right up to the last minute at about 5.30. Who left the office first? You or Perry? Mr. Perry, he always leaves first, and I lock up. Looks like you should have used more locks last night. Somebody got in here to do some wiring. Oh, I forgot that fire alarm. All that equipment and no fire. Look, before the police arrived, do you know why I was sent here? Yes. Mr. Perry recently felt that his life was in danger. He thought that, well, with a hundred thousand dollar policy, the insurance company would do everything they could to help keep him alive. Well, we didn't have much of a chance, did we? What was he afraid of? I don't know. Okay. What were his other appointments for the day? He only had two. His partner, Mr. Van Brutten, is eleven. One at a time now. Van Brutten. Anything special about their meeting? Yes. Mr. Van Brutten arrived just yesterday from Holland. You mean there was a branch of this firm in Holland? Yes. Mr. Perry was buying out Van Brutten's interest. He had their final meeting at Van Brutten's hotel last night. Van Brutten was coming by this morning to pick up his money. Uh, cash? No, a cashier's check. The bank is to deliver here at 10.30. Now, quick. Perry's other appointment. Who was that? Christine, his wife. Oh, yeah. Now Christine the beneficiary. Yes, but she wouldn't have been the beneficiary in another two weeks. They were getting a divorce. Thanks for the motive. You don't like her? I didn't mean it that way. How about Perry? Did you like him? Okay, well, here's an easy one. What's your name? Susan. Susan Gates. No, isn't that about enough? Okay, Susan. You'd better save your voice. During the next few hours, you're going to have a lot of talking to do. Oh, here come the firemen, and we haven't even got a child to ask them to save. Where's the fire? I'm looking for a fire. Just stick around. When the cops get here, somebody will get burned. The firemen should have stuck around because the cops arrived in a blaze of glory. It was a very high-class investigation. Two lieutenants. Finally, after about an hour, the police photographer ran out of flash bulbs, the office of the deceased ran out of fingerprints, and the lieutenants ran out of questions. So the on-the-scene phase of the investigation was closed. After about five minutes of 11, I left the police to pack up their notebooks, their clues, and the body, and went into the outer office. Susan looked like she could use a big broad shoulder to weave on, but unfortunately, I was wearing my light gray suit. About then, a dark blue suit and a deep green voice entered the room from the corridor. Say, there's some fella out here who says he belongs here. His name is Van Bruten. Shall I let him in? Oh, what do you think? His name is on the door you just opened. Oh, indeed, now. Well, my name happens to be Murphy, and it's on beds all over the country. But that don't mean I'm stuffed with feathers, does it? I'll teach you, Johnny, that I'll never to cross tongues with an Irishman. Okay, send him in, officer. All right, you can come in. The policeman out there. Is the trouble here? Oh, I am Bremer Van Bruten. Where's Mr. Perry? What? He's waiting for me, no? No. But my appointment, he's not keeping any. He's dead. Dead? It's impossible. Last night, I saw him. He was well. What happened? He was hit by a buzzbomb. The buzzbomb? Please. I forgot other people aren't used to these things.  Very foul. Please, may I sit down? My first visit in all these years since before the war, it was to be so happy. Now, tragedy like this, he was a good man, a good partner. I understand that as of last night, you were no longer partners. Jan, I'm glad you mentioned that. I realize, of course, that it is indelible to speak of such things as money at a time like this. Nothing. That is why I'm here to receive my payment. Oh, just because Perry got his, there's no reason for you not getting yours, huh? But you misunderstand me. I am deeply grateful. Since the transaction was consummated, what is there to do? The delay would be a needless waste of money. I have already paid for passage back to Amsterdam tomorrow. Your check is here, Mr. Van Bruten. Here you are. Thank you. In all my years of business, this is indeed the saddest moment. Yeah. Yeah, those are very kind words, Van Bruten. And I believe them. If your eyes would stop counting all the zeros on that check. Expense account, item three, 90 cents. Phone call to your company. American Continental Life Insurance Company, good morning. Oh, well, that's a matter of opinion. This is Johnny Dollar. Put me through to Mr. Gordon, will you? Yes, sir. Mr. Gordon's office. Hey, honey, this is Johnny Dollar. I want to speak to Gordon. Oh, and while I'm telling him what I've got to tell him, maybe you'd better sit in his lap with some smelling salts. I'm not that type of a secretary. And besides, he doesn't have a lap. Hello, Dollar. How are you making out? I owed about $100,000. What's that? Yeah, somebody turned Mr. Perry into a firecracker. He's dead. Oh, that's bad news. It's a big policy. Yeah. Look, what I want to know is, shall I stay on the case? Certainly, Dollar. Certainly, by all means. Is there a chance of improving suicide? There's a non-payment clause. To make this one a suicide, there'd have to be a Santa clause. Nobody could hate himself enough to do it this way. No. What are the frauds? Only fair. There's an estranged wife. She's the beneficiary, but she wouldn't have been in a couple of weeks' divorce coming up. I'll start with her. All right, Dollar. Good luck. But what's those expenses? Well, Gordon, I'm surprised. I think an insurance man would be the first to want to see a fellow live a little. Expense account, item three. Cab fare, $2.80. Tip to driver, $1. Christine Perry's apartment was on Sutton Place overlooking the river. And from what the doorman told me, all of the proprieties. I took the elevator up to the 24th floor, and there I discovered that our garden fresh widow was living high in more ways than one. Everything about the place was French. The maid that led me into the living room, the decor, and the perfume, which reminded you that breathing can be fun. I looked up from enjoying my nose to see Mrs. Perry looking down hers. Mr. Dollar? Oh, Mrs. Perry. I believe we can dispense with any getting acquainted. You're an insurance investigator interested in the death of my husband. So naturally you're here because you've jumped to the conclusion that I killed him. You're the one that's jumping to conclusions, lady. Then what do you want? The policies in order, the premiums are fully paid. I'm not quite sure. I know that you've got a great motive. So far, the only motive I've found. You haven't had much time to look, have you? Check. This is my first stop. Maybe you can help me. Do you know anyone who would be happier with your husband out of the way? I know very little about my husband's friends. Or for that matter, his activities for the past six months. That's when I left him. Well, that's not much help for either of us. Without someone else to suspect, I may just have to concentrate on you. Mr. Dollar, I picked them in. I want to concentrate on me. Well, I hope you're as long on alibis as you are short on your temper. Where were you last night? With a friend, Al Donovan. For a while, I think that my husband was. And I've witnesses to prove who was with him. Anybody at the club Caprice can tell you. Well, save me a trip. I can't afford the prices they get there. Certainly, pleasure.  Well, I wouldn't be more surprised if your late husband walked through the door and said that... All right, Mr. that's enough. How much did he give? I'm a big guy, baby. Six foot four, and I've got big ears to... Would this be Mr. Donovan, your companion of last evening? I'm getting you out of here, Christine. You don't know what you're saying. You lie to me. How can I help you if you lie to me?  Well, you're playing this. You'll alibi yourself right into a cell. I'm getting you out of here. What are you doing to me?  Come on. She's right.  She was doing just fine till you dropped in. Mr. you've been asking a lot of questions. Now I'll give you one answer. All right, Christine. So much for the wise guy. Now about you and your alibi. You wasn't with me at the club Caprice last night. And if it's so easy to prove your husband as secretary, who were you there with?  Talking divorce, remember? When Al measured me for that swing, I measured my chances with him. To me, he looked like one of the corporate assets of murder incorporated. So I rolled with a punch, hit the floor and stayed there. With my eyes closed and my ears open. What I heard was Christine's alibi flying out the window. Mr. Donovan giving her a few loving puffs and finally the pair of them flying out the door. I allowed myself the luxury of a 20 second massage and the new lump on my jaw, and then I got up and started out after them. This case was becoming interesting. In just a moment, we'll return to the second act of yours truly, Johnny Dollar. But first, this important message. $60 million is what the Red Cross needs to carry on its great work in 1949. If this seems like a lot, let's try to review briefly the various activities of the Red Cross. It can't be done briefly. Red Cross services extend into every area of our lives, bringing care, comfort and recreation to the men and the armed forces, bringing first aid training, nutritional programs, nursing services, blood banks, to our own communities. And all the time, as these activities go on uninterrupted, the Red Cross is holding itself ready to spring into instant action in case of disaster, fire, flood, explosion, any sort of catastrophe finds the Red Cross on the scene with food, clothing and medical care. $60 million isn't so much in the light of such activity. We can make it with each of us contributing. We're giving to our own safety, security and peace of mind, and to our neighbors too. So let's give generously to our own Red Cross. Now back to the second act of yours truly, Johnny Dollar. I hit the street just in time to see Donovan pushing Christine Perry into a cream-colored convertible. When they got rolling, I piled into a cab and followed them, and the case was on. At 57th and Broadway, things got complicated. My cab was three cars behind theirs when a red light flashed them to a stop. Then the door of their convertible flew open. Christine jumped out, dashed across the street and down into the subway. Donovan didn't follow her, I followed him. When he finally pulled to a stop, he took two chances. He parked in a no parking zone and walked straight into the building beside it, a police station. This is Mr. Dollar, Lieutenant. He's been waiting for you for some time. Well, you can wait outside, Sergeant. Okay, sir. My name is Johnny Dollar, Lieutenant. Here are my credentials. Insurance, huh? Yeah, the Perry murder in particular. May have come to the right place, Dollar. A man named Donovan just walked in here and made a full confession. A what? That's right. My clerk's just typing it up. In the meantime, the gentleman is down in the tank having a bite of lunch on the city. He confessed. Does his story add up? As far as I know. I haven't heard too much about the case myself. It's met in my precinct. What did he use for a motive? Jealousy. Says he's in love, wanted to marry Perry's wife. Did he say how he managed it? Yeah. He stole a key to the office from the life's apartment, entered the building last night, and wired a bomb to the buzzer system. Well, guys do a lot of strange things in the name of love. Yeah, it looks like Donovan did. Ah, he either killed a man, or he's trying to cover up for someone who dead. Listen, don't execute him for a couple of days. How, Lieutenant? I spent the rest of the afternoon downtown in the offices of Perry and Van Bruten, importers. The partner's correspondence told me two things. They had been extremely friendly, and Van Bruten was extremely bald. Perry had been sending him two pays from a famous Hollywood makeup firm. At 4.30, I opened the drawer marked Employment Files. They rocked me with two minor explosions of their own. The folder marked Donovan, Albert Jay, told me that he'd been employed as Perry's bodyguard over a period of years, and that he was canned the day before the murder. Before I received blast number two from the folder of Perry's secretary, Susan Gates, the office door opened behind me. Well, Mr. Dollar, you're supplied with a search warrant, I hope? Just the one I was born with, Mrs. Perry, the kind they say kills cats. You know, curiosity. What are you looking for? I found it. How about you? What are you doing here? Oh, I... I'm tired of dueling with you. I'm here because I want to... Well, I've got to talk to someone. I called your hotel, you went there. I tried to locate Susan, but I couldn't, so... I thought maybe you'd be down here. What's the basis of our sudden friendship? You should know. Al Donovan's confession. The newspapers have it already? Yes, but there's not a word of truth in it. He didn't kill my husband. How do you know that? Because it's impossible, that's all. Yeah, it was a little hard for me to swallow, too, when the police told me about it. But since then, it's become a little more digestible. What do you mean? I just learned that he was your husband's bodyguard. He was fired yesterday. That same day, your husband calls his insurance company screaming for another bodyguard. Now, how would that end up for you? A beef, maybe?  Never thinks. He just rushes in and says it does whatever's on his mind. He told my husband if he didn't divorce me that... Well, he threatened him. You came in here saying that Donovan's confession was no good. And you spend your time making it sound better and better. What do you want, anyway? I can't help it. I've got to tell you this. I know it doesn't sound like I'm trying to help Al, but what can I do? You really want me to answer that? Here. If you want to help Al, phone the police. Tell them Donovan made that phony confession to cover up for you. It's simple. Not as simple as that. You don't need the gun, Christine. Hang up the phone. Sure. I hope you don't mind my aversion being held for murder myself. Oh, that's a common aversion. I'm a no hurry to see you behind bars. But don't forget, when the cops want to pick you up, they'll do it. Now, don't spoil the rest of the afternoon. Take that gun someplace else. I've got things to do. The first time I imagined we'd recall that I wouldn't make... Not necessarily. If it'll make you feel any better, we'll just put this phone out of order. Satisfied? Of course not. But don't get me wrong, Mr. Dala. I wish you nothing but success in your investigation. I puzzled over that exit line for a few seconds after she'd gone, and then I went back to the company's employment file, namely, the application for employment as secretary of Susan Gates. It informed me that during the war, she had worked in a munitions plant. Her specialty, wiring bomb fuses. When Miss Susan Gates reached home at 8.30 that evening, she found a visitor, me. How did you get in here? A professional secret. Oh, you scared me. What do you want? Why did you come here? I wanted to bring you the good news. I heard on the radio that Al Donovan confessed to Perry's murder. Al? I can't believe it. Why not? Who do you like to the spot? Wait, Christine. Al is covering up for us. I'd like to agree with you. If it turns out that Christine wound up her husband's life with a bang, the company that hired me saves $100,000. Well, I don't know. She claims she has all kinds of alibis. One of them is you. Me? Yeah. Did you see her at the club caprice last night? Well, yes. I know who you were with. Your boss. There's nothing wrong with that. Well, I'm not preaching a sermon. I want to know who she was with. I don't know. Man, I'd never seen before. Mr. Perry knew him, but he wouldn't tell me who he was. Why not? I don't know. He said I might get the wrong idea. About what? I don't know. We didn't sit there and talk about it all night. Why should we sit here and talk about it all night? All right, all right. When a census taker shows up and asks a lot of questions, people answer them. One investigator tries to do his job. They make the proverbial clam look like a blabbermouth. Look, Mr. Jones, believe me, this has been a greater shock to me than to anyone else. Make shifting, of course, your late employer, Mr. Perry. How long did you work for him? Four years. Now, where'd you work before then? Why, I... I... Let me help you. Bombs, wiring fuses. Remember? All right, I remember. Good. Then maybe you'll remember a little bit more. Let's go back to last night, the guy with Christine Perry. Who was he? I tell you, I don't know. Was it Van Bruden? I don't know. You don't know? No, I mean... I'll get that. No, I'll go. You make sure you just don't keep going. Susan! When Susan snapped the spring lock to open the door, the gun outside opened up. The first slug quarter in the left shoulder, spinning her out of the way of the rest of them, it was getting monotonous. Every time a buzzer went off, things started booming. Susan was sprawled out in the floor in front of the door, and to open it, I had a mover. By the time I did, the hallway outside was empty. Okay, come on, take it easy. It won't start hurting for a couple of minutes. I'll have a doctor here by then. He'll give you something. Let's try and keep calm.  I'll try not to move. Trying to ruin this rug. Never mind the rug. What we want to worry about is who tried to ruin you. What'll they do to me? What will who do to you? They'll arrest me. Now, they don't arrest people for getting shot. Do you have any idea who it was? That man in the office this morning. The one who picked up the check. Van Bruyton? No, no, he wasn't Van Bruyton. He was a phony. Yes. And you still gave him that check? Yes. Well, I won't ask you why, but apparently you gave him the money and then tried a blackmail him. Is that right? They'll arrest me. I wouldn't be a bit surprised. Who is this guy? Where can I find him? Come on, don't pass out on me now. His name, quick. Vincent. Where does he live? Nelson Hotel. Under his own name? No, I don't. I don't blame you. I could use a few moments of unconsciousness myself. The Nelson Hotel didn't have a Dutch name on the register, so I got a hold of the housekeeper and found out how many rooms his staff hadn't been able to make up all day because of do not disturb signs in their doors. I went a-crawling at these particular rooms. On the ninth floor, I awakened one old maid.  On the fifth, I blushed my way out of the bridal suite. And on the fourth, I struck the door of 427 and the jackpot. Who's that? Don't you see the signs? I do not wish to be disturbed. Sorry, I must have the wrong room. I started up the hall after the fire acts, but when I got to it, I changed my mind. One of the few things I'd learned about this guy, Van Sant, was that he loved to murder people through doors, so I decided against trying to chop his down. Then I remembered the way those people came pouring out of those offices earlier in the day when they heard that fire alarm.  Then I rushed back to 427. Fire as a fire! Right here in my eyes, sweetheart. Why you come here? You wish you hadn't. You're through shooting guns for the day? What do you think, Van Sant? You want to try some more? You cannot make me stay here. The fire, we will all die. You look good, barbecued, but I'll make a deal with you. You talk. And if I like what I hear, I'll show you how to get out of here alive. How do I know this? You don't think I'm going to stay here in Friday, do you?  First, where's Van Bruton? You will find him in the bedroom. He's going to be alive. It's not cold. What's the matter with him? He will be all right. He is on the sedatives. Where did this identity switch start? You better hurry up, I smell smoke. I knew Van Bruton in Amsterdam. I knew about the sale of his interest. And I knew that the girl in the office here had never seen Van Bruton. We'll have to go now. Now, don't get up. I can feel it getting warm in here. The firefights. We will be saved. Now, don't be too sure. They over-started the top floor and worked their way down. Come on, I can hear those flames crackling. You know the rest. Last night, when the transaction was all finished with Barry, I gave to Van Bruton some sedatives and his cocoa. You set up that bomb so hurry to get it before you showed up to pick up the check. Yeah, I told you that. Then it happened that girl didn't know I was an impostor. I don't know how. Well, let me tell you. She's been sending old Van Bruton in there at two paces for the last four years. Gray ones, my red-headed friend. Oh, yeah. Let us get out of here now. Yeah, I'll pull. Expense account item four, $1.40. Nightletter informing you that American continental would have to meet payment of claim to Mrs. Christine Ferry, innocent widow of the insured. The only thing she was guilty of was trying to stay on the right side of a hot temperate boyfriend. She lied about who she was with at the Club Caprice, not to fix herself in alibi, but to keep Al Donovan from learning that she'd been out with another guy. That guy being the real Mr. Van Bruton. Who had only taken her out to try to target her into reconciling with his friend, her husband. Item five, $60. Silver chafing dish. Wedding present for Christine and her new husband, Al Donovan. That was the least she could do for the guy who had confessed to a murder he thought she had committed. Item six, $8. Flowers for Susan Gates Prison Hospital. Item seven, fine for turned false alarm. $1,000 and no sense. And that's what I think I'm beginning to get for getting into this racket. No sense. Expense account total, $1,263. Yours, uh... Truly, Johnny Dollar. In just a moment, we'll tell you about next week's Johnny Dollar adventure. But first, this reminder. Just a little earlier tonight on CBS, Jack Benet turned dramatic actor on the Ford Theater. But this Sunday, he'll be back again on his own show with a special treat for the Jack Benny fans. After the last broadcast on which the Ronald Coleman's appeared, thousands of letters came in from fans asking that Jack invite Ronnie and Benita back again soon. The walkie-can-wit did. And Ronnie and Benita, by popular demand, returned to the Jack Benny program this Sunday in what should result in one of the most hilarious broadcasts of the year. So be sure to listen to Mr. and Mrs. Ronald Coleman on the Jack Benny show, which is heard on all CBS stations this Sunday. Listen in again next week when CBS brings you Yours, Truly, Johnny Dollar with Charles Russell as Johnny. Yours, Truly, Johnny Dollar is written by Paul Dudley and Gil Dowd with music by Mark Warner and is produced and directed by Richard Sanville for CBS, the Columbia Broadcasting System.