The Broadway Playhouse. And welcome to the Broadway Playhouse, tonight starring Ann Blythe, Robert Cummings, and William Bendix in I'll Be Yours. And now here is our producer, Mr. William Keely. If songs and romance and comedy are welcome in your home tonight, our play is made to order for your enjoyment. There isn't a social problem, a murder, or a psychiatrist in it anywhere. Just plain entertainment. The play is Universal International Studio's delightful film, I'll Be Yours. And there's a three-star cast, Ann Blythe, Robert Cummings, and William Bendix. All of them talented players who rank high on your list of favorites. Our stars are on stage and the curtain rises on the first act of I'll Be Yours, starring Robert Cummings as George, Ann Blythe as Louise, and William Bendix as Joe. In New York City, just off Times Square, there's a small, somewhat shabby restaurant resided over by a sober, unsmiling waiter named Joe Warnarski. Well, young lady, what'll it be? I'll have the Hungarian goulash for 45 cents and a glass of milk for 5 cents, please. I'm sorry, the Hungarian goulash is all out. Every time we have goulash, it goes like hotcakes. Oh, well, I'll have the hotcakes, then. That goes even faster than the Hungarian goulash. How about a nice turkey sandwich with Russian dressing? But the turkey sandwich is 55 cents. Yeah. You know what it cost to raise a turkey today? No, but I... Take it for me, it costs a lot of money. First, after you get the turkey, you've got to feed him. What do you feed him? Well, I don't know. Food you feed him. And after you feed the turkey, he's got to be shipped. That means all kinds of railroad charging. Yes, I know, but I'm not... And after he's shipped, he's got to be knocked off to be dressed. You know what you've got to pay a turkey plucker today? But that's just the cheapest part. Who wants to eat a turkey until he's cooked?  And what about the Russian dressing? I suppose you think Stalin gives it away. I wouldn't know. And yet you've got the nerve to complain because a turkey sandwich with Russian dressing costs 55 cents. Well, I'm awfully sorry, but I happen to live on a budget. Oh, a budget, huh? And I can only afford 60 cents for lunch, including tip. But in that case, I would suggest a chopped chicken liver sandwich for 35 cents. It's got just as many vitamins as the turkey, maybe even more. Thank you.  So why do you have to argue? One chopped chicken liver sandwich!  People come in here, they complain about the prices, they complain about the... Mr. Prescott, good afternoon. Oh, hello, Joe. I suppose you're busy, huh? Who's busy? It's 2.30. A fine time to be eating lunch, young lady. If I were eating lunch, I'm waiting for the sandwich! Oh, you see what I mean? They also complain about the service. You got my income tax, Mr. Prescott. You're here already for your signature. What are you of the government? At $12.52, you pay a quarterly starting March 15. $12.52? Ain't that a little steep? Well, that's only the first quarter. Your total tax is $50.08. Holy smoke! You took off that 10 bucks I gave to Salvation Army? I did. And the withholding tax? Believe me, I took off everything that I could. Look, uh... I suppose we say that I gave $15 to the Salvation Army.  All right, all right, all right. Don't get excited. I'll pay. I don't mean to interrupt, but if my sandwich is ready and my glass of milk is... Yes, I'll get it. I'll get it. What about the eight books I lost at the races, Mr. Prescott? Not deductible. How do you like that? If I lose, it ain't deductible, but if I win... You pay. Here's your sandwich, young lady. He didn't help. Oh, thank you. Only this is not chopped chicken liver. Can I help it if we're out of chopped chicken liver? This is the turkey sandwich with the Russian dressing, like I told you. But it costs $0.55. Stop worrying about the cost. I'm carrying this $0.55 sandwich on the books like it was chopped chicken liver, which we're out of. I do not want charity. Look, the boss ain't losing a cent on this. Confidentially, the turkey sandwiches are made with chicken. Oh. Oh, well, that's different. Yeah. Thank you. Illegally, this amounts to collusion. Nobody asked you, Mr. Prescott. Oh, I beg your pardon, young lady. This is Mr. Prescott. He's a lawyer. I do not believe I have the pleasure of knowing your name. Louise Ginglebusher. Yeah, this is Louise... Louise what? Ginglebusher. Miss, are you sure? Well, sure, I'm sure. Oh. Mr. George Prescott, I want you to meet Miss Louise... What was the name? Ginglebusher. How do you do? Ginglebusher. Sooner or later, you're going to have to change that name legally. And in that case, you'd certainly wish to consult with Mr. Prescott, wouldn't you? Well, yes, I suppose perhaps I would. Well, I'd be delighted. Well, I see that. Well, give her your card. How's she going to know where to look you up? Oh, my card, Miss Ginglebusher. Oh, thank you. That's why I'm very glad to have met you. Well, goodbye, Joe. Don't forget about March 15. No, I won't. There goes a real high-class lawyer. Yes, he seems very nice. But why does he wear that beard? Oh, well, he claims that a beard makes him look more distinguished. It certainly makes him look more something. He should stop by a barbershop. Barbershops cost money. Oh, does he have to stay on a budget, too? Oh, him? He don't make enough to afford a budget. And you know why? Why? Because he's so honest that nobody hires him. But how does he eat? Well, he's my lawyer. That's how he eats. Besides, someday I'll have my own restaurant, see? Naturally, I'll have a lot of lawsuits, so then he'll eat every day. Oh, my goodness. Just look at the time. Yes, I am looking. I go off at three o'clock. Oh, and at three o'clock, I go on.  Oh, no, no. I'm a nusher at a movie theater. I just got the job a few days ago, and if I start off by being late... I know why you ain't going to finish your sandwich. Oh, I can't. I'll be late. Here's your money. No, no, no. Wait a minute. You've got to pay for it, and you've got to eat what you pay for if people stop eating what happens. Oh, please. I just found it. Everybody will be dead. Besides, I'll be out of a job. Here. Here's a bag. Now, take the sandwich with you. Oh, thanks. Say, tell me something. Yeah? If the turkey sandwich is here, I'm made out of chicken. What are the chicken sandwiches made out of? Please. That I gave my word of honor not to tell. Oh. Well, thanks just the same. Goodbye. Goodbye. Yes, sir, Louise, you're doing fine. As head usher, I have great confidence in your future. Well, thank you, Mr. McGill. Good night. Oh, break down, will you? We're off duty.  Oh, please, Mr. McGill, I'd like to go home now. Sure, baby, sure. But first we'll go somewhere, huh? I have a couple of drinks, and then maybe... Oh, I don't think my husband would like that. Husband? He's very fussy about such things. Oh, give me that. Where's your wedding ring? Oh, my husband had to pawn it again. Let's his wife work while he pawns her wedding ring? Well, he only did it to buy milk for the babies. Babies? Triplets. Oh, oh, there he is now. Here I am, honey. Huh? Oh, oh, hello. Oh, darling, how are the babies? Oh, they're for, uh... Babies? What is this, the badger game? Oh, please, please. If you just walk down to the corner with me, then he won't bother me anymore. Who won't bother you? Shh. Him. Oh. Good night, Mr. McGill. Yeah. Good night. Well, I... I guess I'm safe now. Thanks very much. How did you happen to be passing by? Well, can I go to the movies? Is there any law against that? Oh, no. Oh, I'm very glad you did, Mr.... Uh, Winoski. Joe. Joe Winoski. Oh, that's even worse than Gingobusher. Look, would you mind telling me what this is all about? Well, he wanted me to go out with him, so... Well, I told him you were my husband. Oh. We got babies, too, eh? Uh-huh. Triplets. Huh? Porcher, Guinevere, and Lancelot. Why must they all be girls? Oh, Lancelot's a boy. Now look, young lady, let's understand each other. If I ever have a boy, he's going to be called Joe. Oh, but Lancelot's so much more distinguished. Either that kid's name is Joe, or I'm going back to that loafer and tell him we're getting a divorce. All right, all right. It's Joe. Good. In that case, may I have the pleasure of walking home with you? That is, if it's not too far. Oh, thank you. I have a room in Mrs. Stugo's boarding house on 47th Street. Here it is, Joe. Would you care to sit on the steps for a while? Eh, what have I got to lose? Gee, you know, when I first got off the train, I thought I'd never feel safe in New York, but there really isn't much difference, is there? I mean, in people. They want to be kind here, too, and help each other. Like, well, like you. Oh, me? I ain't kind. Practical, yes, but kind, no.  Oh. I wonder what he'd look like without a beard. Oh, believe me, no different. Guy's got no ambition, or you wouldn't be so honest. Have you an ambition? Oh, not especially. I once thought I could sing. That's why I came to New York. You want to know something? I'm a much bigger success as a nusher than I am as a singer. Do you have an ambition? Well, naturally. I'm not just a man who sells blue plates and sits in the balcony at the movies. I want to have my own restaurant. Oh, that's wonderful. Ah, you've never really seen me at my best until you've seen me all dressed up in my evening clothes, serving breast of guinea hen under glass to a lady, one of them new low-cut gowns. Oh, believe me, that's life. Oh, yes. Tomorrow night I'm serving it at a big social function at the Savoy Ritz Hotel. You should see me there.  But when you're serving a big banquet at the Savoy Ritz, they have fish knives and salad forks and eight different kinds of spoons. You wouldn't believe it. Did you ever have breast of guinea hen under glass? Oh, no, never. No? Well, I'll tell you what, you'll be at the Savoy Ritz at nine o'clock tomorrow night and I'll sneak in. Well, you really think you could? Well, it's a cinch. You just hang around the entrance to the banquet room and you watch for me. Have you got an evening vest? Oh, I think I can borrow one. That's the spirit of this town. It don't make no difference who owns a dress. It's what's in it. Well, good night, Miss Ginglebusha. And don't forget... Tomorrow night at nine o'clock. Good night, Joe. I gave the headway to the invitation you gave me and he let me right in. Shh, not so loud. You know he called me, Madam. Well, we'll call you something else if he sees you talking to me. There's just a waiter here. Oh, how do you like my dress? It's from one of the stage shows of the theater. Oh, it's very high class. Very. Now, look, you go and mingle with the guests. Just don't tell them that your name is Ginglebusha. A name like that ain't going to help the good neighbor policy. And don't notice me too much. In society, you don't get very chummy with the waiters. Oh, but how do I tell the waiters from the guests? Oh, it's easy. With the waiters, the evening clothes fit. Now, go on, mingle.  Good evening. Oh, good evening.  Oh, yes, yes. Oh, I'm sorry, but you can't sit down here. Oh, yes, I can. Oh, please. The waiters aren't allowed to sit with the guests. Waiter, do I look like a waiter? I can tell by the way your clothes fit perfectly. Now, look here, young lady. I'm Jay Conrad Nelson. I'm the man who's giving this party. I'm paying for the whole thing. Waiter? Waiter, come here. Yes, sir. Yes, sir. Auderve, sir. Just tell her who I am. You don't know who you are? Of course I know, but she doesn't. Oh, you are Mr. Jay Conrad Nelson, president of the Pan-American Meatpacking Corporation. And tell her who's giving the party. Well, you are. And believe me, you'll know it when you get the bill. Thank you. Now, run along. Yes.  Well, I... She's one of the entertainers, sir. An entertainer? Wonderful. What do you do? Dance? Sing? Oh, well, we're not waiting for it. Come on, come on. Oh, no, no. Well, that's what you're here for, isn't it? Well, no, not exactly. We have a fine orchestra that will play anything you want. No. No, I don't want to sing. How much am I paying you for not singing? Oh, never mind.  Alberto? Alberto! Yes, sir, you are. Now, what shall it be? Well, uh... You don't know Midnight in Paris, do you? Midnight in Paris? Oh, but yes, senorita, I know very well. Oh. Yeah, well, then play it, play it. Just a minute, huh? Ladies and gentlemen... Ladies and gentlemen, this charming young lady... Whom shall I say? Louise King. Oh, just say anybody. This charming young lady is going to sing for us. Sweet! But where? Never mind. Just let's get out of here. But what's this? My apartment. Don't you like it? The finest apartment in the Savoy Rift. Oh, it's beautiful, but don't you think we... Now, how about telling me the truth? In the first place, you crashed this party, didn't you? Oh, that's all right. When Jay Conrad Nelson throws a party, well, if I couldn't get in any other way, I'd crash it myself. I'd better go. I mean, now. Oh, no. Now, in the second place, you heard that, uh... that I was, uh... Well, shall I say, susceptible to good-looking young women? Oh, no, no, I didn't even know... Oh, I'd admit it. Everybody has his weakness. In the third place, you happen to have a very nice voice. Oh, thank you. So you thought you might be able to get me to put you in a musical show or something, didn't you? Oh, no, you're wrong. Why, I never thought... Come now, good woman, don't give me that. Hello? Uh, this is Mr. Nelson. I'd like room service, please. We'll have a little drink and then we'll get downstairs. You want a room service, sir? I mean, this is amazing. I just picked up the phone. Uh, Savoy Ritz service, sir. Well, uh, two bottles of shebaire, 37. Yes, sir. And, uh, uh, madam? Oh, oh, well, I'll just have the same. Thank you. Oh, good. That makes four bottles, you know. Well, what are you jerking your head at her for? Me? Uh-huh. I beg your pardon, sir. Just a nervous habit. You mean I make you nervous? Oh, no, no, no, sir. Not at all. No, sir.  Yes, sir. If you ask me, that waiter's off his rocker. Well, let's get back to business, shall we?  Uh, but I don't want a nice fat part in anything. I just... I want to go home. I wish you'd stop running, young woman. This isn't a track meet, you know. I'm a very rich man, and I like you, and I've made up my mind to do something to you. There's nothing I want. Well, then why did you crush my party? Well, it wasn't my idea at all. Well, whose idea was it? Well, it... it was my husband's idea. Nice... your husband. You... you were married? Oh, yes, of course. Oh, no, how awful. I'm terribly sorry. Oh, no, no, it's too late now. Oh, why did you do it? Oh, I don't know. I just fell in love. Ah, that's what I was afraid of. A popular, hasty marriage. Well, there's only one solution. You'll have to leave it. Oh, no! Oh, no, he couldn't live without me. Well, you'll get used to it. Of course, we'll have to be fair about it. After all, here's a young man supporting you to the best of his ability. We'll have to make up for all that. Well, I'll take care of him. You have no idea how much easier it is to endure unhappiness with money in the bank. Uh, what does the poor fellow do? Do? Well, he does something, doesn't he? Or is he retired? Oh, no, no. Well, I'm giving you a chance to make a success of this man, to make him rich. He... he's a lawyer. Good. Now, what's his name? His name? Oh, not just a minute. It's right here in my purse. You mean you have to look up his name? Oh, no. No, of course not. I just want to give you his card. Oh. Here. And George W. Prescott, attorney at the law. Well, I can always use another lawyer. I'll give him a job, and then he can introduce you to me. And then you'll get your divorce. Just leave everything to me. Uh, the champagne, sir. I don't understand it. The service was never this good before. Uh, just one thing. I think Madame had better be leaving. What's that? I just saw the lady's husband downstairs in the lobby. My husband? He had a very sinister look on his face. Oh, that's terrible. Now, how does he know you're here? Oh, he always follows me. Well, he can't find you here. Heaven knows what he might think. Yes, Heaven knows. You keep out of this. Yes, sir. Now, you better go, my dear. Now, when will I see you again? Uh, tomorrow night? Well, my husband's awfully jealous. No, don't you worry. I'll take care of everything. Uh, goodbye, Mrs. Uh... Prescott. George W. Prescott. Prescott. Goodbye, Mr. Nelson. Goodbye. Curtin Falls on Act 1 of I'll Be Yours, starring Anne Glythe, Robert Cummings, and William Bender. Do you remember the old phrase, I'm saving for a rainy day? Well, that doesn't refer only to money. It may also refer to many other things, including knowledge. Every time we undergo a new experience, we're adding to our storehouse of knowledge and know-how. We may not need that information right away, but there will come a time when we'll be able to make good use of it, and we'll be grateful for being prepared. Better than relying on chance experience to increase our knowledge, is to take advantage of systematic education. This way, we can learn efficiently and economically. The United States Armed Forces Institute, USAFI, is the agency through which servicemen and women all over the world may study and gain high school credits, or even a high school diploma. Some of you may want to add to your college credits. Why not do it the easy way, the USAFI way? And now, here is our producer, Mr. William Keely. Act 2 of I'll Be Yours, starring Anne Blythe as Louise, Robert Cummings as George, and William Bendix as Joe. Well, it's the following morning, and thoroughly smitten with Louise Gingelbusher, whom he believes is married. Mr. J. Conrad Nelson has hastened a call upon George W. Prescott, a young lawyer with a full beard and an empty purse. Good morning. Tell Mr. Prescott I want to see him. J. Conrad Nelson. Well, how do you do? What do you mean, how do you do? Get Mr. Prescott. I'm Mr. Prescott. Is there anything I can do for you, Mr.... J. Conrad Nelson. Yes, as you bet there's something you can do for me. Prescott, you're just the man I've been looking for. I don't know if my name means anything to you, but I... No, it doesn't. Well, I'm the Pan-American Meatpacking Corporation, and I'm here to appoint you our legal representative. Well? Yeah. Well, I hardly know what to say. Good, good. I like a lawyer who thinks things through.  Prescott, I wouldn't be surprised if you ended up in the Supreme Court bench. You've even got the whiskers for it, haven't you? And I wouldn't be surprised if you wound up in a federal penitentiary. Now, just a little minute, then.  When a firm doing millions of dollars worth of business a year offers to engage an unknown lawyer, believe me there's something fishy about it. Sorry, Mr. Nelson, not interested. Well, obviously I've made a mistake. You certainly have. I was looking for a lawyer with a sense of ethics. Supreme Court. Bar! You ought to be out chasing ambulances. And what's wrong with my ethics? You accuse a man being dishonest and decide that he's guilty without giving him a chance to defend himself. Good day, Mr. President. Now, wait a moment. You doubted my integrity. Well, I like that. Didn't you accuse me of being crooked? Well, maybe I have been hasty. All right, I apologize. Tell me your side of the story, and then I'll kick you out. Well, that's more like it. Now, then, when I was a young man... Look, I don't want to hear the story of your life only why you wanted to hire me.  Now, do you want to hear it or not? Well, I said I'd listen and I will.  Now, when I was a young man, I was poor. I didn't get to be head of a great industrial corporation except by fighting. And I'm frank to admit that some of the things I've done haven't been quite stainless. Always unsound legal grounds, I understand, but a little chiseling here, a little trickery there, you know. Well, as a man grows older, not that I'm old, of course, but he wants to make a man. I hope this personal confession doesn't bore you, Mr. Prescott. No, go on, go on. Yes, well, now I want to change things. But how? I can't dismiss the lawyers who've been using these tactics. After all, they've been working under my direction.  You see my dilemma? Yes, and I sympathize with you deeply, deeply. Thank you. Well, I finally decided to hire an honest lawyer, one who was poor because he was so honest, and let him join my legal staff and show them the light. And after months of search, I have decided to find you. So I came here this morning, and what do you say to me? Mr. Nelson, I'm ashamed of myself. I'd be proud, very proud to work for a man like you. Good, good, good. Now, here's the contract I've drawn up. You can read it over if you want to, but I give you my word. Well, that's good enough for me. Yeah, well, then just sign here and a copy for me, and then just to find the bargain, a check for $5,000. Well, that's great. $5,000? Yes, your first month's salary in advance. Incidentally, do you have a car, Mr. Prescott? A car? No, I... Well, you'd better get one.  Oh, yes, I'll get one right away, Mr. Nelson. Good, good. And it's not that it's any of my business, but I hope there's nothing wrong with your private life. My private life? Yeah, the company's quite peculiar about that point.  Yes, well, I admit times have been trying. Yeah, well, it's always the same story. Domestic difficulties, no doubt. Now, make a clean, sharp break, Mr. Prescott, even if it hurts. Domestic difficulties, you don't understand... Yeah, you don't have to make up your mind right now. Your hands will be full enough with my board of directors. Incidentally, you'll be meeting with them tomorrow night. Yeah, there's just one thing that puzzles me, Mr. Nelson. Just what did I do that brought me to your attention? What did you...? Now, let me see. There's a case I remember from the newspaper. No, no, no, wait, don't tell me. Excuse me, I don't want to disillusion you, but the only case that ever interested the newspapers was Bronson. Either the Bronson case, of course. Brilliant, a great victory. Yeah, but I lost that case. You lost... Oh, yes, but the way you lost it, Mr. Prescott, magnificent. Well, good day. Well, hello. Not so loud. That's some office your husband has. There's a living quarters in the rear, huh? Oh, yes. What are you doing here? Well, I was just going home, naturally. Oh, must you? Now? Let's go somewhere. Shh, I can't. He expects me. Oh, you're afraid of him, aren't you? Poor child. You didn't tell him. About us? No, of course not. He didn't mention your name, and I didn't either. Oh, thank you.  But you don't do worry anymore. Oh, no, I won't. And then I'll see you tomorrow night? I just don't know, please. I really must go in there. You promised me a date. And I'm not going to shh unless I get my date. All right, then. Tomorrow night. Good. Nine o'clock at my apartment. Does it have to be at your apartment? It certainly does. I'll be there. Now please go, Mr. Nelson. Good day, little lady. Oh. Oh, good morning. Won't you come in? I was just about to go out, but won't you come in? Oh, thank you. You'll have to excuse me if I appear a little overwrought. Something very unusual just happened. Very unusual. I'm, well, I never even dreamed that I'd be... Well, if you're so busy, I can come back. You know where I was going. To buy a pencil sharpener. It's all in my life I wanted a pencil sharpener of my very own. And at last now I can afford one. Of course I'll have a secretary now, so I can do for myself sharpen my own pencils. Uh, are you well, Mr. President? Well, I'm delirious. Do you realize what just happened to me? Yes. I mean, no. No, I... Well, you're talking to the legal representative of J. Conrad Nelson. You see, it does pay to have ideals. It does pay to be honest. And do you know how much it pays? How much? I'm ashamed to tell you. But at least I didn't get it by lying or chiseling or being related to the boss. You've got it all figured out, haven't you? What? Oh, I'm sorry. I haven't paid any attention to you, have I? I'm excited. I hope you'll understand. Now, what did you come to see me about, Miss... Dinglebosher. Oh, yes, of course, that's it. Well, what did you decide on? Decide on? I'll tell you what we'll do. We'll take the telephone book, open it at random, and see what we find. What on earth are you doing? Well, I'm looking for a new name for you. But I already have a name. Yes, I know. Gengle something. Wasn't that what you came to see me about? A legal change of name is a very simple thing, and it isn't expensive. As a matter of fact... As a matter of fact, from now on, I'm going to be your legal advisor for nothing. Well, that's very generous of you, but right now... Oh, it's nothing. Nothing at all, really. I feel like doing it, Miss Gengle. Busher. A busher. Oh, this is the happiest day of my life. An hour ago I had nothing, and now I have money and position, and I'm going to have a car. How does one buy a car? Have you ever... Oh, no. No. But I guess you just go shopping and pick one out like... like a pencil sharpener. Miss Gengle Busher, do me a favor. Come with me. Oh, you know that there's something wonderful about your coming in just now. Don't you feel it? Don't you believe in fate? Come on, Miss Gengle Busher. We're going shopping. Did you hear that? My horn's louder than his. You know, you're not a lawyer.  Oh, that's just what I want to be. You see, I never really was a small boy. Were you born with that beard, Mr. Prescott? Oh, no, no, no. Mr. Prescott. Yeah, but we're friends. You've got to call me George. Well, I try, but I can't. It's the beard. Yeah, what's the matter with it? Oh, it's just lovely, but you can't call a beard with my first name. You can't? You want me to shave it off? Oh, not on my account. I just think it would make you look younger. But I grew it to make me look older. Well, it certainly accomplished its purpose. Thank you. It makes you look 60. 60? At least 60. I'll do it. I'll shave it off, but only on one condition. Condition? Yes, that you wait for me. And when do you have to be back to the theater? It's my day off. Oh, but that's wonderful. Say, you're sure that just a nice little trim wouldn't do? My beard, I mean. Off. Entirely. Not even a nice little goatee? All or nothing. Well, you win, Miss Gingelwischer. No. No, I just can't do it, Mr. I'm a barber, but I just can't do it. Cut it off. But it's such a beautiful beard. Why don't you just let me shampoo it and let it go with that? Look, I came into your shampoo. Uh-huh. And maybe a little snip here and a little... Uh-huh. No, I'm sorry, it's got to go. I won't do it. Believe me, if I had a beard like that, no woman would ever make me lose it. No, sir. It's not a woman's idea. It's my own. Well, I bet your daughter had something to do with it. My daughter? That does it. The beard comes off. Yes, sir. I can't believe it, but it is you, isn't it? Yeah, it's me. Well, how do I look? Why, you're handsome now. Yeah, I'm cold, too. And I'm not too sure that it is me. Oh, of course it's you. You've just been hiding behind that beard for such a long time. Yeah, maybe you're right. You know, Louise, I'd say that we make a very striking couple, wouldn't you? Average. Average, nothing. We're way above average. Me and my new face and you and your orchid. Orchid? Oh, I forgot to give it to you. Here. It's for you, for making me do it. Oh, no, I... Oh, what's the matter? I just never had an orchid before. Well, that's nothing. I never bought one before. Louise, let's leave the car in the parking lot. If you'd like. Central Park isn't very far. Let's go to the park. I think that's a fine idea, George. Thank you. Gee, it's funny, isn't it? What's funny? I don't know. All my life I've dreamed about owning a car. Finally, I've got one and suddenly I discover how much fun walking can be. Oh, didn't you ever walk before? Oh, sure, sure, but not under these circumstances. I'll bet even riding in a subway would be fun with you. Oh, not during rush hours. Oh, especially during rush hours. Huh? Yeah, I mean, well, I really didn't mean anything. See, would you like to take a boat ride? Oh, no, I'm not a bit tired. Oh, I'm not tired either. I... Yes? Look at them out there on the lake. Practically everybody is kissing somebody. Silly, isn't it? Huh? Oh, yeah. Especially this time of day, I guess. Louise, are you sure you wouldn't like to go canoeing? Well, as long as we're here, George, well... why don't we? You know something? We're back in Central Park again. Oh, but it's different at night, isn't it? Even nicer. We could go canoeing again if you'd like. Oh, it's getting late, George. Let's just sit down for a while. Where's the music coming from? I don't know. The casino, I guess. Pretty, huh? Oh, it's beautiful. I didn't know you could sing. Well, I... I don't make a habit of it. But you should, you should. Well, with a voice like that, you could get into... George, I have to talk to you. I only hope you'll talk to me for the rest of my life. Well, you don't know what you're saying. Well, I'm trying to say that... that I'm fond of you. Uh, extremely fond of you. But you just met me. You don't know anything about me. And, frankly, George... I'm not perfect. Well, that makes two of us. Uh, maybe I'd better not talk to you now, after all. Or tomorrow, then? Well, I'll be on duty at the theater all day tomorrow, and tomorrow night I'll... Well, Mr. Nelson's board of directors meeting tomorrow night. My first meeting, you know, I couldn't very well call that off. But I can meet you afterwards. Where would you be? Afterwards? Yes, say, nine o'clock. Well, George, I... I have a date tomorrow night. Oh, it's nothing, really. He doesn't mean anything to me, but... I can't break the date. It's nothing, but you can't break it. No, I really can. I'll explain everything later. No, you don't have to explain anything. After all, we've just... just met. We hardly know each other, do we? Please don't talk like that. I didn't mean to hurt you. Oh, I wish it were different. Well, as a matter of fact, so do I. Well, we had a wonderful day, and... since it's over, I better take you home. Yes. Yes, I think you'd better. All right, then let's go. Well, hello. Don't give me that female hello. What did you do with my lawyer? You'll have to forgive me, Joe. I'm just going out. At almost nine o'clock at night? Oh, all right. What's the matter with your lawyer? What's the matter with him? He comes into the restaurant today for lunch. He orders $0.85 worth of food. I know he shouldn't spend more than $0.30. And after lunch, he gives me a check for $65.15. Covering everything, he owes my boss. And what do you think? What? The check is good. Didn't he tell you anything? No, he won't talk. He just sits there looking unhappy. Not only that, what happened to his beard? Young lady, what did George W. Prescott ever do to you? Nothing. I just wanted to do something for him, honestly.  You get yourself picked up by an A number one, no good millionaire, who has a reputation for being a loafer in North America, South America, and for all I know, Central America. Now, to top it all, you're making a crook out of the nicest guy I know. I'm not making a crook out of him. If anybody's a crook in this, it's me. You're going to explain that, Miss Gingelbuscher. If I've got to... Get away from that door. I'm in a hurry. I have a date. Oh, you have a date, huh? Yes, and I'm going to keep it, just on account of him. Who with, if I may be so bold? With an A number one, no good millionaire. Good night. The falls on Act Two of I'll Be Yours, starring Anne Glyde, Robert Cummings, and William Dennis. You'll be amazed how many different courses are offered by Yousafi. See your information and Education Officer tomorrow and sign up with Yousafi and begin to learn the easy Yousafi way. And now once again, here is our director, Mr. William Keely. The curtain rises on the third act of I'll Be Yours, starring Robert Cummings as George, Anne Blythe as Louise, and William Bendix as Joe. Well, it's nine o'clock, and in his apartment in the Savoy Ritz Hotel, Mr. J. Conrad Nelson, who should know better, has a guest, Louise Gingelbuscher.  I've got the champagne already. Oh, but I don't want any champagne, Mr. Nelson. I'm not used to it. Oh, but you don't know what you're missing. I'll sit down and try it. Well, later maybe.  I think I'd better tell you something, Mr. Nelson.  Oh, I'm not a wolf, you know. Anyway, you're not red-riding hood. Now, how did everything go with your husband? Well, that's just what I want to speak to you about. Why did you ever marry a man old enough to be your daddy? But he isn't anywhere near as old as you are. Well, that's ridiculous. Why, with that beaver he wears? Did you ever see him without his beard? No, no, and I don't intend to see too much of him either. But you made him your legal representative. I let him attend the board of directors' meeting too, and that doesn't mean I have to look at him. I don't understand. Oh, you'll have a fine time tonight. I told him to read him the annual reports for the last 12 years. Dollar's dishwater, but they'll keep him there till 2 a.m.  Are you implying that I'm a heel? If your husband has the slightest doubt about that contract... Oh, he hasn't. And he's not my husband. He's not what? Uh, I'm not married to him. Oh, what have I done? Yes, what have I done? You see, I met him and he's very poor, and, well, I liked him and I felt sorry for him. I mean, you said you wanted to make my husband rich, and I thought if I... Are you mad at me? Well, this whole thing... just another plot against me. Oh, it's all my fault. He didn't have anything to do with it. Yeah, I'll bet. I ought to go to a noggin' doctor and have my head overhauled. Well, if he knew what I've done, it would break his heart. Break his heart? I'd like to break every bone in his body. That bearded phony? How about even his whiskers are false? They are not. He shaved them off yesterday. Uh-huh. Just as I thought. What's that? Who are you? I'm not going to stand for this any longer. You come along, Miss Ginglebusha. You're coming with me right now or something terrible is going to happen. What's going to happen? I'm talking to her. Just a minute, you.  You're the waiter. Room service. Of course. It's a plot. For your information, Miss Ginglebusha, your husband has found out all about you. No. No. Yes, yes. He's on his way here now. I can't be. He said my board of directors would be... Well, maybe he is here. Why don't you have him come in? Well, I... Huh? You want him to come in here? Bring him in. Well, there is somebody at the door. I can hear him. Well, come in. Come in. What do you want? Oh, how do you do, Mr. Nelson? Who are you? Who am I? Oh, you probably don't recognize me without my beard. Prescott? Good old George W.? Yes, yes. You're legal representative. You hired me yesterday, if you remember. Yeah, this is very interesting. Well, I'm sorry to bother you, Mr. Nelson, but I felt at my duty to talk to you immediately about... Joe. Well, what are you doing here? Hello. Young woman. I wanted... Now, what happened to her? Where'd she go? Where did who go? This is all an outrageous conspiracy, but I'm going to get to the bottom of it. You come right back in here, young woman.  We could... Hello. Louise. Now, now, now, now, counselor, let's not jump to any conclusions. I told you I'd explain everything. You mean he was your date? J. Conrad Nelson? Yes. But I had no idea you knew each other. Knew each other? I thought you two were married. That's how you got your job. Would you mind repeating that? No, no, don't listen to him, George. He doesn't know what he's talking about. Well, this is very funny, isn't it? What was it I told you? Just stick to your ideals, be honest, never tell a lie. Look, Mr. Prescott, why don't you talk this over with me? Don't skip it, Joe. Yes, sir. If you'll excuse me, Mr. Nelson. George, let me go with you. Let him go. Haven't you done enough to him? George, please. We have nothing to say to each other, Mrs. Gingobusher. Yes, I know. But you're all upset now. Oh, I didn't mean to hurt you. I only wanted to help you. And thank you very much. Good night. All. I'm the landlady here, all right. Now, what do you want? I told you, I want to see Mr. Prescott. I know he's in there because I saw him through the window, but he won't answer the doorbell and he won't pick up his telephone. I'm worried. Oh, yes, sir. I know. I know. Oh, been like this for two weeks and more. You're his father, huh? Yes, I am not. I'm his... Well, his uncle. Now, if you have a key, open up that door. Well, I just hope it's all right with him. Who is it? Just me, Mr. Prescott. Look, I thought I told you I don't want to see any... Mr. Nelson. Oh, no. You didn't start that again. What again? The chin whiskers, the shrubbery. Mr. Nelson, will you kindly get out of here? I will not tolerate a beard on my legal staff. I am not on your legal staff. Oh, you most certainly are. And I have no intention of breaking our contract. Well, then I'll break it. Oh, but you can't. Ironclad, foolproof. Would throwing you out the window break our contract? Well, it would surely break my neck. And that, in turn, would result in certain unpleasant complications for you.  I don't care. Well, others do. May I sit down? You know, Mr. Nelson, when I first met you, I had the healthy impulse of throwing you out. Why didn't I do it then? Because you're not a man to follow the first impulse. That's what I like about you, George. And that's why I'm here. Well, if you enjoy hearing yourself talk, Mr. Nelson, you may as well be by yourself. As I was about to say, the fact that you walked out of my board of directors meeting... I walked out because I refused to approve the last annual report. Yeah, exactly. The others couldn't approve it without legal advice. And what happened? I find it saved me the pretty little figure of $285,000. It's quite a nice record, George. Beard or no beard. What are you talking about, you old fraud? You haven't read the newspapers, you'd know. I fired five out of six of my directors. I kept the sixth one only because he's... Well, he's my brother-in-law. Well, that's very interesting, isn't it? Therefore, I'd like to keep our contract and forget about certain incidents that may have been connected with it. What do you say? Are you telling me the truth? Of course I'm telling you the truth. I'll get in there and shade. Besides, you have a date, my friend. I'm not your friend. I'm your lawyer. What date? Well, that waiter fellow, Joe Wynarski, he's been worried about you. He and some other persons. I will accept your offer, Mr. Nelson, but I will not keep any dates that you've made for me. Well, I think you should. You see, Wynarski and I became quite well acquainted. There was some champagne left which helped quite a bit. And anyway, as a result, I decided to back him. He's opening his own restaurant tonight, and I figured that you and I could go there together. So, Joe finally has his own restaurant. Well, I'm very happy for him. So am I. He's selling my lamb chops exclusively. Now, go get yourself shaved and I'll wait for you. It's just beautiful, Joe. As beautiful as the Savoy Ritz. High class, huh? Come on, I'll take you to your table. Remember the time I sold you the turkey sandwich for the price of a chopped chicken liver? Well, this restaurant is the kind of a joint where you can sell chicken liver for the price of a turkey. Uh, you still want me to sing? Still want you to sing? Ain't the orchestra been rehearsing all afternoon? Young lady, I'm depending on it. I'm having a spotlight hit you right over the head. I don't feel very much like singing, Joe. Well, you better be good, because I got a big surprise for you. Joe? Uh-uh, uh-uh, I'm not telling what it is, but you're going to like it. You mean George is going to be here? You like that, huh? Well, that's it, all right. My partner, Jay Conrad, is bringing him. But isn't that Mr. Nelson now? Huh? He's alone. Look, you wait here at the table. I'll be right back. Fine, partner, you are. I sent you to get George W. Prescott, and where is he? He's not coming. Well, that's impossible. He can't do that to me. There he is, sitting over there in a brand new evening gown, paid for by this rest, paid for out of my own expense account. Ready to give out with the notes, and he's got the nerve to kick them. Good evening, Mr. Nelson. Well, little lady, how nice you look. So George just got here, huh, partner? Well, he is... But if he's here, where is he? Oh, he's somewhere around, isn't he, Jay Conrad? You just left him, huh? Yeah, yeah, yeah, just left him. I don't see him anywhere. Ah, this is a big joint opening night. Big crowds. It's hard to find anybody. Does he know I'm here? Oh, yeah, yeah, yes, he does. And he wants to see me? Well, what do you think he came here for?  It's the right moment. People are in the mood. I'd rather wait, Joe. Why wait? As soon as the music starts, everybody's going to settle down and look at you, and that'll make it much easier for him to find you. Am I right? Right. I hope I don't let you down, Joe. No. As for you, Jay Conrad, Nelson. Call him up. Do something. Find him. Ladies and gentlemen, ladies and gentlemen, Joe Wynoski's French cuisine is happy to present a singing. Chantuse, I know you're all going to win... Hey, hey, where is she? I don't know. She just ran out there to the terrace.  Yeah, well, well, come on. Let's get her back here. You see what a weak character I have, Louise. I couldn't stay away. George, you wanted to see me. You do care. Well, I wanted to see Joe, too, of course. Hey, counselor! Joe, well, congratulations. You wanted to see me? Well, you see me. Now bring her in here. Oh, you were just going to sing, weren't you? I interrupted. Oh, I can sing any time. Well, not before an audience. Go in, Louise. I want them to hear you. I want them to see you. Is that all you have to say to me? Oh, no, no. There's more. A very important matter I want to discuss with you later. You'll wait here.  He'll be there if I've got a nail in his shoes to the floor. Now get in here. It's the nicest song I ever heard. You said there was a very important matter you wanted to... Oh, yes, yes. Do you realize your name is still Gingelbusher? Well... And that you came to me to get it changed that I neglected to do anything about it. Oh! Well, now, don't you think I've forgotten about it? How would, um... How would Prescott do? Louise Gingelbusher Prescott. It has sort of a ring to it, hasn't it? Yes, it has. Sort of a wedding ring. Oh, yes, George. It's a beautiful name. Thank you, my darling. On the final act of I'll Be Yours, tonight's presentation by the Broadway Playhouse. Our thanks to Ann Blythe, Robert Cummings, and William Bendix for their outstanding performances this evening. Others in the cast included Tom McKee, Willard Waterman, and Eddie Marr. Join us again next week at this same time when stars of Broadway and Hollywood will again appear in the Broadway Playhouse. This is the United States Armed Forces Radio Service, the voice of information and education.


So I am Chris Wilson, I'm here with my colleague John Pallett, who will be out in a minute, and we're here to talk about the next great platform, the Immersive Web, and this is actually not running off my laptop, so hopefully I won't have any problems, at least they won't be mine. Now, we talk about this word immersive a lot, and I kind of wanted to define what I meant by the immersive web, and at this point I think pretty much everyone has heard of virtual reality at least, hands up, who saw Ready Player One? It's actually a really small percentage, you should go see it, it's a good movie, it's good entertainment, so it's totally just like that, well not really, but virtual reality is all about immersing yourself in a completely alternate reality, putting what I refer to as the reality blinders on, completely replacing everything you can see and usually hear, and immersing yourself in this totally different world. That world may be a game, it can be like visualizing a data set, it can be a virtual workspace, my kids like to play this game where I put on a VR headset and they see how close to me they can dance before I notice that they're there, which usually it's pretty close, but certainly when I'm at my desk at work this is my favorite place to go into VR, because it kind of masks everything off around me, the sea of cubicles isn't there anymore, and you usually experience virtual reality through a tethered VR headset like a Vive or a Rift, standalone devices like the Oculus Go, or smartphone VR systems like Daydream View, Gear VR, or Google Cardboard, my personal favorite, and any of these devices end up using a combination of head tracking, screen display, optics, and controllers to make you feel like you're present in a totally different world. Now at Google, we've been working on exposing this to the web for really quite a long time on all these devices, from high-end desktop headsets on Windows to a polyfill that supports web VR on any smartphone in Cardboard, yes, even Safari on iPhones. And in fact, you may not even have a VR headset, you might not even have this 29 cents worth of Cardboard, WebXR and the XR polyfill can actually view VR worlds just on a mobile device using the accelerometer and orientation API, so you can look around a 3D scene, and this lets users look around your 3D world even if they don't want to drop their phone into a headset. Now in addition to bringing VR to the web, we also, like my team actually works on bringing the web into VR, at least on Daydream devices. Starting with Chrome 67, you can actually launch a VR version of Chrome inside the Daydream home screen, and we put a lot of work into making browsing the traditional 2D web a really great experience. But of course, the really cool part is when the browser in VR can be used to browse immersive worlds, like you can hop back and forth between the 2D web and VR content that's hosted directly on the web. So this gives you a really great, easy experience and really actually totally immersive.  Now, having a browser inside the VR world is so useful. It turns out 83% of Daydream users also regularly use the browser in VR. Like this was kind of something we added on after the fact. Daydream shipped without a browser, and now, like this is a regular occurrence for most of them. This shows how important the content from the web is, even when you're just living inside a VR world. But enough about virtual reality for a second. I want to talk about when you don't want those reality blinders on. I actually like to interact with my kids. I want to be able to see them and not have them dance in front of me. And the most exciting extension of the computing platform, to me, is the concept of augmented reality. Not just overlaying AR stickers and animated characters. Or being able to drop virtual objects into your reality. The key to understanding AR's potential is that it's really about the concept of your computer getting to see, getting to see a world around you, interpret parts of it, find surfaces in the future, recognize objects, and then augment that reality with virtual bits of user experience. Instead of trying to totally replace your reality, we really want computers to just convincingly blend virtual and real experiences. Now, for AR, there are some headsets like the HoloLens, the Magic Leap One. There are projection systems to display on real world systems or real world surfaces. But most users will probably first experience AR like I did, using a camera pass through experience on a mobile device, showing things like AR stickers. And the cool thing is, if you think of the things the web is really, really good at, the long tail of software content products you expect from the web, the experiences that users will probably happily click on. But they wouldn't necessarily install on their devices. The massive success of the web as a commerce platform is a huge, huge benefit. You can start to see how enabling developers to build immersive experiences that are delivered in this really ephemeral fashion is a fantastic idea. You don't have to install an app to see how that couch is going to look in your living room. You don't have to install an app to view an immersive video trailer. The ephemerality of the web makes the ability to do these immersive experiences a fantastic match. And our mission, John's and mine, is really to enable web developers to break that plane, like break out of the flat design world that we've been living in for so long, to enable these truly immersive experiences. And to enable that, we really need to start with the baseline, like being able to connect immersive displays and render to them. And that's where the WebXR device API comes in. This replaces the old Web VR API, evolves those concepts to expose not just VR, but also AR functionality. And in true extensible web platform layering, this is really the underpinning only. Like this lets us connect to those devices, render displays, understand which way they're pointed, get to interact with controllers, that kind of stuff.  And this has all been developed, by the way, in the W3C. In fact, we have a brand new immersive web working group. I personally co-chair this with my colleague Ada Rose Cannon, who's sitting right down here in the front. I just had to make her blush, from Samsung, and we're tasked with, like, taking this spec to an actual final status. And this is why we created a working group, because we feel it's super important to actually land this now and not just keep talking about how cool it could be in the future. This really shows the maturing of this API, because it's moving closer and closer to becoming a final standard. And of course, we also continue to incubate new ideas in the immersive web with a community group. Now, if you want to experiment with WebXR API today, you can enable it with Chrome's flags, with the about flags. If you want to try out AR scenarios, you have to enable the second flag. That should be going away soon, because we've done some new mode work in the spec to make that work, too. We have a currently running origin trial, too, if you want to try to deploy this out to normal users. And of course, if you're willing to accept the responsibility of making changes as the spec and our implementation change. Now, finally, I've mentioned the WebXR Polyfill a couple of times, and this is something I wanted to give a little more detail about. This is a Polyfill JavaScript library that's maintained by the community group. It helps developers in a couple of different ways. First, it offers a JavaScript-only implementation that works for VR scenarios in any mobile browser using orientation events. So even mobile Safari with cardboard devices or flat displays, you can actually get a WebXR implementation just through JavaScript. Secondly, if a browser does implement the older WebVR API, like Firefox did this and Microsoft Edge did this, it can actually build XR on top of that, and you get the hardware speed up of their former WebVR implementation. So you can instantly make your WebXR content accessible to a much wider range of users with just one script. Now, with that, I want to bring out my colleague, John, who's going to drill down into the augmented reality possibilities in a bit more detail. Thanks, John. Thanks, Chris. So let's talk a little bit more about augmented reality or AR. As Chris mentioned, augmented reality is largely about being able to overlay information over top of the real world.  And the reason for this is that there are hundreds of millions of phones and tablets out there right now that support augmented reality, and the number is growing. And most of those devices have web browsers, which means there is a big opportunity for web developers here. And the lowest-hanging fruit, really, is the ability to add a new experience to an existing 2D webpage. So it doesn't require an entirely new site. You can add AR capability to an existing 2D website. There have been a number of partners that have been experimenting with this using the WebXR device API and turning on the hit test flag that Chris mentioned. They're doing this in Chrome Dev and in Canary. And there's one example, Plater, which is an augmented reality platform that lets businesses put virtual objects in the real world. They've done a couple of demos, and there's some interesting ideas here. On the left, you can see that users can learn about a product by getting information in context on the product itself, rather than having to go through data sheets. And it actually saves shipping demo units to businesses that are thinking about buying machinery or heavy equipment. On the right, you can see that looking at objects from different angles has a lot of value, in this case for fashion, and generally for shopping, but also for education, where students can explore the object or artifact that they're learning about. Now, this doesn't all have to be an augmented reality. You could do both of these using a 3D model on your website, but if you can put it into the real world, you get a better sense of context as well as scale. Now, what's interesting, though, is that from a user experience perspective, there are a lot of interesting things to learn about augmented reality, particularly how it fits on the web, and it's a good reason to start experimenting with it now if you're thinking about adding it. So by way of example, West Elm, who sells home decor and furniture, did some in-store testing, and what they did was they went to one of their stores and they picked four shoppers at random, and they showed them a prototype shopping website that incorporated augmented reality. Now, this isn't a huge study, it's four shoppers, but they had some interesting findings and they gave us permission to share them. So the first thing that they learned is with these customers, the terms AR or augmented reality, it's not really a common vocabulary. Basic terminology, like view in your room, is a better way of telling users what to do. But even then, without a visual showing what's going to happen, that text can really get lost with everything else that is visual on the site. So what they're looking at now is ways to add both an icon and text so that the user has a call to action, they know what to do. One approach might be to have a rotating 3D model so that the user understands, hey, this is more than just another image on the page. The next thing they learned is that users get confused without clear directions. You can see here that there's a delay while the user is trying to figure out what to do. Do I tap? Do I move my phone around? What is this circle on the floor? I've never seen this before. You have to actually guide users to the path of success here. And West Elm is researching clear directions as well as things like progress bars and loading indicators so that users don't get lost and they can see how to get to the point that they're actually placing furniture or an object into the real world. After that, once participants successfully placed an object, the most common request was the ability to move it or spin it or even remove it from the scene. The original placement wasn't always where they wanted it to. It wasn't always clear to users how they could do that in this case. Another thing that they heard from their test subjects as well was that getting validation that the size of the virtual object matched the real world would also be helpful, because if you're shopping for furniture, you want to make sure that it fits into the space that you have. So from that perspective, showing some real world dimensions with the model could help. And finally, there was some feedback on how real the assets look. And now this study was particularly unique because West Elm was doing it in store. And so they had the opportunity to put the virtual object right next to the physical object and get real shopper feedback. Generally speaking, the feedback on realism here was only about six out of 10. And you can see clearly that there are differences between the two. So West Elm is looking at how to handle typical lighting scenarios and also make sure that the shadows underneath the object are a little more pronounced and more detailed. So the key message here really is that there's a whole lot of things that you can learn. There's a lot of streamlining going on here. And fundamentally, augmented reality on the web has some differences from apps where somebody might be installing an augmented reality app. And so they're discovering it in a completely different way. Despite those challenges, a very, I think, a telling finding from this study was that three of the four participants said they would absolutely, 10 out of 10, use AR, once they knew what that term meant, to do furniture shopping.  Does it rot teeth? And the answer here is actually maybe. So three people, absolutely one person, maybe. I personally visualized that as these are people shopping for home decor. And they said, would you use this? And they're like, maybe I'm here to buy a couch. But I don't actually think that's how it went. But the point here is that three people said absolutely and pulled from random. Three people said absolutely. It's a strong signal. And it's also consistent with what we've heard from partners and users who see value and be able to visualize 3D objects, ideally, in the real world. So if you're thinking about experimenting this and you're thinking about adding this to your website, let's talk a little bit about how you can build things. Chris mentioned the flags you can enable a little bit earlier in the presentation. But let's talk about how you actually add the immersive experience. So you could write WebGL code directly. And if you're doing augmented reality, that would be over top of the camera feed. That's one way you can do it. Generally, we recommend using a library to help. For example, 3.js is a helper library for 3D graphics on the web. And it takes care of a lot of the heavy lifting for 3D geometry management and rendering. And it makes it so you don't have to work with WebGL directly. So let's look at an example of how 3D and WebXR can work together. We're not going to cover the whole process of creating a WebXR session and doing all of that. But you aren't going to look at how a virtual object can be placed into a real world scene. And we're going to do that with a narrow use case, in this case, putting a reticle onto a real world surface. For those who haven't heard that term before, a reticle is an indicator in this case that you can see as it moves around. And it's typically a user interface construct so that the user knows what they can do. You saw some of this in the West Dome screenshots earlier. So what we're going to do first in this case is take the mesh for the reticle, which in our case is a flat circle, and we'll add it to the 3D scene. It's worth noting, we like the reticle to be about half a meter wide. And so it's worth noting that the WebXR device API locks the coordinate system of the real world to the virtual world. And what that means is that one in WebGL or the virtual space, or in three, one unit is one meter in the real world. Ten units is ten meters. So in this case, if our mesh is half a unit wide, it means it'll appear as half a meter in the real world. Next, what we're going to want to do is actually render the reticle over the camera on real world geometry. But to do that, we need to know where the real world geometry is. The WebXR device API includes the capability to do a hit test, which is firing a ray into the real world and getting intersection points with real world surfaces. So for example, taking a ray from my eye down into the stage, and then getting the intersection point of where I'm looking on the stage, but also the normal facing up. So I know where the surface is and what direction it's facing. Now three, in order to do that, you need a ray. And a good example of some of the things three can help you with is a ray caster function, which I don't show here, but it will let you get the origin and the direction of the ray that you're going to fire into the scene from the camera. So we've already got that here, and what we're going to do is pass that into the hit test API with WebXR. And then what we'll do is we'll take the return value. We'll actually possibly get a list of things because it might be more than one object behind the first hit. We'll take the first one, the closest, and we'll convert the position that we got into a 3.js matrix. And then we'll use that to set the position of the reticle. And at that point, you're done. The reticle is now positioned so that it will render directly over the real world object that was detected from that ray. Now it's worth reiterating that this works because the virtual coordinate system matches the real world one. And obviously I skipped over a lot of steps here, but the point really is that you can combine frameworks like 3.js with WebXR, and it's fairly straightforward if you know 3D programming basics. But some of you might not know 3D programming basics. And the fact is that if you've tried to add a 3D model to your site, you probably know already it's not super easy. 3D models can be pretty complex, both to read and to display. We saw that even in the West Elm example, we saw that there are user experience considerations. If you're starting from scratch, you have to think about how do I want to rotate objects, allow people to move them around and so forth. And then there's also responsive design. If you want this to work on mobile and desktop, you need it to be able to, even if you're just doing a simple model and a turntable view, you have to know how to handle resizing. Do you need to display a poster image on mobile to prevent the download of the 3D geometry until the user actually wants it? For neuro-technology, like augmented reality, ideally, you'd be able to take advantage and progressively enhance and use some of the capabilities on different platforms, even if they're not available in all browsers. And as WebXR comes out and starts moving to stable, it's one more thing to learn. It's one more thing to add. So just know that if you've experimented with this before and you found it a little bit tricky, you're not alone. So to that end, the team has been looking at this problem, and we recently made public an early version of a 3D model viewer web component. This is really, really early, but it does some things today to make life a little bit easier, and the reason we released it early was to get your feedback. To give you some context for this web component, there's three things we're trying to do. The first is we want you to be able to add 3D models to your site without having to learn 3D programming or writing 3D code. The second is we want it to work well and responsibly across browsers and across different device form factors with progressive enhancement to take advantage of capabilities on browsers where they're available. And then the third goal is that as new APIs ships, such as the WebXR device API, we want the component to start taking advantage of them so that you don't have to keep up to date with all of the changes that are coming out. So like I said, it is super early, but we've made some progress, and so I want to give you a sense of what the component can do today. Let's run through a few examples, and this is the first one, the simplest use case, which is a static GLTF model. For those who haven't heard GLTF before, it is a 3D file format, and it is a required component of this model viewer because it's a format that will allow us to work across all of the different browsers. Here you can see that if we add a couple of attributes, we can bring the model to life. In this case, we set the background color and we set it to auto rotate. With the controls attribute, we also can allow the user to spin it around and move it and take a look at what's going on, but then look at it from the back or the front. We've also added poster image capability and you can delay the loading of the model so you're not consuming data on mobile if that's what you want to do. And the attributes are also dynamic, so if you add a little script which switches the poster image back and forth, you can animate it a little bit to give the user a sense that it's not just another image, it's actually a 3D model that they could click on. It works in that way similar to an image tag. The component also handles some forms of responsive design, so you can see here that it will scale up for desktop and it will scale down for mobile and it will manage the staging and the lighting and the rendering of the model properly. It can also manage multiple instances on the same page, so it will take care of WebGL from that perspective. And it uses Intersection Observer to make sure it's not burning battery and GPU when you can't actually see the model. Finally, the team is experimenting right now with some of the more progressive enhancement capabilities. In this case, you can see they're experimenting with the WebXR API and incorporating that so that you can add more attributes to turn on AR and do that across different devices. Again, it is just really early. The team is still working on more features for user interface and responsive design features to make it as easy as possible to add a 3D model to a web page. Looking forward, there's a lot we can do on realism, augmented reality use cases, interactivity. The whole reason we made this public is that we'd love you to try it out and we'd like to get your feedback in the GitHub. So if this is something you're interested in, please do go to the GitHub, take a look, try it out, and then let us know what you think. And with that, we're done. So we covered today a little bit about the WebXR device API. We talked about 3JS and we touched briefly on this new early release of the model viewer web component. If you're interested in more, this is the slide to take a picture of. The links are all on the screen. If you're watching this at home, you can rewind and you can check it out on YouTube later, I imagine as well. And with that, thank you very much. We thank you for your time.