Lux presents Hollywood. The Lux Radio Theatre brings you Kerry Grant, Carol Lombard and Kay Francis in the play in name only. Ladies and gentlemen, your producer, Mr. Cecil D. DeMille. Greetings from Hollywood, ladies and gentlemen. In name only is a play in name only. It's the kind of drama that may be happening to real people right now. Its three-cornered love story is so true to life that I should remind you that our characters are fictional. Those who saw the RKO screen production of in name only will think of it in terms of three stars. And we have them all with us tonight, Kerry Grant, Carol Lombard and Kay Francis. As producer of the Lux Radio Theatre, I want to thank you all for making casts like this possible. In order to show your appreciation, you buy Lux Flakes regularly. This is a loyalty which will be twice repaid. First, by our continued efforts to give you a fine performance here in the Lux Radio Theatre. And second, by the splendid performance Lux Flakes will give you in your home. In name only is a drama of three very modern people.  But when this veneer of manners and conventions is torn aside as in tonight's drama, we have a story of almost primitive conflict involving three powerful personalities, one man and two women. To his wife, Alec Warren is bound by ties that even her selfishness and insincerity have not broken. To Julie Eden, Alec Warren is bound by a tie of love which makes no demands. I wish we could take credit for the fine diplomatic stroke of getting these three busy stars together again. But this is the way it happened. We received a very polite letter from Carol Lombard. She was sorry to complicate matters, she said, but this week was the only week she could do the play. The next day, we received identical letters from Cary Grant and Kay Francis. Definitely a plot to which we became the willing and happy victims. Now our three stars are on the stage and the curtain's about to go up on act one of in name only. Starring Carol Lombard as Julie Eden, Cary Grant as Alec Warren and Kay Francis as Maida Warren. On the banks of a gently flowing stream in Connecticut, a girl stands knee-deep in water, wielding a fishing rod. We say wielding, but by no stretch of the imagination could it be called fly-casting. Her line tangles in the branches overhead, in the bushes behind her, and in every submerged lug in the stream. From the opposite bank comes a man on horseback. He appears just in time to catch the hook on the brim of his hat. Would you mind returning my hook, please? Of course, nervous with strangers. Well, here you are. My name's Warren. Thank you. You know, you won't catch anything that way. Well, I might. No, not any fish. Well, I'm not trying to catch any fish. Oh, sorry. Sorry. I'm only doing this for exercise, a test for keeping my temper. Well, it's lucky you weren't trying to catch any fish. Oh, yes, why? Because I hate to tell you this. There haven't been any fish in this stream for 20 years. Well, why didn't you tell me that in the first place? I didn't want you to stop. I liked watching you. How about a cigarette? No, thanks. Well, I don't want one either. How about a sandwich? I have some things. Yeah, that's what I mean. How about offering me one? Hmm? Oh, all right. Have a sandwich. Thanks. Well, you certainly got enough of them. Are you expecting company? No, I have a big appetite. Good. I like people with big appetites. By the way, I haven't seen you around here before. How is that? I haven't been around here before. Well, not a council, I don't know. What's your name? Julie Eden. Hmm? And I'd like one of my sandwiches, please. Oh, sorry. Well, what do you do, Miss Eden? I mean, do you do something for a living? Well, I'm just what called a commercial artist. I design clothes for women and draw for facial magazines. Oh, that's right. Do you like it? Do you make a lot of money? Not enough. I support myself and my daughter. Oh, you have a daughter, huh? How old? Six, going on seven. What's your husband like? He died four years ago. Oh, I'm sorry. Now, look, do you do any drawing besides what you do for magazine? A little. Not bad, not good. Bring some of your sketches tomorrow, will you? Tomorrow? Yes, like to see them. Oh, all right. I can't be here unless I bring my daughter. Well, don't come without her. I'd like you to meet her. I think you might like her. I'm sure I will. Is she like you? Not a bit. Well, I'll probably like her anyway, huh? Daughter's a sound sleeper, isn't she? Oh, too much lunch, I guess. You think I ought to cover her up? No, she's all right. Oh, it's been a lovely day. Hey, do you realize we've been sitting here over an hour without talking? Well, that's all right, isn't it? Sure, it's fine. I don't know if conversation is a nervous habit with a lot of people like smoking. Yeah, the kind of people who say but definite. Yes, and too, too divine. And she couldn't be more attractive, those people. Well, come on, let's sort of make a pact. I don't think we need a pact, but it might come in handy sometime. Now, let's not ever say a penny for your thought, huh? All right. All right, and let's not agree. Let's agree not to talk, merely for the sake of talk, huh? All right, I kill talk, all right? Well, oddly enough, I like the kind of talk I have with you. Oh, thank you. Now it's time for Ellen's bath. We drive us home? That was the intention. Hey there, Ellen, come on, wake up. Oh! You sure did. You slept like a log. What? She defeats me again. Oh, we won't go into that now, darling, because Mr. Warren is going to drive us home in his carriage. You're not supposed to call him Mr. Warren, Mother.  That's right.  I heard her say so. I guess you did. What else did you hear? Oh, nothing. After that, I went right to sleep.  Just for that, I'm going to let you hold the reins. Well, that was the intention. Nice driving, Ellen. Thank you a lot, Alex. It's been grand. Ellen, run along until I have Laura back for your bath. No, no, no, not right now. Oh, my sketchbook, are you through with it? I'll give it to you tomorrow. I want to look at it again and see if you really are any good. Oh, all right. Hello, Laura. I saw you drive up. Who was that man? Oh, just somebody I happened to meet. Name's Warren. What have you been doing all afternoon? What have you been doing? Oh, fishing. I don't see any fish. Is that all you were doing? Oh, no, there was lunch. Well, you know. Yes, I know. All right.  I'm not sure which. Anyway, it was all pre-raw. I shouldn't be surprised if he drank or even worse. Julie! Oh, I'm sorry, darling, but you're always so suspicious. You see, a man you immediately think... Oh, well, you know. You can talk. You were lucky. Your husband died while you still had faith in him. If he lived it a little longer, maybe you'd have had your eyes open the way mine were. Look, Laura, other women have had to divorce their husbands just as you did Phil and for the same reason. They've managed to keep their sense of proportion. Phil left you and you let him go. But you didn't let him go, really.  You sort of haunted and you keep seeing ghosts. Well, you don't know what men are. You don't know anything about them. Well, I was married, wasn't I? Well, it didn't teach you anything. Underneath your still, just as romantic and full of illusions as any schoolgirl. Well, what's wrong with romance and what's wrong with illusions if you can keep them? Perhaps you'll find out someday, Julie. Evening, Mr. Warren. Evening, Carl. Walk him around a little, will you? He's been going pretty fast. Yes, sir. Hello, Suzanne. Hello. Where have you been? Nate has been entertaining. Yes, I know. Everybody gone? I'm the last, except your mother and father. Really, Alec, you should have been here. Nate has been making all kinds of excuses for you. Look, Suzanne, can I get your car? Well, you at least might stay and talk to me a minute. The only reason I came to your dull party was to see you. Well, here I am. Alec, I'm dining out tonight, but... Well, I could manage to get away early. I'm afraid not, Suzanne. I'm all booked up. Don't tell me you're staying home. Won't Mata be surprised? Goodbye, Suzanne. Don't be here. Richard, please. Don't excite yourself. Good evening, Dad. Well, good evening, Alec. How is my very nice mother? Well, Alec, it's good to see you. Well, well, how are things in the office, Dad? You'd come into town once in a while. You'd find out. Didn't you know Mata was having some people here this afternoon? Well, you know how I feel about parties, Dad. I'm afraid I don't. You've been acting very strangely lately. Have I?  Isn't there something... Well, you used to confide in me, you know, and here lately I feel that... Oh, no, no. There's nothing, Dad. Very well. But we don't spend many weekends with you. You might have arranged to be here today. I'm sorry. Hello, darling. You're back. Hello, Mata. I don't see where you get all your patience. Any other wife would be telling him just what she thinks of his rudeness. Well, I don't happen to be any other wife. I'm Alec's wife. Aren't I, darling? Yes. Excuse me, will you? There. That's what I mean. Please, Dad. It's quite all right.  I wouldn't stand... Richard, you're only making things worse for Mata. Don't worry. I'll speak to Alec. I'm sure it's nothing. Well... Alec. That wasn't very nice of you, Alec. I know it. As you're not showing up this afternoon, all I want to say is that I understand perfectly. Understand what? If you don't like parties, there's no reason why you should put yourself out to come to them. I don't blame you in the least. It's marvelous. Even when we were alone, you can do it. Do what, dear? Make it look as if I'd beaten you and make me feel that I want to. Where are you going? I'm going out. For dinner? Yes. Wait a minute. One scene's enough, isn't it? Why should there be more? Dad's sure to try getting down to cases, and you know how down he can get. You might even find out the truth. You wouldn't want that to happen, would you? The truth, Alec? Yes, about us. But this beautiful marriage of ours isn't quite so beautiful as he likes to think. He wouldn't believe it, dear. You've attended to that, haven't you? Good night. Coffee, Mr. Warren? No thanks, Tony. Check, please. Right away, sir. Hello. Dining all alone again, darling? Hello, Suzanne. Surprise. Not very. How'd you know I was here? I saw your car parked outside. I told you I had to see you. Now that you found me, what about it? Honestly, Alec, you're so direct. Well, you're not exactly oblique yourself.  I've got to go. Alec, wait. I sent my car home, darling. I'm afraid you'll have to take me. Oh, I see. All right, come on. Thanks, darling. Alec, what's the matter with you? Don't you care for me at all? I mean, not even the littlest bit. Of course I might be able to understand if you were in love with Mater. But of all the shams I've seen, that's about the worst. Alec, I ask you to turn that thing off. Sorry? Then I will. Now listen, Suzanne, I want it on. Let go of that switch. Suzanne, if you don't now move over there. Get away. I tell you I... Oh, Alec! Oh, Jesus. It's been an accident. You think you're helping? I think he's dead. Well, where is it? Just down the road. Julie, what is it? An accident. Harry, Laura, Bington, Ben. Well, give me that flashlight. Yes, Julie. Frank, Heaven, he's still alive. We'll have to get a doctor. Have you a phone? Yes, on the table, just inside the door. Well, I wonder if you'd mind phoning. There's a doctor at Mr. Warren's house, Dr. Grayson. He's staying there. Well, it's sort of embarrassing. I mean, it was perfectly innocent, of course, but... Well, Mr. Warren's wife is my best friend. His wife? Yes. There might be some talk. So would you mind very much? No, of course not. The number is Darian 5, 8396. And I, um... I think it would be better if you didn't mention my being here, just to avoid any complications. You do understand, don't you? Yes, it's not very difficult. Call right away. I think you'll be all right, Maida. Just a few scratches, that's all. Thank you, Dr. Grayson. May I see him now? Certainly. Make him rest, if you can. I will. Good morning, Alec. Morning. Well, you certainly were lucky, weren't you? Yes, I suppose so. Alec, you must realize that things have been pretty difficult for me for some time. Oh, I know that you feel I've failed you in certain ways, but it doesn't seem to me that you've done much to help. And now, well... Well, I've tried not to complain. I don't want to complain. But there is a limit. Meaning? Miss Eden. Miss... Well, well, how do you know about Miss Eden? There's a sketchbook within your car. It was all pretty plain, Alec. Oh, no, no. You're barking up the wrong tree, Maida. I wasn't up with Miss Eden, though I wish I could have been. And just whom were you out with? Your dear, and as she insists, your very best friend, Suzanne.  Suzanne phoned an hour ago saying that she just heard about the accident and wanted to know how you were. Did she really? Wait a minute. Was Miss Eden at the accident? You know she was. It was she who called Dr. Grayson. Oh, well, will you excuse me, Maida? I've got to go out. To see Miss Eden? To see Miss Eden. This is a new development, isn't it? What? Well, you can see what it makes me.  After all, people in our position can't afford... Wait, Maida, do you realize what our position is? Yours and mine? I wish you wouldn't try to change the subject. You said you loved me when you married me, didn't you? Yes. It wasn't true, was it? Of course it was. Mm-hmm. Do you remember Larry Stoughton? What? I said, do you remember Larry Stoughton? Why, yes. Do you remember what happened to him? He, um... He died, didn't he? How? I don't know, really, Alec. He shot himself. Well... You know why? How should I? He shot himself while you and I were on a honeymoon. I suppose you're going to say he did it because of me. Didn't he? Listen to this letter. I've been saving it. Larry, darling, I love you and I always will love you. But this is the only way for me. Yours, Maida. Where did you get that? You must know his mother sent it to me. You see, he was her only son and she was bitter. All right. It's true. I did love him. I was mad about him. What of it? How could you do it? I had a choice. I could take Larry and love and nothing else. Or I could take you. And what went with you? I took you. Well, at least we know where we stand. Both of us. Alec, I hope you don't think that my having told you this will condone anything you might do. I intend to see Miss Eden whenever and wherever I can. Does that mean that you think you're in love with her? I don't know. But it means that she's the first person I've met in two years who's been able to make me feel like a human being again. Oh, hello, Julie. Here's a sketchbook. I like them. Did you? Yeah.  I wish I hadn't slept through it all. Incidentally, it was darn nice of you to cover up for Suzanne. Mrs. Duroche, you know? No, that's all right. Look, Julie, don't get the wrong idea about last night, will you? The whole thing was an accident. Not only to the car, but my being with Suzanne, she was the accident. Something for you to tell your wife, isn't it? There's nothing to do with me. Oh, but it has. You see, you and I were getting to be good friends. I don't want that spoiled. Well, there's nothing to spoil. We had a lot of fun, and that's all. That was yesterday, and it's over. Oh, no, it's not over. Listen, it was more than just fun, Julie. To me, anyway, I want you to know that. Was it? Well, I'm sorry. To me, it was just one of those things. Well, that's not true. Well, there's no point in arguing about it. I've got to go now. Do you mind? I'm terribly busy. Oh, you, uh... You don't want to see me again. Is that it? Oh, of course not. We'd probably run into each other. We usually do in the country, but... But I don't think there'd better be any more picnics. Goodbye. During this brief intermission before Mr. DeMille brings back Carol Lombard, Kerry Grant, and Kay Francis in act two of In Name Only, we're going to turn the microphone over to Libby Collins, our favorite screen reporter, who has some new Hollywood fashion news for you. What's new in Hollywood fashion, Libby? Fashion in the world of sports, Mr. Rueck. California takes up ice skating. Combining our balmy weather with all the fun of a real old-fashioned winter. Is that the idea? Yes, sir. And down in the tropical ice gardens, you'll see half of Hollywood skating for a fall any day. In the most luscious-looking costumes, too. Oh, so that's it. You might know clothes were behind this new sports development. Well, we're not going to be cheated out of the fun of wearing all the lovely new woolens. You should see the stunning cable stitch sweater Anne Shirley's been wearing. It's wine-colored, and she's got a pair of embroidered mittens to go with it. They're the cutest things this side of heaven. The other day, I saw Ellen Drew skating in a perfect honey of a jacket. There were big white snowflakes embroidered on it, and she was wearing the grandest pair of white woolly mittens I've seen in a long time. They were so soft and cozy. The way I like my socks to be in the wintertime. Leave me. It's no fun wearing woolens that are shrunken. Imagine having fun skating in a pint-sized sweater of socks. There's no excuse for that when luxe flakes are so easy to use and so inexpensive. Leading motion picture studios use luxe flakes for sweaters, in fact, for all washables. Just as clever women do here in Hollywood and everywhere else for that matter. You're right, Libby. If you're going in for all the gay new woolens this year, be sure to keep a good supply of luxe flakes in the house to give them the right kind of care. More than 2,000 stores have advised their customers to use luxe, because it's so safe. Luxe has no harmful alkali, and of course, with luxe, it takes soap rubbing to hurt any color or fabric that's safe in water alone. So use this gentle care for all your washables.  Ask your dealer tomorrow for the generous large size box of luxe flakes. Luxe is so pure, a little goes a long way. Luxe is 50. Now our producer, Mr. DeMille. You have in name only, starring Cary Grant as Alec Warren, Carol Lombard as Julie Eden, and Kay Francis as Maida Warren. Convinced that Julie Eden was with her husband on the night of the accident, Maida Warren has come to the cottage to call on her. Of course, there's nothing but friendship in Maida's smile as Julie meets her at the door. Hello. Miss Eden, isn't it? Yes. How do you do? I'm Mrs. Warren. Come in. Thank you.  A little appreciation for your kindness. A bit late, I'm afraid. They're lovely. Thank you. You must have thought me very rude, not having called before to welcome you to the neighborhood. You're very kind. Are you staying all summer? Well, another month or so, then I'll have to go back to New York. So soon? Wanda, that reminds me. I'm giving a little garden party next Thursday. I'd like very much to have you come. Thank you, but you see, between my work and the house here, I don't have much time. I'm sure that you could arrange it. Please, you must come. I'll send the car for you about three. We're going to be good friends. I know we are. Thank you. Not at all. Goodbye, Miss Eden. Maida. Yes, Dr. Grayson? May I see you for a moment? Of course. What is it, Doctor? Maida, why do you insist on entertaining when you're not up to it? Because I gave you help you at all last night. Not very much. I guess by now I'm a little self-conscious about trying to get some sleep. What's worrying you, Maida? What's on your mind? Now, there's nothing wrong, Dr. Grayson. Really. I'm just a little nervous and upset. What about it? Oh, you doctors. The moment that one... Is it Alec? Is it, Maida? Yes, it is. Oh, why? I don't know what to do. Tell me about it. I've been alone that night at the accident. That girl, that... that Miss Eden was with him. How long has this been going on? I don't know. Weeks, I guess. He never comes home anymore. He stays out till all hours and... What could I say? I don't want to be a nagging wife. What did he say? He said, I'll see Miss Eden whenever and wherever I can. Have you told his father? Of course not. Anyway, I wouldn't want him to know. Only he's getting so bold about it. I'm afraid they're bound to find out now. I... why... I could stand it for myself. That's where you're wrong, Maida. You can't stand it yourself. There's no reason why you should. I'm going to tell his father now. Dr. Grayson, please. I'm sorry, Maida, but I'm only doing what I know is best for you. Oh, hello. What are you doing here? Didn't your wife tell you I was coming? Of course. You don't think I go around crashing garden parties, do you? Where is she? Wait a minute. There's something funny about this, Julie. Miss Eden. Good afternoon, Mrs. Warren. I'm so glad to see you. This is Mrs. Warren. How do you do? Mr. Warren. How do you do, Mr. Warren? Miss Eden, did you say? Yes, the young lady who was so kind to Alec the night it was accident. Yes, Dr. Grayson told me. I'm a little surprised at you. What are you talking about, Dad? I think you might have shown better taste than to bring her here. Julie, you'd better leave. Isn't it too late for that? Not just a minute. Maida, tell them you asked Julie to come. But I did. She came on my invitation. Really, she did. You don't have to lie for him anymore, Dad. But she didn't bite me. She only was, excuse me. Julie, wait. Please, let me go. No, I want to talk to you. But I don't want to talk. But you have to know, and I might as well start now. The wronged wife. There's nothing new with her. She's been doing it for years. I didn't know there were women like that in the world. I'm glad it happened. You know, it changes a lot of ideas I had about you. I'm glad too, dear. It brought us together again. What? Look, have you so many friends that you can't stand one more? No, but I can't be friends with you. Why not? Julie, I thought we were only going to say things we meant. Why can't we be friends? Why? All right, because it wouldn't stay that way. With anyone else, yes, but not with you. I love you, Julie. No, you don't. You're lonely. You're unhappy. Any woman with a little kindness would... Julie. Oh, Alec. Alec. If I loved a woman, it would be like this. No, but it can't be this way. Julie. It can't. I won't do it to any woman. I've got a sister whose home was broken up. I've seen her, and I know what it means. A maid never loved me. Maybe she does in some way I don't understand. The first day I met you there had been no Maida. But there is. But if I were free... Don't, Alec. Please leave me out of things. I'm leaving here. I'm going back to New York in the morning. Let's forget we ever met. Let's do anything. Anything not to get into something that'll hurt us all. Please, Alec. All right. All right, Julie. Well? Maida, I've asked you several times for a divorce, and you've refused to give it to me. I'm not asking you now. I'm telling you. Why do you get one or I will? I don't suppose I need to ask why. A dozen reasons, and you know all of them. But the most important reason is that I love Julie Eden. I'm going to marry her. Marry her? Yes, if she'll have me. I'm giving you the chance to do it the way that will be easiest for you. Bunny, I was so sure. I thought I could keep you somehow. I didn't care how I did it. And now I've lost. All right? I'll eat for Reno next week. Well, I must admit, I'd expected more of her. More of a battle? Why? The battle's over. And now I suppose I ought to wish you both happiness. But I don't. I hope you'll be miserable. That's more like it. No. No, I can't go to Reno. I won't make a gossips holiday for my friends. I'll go to Paris. It can all be done quietly and I'll stay abroad for a year after it's over. Don't talk if you go abroad alone. I won't have to go alone. I'll go with your father and mother. They're leaving on Labor Day. They probably won't go when they hear about us. But do they have to know just yet? Why couldn't I tell them after we get to Paris? Because that's my job. I know. Strangely enough, they consider me rather a satisfactory daughter-in-law. I'd like to be the one to tell them I haven't been. Let me have some pride at least, Alec. It's little enough to ask. All right. All right if that's the way you want it. I don't intend to let anything interfere. I'm selfish in a lot of ways, Alec.  I know when I'm beaten. I'm sorry, Mater. You needn't be. I don't ask for pity. I'd do the same thing again if I thought I could win. Yeah. You know, in certain respects, I admire you a great deal. Thank you. Evening, Miss Eden. Alec, what are you doing here? I am the census man. Have to find out a few things. May I come in? Thank you. Alec, I told you not to come. I've got to take the census. Now, how long have you lived in New York? One day? How many females in the family? Three? That's wonderful. How many males? None? That's bad. Have to do something about that. Alec. Now, look, can you cook? Can you bake? Can you take care of a man in the style he's not been accustomed to? I have to know that before I give you the license. What? The license. No, not a dog license. We've got the kind. Alec, will you please? And, by the way, will you marry me? I can't marry you. Oh, come on, Julie. That's all changed. I've agreed to a divorce, so you and I can get married, and I move in here and watch you work your fingers to the bone for me. Well, that's all, isn't it? It's not settled. Didn't you hear what I said? Yeah, I'm not paying any attention to it. Where's your sister? She's out, and please go before she gets back. No, no, no. Only one thing could make me go, Julie, if you said you didn't love me. What's the sense of coming here at all? You haven't answered me. All right. I love you. I'll scroll around fences, I'll print it on a banner, wear it across my chest. Julie loves Alec. Now, what'll it get you? What'll it get either of us? It could get us arrested. I told you yesterday how I felt and I meant it. Oh, now, come on, dear. Whose life are you living? You're only a sister's. I'm trying to live my own if you'll let me, and I'm trying to live it my way. It's the only way I can live it and have any self-respect. Yes, well, now, that's just a lot of words. Can't you see the words don't make sense anymore? Julie, I left yelling downstairs. She... Oh, I can hear Laura. Alec, this is my sister, Mrs. Morton. What is he doing here? Mrs. Morton, I'd like to make you understand that Julie and I... Make him go! Well, I can't go until you realize... I said make him go. Alec, please. All right. All right, I'll be waiting outside. No, Alec. We're gonna go somewhere and talk this over. If you don't come out in two minutes, I'll come back and get you. Don't worry, Laura. I'll send him away. You're doing what she did. You're breaking up a home just as mine was broken up.  Darling, you don't know what you're saying. You've become so... Do you think I don't know what I've become? I used to be able to laugh. I used to be able to enjoy life as much as anyone. Now look at me. Look at me. And then ask yourself how you can do what you're doing. I am looking at you. And I'm realizing for the first time that's changed you. It's not the woman who I know, but the fill himself. It's not having him with you. It's knowing you'll never have him with you.   His wife's divorcing him and we're gonna be married. Julie! Alec! Are you coming, Julie? Yes, I'm coming. Wait for me. Wait for me. You'd better go. It's funny. I've never seen you cry before. Don't worry. I'm not crying because of you. Well, go ahead. There's no need for a goodbye scene, is there? No, but I can thank you again. I do thank you, Maida. It's all so sporting, isn't it? The way it is in books. Yes, or prize fights. Hello. Come in, Suzanne. I suppose I'm interrupting what is undoubtedly a very touching farewell. Goodbye, Maida. Goodbye, Alec. Cable me, will you? Well, I must rush. Goodbye, dear. I hope you're not making a mistake. About what?  Suzanne, Alec has asked me for a divorce. A divorce? Is that why you're... Oh, Maida, you're not going to give him a divorce. What do you think? In just a moment, Mr. DeMille will bring back our stars, Carol Lombard, Jerry Grant and Kay Francis, for Act 3 of In Name Only. But while we're waiting, I'd like to let you hear an interesting discussion that our staff member, Sally and I had yesterday when we were having lunch in at the Brown Derby here in Hollywood. Cable for two? Yes, sir. Right this way, sir. You know, Mr. Royce, I think it's interesting to lunch here. You see so many different kinds of people. I always say that the whole world passes by you here in Hollywood. That's right, Sally. If you just listen, you'll learn a lot about human nature. Here with that couple at the next table. But she's an awfully pleasant woman. Yes, isn't she? But isn't it too bad that she's such a drudge? The poor thing must be worked to death. I hadn't noticed that particularly. Why do you say that? Well, her hands give her dead away. Her hands? Yes, they're so rough and red. Poor dear. It's really pitiful. Yes, now that you speak of it, I do seem to remember her hands aren't very feminine, but still...  I think it's cruel, but it happens every day, everywhere. Well, we might as well be realistic about it. Maybe it isn't as cruel as you think. After all, in this day and age, there isn't much excuse for rough and red hands, even if a woman does do her own housework. Well, you don't have to worry, Sally. Your hands are nice. It may interest you to know that I wash dishes twice every day and plenty of them. I still say your hands don't look it. Which all goes to show that the advice you give over the radio about washing dishes with gentle luxe flakes is more truth than poetry. Thanks. I'm glad to hear you say that, Sally. And if that woman there talking about it the next table, use luxe flakes for washing dishes, I'll bet she wouldn't have other women pitying her. She wouldn't have men taking her hands aren't very feminine. That conversation, ladies and gentlemen, took place yesterday at the Brown Derby where Sally and I were having lunch. And now I'd just like to leave one added thought with you. Remember, luxe is so pure, a little goes a long way. Luxe is thrifty. We pause now for station identification. This is the Columbia Broadcasting System. Free of in name only. Several months have passed with no word from Maida concerning the divorce. Julie has been patient, but the waiting has worn her nerves to the breaking point. She and Alec are returning from a football game. In the dining car of the special train, they move toward a vacant table. Well, family's over. Sit down, Julie. I'm so hungry I could eat a horse. I doubt if they serve those. However, we'll see. We'll try it. How nice. Oh, my goodness. Hello, Suzanne. I think you two have met before, haven't you? Yes, we have. How do you do? How do you do? Oh, where have you been keeping yourself, Alec? I haven't seen you for months. Oh, I've been here and there. Can't see me, Julie. Please, I had a card for Maida last week. She seems to be having a model of time. Well, steak be all right, dear. Fine. She's staying over there longer than she planned, isn't she? A dessert, cheese or something? Yes, strongest they've got. Not that I blame her. There must be hard on you. You know Mrs. Warren, don't you, Miss Eden? Yes. Isn't she lovely? She's my best friend, you know. Yes, I remember. She's an extraordinary woman, Maida is. So, um... Well, so tolerant. So understanding. She certainly understands you, doesn't she, Alec? Uh, bring a sharp knife with that steak. Will you wait her? Alec has such a sense of humor. Yop, yop, yop. He needs it, don't you think? Yes, but now and then when you're on the receding end, it's not so funny. I'd like to hear your views on that sometime, Miss Eden. Play about a year from now. I'd like to hear your views on other things, then, too. Love, for instance. Well, goodbye, darling. Oh, beautiful personality, that, isn't it? What did she mean, Alec? Well, she meant no good, I can tell you that. No, love, for instance. Oh, darling, don't pay any attention to Suzanne. She's always got her claws out. I know her. Maybe she knows you. Maybe she knows you better than I do. Maybe Maida knows you better than I do. Julie, wait. Sit down. Maybe I don't know you at all. Julie! You said you know you didn't. What am I supposed to believe? In August, we were going to be married in a few weeks. In September, it was Thanksgiving now. It's Christmas, maybe. When is she getting the divorce? How much longer is it going on this way? Oh, darling, I told you. She's running into all sorts of legal red tape over there. All we can do is wait. Wait, wait. We've been waiting. It's four months now, and we're just where we were when we started. Darling, do you think I like it? Don't you think it means as much to me as it does to you? I don't know whether it does a lot. Well, it can be much longer, dear. It can be just as long as she wants to be. Julie! Can't you see us no good? Can't you see us no use? Go away and let me have some bees. Forget it all and let me forget. Stop it, you're here. You're not going to give up now. I'm not going to let you give up. At the Carlton Hotel in London, I asked for Mrs. Alec Warren at the Carlton Hotel. What? But she couldn't have left. Yesterday? Well, how does it happen she didn't leave a forwarding address? And ask him how his cold is. Long time since I spoke to you. Only an hour? I don't believe it. Well, that just goes to show, doesn't it? What? Oh, about a half an hour. I'll be there as soon as I wrap up a package for you. Hmm? Oh, my cold? Oh, it's only a sniffle. See, here? That's a sniffle. And listen, you tell your beautiful mother not to be so beautiful until I get there. Bye. Merry Christmas, son. My dear, you ought to see your face. It's wonderful. Oh, hello, mother. Hello, dad. I'm sort of bowled over at the moment. The bowled doctor an hour ago. It was Mater's idea. She said we'd be the best Christmas presents you could get. Merry Christmas, darling. I've ordered a tree. It should be here by now. Well, uh, look, I'm terribly sorry, but I can't stay. You can't stay? No, dad. I wish you had let me know. It was all my fault. Yeah. I'll come up to the house the first thing in the morning, huh?  Well, you see, dad, I'd already made other arrangements. Well, call them up and say your family's here. They'll understand. I'm sorry. I can't. We should have cabled him. I'm so sorry. Well, I'm afraid our little surprise wasn't much of a success, was it? Apparently not. Now, never you mind, dad. We'll have a nice Christmas Eve all by ourselves. And then we can see Alec tomorrow. Wait. I think we ought to have a little talk. All of us. Something I think you should have told them in Paris, Mater. Alec, I hardly think... Now, please. They've got to know. I want them to know everything. Not again. I told you not to call Alec. Oh, but this is important, Mother. Oh, Ellen, I don't know what to... Hello? Hello? Is this where Mr. Warren lives? Yes. Who's calling, please? He's there. Oh, don't be silly. Alec, he's fooling you because you're pestering so much. Hello? Is this Miss Eden? Oh, yes. This has just got in. We're all a little excited just now. You know, I'm sure that... That lady? Ellen, would you be all right by yourself for a few minutes? Well, sure. I won't be long, darling. There is some place I've got to go. Someone I've got... Well? Where is he? Where is Alec? He's with his mother and father. I wish you hadn't felt it necessary to do this, Miss Eden. Somehow I would have expected better taste for you. I want to talk to Alec. After all, I've been tolerant. Perhaps too tolerant. But this is Christmas Eve. Alec realizes he should spend it with his wife. Why can't you? Did you promise to divorce him or didn't you? I consider Alec's marriage to me as protection against women like you. Julie!  Yes, I know. I should have known a long time ago. Did you really think I'd let you go, Alec? Well, you'll have to. I've just told mother and dad I'm leaving for Reno tomorrow. The moment you file suit for divorce against me, I shall file a countersuit against you. And it won't be a vague other woman. It will be one woman in particular by name. I'll take you home, Julie. I'm warning you, Miss Eden. Alec isn't the only one I'll sue. I'll sue you also for alienation of affection because of Alec's family. It's likely to be a rather well-publicized case. And I'll do nothing to make it less so. You have a little girl, haven't you? How old is she? Six? Seven? Well, you might as well begin now to teach her how to behave on a witness stand because she'll be there. You seem to have been living in something of a fool's paradigm. Oh, no, she'll never do it, darling. She wouldn't dare. You heard what she said. She's just bluffing. She can't stop us now. Can't she be honest, Alec?  And you've had a chance, Alec, not from the very beginning. Oh, Julie, listen, dear, you're tired and upset. Let's wait and see if maybe tomorrow we can... Tomorrow? We've been living on tomorrows for the past six months. But, Julie... Why do we face it? This is today and this is all we're ever going to get. If you want to go on fooling yourself, go ahead, but I can't. Not anymore. Julie! Please, let me go, Alec. Now we still love each other. Well, at least let's not get made of that satisfaction, please. I love you, Julie. I know. I love you, too. Goodbye, Alec. What's the matter? I'll be right there. About time you woke up. Pretty silly, wasn't it? Yes. You ought to have a guardian tearing around with a cold like yours. Yeah. Well, nobody can say you didn't give it a fair test. How do you feel? I don't know. What is this place? It's a hotel. And you certainly do pick them, too. How did I get here? I guess you just sort of floated in. Yeah, take this pill. Pill? Why? Because I want you to. Well, what's your thought? But you got the flu. Oh, I got flu, huh? Don't worry about it. You'll be all right. Are you hungry? No. I'm just sort of tired. What time is it? Four o'clock. Yeah, four o'clock what? Four o'clock Christmas Day. Oh, sure. Merry Christmas, Julie. Merry Christmas, darling. You know, I think maybe this is going to be the best Christmas I've ever had. It'll probably be one you won't forget anyway. Yeah. I always wanted to wake up like this, to open my eyes and see you the very first thing. Oh, I'm glad I could. You look nice in the morning, Julie. Nice and fresh. I told you, it's afternoon. Well, you look nice anyway. But then you always do, no matter what time it is.  They aren't really blue, are they? They can change you. I don't think you ought to talk so much, Alec. You'll tire yourself. Oh, well, I'd like to talk about them. Oh, I see. I shouldn't talk about what I'd like to talk about, should I? Julie, give me a hand here. I've got to get you medicine. No, don't go away, please. Alec, if you want me to take care of you, I'll have to send you to a hospital. Oh, now, honey, I don't want to go to a hospital. Oh, no, dear, but... I don't have to go, do I? Wait and see if you get better. Do you want me to get better, Julie? Well, not right away. No, you bet. This doesn't count, does it? This time it's just velvet. You know, darling, I wish you were really sick for a long time and that there weren't any doctors and nurses and anybody around, but then I could take care of you and watch over you while you sleep and feed you. Well, I guess I'm selfish and I'm very sensible. I'll be all right tomorrow. Julie. Yes, darling? Julie, darling, let's not even think about tomorrow. We will, and I go to sleep. No, no, no, I don't want to sleep. I like it the way it is now. If I sleep, I'll... I'll miss part of it. I'll miss you. If you go. Don't go, Julie. Don't go, Julie. Don't leave me. I can't. I can't. Alec, hello, Desk. Will you give me a number, please, for me? Dr. Grayson, Henry Grayson. Tell him it's Alec Warner. Hurry. Please hurry. Come here a moment, Richard. I want you to be Dr. Muller. Dr. Muller, this is Mr. Warren. Good evening. Well, Doctor, how is he? I always believe in absolute honesty. Your son is in a serious condition. It's good he was brought to the hospital at bunch. It's a bad case of pneumonia, Richard. What are his chances? Physically, good. I should say a little better than the 50-50 chance. Mentally, by that I mean psychologically. Not nearly so good. But I don't understand. What Dr. Muller means, Richard, is that Alec shows no desire to get well. Precisely. It's our business to find someone who can give him that desire. Well, his wife is on her way. She should be here any minute. Is she the Julie he keeps calling? Well, no. It's a rather difficult situation, Doctor. Her family complications... I'm sorry to be blunt, Mr. Warren, but I'm not interested in family complications. I don't say that this Julie is our answer, but she's the only clue we have. Do you know where she can be reached? I left her at that hotel. I'm here, Dr. Grayson. How do you feel, Dr. Muller? How do you feel, Miss Heaton? How... is he, Doctor? Our patient wants to see you, Miss Heaton. And I think all I need to tell you is that his chances of recovery depend upon your seeing him and upon what you say to him. But, Dr. Muller, you don't realize that... Oh, you needn't worry, Mr. Warren. We aren't going to see each other anymore. Oh, yeah, we both know it's hopeless. Ah, does he think it is hopeless? Yes. Then it is necessary that you get rid of that thought for him. I don't think it is that he wants to hear. Tell him, but I think you know what to tell him better than I do. Go, go in, please. Alec. Alec, dear, can you hear me? It's Julie. Julie? No, no. Alec, darling, everything's going to be all right. Do you hear me? Everything all right for you and me. All right? Yes, dear. I thought it all out. And that has now accept us. She can do anything she likes, but you know she can't keep us from loving each other. Only you've got to get well. Can you hear me, darling? You've got to get well. Oh, no. I think you're just telling me that because I'm sick. No, darling. Please believe me. You've got to believe me. Mr. Warren, tell him say something. Alec. Look, Alec, it's your father. He'll tell you too. Father? Yes, son. Is it all right? Yes, son. Julie. You wouldn't fool me, would you? No, darling. You will try, dear. You will try to get well. I'll get well. I'll get well. That's what you wanted, doctor? Don't go very please, Mr. Warren. Certainly. I... I'm sorry it has to be this way, Miss Eden. I thought I'd find you here. Mrs. Warren, please don't go into the scene now.  Alec is very ill. He may not live. If he does live, it will be because he believes he'll never see you again. And how did you manage that, Miss Eden? Well, I told him that you won't fight us anymore, that we can be married. What made you think it was as simple as that? Oh, you didn't worry. His father was there. He knew what was alive. They all knew what was alive, except Alec. You've handled this very skillfully, Miss Eden. You made it look as if Alec's very life depends on you. I admire your ingenuity. But I'm afraid it won't work. You'd rather seem dead than with me, wouldn't you? Yes, I would. But you don't love him. You don't love anybody except yourself. I gave up love for what I've got. Do you think I'm going to let you or anyone else get out of the way from me? If all you can possibly get from Alec is money, he'll give you that. If Alec gave me every cent he had, it still wouldn't be enough. Father was going to die. We all do, Maida. Oh, Dad, she's trying to keep me out. I heard her. And you. You'd better take what you can get from Alec, Maida. Because there won't be anything else. Miss Eden, he's asking for you again. Will you go in, please, Miss Julie? Thank you. Alec, look at me, darling. Everything is all right. Oh. Oh, I thought you told me that before, dear. I must have been dreaming. We've both been dreaming, darling. But that's true. But first, a word about Christmas. I know most of you are beginning to think about Christmas tree decorations. And you're probably wishing you could do something new and different. Well, here's an idea that's easy and inexpensive. Our Christmas snow decorations made such a big hit last year that we're going to repeat the recipe again this season. Imagine lovely, real-looking snow that will beautify your Christmas tree and last right through the holidays at almost no cost and so new and original. You can have such an abundance of snow effect, too. All you need is an inexpensive large box of luxe legs and two scant cups of lukewarm water. Pour the box of luxe legs into a large bowl or dishpan. Add the water and beat the mixture with an egg beater until it's about the consistency of thick, whipped cream. Then take handfuls of the whipped-up mixture and spread it with your fingers all along the branches of your Christmas tree. If you want a more glittering effect, sprinkle the tree while the suds are still moist with some of that shiny artificial snow you buy in the stores. When you're finished, your tree looks like a winter fairyland right out of a snowstorm. There are quite a few ways you can use this snow idea to make your Christmas decoration more beautiful. For instance, some people take a few bare branches from a tree or shrub, cover them with the thick mixture of luxe suds and sprinkle with the glittering artificial snow. The branches make beautiful decorations for the Christmas dinner table, especially with the white and silver accessories. If you want to experiment with color, try putting a few drops of vegetable coloring into the whipped suds. Still, another idea is to use the luxe snow on your Christmas wreaths. Now remember, use two scant cups of lukewarm water to each large box of luxe flakes and beat with an egg beater to the consistency of thick whipped cream. Be sure to buy the large box of luxe flakes. And now, here's Mr. DeMille with our stars. The affairs of the Warrens and Julie Eden being duly settled, our three stars, Carrie Grant, Carol Lombard and Kay Francis, return for a curtain call. And if I were UCB, I'd keep my eye on that curtain or Kay would be cutting it off to the red cross to cut up for clothing. I was telling Carol about some of our sewing sessions at the red cross. But don't bother about the curtain. I've been looking it over and we can't use it. Well, I don't like to butt in with my slight brittle prattle, but I sew a pretty fine scene, Kay. Can you use me? Well, Carrie, I don't know. Our sewing organization up to now has been strictly feminine. Sounds like a modern version of an old-fashioned quilting bee. Well, I think there's probably less talk and more work done at that quilting bee. When I was a little girl, my mother took me down the red cross to study for first aid examination. I was terribly impressed with how busy everyone was. In fact, I was so impressed, I got busy myself and passed examination. Carol, just to see if you did pass, I'm almost inclined to sprain CB's ankle. All right. That won't be necessary, Carrie. Just ask Mrs. DeMille. She's on the board of directors of the Los Angeles chapter. By the way, CB, what are you going to do in the Lux Radio Theater next week? Next Monday night, Carol, John Garfield, Jeffrey Lin, and the four-lane sisters, Priscilla, Mary, Rosemary, Lola, and Lyota. And that gives us practically all of the original screencast of our play, Four Daughters, plus one extra-lane sister. Four Daughters is a drama of a typical American family, like several you've known yourself, perhaps, with all the humor and romance that four unmarried daughters give any household. All right, goodness. Two, not three, but four-lane sisters. Well, the picture with the saturation with three, but, ladies and gentlemen, the Lux Radio Theater will not be outdone. Next week, we guarantee the appearance of four. Count them four-lane sisters, huh? The fourth-lane sister is a big surprise, Mr. DeMille. Where has she been hiding? My lips are sealed, but all will be explained next Monday night when we present John Garfield, Jeffrey Lin, and the four-lane sisters in Four Daughters. Oh, it's a grand place he'd be. I'll be listening. Good night. Good night. Good night. Good night.  Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents John Garfield, Jeffrey Lin, and Priscilla, Rosemary, Lola, and Leota Lane in Four Daughters. This is Cecil B. DeMille saying good night to you from Hollywood. This is now going to be inviting you to listen to the popular Lux Daytime program, The Life and Love of Dr. Susan. Tomorrow is the date of Frida's Recycle, the moment when she intends to humiliate Dr. Susan. Events are rushing toward a crisis. Be sure to listen. For the time in station, see your newspaper. The Life and Love of Dr. Susan comes to you in addition to the Lux Radio Theater. Heard in tonight's play were Julie Bannon as Suzanne, Jean Arden as Laura, Peggy Ann Garner as Ellen, Clara Blandic as Mrs. Warren, Wright Cramer as Dr. Grayson, Lou Merrill as Mr. Warren, Whedon Chambers as Dr. Muller, Harry Walker as Hotel Manager, and Gil Patrick as Groom. Kerry Grant has just finished the Columbia picture My Girl Friday and is now working in the RKO production of My Favorite Wife. Carol Lombard has recently completed Vigil in the Night for RKO. Kay Francis was seen on the screen in the RKO picture in name only. Our music was directed by Louis Silvers. But this is the time to help the 1939 drive to fight tuberculosis. Help make the world safer. Purchase your supply of antituberculosis Christmas seals now. Use them on all your Christmas mail. Show that you too are helping to fight this dread disease. Buy seals for Christmas and you buy health for the new year. This is the Columbia Broadcasting System.


In this video, we provide the solution to question number one for practice exam number one for math 1050. We are given three graphs and asked to identify which of these graphs are in fact functions. If you're given the graph here, it'll be a function if it passes the vertical line test. That is every vertical line that intersects the graph should do so only at one point. So when we look for example at graph one right there, that's going to pass the vertical line test. There is a vertical asymptote right here. That's not a problem. There's no intersection of that vertical line. So one is going to be a function. When we look at graph two, same thing right here, all these vertical lines intersect the graph only at one point. So it passes the vertical line test. Two is a function. You'll notice with three over here, you're not getting hit by the vertical line. That's okay. No problem there. The issue is on the right hand side of this picture, you'll notice that there do exist vertical lines. Many of them actually that intersect the graph at multiple occasions. So this one is not a function. So if I identify that graph one and two are in fact functions, so we would select choice D.


Hello everyone Welcome to the talk streamlining the Bosch experience. My name is Maria Shaldivina. I'm a software engineer at Pivotal I've been working on Cloud Foundry for four years and primarily on Bosch. And now I'm working on concourse. Hi, I'm Rupa. I'm also a software engineer at Pivotal I've been working on Bosch for close to a year now and before that for the past couple of years I've been working on pushing apps on Cloud Foundry, writing service brokers on Cloud Foundry and using Cloud Foundry. So today we're going to talk to you about streamlining the Bosch experience in which we're going to talk a little bit about some of the features we worked on for the past year and a little bit about what motivated us to work on those. We'll also talk a little bit about our testing to tell you about why you should be having a lot of confidence in these features. So why were we doing some of this work for the past year? We have an incredible community here at Bosch and we got a lot of feedback about how people were using Bosch and what they'd like to see on Bosch. Specifically, one of the things we heard was there was a lot of YAML and this YAML was kind of hard to manage. Also put in with that networking and put in with that availability zones this made it that there made it so that there was a lot of duplicate YAML. Second thing we heard was you wanted to use Bosch for robust production use cases and you wanted to see Bosch be ready for handling some of that. At Pivotal as we were using Bosch for deploying dynamic services we noticed also that there wasn't really a great way to share properties between deployments and to share networks between deployments. So these were some of the things that we wanted to address for the past year and this is what this talk is going to be about and telling you how we address some of that on Bosch. So let's start by looking at one of the biggest pain points that used to be in Bosch which is infrastructure and network configuration. Managing IP allocations used to be a big headache for deployment operators. If you ever manage deployments with Bosch, you know every time you want to scale up the number of instances or introduce a new job, you need to make sure it's not going to use IPs that already used by existing VMs and if you introduce a new deployment you need to make sure it's not going to use IPs that other deployments are using. So sometimes you even had to go back and update your existing deployments with the reserved IP pool of your new deployment. So operators like surgeons had to slice out IP pools for different deployments. Also, since all infrastructure properties were spread out across different deployment manifests whenever you wanted to update your infrastructure property, you had to go over all your deployments and update them to keep them in sync. So introducing Cloud Config. Cloud Config is infrastructure-specific configuration that your director is configured with and it is shared by all deployments that are managed by that director. Once director is configured with Cloud Config, Bosch starts taking care of IP allocations for you. So you don't have to worry about what IPs are currently in use. Since all the networks will be shared across deployment, Bosch will know what IP is currently in use and what IP it can allocate to the next instance. Also, that allows to separate responsibilities between deployment operators and infrastructure operators. So now deployment operators can focus on their deployment layout and don't worry about infrastructure-specific properties. So let's take a look what constitutes Cloud Config. This is how deployment manifests used to look like. It contains some deployment information and lists of releases that deployment will use. It listed some networks with cloud-specific properties and listed resource pools, which are basically types of VMs that deployment can use and it also had some cloud-specific properties and referenced some stem cell in them. Also, disk pool section listed types of disks that you can provision in your cloud provider. And compilation section defined how Bosch should compile the packages and what type of VM it should use to compile it. Usually it's the most CPU-efficient VM type. And update section defines how to perform a rolling update of your deployment and jobs define what to install and how your deployment should look like. So what is Cloud Config? Cloud Config is basically that. It's your infrastructure-specific properties now in one place and it defines types of resources that your deployments can use, like networks, types of VMs, disk types compilation. So that leaves your deployment manifest focused on your deployment layout. And potentially, it makes it easier to migrate your deployment manifest to different infrastructures. Also notice that resource pools were renamed to VM types and disk pools were renamed to disk types and stem cells were split out to deploy manifest because different deployments can use different stem cells.  Once the director is configured with the Cloud Configuration, Bosch will start allocating IP IS for you. And you don't have to worry about IP allocation from that point. Once your director is configured with Cloud Config, your deployments that are already deployed will still behave as they used to be. But they will start using Cloud Configuration whenever you redeploy them on the next deploy. With Cloud Config, your deployment manifest will look a little bit different. As you can see, it is much smaller. It doesn't have any Cloud Configuration in it. The stem cell section is a new section and now you can reference stem cells by operating system image name instead of using specific name of the stem cell. Also, notice that jobs were renamed to instance groups and jobs used to be an overload term in Bosch. Every time we're talking about jobs, we had to clarify what jobs are you talking about? Is this release job or deployment job? So now this confusion is resolved. Now jobs are release jobs and templates were renamed to jobs and jobs were renamed to instance groups. So we know very well that Bosch is good at deploying Cloud Foundry. However, if you've tried to deploy any clustered software with Bosch and you are often in this situation where you have a master node and you have a couple of slave nodes trying to find the master node. How do you do this? Some people were doing this with static IPs, but that meant you have hard-coded IPs in your manifest YAML, which made it harder to manage. Also, even if you could do that for a single deployment, what if you had a web server that now depended on this? Would you hard-code static IPs for your different deployment in the manifest of your web server?  Some people were using HA configuration servers for this, so something like at CD or ZooKeeper, but that added more points of failure and that was also the spiff solution, but I'm not going to talk about that. So now, introducing links. Links provides a way for these authors to very concisely state what you provide as a release and what you consume as a release. This makes the public API of a release very clear and you can now depend on other things without having to specify implementation details like exact IPs or exact properties that you depend on. It also makes it really easy for the deployment operator because they now can only see what release, what each job consumes and what each job provides, as opposed to specifying duplicate properties across each section and specifying particular IPs for each job. As a release author, you also have access to other things that a link provides in your release templates. So for example over here, this release author is consuming name, ID and address from primary DB. This also reduces the amount of YAML because you no longer need to duplicate all these properties across all jobs in your manifest. You can now just specify a dependency on a link. A good success story for links is concours used to use a lot of static IPs in their deployments, but now their deployment manifest is completely free of static IPs and is only using links. So another feature that was introduced is availability zones.  Basically, you had to duplicate some sections of your deployment manifest like networks, resource pools, instances and give them different names like Z1 and Z2 and the only property that's going to be different there is their availability zone cloud property. So now availability zones are first-class citizens in Bosch. So that what that means is that you can list availability zones in your cloud config and you can reference them in your instance groups and Bosch will take care of automatically rebalancing instances across those availability zones. Whenever you scale up the number of instances or scale down, Bosch will automatically rebalance those instances. Also, we plan on adding a feature to manage your availability zone state so you can turn off your availability zone and Bosch will distribute instances in that availability zone across remaining availability zones. So how does it look like? You specify the list of availability zones with their cloud properties in the cloud config and then you reference them in your instance group. So as you can see, there is no duplication. It's much smaller and looks much nicer. In case if you already have an existing deployment that used availability zones, before this feature was introduced, you can migrate to availability zones by using migrated from property. And basically what it does, it merges your instance groups into one and Bosch will take care of preserving existing instances, renaming them and assigning availability zones to them. Usually release offers would like to know what node is being deployed first so that they can run some setup like database migrations. And they used to rely on instance index to figure that out and you can imagine how complicated that looked like if you had those instances that was spread across availability zones because you had multiple instances of index zero. Well, you should not rely on indexes anymore and instead you should use this bootstrap property which was introduced and that will tell release that the node that's being deployed is the first node and you can put that in your release configuration file templates to run some setup like database migrations. So as we introduced a lot of these new features, we noticed that the Bosch director was doing a lot, a lot more than it was doing before and we wanted to make sure that we were constantly testing it as much as we could. So keeping in mind that it was now responsible for IP allocations, we wanted to introduce a set of load tests. Load tests that as we have it currently deploy a hundred deployments in parallel and they try to catch race conditions, specifically read-write race conditions around IP allocation to ensure that when we are allocating IPs we're really extra cautious and there's no IP conflicts that happen. The other thing we introduced was first tests and what we wanted to do with this is we wanted to introduce some exploratory testing into our process. So on top of the unit testing and integration testing and test-driven development we wanted to simulate a user using AZs and trying to rebalance across AZs in a very random fashion. So we were trying to force edge cases and make sure that Bosch director behaved in the way that you expected to even after strange rebalancing or making sure that your data was always safe and did not get detached from the deployment even after it was rebalanced or different IPs were allocated to it. So we hope with load and first test we've tested the system to the extreme and that what we've released is really ready for production use. However, there are always accidents that unfortunately do happen and in this case the one thing we really wanted to be clear with is that we never lose any data. We all love our data and it's very precious to us. So we introduced the idea of orphan disks. Orphan disks introduces a form of soft deletion of persistent disks to Bosch. This means that if your persistent disk gets detached from your deployment either due to an accidental delete or due to rebalancing, it's still always kept around for five days. So you can do Bosch disks orphaned and notice over here it'll list out all the disks that were orphaned and what time they've been orphaned at. You can then easily do a Bosch attach disk and reattach the volume to your deployment. This also makes sure that in case in the meanwhile the instance group did have a disk attached to it or the deployment did have a disk attached to it, that disk is now orphaned. So you're never in a state where you're losing any data. Another feature that we introduced to kind of make data loss even harder is Bosch backup and restore. With Bosch backup, you can back up the director database and restore it again at your convenience. We intend for this feature to be used continuously or for you to do it before when you're being extra cautious before a particular upgrade. So release offers can affect their deployment lifecycle by implementing callbacks to certain deployment events. As you know, we have a drain hook that release offers can include in their release and Bosch will call that before stopping the job and that basically notifies job that it's about to shut down. It should stop accepting new requests and it should process all currently executing requests and we introduced now new hooks after the job is installed and before it started job will call a pre-start script and this is a good place to include your setup scripts like database migrations and you can use that bootstrap property to figure out if this is the first node. So Bosch will run it before the job is started. After the job is started, it will run a post start script and then after deploy is finished, it will run a post deploy on every node. These are the good places to put some logic to notify services about completed operation. Another piece of feedback that we heard kind of in line with reducing YAML was that there is some software or some jobs that need to run on every single VM on every single deployment. These could be something like security software or log forwarding software, but it's tedious to have to put it in every single manifest file you have that leads to a lot more YAML. It's also difficult to manage release versions for each of these software if you have to do it individually per manifest file. To address some of that we introduced add-ons and the runtime config. The runtime config is another YAML file, but it's only one file and it doesn't duplicate your jobs. So here you can have releases. For example, here we use log rotate and anti-virus and if you add an add-on which is just like the job section to your runtime config, the next time that you Bosch deploy, that particular deployment will have all the jobs that were specified for the runtime config of that director. So it's pretty easy to use.  So it won't effect existing deployments. However, the next time you do deploy, you'll end up with new jobs on every deployment. To reiterate everything, every feature that we introduced here is backwards compatible and you can opt-in to each of them gradually. So you can update your director to start using cloud config and from that point director will start managing IP allocations for you. Then you can remove those cloud properties from your manifest. You can migrate your deployments to availability zones. You can start using deployment hooks. You can remove all the jobs that you have to specify in all the packages that you have to include in every job into add-ons. And that will minimize your deployment manifest. So while we were developing all these features, we wanted to make sure that we don't break any existing functionality. So we set up separate CI pipelines for new features and existing functionality and it is easy to do so with concourse. Concourse is a CI system that is used by every team in cloud funding and it's a revolutionary CI system which simplifies our lives a lot. So as we spoke about some of these great features that we worked on for the past year that we know you're gonna try out when you leave from TF Summit, we also wanted to give you a glimpse into what's coming up for the next year and what this talk is gonna be about next year. So one of the things we're working on is stem cell hardening. Keeping in mind using Bosch for doing more robust production use cases. We are working on making Bosch stem cell come closer to complying with Stig and CIS benchmarks. So that's something to look forward to. We've introduced a Bosch events command which provides fine grained audit trail for what happened to particular deployments. So you'll now be able to see things like who created the VM, when was it created, and you'll be able to view that all with Bosch events. Last year we spoke a little bit about integrating Bosch with UAA and we've added more announcements to that. So for example now service brokers can specify UAA scopes and limit visibility to only see deployments made by them. Keeping in mind some of the feedback we've been getting for dynamic service provisioning, we want to work on a solution for high availability DNS. And finally we're gonna keep on trying to simplify manifests and trying to make less and less YAML for you. So an example of this is we're gonna try to provide sane defaults for things. We already do this with links. So links by default are matched up based on their type. So you don't have to specify much when you're wiring up links. And we're looking for other ways in which we can introduce more defaulting behavior to YAML. So you have to write, you don't have to write as much YAML. All right. So we looked at some of the features that were introduced in Bosch in the past year. You can learn about them more at Bosch IO. Bosch IO is a great source of Bosch documentation. Also it's open source. Go to our GitHub repo and if you feel contributing, please start contributing. Join our Slack channel and start conversation about anything about Bosch. And we have some time for questions, but you can come and talk to us anytime during the summit. There's a Bosch team here, Cam, Tyler, Schultz, Dmitry Kalin, who was the mastermind behind all these features. So I think we have five, six minutes for questions. So the cloud config that's in the director, your deployments will use the cloud config at that point of time when they were deployed. So if you're going to do like cloud check and other deployment flows, they will use cloud config at that point of time and you can safely update your cloud config meanwhile until you decide to deploy your deployment again. At that point, it will start using new version of cloud config. Yes, so all these features are available now. And if you updated your director in the past six months, you probably have all these features already and you can gradually switch to them at your convenience. And grab the latest Bosch release version from Bosch IO website and you will get all these features. With cloud config, it will use one compilation for your infrastructure. So usually it's like the most CPU efficient type of VM that you will use for compilation of your packages. Basically, yeah, it will use the one compilation config for all the deployments that are managed by the director. Yeah, so some reviews have switched already to these new features like concourse releases using all these links and other things. And CF reviews is gradually switching to that. There's like spike that was done and that minimized deployments manifest a lot. But also you can continue. So all of these features, including links, it doesn't have to be all moved over in one sweep. So you can continue to use non links releases and links releases with the same director. You can continue to use your old style manifest and old style releases, everything. Once you add a cloud config, the next time that you do a Bosch deploy, it will ask you to change your manifest. But for all existing deployments until you update them, they'll continue to function. They're just like Bosch releases. So you'll have to upload the release to a director. And then instead of specifying it in a manifest, you specify it on your runtime config. I don't know. We typically try to maintain it for the next six months is what RPM tells us. But don't quote me on that. Okay, I guess that's it. We have one minute, but no questions. So thank you, everyone, for your attention.


All right, so now we have Mark Miller talking about the science of grade UI. Thank you. Welcome everybody. Glad to have you out here with me. I'm Mark Miller. I work for DevExpress. I am ready to go right into my slides. So I'm going to share my screen with you guys and see how this looks for you guys over there if you can see it. Looks like it's working. So science of great user interfaces and great design. We're going to talk about this very quickly. I've collected some of my favorite guidelines. That's me right there. We're in my super cool superhero look over there. My emails in the bottom left in my Twitter handles there as well, Miller Mark on Twitter. I've been writing developer productivity tools for about 30 years. I've been researching great design for about half of that time, about 16 years now, and I'm Chief Scientist for the IDE Tools Team at DevExpress. The product that I spend most of my time working on is Code Rush for Visual Studio. So that's a little bit about me. Here's what we're going to hit, and I think we're going to hit these things pretty quickly. We're going to talk about emphasis and importance, contrast and readability, proximity and layout, borders and spacing, and fill and corners. So emphasis and importance first. So emphasis is the ability to make information appear important, and here are some of the ways that we can do this. So to some degree, you could look at this and say, well, I can see that one way I could characterize this is saying, well, most of the text is referenced is rendered in one way, but portion of it is rendered a different way. So that's one of the ways that we can do it. It's just by being different. And we can also do things with contrast, saturation, shadow, that sort of thing. So emphasis is the ability to make information appear important. Keep this in mind as we move forward. Now I know some things about some superheroes. I know about Batgirl, I know about the Hulk, I know about Scarlet Witch, and I know about Superman, all right?  And let's organize the information that we know. So I'll create a table and we'll put some columns, headers here for the information. We'll put the Batgirl here, secret identity, Barber Gordon, chances of beating me in a fight, 100%. The Hulk, main powers Hulk smash, secret identity, Bruce Banner, chance of beating me in a fight, about 50%. If I catch him on a non-Hulk day and I sneak up. Scarlet Witch and there's Superman. So this is the information that we have here when we're talking about the things that I know. But the question here is, can we separate this presentation into two different groups of information? One of the groups, the high importance data, and one of the other groups, the low importance data. And I want to give you a second to look at this and think about that question. How do we separate this information into two different groups? And here's what I did. If you're looking at the text and thinking, well, which parts of the text are important and which ones are not, then you're missing a really important concept. And the important concept is that everything on screen is information, even the borders, right? Even the background. Everything on screen in an interesting presentation is information. And so the question is, what's important and what's not is a good question to ask. The reason why, well, we'll take a look at it as we move forward here. We'll see it in a second. Everything here in this table, if we zoom in on it and go in even closer, notice that the width of the border lines is equal to the width of the fought stroke. Also notice that the contrast is the same as well for both of these. The contrast between the line or the text font, the text and its background is the same. It's black on white. So in this presentation that we have here, the emphasis is the same everywhere. Experiment, we might take the border lines and say, well, let's really emphasize those. We'll use two techniques. We'll use, will you keep us to the high contrast and we'll make them even bigger. And let's deemphasize the other information, which we identified as important by making it a little bit lighter and lower in contrast. And continuing the experiment in the opposite direction, we can create a table where emphasis matches importance. And then we can take a look at these three and ask ourselves a question, which one of these three is easier to read the data? And if you're like virtually everyone, you're gonna say the answer is this table down here, right? And in this table, emphasis matches importance. So earlier we said that emphasis is a way of making the brain think that information is more important, right? And we also said that everything on screen is information. Well, now what we can do is we can use this guideline, emphasis matches importance, to create things that are presentations that are easier to read. So that's guideline number one. Here's an example right here. I'm playing Yahtzee with the kids. We roll the dice out on a brown dice on a brown table. And I'm like, wait, what? In low light. And I'm like, what did I roll? A better fix to this would be create dice that have high emphasis, such as this, the high contrast on the important information. Contrast and readability. So I've got a question here. This slide asks the question, does this text seem hard to read on top? And on the bottom it asks the question, does this text seem easy to read? And again, if you're like most people, the answer is, yeah, the text on the top, it seems harder to read. And the text on the bottom does seem significantly easier to read. And the question is why? If we extract the saturation, remove the saturation from this presentation, you'll start to see something kind of interesting. The text on top is, well, it's still there, but its perceived brightness is essentially equal to the brightness of the background. The takeaway here is that we're not reading in color. We're reading essentially in black and white on the perceived brightness spectrum. And what that means, the implication of this is, is that text needs to be high contrast in order to be easy to read, sufficient contrast from the background on the black and white spectrum. So we want distinct text from the background in black and white. The next guideline, proximity and layout. Actually, I think I may have a couple of things in here. The first concept is friends, enemies and others. And so I've got a photo album here and I've got some pictures of some cute puppies and I just wanna organize them in my photo album. So I'm gonna put this one up here and then I'm gonna take another look at a next photo and I'm gonna say, okay, where should I put that? And if you're like most people intuitively, we're like, well, let's put it with the other one. So okay, we'll move that over there. Let's look at another photo. Oh, more cute puppies. Okay, we'll put that right here. And then we'll take a look at another one of the photos I've got at all. Does it go over here? Or does it feel better over here? And then if I've got this picture of a house, does it go with the puppies? Does it go with the cat? Or does it maybe go right here? Kind of an interesting example, but it's to illustrate a point that friends' information that is contextually related feels better and is more readily digested and understood when that information is close to other friends. And similarly, it's more easily understood when it's far away from the enemies. So that's what we wanna do. When we're looking at information, we wanna identify friends or closely contextually related pieces of information. And we wanna identify enemies as well. Here's an example in real life. Which button do I press to go to the 30th floor? I'll let you think about that for a little bit. And maybe you're thinking, okay, Mark, that's not fair. You zoomed in really close, right? I wanna see more. I'm like, okay, but if you were blind, you'd just get what your fingers were touching. This would be it, but I'll give you more. Here's more. Which button do I press to get to the 30th floor? And now I think you may be starting to see the problem, right? One of these buttons is a friend of the label that's next to it. And one of these buttons is an enemy to the label that's on its other side, right? In other words, the button to the 30th floor is the enemy of the 29th floor label. And yet they're equidistant apart. It's what I call a proximity violation, right? So we wanna follow that guideline. Here's another example. Which way to Fort Worth, right? And here's an example where the enemies are close to the friends, right? So Fort Worth, the arrow pointing to the left, that's not for Fort Worth, that's for Justin. In fact, how many people do you wanna bet came to the sign and they turned the wrong way? Because that arrow pointing to the left is so close to Fort Worth. Yeah. Kevnick out there in the chat room says, geez, who couldn't figure that out? Couple ways to fix it. One is to follow the proximity guidelines, put the friends close together. So put Fort Worth text next to its arrow. Here's another way to do the same thing. Here's another way we could do it, where we could keep things in the same place but use a background color change to indicate how our friends are contextually grouped together, or we could use a borderline. Out of all of these, the one in the upper left is my favorite because it's scalable for multiple cities and requires really no changes to any of the printing mechanics for creating these signs. So there's the original and there's our fix over on the right. So friends close, enemies apart. These are the proximity guidelines. Borders and spacing. So I had this question a few years ago. The question is, well, I've got my text and I wanna put a border around it, but where do I put it? I couldn't find any guidelines for this out in the real world. And based on my research, I still think there's nothing out there that describes the answer to this question. I'll show you what I came up with. And this is based on a fair amount of research, including research in the way we recognize and understand the letters and actually the parts of the letters. Those come from something called the feature detectors in our brains. So when I say the parts of the letters, I mean the crosses and the curves and the endpoints. And here's what I came up with. Well, actually before I show you that, I'll just clearly show you extremes, right? Sometimes I'll go to extremes when I'm researching a problem. Here's an extreme right here where it just simply, it looks and feels too far away. And here's another extreme where it just looks and feels too close. So we know the answers between these two. Here's what I came up with. I take the distance of the space, the width of the space between two letters and I multiply that by 1.5. And I simply add that to the sides. Excuse me. And I also add that up to the tops and bottoms as well. And that is the answer to the question. It's far enough away that our letter detectors won't ever confuse it for a potentially another letter next to the ending letters of the text or the beginning letters of the text. It's far enough away, so we won't confuse that. Which means our cognitive load is down, which means it's easier to read, okay? But it's not too far away, right? So it's just in there at this nice, nice close distance. Now, there are ways to get it even closer. For example, if I change the contrast of the line, notice I've still got it the same thickness. This line is as thick as the stroke width of the fonts. I can bring it in closer. I can also change the thickness. I can maintain the same contrast and just make it super thin or to both make it both lighter in contrast, lower contrast and make it thinner if I need to really get in tight. So those are two different ways to get to kind of violate that rule.  The one on the left or the one on the right? And virtually everybody says the one on the right. And I say, okay, what do you prefer here? Just doing our A-B testing. Everybody says the right. And I'm like, which one do you prefer here? And around here about 97% of the folks in the room, 95 to 97% say the one on the right still. And the takeaway here is that the guideline for borders is that they should be thin and low contrast. Call it an example with the border. I've actually seen real examples of borders on real websites and other UI that have a thick high contrast border. That's incorrect. That's the one on the right. Sorry, the one on the right is the way to do it. Fill and corners. So I've got two stars in the middle of the screen. And the question here is which star looks bigger? The one on the left or the one on the right? And if you are, if you're like most people, you're going to say the one on the right looks bigger. In reality, they actually are constrained by the same bounding boxes. But the one on the right has got rounded corners. And as a result has about 34, 35% almost more pixels than the one on the left. The takeaway here is that if you want icons to be easier to see and you're constrained by the size of the icon, like in a particular box, like 16 by 16, use rounded corners for the icons. Salience. So salience is a really kind of interesting topic. And the idea of salience is what does your brain consider important? Why is that an important question to ask when we're talking about good design? Because whatever your brain considers important, that's what you're going to kind of be working on, well, focusing on, right? And so the question is with this particular shape, what do you find most important? Do you find the curve in the back? Maybe these curves in the front or this point right here? And if you're like most people, you identify this section right here as the most important part of this particular shape. The takeaway here, and it's supported by research, is that sharp corners are considered salient. In other words, we naturally infer that they are important when we look at them. And if we do sharp corners and they're not really important, then we're kind of like, well, I'm not sure what's going on and there's a little bit of confusion. Hollow versus filled. So this question comes up, which is better? A hollow button or a filled button? And I start going through all the different ways we can evaluate this. For example, how many pixels are visible excluding the text? And with the hollow button, we've got about 1,000 pixels and with the filled, we've got about 10,000. Okay, how many shapes do we have to process? Well, for the hollow there too, you've got this kind of outer rectangle and an inner rectangle. You could argue that both of those have to be processed. And with the filled, you've only got one, like that. Now you could also argue, well, wait, maybe it's not shapes, maybe it's just corners. How many corners do they have? Well, the hollows got eight because this and this are both corners. And at some level, we're processing this inside of our minds, right? And if we're processing it, then you can argue cognitive load is a little bit higher. Whereas the filled's only got four corners. Peripheral image, and this is actually the most important in my opinion, if not the most important, the second most important criteria, what does this look like when you're not looking at it? And here, the peripheral image kind of looks like this because we don't have acute sharp vision in our peripheral vision. The filled looks like this, so we can still see it and identify it as a button. From my perspective, the one on the right is more desirable, especially for an important button that leads me on the path to something critical that I'm designing user interface for. For example, I might be designing user interface for a website and clicking this button means more sales or more registrations or more signups. The graphical message here is that the border is important, whereas here, the button is important. So from my perspective, filled wins all the way across the board, all the way across these different ways of evaluating, so the question of hollow versus filled, the answer is filled. So my conclusions are based on this research is that when you have a choice between a hollow button or a filled button, the filled is the better choice.  For example, a cancel button, right? Or the less likely path. You might do something different or you might make it less without saturation, for example. But in general, I would always go with a filled button and I'd use saturation like we've got over here in this example on the right and maybe no saturation or a lower level of saturation for the less desired path. Corners, again, round corners are better because we, corners are salient. And so we don't wanna call attention to the corners. We don't want a button that says the corners to this button are important. We want a button that says the button is important. And then with the call it example that we saw before, not only do we not, not only do we wanna have a border that's thin and low contrast, but we also wanna have a borders that are rounded except for where we're pointing because where we're pointing is important. That's the salient piece of this whole example. And so the better call out example is on the right. So corner sharpness needs to match the importance. All right, wrapping up. So I grabbed this example, found this out there on the internet and there are a number of issues with this that can be fixed. And we've talked about some of them here in this session. But one of the biggest issues is that of contrast. We have text that is low contrast on, we have essentially white text on a light background and it's hard to read. It's maybe not so obvious when you look at it the first time, but when you go back and you look at the rules and you come back and look at this and or if you look at a side by side of something that's essentially the same interface but redesigned using the guidelines, you can start to see, oh, okay, I'm getting it, right? I'm getting to see that the one on the right is far more easy to consume the data in than the one on the left, right? And so there are, these are some of the guidelines. Like I said, this is a very fast condensed course. There's more out there, which I'll tell you about in a little bit. I wanna summarize everything we've talked about though up to this point. What we've learned, every on-screen element is information but not every element is equally important, right? So understanding and taking a moment to ask the question, what are the most important pixels on screen or dots of ink in the presentation and what are the most important and what are the ones of lower importance? Emphasis should match element importance. For readability, we need sufficient contrast on the perceived brightness spectrum. That means black and white. Physical proximity should match contextual proximity. That means French should be close and enemies of the French should be kept far apart. Borders should be thin and or low contrast and no closer, this is a guideline, then 1.5 times the space width. And you can break that guideline if you go super low contrast on the border or you make it super thin. Get it closer if you need to. Buttons should be filled and unimportant buttons can be filled but with a lower contrast against the background. Corner should be round except for important corners which can be sharp. Where can I learn more? There's a website out there called sgui.com. It stands for Science of Great UI. That's a site I've got out there. It's mine and I've got a free course out there that you can sign up for by email to learn more. Also, if you go to deviq.com you can get the full on Science of Great UI course. And we've got a free offer for .NET conference of viewers courtesy of DevExpress. Everybody who's watching and goes to this URL between now and tomorrow night the 26th of September at midnight GMT can get a free copy of the product I work on, Code Rush. If you're working Visual Studio, this may be of use to you. And with that, I believe I'm done and you can answer questions. Hello and we're back. So this was an awesome talk and the feedback on the stream has been awesome. Like I think not only myself but everyone included was learning lots of things about UI which we get to, we don't get to think about it every day. So really cool. Some people were asking about if you're gonna share your slides, they wanna share with students and things like that.  I am not gonna do that. I have like a, I suggest instead going to the sgui.com you can get material there. And sometimes I'll give away a PDF at conferences. I'm gonna be speaking at Dev Intersection coming up. I've got like a full day workshop, I think there maybe. And I know I've got three courses there as well. And so people can come to those as well if they wanna get those PDFs that I give away. Cool. Well, but people will be able to watch this video on YouTube and channel nine later, so. They can certainly do that. All right, thank you so much for joining us and it was really a great talk. All right, thank you.