The topic method of analysis and under this topic, we will study the method of Lagrange. Previously, we have studied that the optimization technique is mostly utilized in the economics and not even in the economics, in finance, in econometrics, in engineering to solve many solutions when we are having certain resources and when we have certain objective functions. So, when we say that a point that is called x-steric, here that we have taken and this x-steric is that point that we have attained from the point of optimization, means that is that point of value of x that satisfies our conditions of the constraints and it is able to provide us with the our objective function solution and this point will be the global minimizer if it fulfills the condition that this point is either less than or equal to then the function of x and that is the set of all other point or if we say in other words, all values of x in the entire interval which will be the lowest, it will be our global minimizer in the same way, but if I say that this point x-steric, if it fulfills our condition mathematically and if we look at it, it says that when our point t, functional value is less than or equal to the function of all other x values, but in a small neighborhood of x, so that will be local minimum and in the same way, if we say the next two points, then our global maximum will be there and if our local maximum will be there. So, if we look at these four conditions on the back end, then our mathematical rules and their conditions are present and if we look at it, then when we draw our curves, then because we have the data set in it, we have to take mathematical tools to solve it. Now, in the same mathematical tools, if I look at this point, if we are drawing a commodity over x axis and we are drawing a second commodity over y axis, and if I look at it mostly in microeconomics here, then we are taking it as that can be the consumption. So, if I say that on this side, we have a commodity where we are consuming x and on this side, if I say that we are consuming y, so if we look at it at the same point, then x and y combination, one value goes from here and it is less than or equal to here and this time x value is at this point, suppose it is 2, then we say that y value is at this point. When we have again x value is 4, then y value is this. So, like this, it shows us the various up and down movements. So, along this curve up and down movements, these points are that where we see that once the curve comes down and goes up again, if we look at these points, then mostly these points are called the inflection points. And if I look at it here, if we draw a production function mostly in microeconomics and we draw it in this form and if I draw a line from the origin from the center, then we see that it cuts this curve from here. So, if we look at it from here, then it means that this is the slope of the production function from here to here and if it goes up from here, then this point is called the inflection point. So, the meaning of keeping this example is that here y is the output and here capital or labour is our input. So, it means that this saddle point or inflection point can be present in any curve of our economics or in any graph of our mathematical term. Whenever a graph or a contour changes its slope, it changes, it gives a turning point. So, that point will be called the saddle point or if we look at it in another form, it will be called the inflection point and when we calculate its rate of change on that point, the rate of change in y with respect to x, so if we do it at this point, then if I say that change in y with respect to x at this point, then again change in y with respect to x. Now, what is the problem for our economists that we have general theoretical models when we have to prove various theories with the help of certain data but we also have incomplete data and it is possible that there are many variables like this that we do not have available data. So, if there is such a situation, then when there is no data available, then there is no numerical information or if there is data present, then it is in a qualitative form. In such a situation, it means that while solving the optimization technique, we will be careful because it will be able to give us a solution in that way but it may be difficult for us to calculate the saddle point and in the same way, if we look at it, then in our solution process, many of our general conditions will not be able to satisfy. What will be the shape of the objective function? We have a feasible set, whether it is convex or not, we have the shape of it properly because it is possible that the objective function will also come in the straight line and the feasible function will also come in the straight line and they both will be able to satisfy the objective function. So, the tendency will be available for both curves throughout, so how will we find out the best solution out of it? So, if we look at it in such a way, then we have some solution which is further in our economic subject. Math and statistics have been provided. We have two such saddle points or point of inflection. Through mathematics, we calculate its derivative or slope. The first condition is that the first derivative should be equal to zero. Either it is a maximum point or a minimum point. Its first derivative will be zero in every form. This means that the rate of change becomes zero and stops. That is the saddle point. In economics, the general theoretical models are there because we do not have any other solution to solve them if we do not have their data available. There may be a lot of data available in the model but it may be incomplete or we do not have the data in numerical form. In such a condition, it becomes very difficult for us to take mathematical or statistical tools for it and we say that we cannot solve it in the proper form. If we look at such a situation while solving it, then we have some conditions of optimization in which we say that those points, when we have to do maximum or minimum, then its two conditions are necessary. The first necessary condition is that the first derivative should be equal to zero. And the second derivative should be either positive or either negative. Now, if we talk about the positive and the negative, then if we draw a curve here, which we say that we have drawn in this form and here our point is y, this is our x and these two relationships are becoming something like this. So, we will see that we have this point of inflection or saddle point and on this point, change in y due to change in x, that should be equal to zero. So, the first derivative tells us that its slope is zero. But it doesn't tell us that either it is minimum or it is maximum. But when we take its second derivative and in the second derivative we say that now the rate of change should be positive. So, it means that now in the second derivative, change with respect to, if we say second, it should be not equal to zero. Rather, it should be greater than zero. If it is positive, then it will ascertain that this point is our minimum point. Similarly, if we draw another point like this, in which the relationship is like this, if we look at this point, then we will see that change in y with respect to x is zero. The first derivative will be zero. But the second derivative will show us that change in y with respect to x second, it is not equal to zero. Rather, it is less than means downward sloping. So, when after this point it is downward sloping, then we will decide that this is the maximum point. So, these two necessary conditions are very important for optimization. Similarly, we have a main assumption. We have a constraint problem that we have to see that while solving it, the constraint is really in the convex shape or not. So, to solve such situations, the next technique is called the Lagrange multiplier. And this Lagrange is an implicit function theorem or if we are in the second form, then it is based on an envelope theorem. And if we say in the short form, what is the envelope theorem? If we say that, when the light reaches directly without any media, then that path, the shortest path, is an implicit function that reaches the solution through the shortest path. And that is why we have an objective function. So, we find out its slope. On the other hand, if we look at the optimal point, then before reaching it, we find out the slope of the constraint. And when the point of tangency of these two slopes becomes the slope of the counter of the objective function, it should be equal to the slope of the budget or the constraint. So, we say that this will give us the tangency point. And if we look at this graphically, this is one function that is give us the constraint available with us. And if we say the constraint in the second form, then these are all available options. And this is our objective function that is present in front of us. And if we look here, then now we have a budget line. This is our tangency, the t line is basically touching this point of tangency. Because this is that point and if we look at this, then we have two lines that are present in front of us. This is our objective function and our constraint. The slope of these two slopes has become equal. So, the time when the slope is equal and the point touches it, it is called the point of tangency. And similarly, if we move this necessary condition forward in the form of leg range, it gives us that the first function minus lambda, if we take one equation, second and third. If we look here, then we have given a third equation here. So, in this, we see not only that we have choice variables, non-activity conditions, functional constraint, but with all these, a third equation that has become the condition is objective function. It is only function of x1 and x2. But this is our objective function in the form of leg range. So, this is x1, x2 and lambda. And now, we see this objective function. So, this is our objective function. And this is our constraint. And this is what we call in other form. So, this is our objective function. And we solve this and calculate the leg range multiplier. Now, if we want to calculate the leg range multiplier, how can we calculate it? So, if we look at any example, then we can solve it through it. If I want to solve this equation, then we will take first derivative, derivative of l with respect to x1. And then we will take derivative of l with respect to x2. Then we will take derivative of l with respect to lambda.


We talked about the whole Y Combinator deal. Can you, for those who don't know about it, talk about what DST did recently and how they're basically throwing hundreds of people? It was the guy as an individual from DST, Yuri, I forget his last name, but he and Ron Conway, our Silicon Valley Angel group, basically went to the Y Combinator, which essentially is like a community college for entrepreneurs. They come in and they get a class and it's a great way to get access to Silicon Valley. Used to be bicoastal, right? And they said, screw that, we're just going away. Used to be Boston and now they're only in Silicon Valley. But the founder is a guy named Paul Graham, who's a technical guy, and he basically has an algorithm. It's all numbers game to him. And he creates a pool and he does some vetting. So he has the secret sauce to vet startups. So this past week, the 40 entrepreneurs that were selected for the class for Y Combinator all received checks, opportunity checks for $150,000. Just no due diligence. Convertible note. No due diligence, no. Convertible note. No strings attached. Yeah, so it's really a boon for entrepreneurship. So Y Combinator is the community college of entrepreneurship. Access, you can get access to Y Combinator through applications. They really don't discriminate, they have a formula. So what do you do out here if you're an angel? I feel like an angel. Really super angels and you see that kind of activity. It's a squashed earth strategy. It's basically like a hedge fund.  The guy just land grabs all 40 startups. It's a great way. It's $6 million. It's like one funding, one big company that may or may not lose.


This is supine cadaver. This is the right side. I'm standing on the right side and the camera person is also on the right side This muscle that we see here This is the posterior biogastric which takes origin from the mastoid process and the intermediate tendon gets attached to the Hyoid bone by means of facial sleep and also just under the posterior biogastric. We have this muscle here This is the style of Hyoid muscle which takes origin from the styloid process and goes almost parallel to the posterior biogastric Then we have this muscle here. This is the anterior belly of digastric Which starts from the intermediate tendon at the Hyoid bone and goes and attaches to the mandible here And the supia boundary of the submandibular triangle is this line The inferior border of the mandible till the angle of the mandible which we have cut here and from there an imaginary line Going to the mastoid process. So therefore this is the submandibular or the digastric triangle This was covered by the platysma and we can see remnant of the platysma here That is the roof. Now, let's come to the floor for that I will reflect this structure and we can see the floor is composed of three different muscles. Immediately we have this muscle here This is the mylohyoid muscle Just after the mylohyoid we have the next muscle for that again. I'm going to reflect this up to show this muscle This is the hyoglossus And further laterally we have the middle pharyngeal constrictor The middle pharyngeal constrictor is located where my instrument is located here This is the region of the middle pharyngeal constrictor. So these are the three structures which constitute the floor Now, let's take a look at the contents. The most obvious content that we can see is this structure here Which is highly enlarged in this particular cadaver. This is the submandibular salivary gland I have reflected the submandibular salivary gland to show the other contents So let's start with first content that we can see here. This is the facial artery on the face So let's trace the origin of the facial artery from the external carotid artery. So this is the external carotid artery and We can see going anteriorly we have three arteries superior thyroid artery Linguel artery facial artery So this is the facial artery The facial artery goes under the posterior digastric and the stylohyde and then it hooks under the body of the mandible And at that place it gives off two branches and we can see the two branches here This is the ascending palletine artery and This is the tonsillar branch which supplies the tonsil then the facial artery comes down and it hooks Under the lower border of the mandible and we can see the rest of the facial artery coming up here And as it goes it grooves a posterior aspect of the submandibular gland And we can see it is grooving the posterior aspect of the submandibular gland So this is the full course of the facial artery that we can see here and I have extended it out and in the face It's following a tortuous course. So this is one content of the submandibular triangle Then we have the next content. This is the shell vein The facial vein comes from below and we can see the rest of the course of the facial vein here The facial vein and facial artery both of them receive multiple branches from the Submental region and this also grows in close proximity with the submandibular Salivary gland and here the facial vein is receiving multiple communications one communication is Coming from the lingual vein, which is located deep inside. It receives this communication Which is the lingual vein it receives the communication from the posterior auricular vein which came from the intratemporal fossa and we have brought it out and Then the facial vein opens into the internal jugular vein by means of these two tributaries this is the main opening Which we have cut and this is the secondary opening into the internal jugular vein. So this is the facial vein So we have seen the facial artery in the facial vein now. Let's take a look at structures below I have reflected the submandibular salivary gland again The next structure is this one which I have lifted up This is the lingual artery. This is the second anterior branch after the superior thyroid artery The third branch was the facial artery, which we have already described the lingual artery as it comes out It makes an upward loop and we can see that loop here and then it goes down and it enters Deep to the hyoglossus and we can see it is disappearing under the hyoglossus muscle The hyoglossus incidentally was one of the structures which forms the floor of the submandibular region And then it supplies the tongue by means of the deep dorsal and the sublingual branches The next structure that we can see is crossing in front of the lingual artery is this nerve This is the hypoglossal nerve The hypoglossal nerve follows this course in front of the bifurcation of the carotids It goes in front of the lingual artery and then it disappears under the tongue deep to the mylohyoid muscle But superficial to the hyoglossus. Here we can notice that hypoglossal nerve is giving these two branches These are not branches from the hypoglossal proper These are branches from the superior limb of ancestral vicalis Which came out from the loop of C1 C2 This is a branch to the thyroid and this is the superior limb of ancestral vicalis or the descending hypoglossi Which is supplying the omohyate muscle. So this is what we see in the hypoglossal nerve The next structure that we can see in the content is once I reflect again The submandibular salivary gland we can see this nerve here to see this nerve We can trace it from the infra temporal fossa This is a branch from the mandibular nerve which I have lifted up in the infra temporal fossa and we can see this nerve traveling This is the lingual nerve The lingual nerve enters the submandibular salivary gland and we can see it is giving a branch to the submandibular gland This is the secretary fibers which came from the corded tympani nerve and we supply the submandibular gland and Then the main lingual nerve then continues into the floor of the mouth deep to the mylohyoid and we can see it disappearing and Accompanying this lingual nerve. We can see this structure here This is the water and stuck or the submandibular salivary duct This is a very important relationship when we are doing a submandibular salivary gland surgery You have to be very careful of the lingual nerve because we may injure the lingual nerve while removing the water and stuck Now that we have restricted the submandibular salivary gland I'm going to draw your attention to one thing we notice that this is the lateral border of the mylohyoid muscle Which I mentioned was the floor one of the floor And this lateral border of the mylohyoid muscle partially splits the submandibular salivary gland into a superficial portion which we can see here and a deep portion which is deep to the mylohyoid and from the deep portion arises this Duct the Warton's duct. So we have seen the lingual artery We have seen the lingual nerve this again to show you this communication is the lingual vein The next structure which I will draw your attention to is in the infratemporal fossa My finger is in the region of the styloid process and from the styloid process We can see three muscles coming out one muscle. I told you in the beginning. This is the cut portion of the stylohyoid muscle This forms one of the boundaries of the submandibular triangle next muscle that we can see here is this muscle This is the stylo-glossus muscle and we can see the stylo-glossus muscle is also entering into the This muscle and above that we can see the third muscle This is the stylo-pharyngeal muscle. Stylo-pharyngeal muscle enters between the superior and the middle pharyngeal constrictor and accompanying the stylo-pharyngeal muscle is this nerve here This is the glossopharyngeal nerve and the glossopharyngeal nerve we can see it is giving one branch to the tongue This is the lingual branch which supplies the posterior one-third of the tongue and then the rest of the glossopharyngeal nerve then enters Into the pharynx with the stylo-pharyngeus and supplies stylo-pharyngeal muscle and it supplies Sensation to the pharynx while we're on the topic of the glossopharyngeal I will draw your attention to two other nerves which also emits through the jugular foramen We can see this nerve here. This is the spinal accessory nerve Which is also coming out through the jugular foramen. This is the next nerve The big one which also comes through the jugular foramen. This is the vegas nerve So these are the three structures which come out through the jugular foramen and since we are talking about the jugular foramen This is the superior bulb of the internal jugular vein The clinical importance of all these things lie in the fact that when we are doing a subbandabula celebrity gland surgery We have to be careful of the facial artery the facial vein the lingual nerve the lingual artery the hypoglossal nerve and there is one more nerve which is not visible here Which runs along the margin of the mandible the lower border and that is known as the marginal mandibular nerve Which is a branch of the facial nerve which also can be injured during Subbandabula celebrity gland surgery that brings me to the next point When do we do a subbandabula celebrity gland surgery? We do it when there's a stone or a stricture in the water's duct and that is diagnosed by a procedure called Silography this is a subbandabula or silo graphing to show stricture in the water's duct on the right side and When we see that then we have to remove the subbandabula celebrity gland if there is any injury to the corded impenny nerve or to the lingual nerve Then there'll be loss of secretion from the celebrity gland and that produces what is known as partial zero-stomia So these are the structures and the clinical correlations that I want to mention in the subbandabula triangle And it's continuity with the infrared temporal fossa and with the neck Thank you very much for watching. Dr.  Please like and subscribe if you have any questions or comments Please put them in the comment section below. Have a nice day


I'm Pavinda Kaur. I work here at UWA as an associate professor and my expertise is in agricultural and environmental biotechnology. I do a lot of fun stuff and that's what my everyday is filled with. As you know, I'm a scientist. I do science and specifically in the biotech area. With all the new technologies and tools we've got, we are able to do things which have only happened in my sci-fi dreams or sci-fi movies earlier. So it's super fun to be able to unpack the DNA of something which has never ever ever been done. I like to be in the lab that's kind of my favorite part of the day. I don't get to be in the lab every day these days but still I manage I sneak in a couple of days in a week. As you know that we generate huge amounts of data like for the DNAs we generate terabytes of data every week and so you know I spend quite a lot of my time these days doing the analysis of those those data sets and that's not done on a normal desktop computer anymore because it's huge amounts of data. If I just have to compare 3,000 genes with 3,000 genes, you're looking at about three years and one normal species would have like 20 to 40,000 genes. So we use supercomputers and we use pausing supercomputing center to do most of those analysis and yeah so that's you know generating data, analyzing data, training students, teaching. I try to go out to the schools a lot to be able to pass on all what we're doing and excite our younger generation so that they can follow on all the legacies which we are creating when they grow up. Yeah so that's that's kind of my average day looks like a lot of fun. No two days in my life kind of looks similar. Every day it's kind of different so whatever I do today I'm eagerly waiting what's gonna happen or what I'm gonna get out of it tomorrow so I jump out of the way to come to work. I will probably not leave I'll probably live here and I did when I was doing my PhD. DNA Zoo is the most fun project I've ever ever ever done or I could think of doing. What is DNA Zoo? DNA Zoo is a not-for-profit organization and it was founded in Houston so basically using that technology you can visualize the DNA in a three-dimensional view and that view many different aspects of learning about that DNA that how a two meter long noodle or in other words you say it three billion letter code fits in a six micro nucleus can you believe that? Understanding that actually led to founding DNA Zoo so while we were doing that on across different species we found that we were able to discover many many many different things and also discovered that our planet is actually in the middle of the sixth mass extinction and there is about one million species to say the least which urgently needs some sort of a support from us because they are at the verge of extinction. DNA Zoo just trying to empower all the species who co-inhabit this planet with us and give them the same support we've got for our own species we're doing personalized medicine our genome was only sequenced 10 years back and how far we have come you know curing diseases and being able to provide solutions to things which we never thought we would so I think there's a lot of power in understanding all this and unfortunately we haven't had those resources available for any other species except for our own so that's exactly what DNA Zoo is doing we've only launched it in November 2018 it's become a global project we are more than 75 collaborators across eight different countries the biggest message or the key message which I would like to give to the generation now is there is no shortcut to hard work so never ever think that you can achieve things which you dream of without doing any sort of hard work so hard work is always going to be the key for achieving anything on top of that I really want our next generation to be open and empathetic at the same time so when I say open to being thoughtful and also open to opportunities you know because they might you don't know what's going to come your way so if you open and prepare at the same time you will make the best out of the things that will come your way always be conscious that you're not the only one here so you gotta be making sure that you look after everyone around you every other species around you the planet you live on because it's precious


The Abbott and Costello program brought to you by camels listen to the music of Freddie Richard his orchestra the songs of Connie Haynes, Billy Gray, and little Matilda the famous cartoon character Bugs Bunny tonight's guest Metro Golden layer star of marriage is a private affair The Abbott and Costello show tickets, please See the Abbott and Costello show Really folks. It's a good show Won't somebody please come in? Come on in your couch. Okay, Niles. Why it's but Abbott hello, but hello, mr. Abbott welcome back Thanks, Mrs. Niles listen have either one of you seen Costello He was supposed to meet me here in the lobby of NBC and it's almost time to start the broadcast Personally, I don't care if Costello never shows up all last season. He did nothing, but insult me but Mrs. Niles Don't tell me you're carrying a grudge for a year. Well, why not? I've got a sister I haven't spoken to in 20 years and Costello reminds me of my sister except for the mustache, but Costello hasn't got a mustache. No, but my sister has Look who it is. Hey Costello where have you been? Look at you. You're perspiring something awful I ain't perspiring Abbott.  Do you know a quicker way to get your laundry done? Oh Oh Kenneth did you hear that joke? Yes, dear. There will now be a slight pause for a station fumigation Don't tell me that's mr. Mrs. Niles. Well, mr. Costello doesn't look like us. I wasn't sure I thought maybe I was getting sick again Costello no fighting, please. It's it's almost time. It's almost time to go on the end Oh, yeah ready to go on the air. That's right I can hardly wait to get in front of that microphone and also with Lana Turner. Hey, come on Abbott Come on. Let's get inside. Just a minute. Oh, yeah. Oh, yeah, but I'm the NBC manager Fogel. You're what I'm Fogel. What are you doing for it? No, mr.  I gotta get on the air my public is waiting for me. Oh, I wouldn't worry about him Oh him. He's a nice guy now castella. We got more than one. I know, but we got three y'all I take it easy. Take it easy, please take it easy. Remember your blood pressure. Oh, there's nothing wrong with my blood pressure When I was down in Palm Springs, I used to drill with the soldiers. Well, that's stringent. Oh, I should hope to tell you I did everything they did I'd get up at Sunday morning and I take a 20 mile hike Exercise for three hours drill for three more hours, and then I'd get up Tuesday morning. What happened to Monday? Wait a minute. What happened to Monday? What happened to Monday? Yeah, you should be so inquisitive. Yeah, who got up Monday? Oh, I see. I didn't get up Monday. I can see that. Well, mr. Costello. How about the physical examination? We can't let you in the studio without it. I tell you There's Pogel. No, no, no, no. Stop yelling Costello. What's your pressure? But do you see anything wrong with me at it? Well, your legs look a little weak. They're bending way out Oh, I can't help that. It's a long pull from my socks to my gutter belt Studio Costello, we're going on the air. Okay, Niles Come on. Let's go. I've been waiting eight months to meet Lana Turner. Just a moment, mr. Costello Now what? I'm from the insurance firm of Birchbark and canoe. I'm Birchbark. Where's canoe? He went up the river Ladies and gentlemen, every show must have a bad joke. This one is on us now Thank you. Now look, mr. Our program is going on the air and we're in a hurry to get to the studio exactly why I'm here mr. Costello in view of your long illness the network has sent me over to check up on your insurance They must be protected, you know now. How about some life insurance? No life insurance for me, brother Why not? I took some out a couple of years ago and nothing happened. No No, Costello. He means a policy. Are you interested in a straight life a straight life? Yes No, sir. I'd like to sneak out once in a while But the payments on this policy mr. Costello are very low for instance It's much higher in Canada. And do you know the premium in England? Sure church. Oh, I Mean after all it calls for it. Abbot will you get the sky away from me? I'll mr.  All right forget straight insurance We also have 10-year endowment 20 pay life annuities and health insurance with double indemnity now What would you like to take out Lana Turner? Oh? No, Costello. He's talking about something that'll be good for you in your old age. So am I I'll look here Costello. Let's pretend you're in an accident. What would you do if you lost a leg? Well, what I care I got another one No, no, what do you think our company would give you for that leg? $250 Abbot is a guy if I lose the leg once you give me $250. Is there anything like that $250 for one leg? Yeah, I won't sell Oh, you don't understand why last year my company gave over $1 million for broken legs alone. What did they do with all the legs? No No, no, look look Costello you don't understand diamond. They don't do anything with them. Whatever happened the least time I don't know look that's that's a different party entirely. You don't understand. You see listen every time There's an accident somebody gets paid off for example yesterday a man breaks his leg He gets $500 today. Somebody breaks his neck. He gets a thousand. I wonder who will hit the jackpot tomorrow Has nothing to do with the jackpot now for instance if I sprain both knees and break both ankles I get $10,000 or I can settle for $3,000 by waving both knees. How much do you get if you wiggle your ears? Hey, look at it. I had enough of this now. I want to get to my broadcast come on Costello you haven't had your examination yet. Get out of my way Fugu yeah Costello Costello you're going in the wrong door. That's a closet. That's a closet Never McGee start with a modern treatment of an old favorite put your arms around me Simply must put my foot on this. Well, Mr. Costello You must be examined by the NBC doctor before you can be allowed in your studio But what about my program foogle a lot of turners waiting for me. Oh, don't worry Costello You can prove you're all right. Anyway, he's a fine doctor. Oh, he is. What's his name? Dr. Jones? PhD MDS LLD what school did you go? That's a fine way to spell Jones Go on in with will you go in please? Okay, Dr. Jones is Mr. Costello He's been very sick for a long time and he must be examined before we can let him in the studio I'll be right back certainly Google now, Mr. Costello take off your coat best tie shirt undershirt socks shoes and suspenders Do you mind if I leave the hair on my chest? Costello quiet. Go ahead. Dr. Jones now open your mouth Costello whiter whiter whiter Hmm, my brother would like to see that Abbot. Is he a doctor? No, he's looking for an apartment. I Think I got things mixed up that guy's no doctor. What do you mean? He's no doctor. That's my line, please Do you mean by saying that? Thank you? I know I heard that someplace I don't see a stethoscope. I don't see Lana Turner. Lana Turner got to do with it. Nothing. I'd just like to see it I resent this mr. Costello.  What am I a numbskull?  Costello just hold still and I'll listen to your heart My that strange your heart sounds like a clock Good heaven The alarm rang at eight. I can't understand it. Here. Can I dot I set it for seven That's what we talk said. Dr. Jones is a Johns Hopkins man. So what my father sent me to Wilson. Well, well What words they sent me to Wellesley. Wellesley is a girl school I know my father always wanted me to have the things he didn't have I'll just go ahead miss cruise by and lay that pistol down to the OB. Let's follow them People are going in to see John's other life. I You kidding John sort of wife Yeah, who are you for a rabbit? Hey, you like to talk, you know, we could make a great thing rabbit and costello He's pretty cute. That's a lot. Why don't we keep them around? Yeah, but who wants a hair in his butter We're wasting time. Don't leave me fellas. I'm feeling very sad today. What's wrong? Well, I broke up with my coil dog. We was going steady Every day I used to bring her a carrot course charge Boy did we have fun. We gamble over the fields together play hopscotch and check up on the victory gardens But it's all over fellas. I guess we were just never meant for each other. Why not? She was a gopher do was to get into the studio Why didn't you say so doc? Look, all you have to do is go to that door toy left toy right go two miles over The skyway three miles over the byway then six miles down the highway and before you know it You'll see Lana Turner taking a sunbathe on a patio, but I know doc, but that's livin family man By the way, bugs, how do you stand in the draft? Well, they just reclassified me one a and I got 480 kids wait a minute just a minute. They wouldn't put you in one day if you've got 480 kids I'm a rabbit duck. They came after Pearl Harbor Back with us again. She sings a new rhythmic That's a drag the great in the Navy never Well, you And when you get to India Costello who are still having trouble getting into the studio boys.  Oh Fogo that's an understatement. I have some very good news for you, mr. Costello you can go on the air now your base of metabolism is impeccable while your hemoglobin content is rich in high-pitched Roussillian and your capital is a simply pulsating now. Listen brother. What's your language? I got my modest picture in my pocket Oh, will you stop that please mr. Fogel means the doctor has given you an okay to broadcast come in the studio And keep quiet the programs on All my darling The girl is Lana Turner on break it up break it up That's Niles is no lover. Oh, yeah, I've kissed women who wouldn't look at you. Oh, yeah, I've kissed women who wouldn't look at me either Costello will you stop fighting? I'm not fighting Abbott knowledge and Niles on this program You take care of the announcement period and you take care of the comedy question mark Why Niles well if you're gonna appeal to me as a woman, of course if you're a man you wouldn't appeal to me Miss Turner, please forgive Costello. He's a little impulsive No, no, he said impulsive. I am P you well Now listen, you wouldn't talk that way Lana if you saw my last picture Oh, you mean the one where you were on the ice. Hmm. That's the one. What did you think of it? Certainly kept well this girl all quiet. Come on Costello. This is where we're supposed to do a love scene Abbott I didn't know you cared. Well, I do Lou. I never mind that you want to do a love scene with me No, no, no, no, no, let's pick up the furniture. Well, you keep quiet No remarks. I mean a love scene with Lana way back. Listen No, this might be interesting to you. I'm talking about a love scene with Lana Turner Oh, I just adore love scene. Are you ready? Mr. Niles? Mr. Niles? You heard that Costello. She wants me You see Lana since I put Niles on this program success went to his head from where I'm standing It looks like success went to your stomach Did you hear that Abbott? What an insult. Oh, she's right Costello.  Get on with the love scene. Yeah, but what about me? You you can play a love scene with a Mrs. Niles. I heard that and I'd love to play a love scene with you, Mr. Costello. Don't call me Costello. Call me Dick Tracy Oh, that's silly.  So I can call you prune face Did you get that ad lip Lana? Mm-hmm. That's what put me on the top of the ladder. Yes, and your audience is at the bottom Daring you to come down Well Costello, I'm waiting. So is your broom. Why don't you fly out of here? Well, that's not nice Costello Mrs. Niles has some very fine points. Yeah, she certainly has for instance Costello. Take her hair. Okay, throw it over here. Oh I don't know what's wrong with you Costello.  I can't help it Abbott Oh all those months that was sick I was thinking about doing this love scene with Lana Turner and now she won't even talk to me Oh, don't feel that way Lou. The truth is I dream about you.  Yes Yes, I do. Do you think I can sue Ovaltine? I get it. All right. All right. All right. Never mind you get it. Ovaltine. Yeah, you heard her. We'll work it for Camel's cigarette. Never mind that Ovaltine. All right a little extra change. Oh, we'll get a case. All right. Look Look, come on. Let's Let's get to the play. All right, Mr. Itch, let's have some music to put Costello in the mood. Ken, set the scene and make a snappy Niles The scene is an old castle in England It is the 16th century when hearts were brave and knighthood was in flower The night is still and Lady Lana stands on the balcony awaiting her lover. She has been waiting anxiously Longingly patiently Hopefully come on Niles get with it get with it get with it faster faster To find out I can't wait much longer. Come on. She hasn't seen her lover in a fortnight. Ah Each minute seems like an hour. You forgot the seconds each hour seems like a day each day Each day like a week each week Like a month each each month like a like a year Each year. This is only a half hour program Now get with it. Oh, but Lou.  I've been in the mood for eight months Abbott never mind Niles you set the scene. Okay, Lou the stillness of the night is suddenly broken now this guy'll set it fast Suddenly broken by the shop platter of horses books. Where does the horses come from the lovely Lana's eyes light up? Her lover is riding into the courtyard on his white charger. Ah white charge. I don't charge that my favorite in cash He leaves from his horse and starts to climb up to her balcony hand over hand Hand over hand who hands over hands one foot up The other foot up. Come on.  Hurry up. Then one hand up Then the other hand up. It's gonna be too late. I'll get me up inch by inch foot by foot Yard by yard. Yeah, it's the day. No, what's your hurry? There's plenty of time not for me kid. I'm in one egg Finally you reach Lady Lana's side and the play begins a play of love Emotion an adventure scene without me lady Lana. I love you love is universal. Oh, you're out of luck. I work for MGM Some plug. Hey, Lyme. This is spike work kissing in our studio kissing spreads germs not me Oh, will you quit pulling around? Who's just Lana Turner? Oh, come on Lana. Will you please kiss me? Well, all right, Lou now if you'll just close your eyes. I'll have a big surprise for you.  Are you eating carrots Lana? Thanks to the Yanks of the week Americans who have distinguished themselves for heroism in the battle area to Captain HD Maxwell of Pink Hill, North Carolina and the entire crew of his liberator bomber who turned their big board engine B 24 into a fighter plane When they saw two German focal wolf heavy bombers attacking in a light convoy in the Atlantic Well, the huge enemy planes were making their bomb runs on the ships Captain Maxwell and his men attacked with machine guns and Though cannon a machine gun fire from the enemy wounded every man aboard the liberator They shot down one German plane and probably destroyed the other before they themselves crashed in flames Our airmen were rescued by ships from the convoy. They had saved We salute you and your crew Captain HD Maxwell and now here's Bud Abbott with a final word Ladies and gentlemen now that our program is over and we have done our best to entertain you I would like to take a moment to pay tribute to my best friend and to a man who has more courage Than I have ever seen displayed in the theater Tonight the old expression the show must go on was brought home to all of us on this program More clearly than ever before just a short time before our broadcast started Luke Costello was told that his baby One year old Tamara had died in the face of the greatest tragedy which can come to any man Luke Costello went on tonight so that you the radio audience would not be disappointed There's nothing more that I can say except that I know you all join me in expressing our deepest sympathy to a great trooper Good night. This is the national broadcasting