Ubisoft revealed a GDC that it has been developing an NPC that uses large language models. Players can speak into a mic and their speech is transformed into text prompts for the chatbot powered NPC. Ubisoft's Neo NPC was made with Nvidia's audio to face application and in worlds large language model. I love this and I hate this. I want my NPCs to be useful. While not being there at all is just get out of my way and let me do what I want to do or at least be useful to me and to help me me to do the things that I'm trying to get done. I'm kind of excited about this, but I could see it making games a nuisance and I do get the point. You know, I like games for story. I generally will play a game on story mode just because I want to get all the story. If it was never written, I don't necessarily want AI making stuff up, you know, about the story. But then that sounds kind of cool. I might actually like that. So I honestly, I don't know how to feel about any of this.


Hello in this presentation we're going to work some test type problems smaller type problems that could be in a multiple-toys type format so we're going to start off here with this problem. Note that a longer type of problem like this might be useful to actually read the last sentence first might save some time so we know what it's going to ask for at the end and then when we read through it it's good to just plot down those numbers that we can then use at a later point so first a word from our sponsor yeah actually we're sponsoring ourselves on this one because apparently the merchandisers they don't want to be seen with us but but that's okay whatever because our merchandise is is better than their stupid stuff anyways like our crunchy numbers is my cardio product line now i'm not saying that subscribing to this channel crunchy numbers with us will make you thin fit and healthy or anything however it does seem like it worked for her just saying so yeah subscribe hit the bell thing and buy some merchandise so you can make the world a better place by sharing your accounting instruction exercise routine if you would like a commercial free experience consider subscribing to our website at accounting instruction dot com or accounting instruction dot think of it dot com we're going to say that to maintain a 10 000 i'm reading this last sentence to maintain the 10 000 required balance during june the company must do what so we can see we're talking about a bank account i see a bank account here we want to retain a ten thousand dollar balance so it sounds like we need to basically measure the activity in the bank account so as we read through it i'm going to list out kind of the data and punch that into excel so we may be able to record that information so company so i'm going to read it from the top now company is prepared a cash budget for june cash budget for june the company has 11 300 cash at the beginning so i'm just going to say our beginning cash and i'm just going to say beginning balance we're talking about the cash accounts we'll just say the beginning started off with 11 300 11 300 and anticipates 30 000 7 in cash receipts so i'm just going to say all right receipts we think we're going to pull in another 30 700 cash receipts and 30 that 35 900 in disbursements so we're going to have to pay out this is a budget of course disbursements and receipts we're estimating i'm just going to abbreviate we're going to say 35 i'll make it i'll make it a negative negative 35 900 and you'll note that i i underline that with the underline here already that cells been underlined okay and see what else we have the company has has an agreement with the bank to maintain a minimum balance i'm just going to note that over here minimum balance we want a minimum balance in our checking account of 10 000 that's like our cushion we don't want to go below that we're told our bank hey if we go below 10 then give us an automatic loan because we need 10 in there at any given time in case of emergency we currently have a loan to the bank of uh may 31st 15 000 all right so i'm just going to note that on the side so now we need to read that last sentence again to maintain the 10 000 required balance during june the company must do what well let's see where we are at the ending balance as of now we said that we i'm just going to sum these up we had a beginning balance of 11 3 plus receipts of 37 that's what we think's going to happen at least in disbursements of 35 9 so we sum that up equals the sum of i'm going to say this plus this minus this that's the sum of these last one being a negative number we say enter we get the 6001 of course all we did was in a calculator say 11 3 plus 30 7 minus the 35 9 gives us the 61 now we see that that is below 10 000 right that's below 10 000 that's our minimum about so we need a minimum of 10 000 so what's the bank going to do it's going to increase our loan then so i'm going to underline this and i'm going to say we need then a loan equalling 10 000 minus what's currently in there the 61 that means we need another three nights so what's going to happen what's going to be you know in the answers when we look at a multiple choice question we're going to have to get a loan we got to increase the loan for this 39 what's that going to do to our total loan because the current loan balance happens to be this 15 so that will increase our balance to it's going to increase it by the 39 and we currently have a balance of 15 so the answer key could say we need to increase the loan by 39 the answer key another type of variation of this problem might say that well what's going to be the loan balance after this month is over and that would be 18 9 all right we have the next one here once again i'm going to try to read that last line and see if i can get some information before reading the entire thing so the last line here says starting here compute the projected sales expense to be recorded on the selling expense budget for the manager for the month ended june 30th so we're going to keep that in mind as we read through it i'm going to start from the top now company sales a product for 700 dollars so unit price is going to be 700 i'll just log that in units sales for may so we're going to say may i'm going to put a header here may and we'll say unit sales unit sales for may are going to be 400 and we just know we already know that we have this unit price so i'm going to put that down here and i'm going to say okay well the unit price is going to be down here and you could retype this in i know i'm formatting and formatting is half the half the issue whether you do it by hand or in excel so we're going to put it and try to put it in this kind of grid type format so we're going to say all right well unit sales are here the unit price is here so that's what we have for may so far 400 and sales are expected to increase the prior year months by 3 percent so we know that we're looking for if we look in the answer we're looking for june so we have may here and then we have june so we need to think about okay well what's going to happen to june then based on this is that's what we want to go i'm going to format paint this and go here and we know that the unit sales are going to increase by 3 a couple ways we can calculate that we're going to say that unit sales are 400 so for may unit sales we have 400 and it's going to increase by 3 percent so we could say okay well the increase is going to be 3 percent i'm going to put 0.03 and i'm going to go back on that cell we're going to go to the home tab alignment and just remember if i add decimals 3 percent is 0.03 if we move this we move the decimal over or we can make it a percent 3 percent and then if we multiply that out we're going to say all right well the increase then is 4 000 times 3 percent it's going to increase by 12 so the increase is going to be by 12 so this is the increase i'll say increase percent and this is actually the actual increase in dollars and that's going to be the 12 so note that we might do that a bit more quickly by saying all right well if it's 400 and it's going to increase by 3 percent instead of putting 3 percent we might just put 100 percent plus 3 percent is 1.03 so note we could do this a lot in one calculation this is worth noting by saying 1.03 103 percent of the original number means that it's going to go to 412 you know rather than taking this 412 and saying what's the new sales going to be 400 plus 12 we could do that with one calculation by saying 400 times 1.03 103 percent that'll give us that 412 so if i did that over over here again what we're doing is we're saying i'm taking this 400 times 1.03 103 percent 1.03 that gives us the 412 times the 700 unit price so so we don't really need to calculate may but if we wanted to we can say okay may is 400 units times 700 per unit enter that comes out to 280 sales and then june is going to go up to 412 units times 700 per unit and that gives us the 288 4 now what we're looking for this is the sales and what we're looking for is the the selling expenses so they they're telling us that the selling expenses is 3 percent of sales we have commission commission rate is going to be 3 percent so once again that's point or 2 percent sorry it's 2 percent 0.02 so i'm going to go back on there on that 0.02 i'm going to go to the home tab we're going to go to the numbers group and again i could increase the decimals 0.02 is the same as if i say the percent sign 2 percent and that means that the commission will be the sales of 288 4 times 2 percent times 0.02 in the calculator and that'll give us the commission of this 5768 we also pay a salary so we have a salary a sales salary to the sales manager of 3000 therefore the total sales then would be uh the selling expense would be the commission 5768 plus the salary that we pay them and that will give us the 8768 for the selling expenses so note that the problem the main issue with this type of problem is to basically format the the information put it down in a format that works obviously in excel it's nice because you can move things around if you don't have excel then you need to get used to how to format different types of problems so you can do it efficiently by hand it would be the same type of thing graph like this but you want to be able to efficiently do that by hand all right next one here once again i'm going to try to start off by reading that last line first to see if we can get some information on what needs to be done before we read through the entire thing so the last line begins right here with budgeted purchases of product a for the year would be so we need to find out what what the budgeted purchases of a will be so keep that in mind as we read through the entire thing here starting from the top we have the sales budget for corp shows twenty thousand two hundred units of product a and twenty thousand two hundred units of product b are going to be sold for prices of ten dollars and twenty cents and twelve dollars and twenty cents respectively the desired ending inventory of product a is thirty percent higher than its beginning inventory of two thousand two hundred units the beginning inventory product b is two thousand seven hundred units the desired inventory inventory is three thousand two hundred okay so we're going to try to focus in on product a so we need to figure out what we need to purchase now when we think about what we need to purchase we have to start off that that conversation out with how much do we think we're going to sell how much do we think we're going to sell of product a throughout the year so projected sales of product a because that's what we're focusing on here is twenty thousand two hundred units twenty thousand two hundred so that's how much we need twenty thousand two hundred units now that if that was it if we were starting from nowhere that's how much that's how much we would have to basically purchase or produce if we wanted to sell that much but this is not our first year for one which means that we have beginning inventory already so we don't have to have the whole twenty thousand two hundred because we already have some in beginning inventory and it's also true that we want to basically a cushion at the end so we want a desired ending inventory and so so we want something at the end and what will that desired ending inventory be now they're gonna they're gonna give us the beginning number that's what we'll typically know and then we're gonna basically calculate off that what the desired ending is so they tell us that here the desired ending inventory of product a is 30% higher than its beginning inventory so I'm gonna do that in a separate calculation we're gonna say the beginning inventory is twenty two hundred two thousand two hundred and we want it to be 30% higher because it's going to be a 30% higher for the ending inventory so that would be point three 30% or if we go to the home tab I'm gonna add some decimals it's point three that would be 30% or if we hit the percent sign 30% same thing that means that we want an increase of 2,200 times 30% and that will give us the increase of 660 that's the amount of the increase so what's the ending balance going to be then we want it to be this 2,200 plus the increase the 30% increase of 660 now once again we could do that quicker we could do that quicker we could say okay the beginning inventory is two two zero zero two thousand two hundred times not 30% but 100 plus 30% 1.3 1.3 and if we go to the home tab numbers and we add decimals it's 1.30 1.3 is the same as if we make it a percent the 130 percent and we do that with one calculation then we're gonna just say okay I want this 2,200 times the original 100 plus the 30 130 percent and that will bring us to the 2,860 so if we were starting at a point of zero we don't have any we don't have any inventory we would need to produce the projected sales in units 20,200 and we would have to produce enough to have our desired ending inventory which in this case happens to be the beginning inventory I'm just going to recalculate it here 20,200 times 1.3 130% enter so there's there's that okay and then that's what we would have if we didn't have something in there already but we already have a beginning balance we already have a beginning balance and we're going to subtract that out so if we didn't have any beginning balance we would have to have the 20,200 plus this much for a cushion at the end but there's already something in there in the beginning so we're going to say minus the 2,200 that's in there at the beginning so if we sum that up then we're going to say what we need to produce then is going to be this 20,002 plus what we want at the end minus what's already in there and that will be the 20,860 if we did that in a calculator all we're doing there would be of course taking the 20,200 plus the 2,860 minus 2,200 giving us the 20,860


Hi, in this second screencast, I want to show you how you can combine Spring Security with C-Cloud. So, if we take back our application that we built in the first part here, the first thing I need to do is to add the Spring Security libraries. And I can do that easily by just providing the Spring Security starter dependencies. So, let me add it here, Spring Security. Okay, that will bring in all the needed jars to use Spring Security.  And to do that, the easiest way to start is to go to the key cloud documentation. And in this documentation, we have documentation for all the adapters, including the Spring Security one. And here in the doc, you will see a code sample of a security config class. We can pretty much just copy this sample here and just paste it in our project. So, if we go here in this part here, I just paste that. I remove the public identifier here. And here, let me go through this class quickly. So, here we mentioned we have some configuration. That's an important one. We want to enable web security. So, the first method here, configure global. Here, as the method suggests, we can do some global configuration. We could keep the defaults, but in the default configuration, Spring Security will add a prefix to all our roles. So, imagine our user has the role user, it will prefix it with role in uppercase underscore user. So, we could change that on the key cloud side, but we can also easily change that in the global config and just tell Spring Security to not add any prefix. How do we do that? So, we just get an instance of our key cloud authentication provider here. And here we can set a pretty simple method, which is called setGrantedAuthoritiesMapper. And what we want is a simple authorityMapper. Then we just pass this class to our authentication provider, and that's it. Then, there's one more thing we need to add is where the Spring Security key cloud adapter will look up its configuration. By default, it will be looking for a file called keycloud.json. But, here we are dealing with a Spring Boot app, and we want to make use of the application.property cell. So, we can easily tell the adapter to look in the properties cells instead of looking for a keycloud.json file. So, let's create a new bin. And here, we simply inject a bin, which is called keycloud config resolver. And what we do here is we return a keycloud Spring Boot config resolver. This way, we are sure it will look at its config in the application.property. And then, while we have the configure method, you probably know that from your previous Spring Security project. And here, let's just change that to fit our example. So, here we are dealing with products, and we have the role user in lower case. So, that's all we need to do. And one last thing is if we go to our properties, we don't need any security constraints anymore, because it's Spring Security that handles that. Okay, so, I just save it, and I start again my app. And if I browse to my app, let's bring in here for it. Okay, I go to my products, and here I log in with Siby. Siby, I log in. And you see, it's just working. But this time, it's using Spring Security. Okay, so in the third part, we will divide our Spring app into two different apps, and we will see how we can secure the rest services with keycloud. Thank you very much.


From Hollywood, California, the Lux Radio Theatre presents Miriam Hopkins, Claude Reigns, Richard Green, and Anne Shirley in Confession. Lux presents Hollywood. Confession is a drama of the present and the past, of a romance that faltered, of sacrifice and devotion stronger than time. Confession brings to our stage Miriam Hopkins, Claude Reigns, Richard Green and Anne Shirley. Between the acts, as special guests, you'll hear Dr. Herman Lassauer, head of Warner Brothers Research Department. The music of the Lux Radio Theatre is conducted by Louis Silvers. Before introducing our producer, may I offer a brief suggestion? There isn't a man alive who doesn't admire a lovely, fresh complexion. It's so important to be careful about cosmetic skin. Clever women everywhere, like nine out of ten screen stars, use Lux toilet soap regularly. This gentle soap has active lather that removes dust and dirt, stale cosmetics thoroughly, leaves skin soft and smooth. And now, the producer of the Lux Radio Theatre, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. The Music Box Review was in rehearsal on Broadway when a blue-eyed blonde with a Georgia accent, a diploma from Syracuse University and a do or die determination, walked up to the man in charge and told him that Mr. Hassard Short had sent her to see him about a job. The man in charge happened to be Mr. Hassard Short himself, who, being just as good a sport as he is a producer, swallowed his amazement and placed her in the ballet. Ever since then, Miriam Hopkins has been famous for her ability to convince her listeners. We give her that opportunity tonight in the role of Vera Kavalska. Claude Reigns, who hails from Warner Brothers Studio, where he recently played with such distinction in Four Daughters, interrupted his stage career in England to enlist with the historic Ladies from Hell in the World War. He rose to a captaincy. Later he crossed the ocean and made a notable success with a theater guild. Suddenly finding himself without a play, Mr. Reigns took it for granted that his stage career was over. He bought a farm in New Jersey and settled down to a life of labor and leisure on the soil. But Hollywood put an end to this short-lived career, and so as an ex-farmer he's been harvesting hits instead of potatoes ever since. Seen next in They Made Me a Criminal, Mr. Reigns appears tonight as Mikhail Mikhailov. In the role of Leonid comes one of Daryl Zanuck's greatest discoveries, Richard Green. 20th Century Fox Studio was so anxious to sign him that he was making love to Loretta Young in a picture seven days after he sailed from his native England. Today, less than a year later, his fan mail runs to 3,000 letters a week. He's just completed Submarine Patrol and resumes his attentions to Miss Young in their new film, Kentucky. The youngest of our stars, Anne Shirley, is the screen veteran of tonight's cast. An actress since babyhood, Miss Shirley appears through the courtesy of RKO Studio, is currently seen in A Man to Remember, and plays Lisa in tonight's drama. And now for the play. It's curtain time and start time, as the Lux Radio Theatre presents Miriam Hopkins and Claude Reigns in Confession, with Richard Green and Anne Shirley. The cafe in the European capital, a tawdry sort of place, with a spotlight playing down from the balcony, revealing customers for the most part no more respectable than the cafe itself. Now the spotlight comes to rest, and a couple who seem completely out of place in such an atmosphere. The man is tall and distinguished, the girl young, naive, and a little afraid. Afraid of this strange, exciting place, and of the soft words of her companion. The spotlight moves again, and now focused in its beam is a solitary figure, a woman gowned in black. Slowly with her song, she moves toward the couple at the table. The woman in black is stopped, her song abruptly ended. She stands transfixed, horrified, looking at the two in that booth before her. Then with a quick movement, she turns away and hurries from the floor. The man in the booth whispers something to the young girl. They rise to go, they reach the stairway when suddenly... The man turns. There at the foot of the stair is the singer, a revolver in her hands. The man's face is frozen with horror. You were with this man, weren't you? Answer. Yes, yes, officer, I was. Just answer questions. Who was this man? Mikhail Mikhailov, the pianist. Who are you? How long have you known him? What do you know about the shooting? My name is... I'm Lisa Kozlov. I only met him. Oh, please, please, don't make me answer now. You answer whenever I want. The man's been killed here. Leave her alone. I killed him, and that's all that's necessary. I killed him, and I'm glad. Do you understand that? I'm glad. The court will be in order. Order. The prosecutor will swear the witness. Let her be sworn. Do you swear that the testimony you ought to give shall be the whole truth and nothing but the truth? I do. Your name? Lisa Kozlov. And now, Miss Kozlov. Just a moment, Mr. Prosecutor. How old are you, Miss Kozlov? Seventeen. Seventeen.  I remember, young woman. Not alone are you under oath. But the life of the defendant, Berika Volska, may depend upon your telling the truth. I know. Proceed, Mr. Prosecutor.  I... I don't know. Wasn't it through jealousy of you? No, no, it couldn't have been. No? Well, then why were you in such a hurry to leave the café that night? The moment that the defendant saw you. But... but I wasn't. It was Mikhail who wanted to leave. Mikhail? Oh, then the murdered man was Mikhail to you, Miss Kozlov. How long had you known him? Why, only three days. Three days, and he's an intimate friend. Interesting. Oh, but you... Your Honor, why should this girl be questioned like this? I'm the one on trial. She isn't. Silence. It is not for the defendant to question the tactics of the prosecutor. Continue, Mr. Prosecutor. Thank you, Your Honor. Now, Miss Kozlov, tell us in your own words how you met the murdered man, the relationship between you, everything, and the truth. Well, I... I saw Mr. Mikhailov first at the conservatory where I'm studying piano. He came there as a visiting artist, and after his recital I guess all of us were, well, excited. At least Laine and Hildegard and the girls were my best friends were. So we came out of the recital hall. We were all speaking of the kind of thought. Yes, he is, and his own compositions, too. Oh, silly. I don't mean his playing. I mean his looks, his manners. Didn't you watch his eyes? I did, and I thought where they were most of the time, on you, Lisa. Yes, Lisa. He seemed to see no one but you. Well, maybe that's not so strange. Lisa Kozlov, you don't mean that you know him. Of course he does. I wasn't going to mention it, but I did study with him for a while when Mother and I were in Paris. Lisa, you're making that up. He was just flirting with you, and now you're pretending that you know him. Oh, is that so? Well, I... All right, then. Where was it that you studied with him? Why, it, uh, it was... It was at the Conservatoire-Eloire in Paris three years ago. Oh, Mr. Mikhailov. Oh, Mr. Mikhailov, I didn't know you were... Am I not right, Lisa, Paris, three years ago? Why, why, yes. I remember you were a very fine pupil, but you had trouble with your octaves. Do they still bother you? Uh, no, not so much. Aren't you going to introduce me to your friend? Oh, of course. Hilda Godfisher. How do you do? Elaine Martin. How do you do? Thelma Petrova. I do. Mr. Mikhail Mikhailov. Oh, how do you do, Mr. Mikhailov? An honor to meet the friends of little Lisa. And now, if you will excuse us. Of course. Of course. Happy to have met you. Goodbye, Lisa. Oh, Mr. Mikhailov, I forgive me. Shh, shh, shh, shh. Not here. You can explain why we are having tea together. Tea? Oh, but I could. Oh, yes, you can, my dear. Remember, I tolerate no arguments from my pupils. Now, I suppose we'll leave at once. Of course. He never really been my teacher. I just said that to the girls to impress them. Well, we went to tea, and when he took me home, he asked me to meeting the next morning to ride in the park. And you met him, of course. No. I can't say that I didn't want to. Mr. Mikhailov was, well, different from anyone I'd ever known. But my mother was away from home at the time, and so I knew that she wouldn't approve. The next day, at three o'clock, I was at the conservatory for my lesson. In fact, I was a little late, so I hurried into the lesson room. But Professor Hyneson wasn't there. Hello. You're late. I don't approve of my pupils being late. Mr. Mikhailov, what are you doing here? Doing? By giving you a lesson. I thought that as long as you told your schoolmates I was once your piano teacher, it wouldn't do any harm for Professor Hyneson to know too. And he consented to my giving you your lesson. Oh, you didn't. And the professor's not coming at all. No, Lisa, shall we begin? Please. Please, Mr. Mikhailov, we shouldn't. I mean... Now, let's see what we've got here. Oh, yes, Mozart's sonata in a major. Quite. The first movement begins with this theme. The basic theme undergoes various changes while the harmonic sequence is kept intact. Lisa, are you listening? Yes. Well... While the principal progressions are unaltered, they are emphasized by... Lisa, why wouldn't you meet me this morning? I couldn't. You were afraid? I don't know.  I told you yesterday. Lisa, it's true. You're not just another girl to me. You're all my yesterdays. You're Lisa. No.  Oh, you shouldn't.  What? Lying to people, kissing in corners. I'm not like that. I hate it. My mother gets back tomorrow, and I can't lie about things to her. We'll say goodbye now, and we mustn't see each other again. You don't mean that. I do. I do. Then it was a grand trip, mother. I'm not that big except being very lonely for a certain young lady, I know. Lisa, Lisa, darling, is something wrong? Wrong? You seem so pale. You haven't been overdoing it. No, mother. I'm all right. It's just... Madam Coslove? Yes, Lona? There's a woman out here to see you. She won't give her name. Well, that's strange. Well, I'll see her in just a moment. Yes, madam. While I'm gone, Lisa, you might be seeing what you think of this. It's for a certain long-legged duckling I used to know. Mother, a new gown, and it's practically backless. That makes it official. I'm really grown up. Oh, you darling.  Well, you'll be trying it on, dear, and I'll be back in a moment. Hello? Oh, Mikhail. Mikhail, you shouldn't phone me. I told you that. No, no, it's impossible. I can't. No, believe me. But it doesn't matter whether I want to or not, I'm going away. Well, yes, I... but couldn't listen, listen to me. No, well, yes, yes, I understand, but you mustn't expect me. Oh, yes, yes, I think so, Elaine. I'll talk to mother and call you back if it isn't all right. Goodbye. Who was that darling? Elaine Martin. She wanted to know if I couldn't visit her this evening. I was sure you wouldn't mind. Of course not, my darling. You'll run along, get dressed. I don't know. I guess it was because he told me he was going away the next day. Well, I met him at the Metropole Hotel. We had dinner there. And then he wanted to show me a sort of café I'd never seen. I was afraid when we arrived at the place, and I told him so, but he only laughed. He ordered some wine and began making love to me. He was saying all sorts of impossible things, but I couldn't stop him. And then suddenly the spotlight was directly on us, and the woman was singing on the dance floor right in front of us. Just a moment. You're referring now to Vera Kovalska, the defendant in this trial? Yes. When he saw her, he suddenly straightened up, and never saw her to look in anyone's eyes. And then she saw us and she stopped singing. From then on, I'm not quite sure what happened. He said we must go and we started out, as we reached the top of the steps she called out. Mikhail Mikhailov. He turned back and tried to stop, but then I heard the shots and he fell and... That's all I know. That's all I know. I swear it. Thank you, Miss Kozlov. Thank you. That's all of the examination for the prosecution, Your Honor. The attorney for the defense? The defense has no questions. Your next witness, Mr. Prosecutor. That was our final witness, Your Honor. The case of the prosecution is closed. Counsel for defense? Call your first witness. There will be no witnesses, Your Honor. The defense has no testimony to offer. Our case is closed. Silence! Silence! The defendant Vera Kovalska will rise. Defendant, the court must warn you of the inevitable consequences of your silence in this matter. There is nothing for me to say. I killed him. That's why you killed this man. Perhaps there are extenuating circumstances. Perhaps... There aren't.  That's all that need be said. Let them sentence me. Very well. Mr. Prosecutor, your closing argument. Your Honor, gentlemen of the jury. What need I say? The accused has convicted herself more completely, more certainly than could the words of the most eloquent of prosecutors. The crime, gentlemen, murder. The motive, jealousy of the girl Lisa Kozlov. And the punishment, death. You have no alternative. Your pardon, Your Honor. Your pardon. This suitcase has just been sent to the court by the police. It was just found in the baggage room of the Union Station. It's the property of the accused. No, don't open that! Silence! The case is closed. Finished. That suitcase has nothing to do with it. Nothing at all. Vera Kovalska, this court is not content without a knowledge of the relation between yourself and the murdered man. It is possible that this suitcase will reveal that relationship. Therefore, it is my order that the suitcase be opened and... No, no, don't open it. I'll tell you. Leave that suitcase closed and clear the courtroom of everyone but the jury. And I'll tell you, I swear I'll tell you, but you've got to clear the court. Very well. The court will be cleared. Now, during our intermission time, before we continue with Act Two of Confessions, starring Miriam Hopkins, Claude Reigns, Richard Green, and Anne Shirley, we're going to listen in for a few minutes on the life of Joan Smith, a young Hollywood extra who's just gotten her first real part. Tonight, she's been celebrating with her best bowl. It's been a perfect evening, Bill. I love the dancing. And did little Billy love it? Oh, gosh, Joan, you're the sweetest girl. I could dance with you forever. Oh, thanks, Bill. Now I have to run. Big day tomorrow. Good night, Bill. Good night, then, Joan. You're sweet. Here she is now, all starry eyed. What things, Bill, must have said. Oh, don't drag me, girls. It's too late. No, but honestly, he must have been saying nice things. Tell us, please. Yes, please. Don't be silly. As if I would. I'm going straight to bed. I've got work to do early. Good night, all. Good night. Just as if I'd tell them the nice things Bill said. Gosh, am I glad I hurried home from work for my luck soap bath before my date. That soap sure leaves you clean. And it has such a nice fragrance. Joan is a clever girl. She's learned the importance to a girl of making sure her skin is fresh and sweet. She uses luck's toilet soap as a beauty bath because its active lather carries away thoroughly, perspiration, every trace of dust and dirt, leaves skin smooth and delicately perfumed. Screen stars use this beauty bath. You'll love it, too. Our producer, Mr. DeMille. Miriam Hopkins as Vera, Claude Reigns as Mikhail, Richard Green as Leonid, and Anne Shirley as Lisa continue in confession. The courtroom has been cleared. Facing only the judge and jury, Vera Kovalska is prepared to testify to tell why she killed Mikhail Mikhailov. For a long moment, she stands surveying the anxious faces about her. Then, at last, she speaks. Your Honor, before I begin, I must be sure that nothing I say here will become public knowledge. The accused may be sure of that. Proceed. Well, it was in 1912 in Warsaw. I was a leading singer of the Imperial Opera there, and this particular night was to me perhaps the most important of my career because it was to be my last. The opera that night was entitled, Miserka, the composer and the conductor, Mikhail Mikhailov. I'm sure that I've never sung better, and as the last scene came to me, applause from them out there, but from you, my fellow singers. Stella, you do the honors for all of us. All right. Vera, for all of us, this is goodbye and good luck.  And so, in your marriage tomorrow to Captain Kirov, we want you to know, Vera, that you take with you the love and the good wishes of us all. Thank you, Stella, and all of you. I know that nothing except my love for Leonid could ever make up to me for losing you and all this. I must go and dress. Good-bye. I feel like the climax of the second act. Mikhail! I waited to make my farewell in private. I have no taste for public demonstrations. Mikhail Mikhailov, your gallantry is only exceeded by your vanity.  You sang superbly tonight, Vera. Oh, the real credit belongs to your opera. My opera is but scribbled notes on manuscript. It was your singing that made it great music. Vera, you can't do it. What can't I do? Come on, give it up. Marriage isn't for you, at least not this kind of marriage. An army, Captain, not really. Music is your world, my dear, now and forever. Wait. This is all terribly serious to me, Mikhail, and I'd rather not joke about it. Joking? But I'm not joking. Now, if you were to talk of marrying someone else, Mikhail Mikhailov, for instance... I don't suppose it matters that Mikhail Mikhailov already has a wife. Wonder? Oh, ancient history, my dear. Vera, darling. Oh, Mikhailov, congratulations. Your opera was wonderful. Well, thank you. You come in good time. I was just trying to persuade your fiance to jilt you at the altar and marry me instead. Oh, were you? Well, I take it all back about your opera. It was terrible. In my opinion, exactly. Glad you agree with me. Well, I'll run along. The very worst of luck to you both. An intriguing sense of humor some people have. Vera, what did that fellow want in here? Oh, nothing of importance, but I'm glad to see that you're jealous. Would that mean you love the lady, Captain Kirill? It would mean that I adore the lady. Do you, my darling? Are you sure? Very sure. Now and forever. Now and forever. And there's nothing ever that can separate us. Less than two years when war was declared, and as an officer he was sent to the front at once. But those two years we did have were so filled with happiness that I almost believed they'd make up for all that's happened since. Perhaps the defendant desires a reason. No, I want you to know all of it. As I've said, my husband was at the front. He was even away when our child was born, and I was continually obsessed by a single fear that something might happen to him while he was gone. I suppose I was almost frantic in my care, Arthur, and although I had the best of nurses for her, I went nowhere. My old friends were nearly forgotten. And then one day, Stella Maloff came to see me. Oh, baby, Vera. I'm rather proud of her. And that husband of yours? He's well and as handsome as ever, I suppose. I hardly know. It's been so long since I've seen him. He's really in the thick of things, Stella, but he always writes me not to worry. It seems he has a system. When the shells start to fall, he runs for the nearest general. And you? What about you? Don't answer, I'll tell you. You buried yourself.  That spark, that... that je ne sais quoi that was Vera Kavoska. It's gone and I don't like her. Nonsense, Vera. I'm the happiest person in the world. What if you are? Can't you be happy and have some fun, too?  But you're not, and that's serious. So little Stella is going to do something about it. What? There's a benefit ball on Saturday night. All Warsaw's going to be there. Particularly, all the people you used to call your friends. And because you miss them and they miss you... Vera Kavoska! You don't know how good it is to see you again, Vera. Stella says you have a baby. Does she sing yet? How is your husband? Oh, I warn you not to ask her about her husband. She's rabbit on the subject. The man is winning the war single-handed. Oh, how I've missed you all. I didn't realize how much into... Listen, a Mizzaka. Exactly. And you're going to dance it with me. Mikhail. Mikhail Mikhailov. The same. Infinitely older and only infinitesimally wiser. While you, Vera, you haven't changed at all. Yes, you have. You're more beautiful. The same, Mikhail. With whom I repeat, you are about to dance. Mikhail, dear. Have you forgotten? This was to be our dance. Oh, quite so, Zanya. Yes. By the way, Vera, may I present a new member of the company? Zanya Solkov. Zanya, Madam Vera... Vera, what is that name now? Oh, yes, yes, Kirov. How do you do? A pleasure. Come, Mikhail, dear. Quite. See you later, Vera. Possession will seem to be ten points at the log of little Zanya. Who is she? Mikhail's latest. Why? Why? Well, not exactly. At least not till he gets rid of Margit. Margit? Oh, Vera, you are behind the times. Margit was a successor to Wanda. She made her entrance into the Mikhailov comic opera some time ago. Her exit is imminent. There may be those among you who are under the delusion that this ball is ended simply because the other guests have all gone home. Not at all. We, my friends, may remain. Song's orchestra, it is true, but still we may remain until dawn if it pleases us. It has been arranged by a scoundrel named Mikhailov. Oh, but it's late, Mikhail. We should go home. Impossible, Vera, my friends. There is, I confess, a purpose to my keeping you all here. After all, we are good friends and there is a tribute to an old friend returned that we surely have not forgotten. Fair enough. Fair enough. A tumbler of vodka. And each of us chanting till she downs it at one gulp. That is our tribute to Vera. And if she is still one of us, she cannot refuse. Mikhail, no, not vodka. I can't. Oh, yes you can. Here, Zanya. Zanya, you hold the glass while I... Well, that was too good an exit. Must have been rehearsed. You will pardon Zanya's manners, Vera. I suppose it's just that she's young. Another glass. Now, a tray.  Mikhail, please. I appreciate you. Fair enough, fair enough, fair enough. Fair enough, fair enough, fair enough. Don't do it, Vera. Fair enough, fair enough, fair enough. Not that much vodka. Still, I've got to. I can't insult them. Fair enough, fair enough, fair enough. She's going to do it. Good girl. Down to Vera. Long to the right, Zanya. Who said Vera no longer was one of us? Oh, Vera does. And now I... Well, I thank you all again. But I must go home. I'm already seeing you all double. And by the time that vodka takes effect... Perhaps you're right, Vera. I'll see you home. That won't be necessary, Mikhail. Of course it is. Would you have me let the guest of honor go unescorted? I can go home with her myself. Stella, you amazed me. I actually believe you mistrust me. Come on, Vera. All right. Good night, everybody. Good night. A grand party. What do I do? Try to go home. I'm glad you came tonight, Vera. I'd hoped Stella would bring you. That's why I told her where to find you. Did you know it was I who found you first? Vera? Vera? Are you asleep? Funny little Vera. You say she didn't come home all night and she didn't call? No, ma'am. Madame Kirov didn't call all night. I've been so worried, ma'am. What with the baby and all... There she is now. Wait here, please. Stella. Oh, Stella. Don't cry.  The baby. She's all right. Yes, the nurse is with her. Vera, when I came here and found you, hadn't come home. I was nearly crazy. Oh, Vera. It didn't happen. Not to me. It couldn't. It's not possible. It's not... Oh, Stella. Why? Why to me? Why? Darling. It was no more your fault than mine. Captain Kirov. Listen. Good morning, Sarah. Where's Madame Kirov, Sarah? Why? Well, I'm not quite sure, sir. But the baby is just inside. Would you like to see her now? Of course I would. Will you find Madame Kirov and tell her I'm home? Oh, yes, sir. I imagine it will be a bit of a surprise. I didn't let her know I was coming. Stella, it's Leonid. He's home. He's here now. Quickly, Vera. Go up to your room. He mustn't see you in that dress. No, I've got to tell him, Stella. Are you mad? He's my husband. He has a right to know. He'll understand. But not now. Please, Vera. You can tell him later. Go on. I'll keep him down here. Hurry. Very well. It doesn't matter much whether now or later. Perhaps you went down without telling me, sir. Very well. When she comes in, would you mind telling her? I beg your pardon. Good morning, Captain Kirov. Good morning. I'm Stella Marloff. I was in the opera company with Vera. I've been visiting her here the last few days. Madame Marloff, of course. And you're most welcome.  Why? I don't know what you mean, Captain. I've watched your eyes, Madame. They never betrayed for an instant that you even noticed this empty sleeve of mine. My congratulations. Vera doesn't know? No. Well, was that wise, Captain Kirov? I don't know. There are some things one lacks the bravery to write. And is there greater bravery in confronting her like this? Unworned? Do you think I wanted to? Do you suppose that in these weeks I haven't seen her face before me a thousand times? The pity in her eyes when she sees this... It must not be, Captain Kirov. Well, Vera's taken your own. She must know before she meets you. Well, how? I'll tell her. And then I'll send it to you. Oh, it will be easier from someone else believe me. Will it? I don't know any longer. I thought of it too long. If you will, Madame Marloff. She'll be smiling when she comes to you. You'll see, Vera. Well, listen to me. Listen and say nothing until I've finished. You believe in your heart that last night is the most important thing in the lives of you and your husband in this moment. Well, it's not. You said a moment ago that because you love him, you must tell him. Yes. If you do love him, you can't. Wait. He needs you, Vera. He's hurt. He's... He's lost an arm, Vera. Lost at fighting for the thing in which he believes. Oh, you can't tell him, Vera. You must see that. Where is he now? In the library. And Vera? Yes. I promised you, come to him. Smiling. Vera. Oh, my darling. My old darling. Let me look at you. She was right. You are smiling. And it makes no difference to you, my dear. We're together again, Leonid. That's all that matters. We're together. You and I and our baby. What had happened to my husband made my love for him stronger. And I think there were times when I even blessed that empty sleeve because it meant he wouldn't have to leave us again. And I did make him happy, I'm sure of it. One moment. Do I understand that you still refrain from telling your husband of the incident involving Mikhail Mikhailov? I couldn't tell him. You can understand that. What it would have meant to him under the circumstances. And so I determined for both our sakes to try and forget everything. There was no chance for me to do that. And why not? Mikhail kept trying to see me again. Letters, phone calls, ever more insistent. The man was mad. He said he'd stop at nothing unless I'd consent to see him again. And then there was a day when I received a note from him. He had to see me. He threatened me. Oh, I was frantic. I rushed to the telephone. This is Vera. Mikhail, listen to me.  But please, in the name of heaven, don't come here. No. All right, I will. Thank you. Now. Yes, yes, but don't. All right, Mikhaila. Yes, in 10 minutes. Goodbye. Going out, Vera? Leonid. Oh, I didn't know that. Whom were you talking to? Well, it's a friend of Stella's. She's very ill, and I'm going to her. And Stella? She's going to get my first, uh, the taxi. Here's money. You'd better not delay. But I... you're right. Thank you. Goodbye, darling. Mikhail. Oh, Vera, you'd better... Oh, Leonid. Is she very sick, Stella? Sick? Your friend. Or possibly you didn't know that you had a friend. So ill that my wife, but not you, must go to them at once. Oh, why? Why, of course, it's... Don't lie. Where has she gone? Who is Mikhail? Answer me! No, never mind. Mikhail. I know. I remember. Well, Vera, so you finally decided to come. Sit down, my dear. Have a drink. Let's understand each other from the beginning, Mikhail. I didn't come here for a rendezvous with you. No? No. I came only to make you understand that I never want to see you again. Now, Vera... Keep away from me, Mikhail. You're not going to blackmail me. Do you hear? I love my husband and my baby, and there's nothing I wouldn't do to keep them. Do you understand that, Mikhail? There's nothing I wouldn't do. You know, I actually believe you. You surprised me, Vera. I hadn't credited you with the gift of intensity. Well, I'm sorry. It would have been very pleasant. May I show you to the door?  Swear it. Very well. This, my dear Vera, is a most regrettable but final parting. You have my word. Goodbye, Vera. My darling. Goodbye. It would seem that Stella's friends recover quickly. Leonid. Yes, I followed you, Vera. Do you mind? Oh, my darling, listen to me. You've got to understand me. You've been seeing this man, haven't you? This old friend. Leonid, please. Do you want to deny it? Can you deny it? Leonid, I... Thanks. And you needn't worry about following me home. You'll find your welcome here, perhaps. You won't be there. No, Leonid! Pause for station identification. This is the Columbia Broadcasting System. The curtain comes down on the second act of confession. And in a few moments, we'll open act three with our stars, Miriam Hopkins, Claude Reigns, Richard Green, and Anne Shirley. This is intermission time. And here's Mr. DeMille with a preface to the evening's special guest. Every Hollywood producer receives many barbed letters, politely or impolitely pointing out that in his latest epic, he used a Strauss waltz 20 years before the composer was born. Or that he made a famous general right-handed when everybody knows that he was a South poor. Or that the picture shows a firehouse on a corner of a famous city where actually there's an opera house. To keep such blunders out of pictures, we place our hopes and our reputations in the hands of research experts. With the patience of Job and the ideals of a diogenes, they get their facts just as the Northwest Mounted policeman gets his man. Northwest Mounted policeman. Their correct name, sir, is the Royal Canadian Mounted Police. It was changed to that in 1920. Now, you see what I mean?  After 16 years in the ministry, Dr. Herman Lasawa is now head of Warner Brothers Research Department, where he worked on the picture confession. And incidentally, he's director of the Los Angeles Modern Forum. And now, if you knock at our door, doctor, I'll be very glad to welcome you in. Good evening. I hope you noticed I gave the proper number of knocks. Six. Six? Why not five or seven? I learnt door-knocking etiquette while we were making the Great Garrick. By their knocks, you shall know them. Who, your critics? No, your callers. Here's how the old London resident knew who was waiting to come in. A messenger rang the bell twice and knocked once. The postman all was knocked, not rang twice. A nobleman gave eight or ten vigorous wraps and a gentleman half a dozen dignified knocks. I hope to be classed with a latter. Well, come in, doctor, and close the door and tell all about confession. Well, our research problems were primarily concerned with the small items usually considered so unimportant that a record is rarely made of them. We had to reproduce the courtroom faithfully, the relationship of the judge's desk to the witness box, the jury bench, and to the defending and prosecuting attorneys. Now, the art director for confession was Anton Groot. He was born in Poland and insisted on OKing the Polish street signs. When letters began to come in advising us of errors, Mr. Groot was very much chagrined until it later developed that they were not really errors. It seems that since Groot left Poland, the language had undergone radical changes and even his own name was so different he didn't recognize it. And now, Mr. Demir, what have you come across researching for Union Pacific? Well, for one thing, the origin of the word highball. It comes from an old railroad signal consisting of a pole and a ball. If the engineer saw the ball at the top of the pole, it meant he had the right of way.  Such meetings not infrequently involved having a drink together. And so the word highball came to be identified with a drink. But Union Pacific happens to be in exactly the same period as your new picture, Dodge City. So, perhaps you have a few discoveries I might steal. Well, telling you about bathtubs is like carrying the well-known coals. But as civilization went westward, so went the bathtub. Located in barbershops, they were patronized by the cowboys who waited their turns and long lines after a cattle drive. I don't know what kind of soap they used, but it doesn't require a research expert, Mr. DeMille, to know what kind of soap is used these days in Hollywood. Anyone who's visited the studios knows that Lux soap is used by about every star and studio worker in the business. Now, centuries ago, if you'd had a cake of Lux soap, you would have used it instead of money. In Robin Hood's time, a pound of soap bought a bonnet and a cape. But tell us some more about Dodge City. Well, they lived fast and died fast.  One of the epitaphs reads, Shoot him up, Jake. Run for sheriff, 1872. Run from sheriff, 1876. Buried, 1876. But Boothill is not reserved exclusively for gentlemen. Five ladies languish there, also with their boots on. There's an epitaph for Dora Hand, and it says grand opera singer, Dancehall Queen, killed by a pistol ball intended for her lover. And now, sir, with your permission, I retire with my boots on and let you get back to confession. Many thanks. Goodbye, doctor. Always picked to the thanks. Our play confession, our stars Miriam Hopkins, Claude Reigns, Richard Green, and Anne Shirley. Behind closed doors, in a courtroom cleared of witnesses and spectators, Vera Kovalska continues her testimony. The jury antagonistic earlier in the trial seems to have become sympathetic, almost friendly, as they listen to her hushed words. It was but one hope. It was to finally or need tell him everything to somehow make him understand, but he refused even to see me. And then at last I had word from him through his lawyer, a divorce as quickly as possible. There was one person who might have cleared me, Mikhail. But when the day of the trial came, Mikhail happened to have left the country, and naturally the divorce was granted. Leonid was lost to me. I knew that. But there was still one thing even more important. On the day following the trial, his lawyer came and said, Mr. Stevens, tell me, could you do anything? Well, you have my sympathy in this matter, but the law specifically states that where the marriage is broken through the fault of the wife... Oh, never mind all that. Are they going to let me keep my child? No, madame. Complete custody is granted to a father. Complete custody? You mean I can't even see her? In cases of this sort, it's the law, madame. But, but Leonid won't do this to me. He can't. Whatever the law may say, I won't give her up. I'll keep my child.  Good day, madame. There was nothing I could do. She was taken from me. After that breakdown, months in the hospital. When I left, I found that Leonid and my child were gone from Warsaw. Disappeared. From then on... Your Honor, I feel to see the necessity of the accused prolonging this tragic tale of hers any longer. What she's been trying to say is that the man Mikhailov came between her and her husband. Well, what difference does it make? The man is dead. Whether she killed him from jealousy or revenge... It wasn't for revenge. There was a time when I believe I would have killed him for that. But that wasn't the reason that I did. Then, as I said before, jealousy. The girl, Lisa Kosloff... And it wasn't for jealousy of Lisa Kosloff. Your Honor, may I go on, please? The accused may continue. Then, Your Honor, I protest against the exclusion of witnesses and spectators. There's nothing in the testimony of the accused that couldn't be heard in open court. Please, Your Honor, don't admit the witnesses. Just let me finish. I can make you understand why. And the suitcase, Madame Kovalska, you will explain that as well? Yes, everything. The accused may continue. Thank you. I... I don't remember where I was. Read the last testimony given. When I left the hospital, I found that Leonid and my child had left Warsaw. Disappeared. Oh, yes. Yes, Leonid had left some money in my name, but I spent nearly all of it trying to trace them. It was no use. Then I had to think of some way to live. I knew I could never sing in the opera again. But I did have voice enough left for one thing, cabarets, small theaters, amusement parks. 15 years of them all over Europe. And all during those 15 years, there was one thought that kept me going, the dream that I might see my baby again. My first thought in every strange place was, perhaps Leonid lives here with my child. But I had just about given up hope when a letter came from Stella. She had word of Leonid. It seemed that he had changed his name from Kirov to Kozlov when he left Warsaw. But she hadn't been able to learn where he had gone. Even so, the news gave me hope. Then I came to this city a few weeks ago to sing at that cafe. I found an old city directory. I looked through it. And there was the name. Leonid Kozlov. After all these years, I'd found him. Found my baby. I copied down the address and I went as quickly as... Yes? I'd like to see Mr. Kozlov. Who? Mr. Leonid Kozlov. Why, if you'll please wait a moment. I'll call Madam Kozlov. Madam? Who shall I say is calling, please? That doesn't matter. Just say I wish to see her. Very well. No, no, Mother, I'm all right. It's just... Madam Kozlov. Yes, Lona? There's a woman out here to see you. She won't give her name. Well, that's strange. Well, I'll see her in just a moment. Yes, Madam. While I'm gone, Lisa, you might be seeing what you think of this. It's for a certain long-legged duckling I used to know. Mother, a new gown and practically backless. All that makes it official. I'm really grown up.  Well, you be trying it on and I'll be right back. How do you do? My maid tells me. She's beautiful. What? Oh, you mean my daughter? You're... Yes. Yes, your daughter. She's 17, isn't she? Why, yes. Lisa's just 17. But how did you know? I'm an old friend of her father's. Do you suppose I might see him? My husband died two years ago. I didn't know. I'm sorry. You say that you... well, that is... How long ago did you know Leonid? May I ask? Nearly 20 years ago. Then you also knew his first wife. Yes, I knew her. I knew her rather well. Then the... Well, please try to understand, but Lisa...  I see. Leonid wished it so. I didn't. I'd always planned to tell her the truth when she grew up. How her own mother died years ago in Warsaw. Her mother died in Warsaw. Oh, you didn't know that? I didn't know. I was a child and still fond of me. I couldn't tell her. You see, I had no children of my own and I loved her just as though... Well, you understand. Yes, I understand. Tell me just one thing. When Leonid, your husband, died, he left... I mean, your... your daughter is sure to be well provided for. Oh, yes. If there's anything more that matters, I'll be going on. Goodbye. Goodbye. Seeing her well and happy and beautiful. Seeing her in the kind of home that she deserved, the kind I could never hope to give her. I can't pretend it was easy, but I made up my mind to be content. It was the nearest thing to happiness I'd known for 15 years. I went on to the cafe where I'd been engaged to sing. It was pretty bad as cabaret as gold. Somehow I didn't seem to care about that now. And then, that same night, I was in the middle of my number. The spotlight followed me about the room. There, there before me in a booth was Lisa, with me Kyle. He was leaning close to her.  That man was my daughter. Yes, I killed him, and I'd do it again. I swear to heaven, I'd do it again. That's all your honor. That's the whole story. And the suitcase? It contains papers that verify all that I've told you. Certificate of marriage to Leonid Kirov, the birth certificate of Lisa, the decree of my divorce, everything. But if those papers had been examined in the open court, Lisa would have known what she must never know. I see. That will do, Madame Kovalska. Mr. Prosecutor. Yes, Your Honor. Your Honor. Gentlemen, I statute your final arguments to the jury in this case must be given in open court with all witnesses and the public present. But injustice to this woman and to the girl who is her daughter, will instruct you to keep her secret and guard what you shall say accordingly. But why should they be so long, Mother? Oh, I don't know, dear. You can never tell about juries. Sometimes they'll reach a verdict in a... They've got to have quit that poor woman, Mother. They've got to. If only what a lawyer said was true that her secret testimony proved she was justified in killing him. Do you realize, Mother, it's really only because of me that this happened. If it went from me, you might not have been in that cafe that night. Yes, I know who I know, dear. Oh, the jury, they're back. This court will be in order. Gentlemen of the jury, you have agreed upon a verdict? We have, Your Honor. Clerk, the verdict. The accused will rise. The accused, Verakovalska, has been found guilty of murder in the second degree. Your sentence? Three years in prison. Due to the mitigating circumstances of this case, the court will endorse a plea for pardon whenever the accused shall enter such plea. It may well be questioned why the court is so lenient. It is true that the accused killed a human being. But during that testimony given behind closed doors, it became clear to all of us that the real actuating motive behind her crime was to save a young girl from the advances of a man of the lowest possible moral character. This case is closed. Court is adjourned. Oh, Mother, did you hear that she's going free? She's going free. Yes, come, dear. Oh, no, no. Wait, please. I've got to speak to her. Well, all right, dear. Excuse me. Madam Kovalska. Yes? Oh, what is it, please? I just wanted to... I wanted to tell you that I wish you the best of everything. Goodbye. Thank you, Miss Lisa. Goodbye. We close our play and open a four-star conversation with the true confessions of Mr. Reigns, Mr. Green, Miss Shirley, and our leading lady, Miriam Hopkins. Miss Hopkins has just returned from New York to star in Warner Brothers' film We Are Not Alone. We welcome her not only to Hollywood, but to our microphone. It's been especially nice to return to the stage, Mr. DeMille. In New York, I visited about every theater and saw about every play and, God, I'm afraid, a bad case, a Broadway fever. There are so many fine plays in New York this season, but back I had to come in since this program is the nearest thing to the stage itself. I was more than delighted to be here tonight in confession. But now here's Mr. Reigns, and I'm afraid Mr. DeMille, he's come armed with a complaint. Yes, I have, sir. Earlier tonight, you referred to me as an ex-farmer.  From a Hollywood soundstage? Yes, back there. I'm known as the Invisible Boss. Having qualified on the screen, of course, is the Invisible Man. I have some 40 acres in Delaware County, and right now I'm experimenting here with some of your western cattle, which I later hope to introduce to Pennsylvania. Well, if you have any trouble with your cow's claw, just call on Richard Green. He tells me study to be a veterinarian. No, that is Dr. Green. Anything but, Mr. DeMille, I had intentions of becoming a hofer-in-mouther, and I did enroll in the Royal Veterinary College. That was on a Monday. On Wednesday, they suggested I try the stage. Well, you may not be Hollywood's only ex-fed veterinarian, but I bet you the first actor summoned to the Lux Radio Theater by the state police. I've been meaning to ask you, Mr. Green, what's all this I've read in the papers about your being lost in the wilds of Arizona last week? Well, Miss Hopkins, after hoping for weeks that Mr. DeMille would invite me over here sometime, I took a few days off to go hunting. Of course, that would be the time when Mr. DeMille would try to get me. So while I was hunting deer, the state troopers were hunting green. They were the first to tell me about Mr. DeMille. That's the first time I ever sent a posse out after an actor. Yes, and it's the first time the troopers ever went 20th century fox hunting. They probably brought you down with a well-directed tally-ho. Anyway, next time I go hunting, I'm taking a compass along. You know, you can never appreciate what a big country you have here until you get lost in it. I was already to settle down, forget the movies, and turn trapper. Well, you made up for your trials, Mr. Green. If you've enjoyed being here tonight, half as much as I did. But before I leave, Mr. DeMille, I'd like to say thank you to Luxo too. I use it all the time because I found there's nothing better for a nice, rude complexion. And I know I wouldn't be without it either, Mr. DeMille. Good night. There's good judgment for you. Good night, ladies. Mr. Reigns, Mr. Green. I hope we'll meet here soon again. Good night, sir. We know you're interested to learn what the play and who the stars will be next Monday night. Mr. DeMille brings you the news. In tonight's cast, you heard Psy Kendall as prosecutor, Margaret Brayton as Stella Melloff, Ted Osborne as counsel, Arthur Vance-like as judge, Myra Marsh as Mrs. Kosloff, Ethel Sykes as Zania Salkoff, Edwin Max as an officer, David Kerman as a clerk, Ilia Braca as Elaine Martin, Jerry Gale as Hildegard, Justina Wayne as a maid, Teresa Carmo as a nurse, Andi as a court reporter. Dr. Herman Lassauer, who was our guest tonight, appeared through the courtesy of Warner Brothers, where he has been working on their latest picture just released, Angels with Dirty Faces, starring James Cagney and Pat O'Brien. Lewis Silvers appeared through courtesy of 20th Century Fox Studio, where he was in charge of music for the new film Submarine Patrol. Mr. DeMille. Not all the cruelies of war occur on the battlefield. Often they enter the home as they do in our play next Monday night. It's the story of an army officer who after being reported killed at the front, returns to find that his wife is married again. Another girl learning that he's alive begins to blackmail the wife. Around this situation the celebrated drama Interference is woven. A great success in England on Broadway and twice on the screen. Interference brings to our stage four splendid stars. Herbert Marshall, Leslie Howard, Mary Aster and Gayle Patrick. Our sponsors, the makers of Lux Toilet Soap join me in inviting you to be with us again next Monday night, when the Lux Radio Theatre presents Leslie Howard and Herbert Marshall in Interference with Gayle Patrick and Mary Aster. This is Cecil B. DeMille saying good night to you from Hollywood. Join us again next week in the Lux Radio Theatre. For the large audience that gathers each week to enjoy an hour of dramatic entertainment and a chance to meet Hollywood and its famous people. This is your announcer, Melville Ruick bidding you good night on behalf of our guests, our cast and the staff of the Lux Radio Theatre. This is the Columbia Broadcasting System.


All right. Thanks, Arpit. Good morning, everyone. So, yeah, I'm Michael August. I'm a computer scientist at the Naval Information Warfare Center Pacific, representing the Department of the Navy. And today I'm going to talk about the DARPA Open Programmable Secure 5G program, or OPS 5G for short, as an example of collaboration between government and the open source community. And actually, the founder of the OPS 5G program was Dr. Jonathan Smith, and he presented at this forum last year. So, next slide, please. For the agenda, I'm going to briefly introduce DARPA, and I'm sure no intro needed. You just heard from Tom, but I'll give a little background there. And then talk about the OPS 5G program as well as some of the focus areas of the program. And then I'll get into the collaboration that we, the Navy, and DARPA have been having with the Linux Foundation in particular. And then I'll talk about the 5G Super Blueprint from LFN. And then what our plans are going forward for leveraging the 5G Super Blueprint into something called Mojito. And then I'll finish up with a call to action for the open source 5G community. So, next slide, please. So, this is just to give kind of a brief rap sheet of some of DARPA's accomplishments and their mission. I'm sure most of you have heard of DARPA, right, the Defense Advanced Research Projects Agency, with the ARPA Net being the precursor to the Internet as one of the most famous developments, right, coming out of DARPA. DARPA's mission is to make pivotal investments in breakthrough technologies for national security with enabling technologies you can see on the bottom of this chart leading to military capabilities, as you can see on the top. And a recent example of this, which is very relevant, can be seen in DARPA's investment over the past decade in nucleic acid-based vaccines, which you can see on the upper right side of this chart, which were critical to the rapid development and mass production of RNA vaccines for COVID-19. So, for example, in 2011, the ADEPT program developed nucleic acid vaccines and the accompanying RNA vaccine technology. And then following up to that program was the P3 program of the pandemic prevention platform in 2016, which provided for rapid discovery, testing, and manufacturing of antibody treatments to fight emerging diseases. So these programs began with the goal of finding rapid ways to protect American troops running into a new virus while in the field. But they ended up having positive impacts not just on our national security, but also for society at large. So that gives kind of a sampling of the scope and the impact that DARPA's investments can have, broadly. Next slide, please. So this is really a pioneering effort that we're doing with Ops 5G, because typically, with proprietary systems, a single manufacturer control the entire hardware and software stack. And that can make it easier and faster to develop the software for that proprietary system. But on the other hand, if you do an open source approach, open source really opens up the development of the internals of the system to various eyes. And so some of the advantages that that brings is code visibility and portability. And the portability provides or enables us to decouple the hardware and the software. And that increases the difficulty of a supply chain attack. And it also makes it easier for manufacturers to introduce new hardware into the market. So while open source is typically more portable, that portability necessitates the introduction of a hardware abstraction layer. So this is kind of the double-edged sword of open source. And as a result, the open source code development process can take longer than if you were to develop software for the proprietary system because of that increased complexity and then the need to support disparate types of hardware. And so the Ops 5G program really seeks to address this challenge by pursuing research leading to the development of a portable standards compliance network stack for 5G mobility that is both open source and secure by design. So with standardization, we get interoperability between systems. And then with open source, we get the modularity and flexibility within the system. So with that, I'll go a little more into Ops 5G on the next slide, please. So really the vision for the program is to augment open source software to obtain a secure 5G system. And in particular, to allow for implementations of a 5G system, which are secure, even though they're built with various components, which may or may not be trusted. So by decoupling the hardware and the software into a modular system, Ops 5G really seeks to provide a mechanism for rapid software development as well as security enhancements to the 5G system itself. And then the idea is to transition those developments back into the commercial network operators. One of the key aspects of 5G itself is programmability. And in particular, the introduction of software defined networking and network function virtualization. And that programmability means that you have a rapid means to adapt to network attacks. But at the same time, you can then introduce the possibility of hijacking or misuse of the network and then unforeseen ways by adversaries. So the Ops 5G program, it aims to take advantage of the network programmability to enhance network security and defenses, while at the same time preventing an adversary from taking advantage of that programmability. So now I'll talk about the four different focus areas or what are called technical areas within the Ops 5G program on the next slide. So the Ops 5G program is broken down into four different technical areas, TA is one through four as I referred to. And so I'll briefly talk about each one now. So for TA-1 standards meet software, the idea is to decrease the time required for updates to the Ops 5G open source software in response to new versions of the 5G standards documents that come out. So actually two performers on this technical area, SRI and Kaki, are focused on accelerating open source software development by providing a set of tools for performing machine translation of those 5G standards docs, such as those from 3GPP and Etsy. And what we find is that the structure of those documents actually enables machine extraction of information relevance to implementations of those standards. And that therefore it makes it possible to perform various automated processes such as compliance testing, proofs of correctness, integrity verification of the protocols. So in this way, translation of the standards documents into some kind of intermediate representation, as we can see here, or some kind of domain specific language, could accelerate the software development process. In addition, the TA-1 performers here, these two, have been tasked with looking at how to actually perform automatic code generation from that intermediate representation in order to automate the software development process to the maximum extent possible. So this is really a fascinating area of research. And so this technical area is really part of how OPS 5G program seeks to speed up the open source software development process for the open source 5G staff. So now I'll move on to TA-2. Next slide, please. So TA-2, a cross-scale 5G node and network security. This TA looks to achieve a usable, scalable, zero trust security architecture for devices ranging from small form factor, long lived IoT sensors out in the field to large servers in your data center. And so this architecture intends to have a minimum impact on the size, weight, and power as well as the price. And really it's focused on end-to-end security of the network. And that includes network access control, remote attestation, implementation of a software-based root of trust, as well as a variety of other techniques. And actually one of the performers is using energy harvesting from the RF itself, from the base station, to demonstrate the potential of intermittent computing on a very low power device. And you can use that actually to perform cryptographic operations intermittently as you're receiving power. So that's a feel for TA-2. Next slide. TA-3, secure slices. That's actually, I'm the lead in this area. So this technical area is focused on mitigating new attack surfaces that are introduced by virtualization and network slicing within the 5G stack, such as side channels and whatnot. And there are various cryptographic techniques, including fully homomorphic encryption where you can actually perform computation directly on encrypted data without ever decrypting the data. Threshold encryption, proxy re-encryption, these are various cryptographic techniques for distributing data and partitioning it amongst multiple participants, as well as forwarding data in a secure way. So all these cryptographic techniques that are novel are being brought to bear on this secure slicing problem. And also, there are a number of network obfuscations that the performer USC-ISI is developing in order to prevent adversaries from performing network traffic analysis-based attacks, wherein they could infer information about the network structure or communications between nodes in the network. So really, it's a very interesting array of techniques that are being brought to bear on network slicing security. The next slide, please. For TA-4, principle programmable defenses, the objective is to change programmability itself from a threat vector to an enable of security at scale. And so the two performers working on this area, Georgia Tech and Peraton, they're developing a pushback architecture to rapidly detect distributed denial of service attacks and then to rapidly mitigate against those attacks. And we're talking about it at a very large scale. And so we're doing simulations that are on the order of a billion nodes at this point in order to demonstrate the potential of that pushback architecture. So really fascinating work here. Next slide, please. And so really, in order to take advantage of these enhancements, the resulting from these four technical areas, the OPS 5G program wants to apply them to open source 5G projects. And so the founding program manager for OPS 5G, Dr. Jonathan Smith, he initiated an agreement for cooperative research and development between DARPA and the Linux foundation, which has been absolutely instrumental in moving the technology forward and I think will be instrumental in transitioning it going forward. So this has resulted in the development of US GovOps, as you can see on the left here, which is an open software initiative that's focused on accelerating the development of a 5G end-to-end stack. And so really our vision is that the Navy, being the independent test and evaluation team for OPS 5G, will take the deliverables from those OPS 5G performers that I just mentioned, and then test and evaluate them within our 5G test bed environment. And then we're, those performers are then going to take that tested the software and they're going to push it into the Linux foundation projects that comprise a 5G stack. And then we'll be taking the full 5G stack from Linux foundation and deploying that at various DoD sites throughout the country. So really there's, this is a great collaboration and I think it's going to be absolutely instrumental in pushing the security enhancements and that rapid software development out into the community and ultimately out into the the commercial network operators. So next slide please. So here's just a sampling of some of the, you know, projects, Linux foundation projects that the OPS 5G performers are contributing directly to. And so, you know, we have ONAP and Open Daylight. So for Open Daylight, we're looking to develop some OpenFlow plugins to support newer versions of OpenFlow directly with an Open Daylight. Also, some of our performers on OPS 5G are contributing to DPDK and FIDO, some of the DDoS, rapid DDoS detection and mitigation algorithms that I just referred to for FIDO, for example. And then also contributing to Intel SmartEdge Open, formerly Openness, and Zephyr real-time operating system. So a lot of work going on in this area. Next slide please. And so one of the things that the Linux foundation has done, which is great, they've spearheaded a 5G super blueprint, which can be seen here at a high level. And, you know, it encompasses the whole architecture for 5G, including O-RAN Alliance projects, MAGMA for the core, the underlying network function virtualization infrastructure, as well as blueprints from a crano for the edge and whatnot. So there are a lot of pieces that are coming together and are going to be integrated with this 5G super blueprint. Next slide please. So here's a more detailed look at that with the implementation architecture diagram with more of the component projects. So this really shows the components comprising the end-to-end full-stack architecture. And so that includes the management and orchestration, as you can see on the right there, the virtual infrastructure management, the SDN controllers, the virtualized infrastructure, which includes the virtualized compute, storage, networking, hardware acceleration. There's even a telecom grade edge stack. There's software for facilitating development of use case specific edge applications. There's various projects here. There's, you know, the ability with the software to communicate with IoT devices, you know, and even the operating system for constrained devices and Zephyr, and then, you know, 5G network functions based on the MAGMA open source core. So, you know, the architecture, though, is not starting from scratch. The parts of it already exist with the help of companies. So for example, FLEDGE is already integrated and tested on top of EVE. EDGEX Foundry and the Intel SmartEdge Open are already part of a 5G ready edge stack, which has been demonstrated. ONAP already has two releases of functionality that are ready to support 5G slicing capabilities. And Anokit, formerly the cloud infrastructure, a telco task force, you know, it already has developed Kubernetes and OpenStack architectures and reference implementations, you know, for telecom grade, the cloud environments. So really, you know, we're going to leverage this work that's already been done and the momentum coming from all these different projects. So the Ops 5G program will align with this super blueprint and then deploy it as part of a prototype network called Mojito. So I'll go into that on the next slide. And then I'll wrap up here. So, you know, our goal at DARPA and within the Navy is really to take that 5G super blueprint and deploy it at various sites within a DOD 5G prototype network, which we call Mojito or multi-site Ops 5G joint independent test option. And multiple DOD bases, each of which has a different use case, will leverage that full hardware and software stack that we're providing. And then the stack will consist of those super blueprint projects as well as the security enhancements that the Ops 5G performers are developing. And so really having the ability to leverage that 5G super blueprint and then contribute performer enhancements directly into the open source projects that comprise that super blueprint is going to be a huge advantage for us in order to accelerate the development of the full 5G stack. And it'll also promote the adoption of those security enhancements by companies that make use of the 5G super blueprint and the resulting software stack, which is great. You know, not just for the DOD, but for, you know, the nation in general. So next slide, please. So I'll wrap up here with just, you know, I'd like to encourage community participation in the development of the 5G super blueprint projects and in particular on some of the projects that I mentioned earlier. You know, one of the performers on Ops 5G is, as I mentioned, is planning to develop versions of open flow, you know, version 1.4 and 1.5, for example, which have features they need to do the rapid DDoS detection and mitigation. And they're going to be developing that as a plugin to open daylight, but they're not implementing all of the open flow version 1.4 and 1.5 functionality. So this is really where, you know, the community can come in and contribute. And so I think there's great, you know, opportunities here for community participation, as well with magma being our core, contributions to the core and, you know, in particular, the network slicing capabilities, that's something that we're very excited about. So if you're interested in participating, feel free to check out our website. It's at usgovops.org. That's usgovops.org. There's a sign up form there where you can get more information about how to participate. And so, you know, we really appreciate this opportunity to work with the Linux Foundation. And I think this is going to be a very fruitful collaboration going forward. So with that, thank you very much. And I'll open it up to any questions that you have. Excellent, Michael. I couldn't have said it better. So you basically went through the whole kind of end user use and we are really excited. And I think asking the community to help not just U.S. government, which is, you know, all of our duties, but more importantly, how these research can benefit globally back into the open source community, right? So that whole loop you're doing, yeah. No, excellent.  I'm sure the attendees have enjoyed it. So with that, I think we are at time for the break, if I'm not mistaken. But again, thank you, Michael. And we're going to take a break.


Imagine if vaccines could be created at previously unimaginable speeds. That is becoming a reality thanks to new platform technologies that can rapidly create multiple vaccines designed to protect against deadly diseases, including COVID-19. So we've been looking for technology that could make a vaccine from discovery to being in a vaccine vial within a matter of weeks. When scientists detect a potentially deadly new pathogen, they can now map its genetic blueprint and synthesise small sections of it. These tiny harmless pieces of artificial genetic code are being used to create a safe, effective, synthetic vaccine against the coronavirus that causes COVID-19. The manufacturing of the vaccine is going ahead, so we anticipate we'll be starting our clinical trial, our first clinical trial, in June of this year. That will show if the vaccine successfully protects against COVID-19. We already know that the manufacturing partners we're working with can produce five million doses within a period of weeks. Going from millions to billions of doses then becomes a global effort. The new vaccine technology platform called RapidVac makes that much easier than before. Because each new vaccine is based on a genetic template, it can quickly be shared with vaccine manufacturers located around the world. That will allow enough vaccine doses to be equitably produced for the global population and much more quickly stop the spread of a pandemic disease. This will be particularly important for poorer countries that lack robust healthcare systems and have large populations living in dense urban cities and slums, where social distancing is impossible. I think science is absolutely critical to getting out of this pandemic. In the future, vaccine platform technologies such as RapidVac will be needed to rapidly and cheaply produce vaccines that can protect against other emerging diseases. COVID-19 needs to drive the discussion so that we don't get caught out the next time. Innovations like this will help us save more lives. Let's get behind the future of vaccines.