So this is what I will call a more efficient fireplace. So how are we going to do this? Well, there are a number of things that we can start with. Let's draw the base again of the fireplace. So there we have our base. We still have the wood, so the fuel is still in there. And just like before, we have flames, so we have some form of combustion going on. But now if we want to do this a little better, there are a number of things that we can do. And as engineers, what we can do is pull out our books and take a look at what we've learned and try to make this better. So let's begin with a number of things. The first one, what we're going to do is we're going to enclose the fireplace into a smaller area. And then what we're going to do, remember we said that there are three main components. We needed fuel, which we currently have because we have our fuel in there. We need air and we need heat or ignition source. So let's assume that we have the ignition source and we have the fuel. We need to get air in here because it's enclosed. So what we're going to do, we're going to introduce air, but instead of just letting it flow in naturally, we're engineers remember, we're going to put a fan and we're going to pump air into the fireplace. So the air is coming along and it's coming into the fireplace. Now another thing we can do, why don't we try to preheat that air? So what I'm going to do is I'm going to put this vein in here, which basically separates the air. It comes in and it follows this kind of a path that's being preheated. So through this process, what we're doing is we're preheating the air and then we would have little jets here where the air can come in and it can supply oxygen, which is what our chemical process needs, in order for us to have combustion. So that's a good thing. We're heating the air, making it hotter. Through the process, we're actually preheating it. That makes the combustion a little more efficient or efficiencies going up. That's good. Now what else can we do? Well, remember we said that before, a lot of the energy was being lost in the exhaust. So let's see how we can handle that. So what we're going to do, we're going to do something a little different here. So the exhaust gases are still coming up through here. That's where our exhaust gases are going. But now what we're going to do, let's try to get some energy out of that. Why should that energy just go out up into the atmosphere? Why don't we try to get a little more of that thermal energy and keep it within the place where we have this fireplace? So in order to do that, what we're going to do is we're going to wrap coils around the fireplace. So this could be something like copper tubing that is embedded within concrete. And what we're going to do is circulate fluid. Remember this is a round fireplace now. We're circulating some fluid through there. So we bring the fluid in. Now if we're bringing it in, that means we're going to have to pump it at some point. So over here what I'm going to do is introduce a pump. So from there we have fluid that comes in and then it works its way around. And eventually it's getting quite hot. And if all goes well, it'll be getting close to the boiling point. Then what we're going to do, we're going to take that fluid and we're now going to put it through the exhaust gases. So we still have our fireplace going up there. But now you can see we're taking the tube that is carrying this liquid, and it could be water, and we're going to send it through the exhaust gases. So our exhaust gases are going up here. They're quite hot. And as they encounter these tubes, they're heating it. Well, we know that we can do a little better job than just that. What we can do, we can put fins on this tube. So if you've taken a course in heat transfer, you would have seen a finned tube heat exchanger. And you know what that does, it creates or increases the contact area between two fluid streams and consequently increases the energy transfer. OK, so this is getting better. Now, so we've preheated the air, we have this liquid coming through. Who knows? Maybe it's water or it could be some other fluid. It's getting hotter, hotter, hotter. Then we put it through the exhaust gas. It's getting really hot. If all goes well, what we will have coming out here is going to be a mass flow rate of steam. So we now have steam coming out. And if the pump is pressurizing the liquid going in, we know that that would be high pressure steam. So what can we do with steam? We can get work out of it. So let's go over here. We're taking the steam, we bring it along. We're going to be putting it into an expander. Remember I talked about expander a couple of minutes ago. And the form of expander we're looking at is a turbine. Now what does a turbine do? Well, as the working fluid going through the turbine expands or goes to a lower pressure, we get mechanical work coming out of the device. So there, that's good. Because before, all we had was a fireplace where a lot of the energy was going up out the top. Now we're actually getting some work out of it. After that fluid comes out of the turbine, well, it's still quite hot. So we can do things with it. There might be multi-phase flow. You could have droplets. So you might have a flow consisting of a little bit of vapor and liquid. You're in what we refer to as the two-phase region. And if that's the case, what we want to do, before we put it back into the pump, because pumps have a hard time when you put vapor through them, what we want to do is we want to condense it. So in order to do that, what we would do is we would build a heat exchanger. And what are we going to bring in? We're going to bring in some cold water. And what's coming out? Well, that could be domestic hot water. So domestic hot water would be what you use to wash your dishes. It's what you use for washing your laundry. It's what you use for taking a shower. Domestic hot water. And or, depending on how your house is built, if you have hot water heating, like I have in my home, you can use it for heating. So all of a sudden, we're getting work, mechanical work, and we're getting hot water coming out of something whereas before. We just had a little bit of heat coming out of it. And then our fluid would come out of the heat exchanger and eventually it would come back to the pump. So that is a more efficient fireplace. So what are we doing and what are we getting out of this? There are three main things that we're doing. We're preheating the reactants. So that is the air is being preheated. And what we get out of it, we generate work, which could then go into generation of electricity. And we also generate thermal energy. OK, so we've been able to accomplish quite a bit with just modifying what we could consider a very inefficient fireplace. So what are the downsides to this? All the upsides are that we're able to generate work as well as a lot of thermal energy that we can use in our house. I guess you could say one downside is you can no longer see the flames because the entire fireplace isn't closed, unless you were to make the heat exchanger that we have here out of glass or some other transparent device where you can actually look in and see the fireplace.


It's the Roy Rogers Show. Happy Treyle treat that's fun to eat, brings you the Roy Rogers Show. Transcribed on the double R bar ranch with Pat Brady and the Queen of the West Day 11. Happy Treyle person, the king of the cowboys. Well, howdy, folks. Here's my good word for today. It's about a honey of a new cereal, post-sugar crisp. And it's my hunch you'll like it just as much as we do out here at the double R bar ranch. You see, post-sugar crisp is just downright good eating, and it's good so many different ways. Try it real soon, won't you? Now, here's our Western story. In a snug ranch house in the wealthy Paradise Valley cattle raising country, Albert Larimoire, old and respected rancher, is talking to a newcomer from the East, young Dan Sutton. I'm awfully sorry you're having such tough luck, Dan. I'll be glad to lend your money to replace the stock you've lost. Well, thanks, Mr. Larimoire, but I couldn't do that. A mortgage is a lot more heavily than ought to be. And I don't know how I'm going to make those payments.  I'm on the verge of it, Mr. Larimoire. In fact, I came over here to see if you wanted to buy my place. Of course, I'd like to own the gold mine, spread, Dan. Gold mine. What a name for it. But I want you to try to see things through. And again, if you need a loan to tide you over. No interest, of course. Oh, thanks, no. I'll try to hang on a little longer, but if any more of my cattle die. Well, I'll try not to think about it, Mr. Larimoire, and I want to say that you're a wonderful neighbor. Let me fill your cup again, Dan. No, thanks, Dale. I've got to be getting back. You better have the vet do an autopsy on those steers, Dan. Sure, if you can find out what's poisoned them, well, maybe you can find out where they're getting it. I don't think the vet could tell me anymore, and I already know. There's not a poisonous weed on the place. The water holes are all right. Dan, if the trouble's happening every time you don't patrol, why don't you stay in the night and Pat and I'll patrol for you? Probably nothing had happened. You'd certainly do a better job of riding the place than I do. Oh, you shouldn't say that, Dan. Although, of course, if there's two better cowpokes in the valley than me and Roy, I have yet to see them. We'd go out after dark, Dan, so no one would know. And we'd make it very plain that you and Mrs. Sutton were staying in the house. That's a good idea, Roy. Say, why don't I ride out and call on the Sutton's tonight, and the three of us will just sit and talk with the lights on and the shades up? We could try it. We need help, Roy, and Helen and I would certainly like to have Dale spend the evening with us. Hey, that's a swell idea. Dale, don't you think we ought to close up the place a little early so as we can get started? We'll see, Pat. We'll try it, Dan. Cattle poisoners are something we can't have in Paradise Valley. Good, Roy. Well, we'll see you tonight, Dale. Uh-huh. Hey, who are these fellas coming in? I don't recognize them. So long. What's the matter? Is the food any good? The food's fine. You can't miss on this place. Well, uh... So this is the Eureka Cafe. This is it, and I'm Dale Evans. I run the place. And this is Pat Brady. He thinks he runs it. And the other gentleman is Roy Rogers. Well, howdy. I'm Jack Lester. My partner is P. O'Connor. We're larmors, new hands. Howdy. How are you? Hey, what's that dog doing in here? Go on, beat it. Hey, don't kick at him. I'll put him outside if he bothers you. Come on, Bullet Boy. Well, what do you gentlemen think of Paradise Valley? Strictly small-time stuff. We come from the stairs grow twice as big, the grass is four times as nourishing, and any less than 10,000 acres, we turn into a miniature golf course. Sounds like the mouths grow considerably larger there, too. Never mind, Pat. Well, then talk, lady. A funny-looking geezer like that probably can't think of anything better to say. Uh... did you want to order something? Steak. Right, Jack? Right. Two best-in-the-house. Yeah, I'll pick some, Dale. I like it better in the kitchen, where it ain't so breezy. Well, I hope you fellows will get used to this small-scale operation in Paradise Valley. We think it's a fine place, and your boss is one of our leading citizens. Oh, we aren't complaining. Lamar gives us a good deal. Of course, he's just mighty bad, too. And now that I know what Mineral City has to offer, I think I'm going to like it a lot better. Well, Mineral City's quite a place. I'm not talking about the town, girl. I'm talking about the cute kid behind the con in the Eureka Cafe. You bet.  Well, thank you. Here's your silver. I'll see how the steaks are coming along. That's that big dumb-cluck friend.  Dale, I'll talk to you later about tonight. No, don't go, Roy. You aren't bothering me, cowboy. Let me take your hand, girl. I'll tell you fortune for you. Well, no, I... Oh, go ahead, lady. Jack's pretty clever at it. Sure, I ain't going to hurt you. Let go of my hand. Now, this pretty line here is a love line. Let go of her hand, Lester. Make me. All right, I will. Get him, people! Why do you fumble for your guns, eh? Oh, no, you don't. I'm a partner's hands, will you? You won't either, because here's a little trick.  Hey, what happened? If there's any trouble, I want to be in on it. There isn't any trouble, Pat. The cowboy on the floor there tried to tell my fortune. Get up, Lester. Now, I'm going to tell your fortune and yours, too, Pete. Well, I think I know mine. I think I'm expected somewhere else.   Look, Rogers, I'm a good-natured cuss. But don't cross me if we ever meet again.  Come on, Pete. Let's get out of here. Back to Roy in two shakes. But first, let's greet his pals. Handy, dandy, and candy. The three honey bears on every package of post-sugar crisp. Hi, it's a treat to see you. Oh, sugar crisp is a treat, too! Absolutely. Sugar crisp is the cereal treat that's fun to eat. It's different. It's a wholesome, puffed wheat with a delicious candy coating of sugar and honey. But let the three bears tell you three wonderful ways to eat it. As a cereal, it's dandy. Sugar crisp is just sweet enough. You don't need sugar. Check. For a marvelous breakfast, just add milk or cream. Boy, sugar crisp is great for snacks whenever you're hungry. Right. And eat it like candy, right out of the box. Right again. Sugar crisp is good anyway. It tastes great and gives you plenty of quick food energy for work and fun. Mother, next time you mark it, remember what the three bears say. As a cereal, it's dandy. For snacks, it's so handy. Or eat it like candy. Post-sugar crisp. Get genuine post-sugar crisp in the red, white, and blue package with the three bears on front. Buy sugar crisp tomorrow. Mysterious poisonous striking down the cattle belonging to Dan Sutton, young Easterner who has bought the old goldmine spread. Roy and Pat offer to do night patrol duty on Sutton's ranch, for the poisoners strikes when Sutton is not present. Now the moon's cutting through the clouds, cast ghostly shadows over the resting herd. Do you think it was a very good idea Roy having Dan bring most to be stalking to this one pasture? Sure. At least we don't have to worry about the poison slipping in while we're out on the other part of the spread. Well, we can see pretty good when the moon is out, but... I don't like being a quarter of a mile away from Nellie Bell and Trigger. I don't either particularly, but you and I and Bullock can lie here and run almost no risk of being discovered. Oh, me. Dale and Danny's wife are over at the ranch house, talking and laughing. They may be singing and probably having something to eat. I'd sort of like to sneak over and get a cup of coffee or something. Five minutes to get there, five minutes to drink it, five minutes to get back. Well, I wouldn't be gone no more than 15 minutes. Maybe you stay right here, Buster. If someone was spying and saw you there all of a sudden, they'd know something was up. Yeah, maybe you're right. Gee, it's spooky and shadowy out here, isn't it? Well, Bullock isn't afraid of spooks. He'll warn us if any of them come around. Roy! Yeah! Oh, oh, it's Dale. It sure is. I guess Bullock doesn't figure she's dangerous. Dale, you're supposed to stay in the ranch house. Yeah, Roy, but I just had to come out and see what's happening. There hasn't been a soul around. Now, you get back there with Dan and Mrs. Sutton. You're supposed to be a decoy, you know. Roy, I didn't say anything to Dan and Helen about it. But a man peeked in the window about three-quarters of an hour ago. What? I'm sure of it. I figured it was someone checking to see that Dan was inside. And as soon as I thought I'd given him enough time, I told Dan and Helen I was going to take some coffee out to you, too. Well, that's just wonderful, Dale. I was just anchoring for some. The thing is, I was so interested in what might be happening, I forgot the coffee. Oh, good going, Dale.  Why? Put our milks tied out in front. If anyone's around, they'll think I'm still inside. Quiet, Bullet. Hey, what does he see? I don't know, but he's plenty excited. Shh, quiet. Look, way over there on the other side of the pasture. Isn't that two men? It looks like it. Man, I can hardly hold Bullet. Oh, that darn cloud. I can't see a thing now. Let's get up closer. Wait, the moon will be out again in a second. Let's see what those men are up to before we frighten them off. Bullet, come back here. No, I relaxed my grip on Bullet the wrong time. He was sure steamed up about whatever he saw. Pat, we'd better get Trigger and Nelliebell and follow him. Do you want me to run back and get Dan? Yeah, we all go. Have a sort of a posse. Oh, it's too late now. Bullet's frighten them away. It'll be quicker to run down there and see what they were up to. Hey, what were those fellas doing down here? I was sure I saw one carrying something. And I was sure I saw one put something down. Well, we certainly haven't found anything with the flashlight. I wish Bullet would come back. He's a mighty well-trained dog, but if he was a horse, I'd say he took the bin and his teeth at that time. Well, maybe we'd better go back to the house and tell Dan and Helen what happened. You go ahead, Dale. But if those men were spreading poison, I'd hate to leave here until we've found it. Hey, wait a minute. What's this? Well, that's just a salt block. Here's another one. Well, look around. There aren't any more, are there? No. I certainly don't see any. When Dan drove the cattle in here this evening, it was the first time this pasture had been used for months. And I don't think Dan would remember to bring in a couple of salt blocks. I wouldn't think so. He's a dandy fella, but between you and me, he don't know much about cattle. Well, we'd better have them analyzed. Maybe this is the way Dan's cattle are being poisoned. Maybe so, but we still have to find out who's doing it. Well, look who's here. Bullets, what do you mean breaking away like that? Hey, what are you carrying? Give it to me. What you got there, Roy?  Looks like it. Shine your light here, Dale. Oh, blue corduroy. Roy, Jack Lester was wearing a blue corduroy outfit when he was in the cafe this afternoon. Hey, he was at that. Well, if that's the case, why don't we just go over to Larry Moore's and haul Lester down to jail? There's plenty of people with blue corduroy jackets, Pat. We can't arrest Lester on evidence like that. Dale, you better take these salt blocks into the sheriff. Meanwhile, Pat, you and Dan and I will see if Bullet can pick up the trail of this piece of corduroy. This is pretty slow going, Dan, but it's safer than having Pat use his headlights so we could trail as fast as Bullet wants to go. Whatever you say, Roy. This is all pretty new to me. You sure Bullet knows where he's going? Seems like we've been edging along this fence for 15 minutes now. I'll trust Bullet. Don't make any more noise than you have to, Pat. Okay, okay. This fence separates your spread from Larry Moore's, doesn't it, Dan? Yeah. Larry Moore's property cuts into mine and sort of a big U-shaped wedge along here. Hey, Ray, no. Bullet's stopping for something. Who took your bull? Hey, what's the matter? Your fence is down here, Dan. In fact, it's been cut. It was all right this afternoon. I drove the cattle past here. There's an opening on the Larry Moore spread now and Bullet wants to take us through it. Come on as quietly as you can. Could be a lion-camp that some of Larry Moore's hands have set up. You and Dan stay here and Bullet and I'll creep up a little closer and see who's there. Sure you don't want me to go along, Roy? No, I'll be right back. Come along, Bullet, and keep quiet. You stay there, Trigger. Sure nice of Roy to help me. No, Roy likes to do things like this. Hey, Dan, whereabouts is that old gold mine your spread was named after? Way over on the other side of this U-shaped piece of Larry Moore's property. Well, if there was anything left in the mine, I guess you wouldn't be so worried about meeting your mortgage payments, would you? I guess I wouldn't. But I knew when I bought the place that the mine was worthless. Yeah. A lot of people looked at this property before you bought it. They all had some of them geohooliologists or whatever you call them out here looking at the place and they all figured it was mined out. I never expected to own a gold mine. But I did think I'd be able to make a go of cattle ranching. Dan, Bullet and I got close enough to see three men around that fire. Who are they? Hey, is that Lester Guy one of them? Yes, Lester's one and O'Connor's another. Why don't we just storm up there and wail at Tar out? I'm just on general principles. Because I think the third man is Mr. Larry Moore. Mr. Larry Moore? Are Lester and O'Connor holding him? I couldn't see and I couldn't get close enough to hear what they were saying because Bullet was getting excited again. Mr. Larry Moore certainly wouldn't have anything to do with poisoning my cattle. Well, I certainly wouldn't think so. Hey, Pat, hold Bullet here. I'm going back to the fire. Lester and O'Connor strike me as strictly no good. But Larry Moore's a pretty good judge of character and he hired them. Bullet, quiet! Oh, there they go. They're on horseback and running again. They sure are all three of them. All right then, we're going after them. If Lester and O'Connor are putting something over on Larry Moore, we've got to catch them before it's too late. They cut the fence here and went through. Come on. We're back on the goldmine ranch again. This part slopes up to the foothills. I hope it don't climb up too steep. Stay with it, Nellie Bell. I can't see where we're going. Okay, Pat, those fellas know they're being chased. They've got fast horses. Ours are faster. Come on, Trigger. We've got to catch them soon. Keep up, Pat. How can you find your way in this rough country, Roy? How do you know where we're going? I don't know exactly, but we'll go wherever the bullet takes us. We can't go any further. Wait. What's that dark patch? Isn't that an opening in the rocks? That's the opening to the old mineshaft. That's got to be where they went. Drive Nellie Bell up a little closer, Pat, till her headlights shine down that hole. We'll try it, Roy. Come on, Nellie Bell. You can go a few more feet. That's it, Pat. You're going great. What about this, Roy? That's fine. The lights shine right down the shaft. That's the old narrow gauge railway they used to haul the ore out when they were working the mine. Now, this mountain edge, we've got them trapped in there. Roy, are you sure it was Mr. Laramore with Lester and O'Connor? Well, I could have been wrong. The firelight was flickering, but it certainly looked like him. I don't get it at all.  I don't either, but we'll find out soon. Come out of there, you men.   I thought that was you, Lester. O'Connor's is there with you, too, isn't he? Sure I'm in here. Unless I'm mistaken, the third man is Mr. Laramore. Are you there, Mr. Laramore? Roy Rogers, is that you? Come in and get me, Roy. I need help. We're coming, Mr. Laramore. We'll save you. Damn, wait. Don't walk into that tunnel. They'd shoot us down like ducks. We'll return to Roy in a moment. But first, let's listen to the three sugarcrisp bears. We're the sugarcrisp bears and we want you to meet the grandest treat you ever did eat. Post-Sugarcrisp. As a cereal, it's dandy. For snacks, it's so handy. Or eat it like candy. Post-Sugarcrisp. Those three sugarcrisp bears really know a good thing when they taste it. Sugarcrisp is the cereal treat that's fun to eat. That's why it's fast getting to be America's favorite cereal. You see, Sugarcrisp is already sweetened with honey and sugar. So you'll just eat it with milk or cream. And it's so handy for snacks anytime you feel like sitting down to some good nourishing eating. Or eat it just like candy. Get genuine Post-Sugarcrisp in the red, white and blue package with the three bears on it. It's a honey of a new cereal. Dan, is there a back entrance to this mine? Yeah, if it isn't caved in, it's on the other side of the hill. All right, ride there fast.  Go with him, bullet. Right, Roy, I'll do my best. Come on, Andy, over these rocks. Roy, help me. Sure, I just... help me, dear. Hey, hey, we've just got to rush them, Roy. You're right, Pat, but not on foot. We'll be even better targets on horseback. And I haven't even got a horse. You've got Nelliebell, and Nelliebell's going to pretend she's a tank. What? Start her up. Drive her right down those railroad ties into the mine. Roy, we'll do it. It's the last thing they'll expect, and if we can get them confused... That's the idea. Let's go. All right, hang on, Roy. As soon as the headlights pick them up, I'll start shooting. Don't go too far past them. I'll handle her just right. Don't you worry. Hey, what's happening? There they are. They're running down. Stop. Stop shooting, Lester. Fire those guns at me. Oh, so that's the setup. Well, I'll do the shooting. Drop those guns all at you. If we have to shoot again, we'll aim at you. All right, all right. Take your artillery, Pat. Larry Moore, I don't know why you did this, but I know whose side you're on. Hey, what are you trying to kick back into the shadows? Oh, yeah. Or nothing. What are you talking about? Hey, it's a sack, Roy. Keep them covered while I get it. All right, Larry Moore. This was sure a smart place to run to. Yeah, you told us we...  If you weren't playing yellow. Hey, there's something yellow in this sack. It's gold nuggets, Roy. So you found a new vein in Sutton's gold mine, eh, Larry Moore? Well, the three of you had better march down the tunnel to where the firelight's starting to flicker at the other end. Follow us in Nelliebel, Pat. The tunnel narrows down and we can keep them right in the headlights. We'll figure a way to get them into town, Roy, and I'll lock the three of them up. We'll get them into town all right, Sheriff. I'm certainly glad you and Dale showed up out here. Well, we found that the salt blocks were coated with poison and we hurried back to tell you. You can't hold me, Sheriff. As soon as I get my attorney, I'll explain everything. Well, you have a right to trial, Larry Moore, but I think you'd need a whole law school and then some to get you out of this. You hired Lester and O'Connor to poison Dan's cattle so you'd break him and then buy his ranch for practically nothing. And anyone who could think up as rotten away to go about it isn't going to get any consideration from the court, no matter what people thought you were. Let's get started here.  Oh, no, you don't. Roy, Lester's breaking away. I'll get him. Down, boy. Hold Bullet, Dale. I've got it, you fellow. Let go, Rodgers, let go. All right, I will. Just long enough to land one more lucky turn. Help me get him on his feet, Sheriff, and we'll get started. All right, Roy. Hey, where's Pat? Well, he was here a minute ago. He helped Roy bring the man out of the tunnel. He left something pretty valuable in there and he's going back to get it. More gold, Roy? No, Nelliebel. Only the tunnel narrowed down so much that they're going to have to back out the way we came in. Today, our country faces a double production job. Weapons for fighting a war and civilian goods for fighting inflation. It's a job that requires working together. All of us, management, labor, and the public. Production is everybody's job. Remember, the more efficiently we produce, the stronger we grow and the better we live. Remember, greater production means greater security for all of us. That's all for now, folks. This is Roy Rogers saying to all of you, from all of us, goodbye, good luck, and may the good Lord take a liking to you. See you next week. Happy trail until we meet. Fellows and gals, post-sugar crisp, the cereal treat that's fun to eat, wants to tell you that there's a swell story about Roy and Dale in the February issue of Radio TV Magazine. Now on the newsstands. All you Roy Rogers fans will want to read this heartwarming story. The Roy Rogers show can be heard again next week at this same time with Pat Brady, Dale Evans, and the King of the Cowboys himself, Roy Rogers. An art rush production written and directed by Fran van Hardisveld with music by Milton Charles. Come and get it! Come and get it! For quick two-minute energy for work and play, how about grape nuts flakes? How about them, how about them? How about those grape nuts flakes? How about the grape nuts flakes? How about them, how about them? How about those grape nuts flakes? They are so good, good for you too. The two-minute energy works for you, so how about them, how about them? How about grape nuts flakes is one of the triple-wrapped post-serials. Guaranteed, fresh, or triple your money back. Look for grape nuts flakes, the great two-minute energy cereal, in the package with Roy Rogers and Trigger on the front. Featured in today's cast were Frank Hemingway, Herb Butterfield, Joe Kearns, Howard Culver, Gil Frye, and Gil Stratton Jr. The script was based on a story by Nate Kaplan. This is Art Ballinger speaking for Post-Sugar Chris. Stay tuned for the latest news brought to you by Log Cabin Syrup.


Today's Guru Purnima, this is the first full moon night after the semisoul starts. That is what this day is about, to commit that I will enhance my way of being. I will evolve or transform my life from what I am right now. It's time that you comment. If not for everybody's well-being, at least for your well-being, this must happen.


In Bookmap, if you want to zoom into a precisely controlled area, you can use the Zoom by Drag tool by clicking on this icon here. Now, in the viewable chart, pinpoint your area of interest and left-click Hold and drag the mouse over to the next area. Note the green vertical dotted lines that define my zooming area of interest. Once the mouse button is released, Bookmap zooms in and precisely displays that particular area within the viewable chart range. Note I remain in Zoom by Drag mode. This allows me to quickly zoom into another precise area for studying further details. If you want to zoom back out to the previous area, press Ctrl Z. If I press Ctrl Z once again, I zoom out to my original view and click on the Zoom by Drag tool to deactivate it. So far we've demoed how to precisely zoom horizontally. You can also zoom horizontally and vertically. To do so, first let's right-click in the price ladder and select Recenter None. Now let's use the Zoom by Drag tool again. Left-click Hold and now note the green dotted lines create a rectangular window to outline the area for zooming. Once I release the mouse button, I zoom into that precise area. Press Ctrl Z once to zoom back out, then once again to return to your previous recentering settings. Since most users zoom using their center mouse wheel, you can save some toolbar space by not displaying the magnifying glass tools. To do so, go to Settings, Configuration and uncheck the Show Zoom buttons.


I'm going to be speaking about a dashboard I created a while ago using Laravel, Vue and Pusher. I'm Friek van der Herten. I'm a partner and a developer at an Antwerp company called Spassie. Like many of you, I'm active on Twitter. My handle is Friek Merse and I have got a blog Merse.be where I talk about modern PHP and Laravel development. Now I do a couple of other things as well. I run the local PHP user group in Antwerp together with my buddies Dries and Frederik. If you're ever in the vicinity of our beautiful city, I want to speak at our user group. Let us know. We are looking for speakers of any level and the talks of any length. So get in touch. I also have a site project called ODEAR app, which is a SaaS that can monitor your websites to see if they're up, if they're not containing mixed content. It will send you notifications if there are broken links around. It's my first SaaS app, which I launched like a month ago. But my main gig is Spassie. That's my company. It's been around since 2003 with your eight websites, applications and web shops. Our team is quite small. We're only seven developers and one manager and we specialize in Laravel development. Now before heading into the wonderful world of dashboards itself, I want to say a few words about open source software. At our company, we create a lot of open source software and we have a big list on our company website of all the packages that we've created. We currently have 160 public repositories on GitHub. Our packages have been downloaded now for nine million times and they are being downloaded now for one million times a month, which is quite nice for a company that is small of size. And we see that creating packages has a lot of benefits for us. Of course, we learn a lot by just solving the problem the package tries to tackle. We have to write quality documentation because without documentation, nobody will know how to use our stuff. We have to write very good tests because without tests, nobody is going to trust our packages. If you take a look at the code, then I hope you'll conclude that we know our way around PHP and Laravel. And of course, we're also using those packages in our own projects. And if you're in a place in your company where you can advocate the development of open source software, I highly encourage you to do so because there are really nothing but benefits. Now, I get asked a lot how does our company manage creating and maintaining so much open source software. That's really a talk of its own, but I've blogged about that and that's that last link on the slide here. Now, all those packages, I should have mentioned that they're not entirely free. There's a special license on them called postcardware. And if any of our stuff makes it into your production environment, you are required to send us a postcard. This is our address, currently missing 9 million postcards. So get your license in order. We have a magnetic wall in our office where every postcard gets its place. Now, let's turn around in our office. This is our actual office. And what you see there on the other side of the wall is a dashboard. Let's step in a little bit closer. There we are. That's our dashboard. Now, before taking a technical dive into it, let's first discuss what's being displayed here. Now, the first tile here is a Twitter tile. It shows in real time each tweet where our company is mentioned in. Now, the next one is our calendar tile. It shows all the events that are important for our company. Each member of our team is quite passionate about music. So we want to know which music is playing in our office. And that tile displays that here. We were listening to an excellent number by Sonic Cute. This tile really needs no explanation. That's just the weather and the time. You can see that I took this screenshot on a particularly hot day in the summer. It was 27 degrees at half past 10. So that was nice. I've talked a little bit about our open source stuff. We're quite proud of that. So we display some statistics of the downloads. These numbers we fetch via the packages. I call this one the happy tile. This is the unhappy tile. So it shows how many issues and PRs are open. In the middle, there's a tile for each member of our team. And it displays the tasks of the things they should be working on. And we have here a tile that says if our sites are up, if any of our sites are down, then this tile will become yellow and we will immediately see, hey, we should take a look at this site. And that is what is being displayed at our dashboard. The dashboard itself is also completely open source. In this repo on GitHub, you'll find the actual code that's being deployed on our server. So feel free to fork it. After this talk, you'll be able to set up and customize a dashboard of your own. Okay. Let's get a little bit technical and start off with a high-level overview. So in short, the dashboard is a single HTML page. It's being displayed, full screen in a browser. And once we load that page, we will never reload it again because otherwise you see it build up. And we want our dashboard to be very, very calm. We don't want to attract much attention to it. That's why we don't reload it. So what do we do to keep it up to date? Well, we update the dashboard with the Ava skipped. And every tile has its own update frequency. So the packages tile, we update that once an hour. And the clock is being updated once a second. Which technologies did we use for this? Laravel, Pusher and Vue.js. That are the three big ones. Now, a quick show of hands who here is familiarity with Laravel uses that. Okay. Quite some people. Nice. Pusher. Not so many. A few hands. And Vue.js. All right. Also a few hands. Now, if you don't know Laravel, Pusher or Vue.js, no problem. I'm going to take it slow so you can follow. So first one, Laravel. It really needs no introduction these days anymore. I think everybody has at least heard of it. It's a PHP framework. For this project, we use the latest version, which is Laravel 5.6. And what it must do in our project is it will render that initial page. And it also will fetch data from all the APIs that the dashboard uses. So for that list of events that's being displayed, we use a Google calendar for that. So Laravel will reach out to the Google calendar API to fetch the data. For the current music that's playing in our office, we use a service called lastevm for that, which has an API where you can let iTunes or Spotify send your current track to and you have an API where you can fetch that back from. Laravel is also responsible in this project for broadcasting an event when new data arrives. And that event that's going to be picked up by the client side. Yeah, I've already said a little bit about this. So yeah, we use a few APIs to get data. I searched around for a few packages to work with the Google calendar API and with Twitter and with lastevm, but I found none. So we created a few packages of our own. And we also use the excellent KNP Labs GitHub API package to get the statistics out of GitHub. Pusher. Pusher is a service and they describe themselves as a service that provides full duplex communications channel over a single TCP connection. Now, that's a mouthful. We tend to call this web sockets, but I like to call it magic because it is so fast and it is so reliable. And we use this to transport events from the server to the browser. So Laravel will send a signal to Pusher and Pusher will send it over to the client side. It happens in real time. It's really, really fast. It does it also in a secure way because there isn't really highly sensitive information being displayed on a dashboard, but the current tasks each member of our team should be working on. We like that to be a little bit private. I should also mention that Pusher is a paid service, but they have a free tier where we can, I think, send 100,000 events a day for free. And the dashboard currently uses 4,000 events. So you're pretty good in the free tier. Sorry. Last technology, Vue.js. Vue.js is a very easy to pick up JavaScript framework. And it makes it easy to make reusable components. And in our dashboard, each tile that you see on the dashboard is its own Vue component. Now, each tile will listen for incoming events. And when it sees an event coming in that is targeted at it, it will update itself with the new information contained in the event. Now, this is the whole flow in the little schema. So we have the external services on the left here. Laravel will fetch new information. And when it has new information, it sends an HTTP request to Pusher. And Pusher will send it out to the browser via WebSockets. That's in a bird's-eye view how the dashboard is working. Now, I can talk a lot about this dashboard. But yeah, it's more fun that you get a little bit of a feel of it. And yeah, I'd like to just demonstrate some code to you. What are we going to cover? The grid system. How can we position things on the dashboard? Spoiler. It's really easy. We're going to see how the clock tile works. That's for the people that don't know Vue.js as well. It's really a crash course in Vue. Then we are going to see how the packages tile works, because we are using the APIs. Then we see the entire flow. And then we'll have a little bit of fun with the Twitter tile. So there will be some live coding. There we'll use an internet connection. Lots of things can go wrong. People said to me, don't do this. But we're going to do it. Okay. Let's do it. Moment of glory. Let's minimize key note here for a sec. And here, I hope you can see this all. Yeah. This is a local version of the dashboard. Slightly adapted that just runs on my Mac here. So you can see there's not a lot of information being displayed. We have just a clock here. Now, let's switch over to PHP Storm. Is this readable in the back? Yeah. Okay. Cool. So people that have experience with Laravel, they immediately recognize, hey, this is a structure of a Laravel application. There is only one Vue in this dashboard being used, namely the Vue that you see. And in Laravel, Vue lives in the resources folder, Vue's dashboard. And we see this. It's not much HTML here. You can see that we have some weird tags here going on. Those are the Vue components. We'll dive into that later. What I want to show you first is that every tile here has a position thing going on. E1 here for the time weather. You should think of the dashboard a little bit like an Excel spreadsheet where every row has a number and every column has a letter. So if I put this in A1, this will go into the top. Let me clear out all this garbage here first. Oh, a little bit too much. Only this should go. And this should go as well. So we have a very Spartan dashboard going on here. Let's switch to the browser. And sure enough, we have that clock here running.  The positioning system supports ranges. So if I want to make this a little bit wider, I just put the right range here. And you can see it's a little bit wider. What you can also do, of course, is if you want to have multiple clocks, maybe for some reason you want to display another clock. You can put this on the second row, another clock. Now, for a clock, this doesn't really make sense. But remember those tasks being displayed for each member of our team. That's actually the same tile with just another parameter on it. So yeah, you can see positioning things is very easy. If you want to have your dashboard have an extra row or column, just add another one here. And you have an extra row. So that's how that works. Cool? Yeah, yeah. We at Sparcy, we have one employee who is in a different time zone. And so yeah, we display his time as well on it. So that's a good use case for multiple clocks. Okay, let's restore everything here. So we're back to the original dashboard here. Okay. Oh, still that positioning thing back. Okay. Let's take a look at how that clock works. So this is the little view crash course that I'm going to give. So I've said that yeah, we have some really funny HTML tags here. Those are actual view components. View will scan the DOM and it will replace the HTML in the strange tags by the HTML that's defined into that component. So we have that time weather thing here going on. Let's take a look at that component itself. Now in Laravel, all Javascript lives in resources, assets, Javascript. And I've created a folder here called components. You can see that for each style, we have a file here. Now let's take a look at that time weather component thing. And this is a view component. So in a component, there can be three sections, namely a templating section where HTML lives. And this is the HTML that will actually be replaced or that will replace this tag here. We have a script section here where all the behavior of the component is. And we don't use it in this project, but you could also have a style section where you can put CSS that this component uses in. But for this project, we've done it in a little bit more traditional way where we have all the CSS in separate files. Now let's take a look at the HTML here. So this is what this HTML will end up in the DOM eventually. And you can see here that we have a few parameters here. We have here date and the time. And each view component has a thing in it called state. So that's the information where that's most important for rendering this component. If I go to the behavior here, then you can see here, yeah, the data function contains the initial values of that state of daytime. It's an empty string. A view component also has a created method which you can compare to a constructor in a PHP class. And what are we going to do here? We are going to call a function called refresh time. That function refresh time, what's it going to do? It's going to use a popular JavaScript library called moment to parse dates and times. And it's going to set the actual date and the actual time into that date and time state of this component. And what you should know is whenever you update the state of a component, the component will re-render itself. So as soon as I put another thing in the time variable here, the component will re-render. Now that refresh time method, we also tell to JavaScript, hey, run this function every second. So every second that time variable and that date and time variable are being updated. And that's how you get this in the HTML. That's very basic few things. I hope I've explained it a little bit correctly. Okay. Let's delve a little bit deeper and take a look at the packages component. Because that date time component is just JavaScript, there isn't anything server-related going on. Okay. Let's close some folders. And let's see how the dashboard fetches the data from packages. So if you use Laravel, then you know that every command is in the console folder here. And I've created a components folder here. And you can see that I have a subfolder here for each tile that fetches data from APIs. So I have got here a package, a packages task called fetch totals. Now again, if you use Laravel, you immediately recognize, hey, this is a command. I can run it from the terminal like this. But you can also schedule those components. I've said that the dashboard will fetch data periodically. We just use Laravel's built-in scheduler for that. And in Laravel, you can schedule commands in the so-called console kernel. And this is that kernel. And when I scroll a little bit down, you can see here that we have a schedule command. And for the fetch packages total, you can see here that Laravel will just execute this every hour. And that's how we automatically fetch a new data. Now, let's go to the packages task itself. What do we do here? Yeah, we spin up a new instance of our packages API.  And we are going to sum it up. And the most important bit is that the total daily downloads, monthly downloads, and total downloads, they will be returned as an array in this total's variable. So here we have an array with these keys in it. How are we going to transport it to push it? Well, Laravel has a built-in system for that as well. You can say in Laravel, hey, fire off this event and broadcast it to the broadcasting service that's being configured. Now, that broadcasting service for this project is push it. Let's see how we can fire off an event to push it. So it's very easy. We have a helper function called event. And we have a class here, total's fetched, which represents that event. And we pass it to total's variable. If I open up that event here, you can see here that's a simple class. And what we do here in the constructor is we get that array. And then we set every key in that array to a public property on that class. Why do we do that? Because in Laravel, if you are going to broadcast an event, then the data being broadcasted, that are the public properties. So Laravel will just see, hey, these are the public properties of the event class. I'm going to broadcast that. That's why we put the public properties here. Now, if I delve a little bit deeper here, you can see here that the total's fetched class extends the dashboard event class. And if I open up that, then you can see here that this class implements an interface called should broadcast. And should broadcast, that's the hint that you give to Laravel, hey, this event should really be broadcasted. It also has a single method called broadcast on. And we use a private channel called dashboard. Now, pusher, you can use different channels to push things to pusher. It's a little bit like a radio. I transmit something on this channel. And only the ones listening on that channel will receive it. We're using one single channel in this project called dashboard. Okay. Before heading over to the client side to see how we capture that event, let's just see that it's actually working this part. Okay. So if I go to Chrome again, you can see here that we have zeros here all around. I have also here opened a second tab on the pusher service. Let me clear this out. This is the debug console of pusher. It shows everything that pusher receives from our Laravel application and what information is being pushed. Okay. I'm in the wrong directory here. It should be dashboard demo. Sorry about that.  Let's run it. I should explain this. I have a command A here and that's just alias to PHP artisan so that I don't have to type that the whole time. So A dashboard fetch packages totals. And with any luck, we should see some numbers popping here up. And yeah, this is the live count of our packages starts. So it has worked. And if I go to pusher here, you can see here that there was an event on the private dashboard channel and the event was totals fetched and this data was being transferred. Now that starts thing, yeah, that sucks a little bit. That's from a previous version. I should clean that up. So don't mind that. But you see that the public properties of that event are being transmitted. Okay. Let's take a look at the client side at how we catch the event. So that's back into the resources folder, assets, JavaScript components. And we have a packages component here. It's a view component. So it also has that HTML section and it has that behavior section, a little bit of JavaScript going on here. You can see here that we have that daily monthly total thing here going on. And if I go here into the behavior of it, there are a few methods in it. And one is get event handlers. And one of the event handlers here is packages totals fetched. So this function will be executed whenever we see this event coming in. And that function gets a response. And what are we going to do? We are going to take off the daily, monthly and total variables of the response and we'll put it into the internal state of the component. And remember, whenever we update the internal state of the component, the component will re-render itself. And that's why you see these numbers coming in. Okay. Let's delve a little bit deeper into that get event handlers function. How does it work? And this, if you don't know your way around JavaScript very well, it might prove a little bit tricky. But if you don't understand the things, that's no problem at all. We won't build further up on it. So how does this work? I should first say that there is a special key on this few component called mixins. And a mixin is very comparable to a trait in PHP. You put a few functions in there that you want to have multiple classes or in this case components use. So in the echo mixin, everything with pusher handling is being defined. Now why is it called echo? Because under the hood it uses another framework called Laravel echo, which is a framework to easily handle web socket connections. Let's take a look at that echo mixin. So this is the contents of that mixin. And you can see that it only has that created method here. So this created method, it's being applied to the packages component. And what does it do? So whenever this component is created, we will execute the function getEvent handlers, which is this function. And what will it do? It will register what's being returned from getEvent handlers with the echo instance on the root application. So here we use Laravel echo itself. And here you can see we listen to the private channel. And whenever an event name comes in, which is this part, we are going to give the response to the handler and execute that. So this function will be executed. So that's what we do here. So when the component is created, we are just registering everything, this method returns with Laravel echo. So that's a little bit deep. If you have some questions about this, just hit me up after the talk. And I'll explain it to you a little bit more. But that's how we handle things coming in from the webhooks. Okay, let's do one more thing. Let's have a little bit of fun with a Twitter tile. So actually let's do one other thing first. Now that I'm in the packages component, I've said that all data is coming in via WebSockets. So what do you think would happen if I just refresh the dashboard? It will have no contents, right? Because there are no events coming in. But if I refresh here, you can see these numbers stay. And how is that working? Because every time an event comes in and we change the state of it, we are going to write a copy of the state to local storage. And whenever we reload the dashboard, we are just reading the local storage to set up the internal state of the component. So if I go to the application here, the local storage one, you can see here the packages here are the numbers that are in there. If I remove that, then we have no numbers anymore. How does that work internally? It's also a mix-in. Because remember I've said mix-in is a little bit like a trait. So we use this mix-in for every component that we want to let it save its state. And I'm not going to go fully in this, but in view, you can define a watcher, which is a function that will be executed whenever a certain key in our state is changed. And here we say, yeah, just call this whenever the state changes. We are going to call save state. And let me close this up. Save state is here a function that just gets our internal state and saves it to the local storage. And this mix-in also will add a function at the created level. So whenever the component is created, we are going to call load state. And we're just going to get the save state and set it into the internal data of the component itself. So that's how that's working. If you want to have save state behavior to your view components, I'm happy to say that we've extracted that mix-in to its own package. So you can use it in your own projects. The package is called view save state. So that's how that works. Okay, let's have a little bit of fun with the Twitter component here. So the Twitter component is a little bit special one. It leverages the Twitter streaming APIs. So Twitter exposes a few real-time APIs where you can listen for every event that's happening on Twitter. You can really crash your machine with this if you listen for popular subjects then you get like a million events coming in your computer or your process at least will just crash. Now handling the Twitter real-time streams is a little bit nasty in PHP. That's why I created the package above it to make it easier to work with. And here you can see that we are using the Twitter streaming API. We're going to listen to the public stream which are all events. And when we hear one of those keywords here, we are going to send an event called mentioned with the properties of that of that tweet. And remember when we fire off that event and that whole dance with pusher will start over again. The information will be broadcast to pusher, the dashboard tile will listen for it and will display it. Now normally we use our company name here to listen for it. But I think it might be fun if we just do PHP UK conference here. And I hope that some of you are subscribed to Twitter and can send a few tweets so we can test this. This is the handle of the conference, right? PHP UK conference. And let's open the floodgates. So I'm going to start listening for things here. And now I await your tweets and I hope this will work. And yeah, I think so too. So you can have your moment of glory now on the dashboard. Very good, Martin. And yeah, those trying it out, they will see that it's really instant. Probably your tweet will be faster on our dashboard than the application on your smartphone will confirm that it is there. So yeah, that's how that works. And you can see it's really not that hard to do. Cool. I'm on the dashboard. Yeah. Maybe I should leave this open for a little bit. Well, I've done that at a few conferences and then it got a little bit nasty. So then I had to cheat it down. Okay. That's everything I had technical to say about the dashboard. Let's go back to the presentation. So I'm quite happy that that worked a little bit. Now, one thing that I want to touch upon is how we are displaying this on a TV set in our office. Well, behind our TV screen, there lives a little Raspberry Pi, and it's quite cool, because it is powered by the USB port of the TV itself. So you don't need any extra power cord for that. The Raspberry Pi is a Raspberry Pi 2. It uses Raspbian Jesse, which is the default operating system. And when it boots up, it will just show you Chromium 56, and it will go into full screen mode. Now, this is a very exciting part of the presentation for me. I have here a clone of our dashboard on this Raspberry Pi. This Raspberry Pi gets its Internet connection from my Mac. We will hopefully see the output soon on the TV screen. And it also will get its power from my Mac. So if I put it in, it should boot up and just show you the dashboard after it has booted up. So I hope we can switch to our little Raspberry Pi, okay, here it is, booting up. That's the boot sequence. Fingers crossed here. Everything is good here. So it will power up its graphical user interface. And you'll see that Chromium will display once, and you'll see it having a nasty restore tabs dialog. I don't know how to remove it. So I just quit Chromium again and booted up again. So that's how I do it. So it's gone now, and now we do it again. Ah, damn, and it didn't work. It still is there. Sometimes it does that. But hopefully the dashboard will at least come on. Yeah, that's the dashboard. That's the actual dashboard now. So if you treat something too sparsely, it will come there. So that's that. Okay, let's power that down again. And we're back at the slides, hopefully. Okay, cool. So you can try out this dashboard yourself. I have already mentioned that the source code is publicly available on GitHub. I've also written quite an extensive blog post about this, where I say mostly the same things that I've said during this talk, but I explained a few other components. Now, I've been babbling about this dashboard the whole time, so you might think, hey, this guy really knows this stuff. But the truth is that like most things that we do in our company, it was teamwork. And the other team members involved in this project were my colleague Wilm, who is responsible for the great looks of the dashboard. He designed the looks.  Here are a few more packages that are of interest. I've demonstrated these dashboards with Pusher, but you can actually use a local node server on your machine, if you don't like using a service like Pusher. And the Laravel Echo server package, it will just mimic Pusher on your server, so you don't need to install Pusher. And it works really, really great. And I've touched upon our view safe state thing to easily save state from your view components. So that's all I had to say about this dashboard. I really want to improve this talk a little bit, so please, please give me feedback, good or bad on joint in. I've also uploaded the slides there. It's the wrong URL, but I'll tweet out the right URL later. Also, take a look at our company website. Probably we have made something, a package that can be used for use of you in the next project. Yeah, take a look at my blog if you want to stay current with PHP, and try out, oh dear, if you need a monitoring solution. That's it. Thank you.


Book the last Chapter 3 Part 4 of Armadale. She looked at him, deceived by the last man on earth whom she would have suspected of deception, the man whom she had deceived herself. You seem to be over-excited, she said quietly. The night has been too much for you. Go upstairs and rest. You will find the door of one of the rooms left open. That is the room you are to occupy. Good night. She put the candle which she had left burning for him on the table, and gave him her hand. He held her back by it desperately as she turned to leave him. His horror of what might happen when she was left by herself forced the words to his lips which he would have feared to speak to her at any other time.  She released her hand and signed to him to take the candle. You shall see me to-morrow, she said, not a word more now. Her stronger will conquered him at the last moment, as it had conquered him throughout. He took the candle and waited, following her eagerly with his eyes as she descended the stairs. The cold of the December night seemed to have found its way to her through the warmth of the house. She had put on a long, heavy black shawl, and had fastened it close over her breast. The plaited coronet in which she wore her hair seemed to have weighed too heavily on her head. She had untwisted it and thrown it back over her shoulders. The old man looked at her flowing hair as it lay red over the black shawl, at her supple long-fingered hand as it slid down the banisters. The smooth seductive grace of every movement that took her further and further away from him. The night will go quickly, he said to himself, as she passed from his view, I shall dream of her till morning comes. She secured the staircase door after she had passed through it, listened and satisfied herself that nothing was stirring, then went on slowly along the corridor to the window. Leaning on the window sill she looked out at the night. The clouds were over the moon at that moment. Nothing was to be seen through the darkness but the scattered gaslights in the suburb. Turning from the window she looked at the clock. It was twenty minutes past one. For the last time the resolution that had come to her or in the earlier night with the knowledge that her husband was in the house forced itself uppermost in her mind. For the last time the voice within her said, Think if there is no other way. She pondered over it till the minute hand of the clock pointed to the half hour. No, she said, still thinking of her husband. The one chance left is to go through with it to the end. He will leave the thing undone which he has come here to do. He will leave the words unspoken which he has come here to say. When he knows that the act may make me a public scandal and the words may send me to the scaffold. Her color rose and she smiled with terrible irony as she looked up for the first time at the door of the room. I shall be your widow, she said, in half an hour. She opened the case of the apparatus and took the purple flask in her hand. After marking the time by a glance at the clock she dropped into the glass funnel the first of six separate pourings that were measured for her by the paper slips. When she had put the flask back she listened at the mouth of the funnel. Not a sound reached her ear. The deadly process did its work in the silence of death itself. When she rose and looked up the moon was shining in at the window and the moaning wind was quiet. Oh, the time! The time! If it could only have begun and ended with the first pouring. She went downstairs into the hall. She walked to and fro and listened at the open door that led to the kitchen stairs. She came up again. She went down again. The first of the intervals of five minutes was endless. The time stood still. The suspense was maddening. The interval passed. As she took the flask for the second time and dropped in the second pouring the clouds floated over the moon and the night view through the window slowly darkened. The restlessness that had driven her up and down the stairs and backward and forward in the hall left her as suddenly as it had come. She waded through the second interval, leaning on the windowsill and staring, without conscious thought of any kind into the black night. The howling of a belated dog was born toward her on the wind at intervals from some distant part of the suburb. She found herself following the faint sound as it died away into silence with a dull attention and listening for its coming again with an expectation that was duller still. Her arms lay like lead on the windowsill. Her forehead rested against the glass without feeling the cold. It was not till the moon struggled out again that she was startled into sudden self-remembrance. She turned quickly and looked at the clock. Seven minutes had passed since the second pouring. As she snatched up the flask and fed the funnel for the third time the full consciousness of her position came back to her. The fever heat throbbed again in her blood and flushed fiercely in her cheeks. Swift, smooth, and noiseless she paced from end to end of the corridor with her arms folded in her shawl and her eye moment after moment on the clock. Three out of the next five minutes passed and again the suspense began to madden her. The space in the corridor grew too confined for the inimitable restlessness that possessed her limbs. She went down into the hall again and circled round and round it like a wild creature in a cage. At the third turn she felt something moving softly against her dress. The house cat had come up through the open kitchen door, a large, tawny, companionable cat that purred in high good temper and followed her for company. She took the animal up in her arms. It rubbed its sleek head luxuriously against her chin as she bent her face over it. Armadale hates cats, she whispered in the creature's ear. Come up and see Armadale killed. The next moment her own frightful fancy horrified her. She dropped the cat with a shutter. She drove it below again with threatening hands. For a moment after she stood still, then in headlong haste suddenly mounted the stairs. Her husband had forced his way back again into her thoughts. Her husband threatened her with a danger which had never entered her mind till now. What if he were not asleep? What if he came out upon her and found her with a purple flask in her hand? She stole to the door of number three and listened. The slow, regular breathing of a sleeping man was just audible. After waiting a moment to let the feeling of relief quiet her, she took a step toward number four and checked herself. It was needless to listen at that door. The doctor had told her that sleep came first as certainly is death afterward in the poisoned air. She looked aside at the clock. The time had come for the fourth pouring. Her hand began to tremble violently as she fed the funnel for the fourth time. The fear of her husband was back again in her heart. What if some noise disturbed him before the sixth pouring? What if he awoke on a sudden, as she had often seen him wake? Without any noise at all. She looked up and down the corridor. The end room in which Mr. Bashwood had been concealed offered itself to her as a place of refuge. I might go in there, she thought. Has he left the key? She opened the door to look and saw the handkerchief thrown down on the floor. Was it Mr. Bashwood's handkerchief left there by accident? She examined it at the corners. In the second corner she found her husband's name. Her first impulse hurried her to the staircase to rouse the steward and insist on an explanation. The next moment she remembered the purple flask and the danger of leaving the corridor. She turned and looked at the door of number three. Her husband, on the evidence of the handkerchief, had unquestionably been out of his room, and Mr. Bashwood had not told her. Was he in his room now? In the violence of her agitation, as the question passed through her mind, she forgot the discovery which she had herself made not a minute before. Again she listened at the door. Again she heard the slow, regular breathing of the sleeping man. The first time the evidence of her ears had been enough to quiet her. This time, in the tenfold aggravation of her suspicion and her alarm, she was determined to have the evidence of her eyes as well. All the doors opened softly in this house, she said to herself. There's no fear of my waking him. Noiselessly, by an inch at a time she opened the unlocked door and looked in the moment the aperture was wide enough. In the little light she had let into the room the sleeper's head was just visible on the pillow. Was it quite as dark against the white pillow as her husband's head looked when he was in bed? Was the breathing as light as her husband's breathing when he was asleep? She opened the door more widely and looked in by the clearer light. There lay the man whose life she had attempted for the third time, peacefully sleeping in the room that had been given to her husband and in the air that could harm nobody. The inevitable conclusion overwhelmed her on the instant. With a frantic upward action of her hands she staggered back into the passage. The door of Alan's room fell too, but not noiselessly enough to wake him. She turned as she heard it close. For one moment she stood staring at it like a woman stupefied. The next, her instinct rushed into action before her reason recovered itself. In two steps she was at the door of number four. The door was locked. She felt over the wall with both hands wildly and clumsily for the button which she had seen the doctor press when he was showing the room to the visitors. Twice she missed it. The third time her eyes helped her hands. She found the button and pressed on it. The mortise of the lock inside fell back and the door yielded to her. Without an instant's hesitation she entered the room. Though the door was open, though so short a time had elapsed since the fourth pouring, that but little more than half the contemplated volume of gas had been produced as yet, the poisoned air seized her, like the grasp of a hand at her throat, like the twisting of a wire around her head. She found him on the floor at the foot of the bed. His head and one arm were toward the door as if he had risen under the first feeling of drowsiness and had sunk in the effort to leave the room. With the desperate concentration of strength of which women are capable in emergencies, she lifted him and dragged him out into the corridor.  After closing the door she waited, without daring to look at him the while, for strength enough to rise and get to the window over the stairs. When the window was opened, when the keen air of the early winter morning blew steadily in, she ventured back to him and raised his head and looked for the first time closely at his face.  She loosened his cravat and opened his waistcoat and bared his throat and breast to the air, with her hand on his heart, with her bosom supporting his head, so that he fronted the window she waited the event. A time passed, a short time enough to be reckoned by minutes on the clock, and yet long enough to take her memory back over all her married life with him, long enough to mature the resolution that now rose in her mind as the one result that would come of the retrospect.  She bore the look of a woman who was equally resigned to welcome the chance of his recovery or to accept the certainty of his death. Not a cry or a tear had escaped her yet. Not a cry or a tear escaped her when the interval had passed, and she felt the first faint fluttering of his heart and she heard the first faint catching of the breath of his lips. She silently bent over him and kissed his forehead. When she looked up again, the hard despair had melted from her face. There was something softly radiant in her eyes which led her whole countenance as with an inner light and made her womanly and lovely once more. She laid him down and, taking off her shawl, made a pillow of it to support his head. It might have been hard, love, she said, as she felt the faint pulsation strengthening in his heart. You have made it easy now. She rose and, turning from him, noticed the purple flask in the place where she had left it since the fourth pouring. Ah, she thought quietly, I had forgotten my best friend. I had forgotten that there is more to pour in yet. With a steady hand, with a calm, attentive face, she fed the funnel for the fifth time. Five minutes more, she said, when she had put the flask back after a look at the clock. She fell into thought, thought that only deepened the grave and gentle composure of her face. Shall I write him a farewell word, she asked herself? Shall I tell him the truth before I leave him forever? Her little gold pencil case hung with the other toys at her watch chain. After looking about her for a moment, she knelt over her husband and put her hand into the breast pocket of his coat. His pocket book was there. Some papers fell from it as she unfastened the clasp. One of them was the letter which had come to him from Mr. Brock's deathbed. She turned over the two sheets of note paper on which the rector had written the words that had now come true, and found the last page of the last sheet a blank. On that page she wrote her farewell words, kneeling at her husband's side. I am worse than the worst you can think of me. You have saved Armadale by changing rooms with him tonight, and you have saved him from me. You can guess now whose widow I should have claimed to be if you had not preserved his life, and you will know what a wretch you married when you married the woman who writes these lines. Still, I had some innocent moments, and then I loved you dearly. Forget me, my darling, in the love of a better woman than I am. I might perhaps have been that better woman myself if I had not lived a miserable life before you met with me. It matters little now. The one atonement I can make for all the wrong I have done you is the atonement of my death. It is not hard for me to die. Now I know you will live. Even my wickedness has won merit. It has not prospered. I have never been a happy woman. She folded the letter again and put it into his hand to attract his attention in that way when he came to himself. As she gently closed his fingers on the paper and looked up, the last minute of the last interval phased her, recorded on the clock. She bent over him and gave him her farewell kiss. Live, my angel, live, she murmured tenderly, with her lips just touching his. All your life is before you, a happy life and an honored life if you are free from me. With the last lingering tenderness she parted the hair back from his forehead. It is no merit to have loved you, she said. You are one of the men whom women all like. She sighed and left him. It was her last weakness. She bent her head affirmatively to the clock, as if it had been a living creature speaking to her, and fed the funnel for the last time, to the last drop left in the flask. The waning moon shone in faintly at the window. With her hand on the door of the room she turned and looked at the light that was slowly fading out of the murky sky. Oh, God, forgive me, she said. Oh, Christ, bear witness that I have suffered. One moment more she lingered on the threshold, lingered for her last look in this world, and turned that look on him. Goodbye, she said softly. The door of the room opened and closed on her. There was an interval of silence. Then a sound came, dull and sudden, like the sound of a fall. Then there was silence again. The hands of the clock, following their steady course, reckoned the minutes of the morning as one by one they lapsed away. It was the tenth minute since the door of the room had opened and closed before midwinter stirred on his pillow, and struggling to raise himself felt the letter in his hand. At the same moment a key was turned in the staircase door, and the doctor, looking expectantly toward the fatal room, saw the purple flask on the windowsill and the prostrate man trying to raise himself from the floor. End of Book The Last, Chapter 3. Epilogue, Chapter 1 of Armadale. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Keep Recording by Michael Anthony Petronic. One News from Norfolk. From Mr. Pedgif Sr. Thorpe Ambrose to Mr. Pedgif Jr. Paris. High Street, December 20th. My dear Augustus, your letter reached me yesterday. You seem to be meeting the most of your youth, as you call it, with a vengeance. Well, enjoy your holiday. I made the most of my youth when I was your age, and wonderful to relate. I haven't forgotten it yet. You asked me for a good budget of news, and especially for more information about that mysterious business at the Sanitarium. Curiosity, my boy, is a quality which, in our profession especially, sometimes leads to great results. I doubt, however, if you will find it leading to much on this occasion. All I know of the mystery of the Sanitarium I know from Mr. Armadale, and he is entirely in the dark on more than one point of importance. I have already told you how they were entrapped into the house, and how they passed the night there. To this I can now add that something did certainly happen to Mr. Midwinter, which deprived him of consciousness, and that the doctor, who appears to have been mixed up in the matter, carried things with a high hand and insisted on taking his own course in his own Sanitarium. There is not the least doubt that the miserable woman, however she might have come by her death, was found dead, that a coroner's inquest inquired into the circumstances, that evidence showed her to have entered the house as a patient, and that the medical investigation ended in discovering she had died of apoplexy. My idea is that Mr. Midwinter had a motive of his own for not coming forward with the evidence that he might have given. I have also reasoned to suspect that Mr. Armadale, out of regard for him, followed his lead and that the verdict at the inquest, attaching no blame to anybody, proceeded, like many other verdicts of the same kind, from an entirely superficial investigation of the circumstances. The key to the whole mystery is to be found, I firmly believe, in that wretched woman's attempt to personate the character of Mr. Armadale's widow when the news of his death appeared in the papers. But what first set her on this, and by what inconceivable process of deception, she can have induced Mr. Midwinter to marry her, as the certificate proves, under Mr. Armadale's name, is more than Mr. Armadale himself knows. The point was not touched at the inquest, for the simple reason that the inquest only concerned itself with the circumstances attending her death. Mr. Armadale, at his friend's request, saw Miss Blanchard and induced her to silence Old Dark on the subject of the claim that had been made relating to the widow's income. As the claim had never been admitted, even our stiff-necked brother practitioner consented for once to do as he was asked. The doctor's statement that his patient was the widow of a gentleman named Armadale was accordingly left unchallenged, and so the matter has been hushed up. She is buried in the Great Cemetery in either place where she died. Nobody but Mr. Midwinter and Mr. Armadale, who insisted on going with him, followed her to the grave, and nothing has been inscribed on the tombstone, but the initial letter of her Christian name and the date of her death. So after all the harm she has done, she rests at last, and so the two men whom she has injured have forgiven her. Is there more to say on this subject before we leave it? I'm referring to your letter. I find you have raised one other point, which may be worth a moment's notice. You ask if there is reason to suppose that the doctor comes out of the matter with hands which are really as clean as they look. My dear Augustus, I believe the doctor who have been at the bottom of more of this mischief than we shall ever find out, and to have profited by the self-imposed silence of Mr. Midwinter and Mr. Armadale, as rogues perpetually profit by the misfortunes and necessities of honest men. It is an ascertained fact that he connived the false statement about Miss Milroy, which entrapped the two gentlemen into his house, and that one circumstance, after my old, brilliant experience, is enough for me. As to evidence against him, there is not a jot. And as to retribution overtaking him, I can only say I hardly hope retribution may prove in the long run to be the more cunning customer of the two. There is not much prospect of it at present. The doctor's friends and admirers are, I understand, about to present him with a testimonial, expressive of their sympathy under the sad occurrence, which has thrown a cloud over the opening of his sanitarium, and of their undiminished confidence in his integrity and ability as a medical man. We live, Augustus, in an age eminently favorable to the growth of all roguery, which is careful enough to keep up appearances. In this enlightened 19th century, I look upon the doctor as one of our rising men. To turn now to pleasanter subjects than sanitariums, I may tell you that Miss Neely is as good as well again, and is, in my humble opinion, prettier than ever. She is staying in London under the care of a female relative, and Mr. Armadale satisfies her of the fact of his existence in case she should forget it, regularly every day. They are to be married in the spring, unless Miss Milroy's death causes a ceremony to be postponed. The medical men are of opinion that the poor lady is singing at last. It may be a question of weeks or a question of months. They can say no more. She is greatly altered, quiet and gentle, and anxiously affectionate with her husband and her child. But in her case, this happy change is, it seems, a sign of approaching disillusion from the medical point of view. There is a difficulty in making the poor old major understand this. He only sees that she has gone back to the likeness of her brother self when he first married her, and he sits for hours by her bedside now and tells her about his wonderful clock. Mr. Midwinter, of whom you will next expect me to say something, is improving rapidly. After causing some anxiety at first to the medical men, who declared that he was suffering from a serious nervous shock, produced by circumstances about which their patient's obstinate silence kept them quite in the dark, he has rallied as only men of sensitive temperament to quote the doctors again, can rally. He and Mr. Armadil are together in a quiet lodging. I saw him last week when I was in London. His face showed signs of wear and tear, very sad to see, and so young a man. But he spoke of himself and his future with a courage and hopefulness, which men of twice his years, if he has suffered as I suspect him to have suffered, might have envied. If I know anything about humanity, this is no common man, and we shall hear of him yet in no common way. You will wonder how I came to be in London. I went up with a return ticket from Saturday to Monday, above that matter in dispute at our agents. We had a tough fight, but curiously enough, a point occurred to me just as I got up to go. And I went back to my chair and settled the question in no time. Of course, I stayed at our hotel in Covent Garden. William, the waiter, asked after you with an affection of a father, and Matilda, the chambermaid, said you almost persuaded her that last time to have that hollow tooth taken out of her lower jaw. I had the agent's second son, the younger chap you nicknamed Mustafa, when he made that dreadful mess about the Turkish securities to dine with me on Sunday. A little incident happened in the evening which may be worth recording as it connected itself with a certain old lady who was not at home when you and Mr. Armadale blundered on that house in Pimlet Coal in the bygone time. Mustafa was like all the rest of young men of the present day. He got restless after dinner. Let's go to a public amusement, Mr. Pedgift says he, public amusement, it's Sunday evening, says I. All right, sir, says Mustafa. They stop acting on stage. I grant you on Sunday evening, but they don't stop acting in the pulpit. Come and see the latest new Sunday performer of our time. As he wouldn't have any more wine, there was nothing else left but to go. We went to a street at the West End and found it blocked up with carriages. If it hadn't been Sunday night, I should have thought we were going to the opera. What did I tell you, says Mustafa, taking me up to an open door with a gas star outside and a bill of the performance. I had just time to notice that I was going to one of a series of Sunday evening discourses on the poms and vanities of the world by a sinner who has served them. When Mustafa jogged my elbow and whispered, half a crown is a fashionable tip. I found myself between two demirer and silent gentleman with plates in their hands, uncommonly well filled already with the fashionable tip. Mustafa patronized one plate and I the other. We passed through two doors into a long room, crammed with people, and there, on a platform at the further end, holding forth to the audience was not a man, as I had expected, but a woman, and that woman, mother older Shah. You never listened to anything more eloquent in your life. As long as I heard her, she was never once at a loss for a word anywhere. I shall think less of oratory as a human accomplishment for the rest of my days after that Sunday evening. As for the matter of the sermon, I may describe it as a narrative of Mrs. Older Shah's experience among dilapidated women, profusely illustrated in the pious and penitential style. You will ask what sort of audience it was, principally women, Augustus, and as I hope to be saved all the old heritons of the world of fashion whom Mother Older Shah had enameled her in her time, sitting boldly in the front places, with her cheeks ruddled with paint in a state of devout enjoyment, wonderful to see. I left Mustafa to hear the end of it, and I thought to myself, as I went out, of what Shakespeare says somewhere, Lord, what fools we mortals be. Have I anything more to tell you before I leave off? Only one thing that I can remember, that wretched old Bashwood has confirmed the fears I told you I had about him when he was brought back here from London. There is no kind of doubt that he has really lost all the little reason he ever had. He is perfectly harmless and perfectly happy, and he would do very well if we could only prevent him from going out in his latest new suit of clothes, smirking and smiling and inviting everybody to his approaching marriage with the handsomest of women in England. It ends, of course, in the boys pelting him, and in his coming over here, crying to be covered with mud. The moment his clothes are cleaned again, he falls back into his favorite delusion and struts about before the church gates in the character of a bridegroom waiting for Miss Guilt. We must get the poor wretch taking care of somewhere for the rest of the little time he has to live. Who would ever have thought of a man at his age falling in love? And who would ever have believed that the mischief that woman's beauty has done could have reached as far in the downward direction as our super-annudated old clerk? Goodbye for the present, my dear boy. If you see a particularly handsome snuff box in Paris, remember, though your father's scorned testimonials, he doesn't object to receive a present from his son. Yours affectionately, a pet gift senior. Post script. I think it likely that the account you mentioned in the French papers of a fatal quarrel among some foreign sailors in one of the La Prairie Islands and of the death of their captain, among others, may really have been a quarrel among the scoundrels who robbed Mr. Armadale and scuttled his yacht. Those fellows, luckily for society, can't always keep up appearances, and in their case, rogues and retribution do occasionally come into collision with each other. End of Epilogue, Chapter One. Recording by Michael Anthony Petronic, www.voiceoftemptation.biz. Epilogue, Chapter Two of Armadale. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Bridget. Armadale by Wilkie Collins. Epilogue, Chapter Two, Midwinter. The spring had advanced to the end of April. It was the eve of Ellen's wedding day. Midwinter and he had sat talking together at the great house till far into the night, till so far that it had struck twelve long since, and the wedding day was already some hours old. For the most part the conversation had turned on the bridegroom's plans and projects. It was not till the two friends rose to go to rest that Ellen insisted on making Midwinter speak of himself. We have had enough and more than enough of my future, he began, in his bluntly straightforward way. Let's say something now, Midwinter, about yours.  But this is the last chance we have of being together in our old way, and I own I should like to know. His voice faltered and his eyes moistened a little. He left the sentence unfinished. Midwinter took his hand and helped him, as he had often helped him to the words that he wanted in the bygone time. You would like to know, Ellen, he said, that I shall not bring an aching heart with me to your wedding-day. If you will let me go back for a moment to the past, I think I can satisfy you. They took their chairs again. Ellen saw that Midwinter was moved. Why distress yourself, he asked kindly. Why go back to the past? For two reasons, Ellen. I ought to have thanked you long since for the silence you have observed, for my sake, on a matter that must have seemed very strange to you. You know what the name is which appears on the register of my marriage, and yet you have foreborn to speak of it, from the fear of distressing me. Before you enter on your new life, let us come to a first and last understanding about this. I ask you, as one more kindness to me, to accept my assurance, strange as a thing may seem to you, that I am blameless in this matter, and I entreat you to believe that the reasons I have for leaving it unexplained are reasons which, if Mr. Brock was living, Mr. Brock himself would approve. In those words he kept the secret of the two names, and left the memory of Ellen's mother, what he had found it, a sacred memory in the heart of her son. One word more, he went on, a word which will take us this time, from past to future. It has been said, and truly said, that out of evil may come good. Out of the horror and the misery of that night you know of has come the silencing of a doubt, which once made my life miserable, with groundless anxiety about you and about myself. No clouds raised by my superstition will ever come between us again. I can't honestly tell you that I am more willing now than I was when we were in the Isle of Man to take what is called the rational view of your dream. Though I know what extraordinary coincidences are perpetually happening in the experience of all of us, still I cannot accept coincidences as explaining the fulfillment of the visions which our own eyes have seen. All I can sincerely say for myself is what I think it will satisfy you to know, that I have learned to view the purpose of the dream with a new mind. I once believed that it was sent to rouse your distrust of the friendless man whom you had taken as a brother to your heart. I now know that it came to you as a timely warning to take him closer still. Does this help to satisfy you that I too am standing hopefully on the brink of a new life and that while we live, brother, your love and mine will never be divided again? They shook hands in silence. Ellen was the first to recover himself. He answered in the few words of kindly assurance which were the best words that he could address to his friend. I have heard all I ever want to hear about the past, he said, and I know what I most wanted to know about the future. Everybody says, Midwinter, you have a career before you and I believe that everybody is right. Who knows what great things may happen before you and I are many years older? Who need to know, said Midwinter calmly, happen what may, God is all merciful, God is all wise, and those words your dear old friend once wrote to me and that faith I can look back without murmuring at the years that are past and can look on without doubting to the years that are to come. He rose and walked to the window. While they had been speaking together, the darkness had passed. The first flight of the new day met him as he looked out and rested tenderly on his face. End of chapter two. Appendix to Armadale. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Martin Geeson. Armadale by Wilkie Collins. Appendix. Note, my readers will perceive that I have purposely left them with reference to the dream in this story in the position which they would occupy in the case of a dream in real life. They are free to interpret it by the natural or the supernatural theory as the bent of their own minds may incline them. Persons disposed to take the rational view may under these circumstances be interested in hearing of a coincidence relating to the present story which actually happened and which in the matter of extravagant improbability sets anything of the same kind that a novelist could imagine had flat defiance. In November, 1865, that is to say when 13 monthly parts of Armadale had been published and I may add when more than a year and a half had elapsed since the end of my story, as it now appears, was first sketched in my notebook, a vessel lay in the huskies and dock at Liverpool which was looked after by one man who slept on board in the capacity of shipkeeper. On a certain day in the week, this man was found dead in the deck house. On the next day, a second man who had taken his place was carried dying to the northern hospital. On the third day, a third shipkeeper was appointed and was found dead in the deck house which had already proved fatal to the other two. The name of that ship was the Armadale and the proceedings at the inquest proved that the three men had been all suffocated by sleeping in poisoned air. I'm indebted for these particulars to the kindness of the reporters at Liverpool who sent me their statement of the facts. The case found its way into most of the newspapers. It was noticed to give two instances in which I can cite the dates in the times of November the 30th, 1865 and was more fully described in the daily news of November the 28th in the same year. Before taking leave of Armadale, I may perhaps be allowed to mention for the benefit of any readers who may be curious on such points that the Norfolk Broads are here described after personal investigation of them. In this, as in other cases, I have spared no pains to instruct myself on matters of fact. Wherever the story touches on questions connected with law, medicine or chemistry, it has been submitted before publication to the experience of professional men. The kindness of a friend supplied me with a plan of the doctor's apparatus and I saw the chemical ingredients at work before I ventured on describing the action of them in the closing scenes of this book. End of appendix. End of Armadale by Wilkie Collins. Recording by Martin Geeson in Hazelmeyer Surrey.


headline News Update. Good afternoon folks. This is Steve Rhodes coming to your live from the shores of very sunny Delray Beach, Florida. This is your 2 p.m. update. Clearly got all the U.S. indices trading lower the Dow's down 197 points. The S&P's off 34. The Nasdaq 101 and 210th percent. That's 195 points. Russell's off 31. Summice down 95. Trendy's off 74 out here. Spot politics is above its 50 day exponential moving average of 50 days at 1775 or thereabouts. It's traded 1866. It's always a bearish directional signal for the S&P 500. You got gold up $16 silver's up 34 cents like to recruit back to 59. Let's go spend a little time with those indices charts out here as we do during this segment. As soon as I get that popular on the screen, the upper left hand corner is going to be the Dow. We can see here you've got a valid TD 9 count top price right now is testing its green oscillator and change line. It's actually below that level. That level is 36177 and a close below that could suggest a price target of 35545. We'd really have to go back to the Dow equity future contract profiles to see where its level of support is. That becomes a price target in the cash indices. The S&P 500 has a TD 9 count top as long as price closed below 4662 today. That's a green oscillator change line. That suggests lower price. Same thing. Same playbook. We go back to the S-mini to see what its price target. Let me, I can do this on a separate screen. The separate target for the S-mini out here would be 4635. If price closed below 4635 on the S-mini, then it says the S&P 500 should go target 4551. Inside the Dow, the target is 35759. If price closed below that, then we are looking at about the Dow itself, the cash indices going to 35545 level. The NDX 100 out here, it is below its oscillator and change line. That would suggest that if price is going to go target in the NQ, about the 15677, 15763, 15578 happens to be the TD 9 breakout level for the NDX 100. Russell 2000 right now is testing or is getting close to testing this green oscillator and change line. A close below that would suggest lower price. The S-mini, they have a TD 9 count top. Price is going to go target its oscillator and change line 3643. Price would need to close below that to really get somewhat more, really bearish, to give you a more bearish directional signal. The transport is not much to talk about here. Spot follow TDX. That is in as long as price above 1776. That says more downside movement for the S&P. The XAU, watch this. So today's candle right now is a shooting star. It's both a bullish candle, which is a gap to the upside, the bearish candle, a shooting star. So you got two messages out there. Which one is the right one? Well, let's wait till the end of the day. Hey, folks, stay tuned for two more great hours. I'll see you tomorrow on terrific Thursday. Have a wonderful Wednesday.