Words at war. Tonight it's one of the most controversial problems of our times. Here's one opinion. I think government planning is the only solution to our economic problems. I think the government ought to plan for everybody to have a job. Free enterprise may have been all right once for what we need now as central planning. And the government should plan our economic welfare in peace just as it plans for victory and war. The time has come for the government to set up a planned economy. But here's another opinion, a warning bell to stop, look and listen. I think that government planning as a substitute for free enterprise is a step in the direction that Italy and Germany followed. I think that it would destroy our liberties, our freedom and our civilization. Instead of being the highway to happiness, it is the road to certain. Tonight the national broadcasting company in cooperation with the council on books and wartime brings you a radio impression of one of the most talked about books in America. It's a direct challenge to much that is being thought and spoken these days. It's one answer to the question, shall we have a planned economy directed by the government or shall we have free enterprise based on competition? Some of you may like it, some of you may not. But in keeping with the spirit of this Words at War series, here is one of the most provocative and widely discussed books of the day. We present The Road to Serpentum by Friedrich A. Hayek. I'm Friedrich Hayek, a professor of economics who has written a book. I was born in Austria and lived in Vienna until 1931. Since then I've spent my time in the United States and in England and am now a British citizen. At present I'm on the faculty of the London School of Economics. Now that I've introduced myself, I'd like to talk about my book with you. You may be a nice guy and your book may be fine, but well, a foreign professor. I don't know whether you talk my language. Yeah, those big words and all that high-brow stuff, they kind of give me a headache. Okay, you forget that I'm a foreigner and a professor and I'll drop the big words and the extra syllables. Check? I checked, Doc. Now, what's this beef about government planning? Yeah, what's wrong with the government doing some planning? I'd like to know. It seems to me, Mr. Hayek, that the large-scale problems of today require large-scale planning, such as only the government can provide. What's the matter, professor? Don't you want everybody to have a job? Naturally, we all want everybody to have a job. I'm sure I do. I like the idea of full employment, too. The question is whether you want to get it by free enterprise or by government planning. I think that if you get full employment by government planning, you'll end up with complete serfdom. No, I don't agree. What do you mean? Lose our liberty and all that stuff? Exactly. I don't see why we'd have to be slaves just because things were planned. Now, look, Doc, let's not get this confused. You'll make me forget how I figured it out. Now, I see it like this. The government should plan what's good for the country, right? That's my son. All right, full employment is good for the country, right? That's true. Therefore, the government should plan full employment. It's as simple as that. Yes. Now, let's see. A person should wear clothing in public, right? Yeah. A bathing suit is clothing, right? Yeah. Then why aren't you wearing your bathing suit? Why don't... Ah, now, Doc, that's silly. No, no, you see, it depends on what kind of clothing, wear in public, and it depends on what kind of planning, full employment under what conditions. Now, I am not against all kinds of government planning, nor against government power to enforce proper planning, but I think that the kind of planning should be decided upon and that the power should be limited. Oh, that's just a lot of talk. Look, we want jobs in the future, so let the government make sure we get them.   Go ahead, Doc. All right. Now, let's imagine a baseball game with the government as the umpire. You're familiar with baseball, aren't you? Oh, sure. I'm gorgeous. Now, the umpire, that's the government, is supposed to regulate the game to enforce the rules. But suppose the umpire went further than that. Suppose he tried to plan the game and make the rules fit the plan. Well, let's go out to the ballpark. Yeah, it's a pleasure, Doc. Hey, look, that was three feet wide of the plate.  You can reach further than the other players. But do you think it's only fair to show it? Only fair? Well, look, the plate's the plate. Now, now, let's not be unreasonable. Well, what? But it puts me on first base, huh? Now, wait, Wade, it's a pretty hard, isn't it? Yeah. Well, now, I'll tell you what. You take two bases instead of just one. What? Two bases? When a guy gets here with the ball, he gets one base.  Gee, two bases? But umpire, a guy here with the ball gets only one base. That's not the second half. And the rules, you know that? Yes, that's true. But how was he to know the field it was going to throw home? How was he to know? But the rules, there's nothing in the rules, it says. All the same, it was a very underhanded thing to do. So the run counts. I think you're taking a very narrow point of view. After all, your side is four runs ahead now. Well, what difference does that make? I think it's only fair to give the other team more of a chance. You like close games, don't you? Well... Everyone likes a close game. All the same. If the man's out, he's out. Now look, I'm planning this game, not you. Well, of course that couldn't happen. The game has to be played by the rules. Rules that are known and established. And the umpire enforces the rules, not his own ideas as to how the game will be played. Okay, professor, okay. That's baseball. That's a game. We're talking about government control of business. That's exactly what I mean. If a baseball player has to be able to rely on an unchanging rulebook, when only a game is at stake, think how much more important dependable rules are to a businessman. When the stakes are his business and your job. Now, here's how that kind of government umpire might work out in business. Jones shoe manufacturing company. It's for you, Mr. Jones. Washington calling. Oh, yeah. Yes. Hello, this is Mr. Jones. Mr. Jones told me yourself, 50,000.  I got the leather. I'm sorry. Can't shift over to work shoes now. The cost. I can't afford it. Sweet. But there's nothing to cut. I can't cut on pay. The union will strike. I'm sorry. I suspect to have all dopes working for the government. They're not going to change the rules that way. Perhaps not, but can you guarantee that? I tell you, when you place that kind of authority in the hands of one man or a few men, you're bound to find yourself at the mercy of personal opinions and personal whims. It has happened in other countries. Now, hold on, Mr. Hayek. You said before that you weren't against all kinds of government planning. And I said that I was willing to listen. But you give me the impression now that anything the government does is wrong. No, no, I don't mean to say that. But there are two kinds of government planning. There's the kind that helps free enterprise. That is good.  That is bad. Here's one kind of government planning. Government plans survey of new fabrics for clothing. That is good. It helps manufacturers make use of new opportunities. But here's another kind of planning. Government announces approved spring styles. That is bad. There would be no competition in designing and less choice for the public. Now, here's one kind of planning. Government assigns wavelengths in new broadcast band. That is good. All stations can't broadcast on the same frequency, or there would be hopeless confusion. And here's another kind of planning. Government assigns programs to radio stations. That is bad. The government is now not making sure that you can hear the radio, but is deciding what you shall hear. Now, here's one kind of planning. Government offers plan for soil erosion control. That is good. It means that more people will have a chance to make a living from the land. Here's another kind of planning. Government announces quotas for spring corn planting. That is bad.  That means the government will not only regulate, but practically have to take over production. In other words, the one kind of planning is to put up signposts to assist the traveler in choosing his route. The other kind is to tell him which route he must take. So, remember, there's planning for and planning against free enterprise. Oh, nuts. I beg your pardon. You heard me. I said, oh, nuts. Now, maybe you're right as far as free enterprise goes, but what's so wonderful about free enterprise? Everybody's always yapping about it, always worried about how free enterprise is today. Yeah, yeah. Come to think about it. I can see how this government planning would push free enterprise around. Come to think about it again. I don't know that I care. Yeah, just what does this free enterprise mean to me? That's what I'd like to know. You Americans are the last people in the world we should have to ask. Well, let's see. You there. Who, me? Yes. Would you mind telling me where you're from? Why, I live right here in New York City. Have you always lived here? No, I come originally from a town in Illinois.  Oh, I don't know. My grandfather went out there a long time ago. I see. How did he happen to go there? Well, he was a pioneer, I guess. When I was a kid, he used to talk about it. How he left New Hampshire. How did he happen to go to Illinois? Well, I guess he just decided he wanted to go. I remember he used to tell us how one time he sold all of it. That's the end of that. Are you sure you realize what you're doing, Jeb, selling all your stuff and setting off for Illinois? Yep, I thought it all over. I really got a hankering to get out of that country. But Jeb, it means leaving your home and all your friends behind. It's a mighty dangerous trip, too. I know, I know. When the time comes, a man's got to try to better himself. I don't take it easy leaving here. I've had mighty good friends, such as you, Jerry. Thanks, Jeb. But I can see something out yonder I could never have here.  You'll find another one. In fact, it'll give someone else a chance. I know it means a lot. Risk in my home, a family, everything that I've worked for here. But I'm willing. I think that out there in Illinois, I can get something better. Have something better for the young ones. Be something better myself, maybe. I'm taking a big chance, Jeb. A man's got to risk a lot to get a lot. I'll make it out somehow, and I'll make something out of it when I get there. Don't mind saying I'm a little scared, but more than that, I like the idea of doing something alone. That's free enterprise, a man moving just because he feels like it, because he wants a chance at something better. It's a man feeling that he has a right to start from scratch on equal terms with his fellow men, and that he has a right to go as far as his courage, his work, and his ability to take him. Now, how do you think your grandfather would have felt if there'd been a government agency to say, you're a registered blacksmith. You're not needed in Illinois. You'll have to file a statement of intent to move, and then if there are no vacancies in your labor area, we'll recommend you to the nearest job. What do you suppose your grandfather would have said to that? Well, as I remember, granddaddy probably have told him ago. Maybe you better not say it. Well, okay, professor. Those pioneers were plenty brave, and that was free enterprise. But those guys yelling about free enterprise today. Big profits are what they're talking about. Big profits? Is there anything disgraceful about profits? When those men risked their money, their lives, their energy, and the hope of something better, they thought they had a right to a fair profit. So did the men who built the canals and the railroads, the men who thought that they could make better iron and steel, the men who gambled on the harvesting machine, and the men who bet they could make and sell automobiles. Why shouldn't they make a fair profit? Have a reward for their courage and effort. All right, all right, but all that's history-book stuff. Once upon a time free enterprise could work, maybe. But it hasn't got anything to do with us today. Doesn't it? Doesn't it have anything to do with us today? I've heard about a man in our day who left school to become an errand boy for a photographer in Little New York Town. He bought out his employer, then decided to change his line of work. He became a salesman for a paving contractor, but then decided that he could do a better job himself. I'll just a minute, and I'll tell you. He saved enough money to get a couple of secondhand mixers, and soon he was building highways by new methods, and when he couldn't buy the equipment he wanted, he built it himself. He liked a big job. When a chance came along to build the San Francisco Oakland Bay Bridge, he built it. Then there was talk of a big dam, Boulder Dam. He said, I can build dams, too, and he built it. The war came along, and there were ships to be built. He said, I know something rather about how to build things. I can build ships, too. He did, for his name is Henry J. Kaiser. I knew it. Now, that is free enterprise at work, friend. That's what we're talking about, and don't kid yourself that free enterprise doesn't work today. The government planned to strengthen the Navy, but it was men like Henry Kaiser who planned the building of the ships and built them. Photographers, salesmen, paving contractor, dam builder, bridge builder, ship builder. And his dream of huge cargo planes can be part of America tomorrow. Now, that is not a career that the government would plan. He did the planning. Just remember that the more planning the government does for the individual, the less opportunity the individual has to plan for himself. Let's quit being ashamed for free enterprise. It has served democracy well, and perhaps democracy had better recognize it. Look, Mr. Hayek, speaking for myself at least, I do like the idea of free enterprise, but we're not all Henry J. Kaiser's. I never said that I particularly like the idea of giving the government control of everything, but just being fair, you take the way it is now. It seems to me that big business is in control of everything. Business in control of everything? That's just not true, but if it were, would you take the power away from business and give it to the government? Yes, I think I would. But look, when you take power away from business and give it to the government, you don't destroy that power, you increase it. I don't see why, Doc. There isn't any more power, it's just the government has it. And I think I can control that power better if the government has it instead of business. Realizer, you can't. Actually, there's a great deal more power when the government has it because it's concentrated. Now, I'll grant you. If you show me a hundred wealthy industrialists, they represent a lot of power. But it's not all in the hands of one of them or even a small group of them. They too have their differences after all they're in competition with each other. Now, when it's all in the hands of one group, as it would have to be in the hands of a central group to make central planning work, the power is magnified. Well, I don't see how it could be much worse than it is now. As far as I can see, my boss, by using the power of the dollar, has as much control over my life as the government could ever have. You can say that again. Maybe I wouldn't like some government regulations. But what about the spot I'm in now? Sure, I can gride, but what else can I do about it? All right. Here's something that might happen in normal times in America. You come home from work and... Oh, it's you, Jim. Yeah, it's me.  I'm sorry, honey. I guess I'm just kind of burned up. Tired, aren't you, darling? Oh, it's not that. It's that boss of mine. I'd like to sock him on the nose, that big fat... Oh, no, no, Jim, you can't very well do that. No, can't... No, I suppose not, but I sure get awful fed up. I know you do, dear. Look, why don't you just start looking for another job? Even if you made a little less money, I wouldn't mind if you were happier. You're swell, baby. I just didn't want to say anything to you about it. Thought it would worry you. But if you feel that way, I'll start looking tomorrow. That's one thing you can do about it. Now, it isn't always easy to get a new job, and a man can't afford to throw up jobs just because he doesn't like the boss' neck tonight. Nevertheless, he is free to look for another job, to quit work, move to another place. But what if it were under government-planned economy? Oh, it's you, Jim. Gee, what's the matter? I'm sorry, honey, but you know what's the matter. What's always the matter? That's supervisor again. I don't know what's wrong with that guy, but he sure's got it in for me somehow. Oh, Jim, can't you get transferred or get a release or something? Oh, honey, we've talked that all over a dozen times. It wouldn't give me a transfer just out of spite. You can't get a release just by saying you don't like your boss. Even if you just apply for one, it goes on your record.  That, friends, is serfdom. If you can't quit your job, if you're not free to leave the place you work, you're serf. And it can happen. We've seen countries where it has happened. Well, that's something that worries me too, Mr. Hayek. You know, when times are good, it's easy to keep our rights. But when times get tough, when jobs are scarce, well, let's something else again. I'll say it is. Freedom, liberty, rights, well, they're all nice things, but they're not very nourishing. Now, what good are rights if it's the right to starve to death? And freedom. What good is freedom if it's a freedom to skip dinner and then skip supper, too? And liberty. Yeah, liberty and five cents will get you a cup of coffee, but you've got to have the five cents. Yeah, no, Mr. Hayek, he's not all wrong about that. When things are bad, well, you can hardly blame people for feeling that their rights aren't so important. Perhaps you're willing to give up your rights, your freedom, and your liberty to win some security. But it's not a new solution to your troubles. I've heard it said before that democracy is outworn, outmoded, no longer useful. A man got up in Italy not so long ago. He stood on a balcony, stuck out his chin, and told the Italian people that they need not be hungry nor pressed. He would look after them and see to it that their babies were fed and that he had a plan that would solve all their troubles. All they had to do was give up their liberties, let him decide what they were to read, when they were to work, and how much they should be paid. People listened to him. And you know what happened to them? Those babies they loved. After he had humiliated them, tortured them, made them the scorn of the earth, they took him in their bitterness and hung him up by the heels in a square of Milan. And the little man got up in Germany, told the Germans what that they need not be hungry and oppressed. That he would look after them and see that their babies were fed. That he had a plan that would solve all their troubles. All they had to do was to give up their liberties. And the people listened to him and you know what happened to them and to the babies they loved. After they had become less than men, after they had become the scorn of the earth and the despised of history, they find themselves without food, without honor, and without hope. Just a minute, Doc. This is America. This is different. I mean, after all, we got a democracy. Now, here in wartime, we give guys lots of power to get stuff done, don't we? It's all the same. We haven't served them. Anyhow, I don't feel like no surfer. Yes, that's true. And the reason is... The reason is because they're our powers. As long as we got the final say as we have in a democracy, we can give our government all the powers we want to. I wish you were right. The fact that it's democratic power doesn't mean that it won't be abused. The power must be limited. In wartime, it is limited by the fact that it's granted only for the purpose of war. But if we carried such powers over into peacetime to solve our economic problems, they wouldn't be limited. Now, look, Professor, I'm still not scared. Okay, so with the government in control, you got regimentation. So what? I don't mind being regimented a little. Is that so? I wonder how much of it you've endured. Pardon me. Would you come up a minute, Sergeant? Sure. What is it? How do you like being in the army? Well... How would you like it if there weren't any war? If there weren't any war, then I wouldn't be in the army. But you said you liked it in the army. Well, sure, but that's different. Anyone can see that.  But when the war's over, I'm going to get it off so fast that it'd make your head swim. Enough said. And I think the point is clear.  They're willing to be told what to do, when to do it, how to do it, when to eat, when to sleep and all the rest of it to help win this war. But when that duty is over, it's out of uniform, and that is as it should be. When you give up your liberties for a limited period of time to protect your country, that is patriotism. But if you give up your liberties just for security, that is serfdom. Ask any German. May I congratulate you, Mr. Hague? Thank you, sir. I'm a businessman, and you've expressed just what I've always thought. If the government would just get out of business and let us alone. But no, all the time new rules, new regulations, new plans. Just what things do you have in mind, sir? Oh, you know, social security, old age pensions, all that nonsense, and investigations. Oh, I don't know why. Just a second, Mr. Businessman. I'm afraid you haven't been listening very closely. The things you've mentioned don't necessarily interfere with free enterprise. I happen to think that the government should plan to protect every citizen against privation and hardship which he suffers through no fault of his own. But I thought that, well, government interference, it makes it awfully hard for the businessman. Yes, you too have to sacrifice for freedom, you know. Short-sighted businessmen have made it difficult to defend free enterprise because they wanted to be not only free but also easy. You've got to be just as much for proper governmental regulations as you are against undesirable regulations. You've got to encourage the right kind of government planning or you'll get the wrong kind. Monopoly, the restraint of free trade, and special privileges are the enemies of free enterprise just as much as central government planning is. Mr. Hayek, thinking it over now, you know, none of us want to give up our liberties, and most of us, at least, don't want a lot of government control. Now, you said if we don't get the good government planning, we'll get the bad. Now, just which is which again? How can we judge? Well, ask yourself whether the planning makes competition more free and more fair, or whether it substitutes something else for competition. Eternal vigilance is the price of your freedom in politics. It is also the price of your freedom in enterprise. Mr. Hayek, you mentioned that wartime restriction shouldn't be carried over into peacetime. As opposed to the more quickly they're abolished, the better. No, no, on the contrary. To avoid confusion and hardship, we should readjust to peacetime slowly. But we should be planning to return to free enterprise, not planning to make wartime controls permanent. Now, look, Professor, you said some stuff that I guess I'll have to think over. But it's still a fact that free enterprise just hasn't worked, at least not to my satisfaction. Nor to mine. But I think the trouble is not that free enterprise has failed, nor that it hasn't been fully tried. You can criticize your American democracy too, if you like. It hasn't worked to everyone's satisfaction at all times. But I think you'd agree that what you need is more democracy, not less. And I think what you need is more freedom of enterprise, not less. It's natural to be dissatisfied with what hasn't worked out perfectly. But in your dissatisfaction, you may do what some other nations have done. I ask you to remember one thing. When government planning takes the place of free enterprise, you're on the road to serfdom. Tonight on Words at War, we've brought you a radio impression of the Road to Serfdom by Friedrich A. Hayek, as prepared by Jack Wilson. Louis Van Rooten was heard as Hayek. The music was arranged and played by William Meader, and by John Garnett Garrison. Next week, Words at War will present the radio dramatization of Wartime Racketeers by Harry Lever and Joseph Young. This series of programs is brought to you in cooperation with the Council on Books and Wartime, by the National Broadcasting Company, and the independent radio stations associated with the NBC network. This is the National Broadcasting Company.


Standard of California, on behalf of independent Chevron gas stations and standard stations throughout the west, invites you to let George do it. Laura's House, another adventure of George Valentine. Personal notice. Stanges my stock and trade. If life seems like a hurricane and you can't find a storm cellar, you got a job for me, George Valentine. Write full details. Dear Mr. Valentine, my name is Ms. Torrance. Next to Bonny Burke, Francine Melton is my dearest friend. I don't want to leave Francine unless I have to. After all, we've been together for years. Ever since the days when we taught in the same grade school together. But Mr. Valentine, I can't stand it much longer. Francine has become hypnotized. Now I don't believe in supernatural things, but I can see what will happen to the three of us and that you come to help. There'll be the murmur of ghostly laughter, the growing insanity of constant fear, and sooner or later the screaming arms of death. You see, Francine has been hypnotized by a house. Laura's House. You George Valentine, Clairbrooke? Yeah, that's right. Well, come on, hop in. My name is Bonny, Bonny Burke. Oh yes, Ms. Torrance mentioned your name. She asked me to meet you. Afraid if she got into this one horse shed, it'd break down. This is what I call being met in style. Yeah, come on, Napoleon.  But you see there's the three of us, Ms. Torrance. Francine Melton and I, we've lived together for years. None of us too lucky at the altar. We all used to tea. Oh, what happened? Francine got an inheritance, but the only part of it worth anything was this estate out here. So we all put our jobs to come out and sell it. Is there a place called Laura's House? Yeah, but don't ask me who Laura was. Somebody dead, that's all I know. Somebody with a doting husband who built it for her years and years ago. And now the three of you want to sell it? For sure to get cash. See the world. We're still young, have fun.  Well, Bonny, how does Francine feel about it? She's the owner now, isn't she? Well, we've always shared everything. We don't have any relatives, and well, this place isn't good for Francine. Why not? Hmm, Francine isn't like other people. Now, Torrance is simple. He eats too much and reads too much. Me, I'm just healthy and dumb. But Francine, well, you'll meet her, you'll see. If you can get her to talk to you. Come on, Napoleon. Bonny, why isn't Laura's house good for Francine? It's haunted. What? Oh, now wait a minute. Sounds wacky, doesn't it? Well, Torrance wrote you the letter. She's the one that got you here, and I'll bet that's what she'll tell you. It is, kid. Laura's house. That place can't have spook. No, really something, isn't it? Why, it's like a great big white doll's house. It's so sunny in the gardens. Look, George, there's even a tea house and rose garden. Yeah, the house in the middle of the woods where three witches live. Hey, Fairbanks. I'm coming, ladies. I'm coming. Fairbanks knows everything. There is to know about everything. Here, catch their bags for them. Hey, take it easy. I'm getting them. Take it easy. Heavier when you throw suitcases down like that, you know? Gravity. I'll put up the horse and buggy. Show Mr. Valentine where he can find Miss Torrance. Simple physics, that's all. Probably in her room, it's juggled around to make space. Torrance was going to move to the front corner upstairs.  See you later. Yeah, okay, Bonnie. Thanks. Crazy school teachers. What'd she say, Mr. What? Well, I think she said that Miss Torrance had moved into the front corner room upstairs. Find it yourself. Oh, what's the matter? I wouldn't go near that room. In fact, that's all front corner upstairs. That's Laura's room.  The inside is even prettier than the outside. Wait a minute. Wait a minute. Easy, Bruxy. What? That must be Miss Torrance there through the open door. Oh, reading her book. I'll bet it's Edgar Allen. Oh, she's fallen asleep, George. Um, Miss Torrance. Miss Torrance, she's dead there. Oh, just sitting there. There's no sunshine. There's not a mark on her, Bruxy. Nothing seems to be wrong. Oh, George. Listen. It's a carousel. Yeah.  It's Laura's carousel. Oh, what? It's Laura's. And that's Laura. Her husband had it built there four years ago. I love carousels, don't you? Well, yes. Now, you must be Francine Melton. Yes. Yes, I'm Francine. But you don't have to look at me, you know? I, well, I just didn't realize your leg. Oh, I'm sorry I said that. I haven't said a thing like that since I was a little girl. Torrance is dead, isn't she? Yes. You already know? I found her five minutes ago. I'd been in my room crying. I phoned the doctor. She said there was nothing I could do. No, I guess not. He'll be here as soon as he can, though. He's the goner, too. Miss Melton, had she been sick? I mean, well, what happened? Her heart, didn't you know? She said you were friends with her coming to visit. Well, yes, that's right, but... But then didn't she tell you? She's always had a dangerous heart. Didn't she tell you about her heart? Oh, Miss Melton. Miss Melton's car coming up the drive. Looks like it might be the... Oh. All right, Fairbanks. That will be all, thank you. Dead? Dead, ain't she? That makes three of them dead. Three of them, I tell you. Fairbanks, please come. No, wait a minute. What's he talking about? I might have known it happened sooner or later. Three of them dead in the same room. I told you I wouldn't go in there, Mr. Death likes that room. Fairbanks. Oh.  Those awful, fantastic things to say. What sort of things do you think, Miss Melton? I'm glad my friend died in here. It's a beautiful room. A happy room. Laura was beautiful and happy, too. There's a painting over there, you see? Laura loved the world. I know she did because... because she was a cripple just like me. Laura wouldn't want to hurt anyone. I'm Ethan Marker, Mr. Valentine. Oh, yes, yes. I was waiting for his report. Well, he said you were the nearest neighbor out there, Mr. Marker, so I thought perhaps... I know. You thought perhaps I could tell you about the local ghost. Ah. Laura. Everyone asks. But it's a little different at a time like this, isn't it, Mr. Valentine? Maybe. Maybe. I don't know yet. Now, tell me. What's Fairbanks mean? What's he talking about? Two other deaths in the same room and so on. Mr. Valentine. Laura was crippled, but not in the soul. And she'd married the handsomest man for miles around. He built the place as a sort of house for his bluebird. The carousel for her to ride around and because she couldn't dance. The island in the wilderness. Now, there are many of us who would like to find such a place. Ah, yes, sure, sure. I agree. And it's very interesting, Mr. Marker, but... All right, all right. Yes, the deaths. After Laura passed on, many legends grew up about her. Naturally, the sheltered one. Fascinating legends, too. But anyway, the house reverted to banks and so on. Only two people who bought it tried to live in it. They both died. How? Quite mysteriously. One was 90 and had a stroke. The other one shot himself, cleaning his own gun. Oh, but I assure you, the legends have colored all this. It wouldn't sound the same if Fairbanks told it to you. I'd say Laura did it. But you're telling me it's all Tommy Rodgers. Well, of course. You don't believe in the supernatural, do you? Okay, Mr. Marker, thanks very much. Not at all. And now the school teachers. Mr. Valentine, I hope you won't feel it necessary to pry about. Why not? What do you mean? Oh, nothing. But you're not just here as a friend, are you? I, uh... I admire Miss Melton very much. Oh, I say, she's... she's beautiful. As Laura must have been. I wouldn't want her annoyed. All right, Mr. Valentine, here's that report. Okay, let's have it, Doctor. Miss Torrance died of a coronary condition, all right. The heart just stopped, that's all. Oh, sure, sure. But what made it stop? Well, really, to the layman. We could have been a shock, couldn't it? If she had a weak heart and somebody told her stories, scared her... I found no evidence of foul play. I said scared her, Doctor. Now she heard something, she saw something. There was a shock that was too much for her. Mr. Valentine, I've already checked with her city physician. She had a coronary disease. Not nerves. Disease. Mr. Valentine, I have a new car. I'd be glad to give you a lift back to Laura's house. Thanks, Mr. Marker. But I think the walk would do me good. Very well. Come and visit our corner of the woods again sometime. Good night, Mr. Marker. Oh, Bruxy. Bruxy, I'm back. Bruxy, yes. Yes, hello. George, I've never used a house phone before. I saw you out the window coming in the door. Neat, isn't it? They always have them in haunted houses. Oh, sure, sure. Well, what happened? Oh, the corner says nothing doing. Big false alarm. That's all. Client just dead. Hey, Bruxy, where are you? I mean, I'm in your room. You and mine. George, I'm in Laura's room. You know, there are lots of things about her in this room.  Actually, real last-century things. So old they crack when you touch them. Okay, Angel, okay. I'll be up and look at the museum. There are music boxes and a sachet drawer. There are shoes and a funny old wooden brace. Hey, Bruxy, what was that? Hey, did you hear me? What was that? She's on the lawn. In the moonlight. George, I'm not crazy. I see her. It's like the painting. George, I see her. It's Laura. We'll return to tonight's adventure of George Valentine in just a moment. When you go on your motoring vacation, rely on Chevron Supreme gasoline to get the best out of your car. This premium quality gasoline is climate tailored, specially blended to give your car perfect performance at home or a thousand miles from home. That's because the special blending agents that go into Chevron Supreme are determined by the various altitude and temperature zones in the West. For today's high compression engines or for older cars that need new power, you can't buy a better gasoline. You'll find Chevron Supreme gives your car faster starts. You'll find it's terrific in traffic for alert getaway, and that it gives your car extra power on hills, ping-free power. Try a tank full tomorrow. On your vacation, remember, you'll find Chevron Supreme at all standard stations and independent Chevron gas stations where they say, and mean, we take better care of your car. And now back to tonight's adventure of George Valentine. Laura's house built like a doll's house in the middle of the woods. Built years ago for a woman long dead who once lived to ride on the carousel. But other people who try to live in Laura's domain have a habit of dying too like the nervous school teacher who wrote you a letter and then passed away of a heart attack before you could talk to her. Well, of course, if you're anything like George Valentine, you don't believe in the supernatural. But you certainly waste no time when your assistant, Claire Brooks, tells you that she has just seen Laura herself. No, George, I did see her. Just for a second out in the moonlight by the rose garden, walking. Then she disappeared in the shadow. Brooks, are you sure? I swear it. She looked just like the picture even to the little lace parasol. Okay, then, Angel, what you saw must have been a real person. Yeah. Well, now that you're here, yes. Somebody must have got one of these dresses and dolled up for the job. Only why, Brooksy? What's the point of playing ghost trying to scare people? Who's trying to do what? Cooper Cranham! Oh! Well, what are you doing in there, Valentine? Picking out a dress for your girl. Oh, hello, Bonnie. I was just getting ready to hit the hay. What? What's going on? I heard your racket in here. I knew it wasn't mine. So did I. Francine. What was it, Mr. Valentine? What was it? I'll tell you. I'll tell both of you. I saw a ghost. No, I thought you couldn't have. Don't say such a thing. What Miss Brooks means is she saw somebody out of the rose garden in one of Laura's dresses. Maybe Torrance saw something, too. I don't know. It's awful how scared it is to death, whatever it was. It was just her heart. I don't believe in all this junk, but Torrance did. I'll be glad when it's all over. When we get out of here, all the sands are tough and dumb, and maybe I am. But there's something crazy here. Something insane, abnormal. And Valentine, if you don't find out what it is, I'm going to. Bonnie! She doesn't understand. Miss Melton, I was telling the truth. There was someone out there. I saw her. No. I'm sure you were mistaken. But I tell you I'm not. No, stop it, please. This is my house. Well, this isn't easy to say, Mr. Valentine. I hope you understand. I'm not trying to offend. But I want you to go. I want you to get out of here. I want you to leave my house. Evening, lady. Got a message here for Mr. Valentine. Oh, all right. Of course. Wait a second. I'll get it. That's for me, friend. Okay. Okay. There you are. Thanks. Likewise. Good night. What is it, George? Another mind, Booksy. But Miss Melton, I guess we might as well take your suggestion. We will get out of here. Oh, thank George. We're fairly unpacked anyway, and it's a short walk to town, so you won't have to bother about anything. We'll just plain get out of your hair. That'll make you happy. Oh, Mr. Valentine. There are some things too fragile to be touched. That's all. This looks like a good place for the bags. Got to make time, Angel. We'll be back for them, so don't worry. And I got a hunch it'll be fast. George, what was in that message? Oh, it's not enough moonlight to read it, I guess. Oh, I've got a match. A note says, come to town and hurry. Meet a guy at the corner drugstore. It's important. Who? The local historian, Angel, a guy named Ethan. Hey, put out that match. Oh, boy, I'm one of a sucker. You see that? Something shiny? Come on. It's over here. Sure. Sure, a car. Parked in the shadows off the road. A nice new car. And if I remember rightly, wait a minute, I'll turn on the dash light. Huh, huh? I do. It's registered to Mr. Ethan Marker. Then... then the note was just a lureth into town to get us out of the way. The radio is still warm, Angel. Yeah. Come on, let's get back there. Run. Oh, no. Look! Look, there's a light. The upstairs corner room. Yeah. And we turned that light off when we left up there. Laura's room. Yeah. Hey! Hey! What do you think you're going? Fairbanks, where are you going? Out to Melange. Get some sleep. Simple facts in nature. Then you just left the house. Who's up there? Who's in the corner room? Heh! That athletic one. That Bonnie thing. I warned her. I warned her just like I warned Miss Torrance the day they came here. Stay away from Laura, I says. It's death. Death loves Laura's room. All right, fancy. I got the idea. Up there with the door lock. Says she's going to stay a coonsage if she has to to find out what's wrong. Heh! Lights won't help. Door lock won't help. I'm telling you, Miss Torrance. All right, I said you don't have... Hey, what's that in your hand? Huh? Shoes. Bruxy, give me those maps. Yeah, here you are, George. A woman's shoes. Of course. Miss Francine's. Found them in the back hallway. Thought I'd better take them out for a little cleaning. Yeah. Yeah. Yeah, they need it all right. That's a good idea, Fairbanks. Good night. Heh! There was mud all over those shoes, George. Yeah, Bruxy, even the rose garden. Where ghosts walk. Francine. Well, come on, George. We've got to get upstairs to Laura's room before... Hold it, Bruxy, hold it. Now, listen, there was something that Ghoul said. He said it before. He said he'd warn Miss Torrance about the upstairs room. Remember? Well, yes, but... Okay, then. This time, it begins to make sense. There was something wrong about Torrance's death. What's that? I don't mean the heart attack part. I mean her being up there in that room. She was nervous. She was superstitious. When they juggled the rooms around for our coming, she would never have taken that one. No, she wouldn't. But Angel, there's one way that it does make sense. And that's if you figure Torrance took that room after she was dead. You get it? Yeah. Somebody moved her body. Somebody who's willing to commit a real murder. Well, don't just stand there. Hurry up. We've got to get upstairs to Bonnie before... No, no, there isn't time. I've got to think it out. I've got to... Oh, Lord, Bruxy, I'll have to just plain guess. Come on, the back lawn. What?  George. Yeah, the carousel. Lucky guess. Shh. There she is. Laura. It is Framcina. Yeah. Riding a white horse. All alone in the moonlight. Oh, the poor thing. It's the same dress she had on when I saw her. George, look at her. Framcina's herself is so shy. And being crippled, she keeps her head down, but now she's smiling. Oh, George, she's beautiful. Yeah. And somebody else said that to me before. Hey. Hey, what's wrong with it? It's going faster. Come on. Come on. Come on. Get her for me. I'll stop it. Did you get her? Is she all right? Yes. Good. Now take her up to the house. I'll be up in a minute. Okay, George. Okay. Okay, come on out of there, whoever you are. Come on now. I know you're in there. I don't know you don't.  All right. I don't like to tag a ladies, but you... Come on. Come on. Sit still, sister. Well, so you were supposed to be in Laura's room, were you? Well, Bonnie, you almost did it, didn't you? Almost killed a poor crippled girl. I suppose you were the one who sent me that note signed Ethan Markey to get me out of here so you could do it. And who else around this house would have been strong enough to move Torrance's body into Lauren's room? Muscle girl? I... she was dead.  No, but you tried to make it look like she'd been frightened, make Francine feel guilty, hate the place. But none of it worked, did it. She still wanted to stay on. Valentine, I wasn't trying to kill Francine. Honest, I wasn't. Yes, you were, Bonnie. You thought you had to. No. You knew she'd been secretly tying on those dresses, taking walks in the rose garden. You know, if she had an accident out here in costume, everybody'd agree she was nuts. But she's different. She is strange. Sure, sure. The little girl's shy. She's touchy. But she was starting to come out of herself. Those dresses were part of it. They were why you had to get rid of her. That's not true. The dresses were making an impression on somebody, weren't they? Somebody who could kick you out. Sure. You had to do away with Francine fast while she still had no relatives. While you were still her closest friend still in control, still able to inherit her dose. Oh, no. I don't know what you're talking about. Bonnie, you want to bet he's down there now? You want to bet he was already expecting a little sentimental rendezvous with her tonight that he heard the commotion that came running? No. Don't, don't, please. Hey, Mr. Marker. Ethan Marker, you down there? Why should she find someone that's carless and run the plane of someone? Chin-up, sister.  Yes, I know Bonnie needed my money. But perhaps she was right. Listen, Francine. They've got the carousel fixed again. Torrance said so, too. Perhaps I don't belong here. Tell me the things that I'm not... dreaming. Well, lady, the carriage awaits. Your steeds are prancing. Oh, stop it. It's silly. It's ridiculous. I'm going to sell this half a place. I'm Francine Melton, and I'm playing, looking, and I teach Latin. And you don't have to look at me, any of... I beg your pardon, Miss Butcher. I wasn't addressing you. Will you do me the honor, Laura? Beautiful Laura. Thank you, sir. You are being more patient. I do believe I did the right thing. My arm, my dear. Oh, George, she was beautiful again. Some things are almost too fragile to touch. Well, come on. How about a ride for us? No, no, no. Not our style. We're built for reality, you and I, Booksy. Oh, George, what's not real about a carousel in the wilderness? You asking me? That's exactly what love is, isn't it? Okay, you win, Angel. Well, lady, will you do me the honor? My honor. There's nothing like a vacation with a change of scenery and new experiences to give you a grand live. Two, when your vacation means a motoring trip, there's nothing like knowing your car's engine has the best possible protection, compounded RPM motor oil. At home or wherever you drive, depend on RPM to keep the entire engine system cleaner. For one of the compounds in this premium quality motor oil is a detergent, a chemical that keeps carbon particles and other abrasives harmlessly dispersed in the oil where they can't damage those mirror-smooth internal engine parts. When you have the crankcase drained, this contamination is drained out with the used oil. So for a cleaner engine with more mileage and fewer repair bills, get RPM, the motor oil, its first choice in the west. Get RPM at independent chevron gas stations and at standard stations where they say, and mean we take better care of your car. Next week, when George Valentine finds himself on a new job as dizzy as a merry-go-round, we'll hear... You didn't listen to me, Valentine. You're still on the Pharrell case. Now, look, last time we met Redhead, you were offering me 200 bucks to get off the case. Just whom do you work for, anyway? You heard me. Your aim... Come on, answer me.  You'll have to be caught right in the middle. That's where you are right now, Valentine. No 200 bucks now. This time I bought a gun. Tonight's adventure of George Valentine has been brought to you by Standard of California on behalf of independent chevron gas stations and standard stations throughout the west. Robert Daley has starred as George with Francis Robinson as Bruxy. Let George Do It is written by David Victor and Jackson Gillis and directed by Don Clark. Also heard in the cast were Frank Hale as Miss Torrance, Florence Ravenel as Bonnie, Herbert Butterfield as Fairbanks, William Johnstone as Marker, Marine Tuttle as Francine, Stanley Farrar as The Coroner. The music is composed and presented by Eddie Dunstetter, your announcer, John Heaston. Listen again next week, same time, same station, to Let George Do It. This is the Mutual Don Lee Broadcasting System.


until half past two. And you may have noticed some of the signage on businesses in there to Kenny has gone bilingual. And one of them being the quiet moment because they also have up and to Bommacher Cure. And we're going to find out a little bit more about that translation in just a second because Bommacher I think is is unique to Donegal, but I'll find out in just a second. But there's lots of businesses using the Koopla Focal and the likes of the quiet moment are encouraging others to follow suit. And Barby Cahill from Linear Liter Canon is with me now. And Barbara, you know, tasked with spreading the word about embracing the language and about using the Koopla Focal in businesses in particular. But because I suppose they show us they give us an example and you look up and you see a sign in Irish you're thinking, you know, you're feeling a wee bit guilty that you don't maybe know a bit more. Well, yeah, I mean, and it's not about making people feel guilty, but it's about that nice buzz that people feel when they see signage up in Irish. Because the research would suggest that people, even if they don't have a lot of Irish themselves, are very positively disposed towards Irish and they like seeing it up. And I mean, we put whenever Brendan and Sharon put up the signage and Bometcha Cuen, I took a photograph, I put it up on social media on our social media and it went wild. And people were so positive because people were delighted to see it. They were delighted to see it in the Irish. The signage is really good. It's really clear. But as well, as you said, it's that word Bometcha up here, we talk about Bometcha. We don't use the word nomad. I wouldn't have great Irish, but I recognize that word. I'm familiar with that word. Yes. Yeah. And it really matters to people that it is local. And so lots of people commented about that. So it's a Donegal thing. And I mean, there was one person who was saying that he was always getting slagged for this idea of Bometcha when he was down the country. And he was saying to his pals, right, well, come up here now. It's up on the signage. So people are delighted. And even it's that lift for a business of people saying, well, do you know the next time I'm in town, I'll drop in there. And it's because it makes people feel good. And that's what I would be saying. I mean, I'm the Irish language officer for the town. And I can honestly say to the businesses, if you take this on, you will get that feel good buzz from people because they love seeing it. And I would look at other businesses around the town like Sanjay and Bliss has got lovely new bags. And it's, you know, Irish on the bags, it says be be be glastic a snasta. So dress well, be glastic a snasta. And that's gorgeous. So those you're going to see those bags out and about around the town. And then Claire and Claire clothing, again, she has signage up in Irish. And it's and steal agate and sale agate. So it's like get the style and the life follows that idea of, you know, we're creating who we are with what we were. And it's lovely. And even the Himalayan cafe, like there's three people in there, who are fluent Irish speakers. And they, they wear the two girls who are waitresses will wear the badge that says, you know, Lord Gaeligliom. So loads of people now are going in there specifically because they know that they can speak Irish in there, they can converse in Irish. Yes. And here, who owns the business himself and Judith his wife are in the process of printing out their menus in Irish. So in, in many instances, the case where people have a real graph for Irish and have a good grasp of it, or maybe a graded Irish, and they'll have an affinity to a business that's making an effort. And in other cases, then there'll be, you know, people with just a couple of focal, and they'll be looking at these catchphrases trying to work out what they are. Yes. And again, it's another way of engaging with people. And even if people don't have a lot of Irish, they still like to see it. And it does give them that we nudge to say, you know, I could do something about this, I could learn a wee bit more, I could, you know, try to revive what I've got. Loads of people come into us and say, I have no Irish. I did it for years, but I've no Irish. They do have Irish. They don't have the confidence to use it. And even recognizing words around them helps them to realize they've got more than they thought. Yeah, but like me with Bummacher. Yeah, exactly. And it's so important. And there's, there's actually a bit of help as well. And if you do decide to embrace this and put it up on a sign or do something in your business. Yes, there is a scheme called the Schemt-Hacke-Arch to grow or the business support scheme from First Nigelga. And that will provide up to 50% funding. Now, it's up to a certain limit for for your signage. It's up to 1500 euro. You can do an awful lot. You know, if you're spending 3000 euro on signage and you can get half of that covered, you can do an awful lot. Again, round about the same for your packaging and branding up to 1000 euros help to do a website to make your website bilingual.  Again, you could get 50% funding for that. So there are loads of opportunities. And it's not an arduous process. We can help out with that. But it's very straightforward. I've filled in a lot of First Nigelga forms that are an awful lot more complicated than this one. This one is easy. And they're very good. They're very efficient. The turnaround is very quick. And it's a nice thing to do because it's not like your your show. In fact, in some of these businesses, I would imagine that, you know, the owners might not speak Irish, might not be fluent in Irish, but it's not like you're shoving Irish down somebody's throat. It's just maybe introducing people to Irish or show or showing customers that you care. That's it. That's it. And I mean, if you look at the Himalayan cafe, you know, neither here who's from India or Judith, who I think is Spanish, neither of them speak Irish now Judith is planning to go to classes. But it's not that they speak Irish. It's just that they're open to that idea of what culture, how culture can enrich a business. The reality also is that letter Kenny has been recognized as a geltacht service town, which really is just saying, we have people coming in here from the geltacht. And it's lovely if people come in, and they see the places around them, where there is Irish, their signage up, you know, we do a thing where every month we recognize and bring the mesa.  And it's really important if you walk into somewhere, that if you want to be able to do your business in Irish, that you can actually realize, well, who are the people who speak Irish. So that's something that we're developing at the moment as well. And it is just that feel good factor. There's a lovely buzz about it.  Oh, well, that's that now. You know, and you come to letter Kenny around the main street and you see a sign in Irish or you walk in and somebody greets you in Irish. So it's not like, Oh, well, that was it. And I've left it all behind me. You know that it's all around us. That's it. And that Irish is not just confined to the geltacht. And it's not just confined to the classroom, even for kids here who were at school, for them to see Irish and to hear Irish outside of the classroom is so important. And every day on the streets of letter Kenny, you will hear people speak in Irish. And I would notice far more people now, because I'm inclined to throw in a bit of Irish anyway, how many people will respond? And it might just be with or am I a good or slang that or whatever, but they'll put in something. So there's far more Irish around us than maybe somebody would think. The other thing is tourists who come here from all over the world, love, love that, you know, that sense that the Irish language is alive and that it's something that they can connect with. You know, and actually during the months of August, from one to two in our office up at seven Castle Street, we're going to be having a trad music session every Friday. And it's just a chance for people to call in, listen to a bit of music, have a cup of tea, and maybe speak a bit of Irish or pick up a bit of Irish. Hand it for tourists as well. Absolutely. Where do they go for listening to music, especially during the day? Yeah. All right, then Barbara, if there's a business owner listening in now and wants to find out more, is there a website or somewhere in social media they can go? Well, they can contact us. So our office, yeah, Lienra, L C, punk, I E or dot, sorry, dot I E is our website, but<PHONE_NUMBER> is my number or all this E O L A S at Lienra, L C, punk, I E L I O N R A L C dot I E. So all this at Lienra, L C dot I E. So even if you could put that up maybe on the Highland website. Yeah. And we're on all the social media as well. Just look for Lienra and let your accountant. Okay. Thanks for coming on, Barbara. Continue your success. Thank you.


It was so nice getting out of town. The weather in Big Bear was perfect. I love traveling. But I also love coming home, starting out my evening with a double IPA from Definitive Brewing in Portland. Anybody ever heard of this stuff? It's good. They're not paying me to say this, but check it out. One unfortunate casualty of my attempts to clean out my liquor wall has been our kitchen table. I won't show it to you because that would be embarrassing, but believe me, it ain't a pretty sight. That said, I was able to find enough of something to string together a theme. Welcome to Minis of Mexico. A quick qualifier, I have a handful of tequila minis that I won't be tasting because I wanted to stick to things that were procured in Mexico, so souvenir minis if you will. First up is this guy, Reserva del Señor Tequila Reposado. Oh boy. It kinda smells like a basement, but not in a good way. Boring. This is only 38% so it doesn't have the burn that I prefer my tequila to have. It is probably Mixto, which is to say it's not 100% agave, but it's not terrible. Eh. Second up, Reserva del Señor Lacor de Almendras. I'm actually kinda curious about this one. I feel like it could be really good or really bad. Oh, I could smell it from here. It smells like Amaretto's cheaper younger sibling. Tastes like cough syrup. Hey boo. You want to try something really fancy? But anything that's worth trying once is worth trying twice. Last one, and honestly, kinda curious about this one. This is Lacor de Café Don Tadeo. Pretty sure I'm butchering that pronunciation. Oh, it's really syrupy. That means it's got a ton of sugar. It's actually not bad. It's very sweet. Cacownib, a little bit of coffee. But if I had another bottle of coffee flavored Lacor that started with K and that bottle were empty, I wouldn't be in a big hurry to go out and replace it with this one. Thank you. If you liked it, hit like. Consider subscribing if you haven't already. And if there's something you think I should try, let me know in the comments. Stay safe, follow the advice of professionals, and I'll see you tomorrow.


Okay. Hello everyone. Can you hear us? Yes I can hear you. I can't see you though. Can you see me? Well that's great, that's great. So we have what 10 minutes for some Q&A? Yes we do roughly that. Have you got any questions on the Slido that have come up? Yeah, yeah so let's just dive into the Slido questions. The top question at the moment is from Kirsten saying how do you include those without access to technology? Interestingly I just came back from one of the most rural areas. It's not even in Taiwan, it's in Penghu, a very remote island close to Taiwan and in an even more remote island in the Penghu area was just at the first marine national park that was recently introduced for just three years and there was a dispute with the local fishes people and when people petitioned for a total banning of fisheries especially like the drill nets and so on and so we went there and so to put a very quick answer to the question we do it by bringing the tech to people. We're not asking people to come to the websites if it's just for the internet voting or whatever of course the local fishes people will protest because they don't have the same access to the internet and they're not very used to it anyway so because of this we use this huge town hall style meeting where people both see the people in the room doing deliberation and also have their own open mic moments and the whole endeavor was 360 recorded so the net net effect is that for a local person you either just walk into a nearby town hall or just you use your own phone and on slido or you can call your friend and ask them to relay your message and so on and so the the whole idea is that the local mayors and local representatives see it as an extension of their face-to-face deliberation methods and other replacements whenever it's replacement I think there's a lot of worry but we're not trying to replace face-to-face meetings we're trying to augment it and trying using 360 live streaming and VR to make best use of people's time because people can then enter the previous discussion as if they're there and then have a you know five minutes ten minutes experience of what it's like to to be diving there to be fishing there and so on before entering the discussion so that they share the some common effects so it was pretty successful the deliberation yesterday was I think the most peaceful any similar meetings the place has ever seen and we actually managed to come up with some consensus so I think that's a pretty good sign of what we call an assistive civic technology it's not trying to replace any existing technologies but just like good assistive tech they disappear when people use it and using ambient computing people just speak naturally and then their consensus is mapped automatically into posted notes we transcribe everything everybody says and the mind maps and everything into the stakeholder maps the posted notes and everything and then so people after walking away from the meeting they don't just remember one or two sentences but actually the full map of what was being discussed and then this carries on to the next meetings and so on the next question is how do you prevent urban government from manipulation by root actors with malicious intent so the answer is two vote the first one is of course we work on very good cyber security measures sandboxing active you know white hat penetration testing everything to make sure the infrastructure itself is safe I think that's the the foundation of urban government now on the top level on the content level we design the space so that you can't reply to anyone so there's a similarity between Slido and the polis which you just saw we use in the uber case and the petition platform that we use and they all have the same design in that people are free to voice their concerns and post their ideas but you can't ever reply to each other so basically the best way to counter a argument that you don't agree with is posting a better counter argument and have it up voted and so throughout these designs it doesn't pay to be a troll because you can't really consume other people's attention and this is the idea of troll control or troll hugging that we use when we design spaces like this is just taking away the replies and use crowd moderation what is the most important piece of digital infrastructure that has yet to be developed we'll notice that for machine learning for AI we currently use it only for cases where it will be the same just more time consuming if it's a human doing the same thing we don't actually use AI for places where you know it needs value judgments and so on but we I think in order for AI to enter that part a full development of what we call explainable AI x AI is essential it's important that like a good assistant the the AI doesn't just tell you it's a cat but actually tells you the the reasoning behind it and it's a very new development field we expect maybe two or three years before we have a good understanding of how explainable AI could work but I think this is a very important part of digital infrastructure if we are going to automate more of the human in this uh the elaboration process George would like to know your lip-frogging uh slow political um evolutionary changes in modern tech how do you handle people generational gaps well as I explained for the older people for people who are not used to uh keyboard and mouse actually they're pretty comfortable with a 360 camera they're pretty comfortable with vr and ar because you know it doesn't require learning a new modality it's basically just acting naturally and with the room itself acting as a computer and so that's where our current research mostly lies we're not really focusing on getting people to use more keyboard and more mass but rather to use computing devices as a way to connect uh disparate spaces but each space is still a community space and I think that that has brought implications even for elders who can't travel they have to remain at home but they can feel connected through this kind of public forums in augmented reality or through ambient computing technologies so that's that's our current focus has your approach to urban government found any uptake in other countries yes I think um the new york city uh there's a um I think called civic hall is looking into our methodology and making a documentary and a write-up uh and one of our architect and impetus is now in tokyo and working with um the people in japan and there's also um like corporations between the et al lab in france the people in madrid I just virtually visited Barcelona uh and so on so there's many city-level governments who very much want this thing because their mayors were elected on this platform and there's a wider internet community just focusing on this so we think we're just one of the larger labs but we certainly are very willing to share and include methodology developed elsewhere as well well can technology direct their energies to realize your optimistic future well I encourage you to realize your optimistic future is not my optimistic future but I think what what helps is of course to to publish in an open source in a reproducible way and write good post mortems because in conferences like this it's it's generally not what what the failures or the the lessons learned were not explored in depth they're mentioned but kind of just part of the narrative and uh what I like most uh and I try to do myself is this idea of radical transparency if something doesn't work it's as important to document it and learn from it as as it works right so I think that's something that I'm also uh focusing myself and I would encourage you to also try is just to try all sort of different things and fail early and provide write-ups do a few you're a bit better able to influence from within the government than as a activist well well the funny thing is that I'm still an activist inside the government I don't as a condition of joining the cabinet I don't look at any confidential or top secret information so there's no chance of you know ever snowdening the government so in exchange I am I'm able to publish everything literally ISC as a freedom of information compatible documents so I am very much thinking that this works bidirectionally I'm both lowering the fear and certainly doubt of public servants when it comes to civic participation but as a activist I'm also letting other activists know that there are career public servants who are willing to work this way they were you know muted or something but I'm kind of their their voice as well to try to make them more visible and also more more vocal and when people see career public servants help with their activist agenda their built reports right so how do you make sure that crowdsource solutions and governance doesn't end up on emotional as communities we don't have the largest numbers it's easy we don't vote we don't ever vote the petitions you see the crowd consensus you see everything we don't count the numbers if there are a hundred people having the same question it's just one card on this mind map it's just one dot on the polis it's just one sentence on slide there so all the all the tech that we use we look for diversity we're not looking for sheer numbers and it doesn't it really work to to have a crowd that votes exactly the same way it doesn't influence the process at all so what we value is a point that is different from everybody else but can somehow work everybody else's points how do you balance transparency and privacy what these two are not at all at arts I think when people entrust their data in the government to store it's where it's still their data right we're just a data controller or data processor and in that that case we will not be you know thinking this is transparent we need to be accountable in how we store and process those private data but when we publish something under FOIA or under open data we always do it in a statistical form and I think it's much easier much better and especially under a GDPR regime for the scholarly community to propose algorithms but for the data owners and controller to run it locally so instead of publishing private data as data we need to make sure that is less or there's no privacy impact before running those statistics algorithms right so they're telling me it's the last question Mr. Danja in this system become a mechanism for pushing a populist agenda I think when when when everybody has a a way to push a populist agenda this is what democracy means right so what we're trying to do is that we are making everybody a potential agitator a potential activist and not just centering it to two or three so-called thought leaders so like every Friday we process a petition and everybody takes turns to become a populist leader and once that's demystified I think there's much more chance of a true democracy developing based on listening to each other so thank you for listening


Happy birthday Glaber by the way 22 years old today. So that's amazing how young he is But the transition from second base to shortstop at the big league level not that easy I expect the Yankees to go out there and get a little protection defensively. Yeah, but Torres and again, happy birthday I'm glad you did that's very nice of you. You look at his season as a whole and look at what he was able to do And how comfortable he looked now He had some hiccups in the second half And I think the amount of games that he had to play Started to get to him as well But I just saw this kid look so smooth and look as if someone who had been out there for ten years So for the Yankees to have him at some position in the middle infield, he's another one You just expect that in year two He's going to be better and you mentioned the hiccups Jack in speaking with Glaber in that clubhouse The injuries that he suffered not major injuries by any stretch of the imagination But the wanting to do well coming off of the injury put a lot of pressure on himself Didn't look the same at the plate and I think that all played a part in it So if he can stay healthy you really wonder what you're going to be able to get from Glaber Torres now when he was first acquired from the Cubs I spoke to several scouts and people in that Yankees organization and they said this is a guy You want in the middle of your infield. He just commands that type of respect. He's smooth like you mentioned He makes it look easy, but ultimately they compared him a little bit to Starlin Castro in the sense of he's going to fill out He's going to get bigger. They don't think long-term. He's going to be a shortstop So second base is probably going to be where he's going to live and you wonder if they want to transition him back to shortstop Knowing that's not going to be the long-term plan for him. You know what I want to go back to I'm going to combine two thoughts here You're Torres thoughts and you're Tim nearing thoughts I also was very interested when nearing told us yesterday about something the Yankees need to be better at next year Situational hitting Torres is a guy who actually does that the 22 was 21 last year the 21 year old last year Was smart enough to shorten up his swing with two strikes and flash after nearing left the set you and I were talking about this about how hey You have to maybe shorten up your swing with two strikes Yeah, we'll see if it's going to be a lineup focus right next year Situational hitting doing a better job with two strikes And I think the whole industry is going to come back to that because of what the Boston Red Sox did last year It jumped out at you how they grind it out at bats and they hit with two strikes Hey, by the way, Glaber Meredith and I chime in to happy birthday as well. Happy 22nd birthday


A fiery horse with a speed of light, a clot of dust, and a hearty hyosilver, the Lone Ranger. With his faithful Indian companion, Toto, the daring and resourceful mask writer of the planes led the fight for law and order in the early western United States. Nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofbeats of the great horse, Silver. The Lone Ranger rides again. Come on, Silver. Let's go be close. The Lone Ranger was camped in the hills overlooking Ledgeville. He sat beside a fire cleaning the dust of a long journey from his six guns and waiting the return of Toto from a mission to town. As night deepened, the Indian rode up. The masked man rose to meet his friend. Well, Toto, did you see Sheriff Logan? Him dead came a sobbing. Dead? Ah, him long time sick died last week. I'm sorry to hear it. Logan was one of the best lawmen I ever met. A fellow named Leif Thomas take his place. Me not know him. Neither do I. Did you tell Thomas that we have traced two bandits into the old mining district north of Ledgeville? No. Me think it better let you know about Logan first. Perhaps you acted wisely. Me here, old Sheriff, died plenty poor. That's too bad. He had a child, didn't he? Ah, girl. They're grown up now. Here's a little bit. Waiting camp for me, Toto. Is that a big fella? Where you going? Call on Logan's daughter. Young Jim Brandt, the editor of the Ledgeville Weekly Sentinel stood at Sally Logan's side as she turned up a lamp in the room where her father had died. The light disclosed a horse hide covered box on a table. The girl pointed. Jim, that's what I wanted to show you. That box, Sally? What's in it? Dad's souvenirs. All the things he'd accumulated during his 30 years as a peace officer didn't leave much else. Sally, he left a record. We're all proud of him. I know, but that won't pay the doctor bills and funeral expenses and the house is mortgaged for all it's worth. The people in this town would raise a benefit fund if you'd let him. I won't take charity. Oh, you've got your father's pride. He should have taken that big reward when he killed Lobo McClain, the outlaw. Dad said he was only doing his duty. I'll do mine, too. What I can earn and what I can sell, I'll pay every cent that's on. I'll take the responsibility for paying. After we're married, you won't have...   And we'll have to wait, I suppose. Yes, dear. Unless that box solves our problem... I don't see how it can. There are lots of guns in it, outlaw guns. He should be worth something, and I want you to sell him. Let's see, how does this thing open? Like this. There you are. Jumping jack rabbits. Look at the six shooters. Each one has a tag on the trigger guard telling about it. Oh, there's an envelope. Something heavy in it. Open it. It's only a .45 cartridge. I wonder... Say, it's loaded with a silver bullet, real silver. Oh, the silver bullet. I've forgotten about it. Where'd your father get it, Sally? It was a present from a mysterious friend. Dad valued it a lot, so I'll keep it. Let's get the guns out. Item one. Cold peacemaker. Fine condition. Pearl handle. Gold inlay in the shape of a wolf head. Yeah, that was Lobo McClain's gun. Who's that? He's that. Don't be frightened. I have a tender arm. What are you doing here? First, let me identify myself as a friend of your father, Miss Logan. You? A friend? You'll find that the silver bullet you're holding matches those in my gun belt. Look. Oh. I had the honor of working with your father once. I'm here to offer my sympathy and help. Who are you? Jim, he's a friend. That's enough. May I see that gun, Jim? Look it over. So this is the Angel Maker. The Angel Maker? That's what Lobo McClain called his colt. He boasted of having shot more than 20 men with it. What's it worth? Well, it's a beautiful weapon in spite of the purpose to which it was put. It has considerable value as a curio, too. But I wouldn't sell it if I were you. Why not? Sally needs the money. Yes, I know. But there's a way of making this gun bring in far more than you could get out of a sale. How's that, mister? Offered as a prize in a shooting match and charged sizable entry fees. Well, there are scores, perhaps hundreds of men who'd take part in the contest. If only to be able to say they'd shot the Angel Maker. Well, that's an idea. I'll fill my paper with stories about the match. I'll get out hand bills. I will have the biggest contest that's ever been seen around here. A few days later, two bandits whose trail of robbery and violence had led the Lone Ranger and Tato to the Ledgeville area, prepared to strike again, mounted on fast horses and armed with new Winchester and Colt 44s. They peered from a clump of willows that hedged the stage route some miles from town. The taller of the pair was saying... Hey, hack, isn't Ledgeville the place where Lobo McLean wound up his career? I don't know, like, I was in the pen when it happened, so it didn't matter to me. But I sure would like to find his gun. The Angel Maker, huh? There must have been some shooting iron. When was it you rode in Lobo's game? Three years ago. And I'm the only one of the bunch who's still on top of the ground. Hey, listen. Yeah, it's the stagecoach. She's coming fast, hack. Let's get her neck and cheeks over her faces. All right? Oh, I'm ready. Yes, oh, my. Come on.   Come on! Get up there! Pull up!  I reach you, coyote's reach. We're reaching. Go easy with that shooting iron. Got their horses loose. Hey, driver, where are your passengers? Where's the Wells Fargo box? You picked the wrong day for the box. And as for passengers, nobody's leaving Ledgeville now. Everyone's gone there for the big shooting match. Yeah, boy, that's kind of fun. Look, ought to plug you, fellas. Hold on, we got a mailbag up here. And kick it off, Prano. Here she comes. I got it. All right, I'm ready to stampede the horses. And let's go.  The outlaws rode furiously, goading their horses through Canyon and Cooley until they reached a region of bleak hills and worked-out mines. There, beside the sagging walls of an abandoned smelter, they drew rain. Oh, hold on. Oh, oh, oh. Well, Anki, we're back in camp. Come on and lie down. I want to see what's in that sack. Yeah, take my knife. Cut a hole and rip her wide open. All right. Hey, Hag, look at this stuff. Look at it. Hey, what's in there? Newspapers, nothing but newspapers. You know, one of those stagefellas wouldn't fight. Yeah, but we can swing for this stuff the same as if it was money. Now, I'm taking one of the papers. Now, touch a match of the rest. Hey, Anki. It says here that they got the angel maker in Ledgeville. Oh, you and Lobo's gun. You better be thinking of a way to grab some dinero. They're giving it away for a prize and they're shooting at a stage driver told of us. What of it? Well, Anki, oh, boy, that gun's worth a cool $50,000. You must be local. How could a gun be worth that much? That gun, Anki, it's what's in it. Hey, look, I don't savvy. You know Lobo was slick at playing cards. He cleaned the rest of the gang after every job and he saved the money. Yeah, I've heard he was marzling. Well, just before I got caught and was sent up, I was with Lobo and Frisco. One day I went to his hotel room. Hi, Lobo, what you got there? Bye, Monsang. Just turned my cash into these five rocks. Played $10,000 in a piece for him. You going to wear them? Yep. But not whether they'll be seen again.  I'm packing these rocks and cigarette papers and putting them inside the butt of the old angel maker. They'll be my ace in the hole. I sit there watching him load the handle of the angel maker with those diamonds. What, do you think they're still there? Sure. The way this paper reads the old sheriff who had the gun died poor. So he didn't find them? What do we do, Hack? Go to Ledgeville. Nobody's seen our faces around here. We'll be just two more strangers and a town full of strangers. How do you figure to get hold of the angel maker?  Not if we can help it. That shooting match is made to order for me. Do you think so? Nobody can beat me with a gun. I'll shoot for the angel maker and win it. Meanwhile, the Lone Ranger and Tato had resumed their search for the outlaws in the old mining area. Unaware of the stagecoach robbery, they penetrated the dripping depths of deserted mines. Explored ruined buildings. And scouted through countless piles of quartz. Kimusabi. Yes? Looked like them fellas fool us. They came in here.  The hunt went on. Then as darkness approached... Oh, scum. Oh, scum. Easy scum. Easy scum. Oh, somebody's been camping here by this old smeller. Them fellas we want, Kimusabi. Me see seem same horse tracks. We follow before. What do they lead? Them come from east. And go south toward town. Look like tracks three, four hours old. And the bandits are already in Ledgeville. That make it plenty hard for us. The town must be crowded. All we know about those fellows is that one has drooping eyelids. Kimusabi. Yes? Here come two horsemen. They've seen us, Tato. They're riding in hard. One fella wear badge. The sheriff. Him ready to shoot. Ready, Tato. All right, get them up you two. They're both covered. Mask, eh? Sheriff, what do you want of us? Mail robbery. Mail robbery? Sheriff, right over there's where they burn the mail box. Got you dead to rights, mister. You're making a mistake. No, I'm not. Just one thing, Sheriff. The state's driver told us the outlaws rode sorrows. Chances are they changed horses. I'll keep them covered, Deputy. You take their guns and unmask that critter. Last a minute, Sheriff. My friend and I have been hunting the same men you want. Then you know about the stage robbery. No. We've been after those bandits for a series of other crimes. They extend from one end of the territory to the other. A likely story. We trailed you straight from where you pulled the hold up. Backtrack us and you'll find that we rode in here from the opposite direction. The real bandits left here heading for town. Looks like two fellas did go south from here, Sheriff. Then there's four in the gang. Take their guns, Deputy. We've had enough of this rag-tune. Right. You heard what I said. We're taking your guns and your mask. You make one move to resist and I'll open fire. The curtain falls on the first act of our Lone Ranger story. Before the next exciting scenes, please permit us to pause for just a few moments. Now to continue our story. The Sheriff and his deputy had been following the trail of mail robbers. They met the Lone Ranger and Tonto. When the Sheriff thought the masked man and his Indian companion were the bandits, he held his six-gun steady and ordered his deputy to disarm the two. Neither of the lawmen paid any attention to the great horse, Silver, who stood at one side. Watch them carefully, Sheriff. I'll take their guns. Men have tried that before. At them, Silver! At them, Tonto! Silver charged and knocked the Sheriff to one side. The Lone Ranger and Tonto closed in with lightning speed. Now, Tonto! In an instant, they snatched the weapons from the surprised Sheriff and his equally surprised deputy. Oh, they charged. Oh, gone red skin. He's got my guns. You won't get away with this. We'll see. Go ahead and shoot. Realize and see how far it gets you.  I tried to tell you we weren't outlaws. Get to your horse, Tonto. Now, me do it. We'll be after you. Sheriff, we're not going to keep your guns. We'll drop them on the trail about a mile from here. You can reclaim them. Silver, easy. Ready, Tonto? You ready? Come on, Tonto! Come on, Tonto! The Lone Ranger and Tonto rode hard and made frequent sharp turns to cover ground that showed no tracks. Then, the masked man raised one hand to signal a halt. Sheriff and his deputy won't find us for a little while anyway, Tonto. That's so, but... We get plenty close to town. I want you to go into Ledgeville at once. You can change your appearance so you'll pass to the Ude Indian from this neighborhood. Oh, that easy. And what me do? See what the situation is and get some things I'll need to disguise myself. And me get ready now. Tomorrow, we're going to the shooting match. It was a colorful crowd that packed the town next day. On boardwalks, Indians in gaudy blankets and gamblers with flashing stickpins mingled with professional gunmen. Some of the latter were hard-eyed, thin-lip, silent men. Some were loud-mouthed braggarts, but all had the vanity of their kind and could not forego a chance to show off their marksmanship. The names of the favorites among them were posted on gaming house walls, and the bets ran high.  At a table outside the newspaper office sat Jim Brandt and Sally Logan, taking in entry fees and getting out numbered tickets. Sheriff Thomas, back from his blundering hunt for the outlaws and wearing a ribbon that identified him as judge, was shouting, Step live enough, Jensen. Have your money ready. The match starts in just a little while.  A lone ranger, disguised as an eastern sportsman, stood a little apart, talking to Toto. That town is filled with suspicious-looking characters, Toto. Ah, we see plenty top-fellar around. The men we water safe here unless we... Achimus, honey, look. That fella coming up the table. Yes, he has drooping eyelids. Ah, him one of them fellers. Even if he is, we can't do anything now. What do you mean? We'll have to hand the sheriff a foolproof case if we want to convict the crooks and clear ourselves. Maybe you better watch him anyhow. Right. I'll buy the next ticket. Pardon me, sir. This is where one purchases a ticket to shoot. Carry me home on a shutter. Is an eastern dude who's going into the match? Take your ticket, mister. You're 77. Hey, is that the angel maker you got there on the table? That's it. Let him see it, Jim. No, Sally. Nobody touches it until it's his turn to shoot. Well, miss, it appears that I'm next. I'm here for you to want a shooter to be humiliating for you. We have a rugged sense of humor out here. You're most considerate, but I'll take a chance. Then you're 78, and I hope you win. Gunfire and cheer ship the town as the match got underway. One by one, the contestants took their places on the firing line and emptied the angel maker at the targets while their supporters shouted and fired their own guns into the air. After two hours of excitement and tumult, some of the entrants dropped out and the outlaw hack heard his number call. Number 77, take your place. All set. Give me the gun, fella. It is. Ready to fire. Watch this, you galutes. 77 shoots a perfect score. Looks like you're the winner, mister. I sure ought to be. He looks like everyone's quit but that Easterner. See, 78. You ready? Right ready, Charles. This year, spot him 50 points. Let me hold your arm, pilgrim. Come on, cut the horseplay. Let the Eastern gent fire peaceable. Here's the gun, mister. Don't touch the barrel. It's hot. You're thoughtful, sir. It's another perfect score, gents. Every bullet in the bullseye. And the Eastern gent ties number 77. Congratulations, mister. Thank you, miss. Hey, you sure about that score, sheriff? I got it from the target changer. Look for yourself. What do you aim to do about giving away that gun? I see. Anybody else want to shoot? Not against us, sir. Well, Jim, how are we going to settle this time? We'll move the firing line back another 25 feet. Let the two men shoot again. As the new firing line was being measured and marked, Hack joined his Confederate lanky and drew him aside. What do you think of that, lanky? Have you seen an accident that Easterner tied you? Accident nothing. He's the slickest hand with a gun I ever saw. But it don't make sense. You'll beat me next time he shoots unless we stop him. Stop him? How? I got an idea. You were hiding that covered wagon across the street. Cut a hole in the canvas and plug him before he tops my score. Yeah, but that'll be mighty risky. No, it won't. Nobody'll notice if you shoot while there's a lot of noise. It'll look like a wild shot hit the fella. All right, Hack. I'll get him. Number 77 shoots 90 out of 100. Your turn, Mr. Easterner. You can do better. I know you can. I can try. Hello. If you're wanting that Indian guide of yours, he ran across the street. Scared, I reckon. Here comes the Dr. Jim. All right, boys. Let me through here. Let me through here. Here, Jim. Can you walk? I can manage. And let's go to my office where I can fix you up. Give me your hands. That's what comes of those crazy collutes in the crowd letting off their guns every which way. What a jail, a whole mob. That bullet nicked my hat before it hit him. You sure are lucky. I'll bet you win the gun. What's the score? 100. Well, that does it. You keep the Angel Maker. Sheriff, if you don't mind, I'll turn it over to you to keep for me. I'll be gone awhile. Oh, gone hunting, eh? Sure, I'll hold onto the gun for you. And I pity the buffalo. A little later, the lone ranger and tato met in a thicket at the edge of town where they had concealed their horses. The Indian was grim, as he reported. Keep us happy. That bullet aimed at you. Yes, I thought so. Did you see who fired it? No. Him shoot from covered wagon. Him gone when we get there. What about the man with the drooping eyelids who lost a gun to me? Well, after match end, me follow him to hotel. Him meet another fellow there.  Oh, most certain that they're the bandits.  No. They want the angel maker. They'll try again to get it. Me not savvy that. Now, where you got gun? At the sheriff's giving it. Why you give it to him? I'll explain when I change back to my mask and riding clothes. Meanwhile, the outlaws lodged in a room in the empire house took stock of the situation. Lanky was saying... Now that the sheriff's got the gun, it's goodbye to the diamonds. We can raid the jail, Lanky. Ah, don't be funny. Heck, I've seen that calaboose. Got bars on all the windows and doors with the people in it. We can still get in if we work it right here. You know that girl, the old sheriff's daughter? Sure, I've seen her. Well, she lives all alone in the house right next to the jail. That's a sure bet the sheriff would open up if she went to the door. Yeah. Yeah, I see what you're figuring on. We'll wait here until after dark. It was late that night when Sally returned from visiting the wounded editor as she approached her front gate. You try down the walk and go. No screaming if you want to live. But what do you want? You're going up that jail door and we're going with you. And when we get there, you tell the sheriff you're hurt and need help. No trick, Sally. Yes, but please don't shoot the sheriff. Get up those steps and knock on the door. Stand to the side, partner. I'll show your face whoever's out there. It's me, Sheriff. Why, Sally, what's the matter? I... You get plugged in. You're sick. Here, I'll let you in. No, sir, I'm sorry.  I'll reach you, law dog, reach. You get the money we drill you and the girl, too. All right, I've got my hands up. What are you holding up the jail for? Where's the angel maker? That's all you want. It's right here on my desk. I'll get the gun, partner. You take the sheriff's keys and lock him and the girl in the cell. All right, get back there, you two. Come on, man, easy. Get the angel maker all right and she's loaded. Well, let's see what's in the... I don't have time for that. Now let's get going. Up those guns. Hey, look there in the door. A mask man and an Indian. Up those guns, I said. Try and make us... Oh, my arm, he busted my arm. Get him, heck!  The angel maker, where did it fall? Never mind that. Give me those jail keys. Oh, you get guns. I'll open the cells. It's the mask man. Sheriff, come on out. Bring Miss Logan. So you had a hand in this deal, too, eh? The mask man is a friend, Sheriff. Come on. What the tarnation has been going on out here? We've captured your male robbers. But they were after the angel maker. Yes, they're willing to shoot me so I wouldn't win the contest. I gave the gun to you, Sheriff, to see if they'd break in here. What? So that Easterner was you. And those owl hoots walked into a trap. Miss Logan, I'm sorry they forced you into this, but we were close. You were in no danger. All right, back to your cells, you crook. Now, wait a minute. How about my arm? I'll get you, doctor. This will teach you to lock me in my own jail. I've got you for trying to steal a gun. That'll do to him get more charges against you. Hey, you wait, Sheriff. What is it, Tutto? A Kimusubby. When you shoot gun out of that fella's hand, bullets smash handle. Look what we find inside. What? Diamonds. Who put them there? I'm speaking to you, bandits. Yeah, wreck it, I might as well tell. Those were Lobo McLean's diamonds. He hit them there and I knew it. Jumping jackwrap. It's what a story. Jim, dear, you should be home in bed. Not with guns going off and a newspaper to get out. Mask man, do you claim these diamonds? No, Sheriff. Of course we'll have to decide the ownership. Well, if I know the judge, they'll go to a lawman's daughter. Oh, Jim, do you hear that? Hey, it looks like that mask man's gone. Who is he, Sally? Well, Sheriff, my father knew him as the Lone Ranger.  This is a feature of the Lone Ranger Incorporated, created and produced by George W. Trendle, directed by Charles D. Livingston, and edited by Fran Stryker. The part of the Lone Ranger is played by Brace Beamer.