Hi there. Today on Typical Books we're going to be talking about the only one left by Riley Sager. I keep pronouncing it Riley Sager instead of Sager, so I'll probably go back and forth. As I understand it, people pronounce it both ways, so Sager is probably wearing a stick. I think it's because Bob Saget sticks in my head. But this is otherwise known as Todd Ritter. His pen name is Riley Sager. And from what I understand, it was one of those things where the author had a not as good sales under their own name, tried a pen name that was sort of ambiguous so no one could tell if they were a man or a woman.  Really interesting stuff. I'd never read anything by this author before, so I was very excited when this was on the Book of the Month Club text because I would have never pecked it otherwise, right? Why did I choose this book? The title and the cover combined caught my eye. I'm not a huge fan of the kind of orangish red and blue color combination necessarily, but I do like a book with a house on the cover, as you well know. The title evokes a gothic sort of feel and some sort of familiar side, perhaps the only one left, that turned out to be true. The front cover with its colors evoked the title of a short story from ages ago. Orange is for anguish, blue is for insanity, if I recall correctly. And I figured this would have something to do with that sort of maybe unrivaliable narrator, which wasn't exactly the case. But be that as it may, the cover and the title of this book, along with the pedigree of the author, did its work to entice me to read it. I'd never read any Raleigh Sager, so I figured this would be a good spot to start. And will I read more from this author? Well, maybe. Now what was the setting like? Based in 1983, the story covers murders that happened in 1929 at Hope's End, a mansion on the edge of a cliff by the ocean. The only one left, as you may understand, is Lenora Hope, a 70-some year old heiress to some sort of new and old money fortune. So the story takes place in Maine, which is pretty fitting, I think, because it's the East Coast, and it's cold, and it's moody, and it's dreary, and this cliff that the house is built on is crumbling into the ocean, which I feel is a very East Coast thing to do. We don't really leave the mansion much, and that's kind of my favorite thing about these sorts of nouveau gothics, where it's a woman in the attic and the house in the seaside that's crumbling into the ocean and all that. I've had many nightmares in settings just like this, and it lived up to it just fine. I thoroughly enjoyed the opulence of the mansion as well, and now while it's not dripping in gargoyles and crystal chandeliers, it boasts sky-high oil paintings and huge stairways that go off into echoing wings and several floors that we don't ever explore, and I don't even think we end up in the basement, but it's big enough to be this mansion with its modern comforts. Because it's the 80s, there's no cell phones, and there's no blogs, and there's no podcasts, and there's no television, well there's no cable TV, so I found that really refreshing. I think it solves a lot of the problems that authors might have with what to do with today's technology in a story. There's so many jams that are fun to put main characters in, so in those jams technology would get them out of way too easily. It makes it a far more enticing conundrum to put your characters into. Now who are the characters, like the main character of the story I think is Lenora Hope, but truth be told it's Kit McDere who has had her name dragged through the mud. As a caregiver, when her own mother fell ill, she was volunteered to take care of her mother till the end of her days, and this turned out to be a highly suspicious suicide by Fentanyl of all things. If you've heard Fentanyl in the news, Fentanyl and other horse tranquilizers turning people into zombies in many city centers right now. Fentanyl's been a problem that's been creeping into the street involved and those with undergoing drug crisis for maybe 20 years now, the last 10 years for sure. It's been a huge problem that people have been saying would be a big problem once the pandemic hit. It was amazingly huge. It is a pandemic of its own I believe right now, but to have it used in this way in this book is kind of unique. So was suicide by Fentanyl or was it murder? These are the questions that we are toying with as the reader and the questions that the writer dangles throughout the story and I could see this being a little frustrating to some people. I enjoyed it quite a lot. I don't read a lot of like murder mysteries so I found it kind of fun. I liked not knowing where we sat with Kit and I liked not knowing what the truth was at first. I liked the way that you could read people's reactions several ways and I think that really speaks to real life where you're not really sure of what people are capable of and you never really sure what people's intentions really are or what people's reactions really mean. There are a lot of characters named Ricky, Richard, Dick and Patrick later on in the book so it creates kind of like a red herring situation and I found that kind of fun and while they weren't really cartoonish they were kind of natural red herrings. I did enjoy it. Like I said I don't read a lot of mystery so that doesn't become old hat to me yet. I wouldn't call the writing necessarily masterful or wholly intriguing just kind of natural and on one hand you could say I've never met anyone as wishy washy as Kit McDere and I bet you have. Other characters in this house include Ms Baker who is the governess or housewoman who takes care of all of Ms Hope's affairs, Jesse who is the housemaid and Carter who is a handyman of sorts and there's a really wonderful cook that has been with the family as long as Ms Baker named Archie. Secondary characters that round up the plot of course like Kit's deceased mother who has mentioned her father who is very much alive and a little bit estranged. This detective that has dealt with the case of Kit before she was reinstated as a caregiver and her name somewhat cleared after her mother's death. We get this mirror between those two women Ms Hope and Kit McDere and their stories. Their names can never be truly cleared in a small town like this. Kit has been all over the news. Everybody knows what she apparently did and everybody suspects the worst. It seems people have their own story about Kit's mother made up in their minds and the same with Lenora Hope who has a rhyme that kids say on the schoolyard for the past 50 years and that story is very Lizzie Borden. Lizzie Borden took an axe and gave her mother 40 wax and on goes the little story the little schoolyard rhyme. Well there's one in this book too which I like quite a bit that she's this murderous girl living up in this mansion and it's gone total hermit. Some people don't even know if she's still alive so very small town and so very 1929. What are the highlights of this plot? The introduction to the characters here have sort of rounded up the plot. Kit McDere is hired to take care of Lenora Hope. The aging possibly murderous Harris to the Hope family fortune and his state Hope's end. Where the story gets really meaty and one of my favorite things about it is the typewriter that Lenora Hope uses to communicate. She is paralyzed otherwise. I think she has a little motion in her left hand. To some the typewriter is a secret. To some the typewriter is the ultimate answer to the questions that everyone is asking. Did Lenora Hope murder her whole family in 1929? It isn't too long into the story until we realize Kit is replacing the missing nurse Mary who had suddenly left a week previous. So there are a lot of these like little mysteries to solve. I really enjoy the simple plot of the story and not even the who done it. It's partially a who done it and it's a who didn't do it without any of who's going to do it. The question of who's going to do it is usually a question I don't usually like but nobody does. It's great that way. There's not even a mulled and scully level of sexual tension exactly within this book so there's none of that for those who don't like reading a lot of sex on the page. It's great that way. There are mentions of adult situations that are funny to me with a tertiary character named Kenny that lives next door to Kit but other than that it's pretty tame. Another tactic used in this book that I really enjoy is the ticking clock. If you really like those sorts of plots where time is running out you know poison coursing through the spy system and they need to get the antidote and figure out who poisoned them or more famously Stephen King's The Shining. The boiler in the overlook being forgotten in the basement by Jack but very much remembered by the readers and that the whole place could blow up at any minute is a very literal ticking time bomb. That sort of feeling weaves through this story because there are cracks in the foundation not just cracks in the psyches of our characters but the literal house itself. New cracks appear in the walls the second day that we spend here with Kit. The real fear sets in that this whole house could go crumbling into the ocean any minute and it's used to good effect. There's a lot of criticism about this book because it's a little outlandish a little unbelievable a little bit bonkers. The things like red herrings and the surreal situation that Kit finds herself in after what seems to have been a pretty dishwater drab life up to this point could be pretty unbelievable. The typewriter could be pretty unbelievable that the finances to run this house haven't dried up a decade previous makes no sense. A lot of these little plot points remind me of daytime soap operas and that could be fantastically unbelievable but I do hang my hat on the things that I can get behind. Having grown up in a murder house and knowing that people can do awful awful awful things to one another and growing up down the road from a murder house and that proved that people can think up awful awful awful things. Those are two truths of this story that ring out for me. So I'd have to say the only one left is more of a thriller than a horror obviously. It came to me as part of the book of the month club and and that's part of why I'm reading a thriller because I don't really read thrillers often but they don't really do horror as much as they used to from what I understand at book of the month. So I've only gotten two books so far out of four months with book of the month club because of that but I was really pleased to see this on the list. It's a fun thriller crime murder fiction that edges on horror in a way because it does have those sneaking around a mansion that's possibly haunted at night while not being super rooted in horror as far as terrifying scenes or grotesque scenes. It does have a horror premise. If you are a fan of Darcy Codes books or you're a fan of old V.C. Andrews, I think that this would be a really good modern addition to that sort of library by bridging the gap between a haunted house ghost story and Southern Gothic. I think that this really also scratches my itch for Canadian Gothic because it takes place on the east coast and in the north where it's cold, well more cold than a southern Gothic that is. I think that it really does scratch that for me because there aren't as many so-called Canadian gothics being written these days I find. This is also really handy for horror fans that like to dip into thrillers once in a while or as a useful cleanse palette. I'm a huge fan of these sorts of stories in real life. If this were in the news I would be absolutely riveted. So yeah, if you haven't given any of the Riley Sager, Sager, Todd, Ritter, is that his name? Yeah, if you haven't had a chance to read anything from this author, I would say pick this up. There is quite a bit of criticism. The opinion goes back and forth. It seems to me that people who had read his work before didn't like this as much and people that are new seem to enjoy it. I don't know. What do you think? Did you read the only one left? Is it good in your opinion? Is it not good? Let me know in the comments below and thank you very much for watching. Make sure that you have an icky spooky day.


I feel great. I'm excited. Yeah, I couldn't have gone any better. I'm excited to be part of the Giants, and I can't wait to get up there. I think when you think about the classic franchises of the NFL, I think you think about the Giants at the top. So to be able to represent them, to be a part of the team, is a tremendous opportunity for a quarterback. And it's also a responsibility. So I'm looking forward to representing them well and to being a part of the team. Yeah, I think that's a tremendous opportunity for a young quarterback to go into a situation where there's a guy who knows the formula for being a successful quarterback in the NFL for a really long time. And Eli has certainly done that. I think that opportunity for a young guy to watch how he's done that for as long as he had. And just to learn from him day in and day out and kind of study his process is a huge opportunity. And I'm certainly excited about it. Yeah, I think Coach Cut has had as big an impact as anyone on my life and my football career. I'm very appreciative, very thankful for all he's done for me and the opportunity to play for him at Duke. I think he's a tremendous coach, but more than anything, he's a tremendous mentor off the field. And I certainly look up to a whole lot, and I'm very appreciative for the opportunity to play for him. I think there's a lot of areas to improve for any young quarterback. But I think the immediate challenge for a young guy is to come in and to learn the playbook, to understand what it is that you'll be doing, and to kind of prove to your teammates, prove to the coaches that you take that very seriously. And you're going to do what you can to understand every bit of it. I certainly plan on doing that. So I think that's kind of the first challenge for a young quarterback. I look forward to starting it. We played the Pinschreit Bowl 2015. I was a red shirt on that team. So spent some time up there then and had an internship last summer for just a couple of weeks. So spent some time in the city there, but New York is where it happens. So I'm excited to be there. So I was with a finance group that, you know, a former Duke football player, kind of something he put together for Duke players. What's that? I did, yeah. So living in New York for a little bit for just two weeks. But I think you got a taste of it. Yeah, I think there's no one more excited than I am for this opportunity. I think no one's going to work harder at it than I will. And my immediate goal is to be the best teammate I can and to come in eager to learn and eager to get to work. So I'm excited for the opportunity. I can't wait to be part of the team. And I'm just very thankful, very grateful for Mr. Merrim, Mr. Tisch, Mr. Gettelman, all the coaches for the opportunity. And I just can't wait to get to work. Yeah, we had some conversations with that. And I think I have a very beginner level understanding of it. But there's no doubt there's a lot to learn. And I look forward to that process. You know, it was always my dream to play in the NFL. I think I always believed I could. But I'm not sure how specific I was about exactly how it would work out. But yeah, I'm blessed to be here. It's certainly a dream come true to be here at the draft, to be selected as a Giants is about as good as it gets. So I can't wait. And I'm thrilled. I haven't talked to him yet. Going in the night, I didn't have too many expectations, really. I was just happy to be here, happy to be able to experience this with my family and an awesome opportunity. But I thought our meetings went well. I enjoyed getting to know everyone with the Giants. So I was confident in that. But as far as expectations as to where or what would happen tonight, I didn't have a whole lot. But like I said, it couldn't have gone any better. I don't know if I've thought about that a whole lot. Obviously Eli, as a guy who's had a whole lot of success in the NFL, has played for a long time. And there's a reason he has, because he's a great player. So I just look forward to getting up there, being part of the team, and learning as much as I can. I think they're first and foremost getting a competitor, someone who's going to compete as hard as he can every single play, every game. And I think that's what makes a great quarterback. So I think that's first and foremost physically. I think I have the tools to do it. But no one's going to work harder off the field. No one's going to work harder on the field. And yeah, like I said, I'm just excited. I'm excited to get up there.


Hi everybody it's Sam at Mixed Up Craft thank you for watching my tutorial today. I'm going to be showing you how to make this really lovely side stepper card. I've made a centre stepper, I've made a double centre step, I've made a few stepper cards I've got a playlist so I'll link them up there so I've just taken the measurements from one of them and I've just taken one side off basically to make the side stepper. So they're really really fun to make and this one's very very easy it really is so you can see there you've got your that's the side profile there and then I've used the supplies or some of the supplies from my paper society kit it's really nice actually I'm enjoying using this one so this is just a with love card so you can you know have this for any many occasions really and then inside you've got room to write your message I just need to add a mat there on top but I'll talk you through all that in the video. I also like that we've got this little floating bit here I just love how they all just kind of cascade up there just think it looks really really nice all that gold coming through lots of heat embossing and I'm going to show you exactly what I done so let's get into this tutorial. Okay so I've got my folder here so for this card I've used the dies the stamps and the papers okay so I'm not sure what sentiment I'm going to do yet but I'm keeping everything in here apart from obviously the inks and the paper flowers because the more that you you know the more that you get of these they all stack up against each other so this one is the papercraft society card making magic a box one so you can imagine all these envelopes lined up it's just nice to keep the dies and the stamps all together and any loose papers you might have you know that they all go so I've already gone ahead and I've stamped actually let me show you I've stamped the flowers because I've done quite a few of them so it's these three here and then I've used the three dies to die cut them so those ones there I may well add in these little sprigs here as well they're really really nice actually and I've also done the leaves okay so I'll show you all of that now in a bit more detail I'll stamp them in a group like this so groups of three and then die cut them in groups of three it's just easier and I've used just some gold embossing powder from my own stash I just saw the gold with the yellow gold really works lovely with this collection actually so yeah I thought I'd bring that out so what I've done to get the color is you get this yellow ink pad here and I just they're really juicy they certainly have loaded them with pigment but if you just put on a clear I'm just using this clear block here and then with a paintbrush I've left this one here that I haven't done and you can just go in and just paint it color it in and it's really easy to do it goes on darker this isn't the right paintbrush I grabbed a different one because this one's gone all spiky but anyway it gives you an idea let me just get that to a nicer point yes it goes on much darker but then you can layer over again if you want to create a little bit of shade you can obviously let this dry and then go in a bit deeper in color you know towards the center there if you want to but I just went over it at the first time and if you do go over any of the embossing powder which you're bound to you can just rub over this with your finger and it will just buff it all up again and you see it is quite orangey when it goes on but once it dries it does dry to more of a yellow color okay then these are all of the leaves that I've die cut so I've done you know a few of each size and then again just using a blending brush which is somewhere seem to have lost that and the green again I just put it on my mat and I just blended them just on the tips there just to give them a little bit more of something you can just see the darker green there and these ones are really nice you've got all that detail on them when you die cut them so once you see how I put the car together it's up to you in terms of you know quantities I've done quite a lot I won't use all these I doubt on this card so I've got them for you know future so also with these bigger ones you get the lovely little stamen detail so just pop that in the centers of the largest ones as well okay we'll do all that in a second I've also die cut this one which is another die in the pack beautiful and that's just going to be a nice kind of decorative trim that will go along here so that's all of those bits and pieces ready I'm going to just remove that out of my way because I don't want to get that anyway okay so I have already gone ahead and done it so just wanted to make sure it was all going to work and I don't want to waste this card so this is a piece of seven by 11 the final fold of the card will measure seven by five and a half okay so on the envelope punch board there is that envelope size you'll just need to make one but I wanted to use the pretty much the whole length well this is 11 so because I thought then at least everybody can do it without using 12 by 12 card okay so easiest way to do this first of all is you don't want to score through the center but I've just got my ruler here the t-square ruler is really handy because I can slide it if I remove that I can slide it along the top here so I'm going to pop my card stock in and you want to basically do a pencil mark at three and a half which is half of seven inches so I just pop my ruler in here and then I can line it up so with a pencil I'm going to do all this again even though I've already done it you just want to do a pencil mark all the way down do it lightly so you can easily rub this out okay then on the left hand side turn it so that's facing the top and you want to score at five and a half down to the pencil mark so just down to the center okay then flip it all the way around and you want to score it one and a half to the pencil line and two and a half to the pencil line five inches to the pencil line eight inches to the pencil line and then nine and a half to the pencil line and then what you want to do is cut from that first score line on this one where you've just done all those score lines you're going to cut from the first score line down to the last score line okay so on this left hand side you should just have one score line in the center on this one here you'll have all of these score lines and that's where you're cutting your line from the start to the end okay so you should have one and a half here that's still attached and one and a half here you can now rub out your pencil mark okay so what you want to do is bring this one up towards you and just start to fold it into that fold into a mountain okay then these outer ones here and here will become mountain folds as well the next ones will become valleys and this center one will become another mountain so you'll have one two three four mountain folds two valley folds and that is it and once you start to bring that all together keep those valley folds down it will all fold flat now the key to make this stand is you have to burnish all of those score lines really well so you want to go in underneath and burnish them all and then also on the top here on the back and this top one and then it will stand up with no problem at all okay so that is the card now ready to decorate so I have this one here where I've already done my mat and my layer and this is using that lovely pearl eyes to turn it this way you can see it's got a nice pearl eyes finish to it in that kind of yellow and then this is one of the pattern papers so the mat so the yellow piece is three and a quarter by five and a quarter and the pattern piece on top is three by five that one I'm going to stick here and then with this patterned piece I'm probably going to have it there and some flowers here and then my sentiment there that's my plan what I'm going to do is you can also do a mat and a layer here if you want so if you did want to do one in this section then you would want it to be I'd say three and three eighths of an inch by one and a quarter and this one inside here if you wanted to do this one again it would be that same three and three eighths of an inch and it would be by two and three quarters okay so that's if you do want to mat and layer these sections here I'm going to cover mine with flowers so you're not going to see any of it so I figured it's not worth me really wasting cardstock on something you're not really going to see so I'm just going to stick this one down on the front okay and then because I've got quite a lot of flowers to stick down I've got my glue gun on so what I want to do first of all is I want to work with the larger flowers get them in place and I can start kind of nestling in the smaller ones and those tiny ones and all the leafs around it so I'm just going to randomly start popping these down don't want it to overhang too much on this side here because I don't want to go any bigger with my envelopes so I'm just going to keep that like that I might put a little actually what I'll do is I'll come in a bit further and I can put a leaf in there instead so let's do this one here now if you want to add some acetate and have them kind of maybe popping up a little bit more then you can I may well still do that but for the minute I'm just going to start placing these down okay so that's the flowers down now I want to start adding in all of those leaves now here so far I really like it I love it I love it nice and full and I've also stuck that decorative trim I did go in and I cut some more leaves just because I thought I needed some more now I do quite like the thought of having it kind of floating so I've just cut some strips of acetate this is strong acetate this is from some packaging so it is um because I want it I don't want it to sometimes it's nice to have them kind of wobble a little bit but these ones I do want them to stay upright so what I'm going to do is just always whenever you're using acetate if you're sticking something on it the red tape is really good so I'm just going to pop some red tape on the back of the flower and my acetate strips are about half an inch usually do that about half an inch just stick that on the back okay and then you can decide how far down you want it and what I'm going to do is I'm going to mat the back here just so it conceals all of the acetate so I'm going to trim that down a little bit because I don't need it that long so again it's up to you but look you want to make sure it stays within the height of the card within this square here so it all fits in your envelope I think that's going to look quite nice like so so I'm just going to pop a strip of tape along the bottom because once I add that mat onto the back of it all that will secure it all down again so this is just really to hold it in place so just make sure you stay within that square there you go got one there already then you could attach more onto that I am going to pop a leaf onto this I'm just going to pop a little bit again I could use I'm not sure I could have just used glue there but I mean you're not going to see this either way but I just popped a little bit of tape and I'm just going to feed that underneath the flower there I'll probably do another leaf coming down here and then I'm going to do a medium one probably there so what I again I can do is just pop a little bit of tape onto the the side just one of the petals really of this one because I don't think I need to add another piece of acetate and then I'm just going to pop it just there so it's actually stuck on that same piece of acetate okay I don't think I'm going to add anymore I think that's actually enough and okay then I'm going to still need to look at what sentiment I'm going to have on this so then you open the card up and you will have your message in here so I've got this mat which will sit perfectly there and then I'm going to get a white mat over the top this piece measures three by five so I'm just going to stick that down okay the back one here you'll want a piece of paper that's three and a quarter by two and a quarter so I've gone for the same pattern paper so you know obviously stick all your acetate down and then this one here I'm going to put with love from one of the pre die cuts here because the others there's a lot of Christmas ones Christmas sentiments so I'm going to use the with love and then I'm going to finally die cut some of the little sprigs those little ones I showed you earlier and I'm going to do that in gold and just kind of nestle a few of them around just some of these these little white areas but look at this isn't it gorgeous look at all that sparkle really is lovely it's got quite a wow factor actually with all those flowers so I'm just going to tidy this up and die cut a few sprigs okay there you have it so I've just got one there there there there and just one up in that little cluster you've got all that beautiful image there on the papers that you can see I think it looks great and then I just need to add a white mat there to write my message if you do want the measurements for that you're going to need a piece that is four and five eighths of an inch by two and five eighths of an inch and that will be in my blog I'll write those measurements down but yeah there you have it all fold flat like I said it will fit in a seven by five and a half envelope so you just have to make that on your envelope punch board but you know I'm really really pleased with this it stands up really nicely just make sure you fold all those lines all of your score lines really well and once that sits in an envelope it will stay in that shape anyway but I love it I think it's really really nice I'm definitely going to be making some more of these and I love that that you know just kind of floating up the top there so there you have it so I hope you've enjoyed the card that I've made using supplies from my kit hope it's inspired you and yeah thanks for watching please give me a thumbs up and subscribe to my channel so you get to see more see you soon bye


So, today we have the last session, it will be mostly the first part will be lively and the second one will be online. I hope that everybody will stay throughout. I want to announce that at the end of today's meeting, at the end of the conference after the last talk by Zhenquan Xu, the last speaker who will speak on remote after that, there will be a session where the three best posters will be awarded the prize and the committee will run that part of the meeting and then we will go for lunch after that. So with this, we begin with the first talk by last part of energy dissipation in soft adhesion from a deepening perspective. Thanks Aerio for the introduction and also thanks to you and Ernst and Andrea and Quintuuy for giving me the opportunity to speak here and to talk about the latest and greatest on adhesion of soft solids on rough surfaces or something like what you see on the bottom of this slide. So, let me first point out that I'm sort of located on the meso-scale end of this meeting. So, I'm not talking about atoms today, I'm talking about contact line and deepening of contact lines and the work was done mainly by my PhD student Antoine. And I'm a theoretician, I do computer simulations, but I will show you a few experiments that were done in essentially in Pittsburgh, in the group of Tavis Jacobs and in Akron, in the group of Ali Ginovala. So, since this meeting is dedicated to Mark Robbins, let me say a couple of words. Maybe let me tell you why I'm in adhesion at all. So I started doing a post-doc with Mark, something like 11 years ago, and I had written this beautiful proposal, a Marie Curie proposal that got funded on how surfaces run in, how surface topography changes during sliding. And then I arrived in Baltimore and Mark told me, well, but adhesion is also interesting. And I think he said this three times and then we started working on adhesion. I never did what was in the original proposal, so if anyone or any of the referees is here, I'm sorry that we never implemented this. And his way of thinking has greatly shaped the way I do research, and what I'll show you today is also, of course, inspired from many interactions with him, and he also worked on deep pinning of contact lines, and we talked about this and part of why I'm here talking about this adhesion story is also due to him. Okay, so let me set the stage about what I will talk about today. So I will talk about adhesion of soft solids on rough surfaces, and the canonical experiment is a soft swir, in this case a PDMS swir that's contacted with some solid body. In this case, this is a diamond surface, and then you measure the force as a function of displacement. And in this case, Ali at Acron, they also measured the contact area through an optical technique by just looking into the contact. So in this experiment, the substrate was actually varied, sort of to do the experiment on substrates of different roughness, and this is what these acronyms are down here. So this is ultrananocrystalline diamond, microcrystalline diamond, nanocrystalline diamond, diamond films with different crystal sizes and different roughness. So what does this look like? So this shows the contact radius as a function of force. So if you move into contact during loading, you typically find something that looks like this, and if you want, you can fit it with a JKR model, and you will get a relatively nice fit to JKR. We've heard a lot about JKR here already, so it's a contact model that assumes an interface energy for high interface energy and soft solids. So JKR is sort of a model that assumes thermodynamic equilibrium, so when you move back, you should move back along the same line with the except of the point of pull-off. But what you typically find, and this is not the only experiment there's lots of report in the literature, is that you actually move back a different way. So there's a hysteresis in these contacts. And if you want, you can even fit a JKR model at least to part of this pull-off curve, and you would get a different work of adhesion, of course, if you extracted the effective work of adhesion from these solids. So it gets worse, so now we can do the same experiment on a different substrate and you get different curves. So here the approach looks similar, but the moving out of contact, the hysteresis is larger. There's even sort of a region where we are at constant area or at constant radius when we move out of contact. And just to show you a little more data, so these are the other experiments, so they all look different. They somehow seem to depend on the topography of these films. So this means there's some sort of dissipation process going on. This may not be super obvious from this plot, but of course you also see the hysteresis in the normal force versus displacement plot. And if you integrate that, that's just the work you do on the system, and sort of you do work on the system in these contact cycles. But the typical explanation for this is something is going on either in the solid or at the interface. So there may be contact aging, what's now called the quality of the contact may change. So there may be interatomic bonds that form because you hold the contact. This is taken from Jacob Isayelach-Willis' book on sort of contact of silicon or silicon oxide surfaces that of course form covalent bonds, or there may be viscoelastic damping going on, viscoelasticity also of course leads to time dependence and also to dissipation. So these experiments that were done by Ali, he also did control experiments on flat silicon wafers that were OTS coated, and there's no hysteresis on these silicon wafers. They were done at very low velocity. So we are reasonably sure that viscoelasticity can be ruled out. There may still be of course viscoelasticity, but the question that I want to talk about today is whether we can get adhesion hysteresis from purely elastic mechanisms, and of course the answer to that is yes, and the key is the pinning of the contact line. Okay, so let me take a step back and show you something that you have seen already maybe ten times in this meeting, the Prandtl-Tomlinson model. For me it's actually the first time that I have it on the slide, but many of you will be familiar with this. I'll tell you in a second how this relates to adhesion. So the Prandtl-Tomlinson model is essentially, what we have is a slider that is pulled by a spring of stiffness K over a corrugated substrate that's typically, or corrugated energy landscape that's typically modeled by a sign, what you see here is actually the force balance expression of the energy. Now in the limit where sort of the amplitude of the force corrugation is much larger or is larger than the stiffness or K times A, the slider gets stuck in the minima of the corrugated energy landscapes, and this leads to energy dissipation. So let me just show you a little video of what this looks like. So for floppy driving force, for floppy spring, what you find is that your slider gets stuck in this minima and then there is jumps into the next minimum position. And sort of the idea here is we jump from here to here, and then the energy difference, this energy, is dissipated simply because you decouple the velocity of the jump is decoupled from the velocity of the external motion. So you even get dissipation at zero velocity. This is an elastic instability, and this is a key mechanism, Martin Moussa alluded to this already in one of his comments at the beginning of the week. This is a key mechanism for energy dissipation in the quasi-static limit or at very low velocities. So again, I want to point out that sort of this is a force balance expression, and here this is a driving force, and the driving force is linear in the extension of the spring in this case. So what does this have to do with adhesion? So let me show you a little tiny toy model. So I'm now considering the contact of a sphere on a deformable substrate. So what you see up here, this is our sphere. You see that the contact neck has deformed because of course it's snapping into contact because of the adhesive interaction, but the work of adhesion is not a constant. I'm considering these concentric rings of work of adhesion that you see down here. So as we move from the center of the contact to the contact edge, we have a sinusoidal oscillation of the work of adhesion. Let me show you what happens. If you consider this model, think about it maybe as a simulation. So what happens is that the contact line actually gets pinned at the boundary between the high and the low work of adhesion region and then jumps into the next minimum. I'll show it to you in a second. So it's pinned between these two regions. The reason is of course in a high work of adhesion region, it tries to increase the contact radius, and then it hits the low work of adhesion region where the contact radius should be smaller, so there's an equilibrium between the two. So we have unstable jumps between these two situations. Let me make this a bit more quantitative and sort of connect back to the Pantel-Tomlinson model. So what you see here is the energy release rate plotted as a function of the contact radius. What is the energy release rate? The energy release rate is the energy that is given to the system from the elastic deformation or release from the elastic deformation per area swept by the contact line. So it's something like the derivative of an energy is essentially a force. Think about it as a force in the Pantel-Tomlinson model. So this is our driving force. So this is this black curve here. This is essentially the spring. In the Pantel-Tomlinson, the spring is linear. Here this is the JKR expression. It's a non-linear expression that tells us what the driving force looks like as a function of the contact radius. This needs to be balanced by the energy gain of the surface that you get from the surface for making contact. And this here is the work of adhesion. This is this gray curve here that is denoted by W of A. So essentially we are sort of scanning across the contact here and looking at the oscillation in the work of adhesion. And the equilibrium between the two. So this here is the point where the system finds a stable equilibrium. So if I run this model, then you see that there's unstable and it jumps very similar to what you see in the Pantel-Tomlinson model just for this adhesive case. Let's move back out of contact. Let's take a step. Let's move back out of contact. So if we move back out of contact, what happens is that we jump at a different location and this is the reason we get hysteresis. Here we get pinned essentially at a different point on this work of adhesion field. What you see up here is a plot of the penetration versus the radius. This is essentially the force balance in the whole system. And there's the regions where the energy release rate is larger than the work of adhesion, so the energy gained from the surface. And the other way around are marked in different colors. And the equilibrium position is this one here. And you see that there's discrete jumps between these positions. Now what I'm doing is let me make these amplitudes much, much smaller than what you see here. So this is now a much, much smaller amplitude. What you end up having is you end up sampling only the peaks of the work of adhesion field. So you get a difference, a different effective or apparent work of adhesion during approach, which corresponds to the minimum on the work of adhesion field. Then from retraction, which is the maximum. And the difference, the hysteresis between them is actually proportional to the root mean square fluctuations on that surface. And we can also look here at the penetration versus area. And you see that we get nice JKR, so these curves again are JKR curves with these effective values of the work of adhesion. So this toy model essentially is a gist of what I want to tell you about. So if you want, you can fall asleep now, or you can listen to me telling you what happens if we now go from these concentric rings to random work of adhesion, and then how to go from a random work of adhesion to surface roughness. So what I will, you mean, what do you mean? This one down here, the gray curve. So this is just what we stuck into the system. This is our work of, no, this is per surface area. So the W values, this NG is per surface area. It's an energy per surface area. Okay, so what happens on heterogeneous surfaces? So we have to do a little more thinking, a little more complication in order to do this. So what I will show you now is two types of simulation. One is a boundary element method calculation that is fairly standard in the community. Mark and myself have used it to study adhesion. What you do is you solve for the elastic deformation in the substrate. And we do this on a sort of work of adhesion field that is random. And then I will also show you a model that is a correct front model. Essentially, it's a model for just the contact line. So we are reducing the problem to a 1D problem, which allows us to do extremely large calculations. It's a factor of 100 to 1000 faster than the BAM model. And we can do realistic roughness and spend all the way to macroscopic scales. This is something that we recently published in JNPS this year. So what is the idea behind the correct front model? It's exactly what I've told you before on these concentric rings, is we have force equilibrium. So the energy release rate needs to equal the work of adhesion. But now locally, so A of theta and theta is a point on our work of adhesion map. So a point along the contact radius here, yeah? So for each point, we require this force equilibrium. And then this here is the fractal mechanics model for the contact line. It's a perturbation around the JKR solution. So let me just point out what this looks like. This here, this delta to the power of one half is a fractional aplasian of the contact line. Think about it as something like a curvature. It's not really a curvature, but it's something like a curvature. So it prevents the contact line from going out, from making a curvature. So oscillations of the contact line cost energy. And sort of it's pulled back. The contact line behaves like an elastic spring, essentially. Let me show you what this looks like. Maybe first look at the right image. So this will show you in a second the motion of the contact line. You see that there's, again, jumps. But these jumps are now localized along the rim of the contact line. So we have individual instabilities on the heterogeneous work of adhesion. You also see that the BAM and the crack-front model, essentially, gives the same answer. Let me run this again and point out that sort of here we have these, of course, these jumps, these instabilities, also correspond to jumps in the external driver, in the penetration versus normal force. You can see them here because this is not really a very finely resolved graph. So this is something that is still a very coarse calculation. So what type of insights can we gain from this model? Let me discuss a little bit what's happening in these calculations. So we have a line moving in a random field. So there's different limits that we can consider here. The first limit is the line is extremely rigid. If the line is very rigid, what we are doing is we are just sampling the work of adhesion, which is just taking the average of the work of adhesion along the line. It can deform. And in that limit, there's no hysteresis. The work of adhesion for retraction and for approach is the same. The opposite limit is the limit of an extremely soft line, in which case, essentially, in this discretized or pixelized representation here, we can regard each of these columns individually. And each of these columns is something like this concentric ring model that I've shown you before. So it will sample simply the peaks, the maxima, and minima along these lines. So what you get is the difference between the work of adhesion during retraction and approach is something as proportional to the root means square fluctuations on that surface. Now the limit that you typically have is something that's intermediate, which is called the collective pinning limit, in which case the line has some stiffness. So we think about this as we can't deform the line over a characteristic length scale that's called the elastic coherence length or the larkin length. And what happens here is that, essentially, we then need to average the work of adhesion over this elastic coherence length. And this reduces this expression from the soft limit by a square root of n term that comes from sort of randomly averaging random terms. This is actually something that's very well described in literature. The original larkin argument was done for flux lines and superconductors. Mark Robbins and Dournier have used it for the wetting fronts, and it's also been used in the fracture community. So just one another expression. So this larkin length can be related to the properties of the work of adhesion field as given by the mean square divided by the rms square. So at least it's not the length, and it's sort of the number of this value and that we have here. Let me just show you two simulations of what this looks like. So this is a relatively large elastic coherence length. These yellow flashes are the individual instabilities that we jump over. So you see that the contact line has jumps over this characteristic length scales. And this simulation down here has a smaller elastic coherence length. OK, so how do we now get to rough surfaces? So this is not yet roughness. This is the variant locally varying surface energies, locally varying work of adhesion. So what I will show you now is that you can, that there's a mapping that maps heights onto these work of adhesion fields. And in order to sort of discuss this mapping, let me start with what does contact of geometrically rough surfaces look like.  Of course, at the contacting spot, the elastic solid deforms and you get this contact area and then you can also ask the question, what is the pressure that you see? Pressure is a function or functional of the displacement and if we use space, it's diagonal and this is an expression that you find in any good contact mechanics textbooks. So if you move further into contact, of course, at some point, we will arrive at a limit where we are conforming. Where the two bodies are perfectly conforming. Now what does adhesion do? Well, the elastic deformation costs us energy. We need to pay energy to elasticly deform the solid and from adhesive interaction, we gain energy. We gain the surface energy during deformation. And in the following, I will discuss only this limit. So this is the limit of soft solids where we actually have conforming surfaces. So this is an assumption that we stick in here. And for this limit, there's a famous result by Voperson and Eriotossati, both of whom I had this conference, that says the following. If I'm in this conforming limit, then the apparent work of adhesion that I should see is given by what I call here the intrinsic work of adhesion. So this is what your surface interaction fundamental forces also give you. So this is the intrinsic work of adhesion. And then I have to subtract the energy now per surface area that I need to pay to conform elasticly. And the energy to conform elasticly can also be written down in a very simple expression. So this is, again, an expression in Fourier space. This is the elastic energy for conforming, can essentially derive from the pressure expression that I've given you here. What you see is an integral over q, and then here, you just have the displacement of the surface squared. And if you are conforming, then essentially the displacement here becomes h. And so I want to point out that this elastic is essentially a geometric parameter of the topography. So we only have the modulus e here in front. If we disregard this, there's no, it doesn't say anything about the elastic properties are sort of factored out. And if you look at this, this is d squared q, then you have this q here. If you have q to the power of zero, you have the rms amplitude, q to the power of two is the rms slope, and this q is sort of an intermediate in between them. This is what determines the elastic energy. It's a roughness parameter, essentially, something that you can compute from the topography. Okay, so we, there's, as I said, there's this mapping. I don't, I won't show you the expression for the integral transformation from heights to w, but I want to discuss it. So Antoine had derived it, and then we found out that it's actually already in the literature. Anders and Rice had derived it in the context of a dislocation near a correct tip, where you also have a displacement field of the dislocation and the correct tip, and it's essentially exactly the same expression that we, that we are using here. Let me just discuss the properties of this work of adhesion field that we get when we apply, when we transform from heights to work of adhesion. So first of all, the mean value is exactly the Passon-Tosati limit. That is the expression that I discussed before. It's the intrinsic work of adhesion minus the elastic energy. And then with a little bit of additional equations, so essentially you need to assume, or you need to, I mean, you need to realize that the stress intensity factor is linear in the heights, and then you use Irving's expression for the relationship between stress intensity factor and energy release rate. You can also derive an approximate expression for the fluctuations, which also again contains the intrinsic work of adhesion here and the elastic energy. So this is the amplitude of fluctuations of this, on this work of adhesion field. So again, if we do calculations of this, we get JKR, so this here is JKR, JKR on the way out, JKR on the way in with two different works of adhesion for approach and retraction. And we can write down an analytic expression on approximation for these works of adhesion coming into contact and moving out of contact, which is given by the mean value here. So this is Passon-Tosati plus minus and this can be derived from this lacking argument that I've shown you on the slide before. If you put all the equations together that I've given you, you will see that essentially the hysteresis has to be proportional to this RMS square divided by the mean value. And this then becomes Passon-Tosati plus minus a pre-factor times the elastic energy and from numerical calculations, I show them in a second, we get something like K equal three. So Passon-Tosati is the mean field limit plus minus, you get the K times the elastic energy contribution, you get the hysteresis. So let me just show you this applied. So this is a synthetic rough surface with a specific power spectral density. It's a self-defined surface where you have a power spectral density of the height. So this is essentially the amplitude of the height fluctuations in Fourier space that is a power law with the first exponent H here. So if we apply the integral transform, then the PSD transforms approximately like this. Let me just point out that this is the expression for W-RMS that I've shown you on the slide before. So we have W int times, this here is the elastic energy or the contribution to the elastic energy of that specific wave factor. So this is essentially the generalization of this expression that I've shown you before. And then you get a work of adhesion with a power spectrum that looks like this. It's essentially a product with Q. So all the exponents decrease by one. So now we did these crack front calculations. These are the dots. And what you see as the dashed line here is now the difference between the retraction and approach work of adhesion is six times E elastic. And this is exactly this K equal three Ks. So it's plus minus K elastic, which was three. And our calculations match this at least for a larger elastic reasonably well. We did the parametric study with different realizations, different Hearst exponents. So they all seem to collapse on a master curve. So we can probably get better than just this linear relationship between the hysteresis and the elastic energy. Okay, yeah? Yeah, just one more slide and then I'm done here. So let's connect this back to the experiment. So as I said in the beginning, Ali, you know, while I had done these experiments on these diamond films, and this is one example that you see here of a force contact radius curve. And now in order to apply our theory, we need the roughness of these films. And these diamond films were characterized down to the atom in the group of Tevis Jacobs. So essentially what he did is he combined stylus, a profilometry, AFM and cross-sectional TEM technique to piece together the PSD, in this case, over seven orders of magnitude in length scale. So for all of these samples, we know the PSD fully down to the atomic scale. So they all have been characterized with TEM. So now we can stick this in our model in this crack-front type simulation, and this is what we get. Let me point out that this intrinsic work of attrition is fitted to the approach data. But with this fit, we do reasonably well, I would say, sort of predicting what happens when we move out of contact. Let me just show you this data in a slightly different presentation. So what I'm now doing is I'm not showing the normal force, but I'm showing the energy release rate. Think about this as fitting a JKR model to each of these points and extracting an effective work of attrition from these JKR points. Then on approach, here we get a constant work of attrition. And our model would predict actually a constant work of attrition doing retraction. That's what I've talked about today. And they see in the experiments a slight increase here, which is something that we're still looking at. Of course, there may still be viscoelastic effects or contact-aging effects or other things on top of sort of this elastic pinning. But we are reasonably sure that elastic pinning is one of the main contributions to the attrition histories this year. So I'm essentially done. Thank you for your attention. Antoine did all of the work, as I said. I mean, he did a great job. He's one of the students where I have to catch up. So he does things that I then need to try to understand. So he's really excellent. And I think this is, it's the next step sort of in predicting really pull-off forces from measurements of rough surfaces. Something else that I just want to point out is a bit of advertisement. We're running an online service contact engineering that allows you to upload measurements of rough surfaces and do contact mechanics calculations and analyze the surfaces. You can compute PSDs. And since a couple of weeks ago, you can also publish your surfaces. You get the DOI. So if you need to have a paper and you want to publish topography data, you can go there, click the publish button. You get the DOI for citation in your papers. With that, I'm done. Thank you for your attention. And I'm happy to take questions. Thank you very much. Very good work. Questions? Should I do it? I can click on here, right? Martin, Müser, Roberto Gerner. Well, if nobody else asks a question, I can always ask one. I mean, now you're sometimes used to the contact line and a great talk by the way, and then one has done. So are there ranges where you don't get the hysteresis? And did you look into the question, how that correlates with the stickiness criteria? I guess you're familiar with the work by Pascal Robbins and, of course, with the work by Bob Hatt. Martin, the god of the internet. Did you get into the question if this existence of hysteresis correlates with the breaking up the god of the internet doesn't want you to ask your question, it seems. OK. So I want to point out that what I've shown you today is the limit of soft surfaces and conforming contact. So the paper with Mark, the PNAS, with the stickiness criterion is the opposite limit, where we are sort of in a DMT-like limit of hard surfaces and we are not conforming. And I think something that's very important and that's often overlooked is that these limits lead to different physical behavior, and you have to treat them differently. I don't think there's a theory that sort of can span from sort of non-conforming contact. Maybe both theory can do it, but I'm not sure if you are fully there yet so that can span from non-conforming contact all the way to the very soft limit. So as soon as you have partial contact and also Roberto's question, you ask how much trapped air could limit the full contact goes in that direction. Of course, you will have internal contact lines and maybe this crack-front thing still works, but you would need to consider the internal contact as well. So all bets are off in that case. I may even increase adhesion because you have additional contact lines that you need to get rid of. And with regards to the experiment and to the trapped air, I think that PEM is actually permeable for you, but the experimentalists can probably answer that better. So I don't think that would be a hot candidate while you get extra apparent adhesion on the retraction line that you get partial contact perhaps. Perhaps something like this, yeah. OK, interesting. All questions or comments? OK, in that case, we thank Lars again. Thank you very much. Move on to the next talk.


This study examined the use of structure from motion, SFM, technology to create detailed 3D models of a vineyard in the Texas Hill country. The study used an unmanned aerial vehicle, UAV, and a digital camera to collect 201 aerial images, which were then processed to create a 3D point cloud. From this point cloud, non-ground points were identified and used to generate visualizations of the vineyard's block structures. Additionally, the study investigated the correlation between these non-ground points and LAI measurements taken from nearby sampled vines. The results showed a moderate R2 value of 0.567, indicating that SFM data could be used to accurately estimate LAI values. Furthermore, SFM data provides a higher temporal resolution than traditional 3D datasets such as those obtained through light detection, and ranging, LiDAR. This article was authored by Jennifer L. R. Jensen and Adam J. Matthews. We are article.tv, links in the description below.


One of Radio's outstanding dramatic half-hours, starring Lee Tracy, and presented transcribed by your Army and your Air Force. Radio City, New York, here is your star and host on Proudly We Hail, the distinguished Broadway stage, screen, and radio star, Lee Tracy. Thank you, Kenneth Banghart, and hello, everyone. Welcome again to Proudly We Hail. What's our play about, Lee? Our play is called Forget Me Not, Ken, that combines all the ingredients that will make for good listening, a story filled with suspense, a plot that will really hold interest, good music, and an excellent cast. I'll be back in a moment after a few important words from you. The United States Air Force is expanding rapidly. Intelligent young men and young women with the will to learn can get ahead fast. So take advantage of the opportunities for advancement that can be yours by enlisting now. Be your local Army and Air Force recruiter and learn the facts today. And now with your star Lee Tracy and the role of Andrew Blake, your Army and your Air Force present the Proudly We Hail production of Forget Me Not. With the night, the fog moved in over the city. It was thick and wet, silent and oppressive, a fog that swirled its way into every nook and cranny of the great metropolis. It beat noiselessly against the door and pressed its formless face to the window pane. It wove strange, ghostly patterns about the streetlight, obscuring its illumination, making all travel slow and hesitant. The fog held the city captive, but to Andrew Blake it went even further. It invaded his being, blanketed his thoughts, filled the narrow twisting avenues of his mind, leaving him sick and confused. He was lost, outwardly, as well as inwardly, for he knew not on what street he walked or where his footsteps were taking him.  Help me, I, I gotta get away. No matter, are you ill? Hey. You better sit down on the curb. There, boy, you're soaking wet.  I'll get help. No, swim, swim, get, get, get, get away. Swim, get away from me. Oh, they, they, oh, I don't know. All mixed up. Who are you? I, I don't know. Where am I? Who are you? What? I'm John Canavan.  I'm, I don't know. I don't know. I can't figure it out. That seems to be the trouble, ma'am. What's he had? He's sput too much. Oh, I don't think so, officer. He's been hurt. He doesn't seem to know who he is or where he is. He's soaking wet, too. Hmm, let's have a look. Seems to be out on his feet. Hey, Mac. Mac. Come on, come out of it. He's gone. You gotta keep going. And that's the whole story, Captain. Thank you very much, Miss Canavan. Have you found out who he is? Not yet. Takes a little time. Hmm. There was no identification on him at all. Wasn't that odd? Could be. No better than we know who he is. Well, will he ever get his memory back? I'm only a policeman, Miss Canavan. The doctor said with a case like his, it's hard to tell. Well, when you see him, tell him I hope he's feeling better. I'll do that. Thanks again. You hadn't been a good Samaritan. Might not be getting well now. I'm glad I was able to help. Goodbye, Captain Quinn. Goodbye, Miss Canavan. Hi there. Hi, Captain. Come in and test for me. Don't mind if I do. Well, what do you know about me today that you didn't know yesterday? Well, a few things. One, that you're feeling better. And two, that you don't have a criminal record. Well, that's nice to know. Anything else? Mostly deductions. You're evidently a man of some means. Because you found over the $300 in my pocket? The doctor tell you that? Yeah. I wondered our man with no identification who couldn't remember who he was could rate a private room. Well, it wasn't the money that made it. Oh, the good doctor said I'm a rare case. A rare case rates a private room. That isn't what I meant. They're closed. They were expensive. Oh, yeah. It must be great being a detective. Look, don't let it catch you down. You'll find out who you are. That'll help. Now, you don't remember being in the water? No. The first thing I remember was the fog. Then the girl... Even that's all mixed up. She said her best. Who? The girl, Joan Canavan. Oh, I'd like to thank her. I'll tell her. Have you deducted anything else about me? One thing. Seems a little strange that someone hasn't been looking for you. You must have friends, maybe a family. I wondered about that, too. The girl said you seemed to be trying to get away from someone or something. You wanted to keep going. Do you remember anything about that? No, not really. I seem to have a feeling that... Oh, I don't know. Sure you do. Have a feeling that what? Hard to explain. Like I was on some kind of danger. Could come from having been in the water and having to swim for your life. I suppose so. Our time's up, Captain. My patient needs more rest than questions. Okay, Doctor. Don't worry, fella. Just take it easy. I can do that. We're going to run you a picture in the papers. That ought to bring somebody running. No, don't do that. Can you think of any reason why the Captain shouldn't? I can't really. It's just that... When he said it, I had that feeling again that I was in danger. You wish to see me and Mrs. Blake? Yes, they said you were the one to see. Where is he? What's happened to him? Where is who, Mrs. Blake? He drew his pictures here in the paper. You know him? I know him. Well, I should. He's my husband. No, he's not. You don't know how. What's happened to him? Why are you looking at me like that? Your husband has been in the hospital since late Friday night. This is Tuesday. Didn't you miss him at all, Mrs. Blake? No, I had no reason to. He went sailing on Friday afternoon. I didn't expect him back until tomorrow. Sailing? Did he go alone? Of course he often went alone. Will you please stop asking me questions and tell me if he's all right? Yes, Mrs. Blake, he's all right. At least he is physically. He's had a bad shock, though, and he's lost his memory. I'm Nisha. That's why we ran his picture in the paper. Nisha? But how? What happened? Well, that shouldn't be hard to figure out now. I imagine something went wrong on his boat. It was knocked overboard by the boomer. A sudden squall came up. This boat sank, or any one of a number of things. The doctor, he'd taken a terrific blow on the head. But Andrew is such a good sailor, I don't see. He won't remember me. I don't know, Mrs. Blake. I'll give it to you bluntly. The doctor feels his memory may come back gradually, or it may come back suddenly, or it may never come back at all. In other words, in a case such as this, they just don't know. This is horrible. Mrs. Blake, before I take you to see your husband, would you mind answering a few questions? No. What do you want to know? The picture was run in the evening papers. They hit the street about two hours ago. And yet in all that time, you're the only person to come forward and identify Mr. Blake. Can you give me a good reason for that? Of course, we just moved here from New York about ten days ago with perfect strangers. I see. Can you enlarge on that for me? It's very simple, Captain Quinn. Andrew and I decided to... Hi, there. What are you, a watchdog? Night nurse. Have a good sleep. Yeah. More questions? A couple of answers. Well, let's have it. The name Andrew Blake mean anything to you? Andrew Blake? No, no. No, it doesn't ring any bells. Should it? I suppose so. It's your name. Andrew... Well, I'll be... Well, it's nice to have a name again. How do you know I'm Andrew Blake? You're Andrew Blake, all right. You're worth about four million bucks, too. Wow. Don't stop now. Where did I get all that money? Your father left it to you. It was a ship builder. What am I, a playboy? What made you say that? I don't know. Four million bucks. No, you're no playboy.  Have your own firm in New York. New York? Yeah, but... But this isn't New York. I know. Ten days ago, you came out here and rented a beach house for a month. You were on a vacation. Some vacation? Say, how did you find all this out? We put your picture in the papers and your wife came running. My wife? Holy... Are you sure? Positive. We checked everything. What's her name? I might add she's a very pretty woman, Blake. You'd better start remembering things fast. Maybe she can help. Do I have a... family? No. She can tell you all this better than I. She's outside waiting. I'll bring her in. No, no, I'll wait. What's the matter? How would you like to meet a wife that you can't even remember? Blake, I know a million guys that would swap positions with you gladly. Chin up, old man. This may do you some good. Don't go away. Come in, Mrs. Blake. Andrew. Oh, Andrew, my darling. How do you do? I'm sorry. I know, darling. You can't remember. But you will. We'll all help you, won't we, Captain? Oh, Andrew, you look so pale. You feel all right. How do you like it? Quite a chateau. Don't I hear the ocean? Yes, the ocean's below. Oh, wait until you see. It's very exciting. The doctor says this is a wonderful place for you to rest and get well. It's so quiet and peaceful and there's no one to bother us. Is there any way to get down to the water? Yeah. A long wooden walk and a cove where you can swim. That's where you kept the boat. Oh, yeah. Well, let's have a look at the house. I'm afraid I don't recall any of it. No, you mustn't worry about it.  Must have caught a couple of them. Seaton, I told you to wait. I really couldn't, old dear. Just had to say hello to Andy. Andrew, dear, this is Seaton, my younger brother. You and here are great friends. Oh, yes, quite. Chums, terribly glad you're back with us. How about a drink? Not now, Seaton. Andrew's tired. Is there anyone else to meet? Just Mick. Mick? Who is Mick? Michael, my older brother. Are we chums, too? Oh, yes, I should say so. We're old chums. Where is Mick? He's still in bed. Had a bit of a rough night. Oh, if you don't mind, Lala, I think that might be a good place for me to go. I feel a little weak on my fin. Of course, darling. I'll... Mick! You startled us! Seaton said you were in bed. Why, Seaton, how could you? Well, Andy, back in the world of the living again. Have they told you who I am? I am Mick. What's the matter?  No, I... I just thought for a second that I'd seen you some place before. Hello. I'd like to speak to Captain Quinn. Andrew Blake. That's right. What? Oh, called out of town. When will he be back? I see. No. No! No, there's no message. Just to tell him I called. Thanks. Goodbye. He said to call if I ever had that feeling that I was in danger again. Well, I've got it again, all right, and I've got it good. Me, Tracy, starring in the role of Andrew Blake in the proudly we hail production of Forget Me Not will return for the second act in just a moment. But first, let's listen to the recent words of General Eisenhower. You will be forced to make decisions that are going to be far-reaching, which, in my opinion, may determine the course of our civilization. Whether or not free government is going to continue just upon the earth with all the rights and privileges that devolve upon the individual citizen under that protection. One way you, as a young man or young woman, can do your part is to join the United States Air Force today. Serve your country now when you're needed most. You'll find many opportunities for service in the Air Force. Get full details at your local Army and Air Force Recruiting Station right now. You are listening to Proudly We Hail, and now with your star, Lee Tracy in the role of Andrew Blake, we present the second act of Forget Me Not. The King of Jumping? Oh, oh, oh. No, I was just watching the waves hitting the rocks down there. A long drop on a clear day, what? They say heights make some people dizzy, makes them lose their balance. I heard about a fellow like that once. Way up on the top of the building he was. You know, with this wind, a man could easily miss his step. The ground here isn't too steady either. Could crumble just like that. I think I'll go back to the house. Oh, you're all right now that I'm here. Let go of my arm. Hello there. Hello. Quite a day, isn't it? By what the matter, Blake, you're as white as the sheet man. Here, let me take your arm. Oh, it's all right. I'm fine now, Dr. Shields. You're awfully quiet, Andrew. Aren't you feeling well? What do your brothers do for a living, Lila? Do for a living? Seaton's a writer and mixed going into the investment business. Going? When? Well, he's looking. He hasn't found anything yet. What does Seaton write? I think he's working on a book. What's the matter? They live with us all the time. Well, I know. You invited them to come along. I did. Yes, don't you remember? No, I don't. I wish I could. Where are you going, Andrew? Oh, for a walk. Darling, Dr. Shields says that you're making very good progress. Great. But I can't remember a thing more than I could last week. Try to be patient. It'll come back to you. Might be interesting if it did. What do you mean? Since I can't remember my past, I've found that my senses have become very acute. I feel things. I know things instinctively. My impressions are doing their best to take the place of all that's missing. I don't think I understand you. It's not easy to explain. I'll see you later. Just missed. Miss, what missed? I'm from. One of those granite ornaments up there on the balcony. It must have come loose. The wind. Yeah. Only the wind is blowing from the wrong direction. Andrew Blake, Miss Canavan. Well, come in. It's nice to see that you're all better. Well, not quite. Oh, I'm sure you'll start remembering things soon. I wish I had your confidence. I came to thank you. Oh, that's very nice of you, but really I did nothing. Please sit down. Thanks. I came in town today to visit Dr. Shield. He's the one that's taking care of me. I found he's off somewhere on a case. Captain Quinn won't be back until tomorrow. You're the only other person I could come to. Since my accident, you're the only three people outside of my wife and her brothers that I know.  I think so. What I'm going to say now may make you think I've not only lost my memory, but my common sense too. When I saw my wife for the first time at the hospital, it was naturally a shock. I didn't recognize her. She was as much a stranger as you. But I had one very distinct feeling about her and it hasn't changed. It's grown. What's that? I don't like her. I distrust her. She seems false to me. I know that's a terrible thing to say, but let me finish before you say anything. I'm beginning to wonder if what happened to me was an accident. What do you mean? I've been home just a week now. But in that time, that's the reason I came to you. Are you sure it couldn't be a coincidence? No, but I don't think it is. But what can I do? I had to tell someone and you were the only one. I want you to remember all this. And if anything should happen to me, another accident, before Captain Quinn gets back go to him and tell him everything. What are you going to do now? Going back to the lion's den. But why if they try again, you may not be so lucky. I suppose you're right, but I'm stubborn. I'll beat them at their own game. You're being foolish, Mr. Blake. I know it, Miss Canavan. Thank you for listening to me and being so understanding. I just wish there was something I could do. There is. Call me tonight around midnight. If they tell you I've gone to bed or I'm out, get the police and come running. Quite a blow. Good night for a brisk walk.  He does it that. Well, what do you say, old man? The three of us will take a turn around the house before we retire. Do you good, Andrew? You really think so? Best thing in the world? Clear the head. I'm quite comfortable right here. And you will be surprised to know my head is very clear. All of a sudden. How do you mean? Like I blew my nose and cleared my brain. The doctor said it might happen suddenly. It did. You mean you can remember everything? Everything, my dearly beloved wife. Well, then the game's over and we can stop this silly foolishness. I thought I'd finished you in the boat, but I guess I didn't hit quite hard enough.  It's no good, Lila. Four million dollars. And you three wanted it all. Quite. We couldn't let Lila throw you over for that Compton fellow with so much bootle at steak now could we? Hardly, huh? I was pretty blind about it all, I guess.  You and your precious boats. Did you ever think I married you for anything more than your money? Wasn't Tony Compton that made us decide on this?  It's much better to see you as you are than to have you playing a part. Even when I couldn't remember, I knew you were acting. I'm glad we're through pretending, too. Get it, Seaton. Stay right where you are, little man. Hello? I'm terribly sorry, but the old chap's gone for a bit of a walk. Is there a message? Hello? Hello? Well, it's odd she's hung up. There's one thing I'm still not too clear on. How did you three ever get me to come out here? It was very simple, darling. Second honeymoon, I think I called it. With them? They were here when we arrived, only you didn't know it. They were very discreet. Oh, very. It must have been quite a surprise to have old Nick come popping up at you out of the cabin. The way he told it was most amusing. What did you do with the ship, Nick? Sanker, what do you think I did with her? We've had enough of this. Let's go for that walk. Another accident? Terribly tragic sort of thing. You've messed it up three times already. That's all the strikes you get in any game. You're out. You think so? We'll show how good a job we can do this time. I'm afraid you won't. Not unless you want to hang. The police are already on their way here. I've heard that one before, too. Do you think I'd let you trap me like this knowing what you're doing? You couldn't have known. Not really. Not about me. I can add, Lila, I remember Nick. The rest wasn't hard. I've already told the police everything. He's bluffing.  Now, come here. Now stay away from me, Chum. Andrew. Stop right where you are. I'll shoot you if you take another step. I mean it. You never told the police because if you had, they would have been here long ago. Seaton, help your brother. We'll work this yet.  I think I'll stick it in him for a good measure. No, be still. You've bungled enough. All right, now the two of you pick him up. Coming to watch out, dear? Yes, I want to make sure there's no accident at this time. You'll never get away with this. I think we will. This is a $4 million gamble. Have you got him? Yes. All right, let's go. What have you to say now, my dear husband? I wonder how I could have ever married you. You were blinded by my beauty. I'll open the door. Good evening, Mrs. Blake. Stay right where you are. The whole thing's incredible. You're incredible, my guiding angel, Miss Canavan. Oh, goodness sakes, call me Joan. I think you were just born lucky, Blake. Glad I got back what I did. Yeah, so am I. That was one bluff that almost didn't work. I pretended that I remembered everything. Well, do you? No, not a thing. They just fell into it. I played it by guesswork. You'd have thought after their first attempt failed, they wouldn't have been in such a hurry to try again. They had to. Once he got his memory back, the jig was up for them. Well, maybe I'll get it back. Maybe I won't. But right now, I'm not worried about it too much. I just feel what I don't know isn't going to hurt me anymore. Charlie Tracy will return in a minute with a word about next week's show. A few moments ago, you remember, I brought a message to the young men and young women of America. I'd like to expand on that message a little. The United States Air Force needs you now. If you're qualified, you can join the aviation cadets. You'll be trained as a pilot or as a navigator. You can win your Silver Wings, a true mark of distinction. Your Silver Wings will mean that you are flying in the United States Air Force and are serving your country in these critical times. Your nearest Army and Air Force Recruiting Station will give you all the details. Volunteer today. This has been another program on Proudly We Hail, presented in cooperation with this station by your Army and your Air Force. Proudly We Hail stars Lee Tracy. Forget Me Not was written by DeWitt Cough. The music was composed and conducted by John Guarnieri. Proudly We Hail is directed by Charles Wilkes. This is Kenneth Banghart speaking and here again as your host and star, Lee Tracy. Next week we'll present a play entitled The Challenge. A moving story of hate, misunderstanding and a man's change of heart. We hope you'll join us over this station. Until then, goodbye.