This is about life. Do you know those who these have not taken a life for blocking the ships who are taking aid to Israel? So they're trying to stop this. They have not taken a life and they are being bombed. Why? Because they're standing against the U.S. Empire and the puppet Netanyahu. Titan could pick up the phone and stop it in a minute. Let us not listen to his words.  Look at what they're doing. They just pick it up and they decide to bomb people. Those are U.S. bombs killing innocent people in Palestine, innocent people in Yemen, the same bombs that killed six million people in the Middle East in their war on terror.


Hello, and welcome to Cobra Convergence 3. I'm coming to you from Chattanooga, Tennessee. I'm here for Jo-Con. That's Chattanooga right outside this window. I know you can only see a tree, but it's a tree in Chattanooga. This is the third year of Cobra Convergence, and it's the biggest one yet. We have more creators to bring you Cobra videos in July. It's my privilege to kick it off. Before we get started, I want to thank John Carling for the title card art. He sent me this t-shirt with his art on it. He has a wicked, cool art style. And hey, he has his own website at johncarling.com. Thank you, John, and everyone, you've got to check this artist out. Right now I'm coming to you from my hotel room in Chattanooga. I will be going to Jo-Con later, and I'm taking Cobra Convergence with me. Now, Cobra Convergence will be a little different this year. Hey, Steve! I'm ready for whatever you want to throw at me. Let's do this! I'm loaded for bear! Uh...what? I've got guns, I've got grenades, I even got a freaking magic wand! Let's do this! Rectum Simpra! Timmer! I even got a matching bulletproof underwear! Uh, Timmer! I feel like I can take on the whole empire myself! Woo! Let's do this! Wakanda Forever! Leroy! Timmer! Jenkins! What? I appreciate your enthusiasm, but we're not doing a storyline this year. W-we're not? Okay. I'll remember this, Steve. My name's not Steve. Forget it. Let's just go to Jo-Con and get Cobra Convergence 2018 started. F***ing review, and the kickoff of Cobra Convergence 3. I just got back to my hotel from the last Jo-Con. It has been an emotional day, I can tell you. The theme for Cobra Convergence this year is underrated villains. I have to say a special thanks to everyone who's participating this year. You guys are going to be blown away by all the cool stuff we have coming up this month. We're starting out by looking at Cobra Commander, version 3, from 1987. Cobra Commander is a character that's pretty important to me. It's the name of this channel. This figure was a drastic departure from the traditional look of Cobra Commander. You might not expect me to think this is an underrated villain. You might not expect me to like this figure at all. But to me, this isn't Cobra Commander. This figure represents someone else, an imposter. The story behind the battle armor Cobra Commander is the story of a brazen con. It caused major turmoil in the ranks of Cobra. Ultimately, it led to the demise of the imposter and the return of the real Cobra Commander. The story is far more interesting to me than the figure itself. Let's start Cobra Convergence 3 by looking at that top man himself. HCC788 presents Cobra Commander. This is the 1987 Cobra Commander, version 3, with battle armor. This figure was first introduced in 1987 and was also available in 1988 and was discontinued for the year 1989. This is the third version of Cobra Commander and it was a radical departure from the first two versions. The first version of Cobra Commander was released as a mail away offer in 1982. You couldn't pick it up at retail, you had to send away for it. Like all 1982 figures, it was a straight arm figure, meaning it had articulation at the elbows but no swivel at the bicep. Unlike most other 1982 figures, Cobra Commander had all unique parts. In 1983, Cobra Commander was released again as a carded figure that you could buy at retail. The articulation was updated to add the arm swivel which all 1983 figures had. This is referred to as version 1.5. Unlike the earliest releases, version 1.5 did not have all unique parts. It shared arms with the Cobra officer. In 1984, another mail away Cobra Commander was released, the hooded Cobra Commander. Version 2 of Cobra Commander copied the body of version 1.5 but changed the color to a darker blue and added some gold highlights. The head was updated to give him the cowl that he often wore in the cartoon and comic books. Version 2 of Cobra Commander was never released at retail, it was only available through the mail. These two versions of Cobra Commander influenced almost every later version of the character except for version 3. Version 3 shared no elements with its predecessors. In 1987, they gave him electronic battle armor and turned him into Iron Man. There were a couple other versions of Cobra Commander in the vintage era that departed pretty radically from the first two versions but that's not a subject for this video. Cobra Commander of course was the supreme leader of Cobra, the ruthless terrorist organization that menaced GI Joe. That is, until he wasn't. In 1986, a new element was introduced, Serpentor, the Cobra Emperor. For a while, they shared power but eventually Serpentor won out. His reign was short-lived though, you can't keep the one and true commander down. The transition from Cobra Commander to Serpentor and back requires some explanation but I'll save that for the media section later in this video. How did fans react to such a radical change to an important character? Well, if you follow the GI Joe comic book, you may not even consider version 3 to be Cobra Commander. That requires some explanation too. We'll get to it but let's finish looking at the figure first. The first Cobra Commander figure was designed by Ron Rudat as most early GI Joe figures were. The file card was written by Larry Hama, the writer of the comic book series. It was in the comic series that the character was fleshed out. Larry Hama has said he based Cobra Commander on William F. Buckley, a famous political pundit. The idea that Cobra Commander, a boisterous demagogue in love with the sound of his own voice, was based on William F. Buckley is hilarious. Why is he called Cobra Commander? Surely that's his title, not his name. It betrays a lack of creativity in the early bad guys. His first file card just has his codename as Enemy Leader. In my mind, the name Cobra Commander tells you everything you need to know about him. His real name is irrelevant. Through the comic books, we know a lot about Cobra Commander's backstory. But what does it matter if his name is Bill or Bob or Sam? His personal identity has been suppressed and Cobra Commander is the only part of him that matters. On this show, we normally look at vintage GI Joe figures, meaning figures that were released from 1982 to 1994. Since this is a special occasion, I'll be looking at a couple later versions of this figure. I have version 22 from 2005, which came with a comic book 3-pack including Zartan and Zirana. It had the same body as version 3, but a different head. I also have version 28, the 25th anniversary figure from 2008. This is a modern figure. It copies the look of version 3, but with an entirely new body and updated articulation. Thanks to Larry Loera for donating both of these figures to the channel. Let's take a look at Cobra Commander's accessories starting with his weapon. He came with what the card contents call an auto assault pistol. It is black. It looks like a machine pistol. It has a magazine and a short barrel. It also has a scope. It looks like something out of Star Wars. That happened a lot with Cobra accessories. They tended to be more futuristic and sci-fi than GI Joe team accessories. The pistol is fine, but rather forgettable. Earlier versions of Cobra Commander had the Venom laser pistol. It was simpler and kind of goofy, but it had style. It's an accessory that makes anyone look good. The next accessory is what the card contents call a life support backpack. This backpack is in silver plastic. It has a bunch of points and spikes on it and no other real detail. This backpack is supposed to have the electronics for the battle armor. The card art seems to indicate this backpack should go on with the two points facing up. However, I have seen reference photos with the backpack the other way around. And if you follow the contour on the back side of the backpack, it does more closely match the figure upside down. The last accessory isn't listed on the card and was attached to the figure in the bubble, but it is removable and I think it should count as an accessory. It's a black connector hose that runs from the front of the helmet at the mouth around to the right side. It is not glued in or permanently affixed in any way. You can just pop it out of the side and then pull it out of the mouth part of the helmet. And it's totally removed now. It's easily the most frequently missing part and can be frustrating to collect. It isn't the rarest GI Joe accessory by a long shot, but you will see dozens and dozens of Cobra Commanders without the hose before you find one that has it. This is the kind of thing I encourage collectors to skip unless you're a completist and require every figure to be complete with original accessories. In this case with the hose missing, the open hole at the mouth makes Cobra Commander look slackjawed. I would prefer an attachment like this to not be removable. I think I know why they went with a separate piece. The head is molded front to back. You can even see the seam. If they had made it a molded on detail and painted it black, it would have lost some of the ridge detail on the side of the head. Personally though, I want hoses and microphones to be molded in rather than removable. I'll accept the loss of detail. Let's take a look at the articulation on Cobra Commander version 3. He had the articulation that was standard for GI Joe figures by 1987. So he could turn his head from left to right and look up and down. He could swing his arm up at the shoulder and swivel at the shoulder all the way around. He had a hinge at the elbow that allowed him to bend his arm at the elbow about 90 degrees. He had a swivel at the bicep that allowed him to swivel his arm all the way around. This is an O-ring figure, meaning the figure is held together with a rubber O-ring that loops around the inside. That allows him to move at the torso a bit. He could move his legs apart about so far. He could bend his leg at the hip about 90 degrees and he could bend at the knee about 90 degrees. Let's take a look at the sculpted design and color of Cobra Commander starting with his head and his head looks like a bucket. He has a silver helmet. He has an open port for the eyes. He has a hole at the mouth and a knob on the right side of the helmet for the hose connector. The helmet is elongated in the back like a bicycle helmet. Why does it look like this? Is it inspired by Darth Vader? Were they trying to replicate the look of Cobra Commander's hood? Whatever the reason, it makes the figure's profile look bizarre. It's unbalanced and distracting. There's a sculpted-on red Cobra emblem on the forehead of the helmet that's actually sculpted on, not just painted, so that's a nice bit of extra effort. It's a slightly simplified Cobra emblem and that harkens back to the simplified Cobra emblem on the Mickey Mouse Cobra Commander. This may be the closest link to the original figure. Next we have the chest and the chest is also pretty strange. We have a base blue color and that is pretty Cobra Commander-like. This blue cloth, the file card says, is bulletproof polymer fabric. On top of that, we have some silver armor details. This T-shaped silver piece is too narrow to be a proper chest plate. We have some silver buttons on the left side. According to the comic book, these buttons are used to input a security code that allows the helmet to be removed. He has silver spikes on his shoulders. He has a spot of black just under his neck. He has another black hose on the left side of his body. This one is molded in and painted. His back is mostly blue, but we have a silver plate where the backpack would be. Next we have the arms and the arms are a bit clunky, both in the sculpting and the color. They are mostly silver and we have a lot of just jagged shapes all the way down the arms. We have some spots of black on the upper arms. Then we have the swivels, which are black, but the lower arms are silver. That makes the joint very obvious. Normally this would be a problem for me, but I guess I can forgive it with this figure because this armor is supposed to be kind of robot-like. On his waist piece he has a silver cobra belt buckle. Very nice. He also has a silver cod piece. A lot of cobra figures had cod pieces like this. They're really trying to bring cod pieces back in fashion. He has a belt with a pouch on the right side, a couple straps on the left side that go down to his leg. I've been thinking about what to call the color of this belt because that's the kind of thing I spend time contemplating. I'm going to call this color burgundy. That may not be exactly right, but it's pretty close. On his upper legs he has more of that blue cloth. Most of his legs are covered with silver armor. He has an empty burgundy colored pistol holster on the left side. If you consider this to be an imposter cobra commander, that could explain the dominant hand change. Maybe the imposter is left-handed. He has black ridged details around the knees. This is supposed to be flexible material around the knee joint. When you bend the knee, the hinge is silver. This would normally be a problem for me like the elbows. It makes the joint look rather obvious and kind of ugly. I would expect this hinge to be painted black, but again this is supposed to be robot-like armor, so I guess I can give it a pass on this figure. He has tabs at the knee and the lower thigh that come together when the figure is standing. I wouldn't exactly call these knee pads. The lower legs are segmented and the bottom half of the lower legs are smaller and have vertical ridge details. He also has black boots that are partially covered by silver armor. After looking at the figure from top to bottom, I have to ask, why is this cobra commander? If this figure wasn't called cobra commander on the packaging, you wouldn't suspect that's who it's supposed to be. Was it originally intended to be a different character? Others have speculated that maybe this figure was planned to be somebody else, and I have to share in that speculation. This just doesn't seem like cobra commander. Let's take a look at cobra commander's file card, which was printed on the back of the card on which the action figure is packaged. We have his faction as cobra, obviously. We have a portrait of cobra commander here. His codename is cobra commander with battle armor. His filename is classified, always. This top paragraph says, cobra commander likes to be upfront in the thick of the action when his vipers, eels, and cgs confront the GI Joe team. The card references vipers, eels, and cgs, meaning crimson guard. Some GI Joe fans may believe this character ought properly be wearing this uniform. To protect their leader in the heat of battle, the best technical minds of Destro's armament factory created a special suit of body armor that combines flexible bulletproof polymer fabrics with beryllium steel plate components. Here it references Destro, Cobra's weapons manufacturer, introduced in 1983. The entire suit is air conditioned, solvent resistant, and ray shielded. Ray shielded so you have to use proton torpedoes. The helmet is fitted with an integral commo system, internal readouts for environmental quality, and a miniaturized computer display. This bottom section has a quote. It says, at least we don't have to worry about cobra outfitting whole units with these suits. Each one costs about as much as a jet fighter. The plate parts can withstand a direct hit from a heavy machine gun, and the flexible parts will stop anything up to a .357 magnum. We suspect that the helmet has an anti-temper device with a direct hookup to half a pound of plastic explosives. This file card is mostly about the battle armor. Only a little part of the first paragraph says anything about Cobra Commander. His first file card made sure to point out how super duper evil he is. There have been literally dozens of Cobra Commander figures released after the vintage run. Most are based on the first two versions, but there have been a few attempts to recreate the battle armor Cobra Commander. One such attempt was in 2005. Cobra Commander version 22 came packaged with Zartan and Zirana, and a reprint of issue number 74 of the comic book. That's a good issue because it comes from the epic Cobra Civil War story arc. That's still one of my favorite comic book stories. The reprint is on thicker, glossier paper, and it includes the map of Cobra Island in the back. It's not a bad way to read that comic. The 2005 figure entirely reuses the body of the 1987 figure but with a different head. The colors are more muted and pastel. Instead of one pistol, he now has two guns, but still no working holster, and now he has no backpack. Most importantly, the helmet is now removable.  Actually, this is the face of Fred Seven, the imposter Cobra Commander. He was the person wearing the uniform in the comic book packed with the figure. Notice that the hose is now molded onto the helmet and not removable. The shape of the helmet is now different, which is good in one way. It doesn't have the protrusion at the back, or at least it's much less pronounced. In another way, it isn't so good. The helmet is longer, probably to make sure it entirely covers the figure's face, but it gives the helmet a droopy look. The plastic on this figure is not up to the quality of the vintage figure. It feels cheaper. The joints are either too loose or gummy. This is an attempt to copy the look of the old figure, but not the playability. For this reason, I think this figure was marketed more toward adult collectors rather than kids. The comic book, while a good story, would have been read out of context by any kid picking up the three-pack. That brings us to version 28 from 2008. This was part of the 25th anniversary line and was a single-carded figure. The 25th anniversary figures didn't copy the old vintage toy molds. They replicated the style and the look of the vintage figures, but with updated articulation and sculpting. They were also slightly taller, averaging four inches instead of three and three-quarter inches. The details of the 1987 figure are faithfully translated to modern form. They added almost nothing. The helmet is removable, which is cool.  You could pretend this is either the real Cobra Commander or the imposter. The hose is once again a removable accessory. The new hose does not fit on the vintage figure, so if you're thinking of swapping them out, that won't work. He has his backpack again, much larger this time, and with some additional details. He has a new gun. He also has a figure stand, which is typical with modern figures. The weirdest thing on this figure is the empty pistol holster. He has a holster on the left side, just like the vintage figure. There's nothing in it, no pistol, and it doesn't fit the gun accessory that comes with them. I know they were trying to update and modernize the vintage figures, but this was an opportunity to fix some of the oddities on the vintage figure. Instead, they just wrote copied the same weird details. I consider that to be a missed opportunity. Looking at how Cobra Commander was used in G.I. Joe Media, he was in the story since the very beginning, but that story takes a bizarre turn before the introduction of the battle armor version. In the second season of the animated series, Cobra got a new leader, Serpentor. Series writer Buzz Dixon has said this was a Hasbro decision, not a decision of the animation team. The decision required the animation team to scrap some ideas they had for the series. Cobra Commander would be pushed aside in favor of the new guy. The conflict between Cobra Commander and Serpentor reached a climax in the 1987 animated movie. In that movie, it was revealed that Cobra had its origin in Cobra Law, an ancient society of mutants that had been hidden away under an ice dome in the Himalayas. Golobulus, the leader of Cobra Law, punished Cobra Commander by transforming him into a snake. I'm not joking, that really happened. As he slowly mutated into a snake, Cobra Commander declared, I was a man. I was once a man. Which technically he wasn't. He was a mutant creature from Cobra Law. It seemed that Cobra Commander was out of the picture permanently, that may have been Hasbro's intention. Except, in 1987, the very same year the movie was released, they gave us a new version of Cobra Commander. Why? Was this figure intended to be released the year before? It doesn't fit very well in the 1986 lineup, since the figure doesn't look anything like the previous versions of Cobra Commander, they could have called this figure anything. They could have made him a vehicle driver and called him helmet viper or something. Were they telegraphing their intention to bring him back? Whatever the plan was, it was derailed by the fact that the Sunbow animated series was cancelled after that 1987 movie. Most 1987 and 1988 figures didn't get animated appearances for that reason. But Battle Armor Cobra Commander did. In 1989, G.I. Joe got a new TV mini-series, Operation Dragonfire. This time it was animated by Deke Entertainment, with a little less effort than we were used to from Sunbow. That series picked up where the movie left off, with Serpentor leading Cobra. In the intervening years, plans apparently changed and it was decided that Cobra's future lied with Cobra Commander, not Serpentor. Cobra Commander returned as a snake man and was given his Battle Armor uniform at that point. Copperhead found the Battle Armor in his hovercraft, and Cobra Commander says it's one of his uniforms. He implies it's an old uniform, but it's not one we had seen him wear before. It's worth noting that this episode aired in 1989 and included 1989 characters and vehicles. But the Battle Armor Cobra Commander was not on the pegs that year. It had been discontinued. They were advertising a toy that kids couldn't go out and buy. With their roles reversed, Serpentor was deposed and turned into an iguana. I'm not joking, that really happened. As in the animated series, Cobra Commander was in the comic book from the very beginning. The origin of the Battle Armor is much more interesting in the comic book. It's a long story, so I'll try to condense it as much as possible. Following Cobra's invasion of G.I. Joe's secret underground base, The Pit, Cobra Commander and Destro got trapped in the collapsed base. That made Serpentor the sole leader of Cobra. C.C. and Destro managed to escape and put on funny disguises, but they didn't immediately return to Cobra Island. Cobra Commander went to Denver, Colorado. He met up with a Crimson Guardsman from the Fred series. Crimson Guardsmen were elite Cobra troopers that also served as a fifth column. Some of them received plastic sugary to make them look alike. Plastic sugary? That doesn't make sense. Oh, typo. They received plastic surgery to make them look alike. Those Crimson Guardsmen were all called Fred. The Crimson Guardsmen in Denver was Fred 7. Fred 7 contributed a few important elements to the comic book story. He invented the Pogo Ballistic Battle Ball. The less said about that, the better. Most importantly, he invented Cobra Commander's Battle Armor. The battle armor is straight out of Iron Man. It's a strength-enhancing armor that protects the wearer from attack. It doesn't have all the gadgets of Iron Man armor, but the influence is clear. The real Cobra Commander did wear this armor for a short time.  That angered Fred 7, who shot him in the back. Cobra Commander was presumed dead, and Fred 7 decided to impersonate Cobra Commander and take over his role as leader of Cobra. That was a ballsy move. They should have sculpted extra room in the crotch of this figure for this guy's big brass balls. Nobody had seen Cobra Commander in the battle armor, so there was no reason for anyone to believe it was really him. The Baroness decided to aid in the deception and use the knowledge of the imposter to her advantage. Fred 7 was a weak leader, though. When civil war broke out between Serpentor and Cobra Commander, Serpentor likely would have prevailed and removed the rival to his power. Zartan intervened and killed Serpentor with an arrow. That allowed the imposter to continue the deception. Eventually it was revealed that the real Cobra Commander was not dead. He returned, looking very much like himself, not wearing battle armor. He also took revenge on all his enemies by sealing them in a landlocked freighter on Cobra Island, then burying that freighter under a dormant volcano. Fred 7 died there. The real Cobra Commander was once again the undisputed leader of the organization he founded. The battle armor is more associated with the imposter than Cobra Commander. The card may say Cobra Commander, but to me, this will always be Fred 7, the imposter. Looking at Cobra Commander Version 3 overall, this is not a top tier figure. This is a middle tier figure for me. As far as Cobra Commander figures go, it's not the worst, but it's far from the best. A proper Cobra Commander should be wearing a hood or a mirrored faceplate. The figure has some decent sculpting and the colors are fine. It could be a deluxe vehicle driver if it weren't Cobra Commander. It kind of reminds me of a blue version of the AVAC Firebat Pilot. The accessories are a bit lacking. I've never been fond of the pistol. The backpack is more of an extension of the battle armor and that hose is infuriatingly easy to lose. Separating the figure from the character though, it makes me think of a compelling storyline in the comic books. By looking at this figure as Fred 7, rather than Cobra Commander, it brings a new element to the table. It brings subterfuge, deception, and conflict. Fred 7 was not remotely qualified to be Cobra Commander, but he approached the situation with the attitude of a con artist. A few people played along because it was in their interests for others to believe he was Cobra Commander. He fought a war against Serpentor and won. This guy ought to be the patron saint of imposters, frauds, and fakes. But I think that brings something intriguing to the story and that's why I think this figure is underrated. That was my review of Cobra Commander Version 3. I hope you enjoyed it. This week we have Cobra Convergence videos coming from FormBX257 and Half the Battle. Make sure you check out their channels so you can see their videos when they go up. There will be more Cobra Convergence videos every week this month. I'll keep you posted. I want to expect each week and I'll be back next Sunday with another Cobra Review. It's Cobra Month all month on this channel. I'm doing something special this year. If you want to contribute to Cobra Convergence, you can. Just send me your contribution and I will put it in a montage at the end of each of my videos this month. I made an instruction video so watch that to find out how to contribute. Thanks again John Carling for the title card artwork this week and thanks for the t-shirt. I love it. Make sure you check out his website for more of his art. I'm on Facebook, Twitter, and Patreon and my website, hcc788.com. I'll be back next week for another vintage Cobra Review and until then remember only Cobra is Cobra. Wasn't supposed to make that noise. It's funny, after six years the battery still works on this toy.


Connectivity in the Least Developed Countries status report 2021. Although the vast majority of the one billion people who live in Least Developed Countries are covered by a mobile broadband signal, only 25% are online. Internet connectivity is an enabler of economic and social development and is a lifeline during the COVID-19 pandemic, especially for businesses, schools, hospitals and other essential services. How can we connect to the 75% of people living in LDCs who are still offline? The connectivity in the Least Developed Countries status report 2021 identifies several recommendations to boost internet connectivity and usage in Least Developed Countries, including raising awareness of the benefits of being online, improving digital skills for everyone, expanding connectivity to rural communities, making connectivity and hardware more affordable. Connectivity is a critical determinant of every country's future growth and prosperity. Working together, we can ensure that everyone can truly benefit from today's life-changing technologies. Learn more in the Connectivity in the Least Developed Countries status report 2021.


In just a moment, suspense with Ida Lapino. Phew, what a night. Yeah, it's a scorcher, Dad. You're lucky we thought of coming to the firehouse.  Hello, Mike. Hello, Ab.  All you've got to do is turn the hoses on and squirt them anywhere. Yep, it's hotter than Hades. We're all sitting here listening to the radio. Dad, I wonder if they're listening to the auto light show. What are you hearing, Mike? We're just switching to auto light. Besides, we like their batteries, spark plugs and ignition systems around here. Everyone does. And everyone likes their show, suspense. Oh, here's the show. Suspense. Auto light and its 60,000 dealers and service stations bring you radio's outstanding theatre of thrills. Starring tonight, Miss Ida Lapino in a tale well-calculated to keep you in suspense. Today, everybody's switching to auto light. And tonight, auto light takes pleasure in presenting Anton Leader's production of Ray Bradbury's remarkable story, Summer Night, starring Miss Ida Lapino. The line's still busy. I just don't see how it could still be. Oh, it isn't the line, Miss Macaulay. It's the circuit. I've been simply swamped all afternoon. I haven't been able to get a call through to the police station for over an hour. And the mayor's office has been busy. Yes, I know. I'm sorry to trouble you, but it's terribly important. Well, if you want to hang on, Miss Macaulay, I'll try again in a minute. Oh, all right. It's been this way ever since the news got out about Piningpool, LaVenia. You heard about it, I suppose. Yes. Oh, just a minute, Miss Macaulay. I got another call. Yes, this is the operator. No, I'm sorry. That line is still busy.  Oh, I'm sorry, Miss Macaulay, but you see what I mean? Oh, dear. Oh, Miss Welsh, by the way, I... It was bad enough last time. The whole town is on its ear. And I can't say that I blame them. What with a maniac loose and nobody knowing who it is? Yes, I meant to ask you, Miss Welsh. Are they sure that LaVenia? I mean that it was the same thing as the web girl last week. Why? I just knew she'd been found. Oh, good. It's like on The Other Girl.  That's why they're calling him, you know, the lipstick killer. Oh, yes. I thought it must be that. But I wasn't sure. I didn't know. Oh, yes, they're looking all over the state for him by now. But of course they don't have much to go on. And the chances are that he's right here in this town anyway.  Thank you. Oh, I'm sorry, Miss Macaulay. That circuit is still busy. But it can't.  It shouldn't be very long. All right. But please try to hurry it. It's really important. Terribly important. While I was waiting for the call, I went to the front door to start locking up. It was coming on evening. A warm summer evening. And ordinarily up and down the street, the windows would be open. All but mine. And you'd hear the sound of a piano or a radio drifting out onto the still summer air and people would be sitting in swings and hammocks on their front porches enjoying the coolness at the end of the day. But not on this day. Not this evening. I locked my door too. I went around the big gloomy old house checking all the windows, just like the others. Not that I needed to really. They'd been locked ever since father died. And he went away. All in that one terrible week nearly four years ago. Yes, they'd been locked and I hadn't left the house more than a half a dozen times and nobody. Nobody had come here. Why should they? I didn't want to see them. Nor they, me. I was the town's queer one. But all that was going to be different now. From now on, everything was going to be very, very different. Yes, hello. I've got your party now, Miss Macaulay. Go ahead, please. Hello. Oh, Helen, is that you? Yes, who's this? It's Anna, Anna Macaulay. How have you been, Helen? Oh, I'm well. You know, I've been living rather quietly these last few years. Yes, I. It's been a long time, hasn't it, Helen? Nearly four years. Three years and eleven months this week, to be exact. Seen possible and we were such good friends. Helen, I hope you don't think.  Oh, darling, of course not. I knew how you must be suffering. Your father passing on so suddenly that way and you'd always been so close. I wouldn't have even bothered you at such a time only that we'd been such good friends and I thought maybe I could help. And then, of course, I heard later anyway that... Well, that is, I... Yes, yes, I suppose you must have heard some rather strange things about me, Helen. Oh, not strange, dear, no. But we all knew you wanted to be alone in your grief and we respected that feeling naturally. I know. Sometimes I've been afraid people didn't quite understand, though. Of course they did. Well, darling, now that you're back in the world again, so to speak, you must come over and see me. I'm staying with my mother now, but you know that anyway. Yes, Helen. Yes, dear? Helen, it wasn't just an accident. My calling you this way. Well, I should hope not. I want to ask you a favour, a tremendous favour.  I should say I was just... No, I don't mean just some time, Helen. I mean now. Right now. Right this minute. Now? Yes. But how? Helen, Helen, you know I wouldn't ask if it wasn't serious. Serious? What are you... Please. Please say you'll come. I'll try. No, don't just try, Helen. Come. You've got to come. Oh, darling, what is this? What can be so serious? Maybe I'm being silly, but I think it's more than serious, Helen. I think it may be a matter of life and death. For Suspense, Auto Light is bringing you Miss Ida Lupino in Summer Night. Auto Light's presentation of Radio's outstanding Theatre of Thrills, Suspense. You know, Dad, boy, Mom would sure get a kick out of this. Out of what, Billy?  Well, if she's listening, we'll certainly hear about it when we get home from the firehouse. Oh, say, Mike, what's over on that workbench? Over there? Oh, them's old batteries. We're replacing them with new Auto Light staples. When you spark plugs, stut, stut, stutters. When you battery putt, putt, putters. Switching to Auto Light, eh, Mike? No, no, we've been using Auto Light for over ten years now. You know, when you've got to get out of here in seven seconds after the alarm sounds, you've got to have the surest, safest batteries there are. When we've got to go, we go. Yes, the new Auto Light Staples battery is a great battery. It needs water only three times a year in normal car use. This greater liquid reserve practically eliminates one of the major causes of battery failure. Car owners tell us it's the greatest battery ever built. The greatest battery ever built. Money cannot buy a better battery for your car. Yep, that's real battery know-how. Once water goes into an Auto Light staple, it's like going into a camel. The drinks are few and far between. Yeah, and even a night as hot as this, you don't find the Auto Light staple so friends, see your friendly neighborhood Auto Light battery dealer and order the new Auto Light Stay Full battery for your car. It needs water only three times a year in normal car use. Remember, folks, Auto Light means batteries. Stay Full batteries. Auto Light means spark plugs. Ignition engineered spark plugs. Auto Light means ignition systems. The lifeline of your car. Auto Light brings back to our Hollywood soundstage Miss Ida Lupino as honor in summer night. A tale well calculated to keep you in suspense. The matter of life and death, I told her. I knew Helen would come to see me after that. It would be strange seeing her again. Not that we'd ever quarreled. She never even suspected, of course. But after that day when he went away with her, I'd simply put her out of my life and never thought of her again. To be strictly truthful, I'd thought of her a great deal but in a rather different way than I had before when she'd been my best friend. And now she was coming to my house again after all these years. It should be interesting. Quite like a surprise party for both of us. Anna, darling. Helen, Helen, come in. Oh, it's so nice to see you. It's good to see you again, Helen. Well, you haven't changed a bit. You don't look a day older. Now tell me all about it. I can't stay but a few minutes.  You remember Ted. Oh, yes. And he's got to be back before seven but never mind that now. Darling, what is the matter? Helen, I'm frightened. Frightened of what? I'm afraid I'm going to be killed. Going to be killed? Yes, tonight. But darling. You see, I used to know pull a vineyard. I used to know her quite well. And the other girl, well, I didn't know her. But it happened to her right near here in the little woods just beyond the tracks. Anna, please, dear. What on earth makes you think anything like that could happen to you?  If you don't go out, lock the doors. No, no, I'm not. I'm all alone here, Helen. And there's been someone prowling at night. A man. Last night he tried to get in. Are you sure? I heard him trying the doors, the windows. Well, did you call the police? No, I was afraid to. Oh, Helen, I didn't know who to turn to with you. Everyone thinks I'm crazy anyway. Oh, Anna, dear, that's ridiculous. Well, we'll call them right now. No, no, it'll be all right after tonight. I know it will. Please, I just want you to stay with me tonight. Stay with you? Please, Helen, just this one night. I can't ask anyone else. I don't have any friends anymore. But darling, I don't even have any night clothes. Oh, I'd already thought of that, Helen. I have everything you need for tonight. Well, I don't have anything for the morning. No face cream, not even a cheese creche. Why worry about that now? Maybe neither of us will even be here by morning. Oh. So she said she'd stay. Went out and told Ted Barton. Ted Barton. That was typical of Helen. Only two weeks back from Cleveland. And already she had the county's most eligible bachelor squiring her around in his car. But that was going to be different, too. I fixed a little supper for both of us. And then we tried all the doors and windows. And then there was nothing to do but sit and talk to her until it was time to go to bed. No, no more thank you. I'm afraid it will keep you awake, Helen. I'm afraid I won't need coffee to keep me awake. Anna, is it true? I mean what they say about these murders. Is what true? Well, I mean... You've been out in the world, Helen, more than I have lately. You should know more than I. Well, all I meant was... Well, you seemed so frightened. I thought you might have heard something, something special. No. Is it true about the lipstick? Why not? Oh, it sounds so crazy. I thought it might be just something the newspaper's made up. It was a cross on their foreheads. In lipstick. Orange lipstick. Anna, you do know something. Don't be ridiculous, Helen. How could I? But lipstick, Anna. Do you suppose perhaps it isn't a man at all? It's a woman. Oh, oh, I'm sorry, dear. Did I do that? No. No, come along, Helen. It's time to go to bed. Oh, yes. I suppose we might as well... You don't mind sleeping in the same room with me, do you? Why, of course not, dear. Oh, shouldn't you leave on a light downstairs? No. Didn't do any good last night. Oh. I must say I don't blame you for being a little frightened, staying here all alone. It's rather a gloomy old place, isn't it? Oh, I don't think so. It's always been like this. It's the way Father liked it. What about your mother? I hated my mother. Oh, Anna. Well, it's true. Why not say it?  What does that matter? Everyone has to have someone to hate, Helen.  Oh, Anna, I don't think that's true. How can you say that everyone... Well, this is our room. Why? It's... It's what? It's charming. It's so... I mean, it's so different from the rest of the house. Yes. This was to be my bridal room. If I'd ever married. Darling, I didn't know... Well, I didn't know you'd ever thought... That was a long time ago. What's the news of Charles? Charles? Well, there just isn't any. You knew we were separated, didn't you? Yes. What was the trouble, Helen? Oh, I don't know. Last year, he simply became impossible, that's all. You remember, even as a child, he was sometimes wild. And strange, oh, yes. Yes, he and I were always the queer ones. Why, whatever do you mean? Oh, strange, different. A little apart from all of you somehow. Not quite right, I think they say about me now. Oh, Anna, you're imagining that. No one ever said such a thing. No. Of course not. What about Charles? Nothing. He just left, that's all. I haven't even heard from him in six months. Are you sure it was all his fault, Helen? Perhaps if he married someone else. Oh, you know there was never anyone else for Charles. That's the funny part of it. Of course he liked other girls. He liked you? Yes. Well, you're certainly lucky he didn't marry you. I don't know what happened towards the end. He just went from bad to worse. It got so I hated the very sight of him. I told you, everyone had to have someone to hate. Oh, I didn't really mean that. Are you sure, Helen? Haven't you ever hated anyone? Oh, perhaps there's a little girl I thought I did. You hated me, didn't you? Why, darling, I never... There were never, there were sometimes when I hated you too. Oh, I don't believe it. Children can't really... Can't they?  Well, not exactly everything. You could always twist the teachers around your finger. Later it was the same with the boys. And finally Charles. Just because you were pretty.  Yes, I was the clever one. Well, I suppose we really should go to bed. Why, Anna, look at this. I didn't know you used lipstick. I don't. It's just one a young cousin of mine left here several months ago. Oh, that's funny. Do you know what color it is, Anna? What color is it, Helen? It's orange. No. Helen wasn't very clever. It amused me to watch her trying to think. Putting two and two together and not being able to because she was afraid of her own conclusions. Because she was essentially a hypocrite, like everyone else. If she hadn't been, it might have saved her life. It was some time in the middle of the night I don't know exactly what time because it didn't matter. Helen was sleeping as soundly as a silly child when I went over to the side of her bed and began to shake. Helen, Helen, wake up. What is it? Shh, don't make a sound. Anna, what's the matter? He's in the house downstairs. I don't know. Whoever it was last night, he's gotten in somehow. Are you sure? I heard him. I've been listening for the last ten minutes. Oh, Anna, what are we going to do? We've got to get out of the house before he starts upstairs. But how can we hear us? We'll be caught. We go down the back stairs and out through the kitchen. We can go through the back lot over the tracks to judge Brown's house. It's not far, but we've got to hurry. Oh, Anna, I'm frightened. What if he hears us? He won't if we're careful and if we hurry. The door between the kitchen and the front of the house is locked. Are you sure he isn't in the kitchen? The front, I tell you, I heard him. Now get up, Helen. We've got to go right now. All right. Hold my hand. Yes. While I am not at the door, the back stairs are just at the right after we get out in the hall. Oh, Anna. Shh. Come along. Hold onto my hand and try not to make any noise. Here are the stairs. Just follow me. I've got it. That's the last step. Yes, I've got it. We're in the kitchen now. Can you see anything? No, it's too dark. Let's stand right there. Right where you are and don't move. Where are you going? There's something I want to get before we leave. Anna, please. Shh. What are you doing? I've got it now. A knife here. Take my hand again. All right. A knife? Shh. This way. Oh, I don't think I can for a minute. Come along, Helen. In a little while, it'll all be over. As we hunted down the path, I kept thinking about it there behind me. So frightened now. I had to keep myself from laughing out loud. It was really funny. She'd always been so confident before at school and later at the parties we used to go to. She'd been the confident one and I'd been frightened.  While she quietly and deliberately stole everything I'd ever wanted. Even Charles. But it was different now. That must be the two o'clock local. The other side of town. Yes. Which way now? Straight ahead. Through the grove of trees. Anna, isn't it here somewhere that they found that girl? Yes. Why? Oh, Anna. I can't. I can't go through there. Helen, come along. Don't be silly. Do we have to? Of course we do. What was that? What? Didn't you hear it? No. I was positive. I heard something. Now who's imagining things, Helen? Oh, let's hurry. No. We're going to stop here. Stop? Can't you guess? Even now, Helen. Oh, Anna. Don't. She didn't make a sound. I think she'd fainted even before I struck. She died without ever realizing why I did it. I made the cross on the forehead with the orange lipstick. It seemed such a silly thing as I was doing. But, of course, I had to. And then I dragged the body off the path and started home. At the railroad tracks, I turned south a few yards to where they crossed the river and tossed the knife and the lipstick over the bridge. And watched them disappear into the muddy stream below. Not that it was really necessary. No one would ever think of questioning me. They would all, of course, assume that the lipstick killer had struck again. And then suddenly my heart was in my mouth. From the path ahead of me, cutting sharply across the moonlight was a shadow. The shadow of a man. Can I help you? I... I... You didn't mean to frighten you. I just thought you must be in some kind of trouble to be out of... Oh, Anna. Oh, it's Anna McCauley. Charles. Oh, Charles. You did frighten me. Well, if you insist on running around town at 2 a.m. Oh, Charles. Charles, this is really too much of a coincidence. Why, I didn't know you were anywhere near Boone Center. Theoretically, I'm not just passing through business trip Mr. 2 a.m. local. So I thought I'd kill the time waiting for the milk chamber looking the old Berg over again. What's your alibi? My what? Oh. Well, that's what I meant about a coincidence. I was looking for Helen. For Helen? I don't wonder your surprise, Charles. But it's really very simple. First, there were these... Well, what the newspapers have been calling the lipstick murders. I suppose you've heard about it. I've read something about it. Well, I suppose I was silly, but I got terribly nervous living alone in that big house. I asked Helen to stay with me. And then in the middle of the night she got frightened and said she couldn't stay another minute and rushed out to Judge Brown's house. How typical of Helen. Well, then after I thought about it I got worried about her and went to look for her. But I guess she must have gotten there all right. I didn't find her anywhere. You're not alone in that big house now, are you, Anna? Well, yes, I thought you knew, Charles. My father died. Oh, I'd forgotten. Well, silly to be standing here, isn't it? You've got to wait for a train. Why don't you come back to the house with me?  Wouldn't that be nicer? Yes, that would be nice. That would be very nice. I could hardly believe my good luck. Charles of all people. It was as though he'd come back to me. Almost as though he'd known and come back to me just at the right moment. So there we were, making coffee in the kitchen, talking over old times. Oh, dear, where is that opener for the evaporated milk? I never can find it. Here, I'll open it with my knife. Just make a couple of holes in it. Isn't that a rather dangerous weapon to carry around just to make holes in tin cans? Oh, it has other uses. There we are. That tastes good. Charles, I was terribly sorry to hear about you and Helen. Me and Helen? That you'd separated, I mean. Is that what she called it? Well, she said that you'd left her. Helen always had a quaint way of putting things. Didn't you? You don't still love her, do you? Love her? Didn't she tell you where I'd been? I know. Not exactly. I've been in a home, Anna. A rest home, as they call it. Was Helen who put me there? Put you there. I'm afraid committed is the word. You see, Helen thought I was crazy. Oh, Charles. I only got out a couple of weeks ago. I imagine they're still looking for me. You escaped? I had to. Oh, Charles, how dreadful for you. As a matter of fact, I've been looking for Helen. There was something I wanted to give her. But couldn't you find her? No. I thought I had a couple of times. But it wasn't Helen after all. What was it you wanted to give her, Charles? This. A lipstick. Yes. A frightful colour, isn't it, Orange? Are you sure you're not Helen? I heard the doctors talking a little while ago. They say I won't live through the night. But I don't care.  The happiest since I can remember. People have been calling on me whom I haven't seen for years. They say I saved the town. I must have screamed. I don't remember. So they caught poor Charles. And for the first time in my life, I'm a really important person. I wonder when they'll find Helen. In just a moment, we will again hear from Miss Ida Lupino. Gee, what a show. I was sweating and it wasn't from the heat either. What a show. Hey, that's us. Gee, Dad, a fire. Out of the way, son. Where's the fire, Mike? They were out of here in seven seconds. Almost before they stepped on the starter. Mike sure wasn't fooling about those auto-light-stay-full batteries, was he, Dad? No, sir. Talk about pistol-packing action. Switch to auto-light-stay-fulls and boy, you've got it. For spark plugs, that's that stutter. Now don't you try to putt-putt-putter. Switch to auto-light. When starter's just a grinder, why it's a battery reminder. Switch to auto-light. Keep your auto-right. Just switch to auto-light. A-U-T-O-L-I-T. Switch to auto-light. For spark plug life and action. For a battery whose attraction is ignition satisfaction. Switch to auto-light. And now here again is Miss Ida Lupino. It's always a great pleasure to appear on Suspense. And as a listener, I'm looking forward to some outstanding programs on this new Suspense series, with stars like Charles Lawton, Agnes Moorhead, Van Johnson, Madeline Carroll, and Van Southern. And next week, I'll be tuned in to hear Douglas Fairbanks Jr. in a gripping Suspense story entitled, Deep Into Darkness. I know you'll want to hear it too on... Suspense. Ida Lupino may soon be seen in Daryl F. Zanuck's 20th Century Fox production, Roadhouse. Tonight, Suspense Play was written by Robert L. Richards from an original story by Ray Bradbury. The music was composed by Lucian Morrowick and conducted by Lud Bluskin. The entire production was under the direction of Anton M. Lieder. Next Thursday, same time, you will hear Douglas Fairbanks Jr. in Deep Into Darkness. This is CBS, the Columbia Broadcasting System.


Hello Paul, great to see you. I'm really looking forward to today's conversation. So you've worked as an activist for global action on sustainability for many years and in many different guises including those you've been a campaigner, an entrepreneur, you're an advisor to the CEOs of major corporates, you're an author, you've been an educator and one of the many hats that were that's relevant to this conversation is that of a fellow of CISL the Institute for Sustainability Leadership here at Cambridge. The basis for this conversation is that you've produced a short and powerful paper on the Great Disruption and you've clearly been vocal about this looming Great Disruption for many years. I'm interested to know whether your views have evolved over that time or has the evidence base just strengthened and your predictions come to pass? The capacity of the market to respond and become self-reinforcing has been stronger than I would have expected. I've always argued the market was how we deliver change but once it gets moving it really has its own power and its own momentum I think has become a lot more clear. So in spite of some of those market dynamic shifts not everyone shares your judgment that climate change is such a significant systemic and urgent issue and I'm really interested to know why you think that is. There's no question. The inherent nature of western interest to protect itself means that they've been actively resisting change and slowing down change but I would say actually also one of the things is we don't think as systems thinkers in business you're rewarded for narrow thinking and that's not how the system works. To truly understand the existential economic risks that we face in this area you have to think systemically. Some of the pushback that we encounter about whether climate change is even an issue and sometimes the the response we get is yes it's an issue it's just not the biggest issue there are more pressing issues which might be about politics or cost of living how do you situate climate change in relation to that? So I think it's not just the most important issue it is sort of the underpinning issue of our of our society and our economy. It is representative of this much broader issues to a set of issues you know around sustainability by diversity loss you know the instability of our oceans and our water supply etc these are all interconnected so it's not an issue we're going to avoid you know most of the big questions in society alleviation of poverty inequality whatever you know you want to pick it's like you know they want to be better if we dealt with them right whereas climate change is not like they want to be better if we dealt with it it doesn't get a little bit unpleasant it gets catastrophic and existential very quickly and that's a different nature the different nature of this issue versus all the other issues you prefer to. We're often encountering I suppose the world views that our goal is to optimize for economic performance when everything else is just seen as a I suppose a risk or enabler of that to be managed in support of economic performance I'm interested in how you navigate that when you're engaging people at senior levels. Actually the nature of my of my new paper is to say look this is not another ecological issue right this is actually going to prevent us from managing the economy it's going to prevent us from having a stable geopolitical context in which to operate it's going to it's going to have a huge influence in terms of conflict and security right and so and people tend to think okay well climate change okay cost will go up disasters will get worse insurance will be a bit more expensive it'll have an inflationary impact but we we normally accommodate those changes and that's that's missing the idea the sustainability and climate changer underpins our economy if your objective is to optimize for efficiency or optimize for economic outcome you really better pay a lot of attention to fixing climate change otherwise you won't have any capacity to do the rest of what you do. You lay out quite a bleak picture in your paper but in spite of that you're very clear that you believe that we can choose to turn this around and you talk about that being a choice. I'm interested in practical terms who do you think needs to make that choice and how might that choice be taken how might that be catalyzed. We kind of want the big heroic figure to emerge and andella the whatever that we think is going to fix it all the reality is that it's millions of steps and decisions being made by individuals who some of them might be running gigantic corporations some of them might be taking a consumer decision whatever but that process starts to become self reinforcing and and starts to accelerate that means that everything we personally do really does count because we're working in a global interconnected system it's also every CEO every executive every employee of a company who's making decisions has that framing change but we need to get to a critical mass of those decisions before we start to see that that translate okay great so it's not a single powerful individual deciding on behalf of us all it's it's a movement it's momentum it's critical mass one of the challenges legitimate challenges is the sense of you know every little bit counts everybody doing some things is pushing some of the responsibility to consumers citizens away from some of those vested interests that you noted earlier is there a risk that we dissipate and shift the locus of where action needs to happen by having that narrative of every little helps and everyone needs to lean in yeah now absolutely it's a really it's a complicated balance between recognizing the individual acts and does matter and what people do personally does count but not to fall for the trap which you allude to but this is a consumer's problem don't blame me I just sell the oil it's not my fault if I use it and I've had that conversation in giant corp global companies not the oil industry but other industries who refer to this as being what's hard in my fault if I use my product surely I'm not responsible for the use of my product it's a consumer's choice and they're using it so that that kind of idea is really it's a bit cancerous as an idea and we have to recognize that this does require policy right it does require heavy intervention by government at this late stage and it does require corporate responses now the consumer behavior matters because it gives confidence to those corporate decision makers to make tougher bolder decisions so it's not irrelevant but never believe that the consumer decision making is going to lead to change in this area it just helps to grease the wheels a bit so I want to come to focus a little more on corporate responses to this and over recent years we've seen a huge boom in ESG activity and a whole flurry of climate sustainability commitments by most multinational corporations I'm interested in whether you see those movements of growth of ESG that target setting as important steps in the right direction or is that you know simply inadequate or was still is it actually a protection of business as usual I think the practicality of what most companies are doing is completely inadequate to the task at hand however I've also understand that that's a process of the market and companies getting comfortable right that that we are moving in the direction together very very hard for for large companies to act in isolation from the market and their competitors right so they need to leave but not too far right so that that critical mass question also applies inside the corporate sector that of course also becomes an excuse not to act but I think the fundamental issue is that we need a lot bolder action by companies and it needs to be on the market and what they're doing in a practical sense not in social responsibility reporting etc it's got to really be grounded in the in the essence of the business so in your paper you indicate that we've got everything that we need to turn this around but when we're thinking specifically about action leadership by business and financial institutions what do you think we need more or less of I think one of the the great things we need to let go of is this sort of idea that the incumbent old companies are going to be part of the solution incumbents tend to fail and be replaced rather than transform will mean go through a radical disruptive transformation right I think there's there's a lot of players in this space who have become very sophisticated in their advocacy in the area to look as though they're acting towards you know towards change where part of the solution you know the oil and gas industry I think is a good example of this that you can't do this without us right and you need us to find a solutions and there was no evidence that that's true right that it's we've been hoodwinked including myself have been hoodwinked for decades in the belief that these companies are really an important part of the solution I just don't think they are we've enabled that behaviour if you like by letting them become partners who aren't really acting with good intentions it's the market and an analyst in me that says disruptive innovation disruptive transformation of markets tends to involve new companies being built and replacing old companies who are then destroyed right and destroyed through market forces not through some activist act or through policy but just by missing the changes coming oil and gas companies for example won't be coming to companies they'll be replaced and the answer for the reason for that is that the new energy system is a different technology and a different technology means a different business ecosystem right and they don't have the culture the business skills the people who can deliver that Tesla is still a prime example of it Tesla brought the electric car to market not for not to him not to add a you know or they're all scrambling now to catch up and that's when we go from an internal combustion engine car to an electric car so if you're going from large centralized power stations right to software driven solar on roof tops that are using cars as through devices to power your house whatever that's such a different system the connections that just don't make sense you know for today's incumbent the most important thing we can do today is to recognize that we need radically new companies doing radically different things whether they're incumbents or not you know and that is what's going to change and drive the change fast enough so on that point we know that there's still a lot of capital moving into carbon intensive activity in spite of the market dynamics that you've outlined where would you intervene then where would you be advocating for a focus for change within the system yeah so I think this is something I've observed just the last five years or so really strongly is that the solution providers are so busy growing surviving getting capital etc they haven't got these the time or the capacity or sophistication to be very effective at advocating for change amongst policymakers amongst the public and so on the incumbents have got decades of experience in highly sophisticated PR and policy influence machines to resist change right so I think that's a really kind of interesting insight is that we you know we have to put a lot more and have to see a lot more energy being put into arguing for change ironically by those who are going to benefit from it commercially right so you need to have electric car companies being as good at lobbying for change as the oil and gas companies are lobbying against change right but they're actually just busy surviving most of the time throughout to do that right likewise solar solar companies and so on so that's a really important idea because governments governments don't act more strongly in this area I think because they don't believe it's good for the economy to take action they still have caught up in this sort of almost 80s and 90s mindset that ecological solutions are expensive slower don't work as well you know or slow the economy down and all the evidence is that's not true all the evidence is the opposite climate change is going to be incredibly expensive and if we don't act on a what if we don't act on a now we are going to face catastrophic changes if we don't act on it for a while we're going to face existential changes we need people to give comfort to government we want radical disruptive policy and we can now deliver that change as the companies right if you put those policies in place your paper has a really strong focus on technology and what tech can enable I'm interested to know if there are other specific changes or revolutions other than a tech revolution that you think are going to be needed in order to achieve the scale of change we need in reality if we're going to fix climate change and other issues in sustainability we're going to deliver it through the system right and we can deliver it through today's kind of companies invested in by you know today's kind of investors you know with policy made by today's kind of governments so this idea that we're going to overhaul capitalism before we get there I think is wrong so we have to work within that system but that system is actually very very well primed for this approach but it's a bit simplistic to see it when I fall for this myself to argue it's a technology revolution it's technology enabled but it's socially enormously significant in terms of its ability of empowering people so we're going to see a lot of very positive social change I think resulting from this technology and that also becomes self-reinforcing so if you get if you're a country importing large amounts of fossil fuels for example and you can reduce the energy yourself with new technologies using local resources that radically changes your balance of payments that radically alters the structure of your economy great work done by another CISL alumni that was Rethink X right doing work on the food sector and saying look we've got so much potential here for radically disruptive technology in food production if you can produce food more cheaply and more safely in country rather than rely on imports right that has a huge geopolitical security implication as well as a balance of payments type benefit as well as a social stability we tend to think too narrowly and not see the great sort of social benefits that will flow on from them as well so there I've got two reflections and one of the challenges or critiques of the current capitalist model as it's as we see in many particular western economies is the power is being uncapital being concentrated in the hands of a few it's a great machine to you know deliver things efficiently but it is leading to very unjust outcomes for society and the other is there's a perception that if one is pro-action on climate change one is anti-capitalism and that can be a barrier to engagement and communication and I'm interested in reactions to both of those points or challenges yeah the kind of related related issues in a way because the economy is the whole and subsidiary of the environment so if you go to inequality now capitalism will naturally you know drive inequality that's what Piccadilly and other people have done and researched and said unless you have heavy government policy or war right there the two big impacts that start to slow down the natural tendency of capitalism to drive inequalities now the problem with that is not just a moral question but because inequality drives instability inequality drives you know a frustration and anger in society which extremists can then build upon I think any reasonable capitalist pro-market person you know is going to look at this and say no this is I'm defending capitalism I'm defending the market I'm defending my ability to operate and for the market to be free if I support action on inequality and climate change and and what we're going to see otherwise is the opposite otherwise you know if you get climate change getting out of control you you need big government and heavy intervention and high taxes to address it right and the longer we leave it the worse that gets so I think that argument's made in the 70s and 80s but it's jobs versus environment right and that was a fatal mistake of the advocacy in this area to fall for that trick because reality is it's it's protect the environment or we're going to lose a lot of jobs so coming then to specific technologies without situating you as a good guy or a bad guy one of the technologies that you think that we're the most promised resides where you think will lead to the biggest step change if we can find ways to catalyze advocate for give space for those technologies where would you be focusing you don't need we don't need radical policy to make it happen anymore on energy I think the number one opportunity and the number one risk in our space now is actually food right if we if we don't have a stable food supply the implications will be war you know the conflict hundreds of millions if not billions of refugees so I think we need to really put a lot of energy and focus on how do we address food food production both as a source of emissions but also as a victim of emissions and the paper that I published with Pablo Salas with you at CISL methane markets and the methane and markets was all about that idea that you know methane is a hugely important question but food and agriculture has the opportunity for radically disruptive change and by the way it'd be a much better more stable food system if we pursued that. So we're having this conversation in the run up to COP28 international climate negotiation what do you see as the role of role of international climate negotiations what's the role of COPs do they even have a role. I'm really torn on this one actually if you wanted to avoid global action on climate change seeking a global treaty by consensus for a radical reduction of the economy was the most effective way of delaying change the weaker think of now so that's sort of my my negative view of that is that we've all been kind of conned into the idea underpinned by acting as a cost that we must all act together without any competitive disadvantage and and agree to that by consensus was never going to happen right so that in that sense the cops have failed dismaling on the other hand my argument is that real action only comes from individuals taking action within their world whether it's in their company their NGO their policy area whatever and in that sense cops have become this gigantic festival of climate change action right drawing connections drawing people in spreading ideas taking the temperature globally as to what's going to happen and so that symbolism connectivity networking that these events generate I think actually can it can have a really powerful global impact thank you and I suppose then elevating this even more to a global context we recognize that over the last decade we've seen really shifting geopolitics shifting power dynamics we've seen a shift in power from north to south from west to east we've also seen that as you out on in your paper the issues around climate and resources and energy become more significant for national security governments ability to drive the needs of people these issues are not just the domain of scientists but have become really core to foreign policies to trade negotiation so I'm interested in what that means for our collective ability to to make the choice that you say and to turn things around given that it is now much more politicized we are in a very messy period however we still make some really profound I think incorrect assumptions based on how we saw things 20 years ago if you take the rethink x view I referred to earlier and their work on on on agriculture energy and and technology across the board their argument is that poor countries could actually benefit the most from the change right and but we're living in a world where the rich cause that the rich won't suffer the poor will suffer the rich should pay for it now I think the rich should pay for it because they actually did cause it so that's right but that that's predicated on the idea that the that this expensive to fix that is negative for your economy to fix right whereas evidence is not that's not true right and and that actual an actual fact renewable clean energy for example is going to be cheaper easier and safer to do than the alternatives so I think that that will eventually change the politics but I think as we as we recognize that the countries that are most advanced in this area are actually the most economically successful you know we've seen this recently with China really growing dramatically in terms of electric car production and exports right and Europe and the US kind of going into panic mode about losing market share to China is electric car manufacturers it's economically beneficial to lead and I think populism being driven on the back of opposing climate action is a losing game for the populace that the evidence eventually will overwhelm them in that sense so I want to end by going from that global down to the individual as you know CISL the Institute for Sustainability Leadership we have nearly 40 000 individuals across our international network people who've engaged their leaders group who've been through our education programs who engage with us in some way most of them pretty senior within business within finance within government institutions I'm interested in what you think they should be doing in practical terms to contribute to that choice to that movement that you talked about that critical mass what should they be doing I think I really think that it's a very powerful network first of all I think it really is quite extraordinary how much diffuse influence the CISL network can have and I think one of the most critical ones is is this idea of moving you know the narrative from pain to gain we have this narrative of pain acting is expensive acting is difficult acting costs the economy acting will bring it I'd be bad for our growth clearly not true in terms of the evidence so as opposed to the argument making the argument that this is about responsibility the right thing to do critical for our future etc no this is actually it is all those things but it's actually also about opportunity for growth economic benefit or competitiveness against other companies etc I think starts to reframe that idea you know and that language getting through the business community I think is also also really crucial and also I think we need to change this idea that the the the laggards you know are are going to hold us back the laggards are going to lose right and that idea that the laggards are somehow a problem I think we should kind of argue if you like a strategy of inevitability we are going to change right and we're going to change dramatically and large companies are going to be very successful to get this right and they're going to be hopeless failures to get it wrong right and that again that mindset shift by all the you know the 40 000 whatever it is CISL you know influenced alumni etc now that's really powerful that's a really powerful group out there in society to start to change the way we think about these issues and the way we talk about them thank you so I heard a big focus on narrative shifts there on mindset shifts and harnessing the the power of that network effect just getting people together can catalyze new ideas new collaborations and so on within the network so thank you very much for your time today a lot of great challenging provocative inputs there anything else that you'd like to share before we wrap this up I think the only other thing which I really emphasise in the paper um which I'd encourage people to really internalise is that we're really accelerating now on every front the climate change is accelerating but also the market's response is accelerating going to be chaotic it's going to be messy right and it's going to be quick and so the ability to be agile and respond to move quickly and not be overwhelmed or demoralised by it you know is I think really really important to actually make that change happen as quickly as we possibly can thank you very much right thank you


It's one of the reasons that I've enjoyed my naval career. You know, being an officer and an aviator. Leading, following, managing things that are highly technical. To apply them to tactical situations. Thinking about history and national policy. And at the end of the day, I have a job to do. I have to stay fit. And then I have a family to take care of. That breadth of responsibility is a big part of what I've enjoyed about this job. And engineering is really taking basic principles, basic core principles. Science, mathematics, and applying them to design solutions. And unweaving challenges with innovative solutions. So I think that aspect of engineering is what attracted me. And it's also the part of my naval career that I find most attractive.


Vicks, the makers of Vicks' Vaternal Nose Drops, presents dangerously yours, starring Victor Jury in The Firebrand. You know, more and more millions of people are using Vicks' Vaternal Nose Drops to relieve distress of head-colds, benefit by their experience. And now, dangerously yours, I am adventure. In my name men have travest the highways, the byways, the skyways of the world. I am the fire that burns in the heart of youth, that makes men dream, and dare, and conquer. I am dangerously yours. Come with me today to the Italy of the 16th century, a day when the smile or the frown of a duke would mean life or death, when ladies were the fragile lovely prizes of the brave and daring. And when the bravest and most daring man in Florence was Benvenuto Cellini, The Firebrand. Now see here, Benvenuto Cellini, this is the sixth time you've been brought before me for roistering, and I'm tired of it. You may be one of the best silversmiths in the world, you may even be, as you say, the best.   I'll wound you with more than words if you don't behave yourself. But you don't understand, I'm constantly being persecuted by my enemies. Oh, now Cellini, everyone in Florence can't be your enemy. If they are, then I would do well to have you executed immediately. It's not everyone in Florence, it's Octaviano and his band of cutthroats. Octaviano is one of my trusted friends, even if he did try to kill me three years ago. And a far better citizen of Florence than you. Then let Octaviano finish the meddle I've been making for you to commemorate your greatness for all time to come. Meddle? Greatness. Well, I'm going to spare you this time, Cellini. But one more scrape, one more scrape of any nature, and I'm going to have you beheaded. You may go now.  Take it out of my sight quickly before I change my mind and be severely with you. Oh, yes, Your Excellency. Thank you, Your Excellency. Your kindness is the light of Florence. Your wisdom is the pride of Florence. Florence loves you and I love you. Oh, get out, get out. By the way, Cellini, that little dancer at the Café d'Italia, You shall have her address tonight. Address? Who's address? Oh, yes, yes. Thank you, Cellini. Mind you, not a word to anyone. Not a word. Good day, Your Excellency. Your most gracious Excellency. Mind you, watch your step. Watch your step. Well, Cellini, how was your interview with the Duke? Better than you hoped, Attaviano. He pardoned me. You'd not be in trouble so often, Cellini, if you'd serve my interests instead of your own and the Duke's. The Duke is my master.  Good day, Attaviano. If you don't mind, I need a little fresh air. Signor Cellini. Signor Cellini. Yes? Excellency, the Duchess requested you come to her apartment before you leave. The Duchess? Yes, sir. Oh, well, here's a piece of gold for you. Tell the Duchess you are not able to catch me. Yes, Signor Cellini. But I think you're free. Where have you been? Where are you going in such a hurry? Greetings, pair. I've been having my weekly scolding from the Duke, and I'm going to see the most beautiful girl in the world. I have heard that the Duke is out of patience with you. Take heed, Benvenuto. Don't be reckless.  I will be careful. Here have you ever seen such a day in Florence? Oh, look at that beautiful blue sky at that wonderful sunshine at those enchanting beggars. Throw them a coin, Pierre. Here. Grazie, grazie. What on earth has gotten into you? For the first time in his life, Benvenuto Cellini, the greatest silversmith in the world, the most exciting lover, the most brilliant inventor and artist, Benvenuto the handsome, the reckless, the magnificent, is in love. One of the things I admire about you is your modesty. Modesty? What is that? You are right to ask. No, that Angela. Oh, Pierre, that Angela is truly from heaven. Do you know I love her so much that I'm afraid to take her in my arms? I might even kiss her, but I'm going to marry her. Marry? That I should live to hear such a word on your lips. I'm going to marry her. You may have some trouble accomplishing that. I understand Mafio has a great liking for the same lady, and Mafio is no mean swordsman. Mafio, that tool of a tabiano, has he dared to look at my Angela?  If Mafio so much as dares to speak to her again, I'll cut him into little pieces and feed him to the sharks. Will you now? Well, that's very interesting, Cellini. Good afternoon, Mafio. It doesn't surprise me in the least that you sneak up behind people and listen to conversations that are none of your affair. But obviously this one is my affair. Just what makes you think you can say what ladies I am to see and what ladies I am not to see? I'm not interested in what ladies you see, Mafio, so long as you stay away from Angela. Well now, I like Angela, and I don't choose to stay away from her. After all, she's a nobody. I'll kill you for that. You're welcome to try, Cellini. I just assumed seeing you dead is not. Then there will be no obstacles between Angela and me. Do not fight him, Benvenuto. Remember the Duke. Why do you hesitate, Benvenuto? Are you afraid to fight me? Afraid? Do you think so? You do not fence as well as you talk, my friend. You see how well I fence, Cellini, particularly when I fight for a woman. How do you like the taste of blood, Mafio? I'll have your life before I'm done with you, and then I'll have the lovely Angela. Do you like? Ah! There, my friend. How do you like that? He's done for. Come quickly. We've got to get out of here. The Duke is sure to be after you any minute. You're right. Say a prayer for me, will you, Pierre? You're on much better footing with Heaven than I am. Not with the angels, Cellini. Not with the angels. Angela, oh, my Angela, I love you. Don't you think you could love me at all? I think you're a splendid artist, and it's a great honor to be your model. Would you never think of me except with a chiseler, a paintbrush in my hand? I'm a man as well as an artist. Oh, Angela, if you will but love me, I will take your hands and fill them with stars, and I will take your heart and fill it with fire. Angela, never in my life have I asked a woman to marry me, but I ask you. I don't know. I don't know, Benvenuto. See, I've been waiting for a very special man. What kind of man? I'm the most romantic man in Florence. Oh, first of all, he must be someone who'll be constant and never look at another woman. Such a man never lived. Angela, do you love me? What is love, Benvenuto? Tell me what love is, and I'll try to tell you if I love you. My love, love is lightning and thunder and music and excitement. Love is a flame in the dark. Love is a challenge that sends the blood surging through you and puts the steadiest heart off beat. Love is you, Angela. Oh, Benvenuto. You're so much older and so much wiser than I, but I know far more of love than you. All those things are the beginnings of love, but they're not love. No. Then what is love, my Angela?  But perhaps one day you'll know more about love. And when you do, perhaps that day I'll marry you. In the name of all the saints, was there ever a man so plagued by a woman? Angela, listen to me and try to understand.  I'm mad about your hair, I'm enraptured with your eyes, and I'm jealous that God and not I created you. Benvenuto, it's no use. Do not interrupt me when I'm speaking so well. Oh, pardon me. You are the bell which awakens me and the bell which says, Rest. I love you like an angel, I love you like a man, and I will always love you. Open the door in the name of the dew. Open the door. That's Italiano's voice and Duke's with him. Benvenuto, are you in trouble again? Yes, I killed Matthew this morning. You must try to escape.  Cellini? Come in, welcome your excellency. My poor house is honored by your presence. Come in, Italiano. Cellini, this time you have angered me beyond all endurance. I fear you've been listening to my enemies, your excellency. Your crimes are your enemies.  He does not hesitate to rebuke even you, your excellency. You'd like to see me dead, wouldn't you, Italiano? I'll wager my next fee that you set Matthew on me with the full intent that we should kill him on number. My lord, do not listen to this outrageous fellow. Cellini, Italiano tells me that this morning, after giving me your word to behave yourself, you spilled more blood in the streets of Florence. Well, but in self-defense, my lord, in self-defense, Matthew attacked me. He attacked me with a whole regiment at his heel. Your murders are notorious, Cellini. Italiano, you would not dare to say that except in the presence of my lord. Am I to take that as proof of your peaceful nature, Cellini? I cannot be peaceful when I'm insulted. I try to pattern myself too much after your excellency. After me? Well, I must admit that was neatly said. Does my lord forget this morning's murder? Murder? Murder, no, no. I do not forget this morning's murder. Cellini, I do not believe you. And no matter what proof you have, I will not believe you. You have caused much grief and bloodshed in Florence. Therefore, in full justice, I sentence you... Oh, please, my lord, do not sentence him to death. Well, well, well. Who are you?  Why would you have me spare this assassin? Because, because... Well, speak up, speak up. Because I love him, your excellency. Angela, you love this rascal, this scoundrel, this rogue who sheds blood as though it were water and steals women's hearts as if they were pennies. You love him? I've struggled very hard against it, your excellency. But I cannot help myself. I do love him with my whole heart. Well, loving Cellini seems to be a state of mind that every girl in Florence goes through at one age or another. You're certain you're in love with him? Yes, my lord. No, I've taken quite a fancy to you. I'm going to help you get over this, fellow. How would you like to come with me to my summer palace? Tell him no, Angela. No, your excellency. If you will come with me, I will spare his life. But if you insist on staying with him, I will most surely hang him. What do you say to that? What? But I will go, of course, my lord. Oh, Angela, don't do this. Angela, I can't lose you now. My lord, what do you think the duchess is going to say to this? The duchess? Oh, dear me, look here.   Come, my dear. Oh, never mind the dress of that dancer, Ben Vanuda. I'm not interested after all. I swear I'd like to... Ben Vanuda, remember, I am your excellency. Yes, uh, Celene, I order you to remain in your house and under no circumstances to leave it without my permission. Come, everybody. She's gone and the stars have gone out and the moon has gone out. And Florence is a wilderness. You'll get over it. And meanwhile, I have a message for you from the duchess. A duchess? A devil take the duchess. The duchess, my friend, wants to know if you will come to the summer palace for a few weeks. Summer palace. She says she will tell the duke that you are there to devise a decoration for the fountain. The summer palace? The summer palace? Yes. Shall I still tell the duchess to go to the devil? Tell the duchess to go to the devil. How could you think of such a thing? You'll never live to be old, my friend. Maybe not, Pierre. Maybe not. But I'll have twice as much fun out of life as those who do. I don't care whether I live to be old or not so long as I can be young with Angela. Come, I'm going to the summer palace tonight. Even, even if I die tomorrow morning. In just a moment, we'll bring you the second act of the firebrand. The old saying, a stitch in time saves nine, is certainly true in connection with head calls at this time of the year. It's wise to act quickly when you feel an early fall head call coming on, wise to relieve those sniffles and sneezes as quickly as you can, because neglected head calls can cause a great deal of needless suffering. Now here's a good tip. You may easily and quickly relieve the distress of head calls with Vicks Vatranal. Just put a few drops in each nostril, and Vatranal goes to work right where trouble is. And Vatranal does more than relieve the sneezey irritation and reduce nasal stuffiness. It also actually helps prevent many calls from developing if used in time. That's why thousands of people use double-duty Vatranal. Now, try Vatranal yourself, friends. You'll like the way it works. Just follow the directions in the folder. Vicks Vatranal, the double-duty nose drop. And now, the second act of dangerously yours, starring Victor Jory in the firebrand. Your Excellency! I'll go away. Go away, Ateviano. I'm very busy talking to Angela. I came here to the summer palace for a little rest and quiet. But I have mules of the gravest importance. We'll wait until tomorrow. Chalini has escaped. Then order the soldiers to catch him and leave me alone. But your Excellency, he plots against your life.   What a bore. Well, this is the last straw. The camel's back is broken. We order that Chalini be hanged directly. He is caught. And we give the matter into your hands for execution. I'll go away. Yes, Your Excellency. Oh, one more thing. The Duchess has arrived. My wife? Here? In the summer palace? Yes, Your Excellency. Sometimes I wish I were dead. And this is one of them. What was that? Come on! It looks like Paul Verino. The man's badly wounded. Paul Verino! Paul Verino! I'm wounded. And to death I fear. Who attacked you? Who has done such a monstrous thing? Chalini. Chalini. Ah, Chalini. By my trust, that man shall die for this. I've probably found Paul Verino's body by now. If there was ever hope for me, it's long since vanished. I would not have killed him, Pierre. And I should never have come to the summer palace. But he jumped on your back. If I had not thrown my dagger when I did, he would have plunged his own into you. Better a dead Paul Verino than a dead Chalini. Ah, me. I don't know why I attract so much trouble. I'm always in trouble. Sometimes I wish I were dead. Maybe I should let the Duke catch me. He can only kill me once. And then I won't need to worry anymore. Listen. Isn't that Angela? It is. It is Angela. Oh, how many times I've heard that voice in my dreams. She's moving away. I must talk to her, Pierre. I must speak to my adored one.  Chalini. Would you really carry me away from the Duke? Good afternoon, my most gracious lady. I have been waiting for you, Bentonuto. I wondered if you would come. How could I stay away? I came through rivers of blood. Paul Brina tried to keep me from your side and I had to kill him. You shall be pardoned, Bentonuto. If you make your request in a sweet enough manner, come with me. Pierre. Oh, surely Pierre need not come. Let us be alone together. Just you and I, Bentonuto. Yes, your grace. You sound so strange. Are you ill or in pain? I am in pain, your grace, by your hand. You'll never know what you're doing to my heart. You'll never know what you have done to mine. Come, Bentonuto. Come. Your grace, give me but one moment to speak to Pierre and I shall be at your side. I'll await you. Do not keep me waiting long. I shall not. Kill me, Pierre. Take your dagger and plunge it into my heart. I can stand no more of this. Is this Chalini talking? Bentonuto Chalini, who snaps his fingers at fate and takes what he wants from life? Assuredly it is not. Go find the girl. If you only have a few more hours to live, live recklessly and beautifully the way you've always lived. You're Chalini, the most handsome of lovers, the most skilled of silversmiths, the most glorious man in Florence.  You're convincing.  You were the man that every woman dreams about and every man envies. You're the charm of the moonlight, the sparkle of wine, the dash of the conqueror, your magnificence. You are right. I am magnificent. I will go find Angela. I'll see you later, Pierre.  Angela, oh, my Angela. Bentonuto, I wondered if you'd come for me. Where's the duke? Waiting for me. The Duchess is waiting for me. I told her I had to speak to Pierre. Oh, Angela. Yes, Bentonuto. Why don't you say something? Where are all the words that used to come so magnificently to your tongue? It's funny, but I can't think of them. All I can think is that you're beautiful.  Angela, for the first time in my life, I wish my name were not Bentonuto Cellini. I wish I had a more humble name and a humble house to take you to. I wish I could say, if God continues to smile on me, I'll have 60 years and they're yours if you'll have me.  I love you very much, so very much. Once you asked me what love was, and I wouldn't tell you for Pierre you'd laugh. But what I would have said is that love is growing old together, growing old loving the same things and loving each other. Come back to Florence with me and marry me tonight. It may not be for 60 years, Angela. It may only be for 60 hours, perhaps less. I'll marry you, whether it's for a few hours or 60 years. Come, let us hurry. Let us hurry home, my Angela. Open in the name of the Duke. Open in the name of His Excellency the Duke of Florence. Benvenuto. Benvenuto, my darling, is here. He's here and we've not had 60 hours. Come, we'll let him in. Angela, and here you are, Cellini, you scoundrel.  Did you obey me? Well, no. I had a mission that took me briefly to the summer palace. Was that mission to steal Angela and kill Paul Verino? Yes, Your Excellency. Cellini, I've come here to see that you are executed and nothing is going to change my mind this time. I've been looking forward to it all morning. Take him away. Farewell, Angela. No, wait. Oh, Lord, you've not heard him tell why he killed Paul Verino. He did it to save you. Save me? Why? Bless my soul. Bless my soul. How could that possibly be possible? I sent a message to Cellini to come and save you. I heard a Teviano and Paul Verino plotting.  That's a lie. Be quiet, a Teviano. Your opinion does not count. What else did he say? I fear to tell you, my Lord. Oh, speak up, my child. Speak up. Well, if you must know, a Teviano said you were a long-eared donkey. What? Why, I'll hang him in Cellini's place. A long-eared donkey? I don't have long ears at all. You're lying. The girls in love with Cellini. She's just trying to save his life. Well, I hope it's a lie. Donkey, I was considered the bright boy of the family. I say let's string Cellini up and have an end of him. It seems to me you're overly anxious to have Cellini hanged, a Teviano. Cellini, when you came to the palace, why didn't you ask for me? I wanted to find you myself. And when Paul Verino left on me in the dark and I had to kill him, I lost my head and ran away. Well, a Teviano found that Cellini had fled. He was afraid he'd gotten wind of the plot and was going to warn you. It all sounds very flimsy to me. On the other hand, three years ago, a Teviano, you did plot against my life. But you forgave me and it did not happen again. My lord, I am a Medici and I claim the right of protection from further insult. My honor is at stake. You must hang Cellini or you must hang me. In the name of our family, I demand. Which of us will you hang? That's quite a problem, isn't it? A Teviano, I don't like your face. I never have since the time you tried to kill me three years ago. You're no good as a silversmith and you're not even amusing. I think I will hang you instead of Cellini. You tried to kill me before and I think you may have been at it again. I throw myself on your muscle, my lord. Away with you, man. Take him away. Goodbye, a Teviano. Take him away. I did say that you are a lovier, Duncan.  Give him vinegar to drink. I never did like that, man. Was all that true, my dear? You can tell me, I will not kill your Cellini. It was all true. I give you my word. Why didn't you tell me before? Why didn't you tell me? I was saving it until I should need it. I thought maybe at the right moment I might be able to exchange it for 60 years of a man's life. You're very young to have learned so much. Oh, I learned it all from a master of intrigue, the great Cellini. Now, see here, something has to be done about this man. He's the terror of Florence. With your permission, my lord, I have done something about him. Yes? What? I've married him. Married? Married Cellini? You don't mean it. Oh, you don't mean it. What is so funny about marriage? This I am going to enjoy watching. Great jumping grass, I'm glad I didn't marry you. Cellini married. Now, see here, I like being married. Don't go nuts.  Tell me, what's the address to that dancing girl? Piazza Giovanni. Forty-three. Thank you. Goodbye, my friends, and may all your troubles be little donkey. A little one. The old clown. Stop that infernal laughing. Angela, I love you. And I will love you for 60 years and 160 and a thousand and 60.   Will you settle for 60? I'll settle for you. Oh, darling, you have me. But as for the little girls, you'll have to keep your fingers crossed. Oh, not I. With a fine piece of silver on my anvil and the duke smiling at me in the city of Florence at my feet and you in my arms, there's nothing I can't accomplish. I am Cellini. Folks, when you start sniffling and sneezing these early fall days, it's usually a sign that you've got a head cold coming on and you'd better do something about it right away. One quick way to relieve your distress is with Vicks Vatronal, the special double-duty nose drops. This fine specialized medication goes to work right where trouble is the moment you put a few drops in each nostril. You can feel Vatronal start bringing grand relief. It makes breathing easier as it reduces swollen membranes and opens up the nasal passages. Yes, it's sensible, friends, to keep a bottle of Vatronal handy so you can use it quick when a head cold strikes. And remember, it helps prevent many colds from developing if used in time. Follow directions in the folder. Vicks Vatronal Nose Drop. I am Adventure. Next week, come with me to early Baltimore. Meet a man whose entire life was a strange dark adventure but whose life was also one of the most beautiful romances of all time. Learn about him in The Shadow of the Raven. Until next week then, I am dangerously yours. Our script was written by Gene Holloway from the play The Firebrand. Dangerously Yours was directed by Richard Sanville. Music for the series is under the direction of Mark Warner. Angela was played by Joan Tetzel. The Duke was played by Kermit Murdoch. Be sure to listen again next week when Dangerously Yours presents The Shadow of the Raven starring Victor Jory. This is CBS, the Columbia Broadcasting System.