Hello, everyone. AJ here. So as you can see, there's something different. Can you guess what it is? Did you guess? You can see my face! That's right, that's right. So a few things before I start this video. I'm a little microphone in front of me, so that's great. Most of my audio, you know, audio right here. So the entire room, there's gonna be a lot of echo. I haven't really adjusted the setup yet, but it'll get there. Got my little camera. Hi guys! Yeah, I can see you. Yeah, you can see me. This works so so far. Yeah. So in the video, I'll be interchanging between my face and, well, the screen. We'll see how that goes. I'm gonna try to change my setup every single video so that I get the best feel. And eventually, hopefully, I'll settle down on, like, well, one location. For now, it's like in my little living room. That's why there's a lot of echo. The floors are wooden, so yeah. Then I'll probably go back to the room, which is where I usually record because of the carpeting and it just a lot better for ambient noise. And yeah, we'll just see how it goes. So that's all I had to say. Enjoy the video. You know, the typical convolution neural network architecture is that you see in those getting started with PyTorch tutorials or getting started with any other deep learning library. You know, the one where we have, like, a stack of layers of convolution, pooling, activation followed by some fully connected layers and a softmax for classification. Yeah, I think you know what I mean. This is just one of the basic neural network architectures based on the Lynette family. In this video, we're going to talk about different such neural network architectures, emphasizing exactly why they were introduced and what new concepts they bring to the fields that make convolutional network research what it is today. We'll start with the beginning of convolutional neural networks in Yanlacun's pioneering paper in 1998. In this paper, he introduces a class of neural network architectures, the Lynette family, Lynette 5 being one of the most common forms that we see to this day. Lynette 5 is a seven layer neural network architecture, excluding inputs, that consists of two alternate convolution and pooling layers, followed by three fully connected layers at the end. It used convolution to preserve spatial orientation of features, average pooling for downsampling of the feature space, and it makes use of the tanch and sigmoid activations between layers. Lynette 5 obtained a 99% test accuracy on the MNIST dataset. Understand that this was a time before GPUs, so computers were not able to process such large amounts of data within a reasonable amount of time. Furthermore, we didn't have such large stores to begin with, and this is the reason why neural networks didn't spark until 2010. So what exactly happened? Well, back in the day, it was considered that a better algorithm would always yield better results regardless of data, but we now know today that this theory is flawed. Then professor at UIUC, Fei-Fei Li, agreed, claiming the best algorithm wouldn't work well if the data it learned from it didn't reflect the real world. She then said, we decided we wanted to do something that was completely historically unprecedented. We're going to map out the entire world of objects. The resulting dataset, ImageNet. From 2010 onwards, an annual ImageNet competition that is ImageNet large-scale visual recognition challenge, ILS VRC, is held between researchers to determine which algorithm can yield the best performance. Many consider this the dawn of the AI boom. I bring ImageNet into this discussion because the winners every year always provided something new to contribute to the field that would influence architectures that succeeded it. The 2012 winner of this competition was AlexNet. The architecture consists of eight learned layers. It is five convolution layers followed by three fully connected layers. Some of the features in this architecture include, well first, is the introduction of the ReLU nonlinearity. Rectified linear unit is a non-saturating nonlinearity. A non-saturating function f has the property that it tends to a positive or negative infinity as its parameters tend to positive or negative infinity. The function f is saturating if it is not non-saturating. Example of such a saturating function would be 10 which ranges from negative one to positive one, or sigmoid which ranges from zero to one. Deep convolution networks with ReLU train several times faster than their TENCH activation counterparts as shown in this graph. The solid lines show performance of ReLU and the dashed lines show that of TENCH. On the C410 dataset, the former was about six times faster than its saturated counterpart. This allows us to train huge neural networks as we see today in reasonable amounts of time. It's very interesting, right? Right? Right? Now the second feature that we see in AlexNet is that it can be trained on multiple GPUs. AlexNet specifically is trained on two GPUs. Their paralyzation scheme puts half of the neurons on each GPU with one additional trick. The GPUs communicate only in certain layers. For example, the neurons of layer three take input from feature maps in layer two. However, neurons in layer four take input only from those feature maps in layer three, which reside on the same GPU. Now a third feature of AlexNet is normalization. ReLUs have the desired property that they don't require input normalization to prevent them from saturating. If at least some training examples produces a positive input to a ReLU, learning will happen in that neuron. However, a local normalization scheme still helps generalization, like the one shown on screen. Using this to train a four-layer CNN on the C410 dataset, they achieved a 13% test error rate without normalization and 11% test error rate with normalization. So that's an improvement. The fourth and final feature of AlexNet is overlapping pooling. Pooling is used to down sample the feature space. And AlexNet performed pooling with a window of three cross three, but stride of two. Hence there will be an overlap between subsequent positions of the kernel. With this overlap pooling scheme, the top one accuracy and the top five accuracy reduced by 0.4% and 0.3% respectively. Now let's take a look at the overall architecture. I'll explain this very briefly. Like I said before, it is an eight-layer architecture with five convolution layers and three fully connected layers. The last layer is passed through a softmax activation for 1000 classes. Here, the top layers are in the first GPU and the bottom set of layers run on the other second GPU. The kernels of the second, fourth, and fifth convolution layers are connected only to those kernel maps in the previous layer which reside on the same GPU. The kernels of the third convolution layer are connected to all kernel maps in the second layer. The neurons in the fully connected layers are connected to all neurons in the previous layer. Response normalization layers follow the first and second convolution layers. Max pooling layers follow both response normalization layers as well as the fifth convolution layer. The Rayleigh nonlinearity is applied to the output of every convolutional and fully connected layer. Hope you understood AlexNet. I'm emphasizing a bit more on this than on the other architectures because this has a large influence on larger neural networks that we will see in the future. Up next, we have the 2013 ILS VRC winner by Zayler and Fergus. Clarify. It's a refinement of AlexNet with an eight-layer architecture. Each layer performs several operations. In the first layer, the input image 224 cross 224 is convolved with 96 7 cross 7 filters. This is followed by Rayleigh activation which doesn't change the output volume shape. Next, overlapping max pooling is applied with a 3 cross 3 sliding window and a stride of 2. And finally, we apply contrast normalization. This set of operations yields an output feature volume for layer 1. A stack of the same operations is performed in layers 2 through 5. Layer 6 and 7 are fully connected layers and layer 8 is the output softmax layer to perform image classification. Next up, we introduce the runner-up for the 2014 ImageNet Challenge, the visual geometry group from the University of Oxford. One of their major changes to the network in their VGG net architecture is a smaller kernel size. Lanets use 5 cross 5 kernels. AlexNet use 11 cross 11 kernels for convolution and Clarify used 7 cross 7 kernels. In VGG nets, the image is passed through a stack of convolution layers where the filters have a very small receptive field of 3 cross 3. This is the smallest size required to capture the notion of left, right, up, down, and center. And this leads to significant parameter decrease. Spatial pooling is carried out by 5 max pooling layers, which follows some of the convaliers. I say some and not all convaliers as not all of them are followed by max pooling. Max pooling is performed over a 2 cross 2 pixel window with a stride of 2, a typical configuration we see today. All hidden layers are followed by Raylou non-linearity, following from AlexNet. In this figure, we see the architectures of different configurations in the VGG family, labeled A through E. A has the smallest number of weighted layers, 11 with 8 convaliers and 3 FC layers. And architecture E has the largest number of weighted layers, 19 with 16 convolution layers and 3 FC layers. The architecture also plays with 1 cross 1 convolutions as we see in type C. This increases the non-linearity of decision functions without affecting the receptive fields. And so it can effectively model more complex problems without affecting the number of learned parameters. We can also see the number of parameters is not as much as its predecessor network architectures that demonstrated revolutionary performance in image localization in ILS VRC 2013. This is attributed to the decreased kernel sizes for convolution and the use of 1 cross 1 convolutions. The next CNN architecture is the network in network architecture. It makes use of 1 cross 1 convolutions with multi-layer perceptron layers. In normal convolution, we apply an inner product of a number of kernels with the input feature volume to get an output feature volume. This is typically followed by a non-linear activation. Typically, such convolution layers are stacked in order to learn more complex features. However, stacking convolution layers can lead to really deep networks that exponentially increase the number of parameters to learn. So what if we replace these stacked convolutions with a micro network? Well, network in network does exactly that where they use multi-layer perceptron MLP. This is the choice because it is a network trainable by backprop. So it meshes in with the existing CNN components and it significantly reduces the number of parameters to learn without stacking a number of convolution layers like what we saw in the VGG nets. It is called network in network because there are many of these micro networks in the entire network. Another feature of NIN is that it uses global average pooling. This, when used with micro nets, creates more interpretable classification results relative to traditional CNNs. Furthermore, fully connected layers are more prone to overfitting and hence rely on dropout as a means of regularization. On the other hand, global average pooling is a structural regularizer and so it inherently avoids overfitting in its structure. This network in network architecture inspired a seminal work in the field known as GoogleNet. Let us talk about the ILS VRC 2014 winner, GoogleNet. Their 22 layer deep neural network architecture used 12 times fewer parameters in AlexNet yet yield much higher performance. The leading approach for object detection at the time was regions with convolutional neural networks, RCNNs. Used for object detection as well, GoogleNet attributes its access to deeper networks and the RCNN algorithm. A fundamental unit of this network is the inception module where it heavily uses the network in networks architectures one cross one convolutions. These one cross one convolutions are typically used for dimensionality reduction. To avoid patch or kernel misalignment, the inception module makes use of small kernels of size one cross one three cross three and five cross five. The outputs of which are concatenated to form the inputs to the next stage. These inception units are stacked one on top of the other throughout the network. However, there is a problem. The deeper we go, the convolutional network extracts lower and more complex features. So each of these three cross three and five cross five filters correspond to smaller and smaller regions as we go deeper into the network. We thus need more parameters and estimating them can lead to a computation blow up within just a few layers. To address this inception performs reductions through one cross one convolutions before carrying out each of the expensive three cross three and five cross five convolutions. These one cross one convolutions additionally provide a rectified linear activation, allowing them to model more complex operations. So we don't need to overload on these inception modules. As far as performance is concerned, Google net obtains a top five error of 6.67% on both the validation and testing data ranking the first among other participants. It was about 40% better than clarify, which was the previous year's best approach. That's quite the improvement. We now move on to the 2015 ILS VRC winner Resnet. Just when you thought they couldn't get any deeper, they still do. To train on the ImageNet data set, the residual network had 152 layers. This is eight times more than that of the VGG nets. Yet it has a lower complexity. Now let's step back a bit and just ask ourselves, why are we trying to build deeper networks? What is the point of this? This goes back to the universal approximation theorem from Wikipedia, which is clearly the most verifiable source. In mathematical theory of artificial neural networks, the universal approximation theorem states that a feed forward network with a single hidden layer containing a finite number of neurons that is an MLP can approximate continuous functions under mild assumptions of an activation function. In other words, we can potentially model any kind of problem using a single layered neural network. However, in the process, we may run into a problem of memorizing training data, which is popularly known as overfitting. And so a common trend in deep learning research in order to enhance generalization is to well go deeper, building deeper networks. But we cannot just simply stack layers in order to actually just go deeper, because this leads to the vanishing gradient problem. Basically, in typical back propagation algorithms, the neural network will learn through gradient updates. In very deep networks, that gradient will eventually reduce to zero. And when a gradient is reduced to zero, the weights themselves will not be updated. And so there's no learning taking place. So performance saturates and even degrades after some point. To combat this problem, folks at Microsoft introduced shortcut connections that bypassed two layers. They called this an identity shortcut connection. The intuition here is that the stacking of such layers won't harm the performance as the layers can be bypassed. Hence, a ResNet will perform at least as good as its shallower counterpart. So deeper the network is, the better. We can observe results on the 1000 class classification of ImageNet by comparing performance of plain networks with the residual network counterpart, which is just a plain network with a bypass. In their paper, we observe an overall better performance of ResNet by about 2.8%. Furthermore, the shallower 18 layer plain net performs better than the deeper 34 layer network attributed to the vanishing gradient problem. On the other hand, the deeper ResNet has the better performance showing that ResNet was able to address this gradient problem. The next and final architecture we'll talk about is exception. It's based off inception and depth wise separable convolutions. In standard convolution, cross channel correlations and spatial correlations are determined together simultaneously. Exception, on the other hand, takes advantage of the fact that these two processes can be completely decoupled. In effect, we can perform convolution in two phases. The first is depth wise convolution, which determines spatial correlations. This is the relationship of pixels with respect to its neighbors. And then we have point wise convolution, which determines the cross channel correlations, the relationship between points in the feature volume along the different channels. These are the fundamental phases of depth wise separable convolution. I made a video on this, so check it out in the info card at the top. But for now, just understand that depth wise separable convolutions break up the convolution operation into two phases, which reduces the number of parameters and hence computation time. The typical inception module first looks at the cross channel correlations, through a set of one cross one convolutions, mapping the input data into three or four separate spaces that are smaller than the original input space. It then looks at all the spatial correlations in the smaller 3D spaces through regular three cross three or five cross five convolutions. Now consider a simplified inception module without the pooling layers and only three cross three convolutions. As an extreme version of the inception module, we first use a one cross one convolution to map cross channel correlations, and then separately map the spatial correlations of every output channel. This extreme version of inception is called exception. The main differences between exception and depth wise convolution is well first, the order of operations. In depth wise separable convolution, the depth wise convolution is performed before the point wise convolution, whereas in exception, the operation orders are reversed. Second, the depth wise and the point wise convolutions in exception are followed by ReLU nonlinear activations, whereas there is no nonlinearity that occurs in depth wise separable convolutions. From exceptions architecture, we see it makes use of these depth wise separable convolutions, ReLU activations, and the shortcut connections from ResNet. Exception was also able to achieve state of the art performance on a 350 million image data set JFT for a classification of 17,000 categories. So what have we learned? The history of convolution neural net architectures started with the Lynette family. This involves stacking a number of convolution units for feature extraction and max pooling units for spatial subsampling. In 2012's AlexNet, convolution operations were repeated between the subsequent max pooling to extract richer features. In 2013, we saw Zaylors and Ferguson's architecture clarify and the VGG architecture in 2014. In the VGG architecture, we saw an increase in the performance with decrease in the number of learnable parameters by using smaller kernel sizes and one cross one convolutions. We saw the introduction of network and network architecture that introduced micro networks between subsequent convolution layers. This allowed the network to prevent stacking of numerous simple convolution layers to decrease the number of parameters. Furthermore, it created more interpretable classification results relative to traditional CNNs. The ILS VRC 2014 winner Google net was a 22 layer deep neural network architecture that introduced the inception module. It borrowed heavily from the network and network and RCNNs. These modules allowed modeling of complex operations. So a small stack of these inception modules could solve problems in computer vision leading to less computation. And in the end of 2015, we had the introduction of residual networks that mitigated the problem of vanishing gradients through shortcut connections. This allowed the training of very deep networks to enhance generalization. In April 2017, we had exception or extreme inception. It's based heavily off of the inception module and makes use of depth wise separable convolutions. It also uses short connections of ResNet to construct deeper networks with high performance. And that's all I have for you now. If you like the video, hit that like button. If you're interested in videos like this, like videos on machine learning, data sciences, artificial intelligence in general, then hit that subscribe button. For notifications, when I upload, hit that bell icon. All links to the papers are down in the description below. So check them out interested in other hot topics in the field. Click one of the videos right here and I will see you in the next one.


Hey everybody, welcome to The Wallach Way. I'm Jessica, and today's video is going to be a look inside of the Night Zookeeper program. So Emily is a reluctant writer. She kind of always has been. We've always known that she was super creative and imaginative and she always has a story to tell. So we've known that her reluctance to writing isn't actually writing or being a writer. It's physically the pinning of writing. So over the years we've done numerous different things to encourage her and still support her as a writer and show her that she can be a writer and love writing even if she doesn't love the actual writing. And one of the things that we've done to encourage her as a writer and an author creatively recently is by joining the Night Zookeeper program. So it's something that I kept seeing advertised and that just looks so cute. The little animals and the zookeepers and that theme like screams Emily. So we decided to try it, which you can do too with the link in the description box down below because they offer a free seven day trial.  And if your kids love it as much as Emily did and does, I think you probably will. What you get when you first sign up is a parent guidebook. And that parent guidebook is going to tell you everything you need to know to get started. It's gonna tell you how to get started, kind of what to expect, what the menu looks like on the child side, what to do on the parent side. And then it's also going to give you all of the learning goals based off of age that their child is going to be working towards within Night Zookeeper. And if you don't feel like your child is ready for certain things, you have the ability to change on the parent dashboard. So like, let's say you have your child set up as a seven year old, but it's just a little advanced. You can just go in and change it to six. Or if the seven stuff is a little too easy, you can just change it to eight. So don't feel like you have to know exactly where they need to be when they're first getting it set up, because all of that can be changed.  And then they also get started on their challenges. Every week, they will be sent two different challenges and they start by watching an episode on the interactive TV. And that episode teaches them different key skills like what an adjective is or how to use transitions in writing or a few that Emily's been working on lately. And then it takes them to the actual writing portion. And the first thing they do there is draw an animal. So Emily has absolutely loved this. She keeps creating all these different animals and then you get to write a story to go along with it. My favorite part as a mom is that while she's writing that story, she gets to collect orbs and those orbs are things like include three adjectives or a certain word count they have to write or maybe to use transition words and those things are immediate. So it tells them like it knows that they haven't used that or they haven't hit this or they haven't, you know, hit that. And so they have to do that to collect those orbs. And then when they're done, they can save their work and they can submit it to a tutor for feedback from a tutor and then have it published, which is a pretty big deal for a kid. In addition to being able to write, there are also some really fun games to play. So the games they get to play help the kids work on spelling and vocabulary and reading and comprehension. So they're super fun and they're working on some really key skills there as well. Hope you enjoyed this quick look inside of the Night Zookeeper program. And don't forget to click that link in the description box down below for your seven day free trial and for 50% off your subscription.


Act 2 of The Mind the Paint Girl by Arthur Wing Panaro. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. The scene is an artistically decorated refreshment saloon, or foyer, on the first circle floor of a theater. The wall facing the spectator is a panel partly in glass, and through the glazed panels the corridor behind the circle and the doors admitting to the circle are seen. The right hand wall is paneled in a similar way, showing the landing at the top of the principal staircase and an entrance to the corridor. Some music stands and stools are on the landing, arranged for a small orchestra. In the right hand wall there is a double swing door giving on to the landing, and in the wall at the back opening on to and from the corridor there is a single swing door on the left and another on the right. The left hand door is fastened back into the saloon by a hook. Between the two doors in the back wall runs the refreshment counter. In one of the further corners of the saloon there is a plaster statue representing the muse of comedy. In the opposite corner a companion figure of dancing. In the wall on the left, the grate hidden by flowers, is a fireplace with a fender stool before it, and on either side of the fireplace there is a capacious and richly upholstered armchair. A setee of like design stands against the wall on the right between the double door and the spectator. The counter is decked out as a sideboard, and at equal distances from each other there are four round tables laid for a separate party of 26 persons. There are eight chairs at one table and six at each of the others. The chairs being of the sort usually supplied by ball caters. The saloon and the landing without are brilliantly lighted. The corridor less brightly. Luigi and four waiters, one of whom has a curly head and a fair beard ending in two flamboyant points, are putting the finishing touches on the lane of the tables, while Morris Cooling, a person of imposing presence, displaying a vast expanse of shirt front, is engaged in placing upon each of the serviettes a card bearing the name of a guest. Cooling referring to a plan of the tables which he has in his hand. Miss Connoffy, Miss Connoffy, Miss Connoffy, where's Miss Connoffy? Ah, here you are, my dear. Moving to Miss Connoffy's chair and putting a card upon her serviette. Next to old Arthur. The four waiters obeying a direction and dumb show from Luigi go out at the door on the left. Luigi a little dark active mad, viewing the tables with satisfaction. Tables look nice, Mr. Cooling. Cooling absorbed. Not bad, not bad, not bad. Luigi follows the waiters. Miss Kato. Moving to another table and laying a card upon a serviette. Mr. Gabriel. Roper bustles in through the double door in high feather. Hello. Cutting a caper. Merry Christmas and a happy New Year and how are you tomorrow? Cooling deep in his plan of the tables. Hello, et l'al. Roper surveying the tables. Splendid. Going from one table to another. Seating him, eh? Mr. Pogg, Mr. Pogg, Mr. Pogg. Placing another card. Albert. Which do you make your principal table? There it is, you're at it. Ah, yes. Exemining the cards. Miss Lily Paradelle. His jaw falling. Why you've gone and put the Baron on her right. Cooling unconsciously. Well, what's the objection? Where's Farkham? Where's Lord Farkham? On the other side, with Dali Stidolf and Enid. Rats. What do you mean by rats? Advancing to the principal table. Nettled. Look here, l'al. My dear fellow, Miss Paradelle is the heroine of the party. The seat next to her is the seat of honour. That's why I put the Baron there, with things as they are between England and Germany. Germany doesn't like it, she must lump it. Lord Farkham's the eldest son of an earl. You can't get over that. Cooling picking up Farncombe's card. Oh, have it your own way. Roper picking up von Rittemeyer's card. Besides, the Baron's sweet on Enid just now, I'm sure he'd prefer. They exchanged the cards and rearranged them. Thanks, old man. Sorry I was shirty. Cooling laying down his plan and cards and producing a letter from his breast pocket. By the by the fair lady, the heroine of the party, as you call her, is in a pretty tantrum over the whole business. Tantrum? Cooling unfolding the letter. Had this rumour ten minutes ago, listen to this. Reading. My dressing room, eleven, fifteen, eighty degrees, with the windows open. In an injured tone. Ha! So I should think. Roper concerned. What's a miss? Cooling reading.  Roper whistled.  You led me to suppose, and so did that lying worm lull Roper. Looking at Roper. You. Oh, Lord.  Roper, testily. All right, all right. You both led me to suppose that this rotten banquet was to be a family gathering of the ladies and gentlemen of the Pandora Theatre. And no outsiders asked. Now I find that only three or four of the men of the company are invited. And I hear from Nita Trevena, who has got it from young Kennedy that several of the boys are to be late on for the occasion. The result is you have made me tell a regular whopper to a particular friend of mine with regard to this affair. Roper passing his hand over his brow. Nicco Jays. Which I will never forgive you for, more as schooling, neither you nor Lyle Roper. As true as I am alive I have a jolly good mind not to show, but to put on my old rags and go straight home. You are too cad, so take it out of that, and believe me, always yours affectionately little. Roper walking about. Well, I'm blessed. Cooling returning the letter to his pocket. Ha! Tasty document. Lying worm and a cad, and from Miss Libby Margaret up, John. Done anything about it? No, waited for you. Going on with his arrangements at the table. You're responsible. What I did last night was simply to oblige a pal. Roper irresolutely. I'd better run round to her and try to smooth her down, hadn't I? Perhaps you had. Placing a card. Mr. Stuart Hennege. To Roper. Why, you wanted to mislead the girl, I can't understand. Dammit, you agreed that that silly, brute Jays would be a wet blanket.  There you go.  If ever I assist in getting up another party. As he reaches the door on the left, he encounters Carthus Smythe, who is entering at that moment, and puts on his humorous manner. Hello, here we are again. All changed for Oxford Circus. Smythe a bulky, sleepy-looking man, with grey hair, a darker mustache and beard, and a heavy rolling gait. Hello! I'm just going to have a word with little Peridell. He disappears as Smythe advances. Coolean approaching Smythe. How are you tonight, chief? Smythe a silk hat on the back of his hand, and overcoat on his arm, regarding the preparations with disgust. Heh! He's a muck and a muddle. Don't worry, we'll clear it away in no time. Shall I tell you who are coming? No, I shall know soon enough. What was the house to-night? Coolean producing a long slip of paper and handing it to Smythe. Big! Smythe scans the paper through half-closed lids, and gives a growl of contentment. Ah! And the weather did against us. Smythe screwing up the paper and cramming it into his waistcoat pocket. There's no bad weather for a good play. Looking at his hands. I'll go and have a wash and a brush-up. Luigi returns, entering at the door on the left, and goes behind the counter. The waiters follow him, carrying some melons lying upon ice in plated dishes. They deposit the dishes upon the counter, and Luigi proceeds to cut the melon into slices. Coolean resumes at the table on the left, the placing of the cards. As Smythe is moving towards the right-hand door at the back, Stuart Hinnage and Gerald Grimwood, two exquisitely dressed youths with blank faces, enter from the landing. Smythe shakes hands with them. Ah! Mr. Hennage! Mr. Grimwood! Hinnage and Grimwood murmure some polite expressions. Excuse me! I'm just going to wash my hands. The castor enters also at the double door, as Smythe shakes hands with him. Hinnage and Grimwood drift over to Coolean. Who hails them warmly? I do, Sam. Back in a moment, just going to wash my hands. The castor detains him. I say, Carlton. Eh? I've been in front again to-night. Magnificent! Marvelous! Smythe residedly. Oh, it'll do. I shall get a couple of years out of it. There's just one little improvement I'd like to see, if I may suggest it. What's that? The castor linking his arms in Smythe. Your sir, you won't consider me presumptuous? Of course not. Very kind of you. The castor is Smythe's ear. If you could give Gapth a myth, Kate, oh, a tiny bit more to do in the second act. Smythe nodding. Ah, yes, yes. She's a little lump-o-talent, that gal. If you only realized it, a perfect little lump-o-talent. Smythe trying to escape. Eh, I'll think it over. Earlier an extra thong. That all it need be an extra thong. Oh, it would be such an improvement. Von Rittenmeyer enters at the double door. The waiters now go to the tables and lay a plate with a slice of melon upon each cover. Ah, here's the Baron. We've been sitting together to-night, I and the Baron. Ringing Smythe's hand. Thanks. Joining Cooleyne and the others on the left, Smythe greets Von Rittenmeyer. Hello, Morrith. Shaking hands with Hennage and Grimwood. Well, boys. Smythe's shaking hands with Von Rittenmeyer. Glad to see you, Baron. So good of you to half me. Excuse me, I'm just going to wash my hands. Von Rittenmeyer detaining him. Pardon me, one moment. Eh? Lady, I take the liberty of indulging in a little criticism on your excellent play. Certainly. Von Rittenmeyer drawings Smythe away from the tables. Come here. His mouth close to Smythe's ear. The second act. Second act? What's the matter with it? The part where the charming Miss Baradah is changing a costume. Yes. That is where the piece requires lifting. With a gesture. Lifting. Lifting. Mr. Darvish, Mr. Barg, extremely clever. Slipping his arms through Smythe's. But if you could see your way clear to give Enid, Miss Mongrief, on Norah's dance. The Smythe nodding. Ah, hmm, hmm. It would remove the solitary imperfection. Eh, I don't think it over. Releasing himself. I'm just going to wash my hands. We'll talk about it later. Schonstendank. Going to the man on the left. Ah, Mr. Gulling, my dear Stood, my dear Jerry. As Smythe is again making for the door on the left, Mrs. Stidolf enters from the landing, with Colonel Stidolf. Smythe to Mrs. Stidolf. Ah, Dolly, how are you, my dear? Mrs. Stidolf, a mature but still beautiful woman, gorgeously dressed in wearing showy jewels with a lofty air. How are you, Carlton? Smythe to Stidolf. How do you do, Arthur? Delighted to see you. Lucky I'm able to come to you tonight. It's so difficult to catch me in the season. Been in front? Yes. Oh, yes. What? Don't you like it? Oh, I don't say I dislike it. Shrugging her shoulders. But one can't forget what one used to do here in the old days. Stidolf, an elderly distinguished looking man, with a meek voice and a courteous, but rather nervous manner. I've had a most enjoyable evening gone. So bright, so very bright. Mrs. Stidolf to Stidolf, sneeringly. Oh, anything pleases you. You'd laugh at Punch and Judy. I'm just running away to wash my hands. Looking towards the man on the left. You know Von Ritten, may I? Know him? Why, he was about in my time. Crossing to Von Rittenmire, followed by Stidolf. Carl. My dear lady. Kissing her hand perfunctorily. What bliss. Shaking hands with Stidolf. Cornel. Mrs. Stidolf, shaking hands with Dicastro. How are you, Sam? Ah, dolly. Hello, Arthur. Cooling presenting hennaging Grimwood to the Stidolfs. Mr. Stuart Hennage, Mr. Gerald Grimwood. As the Stidolfs leave Smythe, Herbert Fulkerson enters from the landing with Farncombe.  Smythe is shaking hands with Farncombe. Glad to make your acquaintance. Glad to make yours, Mr. Smythe, and in such circumstances. Fulkerson, a white-haired young man with red eyes, a dissipated appearance. That's by Mrs. Stidolf. By Jove, if it is a dolly answer. Hurrying to Mrs. Stidolf. What, cheer dolly? Mrs. Stidolf, coldly. How do you do, Mr. Fulkerson? Fulkerson is slightly abashed. Oh, I... I'm pretty meddling. Thanks. Help you are the same. Notting to Stidolf. Give me, Arthur. Vincent Bland has sauntered in at the door on the left, and now joins the group surrounding the Stidolfs. Bland nodding to Hennige and Grimwood. Hello, Stuart. Hello, Jerry. Coming to the Stidolfs. Dolly. Colonel. Smythe to Farncombe. I'll be back in a minute or two. I'm just going to wash my hands. Fulkerson calling to Farncombe. Hi, Hennie! Farncombe crosses to Fulkerson, and is presented by him to the Stidolfs. Gabrielle Cato enters at the right-hand door at the back, meeting Smythe as he is going out. The waiters have finished setting the plates and melon upon the tables, and now withdraw, carrying the plated dishes, and preceded by Luigi at the door on the left. Smythe to Gabrielle. Ah, Gabby, my dear. Quite well, huh? Gabrielle, a pretty young woman with a fretful little face, expressive of extreme dissatisfaction with the world, looking at Smythe spiritlessly. This is a treat. Why, you haven't been to see us for ages. Smythe cunningly. I see you all far oftener than you suspect. Do you? That is a sly of you. Smythe leaving her. I'm just going to have a wash and a brush up. Really?  He departs as D'Castro approaches Gabrielle. Hello, Gabth. How are you tonight? Oh, I'm all right, I suppose. Isn't it hot? D'Castro not at ease with her. It is inclined that way. Daphne Dior, Niger Tavenna, Douglas Glenn, and Albert Pogh enter at the door on the left. Nita is a tall handsome girl.  They are charmingly dressed as are all the ladies of the Pandora Theatre. Glenn and Pogh, the latter a short thick set band, who might reasonably be a low comedian, are two professional-looking gentlemen of the best class. The rivals are warmly hailed by Fulkerson, von Rettenmeyer, Hinnich, and Grimwood, with more reserved by Mrs. Stidolf. Stidolf has seated himself wearily in the armchair on the nearer side of the fireplace, and beyond listening to Bland, who is talking to him, has withdrawn himself from the proceedings. Fulkerson to Farncôme. Here's Daphne Dior and Nita Tavenna. Hello, Daphne. Hello, Nita. How are you, Douglas? Hello, Albert. How do you do, Bertie? How do you do, Von? Von Rettenmeyer, kissing their hands. Dear ladies. Ah, Mr. Glenn, Mr. Bock. How do you do, Stewie? How do you do, Jerry? How do you do, Jerry? How do you do, Dolly? Oh, Dolly. Got you, Dolly. Well, girls. Here, I want to introduce Lord Farncôme, Miss Dior, Miss Tavenna, Lord Farncôme. Douglas, I am the first lady of the Pandora Theatre. Miss Dior, Miss Tavenna, Lord Farncôme. Douglas, Albert, Lord Farncôme. Nita pouncing upon Cooley. I say, Morris. What is it, my dear? Is it true that little Kennedy's met with an accident? Yes. Can't join us. The dwarf. What's happened? Ran his car into a bus just outside the theatre. Oh. Bished himself forward onto his head. His head? Don't be anxious, Nita. There's nothing to hurt there. Poor dwarf. Gabrielle and D'Castro now move over to the others. Hello, gaps. Hello, Sam. Ah, Beltie. Monretta Meyer kissing Gabrielle's hand. Gabrielle. Ah, fun. To Henning and Gribwood. Ah, boys. To Mrs. Diddolf. How are you? The Castro shaking hands. Daphne, Nita, Douglas, Albert. I want to introduce Lord Farncôme. Miss Catoe, Lord Farncôme. A band of musicians have mustered upon the landing, and there is the sound of the tuning of instruments. Cooley hurrying across to the double door. No, no. No music here. Wait for Miss Paradelle. He reaches the double door. Roper enters quickly at the right-hand door, at the back and ceases his arm. Eh? It's all right. She'll be round in a minute. Amiable? Angelic. She's wearing a new dresser. That's taken her mind off it. Her bark's always worse than her bite. I knew it'd blow over. Roper, formidably. Oh, but I have given her such a talking-to. Cooley passes through the double door and instructs the leader of the band while Roper bustles over to the throng on the left. Hello? Imitating a street-news-vendor. Special addition and cricket-piper. Shaking hands all round. Dolly, Nita, Gabs, Daphne, Douglas, Albert. Ah, here you are, Farncôme. A discovery's did all. Hello, Colonel. Results, Piper extra-special. Enid Moncrief, Wilford Tavish, and Sigismund Shirley enter at the right-hand door at the back. Enid is a long, spare-figured girl with the lice-and-walk of a dancer. Tavish and Shirley are tall, clean-shaven men of gentlemen-like appearance. Von Rettenmeyer makes for Enid eagerly and is followed at a more moderate pace by Hennage, Grimwood, and DeCastro, and by Fogerson bringing Farncôme. Miss Moncrief. Kissing Enid's hand with fervour. Your dancing was more surprising tonight than ever. To Tavish and Shirley. Ah-ha, my friends. Enid shaking hands with Hennage, Grimwood, and DeCastro. Well, Stu, how are you, Jerry? Some. I want to introduce Lord Farncôme. Miss Moncrief. Lord Farncôme. Roper hurrying across. Hello, here's Enid. DeCastro shaking hands with Tavish and Shirley. Pith went splendidly this evening, didn't it? Fogerson shaking hands with Tavish and Shirley. I want to introduce Lord Farncôme. Mr. Tavish. Mr. Shirley. Lord Farncôme. Enid coming forward to greet Mrs. Stiddle who advances to her. Dolly dear. Mrs. Stiddle from Bracey and Enid. Enid, darling. Good gracious.  Indeed. Well, no one can say that of you.  Of course, one can't help seeing changes. Ah, it must be a pleasure. That? I'm going to scold dear old Carlton by and by. He never gave me a birthday party when I was with him. No. And you had so many birthdays here, hadn't you? Cooling returns, entering from the landing and after looking at the assembly goes out at the right-hand door at the back. At the same moment, Flo Connathy, Sybil Dermott, Olga Cook and Evangeline Ventress four statuesque beauties with impassive faces enter at the door on the left. Olga is in a dark gown and Evangeline is wearing a rather elaborate headdress. Instantly there is a movement in the direction of the new arrivals on the part of Roper, Hinnich and Grimwood. De Castro and Fokerson follow. Fokerson's still leading foreign comb about within. Mrs. Stiddle turns from Enid, disdainfully and joins Nita and Daphne at the fireplace. Tavish and Shirley also move to the left where they come upon Stiddle and shake hands with him. While von Rettemeyer and Enid, the latter flushed with victory, seek themselves upon the setee on the right. Roper hastening to the beauties. Hello, show your tickets, please. Room inside for four? Shaking hands. How are you, Flo? How are you, Sybil? How are you, Olga? I say, look at Vangie. The four beauties as the men shake hands with them mechanically. How do you do? How do you do? How do you do? Here, I want to introduce Lord van Com, Miss Conifred, Lord van Com, Miss Dermot, Miss Cook, Miss Vangie van Tris, Lord van Com. How do you do? How do you do? How do you do? Cooling hurries back. Miss Paradelle. Opening the door and signaling to the leader of the band. Now. The band strikes up the air of Mind the Paint, as Lily enters at the right-hand door at the back, with Jimmy Birch. Lily is dressed in white and altogether fulfills exteriorly Roper's description of angelic. She carries a large bouquet of lilies and pale roses, with a broad ribbon flowing from it. All the men but van Com, who holds aloof, press round her. Still though frizing and joining them, the ladies follow. The men struggling for her hand. Many happy returns a day. Many happy returns a day. Many happy returns a day. Many happy returns a day. Many happy returns a day. Many happy returns a day. Many happy returns a day. Jimmy battled with the net. Keep away from her. Bertie, you're on her frock. Mind her frock. Mind the paint. Lily holding her bouquet above her head. My roses. Be careful of me, boys. One at a time. Many happy returns of the day. Many happy returns of the day. Many happy returns of the day. Many happy returns of the day.  Girls. The men make way for the ladies to come to Lily. Many happy returns of the day. Many happy returns of the day. Many happy returns of the day. Lily embracing them. Sybil, Nita. Oh, Mrs. Sturdlef. Dainet, Daphne, Gabs, Flo-dear, Olga, Fungi." Paulk suddenly. "'There's the Governor!' Smythe enters at the door on the left. Luigi and the wagers are behind him, the wagers carrying trays on which are sugar-casters, and dishes of powdered ginger. At once there is a movement towards Smythe of everybody except those who have already greeted him, and Lily, who is detained by Roper and others. How are you, Governor? How do you do, Mr. Smythe? How do you do, Mr. Smythe? How do you do, Mr. Smythe? How are you, Carlton? How are you, Carlton? How are you, Carlton? Smythe in the midst of them all. Girls, girls, I'll shake hands with you all in turn, girls. Thoughts you were dead? Yes. Look at Olga. She's deep in mourning. LAUGHS Smythe shaking hands. Don't girls! Don't! You're smothering me. Lily during a momentary lull, finding farmcams standing before her, and raising her eyebrows. You? Giving him her hand carelessly. Oh. It isn't long before we meet again, is it? Smythe huffing and blowing. That's the lot of them. Phew! Where's Lily? Lily here?" The crowd divides to allow him to advance. Seeing Lily, he opens his arms and she goes to him and lays her head upon his breast, patting her shoulders. My dear! Lily half gaily, half tearfully. Ha ha ha! Curlton!  Well, what about something to eat? Ready, Mr. Smite. Ladies and gentlemen, supper is ready. Ha! Cooling at the principal table. Here you are, chief. Miss Paradelle. Smite to Lily. Come along! There is a general hunt for places in much hubbub and confusion. Cooling, calling to Roper. Now, that's your table. Roper, imitating a shop-walker. Mr. Roper, forward. Mrs. Stidolf, Lord Farncombe. Pointing to another table. Glen, you're there. Here you are, Daphne. Miss Cato wanted. Gabs! Stewie. Baron, Enid. Ah! Cooling to Stidolf. Over there, Colonel. Volcker said and wandering about. Where am I? Where am I? Nita, pushing him aside.  Jimmy. Cooling at his place at the table. Olga, you're here. Mr. Grimwood. Where am I? Next to me. Where is luck? Screwing up her face at him. Ladies mantles on the second floor. Where's Sibble? Sibb! Sibb! The curtain falls, but the music of Mind the Paint continues for a while. Then it ceases, and after a short silence the curtain rises again. The supper tables have disappeared, and the saloon is empty of people. The musicians and their music stands and stools have also gone, and faintly from the distance comes the sound of a waltz. Two satis matching the rest of the furniture now stand at the center of the saloon back to back, one of them facing the counter, the other facing the spectator. Lily's bouquet lies in the nearer of the two satis, and upon the floor there is a fan, a red rose that has fallen from the lady's corsage, and a pocket handkerchief with a powder puff peeping from it. On the counter there are carafes of lemonade, the canters of spirits, and siphons of soda water, a bowl of strawberries and cream, various dishes of cakes, boxes of cigars and cigarettes, a lighted spirit lamp, and other adjuncts of a buffet. Colonel Stidolf wanders in through the double door as the waltz comes to an end. Feeblee and dejectively he goes to the counter, takes a cigarette and is lighting it when Luigi and the wagers enter the door on the left. Two of the wagers are carrying bottles of champagne and wine coolers, another brings a tray on which are champagne glasses and tumblers, and the bearded waiter follows with a large dish of sandwiches. Luigi behind the counter to Stidolf familiarly. – Aren't you dancing, Colonel? – Dancing? Aren't we? – Shaking his hand. – No. Luigi, who speaks cockney English with a slight foreign accent, cut in the wire of a champagne bottle. – Why?  – Stidolf now. – They're moving away. – My dancing days are done. – Done? Oh, I like that. I bet you end sixty. Come now, eh? – What's the time, Luigi? I am going to watch on. – Time, Colonel? – Looking at his watch. – Twenty to three. – No later. – Sitting on the set tee on the right with a sigh. – Oh, dear. One of the waders goes out, in obedience to a direction from Luigi, at the door on the left, as Hennage enters with Enid. Grimwood with Neta, von Rettemire with Mrs. Stidolf at the right-hand door at the back. A wisp of hair has fallen over Hennage's forehead. Grimwood looks somewhat downcast, and von Rettemire is obviously bored by Mrs. Stidolf. Enid to Hennage walking across to the left. – Never been to Ostend. You've never been born, then. I'm counting the hours to my holiday. – Sitting in the chair on the near side of the fireplace. – Hotel de la plage. Why don't you run over while I'm there? – Neta to Grimwood following Enid. – My dear boy, I give you my solemn word, it wasn't you. It was that fool Bertie. Anyhow, it's a rotten old frock. – Showed his small rent in her skirt to Enid Gaely. – Pom, para, rom, pom, pom. – Hennage and Grimwood go to the counter, secure a waiter, and return with him to Enid and Neta. The waiter receives his orders, and presently fetches the ladies glasses of lemonade. Mrs. Stidolf whispering to von Rettemire. – Well, did you ever? Just fancy. – Von Rettemire absolutely looking at Enid. – I beg your pardon. – Fancy those two girls walking into a room before us. – Discovering the fan upon the floor. – Oh, I do believe that's my fan. – Von Rettemire restores the fan to Mrs. Stidolf, as Roper and Gabrielle enter at the door on the left. – Gabrielle to Roper and a low, complaining voice. – It's a shame of you. That's what it is. You went and put Lily Paradelle into rubber, and enabled her to make a bit. She told us so. – Yes, but how long ago? – That's not the point. The point is, it's always Lily Paradelle with you. You never do anything for us other girls. – She sits upon the nearest settee in the center, and she and Roper, he standing by her, continue their conversation. Mrs. Stidolf to Von Rettemire. – No thanks. I'm on a diet. Didn't you notice me at supper? – Moving to the settee on the right. – Let's sit. – To Stidolf. – Oh, get up. – Stidolf rises quickly. – Why aren't you dancing? If you don't dance, go home and put yourself to bed. You might for all the good you're doing here. – Stidolf with a forced, painful laugh. – Ha, ha. Ha, ha, ha. Von Rettemire, as Mrs. Stidolf, seats herself. – Plenty room for you too, Colonel. – No, no. I won't inconvenience you. – He moves away, and Von Rettemire sits beside Mrs. Stidolf. The waiter who has previously gone out now returns at the door on the left with a tray of ices in paper cases. He goes to the counter for a supply of ice-poons, as Farncombe enters with Lily at the right-hand door at the back. Her cheeks are flushed, her eyes sparkling. Roper, all his attention, suddenly directed to Lily and Farncombe. – Here's Lil. Lily excitedly sees in Stidolf's hand. – You're not dancing, Colonel Stidolf. – Showing him her program. – Don'ts with me. I'll make one of the others give up a dance for you. – Stidolf going to the counter. – No, no. I'm too old. – Too old for dancing. I shall never be too old for dancing. Coming to the nearest setee in the centre, picking up her bouquet and sitting beside Gabrielle. Roper to Farncombe, who follows Lily. – Hello. Beaming. – Chawley potty, hey, Farncombe? Farncombe, boishly. – Lovely. To Lily. – May I bring you some lemonade and ice? Lily looking up at him. – You may keep on bringing me ice as Chawley music starts again. Farncombe leaves her. – Gabby, wasn't that Walt's delicious? Pock and Sibyl enter at the door on the left. Sibyl seats herself beside Nita on the fender stool, and Pock fetches her some refreshment. Gabrielle to Lily, drearily. – I say, Lil. What? – How much did you make out of rubber last year through, Lil? Rubber? Rubber? Rubber? I don't know. – To rubber. How much? – Four fifty. There. – I did my house up with it. Gave the job to young Charlie Ramston, who's gone in for decorating. – Yes, and blew the whole lot at one go. Blewed it completely. – What does the blue sea whisper to me? Farncombe appears at her side with the waiter, carrying the ices. – Isis? Roper leaving Gabrielle and with his hands in his pockets, walking about exultingly. – Isis, sweet old chocolate, full piano score. – Hello, here. Glyn and Olga and D'Castro and Evangeline have entered at the right hand door at the back. Olga and Evangeline seek themselves upon the further set tee in the center, and Glyn and D'Castro summon a waiter to attend upon them. Shirley and Flo now enter at the door on the left and go to the counter. At the same moment, Smythe, Coolean and Tavish enter at the right hand door at the back. Smythe smoking a huge cigar. They also stand at the counter and are served with drinks by Luigi. Lily and Gabrielle, having each taken an ice, the waiter with the ices moves away and offers his ices to the other ladies. Another waiter carries round a tray on which are a box of cigarettes and the spirit lamp, and the bearded waiter moves about with the dish of sandwiches. Some of the ladies light cigarettes, a few of the men take sandwiches. Coolean as he enters with Smythe and Tavish. Ha! Ha! Ha! Your wonderful chief. To Tavish. The chiefs in great form, Willie. To Stiddle. Colonel, listen to the chiefs. Mrs. Stiddle to von Rettemeyer, confidentially. Of course, this is strictly between ourselves, though I almost ended as much to Smith. But the fact is, the Pandora isn't in the least what it was, Carl. Nodding is what it was, my dear Dali, and nobody. Mrs. Stiddle fending herself. I suppose he can't find the artists. That's it. If you don't have the artists. Shutting up her fan. You recollect my Polly Taggart in the merry milliner. Von Rettemeyer stifling a yarn. Charming. Charming. Fern Combe is bending over Lily while she is eating her ice, and they are talking lightly but intently. Gabrielle, finding that she is out of it, rises with a pout and carrying her plate, joins the ladies and men who are at the fireplace. Bland enters with Jimmy at the door on the left. Mrs. Stiddle to von Rettemeyer. I hate blowing my own trumpet, but I was looking through my press cuttings only yesterday. I've never seen such notices as I had for Polly Taggart. Von Rettemeyer closing his eyes. Favorable. Favorable? They make me blush to read them.  Jimmy comes to Lily, Bland, following her. On her way she sees the handkerchief and powder puff lying upon the floor. Why, there it is. Picking up the handkerchief and puff and rubbing the puff, which is an extremely ragged one over her nose, singing sentimentally. There are no friends like the old friends, the constant tried and true. Sitting beside Lily. Room for a little on. Lily, without interrupting her talk with Barncomb, lays her hand on Jimmy's for a moment. Bland to Jimmy. Bring you anything? Jimmy wrapping the puff in the handkerchief tenderly and slipping it into her bosom. A liqueur of petrol and a lucifer match. Bland leaving her. Oh, go on. Mrs. Stiddle to von Rettemeyer.   Fulkerson and Daphne enter at the door on the left and hurry to the counter. Fulkerson boisterously. Time, time. To those standing at the counter. Hello me, hello me. To Luigi. Glass of lemonade and a whiskey and soda. Quick with the whiskey and soda. Mrs. Stiddle to von Rettemeyer. But I don't intend to stick to that arrangement. If I can't get back into the theatres, there are halls. I was telling the Colonel this morning. Roper appearing before Mrs. Stiddle, his program in his hand. Our story. Von Rettemeyer rising with alacrity. Ah! Bowing to Mrs. Stiddle. A yield-river reluctance. Roper sits beside Mrs. Stiddle and von Rettemeyer hastens to eat him. Roper to Mrs. Stiddle. Another waltz. Daphne to Hinnage, who is claiming her. Wait till I've finished my drinks, Dewey. Land to Nita. Nita? No, this is with Douglas. Nothing of the sort. And Nita, referring to her program? You're correct. My mistake. De Castro coming to Gabrielle, who is talking to Sibyl. Gapth. Oh, you again. De Castro mortified. Afraid, though. The sound of distant music is again heard, and there is a great deal of bustle as the men claim their partners. Tavish goes to Evangeline, Grimwood to Flo, Falk and Glenn to Olga and Sibyl. And gradually the assemblage melts away. Volkerson coming to Jimmy, who is carrying her program and standing before her, reading from his program. Vols, cry de coeur. Jimmy with withering accuracy. Valtz, cri de coeur. Volkerson wagging his head. Very likely. Come along, Jimmy. Jimmy rising and shaking herself out. Jane to you, if you please. Toss. I was christened, Jane, Herbert. Well, I wasn't under christening, see? No, but if you are not more careful of those feet of yours while you're waltzing, you will be at my funeral. She takes his arm and they go out at the door on the left. Smythe, Stidolf, Coolean and Shirley follow talking together. All the couples have now disappeared, except von Rettenmeyer and Enid and Farncombe and Lily. Von Rettenmeyer and Enid are at the counter, where Luigi is giving von Rettenmeyer a glass of champagne, and the waiters are busy in themselves in collecting the soiled glasses, plates, etc., which have been left upon the mantelpiece and chairs. The bearded waiter comes to Lily and she hands him her plate. Farncombe to Lily. Shall we go down? She rises, leaving her bouquet upon the setee, and is about to put her arm through Farncombe's when she checks herself and looks at her program. Lily frowning. Eh? One, two, three, four. Why, this is our fifth dance. Yes. Five out of eight. Farncombe looking at his program. And ten, twelve, and fourteen are mine, too. Lily with the movement of her shoulders accepting his arm. How unfair! Farncombe as they go to the right-hand door at the back. Unfair? To the others. I can't think what made me so thoughtless. They disappear. Two of the waiters carrying out the soiled glasses, etc., another follows with the ices, and the bearded waiter with the strawberries and cream. After a while Luigi also withdraws. Enid leaving the counter with von Rettenmeyer. Well, what did you say to him? I told him the bees once lifting in the second arc, and that he ought to give you another dance. What did he say? He will think it over. Oh, that's Mime's invariable formula, cunning old fox. But we are to talk about it later. I am waiting to get him alone.  He'll take precious good care of that. Finding that Luigi and the waiters have departed, and walking across to the left. Oh, but it isn't dancing my mind swelling on just now, dear boy. Von Rettenmeyer following her. Not. It's rest I'm yearning for. My holiday. Rest for my weary bones. Turning to him without a sign of disturbance. Carl, I'm simply bursting with rage. Rage? That a wretched hotel at Ostend, the plage. They have the confounded impudence to ask me a hundred and twenty-five francs a day for two cubbyholes on the third floor for my aunt and me. Monstrous. With a shrug, yeah. But Ostend is... Ostend. Thanks for the information. Is that all the sympathy you can offer? But there may be keeper-olders. Where the common people pay for their beds and meals with cooked coupons? Sitting upon the arm of the further setee in the centre, and swinging her feet. Oh, it doesn't matter. I suppose it'll have to be a swanage, or some brisk resort of that description. Oh, so be it. Tra-la-la-la. Von Rettenmeyer sitting on the newer setee in the centre, close to her, with an anxious expression. A hundred and twenty-five francs a day? Including nothing. Absolutely nothing. Von Rettenmeyer biting his nails. Precisely. There's the eating and drinking. One can't starve, that's certain. Which would amount to... Enid watching him out of the corner of her eye. I believe Aunt and I could manage to feed ourselves on forty francs a day, or fifty, at a pinch. Von Rettenmeyer, his face growing longer and longer. A hundred and twenty-five and fifty? A hundred and seventy-five. Stoke in his hair with a finger. Call it two hundred. Von Rettenmeyer leaning back up whole. Fifty zigz pounds a week? Sixty in round figures. For a fortnight? Oh, no, dear! A fortnight's no use.  If you only go for enjoyment, not if you go for rest. Rest! Three weeks, then. A month. Smythe gives me the whole of August. Von Rettenmeyer passing his hand across his forehead. A month! Enid rising and carefully picking a piece of fluff from her skirt. We're losing this dance. Shall we have a turn? He gets to his feet with some difficulty and then faces her. Von Rettenmeyer breathing heavily. Enid? Enid, gaiolously. Yes? Von Rettenmeyer putting his heels together and bowing to her. If you would permit me to be your banker during your stay at Austin. Four weeks. Call. I should be most gratified. Enid going to him. I couldn't. Such an obligation. Von Rettenmeyer bowing again. On my side. Enid giving him her hands. Of course. I defray my travelling expenses and tips and incidentals. Von Rettenmeyer raising her hands to his lips. Not a penny of those should fall on you. Withdrawing her hands quickly. And backing away from him. Stidolf enters at the door on the left and again wanders to the counter. Stidolf taking another cigarette. You're missing a very pretty waltz, Miss Moncreef. Enid going to the door on the left. Von Rettenmeyer following her. I was just saying so to the baron. Enid and Von Rettenmeyer disappear. Stidolf lights his cigarette and is leaving the counter when Gabrielle and De Casto enter at the right-hand door at the back. De Casto looking exceedingly selfie. Stidolf to Gabrielle and De Casto. Ah, Miss Kato. Ah, Sam. A pleasant party, eh? Yes. Stidolf goes out at the right-hand door at the back. De Casto crosses to the left and then turns to Gabrielle. Damn pleasant party. Well, don't make a scene. Scene. I'm not making a scene.  You're making the scene. I am very sorry. I'm just as good a waltzer as anyone here and better than most. Waving his arms. If you're tired of me, announce the fact quietly. Don't go and wipe your boots on me in public, because that hurts my pride. Gabrielle with a little twist of her body. I can't do more than apologise. First time I've ever done that to a man. De Casto coming to her mollified. I don't ask it, Gaps. I don't ask it. All I ask. Gabrielle sitting on the nearest city in the centre. If I'm rude, it's owing to my low spirits. I'm so shockingly low-spirited. I know you are, and I make a law on this for you. I repeat, all I ask. Gabrielle gazing at vacancy. Mine is a strange nature. On the stage I am liveliness itself. A perfect little lump of talent. I've been telling Carlton, though, persuading him to introduce an extra song for you in act two. Gabrielle looking at the castle. You have? Yes. Did he promise to think it over? His exact words. Resuming her former attitude. As I was remarking, I'm a mass of inconsistency. On the stage, the embodiment of elfish fun. That was in the mail. Gabrielle nodding. In the mail. Off the stage, I am a sufferer from what's called the artistic temperature. No, temperament. The castle uncomfortably patting her shoulder.   Gabrielle, her melancholy increasing. Sometimes I have an idea that if I had a motor car of my own, I should feel easier and happier. What do you mean? A motor car of your own? Mines always at your disposal, isn't it? Gabrielle shaking her head. That's not the same thing. Whenever I have yours out, I am weighed down by a sense of borrowing. Well, if I gave you a new car, you'd be weighed down by a sense of my having paid for it. At first I should, but not for long. Seeing my family crest on the door panels instead of your monogram would help me to forget you'd had anything to do with it. Gloomily. Of course, it would be only an experiment. It might cheer me up, or it mightn't. The music ceases. A waiter-carried detray enters at the door on the left, goes behind the counter and mixes some drinks. The castle after a pause loosening his collar in a low voice. Here, we'd better discuss this experiment. Glancing over his shoulder at the waiter. Let's come and sit in the pit. Gabrielle rising. I can't argue. My head is too bad for that. The castle leading her to the double door. I don't want to argue. I simply want to arrive at an understanding. Supposing I'd buy you a car. Am I to be made an arse of at the next dance we happen to meet at? Yes or no? They go out onto the landing and disappear as Fulkerson hurries in at the right-hand door at the back.  Fulkerson to the waiter, joining him behind the counter. Hi. Wake up there. Glass of soda with a misspelling stage. Misspelling stage. Glass of soda over there. I'd have whiskey. What's whiskey? Which is the whiskey thing? Pouring some whiskey into a tumbler. You took soda water with misspelling stage. I'd mix more whiskey. You took soda water with misspelling stage. The waiter goes out with the drinks and Fulkerson, glass in hand, comes to the nearest side of the counter. He swallows his drink greedily, singing to himself between the gulps. Oh, the girls. Oh, the girls. They're all fully fond of the girls. Putting his empty glass upon the counter and making for the door on the left. Be there by the board of Fulkerson's phone and dreadfully fond of the girls. He vanishes as Farncombe and Lily enter at the right-hand door at the back. There is an era of constraint and uneasiness about the girl. She comes to the nearest settee in the centre and again picks up her bouquet. Farncombe follows her. They talk in subdued voices and with frequent pauses. Another ice. Lily rearranging a rose. No, thanks. I...  Why? You... you might have brought it to the theatre as due of that one and carried it about with you. I didn't bring this to the theatre. No. I found it with a lot of other flowers at the stage door. It's from the gallery boys. Looking at him for a moment steadily. And I attach some value to it. The bearded waiter enters at the right-hand door at the back, takes a box of cigars from the counter, and goes out at the door on the left. Lily walks away from Farncombe and seeks herself upon the further settee in the centre. Farncombe, as the waiter has withdrawn, producing his programme. No. 9. Two step. Mine the paint. To Lily. Of course you... you are engaged for this. Thank you, Shirley. No, I... I kept it open in case... In case. I dance it with Maury. Mr. Cooling. Maury Cooling. Farncombe after another pause, sitting behind her upon the nearer settee. Miss Peridot. Well?  I shouldn't dream of asking him. No, but... may I? I beg you'll do nothing of the sort. Forgive me. There is a further pause, and then she turns to him. Why, I spoke so... so sharply to you, was... You didn't speak sharply to me. Was because I've been very nasty with Maury, wrote him a furious letter, and I want to make it up to him. Ah, yes. I called him a pig, and other things. I hate myself for it. A pig? Lily Spineyne. Still, that's no reason why I should be nasty with you. And call me a pig. Lily impulsively kneeling upon the settee, so that she may compare her program with his. Look here. Fifteen. The Lost But One. Are you fixed up for fifteen? No. No. I kept it open... in case. Ha ha. A check-in herself severely. I might be able to give you fifteen. Farncombe scribbles on his program eagerly. Don't count on it, please. But it's but to Mr. Folkerson, and Bertie's not always to be depended upon at that hour. Thank you. Thank you. Thank you. She resumes her seat, and he jumps up and goes to her. That reminds me. May I ask who is going to see you home, Miss Peridale? See me home? It would be an honour that I should appreciate, more than I can, find words to express. Lily, rising, sternly. I am very much obliged to you. Walking away from him again. I daresay Mr. Roper will see me home, and Mr. De Castro, and Mr. Bland. Farncombe following her unhappily. I—I hope—I—I hope I haven't offended you. Not in the least. Only I am in the habit of relying on old friends for those little services. Stidope enters from the landing, and again wanders to the counter and to the cigarettes. The bind-the-paint air, to the time of a two-step, is played in the distance. Farncombe bowing to Lily slightly, and drawing himself up. Shall I take you to Mr. Cooling? Lily, with dignity, inclining her head. Will you? She has put in her hand through his arm, when the look upon his face softens her. She drops her voice to a whisper. Have I hurt you? Oh, I deserve the rebuke. No, you don't. Gently. You may leave me at my door with the others, if it will give you any satisfaction. As they walk to the door at the left, they are met by Cooling. Cooling to Lily breathlessly. Ah, here you are. Lily leaving Farncombe, her manner authoring completely. Come on, Mori. Her feet moving to the music. Tra-la-la! Tra-la-la! Giving her bouquet to Farncombe. Hi! Bring my flowers. Tra-la-la! Tra-la-la! They run out, half dancing. Stidolf calling to Farncombe, who is following them. Lord Farncombe. Yes? Stidolf going to him. Will you spare me a moment? Farncombe, a little impatiently. Uh, certainly. Stidolf laying a shaking hand on Farncombe's arm, and leading him away from the door.  I know your father. Knew him very well years ago.  With deep feeling. My boy, my dear boy. Farncombe surprised. Colonel. I, uh, I'm sorry to find you in this set. What do you mean? Don't be angry with me. I'm an old man.  But it's from the fools that the useful lessons are to be learned. Farncombe, withdrawing his arm from Stidolf. I really don't understand you. Try to. Not now, and another time. When this music isn't exciting you, nor these pretty women. Think it out by yourself.  Remember me? The old fool brought his to a miserable end. And that I cautioned you. Cautioned you. Luigi hurries in at the door on the left, followed by a wager carrying a tray, and by the wager with the beard. Hee hee hee. Behind the counter preparing drinks. Look out, gentlemen. You are losing it all. They are having a romp. A fine luck. Farncombe goes out at the door on the left. Make haste, Colonel. Make haste. Stidolf goes out slowly at the right-hand door at the back. Whiskey and soda for Mr. Tevish. Be clear of brandy, Mr. Greenwood. The wager carrying the tray goes out with the drinks at the door on the left. Luigi is following the wager who has carried out the tray, when the bearded wager coming to the nearer said tea in the center, sitting upon the said tea, calls to him, gruffly. Luigi. Luigi halting. The bearded waiter taking out a handful of money and selecting some gold from it. Here. Putting the gold into Luigi's palm. For your chaps. Oh, you are spoiling them. The bearded waiter giving some more gold pieces to Luigi. For you. Luigi bowing low. Thank you very much. With a polite grin as he disposes of the coins in different pockets. Hope you have enjoyed yourself, Captain. The bearded waiter speaking in the voice of geez. Thoroughly. Quietly between his teeth. Warm work, though. Rising slowly like a man with stiff joints. I'll be off now with your permission. See you at lunch, Captain? Probably. Nighting. Good night. Good morning. He slouches away to the door on the left and there stops, listening. There is the sound of people approaching, singing uproariously and shouting and laughing. Hello. Luigi at his elbow. Luigi goes out into the corridor, and geez recreates behind the counter. The noise increases and presently focus and rushes in, flourishing his arms madly. He is followed by Glen and Shirley who are carrying Lily upon their interlocked hands and by Poc who is helping to support her. Then come Henich and Nita, Grimwood and Daphne, Tavish and Flo, Von Rettenmeyer and Enid, De Castro and Gabrielle. Roper and Mrs. Dittle, Farncombe and Jimmy, Bland and Evangeline, Cooley and Sybil and Smythe and Olga, singing the course of The Mind the Paint Song and dancing to it wildly. They circle the saloon twice, go out at the right-hand door, at the back, return at the door on the left, and finally disappear through the double door and along the landing. The wagers who have brought up the rear of the procession gather with Luigi in the left-hand corner, clapping their hands and Stiddle returns, entering at the right-hand door at the back. Lily waving her bouquet and shrieking with laughter. Henich and Grimwood yelling, focus and deliriously endeavoring to stand upon his head. Jimmy breaking from the rank and jumping on to the further setee. Mind the paint, mind the paint. A girl is not a sinner just because she's not a saint. You dropped me. As the procession passes out of sight, followed by Luigi and the wagers, G's departs at the door on the left, and Stiddle once more goes to the counter and lights a cigarette. End of Act Two


Realistic game here today We are back on the piggy alpha because they have released the chapter 2 to it and happy fry you to everybody Okay, so let's get ready for this. We're here with the yeet squad with a yeet squad Okay, so let's select chapter 2 as we can see it's a station It might be like a police station because there's like bars there now vote for station. What are you guys doing? Station. Oh no, it's tied House, bro. All right, and we are here on the second chapter Piggy alpha. Hello. Is anyone here at the station? Okay, so it's definitely a police station because you see a cop car attention Monsters in the station get to the garage now All right, I'll try my best or actually. Oh, I'm paper pig But yeah, I forgot these shows like the player plus bot. You can't cross sadly. You have been selected as piggy These are trapped to stun players touch players to catch them. All right, so what we're gonna be a pretty gun Harsh full piggy because we have no mercy, right piggy. Oh My god, he's kind of a green with me. It's kind of creepy at the same time. Oh, they shouldn't get people. Oh Hello, look at this Hey, let me do let me get down with pepper pig. Hey, hey, hey All right, so let's go here. Oh, I see someone already Dude, why did you guys choose a player plus bot now? It's gonna be way harder. Oh And our first person Rest in place to blazer. Oh Two people down already. Oh Here comes that third person Dude, this is this is going very bad for the survivors. No, come here. Where are you going? Okay, where should go come on. Oh no, it's a dead end.  I got stuck there. Oh, no now she got it like a head start great Now she got some distance against us real a taco boy No, come back here. I need to tell you something man. I have something important to tell you Well, no, no, no, please don't tell me she didn't get away dude. How is this even possible? Oh, no Oh god, I wouldn't use that drop right there to get down Where is my partner piggy so we can trap this? Oh, we got a suspect here Okay, let's get this dude. Dude. What? How did that not get him? Oh, what? All right. It seems like We don't have to worry about that. Oh double team. Where are you going now boy? Do we trap them there? Oh George is found you good George Well, that was a little too easy. All right, hopefully this time we can be a survivor Instead of being the killer because I really want to try to escape from the new map man Because it looked pretty cool from what we've seen right now Pig bros. Yeah, I had a piggy brother that round. Oh gosh, all right intermission Come on. Why are you taking so long?  I see what you did there, man Let's put alo out because that's pretty hysterical Okay, there we go. Okay, so our location destination is the garage So we have to get out of here another monster. Okay, you're um Let's get out of here fellas. This is our time to shine. Oh Nice, okay, we got a green key and an orange key. Oh There's slime here. I wouldn't trust that thing Maybe it's like toxic waste or something But what would that be doing at a police station? That is so odd Okay, let's open this door over here. We got the green key Piggy has woken up dude. We open this for nothing. There's nothing in there You gotta be kidding me. Oh, oh the hammer Nice, buddy. I feel like the hammer is like the most worthy item you can find Okay, so piggy has woken up. You got to be careful with piggy because he is roaming Station What what is going on here? They're having a talk or something. How is he not dead? Guys, I have never seen this in the piggy game before. Oh Run white. Oh Dude, she got the guy behind. I mean he got the guy behind him instead of the guy facing him What is the world is going on here? That makes no sense. Okay, whatever. Let's just ignore that Even though we have to go back this way to get that retic-y. Hopefully no one got it because oh God, I'm scared to go around. I mean to go this way. Dude. He's just there with the killer All right, whatever It's a better chance for us to get out of here. Let's take advantage of this because we do have the time against us as well Okay. Oh, yeah, you need the hammer. I think I saw like something up here when I was the killer. Yep You need to bust this down FBI. That was the FBI knocking it down Okay, so now we got this teal or scion whatever let's open this Okay. Oh, wow. Look at this. It's like oh, it's like the prison yard. Oh That's the key for the gun Okay, we need this gun for I mean that key for the safe. Oh, what there's a cop car like crash into the prison wall What is going on in this place? It's pure madness Okay, so let's go over here My god, there's still standing there Hello, wait, did he push him? If you're like you got closer or something they definitely moved Because they were they were further back. Oh No, somebody took the red key and they don't know where to use it. Oh, come on. Who has red key I really need this red key guys so we can get out of here. I want out of this place Okay, no No red key there It's over here The planks right here. There's nothing over there Nobody has a red key. I need red key. I need red key I know someone has it because it was at the lunch table and nobody opened it Oh, I think she switched it because she has the orange one now Okay, so now I have to race back to that great have to race back to the lunch table over here, dude.  I Don't know how I didn't get us, but whatever. We're not gonna question it no more Okay, somebody took the red key great. So the red key was there now. It's gone Who is doing this to me? He has a wrench Dude someone has a red key in there. Oh god, come on. I Need the red key so bad someone has to Who has red key? Come on fellas. It's we have to use teamwork here. Oh No, we're back at this. Oh my god I Think I shouldn't go through there anymore because it's not gonna end well for us If we keep going there and testing our luck Okay, so someone has a red key and they don't want to give it up like come on I'm trying to get out of this place Okay, we got one battery there. I Don't know what that's for Okay, it's not in the container is it? No, it's not Um, okay, let's go over here Maybe they replaced it for something up here. He has a hammer No red key. Are you kidding me? There's a red key down here and there is no red key down there. He's there. Oh No, oh, she has a red key. Please use the red key over here. I need it so bad Okay, where did we get that battery great now? I forgot where I left that key that we had earlier. Oh Yeah, I found it up here Okay, so everything seems to be going fine use the red key. Thank you so much. You just saved me. Oh, no We can't get past that Now we have to go around Through time is against us. Okay. We have five minutes or four minutes To get out of this place. I feel like we're gonna barely get enough time to escape from here Okay, he has a green key. Hopefully nobody got that key that I put over there What is that the wrench? No, we do not need the wrench Okay, let's go up here. How is he not dead? Oh my god, and I have to go around again. Oh, no, I could take the shortcut Nice Okay, so it seems like we're progressing pretty good guys Feel like we got this Close this door. Oh Gosh, right now we can use this on the safe Voila, we got the key for this Nice Okay, we got the battery. Okay, hurry find some gas so we can get out of here. Wait, what is it? What's in the car? It's like a little teddy bear. What's a dog, right? I'm not sure but let's go put this battery where it belongs and Hopefully we can escape once and for all. Excuse me. Pardon me. Thank you coming through. Oh No, oh gosh, no, all right, so we take this battery replace it outside and then let's see what happens next Can you place this here? Oh the gas can't seem to there? Yes, okay, so we got the gas and now we have to run back to the car and I think we are Finally out of this place guys Hopefully pick uh-oh Piggy's walking. I hear his footsteps. I think he's gonna meet us right here. Yep. Oh, no No Please have some mercy piggy. Oh, no, somebody just got some back there. Okay. Let's go around this way. He won't Hopefully he doesn't follow us around. Oh No, I hear us. Oh Dude, I did not see this guy right here. Oh No Okay, take that Yes, I see the exit over here.  All right ggs everyone you escape. Yeah, I can clearly see the exit. Oh Wow That was pretty I say it's a little harder than the first one, but kind of not they're kind of like the same hard level That makes any sense Right, so that was pretty neat. I like how they updated the map and the game just came out like a couple days or weeks And it's pretty impressive you updated right off the bat since he's seen that a lot of people actually like playing it So hopefully he keeps updating the game adding more maps and like adding more stuff To make the game like little more interactive. I mean, it's already pretty good as it is But I don't know just to switch it up a bit, you know Because I mean if he's gonna keep updating it and just adding like the same features It might get all the people might not like it anymore So I mean adding like new little things to the game might be pretty good Or maybe like a new character or something I don't know but stop twitching in the background. It's very creepy man Right you guys well This was the piggy alpha if you guys enjoyed the video make sure to slap the like button Under the channel make sure to subscribe and turn that notification bell on and I will see you guys in the next one Bye


This, this here, this here's a story all about how our lives got flipped and upside down. And like Fresh Prince, I'd like to take a minute, so just sit right there. And I'll tell you the story of how we came to be here. Vince and Van Gogh faced adversity and is a genius. And although his mind often left him sleepless, he loved paint. And the story of how he lost his ear is not for the faint of heart. But lose the tip of an ear Vince did and it almost cost him his life.  But good ol' Vincent survived the incident and in his genius we can remain confident the suitability of his following words about adversity are self-evident. The fisherman know, said Vincent Van Gogh, that the sea is dangerous and the storm terrible. But they never found these dangers sufficient reasons for remaining ashore. And neither did we. In Halifax with the ocean's imagery we are all fisherfolk. We made it through the storm and dangerous sea of law school to be here today. With both ears intact, while maybe a little scratch. And before we say farewell, farewell to Nova Scotia, the sea bound coast. We must tell our story and like the case law does I break it down not in one, two, three but in one A, one B and one C with two little eyes. And like all good stories our story has a beginning, a middle and an end. One A, who were we before this story? One B, this law school story, one C, who will we be after this story? This law school story. One A, who is a law student? Some kids are told early on that their dream of being a lawyer is wrong. That a career in law wasn't meant to be for them, that they should think about another career because law is for people who like logic and analysis. And they are told, don't go chasing waterfalls. Please stick to the rivers and the lakes that you're used to. They chase the waterfalls instead. And they are here today with both ears intact, well maybe a little scratch. And we are told that law school is for those people whose song is, all I do is win, win, win, no matter what, got money on my mind. I can never get enough. And that is true. You too. And law school is for those who didn't know what to do, who thought, I'll try this out for a year or two. And to all of us who ever dreamed of going to law school for age three, or fell into law school accidentally, or went to law school because it was in the family, or went to law school because they were the ones who made it. You were all meant to study law. Do you know how I know? Because here you are with both ears intact, well maybe a little scratch. One B, the law school story. And if our story were a cake, the section would be the batter that we would cook up and serve on a platter. And really the truth of the matter is that it's, as John Burrow says, about love, man. Because why did we make these laws in the first place so that we could live in a world with a better human race? So that love becomes an action. And that action is justice and equality. But sometimes the way people act is full of dishonesty. And also importantly, law school is the friendships. Because we all need somebody to lean on. And friendships are forged here that will last our whole lifetime, forged by hours of study groups in coffee shops and study rooms at kitchen tops and at the library. Shh, don't speak. Can you see we're studying here? That happened to me a lot. Friendships are forged by a sharing of a new legal language. Forged by giving each other courage. Forged by a shared sense of impending doom. Reading, reading, reading, tabbing, tabbing, tabbing, writing, writing, writing, fingers hurt from typing for three hours straight. No break. Got to get as many words on this paper as I can to prove that I know this, that I could know this, that I should know this, that I want to make it look like I know this.  And Mandela said, it always seems impossible until it's done. And now it's done. And here we are with both ears intact. Well maybe a little scratch. And law school was hashtags, memes, gifts, and buzzfeed lists. And it was also Halifax, the harbor, pizza corner, wanting to dance just a little bit longer, parks, oceans, beauty. And you are all beauties. Did I forget to mention that? Yeah. You so fancy, but you already know. In the fast lane from well then to wherever you want to go. And we are baby lawyers, and we are still in diapers, but we are graduating today to become toddlers, and we have so much to learn, but rest assured, we will have each other. And there are times when we will be on different sides of cases, but we will need to remember these bonds forged over these three years. And like Marquez says, I would not have traded the delights of my suffering for anything in the world, and neither would we, because here we are with both ears intact, and maybe just a little scratch. One C, where do we go from here? Legal battles today are over democracy and sexual orientation and the law and immigration and incarceration, and these are not easy questions with easy answers. They are hard fought battles with blood drawn on both sides, and it is into this we wade as new lawyers. We are the people now who know the rules. We are the people now who know the laws. We are the lawers, the doers of the law. People will come to us at their crucial moments, at their crisis moments, at their important and exciting moments, and we will be the ones to do the law for them, the lawers, the doers of the law. And so when people come to us and ask us to know the law for them, to do the law for them, to be the law for them, let's remember to listen with our hearts, despite the fact that we have both ears intact.  You will become people who are fighting to change the world, to save the animals, to protect our environment for feminism, for artists, for the eradication of racial discrimination. You will become people who help people buy houses and marry or divorce spouses. And you will write contracts and interpret facts, and if you are simply a lawyer, you can do some good things. But if you are a loving lawyer, you can do great things. And a great power is now yours. And with great power comes great responsibility, and you don't even have to have a spider's ability. So use it well, and remember, it's all about the love, man. And finally, those two little eyes, I am here to advise that as this year's valedictorian, I would like to bid this law school story, our law school story, farewell, but not goodbye. And as my Irish ancestors say, as you go, may the road rise up to meet you, and the wind be always at your back. And remember that here we are with both ears intact, and maybe just a scratch.