Good evening friends. This is your home to welcome you through the creaking door into the inner sanctum. That music you hear is a new little thing dedicated to us. A little number called Baby It's Cold Inside. That's because the characters around here are 20 degrees below normal. Well speaking of characters, meet our pet ghoul. Gorgie Gorgie. He strayed away from us when he came back because, as Gorgie puts it, there's no place like long. Gorgie was a real successful ghoul. Never let any grass grow under his feet. Of course he wasn't always a ghoul. He was quite undecided on a profession. When one day he passed a burial ground and right then and there, Gorgie took a turn for the pair. Tonight's Inner Sanctum Mystery, Image of Death, was written by Ed Adamson and Barb Sloane and stars Barry Kroger and the role of Victor with Gene Allen as Kitty. Before we begin, let me warn you, any similarity between the characters in tonight's tale and those in your nightmares is purely intentional. Okay friend, hang on to your nervous systems. The man stands in the dim-lit room, looking down at the motionless body on the floor.  For another moment he stands there, staring vacantly. Then he walks to the telephone, dials the number and waits. I want to report a murder. You'll find the body at 14 crowns true. You will have a hundred minutes of fast. I'll be here waiting for you. Who's calling? Who are you? Me? Right. I'm a man who's been dead five years. The police are on the way now. I sit here and I wait. And I think back over the five years. Back to the night that I, Victor Corday, died. I was in my studio working on the statue. There's a strange emotion that only a sculptor can feel. The exhilaration of taking senseless stone and imbuing it with life meaning. I was so overwhelmed with the feeling that night. I lost complete track of time and place. I had no idea my wife had come into the studio and was standing behind me. Victor, what? Evelyn, what are you doing up this time of night? I couldn't sleep. I was thinking. The money again? You know, we're almost down to rock bottom. Don't think I told you not to worry about it. I'm not worried anymore. The statue will be finished in a month or two. We won't have to wait until it's finished. What? It'll be so easy, so sure. What are you talking about? Your sister, Clara. What's she got to do with it? Her insurance is made up to you. And Clara is a helpless, incurable, invalid. Evelyn, I don't understand. How many times has she begged for death since the accident? How many times has she asked us to help her out of her misery? Oh no, Evelyn, stop this. I've got it all planned. No one would ever find out. Stop it. Kill my sister? Make myself a murderer? She won't feel a thing. It'll be simple and quick. I won't listen to you anymore. You'll do it, Victor. Whether you want to or not. Evelyn, get away from that statue. This will make you do as I say. Troy. All months of work. Destroyed. No, there'll be nothing coming in, Victor. Now you'll have to do exactly as I... Victor. Victor. How could you do a thing like that? It will feel a good time. Let's go, Victor. You're hurting me. Victor. Evelyn was limped in my arms. When I let go, she slumped to the floor. I stood over her, wondering what had happened. When I saw the ribbon of blood at my feet, and then the bloody wall hook against which I'd accidentally pushed her. I touched her. I spoke to her, but she was motionless and silent and dead. And that was the night that I died too. I didn't mean to kill Evelyn, but I knew no one would believe me. So I ran away, changed my name to Victor Kahn. I buried myself for five years. I became a gravestone cutter. I used these hands of mine for carving monuments to the dead. And for five years I hid, going nowhere, meeting no one. And then she came along. It was late one afternoon. I was in my shop near the cemetery, finishing work on a black marble headstone. Hello. Victor? I said hello. Who are you? Oh, now don't tell me. Don't remember me. How do you know my name? I know a lot about you. I've been watching you for a long time. Watching me? Why? We could be friends, Victor. You need a friend.  Kitty Regan. You can just call me Kitty. I'm a waitress in the restaurant where you eat once in a while. Wouldn't you like me for a friend? What do you want, really? Oh, you shouldn't be afraid of me. I have no reason to be afraid of anybody. Oh, yes, you have. I can tell. I've watched you. When you're out of this shop, you're always looking around like you were running away or waiting for somebody to catch you. You don't know what you're talking about. And you're always alone. You're afraid to make friends. You don't have to be afraid of me, Victor. Not as long as you give me the money. Why should I give you money? You don't have to. I can go to the police. I can always go to the police. And that's the way it began with Kitty. She couldn't have known what I'd done. She might have thought it was robbery or something like that, but she couldn't have known. It was murder. She drained me of every penny I'd made. But strangely enough, I didn't mind. I actually started to look forward to her visits. And then one day I realized why Kitty Wigan was cheap and low and evil. But I'd fallen in love with her. You like that? He says he's in love with me. Don't laugh, Kitty. Please. I want to marry you. Marry me? Well, that's a riot. A crummy character like you. Where's my money? It hasn't been a very good week. I only had one job. Well, whatever it is, hand it over. Kitty, I want to show you how I feel about you. You already showed me. No, this will make you really understand. I'm going to make you a figurine in ivory to be very valuable. Oh, so you think you can make something that's worth a lot of money? You, a gravestone cutter. I have talent in these hands of mine. Great talent as a sculptor. Oh, sure.   All right. Well, I'm going to prove it, Kitty. I'm going to prove that I'm somebody you'd be proud to love. I realized the danger in making that ivory figurine for Kitty. You would have my stamp on it. But then, Kitty couldn't possibly know its real value. I only did it to prove to her that I was something better than a gravestone cutter. A week after I'd given her the ivory figurine, I went to her apartment. Two half-packed polices were on the studio couch. What's the matter, Victor? What are you looking at? Those bags, Kitty. Where are you going? Oh, oh, that. I'm moving away from here. This crummy room is getting on my nerves. You're running away from me. Where'd you get that idea from? Kitty, don't ever run away. You wherever you go. I'm not running away. I just rented a new apartment on the other side of town in the Linda Park section. Linda Park? You've got to have money to live over there. Well, I have some money. Where'd you get it? It's none of your business. Let me finish packing. Kitty. Huh? The figurine I made for you. It's not on the table. What? Where is it? No, look, Victor, don't get excited. Where is it? What have you done with it? I sold it. What? I sold it. What's so awful about that? You sold it? You sold my gift to you? I needed more money. You haven't been doing so well lately, and I figured the ivory was worth some. You shouldn't have done that. The man who bought it said the carving was pretty good. Oh. You really got talent, Victor. You can become an important guy. Kitty, I don't care about that. I just want you. All right, Victor, then. Then you can have me. You mean that? You really mean that? Well, sure. Yes, as long as you do what I say. How many of those figurines can you make a month? Oh, no, I can't do that. Sure, sure you can, baby. You'll do it for me. No, won't you? Kitty, you don't realize what it may mean. There may be death in it for both of us.   Are you? Really? Mm-hmm. You never kissed me, did you? I never kissed you. Well, come here. You'll do what I want, baby. Won't you? Oh, Kitty, I'll do anything for you. I knew I shouldn't have done as she asked, but the will to live isn't always as strong as the will to love. I worked day and night until my hands became raw from the mallet and chisel and stone. As time went on, the chances for my own personal safety became less and less. I was working in my shop one night when my dead past came to life. Well, at last we meet. This was Colin. He was George Adrien, an art dealer from the West Coast who I dealt with years ago. Adrien looked at me and a sly, secret smile on his lips. So, uh, that's the name you use now, Colin. Or if we're close to Corday, isn't it? I don't know what you're talking about. Corday, I consider it an honor to renew our acquaintance. I'll see here. I never saw you before in my life. Oh, stop it. You're just wasting time. You needn't be afraid. I'm not going to expose you.  Undoubtedly, she deserved it. How did you find me, Adrien? Oh, it was quite by accident. A young woman named Kitty Regan sold me an ivory figurine of yours. And then some more work of yours later. Or if it had the unmistakable stamp of Victor Corday on it. And what do you want? Frankly, I'm one to take advantage of a situation. Then it's money. Exactly. All right. How much? Quite a sum. It's much more than you're able to give me at present. Now, being two reasonable men, I'm sure we can work out installments. Adrien had my life in his hands. I had only one defense against him.  He stepped closer to examine the statue. My fingers tightened around the gouge in my hand. Five hundred dollars should be a reasonable amount for the first installment of it. I stepped in behind him and drove the gouge home. Deep into his soul. I carried Adrien's body to the cemetery near my shop and buried it in the freshly dug grave. But I had no peace of mind. In a few days death began to close in on me again. An art critic from a Chicago paper wanted to do an article on me and I couldn't refuse. Kitty kept egging him on. And he insisted on seeing every bit of my work, including the tombstones I'd made for the dead. The night we went to the cemetery, a heavy rain was falling. I shook with fear as we stopped at the grave where Adrien's body lay, just a few inches underneath the surface. And the rain kept pouring down, washing the dirt away. Well, this is an interesting piece, Mr. Carlin. It's not really one of my important works, Mr. Rogers. Shall we go on? Oh, you mustn't be so modest. This sculpture would be worth a great deal to a gallery. It's pretty that it remains here unseen. Oh, Victor, maybe the owner would sell it back. No, Kitty, I wouldn't think of asking such a thing. I still have other pieces we can sell. Let's go back to the shop, shall we? What are you looking at, Mr. Rogers? The face on this figure. It's uncanny. What do you mean? Well, it's so much like the face of a figure I saw in Los Angeles some years ago. It was done by a man named Corday. You ever hear of it? Yes, I've heard of it. Your work is very much like his, especially the face on this figure. The face you see there is Kitty. Oh, and still it might pass for the model Corday always used, his wife, Evelyn. You have a great future, Mr. Carlin. Thank you. Now, shall we go? Victor, can I speak to you for a minute? Why? Well, don't mind me. I'll walk ahead of this. What is it, Kitty? Why'd you lie to him? That's not my face. I never posed to you. I know that. There's some other woman, isn't there? No. There is. Now that you're making money, you'll spend it on another woman, that is, Sculptor's wife, Evelyn. You were here! No, for your fool, Evelyn Corday is dead. Dead? How do you know? Because her husband killed her. You see what Rogers meant yesterday? You see what a great sculptor I really am, Kitty? Could it be that Rogers is dead wrong about you? He knows Rogers is an expert. Expert, my eye. He isn't even an art critic. What? He's a phony. What are you talking about? Rogers. He doesn't work for Chicago paper, that's just a guess. Kitty, how do you know? Oh, I have ways of finding things out. How do you know? Oh, let go of me, Victor. This is important to me. I'll leave it. How did you find out? Oh, right, I'll tell you. He called up the paper he said he worked for. Yes? I got something invested in this thing, too, you know. And? And? They never heard of him. There's no reason for you to get all hot about it. Don't you understand, Kitty, if he isn't an art critic, why is he posing as one? I don't know. Well, I do know. Only I've got to make sure. Well, what difference does it make? Probably just an agent trying to get a line on your work. An agent for home, the police? I never thought of that. Victor. I know you've been hiding for some reason. You're in some kind of trouble. What kind? Let me alone. Kitty? Yeah?  Stay there until I call. Why? What are you going to do? That's none of your business. You just stay there and wait. I may need you later on. I went to the hotel where Rogers was staying and climbed down the fire escape to his window. I opened the window carefully. Went into the room. I could hear the water running in the shower. I quickly found out what I wanted to know. The identification was in his pocket. Frank Rogers, Los Angeles Police Department. Suddenly, the door to the bath opened and Rogers was standing there in a robe. What are you doing here, Carlin? I knocked Mr. Rogers, but you didn't answer, so I just came on in. Oh, I guess I couldn't hear you from the shower. I thought I'd locked the door. No? The door was open. Well, I was sure I'd locked it. Well, however, it doesn't make any difference. You're here and that's the important thing. Isn't it, Corday? Thanks for coming over and sending me the trouble. It's good you didn't try to run away. I'd have gotten you anyway. You're quite wrong, Rogers. I have you. I found this gun in your pocket. Put it down, Corday. You're having a chance. The shot at this time of the night will bring everybody in a hotel here. Thank you for warning me. It won't help you. I sent my report to headquarters. It'll be just a matter of time before they catch up with you. Maybe you're right. Sure. Corday, I've already killed one man with this gouge. Put that down, Corday. Stay where you are. I'll have to do this quietly, Rogers. You warned me. Corday, don't! No! Let the hotel a few blocks away I went into a drugstore and called Kitty. She didn't answer. I went to her apartment. She wasn't home. I waited in the park across the street. I waited and waited. And finally she came home. And with her, there was another man. I wanted to kill them both right then and there. I was too stunned. I wandered around for hours. Then the thought came to me. I went back to my shop and worked. For the rest of the night, I worked in a blind rage. Then this morning Kitty came to see me. Victor! Yes, Kitty? Victor, have you seen the morning paper? No. I've been busy. Rogers has been murdered. Has he? He was killed in this hotel room last night. I was right, Kitty. Rogers was from the police. You did it, didn't you, Victor? There. Stone's finished. Answer me. You did it, didn't you? Yes. I killed it. Why? I had to. But you won't tell on me, will you? What makes you think I won't? Because I'm too valuable to you. I can give you the things you always wanted. A lot of good you ought to mean now.  We could run away, we could hide, they could never find us. Not on your life. I'm not running away with you from now on. I'm running from you. When he came here to say goodbye. Yes. I had an idea that's why you came. There's somebody else, isn't there? No. You don't have to lie to me. I saw you with him last night. What?  All right. So there is someone else. You're no good to me anymore. No. Kitty. What do you want? Just one more thing. I'll make it snappy. I have a gift for you, Kitty. A parting gift. Stay with you long after I'm gone. Gift? What kind of a gift? A figure in black marble. This one? Yes. I worked all night on it. I think it's the most beautiful figure I ever made. It's a tombstone. See here. Your name engraved. And there's a date. Yes. Today's date. Yes. Kitty. Today. The date of your death. No.  Victor, wait. Just wait. Last of this gauge and it'll be all over. No, Victor. Wait. Listen to me. I won't leave you. I won't ever leave you. But you don't love me. I do. I do. I'll prove it to you. I'll go with you. I'll run away any place you can. No, Kitty. They can put your arms around me. Kitty. Put your arms around me. I'll show you how much I care. You'll just say. No. No, I'll prove it. Hold me tight. Isn't this nice, Victor, isn't it? It's wonderful, Kitty. No. Kiss me. You'll see I mean it. Kiss me, Victor. Port of murder. You'll find a body at 14 Crown Street. No, wait a minute. Hold on. That's a fan. I'll be here waiting for you. Who's calling? Who are you? Me. I'm a man who's been dead five years. And that finishes our sculptors' Marvel story. Kitty should have known better.   Well, friend, as we say here in the Inner Sanctum, it's all over but the screaming.  Armed Forces Radio Service, the voice of information and education.


beautiful cells. Welcome back to Art Awakening. This is Ona. And today I want to just talk about resurrection. And I'm recording this on Easter Sunday, where most of the Western world is celebrating Easter today. But I just recently learned that yesterday, April 16, in 2022, was Hanuman Jayante, which is the celebration of the birth of Lord Hanuman, the monkey god. And I just thought that I looked up Hanuman because I didn't know much about him. And I saw quite a few parallels between Hanuman and Jesus. So I thought it was just really interesting. And then this whole thing about resurrection started coming forward. So I just wanted to share this with you. So if you're not familiar with Hanuman, and forgive me if I'm not quite accurate, I am just relaying what I found online. And I know that there are many stories of Hanuman they don't all mesh. So this is what I learned. Hanuman was a devotee of Rama, who is the incarnation of Vishnu, the preserver of divine order and natural law. Okay, so Hanuman loved Rama so much that he devoted it pretty much his entire life to him. Hanuman came into being by more or less an immaculate conception by means of the wind god. And his mother are on John had been cursed to take the form of one of the monkey people.  And the life force basically came to her through the wind god to drop this in. So the wind god is symbolic of the breath or the life force itself, right? So that's one thing that they have in common is this immaculate conception. And then the other thing is the resurrection. Okay, so most of us I think are pretty familiar with the Jesus Christ story of resurrection. But Hanuman had a resurrection when he was a child. He reached for the sun thinking it was the fruit. And there are various forms of that story, but ultimately it causes him to die. And then he's resurrected. He's brought back to life by the gods. And so there are these parallels. And I think it's interesting that both of them, this resurrection in the case of Jesus Christ or the birth of Hanuman, who is this character who is resurrected, these are both celebrated in the springtime in the northern hemisphere, which is, of course, the season of resurrection, but there's another thing that I think is really common between the two of them. And that's this factor of wildness. There's a connection to wildness with both of them. And with Jesus Christ, of course, he did go into the wilderness and spent some time there. And that's where he went through this purification process. But also he received the baptism through John the Baptist, who's a really, really interesting character. John, the Baptist is known for having basically lived in the wilderness and is said to have lived on locusts and wild honey.  But it didn't really strike me how significant that was until my best friend, who is an Orthodox Jew, told me at some point that the insects were very, very like the height of uncoture. So she said eating insects is worse than eating pork. And so the next time I thought about John the Baptist as like, wow, he's out there eating locusts and wild honey. And so that really puts him in a very, very unique class, right? He's this holy man, but he's eating, you know, this height of uncoture food. So it's like this, he is this wild man, right? He's this uncivilized force in human form. And he's the one that Jesus chooses to, you know, through whom to receive the baptism. Okay. And then with Hanuman being the monkey god, right? He is that is symbolic of kind of the wild man, right? The man who has not gone through the civilization process.  Okay. And so what is wild nature, right? Wild nature is this, this kind of raw existence, right? And it's, you know, nature, oh, resurrection, I mean, let's look at resurrection is the moving of the life force so powerfully as to reverse the depth life polarity, right? From death towards life. That's what resurrection is. Okay. Death and life really are the same. Okay. It's just a, it's a polarity. They're two ends of the same thing, right? To move in our lifetimes from death through life and back again. But with a resurrection, we're actually reversing the direction of the life force and moving it back towards life. And this is found nowhere more strongly than in the wilderness, right? Well, wild nature has destructive forces, but any destruction in nature is always followed by a super abundance of life, springing back, right springing forth to fill any void that was caused by the destructive forces. And so that is the rhythm of nature, right? That it always comes back with more life than it, than it did, you know, that then was destroyed. And we can see that there have been several mass extinction events on the earth and each one came, you know, life came springing back in greater abundance and greater diversity than, than what it had been before. So this is the force of resurrection. That every human being, every living being has that force within it, right? It has the capability for that resilience, that return of life, right? Even after something has, you know, brought it down. So what I'm guided to share today is that the resurrection is not linear. We think of the resurrection, right? It's not a linear process. We think of it as linear, like here we have life and then death and then rebirth. So that's a linear progression. But in actuality, what I'm given to see and to share, it's the resurrection exists in eternal time, okay? It's always there. And what the resurrection is, is this life force, right? That is always ready to spring forward, okay? So of course, we're living in temporal time space where we do exist, you know, see things happening in linear time. So how does it work to understand resurrection as an eternal force? Well, how we experience that is as potential, okay? So it's like an acorn or a seed. I have a package of pea seeds here, right? And a seed is something where the life force has been taken down into something that's inert. It's almost dead, right? It's an inert object, a seed. But within it is this incredible life force, right? So in its dry form, it's not expressing as its full-blown potential. It's a potential within it, right? But that potential, that whole living plant is there within each seed and able to spring into existence, spring back into life, right? As soon as the conditions are ripe for it. So in this time, in this time, this period of time in resurrection, right? That's being celebrated all over the world right now. It's really a reminder that it's up to us to not only see that potential that exists right here, okay? We see all these things crashing down. The old order is crashing down. And there are many who believe that this is the end times, that this may be the end of the world, all that stuff, you know? But it's up to us as star seeds to see and understand that potential, to hold it within us, and to choose it, to choose that potential. Because when we conceptualize or, you know, see in our mind's eye what's happening in the world, we can choose how we choose to perceive that, right? And how we choose to envision it, and how we choose to see what's going on. Now, we can see what's going on in the world. And there's all sorts of gearing up for war that's happening. The potential is there for nuclear war. We know this, right? There could be, you know, then we're looking at a nuclear winter and all this stuff, right? And I think it would be spiritual bypassing not to acknowledge the potential for that. But is that the potential that you want to be placing in your third eye and holding on to and focusing on? It's not the potential I want to focus on. I want to focus on the potential of this incredibly vibrant, healthy Eden of an Earth, right? The Earth as Eden. Mother Gaia just full blown in her glory, right? And this is the potential that I've chosen to place in my third eye. And I hope that I'm not the only one. I know that I'm not the only one, right? And while I understand that, you know, it's going to be a journey there, it's I think it's very, very important that we really, really focus on that fully resurrected potential. Because the more we focus on that full potential of resurrection, the realization of that, the more easily it's going to go, right? So it's really up to us to see that potential and to choose it. And in so doing to create it, right? Because we are moving into a collective winter on Mother Earth, but we are the seeds. We are the star seeds, right? That's why we're here. We are the seeds. We carry that potential within us. And we have the power of the chosen ones. And I'm not talking in any kind of elitist sense of some entity outside us bestowing upon us in this kind of special status. But because we have the power to choose, right? And that is a power that's given to every single human being, right? But you know, if you're awake enough, then you're the one that has that realization that we have that power, okay? And that's something that you can choose for yourself and that you can share, you know, with others that we do have that choice. Just like Hanuman, who devoted himself so fully to the preserver of life, that the image of Rama was burned onto his heart, we can choose to devote ourselves to the life force and to that which preserves or sustains it in our life. We each have a calling, right? And that is something that we're called to do or to be, right, to participate in that that embodies the life force that preserves the life force, right? This is our positive expression of that life force when we follow that calling, when we surrender, right? Surrender to anything that we're attached to that is holding us back, you know, letting that go and surrendering to this life calling, this calling that we have. And when we choose that, when we choose life so unwaveringly, we become the chosen ones having chosen ourselves as the sustainers of life, right? And in so doing, we are the resurrection and the life of humanity. So big message. And expect big changes. And I personally am stepping into big changes. I'm going to create a video on that very, very soon. So watch for that. But in the meantime, stay in your heart, do what you love, expect miracles, and remember you were born to be free.


Atla Religion is the world's leading database for religious and theological research. When researching specific biblical passages, familiarity with how to conduct a scripture search can save time and yield better results. In this brief video, we'll look at four strategies for locating information on specific passages from the Bible. But before we begin, we should note that finding information about a specific book of the Bible can be problematic. The language itself is an issue. For example, simply searching for Matthew, Mark, John, Jonah, or even Job can be frustrating since these common terms will likely yield irrelevant results. And databases like Atla offer helpful features that can make searching both easier and more effective. It's important to recognize that effective searching within a database like Atla will usually involve multiple search strategies, and this is because of the Ecclesiastes 1.15 rule, what is lacking cannot be measured, or in terms of information searching, we simply don't know all that we haven't found. So it's good practice to employ multiple search strategies, and here are four suggestions. Easy Access to Atla is available under the Quick Leaks menu at the Library homepage. Now if I'm looking for information about Matthew's Gospel, for example, the Scripture Search tab is a tool that can make my searching more effective. The Scripture Search is quick, easy, and precise, and it's a great place to start. Just click Scriptures at the top of the screen. Once I find the book I'm looking for, clicking on the title pulls up all items associated with that book in general, and I can search within these results by adding terms related to my specific inquiry. Now to pull up items associated with a specific chapter, I can also click the Expand button beside the book title, and then click the chapter number for my passage, or I can click Expand again to search for items associated with a specific verse, however, keep in mind that a verse level search is very limited. I recommend searching at the book and chapter levels so that relevant resources are not accidentally overlooked. But again, in Atla, the Scripture Search tab is a really good place to start. A second option for locating items on biblical passages is to use the Scripture Citation Limiter available in the Select a Field menu. Click SC Scripture Citation after you enter the name of your book. Now interestingly, in this case the Scripture Citation Limiter retrieves about 500 more results than the Scripture Search tab did. Despite the possibility of more results, search terms can be an issue for the Scripture Citation Limiter. For example, instead of first Samuel, you should use Samuel, so keep in mind that your initial search language should remain general. Use the Scripture Citation Limiter to retrieve broad relevant results, and then you can search within these results by specific vocabulary related to your topic. With this next strategy, we'll be casting a wider net, and so the possibility of retrieving non-relevant results is greater, but nevertheless, a third strategy for searching a biblical passage is to use the SU Subject Limiter, also available in the Select a Field menu. Note that compared with the SC Scripture Citation Search, the SU Search pulls up more numerous results, and you can search within the results by specific vocabulary. But let's do a quick comparison. Here we have two search strategies side by side. On the left I've used the SU Subject Limiter, and on the right I've used the SC Scripture Citation Limiter. Now notice the results. While the SU Subject Search has yielded more retrievals, the second may not even be relevant to my inquiry. However, the third result was not even retrieved by the SC Scripture Citation Search, which I can demonstrate by a quick search for the author's name. So again, we see here the rule, what is lacking cannot be measured, and this is why it's important to use multiple search strategies for conducting thorough research. And one final note here. Be careful about your language. While SC Scripture Citation Search on Revelation pulls up items related to the book of Revelation, an SU Subject Search on Revelation pulls up an enormous amount of retrievals related to the topic of Revelation. Now finally, another tool for locating items on biblical passages is the indexes tab. And with the indexes tab, we're able to construct a very precise search on specific biblical passages. Just click the indexes tab. Then open the Browse and Index drop-down menu and click Scripture Citation. In the Browse for field, enter the book's name. Next, you'll need to select the appropriate operator and or or not for constructing your search. Now probably, you'll want to use the term or, since the term and combines selections and increases specificity, just checkmark the items you're looking for. And then click Search to retrieve the results. This high specificity search can be useful when trying to locate items that discuss a particular range of chapters or verses, but always keep in mind the Ecclesiastes 115 rule. What is lacking cannot be measured. In other words, unless you conduct multiple search strategies, you'll never know what you didn't find. If you have any questions or need help searching, feel free to contact a library. And be sure to check out the other video research guides provided by the Beam Library at Oklahoma Christian University.


Yes, come on. Yes, sir. My question is what is the custody for the process of section 47 and 491 ASCR? See, while in the case of an application under section 488 CRPC, that section enables a person to arm himself with an anticipatory order for bail in the event of his apprehended arrest, his apprehending arrest. Therefore, he will arm himself with an order under section 488, that will be a direction to the arresting officer to grant him bail in the event of the apprehended arrest. And in the case of all other cases of offense where he is in custody, the word custody for the purpose of the bail need not necessarily be custody pursuant to an order of arrest by an authority, including the police. It is enough if such person voluntarily submits himself to the custody of the court and applies for bail. So, 437 and 439 presupposes that the person applying for bail should be in custody. That custody need not necessarily be in pursuance of an arrest. It is enough if the person who seeks custody submits, voluntarily submits himself to the custody of the court and applies for bail. This was answered by a 3 judge bench on the Supreme Court, 2 judge bench. In Niranjan Singh versus Prabhakar Rajaram Karote, 1980 Volume 2 SCC 559 corresponding to AIR 1980 Supreme Court 785. I will repeat the citation, 1980 Volume 2 SCC 559 corresponding to AIR 1980 Supreme Court 785.


This is Benjamin Davis here in Davos at the World Economic Forum. I'm here with Matt. Matt, could you introduce yourself to our audience and let them know what you do? Yeah, my name is Matthew Schudy. I'm with Holochain. We are an alternative to blockchain. We built a different infrastructure for running truly peer-to-peer applications with no mining, no cryptocurrency. It's just a different pattern altogether. So would you hope that next year in Davos, instead of blockchain everywhere, it says Holochain? It may be next year. It may be the following. We've already got code in the market. We're an open-source project. We're making ourselves as easy as possible to play with. We actually don't even have a business model for Holochain itself because we're trying to make it something that anybody can take, make use of, without even having to interact with us. So it's a way of running applications that requires only the devices of the users themselves, right? My showing up as a user is also me showing up as a host, and so I'm paying my own way. It's a different pattern that we think people are going to find pretty darn useful. Yeah. So did this idea come about because you saw problems with the blockchain that you wanted to fix, or was it just a complete idea that you had regardless of whether that happened? So this is the latest project coming out of something called the Meta-currency project, and we've been working on this stuff since before the Bitcoin White Paper. So this is actually, this is a simple piece relative to the rest of the work that we've been doing over the last decade. But we saw that the next layer that we needed to build in our own system was a distributed data integrity layer. We had mapped out an architecture for that. We realized the rest of the world's excited about blockchain. Let's set that up as a standalone entity, its own little modular thing that we can use but others can use as well. And that'll start to kickstart a much more vibrant ecosystem than us just playing with it by ourselves. It's a little bit of how it works without going into too much detail. We take a little bit of the stuff that blockchains use, some tamper-resistant logs, a little bit of the stuff that BitTorrent uses, distributed hash tables, and we end up using a solution that doesn't make use of consensus. So our goal was not anonymous currency. It was facilitating new forms of social coordination that are actually antifragile. So we were trying to enable communities to interact in ways that work for them, and when it stops working for any of them, they're able to start playing by a slightly different pattern. So we were trying to build a whole ecosystem that doesn't center around an application or a protocol, but centers around an agent, and that agent's ability to bridge between protocols. So this is sort of the step one in that ecosystem. So could you maybe give a hypothetical use case? Sure. So I mentioned we have an alpha release that came out in October. Along with it came something we call Clutter. Clutter is a peer-to-peer alternative to Twitter. The first version is just to prove a concept. It's just something there for developers to be able to look at and go, oh, this is how you build something like this. And that makes it so that you're, I'll frame it this way. There's a lot of things that people in the blockchain world are really excited about building, but blockchain's limitations in terms of scale, speed, cost prevent them from actually being able to use truly distributed technology to do or solve their problems. So whether it's peer-to-peer Uber, peer-to-peer Facebook, peer-to-peer Airbnb, great. You can actually build those systems and have them be functional. And you can actually have the individual bridging between their Facebook and their Twitter. They don't need to have an API that runs directly from one application to another because anything they can read out of one context, they can write into another. And that enables new forms of automation that look much more like a natural ecosystem. And the bridging functions of, you know, I've taken carbon dioxide and water, I'm grass, and build glucose, right? The bridging functions of transforming one thing into another that are actually a requirement of all regenerative systems. Thank you very much. It's very interesting. I hope to see more of it in the future. Thanks, Brian.


And I, Ritman, from Sanctity School, are going to present a short skit on the Newton's third law of motion. We hope you enjoy. Ritman, we've been saying the third law of motion, the third law of motion, the third law of motion. What exactly is the third law of motion? Oh, you dimwit! The third law of motion states that if an object A exerts a force on object B, then object B must exert a force on object A with equal magnitude but in the opposite direction. This reaction creates some sort of symmetry in nature. Got it? Well, if you think no, then you'll probably write easier language please. Fine, fine. Okay. Every action has an equal and opposite reaction. Understood? Yeah, well, but who created this law and how? Seriously, Diva, that's why I tell you to pay attention in Amit Sir's class more. Fine. The third law of motion was derived in the 20th century by Sir Isaac Newton. It consists of his mathematical analysis and physical observations. Whoa, that's all great to me. Do you mind giving me some examples? All right, fine. When a bullet is shot from a gun, the bullet puts a force on the gun which propels the gun back. Wait, wait, wait, wait, wait. Why do all your examples include guns and bullets? Does this law only apply on them or in day-to-day life as well? No, of course, there are day-to-day examples as well. All right, fine. Diva, pick up that book. Okay. Now put it back down. Why? Just put it back. Okay, fine. That's great, Diva. So when you put the book on the table, the table exerted a force on the book which kept it stable. That's an example of the third law.  It's not me, it's Newton. Wait, I kind of get it now. All right, give me some examples. Let me think. Ah, basketball. Yeah. Football. Yeah. All right. But explain it to me. Okay. So while playing basketball, when the ball is dribbled, the amount of force applied on the ball is paired with the amount of force the ball applied on the ground. And while playing football, oh, thank you, while playing football, the football's leg experiences the same amount of magnitude of force by which it applied in the opposite direction. And while swimming, the swimmer pushes the water backwards in order to move forwards. Hey, well done. I deserve a pat on my back. You missed the most important one. Which one? Walking. While a person is walking on the ground, he exerts a force on the ground. And as for Newton's third law, the ground exerts a force on his legs, which makes him go forwards.  I'm tensioned as I'm in those classes. Still, you scored nine. That's a big insult. Anyway, as we conclude our presentation, let's remember that every cloud has a silver lining. As we face challenges, let's look for the opportunities they bring. With this thought, we would like to end our presentation. Thank you.


Girls, let's talk about pornography for a second. The youth pastor mentioned pornography a few times, talking to the boys saying that it's something they should watch out for, but he didn't look in your direction once. Growing up in the church, you were told that this is a guy's issue and so you felt that much more isolated.  Listen friend, many women struggle with this, but they're just too scared to speak up because we're told it's only a guy's issue. And I think that's one of the tactics of the evil one. He wants to keep you in this place of shame, but no more.  Look, if you're struggling, if you're addicted, I want you to go to the link in my bio and sign up for Covenant Eyes. It will give you accountability that will help you break free.