Felly, ddim yn fwy o'r cyfnod, Jane Seal, y cyfnod gyda'r cyfnod yma, yw Dolfy Tys Patrick, yng Nghymru, yng Nghymru, ac Arthog Ltegur yng Nghymru, yng Nghymru, yng Nghymru, ac Jane wedi'u gweithio'r cyfnod yma. Felly, ddodd y gallwn i'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio. Nowe, ddodd yn gweithio'n gweithio, a'u ddodd yn gweithio'n gweithio'n gweithio'n gweithio'n chatter o ddiweddarlo'u cyfeithio'n gwahanol o'r clwrs Gaelegol. Yn gynghylch, mae'n fwy'n gweithio'n gweithio'n gweithio'n gweithio arfer wel y llanae ac mae hwn o'n eu hwn o'r behod ychydig o'r cyffredinol cynghwys. Mae'n ddiddordeb ar yr unrhyw dechrau trafod y Nolfog, Yn cael ei gael ddigon, ystod ddyn nhw'n pryd. Oedd wedi bod y gallwn amser yn y cyrackol? Doedd yn bwrth. Rwy'n thrallgyn ei wneud. A chydo'n ei gael. Yn cofrith yma felly mae gan gael i eich cyrackol argymau fwy o'r awdd ynglynhaeth, a at y peth oherwydd yr awdd yn ei gwell. Fy oherwydd ddyn nhw'n ddyn nhw'n ddyn nhw'n gael, i'r awd ymddill awdd ynglynhaeth, ac yn ddyn nhw'n ddyn nhw'n oedd ..o brosedd unrhyw deilwydd.. ..o brosedd unrhyw deilwyddoedd, o brosedd unrhyw deilwydd. Newydd y gallu gweld yno... ..nynydden nhw'n ysgrifft-feillawr o cerdddol... ..a unrhyw ddweud ei chi gyd... ..o cerddwydd i'r idea yw... ..'ynghydfynidol yw chi'n golygu... ..ynaised y cinchlid digital. Ychydigon ni yn ystafell.. ..'u twfyniad j ہwn... ..wr eich gyfnod ymwyenedd.. ..yn ni'n gwybod y chdriving... ..am y cyfrwys... Ie grows that you are sharing that, challenging in that questioning as we go throughout the day. What I wanted to do is to kinda share my thoughts on digital inclusion in the role of technology. I'm really proud this title, I hope you are. In a sense what I'm trying to say is today's not about me, Donald or for anybody pretending to be some kind of magic fairy that waves a wand and says I've got the magical solution. Just think all your want and the explosion is gone. Today's not about magical solutions. It's about us really thinking about some important challenges. So I'm really going to question the notion of magical fairings with the magical ones. I'll give you some challenges to think about. Before I go on, I need to just let you know where I'm coming from quickly so you can understand the position I'm taking. I did my PhD back in 1984 to 87 when the beautiful, beautiful BBC Micro still existed. I love it, still do. Because it's a really powerful tool for working with adults with severe learning disabilities. And I worked in long-term mental handicapped hospitals as they were called then, and in social services. And that's where my passion and my heart is. I moved on to working assistive technology, working in rehab engineering, so I understand a bit of the techies being, not a lot. But through the recent bits of work I've done, I'm really going to feed into my challenges to you today. One is a book I wrote on accessibility, kind of reviewing theory and practice, and trying to link research policy practice. The other is a project called Lexus, which is a very student-sensored project that was getting disabled students in university to talk about their technology experiences. And my two colleagues today are going to run some really interesting workshops on that. So I'm not saying much more. But I've also just computed some work for the Technology Enhanced Learning Research Programme, synthesising and reviewing what literature research is out there about digital inclusion. I'm going to use that background and that experience to give you my challenges and my thoughts. So the first challenge, kind of linking into the title of today is about what does rewiring mean in the sense of digital inclusion. What I want to challenge you to think about is what is digital inclusion? Because certainly coming from an accessibility background, inclusion is very often being thought about as access. And I think most of us are realising that digital inclusion is more about access to technologies, it's more about accessibility of technologies, although both of those are important. Some of us also talk about the kind of use that learners use technologies for, and that's important, but it's more than just thinking about inclusion being about being able to use technologies. Digital inclusion is about meaningful use and what I would suggest to you is that one of the important challenges is who decides what's meaningful about technology use. One of the things that worries me is that too often it's us that decides and not the learners that decide. And certainly in the work that I've been doing with disabled students and users, so often they say, these people have got their ideas about what I should be doing with technology and what's important about my technology use, but actually I don't think like that. And for some learners and for some students they'll make some important decisions that could be the right decisions for them, which is actually I don't need to use technology for this particular situation. And I think that's really important to hold on to to think about meaningful use of who decides that. The other part of the title for today is about strategies, tools and techniques and yes, they're important. But what I'm passionate about is moving beyond the tools, the strategies and the techniques. They are important and some of us today will be talking about gadgets and yes, they're interesting, they're important. But gadgets and tools on their own don't make digital inclusion practice. I think that's very important. What today's about is practitioners and other people coming together to describe and share how they use the tools. And it's that how we use the tools that I think is important in terms of moving digital inclusion along, thinking about what we can do for our learners and our students. And I think it's from that that the notion of best practice will be decided. And I will confess to you that I'm getting a little bit concerned about bodies that produce beautiful published documents that say here's case studies of best practice. When actually all they are are case studies of only practice, of sole practice. A person who's trying something out new for the first time and that's really important but it doesn't necessarily make it best practice. And I think it's all of us together today that will decide what's best practice in terms of using tools with our learners. Practice of both on stakeholders that's why today's really exciting because we've got all the stakeholders in room across sectors and so on. But also practice is interdisciplinary and you'll hear that a lot. Everybody likes to talk about interdisciplinary but actually interdisciplinary work is really hard and we shouldn't underestimate that. So I suppose it's a plea for these words are important but I think we're starting to be a bit too clear the notion of stakeholders interdisciplinary. Let's think about that and seriously engage with it and what it means that digital inclusion are best practice. Finally my last slide the notion of barrier free learning. Again a barrier free learning is a phrase that's been around for a long time. And I want to apply it to the notion of kind of getting us to think about notions of success and notions of failure in terms of digital inclusion. In terms of the things we try to do is using technology. How do we decide whether our efforts are successful and perhaps more importantly who decides. One of the things I comment on in my digital inclusion report for the TAL programme is the idea that very often funders who are generous and give us money for big digital inclusion projects have notions of success and are very often linked to if we give you technology in your placement our notion of success is that those learners must go on to higher education, further education or their job and if they don't the project is being a failure. And actually that disempower the users of the technology who sometimes come into schools, colleges, centres with notions of that they want to use technology for something but they're not thinking about further educational jobs. They have other goals, other outcomes it could be about staying in contact with grandma in Australia it could be about developing their confidence it could be about learning skills so they can help their children with their homework whatever it is, those outcomes are important for them and if they're achieved then perhaps that's success and so I think part of today might be about challenging notions of success. My final point is can we tolerate perceived failures? Technology costs a lot of money costs a lot of time uses up a lot of enthusiasm patience etc and one of the things I'm really concerned about is the idea that perhaps we're getting a little bit frightened to take some risks to try things with learners with students using technologies not really knowing what's going to happen it's kind of linked to my previous point about outcomes and unsuccess and sometimes things don't work you have a probability you must get X number of computers out into the community by equal or whatever it is and that doesn't happen is that a failure has something else happening instead so what I would really like us to think about and chat with you to think about is the idea that we perhaps need to be a doctor notion of positive risk-taking kind of yes but keep the funders happy and do the best we can but sometimes we need to be creative and think about the possibilities try stuff not knowing if it's going to work that will mean you have to build in what I call organisational slack a group, a community, a school a centre might have to build in some slack whereby the failures get tolerated in the hope that there'll be some successes however you define that so that's my kind of challenge for you today I'm wearing pink but I'm not a magic digital inclusion fairy but today think about the challenges what you're all passionate about digital inclusion, whatever that means but let's make it realistic and let's keep learnings at the centre of it thank you very much I'm very happy to be here because I'm blind myself and went through the learning system in Germany and for me it's quite important that other people that have disabilities have the same chance that they need to be successful at school and learning a lot to be able to cope with challenges through life and being able to make their career despite disabilities and so my role today it's not about speaking about me myself it's more about what I'm doing and at my work time at Yahoo so my role, it's tired and subtle weird for the most people accessibility evangelist at Yahoo the best part is really I was working I started at Yahoo different kinds of tasks as a software engineer I was able to work on any kind of back end engineer and I encountered a lot of problems with accessibility so accessibility with products that I was working on and I couldn't have a challenge on it but I saw other products that didn't get any hands on or if I could check it a little bit it probably broke again after I changed it because most of the product designers and product managers the software developers didn't know enough about accessibility and so I started to to evangelise everyone around me to think about accessibility to make part of their their work attitude and to train people as well so that's why I now have half on the half role where I disability train people outside of my reporting line and and trying to to promote accessibility internally quite strongly and that's why I got such a title Myself I'm blind probably you'll notice my next thing so I'm Portuguese born in Germany living in UK for three years so it's quite international and that's my background education in Germany in German and Portuguese and now in the UK it's quite interesting and amazing to see how different I am learning and seeing it as a work so I'm going through a little bit responding to how we are addressing the things at Yale and I'm going straight past to so who is responsible for accessibility and where are the the the cutting points between all the systems and I notice that it's not all about the engineers itself it's a whole system that overlaps with accessibility and we have to be aware of the things we are doing there and probably it's the same with creating learning material so everything is connected to each other like internationalisation so subtitling it's the same challenge as for making videos accessible making it create the user experience a lot of different other things testing, QEA and so on are all connected somehow for accessibility and accessibility it's like a cross-cutting point through all these systems it's not all about having a good edge in the awareness of a particular thing and having this in mind we changed it to use the way we are working on accessibility I thought for us why are we doing and thinking about accessibility and one major point is really human rights and this reflects really to think about the users that are using our pages and probably are your pupils or your students as well with a lot of different kinds of accessibility and all of these persons with disabilities have not had at least formally as well the human right on accessibility or accessibility is part of the rise for people with disabilities that you have set up quite recently for a private company there is one article that basically says not only the public, not only schools not only the public sector in general the accounts of the boroughs are entitled to provide accessibility as well as the private sector because they are providing a lot of different kind of information that everyone relies on reading mails, having mailing lists reading news taking care of the finance doing online banking there are a lot of things people with disabilities have to do online and they rely on accessibility otherwise they would be excluded and that's a very fundamental sense as well a social responsibility of a company to do it right and think about it and who we started quite recently when I joined basically with a small team in Europe and a couple of few other colleagues that are disabled or are quite interested in their accessibility and so we started a way of changing small bits of code to make up a concept and going through it but there's a lot of things to change because it was quite all for the web so as we started in 1994 we have a lot of products a lot of code, lines of code already written they have to be reviewed, changed and so on it doesn't happen overnight but the interesting thing that we have seen is it's not only people with disabilities have the benefits but we have noticed that a lot of people that are older are benefiting for example silver surveys are still using the web or started to use the web and other countries where we for example have a user base of 55 plus of 20% for example in Japan and probably getting the same in the western world as well that the user base is going on so still it's getting more and more an issue for making a business and another point is to see how we are using the web so mobile and so on so we are using it everywhere and all these different challenges we have are the same that we probably people with disabilities have and that's probably the same with teaching learning so when we are learning somewhere outside of the classroom the way someone is learning probably changing as well so thinking of lectures on the iPod as a podcast for example so when we are looking at an accessibility detail we look into the guidelines I'm only rushing through the guidelines because they are public they are made by the web consulting making as a web application things accessible and it's the same system basic ideas apply really on the same way for learning materials so making learning material perceivable it's the same for us for you to make new perceivable that you can read the news that you can read the last stop quote and so on the same thing as with overalls so if you are looking at interaction it's a key part of learning to have interaction to do a hands on it's really to how do we do real accessible and for us it's really how to make it that way that someone can access for example a currency converter or any kind of interaction with an application and another quite important point for learning it's making it understandable to break it down in small pieces that everyone understands and the same applies for making the web accessible to make it easy to understand and use the right language for the audience making it that way accessible and the last really part of making things accessible is really to make it robust to think about how is the standard and how can I provide it to you with a sense of technology and provide learning material in different ways not only in a pds it only can be seen on screen but as well can be read with a screen reader or someone can turn the pages only by using the movement of the head and so on going through this system and looking how we want to check things if they're accessible and that's one part that teachers have to make the material accessible the same applies for how is our software accessible how is our web accessible and how we can change things and as a software engineer basically doing unit tests we use different kind of test tools that probably someone is using as well for making web content accessible and we are using a very common open source tools like like a wave toolbar checking online tests for visual impairment like colour tests how would a child or a baby see the colours and especially if you are working in the nursery doing a very very basic learning about things it's quite important to know how are colour seen and how can it provide information and for us it's quite important to provide information that way that everyone can access our information and use our services and we have the automated test as well with some tools but they are quite software engineering so I will skip them and another thing that's quite important it's quite important for you as a teacher that's probably kind of for the screen reader there's an open source screen reader called NVDA there's a URL for it it's running on windows windows XP and windows 7 and it's quite interesting to see how someone is blind can use the screen reader especially if you have first experience to have it on a blind pupil or blind student to learn to yourself how the person is really using a screen reader and how does it feel like and it's a very very affordable way to use an open phrase screen reader for testing yourself and we do the same test as well we are using such an open source screen reader to testing our own software our own search system and so on and so the last almost finishing now where our accessibility test are working and how we do the awareness training for people that have the decisions on getting content that is accessible making decisions about the architecture of a software to make it accessible and how everything started and we started three years ago with a voluntary group of probably five engineers in Europe to make a small change and now this system, this idea of a small team that is a task force and can be accessed and the information in the access is now spreading through here we have now one in our exporters in Sunnyvale we have one now in Bangalore and we are combining our force globally as well to be a key point for information and I think one good idea as well for university or school to have persons that are quite savvy in doing material accessible to have them in access and know who they are and probably talk to them probably they are already seeing the problems and already found a solution for such problems and makes their life much much easier and probably the same system we are using like the global task forces probably to create such a network between universities and schools of persons that have a deep knowledge about making learning material accessible because this was a system that would be used and it's quite accessible throughout and additionally to the idea that we did have in Europe and we are quite lucky because for people in Europe at least in Europe that are working in the new Europe are quite aware about accessibility and probably it's based on the British DDA or where I'm very glad that it exists in the UK so everyone, every engineer already stumbled about accessibility in the UK and it's a little bit different outside of Europe so we created accessibility lab in the US first with all kinds of different gadgets to make it accessible so single click devices particular kind of keyboards for showing people how someone is someone can create how to make things accessible it's not all about being blind that's quite a key important thing because a lot of people that are working on accessibility are blind but it's not all about being blind and this accessibility lens are quite important to show such things and so we created one in Bangalore as well of course there are a lot of people of engineers working there and it's quite important that they have seen the first time someone being able to use a computer only by moving the head or only moving the eyes Can you cancel the screen interaction? I don't know if that's stupid there's a it's going to back itself up ok tell me there was some automatic process started but I think you are ok I'm done I'm done some of them testing it everyone is awake this is my contact details I hope I didn't run too much of the time perfect timing perfect now for questions at the end so we're just going to swap over between Arthur and Donald but to you Donald thank you very much Jane ladies and gentlemen good morning it's a pleasure to be here I have to confess that when I said I suggested a title for this talk I have to I sat my off time with the children because what actually went through my mind was a line a line a line was so what did the Romans ever do for us the cup is half empty or we can look at it from the perspective the cup is half full you can say what does technology not do or what does it do so I'd like if I may go back to the mid-eighties in the Republic of Ireland which was the biggest legal time as we have now economic day and everything else at that particular point I remember this vividly actually it was one of our public libraries many public libraries got a reading machine it was called a Kurzweil Reading Machine there are some pictures of these things on the internet and I remember again I remember you calling in and using it a couple of times just to read the books and things it's a teenager it was amazing because the thing was a slightly washing machine and the keyboard that you used was a huge keyboard and the keyboard probably weighs more than two laptops but the interesting thing was that in 1980s Ireland this machine I can't remember the exact figure it was like a £30,000 a month at the time or 70,000 so it possibly cost as much as a house and it was revolutionary in the sense that the first time we started for many of us in Ireland we could then read books we could go in, put a piece of paper down and read it now I was a teenager so I didn't have that up in Ireland so I took my device and jumped forward and in 1991 I became the first fine student to start an ultimately completed degree in computer science in Ireland and at that particular time again the University of DCU where I'm now teaching was very very willing to purchase equipment but didn't really know what to buy so at that point we did some investigation and some other colleagues in the industry were most helpful and we purchased scanning software which again read books it's very interesting to look at it because that scanning software again it would come down to that point it only cost £4,000 which again in 1991 Ireland was supposed to help a lot of money now it's very interesting about all of this and it takes us to another side track and we say screen reading devices we can start looking from the development of the IEF and the late 80s early 90s and we had spaces incorporated into that so we look at inclusion and we consider now in 2010 where these devices have come from and are going to these devices were designed for blind people there's a little of the application used so I actually think if we look at inclusion we've blind people have actually been very generous in passing on our technology to you sight of people so if you look for example let's do a warmer response how many of you have GPS systems in your cards quite a few relying on speech synthesis to divide from the world of blind people to sight of people how many of you scan photographs into whatever computer you happen to use I'm sure quite a few of you other technology that has crossed the divide from blind people to sight of people we can look at these two ways we can say that inclusion is a one way street whereby accessibility comes from sight it's blind or we can look at it as a two way street which is that it's a mutually beneficial experience that is very evident by recent trends in mobile phone development and other talking devices my mobile phone of choice is the iPhone in device for lots of reasons it started off I think it's safe to say that the iPhone has pretty much revolutionised the way people use phones and view the internet on mobile devices years so Apple have built into this device technology which means that off the shelf my person can walk into whatever network that carries the phone I don't need extra hardware I don't need extra software I can enable assistive technology on my device this is a huge step forward because until now blind users mobile technology had to rely on third party software which cost a lot of money so you could go in and theory and buy a phone on whatever contract you happen to be and simply an operating system for maybe 75, 80, 85 pounds you then actually go to somebody else and spend 150 or 200 pounds to make it fit to you so the cost of actually doing this was for him he was putting people off now we have a situation where it's built into the device why is this useful for sight people it's useful because while I have a certain friend and I like the interaction that the technology actually provides voice recognition on the phone they use a world writer so it's a two-way street now so we can say that computer science so far has done pretty well it has an aim of blind people and those with disabilities I'm afraid I focus mainly on blinds and the issue of blinds is because I am talking blind myself but you should remember that you benefit from that who indeed the development of technology who have actually contributed to the development of mainstream technology but if we look now at learning environments learning is one area I feel where inclusion is still problematic classroom situations can be dealt with we have just completed a project called the avatar project HVITD which aimed to provide independent access to graphic material us, ourselves at DCU and a number of EU partners were very much involved in developing and evaluating systems for the production of what are called audio tactile diagrams in effect a diagram a tactile diagram is printed on a chemistry paper it's called swell paper that's then put on a touch screen to reveal the raised image and press on it to get triggered audio feedback now this is fine and it works very very well in the classroom situation I have several systems out there which actually have proven this the issue with all of this is that in an independent scenario which in many cases we're moving towards this kind of technology is problematic however for example we did a little experiment last week handed some we didn't have blind people so we didn't blindfolded the sight of people I just handed them a piece of paper with images on there was several consented servers filled in over the moment so this could be planetary orbit it could be absolutely anything and the open design was actually a picture of the human eye now the interesting thing about this is that for many blind people it's just servers and you just press on different parts and you actually get the information back but it's an example of the problems that actually exist for you as teachers to try to incorporate inclusion and accessibility into your classrooms many of you are sure platforms such as for example Moodle any of these kind of learning platforms how do you particularly in disciplines such as science geography, computer science anything which relies on diagrams how do you provide that kind of access to people who are blind and we are, I can give you the more information that the project is working on this offline but this is an issue which prevents in many cases blind people going on to further education there was an important book of some years ago by an organisation in Ireland called Ahead who represents students in third level education student disabilities and they noted that blind people were very very underrepresented in science particularly in Ireland people were not going into computer science not going into mathematics not going into anything because of lack of access so we need I think to look very carefully the role that technology plays in creating inclusive classrooms and inclusive independent e-learning platforms for blind people is something that's lagging a little bit behind the iPod as Art mentioned in his presentation is again back to that is a very very interesting device it provides a mechanism where you can deliver content in very very many different ways here's an example a class situation you're presenting information to people who can see now it's obvious they can print it out and bring it with them in a paper or in a PDF using the iPod very simply you can generate audio versions multiple mp3 maybe one mp3 per page of a set of overheads create a little playlist and just download the lesson to an iPod in exactly the same way as somebody cited it to use some technology it's very simple to do it's just thinking slightly outside the box another thing that actually still remains though is we're now moving to a point where it's e-learning whether it is interface generally where interfaces are becoming much more what I've described as busy again if we go back to the mid 90s you had dodge the old dox-based computers or as Jay mentioned I actually learned my first computer was a music micro and at that point you had one operating one program that was focusing your attention was character based and everybody was on a living plane then Windows 95 came along you could have two things open at the same time you could tend to focus on one screen you could flip very easily it was also graphic, it had a policy challenge that challenge has been surmounted now we've moved on to the fact where we're using things like Ajax Aria and lots of web-based interfaces and widgets doing different things on the screens screens are becoming very very busy visually you can do some very interesting things this application, this portion of your screen needs your attention when a few of three or four of those things is actually going on at the same time going to pose a problem for anybody using certainly the audio channel you can listen to several voices at the same time but the concentration levels and the perception levels will diminish the more challenges you actually are trying to process so I think what interface and computing needs to do now is to look if you will at how to give to give the user very much more control over their interface in other words, here's the announcement I'll give you I'm coming to the end of this imagine you're going into a supermarket and you want to buy some biscuits so you walk in and the first thing you do is you look for the idol itself of biscuits then you walk along and you decide to scan the entire array of the hundreds of pounds and hundreds of brands of biscuits that actually exist on that shelf and tell you this in person experience when you walk into that store you do the first bit and you feel like you're selecting from a high level menu the person who's guiding you around please remove the business style then when you get to the business of biscuits style, what do you do do you stand there for three hours to have every single brand this is the issue that actually faces us that is so much taken now that it actually has to be filtered out and I think the interfaces need to actually go to a paradigm shift in terms of what actually is filtered out not what's provided but giving the user the opportunity to filter things out rather than actually be all inclusive and this very much applies to your own learning scenarios because if you have lesson plans that involve videos and maybe animations and text so you've got a video playing on your screen and you've got text describing that video going on on the same web page and then maybe you've got questions at the bottom of that web page where the student actually has to answer the answer to those questions is based of course on the text and the video which is both playing simultaneously and all that is trying to be felt through the screen and through audio you've got a problem for the simple reason that the student is going to waste very valuable cognitive effort on understanding what's going on actually absorbing the information they won't be able to process the information so an example would be exposing you to a mathematical equation and you're trying to present that to the student in audio I don't know whether you have any math teacher to actually hear you try to do this we are working on another way of actually presenting mathematics using Braille and using synthetic speech again if anybody is interested I won't bore you with the details but if anybody is interested do please feel free to talk to me offline now if you have a student who is trying to remember, listen to an equation and they get one shot and you can see minus F plus G that's it, that's all they get and they're going to try and actually mean the same scenario applies to the very very busy interface I just alluded to a second ago so my challenge for you today my thought for you today would be this in order to foster inclusion in your classrooms think about the fact that not everybody absorbs information to derive it to the visual cortex we all use every single sense of the capital as well even so constantly but when you're designing your lessons and your lesson plans just be aware that if you can actually keep your stream of information simple keep the flow of the information simple and give the user to control all the information so that they can get some time to review the text several times for the screen readers like slower play the video again and not have too many things going on simultaneously I think you will find that the inclusivity in your classrooms and in your e-learning environments which in thermal thoughts of the independence and the independent learning is necessary in the 2010 academic culture I think you will find that you will develop more inclusive learning content for your students irrespective of whether they have a disability or they don't thank you very much indeed so we have time for questions comments, reflections to all three of us who spoke so Annie is that first okay okay question to Walter you get this in time in your talk I see accessibility as having two hearts really there's the product oriented half where you do your estimate that's accessible to some kind of idea of people that you have in your head and then there's the user oriented perspective where one might talk about what individuals require from systems and really I see the whole thing as some kind of relationship between those two halves and various ways exist to sort of balance those two halves and to actually manage that relationship so one way is to select a number of users and assemble of users and test things accessible to you another way focusing particularly at the user end is to deal with profiles of user requirements a little bit like the sort of profiles you fill in when you sign up for a who account or a Google account my experience is that these don't really handle accessibility yet I kind of wonder what if you could say something about efforts that your who make how they actually balance that relationship Do we have a special group that's called User Experience Designers Is that a lot enough? The basic idea there is really to do the user test as you mentioned and to create a special group called User Experience Designers and they are doing the user test at the beginning and when the product is further scrolling out and I'm quite in close contact with this group because a lot of concepts are important for the usability are part of accessibility as well and especially the spur of the designs of graphical designs to manage the things appealing are quite important for accessibility for making a way of graphical or colour contrast and other simple big enough that they can be used by someone who can't navigate their mouse very well but there are some cases where it's some disagreement and sometimes the accessibility is helping the user experience designers to break their task down to a particular work for who can't find the new accessibility it's really about getting a task done in a very short time and not how it doesn't look like nice to find the next step for the task and sometimes this close work there is quite fruitful as in football signs to learn about user that don't have accessibility problems how they experience the web and how we can include accessibility including the learning process at the moment thank you any other comments, questions, reflections do you want to switch the mic on? hello I was very interested in the point that was made about making learning content more or less a single stream rather than multimedia do you think there is a conflict between e-technologies to constantly being nice to make their content interactive as interactive as possible and the concept of accessibility for all the learners? question for you John no I don't I think again I will describe it as it's a hobby part of mine actually different views of the same data in the sense that there is no reason if you have content that is properly designed and if you have a content that is separated from how it is viewed then there is no reason for people who are not mine for example you can't have a view of it which is very very possibly flash based on the graphic of nature however if you have got people who can't see the graphics then there is no reason that same information can't be presented in a different way there is a slight issue in the sense that many things now are actually happening as I said in my talk that does pose a problem but I go back to what I said in the sense that the ability to access technology to actually filter that information out is becoming I think more and more sexual to in order to actually use more of a different basis Let it be back in pink I'd just like to agree with what Donald said there I think if you'd adopt a design for diversity or a design for approach I think you can create accessible interfaces for people who don't have disabilities as well and it's really just making a cultural change so that people do design for diversity rather than for some average person who doesn't have any disabilities but it is going to be a cultural change that is quite difficult to achieve and something that I hope everybody in this room will be committed to spreading amongst our colleagues Thank you I think that's certainly a really interesting point. There was two phrases that you said, design for diversity design for all linking into my message earlier about challenging conceptualisations what does design for all mean and is that the same as designing for diversity I think that's a real challenge for us to think about before Andy has a second go Anybody else? I guess that's earlier message and I just wanted to make it the general points and also following on from the comments about designing for diversity I think there is a lot of people who work in this kind of area who may themselves not be disabled but want to do the right thing sometimes mistakenly assume that designing for all means one side fits all and that's a huge mistake because every person is going to use technology in a different way the way that I use my mobile phone may be completely different to the way my friend uses exactly the same model of phone so the key is to design for flexibility and to have multiple ways of using the same thing or accessing the same data so that one person who may respond very well to flash face a very visual, very interactive way of using something the person sitting next to them may need to use exactly the same piece of equipment on the same software but in a completely different way so the key should be designing for diversity meaning flexible multiple ways of accessing something rather than a one side fits all because there is no average person and if we do try to design for an average person everyone loses out that is the thing designing for diversity giving the user control making the system flexible so that he can insert control over it Donald, Arthur do you want to respond at all to your conceptions of what designing model means is the idea of making design for diversity is a key point because it's really the way of the content or the web page or learning information is accessible in a different way is reflecting as well the way of how many devices you can now use for accessing the learning experience because now we can access the information on the go where we don't have a huge screen where 506 frames are fitting in where you can observe a lot of information at the same time sometimes now you can get information on TV with a low resolution so you can't get the same information the way way probably you don't have a mouth point on it so the way people are interacting with learning material with the web is changing completely and the providers of such information have to think about diversity not only in case of different kind of users but different kind of using devices and different ways and situations where someone is using it is one point where I said it's quite important for us as well to think about situative disabilities everyone has a particular situation a particular disability depending on the circumstances so by thinking about that someone is able to use the web application on the go, on the private again and so on it's quite important to know to provide the information in the way that is suitable for the situation and being able for example to increase the contrast where it's sunny and such things Very briefly The analogy again I go back to my GPS knowledge that I made in my presentation a phrase that's come in to UI design recently is an ocean of person being what's called situation blind in the words they're in a situation where looking at a screen, looking at the UI is simply not possible a classic example of that of course is something like a GPS in a car solution you really don't want to be looking at a map but trying to be navigating around about the same time so given that the design for our approach of having a device which speaks actually works on my mobile phone I actually have a GPS solution which is an awful shell of GPS solution because it is designed to use an apple standard graphical windows using cocoa framework and means that it's supposed to voice over to the screen reader on the iPhone so I can type in the address I'm looking for I can look for the points of interest around me etc and then I can use the system and it's active the same way as somebody who could see the only additional thing is that I have my voice over screen reader enabled so the site user will type in the address maybe it's the site different interaction on the keyboard but the same effective workflow if you want to call it that that would be the example that I would use to describe it I've been told I need to finish at 8 minutes pass so I think Andy if you'll forgive me I'll stop here and I'd like you all to thank our speakers I think they've had a really interesting start to the morning so thank you very much


Hello friends, so we are back with another theorem and this theorem says that if A, B and B, C are two Equal chords of the circle and the center of the circle Lies on the angular by angle by sector of the ABC angle ABC. Okay now We have drawn a circle And before that circle is actually passing through the given points. What are the given points? So we have drawn a B as three units and BC as three units and We have tried to you know bisect this angle ABC if you see So alpha is equal to beta. You can see the values over here 61.09 in this configuration and beta also 61.09 Okay, AB and length BC is given as three Okay, so and then what we did was we tried to draw The circle through ABC and we know the process. We have to basically draw up a nuclear bisectors of God's AB and BC and if you see they are intersecting at point Oh, which actually lies on the angle bisector here And if you think this could be because of one particular Configuration, so hence what we can do is we can change the positions of these three points So let's say you can see now as I'm changing the position of C The angles are varying but still the center is still on the angle bisector ABC. You can see that, right? So I keep on I'm changing the values or position of C, right? Similarly, I can change the position of B as well. So you can see that so as I change the position of B also in any which case The center is always lying on the perpendicular bisector. Now. We need to prove this We have validated through visualization like that. So yes, it does work, but why does it work? Let's see in the proof part


Russians start using grenades with deadly toxins in Ukraine. Russian troops have begun to use chemical weapons at the front, more often in particular a new type of grenade with poisonous substances according to Captain Andrew Rudick, representative of the Center for Research of Trophy and Advanced Weapons and Military Equipment of Ukraine. In December the use of the RGVO grenade was recorded for the first time. This grenade contains chloroacetofenone, an asphyxiating substance prohibited by the Geneva Protocol on the use of asphyxiating poisonous or other gases in warfare, says Rudick. The Center for Research of Trophy and Advanced Weapons and Military Equipment suggests that if it gets into a room or dugout five minutes is enough to kill people there. The tested sample was manufactured in 2023 at a plant that has been operating since the Soviet Union era. Thus in 2017 Russia lied about fulfilling its obligations under the 1993 Chemical Weapons Convention, according to which it was supposed to destroy the weapons themselves and the production facilities where they were manufactured. The Center's representative emphasizes he suggests that Russia is now trying to study the reaction of the international community to expand the range of chemical weapons use in the future. In December 2023 alone 81 such cases of gas grenades were recorded. In total since the beginning of Russia's full-scale invasion of Ukraine there have been 626 cases of chemical attacks against Ukrainian defenders.


Lux presents Hollywood, Leafer Brothers Company, the makers of Lux Flakes bring you the Lux Radio Theater starring Henry Fonda, Richard Conte, and Kathy Downs in My Darling Clementine. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. Tonight we bring you the story of Wyatt Earp. Among the many heroes of the early West, Wyatt Earp and his three brothers stand as symbols of the Fighting Marshal, the sheriff who fought with fist and gun to establish law and order on our frontiers. Earp is played tonight by Henry Fonda in 20th Century Fox's screen success, My Darling Clementine. Costard with Henry is Kathy Downs also from the original cast and that new and talented arrival among screen stars, Richard Conte. My Darling Clementine was filmed in Arizona in that primitive, weirdly beautiful country of the Navajos. There were no laundry facilities there, of course, and Kathy Downs was telling me how she and other members of the troupe did their own in tubs of lukewarm water and Lux Flakes. They were observed in this daily ceremony by a group of fascinated squads and one of Kathy's favorite souvenirs is a cake of soap made of yucca roots that an Indian woman gave her in exchange for, yes, you're right, a box of Lux, which only goes to prove that the bargaining instincts of the red man or red woman in this case are as keen as ever. It's playtime and here's Henry Fonda, starred as Wyatt Earp, Richard Conte as Doc Holliday and Kathy Downs as My Darling Clementine. Our curtain rises on the first act. Arizona, the 1880s. Along a broad sweep of rangeland, the herd of cattle settles down for the night. Nearby, around the campfire, four men have just finished supper. The men are brothers, the earth brothers, James, Virgil, Morgan and Wyatt. Wyatt Earp. Until recently, the United States Marshal at Dodge City. Suddenly, breaking through the twilight, five riders draw up to the camp. Howdy. Wait here, boys. I'll see what they want. My name's Clinton, mister. He's here in my boys. Evening.  Yeah, me and my brothers are trailing them on to California. They'll never make it, son. If you ain't got them committed to no shipper, I'll take them off your hands. Thanks. Not interested. Me and my boys will make you good offer. Pay yourself for $5 a head. They'd more than that in Mexico. It'll be a sorry looking lot by the time you get to California. They'll feed out when we get to grass. Say, what do they call this place? Just over the rise there, big town called Tombstone. Fine town. Tombstone. Yeah, heard of it. Well, me and my brothers might ride in there tonight. Get ourselves a shave, maybe. Glass of beer. Yeah, you'd enjoy yourself. Wide awake, wide open town, Tombstone. Well, thanks for stopping by. Change your mind about them cattle. I'll be around. Come on, boys. More coffee, Wyatt? No, thanks, Morg. That was a tribe of Clanton. Look about as mangy as we do. Well, let's get to cleaning up supper dishes. James, that was mighty fine, Charles, son. Oh, these days, he's going to be as good a cook as Morg. Well, I'm learning and trying. That's what I keep telling him to do.  It's because he's such an awful good cook. That's a fact. Hey, we're going into town. What are we waiting for? Supper dishes, brother, Verge. Oh, go on. I'll clean up here. My turn to ten hurt anyway. Don't be lonesome, kid. I won't be lonesome. You can sit here and think about your girl. I bet you marry Corey Sue first day we get back home. Look, I didn't show you this. I bought it for last week. Thinks you like it? Say, what do you call that thing? Necklace? It's sort of, I guess. It's a pendant, solid silver. Sure is pretty, James. I'll look mighty pretty in them yellow curls of Corey Sue's. Oh, ain't that the truth now?  Keep the fire going, James. We'll be back for five hours. Yeah, sure wasted a dollar for that bath in town. It stayed with James and just stood out in this rain. It's coming down, all right. That's some wide open town, that tombstone, huh? Yeah. Funny you run into Mr. Scott. What, Mr. Scott? Knew him back in Dodge City, Verge. He's mayor at Tombstone now. Know what he did? All but why the job is Marshall. Two hundred and fifty dollars a month. Two hundred and fifty... Well, why did you... You didn't take it, did you? I sure didn't. We're in the cattle business. I don't know whether we are or not. Pull up. What are you talking about? Look, those boulders. You left our cattle just north of those boulders. How can you see in all this rain? You can see, all right. And they're gone, Wyatt. The cattle's gone. James. A chuck wagon's still there, see? Well, likely James is in the wagon. Come on. He's dead, Wyatt. James is dead. Shopping the back. Our kid brother's shopping the back. Morgan, we're sure we're going back into town. When we got there, Mr. Scott, James was dead and the cattle was gone. All I want to know is whether that marshland shop's still open. Sure is, Wyatt. I'd like to take it, then. Providing my two other brothers or deputies. When do you want to start? Now. Who runs a gambling in this town? A fellow named Holiday. Dark Holiday. Who runs a cattle? The Clantons. Old man Clanton and his four sons. Say, where are you figuring on living, Wyatt? I hadn't thought about it. I don't know. I don't know. I don't know. I don't know. I hadn't thought about it yet. I'll get some rooms here in the hotel for you and your brothers. It's well you're all in over the jail first thing in the morning. Any idea where I might find old man Clanton? Hard to say. Dark Holiday's place, maybe. Thanks. I'll try Holiday. Evening, Mr. Clanton. Huh? Oh, evening. Well, you were right. Huh? Our cattle. They said I wouldn't get very far with them. They was rustled this evening. And so? Oh, that's too bad. You hear that, boys? Fellas heard was rustled. Well, I guess you ain't heading for California then. No, I just got myself a job. Cow punching? Marshaling. Marshaling? In Tombstone? Well, good luck to you, Mr. Erp. Wyatt Erp. Huh? Oh. Well, good night, Mr. Erp. Come on, boys. This here's not much of a grave, James. It's the best we can do for you now. Eighteen years old. Didn't get much of a chance, did you? I wrote to Pa and Corey Sue. They're going to be all busted up over. Corey Sue's young, but Pa? I guess you'll never get over it. I'll be coming out here to see your regular, James. So, Morg and Verge, we're going to be around here for a while. Can't tell. Maybe when we leave this country, young kids like you will be able to grow up and live safe. We're not forgetting you, James. Now we're getting nowhere sitting around the jailhouse, Wyatt. Where's Verge? Washing up in the hotel. He's all day Scott and the Clantons range. They've been moving cattle all right, but that doesn't prove anything. Got any ideas? No. Well, I'm going over to Doc Holiday's place. Holiday's back in town? If he isn't, I'll wait for him. What about Holiday's girl, the one who sings there? Shawa? She won't talk. See you later, Morg. You busy? The bar's kind of slow this afternoon, Shawa. You know when Doc's coming back? I hear he'd be back tonight. Maybe. I ain't heard. Where has he been this time, Baldi? Tucson, over the border. Who knows where Doc goes? That's right. Who knows? I see the new Marshall, the poker player. He's been doing all right, too. I don't like Marshalls. Maybe I could hang around the table a little while. Careful, Shawa. Oh, sure. Marshall, your play. My play. I love poker. Yes, sir, I really love poker. Oh, howdy, Shawa. Mind if I watch? Hang around. Maybe you'll bring me some luck. It's still your play, Marshall. Now, what would I do if I was in your boots, Colonel?  You're living at it, huh?  Now, the question is, what should I do? Take your time, Marshall. Poker's a game of chance, isn't it, Shawa? Some people think so. But the way you're standing over my shoulder increases the odds, considerable. What does it matter, sport? Oh, nothing except you just told the Colonel what cards I'm holding.  That mirror over the bar, I saw you raise three fingers. You better get out of here, Shawa. Listen, you think so, Marshall?  This is Doc Holliday's town. When he comes back... Better run along, Shawa. Oh, sure. Sure, right right along. Now, where were we? Sorry, Gents, but I don't like eight-handed poker deals. Oh, now, Marshall, you don't think that I... Oh, no, no, no. Now, let's see. You just raised me. Yeah. Well, seeing as how you know I got three of a kind, I'll just have to call you. Yes, you lose, Marshall. Got a little straight to it, should. Well, Doc just walked in. Huh? That's Doc Holliday, huh? Nice looking fella. I thought I told you to get out of town, General. Have a heart, Doc. I said I'd cut you in. I told you to get out of town. I'm going, Doc. I'm going.  That doors for ladies and gentlemen. You go through the kitchen. Sure, Doc, sure. Go on with your game, gentlemen. It's getting late. I better cash in. Yeah, me too. This sure is a hard town for a fella to have a quiet game of poker in. Sorry to have broken it up. I just don't like the way the Colonel plays. Doesn't matter. I just been killin' time anyway. Been waitin' to see ya. Have another town, Mr. Repp. Oh, you know who I am. I know all about you. And your reason for being here. I've heard a lot about you, too, Doc. You left your mark around in Deadwood, Denver, and places. In fact, a man could almost follow your trail goin' from graveyard to graveyard. There's a graveyard here, too. The biggest graveyard west of the Rockies. Marshalls and I usually get along much better when we understand that right away. Get your meaning, Doc. Good. Have a drink. Thanks, believe I will. Baldi, a glass of champagne for the Marshalls. Make it risky. You're my guest, Marshall, Champagne. Plan on staying here long? Oh, wow. Till you catch the rustlers who killed your brother. That's the general idea. What's the specific idea? I don't follow you quite.  I hadn't thought of it quite like that, but you need a bad idea. That's what I'm getting paid for. Let's get down to cases, Marshall. What about me, for instance? How would you handle me if I took a notion to break the law? You already have from what I've heard. The law is my business, Doc. I see we're an opposite camp. You're quite a draw, John. I'm a great one for education, Marshall. Sorry, but I'm not carrying a gun. We can run me to that quickly enough. Are you down there? Let's have your gun. There's a gun, Mr. Rook. Yeah. Looks familiar, too. Belongs to my brother. Thanks, Verge. All right. Well, I haven't got another.  Chances are? Such odds would ruin my reputation as a gambler. Folks might say you were a fool to have started it. So let's have that drink instead. Verge, meet Doc Holliday. Howdy, Doc. Howdy. Have a drink. Thank you. I'd like you to join us, too, Baldi. Yes, sir. Thank you, Doc. Well, gentlemen, your help. Your help, Doc. Doc, you all right? Fill up the glass. Going to the performance tonight, Marshall? Performance? Haven't you noticed the posters? Oh, there. Shakespeare's come to Tombstone, huh? I haven't been a long time since I've heard Shakespeare. How would you like to join me? Fine. With or without a gun? With, by all means. Next time, your brother might not see around. Where we going, Doc? To find our Shakespearean actor.  I'm afraid Mr. Denison P. Thorndike is drunk. Drunk or not, we'd better get him there. Last three shows we've had, the stars been drunk and the management had to fill in with bird imitations.  Yes, we'd better find Thorndike then. Unless you want to have a riot on your hands. Me, it doesn't matter. I'd still like to know where we're going. Well, there's a little Mexican saloon. Since he's not at my place, chances are he's there. Really, gentlemen, I must get you to the theater.  Well, you want any more poetry, understand? If you're an actor, act. Maybe you'd rather dance. No, no, please, please. I want to see some acting, Finn. You can dance later. Very well. To be or not to be. That is the question. Whether it is no... Well, there's your actor, Mr. Rope. How to get him out of here. No, wait, stay back. I want to hear it. But to take arms against a sea of troubles and by opposing, end them. To die. To sleep no more. And by asleep to say, we end the heartache and the thousand natural shocks that flesh is heir to. Which is a consummation devoutly to be wished. To die. To sleep. To sleep but chance to dream. Ah, there's the rub. For in that sleep of death, what dreams may come when we have shuffled out this mortal coil? Ah, that's enough. You know nothing but poems. Leave them alone, Clanton. What? Oh. Oh, sure, Doc. Sure. Please go on, Mr. Thorndike. Thank you, sir. Must give us pause. Must give us pause. Please help me, sir. Must give us pause. There's the respect that makes calamity of so long life. For who would bear this whips and scorns of time? The law's delay. The insolence of office. And the spurns that patient merit of the unworthy takes. When he himself might his quietest make. Excuse me, Marshal. What's the matter with Doc? I don't know. They're waiting for you at the theater, Mr. Thorndike. Thank you, sir. Shakespeare was not intended for tavern, sir. No for tavern lot. Hey, wait a minute, Marshal. Hammer stays here. What's going on in here? My apologies, Mr. Clanton. I had to hit Ike. And I guess I creased one of Finn's rid. Finn, you all right? I'm all right. I guess they had a little too much to drink, Mr. Earth. Sure. I figured they were just having themselves some fun. Come on, Mr. Thorndike. I'll take you to the theater. What happened? Well, I pulled my gun on them, Pa. And when I did... You see this whip? All of you? You see this whip? No.  Understand? Kill him! And Richard Conte and Kathy Downs will return in a moment with act two of My Darling Clementine. Libby, I hear there was quite a bit of monkey business going on over at Paramount Studios while they were filming that exciting adventure story, Calcutta. Monkey shines, to be exact. How come? Well, when I arrived on the set, there was Gayle Russell. She co-stars in Calcutta with Alan Ladd and William Bendix, doesn't she? Mm-hmm. And the scene of the picture is a glamorous, mysterious city in India. Well, there was Gayle admiring the most expensive prop in the picture. Well, let's see. India? Hmm, probably a gem. Good guess. It's a gorgeous 106-carat star sapphire. But while Gayle was admiring it, a cute ring-tailed monkey was watching her just a few feet away. Josephine, that's the monkey's name, became so intrigued with the shining stone that she made a dash for Gayle, tried to climb on her lap, and in the scuffle... Gayle's costume suffered? No, but her beautifully sheer nylon stockings were ruined. Oh, too late for luxe then, wasn't it, Libby? Well, yes. But luxe came to the rescue all the same. You see, the wardrobe department keeps dozens of beautiful nylons lovely with luxe care. So, whisked outcomes another pair, Gayle changes, and the shooting goes on. Of course, Josephine was into scrapes. I should think so. Really lovely sheer nylons or treasures these days. But then, that kind of an accident isn't likely to happen to many girls. I don't want to run pops for apparently no reason at all. At least, that's what some girls think. The chances are those unexplained runs come from using a strong soap. Luxe girls know better than to risk that, Libby. For we've proved in hundreds of tests by an impartial laboratory how luxe cuts down runs over 50%. Yes, luxe stockings lasted twice as long under the most severe strain tests. Twice as long as stockings washed with a strong soap. So it's never wise to take chances. It's a very gentle luxe to double stocking wear. We return you now to William Keely. Act two of my darling Clementine starring Henry Fonda as Wyatt Earp, Richard Conte as Doc Holliday, and Cathy Downs as Clementine. It's a couple of weeks now since Wyatt Earp settled down in Tombstone, but the new marshals know closer to discovering the murderer of his young brother, James. It could be the Clantons. It could even be Doc Holliday. It could be Doc who's haunted by a racking cough. Doc the Tavernkeeper who quotes Shakespeare and scorns the law. One person might know the full story of mysterious Doc Holliday, his dark-skinned girl, Shawala. But Shawala's full of smiles and silence. Early one morning, the westbound stagecoach leaves a passenger at the mansion house. Alone on the porch, Wyatt Earp watches her come up the hotel stairs. If you don't mind getting out of your chair I'll have some baggage there. Oh, sorry, miss. Thank you. Hotel clerk seems to have disappeared. As a rule, he watches out for the stage. Any special place you want those bags? Well, I'd like them brought to my room, but if the clerk is... Oh. Something wrong? Well, you're the sheriff. Uh-uh. Marshall. I thought you were employed here. I'm terribly sorry. No, need to be sorry.  I'm looking for someone. Dr. John Holliday. You mean Doc Holliday? Well, I imagined so. Doc wrote out of town early this morning, miss. Hard to say when he'll be back. Supper time, most likely. Oh, here's the clerk now. I've got a customer for you, Dad. We want a nice room for Miss, uh... Carter. Clementine Carter. Yes, ma'am. Now then, if you just sign the register, Miss Carter, don't mean nothing. Tones up the place a little though. You really didn't have to bring my bags upstairs, Marshall. And show the clerk. I told him to send up a couple of buckets of hot water in case you wanted to take a bath. That's very thoughtful of you. Well, here's your room. What do you know? What's the matter? Looks like they put you right across the hall from Doc Holliday. That's John's room? Yes, ma'am. I wonder if it's locked. He doesn't have to lock his doors, miss. Nobody in Tombstone be fooled enough to waltz in there. I would. Come along, ma'am. This is where he lives, then. Where John was. That's right, miss. Look, on the wall. His diploma from college. Yeah. That's a diploma, all right? He's a wonderful surgeon, isn't he? I wouldn't know, ma'am. And here, his photograph. I remember when he had this picture taken. See? It were a mustache, then. That other picture, that's you, ain't it? Yes, I was a nurse then in a hospital in Boston. That's how I met John. Well, I guess I better get along, miss. Thank you for your trouble, Marshal. Real pleasure. Hope Doc shows up soon. Would he come straight here to the hotel, do you suppose? Well, I imagine he'd go to that place down the street. What place? Well, it's sort of a bar. Well, then I'll wait for him there. What's the name of it? What's called Doc Holliday's place. What's the matter, Shewa? What are you all going to stop singing for? That girl who just spoke to you. She was here before, wasn't she? Yeah, come in twice this afternoon. What does she want? Looking for Doc. So you sent her to him? Well, of course I did. He's back now, isn't he? Maybe he wants to see her, too. Oh, I don't look so mad, Shewa. Well, you know Doc. Yes, I know Doc. Well, stop worrying. You're the only girl he pays any attention to. Am I? Still, I should like to know what's going on back there. Don't forget it, will you? Come on, sing something. Sing something for old Baldi. Oh, sure, Baldi. Sure. Just don't know what to say. Aren't you glad to see me, John? Sure, Clam. Sure, but... Oh, I'd like you to be a friend of mine. Why, I live in Miss Carter. We met earlier today, John. Good evening, Mr. Brown. Howdy, ma'am. Well, I'll see you both later. It's wonderful to see you again, John. Why did you come here? You're happy I came? I can see you're not. You're upset. It was ill-advised, Clam. Any less ill-advised than the way that you gave up medicine and left Boston. How did you know I was here? I didn't know. I've been months finding you. From cow camp to cow camp. From one mining town to another. Well, I should think that if nothing more, you'd at least be flattered to have a girl chase you. Look, Clam, you've got to get out of here. No. This is no place for your kind of person. What kind of a person am I, John? Please go home, Clam.  Forget that you ever... You heard what he said. He said, go back home. Who are you? He does not matter who I am. He's sick, isn't he? Those coughing spells. Does he have them frequently? Too often. Each time he's worse. Oh, that frightens you, doesn't it?  Oh, John. That's why you left home. That has nothing to do with it. What if that would have mattered? I tell you, Clam, my health has nothing to do with it. I don't believe you. Then I'll give you the truth. The man you once knew doesn't exist anymore. There's not a vestige of him left, nothing. Now come on, I'll take you back to the hotel. John, please, you can't send me away like this. You can't run away from me anymore than you can run away from yourself.  Well, you've tried to get yourself killed. I've heard all about you, John, and you're wrong, so wrong. You've no right to destroy yourself. A world of friends back home who love you. And I love you. There's a stage leaving in the morning. Take it, Clam. If you don't time moving on. Very well, John. I'll go. I think your brothers can finish supper all by themselves. I'd like to see you. Sure, Doc. Trouble? I don't think so, Morg. From where I'm standing here, that tin badger wearing doesn't give you the right to stick your nose into my personal affairs. What's eating you, Doc? Why didn't you tell me Miss Carter had come to Tombstone? Didn't she tell you why she wanted to surprise you? All right, all right. Now let me alone. I'll be around for a while. If you have any more questions. Baldi? Yeah, Doc? Give me that bottle in the glass. Oh, Doc, you're not going to start drinking whiskey again, are you? I said give me that bottle in the glass.  Doc, what is wrong?  Now get out of here. Doc, sure, lapping up the liquor. I'm going to see if I can get him out of here. Finish your supper, Wyatt. It's all right. I'm finished. Have a drink, Marshal. No thanks, Doc. I said have a drink. No thanks. Look, Doc, I ain't trying to poke my nose into your personal fares, but from where I stand a man will have to go a long way before he finds a nicer girl than Miss Carter, or a prettier one for that matter. There ain't a man... Marshal, you've said enough. Just as you say, Doc. And this isn't any of your business either. Keep that up and you'll be out of business. You've just given me a brilliant idea. It's time I tempted fate. What are you pulling your gun for? Now let's see who's in here tonight that I don't particularly like. That's a sucker game, Doc. There's probably 50 men around town just waiting to see you get liquored up so they can fill you full of holes. Build them a great reputation. A man that killed Doc Holliday. See those fellas playing poker down there? That lamp should suddenly crash down on their table. They may not like it. I'm going to find out, Marshal. Sorry I got to do this, Doc. Give me a hand, Baldy. Let's get Doc to bed. Morning, Morg. Morning, Verge. Have a good breakfast? Three chops and four eggs. Feel pretty good. Sitting all alone on the porch? Yeah, just came from the barber shop. Had my hair cut, see? Looks nice. Verge and I figured on riding out to James' grave. Figured I might ride out myself this afternoon. Is that a church bell right here? Yeah, that's a church bell, all right. You know, if I wasn't in the territory, I'd swear we were back home in a Sunday morning. Yeah, with Mars scrubbing our necks to go to camp. Oh, golly, I bet that's what it is. A campy could be.  That's me. The barber put some stuff on my hair. I sure like to know what's happened that a church bell is ringing in this godforsaken town. They're trying to build a new church, Verge. Need more money, though. They're having a socialists morning after the service. The mayor said there'd likely be some dancing, too. You know, there's probably a lot of nice people around here. We just ain't met them. Let's get started, Mark. Yeah, see you later, Wyatt. See you later. Hiya, Chihuahua. Morning, Chihuahua. Looking for someone? I'm going into the hotel. Any objections? Doc's still in his room, I think. He won't be there long when he finds out you're here.  He'll come down here and twist that tin bed around your heart. Yes, what is it? I came up here to see Doc. I decided to see you first. What about? Oh, I see you are packing your clothes. I said, what about? I am Chihuahua. I am Doc Holliday's girl. I just wanted to make sure you were packing. Women yelling, I'm trying to rest. Oh, I'm sorry, darling. You're not angry, are you? And you know, Chihuahua, what rather I got to be angry with anyone or anything. She's packing, Doc. She's leaving town. Happy, aren't you? Oh, yes. Get me a drink. There's a bottle on that table. Yes, Doc. Chihuahua, I'm going into Mexico for a week or two. While I'm gone, I want to... Doc! Take me with you. Please, Doc, please. Take you with me? Sure, why not? Doc! I've got another idea. Go over to the saloon. Tell Bollie I want a wedding breakfast prepared. Flowers, champagne, everything. Then get into your prettiest dress, Chihuahua. And if Bollie starts asking questions, just tell him the queen is dead. Long live the queen. Good morning, Miss Carter. Good morning, Mr. Earth. You've been standing there long? I just came down. I thought I'd wait here on the porch for the stagecoach. You leaving? I'm going back east. Eastbound stage don't leave till noon on Sunday. Somebody short visit, Miss. John thinks I've overstayed my visit already. I don't know, ma'am, but if you ask me, I... I think you're giving up too easy. If you ask me, I don't think you know too much about pride. No, ma'am, maybe I don't. You hear that, Miss Carter? A church bell. Church bell in Tombstone. I believe that's the first church bell I've heard in months. This may sound strange, Marshal, but I love your town in the morning. The air's so clean and clear in the center of the desert flowers. That's me. Barbara. Are you going to the church service? No, I've been sitting here pondering over. If you do, may I go with you? You? I guess I'm through pondering, Miss Carter. I'd sure admire to take you to church. I hereby declare the first church of Tombstone, which don't have a name yet. No, no, preacher either. Officially dedicated. Now, I don't pretend to be a preacher, but I've read the good book from cover to cover and back again, and I never found nothing against dancing. So we'll commence by having a dad blasted good dance. Start the music, boys. Well, will you oblige me, ma'am? Thank you. Oh, Mr. Clanton. Don't mean to bust up your dance, Miss, but I've been one to ask the Marshal something. What's all right, Mr. Clanton? Find out who shot your brother yet? I've got a pretty fair idea. Good. Maybe this town will turn out like the mayor said. Honest? When you figure to round up them wrestlers, it won't be for a while, Mr. Clanton, but I promise you you'll be one of the first to know. Much obliged, Marshal. Much obliged. Sorry, ma'am. Well, after all you are Marshal here. Some will think I forgot what I took the job for. I haven't forgotten. Well, now then, Miss Carter. We're back in time for Sunday dinner, ma'am. If you want a fresh nap, you... Hello, Doc. Hello, Marshal. Hello, Clem. Hello, John. You might better say goodbye. I'm leaving, Clem. It doesn't matter.  I told you if you didn't die, would. Just a minute, Doc. Running people out of town, that's my business. That's what I'm getting paid for. Miss Carter or any other decent citizens can stay here just as long as they want to. We're through talking, Marshal. My advice to you is to start carrying your gun. That's good advice, Doc. Thanks. This is the second time you've burst into my room, Tawara. I wish you'd knock after this. He's gone. Doc's left town. He makes you go and take me with him. He was going to marry me. Where'd you live in town, too? I had every intention of leaving town, but I've just about changed my mind. This stage leaves in 20 minutes. You'll be on it. You hear? You'll be on it. Going on, Miss Carter? It looks like a slight case of hysteria, Marshal. What are you doing here, Tawara? None of your business.  Now go back where you belong. I'm not getting out till she leaves town. What do you know about it anyway? What do you know about Doc and me? He was going to marry me. I said he's milk-faced. What's that you're wearing? Doc told me to dress up. There would be wedding breakfast at... That pendant around your neck. Where'd you get it? Doc gave it to me. Where do you think I got it? You're sure that's the truth? Why should I lie about it? It's solid silver. Doc gives me everything I got. Go to your house, Chihuahua.  I go where I wish. It's your house or the jail till I bring Doc Holiday back here. Why? Never mind why. And give me that pendant. Sorry, Miss Carter. Maybe we can have that Sunday dinner some other time. Of course, ready Wyatt. Find out where Doc went? I found out. He's riding a bullion coach to Tucson. You invert, stay in town, keep an eye on Chihuahua. What do you have to Doc for? Because I just found this. The pendant? The pendant James showed us a night he was killed. Brought it for Corey's Sue, James did. Chihuahua had it. Doc Holiday gave it to her. Sure you don't want me to ride with you? Funny, I suspicion it was the Clantons all the time. Didn't know Doc went in for shooting kids in the back. No more thanks, I'll get him alone. We'll pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment our stars will return with act three of My Darling Clementine. Millions of people saw lovely Colleen Townsend on the cover of a national magazine. But it took an alert 20th Century Fox talent scout to see her screen possibilities. Colleen, you look like an outdoor girl. That's true, Mr. Keely. I love swimming and I'm crazy about horses. Did you see those fine thoroughbreds 20th Century Fox had for the shooting of Homestretch? Oh, yes indeed. In fact, one day I met Connell Wild out at the corral. He invited me back to the set to watch him do a scene with Maureen O'Hara. You studied that technique? Well, frankly, Mr. Keely, the technicolor sets were so lovely and Maureen's wardrobe was so gorgeous. Well, that's all I had eyes for. You see, pretty clothes are a weakness of mine. Well, how about those shorts? An old shirt you wore in your own picture. It's got a who's got a hey. Well, maybe they'll let me wear more glamorous costumes next time. June Haver and I had quite a time with our technicolor suntan makeup. We practically covered ourselves with it for our farmer roles in, well, of course, it got in our lingerie as well as our costumes.  I think I know, Miss Townsend. The wardrobe department whisked those things away, lucks them, and they looked wonderful again. Yes, that's it. Our things were lucks day after day. And yet, after all the shooting, I do believe they looked just as nice as ever. Well, that's not surprising, Miss Townsend, because we've proved by actual tests that lucks care actually keeps lingerie color-fresh and lovely three times as long. Now, if the studio had washed them the wrong way, although only careless people do that, you'd have found your lingerie looked faded and drab much too soon. That's what happened in our tests. But when identical underthings had gentle lucks care, they still looked lovely after three times as many washings. Well, I've always been a lucks fan myself. But when I found a studio using lucks flakes, too, I was pleased to think how smart I'd been. Smart girls everywhere are lucks girls, Miss Colleen Townsend. Thank you so much for coming tonight. Now, back to our producer, William Keely. Act three of my darling Clementine, starring Henry Fonda as Wyatt Earp, Richard Conte as Doc Holliday, and Kathy Downs as Clementine. After a furious three-hour ride across country, Wyatt Earp has overtaken and cut off the northbound stage. At the mouth of the Wachuka Pass, he stands now in the center of the road and signals the stagecoats to come to a stop. What's up, Marshall? What's wrong? I want your passenger driver. Climb down, Doc. All right, Marshall. Now what? I'm carrying government money, Marshall. Ain't all to stop here. I'm not holding you. You can go on. You're not going till I'm back aboard.  Yeah, sure, Marshall. Sure. Hey, up there! Hey! You shouldn't have done that, Marshall. The stage is going to Tucson, Doc, but you're coming back to Tombstone. Now, I suppose we just talk it over. I told you I'm through talking. Still, you're coming back with me. Sorry, but I'm not going back. Well, in that case, I'll be taking you back. Stay where you are, Doc. Draw for your gun, Marshall. You call it, Doc. How many closer, and that's it?  There was no accident, wasn't, Marshall? Shooting the gun out of my hand. It'd be hard to miss it at 12 feet. Why didn't you want to kill me? Because I'm wearing a badge. And the badge says you've got to have a trial first. Trial for what? For murder. For killing my kid brother. You've got the wrong man. Have I? Suppose we talk it over on the way back. Come on, Doc. We'll pick up a horse for you and my children. Come on, bartender. Whiskey for me and the boy Ike. Maybe I bet a 4-3, Mr. Clanton. 3? Ain't that your other son coming in? Ain't that Billy? Huh? Looks like Billy's got something on his mind, Pa. Wait here, Ike. Here, Billy. Pa, I've just seen him riding into town. The Marshall and Doc holiday. Well, what'd you fret about? They haven't put you while his place, and they're going to start asking Chihuahua questions.  You crazy. I told you to keep away from the girls. But Pa, what can I do now? What am I going to do? There's only one thing you can do. The Marshall. The people's doors this time of night. Better let us in, Chihuahua. Doc, is that you, Doc? Open up, Chihuahua. Doc, you came back. Why did you tell the Marshall I gave you this silver pendant? Well, well, you did, Doc. You gave it to me? I never saw this piece of junk before in my life. Who gave it to you? When you... You can't remember everything you gave me, Doc. Sure you did. Don't you remember? When? I don't know. A week ago, maybe. What difference does it make? Be it in the case, Doc, I charge you with a murder of my brother, James Earp. Oh, Doc, he's fooling. I ain't fooling, Chihuahua. There was stolen from my brother the night he was shot in the back. Do you still insist I gave it to you? Oh, no, no, Cornus. Then who did? I... I can't be a squealer, Doc. Then that's that. Come on, Doc, let's go. Oh, no. No. Let him go. You're going to tell us the truth? Yes. It wasn't, Doc. A few nights ago, it... it was late. Somebody knocked at the door. I... I thought it was you, Doc. So I... I opened the door, and it was somebody else. Who?  I didn't know. Who? Billy Clanton. He gave me the jewelry. And then he tried... Oh! Burge! Billy Clanton! There he goes, Burge, beyond the barn. Go get him. Billy Clanton. You better stay at the hotel tonight, Chihuahua. Next time they may not miss. He... he did not miss it. This time. That's an old marshal. What would you bring her down here for? She's hurt real bad, Mayor. Put a couple of them poker tables together and set some lamps around them. Give him a hand, Baldi. Sure, Marshal. Morg, you're at the hotel. Get Miss Carter. She's a nurse. Tell her to stop by Doc's room and get that doctor's bag. I told you I can't do it.  You said she'd have to be operated on. Then why haven't you sent to Wachuka for the army doctor? That'd take hours. He may not even be there. Doc, you're gonna operate. I'll try. I'll do what I can. I'll be in the kitchen. We'll need boiling water. She's unconscious again, Marshal. Yeah, Baldi. Billy Clanton, huh? Maybe your brother got him. You heard them shots before. He'd have been back by now. No, I guess Virgil's got a chase on his hands. You'll get him. I'm ready whenever you are, John. Thanks, Clanton. Better move that lamp a little closer. She seems to be regaining consciousness. It's a pity. Chihuahua. Sorry, Doc. It's been a matter of... No, honey, look. I haven't got anything to put you to sleep with, so this is going to hurt like blazes. Gel, cream, holla, anything you like. Bite on this towel, Chihuahua. It may help. Thanks. Meat, milk, please. Just nod your head when you're ready. Oh. Hold her hands, Marshal. May you watch her feet. Now bite on that towel, Chihuahua. Bite hard. I'm Virgil Earp. I'm looking for your brother. There's a shooting in town. I followed him here to this house. There's a deputy here, Pa. He's right in there, Mr. Earp. On the bed. He's dead. Shot down the streets of Tombstone. Murdered. It's too bad it had to end this way, Mr. Kleiner. He got off his horse, walked in, and dropped down dead. Who shot him, deputy? I did. Are you doing my duty? Yeah. Sometimes killing is a man's duty. You can go back to town now, can't you? Yes. I'm sorry. Give me that rifle, Finn. Here, Pa. Open the window. Mr. Earp. Yeah? Get your horses, boys. We're going into town. All over now, Chihuahua. I'm all finished. He doesn't hurt anymore, Doc.  You've been a brave girl. We're taking you to the hotel, Chihuahua. You'll be more comfortable there. Morgan, if you and the mayor... Ready, Mayor? Gently, now. I'll go with it, John. Thanks, Clem. I'm awfully proud of you, Doc, for the holiday. How about a drink, Doc? No, I've got to get cleaned up. I'll be over in a few minutes, Clem. You have a drink, Marshal? I could use one, Baldi. And Doc. Oh, he sure did it, didn't he, Marshal? Yeah. Baldi, have you ever been in love? Me? No, Marshal. Never. I've been a bartender all my life. Well, I... I better get started looking for Verge. You'll find his buddy in front of the hotel. When? You'll find me and my boys waiting for you at the Wells Fargo Clown. The mayor is forming a posse, Wyatt. It'll be over in a little while. The first James are now Verge. No. No posse. This is just for you and me, Morgan. I was hoping you'd say that. There's four of them clantons. That's all right. They're walled in in that corral, all right, Baldi's home. It's just at the edge of town. Here comes Doc. Yeah. How's Chiwawa? Chiwawa is dead. Dr. John Holliday. When do we get the clantons? We. Well, thanks, Doc, but... Sorry. It's all right, Morgan. I kind of think Doc wants to come along. We go after him at sunup, Doc. Thanks. Three of them. Ike, Clem.   You too, Ike. Maybe others coming in from around the back. It's them all right. The Marshal has brought her and Doc Holliday. Make a pretty target, son. Walking straight down the road there. They're crazy.  Stay undercover, Ike. You too, Sam. Finn, get behind the post. They're splitting up, Pa. Let them. One to the left, one to the right. And one keeps coming straight ahead. Pa, let them have it. And good time, son. All in good time. Morning, Mr. Clanton. Cover him, Finn. What do you want? He's ducking behind the staple. Let's talk a while. Well, now. You go right ahead and talk. I got a warrant here for you and your sons charging the murder of James and Virgil Erk. There's also a charge of cattle rustling. I'm giving you a chance to submit now to the proper authority. You come right on and serve your warrants, Mr.  I did. And the other one too. And I'm killing you this morning. Ike, and back here. Give it to him, boys. Better come out of that shed, Mr. Clanton, while you're still alive. Mr. Clanton, you saw what's happened. You're the only one left now. He's opened the door, Wyatt. Careful. Thraud your rifle, Mr. Clanton. Now, come out with your hands up. I... Sam... They're dead.  I hope you live 100 years. Feel just a little what my paws gonna feel. That's your horse over there? My horse? Yeah. Yeah. Get in the saddle and keep going. Get out of town. Start wandering. Let them get away.  Where's Doc? Back at the shed there. Doc. A lot of good I was to you. It's all right, Doc. You couldn't help it. I got one of them, didn't I? Yeah, you got one of them. I had a stock coffin. Sorry. We'll get you back to the hotel. Doc, you'll be all right. No. I knew this coffin would kill me one way or another. Doc? Doc. Wyatt, look out. Old man Clanton. Ellie won't be trying to shoot any more men in the back. We should have known he'd have a gun in his saddle. Thanks, Morgan. Well, I guess we can turn in our badges now. Hey, you're right there, Morgan. I'm sorry to see you leave, Wyatt. Thank you, ma'am. There were so many things I wanted to say, and now nothing seems appropriate. Yes, ma'am, I... Yeah, I know. The mayor says you might be staying here a while. Maybe help him get a school started. Maybe. Well, that's mighty nice, ma'am. Me and Morgan, going out to see Pa, tell him what happened. I might come east again, get some cattle, maybe stop by here again. Stop by the schoolhouse. Yes, ma'am, I sure will. Goodbye, ma'am. Goodbye, Wyatt. Ma'am, I sure like that name of Clementine. Before our stars return for their present calls, I'd like to ask the women in our audience a question. How do you wash dishes? After every meal, twice a day, once a day? There's a lot of debate on which method is most efficient. It might interest you to know that many home economists say you can save considerable time if you wash the dishes from all three meals together instead of washing them after each meal. That is, of course, if you scrape the dishes first and rinse them well with warm water. Now, another way to make dish washing go faster is to use luxe flakes. Just pour in enough to make rich suds. Turn on the water and in a flash, the suds billow up. Luxe flakes dissolve fast. Leave no gummy, undissolved bits to stick to the dishes. A quick hot water rinse and your dishes are sparkling clean. Dishes dry without wiping, too. Best of all, luxe is thrifty for dishes. Luxe flakes actually go so much further and are so rich, ounce for ounce, that they wash up to twice as many dishes as any of ten other leading soaps tested. But here's the thing you ladies will be most interested in.  Luxe suds are so gentle, they won't redden and roughen your hands as strong soaps often do. In fact, if strong soaps have been making your hands red and dry, try changing tomorrow to luxe flakes. Scores of women prove by actual tests that changing to luxe actually takes away dishpan redness. Makes red, rough hands smooth and soft again. Now, isn't luxe worth trying? Here's Mr. Keely at the microphone. There's more to come as we bring our three stars back to the footlights for a curtain call. Henry Fonda, Richard Cotty, and Kathy Downs. You made the Old West seem very real tonight. Thanks, Bill. Actually, it seemed very real to us when we were shooting the picture. Is it true about you being surrounded by Indians most of the time? Yes. In fact, the producer hired a lot of them as extras. Did you pick up any of the language? Oh, simple words like nanya for rain and shooshay for papoose. Papoose? Sure. Indian baby. Oh, I thought you meant the rear end of a railroad train. But the Indians were really mighty helpful when it came to keeping us posted on the weather. You don't mean they could predict the weather. Well, God, you're good. Every morning we'd ask him what it was going to do and he'd tell us. Never missed, huh? Oh, he failed us once. At least he shook his head and said he didn't know. What reason did he give? His radio had broken down that morning. Well, Bill, if that Indian is listening in tonight, I'm sure he's waiting to hear what's on for next week. And we're glad to tell him because next Monday from the studios of Universal International, we're presenting that current howling comedy success, The Egg and I. And our stars are Claudette Colbert and Fred McMurray. Both as you know from the original screencast. That's a very funny picture, Bill. And I'm sure it will make a delightful play for us. The story of two refreshing people who seek peace and riches on a chicken farm and end up more scrambled than the eggs. Sounds like something to crawl about. We'll be listening. Good night. Good night and our sincere thanks. Leave a brother's company, the makers of Lux Flakes. Join me in inviting you to be with us again next Monday evening when the Lux Radio Theatre presents Claudette Colbert and Fred McMurray in The Egg and I. This is William Keely saying good night to you from Hollywood. Have you taken a can of used fat for your meat dealer lately? Ask him what he pays. You'll be surprised and delighted at the high prices you can get for used fat now. Up to four times as much as last year.  So keep a tin can right out in sight and add used fat to it every day. America is still desperately short of fats and oils for making soap and scores of other products. Take advantage of these new high prices being paid by saving every drop of used fat. Tonight's screenplay, My Darling Clementine, was based on a book by Stuart N. Lake. Henry Fonda will soon be seen in the 20th Century Fox production, Daisy Kenyon. Richard Conte appeared through the courtesy of 20th Century Fox, producers of The Ghost and Mrs. Muir. The 70 Downs will next appear for 20th Century Fox in The Miracle on 34th Street. Heard in tonight's cast were Earl Ross as Clanton, Carlton Caddell as Morgan, Paula Winslow as Chihuahua, and George Nice, Cliff Clark, Norman Field, Clark Gordon, Tim Graham, Eddie Maher, Bill Johnstone, Tyler McVeigh, Charles Seal, and Edwin Max. Our music was directed by Louis Silvers. This program is rebroadcast to our service men and women overseas through the worldwide facilities of the United States Armed Forces Radio Service. And this is your announcer, John Milton Kennedy, reminding you to tune in again next Monday night to hear The Egg and I with Claudette Colbert and Fred McMurray. Spry. When you bake and pry. Pry. For your cake and pie. Spry. Yes, it's spry. For pastry so tender, flaky, not sweet, any pie filling tastes more delicious. You'll say pastry is extra delicate, better tasting with spry. We lie on spry. Be sure to listen in next Monday night to see the best radio theater presentation of The Egg and I with Claudette Colbert and Fred McMurray. And why not tune in to Joan Davis every Monday night over most of these stations. This is CBS, the Columbia Broadcasting System.


Welcome to Toffy TV. It is the starting 11 show. Manchester City vs Everton. Last game of the season, Everton have to get something from this game if they want to try and get European football for next season. Let's get into it. Jordan Pickford in goal at a great end of the season last three months or so. Probably being Everton's most consistent player if we're honest and has really taken the corner. Hopefully that has taken the corner and is Everton clear. Has been superb so let's hope that continues. I'm going for a flat back four of Ben Godfrey. He's standing right back. No shame is coming. He's out injured. Ben Godfrey has sort of been filling in in that kind of area recently, whether it be in a back three or the game against Walls. He's sort of over in a back four. I think he's got the pace and he's going to need the pace to get up and down the whole game. I'm going to ask a lot of him in this game. He's going to have to get up and down the pitch for me in this game, similar to what Luca Dean does on the other side, except I suppose it's just a case of him driving forward. I'm not expecting him to be thrown in crosses in left out in centre, but just driving forward and getting us up the pitch. As I said, Luca Dean on the other side and Jerry Mina and Michael Keane playing centre back and probably just playing that low block that we play anyway away from home. And this will probably be the ultimate low block if we get away with it at the get he had. In midfield it's going to be sort of a diamond, sort of. Tom Davis at the base of it, protecting the back four, sitting in front of the back four, taking the ball off them, breaking off the play, a few fouls here and there. Just to make it harder for City to get through the passing lanes and just to make it as difficult as you can. In there will be Allen and D'Corey. D'Corey trying to get forward, trying to use his pace to get round the pitch. He's played three games in a week or so, so hopefully he's a little bit fitter, but you don't know how he can go either way. And obviously Allen is well in there just again just breaking up the play and ahead of them would be Sigarton sort of coming off the left into a number 10 role, sort of. Maybe. I mean it could work out sort of as a 4-3-2-1 this because we'll have with Charleston then ahead of Sigarton. So I imagine he'll drop a little bit deeper or he could move over to the left or he could be centre. There's probably a more balanced side than this, but I really don't want to play a Wobie or Gomez or Josh King. So I'm sort of just trying to fit players in to a side. And then we've got Dom the Carver on the Unifront who we need to use as a bit of a baton ram to play a lot of long balls into and hopefully Sigarton and Charleston pick up the pieces. So it's sort of a 4-3-2-1 I suppose this team is. It's going to rely on the wingers massively to get the width, the full back shotty to give us the width. But I think that's sort of our best 11. There's no Hammersfield diggers again. And I don't really trust anyone else or really fancy anyone else. So that's my 11. Let me know your thoughts in the comments. It's not really ideal for the last game of the season or such importance against such a good side. But we've gone away from home and won games this season. So let's see if we can do it again. We've only lost three away games all season. So let's see if we can get at least a point and see where that leaves us. Let me know your thoughts in the comments. If you agree, if you disagree or what would you play, let me know your thoughts. Give this video a like, subscribe if you haven't already. Make sure to do your Toffypicks.toffypicks.com. There'll be a link in the description for you to play that. And also there'll be a link on the screen now to the Toffypicks game. So you can see how to play it if you haven't already. Make sure to check out the match preview. Barso's joined by Cam from the Mighty Blues. If you want live daily videos, join us on Patreon. The link is on the screen for that as well. See you later.